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ITS HISTORY AND CONSTRUCTION:
A COMPREHENSIVE TREATISE
ON THE
STRUCTURE & CAPABILITIES OF THE ORGAN,
WITH
SPECIFICATIONS AND SUGGESTIVE DETAILS FOR INSTRUMENTS OF ALL SIZES.
HANDBOOK FOR THE ORGANIST AND THE AMATEUR.
y
EDWARD J. HOPKINS,
Organist to the Honourable Societies of the Inner and Middle Temple.
PRECEDED BY AN ENTIRELY
NEW HISTORY OF THE ORGAN,
MEMOIRS OF THE MOST EMIN ENT BUILDERS OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES, AND
OTHER MATTERS OF RESEARCH IN CONNECTION WITH THE SUBJECT,
BY
EDWARD F. RIM BAULT, LL.D.,
Member of the Royal Academty of Music in Stockholm ; Musical Examiner in the Royal College of
Preceptors, London, &c., &c.
T H | R D E D | T | O N.
LONDON :
ROBERT COCKS & CO., NEW BURLINGTON STREET,
Music Publishers to Her most Gracious Majesty Queen Victoria, H. R. H. the Prince of Wales, and
His late Imperial Majesty Wapoleon III., AEmperor of the French.
SIMPKIN, MARSHALL, AND CO. WHITTAKER AND CO.
MIDCCCLXXVII.

Music
LONDON .
HENDERSON, RAIT, AND FENTON, GENERAL PRINTERs,
MARYLEBONE LANE, Oxfor D STREET.
PREFACE TO THE THIRD EDITION.
ºN the present (third) Edition of “THE ORGAN : ITS
º HISTORY AND CONSTRUCTION,” the entire work has
been subjected to a thorough revision, and the contents
of the Appendix have received many important additions and
Substitutions. Improvements in the mechanism of the Organ have
continued to be made since the publication of the second edition
of this work, which have been duly detailed as far as space would
admit ; and the same may be said with reference to the improve-
ment in the general features of the specifications which have been
issued and executed by some of the leading organ-building firms
both in England and America. -
All who enjoyed the personal acquaintance of the author of
the Historical portion of this volume, the late Dr. Rimbault, will
have felt the loss of So genial, accomplished, and unassuming a
friend; but they will be glad to know that the revision of his
portion of the present edition was completed some weeks before
his active and useful life was brought to a close.
EDWARD J. HOPKINS.
23, ST. AUGUSTINE’s ROAD, N.W.,
}'une 1, 1877.

PREFACE TO THE SECOND EDITION.
r:tº HE arts of organ-building and organ-playing have made
such rapid strides in England during the last few years
that it was felt a new edition of “THE ORGAN : ITS
HISTORY AND CONSTRUCTION,” was urgently needed.
The practical portion of the work contains a full and minute
description of the organ in every part of its manufacture. Not
only has the material of the first edition undergone a complete
and most careful revision, but two new chapters have been added ;
i.e., those on Joy's Hydraulic Blower and the Electric Organ.
The Pneumatic Draw-stop Action has been carefully described,
and the chapter on the important question of Temperament has
been entirely re-written.
In the preparation of the additional material, my friend, Mr.
Hopkins, has been assisted in his labours by some of the most
eminent organ-builders, both English and foreign ; and through
their co-operation correct and minute diagrams have been given,
which will, it is confidently hoped, render the volume of the
utmost possible practical use both to the organist and to the
amateur. Special reference must here be made to the chapter
and diagrams upon the most recent introduction, the Electric
Action.
With regard to the “History of the Organ,” I have bestowed
Some pains upon its revision and correction. Much curious and
minute information has been added, the result of considerable

PREFACE. * vii
labour and research. The Treatise of Hero of Alexandria, with
its interesting notice of the ancient Greek organ, has received
attention ; whilst the mediaeval organ-builders and their works
form an important and an entirely new chapter. The notices
of the builders after the Restoration have received considerable
and valuable additions, and the lists of their works have been
carefully revised and extended.
For much curious and valuable information I am indebted to
my friend, Mr. W. B. Gilbert, Mus. Bac, Oxon., late organist of
Boston, Lincolnshire.
In the preparation of the “Specifications " (forming the
APPENDIX), Mr. Hopkins has spared no time and labour. The
descriptions and details given are the result, not only of much
careful collating of the best authorities, but, in addition, a
personal inspection of many of the most celebrated Continental
instruments.
EDWARD F. RIMBAULT.
ST, MARK's CRESCENT, REGENT'S PARK, N.W.,
Christmas, 1870.
PREFACE TO THE FIRST EDITION.
tº HE following work has been undertaken with the view
º º sº of supplying what has hitherto been felt to be a great
bºiliº desideratum in this country; namely, a hand-book de-
Scribing the construction of the English organ with the necessary
minuteness to enable those not previously conversant with the
Subject to understand the formation, nature, and operation of every
part of that most ingenious, complex, and noble of all musical
instruments. In proceeding to carry out this design Several plans
presented themselves, but the one that appeared best calculated
to place the subject in the most simple shape before the reader
was that of arranging the various systems of mechanism and the
Several clever devices for giving speech and vitality to the organ
into Separate divisions, and then of describing the numerous
parts which together form those main portions in the continuous
order they are usually met with in modern English instruments.
This course has therefore been adopted in the arrangement of
the materials forming the following chapters; and each separate
subject—as, for instance, Some particular system of mechanism—is
traced from its source to its termination, with a slight notice only
(at the time) being taken of other portions of the intricate machine
towards which it may Occasionally approach closely, yet without
having therewith any actual connection.
The endeavour has been made in the progress of the work to
record the names of the originators of the numerous ameliorations


PREFACE. - ix
and improvements that have been made from time to time in the
details of organ-building. This part of the design, however, has
not been found by any means so easy of accomplishment as at first
it might appear to be, for but few records were ever kept either
of the date or the builder by whom such advantageous modifications
were effected. An internal examination of numerous organs, and
a comparison of their dates of construction have been made, with
the view of arriving at a correct conclusion on all these points,
and the result has been given ; at the same time a date or fact
may here or there have escaped the research of the writer, who
will therefore be glad to receive any such testimony as may come
under the notice of others, and which will be gratefully accepted
and carefully preserved for future use. To account for the frequent
appearance of names and dates in the descriptions of some of the
more recent improvements, it may be mentioned that these have
in all cases been given, where positively known, in the hope of
obviating future uncertainty.
Among the most vexed questions of the present time regarding
the English organ are those relating to the compass and the tem-
perament of the instrument. To each of these subjects, therefore,
a full chapter has been devoted, which, it is hoped, may have some
influence in conducting them nearer towards a settlement. In
these discussions, and indeed throughout the work, great pains
have been taken to preserve as much simplicity of language and
freedom from technicality as seemed practicable. Other matters of
importance are those relating to the musical pitch, the composition
of the compound stops, and the position of the organ, all of which
have also been considered at some length.
The Appendix will be found to present a collection of specifi-
cations of British and foreign organs more varied in size and
details, and more extensive in number, than has ever before been
brought together in any similar work in any country. A few of
X PREFACE.
the English specimens are either accounts of instruments of past
celebrity, or of such as were made according to a system now
being fast superseded ; but most of the Continental descriptions, it
is confidently hoped, will prove of the highest value to organists
in exemplifying what are the general principles observed by the
foreign artists, to the investigation of which the organ-builders and
organists of this country, fortunately, are now almost universally
turning their attention. The accounts of foreign organs have
partly been prepared from notes made by the writer and other
tourists at the instruments themselves, and partly from previously
printed accounts, the stops, however, being in all cases re-arranged
and classified according to one uniform and simple plan, SO that
they may be more convenient for purposes of reference and Com-
parison. The descriptions of British organs have been drawn up,
in some cases, from accounts kindly furnished by their respective
organists; in others, from well-known printed authorities; while
the particulars of the more recently constructed instruments have
been extracted chiefly from the descriptions issued by their re-
spective builders.
It remains for the writer to tender his thanks to those gentlemen
who have kindly favoured him with their suggestions and opinions;
and he feels his acknowledgments to be particularly due to Mr. Hill
and Mr. Walker, Mr. Robson and Mr. Jardine, for their exposition
of certain technical matters ; and to the Rev. Sir Frederick Gore-
Ouseley, Bart, and to C. Harwood Clark, Esq., for placing their
MS. note-books, Containing accounts of numerous foreign organs,
so entirely at his disposal.
EDWARD J. HOPKINS.
69, TACHBROOK STREET, PIMLICO,
} une, 1855.
CONTENTS.
—º-—
THE HISTORY OF THE ORGAN.
–0–
FIRST EPOCH.—THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE
i
KEY-BOARD.
Its invention, I.
The hydraulic organ, 6.
The pneumatic organ, I5.
Its introduction into the Church, 17.
Organ-building in the eleventh century, 23.
SECOND EPOCH-THE MEDIAEyAL ORGAN, AFTER THE INVENTION OF THE
:
II.
I2.
I3.
I4.
I5.
I6.
I7.
I8.
I9.
2O.
2 I.
22.
23.
24.
25.
26.
27.
28.
29.
3O.
3I.
KEY-BOARD.
The first key-board, 33.
The bellows, 35.
Supposed origin of the Mixture stops, 36.
The first monastic organs, 38.
The Regal, or Portative, 39.
The Positive, 41.
The meaning of “a pair of organs,” 43.
The improved key-board, and the invention of the Pedal, 44.
Monastic organs in England, 46. -
THIRD EPOCH.—THE FIRST ORGAN-BUILDERS BY PROFESSION.
Early German builders, 54.
Early English builders, 55.
Local English builders, 61.
English builders in the seventeenth century, 62.
Notices of English organs, 7 I.
Organs in Scotland, Ireland, and Wales, 72.
Improvements by German builders, 75.
Italian organ-builders, 77.
Notices of foreign organs, 77.
The ancient position of the organ, 79.
The curiosities of organ-building, 87.
The destruction of organs in England during the Great Rebellion, 91.
Existing old English Organs, 98.
*
FOURTH EPOCH.—THE FOUNDERS OF MODERN ORGAN-BUILDING,
Father Smith, IO2.
John and Renatus Harris, IIQ.
Father Smith's Nephews, I31.
Renatus Harris, jun., I33.
CONTENTS,
I
i
2
John Harris and John Byfield, I34.
Christopher Schrider, 136.
Thomas Schwarbrook, I 38.
The Jordans, Father and Son, 139.
. Richard Bridge, 144.
John Byfield, Junr., I45.
Messrs. Glyn and Parker, 146.
Thomas Griffin, I47.
John Snetzler, I47.
Messrs. Crang and Hancock, 149.
Samuel Green, I 50.
John Avery, I 53.
The Englands, Father and Son, I 54.
Paul Micheau, I 55.
Organ-builders of the end of the eighteenth century, 156.
Progress of organ-building in Germany, I 56.
Andreas Silbermann, I56.
Gottfried Silbermann, I 57.
Johann Andreas Silbermann, I 58.
Johann Daniel Silbermann, I 59. !
Cotemporaries and Successors of the Silbermanns, I 59.
THE ORGAN : ITS STRUCTURE, &c.
—º-
Preliminary observations, 3.
DIVISION I.--—THE EXTERIOR OF THE ORGAN.
CHAPTER I.--THE ORGAN CASE. .
Its nature and use, and the materials of which it is formed, 5.
The general structure of the organ-case, and the means of ingress, 5.
The general arrangement of the front pipes, 5.
The various figures in which the front pipes are arranged, 6.
The arrangement of the front pipes in regard to the Sound they produce, 7.
Of the decoration of the front pipes, 8. -
DIVISION II. —THE WIND-COLLECTING PORTION OF THE ORGAN.
23.
24.
29.
3O.
3I.
33.
35.
38.
42.
CHAPTER II.--THE BELLOWS.
Their use, 9.
The different kinds of organ bellows ordinarily met with ; which the oldest;
their names ; and why so called, 9.
Particulars concerning the diagonal bellows, Io.
Their number, 11.
Arrangement, II.
Method of operation, II.
Their original defects, 12.
How remedied, 13.
The horizontal bellows, 14.
CONTENTS. xiii
Its structural features, I4.
The working of the horizontal bellows, and the room which the compressed
air makes for itself between the plates and folds of the reservoir, 17.
The construction of the reservoir, 17.
The construction of the feeder, 18.
The blowing action, 18.
The action of the inverted folds, 19.
The counter balances, IQ.
The waste pallet, 19.
The unsteadiness of the organ wind arising from unskilful blowing, or from
irregular consumption, 20.
The several kinds of feeder, 20.
The concussion bellows, 23.
The anemometer, 23.
DIVISION III.—THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
99.
IO3.
I IO.
II.7.
II9.
I23.
I26.
I29.
I 58.
I66.
I68.
I7 I.
177.
I8o.
I82.
I84.
I85.
I89.
I92.
I99.
2OO.
2O5.
2I4.
222.
224.
CHAPTER III.--THE WIND-TRUNKS, 25.
CHAPTER IV.--THE WIND-CHEST.
The wind-chest ; its use, 27.
Its attendant parts, 28.
CHAPTER V.—THE SOUND-BOARD.
The formation of a sound-board, 30. -
How the sound-board pallets are brought under control, 31.
The Sound-board bars, 31.
The sound-board grooves, 3.I.
The Sound-board pallets, 32.
The pallet holes, 32.
CHAPTER VI.--THE TABLE, 35.
CHAPTER VII.--THE UPPER BOARDS, 38.
CHAPTER VIII.--THE SLIDERS, BEARERS, AND PIPE-RACKS.
The action of a slider, 40. -
The bearers, 4I.
The pipe-racks, 4I.
CHAPTER IX. —THE ARRANGEMENT OF THE GROOVES AND STOPS.
The situation of the large and small grooves in the sound-board, 43.
First plan of groove arrangement, 44.
Second plan, 45.
Third plan, 45.
Fourth plan, 46.
The arrangement of the stops on the sound-board, 46.
The mechanism of the organ, 46.
DIVISION IV.--THE MECHANISM OF THE ORGAN.
CHAPTER X. —THE CLAVIERS AND KIEY MOVEMENTS.
The Manuals, 47.
The Pedals, 49.
The situation of the claviers, 49.
The key movement, 50.
The action of the key movement, 51.
The roller-board movement, 52.
Square and tracker-work, 53.
xiv CONTENTS.
CHAPTER XI.--THE COUPLERS AND SFORZANDO PEDAL.
23I. Manual couplers, 54.
236. The Sforzando coupler, 56.
238. Pedal couplers, 56.
CHAPTER XII.--THE PNEUMATIC ACTION, 59.
CHAPTER XIII.—THE DRAW-STOP ACTION.
252. The wooden trundle draw-stop action, 63.
253. A description of the several parts, 64.
258. How the draw-stop action operates, 65.
260. The iron trundle draw-stop action, 65.
263. The pneumatic draw-stop action, 66.
CHAPTER XIV.-Joy's PATENT HYDRAULIC ENGINE, 67,
CHAPTER XV.--THE ELECTRIC ACTION, 69.
CHAPTER XVI.—THE SHIFTING MOVEMENT AND THE COMPOSITION PEDALS.
3O8. The shifting movement, 88. -
309. The Composition Pedals, 88.
3II. The single-action Composition Pedal, 88.
313. The double-action Composition Pedal, 89.
318. The Composition Pedal action, 89.
319. The way in which the action operates, 89.
CHAPTER XVII.--THE ECHO AND SWELL,
329. The Echo, 91.
330. The nag's head Swell, 91.
33I. The Venetian Swell, 91.
CHAPTER XVIII.--THE TREMULANT, 94.
DIVISION V.—THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
CHAPTER XIX. —THE MATERIALS USED FOR ORGAN PIPES.
353. Tin, 96.
363. Metal, 98.
364. Spotted metal, 98.
365. Lead, 98.
366. Antimony metal, 99.
367. Zinc, 99.
368. The casting of the metal, 99.
369. Wood, IOO.
37I. The seasoning of the wood, IOO.
CHAPTER xix.--THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES.
373. The plan and outline of the pipes, IOI.
378. Cylindrical pipes, IOI.
379. Open cylindrical pipes, IOI.
380. Stopped cylindrical pipes, IoI.
382. Half-stopped cylindrical pipes, IO2.
384. Perforated cylindrical pipes, IO2.
387. Conical pipes, IO3.
389. Conical pipes surmounted by a bell or outspreading top, IO3.
390. Inverted cone, IO3.
391. Inverted cone surmounted by a bell, IO4.
392. Wooden pipes, IO4.
393. Open four-sided pipes, IO4.
CONTENTS. XV
394.
395.
396.
397.
398.
4OO.
4O2.
4O3.
4O4.
4O6.
4 II.
416.
42O.
429.
435.
436.
448.
454.
459.
467.
468.
472.
473.
474.
476.
482.
485.
495.
524.
53O,
539.
542.
544.
55O.
56O.
621.
638.
Stopped four-sided pipes, IO4.
Half-stopped four-sided pipes, IO5.
Three-sided pipes, IO5.
Wooden cylindrical pipes, IO5.
Pyramidal pipes, IO5.
Pyramidal and inverted, IO5.
The classification of the pipes into ſue and reed pipes, Ioff.
Flue pipes, IO6.
Reed pipes, IO6.
The separate parts of a metal flue pipe, IO6.
The way in which the several parts of metal pipes are united together, Io'7.
Wood flue pipes; open, stopped, and half-stopped, IO8.
How the Several parts are worked together, IO8.
Origin and continuance of the tone in flue pipes, Io9.
The mouth of a flue pipe, and the influence of its proportions on the tone
of the pipe, IIO.
The voicing of metal and wooden flue pipes, III.
The influence of the material, form, and scale on the tone of a pipe, I 13.
Influence of the strength and quantity of the wind on the character and
Strength of the tone, II4.
Formation of a reed pipe, II 5.
The formation of the tubes, II6.
The different kinds of mouthpieces or reeds. The open, closed, and free
reeds, I 17. -
The influence of the tube—its shape, scale, and material——on the strength
and character of the tone of a reed pipe, II7.
The influence of the reed and tongue on the tone of the pipe, I 18.
How a Sound is produced from a reed pipe, I 18.
How the pitch of the sound of an organ pipe is determined, I 18.
CHAPTER XX. —THE STANDARD LENGTH OF ORGAN PIPES.
The names of the sounds produced from organ pipes, I2O.
The classification of those sounds into octaves, and the different methods by
which the several octaves are distinguished from one another, I2 I.
The size of the pipes mostly used for stop measurement, I23.
CHAPTER XXI,-THE SIZE OF TONE OF ORGAN PIPES.
The scale of organ pipes, and the influence which an alteration in the
proportion exercises on the length, 127.
CHAPTER XXII.-ORGAN STOPS.
Definition of a stop, and an explanation of the various kinds, I28.
The size of the stops : how ascertained, 130.
The classification of the stops, in regard to their tone-producing part, into
reed stops and flue stops, 130.
Classification of the flue stops, in regard to their structure, into Diapason-
work, Covered-work, and Flute-work, I 30.
Classification of organ stops, in regard to the Sound they produce, into
Foundation, Mutation, and Compound stops, I31.
CHAPTER XXIII.--THE NAMES OF ORGAN STOPS,
The name and description of stops found in English organs, together with
their length or size of tone on the Manual and Pedal, I34.
Compound stops, I42.
Reed stops, I44,
xvi CONTENTS.
CHAPTER XXIV.--THE ORIGIN AND NECESSITY OF FOUNDATION, MUTATION,
AND COMPOUND STOPS.
657. The introduction of stops of various sizes, founded on a phenomenon in
nature, I47. -- -
666. How the sizes of the Harmonic-corroborating stops are deduced and fixed,
I48.
672. Reasons for marking the length of the stops on the knobs, I49.
673. Theoretical exceptions sometimes taken to certain organ stops, I49.
CHAPTER XXV. —PARTICULARS CONCERNING THE SCALE AND THE BALANCING
OF ORGAN STOPS.
676. The comparative scale of the Foundation and Mutation stops, and ranks of
pipes, I 5 I.
706. The increase of scale in a stop as the pipes become shorter, and why
necessary, I 57.
7 II. A variation is made in the scale of the stops of the same name on the
different claviers, and also in the duplicates on the same clavier. The
reason and necessity thereof, I 58.
DIVISION VI.--THE TUNING, TEMPERAMENT, AND PITCH OF
THE ORGAN.
CHAPTER XXVI.--THE TEMPERAMENT OF THE ORGAN.
727. The union of perfect attunement with the power of transposition im-
possible, 16I.
728. The susceptibility of certain intervals being tempered discovered, 161.
729. Unequal temperament, and the practicable scales it introduced, 16I.
730. The introduction of unequal temperament strongly opposed, but nevertheless
established, 162.
733. The musical art progressing required other scales beyond those provided by
unequal temperament, 163.
735. The defects of the unequal tuning known in the sixteenth century, 172.
737. Enharmonic organs, 173.
738. Perfect attunement, 173.
740. A simple practicable Manual scale required, 174.
74I. Equal temperament, 174.
745. The part Bach took in the establishment of equal temperament, 175.
746. Equal temperament opposed, as unequal tuning had been before it, 176.
750. Equal temperament recommended, on the same grounds, 177.
752. Temperament, as the only source of distinction of key, questioned, 178.
753. Pitch Supposed to exercise an influence in establishing the character of key,
I78.
754. The internal resources of the musical art capable of giving any character to
any key, 179. -
755. Characteristics of equal temperament, 179.
CHAPTER XXVII.--THE TUNING OF THE ORGAN.
760. Laying the bearings, and extending their influence to the stops generally, 183.
764. How the pitch of the several kinds of organ pipe is altered, 184.
773. The pitch of the organ altered by the heat and cold in different seasons.
The extent of this alteration, 185.
CONTENTS. xvii
CHAPTER XXVIII.--THE PITCH TO WIFICH AN ORGAN SHOULD BE TUNED.
781.
782.
783.
786.
787.
788.
789.
790.
79I.
792.
793.
797.
798.
799.
8oo.
8or.
8o3.
807.
814.
824.
838.
The question a most interesting one, 187.
The presumed lower pitch of two centuries since, 187.
The difficulties inseparable from that theory, i87.
The compass of the human voice Supposed to have changed, I87.
The old composers supposed not to have consulted the convenience of the
voices they wrote for, 188.
The early English composers supposed to have written without regard to any
definite pitch, 188.
Everything questioned except the presumed lowness of the old pitch, 188.
Strong grounds for believing in the former existence of a high ecclesiastical
pitch, 189.
The sixteenth and seventeenth century organs in Germany a whole tone
Sharp, I89.
A high ecclesiastical pitch believed to have existed formerly in England as
well as in Germany, I89.
The very low notation of ancient church music favourable to this view, 189.
Father Smith's pitch flatter than the ecclesiastical pitch of preceding
times, IQO.
The flattened pitch accompanied by a raised notation, 191.
The pitch lower again, at the commencement of the eighteenth century, in
England, 191.
A similar alteration of pitch, at the same period, in France and Germany,
I91.
The lower pitch in the last century accompanied by a further ascent in the
notation, I92.
To which of the three church pitches formerly in use should a church organ
be tuned 2 192.
DIVISION VII.
CHAPTER XXIX. —ON THE CORRECT USE OF THE STOPS.
General rules for the use of the stops, IQ3. -
The character of tone of some of the leading Stops; and the purposes to
which they may be applied, I94.
On the combination of the stops for the production of any required strength
of tone, IQ6.
On the adaptation of the organ tone to the true purposes of choral accom-
paniment, I08.
DIVISION VIII. THE CAUSE OF MANY FAULTS IN AN ORGAN,
842.
844.
845.
846.
848.
WITH THEIR REMEDIES.
CHAPTER XXX.--THE CAUSES OF CIPHERING.
The umbidden Sounding of a Piffe from causes in the Region of the Pal/eſs.
Ciphering caused by dirt on the pallet, 20I.
Ciphering from a pallet-spring being too weak, 202.
Ciphering caused by the pallet catching on a direction pin, 202.
Ciphering from damp loosening the leather, or heat warping the pallet, 202.
Ciphering caused by a pull-down being rusty, 203.
&
xviii
CONTENTS,
849,
850.
85 I.
852.
853.
855.
856.
857.
858,
859.
86O.
86 I.
862.
864.
865.
866.
868.
869.
870.
871.
872.
873.
874.
875.
876.
877.
878.
879.
88O.
88I.
883.
884.
885.
886.
887.
The unbidden Sounding of a Piffe from Faults in the Key-Movements.
Ciphering from some adhesive substance falling between the keys, 203.
Ciphering caused by a key warping, 203. .
Ciphering from a Sticker binding, 203.
Ciphering caused by a backfall getting off the sticker, 203.
Ciphering from grit in the centre-holes, or by a swelling of the movement,
2O4.
The umbidden Sounding of a Piffe from Defects in the Sound-board.
A running caused by an upper-board being too loose, 204.
A running caused by a Sound-board bar separating from the table, or by an
unsound bar, 204.
A humming caused by one slider touching and partly drawing a second, 205.
A humming caused by pipes Standing in too close proximity, 205.
Pefects ºn the Åey-Movementſ.
A springing in the key-movement, 205.
A dead resistance opposed to the finger by the key-movement, 205.
A thumping of the keys, 206.
A rattling in the key-movement, from the noisy nature of the materials, 206.
A rattling sometimes caused by trackers flapping together, 206.
A key down without producing any Sound, 206.
The touch of the manuals too shallow at certain seasons, and too deep at
others, 2O7.
An unevenness in the level of the keys of the manual, 207.
A key screwed up too high sometimes causes the speech of the pipes to
tremble, 2O7.
A ciphering caused by the breaking of a pedal spring, 208.
Pisarrangements connected with the Draw-stoff Acţion and S/iders.
A draw-stop rod will Sometimes come out too far, or go too far in, 208.
A draw-stop sometimes very stiff, 208.
Defects in the Bellows and the Winding of the Organ.
A creaking from friction at the centres, 208.
A clacking caused by hard valves, 209.
A gasping from the valves being too few and Small, 209.
Bellows work quicker in hot weather, 209.
Bellows produce a cracking Sound after damp weather, 209.
Tremulousness from the length and elasticity of the column of wind, 209.
Tremulousness from shortness of Supply, 2IO.
Unequal intonation caused by small grooves and pallet-holes. A robbing,
2 IO, -
A hissing arising from an escape of wind, 2 II.
Faults connected with the Speech of the Piffes.
Small pipes are frequently dumb, tremulous, or weak in their Speech, 2II.
Flue pipes become unequal in their strength and quality of tone from
various causes, 2II. -
A pipe sometimes Sounds its octave, from the effects of dirt or over-blowing,
2 I 2. -
The tone of wood pipes influenced by change of temperature, 212.
Stopped wood pipes Sometimes deranged by heat and drought, 212,
CONTENTS, xix
DIVISION IX. —SUGGESTIONS FOR THE CONSTRUCTION AND
ERECTION OF AN ORGAN.
CHAPTER XXXI.--THE COMPASS OF THE CLAVIERS, AND OF THE SEPARATE
891.
893.
894.
897.
903,
905.
906.
909,
924.
935,
937.
942.
DIVISIONS OF THE ORGAN.
Precedents for nearly every variety of clavier range, 213.
The compass of the Manuals ; the confused state in which the question is
involved in England ; and the importance of a correct view of the subject,
2I4.
How the true Manual compass is to be ascertained, 215.
Arguments against the CC Manual compass, and in favour of a longer
range, 216.
Much room and a great expenditure of funds required to extend the compass
of a Manual organ below CC, 217.
The true method of increasing the resources of a Manual organ, 218.
How it may be ascertained whether certain keys are essential or not as
Manual ones, 218.
The ameliorations that might be effected on a given specification, by
regulating the outlay otherwise than in the construction of unessential
Manual notes, 219.
Other views in favour of GG Manuals, and against CC, considered, 222.
How the CC Manual compass was first exceeded, 224.
The confusion in the size of the stops caused by their elongation, 225.
The upward range of the Manuals, 226.
CHAPTER XXXII.-OF THE PEDALS AND PEDAL ORGAN : THEIR INTRODUCTION
95O.
95 I.
952.
954.
969.
973.
974.
978.
979.
980.
98.I.
982.
985.
986.
987.
996.
997.
998.
999.
INTO ENGLAND ; AND CORRECT COMPASS.
The insufficiency and incorrectness of GG Pedals for practical purposes, 228.
The wrong pitch in which GG Pedals execute on the Manual stops such
passages as do come within their range, 229.
The impossibility of satisfactorily uniting CCC pipes to GG Pedals; and the
false pitch in which the pipes sound when they are so united, 229.
The false readings which the CCC Pedal pipes create, 229.
The introduction of “Double Pedal pipes” as the first Pedal stop, not in
accordance with the laws of organ-building, 232. -
The premature introduction of double Pedal pipes often a hindrance to the
introduction of more important Pedal stops, 233.
The arrangements of a CC organ contrast favourably with those of GG
compaSS, 234. -
CHAPTER XXXIII.--THE SITUATION FOR THE ORGAN.
Acoustical facts to be consulted, 235.
How sound is produced and propagated, 235.
How brief sounds disperse, 235.
How sustained sounds more completely occupy space, 235.
The distribution of a sound that cannot travel backwards, 236,
Sound weakened by divergence, 237.
Echo, 237.
ReSOnan Ce, 237.
Impediments to the equal distribution of Sound, 238.
Absorbents of Sound, 238.
Church arrangements that are favourable to Sound, 239.
Absorbents sometimes introduced to subdue excessive echo, 239.
b 2
XX
CONTENTS.
IOOO.
IOO3.
IOO5.
IOO7.
IOO8.
IOIO.
IO2O.
IO2.I.
IO27.
IO28.
IO29.
IO3O.
IO34.
IO43.
IO49,
IO5O.
IO5 I.
IO56.
IO57.
IO58.
IO59.
IO60.
IO61.
IO62.
IO64.
Ioé6.
IO67.
IO69.
Velocity of sound, 239.
The apparent strength of a sound dependent on the position of the auditor
&c., 240.
Penetration of sound, 240.
The west end of a church as the situation for the organ, 240.
Old examples of west end organs in Continental churches, 240.
The merits of the west end as the situation for the organ considered, 24.I.
An architectural objection to the organ occupying the west end, 242.
Examples of divided west end organs in Continental churches, 242.
Smith and Harris's parish church organs usually placed at the west end, 243.
Their cathedral organs usually placed on the choir Screen, 243.
Harris's proposal for a grand west end organ in St. Paul’s Cathedral, 244.
The erection of Father Smith's organ on the choir screen of St. Paul's
opposed, 244.
The comparative merits of the several side situations considered, 245.
The east end of an aisle, or a chancel chapel, as the situation for the organ
considered, 247.
The chancel an eligible position for a divided organ, 248.
The relative position of the vocal choir and organ, 249.
Recent arrangements in cathedrals, 249.
CHAPTER XXXIV.--THE SIZE OF THE ORGAN.
The organ should be proportioned to the congregation and church, 252.
Certain influencing circumstances to be taken into account, 252.
An approximate calculation of the number of stops necessary for an organ
to have, 252.
Too Small an organ in a church most undesirable, 253.
The strength of the human voice as compared with that of the organ wind,
253.
The general requisites of a church organ, 253.
An organ of Sufficient dimensions in a church a great acquisition, 254.
The power of an organ partly due to its extent of tone, 255.
How the acoustic capacity of a Manual organ is increased to adapt its tone
to a large building, 256.
The acoustical grounds on which double stops are introduced into an
Organ, 256.
The effect of a large organ not constructed on acoustic principles as well as
on harmonic, 257. *
CHAPTER XXXV.-VARIOUS MATTERS CONNECTED WITH THE DIVISION OF
IO7I.
Io/6.
IO77.
Io'78.
Io8o,
Io87.
IO88.
IO89.
STOPS, AND THEIR SELECTION ACCORDING TO SIZE.
The proportionate division of a given number of stops among the several
departments, 258.
The size of stop that should form the basis of the Manual and Pedal tone, 259.
Stops of one size only, for Manual or Pedal, incorrect, 259.
The proper size for the stops, and the order in which they should be
Selected, 259.
The stop from which the Harmonic corroborating stops must be measured,
259.
The meaning of the German terms, 16 feet Manual, 8 feet Manual, and 4
feet Manual, 261.
Stops of one class alone not sufficient to produce the best organ effect, 261.
The proportion to be observed in the number of stops of different sizes, 261.
CONTENTS. xxi
II O2.
I IO3.
I IO4.
I IOS.
I IO6.
CHAPTER XXXVI.--THE COMPOSITION OF THE MIXTURES.
Why should there be breaks in a compound stop 2 265.
A compound stop without a break not in accordance with the suggestions
of nature, 265.
The same compound not productive of the same effect in different parts of
the Scale, 265.
Might not a rank “die out,” instead of presenting a break 2 266.
The valuable aid rendered to the treble of an organ by the return ranks, 266.
I IO7. On what keys the breaks had better take place, 267.
I IO8. Where the broken ranks should return to, 267.
II II. Plans for compound stops, 268.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
Composition for a full Mixture of III ranks, 268.
Ditto for a clear Mixture of IV ranks, 269.
Ditto for a sharp Mixture of IV ranks, 269.
Ditto for a Quint Mixture of IV ranks, 269.
Ditto for a full Mixture of IV ranks, 270.
Ditto for a sharp Mixture of V ranks, 27.I.
Ditto for a full Mixture, III ranks, and a sharp Mixture, III ranks, 272.
Ditto for a full Mixture, III ranks, and a sharp Mixture, IV ranks, 272.
Ditto for a full Mixture, III and IV ranks, and a sharp Mixture, V
ranks, 272. -
Ditto for a Sesquialtera, II ranks, a full Mixture, III and IV ranks, and
a sharp Mixture, V ranks, 274. -
CHAPTER XXXVII.--THE EXTERIOR ARRANGEMENT OF THE ORGAN.
I I43.
II 50.
II64.
II66.
II68.
II69.
II7O.
II9.I.
IIQ2.
I IQ4.
II99.
I2O2.
I2O4.
I 2 I2.
I2 I3.
I 22 I.
I 222.
I224.
I225.
I226.
I23O.
I 231.
I 232.
I25O.
I26I.
The organ case, 278.
The Manuals and Pedals; their width, and their proper situation in re-
gard to each other, 279.
The organ stool, 282.
The Swell Pedal, 282.
The music desk, 282.
The Composition Pedals, 282.
The arrangement of the draw-stops, 283.
CHAPTER XXXVIII.--THE INTERIOR ARRANGEMENTS OF THE ORGAN.
The building frame, 287.
The platform, 287.
The distribution of the sound-boards, 287.
The cause of the bad proportions of many English organs, 288.
Much room conducive to the orderly arrangement of the organ, 288.
The advantages of large Sound-boards, 289.
“Unoccupied space” in an organ not “lost room,” 29O.
The Abbe Vogler's simplification System, 29O.
Passage-boards advantageous in more ways than one, 292.
The pipes should be so arranged that the Small ones are accessible, 292.
Double grooves in the bass of large Sound-boards advisable, 293.
The roller-boards, 293.
The bellows, 293.
The wind-trunks, 294.
The Swell-box, 294.
The scale for the pipe-work, 294.
The materials for the pipe-work, 300.
The price of the organ, 303.
CHAPTER XXXIX,-PLANS FOR ORGANS OF WARIOUS SIZES, 307.
xxii
CONTENTS.
—-#4–
I. HAARLEM-the Cathedral Church of 49.
St. Bevan, 331. 5O.
2. ROTTERDAM—the Cathedral Church of 5I.
- St. Lawrence, 332. 52.
3. the Octagon Church, 333. 53.
4. AMSTERDAM—the Old Church, 334. 54.
5. the New Church, 335. - 55.
6. NYMENGEN–St. Stephen, 336. 56.
7. GOUDA—St. John the Baptist, 337.
8. THE HAGUE–Lutheran Church, 338. 57.
9. DELFT-the New Church, 338.
IO. UTRECHT-the Principal Protestant 58.
Church, 339. 59.
II. TRIEBEL–the State Church, 340. 6O.
I2. PARIS–the Abbey of St. Denis, 34I. 61.
I2A. — St. Vincent de Paul, 342. 62.
T 3. the Madelaine, 343. 63.
I4. — St. Eustache, 344. 64.
I5. — St. Sulpice, 345. 65.
I6. AMIENS-the Cathedral, 346. 66.
I7. — St. Remy, 347. 67.
18. TOURS–the Cathedral, 347. 68.
19. ROUEN–St. Ouen, 348. & 69.
20. ABBEVILLE-the Cathedral, 349. 7O.
2I. BEAUVAIS-the Cathedral, 350. 7.I.
22. ANTWERP–the Cathedral, 351. 72.
23. — St. Paul, 351. 73.
24. BRUSSELS--the Cathedral Church of 74.
St. Gudule, 352. 75.
26, LIEGE—St. Martin, 353. 76.
27, COLOGNE—the Cathedral, 354. 77.
28. — the Minoret's Church, 354, 78.
29. — the Jesuit's Church, 355.
3O. — St. Maria de Capitol, 356. 79.
3I. — St. Columba, 356. 8o.
32. — St. Ursula, 357.
33. BONN–the Cathedral, 357. 8I.
34. the Protestant Church, 358.
35. COBLENTZ–the Church of Castor, 358, 82.
36. STRASBOURG–the Cathedral, 359, 83.
37. — St. Thomas, 360. 84.
38. the “Temple neuf,” 360.
39. FREIBURG IN BRESGAU—the Cathedral, 85.
36I.
40. --— the Lutheran Church, 362. 86.
4I, FRANKFORT-St. Paul, 362. 87.
42. FULDA—the Town Church, 363.
43. GOTHA—St. Augustine's, 364. 88,
44. — St. Margaret, 365. 89.
45. HAARHAUSEN–365.
46. ELTSLEBEN–366, 90.
47. WALTERSHAUSEN–366.
48. ZERBST-St. Nicholas, 367,
APPENDIX.
COMPRISING AN ACCOUNT OF FOREIGN AND BRITISH ORGANS.
LANGENSULZA-St. Boniface, 368.
MUHLHAUSEN=368.
MERSEBURG–the Cathedral, 369.
HALLE–St. Maurice, 370,
LOIZ—the Marien Kirche, 371.
KATSCHER—the Catholic Church, 371.
ERDMANNSDORF–372.
KRUMOLS--the New Catholic Church,
372.
HALBERSTADT-the Great Church,
373.
HIRSCHBERG-Christ Church, 374.
NAUMBERG-St. Wenzel, 374.
TREBNITZ—the Catholic Church, 375.
SALZWEDEL–St. Catharine, 376.
WEISSENFELS--the Lock Church, 376.
CELLE–the Ludwig's Church, 377.
VERDEN.—the Cathedral, 377.
BREMEN-the Cathedral, 378.
HAMBURG-St. Michael, 379.
— St. Catherine, 380.
— St. Jacobi, 381.
— St. Nicholas, 383.
— St. Peter, 383.
IUBECK–the Marien Kirche, 384.
the “little organ,” ditto, 386.
— the second Church, 386.
WISMAR–St. Mary, 387.
PERLEBERG-388.
BERLIN–St. Mary, 388.
— the Garrison Church, 389.
ISRONSTADT –the Cathedral Church,
389.
LEIPZIG—the University Church, 390.
DRESDEN–the Royal Catholic Church,
392.
— the Royal Church of the Evan-
gelists, 392,
— St. Mary, 393,
— St. Sophia, 393.
— the Church of the Holy Cross,
FREIBERG IN SAXONY—the Cathedral,
395.
PRAGUE—St. Dominico, 395.
GOERLITZ–St. Peter and St. Paul,
396. -
---- St. Mary, 397,
LIEGNITZ—St. Peter and St. Paul,
397,
BRESLAU-the Cathedral of St. John,
398,
CONTENTS,
xxiii
II.O.
I I I,
II2.
II.3.
II.4.
II5.
II6.
II.7.
II8.
II9.
I2O.
I2 iſ .
I22.
123,
I24.
I25.
I26.
I27.
163.
I64.
I65.
I66.
I67.
I68.
I69.
I 70.
I7 I.
I72.
173.
I74.
176.
I77.
178,
STUTGARD–the Stiftskirche, 421.
the Jews' Synagogue, 422.
WEING ARTEN–the Benedictine Mo-
Inastery, 423.
MUNICH-the Odéon Concert-room,
424.
RATISBON.—St. Emmeran, 425.
BOTZEN–the Parish Church, 425.
ROME–St. Peter, 426.
Second Organ, 428.
MILAN–the Cathedral, 428.
Second Organ, 429.
— St. Alessandro, 429.
COMO—the Cathedral, 430.
Church of the Santissimo Croci-
fisso, 431.
FLORENCE—St. Gaetano, 432.
GENOA—Santa Mariades Vignes, 432.
the Carigrana Church, 433.
Cathedral of St. Pierre, 433.
SIENA—the Cathedral, 434.
SEVILLE-the Cathedral, 434.
— the second Organ, ditto, 437.
COLOGNE—the Cathedral, 438.
ROME–St. Peter's (new design), 440.
BOMBAY-the Cathedral, 443.
— Town Hall, 443.
AMERICA.
BOSTON.—Tremont Temple, 445.
— Music Hall, 446.
NEW YORK–Trinity Church, 448.
— Church of the Annunciation, 449.
— Brooklyn Tabernacle, 450.
— Trinity Chapel, 452.
CALIFORNIA—Presbyterian Church,
453.
NEWFOUNDLAND–St. John's Cathe-
dral, 453.
NEW ZEALAND (WELLINGTON)—St.
Paul, 454.
AUSTRALIA
Hall,.455.
(ADELAIDE)—Town Hall, 456.
(MELBOURNE), Town
St. Martin-in-the-Fields, 477.
Christ Church, Newgate Street, 478.
St. Lawrence Jewry, Guildhall, 479.
Royal Sardinian Chapel, Lincoln's
Inn-Fields, 480.
Church of St.Peter, Eaton Square,481.
Foundling Hospital, 482.
Christ Church, Westminster Road, 483.
St. John the Evangelist, Wilton Road,
Pimlico, 484.
St. Gabriel’s Church, Pimlico, 485.
St. Paul’s, Wilton Place, Knights-
bridge, 486.
The Oratory, Brompton, 487.
Parish Church, Kensington, 488.
Church of St. Mary Aldermary, Queen
Victoria Street, 489.
St. Sepulchre's, 489.
BRESLAU–Choir Organ, ditto, 399. I28.
. — the Little Organ, ditto, 399. I29.
— St. Mary Magdalen, 399. I3O.
— St. Elizabeth, 400.
Small Organ, ditto, 401, I31.
— St. Bernhardin, 401.
— Small Organ, ditto, 402, I32.
— St. Vincent, 402. I33.
— St. Ethelbert, 403. I34.
— Church of the Eleven Thousand 135.
Virgins, 403. I36.
— St. Salvator, 404. I37.
the Cemetery Church, 404. I38.
— St. Mauritius, 404. I39,
— St. Barbara, 405. I4O.
— Music Room of the University,
4O5. I4 I.
CRACOW–the Evangelist’s Church, I42.
4O5. I43.
WARSAW–the Lutheran Church, 406. I44.
VIENNA–the Cathedral of St, Ste- 145.
phen, 406. I46.
— St. Michael, 407. I47.
— the Lutheran Church, 407. 148.
— the Minorites' Church, 408. I49.
— St. Peter, 408. I5O.
FREIBURG IN SWITZERLAND — the 151.
Cathedral of St. Nicholas, 409.
HANOVER—the Market Church, 409.
— the Chapel Royal, 4IO.
— St. John, 4 II. - I52.
ULM—the Cathedral, 4 II. I53.
FRANCE—the Cathedral of Carcas- I54.
Sallne, 414. - I55.
PARIS-Notre-Dame-de-Lorette, 415, I56.
— St. Genevieve, 416. I57.
PLBERFELD–the New Church, 416. I58.
BASLE–the Minster Church, 417.
QUITTELSDORF–the Village Church, I59.
4. I7.
MILBEITZ–the Village Church, 418. I6O.
ANGSTADT –the Church, 418.
LUCERNE–the Cathedral, 419. I6I.
WINTERTHUR-42O.
CONSTANCE—the Cathedral, 421. I62,
BRITISH ORGANS—LONDON AND ITS ENVIRONS,
St. Paul's Cathedral, 457, I79.
Westminster Abbey, 458. I80,
Temple Church, 459. I8I.
Exeter Hall, 462. I82.
Royal Albert Hall, 463.
Westminster Aquarium, 465. 183.
Crystal Palace, 467. I84.
Alexandra Palace, 468. 185.
Bow and Bromley Institute, 470. I86.
“The Hall,” Regent's Park, 470.
Royal Normal College and Academy | 187.
of Music for the Blind, Upper Nor- | 188.
Wood, 472.
Chapel Royal, Whitehall, 473. I89.
St. Margaret’s, Westminster, 474. I90.
St. James's, Piccadilly, 475. I9I.
Chapel Royal, St. James's, 476.
St. Katherine's, Regent's Park, 476, I92.
XX1V
CONTENTS.
&
I93.
I94.
I95.
I96.
I97.
I98.
I99.
2OO.
2OI.
2O2.
2O3.
2O4.
2O5.
2O6.
2O7.
St. Andrew’s, Holborn, 491.
St. Peter's, Cornhill, 49.I.
St. Michael’s, Cornhill, 492.
St. Stephen’s, Wallbrook, 493.
St. Mary-at-Hill, 494.
St. Michael’s, Chester Square, 495.
St. Saviour's Southwark, 496.
St. Olave's, Southwark, 497.
St. James's, Bermondsey, 497.
Quebec Chapel, 498.
St. Pancras Church, 499.
All Saints’, Kensington Park, 500.
City Temple, 500.
St. Giles's, Camberwell, 50.I.
Holy Trinity, Paddington, 502.
COUNTRY
WINDSOR-St. George's Chapel, 512.
St. George's Hall, 513.
ToRQUAy—St. John’s Church, 513.
GLOUCESTER—Cathedral, 515.
TEWKESBURY-Abbey Church, 515.
HEREFORD–Cathedral, 516,
WORCESTER—Cathedral, 517.
Transept, 518.
STRATFORD-ON-AVON.—519.
BIRMINGHAM—Town Hall, 52O.
LICHFIELD–Cathedral, 52.I.
SHREWSBURY—St. Mary's, 523.
— St. Chad's, 523.
CHESTER—Cathedral, 524.
LIVERPOOL– Great George
Chapel, 525.
— St. George's Hall, 525.
Collegiate Institution, 527.
— St. Margaret's Church, 528.
––– Wesley Chapel, Stanhope Street,
529.
HUDDERSFIELD — Buxton Road
Chapel, 53O.
ASHTON-UNDER-LYNE–53I.
STOCKPORT-Sunday School, 532.
OLDHAM—Parish Church, 533.
SALISBURY-Cathedral, 534.
HALIFAX—Parish Church, 535.
All Souls’ Church, 535.
BRADFORD–Eastbrook Chapel, 536.
LEEDS—Town Hall, 537.
YORK MINSTER—539.
The Nave Organ, 54I.
York–New Street Wesleyan Chapel,
542.
Tankersley, 543.
MACCLESFIELD–Christ Church, 543.
BEVERLEY—-St. Mary’s Church, 544.
HULL–Holy Trinity Church, 545.
— Wycliffe Congregational Church,
546.
DONCASTER—St. George's, 547.
SHEFFIELD–St. Marie's Catholic
Church, 548.
CARLISLE–Cathedral, 549.
SCARBOROUGH — St. Peter's Roman
Catholic Church, 550.
Bar Congregational Church, 550,
West London Synagogue, 503.
22O.
22 I.
222.
223.
224,
225.
226.
227.
228.
229.
23O.
23.I.
232.
233.
234.
235.
236.
237.
238.
239.
24O.
24.I.
242.
243.
244.
245.
246.
247.
248.
249.
25O.
25 I.
252.
253.
254.
255.
256.
257.
258.
259.
26O.
Street
208.
209. South Hackney Church, 503.
2Io. St. Mary’s, Stoke Newington, 504.
2II. St. Matthew’s, Upper Clapton, 505.
212. St. Anne's, Limehouse, 505.
213. Christ Church, Spitalfields, 506.
214. St. Luke's Church, Old Street Road,
507.
215. St. Mary's Catholic Chapel, Moor-
fields, 508.
216. Royal Hospital, Greenwich, 509.
217. Lee Church, Kent, 509.
218. St. Mary's, Clapham, 51O.
219. Hampton Court Palace, 5 II.
ORGANS.
261. CHORLEY—Parish Church, 551.
262. PETERSFIELD–Parish Church, 551.
263. DURHAM—Cathedral, 552.
264. LINCOLN–Cathedral, 553.
265. LINCOLNSHIRE – Centenary Chapel,
Boston, 553.
266. Parish Church, Boston, 554.
267. SOUTHWELL–Collegiate Church, 555.
268. NoTTINGHAM – St. Mary's Church,
555.
269. — Mechanics’ Hall, 557.
27O. — Derby Road Chapel, 557.
27I. — Unitarian Chapel, 558.
272, NORTHAMPTON.—All Saints' Church,
9.
273. Exchange Room, 560.
274. NEWCASTLE-ON-TYNE –St. Mary's
Cathedral, 56O.
275. — Town Hall, 562.
276. LUDLOW-Church, 563.
277. SHERBORNE–Abbey, 563.
278. LYNN REGIS-St. Margaret's, 564.
279. No RWICH-Cathedral, 565.
28O. — St. Peter Mancroft, 566.
28I. GT, YARMOUTH-St. Nicholas Church,
567.
282. ELY-Cathedral, 568.
283. CAMBRIDGE–Trinity College, 568.
284. — St. John’s College, 569.
285. BEDFORD–St. Paul's Wesleyan Chapel,
57O.
286. ROCHESTER—Cathedral, 57.I.
287. TONBRIDGE WELLS—Trinity Church,
57I.
288. CANTERBURY-Cathedral, 572.
289. CRAN BROOK.—Parish Church, 573.
29O. CHICHESTER—Cathedral, 573.
291. WINCHESTER—Cathedral, 574.
292. RIPON.—Cathedral, 575.
293. WELLS—Cathedral, 576.
294, BRISTOL–Victoria Rooms, 577.
295. — St. James's Church 578.
296. Colston Hall, 579.
297. — Cathedral, 580.
298. LLANDAFF–Cathedral, 581.
299. EXETER—Cathedral, 58.I.
3OO, SOUTHSEA—St. Jude's, 582.
3OI. MARGATE–St. John's Church, 583.
CONTENTS.
XXV
3O2.
3O3.
3O4.
3O5.
306.
3O7.
3O8.
3O9.
3IO.
3II.
3I2.
3I3.
326.
327.
328.
329.
33O.
33I.
332.
333.
3.
BRIGHTON.—Great Concert Hall, 584.
— Dome Pavilion, Concert Room,
585.
— St. Margaret's Church, 586.
OxFORD–Magdalen College, 587.
Keble College, 588.
Christ Church Cathedral, 588.
RADLEY-St. Peter's College, 589.
HENLEY-ON-THAMES-590.
SURREY—Beddington Church, 590,
ST. ASAPH's—Cathedral, 591.
ST, DAVID’S-Cathedral, 592.
LANCASTER—St. Thomas Church, 593.
3I4.
3I5.
316.
3I7.
3.18.
3I9.
32O.
32 I.
322.
323.
324.
325,
PRESTON.—Parish Church, 594.
WARRINGTON.—Parish Church, 594.
DUNHAM MASSEY — St. Margaret's
Church, 595.
WEDNESBURY—Town Hall, 596.
BOLTON.—Town Hall, 597.
— St. Matthew’s, 598.
— All Saints', 599.
MANCHESTER—St. Luke's, 600.
— Holy Trinity, 600.
Free Trade Hall, 6oi.
— St. Peter's, 602.
— Cathedral, 603.
ORGANS IN SCOTLAND, IRELAND, &C,
GLASGOW–the City Hall, 604. 334.
Public Hall, 605. 335.
EDINBURGH-the University, 607. 336.
— the Music Hall, 608. 337.
DUNDEE–Kinnaird Hall, 608.
PAISLEY—Abbey, 6 IO. 338.
KILMARNOCK–Corn Exchange Hall, 339.
6IO. 34O.
INVERNESS—St. Andrew's Cathedral, 34I.
6II. 342.
NOTES, 619.
DUBLIN–St. Patrick’s Cathedral, 612.
DUBLIN--ChristChurch Cathedral,613.
Trinity College Chapel, 613.
DUBLIN–St. Nicholas Rom. Catholic
Church, 614.
— St. Francis Xavier, 615.
BELFAST-St. Malachy, 615.
CASHEL–Rom. Cath. Cathedral, 616.
KILKENNY–St. Canice, 617.
CoRK—St. Peter and Paul's, 617.
A TABLE OF FOREIGN AND ENGLISH EquivaLENT TERMs, 621.
LIST OF WOODCUTS, DIAGRAMS, &c.
—->†<<-
Ancient instrument of the organ kind,
from a Cilician Sculpture, 3.
Ancient organ from Kircher's Musur-
&ld, 4.
The “Macraphe d’Aruchin,” a He-
brew instrument from the same, 6.
Figure of an organ, from the Pneu-
matics of Hero of Alexandria, Io.
An altar organ, from the Pneumatics
of Hero of Alexandria, II.
Ancient organ from the sculptures on
the obelisk at Constantinople, 16.
Ancient organ from the MS. Psalter of
Eadwine, in the library of Trinity
College, Cambridge, 22.
Ancient organ and various musical in-
struments of the time of Charle-
magne, from Gori's Zhesaurus
Mºtychorum, 3I.
IO.
II.
I2.
I3.
I4.
I5.
I6.
Ancient key-board, from Praetorius’
Theatrum Instrumentorum, 33.
An organist performing upon an in-
strument with broad keys, from
Gaffurius’ Zheorica Musica, 34.
Curious mode of blowing, from Praeto-
rius’ Theatrum. /nstrumentorum, 35.
The bellows, “a la lanterne,” from
Mersennus' Harmonie Oniverselle, 36.
The Regals, from Lucinius' Musur-
&ld, 4 I.
The positive organ, from Wilphlingse-
der's Aroſemata Musices A*ractica,
42.
The old organ of Lincoln Cathedral,
from Dugdale’s Monasticon, 81.
Autograph of Bernard Smith, II2.
xxvi
CONTENTS.
THE CONSTRUCTION OF THE ORGAN.
Arrangement of pipes in a semicircle, 6.
in an angle, 6
— in “niches,” 6.
— in “breasted” form, 6.
— in the “ogee" form, 6.
— in flats, 7.
-*
— 8.
— 8,
The diagonal bellows, IO.
The horizontal ditto, Io.
Section of diagonal ditto, I2.
I2.
The top-board, 14.
I5.
The middle-board, I 5.
The bottom-board, I 5.
Section of horizontal bellows, I5.
Inverted ribs, 15.
Direct parallel ribs, 16.
Triangular ribs, 16.
Valves in the middle
boards, I6.
— I6.
The middle frame, I'7.
Folds of the reservoir, 18.
Folds of a single feeder, 18.
Cuckoo feeder, 21.
Folds of ditto, 21.
Cuckoo feeder with reversed lining,
2 I,
The double feeder, 2I.
The vertical feeder, 22.
The concussion bellows, 23.
The anemometer, 24.
Front view of a wind-chest, 27.
Side view of a wind-chest, 28.
The sound-board, 29.
The box-pallet, 33.
— 33.
The jointed pallet, 33.
The valve pallet, 34.
The relief pallet, 34.
The table, 35.
The upper-boards, 39.
The sliders and bearers, 40.
The pipe-racks, 42.
Groove arrangements, 44.
— 45.
and bottom-
Side view of Manual keys, 48.
Side view of Pedal keys, 49.
The ſan-frame movement, 50.
The stickers, 50.
The backfalls, 51.
The trackers, 51.
The rollers, 52.
. . The squares, 53.
The Manual coupler, 54.
The sliding coupler, 55.
The Sforzando coupler, 56.
No.
65.
66.
67.
68.
69.
69a
IoS,
IO9.
I IO,
I, II,
II 2.
II.3.
II.4.
II 5.
II6.
II.7.
I 18.
II9.
I2O,
The Pedal roller movement, 57.
The Pedal coupler, 57.
The pneumatic action, closed, 60.
— open, 60.
Hill's pneumatic action, 61.
690. Bishop and Son's pneumatic
action, 62.
The wooden-trundle draw-stop action,
64.
The iron-trundle ditto, 65.
The pneumatic draw-stop action, 66.
Joy's hydraulic engine, 67.
Willis's pallet, 70.
Compensatory pallet, 70.
Pneumatic power bellows, 71.
— 7 I. -
Section of divided sound-board, 75.
Bryceson's palleted sound-board, 77.
77.
— 78.
Section of electro-pneumatic arrange-
ment, 80.
— 80.
— 8I.
83.
The composition Pedal action, 89.
The Tremulant, 94.
Open cylindrical pipe, IO2.
Stopped cylindrical pipe, IO2.
Half-stopped cylindrical pipe, IO2.
Cylindrical pipe (the Clarionet), IO3.
(the Vox Humana), IO3.
Conical pipe, with a bell, IO3.
(the Spitzflote), IO3.
Conical pipe (the Gemshorn), Iog.
Inverted cone-shaped pipe, IO4.
(the Dolcan), IO4.
— surmounted by a bell, IoA.
Four-sided pipe, IO4.
Stopped four-sided pipe, IoS,
Pyramidal pipe, IO5.
Inverted pyramidal pipe, IOS.
— IO 5.
Portion of body of a metal flue pipe,
IO6.
Foot of ditto, IO6. .
Languid of ditto, IO7.
Wooden flue pipe, 108.
The Hohl flute, IoS,
Mouth of a block pipe, Io9.
A wood languid pipe, IO9.
Section of a German wood pipe, I 12.
Section of an AEnglish metal pipe, II3.
Section of a German metal pipe, I 13.
The block of a reed pipe, I I5.
The reed, II 5.
The tongue, II6,
The tuning wire, II6.
The tuning horn, 184.
184.
Mop used in tuning, 184,
AN HISTORICAL ACCOUNT
OF
THE ORGAN.
13Y.
EDWARD F. RIMBAULT, LL.D.,
&c., &c.
PREFACE TO THE FIRST EDITION.
fººHEN I undertook to prefix to my friend Mr. Hopkins's
valuable treatise on the construction of the organ an
historical account of that noble instrument, my inten-
tion was to give a résumé of what had already been written, with
the addition of such new particulars as the course of years had
accumulated in my note-books; but, upon collating the various
writers, their statements often appeared so vague and unsatisfactory
that it became necessary to consider the subject more attentively,
and in all cases, where it could be done, to consult original
authorities. The result of this examination has been the clearing
up of many doubtful points, and the discovery of Some important
particulars hitherto unknown.
All modern writers have been perplexed with the notices of
the organ handed down to us by the ancient Greeks, and have
endeavoured to reconcile them with our present ideas of the instru-
ment. The key-board has been a constant source of difficulty, and
the epigram, or rather enigma, of the Emperor Julian has been often
cited to prove that it was known to the ancients. The discovery
of a treatise on organ-building by a monk of the eleventh century
(printed in the following pages) settles for ever this important
question.
Another source of difficulty is the common expression, in
mediaeval times, of “a pair of organs.” Some of our ablest anti-
quaries have exercised their erudition in endeavouring to explain

XXX PREFACE,
this term, but with what degree of success the reader who peruses
the following pages will have an opportunity of judging.
At a later period in the History of the Organ the biographies
of Smith and Harris have been involved in much obscurity. Father
Smith has fathered all our old organs, of whatever kind or descrip-
tion ; and so little attention has been paid to dates that we are
told “Harris's most celebrated organs are those of St. Sepulchre's,
London, 1667; and Doncaster, Yorkshire, 1738 l’ I have been
enabled to arrange the various members of these two celebrated
families under their respective periods, and by so doing have
cleared away many anachronisms, and reconciled a few seeming
impossibilities.
The Jordans and the Byfields, and their foreign cotemporaries,
the Silbermanns, have also received the same attention ; and, if
the information regarding them is somewhat scant, it is all my
research has been able to bring together.
The section on the “Ancient Position of the Organ” is inte-
resting at the present time, when architects are anxiously looking
for precedents. I have carefully noted all the authorities upon the
point, especially in this country, which, added to Mr. Hopkins's
able chapter on the “Situation of the Organ,” will, it is hoped, be
found of some practical utility. The rescue of this noble instrument
from the “holes and corners” to which modern ecclesiologists have
ofttimes assigned it is part of the musician's creed.
It will be observed that my historical account deals more with
facts than with opinions. For the latter I am content to refer to
the body of the book, trusting with full confidence to Mr. Hopkins's
superior judgment and intimate acquaintance with his subject.
The History of the Organ, from the period at which I leave it,
chiefly consists in a series of inventions, all of which receive their
full share of attention from Mr. Hopkins in the course of the
volume,
PREFACE, xxxi
I ought not to pass unnoticed the aid I have received from
several authors who have written upon the same subject. Amongst
them I may especially name the Rev. Sir William Cope's paper on
Farly Organ-builders in England, inserted in the Parish Choir;
Mr. Sutton's Short Account of Organs built in England from the
reign of King Charles the Second to the present time; Herr Seidel's
Treatise on the Organ, printed at Breslau ; and M. Hamel's valuable
reprint of “Dom Bedos,” forming one of the publications of the
Fncyclopédie-Roreſ. If I have not named other modern works
purporting to treat of the organ historically, it is because I have
found them unworthy of credit.
It only remains to tender my obligations to those gentlemen
who have kindly assisted me in the course of the following essay.
I must especially thank my friend, F. W. Fairholt, Esq., F.S.A.,
for the valuable extracts from Mr. Rolfe's MSS., and for other
information; William Chappell, Esq., F.S.A., for two or three
curious notices; Mr. Hill, the eminent organ-builder, for the loan
of G. P. England's Account Book; Alfred Price, Esq., of Gloucester,
for his MS. translation of Herr Seidel's Treatise on the Organ,
before mentioned ; and lastly, Robert Hendrie, Esq., for his kind-
ness in giving me permission to use his excellent translation of
Theophilus's Chapters on the Organ.
EDWARD F. RIMBAULT.
29, ST, MARK's CRESCENT, REGENT's PARK,
}une, 1855,
THE
HISTORY OF THE ORGAN.
first (Epoch.
THE ANCIENT ORGAN, ANTERIOR TO THE INVENTION OF THE
REY-BOARD,
*-ºs--
I. Its Invention,
;HE early history of ancient musical instruments is surrounded
tº º by mystery and fable; their invention being usually attri-
buted to the heathen deities. Patient investigation is
required to sift the historical from the fabulous matter, and it then
remains a matter of doubt whether the result does not excite, rather
than Satisfy, our curiosity.
The word organ, used in the Psalms and other parts of the Old
Testament, must not be confounded with the noble instrument now
bearing that name. The term was taken from the Greek translation ;
but the ancient Greeks had no particular musical instrument called an
organ, for Špyavov, with them, was a general name for an instrument,
a work, or an implement of any kind; hence, 6pyavukós, instrumental;
ôpyavototós, an instrument maker; and Öpyavotrotta, the fabrication
of an instrument. And, in all the Greek musical theorists, organic
is a general term applied to instrumental music.”
It is of much importance to the history of an art that the origin,
etymology, and primitive acceptance of its terms should be minutely
traced. In the present instance, the extended application of the word
organum, throughout the middle ages, has given rise to much con-
fusion and misunderstanding. It is however perfectly clear, to those
* See note in Burney's History of Music, vol. i., p. 252; also Liddell and Scott's Greek and
Anglish Zexicon, -
B

2 • THE HISTORY OF THE ORGAN.
who have investigated the subject, that the Greeks understood by
the word āpyavov, and the Romans by their organum, not an organ,
in our sense of the term, but an instrument of any kind ; applying
the expression, however, more particularly to musical instruments.”
The organ (ougab) mentioned in Genesis (chap. iv., v. 21) certainly
little resembled the modern instrument of that name, although it may
be regarded as furnishing the first hint. It was probably a series of
reeds, of unequal length and thickness, joined together; being nearly
identical with the pipe of Pan among the Greeks, or that simple
instrument called a mouth-organ, which is still in Common use.: The
classical ancients ascribe its invention to Pan, the great Sylvan god ;
and, accordingly, he was usually figured with the instrument in his
hands. The fable states that he formed it of reeds that grew by the
river, and caused it to produce all kinds of agreeable sounds, while
* ORGANUM. A general name given to any instrument, machine, or contrivance, by which
human labour is assisted, in agriculture, architecture, warfare, &c.; differing, however, from
machina in this particular, that it required a certain amount of skill from the person using it,
whereas that only wanted brute force or numbers to work it. (Vitruvius, X., I, 3. Columel,
iii., 13, 12. Plin. H. W. xix., 20.) Hence the word is especially given to musical instru-
ments (Quint. ix., 4, Io; xi., 3, 20), and, amongst these, more particularly to the one from
which our organ is descended (Suet. Nero, 41. Lamprid. Alex. Ser. 27. Id. Heliog, 32);
but which also had a special name of its own, in allusion to the water originally employed,
instead of weights, for working it.—Rich's Companion to the Zatin Zictionary and Greek
Zexicon, p. 458.
+ “And here we must not think that the organs in the Old Testament were any such
things as those which we call so now. We read it in Job, chap. 30, verse 31, and my organ
into the voice of them that weep. The Syriack rendreth it, my psaltery, clean another instru-
ment of a triangular form, as you may see by the description of Mersennus (70e Znstrum.
Aſarm, lib, Io, prop. 44). The Hebrew word in Job is ougal, which the Chaldee still
turneth abuba: now abuſ signifieth properly an ear of corn with the stalk or straw : by trans-
lation it signifieth a pipe made of such a reed or stalk, fistula ex novarum frugumi calamo
conſecta " " ". David's organ was but a kind of pipe, what kind soever it was.”—Gregorie's
Discourse declaring what time the AVicene Creed began to be sung in the Church. 4to. I683.
# It is indeed remarkable that the lyre (Kinnor) and syrinx (ougal) were the two first
instruments of music the invention of which is recorded in Scripture, and the only ones that
are mentioned before the Deluge; and that Subsequently the ozºgab is almost always men-
tioned in connection with the Kinnor. The principle of the instrument is so simple, that it
has been one of the most diffused of musical instruments. A syrinx, or fistula Panis, made
of reeds tied together, exactly resembling that of the ancients, has been found to be in common
use in the island of New Amsterdam, in the South Seas, as flutes and drums have been in
Otaheite and New Zealand; which indisputably proves them to be instruments natural to
every people in a state of barbarism. They were first used by the Egyptians and Greeks,
during the infancy of the musical,art among them; and they seem to have been invented and
practised at all times by nations remote from each other, and between whom it is hardly
possible that there ever could have been the least intercourse or communication. The com-
bination of pipes in question is still used in different parts of Asia. The number of tubes
which these instruments exhibit on ancient monuments varies from seven to eleven. See
Burney's History of Music, vol. i., p. 267; and the Pictorial Bible, vol. ii., p. 665, note,
THE HISTORY OF THE ORGAN. 3
his goats were skipping around him, and feeding on the banks. This
shows that it was regarded as properly a sylvan and pastoral instru-
ment; and So it seems to be mentioned by Job (ch. xxi., v. II, 12).
Pan himself thought it superior to the lyre of Apollo, whom he chal-
lenged to a trial of skill; and, the challenge being accepted, the
umpire, being no other than Midas, decided in favour of Pan's
pipes. --
The Greek and Latin shepherds made this primitive instrument of
Strong reeds, or some other suitable material. It originally consisted
of Seven or eight reeds of progressive lengths, fastened together with
wax. The number was afterwards extended to ten or twelve.” The
Syrinx, or pipe of Pan, by its form and arrangement, may be regarded
as the first kind of organ building ; for it consisted of a number of
pipes placed together in ranks, according to their succession of tones,
and Sounded by wind. - -
To obviate the fatiguing motion of the head or hands, by inflating
the pipes in some other manner, seems to have been the object of
desired attainment for centuries. At length this was accomplished.
Among the Cilician antiquities discovered in Syria, and recently
brought to this country by Mr. W. B. Barker, is the portion of a
figure playing upon a musical instrument of Singular Curiosity and
interest. This instrument, of which we give a drawing, forms a
connecting link between the pipes of Pan and the Organ.
* This instrument is described by Virgil, and the use of it by Lucretius, lib. v. It is
frequently depicted upon ancient medals.
+ Zares and Penates : or, Cilicia and its Governors. By William Burckhardt Barker,
M.R.A.S., 8vo, 1853. This interesting volume contains, in addition to the monument men-
tioned in the text, the representation of a youth playing the syrinx or Pandean organ. The
pipes are more numerous, and those in the bass part of the instrument much larger than is
usually represented, -

B 2
4 THE HISTORY OF THE ORGAN.
Let us examine it. It consists of a vertical row of pipes, the
length unknown, as the lower portion is wanting; they are inserted
into a small air-chest, which appears inflated in the middle part. The
right hand is operating upon it with a kind of cushion or compress,
by which the performer forces the air into the pipes, and which he
seems to apply to different parts of the instrument at will. There
appears to have been a prolongation of the central part of the instru-
ment across the left arm : the loss of this is much to be lamented,
as that would have shown us more of its construction, and also how
the left hand was employed in playing it. This curious relic may
be looked upon as the earliest attempt to combine the pneumatic
chest with the Pandean organ, which still retains its place on the
breast of the player, though he no longer operates upon it with his
mouth.
We need hardly say that this monument is of the highest im-
portance in the history of the organ. It has never been pointed out
by any musical writer, and the author may fairly take to himself
the credit of giving it a place in our musical history.
Another step was the invention of a wooden box, the top of
which was bored with just so many holes as there were pipes to
stand on it. In these they now placed the pipes in the same order
as they occupied in the Pan-pipes. From the chest (the modern
wind-chest) proceeded a small reed (now the wind-trunk), into which
they blew with the mouth. But as, by this means, all the pipes
spoke simultaneously, they were obliged to stop with the fingers the
tops of those pipes intended to be silent—a process which was soon
found to be very troublesome, and, as the number of pipes increased,
impossible. Now, in order to prevent the simultaneous intonation
of all the pipes, a slider (now called the valve) was placed under
the aperture of each pipe, which either opened or stopped the
entrance of the wind into the pipes. Father Kircher, in his Musurgia,
fol. 1650 (lib. ii., p. 53), has given us a drawing of this instrument,
which is here copied.
uº
NNNNNN’s
o: i |.
§
sº.
irº,
§.
"...i.
º
º
- ji






















THE HISTORY OF THE ORGAN. 5
The slides stood in an inclined position, and, in order to open
them, levers were added, which were connected with the slides by
cords or strings (the origin of the pull-downs). A further increase of
the number of pipes at length caused an enlargement of the pipe-
chest (the modern wind-chest); consequently human breath was no
longer sufficient to supply the instrument, and then a more suitable
contrivance for the production of wind was devised. Thus we have
a new class of instrument, called by the Greeks àpyavov Twevuatików,
and by the Romans tibia utricularis. Virgil has an elegant passage,
in which he describes the shepherd Tonius playing upon the tibia
attricularis —
“Et cum multifori Tonius cui tibia buxo
Tandem post epulas, et pocula, multicolorem
Ventriculum sumpsit, buccasque inflare rubentes
Incipiens, Oculos aperit, ciliisque levatis,
Multotiesque alto flatum e pulmonibus haustum
Utrem implet; cubito vocem dat tibia presso,
Nunc huc nuncilluc digito saliente . . .”
When SOberly considered, this instrument appears to be nothing
more than the origin of the bagpipe. It consists of pipes pierced
with lateral holes, and an inflating pipe, which the performer applied
to his mouth to fill the leathern bag with wind. The application of
the inflated tube, it is evident, related only to the smaller instru-
ments, such as that described by Virgil; the larger ones were
supplied with wind by the compression of the leathern bag or
bellows.” This contrivance proved of so much advantage to the
improving instrument, that, in order to obtain a more powerful tone,
a Second row of pipes of the same pitch was added to the former.
The pipes having been thus increased and enlarged, and the box
widened, the next improvement was the enlargement of the wind-
tube (trunk). It now became evident that the leathern bag was
insufficient to supply the proper quantity of wind required. The
want of wind thus occasioned by the enlargement of the instrument
was remedied by the invention of bellows, yielding a continuous supply
* M. Fétis has written a long paper to prove that the £neumatic-organ of the ancients
was nothing more than a bagpipe / This learned writer has, however, been led into an error
by considering only a portion of the ancient authorities, i.e., those relating to the tibia
utricularis, See a translation of M. Fétis' paper in the Harmonicon for 1829, p. 4. M.
Fétis is, no doubt, correct in saying, “The figure given by Bianchini, of a bagpipe joined to
the pipes of an organ (fig. 13, tab. 2) in his Dissertation De tribus generibus instrumentorum
veterum, is purely imaginary.” The passage from Virgil is cited by M, Fétis, but it cannot
be traced in the works of that author,
6 THE HISTORY OF THE ORGAN.
to the leathern bag, which, from this time, served the office of our
modern wind-chest. Father Kircher's representation of the Hebrew
instrument, called Macro/le d'Aruc/lin, affords an illustration of an
organ of this kind.
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From the progressive inventions here recorded, it will be
observed that many portions of the modern organ were already to
be met with in the instruments of the ancients, in a more or less
complete state. We may, therefore, justly assign the invention of
the organ to this period, though no precise date can be given; thus
much only can be stated with certainty, that all these inventions
date from a period before the birth of Christ.
2. The Hydraulic-Organ.
Vitruvius, in his celebrated work on Architecture (but treating of
other matters very little allied to that art), has left us a curious
chapter on the hydraulic or water organ, which, from its complicated
character, has much puzzled the learned. The bellows of the first
organs, as we have seen, were very small, and so imperfectly con-
structed, that they could not supply a steady wind ; the organ in
consequence did not produce a uniform tone. Thus, the improve-
ment of the wind apparatus was now seriously thought of, and the
result was the invention of the water-organ, the water being used in
such a manner as to counterbalance the hitherto variable pressure.
Vitruvius' description, extracted from his work De Architectura
(lib. x, cap. xi.), translated by Newton, is as follows:—
“OF THE HYDRAULIC-ORGANS.*
“I must not omit to discourse briefly, and as explicitly as I am able, on the
* The original Latin text is as follows:–
“De hydraulicis autem quas habeant ratiocinationes, quam brevissime proximeque attingere
















































THE HISTORY OF THE ORGAN. 7
Construction of the hydraulic-organs. Upon a compact base of timber an arca
(cistern), made of brass, is disposed; and to the right and left, upon the base,
timbers united in the manner of ladders are erected; between these are included
brass buckets, with moveable pistons, very carefully turned, and having bent and
jointed irons fixed to their middle, with levers adjoined, and being covered with
unshorn sheep skins: in the upper surface (of the buckets) are holes of about
three digits; near to which holes are brass dolphins fixed on turning joints, and
having cymbals hanging by chains from their mouths below the holes of the
buckets. -
“Within the arca which contains the water is a kind of inverted funnel, under
which wedges, of about three digits high, are laid, to level the space between the
under lip of the pnigeus and the bottom of the arca. Upon the neck of this
(pnigeus) is fixed the little cistern which supports the head of the machine, called
by the Greeks canon musicus. In the length of this (canon) are channels, in
number four if tetrachordic, six if hexachordic, and eight if octachordic. In the
Several channels are epistomia (stoppers), having iron handles; which handles,
when turned, open orifices from the arca (arcula) into the channels. The canon
has also holes ranged transversely, communicating with the channels, and cor-
responding to orifices in the upper table, which in Greek is called finaw. Between
the table and canon are disposed rulers, which, being perforated in the same
potero et Scriptura consequi, non praetermittam, De materia compacta basi, arca in ea ex
are fabricata collocatur. Supra basim eriguntur regulae dextra ac sinistra scalari forma com.
pactae, quibus includuntur aerei modioli fundulis ambulatilibus ex torno subtiliter subactis,
habentibus fixos in medio ferreos ancones, et verticulis cum vectibus conjunctos pellibusque
lanatis involutos. Item in summa planitie foramina circiter digitorum ternum, quibus
foraminibus proxime in verticulis collocati aerei Delphini, pendentia habentes catenis cymbala
ex ore infra foramina modiolorum chalata. Intra arcam, quo loci aqua sustinetur, inest in id
genus uti infundibulum inversum, quod super taxilli alti circiter digitorum ternum suppositi
librant Spatium imum, ima inter labra pnigeos et arcae fundum, Supra autem cerviculum
ejus coagmentata arcula Sustinet caput machinae, quae Graece Kavčºv povglkôs appellatur: in cujus
longitudine canales sitetrachordos est fitint quatuor, si hexachordos sex, si octachordos octo.
Singulis autem canalibus singula epistomia sunt inclusa, manubriis ferreis collocata : quae manu-
briacum torquentur, exarcapatefaciuntmaresin canales. Excanalibusautem canon habetordinata
in transverso foramina respondentia in maribus, quae Sunt in tabula summa, quae tabula Graece
Tivaš dicitur. Inter tabulam et canona regulae sunt interpositae ad eundem modum foratae et
Oleo subactae, ut faciliter impellantur et rursus introrsus reducantur, quae obturant ea foramina,
pleuritidesque” appellantur, quarum itus et reditus, alias obturat, alias aperit terebrationes.
He regulae habent ferrea choragia fixa et juncta cum pinnis, quarum pinnarum tactus motiones
efficit regularum. Continentur supra tabulam foramina, quae ex canalibus habent egressum
Spiritus. Regulis Sunt annuli agglutinati, quibus lingulae omnium includuntur organorum.
E modiolis autem, fistulae sunt continenter conjunctae ligneis cervicibus, pertingentesque ad
mares, quae Sunt in arcula, in quibus axes sunt ex torno subactietibi collocati, qui, cum recipit
arcula animam, spiritum non patientur obturantes foramina rursus redire. Ita cum vectes
extolluntur, ancones deducunt fundos modiolorum adimum, Delphinique, quisunt in verticulis
inclusi chalantes in Os, cymbala replent spatia modiolorum, atque ancomes extollentes fundos
intra modiolos vehementi pulsus crebritate, et obturantes foramina cymbalis superiora, aera,
qui est ibi clausus, pressionibus coactum, in fistulas cogunt, per quas in lignea concurrit, et
per ejus cervices in arcam : motione vero vectium vehementiore, spiritus frequens compressus
epistomiorum aperturis influit, et replet anima canales, Itaque cum pinnae manibus tactae
propellunt et reducunt continenter regulas, alternis obturando foramina, alternis aperiundo,
ex musicis artibus multiplicibus modulorum varietatibus sonantes excitant voces. Quantum
potui,” &c.—M, Vitruvii Pollionis Architectura, Utini, 1825-1830, tom, iv., pp. 169 et seq.
* Melius forsan plinthides a Graec, TXtv9ts.
8 THE HISTORY OF THE ORGAN.
manner, and anointed with oil that they may be easily moved to and fro, stop
these holes, and are called fleuritides ; the passing and re-passing of which
alternately stops and opens the holes.
“These rulers have iron choragia affixed to them, and are united to pinnae, the
touching of which pinnae causes the motion of the rulers. Upon the table are
the holes, through which the air from the channel passes. To the rulers are fixed
rings, in which the tongues of all the organic pipes are inclosed. From the
buckets proceed tubes, united to the neck of the pnigeus, and communicating with
the orifices that are in the arcula ; in these tubes are fixed well-turned valves, which,
when the arcula has received the air, stop their apertures, and prevent its return.
“Thus, when the handles of the levers are raised, the pistons of the buckets
are drawn to the bottom ; and the dolphins that are fixed on axes lowering the
cymbals that hang from their mouths, the cavities of the buckets become filled
(with air). Then the pistons being raised into the buckets again, with frequent
and strong pulsations, and thereby causing the cymbals to stop the upper holes,
the air, which is there confined, is by the pressure forced into the tubes, from
whence it passes into the pnigeus, and through its neck into the arca (arcula);
and the frequent motion of the levers still violently compressing the air, it rushes
through the apertures of the epistomia, and fills the channel with wind ; when,
therefore, the pinnae are touched by the hand, they thrust forward and draw back
the rulers, alternately stopping and opening the holes; and thus, by the art of
music, Sounds in an infinite variety of modulations may be produced.
“I have thus endeavoured to explain, as well as I could by writing, this complex
rmachine; but the construction thereof cannot be easily understood, except by
those who are practised in things of this sort : those, however, who understand a
little from the description, will, when they see the machine itself, more easily
comprehend it, and will find the whole curiously and ingeniously contrived.”
From this description, it seems that the water which forced the air
into the pipes was pumped by men. Indeed, it has been much dis-
puted whether the instrument was played with fingers, by means of
levers, or keys. The latter was impossible, as they were not invented
until perhaps a thousand years afterwards ! Yet, it has been re-
marked, the description of the hydraulicon by Claudian seems such a
one as would suit a modern organ, only blown by the aid of water —
“Vel qui magna levi detrudens murmura tactu,
Innumeras voces segetis moderatus aénae;
Intonat erranti digito, penitusque trabali
Vecte laborantes in carmina concitat undas.”
Thus Englished by Dr. Busby —
“With flying fingers, as they lightsome bound,
From brazen tubes he draws the pealing sound.
Unnumber'd notes the captive ear surprise,
And Swell and thunder as his art he plies :
The beamy bar he heaves the waters wake
And liquid lapses liquid music make.”
* General Hist, of Mus, 1819, vol. i., p. 22O,
THE HISTORY OF THE ORGAN. - 9
Kircher, in his Musurgia (lib. ix., p. 332), has given a lengthy
description of the Vitruvian hydraulicon, and has accompanied his
account by an engraving of the instrument, such as he conceived it
to have been from the description handed down to us. Isaac Vos-
sius, in his treatise De Poematum Cantu et Virióus Rhythmi, p. IOO,
gives another fancied representation of the instrument; and a third
may be seen in Perrault's* notes upon Vitruvius ; but, as all
three differ considerably from each other, they cannot be received
as authorities.
Dr. Burney says, “Neither the description of the hydraulic-organ
in Vitruvius, nor the conjectures of his innumerable commentators,
have put it in the power of the moderns either to imitate, or perfectly
to conceive, the manner of its Construction ; and it still remains a
doubt whether it was ever worthy of the praises which poets have
bestowed upon it, or superior to the wretched remains of the invention
still to be seen in the grottos of the vineyards, near the city of Rome.”f
Athenaeus, who flourished in the third century, has left us an
account of the hydraulic-organ, which is probably the most ancient
and authentic extant.: He tells us that it was invented, in the time
of the second Ptolemy Euergetes, by Ctesibius, a native of Alexandria
(B.C. 200), and by profession a barber; or rather that it was improved
by him, for Plato furnished the first idea of the hydraulic-organ, by
inventing a night-clock, which was a cle/sydra, or water-clock, that
played upon flutes the hours of the night at a time when they could
not be seen on the index.
A very interesting treatise on pneumatics by one Hero of Alex-
andria, supposed to have been a pupil of Ctesibius, has lately been
translated from the original Greek, and published by Mr. Bennet
Woodcroft.S Hitherto we have been content to rely on Vitruvius for
our knowledge of the ancient organ, but now we have an independent
authority; for the work of Hero was unknown to Vitruvius, and both
* This author mentions, in his commentary on Vitruvius, a method of swelling an
diminishing the force of each note in an organ : it is to communicate wind to one pipe, or to
two, three, or more pipes, in proportion to the pressure of the key. This method has lately
been introduced into the Harmonium.
+ Reflections on the construction of Musical Instruments, Hist, of Mus, i., 491,
# Lib. iv., p. 174.
§ 7%e Pneumatics of Hero of Alexandria, from the original Greek, 4to, 1851. It con-
tains two separate descriptions of the organ : “An Altar Organ blown by the agency of a
Wind-mill” (noticed in the text), and “An Altar Organ blown by Manual Labour.” -
;
IO THE HISTORY OF THE ORGAN.
describe, with considerable differences, the construction of the hydraulic
and of the pneumatic Organ. - -
. The following is Hero's description of
AN ALTAR ORGAN BLOWN By MANUAL LABOUR.
The construction of an hydraulic-organ, Let A B C D be a small altar of bronze
containing water. In the water invert a hollow hemisphere, called a £7tigeus, E F
G H, which will allow of the passage of the water at the bottom. From the top of
this let the tubes ascend above the altar ; one of them, G K L M, bent without the
altar, and communicating with a box, N X O P, inverted, and having its inner
surface made perfectly level to fit a piston. Into this box let the piston, R S, be
accurately fitted, that no air may enter by its side ; and to the piston attach a rod,
T U, of great strength. Again, attach to the piston-rod another rod, U Q, moving
about a pin at U, and also working like the beam of a lever on the upright rod,
W Y, which must be well secured. On the inverted bottom of the box, N X O P,
let another smaller box, Z, rest, communicating with N X O' P, and closed by a lid
above; in the lid is a hole through which the air will enter the box. Place a thin
plate under the hole in the lid to close it, upheld by means of four pins passing
through holes in the plate, and furnished with heads, so that the plate cannot fall
off; such a plate is called a valve. Again, let another tube, F I, ascend from FG,
communicating with a transverse tube, A'B', on which rest the pipes, A A A, Com-
municating with the tube, and having at the lower extremities small boxes, like
those used for money; these boxes communicate with the pipes, and their orifices,
B B B, must be open. Across these orifices let perforated lids slide, so that, when
the lids are pushed home, the holes in them coincide with the holes in the pipes,
but, when the lids are drawn outwards, the connection is broken, and the pipes are
closed. Now, if the transverse beam, U Q, be depressed at Q, the piston, R S,
will rise and force out the air in the box, N X O P; the air will close the aperture
in the Small box, Z, by means of the valve described above, and pass along the
tube, M L K G, into the hemisphere : again, it will pass out of the hemisphere

THE HISTORY OF THE ORGAN. | |
along the tube, F I. into the transverse tube, A'B', and out of the transverse tube
into the pipes, if the apertures in the pipes and in the lid coincide; that is, if the
lids, either all, or some of them, have been pushed home.
In order that, when we wish any of the pipes to sound, the corresponding holes
may be opened and closed again when we wish the sound to cease, we may employ
the following contrivance —Imagine one of the boxes at the extremities of the
pipes, CID, to be isolated, D being its orifice, E the communicating pipe, R S the
lid fitted to it, and G the hole in the lid not coinciding with the pipe, E. Take
three jointed bars, F H, H M, MM*, of which the bar, F H, is attached to the lid,
S F, while the whole moves about a pin at M”. Now, if we depress with the hand
the extremity, M*, towards D, the orifice of the box, we shall push the lid inwards,
and, when it is in, the aperture in it will coincide with that in the tube. That, when
we withdraw the hand, the lid may be spontaneously drawn out and close the com-
munication, the following means may be employed. Underneath the boxes let a rod,
M4 M*, run, equal and parallel to the tube, A B, and fix to this slips of horn, elastic
and curved, of which Mº, lying opposite CD, is one. A string, fastened to the
extremity of the slip of horn, is carried round the extremity, H, so that when the lid
is pushed out the string is tightened ; if, therefore, we depress the extremity, M*,
and drive the lid inwards, the string will forcibly pull the piece of horn and
straighten it; but, when the hand is withdrawn, the horn will return again to its
original position and draw away the lid from the orifice, so as to destroy the corre-
spondence between the holes. This contrivance having been applied to the box of
each pipe, when we require any of the pipes to Sound we must depress the corre-
sponding key with the fingers; and, when we require any of the Sounds to cease,
remove the fingers, whereupon the lids will be drawn out, and the pipes will cease
to sound. - *
The water is poured into the altar that the Superabundant air (I mean, of
course, that which is thrust out of the box and forces the water upwards) may be
confined in the hemisphere, so that the pipes which are free to Sound may always
have a supply. The piston, R S, when raised, drives the air out of the box into the
hemisphere, as has been explained ; and, when depressed, opens the valve in the
small box, Z. By this means the box is filled with air from without, which the
piston, when forced up again, will again drive into the hemisphere. It would be
better that the rod, TU, should move about a pivot at T also, by means of a single
[loop| R, which may be fitted into the bottom of the piston, and through which
the pivot must pass, that the piston may not be drawn aside, but rise and fall
vertically.
I shall briefly call attention to this ancient author's drawing of
“an altar organ blown by the agency of a wind-mill.” The cylindrical
vessel forcing the air into the pipes by means of a piston is here
shown. -
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i 2 THE HISTORY OF THE ORGAN.
In our own days, in a journal of only twenty-five years back, we
read that “a novel organ has lately been erected by the Prince
Brancaforte, upon a hill in his park, near Messina ; it is supplied with
wind by a wind-mill, and can be distinctly heard two or three miles
distant.” Probably the Italian prince thought that he had hit upon a
novelty when he erected his wind-mill organ; but we now find that his
device had been anticipated more than eighteen hundred years before.
The mechanical operation of the water-organ, as we have said, is
scarcely intelligible; this much, however, is certain, that the hydrauli-
con was provided with pipes and a wind-chest, and registered like the
wind-organ. We must not suppose that the water directly produced
the wind, but that it served merely to give the wind, by means of
counter-pressure, equality, and power. Ctesibius' object was “to
employ a row of pipes of great size, and capable of emitting the most
fanciful, as well as the Softest Sounds.” He is also said to have
invented, or perfected, the perforated slide, by which means he
was enabled to open and shut the mouths of the pipes with greater
facility.” *
Instruments of the hydraulic kind were made of different sizes, and
in different forms. Athenaeus, in his chapter on musical instruments,
before mentioned, refers to a water-organ Small enough to be trans-
ported from place to place like the portable hand-organs of the
Savoyards. A representation of this instrument is rudely indicated
on a contorniate coin of the Emperor Nero, in the Collection of anti-
quities bequeathed to the Vatican by Christiana, Queen of Sweden.
It is a medal of Valentinian, showing an Organ of eight pipes placed
upon a round pedestal. No performer or mode of performing
appears; but two figures, one on each side, are engaged in pumping
the water by which it is worked.t
Kepler, the celebrated mathematician, had a mean opinion of this
instrument. He says, “The water-organ, though it might have
registers like the wind-organ, was not an admirable invention of the
ancients, but mere bagpiping / "f -
Tertullian, the patriarch, who declares Ctesibius, of Alexandria, to
* Dr. Smith's Z)ictionary of Greek and Æoman Antiquities, who cites, as authorities,
Athenaeus, Vitruvius, Drieberg, Brunck's Anal., ii., 403, Claud. De Mall, Zheod, Cons., 316,
Tertullian's De Anima, I4, &c. -
+ This coin is engraved in Rich's Companion to the Zalin Dictionary and Greek Zexicon,
p. 342; and in Dr. Smith's Dictionary of Greek and Koman Antiquities, p. 503,
# Harmonices Mundi, bk. iii.
THE HIST()RY OF THE ORGAN. I 3
be the inventor, and Archimedes the improver of the water-Organ,
expresses himself in the following extravagant terms of eulogy:-
“Observe the extraordinary genius of Archimedes: I mean the water-
Organ ; SO many members, so many parts, so many joinings, so many
roads or passages for the voices, such a compendium of Sounds, such
an intercourse of modes, such troops of tibiae, and all composing one
great whole ! The spirit or air which is breathed out from this engine
of water is administered through the parts, solid in substance, but
divided in operation.”
A curious representation of an hydraulic-organ is exhibited in a
poem by Publilius Optatianus, describing the instrument: it is com-
posed of verses so constructed as to show both the lower part which
contained the bellows, the wind-chest which lay upon it, and Over this
the row of twenty-six pipes. The latter are represented by twenty-six
lines, which increase in length each by one letter, until the last line is
twice as long as the first.”
The hydraulic-organ was occasionally used down to a compara-
tively late period. Vossius tells us that, in the French annals of
an anonymous writer, he is informed that, in the year 826, a Cer-
tain Venetian called Georgius, or rather Gregorius, constructed an
hydraulic-organ for Louis the Pious, at Aix-la-Chapelle, and that
after the manner of the ancients.:
Dom Bedos, an industrious Benedictine monk, who wrote, about
the middle of the eighteenth century, a voluminous work, entitled
L'Art du Facteur des Orgues, $ cites a very Curious passage from the
Chronicle of William of Malmesbury, which is thus translated. Speak-
ing of Pope Silvester II. (who died in 1003), he says:–" In the church
* The original passage, cited by Vossius, De Poematum, p. IO6, is as follows:– “Specta
portentosam Archimedis (Ctesibii rectius dixisset) munificentiam : organum hydraulicum dico,
tot membra, tot partes, tot campagines, tot itinera vocum, tot compendia Sonorum, tot
commercia modorum, tot acies tibiarum, et una moles erunt omnia. Spiritus ille, qui de
tormento aquae anhelat, per partes administratur, Substantia Solidus, opera divisus.”
ºf Wernsdorf’s Poetae Zat. Min., vol. ii., p. 394.
: De Poematum, IO6.
§ This splendid work, containing 137 plates, was published at Paris in 1766-1778. The
author styles himself “Dom François Bedos de Celles, Benedicton de la Congrégation de
Saint Maur, dans l’Abbaye de Saint Denys en France ; de l'Academie Royale des Sciences
de Bordeaux, et Correspondant de celle de Paris.” He is generally called Don Bedos de
Celles. (Monks in the early ages were styled Dominus, afterwards Domnus, and finally
abbreviated by the French into Dom. Celles is the name of the place where Bedos was born.)
A copy of the original work is preserved in the King's Library, British Museum. It has
lately been reprinted at Paris, and forms one of the numbers of the AEncyclopédie-Roret. Par
M. Hamel, 1849; 3 vols., 12mo and folio.
I 4 THE HISTORY OF THE ORGAN.
of Rheims are still extant (A.D. I 125), as proofs of his science, a clock
Constructed on mechanical principles; and an hydraulic-organ, in
which the air, escaping in a Surprising manner, by the force of heated
water, fills the cavity of the instrument, and the brazen pipes emit
modulated tones through the multifarious apertures.”
Mason, commenting on this passage, says, “I here suspect that
by the word ventus the monk meant steam ; because the sound was
produced by hot water, aqua calefactº violentia, and if so, we have a
new purpose, to which the ingenious steam engineers of the present
time may, if they please, employ it.”f -
Dr. Powell, in his curious volume, Humane /industry, or a History
of most Manual Arts, 12mo, I66I (p. IO9), mentions this instrument,
but adds that it was self acting —“Pope Silvester II. made,
in his younger years, a pair of Organs that should play without an
Organist ; he used only warm water to give them motion and sound.
Such hydraulics are frequent in Italy, that are moved with cold water
as well as hot.”
In another chapter of his book (De Aquaticis Machinist) Dr.
Powell gives some curious notices of the water-organs of the
seventeenth century. He says, “There are in Sundry places of
Italy and elsewhere certain Organa Hydraulica, that is, Organs that
make good Musick of themselves, only by forcing the water up the
pipes, and by the collision of the Ayr and Water therein : The lower
part of the pipes are placed in the water (as Petrus Victorius describes
them), which water being forced up with a Scrue, or such device, doth
inspire the pipes, as well as the wind that is made with a bellows.
Among the water-works in the Duke of Florence his garden, there
was an Hydraulic-Organ that with the turning of a cock would make
Sweet harmony, as Mr. Morison relates; the invention is ancient, for
Ammianus Marcellinus makes mention of one, and Claudian describes
one thus in his Poem /)e Consulatiº A/a//ú 7%eodori -
“Et qui magna levi detrudit murmura tactu
Innumeras voces Segetis moderatus Aénae
Intonat erranti digito penitusq. trabali
Vecte, laborantes in carmina concitat undas.’
* Bohn's edition of William of Malmesbury, by Dr. Giles, p. 175.
f Æssays Historical and Critical, on AEnglish Church Music ; York, 1795, p. 35. The
Original Latin is as follows:– “Aquae calefactae violentia ventus emergens implet concavitatem
barbiti, et per multiforatiles transitus aeneae fistulae modulatos clamores emittunt,”
f Humane Zndustry, p. 38.
THE HISTORY OF THE ORGAN. I 5
Which invention is by some ascribed to Ctesibius, an ingenious artist
of Alexandria ; by others to Archimedes of Syracuse, as Tertullian
writes, of which he speaks thus, Specta potentissimam Archimedis, &c.”
As to the hydraulic-organs of modern Italy of which Grassineau"
says there were several in the grottos of vineyards, “particularly one
belonging to the family d'Este, near the Tiber, described by Baptista
Porta, they were very different, and no way resembled the ancient
hydraulia.” These, perhaps, as Sir J. Hawkins remarks, f will be found
to be nothing more than the common organ played on by the barrel,
which, by a very easy contrivance, is set in motion by a small stream
of water.
3. The Pneumatic-Organ.
The various contrivances to introduce the wind into the pipes by
means of water were not found to be successful, in spite of their
seeming superiorities. A return was therefore made to the ancient
bellows filled by manual labour. The Emperor Julian, called the
Apostate (who died A.D. 363), is the reputed author of the following
Greek enigmatical epigram, the Solution of which is evidently the
Aneumatic-organ.
- 'AX\otny ôpáo dovákov pºorly firov &T' &\\ms
XaAkeins Táxa uá\\ov &veóAda’tma'av &poſpns,
"Ayptol, odó &véuota w śp jueTépots dovéovtat,
'AAA' To Taupens Tpoffopºv a TſAvyyos &#Tms,
Nép6ev Čiſtºpfftov kaxáuov ÚTö Ét(av ôóeſet.
Kai Tis &viip &yépoxos éxov 00& 64k.tvNa Xelpös,
"Ia-rarat &upapéov kavóvas avuºppačuovas aúAóv.
Of 6 &ta\ov aſkiptºvres, &ToëNi3ovaty &otöv.
Thus literally translated —
“I see a species of reeds: surely from another and a brazen soil
have they quickly sprung—rude. Nor are they agitated by our
winds, but a blast rushing forth from a cavern of bull's hide makes its
way from below the root of reeds with many openings; and a highly-
gifted man, with nimble fingers, handles the yielding rods of the pipes,
while they, softly bounding, press out a sound.”
* Musical Z)ictionary, 1743, p. 171.
f //ist. of Mus. bk. ii., chap. I4.
+ Anthologia Graeca, Edit. Lips, 1794, tom. iii., p. III ; also Du Cange, Glossarium et
infima latinitatis, v, organum,
I6 THE HISTORY OF THE ORGAN.
This passage is highly interesting, as showing the state of the
instrument at this early period. From it we learn that the organ was
still unprovided with a clavier or key-board, and that the bellows were
made of a bull's hide. These facts have escaped the researches of
former writers, who have alluded to the enigma, from their mistrans-
lation of the original Greek.”
We have here a curious representation of an organ of this period,
which shows a singular mode of giving weight to the bellows. It is
copied from the sculptures on the obelisk at Constantinople, erected
by Theodosius, who died A.D. 395.t
* Burney translates the passage thus: “I see reeds of a new species, the growth of
another and a brazen soil, such as are not agitated by our winds, but by a blast that rushes
from a leathern cavern beneath their roots; while a robust mortal, running with Swift fingers
over the concordant Keys, makes them, as they smoothly dance, emit melodious sounds.”—
Hist, of Mus., ii., 65. Busby gives a metrical translation —
“Reeds I behold, of earth the rigid spoil,
Reeds of a novel growth, and brazen soil
That not heaven's wind, but, blasts mechanic breathe,
From lungs that labour at their roots beneath;
While a skill'd artist's nimble finger bounds
O'er dancing Keys, and wakes celestial sounds.”
—//isſ, of Mus., i., 263. Both these learned writers use the word keys, which cannot, by
any forced application, be ſound in the original. The word kavóvas (canomas) means “any
straight rod or pole, especially to keep a thing upright or straight—to regulate and order it.”
See Liddell and Scott's Greek and Ænglish Zexicon. Burney translates dyépaxos “a tall,
sturdy fellow ;” and then adds, “alluding to the force necessary to beat that kind of clumsy
carillon keys of this rude instrument of new invention.” This Greek enigma on the organ is
given by Mr. Wackerbarth, in his Music and the Anglo-Saxons, p. 9, who adds—“It is
obvious, from the sixth line, that it was played with finger-keys, and not by large carillon-
keys.” He then blames Dr. Burney for missing “the sense of the passage,” but does not
attempt a new translation. It is necessary to add that Mr. Wackerbarth's copy of the eight
Greek lines contains no fewer than twenty errors.
f Didron's Annales Archéologiques, Paris, 1845, contains an article on Organs by M.
Coussemaker, Our engraving is derived from this valuable work,

THE HISTORY OF THE ORGAN. I7
Another curious description of the pneumatic organ is given by
Cassiodorus, who flourished under King Vitigas, the Goth, A.D. 514,
in his Commentary on the 150th Psalm.” “The organ,” he says, “is
an instrument composed of divers pipes, formed into a kind of tower,
which, by means of bellows, is made to produce a loud sound; and,
in order to express agreeable melodies, there are, in the inside, move-
ments made of wood, that are pressed down by the fingers of the
player, which produce the most pleasing and brilliant tones.”f
At the latter end of the seventh and beginning of the eighth
Century the organs of the Anglo-Saxons appear to have resembled,
even in their external decorations, those now in use. The following
passage from Aldhelm, f who died A.D. 709, will show that our
ancestors at that time were accustomed to gild the external pipes:–
“Maxima millenis auscultans organa flabris,
Mulceat auditum ventosis follibus iste,
Quamlibet auratis fulgescant caetera capsis.”
4. Its Introduction into the Church,
The organ was early used in the public service of the church.
Platina tells us; that it was first employed for religious worship by
Pope Vitalian I., A.D. 666; but, according to Julianus, a Spanish
bishop who flourished A.D. 450, it was in common use in the churches
of Spain at least 200 years before Vitalian's time. The use of
instruments in churches was much earlier; for we are told that St.
Ambrose joined instruments of music with the public service in the
cathedral church of Milan; which example of his was so well approved
of, that, by degrees, it became the general practice of other churches.
Nay, the antiquity of instrumental church music is still higher, if we
may credit the testimony of Justin Martyr and Eusebius, the latter of
whom lived fifty, and the former two hundred, years before the time
of St. Ambrose."[
* The passage is also quoted by Bede, tom. viii., 899, 900,
+ Organum itaque est quasi turris quaedam diversis fistulis fabricata quibus flatu follium
vox copiosissima destimatur; et ut eam modulatio decora componat, linguis quibusdam ligneis
ab interiori parte construitur, quas disciplinabiliter magistrorum digiti reprimentis, grandi-
Sonam efficiunt et suavissimam cantilenam. In Psalm cl.
† De laude Virginum. Bibliotheca Maxima Patrum, tom. xiii., p. 3. This passage was
first pointed out by Mr. Sharon Turner, Anglo-Saxons, iv., 447,
§ Zives of the Požes ; Rycaud's translation, p. II.4.
| See Lorinus, Psal. 33.
"I Hawkins, bk, iv., chap. 32.
I8 THE HISTORY OF THE ORGAN.
We have seen, from the Epigram of the Emperor Julian, before
quoted, that an Organ capable of being used in religious ceremonies
existed long before the erection of Christian churches; we cannot
then refuse to credit the testimony of Julianus, as to its admission
into the service of public worship at an earlier period than that Com-
monly assigned.” - -
It was some time before organs became common in the churches
of Europe. Pepin, the father of Charlemagne, king of the Franks,
an ardent worshipper of God, first introduced singing and the cere-
monies of the Romish Church into France. He soon perceived the
urgent need of an Organ, both as an aid to devotion, and as a proper
accompaniment and support to the choir. Accordingly, as the
instrument was unknown at that time both in France and Germany,
this pious king applied to the Byzantine Emperor Constantine, sur-
named Copronymus, Soliciting him to forward one to France. The
emperor complied with the request, and in the year 757, or
thereabouts,f Sent him as a present, in charge of a special embassy,
a great organ with leaden pipes, which was placed in the church
of St. Corneille, at Compiegne. It also appears that an Organ, Con-
structed by an Arabian named Giafar, was sent to Charlemagne by
the renowned “Commander of the Faithful,” the caliph Haroun Alras-
chid—an incident introduced with considerable effect by Madame de
Genlis, in her romance, Zes Chevaliers du Cygne. This was the
instrument, in all probability, which Walafrid Strabo described as
existing in the ninth century in a church at Aix-la-Chapelle. Its
softness (query 2) of tone, he adds, caused the death of a female.|| It
is certain that this Organ was very imperfect, and we must suppose
* Bingham (Christian Antiq., bk. viii., c. 7–16) and his followers assert that the organ
was first introduced into churches by Marinus Sanutus, in 1290 ! The authorities cited in the
course of the present Section completely refute this motion. Cardinal Bona supposes organs
to have been used in churches in the fourth century.—/0e Divin. Psal., 1653. -
ºf Siegebert says 766; but Walter Odington, of Evesham (who wrote in the 13th century),
is a preferable authority. His words are, “Anno Domini 757, venit Organum primo in
Francium missum a potissima Rege Graecorum Pipino imperatori.”—De Speculatione Musicae.
# The deputation to King Pepin was headed by Stephanus, a Roman bishop.–Aventini,
Annales Bazaria.
§ Alex. Sardus, /)a 7-erum. /71zenſoribus, lib, i. *
| Eginhard, in his Annals of Louis le Débonnaire, and Nigellus, in his poem on the life and
actions of Louis the Pious, printed in the Scriſtores /talici de Aſuratori, both speak of the
organ at Aix-la-Chapelle; but they allude to the hydraulicon, not to the pneumatic-organ. The
former was in the palace of the king, the latter in the church, Historians have Strangely
confounded the two,
THE HISTORY OF THE ORGAN. I9
that poetical enthusiasm led Strabo a little beyond the truth. His
words are these :-
“Dulce melos tantum vanas deludcre mentes
Coepit, ut una Suis decedens sensibus ipsam
Foemina perdiderit vocum dulcedine vitam.”
Be this as it may, the French artists were eager to equal these speci-
mens of foreign ingenuity; and so successful were their efforts, that,
in the ninth century, it is said, the best organs were made in France
and Germany. Their superiority was acknowledged by John VIII.,
in a letter to Anno, Bishop of Friesingen, from whom he requested an
Organ, and a master for the instruction of the Roman artists. The
passage runs thus —“Precamur ut optimum organum cum artifice, qui
hoc moderari, et facere ad omnem modulationis efficaciam possit, ad
instructionem musicae disciplinae nobis aut deferas, aut mittas.”f
Soon afterwards we find them in common use in England,
constructed by English artists, with pipes of copper fixed in gilt
frames.; St. Dunstan, in the reign of Edgar, erected or fabricated an
organ, the pipes of which were made of brass.; The following notice
of this instrument is preserved by William of Malmesbury —“Ideo
in multis locis munificus, quae tune in Anglia magni miraculi essent,
decusque et ingenium conferentis ostenderent, offerre credo, Itaque
signa Sono et mole praestantia, et organo ubi per aereas fistulas musicis
mensuris elaboratas, ‘dudum conceptas follis vomit anxius auras.” Ibi
hoc distichon laminis aereis impressit—
Organo de Sancto Praesul Dunstanus Aldhelmo ;
Perdat hic aeternum qui vult hinc tollere regnum.”
This worthy prelate also caused an organ to be erected in the
abbey church of Glastonbury.
In the same century Count Elwin presented an organ to the
convent of Ramsey, on which it is said, “The earl devoted thirty
pounds to make copper pipes of organs, which, resting with their
openings in thick order on the spiral winding in the inside, and being
* Walaf. Strabo apud Abb. S. Blasii, p. 140.
+ Sandini, in Vit. Pont. i., p. 294. See also Dr. Lingard's Antiquities of the Anglo-Saxon
Church, ii., p. 376.
# Aldhelm in Gale, pp. 266, 42O, cited by Lingard, Anglo-Saxon Church, ii., p. 376. See
also the curious passage from Aldhelm, quoted in a previous section, ante, 17.
§ St. Dunstan died A. D. 988. -
| Gale, tom, iii., p. 366; Wackerbarth's Music and the Anglo-Saxons, p. 19.
C 2
2O THE HISTORY OF TIIE ORGAN,
struck on feast days with a strong blast of bellows, emit a Sweet
1.2%
melody and a far resounding pea
In the old monastic church of Winchester was a monster Organ,
according to its description by the monk Wulston,t whose fidelity, as
Lingard remarks, cannot be questioned, since he dedicated his poem
to Bishop Elphege, f by whose order the organ was built about the
close of the tenth century. The portion of Wulston's poem relating
to the organ is as follows:–
“Talia et auxistis hic organa qualia nunquam
Cernuntur, gemino constabilita Solo.
Bisseni supra Sociantur Ordine folles,
Inferiusque jacent quatuor atque decem.
Flatibus alternis spiracula maxima reddunt
Quos agitant validi Septuaginta viri ;
Brachia versantes, multo et sudore madentes,
Certatimgue Suos quisque movet Socios,
Viribus ut totis impellant flamina Sursum
Rugiat et pleno capsa referta Sinu
Sola quadringentas quae Sustinet ordine musas
Quas manus organici temperatingenii.
Has aperit clausas, iterumque has claudit apertas
Exigit ut varii certa camaena Soni.
Considuntdue duo concordi pectore fratres,
Et regit alphabetum rector utergue suum.
Suntdue quaterdenis occulta foramina linguis,
Inque Suo retinet Ordine quaeque decem :
Huc aliae currunt, illuc aliaeque recurrunt
Servantes modulis singula puncta Suis;
Et feriunt jubilum Septem discrimina vocum
Permixto lyrici carmine semitoni :
Inque modum tonitrus vox ferrea verberat aures,
Praeter ut hunc Solum nil capiat sonitum.
Concrepat in tantum Sonus hinc illincºlue resultans,
Quisque manu patulas Claudat ut auriculas,
Haudguaquam Sufferre valens propiando rugitum,
Quem reddunt varii concrepitando Soni :
Musarumque melos auditur ubique per urbem,
Et peragrat totam fama volans patriam.
Hoc decus Ecclesiae vovit tua cura Tonanti,
Clavigeri inque sacri struxit honore Petri.”$
* The original Latin of this passage is thus given in the Acta Sanctorum —“Triginta
praeterea libras ad fabricandum cupreos organorum calamos erogavit, qui in alveo Suo, super
unam cochlearum denso ordine foraminibus insidentes, et diebus festis follium spiramento
fortiore pulsati, prædulcem melodiam et clangorem longius resonantem ediderunt.”—Acta
Sanctorum Ordinis Benedict. Sacc., v., p. 756. See also Gale, tom. iii., p. 420.
t Called Wulston or Wolston the Deacon. He died A.D. 963.
f Elphegus Calvus received the Bishopric of Winchester in A.D. 935, and held it till 951,
§ Acta Sanctorum Ordinis Benedict, Sac., v., p. 631-2, - ~ *
THE HISTORY OF THE ORGAN. 2 ſº
Thus translated by Mr. Wackerbarth”:—
“Such organs as you have built are seen nowhere, fabricated on a double
ground. Twice six bellows above are ranged in a row, and fourteen lie below,
These, by alternate blasts, supply an immense quantity of wind, and are worked by
Seventy strong men, labouring with their arms, covered with perspiration, each
inciting his companions to drive the wind up with all his strength, that the full-
bosomed box may speak with its four hundred pipes which the hand of the
Organist governs. Some when closed he opens, others when open he closes, as
the individual nature of the varied sound requires. Two brethren (religious) of
concordant spirit sit at the instrument, and each manages his own alphabet.
There are, moreover, hidden holes in the forty tongues, and each has ten (pipes) in
their due order. Some are conducted hither, others thither, each preserving the
proper point (or situation) for its own note. They strike the seven differences of
joyous sounds, adding the music of the lyric semitone. Like thunder the iron tones
batter the ear, so that it may receive no sound but that alone. To such an amount
does it reverberate, echoing in every direction, that every one stops with his hand
his gaping ears, being in no wise able to draw near and bear the Sound, which so
many combinations produce. The music is heard throughout the town, and the
flying fame thereof is gone out over the whole country. This honourable church
has your care dedicated to the Ruler of the thunder, and built up in honour of
the key-bearing St. Peter.”f
Although this curious description gives the idea of an instrument
of large size and complicated mechanism, its construction must have
been of a very primitive kind. Mr. Wackerbarth imagines that it
possessed registers or stops ; a key-board furnished with Semitones;
and a compass of three and a half octaves. Of the first position we
have no proof whatever in the poem itself. Of the second all the
writer says is, that it was provided with the seven sounds and the
“lyric semitone,” which latter clearly means the B flat. The alphabet
alluded to was the handles of the rods or levers by which the instru-
ment was played; the key-board was not yet invented. Of the third
* Music and the Anglo-Saxons, p. 12–15.
t Mason (Essays on AEnglish Church Music, p. 37) gives the following metrical translation
of eight lines of Wulston's poem. He was not aware of the original, but quoted from Dom
Bedos, who in his turn took the passage from Du Cange's Glossary —
“Twelve pair of bellows, ranged in stated row,
Are join’d above, and fourteen more below ;
These the full force of seventy men require,
Who ceaseless toil, and plenteously perspire;
Each aiding each, till all the wind be prest
In the close confines of th’ incumbent chest,
On which four hundred pipes in order rise
To bellow forth the blast that chest supplies.”
Bedos, and after him Mason, erroneously say that this organ was erected at Westminster,
33 THE HISTORY OF THE ORGAN.
position it is clear that the compass did not exceed ten notes, “and
for each note forty pipes,” which makes up the number of four
/...undred. The seventy stout bellows-blowers must still remain a
perplexing question. The brethren of Winchester were a rich and
a large body, and the writer probably meant that it was the office of
seventy inferior monks, at different periods, to succeed each other in
this labour. Or probably seventy may be a corruption of the text for
Seven.
An interesting representation of the pneumatic-organ of about this
period is preserved in a MS. Psalter of Eadwine, in the library of
Trinity College, Cambridge.” It is here copied.
At the close of the tenth century many organs existed in the
churches of Germany. Michael Praetorius, in his Syntagma Musicum,
mentions (under the date 944) those in the Paulina Church at Erfurt,
in St. James's Church at Magdeburg, and in the cathedral at Halber-
stadt. Notwithstanding the imperfection of these instruments, they
everywhere produced the greatest astonishment, and the churches
were desirous of possessing SO efficacious a means of attracting a Con-
gregation. We therefore find in this century that organs multiplied
ilot only in the cathedral churches of the episcopal seats, but also
in many churches and monastic establishments.
* Under the press mark Insig. R, 17, I. It is engraved in Strutt's Zorda, i., pl. 33.

THE HISTORY OF THE ORGAN. 23.
5. Organ-Building in the Eleventh Century.
The following very curious treatise upon the Construction of Organs
is part of a larger work upon Divers Arts, by a monk named
Theophilus. *
There is a considerable diversity of opinion as to the exact period
at which the writer flourished. Lessing, Leist, Raspe, and Emeric
David, have placed him in the tentſ, century, a period too early.
Guichard, Didron, and Texiér, consider that he belongs to the twelft/.
or thirteenth century. Mr. Hendrie, in his learned preface to the
English translation of Theophilus,” shows pretty clearly that the
work in question may be assigned to the early half of the eleventſ,
century.
The most ancient manuscripts that have descended to us are of
the latter part of the twelfth, or the early part of the following century,
One is preserved at Wolfenbüttel; another in the Imperial Library,
Vienna; a third is in the University Library, Cambridge; and a fourth
among the Harleian MSS. in the British Museum. The three first-
named manuscripts end abruptly, closing with the first chapter on the
Construction of the Organ. The Harleian MS. enriches the musical
inquirer with three new chapters upon the mode of building the “King
of Instruments” in the eleventh century.f
Theophilus's treatise has escaped the notice of all writers, both
foreign and English, who have devoted their time and talents to the
consideration of musical antiquities. Such being the case, I have
considerable pleasure in being the first to introduce it into that
department of musical history to which it more particularly be-
longs —
* Theophili, Qui et Rugerus, Presbyteri et Momachi Zibri ZZZ, de ZXiversis Artibus. Opera
et Studio Roberti Hendrie. Londini, Johannes Murray, MDCCCXLVII. 8vo. I owe my
knowledge of this curious treatise on the organ entirely to Mr. Hendrie's valuable book. The
following translation is taken (with permission) from that gentleman’s publication.
+ This manuscript is upon vellum, in octavo, and is written in a clear German character
of the very commencement of the thirteenth century. Sir F. Madden, the keeper of the
manuscripts at the British Museum, and whose authority is conclusive, states that it is of that
period, and that it was certainly written in Germany. It contains II5 folios of the books of
Theophilus, and five folios of recipes relating to the arts, written by another hand of the
period. A treatise, “De Unguentis,” follows: it is a collection of medical recipes. The
title and preface to the first book are unfortunately wanting: in so voluminous and superior a
copy something might have been otherwise adduced from these which would have unravelled
the mystery which shrouds the age and country of our author. The credit of discovering this
important manuscript is entirely due to Mr. Hendrie. See his preface to Zheophilus, p. xxvi.
24
THE HISTORY OF THE ORGAN.
(CIſ) copjílí 3Líſti (Tettii Uc
2Dibºlºgíg Øttiſtić,”
(Original.)
CAPUT LXXXI.
DE ORGANIS.
FACTURUS organa primum habeat lec-
tionem mensurae, qualiter metiri debeant
fistulae graves et acutae et superacutae;
deinde faciat sibi ferrum longum et
grossum ad mensuram, quam vult habere
fistulas, quod sit in circuitu, rotundum
Summâ diligentiá limatum et politum, in
ună summitate grossius et modicé at-
tenuatum, ita ut possit imponi in alterum
ferrum curvum per quod circumdatur,
juxta modum ligni in quo volvitur run-
cina, et in alterå summitate gracile,
Secundum mensuram inferioris capitis
fistulae, quae conflatorio debet imponi.
Deinde attenueter cuprum purum et
Sanissimum, ita ut unguis impressus
alterå parte appareat. Quod cum fuerit
Secundum mensuram ferri lineaturm et
incisum ad longiores fistulas, quae dicun-
tur graves, fiat Secundum praeceptum
lectionis foramen, in quo plectrum im-
poni debet, et circumradatur modicé ad
mensuram festucae (fistulae), ac Super-
liniatur stagnum ferro solidatorio, rada-
turque in orå longitudinis interius, in
alterā orâ exterius eadem mensură, et
SuperStagnetur tenuè. Quae Stagnatura,
priusquam rasi tractus noviter facti,
modicé calefacto cupro liniantur cum
resina abietis, ut stagnum facilius ad-
ha’reat. Quo facto, complicetur ipsum
cuprum circa ferrum et circumlige-
tur filo ferreo mediocriter grosso for-
titer, ita ut stagnati tractus conveniant
Sibi. Quod filum primo induci debet
parvulo foramini, quod est in gracili
y
QI) copjílug's QItzatigº on
g|DUgan. 25ttiſting,
(Translation.)
CHAPTER LXXXI.
OF ORGANS.,
THE manufacturer of organs should
first possess the knowledge of the mea-
sure, how the grave and sharp and treble
pipes should be meted out; he may then
make for himself a long and thick iron
to the size which he wishes the pipes to
possess; this must be round, filed and
polished with great care, thicker at one
extremity and slightly diminished, so
that it can be placed in another curved
iron, by which it is encompassed, after
the fashion of the wood in which the
augur is revolved, and at the other ex-
tremity let it be slender, according to
the size of the lower end of the pipe
which should be placed on the bellows.
Then pure and very sound copper is
thinned, so that the impression of the
nail may appear on the other side.
When this has been marked out and cut
according to the size of the iron for the
longer pipes, which are called grave, an
opening is made according to the precept
of the lesson, into which the valve should
be placed, and it is rasped round a little
to the size of the rod, and tin is anointed
over it with the soldering iron, and it is
rasped upon one edge of the length in-
side, and outside, upon the other edge,
and it is tinned over thinly. Which
tinnings, before the newly made lines
are scraped, are slightly anointed, the
copper being warmed with resin of the
fir, that the tin may the more easily ad-
here. Which being done, this copper
is folded around the iron and is strongly
bound round with an iron wire mode-
rately thick, so that the tinned lines may
agree with each other. This wire should
be first carried through a very small hole
which is at the thin extremity of the iron,
${- e - - -
A few corrections have been made in the text, such as the grammatical construction
obviously suggested.
+ “Pipe,” in the Wolfenbüttel MS,
THE HISTORY OF THE ORGAN. 25
summitate ferri, et in eo bis contorqueri,
sicque deduci in volvendo usque ad
alteram summitatem, ibique similiter
obfirmari. Deinde juncturis sibi con-
venientibus et diligenter conjunctis,
ponaturipsá ligaturâ pariter cum ferro
ante formacem super prunas ardentes, et
sedente puero et mediocriter flante, tenea-
tur dexterå manu lignum gracile, in cujus
Summitate fissà, adhaereat panniculus
Cum resina, et sinistră teneatur stagnum
longum gracile percussum, ut mox cum
fistula incaluerit, liniat juncturam cum
panniculo resina infecto, appositumque
Stagnum liquefiat, ipsamgue juncturam
(addidimus) diligenter consolidet. Quo
facto, refrigerată fistulá, ponatur ferrum
in instrumento tornatoris more parato,
impositoque curvo ferro et filo soluto
circumvolvat unus ferrum curvum, alter
Vero, utrisque manibus chirothecis in-
dutis, fistulam fortiter teneat, ita ut
ferrum circumducatur et fistula quieta.
maneat, donec omnino oculis gratiosa
sit, quasi tornata sit. Deinde educto
ferro percutiatur ipsa fistula cum malleo
mediocriter juxta foramen inferius et
Superius, ita ut pene usque ad medium
descendatipsa rotunditas spatio duorum
digitorum ; fiataue plectrum ex cupro
aliquantulum spissioni, quasi dimidia
rotula, et superStagnetur circa rotundi-
tatem sicut fistula superius, sicque pona-
tur in inferiori parte foraminis, ut sub
ipsius ora aequaliter stet, nec procedat
inferius aut superius. Habeat quoque
ferrum solidatorium ejusdem latitudinis
et rotunditatis, quá plectrum est. Quo
calefacto ponat modicas particulas stagni
Super plectrum, parumque resinae, et
diligenter circumducat calidum ferrum
ne plectrum moveatur, sed liquefacto
stagno sic adhaereat ut in circuitu ejus
nihil spiraminis exeat, nisi tantum in
Superiori foramine. Quo facto, apponat
ori et sufflet primum modicë, deinde
amplius, Sicque fortiter, et secundum
quod auditu discernit, disponat vocem,
ut si eam vult esse grossam, foramen
and be twisted twice round in it, and so
be carried down revolving to the other
extremity, and be there similarly fastened.
Then with its joinings agreeing together
and carefully fastened, it is placed with
its ligature, as with the iron, before the
furnace upon the glowing embers, and
the boy sitting and slightly blowing, in
the left hand is held a thin wood, at the
split top of which a small cloth with
resin is fixed, and in the right can be
held a long piece of tin beaten thin, so
that directly the pipe has become hot he
can anoint the joint with the rag filled
with resin, and the tin applied may
liquify, and he must carefully solder the
join together. Which being done, the
pipe cold, the iron is placed in the in-
strument prepared like that of a turner,
and the curved iron being placed on,
and wire loosened, one can revolve
the curved iron, the other, both hands
being provided with gloves, can hold
the pipe firmly, so that the iron may
be carried round and the pipe remain
still, until it appear elegant to the eyes,
as if turned. The iron being then taken
out, the pipe is struck slightly with the
hammer near the opening, above and
below, so that this round shape may de-
press almost to the centre for a space of
two fingers; the valve may be made from
copper somewhat thicker, like a half
wheel, and be soldered over about the
round part, as the pipe above, and be
so placed in the lower part of the open-
ing that it may stand equally under
its edge, nor protrude below or above.
He can have also a soldering iron of the
same breadth and roundness as the
valve. With this heated he can place
small particles of tin upon the valve,
and a little resin, and can carefully pass
over the hot iron, that he may not move
the valve, but that the tin being melted
it may so adhere that no wind can come
out in its circumference, unless only
into the upper opening. Which being
done, he can bring it to his mouth and
blow at first slightly, then more, and
then strongly ; and, according to what
he discerns by hearing, he can arrange
the sound, so that if he wish it strong
26 THE HISTORY OF THE ORGAN.
fiat latius ; si vero graciliorem, fiat stric-
tius. Hoc ordine omnes fistulae fiant;
mensuram vero singularum, a plectro
Superius, Secundum magisterium lectio-
nis faciat, a plectro autem inferius, omnes
unius mensurae et ejusdem grossitudinis
€rullht.
CAPUT LXXXII.
DE DOMO ORGANARIA.
DOMUM vero facturus super quam stat-
uendae Sint fistulae, vide utrum volueris
eam ligneam habere aut cupream. Si
ligneam, acquiretibiduo ligna de platano,
Valde sicca, longitudine duorum pedum
et dimidii, et latitudine modice amplius
quam unius, unum quatuor, alterum
duobus digitis Spissum, quae non sint
nodosa Sed pura. Quibus diligentissimè
Sibi conjunctis, in inferiori parte spis-
Sioris ligni fiat in medio foramen
quadrangulum, amplitudine quatuor digi-
torum et circa quod relinquatur de eodem
ligno limbus, unius digiti latitudinis et
altitudinis,in quo conflatorium imponatur.
In Superiori parte verö lateris fiant cava-
urae, per quas flatus ad fistulas possit
pervenire. Altera vero pars ligni, quae
et Superior esse debet, metiatur interius
aequaliter, ubi disponantur Septem vel
Octo cavaturae, in quibus diligenter jun-
gantur linguaº, ita ut habeant facilem
Cursum educendi et reducendi, sic tamen
ut nihil Spiraminis inter juncturas exeat,
In Superiori autem parte tonde cava-
turas, contra inferiores, quae Sint ali-
quantulum latiores, in quibus jungantur
totidem ligna, ita ut inter haec et majus,
ligni cavatura remaneat vacua, per quam
ventus ascendat ad fistulas, nam in eis-
dem lignis foramina fieri debent, in
quibus fistulae stabiliendae sunt. Cava-
turae in quibus linguae junctae sunt in
anteriori parte procedere debent quasi
the opening is made wider; if slighter,
however, it is made narrower. In this
order all the pipes are made. He can
make the measure of each, from the
valve upwards, according to the rule in-
culcated, but from the valve below, all
will be of one measure and of the same
thickness.
CHAPTER LXXXII.
OF THE ORGAN ERECTION.
IN the manufacture of the construction,
upon which the pipes are to stand, See
whether you intend to have it of wood
or copper. If of wood, procure for
yourself two pieces of wood of the plane
tree, very dry, two feet and a half in
length, and in breadth rather more than
one : one four, the other two fingers
thick, which must not be knotty, but
without blemish. Which being carefully
joined together, in the lower part of the
thicker wood a square hole must be
made in the centre, four fingers in
breadth, and about which a border must
be left of the same wood of one finger
in breadth and height, in which the
bellows can be placed. In the upper
part of the side, however, Small hollows
are made, through which the wind can
arrive at the pipes. But the other part
of the wood, which should also be
uppermost, is measured out inside
equally, where seven or eight Small
openings are disposed, in which the
stops are carefully joined, so that they
may have an easy means of being drawn
out and restored, so, however, that no
air can come out between the joins.
In the upper part, however, cut Small
openings opposite the lower ones, which
are to be rather wider, in which may be
joined so many pieces of wood, So that
between these and the larger the open-
ings of the wood may remain empty,
through which the wind can mount to
the pipes; for in these same pieces of
wood openings should be made in which
the pipes are to be made fast. The
openings in which the stops are fitted in
THE HISTORY OF THE ORGAN.
27
obliquae fenestrae, per quas ipsae linguae
introducantur et extrahantur.
In posteriori vero parte, Sub fine ip-
Sarum linguarum, fiant foramina aequa-
liter lata et longa, mensura duorum
digitorum, per quae ventus possit ascen-
dere ab inferioribus ad superiora, ita ut
cum linguae impinguntur illa foramina
ab eis obstinantur ; cum vero retrahun-
tur denuè pateant. In his vero lignis
quae Super linguas junguntur fiant fora-
mina diligenter et ordinaté, Secundum
numerum fistularum, uniuscujusque toni,
in quibus ipsae fistulae imponantur, ita
ut firmiter stent, et ab inferioribus ven-
tum SuScipiant. In caudis autem lin-
guarum Scribantur litterae Secundum
ascensum et descensum cantus, quibus
possit cognosci quis ille, vel ille tonus
sit. In singulis autem linguis fiant fora-
mina singula gracilia, longitudine dimi-
dii digiti minoris, in anteriore parte,
juxta caudas in longitudine, in quibus
ponantur singuli clavi cuprei capi-
tati, qui pertranseant in medio fene-
Stellas, quibus inducuntur ipsae linguæ
a superiori latere domas usque ad in-
ferius, et appareant clavorum capita
Superius ita, ut cum linguae cantantibus
organis educuntur, non penitus extra-
huntur. His ita dispositis conglutinentur
haec duo ligna, quae domum organorum
conficiunt, glutine casei; deinde partes
illae quae Super linguas Sunt junctae, in
quibus foramina stant, sicque circum- .
cidantur diligentër et radantur.
CAPUT LXXXIIſ.
DE CONFLATORIO.
CONFLATORIUM facturus, conjunge tibi
duo ligna de platano modo quo Supra,
longitudine pedis unius, quorum sit
unum palma Spissum, alterum tribus
digitis, sintaue in ună fronte rotunda in
the front part should proceed, like Slant-
ing windows, through which these stops
are introduced and removed.
In the hinder part, under the end of
these stops, holes are made equally wide
and long, of the size of two fingers,
through which the wind can ascend from
the lower to the upper parts, so that
when the stops are placed upon them
these holes may be stopped by them ;
when, however, they are withdrawn, they
may again lie open. In those pieces of
wood which are joined upon the stops
openings are made, carefully and in
order, according to the number of the
pipes of every tone, in which these pipes
are placed, so that they may stand firmly
and receive the wind from the lower
parts. But in the handles of the stops
letters are marked, according to the rise
and fall of the sound, by which it can be
known which tone it may be. In each
one of these stops single slender holes
are made, half of the little finger in
length, in the front part, near the
handles, lengthwise, in which single
copper-headed nails may be placed,
which may pass through the small win-
dows in the middle, by means of which
these stops are drawn from the upper
side of the construction down to the
lower, and the heads of the nails appear
above, so that when the stops are with-
drawn from the Sounding instruments,
they cannot be quite extracted. These
things being thus arranged, these two
pieces of wood, which perfect the organ-
house, are joined together with cheese-
glue ; then those parts which are joined
over the stops, in which the holes exist,
are also pared round carefully, and
Scraped.
CHAPTER LXXXIII.
t OF THE BELLOWS.
IN making the wind-chamber, join to-
gether two pieces of wood of the plane
tree, in the above mode, of one foot in
length, one of which may be a palm
thick, the other three fingers, and let
them be round at one end, like a shield,
28 THE HISTORY OF THE ORGAN.
modum scuti, et ibi pede et dimidio
lata ; in alterå fronte obtusa, latitudine
unius palmi. Quae cum diligenter con-
juncta fuerint incide in Spissiori ligno in
rotunda fronte foramina quod volueris,
Secundum numerum follium, et in Ob-
tusa fronte unum, quod sit majus.
Deinde incide ab unoquoque foramine
fossam unam deductam uSque ad majus,
per quas viam possit habere ven-
tus flantibus follibus. Sicque conglu-
tinabis ipsa ligna glutine casei, et Cir-
cumdabis panno lineo novo et forti,
quem linies, eodem glutine ut adhaereat,
facies quoque ligaturas ferreas fortes,
interius et exterius circumstagnatas, ne
possint ex tigneá (tignariä F) dissolvi,
quas configes clavis longis capitatis
atclue stagnatis, ita ut inter duo foramina
ligatura sit, quae comprehendat utrum-
Que lignum a Superiore latere usque ad
inferius. Deinde acquire tibi lignum
curvum de quercu, Sanum et forte, quod
habeat in una fronte, a curvatura longi-
tudinem pedis unius, in altera duorum,
quod perforabis in utrāque fronte terebro
magno, quo forantur modioli in rotis
aratri. Sed quia foramina non possunt
Sibi obviare propter curvaturam, factibi
ferrum quod habeat caput rotundum in
modum Ovi, et Caudam longam gracilem,
quae imponatur manubrio, Sitgue juxta,
Caput modicè curvum, cum quo cale-
facto, combures foramina interius in cur-
vatură, donec Sibi aequaliter conveniant.
Quo facto, incide ipsum lignum quad-
rico (quadrató P) statum, ita ut in uno-
quoque latere uno palmo latum sit, ad
mensuram conflatorii in obtusa parte.
Post ha-c conjunge ipsum lignum in
longiori parte, ad inferius foramen
domâs organariae, ita ut eidem ligno
cauda incidatur, unius pollicis longa,
quae ipsi foramini imponatur, vel infe-
ratur, et junctura tam Subtilis sit, ut
nihil flatus inter eam exire queat. Al
teram vero frontem conjunges eodem
modo ad conflatorium, et ipsum lignum
and there a foot and a half wide, at the
other end blunt, a palm in breadth.
When these have been carefully fitted
together, cut, in the round front in the
thicker wood, the openings which you
wish, according to the number of the
bellows, and in the blunt end one, which
must be larger. Then cut, from each
opening, a hollow leading to the larger
opening, through which the wind may
have way to the working bellows; and
you will thus glue these woods together
with the cheese-glue, and you will bind
them round with a linen cloth, new and
strong, which you anoint with the same
casein glue that it may adhere : you also
make strong iron bindings tinned over
within and without, that they may not
become disunited from the woodwork,
these you will fix on with long nails,
headed and tinned, so that between the
two openings a binding may exist, which
may include each wood from the upper
to the lower side. Then procure for
yourself a curved piece of oak wood,
Sound and strong, which must have at
one end, from the curve, the length of
one foot, in the other of two, which you
will pierce in each end with a large auger,
with which the middle portions are
pierced in the wheels of ploughs. But
because the openings cannot meet to-
gether, on account of the curve, make
for yourself an iron which may have a
round head, like an egg, and a long
thin stem, which is fitted with a handle,
and let it be slightly curved, near
the head, with which, made hot, you
burn the holes curved inside, until
they meet together in an even manner.
Which being done, cut this wood in a
Square manner, set So that it be one palm
wide in each side, to the size of the wind-
chamber in the blunt part. After these
things join this wood on the longer part,
to the lower opening of the organ con-
struction, so that a projection may be
cut to the same wood a thumb in length,
which can be placed, or forced into this:
opening, and that the joint be so subtle
that no wind can escape from it. You
join on in the same manner the other
end to the bellows, and will fasten this
THE HISTORY OF THE ORGAN. 29
glutine casei firmabis, atque circum-
volves panno totum lignum cum junc-
tura, Cui etiam circumfiges Cuprum latum
quod utriusque ligni Oram capiat. His
ita completis, si volueris Organa ultra
maceriam muri stabilire, ita ut infra”
monasterium nihil appareat, nisi Sola
domus cum fistulis, et ex altera parte
muri folles jaceant, ita Oportebit te
ipsam domum convertere ut lingua:
versus folles extrahuntur, et in ipso muro
arcus fiat in quo cantor Sedeat, cujus
sedes ita aptetur, ut pedes Supra confla-
torium teneat. Est autem foramen
quadrum in medio arcüs trans ma-
ceriam, per quod domus cum fistulis
exponitur ; et super collum conflatorii,
quod in muro infra foramen lapidibus
obfirmatum est, in Sua junctura sistitur,
atdue Super duos clavos ferreos aequa-
liter in muro confixos nititur, cui fora-
mini fenestra lignea appendet, quae dum
clausa, Sera et clave munitur, nemo ig-
notus superveniens cognoscerevalet quid
in ea contineatur. Exterius quoque, Super
organa, pannus Spissus lignis interius ex-
tensus, in modum domunculae, a laqueari
in funiculo ad arcendum pulverem de-
pendeat, qui funiculus Super ipsum
laquear circa rotulam arte compositus,
dum cantandum est organis trahitur, et
domunculam elevat, finitoque Cantu,
denuè super organa deponitur. Habet
quoque ipsa domuncula pinnam ex
eodem panno, lignis quatuor in Speciem
trianguli extensam, in cujus Summo
sperula (sphaerula 2) lignea Stet, Cui funi-
culus inhaeret. Folles et instrumentum
Super quod jaceant, Secundum situm
loci ad libitos tuos dispone.
wood with cheese-glue, and will wrap
round the whole wood, with the join,
with cloth, to which you also fix a wide
piece of copper which may also compass
the edge of each wood. These things
being thus completed, should you wish to
establish the organ beyond the masonry
of the wall, so that nothing may appear
within the cloister, unless the erection
alone with the pipes, and that the
bellows may lie on the other side, you
must so turn the construction that the
stops may be drawn out towards the
bellows, and an arch may be made in
the wall itself in which the chanter can
sit, whose seat is so adapted that he can
keep his feet above the bellows. There
is also a Square opening in the middle
of the arch through the masonry, through
which the construction with the pipes is
exposed to view ; and upon the neck of
the bellows, which is in the wall beneath,
the opening is made firm with stones, it
is Supported at its junction, and is rested
upon two long iron nails evenly fixed in
the wall ; to this opening a wooden win-
dow hangs, which, when shut, is defended
by a lock and key, that no stranger
coming unaware be able to learn what
may be contained in it. Outside, also,
above the organ, a thick drapery, ex-
tended inside with wood like a dome,
for warding off the dust, can hang by a
rope from the ceiling, which rope, ar-
ranged with art around a wheel above
the ceiling itself, is drawn whilst the
organ is Sounding, and thus raises the
roof, and the chant being finished, it is
lowered upon the organ. This dome
also has a Spire, made from the same
cloth, extended by four pieces of wood
in shape of a triangle, at the top of
which a Small wooden ball can stand,
to which the rope cleaves. The bellows,
and the instrument upon which they
may lie, arrange at your pleasure ac-
cording to the situation of the spot.
* “Infra" seems to be a clerical error for “intra,
” “within the monastery.”
3O THE HISTORY OF THE ORGAN,
CAPUT I, XXXIV,
DE DOMO CUPREA ET CONFLATORIO
EJUS.
SECUNDUM abundantiam fistularum dis-
pone longitudinem et latitudinem domâs,
et fac formam in argillá maceratá, sicca-
tamgue diligenter incide, quacungue
mensură volueris, et cooperi ceră, dili-
genter inter duas a qualiter Spissas
hastulas cum rotundo ligno attenuatā.
Deinde incide foramina linguarum in
ipsá Cerâ, et foramen inferius, per quod
ventus introeat ; additis spiraculis cum
infusorio, cooperieädem argillá Semel, et
iterum ac tertio. Cumque siccata fuerit
forma, eodem modo funde quo Supra
formam turibuli. Conflatorium quoque
formabis in argillá procedentibus undique
inferius venti aditibus, ad similitudinem
radicis unius arboris, et in Summo in
unum foramen convenientibus. Quod
cum mensurate dispositum cultelio inci-
deris, cooperi cerâ, et fac Sicut Supra.
Cumque domum fuderis conjunges in-
terius altitudine unius digiti a fundo,
tabulam cupream ductilem Sub forami-
nibus linguarum aequaliter, ut Supra eam
ipsæ linguæ jaceant; ita ut possint
aequaliter produci et induci, illitisque
ipsis linguis tenui argillá, reliquum
domás perfundes liquefacto plumbo, per
omnia, super ipsas linguas usque ad sum-
mum. Quo facto, ejicies ipsum plumbum
diligenter designabisque foramina fistu-
larum in linguis; deinde in ipso plumbo
et cum gracili ferro, vel terebro, perfora-
bis diligentissime. Deinde Sub linguis
ventorum aditus facies, induces ipsas
linguas singulas in Suis locis, atque
repones plumbum et cum malleo in per-
cutiendo conjunges domui, ut nihil
spiraminis exeat, nisi per foramina
quibus fistulae imponendae Sunt. Cum
vero conflatorium fuerit fusum et lima-
tum, atque uniuscujusque follis fistula
Suo inductorio Coaptata, conjungi et
firmiter consolidari debet ad domum
CHAPTER LXXXIV,
OF THE COPPER CONSTRUCTION AND
ITS BELLOWS.
DISPOSE the length and width of the
case according to the number of the
pipes, and make a mould in beaten clay,
and, being dry, cut it to whatever size
you may wish, and cover with wax care-
fully thinned, between two rods equally
thick, with the round wood. Then cut
the openings of the stops in this wax,
and the hole below through which the
wind can enter; the air-holes with the
funnel being added, cover altogether
with the Same clay, and again, and a
third time. And when the mould has
become dry, cast in the same manner as
the form of the censer above mentioned,
You will also fashion the bellows in clay,
the wind-issues proceeding everywhere
below in the similitude of the roots of a
tree, and meeting at the top in one
opening. Which, when disposed in rule
you have cut with a knife, cover with
wax and act as above, And when you
have cast the case, you join, inside, at
the height of one finger from the bot-
tom, a beaten copper plate, in an even
manner under the openings of the stops,
that these stops may rest upon it, so
that they can be Smoothly drawn forth
and returned ; and lining these stops
with thin clay, you pour over the rest of
the case some melted lead everywhere,
over these stops up to the top. This
being done, you cast out this lead and
will carefully mark the openings of the
pipes in the stops; then you will most
carefully perforate in this lead with a
thin iron or with a bore. Then you
make the issues for the wind under the
stops; you introduce these stops singly
in their places, and you replace the lead,
and you fit them to the construction by
beating with the hammer, so that no
wind can issue, unless through the open-
ings in which the pipes are placed.
When the wind-case has been cast and
filed, and the pipe of each air-issue fitted
to its conductor, it should be joined to-
gether and firmly soldered below to the
THIE HISTORY OF THE ORGAN. 3 I
organariam inferius, ita ut ventus Suos organ construction, so that the wind
aditus liberê inveniat, et per alias junc- may find its access freely, and can in
turas nullatenus exeat. Hoc quoque nowise issue through the other joints.
Sollertius" procurandum est, ut in capite This also is to be carefully provided,
uniuscujusque follis, ante foram enfistulae that a thin piece of copper may hang
Suae, cuprum tenue dependeat ; quod down before the opening of its pipe,
spiraminis claudat aditum, ita ut cum which can close the access of the air-
follis flando deponitur illud cuprum se hole, so that when by the breathing of
elevet, et ventus pleniter exeat ; cumque the bellows this copper is displaced, it
follis elevatur ut per ventilabrum suum may rise, and the wind may freely issue;
flatum resumat, illud cuprum os ejus and when the bellows is raised, so that
penitus claudat, et ventum quem emisit it may recover air through its own ven-
redire non permittat. tilator, this copper can quite close its
- - z mouth and not permit the wind which it
* In MS, Sollerterius, emitted to return,
Such is the highly interesting and valuable paper left us by this
ancient monk—valuable in many points, but particularly so as to
clearing up the debated point of the invention of the clavier or key-
board. THE ORGAN OF THEOPHILUS WAS UNPROVIDED WITH ONE.
In a Saxon MS. of the eleventh century, preserved in the British
Museum (Cott. Tiberius, B. 6) is a drawing of the “bumbulum cum
fistulá aerea,” with brass pipes. This bumbulum appears to be an
organ, played upon in the same manner as that described by the

32 THE HISTORY OF THE ORGAN.
monk. But a better representation is preserved in Gori's Thesaurus
Diptychorum, said to be from an ancient MS. of the time of Charle-
magne, which is copied in the preceding page.
King David is depicted sitting on a throne, striking a lyre with his
left hand, and holding a sceptre in his right. His head is accom-
panied by two different kinds of ornaments. One is the glory, the
emblem of sanctity and eternity, and the other a turreted crown,
representing a city with a gate. This is, perhaps, the holy Jerusalem,
or that happy Sion, “whose gates the Lord loveth,” as David himself
sings. He is probably engaged in singing psalms, assisted by four
musical instruments—the pneumatic organ, a sort of violin, a trumpet,
and a set of bells,
$ecomb (Epoch.
THE MEDIAEVAL ORGAN, AFTER THE INVENTION OF THE
iSEY-BOARD,
**g
6. The First Key-board.
#: HE close of the eleventh century forms an era in the history
§ º of organ-building, when an organ is said to have been erected
* in the cathedral at Magdeburg, with a £ey-board consisting
of sixteen keys. In the earlier organs the number of notes was very
limited. From nine to eleven was nearly their greatest extent, and
the execution of the plain-chant did not require more. Harmony, it
will be remembered, was still unknown.
The keys of the Magdeburg organ were an ell long and three
inches broad. The following diagram, showing their form, is copied
from Praetorius' 7%eatrum. /nstrumentorum sent Sciographia. 4to.
Wolfenbüttel, 1620.
. ... Tº
…s
Dom Bedos speaks of some early organs whose keys were five
inches and a half wide. The manner of performing upon these
instruments was of course conformable to the size of the keys. They
were struck down by the fist of the player, even to a considerable
depth, whence, according to Seidel, arose the expression organ-beater,
This method resembles that of cari//on-playing,” still in use in some
parts of France, Germany, and Holland.
* Burney gives an interesting account of his ascent of one of the belfries at Ghent, to
witness a performance on the chimes. “The carilloneur,” he says, “was literally at work, and
/hard work indeed it must be ; he was in his shirt, with the collar unbuttoned, and in a
D











































3 THE HISTORY OF THE ORGAN.
The annexed very curious engraving, showing an organist perform-
ing upon an instrument with broad keys, is copied from Franchinus
Gaffurius's Theorica Musica, printed at Milan in 1492.*
violent sweat. There are pedals communicating with the great bells, upon which, with his
feet, he played the base to several sprightly and rather difficult airs, performed with the two
hands upon the upper species of keys. These keys are projecting sticks, wide enough
asunder to be struck with violence and velocity by either of the two hands edgeways, without
the danger of hitting the neighbouring keys. The player had a thick leather covering for the
little finger of each hand, otherwise it would be impossible for him to support the pain which
the violence of the stroke necessary to be given to each key, in order to its being distinctly
heard throughout a very large town, requires.”—Present State of Music in Germany, the Mether-
lands, &c., 1775, vol. i., p. I4. An engraving of a carilloneur, performing in the exact
manner described by Burney, may be seen in the fourth book of Mersennus's Harmonie
Universelle: Paris, 1636.
* This engraving also occurs in the same author's De Harmonia Musicorum : Milan, 1518.
Mr. Wackerbarth, in his Music and the Anglo-Saxons (p. 8), says:– “Now it has been so
generally asserted by modern writers, though I know not on what authority, that the keys of
the organ were originally some inches wide, and played on, like carillons, with a blow of the
fist, that I dare not altogether reject, as untrue, so much concurring testimony.” It is pre-
sumed that the writer of this passage will accept the names of Dom Bedos, Praetorius, and
Gaffurius, as authorities, *

THE HISTORY OF THE ORGAN, , 35
7. The Bellows.
We cannot but wonder at the perseverance of our ancestors, when
we consider the various ineffectual efforts that were made from time
to time to improve the bellows. For centuries they remained in the
most imperfect state ; Sometimes twenty or more being necessary to
Supply the wind to a moderately sized organ. According to Wulstan,
in the passage before quoted, the organ at Winchester was provided
with twenty-six bellows. The great organ of the cathedral at Hal-
berstadt had twenty, and that of Magdeburg twenty-four small
bellows. They were fashioned in folds like the forge or smith's
bellows, and were not provided with weights as in our modern organs,
Our ancestors had no idea of proportioning the wind ; but its force
depended solely on the strength of the bellows-blowers. It is easy to
conceive that by this means the organ could never have been in tune;
because the wind was admitted unequally. Praetorius has left us a
singular representation of the ancient mode of blowing, which is here
copied from the Theatrum. /ustrumentorum, Wolfenbüttel, 1620.
-ºº
*-•
Hilis
Sº
ps
**
º
:
#3
iš.
Upon each bellows is fixed a wooden shoe; the men who work them
hang by their hands on a transverse bar, and each man, placing his
feet in the shoes of two bellows, alternately lowers one and raises the
other,

JD 2
36 THE HISTORY OF THE ORGAN.
We copy another Curious representation of an early bellows, which
is given by Mersennus, in his Harmonie Universel/e: folio; Paris,
1636. It shows that the /orizontal bellows, though only brought
into general use in the last century, was by no means a modern
invention.*
The bellows is here placed at the top of the organ, and worked by
a chain in the place of a feeder. Mersennus calls it bellows “à la
lanterne.”
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8. Suſ/osed Origin of the Mirture Stoºs.
Seidel, in the introduction to his work on the Organ, f has the
following passage:—“In the twelfth century the number of keys was
fncreased, and afterwards each note (or tone) multiplied by two, three,
* The horizontal bellows is an improvement upon the old one; as a column of air by this
machine is both supplied, and drawn at the same moment, by the action of a crank and other
appendages, instead of levers, &c.
f Z'he Organ and its Construction : a Systematic Hand-book for Choristers, Organists,
Schoolmasters, and Musical Students. 2nd edit. Breslau, 1844. An English translation of
this book was published by Ewer & Co., in 1852. -


































THE HISTORY OF THE ORGAN. - 37
or more pipes, tuned to the fifth or octave, or to the third and tenth.
By this alteration the organ became a mixture, and so remained until
the idea occurred of classifying the pipes, by which means this mixture
register received a separate slide.” Forkel, also, in his Geschichte der
Musié (part il., p. 368), says that, even in the oldest organs, the
mixture, as associated with * was introduced, not as a stop or
register, for there was nothing of the kind at that period, but as being
invariably united to each tone.”
Burneyt is inclined to ascribe the origin of harmony to this inven-
tion. His words are –“With respect to the term organium, as used by
musical writers of the middle ages for a voice part: if we could
imagine, when the first Organ was erected in churches and convents,
that each of them was furnished with such a stop as is now called the
Sesquialter, or any other compound stop, consisting of 4ths, 5ths, and
8ths; thus: § =#### &c., it might not only help to account
for the introduction of such strange harmony into the church as that
of Huchald, Odo, and Guido, but even give a probable reason for the
name by which it is called ; for, whether we supposed singers to
have imitated such sounds as every single Æey produced or such as
were produced by the fingers from different Áeys of the organ, it was
natural to call the part which was added to a plain-song organum,
and the art of producing it organizare.”:
Dr. Crotch S is of an exactly opposite opinion. He says:–“ The
method of accompanying the chants of the Christian Church by a suc-
Cession of fifths, octaves, or fourths, used in and before the eleventh
century, called organum, has been supposed to be the origin of har-
mony. The organ took its name from it; and the stops called cornet,
Sesquialtera, twelfth, tierce, principal, fifteenth, &c., are thought to
have been invented to facilitate the performance of this accompani-
ment. But if the effect of this accompaniment was similar to that of
the above stops of an organ,--if by being performed comparatively
* Forkel cites Sethus Calvisius and Michael Praetorius as his authorities,
+ Hist, of Music, vol. ii., p. 133.
† Organizare, according to Du Cange, is camere in moditin organi; and among his
authorities he gives the following definition from the Catholicon or Zexicon of John de Janua,
written in 1286: Organizare, Organo cantare ; }oer oil chanter en orgres, organiser ; “to play
or sing like the organ.”
§ Note in the second edition of Ælements of Musical Composition, 1833, p. 33,
| This could not have been the case, as these stops were not invented till the fifteenth
century, when the old organum had been discarded for something better,
38 THE HISTORY OF THE ORGAN.
soft, it only enriches the tone, without disturbing the melody, -then it
should not be considered as the origin of harmony, having no more to
do with it than the harmonies which constantly accompany the melody
of a single voice or instrument. The invention of harmony may be
said rather to have commenced when these fifths, fourths, and Octaves,
began to be avoided.” -
Kiesewetter, in his charming History of the Modern Music of
Western Europe,” has the following conclusions on the subject —
“But in what manner, then, the organum may nevertheless have been, and
really was, an imitation of the organ, and received its name from that instrument,
may thus be explained. The oldest organs, of exceedingly coarse manufacture—the
broad six-inch keys of which, separated from each other by a large Space, must
have been pressed down with the fists or elbows—were in truth as little adapted to
harmonic performances as to harmonic experiments ; these instruments may, not-
withstanding, have afforded the first opportunity of representing to our senses in a
permanently continuous manner the physical effects of the then admissible Con-.
sonances, at least in single unisons, by the pressing down and holding out at the
same time a second key ; moreover, the organ-‘thumper’ might, whether inten-
tionally or through awkwardness, have hit upon the idea of causing one key to
remain sounding, whilst the singers, to whom he had given the note, proceeded
with their melody above it, as in the bagpipes; or it might also have happened
that, at one time or another, he would accidentally, perhaps, press down the fifth to
the fundamental note, and thus have caused an agreeable Surprise by its pleasing
effect. With this, indeed, there might not as yet have been a proper harmony dis-
covered ; but effects would have been perceived calculated to produce, in Specula-
tive musicians, matter for reflection, and for hazarding other systems; the union
of different human voices, which now occurred to their thoughts, was an imitation,
not altogether happy perhaps, of that which in various instances they had dis-
covered with the organ ; and thus their diaphony, or polyphony, received the Some-
what appropriate name of Organum.” f
9. The First Monastic Orgaſus. .
In the thirteenth century the priests of the Greek and Roman
churches thought the use of organs in divine service Scandalous and
profane. They preferred rendering divine worship as simple as pos-
sible, in order to distinguish it from that of the Jews and Pagans.
Even to this day the Greek Church does not tolerate the use of
organs in their public services. Notwithstanding these opinions, the use
of organs and even other instruments became almost universal, not only
in great churches, but in those of monasteries, Convents, and Small
* Translated by Robert Muller. 8vo. 1848,
THE HISTORY OF THE ORGAN. 39
towns. The historians of this era celebrate several monks, dis-
tinguished for the art of playing on the organ, and for their general
musical abilities. For some time, however, organs were only used on
great feasts and Solemn Occasions; they were not used in the ordinary
celebration of the offices.”
The first monastic and conventual organs were very small, being
merely used to play the melody of the plain-song with the voices,
These organs were called rega/s.
10. The Rogal, or Portative
The term regal or rigol appears to have come from the Italian
zigabello. Sir Henry Spelman tells us “that in the church of St.
Raphael, at Venice, the figure of a certain musical instrument, called
a rigabello, was to be seen ; it was wont to be used in churches before
organs came into vogue. Another instrument, called turcello, suc-
ceeded the rigabello, the use of which was introduced at Venice by a
German.”f This passage clearly shows the word regal to be a cor-
ruption or contraction of rigadeſ/o.: ..
Musical writers have not explained the nature of the regal, which
was evidently to give out and Sustain the melody of the plain-song.
Carter, the well-known antiquary, calls it “a portable organ, having
* On particular occasions, the performance of a band of minstrels was added to the organ.
A/instrels’ galleries are often seen in the continental churches, but are rarely met with in this
country. There is a gallery of this sort over the altar-screen at Chichester Cathedral, and
another, much more remarkable, near the middle of the north side of Exeter Cathedral. It
is supported on thirteen pillars, between every two of which, in a niched recess, there is a
sculptured representation of an angel playing upon some musical instrument. Among these
are the cittern, bagpipe, harp, violin, pipe, tambourine, &c. The roof of Outwell Church,
Norfolk, and the minstrels' column at Beverley, also exhibit a great variety of musical instru-
ments anciently used in churches.
+ “In AEde Sancti Raphaelis Venetiis, instrumenti musici cujusdam forma extat, ei
nomen rigabello : cujus in ecclesiis usus fuerit ante organa illa pneumatica quae hodie usur-
pantur, Rigabello successit aliud quod Turcello dictum est, cujus Venetias usum induxit
homo Germanus.”—Sansovinus, Zescriº. Venečiarmum, lib. vi. -
# Skinner, the etymologist, upon the authority of an old English dictionary, conjectures
the word rigals or regals to signify a stringed instrument—namely, a clavichord. In
this mistake he has been followed by numerous writers. Walther is more particular in his
description of the regal; he makes it to be a reedwork in an organ, with metal and also wooden
pipes and bellows adapted to it, so contrived that it may be taken out and set upon a chest or
a table. He says that the name regal is frequently given to that stop in an Organ called the
Vox Humana ; and in this sense Mersennus uses it, in his A/armonie Onizerselle, liv. vi. ; /)es
Orgues, Prop. viii. See Walther's Musicalisches Zexicon, Leipsic, 1732. Cotgrave and
Florio write the word rigols and rigoles,
4O THE HISTORY OF THE ORGAN.
One row of pipes, giving the treble notes.”* A writer in Rees's
Encyclopedia says that “the regal, in all Roman Catholic countries,
is a portable organ used in processions, carried by one person, and
played upon by another.” This explanation is not quite accurate, as
the representations in early manuscripts invariably exhibit the
instrument carried and performed upon by the same person.
Snetzler, the celebrated organ-builder, remembered the regals in
use in Germany ;f and, until nearly the end of the last century, an
officer of the Royal Chapel at St. James's was styled “a tuner of the
regalls.”: -
In the accounts of the Weavers' Pageant, performed at Coventry
in the sixteenth century, we have the following entries:–
“I 554. Payd to James Hewet for hys reyggals, viijd.
“I 556. Payd to James Hewet for playing of his rego/s in the payggeant, viijd.”
The regals are mentioned in Edwards's play of Damon and
Pythias, 1571 ; and in Jacobo Peri's opera of Euridice, composed for
the royal nuptials of Mary de Medici with Henry IV. of France, in
the year 1600.
In the Household Book of the Princess Mary, afterwards Queen
Mary, Ś under the year 1538, we have the following entry —
“Item, payd for a payr of regalls, iiij. li. x S.”
And in an inventory of Henry the Eighth's Musical Instruments,
taken after his death, we read of “thirteen pair of single regalls,”
and “five pair of double regalls.” Double regalls were furnished with
two rows of keys.
Representations of regals of various kinds may be seen in the
Chronicon Nuremöergense, printed in 1493; and in Willemin's admir-
able work entitled Monuments Français inédits.
This instrument is also exhibited among the sculptures in the
cornice of St. John's Church, Cirencester; and on the crosier of
William of Wykeham, preserved in New College, Oxford.
* Genís. Mag, 1804, Part i., p. 328.
† See the Archaeologia, published by the Society of Antiquaries, vol. iii., p. 32.
† In 1767 Bernard Gates received a salary of £56, as “tuner of the regal/s ‘’ in the Royal
Chapel. The same gentleman, in 1770, is styled “tuner of the organs.”
§ Edited by Sir Frederick Madden. 8vo. 1831.
| See Sir Henry Ellis's Original Zetters illustrative of Ænglish Aſistory, Second Series,
Yol. i., p. 272.
THE HISTORY OF THE ORGAN. 4 I
The following early form of the regals is taken from Lucinius's
Musurgia, sett Pravis Musica: Strasburg, 1536.
The regals were also called portatives, from the Latin word portare,
“to carry.” The old poets frequently allude to them under this name.
Thus Gawin Douglas:–
“On Crowd, lute, harpe, with monie gudlie spring,
Schalmes, clariouns, Žortatives, heard I ring.”
Again, in the ancient romance of Clariodus and Meliades :—
“The dulcet playit also with Žortative,
Sad hewie myndis to make exultative.”
Also in the poem of the Houlaſe, written in 1450 —
“Clarions loud knellis,
Aozºaffzyńs and bellis.”
In the codici to the will of Richard Fitz-James, Bishop of
London, proved 22nd May, I 522,” is the following bequest:-
“Item, I will that my payre of £ortatives, being in my chapels in the palace of
London, mine organs, also being and Standing in my chapels within my three
manors of Fulham, Hadham, and Wykeham, shall there stand still and remain to
my successor, next Bishop of London, that they may be used there to the honour
and service of God.”
In a curious account of the moveables of certain abbeys, at the
dissolution of these establishments (dated 1538), f we read:—
“Item, sold an old payre of £oriałyſes organs to Mr. Besum, ijs.”
1 I. The Positive,
In contradistinction to the portative we have the positive organ;
from the Latin word poſiere, “to set down.” This instrument was
* 7&stamenta Vetusta, by Sir Harry Nicolas, vol. ii., p. 598.
+ Letters relating to the Suppression of the Montasteries, printed for the Camden Society,

42 THE HISTORY OF THE ORGAN.
provided with a key-board of full compass, and was, of Course,
played upon with both hands.”
In the series of wood-cuts known as the Triumphe de l'Empereur
Matiºniſian, drawn by Hans Burgmair, in 1516, and first printed at
Vienna in 1796, is an engraving of Paul Hofhaimer, organist to the
Emperor Maximilian, playing upon a positive organ. The instru-
ment is placed upon a table, an attendant blowing the bellows behind ;
the whole being drawn upon a car, which forms part of the procession.
In the descriptive letter-press which accompanies these plates it is
said —“In the car is a regal and a positif.; Paul Hofhaimer, master
organist, touches the last instrument.” The regal may be seen in the
same engraving, behind the organist.
The following figure of the positive organ is copied from Ambro-
sius Wilphlingseder's Erofeſſiața Musices Practica, Nuremberg, I 563.
The positif was afterwards added to the larger Organ. In our
musical dictionaries we find it thus explained—“Positif, the small
organ which is placed before the great one in all churches where there
* Sir John Hawkins says: —“It is true when we speak of the organ we are to understand
that there are two kinds of instrument distinguishable by that name; the one, for the smallness
of its size and simplicity of construction, called the fortative : the other, the positive, or
immoveable organ ; both of these are very accurately described by Ottomarus Luscinius, in
his Musurgia, printed in Strasburg, in I536. As to the first, its use was principally to assist
the voice in ascertaining the several sounds contained in the system, and occasionally to
facilitate the learning of any cantus. The other is that noble instrument, to the harmony
whereof the solemn choral Service has, ever since its invention, been sung, and which is now
degraded to the accompaniment of discordant voices, in the promiscuous performance of
metrical psalmody in parochial worship.”—//ist. of Music, vol. ii., p. 163. -
Sir John has entirely mistaken the nature of the positive organ, as will be seen by the
passages cited in the text. *
+ Luscinius speaks highly of Paul Hofhaimer. He says:–“He has received great honours
from the Emperor Maximilian, whom he delights as often as he plays upon the organ. Nor
is he more remarkable for skill in his profession than for the extensiveness of his genius and
the greatness of his mind. Rome owes not more to Romulus or Camillus, than the musical
world does to Paulus.”—Musurgia, 1536. Burgmair's engraving is evidently a good por.
trait of this eminent musician,

THE HISTORY OF THE ORGAN, 43
is an organ sufficiently large to be divided into two parts. The
organist is placed between the positif and great organ, if the claviers
or sets of keys are all attached to the great one, and of which the
lowest belongs to the positif.”
We here see the origin of the choir organ, which was the smaller
organ, called the positive, used in monastic times to accompany
the voices of the choir. Afterwards, when the organs were joined
together, and the organist took his seat between them (or rather in
a half-circle taken from the Small organ), the choir organ became
corrupted into the chair organ. It has now re-assumed its ancient
and original signification. -
I2. The Meaning of “a Pair of Organs.”
This seems the proper place to explain a term which has frequently
puzzled the enquirers after mediaeval remains; i.e., the common
expression of “a pair of organs.”
“It appears,” says Mr. Albert Way,; “that the usual term ‘a pair
of organs’ has reference to the double bellows, whereby continuous
sound was produced.” This, however, cannot be the case, as we often
meet with “a pair of virginals,” in which instrument wind was not
required. --
Douce, a high authority in these matters, tells us that a pair of
organs means an instrument “formed with a double row of pipes.”
This explanation is obviously erroneous, as the single regals, always
termed “a pair,” had but one row of pipes. The double regals,
mentioned in the curious inventory of Henry the Eighth's Musical
Instruments (before alluded to), had two rows of keys,
Nichols, the learned historian of Leicestershire, says:–“A pair of
organs was the term at that time, when there were two kinds of organs,
the one fixed and the other portable, adapted perhaps to the size of
the church and its revenues.” A recent writer," improving upon this
* Danneley's Musical Zncyclopedia, 1825—a work, notwithstanding some grave errors, of
much more merit than is generally assigned to it.
† In one of Matthew Locke's organ pieces, printed in his Aſeſofhesia, 1673, the “great
organ ” and the “chair organ ” are mentioned.
† Promptorium Parvulorum, published by the Camden Society, tom, ii, in v., Organo,
§ Cited by Mr. Way in the before-mentioned work.
| Illustrations of the Manners and Æxpenses of Ancient Złmies in Zngland, 4to. I797.
* A paper “On Organs in Churches,” by Arthur Ashpitel, in the Zhansactions of the British
Archæological Association, 1846, p. 289,
44 THE HISTORY OF THE ORGAN.
statement, adds:–“A payre of organs, consisting of two organs Con-
joined, with two sets of keys, one above the other: one Small and
called the choir, or more probably the chayre organ ; and the other the
great organ, built, as its name imports, on a large Scale, and used in
forfe passages.” This is by far the most erroneous explanation of the
term yet given. An organ with two rows of keys was anciently called
“a double organ.” Evelyn (July, 1654) speaks of his visit to Magdalen
College, Oxford, in the chapel of which “was still the double organ.”
Matthew Locke, in his Melothesia, 1673, has some pieces for the organ,
one of which (p. 82), written for “chaire organ” and “great organ,”
is described as “For a double organ.” When the organ with the rows
of keys became general, the term “pair of organs” went out of use.
Some authorities tell us that “a pair of organs” meant an organ
with two stops. But this could not have been the case ; as, in
Henry the Eighth's Household Book, we read of “a payer of
virginalls with four stoppes.”
The truth is that “a pair of organs” meant simply an organ with
more pipes than one. . Pepys, describing his visit to Hackney Church,
April 21, 1667, speaks of “a fair pair of organs,” and then refers in
the singular number to “it,” fully bearing out this explanation of the
term. Jonson, Heywood, and other of the older poets, always use
the term pair in the sense of an aggregate, and as synonymous with
set : thus we have “a pair of chessmen,” “a pair of beads,” “a pair of
cards,” “a pair of organs,” &c. When speaking of a ſlight of stairs,
we often say a pair of stairs. Therefore this ancient form of expres-
sion, although obsolete in most cases, is still in use at the present day.
13. The Improved Key-board, and the Juvention of the Pedal.
The monks and friars, those zealous guardians and preservers of
learning and the fine arts in the dark times of the Middle Ages, not
only took great interest in the building and adornments of their
* “A £air of cards, Nicholas, and a carpet to cover the table.”—A Woman Killed with
Áindness, Heywood. Printed before 1604,
“Have you ne'er a son at the groom porters to beg or borrow a pair oſ cards P”—Jonson's
Aſasque at Christmas. 1616.
“Go, get a fair of beads, and learn to pray, sir.”—A Wiſe for a Month. Fletcher.
I624. -
“Was there no talk of a fair fair of organs, a great gilt candlestick, and a pair of silver
Snuffers P”–4 Mad World, my Masters, Middleton, 1608,
THE HISTORY OF THE ORGAN. 45
churches and convents, but employed themselves in making improve-
ments in the art of organ-building.
In the course of the fourteenth century they set about improving
the clumsy clavier or key-board. In particular, they made neater
keys, increased their number both upwards and downwards, to the
extent of nearly three octaves, and so reduced their fall and breadth
that they no longer required to be struck down by the fist, but were
capable of being pressed down by the fingers, as in the Organ of
modern times.
In 1359 or 1361 Nicholas Faber, a priest, built the great organ in
the cathedral at Halberstadt. It had fourteen diatonic and eight
chromatic keys, the compass extending, on the key-board, from
Ref= to fix= The great B stood in front, was thirty-two
feet long, and three and a quarter inches (?) in diameter. According
to Praetorius,” who gives us this account, this organ had four claviers,
one being pedals for the feet, and twenty bellows, requiring ten men
to supply the wind.
This is the earliest authentic account of an organ provided with
the semitones of the scale. Dom Bedos, indeed, tells us that “half-
notes were invented at Venice in the twelfth century;” but, as his
statement is unsupported by proof, we prefer following the earlier
authority of Praetorius, who assigns their introduction to the middle
of the fourteenth century—a period more in accordance with what
we know respecting the progress of harmony in the Middle Ages.
Praetorius is, perhaps, wrong in fixing so early a date for the
invention of the pedal. The Halberstadt organ was probably
provided with this important addition by Gregorius Kleng, who
restored the instrument in 1494.
The invention of the pedal is commonly attributed to a German,
named Bernhard, organist to the Doge of Venice, between the years
1470–80;; but it was certainly anterior to this date. A writer in the
Leipsic Musical Gazette, 1836, states that, in the year 1818, a new
organ was erected in the church of Beeskow, four miles from Frank-
* Syntagma Musicum, vol. ii., p. 98.
ºf L’Art du Facture des Orgues.
# It is sometimes claimed for Albert Van Os, who is said to have built an organ for
St. Nicholas' Church, in Utrecht, in 1120, Traxdorf, in 1468, also (with more reason) has
his advocates for the invention,
46 THE HISTORY OF THE ORGAN.
fort-on-the-Oder; on which occasion the organ-builder, Marx (senior),
took some pains to ascertain the age of the old organ he had to
remove. On a careful investigation it appeared that the organ had
been built just four hundred years, the date of 1418 being engraved
on the upper side of the partition (kern) of the two principal pedal
pipes; for that these two pipes did belong to the pedal was clear from
their admeasurement. From this fact it may reasonably be concluded
that the pedal may have been in use towards the end of the fourteenth
century. Bernhard probably made some improvements in the pedal
board which tradition has associated with the invention.
Marinus Sanutus, a celebrated Venetian patrician, and a zealous
promoter of Christianity, caused, in 1312, an organ to be built for the
church of St. Raphael, in Venice.* This was the first organ erected
in that city. It was probably a large One, and the builder was a
German. Hence we see that the Germans, at this early time, had
acquired a considerable reputation for Organ-building, which had even
passed the limits of their fatherland; and it will be observed, in the
further progress of these pages, that the great improvements in this
instrument almost exclusively proceeded from these thoughtful people,
I4. Monastic Organs in England.
In England, as we have Seen, a large organ existed at Winchester
in the tenth century; and probably, even at this early period, other
cathedrals were supplied in a similar manner. Gervase, the monk, of
Canterbury, describing the burning of that cathedral in 1174, mentions
the destruction of the Organ ; but does not allude to it as if it were an
unusual thing in a church. The Organs of the abbeys of Malmes-
bury and Glastonbury we have already mentioned ; and, long before
the close of the fourteent/. Century, all our abbeys and churches were
plentifully supplied with instruments of this class.:
* This organ had so many admirers in Venice, that Marinus Sanutus received the honour-
able title of Zorcellus, organs being at that time called Zorcelli, in Italy.—Seidel.
If this organ was the first erected at Venice—and we have reason to believe the statement
—it is a sufficient refutation of Dom Bedos' story, that “half-notes were invented at Venice
in the twelfth century.”
i Gervas, Dorobern. apud decºm Scriſtores de încendio, &c. “Organa quae Supra
fornicem in australi cruce.”
† In Cotton MS. Nero, D. VII., in the British Museum, numerous curious particulars
are recorded respecting the use of organs in England; as at St. Albans, and Croyland,
where there were “organa Solemnia in introitu ecclesiae Superius situata,” as well as smaller
organs in the choir, *
THE HISTORY OF THE ORGAN. 47
Chaucer in his tale of the Cocá and the For, speaking of Chaun-
ticlere, the hero of the poem, says:–
“His vois was merrier than the merry organ,
On masse days that in the churches gon.”
Again, speaking of St. Cecilia, the same poet says:–
“And while that organs maden melodie,
To God alone thus in her heart sung she.”
In the fourteenth century it became the practice to place two
Organs in large churches; one large, the other small. The great
& e →--— £9—-
Organ was provided with two manuals, from ſº--→ to &=
— `
the upper manual forming the treble, the lower one the bass. This
arrangement, according to Seidel, suggested the invention of the
copula. The pipes of these instruments were always exposed ; and
such an organ (according to Fosbroke") was, and perhaps is now, at
Uley Church, in Gloucestershire. The organist was usually one of
the monks, when little more was required than to accompany the
plain-song or chant. Afterwards, as musical composition improved,
and more skill was required for its performance, lay Organists were
hired. †
* British Monachism : or, Manners and Customs of the Monks and Wuns of England,
'edit. I843, p. 204.
ºf In ancient times no distinct officer by the name of organist was appointed in churches
or colleges. This duty was subordinate, and appears to have been commonly preformed by
one of the clerks. In the statutes of Corpus Christi College, at Oxford, given in 1517, two
chapel clerks are established ; One of whom is also to be the organorum pulsator. The first
instance of the mention of an organ in any collegiate statutes occurs in those of Eton College,
made about the year 1440 ; where one of the four clerks who is appointed to instruct the
choristers is moreover ordered jubilare organis. Here also, for the first time, cantus
organicus is mentioned. In the new cathedral-foundations of Henry the Eighth, a master or
teacher of the singing boys is appointed ; and, besides, he is to be “cantandi, et organa
pulsandi, peritus.” At New College, Oxford, King's at Cambridge, and Winchester
College, in each of which are ample choirs, there is no provision by statute, not even for an
Informator Choristarum ; although such an officer occurs in the early rolls of New College.
At Magdalen College, Oxford, founded about the year 1459, there is also no mention of an
organist; but it is enjoined that one of the chaplains, or clerks, or some other skilful person,
shall educate the choristers in the plain-chant and pricked song. In the year I446 the abbot
and convent of Muchelney, in Somersetshire, granted a corrody of five marks, with seven
gallons of ale, and seven loaves, every week, and a gown and four loads of wood annually, to
Ralph Drake, cantor, or chanter, pro servicio nobis in illa Scientia musica ; and, on condition
that he attend the choir every day, and teach ſour boys, and one of the monks, or as
many as chose, to play on the organ,—See Warton's Zife of Sir T. Pope, Appendix, p. 425,
for further information,
48 THE HISTORY OF THE ORGAN.
The precentor's accounts of Ely Cathedral, for the year 1407, give
the earliest details of the “Expenses of making an Organ” with which
I am acquainted. Translated from the Latin they read as follows:–
S. d.
“2O Stones of lead . º e ge ë * * § . I6 9
4 White horses' hides for 4 pair of bellows. o & e 7 8
Ashen hoops for the bellows e 4
IO Pairs of hinges . tº g * & & g & & I IO
The Carpenter, 8 days making the bellows . © * 2 8
I2 Springs g 3
I Pound of glue . I
I Pound of tin 3
6 Calf skins . 2 6
I2 Sheep skins ę e * 2 4
2 Pounds of quicksilver * e • . • 2
Wire, nails, cloth, hoops, and Staples e & te § I
Fetching the organ-builder, and his board I 3 weeks . 4O
Total . tº . . A 3 17 8”
The small proportion of tin, and the large quantity of lead made
use of for the pipes, is remarkable. The quicksilver was probably used
to silver the latter ; or, perhaps, to Soften the other metals. It is to
be regretted that the maker's name is not given, but we may be sure
that he was a monk.
The Fabrick Rolls of York Minster are among the earliest and
most interesting documents of their class. Particulars of the “organs.”
commence as early as I 399, and in 1419 we have the following
entries:–
“For constructing two pair of bellows for the organ, 46s. 8d.
“For constructing the ribs of the bellows of the same organ, by John Couper,
I2(l.”
A representation of the instrument, of this date, is still existing in
York Cathedral, beneath the great niche Over the west window.
The organ is carved in the pediment, the pipes appear without a
case, and it has a single row of keys, on which an angel is playing
from a music-book held by two small boys or choristers below,
while another is behind blowing the organ with a pair of common
bellows. A similar device is carved over a door on the north wall of
the cathedral of Utrecht.
It is doubtful whether John Couper was the builder of the organ,
or merely the carpenter. The ambiguity of the scribe has perhaps
deprived this worthy of the honour of being the earliest English organ-
builder on record, * --
THE HISTORY OF THE ORGAN. 49
The next entry, in 1457, is more clear —
“To John Roose, brother of the order of Preaching Friars, who repaired and
restored the Organ at the altar of the B. V. M. in the Cathedral Church of the
City of York, and one pair of bellows for the same, 36s. 8d.”
Again, under date 1469, we have —
“To brother John for constructing two pair of bellows for the great organ, and
repairing of the same, I 5s. 2d.”
Both these entries undoubtedly relate to the same person; and to
Father John Roose must be awarded the distinction of being the first
English Organ-builder of whom we have any authentic account.
Other entries occur in the York records, where “organ menders”
are mentioned. In 1470 we have the name of George Gaunte ; and,
in 1473, of Richard Sowerby. But in 1485 we have the following
Specific and Curious entry —
“To John Hewe for repairing the organ at the altar of B. V. M. in the
Cathedral Church, and for carrying the same to the House of the Minorite
Brethren, and for bringing back the same to the Cathedral Church, 13s. 9d.”
This is the earliest instance I have found of a practice afterwards
common—that of one church lending another its organ.” Surely no
further proof need be required of the smal/uess of our cathedral
organs at the end of the fifteenth century.
But it was not uncommon before the Reformation for a cathedral
to possess several organs. The York records particularly mention the
Organ at the altar, and the large organ in the choir. It was the
smaller organ that was lent to the Minorite Brethren. There were
doubtless several other organs in the various chapels.
Davies, in his Ancient A'ites and Monuments of f/e Monastical and
Cathedral Church of Durham : 12mo, 1672,f has left us a curious pas-
sage concerning the organs of that monastery —
“There were,” says he, “three pair of organs belonging to the said quire, for
maintenance of God’s service, and the better celebrating thereof. One of the fairest
pair of the three stood over the quire door, only opened and play’d upon on prin-
cipal feasts, the pipes being all of most fine wood, and workmanship very fair,
partly gilt upon the inside, and the outside of the leaves and covers up to the top,
with branches, and flowers finely gilt, with the name of Jesus gilt with gold. There
* 1508. “For bringing the organs of the Abbey (Westminster) into the church, and
beryng them home agayne, iſ".”—Accounts of St. A/argaret's, Westminster.
+ Compiled from ancient MSS. before the dissolution of the monasteries. J. Davies, of
Kidwelly, was the editor. Another edition of this curious volume was printed, in 1733, with
Some additions,
E
5O THE HISTORY OF THE ORGAN,
were but two pair more of them in all England of the same making ; one in York,
and another in Paul's.
“Also there was a lantern of wood like unto a pulpit, standing and adjoining to
the wood-organs over the quire door, where they had wont to sing the nine lessons,
in the old time, on principal dayes, standing with their faces towards the high altar,
“The Second pair stood on the north side of the quire, being never play’d upon
but when the four doctors of the church were read—viz., Augustine, Ambrose,
Gregory, and Jerome, being a pair of fair large organs, called the Cryers. The
third pair were daily used at ordinary service.” -
In an inventory of the plate, jewels, ornaments, &c., belonging to
the late Priory of Ely, Cambridgeshire, we read of “two paer of
organs in the quyer,” and “a paer of organs in the Ladye Chaple.”
In the ancient Cathedral of Worcester, the chapel of St. Edmund
had a pair of organs; that of St. George, another pair; and in the
choir was the great organ. †
Some of the entries in ancient documents respecting the organ are
interesting, not only as showing its very general use in churches and
monastic establishments in the fifteenth and sixteenth centuries, but
also as exhibiting the progress—slow as it evidently was—of the art
of organ-building, whilst it remained in the hands of the monks.
In the churchwardens' accounts of St. Mary's, Sandwich, are the
following entries —
“I444. Ress" [Rec"] the bequeth of Thomas Boryner unto a
payre of Orgonys * & º * tº & iiij Ji.
— To Sir John'ſ for the amendyng of the organs . wº & xii d.
I462. To a Preyst for the amending of the organys . * © iiij d.
— To a Preist that playth at organys . tº o * & iiij d.
1463. To Sir John for hys playying at organys . § © vi s. viij d.
I496. Payd for mendyng of the lytell organys . e º iijs. iv. d.
– Item, for shepeskyn to mend the grete organyse . e iij d.
I 502. Paid for mending of the gret organ bellowis, and the
Small organ bellowis . e tº e & & e V d.
— Item, for a shepis skyn for both organys, and for trying of
the wax for the Paschall e º º & º & ij d.
I521. Payd Winsborough the Monke of Crists Churche [Canter-
bury] for mendyng the grete organys . * * iijs. iv. d.”$
* Bentham's History of Æly Cathedral, p. 225.
+ Storer's English Cathedrals, vol. iv.
# This person was a priest. Sir was formerly a designation of an inferior member of the
clergy. Bishop Percy says —“Within the limits of my own memory all Readers in Chapels
were called Sirs, and of old have been writ so ; whence, I suppose, such of the laity as
received the noble order of knighthood, being called Sirs too, for distinction sake, had
Æmight writ after them; which had been superfluous, if the title Sir had been peculiar to
them.”—See Boswell's Shakespeare, vol. viii. p. 8.
§ Some of these entries are printed in Boys' History of Sandwich, but without the dates.
They are here copied from the original transcripts now in the possession of his grandson,
THE HISTORY OF THE ORGAN. 5 I
In the accounts of Shipdam, Norfolk, is this entry –
“I 513. Payde to ye Clarke for mendynge ye orgaunys, and
he shall take charge of ye pypes and ye bellows ye
space of iſ yeres at hys Owne charge . e º & y $.”
Mr. Goddard Jonson, who quotés this extract in his Illustrations of
Ancient Manners, &c., during the 16th and 17th centuries, says, in a
note —“The Organs appear to have been a very considerable annual
charge upon the parish, as is shown by the various entries in the
books.” -
The Household Book of the Duke of Norfolk, an interesting
document of the fifteenth century, printed by the Roxburghe Club in
1844, has a valuable entry for our purpose. Under the date of 1482
we read —
“Item, the xxi day of March, my Lord payd Robert Borton of Stowmarket,
the organ-maker, for mendyng of organys, vijº
This person, from his being called “organ-maker of Stowmarket,”
was, in all probability, a professional builder, not a priest. This
Conjecture receives some confirmation from an entry that immediately
follows the one just given, where the person spoken of is styled
priest —
“Item, the same tyme my Lord toke Sir William Davyes, the pryst, to pay for
a lok [lock Pj to the orgyns, iiij”
Some very curious illustrations of the history of the organ in
the fifteenth century may be gleaned from old wills. It is not
curiosity merely that is gratified by these inquiries, but we receive
ample Scope for philosophical reflection in contemplating the customs,
habits, and superstitious bigotry, which prevailed at this distant era.
In the will of John Baret, of Bury, dated 1463, we have this
clause:–
“Item, I wille y eche man yº syngyit prykked songe on y” day of my enter-
ment at our ladyes messe had ij" and y” players at y' Orgenys ij", and eche
child it", and yt yei preyid [be begged] to dyner the same day.”
Lord John Beauchamp, who made his will in 1475, says:–
“My body to be buried in the church of the Dominican Friars at Worcester,
W. H. Rolfe, Esq., of Sandwich. [Mr. Rolfe died soon after the publication of the firs
edition of this book.]
" ;
*--
E 2
52 THE HISTORY OF THE ORGAN.
in a new chapel there now to be made on the north side of the quire, to which
house of friars, for my burial there I bequeath XX marks to be bestowed in Vest-
º }
ments and stuff, besides an organ of my own.”
I shall quote another piece of mortuary evidence, from the will of
John Baude, of Woolpett, dated 1501 –
“I wyll that the tenement named the Cok wº all the ptynaunce thereto belong-
ing, be solde by the hande of my executors, and the mony thereof comying, the
fyrst pº I will it be gwovyn to synge for me and all my benefactors by the term of
a hollyer, and the ijº p of the mony, as fast as y' may be receyuyd, I will ther be
bought one peyre of orgynys to the church of Wulpett.” -
In the churchwardens' accounts of Lambeth are the following
items :—
“1517. Paid to Sir William Argall for the organs . * e X J'
1568. Paid to Father Howet for his fee for keeping the organes
one yere e e g e * tº $ & is.”
The old accounts of St. Mary at Hill, London, contain, among
numerous interesting entries, several notices of the organ, i. e. --
“1519. For bringing the organs from St. Andrew's Church, against
St. Barnabas' eve, and carrying them back again . g v d.
1521. To the organ maker for a pair of new organs, and for
tº & * * : 7 )
bringing them home . gº º * ſº . x s. viijd.”
Again, in the old books of St. Andrew Hubbard, Eastcheap —
“I 504. Item, payd for mendyng of the Organs * viijd.
1506. Item, paid to John Smyth, organ plaier, for a quarter end-
ing at our Lady Day in Lent tº e & * ſº V S.
1568. Paid to Hewe [probably Howe, before mentioned), the
organ-maker, for the kepinge of our orgaynes, his fee,
for ij yeres . e {e * º lº ſº & & y $.”
As regards the prices paid for organs in ancient times we have
no very satisfactory information.
* These extracts from ancient wills are derived from Sir H. Nicolas' Testamenta Vetusta,
and the Bury Wills ; the latter printed for the Camden Society.
+ The churchwardens' accounts of Blechingley, Surrey, show that, in 1542, they bought a
pair of organs at Lingfield, for £1 5s. In 1545 Mr. Howe, organ-maker, was paid, with his
man, for mending them—five days, 6s. 8d. Meat and drink for him and his servant, during
the time, and for “sawder,” “lether,” “glewe,” “wyer,” and other things, 4s. This
person was also employed in attending to the organ of St. Helen's Church, Bishopsgate. Mr.
Burgon, in his Zife and Zimes of Sir Thomas Gresham (vol. ii., p. 466) says —“Father
Howe's fee for the organes for a whole yere was 2s.” Mr. W. B. Gilbert has discovered a
very curious document purporting to be “The Examination before Sir William Chester, Lord
Mayor of London, of Thomas Howe, of London, organ-maker.” He appears to have been
Suspected of Popery, and to have undergone, in consequence, a most rigid examination. I
regret that space will not allow me to print this most interesting record in the present work,
THE HISTORY OF THE ORGAN. 53
Whethamstede, abbot of St. Albans, about the year I 450, gave
to his church a pair of organs; for which, and their erection, he
expended the enormous sum, in those days, of fifty founds. No organ
in any monastery in England was comparable to this instrument,
for its size, tone, and workmanship.” About the year 1476 Thomas
Wyrcester, abbot of Hyde, near Winchester, gave eight marks and a
horse to purchase an organ for his church. “Octo Marcus et uſeum
cquu/z àonume pro mobis organis musicalibus.”f Organs were some-
times imported from the Continent, as appears from the Louth
accounts, about I 500. The price of a pair of Flemis/ organs, suitable
to be set up in the rood-loft of that noble church, was £13 6s. 8d.: &
Grey, Archdeacon of Berkshire, bequeathed £4, in 1521, to St. Mary's
Church at Oxford, “for a new payr of organs.”$ A new organ was
bought, in 1529, for the large and beautiful Church of Holbeach, in
Lincolnshire, for £3 6s. 8d. In 1536 the churchwardens of St.
Helen's, Abingdon, paid £8 for “a paire of organs.”" -
According to Dugdale an organ was erected in the church of
Sutton-Colfield, Warwickshire, by Vesey, Bishop of Exeter, in the
reign of Henry the Eighth, at the cost of £14 2s. 8d.”
“A fair payr of organs” was placed in the chapel of Trinity
College, Oxford, 1557, which, “with the carryage from London to
Oxford, cost £. IO.”ff
These instances could readily be multiplied ; but the present are
sufficient for my purpose.
* Chron. Iłżeſ/a/s/. per Hearne, vol. ii., p. 539.
+ MSS. Archiv. Wolves. apud Winton.
†: Archæologia, vol. X., p. 91. "I Nichols' Illustration of Æxpenses, &c., 1797.
§ Registr. Univ. Oxon., Archiv. A., 166. ** Dugdale's Warwickshire, p. 667.
| Stukely's /tin. Curios., p. 20. ºff Warton's Zife of Sir 7. Pope, p. 344.
(Ibiri (ºpoch.
THE FIRST ORGAN-IBUILDERS BY PROFESSION.
Gºmºsºmº-º-º:
15. Early German Builders.
ºHERE can be no doubt that many of the early organ-
§ º builders were ecclesiastics. Even down to a comparatively
*il late period, as we have seen by the foregoing extracts, the
latter continued to exercise a considerable influence Over the art.
It is very difficult to distinguish the first organ-builders by
profession from the priesthood ; but that such existed as early at least
as the fifteenth century there cannot be a question.
Albert Van Os, emphatically called “Albert the Great,” the
earliest known organ-builder, was certainly a priest ; SO were his
followers, Ulric Engelbrecht and Nicholas Faber. Van Os built the
organ of St. Nicholas' Church, Utrecht, in I I2O ; Engelbrecht, that
of Strasburg Cathedral, in 1260 ; and Faber, that of Halbertstadt,
in 1359 or 1361, before mentioned.
Heinrich Traxdorf, who built an organ at Nuremberg in 1455, and
another at St. Mary Magdalen, at Breslau, in 1466, was probably
a ſay/lan , but this is by no means certain. Erhart Smid, of
Peyssenberg, in Bavaria (whom Duke Ernest, in 1433, exempted
from every species of impost and contribution, on account of his skill
in Constructing organs), and Andrè, who built, in 1456, the organ of
St. Ægidea, at Brunswick, were cetainly lay-builders.
In 1475 Conrad Rosenburger, or Rothenburger, built an organ in
the church of the Barefooted Friars, at Nuremberg; and, in 1493,
a still larger one in the Cathedral of Bamberg. The organ in the
Cathedral at Erfurt was built, in 1483, by an artist of Breslau, named
Stephen Castendorfer, who also built, in 1490, an organ for St.
Ulrich's Church, at Augsburg, for 107 florins (68 18s. 4d.), The
great organ in the collegiate church of St. Blasius, at Brunswick,
was built, in 1499, by Henry Kranx. Praetorius celebrates Frederick

THE HISTORY OF THE ORGAN. 55
Krebs and Nicholas Muller as skilful organ-builders. Probably all
these eminent men were organ-builders by profession.
16. Early English Builders.
The Rev. Sir William Cope, in a brief but highly interesting
paper on “Early Organ-builders in England,” printed in the Paris/
Choir, was the first to bring forward the name of one William Wotton,
of Oxford, as “the earliest organ-builder in this country” of whom
any trace could be found. The writer, however, is constrained to
deprive Wotton of this honour, having produced several claimants
of an earlier date. . With regard to William Wotton an indenture
exists, which was made, in 1487, between R. Fitzjames, warden of
Merton College, and William Wotton, of the town of Oxford, by
which the latter undertakes to make a pair of organs like the organs
of the chapel of St. Mary Magdalen College, against the vigil of
Whitsunday, 1489, for the price of £28. The organ in Magdalen
Chapel had been set up by him not long before, as appears by an
entry in the Libri Computi of that college, for the years 1486-7, of a
payment to him of £13 in part for one pair of organs:–
“Sol. Willielmo Wotton, Orkyn-maker, pro uno pari organorum in parte, 4, 13.”
And, two or three years after, a further payment occurs to him for
repairs to this organ —
“I 488-9, Sol. Willo. Wotton, pro reparacione organorum, 40s.”
A very singular story in connection with this builder is told by
Anthony Wood, in his Annals, A.D. 1486. It is to the following
effect:—
“A certain poor priest of Oxford, named William Symonds, of the age of 28
years, having a youth of a Crafty wit and comely presence to his pupil, contrived
(in hope to raise himself to some great bishoprick), and brought it so to pass, that
the said youth should be vulgarly reported by certain noble persons, that bore good
will to the House of York, to be Edward, Earl of Warwick, son of the Duke of
Clarence (who before, as 'tis said, had secretly conveyed himself out of prison), to
the end that he might be king, and that the House of York might again flourish.
But the said Symonds, being discovered, was apprehended, and the Ioth Feb. con-
fessed in St. Paul’s Church, before divers bishops and nobles, as also the Lord
Mayor, aldermen, and sheriffs of London, that he, by flattery, had seduced the
son of a certain organ-/taker of the University of Oxford, and had caused him to
be sent into Ireland, where he was by many reputed to be the Earl of Warwick,
and that he was with the Lord Lovell at Furnsell. Upon which confession he
*g
56 THE HISTORY OF THE ORGAN.
was sent to the Tower, and afterwards (as some say) suffered as a traitor ; though
others not, but that he was only kept in close prison as long as he lived. Some
report that the said youth was named Lambert Symnell, and that he was a baker's
son in Oxford ; but the priest’s confession was the truest, viz., that he was the
son of an organ-maker of the University of Oxford. And who that should be
but one William Wotton I cannot tell, knowing very well, from various obscure
writs, that such an one, and nobody else, professed that art at that time in Oxford.”
Wotton's organ in Magdalen College was probably soon replaced
by another, or enlarged ; for, in 1509, a part-payment is entered for
“organs" to John Chamberlayne.
John Chamberlyn, or Chamberlayne, and Thomas Smyth, were
organ-builders, residing in London in the early part of the sixteenth
century. A payment to the latter, in 1514, is thus recorded in the
accounts of the churchwardens of St. Margaret's, Westminster —
“I 514. Item, paid to Thomas Smith, orgone-maker, for mendying of the grete
Orgones xl", and for the small orgones vs.”
An interesting document was discovered, in 1862, among the old
papers in the church chest of Allhallows', Barking, London, of which
a copy was kindly forwarded to me by the late Mr. George Corner,
F.S.A. It purports to be “An Indenture or Contract between the
Churchwardens of Allhallows, Barking, and Anthony Duddyngton
for the Organs, A.D. I 5 IQ,” and is as follows:–
“This endenture made the yere of oure lorde god m' vºxix. and in the moneth
of July xxix day. Witnesseth that Antony Duddyngton, Citezen of London,
Organ-Maker, hath made a full bargayn, condycionally, with Maister Will". Pet-
enson, Doctour in Divinite, Vicar of Alhalowe, Barkyng, Rob" Whytehed and John
Churche, Wardeyns of the same Churche, and Maisters of the Pisshe of Alhalowe,
Barkyng, next y” Tower of London, to make an instrument, that y” to Say a payer
of organs for the foresed churche, of dowble Ceſa-už that yº to say, xxvij. playne
keyes, and the pryncipale to conteyn the length of v foote, so folowing w” Bassys
called Diapason to the same, conteyning length of x foot or more : And to be dowble
pryncipalls thorowedut the seid instrument, so that the pyppes w” inforth shall
be as fyne metall and stuff as the utter [outer] parts, that is to say of pure Tyn, wº as
fewe stops as may be convenient. And the seid Antony to have ernest vi" xiii"
iiij". Also the foresaid Antony askyth v quarters of respytt, that y” to say, from
the fest of Seynt Mighell the Archaungell, next following to the feast of Seynt
Mighell the day twelvemonth following. And also undernethe this condicion, that
the foresaid Antony shall convey the belowes in the loft abowf in the said Quere of
Alhalowes, wº a pype to the Sond boarde. Also this p’mysed by the said Antony,
that yf the foresaid Maister, Doctour, Vicare, Churche Wardeyns, Maisters of the
p'isshe, be not content nor lyke not the seid instrument, that then they shall allowe
him for convaying of the bellows xlº for his cost of them, and to restore the rest of
the Truest ſtrust] agayn to the seid Maisters. And yf the said Antony decesse and
depart his naturall lyf win the forseid v quarters, that then hys wyff or hys exe-
&
THE HISTORY OF Tiſi, ORGAN. 57
the seid Vicare, and Churche Wardeyns, and Maisters of the said p'isshe wout
any delay. And yf they be content w" the seid instrument, to pay to the Seid
Antony fyfty poundes sterlinge. In Wittnesse whereof the said p’ties to these
endentures chaungeably have set their sealls. Geven the day and yere abovesaid.”
This contract was fulfilled, as the following receipt appended to
the document proves —
“M". Yº Anthony Duddyngtoune have Rec" of Harry Goderyk, Churche
Wardeyn of Barkyng the som of xxx" St., in p" of paym" of I" st., the which I shold
have for a payr of Orgens. In Wytnesse heyrof, I the foresaid Antony have sub-
Scrybed my name the xxij day of Mche, Aö xv° xx
“Be me, ANTONY DUDDYNGTON.”
The following remarks upon this early contract are from Mr.
Hopkins' most interesting and valuable lecture “On the Progress
of Organ-building in England,” delivered before the Members of
the College of Organists:— #
“Duddyngton's contract furnishes us with several interesting particulars : from
it we learn the important fact that the compass of the sixteenth century English
organ was ‘double C Fa-ut ;’ that is to say, it was of CC or 8 feet downward range,
and therefore corresponded in that respect precisely with the manual compass of
the English and Continental instruments of the present day. The expression ‘xxvij
playne keyes’ I take to mean that number of keys on a ‘plane’ or level —in com-
mon language, that number of so-called naturals, the requisite number of short keys
probably being understood. This would give the compass, if the Scale were
unbroken, as from CC to A3 in alt; and, if broken, that is to say, having the CC
pipes planted on the apparently EE key, a range Corresponding exactly with the
short octave CC four octave compass, still occasionally to be met with in some of
the old German organs. The Allhallows’ organ evidently had but one manual,
and the English organs of the period appear never to have had more ; the expres-
sion ‘payer of organs’ in Duddyngton's contract having no reference whatever to
the number of the manuals, but being used in a totally different sense.” No com-
plete specification is presented by the various old documents under consideration,
but the names of two stops are mentioned, and in a manner that clearly shows that
they were applied precisely as in the present day. Thus we find the word ‘pryn-
cipale' used to indicate the octave Sounding stop, and “ diapason to distinguish
the unison. The length of the stops—‘v foote' for the former, and ‘x foote or more'
for the latter—would allow for a foot to the pipes of one quarter the length of their
speaking parts or bodies. The ‘dowble pryncipalls thorowedut the seid Instru-
ment’ form a curious feature, and it becomes evident, on comparing several early
contracts, but of successive dates, that the duplication of the four feet stop was as
common and as favourite an arrangement in the sixteenth and seventeenth cen-
turies as was the repetition of the eight feet, or open diapason, in the latter part of
the eighteenth and first half of the nineteenth. With respect to the materials to be
employed, it is specified that the inside pipes shall be of ‘as fyne metall and stuff as
the outer parts, that is to say, of pure Tyn;’ and from the manner in which this
* Duddyngton's contract is alone sufficient to refute Mr. Ashpitel’s hypothesis, before
noticed, about the meaning of this term,
58 THE HISTORY OF THE ORGAN.
condition is worded, it would seem that pure tin for the front pipes of an organ
was at that time sufficiently understood, without its being distinctly mentioned in
the agreement; and, while it is interesting to note that the English organ-makers
of that period used such an excellent material, it must not be forgotten that the
value of that metal was then scarcely a tithe of what it now is.”
Nothing more is known of Anthony Duddyngton, “citizen of
London ;” but it is more than probable that many of the old City
organs, destroyed in the Great Fire, were of his construction.
William Lewes, organ-maker, was appointed in the year 1514
“keeper and tuner of the King's instruments,” for which he received
annually the sum of IOO shillings. &
In the list of Henry the Eight's Musical Establishment we find,
under the year 1526, the name of “John de John, organ-maker.”
Again, in the King's Household Book, we have this entry:-
“May, I 531. Item, the 2d daye, paid to Sir John, the organ-maker, in
rewarde, by the king's commandement . . . . . . Xls.”
This person, who was a priest, was succeeded in the royal
establishment by William Beton, or Betun, an organ-builder of some
pretensions—if we may judge from the fact of his having built the
organ for the old Cathedral of St. Paul, destroyed in the Great Fire
of I666.
In Rymer's (Faedera Pro Capitoſ; Organisła Regis) is a grant of
362O Sterling per annum to William Betun, bearing date 1537; which
annual stipend he appears to have received until the year 1544.
He was retained in the royal service by Edward the Sixth and Mary.
In the list of the musical establishment of the former we find —
| William Beton, organ Maker.
“Makers of Instruments - - - -
' ' William Tresorer, Regal Maker.”f
An eminent English builder of this period was named Wyght, or
White. Entries of payments to him for work done to the organ of
* It is not known what was the ultimate ſate of this organ, but it seems likely that it was
sold for the value of the old metal—“the pure tyn "mentioned in the contract—during the
reign of fanaticism in the century following. This seems the more likely, as the church was
without an organ in 1675, when it was resolved at a vestry meeting to erect “an organ of
convenient size and loudness for the due celebration of the psalmody of the church.”
According to this resolution money was collected, and arrangements entered into with
Renatus Harris, who erected the present organ.
+ There is an exceedingly curious licence preserved in the Cottonian MS. Galba C, II.,
ſol. 253, from which it appears that “WILLIAM TREASORER, a maker of musical instrus
ments, his heirs and assigns,” had letters patent for eight years, from King Philip and Queen
THE HISTORY OF THE ORGAN. 59
Magdalen College Chapel, Oxford, occur in the old account books,
from I53 I to 1545. One of them runs thus:—
“I 531, Magistro White, organorum factore, pro reparat, duorum par organorum
in choro.”
From the title, Magister, here given him, it has been conjectured,
with every appearance of probability, that he was the same person as
Robert White, a well-known church composer, who may have united
the art of constructing organs with his higher musical pursuits.”
Possibly, an entry in the old parish accounts of St. Andrew's,
Holborn, may have some reference to this builder —
“I 553. The parishe gave young Whyte A5 for y” great orgaynes which his
father made for ye churche.”
}
John Vaucks, “orgayn-master,” as he is termed, is another new
name in the annals of organ-building. He was employed, in 1533,
to set up a new “pair of organs” in the rood loſt of Wimborne
Minster, for which he was paid by the contributions of the parish ;
and his work appears to have lasted till the Great Rebellion, which
brought it to an untimely end. In the year 1643, among entries
for glazing the windows and new covering the roofs with lead
(measures often found necessary after a visit of the Parliamentary
forces), we find the following —“Paid for Some of the organ-pipes,
6d.” Here, then, is the fate of John Vaucks' handiwork, after a
century of use : its pipes scattered about the streets, or stolen for
the sake of the metal, and the trouble of those who brought some of
them back valued at Sixpence. A considerable quantity of materials
must, however, have been left, since, in the year following, the church-
wardens sold off more than 140 lbs. of old tin—no doubt supplied by
the organ pipes.f
Mary, dated July the IIth, in the first year of their reign, to provide and buy within the
realm of England, in any place or places, one hundred thousand lasts of ashes, and four
hundred thousand dozens of old worn shoes, and export the same to foreign parts.” Queen
Elizabeth, on the 13th March, in the Second year of her reign, confirmed the same for an
additional term of twelve years, Treasorer, as a consideration for the renewed patent,
“having devised and given to the Queen a new Instrument Musicall, sending forth the sound
of Flutes and Recorders; and likewise promised and took upon him, at his labour, cost, and
charges, to repair and amend before the feast of St. Michael next ensuing the great organs in
the Queen's chapel at Greenwich.”—Ellis's Original Zetters, second series, vol. iii., p. 202.
* Sir William Cope’s paper, before mentioned. I am also indebted to the same authority
for the curious notices concerning Broughe and Chappington.
t I am indebted for these curious notices of John Vaucks, &c., to a Z/istory of Wimborne
A/inster, published by Bell & Daldy, 1860, 8vo.
6O THE HISTORY OF THE ORGAN.
To return again to Oxford. In 1520 one Barbye was employed
in repairing the “little orgayns” in the chapel of Magdalen College;
but nothing seems to be known of him. We have also the names of
John Hanson and John Schowt, shortly afterwards. They were
probably all three local builders of no great note. The latter, from
the Spelling of his name, was probably a German.
The name of Richard Beynton, and the thoroughly English one of
Thomas Browne, occur in old accounts as “mendyng,” and otherwise
restoring organs, about the middle of the sixteenth century.”
A little later we have a builder of the name of Broughe, who
appears to have set up a new organ at St. Margaret's, Westminster,
thus noticed in the churchwardens' accounts there —
“I 590, payde to Mr. Broughe, for changeing of our organs for a payre of
his, viiji”
An organ-builder flourished at the close of the sixteenth century,
who, though his name is now forgotten, seems to have been exten-
sively employed in his day—John Chappington. He appears to have
built an organ for Westminster Abbey about 1596; at least we find
him in this year (according to the following memorandum) selling
the old organ of that collegiate church to the churchwardens of St.
Margaret's –
the old organs do remayne in the parish church to be sold by the churchwardens.”
The latter part of the entry possibly relates to the organ built
by Broughe six years previously. In the following year a further
payment was made “to Chappington for the organs, lxvi. viii"
One organ, at least, of Chappington's remains to this day—viz.,
that which he built, in 1597, for Magdalen College, Oxford ; and
of the payment of which the following memorandum exists in the
Libri Computi of that Society —
“Impensae pro organis Mro. Chapington . ſº . xxxv /, xii; S. viii d.
Pro color. et deaurat, eaclem . g º e * § & ij/, ijs,
Pro wainscot circa eaden. . & e & g $ . iij Z, xiv. s.”
At the beginning of the following century there was an organ-
builder living in London, named Gibbs. Alleyn, the founder of
* In the old accounts of King's College, Cambridge, as early as 1508, we find Thomáš
Browne receiving xxxiijs, iv." ; “in partem solutionis viii librarum pro factura magnorum
organorum,” This may be the builder mentioned in the text,
THE HISTORY OF THE ORGAN. 6 I
Dulwich College, records in his diary, under the date April 27,
F618 –“Bought a pair of organes of Mr. Gibbs, of Powles, £8 2S, ;”
which organs were put up in the College chapel.”
We may mention two other builders of the seventeenth century
whose names have recently come to light —Thomas Hamlyn, who
enlarged “the new organ at St. James's,” in 1613; and Adam Fortess,
who built an organ for St. George's Chapel, Windsor, in 1635, For
the latter he received £140.
17. Local English Builders.
Organs were not mute in our country parish churches during the
sixteenth century, and constant mention of them is to be found in
old accounts.
Among the builders whose fame appears to have been purely
of a local character, and who have entirely escaped notice, was one
Robartt, who lived at Crewkerne about the time of the Reformation.
He was an “orgyn-maker,” who let out organs to churches by the
year. Probably this might have been a prevailing practice, but this
is the only instance I have met with of it at an early date.
According to a notice preserved in Mr. G. Roberts' Social History
of the People of the Southern Counties of England, this maker was
paid by John Hassard, Mayor of Lyme Regis, I 551, “his year's
rent, IOS.”
Robartt's instrument seems to have been in the hands of an adept
whose services were appreciated, as we learn from the following
entry —
“1552. The Mayor and his brethren grant to John Coke £5 yearly in
consideration of the good service that he hath performed in the church of King's
Lyme, from time to time, in singing and playing at Organs, and which the said
John Coke was to continue during his life, in the best manner he could, as God
had endued him to do.”
There was an organ in the parish church of Doncaster prior to
the magnificent instrument destroyed in the fire; for, according to
the churchwardens' accounts of I 569, Mr. Fenton was paid “I 3° 44.
* See the European Magazine for June, 1792, p. 192; and Collier's Memoirs of Alleyn,
p. I57. From the latter it appears that, a year afterwards, Alleyn had “a diapason stop "
put to the organ by a person of the name of Barett, and “other alterations.”
+ 1856, 8vo, p. 233,
62 THE HISTORY OF THE ORGAN,
for an organe case.” The parish registers of this church, under
the date of July 26th, 1567, record the burial of James Dempsey,
“organe-maker.” It was in the establishment of this worthy, in all
probability, that the first Doncaster organ was made,
18. Englis/. Builders in the Seventeenth Century.
Among the eminent English organ-builders who belong to the
Seventeenth century are the names of Preston, of York; Thamar, of
Peterborough ; Robert Hayward, of Bath ; Loosemore, of Exeter ;
and the Dallans, or Dallams, of London.
Of the two first, no particulars, further than their mere names,
appear to have come down to us. Of the third our information is
not much more.
In the year 1663 a rate was made and levied at Wimborne,
Dorsetshire, amounting to £253 I 3s. 8d., towards the repairs of the
fine Minster Church in that town, and for buying a new organ ; and
an agreement was entered into with a provincial builder, Robert
Haywood, of Bath, “whose work,” remarks Mr. Hopkins “(if it was
really his), which remains to the present day, proves that in skill he
was not a whit behind others of his countrymen, whose productions
are more numerous and better known.”
The instrument was set up in the following year (1664), the price
being £180. When it was finished, two distinguished musicians, Mr.
Tomkins and Mr. Silver, from Salisbury, were sent for to “prove the
organ, whether it was sufficient according to Our Covenants,” and
received £5 for their trouble.”
John Loosemore constructed the organ in the cathedral of his
native city, Exeter, shortly after the restoration of Charles II.f
This instrument is pointed out as worthy of especial notice on
account of its double diapason. The Hon. Roger North, in the
Life of the Lord Keeper Guilford (mentioning his brother's visit to
Exeter), adds — w"
“His lordship, agreeably to his great mastership of musick, took great notice
of the organ in the Cathedral church of Exeter, where the two side columns that
carry the tower are lined with organ pipes, and are as columns themselves. His
* History of Wimborne Minster.
ºf On the outside of the instrument is this inscription —“John Loosemore made this
Organ, 1665.” Henry Loosemore, M.B., organist of King's College, Cambridge (afterwards
of Exeter Cathedral), and George Loosemore, M.B., organist of Trinity College, Cambridge,
were brothers to our organ-builder.
THE HISTORY OF THE ORGAN. 63
lordship desired the dimensions of the great double diapason ; and the account,
as returned, is thus :—
“Speaking part, long . e * º * 20 feet 6 inc,
NOSe wº e & e ſº * * 4. O
Circumference . e g & * * 3 I I
Diameter . e iº º § * & I 3
Contents of the speaking part . * we 3 hogs, 8 gall.
Weight . * te º e e . 360 lbs.”
“This is heard plainer at a distance than when near, as also louder; and
behind that, and the other large doubles, are placed large wooden pipes to help
them into their sound, which otherwise would come on very slow, or perhaps not at
all. One, being near enough, may, by the touch of the hand, discern when it
speaks, and when not. How it is tuned, whether by measure or the beats, we were
not informed ; and, bating their account of it, which was curious and diverting
enough, I could not be so happy to perceive that, in the musick, they signified any
thing at all, but thought them made more for Ostentation than for use ; for there
are terms in sound which will not be exceeded ; for, when the vibratory pulses are
so slow as scarcely to be distinguished, Sound vanisheth ; which is nearly the case
with this great pipe.”
In the Choristers' Singing School, attached to the cathedral, is
a small instrument of the same maker. Its stops, which are all of
wood, are as follows:–
Twelfth.
Stopped Diapason.
Open Diapason. Fifteenth.
Principal. Flute,
The compass is CC (short octaves) to C in alt.
The following agreement between LOOSemore and a customer is
not devoid of interest — -
“February the 1st, 1665. Then made a bargain wº Sº Gº". Trevilyan, for an
organ w” these stops in it, as follows:–
One Diapason © tº º
One Flute * † it ! º
h WO OC!.
One Recorde • * * * \ these in wood
One Fifteenth . . . . . •:
One Principall * & tº l
One Flagilett e tº 9 these in mettle.
One Trumpett tº º
One Shaking Stopp & & gº \
And for this organ I am to have one hundred pound, 20l. whereof at the 25th day
of March next, and fourescore residue thereof when the work is finished.
“JoHN LOOSEMORE.”f
* Zives of the AVorths, vol. i., p. 246.
t See the preface to A Short Account of Organs built in Angland from the Reign of King
Charles the Second to the Present Zime. Lond., J. Masters, 1847. 8vo. The work is pub-
lished anonymously, but the author is understood to be Mr. Sutton, of Jesus College, Cam-
bridge.
64 THE HISTORY OF THE ORGAN,
This builder died on the 8th of April, 1681, aged 68.*
The accounts of King's College, Cambridge, at the beginning of
the Seventeenth century, introduce to our notice an organ-builder
named Dallam, whose existence escaped my researches when collect-
ing the materials for the first edition of the History of the Organ.
I was then enabled to show, for the first time, that there were three
contemporary builders of the same name —Dallam, or Dalham—
namely, Robert, who built organs for York Minster, the Music School,
and New College, Oxford ; Ralph, who was employed at St. George's
Chapel, Windsor, at Rugby, Lynn Regis, and Greenwich ; and
George Dalham, who is mentioned in 1672 as “that excellent organ-
maker dwelling in Purple Lane, next door to the Crooked Billet.”
But the builder employed at King's College, Cambridge, in 1606, was
clearly older than the three just mentioned, who may in all likelihood
have been his sons, following their father's profession. -
The accounts just mentioned purport to be “The charges about
the organs, &c., from the 22nd of June, 1605, to the 7th of August,
1606.” They are so highly interesting that I shall quote them in
er/C/2SO –
“Imprimis payd to Mr. Dallam for his journey from London to
Cambridge before he took the woork in hand & e * > ë XV S.
Item for his and his menes charges of their journey coming downe
to work . * e e e ë e te & & g & X S.
Item for a thowsand six hundred of tynn at 3" 12" le C . tº . lvij li. xijs.
Item for ebony for the kayes [sic]. & e e * º * . iij S. iiijd.
Item for boxe tº e tº g & * gº & º & & xijd.
Item for vij dozen of leather, unde iij dozen ad 6° le dozº and 4 dozen
ad vijº le dozen © e sº xlv.js.
Item for Sodering coller and cyse & e e t º te e XXX S.
Item for vii. of white wyer ad Io" le" . tº o º & $ . iiij S. iſ d.
Item for viii. of yeollowe wyer ad 18" le" . º * º & & X s. v.jd.
Item for Ashe woodd . e © § & g & & * & xijd.
Item for xxij" of tyn glasse ad 3° le" . º * e * e ... iij Zi, vi s.
Item for viij dozen of glewe at 4* 6", le doz & e & e º xxxvi S.
Item for canves to put the glewe in . e © ſº º iº e xviijd.
Item for a hamper to carry things in and corde to bynd yt * e ijs.
Item for more corde to bynd up other things . ſº ſº * e x d’.
Item for packthred to bynd the pypes * & º & * & ij 3.
Item for nayles of divers kyndes . a . e. & g tº e * X S.
* The following inscription is on his gravestone in the transept of Exeter Cathedral, near
the south aisle of the choir –“ Hic jacet spe Resurrectionis JOHANNES LOOSMORE [sic],
quondam Decano et Capitulo hujus Ecclesiæ Curator fidelissimus; et inter Artifices sui
Generis facile Princeps. Sit Organum hoc angustum prope situm perpetuum ipsius Artis et
Ingenii Monumentum. Obiit 89 Aprilis An, 1681. AEta, suæ 68.”
THE HISTORY OF THE ORGAN.
65
Item for carriage of the premisses being bought in divers places of
the Citie togeather with Mr. Dallam his Tooles . e e
Item to Walston Cruis for his paynes in seeing the things bought and
packed to be sent to Camb. . º -
Item for flannell clothe to laye under the kayes .
Item for fustian to cast the mettell upport
Item for preston clothe for the same use
Item for chalke to lay upon the fustian
Item for brasse for the shaking stoppe
Item for a pan to make fyer in to remove
Item for flaxe to glewe in the Conditts . © e
Item for carriage of the tyn from London at 24, 6", le C
iiijs.
iiijs.
xijd.
X S.
vj S.
iiijd.
iiij S.
e vj d.
* . " vj d.
xl S.
Item for carriage of the hamper, Mr. Dallam's tooles, and other things
from London at dyvers tymes
Item for xx leaves of waynskott reddy sawn
Item to a Joyner for helping Mr. Dallam in his work.
Item for planks for benches, &c. º & º & *
Item for viii double quarters for frames for the said benches
Item for bords for boxes, &c, º º e
Item for popler to make the Maldrells, &ce.
m for turning of the Maldrells p º e ſº
Item for planke about the sound borde . º
Item for a C of planks for the bellowes º º
Item for Quarters to lyfte up the bellowes and other uses
Item for studds to make Claves [keys] . . . .
Item for Joysts to lay over the bellowes and other uses
Item for coxl foote of Inche board
Item for xiiij sparres of 12 foot long . . & p
Item for viij peeces tymber of 8 foote and ij of IO foote
Item for 4 planks of 16 foote long and 2 inches di. thicke .
Item for three peeces of II foote long and 2 of 9 foote di. ,
Item for 83 foote of halfe ynche board to cover the organ .
Item for studes . e º º e º e e
Item for 44 foote of ynche board and a piller of 7 foote
Item for the carriage of this tymber at dyvers tymes
Item for the mattes to sett the greate pypes on in the Vestrie
Item payd to the Carpenter for the frame of tymber whereon the
Organs . º
Item to Chapman the Joyner for 82 yards of waynscott about the
Sayd frame at vº. the yard . ſº & & 0. º o
Item for clxiii waynScotts bought unsawen for the case & wooddon
pypes of the organs, unde 60 ad 3' 8", 38 ad 4* 6", 23 ad
5*, 40 ad 5* 3", and 2 ad 6% in toto © º
Item payd for Sawing the Sayd waynScotts .
Item for carriage of them
Item for vi C of Lead at Ios, le C.
Item for casting of yt . a tº
Item for Sande & wood used about it e o e º
Item payd to the Smithe for Iron worke ut patet . º ſe º
Item geven to one that went for the Joyner and bringing of his
Tooles
Item for the Joyner and his menes supper at their coming .
XV $.
XX S.
iiijs.
xiiijs.
iiijs.
ijs.
xiij S.
viijs.
ijs. v.jd.
XXjs.
XXXjs.
vj s.
viijs.
xxiijs. iv. d.
xiiijs.
X s. v.jd.
v S. iiij d.
iiij s. v. d.
iijs. iiijd.
viijd.
iiijs. iiij d.
iij 5.
viijd.
xvj Ji.
XX /i. X s.
xxxvi Z. viiijs.
vi /7, ix s.
vijs.
iij/i.
X S.
e iiijs.
vij/i, vijs, iij d.
viijs.
xijd.
|F
66 THE HISTORY OF THE ORGAN.
Item paid for a grindlestone and hanging yt
Item paper and oyle for the Joyners windowes e º
Item for nayles &ce taken by Mr. Dallam & y” Joyner at the
Chandlers, ut patet e e g tº e & & g
Item payd to Hartop the Joyner for wages for him & his men
for Io monethes ad 18” le weeke . ſº © e * e
Item geven to him at his departure in regards above his Sayd wages
Item in regard to his men . º * & • 6 tº s
Item payd for a horse to carrye back his tooles . e e º
Item payd to Mr. Dallam the Organmaker, for his wages and his
menes for lyiij weekes di. viz. from the 22" of June, 1605,
untill the 7th of August, 1606, ad 30% le weeke - e
Item payd for the hyer of bedding for him and his men the first
quarter . e & º
Item for the hyer of bedding for his men 3 qts, di, more ad 6° le
Quarter . . . e tº © & & & & & e
Item payd for Mr. Dallams owne lodging the said 3 q^ters di, at
Brownings, Sampsons, and Knöckells . & o e s
Item payd for his washing and his menes all the 58 weeks of his
aboade . º º º
Item payd for his owne and his menes frydays and fasting night
suppers at 12* a supper being in all 87 nights tº
Item payd for his hoshier and charges of him and his men at
their departure up to London º º e &
Item for recarriage of his tooles &c, being iiii" wayght
Item payd to the Carver for the King's Armes standing upon the
chayre organ . e g º º e º & ſº s
Item to him for the Scutchins of this College and Eton
Armes . & o & d º © º 0. tº *
Item to him for 2 figures or pictures that stand in the greate
Organ . & e º e º e
Item payd for ix" of leaf gould at 7s 6", le C e e º e
Item payd to Knockle the Limber for laying the sayd gould &ce.
upon the pypes, Armes and scutchins of the Chayre Organ .
Item payd to him for imbossing and strawing with bice the 2
greater pypes of the chayre organ . e © e º o
Item to him for embossing and strawing with byce the 2 lesser
pypes of the Sayd organ. o e e º • * s
Item to him for gould and gilding the crownes of the sayd organ
Item to him for the pastboard and byce strawed under the cut-
woorke about the sayd organ & frame e & e
Item payd to him for the 2 lesser pypes in the great organ im-
bossed & Strawed with byce & for 12 wrought pypes gilded .
Item for iiij pypes paynting with venice lake, &ce e &
Item to him for gould & gilding 24 Small pypes in the sayd Organ
Item to him for Strawing with byce &ce & for gilding the em-
bosses on the greate pype in the middle tower © t
Item to him for Strawing with byce and gilding the imbosses on
the 2 greate pypes of the owtter towers e º º
Item payd for dyvers of the imbosses used upon the pypes in the
litle and greate Organs e º º
Item for mowlds to cast the rest of the imbosses ,
iijs.
ix d.
xl S. iiij d.
xxxvi Z.
XXijs.
iijs. iiijd.
vj S.
lxxxvij li, XV $.
xijs.
XXjs.
XX S.
XXV S.
iiij '7, vijs,
X S.
X S.
iijli,
XXX S.
XXX S.
iij li: vijs, vi d.
iiij li.
XXVj S. viijd.
X S.
xxvi s. viij d.
XX S.
vj li. X s.
xlviijs.
Xl S.
XXVjS. viijd.
iiij li.
xiiijs.
X 5.
THE HISTORY OF THE ORGAN. 67
Item payd more to Knockle for paynting &ce of the sixe fayre
great pypes ad 50° a pype . º & e & sº & xv. li.
Item to him for gilding the round towars of the sd Organ . e iij li.
Item to him for gilding the finishing or square towars of the same
Organ . e & • . & tº º & * & iiij li.
Item to him for gilding the 2 starres . tº º ſº te ſº ijs.
Item for gilding and colloring the bracketts. * tº tº & a X J.
Item for colloring the 2 picktures or figures in the sayd organ . xiijs. iv. d.
Item to him for pastbord & byce strawed under the cut-woorke
On the Sayd organ . XXXij 3. iijd.
Sm" total . ccclxxi ſi. xvij S. ja.
Item more Mr. Dallams mens dyett in the hall . © º xiij /č, vi s. viijd.
Item bread and beer by Mr. Dallam the Joyner and their men
for the whole tyme esteemyd at . te © * e & v /.
Item fyering in charcoale about 5 load with candells . & e vi /.”
There is something very primitive in this picture of the old organ-
builder closing his workshop in London, and removing his whole
“establistment,” to Cambridge, to execute an order.
Dallam and his men were lodged in the town, but boarded in the
College hall. From the item for suppers on Fridays and fasting
nights, it appears they were not satisfied with the meagre fare there
provided, but required extra dishes for their maintenance.
The whole of the materials used appear to have been bought in
the rough, and made up on the spot; the metal purchased for the
pipes, presuming that all the lead was used for that purpose, would
be in the proportion of 16 to 6, or rather less than three-fourths tin.
This was the composition of the original pipes of the Temple organ
built by Father Smith. *
No specification is extant from which any information may be
obtained as to the compass and power of the instrument; the only
stop mentioned in the account is the shaking stop, for which a special
material was required ; it was the original of the modern tremulant,
and occurs in the specification for an Organ given by John Loosemore,
of Exeter, in 1665, already quoted. It is not found in later specifica-
tions, and went out of use Owing to the noise it made in action,
Occasioned by its faulty construction.
The total cost of the organ and case was about £370; the outlay
upon the organ, so far as the items may now be divided, amounting
to £214, and that upon the case to £156.”
* I derive my information about the old King's College Organ from a paper in the
Ecclesiologist, by the Rev. J. Brooklebank,
F 2
68 THE HISTORY OF THE ORGAN.
The name of Dallam still occurs in the College accounts after the
completion of the organ. In 1607 he was paid xxxv for tuning the
organ, besides xxxvi received by the sale of the surplus tin,
which had been purchased for the pipes; in 1617, £IO, and, in
1638, 422, were paid to him for repairs. His name occurs for the
last time in 1641. In no case is a Christian name given."
The fate of Dallam's organ is soon told. The Commissioners sent
down to Cambridge by the Long Parliament ordered the organ in the
chapel to be removed ; and, in compliance with their edict, the pipes
were taken out and sold. The case, with some alterations, remains to
this day.
In 1613 Thomas Dalham, undoubtedly the builder just noticed,
was employed to build an organ for Worcester Cathedral. The
following extract is from the archives of the Dean and Chapter of
that ecclesiastical establishment —
“A.D. 1613. All the materials and workmanship of the new double organ in the
Cathedral church of Worcester to Thomas Dallam, organ-maker, came to £2 II.”
This entry is valuable as giving us the Christian name of this hitherto
unknown builder. *
Robert Dallam was born at Lancaster in 1602, and died in 1665 :
he was buried in the cloisters of New College, Oxford.'t
In the recently printed calendars of the State Papers is noticed
“A Bill of Robert Dallam for work done for my Lordes Grace of
Canterburie, his Orgayne, A.D. 1635 ; ” and an interesting notice of
* In the books of Magdalen College, Oxford, between the dates 1615 and 1637, several
entries occur of payments to one Dalham for repairs to the organ. Dr. Bloxam, in his inter-
esting account of the College Chapel, believes him to have been the Kobert Dalham before
mentioned; but this could hardly be the case, as he was not born till 1602, and consequently
was only thirteen years of age in 1615. It was certainly the builder now brought to light
whose name occurs in the Magdalen books.
+ Wood, in his Hist, and Antiq. Univ. Oxoniensis, 1674, vol. ii., p. 155, gives the fol-
lowing inscription on this person —“Hic jacet D* Robertus Dallum, Instrumenti Pneu-
matici quod vulgo Organum nuncupant peritissimus Artifex ; filius Thomae Dallum de
Dallum in comitat. Lancastriae, Mortuus est die Maii ultimo
(Domini 1665.
Anno UAEtatis suæ 63.
Qui postguam diversas Europae plagas håc arte (quà praecipue claruit) exornasset, Solum hoc
tandem, in quo requiescit, cinere suo insignivit.” The records of the Blacksmiths' Company are
said to contain many entries relative to Robert Dallam. A search amongst them would
probably repay the trouble,
THE HISTORY OF THE ORGAN. 69
him is preserved among the memoranda of Dr. Woodward, Warden
of New College, Oxford, at the time of the Restoration —
“May Io, 1661.--Some discourse was then had with one Mr. Dalham, an
Organ-maker, concerning a new fair organ to be made for our College Chapel. The
stops of the intended organ were shown unto myself and the thirteen seniors, set
down in a paper and named there by the organist of Christ Church, who would
have had them half a note lower than Christ Church organ, but Mr. Dalham Sup-
posed that a quarter of a note would be sufficient.”
Robert Dallam built the organ in New College Chapel, and the
Small one in the Music School, Oxford ; but his principal work
appears to have been the organ in York Minster, destroyed when
that noble building was partially burnt. The circumstances con-
nected with the erection of the latter were these :—
In July, 1632, a fine of £ IOOO having been laid on Edward Paylor,
Esq., for the crime of incest, the Dean and Chapter petitioned the
King, who, in November, granted that sum to them, for repairing the
church, setting up a new organ, furnishing the altar, and maintaining
a librarian ; whereupon, in March, I632, articles of agreement were
entered into by Dean Scott and the Residentiaries, with Robert
Dallam, of London, blacksmith, who engaged to build a great organ
for £297, with £5 more for his journey to York; and in which the
price of each stop is distinctly specified. The following is a copy of
this interesting agreement:- *
“Articles of agreement, indented, made, concluded, and agreed upon, the one
and twentieth day of March, anno drini I632, and in the eighth yeare of the reigne
of our soveraigne Lord Charles, by the grace of God, Kinge of England, Scotland,
France, and Ireland, defender of the Faith, &c. Betweene the right worshippfull
John Scott, doctor of divinitie, deane of the cathedrall and metropoliticall church
of St. Peter of Yorke ; Phinees Hodson, doctor of divinitie, chancellor and canon
residentiary of the said church ; George Stanhope, doctor of divinity, precentor and
canon residentiary of the same church ; and Henry Wickham, doctor of divinitie,
archdeacon of Yorke, and canon residentiary of the said church, of the one party ;
and Robert Dallam, citizen and blackSmith, of London, of the other party ; touch-
inge the makeinge of a great Organ for the said church (as followeth): -
“The names and number of the stoppes or setts of pipes for the said great
organ, to be new made ; every stopp containeinge fiftie one pipes; the said great
organ containing eight stoppes.
“Imprimis two open diapasons of tynn, to stand in sight, many of
, them to be chased . & & * e & * g . lxxx /7.
Item one diapason stopp of wood . tº e e e * & x &l.
Item two principals of tynn º & * & e e e , xxiiij Zł.
Itm one twelft to the diapason . § e & g * g . viij Ži.
Itm one Small principall of tynn * * {e s ' s & & vi /z.
Itm one recorder unison to the said principall . & t * . Vi /7.
7o THE HISTORY OF THIE ORGAN.
Itm one two and twentieth * c e a t < * v /i.
Itm the great sound-board with conveyances, windchestes, carry-
ages and conduits of lead . º e º e º e © xl /7.
Itm the rowler board, carriages, and keycs . te º © . XX 4.
“The names and number of stoppes of pipes for the chaire organ,
every stopp containeinge fifty one pipes, the said chaire organ containeinge
five stoppes.
“Imprimis one diapason of wood • * * * * * * x /?.
Itm one principal of tynn, to stand in sight, many of them to be
chased t * - • º º º º e * . xii /i.
1tm one flute of wood - e e º º - e º . viij li.
Itm one small principall of tynn . . © tº e * - v /ć.
Itm one recorder of tynn, unison to the voice . . º º e . viij li.
Itm the sound bord, windchest, drawinge stoppes, conveyances, and
conduits . * º © * e © º e º . xxx /.
Itm the rowler board, carriages, and keys e e ‘ e & - x /?.
Itm the three bellowes with winde truncks, and iron workes and
other thinges thereto . tº g & © o & tº - x Z.
Sume total . cclxxxxvii /i.
“It is agreed by and between the parties above said, and the said Robert
AJalſam doth covenant, promise, and grant, for him, his executors and administra-
tors, to and with the said Deane and Canons residentiary above named by these
presents, that he the said Robert Dallam, his executors or administrators, shall and
will well and sufficiently and workemanlike new make and finishe the said organ in
every the particulars before mentioned, accordinge to the true intent and mean-
inge hereof, before the feast of the nativitie of Saint John Baptist, which shall be
in the yeare of our Lord God one thousand six hundredth thirtie foure. In con-
sideracion of which worke undertaken to be done as aforesaid, the said Dean and
Canons residentiary above named have paid unto the said Robert Dallam in
hand one hundred pounds, and doe promise to pay unto him the residue of the
said sume of colxxxxvii /7 as Soone as the Said worke shall be finished ; and for the
more speedy finisheing of the said worke, the said Deane and residentiaries
are pleased to appointe the Said Robert Dallam some convenient roome near unto
the said Cathedrall church to worke in. And further the said Deane and resi-
dentiaries doe promise to pay to the said Robert Dallam, towarde the charge of
himselfe and servants in comeinge from London hither about the said worke, the
sume of five pounds. In witnes whereof the parties above said to these present
articles indented have interchangeably sett their hands and seals the day and
yeare first above written.”
It will be observed that this agreement does not provide for any
thing more than the pipes, Sound-boards, and three pair of bellows.
The account of the chamberlain, relative to the appropriation of the
# IOOO, is dated 1634; from which it appears that a workman from
Durham was engaged for fifty-two weeks, at 20s. per week, to construct
the case. King Charles visited York in May, 1633, and on the 26th
he went to the top of the great tower, at which time it is presumable
that he directed the placing of the organ, then recently contracted for,
THE HISTORY OF THE ORGAN. 7I
on the north side of the choir, which conjecture is strengthened by the
entry of charges for work done at the pillars to support the organ
loft.*
According to Sanderson's MS. collections for a history of Durham,
Robert Dallam built organs for the Cathedrals of St. Paul and Durham,
These instruments were similar to that of York. The Durham organ
was removed by Father Smith and erected in the church of St.
Michael-le-Belfry, York, in 1687. The diapasons and principal, as
well as the case, form portions of the present instrument.
Ralph Dallans built the organ for St. George's Chapel, Windsor,
at the Restoration ; an organ for the parish church, Rugby ; an organ
for the old parish church, Hackney, in 1665; and the organ of Lynn
Regis, which was removed by Snetzler in 1754. This is all we
know of him, except what is contained in the following inscription,
formerly existing in the old church of Greenwich:-
“Ralph Dallans, organ-maker, deceased while he was making this organ ;
begun by him Feb., 1672. James White, his partner, finished it, and erected this
stone, 1673.”
George Dalham has the following advertisement at the end of
John Playford's Introduction to the Skill of Musick, 1672 (6th
edit.) –
“Mr. George Dalham, that excellent organ-maker, dwelleth now in Purple
Lane, next door to the Crooked Billet, where such as desire to have new organs, or
old mended, may be well accommodated.”
This builder was living in 1686, when he added a “chaire organ ”
to Harris's instrument in Hereford Cathedral.
19. Notices of English Organs,
During the period that these various organ-builders flourished, our
* Crosse's Account of the York Musical Pestival, 4to, 1825, pp. 134-5, and Appendix.
+ Dr. Burney says —“Part of the old organ a Lynn had been made by Dallans, the
rest by some more ancient workman; as the wooden pipes were so worm-eaten as to fall to
pieces when taken out to be cleaned. Upon the churchwardens asking Snetzler what this old
instrument would be worth if repaired, he said—“If they would lay out a hundred pounds
upon it, perhaps it would then be worth fifty.’”—History of Music, vol. iii., p. 438.
The organ which Dallans built for the Royal Chapel at Windsor is still preserved in the
church of St. Peter in the East, St. Albans'. A representation of it may be seen in
Ashmole's Order of the Garter. -
72 THE HISTORY OF THE ORGAN.
cathedrals were being Supplied with organs on a much larger Scale
than those which had been used in the ancient monasteries.
In the British Museum, among the Lansdowne MSS. (No. 213),
is preserved An Account of a Tour made through a great part of
Angland, A.D. 1634.” This curious M.S. contains some interesting
notices of organs, which are worth extracting.
“YORK. There we saw and heard a faire, large, high organ, newly built, richly
gilt, carv'd and painted ; and deep and Sweet Snowy row of quiristers.”
“DURHAM. Away then wee were call'd to prayers, where wee were wrapt with
the sweet sound and richnesse of a fayre Organ, which cost £IOOO ; and the orderly,
devout, and melodious harmony of the quiristers.”
“CARLISLE. The organs and voices did well agree, the one being like a shrill
bagpipe, the other like the Scottish tone.”
“LICHFIELD. And no sooner were we lighted, but the Cathedral knell call’d
us away to prayers : there we entred a stately, neat fabricke ; the organs and
voyces were deep and sweet, their anthems we were much delighted with, and of
the voyces, 2 trebles, 2 counter-tennors, and 2 bases, that equally on each side of the
quire most melodiously acted and performed their parts.”
“HEREFORD. There we heard a most Sweet organ, and voyces of all parts,
tenor, counter-tenor, treble, and base ; and amongst that orderly, Snowy crew of
quiristers, our landlord guide did act his part in a deep and Sweet diapason.”
“EXETER. The organ here is rich, delicate, and lofty, and has more additions
than any other ; and large pipes of an extraordinary length.”
“GLOUCESTER. Here were wee admiring and whispering till the Cathedrall
voyces whisper'd us away to prayers, and So Soon as wee heard those voyces and
organs, and had view'd their fayrely glass'd and carv'd work cloyster, wee hasted
away.”
“BRISTOL. In her wee found (besides that fayre and strong fabricke of the
Cathedrall, which was newly finish’d) 18 churches, which all are fayrely beautify’d,
richly adorn'd, and Sweetly kept ; and in the major part of them are neat, rich, and
melodious organs, that are constantly play’d on. In her [the Cathedrall] are rich
organs, lately beautify’d, and indifferent good quiristers.”
“WELLS. The Cathedral was beautify'd with ancient monuments and rich
Organs.”
20. Organs in Scotland, Ireland, and Wales.
So far as I have ascertained, the earliest mention of the organ
by any of the Scottish historians is by Fordun, who, upon the
occasion of the removal of the body of Queen Margaret from the
outer church, Dunfermline, for re-interment beside the high altar, in
* The full title is—“A Relation of a Short Survey of Twenty-six Counties, briefly
describing the Cities and their Scytuations, and the Corporate Townes and Castles therein:
observ’d in a Seaven Weekes’ Journey begun at the City of Norwich, and from thence into the
North,-on Monday, August IIth, 1634, and ending at the same Place. By a Captaine,
a Lieutenant, and an Ancient [Ensign]; all three of the Military Company in Norwich,”
THE HISTORY OF THE ORGAN. 73
I250, describes the procession of priests and abbots, by whom the
ceremony was conducted, as accompanied by the Sounds of the
organ, as well as the chanting of the choir. Mr. Tytler, the
author of a Dissertation on Scottish Music, fell into a strange error,
representing James I. of Scotland as the first introducer of the organ
into that country; when all that he actually did, as Mr. Dauney has
pointed out,” was to introduce organs of an improved construction.
The principal churches and abbeys of Scotland had most probably
been furnished with them more or less from the era to which we
have referred. The Chapel Royal at Stirling, founded by James III.,
to all appearance upon the model of that of Edward IV., was a very
complete and richly-endowed ecclesiastical establishment for the
cultivation of church music ; and several entries of sums laid out by
the Scottish sovereigns in the upholding of the organs at Stirling
and Edinburgh are to be found in the Treasurers' Books, of which
the following are specimens —
“I 507, Jan. I2. Item to the chanoun of Holyrudhous that mendit the organis
in Strivelin and Edinburgh, vijº.”
“I 5II. Item to Gilleam, organist, maker of the Kingis organis, for expenses
maid be him at the Sayd Organis, in gait skynnis, and parchment for the belles,
in naillis and Sprentis of irne, in glew, papir, candill, coill, &c., viij" iiijº”
The re-introduction of organs, episcopal vestments, decorations,
&c., by James VI., into the chapel at Holyrood Palace, during his
visit to Scotland in 1617, was regarded with great horror by his
Scottish lieges.
“The Scots,” says one of their own historians, “are, in all acts of religious
devotion, simple, rude, and naked of ceremonial. The King, accustomed to the
use of the organ and church ritual, commanded them to be used in his
chapel of Holy-Rood, and in the moment of joy occasioned by the general expecta-
tion of his arrival did that, by exertion of authority, which he could not have done
otherwise consistently with the actions and religious establishment of his native
country. This was ill endured by the common people of Edinburgh, who con-
sidered it as staining and polluting the house of religion by the dregs of popery.
The more prudent, indeed, judged it but reasonable that the King should enjoy his
own form of worship in his own chapel; but then followed a rumour, that the
religious vestments and altars were to be forcibly introduced into the churches, and
the purity of religion so long established in all Scotland for ever defiled. And it
required the utmost efforts of the magistrates to restrain the inflamed passions of
the common people.” ‘t *
* Anciené Melodies of Scotland, 4to, 1838.
+ Johnston's Historia Rerum Britannicarum, ad annume 1617,
74 THE HISTORY OF THE ORGAN.
The organ introduced into the Chapel Royal of Edinburgh
by James VI. must have been a magnificent instrument. I have
been fortunate enough to meet with a very curious notice of it. John
Chamberlain, writing to Sir Dudley Carleton, Dec. 7, 1616, speaking
of the King's intended progress to Scotland, adds:–“We hear they
made great preparations there to be in their best equipage ; and
from hence (London) many things are sent, but specially a pair of
organs that cost above £400, besides all manner of furniture for a
chapel, which Inigo Jones tells me he hath the charge of.”
Some years after this we are introduced, for the first time, to
a Scotch organ-builder. The author of Rouen : its History and
Monuments,” speaking of the church of St. Godard, says —“In 1556
its organ was a very Small one. It was afterwards enlarged ; but
in 1562 it was destroyed by the Calvinists. The present organ,
which was built in 1640, is the work of a Scotchman named George
Leslie.” w
Of organs in Ireland I have not been able to meet with any
particulars, and they would seem to have been almost unknown in
that country in early times. In the Parochial Records of Cork, in
the reign of Charles I, there is an order to pay £16 towards erecting
a musical instrument called in English organs, as the custom is to
have in cathedral churches.”f
An organ-builder, a native of this Country, seems to have acquired
considerable fame on the Continent in the last century. He built
an organ for the Cathedral of Lisbon about the year 1740, which
is thus described in Joseph Baretti's amusing journey from London
to Genoa":::-
“The name of this man is Eugene Nicholas Egan, a native of Ireland. He is
scarce four feet high ; but what body he has is all alive. He has obtained his place
of Masra neither by chance nor protection, but by dint of skill. The King had
caused eight famous organ-makers to come to Portugal from Italy, Germany, and
other parts; and he whose organ should prove best was to have that place. You
may well imagine that each strove to conquer his rivals. But the immortal Castrato
Caffarello, together with the celebrated composer, David Perez, having been
deputed to judge of their several performances, unanimously decided in favour of
little Egan's, and of course he had the place. His salary proved afterwards not so
ample as he expected : but what is a salary to a genius He has defeated his
enemies; he has seen them quit Portugal with shame.”
* Rotten, I2mo, p. 93.
+ Clerical and Parochial Records of Cork, Cloyne, and Ross, by W. M. Brady, D.D. 1864,
† London, 1760, vol. i., p. 253. I am indebted to my friend, Mr. W. B. Gilbert, for the
above curious notice.
THE HISTORY OF THE ORGAN. 75
With regard to Wales, Dafydd ab Gwilym, who wrote in the
fourteenth century, makes particular mention of an organ and choir
at Bangor in his time.* The Red Book of St. Asaph takes notice
of a “loud organ” that existed at a very remote period in that
church; and the organ at Wrexham enjoyed more than a local
celebrity. -
Fuller, in his Worthies, says —“These organs were formerly
most famous (the more because placed in a parochial, not cathedral,
church) for beauty, bigness, and tuneableness, though far short of
those in worth which Michael, Emperor of Constantinople, caused to
be made of pure gold, and beneath those in bigness which George
the Salmatian Abbot made to be set up in the church of his convent,
whose biggest pipe was eight-and-ſwenty foot long, and four spans
in compass.” According to a Gazetteer of England and Wales,
temp. Charles II., “At Wrexham is ye rarest steeple in yº 3 nations;
and hath had ye fayrest organes in Europe, till yº late wars in
Charles yº Ist his raigne, whose Parliament forces pulled him and
them downe with other ceremoniall ornaments.”
2I. Improvements by German Builders.
In Germany, and other parts of the Continent, the Reformer,
Ulric Zuingle, had succeeded in banishing, for a time, the use of
organs in public worship. But, early in the sixteenth century, this
noble instrument was reinstated in the Church, and many improve-
ments were made in its construction. It was in this century, according
to Praetorius,f that registers, by which alone a variety of stops could
be formed, were invented by the Germans. Improvements at this
period were also made in the pipes, particularly the invention of the
stopped pipe, whereby expense was saved, and that soft, pleasing tone
obtained, which open pipes are unable to yield.
By employing the small scale, a number of registers with a
penetrating, yet pleasing, tone were obtained, in imitation of the
violin, viol de gamba, &c. By the large scale, on the Contrary, was
preserved that full, round tone which we always hear in good
* See A Commendatory Ode, addressed to Hywel, Dean of Bangor (Howel was made Dean
in 1359), printed by Browne Willis,
t Syntagma Musicum,
76 THE HISTORY OF THE ORGAN.
organs. Besides these, certain kinds of pipes were made to taper
apwards, whereby some other registers were added to the former,
such as the Spitz flute, the gemshort, &c.
In the course of the sixteenth century reed registers were
invented, with which it was sought to imitate the tone of other
instruments, and even the voices of men and animals—for instance,
the posaune, trumpet, S/alm, vow-ſill/tana, bears-fifte, &c.
In the same century the key-board was extended to four octaves;
but the lowest octave was seldom or never complete. An instrument
of this kind was called an organ with a shorá ocławe.
In 1570 Hans Lobsinger, of Nuremberg, invented the bellows
with one fold, which is still found in Old Organs. In 1576 an organ
with sixty practicable registers and a “back choir” was erected at
Bernan, in the Prussian province of Brandenburg. This organ, which
is still in existence, has forty-eight keys on the manual, and sixteen
on the pedal. It has four bellows, each of which is twelve feet long,
and six feet wide. The workmanship is said to be masterly, the
whole mechanism bearing evidence of the great progress in organ-
building at this period.
“Great organs and great Organists,” says Dr. Burney,” “seem, for more than
two centuries, to have been the natural growth of Germany. The organ which is
still subsisting in St. Martin's Church, at Groningen, in North Holland, and of
which some of the stops are composed of the Sweetest toned pipes I ever heard,
was partly made by the celebrated Rodolph Agricola, the elder.i And, from that
time to the present, the number of organ-builders whose names are well known to
the lovers of that noble instrument, in Germany, is hardly credible in any other
country. But, to show my English readers what a serious concern the erection of
an organ is in this part of the world, I shall close my account of the progress of
music in Germany, during the sixteenth century, by relating the manner in which
the magistrates of Groningen contracted with David Beck, of Halberstadt, to
construct an organ for the castle church of that city.
* Aſistory of Music, vol. iii., p. 255.
+ A learned priest, born in the year I442, at Bafflen, a village in Friesland. He is said
to have been a prodigy in literature and Science. Vossius says he was a great philosopher ;
that he understood Latin, Greek, and Hebrew, and was a great musician. He died in 1485,
at Heidelberg, and was buried in the Minorite church of that city, where is the following
inscription to his memory —
“Invida clauserunt hoc marmore fata Rudulphum
Agricolam, Frisii spenque decusque soli.
Scilicet hoc uno meruit Germania, laudis
Quicquid habet Latium, Graecia quicquid habet.”
A fine portrait of Rodolph Agricola is preserved at Knole House, in Kent, the seat of
Lord Amherst.
THE HISTORY OF THE ORGAN. 77
“In the year 1592 articles were drawn up between the magistrates and organ-
builder, in which it was agreed by the former, that for an instrument, the contents
of which were minutely described, a certain sum stipulated should be paid to the
latter upon its completion, provided it was approved, after trial and examination by
Such organists as they should nominate for that purpose. The instrument in its
construction employed the builder four years; and in 1596 the most eminent
organists in Germany being invited, the names of all those who signed the certificate
of approbation, to the amount of fifty-three in number, are recorded in a book
called Organum Grumingense redivivum, published by Andrew Werckmeister,
1705,”
22, Italian Organ-Builders,
The mechanism of the organ appears to have been well under-
stood by the Italians in early times. The family of the Antegnati,
of Brescia, were amongst the earliest famous organ-builders in Italy,
in the fifteenth and sixteenth centuries, Zarlino, in his Institutioni
Aſarmonic/e, fol, Venice, 1558, mentions “Vincenzo Columbi and
Vincenzo Colonna, two Italian organ-makers of the sixteenth century,
inferior to none in the world.” Columbi built the magnificent organ
in the church of St. John Lateran at Rome, in 1549, which was
afterwards enlarged by Luca Blasi Perugino, in 1600. Perugino
built the organ for the church of Constantine at Rome, by order of
Pope Clement VIII. ; also the organs in the Cathedrals of Orvieto
and Trent.f
In later times Hermann, a Jesuit, acquired considerable fame
in this department of art. He built the organ in the church of St.
Ambrogio, at Genoa, in 1648; that in the Carignana Church, in
the same city, in 1649; and one of the organs in the Cathedral of
Como, in 1650, :
23. AVotices of Foreign Organs.
In the journals of some of our travellers in the seventeenth
* This voluminous writer on Music was born in 1645. He held the posts of inspector-
general of organs in the Prussian dominions, and organist of the church of St. Martin, at
Halberstadt. He died in 1706. His two books, called Orgel Probe, contain some interesting
notices of the history and construction of organs in Germany.
ºf Padre Bonanni's Gabinetto Armonico, 4to, Rome, I 772.
† In the eighteenth century there were in Italy many celebrated organ-builders, amongst
whom Serassi, of Bergamo, and Callido, of Venice, each constructed upwards of three hun-
dred organs. r --
78 THE HISTORY OF THE ORGAN.
century are scattered many curious notices of foreign organs, a few
of which are here extracted.
First-of Tom Coriat, the “Odcombian traveller,” whose Crudities
were published in 16II. Speaking of the Cathedral of Bergamo, he
says:–“ There are here two very rich paire of Organs on both sides
without the Quire, most sumptuously gilt and imbossed, with many
very excellent works.”
In the church of the Augustine Friars, in the same city, “they
have a wonderful rich paire of Organs (lately made) and decked
with exceeding faire pillars; made indeed but of wainscot, but so
curiously handled, that it yieldeth a very faire shew : it is said it
shall be all gilt.”
At Verona, Coriat says:—“The fairest organs that I saw in Italy,
or in any other country, are in this domo.”
In the Cathedral of St. Mark, Venice, “at both sides of the choir
are two exceeding faire payre of Organes, whose pipes are silver,
especially those on the left hand as you come in from the body of
the church, having the brasen winged lyon of St. Mark on the top,
and the images of two angels at the sides : under them this is written
in faire golden letters, Hoc rarissimum opus Urbanus Venetus F.”
The philosophical John Evelyn, writing in 1641, says:—“Generally
all the churches in Holland are furnished with organs.” He speaks
of the “organs at Haerlem ;” and of that at Vienna (which place
he visited in 1644), as being “exceedingly sweet and well-tuned.”
In 1645 he tells us that the organ at the Columna at Rome is
“accounted one of the sweetest” in that city. Mentioning the
Cathedral at Milan, in 1646, he adds:–" Here are two very fair and
}
excellent organs.”
Sir John Reresby, in his Travels (in the middle of the seven-
teenth century), says:–“At Venice are reckoned seventeen hospitals,
sixty-seven parish churches, fifty-four convents of friars, twenty-six
nunneries, eighteen Oratories, and Six Schools. In these churches are
the bodies of fifty Saints, one hundred and forty-three pair of
organs,” &c. Speaking of the church of Santa-Croce, at Florence,
he observes:–" The making of an organ in this church, besides the
materials, cost four thousand crowns.” --
William Carr, “gentleman, late consul for the English nation in
Amsterdam,” in his Remarks of the Government of severall parts of
Germanie, &c., 12mo, 1688, makes mention of several interesting
THE HISTORY OF THE ORGAN. 79
particulars concerning organs. In allusion to the city of Amsterdam
he says:—
“I will not say much of her churches, but only that they are in general large
and well built. In one of them the States have spared no cost to exceed the whole
world in three things (viz.), an organ with sets of pipes that counterfeit a chorus of
voyces; it hath 52 whole stops, besides halfe stops, and hath two rowes of keyes
for the feet, and three rowes of keyes for the hands. I have had people of quality
to heare it play, who could not believe but that there were men or women above
singing in the organ, until they were convinced by going up into the organ roome,”
&c.
At Hamburg, the same writer tells us —
“The churches are rich in revenues and ornaments, as images and Stately
organs, wherein they much delight. They are great lovers of musick; in So
much that I have told 75 masters of severall sorts of musick in one church,
besides those who were in the organ-gallery. Their organs are extraordinarely
large. I measured the great pipes in the organs of St. Catherine and St. James's
Churches, and found them to be 3 foot and 3 quarters in circumference, and 32
foot long ; in each of which organs there are two pipes, 5 foot and 8 inches
round.” -
At Haerlem, we are told —
“Here is one of the fairest and largest churches of the 17 provinces ; in the
walls whereof there remain to this day Sticking, Canon bullets, shot by the
Spaniards during the siege thereof. In this church are three organs.”
24. The Ancient Position of the Organ.
Though it is not in the province of this work to enter upon the
subject of the ecclesiastical fitting-up of the chancel or choir, it will
not be out of place to Say a word or two as regards the ancient
position of the organ.*
In the mediaeval ages this instrument was placed on one side of
the choir; a position which seems to have been almost universal
throughout Europe. Gervase, the monk of Canterbury, whose curious
account of the burning of that Cathedral, in 1174, has descended to
our times, f informs us that the Organ stood upon the vault of the
south transept. After the re-building of the Cathedral, the instrument
* It will be right to mention that a pamphlet appeared, some few years back, entitled
Choirs and Organs : their proper Position in Churches ; by William Spark, Organist and
Choir Master, Leeds. The brochure is merely an expression of the writer's opinion on the
subject. He concludes “that, as historical data do not furnish any uniform rule for our
guidance in the locating organs and choirs,” we are justified in placing them just where we
please. A
f Dart's Canterbury Cathedral, p. 7; and the Gentleman's Magazine for 1772.
8O THE HISTORY OF THE ORGAN.
was placed upon a large corbel of stone, over the arch of St. Michael's
Chapel, in the same transept.” In Dart's view the organ is shown on
the north side of the choir, between the pillars three and four ; where
it still remained in the time of Dr. Burney, --
The organ in the old Cathedral of St. Paul was placed under one
of the north pier arches of the choir, just above the stalls ; having a
choir organ in the front, and shutters to close in the great organ.
The case was Gothic, with a crocketted gable. It occupied the same
place during the Protectorate, and was destroyed in the Great Fire
of I666. ..
The organ of Westminster Abbey, upon which Purcell played,
stood on the “north side of the choir,” over the stalls; and seems,
from the view of it in Sandford's Coronation of James II, to have
been a small instrument with diapered pipes.:
At York, the Cathedral organ, built by Robert Dallam, in 1632
(before mentioned), was, by the express command of Charles the First,
placed on the “north side of the choir,” nearly opposite the bishop's
throne. The reason given by the king was, that (placed on the
screen which divides the choir from the nave) the organ was an
impediment in viewing the interior of the church. King Charles's
judicious decision was put aside in the year 1690, when Archbishop
Lamplugh ordered the instrument to be removed to the stone screen. §
The organ of Winchester Cathedral, erected at the Reformation,
was placed upon the screen between the nave and choir. It was
removed, by the order of Charles the First, to the “north side of the
choir."
“At Chester Cathedral,” says Burney, “the small primitive organ is
still standing on the left side of the choir, though that which is now
used is at the west end.”. *
* A representation of this corbel, with the organ as it then stood, over the screen, may be
seen in Britton's Canterbury Cathedral, pl. iv. The corbel has since been removed.
† See an engraving of the choir, showing the organ, in Dugdale's St. Paul’s.
† It would be interesting to know what became of this organ, hallowed by the fingers of
Purcell. One account is that, when it was removed from the Abbey, in 1730 (the date of
the present instrument), it was given or sold to the parish of St. Margaret's, Westminster;
and the remains of it, after lying for many years in the tower, were disposed of by the
churchwardens, some thirty or forty years ago. Another account is that it was removed to
Vauxhall Gardens, and was, in fact, the instrument in the orchestra of the Royal gardens at
the time of their destruction.
§ Crosse's Account of the York Musical Festival in 1825.
| Milner's History of Winchester Cathedral,
* History of Music, vol. iii., p. 440,
THE HISTORY OF THE ORGAN. t 8 I
The Old Organ of Rochester Cathedral is said to have originally
stood in the north transept.” Fisher, in his History of Rochester, 1772,
p. 67, Says —“Over the entrance to the choir is an ancient organ, which
Browne Willis, when he surveyed the Cathedral, termed ‘a sightly
organ ; but it now gives both the visible and audible indications of
its great age. By the best information I can procure, it was erected
very early in the last [the 17th] century, and so long since as 1668 it
was styled “an old instrument,’ and one hundred and sixty pounds
were then paid for its repair and a new ‘chair' organ.” It was
removed in 1791 to give place to the instrument by Green.
In the interior view of Lincoln Cathedral, in Dugdale's Monasticom,
the organ is shown on the north side of the choir, above the stalls; a
Copy of which is here given.
ºtºlºgº ºn tºº tº ºr
（Nº. ######|
# #
|
ſ
iii.
|In
º
j||
|
# ſºlºiſſºlº
In Durham Cathedral the “large organ,” erected at the Reforma-
tion, occupied a place on the north side of the choir; and it is so
depicted in Hollar's rare engraving of the interior of this Cathedral. .
Previously to the year I 550 the “great organ ” of the Cathedral
of Worcester stood at the side of the choir; and such undoubtedly
was the situation of other Cathedral organs, of which I have not
succeeded in finding a record.
* MS. Archives of Rochester, ºf MS, Archives of Worcester.
G





82 TIIE HISTORY OF THE ORGAN.
The practice of placing the organ on one side of the choir existed
also in our College chapels.
At New College, Oxford, the organ given by William Port, in
1458, stood at the stall end of the “north side of the choir,” near the
vestry, supported by pillars.” This instrument was destroyed by the
rebels in 1646. The present organ (improved by Green) was erected
by Robert Dallam, in 1663; but the beautiful screen upon which it is
placed (without any design of supporting the organ) was constructed
in 1636.f
Previously to the year 1740 the organ of Magdalen College,
Oxford, stood on the “south side of the choir.”:
The organ of St. John's College, in the same university, built in
1660, was placed in a little ante-chapel “on the north side of the
choir.”$ It was in that situation in 1768, when Byfield erected an
organ on the present Screen. *
Quaint old Thomas Fuller, speaking of the Cambridge Colleges,
under the date 1633, adds –“ Now began the University to be much
beautified in buildings; every college either casting its skin with the
snake, or renewing it with the eagle. . . . But the greatest alteration
was in their chapels, most of them being graced with the accession of
organs."
The organ of Christ's College still remains on the south side of
the choir ; and tradition assigns similar situations for the instruments
of King's College, St. John's College, &c.
The same position, “at the side of the choir,” is still retained in
Winchester College ; the Royal Chapels at St. James's and Hampton
Court; and within memory it was so in Christ Church, Dublin."
Mr. W. B. Gilbert, in his paper On the Musical Associations of
Boston Church, Lincolnshire (printed in the Choir, viii. 68), speaking
of the organ presented to Croyland Abbey by Abbot Lyllyngton, who
died in 1476, says —
“This instrument, which was described as the ‘Great Organ,’ was placed at
the west entrance of the Abbey Church ; a smaller one was situated in the choir,
which latter organ was carried on the shoulders of two porters, who conveyed
* MS. Archives of New College.
+ Warton's Zife of Sir 7. Pope, p. 344.
£ MS. Archives of Magdalen College.
§ Warton's Zife of Sir T. Pope, p. 344.
| Fuller's History of the University of Cambridge, ſolio, 1655. -
"I The Rev. John Jebb On the Choral Service of the Church, p. 197.
THE HISTORY OF THE ORGAN. 83
it from London to Croyland. The only other instance in this country of an
ancient organ being placed over the west entrance is that of Beauchamp Chapel,
at Warwick ; and the contract—A.D. 1440—for that beautiful building expressly
mentions “an organ-loft ordained to stand over the west door of the chappel.’”
The writer adds:–“We commend these two instances to musical
antiquarians, some of whom have declared that organs were not placed
at the west end of Our churches before the Reformation.” -
A correspondent in the same volume of the Choir (p. IOO) very
aptly comments upon this statement in the following words —
“Instead of this, I think his [Mr. Gilbert's] remarks only more strongly
confirm the position of those who hold such an opinion, inasmuch as he himself
admits that these two churches were the only erceptions in this country to the
ordinary rule; and Surely that rule may fairly be taken as virtually universal when
it had so small a number of exceptions.”
As regards parish churches, the common situation for the organ,
both before and after the Reformation, was in the chancel.”
Adam de Shakelsthorpe, by will, dated I376, gave his organ,
“then standing in Cawston Chancel,” to Hickling Priory, Norfolk.f
And, at a later date, George Preston, Esq., repaired the chancel of
Coutmel Church, Westmoreland, “at his own great cost,” in the year
1590, “and placed therein a paire of organs of great valewe.”
The author of the Oxford Glossary of Architecture, edit, I840,
thus speaks of the ancient position of the Organ —
“The large instruments now in use were not put up in their present conspicuous
situation in the place of the ancient rood-loft, until after the Reformation. On the
Continent they were also introduced in the course of the seventeenth and eighteenth
centuries; but were usually placed at the west end of the church. In this country,
previously to the Reformation, the organ was frequently placed on the north side
of the choir, or in the north transept.”
From the instances I have quoted it will be seen that, in England,
the present usual position of the organ over the choir screen does not
appear to have been general till the Restoration.
* Of course other positions were occasionally adopted. In the old church books of
Sandwich, Kent, we have the following entry —“I473. For an orgayn boke for the organys
in the Roode loft.” In Neale's Views of the Churches of Great Britain (vol. ii.), there is an
extract from a MS. account of Melford Church, in Suffolk, written about the time of the
Reformation, in which the following notice occurs —“There was a fair Rood Loft with the
Rood, Mary and John, of every side, and with a fair pair of Organs standing thereby.” In
Britton's Arch. Antiq. (vol. iv.) the agreement for building the Beauchamp Chapel at
Warwick, in the fifteenth century, is quoted ; where the carpenter covenants to make a
parclose of timber about an organ to stand over the west door of the chapel. See Jebb On
the Choral Service, p. 197, 770te.
+ Blomefield's History of Norfolk, edit. 1805, vol. vi., p. 263.
84 TIIE HISTORY OF THE ORGAN.
On the Continent the large organs are generally placed in “lofts;”
some at the west end, some over the doors, and very often against one
of the piers. I particularise large organs, because it is a rare thing to
find a church on the Continent, of any pretensions, without its two,
three, four, and Sometimes sit Organs. -
The Duomo at Milan has two large organs, one on each side of
the choir; so has also the Duomo at Verona, the Duomo at Cremona,
the Chiesa del Carmine at Padua, and the Duomo at Lodi. The
church of St. John in Monte, at Bologna, has two “immense" organs
in similar situations. The church of St. Dominico, at Bologna, has
two organs in the choir, and two more in the north transept. At
Florence the two organs are placed in the north-east and South-east
parts of the Octagon.
The church of San Antonio, at Padua, has four large organs. At
the entrance into the choir the majestic appearance of these instruments
is very striking. The front pipes are of tin, highly polished, and have
the appearance of burnished silver. The framework is richly carved
and gilt; there are no panels to the frames, but the pipes are seen on
three sides of a square.” These four organs exactly correspond in
internal as well as external arrangement.
The church of St. Mark, at Venice, possesses sit organs: two very
large ones, and four Small portable instruments used in the various
chapels.
The only organs in St. Peter's, at Rome, were (and perhaps still
are) three moveable ones on wheels, in the side chapels, and one
fixed, of a larger size. The distance between the west door and the
great altar is wholly a free and unbroken space.
The church of St. Annunziata, at Florence, has an organ on each
side of the nave. The Duomo at Genoa has an organ in each
transept.
The church of St. Bernardino, at Verona, has an organ with
painted leaves, triptych-wise, bracketed out at the north-east of the
nave. The church of St. Salvatore, at Venice, has an organ bracketed
on the north wall of the north aisle. It has painted leaves like a
triptych.
The church of St. Francesco, at Perugia, has an organ at the
* Burney's Present State of Music in France and /ſaly, p. 129,
THE HISTORY OF THE ORGAN. 85
south-east of the nave, matched by a sham one on the opposite
side.
The Chiesa del Carmine, at Florence, has a small organ at the
east end, and a large one at the west end, the case of the latter being
painted with the scene of St. Simon Stock receiving the scapulary
from the Blessed Virgin.
The church of Borgo St. Lorenzo, Perugia, has two organs in
projecting galleries from the clerestory.
The Duomo at Viterbo has an organ over the south transcpt
arch.”
At Ratisbon the organ is placed behind the high altar
gll]
arrangement totally unworthy of this magnificent structure. The
organs at St. Pietro Patriarcale and St. Giorgio, Venice, are in similar
situations. The organ of the Frauen Airc/e, or great Lutheran
Church of Our Lady, at Dresden (one of the finest of old Silber-
mann's), is also placed at the east end of the church, over the
Communion table.”
At Treves there is a small organ on the north side of the choir,
and a larger one at the west end.
The organ of the collegiate church of Notre Dame, at Courtray,
is placed in a gallery at the west end of the building ; but, in order to
preserve the window, which is necessary to light the body of the church,
the Organ is divided in two parts, one of which is fixed on one side of
the window, and one on the other. The bellows run under the window
and communicate with both parts of the instrument. The keys are in
the middle, under the window. The organ at the Jesuit's Church in
Ghent is disposed in a similar way: in fact, it is no uncommon
thing in the German and Flemish churches to divide the organ, in
order to preserve a window.”
The organ in the church of St. Bavon, Ghent, is placed under the
arch of the left side aisle, at the entrance into the choir.
* The last six notices are extracted from the Rev. Benjamin Webb's Sketches of Conſ:-
7ten/a/ Zaclesiology, London, 1848.
ºf The organ is in a similar situation in the chapels of Versailles and the Tuileries; and
in England, at Little Stanmore, near Edgware. The latter is very slightly raised above the
communion table, and is viewed through an arch, Supported by Corinthian columns.
† Burney’s Zºresent State of A/usic in Ger/fany, &c., p. 12. *
§ The fine church of St. Nicholas, at Prague, has an organ at the west end, arranged in
this manner, The ſramework, pillars, base, and ornaments of this instrument are of white
marble,
'86 THE HISTORY OF THE ORGAN,
At Nancy the organ is above the entrance to the nave, just over
the porch,
In the two Protestant churches of St. Sebald and St. Lawrence, at
Nuremberg, the organ is in the gallery over the aisle, at the angle of
the nave and transept, to the left of the entrance and opposite the
preacher. --
The Cathedral of Antwerp contains three organs: one very large,
on the right hand side, at the west end of the choir; and two small
ones, in chapels on each side of the broad aisle.
The Cathedral of St. Stephen, at Vienna, has five organs: a large
one at the west end of the church, and four smaller ones in various
chapels.
The Cathedral of Prague has three organs: the large organ, at the
west end of the church, is only used on the great festivals of the year;
the two smaller organs are used alternately on Common days.
At Strasburg the magnificent organ of Silbermann's is over the
second arch of the nave, to the left as you enter, about fifty feet
above the pavement. It is supported by an enormous bracket, and is
gilt and ornamented with figures playing on musical instruments, and
otherwise much enriched. It rises to the roof of the Cathedral, and
completely blocks up the clerestory window above the arch.” At
Freiburg in Bresgau (on the borders of the Black Forest) the organ is
placed like that at Strasburg, but above the third arch of the nave.
It is richly decorated and gilt with sculptured figures.
The organ at Amiens Cathedral (perhaps the oldest in France)
was built, in 1492, at the expense of Alphonso de Myhre, one of the
* “A word now about the great organ. If Strasbourg has been famous for architects,
masons, bell-founders, and clock-makers, it has not been less so for organ-builders. As
early as the end of the thirteenth century there were several organs in the Cathedral, very
curious in their structure, and very Sonorous in their notes. The present great organ, on the
left side of the nave, on entering at the western door, was built by Silbermann, about a
century ago, and is placed about fifty feet above the pavement. It has six bellowses, each
bellows being twelve feet long and six wide; but they are made to act by a very simple and
sure process. The tone is tremendous—when all the stops are pulled out—as I once heard
it, during the performance of a particularly grand chorus ! Yet is this tone mellow and
pleasing at the same time. Notwithstanding the organ could be hardly less than three hun-
dred feet distant from the musicians in the choir, it sent forth sounds so powerful and grand,
as almost to overwhelm the human voice with the accompaniments of trombones and serpents.
Perhaps you will not be astonished at this, when I inform you that it contains not fewer than
two thousand two hundred and forty-two pipes. This is not the first time you have heard
me commend the organs upon the Continent.”—Dr. Dibdin's Zour in France and Germany,
2nd edit., Vol. ii., p. 392.
THE HISTORY OF 'TIII, ORGAN. 87
chamberlains to Charles the Sixth. It is placed over the entrance
to the nave, at the western extremity, thus allowing the eye to
embrace the whole structure at one view.
At Chartres Cathedral the organ is placed over the sixth arch
of the nave on the southern side, and at the height of the triforium,
or gallery, which is continued all round the church. This organ
was built in 1513, and was originally placed over the great western
doorway.
In the church of St. Roch, at Paris, there are four Organs; but
Že Organ of the church stands over the west door.
25. The Curiosities of Organ-Building.
Foremost among the instruments demanding a place in this
Category are the organs of the Byzantine Emperor, Theophilus, who
reigned from 829 to 841.
This renowned patron of poetry and music is said to have had
“two great gilded organs, embellished with precious stones and
golden trees, on which a variety of little birds sat and Sung, the
wind being conveyed to them by concealed tubes.”
Praetorius tell us that a certain Duke of Mantua received from a
Neapolitan artist an organ of which the keys, pipes, key-board, nay,
even the outside of the bellows, were of alabaster.
Dr. Powell, in his curious volume, Humane /ndustry, or a History
of the Manual Arts, 12mo, 1661, alludes to this organ in the following
passage, which also makes mention of some other “curiosities of
organ-building” –
“A Neapolitan artisan made a pair of organs all of alabaster Stone, pipes, keys,
and jacks, with a loud lusty sound, which he afterwards bestowed upon the Duke
of Mantua, and which Leander Alberti saw in the said duke's Court, as he relates
in his description of Tuscany. The same Leander saw a pair of organs at Venice
made all of glass, that made a delectable sound. This is mentioned also by Mr.
Morison, in his 77 ave/s. . . . . Gaudentino Merula, in his 5th book De Mºrači/ºt/s
Mundi, makes mention of an organ in the church of St. Ambrose in Milan,
whereof the pipes were some of wood, some of brass, and some of white lead :
which, being played upon, did express the sound of cornets, flutes, drums, and
trumpets, with admirable variety and concord.”
Ertel, who, in his celebrated Atlas, describes the treasures of the
Bavarian Electorate Court Chapel, relates that the organ was of
ebony, and ornamented with many precious stones; the key-board
88 THE HISTORY OF THE ORGAN.
“glittered with pearls,” and the bellows were “covered over with
silver.” And we are told that in the convent of the ESCurial, near
Madrid, are eight organs, one of which is of solid silver.”
The author of a rare volume, published at Bologna in 1590, under
the title of // Desiderio, mentions some curious musical instruments
that he saw in the palace of the Duke of Ferrari. He says some were
preserved there for the sake of their antiquity, and others in respect
of the singularity of their construction. Among these, he takes notice
of a curious organ formed to the resemblance of a screw, with pipes
of box-wood all of one piece like a flute ; and a harpsichord, invented
by Don Nicola Vincentino, surnamed Arcimusico, comprehending in
the division of it the three harmonic genera. He adds that the mul-
titude of chords in this astonishing instrument rendered it very
difficult to tune, and more so to play; and that, for this latter reason,
the most skilful performers would seldom care to meddle with it :
nevertheless, he adds that Luzzasco, the chief organist of his Highness,
who, it is supposed, must have understood and been familiar with the
instrument, was able to play on it with wonderful skill. He says that
this instrument, by way of pre-eminence, was called the Archicembalo ;
and that after the model of it two organs were built; the one at
Rome, by order of the Cardinal of Ferrara; and the other at
Milan, under the direction of the inventor.
Don Nicola is reported to have died of the plague, in or about the
year I 575, Soon after the latter instrument was finished.
Father Bonanni, in his singular collection of engravings of musical
instruments, entitled Gaffiziełło A7://lozzico, 4to, Rome, 1722, gives a
representation of a curious organ, fabricated by Michele Todino, of
Savoy, for Signor Verospi, of Rome. It seems to be an organ with
three “Spinette’ attached to it; the description tells us that they
may be used “separately,” or “all together.” The worthy priest calls
it a “prodigious artifice ; ” but we question its claim to be anything
more than a mere curiosity.
Worthy Master Mace's “Chamber Organ,” made by himself, at his
house in Cambridge, of which he gives an engraving in his Musicós
* Amongst the odd materials used by the old builders for organ pipes, I may add to those
mentioned in the text, paper, burnt clay, porcelain, &c. Those who are curious in such
matters may consult Jacob Adlung’s Musica M/echanica Orgamoed, 4to, Berlin, 1768; Part I:
sections 85, 86, and 87,
- THE HISTORY OF THE ORGAN. 89
Monument, folio, 1676, certainly comes under our notice in this place.
His own account of the instrument is too quaint to be omitted —
“Now as to the description of This Table Organ, I cannot more conveniently
do it, than first, in giving you a view of it, by this figure here drawn, and then by
telling you all the dimensions, and the whole order of it (I mean my Second, which
is the Largest and the best), and take as here followeth. Two of such organs
only (I believe) are but as yet in Being in the World ; They being of my own
contrivance ; and which I caus’d to be made in my own House, and for my own
Use, as to the maintaining of Publick Consorts, &c.
“It is in its Bulk and Height of a very Convenient, Handsom, and Compleat
Table Seize ; (which may Become and Adorn a Noble-Mans Dining Room) all
of the Best sort of Wainscot. The Length of the leaf 7 foot and 5 Inches; the
breadth 4 foot and 3 inches ; the Height 3 Foot, Inch, and Better. *
“Beneath, the Leaf, quite Round, is Handsom Carv'd, and Cut-Work, about
Io inches Deep, to let out the Sound : And beneath the Cut-Work Broad Pannels,
so contriv'd, that they may be taken down at any time, for the amending such
faults as may happen : with 2 shelv’d Cubbords at the end behind, to lock up your
Musick Books, &c. The Leaf is to be taken in 2 pieces at any time for conveniency
of Tuning, or the like, Neatly Joyn’d in the Midst.
“The Keys, at the upper End, being of Ebony, and Ivory, all cover'd with a
Slipping Clampe, (answerable at the other End of the Table) which is to take off at
any time, when the Organ is to be us'd, and again put on, and Lock’d up ; SO that
none can know it is an Organ by sight, but a Compleat New-Fashion’d Table.
“The Leaf has in it 8 Desks, cut quite through very neatly (answerable to that
Up-standing One, in the Figure) with Springs under the Edge of the Leaf, so
contriv'd that they may Open and Shut at pleasure; which (when shut down)
Joyn closely with the Table-Leaf; But (upon occasion) may be Opened and so
set up (with a spring) in the manner of a Desk, as your Books may be set against
Them.
“Now the Intent of Those Desks, is of far more Excellent use, than for mere
Desks; For without those Openings, your Organ would be but of very slender use,
as to Consort, by Reason of the Closeness of the Leaf; but by the help of them,
each Desk opened, is as the putting in of another quickning, or enliv'ning stop ; so
that, when all the 8 Desks stand open, the Table is like a Little Church Organ, so
sprightfully lusty, and strong, that it is too loud for any Ordinary private use ; but
you may moderate that, by opening only so many of those Desks as you see fit for
your present use.
“There are in this Table Six Stops, the first is an Open Diapason ; the second
a Principal, the third, a Fifteenth ; the fourth, a Twelfth ; the fifth, a Two-and-
Twentieth ; and the sixth, a Regal. There is likewise (for pleasure and light
content) a Hooboy Stop, which comes in at any time with the foot; which stop
(together with the Regal) makes the Voice Humane.
“The bellows is laid next the ground, and is made very large, and driven either
by the foot of the player, or by a cord at the far end.”
A passing notice of the grotesque decorations and machinery of
old organ-cases is worthy of a Corner in our cabinet of “curiosities.”
Seidel has a capital passage on this point. He says —
“In the course of the seventeenth and early part of the eighteenth centuries
great industry and expense were bestowed upon the external decoration of the organ,
ÖO THE HISTORY OF THE ORGAN.
The entire case was ornamented with statues, heads of angels, vases, foliage, and
even figures of animals. Sometimes the front pipes were painted with grotesque
figures, and the lips of the pipes made to resemble lion's jaws. This, perhaps,
might have been tolerated, as in the course of time such artifices would naturally
be rejected as useless and inappropriate. But people went further, and threw away
the money which might have been expended in a worthier manner on the display
of the most tasteless and absurd tricks of art, degrading thereby—doubtless
unintentionally—a noble instrument, intended for sacred purposes, into a raree-
Show. Among these ornaments the figures of angels played a very conspicuous
part ; trumpets were placed in their hands, which by means of mechanism could
be moved to and from the mouth.* Carillons, too, and kettle-drums, were per-
formed upon by the moveable arms of angels. In the midst of this heavenly host
Sometimes a gigantic angel would be exhibited hovering in a glory over the Organ,
beating time with his bâton as the conductor of this super-earthly orchestra !
“Under such circumstances the firmament, of course, could not be dispensed
with. So we had wandering Suns and moons, and jingling stars in motion. Even
the animal kingdom was summoned to activity. Cuckoos, nightingales, and every
species of bird, singing, or rather chirping, glorified the festival of holy Christmas,
and announced to the assembled congregation the birth of the Redeemer. Eagles
flapped their wings, or flew towards an artificial sun. The climax, however, of all
these rarities was the ſoa-tail / It was intended to frighten away from the organ
all such inquisitive persons who had no business near it. Thus, when they pulled
out this draw-stop, Suddenly a large fox-tail flew into their faces ! It is clear that
by such absurd practices curiosity was much rather excited than stopped, and that
all this host of moving figures, and their ridiculous jingling, disturbed meditation,
excited the curiosity of the congregation, and thus disparaged the sublimity of
Divine service.” *
These absurd doings were not peculiar to the Continent ; records
of such practices (although not to the full extent) formerly existed in
England.
A correspondent of the Gentleman's Magazine, 1772, p. 562, who
signs himself W. L. [William Ludlam], says: —“The old organ at
Lynn, in Norfolk, had on it a figure of King David playing on the
* I must confess that I do not admire the “loud, uplifted angel-trumpets” on the case of
the Antwerp Cathedral organ one whit more than the Gorgons and Hydras on that of the
Dominican Church in the same city. -
ºf Seidel seems to have had in view the ludicrous outside of the organ in the Garrison
Church, Berlin. Burney, in his entertaining Zour in Germany (p. IO4), describing his visit,
says —“I ſound a large Organ in this church, built by Joachim Wagner ; it is remarkable
for compass, having 50 keys in the manuals, and for its number of pipes, amounting to 3220 ;
but still more so for the ornaments and machinery of the case, which are in the old Teutonic
taste, and extremely curious. At each wing is a kettle drum, which is beat by an angel
placed behind it, whose motion the organist regulates by a pedal; at the top of the pyramid,
or middle column of pipes, there are two figures representing Fame, spreading their wings
when the drums are beat, and raising them as high as the top of the pyramid ; each of these
figures sounds a trumpet and then takes its flight. There are likewise two suns, which move
to the sound of cymbals, and the wind obliges them to cross the clouds; during which time
two eagles take their flight as naturally as if they were alive.”
THE HISTORY OF THE Of GAN. 91
harp, cut in solid wood, larger than the life: likewise several moving
figures which beat time, &c.”
Dr. Donne, the eminent English satirist, alludes to these moving
figures, evidently as no uncommon thing in his days. His words
are —“As in Some organs, puppets dance above, and bellows pant
below which them do move.”
When these figures were abolished, the organ-builders (perhaps in
compliance with an absurd canon) set up the royal arms on the front
of the organ ; and in place of the angel beating time, or King David
playing on the harp, we had the British lion, with goggle eyes
and shaggy mane, grinning horribly. Let us rejoice that these
abominations no longer exist in our own country. If they are still
occasionally to be met with on the Continent, the increased feeling
of true devotion will soon number them among the things that were.
26, 7%e Destruction of Organs in England during the Great
- Rebellion.
º
An ordinance being passed in the House of Lords, dated January
4th, 1644, establishing a new form of divine worship, in which no
music was allowed but plain psalm-singing, it was thought necessary,
for the promotion of true religion, that no organs should be suffered
to remain in the churches; that choral books should be torn ;
painted glass windows broken ; Sepulchral brass inscriptions defaced ;
and, in short, that the cathedral service should be totally abolished.
In consequence of this ordinance collegiate and parochial churches
* }ohn Donne, his Satires, Anno Domini, 1593. This curious work is preserved among
the Harleian MSS. (No. 51 Io) in the British Museum. . f
+ There is great room for improvement in organ cases in England. We may walk many
a weary mile without seeing a truly Catholic design. Mr. Faulkner published, in 1838, a
volume of Designs for Organs ; but they are little more than an echo of what we see every
day. Of a far different character are the designs of the late Mr. Pugin, appended to Mr.
Sutton’s Short Account of Organs built in Avigiland, &c., 1847.
: A copy of the ordinances preserved in the library of the London Institution has the
following title —“Two ordinances of the Lords and Commons assembled in Parliament, for
the speedy demolishing of all organs, images, and all matters of Superstitious monuments in
all Cathedralls, and Collegiate or Parish-churches and Chapels, throughout the Kingdom of
England and the Dominion of Wales; the better to accomplish the blessed reformation so
happily begun, and to remove all offences and things illegal in the worship of God. Dated
May 9th, 1644.”
92 THE HISTORY OF THE ORGAN.
were stripped of their organs and ornaments: Some of the instruments
were sold to private persons, who preserved them ; some were totally,
and others but partially, destroyed ; some were taken away by the
clergy in order to prevent their being destroyed, and some few were
suffered to remain.”
The puritanical spirit which doomed organs to destruction had
long been gaining ground. Even as early as the reign of Elizabeth
(Aug. 18, 1589), it was agreed at a parish meeting of St. Chad's,
Shrewsbury, “that for the better providing and accomplishing the
reparation of the bells, fencing the church-yard, and purchasing one
decent and semely cuppe of silver for the use of the Communion,
the organs should be sould to any of the parishe for the sum of £4,
if any desyred the same : otherwise the said organs should presentlye
bee sould to hym whosoever would give £4 or more for the same !” +
Some idea of the devastation committed by the Puritans upon
organs may be gathered by a few extracts from Mercurius Austic/s,
the Country's Complaint recounting the sad Events of this Unparra/e/d
IVa/7, I2mo, 1647: At Westminster, we are told, “the soldiers of
Westborne and Caewoods' Companies were quartered in the Abbey
Church, where they brake down the ray] about the Altar, and burnt
it in the place where it stood : they brake downe the Organs, and
pawned the pipes at severall ale-houses for pots of ale. They put
on some of the Singing-men's Surplices, and, in Contempt of that
canonicall habite, ran up and down the Church ; he that wore the
surplice was the hare, the rest were the hounds.” At Exeter
Cathedral “they brake downe the organs, and taking two or three
hundred pipes with them in a most scorneful and contemptuous manner,
went up and downe the streets piping with them ; and meeting with
some of the Choristers of the Church, whose surplices they had stolne
before, and imployed them to base servile offices, scoffingly told
them, ‘Aoyes, we ſlave spoy/ed your trade, you must goe and sing ſlot
* See an article on the Organ of St. Paul’s Cathedral, in the Æſiſsical Gazette, No. 1,
Jan. 1819.
ºf Two years before the passing of the ordinance just mentioned, a tract appeared, entitled
The Organ's Funerall, or //ie Quirister's Lamentation for the Abolish/rent of Superstition and
Superstițious Ceremonies. In a Dialogicall Discourse between a Quirister and an Organist,
An. Dom., 1642. London, printed for George Kirby, 4to,
† Edited by Dr. Bruno Ryves, an unflinching opponent of cant and hypocrisy. At the
Restoration he was rewarded with the Deanery of Windsor. The Mercurius Rusticus was
originally published in numbers. In its collected form it went through several editions,
THE HISTORY OF THE ORGAN. 93
pudding pyes.” At Peterborough Cathedral, after committing all
kinds of destruction “when their unhallowed toylings had made
them out of wind, they took breath afresh on two pair of organs.”
At Canterbury “they violated the monuments of the dead, and
spoyled the organs ;”f and, at Chichester Cathedral, “they leave the
destructive and spoyling part to be finished by the common soldiers;
brake down the organs, and, dashing the pipes with their pole-axes,
scoffingly said, ‘Aſarée /low the organs goe.'” At Winchester “they
entered the Church with colours flying, and drums beating: they
rode up through the body of the Church and Quire, until they came
to the altar, there they rudely pluck downe the table and brake the
rayle, and afterwards carrying it to an ale-house, they set it on
fire, and in that fire burnt the Books of Common Prayer, and all
the Singing Books belonging to the Quire : they threw downe the
organs, and break the Stories of the Old and New Testament,
curiously cut out in carved work.” -
Mr. W. B. Gilbert, in his recently published Memorials of the
Collegiate Church of Maidstone, has the following interesting passage,
which I quote at length —
“The church still bears witness of the treatment received at this time. It
seems pretty certain that up to 1642 the interior arrangement of the fabric had
remained nearly the same as left during the reign of Edward IV., but now the
* Gunton is more particular in his account of the devastations here —“The first that
came was a foot regiment, under one Colonel Hubbard's command ; upon whose arrival
some persons of the town, fearing what happened afterwards, desire the chief commander to
take care the soldiers did no injury to the church ; this he promises to do, and gave order to
have the church doors all locked up. Some two days afterwards comes a regiment of horse,
under Colonel Cromwell, a name as fatal to minsters as it had been to monasteries before.
The next day after their arrival, early in the morning, these break open the church doors,
pull down the organs, of which there were two pair. The greater pair, that stood upon a
high loft over the entrance into the choir, was thence thrown down upon the ground, and
there stamped and trampled on, and broke in pieces, with Such a strange, furious, and
frantick zeal, as cannot be well conceived, but by those that saw it.”—//istory of the Church
of Peterborough, p. 333. Will modern writers tell us any more, after this, that “Cromwell
himself was far/ial to the organ P”
+ In Culmer's Cathedral AVews from Canterbury, p. 19, we read —“The news was that
the troopers fought with God Himself in the Cathedral Quire at Canterbury. But the truth
is that on the 26th of August, I642, Some zealous troopers, aſter they had (by command)
taken the powder and ammunition out of the malignant Cathedral, they fought, it seems,
with the Cathedral goods; namely, altars, images, service-books, prick-song-books, surplice,
and organs: for they hewed the altar rails all to pieces, and threw their altar over and over
and over down the three altar steps, and leſt it lying with the heels upward : they slashed
Some images, crucifixes, and prick-song-books, and one greasy service-book, and a ragged
smoke of the whore of Rome, called a surplice, and began to play the tune of “Zealous
Soldier’ on the organs or case of whistles, which never were in tune since,”
94 THE HISTORY OF THE ORGAN.
monumental brasses were torn up and destroyed, the sedilia damaged, and the
painting over the first warden’s tomb much mutilated. There is no doubt as to
the period of this mischief, the date, with some wretched initials, are miserably
Scratched on the walls. About this time also the Organ disappeared ; and from a
rare tract, entitled A ſerfect Diurnal of the several passages in our late journey
Žužo Kent, /rom August 19th ſo Seftember 3rd, 7642, we have a description of
what was achieved in Maidstone and its neighbourhood at this period. During
the Divine service at Rochester Cathedral on St. Bartholomew’s Day, between the
hours of nine and ten in the morning, a party of Soldiers entered the church, and
marched up to the Lord’s Table ; but, finding that even this irreverence did not
prevent the Service from proceeding, they came down to the congregation, who
were then kneeling, and demanded why they knelt ; not receiving any answer they
returned to the altar, and seizing the Lord’s Table, conveyed it to the middle of
the choir ; they then tore down the communion rails, mutilated the altar steps, and
gave the rabble, who had followed them, the pieces of the rails to burn, and ‘So
left the organs to be plucked down till we come back again;' but it appears the
Rochester people were a match for them, as the writer says, “before we came back
they took them down themselves.’”
“Leaving Rochester they marched on to Maidstone, where they were quartered
that Thursday night, to the great terror of the inhabitants, who, notwithstanding
that it was market day, closed all their shops. The town was completely at their
mercy, and this seems by corroborative evidence to have been the identical day on
which the church suffered so much by mutilation.
“On the Friday they proceeded to Canterbury, where, as Dr. Pask, the sub-
dean, tells us, the Soldiers entered the Cathedral at eight o'clock on the Saturday
morning, overthrew the Lord’s Table, tore the velvet covering, defaced the screen,
violated the monuments of the dead, spoiled the organs, broke down the rails and
Seats, tore up the Surplices, gowns, and bestrewing the pavements with the torn
leaves of the Bibles and Prayer-books. A figure of our Lord placed over the
South gate was destroyed by forty shots being fired at it.
“This amiable party then visited Faversham and other places, and returned to
Maidstone on the evening of Thursday, and again quartered there, to the great
indignation of Some of the inhabitants, whose rage at their doings knew no bounds,
and they made the place so hot, that the fellows were glad to depart the next day;
or, as the writer of the Diurnal says, “the town being troubled with malignant
spirits, who burned so inwardly with malice and hatred, that they could no longer
forbear ;’ and one Maidstonian, whose ire was raised, so disturbed the serenity of
these fellows, that they carried him off as a prisoner, to be dealt with by the
Parliament.
“This curious tract is embellished with a clumsily-executed sketch of soldiers
destroying the east end of a church. Two men are removing the Lord's Table,
one is pulling down a cross, another with a hatchet is chopping away at the
communion rails, whilst a fifth is hastening, armed with a chopper, to assist his
Sacrilegious companions.” .*
Sir William Dugdale, in his Short View of the Zate Troubles in
England, folio 1681, says —“And when their whole (the Parlia-
mentary) army, under the command of the Earl of Essex, came to
Worcester, the first thing they there did was the profanation of the
Cathedral; destroying the organ ; breaking in pieces divers beautiful
windows,” &c,
"THE HISTORY OF THE ORGAN. 95
The sacrilegious profanation of Norwich Cathedral is graphically
described in Bishop Hall's Hard Measure, 1647? – s
“Lord, what work was here, what clattering of glasses, what beating down of
walls, what tearing up of monuments, what pulling down of seats, what wresting
out of irons and brass from the windows and graves, what defacing of arms, what
demolishing of Curious Stone work, that had not any representation in the world,
but only the cost of the founder, and skill of the mason ; what toting and piping
upon the destroyed organ pipes, and what a hideous triumph on the market
day before all the country, when, in a kind of sacrilegious and profane procession,
all the organ pipes, vestments, both copes and surplices, together with the leaden
cross which had been newly sawn down from over the green yard pulpit, and
the service books and singing books that could be had, were carried to the fire
in the public market place ; a lewd wretch walking before the train, in his cope,
trailing in the dirt, with a Service-book in his hand, imitating, in an impious scorn,
the tune, and usurping the words of the Litany, used formerly in the church ;
near the public cross all these monuments of idolatry must be sacrificed to the
fire, not without much Ostentation of a zealous joy in discharging ordnance to the
cost of some who professed how much they had longed to see that day. Neither
was it any news, upon the Guild day, to have the Cathedral, now open on all sides,
to be filled with musketeers, waiting for the major's return, drinking and tobac-
coming as freely as if it had turned ale-house.”
At the Nunnery, at Little Gidding, in Huntingdonshire, the same
feats were carried on. We are told that
“Soon after Mr. Ferrar's death certain soldiers of the Parliament resolved to
plunder the house at Gidding. The family, being informed of their hasty approach,
thought it prudent to fly ; while these military zealots, in the rage of what they
called reformation, ransacked both the church and the house; in doing which they
expressed a particular spite against the Organ. This they broke in pieces, of which
they made a large fire, and at it roasted several of Mr. Ferrar's sheep, which they
had killed in his grounds. This done, they seized all the plate, furniture, and
provision, which they could conveniently carry away. And in this general devas-
tation perished the works which Mr. Ferrar had compiled for the use of his
household, consisting chiefly of harmonics of the Old and New Testament.” +
Similar examples of ignorant fanaticism might readily be adduced,
but the passages cited are sufficient for my purpose.
After the Parliamentary ordinance of 1644, and the zeal of the
Sectarians in putting their orders into force, it is somewhat remark-
able that any church Organs should have escaped demolition. But
that Some instruments were suffered to remain we have accredited
evidence. Among the number were those of St. Paul's, York,
Durham, and Lincoln Cathedrals; St. John's and Magdalen Col-
leges, Oxford ; Christ's College, Cambridge; and probably many
* Dr. Joseph Hall was successively Bishop of Exeter and of Norwich.
f See Izaak Walton's Zives of Donne, Wotton, Hooker, &c., edit. 1845, note, p. 336,
96 THE HISTORY OF THE ORGAN.
Others.” That the organ of St. John's escaped destruction is the
more extraordinary, as it had been erected under the patronage of
Archbishop Laud, and as Cromwell's visitors had ordered Sir William
Paddy's donation for founding the choral service in that chapel to be
entirely applied to the augmentation of the president's salary.
The popular account of the Organ of Magdalen College is, that
during the Rebellion it was conveyed by order of Cromwell to
Hampton Court, where it remained in the Great Gallery till the
Restoration, when it was restored to the College.f
The organ was still remaining in the College Chapel in 1654, when
Evelyn, who was at Oxford in the July of that year, has this entry
in his Diary –
“Next we walked to Magdalen College, where we saw the library and chapel,
which was likewise in pontifical order, the altar only, I think, turned tablewise ;
and there was still ſhe double organ, which abominations (as now esteemed) were
almost universally demolished ; Mr. Gibbon [Christopher Gibbons], that famous
musician, giving us a taste of his skill and talents on that instrument.”
This notice secned to refute the tradition that “in the Grand
Rebellion, when the organ of Magdalen College, among others, was
taken down, it was conveyed by order of Cromwell to Hampton
Court, where it was placed in the great gallery.” I accordingly
treated the story as apocryphal in the first edition of the present
work. Recently, however, the matter has been set at rest by the
discovery of a memorandum in the College books, to the effect that,
in 1660, £16 IOS. was paid for the transportation of the organ from
Hampton Court back to the College. It must, therefore, have been
taken down and removed to Hampton Court between the years 1654
and 1660.
There was, in all probability, Some amicable arrangement on the
subject between Cromwell and the president and fellows. Nichols,
in his History of Zeicesters/ire, tells us that Stamford Church is
decorated with a handsome organ, that formerly belonged to the
banqueting room, Whitehall, which by order of Cromwell was taken
* The author of A Short Account of Organs built in England, &c., makes a startling
assertion at the commencement of his first chapter:-‘‘During the rebellion all the Organs
in England were destroyed by order of the Parliament, with all other church ſurniture, which
was considered as appertaining to the Romish ritual.”
ºf This anecdote may be traced to Warton (Observations on the Fairy Queen of Sſenser,
Lond. I762, vol. ii., p. 236), who probably received his information from his father, a ſellow
of Magdalen College. Gutch, Chalmers, Hawkins, Burney, and Ingram copy Warton.
THE HISTORY OF THE ORGAN. 97
down and sold. It was intended, he says, to be placed in the chapel
of Magdalen College, Oxford, but, being too small, was purchased by
the Cave family. Dr. Bloxam suggests that it was offered in exchange
for the Magdalen organ, which seems more than probable.”
The devastation committed upon organs by those misguided
ruffians, the soldiers and commanders of the Parliamentary army, was
not easily remedied. It was not until Some time after the restoration
of monarchy that these instruments could be reinstated. Pepys, that
entertaining old gossip, has two or three interesting entries in his
Z)iary bearing upon this point –
“July 8, 1660. (Lord's day). To White-Hall Chapel, where I got in with
ease, by going before the Lord Chancellor with Mr. Kipps. Here I heard very
good musique, the first time that ever I remember to have heard the organs, and
singing-men in Surplices, in my life.” -
“April 5, 1667. To Hackney, where good neat's tongue, and things to eat
and drink, and very merry, the weather being mighty pleasant ; and here I was
told, that at their church they have a fair Žair of Organs, which play while the
people sing, which I am mighty glad of, wishing the like at our church at London,
and would give £50 towards it.”
“April 21, 1667. To Hackney Church, where very full, and found much
difficulty to get pews, I offering the Sexton money, and he could not help me."
º * That which I went chiefly to see was the young ladies of the schools,
whereof there is great Store, very pretty ; and also the ozgan, which is handsome
and tunes the psalms, and plays with the people ; which is mighty pretty, and
makes me mighty earnest to have a pair at Our church ; I having almost a mind to
give them a pair, if they would settle a maintenance on them for it.”
The difficulty of procuring organs at this time seems to have
been greater than that of finding either performers or music to
perform. Dr. Burney says:–
“After the suppression of Cathedral Service and prohibition of the Liturgy,
Some of the ecclesiastical instruments had been Sold to private persons, and
others but partially destroyed ; these, being produced, were hastily repaired, and
erected for present use.t
“A sufficient number of workmen for the immediate Supply of cathedrals and
parish churches with organs not being found in our Own Country, it was thought
expedient to invite foreign builders of known abilities to settle among us; and
* See Dr. Bloxam's Aegisters of Magdalen College, Oxford, a work to which I have
been frequently indebted in the composition of these pages.
* It was not until the lapse of more than half a century after the Restoration that our
parish churches began commonly to be supplied with organs. In 1708, when Hatton pub-
lished his Mew Piew of Zondon, a very large number of our places of public worship were
without them. To what an extent other English cities were deficient in this particular may
be gathered from Drake, who, at p. 338 of his AEboraciſm, published in 1733, says:—“There
is now only one parish church in the whole city of York that possesses an organ; and that
came from the Popish chapel, the curators of which purchased it from Durham Cathedral.”
H
98 TIII. HISTORY OF THE ORGAN.
the premiums offered on this occasion brought over the two celebrated workmen,
Smith and Harris.” -
The establishment of these two eminent men in this country forms
a new epoch in the history of organ-building.
27. Ætisting Old English Organs.
With regard to English organs prior to the Rebellion, very few
are in existence at the present time. An instrument, said to be “the
first organ made in England,” may be seen at Ightam Moat-House,
in Kent. Another instrument, called in Mr. Brady's catalogue “the
second organ made in England,” is preserved at Knole House, in the
same county. Similar organs may be found at Hatfield House, and
at an old mansion—the reputed residence of Cardinal Wolsey—at
Cheshunt. -
The three last-named organs are small chamber instruments, with
wooden pipes, probably a little anterior to the Restoration, but of no
greater antiquity. The Ightam organ has been much spoken about
of late, and the author of a lecture delivered before the Society of
Arts quotes it as an instrument of extraordinary interest, and of a
date perhaps earlier than f/e fourteenth century / This strange
illusion, however, I am compelled to dispel; and I shall do so by the
help of a note made some few years back by Mr. W. B. Gilbert,
upon his inspection of the instrument in question. He says —
“April 15, 1855.-Examined the remains of an old organ at the Moat-House,
Ightam, Kent, which the guide told me was the first made in England. The wind-
chest or sound-board had forty-eight Small grooves ; a portion of the bellows
and one feeder left ; one solitary pipe made of Oak, open, and about tenor C pitch,
but without a mouthpiece. The height of the instrument could not have been
more than three feet, and the depth about eighteen inches. Attached to the grooves
were a row of paper tubes (square), possibly used as conveyances. There were no
slides or upper boards, nor anything like an “action ; ' neither were there any
portions of case or manuals. Knowing several old organs well, especially those of
Loosemore, at Exeter, it struck me, on a very close examination of the instrument,
that it was either the remains of an old barrel Organ, or something of village manu-
facture, certainly not dating beyond a century back / Had it been a curiosity in
the last century, the historians of the county, especially Hasted, would have
mentioned it.” - " -
After this let us hear no more of the great antiquity and curiosity
of the Ightam organ. -
Other existing old organs are described in the course of the
THE HISTORY OF THE ORGAN. 99
preceding pages; it only remains to notice the Curious remains of
an old organ still preserved at Old Radnor, in South Wales. My
knowledge of this relic is due to the Rev. Mr. Sutton, who has
published a very interesting volume on the subject.”
The remains of the mediaeval organ at Old Radnor, South Wales,
are interesting upon two grounds—Ist, architecturally, as regards the
case, of which so few specimens exist; 2nd, musically, with reference
to the construction of organs of an early period. The very existence
of these remains seems to have been unknown to the most diligent
antiquaries in such matters, and they appear to have been brought
under the notice of Mr. Sutton by Sir Henry Dryden, a well-known
lover of antiquities and architecture, and a gentleman particularly
versed in organs and church music. -
Very few organ cases anterior to the Restoration have been
preserved. The case of the organ at King's College, Cambridge,
is the original one erected by Chapman and Hartop, the joiners, in
1606, to contain Dallam's organ, before mentioned ; for, though the
action and pipes of the organ appear to have been many times
removed and renewed, there is every reason to believe that the
existing case dates from 1606, and the choir organ from 1661.
Mr. Sutton does not assign any precise period to the organ case
of Old Radnor, nor does he give us any tradition, or any extract
from old records concerning its erection ; he simply describes it as
“mediaeval.” It seems to me more than probable that the case is
not older than the end of the sixteenth century, or it may present
details of different periods. The heavy horizontal beam that sup-
ports the upper ornamental work can hardly belong to any good
period of architectural ornamentation ; and the “napkin-pattern "
panels are Surely not older than the Jacobean period.
“The dimensions of the organ case,” which is of oak, and
elaborately carved and panelled, Mr. Sutton describes as follows:–
“Total height t & tº º & * I8 feet oinches.
Width above wind-chest . & te & 9 4
Width below wind-chest 5 9
Height up to hang over . * * e 5 IO
Height of cresting and pinnacle I 8
Depth of the organ 2 6
* Some Account of the Mediaeval Organ-case still existing at Old A'adnor ; with an
Appendix, containing fifteen etchings illustrative of the construction of Gothic organs. By
Frederick Heathcote Sutton, M.A., Vicar of Theddingworth. London: Hatchard & Co. ;
Stamford : Langley, 1866,
IOO THE HISTORY OF THE ORGAN.
“The front is divided into five compartments, three of which are occupied
by the larger pipes standing in projecting towers, while the intervening spaces
are flat, and contain two tiers of Small pipes, each compartment being divided
midway by a square panel of rich carved work. The rest of the case is almost
entirely covered by napkin-pattern panels of the best description, and of very
intricate design ; the whole composition being finished at the top of the organ
with a deep bratishing of pinnacles and semicircles, upon which are seated
grotesque animals. This cresting, though debased in style, compared with much
of the detail in other parts of the case, has a very rich effect, and when painted
and gilded, as no doubt it once was, must have looked extremely well.”
To revert to the peculiarities of the mechanism—at least what
remains of this old organ—Mr. Sutton Says —
“In this instrument (as probably would be found the case in all mediaeval
organs) there are several arrangements which it would be most undesirable to copy.
The stops, for instance, appear at the east end of the organ, and seem to have
been worked entirely by the blower, by means of iron levers about eighteen inches
long. It is certainly difficult to conceive a stop sticking with such a tremendous
power to act upon it. Still it is hardly to be expected that an organist, even for
that great advantage, would resign all control over the instrument upon which he
was expected to play, and be content only with the power of putting on an echo,
or cornet, which seems, from a small aperture at the right hand of the player, to
have been all that he could do in this instance. The Radnor organ is a Small
instrument, and contained five stops. It seems, however, to have had, in addition,
an echo, or, perhaps, only a cornet, placed beneath the key-board. How this was
used it is impossible now to tell, as all signs of the manual, or manuals, have
disappeared. Part of the wind-chest remains, and also remnants of the bellows
are in existence.”
With regard to the draw-stops, many of the old organs built after
the Restoration, with choir organs in front, had the stops of that
department in the choir organ itself, consequently behind the performer.
Numerous instances could be pointed out if required. It would then
appear that the stops were not changed during the performance of a
piece: they were arranged before commencing, and so remained until
the end. The echo organ and cornet stop, which the author Speaks
of, were introductions into this country after the Restoration, and,
consequently, if persisted in, would give a much later date for the
erection of the Radnor organ than that contended for.
“Below the key-board,” says Mr. Sutton, “the panels are plain,
with the exception of the three central ones in the front; these are
perforated with a number of openings of different forms. The centre
panel, and that on the right hand, have very elegant openings of
Gothic tracery, the larger ones being formed of double triangles
interlaced. These were no doubt intended to let out the sound of the
echo organ.” Surely it could not have been the intention of our old
THE HISTORY OF THE ORGAN, IOI
builders to ſet out the sounds of the echo organ, but rather to stifle
them, or keep them in. But, as we have already said, the echo organ
was unknown before the Restoration. Probably the “perforations”
spoken of referred to a choir organ ; at any rate it is a much more
likely solution of the difficulty. t
The public is much indebted to Mr. Sutton for his handsome
volume and its accompanying etchings. Great interest attaches to
the subject of organs at the present time, and anything that throws
light upon the practice of our old builders is sure to be received with
a hearty welcome. The appendix, illustrative of the construction of
Gothic organ cases, is an important feature of Mr. Sutton's volume,
and one calculated to do good, by calling attention to this most
important branch of architectural art.
fourti) (Epoci).
THE FOUNDERS OF MODERN ORGAN-BUILDING.
28. Bernard Sc//midt, AE/zoºm, as Faż/her S//aitſ.
tº ERNARD SCHMIDT, as the Germans write the name, brought over
§§§ with him from Germany, of which country he was a native, two
nephews, Gerard and Bernard, his assistants; and to distinguish
him from these, as well as to express the reverence due to his,
abilities, which placed him at the head of his profession, he was called Father
Smith. The first organ he engaged to build for this country was for the Royal
Chapel at Whitehall, which, being hastily put together, did not quite fulfil the
expectations of those who were able to judge of its excellence. An organ is so
operose, complicated, and comprehensive a piece of mechanism, that to render it
complete in tone, touch, variety, and power, exclusive of the external beauty and
majesty of its form and appearance, is perhaps one of the greatest efforts of human
ingenuity and contrivance. It was probably from some such early failure that
this admirable workman determined never to engage to build an organ upon
short notice, nor for such a price as would oblige him to deliver it in a state of
less perfection than he wished. And I have been assured by Snetzler, and by the
immediate descendants of those who have conversed with Father Smith, and seen
him work, that he was so particularly careful in the choice of his wood, as never
to use any that had the least knot or flaw in it; and so tender of his reputation,
as never to waste his time in trying to mend a bad pipe, either of wood or metal,
so that when he came to voice a pipe, if it had any radical defect, he instantly
threw it away, and made another. This, in a great measure, accounts for the
equality and sweetness of his stops, as well as the Soundness of his pipes to this
day.”%
Such is the brief and unsatisfactory account of this eminent
artist handed down to us by Dr. Burney. We are not told the
period of his birth or decease; the particular part of Germany
from whence he came ; the builder or builders under whom he
acquired the knowledge of his art, nor indeed any of those 1/linute
facts which it is the business of a faithful biographer duly to
chronicle. This is the more to be regretted, because both Burney
and Hawkins lived with many who could easily have supplied
information which at this period of time we look for in vain,
* Burney's Iſistory of Al/usic, vol. iii., p. 436.

THE HISTORY OF THE ORGAN. IO3
In the middle of the seventeenth century Germany and Holland
possessed many organ-builders whose fame had gone forth beyond
their own countries: Christian Former, of Wettin (near Halle),
Schnitker, of Hamburg, and Eugène Casperini, were foremost in
the ranks ; and under the able tuition of one of these builders
Smith most likely learnt his art. Tradition, indeed, points Out
Christian Former as his master, and this seems to us more than
probable.” -
Father Smith was certainly in this country in the year of the
restoration of King Charles the Second ; and his first organ, that
of the Royal Chapel at Whitehall, was built before the 8th of July,
1660. Pepys alludes to it in the extract from his Diary, quoted
On a previous page.
Before the close of the same year Smith had erected an Organ
in Westminster Abbey. The old gossip Pepys, whose Diary is so
full of valuable information, thus alludes to it under the date
of December 30th, 1666 –“Lord's Day. I to the Abbey, and
walked there, seeing the great confusion of people that came there
to hear the organs.” -
In 1671 Smith built a new organ for the parish church of St.
Giles's-in-the-Fields; and in 1675 he erected an instrument in
the church of St. Margaret's, Westminster. On the 5th of April, in
the following year, he was elected “organist" of the same church.t
Smith was now rapidly acquiring fame, and high in the favour
of the King, who appointed him his “organ-maker in ordinary,” and
allotted him apartments in Whitehall, called, in the old plan, “The
Organ-builder's Workhouse.”: He had, however, to contend with
* There is a curious note in Warburton's History of Dublin, 1818, vol. 1, p. 483; but
the dates will not reconcile it with the subject of our memoir. Speaking of St. Patrick’s
Cathedral, Dublin, the writer adds:– “The organ is said to have been the gift of the Duke
of Ormond ; it was the work of Smith the Father, of Rotterdam, and intended for a church in
Vigo, in Spain, where, however, it never was erected : when the Duke assisted in the attack
made by the combined fleets of England and Holland on the ships in the harbour of that
town in 1702, it had not been landed from the vessel which conveyed it from Rotterdam, and,
of course, ſell into the hands of the assailants.” -
The Cathedral Church of St. Camice, Kilkenny, is said to contain an ancient organ from
St. Vigo, in Spain, from whence it was removed by Sir Francis Drake, when he plundered
that town in 1587 | Both stories partake of the marvellous, and seem to point to the same
blundering origin. -
+ By an order of August 7, 1676, his salary was fixed at £20 a year. His predecessors
in the same office were John Egglestone, John Parsons, and John Hilton. See the Rev.
M. Walcott's Memorials of Westminster, p. 128. i: //id.
IO4. THE HISTORY OF THE ORGAN.
a formidable rival in Renatus Harris, who arrived in this Country
from France shortly after Smith came from Germany.
We now turn again to the pages of Burney's History for his
account of the famous contention between these two rival builders
concerning the Temple organ —
“About the latter end of King Charles the Second's reign, the Master of the
Temple and the Benchers, being determined to have as complete an organ erected
in their church as possible, received proposals from both these eminent artists
(i.e., Smith and Harris), backed by the recommendation of such an equal number
of powerful friends and celebrated organists that they were unable to determine
among themselves which to employ. They therefore told the candidates, if each
of them would erect an organ, in different parts of the church, they would retain
that which, in the greatest number of excellences, should be allowed to deserve
the preference. Smith and Harris agreeing to this proposal, in about eight or
nine months each had, with the utmost exertion of his abilities, an instrument
ready for trial. Dr. Tudway, living at that time, the intimate acquaintance of
both, says that Dr. Blow and Purcell, then in their prime, performed on Father
Smith’s organ, on appointed days, and displayed its excellence ; and, till the
other was heard, every one believed that this must be chosen.
“Harris employed M. Lully,” organist to Queen Catherine, a very eminent
master, to touch his organ, which brought it into favour ; and thus they continued
vieing with each other for near a twelvemonth.
“At length Harris challenged Father Smith to make additional reed-stops in
a given time; these were the vox-humana, Cremorne, the double Courtel, or doubl
bassoon, and Some others.
“The stops which were newly invented, or at least new to English ears, gave
great delight to the crowds who attended the trials; and the imitations were SO
exact and pleasing on both sides that it was difficult to determine who had best
succeeded. At length the decision was left to Lord Chief Justice Jefferies, after-
wards King Charles the Second’s pliant chancellor, who was of that Society, and he
terminated the controversy in favour of Father Smith ; so that Harris's organ was
taken away without loss of reputation, having So long pleased and puzzled better
judges than Jefferies.t
* This should be Baptist Draghi, organist to Queen Catherine, at Somerset House. See
the curious anecdotes of him and M. Locke in the Hon. Roger North's Memoirs of Music,
first printed from the original MS. by the present writer. Dr. Tudway (from whom Burney
derived this account) wrote Baptist, which Burney interpreted to mean Baptist Lulli; hence
the mistake, which has been repeated ad infini/um by writers who ought to have known
better.
+ “The efforts of Smith and Harris were brought into, and heard by, an open court, sup-
ported by counsel, who exerted their best abilities in their defence, had a respectable variety
of jurors, and Judge Jeſſeries gave sentence, which was in Smith's favour. In other words
the organ made by Harris was placed on one side of the church, and that of Smith on the
other; the former played by Draghi, the latter by Dr. Blow and Mr. Purcell. Near a year
elapsed before the contention ceased, and Jeſſeries made his fiat,”—Malcolm's Zondinum
A'edivival/l, vol. iii., p. 106.
Jefferies’ conduct seems to have been somewhat misrepresented in this affair. It has been
suggested by a learned Templar that this ſamous contest was decided by vote. Jefferies hap-
pened to be “of the house,” and it fell to his lot to give the casting one. Surely he is
entitled to no obloquy on this account Jefferies had much to answer for ; but there is no
evidence of ‘bribery and corruption ” in the present case.
THE HISTORY OF THE ORGAN. IO5
“The Hon. Roger North, who was in London at the time of the contention at
the Temple Church, says, in his Memoirs of Music, that the competition between
Father Smith and Harris, the two best artists in Europe, was carried on with
such violence by the friends of both sides, that they “were just not ruined.’
Indeed, old Roseingrave assured me that the partizans for each candidate, in the
fury of their zeal, proceeded to the most mischievous and unwarrantable acts of
hostilities; and that, in the night preceding the last trial of the reed-stops, the
friends of Harris cut the bellows of Smith's organ in such a manner that when the
time came for playing upon it no wind could be conveyed into the wind-chest.” "
The origin of the quarrel between this old worthy and Renatus
Harris arose, probably, through the famous contest, or “battle of
the organs,” as it was termed, at the Temple Church, in which, as
is well-known, the former gained the day. That a bitter enmity
afterwards existed between these two builders we may infer from
the documents about to be produced. But first, of the circumstances
connected with the dispute concerning the Temple organ.
When engaged in collecting materials for my notice of Father
Smith in the first edition of this work, I was very desirous of
obtaining some authentic particulars Concerning this memorable
dispute from the Books of the Societies of the Temple; but, after
several interviews with the Treasurer and other authorities, I was
told that nothing could be discovered among the records: the
matter was evidently of too trivial a nature to induce the slightest
interest or research. This is now the less to be regretted, since a
gentleman connected with the Temple, Edmond Macrory, Esq.,
M.A., has succeeded in bringing to light the documents that I was
in search of, and has given them to the world in a charming little
Örochure, entitled A Few Moſes on the 7 emple Organ. From the
new information furnished by these discoveries I avail myself of
the following particulars.
In the latter part of the year 1682, the Treasurers of the Societies
of the Temple had some conversation with Smith respecting the
erection of an organ in their church. Subsequently Harris, who had
some warm supporters among the Benchers of the Inner Temple,
was introduced to their notice, and both these eminent artists were
* Burney's History of A/usic, vol. iii., p. 437. The substance of this account is derived
from a letter written by Dr, Tudway to his son, and preserved in the Harleian Collection of
MSS. - -
ºf First printed (anonymously) “at the private press of Duncairn,” 1859; and afterwards,
with fresh documentary matter, by Bell & Daldy, 1861. Both editions are charming little
quartos of true Roxburghe-like appearance, -
IO6 THE IIISTORY OF THE ORGAN.
backed by the recommendations of such an equal number of powerful
friends and celebrated organists, that the benchers were unable to
determine among themselves whom to employ. They therefore, as
appears by an order in the Books of the Temple, dated February,
I682, proposed that,
“If each of these excellent artists would set up an organ in one of the Halls
belonging to either of the Societies, they would have erected in their Church that
which, in the greatest number of excellences, deserved the preference.”
Smith believing that he had received the order for the organ felt,
of Course, much annoyed at the introduction of Harris on the
Scene. He accordingly obtained from five of the tradesmen in the
employment of the Temple a memorial or memorandum, which
was presented to the Benchers of the Middle Temple, and is as
follows:–
“MEMORANDUM. That I, W* Cleare, of the Parish of the Savoy in ye
Strand, Surveyor, togeather with divers other workmenn whose names are here-
vnder also subscribed, was present and did heare Sº Francis Whitens, Knt., and
then Treasurer of the Middel Tempell, London, and Sº Thomas Robinson, then
also Treasurer of the Inner Tempell, both of them being in the Tempell Church
together, in the month of September last, give full ordre and directions vnto Mr.
Bernard Smith, the King's Organ Maker, to make an organ for the Tempell
Church, and then also gave Ordres to the said Smith to take care of and give
directions for the setting up of the Organ Loft in the Tempell Church as the said
Smith should judg most convenient, and accordingly the said Smith did give
directions how and in what manner the said Organ Loft should be made, and the
same was made and sett vpp accordingly, and that then neither Reny Harris, nor
any other person whatsoever, was ever mentioned to have any Ordres or Directions
to make any Organ for the Tempell Church, or in the least mentioned to stand
in competition with the said Smith for or about making of the same, and this wee,
whose Names are herevnto subscribed, shall be at all times ready to attest vpon
oath, when that there shall be occasion, as witness our hands this eighth day of May,
In the year of our Lord one thousand Six hundred Eighty and three.”
“The above memorandum,” says Mr. Macrory, “ had not the effect which
Smith desired, for a committee composed of Masters of the Bench of both
Societies was appointed in May, 1683, to decide upon the instrument to be retained
for the use of the Temple Church ; and in about a year or fourteen months after
each competitor, with the utmost exertion of his abilities, had an instrument ready
for the trial. When Harris had completed his instrument, he presented a petition
to the benchers of the Inner Temple, stating that his organ was ready for trial, and
praying that he might be permitted to set it up in the church on the south side of
the communion table. An order was accordingly made by the Benchers, granting
the permission he sought. This petition of Harris is dated the 26th May, 1684;
and thereby the date of the completion of his instrument is established. It is
almost certain that Smith's organ was ready previous to the above date, and that
for some reason (possibly to avoid the necessity of re-voicing, if he should be the
successful competitor), he had obtained leave to depart from the order of February,
THE HISTORY OF THE ORGAN. Io?
1682, so far as to place his organ in the church, and this suggested to Harris the
propriety of adopting the same expedient.” - -
The reader is already aware how Dr. Blow, and the celebrated
Henry Purcell, were engaged to exhibit the powers of Smith's organ
upon appointed days; and how Harris employed Baptist Draghi,
one of the Royal organists, for the same purpose. The circumstance
of Harris's challenge to Smith to make certain additional stops is
also well known and need not be dwelt upon here.
The contention now became tedious and disagreeable, at least to
the Benchers of the Middle Temple, who first made choice of Smith's
organ, as appears by the following extract from the Books of that
Society —
“June 2, 1685. The Masters of the Bench at this Parliament taking into their
Consideration the tedious Competicion betweene the two Organ-makers about their
fitting an Organ to the Temple Church, and having in severall Termes and at
severall Times compared both the Organs now standing in the said Church, as they
have played severall Sundays one after the other, and as they have lately played
the same Sunday together alternately at the same service. Now at the Suite of
several Masters of the Barr and Students of this Society pressing to have a speedy
Determination of the said Controversie ; and in Justice to the said Workmen as
well as for the freeing themselves from any Complaints concerning the same, doe
unanimously in full Parliam" resolve and declare the Organ in the said Church
made by Bernard Smith to bee in their Judgments, both for sweetnes and fulnes
of Sound (besides yº extraordinary Stopps, quarter Notes, and other Rarityes
therein) beyond comparison preferrable before the other of the said Organs made
by — Harris, and that the same is more ornamentall and substantiall, and bothe
for Depthe of Sound and Strengthe fitter for the use of the said Church ; And
therefore upon account of the Excellency and Perfection of the said Organ made
by Smith, and for that hee was the Workeman first treated with and employed by
the Tre” of both Societyes for the providing his Organ ; and for that the Organ
made by the said Harris is discernably too low and too weak for the said Church, .
their Mapp" see not any Cause of further Delay or need of any reference to
Musicians or others to determine the difference ; But doe for their parts unani-
mously make Choise of the said Organ made by Smith for the Use of these
Societyes—and Mr. Tre” is desired to acquainte the Tre” and Masters of the
Bench of the Inner Temple with this Declaration of their Judgments wºº all
respect desiring their Concurrence herein.”
So far so well, but the Benchers of the Inner Temple were not
disposed to rest satisfied with the dictum of their brethren of the
Middle Temple. Accordingly on the 22nd June, 1685, they
made an order in which, after expressing their dissatisfaction that
such a resolution and determination should be made by the
Benchers of the Middle Temple, in a matter which equally con-
IO8 THE HISTORY OF THE ORGAN.
x
Cerned both houses, without a conference being first had with them,
they declared
“That it is high time, and appears to be absolutely necessary, that impartiall
Judges (and such as are the best Judges of Musick) be forthwith nominated by both
Houses, to determine the Controversie betweene the two Organ-makers, whose
Instrument is the best, which this Society are ready to doe, and desire their
Mastershippes of the Middle Temple to join with them therein, in order to the
Speedy putting an end to so troublesome a Difference”—
and appointed a committee, of five members of their body, with
instructions that they,
“ or any three of them, doe at a Conference deliver the answer above men-
tioned, and they are hereby empowered to enter into a Treaty with a like number
of the Masters of the Bench of the Middle Temple, in order to the speedy settling
this Affair.”
“The committee thus appointed,” says Mr. Macrory, “appear to have entered
upon their duties immediately, and to have fully considered the subject of the
organs, not only with respect to the appointment of ‘impartiall Judges, but
also the respective prices and number of pipes in each instrument; for, two days
afterwards, an answer was sent from the Middle Temple, from which the following
extracts are taken º’:—
“June 24th, 1685–The Masters of the Bench of the Middle Temple now say:-
“I. That they cannot imagine how the Masters of the Inner Temple can
pretend any ill Usage or Disrespect offered towards them, either tending to a
Breach of Correspondence or Common Civility by the Act of Parliament of the
Middle Temple, of the second of this Instant June, for that the Masters of the
Middle Temple thereby only on their own parts, with the Concurrence of the
Barristers and Students, declare their Judgments and Choise of Smith's organ (not
imposing but requesting) the Concurrence of the Inner Temple therein with all
respect.
“2. As to the Matter of having the two Organs referred to the Judgment of
impartiall Musicians, There yet appears not any Difference betweene the two
Societyes concerning the same, the Masters of the Bench of the Inner Temple
having not as yet in Parliament declared their Judgments and Choise of the other
Organ, which if in their Judgments they shall think fit to doe, whereby a Difference
shall appear betweene the two Societyes, then their said Mastershippes believe the
Society of the Middle Temple will find some other expedient for the determination
of the said difference. *s
“3. As to the Price of the Organs, Smith the Organ-Maker absolutely
refuseth to set any price upon his Organ, but offers to submit the same to the
Judgment of the Treasurers of both Societyes, or to such Artists as they shall
choose, which their Mastershippes cannot but think reasonable.
“4. As to the Numbering the Organ Pipes and Stops, their Mastershippes
think it below them to trouble themselves therein, because the Proposal can have
no other ground than a Supposition of such Fraud in the Artist as is inconsistent
with the Credit of his Profession.”
These strange proceedings on the part of the Benchers of the two
Temples do not reflect much credit upon the body. It were needless
THE HISTORY OF THE ORGAN. IO9
to carry on further this account of their petty disputes to determine
which was the best organ.
“I have not,” says Mr. Macrory, “been able to find anything in the Books of
either Society to corroborate this statement, derived by Burney from a letter
written by Dr. Tudway to his son, and it is not probable, if the decision had been
left to Jefferies, that there would not have been some record either of his appoint-
ment, or of the decision. It is, however, certain that Jefferies was not ‘Lord Chief
Justice’ at the time of the decision, as he became Lord Chancellor in 1685, and
continued until 1690 in that office. It may be that the Middle Temple succeeded
in their desire to have him decide ‘the matter in difference, or as suggested in a
note to the above account in Dr. Rimbault's History of the Organ, p. IO4, ‘that the
contest was decided by vote. Jefferies happened to be “ of the house,” and it fell to
his lot to give the casting vote.” Many other writers have ascribed the decision to
Jefferies, but I presume they all derived their information from the same Source as
did Burney.”
The exact date of the termination of this celebrated “battle of the
organs” does not appear, but it may fairly be stated as being about
the end of 1687, or beginning of 1688. The original deed of sale
bears date the 21st June, 1688, and is still preserved in the Middle
Temple. It reads as follows:–
21st June, 1688.
“Mr. Bernard Smythe's Bargaine and Sale of ye Organ in ye Temple Church to
both ye Societys of ye Temple.
“Know all men by these presents, That I, Bernard Smyth, of London, Gent.,
for and in consideration of one thousand pounds of lawfull money of England to
me paid (to wit) Five hundred pounds, parte thereof, by the Treasurer of the
Society of the Middle Temple, London, and the other moiety by the Treasurer of
the Society of the Inner Temple, London, for wºn I have given severall former
acquittances, and in consideration of twenty shillings now paid to mee by the
Hono” Roger North and Oliver Montague, Esq.", Benchers, and William Powlett,
Esq.", now Treasurer of the sº society of the Middle Temple, and by S* Robert
Sawyer, Knt., now Treasurer, and Charles Holloway, and Richard Edwards,
Esq.", Benchers of s” Society of the Inner Temple, Have granted bargained and
sold and doe hereby fully and absolutely grant bargaine and sell vinto the sº Roger
North, Oliver Montague, and William Powlett, and the said Sr Robert Sawyer,
Charles Holloway, and Richard Edwards, Esq.", all that organ which is now sett
up and standing in the organ-loft in the Temple Church belonging to the said
two Societyes; and all stops and pipes and other partes and appurtenances of
the said organ, and particularly the stops and pipes in the Schedule hereunder
written mencioned, and alsoe the curtaine rods and curtaines—and all other
goods and chattles being in or belonging to the said organ and Organ-loft. To
hold to the said Roger North, Oliver Montague, and William Powlett, and the
said Sº Robert Sawyer, Charles Holloway, and Richard Edwards, Esq.", their
Exec" and Adm". In trust for and to the use of both the said Societyes of the
Middle and Inner Temples. In witness whereof I the said Bernard Smyth have
in these Pºsents (a duplicate whereof I am to seale to the said Treasurer and
I IO THE HISTORY OF THE ORGAN,
Benchers of the Society of the Inner Temple) have sett my hand and seale this
one and twentieth day of June one thousand six hundred eighty eight.”
“THE SCHEDULE.
“GREAT ORGAN. pipes. .
“ I. Prestand of Mettle . te º de * & & 6 I I 2
2. Holflute of Wood and Mettle . e. tº tº te 6I I 2
3. Principall of Mettle e e e gº * & 6I o6
4. Quinta of Mettle * > * e * * e * 6 I O4.
5. Super Octavo . * & e & g & * 6 I O3
6. Cornette of Mettle . * & g e * . I I 2 O2
7. Sesquialtera of Mettle . * e º e . I 83 O3
8. Gedackt of Wainescott . & e ſº * tº 6I O6
9. Mixture of Mettle . & & & * º . 226 O3
Io. Trumpett of Mettle . & & & º * & 61 I 2
948
“CHOIR ORGAN.
II. Gedackt Wainescott . * tº § & e * 6I I 2
I2. Holfiute of Mettle . tº gº sº g & & 6I O6
13. A Sadt of Mettle # * & & & e º 61 O6
14. Spitts Flute of Mettle * t e & & & 6 I O3
15. A Violl and Violin of Mettle . & g e * 6I I 2
I6. Voice humane of Mettle . & & g & e 6I I 2 -
366
“ECCHOS.
17. Gedackt of Wood . * º & ſº tº tº 6 I O6
18. Super Octavo of Mettle . & * e e ſº 6I O3
19. Gedackt of Wood . tº º & * & * 2
2O. Flute of Mettle . tº tº * g g # { } 29
21. Cornett of Mettle . * tº & & * & 87
22. Sesquialtera . g ſº & º º & . IO5
23. Trumpett . ſº º º g º g . . . 29
4OI
“With 3 full setts of keys and quarter notes.
“BER. SMITH (L. S.).
“Sealed and delivered in the p"sence of Geo. Miniett, Tho. Griffin, Richard
Cooke.” |
Smith's next large organ was the noble instrument for Durham
Cathedral, a copy of the agreement for which possesses many
points of interest to the curious in such matters:–
“A.D. 1683.
“Articles of agreement covenanted, concluded, and agreed upon the eighteenth
day of August in the five and thirtieth year of the reign of our Sovereign Lord
Charles the Second by the grace of God, King of England, Scotland, France, and
Ireland, Defender of the Faith. Between the Rt. Hon. John Sudbury, Doctor of
Divinity, Dean, and the Chapter of Durham of the Cathedral Church of Christ
THE IHISTORY OF THE ORGAN. I I I
and blessed Mary the Virgin, of the one part, and Bernard Smith of the city of
London, Organ-maker, of the other part as followeth.
“Imprimis. It is agreed by and between the said parties and the said Bernard
Smith for himself, his Executors, and administrators, doth hereby covenant,
promise, and agree to and with the said Dean and Chapter and their successors
by these presents that he the said Bernard Smith for and in consideration of the
severall sums of money hereinafter mentioned shall and will before the first day
of May which will be in the year of Our Lord One thousand six hundred and
eighty five, at his own proper cost and charges make and fitt up in the Organ-loft
of the said Cathedral Church of Durham, a good, perfect, laudable, and harmonious
Great Organ and Choir Organ with a case of good sound and substantiall Oak
wood, according to a draught or modell of an organ in parchment whereon or
whereunto all the said partys have subscribed their names at or before the time of
Sealing and delivering of these presents. -
“Item it is agreed by and between the said partys that the said Bernard
Smith shall make in the said organ these Seventeen stops, viz.':-
“Two open diapasons of Metall containing one hundred and eight pipes.
“A stop diapason of wood containing fifty four pipes.
“A principal of Metall containing fifty four pipes.
“A cornet of Metall containing nynety six pipes.
“A quinta of Mittall containing fifty four pipes.
“A super octave of Mitall containing fifty four pipes.
“A Holfluit of wood containing fifty four pipes.
“A Block flute of Mittall containing fifty four pipes.
“A Small quint of Mittall containing fifty four pipes.
“A Mixture of three ranks of pipes of Mittall containing one hundred and
sixty two pipes.
“A trumpett of Mittall containing fifty four pipes.
“And in the Choir organ five stops, viz.:- -
“A principal of Mittall in the front containing fifty four pipes.
“A Stop diapason of wood containing fifty four pipes.
“A voice Humand of Mittall containing fifty four pipes.
“A holfluit of wood containing fifty four pipes.
“And a super octave of Mittall containing fifty four pipes.
“Item it is agreed by and between these parties that the said great Organ
shall have a back front towards the body or west end of the Church which shall
be in all things and respects like to the fore front both in pipes and carving. And
all the pipes belonging to the two diapason Stops shall Speak at will in the said
back front as in the fore. *
“Item in consideration of which work by the said Bernard Smith to be done
and formed in the manner and form aforesaid the said Dean and Chapter for
themselves and their successors do Covenant and grant to and with the said
Bernard Smith his Executors and administrators by these presents in manner
and form following, that is to Say that the Said Dean and Chapter shall and will
well and truly pay or cause to be payd unto the Said Bernard Smith, his executors 2
administrators, or assigns the Sum of Seven hundred pounds of good and lawful
money of England at three several payments, that is to say two hundred thirty
three pounds six shillings and eightpence thereof in hand at or before the sealing
and delivering hereof the receipt whereof the said Bernard Smith doth hereby
acknowledge and confess thereof and of every part and parcel thereof doth clearly
acquit, exonerate, and discharge the said Dean and Chapter [blank in deed] by
II 2 THE HISTORY () F THE ORGAN.
these presents other two hundred thirty three pounds six shillings and eightpence
thereof when the said whole organ or organs is or are brought into the said
Cathedral Church and ready for fitting up, and other two hundred thirty three
pounds six shillings and eightpence being the residue thereof and in full amount
of the Said sum of seven hundred pounds when the whole organ is sitt up and in
every respect finished according to the true intent and meaning of these articles.
And further that the said Bernard Smith shall have and take to his own use,
benefit, and charge, the old organ now belonging to the said Cathedral Church
and all the Materialls thereunto belonging. Provided the said Bernard Smith
shall not or do not remove, take nor carry away the Said old organ till the new
organ be ready for fitting up as aforesaid. -
“And lastly, whereas the pipes of the two fronts of the said great Organ and
the front pipes of the said Choir Organ are to be painted and guilt according to the
best way and mode of painting and guilding of Organs, at the proper cost and
charges of the said Bernard Smith. It is hereby agreed, by and between the said
parties, that if the said Bernard Smith do well and sufficiently perform all the
aforesaid works, in making, finishing, and sitting up the said new organ, to the
ample Satisfaction and content of the said Dean and Chapter; that the said Dean
and Chapter shall pay, or cause to be payd unto the said Bernard Smith,
his executors, administrators or assigns, the sum of fifty pounds, of good and
lawfull money of England, and in full satisfaction for the painting and guilding
the said organ.
“In witness whereof to the one part of these articles remaining with the said
Bernard Smith, the said Dean and Chapter have put this Chapter seal, and to the
Other part remaining with the said Dean and Chapter, the said Bernard S//,
hath put his hand and seal the day and year above written.
“Signed, sealed, and delivered in the presence of
“WILLIAM WILSON.
“Jo, SIMPSON,”%
In consequence of the reputation which Father Smith had
acquired by these instruments, he was made choice of to build an
organ for St. Paul's Cathedral, then in the course of erection. A
place was accordingly fitted up for him, in the Cathedral, to do
* In the year 1691 Smith made some additions to the organ, and the following is a copy
of his receipt, preserved by the Dean and Chapter —
“Received of John Rowell Twenty four pounds being the last payment and in full of
Fifty pounds given to me by the Worsh' The Dean and Chapter of Durham for work done
at yº organ. -
“I say recºl
“By me
“I3ER : SMITII,”

THE HISTORY OF THE ORGAN. II 3
the work in, but it was a long time before he could proceed with
it, owing to a contention between Sir Christopher Wren and the
Dean and Chapter. Sir Christopher Wren wished the organ to
be placed on one side of the choir as it was in the old Cathedral,
in order that the whole extent and beauty of the building might
be seen at one view ; the Dean, on the contrary, wished to have it
at the west end of the choir; and Sir Christopher, after using every
effort and argument to gain his point, was at last obliged to yield.
Smith, according to his instructions, began the organ ; and,
when the pipes were finished, found that the case was not spacious
enough to contain them all ; and Sir Christopher, tender of his
architectural proportions, would not consent to let the case be
enlarged to receive them, declaring the beauty of the building to
be already spoilt by the d–d box of whistles. Three of the
stops were in consequence obliged to be kept out—viz., a bassoon,
a clarion, and another stop of minor consequence, which were
kept in the Cathedral for several years after ; Smith hoping he
might get them in at some future period ; but he died a few
years before Sir Christopher Wren.
After all this contention the architect, sorely against his will,
was obliged to make an addition to the case. He not only had
been niggardly in regard to the depth of it, where another foot
would have been of no consequence whatever, but also in the
height; for, when Smith came to put in the large open diapason
pipes in the two side flats, they appeared through the top nearly
a foot in length, and spoiled the appearance entirely. Smith now
entertained hopes of having a new case, but Sir Christopher, who
before would not suffer any ornaments on the top, was now
obliged to add several feet, or else alter the case, which vexed
him exceedingly. These ornaments consist of angels with trumpets,
standing at the side of a small altar. The colour of the wood,
of which these are made, being lighter than the rest of the Organ
case, the addition is soon discoverable. The organ case (to the
top of the ornaments) stands nearly thirty feet high ; the distance
from the floor of the building being about forty-six feet. It is
eighteen feet wide, and eight feet deep. The carving about the
case is very good ; it was executed by Grinlin Gibbons, whose
decorations embellish every part of the choir. The Organ was
opened with Divine Service, at the thanksgiving for the Peace of
I
I [4. THE HISTORY OF THE ORGAN.
Ryswick, December 2, 1697; but the Cathedral was not entirely
finished till 1715.f
The following highly interesting broadside, concerning Smith's
organ, is reprinted from the original in the British Museum. It
was unknown to me when the first edition of this work was
printed. There can be little doubt that it emanated from Harris,
or Some of his partizans — *
“QUERIES ABOUT ST. PAUL's ORGAN.
“I. Whether Sir Christopher Wren would not have been well pleas'd to have
received such a Proposal from the Organ-builder of St. Paul’s, as shou’d have
erected an Organ, So as to have seperated [sic] 20 Foot in the Middle, as low as
Gallery, and thereby given a full and airy Prospect of the whole length of the
Church, and Six Fronts with Towers as high as requisite
“l I. Whether the difficulty this Organ-builder finds in making Pipes to speak,
whose bodies are but I6 Foot long, does not prove how much harder it would have
been for him, to have made Pipes of 22 Foot speak, as those at Exeter ; or 32 Foot
as several Organs beyond Sea P And whether he has reason to complain of want
of height, or room in the case for higher and larger Pipes, since those of a
common size have put him to a Non-plus P And whether he has not the greater
reason because he gave the Dimensions of the Case himself?
“III. Whether the double Bases of the Diapasons in St. Paul’s Organ speak
quick, bold, and strong, with a firm, plump, and spreading Tone, or on the
contrary, slow, soft, and only buzzing, when touch'd singly P And whether they
may not more properly be called Mutes than speaking Pipes f
“IV. Whether the Organ be not too soft for the Quire now 'tis inclosed ? And
if so, what will it be when laid open to the Cupola, and Body of the Church 2
And what further Addition of Strength and Lowdness will it require to display
its Harmony quite through the large Concave of the Building, and answer the
service of the Quire, which is the noblest for Eccho and Sound, and consequently
of the greatest advantage to an Instrument, of any in Europe?
“V. Whether the Sound-boards, and Foundation of the Instrument, as well
as Contrivance and Disposition of the whole Work, will admit of more Stops
to render the Organ in Proportion, five times as Lowd as now it is
“VI. Whether if 12 Stops (supposing there were so many in the great Organ)
were plaid in full Chorus, 'twould not make St. Paul’s Organ vibrate and faint
And if so, how can it be render'd lowder by the Addition of Stops, since the
Wind that does not well supply 12, must of necessity worse Supply 13, and so
onward P
“VII. Whether 'tis possible to make an Organ lowder, that has all the
Strength it can contain already ?
* The writer has in his library an original MS. anthem, subscribed at the end—“This
was made by Dr. Blow Oct. ye 15, 1697, at Hamton town, for the opening of St. Paul's
Cathedral.”
† The above account of the organ of St. Paul’s Cathedral is copied from the first number
of the Musical Gage/ſe, January, 1819—a work which appears to have existed only a few
months. The editor was Dr. Busby.
THE HISTORY OF THE ORGAN. II 5
“VIII. Whether there been’t Organs in the City lowder, sweeter, and of
more variety than St. Paul's (which cost not one third of the Price) and par-
ticularly, whether Smith at the Temple has not out-done Smith of St. Paul’s P
And whether St. Andrew's Undershaft” has not outdone them both P
“IX. Whether the open Diapason of metal that speaks on the lower set of
keys at St. Andrew Undershaft, be not a stop of extraordinary Use and Variety,
and such as neither St. Paul’s has, or can have P --
“X. Whether Depth in the Case gives not Liberty for containing the greater
Quantity and Variety of Work? And if so, why should not St. Paul's have as
great Variety as other Organs, and the order of the Work be as well contriv'd,
and disposed for Tuning and other Conveniences, since its case is near double
the Depth to any in England P - -
“XI. Whether the great Organ-builder will condescend to submit his organ to
the same Scrutiny, which all Artists of the same Profession do in all Countries?
And if it be deny'd whether it will not give the World, and particular the Dean
and Chapter of St. Paul's reason to fear, that this Moſł-me-ſangere proceeds from
Some secret Causef And to Question— -
“XII. Whether the Cupola, or the Organ at St. Paul's, will be first finished P’
Another famous instrument of Smith's is the organ in the chapel
of Trinity College, Cambridge. It was built in 1708, during the
Mastership of the celebrated Dr. Bentley, of whose club in London
Father Smith was a member. The erection of this organ, together
with the repairs of the chapel which were carried on under the
auspices of the Master in direct opposition to the wishes of the
Fellows, gave rise, amongst other things, to the Serious quarrels
which took place between Bentley and his College, and which
nearly cost him his Mastership. Smith died before the instrument was
finished, as will be seen from the following extract from a College
document, quoted in Bishop Monk's Zife of Dr. Bentley,p. I6I —
“He (Smith) did not live to complete the organ of Trinity; it was finished
by tuning and voicing by his son-in-law, Xtopher Schrider, according to a
resolution of the Master and Seniors, May 3, 1708.”
Sir John Hawkins seems doubtful as to the exact time of
Smith's death, but tells us “that the name of Smith occurs in the
lists of the Chapel establishment, from 1703 to 1709 inclusive, as
organ-maker to the Chapel, and also to Queen Anne.” An entry,
however, in the parish books of St. Margaret's, Westminster, sets
the matter in question at rest —
“On the sixth day of April, 1708, Henry Turner was elected Organist of St.
Margaret's, Westminster, in the room of Bernard Smith, deceased.”f
* Built by Harris at a cost of £1400, and opened May 31st, 1696.
- + A memoir of Smith, chiefly extracted from Hawkins, may be seen in Noble's Continua-
tion of Granger's Biographical History of Ængland, vol. ii., p. 362; and a more elaborate
I 2
II 6 THE HISTORY OF THE ORGAN.
It would be interesting to give an account of all the organs
built by Father Smith, but this is impracticable. The following
list has been drawn up with some care, and is probably as complete
as it can now be made. It has received considerable additions and
corrections since the first edition —
List of Father Smith's Organs.
I. The Royal Chapel, Whitehall. 1660.
Part of an organ by Smith still remains in the present Whitehall Chapel.
Little of the original work, however, exists, as it was partly melted down in 1814,
and a new inside put into the old case by Elliot. This organ is said to have
been the instrument built by Smith immediately after his arrival in this Country :
but this can hardly be the fact, as that organ must have been burnt in the great
fire which consumed so many of the ancient buildings of Whitehall, including
the old chapel, in 1697.
Paterson, in his Pietas Zondimensis, 1714, p. 282, says —“Whitehall was
unfortunately laid in ashes by that dismal fire on Jan. 4, 1697; at which time
the Royal Chapel was also consumed ; wherefore his late majesty erected a new
one in that most spacious and beautiful room called the Banqueting House,
built by King James I. ; and so it continues the Royal Chapel, for the use of
the nobility, gentry, and other inhabitants thereabout.”
Again, on the other hand, if Smith built this organ for the banqueting room,
and not for the old chapel, in all probability it is the instrument alluded to as one
of Smith’s earliest works.
2. Westminster Abbey. I660.
This was the organ on which Blow, Purcell, and Croft played. It appears,
by the treasurers’ books of the Abbey, to have cost £120.
3. Wells Cathedral. 1664.
4. St. Martin's-in-the-Fields. 1667.
5. St. Giles's-in-the-Fields. 1671.
The original cost of this organ is not given in the parish books. In Parton's
Aſistory of the Parish of St. Giles's, p. 287, is this entry –“ 1698. The sum
of £166 I4S. Id. was collected towards repairing the organ ; and the celebrated
Smith, who had built it, offering completely to set it to rights for £200, was
employed, and finished the same this year.” - * .
Again, in the following year, is this notice —“I699. Paid £200 to Mr.
Christian Smith [the builder's nephew, for making and setting up the organ
in the church.” -
This instrument is the one still in use.
notice in Mr. Sutton's Short Account of Organs in AEngland, &c., p. 17. An excellent
painting of Father Smith still adorns the walls of the disused Music School, Oxford, which
has been wretchedly copied in Hawkins' History.
THE HISTORY OF THE ORGAN. II 7
6. St. Margaret's, Westminster. I675.
Malcolm, in his Zondimum Redivīvum, vol. iv., p. 165, has preserved the
following entry respecting this organ —“ 1675. Item, to Mr. Bernhard Smith, for
the charge of the organ newly erected in the parish church, £200.”
Sir John Hawkins, in his History of Music, vol. iv., p. 510, speaking of the
children of the celebrated Henry Purcell, says:–“ Of these children we have
been only able to trace one, viz., a son, named Edward, who was bred up to music,
and, in July, 1726, was elected organist of St. Margaret's, Westminster. Upon
inspection of the parish books, for the purpose of ascertaining this fact, it appears
the organ of this church was built by Father Smith in 1676, and that he himself was
first organist there, and played for a salary.” The learned historian is in error one
year as to the date of the erection of this organ. Smith was appointed organist,
April 5, 1676; but the instrument, as we see from Malcolm, was built in 1675.
Smith's organ was removed in 1804, and a new one supplied by Avery.
7. Christ Church Cathedral, Oxford. I68O.
8. St. Peter's, Cornhill. I681.
This organ originally cost £2 IO, inclusive of “painting and gilding.”
Paterson (Pietas Zondimensis, p. 231), speaking of this church, adds:–“ Within
it’s beautified with a stately new organ, maintain’d by the gift of Mr. Benjamin
Thorowgood, in 1682.” -
9. St. Mary Woolnoth. 1681.
Hatton, in his New View of London, 1708, vol. ii., p. 4II, says:–“The organ
case is enriched with three large figures of Fame; and on the front are, in gold
letters, some texts of Scripture, relating to praising God with Church Musick.”
The date above given is also on the exterior of the case. -
Io. The Temple Church. 1683–4.
The date usually assigned to this noble instrument is 1687; but it is manifestly
incorrect, as contemporary authorities tell us that it was erected in the reign of
Charles II., who ceased his career in 1685. The true date is that above assigned.
Hatton tells us —“The Temple Church having narrowly escaped the flames in
1666, it was in 1682 beautified, and the curious wainscot screen set up.”
The swell-organ was added by Byfield at a subsequent period.
II. Durham Cathedral. I683.
Smith received £700, and the materials of the old organ, for this noble
instrument. (See ante, p. I IO.) It was repaired in 1748 by Abraham Jordan,
who probably added the swell.
I2. St. Mary-at-Hill, Billingsgate. I693.
Hatton, in his New View of London, 1708, vol. ii., p. 376, says:–“And here is
a pretty organ, composed of these stops, and set up anno 1692-3.” Then follows
the following curious list of stops —“A stop-diapason of wood. A recorder of
wood. A fifteenth of metal. A mixture of 3 ranks of metal. A vox-humane.
A trimeloe. A principal of metal. A cornet of 5 ranks, all of metal advanced
exactly. A tierce of metal. A trumpet of metal throughout. An echo to the
whole. To draw all in whole stops, except the great 12th, the 15th, the tierce,
the mixture, the vox-humane, and the trumpet; all which are broken, and made
to draw in half stops, for the benefit of increasing the variety in the organ.” This
organ was removed late in the last century. Smith's original contract is preserved
in the vestry.
I 18 - THE HISTORY OF THE ORGAN.
I 3. St. Paul's Cathedral. I694-7.
“Bernhard Smith entered into a contract with the commissioners, Dec. I9,
1694, to erect the great organ and a chair organ, for £2000.”—Malcolm's
Moſtdºtuſ/t A’edivīvidyn, vol. iii., p. IOS.
The organ was opened Dec. 2, 1697, by Jeremiah Clark; but the Cathedral
was not entirely finished till 1715.
14. St. Mary's (University Church), Cambridge. I697.
I5. Trinity College Chapel, Cambridge. I708.
16. Ripon Cathedral.
17. St. David's Cathedral.
The case and the diapason-pipes alone remain.
18. St. Mary's (University Church), Oxford.
19. The Theatre, Oxford.
This organ was taken down by Byfield about a century ago, and placed in
the Church of St. Peter-in-the-East, Oxford.
2O. St. George's Chapel, Windsor. -
This organ remained in the Royal Chapel until 1788; when the king, upon the
completion of the new organ by Green, presented it to Old Windsor Church.
It was afterwards removed to the New Church at Haggerstone, Middlesex, where
it now is. -
I. The Chapel of Eton College.
22. Southwell Collegiate Church.
Repaired and completed by Snetzler in 1766.
23. The Chapel Royal, Hampton Court.
This organ is in a recess on the south side of the choir; the case is richly
Carved by Gibbons.
24. Manchester Cathedral.
The choir organ only ; it still remains in its original state.
25. St. James's, Garlickhithe.
26. St. Clement Danes.
27. St. Dunstan's, Tower Street.
This organ was afterwards removed to St. Albans' Abbey.
28. High Church, Hull, Yorkshire.
Traditionally said to have been intended for St. Paul’s Cathedral, in addition
to the present instrument.
29. All Saints, Derby.
3O. St. Margaret's, Leicester.
This organ has been rebuilt.
31. West Walton Church, Norfolk.
The case only remains.
THE HISTORY OF THE ORGAN. I IQ
32. All Saints, Isleworth, Middlesex.
Much improved by Green in 1776.
33. Pembroke College Chapel, Cambridge.
34. Emanuel College, ditto.
35. Christ's College, ditto.
The three last-named organs remain in nearly their original state; they have
been disused for more than half a century. I have assigned them to Father Smith,
upon the authority of Sir W. Cope, Bart.
36. St. Catherine Cree, Leadenhall Street.
The carved oak case of this organ is a fine specimen in its style. It is rich in
Well-cut mouldings, bold projections, and figures of angels.
37. Chester Cathedral.
This organ was removed in 1844. A small organ, probably by the same maker
(formerly used to accompany the choir), is still preserved in an apartment in the
cloisters. d
38. St. Olave's, Southwark.
39. St. Martin's, Ludgate Hill.
4O. Danish Church, Wellclose Square.
4I. Sedgefield Parish Church, county Durham.
42. Whalley, Lancashire.
43. Hadleigh, Suffolk.
44. Chelsea Old Church.
45. St. Nicholas', Deptford.
29. Joſiſ, and Reſtatus Harris.
According to Dr. Burney,
“Smith had not been many months here, before Harris arrived from France,
with his son René or Renatus, an ingenious and active young man, to whom he
had confided all the secrets of his art. However, they met with but little encourage-
ment at first, as Dallams and Smith had the chief business of the kingdom ;
but upon the decease of Dallams, who died while he was building an organ for the
old church at Greenwich, 1672, and of the elder Harris, who did not long survive
him, the younger became a formidable rival to Smith.”
A slight digression is here necessary, which the reader will pardon,
in Order to introduce some new and Curious particulars of Thomas
Harris.
Organs, as we have seen, were generally demolished by the ordi-
nance of 1644, but it was not carried into effect in Worcester Cathedral
* Aſistory of A/usic, vol. iii., p. 437.
I 20 THE HISTORY OF THE ORGAN.
till July, 1646 (the instruments having probably meanwhile been
restored after their first damage by the troopers); and on the 23rd
of that month many gentlemen went to six o'clock prayers at the
College, to take their last farewell of the Church of England service,
the Organs having been taken down on the 20th. The account of
that proceeding is thus narrated in Townsend's Annals —
“July 20. The organs were this day taken down out of the Cathedral Church.
Some parlaymenters hearing the music of the church at service, walkinge in the
aisle, fell a skipping aboute and dancing as it were in derision. Others seeing the
workmen taking them down said, ‘you might have spared that labour; we would
have done it for you.’ ‘Noe,” said a merry ladd about tenn yeres old, ‘for when
the Earl of Essex was here the first man of yours that pluckt downe and spoyled
the organs broke his neck here, and they will prevent the like misfortune.’
“No sooner had monarchy been restored in 1660, than the Worcester quire
petitioned the King for their salaries left unpaid when they were plundered and
undone for their faithful service to the late King, of blessed memory, in regard of
the Said warrs and the King's enemies prevailing.”
How the choristers fared does not appear; but in the same year
}
painted, Turner, the
Is. 6d. was paid “for
an organ-loft was fitted up, the “ gallery Organ'
joiner, received £I “for mending pulpit organs,”
postage of anthems from Cambridge,” John Jones 6s. 6d. for an organ
book, and “Thos. Harrison" had £5 for “coming from London to
treat about making a new organ.” Whether this negotiation failed,
or the name was misspelt for Thos. Harris, of New Sarum, with whom
a bond was entered into in 1666 for the making of new organs, is not
shown on the books, but about this time there are several entries as to
the repair and removal of the Old Organ, making a little organ gallery
in the north aisle, etc. In the Bodleian MS., Tanner 45, fol. 19, is a
letter from the Bishop of Worcester to Sheldon, Archbishop of Can-
terbury, interesting, though somewhat unintelligible, as pertaining to
the musical affairs of Worcester Cathedral —
“May it please your grace,—Tandem aliquando, I present your grace with all
the papers that make (and as with humble submission I conceive) are requisite in
Mr. Deane of Worcester's against Mr. Hathaway's pretences and allegations about
the choire organ made and fixt, and the great organ to be made, but now bargained
for, and the reason I Sent these papers up no Sooner was my longing hope and en-
deavour to have made Mr. George Dallow’s (Dallam P) testimonie more pregnant
and evident touching the promise of Hathaway and Dr. Gibbons to help him to
this organ-worke at Worcester, but, to my satisfaction, there is more than probabi-
litie there had been money enough to have satisfied Gibbons and Hathaway and
Talbot, had it been in the dean’s power to have made a bargain, they well knew
Mr. Deane's [Dr. Warmstrey] utter ignorance in re-musica. They knew he was,
as it is in the Greek proverbe, ovos Tpos \vpav, but no more skill in an organ than a
THE HISTORY OF THE ORGAN. - I 2 I
beast that hath no understanding, and ’tis very considerable that Hathaway should
dare to addresse a complaint at Council Board, when for above a whole yeare, Mr.
Deane having forbidden him to procede to the worke of the great organ, he never
applied himselfe neither to Mr. Deane nor to the chapter, nor to the visitor, con-
tinuing his visitacion for nine months at least, no complaint all this while ever
heard of, and for ye materials provided it signifies nothing, unlesse it did appeare
they were provided for this organ, when soon after he had made the choire organ
he was forbidden to proceed any further. With Mr. Harrison (who was old
Dallow's servant and married his daughter) I twice conferred about his testimonie,
and he told me he would make good all he said upon oath, and make it good to all
the organists in England, and if your grace shall secretly object, old Hesiod's
testimonie in ye case, Kat Kmpaeus Kmpapet p00wevel, an artist maligns his brother artist.
I rely very much on Mr. Tomkins' skill, bred in his cradle, and all his life among
Organs, who is an excellent Organist, and has ever maintained an organ in his
house, his letter will show what his judgment was before this difference was started.
Little reason have I had to interpose in the least in Mr. Deane's case, but I cannot
forbear to stand up for innocence, though joined with much follie. I have returned a
certificate to his Majestie's instructions about hospitalls, and by the grace of God
shall returne a full answer to your grace's instructions about church affairs in ye
due time. The Lorde in the meane time preserve your grace in health and safetie
and ye comforts of his blessed Spirit. May it please your grace, I am your grace's
most obliged and most obedient humble servant. “RO, WIGORN.
“Worcester, Aug. 5, 1665.”
The following were the articles of agreement between Thos.
Harris, of New Sarum, and the Dean and Chapter of Worcester,
July 5, 1666:—
“Within eighteen months he shall set up in the choyre a double organ, con-
sisting of great organ and chaire organ. In the former, east and west side, both
diapasons to be in sight and some of the principals ; two open diapasons of metal,
a 10 ft. pipe as at Sarum and Gloucester, following the proportion of 8 in. diameter
in the IO ft. pipe, and 4 in. diameter in a pipe of 5 ft. The great Organ case to be
designed after the manner of Windsor church before the wars, a double prospective,
the great pipes on the north and South ranging with the middle columns of the
stone arch, and so the next great declining toward the east continually till the
smallest in the middle meet within 2 or 3 ft., resembling the diminution of
pillars in a prospect, and rising by degrees to that end ; the wainscot work on
the top resembling architrave, freeze, and cornice, and lessening in proportion
at the bottom bases; two principals of metal, two 15ths of metal, one I2th
metal, one recorder metal, one place for another stop ; in the chaire organ, one
principal of metal in front, according to the design of Windsor before the wars,
a cherub expanding its wings so as to returne downe perpendicular, and that
the great pipes shall be in the place of the first and second quills [sic], on the
north and South sides, and the rest proportionably less and less towards the
cheeks of the cherub ; one stopped diapason of wood, one open diapason of
wood, having nine pipes towards the bases beginning in Are, one 15th of metal,
one two-and-20th (as they call it); the bellows, sound-boards, and all the timber
and iron, as at Sarum and Gloucester, or wh. Soever is the fairest; the case
of such wainscot as shall be judged by expert ones to equal those of either
Sarum or Gloucester. Item, it is agreed upon and concluded, to pay £400 to
the said T. Harris, of which £40 earnest money, 4.80 after Setting up the chaire
I 2
2
THE HISTORY OF THE ORGAN.
Organ case and the lower part of the great organ case, A, ICO when the chaire
Organ is finished, ÁIOO when the front of the great organ is set up, A.So when both
perfected ; but if the organ shall be found not worth the amount it shall be lawful
to stop A40 out of the last payment.”
Here is Mr. Harris's acknowledgment of the settling, which
seems to have been satisfactory to all parties —
“Whereas the reverend dean and chapter of the cathedral church of Wor-
Cester, upon view by certain members of the said church taken of an organ built
by Mr. Thos. Harrise in the said church, have been pleased to receive such
Satisfaction concerning ye whole work as to deliver up my bond given unto them
'for performance of certain articles concerning the said organ on my part under-
taken, now I the said T. Harrise do hereby acknowledge, that the said dean and
chapter have not only paid unto me the full Some belonging unto me by the said
articles, viz., 4400, and also the sum of A.4 for a Soft Stop in ye choir organ, and
ye sum of £5 for mending and removing ye old organ, but further the said dean
and chapter have hereby given me the sum of £24 above my due, in which I do
acknowledge their great kindness and bounty ; and I do hereby promise and
oblige myself, in confirmation of what I have expressed, in my petition unto them,
that I will constantly attend upon the said organ during’ my life and do all things
touching the keeping of it in good order at my own cost, without any charge to ye
said dean and chapter.” +
Since the first edition of this book was printed Dr. Bloxam has
done good service to the world by the publication of his Registers of
Magdalen College, Oxford. From these Registers we learn that the
Harrises were an English family, and that Renatus's grandfather was
an Organ-builder residing among us and practising his art with
SUICCCSS.
The relationship between the two Harrises is established by an
entry in the Magdalen College Registers, under the date 1672,
where Renatus Harris, being at Oxford, offers his services to repair
the Organ, “the rather because his grandfather made it at first, and
he was sufficiently known to be as skilful an artist as any in England.”
The following documents connected with the Magdalen College
organ will be read with interest —
“THE PROPOSALS OF RENATUS HARRIS TO THE REVEREND THE PRESIDENT
AND FELLOWS OF MAGDALEN COLLEGE IN OXFORD, FOR REPAIRING AND
MAKING SEVERAL ALTERATIONS IN THEIR ORGAN, 17 JULY, 1686.f
“To make the three bellows new, to repair and perfect the inner trunks and
wind-chests, to new hang both sets of keys, to rectify all defects in the roller-
* The Monastery and Cathedral of Worcester. By John Noake, 1866. A work of great
interest.
ºf Harl. MS., No. 4240, fol. II6b.
THE HISTORY OF THE ORGAN. 123
boards, to repair the sound-boards and conveyances, and to make them as good
as at the first.
“2. To mend all the pipes and conduits in both organs, and perfectly to voice
and tune them, which voicing shall be done after the modern, best, and Sweetest
manner that either the work or proposer is capable of.
“3. Whereas the great organ consists of eight stops, namely two diapasons,
two principals, two fifteenths, and two two-and-twentieths, one of which stops,
and several pipes in the other, have been spoiled by Preston; finding by experience
that when two unisons are together in an organ as two principals, two fifteenths,
&c., that they never agree well together in tune, and One stop of each Sort is
in a manner as loud as two of the same name ; for which reason neither in
my organ at the Temple, nor in those which I make for the King, after the
open and stopped diapasons, none of the rest are of the same denomination ;
So that I propose to make your eight stops to consist of these following, one
open diapason, one stopped diapason, one principal, one great twelfth, one
fifteenth, one tiers, one furniture of two or three ranks, according as there is
room for it, in place of the two two-and-twentieths. In the choir organ there
are one stopped diapason, two principals, one recorder, and one fifteenth, so
that in these five stops there are no less than three unisons; which five stops
ought to be reduced to these four, namely, one stopped diapason, one principal,
one stopped twelfth, and one fifteenth ; the recorder being left out will give
more air to the rest of the work. With these amendments, alterations, additions,
and varieties of stops, it will be an extraordinary good instrument, and the best
Old Organ in England, and exceed the best organ in your University, with only
the Cost of one hundred and fifty pounds.”
“HARRIS's AGREEMENT WITH THE PRESIDENT AND FELLOWS OF MAGDALEN
CoLLEGE, Oxfor D, TO IMPROVE AND ENLARGE HIS GRANDFATHER's
ORGAN.”
“Articles of Agreement had, made, concluded, and agreed upon the 6th
day of June, in the Second year of the Reign of our Sovereign Lord and Lady,
William and Mary, by the grace of God King and Queen of England, Scotland,
France, and Ireland, Defender of the Faith, &c., Anno Domini 1690, between
the Right Rev. Father in God, John [Hough] Lord Bishop of Oxford, President of
the College of St. Mary Magdalen in the University of Oxford, and the scholars of
the said College on their part, and Renatus Harris, of the City of London,
Organ-maker on the other part, in manner following, that is to say :—
“Im/ri/nis, It is covenanted, concluded, and agreed upon by and between the
said parties to these presents, and me the Said Renatus Harris, in consideration
of the money to be paid unto him as hereinafter mentioned, doth for himself,
his executors, and administrators, covenant and grant to and with the said
President and Scholars, and their successors, by these presents, that he the
Said Renatus Harris, his servants, workmen, and assigns, shall and will in
good and workmanlike manner put the great and choir organs in Magdalen
College aforesaid into Sound, good, and perfect repair in all ill parts and
defects whatsoever, and shall new work and repair the three bellows and make
them strong, Staunch, and good ; and all the wood-trunks and conveyances of
wind shall repair, make good, and Staunch, and shall new work and amend all
* Appendix to Dr. Bloxam's Aegisters of Magdalen College,
I 24 THE HISTORY OF THE ORGAN.
the defects in the sound-boards, and make them staunch and sound, and shall
and will make new palletts, springs, and wind-chest to the Sound-boards of the
said organs, and shall and will make good and Serviceable all the movements
and roller-boards of the said organs, and shall make two sets of keys of good
ebony and ivory, their fall to be as little as can be to give the pipes their due
tone, and the touch to be ready, Soft, and even under the finger.
“ ſtem, That the said Renatus Harris, his servants, workmen, or assigns,
shall and will make to the great organ a new great twelfth of metal, a cedrine
of metal, and a furniture of three ranks, and a cymbal of two ranks, and shall
and will repair, well voice, and tune, in the great organ, the open diapason,
principal of metal, stop-diapason of wood, fifteenth of metal; which great organ
shall consist of five hundred sixty and one pipes ; and make to the choir
organ a new flute of metal and nason of metal, and repair, well voice, and tune
in the choir organ the principal, stop-diapason, and fifteenth, which said choir
organ shall consist of two hundred and fifty pipes; and if the said new pipes or
stops to be made in the said organs shall not be liked, or approved of, by Such
organist as the said President and Scholars shall appoint to inspect the Same, that
then the said Renatus Harris, his executors and assigns, shall take down such
stops and pipes as shall be disliked of as aforesaid, and put in their places such
new ones as shall be approved of under the same conditions as are hereby agreed
to. And if any pipe or pipes belonging to the above-named stops cannot be made
to speak well, and bear a good tone, strong, clear, and Sweet, either through want
of substance or any other defect ; that then in Such case the said Renatus Harris,
his executors, or assigns, shall and will put in new Serviceable pipes in the places
of such as shall be found so deficient and not useful ; and that the said Renatus
Harris, his executors or assigns, shall and will alter the pitch of the said organs
half a note lower than they now are ; and the Said organs, being now Gamut in
Do, Sol, Re, the said Renatus Harris, his executors or assigns, shall and will
in good workmanlike manner completely finish on or before the Feast of All Saints
next ensuing the date hereof.
“J/em, In consideration of the said work and workmanship to be done and
performed as aforesaid, the said President and Scholars, for them and their
successors, do covenant and grant to and with the said Renatus Harris, his
executors, administrators, and assigns, by these presents, that the said President
and Scholars, or their successors or assigns, shall or will pay or cause to be paid
to the said Renatus Harris, his executors or assigns, the sum of One Hundred and
Fifty Pounds of lawful money of England, as followeth, viz., ten pounds at or
before the sealing hereof, forty pounds on the Feast of the Nativity of Christ next
ensuing, and one hundred pounds, being the remainder thereof, on the Feast of St.
John Baptist, which shall be on the year of our Lord God 1691. For witness
thereof, to the one part of these presents the said President and Scholars have put
their common seal, and to the other part thereof the said Renatus Harris hath set
his hand and seal, the day and year above written.” *
Renatus Harris seems to have been much employed, and to have
been Smith's rival upon all occasions. The memorable “battle of the
organs,” at the Temple Church, has already been detailed ; and not
long afterwards, upon the accession of James II., we find Harris
rivalling his opponent in Court patronage. The evidence of this
is contained, in the following curious entries, extracted from Moneys
THE HISTORY OF THE ORGAN. I 25
received and paid for Secret Services of Charles //, and James //,
printed for the Camden Society.” The dates range between 1686
and I688 :—
“To René Harris, by advances for an organ to be provided for the chappell in
Whitehall—A300.”
“To René Harris, by advance, the same being intended to be employed in the
making and buying a new organ for the chappell in Whitehall—A2OO.”
“To René Harris, for fitting and repairing an organ for the chappell in White-
hall, and for altering and preparing an organ for the chappell at Windsor, and
removing that organ from Winchester thither—A 137 : 13.”
“To René Harris, in full payment for making and finishing the organ in
y” chappell at Whitehall—A600.”
Without doubt, considerable jealousy existed on the part of Harris
towards his rival Smith. The “quarter tones” in the Temple organ,
which gained the latter such reputation, appear to have been a sore
Subject with Harris. The following interesting advertisements, which
are quite a new feature in the lives of these distinguished artists, are
here reprinted from my Lecture on the Early English Organ-
Builders and their Works. The first is from the Post Boy, April 12,
I698 —
“Whereas the Division of half a Note (upon an organ) into 50 Gradual and
distinguishable parts has been declar'd by Mr. Smith, as also by the generality of
Masters to be impracticable: All Organists, Masters, and Artists of the Faculty,
are together with the said Mr. Smith, invited to Mr. Harris's house in Wine Office
Court, Fleet Street, on Easter Monday next at Two of the clock in the Afternoon,
to hear and see the same demonstrated.”
Again, in the same paper, April 30, the following appeared:—
“Whereas the Division of half a note (upon an organ) into 50 Gradual and
distinguishable parts, was performed by Mr. Harris on Easter Monday to the
full satisfaction of the Persons of Quality and Masters that were present : And
Whereas the said Mr. Harris intends a further Division of half a Note, viz., into
One Hundred parts (and this, as before, not mathematically, but purely by the
Ear), all Masters and others of curious and Nice Ears are invited to the said Mr.
Harris's House, in Wyne Office Court, Fleet Street, on the Ioth day May, at Three
of the clock in the afternoon, to hear and see the Performance, and to be informed
(if any doubt) of its usefulness.”
It would be interesting to know more of these trials, but nothing
appears on record, as far as I have discovered.
* Edited by J. Y. Akerman, from a MS. in the possession of W. L. Lowndes, Esq. The
entries occur, pp. I44, 169, 18O, IQ6.
+ Delivered before the College of Organists, Nov. 15, 1864. London : Alſ. Whitting-
ham. I2mo,
I 26 THE HISTORY OF THE ORGAN.
Harris built a noble instrument for the Cathedral of Salisbury;
the only record of which seems to be an engraving fortunately extant.
This curious print measures thirty-three inches by sixteen, and pur-
ports to be “The East Front of the New Organ in Salisbury Cathedral,
made, in the year 1710, by Mr. Renatus Harris, Organ-Builder.” At
the bottom, “John Lyons, delin ;” “Francis Dewing, Sculp.” Running
along the top of the engraving is this passage:– “Vitalianus, the 74th
Bishop of Rome, about the year 662, ordained organs first to be used
in the Church. He was born in Segni, a city of great antiquity, on
ye top of a Mountain in Italy; in this city organs were first invented,
or first brought to perfection.” And on each side of the engraving
(at the top of the print), is the following very curious description —
“This Instrument, consisting of four sets of keys, and fifty stops, stands over
the choir door, and is above 40 foot high and 20 foot broad; the arch under
which it stands, being lofty and but narrow, would admit no larger extention
in breadth ; and yet it was judged necessary to carry the finishing very high,
to render this figure more lively and proportionable to the structure of the
church (which is, from the pavement to the vaulting thereof, 80 foot high).
The organ blower, as well as the bellows which are very large, have room in
the body of ye case, in which are all yº movements, keys, roller-boards, and
eleven stops of Echos, and yet the sight of the work is conceal’d from him, as
he is from the people in the Church or Gallery. This organ is a new contrivance,
and on it may be more varietys express'd, than by all yº organs in England, were
their several excellencies united. The figures designed for the finishings of the
choir organ are not as yet set up, neither are y” finishings of y” great organ fore
shortned in this print according to perspective, because all parts of the Instruments
should answer the Scale.”
It seems as if Harris had been a candidate for building the
organ of St. Paul's Cathedral, as well as that of the Temple ; for,
in the Spectator (No. 552, for Dec. 3, 1712), a proposal of Mr. Renatus
Harris is recommended in the following words:–
“The ambition of this artificer is to erect an organ in St. Paul's Cathedral,
over the west door, at the entrance into the body of the church, which in art and
magnificence shall transcend any work of that kind ever before invented. The
proposal in perspicuous language sets forth the honour and advantage such a
performance would be to the British name, as well as that it would apply the power
of Sounds in a manner more amazingly forcible, than perhaps has yet been known,
and I am sure to an end much more worthy. Had the vast sums which have been
laid out upon operas without skill or conduct, and to no other purpose but to
Suspend or vitiate our understandings, been disposed this way, we should now
perhaps have an engine so formed, as to strike the minds of half a people at once,
* A copy of this rare engraving, which seems to have been unknown to Gough and
Upcott, is in the possession of the writer. -
*
THE HISTORY OF THE ORGAN. I27
in a place of worship, with a forgetfulness of present care and calamity, and a hope
of endless rapture, joy, and Hallelujah hereafter.”
In the latter part of his life, according to Sir John Hawkins,
“Renatus Harris retired to Bristol, and, following his business there, made
sundry organs for the churches in that city, and in the adjacent parishes, as
also for churches in the neighbouring counties. He had a son named John,
bred up under him, who followed the business of organ-making, and made a
great number of very fine instruments.” ”
Renatus Harris died in or about the year 1715 ; and his latest
organ seems to have been that in St. Mary's Church, Whitechapel.
In regard to the following list of organs, it may be remarked that
the first four were built by Renatus in conjunction with his father
Thomas. -
Zist of Renatus Harris's Organs.
I. Salisbury Cathedral (before 1665).
2. Gloucester Cathedral (before 1665).
3. Worcester Cathedral. I665.
In Valentine Green's Survey of the City of Worcester, 8vo, 1764, p. 54, the
following notice occurs :—“The organ of this church, which, with its gallery,
terminates the west-end of the choir, is esteemed a fine instrument, consisting of
nine stops : The trumpet stop is justly allowed to be the finest of that sort in the
kingdom. The last reparation of it cost three hundred pounds, which sum was
raised by a voluntary contribution of several noblemen and gentlemen, whose arms
are emblazoned on the west-front of its gallery. * * * The east-front of this
gallery, towards the choir, has a pretty deception of marble, well imitated ; and
presents a view of the lesser or choir organ, which has communication with the
great one, and consists of five stops.”
4. St. Sepulchre's, Snow Hill. 1670.
Two dates are assigned to this organ, 1667 and 1677 ; but a document in the
author's possession gives it (probably correctly) as above. The date 1667 is
evidently wrong, as the following extract from Hatton's AVew View of Zondon,
1708, vol. ii., p. 546, will testify —“St. Sepulchre's being almost demolished (except
part of the wall and steeple) by the fury of the devouring flames in 1666, it was
again re-erected and finished anno 1670.” -
5. St. Botolph's, Aldgate. I676.
Upon the front of the organ is this inscription —“This organ is ye gift of
Thomas Whiting to the hole [sic] parish, 1676.”
* History of Music, vol. iv., p. 356. Sir John adds —“In the Mercurius Musicus for
September and October, 1700, is a song inscribed : “Set by René Harris.’ ” Father Smith
and Renatus Harris, following the example of their predecessors, united a knowledge of the
science of music with the more mechanical art of organ-building.
I 28 THE HISTORY OF THE ORGAN.
6. St. Dunstan's, Stepney, 1676.
The case of this organ is beautifully carved in oak ; and the instrument is said
to be a very fine one.
7. St. Nicholas', Newcastle-upon-Tyne. I676.
A trumpet stop was added in 1699, and in 1710 the instrument was thoroughly
repaired. Snetzler added the swell in 1749.
8. Allhallows Barking, Great Tower Street. 1675-7.
This church escaped the flames of 1666. Hatton (Wew View of London, 1708,
vol. i., p. 98), speaking of the organ, says —“There is likewise a handsome organ
case enrich'd with Fames, and the figures (about 6 foot high) of Time and Death,
carved in basso relievo and painted.” “A new chaire organ ” was added in 1720
at a cost of £100 ; and the “old organ” was at the same time repaired at a further
cost of £80.
9. Chichester Cathedral. 1678.
A trumpet stop was added by Byfield in 1725; a choir organ Some twenty
years later ; and a swell in 1778.
IO. Lambeth Old Church. I68O.
I I. Winchester Cathedral. I68I.
Subsequently rebuilt by Avery in 1794.
12. Winchester College Chapel. 1681.
Rebuilt by Green in 1780.
13. St. Michael's, Cornhill. 1684.
I4. Bristol Cathedral. I685.
“In the years 1681 and 1685, in the Deaneries of Towgood and Levett, 4.300
or more was laid out in mending the floor and beautifying the church, painting the
east-end of the choir and other works, and in making a fine timber case for the
new organ, erected by the contribution of the Dean and Chapter, and many other
well-disposed persons, at the expense of £550 in the whole, to Mr. Renatus Harris,
organ-builder.”—Barrett's History of Bristol, p. 29O.
15. Hereford Cathedral. 1686.
The cost of the instrument was £515, exclusive of the case, which cost (carving
included) A, 185. In the same year “George Dallam ” was paid £5 for a “chaire
organ.” In the first edition this organ was erroneously assigned to Smith.
16. King's College Chapel, Cambridge. 1686.
The builder received £350 for the instrument when erected ; Azo, in 1688, for
three additional stops ; A30, in 1695, for a trumpet stop ; and £60, in 1710, for a
diapason. David Loggan published an accurate engraving of the interior of the
chapel, between 1675 and 1691, which gives the west front of the organ as it then
appeared. The present case is the original one, erected by Chapman and Hartop,
in 1606, to contain Dallam's organ ; for, though the action and pipes of the organ
appear to have been many times removed and renewed, there is every reason to
believe that the existing case dates from 1606, and the choir organ from 1661.
When Avery was employed, in 1804, to reconstruct and enlarge the instrument,
he probably incorporated much of the old work with his own.
THE HISTORY OF THE ORGAN. | 20
I7. St. Lawrence, Jewry. 1687.
Paterson, in his Pietas Zondimensis, 1714, p. 131, calls it “a fine organ ; ” an
opinion in which the writer concurs. The case, with its choir organ in front, is
One of the finest specimens of its kind in London.
I8. St. James's, Piccadilly. 1687.
This organ was made for James II., and designed for his Popish chapel at
Whitehall. His daughter, Queen Mary, presented it to the church. On the front
was this inscription —“The gift of the Queen, in the year 1691.” Some valuable
entries respecting it have already been given (see ante, p. 125).
Ambrose Warren, in his curious tract, entitled The Tonometer, 1727, p. 8, tells
us –“About the year 1707, when Father Smith, the organ-builder, died, I was by
the honourable vestry of St. James's parish chosen to keep their organ in tune and
order in his stead, which I found to be in a very mean condition in many respects.
And, in 1708, I was by the same authorities ordered to reform divers stops, and
put in several new ones, which I with help performed to the full satisfaction of all
concerned, as well as myself.”
I9. St. Mary's, Ipswich. 1600
2O. Christ Church, Newgate Street. 1690.
2 I. St. Ann's, Westminster. 1691.
Hatton says:—“Here is a fine organ made by Mr. Harris’ (p. 132).
Paterson adds :—“Given by King William III.” (p. 27). It was formerly in one
of the royal apartments at Whitehall, and was presented to the church by the
King in 1691. It is now in the church of St. Michael’s, Paternoster Royal.
22. Allhallows, Lombard Street. I695.
This church was opened in 1695, which is the probable date of the organ.
Paterson (Pietas Zondimensis, p. II) speaks of its “fine altar-piece and pulpit,
and Stately organ, made by Mr. Harris, by the contributions of forty-two bene-
factors.” Hatton says “the names of the benefactors to the organ are inscribed
in gold letters on the gallery.”—AWew View of London, vol. i., p. 109.
23. St. Andrew's, Undershaft. 1696.
Paterson (Pietas Zondimensis, p. 22) calls it “a most excellent and costly
organ, made by Mr. Harris.” Hatton (AVew View of Zondon, p. 124) calls it
“a fine large organ,” and adds, “several gentlemen (whose names I am not
allowed to mention) contributed for the organ, &c., the sum of £140O.”
This organ was opened on the 31st of May, 1696, when Dr. Towerson
preached a sermon on Vocal and Instrumental Music in the church.
24. St. Patrick's Cathedral, Dublin. I697.
The following extracts are from the old Chapter Book –“ 12th August,
I695. The Dean and Chapter agrees with Renatus Harris, of London, organ-
builder, to make and set up a Double Organ for the sum of £505. In the
great organ–Open Diapason of metal, Stop Diapason of wood, Principal of
metal, Nason of wood, a great 12th of metal, I 5th of metal, a Cornet of metal.
In the little organ—a Principal of metal, Stop Diapason of wood, I 5th of metal,
and a Nason of wood, being in all I 3 stops, consisting of 800 pipes, Sound-board,
&c., &c. The pipes of the old organ to be removed, and to allow £65 for the same.”
“I Ith March, 1697. Organ erected and examined by the several Vicars.”
“IOth May, 1697. Further contract for additional stops for £350, to be paid at
Strongbow's Tomb, in Christ Church, on stated times named—viz., Trumpet stop, Echo
stop, Time stop [sic] entire, Open Diapason, Flute of metal, Great Furniture of 3 ranks.”
R.
I 30 THE HISTORY OF THE ORGAN,
25. St. Andrew's, Holborn. I699.
Harris's organ, after its rejection at the Temple, was part of it erected at
St. Andrew's, Holborn, and part in the Cathedral of Christ Church, Dublin.
Sir John Hawkins records the following anecdote in his History of Music, vol.
iv., p. 539 —“Dr. Sacheverell, having been presented to the living of St. Andrew’s,
Holborn, found an organ in the church, of Harris's building, which, having never
been paid for, had, from its erection in 1699, been shut up. The Doctor, upon
his coming to the living, by a collection from his parishioners, raised money
enough to pay for it.” $.
Some curious notices respecting the earlier organs of this church occur in
the old churchwardens’ books –“ 9 Aſenry VIII. The little organs were made
and bought at the charges of the parish, and devotion of good people, and
Cost, as I can gather, 46.” “2 AEdward VI. My Lord of Lincolne gave a pair
of Organs.” “I Mary. The parish gave young White £5 for the great organs
which his father gave to the church.”—See Malcolm's Zondimum. /čedºvīvu/z,
vol. ii., p. 197.
26. St. John's Chapel, Bedford Row. 1703.
27. St. Giles's, Cripplegate. I704.
In Malcolm's Zondimum Redivīvum, vol. iii., p. 274, is the following curious
extract from the parish books –“ 1672. Mrs. Charnock shall have thanks given
her, for her affection in bestowing a faire organ upon the parish church of St.
Giles ; and that some convenient place shall be found for setting it up.” The
double duty of organist and sexton was performed by James Brookes, who was
“chosen by the King's Majesties letter.” It was provided that, if the Sexton
did not, or could not play, he should find an organist.
In 1726 a proposal was made, and accepted, by Abraham Jordan, organist, to
take the organ to pieces, the builder having left it in a very imperfect state, and
repair it gratis, on condition of his having his salary secured to him for 21 years.-
See Malcolm, Zöld, p. 279.
28. St. Clement's, Eastcheap. 1709.
“A pretty Organ, made by Mr. Harris.”—Hatton, vol. i., p. 208. This
instrument was probably built in 1709, when the church “was repaired and
beautified.”
29. Salisbury Cathedral. 1710.
See the account of a curious engraving of this organ, ante, p. 126. This
noble instrument was probably removed in 1792, when Green erected the
present organ. The Modern British Traveller, 1779, thus describes it —
“The organ, which is fixed over the entrance to the choir, is very large, being
20 feet broad, and 40 feet high to the top of its ornaments. It has 50 stops,
which are 18 more than there are in the organ of St. Paul's Cathedral, in
London, but the latter is much superior in the sweetness of its tone.”
3O. St. Mary's, Whitechapel. 1715.
This organ was opened on the 29th of May, 1715. See the Parish Clerk’s
A'emarks on Zondon, 1732, p. 246.
3I. St. Bridget's (now St. Bride's), Fleet Street.
Hatton, in his AWew View of Zondon, vol. i., p. 175, says:–“Here is a very
fine organ, and a curious carved case adorned with two large Fames, &c. This
organ was made by Mr. Harris.”
THE HISTORY OF THE ORGAN. I3 I
32. Ely Cathedral, Cambridgeshire.
33. Jesus College Chapel, Cambridge.
This instrument is now in All Saints' Church, Cambridge.
34. Wolverhampton Collegiate Church.
This organ, with that of St. Andrew’s, Holborn, was constructed out of the
rejected Temple organ. Burney says “that part of the organ for the Temple
church by Harris, and sent to Dublin, was sold, after the death of the elder
Byfield, to Wolverhampton for £500. It still stands in the church of that
town, and is thought a very good instrument.”
35. Norwich Cathedral.
This organ is attributed to Harris. Sir Thomas Browne, in his Reſertorium
of the Antiquities of Norwich Cathedral, thus alludes to the earlier organs —
“There was formerly a fair and large, but plain, organ in the church, and in
the same place with this at present. It was agreed in a Chapter by the Dean
and Prebends that a new organ be made, and timber fitted to make a loft for
it, June 6, Anno 1607, repaired 1626, and £10 which Abel Colls gave to the
church was bestowed upon it. That, in the late tumultuous time, was pulled
down, broken, sold, and made away. But since his Majesty's restoration another,
a fair, well-tuned, plain organ was set up by Dean Crofts and the Chapter,
and afterwards painted and beautifully adorned by the care and cost of my
honoured friend, Dr. Herbert Astley, the present worthy Dean.”—Posthumous
Works of the Zearned Sir Thomas Browne, 8vo, 1712, p. 31.
36. St. John's, Clerkenwell.
37. Bideford Church, Devon.
38. Cork Cathedral.
The specification is signed “Renatus Harris,” but the organ was probably
finished by John Harris.
39. St. Mary's, Dublin.
30. Father Smith's Nephews.
Upon Father Smith's arrival in this country, he was accompanied
(according to Hawkins and, after him, Burney) by his two nephews,
Bernard and Gerard. There is reason to believe that the historian
was in error as to the first name. Horace Walpole, in his corrected
copy of Hawkins's History, altered the name of Bernard to Christian,
and evidently upon some good authority, as we find, in the case of
the repair of the organ of St. Giles's-in-the-Fields (before quoted),
Christian Smith received payment, and signed the receipt for the
same.*
* These two young men, in all probability, were the sons of Christian Smith, one of whose
organs, with the date 1643, is in the possession of a gentleman at Norwich. All the Pipes
K 2
I 32 THE HISTORY OF THE ORGAN.
The names of Christian and Gerard Smith are so little known,
that they have not hitherto been registered in our roll of organ-
builders. Nevertheless, they built several fine instruments.
In Chamberlayne's Magna Britannia Notitia for 1755 we find,
among the officers of Chelsea Hospital, “Organ Repairer, Mr. Gerard
Smith.” This person was probably Father Smith's grand-nephew.
The date almost precludes the possibility of his being a nephew.
Organs built by Christian Smith.
I. Tiverton Church, Devon. - 1696.
Among the conditions, dated March 6, 1695, the rector, burgesses, &c., “do
undertake to procure an excellent and well-contrived organ, of a sufficient bigness,
and with decent and proper ornaments of carved work, answerable for the Parish
Church,” &c. Articles accordingly were entered into with “the excellent artist,
Mr. Christian Smith, a very honest and ingenious man, who lives in Hart Street,
nigh Bloomsbury Market, London,” who built the instrument.
2. Boston Church, Lincolnshire. I 717.
Organs &uilt by Gerard Smith.
I. Parish Church, Bedford. 1715.
This instrument was sold by the parish, when the church was restored in 1832,
for £50—about the price of its case. It is now in the Moravian Chapel at Bedford.
2. Allhallows, Bread Street. 1717.
An echo was added to this organ, by the original builder, in 1722; the whole
cost being £422. It is probable that Schrider assisted in this instrument.
3. Finedon Church, Northamptonshire. 1717.
This organ was built at the cost of Dr. Dolben, of Finedon, a great patron of
music and musicians. In A Collection of Anthems, as the same are now Perform'd
in the Cathedral Church, Durham, Durham, 8vo, 1749, p. 159, is one beginning
“Praise God in His Sanctuary,” “Compos'd for and Perform'd at the Opening a
new Organ at Finedon, in Northamptonshire, May 17, 1717,” by Dr. Croft.
The instrument is in its original state : the pipes are diapered.
4. Little Stanmore Church (Whitchurch), Edgware.
This organ is sometimes attributed, by mistake, to Jordan.
are of wood, and the date and name of the builder, Christianus Schmidt, are inscribed in three
Places, in different parts of the instrument. Query–Did Christian accompany his brother
to England 2 ~ x
THE HISTORY OF THE ORGAN. I 3
3
3
5. St. George's, Hanover Square. I725.
“This organ was erected, in 1725, by Smith, nephew to the great artist of that
name ; and the choice of an organist is thus mentioned in the St. James's Evening
Post of Nov. 16:—‘ On Friday last came on the election of an organist of St.
George's, Hanover Square; and, the salary being settled at £45 per annum, there
were seven candidates : Mr. Rosengrave ; Mr. Cole, organist of the Chapel of the
Royal Hospital of Chelsea, and of St. Mary Hill, London ; Mr. Monro, organist of
St. Peter's, Cornhill; Mr. Stanley, the ingenious blind youth, aged 13 years and a
half, organist of Allhallows, Bread Street; Mr. Centlivre, organist of Oxford
Chapel, near Oxford Square ; Mrs. Sweet, organist of the Chapel in Duke Street,
Westminster ; and Mr. Obbel, organist of St. Bartholomew the Great, in West
Smithfield. The vestry, which consists of above 30 lords and 70 gentlemen, having
appointed Dr. Crofts, Dr. Pepusch, Mr. Bononcini, and Mr. Geminiani, to be judges
which of the candidates performed best, each of them composed a subject, to be
carried on by the said candidates in the way of fuguing ; and one hour was allowed
for every one to play upon the four subjects so appointed, one not to hear another
unless himself had done before ; only the four first performed, and all of them very
masterly. In the conclusion the judges gave it for the famous Mr. Rosengrave,
who made that way of performance his study great part of his life; and he was
accordingly chosen.”—Malcolm's Zondimum Redivīvum, vol. iv., p. 234.
This organ was removed in 1790.
3I. A eſtatus Harris, jump.
In the first edition of this work I only knew of this builder
from a notice on the fly-leaf of an old M.S. collection of voluntaries
for the organ—i.e., “John Harris, given me by my brother Renatus,
A.D., 1712.” I am now enabled to cite an organ built by the
younger Renatus. He doubtless built several others, although they
are not recorded, and it is certain he died young.
Organ Öuilt ôy Rematus Harris, jun.
St. Dionis Backchurch. I 724.
It would seem, from the parish books, that the first steps for erecting an organ
in this church were taken in the year 1722, when a subscription was set on foot,
and a committee appointed by the vestry for that purpose, the Rev. Dr. Smith
(President of Queen's College, Oxford) being the rector of the parish. In the
same year the committee were empowered by the vestry to enter into a contract
with Mr. Renatus Harris,” an organ-builder, and to obtain a faculty from the
ecclesiastical authorities. -
The Sum raised by voluntary subscription for the erection of the organ
and for every expense connected with it amounted to £74I 9s. ; Mr. Deputy
Hankey (afterwards Sir Henry Hankey, Knt., and Alderman), taking charge
* In the first edition of my History of the Organ (pp. 100-IOI), I followed the common
error in ascribing the building of this organ to the firm of Messrs. Byfield, Jordan, & Bridge.
I34 THE HISTORY OF THE ORGAN.
of the several contributions, a detailed list of which is preserved in the parish
ledger.
During the year 1723 the only entries relative to the organ are three
payments in advance to Mr. Renatus Harris, who, when in the following year
he was paid the balance due to him, appears to have received from beginning
to end the sum of £525 for the instrument.”
In 1724, at a meeting of the vestry, the organ was ordered to be opened
on the second Sunday in June, and Mr. Philip Hart was chosen the first organist.
It is supposed that the organ was accordingly opened on the day appointed,
as there is an entry in the parish ledger, June 15th, that 4, IO IOS. was paid
for singing two anthems.
As regards the structural arrangements, the organ continued nearly in its
original state until 1867, when, being much out of repair, and of course deficient
in many points deemed necessary in the present day, its condition was brought
under the attention of the vestry, who elected a committee to consider the question.
The committee presented a report to the vestry, recommending Messrs. Gray and
Davison to be instructed to rebuild the organ according to specifications, and
obtained leave to lay out thereon a sum not exceeding £200. -
The organ having been rebuilt was opened February 7th, 1868.
32. John Harris and John Byield.
John Harris, another son of Renatus, seems to have been Over-
looked by all who have written upon the subject of our early
organ-builders since the time of Sir John Hawkins. Indeed so little
attention has been paid to dates that, we are told, “Harris's most
celebrated organs are those of St. Sepulchre's, London, which, how-
ever, is now much changed since its first erection in 1667; and
Doncaster, Yorkshire, 1738.” (!) +
In 1738, March 19, articles of agreement were entered into
“Between John Harris, of Red Lion Street, in the Parish of St.
Andrew, Holborn, in the County of Middlesex, organ-maker of
the one part, and the Reverend Hollis Piggot, Vicar of the Parish
of Doncaster, in the County of York, William Seaton, John Hancock,
James Buckley Wilford, and John Gibbons, Churchwardens of the
said Parish of Doncaster, of the other part.”
Harris undertakes, for the sum of Five Hundred and Twenty-
five pounds,
“To make, compleat, finish and erect, on or before the 24th day of June,
1740, a Good, Tuneful, and compleat Organ with One Handsome Front and a
Case according to the Modell or Draught. The said Organ to contain the
* The parish ledger mentions that on September 18th, 1724, the sum of £52 Ios. was
paid to “Jno. Harris for some additions and to take care of it for five years.”
t A short Account of Organs built in AEngland, &c., p. 60.
THE HISTORY OF THE ORGAN. I 35
Severall stops and other particulars hereinafter mentioned, without any com-
munication or any Sett of Pipes made to serve in a double capacity in or upon
both organs (that is to say) The Great Organ to contain Twelve Stops (to wit) One
Open Diapason of Mettal in the front, with fifty-two speaking pipes. One open
Diapason in the inside, with fifty-two Pipes. One Stop'd Diapason with fifty-two
Pipes. One Principall of Metall with fifty-two Pipes. One Twelfth of the like.
One Fifteenth of the like. One Tierce of the like. One Sesquialtra of five rows of
Pipes. One Cornet of five rows of Pipes. Two Trumpets with One Hundred and
four Pipes. And One Clarion with fifty-two Pipes. The Choir or Quoir Organ,
to contain One Stop'd Diapason with Fifty-two Pipes. One Flute with Fifty-two
Pipes. One Fifteenth with Fifty-two Pipes. And one Bassoon with Fifty-two
Speaking Pipes. The Eccho Organ to contain the following Stops, which shall
Eccho and Swell to express passion in degrees of Loudness and Softness, as if
inspired by human breath (viz.) One open Diapason with twenty-seven Speaking
Pipes. One stop'd Diapason with twenty-seven pipes. One Principall with twenty-
Seven pipes. One Cornet of three Rows with Eighty-one pipes. One Trumpet and
One Hautboy with twenty-seven pipes to each. For the Great and Choir Organ,
fifty-two pipes in each Sett, being from G G to D la sol. The Keys of the Ecchos
and Swelling from C sol fa ut Cliff, to D la Sol, in all being twenty-seven keys, and
the Speaking Pipes in the whole Organ to be in number one thousand three
hundred and thirty-nine, and the front to be gilt with Leaf Gold.”%
John Harris was probably in partnership with John Byfield ; at
any rate he built most of his organs in conjunction with the latter.
The connection between the two builders was still closer, by Byfield's
marriage with Harris's daughter. They resided at Red Lion Street,
Holborn, and were living there when they built the Doncaster organ.
According to a power of attorney, dated September 16, 1740,
signed John Harris, and sent from London, “John Byfield, organ-
builder, of the Parish of St. George the Martyr, but now at
Doncaster,” is empowered to receive the money due to Harris;
and on the 2nd of October in the same year Byfield signs a receipt
for Five Hundred and twenty-five pounds, “by order and for ye use
of Mr. John Harris.” -
Organs built by Harris and Byfield.
1. St. Mary's, Shrewsbury, 1729.
There was an organ in this church in the sixteenth century; and on the
31st of August, 1589, it was agreed at a parish meeting that “the organs should
be sould to any of the parishe for the sum of £4, if any desired the same ;
otherwise the said organs should presentlye be sould to him whosoever would
give £4 or more for the same.” In 1590 it appears that the Dean of Worcester,
“at the motion of Mr. John Tomkins, gave that sum for them, and an additional
present to the churchwardens of a communion booke worthe 7S. 4d.” -
* Communicated, some few years back, by Mr. W. Sheardown, the well-known book-
Seller of Doncaster, to the Ooncaster Chronicle. -
136 THE HISTORY OF THE ORGAN.
2. Grantham Church, Lincolnshire. I736.
3. St. Mary's, Haverfordwest. I 737.
4. St. Albans', Wood Street. I738.
5. St. Bartholomew's, Change. I74O.
6. Parish Church, Doncaster. I 74O.
T
he agreement for this organ (before cited at length) is dated March 19,
1738. The money for the organ was raised by subscription, and the Corporation
agreed to pay £20 per annum for an organist's Salary, “when and so soon as
a good and complete organ shall be set up.”
The celebrated Snetzler was employed upon the instrument in 1758, as
appears by the following receipt –“ April 26, 1756. Received of Mr. Francis
Caley, church-warden, the sum of Twenty pounds for Repairing and Tuneing the
Organ, by me, John Snetzler.”
7. St. Mary Redcliffe, Bristol.
“The entrance into the church is at the great west door, to which you
ascend by steps. The door is 8 feet in breadth and 12 high, within which is
built a great stone gallery, on which is a grand magnificent organ, being in
all 53 feet high from the ground to the top of the crown panel ; the great case,
about 20 feet Square, contains one great and lesser organ ; the musical part
executed by Messrs. Harris and Byfield, and the whole cost £846 7s.”—Barrett's
Aſistory of Bristol, 1789, p. 574. -
8. St. Thomas's, Bristol.
9. St. James's, Bristol.
This and the previous organ are assigned to Harris and Byfield, upon the
authority of Robert Broderip of Bristol.—See the Preface to his Organists’
}olºma/, 1802. - -
IO. St. Thomas Southover, Lewes, Sussex.
Traditionally said to have been made for the Duke of Chandos, and removed
here from Cannons in 1747.
33. Christopher Schrider.
Schrider, or Schreider, a German, was a workman in the employ-
ment of Father Smith, and, previous to the year 1708, had attained a
closer connection, by becoming his son-in-law.” After the death of
Smith he succeeded to his business; and, in the year 1710, to the
appointment of organ-builder to the Royal Chapels. His organs, as
far as we know, are not very numerous, that of Westminster being his
c/lef-d'oeuvre.
* He probably married again, as we find the ſollowing entry in an old register of burials
in the library of St. Peter's, Westminster —“Mrs. Hellen Shrider died March 21, 1752,
aged 65 years, and was buried ye 27, in the South Cloyster, on her father, Mr Thos.
Jennings.” Jennings was a Gentleman of the Chapel Royal, and of the Choir at West-
minster. Many notices of Schrider's family occur in the same volume. The present entry
may refer to the wife of Christopher Schrider, jun.
THE HISTORY OF THE ORGAN. I 37
The date of his death is not recorded, but it probably took place
in 1754; as, in the following year, among the “Servants in Ordinary
to the King,” in Chamberlayne's Magna Britanniae Notitia, we find,
“Organ Maker, Mr. Christopher Shrider, son of the ſafe Mr.
Schrider.”
The following guióðling epitaph, upon the subject of our notice,
appeared in Webb's Collection of Epitaphs, 1775 (vol. ii., p. 76):-
“ON THE CELEBRATED MR. CHRISTOPHER SHRIDER.
“Here rests the musical Kit Shrider,
Who organs built when he did bide here :
With nicest ear he tun'd 'em up ;
But Death has put the cruel Stop :
Tho' Breath to others he convey’d,
Breathless, alas ! himself is lay’d.
May he, who us such Keys has giv'n,
Meet with St. Peter's Keys of Heav'n
His Cornet, Twelfth, and Diapason,
Could not with Air supply his Weasand :
Bass, Tenor, Treble, Unison,
The loss of tuneful Kit bemoan.”
Organs &uilt by Christop/ler Schrider.
I. The Royal Chapel, St. James's. 1710.
This organ was removed in 1819, and, after undergoing the necessary repairs,
was purchased, for the Episcopal Chapel in Long Acre, for £2OO. In 1866 it was
taken down and re-erected in the chapel of Mercers' Hall. Mr. Thomas Hill, in a
Communication to the Church Choirmaster (Jan. 1867), says, speaking of this
instrument:-“It is clearly a work of Fażher Smith's, and presents the unusual
feature of having escaped any attempt at modernising.” The old accounts of the
Chapel Royal say —“ 1710, organ erected by Mr. Schrider.” It is difficult to
reconcile these two statements, but the high authority of Mr. Hill deserves
attention.
2. St. Mary Abbot's, Kensington. I 716.
Faulkner, in his History of Kensingſon, says:–“This instrument was built by
Subscription at a cost of £500, in the above-named year.”
John Harris appears to have added the swell in 1730.
3. St. Martin's-in-the-Fields. 1726.
This organ was the present of George the First, as the following note from Dr.
Burney shows :-" Schreider, who built the organ of St. Martin’s-in-the-Fields,
which King George the First presented to the Church upon being chosen church-
warden of the parish, Soon after his Majesty’s arrival in England.”
In a list of Exchequer Payments, 1725, occurs this entry:-‘To Zachary Pearce,
Vicar of St. Martin's, as of Royal bounty, to erect an organ there, A. I 500.”
Malcolm, writing in 1807, says:–“The instrument has however been worn out
and replaced.”—Zondimum Redivīvum, vol. iv., p. 195.
Schrider's organ is now in a church at Wotton-under-Edge, and is said not to
be worm out. -
I 38 THE HISTORY OF THE ORGAN.
4. Westminster Abbey. I730.
The following memorandum occurs in a MS. book in the custody of the
Precentor of Westminster —“The new organ, built by Mr. Schrider and Mr.
Jordan, was opened on the Ist August, 1730, by Mr. Robinson ; the Anthem,
Purcell’s “O give thanks.”
From the treasurer's accounts we learn that the cost of the instrument was
£IOOO. Jordan's share in building this noble organ is not defined ; but it was, in
all probability, the swell, of which, as we shall presently show, he was the inventor.
5. St. Mary Magdalen, Bermondsey.
6. Whitchurch, Shropshire.
34. Thomas Schwarðrook.
This eminent artist, who was also a German, was in the employ-
ment of Renatus Harris. Early in the eighteenth century he left the
metropolis, and took up his abode at Warwick, at which place he
probably lived until his death. He built many noble instruments;
but his masterpiece is said to be the organ of St. Michael's, Coventry.
Pſema!!! Schwarbrook was organist of Hereford Cathedral in 1730 ;
but it is not known if he was any relation.
Thomas Schwarbrook, in 1720, received an annual salary of £8 for
keeping the organ of Worcester Cathedral in repair. In 1748 he
Supplied the instrument with a new set of keys; and in 1752 an
Order was made— -
“That whereas it appears upon experience that £200 formerly agreed on will
not be sufficient to add the stops that are wanting in the great organ, and to make
it full, perfect, and complete in all its parts, ordered that £100 more be allowed—
in all A3OO, effectually to repair and finish the same.”
This is the latest notice I find of him.
Organs built by Thomas Schwarbrook.
1. St. Saviour's, Southwark. I703.
This organ is commonly ascribed to Schwarbrook. If so, it must be one of
his earliest instruments.
Hatton, in his New View of London, 1708, vol. ii., p. 538, says –“The organ-
case is also of oak, very lofty, elevated on Io Square pillars, the upper part whereof
is adorned with 3 Fames, carved, standing in full proportion about 42 feet from the
area of the isle.”
THE HISTORY OF THE ORGAN. I39
2. St. Chad's, Shrewsbury. 1716.
“At the west end of the church of St. Chad, Shrewsbury, in a gallery, supported
on Corinthian pilasters, was a large and remarkably handsome organ, in a case
profusely adorned with carving. On the summit stood a figure of St. Chad, in his
episcopal vestments. This noble instrument is said to have cost £1500, raised by
Subscription, towards which 4, IOO was contributed by the Drapers' Company. It
was made by Thomas Schwarbrook, a German artist of considerable eminence in
his day, and erected in 1716. There is a tradition that the Small organ in the
Collegiate Church of Wolverhampton once belonged to St. Chad's, and preceded
this.”—-MS. History of Shrewsbury.
This organ was removed in 1794.
3. St. Mary's, Warwick. 1717.
Samuel Ireland, in his Picturesque Views of the Užer, or Warwickshire Avon,
1795, p. 145, says:—“Within this church a very judicious alteration, that of
removing the organ from the centre of the building to the west end, is now
carrying into execution. The custom of placing the organ in the former situation,
So universally prevalent, is matter of astonishment to those who are capable of
feeling the full effect of beautiful symmetry in the works of architecture; by this
barbarism in taste, the sublime interest we take in the ‘Long drawn aisle and
fretted vault” of our Gothic cathedrals is in a great degree destroyed, and the
most striking and impressive works of human invention obscured by a range of
gilded pipes, that can only be entitled to a secondary consideration.” Schwar-
brook's organ was erected by subscription.
4. Trinity Church, Coventry. I732.
This instrument cost £600, and the old organ.
5. St. Michael's, Coventry. I733.
This noble instrument (Schwarbrook's masterpiece) cost £1400.
It originally contained three remarkable stops—the hazž, ſuffe, and dulcimer;
but, in consequence of the “difficulty of keeping the strings in tune,” they were
removed in 1763.
6. Magdalen College, Oxford. I?40.
7. Lichfield Cathedral.
Removed in 1789.
8. Stratford-upon-Avon Church.
Now removed.
9. All Saints', Northampton.
35. TWe Jordans, Father and Son.
Sir John Hawkins, in his History of Music, tells us —
“About the year 1700 one Jordan, a distiller, who had never been instructed
in the business, but had a mechanical turn, and was an ingenious man, betook
himself to the making of organs, and succeeded beyond expectation. He had
a son, named Abraham, whom he instructed in the same business; he made
I 4O THE HISTORY OF THE ORGAN.
the organ for the chapel of the Duke of Chandos, at Cannons, near Edgware,
and many organs for parish churches.”
Mr. W. B. Gilbert, in his Antiquities of Maidstone, shows that
the Jordans were an ancient family located in that town as early
as the fifteenth century. He says —
“Thomas Jordan resided [in 1477] at the ancient family seat in Stone Street,
called for some centuries ‘Jordan's Hall.’ Many members of this family have at
various times been concerned in the affairs of Maidstone, and one of the Jordans
in the last century was a distiller in the town. Having a genius for Organ
building, he removed to London, where he made many fine instruments. When
the parish of Maidstone, in 1746, decided to have an organ in the church, Jordan
was unanimously selected to build it, which he did to the entire satisfaction of the
committee. Jordan’s organ still remains in the parish church. Others of this
family have also in their day been celebrated, and many descendants are yet to be
found in the neighbourhood of Maidstone.”
The Jordans are especially deserving of our notice, as to them
we are indebted for the invention of the swell. Among the advertise-
ments in the original edition of the Spectator (Feb. 8, 1712), is the
following announcement —
“Whereas Messrs. Abraham Jordan, senior and junior, have, with their own
hands, joynery excepted, made and erected a very large organ in St. Magnus'
Church, at the foot of London Bridge, consisting of four sets of keys, one of which
is adapted to the art of emitting sounds by Swelling the notes, which never was in
any organ before, this instrument will be publicly opened on Sunday next, the
performance by Mr. John Robinson. The above-Said Abraham Jordan gives
notice to all masters and performers, that he will attend, every day next week at
the said church, to accommodate all those gentlemen who shall have a curiosity to
hear it.”f
Many of the old English organs, as we have seen by the
specifications quoted, contained a department called the Echo. This
Consisted in a duplicate of the treble portion of some of the stops
enclosed in a wooden box, which rendered the sound softer and
more distant. Jordan's improvement was that of a sliding shutter,
which was made to open and shut at the performer's pleasure, thus
producing a “Swelling " effect. The invention of the swell was well
received, and Jordan Soon found sufficient employment in carrying
out his Contrivance in many of the London organs.
* Although this is the only biographical notice of the Jordans handed down to us, yet,
strange to say, their names are omitted in the index to the new edition of Hawkins's elaborate
work. -
+ This curious advertisment was first noticed by Malcolm (see his Zondinum Redivivum,
vol. iv., p. 234); it was afterwards copied into Hone's Avery Day Book, and the Chronicles
of Zondon Bridge.
THE HISTORY OF THE ORGAN. I4 I
With regard to the introduction of this important improvement
upon the Continent, Burney has some interesting passages in his
Continental Tours, which I extract.
Writing in 1771, he says —
“It is very extraordinary that the swell which has been introduced into the
English organ more than fifty years, and which is so capable of expression and of
pleasing effects that it may well be said to be the greatest and most important
improvement that ever was made on any keyed instrument, should be utterly
a/mk/nown in Italy; and, now I am on the subject, I must observe that most of the
organs I have met with on the Continent seem to be inferior to ours by Father Smith,
Byfield, or Snetzler, in everything but size As the churches there are very often
immense, so are the organs; the tone is indeed somewhat softened and refined by
space and distance ; but, when heard near, it is intolerably coarse and noisy ; and,
though the number of stops in these large instruments is very great, they afford but
little variety, being for the most part duplicates in unisons and octaves to each
other, such as the great and Small I2ths, flutes, and 15ths; hence in our organs
not only the touch and tone, but the imitative stops, are greatly superior to those of
any other organs I have met with.”
Again, in another of his works, a few years later, he says —
“Before I left England M. Snetzler had told me that I should doubtless find
swells in Berlin organs, though he was not certain that this improvement, which
was English, had been adopted in other places on the Continent; for Mr. Handel,
Several years ago, had desired him to describe in writing the manner in which the
Swell was produced, that he might send it to a particular friend in Berlin, who very
much wished to introduce it there. But I enquired in vain of musical people in that
city, whether they knew of any such machine as a swell, worked by pedals, in any
of their organs: no such contrivance had ever been heard of, and it was difficult to
explain it.”
The first swell introduced into Germany appears to have been in
Hildebrand's organ for the church of St. Michael, at Hamburg,
built in 1764.f Burney says —
“A swell has been attempted in this instrument, but with little effect ; only
three stops have been put into it, and the power of crescendo and dimżnuendo
is so small with them that, if I had not been told there was a swell, I should not
have discovered it.”I
The Jordans also lay claim to other important inventions. The
following advertisement is from the London journal of Feb. 7th,
I729-30 —
“An organ made by Jordan, being the first of its kind, the contrivance of which
* Present State of Music in France and /taly, 8vo, 1771, p. 375.
+ Present State of Music in Germany, the AWetherlands, and United Provinces, 8vo, second
edit., 1775, vol. ii., p. IO3. -
: Present State of Music in Germany, the AWetherlands, and United Provinces, 8vo, second
edit., 1775, vol. ii., p. 275.
I42 THE HISTORY OF THE ORGAN,
is such that the master when he plays sits with his face to the audience, and, the
keys being but three foot high, sees the whole company, and would be very useful in
churches. This organ has but one set of keys, but is so contrived that the
trumpet base, and trumpet treble, the sesquialtera and cornet stops, are put off and
on by the feet, singly or altogether, at the master's discretion, and as quick as
thought without taking the hands off the keys. The said Mr. Jordan invites all
masters, gentlemen, and ladies, to come and hear this performance at the workhouse
against St. George's Church, Southwark, and will give his attendance from 2 till 4
o'clock all next week, Ash Wednesday only excepted.
“N.B.-This organ was play’d on and approv’d by several masters, in publick,
the latter end of November, and is fit for any small church or chappel.”
Very little more remains to be said of the Jordans. In the
parish books of St. Giles's, Cripplegate, under the date 1726, “a
proposal was made, and accepted, by Abraham Jordan, organist,
to take the organ to pieces, the builder having left it in a very
imperfect state, and repair it grafis, on condition of having his
salary secured to him for 21 years.” This entry, we presume,
relates to the younger Jordan, whose latest work appears to have
been the repair of the Durham Cathedral organ, in 1748.
List of Organs built by the Jordans.
I. St. Michael's, Paternoster Royal. 1700.
In the Parish Clerks’ Remarks on London, 1732, it is said that this church
has “no organ.” Tradition, however, says that an instrument was given to this
church by Abraham Jordan, in the year 1700. This organ was removed, in 1798,
to make room for the old instrument from St. Ann’s, Westminster, which was
erected here with additions by the elder Gray. -
2. Fulham Church, Middlesex. IZOI.
An excellent instrument; it still remains in almost its original state.
3. St. Antholin's, Watling Street. 1703.
4. St. Saviour's, Southwark. I703.
5. The Chapel of the Duke of Chandos, at Cannons. 1720.
Handel used to perform upon this organ. When the Duke of Chandos died,
the magnificent mansion, being thought to require an establishment too expensive
for the income of his successor, was pulled down, and the materials sold by auction,
in the year 1747. The organ, by the Jordans, forms an item in the sale catalogue.
It is now in Trinity Church, Gosport, having been purchased at the dispersion of
Cannons. A curious document, printed in 1748, is in the possession of Mr.
* Malcolm's Zondinum ſedivivum, vol. iii., p. 279.
THE HISTORY OF THE ORGAN. I43
Howlett, the organist of the church, being a sort of a debtor and creditor account
connected with the purchase of the organ. It contains the following items —
“To cash paid Mr. Ch. Cock [the auctioneer] for the organ as A. s. d.
it stood at Cannons . te sº * * * & sº . I 17 I2 O
To do. paid Mr. Jordan for taking it down, and carriage to
London . * g wº e * w & $ & . I6 o o
To ditto ditto for repairs . jº g d e * e . IO5 O O
To ditto for a new swell . ë g § * & e . 3O O O
To ditto for repairs and carriage to Gosport & e tº * 8 O O’”
Several other curious items make the total outlay £344 I.5s. 6d. One is, “To cash
paid Mr. Richard Mullings for painting the organ, as per bill, £I I4s.” There is
no name or date on the organ, but the Chandos arms are carved in gold on the
top of the instrument. In the first edition it was said the organ is “now in Spa
Fields Chapel.” The name of the farm and glebe attached to Trinity Church is
Speed Field. May not this have originated the mistake?
6. St. Magnus the Martyr, London Bridge. I712.
This organ was the gift of Sir Charles Duncomb. It is exceedingly interesting,
as being the first instrument in which the Swell was used. (See the curious
advertisement, ante, page 136.) It has been much altered and modernised by
Parsons; three only of the original four sets of keys remain.
7. Chelsea College. I7 I5.
8. Parish Church, Southampton. I73I.
In the St. James's Evening Post, for Feb. 13th and 24th, 1731, the following
satirical notice occurs :—“Whereas it has been advertised that an organ had been
lately set up by the ingenious Mr. Jordan, in the parish church of Holy-rood, in the
town and county of Southampton ; this is to give notice that the churchwardens of
the same parish are willing to show all manner of encouragement to any one who
shall offer himself as organist, provided he understands nothing of his business ;
the candidates to be approved of by the clerk of the said parish, who, according to
his profound judgment and skill in music, promises, on his part, to determine the
controversy fairly and impartially in favour of him that shall perform the worst.”
- “N.B.-If any one who is an ingenious man in his profession (though never so
strongly and with justice recommended by the ablest masters in the kingdom),
should, notwithstanding this advertisement, presume to offer himself, he must
expect to be rejected ; it being fully resolved that none but bunglers, or those who
know the least of their business, shall be entitled to the place. The latter are
desired to meet in the said town of Southampton, on Lady-day next, being the
25th March, 1731, where they may be assured to find a very kind reception and a
suitable encouragement.”
9. St. Luke's, Old Street. I 733. -
A MS. note by Pennant, the London historian, ascribes this organ to Jordan.
This church was consecrated by Dr. Hare, Dean of St. Paul's and Bishop of
Chichester, Oct. 18, 1733. The organ was presented to the parish by Mr. Buckley,
an eminent brewer of Old Street.
IO. Parish Church, Maidstone. I 746.
II. St. Bennet Fink, Threadneedle Street.
“Madam Sarah Gregory, of this parish, gave four hundred pounds for building
an organ, and a gallery for it ; which is now perfectly finished, and built by
Mr. Jordan, besides ten pounds per annum to keep it up.”—Paterson’s Pietas
Zondimensis, 1714.
I44 THE HISTORY OF THE ORGAN.
I2. St. Dunstan's, Fleet Street.
AScribed to Jordan, upon the authority of William Russell’s MS. account of
English organs. It is not mentioned by Hatton in 1708, or Paterson in 1714; but
it is noticed in the Parish Clerks’ Remarks on London, 1732. It must therefore
have been erected some time between the two last-named dates.
I 3. St. Paul's, Shadwell.
I4. The Portuguese Chapel, London.
15. The Abbey Church, Bath.
I6. Covent Garden Theatre.
17. St. George's, Botolph Lane.
36. Richard Bridge.
This artist enjoyed considerable celebrity, and it is to be regretted
that nothing is known of his biography. He is supposed to have
been trained in the factory of the younger Harris. According to
an advertisement in the General Advertiser, for Feb. 20, 1748,
“Bridges, organ-builder,” probably the same person, then resided
in Hand Court, Holborn. We learn incidentally, from a note in
Burney's History, that he died before 1776.
Organs built by Richard Bridge.
I. St. Paul's, Deptford. I73O.
2. Christ Church, Spitalfields. 1730.
This is esteemed the maker's best instrument. Its original cost was £600,
not half its value. In point of number of pipes and stops, it is one of the largest
parish organs in London.
3. St. Bartholomew the Great. 1731.
“We hear that the curious new organ made by Mr. Bridge, for the church of
St. Bartholomew the Great, is to be opened on Sunday next with an anthem.”—
Daily Advertiser, Oct. 27, 1731.
4. St. George's-in-the-East, 1733.
5. Cuper's Gardens, Lambeth. I 740.
6. St. Anne's, Limehouse. I74I.
This instrument was burnt in 1851.
7. Enfield Church, Middlesex. 1753.
8. Faversham Church, Kent. I754.
9. St. Leonard's, Shoreditch. I757.
IO. Eltham Church, Kent.
II. Spa Fields Chapel, Clerkenwell.
THE HISTORY OF THE ORGAN. I45
12. St. James's, Clerkenwell.
Removed in 1796 to Beccles, Suffolk.
13. Parish Church, Paddington.
Organs built by Byfield, Jordan, and Bridge, conjointly.
In consequence of the many new churches that were erected at
the commencement of the last century, an equal number of organs
was required, which induced many persons who were totally
unskilled in the art and mystery of voicing organ-pipes to become
builders. To prevent, therefore, the sad consequences which must have
naturally followed, a coalition was formed between the three eminent
artists of the day, Byfield, Jordan, and Bridge, who undertook to
build organs at a very moderate charge, and to apply their united
talents to each ; the result of which was a fair, though moderate,
compensation to themselves, and Superior instruments to our churches.
I regret that I can name only two instruments in which the
joint efforts of these eminent men were united —
I. Great Yarmouth Church, Norfolk. I733.
An instrument celebrated for its many beauties.
2. St. George's Chapel, Great Yarmouth. I74O.
37. John Byfield, Şum.
This is the next builder that comes under my notice. Nothing
whatever is known of his biography; in fact, he is not named, as far
as I can learn, by any writer upon the subject of organs, or organ-
building. The works of the two Byfields pass current under one
head.
According to a MS. note in the handwriting of Dr. Benjamin
Cooke, he died in 1774.
Organs built by John Byfield, jun.
St. Botolph's, Bishopsgate. I750.
Christ Church Cathedral, Dublin. I75I.
St. Mary's, Rotherhithe, 1764.
St. John's College, Oxford. I768.
Charlotte Chapel, Pimlico. I77O.
Drury Lane Theatre. 1769.
I46 THE HISTORY OF THE ORGAN.
7. Magdalen College Hall, Oxford.
8. Woolwich Church, Kent.
Also ascribed to Bridge.
9. Cardiff, Glamorganshire.
IO. Highgate Chapel.
II. St. Bartholomew the Less.
12. The Chapel of Greenwich Hospital.
Destroyed in the fire which consumed the chapel in 1779.
13. Berwick Street Chapel, Soho. 1768.
14. The Theatre, Oxford. 1768.
I5. Barking Church, Essex. 1770.
16. Newbury Church, Berks. 1770.
17. St. Mary's, Islington. I771.
18. St. Lawrence, Reading, Berks. I771.
The six last-named organs were built conjointly with Green.
38. Messrs. Glyn and Parker.
The above names are new in the annals of organ-building.
Although eminent builders, their celebrity was of a local character.
They resided at Salford, near Manchester, and built a number of
instruments for Lancashire and the neighbouring counties. One
organ, that of Poynton Church, attracted the notice of Handel,
who is reported to have been so pleased with it, that he employed
Parker to erect the famous instrument for the Foundling Hospital.”
The following is a list of organs by these builders:—
Organs built ôy Glyn and Parker.
I. Collegiate Church, Manchester. I 730.
2. St. Ann's Church, Manchester.
3. St. John's Church, Manchester.
4. Bury Church, Lancashire.
* Dr. Burney, in his “Sketch of the Life of Handel,” prefixed to his Account of the Com-
memoration, 4to, I 785, says —“The organ in the chapel of this hospital was a present from
Handel.” But how are we to reconcile this statement with the following notice in the
Auropean Magazine, for February, 1799 2-—“Handel did not give the organ to the Foundling
Hospital. It was built at the expense of the Charity, under the direction of Dr. Smith, the
learned Master of Trinity College, Cambridge, who added demitones, &c., and some of the
niceties not occurring in other organs.” Handel conducted the performance at the opening
of this organ in 1749.
THE HISTORY OF THE ORGAN. I47
Poynton Church, Lancashire. I 748.
Chapel-en-le-Frith, Derbyshire.
Prestbury Church, Gloucestershire.
Leek Parish Church, Staffordshire.
Foundling Hospital, London. I749.
IO. Allhallows the Great, Thames Street. I 749.
39. Thomas Griffin.
This person, a barber, and Gresham Professor of Music l is said
to have built several City organs, but I can only name one, upon
the authority of Malcolm's /londimum Redivīvum, iii., 553.
Organ built by Thomas Griffin.
St. Helen's, Bishopsgate, 1741.
“I74I. Thomas Gryffin agreed to build an organ, value A, 500, on condition
he should receive £250, and £25 per annum during his life. To play himself or
provide an organist.”—Parish Books.
4O. john Snetzler.
This truly eminent builder was born at Passau, in Germany, about
the year 17 Io, where several of his organs are still to be seen. He
acquired some fame by his restoration of the Cathedral organ in that
city, and was afterwards induced to settle in England. After building
Several excellent organs, he erected the noble instrument at Lynn
Regis, in Norfolk, being recommended to the Corporation of that
town by Dr. Burney. The double diapason and dulciana stops in
this Organ were novelties which attracted attention, and fully estab-
lished his fame in this country. -
Snetzler had but an imperfect pronunciation of the English
language, which gave him, like many foreigners, a very quaint way
of expressing himself. Two stories are current of his peculiarities
in this respect. One was on the occasion of the erection of his
new organ at Halifax, in Yorkshire. Wainwright (afterwards Dr.
Wainwright, and organist of the Collegiate Church, Manchester)
and Herschel (subsequently known as the great Astronomer) were
amongst the candidates for the situation of organist. The former
so annoyed Snetzler by his rapid playing, that he paced the church
L 2
I48 THE HISTORY OF TIIE ORGAN.
exclaiming —“He do run over de keys like one cat, and do not give
my pipes time to speak.” He also told the churchwardens of
Lynn, upon their asking him what their old organ would be worth
if repaired, “If they would lay out a hundred pounds upon it,
perhaps it would be worth fifty.”
Snetzler lived to a very advanced age, and died either at the
end of the last, or the commencement of the present century. He
is said to have saved sufficient money to return and settle in his
native country, which he accordingly did ; but, having been so long
accustomed to London porter and English fare, he found in his old
age that he could not do without them, so he came back to London,
where he died.
Organs built by Snetzler.
I. Chesterfield Church, Derbyshire. 1741.
2. Finchley Church, Middlesex. 1749.
3. St. Mary's, Hull, Yorkshire. 1750.
4. St. Margaret's, Lynn Regis, Norfolk. I754.
Built, under the Superintendence of Dr. Burney, at a cost of £700.
5. St. Paul's, Sheffield. 1755.
6. Christ Church, Broadway, Westminster. 1760.
This Organ is said to have been originally built for the Duke of Bedford.
7. Leatherhead Church, Surrey. 1760.
8. St. George's, Hanover Square. 1761.
9. Cambridge, U.S. 1761. -
IO. Ludlow, Shropshire. I764.
I I. Halifax Church, Yorkshire. I766.
I2. Louth Church, Lincolnshire. I769.
13. Beverley Minster, Yorkshire. 1769.
This organ was opened with the performance of two Oratorios, Sept. 20 and
21, 1769.
14. Richmond Church, Surrey. I 77O.
The gift of S. Sprags, Esq.
15. Edmonton Church, Middlesex. 1772.
16. St. Martin's, Leicester. 1774.
A remarkably fine instrument.
17. Scarborough Church, Yorkshire. 1780.
18. Pontefract Church, Yorkshire.
19. Sculthorpe, near Fakenham, Norfolk.
THE HISTORY OF THE ORGAN. I49
2O. Rotherham Church, Yorkshire,
It appears from a short account printed by Dr. Sewell, the present organist,
that this organ was completed and opened on St. Thomas's Day, Dec. 21, 1777.
It was built by Subscription, the total amount of which was £678 os. I Id. Dr.
Sewell adds:–“The stopped diapason in the choir organ, and also the flute stop,
are allowed by some of the most eminent judges now living to be equal, if not
Superior, to anything they have ever heard. The pedal pipes, which were added
with the dulciana stop about twenty-six years ago, by Gray and Davison, of London,
are very fine.”
2 I. Whitehaven Church, Cumberland.
22. St. John's (formerly St. Augustine's), Hackney.
23. St. Clement's, Lombard Street, City.
24. St. Margaret's Chapel, Bath.
25. St. Peter's College, Cambridge.
This instrument is remarkable for having the Echo (the predecessor of the
Swell) still remaining.
According to Mr. Hopkins it is really a swell of three stops, acting on choir
Organ keys.
26. The German Lutheran Chapel in the Savoy.
The late Charles Wesley, in a letter in my possession, says, this was the
first instrument in this country provided with a pedal clavier.
27. The German Calvinistic Church, Savoy.
Presented by the builder.
28. St. Ann's Church, Belfast.
29. Hillsborough Church.
30. The Chapel at Donegal.
Removed from Armagh Cathedral, and burnt on the same evening that it was
removed.
3I. Parish Church, Leeds.
32. Buckingham Palace.
Now in the German Chapel, St. James's.
33. St. Mary's, Nottingham.
34. St. Mary's, Huntingdon.
35. All Saints', Huntingdon.
4I. Messrs. Crang and Hancock.
Crang was a Devonshire man, and, after settling in London,
became a partner with Hancock, a good voicer of reeds. Hancock
added new reeds to many of Father Smith's organs. Crang appears
to have been chiefly employed in altering the old echoes into swells.
150 THE HISTORY OF THE ORGAN.
He made this improvement in the organs of St. Paul's Cathedral; St.
Peter's, Cornhill; St. Clement Danes; &c.
It appears that there were two Hancocks, probably brothers,
John and James; and they are specially mentioned in the contract
for an organ at Chelmsford in 1772. The following payments relating
to these makers are extracted from the accounts of the church-
wardens of Maidstone, printed in Mr. W. B. Gilbert's Memorials of
the Collegiate Church of Maidstone :—
A. S. d.
“I755. Mr. Crang for cleaning and repairing the organ . . 8 8 O
1760. Mr. John Crang's bill for cleaning the organ . º . 8 8 O
1765. Mr. Crang's bill for repairing and making additions to the
Organ . e º e e & e . 52 7 O
I770. Mr. Crang for cleaning the organ . e e - . 8 8 O
1790–Oct 13. Mr. James Hancock, as per bill for Organ . . Io Io O.”
Mr. Gilbert tells me that John Hancock, “organ-builder of Wych
Street, London,” who had been employed for some time in Super-
intending the repairs and additions to the Maidstone organ, died very
suddenly near that town, in January, 1792. James Hancock was
living in 182O, and probably Some years later.
Organs built by Crang and the Hancocks.
St. John's, Horsleydown. 1770.
Barnstaple Church. 1772.
Chelmsford, Essex. 1772.
St. George the Martyr, Queen's Square. I773.
St. Vedast, Foster Lane. 1780.
Brompton Chapel.
St. Margaret's, Leicester.
St. Mary's, Scarborough.
St. Mary's Cray, Kent.
his organ was built by James Hancock.
42. Samuel Green.
Although generally considered a contemporary of Snetzler, this
eminent artist was not born till 1740; thirty years after the birth of
the former. In all probability he was brought up in the establishment
of Byfield, Bridge, and Jordan, as in the earlier part of his career he
was in partnership with the younger Byfield. He seems to have been
THE HISTORY OF THE ORGAN. I 5 ſ
greatly patronized by King George the Third, and, in consequence, to
have been employed in all parts of the kingdom.
The organs built by Green are characterised by a peculiar sweet-
ness and delicacy of tone, entirely original; and, probably, in this
respect he has never been excelled.
“We possess more cathedral and collegiate organs of this builder's construction
than of any other ; and although patronized as he was by his Majesty George the
Third, and long at the head of his profession, this admirable artist scarcely
obtained a moderate competency. His zeal for the mechanical improvement of
the organ consumed much of his valuable time in experimental labours, which to
him produced little or no emolument ; and it is painful to know that a man so
eminent in his profession should not, at his decease, be able to leave even a slender
provision for his family.””
The newspapers of the day record that “Mr. Samuel Green,
organ-builder to the King, died at Isleworth, Sept. I4, 1796, at
the age of 56.” -
The following list of Green's organs is taken verbatim from the
Gentleman's Magazine, for June, 1814, as extracted from the builder's
own account book. I have added a few dates, &c., in brackets :—
Organs built by Samuel Green.
CATHEDRAL AND COLLEGIATE ORGANS.
Canterbury Cathedral. I784.
Wells Cathedral. I786.
St. George's Chapel, Windsor. I790.
Lichfield Cathedral. I'789.
Salisbury Cathedral. I72.I.
Rochester Cathedral. I79 I.
Bangor Cathedral. I779.
York Cathedral (restoration only). ISO3.
Cashel Cathedral. I786.
New College Chapel, Oxon (restoration only). I776.
Trinity College Chapel, Dublin.
Winchester College Chapel. I78O.
* Christian Remembrancer, Jan., 1834. One of a series of excellent papers on old
organs and organ-builders.
I 52
THE HISTORY OF THE ORGAN.
I3.
I4.
I 5.
I6.
I7.
I8.
I9.
2O.
2 I.
22.
23.
24.
25.
26.
27.
28.
29.
3O.
3 I.
32.
33.
34.
35.
36.
37.
38.
39.
4O.
4 I.
42.
43.
44.
45.
46.
47.
48.
LONDON ORGANS.
St. Katherine's Hospital. 1778.
St. Botolph, Aldersgate Street.
St. Peter-le-Poer. 1792.
St. Mary at Hill. 1788.
St. Michael's, Cornhill (restoration only). I790.
St. Olave's, Hart Street. 1781.
Broad Street Chapel, Islington.
Magdalen Chapel.
Freemasons' Hall.
Concert Room, Opera House. I794.
Broad Court Chapel. I796.
LOCAL ORGANS, &C.
St. Petersburg.
Greenwich Hospital. 1789.
Sleaford, Lincolnshire.
Manchester (St. Thomas Ardwick). 1787.
Helston, Cornwall. I799.
Walsal, Staffordshire.
Wrexham.
Wycombe.
Nayland, Essex.
Wisbeach, Cambridgeshire. I789.
Cirencester.
Macclesfield.
Stockport (St. Peter's). 1788.
Bath. ... •
St. Michael's, Cornwall.
Tunbridge, Kent. 1788.
Loughborough.
Tamworth.
Walton.
Leigh.
Chatham.
Bolton, Lancashire. I 795.
Cranbourne, Cornwall.
Aberdeen Episcopal Chapel.
Kingston Church, Jamaica.
THE HISTORY OF THE ORGAN. I 53
49. Pomfret Parish Church.
[50. Oudwick, St. Thomas's, 1787.]
43. John Avery.
Very little is known of this builder. He is said to have been
a dissipated character : he was certainly an excellent workman. The
dates of his organs range between 1775 and 1808. He died in the
latter year, during the time he was engaged in finishing the organ
of Carlisle Cathedral, his last work.
Organs built by Avery.
I. St. Stephen's, Coleman Street, City. I775.
2. Croydon Church, Surrey. I794.
Avery considered this instrument his best work. This fine organ, together
with the church, was destroyed by fire in 1866.
Winchester Cathedral. I799.
Christ Church, Bath. I80O.
St. Margaret's Church, Westminster. I804.
King's College Chapel, Cambridge. I 804.
Some of the earlier work of Dallam's organ was, no doubt, incorporated in
this instrument by Avery. The case is the original one, erected by Chapman and
Hartop in 1606. Cole, the antiquary, gives a description of its appearance in his
time — -
“Over each side of the choir door towards the choir are the coats of arms of
this and Eaton College, in shields neatly carved and blazoned, and directly over it
stand the organs. The Small choir organ hangs Somewhat over the door into the
choir, and is elegant and carved about the mouldings and wainscot part with
beautiful gilt and painted pipes, adorned with the two aforesaid college arms, and
other devices, as portcullises, fleurs-de-lis, roses, all crowned. Over the middle
part of this organ, which is the lowest, are the college arms again carved, and over
the two side parts, where the pipes are much larger, are two large royal crowns.
This choir organ was put up about the year 1661, and cost about £200, and is a
mighty neat one : this stands just before the great organ, the pipes of which on
this side are neither gilt nor painted, but quite plain. Over the lower middle part
of it are the royal arms, supported by a lion and unicorn, garter round them, and
crowned. Over the middle part, fronting the antechapel, is an image of King
David playing on his harp, and on each side of him, over the large pipes, are two
Gothic carved pyramids. The pipes on this side are painted, gilt, and adorned as
those of the choir organ. These organs were put up again, after they had been
demolished by the Puritans of 1643, in 1661, and, though they are not the best of
the sort, yet they are not by any means the worst.”
i
I 54 THE HISTORY OF THE ORGAN.
7. Sevenoaks Church, Kent. I798.
The following is a copy of a curious handbill in the possession of Mr. W. B.
Gilbert, Mus. Bac. — e
“Sevenoaks, Oct. 17, 1788. This is to give notice that the magnificent organ
left to the parish of Sevenoaks by James Wright, Esq., late of Greenwich, will be
opened in a grave and Žatriotic manner by the celebrated Mr. Wesley, on Sunday,
the 28th of October. At the same time a collection will be made for the relief of
the widows and children of those brave seamen that fell, and also those wounded,
in the late glorious victory of Admiral Nelson over the French fleet on the 1st of
August. Service at II.”
8. Carlisle Cathedral. I 808.
44. The Englands, Father and Son.
These two organ-builders are generally confounded. George
England flourished between the years 1740 and 1788, and George
Pike England, his son, between 1788 and 1814. The former married
the daughter of Richard Bridge.
The elder England built many noble organs, a few of which may
be enumerated.
Organs built by George England.
St. Stephen's, Wallbrook, 1760.
Gravesend Church, Kent. I764.
Ashton-under-line, Lancashire. I77O.
St. Michael's, Queenhithe. I779.
St. Mary's, Aldermary. I78.I.
he last two organs were built in conjunction with Hugh Russell.
St. Matthew's, Friday Street,
St. Mildred's, Poultry.
German Lutheran Church, Goodman's Fields.
The Chapel of Dulwich College.
St. Margaret Moses.
II. St. Alphege, Greenwich.
I
O.
With regard to the son, our information is more satisfactory; the
following list of organs built by him being copied from his own
account book, kindly lent me by Mr. Hill, the eminent organ-
builder :—
THE HISTORY OF THE ORGAN. I 5
5
ſº
Organs built by G. P. England.
I. St. George's Chapel, Portsmouth Common. I788.
2. St. James's Church, Clerkenwell. 1790.
This organ cost £500 and the old organ, which was valued at £105. It was
afterwards Sold by England to the parish church of Beccles, Suffolk, for £220.
3. Fetter Lane Chapel. 1790.
Warminster Church, Wiltshire. I791.
The Adelphi Chapel. I791.
Gainsborough Church, Lincolnshire. I793.
Newington Church, Surrey. I794.
Blandford Church. I794.
Carmarthen Church, South Wales. 1796.
IO. St. Margaret's, Lothbury. I 801.
II. The Sardinian Chapel. I 802.
I2. Newark Church, Notts. I 803.
I 3. Parish Church, Sheffield. I 805.
This organ cost £770.
i
I4. St. Philip's, Birmingham. I 805.
I 5. St. Martin's, Outwich. I805.
16. Hinckley Parish Church. 1808.
17. Stourbridge Church. I809.
18. Richmond Church, Yorkshire. I809.
I9. High Church, Lancaster. I 809.
This organ cost £672.
2O. Shiffnall Parish Church, Salop. I 8 II.
2 I. Ulverstone Parish Church. I8 II.
22. St. Mary's Chapel, Islington. I 812.
45. Paul Micheau.
This builder was a native of Germany. He came to England
about 1780, and settled in the city of Exeter. He built several
organs for churches in Devon, and was largely employed in restora-
tions and repairs. He had the care of LOOSemore's noble organ in
Exeter Cathedral, and made several improvements in that instrument.
He was also employed to keep the organ of the Parish Church of
Tiverton in order, for which he received the sum of Á IO per annum.
For the information concerning this builder I am indebted to Mr.
W. B. Gilbert,
I 56 THE HISTORY OF THE ORGAN.
Organs built by Paul Micheau.
I. St. Mary Arches, Exeter.
2. St. Mary Major, Exeter.
3. Etwall Church, Derbyshire.
46. Organ-builders of the end of the Eighteenth Century.
The Musical Directory for the year 1794, a curious and perhaps
unique little book, in the library of the Sacred Harmonic Society,
gives the following names, and places of residence, of the organ-
builders living in London in that year —
“Avery, St. Margaret's Church-yard, Westminster ; Cummins, Pentonville;
Elliot (Thomas), Io, Sutton Street, Soho ; England, Stephen Street, Rathbone
Place; Flight & Kelly, Exeter Change ; Green (Samuel), Isleworth ; Holland
(Henry), Little Chelsea ; Maher, Lower Lambeth Marsh ; Pister (E. & J.), 116,
Leadenhall Street; Russell, Theobald’s Road.”
The most important of these builders have been carefully
chronicled in these pages, and, if I have not mentioned all, it is
because the records of their labours are not easily attainable.
Other well-known names might be added to this list, such as Gray,
Lincoln, and the two Allens ; but they more properly belong to a
somewhat later period, to which my historical sketch does not extend.
47. Progress of Organ-building in Germany.
During the eighteenth century Germany was especially prolific in
large organs, and most of these instruments still remain as honourable
memorials of the talents of their builders.
48. Andreas Silbermann.
Amongst the most renowned organ-builders that the world has
produced are the celebrated Silbermann family. The founder of this
race of talented men was Andreas Silbermann, born at Frauenstein,
Saxony, in 1678. The particulars of his life are not recorded ;
but, during the space of twenty-seven years in which he flourished,
he built at least twenty-nine organs. He died in 1733.
THE HISTORY OF THE ORGAN. I 57
Organs built by Andreas Silbermann.
I. St. Nicholas, Strasburg. I707.
2. Convent of St. Margaret, Strasburg. 1709.
3. Protestant Church of St. Pierre, Strasburg. I709.
4. Mauerstein, Lower Rhine. I 7IO.
5. Basle Cathedral. 17 II.
6. Convent of Guillelmines, Strasburg. I 712.
7. Oberenheim. I 713.
8. Giedertheim. 1715.
9. Strasburg Cathedral. 1714-16.
IO. St. Etienne, Strasburg. I 717.
II. And lau. I 717.
I2. The Madeleine Convent, Strasburg. 1718.
I3. Ebersheimmünster, Lower Rhine. 1718.
I4. St. Leonard's, Basle. I718.
I5. Hanau. I719.
I6. Grendelbach. 1719.
I7. Lautenbach, Upper Rhine. I719.
18. St. Jean, Weissemburg. I 72O.
I9. St. Leonard's, near Oberenheim. I72.I.
20. Altenheim, near Offenburg, 1722.
21. Kolbsheim. I 722.
22. Church of the Dominicans, Colmar. 1726.
23. St. Guillaume, Strasburg. I 728.
24. Bischweiter. 1729.
25. Altorf, Lower Rhine. I 730.
26. Koenigsbrük Abbey, Lower Rhine. I 732.
27. Hospital Church, Colmar. I732.
28. Protestant Church, Colmar. I733.
29. Rosheim. I733.
49. Gottfried Silbermaneſe.
Gottfried Silbermann, brother of the preceding, was born at
Frauenstein, in 1684. After remaining some years in the workshop
of his brother, he went into France, where, we are informed, “he
worked and resided many years.” He was the inventor of the
* Burney tells us that “the French organ-builders are much esteemed by the Germans
y *>
themselves, for the simplicity of their movements, and the mechanism of the whole.”—7our
I 58 THE HISTORY OF THE ORGAN.
“Clavecin d'amour,” and one of the earliest makers of the pianoforte.
He died in 1754, during the period in which he was engaged on the
Royal Catholic Church organ at Dresden, which noble instrument
was completed by his nephew, Jean Daniel Silbermann.
Organs built by Gottfried Silbermann.
Freiberg Cathedral. 1714.
St. Pierre, Freiberg. 1720.
The Royal Church of the Evangelists, Dresden. 1720.
St. Sophia, Dresden. I 740.
Church of Notre Dame, Dresden. 1736.
Poenitz, near Altenburg. 1737.
The Royal Catholic Church, Dresden. 1754.
50. Johann Andreas Silbermann.
This branch of the Silbermann family was the eldest son of
Andreas, and consequently the nephew of the last-named. He was
born at Strasburg, where his father resided, in 1712. He enjoyed
considerable reputation as an organ-builder, and was beloved by his
fellow-citizens for his social qualities. He died at Strasburg in 1783,
with the title of Member of the Council of that city, leaving two sons,
one of whom, Johann Josias, afterwards distinguished himself as a
maker of musical instruments. #
Johann Andreas Silbermann built fifty-four organs, the most
important of which are —
I. St. Thomas, Strasburg. I 740.
2. St. Etienne, Basle.
3. St. Theodore, Basle.
4. The Abbey of St. Blaise in the Black Forest.
in Germany, vol. I., p. 21. During the period that Gottfried Silbermann studied in France,
the best builders were Charles Dallery and François Clicquot. These builders chiefly worked
together, and among their organs we may name those in the churches of St. Gervais, St.
Nicolas des Champs, St. Méry, St. Sulpice, the chapel at Versailles, and the Abbey of
Clairmarais. Pierre Dallery built the organ of Notre Dame, and those in the churches of St.
Lazare and St. Suzanne at Paris. A descendant, Pierre François Dallery, was living as late
as 1833. M. Danjou, the late organist of Notre Dame, Paris, discovered, in 1843, in the
church of Soliez Ville, in the department of the War, an organ built as far back as the year
1450. It is in many respects an interesting discovery. Up to that time the oldest organ
known in France was that of Gomesse, near Paris,
THIE HISTORY OF THE ORGAN. I 59
5.I. Johann Daniel Silbermann.
This builder, the last of the family whom I shall particularise,
was the second son of Andreas. He was born, in 1717, at Strasburg,
and studied organ-building, under his uncle Gottfried, at Dresden.
Upon the death of the latter, in 1754, whilst constructing the noble
organ of the Royal Catholic Church at Dresden (before mentioned),
he succeeded to his uncle's business. He died at Leipsic, in 1766.
52. Contemporaries and Successors of the Silbermanns.
The family just mentioned had many contemporaries and suc-
cessors, some few of which, if not equally eminent, are deserving of
a notice in these pages. Zacharias Thessner built, in 1702, the great
organ in the Cathedral of Merseberg; it had 68 registers, 5 manuals,
and pedal. Adam Sterzing built, in 1707, a noble organ for the
Court Church at Eisenach ; it had 58 registers, 4 manuals, and pedal.
Eugenius Casparini (then an aged man), in conjunction with his son,
Adam Horatius, built, in 1703, an organ for the Church of St. Peter
and St. Paul at Görlitz, in Upper Lusatia ; it had 82 registers, 57 of
which were whole stops. Henrich Herbst and his son built, in 1718,
an organ at Halberstadt, with 74 registers, 3 manuals in front, 2
manuals at the sides, and pedal.
Michael Engler, of Silesia, who flourished between 1688 and 1760,
built many noble instruments; amongst which we may instance those
in the churches of St. Salvator and St. Elizabeth at Breslau. He
was succeeded by his son and grandson, Theophilus Benjamin and
Jean Theophilus. The latter flourished between 1775 and 1822.
Johann Michael Roder, of Berlin, built the great organ in the
church of St. Mary Magdalen, at Breslau. It was erected in 1726.
Then we have Joachim Wagner, who, in 1725, built the instrument in
the Garrison Church at Berlin, of which Dr. Burney has left us a
curious description, in his German Tour. -
The Hildebrands—Zacharie, who flourished between 1680 and
1743, and Johann Gottfried, his son—were eminent artists. The
latter built the noble organ in St. Michael's Church, Hamburg, in
1762, at an expense of £4000.
But the two best-known organ-builders of the latter half of the
I6O THE HISTORY OF THE ORGAN.
eighteenth century are Johann Gabler, of Ulm, and Christian Müller,
of Amsterdam ; the former, by his glorious organ in the Benedictine
Abbey of Weingarten; the latter, by the “world-famed" Haarlem
Organ.
In this slight sketch of the history of the organ, from the earliest
time to the close of the eighteenth century, I have doubtless omitted
some names deserving of “honourable mention,” and left untold many
things of importance to the inquiring student during this long period
of progress. But all I professed to do was to treat the subject in
an historical point of view, avoiding all details of a technical nature,
keeping my attention strictly to facts. The labours of the principal
builders towards the perfection of the “king of instruments” will
receive their proper amount of attention, and their merits be duly
chronicled, in the able Treatise which follows this Introduction.

THE ORGAN :
A CO M P R E H E N S I V E T R E AT IS E, ET C.
BY
EDWARD J. HOPKINS.
THE ORGAN.
——O
PRELIMINARY OBSERVATIONS.
large churches, town-halls and concert-rooms, is divided
interiorly into four principal parts. The chief of these
divisions, or departments, is that styled the Great Organ; the others
are the Pedal Organ, the Choir Organ, and the Swell Organ. Some
instruments of the first magnitude have, in addition to the foregoing,
a fourth Manual Organ, which is usually a Solo Organ, as at St.
Paul's Cathedral, Westminster Abbey, St. George's Hall, Liverpool,
the Parish Church, Leeds, &c.; while in a few instances there is even
a fifth Manual Organ, or Echo, in addition to a Solo Organ, as at
the Parish Church, Doncaster, and the Town Hall, Leeds. In the
former example the Echo has a separate manual, in the latter it
is attached to one of the other rows of keys.
The Several departments just enumerated are, in one sense, so
many separate and distinct organs. This is the case so far, that
each has usually its own sound-öoard, stops, clavier, &c.; but the
whole of them being generally enclosed in one case (the choir organ -
Sometimes excepted), with the different claviers so arranged as to be
under the control of one performer, they are thus made to assume the
appearance of one vast and comprehensive instrument. The choir
organ is occasionally enclosed in a separate case, placed in front of
and below the chief one,” as at St. Sepulchre's, Snow Hill; St.
Lawrence, Jewry; St. James's, Piccadilly; St. Martin's-in-the-Fields,
&c.; though not so arranged as to give it the appearance of being
a detached portion, but harmonising with the main body of the
* In England it is customary to speak of the separate choir organ as seen from the body
of the church ; while in Germany it is better known in reference to its position to that of the
organist when seated at the keys. Thus in England it is described as “the choir organ in
front,” and in Germany as the “back-choir organ.” In the estimates. and accounts of the
early seventeenth century organs, the two departments, which formed the entire musical
portions of the largest instruments of the period, were frequently described as the “greate and
litel organs;” while in other instances they were spoken of collectively as “the double organ.”

M 2
4. - PRELIMINARY OBSERVATIONS.
instrument; so that, when viewed from the church, the two present
one handsome and noble façade. - }
In a few instances the main body of the organ is divided, leaving
between a clear prospect of the building from end to end, as at West-
minster Abbey, Rochester Cathedral, &c.; in which case a general
unity in the design and grouping of the several parts of the case is
more or less observed.
The several departments already named have, generally speaking,
certain fixed situations allotted to them in the instrument. For
instance : - -
The Great Organ is generally placed immediately behind the front
pipes of the instrument (see fig. 1); many of which “show pipes "
form a portion of those belonging to that department.
The Choir Organ, when not located “in front,” is stationed behind,
and at a convenient distance from the great organ (fig. 2), a foot-way
(marked 3, in the general section) sixteen or eighteen inches wide
being left between the two as a pathway for the convenience of
tuning, &c., called the passage-board.
The Swell Organ is placed above the choir organ, when the latter
is not situated in front (fig. 4). In small instruments, where the choir
organ is altogether omitted, the swell is often, though not advisedly,
stationed Over the great organ.
The Pedal Organ is either placed, in an entire state, behind, and
parallel with the others (as shown in fig. 5), or it is divided, and a part
arranged on each side of them. When there is no choir organ, or
when that department appears in front, the pedal organ is frequently
stationed to the rear of the great organ (occupying the usual position
of the choir organ), with the swell above.
The structural portions of an organ are classed into three great
divisions, namely (1) the machine by which the wind is collected for
the production of Sound, the channels through which it is conducted
to the various departments of the instrument, and then re-distributed
among the numerous pipes of each ; (2) the mechanism by which the
several departments are individually or conjointly brought into use,
and their stops brought under perfect control; and (3) the Sound-
producing parts, namely, the pipe-work. -
These several divisions, together with the case, constitute what is
known, par excellence, as “THE Organ ;” the construction and operation
of which form the subject-matter of the following chapters,
*
HDivision #.
THE EXTERIOR OF THE ORGAN.
CHAPTER I.
T H E O R. G. A N C A S E.
Its nature and use, and I. MOST organs are enclosed, at the back, sides, and
the materials of which it front, in a case of wood—a covering that is of service to the
is formed. instrument in protecting its mechanism and pipe-work from
external injury, and rendering the working of its movements, when in operation,
less audible. The case is of great utility, also, in rendering the instrument an
ornament to the church, by bringing its appearance into perfect keeping with the
other carved wood-work of the edifice. The organ-case is usually constructed
either of oak, mahogany, walnut-tree wood, or of deal. When made of the last-
mentioned material, it is either grained to imitate one of the fore-mentioned woods,
or, what is much better, more real and light-looking, it is simply varnished. The
case to the choir organ, in the chapel of Magdalen College, Oxford, is of Stone.
The generalstructure of 2. The organ-case is usually divided, horizontally, into two
the organ-case, and the stages, either by an impost or by a bold moulding ; and
means of ingress. vertically, into numerous com/artments, by pilasters, or by
buttresses. The compartments below the impost are usually filled in with panelling
work all round, except in front, towards the centre, where the claviers are, generally
speaking, located. The upper divisions are also frequently filled in similarly with
panelling work, except where intended to receive pipes, as is the case in most
small organs, where the chief wooden pipes are ranged immediately above the impost
along the two sides, and, being lightly varnished and otherwise decorated, present a
pleasant appearance. Some of the panelled parts are hung on hinges, or are
otherwise made moveable, so as to form entrance doors, for the purpose of tuning,
or for facilitating admittance to the mechanism and other work.
3. The front of the organ-case above the impost is generally formed into a
series of open-work compartments—an arrangement that is so far advantageous to
the tone of the instrument, that it admits of many of the pipes of Some of the chief
stops being placed in these openings, whereby the predominance of their tone is
more effectually secured ; the interstices between the bodies and feet of the pipes
being calculated to assist the egress of the sound produced by those inside.
Cathedral organs that occupy a central position have generally two fronts, facing
east and west respectively—an arrangement that materially assists the progress of
the tone of the instrument through the building laterally ; while many church
organs of recent construction have no case above the impost, but pipes sustained
by light wooden framework, or by elegantly designed iron-work.
The general arrange- 4. The front pipes are very rarely arranged to succeed
ment of the front Pipes, each other according to the sound they produce in the musical
scale, like the keys—semitonally—as, in that case, all the large ones would be
6 THE EXTERIOR OF THE ORGAN.
on one side and the small on the other, giving to the whole the appearance of a
huge set of Pan-pipes ; but they are placed so as to present a symmetrical
appearance.
5. The first and most obvious arrangement is into groups of large and Small
pipes, forming separate compartments. The admixture of these large and Small
Compartments constitutes one of the principal features of the design.
The various figures in 6. Next, the pipes occupying the large and small com-
which the front pipes partments are arranged according to one or more of many
are arranged. different plans, and in varied forms, with the view to gaining
greater contrast and elegance in the appearance of the organ.
7. The chief of these diversified plans, and the names by which they are
known, are as follow :—
8. Pipes that are placed in a projecting semicircle are said to form Towers.
(See a a, ſig. 6.) Examples of this kind of
pipe arrangement occur in the graceful cases ºz o o O O C o O o o ty 6
of the organs at Whitehall Chapel; St. VO 2, C º O O O
Clement's, Strand ; and indeed in most
Organs.
9. Pipes standing in an angle are termed Pointed Towers (a a, ſig. 7); Spe-
cimens of which may be seen at St. Sepul- * ~ * * * ***No “o 7
chre's, Snow Hill; and at St. Nicholas's, \, º/Tº $o &
Newcastle-on-Tyne. & $o
IO. Groups of pipes inclining inwards, semicircularly, are said to form Niches
(%, ſig. 8); of which an example occurs in o9986 8
the centre of the case of the organ at St. º & §. &
Philip's, Stepney. oooooo...? $oo e coooo
II. A Breasted compartment is that of which the middle part is a little
rounded forwards, as shown at a, in ſig. 9. 9
Examples occupy the centre of the hand- O
e O O_O O º, O O 9-2 º
Some organ-cases at St. Mary's, Islington, —sgoãoo-
and St. John's, Horselydown.
12. If the pipes are placed curvilinearly, the compartment is said to be of the
Ogee form. (See ſig. Io.) Of
this kind of pipe arrange- IO
ment examples exist at St.
Olave's, Southwark, and at
St. Helen's, Bishopsgate.
I3. When the pipes are continued in a straight line, they are called Flats
(see Jigs. II, I2, I3, I4 ; also b b, ſigs. 6 and 7); of which examples occur in all
Organs.
I4. Some organ-cases have what are denominated Flat Towers, of which
very fine examples occur at St. Paul's Cathedral. Such are formed by arranging
the pipes that in some organ-cases stand in a semicircle, or in an angle, parallel.
wise. Others, again, have what are called “circular ends”; i.e., the case, instead
of being flanked at each side by a tower, has a curved Compartment, resembling
half a circular tower, furnished with a greater number of narrow pipes. The organ
at Exeter Hall has circular ends.

THE ORGAN-CASE. 7
The arrangement of the I5. The front pipes are generally planted in tonal suc-
º cession in each half of the case; that is to say, those which
the Sound they produce. e 2 Y; tº
occur in the compartments to the left of the centre give one
or other of the following six sounds, namely, C, D, E, F sharp, G sharp,
or A sharp : the pipes occupying those to the right sounding either C sharp, D
sharp, F, G, A, or B. This alternate distribution may readily be discovered by
first drawing the open diapason, or whatever other stop may have most of its pipes
appearing “im prospect” (as the Germans have it), and then slowly playing the
chromatic scale in its ascending form ; when the sounds will be noticed to proceed
first from the left, and then from the right hand side of the front. Occasionally,
however, the order is reversed.
I6. As to the precise situation in the front where these alternate speaking pipes
will be found, this depends on the design of the case. If it comprises three towers,
a large centre one and two smaller flanking ones, as in most of Harris and
Snetzler's organs, the largest pipe will generally be found in the middle of the
centre tower, those which follow standing right and left alternately, the arrange-
ment being continued in the lateral towers; if there are two large lateral towers,
and a smaller one in the centre, the alternate plantation will commence from the
sides. In Smith's four-tower fronts the distribution is usually among the entire
number of towers. In the majority of instances, therefore, a pipe which on the
Second side reflies to a particular one on the first will occupy the corresponding
position on the second side. Thus supposing the CC pipe of the open diapason to
stand in the middle of the tower on the left side of the case, the CC sharp pipe will
probably be in the centre of the similarly situated tower on the right; the DD and
EE pipes will stand one on each side of the CC; while those giving DD sharp and
FF will appear immediately on the right and left respectively of the CC sharp
pipe.
17. The alternate assortment of the front pipes materially facilitates the power
of giving to the organ a symmetrical appearance. The CC sharp pipe differs so
slightly from the CC in its diameter (in a decreasing ratio), that the eye fails, at a
distance, to discover the deviation ; hence the two pipes—as indeed any other two,
of which the sounds are only separated by a semitone—are placed in corresponding
positions, without the slightest ill, but, on the contrary, good effect resulting.
I8. The necessary deviation in length, however, would be sooner detected ;
hence both pipes are made to agree in this respect: but the one that is to give the
higher Sound has an opening cut in the back, at the top, which produces the same
influence on the tone as slightly shortening the pipe.
19. The next pipe on the “CC side,” FF sharp (supposing the towers already
spoken of to contain three pipes each only), will probably appear in another
compartment; perhaps in a Smaller tower, or in a flat, or in one of the ogee
or the breasted form ; and so on. When the pipes become too small to appear
externally, the few remaining ones are disposed inside, and, members of other
stops brought into prominence, if more pipes are required in sight to complete the
design. -
20. The pipes in the flats are arranged in a far greater number of different ways
than are those in the towers. In compartments of the fore-mentioned kind the
largest pipes are sometimes placed outside, and the Small ones in the middle, as
represented in fºg. II, -- *.
* OOOOooooooooo
8 THE EXTERIOR OF THE ORGAN.
at others, the small ones occupy the extreme positions right and left, and the large
ones the centre (ſig. I2),
a cooCOOOOOOOoo
while occasionally they are disposed in a graduated series; the largest being at
one end and the Smallest at the other; as in figs. 13 and 14.
I3 O O O QC, O O O C o o o a ooooooooooooo C , I4
Of the decoration of the 21. The surface of the front pipes of most English organs is
front pipes adorned either with gilding or diapering. In former times the
front pipes were more commonly diapered; i.e., figured in various colours; and
many of Smith and Harris's organs were so ornamented. That, by the former
builder, at Finedon, in Northamptonshire, still retains its original embellishments
of this nature; so also does the old organ in the chapel of Christ College, Cam-
bridge. The front pipes of the organ built by Harris for King James' Chapel, at
Whitehall, and now in St. James's Church, Piccadilly, were diapered ; and, on being
transferred to their present locality, were cut open and turned inside out. Frequent
instances have of late occurred of the revival of this kind of pipe-decoration. The
instruments in Westminster Abbey and the Temple Church have their front pipes
both gilded and diapered.
22. The front pipes of the organs in Holland, some parts of France, and most
of the German States, being frequently made of pure tin, are simply polished or
burnished, giving them the handsome appearance of bright silver. The front pipes
of the organ, in the Roman Catholic Church in Leicester Square, by Mr. Gern, are
of burnished tin, so also are the 32-feet pipes by Mr. Willis in the front of the organ
in the Albert Hall.
TDivision ##.
THE WIND-COLLECTING PORTION OF THE ORGAN.
CHAPTER II.
THE BELLOWS.
Their use. 23. THE use of the bellows is to collect and enclose a quantity
of atmospheric air, and, after compressing it, to propel it through the various
wind-channels up to the pipes. These are, in fact, the lungs of the organ : without
their aid it would be but a voiceless machine.
The different kinds of 24. There are two kinds of bellows to be met with in church
º organs, namely, diagonal and horizontal bellows. Previously
sides; their names; to the introduction of the kinds now understood by these
and why so called. names, organ bellows were made like the ordinary household
bellows. As an improvement upon these, bellows were next constructed on a plan
identical with those still used in Smiths’ forges, namely, with a feeder below, and a
diagonal reservoir above to produce a continued blast of air, the folds or sides
being made of thick hide leather. Some bellows of this latter species were in
existence, lying in a lumber-room in the (once collegiate) Church of Tong, in
Shropshire, as late as the year 1789. But such primitive machines, from the nature
of the material of which they were made, were liable to frequent injury from the
friction to which their folds were unavoidably subject whenever they were worked ;”
and their constantly recurring unsoundness from this cause gradually led to the
adoption of a more durable material in their construction. Thus wood came to be
used in lieu of leather for the folds, with pieces of horse-sinew and strips of
leather for the hinges, which substitution rendered the bellows far less liable to
destruction from attrition. Of this more substantial kind of bellows specimens
are still occasionally to be seen in the Small cabinet organs of Father Smith. In
the church organs, however, of that celebrated artist, and also in those of his
worthy competitor, Harris, only diagonal bellows—the kind represented in ſig. I5,
except that they were worked by a handle and not a treadle—were used. These
bellows are said by some to have been first introduced by Lobinger, of Nuremberg,
in 1570. According to other accounts they were invented by Hennings, of Hilde-
sheim, in the seventeenth century. But Dr. Rimbault, in his valuable History of
the Organ, p. 48, quoting from the Fabrick Rolls of York Minster, under the date
1419, states that John Couper, a carpenter, received, “for constructing the ribs of
the bellows of the organ, I2d.” If these were made of wood, of which there, can
Scarcely be a doubt, the improvement in question is not only much older than is
generally supposed, but was made by an Englishman.
25. Diagonal bellows continued to be almost exclusivelyt employed in church
* Hence the repeated appearance in so many old parish accounts of entries such as “for
mendyng of ye organ bellowis,” or “for the amendyng of the organys.”
+ It will have been seen, from the illustration on page 35 of the Historical Introduction, that
IO THE WIND-COLLECTING PORTION OF THE ORGAN.
organs till towards the latter part of the last century, when a new kind was brought
forward in this country, which was considered by the English organ-builders of
the time to present so many advantages over that previously used for church-
work, that, soon after the commencement of the present century, the construction
of bellows of the diagonal species was entirely abandoned. The fine organ in St.
Margaret's Church, Westminster (built by Avery, in 1804), appears to have been
one of the latest instruments made with bellows of the single or diagonal kind.
26. At the present time the horizontal is the only description of bellows made
by English and French organ-builders; though, in Germany, the diagonal still
remains in favour. In the magnificent organ erected by Schulze, of Paulinzelle, in
the Parish Church, Doncaster, in 1862, diagonal bellows are used.
27. The names given to the two kinds of organ bellows sufficiently indicate the
distinctive principle upon which each operates. The diagonal, or, as it has some-
times been denominated, the wedge-shaped bellows, is so called because, when
blown, the top rises diagonally ; that is to say, one end ascends while the other
remains stationary ; thus giving to the bellows a wedge-shaped appearance, as
shown in the following engraving, when charged with air.
I5
28. A horizontal bellows (ſig. 16), on the contrary, preserves its level surface in
all stages of its operation, whether it be wholly distended, quite empty, or at any
intermediate point between the two extremes. Hence its distinctive appellation.
Particulars concerning 29. Diagonal bellows are, as already mentioned, seldom, if
the diagonal bellows. & º
ever, now made in England. Numerous specimens, however,
still exist in our old town and village church organs. Of such kind of bellows two,
at the least, are found in even the Smallest church organs; one for Supplying the
instrument while the other is being replenished. As, during the process of inflation,
the top of the bellows is gradually raised, and, therefore, the weights on its surface
a reservoir similar to the upper member of a horizontal bellows was known in the time of
Praetorius, 1620; but, being made without a feeder, it was the same in principle as the old
diagonal bellows, so far that it was inflated by raising the top. Although somewhat similar to
the modern bellows in appearance, it was as different in the method of its working, as it
was inferior in actual utility.


THE BELLOWS. II
exercise no compressing influence on the contained air, it follows that, for the time
being, the wind within that bellows can be of no greater density than the air without,
and therefore is of no service in supplying the organ. A practical proof of this fact
may be obtained, where there are two diagonal bellows, by pressing the handles of
both down at once, when the organ will become for the time quite silent. Hence
arises the necessity for a second bellows, to supply wind while the first is being
charged, and vice versä.
Their number. 3O. And while Small and moderate-sized organs have from 2
to 6 diagonal bellows, many large instruments have 8, Io, 12, or even as many as
I4. Thus the Meresburg organ has 6 bellows; that at Wismar, 8; that at Haarlem,
I2; while that at St. Sulpice, in Paris, had, until lately, 14 bellows. Smith's organ
in St. Paul’s Cathedral had originally 4 large diagonal bellows, measuring 8 feet by
4. The new organ at Doncaster has 12.
Arrangement. 31. The Several diagonal bellows are usually placed in a row,
side by side, outside the case ; or, when too numerous to be so disposed, they are
often ranged in two rows, one over the other. In the latter case the upper row of
bellows is generally furnished with ropes, by means of which the same blowers are
enabled to work both rows. Such was the arrangement at the church of St. Owen,
at Rouen, previous to the recent improvement of the organ by Cavaillé-Coll. The
blower depressed the handles of the lower row of bellows as he leisurely walked
across the platform behind the organ from one side to the other, and drew down
the ropes of the upper row as he returned. In Smith and Harris's organs they were
placed outside, and generally to the rear of the case. They were placed, for the
first time, inside the case by Harris, in 1703, in his Salisbury Cathedral organ. In
many of the Continental organs the bellows are inflated by means of treadles
instead of handles. The illustration numbered I5 represents a bellows worked in
this manner. The treadles lie in a row near the ground, and the blower, stepping
from one treadle to another, by his weight lowers each of them, and thus the
bellows are distended. The bellows of the Doncaster organ are blown in this way.
32. The wind supplied by the several diagonal bellows is received into a chief
or head canal, consisting of a long Square and (generally) horizontally disposed
wooden tube; from which canal it is distributed among the several sound-boards,
through smaller tubes shooting forth from it and traversing the organ in all
necessary directions. Such are the general arrangements for collecting and
Compressing, for receiving and distributing the organ-wind. To an enumeration of
these may be added the following details:–
Method of operation. 33. Diagonal bellows are blown by pressure upon the near
end of the governing handle or treadle (a, ſig. I 5). On this descending, the other
end (b) ascends, raising with it the moveable end of the top of the bellows (C). As
this is taking place, some of the external air rushes in through the bottom of the
bellows, at openings or gratings made for the purpose, and fills the cavity of the
bellows. Valves placed over the apertures then fall over them and close in the
wind. The surface weights ( i) now exercise their influence, by pressing heavily
on the top of the bellows (o o); and the top of the bellows, by descending, in its
turn, forcibly on the enclosed wind, compresses it and so prepares it for use ; in
which state it rushes towards the chief wind-receiver, through the wind-trunk (w).
As the air in the bellows is by degrees exhausted, the top descends, the handle as
gradually rising ; when the latter reaches its full height and becomes stationary,
it indicates that the contents of the bellows are exhausted. The wind from the
I 2 THE WIND-COLLECTING PORTION OF THE ORGAN.
several bellows does not enter the receiver at the same time ; but that from one
bellows is first consumed, and then the supply is continued by the next. So that
the bellows do not all sink down together, but one after the other, as is indicated
by the consecutive rising of the handles.
34. This successive transmission of the wind from the several bellows is brought
under regulation by means of valves or traps, one between each bellows and the
chief wind-receiver, which act in the following manner. The wind from the first
bellows not only supplies the organ, but by its force alone keeps the traps of the
other bellows closed so long as the wind lasts. When this supply is just exhausted,
then the trap of the second bellows suddenly opens, the condensed air from which
not only keeps the traps of the remaining bellows still closed, but also shuts that of
the one just emptied, and so prevents the entrance of any of the wind which the
bellows now in operation is supplying. On the stock of wind from the second
bellows being exhausted, the trap of the third opens and continues the Supply, that
of the second closing ; and so on with all the remaining bellows. Sometimes a
certain number of the bellows supply one department only of the organ. Thus, of
the I4 originally at St. Sulpice, 6 were devoted to the great organ, 4 to the pedal,
the remaining 4 supplying the Smaller departments of the organ. The description
just given must therefore be understood as referring to the working of one set or
series of bellows only, of which an organ may contain I, 2, or 3, according to
circumstances.
Their original defects. 35. Although the bellows of every large organ were more or
less numerous, yet for a long period there lacked the means for ascertaining
whether they all produced a supply of wind of equal strength or intensity.
Improvements had been made by which the evils of this defect had been lessened
by increasing the size, and, therefore, by decreasing the number of the bellows,
but the uncertainty remained in respect to the fewer bellows that had still to be
employed. It was not until the seventeenth century that the wind-gauge or
anemometer was invented by a German organ-builder of the name of Förner.
This little machine enabled builders to “weight” the bellows of an organ so that
they all produced a wind of the same general force. But a Source of inequality
was discovered to exist in the bellows itself. It was found that a diagonal bellows
produced a comparatively light wind when fully distended, and a gradually
increasing one as it collapsed ; the consequences being that the organ did not
always produce precisely the same strength of tone, neither did it always sound
strictly in tune. 'The causes of this inequality in the strength of the wind were as
follow. A diagonal bellows, on being charged with air, would have the top-board
(o o, ſig. I5, and b, ſig. 17) raised to its greatest height ; the side and end ribs (c c,
c c, ſig. 17) taking as nearly a perpendicular position as a regard
to the stability of the bellows would allow, and having their middle
joints, or points of conjunction (d. d), inclined inwards. The
sides and end would then, present an obtuse angle to the wind,
as shown in fºg. I7, which is a cross section of a diagonal bellows.
But as the top-board descended, the angle they described would become more and
more acute, as illustrated at e e, in ſig. 18. As the contents there- I8
fore of the bellows were gradually exhausted, not only was the
height of the Space within the bellows lessened, but also the length EE
and Öreadth. The wind within, consequently, was not simply
influenced by the calculated pressure of the surface-weights, but also by the com-
pressing power of the inward folding ribs, which, pressing forward, wedge-fashion,
into the confined air, gave it more force. An accurately made anemometer showed

THE BELLOWS. I 3
that the wind was ſº stronger when the bellows was at its least elevation, and
nearly empty, than when at its greates# elevation. • 2
36. Another circumstance that tended to bring about the inequality complained
of was the irregular influence of the surface-weights, which did not press with the
Same effect on the bellows in all stages of its sinking. A weight will, according to
one of the simplest laws of mechanics, operate with its fullest effect only upon a
Zevel surface. Now, when a diagonal bellows was distended, at which time the top-
board presented an inclined" plane, the weights could only press obliguely on the
wind, and therefore with something less than their greatest effect. This imperfect
pressure gradually disappeared as the bellows closed ; that is to say, as the top
gradually approached the horizontal line; the result being that the bellows com-
pleted its work by the production of a stronger wind than was the case at the com-
mencement of its sinking.
37. These were the defects which existed in the diagonal bellows, as originally
made, and which the German organ-builders succeeded in rectifying, by means as
simple in their nature as they were successful in their effect.
How remedied. 38. Instead of the bellows being fixed with the under-board
(a + æ, ſig. I 5) perfectly level, as heretofore, they were now placed with the spread-
ing end somewhat below the other end (as illustrated in ſig. 15); so that, when
expanded, the fo/ (o o), instead of the bottom, formed the horizontal line. This
slight alteration of position secured to the wind the full influence of the surface-
weights (; 2) at the commencement of the bellows' sinking, instead of at the end ;
and therefore at the time when the ribs would be producing the /east effect. As the
top descended below the level, the weights would lose some of their influence ; the
closing ribs, however, pressing in on all sides, at the same time increased theirs.
This is the arrangement of the bellows at Doncaster. To counteract any greater
influence which the inward folding ribs might still exercise, a long wooden spring
was applied, which operated during the earlier stages of the bellows' sinking, in
addition to the surface-weights ; but by degrees ceased to do so as the influence of
the ribs was more and more felt.
39. This spring, consisting of a long rule of box-wood (ſig. I5, fff), was laid
under the bellows, and fastened down at one end (%), the other having a rope
attached (g), communicating with the wooden rod (h) that lifts the top of the
bellows. On raising the top-board, the rope and free-end of the box-wood spring
were drawn up ; the latter, from its own elasticity of course, operating with the
greatest force when most curved upwards. Additional compressing power was thus
brought to bear upon the wind when the ribs pressed inwards but slightly ; but as
they gradually did so more acutely, giving to the wind more strength, the elastic
power of the spring as gradually became less, and finally became powerless. Thus
was a uniform strength of wind secured throughout the sinking of the diagonal
bellows.
40. In England, also, various ingenious devices were had recourse to for
equalising the wind-pressure. Renatus Harris, in his organ at St. Dionis, Back-
church (1724), applied accumulative springs to the four bellows for this purpose.
Green, in the organ erected by him in St. George's Chapel, Windsor (1790), inserted
an apparatus consisting of a system of gradually increasing Counterpoise, acting, by
* Diagonal bellows were originally fixed with the under-board (x & x, ſig. I5) in a perfectly
horizontal position, ~ -
I4. THE WIND-COLLECTING PORTION OF THE ORGAN.
means of a rope coiled round a small pulley, in opposition to the descent of the
bellows.
41. An ingenious mechanician, of the name of Cumming, a clock-maker by trade,
appears to have been the first to whom the idea occurred of making a bellows on
the horizontal principle. According to his own pamphlet, the principle was
sketched out by him in 1762, and first carried into practice in the organ completed
under his direction for the Earl of Bute in 1787. It was also tried by Samuel
Green in the beautiful little organs erected by him in St. Thomas's Church,
Ardwick, in 1787, and in St. Peter's Church, Stockport, in the following year. On
the other hand the organs by the same admirable maker in Lichfield Cathedral
(1789, now removed), and St. George's Chapel, Windsor (1790), had diagona/
bellows, from which circumstance it would seem that Green was not at first entirely
satisfied with the then new kind of bellows. The one main fact, at any rate, is
certain, as well as satisfactory, namely, that the horizontal bellows is an invention
of English origin.
The horizontal bellows. 42. A horizontal bellows (see ſig. 16) comprises two separate
and distinct chambers, one immediately over the other. The lower one (a), closely
resembling a diagonal bellows, is called the ſeeder, from its Supplying or “feeding ”
the upper division with wind. The upper chamber (ar a) is called the reservoir,
because it receives the great body of wind collected by the feeder for compression,
and holds it in “reserve' for after-distribution among the various departments of
the organ. -
43. One circumstance connected with the horizontal bellows—and a very im-
portant one it is—is, that one of this kind will with ease Supply an organ that would
require perhaps half-a-dozen of the diagonal species. How this should be the case
is soon explained. A feeder, as already stated, closely resembles a diagonal bellows.
Now supposing a horizontal bellows to be supplied by a feeder of a given size, and
that six full charges therefrom are necessary to fill the reservoir, it follows that the
supply from that one reservoir will be as plentiful and efficient as that from six
bellows of the diagonal species of the dimensions of the feeder (a). This fact is the
more apparent, when it is born in mind that diagonal bellows do not all afford their
supply at the Same time.
Its structural features. 44. On examining a horizontal bellows, it will be seen to
consist of three stout horizontal layers or plates of wood, called respectively the
toff-board (c, figs. 16 and 23, also figs. 19 and 20); the middle-board (d, ſigs. I6 and
23, also ſig. 21); and the bottom-board (e, ſigs. I6 and 23, also ſig. 22): which
“boards” are joined together all round by side and cross-fold boards called ribs.
(See fffſ, in ſigs. I6 and 23; also ſigs. 24, 25, and 26). --
45. The ſoft-board is usually made of pine, from one to three inches in thickness;
and, in small bellows, consists simply of a plain, substantial board, I9.
ledgered near to each end, as shown in ſig. 19. The top-board for larger
bellows is frequently composed of a stout frame, divided crossways and EEE
lengthways by rails, resembling the stiles, &c., of a common door
(ſig. 20); with the interstices filled in, or in some instances covered
in, with thick wooden panels. Very large bellows frequently have the
top-board framed all round, and also across, with a lining two or three
inches in height; which increases its stability and its freedom from H-s—s
tremor. Moveable panels offer an easy means of getting at the valves
of the middle-board below, if they become deranged from damp, excessive heat,
or any other cause.

THE BELLOWS. I 5
46. The middle-board (ſig. 21) is made of rather larger dimensions than
the top-board ; a slight additional portion being required all 2O
round to form a substantial ridge for the support of the
bellows on their sustaining frame-work. This is clearly shown
at d, in ſig. 16; also in ſigs. 23 and 35. To the middle-board
are attached, at the sides and ends, and marking as nearly
as may be the outline of the top-board, four thick boards
(e e e e, fig. 21), Some four or five inches broad, and set up
edgeways (g, ſig. I6), called the trunk-band, or /ining, which -
“band” permits the various wind-trunks to be joined to
the bellows at any farë most convenient to fix them. (See o
and v, fig. 23.) In some bellows pieces of wood, the same
height as the band, and of the same width as the ribs, are
placed inside the band, and at right angles to it, which, with
the band itself, form a firm resting place for the ribs. Besides
this three or four posts are inserted down the centre of the 2I
middle-board, of the same height as the trunk-band, with the
thickness of the ribs, &c., added, which bear up the top-board
and weights. Or, in very long bellows, instead of a few posts,
a rib of inch pine (of the same height as the posts) is carried
through the whole length of the middle-board (inside the band,
glued to the middle-board and Screwed through from the under
side), which not only supports the top-board from end to end.
down the middle, but also serves as a brace to the middle-board,
These several insertions add materially to the stability of the
bellows. The middle-board and trunk-band together form a
kind of large, shallow trough, in the bottom of which lie the
several “valves” or “suckers,” marked f f f in the adjoining
figure. Sometimes the middle-board, like the top, has move-
able panels, to facilitate the repairing or cleaning of the valves 22
in the bottom-board, when required. f £
47. The bottom-board (ſig. 22) is made of good substance, -
like the other “boards” of the bellows. It is provided with
suckers, like the middle-board, and forms the bottom of the 6 || || 8 || || @
feeder, as already exemplified in ſig. 16. It is therefore |3|E|E|E
ledgered on the under side, to prevent its “springing,” when in
forcible operation. The bottom-board º º ElG|
the top-board in dimensions; at other times, not nearly so : E|E|.
this often depending on the kind of feeder by which the reser-
voir is fed.
f
48. The ribs are the variously shaped pieces of wood that form, chiefly, the folds
of the bellows. They measure from 3-8ths to 24.
an inch in thickness, according to the size
and general strength of the bellows. / N
S. Z


I6 THE WIND-COLLECTING PORTION OF THE ORGAN.
49. Two general forms of rib are made use of the Žarallel and the triangular.
The former kind, represented in figures 24 and 25
25, is employed in the formation of the reservoir S. Z
of the bellows, and the spreading end of the / N
feeder (ſig. 17); the latter (ſig. 26), for the
sides of the feeder. Those constituting the sides and ends of the reservoir are
narrow and long, measuring usually three or four inches in breadth, and from
three or four to ten or twelve feet in length, or even more, according to circum-
StanceS.
50. The Žarallel ribs are classified into direct and inverted, in regard to a
certain peculiarity in their shape. The former kind are those which have their
shorter sides hinged together ; the latter, those which have their longer sides so
united. The direct ribs (25) are used in the formation of the lower half of the
reservoir; the inverted (24), for the upper half—at least, in modern bellows. In
addition to this classification the parallel ribs are further divided into side-ribs and
end-ribs, in reference to the position which they occupy.
51. The triangular-shafted riffs, which are identical in shape with the side-ribs
of a diagonal bellows, are made broadest at the 26 f
end where the feeder opens widest (o, ſig. 26;
also e, fºg. I6, and ſig. 23); from whence they −7
gradually diminish in width towards the other Q
end, finishing off in a point. In the formation of =<
the reservoir of a horizontal bellows sixteen ribs
are used ; four on each side, and as many at each end. These ribs are divided
all round into two series of two each, by a frame called the middle-frame, of
which, however, only the edges are to be traced in a completed bellows. (A, ſigs.
I6 and 23.) *
52. The valves in the middle and bottom boards are formed of one, two, or
three thicknesses of leather, glued together. They are made rather larger than the
openings which they are designed to cover, that the closing may be effectual. (See
ſigs. 27 and 28 for the plan and section of 27
the valves.) The valves are usually hinged
on at one end (b) to the “board,” the other
end and both sides being left quite free to *.
rise and fall. The end forming the hinge b
consists of one thickness only of leather,
(figs. 27 and 28), that it may be perfectly
flexible. Occasionally the valves are attached
with pieces of tape ; one piece at each of the
four corners, with the other ends nailed to
the board. The entire valve then rises ; the
pieces of tape preventing its shifting from
over the orifices or gratings.
53. These several openings or gratings are technically called suckers. They
are sometimes made of an oblong form ; as shown at ffſ, in ſig. 21, and at w w,
in ſig. 23, and filled in with a metal or wooden grating; or they consist of clusters
of circular holes ; as shown at f/, in ſig. 22, and on an enlarged scale, in ſigs. 27
and 28. The gratings in the Square suckers, and the wooden substance that
separates the holes of each circular cluster from one another, prevent the com-
pressed air from forcing the valves downwards through the suckers.
54. As their names imply, the bottom-board forms the bottom to the feeder;
the middle-board occupies the intermediate position, and so serves the double

THE BELLOWS. 17
purpose of roof to the feeder and bottom to the reservoir; while the top-board
forms the top to the reservoir.
55. Of these three great layers of wood-work the middle-board is the fixture,
and supports the entire bellows. Below hangs the feeder, and above rests the
reservoir. The bottom and middle-boards are furnished with perforations or
gratings, with leather valves lying over the upper sides ; the use of which will
be clearly understood from an explanation of the manner in which a horizontal
bellows is worked.
The working of the 56. As the free end (g, ſig. 23) of the feeder descends, the
horizontal bellows ; and º - º
.*.*... . external air throws back the valves (w w) in the bottom-board,
compressed air makes and rushes through the gratings (ra), filling the cavity of the
for itself, between the feeder; after which the valves descend again over the gratings
plates and folds of the º º - re
reservoir. and close in the wind. The hanging end of the feeder is then
drawn upwards, by which movement the enclosed air is strongly
pressed against the surface above ; that is, against the under side of the middle-
board (d). The exercise of this force throws back the valves (s s) that lie over the
apertures in the middle-board—the valves not being intended to resist the pressure
of the wind in this direction, but only downwards—and the wind, having thus
cleared a way for itself, passes from the feeder into the reservoir. The valves on
the upper side of the middle-board (s s) then in their turn fall over the openings
and prevent the return of the wind into the feeder.
57. At the moment wind is being thus transmitted, the folds (// / /) open and
thé top-board (c) rises so as to form a sufficiently capacious receptacle for it.
58. While the several processes just detailed are going on, some of the wind is,
under the pressure of the surface weights (; ; ), constantly flowing through the
various exits or wind-trunk holes (o and v) into wooden tubes (y) or wind-trunks,
and thence to the several departments of the organ supplied by that bellows ; the
top-board of the bellows descending and the folds collapsing as the quantity of the
wind in the reservoir is reduced, and rising again and the sides expanding as more
wind is Supplied. In ſigs. I6, 23, 35, and also in the general Section, the reservoir
is represented as being fully distended or charged with wind ; and in ſig. 32 it is
shown in a collapsed or resting state. - -
59. The folds of the bellows are subject to a constant strain. ... 29
in consequence of the antagonistic powers exercised by the
feeder on the one hand, and the compressing weights on the
other ; the former forcing air upwards, while the latter press the
top-board downwards. -
60. To give them the power of resisting the outward pressure
of the contained air, arising from these circumstances, a piece of
frame-work an inch or more in thickness, some three or four
inches in breadth, and of nearly the same outer measurement
as the top-board (see ſig. 29), is inserted between the two series
of ribs.
61. This middle-frame holds the ribs so firmly in their proper
positions, that there is no liability, under ordinary circum-
stances, of the folds bulging from the force above alluded to.

The construction of the 62. The several parts of the reservoir already described are
reservoir. worked together in the following manner. The ribs are first
assorted into pairs; the proper sides of each couple being brought close together.
A long strip of white-dressed leather is then glued over the contiguous edges :
N
I8 . THE WIND-COLLECTING PORTION OF THE ORGAN.
a second piece being attached in a similar manner to the same edges on the other
side. These pieces together form a strong hinge, which is called the middle-joint.
63. All the other couples of the ribs are then firmly united together in like
II].2.1] In 61.
64. The lower edge of the under series of ribs is then 3O
fastened to the lining ; secondly, the upper edge of the upper »
ribs is united to the edges of the top-board ; thirdly, the lower N 2%
edge of the upper series is bound to the inner edge of the
middle-frame; and, fourthly, the upper edge of the lower Series
is joined to the outer edge of the middle-frame. The openings
at the four angles or corners, where the ends of the ribs nearly
meet, marked a a a a, in ſig. 30, are then closed with leather,
which form what are technically called the glassets. The
adjoining figure (No. 30) is a plan of the folds of the reservoir.

The construction of the 65. The folds and boards of the feeder | CY, &.
feeder, are joined together in much the same /* *
manner, only that the end of the bottom-board is strongly *
fastened to the middle-board with several pieces of shoe-leather,
rope, girth-webbing, or something of the sort, to form the work- 3I
ing part of the great hinge. Over these is glued a stout coating .*
of white leather, to render this joint equally air-tight with the NS Z
others. A piece of wood running across the end of the feeder
(c c, ſig. 31), and about equal in thickness to the folds when they
are closed against the middle-board, admits of the feeder being
drawn up without straining the hinge. Both corners, where the
end of this cross-piece and the points of the side-ribs nearly
meet, are covered in with leather corner-ſieces. The adjoining
figure (No. 31) is a plan of the folds of a single feeder, which
are formed of six ribs, two to form each side, and two for the
hanging end.

The blowing action.
66. The apparatus by which the feeder of the bellows is put
in motion is called the blowing-action, one of the simplest kinds of which, namely,
that for a single feeder, consists of a vertical pump-rod, a horizontal bellows-
handle, and an upright standard, to which must be added the fork-shaped piece of
wood that projects from the hanging end of the feeder, called the Zug. The lower
end of the pump-rod (a, ſig. 35) is placed between the two prongs of the lug (w)
and secured by an iron bolt (v); the upper is placed in a mortice cut in the near
end of the bellows-handle, and similarly secured, while the bellows-handle itself
rests in a deep cutting made in the upper part of the standard to receive it, where
also it is secured by a bolt. Where there are double feeders, there are of course
also two pump-rods (a a), which then communicate with a large lever (o o), from
which latter a rod (c) communicates with the bellows-handle (d). (See ſig. 35.)
67. The disengaged end of the bellows-handle usually passes through a high
and narrow cutting in the organ-case, and is worked outside. As, however, it
is necessary that the bellows-blower should at all times know at what rate the
wind in the reservoir is being exhausted, which will at times be rapid, and at
others slow, and as the bellows themselves. are generally hidden from view, a
kind of index, or, as it is commonly called, a fel/-tale, is introduced to convey
this necessary intelligence. This usually consists simply of a plummet fastened to
a piece of whip-cord, which whip-cord is carried over a little wheel in the organ-
THE BELLOWs. I9
case near to the bellows-handle, and then fastened to the top-board. As the
reservoir fills and the top rises, the weight descends, as it is emptied, the top
descends and the weight rises. When the weight is down, the bellows are under-
stood to be “full ; ” and, when up, “empty.” The most proper place to keep the
weight is about midway between the two extremes.
The action of the in- 68. By making the upper “fold" to open outwards, while the
verted folds, lower does So inwards, the former affords more space for the
wind, just in proportion as the latter provides less. Thus the disadvantageous
influence that would certainly be exercised by the one fold is neutralised by the
opposite action of the other.
The counter-balances. 69. The “inverted ſolds” formed a part of Cumming's
Original improvement. One condition, however, necessary towards securing their
corrective influence was, that both should always be at the same relative degree
of openness and closeness; for otherwise an unequal wind would still result. To
obtain this proportionate action, Some light, moving, directing frame-work (ſig.
I6, w 70) was applied to the two sides (or sometimes to the two ends) of the
reservoir, and attached to the trunk-band (g), middle-frame (h), and top-board
(c) of the reservoir, which “guide-work” always kept those three portions at equal
distances apart, and so effectually secured the required and exact contrary action
of the two series of ribs which occurred in the spaces between them. The counter-
&alances, as the adjuncts in question were called, serve the additional purpose of
preventing the top-board, with its heavy weights, swerving to the right or to the
left, instead of rising and falling. In large bellows the influence of the folds is far
less than in Small ones, as the width of the ribs is by no means increased in propor-
tion to the Superficial measurement of the bellows. The folds, therefore, of large
bellows are narrower in proportion than in Small ones, and their influence conse-
quently less perceptible.
The waste-pallet. 70. Another cause of inequality in the strength of the wind
had to be guarded against. The consumption of wind would, under certain
circumstances, be very slow and gradual ; the rate of the fresh supply from the
feeder being then, most probably, much greater than that of the outflowing. This
additional wind, accumulating in the reservoir, would soon fully distend it. If,
while in this inflated state, more wind were attempted to be introduced, as the
reservoir could expand no farther, the extra wind could only make room for itself
by compressing that which was already within into a still Smaller space. By doing
this, the density of the organ-wind would be increased beyond the required degree.
Besides causing the pipes to produce a shrill Scream rather than a musical sound,
the soundness of the reservoir itself would be endangered by the consequent over-
tension, and the leather hinges liable to be strained or even rent by the violence.
To obviate such evils, a clever contrivance, called the waste-falled, was devised.
This, in its earliest form, much resembled the key of a wind instrument on an
enlarged scale, and consisted of a plate covering a vent, with a lever (or tail) work-
ing on a centre, by which the plate could be raised. This pallet occupied the
centre of the top-board, and was so disposed that when the top-board had risen to a
certain and its proper height, the tail of the waste-pallet came in contact with some
wood-work. If more wind were then passed into the reservoir, the retention of
which would involve a further distension of the reservoir, and consequently a farther
rising of the top-board, the tail of the pallet struck against this wood-work; the
other end was lifted up, the vent uncovered, and the extra wind thus allowed to
- IN 2
2O THE WINID-COLLECTING PORTION OF THE ORGAN.
escape. A spring, placed either above the waste-pallet or under the tail, kept the
pallet closed, except when purposely opened. -
7I. With a view to the saving of room, and other circumstances, the waste-pallet
was, after a time, transferred from the upper to the under-side of the opening, as
shown in ſig. 23, 2, also at a and d in ſigs. I9 and 20, and there hinged on at one
end to the top-board. It was, therefore, changed in plan from the key to the valve
kind. The waste-pallet was now worked by a piece of rope (ſig. 23, AE AE AE) or a
leathern thong, one end of which was fastened to the pallet, and the other to the
middle-board. This rope or throng was just long enough to allow the top-board (c)
to rise to the desired height, without checking the pallet, and no farther. If any
more wind were now attempted to be introduced, the top-board would, indeed,
rise somewhat higher, but the pallet would be held stationary by the rope now
stretched at full length ; and, the vent being uncovered, the superfluous air would
escape. :
72. In modern bellows the waste-pallet is often situated in the middle-board,
to which part it was removed, because dust or cuttings sometimes worked their
way on to the edges of the pallet and prevented it closing properly. When SO
placed, it consists simply of a reversion of the one just described. The vent is cut
in the middle-board ; the pallet is laid over it, and raised by a rope fastened to
the top-board, which latter, after rising to a certain extent, draws it up, allowing
the wind to escape underneath, outside and to the rear of the feeder. Some organ-
bellows have two waste-pallets, one opening into each feeder. In this case, as
Superfluous wind is introduced by one feeder, an equal amount is discharged into
the other. t - - -
73. But whatever may be its situation, the waste-pallet is always introduced to
serve the same end, in regard to the reservoir of a bellows, that a safety-valve does
to the boiler of a steam engine ; namely, to guard it from more than the intended
strain, by letting off all that might otherwise peril its soundness.
74. The above are the most important improvements for equalising the wind
made in the horizontal bellows up to within the last thirty years.
The unsteadiness of the 75. There were other ways, however, in which the strength of
organ windarising from the organ-wind might be disturbed, besides those arising from
unskilful blowing, or o * 3
from irregular con- the irregular compression of the weights and ribs of the reser-
Sumption. voir, and ways which were beyond the power of the devices
just enumerated to correct. For instance, if, instead of the bellows-handle being
pressed down gradually—as it always should be—it were thrust down with a jerk,
the wind in the feeder would be forced into the reservoir so suddenly that there
would not be time for the top and sides to rise and unfold to receive it; the result
for the moment being an over-compression of the wind. -
* kinds of 76. In the earliest kind of horizontal bellows the reservoir
e was too small and the feeder too large ; the consequence being
that every stroke of the feeder elevated the upper-board too suddenly; and, as the
resistance arising from the inertia of the weight upon a bellows is increased in
proportion to the velocity with which it is elevated, it followed that a blast of very
varying strength was produced. The reservoir was therefore increased in size,
and a plan devised for transmitting the wind more gradually and continuously
by means of a feeder made on the principle of the little bellows of the common
Cuckoo toy, and hence called the cuckoo ſeeder. In this feeder the bottom-board
instead of being fastened to the middle-board at one end, as in the instance of
the single ſeeder (see ſigs. I6 and 23), was hung about midway between the two
THE BELLOWS. 21
ends to a cross-board running transversely beneath the middle-board (see ee
ſig. 32, which presents a side view of a bellows with a cuckoo feeder). Each
==
º-E-
-T-
-- H
3° TSTETTELºefº
2– -
half was provided with two end-ribs and four side-ribs, the
latter with their points (o o o o, ſig. 33) towards the cross-
board. These several parts were fastened together in the
usual way, and, with the addition of an under-lining, of the
same depth in the centre as the cross-board, but inclining
upwards towards each end (a a, ſig. 32), formed two separate
though smaller feeders. On referring to ſig. 32, the two feeders
will be distinctly traced. O O
77. A cuckoo feeder gives a supply of wind with the up- b
stroke of the bellows-handle as well as with the down, which
was not the case with the single feeder; and the quantity of
wind pumped in by the two strokes is about equivalent to that 2–ss
supplied by the one stroke from the older kind of feeder. º &
78. In some cuckoo feeders the under-lining (a a, ſig. 32) is transferred from
the under-side of the middle-board to the upper-side of the bottom-board, and
neversed, as shown at a a, in ſig. 34. This has the effect of greatly strengthening
the feeder, the bottom-board of which is subjected to a considerable strain across
the middle, where there is consequently a possibility of its “Springing,” but
which tendency is entirely removed by placing the lining as shown in the figure
below. This transfer of the under-lining does not weaken the middle-board,
which is amply strengthened by the trunk-band and the inside bracings.
79. A third kind, called the double feeder, differs from the cuckoo feeder, in
having a separate bottom-board to each feeder, instead of one long board to
dºſ
V
serve for the two. Feeders of this class are not simply “separate” feeders, as
in the cuckoo, but are also “independent” feeders (eſ, ſig. 35), like those of



22 THE WIND-COLLECTING PORTION OF THE ORGAN.
the single species. They usually extend the cross-way of the reservoir, as shown
in ſig. 35 ; though occasionally they run lengthways. Double feeders present this
advantage: if one becomes unsound, the other still can be used while the repair of the
first is being proceeded with, which could not be the case with the cuckoo feeder.
80. In some large organs of recent construction, or renovation, the feeder and
the reservoirs of the bellows have been made quite separate and distinct from
each other. This has been done so that the feeder might still be placed in Some
convenient and remote part of the instrument, or even in a dry chamber below or
behind it, and yet the reservoir be located close to the sound-board it has to
supply. In some cases the number of separate reservoirs has been increased, and
they have been distributed in various parts of the organ. For the purpose of
yielding a more ample supply of wind to large organs, the verſical ſeeder has
been devised. This differs from the ordinary feeder not only in position, but in
having the same amount of motion at both ends, and through its length. (See
fig. 36.) It is formed of three vertical parallel boards (; ; 7), the outer two of which
|
are fixtures, and the inner one (e), corresponding to the “bottom-board” of the
ordinary feeder, moveable. The feeders are shown at a a , f is the blowing-rod ;
o, a wheel travelling on a plane to steady the motion; 5 & the suckers through which
the feeder receives the wind; c c, the valves through which it is passed into the
wind-trunk (d), whence it is conducted into the receiver (2) for after-distribution.
81. Other causes of unsteadiness in the wind were perceived to exist, besides
those attributable to defective bellows or unskilful blowing. The wind became
agitated—as indicated by the altered speech of the pipes—when many bass keys
(the pipes of which consumed a great quantity of wind) were pressed down,
simultaneously; and a similar effect was also noticed on their being suddenly
allowed to rise. The disturbing cause in the former case originated with the
large pipes, which consumed so much of the wind in the wind-chest, that what
remained expanded by its own elasticity. Having thus lost some of its intensity
or strength, the Smaller pipes of the keys higher up in the scale Supplied by it
would in consequence speak with a kind of hesitation, which would continue till
i

THE BELLOWS. 23
the flow of wind from the bellows had been accelerated in proportion to the
increased demand, and the general mass had thus regained its accustomed power.
82. The agitation in the Second case arose from the wind continuing to flow in
the same rapid and copious manner into the wind-chest for an instant after the
great demand for it had ceased. The wind there, meeting with a check, accumu-
lated, causing an over-compression ; and, by its thus acquiring greater force for
the moment, brought about the defect the other way.
83. Some apparatus, therefore, was required, possessing the power of adding a
small quantity of wind to the usual Supply, when that supply, from extraordinary.
circumstances, would be Scarcely sufficient; and of deducting some, when, from
opposite causes, it would be too great and too strong. Such a wind-regulating
apparatus the late Mr. Bishop devised, whose invention is now so generally known
as the concussion-bellows. He adapted it, for the first time, to the organ he built
for old Covent Garden Theatre many years ago.
The concussion- 84. This apparatus for steadying the wind is usually formed
bellows, of a board and six ribs (see ſig. 37), 37
like a single feeder; though occasionally it is composed
of a board and eight ribs, resembling the top and lower
ribs of a reservoir. These form a small wedge-shaped
reservoir (see ſig. 37), which is fixed around and over a
hole cut through one side of the wind-trunk (a), or some-
times through the bottom of the wind-chest, with a metal
spring behind (%), the strength of which is so adjusted as
precisely to balance the ordinary pressure of the com-
pressed wind. When the bellows are blown, the con-
cussion-bellows immediately becomes partly charged from. &
the wind-trunk, or wind-chest, to which it is attached;
and, partly expanding, is then ready to operate either
way. If any jerking now occurs at the bellows, or if the
consumption - of wind be suddenly reduced—either of
which circumstances would cause a momentary over-
compression of the wind—the concussion-spring gives
way, and the concussion-bellows opens farther. More
room being thus afforded to the wind, its density is .
reduced to the proper strength, and its extra force is
expended on the concussion-bellows, instead of on the \-N
pipes that are Speaking.
85. On the other hand, when a large and sudden demand is made on the wind,
and the Supply is likely to run short, the concussion-bellows, now acting in the
opposite manner, collapses, as it always has a tendency to do under the influence
of the spring, when the wind-resistance from within decreases; and, adding so
much of the wind previously contained as the exigency of the occasion requires,
preserves the strength of the organ-wind at its proper force.
86. When the organ is not being played upon, but the “wind is in,” the con-
cussion-bellows remains about half-way open.
The Anemometer, 87. The organ-wind is required to enter the pipes with not less
than a certain prefixed and uniform force. This required strength the bellows do
not give to the wind unassistedly; hence slabs of iron or large lumps of Stone are
placed on the top of the bellows to compress the wind. Stones are, however, very
unfitted for the purpose ; for, in damſ weather, they absorb a great deal of moisture
and gain weight; and, in hot weather, the moisture again dries out and they lose

24 THE WIND-COLLECTING PORTION OF THE ORGAN.
-
per Superficial foot.
weight; the organ, in consequence, continually changing both in tone and tune.
Slabs of iron are best, although they are of course more costly. The exact
amount of weight to be used depends partly on the size of the bellows, and partly
on the “strength of wind” they are desired to produce. *
88. The precise power of the blast from the bellows is ascertained by the aid
of a little machine, called the anemometer, or wind-gauge ; and the process is
termed “weighing the wind.”
89. The anemometer consists of a glass tube, bent in the manner represented
in ſig. 38, having the lower end (d) fixed into a socket, with the 38
other (a) open to the atmosphere. When the wind-gauge is &
about to be used, a small quantity of water is poured in at the -
upper end, some of which passes through the lower bent part and
finds its level on the other side (à 5). The socket is then placed
over one of the holes in the upper-board of the Sound-board,
through which one of the pipes is to receive its supply of wind ;
and the bellows are inflated. Under the influence of the Sur-
face-weights, the wind, on the opening of the pallet, rushes
up to the sound-board, and, entering the Socket, traverses º
the glass tube till it reaches the surface of the water, which it
depresses, raising that on the other side to a corresponding
extent. At first, the water oscillates ; but when it has ceased
to do so, the deviation between the two surfaces is ascertained 6
with a rule; and if found to be, say two and a half inches,
the bellows are said to give a “two and a half inch wind.”
90. If a “stronger’ wind than this is required, more weights are gradually
added to those on the surface of the bellows, till the index shows the desired
difference by a still further rising and falling of the water in the anemometer.
9I. The “weight of wind,” to which the manual portions of a church Organ
are usually “voiced,” ranges from two and a half to three inches. The pedal
stops, when supplied by a separate bellows, are usually voiced to a wind a quarter or
half an inch stronger than the above, which is supposed to accelerate the speech and
improve the tone of the large pipes. The amount of surface-weight necessary to pro-
duce the compressed organ-wind is about three ſounds and a quarter per superficial
foot of the top-board, to give an inch wind. This is the average, for the thickness
of the top-board makes a little difference. In large bellows, with inch-and-a-half
timber in the top-board, the weight would only be about three founds and two ounces;
while in Small bellows, with only inch timber in the top-board, the weight required
will be about three founds and six ounces; the variation in the weight of the timber
accounting for the difference. On a bellows, therefore, that produces a three-inch
wind, the average amount of surface-weight will be mine founds and three guarters
92. Some of the French builders use different weights of wind for even their
manual stops, and without increasing the number of bellows. This they manage
-by placing one or two reservoirs over that of the bellows, with expanding wind-
trunks (like the sides of an accordion), reaching from the latter to the former.
The upper reservoirs are then loaded with different proportionate amounts of
surface-weights, thus producing the varied pressure of wind. The organ in the
Carmelite Church, Kensington, built by MM. Cavaillé-Coll, of Paris, is alimented
after this manner; so also is the organ recently erected by Mr. A. Gern in the
French Church in Leicester Square. The custom of applying different weights of
wind, where necessary, is now common among the English and American organ-
builders. - -

HDiuigion ###, -
THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
CHAPTER III.
T H E WIN D-T R U N KS.
The wind-trunks. 93. THE wind, having been collected and compressed in the
manner detailed in the preceding chapter, is next distributed among and conveyed
to the several main divisions or departments, i.e., great, Swell, pedal, &c., of the
organ, through the medium of wooden tubes, called wind-trunks.
94. In the early mediaeval organ the apparatus for conducting the wind was
little more than a large nozzle reaching from the bellows to the wind-chest. In the
Seventeenth century organ it was a wooden tube, projecting from the under-side of
the hinge end of the bellows; and the tubes of the several bellows were connected
with a chief canal communicating with the great organ wind-chest, from which
those for the choir and “echo " branched out. Conjointly, however, with the
introduction of the horizontal bellows, a more independent method of winding
the several divisions of the organ was introduced ; each wind-chest then having
a separate wind-trunk devoted to it, proceeding directly from the bellows.
95. The original wind-trunks of many old organs were not large enough to allow
the quantity of wind to pass that was necessary to supply modern demands.
The old system of English organ-playing was very “light” and “thin " as com-
pared with the modern ; that is to say, but few keys were held down at a time,
Seldom more than three or four. Moreover, old English organs seldom possessed
the advantage of “double stops” (which would exhaust much wind), neither were
there even pedals to draw down the lower keys of the manual, the occasional use
of which, therefore, had to be made with the fingers. The old wind-trunks, there-
fore, were, no doubt, sufficient for all cotemporary purposes. But, as a more
dignified Style of playing, in broad and well distributed harmony, has since come
into vogue, and the bass of, not simply one, but both or even all the manuals (if
there be three), are brought under the proper use of the feet, the demand on the
wind has been considerably augmented. Hence the insufficiency of most of the old
trunks for modern purposes, and also of the necessity, in most “restorations,” for
new and larger wind-trunks—increased means for distributing the wind being of
as much importance as increased means for suff//ying it by new horizontal
bellows.
96. The size of a wind-trunk varies according to circumstances; i.e., according
to the number and size of the stops to be supplied through it, the distance at which
the sound-board on which they stand is placed from the bellows, and so forth ;
and, thus governed, it ranges from four or five to sixteen or eighteen inches in
width ; from three to about six inches in depth ; and from two or three to twelve
or fifteen feet in length.
26 THE WIND-DISTRIBUTING POFTIONS OF THE ORGAN.
97. The course that a wind-trunk follows, in traversing an organ, is direct or
circuitous, according to circumstances; but the organ-builder makes the route
as short as possible, for the important reason, that the nearer the bellows and
Sound-boards are to each other, the more prompt and decided will be the Speech
of the pipes. The wind is apt to become weakened by a long passage—to
compensate for which, the wind-trunk has to be made larger, as well as longer,
whereby a needless expense is incurred—besides which, the wind becomes more
Susceptible of disturbance, from the greater elasticity of the then lengthened
column. To guard against this latter objection, organ-builders not unfrequently
place, at the end of the long wind-trunk, a special reservoir immediately underneath
the Sound-board, So that the wind-store and source of consumption may be close
together. - |
98. As the bellows and the wind-chests are seldom, if ever, on the same
level, the direction of the wind-trunks is changed after their advance from the
bellows, and turned towards the particular wind-chest which each has to supply.
They are, for this purpose, jointed in one or more places, and the contiguous
parts glued and nailed together in such relative positions as will direct the wind
to its destination by the least circuitous route (ſy, ſig. 23). The parts are seldom
jointed at right angles to each other, as that forms checks, and disturbs and renders
irregular the current of wind. To render the joints thoroughly air-tight and
strong, they are covered with pieces of parchment, leather, or paper. Parch-
ment or leather is best for the purpose, though the most costly ; paper is very
perishable, and therefore almost useless. Some organ-builders cover the whole
wind-trunk, internally, with a thin coat of glue, to fill up the pores of the wood ;
and externally, as well as a great portion of the wood-work, including much of the
wooden pipe-work, with a coat of colouring mixture, compounded of glue and
red ochre, called red size. A more agreeable looking compound for the last-
mentioned purpose is of a dark slate colour, on which ground the lettering of
the pipes, in white capitals, stand out very distinctly. The most cheerful and light-
looking covering for the wind-trunks, &c., is the light blue paper used by the
French and German organ-builders, and also by Some of the English.
THE WIND-CHEST. 27
CHAPTER IV.
THE WIN D-CHEST.
The wind-chest ; its 99. THE wind thus conveyed from the bellows is received
U1SČ. into what are called Zvind-chesús. And now that the more
minute distribution of the wind is about to be traced, it will be well, for the
sake of perspicuity, to confine the remaining observations on this subject to a
single division of the organ ; more especially as the arrangements for the further
distribution of the wind are the same in principle in every part of the organ ;
and, consequently, one description will serve for all its departments.
IOO. A wind-chest is a long and broad, but rather shallow, wooden case or
box, a cross section of which is shown in ſig. 40 ; and a front view at c c, in
fig. 39. It is made of the same length as the sound-board above, to which it
belongs; from half to two-thirds the breadth of the same ; and about equal
to it in depth, or perhaps a little deeper. *
IoI. These general dimensions refer to modern work. The wind-chests of
old organs, in some instances, measure little more than one-fourth the breadth
of the sound-board, and are therefore, of course, far less efficient than the later
examples, and for the reason before explained, when speaking of the smaller
wind-trunks of old Organs.
IO2. In the wind-chest the compressed air accumulates; and there it remains
in a state of readiness for further and more minute distribution. A wind-chest,
therefore, is in reality a local wind-reservoir, or cistern, so to speak, disposed, and
designed to receive a due portion of the great body of organ-wind collected in the
great reservoir, and to retain it for the Supply of that special department or
division of the organ to which the particular chest belongs.
39
Front view of a ſortion of a wind-chest.

28 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
Its attendant parts. IO3. Through one of the ends (a, ſig. 39), or sometimes through
the bottom (c c c, ſig 40) of the wind-chest, the aperture is generally cut, at
which the wind is to enter from the wind-trunk. The back, called the wind-
bar (d), passes under all the sound-board bars crossways, and is made of very
Substantial material, because it serves a second purpose, namely, that of affording
additional Support to the Sound-board above it, and so prevents the sound-board
yielding under the weight of the superincumbent pipe-work.
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Side view of a wind-chest.
IO4. The ends, bottom, and back of the wind-chest are all firmly wrought
together, and to the sound-board, which forms the ſoft thereto. The front-àoard
(!, ſig. 40), as the front is called, is made moveable, because the sound-board
falleſs (a, ſig. 40, and c c c, ſig. 39) are immediately inside, and are liable to
temporary derangement from a variety of causes ; they are therefore required
to be easy of access. The front-board, then, is simply fastened on with screws
(see ſig. 70, e e e ), so that it may be soon removed, if the pallets require cleaning
Or repairing. In old sound-boards the front-boards were Secured with hooks, and
the plan is still followed by some of the French organ-builders.
IO5. Immediately under each pallet a hole is drilled in the bottom of the
wind-chest, through which the necessary communication is established between
the Sound-board pallets inside the wind-chest and the Æey-movement without.
These holes, which are ranged in a line, are made much larger than the thickness
of the pieces of wire that pass through would require (see ſigs. 39 and 40), for,
in wet seasons, wood-work is very apt to swell ; and the holes, if in the first
instance made So as nearly to fit, might, from their becoming, through this cause,
Smaller, prevent the pull-downs from passing freely, and so produce a “sticking.”
To prevent, however, an escape of wind through these enlarged holes, a long,
narrow plate of brass is fixed over, or rather under them—for it is outside the
wind-chest ;-and through this plate holes are drilled, just sufficiently large to allow
of the Žuć//-downs working through them freely. The plate of brass is securely
fastened on, by its edges being covered over with a small wooden beading
(r r, ſig. 40), which, at the same time, guards the loops (i) of the pull-downs
from injury. - --

THE SOUND-BOARD. 29
CHAPTER V.
T H E S O U N D - B O A. R. D.
4. I
106. THE air that enters the wind-chest, in the manner already described,
forms a sort of reserve, from which the Several pipes of each key on the corre-
sponding clavier receive their supply of wind. The ingenious arrangements and
contrivances by which some of the wind is conducted from the chest to the
pipes of any one of such keys, independently and exclusively of those belonging
to the rest, next demand attention.
107. For every key on the clavier a small special channel is usually provided ;
so that if there be, say 56 keys on a manual, there will be the same number
of grooves (as they are called) prepared to conduct wind to the respective pipes
of those 56 notes. This is the general rule, to which, however, there are a few
exceptions, which it is necessary to point out. - -
108. Some manuals, of which the Áeys indeed extend throughout, are neverthe-
less entirely without sound-board and pipes of their own, to the 8-feet octave (as is
the case with all “tenor c Swells”), and which, therefore, would produce no sound
at all below that key, were it not that the bass octave usually communicates with
the corresponding twelve semitones on the choir or great organ, or even with the
“ pedal pipes.” Again, Some pedal organs, and more particularly “pedal pipes,”
after extending through about an octave of their scale, Suddenly turn back or
repeat on the remaining pedals. In all such examples the number of grooves in
their sound-boards will be less than the number of the keys.
IO9. On the other hand, where the pipes to a key are numerous and large,
as is frequently the case in the bass of great manual organs, one groove is not

3O THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
always considered sufficient to ensure a satisfactory supply to the whole ; and two
grooves are accordingly devoted to each key in the “great octave.” Here,
therefore, the number of grooves would exceed that of the keys. John England
is said to have been the first English organ-builder who introduced “double
grooves” for the bass keys of the great organ Sound-board.
The formation of a IIo. The manner in which the grooves are formed is as
Sound-board. follows:–A large and strong layer of wood, that is ultimately
to form the roof of the grooves, is turned upside down, so as to bring the under
surface uppermost. Several pieces of wood, called sound-öoard bars, having
been previously cut and planed to the requisite degrees of thickness, one of
them is well glued on to the so-called faële. To this are attached two pieces
of wood, called the fillings in—one piece at each end—of the exact width
that the space or groove is to be ; to which again is fastened a second bar;
and so on, a bar and fillings-in alternately, until the required number of channels
or grooves are formed. Next, a shallow piece of wood, a few inches in length,
is let a little way into each groove, to form a hold, to which the tail pieces of
the pallets, presently to be noticed, can be attached; and similar pieces are
also let in, in other places, to increase the amount of Surface, to which the
sheet of leather, forming the bottom, can be glued.
III. After the sound-board has been “glued up,” as the process just detailed
is sometimes designated, its two long sides, presenting the rough ends of the
sound-board bars and the intermediate fillings-in, are planed down ; and a stout
piece of mahogany, from an inch to an inch and a half thick, is firmly glued
and pinned on over them, to Secure the bars, to strengthen the sound-board,
and to give it a neat and finished appearance. These front and back surfaces
are called the cheeks of the sound-board. -
II2. A large sheet of leather is then glued over the whole under surface of
the sound-board, except in that part of the grooves which is to be enclosed
within the wind-chest, where openings are left as entrances for the wind. The
sheet of leather (in old sound-boards, parchment) usually forms the only closing
the greater portion of the grooves have underneath. -
II.3. The sound-öoards of old organs are generally of the frame kind ; that
is to say, the bars are at each end let into a frame, about an inch and a half
thick, instead of being separated by fillings-in ; and the grooves are closed in
above with wood, there then being no separate table; after which a sheet of
leather is glued over the whole, on which latter the sliders work. In Germany
and France the sound-boards are still generally made in this way; and Mr.
Bishop retains the custom of making the sliders run on leather.
II4. The grooves run parallel to one another, as represented in ſig. 41.
When the Sound-board is turned right side upwards, about half of the under-
side of every groove lies immediately over the wind-chest, as shown in fig. 40;
the long openings already referred to being enclosed therein.
II5. If all these wind entrances were to be left open, air would of course pass
through all alike into the pipes, and thus cause every note in the scale to sound
at once. To prevent this, the wind-entrances are first of all closed beneath by
moveable pieces of wood, which, however, are so adjusted that any one or more
of them can be drawn open at pleasure, and wind admitted into the correspond-
ing groove. By these means the power is admirably secured of admitting wind
to, or of excluding it from, the pipes of any of the keys. These pieces of wood
are called sound-board Žallets, and from them the openings which they cover
are named Žallet-holes.
THE SOUND-BOARD. - 3 I
I 16. To ensure the pallets closing firmly against and over the pallet-holes,
a spring of brass or steel wire is inserted underneath each, which presses them
upwards. (See ſig. 40.) The springs in question are, in old Sound-boards,
generally made of brass wire, with two or three curls; in modern examples they
are frequently of steel-wire. *" -
How the sound-board I 17. The orderly arrangement of the sound-board pallets,
pallets are brought : º ty * º º
under control. side by side, in a row, will be found illustrated in ſigs. 39,
c c c, and 51, c c c. As an organ cannot be played without
some of the Sound-board pallets being drawn open, and as the pallets them-
selves are completely shut up in the wind-chest, means are taken for bringing them
under outward control. º -
- I 18. A small loop of wire (ſig. 40, 2) is inserted into the moving end of the
pallet (a), called the fallet-eye; to this is attached a piece of steel wire (%), of suf-
ficient length to pass through one of the holes (o) bored through the bottom of the
wind-chest ; outside which it is finished off in a loop (i). Every pallet is similarly
provided with a ſºul/-down, as this piece of wire is called (see ſig. 51); and thus the
first step is taken towards making the pallets answer to the touch on the keys. To
ensure their keeping their proper course, each pallet is furnished with two other
pieces of wire, one placed on each side, called direction-ffins (ſig. 39, 5 & 5, see
also ſig. 51); which prevent the pallet turning during its opening and closing, and
thus secure its closing truly and entirely over the pallet-hole. Some of the above
features may now be noticed somewhat more in detail.
The sound-board bars. II9. The bars of a Sound-board are all made of the same
pre-arranged length and deft, but there is a considerable variation in their thick-
mass. This is because they have a second office to perform ; for, besides separating
the groves, they have to Sustain and resist the pressure of the pipe-work above.
As, however, the pipes belonging to the treble portion of a manual sound-board are
all comparatively small and light, narrow bars afford sufficient support for them,
and are therefore employed; whereas in the bass, where the pipes are both larger
and heavier, bars of greater substance are necessary to ensure stability, and are
consequently introduced. For the intermediate bars two or three graduated thick-
nesses are adopted, according to their situation.
I2O. In addition to the variation in the substance of the bars in the same
sound-board, the thickness and indeed all the proportions of sound-board bars
vary much, according to the number and size of the stops that have to be sup-
ported. Thus, the thickness of the bars ranges from one-third of an inch to an
inch and a half; their length, from about two to five or six feet ; and their depth,
from two and a half to five inches. *
121. Among the narrow bars of a sound-board a stout bar is interspersed here
and there, in order to give additional strength to the work, and to offer a good hold
to the screws that fasten down the upper-boards. Two pieces of wood of extra
stoutness, resembling sound-board bars in all other respects except their greater
substance, form the extreme ends—also introduced to ensure stability—called the
end-öars. The entire sound-board rests on a stout and substantial frame.
122. The sound-board bars are represented in ſig. 39 by the white lines.
The sound - board I23. The grooves in a sound-board, like the bars, are fre-
grooves. quently made of three or four different widths. The narrow
ones are of course for the treble keys, and the broad ones for the bass, where the
pipes are large and a plentiful Supply of wind is demanded. In all other respects
32 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
the dimensions of the gooves are the same throughout a sound-board ; an increase
in their width alone, or if not, then double pallets in the bass, being ordinarily
sufficient to secure an adequate supply of wind to the same stops in the lower
part of the scale or gamut. When even this addition is not likely to prove So,
the groove is not further enlarged, but a second one is allotted to the same bass
key, as already explained. For more stops, the grooves are made longer, to allow
the additional pipes standing and speaking room above ; and also broader and
deeper, that the cubic space in each groove may be adequate to the reception of
the increased quantity of wind now necessary to feed the augmented number of
Stops. When these conditions, or any one of them, are not sufficiently attended
to, the pipes do not all get enough wind to make them speak properly, and they
are then said to “rob” each other. If the reed-stops are to be on a heavier wind
than the flue, a piece of wood is glued in across every sound-board groove, to
divide it into two : the wind-chest, which is then made as large as the Sound-board,
is divided longitudinally, and of course there are double pallets to the grooves.
If the treble pipes are to be in a heavier wind, the wind-chest is divided trans-
versely. Sometimes separate Smaller sound-boards are made for the several pur-
poses last mentioned ; particularly when there is a pneumatic action, or ventils.
I24. It will be seen, then, that there are no fixed dimensions for sound-board
grooves, but that they vary according to the number and size of the stops. The
extent of this variation is ordinarily from one third of an inch to about an inch and
a half in breadth ; from two to about five or six feet in length ; and from two and a
half to five inches in depth. In large pedal sound-boards the grooves are some-
times made as much as four inches in width. - -
125. The grooves are represented in ſig. 39 by the ſight lines.
The sound-board Pallets. 126. The sound-board Žallets are so many long and narrow
pieces of wood, of a triangular shape. (See ſig. 39, c c c.) One of the three flat Sur-
faces is laid against the falleſ-hole, to cover it and exclude the air from the groove.
And, that the closing may be the more effectual, the surface so placed is coated
with two or three thicknesses of white dressed leather (sheepskin), which allow the
pallet to “bed ” more closely against the pallet-hole than the bare wood could pos-
sibly do. Besides assisting in completely excluding the wind, the leather silences
the return of the pallet against the sound-board ; which takes place with rather a
Smart blow, under the combined influence of the metal spring and the compressed
air in the wind-chest. ,
127. The second and third surfaces of the pallet, constituting the sides, slope off
gradually downwards, and ultimately meet and terminate in a long edge. This edge,
pointing downwards and presented to the wind, enables the pallet, by its sharpness,
to cut its way through the compressed air with comparatively little difficulty.
I28. The ends of the pallet (a 6, ſig. 40), as well as the sides (c c c, ſig. 39),
are bevelled off, upwards; that forming the front, nearest the front-board, some-
what acutely (a, ſig. 40), and the other much more gradually (ć, ſig. 40). By
the latter, the pallet is attached to the sound-board, by glueing a long and narrow
piece of leather to the tail of the pallet and to the under-side of the sound-board ;
and, so that the pallet may not accidentally become detached, from damp, &c., a
piece of wood, called the tail-piece, is nailed over the end of the leather that is
glued to the Sound-board, which secures it (/, ſig. 40). By the front end the pallet
is drawn down or “open.”
The pallet-holes. 129. Now, as the grooves are made gradually broader as the
scale descends, that they may hold the required quantity of wind, so are the pallet-
THE SOUND-BOARD. 33
holes made gradually longer, that they may admit the increased quantity of wind,
and, consequently, the pallets themselves are also made larger. The pallet-holes range
from about five to twelve inches in length, according to circumstances. The pallets
are always made rather larger than the holes they govern, that they may ledge
firmly against the bars and wood-work all round, and so thoroughly exclude the wind.
Thus a pallet to cover a hole an inch wide is made an inch and a quarter in width.
A twofold object has here to be attained, namely, of allowing sufficient margin to
the pallet for the purpose just mentioned, without unnecessarily increasing its size,
and, therefore, its resistance and tendency to ciphering. The less the pallet pro-
jects beyond the pallet-hole all round, of course the less space will there be for the
Zodgment of “cuttings,” or any other substance that might fall through the sound-
board on to the pallet ; and an eighth of an inch on each side is amply sufficient
to render a pallet perfectly “sound,” if it is quite “true” in all other respects.
I3O. Some pedal pallets are made as much as sixteen or eighteen inches in
length, and from four to five inches broad. The resistance, however, which the
wind offers to so large a surface moving through it being very great, several organ-
builders have devised means for overcoming this difficulty.
131. Mr. Hill, some years since, invented a new pallet, which allows of the
passage of a large quantity of compressed air, without making So great a demand
on the muscular powers of the performer to set into motion as did the old clack-
Žallet. This new kind, called the boar-fallet, is formed like a 42
Small box (a a, ſig. 42), the bottom of which is open, but fur- -
nished with a moveable covering. On pressing down a key, this
covering is drawn sideways, and up by the side of the box, as
shown in ſig. 43 ; returning again under the influence of a Spring
at each end, when the pressure ceases. The circular motion
enables it to escape the pressure of the wind during the opening ;
an edge only, instead of a broad surface, being all that is pre-
sented to it; and the calculation is, that it thus reduces the resist-
ance to one-fourth of that presented by one on the old plan ; and
admits, at the same time, double the quantity of wind. The
leathered faces of the valve-seat are so arranged (the centre of
motion of the valve being slightly eccentric to the curvature
of the valve-seat) that all parts are thrown out of contact at
the first moment of motion, consequently there is no friction
of surfaces. A silver medal was, in 1841, awarded by the Society
of Arts to Mr. Hill for his ingenious invention.
132. The jointed-ſa/ef of Mr. Holt, of Bradford, consists of a pallet of the
usual kind, with the front end (a, ſig. 44) divided from the remainder, though
jointed by means of the leathering above, so that the front may descend about the
S.
44
sixteenth of an inch before the hinder portion is set in motion. In a pallet fifteen
inches long, about two inches and a quarter is thus separately hinged. The front
O


34 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
part descends first, admitting air into the groove; after which the button c takes
hold of the fork (d), and by it draws down the remainder of the pallet without the
finger having to overcome more than the resistance offered by the Spring. The
great organ pallets of the instrument in Leeds Parish Church were some years ago
altered agreeably to this plan, and the average resistance reduced from nineteen
Olin CeS to Seven.
133. The valve-ſal/et, invented by Mr. Jardine, of New York, and introduced
by his nephew (of Manchester) into this country, is formed, as its name would
imply, by attaching a second pallet, of diminutive size, to the back of the first
one, covering a small circular orifice through the free end of the latter. See
6, fig. 45, in which c represents a brass wire, tapped at both ends, screwed firmly
45
into the large pallet above, and furnished with a strong button (a) below ; the
middle part—passing through a hole in the Small valve of sufficient size to allow
the pallet to work freely—being left Smooth, to prevent friction. On pressing
down the controlling key, the Small valve is lowered about the sixteenth of an
inch, uncovering the orifice, and allowing some of the compressed air to pass
through into the groove above. The atmospheric pressure now becoming the
same over as well as under the pallet, there is only the resistance of the spring—
necessary to ensure the return of the key-movement—to be overcome. The
Small valve, in descending, touches the button (a); resting on which, it now draws
down the large pallet with it. The jointed-pallet and the valve-pallet are obviously
the same in principle, although the manner in which the ultimate object is
attained in the two is totally dissimilar. There is no disagreeable “second *
touch discernible in the action of either of the last-mentioned pallets.
134. The relief-pallet (ſig. 46), invented by Messrs. Hill & Son, is simple in
construction, and conduces to lightness and elasticity in touch. It is com-
pletely surrounded with wind, except at the shaded parts (a 5 c); so that the
pressure has the least possible amount of influence upon it. A small piece of
“filling-in” (e), in the groove prevents the passage of wind through the division in
the pallet immediately below.
4%.
º I; —l
46
The pull-down lowers the under part of the pallet (A) until it touches the bottom
(c), resting on which the remainder of the motion draws down the second member
of the pallet, reaching from between c and e to the back end of the pallet,


THE TABLE. 35
CHA P T E R V I.
THE TABLE.
The Table. I35. THE grooves, as already described, are entirely closed
or roofed in by a layer of stout and tough wood-work, called the table. Through
this table the wind has to make its exit. For this purpose, there are bored over
each groove as many holes, or nearly so, as there are pipes to be supplied from
each groove. -
I36. The accompanying engraving (ſig. 47) represents the table of a sound-
board thus perforated. On referring to it, and comparing it with ſig. 41,
47
£2 62 £ Å
^
p. 29, showing the grooves of a sound-board, it will be at once seen that the
rows of dots, circles, and squares, that may be traced by casting the eye in a
line directly across the table, as from 5 to b, represent the several holes which occur
in the roof of a single groove. And, on turning to the general Section that forms
the frontispiece to this volume, the reader will there see represented the several
pipes belonging to a single groove in each of the four sound-boards drawn to a
comparative Scale.
137. But other series may be detected in the above diagram. For instance,
if the eye be now directed along the table instead of across it, as from a to a, it
will select from each of the transverse series a single aperture, with certain
deviations presently to be noticed. Each longitudinal series thus compounded
constitutes the outlets for the wind from the grooves to the Several pipes of
some single and independent stop. A portion of a longitudinal series, with pipes
above, will be found represented in ſigs. 51, 52, and 53, pp. 44 and 45.
138. Some of the longitudinal series in the foregoing illustrations are so drawn
as to illustrate certain peculiarities in either the arrangement of the perforations,
their boring or grouping, which require to be explained.

Q 2
36 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
139. In England the room allowed for a church organ is seldom of Sufficient
width to permit the pipes of the stops being arranged in a parallel and unbroken
series. What is wanting, therefore, in width, has to be secured in the depth of the
organ. Only every alternate pipe of a stop is therefore usually ranged in a straight
line, the other pipes being planted at a short distance behind.
140. Now, as the holes in the table are bored in the first instance to Suit the
arrangement of the pipes, each longitudinal series has the zig-zag appearance
shown in the drawing. Sometimes, when the pipes of a stop are very large, as is
the case with those of the manual 8-feet posaune at the upper end, only every third
pipe is placed in a straight line, thus necessitating a three-fold distribution of the
corresponding series of holes. .
I4I. In some instances, again, the longitudinal Series of holes is not continued
over the entire length of the table, as indicated at c c c c. This is generally the
case when the stop to be placed above is not to be of the full compass, but minus
the pipes to those grooves over which a blank is left, and, consequently, to those
keys which govern them ; and which, moreover, are not to be “grooved ” into the
bass of any other stop. Thus the blanks at c c, over the six wide grooves at each
end of the table, indicate that the stop above will have no pipes to the bass or
8-feet octave.
I42. In other cases, instead of there being simply one hole over each groove in
a longitudinal series, there will be a cluster of from two to five smaller ones (d. d)
over every freðle groove, and either the same number or an oblong one over each
ôass groove. These groups of little holes indicate the part of the table over which
a compound or mixture stop is to be planted, and which always has from two to five
pipes to a key.
I43. The holes forming a longitudinal series are not made of a uniform size,
but of graduated dimensions; the smaller holes being over the treble and the
larger above the bass grooves. The latter are also sometimes made Square
instead of round, as shown at a a, in ſig. 47. Neither are the several longitudinal
series of holes bored of the same size, as all stops do not require the same amount
of wind. For instance, a 4-feet stop consumes little more than half as much wind
as one of 8 feet; while one of 16 feet requires nearly three times as much. The
size of the holes in the table, therefore, obviously depends on that of the pipes and
stop to be fed through those holes. At the same time, in order to secure the
plump and ready speech of a pipe, the Sound-board hole is made much larger
than what would be necessary to feed the pipe, that the “flush of wind” may be
ample. Thus the hole for the lower C in the Great Open Diapason is made an
inch, that for the Principal, four-feet, three-quarters of an inch in -diameter. To
ensure an energetic and unhesitating tone from an organ, all the wind-courses,
from the bellows to the pipes, should supply twice as much wind as is required for
actual consumption.
I44. Sometimes a small quantity of air will escape through a groove-hole, and
make its way up to Some pipe, and cause it to produce a low, disagreeable, and
continuous humming. This is called a “running; ” to prevent which, little cuttings
are made in the surface of the table, or in the upper-boards, in a zig-zag or waving
course, passing between some of the holes, as shown at e e e, in ſig. 47. If now
any wind escapes before it can reach the next pipe, it is caught in some one of
these channels, and by it conducted to the edge of the sound-board, where it
escapes through a Small triangular hole, without doing any mischief. -
I45. A running is sometimes caused by a sound-board bar “springing” (i.e.,
becoming partially separated) from the table ; thus allowing a “leakage” of wind
from one groove to the next. An accident of this kind can only be thoroughly
THE TABLE. 37
cured by taking the wind-chest to pieces; but an expedient is in such cases often
resorted to, technically called “bleeding,” which consists in making a Small hole
in the groove through the “cheek,” which allows the air to escape; or the Sound-
board is disconnected, turned upside down, and hot glue poured into the grooves
between which the leakage has occurred, which closes the fissures.
*
38 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
CHAPTER VII.
T H E U P P E R - B O A R D S.
146. THE detection of the several transverse series of holes just now will assist
in illustrating the next particular to be noticed.
147. If the pipes belonging to the grooves were to rest on the table immediately
over the series of holes just described, the wind, on entering any one of them,
would pervade all the pipes of that groove, and the organ would in consequence be
incessantly pealing forth its tones at their greatest power ; none of the numerous
modifications so necessary to accommodate the strength and character of the
organ-tone to required purposes would be attainable ; but all would be powerful,
monotonous, and meaningless alike. Such, nevertheless, was the case up to
the sixteenth century, at which period the organ had, as to number of pipes to a
single key, been to some extent developed, but not so the mechanism whereby to
separately control those pipes. Up to the twelfth century the organ appears to
have consisted of unison pipes only. In that century two or three pipes were
added to each key; sounding the fifth and octave, or the third and tenth. The
organ thus became, as it were, a great mixture-stop, which it continued to be until
the idea occurred of devising some mechanical means by which these added pipes
could be allowed to sound or be silenced. This first step in the construction of
zegisters or stops had been taken in the fourteenth century, when so many
other improvements in the organ are recorded to have been effected, if, indeed,
it were not made before. It consisted in placing under every tier of pipes required
to be under individual control a separate row of pallets, like the usual sound-
board pallets. These complicated “spring sound-boards” remained in use up to
the beginning of the sixteenth century, when the slider sound-board, still in use,
and about to be described, was invented by a German. The power of subduing
the organ-sound, even to a mere whisper, if required, is now secured by the
introduction of two additional layers of wood-work over the table, by means of
which the wind from the grooves can be excluded from or admitted to any or every
longitudinal series of pipes at pleasure. -
148. The upper layer of wood-work is, as nearly as possible, a counterpart of
the table, and is placed at a distance of about one-third or half-an-inch from it.
(See ſig. 48.) Indeed, it may be said to be a repetition of that part of a sound-
board, rendered necessary by the introduction of the mechanical work that is to
control the speech of the pipes, and which must be over the air-tight grooves, yet
under the pipes. The area of its surface is similar in all respects to that of the
table ; the holes also correspond, for the most part, both in number, situation, and
arrangement. It is not, however, made in one connected piece, like the table,
but in several pieces, much narrower than the sound-board, though of the same
/ength (at least frequently so in England), and which, when laid collectively side
by side, present a plain surface, as shown in the above figure.
I49. A Sound-board is, in consequence, said to have, not one, but several
upper-boards; and it is an advantage to have as many of these as possible ; a
separate upper-board for every stop, if practicable. The reason of this is, that if a
slider below warps or “binds,” it can only be effectually set right by being first
THE UPPER-BOARDS. - 39
removed, and then planed ; and as, by way of preliminary thereto, the upper-board
must be taken off, and, of course, the pipes above it disturbed, this can be done, if
there be a separate upper-board to each slider, without displacing more pipes than
those the disarranged slider governs; but, if there are one or two other stops on the
Same upper-board, those stops must also be removed before the upper-board can
be taken off.
I 50. A narrow upper-board is also less liable to “cast.”
I51. One exception to the general rule, that “the perforations in the upper-
boards agree with those in the table,” occurs in the case of “conveyanced-off
pipes.” When the sound-board, from whatever cause, is made so short that all
the pipes cannot have proper standing and speaking room thereon, a situation has
to be found for some of the larger pipes elsewhere, and the wind has to be con-
ducted from over the holes in the sound-board to their new locality. If this situa-
tion be on nearly the same level with the sound-board, a groove is cut in the
Substance of a kind of second upper-board, called the groove-board, from over the
former to the latter, and then the surface outlet is made ; and when the pipe
is below or above the level of the sound-board, a metal tube, called a conveyance,
is introduced to conduct the wind from the groove or the groove-board to the
pipe. The conveyances that conduct wind to the front pipes can generally be
traced with ease.
I 52. It sometimes happens, particularly in modern churches, that the site for
the organ is so circumscribed that there is neither adequate width for the Sound-
boards nor height for the pipes. It is this latter circumstance that renders it
necessary for the organ-builder to place some of the large pipes one or two feet
below the sound-board.
I53. Another exception to the general rule sometimes occurs in the case of
mixture or compound stops. In the bass part of the table, the preparation for a
stop of this kind sometimes consists simply of one long hole. But as each key
is provided with from two to five pipes, the upper-board on which they rest is
required to have an equivalent number of punctures, instead of a single hole,
and So causes the deviation in question.

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4O THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
CHAPTER VIII.
THE SLIDERS, BEARERS, AND PIPE-RACKS.
154. BETWEEN the table and upper-boards (the first and third layers) is the
second layer of wood-work. Certain portions or longitudinal strips of this layer,
like those above and below it, are firſtºres, while the intermediate parts are 77.07/e-
able. The fixed parts are called bearers (f///, /g. 49); and the moveable, from
their being so, sliders (a b c de). The latter are the wind-regulating features.
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I55. The sliders are so many long and flat pieces of oak or mahogany, lying
over the longitudinal series of holes in the table. Each of these sliders is pierced
with holes corresponding precisely with those in that part of the table on which it
rests, and with those in the upper-board above.
I 56. This may be seen by comparing the above woodcut (representing the
slides and intermediate bearers) with the preceding two cuts, ſigs. 47 and 48,
pp. 35 and 39, illustrative of the table and upper-boards.
I57. The relative position of the three layers of wood-work, between the
grooves of the sound-board and the feet of the pipes, could not of course be shown
in the preceding plans; but they are represented in the “front section of a portion
of a Sound-board,” ſig. 51, p. 44, where they are marked a d e, and to which
Section the reader might here refer, as it will illustrate the following explanation
of the manner in which a slider operates. *
The action of a slider. I 58. On drawing a slider (a) a little way out, its perforations
are brought exactly over those in the table (e), and therefore immediately under
those in the upper-board (d). The three series of apertures now agreeing, the air
can pass up uninterruptedly from any groove into which it may be admitted,
through all of them, into the pipe of the stop that stands immediately above; the
THE SLIDERS, BEARERS, AND PIPE-RACKS. 41
pipe being thus made to Sound. The grooves are, in ſig. 51, represented by the
1/mishaded vertical divisions.
I59. On moving the slider back into its former position, the holes in it are
brought over the sound-board bars, the shaded parts, and the blank substance of
the slider substituted for the holes over the grooves. The wind now, instead of
finding a free outlet as before, is checked by the intervening material of the slider.
The wind-passage between the first and third layers of wood-work being thus
intercepted, and the communication for the wind from the grooves to the pipes of
this particular stop consequently cut off, it becomes silent, and the stop is Said to
be “in.” -
I6O. Every separate slider, as a rule, controls a separate stop ; So that any stop
may be allowed to sound or not, according as the slider is “in” or “out.”
16I. In some sound-boards certain of the sliders are “cut,” so that the portion
which controls the bass part of the stop above can be drawn independently of the
remaining part. The stop is then said to “draw in halves.” In ſig. 49 the sliders
marked 5 and c are represented as being constructed in this manner.
I62. Other sliders, again, which do extend through the whole length of the
sound-board, are not perforated, in Some cases, in that part which lies over the
bass grooves. (See ſig. 49, d. e.) Sliders that are thus only partially bored are
intended to control stops that are of inferior range to the manual.
I63. When all the sliders are drawn, the organ peals forth its amplest
tones; when all are in, no Sound is heard, because the wind cannot reach any
of the pipes. *
164. The sliders measure from one and a half to three or four inches in breadth;
from one-third to half-an-inch in thickness; and a few inches more in length than
the sound-board itself. Two additional holes are cut through each slider; one in
that portion which, in consequence of its greater length, projects beyond the sound-
board (a, ſig. 49); the other, in Some part that is convenient for the purpose. The
former receives the end of the lever by which the slider is moved to and fro, on the
drawing out or the pushing in of the controlling knob at the side of the manuals.
The second hole receives a stout iron pin, which is fixed into the table, and allows
the slider just sufficient motion to cover or uncover the holes in the table. If this
motion were to exceed or to fall short of what is necessary, the holes in the table
would, in either case, be partly shaded, thus cutting off a portion of the Supply of
wind from the pipes, and preventing their speaking with proper strength or in
tune. - **
165. Other holes are sometimes cut through the opposite end of the slider.
This is often the case when the “composition pedals” act directly on the Sliders.
The bearers. I66. The bearers receive and support the edges of the upper-
boards, which are screwed down to them, and sustain the weight of the upper-
boards and pipes above—hence their name. The sliders are thus relieved from all
pressure, and left entirely free to work.
167. In modern sound-boards there is commonly a bearer between every slider
and its neighbour; but in old sound-boards there is more frequently only one
bearer between every two or three sliders. The modern plan is obviously the best,
as one slider cannot, in moving, rub against another and disturb its position.
The pipe-racks, 168. The greater number of the pipes stand on the upper-
boards, but cannot of course support themselves on their apex without more
assistance: a frame-work, therefore, is used to keep them in an erect position.
169. The frame-work consists of some thin planks of oak, mahogany, or pine
42 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
wood, called rack-boards (d, ſig. 50), laid parallel with, but four or five inches above,
the upper-boards (a), and is there sustained at all corners, and in other convenient
situations, either by wooden pins, called rack-pillars (ſig. 50, h h), or by some other
connecting wood-work. These rack-boards are furnished with holes cut imme-
diately over those in the upper-boards. Through these rack-board holes the lower
and narrow ends of the pipe-feet pass (ss), while the upper and broad ends of the
pipe-feet (5 5) are made to fit tightly into them ; and to prevent the feet from
shifting about, and the pipes getting out of the perpendicular, the “noses” (ss) of
the pipes are sunk a little way into the upper-boards, which are “counter-Sunk” to
admit of this.
170. Most of the metal flue pipes, all the small and moderate-sized wood-pipes,
and also the boots of the reed pipes, are racked in this manner. -
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THE ARRANGEMENT OF THE GROOVES AND STOPS. 43
CHA P T E R IX.
THE ARRANGEMENT OF THE GRO OVES AND STOPS.
The situation of the 171. IT has been explained, on pp. 31 and 32, how the grooves
º.* lie, side by side; and how some are broad, others narrow.
- Nothing, however, has yet been said concerning the order in
which these broad and narrow grooves are arranged with regard to one another.
The primitive and most natural arrangement would be semitonal, and this is shown
to have been a not unfrequent one in old times by the position of the pipes, as
illustrated by some of the wood-cuts in the Historical Introduction. This plan
is followed by some organ-builders even in the present day.
I72. Several other ways or “plans,” however, are in use, the selection of the
particular one from among which is influenced by many considerations; as, for
instance, the size of the sound-board ; the department of the organ for which it
is destined ; the terms on which the organ is to be constructed, &c.; some descrip-
tion of groove arrangement calling for a more complicated and costly kind of Áey-
7/207/eſ/teſtſ than others. -
I73. The organ-builders of the seventeenth and earlier part of the eighteenth
centuries, when fixing on the situation of their sound-board grooves, were often
influenced much by the design of the case in which the instrument was to be
enclosed. For instance, if the case was to have three towers, with the largest one
in the centre, say of five pipes each, some of the largest grooves, namely,
those for some of the lowest keys, were placed on each side of the centre passage-
board, i.e., at the inner end of the two halves of the Sound-board ; the grooves next
in size, at each outer end of the two halves; and the Smaller grooves in between
the larger. In distributing the grooves after this fashion, the builders had two
objects in view : (1) to keep the front pipes, which, of course, were “conveyanced
off,” and the grooves from which they were to receive their supply of wind, as near
to each other as possible; and (2) to distribute the large and the medium-sized
grooves throughout each half of the sound-board; doubtless from an impression
that if all the large grooves were placed at one end of the “half,” and the small
grooves at the other end, the consumption of wind at one end of the wind-chest
might at times be so great as to risk the partial withdrawal of that required for the
smaller grooves at the other end.
174. The peculiar and complicated “plantation ” of pipes, however, which such
a distribution of the grooves rendered necessary, was most inconvenient. It
caused a cluster of large pipes to accumulate at each end of the halves of the
sound-board ; while there were the “prospect pipes” in front, and the large
reeds in the rear. The small pipes were thus walled in on all sides ; and although
little pipes are much sooner affected by change of temperature, dirt, &c., and
therefore require looking to more frequently than any other pipes in an organ,
except the reeds, yet they were thus rendered the most difficult of access. Several
of the large pipes had, in the majority of cases, to be removed before the tuning
or cleaning could be commenced ; which handling and shifting about, in addi-
tion to involving considerable trouble and loss of time, was not unattended with
danger to the instrument.
44 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
I75. These manifest disadvantages soon led to an amelioration of the then
prevalent method of laying out and winding an organ. The Sound-board grooves
were made deeper, the pallet-holes lengthened, the wind-chests made broader
and deeper, and the dimensions of the wind-trunks much increased. The grooves.
appear generally to have been made of a satisfactory width originally ; and the
borings in the table, sliders, and upper-boards, were of ample size. These several
improvements, and more particularly the Subsequent introduction of double grooves
in the bass, admitting of the introduction of conveyances of larger bore, the close
proximity of the large pipes to their grooves, although at all times an arrangement
most desirable, no longer remained a matter of Such vital importance as before ;
and, as the old plan of groove arrangement was so very objectionable in all other
respects, it was allowed to fall into disuse, and was entirely and finally abandoned
before the middle of the last century.
176. At the present time the English organ-builders usually adopt one of four
different plans of groove arrangement, according to circumstances. Some of these
plans require the adoption of a special kind of key-movement ; and, as it will be
convenient to refer to these plans separately, the terms “first plan,” “second plan,”
“third plan,” and “fourth plan,” are here adopted ; and, in the description of the
key-movement, they will be briefly referred to under these heads.
First plan of groove I77. In the first plan the grooves are placed alternately on
arrangement. each side of the organ, i.e., the groove belonging to the C C key
is planted at the extreme or outer end of one half of the sound-board, the groove
belonging to the C C sharp key being similarly situated at the extreme end of the
other half. The grooves throughout the sound-board are then arranged in the
like alternate manner ; ultimately bringing those belonging to the upper two keys
(e” and fº, say), one on each side of the passage-board. (See ſig. 51.) In this first
plan, therefore, the grooves occur in ſomal succession on each half of the sound-
board. (See ſig. 51.) The “half” to the left, as the performer sits at the keys, con-
tains the grooves for C C, D D, E E, F F sharp, gamut G sharp, A sharp, and
their octaves. To the right are the grooves for C C sharp, D D sharp, FF, gamut
G, A, and B, with their replicates. As a consequence of this distribution, the
largest pipes stand at the outer extremities of each half of the sound-board, and the
Smallest in the centre.
51

THE ARRANGEMENT OF THE GROOVES AND STOPS. 45
178. This groove arrangement is much used for large great organ (chief
manual) sound-boards, both on account of the symmetrical arrangement of the
pipe-work to which it leads, and the facility it offers for the purpose of tuning,
&c. The shortest pipes standing, as they then do, immediately on each side of
the passage-board, with the largest farthest off, and those of intermediate length
between ; the tuner can, without difficulty, adjust either of the small pipes at his
feet, or, reaching over them, arrive at larger pipes, if they require his attention.
179. The half of the sound-board on which the C C groove occurs is called the
C side ; and the other half, the C sharp side. The “sides” are named after the
lowest note on that half of the sound-board. Thus, in a G G organ, the side on
which the G G groove is placed is called the “G” side ; and so on.
Second plan. 180. The second plan (ſig. 52) may be described as a reversion
of the first plan. The groove for the lowest key 52
in the scale, instead of the highest, is placed
in the centre of the sound-board ; while the aſi-
other grooves, instead of increasing, decrease eſ
as they diverge from the middle. The largest
pipe of each stop, therefore, is planted in the
Centre of the Sound-board ; the sma//es: two
Standing one at each end. The pipes on a
Sound-board, having the grooves arranged in
this manner, present a pyramidal outline, as 8||5||9||||||||||||||}
shown in the accompanying woodcut. |TWWWWWWWW-VW
I81. This second plan of groove arrange-
ment is very generally adopted for Swell sound- |
boards. It is very seldom that room can be | | | | | | | | | | | | ||
spared inside the swell-box either for a passage- -
board down the centre or for one round the pipes. The pipes are therefore
arranged according to the Second plan ; and each side of the swell-box is furnished
with a moveable panel. On removing this panel, the pipes of one half of the
Sound-board present themselves arranged in a graduated series from Small to

large ; and the remaining half the pipes are reached by the same simple means
from the other side of the swell-box.
§
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Third plan. I82. In the third plan the smallest groove is placed some-
what to the right of the centre of the 53
sound-board—as it is viewed from J

arranged in regular chromažic Suc-
are then disposed alternately to the
ties of the sound-board. (See ſig. 53.) W º | t |
sound-board of Small-sized church
the front of the case—and those for º ** º
every semitone, as far as tenor c, are
cession to the left of the first groove.
Those for the lowestor “great octave” - ||fle
right and left, as in the first plan, |
occupying, as before, the extremi-
|||}||||}||||| |
183. This third plan is most fre- H j \; \; W W \} |
quently adopted for the chief manual |W WWWWWWWWWWW | || || || º
and chamber organs; and admits of a much more simple kind of key-movement
than the first and second plans,
46 THE WIND–DISTRIBUTING PORTIONS OF THE ORGAN.
Fourth plan. 184. In this plan the grooves and pipes follow the semitonal
arrangement throughout the entire scale. It is much used by Schulze, of Paulin-
zelle ; Walcker, of Ludwigsberg; Kirtland and Jardine, of Manchester ; Brindley,
of Sheffield, &c., and admits of the most simple kind of key-movements possible.
The arrangement of 185. The stops—or, to use the technical phrase, “contents”
º * * * —of the great organ are usually so arranged that the flue stops
g stand in front and the reeds behind ; and the largest flue Stops,
such as the unison and double diapasons, are generally placed first, the remaining
stops being planted in rotation according to their size, the mixtures thus being
brought next to the reeds. This arrangement of the stops is illustrated by ſig. I in
general section. When there were duplications of any stop, as two open diapasons
or two trumpets, the old builders usually placed other stops between the first stop
and its replicate. Thus, in Harris's organ, at Doncaster, the Second open was
placed between the two trumpets; and in the organ at Ripon Cathedral, by Father
Smith, the second open diapason stood between the trumpet and the Sesquialtera.
186. The inside choir organ has its stops planted the reverse way to the above,
i.e., with the flue stops behind and the reeds in front, that the latter may be under
the immediate inspection of the tuner. Thus, in ſig. 2 in general Section, the clarinet
and bassoon are placed nearest the passage-board.
187. In the swell, the reeds are usually placed in front—as in the choir—because
the tubes offer less impediment to the egress of the Sound than would the more
bulky flue pipes. (See ſig. 4.)
188. The pedal stops are also planted in the same manner, and for the same
I'êa,SOI).
The mechanism of the 189. Having described the apparatus by which wind is col-
Organ. lected for the use of the organ, traced its course from that
source through the various channels, great and Small, till it reaches the pipes, and
noticed the sound-board pallets and the sliders by which the organ-wind is made
subservient to musical purposes, we will now proceed to investigate, in detail, the
several systems of mechanism, through the intervention of which the pallets and
sliders of the several Sound-boards, and, by Consequence, the Several pipes and stops
of the organ, are brought so admirably under the control of one performer.
190. Of those numerous distinct systems of mechanism there remain the
following to be considered, viz.:-
3.
The key and pedal movements,
The draw-stop action,
The composition pedals,
The coupling movements,
The Sforzando coupler,
The pneumatic action,
The Swell action, and
The tremulant.
The sound-board pallets, sliders, and the blowing-action, have already been
described.
THE CLAVIERS AND KIEY MOVEMENTS. 47
CHAPTER X.
THE CLAVIERS AND KEY MOVEMENTS.
191. BEFORE, however, describing the appliances, through the agency of which
the impulse given by the fingers or the feet of the performer is conveyed to the
sound-board pallets, a few words may be said concerning the Several ranges of keys
assigned to receive such impulse, namely, the claviers.
The manuals. I92. The organ, as is well known, is played partly by the
pressure of the fingers, and partly also by the pressure of the feet, upon suitable
claviers or keys. A clavis (a word derived from the Latin, and signifying a key, in
French called touche) is a small lever (from levare, to lift up); and a clavier is an
assemblage of such levers or “Keys,” rightly assorted. The various sets of keys (of
which every perfect organ contains Several, and among these at least one for the use
of the feet") are classed under one general term, clavier, and those intended
to be used with the hands are called “manual claviers,” or simply “manuals”
(from the Latin word manus, a hand); and that for the feet, “pedal clavier,”
“pedal-board,” or simply “pedals” (from the Latin word žedes, the feet). The
keys, as well of the pedals as the manuals, are divided into long and short keys
like those of a pianoforte ; and the former are readily distinguishable from the latter
by their magnified Scale.
I93. It is necessary to bear in mind the great distinction that exists between the
terms clavier, manual, and pedal-board ; as, otherwise, frequent uncertainty is
likely to arise. The word clavier is of general application, and means simply a set
of keys ; which, however, may be for the use of the hands, or for the use of the feet;
while the two other words, manual and pedal, are of Sãecial application, and define
for what purpose, and by which members of the body, the clavier so named is to be
employed.
194. In Germany the terms manual and pedal are used in a more extended
sense than is usual in England. In that country they refer to the department of
the organ on which the claviers offerate, as well as to the claviers themselves: hence
we frequently find it stated that there are so many stops on the “pedal,” or so many
“on the chief manual.” Moreover, when a manual is said to be of 8-feet compass
—i.e., descends to C C–the manual organ is understood to be of corresponding
range.
195. In the present work the word clavier will be used whenever the passing
observation refers equally to the keys for the hands or for the feet. In all other
cases the more explicit terms will be employed. w
I96. It has been already stated in the Historical Introduction that, so late as
the thirteenth century, the keys of the organ were so heavy and clumsy in their touch,
that they had to be played with blows of the fist, the keys being made many inches
in width for this purpose. When it is borne in mind that there were as many sets of
pallets and Springs, of rude and primitive construction, as there were separate stops,
* Some Continental organs have, in addition to three or four manuals, two sets of pedals
as at St. Paul's, Frankfort, &c,
48 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
it is easy to understand why the touch should have been so ponderous and resisting.
A very few stops must have been sufficient to have made it so. In the fourteenth
century the keys were made smaller and neater, so that they could be pushed down
with the fingers; and in the fifteenth century we read, for the first time, of different
materials being used for the keys; as, in the year 1475, Conradus Rosenburger built
an organ for the Barefooted Friars' Church in Nuremberg with ebony naturals, and
ivory “sharps and flats.” The keys of the English organs of the seventeenth
century, made usually of oak, were caſſed in a similar manner; though this arrange.
ment of the black and white keys remains only in such specimens in which the
Subsequent alterations have not kept pace with the progress of modern improve-
ment. The original keys of many of the instruments of this time, as those of Smith
and Harris, were very short and disagreeable to play upon, the short keys of those
by the last-mentioned builder being 2% inches only in length, and the longer keys
4% inches. Those of Snetzler's organs were generally longer, and therefore more
pleasant to the fingers. Previous to the year 1720 the thumbs had been but little
used in organ-playing, and usually hung down in front of the manual ; Consequently
the portion of the naturals that projected forward in front of the short keys was
made to do so as little as possible, that the fingers might reach the so-called sharps
and flats with the more ease. It was the custom, moreover, instead of raising the
fingers from the knuckles, to draw them under towards the palm of the hand, which
accounts for the short naturals of old organs being scooped out into hollows in the
centre by the friction of the nails. *
197. When the thumbs came to be more freely used on the naturals—a method
of fingering that was introduced by Francis Couperin, organist and court musician
to Louis XIV. and XV., who printed the first fundamental instructions in 1713, and
who died in 1733—the front part of the naturals was made a little longer; and when
they were also employed on the short keys—a system dating as far back as the time
of John Sebastian Bach—those in their turn had to be slightly elongated. Thus,
from the naturals being, in old organs, little more than four inches in length in front
of the cross-beading, they are in modern instruments sometimes made from five to
six, and with the Short keys in proportion.
-**cºſ % -, - -
54 | * —l
Flº Iſº
G.
Side view of manual keys.
198. The manual keys of modern organs are usually made of lime tree wood,
with the surface of the long keys covered or capped with ivory ; and that part of
the short keys which rises above the level of the naturals is either made of ebony or
some other wood Stained black. Each manual key is punctured towards its centre
with a small hole, passing downwards, to admit a metal pin (a, ſig. 54), that rises
from a piece of wood or pin-rail beneath (), and which pin serves as a pivot for
the key to work upon. The hole through the key is not cut exactly midway
between the two ends, but rather nearer to the bagk end, leaving about five-
ninths of the entire length in front of the pin. A second hole is bored in the under-
side of the front end of each key, to admit a pin that rises from a rail (c), running
across under the front of the keys, and upon which pin the key descends as it falls.
This pin renders the fall of the key true and steady under the finger. Two or three
Zhìchēnesses of green baize, or Some such woollen stuff, laid at the root of the pins,
prevent the keys from coming into noisy contact with the front-rail. These two
rails are strongly united to two pieces of wood, called Key-checks, the front ends
of which appear on each side of the set of keys, finished off in some ornamental
:ºx.

THE CLAVIERS AND KIEY MOVEMENTS. 49
form in keeping with the style of the case. As the manual keys would, on the removal
of the finger, spring up beyond their proper level under the influence of the returning
“key-movement,” unless something were done to check them, a piece of wood is laid
transversely across the keys, immediately to the rear of the veneered part, so as to be
just out of sight, which is loaded with lead on the upper side to make it so heavy
as to stop the rise of the key, and lined underneath with green baize to silence the
blow of the key against the board. This piece of wood is called the thumping-board.
The pedals. I99. The pedals are made either of oak, mahogany, beech,
or some other hard wood, and are, as before said, chiefly distinguishable from the
manual keys by their magnified scale ; the order of the keys, long and short, being
the same in both cases. The pedals work on a centre at the back (a, ſig. 55), and
fall under the pressure of the foot, in front (%), that is, at the end under the manuals.
A Spring under each pedal (c) causes them to resume their original position on the
removal of the foot. The pedals are placed at a proper distance below, and under the
manuals, that they may be conveniently played upon by the feet of the performer.

& 2–
%
ºld —l th-ºl—
Dil Tº-Lº-D
Side view of Žedal Keys.
55
The situation of the 200. The claviers of an organ are usually placed in the front
claviers. of the organ-case, in the centre, just beneath the impost; though
want of room and other circumstances sometimes render other arrangements neces-
Sary. Thus they are occasionally found at the side, as at Hanover Chapel, Regent
Street; or even at the back, as at Ely Cathedral, Christ's Chapel, Maida Vale, &c.
In some instances the claviers are not in the instrument itself, but separate, and,
to all appearance at least, unconnected with it. This is the arrangement observed
in the organ at Windsor Castle, constructed on a plan suggested by His Royal
Highness the late Prince Consort, where the keys appear in a kind of manual table,
situate twenty-two feet from the body of the instrument. At Westminster Abbey,
again, the claviers are similarly detached; the great organ being in front, the swell
behind, the choir to the right, and the pedal organ, with its large pipes lying hori-
zontally, to the left of the organist. The Apollonicon had its numerous claviers so
arranged that the Several performers sat looking towards the audience.
2OI. Concert-room organs were formerly furnished with what is called a “long
movement,” a modification of the usual mechanism that admits of the keys being
placed in the front of the orchestra, while the instrument itself stands at the back.
The first long movement made in England is said to have been that attached to the
organ in Vauxhall Gardens, by Byfield, and which served Green as a model for the
long movement applied by him to the organ he erected for the Handel Commemora-
tion in Westminster Abbey in 1784. At All Saints' Church, Manchester, the com-
munication between the keys and Sound-board pallets is established by means of
a movement 87 feet in length.
202. But the most remarkable long movement is that attached to the organ in
the church of St. Alessandro in Colonna, at Bergamo, built by Serassi in 1782. The
organ has three manuals, the first and second of which serve for the great and choir
organs, in the same part of the church ; while the third, by means of a long move-
ment passing underground, acts upon another great organ situated at a distance of
nearly 115 feet from the keys.
203. Some organs have two, three, or even four manuals. These are arranged
P
50 THE WIND-IDISTRIBUTING PORTIONS OF THE ORGAN.
one above another, and in such a manner that the lowest stands out farthest and
each succeeding one recedes. r
2O4. In an organ having two manuals the keys of the great organ form the
lower row, and those of the swell the upper. Where there are three manuals, the
great manual is usually in the middle, with the swell above and the choir below.
In Avery's organ, at St. Margaret's, Westminster, however, the great manual was
originally below, and the choir organ keys in the centre. -
The key-movement. 205. The key-movement is that system of the mechanism of
an organ which establishes the communication between the keys just noticed and
the sound-board pallets that control the entrance or otherwise of the wind from the
wind-chest into the grooves.
206. In the ancient organ, with its spring Sound-board and large keys, this con-
sisted of strings and ropes. In a modern organ there is usually a separate “move-
ment” for each clavier. And as the clavier and its corresponding sound-board are
variously located in regard to each other, according to circumstances—sometimes
being placed in close proximity, at other times at a long distance apart ; Sometimes
in a direct line with each other, at others at right angles'; sometimes so that the
performer faces the organ, and at others so that he sits with his back to the organ—
it is obvious that the “movement” introduced for the purpose above mentioned
must not only vary very much in detail in various examples, but in Some cases
must be far more complex than in others. This would be the case even if the
grooves were always arranged in the same order; but as they are sometimes dis-
posed agreeably to the regular semitonal “fourth plan,” and sometimes according
to the crossing “first or second plans,” the key-movement, from this cause, becomes
in some respects still more diversified. * .
207. Yet, although so multifarious as to detail, there are in reality only two
distinct kinds of key-movement in common use in England, namely, the lever or
faſt-frame movement, and the roller-board movement. Two other kinds are
noticed in a subsequent chapter. -
208. The fan-frame movement is the simpler kind of the two. It consists of
three parts only, namely, a Small upright rod, 56
called the sticker (c, ſig. 56); a horizontal lever,
called the backfall (h); and a second vertical rod,
called the fracker (f). The lower end of the sticker
(c) rests on the tail (b) of the key (a), and the near
end (d) of the backfall (h) on the top of the
sticker. The far end (e) of the backfall is attached
to the tracker (f), which latter passes up perpen-
dicularly, and communicates with the pull-down that draws open the pallet (g).
209. The stickers, which are made of pine or cedar, and of a round or Square
shape, reach from the key-tails to the backfalls—a height varying
from a few inches to a foot or two, as may be requisite. From the
top of each Sticker a wire pin rises about an inch (a, ſig. 57), and
passes through a puncture in the backfall, to prevent its slipping
off instead of rising with the sticker. A small piece of woollen stuff,
placed over the top of the Sticker, prevents that and the backfall
rattling together ; a similar noise at the lower end being obviated
by the leather on the tail already noticed. s
2IO. Sometimes the Stickers are made to pass through a register
—a rule of wood laid transversely and flatways above the tails of -
the keys, and perforated (c); in which case they have each a small piece of wood


THE CLAVIERS AND KEY MOVEMENTS, 5 I
or leather attached. This, by resting on the register, prevents the sticker falling
through, and so allows of the temporary removal of any key, or even the entire Set,
without disturbing the arrangements of the Stickers.

58 =~ Hº— -
tº- (?
2II. The backfalls are made of Some hard wood, such as oak or cedar, and of
the shape indicated in the adjoining cut (ſig. 58). They range from one to about
three feet in length, according to the distance, in a direct line between the pallets
and the keys; from one to two inches in depth ; and from three-sixteenths to one-
quarter of an inch in thickness. A Small wooden beam, called the bacáſal/frame,
sustains them in their proper situation ; the frame itself being scored crossways
with numerous narrow cuttings, made to receive that portion of the backfalls which
is below the centre. The centre consists of a piece of stout iron wire passed
through the middle of each backfall, and fastened down with small staples.
212. The trackers (ſig. 59) are so many Strips of some light wood, as pine,
measuring about five-sixteenths of an inch in width, one-eighth in thickness, 59
and, in the situation under consideration, not more than about two feet in do
length. Each tracker is furnished at the lower end with a taſſed-wire ()—a ||
piece of brass wire about three inches long, incised or afted at one end like
a screw, and slightly hooked at the other, by which it is bound to the tracker
with thread, afterwards covered with size. The upper end is provided with a
hook (a) of copper wire, that communicates with the pull-down.
213. The tapped-wire at the lower end is passed through a small hole in the
free end of the backfall, indicated by dotted lines at c, in ſig. 58; and the
latter is then firmly secured to the former with a small circular piece of
leather, about one-third of an inch in diameter, turned out of thick leather,
like that used for the soles of shoes, and called a button (c, ſig. 59).
The action of the key- 214. The several parts just described operate O116 OI).
Imovement. the next in the following manner —On pressing the key
(a, fig. 56) down, which moves on a centre (%), the tail () rises, lifting with
it the sticker (c.) This in its turn raises the near end (d) of the backfall,
which, by moving on the centre (%), causes the far end (e) to descend. In
doing so, it draws down the tracker (/), which pulls the pallet (g) open.
215. Some of the wind from the wind-chest now rushes through the pallet- ||
hole into the groove, and from thence makes its escape through Such apertures 0.
in the roof as have been uncovered by the drawing of the sliders above, as
explained in detail in previous sections; but, in doing so, it is compelled to pass
into pipes placed over those holes, which are thus made to sound ; and, having
thus performed its destined duty, it regains its freedom.
216. The key-movement just described is found chiefly in conjunction with a
sound-board, made according to the “third plan,” and, therefore, most frequently in
small organs. Where the grooves follow in Semitonal succession, rollers are not
usually required ; and, as simplicity in the mechanism is always desirable, the
above movement, as the least complex, is preferred, where and so long as the
consecutive groove arrangement is observed. This accounts for the omission of
rollers, as also for the presence of the backfalls as levers; though not for their taking
the fan form, which latter circumstance arises from another and independent cause.
217. A sound-board is always wider than the manual, Sometimes extending to
twice its width, or even more. It follows, therefore, that the grooves, instead of
running parallel with their respective keys, and differing only in being located at a
P 2
****
52 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
higher level, are, with few exceptions, more or less out of the line with them.
This being the case, and yet it being necessary that the far end of every backfall
shall be under its own groove, at the same time that its near end shall still rest on
its proper sticker, all the backfalls, with the exception of the middle two or three
which swerve but slightly, are made to diverge, until at last the extreme Ones are
at one end considerably out of a line with their near end.
218. The spreading out of the backfalls causes the set to bear a sufficient
resemblance to the ribs of an open fan, to account for the adoption of the name by
which this portion of the movement is generally known.
219. In the notice of the “third plan” of groove arrangement, it was mentioned
that the grooves for the lowest or bass octave were placed alternately at each end
of the sound-board. While, therefore, all the bass keys are to the extreme left of
the manual, six of the corresponding grooves, at the least, are at the extreme right
of the sound-board. To bring these, through the governing pallet, under the
control of their respective keys, a horizontal rod or roller is provided for each key,
extending along behind the backfalls, to transmit the motion the requisite distance
to the right.
220. These rollers—of which the accompanying engraving (ſig. 60) is a plan—

6O H | Q% & T H
j, -
(a a) are each provided with two arms (Ó C), one (6) projecting immediately over
the descending end of the backfall, the other (c) directly under the pallet. Instead
of the tracker now drawing down the pallet as before, it lowers the first roller-arm
(5); and the roller itself (a a), being thus made partly to revolve, conveys the
downward motion to the Second roller-arm (c), which, descending, draws with it a
second tracker in communication with the pallet-wire, which latter opens the pallet.
The rollers just referred to are made from an inch to an inch and a half in width,
from five-eighths to one inch in depth, and from an inch or two to about five feet
in length. They are each provided with two metal centre-fins, projecting about an
inch from each end, which pass into holders or Studs standing out from the roller-
board. These pins form the centre at each end on which the roller partly revolves,
while the studs hold them suspendedly over the keys.
221. The rollers are mostly ranged one over the other ; though in some cases,
if more convenient, two are placed in a line. Wooden rollers are omitted from all
the best modern work, and iron ones substituted. They are, however, more costly.
The eyes in the arms of iron rollers are sometimes advantageously bushed with
leather ; and the holes in the Studs which support the rollers are lined with cloth
to render the action noiseless.
The roller-board 222. The Second variety of key-movement is that known as
Imovement. the roller-board movement. This description of movement is
a usual accompaniment to all sound-boards in which the grooves are disposed
according to the alternate or any other irregular arrangement, and is, therefore, a
common adjunct to such as are made agreeably to the “first and second plans,”
among others.
223. In a sound-board so constructed the CC and CC sharp grooves and pallets
occur, in Separate halves of the Sound-board, at a distance sometimes of seven or
eight feet from one another, while the keys lie side by side on the manual. And all
the other grooves, as already explained, are arranged alternately right and left,
while the keys of course continue their scale gradually and uninterruptedly upwards.
In consequence of the order of the keys and grooves never agreeing, every key is
THE CLAVIERS AND KEY MOVEMENTS. 53
generally furnished with a roller. After the motion of the key, therefore, has been
conveyed inwards to the necessary distance, which is effected, in this case, either
by Žara/e/backfalls, or by squares and trackers, it is transferred to the right or
Zéſà by a long or short roller, until it is brought under the right pallet. The groove
arrangement therefore leads to the introduction of a great number of rollers, and
the movement is in consequence named after them. The roller-board, which
sustains the rollers, is the large irregularly shaped board, or sometimes a frame,
that may be seen placed edgeways, and occupying the necessary space under the
wind-chest, and extending to nearly the entire width of the sound-board.
Square and tracker-work, 224. But in most organs some of the sound-boards are
necessarily situated at a greater distance from their manuals than that to which the
key-movements, in the condition already described, can reach ; more particularly
those for the choir and swell departments, as will be obvious on referring to the
general Section. A modification and extension of one of the movements just
noticed—usually of the roller-board movement—therefore becomes necessary, and
is effected by first dividing it. The roller-board still occupies its usual position
underneath the Sound-board, and the stickers theirs on the tails of the keys. The
backfall frame is altogether dispensed with, and the communication between the
Stickers and now distant rollers is established by “square and tracker-work.”
225. The “work” last mentioned has a familiar illustration in the crank and
wire-work of bell-hangers (see general section). The trackers traverse distances
either horizontally, perpendicularly, or diagonally, like the wires, while the squares
transmit the motion round corners, from one tracker to the next, like the cranks.
226. The trackers in the modified movement now under consideration are often
made very long, extending to ten or twelve feet, or even more ; or, what comes to
the same end, several shorter trackers are hooked together, so as collectively to
make up the necessary length. These great “ lengths’ of tracker are generally
carried through registers or bridges, which afford them support, if they run hori-
zontally, and also prevent their flapping together. The pedal movement, which in
most examples closely resembles the last-mentioned, is noticed in conjunction with
the pedal coupling movement.
227. The squares mentioned just now are so many centres (see ſig. 61), formed
of Some tough wood, furnished with two arms each (a 5), about
three inches in length, also of the same material as the square, or
Sometimes of iron, or even of brass. The angle (c) of each Square
is placed in a corresponding cutting made in the square-frame
(d dd) to receive it, and the squares are sustained in their proper
positions by a small metal rod (e), on which they move freely to
and fro.
228. Occasionally, Squares are cut out of a single piece of wood ; but that is not
a good way of making them ; for, in that case, one arm must necessarily be the
Cross way of the grain, and will not long bear the “ tug,” but will Snap off short.
A much better kind of square is that wherein two pieces of wood are dovetailed
together, at a right angle, the strong way of the wood ; these are more expen-
sive, but at the same time they are much more durable. Mr. Forster, of Hull, has
a plan of fixing his squares so that any one can be taken out separately, without
disturbing the set of fifty or sixty to which it may belong. The French builders
also frequently set their squares in independent holders. The organs in the
Carmelite Church, Kensington, and in the French Church, Leicester Square,
have their Squares adjusted in this manner.
6I

54 THE WIND-Distributing PORTIONS OF THE ORGAN.
CHAPTER XI.
THE COUPLERS AND SFORZANDO PEDAL.
229. BESIDES the several Žrimary systems of mechanism already described,
which are indispensably necessary for working the organ at all, most instruments
are provided with a greater or less number of members belonging to an im-
portant subsidiary class, called coupling movements, or, more briefly, couplers.
230. A coupler is an appliance by which either a second clavier and its stops
can be brought into play while the performer's hands or feet are engaged upon the
first, or the same clavier can be united to itself in the octave above or below ; in
any case, the result being an increase of the resources of the department receiving
Such accession. For the time being, the stops or pipes, according to whether the
coupler be another clavier altogether, or the pipes of the same clavier, but united
in the octave above or below, appear to belong to the key actually struck, and new
combinations and effects become thus producible, which are not otherwise attain-
able on the same instrument. Seidel # supposes the idea of the manual copula to
be as old as the fourteenth century. It is certain that, so long ago as the year
I651, Some movement of the kind existed in Geissler's celebrated organ in the
Cathedral at Lucerne, in Switzerland ; and the circumstantial manner in which
the operation of the registers in question was described in the account over the
keys of the old organ, now removed, leaves little doubt that couplers were at the
above date great rarities, if not absolute novelties, at any rate in Switzerland.
The account states that originally the organ contained “several registers, whereby
One may make use of the three manuals together, or one or two of them separately.”
Manual couplers, 231. Couplers are classed under two heads, viz., manual
couplers and pedal couplers. Of the former kind there are three varieties, viz.,
the unison, Octave, and double or sub-octave couplers.
232. The unison manual coupler unites any key of one manual to the corre-
sponding key of another. One of the
most usual couplers of this nature is
that for uniting an upper manual to a 2*
lower; in other words, for attaching the
“Swell to great.” This is commonly
formed of a set of short stickers (d, ſig.
62), one to each key, reaching from the
upper surface of the great organ key to
the under side of the swell key. These
Stickers pass through a rod (e) extending -
Over the great organ key-board from side to side, between the centre and tail of the
keys, and between the two manuals. This rod is capable of being turned partially
round by drawing out a handle at the side of the keys, communicating with appro-
priate medium work, which places the Stickers in a perpendicular position, as
shown in the accompanying cut. If any key of the low manual (a) be pressed
<.
* See Historical Introduction, p. 47,

THE COUPLERS AND SFORZANDO PEDAL. 55
down while the “coupler is out,” the sticker above will be raised, lifting the tail of
the corresponding key on the upper manual (,) so that whatever is played on the
lower manual is also executed on the upper. When this union of manuals is not
required, the governing handle is thrust in, causing the rod, and, consequently, the
Sticker, to resume their original positions, as shown by the dotted lines. That of
the latter at such times is at an angle of about 45 degrees with the great manual
keys; their lower ends (c) being then raised sufficiently far to admit of the keys of
the under manual being set in motion without coming in contact with them. The
fumbler coupler has a tendency to throw the fingers off the keys, when drawn on
while the great organ is being used, or, if not this, to disarrange itself, or even
become broken. This defect does not appear in the sliding coupler represented in
Jºg. 63, which is formed in the following manner —The great organ key has a
portion of its upper side cut away, leaving an
inclined plane (a) covered with leather and
black-leaded. The under side of the swell
key is similarly hollowed (5), the shape of the
cutting being reversed. The coupler, when
not in action, is stationed as indicated by the
dotted lines, the sticker (//) dropping into
the register (?, ?). The hollow in the great
organ key then allows the key to rise without
touching the sticker. When required to be
used, the register, which is held and moves
freely in a slot in each key frame, is carried -
a little backwards (o o), the sticker (cc) glides up the inclined plane (a), is raised a
little way out of the register, and brought directly under the regulating button (d),
by which it raises the swell key. The back part of the knob of the sticker is
bevelled (e), so that, in the event of a great organ key being down when the coupler
is drawn on, the Sticker may raise the Swell key gradually without causing any jerk
to the finger, and the button (d) is rounded to assist its coming into operation
smoothly and quietly. Through the swell key a tapped wire passes (f), by which
the action of the coupler is so nicely regulated that the swell key will begin to
descend at the same moment that the finger commences the depression of the key
of the great organ. This improvement on the tumbler coupler is due to Messrs.
Kirtland and Jardine, organ-builders, of Manchester. -
233. Another kind of mechanism for the coupler “swell to great,” called from its
shape the “ram coupler,” also possesses the merit of being capable of being drawn
while the keys are down, without causing any disagreeable resistance, and without
being liable to derangement from being brought into operation under such circum-
stances. This kind of movement was invented by the Messrs. Robson, and has
been applied by them to the pedal couplers, as well as to those for the manuals.
234. An organ with three manuals occasionally has, in addition to the coupler
above described, another for uniting the lower manual to the middle one, i.e.,
“ choir” to “great.” A third kind of unison coupler unites the upper manual to
the lower (“swel/* to “choir”), of which examples occur in the organ at the
Temple Church, &c. Other couplers take down the octave above or the octave
below the key pressed down by the finger. These occur in numerous organs.
235. An “octave manual coupler,” i.e., one acting in the fore-mentioned way,
was introduced into the organ at St. James's Church, Bristol, by Smith, of that city,
in the year 1824; another, and, like that just noticed, forming part of the original
work, occurred in the York Minster organ, built in 1829 by Mr. Hill. Both these
unite the swell to the great organ in the octave above. Octave couplers are

56 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
frequently found in the organs of Italy, where they are called Terzo Mano, third
hand. In England this kind of coupler is called by the organ-builder who
re-invented it—for Mr. Holdich does not appear to have been conscious of its pre-
existence elsewhere—the Diaocton. A “double manual coupler’” either unites one
manual to the other in the octave below, or a manual to itself in the same manner ;
generally the former. The organ in St. Dunstan's Church, Fleet Street, erected in
1834 by Robson, has one that attaches the choir organ to the great in this way.
This acts on separate pallets in the sound-board, and therefore does not move the
keys. Octave and double couplers sometimes take down the keys, and sometimes
not. Composed usually of a series of diagonal backfalls, they either communicate
with Separate pallets, when the keys, of course, do not fall, or they operate upon
the same set of pallets; the working of the movement being then made obvious by
the motion of the keys, as in the case of the ordinary couplers, unless indeed the
key-tails are weighted (as they sometimes are) to balance them. The swell manual
of the organ at St. Luke's Church, Old Street, made by Gray and Davison, has
both an octave and a double coupler. By the aid of such couplers “an 8-feet stop
may be converted into a 16-feet, or a 4-feet (or all three), at pleasure; and a great
variety of effects and combinations may be produced, which otherwise would be
unattainable without increasing almost indefinitely the size of the organ.”
The sforzando coupler. 236. The Sforzando coupler is a movement for reinforcing
the strength of the Swell instantaneously, and to a far greater extent than is attain-
able by the aid of the Swell pedal alone. It is worked by a pedal, on pressing
down which the great organ becomes coupled to the Swell. On removing the
pressure from the pedal, it returns (by means of a spring), and the action is discon-
nected. The action simply is a backfall in connection with the Swell key, and
operating on the great organ key movement, as shown in fig. 64, in which a repre-
sents the swell tracker, & the great organ tracker, c the connecting backfall in
question, which rises and falls on the sticker (e), the pin being free, while d marks
out the regulating button. In a few instances, where the swell has been provided
with octave and double couplers, the Sforzando pedal has been made to bring on
those couplers simultaneously, and not act on the great organ; and where the Swell
is to C C, and is powerful, this latter kind of movement is in Some respects more
effective than the other, as the reinforcement is also under the influence of the Swell.
64
ſ -
7k
237. A sforzando pedal, uniting the great to swell, was introduced by Lincoln
into his organ at St. Olave's, Southwark, built in 1844, and it has subsequently
found admission into several other instruments.
Pedal couplers. 238. The second class—i.e., the ſedal couplers—are such as
either unite the manuals to the pedals, or cause the pedal organ to play in the
* Pole, On the Musical Arts/ruments in the Great Æxhibition of 1851, p. 75.

THE COUPLERS AND SFORZANDO PEDAL. 57
octave, one way or the other, as well as in unison. Of pedal couplers there are as
many varieties as there are of manual couplers. The most common form of the
pedal coupling movement is the following :-First, in
consequence of the pedals occupying much more room 65
in regard to width than the corresponding number of n.
manual keys, rollers similar to those in the key-movement ſ
are introduced (see & 5, ſig. 65), having one arm (a) over
the controlling pedal (e), and a second (f) directly under
the key to be communicated with (c). The action of the
pedal having thus been brought into a line under the key,
a backfall (d, ſig. 66) occurs running underneath and
parallel thereto. From each of these a Sticker (a) reaches
thence to the under side of the manual key (c c) to be
acted upon ; a pin in the lower end (e) of each Sticker,
descending through the end of the backfall, to render the former in one sense a
En rºs. fºr xx rer ºn mºrnºf
Fºx-Tº-º-º-º--T-T-
fixture, the upper end being left free 66
to be moved forward or backward as Cº ~ &
occasion may require. The stickers -- ºff.
pass through a register (%), which, fº & º
among other purposes, Serves as a HT-Q * z:
support thereto. When the manual
is to be coupled to the pedals, the
register is drawn forward a little, the upper end of the Stickers being thus brought
immediately under the tails of the manual keys. They are represented as being thus
situated in the last illustration. When the pedal coupling action is in operation, the
two trackers, the roller arms, and the near end of the backfall (e) rising, lifting with
it the Sticker (a), which in its turn raises the tail of the manual key (c), and this,
Setting the key-movement in motion, produces the same effect as pressing the key
down with the finger would do. When the union of the “manual to pedal” is no
longer required, the handle is pushed in, which moves the register back again, the
upper end of the Stickers being by this guided in the same direction till they get
just beyond the key-tails. The Stickers now appear in a slanting position, as shown
by the dotted lines in ſig. 66, and miss the keys. Sometimes there are two or even
three couplers for uniting the different manuals to the pedals in the same pitch ; as
“great to pedal,” “ Choir to pedal,” and “Swell to pedal;” in which case there are
as many sets of these stickers rising from the backfalls, each Communicating with
a particular manual. -
239. Thus much concerning the mechanism by which the manuals are coupled
to the pedal. With regard to the Žitch in which this union is effected, great dis-
similarity used unfortunately to prevail in England. In some Organs the key acted
upon by any given pedal would be identical with the one that the finger would have
touched, i.e., corresponding with the bass note written and sounding in unison with
the bass voice. This is the case when the manual organs are of the CC Compass,
In such cases the manual unison stops are said to give the 8-feet or legitimate
pitch. In GG, FFF, and CCC organs, however, the pedal couplers more often
attached the manuals to the pedal in the octave below, that is, in the 16-feet pitch.
This want of systematic arrangement arose from there being no recognised com/ass
as the invariable one for the manuals of English organs. Some organs of ſong
manual compass have pedal couplers acting in the 8 and 16-feet pitch on the great
manual, as in those in St. George's Hall, Liverpool, Westminster Abbey, &c.
240. In the organ in Trinity College Chapel, Cambridge, is, or was, a coupler, called
the Canto Fermo coupler, that unites the treble of the choir organ from middle Cl

58 THE WIND–DISTRIBUTING PORTIONS OF THE ORGAN.
upwards to the pedal to the extent of two octaves and a third. This causes the
8-feet Stops of that manual organ to produce the effect of so many 2-feet pedal
stops. Other organs have a coupler for uniting the tenor C of the swell to the CCC
of the pedal, as in the instrument at the Irvingite Church in Gordon Square, built
by Gray and Davison, which obtains, from the unison stops of the fore-mentioned
department, a Sound resembling that of so many 4-feet pedal stops.
24I. Besides couplers for uniting the manuals to the pedals in various ways,
others are occasionally met with which attach one octave of the pedal organ to the
other. The octave coupler brings the CC pipe on to the CCC pedal, the effect
being similar to that of the addition of an 8-feet principal to the 16-feet open
diapason. The double coupler brings the CCC pipe on to the CC pedal, thus
giving the effect of a 32-feet stop on the pedals from thence upwards. Both kinds
were added by Walker to the organ in Tonbridge Church, though they do not exist
in the instrument as rebuilt by Gray and Davison in 1855. 4.
TíIE PNEUMATIC ACTION. 59
CHAPTER XII.
T H E P N E U M AT I C A CT I O N.
242. IT has already been shown that every sound-board pallet is provided with
a Spring beneath, to ensure the return of the key-movement on the withdrawal
of the pressure from the key; and it has also been mentioned that the compressed
air in the wind-chest becomes a second source of resistance to the touch of the
performer. This latter fact is perceptible, even in small organs, of which the
Sound-boards are palleted in the ordinary way, by striking a chord in the bass part
of the manual, first without the bellows being blown, then with the “wind in,” when
the additional resistance which the organ-wind causes will at once be felt.
In larger organs which have pallets of increased size throughout the sound-boards,
with two pallets in the bass, the amount of spring and wind resistance is of course
much increased, which again is augmented when there are also octave and double
couplers, causing perhaps six or seven pallets to operate upon a single key. In
instruments, again, containing Some stops on a heavy pressure of wind, the resist-
ance becomes too great for even the most muscular finger to control without
experiencing much fatigue. In such cases, it being probably beyond the power of
any of the relief pallets to remove the stiffness from the touch, some contrivance is
required that shall boldly ovem?ower the resistance. The pneumatic lever performs
this duty most efficiently ; and, in doing so, ingeniously converts that which would
otherwise be the organist's antagonist into his assistant.
243. The first idea of establishing such pneumatic assistance occurred to the
late Mr. Joseph Booth, organ-builder, of Wakefield, who applied his invention to
the organ he built for the church at Attercliffe, near Sheffield, in the year 1827.
He placed the lower pipes (wood) of the open diapason of the GG Imanual on a
Small separate Sound-board, and to the pull-down of every separate pallet he attached
a Small circular bellows below. A conveyance from the great organ sound-board
groove conducted wind into this bellows, which, opening downwards, drew with it
the pallet. These small bellows Mr. Booth used to call ſuffs. The second step in
establishing pneumatic agency was made by Mr. David Hamilton, of Edinburgh,
who, in 1835, added a movement of the kind to the organ in St. John's Episcopal
Church in that city. In the year 1839 a paper was read at a meeting of the British
Association at Birmingham, explanatory of a pneumatic lever which he then
exhibited. It was left, however, for Mr. Barker, a native of Bath, but for many
years a resident in Paris, to fully appreciate the importance of, and to develop,
and make generally known, this new agency in organ manipulation. Mr. Barker's
first attempts were made with a cylinder and piston, which were afterwards aban-
doned in favour of a small bellows, “In the first instance he endeavoured to
introduce his apparatus in England, about 1832. Experience, however, in large
Organs was then wanting in this country, and his endeavours were unsuccessful;
he therefore went to France, where the subject was better known, and where
the value of the new principle was at once appreciated. It was introduced
immediately in the great organ, being built at St. Denis (1841), and has since been
6O THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
applied to a considerable number of large instruments in the principal churches
of France;”* as, for instance, at the Madeleine, St. Vincent de Paul, &c.
244. The pneumatic lever, as made by different organ-builders, varies slightly
in detail ; but the following is the general plan and principle of all. The upper
member of the lever is formed very like a small concussion valve (see a, figs. 67
and 68); the former of which shows the lever closed, the other offen. Beneath the
lever are two little chambers (marked c c and d d), between which passes a third
(ee e). Below, again, is a kind of backfall (o o) which controls two circular pallets
(§ 5) in Such a manner that when one is open the other must be closed. Lastly, to
the rising end of the lever a small lug (w) is attached, which draws up a tracker (f)
that Sets the Several key-movements in motion.
67 * —
ºf- Ž fº .# f
*= º ſº
ife - - %
T Ø e º #
68 w º º * º f Opell.
º & a tº o 3% ||
º Tº dº.
t; Q Q
C §
§ R3
F #.
The Žneumatic action shown aſ large.
245. On pressing down a key on any one of the manuals, the movement draws
down the near end of the backfall (o o), causing the far end to rise, which motion
places the circular pallets (% b) in the positions shown in ſig, 68. Some of the wind
from the chamber (c c) now passes downwards through the uncovered pallet-hole,
traverses the passage (e e e), raising and filling the pneumatic lever (a), which draws
up the tracker (f), communicating the impulse to all the Sound-board pallets that
may be attached to the controlling key. The circular pallet in the second chamber
(d d) at the same time closes and prevents the escape of any wind.
246. When the finger is withdrawn from the key, the position of the backfall,
and consequently the circular pallet, is reversed, as shown in ſig. 67. The supply
of air from the wind-chamber is now cut off by the descent of the pallet. At the
same time the second pallet in the chamber (d. d) is raised, allowing the wind to
descend through the pallet-hole (g), escaping through the opening (2) into the
atmosphere. The contents of the lever being thus exhausted, it returns to its state
of rest, as shown at ſig. 67 ; the rapidity of the change being accelerated by the
* Pole, On the Musical Instruments, &c., p. 77,



















































THE PNEU MATIC ACTION. 6I
Spring (£). In consequence of the width of the pneumatic levers, about three
inches, only every fifth lever is placed in the same row ; hence the pneumatic action
always appears in five tiers, as shown in the general section.
247. A very simple kind of pneumatic action has been devised by Messrs.
Hill and Son. This is shown in the accompanying cut. The circular pallet (a) in the
wind-chamber (b) being drawn open by the Square (c), wind passes through the
orifice (d) into the receiver (ee), and hence into the pneumatic bellows (fff),
the Square pallet (g) being at the same moment closed by the motion of the wire (?).
On the key being released, the lug (£), under the influence of the spring (!), returns,
drawing with it the wire (m), closing the pallet (a), and uncovering the aperture (o),
through which the wind escapes, the bellows (fff) then descending.
69
o
248. For Messrs. Bishop and Son's compact pneumatic action the merit is
claimed of its requiring less space than the usual lever attachment, without sacri-
ficing either efficiency or facility of touch. The two diagrams on page 62 exhibit
the constructive peculiarities of these appliances, the working of which is elucidated
by the letterpress that immediately follows:–
A A are chambers or wind-chests containing compressed air ; B B1 are valves
commanding the entrances to the pneumatic bellows or motors; C C C Cº are the
pneumatic motors themselves, the lower series of valves and motors being shown
closed, and the upper series often , D D* are exhaust valves; E E are tubes con-
veying the compressed air to series of moters above the two wind-chests (A Al);
F Fi are backfalls, to one end of which is attached the mechanism set in motion
by the organ-keys, and to the other a flexible tape; G G1 connected with the
exhaust valves (D). When the backfall (F) is pulled down by the rod (H) into
the position shown at Fı, it carries with it the valve (D"), which has hitherto been
retained in its position by the spring (% º ż ż"); this allows the compressed air
to enter the opening (/ /) and inflate the motor (CC) into the position shown at
C1 Cº, which conveys the motion of the key to the rod (K), or any other rods that
may be connected to the arms (/, / / /). The position of the backfall (F) also
relaxes the tape (G1) and permits the exhaust valve (Dº) to closé by its spring.
On releasing the key the backfall returns to the position shown at F, the spring
(3) returns the valve (B) to its seat and opens the exhaust (D), by which, and by
the pressure of the spring of the organ-pallet with which the rod (K) is in connec-
tion, the motor (C Cº) is exhausted and falls to the position indicated at C. In the
series of motors above the wind-chests (A and A*) the wind, instead of passing
direct through the passage (/ /*), passes through the openings (//*ee", E £1 e e'e e").
This, it will be seen from the front section, is necessary by reason of each motor
occupying the width of two of the valves (B).
249. The tubes marked M M are for pneumatic tubular actions intended to take
the place of the troublesome long tracker-actions, or the present unreliability
of the magneto-electric actions now generally employed where the key-boards


62 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
or “console" of the organ are separated from the instrument itself. In this case
only the supply and exhaust valves of the pneumatics are placed within the console,
the pneumatic bellows being immediately beneath their separate pallets of the
wind-chest at the other extremity of the tubes. The motors (C C C, C+) are then
only auxiliary ones to act on the manual couplers; the same supply and exhaust
valves serve for the two sets of bellows attached to the apparatus.
Front view. Side view.
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THE DRAW-STOP ACTION. 63
CHAPTER XIII.
THE DRAW-STOP Act 10 N.
250. THE Several longitudinal Series of pipes on the various sound-boards have
already been explained to be governed by sliders, which either permit the wind to
cnter the pipes or not, as circumstances may require. The sliders, as already
mentioned, are an invention of the sixteenth century. The earliest mechanism for
moving them consisted simply of so many levers, the sliders, doubtless, being too
“stiff” to be drawn or closed by the fingers unaided. This “first kind” of draw-
stop action appears to be shown in the engraving on p. 36 of the Historical Intro-
duction, where the free ends of the levers are directed upwards. In the interesting
remains of an old organ at Radnor, similar levers, of iron, about eighteen inches in
length, were the only means by which the five stops of that instrument were origi-
nally controlled. Before the end of the century a complete draw-stop action had
been invented, although it was not always brought into the most convenient position
for the use of the organist. Even in some of the English organs erected soon after
the Restoration, a troublesome arrangement still existed. For instance, in the
organ by Father Smith in Manchester Cathedral, and in Pembroke and Emanuel
Colleges, Cambridge, the choir organs of which were “in front,” the draw-stops of
those departments were in the choir organs themselves, and therefore at the back of
the player. In the organ at St. Paul's Cathedral, by the same builder, and in
Harris's instrument in Worcester Cathedral, the choir stops were indeed made to
draw through the great organ case, but through the jambs below the manuals, and
quite out of convenient reach ; and not many years ago the choir stops of Silber-
mann's celebrated organ in the Cathedral at Strasburg could only be drawn from the
choir organ itself, which stood at least six feet to the rear of the player. The
reason why in English organs arrangements such as the foregoing proved to be
sufficient for their time was that, in the church music then existing, “musical
colouring” formed by no means a general feature, and, therefore, “instrumental
colouring” had not become, as it has since, a necessary and looked-for contingent.
In organs built to meet modern necessities the draw-stops of all the departments
are brought within easy reach of the performer. Of the mechanism introduced to
effect this end, called the draw-s/off action, there are many varieties, designed to
meet the exigencies of particular cases.
251. The first kind proposed to be noticed is that which may be described as
the wooden-frundle draw-stoff action,
The wooden-trundle 252. To understand the necessity for the presence of the
draw-stop action. several parts of the action just named, it is requisite to point out
the relative position of the performer and the end of the sliders to be operated
upon... We will suppose the sound-board to be ranged longitudinally immediately
behind the front pipes—the usual position occupied by the great organ Sound-board.
The situation of the slider-ends, then, as compared with that of the organist, would
ordinarily be inwards; to the right we will suppose, though it may be the left; and
upwards to a higher level. This route is, in the above action, followed by the
draw-stop rod (a, fig. 70), which traverses the organ inwards; the trundle ( ),
64 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
which conveys the motion round an angle, the trace (c), which continues the motion
at right angles with the draw-stop rod, and the lever (d), which conveys it
upwards. -
2
go
_º
6%
jº.
A description of the 253. The draw-stoff rod's usually measure about an inch
several parts. º
p across, for they are made round or square according to fancy,
and from about one and a half to ten feet or more in length, according to the distance
of the trundle from the manuals. The front end is made of oak or other hard wood,
and the remainder of pine, the two parts being neatly spliced together. The near end
of each draw-stop rod is furnished with a handle, formed of some dark-coloured and
handsome-looking wood, into which is inserted a circular plate of ivory, bearing an
inscription, announcing the kind of stop that is controlled by that particular handle
and attendant parts.” The farther end of the rod has a horizontal mortise made in
it to receive the trundle-arm, a small iron bolt fastening the two together, So that
the one cannot be drawn forward without the other accompanying it. The draw-
stop rods run horizontally from the front of the case inwards, in the direction of the
back of the organ, bordering the manuals (with which they run parallel) usually on
each side, where they are arranged one over another, forming one, two, or three
tiers, as the case may be.
254. The wooden friendles are made of good thickness, to prevent their spring-
ing, which casualty, were it to occur, would prevent the perfect drawing or closing
of the slider. Each trundle is furnished with a stout pin at both ends, which passes
into frame-work above and below, and which form pivots for it to revolve upon.
The arms (g h) are made of wood or iron. They have no fixed positions;
but the first arm (g) is placed as nearly as possible in a line with the draw-
stop rod (a) that is to act upon it, and which may be high or low in the row
wherein it appears; while the second (%) is placed in a line with the lower end of
the lever (d).
255. The trundles usually stand under the sound-board to which they belong,
bordering the draw-stop rods perpendicularly, as the rods do the manuals hori-
zontally.
256. The fraces are rods of deal, reaching from the second arm of the trundle
to the lower end of the lever ; hence their name. They are mortised at each end ;
at the one (o), horizontally to receive the second trundle-arm ; at the other (?),
* The custom of distinguishing stops one from the other by a particular name was intro-
duced in the sixteenth century.



THE DRAW-STOP ACTION. 65
vertically, to admit the lower extremity of the lever. The traces may usually be
Seen under the Sound-board, running in the direction of its length.
257. The levers are generally constructed of some hard wood, as oak, beech,
etc., though in Some old organs they are met with of iron. They are hung on a
centre about two-thirds from the lower end, and the lower extremity is narrowed
to allow of its admission into the mortise in the trace; while the upper is made
altogether Smaller, that it may pass into a hole prepared for its reception in the
projecting end of the slider.
How the draw-stop action 258. When the organ is about to be used, the inscriptions
Operates. that are on the stop-handles, or sometimes over or at the side of
them, are referred to, and the handle bearing the desired name is drawn forward.
The rod brings with it, in the same direction, the first arm of the trundle (g, ſig. 70),
and the trundle itself (5), partly revolving, causes the second arm () to Swerve
round and draw the trace (c) in the direction from the side towards the middle of
the organ. This latter having the lower end of the lever (?) fastened to it draws
that with it inwards; the upper end (?) in consequence taking an outward motion,
and moving the slider the same way. The passage way is thus made clear for the
wind from the grooves through the holes (79) in the upper-board into the pipes.
259. In the draw-stop action for Small organs wooden trundles are not usually
employed, but iron Squares are more frequently used.
The iron trundle draw. 260. In the Second or iron trundle draw-stop action (ſig. 71),
stop action. the trundle and the arms are formed of wrought iron. The
trundle itself (a a) stands at the edge of the sound-board (5 & 5), instead of under-
neath it, as in the former case, with its upper end (c) rather above the level of the
bottom of the sound-board. There is no trace used, the bottom arm (d) being
made much longer, that it may extend from the trundle to the draw-stop rod (e),
and the top arm (f) is placed quite at the upper end of the trundle, from whence
it gradually inclines upwards, until it reaches the slider (/), where it is finished off
with a small bolt (g), that passes through the slider (/), and acts upon it.
71
& - Å.
Ž z Ş.
- - (ſt,
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Cº.

º
261. When a sound-board is remotely situated, its draw-stop action is modified,
and the trundles are sometimes placed horizontally, instead of perpendicularly ; all
such matters of detail being of course regulated by the nature of the situation to
which the organ is being adapted.
262. In the organ originally built by Messrs. Hill and Son for the Panopticon,
and now at Clifton, the draw-stop action was made upon a principle then entirely
new to this country, the sliders being put in motion by Small bellows, and the
weight of the long vertical trace rods was ingeniously balanced by counter weights
attached to the end of short horizontal levers,
Q
66 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
The pneumatic draw-stop 263. The bellows now mostly used for the pneumatic draw-
aCtlOn. stop action consists, like the vertical feeder already explained,
of three vertical boards, the two outer of which (a a) are fixtures, the middle one (5)
being moveable. The two sets of ribs in between are marked c and d, e e e is the
wind-chest ; o o the D valve, the hollow of which is long enough to reach from the
wind entrance to one member of the bellows to the exhaust, marked ºn. The draw-
stop movement is attached to Å, and / communicates with the slider. The wind
passes from the wind-chest (e) through ffinto gg, distending it. On drawing out
Á, the condition of the two members of the bellows becomes reversed. The hollow
of the D valve is drawn sufficiently to the right to uncover the wind entrance (r),
and consequently to reach to the second one (?). Wind from e now passes through
7, following the course (s s), entering # , carrying 5 close up to a. The wind from
g g at the same time descends through f f : into the D valve, and is conducted
through the exit (m) into the vacant space (m ye). w
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JOY'S PATENT HYDRAULIC ENGINE, 67
CHAPTER XIV.
B L O W I N G M A C H IN E S.
264. Among the most agreeable additions to the mechanical appliances of an
organ must be classed the blowing machines for pumping the bellows of the instru-
ment, and keeping them duly supplied with wind under all possible and varying
circumstances. One of the greatest drawbacks to the pleasure of playing upon a
large organ used to be the consciousness that one's own performance frequently
could only be carried on at the toil and exhaustion of fellow-beings. Hence, the
discovery of Some mechanical means for inflating the bellows, and of blowing
quickly or slowly, according as much or little wind might be required, became a
great desideratum. The first hydraulic engine patented was that invented by Mr.
David Joy, of Middlesbrough, and originally arranged by him for the large
chamber organ of his brother, Mr. Walker Joy, of Leeds. The engraving (ſig. 73)
is taken from a photograph of one of the engines now at work in the Leeds
Town Hall. -
73

68 THE WIND-DISTRIBUTING IPORTIONS OF THE ORGAN.
265. The engine consists of a cylinder similar to that of an ordinary Steam
engine, the piston having a reciprocatory motion given to it by the pressure of a
column of water, admitted alternately to the top and bottom of the piston by
Suitable passages. The admission of the water to the cylinder is regulated by a
slide valve, the back of which is attached to a small double piston working in
cylinders formed at the top and bottom of the valve-box. The pistons are
actuated by the water-pressure, the ingress and egress of which are regulated by a
four-way cock. The plug of this cock is attached to, and moved by, means of a
Small lever, which is connected to a vertical rod, the upper end of which is Secured
to an arm fitted to the piston-rod. The vertical rod is fitted with set nuts, by
means of which the action of the four-way cock may be adjusted. In the outlet
port of the four-way cock is a set screw, by which the area of the port can be
diminished so as to retard the escape of the water, and thereby regulate the speed
of the valve. The water-main is fitted with an ordinary stop-cock, to which is
attached a lever connected with the reservoir of wind. This lever is so arranged
that when the reservoir is full the cock is closed, and when the reservoir is about
One-quarter exhausted the cock is full on. By means of this self-regulating action
the wind-reservoir is kept constantly filled. Under this arrangement of the engine
the motion of the valve can be adjusted to suit any pressure of water that may
be at command.
266. The Liverpool Water Meter, as made under the patent of the late Mr.
Thomas Duncan, by Messrs. Forrester and Co., of Liverpool, consists of two
Cylinders, with pistons and slotted piston rods working a short crank-shaft. The
water under pressure is admitted alternately to each side of the pistons, and thus
a rotary motion is given to the shaft, to which a counter is attached, and a correct
register is kept of the quantity of water passing through the cylinders. Many of
these meters have been adapted as power engines for working the bellows of organs,
and have proved most successful. They are silent, and under the immediate
control of the organist. They can be placed either horizontally or vertically, and
are attached to the levers which work the bellows by means of the crossheads on
the connecting rods. The sizes usually made are for V4 in., I in., I }% in., 2 in., and,
occasionally, 3 in. pipes.
Other blowing machines are noticed in the Appendix.
THE ELECTRIC ACTION. 69
CHAPTER XV.
THE EI.ECTRIC ACTION.
267. HAVING explained the several kinds of organ mechanism in ordinary use,
notice may now be taken of the recent application of electricity to the purposes and
uses of organ construction and manipulation. It has been shown in what manner
the communication between the claviers and the sound-board pallets, and between
the draw-stops and the Sound-board sliders, is established in compactly built
instruments. An explanation has also been given of the way in which these
Systems of mechanism are developed in large organs, or in organs of which the
Claviers are placed at Some distance from the main body of the instrument; and
the means by which the organist is at the same time relieved from unnecessary
toil, through relief pallets or pneumatic agency, have likewise been illustrated. For
Such situations—of claviers in relation to sound-boards—the electric action is
applicable in common with, and possesses advantages and conveniences over, the
mechanism in general use, to compensate for its greater cost, though it will
probably be employed mostly for large organs, unless there be unusual peculiarities
to be met and overcome. There are some positions or circumstances in which
the intermediate space, as to width and depth between the two parts, takes such
a direction, or is so small, that such situations have hitherto been considered
extremely difficult of treatment, or altogether impossible. The usual mechanism,
besides travelling horizontally and vertically, can turn an angle—equal, obtuse, or
acute—or can follow a diagonal, splayed, or spreading course. But it cannot
climb an incline, as from the front to the back of an orchestra. The downward
drag of the action was always considered too much for the pallet strings, and the
alternative action, running horizontally inwards to the organ, then upwards to the
instrument, rendered so much valuable space under the orchestra useless for all
other purposes, that the plan, which originally existed at the Hanover Square
Rooms, and the concert room of the old Opera-house in the Haymarket, has been
abandoned in nearly all modern orchestras. At the Gloucester Festival, Sep-
tember, 1868, the electric action allowed the organist again to be placed near
the conductor, while the organ itself stood at the top of the orchestra, and not in a
line, but on the right-hand side. -
268. The electric wire, having no motion, attaches no weight to the pallet; and
it can be laid down in any required or conceivable direction. Any circumscribed
positions are sufficient for its accommodation, and it can describe any curves as well
as follow any regular course. It can traverse round pillars, or ascend in any form
or direction where there may be an inch of space for it to pass through. In fact, it
is as free and unfettered in its power of adaptation as the gutta percha tube of a
garden engine. It has been mentioned that the speciality of the electric action
recommends itself for very large organs, in which instruments the “pneumatic
lever * is almost a necessity. The following particulars, therefore, referring to
Mr. Barker's invention of the latter, and to his development of the same, taken
almost verbatim from his own “notes,” will, without doubt, prove interesting.
Before giving them, however, a few more words may be said respecting relief
pallets. -
7o THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
269. Fig. 74 is a pallet patented by Mr. Willis in 1861. The outside resembles
an ordinary pallet, but is hollowed out on the top side, leaving only the portion of
its Surface that laps its seat ; the top is covered all over with the usual soft leathern
packing. Holes communicate through the outside into its interior ; several bars,
forming a grating, are placed inside the groove between the sound-board bars to
prevent the leathern packing being blown in by the pressure of air on the under-
side ; On opening this pallet the edges leave their seat first and offer little resistance ;
the air having passed in, in Sufficient quantity, relieves the pressure on the under-
side.
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270. Fig. 75 is a compensating pallet. The small bellows attached to the
tail have a communication from their interior with the atmosphere; the compressed
air in the sound-board has therefore an inclination to collapse them, and the force
expended in this direction counterbalances the pressure against the pallet.
271. Fig. 76 represents the section of a single pneumatic lever showing the
action of the throttle-valve (a) (patented by Mr. Willis in 1853) and the double
exhaust-valves (%), an auxiliary spring which closes them with the first motion
of the key, instead of being pressed home only by the last, thus ensuring rapidity
of action as well as certainty. Many modifications of the original form have been
used, but the following explanation will suffice —
272. The lowest chamber on the right (d) contains highly-compressed air,
derived from a reservoir; the lever (e), carrying the valve (f) which cuts off the
Communication between this chamber and the one immediately above it (g), works
through the air-tight leathern purse (h) in the centre, and the left-hand end of the
lever moves the double exhaust-valves (5), and is attached at the extremity by a
tracker (i) or connecting-rod to the tail of the key. On raising this end of the
lever the double exhaust-valves are immediately closed, cutting off or preventing
the atmosphere from entering the interior of the power-bellows (j); at the same
time the valve at the other end is opened, so as to allow the compressed air to
pass through the chamber above into the power-bellows, and so inflate them. As










THE EIECTRIC ACTION. 71
they rise they draw up the throttle-valve, which is attached to the top-board, so
that, on its reaching the seat provided for it, it cuts off further supply of compressed
air, and checks the motion of the power-bellows almost noiselessly (ſig. 77). This
movement of the top-board is communicated to the sound-board pallets by the usual
train of mechanism. Immediately the key is released by the finger it is returned
to its former position by the Spring underneath, the compressed air escapes by the
exhaust-valves, and the power-bellows collapses and allows the sound-board pallet
to close. These pneumatic power-bellows are usually arranged in a frame of seven
or eight tiers, the width of the manuals, and placed as near to them as possible.
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273. The following are the observations of Mr. Barker already referred to :-
“It was in 1832 that Mr. Barker, then established as an organ-builder in Bath, his native
city, was led to reflect on the serious inconvenience arising from the extreme heaviness of
touch in all large organs, and as more particularly exemplified in the one then but recently
constructed for York Minster Cathedral. His persevering studies having revealed to him an
efficacious remedy of this defect, by the invention of what has since been called the pneumatic
lever, he wrote, in 1833, to Dr. Camidge, then organist of the Cathedral, announcing his
discovery, and begging to be allowed to give a proof of its efficacy, by applying it in a
temporary way to one of the heaviest keys of the organ. Dr. Camidge in his reply wrote:
“To such an instrument as ours it (i.e., the discovery) would most certainly be very important,
where four organs have to be played occasionally by ONE set of keys, and I should be most
happy to recommend its adoption. Mr. Hill, of the late firm of Elliot and Hill, has erected
Our Organ, and, I assure you, the playing it is no sinecure; on the other hand, it is most
laborious work to go through a grand chorus or last voluntary with the whole power of the
instrument. Such a difficult touch as that of York Cathedral organ is doubtless sufficient to
paralyse the efforts of most men, I assure you. I, with all the energy I rally about me, am
sometimes inclined to make a full stop from actual fatigue in a very short time after the com-
mencement of a full piece.” Notwithstanding Dr. Camidge's wish and recommendation,
financial difficulties stood in the way of Mr. Barker's invention being adopted in York; nor
was he more successful in his proposition for applying it to the Birmingham organ opened in






























72 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
1834 or 1835. It was about this period that the eminent French builder, M. Cavaillé, was
occupied in building a colossal organ for the royal church of St. Denis, near Paris, and it was
already sufficiently advanced to convince Mr. Barker that, for heaviness of touch, it would
rival or even surpass the York Minster and Birmingham organs in their then conditions;
indeed, it might have been fairly questioned whether any organist of acknowledged talent
would risk his reputation by attempting to play it, Mr. Barker heard from a friend who visited
the Continent occasionally that such an instrument was building, and Mr. Barker Wrote
immediately to M. Cavaillé to propose the introduction of his pneumatic lever, accompany-
ing his letter with a certificate from his since lamented friend, Mr. Merrick, who had played
on a small instrument Mr. Barker had fitted up for demonstration, each key of which presented
a resistance of several pounds. This was in 1837. M. Cavaillé replied, engaging Mr.
Barker to go over to France, and examine the possibility of applying his invention to the
magnificent organ in question. Mr. Barker visited Paris, and the application was decided
on, under his immediate superintendence. However, in order to establish his priority as
inventor, and protect at the same time his interests, previous to doing anything more in the
matter, he took out, in 1839, a French patent, and soon after the pneumatic lever was applied
with the greatest success, and, for the first time, to the St. Denis organ. After having passed
an agreement with M. Cavaillé to grant him licence, under Mr. Barker's patent, as he might
require, and which led to its application to the organs in St. Roche, La Madeleine, St.
Vincent de Paul, &c., Mr. Barker's connection with M. Cavaillé ceased, and he was then
led to undertake the direction of a large organ-building establishment recently formed in
Paris, under the name of Daublaine and Callinet, where he had frequent opportunities of
introducing his invention. This company having been dissolved about 1845, Mr. Barker
undertook to carry on the concern for a M. Ducroquet, a capitalist who had purchased it, and
built for him, among other important instruments, that of St. Eustache, as also the Small but
very complete organ which appeared in the French department of the London Universal
Exhibition of 1851, and for which M. Ducroquet received, in addition to the English prize
medal, his nomination of Chevalier of the Legion d’Honneur from the French Government.”
Reverting to the English Exhibition of 1851, Mr. Barker's French organ presented, for
the first time, a complete specimen of the application of the pneumatic lever to the finger-
boards; that is to say, including the unison, octave, and sub-octave couplers. Mr. Hill
exhibited an organ in which the pneumatic lever was applied to the draw-stop action only ;
and Mr. Willis, a large organ in which the lever was applied both to the key and draw-
stop action, but to the former without acting on the couplers. -
Trom this time the advantages of the pneumatic application were more appreciated ; and
the adoption of the system became more frequent in England, France, and Germany.
In fact, workmen who had been familiarised with the construction of the lever in the
workshops of M. Cavaillé, lent aid and assistance in England, so that when Mr. Barker
proposed to take out—alas ! too late—a patent in this country, he found he would be only
bringing coals to Newcastle,
At length came the great Paris Exhibition of 1855, to which Mr. Barker was admitted as
an exhibitor on his own account, independently of M. Ducroquet, who was on the point of
retiring from business, but for whom Mr. Barker had built for the last time, and for the
Exhibition, an organ of twenty stops, three manuals, and separate pedal organ, in which the
pneumatic lever was turned to good account, and enabled him to place all the powerful reeds
of the great organ in the Swell-box, and to obtain by that means unusual powers of crescendo.
At the close of the Exhibition he was honoured with a first-class medal and his nomination
as Chevalier in the Imperial Order of the Legion d’Honneur.
Mr. Barker cannot, in this rapid and imperfect biographo-historical sketch respecting the
pneumatic lever, pass over in silence the claims of priority which have been put forth by
other parties to the invention. In the first place, that of Mr. Joseph Booth, organ-builder in
Wakefield, and who, it is alleged, introduced a contrivance of this nature into the Brunswick
Chapel organ in Leeds, in 1827.
“A small bellows, called a puff-valve, is said to have been placed in connection with one
of the double grooves of the sound-board, and by its inflation, on one of the pallets being
drawn, to have acted automatically on the second. In suffering this description to be correct,
THE ELECTRIC ACTION. 73
there would be evidently here the germ of the pneumatic lever, as in the early trials of Papin
was contained implicitly that of the steam engine, perfected later by Watt, Stephenson, and
others, but in the one as in the other case, how great the distance which separates the
elementary fact from its ultimate results—how great the difficulties to be overcome. Free to
admit that Mr. Booth was in possession of a fruitful idea, he kept his light so completely
under a bushel, that, sterile in its consequences, no one heard of it till twenty-four years after,
when it had long ceased to exist. It is superfluous to say that Mr. Barker had no previous
knowledge of this attempt or any other in the direction of his pneumatic lever, which, it is
well known, constitutes in the organ as constructed by him a motive power directed by the
finger of the performer to all the mechanical parts of the instrument. The foregoing
remarks are, in part, equally applicable to the pneumatic apparatus of Mr. Hamilton, but
with this difference, that this gentleman does not substantiate any claim to an application
anterior to 1835, two years later than Mr. Barker's correspondence with Dr. Camidge. It
might seem, in the presence of the comparatively satisfactory results obtained by the pneumatic
lever, that, as a means of facilitating execution on large instruments, nothing better could be
wished for. This, however, is not so absolutely the case as might be inferred at first view,
as will fully appear from the following considerations. The great defect of the Organ, and
especially large instruments with several key-boards, lies in the number and excessive com-
plication of its mechanical parts, all of which, however accurately adjusted, are, from their
nature, particularly subject to the effects of atmospheric, or, to speak more exactly, hygro-
metric influence. Thus, under the effect of damp, the long trackers lengthen, the levers
Swell and move with difficulty on the bearings. The solid framing which supports the
Sound-boards and the mechanism adds by its swelling or shrinking to the general disorder;
and every organist is aware that in summer the touch of his instrument is often reduced to
zero, whilst in winter it is deepened, and he is exposed to continual cypherings. To
remedy as far as possible these serious inconveniences, the parts of attachment of the various
mechanical parts of the instrument are provided with regulating screws and nuts, by which means
the virtuallength of these organs of transmission may be integralement established when changed.
But how many difficulties have to be got through before accomplishing this labour of Sisyphus,
which is considerably increased by the introduction of the pneumatic lever and its couplers.
It occurred to Mr. Barker, as it already had to many others, that seeing what has been
accomplished in telegraphy, by which the most delicate movements are transmitted to
indefinite distances, with rapidity and precision, it might be possible to apply the same
principle to the organ, in which the key-board represents the manipulator and the pallets of
the organ the receptors of the telegraphy bureaux. Now this has been actually and
successfully accomplished by Mr. Barker, in presence of repeated and uniform failure on the
part of his predecessors. The reasons for this will appear in the course of the explanations of
his system, as applied by Mr. Barker, in France, to the large St. Augustine organ, in which
the key-boards have not offered the slightest derangement although the instrument has been
erected more than a twelvemonth, and, consequently, has been during that time subject to
great vicissitudes of temperature. The applications of Mr. Barker's patent in England by
Messrs. Bryceson Brothers and Co. have been equally successful.
“An essential condition in the electric transmission in the organ, and which had been
generally overlooked by Mr. Barker's predecessors in this direction, is to diminish the
resistance of the pallets to a minimum by means of a peculiar construction, or to attack them
by the intervention of a pneumatic lever reduced to a simple inflating bellows and debarrassed
of all its usual accessories in the shape of couplers, &c., which can now be all affected
electrically.
“This new system offers three inestimable advantages in its application —
“I. A great simplification, by the suppression of a multitude of moving parts, replaced
by simple insulated wires.
“2. The possibility of transmitting the movements to any required distance, irrespective
of the relative positions of the organ and its key-board. -
“3. The invariability of the key-boards under the greatest changes of temperature.
“It is now about five years since Mr. Barker made his first experiment for the application
of electricity to the organ, and proposed applying it to the large organ which he had just
74 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
received the order to construct for the church of St. Augustine, upon the favourable report of
the commission charged to examine the new mode of construction. This organ was opened
about three months since, and the commission having made another and final report in most
favourable terms, Mr. Barker is now charged with the construction of another large Organ
for the new church of St. François de Xavier, which, with those of St. Augustine, Salons,
and Montrouge, is the fourth application of the electric principle in France.”
274. During the Paris Exhibition of 1867 the attention of Mr. Bryceson was
directed to the electric organ in St. Augustine's Church, in Paris, then nearly
completed, and he at once determined to introduce the electric system into
England, and made arrangements with Mr. Barker for that purpose.
275. Dr. Gauntlett, who had done much towards the introduction of the Conti-
nental or CC compass of organs in this country, now universally adopted, may
claim to be the first who conceived the idea of applying electricity to organ
mechanism. The following notice occurs in the Orchestra of March 28th, 1868 —
“The using of electricity as a motive power in organ building was first mooted
about twenty years ago by Dr. Gauntlett, who, at the time of the Great Exhibition
of 1851, proposed a scheme for playing all the Organs in the place at one and the
same time. The plan met with great opposition, and nothing was done ; but, on
the announcement of the Crystal Palace Company, Dr. Gauntlett met the Provi-
sional Committee, and proposed the erection of ſac-similes of the eight most
celebrated organs in Europe, and playing them altogether or separately in the
centre of the building. The original prospectus of the company put forth the
Exhibition as one of still life, and one which might be grasped in one view. All
such exhibitions fail unless accompanied with music, and Dr. Gauntlett's proposi-
tion was to supply the place with a continual stream of music at an outlay much
less than that for the maintenance of an orchestra. Messrs. Anderson and Fuller,
two gentlemen of the committee, met the proposition with a decided negative.
* Dr. Gauntlett,” said Mr. Fuller, “ you will never hear a note of music in the
Crystal Palace ; the Exhibition is intended for far higher purposes. We do not
want music and we shall never have it !” And thereupon Dr. Gauntlett departed,
but not without telling the committee that without music the whole affair would
become bankrupt. Dr. Gauntlett patented his speciality in 1852, and in 1863
another plan was patented by Mr. Goundry.”
276. Dr. Gauntlett's patent of 1852 comprehends playing organs, both finger
and barrel, as well as Seraphines and pianofortes, through the electrical agency.
For organs he proposed placing a powerful electro-magnet immediately beneath
each pallet, and fastening the armature on the end of the pallet itself, an arrange-
ment that would require much space and an expenditure of electric force requiring
a very large battery to Supply a Sufficient current. He mentions that an apparatus
known as the “pneumatic lever” may be worked with the electro-magnets and
armatures, though he does not describe any form of arrangement. The draw-stop
and swell action are also alluded to, but there is no explanation as to how they are
to be accomplished. Dr. Gauntlett's contact at the key did not act till the key
was quite down, and, being simply a touching contact, would soon become
oxidised. - -
277. In 1863 Mr. Goundry patented a very elaborate electric system, chiefly in
connection with the introduction of the enharmonic scale, which requires, at the least,
forty sounds to the octave. He describes several known forms of light pallets, and
proposes to open them direct by the electro-magnet in a similar manner to Dr.
Gauntlett. The pneumatic lever is also mentioned, and a form given for its appli-
cation. Mr. Goundry shows a very elaborate arrangement for coupling purposes,
and also for throwing up the melody. In his draw-stop action he proposes that a
THE EILECTRIC ACTION. 75
spring should pull the slider in, and that it should be drawn by a pneumatic power-
bellows, actuated by an electro-magnet, around which the current of electricity
would be passing all the time the slider remained drawn, thus involving a great
consumption of battery power. -
278. No organ-builder embarked in either of these patents; and no organs, to
illustrate their practicability, appear to have been attempted.
279. Mr Barker's English patent, taken out in January, 1868, protects his
Special arrangements of the following applications, which, with the exception of
the draw-stop action, were then based on his actual experience, gained in the
construction of three electric organs, which he had already erected in France —
Isà. His arrangement of the electro-pneumatic action to the keys and pedals,
including a method of making the contacts by means of immersing copper points
in mercury cells. -
2nd. A contrivance for coupling the various manuals as well as the pedals, either
in unison or in octaves.
3rd. An arrangement for drawing the stops.
4//. The manner of commanding the large valves in wind trunks, known in
England as ventils,
5%. An automatic system for suspending all waste of electrical agents in the
battery when not actually in use. -
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280. Fig. 78 is a copy of the drawing attached to Mr. Barker's English patent,
dated January 28, 1868. It represents the end section of a divided sound-board,
such as would be used when two different pressures of wind are required, or
where the number of Stops is So great as to require two pallets to supply a suffi-
cient quantity of wind. The chamber (e) in the wind-bar is supplied with com-
pressed air, and is continued the whole length of the sound-board. This is to
supply the pneumatic power-bellows (d), which are all fixed externally on the
bottom side of the sound-board, one of these power-bellows being provided beneath
each pallet (Ö). Immediately below the air-chamber and upon the fixed table of the
power-bellows is a small double-action disc-valve (f) attached to a vertical rod.
In a state of rest, as shown in the drawing, the top disc-valve is closed, cutting off
the compressed air ; and the lower one is open, so as to establish a communication
from the interior of the power-bellows with the atmosphere, and allowing the
sound-board spring (i) to hold the power-bellows shut. The disc-valve is actuated
by the armature (/) of an electro-magnet (g) placed below, and attached to the
vertical rod (f), so that when the electro-magnet becomes excited by the current of
electricity, and, therefore, attracts the armature, the position of the disc-valve is





























76 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
reversed : the lower one being shut and the top one opened, it allows the Com-
pressed air from the chamber above to rush in and inflate the power-bellows, which,
being attached to the sound-board pallet, immediately pulls open the same.
Directly the electric current ceases the armature is of course released ; the disc-
valve returns to its former position ; the compressed air is cut off; the sound-board
spring collapses the pneumatic power-bellows, and the air escapes by the bottom
disc or exhaust-valve, which is now open again.
281. The draw-stop action for each slider in the sound-board consists of two
large pneumatic bellows, acting alternately in opposite directions, the inflation of
which is governed by two double-action disc-valves, worked again by Small acces-
Sory power-bellows and two electro-magnets, acting positively and negatively.
282. A sound-board, therefore, with its electro-pneumatic power-bellows applied
to both pallets and sliders, requires no train of moving mechanism to connect it to
the key-board and draw-stop knobs, however distant, but simply the necessary num-
ber of insulated copper wires to conduct the electric currents from the console, or
stand, which holds the manuals, pedals, &c. The console, thus detached from the
main body of the instrument, contains a vast amount of accurate and beautifully-
arranged work. Its dimensions may be compared to those of a large harmonium ;
and, besides holding the various key-boards, it contains, first, the rocking-lever be-
neath each key, which, being furnished with Copper points, plunges them in mercury
cells directly it is depressed, and So establishes the electric current; secondly, the
various couplers, which are bars of wood, on which are screwed copper springs for
each note (when drawn by the knob these metallic springs press against corre-
sponding copper-plates, and so cause the electric current to divide and actuate the
additional electro-magnets and pallets at the same time); thirdly, the draw-stop knobs
and traces, to which contacts of a similar nature are attached, and which, likewise,
complete the circuit of the electric current to their respective positive and negative
magnets; fourthly, all combinations which act mechanically upon the draw-stop
traces, and other accessory movements and pedals, &c.
283. To prevent the waste or destruction which would take place in a powerful
and active battery if the electrodes were left immersed in the exciting liquid, it is
necessary to lift them out of their cells when the organ is not in use ; and, as this
operation would probably often be forgotten, the last provision of Mr. Barker's
patent refers to a self-acting arrangement. For effecting this object, he places the
jars containing the liquid on the top of a wind-reservoir supplied from the main
bellows, and suspends the electrodes in a frame above them. When the bellows are
blown the reservoir becomes inflated, raising the cells so as to immerse the
electrodes; when the wind ceases the reservoir gradually collapses, and the jars
sink down, leaving the electrodes suspended dry above. Mr. Barker also protects
the reverse action, the cells remaining stationary, and the electrodes being made
to descend into the liquid ; this is effected by the same agency, and amounts to
the same thing. Mr. Barker does not patent a battery of his own, having found
his requirements Satisfied by modifications of more than one already known and
in common use. The battery is not placed within the console, and close to the
keys, as some have supposed, but in any convenient position within or near the
organ itself. -
284. From what has already been explained with regard to electric key-action,
it will have been perceived that two intermediate agents are employed to make the
depression of the key open the pallet in the sound-board, viz., electricity and
pneumatics, and it might seem that such an arrangement would tend to cause a
certain amount of delay or slowness in its operation. This, however, is not the
case in actual practice ; the velocity of electric currents requires no comment, and,
THE ELECTRIC ACTION. 77
in the short circuit employed in the organ electric action, electricity performs its
work simultaneously with contact being made at the key. The pneumatic power-
bellows, unlike those employed in a mechanical organ, where they have to be large
enough to pull open several pallets at once, besides moving long trains of action,
are now only required powerful enough to open one pallet, and are therefore so
small that very little compressed air is sufficient to inflate them ; moreover, their
Small and sensitive valves are not impeded by mechanical attachments. The
practical result is, that no perceptible difference of time can be discovered between
the depression of the key and the speech of the pipe. This is best proved by the
excellent repetition touch obtained ; in this it far surpasses any mechanical action.
285. It was, however, obvious that a great advantage and saving of work would
be gained if, as Mr. Barker suggested, a perfectly new form of pallet could be
contrived which would offer no resistance in opening, and admit of being acted
on direct by the electro-magnet instead of being attacked by the intermediate
pneumatic lever as heretofore. To effect this, Mr. Bryceson turned his utmost
attention, and at length Succeeded in constructing a pallet fulfilling all the
requirements.
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286. Figs. 79 and 80 are copies of drawings attached to Mr. Bryceson's
patent, dated April 6th, 1868, and show the complete arrangement of his new pallet
as applied in a double and single palletted sound-board; ſig. 81 (p. 78) being en-
larged to show a section of the pallet of the latter. The pallet consists of a small
diagonal bellows, formed with top and bottom-boards attached to each other by
flexible leathern ribs (£). The upper-side of the top-board (a) is covered with soft
leather, and forms the valve which beds close against the under-side of the sound-
board bar (); it is kept in this position when at rest by a common Spring (c)
pushing upward from the fixed bottom-board. The back or tail-end of the bottom-
board is hollow, and is fitted into a Square mortise in the wind-bar, through which
a channel (d) is continued to a chamber (*) on the other side. The front end of







































78 THE WIND–DISTRIBUTING PORTIONS OF THE ORGAN.
the bottom-board is fixed sufficiently below the top-board, so as to distend the
leathern ribs (Å) nearly to their full extent. On the other side of the wind-bar
are two chambers (à l’). The upper one (i) runs the whole length of the sound-
board, and contains compressed air of the same pressure as is supplied to the
sound-board. The lower chamber (?”) is the one in communication with the
interior of the pallet ; it is partitioned off separately for each note, and contains a
double-action disc-valve (g) fixed on a vertical rod. The position of this valve
determines the communication with the chamber above containing compressed
air or the atmosphere below outside. In a State of rest the top disc-valve is open
so that the compressed air from the chamber above is inside as well as around
the pallet, and of course by its pressure holds the top-board firmly against the
sound-board bar—indeed, if the wind could always be kept in there would be no
necessity for a spring at all, which is only to keep up the top-board till the pallet
is inflated. The lower disc-valve is now closed, and prevents the escape of the
compressed air. If the position of the disc-valve is altered and reversed by raising
the vertical rod (g) by means of the armature of an electro-magnet (m) the
compressed air is at Once stopped from entering the interior of the pallet, and
the pressure on the outside of the leathern ribs collapses them, and they draw
down the upper-board and allow the wind to enter the groove of the sound-board,
and thence, if the sliders are drawn, supply the pipes above. The air in the interior
of the pallet is allowed to escape into the atmosphere through the lower disc-valve,
which is now open. When the vertical rod is released by the armature of the
electro-magnet, the disc-valve returns to its original position, the escape-valve is
closed, the compressed air again enters the interior of the pallet and shuts it
firmly against the Sound-board groove. In cases where it may be considered
necessary to open the pallet very wide, as in pedal sound-boards, &c., a third
chamber (?”), running the whole length of the sound-board, from which the air is
exhausted, could be placed beneath the lower disc-valves instead of allowing them
to open direct into the atmosphere; the top-board would then be drawn hard
down on the bottom-board, which can be fixed at a greater distance, and thus
Secure either a horizontal or diagonal opening to provide a great supply of wind to
the sound-board groove for distribution to the pipes.
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287. This new pallet might appear to resemble a form known for many years,
and used in several instances by both Messrs. Gray and Davison and Mr. Willis for
pedal sound-boards, but in reality it differs widely in its condition and mode of
action, inasmuch as it is held closed by the pressure of wind in its interior, and



THE ELECTRIC ACTION. - 79
opened by the disc-valves allowing this wind to escape or exhaust, so that the
pressure around it is enabled to force in the ribs of leather, which, in yielding,
actually pull the top-board away from its seat against the sound-board bar;
whereas the old form of pallet just alluded to had ribs sufficiently distended only
to counterbalance the resistance of the wind, and was pulled open by a connecting
link in the same way as an ordinary or common pallet. Neither disc-valves nor
attenuated air were used in conjunction with it, and the interior was in communi-
cation with the atmosphere instead of being filled with compressed air when in a
state of rest. In Mr. Bryceson's pallet he gains the advantage, that, when closed,
it has the full force of the wind to press it Soundly against its seat, and thereby
prevent any tendency to leakage, a fault Common to all other compensating or
balanced pallets, which must be closed by Strength of the Spring. Again, the ribs
of his pallet, being distended to their full extent when at rest, present the most
favourable position for being acted upon by the Compressed air in the sound-board
directly the escape-valve is opened, at which time the first movement of the pallet
from its seat requires most force to be expended. Any single pallet can be easily
taken out for repair by raising it from the fixed rail in front, and pulling it out of
the mortise in the wind-bar. As no pull-down, link, or connecting rod is attached
to it, and guide-pins are unnecessary, these very frequent causes of derangement
are thus entirely avoided. The dimensions of the pallet can be varied from that
required for the smallest treble note to the largest necessary for any pedal sound-
board. It is equally available for mechanical and non-electric action, in which
case a spring would have to be introduced just sufficiently strong to return the key
and action ; this would constitute all the resistance presented to the finger of the
performer. The cost, as well as the Space required, is less than when the ordinary
pallet is employed with a separate pneumatic power-bellows placed externally.
288. In most cases where organs already built are to be re-constructed on the
electric system, the old arrangement of the Sound-boards will prevent this new
pallet being conveniently used ; Mr. Bryceson has therefore found it best to apply
externally a pneumatic power-bellows beneath each original pallet, similar to Mr.
Barker's arrangement, but placed in two tiers, to get them in the length of the
sound-board. These he works with exhaust or attenuated air instead of pressure,
for the following reasons:—The ribs or sides of pneumatic power-bellows, if not
made very rigid, and lined with cardboard, are subject to be overstrained and
inverted when inflated, and thus either locked open or destroyed. If made stiff
enough to be secure from this defect, they will not work as freely as desirable in
the treble or smaller sizes. By the use of exhaust instead of pressure, no stiffening
for the ribs is necessary, the cost of manufacture is reduced, and greater durability
and freedom from noise are attained. Mr. Bryceson is not aware that exhaust or
attenuated air has been proposed or applied for pneumatic power-bellows by any
other firm besides his own. Mr. Willis, however, took out a patent almost simul-
taneously with himself, in which exhaust and pressure are proposed to be employed
alternately for actuating what Mr. Willis terms a “floating valve’ in connection
with a novel arrangement of draw-stop action. From the way in which provisional
patent specifications are lodged it is impossible either could be aware of the con-
clusion arrived at by the other ; and it is a singular coincidence that a new
principle in organ-building, which is likely to be of great service for intermediate
purposes, should have been thus introduced for the first time. Mr. Bryceson was
led to adopt exhaust for reasons already stated, and because the saving effected in
a single power-bellows, however Small, was a great consideration in the aggregate
or large number employed in electric Organs.
289. Figs. 82 and 83 show, the section of two electro-pneumatic arrangements,
8O THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
as patented by Mr. Bryceson, for moving the sliders. In large organs, where
highly-compressed air is used for Supplying certain stops of pipes, as well as ex-
haust-bellows for working the pneumatic key-action, he has used the arrangement
shown in the left-hand figure, and the method of its action is as follows:–A large
pneumatic power-bellows (º), connected by a lever and trace to the slider, is fixed
on a table (!), and at the back of this table are three chambers (AE AE AE). The top
One is supplied with compressed air, and the bottom one has the air exhausted
from it. The middle chamber communicates with the interior of the power-bel-
lows, and also with either the top or the bottom chamber, according to the position
of a large double-action disc-valve (ºn m). The drawing shows the top chamber
cut off by the valve being closed, and the bottom or exhaust-chamber in commu-
nication. The power-bellows is therefore collapsed, and the end of the lever
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drawn to the right hand. When the double-action disc-valve is reversed the
exhaust-chamber is cut off, and the communication opened with the top or pressure-
chamber, the compressed air rushes in and inflates the power-bellows, causing the
end of the lever to be moved to the left hand. To gain rapidity of action it is
necessary that the ports covered by the double-action disc-valves should be of
considerable size, and also that the valve itself should have a movement of at least
one-quarter of an inch. As this would require a very powerful electro-magnet and
great expenditure of battery power, it is found advantageous to introduce a Small
accessory pneumatic power-bellows (£). This is placed immediately under and
attached to the rod carrying the large disc-valve, and its position will be deter-
mined by its inflation or collapse. This accessory power-bellows is commanded
by a very small double-action disc-valve (h) attached to a vertical rod (g)


















THE EI.ECTRIC ACTION. 8 I
connected to the double armature of two electro-magnets (ss); the chamber (r)
above this small double-action disc-valve is supplied with compressed air. The
drawing shows that the left-hand electro-magnet was last used. It attracted its
end of the double armature and the little double-action disc-valve, admitting the
compressed air to inflate the small accessory power-bellows. When the right-hand
magnet is actuated the small double-action disc-valve will be drawn down, the
compressed air will be cut off from, and allowed to escape by, the bottom valve
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from the accessory pneumatic power-bellows, which will immediately collapse.
The two electro-magnets are connected to the positive and negative contacts
of the draw-stop trace in the console by insulated copper wires. In organs,
when highly-compressed air is not required for other purposes, the expense
is avoided of constructing such bellows expressly for working the draw-stop
pneumatic power-bellows, and both the on and off movements are obtained from
the exhaust alone. For this purpose Mr. Bryceson has employed the arrange-
ment shown in J.g. 83, and finds it acts most satisfactorily. Two large
R


















82 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN,
pneumatic power-bellows (n m) are coupled together with a connecting-rod (o)
in such a way as to ensure the expansion of one on the collapse of the
other. Three chambers (% A. AE) are placed between their fixed tables (//); the
centre chamber has the air exhausted from it, the top chamber is in Com-
munication with the left-hand power-bellows, and the bottom chamber with the
right-hand one. The communication of these chambers with the middle one is
alternate, and governed by two double-action disc-valves (77 m), arranged
similarly to the one in the first figure already explained. These are also com-
manded by small accessory power-bellows (£) and two electro-magnets (s s) in
the same way as before described ; therefore, as the contact is made at the
console, the corresponding power-bellows is collapsed, drawing the slider in the
desired direction. As combination pedals are not used in France, but only ventils,
which cut off and introduce the wind to certain groups of stops by means of
pedals, provision had to be made for an elaborate system of combination move:
ments when required, as in England these most useful accessories for changing
the stops are held in high estimation by our organists. It will be sufficient for
the present to remark that electricity is most favourable for the extension of com-
bination movements in novel ways. º
29O. Fig. 84 (p. 81) represents Mr. Bryceson's patent double-action draw-stop
movement, with one electro-magnet and one prleumatic power-bellows to be
used in conjunction with an electric signal at the key-boards. The pneumatic
power-bellows () is fixed on the table (a). On the under-side of this table are
three chambers, 1, 2, and 3. These chambers communicate with each other,
and also with the atmosphere by four holes in their partitions. This commu-
nication is regulated by the position of the double-action valve (), composed
of a rod and two discs. The end chamber (2) communicates through the table (a)
with the interior of the power-bellows (c). The chamber (I) contains compressed
air. The double-action valve is operated by an accessory bellows (d), which,
when required, is inflated by air from the chamber (I), which passes therefrom
through the valve (5) into the chamber (3), and from thence to the bellows (d).
The valve (ö) is controlled by the electro-magnet (e), the armature of which is
connected to its rod, as shown in the drawing.
291. The electric circuit is completed, and the magnet (e) caused to act on its
armature by the depression of the button-knob (/, /g. 85), at the console. To
the stem of the button-knob are attached two light Springs (f), which rub against
the blocks (g) made of some non-conducting Substance. Strips of metal (g) are
secured to the lower part of these blocks, and are connected to the electro-magnets
and battery by insulated wires. The button-knob is also provided with a spring
underneath that always returns it to its original position when the pressure of
the performer's finger is removed therefrom. It will be obvious that every time
the button (f) is depressed it will complete the electric circuit and will electrise
the magnet (e), which, by attracting its armature, will lift the valve-rod (5) and
open its valve so as to allow wind from the pressure-chamber (1) to pass through
the chamber (3) into the accessory bellows (d) and inflate them, and by so doing
will draw back the valve-rod (%) and open the communication between the
chambers (I and 2) so as to allow the wind to pass into and inflate the large
pneumatic power-bellows.
292. This motion will raise a rocking-rod (?) which is provided at its upper
end with two shoulders (; ;). Two bell-crank levers (7 ft) are connected by a
link motion (%) to the draw-stop slider of the sound-board (a). The upper arms
of the levers (77) are jointed to the link (AE), and therefore both of them move
simultaneously. The lower arm of the lever (/) is jointed to a slide (i) which
THE ELECTRIC ACTION. 83
is provided with a flat spring (m), the lower end of which bears against pins
fixed in the rocking-rod (?). The horizontal arms of the levers (77) are provided
with projecting pins, against which the shoulders (? 2) of the rocking-rod are
caused to act alternately. When the bellows (c) are inflated, as shown in the
drawing, one of the shoulders (i) of the rocking-rod will come against the pin of
one of the levers (7), and by lifting the same will push forward the link (AE), and at
the same time will draw back the slide (?), and thus put tension on the spring (m).
On the performer taking his finger off the button (f, ſig. 85), and allowing it to rise,
the electric circuit will be broken and the position of the valves (5) will conse-
quently be reversed ; and the bellows (c and d) will then collapse and be ready
for a second operation. Upon the button (f) again being depressed, the same
operation will be repeated, but the rocking-rod will, by the tension of the spring (m),
be thrown over in the opposite direction to the last time, and will bring the other
shoulder under the pin of the other lever so that when the rocking-rod rises by the
inflation of the bellows the link and draw-stop slider will be drawn in the opposite
direction to that before described.
85
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293. As the depression of the button or knob (f) at the keys or manuals
either brings the draw-stop slider on or takes it off (and in both cases the
button returns to the same position), it is necessary for the convenience of the
player that an index should show the actual position in which the slider had
been moved and left. The index is arranged as follows. Immediately behind
the knob or button a hole (?) is made in the draw-stop jamb ; behind this
hole works a lever (g) carrying at one end a coloured disc or label. This lever
is so balanced on its centre of motion that when at rest a fixed disc (indicating
that the stop is closed) appears behind the hole. *,
294, The opposite end of the lever is attached by a rod or wire to the armature








R 2
84 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN,
/
of a small electro-magnet which is connected with a special battery and the draw-
stop slider. Near the end of the slider is a fixed block of some non-conducting
material provided with two metal plates to form terminals. -
295. On the end of the slider itself is fixed a forked spring. When the slider is
moved back this spring will be brought into contact with the terminals on the
block; and, by completing the circuit, the electric current will pass through the
electro-magnet (s), which, by acting on its armature, will draw down one end of the
lever and raise the coloured disc behind the hole, and thus indicate that the slide
is on. Upon depressing the button the next time to close the draw-top slider, as
already explained, the slider will be drawn back away from the terminal block, and,
the electric circuit being thereby broken, the lever, with its disc, will fall into its
Original position, indicating to the player that the stop is off.
296. For combination movements in connection with this draw-stop action, a
bell-crank lever (v) is connected to each slide by its upper arm, as shown in
ſig. 85. Two metal springs (z) are fixed at the ends of the other two arms, So
that by the movement of the draw-stop slider they are alternately brought into
contact with the metal surface of the blocks (w w). These metal springs are,
by means of the conducting wire (a), in connection with one of the poles of the
electro-magnet, which works the slide of that particular draw-stop. On the
depression of the combination knob or pedal, an electric communication will be
established from one pole of the battery to the terminals of each of the bell-crank
levers. The current can, however, only pass through those levers which are in a
suitable position. For instance, ſig. 85 represents the slider on—that is, with
the spring of the lever in contact with the block (w), thereby completing the circuit
so as to allow that slider to be withdrawn. Should any of the stops of that com-
bination be already withdrawn or closed, the lever would be in the opposite
position, the circuit would be broken, and therefore no effect would be produced, as
the slider would be in the required position without alteration. Should these stops
be required to be brought on, another combination knob or pedal must be
depressed, when the electric current would pass to the blocks (w), and from thence
through such of the springs as were in contact therewith to the lever, and thence to
their magnets. If, however, any of the stops should happen to be open, the lever
would be in the position shown in ſig. 85, and, consequently, their springs would
not be in contact with their blocks; and, the circuit not being complete, no effect
would be produced on those particular sliders, as in the opposite case. No insur-
mountable difficulty stands in the way of opening the swell louvres by means of
an arrangement of electro-pneumatics, but as it is necessary, for the purpose of
gaining a gradual crescendo effect, to employ more than one electro-magnet, and, as
the electric current would have to be in circulation around them during the long
intervals that the Swell is locked open, it becomes an expensive arrangement as
far as battery power is concerned. Mr. Bryceson has, therefore, adopted a
hydraulic means of communicating the motion of the swell pedal at the console
to the Swell louvres at the organ. To effect this he uses two small brass cylinders
—one placed immediately under the pedal, and the other beneath the connecting-
rod of the Swell louvres. These two cylinders are connected together by a small
lead pipe filled with water. When the plunger at the pedal is depressed, the one
under the Swell is raised to a corresponding degree, the motion being as much
under the control of the player as if a connecting-rod was carried through, and of
Course with far less friction in long distances. The principal has been used with
Success in connection with the steering of vessels: Mr. Bryceson does not therefore
claim it in his second patent as an invention, but only as a new adaptation to the organ.
297. In the first organs Mr. Bryceson built on the electric system he was unable
THE EIECTRIC ACTION, 85
to overcome a certain difficulty connected with the draw-stop action, which did its
work perfectly, except under the following circumstances:–If the knobs at the
console were moved at a time either before the blowers had commenced or after
they had ceased, no corresponding movement of the sound-board slider could of
Course take place, therefore the organist would be misled as to the real position of
the sliders. It was also possible to move the knob so rapidly that the large
pneumatic power-bellows had not time for inflation, before the momentary contact
had again brokén. These shortcomings no longer exist, as he has invented an
arrangement which provides that, however quickly the knobs are moved, either
singly or collectively, the contact will be prolonged to any length of time found
necessary to insure the inflation of the large pneumatic power-bellows, and also on
the bellows being filled, every slider will be moved so as to correspond with the
position of the knob to which it belongs, although these may have been moved
during the time there was no wind in the organ. This arrangement Mr. BryceSon
patented Feb. 3, 1869, and describes as follows:–Each draw-stop trace is provided
with a metallic forked spring. Three metal plates are fixed near it in Such
positions that one arm of the spring is always in contact with either the Second
or the third plate, according to the position of the draw-stop trace. These two
plates are respectively connected by two insulated wires with the positive and
negative electro-magnets of the draw-stop apparatus, by means of which the slider
in the organ is moved, and thence with one and the same pole of the battery.
The first plate is connected by an insulated wire to one of a pair of mercury cells
placed near each other, and the other mercury cell communicates by another
insulated wire with the other pole of the battery. Hence when the two mercury
cells are connected together an electric circuit is completed round either the
positive or negative electro-magnet of the draw-stop apparatus. The position of
the draw-stop trace will show whether the forked spring is connecting the second
or third plate with the first, and will therefore determine round which electro-
magnet the electric circle is completed. -
298. The mode of establishing a connection between the two mercury cells
is as follows:–A small pneumatic bellows, called the contact-bellows, is fixed on
a table, and kept distended by a suitable spring. The end of the top-board
of this contact-bellows carries two metallic points connected together and fixed
in Such a position as to dip into the two mercury cells on the depression of the
top-board. Each draw-stop trace is also provided with a double incline, and
one arm of a roller or lever is raised by this each time the trace is moved out
or in. The other arm of the roller or lever thus pushes down the top-board of
the contact-bellows (the air being allowed to escape from the interior by a valve
placed externally for that purpose), and, by immersing the two metallic points
in the mercury cells, establishes a connection between them.
299. When the draw-stop trace is either quite out or in, the arm of the roller
or lever will exert no pressure on the top-board of the contact-bellows, which will
be slowly raised by the spring, and thus the electric current will be broken. The
duration of the contact, and, therefore, of the current of electricity, can be regulated
by the dimension of the bellows, the depth of the immersion of the metallic points
in the mercury, the strength of the Spring that returns the top-board, and the size
of the inlet to the bellows. -
300. One contact-bellows may be made to serve for a group of draw-stop traces,
by connecting all the first plates together and arranging each trace so as to
move the roller or lever that depresses the top-board of the contact-bellows.
3OI. In order to insure a correspondence between the position of each slider
and the position of the knob at the key-board to which it belongs in case such
86 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
knob has been moved while the wind was not in the bellows of the organ, a Small
tube is connected with the interior of the contact-bellows and carried into one
chamber of a double box near the battery. In this box there is another chamber
which communicates by another tube with the interior of the main exhaust-bellows.
The partition between these two chambers is fitted with a valve, which is connected
by means of a lever and trace or other suitable mechanical contrivance to the
frame holding the electrodes in such a manner that, when the electrodes are
only partially immersed, the communication between the two is open.
302. When the bellows begin to rise, the electrodes are gradually immersed,
and, consequently, the communication between the main exhaust-bellows and the
contact bellows is at first open and then closed. The result of the communication
being open is that the top-board of the contact-bellows is depressed ; hence, if, at
the time the blowers begin to blow, the position of the slider does not correspond
with the position of the knob at the key-board to which it belongs, it is at once
moved into its corresponding position by the action of the electric current on One
of the electro-magnets; and then, the communication being closed between the
main exhaust-bellows and the contact-bellows, the top-board of the contact-bellows
rises, and the electric circuit is again broken. If a battery be used in which the
electrodes are always immersed, a separate pneumatic bellows can be used to open
and shut the valve between the two chambers of the box, which can then be placed
in any convenient part of the organ. Valves are placed in the contact-bellows to
prevent the air in the tube from passing into them when they are depressed by
the draw-stop traces. The same patent protects Mr. Bryceson's arrangement of
opening and closing the swell louvres by a column of water and two cylinders with
plungers, as before described ; also, the application of hydraulic cylinders and a
pressure of water for working the combination movements, so that they can be
commanded by the performer without offering the usual great resistance.
303. The construction of an electric Organ, as regards the sound-board, key,
and draw-stop action, combination movements, method of opening the Swell-box,
automatic battery attachment and console, has now been explained in detail. The
grouping of these parts so entirely depends on the nature and extent of the organ
which is to be built, that it is impossible to present any diagram which will show
properly the relative positions they will occupy in an entire instrument.
3O4. Before dismissing the matter of construction, it may be well to observe
that the battery employed is simple, inexpensive, and easily replenished by any
careful person. It will not require attention more than four or five times a year.
There are no grounds for Supposing electricity to be a treacherous or uncertain
agent. It is well known that chèmicals of the same quality will, under similar
circumstances, give the same result in their action. Ample notice of any decline
in the power of the battery is given by the galvanometer placed in the console for
that purpose, which serves as well to show whether or not the wind is in the organ,
as indicated by the immersion of the electrodes. Thunder storms, or the electric
condition of the earth, have no effect on an electric organ, as earth currents are
not employed as in telegraphy. The adoption of electricity and insulated wire to
replace or supersede the mechanical action in large organs is not merely a new
process to attain the same end, but, independently of the suppression of a multitude
of moving parts, many new advantages are presented otherwise unattainable.
The touch is more delicate, rapid, uniform, and invariable. The durability is
increased owing to the absence of wear and tear. The key-boards can now be
placed at any required distance from, and quite irrespective of, the relative position
of the organ ; therefore the organist may choose a position where he can hear the
effects he produces, and the voices he leads or accompanies, without in any way
THE "ELECTRIC ACTION. 87
increasing the complication or proportionate liability to derangement. Many
positions that formerly were utterly impracticable can now be utilised with the
grandest effect. Powerful west-gallery organs may be played from the east end of
the church, entirely through a cable of insulated wire an inch in diameter, or
attached to additional manuals provided for that purpose at a mechanical organ
placed close to the choir. Again, in Roman Catholic churches, an altar organ, to
accompany the priests, can be similiarly played from the west-gallery organ, and
thus one organist will be able to accomplish the duty performed by two, as in
foreign churches. Many other novel dispositions and architectural arrangements
Suggest themselves now as perfectly practicable. -
305. The electric principal is applicable to the re-construction of organs already
built, though in such cases all existing mechanical action must be thrown away;
Consequently it is more expensive than when applied in new organs. The cost
must necessarily exceed that of ordinary construction, unless similiar conditions are
imposed, in which case comparison will be favourable, although in addition much
more valuable and imperishable materials are employed in the electric organ, and
the larger it is, the less the proportionate cost of the application, besides the greater
the advantages gained. Should the manuals not require removal, but occupy the
Ordinary position, close to the organ, an electric key-action, to ensure a light touch,
may beenployed with a mechanical or common draw-Stop action, and so save expense.
306. Mr. Bryceson's first electric organ was built for Her Majesty's Opera,
Theatre-Royal, Drury Lane, carried on there on account of the destruction of the
old house in 1867. This organ, erected within three months of the time he obtained
the concession from Mr. Barker, was placed behind the scenery on the O.P. side,
fifty feet away from the key-board, which was in the orchestra, where the organist
could see the conductor and instantaneously realise his suggestions and directions.
It was first publicly used on the 25th of May, 1868, and continued in operation till
the end of the season without the slightest derangement or requiring attention. He
then erected it in the Polytechnic Institution, Regent Street, where it has been
performed on twice daily ever since. This was the first organ which had an
electric draw-stop action and a cable of insulated wire through which it was played.
No such example yet exists in France.
307. The next was built for Christ Church, Camberwell. It contains two
manuals and independent pedal organ, twenty Sounding-stops and five couplers.
It stands above the vestry, in a chamber on the south side of the chancel, and the
console is on the opposite side amongst the stalls for the choir ; fifty-five feet of
cable intervenes, and runs beneath the encaustic tiles, passing through a drain-
pipe provided for it. Exhaust is used for the key pneumatics, and exhaust and
pressure for the draw-stop action. This organ was previously erected for the
Festival, Gloucester Cathedral, September 7th, 1868. Mr. Bryceson has also
re-constructed the large organ in St. Michael's, Cornhill, upon the electric principle.
This fine instrument contains three manuals and independent pedal organ, thirty-
Seven Sounding-stops, and seven couplers. The console is opposite, and facing the
organat a distance of thirty feet, thus placing the choir between the Organist and organ.
The cable contains 336 insulated wires, and measures I; inch in diameter; it is
carried through a small drain-pipe under the chancel floor, and this constitutes, with
the exception of the lead pipe for the swell cylinders, the only connection between the
organ and the console. Exhaust is used for the key pneumatics, and exhaust only
for the draw-stop action. He has also finished a large electric organ for St. George's
Church, Tufnel Park, placed over the west door, and others for St. Augustine's
Church, Highbury, Minley Manor, near Farnborough, &c., all on the electric Sys-
tem. The tubular pneumatic action is noticed in the Appendix,
88 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
CHAPTER XVI.
THE SHIFTING MOVEMENT AND THE COMPOSITION, PEDALS.
The shifting movement. 308, BESIDES themeans just described for bringing the sliders
under the control of the ſlands of the organist, others were in the course of time
devised for bringing some of the stops of the great organ under the control of the
ſeeſ of the performer, called shifting movements. Many of Father Smith's Smaller
Church Organs consisted simply of one manual organ of full compass, with perhaps
also an “echo” to middle cl. This was the case in respect to his instruments in
the churches of St. Mary-at-Hill; St. Mary’s Oxford ; the Theatre, Oxford ; &c.
There being no choir organ for softer playing, Smith attached to most of such
instruments—perhaps to all of them—a movement worked by a pedal, the depres-
Sion of which silenced particular stops—usually all the flue-stops of Smaller size
than the principal, and also the reed-stop—and so they remained as long as the
pedal was held or hitched down; and, on raising or releasing it, they again came
into play, Snetzler also made use of a similar appliance for his Small organs. The
Shifting movement had to be supplied with springs to draw back the sliders on the
removal of the foot, the resistance of which had to be overcome before the pedal
would act; and this must have rendered its frequent use a matter of Some toil and
difficulty.
The composition pedals, 309. These drawbacks led, soon after the commencement of
the present century, to the invention of the composition ſedals, a system of mechan-
ism in which springs acting in the way just described are entirely done away with,
and wherein the sliders are left to remain as the pedal arranges them, until the
hand, or another pedal, effects a readjustment. The merit of this invention is due
to the late Mr. Bishop, although a counter claim to something of the same kind
was made by the late Mr. Flight. The circumstances, as related by the late Mr.
Bishop to the present writer many years ago, were briefly these. Mr. Bishop, then
a very young man, and former apprentice of Mr. Flight's, laid before the Society of
Arts the plans of his invention, which invention Mr. Flight then claimed as having
been made by himself, and at a date prior to that named by Mr. Bishop ; and he
put in drawings in Support of his assertion. On close examination, however, the
paper on which the drawings were made, was discovered from the paper-mark not
to have been manufactured until after the date at which the drawings were declared
to have been completed, that date also being subsequent to the one affixed to Mr.
Bishop's diagrams. This irresistible discovery, of course, brought the investigation
to a close, and Mr. Bishop's claim to the invention was never afterwards contested.
3IO. Of composition pedals there are two kinds—the “single-action " and the
“double-action.” -
The single action com 311. A single-action composition pedal operates in one way
position pedal. only; that is, it either draws out or thrusts in a given number
of sliders, but does not do both,
312. For example, one composition pedal of this kind will simply draw out
THE SHIFTING MOVEMENT AND THE COMPOSITION PEDALS. 89
Stops, Say Nos. 1, 2, and 3;” a second, stops Nos. 4, 5, and 6, and so on. But the
first pedal will not draw in all the stops, except Nos. 1, 2, and 3; this, if done at
all, must be accomplished by a third pedal. Some single-action composition
pedals, therefore, only draw out stops; others merely draw some in. They are now
Seldom if ever made.
The double-action come 313. A double-action composition pedal performs both offices.
position pedal. It will either draw out all the stops ºff to a certain one, or it
will draw in all to the same certain one. Or, supposing a combination to have
been previously prepared, composed partly of stops below and partly above the
number acted upon by a certain pedal—as, for instance, Nos. 1, 2, 5, and 6—on
pressing down the composition pedal that throws out stops Nos. I to 3, the stop
No. 3 will be added to Nos. I and 2, and Nos. 5 and 6 will be drawn in,
3I4. The full operation of the “double-action” can be interestingly brought
under observation in the following manner —If the mixtures and reeds only be
drawn, and the pedal that acts on the great organ stops “to fifteenth * be pressed
down, the stop handles that were previously in will all be thrown out, and those
that were out will be drawn in.
3I5. To modern Organs of moderate size there are usually 3, 4, or 5 double-
action composition pedals, controlling the great organ stops; and sometimes there
are also others which affect the swell and pedal stops,
316. The Second composition pedal is usually designed to prepare a louder
combination than the first ; and the third, if there are only three, generally brings
into operation the remaining and most powerful stops.
317. The second one will therefore draw the sliders up to, say No. 6, if fewer
are out ; or it will draw in to that number, if more are out. The third will generally
draw out all the remaining sliders, or such of them as may previously have been
left undrawn ; and so increase the tone of the great organ to its fullest power.
Occasionally, indeed, the trumpet is not thus drawn, but is left to be added by the
hand.
The composition pedal 318. Of the composition pedal action there are many varie-
action. ties, almost every organ-
builder having some plan which differs, either
in principle altogether, or in some matter of
detail, from that adopted by all the others.
The kind of action represented in the fol-
lowing engraving, however, has been very
generally used. It consists of two iron rods,
or “composition irons,” disposed horizontally
(a a b, ſig. 86), furnished with vertical iron
arms (c c e e e); the whole of which are
brought under control in the region of the
manuals, through the aid of Some simple
mechanism, such as that indicated at dy.
The way in which the 319. On pressing down the composition pedal (f), the
action operates, horizontal arm (d), projecting from the first composition iron
(a a), is drawn downwards, partly turning the composition iron on its axis. The
upright arms at the end (e e e) are by this motion turned intwards, towards the
* Instead of making use of the names of stops in this explanation, figures are employed, as it
is thought the description will be rendered more clear by being divested of all technicality.

90 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
Sound-board, thrusting back the sliders with which they are brought into contact.
The composition irons are supposed to be placed at the oftosite end of the Sound-
board to the draw-stop action ; consequently their motion produces an effect the
7 everse of what they would do were they placed at the same end of the sound-board.
Thus, thrusting in the sliders at the one end is of course equivalent to drawing
them out at the other. The first three sliders being thrust back, the draw-stops
acting thereupon start forward, and the three stops governed by those draw-stops
and sliders respectively are now ready for use.
32O. As the first composition iron revolves, the contact (o) strikes against the
Contact (h) belonging to the second composition iron (5), and causes the second
Composition iron to revolve the contrary way to the first. The arms (c c), being
made to move only with the body, take also the contrary course, moving the other
sliders with them ; and thus it is that the “double-action ” is established, and the
power Secured of restoring any combination of stops to one particular form, by
simply the pressure of the foot upon a pedal.
32 I. Every “double-action composition pedal’ made upon this principle is
provided with two of these composition irons, one for drawing off such sliders as
the other does not draw on.
322. The composition pedals are usually placed immediately over the German
pedals in a row, and nearly parallel with the Swell pedal; but occasionally they
project through the jambs, as that of the swell often does, some on each side of the
pedal-board.
323, Mr. Willis constructs his composition appliances so that they may be
worked with the thumbs by the aid of pneumatic levers ; and for which method of
putting them into operation he has secured a patent. No pedals are used, but
simply studs or pistons, which project through the beading under the manual keys.
Messrs. Bryceson sometimes use both the pneumatic buttons and the composition
pedals in the same instrument. -
324. Mr. Hill introduced into the Panopticon organ a piece of mechanism,
worked by a pedal, which drew out all the great organ stops, singly and in succes-
Sion, producing thereby a gradual and complete crescendo; after doing which, it
drew them in again, one by one, producing as complete a diminuendo. Herr
Walcker, of Ludwigsburg, produces a crescendo of the entire organ, which he has
done at Ulm Cathedral, and also in his famous Boston Music Hall organ in
America.
325. In the modern French organs by Cavaillé-Coll, and others, the combination
pedals do not act upon the draw-stops, but upon the wind. For instance, if you
put down the pedal to take off the reeds, it does not shift the sliders, but cuts off
the communication of the wind from the reed sound-board, which, of course, effec-
tually silences the stops. The Festival organ at the Crystal Palace has pedals of
this kind ; so have Cavaillé-Coll's at the Carmelite Church, Kensington, and Mr.
Gern's at the French Church in Leicester Square. Schulze's combination pedals in
the new organ at Doncaster Church act in the same manner.
326. In Germany composition pedals are Scarcely known ; consequently the
organs of that country are mostly without one of the greatest modern advantages.
Batz, of Utrecht, is beginning to introduce composition pedals.
327. In arranging the composition pedals, Some of the English organ-builders
place the “loud pedal’ to the left and the softest to the right, while others reverse
this order. The adoption of a uniform plan is most desirable. Some of them,
however, have a movement for disconnecting the powerful pedal stops—as will be
seen on reference to some of the Foreign Specifications—which practically answers
the same end.
THE ECHO AND SWELL, 91
CHAPTER XVII.
THE ECHO AND SW E LL.
328. MOST of the old English organs originally possessed, and a few of them
still retain, a department called the “echo.”
329. The Echo organ consists of a duplication of the treble portion of Some of
the stops found on the other manual organs closed in a wooden box, to render their
tone soft and more distant sounding than that of the stops of the same name in
other parts of the instrument, planted on a small sound-board of their own, and
provided with a separate half row of keys. The name of this now nearly obsolete
department in English organs plainly indicates the purpose for which it was
originally designed. In the year 1712 a most important improvement on the old
echo was effected by Abraham Jordan, whereby the sound produced from its stops
could be made to rise or fall on the ear with increasing or decreasing strength. This
power was gained by making the front of the box that enclosed the pipes offen in-
stead of Solid, as before, and furnishing it with a moveable shutter, fitting closely to,
and entirely covering, the opening, and running up and down in a sash, like a
window. A rope or lever attached to the shutter raised it, on the performer pressing
down a pedal placed to his right and near to the ground, which action, gradually
raising the sliding shutter, uncovered the opening in the box, and allowed the sound
produced by the pipes within to emerge. The echo, in this greatly ameliorated form,
was called the “swelling organ” or “swell,” and rose so rapidly into repute, that the
echo in its former primitive state fell into entire disuse in a very short space of time.
330. The “ſtag's-head swell,” as the above early kind of swell was called, was
not well designed, nor happily adapted to its purpose in a mechanical point of view.
The weight or resistance to be overcome by the pressure of the foot was so great
that the shutter could be set in motion only with difficulty ; and, when it was
in motion, there was equal difficulty in regulating the rate or extent of its ascent;
for it would then not unfrequently run up almost of itself. Its descent was similarly
beyond control, and it would often fall with an audible noise. The nag's-head swell
continued in use for upwards of half a century, till it was superseded by what has
since been denominated the “Venetian swell.” This kind of swell was adapted to
the organ by Samuel Green ; it having previously been applied successfully to some
of the better class of harpsichord.
331. The peculiarity of the Venetian swell consists in the front being composed
of a series of “shades” or “shutters,” measuring from six to ten inches in breadth,
and from one and a half to two and a half inches in thickness. Each shutter is hung
on an axis placed one-third from the top of its breadth. The edges of each shutter
are bevelled away at an angle of about 45 degrees, so that the bevelled surfaces are
parallel to each other, and each two contiguous boards are made to overlap each
other, the bevelled surfaces meeting, so that the whole front may be quite flush or
even when the shutters are closed. An arm projects a few inches from each shutter,
in a line one above another, and these are all connected with a perpendicular rod, so
that when the rod is raised, which is done by means of a pedal, all the shutters are
opened. The bevelled surfaces of the shutters are covered with felt, or some such
substance, to make them fit closely and shut in the sound. Cloth and matting were
for some time used as a lining to the box to deaden the sound when the swell was
92 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN.
closed ; but they exercised a similar influence also when it was open ; besides which
the former material harboured moths, and the latter crumbled into dust, Some of which
found its way into the pipes. Brown paper, well coated with glue, covers the pores of
the wood of the box, and so keeps in the sound when the Shutters are closed, at the
same time that it presents a hard surface to reflect the Sound when they are open.
332. The resemblance which the shutters of a modern Swell bear to Venetian
window-blinds readily suggested the designation by which they are now So
generally known.
333. When the shutters of a swell are narrow, they are of course more numerous ;
and in such cases, when open, they present a greater number of thicknesses of
wood to check the egress of the sound. On the other hand, when they are broader,
and, consequently, fewer in number, they are more liable to “cast.”
334. The Swell-box and shutters are shown in profile in the general Section.
(See ſig. 4.) -
335. On a well-constructed Venetian swell a practised performer can imitate,
not only a gradual crescendo and diminueſtdo, but also a ſorgando, a very Small
opening being sufficient to make an immediate burst on the ear, while, when the
shutters are closed, a close imitation of an echo is produced. When the shutters
are closed, they take that position either from their own weight, or from the influence
of Springs or weights.
336. In the lower part of the swell-box, in front, or at the back, or sometimes
in both places, according to the plantation of the reed-stops, there is usually either
a long moveable panel or a wooden flap, corresponding in length with the Swell-
shutters, behind which are ranged the pipes forming the reed-stops, to which
access for tuning purposes is thus easily gained. -
337. Other facilities for tuning are usually provided, having special reference to
the adjustment of the flue-stops. These consist of large openings in each side of
the Swell-box, ordinarily closed by doors or panels. By removing these, the tuner
can reach the top of any flue-pipe that may require his attention.
338. Large Swell sound-boards have frequently a centre passage-board, in which
case there is an entrance door provided through the centre of the front of the swell,
and the shutters are divided into two Smaller sets.
339. A good Venetian Swell, Constructed on the Ordinary principle, is capable of
producing great effects of light and shade ; yet attempts have been made from time
to time to increase its contrasting powers.
340. One plan consisted in enclosing the original box in a second case, with a
space of a few inches left between the two at the sides, back, and top, and filling the
interstices with shaving, Sawdust, or any other material that would prevent the
escape of Sound. In the front were placed two or even three sets of shutters, which
did not all open simultaneously, although acted upon by one pedal; but, by a suitable
arrangement of cranks and levers, on the gradual depression of the pedal, one set
commenced its motion, then a Second, and finally the third, each of the latter two
with an accelerated pace, as compared with that of the one that preceded it; so that
all three sets arrived at their extreme opening at the Same moment, the shades
falling into parallel lines, presenting Scarcely any obstacle to the free escape of all
the sound which the enclosed pipes were capable of producing. The box of the
swell in the organ at St. James's Church, Bristol, built by Smith of that city in 1824,
under the direction of Dr. Hodges, was constructed in the manner just detailed.
341. Another plan provided the back as well as the front of the swell-box with
Venetian shutters, as was the case at the parish church, Doncaster; while the chief
peculiarity in the third plan, devised for the same purpose, consisted in furnishing
50th the sides as well as the front of the box with shutters, as at York Cathedral.
THE ECHO AND SWELL, 93
In this latter example the side shutters were made to work verſically. The shutters
of the swell in the fine organ in the church of St. Vincent de Paul, in Paris, made
by Cavaillé-Coll, work in this manner, and the plan has been followed with excellent
effect by Mr. Lewis in some of his recent organs. The swell-box at St. Vincent
de Paul presents the peculiarity of having its sides and back provided with plate-
glass panels, by which means not only is a perfect view of what is within obtained
from without, but the inside of the swell is nearly as free from darkness as the
other interior parts of the organ.
342. A swell imparts to the Sound of an organ an agreeable undulating effect,
similar to that produced by the wind on the sound of a peal of bells when it bears
their tones first fowards, then from the listener. An organ with a swellis, in fact, as
much in advance of an organ without one, so far as the power of giving expression
to music is concerned, as a modern pianoforte is superior to the old harpsichord; on
which account it is rapidly finding admission into the organs of France and Germany.
343. The compass of the early swells was very limited, usually extending only to
middle cl, fiddle g, or at most to tenor f. The swell of the fine organ in St. Mary
Redcliff Church, Bristol, built by Harris and Byfield, in 1715, descended to gamut
G ; while that of the equally fine instrument at Great Yarmouth, erected by
Jordan, Bridge, and Byfield, in 1733, went to tenor C. The shorter ranges, never-
theless, were generally adhered to until the time of Samuel Green, who held this
department of the organ in special estimation, and improved it in a variety of ways.
In two of his instruments he again extended the swell compass by nearly a whole
Octave. The admirable organs in which these evidences of Green's sound judgment
are to be found are those in St. Katherine's Church, Regent's Park, brought from
the demolished structure of that name, near the Tower, and in the chapel of Green-
wich Hospital; in the former the swell descends to gamut G, and, in the latter, a
tone lower—namely, to FF. Green originally enclosed even the great manual
Organ of his-instrument in St. George's Chapel, Windsor, in a great swell.
Cavaillé-Coll's organ at Kensington is so enclosed.
344. Some of the old swell-boxes were furnished with a wooden tube, not unlike
a wind-trunk, projecting from the back of the box, and passing out into the tower of
the church. This was the case with the organ at St. Martin’s-in-the-Fields, built
by the elder Gray. The end of the tube attached to the swell-box was furnished
with a trap, which opened when the Swell was closed, and closed as the swell was
opened ; by which means the Subdued effect of the Swell, when shut, was increased,
on account of an outlet being thus afforded for the sound. This contrivance suggests
a method of overcoming a difficulty with regard to the larger swells of modern
organs. If the swell is much used without being opened, and the shutters fit accu-
rately, the atmosphere within the Swell-box becomes increased in density by the
great quantity of wind that rapidly passes through the large pipes into the circum-
scribed area of the box, which has the effect of flattening the pitch of some of the
pipes. If, on the other hand, a little leakage be allowed, the escaping air, by carrying
some of the tone with it, renders the softened effect of the swell less perfect. By
adapting a tube, as above, there would be free ventilation within the swell-box,
when closed as well as when open, whereby the freedom of speech of the large as
well as small pipes would be better secured ; the pipes would not be thrown out of
tune by being Smothered ; and the fullest contrasting powers of the swell would be
preserved. If the Swell were likely to be exposed to two temperatures—a second
and lower one from the tower when the shutters were closed—this might be rectified
by a Small gas jet placed at a safe distance from the mouth of the tube. In his
Exhibition organ Mr. Willis secured a free circulation of air by putting the swell
bellows inside the swell-box, -
94 THE WIND-DISTRIBUTING PORTIONS OF THE ORGAN,
C H A P T E R XVI I I,
THE TREMULANT.
345. THE tremulant is a Small apparatus that gives to the tone of any depart-
ment of an organ to which it may be applied a waving or undulating effect,
resembling the vibrato in singing, and the tremolando in violin playing. It has
long been known in England by tradition. A “shaking stoppe” formed part of
the organ made by Dallam, in 1606, for King's College, Cambridge ; another
was included in Loosemore's organ for Sir George Trevelyan, built in 1665; a
“Trimeloe” occurred in Smith's organ at St. Mary-at-Hill, 1693; and another formed
a portion of the original work of Snetzler's organ in the Lutheran Church, at the
Savoy, Strand. The old tremulants, however, were very noisy contrivances; hence
they were not favourably received in this country, and they were latterly also
omitted from most of the new organs in Germany. In Paris a better kind of
tremulant action was devised, not many years ago, on which, nevertheless, the
English builders have succeeded in making considerable improvements ; the first
church organ in this country to which a tremulant of the new kind was applied
being that at St. Luke's, Old Street, the addition being made by Mr. Davison.
346. The accompanying engraving (ſig. 87) represents one of the most Successful
87
},
+x
tremulant actions. It is Supposed to be fixed to one of the broad sides of the
wind-trunk. The wind passes through a hole in the wind-trunk (//), into the
wind-box (a a a), and hence, through an internal aperture in the slab (5 & 5), into the
tremulant (cco), which also has an aperture through it, covered by the pallet (ddd)
held firmly down by the screw (e). The tremulant is thus set in motion. The rod
(£) turns the screw half-round in the socket (f), the pallet (dd.d) being thereby
raised slightly; the tremulant (c cc) immediately follows the pallet (a), by reason

THE TREMULANT. 95
of the internal pressure of air on its under Surface; but it is immediately thrown
back by the spring (g), which, in power, just counterpoises the upward pressure of
the tremulant (c c c). These two opposing forces, viz., the wind inside and the
spring outside, impart a trembling motion to the tremulant, which motion is com-
municated to the elastic bar (h). The rapidity and regularity of the vibrations depend
upon the length and thickness of the vibrating bar, influenced, in Some examples,
by a small sliding weight at the end, on shifting which nearer to or farther from the
tremulant, the vibrations are accelerated or retarded.
347. The tremulant is here described in connection with the swell, because that
is the department to which it is the most usually attached in England; besides
which, its effect is considerably enhanced when brought into conjunction with the
numerous other resources of the division of the organ just named. The effects of
forfe, Ziano, crescendo, diminuendo, Sforzando, and remolando, are then all attain-
able from that one department alone.
348. The tremulant effect in an organ is of older date than the fremolando and
vibrato effects in instrumental and vocal performance. This fact may be gathered
from the following passage taken from Grassineau's Musical Dictionary, ed. I740,
p. 289 –
349. “TREMOLO, 77 emo/ante, or 7 remente, ’tis not often used, except thus
abbreviated—Trem, or fr; to intimate to the instrumental performers of a piece
that they make several notes on the same degree or pitch of tune, with one draw of
the bow, ſo imitate the shafting on the organ, though this is often placed in the vocal
parts of a song.” We have examples of both in Mr. Lully's opera of Isis,
#Digigion C),
THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
*mºsºmsºmºsºme
CHAPTER XIX.
THE MATERIALS USED FOR ORGAN PIPES.
350. HAVING now described the wind collecting and distributing portions, as
also the mechanism of the organ, the next subject to be considered is the nature
and construction of those parts from which the tone of the organ is more imme-
diately produced.
351. The sound of an organ emanates from an assemblage of pipes, which are
made either of tin, metal, or wood; are round, Square, or triangular shaped ; long
or short, broad or narrow, according to circumstances. But first of the materials.
352. The various substances of which organ pipes are made are tin, metal, lead,
antimony metal, zinc, and wood of various kinds.
Tin. 353. Of all the materials just specified as being used for
organ pipes tin ranks first in point of excellence; and, of the many existing varieties
of this substance, that found in England is held in the highest esteem, not only by
some of the organ-builders of this country, past and present, but also by the
Continental artists, by the latter of whom it still continues to be used in liberal
quantities. Thus we find English tin mentioned as being used for a greater or less
number of stops in some of the specifications of foreign organs contained in the
Appendix to this book ; while in other cases other kinds of tin are named, as
Prussian tin, probe tin, or simply “tin.”
354. Tin has occasionally been used by English organ-builders for organ stops
for many years past. Greenwood, of Leeds, introduced a dulciana of this material
into the organ in Brereton Hall upwards of twenty-five years since ; Mr. Hamilton,
of Edinburgh, has employed it exclusively for many years past ; and more recently
it has been used by Mr. Davison, for the Great Open Diapason, and an interior stop
in the Eton College Chapel organ (built 1852); also for the Choir Open Diapason
in the Glasgow Town Hall organ (erected in 1853); by Mr. Walker, for the
Open Diapason and Dulciana, forming the Bass continuation to the Viol di
Gamba, in the organ at Holy Trinity Church, Vauxhall Bridge, finished in the year
1852; and by Mr. Willis, for the 32-feet front pipes of his organ in the Royal
Albert Hall.
355. Tin recommends itself as a material for Organ pipes by its great durability,
its superior silver colour, and its lightness. It is very ductile, on which account
pipe-work made of such material does not nearly so soon become cracked or
broken round the top by the force necessarily exercised with the tuning-horn during
the process of tuning. Neither are pipes of this metal so soon attacked by the
strong acid in the wood-work that Sustains them (the upper-boards), but which
will eat away the lower part of pipes made of many other materials that are more
frequently used. It undergoes but little change, either from exposure to the
THE MATERIALS USED FOR ORGAN PIPES. 97
atmosphere, or to the impure exhalation produced by the breathing of a closely
packed audience; and it resists the influence of Sulphurous vapours, such as the
fumes from gas. Nor is it oxidised even by the combined action of air and
moisture ; on which account it has always been liberally used for the pipes of
organs in those countries where there is a humid atmosphere, as in Holland,
and the use of wood pipes at the same time avoided, as far as possible, on account
of their tendency to swell from the damp. Of the sixty stops in the Haarlem
organ only one is of wood, namely, the pedal Sub-bass, and that is a subsequent
insertion. The front pipes of that celebrated instrument, the largest of which is
nearly forty feet in length, are of pure tin ; while the inside pipes are made of
metal compounded of half tin and half lead.
356. Tin, again, is less susceptible of change of temperature than are many of
the compounds in common use, on account of its greater hardness; Consequently
pipes of this material stand much better in tune.
357. Tin does not soon become tarnished ; hence its peculiar appropriateness
for ungilded front pipes, for which purpose it has indeed been used for centuries
in even the humblest village church organs in Germany; and, when it does at length
become dulled, its splendour is easily recovered. When it dulls, it never changes
below a dark grey tint.
358. The lighter specific gravity of tin, again—fully one-third less than that of
lead—is in its favour, a given quantity of the former going much farther than an
equal weight of the latter. This is supposing the pipes to be made from sheets of
the same thickness; but as this is but seldom the case—the 16-feet front pipes of
the organ at St. Roque's Church, in Paris, however, forming an exception, they
being of tin, and of remarkable suffs/ance—the tin would probably go as far again
as the lead. The great cost of tin—five or six times that of lead—and more parti-
cularly the baneful “low-contract” spirit which unfortunately pervades most modern
transactions in organ-building matters, preclude its use to any great extent in this
country, although it would, on account of the greater durability of the material,
prove to be the cheapest in the end. The easy fusibility of tin renders the joining
together of the edges of sheets of that metal a work demanding great care, as it is
possible otherwise for the melted solder to fuse them instead of uniting them into a
seam ; hence a small portion of alloy (lead) is frequently added, which renders the
substance less susceptible of heat. According to a late experiment, tin fuses at
442°, whereas lead requires 612° of Fahrenheit's thermometer. Cavaillé-Coll, the
eminent organ-builder of Paris, generally proportions I-IOth of lead to 9-IOths of
tin ; and Schulze, one of the most excellent builders in Germany, uses I-4th of lead
to 3-4ths of tin ; and, for his ordinary metal, half tin and half lead. The two
ingredients just named are said to form the hardest compound, when the propor-
tions are I-4th of lead to 3-4ths of tin.
359. Some German organ-builders draw a distinction—and a very good one—
between “pure tin" and “tin.” The term “pure tin * of course explains itself; but
the material is still called “tin’” So long as the proportion of alloy is so small as to
àmàrove the mass; and this is considered to be the case so long as the alloy forms
no more than I-4th of the total weight of the metal. Pipes composed of this
material are said to produce the greatest amount of tone, combining brightness
with fulness. When the pipes are of “pure tin,” if they are also made of good
Substance and well blown, the tone has a tendency to become rather piercing ; if,
On the other hand, they are made thin and less copiously winded, the sound will be
very musical, though not so weighty as that from more Solid pipes of the same
Scale made of the alloyed tin. Hence the latter material is preferred for the
strongest-toned stops; and the former for others of a clear, cutting, crisp, or light -
S
98 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
intonation. Thus the Gambas, Salicets, &c., in Germany, and the Choir Open
Diapason and Dulciana of English organs, are not unfrequently made of “pure
tin,”
360. The original front pipes of the Temple organ, made by Father Smith, are
rather more than 3-4ths tin. The specific gravity of the metal of the last-mentioned
Organ is 7911 (that of water=1); and its composition is as follows:–
Tin..................... 76'9504 per cent.
Lead * 8 & 9 º' tº tº t t > t t e º & B & 8 2I-9017 95
Copper * * * * * * * * * * * * * * * *. ‘5183 35
99'37O4
361. The presence of copper, which is only about a half per cent., is no doubt
accidental, and was in combination with the tin ; a small quantity of copper being
commonly found in ordinary commercial tin. The above composition very nearly
accords with what would be called by the German organ-builders “I2; 16thig
metal,” that is, one pound (= 16 löth) of the metal contains 12# löth of tin, or 12;
oz. of tin to 33 oz. of lead. The proportions of tin and lead, therefore, lie between
4 of tin and I of lead, and 3 of tin and I of lead, as above intimated.
362. In Die Orgel, by Töpfer (Erfurt, 1843), page 175, a table is given of the
specific gravity of metal with different proportions of tin and lead, from which it
appears that the specific gravity of that consisting of 4 of tin and I of lead is 7-8830,
and that containing 3 of tin and I of lead is 8'0380; the specific gravity of the
Temple metal being between the two, namely, 791 II. The front pipes of the
organs at St. Paul's Cathedral and Trinity College Chapel, Cambridge, are also of
very fine metal, and of considerable thickness; hence the rich and resonant
character of the Diapasons of all the instruments above named.
Metal. 363. Metal is a word used technically by organ-builders,
and is understood to signify a mixture of tin and lead, which compound is valued
according to the quantity of the former ingredient contained in its composition.
The metal ordinarily used abroad consists of half tin and half lead. The distinction
between tin and metal stops, as well as the proportion of tin and lead used in the
composition of the metal, will be found interestingly illustrated in Some of the
Specifications of Foreign Organs included in the Appendix,
Spotted Metal 364. There is a compound now much used in England,
and held in high repute, called “spotted metal,” from its surface being mottled
or covered with spots. The spots gradually appear on the surface as the metal
cools after being cast into sheets, and “rise” when the ingredients contain about
I-3rd of tin. They are, therefore, generally viewed as an evidence of the goodness
of the material. Spotted metal was frequently made use of by the younger
Harris and Green, also by Lincoln. In the present day it is constantly used by
Imost of the English organ-builders. -
Lead. 365. Lead, either alone or with but a slight admixture
of tin, from its inability to sustain itself for any lengthened period, is, as a
material for metal organ pipes, comparatively worthless. The greater thickness
to which a sheet of this metal must necessarily be made, to compensate for its
natural softness, added to its greater specific gravity, are circumstances that
render the bodies of leaden flue pipes so heavy that their feet are very liable
to become depressed at the apex from the weight, and the languid to sink,
THE MATERIALS USED FOR ORGAN PIPES. 99
whereby the intonation of the pipe is endangered, if not lost. The tubes of
reed pipes, especially, are very apt to bend at the narrow end or Stork, from
this weakness. Bad metal is discernible in a variety of ways; to the eye, by
its dark blue tint;” to the touch, by its producing a dull hollow sound on
being rapped, whereas pipes of good thick metal produce a clear ringing sound ;
and to the nail, by its being easily scratched, whereas tin can scarcely be
marked in that manner. Metal composed chiefly of lead also easily soils paper
rubbed upon it. The organ in the Minoreten Church at Bonn—the instrument
on which Beethoven used to play—has its metal pipe-work composed entirely of
lead, including the 16-feet front. It is not a very good instrument. -
Antimony Metal. 366. Antimony metal is compounded chiefly of lead and
antimony, or lead and type. The antimony imparts considerable hardness to
the mass; so that the possibility need scarcely exist of a pipe-foot or languid
of antimony metal sinking. The drawback is its brittleness; pipe-work of this
compound being very liable to crack round the top after being subjected to the
action of the tuning-horn for a few years. A proof of this lack of tenacity in
the metal in question is obtained by bending a piece of it to and fro, when it
will be found to break asunder on reversing the bend. In some instances the
antimony has been known to separate itself from the lead, leaving the pipes
covered with little indentations; and reed-pipes of antimony metal have been
known to Snap off Suddenly at the Stork, and fall from their situations.
Zinc. 367. Zinc has frequently been used of late years in Eng-
land by Hill and Son, Willis, Lewis, and others, for the structure of large metal
pipes; and it is a material that undergoes but little alteration at common tempera-
tures, under even the combined influences of air and moisture. The tone produced
from pipes of this substance, when voiced by the hands of a master, is very fine and
weighty. Its cost, again—far less than that of good metal—much favours its intro-
duction. The tubes of the 32 and 16 feet reed-stops in many of the Continental organs
are made of this material. The 32-feet POSaune on the pedal at St. Roque's, Paris,
is of zinc ; so also is the 16-feet Bombarde in the organ at St. Martin’s, Liege.
The front Double Open Diapason (32 feet) in the Birmingham Town Hall organ is
likewise of the same material ; and there is a Double Open Diapason of the same
size and metal also in the Cathedral Organ at York, and a very fine I6-feet Pedal
Diapason of the same substance in the transept front of the organ in Doncaster
Church. The 32-feet front pipes in the Alexandra Palace organ, by Willis, are of
zinc.
The casting of the 368. In Order to prepare the metal for use, of which
Metal, organ pipes are to be formed, the ingredients are melted
together in a copper, and then cast into sheets, a process effected by pouring
it, in a molten state, into a wooden trough, and running the trough rapidly along
a bench faced with tick. The metal escapes from the trough through a narrow
horizontal opening at the back, leaving a layer of metal behind it as it proceeds;
and the wider the cutting is, of course the thicker will be the sheet of metal
* “In the Continental organs, the pipes visible in front of the case are carefully finished
and burnished, and show the bright natural lustre of the white metal; but, in England,
where the ignoble alloy is incapable of retaining its polish, the pipes are obliged to be gilt
or painted, to make them appear respectable.”—Musical Instruments in the Great Æxhibition.
By Wm. Pole, p. 49.
IOO THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
produced. After being cast to an approximate thickness, the metal is planed
down to the precise thickness required. It is then cut into portions of the
shape necessary to give to the pipes the required size and form, and is thus
finally worked up.
Wood. 369. A great number of the large pipes, as well as some
of the smaller, are made of wood ; and experience proves that pipes made of
good wood do better Service, and are of longer duration, than inferior metal ones.
370. Dr. Burney was assured by Snetzler, who had seen Father Smith
work, that he was so particularly careful in the choice of his wood, as never
to use any that had the least flaw or knot in it ; and so tender was he of his
reputation, that he would never waste time in trying to mend a bad pipe, but
would immediately throw it away and make another, which accounts for the
soundness of his wood pipes to this day. The woods chiefly made use of for
modern pipes are cedar, deal, and pine. Oak was employed by Father Smith,
but not frequently, in consequence of its cost and the expense of working it.
The bass of the Stopped Diapason in the great organ at the Temple is however
of this material. So also is the Flute in the great organ. Mahogany is occa-
Sionally adopted for the pipes of Organs destined for hot climates, as in the
organ at Calcutta Cathedral, built by the late Mr. Gray. Other woods are
Sometimes made use of in Continental organs, as maple-wood, pear-tree-wood,
cypress-wood, box-wood, &c. (See Foreign Specifications.)
The seasoning of the 371. The wood of which organ pipes are to be made is
wood. first well seasoned ; that is to say, it is thoroughly exposed
to the air for a few years, and, to a certain extent, also to rain water,
to destroy all its vital properties; after which it is kept in a dry place, where
the air can get to it freely, to prevent its decaying. If any sap were to remain
in the timber—i.e., if the wood were not to be thoroughly seasoned—it would
be very apt, after being worked up into pipes, to split on becoming dry, and
So render the intonation faulty.
372. With the view to rendering the wood pipe-work thoroughly sound,
such knots in the timber as cannot be avoided are covered well with glue and
leather, or paper, to prevent their falling out; or they are extracted, and their
places filled in with other wood. After this, the wooden pipes are often covered
on the outside with a coat of red size (which by no means improves the
appearance of the interior of the organ), and inside with a layer of thin glue,
to fill up the pores of the wood, which, by rendering the surface smooth,
improves the tone of the pipes,
THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. IOI
CHA P T E R XIX.
THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES.
The plan and outline 373. THE next particulars to be noticed are the Žlaſt, old/ºte,
of the pipes. and frożortions of the pipes that are formed out of the Several
materials just enumerated. - w
374. In regard to ſlam organ pipes are divided into three classes : round
four-sided, and triangular, the respective kinds of plan almost necessarily arising
from the employment of the flexible and the stiff substances.
375. In regard to Shaffe and outline organ pipes are very diversified ; and every
variation in these respects causes more or less alteration in the strength or character
of the Zone of the pipe.
376. The chief varieties of metal round-bodied pipes are the
Cylindrical,
Conical, -
Conical, surrounded by a bell,
Inverted cone, and
Inverted cone, surmounted by a bell.
377. Wood pipes are divided into
Four-sided,
Three-sided,
Cylindrical,
Pyramidal, and
Inverted pyramidal pipes.
Cylindrical pipes. 378. Pipes classed under this head are such round ones as
preserve the same diameter in body all the way up. There are three varieties of
cylindrical pipes—the open, the stopped, and the half-stopped.
Open cylindrical pipes 379. Open cylindrical pipes are the most numerous in all
(Vºg. 88, p. 102). organs; the stops called Open Diapason, Principal, Fifteenth,
and Mixture, annong others, being ordinarily composed of pipes of this shape.
Open cylindrical pipes are therefore used for the strong-toned flue-stops.
Stopped cylindrical 380. Stopped cylindrical pipes are Such as have their top
***** closed or covered in by a metal covering or cap (a, fig. 89).
Stops composed of pipes so formed are rarely to be met with in England, except in
old Organs ; and there they are only occasionally to be seen. There was an
excellent one in Father Smith's organ in Chester Cathedral; and the pretty (so-
labelled) Stopped Diapason in the swell of the small organ in All-Hallows, Bread
Street (now removed), was formed of pipes of this description. Stops of covered
pipes, however, are of common occurrence in the German organs, under the names
of “Gedact” and “Quintaton.”
38I. The “Gedact 8 fusston,” which is sometimes made also of wood, is a full,
iO2 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
yet mellow-toned Stopped Diapason. The “Quintaton 8 fusston’ is a Stopped
Diapason of smaller scale, which sounds the Twelfth or Octave-fifth as well as the
fundamental or ground-tohe.
Half-stopped cylindrical 382. Half-stopped cylindrical pipes are far more common in
pipes (ſºg, 90). English organs than are the last mentioned. They are formed
much after the manner of the covered pipes just noticed, the chief difference con-
sisting in the cap being perforated in the centre with a small tube or chimney rising
therefrom, and hence called flute à cheminée by the French. (See e, ſig. 90.) Stops
of this kind are frequently to be seen in old organs, and occasionally also in modern
ones, under the names Stopped Diapason (metal), Flute (metal), &c.; although the
stop-labels seldom indicate their presence, So far as the materia! is concerned.
88 89 90
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383. The great and Swell Stopped Diapasons and the swell Flute in the organ
at the Temple Church are of metal ; So were those in Harris's fine organ at
Doncaster, destroyed in 1853. There is a fine metal Stopped Diapason in
Bridge's great organ at Christ Church, Spitalfields.
Perforated cylindrical 384. Perforated cylindrical pipes are used in the formation
pipes. of certain stops. Thus the small pipes of the Keraulophon are
pierced through the body, near to the top ; those of the English Hohl-flute have
two holes near to the top, and opposite to each other ; while those of the Flute
Harmonique have each a Small perforation half way up the body.
385. Besides the foregoing varieties, cylindrical pipes are made of wood in
Germany, and produce a most exquisite tone. They are used for the “Flauto
Traverso,” among other stops, which stop, like the French Flute Harmonique,
blows its octave in the upper portion of the scale.
386. Besides the flue-stops already enumerated, Some soft-toned reed stops are
composed of cylindrical pipes. These are the Clarionet (ſig. 91) and Vox Humana
(fig. 92) stops. The former is constructed of moderately long and narrow pipes which
are quite open at the top ; the last mentioned are of shorter and broader pipes, and
half-stopped at the top,

THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. IO3
Conical pipes. 387. Conical pipes are such that the bodies lessen from
the mouth upwards more or less rapidly. Pipes of this conical shape are rather
rare in old English organs ; nor can they be traced very readily when they do
occur, as their presence is seldom notified in any way on the stop-handles. Two
varieties of conical pipes are here engraved. Fig. 94 represents the German
“Spitz-flöte,” which is little more than half the width at the top ; and ſig. 95 the
German “Gemshorn,” which is scarcely more than # at the top than it is at the
mouth. Father Smith occasionally made use of conical pipes. A Spitz-flöte and
a Gemshorn of his make still exist on the choir manual of the organ in the Temple
Church. There was a “Gemshorn Twelfth "in the choir of Smith's organ at St.
Paul's Cathedral. Within the last few years the use of conical stops has become
rather general with the English organ-builders,
91 92 93 94 95
|-
388. Messrs. Hill and Son frequently insert into their organs a stop of conical
outline, and rather crisp tone, which they call “Cone Gamba, 8 feet.”
º º, Still- 389. Conical pipes, surmounted by a bell, are used in the
... .”.” formation of the English Viol di Gamba; the pipes of which
outspreading top (ſºg, - $ o 2
93). stop, however, differ from those of the German one of the same
- name, in having the bell at the top, besides being conical.
This kind of pipe is peculiar to the English organ, and was first introduced by
Mr. Hill,
Inverted cone (ſig. 96). 390. Pipes of the inverted conical form—i.e., narrow at the
lower extremity, and spreading out thence upwards (see ſig. 96)—are employed to
a great extent in most organs; the greater portion of the reed stops, as Trumpet,
Posaune, Clarion, Horn, Bassoon, &c., being composed of pipes partaking of this
outline, the chief difference perceivable to the eye being in the proportion. Flue

IO4. THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
pipes are made of this shape on the Continent, and form the stop called the
“Dolcan" (fig. 97). A stop of this shape and name occurs in the organ at St.
Stephen's Church, Westminster, built by Mr. Hill, producing a light, agreeable,
and rather fluty tone.
. Cone, Sur- 391. Pipes of the shape of an inverted cone, surmounted by
f & & º e *g
Č. * * * a bell, increase in diameter more gradually and to a less extent
than the preceding, the bell expanding more suddenly. Pipes
of this construction (ſig. 98) are only used in the formation of the Hautboy and its
Octave, the pipes of which stops more nearly resemble the shape of their Orchestral
prototype than those of any other in the organ, excepting some of the Continental
Flutes,
Wooden pipes. 392. Four-sided Žižes (ſig. 99) are those of which the bodies
are of the same width and depth throughout their length. They are freely employed
in most organs, and are of two kinds; the first open, the second stopped, entirely
or partially.
96 97 98 99
ºn ::::::
l ZºZ
Open four-sided pipes. 393. Open four-sided pipes are often introduced in lieu of the
large metal bass ones of the Dulciana and Open Diapason. Some stops are formed
exclusively of pipes of this class, as the Clarabella, the English Wald-flöte, &c.
The Pedal Open Diapason is very commonly composed of pipes of the above kind.
Stopped four-sided pipes 394, Stopped four-sided pipes are closed or covered at the
(Vºg, Ioo, p. 105). upper end with a stopper. Like the preceding, they are used
to a great extent in most Organs; the Double and Unison Stopped Diapasons,
and the Stopped Flute, being in modern instruments usually composed of pipes of
this description.

THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. IOS
Half-stopped four-sided 395. The difference between a stopped and a half-stopped
plpes. pipe consists in the latter having a hole bored down through
the handle and stopper. The treble portion of the stops mentioned under the last
head is frequently perforated in this manner; SO also is the Clarionet-flute. Large
Stopped pipes are seldom bored. *
Three-sided pipes. 396. Three-sided pipes are of rare occurrence. They are
the invention of Mr. Edmund Schulze, who has recently used them for his Hohl-
flötes. Specimens by him are to be found in the Doncaster organ, and in the
organ recently erected by Messrs. Foster and Andrews at Halifax.
Cylindrical wood pipes. 397. Cylindrical pipes of wood are frequently made in
Germany, and produce an exquisite tone. They are used for the “Flauto Tra-
verso" of 8 and 4 feet, among other stops. Examples, by Schulze, occur in the
Doncaster, the Temple, and the Leeds Parish Church organs. -
Pyramidal pipes (ſg. IoI). 398. Pyramidal pipes, broadest at the mouth and lessening
upwards, are sometimes introduced (ſig. IOI) to form the bass of the metal conical
stops, in the same way that the open four-sided pipes are employed for the com-
pletion of some of the cylindrical stops. Occasionally entire stops are formed of
pipes of this shape.
399. In the choir department of the large organ in the Wesleyan chapel at
Boston, built by Messrs. Gray and Davison, are two stops made of this shape, and
called “Gamba " and “ Gemshorn.”
Pyramidal and inverted 400. Pipes of the inverted pyramidal shape—i.e., narrow at
(Vºg, IO2). the bottom and broad at the top (ſig. IO2)—are frequently used
for large reed stops, as the I6 and 32 feet Posaunes. Smaller reed stops are some-
times formed of pipes of this description ; as, for instance, the Bassoon. The
pipes constituting the lower portion of the “Dolcan’ (ſig. IO3) are also sometimes
made of the pyramidal and inverted shape.
IOO IOI
401. The varied proportion in the dimensions of a pipe, and its influence on the
sound, are noticed in a Subsequent page,

106 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
The classification of the 402. The numerous kinds of pipes just noticed are divided,
º*** in regard to the distinct manner in which that part is made
which in reality produces the tone, into two great classes,
namely, ſue #iffes and reed fiftes. *
Flue pipes. * 403. Lip, mouth, or flue pipes—for they are called by all
these names—are such as have an oblong opening, called the mouth, at the junction
of the body with the foot of the pipe; bounded above and below by two edges
called the liffs, which are made to sound by the wind first passing through a narrow
fissure, ſtate, or wind-way, and which depend chiefly on the length or shortness of
their bodies for the gravity or acuteness of the sound they produce.
Reed pipes, 4O4. Reed or tongue pipes are, on the contrary, those which
are made to Sound through the medium of a mouthpiece (not unlike that of a
Clarionet), furnished with an elastic plate of metal, and which do not depend on
the length of tube” of the pipe, but on the size of the mouthpiece and the
vibrations of the Zongue, for the gravity or acuteness of the sound.
405. For the purpose of illustrating the difference between these two classes of
pipes, it may be observed that, while an open flue pipe must have a body of eight-
feet standard length to produce the CC sound, a reed pipe may only require a tube
of about eighteen inches, as in the case of a Vox Humana. Indeed, a tube of any
Sort is not indispensable, as is evidenced in accordions, seraphines, harmoniums
concertinas, and such like instruments, all of which produce their sounds from
metal tongues of various sizes, closely resembling those belonging to the reed pipes
of an organ, but the dimensions of which instruments must be sufficient to indicate
that tubes cannot therein be contained. The tubes, however, acting like speaking-
trumpets, exercise a great influence on the strength and fulness of the tone
produced, both being much increased by their presence,
The separate parts of a 4O6. An open metal flue pipe is composed of three distinct
metal ſlue pipe. parts, called the body, foot, and language, or languid.
4O7. The body is that part of the pipe that, commencing at the mouth, extends
thence ºftwards. (See ſig. 88, a h, page IO2.) It is formed by rolling a -
sheet of metal of the requisite dimensions round a wooden cylinder or , ”
cone, called a “mandrill,” and uniting the edges together with solder. Tº
The joint thus formed is called a “seam,” and occurs in the back of the
pipe. On the opposite side, forming the front of the body, and near to
the lower end, an indentation is made, as shown in fig IO4, at a, called
the “leaf,” which is continued to nearly the bottom, where a small portion
of the flattened part is cut away, leaving a broad opening 6. The edge
that is left immediately over this opening (c) is called the “upper lip.”
408. The foot is that part of the pipe, of an inverted conical shape, that extends
from the mouth downwards (fig. IO5). It is made in a similar manner to
the body; i.e., it has a seam running vertically up the centre of the back,
and an indentation in the front ; though, in this instance, in the upper
part (a), corresponding with that in the body of the pipe, forming an
“under lip.” The foot serves as a conductor of wind from the upper
board up to the mouth of the pipe ; hence, in the apex (e), a hole is made
for the entrance of the wind. It further answers as a support to the pipe,
to which end it is made very thick and strong, that it may resist the weight
and pressure of the body.
IO5
* Flue pipes are said to have bodies, and reed pipes tubes.


THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. Ioy
409. The language, or languid (ſig, 106), is the flat plate of metal that lies hori-
zontally over the top of the foot, just inside the mouth. It is made of
much thicker material than any other part of the pipe, because it is
entirely unsupported, except at the sides and back. In front, it presents
a straight edge, corresponding with the lips of the body and foot, but
slightly behind that of the latter, leaving a narrow fissure or “wind-way” wº -
between. The front is also bevelled inwards and upwards. The languid is
made very strong and thick, that it may not sink in front or in the middle—
casualties that would cause the “sheet of wind” to miss the upper lip, and So
render the speech of the pipe defective.
4IO. The mouth, as already intimated, is the horizontal cutting or opening that
occurs at the junction of the body and foot of the pipe. Its use and influence will
be noticed hereafter.
The way in which the 411. Open medal fiftes.—The separate parts of an open flue
.*.*.*, *... pipe are joined together in the following manner:-The straight
pipes are united toge- &c. 5 5
ther. edges of the language and foot are first arranged parallel, and
then the back and sides of the two are soldered together, the narrow slit in front
being left open so as to form a passage or “wind-way’ for the current of air that
enters at the foot of the pipe. In the next place, the lips of the body and foot are
placed precisely opposite to each other, and the body and foot are then strongly
united together at the back and sides. The languid is thus entirely enclosed
within a finished pipe.
412. Stoſſed metal fiftes are sometimes furnished with a moveable cap, that
fits tightly over the top of the pipe, completely enclosing it ; or a metal cap is
soldered on to the top of the body; while in Some examples a wooden stopper
covered with leather is fitted into the end of the pipe, the pipe in that case being
made somewhat longer to receive it.
413. Half-sto/ffed metal fiftes have, in addition to the cap, the fixed covering,
or the stopper, a small cylindrical tube, or “chimney,” soldered into a hole in its
centre; or in the case of a wooden stopper, a hole is burnt through it.
414. It may be as well to explain here the precise meaning of the German
name given to a stop composed of pipes of the kind just noticed. The literal
translation of the German name Rohr-flöte is reed flute, which has sometimes been
supposed to imply a reedy-torted flute stop; such interpretation, however, being
accompanied by a difficulty arising from the fact that half-stopped metal pipes,
with chimneys, produce a peculiarly smooth and liquid tone. The name really
refers to the formation of the pipe, not to the character of its tone; and signifies
that the distinguishing feature of the pipe is a Small tube resembling the hollow-
stalk that grows in wet grounds, and which all English dictionaries describe as a
need (rohr). Rohr-flöte, therefore, simply means a stop belonging to the ſute-work,
the pipes of which are furnished with a tube or reed. Furthermore, reed pipes are
always so called in England, from the circumstance of their being provided with
a small metal tube by way of mouthpiece ; while, in Germany, they are called
tongue stops. z
415. The three kinds of metal flue pipes are frequently furnished with ears;
Ż.e., pieces of metal projecting from each side of the mouth. In stopped and half-
stopped pipes the ears are large ; but in Open ones they are Smaller and more
neat, giving to the front pipes, which are mostly furnished with them, a finished
appearance. Metal pipes have sometimes a strip of metal running horizontally
across, under the mouth of the pipe, and reaching from ear to ear. This is the
case with the large pipes of the Transept Pedal Diapason at Doncaster.

Io8 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
Wood flue pipes; open, 416. An open wood pipe is formed of four separate parts,
**P* namely, the body, block, cap, and foot.
417. The body (g, ſig. IO7) consists of a right-angled tube, formed of four planed
boards; the Cross Section of which is not usually a square, but an
Io'7 oblong. At the lower end the body is closed by the block (h h),
~TS which is nearly divided in two by a deep cutting, called the throat
(%). The block and throat are closed in front by the caſ, (3 a)—a
piece of hard wood, hollowed out (n)—leaving the two sides and the
bottom edges to be glued or Screwed to the sides and block of the
pipe. The upper edge (%) of the cap recedes a little, to form the
J wind-way. The Žiže-foot (m) is a cylindrical or four-sided tube,
introduced at the bottom of the pipe, to serve as a conductor of the
wind into the pipe, and also as a support thereto.
418. In wooden stopped and half-stopped pipes the stopper is well
covered with leather at the bottom and sides, to make the stopping
, quite Sound. Were it not so, the tone would be false.
419. The proportion of the breadth, as compared with the depth,
of wood stopped pipes is varied very much, according to the quality
of tone that is desired to be produced. Father Smith and Bridge
frequently made their stopped pipes nearly Square; the former some-
times making the proportions of the block of his CC Stopped Diapason 5 inches
by 4%. The German builders make Some of their wood pipes narrow and
deep, as in the Lieblich Gedact, the CCC pipe of which measures 5
inches by 3; ; while those for other stops are made wider than they are
deep, as in the Hohl-flöte, shown in ſig. IO8, the tenor C pipe of which is
made Iłż deep and 24%; wide. A pipe that is nearly square gives a full
and weighty tone ; one that is narrow and deep, a soft and sweet
(Zieblich) tone; and one that is shallow and wide, a powerful and hollow
(Hohl) tone. Father Smith made his Hohl-flöte perfectly square, the
block of the 2-feet pipe measuring exactly I inch in depth and width ;
and, when placed on the same manual with a Stopped Diapason, he then
made the latter narrow and deep, i.e., of the Lieblich Gadact shape, by
which means he secured great individuality in the tone of the two stops.
An interesting illustration of this arrangement of Scales will be found in
his charming choir organ that is or was in the Cathedral at Manchester.
How the several parts 42O. In working together the separate parts of an
*** open wood flue pipe, the sides are first glued and
nailed, or pinned, to the block; and, when the glue has thoroughly “set,”
the back and front are attached to the edges of the sides by similar
means. The pipe-foot is then glued in ; and, when the pipe is voiced,
the cap is fastened on. - º
421. The mouth of a wood ſlue #iffe is formed by discontinuing the front of
the body of the pipe just above the (block as shown at w, in ſig. IO7), and bevelling
off the front of the surface just above, downwards and inwards (o), till an edge is
produced, called the upper lip. Just below this, leaving, however, an opening of
sufficient depth to form the mouth, is the upper edge of the cap, which constitutes
the under lip of the mouth. -
422. There are certain modifications sometimes effected in the manner of
making the mouth of wooden pipes that may here be noticed.
423. Block £iffes occasionally have their mouths inverted. (See ſig. Io9.) In
such cases, the front of the block (a) is made to project as far as the outer
surface of the front of the pipe (ö), instead of being only in a line with the inner
º;








THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. IO9
one, as in the case of block pipes of the usual kind ; and the bevelled part that
forms the upper lip (c) is cut on the immer surface of the front of the pipe, instead
of outside, the exterior then presenting an unbroken appearance, as though there
were no lip at all. The arrangement of the mouth, in fact, as com- IO9
pared with that of simply block pipes, is precisely reversed. The
English Wald-flute of 4 feet, and sometimes the Clarabella, and even
larger stops, are sometimes composed of block pipes with inverted
mouths.
424. Zanguid Wood Piñes (ſig. I IO) are sometimes made, the pecu.
liarity in which is sufficiently indicated by the term employed for distin-
guishing such from the other varieties of pipe, namely, that, instead
of a wooden block, they are simply furnished with a plate or languid
of wood, as shown in the accompanying Section. Large wood pipes
are often made on this principle.
425. The double-mouthed #iffe is but Seldom seen in England.
Its name is a key to the peculiarity observable in the nature of its
formation, namely, that of having two mouths instead of one ; and
the mouths are placed opposite to each other, Greater strength of tone is said
to be produced from pipes with two mouths. The German Doppel-flöte is com-
posed of pipes so formed. - -
426. The G G G Open Pedal pipe introduced into the West- I IO
minster Abbey organ by Elliott and Hill, in Dr. Cooke's time, had
two mouths, and was also of the pyramidal form. Its situation in
the organ-case, however, was a confined one, consequently it was never
heard to advantage ; and when the large pedal pipes were afterwards
laid horizontally in a pile on the Screen, as its outline was incon-
venient for its new position, it was removed and another pipe
substituted.
427. The only difference between an open and stopped wood pipe
consists in the latter being closed at the top (%, ſig. IOO) by a plug or
stopper, illustrated at a in the same figure. A half-stopped wood pipe
has a hole drilled down the stopper. -
428. Wood flue pipes are sometimes furnished with ears on each side the
mouth, and occasionally also with a cross-piece fastened on immediately beneath.
the under lip, called a beard. Ears and beards are chiefly attached to pipes of
very narrow scale, or have Small mouths. These additions, by keeping the wind
together, accelerate the speech of the pipe.
Origin and continuance 429. Something may now be said concerning the speech
*...* * * * of flue pipes. A metal flue pipe is made to sound by the
pipes. admission of a jet of wind at the apex of the foot, which,
rushing upwards, passes through the wind-way and strikes against the upper
lip, producing a concussion which prevents the air from issuing in a continuous
manner from the mouth, and causes it to proceed intermittingly. The vibrations
thus caused are communicated to the column of air within the body of the
pipe ; and, the air being set in motion, a Sound is produced ; which sound,
however, cannot strictly be said to be produced by the pipe itself, nor by the
elastic motion of its body, but by the vibrations at its mouth, and the motion
of the column of air contained within its body. The former circumstance is
sufficiently evidenced by the fact that the pitch is nearly the same, whatever
may be the thickness or the character of the material employed in the con-
struction of the pipe. The Stoutness, toughness, and elasticity of the material,


I IQ THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
have, nevertheless, something to do with the quality and strength of the tone,
as will presently be explained. A slight motion of the body of the pipe may
indeed be detected ; which, however, is a consequence, and not a cause ; and
arises from the friction of the column of air within, having nothing to do with
the Žroduction of the sound, which is to be attributed solely to the circumstances
already mentioned.
430. A wood flue pipe is made to Sound in much the same manner as a
metal pipe of the same kind. The wind, on being admitted, passes up the
pipe-foot into the throat, and from thence into the hollowed part of the cap,
up which it forces itself; then, after passing through the wind-way between the
upper edge of the cap and block, it strikes against the upper lip, and is thus
made to vibrate, the vibrations, as already described, being communicated to
the air in the body of the pipe.
431. It is worthy of remark that, whereas the sides of a wooden pipe beat
violently while the pipe is speaking, the front and back remain perfectly quiescent.
432. The sound from a pipe continues so long as the organ wind is allowed
to enter that pipe, and at the same unabated strength.
433. In a stopped pipe the current of air in the body of the pipe takes
a somewhat altered course, and produces a remarkably different result from
what it does in an open one. ag
434. The consideration of this subject affords an opportunity for explaining
what might otherwise appear to be an inaccuracy in regard to flue pipes depending
on the dimensions of their bodies for the gravity or acuteness of their sound.
A stopped flue pipe of a given length will produce a Sound as low as that of
an open pipe of twice the length. This fact, however, is soon accounted for.
Instead of the air escaping out at the top of the shorter pipe, as it does out of
the longer, it is checked by the stopper that closes the upper end. In con-
sequence of this interruption, the wind is reflected back again down the pipe
before it can make its exit, which it does through the mouth. The wind in a
stopped pipe, therefore, traverses the distance of the length of the body twice
over—first up, then down—and, Consequently, produces a Sound of increased
gravity in proportion. Thus, a stopped pipe of 2 feet gives the same sound
as an open one of 4 feet; a stopped pipe of 8 feet the same Sound as, an open
one of 16 feet; and So on. -
The mouth of a flue 435. The size and proportions of the mouth of a medal
º *...*.*. flue pipe exercise great influence on the strength, character,
tons on the tºne of and quality of the tone of the pipe. The usual proportions,
the pipe. which, however, are Subject to considerable modification, are,
for the width, # the circumference of the body, and #3 of the same measure
for the height. According to this rule, therefore, the mouth of a pipe that is
I6 inches in circumference inside—or, what is the same thing, 5; inches in
diameter, the diameter being about # of the circumference—would be 4 inches
in width and I inch in height. Some organ pipes have a wider mouth than this,
others a narrower one ; some have a higher mouth, and some a lower one. A wide
and high mouth produces a round, powerful tone ; a narrow one, a sharp tone ;
a narrow and low mouth; a delicate tone ; and a wide and high mouth, a full,
thick, and hollow tone. But even these deviations have their assigned limits;
for, if the upper lip be cut up too high, the pipe will be slow to speak, or will
not speak at all ; and, if the mouth be too narrow, the pipe will speak the octave
above its real sound. The greatest deviations are found in wooden stopped pipes,
the mouths of those of Small scale being in height equal to one-half or even two-
THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES, III
thirds of their width. Large scale stopped pipes, on the contrary, have Sometimes
very low mouths.
The voicing of metal 436. The careful conformation of the mouth of the pipe ;
***P* setting the lips; regulating the quantity of wind to be
admitted; conducting it through the wind-way in a sheet of the precise thick-
ness; and carrying out other such details necessary to Secure the true tone,
character, and speech of the pipe, are matters of great delicacy; demanding
the nicest skill as well as a just perception of tone on the part of the operator.
These and other duties are included under the one general term voicing, and
some idea will be formed of the importance and influence of this branch of organ-
building from the following observations in reference to the speech of an organ
pipe.
437. The wind on entering a pipe is carried through the wind-way in a thin
sheet, and is directed against the upper lip ; the mouth or intermediate space being
covered by this stream of air. This “sheet of wind,” as it is called, is exposed
externally to the outward air, while on the inside it is defended from it by the back
and sides of the pipe. The wind that comes out at the mouth of the pipe passes
fairly upwards against and above the leaf; causing an inward draught underneath,
towards and indeed through the mouth. The former fact may be ascertained by
blowing smoke into a pipe and watching its progress; the latter, by holding a
lighted candle just below or in a line with the mouth of a pipe while speaking,
when the flame will be drawn towards or even through the mouth. The inward-
bearing draught outside the mouth being stronger than the quiescent air within, the
sheet of wind gives way for an instant, and the draught bears into the pipe, but is
immediately overcome by the sheet of wind, which in its turn prevails, until the
draught overcomes it again. Hence the periodical concussions of the sheet of
wind against the upper lip of the pipe.
438. This alternate crossing of streams will, under ordinary circumstances, of
course take place with greater or less rapidity, according to the dimensions of the
mouth, and the strength of the wind exciting the column of air within the body of
the pipe ; and the elastic motion of the lower end of the column of air in the region
of the mouth, by compression and expansion, assists in the alternate restitution
of the sheet of wind and the inward-bearing draught by turns. The pitch of the
sound of a flue pipe, therefore, is regulated as much by the number of pulsations
which take place at the mouth of the pipe in a second of time as by the number of
vibrations that occur in the body of the pipe in the same time, with the latter of
which the former doubtless correspond. This hypothesis is borne out by the fact
that, if a pipe be shortened, as in transposing a GG metal Open Diapason into a
CC, it does not then require less wind, but more, the additional quantity no doubt
being required to accelerate the vibrations at the mouth, so that they may be in
proportion to the quicker vibrations of the shorter column of air inside the body of
the pipe.
439. It has already been explained that some proportion is preserved between
the dimensions of the mouth and the diameter of the pipe ; but the length of
the vibrating column of air may be somewhat increased or decreased without
much affecting the speech, as may be ascertained by temporarily covering one or
more of the lower holes in the back of a front pipe which has openings
in it. If, however, the length of a pipe be very great in proportion to its
diameter and the dimensions of its mouth, the pulses at the mouth will not be
slow enough to correspond with the waves of the lengthened column of air;
and the pipe will then either not speak at all, or it will break into its octave.
This circumstance accounts for Dulciana pipes, usually the Smallest in Scale
II 2 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
of any open pipes in an English organ, and with even narrower mouths in
proportion, having so decided a tendency to “speak their octave” when in the
slightest degree out of order. For Some stops, it is required that the pipes
shall speak their octave and not give their unison Sound, as in the German
“Flauto Traverso; ” in which case the voicer regulates the dimensions and
proportions of the mouth accordingly. At the same time, a pipe in which the
proper proportions are preserved, in regard to length, diameter, and mouth,
will break off into a higher sound, if it has more than a certain amount of wind,
or a stronger wind ; as in the “Flute Harmonique” of the French and English
organ-builders.
440. In cutting the wind-way, if the opening be made too deep, the “sheet of
wind” will be too thick, and the inward-bearing draught will be unable to break
through ; in which case the pipe will not speak with the proper strength, but will
simply produce a humming or whizzing Sound. Or if the mouth of a pipe be “cut
up too high,” the sheet of wind will not entirely cover the space forming the mouth ;
in organ-builders’ phraseology “the wind will not reach ; ” and the speech of the
pipe will be dull and unsteady.
441. In wood, pipes of the four-sided shape, the width of mouth, of course,
corresponds with the inside measure of the same side of the pipe in which it is cut.
Its height is commonly one-fourth of its width, or a little more ; but, inasmuch as
wood pipes are, as already explained, Sometimes made narrow and deep, the mouth
being on the narrow side, while at others the mouth is placed on the wide side, it is
evident that its measure in the direction just mentioned must be subject to much
greater variation than in metal pipes. -
442. In some German wood pipes, the blocks and other parts connected
with the speech of the pipes are made on a plan so different from any of the
English methods already noticed, and yet produce so firm and full a tone, even
when the scale is small, that a few particulars concerning them are here intro-
duced. Instead of the block being formed with its face at a right III
angle to the top, it is bevelled back and downwards, as shown at ºff
a, in ſig. I II. The cap is made straight and Smooth inside, instead º
of being hollowed as in ſigs. IO7, Io9, and I IO; and, in lieu of the tº
wind-way being made by filling a portion from off the cap, it is
formed by filling from off the block, and the upper edge of the cap
is set on a level with the top of the block, instead of a little
&e/ozy Żſ.
443. A glance at the accompanying diagram (ſ.g. III) will be
sufficient to show that in a pipe thus formed the wind must gradually
undergo increased compression as it ascends through the wedge-
shaped hollow between the block and cap, and that it must, in con-
sequence, be thrown with much greater force against the lip ; a
stronger and clearer tone being thus secured. The mouth is cut
up much higher than ordinary, it frequently being equivalent to
half of its width, and even more ; and the lip is left thick, that
the wind may take good hold. There are no nicks either in the
block or the cap ; the latter of which is made about half as thick again at the
mouth end as at the foot end, to prevent the inward-bearing draught being too
strong. The hole in the pipe-foot is made very large, and is perfectly round ;
there is no flugging, and the Speech is plumper than when the wind is carried
through four three-quarter apertures, as in most plugged pipes. The lower end
of the foot is leathered, so as to prevent any escape of wind between it and the
upper-board,
º
ºf Fº









THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. I 13
444. The modern German meda/pipes are made and voiced more nearly as in
England, except that in Some cases the bevel on the languid is made more acute
than in English pipes. Fig. I I2 shows the English languid and -
bevel in profile; ſig. II3 exhibits the German in a similar manner.
The acute bevel has the effect of throwing the wind more info the
Žiže, which permits the mouth to be cut up higher, the tone pro-
duced being remarkably full and bright. The mouth is then cut
up #ths.
445. The mechanical part of voicing, as far as the eye can detect,
consists, in the instance of a metal pipe, chiefly in cutting with great
nicety a series of notches or nicks in the front part of the languid.
The “nicking” is made on the lower-edge of the bevelled surface of II3
the languid, and the notches run parallel to each other, and some-
times, though not always, at an angle to the axis of the pipe. There
are different methods of voicing, which produce different results. A
pipe that is not voiced at all will frequently not sound at all, or will.
give a wrong note, or will not speak with adequate strength.
446. Large pipes, and Sometimes Comparatively Small ones, will however
occasionally present exceptions to the rule, if the mouth and parts adjacent are
proportioned with mathematical accuracy. The front-pipes of the organ at St.
Giles's-in-the-Fields, made by Smith, had no nicking, neither have several
of the metal and wood Stopped Diapasons in the Temple organ. Pipes that
have but few nicks will frequently produce a round Sonorous tone, as is
evidenced in many of Smith's Open Diapasons; while others, that are much and
regularly nicked, will produce a Softer and very musical tone, as in Green's
Diapasons.
447. The voicing of a wood flue pipe consists of several small parallel lines
filed on the front or face of the upper part of the block. These little cuts do
not quite run at right angles to the upper lip, neither are they made of the same
width right down ; but they are deepest and widest at the mouth, and gradually
decrease as they recede from it, until at last they are lost in the plain surface
of the block. In voicing the pipe, which of course is done before the cap is
put on, the upper edge of the block is slightly pared away opposite the under
lip, so as to direct the wind against the upper lip. If the angle be pared off
too much or too little, the pipe will be slow to speak, or will speak ill, or
perhaps not at all ; or, if the sheet of wind be suffered to strike against the
upper lip with rather too much force, the tone produced will be imperfect, and
perhaps accompanied with a chirping at the commencement of the pipe’s
Speaking,
The influence of the 448. Besides the many modifications or characters of tone
º *"..."; (so to speak) which are produced by the particular method
a pipe. of voicing adopted, the tone of a pipe is influenced by many
other circumstances. - -
449. And first, of the material. Supposing all other circumstances to be the
same, it may be said in regard to metal flue pipes that the thicker and more
elastic the body of the pipe, the more decided, clear, and distinct will be the
sound. According to some of the first German works on the subject, the
tone of a pipe is improved by the material being well hammered before being
worked up.
450. In regard to wood pipes, the same phenomenon may be observed as to
the influence of the material on the tone; a pipe made of some hard wood, as
T

II.4. THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
oak, giving the clearest and strongest tone, while one of the softer kind produces
the most mellow tone. When the old builders used a soft wood, they sometimes
cut the planks the cross-way of the grain, probably from the circumstance of the
wood of the bellies of violins being cut in that manner. The deal pipes in the
Finedon organ, Northamptonshire, built by Gerard Smith, are formed out of
boards cut in the direction just mentioned. If a comparison be drawn between
the quality and strength of the tone of metal and wood pipes generally, a large
open metal pipe will be found to give the clearer and more sonorous sound, and an
Open wood pipe a thicker and heavier sound. This is of course supposing their
measurement and all other circumstances to be about the same. The voicer's art,
however, has quite the power of not only disguising the quality of tone that
might be expected from the two kinds of material, but even of reversing them. In
an old MS. book in the library of the Hon. Society of the Inner Temple is a
memorandum to the effect that “Father Smith sayes he can make metall pipes
speak like those made of wood ; and them of wood to speak like those of metall.”
Herr Schulze excels in thus matching the tone of wood and metal pipes, of which
Several admirable specimens occur in the Doncaster organ.
451. Then of the form. Pipes having the open cylindrical outline, when
made to the full proportionate diameter, give the strongest, clearest, and fullest
tone of any metal flue pipes. Those of the conical shape produce a rather more
subdued sound than the cylindrical ; accompanied either by a tender, reedy,
or a crying character of tone, according to the extent of their conicality and the
manner in which they are voiced. Pipes of the covered species emit the weakest
Sound.
452. By an alteration of scale, that is to say, an increase or decrease of
diameter, while the same length is preserved, a further modification in the strength
and character of the tone is produced.
453. The width or narrowness of a pipe alters the strength of the sound
produced, and to such an extent, that an open cylindrical pipe (already described
as giving the more powerful sound) may, by the reduction of its scale, be made to
Sound as lightly as a covered one, as will be perceived on comparing the strength
of the tone of a Dulciana pipe with that of a stopped Diapason pipe. Moreover,
by enlarging the scale sufficiently, a pipe of softwood—Christiana deal, for instance
—may be made to produce a stronger and heavier sound than a pipe of hard wood,
as Oak,
Influence of the strength 454. In addition to the influence which the material, form,
and quantity of the wind g * T
.*.*.*... and scale of a pipe exercise on the tone produced, the strength
strength of the tone. of the wind by which it is made to speak, or the quantity
allowed to enter the pipe, or both, effect a further alteration in the strength of
the sound. A stronger and a greater “flush of wind,” within certain bounds,
causes a pipe to give a fuller and brighter tone. If the jet of wind, however,
be too great or too strong, the pipe will “overblow,” and give the octave of its
true sound. A strong wind causes the sound produced to be also rather higher
in pitch, as well as stronger and brighter. An illustration of the influence of a
lessened strength of the wind on the quality, power, and pitch of the sound of a
pipe occurs when the wind is being “let out.” The sound then gradually
becomes duller, weaker, and lower, until it altogether ceases; or it will rise in
pitch, and speak louder and clearer again, as more wind is supplied just before
the Sound dies away.
455. Experiments have proved that reed stops acquire a considerable accession
of power and splendour by being placed upon a heavier wind than the flue stops.
THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. II 5
The first organ in England that had a reed stop voiced to a heavy pressure of
wind is that in the Town Hall, at Birmingham ; into which instrument the stop
alluded to, called the “Tuča Miračiſis,” was introduced in the year 1840. Stops
of this kind are now made by nearly all the English organ-builders.
456. In France the influence of different strengths of wind has been turned
to still greater account by the ingenious artists, Messrs. Cavaillé-Coll, organ-
builders to the late French Government, in the fine instruments built by them
for the Abbey Church of St. Denis, near Paris, and the Church of St. Sulpice
and the Madeleine, in Paris, as well as in many other of their organs. In these
admirable specimens of their skill, they have not only placed the reed stops on
a heavier wind than the flue, but have increased the weight in the treble by an
inch. This latter application was suggested by the fact of performers on wind
instruments, in order to render the acute tones of equal strength with the grave,
exercising a greater effort of the muscles of the lungs when sounding high notes
than when producing low ones. By supplying the pipes of the upper keys with
a stronger wind, the weakness at times observable in the treble of organs is
entirely rectified. These systems have, of late years, been frequently introduced
by Messrs. Hill and Son, Willis, Gray and Davison, Lewis, Bryceson, and other
builders, into their larger organs.
457. The French builders have further succeeded in making reed and flue Stops
produce an harmonic instead of a ground tone, and hence called “Trompet Har-
monique” and “Flute Harmonique.” (See Foreign Specifications.) The pipes are
made of double length, and, by a strong and copious wind, made to “overblow,”
and So Sound their octave. -
458. In the new organ erected in St. Paul's Cathedral, by Mr. Henry Willis,
the builder has incorporated not only the several modern Continental improve-
ments above referred to, but also several new mechanical inventions of his own.
The organ in the Glasgow Town Hall, by Gray and Davison, has also the great reeds
and two harmonic flutes on a heavy wind, and the treble of the organ on a stronger
wind than the bass.
Formation of a reed pipe. 459. A reed pipe of an organ is formed of a mouthpiece,
composed of a block, reed, tongue, and wooden wedge, with a fuming-wire and
Öoof, and a Čuče or body. - .
460. The block of a reed pipe (fig. 114) is, in modern specimens, usually a circular
and rather Solid mass of metal, cast in a mould, though in old reed
II 5 pipes the blocks are frequently of box-wood, turned in a II4.
© lathe. From the block the reed and tongue hang suspended tº-r-P- &
* f below, and the tube rises above. Through the block two ‘h.
round holes (3 c) are left in the casting, the largest of which º
(5) forms the passage-way for the wind from the reed into l -


the tube ; and the smallest, which occurs a little in advance .
of the first, admits a wire that is required for regulating the *
precise length of the vibrating portion of the tongue, presently to be noticed.
The upper part (a) of the block is made rather wider than the lower, form-
ing a rim that rests on the upper edge of the boot.
461. The reed is a small cylindrical tube of brass (ſig. II 5), slightly
*|| conical in shape, being usually widest at the lower end, and having the
lower end closed by a piece of brass, which slants a little upwards and
backwards. In the front of the reed an opening is left (d), running
lengthways, presenting an appearance as though a portion of the reed had been cut
away, at which the wind enters. The upper end of the reed is fitted tightly into
NL,
II6 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
the larger hole of the block already mentioned, with the opening towards the
smallest hole. -
462. The ſongue (ſig. I I6) lies immediately over the opening just noticed in
the reed, covering also the edges which border it. It consists usually of a thin,
116 tough, and elastic plate or Spring of brass, and is fixed in its position
4. by the upper end being passed a little way up into the block, and then a
T small wooden wedge being driven into the part of the circular hole of the
block left vacant on the flattened side of the reed. The lower end of the
tongue, therefore, is left entirely free, and is slightly curved.
463. Zhe ſuming-wire (ſig. I 17) is a moveable piece of bent steel wire,
that passes through the Small hole in the block, in front of the II.7
reed and tongue. The lower part of it is bent up (as shown º
at f in the accompanying illustration), So as to press against
and across the tongue. So much of the tongue as may be
above the point where the tuning-wire crosses it is pressed
– firmly against the reed and prevented from vibrating: the wind,
ºf therefore, only agitates that part that is below the wire. As,
however, the wire is moveable, the vibrating portion of the tongue can
be lengthened or shortened as required ; and the upper end of the
tuning-wire is hooked, so that the “tuning-knife” may move it
upwards or downwards the better.
464. 7%e ãoof of a reed-pipe is the short upright and strong tube
of metal into which the greater portion of the block sinks. (Seefig. 96,
page IO4, and ſig. II.4, page II 5.) It therefore has to support the
weight of the entire pipe ; in addition to which it receives the wind,
through a hole in the lower end, from one of the borings in the upper board, over
which it rests, and indeed sinks into a short distance, and directs the wind up to
the reed. | -
465. The ſuffe of a reed-pipe, as already explained, presents the outline of a
cylinder, an inverted cone with a bell, or an inverted pyramid, according to
circumstances; and rises from the surface of the block, to which it is soldered,
in the instance of Small metal pipes. In larger pipes this is not so, but a short
tube called a socket is introduced, which receives the narrow end or “neck” of
the longer tube, and Sustains it firmly and steadily. Sockets are of course
necessary for reed pipes of all sizes that have wooden tubes, as illustrated in
ſig. 102, page 105; and the lower end of each tube has then to be rounded off to
make it correspond in form with the circular shape of the socket that is to
receive it.
466. It might prove interesting to the reader now to refer to the various kinds
of reed pipes represented on pages IO2, IO3, IO4, IoS, and Io9 ; and trace out for
himself their several peculiarities and points of difference, as well as their separate
parts, so far as they are in sight,
The formation of the 467. Metal tubes, like the bodies of flue pipes of the same
tubes. material, are formed of sheets of metal, cut to such a shape as
will, when rolled and soldered up, give to the tube the required form and propor-
tion. The bell, if the addition of one be required, is of course applied afterwards.
That part of the metal plate which is to form the neck of the tube is left much
thicker than the other end, in order that it shall neither sink nor snap off under the
pressure of the upper and broader part. Wooden tubes are formed of four boards
each, comparatively wide at the upper end and narrow at the lower, glued and
nailed together, - -

THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. I 17.
The different kinds of 468. The opening, already noticed as occurring in the front
*... . of the reed, either extends all the way up, as shown in ſig. IO5, or
free rºds. y only partially so, and gradually contracting to a point. The
former is called the “open reed,” and is the same in kind that
has been in use for centuries; the latter is termed the “closed reed,” and is of
modern invention.
469. The often reed admits by far the greater quantity of wind into a pipe, the
influence of which increased volume excites the tongue to vibrate against the reed
with more force, and so to produce a stronger and clearer tone. Hence it is
generally considered to be the description of reed the best adapted for all
powerful and prompt-speaking reed pipes. It requires a rather longer tube than
the closed reed. - t
470. The closed reed allows only of a lessened draught through it, and is on this
account considered by some organ-builders to be well adapted for reed-pipes, the
tone of which is required to be of a quieter character ; though it is not indis-
pensable to employ them to obtain a subdued tone, inasmuch as some organ-
builders eschew the use of closed reeds altogether. Moreover, they present a much
larger surface between the reed and tongue, whereon dirt may lodge.
471. The free reed. A third kind of reed is used on the Continent, called the
free reed. In this variety the size of the tongue and the opening in the reed are SO
adjusted in regard to each other, that the former almost exactly fits the latter ; the
tongue, therefore, instead of striking on the edges of the reed, is impelled into the
opening by the wind; when, from its own elasticity, it resumes its former position ;
and the sound is produced by its rapid vibratory motion to and fro through the air.
The tone of a free reed is not usually so strong as that of a striking reed, but it is
particularly smooth and free from rattling. Some fine 16 and 32 feet Posaunes
have been made in Germany of free reeds, and there are admirable specimens of
stops of both sizes in Schulze's organ at Doncaster. -
The influence of the 472. It will be remembered to have been stated that a
º ..º.º. reed pipe does not depend upon its tube for the gravity or
strength and character acuteness of the Sound produced, but chiefly on the dimen-
of the tone of a reed sions and other circumstances connected with its tongue.
plpe. The tube, however, makes a considerable difference in the
strength and character of the tone. Were it otherwise, there would exist no
sufficient reason for its introduction. The dimensions of the tube are so adjusted
to the size of the tongue, that the vibrations of the column of air contained in the
former shall correspond with the vibrations of the latter. Where this accordance
does not exist, the sound produced is inferior in quality. It is not absolutely
necessary that the tongue and the column of air in the tube should be in unison
to produce a musical sound ; but the tone of Small scale reeds is always more
pleasing, and that of larger reeds more full and rich, when the unison is perfect.
Short-bodied pipes of the cylindrical shape give a comparatively light sound ;
as may be ascertained by trying any Clarionet or English Vox Humana Stop.
Pipes with tubes of the inverted conical form give a more sonorous tone than
the last mentioned—the strength and character of the sound being governed to
some extent by the scale and length of the tube. When it is of narrow measure,
the tone is rather thin and somewhat nasal, as in most Bassoon stops. When
the pipe is similarly shaped, but with a bell added, the tone becomes somewhat
clearer, more wailing and attenuated, as in a Hautboy stop. The weight and
power of the sound increases with the further increase in the scale, the Trumpet
being louder and more Smart than the Bassoon, and the Posaune more ponderous
than the Trumpet,
118 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
The influence of the 473. The strength of tone, again, depends much on the
.** shape of the opening in the reed; whether the tongue be made
tone of the pipe. 5
of common brass, or a composition containing a larger propor-
tion of copper; the equal thickness and evenness of the tongue; its curvature ; and
the smoothness and flatness of the edges of the aperture against which the tongue
vibrates. Reed-stops of delicate intonation, as the Hautboy, Clarionet, and Bas-
Soon, have long, narrow, and thin tongues; others of strong and full tone, as the
Trumpet, Horn, and Posaune, have shorter, broader, and thicker tongues. Many of
the old Trumpet stops have reeds that are either larger or broader than those now
used, and shorter tubes, which accounts for their tone being thin, and devoid of the
power and impressiveness which characterise all good stops of the kind.
How a sound is pro- 474. When the tongue of a reed-pipe is in a state of rest, it
º * * * is curved, leaving the opening in the reed free to the passage of
the air. The peculiar tone of a reed-pipe is, in the instance of a
striking reed, produced by the tongue beating against the reed, and rebounding
again by the force of its own elasticity. The tongue is excited by a current of
air being thrown on to it from below, which, as it rushes through the opening in the
reed, draws or sucks the tongue with it towards the reed, against the edges of which
it strikes, and then returns. -
475. In a free reed, the sound is produced by the motion of the tongue to and
fro; and, as that motion is never checked or interrupted by the tongue striking,
the tone is as Smooth and continuous as that of a flue pipe.
How the pitch of the 476. The Žitch of the sound produced by a reed pipe is deter-
Sound of an organ pipe º e º
is determined. mined by the number of beats or regular vibrations made by
the tongue in a second of time ; and the reeds are accordingly
made Small or large, depending on the acuteness or gravity of the sound each
is required to emit. The higher the pitch of the sound, the smaller must be the
reed, and the quicker the vibrations of its tongue ; the deeper it is, the larger
must be its reed, and the slower the beats of its tongue upon the reed, and
perhaps even audible. In a flue pipe the pitch is governed by the length of the
body of the pipe, or, more strictly speaking, by the length of the column of air
within that body; which follows the simple geometrical law, that by doubling
the length, it Sounds an Octave lower; and by halving the length, it sounds an
octave higher,
477. The following table exhibits at one view the number of vibrations which
take place in a flue pipe, and the number of blows made by striking a reed in a
Second of time, in producing the several C Sounds used for organ stop measure-
ment ; while, to the right, the shortened length of the pipe is given.
Name of C, Vibrations in Blows of tongue Length of
flue pipe. in reed pipe, open flue pipe.
C C C C,.................... 32 ... 16 ... 32 feet.
C C C,.................... 64 * - 3 32 tº a tº I6 »
C C............... tº e g is c > I28 tº s & 64 ſº e & 8 :
Tenor c......... ............ 256 tº $ tº I 28 ſº tº ſº 4 »
Middle cº.................. 5I2 • * * 256 e Q & 2 x,
Treble cº .................. Ioz4 tº Q 6 5 I2 tº e & I ,
478. It is necessary to mention that the above table of vibrations refers to Single
and not to com//eſe or dottòſe ones. As the latter are used by some writers on
harmonics, the difference might create confusion, if not explained. The tongue of
a reed pipe Strikes when vibrating towards the reed, but of course peof when
THE PLAN, OUTLINE, AND STRUCTURE OF ORGAN PIPES. I 19
vibrating from it; hence the beats made by the tongue in a reed pipe only amount
to half the number of vibrations taking place in a flue pipe in the same time, as
shown in the above table, which accounts for those beats often being perceptible to
the ear in the speech of even 16-feet reed stops. When, therefore, the rustling of
the tongue of large reed pipes cannot otherwise be silenced, the front of the reed is
lined with a thin coat of leather—simply the dressed part, the fleshy part being cut
or Scraped away—so as to form a soft surface for the tongue to strike against.
Schulze preferred all powerful striking reeds below Tenor C to be leathered, as
being then more musical.
479. The wind having passed through the mouthpiece of a reed pipe, the size
of which has defined the Žižch of the sound, it passes into the tube; the shape,
material, or scale, or all combined, imparting to such Sound the character and
strength required.
i2O THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
CHAPTER XX.
THE STANDARD LENGTH OF ORGAN PIPES.
480, ORGAN PIPES are made to a great variety of sizes, and those of the flue
species to a greater extent than reed pipes. The greatest Standard length of a
speaking pipe is 32 feet; the shortest, # of an inch. The foot is not of course taken
into calculation, as that is nothing more than a supporter and wind-channel to the
pipe. The sound of the two pipes of the extreme measurement just mentioned
would be nine octaves apart ; consequently, a complete range of organ pipes,
including all the semitones, would present a Series of IO9 different sizes.
481. Organ pipes do not measure the earact length quoted, but fall a little short
of, or, in Some cases, rather exceed, that measurement, as the case may be. Hence
a distinction is drawn between the ſiteral length and the standard or quoted length
of a pipe, the latter presenting an affrotimation only to the former. Many cir-
cumstances tend to render an adherence to the literal length almost impossible; as,
for instance, a stronger or lighter wind, which would demand a somewhat longer or
shorter pipe to produce a Sound of the same pitch ; or more copious winding of a
pipe, which again would cause it to “blow sharp,” and require a longer body to
produce a sound of the original pitch ; the difference in the foot measurement in
various countries ; the variation of pitch ; or an alteration in the scale, or in the
outline of the pipe.
The names of the sounds 482. From the circumstance of every septave of pipes and
º * * sounds included in the extensive range just mentioned being
called by the same Seven letters, it becomes a matter of necessity
that, in order to obtain a clear view of the whole, some means should be adopted
for distinguishing each septave from the others. This advantageous classification
is established either by the aid and use of some special kind of letter—capital or
Small ; by Some particular kind of letter, with a sign added thereto ; or by two,
three, or four capital letters grouped closely together. In some few cases a parti-
cular name is also given to a particular pipe or sound, though it considerably
simplifies the nomenclature by confining the application of such names solely to
the Áeys.
483. For most musical purposes, the notation indicates with sufficient precision
the gravity or acuteness of the sound that may be expected to be heard, because
many instruments, and all voices, produce but a sound of one unvarying pitch for
each note, and that one agreeing with the music written. With the organ, however,
the case is different ; for, in some instances, eight or ten different sounds are
Concentrated on one key, produced from as many separate pipes, of nearly as many
varying lengths ; therefore, a definite ſitch cannot invariably be associated with
the noſe written, nor with the Æey struck, in the case of an organ, or of organ
music, since the Sound produced may be in accordance therewith, or it may be one
Or two Octaves lower, or one or two octaves higher, or a combination of all, accord-
ing to the nature of the stop or stops drawn.
484. Nevertheless, the Several octaves and keys on a manual, and also some of
the intermediate keys in those octaves, have distinctive names, by which they are
THE STANDARD LENGTH OF ORGAN PIPES. I2 iſ
conveniently referred to in the course of writing, or in conversation. These names
have originated from various Sources.
The classification of 485. In olden times the twenty-one degrees, comprehended
* * * : * in the great stave of eleven lines, and indicated in modern nota-
taves, and the different . *) º :-- e j
methods by which the tion as commencing on the first line in the bass, and ascending
several octaves are dis- to, and ending on, the fifth line in the treble, were termed the
º * * gamut, or musical scale, which gamut comprised a range of two
e octaves and a minor seventh. The several Sounds therein Con-
tained were represented by letters, which at the same time corresponded with the
names of those sounds; but to distinguish such sounds as were represented by the
same letter, but which differed in pitch, a different kind of letter was used, some-
times accompanied by another attendant characteristic. Thus, the first Septave
was represented by capital letters ; the second, or next above, by small letters ;
and the third and upper one by two small letters; thus,
EXAMPLE, g
() c d e f • *. in alt.
–24–– + EEEEEEE –2–
{Q}– | EEEEEEE 2–ſº-º-º-
Q) -º-Taº gg aa bb cc dil ee ff
6 A B C P B F * * * * º **
e ſ nº j >-T-Zº-º-; | J
@: L | } } *º alsº Hº I ; j | | }
| H n 2- gº E- | TTII I § | |
I-23–2– F : { [ . l J——


Q’
FF
486. On this gamutº being in the course of time extended, the next seven keys
and diatonic Sounds represented by notes immediately below the bass Stave were in
England termed double, and were marked with two capital letters, as CC, DD, etc.;
while those forming the first septave above the treble stave were said to be in alſ.
The second Series of seven diatonic sounds below the original “gamut,” commencing
with F, the fourth line below the bass stave, were distinguished by three capital
letters, as CCC, DDD, and so on; and the remaining four diatonic sounds, from
GGG to the C below, were marked with four capital letters, as CCCC, DDDD.
Then tºwards, the sounds in and higher than the second octave above the treble
Stave, i.e., from g, the fourth line above the treble stave, were said to be in
a/fissimo. This completed the English tablature.
487. But it will be perceived that it presents neither the names nor signs by
which the highest two and a half octaves of pipes and sounds can be distinguished
from each other ; and is therefore so far incomplete. Moreover, the terms in aſ:
and in altissimo are inconveniently long for the practical purpose for which the
distinguishing terms are so useful in organ-building, namely, for marking the
composition of the mixture stops in various parts of the scale.
488. From the above nomenclature, however, two of the most useful names, as
well as one of the terms used at the present day by organ-builders as part of the
tablature applied to the AEeys of the manual, have been borrowed; while as many of
the remaining terms are preserved to distinguish the deeper sounds that are below
the unison range of the modern manual. The former are (1) gamut G, or the
lowest G of Guido's gamut ; (2) middle cl—the “mean * or middle cleff cº of the
* Guido Aretinus, a Benedictine monk of Arezzo, in Tuscany, in the tenth century, was
the inventor of the gamut above referred to ; though it is not perhaps so strictly an invention
as an improvement on the diagrammo, or scale of the Grecians. Previous to the time of
Guido, the septaves were reckoned from A ; but that ancient theorist added or adopted the G
below, and denoted it by the Greek gamma, T. Hence arises the word gamut, or gamma
ut, it being the Ut, or first sound of the G hexachord,
I 22 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
same gamut, represented by the note on the ledger line between the bass and treble
Staves; and (3) the term in all for the keys above the treble stave.
EXAMPLE.
–0 Middle cº. #:
— lº |
—A
{Q} |
& J -cº-
Gamut G. re. cº in alt.
2-Ys Ł
Sº; i

zºº
º
489. Some of the other keys are named after certain string instruments, from
the circumstance of their unison Sound corresponding with the lowest sound
produceable on Such instruments ; as tenor (or viola) c, and fiddle (or violin) g.
These several names and terms, with the additional three, viz., “double C,” “gº
above middle cº,” and “treble cº’—the latter applied to the c represented by the
note of that name in the treble Stave—form a complete tablature for the several C
and G keys of the organ manual, as shown in the following table.
EXAMPLE.
g! above -
—ſ) Middle cº, middle cº, Treble cº, 25 -e- m
-24- Cºº" #
Jºº Y Asºº |
Jº $º’
el/ Tenor Fiddle -tº- g” in alt. c." in alt.
Ol' Ol' - *
Double C. Gamut G. Viola c. Violing. •eºn
©; cº H
; := 8-feet octave. .. : 4-feet octave. : : 2-feet octave. :


• * * * * * * * * * * * * * , , , , , * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
490. The several Septaves—or Octaves, as they are more frequently, though less
strictly, called—which occur on a manual comprising the above gamut, are
sometimes distinguished by the name given to the C with which each commences;
as the bass octave, tenor octave, middle octave, treble octave, and top
octave, or half octave, as the case may be. In addition to this, they are sometimes
referred to by the standard length of the C that commences each octave ; as the
8-feet octave, the 4-feet Octave, &c.
491. But, as before observed, the number of different sounds in an organ far
exceeds that of the keys on the clavier; hence arises the necessity for some method
of grouping the additional Sounds, and indeed all Sounds, into octaves, and of
calculating and measuring them. And first, of the classification of the sounds
within the usual manual compass. According to the old English system, G was
made the starting sound for this purpose, as being the first note in the “gamut ; ?
while, in Germany, C has for a long period been recognised as the standard sound,
as being the first note in the “natural Scale.” In the latter country the lowest
octave on the manual, Corresponding with the “bass octave’ of the table above
given, is called the “great octave,” and is represented by single capital letters, as
C, D, E, &c. The next octave, identical with the English “tenor octave,” is
termed the “small octave,” and is distinguished by Small letters, as c, d, e. The
third octave, or “middle octave’ of the English, is called the “once-marked
octave,” represented by Small letters with a small figure * to the right and a little
above the letter, thus—c', d', el; while the “treble octave” is called the “twice-
marked octave,” cº, d”, e”; the remaining half octave, from “c” in alt to fº in
alt” forming a portion of the “thrice-marked octave,” cº, dº, e”. Sometimes so
many little horizontal lines are used instead of figures, thus d; which System,
however, has an air of complication about it.
492. Then, of the Sounds above the compass of the Ordinary organ manual, the
THE STANDARD LENGTH OF ORGAN PIPES. I23
Octave commencing with c in altissimo is termed the “four-times marked octave,”
as cº, d4, e”; and the octave higher again, the “five-times marked octave,” as
c”, d”, e”. Of the Sounds Öelow, the 16-feet octave is called the “first sub-octave,”
distinguished by capital letters with a line underneath, C, D, E, and the 32-feet
octave, counting downwards from the “contra C,” as the Germans call the 16-feet
C, is termed the “second sub-octave,” distinguished by capital letters twice under-
lined, thus—C, D, E.
493. The English tablature for distinguishing the several octaves of manual
keys, including some of the intermediate keys, is so complete, distinct, and
Satisfactory, that nothing advantageous would be gained by relinquishing it in
favour of the German ; but as the English tablature presents no means for
classifying the higher sounds, the German nomenclature above given might,
under such circumstances, be beneficially received. It will therefore be adopted
in the chapter which treats of the composition of mixtures; and, in order to
give an easy clue thereto, the English names which refer to the Several C and
G Sounds comprehended in the compass of the manual will also be introduced,
that the names in the one case may explain the fablature in the other.
494. For the 16 and 32 feet octaves of pipes and sounds, we have in England
a tablature of our own, and one that is so thoroughly understood and generally
received that their exists no necessity for adopting any other.
The size of the pipes 495. Many of the pipes, especially those Sounding C, E,
* * * *P or G. form the lowest of a Separate series, or organ stop, and
In eaS11 rement. 5 5 7
therefore fix the standard length of that stop. It is necessary,
therefore, to refer to these.
496. The C of 32 feet length. The sound of this pipe is below that of any other
musical instrument. It is called either the “32-feet C pipe,” from its standard
length, or the “C C C Cº (pronounced four C) “pipe,” from its English designation;
or the “twice under-marked C,” according to the German tablature. Its sound
is an octave below the lowest C of the grand pianoforte. r
497. The C of 16 feet length. The sound of this C is in unison with the lowest
C of the grand Pianoforte ; and is represented by a note in the sixth space below
the bass staff. It is the “CCC” (pronounced three C) of the English tablature;
the “contra C,” or “once under-marked C,” of the German, and the “ 16-feet C"
pipe, * -
498, Zhe C of 8 feet length. The pitch of this pipe is in unison with the lowest
sound (produced from the open fourth string) of the violoncello; and is represented
by a note on the second ledger line below the bass staff. It is the English “CC’
(double C); the German “great C’; or the “8-feet C pipe.”
499. The C of 4 feel length. The sound of this pipe is in unison with the lowest
note of the tenor violin, or viola, and also of the old tenor hautboy, or
tenoroon # on which account it is frequently called “tenor C.” It is represented
in the English tablature by a capital C : but in the German by a small c. Its
sound is indicated by a note in the second space of the bass staff.
500. The C of 2 feeſ. This pipe sounds in unison with the lowest C of the
hautboy and flute. . Its pitch is represented by a note placed on the ledger line
between the two staffs. According to the English tablature, this sound would be
denoted by a small c; according to the German, by the once-marked cº. This
is called most frequently “middle c,” from its being the C on the middle line of
* The name tenoroon has sometimes been given to an organ stop, which, however, does not
resemble the instrument named in the text, either in regard to pitch or quality,
124 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
the ancient great stave of eleven lines; and also from its being the cleff C of the
middle, meant, or intermediate parts—the counter-tenor and tenor—in vocal
compositions.
5OI. The C of I ſoof. The Sound of this pipe (in unison with the lowest note
of the Flauto Piccolo) is represented by a note placed in the third space in the
treble staff. It is distinguished in the English tablature by two small letters, cc;
in the German by the twice-marked c”. It is also known as treble cº,
502. The C of 6 inches. This is the English “c in all,” and the German
“thrice-marked c,” cº. Its sound is represented by a note on the second line
above the treble staff.
503. The C of 3 inches. The English “c in altissimo,” and highest c on the
pianoforte, and the German “four-times marked c,” cº. A note in the sixth
space above the treble staff denotes its sound.
504. The C of I# inch. The five-times marked c of the German tablature, c”.
505. The C of # inch. The six-times marked c, cº. This is the smallest pipe
made. Its sound is 2 octaves above c in aſſissimo.
506. The Cs are the most important class of organ-pipes, not only because they
are the most convenient and proper Ones that can be adopted as a foundation for
the purpose of stop measurement, of which more in another chapter ; but also
because pipes of that sound commence and conclude the great series. The class
next in importance are the G pipes, which denote the foundation measurement
of G G organ stops, and also the size of the fifth-sounding stops of C organs.
507. The following are the lengths of the chief G pipes.
508. The G, of 21; feet (24 feet) standard length. The sound of this pipe
is a fifth above that of the 32-feet C. It is the “G G G’’ (three G) of the English
tablature, and the “twice-undermarked G* of the German.
509. The different lengths are here given for the G pipes. The first is in
every case the correct one, and therefore the best one to be written down or
engraved ; the other, in brackets, is necessarily made use of in conversation for
convenience, and for brevity Sake. The latter is not so well adapted for the
Stop labelling, because it would lead to some confusion in regard to the lengths.
For instance, the standard length of a Twelfth is one-third the length of the
Diapason; therefore, if the former were to be marked 3 feet, the latter would
appear to be wrong at 8 feet, and might be supposed to be a misprint of 9 feet,
which would be a second error, -
510. The G of IO3 feet (12 feet). The sound of this open pipe is represented
by a note placed in the fourth space below the bass staff. It is the “G G "
(double G) of the English tablature, and the “once under-marked G* of the German.
511. The G of 53 feet (six feet). The sound of this pipe is represented by a
note placed on the first line of the bass staff. It is the “great octave G’ of
the Germans, and the English “gamut G.”
512. The G of 23 feet (3 feet.) The Sound of a pipe this length is repre-
resented by a note in the third space below the treble staff. In both the English
and German tablature it is denoted by a Small g. It is the English “fiddle g.”
513. The G of 13 foot (13 foot). A note placed on the second line of the
treble staff represents the sound of this pipe. It is marked in the English
tablature by two gs (g g); and in the German by a g once-marked (gº). It is
known as “gº above middle c.”
514. A third class of pipes may be noticed, as being used for the purpose
of stop measurement; viz., Some of the E, or third-Sounding pipes.
515. The E of 63 feeſ. The sound of this pipe is a major third above that
of the C C or 8-feet pipe. The gravity of its sound is represented by a note on
THE STANDARD I,ENGTH OF ORGAN PIPES. I25
the first ledger line below the bass staff. It is the English E E (double E);
the German “great E.”
516. The E of 33 feed. The sound of this pipe is a third above that of the
tenor C, or the 4-feet pipe. Its sound is represented by a note in the third space
of the bass staff; and is denoted by a Small e in the German tablature, and by the
term “tenor e,” mostly in England. -
517. The E of Iš ſoof. The sound of this pipe is a third above that of the
middle C', or 2-feet pipe. A note placed on the first line of the treble staff
represents its sound. It is the small e of the English tablature ; the “once-
marked e” of the German ; and is the “middle e” of ordinary phraseology,
I26 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
CHAPTER XXI.
THE SIZE OF TONE OF ORGAN PIPES,
518. BESIDES the description of pipe, i.e., the open, noticed in the preceding
section, wherein the standard length of the body accords with the pitch of its
sound, there are other kinds, the sound produced from which is much lower or
“larger” than what the length of the body would indicate. The chief of these
are the stopped pipes, which produce a Sound as deep as that of an open pipe
of twice the length, or nearly So, for the reason explained when speaking of the
form of pipes.
519. As the length of such pipes would be no criterion of their sound, and
yet it is most necessary to know what pipes of different conformation will speak
in unison with each other, the standard length of the several kinds of short-
bodied but low-sounding pipes is dispensed with, and, in lieu of this, they are
measured according to the gravity of the sound they produce, or, in other words,
according to their size of Zone. *
52O. In speaking, therefore, of pipes, the bodies of which measure much less
than the “standard length,” they are said to give the 8, 16, or 32 feet ſome,
according to whether the Sound they produce be in unison with an open pipe
of 8, 16, or 32 feet measurementſ. To prevent, however, their being confounded
with the open pipes of superior length, the word “tone,” “sound,” or “pitch,” is
added, which, of itself, implies that the bodies are not of that approximate or
sfazedard size. -
521. The difference between “standard length” and “size of tone” may be
familiarly illustrated in the following manner. If an open pipe, say a Clarabella,
be blown with the mouth, and the top be covered with the flat palm of the hand,
its pitch will be lowered to the extent of a major seventh. And a similar lowering
of the sound would take place in a larger pipe, Say the 8-feet C. The latter
would not, however, on that account be transformed from an 8 into a 16 feet
Žiže; its sound or “size of tone” only would be altered, its length would remain
the same. A shorter pipe would simply be made to produce the sound of a
longer.
522. Besides the class of pipes that gives a sound larger than what the length
of their bodies would indicate, there is another that produces a smaller sound than
that which would be expected, as the 2-feet tone from a 4-feet pipe. These are the
harmonic speaking stops, as the Flauto TraverSo, &c., of the German builders,
and the Harmonic Flutes of the French and English builders.
523. The full range to which stopped pipes have been made is 7 octaves,
namely, from the 32-feet C tone to C* in altºs.simo, or perhaps a note higher.
Reed pipes have been made to the same range:—downwards in numerous German,
French, Belgian, and Dutch organs, also in the York Minster organ, by Elliott
and Hill (1829); the Liverpool Town Hall organ, by J. Willis ; Gray and Davison's
organ in the Town Hall, Leeds; and in Hill and Son's pedal organ, in the Parish
Church, Leeds; ºftwards occasionally in Some of Harris's organs, who, at times,
carried his clarions right through in octave reeds, as in the late parish church
organ at Doncaster, the manuals of which were up to dº in all,
THE SIZE OF TONE OF ORGAN PIPES. - 127
The scale of organ 524. The question here presents itself why the pipe in the
pipes; and the influence -: - º
which an alteration in above experiment did not speak the full octave below, instead
the proportion exercises of a major seventh only, if the column of air travelled the
on the length, double distance. It was because the Ö1//Å or scale of the
body remained of the same size. A stopped pipe is required to be of a somewhat
/arger diameter than an open one of the same length to produce the true octave
below, as will be at once ascertained by comparing a middle ck Clarabella with
a tenor c Stopped Diapason pipe. A middle cº Clarabella will measure 25% inches
in depth, by I # inches in width ; whereas the latter will be about 2 % inches,
by Iłż inch in depth.
525. The width or narrowness of any pipe, in proportion to its length, is
termed its “scale ; ” and a pipe is spoken of as being of a “large scale” or a
“small scale,” according to the ratio which its diameter bears to its length.
A pipe in which this width is carried to the full legitimate extent, is said to be
of “full scale ;” and when the diameter is narrow as compared with the length,
it is said to be of “ small scale.” -
526. An alteration of scale causes a slight difference in the length of a pipe
producing a given sound ; the length being reduced by an increase in the scale,
and vice versé. Thus, a large Scale Open Diapason pipe Sounding, say middle cº,
is rather shorter than the corresponding pipe of a similar stop of Smaller scale;
while that of a Dulciana producing the same sound will be longer than either,
on account of its measure being narrower than either. These variations are,
however, subject to modification, from the influences mentioned in Sec. 481, p. 120.
527. If the three pipes of different scales were to be made to the same length,
all their sounds would differ in pitch from each other.
528. The length of a pipe producing a given Sound is also slightly affected
by an alteration in the outline of its body. Thus, a conical pipe will be rather
longer than a cylindrical pipe of full Scale, and its length will increase with the
extent of its conicality. The following short table will suffice to illustrate the
above several particulars.
2-FEET (MIDDLE Cl) FLUE-PIPES.
Name, Circum. at mouth. Circum. at top, Length.
Open Diapason......... 6% in. ... 6% in. ... I ft. Io; in.
Dulciana.................. 4; in. s a º 4; in. c tº tº I ft. II; in.
Gamba .................... 4; in. & a ſº # in. e a * 2 ft. O3 in.
Spitzflöte.................. 6; in. tº a º 43 in. & 5 º' I ft. II in.
Gemshorn ...... ſº tº tº º t e º 'º º 63 in.' ... 25 in. tº s a I ft. II; in.
529. The foregoing observations refer to flue pipes; but the length of reed
pipes is also modified by the outline and scale of the tube; the length increasing
as the Scale is enlarged or made to deviate from the cylindrical outline. A
cylindrical reed, or clarionet pipe, is very short, being little more than half the
speaking length ; a bassoon pipe, slightly outspreading, rather longer; a haut-
boy pipe, with a wider bell, longer again ; a trumpet longer still ; and a
trombone, or posaune pipe, the largest in Scale of any, also the longest of any,
2-FEET (MIDDLE Cº.) REED PIPES.
Name, Circum, at top. Length.
Clarionet ............... 3; in. ............... I ft. I; in.
Bassoon.................. 33 in. ............... I ft. 8 in.
Hautboy ............... % in. ............... I ft. 8+ in.
Trumpet ............... 8# in. ............... I ft. 83 in.
Horn t a t t t > * * * * * * * * * * * * * * * IO in. tº W R v i t t t w = p * * * * I ft. 9 111,
I28 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
CHAPTER XXII.
ORGAN STOPS,
Definition of a stop; 530. THE gross number of pipes contained in an organ
and an explanation of º & tº :4.-- 1: • *-->
the various kinds. consists of So many distinct longitudinal series or sets; some
of which are for the separate use of the manuals, and others
for the pedal. A series of pipes, the range of which extends from the lowest
to the highest key of a clavier ; gradually diminishing in length and size ; having
the same quality and strength of tone throughout ; and the mechanism of which
will allow of their being sounded independently of those of the other series, is
called a stop. Or, viewed in another way, a stop may be described as consisting
of a certain number of Octaves of pipes, extracted from the greater series—such
as that of 9 Octaves mentioned in the preceding chapter—commencing with some
pre-arranged pipe. Thus, four octaves and a half of pipes from the open series,
commencing with 8-feet C, would form a Manual Open Diapason ; two octaves
and a half, beginning with gamut G, would form a pedal Twelfth ; four octaves
and a half, commencing with 2-feet cº, would be a Manual Fifteenth ; four
Octaves and a half from the stopped series, commencing with the C C C pipe,
I6-feet tone, would form a Manual Bourdon ; the same compass from the reed
Series, commencing with the 8-feet C pipe, would form a Manual Trumpet; or two
Octaves and a half, from C C C, 16-feet pipe, a Pedal Posaune. Allowing a little
for variation of Scale, this will convey a very good idea of what an organ stop is.
53I. Organ stops may, in regard to their compass, the way in which they are
made to “draw,” and other circumstances, be divided into five classes, namely,
Whole stops ;
Half stops ;
Incomplete stops;
Short stops ; and
Repetition stops.
532. Whole Stoſs are such as have their compass extending through the entire
range of the manual or pedal. To this class rightly belong the Open and Stopped
Diapasons, the Dulciana, Double Diapason, Principal, Fifteenth, Mixture, Trum-
pet, &c. -
533. Half stops are those which are so far complete that they comprise an
unbroken series of pipes inside the organ, throughout the manual range—like
the whole stops—but with the difference, that the draw-stop action and sliders
are so contrived that the bass portion of Such stops can be drawn independently of
the treble, by means of a second handle. Half stops occur the most frequently on
those manuals which have some incomplete stops, and where the bass of one stop
is therefore used as a substitute for the omitted part of other stops. The Stopped
Diapason is very frequently “cut” for this purpose ; the 8-feet octave being
employed to complete the range of the Dulciana, when the latter stops at tenor c.
Many of Father Smith's smaller instruments, consisting of great manual and echo,
were furnished with several half stops, “for the benefit of increasing the variety in
ORGAN STOPS, I29
the organ.” These stops were divided between middle b and middle cº, and the
object obviously was to allow of a melody being played in a stronger tone, or a
different quality of tone, or both, on that part of the compass above middle C, to
the accompaniment played below that note.
534. /?complete Stoffs are those which ought, from their nature, to extend
through the entire compass of the Manual—which should, in fact, be whole stops—
but which, from Some reason, are made in an incomplete form. A Dulciana
without pipes to the bass, or 8-feet octave of the Manual, or a Bourdon (Double
Stopped Diapason), not having its full complement of pipes upwards, are incomplete
stops. The difference between an incomplete and a half-stop is that the former is
altogether without pipes in Some portion of its compass, either in the treble or in
the bass, as the case may be ; whereas a half-stop has its remaining pipes really in
the organ, commencing where the first half or portion of the stop leaves off, but
which can only be drawn on by means of a second draw stop.
535. Short Stoffs are such as do not extend completely through the compass of
the manual, and are not, therefore, whole stops ; and which yet cannot strictly be
classed either as half or as incomplete stops, since they are of limited range by
nature. To this class belong many of the imitative stops. These, in many
instances, take the extent of their compass from that of the instrument which they
each individually represent, without reference to the compass of the manual on
which they may happen to be placed. Thus, a Clarionet stop that descends to
tenor C sharp has the full range downwards of the instrument the name of which it
bears, and, therefore, cannot fairly be ranked as an incomplete stop ; nor can a
Bassoon stop that ascends to bº flat above middle cº be correctly so classed, since
it then has the full upward range of the ordinary orchestral Bassoon. When their
compass is less than that just given, then they, of course, become incomplete stops.
The old builders made the “Cremona” and Bassoon stops of equal compass with
the Manual, and this was a very advantageous plan.
536. Some imitative stops are classed as incomplete stops even when their
compass equals that of their prototypes, unless their range corresponds with that of
the Manual on which they are placed. This is the case with the Trumpet, Hautboy,
Cornopean, and Flute, among others. The reason of this is that such stops are
used as frequently, if not more so, as combination than as solo stops, for the
purposes of accompaniment; and are hence required to be of the same compass as
the other stops of the organ employed for the same end.
537. Å'effetition stops are only met with in pedal organs, and only in such
specimens of those as are of too short a range. A repetition stop is that whereof
one octave of pipes is made to Sound on a Second octave of pedals, or on a portion
of them, when there is not quite a complete second octave of pedals for them to
act upon. They are found most frequently in G G organs. They are incomplete
stops with a return to hide the deficiency.
538. Accessory stops. Organ stops are further divided into Sounding stops and
accessory stops; the former being all such as produce tones like those already
described, while under the latter head are classed the numerous mechanical devices,
operated upon by handles, or pedals, which aid in bringing the Organ and its several
resources more completely under control. The several manual and pedal couplers,
therefore, are accessory stops; so also are the wind-truñk valves, or ventils, found
more frequently in Continental than in English organs. The distinction is a
necessary one, for otherwise it would be possible in many organs to draw out six or
eight so-called “stops” without any sound whatever being producible from the in-
strument; whereas, by their being recognised as “accessory stops,” no sound
would be eaftected from them. -
|U
\.
I 30 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
The size of the stops; 539. The numerous effects of which all well-planned organs
how ascertained. are susceptible result partly from the presence and use of stops
of diverse form, nature, and character of tone; and partly from stops varying in pitch
as well as in quality of tone, and other distinctive conditions. The most important
and useful stops for the Manuals are those of 8-feet, because they are in unison with
the human voice, and are, therefore, particularly required for the accompaniment of
singing. For the Pedal the 16-feet is the most useful, which, being twice the size
of the most important Manual stops, will of course sound an octave below them,
as they form the true bass to the Manual 8-feet stops. The size of a stop is
ascertained and fixed by the standard length of the pipe that speaks on the lowest
key of the clavier on which it appears. If it be a C C Manual, and the 8-feet or
C C pipe be placed on the lowest key, as in the Open Diapason, the Series of pipes
are said to form an “8-feet stop.” If it be a tenor c or 4-feet pipe that is so
placed, as in the Principal, the series of pipes compose a “4-feet stop.” If it be a
I6-feet pipe that is so situated, as in the Double Open Diapason, then the pipes
are said to form a “16-feet stop,” and so on. These quoted measurements refer
more particularly to stops composed of open pipes, the low C pipe of each
of which is of the standard dimension given. Covered and other stops Com-
posed of short-bodied pipes are, as already explained, measured according to their
“size of tone,” irrespective of their length of pipe. A stop so composed and having
attached to the C C key a pipe that gives the C C or 8-feet sound, as in the Stopped
Diapason, is a stop of 8-feet tone; one giving the 16-feet sound, as in the Bourdon,
is a stop of 16-feet fome.
540. Some incomplete and short stops are, as already explained, without pipes
to the 8-feet octave of keys; the size of which, therefore, is calculated in another
way, viz., by their pitch, so far as their compass does extend. An Open Diapason,
or Dulciana, for instance, that stops at tenor or 4-feet c, is, nevertheless, an 8-feet
stop, as far as it goes. The circumstance of its longest pipe measuring but
4 feet arises from the omission of the entire 8-feet octave ; the introduction of
which would make the true standard length of the stop quite apparent. Even
a Clarabella to middle cl (2-feet length) is an 8-feet stop so far as it extends ;
but is without both the 8 and 4 feet octaves of pipes.
54I. To be a 4 or 2 feet stop, the 4 or 2 feet pipe must be on the C C or
8-feet AEey. The 4-feet pipe on the 4-feet key, as in the case of a tenor C Dulciana,
or the 2-feet pipe on the 2-feet key, as in a middle c Clarabella, still leaves
the Sound in unison with the Diapasons, so far as any sound at all can be obtained,
and is therefore of unison or 8-feet pitch.
The classification of 542. The peculiarity by which the two great classes of organ-
.*. * * pipes are distinguished has been already so fully explained, that
part, into Reed stops it is only necessary to add, in this place, that the same
and Flue stops. classification is observed with the stops, and that a Reed stop is
a series of pipes which speak through the medium of a reed and tongue; and
a Flue Stop, a similar series of lip pipes.
543. Among those of the former class are included the Trumpet, Clarion,
Double Trumpet, Horn, Cornopean, Trombone, Hautboy, Bassoon, Clarionet, and
Vox Humana stops; among the latter, the Diapason, Principal, Fifteenth, the
Mixtures ; and, in short, all the stops not included in the fore-mentioned class.
Classification of the 544. The Several kinds of Flue stops are so numerous, and
Flue stops, in regard to g º e &
theirstructure, into Dia. * kinds are so much more important than others, and
pason-work, Covered- require to be introduced in So much greater abundance, that,
work, and Flute work for the sake of recognition, they are conveniently distributed
ORGAN STOPS, I3 I
and arranged under three separate heads. Flue stops are, therefore, grouped into
Diapason-work,
Covered-work,
Flute-work,
545. Dia/ason-work. Under the head of Diapason or Principal work are
placed all the open cylindrical stops of Open Diapason measure, or which have
their scale deduced from that of the Open Diapason; such stops are the chief,
most important, or “principal,” as they are also the most numerous, in an organ ;
and hence the origin and appropriateness of the term under which stops of this
shape and proportion are classed. The Unison and Double Open Diapasons,
the Principal, Fifteenth, and Octave Fifteenth, the Fifth, Twelfth, and Larigot, the
Tenth and Tierce, and the Mixture stops, when of full or proportionate scale,
belong to the Diapason-work. g -
546. Covered-work. This class comprises all stops composed of pipes that
have their bodies stopped, closed, or covered at the upper end. The Unison and
Double Stopped Diapasons (Bourdon), the Stopped Flute, and the Stopped Piccolo,
therefore, are members of the Covered-work.
547. Flute-work. This division includes all Flue stops, of whatsoever kind or
shape, that do not come under either of the preceding divisions.
548. All four-sided pipes, therefore, that are open at the top, and so distin-
guished from the Covered-work, belong to the “Flute-work”—a term adopted for
convenience of classification, and not intended to imply that all the stops arranged
under that head produce a ſuffe quality of ſome. The “Diapason” and “Covered”
stops have occasionally been included with the above, under one general term
“Flute-work;” but “Flute” stops are never placed under the head of “Diapason,”
or “Covered-work.”
549. The Clarabella, Wald-Flute, Hohl-Flute, Oboe-Flute, Suabe-Flute, the
English and German Gambas, the Flageolet, Keraulophon and Piccolo stops,
therefore, belong to the “Flute-work.” Also the conical stops, as Spitz–Flöte and
Gemshorn ; and all stops of cylindrical shape, the scale of which is either öelow
or Öeyond that of the Diapason-work, as the Dulciana of 16, 8, and 4 feet, the
Block-flute, &c. .
Classification of Organ 550. A third classification of Organ stops is made, in regard
*...*.*.*.* to the sound they produce, i.e., whether that accords with the
sound they produce, into * & 8 º g
Foundatiºn, Mutation, key struck or not. The three divisions into which the stops
and Compound stops, are thrown for this purpose are
Foundation stops,
Mutation stops, and
Compound stops.
551. Foundation stops are such as produce a Sound corresponding with the key
pressed down ; that is to say, that give the C sound when the C key is touched.
They are so designated, because their sound is the very “foundation ” of the organ
tone; SO much so, that such stops cannot be dispensed with, and therefore receive
priority of selection; without them, and that in good proportion, the tone of an
organ would be confused and undefined ; although they again are, to a certain
extent, dependent on members of the other classes of stops for a complete and
satisfactory result. The Foundation stops are of various lengths, consequently
their sound may be high or low; but this does not affect their classification, so long
U 2
I 32 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
as the key and the name of the sound agree. They are of 32, 16, 8, 4, 2 feet, and
I foot in length or sound, and include members of all classes of stops ; Reed and
Flue; Open and Stopped ; Diapason, Covered, and Flute-work; the chief condi-
tions being that they are of the standard lengths, or the size of the tone indicated
above. p -
552. The 8-feet stops on the Manual and the 16 on the Pedal are called the
Chief Foundation stops, as being the unisons of their respective departments, and
giving the “ground-tone.” All the 4-feet on the Manual and 8-feet on the Pedal.
are classed as Octave stops, and those of 16-feet on the Manual and 32 on the
Pedal as Double stops. < -
553. Mutation, or F://img-uſ, Sãoffs do not give a Sound corresponding with
the key pressed down; but some sound g on the C key, otherse. Those giving the
fore-mentioned sound are called “fifth-Sounding,” or Quint stops; those giving the
latter, “third-sounding,” or Tierce stops. They are of various lengths, like the
Foundation stops; the size, or size of tone, of the fifth-sounding stops being as
follows:—IO3 (I2), 5; (6), 23 (3) feet, and I; (IÉ) foot. -
554. An Open stop of 5; feet on the Manual, or Io; on the Pedal, sounds the
fifth above the Unison stops of those departments respectively, and is called the
Fifth or Quinſ. One of the 23 feet on the Manual, or 5; on the Pedal, gives the
octave of the Fifth, or the Twelfth, by which name it is hence called. A stop,
sounding the second octave above the Fifth, that is a nineteenth above the unison,
measuring IÉ on the Manual and 23 feet on the Pedal, is called the Zarigoi or
Octave 7 welfth. A still Smaller rank of fifth-sounding pipes, speaking a twenty-
sixth above the unison tone, is often included among the ranks in the bass part of
the Manual Compound stops, where, indeed, the last-mentioned series is more
frequently met with than as a separate Stop.
555. In German organs the fifth-sounding stops are called “Quints,” in
reference to the sound they produce. The Žitch of that sound is not usually indi-
cated by any peculiarity in the name on the draw-stop, but by the length being
marked in figures. (See Foreign Specifications.)
556. The lengths of the third-Sounding stops or Tierces are 64, 33 feet, and
I# foot. Except on the Pedal, they are rarely found in modern organs, unless
of great magnitude.
557. An Open stop, measuring 3; on the Manual, or 63 on the Pedal, gives the
major third above the Octave stops, or the tenth above the unison, and is called
the Tenth. One measuring IÉ foot on the Manual, or 34 on the Pedal, sounds a
major third above the Super-Octave stops, or a seventeenth above the Unison
stops, and is called the Tierce. -
558. The Mutation stops impart a certain roundness and fulness to the general
organ-tone, by “filling up " Some of the bare octave sounds of the Foundation
stops, by the mixture therewith of certain intermediate, harmonical sounds, of fixed
and determinate pitches. They also have the further effect of binding together the
extreme sounds of the Compound stops, and the Unison and Double stops; and
of blending the whole into one great mass of musical sound. The laws which
regulate the admission of Mutation stops, and decide which are required and which
are not, are fully explained in a subsequent chapter.
559. Compound or Mårture stoffs. The stops which have I pipe to each key
have been termed “Simple” stops. The kind now under consideration are called
“Compound” stops, because they have more than 1 pipe to each key, often 5 of
various sizes ; and “Mixture” stops, because those several pipes consist of certain
members of the two preceding description of stops, “mixed” or “compounded"
together. These pipes are 50 uniformly required to be used in conjunction, that
ORGAN STOPS. ſ 33
they are rarely made to draw separately. The Compound stops give to the Foun-
dation stops a distinctness and clearness of effect in the bass, especially necessary
to the quick recognition by the ear of the pitch of the larger pipes; and great
vivacity, as well as a kind of ringing character, to the general Organ tone.
The German organ-builders recognise a class of stops which they call “Simple
Mixed stops.” These are stops which, consisting of a set of single pipes, pro-
duce two Sounds. To this class belong the Quiníaſons of 32, 16, 8, and 4 feet
size of tone. These stops not only produce their fundamental tone, but, from a
certain peculiarity in their voicing, also the twelfth or octave fifth above that tone.
Hence their name. It is in this particular that they are distinguished from the
similar class of stops which, producing only their pure, deep, humming tone, are
called Bourdons.
134 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
CHAPTER XXIII.
THE NAMEs of organ stors
The name and descrip. 560. THE custom of distinguishing the different stops from
º º one another, as Principal, Octave, &c., dates from the sixteenth
the with their iºn century. A list of stops usually found in English organs will
or size of tone on the now be given. Among the names inserted therein will occa-
*** signally be found one of Continental origin, and for which no
English equivalent is known to exist. Where this is the case, of course, the
original name has been allowed to stand ; but where a translation of the foreign
name could be given this has been added within brackets. It has happened that,
in a few instances, Continental names have been applied by English Organ-builders
to stops of somewhat different construction or character of tone, which will be
duly pointed out, g - **
561, With regard to the arrangement of the stops mentioned in the list, the flue
and reed species have been treated separately, priority being given to the former ;
and the members of each have been taken in the order of their length or their size
of tone, commencing with the largest, and ending with the Smallest.
562. Sub-Bourdon, Manual-Untersatz. This Manual stop is composed of
stopped pipes, and is, in pitch, two octaves below the unison or 8-feet stops : it
is, therefore, of 32-feet tone. The Sub-Bourdon is best suited for Organs of the
first magnitude, in which it has a grand effect. Its compass is usually to the
middle cº, fiddle g, or, at most, to the tenor c key. At Stuttgardt the 32-feet
tone is produced in the bass octave acoustically by the union of a Bourdon I6.
feet and a Great Quint of Io; tone. Examples will be found in the Doncaster
Parish Church organ, built by Schulze; also in the organ at St. Olave's, South-
wark, built by Lincoln, which, however, has open pipes in the treble. Various
Foreign Specifications in the Appendix contain notices of other specimens.
563. Double Offen Diaffason. This stop belongs to the “Diapason-work,” and
is of 16 feet length on the Manual, and 32 on the Pedal. It is made either of tin,
metal, zinc, or wood. The Manual Double Open Diapason is most frequently made
of metal in this country, and is sometimes continued right down in metal, as is the
case in the organ at Brunswick Chapel, Leeds, built by Booth of Wakefield ; One
of GG compass, where the largest metal pipe is consequently 21; feet in length.
In some instances the lower half-octave or octave of pipes are of wood—as
in that of the late St. George's Church, Doncaster—from FFF to CCC. In other
Specimens the pipes, to the lowest octave or so, are omitted and stopped pipes,
substituted to save room or expense; or the stop is altogether discontinued below
the tenor c key. In the latter case the stop is on that account called Tenorooze,
The oldest authentic specimen of the Double Open Diapason known to exist in
England is the one in the very interesting organ in Exeter Cathedral, made by
Loosemore, 1664-5. The instrument just named, together with that in St. Saviour’s,
Southwark, also said to be made by the same builder, were the only two organs in
this country that possessed a Double Offen Diapason until of late years.
564. The Pedal Double Open Diapason is made of either of the four materials
mentioned above. Specimens of wood stops of this kind occur at Westminster
THE NAMES OF ORGAN STOPS. I 35
Abbey; St. Paul's Cathedral; at the Parish Church and at Brunswick Chapel,
Leeds ; at York Minster; at the Birmingham Town Hall; and at the Parish
Church, Doncaster. The instruments at York and Birmingham have also each a
32-feet Stop of this description made of zinc ; the Town Hall organ at Leeds has
also a stop of this kind ; while 32-feet stops of tin occur "at Haarlem, Hamburg,
Weingarten, Albert Hall, &c. The pitch of the Double 'Open Diapason, whether
of the Manual or Pedal, is an octave below the Unison stop.
565. Double Dulciana. An open metal cylindrical stop, belonging to the
Flute-work, of small scale and delicate tone, and somewhat slow of speech. It is
a Manual stop of 16 feet, of which but a few specimens have been made in a com-
plete form. There is one, however, in metal throughout, to the 16-feet pipe, in the
Choir organ of the large instrument at Brunswick Chapel, Leeds. Occasionally
the pipes to the lowest octave, or octave and a half of keys, are of stopped wood, as
in the Swell at Christ Church, Newgate Street ; though more frequently there are
no pipes at all provided for the 8-feet octave of keys; in which case the stop is
usually called Tenoroon Dulciana.
566. Contra-Gamba. An effective 16-feet open metal Flue stop, frequently in-
troduced into the Swell by Mr. Henry Willis. -
567. Double Stoffffed Diațason, or Bourdon ; on the Pedal, Sub-Bourdon, or
Untersatz. This is a covered stop, of 16-feet tone on the Manual and 32 on the
Pedal. It is, rightly, a whole stop, like the two preceding; complete specimens
occurring on the Great Manual organs at the Temple Church ; St. Luke's, Old
Street; the Exchange, Northampton ; All Saints', Northampton ; St. Michael's,
Chester Square, &c. In many organs which have a Tenoroon Open Diapason or
Dulciana the Double Stopped Diapason consists of one octave only of pipes, pro-
ducing the 16-feet octave of Sounds, acting on the 8-feet octave of the Manual,
commencing where the Tenoroon leaves off. The English Double Stopped Dia-
pason is generally made of wood throughout. This is the case also with many
Continental specimens ; while others, again, are either wholly or in part metal, as in
the Choir organ at the Temple Church. Of the Manual Double Stopped Diapason
numerous specimens were in existence in this country about the middle of the
last century. The organ built by Jordan, Bridge, and Byfield, in the year 1740,
for the church at Great Yarmouth, had a stop of this kind. So also had the organ
in the Foundling Hospital, constructed by Parker, and erected in 1759. The
instrument at St. Margaret's, Lynn, made by Snetzler, in 1754, originally contained
One throughout the Great Organ ; and another, by Schwarbrook, formed part of
his masterpiece at St. Michael's, Coventry. Sir John Hawkins, in his History of
Music, mentions another specimen as occurring in an organ at Manchester (at the
Cathedral) in his time. * *
568, The Pedal Doub/e São/ffed Dia/ason (32-feet tone) appears to have been
introduced, for the first time in this country, by Smith, of Bristol, in the organ he
built for the church of St. James in that city, in 1824. Other examples of the
Stop occur in organs at St. Pancras Church, and St. Olave's, Southwark, where
it is called Sub-Bourdon, 32-feet tone ; and at Trinity College, Cambridge.
569. Pyramidon. This is a Pedal stop of 16 or 32 feet tone, invented by the Rev.
Sir Frederic Gore-Ouseley, and made by Mr. Flight ; the peculiarities in which
consist, first, in the shape of the pipes, which are more than four times the size at
the top that they are at the mouth ; and, secondly, in their producing Sounds of
remarkable gravity for their size. From a pipe, measuring only 2 feet 9 inches in
length, 2 feet 3 inches square at the top, and 8 inches at the block, the CCC, or
16-feet sound, is obtained. The quality of the tone bears some resemblance to that
of a stopped pipe. -
136 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
570. Oſem Diapason. The Open Diapason is the chief member of the
“Principal-work.” It is a whole stop of 8 feet on the Manual, and 16 feet on the
Pedal; and is called Openin contradistinction to the Stopped Diapason, the pipes of
which are closed or covered in at the top. From its being the chief Foundation stop
on the Manual and Pedal, its goodness or badness exercises an important influence
over the effect of the organ generally. The Manual Open Diapason is generally
formed of tin or metal pipes, many of which are those usually seen in front of the
case. Sometimes the lowest half-octave or octave of pipes are made of wood.
571. Large organs frequently have two Open Diapasons on the Great Manual ;
of tin or metal throughout, usually, in old instruments, but with the bass of the
second one of wood in many later organs. When the organ is placed on the choir
screen, as is often the case in cathedrals and other cruciform structures, the majority
of the pipes of one Offen appear in the east, and those of the other in the west front
of the case. The second Open Diapason is made to a different scale from the first,
usually one pipe smaller, to destroy the sympathy. Zinc is sometimes successfully
used for the 8-feet octave of this stop.
572. The Pedal Open Diapason is almost invariably made of wood. Metal
ones, however, are sometimes met with ; as in the Pedal organs at St. Sepulchre's,
Snow Hill; Christ Church, Newgate Street; Exeter Hall; St. John's, Chester, &c.
A magnificent specimen, of which the pipes in the 8 and I6 feet octaves are of zinc,
occurs in the new organ at Doncaster, where it faces the transept.
573. It may be worth while to mention here that the use of the word “Diapa-
Son " has, in Some instances, been objected to, as having no definite signification ;
and its retention as a name for an organ stop proposed to be discontinued in conse-
quence. There seems, however, to be no sufficient reason for discarding it.
574. That it is no longer applicable to its original signification is indeed true.
The word, which is of Greek origin, means an “octave ;” and, applied to the first
pneumatic organ, which is recorded to have had but one octave of pipes, and those
only of the diatonic scale, offered the most fit name that could have been given. But
in proportion as the subsequent increase in the compass of the organ and the number
of its stops took place, the appropriateness of the term in its original sense decreased.
575. These developments, however, prepared the way for the application of the
word in a more extended sense. The term “Diapason,” coming as it does from
two Greek words, signifying “through all,” is applied by makers of musical instru-
1ments to the rule, Standard, or scale, by which they make their flutes, hautboys,
&c. In a similar manner the set of Unison Open pipes under consideration forms
the rule, standard, or scale, by which the organ builder regulates the size of the
harmonic corroborating series of stops; not only in the first instance, in regard
to their length and breadth of body, but afterwards, in regard to their strength and
quality of tone. Its influence extends “through all ” the stops in question; hence,
the name “Diapason’ appears to be just the most appropriate one that could be
given to a set of pipes exercising so much power.
576. Dulciana. This is an 8-feet Manual stop, belonging to the Flute-work.
It is sometimes of metal throughout, as at the Temple Church, and St. Giles's,
Camberwell; or the lowest octave is made of wood, and the remainder of metal, as
at St. Dunstan's, Fleet Street. The Dulciana, in most organs, stops at tenor c ;
the stop then frequently being grooved into the Stopped Diapason in the 8-feet
Octave ; or the bass of the Stopped Diapason is made to draw separately to meet
it. The pipes of the Dulciana are much smaller in scale than those of the Open
Diapason, the fiddle g, or tenor f sharp pipe of the former, being of the same
diameter as the middle cº pipe of the latter, and its tone is peculiarly soft and gentle.
577. The Dulciana Stop was either invented or introduced into this country by
THE NAMES OF ORGAN STOPS. f37
Snetzler, who acquired great reputation from the entire success that attended his
first public specimen, which forms a portion of the organ erected by him, in the
year 1754, in St. Margaret's Church, at Lynn, in Norfolk.
578. Harmonic Flute. This is a Manual open metal Flute stop, extending to
fiddle g, at the farthest, in its Harmonic form ; is of cylindrical form, of 8-feet pitch,
and either blown by a heavy wind or simply copiously winded. The pipes are of
double length, i.e., 16 feet; and the bodies have a hole bored in them midway
between the foot and the top. The tone of the Harmonic Flute is exceedingly
full, fluty, and powerful, and imparts great breadth and thickness to the general
organ tone. It was invented by Cavaillé-Coll, of Paris, and has of recent years
been adopted generally by the English builders. -
579. Voix Céleste. The Voix Céleste is another stop of French invention, formed
of a delicate Gamba and a Dulciana, which are first tuned in unison, and then the
pipes of the second one are lightly touched again with the tuning-horn, and their pitch
slightly raised. This gives to the tone of the stop a waving, undulating character,
which in this respect resembles the German stop called Unda Maris (wave of the
sea), which will be found mentioned in some of the Foreign Specifications, which see.
580. The Voix Céleste was first employed in this country in the Panopticon and
Glasgow organs. -
581. Stoffed Diațason. Gedact. The Stopped Diapason is an 8-feet Sounding
stop on the Manual, and 16 on the Pedal. It is the most important member of the
Covered-work—its sound being in unison with that of the Open Diapason. The
Manual Stopped Diapason is sometimes composed of metal pipes as far as tenor c,
and of oak thence downwards, as on the Great Manual at the Temple Church ; or
of metal to middle cº, and of deal below, as at Christ Church, Spitalfields. More
frequently, however, it is of wood throughout. The different materials slightly modify
the tone, which may, in general terms, be described as being fluty and mellow.
582. On the Pedal the Stopped Diapason is generally made of wood. Its tone
adds a quiet solidity to that of the Pedal Open Diapason, and, if purely and fully
voiced, is one of the most useful stops a Pedal Organ can contain.
583. Clariomet Flute. This stop is formed much after the manner of a Stopped
Diapason, except that the perforations in the stoppers are much larger, and its tone
is of a re uy quality. It is of 8-feet tone on the Manual. The tone is very rarely
even or equal throughout the stop.
584. Clarabella. The modern stop thus called, which was invented by the late
Mr. Bishop, is of 8 feet on the Manual. It is formed of open wood pipes of a large
scale, producing a thick and powerful fluty tone, and is sometimes introduced
instead of the treble portion of the Stopped Diapason. The Clarabella is seldom
disposed otherwise than an incomplete stop ; its compass generally only extend-
ing to middle cº, or, at most, to tenor c. A complete one, however, occurs in the
Swell of the Brunswick Chapel organ, Leeds, by Booth of Wakefield. The English
Clarabella much resembles the German “Hohl-flöte” in character of tone, except
that its sound is scarcely so strong or so full.
585. Dolcan. This is an Open Manual Stop, of 8 feet, the pipes of which are
of larger diameter at the top than at the bottom, producing a very agreeable tone.
It is not much known in England; a Specimen, however, exists in the organ at St.
Stephen's Church, Westminster, made by Hill, -
586. Viol di Gamba, or Gamba. This is one of the most highly-esteemed and
most frequently-disposed stops in Continental organs; as may be gathered from
reference to the Foreign Specifications in the Appendix. The German Gamba is
usually composed of cylindrical pipes of Small scale, though occasionally it is
formed of conical pipes. In England the Viol di Gamba was, until very recently,
I38 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
*
made exclusively of the conical shape, surmounted by a bell, as represented in ſig.
81, page IO3, and which kind of pipe was first introduced by Mr. Hill.
• * 587. In compass the Viol di Gamba usually descends no lower than tenor c ;
that at Christ Church, Spitalfields, however—which is a Bell Gamba—descends
to CC. Examples of the German Gamba occur in the organ at Doncaster Parish
Church, in the Exchange organ at Northampton, and in the organ at the Temple
Church, the latter specimen descending to CC. The proper Pedal bass to the
Gamba and other unison string-toned stops is the Violone, 16 feet, a stop com-
posed of wooden pipes of small scale, the CCC measuring about 5 inches by 7. An
admirable specimen of this stop occurs on the Pedal of the Temple organ, and
another at Doncaster. 3.
588. The tone of the Bell Gamba is very agreeable and reedy, and quick in its
articulation ; while that of the (German) Gamba is much stronger, pungent, and
cutting, and sometimes of slower intonation (imitating the bite of the bow on the
string), in which case the Stopped Diapason, or, still better, the “Hohl-flöte,” is
drawn with it, which performs the same office, in regard to this and all other slow-
speaking stops, that the “percussion” does to the tongues of harmoniums.
589. Kerauloſſom. This also is a Manual stop of 8 feet, of metal, and, like
the one last noticed, of a reedy and pleasant quality of tone. It seldom extends
lower than tenor c. It is formed of cylindrical pipes, like the Open Diapason and
Dulciana, the peculiarity in the character of the tone being produced by the boring
of a Small round hole in the body of the pipe near to the top, or through a sliding
cap. The Keraulophon was invented by Messrs. Gray and Davison, and used by
them for the first time in the organ of St. Paul's Church, Knightsbridge, built
in 1843, - -
590. Hohlºftöfe (Hollow-toned Flute). A German name, applied of late years
to an English open metal stop of 8 feet, that is nearly identical with the stop last
described.
591. The Hohl-flöte was occasionally introduced by Father Smith into his
organs. There were originally two in his instrument at Durham Cathedral, one on
the Great and the other on the Choir Manual, each of wood, and two in the Temple.
organ, similarly disposed ; all of which, however, have long since disappeared.
That introduced by the same builder into the Choir organ at the Cathedral, Man-
chester, still remains under the name “Dulciana.” The German Hohl-flöte, when
of metal, is made to a very large scale, i.e., larger than the Open Diapason, pro-
ducing a powerful and thick or, as the name distinctly intimates, a hollow tone.
In the organ erected by Schulze, in 1851, in the Exchange at Northampton, there
is a Hohl-flöte of wood, and having the mouth on the broad side of the pipe. That
in the Doncaster organ is formed of three-sided pipes, and is the first Mr. Schulze
made of that shape,
592. Geigen Principal (Violin Diapason) is a Manual stop of 8 feet, producing
a pungent tone, very like that of the Gamba, except that the pipes, of larger scale,
always speak quick, and produce a fuller tone. Examples of the stop exist at
Doncaster, the Temple Church, and in the Exchange organ at Northampton.
593, Salicional, or Saliceſ. Another reedy-toned 8-feet Manual Stop, of Small .
scale, of which an example occurs in the Swell of the old Panopticon organ. It
may not be uninteresting to many to have the peculiarities of the several string-
toned stops briefly pointed out —
The fiddle g- Geigen Principal,
tenor d sharp — Gamba, and
tenor c sharp of the Salicional, are all of the same
diameter as the middle cº- of the Open Diapason—i.e., Ig in
f
THE NAMES OF ORGAN STOPS. I39
594. All the above-named stops differ in respect to the “height of mouth;” the
smallest in scale (the Salicional) being cut up most, and the Open (the largest) the
least. Moreover, they differ very much in their speech ; the Salicet being the
slowest, but the most penetrating ; the Open the quickest and fullest. -
595. Fifth, Quint. Double Twelfth, Diaffenſe. The fifth is the largest Muta-
tion stop commonly introduced into an organ. On the Manual it is sometimes
composed of open pipes of proportionate Scale to the Double Open Diapason, in
which case it of course forms a portion of the “Diapason-work ;” at others it
consists of stopped pipes, as in the Chester Cathedral organ (built by Gray and
Davison), in the Doncaster organ, and in St. Margaret's Church, Gotha (built by
Schulze)—when it belongs to the Covered-work (Gedact-Quint—see Foreign Speci-
fications). In a few English examples the Manual Quint has been formed of
Dulciana pipes, which, however, are of weak intonation, and less prompt in speech.
The Quint on the Pedal is almost invariably composed of stopped pipes, and are
most effective. (See Foreign Specifications.) The greatest size of the Quint is
usually 53-feet on the Manual, and IO3-feet tone on the Pedal. In the great organs
at Stuttgardt and St. Paul’s, Frankfort, are Quints of IO; on the Manual; and in
the Cathedral organ, at Bremen, built by Schulze, is a “Quintet-Bass” of 213-feet
tone, of stopped wooden pipes.
596. A Manual Open Quint was made in England, So long back as the year
1730, by Bridge the organ-builder, who introduced it into the instrument erected
by him in Christ Church, Spitalfields, in that year. The Pedal Stopped Quint,
Ioã-feet tone, was first introduced into this country by Robson, in the organ at
Huddersfield, built in 1850. A second specimen was introduced, by Kirkland and
Jardine, with excellent effect into their organ in Holy Trinity Church, Manchester,
made in 1852.
597. Principal, Octave. A 4-feet stop on the Manual, and 8 feet on the Pedal,
Its usual material is either tin or metal, though, in Some organs, where there are
two Principals on the Great Manual, the Second one is sometimes of wood, as at
Christ's Hospital, &c.; the second one is then more correctly an open wood Flute
of 4 feet. At the Temple Church, St. Giles's, Camberwell; Christ Church, Spital-
fields, &c., both Principals are of metal. The English Principal is the octave stop
to the Open Diapason; and, where there are two metal Principals, the scale of the
second one is generally regulated by the measure of the second Open Diapason, to
which stop it is usually designed to form an appropriate Octave.
598. Dulciana Principal, Dulceſ. A delicate and Sweet-toned Manual stop of
4 feet, formed of metal pipes, of small scale. It was first introduced by Green, who,
in several of his later instruments, placed this, as well as a Unison Dulciana, in the
Swell. Examples occur, thus disposed, in the Organs erected by him at Rochester
and Salisbury Cathedrals, Greenwich Hospital, &c.
599. Flute Octaviente harmonique. The Harmonic Flute of 4 feet, that has
recently become so great a favourite with most English organ-builders.
600. Flute. A stop of either 4-feet standard length or 4-feet tone on the Manual
(for both species of stop are met with indifferently and indiscriminately under the
same name), and 8-feet tone on the Pedal. The old Flute stops are sometimes
composed of metal pipes throughout, as in the Swell organ at the Temple Church ;
St. Andrew’s, Undershaft; and, until lately, at St. Paul’s ; sometimes partly so, as
at St. Michael’s Cornhill ; while in many instances they are of wood throughout,
as at Finedon. The old organs often have a Flute stop of Octave pitch on both
the Great and Choir Manuals. Where this is the case, one is often of metal, either
wholly or partially, and the other of wood, the different materials being used as an
auxiliary to secure an individuality in the character of the tone of each, The
Í40 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
majority of the modern Flute stops, when not “Harmonic,” which they frequently
are, are of wood, and open ; and hence are 4-feet stops, as those already noticed
are of 4-feet tone. The quality of the tone of a Flute stop usually bears a close
resemblance to that of the wind instrument after which it is named.
601. As a Pedal stop, the Flute is now much used in this country, and is of the
greatest utility. A Bass Flute stop occurs in the organ at St. Mark's, Hamilton
Terrace, Regent's Park, built by Gray, in 1847; and in instruments by Brindley,
of Sheffield, at Papworth Everard, and Little Drayton.
602. Spitz-flöte (literally, pointed or spire-flute). This stop is found of 8, 4,
and 2 feet length in German organs. An example of 8 feet occurs in the Choir
Organ at the Temple Church. The pipes of the Spitz-flöte are slightly conical,
being about # narrower at the top than at the mouth, and the tone is therefore
- rather softer than that of the cylindrical stop, but of very pleasing quality. *
603. Gems/torm. The Gemshorn is a member of the Flute-work, and is met
with of 8, 4, or 2 feet length in Continental organs. A stop of this kind, of 4 feet,
occurs on the Choir Manuals of the organs at the Wesleyan Chapel, Poplar, built
by Mr. Hill; and at the Temple Church. The pipes of this stop are only ; the
diameter at the top that they are at the mouth ; and the tone is consequently light.
but very clear and travelling. *.
604. Wason. This name is sometimes found applied in old organs to a wood-
stopped Flute of 4-feet pitch on the Great Manual, as at the Temple Church ; and,
until a few years since, at St. Paul's Cathedral. It is generally a quiet sweet-toned
stop, producing a most lovely effect when combined with the Diapason.
605. Waldºſłółe (Wood or Forest-flute). The name given in England to a
Manual stop of 4 feet, formed of open wood pipes of a large Scale, with inverted
mouths. It is a full-toned and powerful-speaking Stop, and, in all essential parti-
culars, may be considered as an octave Clarabella. It seldom ranges lower than
tenor c. Mr. Hill first used it in the Cheetham Hill organ, Manchester, built by
him in 1841. The English Wood-flute is a distinct stop from the German one of the
same name. The German stop is made either of tin, metal, or wood ; the English
one always of the last-mentioned material. The former is also made to a Scale
larger than that of the Open Diapason, and produces a thick and full tone.
606. Clear-flute. An open wood flute of 4 feet, invented by the firm of Kirtland
and Jardine, of Manchester. It resembles the Wald-flöte so far, that the pipes have
the inward-bevelled mouth ; but, in addition to this, they have also the bevelled
block, shown in ſig, III, page II2; are copiously winded ; have no nicking, and are
more nearly square in shape. The tone is exceedingly firm, clear, and full.
607. Oboe-flute. Another 4-feet Manual stop, composed of wood pipes of Small
scale. Its usual range is tenor C. The tone of the Oboe-flute is very delicate and
reedy, and not so strong as that of the Viol di Gamba.
608. Sauðe-ſiółe Also a tenor c Manual stop of 4 feet, formed of wood pipes,
with inverted mouths. Its tone is liquid and clear, and not so loud as the Wald-
flöte. The Saube-flöte was invented by Mr. Hill.
609. Celestina, A 4-feet Manual stop, formed of open wood pipes, of Small
scale, producing a delicate and subdued tone. It is not often met with. Its usual
place is in the Swell organ, as at Christ's Hospital, &c.
610. Tenth, Double Tierce, Decima. This is an open metal cylindrical stop,
of 3; feet length on the Manual, and 63 feet on the Pedal. It is the second Double
Mutation stop, taking them in the order of their size or gravity of tone ; and the
largest of the third-sounding species. The first English organ in which the Tenth
was legitimately introduced is the one in the Mechanics’ Institution, Liverpool. The
pitch of the Tenth is a major third above the Principal, or a tenth above the Diapa-
THE NAMES OF ORGAN STOPS. I4 I
sons; all numerical names giving the altitude of the sound above that of the unison
stops. The great Tierce of 63 tone, on the Pedal, at Doncaster, is the first stop of
the kind made in England. --
611. 7 weſth, Octave-guini, Duodecima. An open metal stop of 23 feet on the
Manual, and 5; feet on the Pedal, belonging to the Diapason-work. Its pitch is a
perfect fifth above the Principal, or a twelfth above the Diapasons.
612. Fifteenth, Suffer-octave. Also an open metal stop belonging to the
Diapason-work of 2-feet length on the Manual, and 4-feet on the Pedal. The
Fifteenth sounds the octave above the Principal, and consequently a fifteenth, or
super-octave, above the Unison stops. In Some organs, where there are two
Fifteenths on one Manual, the Second is made of wood, forming, in fact, a Piccolo ;
at Christ Church, Spitalfields, both the Fifteenths on the Great Manual are of
metal. -
613. Block-flute (Common or Ordinary Flute). This is an open metal stop, tuned
in unison with the Fifteenth. It is composed of pipes of a very large scale, the
4-feet c pipe measuring very nearly 4% inches in diameter, the measure of the 4-feet
pipe of the Open Diapason being about 3% inches. The tone of the Block-flute is
very full and broad. The Block-flute was a favourite stop with Father Smith, who
introduced it into his organs at Durham and St. Paul's Cathedrals. Both speci-
mens have now disappeared. -
614. Octavina Harmonigue. The Harmonique Piccolo of the French and English
organ-builders.
615. Piccolo. A 2-feet Manual stop, formed of wood pipes, producing a bright,
clear, and travelling tone. Its pitch, as its accordance of length thereto would
imply, is in unison with the Fifteenth, i.e., two octaves above the Diapasons. The
Piccolo is sometimes a Whole stop, as at St. Michael’s, Chester Square ; but more
often it only extends to tenor C.
t 616. Flageoleſ. Another Small member of the Flute-work, usually of 2 feet on
the Manual. It is formed of open wood pipes, and the tone is Smaller and sharper
than that of the Piccolo.
617. Tierce, Seventeenth. A stop formed of Open metal cylindrical pipes, the
pitch of which is a major third above the Fifteenth, or a seventeenth above the
Diapasons. The Tierce frequently constitutes one of the ranks of the Sesqui-
altera, though, in old organs, it is occasionally made to draw separately, as at
St. Sepulchre's. It is, however, found in both ways, in ancient as well as modern
instruments.
618. Larigoi, Nineteenth, Octave-Twelfth. This also is a small metal Muta-
tion stop, of Iš foot on the Manual, and 23 on the Pedal. It is occasionally met
with as a separate stop, as at Christ Church, Spitalfields, and St. Sepulchre's ; but
generally it is embodied in the Sesquialtera, of which it forms, strictly speaking,
an integral part. The Larigot sounds a perfect fifth above the Fifteenth, and
therefore a nineteenth above the Unison stops.
619. Octave-fifteenth, Twenty-second. A Small open metal stop, of 1 foot on
the Manual and 2 feet on the Pedal, of bright and sharp tone. It sounds the
octave above the Fifteenth, and the third Octave above the Diapasons. This rank
of pipes, like the Tierce and Larigot, is but Seldom disposed as a separate stop. It
occurs in this manner in the organs at St. Phillips, Sheffield, and Stratford-on-Avon.
A “Two-and-twentieth " also appears as one of the Stops in the original specifica-
tion of the old organ at York Minster, built by Dallam, in 1633.
620. Doublette. The French name for the Fifteenth ; but in England applied,
of late years, to a two-ranked Foundation stop, Sounding a fifteenth and twenty-
second aboye the unison, the two Sounds being an Octave apart.
I42 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
Compound Stops, 621. Sesquial/era. This Compound stop is composed of
either 5, 4, 3, or 2 ranks of Open metal pipes, tuned in thirds, fifths, and octave
to the Diapasons. The altitude of the Several Sounds of a 5-ranked Sesquialtera above
the unison pitch, used, under ordinary circumstances, to be, in the bass, a Seventeenth
(3), Nineteenth (5), Twenty-second (8), Twenty-sixth (5), and Twenty-ninth (8), from
the ground tone. Where, however, there was a separate Tierce, it was not usual to
include a duplicate of that rank in the Sesquialtera, unless, indeed, the ranks of
mixture were sufficiently numerous to demand this arrangement. At Doncaster,
where there was a Tierce and a 5-rank Sesquialtera, in Harris's organ, now destroyed,
the latter was compounded of a Nineteenth (5), Twenty-second (8), Twenty-fourth
(3), Twenty-sixth (5), and Twenty-ninth (8): that is, with an octave Tierce in lieu
of the unison (separate) one. Another composition for a 5-rank Sesquialtera with -
separate Tierce, was—Fifteenth (8), Nineteenth (5), Twenty-second (8), Twenty-sixth
(5), and Twenty-ninth (8). A 4-rank Sesquialtera was generally, though not always,
composed of a Fifteenth (8), Seventeenth (3), Nineteenth (5), and Twenty-second
(8), as at St, Mary's, Nottingham (Snetzler), and at St. Botolph's, Aldgate. Some-
times it consisted of a Seventeenth (3), Nineteenth (5), Twenty-second (8), and Twenty-
fourth (3) (Tierce and octave Tierce), as was the case at St. Magnus, London
Bridge. This again, and indeed all Sesquialteras, however numerous or few may
be the number of ranks of its pipes, are, in regard to their composition, influenced
very much by the presence, or otherwise, of the Tierce, the Larigot, the tempera-
ment to which the organ is tuned, and even also by the occurrence, or not, of other
Compound stops on the same Manual.
622. As the pipes of the Sesquialtera would become exceedingly small, keen,
and prominent in the treble, and, moreover, their presence is not demanded by
the acoustical phenomenon on which the introduction of the Compound stops is
founded, as is fully explained in a succeeding chapter, the smaller ranks are
usually discontinued from middle cº, or cº sharp, at their original altitude of
pitch above the Diapason, and larger pipes, Sounding an octave lower, are sub-
stituted. In this manner the Twenty-Second, or Octave-fifteenth, the smallest
rank in a Sesquialtera of three ranks, is turned into a Fifteenth, and the Nineteenth,
or Larigot, into a Twelfth. The Tierce, if present, is usually allowed to remain
unbroken throughout the Manual. In the real Sesquialtera the Third-sounding
rank is smaller than the Fifth-Sounding ; and the pitch of the two is a major
sixth apart. The old English Sesquialtera was therefore correct in the treble, but
was a Mixture in the bass.
623. In consequence of these “breaks,” as they are termed, there are then of
course two Twelfths and two Fifteenths in the treble. All such duplicate ranks are,
in England, usually made to a different scale. *
624. The German Sesquialtera, when of 2 ranks, which is seldom met with
except in Old Organs, is composed of a Twelfth and Tierce, Sounding a major
sixth.
625. Mirčure. This stop consists of from 5 to 2 ranks of open metal pipes,
which are, in England, generally of Smaller dimensions than those of the Sesqui-
altera, particularly where the last-mentioned stop is not very numerously ranked,
and has nothing higher than a Twenty-second.
626. The Mixture, then, if of two ranks only, usually consists of a Twenty-
sixth (5) and Twenty-ninth (8) in the bass and tenor octaves; changing to a Nine-
teenth (5) and Twenty-Second (8) at middle cº, or middle cº sharp, i.e., on the same
key where the Sesquialtera breaks into a Twelfth, Fifteenth, and Seventeenth. In
Some Mixtures the breaks occur sooner. In some modern examples, on the contrary,
both the Sesquialtera and Mixture are carried up to the smallest pipe commonly
THE NAMES OF ORGAN STOPS, I43
made, namely, fº, occurring on the treble f* key in the Sesquialtera, and on the
fº above middle cº key in the Mixture, before any break is made,
627. The Mixture of 5 ranks occurs the most frequently on such Manuals as
have no other Compound stop, as in the Swell at Christ Church, Newgate Street.
In such cases its composition is nearly identical with that of a numerously ranked
Sesquialtera, and closely resembles the Continental Mixture,
628. In Germany the Mixture is usually the first Compound stop, as the
Sesquialtera is in England, and not the second, as we generally make it. Their
Second Compound stop is generally either a Scharf (sharp) or Cymbel,
629. On the Great Manual of the organ in the Town Hall at Birmingham is a
5-rank Mixture, besides a Sesquialtera and Furniture of the same number of
ranks.
630. Furniture. This Compound stop consists of from 5 to 2 sets of small
open metal pipes, the number of ranks, as well as the intervals they sound
above the Unison stops, varying with circumstances. Where there is a Sesqui-
altera and Mixture on the same Manual, the Furniture is sometimes above both, as
at St. Giles's, Camberwell. For instance, if it be of two ranks, they will probably
be a Thirty-third (5) and a Thirty-sixth (8) above the unison, i.e., a fifth and
eighth above the (usual) upper rank of the Mixture ; but the ranks will break in
every octave, on account of even its longest pipes being but very Small. In
other examples the Furniture is nearly identical in composition with the usual
3-rank Sesquialtera, as at St. Sepulchre's. In many organs the Furniture appears
as the second Compound stop, as at St. Leonard's, Shoreditch, &c, ; in which
case it is nearly, if not quite, identical with the usual Mixture.
631. The Furniture appeared on the Choir Manual of Avery’s organs, at St.
Margaret's, Westminster, and Croydon Church.
632. Cornet. This name is applied to several distinct kinds of stops.
633. The Mounted Cornet is a Compound stop, consisting usually of 5 ranks of
pipes, three, four, or five pipes larger in Scale than the Open Diapason, and voiced
to produce a full and broad tone. It is only a treble stop in English Organs, ranging
from middle C", or C* sharp, upwards ; but, in German examples, its usual compass
is to tenor C. The Mounted Cornet is composed of a Stopped (or sometimes an
Open) Diapason, a Principal, Twelfth, Fifteenth, and a Tierce. The pipes are
planted on a small sound-board of their own, raised some three or four feet above
that of the Great Organ (hence its name), and the wind is conducted from the
Great Organ sound-board up to that of the Mounted Cornet through metal tubes.
The Mounted Cornet is mostly found in old organs; but examples occur on the
Great and Swell Manuals of the new organ at Doncaster. It was chiefly used for
playing out the melody of the Chorales upon, and for the performance of
a now obsolete kind of voluntary ; but it is of great use in large Organs in
hiding the breaks in the several Compound stops, as it proceeds itself without
any “repetitions.” In Father Smith's organs the Cornet was never “mounted,”
but stood on the sound-board. It was afterwards raised, probably to economise
I’OOII].
634. Echo Corneå. This variety is also a Compound stop, and is sometimes
mounted. It is composed of the same number of ranks of pipes as ther Mounted
Cornet, and usually, though not always, of pipes of the same pitch, but of Dulciana
scale. This stop frequently extends to tenor c. Its usual situation is in the Swell
as at St. Peter's, Cornhill ; its tone, besides being in itself light and delicate, was
further subdued by being enclosed within a box.
635. The name of Cornet is often found applied to the Compound stop so
frequently met with in the short Swells of the last century. It is generally of
I44 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
3 ranks, Twelfth, Fifteenth, and Seventeenth ; though, where there is no separate
Principal, as at St. George's, St. George's Street, E., that stop is usually
incorporated with it, which then, of course, contains 4 ranks.
636. In Small organs the Sesquialtera is not uncommonly made to “draw in
halves ;” the treble of which is then often labelled “Cornet.”
637. The name is, in German organs, further applied to a small Pedal Reed
stop, of 4 feet and 2 feet. (See Foreign Specifications.)
Reed stops, 638. Double Trumpet. This is a Manual stop of 16 feet,
with pipes either of metal throughout, as at St. George's, Doncaster; or having the
tubes to the lowest octave of wood, as at Ashton-under-Lyne. Sometimes the pipes
of the lowest octave are omitted ; in which case the Stop is frequently called
“Tenoroon Trumpet.” Its tone is weaker—though only slightly so—than the
Unison Trumpet, to which it of course sounds the octave below.
639. Double Bassoon. Contra Fagoſ/o. Also a Manual 16-feet Reed stop,
but of Smaller scale and softer tone than the Double Trumpet. Specimens occur
in the Swells at the Temple Church, and at All Saints', Northampton.
640. Double Hautboy. Another 16-feet Manual Reed stop, of Small scale.
An example occurs in the Swell of the organ in Cranbrook Church, Kent.
641. Trumpet. An 8-feet Reed stop, both on the Manual, and the Pedal. Its
tone is clear and penetrating, Somewhat resembling that of the well-known
wind instrument after which it is named. The Tubes of the Trumpet-pipes
are usually made either of tin or metal, though occasionally they are of zinc or
wood, -
642. Horn. An 8-feet Manual Reed stop, formed of tin or metal pipes of
much larger scale than those of the Trumpet. The tone of the Horn stop is
fuller and smoother than that of the Trumpet, and without the clang peculiar
and necessary to that stop. A Horn stop forms part of the original work of the
organ in Christ Church, Spitalfields, made by Bridge, who appears to have been its
inventor. -
643. Cormožeam. Also a Manual Reed stop of 8-feet, consisting of a set of tin
or metal pipes of nearly the same scale as the Horn, but of a different style of
voicing. Its tone is more Sonorous than the Trumpet; and Smoother, though
scarcely so powerful, as that of the Horn.
644. Trombone. Posaune. A very powerful and full-toned Reed stop, of 8 feet
on the Manual, and 16 or 32 feet on the Pedal. Its pipes are made to a very large
scale, and of tin, metal, or wood—of tin or metal for the Manual ; and of metal,
zinc, or wood mostly, for the Pedal.
645. There are 32-feet Contra Posaunes in churches at Hamburg and Copen-
hagen, and of tin. Those at Birmingham and York are of wood. Specimens of
metal are to be found in the parish churches at Leeds and Doncaster. A 16-feet
Pedal Posaune of metal occurs in the Organ at Exeter Hall, built by Mr.
Walker; and one of zinc at the New Church, Cheetham Hill, near Manchester,
built by Mr. Hill. Wooden ones are of common occurrence throughout the
country.
646. Ożhicleide. Tuba Mirabilis. The most powerful 8-feet Manual Reed
stop known. The majestic effect produced by this stop arises partly from its
scale, but more particularly from the great strength of the wind that gives it
utterance—three or four times that of the Ordinary organ-wind. The stop is
usually placed on a sound-board of its own with a separate bellows, &c., &c.
647. The Ophicleide was first introduced by Mr. Hill into the large organ in
the Birmingham Town Hall,
THE NAMES OF ORGAN STOPS. I45
648. Hautboy. An 8-feet Manual stop, formed of metal pipes. The tone of the
stop is thin, penetrating, and of a wailing character, like that of the instrument
of the same name, the sound of which it, of course, is intended to imitate.
649. Bassoon, Fagotto. This is a soft and slightly nasal-toned Reed stop,
of 8 feet on the Manual, and 16 on the Pedal. Its tubes are made either of
metal or of wood. In old organs the Bassoon is generally a whole stop, as
at Christ Church, Spitalfields; St. Michael's, Cornhill ; &c. In modern instru-
ments it is more frequently an incomplete One, Sometimes consisting of a single
Octave of pipes only, acting on the Great octave of Manual keys, and therefore, as
an imitative stop, comparatively useless. >
650. Clariomet, Cormorne, Cromorne, or Krumm-horn, Cremona, Cormo di
Bassetto. This is another agreeable Reed stop, of soft intonation, of 8-feet size
of tone. It possesses great sweetness and beauty of tone ; and, when finished
by the hand of a master, is a close imitation of the orchestral Clarionet, invented
at the commencement of the last century, by Denner, of Nuremberg. This stop
is met with under a great variety of names. The word Cormorne, from which
Cromorne is derived, signifies a soft-toned Horn. The name Krumm-horn is
compounded of the adjective krumm–i.e., crooked—and horn ; and signifies a
Cornet or small Shawm of irregular form. These names have, in England, been
corrupted into “Cremona ;” and as the stop has, in the majority of modern
examples, also been reduced from its former full manual compass to one of
fiddle g range, the idea is thus in two ways conveyed that it is a Violin stop ;
whereas the last-mentioned (Geigen-Principal) is a flue and not a reed stop,
as already explained.* As the stop in question is estimated in proportion as
its tone approximates that of a Clarionet, and as all organ-builders alike Strive
to make it imitate that instrument, “ Clarionet” is obviously a better name to
apply to it than “Cremona,” that is, when it is of Clarionet Compass, namely, to
tenor c sharp, or to c natural.
651. A Clarionet of deeper pitch, i.e., descending to FF, composed of a
longer tube, bent towards the middle, and forming an obtuse angle—is known
in England as the Corno di Bassetto, and in Germany as the Krumm-horn
(crooked-horn). The appropriateness of this name for a Clarionet stop of
similarly extended compass is therefore obvious. Fine examples of this stop
occur in the organs of the Temple Church and at St. Mary-at-Hill. A Bass
Clarionet, having a compass down to CC, or even . BB flat, has recently been
introduced.
652. Corno-flute. The name given to a Manual Reed stop of 8 feet, having
wooden tubes, and producing a soft and agreeable quality of tone. As it is a
reed stop, it is not easy to say why it is named as belonging to the flute work.
653. Vow Humama. This stop is intended to represent the human voice
which it often does, but very faintly. It is of 8-feet tone, and generally extends
throughout the entire compass of the Choir or Swell organ. Its tubes are very
short, like those of the Clarionet, but broader. -
654. Clarion. A 4-feet Reed stop, both on the Manual and Pedal, formed of
pipes of tin or metal. The tone of this stop is sharp and clear, giving great
brilliance to the Full organ. The upper octave of this stop is, on the Manual,
* The “names and descriptions of several instruments instruct us as to the nature and
design of many stops in the organ, and what they are intended to imitate. To instance,
in the Krumm-horn; the tone of it originally resembled that of a small Cornet, though
many organ-makers have corrupted the word into Cremona, supposing it to be an imitation
of the Cremona Violin,”—Hawkins's History of Music, vol. ii., page 245, note.
X,
I46 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
generally composed of open flue pipes, because reed pipes above F* in alt
seldom remain long in tune. The Clarion at Doncaster, however, by Byfield,
was carried up to the top in reed pipes. In many French organs the Clarion
has trumpet pipes in the upper octave ; and this is the case with the two Clarions
in the Temple organ. -
655. Octave Hautboy (Hautboy Clarion). This is a 4-feet Reed stop, com-
posed of pipes of the Hautboy species. It is not a common stop ; but one of
the kind occurred in the old Swell of the organ at St. George's Church, Hanover
Square.
656. Octave Clarion. This is the smallest Reed stop used in an organ. It
is a 2-feet stop, both on the Manual and Pedal. When it occurs as a Manual
stop, it usually extends through 2; octaves in reed pipes, CC to f" above middle
cl (sounding from middle cl to fº in alt), and then carried hence to the top in flue
pipes. Sometimes, however, it consists of reed pipes throughout ; breaking first
into a Clarion, then into a Trumpet.
Table of the Sounds Żroduced by the several leading Manual and Pedal Stops
from the low C key.
MANUAL.
4-5
geº-sº #. c. v.
º **-ī ta ty)
tº ci .3 B 2. C 94 6)
O 3.F. C. • *- O & O
tºn rt; r: {-, } 3-4 is Uri (i) tº 3–t
§ { 5 GT to ; : , -º § (L) .9
# * g; C ºf 3 O 3 o tº § 3 .9 of 8 ºt-
• * 4–3 C-4 O , (1) rº * , E t; !- H 9 :
A 3.3 g 3., 5 §º. 8 # # , ; ; # #:
º: 8 , à é. § 3 ; .9 $ 3 ºf , ; ; ; ; g :
3, #3; #3 ſº H.3 Q4 § 3 ; ; ; ; ; * : *Š
O :Hº : C, 5 :- — ;- .cf fº C $2 E .# co º 65 º 65°
35's & *Sº 2 S Tºº O .c. : +5 - Triº 3: ...? F; #5 : E
išº: . E #: # # 5 ; ; ; ; ; # # 3 ## #: #3
#### #; ; ; ; ; ; ; ; ; ; ; # ######
O -- C E = Q) tº gº ... ºd O E. 85.3 °F 35 > tº-
Q ſº Q 3 O Úº º C’ ſºlº & H H [L. H i ö fi : 5; Q Hö ºr ºf
-e- ſy -
2-Y Aº 3–º-
|Wººs Å. Tº zº- cº zº °-2— - --~
Yº’ ſº Aſ ſºly _ººl
**-º-º-º-º- gº ¥ ºp—º: 3
* ºmºs *-** -º- • ecº- 4-
- * -&-
— *::3" |
"ex" ºn
... " &
(1) tſ) e
* Cl4 i;
‘5 5 : 5. 3 ſ:
*—º +3 º O
O (!)
-º- 3 #, 6) ‘p.
5* F #3 , ſº
g 3rd % = 3 O
92 C. § & CO * • red
§ 3 ; ; ; #: 3 ſ:
**S • Q4 • * CŞ 9 !-4 º
#P £ 3, #, , ; ; ; ; &A
; tº 5 # O' Tº gº tº G 5
• º' C. ºf <!-M (i) tº
g; ; ; ; ; ; 5 ºr ; ; 3 © 5 rank Mixture.
ſº §) º ſº tº º (i) (i) 3–t
g. 3' 6 tº 9 .: "o ºr 9 § ºt: (l)
£3,5 º i- * : * g. 4– * tº gºt e ºf
O Új H E Ö ſlº ºf C H & H

PEDAL.
The sound of the 32-feet C is an octave below the first note above written.
FOUNDATION, MUTATION, AND COMPOUND STOPS. I47
CHAPTER XXIV.
THE ORIGIN AND NECESSITY OF FOUNDATION, MUTATION,
AND COMPOUND STOPS.
The introduction of 657. THE preceding chapter presents a list of all the
stops of various sizes, 4: cc. te º sº * tº
founded on a pheno- different organ stops ordinarily found in English organs, with
menon in nature, their sizes and other particulars annexed. The lengths of
these are not only very diversified, as will already have been
perceived ; but the Sound of Some might, at first, be imagined to be so opposed
to that of others, as to be quite irreconcilable with them for any musical pur-
pose. For example, if the 3-part chord of c fºLiº- be struck with the
Open Diapason drawn, the true Sounds will be heard ; but if the Twelfth be

sº-º-º-º-º-º:
Substituted, the chord of gº major : #E will be sounded ; or, if the
*
Tierce be drawn, then the chord of e” major = So that, in fact,
*
we find the following apparently opposed sounds, namely, c, e, g—g", bl,
d”—e”, g” sharp, b”—concentrated on the same three keys.
658. Some organs have no separate Tierce wherewith the last example can
be illustrated ; in which case some Compound stop, containing a Tierce, may be
drawn for the purpose, if the organ contain one, by which Substitution the disso-
nance will appear to be still more egregious.
659. Now, it would seem that no agreeable effect could possibly be obtained
from the union of sounds so hostile; but, so far from this being the case, not only
are most of these sounds capable of the most Satisfactory reconciliation, but their
presence is positively indispensable to the production of true organ tone. The
fact of their sounding so disagreeably, when tried as above suggested, arises
from the peculiar manner of using them, which is not in accordance with the
generally received method. The object, however, was simply to show that such
combinations of sounds exist in organs : it has now to be explained how it is they
are found there, and why it is they sound so well there, when well balanced and
properly tuned.
660. If, when all is perfectly still, one of the bass strings of a pianoforte, or the
fourth-string of a violoncello, be set in vibration, other and higher Sounds will be
heard to accompany the fundamental Sound or ground Zone.
661. A deep-toned string is best to select, in order to obtain a favourable illus-
tration of this experiment; because the higher the fundamental Sound is, the
quicker will the harmonics follow each other, and consequently the less audible will
they be—particularly the higher ones.
662. These concomitant sounds are what are called the harmonic Sounds ;
X 2
I48 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
and they stand, in relation to the principal or ground tone, in the following
ratios —
Fundamental or - Harmonic Sounds.
T/2.SY Ground tone. : *—0 Sk
-(e): | Zººſ G.)
Ys-> |º Tāſī). Aº
l TVNZ Tº Tº
gººmºsº e/ ºf
—6-2-

Some of the smaller harmonics, as being of no importance here, are not noted
down. -
663. On examining the above notation, representing the series of harmonic
sounds, it will be discovered that the sounds which at first appeared to be so much
out of place (distinguished above by asterisks) correspond exactly with two of those
suggested by Nature. In fact, they, and indeed the sounds of all the smaller
Foundation, Mutation, and Compound stops, are introduced to corroborate Nature's
dictates, and to reduce into the form of actual sounds what she indicates in the
shape of harmonic sounds.
664. Nor are these harmonic corroborating stops voiced so as to Sound as
weakly as the harmonic sounds themselves; yet they blend so well with the other
stops in all good organs, that together they produce the effect but of One full,
brilliant, and magnificent whole.
665. This unity of effect and due subordination of the Mutation stops are
Secured partly by the greater number and power of the Foundation stops; partly
by the weaker intonation of the Mutation ranks ; partly by the restricted and
correct method of using them ; and partly by their being of the proper relative
sizes.
How the sizes of the 666. We have now to ascertain what those rightly decreas-
harmonic - corroborat-
ing are deduced and ing sizes are, and to what stops those sizes direct us, as
fixed. being necessary to represent the harmonic series of Sounds.
The former point may be the most easily illustrated by a
reference to the measurement of a string, and the extent to which its vibrating
portion must be successively lessened, to reduce those harmonic Sounds into a
Series of natural Sounds.
667. A string of a certain length, thickness, and tension will produce a
given Sound. To make that string produce the octave of its full-length Sound
(corroborating the first acoustic sound), the vibrating portion must be shortened
to one-half. To produce the fifth of that octave, or the twelfth of the original.
Sound (the Second acoustic sound), it must be reduced to one-third ; to one-
fourth, to obtain the second octave of the full-length sound ; to one-fifth, to
produce the Seventeenth ; to one-sixth, for the nineteenth ; and to one-eighth
of the original length to produce the twenty-second, or third octave of the
original Sound.
668. According to this scale the fixed length of the harmonic series of stops
should be #, #, #, #, #, and # the length of the chief Foundation or Ground
stop, whatever that may be. That is to say, if an 8-feet Manual Open Diapason
be taken as the basis of the organ tone, the smaller stops should measure in length
4 feet (#), 23 feet (#), 2 feet (#), Iš foot (#), 13 foot (#), and I foot (#).
669. Or if a 16-feet stop be taken for the Foundation, as would be the case for
the Pedal, the length of the harmonic series would be 8 feet (#) 5; feet (#), 4 feet.
(#), 3; feet (#), 23 feet (#), and 2 feet (#).
670. And such we find to be the case; for, on comparing the first of the above
codes of “lengths” with those given in the list of stops in the last chapter, they
*
FOUNDATION, MUTATION, AND COMPOUND STOPS. I49
are found to single out the identical stops from the great number which are so
Constantly found in all organs. This fact is still more clearly illustrated in the
following example:—
Forming Sesquialtera, or rather
Mixture of three ranks.
R
* /- -A
% - º; #3
cº; r— ~! ... --
*-i O O -->
§ 3. , #1, ## , ;
"3 * . 25 GD O *—t tº QD
sº ; : 5 rid # # $º º
3 gº : ſi j G.) $2 – ; ; H
.#3 ºn- -j-, *-* : jº * S-> • P. (i)
F. O § - • r-, § z. = $ſ
p S- O R+ Cſ) H 3
* Q
Comparative length of § § Jº tº º tº ‘S
Organ Stops. CO S. º CN ºf ſº }={
e * —G- ſº
Ground tone and series {G}; } g; –24 C &c
of harmonic sounds. TS: EF-C2 -(()—as Aº
º el/ jº
Division of the strin J. 3. I. 1. I. I
g. I 2 3. 5 TS

671. In the above table the notes represent the harmonic Series of Sounds, the
figures beneath show the extent to which a string must be shortened to produce
those sounds, the figures above show the precisely corresponding reduction that
is made to transfer the series from a string to columns of air within pipes ; and
the names over all are those of the organ stops to which the lengths have
directed us.
Reasons for marking 672. We are thus made sensible of the advantage and
º: the stops importance of having the length of the stops placed on all
the draw-stop knobs, in addition to the names of the stops,
Their names are variable, and may be familiar, or ſtoč, but their lengths, or
size of tone, are fixed, and therefore give an unerring clue to their fitch, when
the names may, perhaps, be wholly unintelligible. It is now also obvious why
the Fifth-sounding stops should not be marked as being of “6 feet” and “3
feet,” those figures placing the length of those stops beyond their deducible
admeasurement. These lengths would imply that the ground-tones were 9 feet
and 18 feet respectively, which any organ-builder's apprentice boy ought to know
must be wrong.
Theoretical exceptions 673. It should not be omitted to be noticed that some
sºmetimes taken to * theorists take exception to some of the harmonic corrobo-
tain organ Stops. * º e * *
rating stops; some objecting to the Tierce because of its
sounding the major third to the key struck, which it is thought must be offensive
in a minor key; others to the Twelfth, On the ground that it causes all musical
progressional passages to be played in consecutive fifths; and others, again,
to the Double Diapason downwards, and the Principal and smaller Foundation
ranks upwards, as they play in consecutive octaves to the Diapasons. According
to the laws of musical composition, all such progressions, in strict writing,
are forbidden, and all the above objections are equally strong and entitled to
attention. • -
674. The rules of musical composition, however, are not the tests by which the
admissibility of organ stops can be truly judged. An organ never sounds so well
as when it contains most of these “theoretically” objectionable stops. This fact
may be soon evidenced on an organ that contains them; though it will be necessary
1 50 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
to proceed inversely. It may be ascertained thus: first draw all the open flute
work ; if the Twelfth–the “consecutive fifth * stop—be shut in, there is then
nothing to break the bare octave work from the Diapason, till you come to the
Mutation ranks of the Compound stops, and the tone consequently loses some of
its roundness—becomes top and bottom. Close the Mutation ranks of the
Compound stops, and the tone becomes more thin and cutting, because the Sounds
designed to fill up some of the intervals between the Foundation ranks, to bind the
whole together, are silenced. Next shut in all the “consecutive octave’ stops
upwards, and the tone will be deprived of all brightness ; and lastly, put in the
Double Diapason—the stop which sounds in unison with the adult male voices in
the melody of a chorale—and the manual will lose its greatest gravity. Nothing
but the Open Diapason will be left; the organ will be theorised down from a
magnificent instrument to certainly a solemn, but, at the same time, dull and
monotonous single set of pipes. * -
675. The laws of musical frogression and the phenomenon of harmonic
attendant Sounds are, in reality, two very distinct subjects. As an illustration of
this, it is only necessary to play on a full organ, with the Mutation and Compound
stops drawn, first a Series of single notes, and then the same succession in fifths,
when the difference between harmonic attendant sounds and harmonic fro-
gressional sounds must at once become apparent.
PARTICULARS CONCERNING ORGAN STOPS, I 5 I
CHAPTER XXV.
PARTICULARS CONCERNING THE SCALE AND THE BALANCING
OF ORGAN STOPS.
The comparative scale 676. IT was stated in the preceding chapter that the sounds
.*.*.*, of all the Mutation stops and ranks of pipes are kept in a certain
Mutation stops, and e
ranks of pipes. degree of Subordination; and various means were mentioned by
* which this end is attained. In German organs, where the 8 and
4 feet flue stops are generally more numerous than in English instruments, to their
great improvement, and where double stops are such common as well as excellent
features, the Mutation stops are made to as large a Scale as the Foundation ; the
predominance of the latter being Secured by their great number, Great breadth,
as well as fulness of tone, is obtained by these means.
677. The old English builders made very little variation in the scale of the
different stops, but kept to nearly the same measure through them all. This
accounts for the remarkably full as well as brilliant tone of the Cho?us-work of
the best of their organs. This ringing, cheerful quality, however, is by no means
a general, or even common, characteristic of old organs. In some cases the scale
of the Small pipes was either too large, according to modern views, or the pipes
were not sufficiently blown ; consequently, the tone of the small stops and Mixtures
became dull and thick, or, as it is technically called, “horny.” On the other hand,
when the scales run too small, the tone indeed becomes bright, but without suffi-
cient fulness; “keen and sharp,” as the Germans have it.
678, Father Smith made his Principal, Twelfth, and Fifteenth one pipe smaller
than his Open Diapason ; and the Several ranks of his Mixtures two pipes smaller;
so that the Twelfth was of the same scale as the Fifteenth, and the Tierce as large
as the octave Fifteenth. By the requisite voicing, the tone of the Mutation stops
and ranks was rendered smooth and mellow, and that of the Foundation ranks full
and bold; the effect of the whole being exceedingly firm and clear, although occa-
sionally lacking sufficient body, firmness, and depth of tone, consequent on the
smallness of the number of unison and octave stops, and the entire absence of
double Manual stops. As this circumstance involves a matter of some moment,
where the renovation and enlargement of an old organ is concerned, it may be
briefly discussed here.
679. Much pains was taken by the writer, while abroad, to test several Conti-
mental organs, with precisely the Same stops drawn that are usually found in old
English organs, and the experiments were invariably attended with the same effect
as that witnessed from some of the best old instruments of this country, namely,
the production of a clear and ringing character of Sound, but accompanied by rather
an over-amount of Mixture tone. It was also observed that, on adding the remaining
stops, the accurate balance of tone was immediately restored. An indisputable
proof was in this manner obtained of the cause of the misproportion originally
existing in so many English Organs, as well as a clear illustration of the most
correct way of remedying that defect. The “fathers of modern organ-building
in England,” Harris and Smith, studied their art abroad, where it was the custom
to produce a fine and well-balanced organ by disposing a certain proportion of
f 52 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
Mixture work to secure clearness, boldness, and vivacity; one or more double
stops to impart gravity and dignity; and a good number of 8 and 4 feet stops to
give firmness and definitiveness to the whole, by blending the various elements in
harmonious amalgamation. On arriving in this country they encountered a serious
difficulty in being compelled to keep their organs within restricted dimensions
Perhaps they were also sometimes straitened in the matter of terms; and they
might even have had to contend with a want of appreciation and co-operation on
the part of contemporary organists.
680. Being denied the necessary room wherein to complete their Manual organs
—even independently of a separate Pedal organ, which was invariably omitted—
they had to relinquish some of those stops which would require the most $face for
their accommodation ; hence the double stops were generally expunged, and, in
Some cases, even Some of the unison and octave stops also.
681. The due proportion of the three great elements being thus disturbed by
the entire omission of one and the weakening of a second, the third then naturally
stood out with undue prominence. To give an instance: Dr. Burney, in his History
of Music, vol. iii., page 440, note, Speaking of the St. Paul’s Cathedral organ, Says :
“Notwithstanding the power of the chorus of this admirable instrument, Several
more excellent stops were made for it, which lay many years useless in the vestry,
but for which Sir Christopher Wren, tender of his architectural proportions, would
never consent to let the case be sufficiently capacious to receive.” In the English
Musical Gazette for January, 1819, page 6, it is stated what some of those stops
were. After mentioning that Sir Christopher Wren “would not consent to let the
case be enlarged to receive them,” the narrator proceeds to say: “Three of the
stops were in consequence obliged to be kept out, viz., a Bassoon, a Clarion, and
another stop of minor consequence, which were kept in the Cathedral for several
years after, Schmidt hoping he might get them in at some future period; but he
died a few years before Sir Christopher Wren.” The stop of “minor conse-
quence,” as it seems then to have been considered, the late Mr. Bishop imagined
to have been a Double Dia/ason, and Mr. Sutton, in his Short Account of
Organs, page 34, adds: “This conjecture seems highly probable, as there is no
doubt that, to contain a Double Diapason in addition, the organ-case would
necessarily have to be much enlarged.”
682. Again, in the building of the Temple organ, Smith had to confine his
work within certain limited dimensions, in order that, if his instrument should
be accepted, it might remain within the western arch of the choir; hence it was
not only made without doubles, but with one Open Diapason only to support six
ranks of Mixture in the bass, and nine in the treble; and the Great and Choir
organs had to be crowded on to one sound-board.
683. At St. Paul's, in consequence of the omission of all double stops, one
unison, and one octave stop, what then remained as “the organ” was of course
thrown out of proportion ; and “the power of the chorus,” noticed by Dr. Burney,
becoming thus excessive, the trebles of the Mixtures were ultimately taken out,
and new ones of softer tone introduced. The influence of “large” and “small”
stops on the general effect of an organ is a subject concerning which nearly as
much misapprehension prevails in England now as in the days of Smith and
Harris. Many imagine that, because the introduction of a few double 8 and 4
feet stops will increase the “bulk” of an organ by perhaps one-half, therefore
their striking and arresting effect must be in proportion; and that, as the addition
of more Mixture would not call for the addition of six inches to the depth of the
organ, its introduction would exercise as little appreciable difference to the ear as
it would to the eye. These are the popular ideas on the subject, whereas the
PARTICULARS CONCERNING ORGAN STOPS. . I 53
facts are exactly the contrary. The large stops increase the fulness, roundness,
depth, and Sonority of the organ, imparting great richness to the general effect;
whereas more Mixture may increase the “din” of the organ to such an extent as
to be almost intolerable. Dr. Burney appears to have been, to some extent, under
the influence of the general misapprehension ; for, in the extract already given—
“AVof withstanding the power of the chorus, more excellent stops were made,” &c.—
he writes as though the effect of the omitted stops would have been to increase
that “power ; ” whereas they would certainly have tended to subdue it. Sir Henry
Dryden, in his pamphlet on Church Music, when writing concerning modern church
organs (pages 28 and 29), says: “Generally the Pedal organs are too weak, the
Great organs too noisy, the Choir organs too small, and the Swell organs too short
in compass. We have a great deal too many Mixtures and such like cheap stops,
and too few of large and expensive open metal pipes. It is difficult to have too
much bass to an organ. No sound below a voice will drown it. The Pedal pipes
at Westminster Abbey will not drown the weakest boy's voice. Mixtures and
Sesquialteras drown voices.” It is manifest from this how permanently injurious
it must be to limit the Space for an organ to such an extent that the organ-builder
cannot introduce all the stops necessary to produce a well-balanced instrument.
684. The stops that have a tendency, from their brightness, to interfere with
the just predominance of the voices, always find ready admission ; while those
that are necessary for Sustaining and supporting the voices are almost as invariably
limited in number and efficiency. *
685. The Mixtures in Father Smith's organs were, from the causes already
explained, so uniformly made to appear “too shrill,” or “too screaming,” that,
in the great majority of instances, they have since been melted down and replaced
by others of weaker intonation. Many of Harris's organs also have been brought
into proportion by a like process. Another way of obtaining this end would have
been to add stops similar in pitch to those which the original builders had, from
the good influence of early education, learnt to consider as necessary, and which
the experience of more recent times has proved to be indispensable, but which
they were, from the first, compelled to relinquish, and to the omission of which the
original misproportion was to be ascribed. This would not only have restored
the balance of tone, but would have raised those instruments towards the state of
completeness and efficiency contemplated by their respective makers, and upon
an acoustic principle with which they were perfectly familiar ; for it is important
to bear in mind that most of the large organs constructed in England during the
last ten years, with double Manual stops and an independent Pedal organ, are, in
reality, only on an equality in these respects with many of the instruments which
Smith and Harris left behind them in their native countries upwards of a century
and a half ago, and with some of which they could not fail to have been well
acquainted.
686. Organs having double stops on the Manual and a 16-feet Pedal were
of most common occurrence in France, Holland, and German, not only in the
seventeenth century, but even in the sixteenth. For instance, those at Freiburg, in
Bresgau, built in 1520, contained 24 stops ; at Amsterdam, enlarged in 1673, 44
stops ; at Rouen, 1630, 49 stops; at Amiens Cathedral, built as long ago as I429,
and yet with a 16-feet front; and at Antwerp, I645 and 1670 (see Foreign Specifi-
cations);--all those just mentioned, among a number of others, included the
above-mentioned features among their original constituent parts; the Pedal organs
comprising from 4 to Io stops—a proportion that is considered liberal, even in the
nineteenth century, in England.
687. There were even Some 32-feet organs also existing in Germany as far
I54 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
back as the sixteenth century. At St. Mary's Church, Lübeck, an organ was
erected in the year 1517, with a 32-feet front of polished tin; and at St. Peter's
Church, Hamburg (since destroyed), was a 32-feet organ, erected before the year
1548. The several foregoing facts and dates are important, and necessary to be
introduced here, as being calculated to allay the groundless fear occasionally
expressed that the present race of English organ-builders are getting their instru-
ments “too large; ” whereas, in reality, they are only introducing certain stops
requiring much space, that are necessary to produce a full and well-balanced tone.
The organs of Harris and Smith were originally little more than “8-feet organs.”
destitute of Pedal; the “Great organ” departments being, in most cases, scarcely
so complete as the “Echo” or “Choir” of many old Continental organs, as may
be ascertained by comparing the original specifications of their instruments with
those of the last-named parts of foreign organs, described at the end of this work.
Modern builders, in striving to raise the standard of English organs above that to
which the excellent makers just named were permitted by circumstances to work,
are really doing no more than placing their instruments, in regard to number and
distribution of stops, on a far with those made nearly two centuries since abroad—
of course, introducing such beneficial alterations into the list of stops as modern
science has placed at command, and also incorporating numerous improvements
in the mechanism that were not even so much as dreamt of at the former period ;
—and it seems needless to treat this attempt to place the nineteenth century
English organ at least on an equality with the seventeenth century foreign organ
as an alarming advance or as a hazardous enlargement,
688. As bearing upon the subject of the great improvement to be effected by the
judicious development of a really good old organ, an extract may be made from the
late Mr. Edward Holmes's entertaining volume, entitled A Ramble among the
Musicians of Germany, of which the author, after mentioning Silbermann, “one of
the most renowned builders of Germany, and whose name (Silvermann) very well
describes the quality of his tone,” proceeds to say, in a foot note, page 193: “As a
matter of Science, it is worthy consideration how far the structure of our organs
might be improved by uniting the sweet cathedral quality of tone, for which those
of the Temple, Westminster Abbey, &c., are noted, with the magnificence of
Silbermann.” Had Harris and Smith worked unfettered, there is little doubt but
the two attributes above specified would always have been found combined in as
eminent a degree in their organs as in those of the great Strasburg builder. In
the absence, however, of this, and in proceeding to renovate organs of their make,
the choice lies between “wedging up,” “papering up,” or “melting down " the
original Mixtures, supplying their place by others of softer tone, and of reducing
their comparative strength of tone by increasing that of the 8 and 4 feet tone, by
adding to the number of stops producing those pitches, and by also engrafting one
or more double stops. The former course has the charm of economy to recom-
mend it, although it involves a greater departure than ever from the calculation
of the original builder, while the latter and more expensive process effects a nearer
approach to it.
689. In some of the organs built soon after Smith and Harris's time a better
balance of Manual tone was attempted, by giving the Small stops less wind at
the foot ; but, the former large scale being at the same time also retained, the
result was the production of an indistinct, dull, horny quality of tone, as already
mentioned. -
690. The organs of John Schreider, Smith's son-in-law, are distinguished from
those of Smith by having the Diapasons voiced stronger in the treble. The
extent to which his organs were susceptible of improvement by the introduction
PARTICULARS CONCERNING ORGAN STOPS, I 55
of double stops, &c., has been Satisfactorily evidenced in the enlargement of
his fine instrument in Westminster Abbey, the additions to which were made by
Hill.
691. Renatus Harris's organ at St. Sepulchre's, Snow Hill, has also been
considerably improved, by additions made by Gray and Davison, and would, by
the introduction of Double Manual stops to the Great organ, be rendered quite
magnificent. -
692. The younger Harris (John) made the Tierce in his organs of the same
Scale as the Principal, Twelfth, and Fifteenth, i.e., one pipe smaller than the
Diapason, and the Mixtures two pipes smaller.
693. In conjunction with his partner, Byfield, he increased the strength of the
8 and 4 feet Sound by the more frequent introduction of a second Open Diapason
and of a Trumpet and Clarion of great power and beauty of tone. In the organ
at St. George's, Doncaster, erected in 1738, those builders introduced two Trumpets.
The Mixtures of Harris and Byfield were usually carried up higher in the musical
Scale without a break than were those of Smith ; hence a greater amount of
brilliancy, though with Scarcely so much boldness, from the omission of the
duplicate ranks for which the higher ones were substituted. It may be mentioned
that the firmness is imparted by the number or strength of tone of the 8 and 4 feet
stops ; while the boldness, brilliancy, or keenness, depends a great deal on the
composition, Scale, and winding of the Mixtures. The younger Harris's Compound
stops were wonderfully animated and ringing, which properties seemed to indicate
that their maker included Double Manual stops in his conception of what a com-
plete organ should be ; and this opinion was afterwards confirmed at Doncaster,
when such stops were added, by the increased beauty which they imparted to the
tone of that originally fine organ. The organ built in 1740, by the same Byfield,
in conjunction with his other partners, Jordan and Bridge, for the church at Great
Yarmouth, actually had, according to Dr. Burney’s account, printed in Ree's
Cyclopædia, under the article “Organ,” a Double Diapason , also two Open
Diapasons, two Trumpets and Clarion, and nine ranks of Mixture.
694. Both Schwarbrook and Snetzler (Germans) succeeded in also incorporating
a Bordun as a part of their organs at St. Michael’s, Coventry, 1733, and Lynn
Regis, 1754. In reference to that in the last-named organ, Dr. Burney (History,
vol. iii., page 438, note) says: “One of the metal stops of this instrument, called
the Bordun, is an octave below the Open Diapason, and has the effect of a double
bass in the chorus.” The double stops have since disappeared from the Yarmouth
and Lynn organs ; and, as stops of that nature were but very rarely introduced into
other instruments, these circumstances clearly indicate that even at so recent a
period as a century since the prevailing taste, or prejudice, or both, of English
organists, continued to run counter to the attempted advances of the most eminent
builders towards the production of a complete and well-balanced organ. It would
be interesting to ascertain, if it were possible to do so, whether the trifling and
irreverent notions concerning organ-playing in church, So much in vogue through-
out the last century, were so at the time of Smith and Harris's arrival in this country;
and, consequently, whether the incapacity to appreciate, and therefore to advocate,
the broad and dignified instruments which those builders were prepared to con-
struct, was to be attributed to the then prevailing musical taste ; or whether the
frivolous and tasteless manner in question of using the organ was the consequence
of their usually being composed chiefly of “little” stops, as Some of the Germans
have expressed themselves, somewhat contemptuously, when Speaking of our old
organs. One thing is at any rate certain : that the organs were not calculated to
encourage the conception of elevated musical ideas; nor, if they arose, independ-
I 56 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
ently of external assistance, were they capable of realising them ;% hence the
production of So much music, specially written for such instruments, that now
reflects nought but discredit upon the contemporary musical taste of this country.
Dr. Crotch, in his Elements, page 89, felt it necessary, in addition to directing the
taste of students, also to state what they should avoid. “Organ voluntaries,” he
says, “should consist of fugues, with introductions for the full organ, upon the
model of Sebastian Bach and Handel. Soft movements for the Diapason and
Swell should be slow and Sweet, or mournful and pathetic, and may be in the
Italian style of the seventeenth century. English voluntaries for the Trumpet,
Echo, Vox Humana, Cornet, Oboe, and other solo stops, are too often vulgar,
trifling, and ridiculous ; being equally void of Science, taste, and that decorous
gravity of style which should ever characterise church music.” It is an important
fact that in Germany, where Double Manual stops have been common for centuries,
the vicious style of organ music above referred to never existed, so far as we are
aware ; whereas, in England, it never ceased to exist, until an appreciation for that
class of stops, and for firmer “medium work,” began to spread itself, that is,
within the present century.
695. George England made his Principal one pipe smaller than his Open
Diapason, his Fifteenth two pipes narrower, and every rank of his Mixtures to a
varied Scale.
696. In a Compound stop of 4 ranks, comprising seventeenth, nineteenth,
twenty-second, and twenty-sixth, he would make the seventeenth a small scale, the
nineteenth rather larger, the twenty-Second large Scale and powerfully voiced,
and the twenty-sixth Small again, and voiced almost as a Dulciana. This last
rank, nevertheless, made itself heard, and gave to the Mixture a sound as of
bells. England's Mixtures were of a very silvery and sparkling quality, though
not so bold as Smith's, nor so full as Harris's, on account of their different compo-
sition and smaller scale. His larger organs Commonly had the advantage of four
8-feet stops and three 4-feet stops, which, in conjunction with the lighter
Mixtures, presented a twofold modification greatly in favour of a well-balanced
tone; though, from the greater comparative firmness thus imparted to the
medium work, they are generally quite capable of “carrying ” a 16-feet stop of
light intonation.
697. Green's scales were, in some respects, larger than those of any of the
preceding; that is to say, he made his seventeenth and nineteenth one scale smaller
only than the Diapason, and the twenty-second alone two scales less. The Open
Diapason itself was made one pipe smaller in the treble than Father Smith's scale,
|but several pipes larger in the bass; and was generally of remarkable excellence,
the treble part being very pure in quality, though not very loud, and the bass full
and ponderous. His Mixtures varied but slightly in their composition from those
of Smith ; while, in the voicing, Green's pipes were closely and finely nicked, and
not cut up much, and with comparatively but little wind passing in at the foot;
hence his soft, rich, and pleasant tone, which, however, generally lacked the
boldness and energy of the organs of Harris and Smith.
698. The system of scaling frequently followed in modern times is as follows.
To speak first of the Foundation stops : the Open Diapason is made to the largest
scale, because, being the chief Foundation stop, it is essential that its sound should
predominate. The Principal is made one scale Smaller than the Open Diapason;
* Those who, like the writer, heard Mendelssohn extemporise, in 4 or 5 pure parts, on an
essentially Znglish organ, will remember how destitute of breadth and dignity was the effect
which emanated from what present organ-builders call the “thin-toned old organ.”
PARTICULARS CONCERNING ORGAN STOPS. I57
the Fifteenth one scale less than the Principal—and so on, each successive
Foundation rank rather smaller than its predecessor. Thus, the 2-feet pipe of the
Principal, speaking on the Tenor c key, is made of the same diameter as Middle
C* sharf pipe of the Open Diapason ; and the 2-feet pipe of the Fifteenth, speaking
on the CC key, the same width as the Middle d' pipe of the Open Diapason.
699. Each Foundation stop, however, commencing from the Open Diapason
upwards, is voiced rather brighter, as may be ascertained by first drawing the Open
Diapason and striking the Middle cº key, when a full and Sonorous sound will be
heard. Change the Open Diapason for the Principal, and press down the Tenor c
key ; the Sound, identical with the first one in pitch, will be rather louder, but less
full. Substitute the Fifteenth for the Principal, and strike the CC key, which will
reiterate the same pitch, and the sound will be yet brighter, though there will be less
again of it. -
7OO. The Twelfth is much varied in scale, according to circumstances. If
there be but few ranks of Mixture, the Twelfth is made only of the same diameter
as the Fifteenth, although its pitch is a fourth lower, and its pipes consequently
more than one-fourth longer. At other times it is made of the same scale as the
Fifteenth.
7OI. The Third-sounding stops are made to a still Smaller scale, as their sound
has to be more subdued even than that of the Fifth-sounding stops.
702. The Foundation stops, then, are the largest scaled and the loudest ; the
Fifth-sounding stops the next ; and the Third-Sounding the smallest and the softest
in tone of all in much modern work.
703. Towards the commencement of the present century the usual method
of balancing the stops was much disturbed by the influence of certain theoretical .
organists of the time, who would have the Compound stops voiced so as to sound
nearly as weakly as the acoustic sounds they were introduced to corroborate. At
the present time those organ-builders enjoy the highest reputation in England
whose instruments are voiced the most directly aſ zariance with these theoretical
notions. -
7O4. Organ-builders are frequently heard to speak of an Open Diapason being
made to a 12, 13, 14, or I5-inch scale, as the case may be. These figures refer to
the width of the sheet of metal out of which the gamut G pipe is made, and which
pipe, therefore, when finished, ordinarily measures from nearly 4 to about 5 inches
in diameter. -
705. According to the scale of the Open Diapason, those of the harmonic series
of Stops are of course regulated. *
The increase of scale 7O6. It was shown in Chap. XX., ante pp. 123, 124, and
in a stop as the pipes H º hich ds th b h f tº
become shorter ; and I25, that a pipe which Sounds the octave above another of the
why necessary. same kind is only half the length of the first one. Thus, in a
Manual Open Diapason, the CC pipe of which is 8 feet in
length, the Tenor c is but 4 feet; the Middle cº, 2 feet; the Treble cº, I foot;
and the cº in alt, 6 inches. The diameter of these several pipes might, at first
thought, be imagined to decrease in proportion to the reduction in their length.
This, however, is not really the case. As the pipes gradually become shorter, they
are made rather wider in proportion. As an illustration of this, suppose the
8-feet pipe of an Open Diapason to be 6 inches in diameter ; the 4-feet pipe will
not be simply 3 inches, but about 3% inches in width ; the 2-feet, not Ił, but Iłż
inch in diameter ; the I-foot, not # of an inch, but I; ; and the 6-inch pipe, not #,
but # of an inch in diameter. Thus we find that the diameter of a metal open pipe,
as compared with its length, is, in the course of four octaves, sometimes just doubled,
I 58 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
707. A still greater increase is made upwards in the scale of a reed stop.
Take, for instance, an 8-feet Posaune. In Some examples, the CC pipe, 8 feet,
measures 5 inches in diameter ; the Tenor c, 4 feet, 4} inches; the Middle cº,
2 feet, 3% inches; Treble cº, I foot, 2% inches; and the cº in alt pipe, 6 inches in
length, 2 inches in diameter at the bell. -
708. The object for which an increase is made in the scale of organ pipes,
whether of the flue or reed species, is to secure, as far as possible, an equality and
uniformity in the strength and tone-character of the stop throughout its range, and
which could not be otherwise obtained ; for the pipes of an Open Diapason would
ultimately become smaller than those of a Dulciana, the cº in alt pipe of which stop
measures #3 of an inch, good, in diameter, and those of a Posaune less than those
of a Bassoon.
709. It has already been explained that a performer on a wind instrument has
to exercise a greater effort of the muscles of the lungs, in order to secure the
high sounds being of the same strength as the low ones. In like manner an organ-
builder first increases the Scale of his stop gradually from the longest pipe up to the
shortest, as a preliminary to his obtaining even the same amount and kind of tone.
He then admits an increased quantity of wind in at the foot, for the purpose of
blowing from each successive pipe of the series an undiminished strength of tone;
an additional amount of wind of the same density producing nearly an equal effect
to that which the same amount of wind of greater density would do. In some of
the modern French organs, and also in the organ at St. Paul’s, built by Mr.
Willis, and that in the Town Hall, Glasgow, built by Mr. Davison, the treble
portion of the stops is supplied with a wind much heavier than the bass part,
which brings the method of producing high Sounds from organ stops and from
wind instruments into closer analogy.
7IO. Many of the German builders have for a long series of years obtained a
similar result, either by introducing two pipes to each key in the treble, as in
Müller's celebrated organ at Haarlem, finished in 1738 (see Foreign Specifi-
cations, No. 1); and in Batz's organ, at Utrecht, erected in 1826; or by putting
larger pipes in the treble of their Compound stops than is usual in England. The
latter plan, which is one of great utility, will be more fully explained in a following
chapter.
A variation is made in 7II. The stops belonging to each separate division of an
the scale of the stops of de to a different scale to what the correspondin
the same name on the organ are made ere C al eSpo g
different claviers, and stops are on the other departments; that is to say, the Open
also in the duplicates on Diapason in the Swell is made to a somewhat less diameter
º º than the like stop in the Great organ, and that of the Choir
thereof. organ Smaller again, which variation of scale in the fundamental
stop or “Diapason” of each clavier leads, as a matter of
course, to a corresponding variation in that of the harmonic series of stops of each
department.
712. One of the main objects in this variation of Scale is to secure to each
department the requisite distinctness of character and proportionate strength of
tone. Thus a large scale is adopted for the Great Organ, the tone of which is
required to be full, broad, and strong ; a Somewhat Smaller scale for the Swell,
which combines in its sound much of the dignified character of the Great organ
tone, united with the sprightly tone of the Choir ; the smallest for the Choir organ,
the sound of which is lighter than that of the other Manual organs, yet full of life
and vivacity; and the largest for the Pedal, which should possess weight, depth,
and fulness,
PARTICULARS CONCERNING ORGAN STOPS. I 59
713. The way in which a variation of scale is effected is by taking the
diameter of, say, the CC sharp pipe of the first stop as the scale for the CC
pipe of the second stop, and by following out the same relative and reduced
measure throughout the series of pipes.
714. For another scale, the width of the original DD pipe would be taken
for the CC pipe.
715. Where two stops of one kind are placed on the same Manual, as, for
instance, two Open Diapasons, or two Principals, the second is usually made
to a different scale from the first ; and not only So, but to a Scale varying,
however slightly, from that of the similar stop on all the other Manuals. One
reason for this is, if two stops are made to the same Scale, and voiced alike,
they are very likely to “sympathise.”
716. When two pipes sympathise, a beating or waving is heard when they
are sounded together, although they are perfectly in tune when tried separately,
and do not “rob.” Sometimes the two pipes together will even Sound weaker
than either when used separately. -
717. Varying the scale is one of the means taken for preventing sympathy;
not indeed that this step is indisſensable to that end, since some organs exist
having two Open Diapasons in the treble, of the same scale, which do not
sympathise ; while in other examples, having two Open Diapasons of different
scale, a tremulousness does appear. It is, nevertheless, one of the most advisable
as well as most usual methods adopted to prevent it. A “beating” between two
pipes made to different scales will arise from their being placed too near to each
other on the sound board. g
718. In that case the defect does not arise from “sympathy,” but froximity.
To prevent any waving occurring from this second cause, it is essential that
the two stops should be placed at Some distance apart, and, if possible, be
separated by other stops. •
719. An additional reason to that given above for making the corresponding
stops of the several claviers to different scales is to avoid, as far as possible,
any beating occurring when any of, or all, the departments of the organ are
coupled together.
72O. Again, the repetition ranks in the Compound stops of a department,
i.e., the duplicate ranks which are introduced where the “breaks” occur, and
which appear in greater or less abundance in all Mixture stops, as already
explained, are sometimes made to diversified scales in England, with the view
to preventing any tremulousness appearing among them.
72.I. For this reason, also, the duplicates in the Compound stops—that is,
the repetition of certain ranks of pipes which always occur in greater or less
abundance where there are many ranks of mixture, particularly in the treble
part of the stops—are generally made to diversified scales, otherwise a beating
or waving is likely to arise from the phenomenon just noticed.
722. Father Smith not only used to vary the scale slightly, but also to make
the feet of the duplicate ranks to a different length, so that the pipes might
speak on a different level to the others. Green and England also varied the
length of their pipe-feet for a similar purpose,
&
I6O THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
CHAPTER XXVI.
THE TUNING AND TEMPERAMENT OF THE ORGAN.”
723. FROM very early times the interval of the perfect octave has, by philo-
Sophers and musicians, been divided into 53 equal parts, called commas, and
the successive sounds of the diatonic scale have, by the aid of these commas,
been shown to be separated by intervals of the following “sizes” or compara-
tive dimensions:— -
45 g g § d g *
3 S # § 5 & É
º º S 3-4 i. . S
I. : II. 5; III. 3 IV. 5 V. 5 VI. : VII. § VIII.
C 9 D 8 E 5 F 9 G 8 A 9 B 5 C
O 9 17 22 3I 39 48 53
724. The foregoing are the sizes of the several intervals as deduced from
Nature's suggestions; and it is quite probable that the organ was, at a very
early period, tuned in recognition of this system of “perfect attunement.” The
extremely simple nature of the early church music; the non-existence of harmony;
and the peculiar construction of the ancient octo-chords or modes—produced by
taking, in succession, each different sound of the old diatonic gamut as the
initial note, and proceeding thence to its octave, thus—
G f e d c b a g
F e d c b a g f
E Cl C b 3. g f e
D c b 3. g f e d
C b 2. g f e d C
B al g f e d C b
Tº a --- A f e l b
* * e _O_ -e- CD agº). g C C al
{e}: F-2–2–3–2– HE
N-> Q_º Gº €2 ſ:

GP) Tº
did not call for or suggest any departure from it ; and an organ having Scarcely
two octaves of perfectly attuned diatonic Sounds must have been equal to
all the musical requirements of the time.
725. But when the idea occurred of transposing some of the ancient chants,
to bring them within the compass of a less extended range of voice—the higher
into a lower pitch to Suit bass voices, and the lower into a higher to suit tenor
voices—and the gradual introduction of the five chromatic semitones to facilitate
this among other ends ;--then the preservation of the primitive method of
attunement could no longer have been possible. Take, for an example, the
natural major diatonic scale of C. That could not be transposed into G, because
the tones between G and A and A and B were each of the wrong “dimension ”
* Only an outline of what might be said on this subject is given in the present chapter,
Its fuller treatment is reserved for separate publication,
THE TUNING AND TEMPERAMENT OF THE ORGAN. I6 I
for the purpose ; nor could D be taken as a key-note, inasmuch as the interval
between that sound and E was a minor tone only.
I. II. III. IV. I. II.
G 8 A 9 B 5 C D 8 E.
726. Such misuse of the distinctive tones would have produced a “wolf” in
all the scales except the primary one, as unequal temperament afterwards did
in all the keys beyond A major and B flat major.
The union of perfect 727. For a long time the question as to the attuning of the
.."... scale, so as satisfactorily to adapt it to the gradually increasing
power of transposition º 1. &º
impossible, requirements, was, to quote the words of an old writer, “found
to be an unmanageable thing.” Nor was the division of the
octave into a given number of intervals of the exact dimension suggested by
nature at all practicable. The number #70e/ve—that of the semitones in the
octave—is divisible into 6 twos, 4 threes, or 3 fours, representing the whole
tone, the minor third, and the major third respectively. But 6 major tones, of 9
commas each, would amount to 54 Commas; 4 minor thirds, of I4 Commas each,
to 56 commas; while 3 major thirds, of 17 commas each, would only amount
to 52 commas; 53 commas being the number that represented the perfect Octave.
There would therefore have been an excess, or shortcoming, as the case might
be, had the octave been divided according to any of the Smaller “exact ''
intervals. -
The susceptibility of 728. At length it was observed that certain intervals would
* * * bear being tuned a little in excess of, or short of, perfect, without
tempered discovered, e e tº g e
- - offending the ear. This discovery led to the introduction of a
system of tempering,” in which the thirds and fourths were tuned rather sharp,
and the fifths rather flat. The result of this tuning was the distribution of the
“three commas” by which the major tones exceeded the minor, and a slight
augmentation of the minor tones, so that the five tones in the diatonic Series were
rendered equal in dimension.
Unequal temperament, 729. The first modern who urged the necessity of a tempera-
i. *...* ment was Bartholomew Ramis, a Spaniard, who wrote before
the year 1482. By the date just named all the five short keys
had been added to the seven different diatonic Sounds of the key-board. Of these
five three were tuned as the first three sharps, namely, F, C, and G ; and two as
the first two flats, namely, B and E. The short keys were, further, tuned as pure
thirds, or nearly so, to the long keys represented by the black notes in the follow-
ing example —

fº
W 1. Aº t - º:
& + Fººt, Yº-S Gº §
-É(I) |-&–+ #2 e—#2–~2–ºf–Pł #
*}===#- # -–12—2—º H-69
====== gº ~€3–
* In all instruments having the usual number of keys to the octave the natural
inequalities between the tones and semitones are softened down and hidden, as far as
possible, by distribution; and any sound that is slightly raised or lowered in receiving its
small allotted share of the dissonance is said to be “tempered ;” while the principle on which
the dissonance is distributed—whether equally among all the scales, as on the pianoforte and
harmonium ; or unequally, so as to appear rather less obviously in a few of them, at the
sacrifice of all the rest, as on old organs—constitutes the system of temperament adopted.
y
I62 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
This step was a great one in advance in the cause of fractical music. It brought
into existence, on keyed instruments having thirteen sounds and twelve intervals
in the octave, six practicable major scales—C, G, D, A, F, and B flat—in place
of the one perfect one; and three minor scales, instead of one, viz., A, D, and G.
C MAJOR. G MAJOR.
1 2 3 4 5 6 7 8 1 2 3 4 5 6 #! 8
ſº *~) O
TZ. | 2–MIT &L)Tºº-T I.
Žſ 2- Gº || || 2-ATT & Dº S- II |}
H/T) 2-, OTC’ § 3 -) GTS-' f :
\|A >Teº E- ſº- Lº
• JT-a-ToTº”
D MAJOR. A MAJOR.
l 2 3 4 5 6 7 8 l 2 3 4 5 6 7
/Y 4.- ita -ºš.
WZZ ll. &º º ll. arº &P ** T º:
Tº aſ 2-, Tºº TC’T: ; 2-AT ºf Gºº S- H # ,
ify l, 2-ICTS-TTI || 6-2T ºr Tºrr |s
I\!/ 2-5. Tº TS-7 º
eyTa T-TT
F MAJOR, By MAJOR.
a——*—º-t—º-*—1–4 1 2 3 4 5 6 7 8
-Tz ſ e-, Kº S- ſº ſ T.
fº –––52–~2–E: H P-Be—H
\l/ Tº Gº fiſh Ha-->3–e I.
Q V bo -a <> *
A MINOR D MINOR.
1 2 3 4 5 6 7 1. 2 3 4 5 6 7 8
ſ? #e #d. -é. º |I, |
ºf 62 'e) 6. Tº Qº’ ri - # gº tº gº) #C2 wº.Tº
\!/ HT: Jº, Tºº S- º; .
& V a T->
-: G MINOR,
.. 8 7 6 5 4. 3 2 1
(C) gº zºº)
Zººſ ex-Dax & a-R #
iſ N. Be Gº e–H
TV/ Cºº’
el/





Bontempi, writing in the seventeenth century, and reviewing the progress that
music had made during the two centuries that had elapsed between the era of
the establishment of the unequal temperament and his own time, could not
refrain from describing that method of tuning as “that sublime and memorable
operation which so improved the noble science of counterpoint.”
The introduction of 730. The greatest opposition was, nevertheless, offered to
... ."... the system by the purists of the time; and an animated
strongly opposed, but º 5
nevertheless estab. Controversy ensued, which continued to rage with great
lished. - violence for more than a century, between the adherents to
ancient proportions, on the one hand, and the friends of tempered Scales, on the
other. The contest, however, ended in favour of practical progress. -
731. At first, little more than half the number of the available scales were made
use of Those almost exclusively employed were C, G, D, and F major, A and D
minor, and a few of the ancient modes more or less modified. Nor did the music
of the fifteenth century present much modulation ; for, in whatever key a piece
of music commenced, in that key it remained almost rigorously throughout. For
such want of constructive variety and contrast—as it would now be considered—
some compensation was, however, afforded by the more nearly accurate intonation
of the few progressions of melody and harmony that were used; for us the
agreeable relief arising from a change of scale was a resource almost unknown,
THE TUNING AND TEMPERAMENT OF THE ORGAN. 163
the earlier tuning had not been required to be much modified to provide for it.
The altered tuning, on the other hand, admitted of greater freedom in writing, of
which composers gradually learnt to avail themselves.
732. In this way the remaining practicable scales, namely, A and B flat major,
A MAJOR. By MAJOR.
ſº I 2 3 4 5 6 7 8 I 2 3 4 5 6 7 8
Lºſ —# 5 H
_{(N. # = Tºx-ºff f =-z-Be-H
*} #–E–3–2–42–4: º 2–9e–C–H– H:
as a #e- pa- -a-

were, by degrees, taken into requisition; and, as those two scales employed all
the five short keys of the clavier, they necessarily marked the farthest limits as
to range of scales established or allowed by the unequal temperament.
The musical art pro- 733. The art of musical composition continued to progress ;
* º * and as “form” began to take the place of the rather frag-
ales beyond those pro- sº e tº
vided by unequal tem. mentary style of writing that had previously and of necessity
perament. prevailed, and as the “attendant keys” of the boundary
scales were first touched, then dwelt upon, the use of other scales was required
that had not been provided by the framers of the prevailing temperament, and
which had not, in fact, any practicable existence on keyed instruments as then
tuned. Some of those were E flat major, A flat major, E major, E minor, B minor,
F sharp minor, and F minor.
Ep MAJOR. A9 MAJOR,
1 2 3 3 5 6 7 8 7 2 3 3 5 6 h! #!
ſº. |- l- *º © ſº
º 5 &2 2-, [76-2 ſ: i - #s J2C2 Cº. n T H
Hº- ==#-Be HH---Be—º-# º
\Z RA-5 Čº tºº T; º' §§
e.VTV- Ti -II-
E MAJOR, E. MINOR,
1 2 3 4 5 6 la 1 2 3 4 5 6 L8 8
(T).
Fº EEZº-Hº-H #H#H#H#H
jºy. lſ. Čº Kºº §§ lſ. AºA Cº. cº-TI §
VIZ ETºº Tºº- # 3 - Tºº K.sº #
el/ ‘Il ex-T
B MINOR, F; MINOR,
1 2 3 4 5 6 8 8 1 * 2 3 4. 5 7 8 8 W
Y l—— &
=2 #Tº Ha-jā Łl ==#~ J& —#e—# =#
.#4) li. £e V-a- Hº- | gº, £e Č.2 K-º’ ſ §§
\,\!/ |# Gº -6-2 #2 # #| || #2 # †:
el/ -a-fe-
F MINOR
a 1.3 tº 7 5 5 4 2 2 1
–22–Pł–2-2– f ; :
ºf CuS. ##2-####
*} ãº-PSE Lø–5.




After a time other scales, again, came to be required, among which were the
following :-
- B MAJOR. - F MAJOR,
1 2 4 4 5 6 8 8 1 2 4 4 5 7 § # 8
—ſ) t t º r º 4's #4–43– s: #
Aºſ —ll- Yººn ºl-O i* l! Fºllºſ, - ſº
Tº ſº l t ll. tº 2–5 ITV tº TºdS-TTH tº-TV & ESP. T. j
- \\l/ 1 | ºs - #e #2 #& I #TTTLº #e: T §
al/ ~~~ 6:3- Vä
C# MAJOR
a——*—t–4–4–4–3–3
zº #Lº-Lº-F
#ſº f #3 V & Pi—— =#


I64 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
Music written in either of the foregoing ten scales, on being played on an
unequally tempered organ, could not fail to produce an effect very offensive to
sensitive ears; and a little investigation would reveal that the main cause of
the untunefulness arose from the fact that each of the five short keys was tuned
either as the sharp to the long key to the left, or as the flat to the long key
to the right, but in no case so as to serve in the two capacities, thus:–
E=#|
The unequal tuning left the scale of E flat without a proper fourth (A flat); and the
scale of A flat not only had no suitable tonic, by reason of the omission of that
same A flat, but it was also without any proper fourth (D flat). The Scale of E
major had no leading note (D sharp); and B had neither a proper third (D sharp)
nor a seventh (A sharp–see preceding examples). And so on with the other Scales.
The consequence of such tuning may be best shown to English readers by extracts
from works well known in England, which are accordingly subjoined ; or it may
be heard if they be played on an unequally tempered organ.
|
5
V
25
&=====
£9
EX, I, Single Chant. DUPUIS,
As written.
As sounded on an
unequally tempered
Organ,
EX, 2. Single Chant. HAYES.
O # #, | f i º
*###E=Ez=======E====EEEE||
----- ~ *------- gº— - 633 | º
§4 {4 €9 | | £2 | 3 | i gº | a g Ha-g-Hºl
| | ſ’
|
—G- —éº- –63– | |
-u ll. - 2-, -2. —62– eº ed ed ~! * -
Z. TE tº | E- | | # , º Tº T ==Hº-H
ILTſ tº ſº Gº ' | } | | T fºL5 T |Tºº-Ti,
S-2T tº Tºº VD | || i | | | | | 2-5 2-, H
m—r- | | $ ) | | I |- H. I
CY * #. |
TZ Tºº LTI sººn I
- H--- T T L–H– ||.
+3+2=====E=#########||
—— L–25—t- sº -
--- Fºr Ha-ºº:
-2- -e- #2. #2. 3 d 2. ~! . .
Asºº
wº
fº
|
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n
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H
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Aºn
sº
e

THE TUNING AND TEMPERAMENT OF THE ORGAN. I65
EX, 3. Single Chant. BATTISHILL.
EX, 4. Single Chant, DR, BLOW.
Ex. 5. AXouble Chant. DAVY.



I66 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
Ex, 6. AJouffle Chaná. LORD MORNINGTON,


THE TUNING AND TEMPERAMENT OF THE ORGAN. I67
Ex. 7. AEehold / now Żraise the Zord. ROGERS.
Ex. 8, - O z0/here 3%all zoisdom, BOYCE,
Ex, 9. A zwill love 7%ee. CLARK,



I68 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
Ex, Io. By the waters of Babylon. BOYCE.
2-N. f
~~~
EX. II. The Father everlasting: ROGERS, in D.
EX, I2. - 77/772 ZZhee unto me. BOYCE.



THE TUNING AND TEMPERAMENT OF THE ORGAN. I69
EX. I3. Surely Ae hath borne our grieft. HANDEL.
2–––S
EX. I4. Surely Aſe ſath borne our griefs. HANDEL.



17o THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
2-——S
Ex, 15. And with His stripes. HANDEL.
Ex, I6. O Zord God of my salvation. DR. CROFT,
e



| THE TUNING AND TEMPERAMENT OF THE ORGAN. 171
e *
Ex, I7. And all flesh shall see it together. HANDEL,
734. The foregoing musical extracts, although but few in number, are sufficient to
show that the system of unequal temperament, which had so admirably facilitated
the progress of music up to a certain extent, had, in the course of time, become
“insufficient” for the greatly increased and still increasing requirements. The
musical art had been undergoing continuous and raffid developmená during the two
centuries that had elapsed between the time of the introduction of that tempera-
ment and the beginning of the eighteenth century, while the system of tuning had
zemained stationary. Thus the resources presented by the latter, which were, at
the time of its establishment, not only sufficient for, but far in advance of the
current musical necessities, had not only passed into common use, but many others
had come to be much required. Indeed, if investigated by the clearer vision of
increased musical intelligence, the result could only have been the discovery that
an organ, tuned according to the then prevailing System, was, in one sense, an
eartremely incom//eſe enharmonic organ. It was an instrument that, on the one
hand, presented C sharp as distinguished from D flat, E flat as distinguished from
D sharp, and so on ; yet, on the other, presented but half the major diatonic scales
in a practicable form, only one quarter of the number of the minor Scales, and no


172 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
chromatic scale, the distances of the fixed sounds being neither what nature nor art
required for the last-mentioned purpose.
The defects of the un- 735. Nor was the detection of these inherent defects in the
. ... " then existing organ scale a discovery only of the eighteenth
e sixteenth century. &
century. So far back as the middle of the sixteenth century
several organs existed in Italy having two extra keys in each octave, inserted for
the purpose of hiding some of the asperities of the unequal scales. Salinus, in his
treatise, De Musica, published in 1577, relates that many organs in his time had
what in England have since been denominated guarter-tones, one between A natural
and G sharp (A flat), and a second between D natural and E flat (D sharp).
On many such organs he had often played, particularly on a very famous one at
Florence, in the monastery of the Dominicans, called Santa Maria Novella.
Rather more than a century afterwards, that is, in 1685, the same two extra notes
were introduced into the Temple organ by Father Smith,” namely, the third flat
(A flat) and the fourth sharp (D sharp), which brought into a musical and available
form two more major and two more minor scales, namely, E flat major, C minor,
and E minor.
Ep MAJOR. E MAJOR.
1 2 3 4. 1 2
C MINOR. E MINOR,
ſº) 8 7 6 5 4 3 2 1 1 2 3 4 5 6 7 8
|Aº f x ſ: #23 # 2–
VA. R" as S- Gº Fºº-, El 2-, Gº Ǻ §
al/ V-sº Victºr Gº —G- ©º
Further ameliorations of a similar kind were subsequently made in England. For
instance, the organ of the chapel of the Foundling Hospital, erected in 1759, had
two more quarter-tones, namely, the fourth flat (D flat) and the fifth sharp (A sharp).
These, again, moulded two more major and two more minor Scales into a musical
form, A flat major, B major, F minor, and B minor.
Ap MAJOR. B MAJOR.
1 2 3 4 5 6 7 8 1 2
F MINOR. B MINOR.
8 7 § 5 4 3 2 1 1 2 3 4 5 6 7 8
(\ ~A → | 4:\,. - X
TA tº-sº Jø Pºlº ſº, I | #
º VTFº C2 ºn 2-, |- |; 11– Jl. 2-, }
Tº ſº. Vºy ZS: JC2 zºº ll. *2-) tº KJº |
TøT #3: Gº
* An old MS. book, preserved in the Library of the Honorary Society of the Inner
Temple, thus notices these additions:—“The organ at the Temple hath quarter notes,
which no organ in England hath, and can play any tune; as, for instance, ye tune of ye
II9 Psalm (which was set in E minor), and severall other services set by excellent musicians,
which no other organ will do.”







THE TUNING AND TEMPERAMENT OF THE ORGAN. I73
1736. About the year 1808 Hawkes took out a patent for an organ which, in
addition to the foregoing, presented the fifth flat (G flat). This rendered one
more major and one more minor Scale practicable, D flat major and B flat
minor.
D? MAJOR. By MINOR.
1. 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1
ſº X f X
Z Kº 2-, ... . I
rºles |- Pºº- a 5TV tº $º-, lº f |
Hall) ! RTZ ºr Tycº Zºº || PZ *-* I/O ºn 2– f Ti
TVNVTTTºº-yº Vºs. " | y V - Gº Fº.- . |
J-TVo-ve- & V - VO -e- pa-
The scales up to five sharps and up to five flats inclusive were thus made available.
The remaining four sharps and flats, two of each, were not, however, represented.
Enharmonic organs. 737. Nearly a quarter of a century before the date just given
the elder Russell had made an organ with twenty sounds in the octave, among which
were doubtless included all the foregoing. At subsequent periods other organs were
built with a still greater number of sounds in the octave, until those erected for the
late Rev. Mr. Liston and Colonel Thompson, which had forty-three and forty sounds
in the octave respectively. Nor were instruments of this nature so modern an inven-
tion as some might imagine. Vincentino, in the middle of the sixteenth century,
invented an instrument of the harpsichord kind, to illustrate the three ancient genera,
which had such an accumulation of wires to represent the great variety of intervals,
that the instrument had to be furnished with six rows of keys; and a modern organ
specimen has three elaborate key-boards for the manipulation of a single stop, and
then only incompletely illustrates the theory it is intended to elucidate.
Perfect attunement. 738. Such instruments presented several varieties of every
degree in the musical scale, as C, D, E, tuned a comma Sharper or flatter than
others; SO that the distinction between the major and the minor tones, &c., of
every separate scale could be rigorously produced. They not only answered their
purpose well, but served theoretically to illustrate the exact difference between
a multiplicity of sounds, which, from the force of habit, Some might be apt to
consider identical. Their general adoption, however, could not follow, for many
reasons, such as the enormous cost of the extra pipes;” the great additional room
necessary to accommodate them ; the complex machinery or key-boards that
would be required to bring them into active use, &c.
739. Moreover, in proportion as theoretical Žerſection was approached, as to
intonation, by the introduction of additional Sounds, the fractical disadvantages
were increased; for it destroyed the ambiguity in certain harmonic combinations,
which is one of the greatest and richest resources of the musician’s art. The beauty
of an enharmonic modulation consists, as all musicians know, in “the theoretical
change without the practical difference.”
ATTWOOD.
2.
* An enharmonic organ, with one stop and three manuals to play it with, costs about
A300.

I74. THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
A simple practicable Ma- 740. The great question that had to be solved was not
*** whether it were possible to make an instrument that, whatever
its merits, could not pass into general use—for that had already been demonstrated
conclusively more than once—but whether it were practicable, without increasing
the number of twelve sounds in the octave, so to tune or “temper” those that
they would practically meet the then increased and all future possible musical
requirements. It was in Germany, and in the early part of the last century, that
this important theme was first started and discussed ; and the glory of its elucida-
tion in the affirmative was chiefly due to the genius of the great John Sebastian
Bach, who produced and advocated the system of tuning now so generally known
as that of “equal temperament.”
Equal temperament. 741. This wonderful yet simple system consists in dividing
the octave into twelve semitones by fixed sounds, as uniform in dimension to
the ear as are the inch marks of the foot-rule to the eye. The results of that
tuning are as follows:–Firstly, every one of the twelve different sounds can
be made the key-note from which a well constituted and equally useful diatomic
scale can follow ; and which diatonic Scale, further, may be either in the
major or the minor form. Thus, the twenty-four major and minor scales are
at once rendered available, and equally so for melodic or harmonic progres-
sions. Secondly, any one of the twelve different sounds can be taken as the
commencing note of an even and uniform chromatic scale. Thirdly, the
numerous beautiful enharmonic transitions and modulations can be realised in
the manner intended by the great composers who originated them, without the
destructive distinctions which would result if the altered modation were accom-
panied by an altered intomation that, despite its theoretical propriety, in practice
is not wanted. ,
742. From what has been said it will be seen that every note is, according to
this system, designed to serve in “different capacities; ” some in several. For
example, the sound representing C may be either a key-note or a natural diatonic
second, third, fourth, &c., to another key-note, or it may be treated as B sharp or
D double flat, or it may be changed, ºfton Žafter, from C natural to B sharp, as by
an enharmonic change. Every one of the other eleven Sounds is designed to serve
in a similar manner. In a word, this wonderfully constituted compound scale com-
prises the twelve major and twelve minor Scales and the chromatic and the enhar-
monic scales all in one.
743. Nor did Bach simply “theorise” respecting his scale. His writing, teaching,
and playing were in consonance with his artistic conviction. In the year 1722 he
produced the first book of his well known 48 Preludes and Fugues, under the title
of “The Well-tempered Clavier, or Preludes and Fugues through all the tones and
semitones concerning the major third, or C, D, E, as well as touching the minor
third, or D, E, F. For the use and Study of young eager musical students; as also
for the leisure hours of those who are already advanced. Composed and revised
by John Sebastian Bach,” &c.” In the year 1744 he issued a second set of the
same number of Preludes and Fugues, and again in the 24 different major and
* “Das wohl temperirte Clavier oder Paeludia und Fugen durch alle Tone und Semitonia
sowohl tertiam majorem Oder Út, Re, Mº, anlangend, als auch tertiam minorem oder Re, M.,
Aa, betreffend. Zum Nutzen und Gebrauch der Lehrhegierigen Musicalischen Jugend, als
auch derer in diesem studio schon babil Seyenden besondern Zeit Vertreib aufgesetzet und
verſertiget von Johann Sebastian Bach, £, t. Hochfürstl. Anhalt, Cöthenischen Capell-
Meistern und Directore dorer Cammer Musignen. Anno 1722.” --
THE TUNING AND TEMPERAMENT OF THE ORGAN. I75
minor keys. In these works Bach made use of the following members of his
“compound "scale. (The diatonic and chromatic notes are distinguished by their
initial letters D, C, and such of the enharmonic as are included are marked by En
and a bind.)
f) C C C C C
A. - _*
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D C En D En C En D En En D En C En
C C C C
EžE ===HE==#EEEEEEEEE
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D En C En D En En C En D En En En D


In his “Chromatic Fantasia” Bach put upon paper many notes, which, differing in
appearance, and being also unlike in theory, were yet intended to be the same in
sound. . tº
744. Nor did he leave his opinion as to the necessity for a compound
diatonic, chromatic, enharmonic scale for the organ less indelibly stamped upon
the works he wrote expressly for that instrument. In those works he allowed
himself the utmost freedom in the choice of “initial * keys; also as to the other
keys into which he passed, as well as the most unfettered use of chromatic
progressions and enharmonic modulations whenever he required their intro-
duction.
The part Bach took in 745. In the biographies of Bach, by Forkel and Hilgenfeldt,
º * occur several passages that describe the condition in which
Bach found clavichord playing and tuning, what he did to
develop the capabilities of that instrument, and how he effected that end. Hilgen-
feldt says: “At the end of the seventeenth century it was not customary to play
in all the keys. Those with more than three sharps or flats were seldom used.
The reason of this was, undoubtedly, the “unequal” mode of tuning the instru-
ment, which was obstinately adhered to in preference to the system now known as
‘equal temperament.” Forkel writes to the same effect: “Before his (Bach's)
time, and in his younger years, it was usual to play moč in all the twenty-four
modes. The clavichord could not be perfectly tuned ; people played therefore
only in those modes which could be tuned with the most purity. Bach extended
the use of the modes, partly by deviating from the ancient modes of church music,
and partly by mixing the diatomic and chromatic scales. He learnt (or discovered
how) to tune his instrument, so that it could be played upon in all the twenty-four
modes. . . Bach tuned both his harpsichord and his clavichord himself; and he was
so practised in the operation that it never cost him above a quarter of an hour.
But them, when he played from his fancy, all the twenty-four modes were in his
Žower; he did with them whatever he pleased. He combined the most remote as
easily and naturally together as the nearest; the hearer believed he had only
modulated within the compass of a single mode. He knew nothing of harshness
in modulations; his transitions in the chromatic scale were as soft and flowing as
if he had wholly confined himself to the diatonic scale. His “Chromatic Fantasia,
which is now published, may prove what I here state. All his eartemfore
volunTARIES are said to have been of the same description, but frequently
MUCH MoRE FREE, brilliant, and eafºressive.”
176 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
Equal temperament op- 746. The equal temperament system, nevertheless, met with
Fºº "..." the greatest opposition, as the unequal method had before it.
ing had been before it. 6 * g. g g
While it was admitted that equal temperament moulded into
practicable form fifteen scales that were non-existent on an unequally tempered
organ, it was objected that it also left the first nine scales in not so good a
condition as they were before. This was, in substance, a repetition of the argu-
ment that had held good for centuries against unequal temperament ; which
latter, while it rendered seven scales practicable that were not so before, left the
first two that previously were pure no longer in that condition. It was a line of
reasoning that told against all temperament whatever, and could be applied until
the perfect attunement of many centuries before were restored, and with it the
comparatively primitive state of the art of musical composition ; or—the improved
state of the latter partially preserved—enharmonic organs became general, and with
them their theoretical beauties, practical imperfections, complexity of manipulation,
and impossible pedipulation. Such a position, in fact, was assumed not many years
ago by a writer whose advocacy of just intonation forbade his admitting any merit
in any temperament whatever. Bontempi, in his History of Music, page 188,
1695, spoke of temperament as a “ divine thing,” while the writer just alluded to
described it in the same words without the adjective, namely, as “a thing /*
747. One of the strongest opponents to the adaptation of equal tuning to the
organ is said to have been Silbermann, the celebrated organ-builder; and the
tradition runs that whenever Sebastian Bach observed Silbermann among his select
circle of auditors he used to say to him, in perfect good humour, “You tune the
organ in the manner you please, and I flay the organ in the key / please ;” and
thereupon used to strike off a fantasia in A flat major, the contest invariably ending
in Silbermann's retiring to avoid the “howling of his own wolf.”
748. Equal temperament was opposed also on the ground that it destroyed
the “distinctive character of key’ which unequal temperament imparted to the
different Scales. A slight acquaintance with unequal temperament would disclose,
as shown on pages I62 and I63, that a few of the commonest scales were by it ren-
dered nearly, if not quite alike, by reason of the removal of the difference between
the major and minor tones ; consequently, but little distinction of “character’
existed among them, but rather was to be found among the remaining fifteen
scales, Some of which are shown on page 163. And it appeared among the latter
in consequence of the dissonance produced, in greater or less quantity, by the un-
avoidable use of the wrong dieses, or quarter-tones, as indicated by the black notes.
All those scales contained at least one instance, and some two, of the same degree
of the scale occurring twice over; some other degree, or degrees, being omitted
altogether. This is shown by the figures, as well as notes, in the foregoing
examples. Those wrong fixed sounds brought into those scales intervals as whole
tones that were, in dimension, greater than the major tones of perfect attune-
ment—the REDUCTION of which was one of the grounds on which unequal
temperament was originally devised—and other intervals as semitones that
were considerably too small and dissonant for the purpose. Yet for those scales
the exaggerated or contorted intervals of which were not in the least degree
produced by design, but appeared, both as to number and situation, just where
accident had chanced to throw them during the process of tempering the first
nine Scales—for those scales a merit and advantage was claimed on the plea that
they established a variety of “character’ that was useful and desirable to the
musical art Scheibler” spoke much to the purpose when he said: “Such a
* An Essay on the Zheory and Practice of Tuning, by Scheibler, page 26, Cocks and Co,
THE TUNING AND TEMPERAMENT OF THE ORGAN. 177
modification, or rather corruption of the scales, was called femperament, and,
Strange to say, the old theorists advocated the adoption of such unequally
tempered scales, on the plea that the different degrees of deviation from the
mathematical purity tended to give them a greater characteristic difference of
effect, and thereby give a greater power of colouring to the musical art; a plea
that represented a necessary evil in the colour of a real advantage and benefit.”
749. No record seems ever to have been made of what were supposed to be the
“characters” of the several keys as presented by unequal temperament; nor does
it appear that anything was advanced in support of the plea, beyond a few broad
Statements and generalities. «
Equal temperament re- 750. The case was very different with equal temperament.
º * * In the English translation of Bombet's Ziſe of Haydn, published
in the year 1818, the editor gave, on pages 98, 99, and IOO, a list
of keys, with observations, in reference to this very subject of “character,” which
are here quoted. Those to which a * is attached are keys which have no practical
existence on an unequally tempered organ,
“F major . . . ) This key is rich, mild, Sober, and contemplative.
D minor, | Possesses the same qualities, but of a heavier and darker
cast ; more doleful, Solemn, and grand.
G major . . . ) Gay and sprightly. Being the medium key, it is adapted to
the greatest range of Subjects.
*E minor . . . ) Persuasive, soft, and tender.
*A flat major . The most lovely of the tribe. Unassuming, gentle, Soft,
delicate, and tender, having none of the pertness of A in
| sharps. Every author has been sensible of the charm of
this key, and has reserved it for the expression of his most
| refined sentiments.
*F minor. . J Religious, penitential, and gloomy.
A major . . . Golden, warm, and Sunny.
*F sharp minor | Mournfully grand.
B flat major . ) The least interesting of any. It has not sufficient fire to
render it majestic or grand, and is too dull for Song.
(Handel's “O Father, whose Almighty power, Mozart's
‘Benedictus, in the Reguiem, and Mendelssohn’s ‘O
come, every one that thirsteth, are in this key.)
Meek and pensive. Replete with melancholy.
Keen and piercing. Seldom used. (Mendelssohn's ‘I am
He that comforteth' is written in this key.)
Bold, vigorous, and commanding ; suited to the expression
} of war and enterprise.
A minor. Plaintive, but not feeble.
*D flat major . Awfully dark. In this remote key Haydn and Beethoven
have written their sublimest thoughts. They never enter
it but for tragic purposes.
D major . . . ": grand, and noble. Having more fire than C, it is
G minor.
*B in sharps
C major .
suited to the loftiest purposes. In choral music it is the
highest key, the treble having its cadence note on 4th line.
*B minor. . . J. Bewailing, but in too high a tone to excite commiseration.
(Handel’s ‘Vouchsafe, O Lord, and Mendelssohn’s ‘O
God, have mercy, are written in this key.)
Z
178 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
*E flat major . ) Full and mellow ; sombre, soft, and beautiful. It is a key
in which all musicians delight. Though less decided in
its character than some of the others, the regularity of its
beauty renders it a universal favourite. (Bach's St. Ann's
Fugue is written in this key; also, Mendelssohn's chorus,
‘Thanks be to God.”)
*C minor . . . J. Complaining ; having something of the whining cast of B
minor. (Bach's Passacaglia and several of his most
beautiful fugues are written in this key.)
*E major . . . Bright and pellucid ; adapted to brilliant subjects. In this
key Haydn has written his most elegant thoughts. Handel
mistook its properties when he used it in the chorus, ‘The
many rend the skies with loud applause.’ Though higher
than D, it is less loud, as it stretches the voice beyond its
natural powers.
It is sufficient to have hinted at these effects. To
account for them is difficult; but every musician is sensible
of their existence.”
751. Enough is set forth in the above quotation, after allowing something for
over-colouring, to show the immeasurable superiority of equal temperament over
the unequal on the question of “character of key * under consideration ; not the
least of its greater excellencies consisting in its transforming the otherwise “wolfish
key” of A flat major into “the most lovely of the tribe.”
º, . the 752. It is doubtful, however, whether the question of
only Source of distinc- « -o-, 29 &
tion of key, questioned. character ºf key * should ever have been so much mixed up
with that of “temperament” as it has been, since writers are by
no means unanimous as to the precise Source from which Springs that distinction.
Pitch supposed to ex- 753. In unequally tempered instruments a distinct cha-
jº i. *** racter of key undoubtedly exists; but it is of so untuneful a
establishing the cha- e * , g
racter of key. nature that, instead of proving an advantage, it is a Source
of pain to sensitive ears. To cite one further example: Dr.
Burney, in his Musical History, vol. iii., page 608, says of the work from which
Ex. 16, on page 170, is taken : “The anthem for three voices, from the eighty-
eighth Psalm, is truly pathetic and expressive, from beginning to the end ; but,
unluckily, the key in which it is composed (F minor) is so much out of tune on
the organ, as it is usually tempered, that the effect must be doubly offensive to
those who, though possessed of good ears, are unable to account for it.” Equal
temperament removes the cause of this crude distinction. But in doing so, it
must, in the opinion of some, destroy all difference between one key and
another. Clear as this conclusion seems to be, experience shows that on an
equally tempered instrument a distinction of key nevertheless does exist. The
equality of the tuning can be proved mathematically, yet a difference in the
keys is perceived fractically, and reason has hitherto failed to fathom this
subtile phenomenon. Some have attempted to account for it by supposing
that an unintentional temperament must find admittance ; that the tuner, un-
consciously, has perhaps a bias in favour of certain keys. Others would
attribute the distinction to the influence of a second and independent agency,
namely, Žitch, or the grave and acute qualities of sound. As to the manner
in which that influence is exercised, they propose to account for it by supposing
that, when an author composes a piece of music, he first determines his
THE TUNING AND TEMPERAMENT OF THE ORGAN. I79
key, and then confines his ideas to the proper compass of the voices or instru-
ments for which he is writing. Thus, in penning a vocal piece for a treble
voice of average compass, if cº be taken as the key note, the available range
would be half an octave upwards, and a whole octave downwards; if f', it
would be a whole octave upwards, and half an octave downwards; if a flat,
it would be a sixth upwards, and a sixth downwards, and so on ; and that
each separate melodial range has perforce its own distinct series of attendant
harmonies. That students and auditors, by performing and hearing music So
written, are thus gradually led to ascribe to each of the keys a specific character.
In this case, however, the primary influences would appear to be the limits of
the voice, and other circumstances under which the music was written, rather
than any inherent and peculiar property in the Žitch. If any specific quality
ever belonged to certain sounds—of which sounds the musical scales are formed
—that quality would continue to exist; therefore, on an alteration of Žitch
taking place, such as has actually occurred, by ascent, to the extent of a semi-
tone, since the time of Haydn, the scales that formerly had sharps for the
signature, though now having flats, would still be brilliant; and those which
had flats, though now having sharps, would be the reverse. Music written in
the last century, in the “golden, warm, and sunny” scale of A major, would now
be heard in the “least interesting key” of B flat major, and so on ; whereas
no such perversion of sentiment has ever been declared to have taken place.
The internal resour. 754. The probability is that neither femperament nor Žitch
... "..."... have so much to do with giving “greater power of colouring
capable of giving any S o s
character to any key. to the musical art,” by means of the establishment of the So-
called “character of scale,” as the internal resources of the
ará itself. For since music has become a language, as well as a science and aré,
composers have been enabled to express whatever they flease in any scale they
please. They have drawn music of a given “character,” and its of £osite, from one
and the same scale. Thus, if Handel selected the “bold, vigorous, and command-
ing” scale of C major for “The horse and his rider” chorus, he employed it with
equal success also for his “Dead March " in Sau/. If Mendelssohn adopted the
same scale, “expressive of war and enterprise,” for his “Military Duet,” he used
it no less felicitously for his sweet and peaceful aria, “O rest in the Lord.” If he
fixed upon the scale of G minor, “replete with melancholy,” for his most pathetic
second movement in the instrumental introduction to the Zoëgesang, he adopted
the same “meek and pensive scale” with equally perfect success also for two of his
most vivacious scherzos, those in the Offeto and the Midsummer Wight's Dream
music. Weber selected the “awfully dark and tragic” scale of D flat major for
his inspiriting “Invitation to the Dance.” But to whatever circumstance, or Com-
bination of circumstances, the distinction of scale is observable, all musicians are
sensible of its existence.
Characteristics of equal 755. We have heard how “out of tune” the unequal tuning
temperament. makes some of the scales that are even in constant use ; and
we have seen the cause. We have also noticed in what way equal temperament
removes that cause, namely, by, among other things, tempering the Sound of
all the short keys, so that they will serve either as the ſat to the white key to the
zighi, or as the sharf to the white key to the left. Its influence in the enharmonic
scales, which is considerable, is not here dwelt upon. The equal temperament, by
rendering each of the twelve fixed sounds susceptible of answering two or three
distinct purposes, possesses advantages, as well as a degree of practical simplicity
and efficiency, quite peculiar to itself.
I8O THE SOUND-PROT) UCING PORTIONS OF THE ORGAN.
756. In distributing the wolf equally among all the scales, the major thirds
in a few of the more common keys are made rather sharper than in the unequal
temperament. This, the most grave objection taken to the equal system of tuning,
never amounts to a striking defect, while, under certain circumstances, it becomes
a positive beauty. It is well known that the most perfect organ and instruments in
existence, the human voice and the violin, can produce all the gradations of the
enharmonic scale ; yet both singers and performers on string instruments frefer
Imaking the leading note not a perfect third to its root, but sharf. And as every
major triad, at the same time that it forms the fonic triad of one scale (c for instance),
also forms the dominant of the ſºft/ below, f;
it follows that its third, e, as the leading note of that dominant harmony, accords
more closely with the custom observed by the best practical musicians, from the
very circumstance of its being sharper than perfect. Besides this, the sharp thirds
infuse a freshness and spirit into the common keys, which, according to the old
temperament, they do not possess. Besides this, the equal temperament much
improves the effect of the whole series of minor scales; in which, it will be recol-
lected, a very considerable proportion of the English church music is written. Again,
as nearly all well-cultivated voices have been tutored at an equally tempered piano-
forte, a similarly tempered organ must prove the best accompaniment to them.
No singer would think of Sounding for semitones such intervals as those which
occur on an unequally tempered organ between G. natural and G sharp, or between
E flat and E natural ; or such as those between G sharp and B flat, or between C
sharp and E flat for whole tones; or such as those between G sharp and C, or
between B and E flat for major thirds —
h
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In this respect, singers have frequently been censured for “singing out of tune,”
when the fault has rested solely with the barbarous temperament of the organ by
which they have been accompanied.
757. Then, in practice, the equal temperament is the only system that affords
unfettered facility for the transposition of a piece of music (when that may be
required), without distorting the intervals of its melody, or rendering the progress
of its harmony crude and exaggerated. In this variable climate it frequently
happens that, by transposing a psalm tune or a chant a Semitone or a whole tone
lower, the voices of a choir or congregation may be spared much exertion and
unnecessary fatigue. Besides this, organs vary more or less in pitch; and, if an
instrument be tuned very high, the music can then be transposed without harsh-
ness being imparted to it. In the Harmonicon for 1824, a correspondent states
that “till of late years the organ in St. Paul’s Cathedral was half a note above
the usual standard, and the organ part of the music performed at the Feast of the

THE TUNING AND TEMPERAMENT OF THE ORGAN. 181
Sons of the Clergy was therefore obliged to be transposed half a note lower than
the other parts for the accommodation of the organist.”
758. As to the manner in which tempered sounds are received by the musical
Sense, Mr. G. A. Macfarren has explained this matter very clearly in his Lectures
on Harmony, published by Longman and Co., Paternoster Row. On pages 43 and
44 he says:–“The system, I believe, first practised by Sebastian Bach—which
has now become general—of tuning keyed instruments by equal temperament,
consists in prevaricating the enharmonic diesis—that is, the distinction between
D sharp and E flat, &c.—by tuning notes too sharp for the one and too flat
for the other of their names, and by making a like compromise between the
still minuter discrepancies of the diatonic scale, so that, while no interval is
perfectly true, the ear is in neither case shocked by false intonations. It is,
however, a beautiful and a wonderful property of the musical sense, so to adjust
these tempered notes, that in every key they produce the same effect upon us
in relation to other notes that the perfectly attuned notes would produce which
they represent.” And on page 141 he further adds that, “in despite of equal
temperament, the ear has the admirable facility of so adjusting the tempered
sounds which enter it, that they seem to us not what we hear, but what we
should hear, were all the notes perfectly attuned to the true natural scale.” At
the same time, another fact cannot be concealed, which is, that it is quite
possible for the ear, under the influence of a firm imagination, to be encouraged
to refuse to receive tempered sounds when presented in a particular shape—Or
even in any shape whatever—and yet tolerate the far more egregious effect of
the use of the wrong diesis. The painful effect, however, of such unequal tuning
on sensitive ears may be gathered from the following —The late Adolph Hesse
was in England in the year of the first Great Exhibition, together with his father-
in-law, Louis Spohr. Both were at Westminster Abbey on the occasion of the
Purcell Festival, and, after service, Hesse was asked to try the organ—then unequal
—which he proceeded to do. He had not played many chords before he dis-
covered the condition of the tuning ; when, directing Spohr's attention to it, he
positively declined to touch another note, and, with Spohr, closing his ears, left the
organ gallery. On his return to Germany, Hesse had occasion to write “something
about English organs,” in which he said, in reference to the unequal tuning: “It is
inconceivable to me how, in the neighbourhood of the best orchestral music, and
of the most Splendid and perfectly well-tuned pianos, the ear can reconcile itself
to such barbarisms.”
759. One of the earliest and most earnest advocates, in England, for the appli-
cation of equal temperament to the organ was the late Dr. Crotch—himself a very
great authority—who directed attention to the subject, on the last page of the
Second edition of his Elements of Musical Composition, in the following words:—
“The author cannot but regret that the preference of English organists for the
old method of tuning has been (as he is informed) hitherto so strong and deter-
mined, as to have resisted and repelled the attempts made to introduce the equal
temperament into our cathedrals and churches. He has for many years uniformly
recommended that this system should have a fair trial, upon the principle that, as
all tempered fifths and thirds offend the ear, those systems which contain such as
are most tempered and most discordant cannot be preferable, especially in an age
when the keys which have four sharps and three flats can no longer be excluded
from general use. It has at length been fairly tried, and, having carefully examined
it, he feels convinced that its practicability and superiority are as unequivocal on
the Organ as they are allowed to be on the pianoforte, and on all other instruments
Which contain only twelve different notes on each octave. He continues to press
I82 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
these opinions, not merely because they are his own, but because, in So doing, he
is contending for the far higher authority of the judgment, and practice of one
whom, he trusts, his opponents must venerate and admire—the greatest of all
Composers for his sacred instrument—
SEBASTIAN BACH.”
Mr. George Hogarth, in an article on the organ, printed in the Musical World for
1836, page 21, observes —“The organ in England is tuned according to a system of
temperament different from that which prevails on the Continent, and the effect
of which is that the harmony is intolerably impure in all keys which require more
than three sharps or three flats.” And the late Chevalier Neukomm, in the preface
to his Organ Voluntaries, inquired—“Why do the English organists continue to
follow a barbarous system no longer adequate to the improved state of modern
instrumental music, and which renders the organ unfit for accompaniment when
in concert with other instruments P” Mr. Hullah, again, in his History of Moderſt
Music,” page 9, observes —“The modern European system, though the exigencies
of practice prevent its being absolutely true, is nearer the truth than any other
system ; and its inaccuracies are so slight as to cause little disturbance to the
most refined ear. I mean by this that all our music is, of necessity, a little out of
tune ; for our intervals vary, however slightly, from those deduced from the division
of a musical string into aliquot parts. But the discrepancy, I repeat, is so slight,
and distributed, by the system of equal temperament, over so many instances, that
it is practically of no consequence.” To these several observations it may be
added that the preference of English organists is not now for the “barbarous
system,” but has become almost as universally “strong and determined” 27t
favour of J. Sebastian Bach's tuning. A few of the instruments thus tempered
may here be enumerated. St. Paul’s Cathedral (both organs); Westminster
Abbey ; St. Sepulchre's, Snow Hill; Temple Church ; All Saints', Margaret
Street; St. Andrew’s, Wells Street; Foundling Hospital; Crystal Palace (both
organs); all the Town Hall organs in the Kingdom, &c., &c, Equal temperament
is universally adopted on the Continent.
* Longman and Co., Paternoster Row.
THE TUNING OF THE ORGAN. 183
CHAPTER XXVII.
THE TUNING OF THE ORGAN.
Laying the bearings, 760. IF the sounds of a set of pipes, or a stop, are to be
i.” "...”.. adjusted according to “perfect attunement,” the thirds, fifths
fluence to the stops 9 . 2 5
generally, &c., will of course be tuned mathematically true ; but if so as
to present some kind of tempered scale, then the first step
taken is to “lay the bearings.” This process, after adjusting the starting Sound
to the pitch of the tuning-fork, consists in tuning the remaining eleven sounds
of the octave by intervals of a third, fourth, fifth, sixth, or octave, up or down,
as the case may be, and at the same time of making those intervals, except
the octave, which is always tuned absolutely perfect, “bear” nearer towards or
farther from the sounds from which they are being calculated than if they were
being tuned justly.
761. The following scheme exhibits one of the most approved methods of
laying the bearings on the unequal temperament principle —
º p § 3 *—n
º gº) Fa Fa #–Zes ll. §§
º ſº O €2. º O #2=H gº #3 ſe #2 H
-62- -ēj-, -G-, -ę– —62– ©– 'I ex-
O p
Tº º __*~~ _----> ** #TE
ºf _*~ }º 2-y 2-lºſſ. 2-Y Y2- C2 tº
_{(\ 2-Y Leº Zºº” Kº {T} gº º K-ºſ T.
VJ Tºº }ºaº *Y tº iſ ºw X- I
el/ V -'s Kºº *-*. ſº 3–


The bound note is in each case supposed to be tuned ; the other is the one to
be adjusted. In laying the bearings, all the thirds, fourths, and sixths that
are tuned upwards are made a little sharp, and those that are tuned downwards
rather flat. The fifths, on the contrary, are tuned a slight degree flat upwards
and sharp downwards. As the tuner proceeds with his work, he occasionally
tries the temperament of a note just tuned with some other note previously
adjusted, to ascertain whether the bearings are being laid correctly. These
references are called frials or Žroofs, and are made by adding the major third,
fourth, or sixth, above or below, to the note just tuned. If the intervals upwards
prove to be rather greater than perfect in all cases, except between c sharp
and f sharp, which should be rather flat, all is right ; but if otherwise, then
Some of the previous bearings are not quite correct. The proofs are, in the
above scheme, indicated by the initial letter p.
762. In laying the bearings according to the equal temperament System, the
tuning is frequently proceeded with by fifths and octaves only, as shown in the
following example:– ;

/º _*-> _s=->
|AZ Z v ! _*~ #Tº & w
Aºſ C G2 L-sº Kº-y Y2-5 . . º Gº ~<=>- –– _*~
_{{\. zº w V º iſ: 2-Y Y2- _-_s ºf V
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el/ paº --- Vº —£2– —£2– m== LC2. ©
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184 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
763. The bearings are laid in and about the middle octave and a half of the
stop, as will be perceived on referring to the notation of the two last examples ;
and the stop usually selected for the purpose is the Principal, the pitch of that
stop being the medium one between the unison and small stops. The bearings
having been laid, the remainder of the stop is tuned in Octaves to the pipes
already adjusted. After this, the unison flue stops are tuned, and then the
smaller stops, the reeds being left till last. The fifth and third-Sounding Stops,
as also the fifth and third-sounding ranks of the Compound stops, are tuned in
absolutely perfect thirds and fifths to the Foundation stops.
How the pitch of the 764. A large often metal ſlue #iffe has its pitch raised
.*.*, * * by cutting away a ring of the metal from off the top of the pipe,
pipe is altered, o a “ e & * tº
and is lowered by soldering a ring on. Or the pipe is furnished
with a sliding cap or cylinder, which is slipped up or down, according to whether
the pitch of the pipe is to be lowered or raised. Sometimes a large pipe is tuned
by a slit made in its back at the upper end. This is particularly the case with
front pipes. By bending the two edges apart, so as to leave an aperture, the
pitch of the pipe is sharpened, and by closing them it is flattened. Sometimes
all the pipes, except the small ones, are left rather long, and a “tongue" of metal
cut near to the top, which is inclined inwards or outwards, according as the pitch
of the pipe requires flattening or Sharpening. I IQ
I
765. A small often metal ſlue #iffe is tuned by an II 8
instrument constructed for the purpose, conical in shape, º
called a tuning-horn. Tuning-horns are of many dif- 4
ferent sizes, all of which come into requisition in the # Cas
§D.
course of “tuning an organ through.” The larger ones
consist simply of a hollow cone (ſig. I 18), made of
brass; the smaller, of a handle (ſig. I 19) with a solid
metal cone at one end (a) and a hollow cone at the
other (). Through the instrumentality of a tuning-horn, the top of
a pipe may be slightly contracted or expanded, i.e., its edge may be
drawn in or turned out as occasion may require. -
766. All the flue pipes in an organ are first “cut down” as
nearly as possible to the exact pitch. If any pipe is still a slight
degree too flat, the pointed end of the cone is pressed into the
aperture at the top of that pipe, which turns the edge a little out-
wards, and so slightly raises its pitch. If, on the contrary, a pipe is a little too
sharp, the hollow part of the cone is forced over the top of that pipe,
which draws its edge inwards, and thus has the same effect that very
slightly lengthening the pipe would have.
767. A large offen wood ſue #iffe is sharpened by cutting the body
of the pipe shorter, and flattened by nailing a piece of board as far over the
open end of the pipe as may be necessary to make it give its true note.
768. A small often wood ſlue #iffe has a metal shade fixed into the upper
end of the back of the pipe. To flatten the pitch, this shade is bent down
towards the orifice of the pipe ; to sharpen it the shade is raised.
769. As the Compound stops have several pipes to a note, and all
these would of course sound at the same time, a small moſ, (ſig. 120)
is thrust into each pipe of the given key, excepting the one about to be
tuned, to silence them. Sometimes the various ranks of pipes that form
a Compound stop are governed by as many Small sliders, capable of
being drawn separately. Where this is the case, mops are not used, as
I2O


THE TUNING OF THE ORGAN. . 185
the Small special slider to a single rank of pipes can then be drawn without
disturbing any of the others.
770. Stoſſed metal fiftes, whether entirely or partially closed, are furnished
with a cap, and by this they are occasionally tuned. By pressing this cap down,
the vibrating column of air within the pipe is shortened, and the Sound of the
pipe is therefore raised, and vice versé. In England, stopped metal pipes,
which have generally very large ears, are more frequently tuned by those ears.
By bending them nearer towards the mouth of the pipe, they lower the pitch ;
and by bending them outwards, they, on the contrary, raise it. In modern Speci-
mens, both in England and Germany, the pipes are made sufficiently long to
receive cylindrical wooden stoppers covered with leather.
771. Stoffffed wood fiftes are closed with a stopper, that is, forced into the
upper end of the pipe ; and in this respect differs from the cap of the stopped
metal pipe, which encloses the top of the body. Its influence, however, is the
Same, namely, that of sharpening the pitch of the pipe the further it is pressed
down, and of flattening it the more it is drawn upwards.
772. Aleed £iffes are tuned by means of the tuning-wire, on raising which the
vibrating portion of the tongue is lengthened, causing it to give a deeper tone ;
and on depressing which the vibrating portion of the tongue is shortened, and
the pitch consequently raised.
The pitch of the organ 773. The pitch of the organ is affected to a considerable
.*.*.*.* extent by the altered temperature of the atmosphere at different
cold in different sea-
sons. The extent of Seasons of the year. This fact was satisfactorily elucidated by
this alteration. the late Dr. Smith, Master of Trinity College, Cambridge, who
has given the result of his experiments in his work on Harmonics, page 192,
2nd edition —“I found,” he says, “that the particles of air in the cylindrical pipe,
called d", in the middle of the open diapason, made 262 complete vibrations, or
returns to the places they went from, in one second of time. This experiment was
made in the month of September, at the time when the thermometer stood at
temperate, or thereabouts. But, upon a cold day in November, I found, by a like
experiment, that the same pipe gave but 254 complete vibrations in one second ;
So that the pitch of its sound was lower than in September by something more
than # of a mean tone.”
774. “And, upon a pretty hot day in August, I collected, from another
experiment, that the same pipe gave 268 complete vibrations in a second of
time ; which shows that its pitch was higher than in November by almost half
a mean tone.”
775. “By Some observations made upon the contraction and expansion of
air, from its greatest degree of cold in our climate to its greatest degree of heat,
compared with Sir Isaac Newton's theory of the velocity of sounds, I find also
that the air in an organ pipe may vary the number of its vibrations made in
a given time in the ratio of I5 to 16, which answers to the major hemitone, or
about 3% of the mean tone, and agrees very well with the foregoing experiments.”
776. The influence of a change or rise in the temperature on the pitch of an
organ is sometimes rather strikingly illustrated during the evening meeting of
large congregations, and also in concert-rooms; and it is not unfrequently also
attended with some temporary inconvenience. On account of the church or
room being filled with people, the temperature soon rises, the atmosphere in
and around the pipes of those parts of the organ that are exposed to it undergoing
a similar change. The metal pipes themselves also become warm from the
heated air coming in contact with them, some metals and compounds, however
186 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
being sooner influenced than others. When the parts of the organ in question
are played, supplied as they then are by a warm air, and with their pipes also
warm, they are found to Sound much sharper than before. The Swell pipes,
however, supposing the shutters of the box to have been kept closed, are Sur-
rounded by an atmosphere of the original temperature, the heat not having been
able to penetrate through the box, they, therefore, remain cool, and the warm
air from the bellows as it passes into them becomes chilled, and is reduced to its
original density; the consequence being that the Swell, at its unaltered pitch,
Sounds, perhaps, a quarter of a tone flatter than the Great organ. This non-
accordance of pitch is often very detrimental in its effect; but it can generally
be obviated by fixing the Swell open, whenever the organ is not being used
during the evening, so as to allow the warm air to reach its pipes, and raise
their pitch with the rest of the organ. Care should afterwards be taken to
leave the Swell open all night, that its pipes may cool with the other parts of
the organ, or it may be too sharp when next used. The writer has known
a concert-room organ to rise as much as a semitone in pitch in the course
of an evening's performance, when the temperature has very much increased.
777. When an organ has been thrown much out of tune by a great change of
temperature, it will be found that the flue stops are not so much at variance
among themselves, nor the reeds, as that one class of stops has bodily Separated
from the other. This change is commonly attributed to the reeds, which are
said to have “gone flat”—reed pipes being rather proverbial for their instability
of pitch ;-but in this instance the alteration appears to rest rather with the
flue stops.
778. A simple and ready illustration of the influence of heat in raising the
pitch of a flue pipe may be obtained in the following way :—Take out the top
pipe of the Dulciana, if it be in tune, and hold its body in the hands until it
becomes perfectly warm, and then return it into its place, and Sound it with the
stopped Diapason. It will then be found to sound very sharp. This is because
the warm pipe raises the temperature of the air as it passes through it. If the
two pipes are allowed to continue to sound together, a rapid beat will at first be
heard ; but, as the current of air gradually cools the pipes, the beats will become
slower, until they at last entirely disappear, as the pipe, on attaining its first
temperature, returns to its original pitch.
779. As to the cause of the change of pitch, from alteration of temperature,
some have been inclined to attribute it partly to the expansion of the metal in
warm weather and its contraction in cold, and partly to the lighter density of the
atmosphere in summer than in winter. Dr. Brewer, in his little work on Sound
and its Phenomena, page 255, says: “The reason is, an increase of temperature
increases the elasticity of the pipes, in consequence of which they vibrate some-
what more quickly, and render a higher note.” This refers to flue pipes. With
regard to the tongues of reed pipes, which are of brass, as the heat expands
them, it would be supposed that they would vibrate slower, and produce a lower
sound ; but, if their elasticity also is increased, the one influence may to Some
extent balance the effect of the other.
780. As being connected in some degree with this subject, reference may be
made to the cause of the draught that is so generally felt to issue from the region
of the keys of the organ. The warmer atmosphere, as it comes in contact with
the numerous metal pipes, becomes chilled; and, its density being increased, it
descends. In this manner a constant eddy is produced, resulting in the
disagreeable effect referred to, and which has been attributed to almost every
cause but the right one.
THE PITCH TO WHICH AN ORGAN SHOULD BE TUNED. 187
CHAPTER XXVIII.
THE PITCH TO WHICH AN ORGAN SHOULD BE TUNED.
The question a most in- 781. THE question as to the pitch to which an organ should
teresting one. be tuned introduces to consideration several very interesting
particulars. A concert-room organ would probably be tuned up to the prevailing
concert pitch, in order that it may accord with the orchestral instruments. With
regard to church organs, however, this same question cannot be so easily disposed
of Several circumstances first demand attention, particularly when the Organ is
for a church where choral service is celebrated.
The presumed lower 782. Much has been written at various times to show that
pitch of two centuries ſº * & e tº As
since the musical pitch has been gradually rising for the last two
centuries; and the opinion has even been expressed that in
Tallis's time it was some two tones lower than it is now.
The difficulties insepar- 783. The difficulty, or rather impossibility, has been to
**** reconcile this theory with the notation of the venerable pieces
of church harmony of the sixteenth and early part of the Seventeenth centuries.
All who have been accustomed to assist in the choral performances of the services
and anthems of the early English church composers must have observed that the
parts, generally speaking, lie so low for the voices that they can be sung only with
Some difficulty, even at the present supposed elevation of a major third above the
original pitch; and this circumstance has naturally led to much speculation as to
whether they ever could have been sung at a pitch much, if at all, below that in
present use. º
784. Several different theories have been propounded, with the hope of settling
this by no means unimportant question.
785. Some have supposed that the range of the human voice must have been
lower at that period than it is now ; others, that the composers could not have
studied the compass and convenience of the voices for which they wrote ; while
others maintain that the compositions in question were not contemplated by their
authors to be sung to any definite pitch, but were intended to be transposed, to
Suit the voices, as occasion might require. All these explanations, however, are
accompanied by some circumstance that proves fatal to its unqualified reception.
Let us examine them in the order they are given above.
The compass of the 786. It must be needless to insist on the extreme impro-
human voice supposed * † tº tº sº e
bability of the supposition that nature has found it necessary to
to have changed. g º
revise that which has always been ranked among her most
perfect works—namely, the vocal organ of the human species—particularly as
there exists no real difficulty to render the retention of So unseemly an hypothesis
necessary. But were it otherwise, the questionableness of such a theory is soon
rendered evident by making an analysis of the music of the period already alluded
I88 THE SOUND-PRODUCING PORTIONS OF THE ORGAN.
to. In the Services of Tye, Tallis, Byrd, Gibbons, Bevin, Farrant, Hilton, and
others, the moſation of the treble part in no case ascends higher than d”, the fourth
line in the treble; while in a few instances it descends as low as tenora, the second
line below. The bass constantly ranges down to FF, and sometimes even to EE ;
and the inner parts lie proportionably low. The anthems of the same composers
slightly exceed the above upward range in the treble part; but that only rarely.
Now, if the Žitch, at the time alluded to, were some two tones lower than at pre-
sent, the above writers must have considered the sound corresponding with the
modern bl flat, or bl natural, the third line in the treble, as marking the full
average upward range of treble voices, and an occasional tenor f, the fourth line in
the bass, as not too low for them ; and further, they must have viewed DD flat,
and even CC, the second line below the bass, as sounds quite within the range of
ordinary bass voices;–ideas certainly most opposed to our knowledge and
experience of the compass and capabilities of the several voices in existence in the
present day. But inasmuch as the theory of the former existence of a complete
series of different, that is, deeper voices, rests solely on the presumed lower pitch
of the seventeenth century—and this latter point is not yet proved—its further
consideration may, for the present, be withheld.
The old composers Sup- 787. With regard to the second suggestion—“ that the com-
*.*.*... posers could not have studied the compass and convenience of
sulted the convenience t * w
of the voices they wrote the voices for which they wrote *-the answer to this must
for, depend entirely on the decision arrived at in reference to the
former question, and, therefore, may also stand over for a time.
The early English com- 788. The third supposition is “ that the compositions in
posers supposed to have * e &
j...'... question were not contemplated by their authors to be sung to
to any definite pitch any definite pitch.” This, however, does not meet the difficulty.
Unless the old English treble voices were as deep as the modern
counter-tenors, and all the other voices proportionably low, Tallis, Gibbons, and
the other church composers of the period, must invariably and intentionally have
written their music in a pitch in which it could never have been sung, and have
thus rendered recourse to transposition not simply a matter of occasional eaffed!-
ency, but one of constant necessity. Nay, more, as the services, &c., were from the
first intended to be accompanied by the organ (the composers themselves, in many
cases, taking their seat at the instrument), and as the organs of that day were tuned
according to the unequal temperament;-as, moreover, the music was generally
written in the scales Zºrovided by that temperament, but out of which, according
to the above theory, they must uniformly have been transposed ;-it follows, if the
above hypothesis be correct, that the learned composers referred to must have
avoided the good keys in performance, and used the bad. Now, it is not possible
that proceedings So needlessly complex and objectionable as those just detailed
could have been recognised, still less have received freference, at the hands of those
who were, in all other respects relating to their art, such methodical and deep-
thinking men. - **
Everything questioned 789. In the attempted Solutions hitherto advanced, the
tºº. º º judgment of the great English composers of the time referred
pitch, to, and even the original perfectness of some of Nature's own
work, the compass of the human voice, have been questioned,
while one thing, the mutability of which is So well known, namely, the £itch, has
been treated as though it was indisputably a very low one in the sixteenth century
THE PITCH TO WHICH AN ORGAN SHOULD BE TUNED. I 89
Strong grounds for be 790. Now, although the opinion is directly at variance with
.." º º all the hitherto received notions on the subject, there are the
ecclesiastical pitch. strongest reasons for believing that the ecclesiastical pitch of
the sixteenth and early part of the seventeenth centuries, so
far from being some two tones lower than now in use, was a whole tone higher
than the fºresent concert Žitch.
Thesixteenthandseven- 791. During several visits to the organs of Germany, the writer
º ... was frequently struck with the extreme sharpness of the pitch
sharp. of the old organs. Of the three great instruments at Ham-
burg, two—namely, those in St. Catharine's Church, which
is the oldest, and that in the Church of St. Jacobi, built in the seventeenth century
(see Foreign Organs in Appendix)—proved to be a whole ſome above the writer's
tuning-fork, marked “Philharmonic” pitch. The transept organ in St. Mary’s
Church, at Lübeck, another old instrument, on being tested, was also found to be
a whole tone above the same pitch; while that in one of the other churches in the
Same old town was a full semitone above the same pitch. On the inquiry being
made of the organists of the three fore-mentioned churches how they accounted for
this circumstance, they explained that their organs were tuned to the church
pitch ; and it subsequently transpired that in Germany three distinct standards
of pitch had at different periods been used to which to tune organs; namely,
Orchestra pitch, which was the lowest; chamber pitch, a semitone above the
former ; and church pitch, which was the highest. On extending these inquiries
to an organ-builder of that country, that person stated that he had almost invari-
ably found the old organs, which he had been called upon to tune, repair, or
replace by new ones, a semitone or a whole tone sharper than the present concert
pitch. Not the least interesting proof of the former existence of a high church
pitch is to be found in the fact that Sebastian Bach, in his church Cantatas, in
most cases, wrote the organ part a mote lower than the other £arás, -which
circumstance is alluded to by Mr. Macfarren, in his analysis of the contents of the
first volume of Cantatas, published by the Leipzig Bach Society, printed in the
Musical World for 1853.
A high ecclesiastical 792. The above facts, in conjunction with others, tended to
pitch believed to have confi opinion the writer had long previously entertained
existed formerly in Eng. Confirm an 9PM writer n g previously entertained,
land as well as in Ger. namely, that in England, as in Germany, there must have
many. existed at the period of the Reformation, and from that time to
that of the Rebellion, a church pitch quite separate from the orchestral or instru-
mental pitch ; and not only so, but even higher than the modern concert pitch.
Every circumstance directly supports this hypothesis, which at the same time
removes and reconciles all the difficulties and improbabilities which have encum-
bered every other view of the same subject.
The very low notation 793. To begin with a reference to the English church music.
of ancient church music If W. d th tati f th ld S i f high h
favourable to this view. " Wº º € 1.) Otatl On O C O ervices a tone higher, the
average compass of the treble parts will then be made to the
extent from middle b or c” up to e” or f*; and the bass parts, as a rule, not lower
than gamut G or FF ; precisely the ranges which are known to be the best for
the corresponding voices in church music. By this very simple means the neces-
sity is obviated for supposing that the range of the human voice has undergone any
modification ; it removes all occasion for suggesting that the whole race of church
composers of the sixteenth and early part of the Seventeenth centuries understood
IOO THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
or studied the convenience of the voices so little as invariably to have written too
low for them ; and it renders it quite superfluous to suppose that that industrious
class of writers made a practice of setting their services and anthems in wrong
Áeys, leaving singers and organists to transpose them into the correct ones. William
Turner, writing in 1724, says: “When Guido Aretinus reduced the Greek scale into
the form now used, there was no sound practised above E /a, which gave birth to
the common proverb, viz., He strains a note above E la.” Without going back so
far as this quotation would take us, if the pitch in Tallis's time had been some two
tones lower than at present, it is difficult to comprehend a cause for treble voices
having to Strain at cº; but, if it were a tone higher, it is easy to understand that
then, as now, the sound of f* sharp could only be produced by some exertion.
794. Soon after the above observations were first written, two interesting facts
came to the writer's knowledge, which strongly supported the opinion as to a former
high church pitch. In the library at Exeter Cathedral is preserved a MS. copy,
written about the beginning of the last century, of Tallis's Service in D, transposed
into E ; and in Dr. Rimbault's library is a copy of Gibbons' Service in F, transposed
into G ; in both cases the zeotation, no doubt, being raised to compensate for the
lowering of the Žitch, in order that the originally intended sounds might be pre-
served. -
795. In 1644 church organs were ordered to be demolished by Act of Parliament;
and so implicitly was the nonsensical decree obeyed that very few organs escaped
the general destruction ; and even the two or three that were spared have subse-
quently undergone so much alteration in the course of improvement that they
could afford little or no assistance in Solving the question which has just been
considered. * * -
796. A few incidental references as to the pitch of old organs have, however,
from time to time come to light, which clearly proves the existence of a high church
pitch in the seventeenth century. The elder Harris built an organ for Magdalen
College, Oxford, in the early part of the seventeenth century, which was repaired
by his grandson in the years 1690-91. Among other necessary improvements he
undertook to “alter the pitch of the said organs half a noſe lower than they now
are.” Among the memoranda of Dr. Woodward, Warden of New College, Oxford,
under the date “March Ioth, 1661,” occurs the following —“Some discourse was
then had with one Mr. Dalham, an organ-maker, concerning a new fair organ to
be made for our college chapel. The stops of the intended organ were shown unto
myself and the thirteen seniors, set down in a paper and named by the organist
of Christ Church, who would have had them half a mote lower than Christ
Church organ, but Mr. Dalham supposed that a quarter of a note would be
Sufficient.” -
Father Smith's pitch 797. The organs built by Smith and Harris after the Re-
flatter than the ecclesi- & g e & t
asſical pitch of p. Storation were not tuned to so high a pitch as the choir pitch
ing times. of the time of Tallis and Gibbons, and Smith's pitch was
higher than Harris's. Smith's pitch was, however, higher
than Some have supposed, as may be gathered from the following passage,
extracted from The English Musical Gazette for January, 1819 –“It is a remark-
able circumstance that all Schmidt's organs were a quarter, and some even half,
a tone above pitch ; this was so severely felt by the wind instruments, at the
performances of the Sons of the Clergy, that they could not get near the pitch
of the organ. In consequence of this, it was agreed upon that the organ should
be altered to concert pitch, by transposing the pipes, so that the present DDD
was formerly CCC, and so on through the organ.” To this it may be added,
THE PITCH TO WHICH AN ORGAN SHOULD BE TUNED. 191
that the pipes to the CCC key are new ones, the two open Diapason pipes,
of wood, standing in the angles of the case to the left of the manuals. The
pitch of the Temple organ was also originally rather sharp. Harris's organs
were lower in pitch than Smith's. The lower pitch of Harris's organ was one
of the specified causes of its rejection at the Temple. The matter is thus referred
to in an extract printed in Mr. Macrory's excellent little book, A Few Woſſes on the
Temple Organ —“The organ made by the said Harris is discoverably too low
and too weak for the said church.” The portion of this organ that was afterwards
erected at Wolverhampton remained at the low pitch until about twenty years
since, when it was raised by the late Mr. Bishop. Smith's pitch was almost the
mathematically correct one, if not absolutely so. Harris's lower pitch he no
doubt brought with him from France, where the organ in the King's Chapel and
all the famous organs in Paris and in the country were tuned a semitone lower
than the King's chamber pitch. As the pitch of the C in the time of the eminent
violin maker, Stradivarius, was that of 512 variations in a second of time, and
very probably agreed with the chamber pitch, the greater gravity of Harris's
pitch can be traced to its source and cause, and its disagreement with Smith's
accounted for. -
The flattened pitch ac, 798. On referring to the sacred compositions by the con-
º * * * temporaries of Smith and Harris, we perceive this coincidence
in support of the opinion that the pitch of that period was
flatter than the earlier choir pitch ; namely, that certain notes, such as e” and f*,
which scarcely ever appeared in the treble part of the earlier church music, were
now of quite common occurrence.
The pitch lower again, 799. Soon after the commencement of the eighteenth cen-
* * *.* tury the pitch had again fallen. Possibly Harris's flatter pitch
of the eighteenth cen- w
tury, in England. was preferred, and accepted as the standard. It is known that
the organ in the chapel of Trinity College, Cambridge, com-
menced by Father Smith, and “cut down" and finished by his son-in-law, Schrider,
in 1708, was originally adjusted to the pitch which has been shown mathematically
to have been a minor tone below the present pitch. The writer of the Reformation
of Cathedral Music, page 25, says: “Dr. Smith (Harmonics, 1749) gives 393 as the
number of vibrations of A in a second. Fisher, in 1823, gives 430. Woolhouse
ascertained the Philharmonic pitch, in 1835, to have 424. The same note referred
to the scale of vibrations C = 512, and derived as a prime harmonic from the sub-
dominant F, will have 426-6. Now the ratio of any of these to 393 is almost
exactly as IO : 9, which is the ratio of a minor tone, showing the rise of pitch
within a single century.”
A similar alteration of 800. What is very remarkable is, the pitch had, soon after
: º *: the commencement of the last century, fallen as much in France
Germany. and Germany as in England. Of the three fine organs at
Strasburg, built by Silbermann, those in the cathedral, finished in
1716, and that in the Protestant church, proved, on trial in 1853, to be a whole ſome
below the pitch of the same fork by which the Hamburg organs were tested the
preceding year, and found to be a whole tone sharf. The third organ, in St.
Thomas's Church, is nearly as flat. The organ in the Church of St. Maria di
Capitol, at Cologne, built in 1767 by Konig, was also originally flat, and, like the
Trinity organ, has since been sharpened. -
I92 THE SOUND-PRODUCING PORTIONS OF THE ORGAN,
º: º in the 8OI. In this case, again, the greater depression of the pitch
panied by ". i. IS manifested by the increased upward range of the modation,
ascent in the notation, as is clearly demonstrated by the music of Handel and other
composers of the last century, even without the authority of
Handel's tuning-fork, the existence of which further authenticates the supposition.
William Turner likewise speaks of the treble voices in his time going some three
or four degrees higher than Guido's gamut, which, however, would then have
consisted of the same range of sounds as in Tallis's time, or within a semitone
of it.}
802. It is evident, then, (1) that the organ pitch has within three centuries
varied to the extent of two whole tones; (2) that there have at different times
existed three distinct pitches, the highest being the oldest; that in use soon after
the commencement of the last century being the lowest; and (3) that the present
pitch is about midway between the extreme high and low pitches of former times,
and is as nearly as possible identical with Father Smith's.
Tº which ºf the three 803. The question now is, to which of these three different
church pitches formerly ...; º º º
. . . . . pitches a church organ had better be tuned, seeing that music
organ be tuned ? has been written to all of them, yet but one can be adopted P
As the medium pitch is at the same time also the true mathe-
matical one, there can be no doubt but that, theoretically speaking, it would be
better that all organs be adjusted to a fork that gives that true mathematical pitch,
Such as that published by Mr. Hullah, and issued by Messrs. Longman and Co.,
Paternoster Row ; but complaints are so frequently made by members of con-
gregations, on the one hand, and by singers who have to perform the solo and
verse music of the last century, on the other, of the inconvenience of singing to the
present high pitch, that it is worthy consideration whether it would not be as well
to have organs tuned exactly a semitone flat, for the general convenience of the
voices, and then for such music to be transposed as may be required, and into such
keys as would best suit the particular congregations or choirs. At any rate, it is
clear that, to be adequate to the purposes of transposition, all organs should be
tuned on the equal temperament system. In that case, music could be transposed
by easy semitonal gradations, either upwards or downwards, or by whole tones,
without involving crude results, which could not be accomplished on an organ
tuned in any other way. Recently the question as to the desirability of a recog-
nised lower Diapason has been under the consideration of the Royal Society of
Arts, and has also met with two able advocates in Mr. John Hullah and Mr.
G. A. Macfarren.
* It is, perhaps, worth mentioning, that several pieces by Handel have lately been trans-
posed into lower keys, and printed, with the view of restoring their original pitch.
Tiutgton Cºff,
CHAPTER XXIX.
ON THE CORRECT USE OF THE STOPS.
804. HAVING, in a preceding chapter, given an account of the several organ
stops Commonly found in English organs, a few words may now be added as
to their object and use, as well as their effect when sounded singly or in
combination.
805. On a correct knowledge of the nature, quality, and pitch—whether
indicated by name or by figures—of the different organ stops depends the good
or bad effect of even the best organs. Without a clear perception of what is right
in these matters, it is impossible that a performer can be sure how, under what
circumstances, and for what ends, this or that combination of stops may be the
most seasonably employed. However Scientifically the organ-builder may have
fixed and deduced his scales, voiced his pipes, and truly balanced their tone ;
however strictly every rule necessary to the production of a “good organ ” may
have been observed in constructing the instrument ; all these important pre-
liminaries, necessary towards a becoming and decent accompaniment to the music
of the church, will be of little avail if the mind that is to direct their use is but
imperfectly stored with the knowledge necessary to secure their proper application.
Nor can this knowledge be obtained from books beyond a certain extent ; for a
combination of stops that will answer a particular purpose in one organ often will
not do so, at any rate to the same extent, in another, on account of the different
size or proportions of the building in which the organ stands; the varied strength
of tone of the similar stops of different instruments; the situation of the organ in
the church ; or even the locality of the stops in the organ itself—for the exigencies
arising from which circumstances, or a combination of them, no book could pro-
vide. It is, therefore, incumbent on every organist rather to endeavour to ascertain
for himself the peculiar excellencies, and, perhaps, defects, of the individual instru-
ment at which he is chosen to preside, and so discover the method of applying the
former to special purposes with the best effect, and of hiding the latter as far as
may be.
806. There are certain general and fundamental rules, however, concerning the
appropriate method of combining the stops which may be pointed out. Besides
the combinations about to be specified, others of a less common kind will be found
to follow the suggestions for the introduction of certain stops in the specifications
given in a subsequent chapter ; beyond which, as has been already said, all must
be left to the organist's good judgment and the capacity of his instrument.
º: the use 807. The first step essential towards a correct knowledge
of the stops. of the right use of the stops is an acquaintance with the
general method of combining the members of the three great classes of
A. A.
I94 ON THE CORRECT USE OF THE STOPS,
“Foundation, Mutation, and Compound” stops, so as to Secure, in all cases, the
predominance of the foundation tone. -
808. The Foundation stops, as explained in a preceding chapter, produce a
sound agreeing in name with the key pressed down ; and are of 16, 8, 4, and 2 feet
on the Manual, and of double size on the Pedal.
809. The larger Foundation stops will, for certain purposes, produce an appro-
priate effect alone; as, for instance, the 8 and 4 feet flue stops, or the I6, 8, and 4;
or, in Some cases, the I6, 8, 4, and 2 feet.
810. The Mutation stops—i.e., the Fifth, Tenth, Twelfth, Tierce, Larigot,
&c.—are not intended to be used alone, the class to which they belong being
designed expressly for the filling up of Some of the intervals between the
Foundation stops, and for so doing away with the leanness of bare octave-
work. They depend on the first class of stops for their good effect, and must
not, therefore, be employed without them. In using the Mutation stops care
should be taken that the Foundation rank, the next s/zza//est in size, is also
drawn with it to cover it; otherwise its sound will appear too remarkable,
and perhaps even offensive. Thus the Twelfth should always have the Fifteenth
drawn with it ; and the Tierce or Larigot, the octave Fifteenth, at any rate in the
bass.
81 I. The Fifth and Tenth, being Double Mutation stops, forming the Twelfth
and Tierce to the Double Open Diapason, constitute no part of the Unison har-
monic series; for which reason they should never be drawn without their funda-
mental stop of 16 feet. An exception to this rule is sometimes made abroad, with
good effect, on the Pedal, concerning which more further on.
812. The Compound stops can only be successfully used when blended with
some Foundation and Mutation stops.
813. The Foundation stops give distinctness, the Mutation stops fulness, and
the Compound stops brightness and point to the general organ tone.
The character of tone 814. The Unison stops are, of course, the most important
*.*.*...* in an organ, as they are also generally the most numerous. In
stops ; and the purposes º 5 e
to which they may be drawing any of these separately, or blending them together,
applied. attention should be directed to their various qualities of
tone. Some stops possess a character that renders them more applicable to
one kind of music than to another ; and, again, Some mix better than others
together.
815. Open Diaſ.ason. The tone of this stop is full, Sonorous, and solemn. It is
the one best adapted for the performance of slow music in dispersed harmony,
particularly when there are many suspensions occurring in the progress of the piece.
The Stopped Diapason is advantageously added to the Open Diapason, when used
as above, to give body to the "pure Sounds of the open pipes; and the Dulciana,
if there be one on the same clavier, is also drawn, as adding slightly to the
general effect. All reedy-toned flue stops, as the Gamba, &c., are foreign to the
purpose, as interfering with the Smooth and velvety tone of the best English
Diapasons.
816. The Stoffed Dia/ason is fluty in its character of tone, and free from all
reediness or roughness. Generally speaking, it tells better, when used singly,
for solo purposes than for full harmony, its tone not usually being sufficiently
Sonorous for the latter purpose. In short passages of tranquil character it can
be used with charming effect. As a combination stop, it is one of the most
useful in an organ. It is the best one to use with the Clarionet, with the tone
of which it blends admirably, or with the Swell Hautboy, when the latter is to
ON THIE CORRECT USE OF THE STOPS. I95
be employed as a Solo stop. In certain cases it forms an excellent accom-
paniment to a single voice, being very prompt in its speech, as well as light and
travelling in its tone. The Lieblich Gedact, as a Choir organ stop, forms an
excellent accompaniment to the Swell Hautboy.
817. The Dulciana is usually a stop of great delicacy, smoothness, and gentle-
ness of tone. Its sound is lighter than that of the Stopped Diapason, but clearer
and of a more singing character. It is the most used singly as an accompani-
mental stop to Some of the Solo stops on the other Manuals, as the Stopped
Diapason in the Great organ or the Hautboy in the Swell, its own situation
being usually on the Choir Manual. The Dulciana may, however, be effectively
employed as a solo stop in the treble part in cantabile passages, with the
Diapasons in the Swell (closed) by way of accompaniment, and also much in
the same way as the Open Diapasons; i.e., in full harmony, to which stop it
may be considered as a diminutive or echo.
818. The Gamba, from the resemblance of its tone to that of stringed instru-
ments, is peculiarly well adapted for four-part playing, particularly for music
that has many chromatic progressions in the harmony. When of weak intonation,
it tells best by itself; but, when of strong tone, it sounds better when blended
with the Stopped Diapason, Clarabella, or German Hohl-flöte. For accompani-
mental purposes it requires to be used with Some caution. A Gamba of strong
intonation, used alternately with Stopped Diapason and Stopped Flute (one
of them of metal) on another Manual produces a most charming effect. The
pungent tone of the former, followed by the liquid tones of the latter com-
bination, presents a most exquisite contrast. What has been said of the Gamba
applies mostly also to the Keraulophon and other reedy-toned unison flue
Stops. -
819. The Clarabella, from its powerful fluty quality, forms an excellent
unison solo stop by itself at times when a strong and decided flute tone is
required. As a combination stop, for use with the Clarionet or Hautboy, it
sometimes imparts too much body to render the imitation close.
820. The Trum/jef in the Great organ is seldom used as a solo stop. When
it is so, it should always be accompanied by the Diapasons. When thus blended
it sounds well, if played in harmony; in major keys its effect being grand and
dignified, and, in minor, solemn and impressive. Diatonic progressions of
harmony are better suited to the tone-character of this stop than chromatic.
The Swell Trumpet is much used for choral accompaniment, as well as for solo
playing ; and the same may be said of all the other full scale unison reed stops
of that department. When employed for the former purpose, it has the Diapasons
drawn with it ; and often, also, the Principal and Smaller stops, according to
circumstances. As a rule, all reed stops should have Some unison flue stop
or stops combined with them, to add body to the penetrative and powerful
character of that produced by the reeds.
821. Clariomeſ. The best flue stop to draw with the Clarionet is the Stopped
Diapason; as this not only mixes well with the former, but does not give more
body and thickness to the tone of the stop than it should have in its imitative
capacity, and it is not generally used in any other. This stop is often used,
among other purposes, for playing out the whole or a portion of the melody of
a psalm tune upon. For an accompaniment thereto the Swell Diapasons and
Hautboy answers well, with a couple of Soft stops (16 and 8 feet pitch) for a
Pedal bass.
822. The Pſautboy, as already intimated, when about to be used as a solo
stop, will tell best with the Stopped Diapason only added. The instrument itself
A. A 2
I96 ON THE CORRECT USE OF THE STOPS.
(Hautboy) is by nature but of thin tone; hence, to preserve the resemblance
between the tone of the original and the prototype, a flue stop of light but firm
tone is the most appropriate to be employed. When used for the purpose of
accompaniment to voices, the Hautboy stop tells best combined with both the
Diapasons, and perhaps, also, though not always, with the Principal, which
latter stop will sometimes blend and sometimes not, according to the exact
character of the reed stop.
823. In blending together some of the smaller Foundation stops with the
unison, for the purpose of accompaniment, they are generally taken in their
regular octave progression. Thus, after the 8-feet stops are drawn, Some of
those of 4 feet are next brought on ; and then, if necessary, those of 2 feet; but
not those of 2 feet first, and then others of 4 feet. The Flute or Principal, or
both, according to the strength of the unison tone, therefore follow the unison
stops; and then the Piccolo or the Fifteenth, if necessary ; and not vice versé.
For particular effects, unusual combinations are made ; as for instance, I6 and
4 feet stops without any of 8 ; or 8 and 2 feet stops, omitting those of 4 feet.
Such combinations produce the best effect when compounded of members of
the covered or light-toned Flute-work. The tone of stops of the Open Diapason
species is generally too strong and Sonorous for Such purposes.
On the combination of 824. By means of an appropriate combination of the stops
. *.*.*.*, which all well-arranged or complete organs contain, any
uction of any required wº
strength of tone. strength of organ tone may be obtained, from the Softest to
the loudest. The kinds of stop arrangement that will produce
these several desirable and necessary gradations of sound may be distinguished
by a particular letter or letters, thus: PP, P, M P, M F, F, and FF ; under which
heads may be conveniently given such combinations as will produce the strength
of tone that the musical meaning of those letters are understood to indicate.
825. P. P. For the production of a pianissimo, a single soft-toned 8-feet
flue stop” on the Manual will be sufficient, as a Stopped Diapason, Dulciana,
or Gamba, &c. On the Pedal, its own bass (16 feet) may be drawn, or, if that is
not present, some other stop of an equally subdued tone. It is generally of
advantage to add a “helper” (that is, a stop giving the octave above) to the
Pedal; this can either be a soft Pedal stop of 8 feet, or the Manual stop coupled
to the original Pedal stop.
826. P, for piano, all the Smooth-toned Manual 8-feet flue stops. On the
Pedal, the corresponding 16-feet stops should be drawn. The addition of an
8-feet open stop will in many cases improve the effect of the Pedal; but, if a
stop of this kind should not exist in that department, one of a similar nature
can be borrowed from the second Manual ; or the first Manual may be coupled
to the Pedal. -
827. M. P, a mezzo piano, is gained by adding the 4-feet flue stops of the
Manual (Principal, Flute, &c.) to those already named, and those of 8 feet to
the Pedal. *
828. For the production of a medium strength of tone between the two last-
given gradations, combine all the soft 8 and 4 feet Manual stops, as the stopped
Diapason, Dulciana, and Flute. These together possess more brightness, but less
fulness, than the former, and less roundness than the latter.
* The size of stop here spoken of may or may not be its standard size. When, in organ
music, “8-feet flue stops” are directed to be used, the expression is understood to mean the
combination of all stops, except the reeds, that give the 8-feet sound. This interpretation is
always accepted when speaking of the use of the stops,
ON THE CORRECT USE OF THE STOPS. I97
829. M. F. A meggo forfe is produced by adding the 23-feet and 2-feet stops
(Twelfth, Fifteenth, &c.) on the Manual to those of 8 and 4 feet and those of 5;
and 4 feet to the Pedal. -
830. F. For a forfe, the collected Compound stops may be brought into play,
When a medium between the two last-mentioned gradations is required, only one
Compound stop need be drawn.
831. FF. A full climax is secured by adding the reed stops (Trumpet, Clarion,
&c.) to the foregoing. -
832. A medium may here again be obtained by adding the 8-feet reed stop only
to the flue stops previously drawn out.
833. The Manual 16-feet flue stops (doubles) have not been Specified in any
of the above gradations, because it is not so much the nature of Such stops to
add power as weight, gravity, and solemnity to the tone of the other stops. Their
use with or rejection from any particular combination, therefore, does not so
properly come under consideration when the question of strength of tone is
being discussed as when that of character of tone is being treated of Almost
any combination, whether loud or soft, may receive the accession of a 16-feet
stop with advantage under particular circumstances. Thus, Some soft or
moderately strong combinations that would, perhaps, give a tone approaching
towards joyfulness become imbued with a more serious character when a stop
of 16-feet pitch is added thereto, and is therefore rendered a more fit accom-
paniment to music of a sad character. A strong combination which possesses
the brilliance and point of the Mixture work, and perhaps also the impressiveness
of the reed stops, acquires weight and magnificence from 16-feet Manual stops,
particularly if they are accompanied by double Mutation stops and a I6-feet
reed Stop.
834. Moreover, the organ should be used in a somewhat different manner
when any 16-feet Manual stops are drawn ; otherwise the excellent effects which
that class of stops are especially calculated to produce will be to Some extent
obscured. The omission of all “doubles,” as a rule, from the Manuals of
English organs until of late years rendered it compulsory on Organists to invent
a sort of substitute for them in effect, for it was found that the organ tone lacked
the requisite gravity and dignity, however numerous the unison stops might be.
Performers on that instrument, therefore, had to lay aside the purer and more
Strict style of playing as being “ineffective,” and to fall back upon the system
of keeping some eight or nine notes down at a time to draw from their instru-
ments anything approaching a broad and massive character of tone. Latterly,
the Serious omission above adverted to has been supplied by addition to old
Organs and by incorporation with new ones; and the care already hinted at, as
being required in playing on an instrument possessing so valuable an acquisition,
consists in not adopting so full a style of playing when the 16-feet stops are
drawn as when they are not. The former is viewed as rather a complicated
substitute for the latter ; and if both are had recourse to simultaneously, the
one is most likely to destroy the effect of the other. A very charming contrast
may, however, frequently be produced by accompanying a chant or chorale,
sometimes in four parts with the doubles drawn, sometimes in about six without
them.
835. It may be mentioned here that many object to the doubles being used in
accompanying vocal compositions in the fugal style, particularly at those points
where the subject is led off by one of the higher parts. There is much reason in
this objection, although it only applies to the precise times specified. The doubles
may between whiles be introduced with even greater effect when the voices are
198 ON THE CORRECT USE OF THE STOPS.
moving in harmonic masses. For the best illustrations of the occasions when the
16-feet stops may or may not be used in choral accompaniment, the organ part to
Israel in Egypt, written by Mendelssohn for the Handel Society, may be consulted
with the greatest advantage. -
836. When the organ is being used as a solo instrument—i.e., in voluntaries.
—the above objection does not hold good. The doubles cannot then interfere
with or mislead any voices. Moreover, the tradition throughout Germany is
that Sebastian Bach generally played his fugues with the doubles drawn ; there-
fore those who would aspire to perform his works after his own manner can only
do so by frequently availing themselves of that dignified class of stops. As to the
“Octave below" being discernible at the starting of a fugue, there is no doubt that
any moderately educated musical ear can detect any interval or stop in an organ
that it cares to listen for, whether it be the Double Diapason, the Tierce, the
Twelfth, or what not ; but that affords no sufficient ground for the exclusion of any
of those stops. Besides, even supposing the doubles to have an undesirable effect
for some half dozen bars in the course of a musical composition, if it has a most
advantageous influence in the remaining hundred or so, which fact is beyond
question, the far greater evil would arise from their earclusion. The fact is, no
single rule would be a good guide in this matter. The “lead” in the first move-
ment of the “ St. Ann's Fugue” sounds bad with the doubles ; that of the last
movement as ill without them.
837. Neither has the influence of the Swell been included in the foregoing Scheme
for producing various degrees of strong or weak tone. The Swell is of inestimable
advantage for all classes of accompaniment, as it enables the performer to increase
the tone when the voices may be getting flat, and to decrease it when all is going
well. This power is independent of, and Supplementary to, that of imparting expres-
sion to the music, which latter attribute is of such peculiar value, as well as being
highly acceptable to those who have true appreciation and Sound musical feeling.
On the adaptation of 838. In applying the various combinations and resources
the organ tone to the
true purposes of choral already specified to the purposes of choral or congregational
accompaniment. accompaniment, there are many circumstances to be taken into
consideration, and which ought always to influence the selec-
tion. The first and greatest of these is, of course, the prevailing character of the
words about to be sung, whether they are jubilant or supplicatory, and with which
the accompaniment should always accord, So that it may produce a suitable impres-
sion. A musical composer, when scoring a secular work for an orchestra, employs
those instruments the quality and character of tone of which are the most applic-
able to the subject of the words and the Spirit of the music. An organ being the
more seemly substitute for an orchestra in a church, and containing, as it does,
imitations of most of the orchestral instruments, an organist should, by a skilful
combination of its different stops, adapt the tone of the instrument to the sense of
the words and the character of the music that are being sung, in order that the
result of his rightly directed efforts may be as appropriate and acceptable as
possible. When it is recollected how much pains is taken with the accompaniment
to heighten the effect of music, some of which is avowedly written chiefly for man’s
amusement and pastime, it is obvious that at least the same amount of care should
be exercised to secure an equally appropriate accompaniment to those vocal strains
which occur in the edifying Services of the church. An organist cannot be too
mindful of this, nor can he exercise too much forethought and discretion in making
this most important condition of the utility of his office legitimately perceptible.
It is in this particular, of all others, that he has the opportunity of showing his
ON THE CORRECT USE OF THE STOPS, I99
Superiority over the mechanical work of a self-acting instrument. A barrel organ
can be made to execute music with the utmost precision and finish ; it may even
be made to shift its own stops; but it cannot be endowed with the reason
necessary wherewith to direct the application of these combinations to their
Special purposes. A mind must be in active operation to do this worthily ; and
herein lies the secret of an organist's great advantage in performance over
an instrument from which the choral accompaniment is “ground” out. Nothing
can be less acceptable than to hear bright stops used, and an animated style
of playing adopted, when the words are prayerful or supplicatory; or, on the
other hand, to hear only heavy stops brought into requisition when the subject
is a jubilant one. Every large and well-designed organ necessarily contains
many stops that are appropriate and inappropriate for all occasions ; and it is,
therefore, capable of considerably heightening or of injuring the effect, according
to whether its powers be rightly directed or not ; and an organist who misses
their judicious application, whether from causes resting with himself or from
the influence of others, is open to the supposition of being disregardful of the
trust reposed in him, and may, therefore, hazard the respect due to his office
– Consequences against which every organist should guard himself by the
exercise of his best powers of discrimination. *
839. After ascertaining the prevailing character of the words, the next point
to be considered is the exact quantity, as well as description, of loud or soft
tone that the circumstances of time and place would seem to suggest as the
most appropriate to the occasion. As the number of the congregation will
vary on different occasions, so also will the strength of the united voices
of its members. The amount of organ tone, therefore, necessary for directing
and giving support to the voices of a full congregation will consequently be
too much when there is but a “thin attendance.” Particular care, therefore,
should be taken to modify the tone in some way, so that it may not be too
strong for a reduced number of voices, and yet strong enough to prevent the
congregation singing out of tune or time. The simplest way of lessening the
strength of the accompaniment, without destroying its spirit and character, is
to draw, on the second or third Manual, stops of the same size, and perhaps
name, that one would use on the first, if the concourse of persons were larger.
Any modification in this combination that the peculiarities of the particular Organ
might render necessary would, of course, be taken into account. With the
resources at his command which every parish church organ ought to possess,
and which many do, an organist ought to find no difficulty in accommodating its
tone to any exigency that may arise. -
840. At the same time that every organist should view his calling as a high
one, demanding the exercise of great intelligence as well as technical knowledge
in the fulfilment of its duties, it should also be borne in mind that the introduction
of organs into churches, and their judicious employment there, are but means to
the attainment of certain ends. What those ends and objects may be will be
best gathered from the following quotation from the introduction to Schneider's
School for the Organ, which well describes what is looked for from the church
organs and organists of Germany —“An organ consecrated to the Sanctuary and
to sacred music is intended to be subservient to the edification of a congregation
assembled together for divine worship ; to support and to accompany, in a proper
manner, the singing ; and to be instrumental in promoting a devotional frame of
mind and the edification of the soul, and its elevation above everything earthly, to
the contemplation of things invisible and divine—a noble object, which can only
be obtained by a style of performance suited to the holiness of the place and the
2OO ON THE CORRECT USE OF THE STOPS.
Sacredness of the subjects. The proper management of this sublime instrument
can induce a devotional spirit and an elevation of mind in the scientific hearer, as
well as in any individual of feeling. The sound of the organ is able to insinuate
itself by mild and tender tones, and then the mind is filled with the pious
tranquillity of filial devotion ; but it can also elevate itself to majesty and pomp,
and peal and roll like storm and thunder, and then it elevates our hearts with
Sublime emotions. Whilst most other instruments can only express individual
feelings, this kingly instrument can produce a variety of emotions. The organ
alone can best fill with its tones the lofty vaults of the vast cathedral, support
the singing of large congregations, and, by its power, operate upon the religious
feelings.”
T} tº igion C####,
THE CAUSE OF MANY FAULTS IN AN ORGAN,
WITH THEIR REMEDIES.
*mºsºmºsº
CHAPTER XXX.
84I. IT is important that an organist should be in a position to ascertain the
cause of the faults existing, or occasionally appearing, in his organ ; and also what
are the steps necessary to be taken to remedy them. Some derangements arise
from Such simple causes, and can be so easily set right, that an organist might
remove them himself, if quite certain of the seat of the disorder; and, by so doing,
Save the organ-tuner perhaps a long journey to rectify what may not occupy him
ten minutes when he is there. Schneider, in his Organ School (page 60, first
English edition), expresses himself on the above subject in the following words:—
“It is, generally speaking, necessary for the organ-player that he should make
himself as intimately acquainted as possible with the internal construction of the
Organ, with the nature of every single part, the combination of which constitutes
its whole ; as well of the particular parts of the mechanism which cause the pipes
to Sound, as also of the nature, peculiarities, and properties of the pipes themselves,
in the manifold variety of their make and the various kinds of sounds which are
constantly produced ; by which means alone a right and appropriate style of
managing the instrument, and one in all respects suitable to its nature, can be
attained. But as regards a regularly appointed organist, the knowledge is abso-
lutely indispensable ; for it is his first duty to take care of his instrument, to
preserve it, and carefully to look after it—a duty which can only be fulfilled when he
is able to discover immediately the cause of those derangements in the mechanism,
&c., which are unavoidable in that instrument, composed of so many diversified
parts ; and even to remedy the defects himself, in many cases, when an organ-
builder may not be immediately at hand. If the organist, thus acquainted with
the construction of the organ, fulfils that duty to the fullest extent, and, in those
cases for which he does not find himself competent, procures promptly the assist-
ance of Some qualified person, an organ may continue for a long time in a Sound
condition, and a more extensive repair be rendered unnecessary for a considerable
period. On the contrary, an ignorance of the construction of the organ, and negli-
gence in the care of the instrument, and also with respect to getting small defects
remedied, always leads to inevitable and more considerable damage ; and not only
do expensive repairs become requisite, but also an instrument thus neglected can
often only be restored in a very imperfect manner.”
THE UNIBIDDEN SOUNDING OF A PIPE FROM CAUSES IN THE
REGION OF THE PALLETS.
jº caused by 842. Among the numerous faults and derangements to
irt on the pallet, which all organs are at times liable, one of the most frequently
2O2 THE CAUSE OF MANY FAULTS IN AN ORGAN,
| -
recurring is that known as a “ciphering ;” in other words, the sounding of a pipe,
on the drawing of a stop, without any key being pressed down. A ciphering may
arise from various causes. Some grit or chips may have worked down from the
pipes, through the table and the channels of the sound-board, to the surface of the
pallet ; and, by resting on its edge, and holding it a little way open, thereby admit
sufficient wind into the groove to make the first stop sound that is afterwards
drawn. A derangement from this cause is frequently indicated by the controlling key
being a little below the level of the others. To remedy it, the front-board of the
wind-chest must be taken off, the pallet drawn open, and its surface carefully
wiped, as well as that part of the groove against which it “beds,” with some dry,
rough substance, to remove the impediment.
843. To facilitate the rectification of such casualties, some German organ-
builders fasten on the front-board with large wooden screws, having sexagon heads,
So large that they can be turned by the fingers alone ; so that, in the event of a
pallet becoming deranged during the service, the organist can get at it with little
loss of time, without the aid of noisy tools, and perhaps put it to rights before the
organ is again required.
º: º a pal- 844. Or the ciphering may be caused by the pallet-spring
º eing too being too weak to cause the key-movement to return quickly,
and the pallet to thoroughly close over the pallet-hole. If this
is the cause, the key will rise sluggishly, and only partially; and the ciphering will
continue till the key has been raised to its proper level by the hand. In this case,
a piece of coiled wire, Similar to that on the fourth string of a violin, and called by
organ-builders “check-spring,” may be fastened to the tracker, outside the wind-
chest, and to Some neighbouring wood-work, which will assist the return of the
movement, and accelerate the closing of the pallet. Or, still better, the weak
Spring can be removed, and replaced by a stronger one.
Ciphering caused by the 845. Sometimes a ciphering will be caused by the pallet
mºs * * descending too low, and catching on one of the side direction-
pins, an accident that is likely to occur if a key be struck too
violently and suddenly. To cure this, the front-board must be taken off, and the
pallet released. In some German organs the two side direction-pins are omitted,
and one pin of extra Stoutness introduced instead, and placed in the centre of the
front of the pallet, where a small vertical groove is cut in the pallet, to allow the
pallet to descend and ascend without leaving the pin.
Ciphering from damp 846. A ciphering will frequently arise—particularly in instru-
loosening the leather ; e *
or hea warping the * that are so situated as to be exposed to the changes Of
pallet. atmosphere in an aggravated form—from the damp in winter
loosening the leather from the surface of the pallet, allowing it
to swerve from its place over the pallet-hole, and admitting wind into the groove ;
or from the heat in summer warping the pallet as it dries it, and, by destroying its
evenness of surface, preventing its bedding properly over the pallet-hole. To
remedy either of these derangements, the pallet has to be taken out ; and, in the
one case, the leather has to be fresh glued on to the pallet; while, in the other, the
pallet has to be planed down afresh, newly faced with leather, and then re-fastened
to the sound-board,
847. The pallet in some French sound-boards is made without leather pallet-
hinges, but with simply a pin passing through a puncture in the tail end of the
pallet for the pallet to work upon. This arrangement presents the advantage
of allowing an almost instantaneous Substitution of a sound pallet for a defective
WITH THEIR REMEDIES. 2O3
one ; and it also admits of the immediate resumption of the use of that pallet,
instead of its remaining idle for many hours while the glue is drying. It also
admits of the easy cleaning of the joint end of the pallet, which is always a tire-
Some operation with pallets fastened on in the usual way.
Ciphering caused by a 848. A ciphering is sometimes caused by a pull-down having
*** become rusty, which causes it to become fixed in the hole in the
brass plate through which it ought to pass, and holding the pallet a little way open.
This fault can generally be remedied by drawing the pallet open, and cleaning the
pull-down with Scouring paper ; care at the same time being taken not to bend the
wire, which would establish another source of ciphering.
THE UNIBIDDEN SOUNDING OF A PIPE FROM FAULTS IN THE
- REY-MOVEMENTS.
Ciphering from some 849. A ciphering will sometimes be caused by some derange-
adhesive substance fall- t of the 1 t, C º t the l of
ing between the keys ment of the key-movement. Commencing at the keys, one
- the commonest causes of ciphering is the falling of melted wax
or tallow on and between the keys, which will attach two together. This is soon
remedied by carefully scraping the sides as well as the surface of the keys with a
penknife, to remove the cause of adhesion. Or it may be caused by dirt or a pin
having fallen between two keys. The best way to proceed to remove the impedi-
ment, in that case, is to “work it out,” which may be effected by taking hold of the
two keys, in front, with the thumb and forefinger of each hand, and raising the
one key at the same time that the other is lowered ; drawing them apart with
a certain amount of firmness, without violence, to encourage the impediment to
fall.
Ciphering caused by a 850. Another cause of a sticking at the key is its warping
key warping, from excessive heat, which causes it to rub against its neighbour,
and become fixed. The eye will easily discover whereabouts the key is out of the
parallel, if it is in the fore part of the key, as well as the probable point of contact.
To remedy this, the key has to be removed from its place, and either Scraped, or a
few very fine chips pared off from the part where it touches the next key ; which
may be done sufficiently to ease the key, without disfiguring it. To remove the
key, the book-desk has first to be taken out; and, if the disarranged key is in one of
the lower sets, the upper must be lifted out, to lay the right Manual bare. Modern
organs are usually so constructed that the Manuals can be moved in or out with
little more difficulty than the drawers of a chest of drawers, which is a most con-
ºvenient arrangement. -
Ciphering from a 851. Sometimes a sticker will “bind" in the hole in the
sticker binding. register through which it should move, from damp Swelling
both portions of the wood-work, whereby the hole in the register becomes Smaller,
and the sticker larger. This can be cured by taking out the sticker, and either
filing the hole in the register a little larger, or by scraping the sticker. Or the
Sticker may bind, from the black-lead having worn away from its surface; in
which case more might be added with a black-lead pencil, without, however,
damping it.
Ciphering caused by a 852. In a backfall movement, a ciphering will sometimes be
º getting of the caused by the backfall shooting off the sticker, under the in-
fluence of a violent blow on the key, and catching on the top of
2O4. THE CAUSE OF MANY FAULTS IN AN ORGAN,
the sticker-pin. To set this right, it is simply necessary to press the sticker-pin
Carefully, but firmly—without, however, bending it—into its place under the drill-
hole in the backfall, and lowering the backfall into its right place. On doing this,
the key will resume its proper level.
Ciphering from grit in 853. A ciphering will sometimes be caused by grit, dirt, or
the centre-holes; or by - - - -
...' ... small wood or metal chips working into the pin-holes of some
1ſlent. part of the movement, or between a square or backfall and the
frame ; which, by preventing the complete action of the move-
ment, will hold the pallet a little way open, and also cause the key to remain a
little way down. By tapping the key rapidly, the fault will frequently correct itself,
and save further trouble : if not, it must be sought for through the movement, and
removed. Or Some part of the movement may have swollen, and be thus made to
bind too tightly on the pin. This might be rectified by cutting the centre-hole the
least degree larger ; but if the fault only appears in damp weather, and then only
slightly, it is usually better to leave it to be corrected by a drier and warmer
atmosphere : particularly as the wood, by contraction at such a time, might
otherwise leave the pin-hole sufficiently large to cause a looseness of action and a
rattling.
THE UNBIDDEN SOUNDING OF A PIPE FROM DEFECTS IN THE
SOUND-BOARD.
854. A running. One of the most tiresome and vexatious defects which can
occur in an organ is a running, because the region of the disarrangement is
frequently one of the most hidden parts of the organ. Its seat is always the
Sound-board, or immediately adjacent parts, and it consists of an unbidden
Sounding of a Second pipe on the sounding of a first, which may arise from a
variety of causes. The pitch of the second sound, however, will sometimes
assist one in discovering the seat of the disorder, if some allowance be made
for its pitch being flat, and its sound not well defined, on account of the defect
frequently being produced by a very small quantity of wind, which breathes
rather than blows into the pipe. For this reason, the evil is not apparent when
all the stops on the sound-board are drawn; for then there are so many outlets
for the fugitive wind, that it disperses and escapes without producing any audible
effect ; but when one or two soft stops only are drawn, then it frequently becomes
painfully so.
A running caused by an 855. A running may arise from an upper-board not being
upper-board being too - e - - º º
loose. screwed down sufficiently; which is soon remedied by tighten-
ing the screws in the immediate vicinity of the pipe originally
sounded. Or it may be caused by a leakage from one groove to the next. Whether
it arises in this manner will be indicated by the pitch of the unbidden Sound, when
compared with the plantation of the pipes. If the pipes are planted semitonally,
as in plan 2, and the secondary sound is the half-tone above or below the tone
sounded ; or if the pipes are disposed tonally, as in plans I and 3, and the un-
bidden sound is a tone above or below that produced in the usual way, the defect
will, in either case, be traceable to the above-mentioned cause.
A running caused by a 856. Or a sound-board bar has “sprung’—i.e., has become
*.*.*.*.*.*.*, partially separated from the table; or a small crack has
rating from the table ; - º e -
or by an unsound bar. “started" in the Sound-board bar itself, allowing a little
wind to pass through from one groove to the next. To stop this, the Crevice
WITH THEIR REMEDIES. 205
is well covered with paper, coated, and saturated with glue. Sometimes, to
cure this fault, recourse is had to “bleeding,” which, however, is only an objec-
tionable method of hiding the fault.
A humming caused by 857. A disagreeable humming, not unlike a running in effect,
one slider touching and tº , s: e g g g
* although it is not in reality one, will sometimes be caused by
partly drawing a P & s & tº tº
second. one slider rubbing against the next as it is being drawn, and
partially drawing that also, causing a little wind to pass into
the pipes of a second stop. In this case the effect will be like a running of
an aggravated kind, inasmuch as the defect will appear to exist on nearly every
key of the Manual. The unbidden sounds will be rather lower in pitch than the
correct sounds, though scarcely amounting to a Semitone. To remedy this evil,
a peg might be driven in between the two sliders, or one of them might be planed
at the edge to prevent its touching the other. As the objectionable custom of
placing two, or even as many as three, sliders together, without intermediate
bearers, is entirely discarded by all modern Organ-builders, the liability of a
humming from the disarrangement last named is confined to old organs. When
it occurs, all the stops that are not actually in use should be pressed in.
A humming caused by 858. Sometimes the unbidden Sounding of a second pipe
:...; " * will arise from the pipes being packed too closely together,
so that the wind that passes out at the mouth of one pipe
enters that of another, causing it to produce a moaning sound. This evil
is frequently not an easy one to remove. The primary cause of this is the
sound-board being too small, which leads to the pipes being placed in too close
proximity. In some cases this defect can in a manner be cured by turning the
mouth of one of the pipes in another direction ; or by mounting the pipe on
a longer foot ; or by conveyancing it off to another situation. The most
thorough cure for such an evil, however, is the introduction of a new and
larger Sound-board.
DEFECTS IN THE KEY-MOVEMENT.
A springing in the key- 859. A Manual key will sometimes go down about half-way,
movement. under the pressure of the finger, without causing any sound ;
after which something will appear Suddenly to Snap, and the key will descend
the remainder of the distance with a run, the organ at the same moment
sounding. This disagreeable effect is caused by the roller being too weak.
Instead of its Setting the Second arm in motion, the instant the first one is
operated upon by the key, the roller “springs” or twists for a time, until it
has in this manner derived a sufficient accession of power to give a tug at the
pallet ; the resistance at which being thus overcome, the pallet starts down,
giving to the touch the tiresome breaking sensation already noticed. This
can only be cured by introducing stronger, or thicker, or iron rollers.
A dead resistance op- 860. In some cases, a key will at first altogether resist
posed to the finger by º & 4.
the key-movement the touch of the finger, and will not move until the pressure
has been much increased, when it will suddenly give way, and
descend, accompanied by a sharp clacking noise. This defect, quite as annoying
as the last, is found more frequently in old organs than in new, where the roller-
arms are of iron, instead of wood, with metal tracker-hooks attached in both
cases, The iron, after a few years, rusts, causing a grating and biting, instead
2O6 THE CAUSE OF MANY FAULTS IN AN ORGAN,
of a free and immediate action, which leads to the dogged resistance experienced
at the keys. New wooden roller-arms are the only cure for this fault.
A thumping at the keys. 86 I. A thumping will sometimes be heard as the keys go
down. This will be the case if the layers of cloth or baize under the front
of the keys have become hard, or are too thin. The fault is easily remedied
by the Substitution of soft and thick baize, or by the addition of an extra layer.
A rattling in the key- 862. The original key-movements of old organs were fre-
º, i. quently so noisy, rattling, and squeaking, and their every
materials. motion so audible, that whatever the organist played seemed
to have the questionable addition of a “castanet ’’ accom-
paniment. This offensive interruption arose from metal having been used where
Wood has subsequently been found to be so much superior. The cause of
the rattling was this. On touching a key, the first tracker-hook produced a
“click” as it struck against the first iron arm ; the second iron arm produced
a similar noise on coming in contact with the second tracker-hook; the “metal
against metal" not only produced a squeaking or a grating as the parts moved,
On the finger descending, but, when the finger left the key, and the movement
returned, the tracker-hooks vibrated and chattered in the holes of the iron arms.
Thus a rustling and sometimes also a chirping noise accompanied the action
of the movement when it ascended, as well as when it descended. The removal
of the cause of the defects noticed in the two preceding sections will lead to the
disappearance of those just noticed. -
863. In modern organs iron roller-arms are almost always avoided, even
when the rollers themselves are of that metal, and wooden ones introduced,
as being far more quiet in their action. Even in the few instances where the
contact of metal with metal cannot be avoided, as at the junction of the tracker-
hook with the pull-down, some organ-builders do not allow the two pieces of
metal to touch, but “bush,” i.e., line the loop of the pull-down with cloth, to
silence the action. For the like purpose of lessening the friction and quieting
the motion, other organ-builders introduce into each of the studs which support
the rollers a kind of leather button, in the centre of which the roller-pin noise-
lessly works. -
A rattling sometimes 864. Sometimes, in “extended” key-movements, a noise
º º will be caused by the long trackers flapping together. This is
Soon remedied by introducing an additional register. As,
however, every additional register, or comb, adds to the friction, to avoid this
latter, some Continental builders carry the trackers over little box-wood or ivory
reels, by which means they are supported and steadied, without the touch being
made heavier or more sluggish.
A key down without 865. Occasionally a key will be found to have sunk—i.e.,
*** it will be down—without, however, causing any ciphering.
This will arise from Some connecting portion of the key-movement having slipped
or given way. For instance, it will occur if either of the tracker-hooks is broken;
and it can, in that case, soon be remedied with a fresh piece of wire. Or, if the
rollers are provided with wooden roller-arms, and the union of the roller-arms
with the trackers is effected by means of tapped wires and buttons, it will
Sometimes arise from the button slipping down the tapped wire. In this case,
all that is necessary to correct the disarrangement is to screw the button up
WITH THEIR REMEDIES. 2O7
again, which is done by turning it to the right. The tracker, however, should
be held firmly, immediately above the tapped wire, to prevent its twisting, or
a cause of second derangement may arise while the first is being removed. A
dumb key will sometimes be caused by the breaking of a square, a casualty to
which squares are very liable if they are formed of one piece of wood only, so
that the grain of the wood necessarily crosses one of the arms. To cure this
fault thoroughly, and prevent its recurrence, a new and stronger square must
be provided.
The touch of the Ma- 866. In warm, dry weather the touch sometimes becomes
*.*.*.*. “shallow,” and the pallets do not open sufficiently ; conse-
too deep at others. quently the pipes sound out of tune, from the inadequate
supply of wind, particularly in the bass. In cold, wet
weather the touch on the contrary, becomes “too deep ; ” which change renders
the playing more difficult, and also causes a tendency to ciphering, from the keys
then pressing against the thumping-board, and producing the same effect as its
being slightly held down by the finger. The variations in the depth of the touch
are caused solely by atmospheric change ; the heat, by drying and contracting the
building frame and key-movements, slackening it; and the damp, by Swelling and
expanding them, tightening the touch. There are Several ways of remedying these
faults. 3, •
867. Most modern organs are provided either with Small wedges, placed under
each end of the square or backfall frame, immediately over each Manual, or with
screws; the former of which are pressed in or drawn out, and the latter turned
down or up, according as the touch requires deepening or being made shallow.
The touch of the entire row of keys can thus be altered in a very few minutes.
In older organs which have not these facilities, the depth of touch can only be
regulated by screwing or unscrewing the button of every key separately, which
process consumes a great deal of time. To make a key “higher,” the button
must be turned to the right; to make it “lower,” it must be screwed to the left.
While this is being done, some one should be at the keys, who, by passing the
fingers lightly over the key being regulated and its neighbours, will ascertain
whether the key is on an exact level with the others ; and if it is not, he will call
out whether it is required to be “higher ”or “lower” to make it so.
An unevenness in the 868. A single key will sometimes be out of the level with the
hº *** * other keys. If it is below, without causing a ciphering, the
irregularity is most probably caused by the button having
slipped, which, in that case, must be Screwed up again ; and a second one might
be added, and screwed up close to the first one, to assist it. If a key is above the
proper level, without causing a ciphering, it has probably risen from the rapid
return of the movement, on the quick or sudden removal of the finger from the
key. A slight tapping on the key will generally be sufficient to cause it, or the
movement, to adjust itself.
A key screwed up too 869. A key that is screwed up rather too high will fre-
*... jº quently cause the pallet to open and close slightly and rapidly,
to tremble. admitting a small quantity of wind into the groove by fits and
starts, and imparting to the speech of the pipes an effect not
unlike that produced by a tremulant when in motion. To stop this it is simply
necessary to unscrew the button a little. A key that has slightly deepened from
change of weather will sometimes produce this effect,
2O8 THE CAUSE OF MANY FAULTS IN AN ORGAN,
A ciphering, caused 870. A ciphering is sometimes caused by the Spring that
*º * * should raise a pedal having broken, whereby the weight of the
pedal-key drags on the movement, and has the same effect as
the weight of the hand on a Manual key. If a Manual remains coupled to the
Pedal while this fault exists, it will cause an apparent ciphering there also, but
which will be found to have no real existence on disconnecting the Manual, as the
Supposed derangement will then immediately disappear. If the Pedals are only
furnished with bell-springs, they will be very noisy, as well as more liable to the
above accident, and should be removed, and better springs provided.
DISARIRANGEMENTS CONNECTED WITH THE DRAW-STOP ACTION
AND SILIDERS.
A draw-stop rod will 871. A draw-stop rod will occasionally come out far beyond
º *...** its proper distance, and will also return too far, and that
ar, or go too far in. e sº & $ & g
without affecting the stop, which will be either always in or
always out. This fault arises from the connecting-pin at one of the centres
having worked out ; and it may therefore occur either at the junction of the draw-
stop rod with the trundle-arm, of the second trundle-arm with the trace, the trace
with the lever, &c. All that is in general required is the restoration of the pin to
its original position, or its place supplied by a new one. f
A draw-stop is some. 872. Sometimes, on the contrary, a draw-stop is very diffi-
times very stiff. cult to draw ; in the language of organ-builders, it is “stiff.”
This derangement is generally caused by atmospheric change. In damp weather
the upper-board and slider become Swollen, and, by pressing against each other,
increase the amount of friction. The consequent stiffness is usually removed by
slightly loosening the Screws, which fasten down the upper-board, which allows
the slider more liberty. On the re-appearance of warm weather, and the subse-
quent drying, shrinking, and return of the wood-work to its original and precise
dimensions, the screws should of course be tightened again. In hot weather,
however, as well as in cold and damp, a stiffness will sometimes appear in the
action of the draw-stops; but in this case the cause would be the warping of the
upper-board or slider, which would lead to a “binding” of those parts. An
abatement of the heat would be accompanied by an abatement of the fault. In
the course of time, however, it may happen that if the screws of the upper-
board are loosened sufficiently to remove all stiffness from the draw-stop, a
running will be heard ; and, on tightening them, the stiffness will return. This
is an evidence that the repeated changes of temperature and condition of the
atmosphere have had the effect of permanently disturbing the accurate adjustment
of the several parts to one another. When this is the case, the upper-board
requires to be removed, the slider taken out, and the several parts “eased” at
those points where the binding occurs.
DEFECTS IN THE BELLOWS AND THE WINDING OF THE ORGAN.
A creaking from fric- 873. One of the most frequently recurring faults in a
tion at the centres. bellows, fortunately, is generally one of the most easy to cure;
namely, a Squeaking or creaking. This commonly arises either from the friction
of the bellows-handle on its centre, or from a similar rubbing at the junction of the
WITH THEIR REMEDIES. 209
pump-rods with the lever or feeders; and is removed by simply applying a little
grease.
A clacking, caused by 874. A clacking will sometimes be heard at the moment
hard valves. that the feeders are drawn up. This is only perceived in old
bellows, and is caused by the valves being made of wood, covered with leather
that has become hard, descending on the bottom-board with an audible blow. To
remedy this, new leather valves must be substituted for the noisy old ones.
A gasping, from the 875. A rushing, gasping Sound may . Occasionally be dis-
. º* * * cerned, as a feeder descends and inhales a fresh supply of
wind. This occurs when the valves are too few in number, or
are too small, or do not open sufficiently. The wind then forces its way through
the gratings or orifices under the valves with so much additional force as to cause
a whistling as it goes. To cure this, additional valves must be made.
Bellows work quicker 876. In very dry seasons the contents of the bellows will
in hot weather. Sometimes be exhausted much sooner than at other times.
This is partly owing to the contraction of the wood of the ribs, which opens the
pores, and partly to the shrinking or curling of the leather valves, which together
cause more or less wind to escape. Generally this is only a temporary derange-
ment, which a change of weather will rectify; but, should it prove otherwise, the
assistance of the organ-builder should be at once secured, as the restoration of a
firm and steady wind is of vital importance to the intonation of the organ.
Bellows produce a 877. After damp weather the bellows will frequently
cracking sound after - e
damp weather. produce a sharp, tearing sound when they are first blown,
particularly if they have not been used for some days. This,
however, does not announce any real accident, though its cause might lead to
one. In damp weather the coat of glue with which the inside of the ribs is
covered, to close the pores, becomes softened, which causes the ribs, as they lie
together, to adhere slightly. When the bellows are subsequently blown, the sticky
and adhering surfaces of the ribs are separated after some resistance, producing at
the same time the sound above noticed.
Tremulousness, from 878. Sometimes the working of the bellows affects the speech
the length and elasti of the pipes, i.e., a slight waving or forcing of the tone will be
city of the column of 3 5 .
wind. heard at the moment the feeders commence and complete their
operation. This arises from the additional compression which
takes place at the moment that the feeder and the surface-weights alternately
exercise their influence. The feeder, before it can introduce fresh wind, has to
overcome the pressure of the surface-weights by the exercise of more than an
equivalent force ; and, when this under and upward pressure ceases, the surface-
weights and top-board return and descend upon the wind with all their original
pressure. In this manner a series of little jerks are given to the wind at the
commencement and completion of each stroke, which are Sometimes communi-
cated to the speech of the pipes, particularly if the wind-trunks are small or
long. To remove this defect, a concussion-bellows is usually applied ; but a
more effectual remedy would be the introduction of wider, shorter, and more
direct wind-trunks. When the wind-trunks are small or long, and the Supply
of wind to the sound-board barely adequate, the column of wind becomes more
elastic; in consequence of which, not only is every little and perhaps unavoid-
B B
2 IO ON THE CORRECT USE OF THE STOPS, ETC.
*~.
able defect at the bellows conveyed to the pipes, but it is also exaggerated.
When, on the contrary, the wind-trunks are broad and short, the column of air
has greater firmness, from its greater bulk, and is less elastic from the same
cause, aided by its lesser length, consequently, it is not nearly SO liable to Com-
municate every little disturbance at the bellows to the speech of the pipes. In
many large organs built in recent years the admirable custom of inserting a second
or local wind reservoir near to the sound-board has been resorted to, which is of
Course the most thorough way of guarding against the evil.
Tremulousness, from 879. Sometimes if a chord be held down with the right
** ** hand in the treble, on adding a three-part chord with the left
hand in the tenor, the treble pipes will be weakened in their speech for a
moment, and then will recover themselves; and, on withdrawing the left hand
from the keys, the treble pipes will “raise their voices” for an instant, and then
reduce their tone to the usual strength. These defects are sure indications of
the wind-trunk, or the wind-chest, or both, being too small. In other cases an
organ will stand the above test successfully ; but if chords be held down in the
treble and tenor with the two hands, and a disjunct passage be played upon
the pedals in the bass of the Manual, a tremulousness in the tone will appear
in the upper parts. This will show that the wind-supply at the grooves is still
inadequate, from one or other of the causes already mentioned.
*
|Unequal intonation, 880. In some organs it is found that certain stops Sound
.*.*.** sharper and brighter, or stronger, when tried by themselves;
and pallet-holes. A 5 85 - 5 g
robbing. and flatter and duller, or weaker, when used with the others.
This serious fault rests either with the grooves which do not
hold sufficient wind to supply all the pipes effectually, or with the pallet-holes
which do not admit the necessary quantity. The “robbing” usually manifests
itself most strongly in the lowest octave or octave and a half of the Sound-
board. It almost invariably appears in old sound-boards, and is not always
absent from new ones. There are many simple ways of ascertaining whether
a Manual organ is properly supplied, or not, with wind in the bass. If, on
drawing the Mixtures by themselves, and holding down one of the lowest keys,
the pipes Sound firmly in a certain pitch, and with a certain amount of strength,
and if, on adding the other stops, the Mixtures fall in pitch and become more
quiet in their tone, it is clear that the grooves either do not hold, or do not
receive sufficient wind. Or, if the reeds be drawn alone, and they speak with
a certain amount of crispness, promptness, and strength, but, on adding the
other stops, the reeds Sound tamely, sluggishly, and more quietly, it is evident
that the demand on the wind in the grooves is greater than the supply. The
only effectual remedies for this defect are either “double palleting,” or the
introduction of a new and larger sound-board with more capacious grooves in
the bass (or, with double grooves), and with larger pallet-holes and pallets. In
the absence of this the Small stops have to be tuned in the bass, with all the
stops on the Sound-board drawn, that allowance may be made for the flattening
effect caused by the robbing ; and this is why the small stops sound sharper and,
perhaps, tremulously when tried by themselves, at which time they receive their
full supply of wind. The excellent plan has sprung up within the last few years of
introducing two or three Sound-boards instead of one, and of making the treble
part distinct from the bass. This effectually puts an end to all “robbing.”
WITH THEIR REMEDIES. 2 I I
A hissing, arising from 881. Sometimes a hissing or whizzing sound is heard to
an escape of wind. emanate from some part of the organ. The sound itself is,
perhaps, Scarcely perceptible, but it arrests the attention by its continuance.
The exact place where it occurs is frequently difficult to discover. An engineer
has an advantage over an organ-builder under parallel circumstances, for in
a steam engine the locality of a slight leakage is immediately made evident by
the escaping Steam turning to vapour and attracting attention ; whereas no such
assistance appears in an Organ to guide the builder to the seat of an analogous
fault. This is frequently ascertained by means of a lighted candle, the flame
of which will flicker as it draws near to the place where the escape is taking
place, and as it gets into the unusual draught caused by it. -
882. The hissing frequently arises from an escape of wind at the joint of one
of the wind-trunks; which will be caused by the leather covering having become
loosened, from damp, age, or decay. This is remedied either by glueing the
eather down again ; by applying a fresh Strip of leather if the other is unsound ;
or even by fastening a piece of thick paper over the little hole, Saturating the
stopping with glue. An escape of wind will sometimes take place at the side of
a pull down, through the hole in the brass plate ; particularly if the action of
the pull-down has worn the hole into an oval shape. -
FAULTS CONNECTED WITH THE SPEECH OF THE PIPES.
Small pipes are fre- 883. It frequently happens, particularly with regard to Small
** **, *... open flue pipes, that a pipe will be “off its speech,” i.e.,
lous, or weak in their º º * -
speech. will not sound, or it will sound tremulously, or with less than
its proper strength. A most frequent cause of this fault is
dust, a very small portion of which—so small that it would not affect the Speech
of a large pipe at all—being sufficient to render a small one dumb. If the fault
is a general one throughout the organ, it can only be remedied by a thorough
cleaning. If there are only isolated instances here and there, they can be rectified
by taking the few pipes out, one by one ; wiping the surface of the languid, and
carefully dusting the nicking, and clearing the wind-way with a fine brush, or by
blowing into it with the mouth.
Flue pipes become un- 884. Sometimes an irregularity will be caused in large or
*** * * small pipes by some disarrangement of the pipe itself. The
and quality of tone e º
j, jcauses upper lip may be pressed in too far, or not far enough ; the
under lip may have met with a similar temporary derange-
ment; or the languid may be too high or too low. The foot-hole may have
become slightly contracted from the pressure of the body of the pipe upon the
foot; or it may have become too large from the partial decay of the apex of
the foot. Any one of these accidents would affect the intonation of the pipe,
causing it to sound too loud or too soft, tremulously, or in the octave above ;
and it is often more difficult to discover what may be the true cause of the
fault in any individual instance, than to correct it when it is found out. A pipe
that sounds too loud sometimes has its tone softened by pressing the under lip
a little nearer to the languid, which reduces the width of the wind-way, and
therefore allows less wind to enter the pipe ; and by altering the position of the
upper lip in the same direction. A pipe that sounds too weakly frequently has its
power increased by the opposite process.
B B 2
2 I 2 ON THE CORRECT USE OF THE STOPS, ETC,
A pipe sometimes 885. A pipe will sometimes “sound its octave ; ” and stops
º Jºe º of small scale, as the Dulciana, are particularly liable to such
or over-blowing. derangement. This may be caused by a little dust having
fallen into the wind-way, or by the pipe having rather too
much wind, or even by simply a change of temperature. All stops of slow
speech, “heavy intonation,” as the Germans have it—as, for instance, the
German Gamba-also are liable to casualties from similar causes; and, like
the Dulciana, may be thrown off their speech, if the bellows do not give a perfectly
equal blast. A pipe that has too broad a wind-way, or an insufficiently high
mouth, will also speak its octave.
The tone of wood pipes 886. Wood pipes are much influenced by change of tem-
influenced by change of - * º •-
temperature. perature. In rainy weather the damp, by swelling the fibres
of the wood, presses and closes the pores; and, by thus
rendering the wood more compact, firm, and sound, improves and strengthens
the tone. In very wet seasons, however, it is possible that the change may so
far affect a pipe as to lessen the height of its mouth ; and, by swelling the block,
lessen the breadth of the wind-way, which would have the effect of slightly
flattening its pitch, as well as perhaps affecting its speech. In an organ that is
placed in a damp situation, these vexatious changes and derangements are both
frequent and unavoidable. In dry weather the wood may shrink and become
more porous, the tone then being weaker. The height of the mouth, from the
excessive dryness and contraction of the wood, may be increased, as well as the
breadth of the wind-way, which would raise the pitch of the pipe, and perhaps
also alter its speech. The influence of these changes is the most discernible in
the large open wood pedal pipes, which frequently will sound fuller in wet than in
dry weather.
Stopped wood pipes 887. Stopped wood pipes are in summer occasionally put
... “” out of order by the stopper shrinking and falling into the pipe
heat and drought. 85 5
raising the pitch, and destroying its quality. The stopper
must, in that case, be taken out and restored to its proper place ; some means
being at the same time taken to make it fit tightly. This can frequently be done
by putting a layer of paper between the stopper and the leather cover on all
four sides. Or an additional covering of thin leather might be put over the
stopper, if this will not make it fit too tightly. If a stopper that fits too tightly
be driven into a pipe, it may cause the front or back to separate slightly from
the sides at the joints; and, by So causing the pipe to become unsound, render
the tone false and weak. A defective intonation will arise also if the stopper is
not driven in perfectly level, but sideways. Mr. Lewis adopts the ingenious device
of making the stoppers of all his small stopped pipes of cork, which material is, of
course, Self-adjusting.
*Division #3.
SUGGESTIONS FOR THE CONSTRUCTION AND
ERECTION OF AN ORGAN.
*
CHAPTER XXXI.
888. THE preceding chapters of this work having been devoted to a descriptive
analysis of the structural details, &c., of an organ, it now remains to treat of other
essentials which call for the attention more particularly of those to whom the duties
of preparing the Specification and Superintending the construction of an organ are
entrusted. -
THE COMPASS OF THE CLAVIERS, AND OF THE SEPARATE
DIVISIONS OF THE ORGAN.
889. The first subject to be considered is the compass necessary for the Manuals
and Pedal, together with their respective departments of the organ.
890. It is most desirable that patient attention should be devoted to this
question, Since nearly every separate compass yet devised has its advocates ;
yet whose opinions, when compared, are found to be conflicting. As, moreover,
what is advanced in favour of one compass is not unfrequently accompanied
by something else by way of objection against all or most others, it behoves all
who would desire to arrive at a just conclusion on this very important Subject
to weigh all the arguments for and against each plan, before making a decision ;
otherwise, with the best intention, their efforts may only end in a perpetuation of
the existing confusion.
Precedents for nearly 891. There are precedents for almost every imaginable
º * * variety of range, both of Manual as well as Pedal; and if
the selection of any one from annong the number were a
question of no greater moment than the gratification of individual taste, or did not
involve some violation of artistic arrangement that would not militate against the
proportionate development of the separate departments of which an organ should
consist, nor entail the sacrifice of funds and room in its consequences, there
could be no difficulty in the way of any compass whatever being adopted that
fancy might dictate. But the case is far otherwise. On a just view of this matter
depends the successful issue of the work; its influence pervading the arrange-
ments of the entire instrument. It is very important, then, that the most careful
consideration should be given to this subject, before proceeding any further in
the work, particularly as a false step in this direction, Once taken, cannot afterwards
be retraced.
892. In the Historical Introduction to this book Dr. Rimbault has men-
tioned that in the earlier organs the number of notes were very limited ; from
2I4. SUGGESTIONS FOR THE CONSTRUCTION
nine to eleven (inclusive of the one chromatic note, B flat), being nearly their
greatest extent, the execution of the plain-chant not requiring more, and
harmony being then unknown. At the close of the eleventh century an organ
was made for the Cathedral of Magdeburg, containing sixteen notes, and A
KEY-BOARD. In the twelfth century the number of keys was increased, and
every key was furnished with two or three additional pipes, Sounding the fifth
and octave, or the third and tenth. In the fourteenth century an organ was
built, at Thorn, with twenty-ºwo keys; and besides this increase in the Com-
pass, which extended upwards and downwards, the keys were made smaller and
neater, and with a lesser fall, so that they could be played with the fingers
collectively and the thumb alternately. The most notable improvement effected
in this century, however, was the gradual introduction of the four remaining
chromatic keys. F sharp, the first sharp, was inserted in the early part of
the century; afterwards came the second sharp and second flat, C sharp and
E flat ; and lastly the third sharp, G sharp. In 1359, or 1361, Nicolas Faber
built the great organ in Halberstadt, with fourteen diatonic and eight chromatic
tº , ſº- — e - tº
keys, extending from jº-E to # = From this time the
organs for large churches were frequently made with a compass of three octaves,
(T) *T)
from IGº to º Kºº . In the early part of the sixteenth century
z= ji=
we begin to glean something authentic respecting the compass of English
organs. In 1520 Antony Duddington made an organ for Allhallow’s Church,
Barking, the lowest key of which is distinctly set forth in the contract as being
Double Ceſa-uf, the 8-feet note that marks the full downward range of the
Manuals of all the English and Continental instruments of the present day.
Consisting of “xxvij playne keyes” (or naturals), and, doubtless, the requisite
number of short keys, the compass, if unbroken, must have extended to a "
in alt; and if broken, that is to say, having the CC pipes planted on the affa–
rently EE key, it would then have been of the four octave CC short octave
compass. The latter is the more probable range, as it is that of many of the
old German organs of about the same date. In 1637 Thomas Harris built
an organ for Magdalen College Chapel, Oxford, which was also “Gamut in
Do, Sol, Re;” and Dr. Burney mentions that, in Father Smith's time, the usual
organ compass was four octaves, from CC ; which range, however, was frequently
departed from. - -
The compass of the 893. Indeed, those who a few years ago were much in the
*. º habit of visiting English church organs, and of observing their
tion was involved in general arrangements, were much struck with the remarkable
England; and the im- variation that existed in the compass of the Manuals and
º Pedal of different instruments. A dozen organs might have
been visited promiscuously, without any two being found to
agree precisely in the above respects. Some had short-octave GG Manuals :
others, GG Manuals with long octaves. Some had Manuals descending a note
lower to FFF; others, Manuals to CCC ; while a fifth class would have Manual
organs of the Orthodox CC range. There were not wanting some having three
Manuals all of different ranges. Then of the Pedal : some organs had an octave
of pedals commencing at GG ; others, an octave and a half beginning on the same
note, or perhaps on FFF. Some had two octaves of GG pedals, while others
AND ERECTION OF AN ORGAN. 2I 5
had one octave, an octave and a half, two octaves, or two octaves and a half
of CCC pedals. Such was the undecided state into which these divisions of organ
arrangement had fallen in this country, previous to the commencement of the now
widely-spread desire for their amelioration.
How the true Manual 894. That all the compasses for Manual and Pedal just
compass is to be ascer- : & ſº º -
tained, cited can be effzaally correct, is impossible; either some are
too long, or others must be too short ; or, Supposing a medium
range to be the true One, then Some must be as much too short as others are too
long. The question, then, is, of the number, which is the correct compass and
which not P # -
895. The presence of a certain number of keys on the Manual and Pedal
claviers, and an equal number of Semitones in their respective organs, must be
necessary to render an instrument adequate to all the purposes and uses of a
church organ. Do those Manuals—the question of the compass of the Pedal
is deferred for the present—then, that extend only to CC, ſa/Z short of this
needful range; or do the various kinds of long octave ones exceed it by just so
much as their Manuals descend below that key Or, is the medium compass,
the GG, the correct one, and Consequently the CC range as much too short as
the CCC is too long for the required purposes? The sources to which alone
reference can be made, with the certainty of finding a correct solution to the
above problems, are the choral and instrumental compositions that are most
frequently heard in, and which are held in the highest esteem as accessories to,
the church service ; and for the accompaniment of the one, and the perform-
ance of the other, the organ itself is employed in our ecclesiastical edifices. If
reference then be made to the works of the long list of English choral writers,
and to the scores of Handel, Beethoven, Bach, Mendelssohn, &c., this examination
will be attended with the following results.
896. In the selected movements from the works originally written with
orchestral accompaniments, such as the Solos and choruses in Oratorios, masses,
&c., it will be observed that the violoncello part, which comprehends within its
downward range also that of all vocal basses, never descends below the CC
note, which note (as all musicians know) is the lowest one on that instrument.
The double bass, indeed, is a deeper-toned instrument ; yet, as it does not give
a sound in accordance with the notes written, but the octave below, as far as
its compass permits, its representative is correctly to be found among the unison
(16-feet) flue-work of the pedal organ. Again, if the compositions written
expressly for the organ by Bach, Mendelssohn, Hesse, Wely, Henry Smart, and
others, be consulted, it will be seen that the greatest extent to which the Manual
part of those works descends is also CC. The most elaborate sacred musical
productions, then, whether they be essentially choral, originally written with
instrumental accompaniments, or composed exclusively for the organ, neither
require nor recognise a greater extent of Compass downwards than that possessed
by the shortest of the various kinds of Manual above mentioned. A few excep-
tions to this otherwise universally Supported fact may indeed be found in the
organ compositions of Samuel Wesley, Thomas Adams, and Dr. S. S. Wesley ;
yet these examples would scarcely be deemed sufficient to outweigh the united
authority established by the various and voluminous works presented to us by the
writers previously named. That the CC Manual does afford ample scope for
the perfect execution of the hand parts of all descriptions of music used in the
church, excepting the few excellent works already specified, has never been
disputed. And that the CC Manual range is the best one for concert-room Organs,
216 SUGGESTIONS FOR THE CONSTRUCTION
is equally beyond a doubt. So much, therefore, is greatly in favour of the CC
Manual organ.
Arguments against the 897. Against it, and in favour of a longer compass, it has
CC Manual compass, e º tº
... ."...".”. Sometimes been urged (1) that in accompanying the choral
longer range. service, and more particularly the quieter parts, a Soft bass is
frequently required (though not written) below CC ; (2) that if
the Manual keys are made to end on that note, then the deeper Sounds have to be
obtained from the Pedal; and (3) if that department be furnished with a fair pro-
portion of stops, a shifting of these with every change from “Full” to “Verse,” &c.,
becomes necessary; or (4) if there be but one stop on the Pedal, as is too frequently
the case, the choice then lies between a ponderous and heavy bass and none
at all. -
898. These objections are founded on the manner in which CC organs are some-
times made in England, rather than on the Continental system, according to which
they should be, and occasionally are, built. It is not a correct conclusion that, if
the Manual Āeys stop at CC, the Manual sounds must also cease there, any more
than it would be that the 24/79ard range of an organ must cease at f° in alt, if the
keys do so. In all two-Manual instruments of average pretension, the Great
organ should have a Double Stopped Diapason (Bourdon) throughout. This is one
of the fundamental laws of the German system of organ-building, and is constantly
adhered to in the construction of the average church organs of that country ; and
it does not follow, because the Great Manual of an English CC organ is some-
times made without a stop of 16-feet size of tone, that the inconveniences which
must arise from such omission are to be attributed to a principle of Organ-
building, from which it is a departure. Where a stop of the kind in question is
disposed, instead of the downward range of the deep Manual sounds being
limited by the termination of the keys at CC, it is increased to the extent
of seven semitones beyond what an old-fashioned GG Manual could produce ;
So that, even on the question of “depth of tone,” a CC Manual organ on
the Continental principle has the decided advantage over a GG Manual organ
on the English principle. Furthermore, the concentration of so many deep
sounds on the Manual obviates the “necessity’ for employing the Pedals
so constantly, if the performer cares to dispense with the use of the latter;
and thus the second objection to the CC Manual is, to a great extent, done
away with. But, even supposing the continued use of the Pedals to be
desired, so far from the shifting of the Pedal stops to obtain a soft bass
being a matter of “necessity,” some German Pedal organs are made with
a wind-trunk valve (Sperventil) to cut off the wind from the Pedal Reeds and
Chorus stops, and worked by a stop-handle that is shifted as quickly as a Pedal
coupler ; by means of which a soft or loud Pedal may be obtained with the
greatest facility.
899. One fact relating to the subject of the deep Manual tones should not here
be omitted. While the extra keys below CC are said to be so necessary for
Soft accompaniments, the Second Manual (Swell), on which the quieter parts
would frequently be played, is always made not only without those very keys, but,
in the great majority of cases, also without the neart whole octave above. This
important circumstance much weakens the position, as to the “necessity " for
the Manual keys descending below CC, to meet the requirements of soft
playing.
900. Nay, more ; when the Second Manual organ (Swell) in GG instruments
is made to the short tenor c compass, it is usual to arrange the keys beyond to act
AND ERECTION OF AN ORGAN. 217
g
either on the Great organ, or on the “ Pedal pipes.” Now, in the former case, a
shifting of the Great organ stops must be made with every change from forfe to
Žiarto, and back again ; in the latter, there will be the strong and unseasonable
bass; SO that the Second and third objections, if they are such, exist, to at least
an equal extent, in organs of long Compass, and are not by any means peculiar to
those of shorter range.
901. The CC is the only Manual range now accepted on the Continent. In
Germany, Holland, Belgium, the Netherlands, Switzerland, France, America, &c.,
no organ is ever made to any other compass. The celebrated organs at Haarlem,
Frieburg, Frankfort, Hamburg, Rotterdam, Dresden, St, Denis, Boston, U.S., &c.,
are all CC Manual organs.”
902. Among the 3OO or 400 English organs that have been either built or
re-modelled conformably with this range may be mentioned the new organ in
St. Paul's Cathedral ; the organs at Christ Church, Newgate Street; St. Paul's,
Knightsbridge; St. Peter's and St. Michael's, Cornhill; Temple Church ; St.
James's, Piccadilly ; All Saints', Margaret Street; St. Andrew's, Wells Street;
and St. Giles's Camberwell, &c. Also those in the Birmingham, Leeds,
Newcastle, Brighton, Glasgow, Edinburgh, and Dundee Town Halls; the Collegiate
Institution, Liverpool; the Parish Churches at Doncaster, Leeds, Newark, Ashton-
under-Lyne, &c.,
Much room and a great 903. The CC compass for a Manual Organ, at the same time
..","..."... that it is quite satisfactory as to completeness and convenience
quired to extend the }
compass of a Manual is far less costly than one of longer range ; not that cheafness
organ below CC. ought to be made a consideration in any case, where the object
is to be devoted to the service of the church, and where the question should not
be “what will do,” but what is best. Still, it does so happen that a given number
of stops to CC will cost very considerably less than when extended down to GG,
or lower; and the money and space Saved by observing the distinction between
what is essential and what is not, are of vital importance where funds and room
are objects (and where are they not ), since they can then be devoted to the
proper proportionate development of other departments which are too often
straitened, or altogether excluded, in order to allow of the lengthening out of
a Manual organ.
904. Some idea may be formed of the extra cost of a long octave Manual
Organ, from the increase that is made in the price of one stop alone by this down-
ward elongation. The charge for an Open Diapason to CC used to be about eighteen
pounds. The cost of the same stop, extended to GG, was increased to
nearly thirty pounds; with the FFF and FFF sharp added, to about forty
pounds; and, when further extended down to CCC, the 16 feet pipe, and
a good quality of metal preserved throughout, its cost was not far short of
seventy pounds. From these few facts it will easily be seen that a hundred
pounds may be soon expended in extending the stops of even a single Manual,
and this, too, without extending its resources as a Manital organ, in any
Shape or way. - -
* It is worth mentioning that the Manuals of Spanish and Italian organs sometimes
descend below CC. Those of the new organ at the Cathedral at Seville go down to AA ;
those of the two organs at Milan Cathedral descend to FFF; those of the chief organ at
St. Peter's at Rome range to CCC, short octaves; while those of the organ at St. Alessandro
at Milan are of CCC range, and of complete compass. (See accounts of these organs in the
Appendix,)
2 I 8 SUGGESTIONS FOR THE CONSTRUCTION
The true method of in- 905. For an illustration of this latter fact, try two Manual
.*.*.*.* organs by the same builder, furnished with stops similar in
of a Manual organ. 5
* every respect only that the compass of those of the one shall
stop at CC, while those of the other shall extend to GG, or anywhere else. If this
or any other chord be struck in pure four-part harmony, first on one
of those Manuals, and then on the other, the Sound will be found to be precisely
the same in each case, both as regards quantity as well as quality; in other words
the tone of the GG Manual organ will possess no advantage over that of the CC
one. The reason of this is obvious. Increasing the compass of a Manual, and
increasing its resources as to tone and variety, are two widely different things, and
they are worked out by totally opposite processes. The former end is attained by
keeping to the same stops, and augmenting their range ; which is like adding a
fifth or sixth string to the stringed instruments in a band, with the view to increas-
ing their efficiency. The latter is effected by preserving the original compass
(that compass being a full and complete one), and engrafting thereon other stops
that emit sounds differing in pitch, or quality, or both, from those produced by the
Original ones; a course which is equivalent to increasing the number and variety
of instruments as the means of augmenting the resources of an orchestra. As the
capabilities of a band would be amplified—both in regard to its power of varied
combination in the detail, and its grandeur of tone in the aggregate—by increasing
the number of distinct instruments, so are the analogous powers of the organ
correspondingly augmented by increasing the number of distinct stops; and they
are increased only by this principle of development. A Manual can but be com-
plete, let its compass be extended below CC as far as it may ; even as a violin
could be no more, were the number of its strings to be doubled, or even trebled.
Supposing such an experiment to be tried with a violin, music for that instrument
would have to be aſtered, before any use could be made of the additions as violin
features. In like manner all church music has to be altered, before any use can
be made of the keys below CC as Manual features.
How it may be ascer. 906. The best proofs of there being no legitimate use for the
º long Octaves with the hand are to be gathered from the devia-
not as Manual ones. tions which it is necessary to make from the musical text, in
order So to employ them. The keys, acting upon these addi-
tional tones and semitones, are placed, as a matter of course, beyond the CC key ;
and, as the Manual part of all descriptions of church music alike only extends to
that note (as has been already shown), they are not available as above, so long as
a composer's notation is adhered to. To make use of the extra notes with the
hand, the hand must be transferred an octave lower than the music directs; and
single notes, octaves, or even full chords, played down there; the tenor part of the
composition, meanwhile, being either entirely abandoned, -or thrown an octave
higher; the Consequence being in either case a material departure from the musical
text, and a most undesirable transposition of the parts. '
907. Speaking of the Superior effect that divided harmony produces upon the

AND ERECTION OF AN ORGAN. 2 IQ
organ over close harmony, Forkel says: “By this means a chorus, as it were, of
four or five vocal parts, in their whole matural compass, is transferred to the organ.
Let the following chords in divided harmony be tried —
and then compare how the following, a more common way
of rendering the same sounds in comparison, and it will be evident what injury
must accrue to the effect from playing a whole piece in Such a manner. In the
former manner BACH always ſºlayed the organ.” (Zäſe of Bach, Boosey's edition,
page 33.) - -
908. Taking all the foregoing circumstances into consideration, it seems clear
that the “long octaves” do not possess any real advantages as Manual adjuncts
to compensate for their enormous cost. And it is as indisputable that their appli-
cation to certain departments—say the Chief Manual, or Great organ—is often
the means of excluding many of those which are so from others, of reducing
the number and amount of their contents, or even of necessitating their entire
omission, by absorbing for their construction a sum from the gross amount
which would be sufficient to Secure the amelioration of one, if not more, of the
above material blemishes. A few general illustrations may be given of these
last-mentioned facts. To advance more specific ones would be inconsistent with
the object of the present work.
º sº that 909. If the general arrangements of a modern A400 or £500
might be effected on a • Cr - * --- is e -
given specification, by GG Organ be examined, they will in the majority of cases be
regulating the outlay found to be as follows :-
otherwise than in the • 3 in sº
construction of unes- Compass of Great Organ, GG to fê in alt, with
sential Manual notes. GG sharp * * * * * * * * * * 59 1) OteS.
Compass of Swell Organ, tenor c to fº in alt . 42 notes.
The Swell Manual continued down to GG, and made to act either on the Bass of
the Great Organ, or on the Pedal pipes at pleasure.
Compass of Pedal board, GG to tenor C . . . . . . . . . 18 notes,
Compass of Pedal pipes, from CCC to CC . . . . . . . I 3 pipes.
910. From these particulars we perceive that, while the Chief Manual or Great
organ is carried half an octave lower than CC at a considerable cost, the second
Manual organ (Swell) is discontinued a whole octave above that note—the funds
them not admitting of the latter department being made complete—and the Pedal
organ consists of “half” a stop, and that Sounding an octave out of pitch. Now


22O SUGGESTIONS FOR THE CONSTRUCTION
it need scarcely be urged that the only particular in which the two Manual organs
ought to differ from each other are the number of stops, or their strength of tone,
and not in the compass, which should be the same in either case; for what is
required for “soft accompaniments” is a Manual with stops of a subdued tone,
and not without any bass to it. In fact, the longer compass has sometimes been
declared to be more specially needed for Soft accompaniments.
911. The old organ-builders, although compelled to make instruments to all
kinds of compass, and thus to give an air of vacillation to Some of their arrange-
ments, but for which they must not be held responsible, and, for reasons already
shown, were yet fully sensible of the propriety of making both Manual organs to
consist of the same number of keys ; unless, indeed, as was sometimes the case,
particularly in their very small instruments, one was only designed as a Solo or
Echo organ, and not calculated for use in choral accompaniments. A few re-
markable exceptions only to this rule are known to exist. In the generality of
instruments built during the latter part of the Seventeenth, throughout the
eighteenth, and even at the commencement of the present century, we constantly
find the Second Manual (Choir) of equal range with the First, or Great.
912. No doubt the Second Manual organ is in the present day sometimes
made shorter than the requisite compass, through lack of funds ; and, when such
imperfectness is really the work of necessity, nothing can be said against it. That,
however, is a separate question. When there are funds sufficient to pay for a GG
Great organ and a tenor c Swell, there must be sufficient also to procure a Second
Manual organ of nearly, if not quite, perfect compass, if the expenditure be so
directed ; so that the above plea is not admissible under Such circumstances, since
the lessened range of that department can then no longer be attributed to the
smallness of the grant, but to the mode of its outlay.
913. The Swell being thus limited in its compass, some substitute is usually
devised to supply the place of the omitted octave. The most usual expedients
are to extend the Second Mazútal downwards to the same range as the First or
Great organ, and make the continuation keys communicate either with the Pedal
pipes or with the bass keys of the Great organ. It is only necessary, how-
ever, to advert to the derivation of the terms Manual and Pedal (“manus,” a
hand, and “pes,” the foot), when the inaccuracy of bringing on to a Manual
certain pipes designed exclusively for the use of the ſeeſ, and distinctly desig-
nated “ Pedal’ pipes, will become apparent. Besides, the Pedal pipes are the
most ponderous-toned pipes in an organ, and, therefore, as a bass to the
Manual, designed for soft accompaniments, are singularly inappropriate. Again,
in many examples where there are “Double * Pedal pipes, instead of there
being an interval of a semitone only between the unison sound of the last key
acting on the Swell and the first one on the Pedal pipes, the two sounds are
separated by an interval of a minor ninth ; so that not only is the sound of
the borrowed bass opposed to its newly applied purpose in the several
respects of character, strength, and quality of tone, but in pitch it is of “ 16 feet;”
whereas, for the Manual, the 8-feet pitch is most required.
914. Neither does the bass octave of the loud or Great organ form a satis-
factory continuation to the soft or Swell organ, for the reason that, if the
same combination be drawn on both Manuals, the strength of the bass
(Great organ) will be too strong to match well with the remainder (Swell); or
if, to obviate this, fewer stops be drawn on the Great organ, there will exist
but slight affinity between the tone-character of the bass and the other parts.
As before observed, if such arrangements as these arise from unavoidable
causes, it is one matter; but if they are purely voluntary, as they must of
AND ERECTION OF AN ORGAN. 22 I
necessity be when they appear in conjunction with a GG Great organ, it is quite
another.
915. The next point to be illustrated is the extent to which “long octaves”
limit the specification of the different departments of an organ.
916. A good average specimen of a GG Great organ contains the following ten
stops ; viz.:-
I. Open Diapason. 6. Fifteenth,
2. Open Diapason. 7. Sesquialtera—III. ranks.
3. Stopped Diapason. 8. Mixture. II. ranks.
4. Principal. 9. Trumpet.
5. Twelfth. IO. Clarion.
917. By confining the above ten-stop Great organ to the CC compass, instead
of extending it down to GG, the sum so saved would nearly, if not quite, defray
the cost of the following stops; viz.:-
1. Double Stopped Diapason I6 feet tone. 9. Twelfth . . . . 23 feet.
2. Open Diapason . . . . 8 feet. IO. Fifteenth . . . . 2 feet.
3. Open Diapason . . . . 8 feet. II. Piccolo . . . . 2 feet.
4. Stopped DiapāSon . . . 8 feet tone. I2. Sesquialtera . . . IV. ranks.
5. Dulciana to Tenor c. . . 8 feet. I3. Mixture . . . . III. ranks.
6. Stopped Fifth . . . . . 5; feet tone. I4. Trumpet . . . . 8 feet.
7. Principal . . . . . . 4 feet. I5. Clarion . . . . . 4 feet,
8. Flute . . . . . . . . 4 feet. .
That is to say, the number of pipes to most of the keys could be increased
from thirteen to twenty ; the range of deep Sounds extended downwards to the
extent of seven semitones; and the capabilities of the department for varied com-
bination nearly doubled. -
918. Or, supposing the Sum Saved were expended on the improvement of an
originally contemplated tenor c Swell, containing the following six stops; viz. –
I. Double Stopped Diapason. 4. Principal.
2. Open Diapason. 5. Trumpet.
3. Stopped Diapason. 6. Hautboy.
919. Not only could its specification be made to take the following improved
form :—
1. Double Stopped Diapason 16 feet tone. 5. Fifteenth . . . . 2 feet.
2. Open Diapason . . . . 8 feet. 6. Mixture . . . . III. ranks.
3. Stopped Diapason . . . 8 feet tone. 7. Trumpet. . . . 8 feet.
4. Principal . . . . . . 4 feet. 8. Hautboy . . . . 8 feet,
but its compass could be extended downwards to at least Gamut G. That is
to say, besides increasing the number of pipes to each key from six to ten, about
half of the 8-feet octave could be added to the Swell Manual organ, which
would be far more useful than half of the 16-feet octave to the Great Manual
Organ.
920. Or again, if the amount saved as above were to be laid out in getting
rid of the ordinary “ Pedal pipes” of a single octave only in compass—in
which the unison and double pitches are so strangely mixed together—and
222. SUGGESTIONS FOR THE CONSTRUCTION.
providing something more intelligible in their stead, the following stops could be
secured —
PEDAL ORGAN, COMPASS CCC TO TENOR D.
I. Open Diapason . . . wood . . . 16 feet.
2. Stopped Diapason . . wood . . . 16 feet tone.
3. Trombone . . . . . wood . . . 16 feet.
921. The questions that here suggest themselves are, first, whether the principle
of organ-construction that necessitates the confusing of the Manual organ with the
Pedal organ, and the Pedal organ with the Manual—making the one too long and
the other too short–each rendered dependent on the other, while neither of them
are in themselves Complete, nor even capable of forming a satisfactory whole when
united,—whether such a system should be perpetuated, in preference to the other
principle, which has for its foundation the requirements expected of each depart-
ment, and which, from its well-tested merits, has become the standard principle of
nearly all other countries.
922. Or, Secondly, if either of the three modifications just suggested on the
original specification were to be followed, whether there would not result a much
more satisfactory instrument -
923. It should be remarked that the shortest and least eaſensive of the various
long octave Manual organs was selected wherewith to draw the foregoing parallel
specifications. Had a longer compass been chosen, a still more surprising differ-
ence would have resulted ; which would also have been the case even with the same
compass, had two Manual organs been taken into account instead of one ; or even
one Manual organ, but having more Stops.
º: * 924. There are other grounds yet to be noticed, on which
Of . antials, an • * - t
against CC, considered. º º for the perpetuation of elongated Manuals is
Ollí1C162C1.
925. It is urged—(1) that the introduction of the extra keys offers scope for the
production of many fine effects; (2) that their presence is absolutely essential to
serve as Pedal tones ; and (3) that shortening the compass is going backwards in-
stead of forwards.
926. That sounds below CC on the Manual are of the greatest use, and capable
of most impressive results, has already been admitted, and is, indeed, self-
evident. What is maintained is, that the desirability for their introduction does
not call for a lengthening of the Åey-board.
927. When, for example, such Sounds are required, it is very easy to draw the
16-feet stop alone, when they will be obtained not only to GG, but seven semitones
lower. For this method of using the organ we have the authority of the greatest
organist and organ composer that ever lived. Sebastian Bach not only played, but
actually wrote some of his music to be executed with the left hand on a 16-feet stop
only ; by which means he drew from his instrument the practical effect of a CCC
Manual, without overturning the theory of organ-building to obtain it. (See trans-
lation of Forkel’s Life of Bach, page 86.) f
928. No rules, or specific directions, setting forth the manner of using the
extra keys of a GG organ with the hand, with fine effect, have ever appeared in
print; and music for the organ, of what kind soever, offers little or no assist-
ance on the subject; but, on the contrary, generally discountenances them. So
that all is left to chance;—one has to invent a mode of using them, if they
are to be touched at all ;-and it is but a natural consequence that the attempts
should, in different cases, be attended with various degrees of success, That the
AND ERECTION OF AN ORGAN. 223
Manual keys below CC are seldom made use of with the hands when they are
introduced is clearly evinced by the comparatively £erſecſ state in which those
keys are invariably found, when most of the others are so much worn as to
require renewal. ºw-
929. But whatever may be the effects attendant on the lengthening of the
Manuals, if they be placed in juxtaposition with the decrease sustained in the
number of the stops ; the loss of the numerous soft combinations that could have
been made with the aid of those stops for accompanimental purposes; and the
impossibility of playing the best music even correctly, still less with adequate
effect; it will then be seen what sacrifices must be made to secure the presence
of five semitones—the advantages of which, when they are obtained, is very gene-
rally questioned.
930. The next position, “that the presence of the extra notes on the Manual
is essential, that they may serve as Pedal tones,” offers anything rather than
assistance to the principle of organ-construction it is intended to support. The
anomaly of attaching to the Manza/keys pipes that are expressly adapted for the
feet has already been pointed out. The above plea is in favour of placing certain
keys and tones on the Manual, which are conceded to be chiefly for the use of the
Pedals. This creates a fresh discrepancy, and one that assumes a more prominent
form, when it is considered for what purpose the extra tones are said to be intro-
duced, and how far it is possible they can effect the end desired. If the Manual
unison stops are required to serve as substitutes for the Pedal Diapason, they
should descend as far as those Diapasons, namely, to CCC ; if as Octave stops,
only to CC. The GG range is 7 Semitones too short for the one purpose, and 5
too long for the other ; therefore the peculiar unfitness of the notes in question,
from BB to GG, for rendering the assistance sought, in a correct and intelligible
manner, becomes obvious. -
931. In suggesting the adoption of the CC Compass for the Manual, it must not
be concluded that the notes below CC are not required anywhere, but simply that
they are not required on that clavier as Manual notes. This leads to the third
objection, that “shortening the compass is going backwards instead of forwards.”
This appears, at first, to be a well-grounded objection ; yet, in reality, it admits of
a ready reply. The great question is not which is the longest, but which is the
//lost correct, complete, convenient, compact, and economical Compass. These
questions have already been once considered, but they may be further illustrated
by a return to our former parallel. Supposing a fifth and sixth Strings to have been
added to a violin, and, no legitimate use being found for them, they were taken off
again ; the violin would not, on that account, become a less perfect instrument;--
there would be no “going backwards.” Or, to draw the parallel more closely, if,
to supply the two extra strings for the violin, two had been abstracted from the
violoncello ; and it was afterwards desired that both should be rendered efficient ;
there could be no question as to the propriety of reducing the former and increasing
the latter to the proper and precise dimensions. This latter comparison is the more
exact one to draw ; for the essential lowest octave of the Swell, or the equally
essential upper octave of the pedal organ have been but too often omitted, where
the one or the other might have been introduced but for the unessential notes
from BB to GG on the Great organ. It is believed there could be but one opinion
as to the most correct course to pursue in regard to the Stringed instruments ; and
it would seem surprising there should be a second one against an equally consistent
proportioning of the different departments of an organ. -
932. It may be mentioned, by the way, that although the “viols" of former
times had six strings, and the modern violins had but four, yet the latter have
224 SUGGESTIONS FOR THE CONSTRUCTION
always ranked as the more perfect instruments; while the advancement in the
composition of music for string instruments, as well as of the playing on them,
dates from the time of the general adoption of the instrument having fewer Strings.
The parallel holds good in every respect in regard to organs and organ playing in
England.
933. The advocates for the long and for the short Manuals appear to be agreed
on one very important point, namely, that the 16-feet range is the most Correct
one for as many of the organ stops as possible; the point of difference between
them being as to where the large pipes should be planted, whether on the Manuals
or on the Pedal.
934. In Germany, also, the CCC or 16-feet range is viewed as the most correct
one for the organ stops, even more generally so than in England, but not for the
organ Manuals. The Pedal is justly considered as the only proper place for their
ôass. This is conclusively shown in German specifications, where may frequently
be seen disposed to a “Principal 8 feet” on the Manual a “Principal bass 16 feet”
on the Pedal; to the “Octave 4 feet” on the Manual, an “Octave bass 8 feet” On
the Pedal; to the “Flöte 4 feet” on the Manual, a “Flöte &ass 8 feet” on the
Pedal; to a “Quint 5; feet” on the Manual, a “Quinten bass of IO3 feet” on the
Pedal; and so on. A reference to the German specifications in the Appendix—
taken either from German organ books or copied from the stop labels themselves
—will fully illustrate this fact.
How the CC Manual 935. The question here suggests itself how the CC Com-
tº wº * * pass ever came to be exceeded. The Manual range of the
organs built immediately after the Restoration generally con-
sisted of four octaves, from CC to cº in alt. (See Dr. Burney’s article on the
organ before referred to.) The Double Diapason at that time was Scarcely
known in this country, and was certainly not appreciated ; the Pedal organ
was entirely unknown ; so that the English instruments of the date in question
lacked those deep and Sonorous tones which render an organ so peculiarly
well adapted to its place in the church, and so superior to all other instru-
ments for religious purposes. In proceeding to supply the existing deficiencies,
without regarding either of the two systematic courses that were open for
adoption, the third and only remaining mode of doing so was by extending the
Manual downwards. Two notes were therefore added; one, sounding AA,
placed on the CC sharp key ; and the other, giving GG, on an additional
key placed next beyond the CC one. A Manual of this kind is now called a
“short octave.” Manual, to distinguish it from the still longer ones that are to
be met with. The result of this experiment being favourable as to the effect,
the intermediate semitones from CC to GG were applied (excepting, perhaps,
the GG sharp); and thus the GG long octave Manual organ was formed.
Further extensions were subsequently made ; first to FFF, then to CCC.
It is now, however, admitted by the great majority of English organists that
these added keys do not so properly belong to the Manual as to the Pedal;
and that no sufficient grounds exist for introducing them as adjuncts to the
former-mentioned departments in new work. It is not considered a sufficient
reason for so doing, that the Manuals were made to GG in our fathers' time.
Besides, if the key at which the Manual ought to stop is still to be passed—if the
rules which should keep its compass within proper bounds are to be
disregarded—there then exists nothing to prevent the introduction of a GGG
or even a CCCC Manual, if individual taste should desire it. Such an
extension would be but carrying out, to the extent of a second octave, the
AND ERECTION OF AN ORGAN, 225
elongating principle, which many would advocate to the extent of one octave, and
which, moreover, would be equally justifiable on the same ground of individual fancy.
936. That the CC is the only true Manual compass would not then seem
to be so much a matter of individual opinion (as must be the supposition on
behalf of any other), as a self-manifesting fact—all church music clearly showing
it to be so. That it is also the only one that facilitates the perfecting of the
range and proportionate development of the other departments, by avoiding an
undue outlay on the chief Manual organ, is also beyond a doubt. Under all these
circumstances, independently of others about to be mentioned, the CC compass is
the only one that can be suggested with confidence for adoption as the best for
the Manuals of new organs. -
The confusion in the 937. But there is a disadvantage in lengthening out the
sº Manual stops that has not as yet been hinted at, and one,
moreover, that seems to be always overlooked by the pro-
moters of long Manuals, namely, the confusion into which such elongation
throws the question of the standard length and the literal pitch of the stops.
It must have been observed that in much organ music, to save specifying any
particular stop that the instrument might or might not contain, the direction
given is often simply an open one ; as, for instance, “one 8-feet stop,” meaning,
of course, thereby, a unison stop. Now, by extending the compass of the stops
downwards, their size is altered ; and so great is the confusion caused in conse-
quence, that many of the lengthened stops on a GG, FFF, or CCC organ are
made to assume a size identical with that of certain other stops, correctly ranged,
to which they are quite opposed, either in nature and method of usage, or both,
and which ambiguity is eminently calculated to throw those who are desirous of
identifying the size and pitch with the use of the stops into the greatest doubt and
perplexity. For example, an Open Diapason would be of 8-feet length on a CC
Manual ; on a FFF Manual the Quint would be the stop of that size; and, on
one of the CCC compass, the Principal. If, therefore, an 8-feet stop were really
to be drawn as directed, it would in the first case produce the right effect, but in
the second would sound the music a fifth higher than written ; and in the third the
octave above. Again, in the instance of a GG organ, the Diapason and Principal
(Ioš and 5; feet), which should be freely available for the majority of combinations,
and understood to be so, are, from their altered size, made to be identical in
measurement with the Quints of better arranged organs; while the Twelfth and
Larigot of a FFF organ (4 and 2 feet), which require to be used with much care,
are by the same process made to correspond in size with the Principal and
Fifteenth of a CC organ, which are scarcely at all restricted in their use. In fact,
the sizes of the Unison, Octave, and Mutation stops are mixed, crossed, and
inextricably confused together.
938. But, it might be suggested, if the confusion of lengths could somehow be
got over (which of course it cannot), and the Manuals were to be extended down
to CCC, whether then there would not result a satisfactory substitute for a proper
Pedal organ, and one, moreover, that would offer great conveniences for the pur-
pose of duet-playing. In one sense it would, but at the same time new difficulties
would be created. What is required of an efficient Pedal organ is not simply a
bass to the Great Manual stops, neither more nor less, but a Pedal bass to as
many of the leading stops of all the Manuals as circumstances will permit, with
the addition of such others as will stamp that department with a character of
individuality. All these ends can never be attained by extending the compass of
the Great organ, even to CCC.
C C
226 SUGGESTIONS FOR THE CONSTRUCTION, ETC, OF AN ORGAN.
939. And with respect to the conveniences for duet-playing, a principle of
organ-building, that takes two performers to produce the effect that one could
manage under proper circumstances, can hardly be said to be an advantageous one.
940. Again, if the Manual unison stops be increased to the 16-feet size, the
Doubles will become 32 ; and, 32 being then the unison size for the Pedal, the
Doubles will be 64 feet in length. The full development of a long Manual organ
would demand the introduction of pipes nearly the height and bulk of factory
chimneys, which would be destitute of definite tone when made.
941. In suggesting the adoption of the CC compass for the Manual, it will
not of course be supposed that discontinuing the Manuals at that key will,
alone and of itself, render an organ a better and more perfect instrument. It
is nothing more than one necessary step towards a successful issue—a means
to one end. Two of the most prominent faults of the long Manual systems
are, they allot too much to certain Manuals, and too little to the Pedal, both
of which faults require correcting. But if the 16-feet octave, or even a portion
of it, be omitted from the Manual, and nothing be added to the Pedal by way
of compensation, then the organ is left practically less efficient than it was
before, in spite of the theoretical corrections. This is because the “bass” of
the stops, instead of being simply transferred from the Manual to the Pedal,
is omitted altogether, giving strong ground to justify the opinion of the pro-
moters of the long Manual systems, that “shortening the Manual compassis
going backwards.” The minimum number of “ Pedal basses” which a CC
organ should have is one third as many as there are stops on the Great organ.
The maximum number is one-third as many Pedal basses as there are stops
in the entire Manual organs. Below the former proportion the Pedal stops are
never reduced in Continental organs of pretension. (See Foreign Specifications,
in the Appendix; also the works of Töpfer, Kützing, Seidel, Schlimbach, &c.)
These observations, however, are not intended to qualify in the slightest manner
the ample proofs already adduced of the great superiority of the CC organ,
when consistently carried out. As compared with it the inferior and patchy
Pedal effect of the GG organ is only equalled by a second unsuccessful imitation,
also peculiar to long Manual organs, namely, that of mimicking the effect of a
16-feet stop by coupling the Choir organ to the Great in the octave below. Such
expedients in co-existing organs that have only been partially remodelled ‘aré
innocent enough, but they offer no satisfactory precedents for their adoption in
new work,
tº: range of 942. With regard to the upward range of the Manuals,
iº organ music very seldom ascends beyond cº in alt; while
the psalm-tunes and chants, of course, do not reach anything like so high ;
but as the pipes to the keys above that cº are small, do not occupy much
room, and cost but little, and moreover are very useful in a variety of ways—
particularly where there are octave couplers—the Manuals are generally con-
tinued up to gº, a”, or even to cº in altissimo. The latter range is in some
respects desirable for concert-room organs. The late Dr. Gauntlett was one of
the earliest and most strenuous advocates for the CC organ, and for the concentra-
tion of a grand body and variety of tone on the Manuals,
OF THE PEDALS AND PEDAL ORGAN, 227
CHAPTER XXXII.
OF THE PEDALS AND PEDAL ORGAN : THEIR INTRODUCTION
INTO ENGLAND ; AND CORRECT COMPASS.
943. AMONG the most important additions and improvements that have been
made to the organ in modern times in England are to be classed the introduction
of Pedals, and the establishment and subsequent development of the Pedal organ.
These features, the importance and utility of which have for centuries been appre-
ciated so justly on the Continent that a place has been assigned to them in every
instrument of even moderate pretensions, are even now only just beginning to be
adequately valued in this country. Yet, as Forkel observes, in his Zife of Bach,
page 99, “the Pedal is an essential part of the organ : by this alone it is exalted
above all other instruments; for its magnificence, grandeur, and majesty depend
upon it. Without the Pedal, this great instrument is no longer great; it approaches
those little organs called in Germany Positivs, which are of no value in the eyes of
competent judges.” - -
944. A few particulars concerning the date, compass, and number of stops
found in some early Continental Pedal organs may be of use, as showing at how
early a date an independent Pedal was appreciated abroad.
NAME OF PLACE. IDATE. NUMBER OF STOPS. COMPASS, NO. IN FOREIGN
º SPECIFICATIONS,
Amiens Cathedral . . . . 1429 . 7 * > . . . . . . * * * * * * * * 0. I4.
Constance Cathedral . . 1518 . 8 . . . . .. . . . . CCC to Gamut G , , HIS
Freiburg in Bresgau . . 1520 . 4 * * * * * * * * CCC to CC . . . . 37
St. Peter's, Hamburg, } & gº
is 8 . p ****** *******E) & VJ, jº, Avevº Q 6 & e o 'o e o g
earlier than . . . . . I54 13, including 2 of 32 feet 69
Rouen . . . . . . . 1630 . 8 . . . . . . . . CCC to tenor c . . . 17
Lucerne Cathedral . . . 1651 . { 13, including I of 32 feet, } CCC to tenor c, short , II4
*. and 5 of 16 feet
St, Nicholas, Hamburg . 1686 . 16, including 2 of 32 feet . . . . . . . . . 68
945. It is not a little remarkable that Smith and Harris—the former of whom
studied his art in Germany, and the latter in France—should never have made a
Pedal organ, nor even Pedals, in England. What the cause of this striking omission
could have been cannot now be positively ascertained ; but we know that nearly
every other real improvement in its turn met with the greatest opposition—as the
introduction of Doubles, the establishment of equal temperament, the restoration
of the CC compass, &c.—and probably the idea of introducing Pedals met with no
better reception. Be this as it may, Pedals were not introduced into England till
nearly the end of the last century. According to an autograph letter, written by the
late Charles Wesley, and which was in the possession of the late Dr. Rimbault, the
Savoy organ, by Snetzler, was the first that had a Pedal-board, without, however, any
pipes, and which formed part of Snetzler's original work. Another account states
that the organ in St. Matthew's Church, Friday Street, was the first to have
Pedals; and, further, that they were of the two-octave CCC in compass, with a
complete set of Stopped Diapason pipes of 16-feet tone attached; and were made,
in 1790, under the direction of the late Rev. Mr. Latrobe. A third account is that
the first Pedals made in England were those applied to the organ in Westminster
Abbey by Avery ; that they were a miniſh in compass, GG to Gamut A, with an
octave of unison Open Pedal-pipes attached; that they were such a novelty and
C C 2
228 OF THE PEDALS AND PEDAL ORGAN,
curiosity that people used to go from far and near to hear and see them ; and that
Dr. Benjamin Cook, who died in 1793, composed his fine Service in G for the
opening of the instrument after receiving those additions.
946. Whichever of the preceding accounts is right or wrong, one fact is certain,
namely, that the range of the Pedal-board and Pedal-organ, like that of the
Manual and its organ, have in England been subject to great diversification. In
seeking to form a governing opinion on this subject—i.e., of the correct Pedal
compass—the only sure course is to consider for what end the Pedal is introduced
into the organ, and to take as a guide the result to which that consideration may
direct us. The primary object, then, is to enable the organist to play the bass part
of any church composition with his feet,” so that the necessity of his deserting
the tenor and perhaps other inner parts may be obviated; to which, it is Scarcely
necessary to say, his left hand should be chiefly devoted.” -
947. In Germany, Holland, &c., where the true principles of organ-construction
and organ-playing are more generally understood and appreciated than was the
case till lately in England, the question concerning the compass necessary for the
Pedal-clavier and organ has long been set at rest; whereas in this country no
attention at all commensurate with the importance of the subject was bestowed
upon it, either by organists or organ-builders, until within the last few years; but
the Pedals were generally made to accord with the incorrect GG Manuals.
948. But, as music had to be more or less altered and injured to suit such
Pedals, a proper spirit of inquiry was awakened ; the contents of the English and
German sacred musical storehouses were diligently consulted ; and from those
unimpeachable sources a solution to the problem was obtained—“What is the
proper compass for the Pedal P” The result of these examinations was the
decision, that, to be competent for their purposes, a Pedal-clavier and organ should
possess a range of from 27 to 30, keys and tones, commencing at CCC, and
ascending to tenor e or f. • - - -
949. This CCC scale has accordingly been almost uniformly adopted in
England during the last few years. Occasionally, however, the old GG, or some
other long octave range, has been adhered to, consequently it will not be super-
fluous to set forth on what substantial grounds it is considered wholly unsuitable
to the present advanced state of organ-playing in this country.
The insufficiency and 950. The first disadvantage attendant upon a GG pedal-
incorrectness of GG º - º e -
Pedals for practical board is, that a very large proportion of the music written
purposes. expressly for the church cannot be correctly played thereon.
Even many of the little pieces in the instruction books of Rink,
Hesse, &c., are beyond their capabilities. In fact, Pedals that have descended no
lower than GG are precisely in the same imperfect state that a violoncello would
be without its fourth string, that is, also descending only to G ; and the straits to
which a violoncellist would be reduced by such a curtailment of the proper compass
of his instrument, may well be adduced to faithfully illustrate the difficulties which
* Bach “produced with the Pedal, not only the lower notes, or those for which common
organists use the little finger of the left hand, but he played a real bass melody with his
feet.”—Forkell's Zife of Bach, page 33.
ºf The Tenor was formerly the Canto Fermo, Plain-Song, or principal part in a composition,
and derived the name Tenor from the Latin word teſtigo, I hold; because it held or sustained
the air, point, substance, or meaning of the whole Cantus; and every part superadded to it was
considered but as its auxiliary. In Tallis's Responses the Plain-Song is preserved in the tenor,
of THE PEDALS AND PEDAL ORGAN. 229
an organist who desires to play correctly has to contend with when performing O1).
Pedals so incomplete in their downward range. -
The wrong pitch in 951. In such case, even passages which actually lie within
**** their compass are not sounded in the right pitch on the
stops such passages as Manual stops. It is the true nature of a Manual unison
do come within their stop to produce sounds in exact accordance with the notes
range. written ; whether the keys be pressed down with the fingers,
or drawn down by the Pedals; but this, usually, is what is not the case on
GG organs. For instance, if some simple progression, such as the following,
-a-
Z2\º | 62
Vºſs | fºL)
Yº->

|
| | &º
be played first on the Manual unison stops, and
then repeated on the Pedals coupled thereto; instead of the same sounds
* Z2:SY a j
UVºys |

being produced we have the following, SC’Tºº = . In fact,
-6:2-
we find this singular confusion of “size” and “sound" presented by a GG
Open Diapason ; while the stop itself is of Io; feet standard length, its pitch
will be of 8 feet if played with the hands, and of 16 if played with the
feet. - - -
The impossibility of 952. The second disadvantage attendant on a GG Pedal-
sº º: board consists in the impossibility of satisfactorily attaching
Pedals; : º f. thereunto an octave of pipes having CCC for their lowest
pitch in which the pipes Sound. The Pedals do not extend low enough to admit of
i. when they** the pipes being applied to the right keys; hence they are
º made to act on the only perfect C octave which the Pedals
do present, namely, the octave above. But, in applying them in this manner,
the pipes undergo transposition, which materially alters their nature. Instead
of forming the lowest octave of a 16-feet stop, they then constitute the upper
octave of a 32-feet stop, and produce a sound two octaves lower than the
notation, thus :- -
* * -e-_
Written tº-E £2 gº Sounded "Sº |
| t =E =E =E
--&- –E -a-
-ax-
953. The incorrect Manuals suggest wrong Pedals ; and the wrong Pedals
necessitate a defective application of the “CCC. Pedal pipes.” The pipes being
attached to the Pedals, in the manner just noticed, the remaining half-octave of
Pedals (i.e., the five treadles from BB down to GG) are either made to communi-
cate with the same pipes as their octave above, or they are furnished with pipes in
unison therewith ; the result in either case being virtually the same. A “return”
or “repeat” is caused in the series of Pedal sounds, which leads to this singular
anomaly—that the pipe which produces the lowest sound is attached to one of the
middle Pedals, while another that gives one of the medium sounds is made to act
on the lowest Pedals.


£2
=
The false readings 954. The third disadvantage attendant on a GG Pedal-
**. * * board arises from the compulsory attachment of the CCC
e pipes to the wrong octave of Pedal keys, and the consequent
“return” that takes place on the half-octave of keys below. By this “return
230 OF THE PEDALS AND PEDAL ORGAN.
Pedal pipe system” the GG, G sharp, A, A sharp, and B Pedals are made
to produce precisely the same sounds; so that whether the upper half-octave
6.2 gº
Z2SN & º gº §§ I/2\\s §.
of Pedals be used Sº f or, the lower, Sº-E |
| tºº º 62 . .
ſº €2 C §§ - º º
or both together, Sº-E # no contrast or relief of any kind can
Kº" Cº §§
agº.
Q-º"
be gained. The consequence of this identity in the sound produced from both
ends of the GG Pedal-board is, that such musical progressions as can be played
on the treadles are altered, transposed, and reversed in their sounds, in the most
remarkable manner; often producing effects of the most startling and grotesque
description. A few illustrations of this fact will now be given.
955. The first is taken from the well-known Chorus in Handel's Messiah.
“And with His stripes.” The subject, on its first entry in the bass, stands thus
in the score :-
/2-Ns. A 2-, } S- T. | | |- —
[\ºſe TXTºrº Tº TE-T_º | | Tº 2- J. Q. &c
SL2TENTI | It i |Tºº TTECTS-T.I. º
2–2. | L- LPººr—L ––
956. On “return Pedal pipes” it is given in the following form —
:#
/2\º V. | T | T
-\º-E-P-A-2–nº | | | | i &
S-lººks & | | | | | PTA-Sººl | C.
*—2 |T] |-C-L-A-I- | |-- i
© –63– af -ad- -63–
the subject being, in a musical sense, destroyed by the “return,” marked by an
asterisk, and a grammatical error of the worst description introduced.
957. The next illustration is the subject of the concluding Chorus in Mozart's
Miffany:--
ë &
---(2–?-?------L--ſº-º-º-T- fº-º-º-Leºfººz-L-
\"\"Tº IX Cººl | | | | |TTS-3TTITII | Yº! I tºº ſº I { || || || || Effie-Hº- &c.
Nº.2 º’ \'ºZº. H–H ~ T. ſ." " ' | * ~ 23 LL n I kºº-ºº! t º
V | Gº L | * - L. | - *
958. The above—one of the most dignified subjects ever written—is thus
altered by the “return Pedal pipes”:-
Hº-EEEEEEEEEEEEEENEEEEEEEEEEEESEE &
*#####H#H##############Fº C:
- Taj-
959. The reading conveyed of the first five bars of this subject then consists
of a tame and meaningless reiteration of a single note, - -
960. The following few chords exhibit the progress of the harmony in the
opening phrase of the introductory Symphony to Handel's Coronation Anthem,
Zadok the Priest —

OF THE PEDALS AND PEDAL ORGAN. 231
and the following notes show the very objectionable form the resolution of the
Seventh in the bass is made to take by the return Pedal pipes —
f
I/2\º | | | T D.
TVººZººlºſſTS | I L T L–
Scº TTTU | L | | *C. |
T L L L { S-> L–
~ -zº- #5. §
2. ' ^*==xxº~~ *exas-a-
961. The foregoing selections are from works written for voices and instru-
ments. The two following are subjects from strict organ compositions.
962. No. 1 is taken from Bach's well-known Fugue on the German Chorale,
“Wir glauben alſº au einen Goff,” and which stands thus in the composition
itself —
963. This is given out in the following form on the “return Pedal pipes”—
964. The next is from Mendelssohn's Fugue in C minor —
966. It would scarcely be possible to recognise either of the foregoing subjects
when played on the Pedal pipes alone; for the original order and nature of the
intervals from note to note are so frequently altered, that but few vestiges of the
Original progression remain.
967. Here are two of the simplest subjects that are to be found in the whole
range of Our Standard choral works for the Church —
Opening subject of the Anthem, “I will exalt Thee” by Dr. Tye.
ă
j i
23–2–E &c.
t_ L
=
H
º
zºº
Kº"
-(e)#H#-F#, H H
Sºº-jº-kij H=H E &c.
Z LZ "T 2- |--|-l |-
i
-à: ºf
E.



232 OF THE FEDALS AND PEDAL ORGAN.
Opening subject of the Anthem, “Almighty and everlasting God,” by
"- Orlando Gibbons — •

*º
_/2\º i
_\ \º a 1 ſº {->
|
|
2- |
wº |
e–E–2—25— FF
S-2TFTUDT. { | | | 2- 2–H–e, &c.
y--- | | | * l © *_-sº |
Subject as given by a return Pedal organ :—
-º- | ſ | |
AS2=E={}- ; i–T- =~! = | &c.
- V :- c c Ö aft } | | º Q-º’ –H t
6: -zº- -e- TCT

968. The list of examples of false reading rendered unavoidable by the principle
of organ-Construction already adverted to might be increased ad infinitum ; but
this must be needless. The above specimens will be sufficient to show how defec-
tive is the GG Pedal and “Double Pedal pipe” system. For concert-room organs
it is absolutely worthless.
The intrºduction of 969. But, independently of violating the rules of the Grammar
º, of Music when they are being used, the “Double Pedal pipes.”
not in accordance with by their introduction as the first stop on the Pedal, involve a
the laws of organ departure from the very rudiments of organ-building ; one of
building. which is, that the unison stops of each Clavier, as being the
most important, shall be first introduced. Others are (1) that the Sound of the
unison stops shall predominate; and (2) that the first stops proposed for the
Pedal shall be the bass to some of the Manual stops. That it must be impossible
for the Organ-builder to balance the tone of his instrument properly, if the most
important Pedal stops—the 16-feet—are designed to be excluded, and another—
the Double—which should be subservient, is to be introduced, is self-evident.
Moreover, the specification itself presents great want of unity and clearness of
design, when the “Double” is the only stop proposed for the Pedal, and yet is the
stop that is omitted from perhaps all the Manuals, as is generally the case with GG
Organs.
970. It might be urged that the above important omission from the Pedal is
very well supplied by coupling the Manuals thereto in such a manner as to obtain
a 16-feet from the elongated stops of those departments, so far as their compass
will permit. This, however, is not really the case ; for, instead of the Scale of the
single Pedal stop being so deduced from that of the borrowed unison as to Secure
the predominance of the tone of the latter, it is generally so much larger, and the
power and density of its sound so much greater, that it cannot be reduced into
proper proportion, even if the Diapasons of all three Manuals are coupled together
and brought to bear against it.
971. In fact, after carefully considering what are the characteristics of a GG
organ, with Pedals of the same compass and return Pedal pipes, and ascertaining
its theoretical and practical defects, it scarcely becomes a subject of wonder that
Such a system (or rather no system) should be considered unworthy of perpetuation
in the present day. >
972. For, in the first place, it is as necessary to have the bass part of a
composition played in an intelligible and correct manner as any other—more
particularly as part-singing, and consequently part-playing, is now more often
encouraged and appreciated in the English Church than it used to be ; and
in the next, on an instrument so defective in the main points we have
described, the greater part of the music of the church can either not be played
at all, or without due effect; as is but too well known to many an organist
OF THE PEDALS AND PEDAL ORGAN. 233
whose misfortune it is to have so inconsistently arranged an organ whereon
to play. Even the very name “Pedal pipes,” as applied to the single half-
stop on the Pedal of a GG organ, is devoid of definiteness and intelligibility.
From such a name it cannot be gathered whether a stop, so called, sounds
in unison with the Manual Diapasons, or whether it gives the octave below;
or if it does neither the one nor the other in particular, but partly both. Neither
can it be discovered whether its pipes are made of wood, or of metal, or
whether they are Open or Stopped. Then of the Scale: the CCC pipes will in
some instances be scarcely IO inches deep ; while in others it will be 20 inches
—that is to say, there will be a greater difference than between the Dulciana
and Open Diapason on the Manuals—yet there will be nothing whatever in the
name or labelling to announce the difference. All these varieties of pitch,
material, scale, and structure, are alike to be met with under the one indefinite
term, “Pedal pipes.”
The premature intro- 973. Besides the defects above ennumerated, which they
* * º: bring with them, the premature introduction of Double Pedal
hindrance to the in pipes is an injudicious step on other grounds. They are often
troduction of more the means of preventing the subsequent introduction of the
*** more important unison Pedal stops, on account of the false
impression which they convey of the “size” of the instrument of which they
form a part. Instances might be cited, where an organist has represented to
the authorities the imperfect state of his instrument ; and has been told, in
reply, that the organ is “too large” or “too loud” already ; and this, too, when
there has been but half a Swell, no Choir organ, and no Open Diapason,
Stopped Diapason, &c., on the Pedal. Nor is such an answer made without
some justification, although founded on a serious misconception. Those who
have had neither the requisite leisure, nor opportunity to make themselves
acquainted with the technical details and practical working of an organ, can
only speak of the instrument from the effect which it produces on them in the
church ; and an octave of Pedal Zºfles (in a Small organ), sounding two
octaves below the corresponding octave of the bass voice, of a larger scale than
those forming any other stop in the organ, and often supplied with a wind
of extra strength, are just the very things to betray one who so forms his judg-
ment into a wrong conclusion. Their tone, Standing apart from the remainder
of the instrument, as it must do under such circumstances, arrests the attention
of the auditor ; who, erroneously taking that as a Sample of the sound of all
Pedal stops, feels opposed to the introduction of the latter. It may seem
paradoxical to those who are not sufficiently masters of the subject to be aware
of its perfect truth, that an organ will possess more adequate means for being
played soft, if the one octave of Pedal £iffes be omitted, and some three or
four complete Pedal stops be introduced ; but such is nevertheless the fact.
It is constantly the case in accompanying church music that a soft Pedal
unison bass (that is, one of 16-feet pitch) is the only appropriate bass, while
one of a heavier and deeper tone is quite opposed to the purpose ; yet when,
instead of some of these most important Pedal stops, there are only the
“ Double Pedal pipes” at command, the organist has no alternative but either
to use those, in spite of their manifest inappropriateness, or none at all; and
with the certain prospect of missing the true effect, do what he may, and
perhaps of being held responsible afterwards for the result. What has been
here advanced in relation to church organs applies with even greater force to
concert-hall organs,
234 OF THE PEDALS AND PEDAL ORGAN.
The arrangements of a 974. How strongly do the simple, systematic, and perfect
C C organ contrast 4. ^. g
i...."...it.”.. arrangements of the Pedal of a genuine CC organ contrast
of GG compass, with the complicated, faulty, and incomplete attributes of the
GG plan, many of the particulars of which have just been
detailed ! For instance, on a correctly planned CC organ, the bass part of any
piece of church music can be executed on the Pedals in all its integrity, let the
instrument be ever so small. In the next place, music that is played thereon,
with the Manuals coupled thereto, is not only sounded in the correct pitch, but
is also given in octaves, consisting of the actual sounds represented by the
notation, with the addition of the octave below, as would be the case in duet-
playing on a CCC Manual organ. The most skilful left-hand would fail to play
passages in octaves on a long Manual key-board, which can be executed with ease
on a properly arranged CC organ. The Manual unison stops (8 feet) give
the various progressions as they stand (just as bass voices or violoncellos would),
while the Pedal unison stops (16 feet) give it as faithfully in the octave below ;
that is, in the pitch corresponding with that of the double basses;–So happily
does an artistically planned organ facilitate, and render comparatively easy, the
perfect execution of music of the highest and most difficult class.
975. It should be the aim, then, of those to whom is entrusted the task of
designing an organ (if it really be desired that the instrument shall be as
applicable and adequate to all its purposes as circumstances will permit, and
be worthy of recognition as a work of art when completed), to eschew all plans
that involve the violation of those rules and principles of which every organ-
builder and organist is naturally supposed to be an upholder. All attempts to
produce an artistic instrument will prove futile, unless the stunted GG Pedal-
board and the imperfect and defective 32-feet stop be given up ; and, in their
lieu, a CCC set of Pedals, and at least one intelligible stop of 16-feet pitch, be
substituted. In organs, even of the most diminutive kind, this is quite attainable.
A Covered stop of that size of tone might, in extreme cases, be disposed on
the Pedals; in moderate-sized organs, two or three 16-feet stops should be
introduced. In instruments of larger dimensions a 32-feet Sounding Stop may
be added ; and in those of the first magnitude (and in those ONLY) should a 32-feet
Open stop appear. The 32-feet stop, therefore, is one of the last, instead of the
very first, to be proposed. The rules which regulate the admission of these and
smaller Pedal stops, form a subject for separate consideration,
976. It need only be added here that the CC Manual key should be capable
of being united to the CCC Pedal ; the tenor c to the CC Pedal; and the middle
cl key to the tenor c Pedal. The intermediate Manual notes would of course be
attached to the respectively positioned Pedals.” Thus would be secured the
presence and union of the 8 and 16 feet scales, even in an instrument of the most
prescribed limits.
* In adding C Pedals to a long octave Manual organ, it would be necessary, in order to
prevent the notes below CC from becoming useless, to have two Pedal-couplers; one-of
the kind above recommended, and another to unite the GG Manual note to the GG Pedal,
and so on. In many existing cases, where there are CCC Pedals and GG Manuals, the
Pedals from CCC to FFF take down the Manual keys from CC to FF, and then the GG
Pedal draws down GG on the Manual. This creates a second return,
THE SITUATION FOR THE ORGAN. - 235
CHAPTER XXXIII.
THE SITUATION FOR THE ORGAN.
977. The next subject for consideration—the situation for the organ—is of
no less importance to those already discussed; since on it depends, in a great
degree, the best effect of the instrument when finished. So great an influence,
indeed, does the position exercise on the power and quality of an organ, that an
inferior instrument favourably situated will sound better than a superior one that is
unfortunately placed ; and a weak-toned instrument in a good position will sound
louder than a fuller-toned one in an unfavourable situation.
Acoustical facts to be 978. Before entering upon the inquiry as to which are good
consulted. Situations and which are not, it may not be unimportant to men-
tion certain facts connected with the production and propagation, the absorption
and weakening, the interception and reflection of Sound ; as a recollection of these
will materially assistin illustrating the relative excellence, or otherwise, of the several
sites that will have to be brought under notice.
How sound is produced 979. First, then, as to the production and propagation of
and propagated. Sound. “When bodies are brought into sudden contact,” says
the author of the volume entitled The Art of Improving the Voice and Ear, “ or a
single body is made to vibrate or expand suddenly, it must displace a quantity of
the surrounding air. The air which is thus displaced in its turn displaces that
portion of air which is next to it or beyond it on every side, above and below, before
and behind, on the right and on the left. This displaced portion of air displaces
again what is beyond it, and so on, in a manner similar to the circles of water
which arise from throwing a stone into a pond. In the case of Sound, however,
the waves are not in suffeºficial circles, but in Søheres, like the coats of an onion.
Sound, then, travelling, as it does, in all directions, this circumstance clearly
accounts for the excellent musical effect which an organ produces that occupies a
central position in a building ; as, for instance, the choir screen of a cathedral, or
other large cruciform church.”
How brief sounds dis- 980. A Sound that is only an instant in duration and not
perse. continuous does not spread like a flood of water, pervading
every part over which it passes; but, like a ripple made in a lake, which leaves
in repose the part that it has quitted. This may be ascertained by striking a
full staccato chord on a cathedral organ that occupies a central position, when
the sound will be distinctly perceived retiring from the instrument to the
remotest parts of the building, gradually lessening in power, and ultimately dying
away.
How sustained sounds 981. A continuous Sound, on the contrary, pervades the entire
** space through which it has travelled ; because fresh sound-
waves are constantly being engendered, which successively
236 THE SITUATION FOR THE ORGAN.
occupy the space the preceding ones have left. This is the reason that the first
Sound of a Sustained chord on a cathedral organ is not heard receding. The greater
strength of the Sound-waves nearer the instrument, from being less spent by
divergence, prevents the original sound being heard. On raising the hands, how-
ever, from the keys, the sound will again be heard fading away.
The distribution of a 982. A sound that is produced in such a situation that it
º º,a. * cannot travel backwards, on account of there being a large
reflecting surface to check its progress in that direction, as in
the example of an organ placed at the west end of a church, spreads somewhat
after the manner of the rays of light through the bull's-eye of a lantern. It travels
forwards and sideways, upwards and downwards, and spreads as it proceeds. It is
also reflected forwards by the surface behind ; and derives some accession of
strength from being so reflected. Sound, however, being greatly more reflexible
than light, it spreads more rapidly, makes its way into recesses, round Columns,
and passes great walls or corners of buildings, where the Solid interpositions would,
in the example of light, only cast shadows.
983. An illustration of the fact of Sound spreading as it proceeds may easily
be found in a galleried church having the organ at the west end. The tone
of the instrument is heard the most completely, not by stationing one's self
immediately inside the door, at the side of the organ, leading into one of
those appendages; but by traversing the gallery Some little distance. In a
similar manner, an illustration of the fact of Sound descending as it progresses,
is given in the circumstance of an auditor in the nave having to place himself at
some distance from the instrument to hear it to the greatest advantage ; and in his
having to increase that distance in proportion to the elevation of the organ above
the ground,
984. The extent to which the sound of a west-end organ is strengthened, by
reflection from the surface behind, does not meet with a familiar illustration in
a church that has the instrument so situated ; but, in those cathedrals wherein
the organ occupies a central position, a good example is presented by the effect
of the “Choir organ in front;” the tone of which sounds strong in the choir,
into which part it is directly reflected by the Great organ case behind ; but
which sounds weak outside the choir, on account of the Great organ case
standing between the Choir organ and the auditor, and, therefore, presenting
an interposition to the tone travelling in that direction. The extent to which
the Great organ case assists the tone of the Choir organ in its forward progress
into the choir, and checks its backward course into the nave, are points that
received distinct illustration in St. Paul's Cathedral in the year 1854, on the
occasions of the Sunday Morning Service being celebrated in the choir of
the church, and the afternoon under the dome. In the fore-mentioned part
of the building the tone of the Choir organ, as far as the Principal,
reflected as above, sounded louder, and afforded more support to the vocal
choir, than did the same stops, with the Twelfth and Fifteenth added, impeded
as above, when the singers sat outside the choir screen. Another proof,
though of a negative kind, of the extent to which a sound is strengthened by
reflection, is afforded by the circumstance of its being so much weakened by
the removal of the reflecting Surface from behind. An illustration of this fact
was given at Westminster Abbey, when the Great organ was removed from
the centre of the Screen ; which alteration, allowing more of the tone of the
Choir organ to travel backwards into the nave, caused it to appear more “faded”
in the choir, - ---
THE SITUATION FOR THE ORGAN, 237
Sound weakened by 985. As the circular waves on the surface of a piece of
divergence. water become more faint as they proceed and diverge, so
sound becomes weaker the farther it travels and the more it disperses. “When-
ever,” says Dr. Brewer, in his work on the Phenomena of Sound, “sound can
diffuse itself freely round its centre of propagation, it loses in intensity what
it gains in earáená, * consequently, a Sound that has travelled twice a certain
distance will only be heard with one-fourth its original strength, the loudness
not diminishing inversely as the distance increases, but inversely to the square
of that distance. This is the case in the open air; but in a building—as a
church or a concert-room—the walls and roof limit the extent of the divergence
of the sound, and so prevent its fading away so rapidly. Moreover, after the
sound has struck against them, and is checked by them, it is by them reflected
back; and, if the original sound has ceased, the reflected sound forms an
echo; but, if it continues, the latter mingles with the former, and enriches and
strengthens it. -
Echo. 986. When the return of the sound is perceptible to the
ear, it is termed an echo. A certain time, however, must elapse between the
production of the sound and its being reflected, or no echo will be perceived; and
that time at least must be the twelfth part of a second, within which interval the
ear is incapable of receiving separate impressions. The distance of the reflecting
surface, therefore, must be at least forty-seven feet from the place whence the sound
emanates to cause an echo.
Resonance. 987. But the strength and quality of a musical sound are
much, increased and improved by the reciprocation of bodies in the more
immediate neighbourhood whence the first sound emanates. Thus the vibra-
tions of a tuning-fork will, on the tip of the handle of the fork being placed
on a table, acquire a marked accession of Strength. This augmentation of
sound is due to resonance. The sonorous vibrations created by the tuning-fork
set the wood upon which it is placed in a similar state of citation; the
simultaneous vibrations of which, being communicated to the superincumbent
air, greatly increase the strength of the original Sound. The front, back, sound-
post, and all the air contained in the body of a double-bass or violin, in like
manner contribute to produce the volume of tone elicited from the instrument,
by vibrating in unison with the strings and with each other. If only the strings
vibrated, the sound would be comparatively insignificant ; but, when the entire
body of the instrument is set in motion, the impulse is sufficient to produce sounds
of considerable power.
988. A sound thus increased and enriched is capable of further augmentation
from resonance, if it is produced under circumstances favourable to the extension
of that influence. The tone of a double bass, for instance, is much increased in
power by the instrument resting on a hollow platform—as the reciprocating floor
of a concert-room orchestra. “The platform receives from the musical instrument
a vibratory motion, imparts the same to the air between it and the floor of the
building, and the whole combined gives a powerful impulse to the air in the concert-
room.” (Dr. Brewer, page 277.) - -
989. These several examples illustrate precisely the effect of resonance on
the tone of an organ. The tone of an organ is much improved by the instru-
ment being placed on a wooden floor ; and it is still more beneficially affected
when that floor is a raised one. The reasons are these. The sound-board
acting somewhat after the manner of the belly of a violin ; the frame-work
238 THE SITUATION FOR THE ORGAN.
as the sound-post ; and the wooden floor as the back ; all are thrown into a state
of greater or less vibration by the Sounds, which in this case are produced by pipes
and not strings.
990. The vibratory motion of portions of the frame-work is sometimes percep-
tible to the touch, even when a single stop only is being sounded on the sound-
board above, as, for instance, the Stopped Diapason ; while that of the floor is
frequently felt by the feet, when all the stops are in full play.
991. The air between the Sound-board and the ground is also set in motion,
like that in the body of a violin ; and sometimes its tremulousness is sufficiently
great to cause the trackers to vibrate in their registers. The tone of a large pipe,
again, is much strengthened by standing on a wooden floor, even as that of a
double-bass is by resting on the platform of an orchestra. This is one of the
reasons why organ-builders place their great Pedal Diapason pipes as near to, if
not actually on the floor, whenever this arrangement is practicable.
992. The wooden portions of the case of an Organ, again, are frequently of
essential service in increasing the resonance. It has sometimes happened that a
pipe that has produced but a weak Sound has, when tried in its situation, and been
assisted by the vibrations of the case, produced one of the finest notes in the
instrument.
993. When the wooden floor on which an organ Stands is a raised one, the
platform, together with its supports, and also the free air about the whole, are all
thrown into a state of vibration, to the augmentation and improvement of the
sound ; and when the heavy-toned bass pipes are being used, the vibrations of the
flooring or platform are sometimes communicated to the wooden fittings of the
church, or even to the very walls of the edifice. -
994, Echo and resonance, therefore, each exercise great influence on the tone
of an organ. Echo imparts to it that inexpressibly charming, etherial, lingering
effect which is so perceptible in cathedrals and other large buildings that are com-
paratively free from absorbents, after the actual sound has ceased. Many buildings
which do not produce a Żerceptible echo yet impart a certain buoyant, free effect
to musical sounds produced within them, that is highly beneficial to the quality of
their tone, as well as favourable to their distribution.
995. Resonance is the cause of the agreeable, pleasant, humming effect which
is heard to come from within the organ itself. In low, broad, galleried buildings,
where but little room has been allotted to the organ, and where the contents of the
instrument have in consequence been so crowded together as to leave but little free
space inside it, the resonance is much decreased : and an effect is frequently per-
ceived as though the Sound of the organ were struggling to develop and disperse
itself, in spite of the impediments with which it is beset. The effect of an instru-
ment so constructed and situated is frequently dead and falfable. Instead of the
many different Sounds which in an organ are concentrated on each key, mingling
together, and producing the effect of one excellent whole, every “item” falls on the
ear as a distinguishable separate and isolated Sound.
Impediments to the 996. The most common impediments to the equal dispersion
i. * * of the tone of an organ occupying a west gallery are the lateral
galleries. These catch the Sound as it spreads, and prevent its
descending into and pervading the aisles beneath so effectually as it would other-
wise do.
Absorbents of sound. 997. The materials and fabrics common in churches that
Soften and deaden sound are wool, cloth, hair, tow, matting, &c. “They shut up
THE SITUATION FOR THE ORGAN. 239
a large quantity of air between their minute and detached parts, so that they
cannot readily transmit an impulse.” (Dr. Brewer.) Cushions, hasSocks, curtains,
people's dresses, and matting, therefore, are all absorbents of Sound.
Church arrangements 998. The exclusion of lateral galleries from modern churches,
that are favourable to t th ith th tº b ſe lini e th ſº t d ti of 1
sound. ogether wi er paize unings; the Introduction ow open
seats, in place of high closed pews ; the removal of hassocks in
favour of kneeling-boards; and the substitution of Minton's tiles for matting up
the avenues; these are all favourable steps towards the preservation of the
acoustical properties of the building.
Absorbents sometimes 999. While the influences of impediments and absorbents
*...* * are, generally speaking, highly detrimental in their effect, there
excessive echo. 5 e “s, º 5
have been instances of the latter being made to serve a bene-
ficial purpose ; as when the echo in a building has been so great as to render
Sounds, whether of the voice or of music, confused and indistinct. At the Chapel
Royal, Whitehall, the echo was found to be so excessive, a few years ago, after the
building was restored, that the clothing of an assembled congregation was insuf-
ficient to check the remarkable prolongation of sound ; and crimson cloth was
therefore hung in festoons round the building, which, not presenting a sufficiently
hard Surface to throw off all the tone, but, on the contrary, a sufficiently soft one to
absorb some of it, produced the desired effect.
Velocity of sound. IOOO. The average rate at which sound travels in atmo-
spheric air is 1,120 feet in a second of time; and high and low sounds, soft and
loud Sounds, all proceed with the same velocity. Thus the tones of the lightest
treble voice will reach the extremities of an extensive building as rapidly as those
of the heaviest bass voice ; and the sounds of the most delicate Dulciana as
quickly as the tone of the most ponderous Posaune. Were it otherwise, the acute
and grave tones of voices, and the weak and strong-toned stops of an organ would
be heard confusedly jarring after one another.
IOOI. But for the same reason that the ripple caused by dropping a small pebble
gently into a smooth piece of water will not spread so far as those produced by
casting a large stone into it, the Sound-waves produced by a soft musical sound
will not extend so far as those excited by a powerful one. Its precise strength
depends, in the first instance, on the force of the shock that is imparted to the air;
and which produces sound-waves of correspondingly decided character. The
distance to which it will travel depends on the extent to which the sound-waves
can spread without meeting with an obstruction. When there are no impediments,
and but few absorbents in their course, the Sound not only reaches farther, but
mellows as it progresses; when they meet with many obstructions or absorbing
circumstances, it not only does not reach so far, but its strength is lessened and
its quality impoverished.
1002. The distance to which a sound will travel depends upon its intensity,
density, and perhaps gravity. A dense sound will travel farther than an intense
one, as is proved by the fact of the beat of the great drum of a military band
playing in the open air being distinctly audible at a greater distance than the
united Sounds of the trombones and ophicleides. Grave Sounds also appear to
travel farther than acute ones. The Open Pedal Diapasons of an organ may be
heard at a greater distance outside a church than the higher organ Sounds; and
the tone of the double-basses in an orchestra may be distinguished Sooner than
240 THE SITUATION FOR THE ORGAN,
f
the treble instruments, as you approach a concert-room. The “tenor” of a peal
of bells is also frequently heard at a greater distance from a church, or at any rate
more distinctly, than the other bells.
The apparent strength 10O3. The affarent strength or weakness of a sound will
* *.*.*.*.*, depend on the relative position of the sounding body and the
on the position of the
auditor, &c. auditor; that is to say, whether they be near to each other or
far apart; and also, to a material extent, whether there be many
absorbing substances between them. A sound of a given strength will sound
louder at a greater distance, when the intermediate space is comparatively free,
than it will at a less distance with impediments interposed ; hence the fact,
mentioned at the commencement of this chapter, of the tone of an inferior organ
being improved, and of a better one being injured, by its position, the acoustic
capacity of the church, and the nature of its fittings. If the auditor is stationed
below the level of the sounding body, he will hear the Sound as it diverges down-
wards ; if he is on either side of it, he will hear it as it spreads; but if he is on the
same level with it, and near to it, he will experience its full and direct force,
at the same time that his clothing will present an absorbing impediment to its
free progress ; while, on the contrary, if he is stationed at a distance, and
other persons intervene, the sound will reach him in a weakened and faded
form. -
Ioo4. When the amount of absorbing Substance in a church is needlessly
increased, and the organ occupies a position unfavourable to the equal distribution
of its tone, the instrument will sometimes sound “too loud” in some parts of the
church, at the same time that it will appear “too soft” in others. This inequality
of effect, however, is, under such circumstances, unavoidable.
Penetration of sound. IOO5. Sound possesses the power of penetrating and passing
through hard substances; hence the circumstance of the tone of an organ being
heard so plainly outside a church. When an organ is placed in a chamber built
out from a church, and is accompanied by other arrangements disadvantageous to
the free dispersion of its tone, it will even be heard almost as distinctly outside the
building as in it. Another illustration of the penetration of sound is presented by
the swell of an organ, the tone of which is heard perfectly well, though in a
sweetly subdued form, through the thick wooden box, when the shutters are
perfectly closed.
1006. Having noticed such phenomena connected with sound as appeared to
be necessary to illustrate our present subject, we may now proceed to consider
the various situations occupied by church organs, as well as the merits of
each.
º * ... of a IOO7. The most usual position assigned to the organ in
. * * Continental churches, for at least the last three hundred years,
has been the west end.
Old examples of west- IOO8. A few examples and dates may be cited, illustrative
end ºrgans, in Conti of this fact. Th in Amiens Cathedral, which h
nental churches, 3.Ct. e organ in Amiens Cathedral, which has
** , a 16-feet front, and was completed in 1429, originally stood
and still stands at the west end. The organ in Chartres Cathedral, built in
I513, was first erected over the great western doorway. In the Cathedral at
Constance, in Switzerland, the organ at the west end was originally erected
in that situation, in the year 1518, which date appears on the case of the
THE SITUATION FOR THE ORGAN, 24I
instrument. The organ at the west end of the nave of the cathedral at Freiburg,
in Bresgau, was built in 1520. At Hamburg, the oldest organ in the town,
previous to the conflagration of 1842, in St. Peter's Church, stood at the west
end, and had a 32-feet front. It was not known when or by whom it was
Originally built ; but the last two manuals—it had four—were made at Hartzogen-
bach, in Brabant, by Mister Nargenhof, in 1548, and sent to Hamburg by
sea. This, M. Pfiffer, the organist to the church towards the latter part of the
last century, informed Dr. Burney was upon record. Again, at Lübeck, in St.
Mary's Church, the Great organ, which has lately been rebuilt, but originally
made in 1518, is similarly situated. This instrument is a “hanging” organ,
with a 32-feet front of tin ; and the beams which support it are built into and
project from the wall behind. -
IOO9. There were three old west end organs standing a few years ago in
churches at Liege. That in the church of St. Denis, which had the Choir
organ in front, bore the date of 1589 carved on the case; the second, in
St. Jaques', also with Choir in front, was built in 1600 ; and the third, in St.
Anthony's Church, had the date of 1624 carved and gilt on the case.
The merits of the west IOIO. In Selecting the west end of the church as the situa-
end, as the situation for , : tº , gº * tº
the organ, considered, "9" for the organ, the ecclesiastics, architects, organ-builders,
organists, or whosoever fixed on that position, no doubt
gave it the preference for the same reasons which in old times led to the end of
a baronial hall being selected as the site for the “Minstrels' Gallery;” and in after
times the extremity of a concert-room being generally recognised as the best place
for an orchestra ;-namely, because the tone could travel “forwards, sideways,
upwards, and downwards ; ” in fact, could be dispersed throughout the building
more equally from that available situation than from any other.
IoII. An orchestra so placed has the area of the entire length of the room
before it, into which the Sound, from the great concourse of instruments, can
travel, and, in a united State, fall on the ear of the auditor. In the same manner
an organ, similarly situated in a church, has the area of the entire length of the
nave and chancel before it, into which the Sound from the several pipes can
travel, and, in a united and mellowed form, reach the ear of the clergy and
congregation. -
IoI2. The west end afforded sufficient space to admit of the organ being erected
on an elevated platform or gallery—as a modern Orchestra is elevated above the
level of an audience—whereby the resonance was increased, and additional free-
dom also imparted to the tone.
IOI 3. By elevating the instrument, the full force of its tone passed over,
instead of overwhelming those nearest to it, into the open space before it, whence
it was diffused throughout the edifice. A sound is distributed more equally
from a raised position in any part of a church than from a low one ; hence the
necessity for a reading-desk, pulpit, and steps to the altar, to elevate the minister,
so that his voice may travel to the remote parts of the building.
IOI4. The west end, at the same time that it admitted of the organ being
sufficiently elevated, presented facilities for this being done, and yet plenty of
space being left between the top of the instrument and the roof of the church,
whereby the tone was still further and beneficially affected. Into this
space the numerous pipes poured forth their separate sounds, which, there
meeting and amalgamating, entered the church with united and mellowed effect.
IOI 5. Had the organ, however, been placed too near the roof, its tone would
have been partially “smothered ” in effect, and the instrument itself exposed to
D D
242 THE SITUATION FOR THE ORGAN.
considerable injury from the excessive heat of the sun in summer, which might
then often have been conducted into it through the roof, and from the cold and
damp in winter. A certain amount of derangement from atmospheric change
would at times be unavoidable, as explained in a former chapter ; but such
variations would have told with much greater severity, had the organ been
placed close to the roof; where, in addition to its pipe-work being more frequently
thrown out of tune by the excessive alterations of temperature, the mechanism
would, by its exceeding dryness at some seasons and dampness at others, have
been rendered more subject to sticking, Swelling, warping, ciphering, and many
other evils of a like kind, with which casualties subsequent organ-builders were
compelled to become familiar when they had to erect instruments in “second
galleries.”
IOI6. The west end, again, generally admitted of more space being devoted
to the organ, which obviated the necessity for crowding the mechanism and the
pipe-work.
IOI7. When an organ-builder is “cramped for room " the mechanism has often
to be crammed so closely together that, on the occurrence of some trifling fault,
much additional derangement must be caused before the seat of the original failing
can be arrived at. And the same with the pipe-work ; but with the additional
disadvantage that, when the pipes are “packed too closely together,” there will
sometimes arise a beating or a jarring, or a weakness or unsteadiness of speech, in
some of the pipes that will defy correction.
IoI8. Another very important object attained by placing the organ at the west
end of the church was this. An efficient organ was necessarily also a large one ;
and the larger the organ, the greater probability of its becoming an eyesore. By
erecting it, however, at the west end, it would not be within sight of, but at the
back of the congregation, and would only be visible to its members on their
turning to leave the church.
IOI9. The reasons, musical, acoustical, and structural, in favour of the west
end, as an eligible situation for the organ, therefore, were very great.
An architectural ob. IO2O. Architecturally considered, however, it was frequently
*...*.*... open to one great objection. Most churches had a west
occupying the west º tº - - -
end. window ; generally one of the most handsome in the building ;
to hide which would have been a serious sacrifice. Many
organs were therefore made, so as still to occupy the west end for the sake of the
musical effect, but so that the architectural feature should not be hidden, nor the
light through it excluded from the church. Several instruments so constructed
are mentioned by Dr. Burney in his tour through Germany and Italy, the particu-
lars of which are here extracted :—
Examples of divided IO2.I. “In the town of Courtray, the organ, at the collegiate
*...*.*, *...* church of Wotre Dame, is disposed of in a very singular manner;
Continental churches. . . º * * * * º
it is placed in a gallery at the west end of the building ; but in
order to preserve the window, which was necessary to light the body of the
church, the organ is divided in two parts, one of which is fixed on one side of
the window, and one on the other ; the bellows run under the window, and
communicate with both parts of the instrument, which is a large one of
sixteen feet, with pedals, and seems to have been but lately erected
(1772). The keys are in the middle, under the window, but not to be seen
below.”
IO22. “The organ at the Dominicans' Church, at Frankfort, has an arch
THE SITUATION FOR THE ORGAN. 243
cut through it, to let the light into the church from the west window ; it is in a
handsome case, the ornaments over the arch are in good taste, and the side
columns are well disposed. The keys are on the right hand side of the instrument,
over which there is a Small front; the compass is from C to C, the pedals have an
octave below double C.”
IO23. “In the cathedral at Passau, which is a very beautiful modern build-
ing, of the Corinthian order, there is a very magnificent organ to look at.
The case is finely carved and gilt, and the pipes are highly polished. It is
divided into two columns of large pipes, one on each side, and has a complete
little organ in the middle, which joins them together, and saves the west
window. It is what builders call a 32-feet organ. The front pipes are of burnished
tin,” -
1024. St. Michael's Church, Vienna. “This instrument has no front. The great
pipes are placed, in an elegant manner, on each side of the gallery; and there is a
box only in the middle, of about four feet Square, for the keys and stops ;-so that
the west window is left quite open. The compass of the organ, in the Manuals,
extends only from double E* in the bass to C in alt; but the Pedals of most
German organs have an octave lower than the lowest note of the keys that are
played by the hands, which is the case with this instrument. It has forty stops
and three sets of keys, which, by a 'spring of communication, can be played all
together.” -
Io25. Prague. The organ in the church of St. Nicholas “is divided into two
parts, placed one on each side the gallery; and the keys, with a £ositiſ, or small
Choir organ, are in the middle, but placed so low as to leave the west window clear;
instead of wood, the framework, pillars, base, and ornaments of this instrument, in
front, are of white marble.”
1026. To these examples may be added the organ at Weingarten, in Suabia,
which is so constructed as to admit light into the church through six semi-circular-
headed windows, ranged in two rows of three each. The organ at the Minoreten
Church, at Cologne, is also pierced with several window-like openings, to admit
light from the west window into the body of the building.
Smith and . Harris's 1027. When Smith settled and Harris returned to England,
*...*.*, *... towards the latter part of the seventeenth century, to take part
usually placed at the . e º …,
west end. in supplying our churches with new organs, in place of those
that had been so needlessly destroyed, they followed the custom,
usual in their own countries, of placing their organs at the west end of churches
not of cruciform shape; but they at the same time erected them in that situation,
whether there was a window there or not. No instances are known of a divided
organ having been made by either of those artists, for the purpose of preserving an
architectural beauty. The earliest English specimen of an organ constructed in
this manner appears to have been that made by Green, for New College, Oxford.
Many others have since been constructed in this way; one of the most successful
in its treatment being that by Hill, in the church of the Immaculate Conception,
Farm Street Mews,
Their cathedral organs Io28. The cathedral organs built by Harris and Smith were
º * * usually placed on the Choir screen. This situation appears to
have been selected for two reasons. The instruments they were
* The organ is really of CC compass, but having short octaves; which fact appears to
have escaped the Doctor. (See Foreign Specifications.)
D ID 2
244 THE SITUATION FOR THE ORGAN.
called upon to build for those spacious and venerable piles were scarcely a whit
larger than those they made for ordinary parish churches; and it must, therefore,
have been obvious that, if they were placed at the west end, the firmness of their
tone would have been utterly spent before it could have reached the choir.
They were accordingly erected some 150 or 200 feet nearer to the vocal choir,
and generally in such a situation as a knowledge of acoustics prescribed as the
best.
Harris's proposal for a IO29. Renatus Harris, indeed, made a proposal in 1712, and,
**.*.*.* therefore, after the death of Smith, to erect an organ in St.
in St. Paul's Cathedral. 5 5
Paul's Cathedral, “over the west door, at the entrance into the
body of the church,” which was to be such a one as “in art and magnificence
should transcend any work of that kind ever before invented;” and in its construc-
tion it was intended to “apply the power of sounds in a manner more amazingly
forcible than had, perhaps, before been known.” (See Hawkins's History of Music,
vol. iv., page 356 ; quoting the Søectator, No. 553, for December 3, 1712.) Is it
possible, as this quotation would imply, that Harris had some partial acquaintance
with the principle that Cavaillé-Coll has in our own times carried out with such fine
effect in his Harmonic Flute-work, and Hill in his “Tuba" Reed-work P. At any
rate, to equal “any work before invented,” Harris's must, in size, have been a 32-feet
Organ. But, whatever the details of his plan might have been, the plan itself was
not accepted.
The erection of Father IO3O. Father Smith had previously erected an organ on
- *...* . º the Choir screen of St. Paul's; but whether it should occupy
Paul's opposed. that position or not, had been a subject of warm contention
between Sir Christopher Wren and the Dean and Chapter of
the Cathedral.
Io91. “Sir Christopher Wren,” says the article in the Musical Gazette, from
which we have before quoted, “wished the organ to be placed on one side of the
Choir, as it was in the old Cathedral, that the whole extent and beauty of the
building might be seen at one view ; the Dean, on the contrary, wished to have it
at the west end of the Choir ; and Sir Christopher, after using every effort and
argument to gain his point, was at last obliged to yield. Schmidt, according to his
instructions, began the organ, and, when the pipes were finished, found that the
case was not spacious enough to contain them all ; and Sir Christopher, tender of
his architectural proportions, would not consent to let the case be enlarged to
receive them, declaring the beauty of the building to be already Spoiled by the
* — box of whistles.” After all this contention, the architect, Sorely against his
will, was obliged to make an addition to the case. He not only had been niggardly
in regard to the depth of it, where another foot would have been of no consequence
whatever, but also in the height ; for, when Schmidt came to put in the large
Open Diapason pipes in the two side flats, they appeared through the top
nearly a foot in length, and spoiled the appearance entirely. Schmidt now
entertained hopes of having a new case ; but Sir Christopher, who before would
not suffer any ornaments on the top, was now obliged to add several feet, or else
alter the case, which vexed him exceedingly. These ornaments consist of angels,
with trumpets, standing at the side of a Small altar. The colour of the wood
that these are made of being lighter than the organ-case, the addition is soon
discoverable.”
Io92. In this struggle Smith evidently viewed the question musically, while
Sir Christopher Wren considered it architecturally, and both had reason on
THE SITUATION FOR THE ORGAN. 245
their side. Sir Christopher was, of course, correct in asserting that an organ in
the Centre would prevent the whole extent of the building being seen at one
view ; but then the objection applied with equal force against the Choir
Screen, to defend which and condemn the organ involved a manifest incon-
sistency.
IO33. The result of the contention was, as we have seen, that
“Music won the cause ; ”
and the arrangements just detailed were uniformly followed in cathedral and
other churches, from the time of Smith and Harris, down to within the last few
years.
The comparative me. IO34. In recent times the west end of a parish church,
rits of the several side e - e
situations considered. * the position for the organ, has been strongly objected to,
particularly where there is a choir; and there is no doubt
that a much better musical effect results from the choir and organ being near
to each other, as a more united effect is produced in a concert-room by the band
and singers being together. -
IO35. Next to the west end, the best place for the organ, as indicated by the
laws regarding the propagation of Sound, will be some elevated position, having
space above, and both sides free. These conditions point to the side of the
church ; and in every instance, where all or most of them have been complied with,
a very good effect has resulted.
Io96. The organ in the church of St. Mary Magdalene, St. Pancras,
built by Gray and Davison, may be cited as a Successful example of an instrument
so placed. It is supported on Stone brackets, about eight feet above the ground;
has good head room; is entirely free at One side, and has a reflector immediately
behind, in the south wall of the aisle.
Io37. In some instances, where sufficient room could not conveniently be
found in the church itself for the organ, a recess or organ-chamber has been
built out from one of the sides for its reception. An old example of such an
organ-chamber exists in the chapel of Christ's College, Cambridge; a second
occurs in the chapel of Hampton Court Palace. The tone of an organ so
placed is much weakened in consequence, as it cannot begin to spread and
disperse till it has passed through and over the front of the case. The natural
disadvantages of such a situation, however, can be considerably modified by
making the chamber of ample dimensions, by lining it with wooden boards,
and by furnishing it with a hollow wooden flooring. It is also of the highest
consequence that there should be plenty of space between the top of the case
and the turn of the arch ; otherwise there will be no possible means of egress
for the tone, which will then be smothered. All these precautions were taken
in the construction of the organ-chamber at the Temple Church, the flooring of
which is eight feet above the level of that of the church, the great organ sound-
board being nearly another eight feet above the chamber flooring. There is also
plenty of space between the top of the organ and the roof of the chamber.
Io98. An organ that stands in a recess certainly appears to possess less strength
of tone than if it were placed at the west end; but if there be plenty of head room
over the pipes, and attention is paid to other circumstances favourable to resonance,
what the instrument loses in power it frequently gains in Sweetness of quality and
cathedral-like character of tone ; and, as the loss of power can be easily compen-
sated for by disposing additional stops, there appears to be no reason why an
organ should not tell fully as well at the side as from the west end, if every
246 THE SITUATION FOR THE ORGAN.
means be taken to make it do so. This is specially the case with the organ in the
Temple Church.
Io99. By this it is not meant that an organ placed in a side recess will tell as
well as the same kind of organ would at the west end with space around it ; but
that if it be judiciously enlarged, in proportion to its loss of Żower, so as to Coun-
teract the otherwise ill effect exercised by the recess, it will then sound at least as
well as the unenlarged west end organ. The distinction here intended to be drawn
is well illustrated by the difference produced by a choral staff of a given number
singing forfe, as compared with a more numerous body singing softo voce. Sup-
posing the strength or abstract power of sound produced by each to be about the
same, yet there will be a marked difference in the quality of the tone, which, under
many circumstances, will be in favour of the larger, but softer, sounding body.
The subduing influence of a recess, in a similar way, frequently imparts to the tone
of an organ a certain chasteness and kindliness of character, as well as a slight
haziness—as though a fine veil were drawn over it—that is exceedingly pleasing,
and even beneficial, if the volume and fulness of tone at the same time remain
unreduced. The organ in Leeds Parish Church is a very successful example of an
instrument placed in a transept, and causes one to regret that the magnificent
new organ at Doncaster does not enjoy the advantage of a similar position.
IO40. At Lübeck, the “little' organ in St. Mary’s Church—which, by the way,
has upwards of thirty stops, including ten on the Pedal—partly projects from the
east wall of the south transept, and partly stands in a recess in that wall. The
Choir organ, containing ten ranks of Mixture, stands in front; and the effect of the
instrument is altogether most admirable. The treatment of the position, so as to
give to a moderately deep organ only a shallow projection into the church, is both
ingenious and successful. Neither the view of the building, on the one hand, nor
the tone of the instrument, on the other, is destroyed. This organ is said to be
about two hundred years old.
IO41. A most unfavourable plan, usually, for the tone of an organ is that of
putting the instrument in a recess, and placing the front pipes so as to form an
ornamental filling uſ of the arch. With walls on three sides, and a tier of large
pipes entirely occupying the fourth, the tone can only force its way through the
interstices between the pipes, as water escapes through the fissures in a flood-gate.
The contrivance is frequently more calculated to keep the tone back than to let it
out. The organ at All Saints' Church, Manchester, built by Kirtland and Jardine,
of that town, is most picturesquely treated, it being divided, and a portion placed
in a recess on each side the chancel; but the Pedal Open Diapason, which pro-
duces a very bold effect in the recess where it stands, sounds in the church as
weak as an ordinary Pedal Stopped Diapason. At the church of St. Mark, Old
Street Road, the organ was similarly placed in a chamber ; and the calculation of
the organ-builder, Bevington, was that only one-fourth of the tone of the instru-
ment found its way into the church. The melody of a chorale played out on the
Great Diapasons, Principal, and Trumpet of this organ sounded no stronger than
it would have done on the Stopped Diapason and Clarionet of most instruments
that are favourably situated. The good taste of those in authority, however, had
this mistake satisfactorily remedied long since.
IO42. The worst possible arrangement is that of putting the organist, as well as
the organ, into a chamber at the side ; filling up the arch, as before, with pipes,
which form an ornamental wall between the player and the congregation. This
arrangement did exist at St. Mark's, Old Street Road, where three-fourths of the
organ-tone was boxed in, and which, returning and descending on the organist,
produced a din around him like that heard from a peal of bells in a belfry. The
THE SITUATION FOR THE ORGAN. 247
wall of pipes was not only a serious impediment in the way of the organ tone travel-
ling into the church and reaching the congregation ; but, telling both ways, it was
as effectual a check to the voices of the congregation entering the recess and
reaching the Organist. Added to this double impediment, the deep humming
Sound which the ornamental pipes, forming the bass portion of one of the stops in
most Constant use—the Open Diapason—was producing between the congregation
and organist presented another difficulty in the way of the one hearing the other.
This arrangement was, therefore, soon abandoned,
The east end of an aisle, IO43. It has been a frequent custom during the last few
or a chancel chapel, as - ſº
... years to place the organ either at the east end of one of the
gan considered. aisles, or in an organ chapel on one side of the chancel. These
arrangements are preferable to the one last noticed. In such a
situation it is necessary (1) that the ground should be of wood, and hollow ; (2)
that the sound-boards should be kept as high as possible ; (3) that there should be
a good amount of clear space over the organ; and (4) that as much ground Space
as possible should be allowed for the organ.
IO44. The wooden floor increases the resonance, concerning which all has been
already said that is necessary. The elevation of the sound-boards to a satisfactory
height causes the mouths of the pipes to range above the heads of the congrega-
tion, whereby their tone is more likely to travel before it becomes partially absorbed,
instead of being partially absorbed before it travels. It may easily be surmised
how comparatively dull and muffled a clergyman's voice would sound were he to
Stand only on the same level as the congregation ; and the tone of an organ that
has its Sound-boards kept low will have a decided tendency towards the same
fault. If the mouths of the pipes generally can be kept as much above the level
of the vocal choir as those of the choir are above the level of the congregation, it
will be so much the better both for singers and organ.
IO45. The space over the organ relieves the tone of the instrument from the
force and hardness which its contracted situation, as compared with the west end,
is otherwise very liable to impart to it; while the greater space allowed for the
organ admits of the pipes being planted in a less crowded and confused manner.
Of the quantity of wind that enters at the foot of the pipes something like three-
fourths of it passes out again at the mouth, a comparatively small portion only
entering the body of the pipe. From this it must be obvious how necessary it is
to allow the pipes the utmost available room to speak in. When this is not the
case, Some pipes have to be mounted on longer feet ; others turned this or that
way ; and others grooved off here and there ; not from design, or preference, but
from necessity; and which “packing and contriving” give to the interior of an
Organ a very unsystematic and disorderly appearance.
IO46. If the organ be placed in a chancel chapel, there should be an arch—
the more lofty and wide the better—opening into the aisle, as well as one towards the
chancel. The importance of this arrangement is explained by the first fact
mentioned at the commencement of this chapter, regarding the propagation of
Sound ; and its object is to allow the tone of an organ to pass down the aisle as
well as across the chancel. When there is no second arch, the whole
strength of the organ tone is directed towards the vocal choir in the chancel,
which is then more liable to be overpowered by it at the same time that the
Congregation will experience scarcely any support from it. If there be two arches,
and they are simply separated by a column or a pier, this will be more favourable
to the egress of the tone than an angle formed by the junction of two walls,
and having a hollow angle inside ; which latter is apt to catch and throw some
248 THE SITUATION FOR THE ORGAN.
of the tone back, while the former would allow it to pass round and proceed
Onwards, diagonally, into and across the nave of the church. -
IO47. As much free space as possible should also be left near to the Organ.
This enables the tone to get fairly from the instrument before it begins to be
absorbed by the dresses of the congregation. The organ in the “Catholic
and Apostolic Church,” Gordon Square, built by Gray and Davison, which stands
at the end of the south transept, on the ground, has plenty of free space around
and over it, and sounds very freely in consequence. Space being left and the
congregation not being seated so near to an organ, together, allow of the
instrument being voiced more boldly and church-like, with little ill effect and
much good resulting. The conditions necessary to cause the tone to travel to
the extremities of the church can then be better attended to, without causing
inconvenience to anyone; but if seats be placed too near to the organ, those
who occupy them will hear more of its tone than they wish, while their clothing
will prevent its getting away, and reaching those at a distance so effectually, by
absorbing some of it before it can do so. -
IO48. If the several precautions just enumerated be taken to prevent deadening
the Sound of the organ, and to lessen the partial and unequal distribution of its
tone, to which all side situations have an unavoidable tendency, an organ may be
made to tell very fairly in either of the positions just considered.
The chancel an eli- IO49. Another and more rare arrangement is that of di-
. * * * viding the organ, and placing a portion of it on each side
ivided organ. 5 g j
the chancel, where there is room, as at St. Margaret's,
Leicester. This plan is in every respect a most excellent one. It is scarcely, if
at all, inferior, even in a musical point of view, to that of a divided west-end
organ ; while, under its working, the organ is accommodated, without being
Sacrificed, to other arrangements that are now considered essential in most
churches. In the first place, as the chancel is generally more lofty than the
side chapels, this circumstance admits of the sound-boards being kept up
higher, the important advantage of which arrangement is already known to the
reader. Next, as the chancel is sometimes not very much less in height than the
nave, it affords nearly as much space over the instrument for the mellowing
and Sweetening of the tone. Thirdly, the chancel being only occupied by the
clergy and choir, it is comparatively unencumbered by absorbents and impedi-
ments, which is highly beneficial to the tone. Again, the organ will still
be at the “end” of the church—although the opposite one to that which it
frequently occupies—with the whole length of the edifice before it, into which
its harmonious tones can travel. Moreover, by being placed to the east, with
the vocal choir nearer to the nave, it will occupy its proper subordinate
position in regard to the voices. No one would ever think of placing the
instrumental staff between the vocal choir and the audience in a concert-room ;
and an analogous arrangement is equally ineligible in a church. (In a theatre,
the arrangement is different; but the sunken position of the band there tends
to its subordination.) Such a distribution of the organ might lead to a new
use of the instrument, of an antiphonal character; of the advantage of which,
however, we have at present had no practical experience in this country, although
it would perhaps prove a source of many very fine and legitimate effects. The
two parts could ordinarily respond to each other, after the manner of the sepa-
rate sides of the choir; and be united, by means of couplers, when the entire
choir joined in bursts of joyful exultation. Many Continental churches are
furnished with divided organs in the choir, or with two separate and distinct
THE SITUATION FOR THE ORGAN. 249
organs; the effect of which, when used as above, is said to be singularly fine.
Then, with regard to the construction of such an organ, as the two parts would
stand sideways, and therefore would be seen only in Żrofile from the church,
their projection could be lessened, if room for greater breadth be allowed,
whereby the view from west to east would be less interfered with. For the
interior arrangements, the Abbé Vogler's system of pipe arrangement might
be advantageously employed, as being admirably calculated to facilitate the
progress of the tone through the side of the case towards the church. At
All Saints' Church, Margaret Street, the organ is divided, and a part placed
at the extreme of each transept. The result of this arrangement is quite
Satisfactory.
The relative position Iojo. Respecting the relative position of the choir and
of the vocal choir and & sº ×
Organ. organ in a church, concerning which a few words may here
be said, it may be accepted as a good general rule that,
if the organ is to be in a line with the choir, it should not be on a level with
it; and, if it is to be on a level with the choir, it should not be in a line
with it. That is to say, the choir should never be subjected to the direct
force of the tone of the instrument. When it is so—as, for instance, when the
organ is placed immediately behind one-half of the choir—that half hears the
tone too strongly and palpably, while the clothing of its members deadens it
before it reaches the other part of the choir. No given amount of organ tone,
whether much or little, is then so equally and agreeably distributed to both.
When the organ is out of a line, but on a level, with the choir, the choir
hears its tone, as it is spreading, with less force, but with equal distinctness;
when it is in a line with the choir, but elevated above it, the choir catches
its Sound as it descends in the course of its propagation. But, inasmuch as the
sound produced at an elevation is necessarily less under the absorbing influence
of the clothing of the congregation below, the plan of putting the organ “in a
line with the choir, but above its level,” is the preferable one. The tone of
the organ can then reach the Congregation and support its voice, as well as
that of the choir. Hence the excellence of the arrangement at the Temple
Church. At the church of St. Mary Magdalene, St. Pancras, the organ is
above the level of the choir, but out of a line with it, and also produces
a good effect.
Recent arrangements Ios I. Much pains have been taken within the last few
in cathedrals. years to find a better place, architecturally speaking, for our
Cathedral and minster organs.
Io;2. At the time the alterations in the interior of Westminster Abbey were
in contemplation a very excellent article appeared in the Parish Choir, No. 20,
for August, 1847, from the pen of the Rev. Sir William Cope, in which it was
proposed to erect the organ at the west end of that church, and at the same
time to strengthen its tone as much as possible. The Solid stone Choir screen
was proposed to be placed at the west end, so as to extend across between the
first pair of pillars of the nave, with its architectural face to the east. The entire
expanse of the minster, from west to east, from the ground to the roof, would
then have been seen at one view. “Let our readers,” says the article alluded
to, “now consider how splendid the whole expanse of the church thus laid
open would be. Looking to the east end, the eye would rise from the altar to
the screen, and be led up by the beautiful apse to the vaulting of the roof;
and, if the spectator turned toward the west, he would see the stone screen sur-
25O THE SITUATION FOR THE ORGAN.
mounted by the organ; above that would appear the whole extent of the
perpendicular window, with its coloured glass running up into the vaulting of
the roof. And if, besides these architectural beauties, the eye of the Christian
spectator were to rest on the vast multitude who (we are sure) would throng
the expanse, and to see a reverent and attentive congregation joining, as they
would then be able to do, with one mind and one heart and, we trust, with
one voice with the clergy and choir of that glorious church, in those majestic
hymns which form the Choral Service of the English Church, would it not be
a sight to which English Churchmen might point with an honest exultation pº
This proposition possessed the unusual recommendation of treating the question
musically as well as architecturally ; and, besides this, of providing for the
orderly arrangement of a vast congregation. As the arrangements were sub-
sequently carried out, the choir screen was retained in its former position ; the
organ was divided into four portions, the Great organ being placed within an
arch on the north side of the church, the Swell under the corresponding arch
on the south side; the 32-feet Pedal pipes were laid horizontally along the west
side of the screen, while the Choir organ hung over the east side in the usual
way. The tone of the organ, on the whole, tells exceedingly well, although
the instrument is so much broken up, which, no doubt, arises partly from the
two main portions not being put too much under the side arches, but partly
projecting out from under them ; and, again, from the organ having been con-
siderably enlarged at the same time.
IoS3. At Ely Cathedral the organ, as reconstructed by Mr. Hill, under the direc-
tion of the able architect, Sir Gilbert Scott, is a hanging one, the appearance of
which is most gorgeous. It projects from the side of the choir, overhanging
the stalls. The keys are placed behind—that is to say, on the aisle side—so
that some portion of the organ is directly between the organist and the singers.
The organ thus arranged is pleasant to sing to, and the organist can hear the
Choir organ quite distinctly. The vocal choir, also, he can hear pretty well ; but
the tone of the Great organ does not reach him so readily,
Io;4. At Canterbury Cathedral the organ is placed in the triforium over the
south side of the Choir, at a great altitude, and the keys are placed behind the
stalls. The touch being both heavy and deep, it is a most laborious organ to
play upon ; and on account of the length of the action between the keys and
the pallets, and the manner in which the tone has to find its way down into
the Choir, a perceptible interval occurs between the keys being struck and the
Sound being heard.
Io55. In making praiseworthy endeavours to find a less prominent locality
for our cathedral organs, every facility should be provided for the organist
hearing and seeing the choir, and vice versé. For this purpose it would be an
admirable plan to make the organ play at #e side. This arrangement has so
many recommendations, and not one drawback, that it is surprising it should
not long since have been generally adopted. The organist, by a mere turn of the
head, would then have at least half the choir under his view, and could, by a gesture
imperceptible to the congregation, convey a suggestion down to its members.
Moreover, the organist would in all cases hear the voices much better. In the
instance of an organ on the Choir screen, if the keys were placed in the manner
here suggested, the organist could probably see both sides of the Choir, instead
of neither, as at present, and at the same time he could also see to both ends
of the cathedral. Another important end would be gained by placing the
keys of a cathedral organ in the manner under consideration. The Space of
the organ-loft could be taken into the Great organ case, by moving the east front
THE SITUATION FOR THE ORGAN. 251
forward to the back of the Choir organ, and inserting new panels to fill up the
openings in the sides, which would admit of a material improvement in the organ,
by admitting of the introduction of many large pipes, on the tone of which the
true dignity of the organ so much depends. The arrangement above recommended
may be met wifh in Snetzler's organ at Beverley Minster, which instrument, stand-
ing on the Choir screen, has the keys on the north side. It has also been recently
adopted by Sir Gilbert Scott in the restoration of the organ in Rochester
Cathedral.
252 THE SIZE OF THE ORGAN.
CHAPTER XXXIV.
T H E S I Z E O F T H E O R. G. A. N.
The organ should be 1056. THE size or contents of the organ should, as a rule,
proportioned to the con- be regulated by the number of the congregation whose united
gregation and church. 3 * ~3
voices the instrument will have to sustain, and by the dimen-
Sions of the church in which it is to be placed. This is assuming that usefulness
of instrumental support, as an aid to the voice in devotional exercises, is admitted ;
which point, however, is not conceded by some religious denominations. The
question before us, however, is not whether an organ is admissible for the purpose
above specified, but—that opinion being supposed to be acquiesced in—what
should be the properties and attributes of the instrument to render it adequate to
its purpose. The size of the organ would also be influenced by the kind of stops
chosen, whether they are chiefly of loud or soft intonation ; Dulcianas, Flutes,
and Piccolos usually having little to do with the power of an organ, although they
increase the number of its stops, and materially add to the number and variety of
its Soft and agreeable combinations.
Certain influencing cir- Io;7. The acoustical capacity of the church, again, must be
cumstances to be taken * º
into account. taken into account ; Some churches being as good for Sound as
others are bad, as is well known to most clergymen, who find
little difficulty in filling some, while they have great trouble in making themselves
heard in others. If there be much echo-a circumstance that may soon be ascer-
tained by sounding the voice in various parts of the church—such a natural
advantage will be much in favour of the organ ; but if the sound do not get away,
but immediately fall dead, then more stops should be disposed, to enable the
organ-tone to make its way ; or a greater proportion of loud stops might be intro-
duced; or the whole should be more strongly voiced and blown. Some such steps
would also have to be taken if the Organ is to be placed where its tone is likely to
be weakened ; as, for instance, in a recess.
An approximate calcu- IO58. From what has just been said, it is obvious that the
lation of the number of
number of stops necessary for an organ to have cannot be
stops necessary for an º tº
organ to have. deduced with absolute certainty from the number of the con-
gregation, although an approximation to it may be drawn from
that source. According to Seidel, for a congregation of from 200 to 300 persons,
an organ with from 8 to IO stops may suffice ; for one of from 400 to 500, an organ
of from 12 to 16 stops; and for a congregation of from I,000 to 2,000, an organ of
from 24 to 30 stops. In this calculation allowance is not made for half-stops ; still
less are the couplers and other mechanical contrivances taken into account. Half-
stops are of comparatively rare occurrence in German organs, although short
stops are common enough, particularly among the flute-work. When a stop only
extends to tenor c, it is usually grooved into the bass octave of Some other stop
below, instead of that other stop being cut to draw in halves, as is the more
THE SIZE OF THE ORGAN. 253
frequent custom in England. Neither are couplers included in the calculation,
since they have no “voice” “ at all. With these exceptions, and making some
allowance for the addition to the number of a few soft stops that are in great
favour in this country, the above calculation is a very good one.
Too Small an organ in IO59. As it is quite as great an evil to design too small an
a church most unde- $º º
sirable. organ for a large church as it is to plan too large a one for a
Small church, it may be well to explain why an instrument of
fair proportions may with confidence be admitted into a place of worship. The
primary purpose for which an organ is introduced into a church is to support and
direct the voices of the congregation. It therefore becomes necessary to ascertain,
if possible, what may be the strength of that congregational voice which the organ
is expected to sustain.
The strength of the 1060. To this a clue may be obtained by a very simple
human voice as com- & & tº *
- experiment. If an anemometer be provided with a flexible
pared with that of the * - e tº
organ wind. tube, furnished at the end with a large mouthpiece, and the
breath be freely expired into it, the index prepared at the
side will show that the human lungs produce, without any very great exertion, a
current of air of 9 or Io inches pressure, the Manual departments of a church
organ being ordinarily voiced to a wind of from 25 to 3 inches pressure. This
result, perhaps scarcely expected by many, makes it apparent that the human voice,
when firmly delivered, is sounded by a wind 3 or 4 times the strength of that which
ordinarily gives speech to a church organ. Then the Sound-waves which surround
every singer—as they encircle an organ pipe that is speaking—are proportioned in
strength to the power of the voice that originates them ; and at the same time
they to some extent prevent his hearing other external Sounds distinctly.
The general requisites IO61. Now a church organ should possess sufficient fulness,
of a church organ. depth, and travelling character of tone, to make its way through
all other sounds to the ear of the congregation, and support, keep in tune, and
lead the united voices of its members. Whether much or little organ will
suffice for this is a question that much depends not only on the number of
the congregation, and the dimensions of the church to which its size and
power should in the first place be adapted, but also on whether the entire
congregation takes part in the singing, or only a portion, and whether the
many or few who tune their voices do so boldly or timidly. In those large
churches abroad, wherein great numbers assemble, and among whom the
singing is both general and zealous ; where, in fact, may be heard the finest
congregational music—namely, in some of the Protestant churches of Germany
and Holland—there will also be heard the largest organs in the world. The
“ music mill " has long been considered the necessary concomitant of the
“vocal thunder ; ” and the two have been exercised conjointly, from week to
week, for centuries;–the one in uttering, in unison, the melody ; the other,
in playing, in fine progressive harmony, the simple and magnificent chorales of
the former country, without the one injuring the effect of, or obscuring, the
* In German Specifications the stops are generally called Klangbare Stimmen (sounding
voices), and the couplers and other mechanical contrivances, AWebenregistern (accessory or
Secondary registers).
254 THE SIZE OF THE ORGAN.
other in the slightest degree.” And it is now tolerably clear why no ill effect
should have resulted from this union of instrumental with vocal sound. It would
not be easy for an organ voiced to a 2% or 3 inch wind to interfere with an
assemblage of 800 or 1,000 voices, singing with a strength equal to a 9 or Io
inch pressure of organ wind, if its tone be rich and full, and its stops well
balanced. -
An organ of sufficient IO62. A fine organ, then, may fairly be considered as a great
dimensions in a church tº dº. . tº g
a great acquisition. acquisition for a church to possess; provided, of course, that
its powers only be fully exercised on rare and befitting
opportunities. Dr. Spark, in his pamphlet on Choirs and Organs, page II,
gives a good instance when the full peal of an organ may be beneficially employed.
“Who,” he writes, “can have heard a crowded congregation in a large church
sing with heart and voice that glorious, time-honoured tune, the Old Hundredth
Psalm, accompanied with the full power of a great and beautiful organ, and not
acknowledge the powerful aid and thrilling effect which a grand organ gives to
Some portions, at least, of our Church Service P” At such times the propriety of a
cheerful accompaniment is at once recognised by the members of the congrega-
tion ; they raise their voices, energetically and earnestly, under the combined
influence of the Service, the occasion, and the appropriate tone-character of the
organ—the trebles, singing in unison with the melody, and the tenors and basses
below, add immense strength, in the Unison and Double Diapason fitch, to the
mass of musical sound, the result being that the choral song stands out distinctly
in bold and grand relief through the dignified and impressive peal of the full
Organ.
IO63. Thus much has been said to illustrate what an organ should be
caffable of when the upraised voice of the congregation may put its powers to
the test. Of course, there are times and seasons when the hymn of praise and
thanksgiving would be hushed, and the song of sadness raised in its stead,
and on which occasions the Organ tone would, of course, be reduced to accom-
modate it to the altered sentiments of the words. The strength of the congre-
gational voice itself would also, at such times, be much subdued. With regard
to the organ, however, this forms an entirely separate question; and presents
no subject for consideration, while the power requisite for the instrument to
possess is being discussed, but rather bears on an important matter connected
with its after-use. On this latter head much has been said in a former chapter;
it need, therefore, only be added in this place that when a subdued tone is
desired—produced, of course, by using a portion only of the organ—those stops
should be selected that will give the requisite “tone-colouring ” to the words,
in addition to affording the exact amount of support required. On this point
a very correct idea will be obtained of the manner in which an organ should
be used, by a reference to the vocal and instrumental scores of Mozart, Spohr,
Mendelssohn, &c.; from which it will be seen that, however extensive the
orchestra at disposal, their authors have not yielded to the temptation of using
a single additional instrument beyond what was necessary for the particular
purpose; but have first confined themselves within the proposed limits, then
* It should be mentioned that, while unison singing is at once the most simple in kind,
the most easy of execution, and the most appropriate for a congregation to adopt, it is at
the same time the most powerful in effect, from its concentrating all the vocal force into one
part; and is, therefore, the kind of congregational singing that requires the most Organ for its
Support.
THE SIZE OF THE ORGAN. 255
proceeded to select such instruments for use as would sympathise the most closely
with the words to be sung, and yet at the same time produce so transparent an
effect that the voice could be heard clearly and definedly through the whole.
These are precisely the several processes that should be gone through to secure the
best, because the most appropriate, kind of subdued organ tone for accompani- .
ment ; that is, if the organ admit of a choice.
The power of an organ IO64. It was stated just now that, while an organ is
* *** commonly voiced to a 23 or 3 inch wind, the human voice is
frequently produced by a current of air equal to a 9 or Io inch
wind. This fact would seem to imply that the tone of an organ must be much
weaker than that of voices ; and, although the above figures may or may not
represent the exact comparative strength of the two, yet there is no doubt of the
fact that Unison stops alone in an organ would be quite unequal to the support
of a large body of strong voices. Organs, therefore, are never made with this
one class of stops alone, because they then could not possess the requisite
nerve, ring, and power. The “power " of an organ is, in a great measure, due
to its greater extent of tone, as compared with that of voices, Žitch exercising
a marked influence on its loudness. Everyone is aware that in a quartet sung
by the four varieties of male voices the treble part always sounds the most
prominent, not because the boy's voice is the most powerful, for it may be
the weakest, but because it is the highest. So great is the influence which
acuteness of pitch exercises that the general ear, and consequently voice,
will follow the upper part of a four-part harmony, whether it should do so or
not. Of this a remarkable instance is given on all occasions when Tallis's
Responses are sung in cathedrals, i.e., on church festival days. The chief
melody, or “Plain-song,” is set in the tenor, for which reason it remains
unrecognised by the congregation generally, who never follow it, but, on the
contrary, take the treble or acute part, which in reality is only a portion of the
choral accompaniment.
1065. Now, for the same reason that the adult male members of a congregation
hear the trebles so much more clearly than the choir voices that are in unison with
their own, the trebles hear those of an organ stop that sounds the octave above
their voices much more distinctly than those that are in unison therewith. This
fact must be familiar to all who have had much experience in accompanying a
choir, and who will have noticed this illustration of it, that, if the treble voices get
flat, they will be set right much sooner by drawing the Principal, or by playing the
melody in octaves, which will produce the same kind of effect, than by adding a
number of other Unison stops. The addition of one Principal to the Great
Diapasons will at such times be heard more distinctly by the trebles, and will
exercise a far greater corrective influence than the addition of three or four Unison
stops from the Swell, by means of coupling, even if there be one or two reeds
included among the number. This, however, does not arise from any greater
Žower possessed by the Principal (for in that respect it is rather inferior to the
other accessory mentioned), but from its acuteness. The influence of high-toned
stops extends still further. For the same reason that the Principal adds clearness
to the Diapasons, the Fifteenth and Twelfth impart a cheerful ring to the tone,
while the Mixtures add brilliance and vivacity, perhaps keenness, if they be
voiced too loud, as is too frequently the case. So much for the stops Sounding
above the Unison. But the remaining stops also fulfil certain important conditions.
The Unison and Double stops impart a fulness to the tone that is appreciably
felt by a choir and congregation, and conduces, in conjunction with the
256 THE SIZE OF THE ORGAN.
Pedal bass, to convey that sensation of nearness of accompaniment to the
singer that is of such essential consequence in infusing confidence and
affording encouragement to those who need support. The Pedal bass, in
its turn, marks the progress of the music, and that much more effectually
than any of the other stops could do. Summing up, then, in a few words,
the influence which the three classes of stops exercise : the Octave and
other acute stops tend to keep the voices in tune; the Unison and Double
Manual stops afford them support ; while the Pedal Diapasons, by marking
the time in the course of the onward movement of the music, keep them
together.
How the acoustic ca. IO66. What has hitherto been said has had more especial
*** *.*.*.* reference to the requirements of an organ as an accompani-
organ is increased to e - - - -
adapt its tone to a mental instrument. But it is necessary also to consider by
large building. what process of development an organ, as an independent
instrument, is made to fill, with its musical tones, a building, however large its
dimensions; particularly as this point has not the less bearing on the question
concerning its efficiency and excellence in the capacity already considered. The
presence of a Double Diapason has already been mentioned as being necessary in
an organ to support the tenor and bass voices in a congregation, as the Unison do
the trebles. But a stop or stops of that size are required to fulfil another end,
totally distinct, but of not inferior consequence. If a chord be played in the
treble part of the Great organ of an instrument placed in a large building, and not
having any stops lower in pitch than the Unison, there will be perceived a certain
smallness of effect, which makes it evident that, although the treble may possess
sufficient brightness and intensity, perhaps even amounting to shrillness, yet
it lacks the amount of fulness and volume necessary to produce an ample and
dignified tone. This arises from the fact of even the Unison pipes in the treble
being comparatively acute in their sound, and, therefore, in the very nature of
things, unpossessed of stately impressiveness. It thus becomes obvious that
the harmonic corroborating Series of stops alone do not present all the resources
necessary to form a satisfactory organ. Something that is essential appears
to be wanting, and a fresh element is felt to be necessary to supply that absent
property.
The acoustical grounds IO67. The property wanting is gravity, which possesses
*.*.*.*.*... a character peculiar to itself, and for the absence of which
are introduced into an º - 2
Organ. no amount of intensity in the other sounds will compensate.
Of the travelling and filling-up character of grave sounds
we have already spoken, and of the fact itself a sufficient illustration is given
in the circumstance of a chant Sung by twenty tenor and bass voices in
unison pervading a building more completely than if sung by thrice the number
of trebles. Again, the deep tone of a Pedal Diapason will travel through a
building more entirely than a double chord of six or seven notes played on the
Manual Diapasons, from middle cº upwards. Its sound will certainly not be
nearly so well defined, but it will be of a more pervading character. The
want felt, and above specified, however, is not a substitute for the harmonic
Sounds, but a new element, which, added to them, shall render the general
tone larger and more ample. It is worth mentioning that this want was so
much felt abroad nearly three centuries and a half ago, that means were,
even at that period, taken to supply the deficiency. It was about the year
I508 that a covered stop of 16-feet size of tone was invented in Holland ;
THE SIZE OF THE ORGAN. 257
and which, to some extent, imparted the necessary, deep, resonant, humming
effect to the other stops, and was hence expressly called Bourdon, a name
that means a hum or drone; and which stop has never ceased to be highly
valued abroad to this day.
IO68. The strength of this under-sound has to be regulated by the size of the
Organ and the dimensions of the building in which it is to stand. For a small
church organ a Zieblich Bourdon is sufficient; for one of ordinary size a full scaled
Bourdon (Double Stopped Diapason) will be ample; for a larger instrument a
Double Open Diapason is also required, perhaps accompanied by Double Muta-
tion stops ; for a still larger one a 16-feet Double Trumpet is necessary; and for
Organs of first-class magnitude a small Sub-Bourdon, in addition, of 32-feet tone,
as far as the fiddle g or tenor c key, Sounding GG or CCC. In the bass octave the
32-feet Sound can be produced acoustically by means of a Bourdon and Quint of
Iož-feet tone. When a Manual organ is thus developed, the tone of its Treble
is so ample, that it may be used by itself without any insignificance of effect
in the largest buildings.
The effect of a large IO69. It has been thought necessary to enter thus fully
organ not constructed : t e
on acoustic principles tº this subject, because there are many who hold that all
as well as on harmonic. double stops are inadmissible, from the circumstance of their
not being included in the harmonic suggestions of nature.
This opinion, however, does not imply a complete view of the question. The
rearing of a large organ is not governed simply by the laws of harmonics,
but also by the laws of acoustics. The former have already been sufficiently
considered in the previous chapter; and it only remains here to point out
what an organ becomes, when the claims of the latter are overlooked. The
greater the number of stops introduced into the Great organ, and the greater
the quantity of chorus-work, the more is the tone of the Treble drawn
aftwards. The greater the number of ponderous stops put on the Pedal, the
more the bass is drawn downwards. As the size of the instrument is increased,
so is this effect of the severance of the two parts in proportion ; which accounts
for the fact of the largest organs, built not on acoustic principles as well as on
harmonic, being the greatest failures. The two parts contain no one property
or characteristic that is common to both. Instead of the Manual tone being
extended downwards to meet the Pedal, by means of Doubles, &c., and the
Pedal being extended upwards to meet the Manuals, by means of small stops,
&c., the 8-feet and smaller tones of the former, and the 32-feet tone of the
latter, draw the two asunder. The sharpness and acuteness of the one, and
the depth and fulness of the other, instead of producing the effect of harmo-
nious amalgamation, convey an impression of the two parts being engaged in
an altercation. It then becomes necessary for the left hand of the organist to be
employed in holding down nearly every concordant note within reach, and as low
down on the Manual as possible to disguise the deficiency.
IO/O. It is not consistent with the real dignity of the instrument that its good
or bad effect should depend on the player's power of hiding a defect. All the
properties and attributes for producing the best and a perfect effect should be
embodied in the organ itself, but this will not be the case unless what is
acoustically necessary is provided, as well as what is harmonically so. Besides,
a certain combination of concordant Sounds, as a note and its fifth, will gene-
rate suff-harmonics or undertones—in this case, the octave below ; and this
phenomenon, without doubt, first suggested the introduction of “Doubles.” Deep
tones were felt to be a necessity ; and the laws of acoustics Suggested what those
sounds should be.
E. E.
258 VARIOUS MATTERS CONNECTED WITH THE DIVISION
CHAPTER XXXV.
VARIOUS MATTERS CONNECTED WITH THE DIVISION OF STOPS,
AND THEIR SELECTION ACCORDING TO SIZE.
The proportionate divi. IO7I. IN distributing a given number of stops among the
º several departments of an organ, care has to be taken not to
several departments, devote too great a proportion of that number to one depart-
ment, and so few to another that the latter will be insignificant
beside its compeer; but the endeavour should be made to develop all the depart-
ments that are proposed to be introduced gradually and proportionably.
Io'72. The Great organ, as being the most important department, and the one
required to have the fullest tone, should have the greatest number of stops.
The second Manual (Swell) need not have quite so many, although the difference
ought not by right to be great. The third Manual, if there be one (Choir), would
have somewhat fewer again. For the Pedal the minimum proportion should be
one third as many stops as there are on the Great Manual. When even this pro-
portion cannot be secured, there should always be an Octave Pedal Coupler, which
is a stop of great use. Below the ratio just given the German and French organ-
builders never descend, except for instruments of the most unpretending descrip-
tion. The maximum number for the Pedal is as many stops as on the Great
Manual. The German proportion often exceeds this.
IO73. According to the size of the proposed organ, the stops would thus be
assorted into from 2 to 4 or 5 Separate divisions. In so appropriating them two
extremes have to be avoided ; namely, of reducing a moderate number of stops
into too many divisions, and of confining a large number of stops to too few
claviers. By the former course, in consequence of the stops of every clavier
having to commence with the unison, several and minute varieties of the same
stops must necessarily be introduced, which might, under the circumstances,
be very well dispensed with ; while the effect of the whole is small as compared
with what it might be. On the other hand, if a great number of stops be
assorted into too few divisions, the stops that produce the more delicate grada-
tions or shades of tone, if introduced, cannot then be used with the same facility,
advantage, or convenience. A greater number of Manuals will always possess
advantages over a smaller, provided the organ tone be not dispossessed of its
proper dignity to secure them.
IO/4. As a rule, possessing sufficient accuracy to answer all general purposes,
it may be laid down that an organ with 6 to 12 stops might have I or 2
Manuals ; one having from 12 to 30 stops, 2 or 3 Manuals; and one with from
24 to 60 stops, 3 or 4 Manuals. In each case there should be separate stops for
the Pedal, as far as possible.
IO75. It may in Some cases happen that there are large funds at disposal. If,
under such circumstances, it be thought desirable to add to the comparative
completeness and efficiency of the organ, without increasing its strength of tone,
or throwing it out of proportion with the church, this could be done either by
adding a second Manual organ (Swell); or, if that be already designed, a third
OF STOP8, AND THEIR SELECTION ACCORDING TO SIZE. 259
Manual organ (Choir); or it might be effected by proposing extra stops of a
delicate character of tone.
The size of stop that IO76. The next point to be observed is the size of the stop
***** that forms the uni basis of the Manual and Pedal tone
the Manual and pedal that torms the unison or basis 9 l12tl 3.11 &
tone. For all the Manuals this would be the same—namely, 8 feet—
but for the Pedal, 16 feet. The stops first to be selected for
the former must therefore be of 8 feet, or 8 feet size of tone; and for the latter, 16
feet, or I6 feet size of tone.
Stops of one size only IO77. At the same time it would be incorrect, for reasons
for Manual or Pedal I d * d | I 8 f h M I
incorrect. already assigned, to place only 8-feet stops on the anual,
and only 16 feet on the Pedal. The effect of such a selection
of stops, at first serious and solemn, would gradually become dull and mono-
tonous, and then oppressive and dispiriting. Other and smaller stops are
required to give life and energy to the organ tone, and to serve the numerous
other purposes mentioned in former chapters.
The proper size for the IO78. A table of the smaller stops just referred to was given
stops, and the order in & º
which they should be on a Previous Page. All these, of course, cannot be placed in
Selected, every Manual organ in the first instance. They are not indeed
required ; for the individuality of character in the tone of the
Several Manual departments depends as much on the size and proportion, as on
the choice and scale of the stops with which they are each furnished.
IO79. Where, however, fulness and power are required, as is always the case
with regard to the Great organ, the series of smaller harmonic or corroborating
stops should be introduced in a complete form as soon as possible, or the above-
named essential requisites will not be secured to the full extent. The Principal,
4 feet, is the first stop of the series to be introduced, after the Unison stop itself.
Next to that, the Fifteenth. It is a rule never to propose a Third or Fifth-sounding
rank without the Octave-sounding rank the next smallest in size to itself being
also introduced to cover its tone. This is why the Twelfth is never disposed
before the Fifteenth ; although its size is 23 feet, and that of the latter only 2 feet.
In like manner the Nineteenth, or Larigot, should always be accompanied by
the Twenty-second or Octave Fifteenth, otherwise the Mutation tone may appear
remarkable, or even offensive.
The stop from which Io80. As the tone, on the one hand, would tend towards
º i: thinness if any of the requisite Mutation ranks were to be
measured. omitted, so, on the other, it would become thick and vague if
Mutation ranks of too great size were to be introduced. It is
necessary, therefore, to bear in mind from which stop the harmonic series should
be measured, as this will prevent the occurrence of either error. The proper stop
to be used for this purpose is the largest one of the Open Diapason species pro-
posed to be placed on the same Manual. If that stop is to be of 8 feet, the
harmonic corroborating series would, for the theoretical reasons before explained,
be as follows:–
I 8 I 2 I5 17. I9 22 26 29
—65) -
C2SN's | - z-T-2 | TI gº -
VºIO | —! | Aft’ſ | | Tº
*...* |Tºº? ; | (D) – ,- T f
| ! H\} e S-- II
- –63– y e º
8 feet. 4 feet. 23 feet. 2 feet. I # foot. Iš foot. I foot. 8 inches. 6 inches.

Io&I. The order of the harmonic corroborating Sounds will easily be committed
E E 2
26O VARIOUS MATTERS CONNECTED WITH THE DIVISION
to memory if the series be viewed in this way. All the octave sounds are required.
The interval of the first octave from the fundamental tone must not be broken ;
the second should be broken by a Fifth only; while the third may be broken
by a Third * and Fifth. In the above example the filling-up sounds in their
correct situations are represented by minim notes.
IO32. If a large organ is proposed, having a 16-feet stop, Double Open
Diapason, the harmonic corroborating series of that fundamental sound will
be of the following sizes and pitch —
I 8 I2 I5 17 I9 22 26 29
O
-(e): | E-- 23–?—E24. Ha
S-> | | || fºL | | | Iſly 2- ---
L 2- . | 3. | \,\!/ Q_º
— -e- © ºf § el/ —63–
— 8 feet. 5; feet. 4 feet. 3; feet. 23 feet. 2 feet. Iš foot. I foot.
Tax-
I6 feet.

IoS3. For a small Choir organ, having no larger stop of the Open Diapason
Species than the Octave or Principal of 4 feet, the following would be the proper
sizes for the harmonic series –
I n 8 I2 I5
/2SNs I | W. |
US-JE | |Aºſ } fºL)
S-> | ſº | Hºlly 2-3
| TVW/ v_*
--- el/ –63–
4 feet. 2 feet. Iš foot. I foot.

Io&4. As to the naming of the stops of the Manuals, this point is always
decided in England by their pitch in relation to the unison tone of those
departments, as shown in the following scheme —
bſ) bſ) bſ)
.E. 5 .5
§ 5 ; : § 5
C. : O. :- O. :-
3: G, ** 6, , ſº tº
### £33 É? §
C) ź <!-- § 3 + 3 : º,
cy ºf 92 3 #3 & 3 +
•-4 d5,92 - © tº • 3 j $2
5 #j. 5 Écº, 5 §§
E ºf H E. tº E E. ºf `
3.33 & 3.j 5.3 &
. . ... ; . .
#: É É
6 inches.. —e- ....Twenty-ninth
ſº 8 inches.. Tººl ....Twenty-sixth
29 W C2 . . . . I foot....—a 3–....Twenty-second.…-ax- I5
6 — . . . º. foot. —e—. . . . Nineteenth. . . . . . —e— 12
2 e) €2 gº tº $ º foot...—&—,....Seventeenth. . . . Eº-
22 —e)— . . . . 2 feet. ... , -e- ºº:::::::: —e- 8
- . . 23 feet. . . – ....Twelfth . . . . . . . . . º-º-º-º-º:
# Ife-2-ºº:::::=º- TVW"T
tº . . . .35 feet. . . ....Tenth . . . . . . . . . .
: *-2 a D. . . . .4 feet. . . . .... Principal . . . . . . . . C2 f
I2 €2 . . . .5% feet...—W*—.... Fifth . . . . . . . . . . . . **=s*===s=
8 –63– . . . .8 feet.... —e)— ....Open Diapason .. AAAE,
I Taº- ... , 16 feet. . . *W* .... Double Diapason.
* In Germany the Tierce is not commonly introduced into new organs of moderate
dimensions, on account of its not harmonising so well with the slightly sharpened thirds of
the equal temperament. The flat Twenty-first is never included, even in the largest organs
of that country.
OF STOPS, AND THEIR SELECTION ACCORDING TO SIZE, 26.I
Io85. We perceive, from the middle column of the above scheme, that, when
the largest open cylindrical stop of full scale is only of 8 feet, it would be wrong
to introduce either a Fifth or Tenth (see directs); because they form no portion
of the 8-feet harmonic series, but of the 16. Or, to put the fact in a fractical
instead of a theoretical form, the Fifth would break the first octave from the
fundamental tone, and the Tenth would introduce a second filling-up sound
into the second octave. In effect, these would, under such circumstances,
obscure the Foundation tone, and render the whole thick and indistinct.
Io86. The Twelfth, on the contrary, would be a necessary stop to dispose to
an 8-feet ground tone. This, however, in its turn becomes inadmissible, when
the largest stop of the Diapason species is only 4 feet in length ; as shown in
the third column of the above scheme,
The meaning of the 1087. As the meaning of the German terms, “ 16-feet
º jº: Manual,” “8-feet Manual,” and “4-feet Manual,” are by no
and 4-feet Manual. means generally understood, an explanation of them may
not be uninteresting in this place. They have by some been
supposed to signify a CCC Manual, a CC Manual, and a Tenor c Manual
respectively; whereas, in reality, they refer to nothing of the kind. The Ger-
man Manuals never descend below CC, and in modern specimens they seldom
fall short of that compass. The terms refer to the size of the greatest stop of
the Open Diapason kind on the Manual to which either of the three may be
applied. If the stop in question be of Sub-octave pitch, corresponding with
the English Double Open Diapason of 16 feet, the Manual on which it stands
is said to be a 16-feet Manual. If it be of 8-feet length, the Manual is said to
be an 8-feet one. If it be of Octave pitch, it is said to be a 4-feet Manual.
The fact of there being a Bourdon of 16-feet tone, and perhaps even a “ Gedact-
Quint,” or a “Rohr-Quint” (Stopped Fifth, 53-feet tone), does not affect the
classification. In the same manner, the presence of the Stopped Diapason,
and perhaps other Unison stops not of the governing kind, are again not
permitted to affect the classification.
Stops of one class alone Io88. Two facts have already been mentioned, that the
: º harmonic corroborating series of stops are usually formed
of pipes of the Open Diapason species, and that the presence
of that series is essential to the production of a full and satisfactory organ tone.
At the same time, those stops do not present all that is necessary to produce
the best attainable effect. No single class of stops can do this. For instance,
Open stops of the Diapason kind, alone, would produce rather a cutting
tone ; an organ entirely of Covered stops would sound weak and muffled;
while one composed entirely of Reeds would be too strong and penetrating.
The four great classes of organ stops—Open, Covered, Flute, and Reed—are,
in fact, to a great extent dependent on each other for the production of the
most satisfactory result. The Covered stops impart a quiet solidity to the
Open stops ; the Open stops bestow roundness and firmness on the Covered
stops ; the Flute stops give variety and increased character to the soft
combinations; while the Reed stops impart to the full organ stateliness and
Splendour, and in return receive fulness and brightness from the Open Series
of stops.
The proportion to be Io89. In selecting stops from the Covered, Flute, or Reed
observed in the num- e * - ſº * e e
... species, for addition to those of the Diapason kind, certain
sizes. proportions should be observed in regard to the number of
262 VARIOUS MATTERS CONNECTED WITH THE DIVISION
each size proposed to be introduced, or the proper balance of the general organ
tone will not be preserved. The foundation tone should in all cases predomi-
nate over the mutation sounds; and, in like manner, the unison sound should
predominate over all the octave sounds. The former point is attained by
doublºg the number of 8, 4, and 2-feet ranks or stops; and the latter by
introducing more 8-feet stops than of 4-feet, and a greater number of 4-feet
stops than of 2-feet. For the regulation of these matters, certain general rules
are laid down in Germany, which are embodied in what follows.
Io90. A Great Organ Manual should ordinarily have, besides the Open
Diapason, from one to three or four other 8-feet stops, according to the size
of the instrument. In addition to these there should be a good proportionate
number of 4-feet stops. Those latter should be, at the least, half as numerous
as the 8-feet ; and, if of those of 8-feet there should be an odd number, the
balance should be given in favour of the 4-feet stops.
Thus—(1) to two 8-feet stops, there should be
one 4-feet Stop ;
(2) to three or four 8-feet stops, there should be
two 4-feet stops, and
one 2-feet stop ;
(3) to four or five 8-feet stops, there should be
three 4-feet stops, and
two 2-feet stops.
IO91. The stops should, in fact, in regard to their proportion and size, be
arranged after the manner of a pyramid ; lessening gradually as they rise.
Thus, for a small Great organ they should stand thus:–
to three 8-feet stops,
two 4-feet stops,
one 23-feet stop, and
one 2-feet stop.
The Twelfth would be required, to give that kind of “chorus” effect which is so
desirable a characteristic for even the most limited Manuals of the kind to possess.
Io92. A Great Manual that is to have 9 or Io stops should include a Twelfth,
a Compound stop, and a Bourdon. This would make the second of the three
tables just given take the following form —
One 16-feet sounding stop,
three or four 8-feet stops,
two 4-feet stops,
one 23-feet stop,
one 2-feet stop,
one Mixture of III, IV., or V. ranks—9 or IO stops.
1093. If the Great Manual is to have 16 stops, it should include two 16-feet stops
and a Quint of 53 feet. These would give to the third table the following form —
Two 16-feet stops,
five 8-feet stops,
one 53-feet Stop,
three 4-feet stops,
one 23-feet stop,
two 2-feet stops,
two Mixtures, comprising VIII, ranks—I6 stops.
OF STOPS, AND THEIR SELECTION ACCORDING TO SIZE. 263
IO94. It will be understood, from a glance at the foregoing tables, that it must
be improper to propose two Twelfths with but one Fifteenth to cover them. If
they were to speak out properly, the fifth sound would certainly be stronger than
the octave, and the predominance of the foundation tone would be to some extent
obscured. There would then appear a certain thickness and nasal quality in the
tone. It would be equally wrong to propose a greater number of 4-feet stops than
of 8-feet, or a greater number of 2-feet than of 4-feet. Either of these latter mis-
calculations would have the effect of drawing the tone up from the unison pitch,
whereby the requisite fulness and gravity would be lost, and an undue brightness
and thinness Substituted. It is equally bad to dispose a full-toned and powerful
4-feet stop with only a delicate 8-feet stop to support it; yet this is frequently done
in modern Choir organs.
Io95. The foregoing Schemes and observations have more immediate reference
to the properties requisite for the Great organ to possess. They, however, apply
equally to all the Manuals, and indeed to the Pedal also ; but the Swell and Choir.
Organs are Seldom furnished with as many stops as the Great; and, moreover, are
not developed in the same manner. For instance, the harmonic series of stops
are among the first to be proposed for the Great organ ; their importance is shared
by the Reeds in the Swell; while, in the Choir organ, they are the very last that
find admission.
IO96. The Swell may be considered as an Echo to the Great organ in one sense,
and as a Solo organ in another; and the stops that are selected for it in these
two capacities render it a most valuable division of an organ for accompanimental
purposes.
Io97. To serve as an Echo to the Great organ, the Swell should have, besides
two Unison Flue stops, the harmonic-corroborating series of ranks complete, as
far as practicable; and it should be the first, after the Great organ, to have a
Bourdon. As a Solo organ, it requires at least one soft Unison Reed, even sooner
than the Great organ. The proportion in the number of Unison and Octave stops,
even in a small Swell, will, therefore, almost of necessity stand in the following
ratio, namely:-
to three 8-feet stops,
one 4-feet stop.
For a larger Swell there should be two Unison Reeds and a second 4-feet stop,
which might be a Clarion. The proportion could then be as follows:—
to four 8-feet stops,
two 4-feet stops.
It is quite wrong, as to effect, convenience, and completeness, to propose a Bourdon
for the Swell before a Compound stop. One of the reasons why Reeds are so soon
and so freely introduced into a Swell is that, on account of the stops being enclosed
in a box, the tone must be of a more penetrating quality to make itself heard; and
a strong and a weak Unison Reed are therefore proposed. It is also for the above
reason that the second 4-feet stop proposed for the Swell is almost always a
Clarion in preference to a Flute.
Io98. The Choir organ should be of a lighter tone than either the Swell or the
Great organ. By this it is not meant that it should be so very much softer.
Choir organs have sometimes been voiced with the delicacy of a chamber organ ;
and have, therefore, for church purposes, been of little use." Excellent examples of
What the comparative strength of the like stops in the Great and Choir organs
should be will be found in some of the best old instruments which still remain :
264. MATTERS CONNECTED WITH DIVISION OF STOPS, ETC.
not, indeed, that the Choirs of those organs present good models for literal reproduc-
tion ; for they are, or were, in their original form, very much out of proportion. It
was a constant practice with the old builders to propose a Stopped Diapason only
to stand against two 4-feet stops and one 2-feet stop. Instead of the unison tone
being properly maintained by such a specification, it was completely overbalanced
by the higher sounds, and a quality of tone was produced that was characterised
by excessive thinness, in spite of its sprightliness. Probably this misproportion in
the old Choir organs arose from the same cause which operated against the proper
balancing of the old Great organs—namely, lack of room, want of funds, or both.
In later examples of Choir organs a Dulciana was generally introduced ; but so
weak a unison, even as an addition, was insufficient to reduce the strong-toned
Principal and Fifteenth into proportion ; hence the custom was introduced of voicing
the last-mentioned stops much more quietly than before ; and this twofold modi-
fication, while it certainly had the effect of producing a more equally balanced
Choir organ, at the same time brought in the chamber quality, as already
mentioned. The attributes for a Choir organ are lightness and variety, rather
than fulness and power ; hence a given number of stops, that would in the case of
the Great organ require a Twelfth and a Compound stop, neither call for the one
nor the other when appropriated to the Choir organ. A good number of 8 and
4-feet stops, comprising delicate accompanimental and Solo stops, are among the
first that should be selected for this department.
Io99. The Pedal organ should contain a “Bass" to as many of the leading
Manual stops as circumstances will allow. A good complement of 16 and 8 feet
stops should first be disposed for this department, particularly as all Smaller stops
can be conveniently borrowed by coupling the Manual to the Pedal. The 16-feet
Unison stops are the most indispensable, because their tone forms the true basis
of the Pedal tone. Of Scarcely less importance are the 8-feet, or Octave, stops,
When there is a choice of stops of this latter size, the Pedal can then, in Soft play-
ing, be freely used without there existing any necessity for coupling either of the
Manuals thereto to produce a good effect. The left hand, moreover, will not then
be constantly deceived by descending on a key that is already down, or the melodic
progression of a tenor part be broken from the same cause. If these stops cannot
be introduced, or not in sufficient proportion, an “octave coupler’” to the Pedal
stops should be introduced.
I IOO. With regard to the proportion between the 16 and 8 feet stops on the
Pedal, this should, if practicable, be the same as in the Great organ. When there
are 5 or 6 Pedal stops, these should include a Quint of IO3-feet tone; and when
there are Io Pedal stops, a double open Bass of 32-feet might be included.
THE COMPOSITION OF THE MIXTURES. 265
CHAPTER XXXVI.
THE COMPOSITION OF THE MIXTURES.
IIoI. WE have now arrived at the consideration of the composition of the
Mixtures; that is, of the Compound stops generally, under whatever name they
may appear—as Sesquialtera, Mixture, Furniture, Cornet, &c. The subject is one
of great interest and importance. So great, indeed, is the influence which the class
of stops in question exercises, that, after taking the greatest care to preserve the
harmonic-corroborating series of stops entire, and to Secure the proper propor-
tionate number of stops of the different sizes, it is quite in the power of incorrectly
compounded Mixtures to disturb those pre-arrangements, and to qualify the perfect
effect of the work. For this reason, it becomes necessary to inquire what may be
the several requisites of the class of stops above named.
Why should there be IIo2. The first question that presents itself is, Why should
º * * *P* there be any “breaks” in a Compound stop? In the first
place, because there is a practical difficulty in the way of
continuing the smaller ranks throughout at the original altitude of pitch above
the unison, although to do this is not impossible. It is far from easy to make
pipes small enough for the purpose ; and, when made, are difficult to tune, and
are put out of tune again by the slightest change of temperature or by the Smallest
particle of dust.
A Compound , stop I IO3. Moreover, there exists no necessity for continuing a
* nº i. Compound stop up without a break. The Mixtures are in-
suggestions of nature, tended to corroborate certain of the higher harmonic Sounds.
But these sounds are not heard to rise to so great an altitude
when the fundamental tone is higher up in the Scale as when it is lower down.
So long a series of harmonic sounds will not be traced rising above the middle
c1 as from the CC string of a pianoforte. To continue a Compound stop through-
out would be to “corroborate” what cannot be heard.
The same Compound I IO4. Furthermore, there is a very important practical fact,
ºº connected with the sound of the Small stops of an organ, that
parts of the scale. should be here mentioned. It is no other than this : that the
same combination or compound does not produce the same
effect in different parts of the scale, but possesses more prominence in the upper
than in the lower part. For example, if the Great organ stops, as far as the
Fifteenth, be drawn, and this, or any similar passage, be played in the Treble,
fº.

ſº *::
V. | I i T TI |:
Aſ º | | |T| T | |T * gº
-(() | | | | || | | T] — | | | H
\!/ | | 1–25 CTTCI Zºº T * Tº | 2- | |s
el/ —G– Gº `-- *-ag -- a----a-
266 THE COMPOSITION OF THE MIXTURES.
a certain completeness of effect will be produced that will be satisfactory to the ear.
Repeat the progression in the Bass,

f
|
-e- -a-, -e- at
and an equally perfect effect will not be experienced. The Mutation sound
(Twelfth) will appear to be stronger than before ; and, besides this, there will
be a sensation of dulness as compared with the effect resulting from the previous
experiment. If there be a III. rank Sesquialtera, and that stop now be drawn,
on repeating the same low notes, the Bass will be found to be brightened up,
and the Twelfth tone to be covered. If, however, the treble of the added stop
be of the same composition as the lower part, and the foregoing passage be
repeated in the higher part, the treble will again appear to be in advance of
the Bass, in regard to comparative brightness. These facts clearly show that
there is a close connection between the extent of the audible harmonic series
of sounds in nature and the good effect of the harmonic corroborating stops,
when of approximate range. It is evident, moreover, from their works, that the
old English builders were aware of this, and that they worked accordingly, so
far as circumstances permitted.
Might not a rank “die I IOS. The second question is, Might not a rank, as its
*ś * continuation becomes unadvisable or impracticable, be al-
lowed to “die out?” No. For, in that case, the Treble,
from having fewer pipes, would sound weaker than the Bass, and consequently
would be overpowered by it. To prevent this, the same number of ranks should
be maintained throughout ; and, when it becomes advisable to discontinue a
rank at its original altitude of pitch above the fundamental sound, a duplication
of some larger rank should be introduced in its stead ; which, by strengthening
one of the most important remaining tones, will add fresh energy to that tone,
and so compensate for the loss of eatient in the harmonic series.
The valuable aid ren- I IO6. These duplications, introduced where the breaks
dered to the Treble of º & e e
an organ by the return 9°” and increasing as the harmonic series decreases, per-
ranks. form a most important and valuable office when rightly
managed. It has already been mentioned more than once
in the course of this work that there is always a tendency in organ stops to
become weaker and of lighter tone in the Treble than in the Bass. The
duplications in question offer one means for almost entirely removing this
defect from organs of average dimensions, which they do by presenting a
great accession of tone to the ranks that are “repeated.” These advantageous
duplications, of course, alter the proportions as to the number of stops and
ranks of different sizes in the Treble, which modification takes place without
any detriment, but, on the contrary, improvement, to the general effect. The
two chief rules to be observed in regard to the Treble are (1) that, of the
Foundation ranks, those of a Smaller size shall never exceed those of a larger,
as more Fifteenths than Principals; and (2) that those of a Mutation rank
must not be greater than those of the Foundation rank next below, as more
Twelfths than Principals, or more Nineteenths than Fifteenths, &c. The more
nearly the return ranks present a general duplication of the entire Treble, the
THE COMPOSITION OF THE MIXTURES. 267
better. The reinforced Treble then more nearly matches in strength the
brighter Bass.
On what keys the IIo?. The breaks, then, being not only unavoidable, but
* *** even advantageous when judiciously managed, the next ques-
te tion is, On what keys had they better be made P For these
changes no fixed positions were recognised by the old builders, nor have any
been uniformly adopted by the modern. They are met with on c, c Sharp, f,
f sharp, and g, in different organs. In the following plans for Compound stops
they occur chiefly on c sharp and g sharp.
Where the broken ranks 1108. The next point to be considered is, Where should
should return to. the broken ranks return to ? Seidel says, “In the repetition
of a Mixture, Fifths and Octaves must be used alternately.” This refers to the
Compound stops of many modern Continental organs tuned on equal tem-
perament, in which there are no Tierces, and is the best arrangement. Smith
sometimes broke his Mixtures by Octaves in the bass, and used Fifths, Thirds,
and Octaves successively in the Treble; England and Green more frequently
used Fifths as well as Octaves for the breaks in the Bass, and Fifths, Thirds,
and Octaves alternately in the Treble. But, in whatever way the breaks be
made, the consequent duplication should be introduced with the view of pre-
Serving the predominance of the Foundation tone and the subordination of the
Mutation.
I IOO. These precautions were not uniformly taken ; hence certain mis-
proportions will sometimes be met with in the old Mixtures of even some
of the best builders. For example, in some old organs there will be found
in the Tenor octave, to three Unison Flue stops, one Principal and two
Twelfths, the Fifth-sounding ranks being in consequence more numerous than
the Octave-sounding ranks the next below them in pitch ; and from middle cº
upwards to two Principals, three Twelfths and one Fifteenth—the misproportion
being thus increased. When the sound of the Mutation ranks is strengthened
beyond the necessary degree, it then no longer simply gives roundness to the
tone, but imparts a slightly nasal quality to it that has nothing to do with the
production of the peculiarly rich and musical effect that so frequently distinguishes
the old Mixtures, but, on the contrary, to some extent it deteriorates it.
II IO. In one organ the writer examined not very long since there were, in
the treble of the Great organ, to
I Open Diapason—2 Principals—3 Twelfths—4 Fifteenths.
The tone was extremely bright, on account of the Fifteenths being so much
more numerous than the Principals and Diapasons ; but the fundamental sound
was far from being properly maintained. In another there were, to
3 Principals—2 Twelfths—2 Fifteenths—3 Tierces—4 Nineteenths.
In this case, the “Chorus” was anything but brilliant, although there was a
great quantity of it, on account of the Tierces and Nineteenths being more
numerous than the octave sounds immediately above and below them. On the
Mixtures last referred to being subsequently revised, and the Foundation and
Mutation ranks brought into better proportion, their power and clearness were
considerably increased without a single rank being added to the original
number.
268 THE COMPOSITION OF THE MIXTURES.
Plans for Compound II II. Some compositions for Mixtures will now be given, in
StopS. the preparation of which special care has been taken to guard
against the appearance of any of the misproportions already alluded to. Advan-
tage has also been taken of a personal examination of some of the finest English
and Continental Mixtures, the best points in which have been freely incorporated,
So far as the proposed number of ranks would in each case allow. As, however,
two Mixtures of even the same number of ranks will produce a very different
effect according to their composition, scale, and strength of voicing, the one
giving a sharp and clear tone, the other a full and bold tone, the terms “Full
Mixture” and “Sharp Mixture” have been used, after the German manner.
The term “Mixture” has also been applied alike to all the Compounds; for
which, however, any other name would, of course, be substituted that might be
preferred.
III2. The first kind of Compound stop that is required for a small organ
is one that will brighten up the Bass and Tenor, and add fulness, body, and
firmness, to the Treble, without, however, imparting sharpness or keenness thereto.
The kind of stop that is usually proposed for this purpose is a 3-rank Sesqui-
altera, consisting of I7—19–22 in the Bass and Tenor octaves; and I2–15—I'7
from Middle cº upwards. Almost the only fault to be found with this composition
is that it places two Twelfths to one Principal in the Treble. This misproportion
would be entirely removed by arranging the composition thus –
I. COMPOSITION FOR A FULL MIXTURE OF III. RANKS.
Intervals in relation to the The corresponding sounds in
Key on Manual. Unison. Tablature.
CC to middle c . . . . I5—19–22 *=======e c"—g”—cº.
Middle cºff to the top . 8–12—I isºsºsºsºsºsºs? C*—g”—C3.
p g
III.3. This alteration is effected entirely by substituting some other rank for the
Tierce, which is not required where equal temperament is adopted. The advan-
tages presented by the substituted rank are that the Fifteenth gives increased
clearness to the Bass and the Principal fulness to the Treble.
III.4. The goodness of a Mixture composition depends, as already explained,
on the extent to which the predominance of the Foundation tone and the rules of
proportion are preserved, when its ranks are added to the other Flue stops of the
same Manual. Let the above composition, then, be tested in this manner. Suppose
it to be added to a small organ, such as that proposed as the First Specification
immediately preceding the Appendix. The proportion to the size of the stops as
there given is as follows:—
3 Unisons—2 Octaves, I Twelfth, and I Super-octave throughout.
With the above addition, it would stand thus:–
From CC to Middle cº . . . . 3 Unisons—2 Octaves—I Twelfth–2 Super-
octaves—I9 and 22 ; and
From Middle cºſt to the top . . . 3 Unisons—3 Octaves—2 Twelfths—2 Super-
octaves.
III 5. For a somewhat larger organ, such as Specification No. IV., a IV, rank
Mixture would be required. This might be of the following compound —
THE COMPOSITION OF THE MIXTURES, 269
II. COMPOSITION FOR A CLEAR MIXTURE OF IV. RANKS.
Key on Manual. Intervals iºn to the The corrº. sound. in
CC to Fiddle g . . . . 19–22–26–29 — gº —cº —gº —cº.
Fiddle gift to Middle cº . I5–19–22–26 — g : —d #–g it —d it.
Middle cºſt to Treble cº . 12–15–19–22 — gº—cº-gº-cº.
Treble cºſt to the top . . I— 8–12–15 cºſt–cº-gº—cºſt.
1116. The duplication of the four principal ranks of the organ from Treble cºſt
upwards (an octave and a half) imparts great breadth and dignity to the upper
part of the Manual.
III.7. If a keener tone should be required, the compound might have the
following form :—
III. COMPOSITION FOR A SHARP MIXTURE OF IV. RANKS.
Key on Manual. Intervals iºn to the The corrºsounds in
CC to Middle cº . . . . I9–22–26–29 — gº —cº —gº —cº.
Middle cºſt to Treble fº . 12–15–19–22 — gº–cºff-gº-cº.
Treble fºr to b” above . 8–12–15–19 — f *†—cº-fº-cº.
cº in alt to the top . . . I— 8–12—I 5 * cº —c" —gº —cº.
II 18. As compared with the preceding composition, the above presents a
twofold contrast from Treble cº to b% in alt—nearly a complete octave. In
the first half of that octave it has a I9 and 22 in place of the Open Diapason
and Principal ranks before proposed ; and in the second half octave, nearly, it has
a 19 in lieu of the Open Diapason.
II 19. The 29 is continued unbroken through the Bass and Tenor octaves. The
upper rank, however, might have been changed at Tenor cf: ; and at Treble cºſt
the 22nd might have been discontinued, leaving the 19th at top. These modifi-
cations would have caused the composition to Stand thus:—
IV. COMPOSITION FOR A QUINT MIXTURE OF IV. RANKS.
Key on Manual. Intervals *ion to the The º Sounds in
CC to Tenor c . . . . 19–22–26–29 — gº —cº —gº —cº.
Tenor cit to Middle c. . 15–19–22–26 — cºſt–gº-cº!—gº.
Middle cºſt to Treble b" . 12–15–19–22 — gºiţ-cº–g°º-c4;.
Treble cºff to be above . 8–12–15–19 — cºſt–g°:-cº–g4:.
c3 in alt to the top . . I— 8–12–15 — cº —cº —gº. –c5.
II2O. A break here occurs on every cit key throughout the Scale; and the
octaves and fifths are discontinued alternately, after the manner proposed by
Seidel. The changes are therefore very gradual. In Some respects this compo-
sition resembles that frequently adopted by England, who was very partial to the
26th as the top rank in the Tenor octave, and sometimes in the Bass octave also.
In connection with the discontinuance of the Octave Fifteenth at Treble cº, it
may be mentioned as a circumstance worthy of observation that the tone of that
particular rank has a decided tendency to fall on the ear with great prominence
above that note, unless it be very carefully treated and well balanced.
27O THE COMPOSITION OF THE MIXTURES.
II.2.1. If a very full tone be desired from the Mixture, the following composition
would produce that effect:-
V. COMPOSITION FOR A FULL MIXTURE OF IV. RANKS.
Intervals in relation to the The corresponding sounds i
Key on Manual, |Unison. Tablature.
CC to Tenor c . . . . I 5–19–22–26 -*-*. cº —g" —cº —gº.
Tenor cf: to Middle cº , 12–15—19–22 — gº-cº!—gº—cº.
Middle cºſt to the top . . I— 8–12–15 — cº-cº!—gºiţ-cº.
II22. At Tenor cit this composition is exactly like that adopted by Green in the
organ at Rochester Cathedral, excepting the omission of the Tierce; and the
Treble is also the same as that planned by that builder for the same instrument,
excepting the same omission and the substitution of the Unison rank in its stead.
II23. Let these several IV. rank Mixtures now be tried in the manner prescribed
in an earlier part of this chapter. The Great organ, in Specification No. IV.,
would have, without the Mixture, Reed, and Double—
3 Unisons—2 Octaves—I Twelfth–and I Super-octave throughout.
With the clear Mixture of IV, ranks, it would have—
From CC to Fiddle g . . . . . 3 Unisons—2 Octaves—I Twelfth–1 Super-
octave—19–22–26—and 29 ;
From Fiddle g; to Middle cº . . 3 Unisons—2 Octaves—I Twelfth–2 Super-
octaves—19–22—and 26;
From Middle cºſt to Treble cº . . 3 Unisons—2 Octaves—2 Twelfths—2 Super-
octaves—19—and 22 ; and s
From Treble cºſt to the top . . . 4 Unisons—3 Octaves—2 Twelfths — and 2
Super-octaves.
With the Sharp Mixture of IV. ranks, it would have—
From CC to Middle cº . . . . 3 Unisons—2 Octaves—I Twelfth– 1 Super-
- octave—I9–22–26—and 29.
From Middle cº, to Treble f* . , 3 Unisons—2 Octaves—2 Twelfths—2 Super-
octaves—19—and 22.
From Treble fºr to be in alt . , 3 Unisons—3 Octaves—2 Twelfths—2 Super-
octaves—and 19. -
From cº in alt to the top . . . . 4 Unisons—3 Octaves—2 Twelfths — and 2
Super-Octaves.
With the Quint Mixture of IV. ranks, it would have—
From CC to Tenor c . . . . . 3 Unisons—2 Octaves—I Twelfth — I Super-
octave—19–22–26—and 29.
From Tenor cit to Middle cº, . . 3 Unisons—2 Octaves—I Twelfth —2 Super-
Octaves—IQ–22—and 26.
From Middle cº, to Treble cº . . 3 Unisons—2 Octaves—2 Twelfths—2 Super-
S octaves—19—and 22.
From Treble cºſt to b% in alt . . 3 Unisons—3 Octaves—2 Twelfths—2 Super-
octaves—and 19.
From cº in alt to the top . . . . 4 Unisons—3 Octaves—2 Twelfths — and 2
Super-octaves.
THE COMPOSITION OF THE MIXTURES. 271
With the full Mixture of IV. ranks, it would have—
From CC to Tenor c . . . . . 3 Unisons—2 Octaves—I Twelfth-2 Super-
octaves—19–22—and 26.
From Tenor cit to Middle cº . . 3 Unisons—2 Octaves—2 Twelfths—2 Super-
- - octaves—IQ—and 22.
From Middle cºſt upwards . . . 4 Unisons—3 Octaves—2 Twelfths—and 2
Super-octaves.
1124. We here see that the composition of a Mixture, consisting of a specified
number of ranks, may be varied in many different ways, to adapt it to special
purposes, or to cause it to Suit individual tastes or feelings, and yet without
creating any misproportion in any one instance. For a V. rank Sharp Mixture,
the following composition would answer well:—
VI, COMPOSITION FOR A SHARP MIXTURE OF V. RANKS.
Intervals in relation to the The corresponding sounds in
Key on Manual. |Unison. Tablature.
CC to Middle b . . . I 5–19–22–26–29. c" —g" —cº —gº —cº.
Middle cº to Treble fºr 8–12–15–19–22
Treble f*f; to b% in alt. I— 8–12–15–19
cº in alt to the top . . I– 5–8–12–15
cº —gº —cº —gº —c4.
f*†—f ºff-cº!—f *i-cº.
cº —gº —cº —gº —cº.
=
II25. In the Bass and Tenor octaves the above composition is identical with
that used by Harris in the fine organ at Doncaster, lately destroyed, excepting
that a 15 is substituted for the octave Tierce. The composition from Middle
cºſt to Treble fº is also the same, with the exception of the substitution of a
22nd for the Tierce. The Fifth at cº in alt, introduced after the manner
common in German Mixtures, should be scaled and voiced as a Dulciana,
when the Double is a Bourdon. It is a noteworthy fact that scarcely any of
the old organs contain a 22nd in the Treble, even when there are as many as
six ranks of Mixture. The writer has not met with it in the Treble of any of
the organs by Smith, Harris, Snetzler, or England, that have come under his
notice ; and he has only met with it in One of Green’s—namely, that in St.
Katherine's Church, Regent's Park—and there it stops at Treble cº.
I 126. The omission of the 22nd from the Mixture compound in the Treble of
old organs, and the occasional appearance of the misproportion in that part of
those instruments, seem to have arisen from three causes:–(1) the omission of
Doubles, which deprived the Treble of all depth of tone, and so prevented its
successfully resisting the upward-directing influence of the octave Fifteenth ; (2)
the non-return of any Mixture rank to the Unison tone, which further militated
against the effectual balancing of the acute rank in question ; and (3) the com-
paratively few intervals left to which the broken ranks could return, and which
therefore were certain to be thrown out of proportion with the Unison the more
they were doubled.
I 127. In the organ at Newcastle-on-Tyne, built by Renatus Harris, and also
in that at Halifax, by Snetzler, an Open Diapason rank, however, as well as a
Principal, is comprised in the Mixture compound in the Treble.
II 28. In compounding two separate Mixtures, the same attention should be
paid to the preservation of the proportion in the Bass, and the regular dupli-
cation of the ranks in the Treble, that has already been bestowed on the single
Mixtures.
272 THE COMPOSITION OF THE MIXTURES,
VII. COMPOSITIONS FOR
a Full Mixture, III. ranks, and a Sharp Mixture, III. ranks.
CC to Middle cº . . . . . I 5–19–22 22–26–29. -
Middle cºſt to Treble cº . . . 8–12–15 *===s*=º I5—I9–22.
Treble cºſt to fº above . . . I— 8—I 5 *s-smasamº-sa-e I2–19–22.
Treble fººt to be in alt . . . I— 8–15 gººmsºmº-º-º-ma I2—I 5–19.
cº in alt to the top . . . . I— 8–15 sºmºmºsºmeºs 8—I2—I 5.
II29. Although the 19 and 22 cannot be traced among nature's suggestions
in the higher parts of the musical scale, yet those tones have a good effect in the
Treble of an organ, when they are well balanced. Moreover, there are several
arrangements which will aid in bringing those acute Sounds into due subordination,
without the two ranks which produce them being voiced weakly; as, for instance,
the duplication of their octaves below, i.e., of the Twelfth and Fifteenth, which
will be found to occur in all the best modern Mixtures, as well as in the old ; the
presence of a 4-feet or second Principal rank, which, however, is met with more
frequently in old organs than in modern ; and more particularly the insertion of a
Sub-Octave Sounding stop, which is always found in new organs of pretension, and
never in old. These, in connection with the usual proportion of stops—as, for
instance, those in Specification No. VIII.-would produce so great a body of tone
that there would be little chance of the 19 and 22 predominating in the Treble
octave. At Treble cºſt, where the 22 begins to produce an effect of remarkable
acuteness—a fact, no doubt, observed by Green, as he discontinued that rank on
that note—an Open Diapason rank might be introduced, as suggested in the Full
Mixture of the preceding composition ; which, in conjunction with the Double,
would certainly tame down that otherwise noisily-inclined rank.
VIII. COMPOSITIONS FOR
a Full Mixture, III, ranks, and a Sharp Mixture, IV. ranks. -
CC to Middle cº . . . . . . I 5–19–22 I9–22–26—29.
Middle cºff to Treble cº . . . . 8–12–15 *=====s=sº I2—I 5–19–22.
Treble c3: to f* above . . . . I– 8–15 — I2—I 5–19–22.
Treble f*# to b% in alt . . . . I— 8–15 — 8–12—I 5–19.
cº in alt to the top . . . . . . I– 8–15 tºmºsºmsºmº I— 8–12–15.
1130. On examining the above compounds, it will be seen that either of them
could be used separately with the larger stops as far as the Fifteenth, according
as a full or a ringing tone might be required, without any lapse appearing in the
progression ; while both could be united for a third and fuller effect, without
any misproportion occurring. This idea is taken from Some of the Continental
Mixtures. A separate Tierce might be drawn with either of them, and thus the
possible usefulness of that rank be doubled without its being repeated, which
would certainly have a very disagreeable effect.
IX. COMPOSITIONS FOR
a Full Mixture, III. and IV. ranks. and a Sharp Mixture, V. ranks.
CC to Tenor c . . . . . I 5–19–22 I5–19–22–26–29.
Tenor cit to Middle cº . . I2–I5–19–22 — 15–19–22–26–29.
Middle cºſt to Treble f * . I– 8–12–15 — 8–12–15—19–22.
Treble f * to b% in alt . . I— 8–12–15 — I— 8–12–15—19.
cº in alt to the top . . . I— 8–12–15 *=ºmºsºs I— 5— 8–12–15.
THE COMPOSITION OF THE MIXTURES. 273
II31. It may be as well, before proceeding further, to explain why one of
the most generally received names for a Compound stop, that of Sesquialtera,
has not, in the foregoing schemes, been retained.
II32. The Continental Sesquialtera, from which the English stop was
originally derived, is a II-rank Mutation stop, composed of a Fifth and a Third-
Sounding rank, the Fifth being the lowest, and the Third the highest ; the
two thus Sounding a major sixth, as g, e" on the CC key. Hence the name
Sesquialtera, from Sexta, a sixth. The size of the two ranks was usually 23 feet
and I; foot, which therefore corresponded exactly with the English Twelfth and
Tierce. Sesquialteras of this kind will be found in the Great and Positif depart-
ments of the Rotterdam organ ; also on the Choir manuals of the organs at Amster-
dam, the Hague, Freiburg, &c. When the Sesquialtera consisted of 3 ranks, a
Fifteenth was frequently added to the Twelfth and Tierce, making it sound
g, cº, el; and it was in this form that the stop was introduced by Smith and
others into the Treble of their English organs. Sometimes the Sesquialtera Con-
sisted of IV ranks in the Treble, in which case a Principal was usually incor-
porated, as in Snetzler's excellent organ at St. Mary’s, Nottingham. In the Tenor
and Bass octaves the Third was lower than the Fifth-sounding rank—thus on the
CC key, e", gº, cº–so that the stop was not a Sesquialtera at all, but essentially a
Mixture. Occasionally Harris made a sort of octave Sesquialtera, consisting of
I9, 22, 24–g", c”, e”—on the CC key.
II.33. Another II-rank Mutation stop used frequently to be admitted into
Continental organs, called a Tertian, from Tertia, a third. This consisted of
an inversion of the two Sesquialtera ranks ; that is to say, the Fifth-sounding
rank was the smallest, and therefore the highest in pitch. The two ranks thus
sounded a third, as el, gº on the CC key, and therefore agreed precisely with the
Tierce and Larigot of English organs. A Tertian of II ranks occurs on the Great
Manual of the Haarlem organ.
II34. It will be seen, however, that the two stops in question were named
after the interval which their own two distinctive ranks conjointly produced,
without reference to the relation in which they might Stand to the fundamental
tone of the organ ; and in this respect they differed from all the other stops in
the organ-builder's vocabulary. In fact, the Sesquialtera was, in a few cases,
simply labelled “Sexta,” as on the Great Manual of the organ at Mülhausen,
and on the same department of that in the Church of St. Dominico, at Prague.
A third stop, of II ranks originally, and mostly composed of a Twelfth and
Fifteenth on one slider, used also to be frequently introduced by German organ-
builders, under the name of Rausch-quint or Rausch-pfeif. This combination
is still in use. To the Sesquialtera composition in the Treble many modern organ-
builders and organists have taken great exception; some proposing to substitute
in its stead a continuation of the 19 and 22 through the next octave and a half;
thus forming a sort of III-rank Sharp Mixture, while others suggest the introduc-
tion of a Principal in place of the Tierce, after the manner of the III-rank Full
Mixture already given. Both the compositions recommended remove almost
every vestige of the original Sesquialtera, even from the only half of the
Manual range in which it usually appeared in English Organs; and on this
account it becomes a subject well worthy of consideration whether the name
should continue to be applied to a stop to which it is no longer in the least
degree appropriate. Following the modern German custom, the name was
relinquished with the composition in the plans for Mixtures just now proposed ;
and other names were adopted, which very simply, yet clearly, announce, even
to the uninitiated, what are the distinctive properties of each, as “Full
F F
~
274 THE COMPOSITION OF THE MIXTURES.
Mixture” and “Sharp Mixture.” The only deviations from the Continenta
nomenclature consist in the addition of the adjective “full” to the ſa’ºes?
Mixture, which appeared to be necessary, inasmuch as fulness of tone is by
no means a common attribute of an English Mixture, although it is one of
the leading characteristics of a German one in the Treble, and, in the addition
of the word “Mixture” to that of “Sharp,” to intimate that such a stop is a
stop of that kind; a fact known sufficiently well abroad to be understood without
the announcement being placed on the stop-label, but which probably would not
be so at first in this country, supposing that name to be adopted.
1135. One of the chief objects for which the Sesquialtera was originally used
abroad was to place a second Twelfth on the Manual of those large instruments,
in which the Mixture ranks were sufficiently numerous to require it, to
bind their tone more firmly to the large work of the same Manual. In the modern
instruments of German builders, from which the stop in question is mostly
omitted, the second Twelfth is usually incorporated with the “Full Mixture,”
as illustrated in the 9th Composition already given. That plan might be fol-
lowed for new Mixtures; or, if the introduction of a separate and genuine Sesqui-
altera were desired, this would be well secured by arranging the composition after
the following manner:— -
X, COMPOSITIONS FOR
a Sesquialtera, a Full Mixture, and a Sharp Mixture,
II ranks, III and IV ranks, V ranks.
CC . . . . . 12–17 . . . . I5–19–22 . . . I5–19–22–26–29.
Middle cº . . 12–17 . . . 1–8–12–15 . . . 8–12–15–19–22.
Treble fººt. . . 12–17 . . . I— 8–12–15 . . . I– 8–12–15–19.
c3 in alt . . . 12–17 . . . . I– 8–12–15 . . . I– 5–8–12–15.
1136. The Tierce, or second rank of the Sesquialtera, is, in modern German
organs, usually incorporated with the Sharp Mixture, and not the Full Mixture,
f.e., with the second Compound stop, and not the first—and for this reason :
When the unequal temperament was in vogue abroad, the slightly sharpened
thirds in the common scales nearly accorded with the Third-sounding rank of
the Mixtures, and the latter effected a direct improvement on the general tone
of the organ. On the equal temperament being adopted, and the thirds
sharpened a little more, the Tierce was found to harmonise less agreeably than
before ; hence arose the plan of not introducing a Third-sounding rank So Soon
as had previously been the custom. Five ranks of Mixture thus came to be
generally proposed without a Tierce ; and in its stead a duplication of the
Fifteenth was usually introduced, which substituted rank added materially to
the distinctness and the silvery character of the Mixture sound.
I 137. With regard to the incorporation of the Tierce with the Sharp Mixture,
this Continental custom was not followed in the preparation of the foregoing
schemes, because in England the prevailing feeling is at present more frequently
in favour of the early use of the Tierce than not ; therefore, by leaving it to be
disposed as a separate stop, it could be drawn either with the first Mixture or
not, according as the inclination of the organist might dictate.
II38. There is another German Compound stop, sometimes met with in
large organs, that might here be noticed, called the Cymbal. This frequently
consists of a duplication of the two or three upper ranks of the Sharp Mixture,
with sometimes an octave Tierce added. In connection with a stop of this
kind it may be mentioned that, when the Mixtures ascend very high, and are
THE COMPOSITION OF THE MIXTURES. 275
particularly strong in the Tenor octave, there is always a danger of the Treble
being overpowered and obscured by them ; and it is then that Cavaillé-Coll's
increasing pressure system is useful. For the Treble Reeds of large organs the
heavy pressure system is often very desirable. The tendency to weakness as the
Scale ascends was observed by the Dutch and German builders nearly two
centuries since, who proceeded to rectify it by furnishing the leading Manual
stops of their organs with two pipes to a key from Middle c, Fiddle g, or
even Tenor c upwards; and also by increasing the number of ranks in the
upper part of the Mixtures, as at Haarlem, Rotterdam, Amsterdam, Hamburg,
&c. The repetitions which occur in the Treble of the Mixture stops also
exercise a material influence in that direction. The increasing pressure system
attains the same end without such re-duplications. At the same time all the
proportions which have already been detailed, and the duplication of all larger
ranks before smaller ones, must be duly observed, otherwise it is not in the
power even of a heavy wind to secure a well-balanced effect. -
II39. The Cornet is a very useful stop for a large organ to contain, and
it is frequently the only stop that contains a Tierce, as at Doncaster. The
Cornet was originally used for giving out the melody of a chorale upon, and
hence was usually only a Treble stop in English instruments; but in Germany,
where the Canto Fermo is frequently announced in the Tenor, & la Bach, it
generally descends to Tenor c, or even to CC. For a large organ the Cornet
is also useful in another way. Not having any “breaks” itself, it covers
up those in the other Compound stops very effectively. It is sometimes made
to increase or “progress” in the number of its ranks, from two to three, and
three to four, in the following manner — sº
CC . . I 5–17 Tenor c . . I2—I 5–17 Middle cº . . 8–12–15–17,
or it is made to consist of 8–12–15—I'7 from Tenor c upwards,
II40. In regard to scale, the Mounted Cornet is larger than the Open
Diapason; the Principal and Twelfth ranks being three pipes larger, and the
Fifteenth and Tierce two pipes larger, with narrow mouths, arched lips, and
voice of a flute-like quality of tone.
1141. Herr Franz Weber, the late excellent organist of Cologne Cathedral,
constantly used the Mounted Cornet as an accompaniment to the priests' voices.
II42. As the Mixtures of many of the old English builders have been so
frequently referred to in the present chapter, the composition of some of them
may prove interesting to many readers, and are therefore subjoined.
SMITH,
(7 emple Church.)
Sesquialtera, III ranks, Mixture, III and II ranks,
CC . . . . . I7—19–22. . . . . . . 22–26–29.
Tenor cf: . . . I7—I9–22 . . . . . . I9–22.
Middle c + i. . . . I5–17–19 . . . . . . I2–15.
Treble cºf. . . . I2–I 5–17 . . . . . . I2—I 5.
Treble fºr . . . 8–12–15 ë e e s e & 12—I 5.
HARRIS AND BY FIELD,
(Doncaster Church.)
- Tierce, a Sesquialtera, V ranks.
CC to middle b . . . 17 . . . . . . 19–22–24–26–29,
Middle cºſt to the top 17 & e < * * 8–12–15–17–19.
F F 2
276
THE COMPOSITION OF THE MIXTURES,
SNETZLER.
(St. Mary's, AVoffingham.)
CC to Fiddle g .
CC
Tenor C .
Fiddle g . . .
Middle cº .
CC . .
Fiddle g .
Middle C *
Treble cº
CC .
Gamut G
Tenor C .
Tenor
Middle c *
Middle f*
Treble c 2
Fiddle gift .
Middle g ºf .
Sesquialtera, IV ranks.
I5–17–19–22.
I2—I 5–17–19.
8—I2—I 5–17.
GREEN.
(Rochester Cathedral.)
Sesquialtera, III ranks.
I7—I9–22
I7—19–22
I5—I'7–19
I2—I 5–17
GREEN.
(St. Katherine’s, Aegent’s Paré.)
Sesquialtera, III ranks.
I7—19–22
I7—19–22
I5–17–19 -
I2—I 5–17
ENGLAND.
(Lancaster Church.)
Sesquialtera, IV ranks.
I7—19–22–26
I7—19–22–26
I7—19–22–26
I5–17–19–22
8–15–17–19
8—I2—I 5–17
8—I2—I 5–17
Mixture, II ranks.
I5—I9.
I2—I 5.
I2—I 5.
8–12.
Mixture, II Ianks.
22–24.
I7—22.
I7—22. '
I5—I'7.
1Mixture, II ranks.
24–29.
22–24.
I 2–22.
I9–22.
I 5–I9.
I5—I9.
12–15.
The Mixture-work in the Newcastle-on-Tyne organ, made as long back as the
year 1676, includes an Open Diaftason rank in the Treble, and is of the following
composition –
Tierce,
CC . . . I7
Middle c + i. 17 º
Middle d" . I7 6
Middle a * . 17
Treble d? . 17
NEWCASTLE-ON-TYNE MIXTURES, By HARRIs.
Sesquialtera, II ranks.
I9–22
I9–22
I9–22
I— 8
I— 8
Mixture, III ranks.
24–26–29.
I7—24–26.
I5–17–24.
I5–17–24.
I2–15—I'7.
The chorus stops of the organ at St. Peter Mancroft, Norwich, by the same
THE COMPOSITION OF THE MIXTURES. 277
builder, included £wo Open Diapasons, two Principals, and a Quint. The follow-
ing is the scheme —
ST, PETER MANCROFT MIXTUREs, BY HARRIs.
Tierce, - Larigot. sesqiaº III Miºn Furiº III
CC . . . . I7 . . I9 . . I9–22–26 . . 29–33 . . 22–26–29.
FF: . . . . I7 . . I9 . . I9–22–26 . . 29–33 . . I 5–19–22.
Tenor cf: . . . I7 . . I9 . . 12–15–19 . . 22–26 . . I5–19–22.
Tenor fift . . I7 . . I9 . . 12–15–19 . . 22–26 . . 8–12–15.
Middle C ºf . I7 . . I9 . . 8–12–15 . . I9–22 . . 8–12–15.
Middle f *f; 17 . . 19 . . 8–12–15 . . 19–22 . . 1–8–12.
Treble cº: . . 17 . . 19 . . I– 5–8 . . 15–19 . . 1–8–12.
Snetzler also incorporated an Open Diapason rank in the Treble of his Mixtures
at Halifax. The composition he adopted was as follows:–
HALIFAX MIXTURES, BY SNETZLER.
Sesquialtera, IV ranks. Furniture, III ranks.
CC . . . . . . I5–17–19–22 & © tº tº 22–26–29.
Tenor c . . . . I5—I'7–19–22 tº e º 'º I5–19–22.
Middle cº . . . . . 8–12–15–17 . . . . . I5–19–22.
Middle g” . . . . 8—I2—I 5–17 tº e º ſº 8–12–15.
g” in alt . . . . I— 8–12–15 is º a te 8–12–15.
278 THE EXTERIOR ARRANGEMENT OF THE ORGAN.
CHAPTER XXXVII.
THE EXTERIOR ARRANGEMENT OF THE ORGAN.
The organ case. I 143. THE two great desiderata in an organ case, the
one referring to its appearance, the other to its influence on Sound, are that
it should correspond in style with the building in which it is erected, and that
it should impede the egress of the tone as little as possible.
1144. The most appropriate style for a church organ case, generally speaking,
is one of the periods of the Gothic ; because in some one of those the great
majority of our finest ecclesiastical edifices, both ancient and modern, are built.
No authentic examples, however, of cases in this style of early date are known
to exist in England. In Germany a few still remain. One of the most beautiful
is in the “Marien-Kirche” at Lübeck, at the west end of the building. It consists
of three main compartments, flat; the centre one being the largest, and con-
taining the 32-feet tin pipe. The main compartments are separated by two
subordinate ones, containing Smaller pipes. All the front pipes are of pure tin,
burnished, and slightly but exquisitely diapered about the mouth ; and the
case, of some dark wood, has a great quantity of carved and gilt work about
it, which gives a gorgeous effect to the whole. Underneath it is groined, and
handsomely illuminated and gilded.
II45. There was an old organ case existing in Tong Church, Shropshire,
towards the end of the last century, ornamented with “tabernacle work.” That at
Radnor has already been described. The handsome old cases at Exeter, Shrews-
bury, and Cambridge, are Italian in their detail. So also are those made by Smith
and Harris immediately after the Restoration. Literal copies of these are there-
fore unsuitable for churches of pointed design, even though the originals may
stand in buildings erected in that style. Nevertheless, many of the specimens
just referred to possess an air of great dignity, as well as considerable beauty
and elegance of outline. Their various compartments are often very finely
proportioned, while their relative sizes have been adjusted to each other with
consummate judgment and taste. In most of the old organs the largest pipes
of the original work—i.e., the lower pipes of the Open Diapason—are almost
always found in the front of the case, in the towers. They were originally
placed there for two reasons: (1) to impart dignity to the general appearance of
the instrument, and (2) to Secure for them plenty of speaking room. The larger
the pipe, the greater is the gust of wind emitted from its mouth ; and, conse-
quently, the more Space must there be in the vicinity of the mouth to admit of
the pipe speaking clearly and firmly. By mounting the large pipes in the
manner already noticed, they not only had plenty of this necessary room, but,
from the direction in which their mouths were turned, they could produce their
Sounds freely, without encroaching on the speaking room inside the case
necessary to ensure the correct enunciation of the interior pipe-work.
II.46. In Some modern organs the case has been made with carved wood-
work in front, instead of pipes, giving the instrument a “shrine-like appearance,”
THE EXTERIOR ARRANGEMENT OF THE ORGAN. 279
If a case of this kind is proposed—although it is not clear what may be the merit
of making an organ look like what it is not—additional space should be allowed
inside for the accommodation of the dismounted pipes; for if one pipe be placed too
near to the back or side of a second, so that its mouth becomes shaded, the tone
of the former will become muffled and flattened in pitch, or if the mouth of one
pipe be placed so near to that of a second that when both are made to speak the
current of air emitted from the one intersects that from the other, the tone will be
false and tremulous. The organ-builder's greatest care is required to guard against
the appearance of these casualties, even when circumstances are most favourable;
but when standing and speaking room have to be found inside for several
additional and large pipes, without the necessary extra space being allowed
internally, the organ-builder's difficulties and the chances of the tone of the organ
being unequal are needlessly and vexatiously increased.
1147. The principle of arranging large pipes with their mouths turned outwards
has in several instances been carried farther by the modern organ-builders than
by their predecessors, and with equally good results. The Pedal organ is usually
planted either at the back of the instrument, or it is divided into two portions,
and a part arranged at each side of the organ, just inside the case. When there
is sufficient clear space outside the organ case in the vicinity of the Pedal
organ, the larger pipes of that department are often turned round and made
to speak through openings or gratings in the case made for the purpose, as at
Christ Church, Newgate Street; St. Olave's, Southwark; St. Peter's, Cornhill, &c,
This plan is a very good One, not only because it prevents the possibility
of the tone from the large pipes being Smothered and uncertain, but also because
it admits of some of the other inside pipes being planted- close to them,
back to back, as at St. Olave's, Southwark, whereby a great Saving of room is
effected.
1148. In a few instances the organ case has been made with metal pipes at
both sides, as well as in front, as in the instrument recently destroyed at Croydon
Church, built by Avery, in 1794, and also in that at St. Katherine's Church,
Regent's Park, by Green. Organs on a central Screen mostly have an east and
west front, not simply for ornament, but to allow the tone to travel up and down
the building.
1149. It would greatly add to the beautiful appearance of the organ, as well as
be beneficial to the quality of Some of its tones, if the front pipes were to be made
of pure tin, and the natural lustre of the material to be left unobscured, instead of
their being formed of an inferior compound, and then gilded or painted. This
improvement might be the more easily effected, since the sum necessary to defray
the cost of gilding, &c., added to the value of the metal pipes of lower standard,
would probably go some way towards Securing Substantial pipes of the more hand-
some and durable material. Moreover, the bright metal pipes, by catching and
throwing back the rays of light, after the manner of a reflector, would relieve the
appearance of the organ from Some of the dulness it wears in the dismal holes and
corners to which it is too frequently consigned.
The Manuals and II 50. The width for a Manual that ranges from CC to fº in
*::... º.º. alt (54 keys) is 2 feet 6 inches. For the Pedal board there is in
and their proper situa- tº º & g
i. i. e.a. i to each England at present no fixed width, which is a circumstance
other. much to be regretted. On this subject Dr. Burney wrote, eighty
years ago —“Scarcely two organs in the kingdom have their Pedals alike, either
with respect to number or position; So that every performer who comes to an organ
with which he is not previously acquainted (be he ever so skilful in the use of
28O THE EXTERIOR ARRANGEMENT OF THE ORGAN,
Pedals) has the whole of his business to learn again.” The want of uniformity
complained of by Dr. Burney as existing in his time remains in full force in the
present day. - --
II51. The natural Pedal keys should, if possible, be a good inch in thickness,
about 20 inches in length, and from 2 to 2% inches in depth. If they are either too
narrow, too long, or too shallow, they will have a tendency to spring. Their upper
Surface should not be much rounded off towards the sides, as in that case the foot
would only touch the crown of the Pedal. The angles, however, would of course
be bevelled off, to remove splinters, &c. The upper surface is sometimes rounded
to assist the foot in slipping from one Pedal to the next ; but this is reversing
the order of things. The Pedal should be constructed to retain the foot steadily
and firmly. It is the organist’s province to be able to change from one Pedal to
its neighbour with facility when necessary.
II 52. The two great points to be observed in the construction of a good
Pedal board are that space should be economised, as far as practicable, in order
that as complete a compass as possible may be secured, and yet that the Pedals
be not placed so closely that they can only be made of the thickness of mere
Sticks.
II 53. A good medium Scale is obtained by planting the Pedals so that the
naturals measure 23 inches from centre to centre. This is about the scale adopted
by Mr. Hill, among other builders, and it admits of the introduction of a complete
compass of Pedals without throwing the upper keys so much to the right as to be
out of reach of the performer. In Germany the Pedals usually measure as much
as from 3; to 3% inches from centre to centre, while in England they are as
frequently placed too closely together.
II 54. The Pedals are more agreeable to play upon when the naturals are
about half an inch higher at the back (under the stool) than at the other end ;
then the heel of the foot sooner reaches the key. The upper part of the short
Pedal keys, which need not be more than five inches in length, are also the
better for not being quite level. They should slightly incline upwards as they
recede, leaving the front or lowest part about an inch above the neighbouring
part of the naturals. When so shaped they meet the point of the foot more
accurately. A frame should run across beyond the short Pedal keys, to serve
as a foot rest, but not at the sides, as it would be in the way of the extreme keys.
II 55. Several experiments have at various times been made with the view of
bringing the Pedals more conveniently under the control of the performer. In the
organ at York Cathedral, erected in 1829, Mr. Hill made the Pedal board on the
radiating principle. In Germany the Pedal board is frequently made concave in
shape, i.e., the Pedals to the extreme right and left are made to rise gradually in a
curve. This was the case with Schulze's organ in the Great Exhibition of 1851.
II56. Lately, Willis of London and Heinrich of Cologne have been making
Pedal boards in which it has been the object to combine the peculiarities of the
radiating with the concave principle. Indeed, most of the English organ-builders.
now occasionally make “concave and radiating” pedal-boards.
II 57. The Manual keys should not be too short in front of the centre,
otherwise the touch will be too shallow and too heavy. On the other hand,
they should not be too long, otherwise the touch will be too deep, and most
likely also destitute of firmness. About # of an inch is the proper depth for
the Great organ keys to fall; and all the Manuals should descend to the
Same depth. The performer, nevertheless, soon accommodates himself, for
ordinary purposes, to a rather deeper or slightly more shallow touch than the
average one, or even to one that is a degree heavier or lighter than usual,
THE EXTERIOR ARRANGEMENT OF THE ORGAN. 281
The condition of the greatest importance to him is that, whatever be the
general depth and resistance, all the keys on a Manual shall be alike in
Žoff, these respects. If one key requires more power than its neighbours to press it
down, or descends lower, or not so low, the playing is rendered more difficult by
such vexatious inequalities. Check-Springs, put on by a lazy attendant to save
a little trouble, are a prolific Source of unequal resistance.
1158. A springy resistance of greater or less amount, according to circum-
stances, is all that the finger or foot should have to overcome. Unequal, stiff, or
sluggish touches are all defective. A little allowance, however, may fairly be made
in favour of lately renovated or newly constructed organs. In new mechanism of
all kinds there will be a little friction at first, in proportion to the accuracy with
which it is made ; and the mechanism of an organ offers no exception to the rule.
If the key movement works “too easy” at first, it may rattle after a few years’
UISC,
1159. When the Manual couplers are drawn, the resistance offered by the chief
Manual to the finger will, of course, be increased. The touch, however, should still
preserve its elasticity. Sometimes a very disagreeable grating sensation is expe-
rienced by the finger, as though the coupler Stickers were working through
Scouring paper.
II60. With regard to the arrangement of the Manuals, the best and most
generally received plan is that of placing the one belonging to the Great organ in
the middle, with that of the Swell three inches above, and that of the Choir as
many inches below. Sometimes, to lessen the distance to which the upper Manuals
recede behind the lower, the front of the Great organ keys is made to project over
those of the Choir about an inch and a half, and those of the Swell to stand
forward in the same manner and to the same distance over the Great organ keys.
There are two ways of doing this ; either by making the beading in the front
of the keys take the form of an ogee projection, or by bevelling away the under
side of the key, upwards, commencing about an inch from the front, as in the
Birmingham and St. Paul’s organs, &c. The latter plan is the best, as the
hands can then be raised from one Manual to the next without danger of striking
the knuckles.
1161. Thirty-one inches below the Great organ Manual is a convenient position
for the Pedals. The centre C of the Pedals—that is, the middle one of the three
bearing that name—should be planted immediately underneath the middle cl of
the Manuals ; and the front of the short keys should come just under the front of
the Great Manual short or black keys.
1162. In many organs the Pedals are placed too far from the Manuals, and
often also too forward. The Organist should be able to use either of the three
Manuals or the Pedals freely, without experiencing the slightest tendency to fall
from the seat. This firmness of location and Command over the instrument will be
secured if (1) the Pedals are placed at twenty-eight inches from the Choir Manual,
with the front of the short keys placed as already described ; (2) if the stool be
arranged at a distance of twenty-two inches above the Pedals ; and (3) if the stool
be placed about six inches in front of the Choir Manual.
1163. When seated at the organ, the feet should be suspended immediately in
front of the short Pedals. If, when Seated at a distance of twenty-two inches above
the Pedals, the Manuals appear too high; or if, on increasing the height of the
stool, so as to bring the Manuals more under command, the feet are too far from
the Pedals, it is a proof that the Pedals are at too great a distance from the
Manuals. If, after placing the organ stool in such a position as will allow of the
free use of the Pedals, the Manuals are too far off, and if, on adjusting it so that
282 THE EXTERIOR ARRANGEMENT OF THE ORGAN.
the Manuals are within convenient reach, the feet hang over the short Pedals—
this shows that the Pedal board is too forward.
The organ stool. II64. It adds much to the comfort of playing if the top of
the organ stool be made of a good width, as it enables the player to sit with more
firmness at the instrument. For this purpose it should be made about fourteen
inches in width, and should not incline downwards towards the front, as this has a
tendency to make the player slip forward when actively employed. For the same
reason it is better not to cover the seat with a smooth substance, as certain kinds
of leather or horse-hair cloth ; but simply with either a piece of carpet, or with
rough leather, with a little stuffing. The plain wood is often left for the top. In
such case it is much better for it not to be polished.
1165. In the top of the stool one or two drawers can be conveniently introduced,
which are always useful to hold music or books. A rail across under the Stool,
from end to end, about four inches above the Pedals, and five or six inches from
the front, will be found a great convenience for resting the feet upon, as the frame
under the composition Pedals is too far off for constant use.
The Swell Pedal. 1166. The Swell Pedal is not at all times conveniently
placed, it frequently being too high and too forward. About seven inches
above the Pedal board will be found a very convenient position for it. Some-
times it is so arranged that, when the Swell is fixed open, it crosses the upper
short keys of the Pedals. This, of course, is not good. It might conveniently
be made to project parallel with the composition Pedals, so as to meet the
foot, instead of through the jamb, and in such a position that, when fixed down,
it would lie over some place where two naturals come together ; as, for instance,
over the upper e and f of the Pedals. On fixing open the Swell, it would then
be far less in the way of the Pedals than it frequently is when it projects from the
side, t
1167. When the Swell Pedal projects from the side, and the leg has to be
turned out so much before the Pedal can be got at that the position of the body at
the keys becomes disturbed, it is a proof that the Pedal is too forward. If the
thigh-joint as well as the foot have to be raised before reaching the Pedal, it is an
indication that the latter is too high. Sometimes the organist has to throw his
body backwards in order to preserve his equilibrium, or to place his thumbs on the
beading in front of the keys to prevent his falling forward. Either inconvenience
is the consequence of some misarrangement in the region of the keys. Either the
Swell Pedal will prove to be too high or too forward, or the stool or Pedals will be
too low or too forward.
The music desk. II68. It is a matter of great convenience to have the music
desk properly adjusted. When there are three Manuals, the desk should not be
farther back than the front of the Swell keys, and it may be placed nearly as for-
ward as the front of the Great Manual. It is a great fault if the desk is placed at
the back of the Swell keys, as, from this cause, the music is needlessly carried five
or six inches farther from the organist than there is any occasion for, and nearly as
much too low also, thus rendering it necessary that he should look down upon the
music, instead of forward aſ it.
The Composition Pedals. I 169. The Composition movement should be of the
“double-action" kind. The Pedals which operate upon them are sometimes
made to project in a line with, and just above, the German Pedals; at other
THE EXTERIOR ARRANGEMENT OF THE ORGAN. 283
times from the sides, like so many long Swell pedals. The former is not only
the most neat, but the most convenient arrangement. It is a good plan to
place the Composition pedals immediately over where two naturals come together,
as there is then no chance of the heel touching a short key when either of them
is being pressed down, or they can be kept up a little higher to prevent this
accident. The Composition pedals should not remain down so as to be in the way
of the short pedal keys.
The arrangement of the 1170. The draw stops should be so placed that they will
draw stops. not only be under the convenient control of the player, but
also present a handsome and Symmetrical appearance.
II 71. In many of the old English organs half the stops belonging to each
department are arranged on each side of the Manuals. A great number of the
German and other Continental organs also have their stops assorted in a similar
manner. The plan, however, is not by any means a good One, as it apportions the
stops into twice as many divisions as there is any occasion for, without serving
any beneficial result.
I 172. A far better arrangement is the modern English one of placing all the
stops of each department together, as the contents of each division can then be
so much more easily distinguished from the rest. -
1173. Besides keeping them separate, as above, the stops of each department
should further be placed where they can be combined or changed with the
least difficulty to the performer. With a view to the attainment of this end,
it is important to bear in mind the two following facts : (1) that, as a rule, the
left hand can be more easily spared for a moment than the right; and (2) that
the Great organ stops are more frequently brought under the control of the
feet of the performer by means of Composition pedals than those of any other
department.
I 174. The right-hand side is therefore the best side on which to place the
Great organ draw stops, as they can be drawn in or out, in all the ordinary
and most frequently required combinations, without any assistance whatever
from the hand. w *
1175. The Swell and Choir organ stops are not nearly so often acted upon
by Composition pedals. Moreover, as the numerous delicate shades and varieties
of tone are produced from those departments chiefly, leaving the Great organ for
the broad contrasts, the left side appears the most proper one whereon to place
their draw stops. As the bass part of the music can be continued by the pedals,
the left hand can, with a little contriving, be for a moment spared for effecting the
necessary changes in the combinations, without in the least degree disturbing the
progress or completeness of the music.
I 176. The Pedal organ stops and the various Manual couplers might be
placed on the right-hand side, with a view to securing as nearly as possible
an equal number of stops on both sides of the keys, which is always desirable.
But the Pedal couplers should, whenever practicable, be ranged on the left-hand
side, to facilitate the making of those quick changes from one Manual to another
that are so constantly required in accompanying the musical service, as well as
in Solo playing.
I 177. If there is a large Pedal organ, it will be advisable to have some
contrivance for reducing the full Pedal organ to a few 16 and 8 feet Flue stops
of soft intonation, to form a Pedal bass to the Choir or Swell. This can
either be a Composition Pedal, or, by placing all the louder stops on a second
sound-board, and introducing a valve into the Second wind-trunk—as is ordinarily
284 THE EXTERIOR ARRANGEMENT OF THE ORGAN,
done in small English organs which have only “Pedal pipes” by way of
Bass—they can then be silenced by shutting off the wind. A third plan would
be to have a movement, worked by the hand or foot, to disconnect the action of
the loud-stop sound-board from the Pedal. If a “Ventil” be introduced, and it be
intended to work it by the hand, the handle should be placed near to the Great
Pedal coupler, that both may be changed together.
II78. In arranging the places for the Several stops of any one department, it is
best, first, to keep the Reed and the Flue stops quite separate. The Reed stops
should be placed above, and the Flue stops below.
II79. Next, the members of the different classes of stops should be arranged
according to their standard length or their size of tone, giving to the largest
the lowest positions, and the Smallest the highest. According to this rule, all
the Flue stops of 16 feet on the Manual, as being usually the largest, should
occur at the bottom, with those of 8 feet next, and so on through the series
in regular gradation. And the same with the Reeds. The disposition of even
a large organ may soon be learnt, as well as the places where the several
draw stops are to be found, when the latter are arranged in a methodical and
intelligible manner. As an example, the size and comparative completeness of
any of the German organs described in the Appendix may at once be ascer-
tained from a perusal of the list of its contents arranged in the simple manner
there given.
II80. The several draw stops are generally arranged in single, double, or
triple verſical rows on each side of the Manuals, according to their number
and the size of the organ. The draw stops of the organ in Cologne Cathedral are
arranged in four horizonial rows, and so are those of many other Continental
organs. At Westminster Abbey the draw stops are also placed in this manner.
Regarding the best method of distinguishing such draw stops as belong to one
department from the remainder, this matter must necessarily depend in some
measure on individual circumstances.
1181. In small organs of two Manuals the Great and Swell stops are generally
arranged so as to form each a separate row—one on the right, the other on the left.
An ivory or brass plate inserted above each row, bearing the name of the clavier to
which that tier belongs, is, in that case, all that is required to mark the requisite
distinction. This plan of identifying the draw stops with the clavier to which they
belong is far preferable to that of crowding such announcement on every individual
stop handle, in addition to the name. The less there is engraved on the knob,
besides the name and length of the stop, the better. What is engraved not only
then appears more distinct, but there is room to cut it in a bolder and more
legible type.
I 182. If the draw stops are intended to be placed in double rows, it will
be found a convenient arrangement to let the Swell stops comprise one portion
of the two tiers on the left-hand side, and those of the Choir the remainder.
The list of contents of each department is then brought within much more
convenient range of the eye than when extended over a long tier of draw stops.
In that case the Swell stops should occupy the upper position, and the Choir the
lower. This arrangement also presents an analogy with the situation of the re-
spective Manuals.
II83. When the draw stops are numerous, they are frequently arranged in
triple instead of double rows. This plan is a good one, as it prevents the tiers
becoming inordinately long, and, therefore, keeps the upper draw stops more
within reach. The best method of then classifying the stops is to make those
belonging to one department occupy the upper portion of the three rows, and
THE EXTERIOR ARRANGEMENT OF THE ORGAN. 285
those of another, the lower. A little extra space, if possible, left where those
of one clavier leave off, and those of another begin, in addition to the engraved
plate, will be found most advantageous in making the point of separation more
distinct.
I 184. Other means are sometimes taken, in addition to those already mentioned,
for distinguishing the draw stops of each department. Thus, in addition to
their being arranged in tiers or in clusters, the ivory plates in the face of the
stop handles of some of the departments are sometimes stained red, blue,
green, or some other colour. If colours be used, for which there is no absolute
occasion, they should be of the lightest possible tint, or they will render the
inscriptions indistinct. Different substances are also occasionally used for the
name plates, for increasing the distinction; as ivory for those of one department,
mother-of-pearl for a second, porcelain for a third, tortoise-shell for a fourth, and
So on. These, however, give to the general appearance of the draw stops a
motley effect, as the colours, if deep, give them a heavy and patchy appearance.
Another plan is to have the names of one department on each side printed in
black, and the other in red. This has a light and handsome effect, particularly
when the character chosen is the old church text. The red-lettered labels should
be above, and the black below. Every stop should have its name engraved on the
handle, in preference to being placed over or at the side of it; as this prevents the
possibility of the inscription being by mistake read as referring to any other than
the right draw stop. The names are sometimes engraved on plates of zinc or
brass, and inlaid ; but those metals soon become tarnished. Many organs have
the names of the stops printed on pieces of paper, which are pasted on, near to the
handles ; but such labels are apt to become soiled or rubbed off, and at the best
present but a mean appearance.
II85. The head of each stop-handle is usually turned out, and a plate of ivory
or Some other bright material inserted, bearing the requisite inscription.
II86. The inscriptions should be engraved boldly and legibly. For this reason,
italics with long flourishing tails to the g’s, &c., should be avoided, as not being
So easily deciphered. Capital letters are the most appropriate ; and those of the
Egyptian, German, Old English, or modern English character are available
according to taste. Old English text for the names has a handsome appearance,
and is particularly appropriate for church organs. It is better to have the names
engraved in horizontal lines rather than in a circle, following the outline of the
plate. It is then deciphered more easily and more quickly.
II.87. In connection with the question of distinctness of labelling, it may not
be out of place to mention that the person who plans the organ will most probably
have also to decide on the nomenclature for the stops. When settling this by no
means unimportant matter, it will be well to bear in mind the purpose for which
the labelling is introduced ; namely, to assis# and guide the player. To carry
out this object, the labels should describe in as simple and clear a manner as
possible the stops to which they apply. And to facilitate this end, names in
English would appear to be clearly the best for English organs, whenever they
are applicable. Sometimes, however, it is preferred to call the stops after some
Continental fashion. When this is done, care should be taken to apply the
names, So that an organist or organ-builder from the country whence the terms
are derived shall understand them. This necessary precaution has not always
been attended to.
II88. It is of importance that the draw stops should move with freedom and
noiselessly. A stiff and stunted draw-stop action is most disagreeable. If,
however, the table of the sound-board is covered with leather, i.e., if the
286 THE EXTERIOR ARRANGEMENT OF THE ORGAN.
sliders work upon leather—they will move rather stiffly at first, until the
leather has become tolerably smooth, for which stiffness some allowance should
be made.
II89. From 2; to 3 inches is a good distance for the draw stops to move back-
wards and forwards.
II90. The draw stops, which are better for being of a good medium size, should
not be placed too closely together. If the knobs are I; inch in diameter, with
ivory plates I; inch wide, and have the inscriptions cut in letters #4 of an inch
high, they will have a bold and handsome appearance.
THE INTERIOR ARRANGEMENT OF THE ORGAN. 287
CHAPTER xxxvii.I.
THE INTERIOR ARRANGEMENT OF THE ORGAN.
The building frame, 1191. The building frame that is to support the entire organ
should be very strong and substantial, and should be so constructed as to resist
the great weight and pressure of the Sound-boards and pipes without sinking or
giving in any manner.
The platform. 1192. It is not a less important and necessary precaution
to see that the platform—when the organ is to stand on one—is not only fully
capable of supporting the entire weight of the instrument, but also that of any
assembly that may be gathered around it from time to time, as the members of
an orchestra and chorus in a concert-room, or the choir and children in the gallery
of the church. Instances are known where this preventive course has not been
sufficiently taken in music-halls, the consequence being that, while the organ
is entirely free from cipherings and stickings at all other times, during concerts it
is subject to both. -
1193. With regard to the general arrangement of the interior of an organ, the
sound-boards and other main portions of the work would be distributed chiefly
according to local circumstances.
The distribution of the 1194. The most usual positions assigned to the different
sound-boards. sound-boards in English Organs were mentioned on page 4, and
need not, therefore, be again described here.
1195. In some German organs, occupying a very broad, high, and shallow site,
the “8-feet Great organ” (Haupt-manual) is placed in the centre, with the “4-feet
Choir” above (Offer-manual), and the “I6-feet Pedal” half on each side ; the
largest pipes of the “Principal” of each department, 8, 4, and 16 feet, being
placed in the front of the case.
1196. In the organ of St. Peter's Church, Cornhill, built by Hill, the large
Swell is placed over the Great organ, resembling in this respect the arrangement
just mentioned ; and when a church is very lofty, or an organ is to stand at a
great elevation above the ground, the Swell may be placed in this manner without
producing any disadvantageous effect, but rather the reverse, provided it be kept
well up at the same time. The under side of the Swell sound-board then acts as a
sort of reflector to the Great organ, and directs its tone into the church before it is
too much spent. The old English builders frequently put a top or covering to the
case of their cathedral organs for the above-named purpose, as at St. Paul's
Cathedral.
1197. In other German organs, where the site is about the same width as before,
but lower and deeper, the Choir organ is placed in the centre, with the Great organ,
divided, flanking it on each side, and the Pedal behind. The object in placing the
Great organ partly on each side, rather than in the centre, no doubt, was to prevent
its force being too sensibly felt at the keys. Other plans were sometimes adopted
288 THE INTERIOR ARRANGEMENT OF THE ORGAN.
by the old English builders for shielding the organist from the full strength of the
instrument; such as keeping the impost of the case high, or placing a passage
board completely across the front, between the Great organ Sound-board and the
front pipes, as was originally the case at St. Michael's, Cornhill. When there are
three Manuals, the third Manual organ is frequently placed “in front,” as it is
termed in England, but “at back,” as they say in Germany, where that division
is hence called Æuckſositiv (Back-choir). In very large instruments the Pedal
organ frequently occupies three separate sites, forming what are called “side Pedal
Basses” and “back Pedal Basses,” an English example of which arrangement
will be found in Mr. Hill's organ in St. Paul's Cathedral; or, where the largest
metal “Principals” appear in front of the case, a fourfold division of the Pedal
will sometimes be met with, forming “front Pedal Basses,” “back Pedal Basses,”
and “side Pedal Basses.” Of this latter distribution an English example occurs
in the Town Hall organ at Birmingham, by Hill.
1198. These particulars are given here to show that an organ may be made to
suit almost any site, provided only that the necessary room be allowed in Some
direction or other.
The cause of the bad 1199. English organs have frequently been found fault with,
Fº “” on account of their square, solid, inelegant form, and their pro-
&c. t jecting so far into the buildings wherein they stand. But this
has in almost every case arisen from the builder being, in regard to room, so much
restricted in the direction of width and height. In churches which have west-end
organs this has been more particularly the case, and for no better purpose than
that of providing room for a mass of children up each side the instrument. In
Continental churches, where the whole width of the west end is frequently devoted
to the Organ, much larger instruments project to a far less distance into the
buildings than do the Smaller instruments in English churches.
I2OO. It may be mentioned, as in Some degree illustrating this point, that the
performers in an orchestra are placed in a comparatively few long rows, from the
correct supposition that such an arrangement has a more beneficial effect than if
they were ranged in several shorter rows, behind one another, as though stationed
on a wide staircase. For the same reason it will be conducive to the best musical
result if the organ be made broad, high, and shallow, rather than narrow and deep.
1201. In one or two instances the analogy between the interior arrangement of
an organ and the distribution of an orchestra has been carried to a still greater
extent in German organs ; for Sound-boards have occasionally been made to slope
upwards from front to back, like a concert-room platform, upon which the pipes
have been ranged in terrace-form, and with the largest Flue stops at the back and
the smallest in front. It was in the organ at the Church of St. Maurice, at Halle,
built by Schulze, that this last arrangement was for the first time practically
brought to bear.
Much room conducive 1202. But whatever general arrangements may be considered.
º best to adapt an organ to a particular site, it will be of essential
Service in a variety of ways to allot as much room to the instru-
ment as can conveniently be spared.
I2O3. One of the first things which arrests the attention of a visitor, on entering
a modern German organ, whether of large or small dimensions, is the appearance
of roominess which it presents ; and this is speedily perceived to be accompanied
by a very simple, yet Orderly and systematic, distribution of the several parts of
which the organ is composed,
THE INTERIOR ARRANGEMENT OF THE ORGAN, 289
The advantages of large I2O4. The roominess is soon discovered to arise, in a great
Sound-boards. measure, from the ample size of the sound-boards, which, even
in instruments of ordinary dimensions, frequently measure 9, Io, and II feet
in length ; and in large instruments, 15, 16, and even 17 feet from end to end.
The orderly appearance of the stops also is seen to result from the fact of the
Sound-boards being sufficiently large to admit of their pipes being placed “over
their wind,” whereby all compulsory recourse to the conveyancing off of pipes is
avoided.
I2O5. This plan—of planting all the pipes on the sound-board—might at first
sight appear to involve a great “loss of room,” as the phrase goes; but, on
account of the admirable manner in which the stops are sometimes planted, this
is not the case to nearly the extent that might be imagined. . The 8 and 4 feet
members of the Flute-work are, in German organs, as in English, frequently of
tenor C Compass ; and the way in which a sound-board is sometimes laid out
So as to receive them is as follows:—
I2O6. The two stops which form the basis of the Manual tone, corresponding
to the English Open and Stopped Diapasons, of course extend to CC ; and the
twelve pipes which form the 8-feet octave of each are ranged in a single row.
The room which they require for their accommodation, therefore, is in the
direction of width rather than of depth. At tenor c, where the pipes are little
more than half-size, the two 8-feet members of the Flute-work commence, and
occupy the standing and speaking room now at liberty. For the sake of
illustration, these may be supposed to be a tenor c Gamba and a tenor C
Hohl-flöte. To give to these two members of the Flute-work the effect of a
complete range, when either may be used singly, the Hohl-flöte is grooved into
the Stopped Diapason in the 8-feet octave ; and the Gamba, which is usually
of fuller tone than most English stops of the same name, is grooved into the
Open Diapason in the Bass octave. At about middle d'i, where the pipes of
the four stops will have become reduced to half dimensions, the single row
plantation is discontinued in favour of the double row zig-zag plan, described
in a former chapter ; and this arrangement is continued up to the top. In a
similar way one or two additional 4-feet Flue stops are also frequently worked
in from the tenor c groove upwards. -
I2O7. From measurements taken of existing specimens, it was found that the
average dimensions of a German Sound-board furnished with nine stops, of
which the following are the English equivalents—
I. Bourdon . . . . . I6 feet tone 6. Principal . . . . . . 4 feet
2. Open Diapason . . . 8 feet 7. Twelfth . . . . . . . 23 feet
3. Gamba to Tenor c. , 8 feet 8. Fifteenth . . . . . . 2 feet
4. Stopped Diapason. , 8 feet tone 9. Full Mixture, V ranks. . . 2 feet
5. Dulciana to Tenor c .. 8 feet -
were 3 feet in breadth, from back to front, and II feet in length. -
1208. If we may judge from their works, the old English builders attached
as much importance to placing the pipes of their organs over their respective
grooves as the Germans do in the present day ; for we find this system carried
out in even their smallest organs; the front pipés and the largest pipes of the
Stopped Diapason frequently offering the only exceptions to the rule. They
also followed the same plan in their larger instruments, as far as practicable ;
hence it is no very unusual circumstance to find the original Sound-boards by
Smith and Harris, Byfield and Bridge, measuring 8, 9, and Io feet in length,
G. G.
29O THE INTERIOR ARRANGEMENT OF THE ORGAN.
A Great organ sound-board by the first-mentioned builder, furnished with the
following ten stops, viz. – -
Fifteenth
Sesquialtera, III ranks
Mixture, II ranks
. Cornet
. Trumpet
I. Open Diapason
2, Stopped Diapason
3. Principal
4. Flute
5. Twelfth I
i
measured 2 feet Io inches in width, and 9 feet in length.
1209. In the Dome organ from St. Paul's Cathedral, recently removed to
Bristol, the late Mr. Hill introduced Great organ sound-boards about IO feet in
entire length ; while, for the Pedal basses, occupying the side wings and back, he
provided others which were patterns for spaciousness and efficiency.
I2 IO. In some German Manual sound-boards of the size indicated above,
the grooves measured in the bass octave I inch in width ; in the tenor and
Middle octaves, # of an inch ; and in the treble octave and upper half octave,
# an inch. The pallet-holes were of one length throughout, namely, II inches ;
and the grooves measured 3; inches in depth. The continuation of the pallet-
holes at an unreduced length, in the 4-feet octave, was for the purpose of feeding
the extra 8-feet stops that commenced there ; and their further continuation in
the treble was to supply the large Mixture ranks, which there returned to an
Open Diapason.
121 1. It may be added that, although the Mixture included a duplication of
the Open Diapason, Principal, Twelfth, and Fifteenth in the treble, there was
not the slightest symptom of Sympathy, robbing, or unsteadiness in the Speech
of the pipes, when all the stops were drawn,
“Unoccupied space" 1212. The difference between the sound-board measurements
º * "* just quoted is not so great as many might have anticipated it to
e have been. This, however, is partly due to the bass of the
German scales being in some cases somewhat smaller than the English, concerning
which more is said further on. But, had it been otherwise; it can never be
correctly said that “unoccupied space” in an organ, within reason, is “lost room ;”
since, next to the Pipes themselves, which are of course necessary to emit the
primary Sounds, free air is the most important element in the production of a
resonant quality of tone. It is, indeed, true that English organ-builders have
frequently been called upon to “get in " a great number of stops into an unrea-
Sonably Small space ; and one cannot help admiring the manner in which they
have frequently grappled with the difficulties which have beset them ; at the same
time England is in consequence by no means destitute of organs that are
nearly as crowded, and almost as destitute of resonance, as a broker's shop.
It is a fact always worth the remembrance of those who would limit an organ-
builder too strictly in regard to space, that one of the secrets of the good effect
of many old instruments is their comparative emptiness. They have not only
pipes to produce tone, but breathing room to improve it. -
The Abbé Vogler's 1213. Some notice should here he taken of Abbé Vogler's
** “simplification system;” of which Seidel has given a brief
account in his work on organ-building. (See Ewer's English edition, page 26.)
“At the end of the eighteenth and the beginning of the nineteenth centuries,”
says Seidel, “George Joseph Vogler, the famous musician, composer, and organ-
player (born 1749, in Wurzburg—died 1814), tried to reform thoroughly the whole
former mode of organ-building, an experiment in which he succeeded to a great
THE INTERIOR ARRANGEMENT OF THE ORGAN. 29 I
degree. His system, aiming at a simpliftcation of the whole mechanism of the
organ, created great Sensation at the time, and found as many admirers as
opponents. All that was superfluous, inappropriate, or too costly, he endeavoured
to do away with. First of all, he rendered the action simpler by arranging the
keys (grooves) in their natural succession ; in consequence of which, the con-
struction of the roller-board (key movement) became easier and simpler, and
the touch lighter. Vogler's system was adopted in several places, and even
now some organ-builders make use of it.” Among other Continental builders
who construct their organs on Abbé Vogler's system may be mentioned Schulze,
of Paulinzelle, near Erfurt, who placed an instrument so made in the Great
Exhibition of 1851 ; which organ was afterwards purchased, and erected in the
Exchange Room at Northampton ; while, in England, the same plan has for
Some years past been adopted by Kirtland and Jardine, of Manchester. Some
disadvantages, as well as advantages, attend the semitonal arrangement ; though,
according to the account given to the writer by those builders in Germany and
England who have had experience in making sound-boards on this principle,
and of whose reports use is here freely made, the former are far outweighed
by the latter.
I2I4. In Vogler's system the grooves are arranged in their natural or semi-
tonal Succession throughout the sound-board ; that is to say, the CC groove is
placed to the extreme left, and the f* in alt groove to the extreme right. The
pipes of all the stops are arranged in the same order ; so that in the Open
Diapason, for instance, the CC or 8-feet pipe is placed to the left of the
Claviers, and the 4-inch fº in alt pipe to the right ; the intermediate pipes
forming a graduated series. The end of the sound-board to the right is there-
fore left clear of all but small pipes. -
1215. Among the disadvantages attendant on this system of groove arrange-
ment are mentioned the facts of the chief weight of the pipe-work being thrown
to one end of the Sound-board and building-frame ; an increased consumption
of wind taking place at that same end of the sourid-board ; longer conveyances
being required to the front pipes to the right, or a special little Sound-board
for them, or “mute” pipes instead of speaking pipes. The additional weight,
and greater consumption of wind at one end, however, have each their ascer-
tained limits, like the greater tension of the bass strings of a pianoforte, and
are provided against by a stronger building frame and larger wind-trunks, as
the greater tension in a pianoforte is by stronger bracings ; while a diminutive
Sound-board rids the organ of long conveyances.
I216. The advantages attendant on the semitonal system of groove arrange-
ment are stated to be as follows:–The pipes, being chiefly or entirely planted
on their own wind, Speak more promptly and plumply, and, with a firmer tone,
than if grooved or conveyanced. But few pipes, if any, being removed from
over their grooves, few, if any, conveyances are required ; hence a fertile source
of loss of wind, hissings of escaping air, impediments to the wind from lodgment
of chips, accidental damage of conveyances, and occasional repairs, are removed.
The pipes, when planted consecutively, have better speaking room.
1217. Below the sound-board, the action being in a direct line from the key to
the pallet, no rollers are required ; and, there being no rollers, there are fewer
centres, and consequently less friction. The direct-action thus Secures a lighter
touch, and more instantaneous response to the finger. The omission of the roller-
boards clears the interior of the organ of those walls of mechanism which not only
impede the view of the instrument from front to back, but also prevent light pene-
trating to its remote parts. The tone, moreover, has then more room to Sáread,
G G 2
292 THE INTERIOR ARRANGEMENT OF THE ORGAN.
and is not thrown back, as must be the case to some extent when two or three
roller-boards are in the organ. Roller-boards being dispensed with, the remaining
mechanism can be constructed or “set out” more compactly. There is also less
liability to stickings in a radiating tracker movement, and less chance of its getting
out of order ; or, if out of order, it is easier and sooner repaired. The movement,
by reason of its greater simplicity, is less effected by changes of temperature ; and
on account of its whole extent, from the key to the pallet, being under the eye, an
organist can at once detect and remedy any trifling disarrangement that might
arise. An organ built on Vogler's principle is more convenient to tune than one
built in any other manner; and a large organ can be built on the simplification
system without the necessity for the Pneumatic Lever Action, than on the ordinary
system. The larger and more ample sound-board will not increase the cost of the
entire work, on account of the omission of the roller-board and numerous convey-
ances effecting a Saving in the expense.
1218. Without waiting to discuss the validity of all the claims that are made in
favour of the semitonal arrangement, or whether they are such as are likely to lead
to the system in question superseding others, a few words may yet be said con-
cerning certain situations in churches, in the construction of organs for which the
Semitonal groove arrangement seems to be peculiarly suitable.
1219. The semitonal system of groove arrangement seems to be well adapted
for an organ that is to occupy some side or corner position; from either of which
points the sound would have to travel in two directions, Suppose, for example, an
organ so made to be placed on the south side of a church, or in an organ chapel
on that same side, with its back towards the south wall; the back of the case
would reflect the tone forward, i.e., through and over the front, in the usual way,
and therefore across the church ; while the left side of the case would reflect it to
the right, and therefore down the church. The small pipes to the right would
present no impediment to the sound of the large ones passing over them into the
church ; while the side of the case to the right, facing the church, by being filled
with perforated panelling, or with pipes, would facilitate the egress of the tone in
that direction at the same time that it would form an additional adornment to the
instrument itself. Or, supposing an organ so constructed to be stationed at the
east end of the north aisle, or in a north chapel, with its keys towards the west, the
sound would travel through the front, down the aisle, in the usual way, and through
the right side, across the chancel and church.
1220. For a divided west-end organ, also, the semitonal groove arrangement
appears to be very suitable.
Passage-boards advan. 1221. It is very advisable that an organ should be well
º *** *** furnished with wide passage-boards. These will enable one
to move about the instrument, either for purposes of tuning
or for examination, without unintentionally disturbing any of the pipes, or of
injuring the mechanism. Moreover, they are indirectly of beneficial service to
the tone of the organ, by being instrumental in securing a free current of air
round the various masses of pipes on the sound-boards.
The pipes should be so 1222. The pipes should be so arranged on the Sound-boards
º *:::: " that they may all be easy of access for the purpose of cleaning,
- tuning, and regulating. If large and small pipes be planted
together in such a manner that the former present a barrier in the way of the tuner
reaching the latter, a frequent and “unnecessary touching or taking out of the
pipes” will have to be resorted to, which, as Seidel truly observes, is injurious ; as
pipes are soon bruised or bent, “Besides,” he continues, “if a pipe, after having
THE INTERIOR ARRANGEMENT OF THE ORGAN, 293
been taken out, is not replaced exactly in its former position, it will sound too flat
or too high, too strong or too weak.” -
1223. With regard to the construction of the sound-boards, nearly all that
was necessary has been said in a former chapter. The leathering of the table,
which is so much dwelt upon in many foreign works on organ-building, is almost
universally considered by English organ-builders to be superfluous, if the table,
sliders, and upper boards are accurately adjusted to one another.
Double grooves in the 1224. If there are many stops on a Manual to be supplied,
ºº ...” it is better to have two distinct grooves to each key in the
bass octave, than one larger groove and one great pallet ;
and for this reason the large pipes rapidly exhaust the wind from the groove,
diminishing the pressure or the density of the air therein ; therefore, when drawn,
they have the effect of flattening the pitch of the Mixtures, destroying their
brightness, and of making the reeds speak slow. By introducing two grooves,
the Unison and Double Diapasons and Principal can be placed on one groove,
and the Twelfth, Fifteenth, Mixtures, and Reeds, on the other. The rollers
would then, of course, be provided with two pallet-arms instead of one only;
Or, if Squares were used, their Second arm should be furnished with a small
Cross-bar, to each end of which a pull-down would be attached. John England,
who first introduced double grooves into English organs, used to perforate the
Sound-board bar that separated the two. Or two pallets, one at each end of the
groove, might be employed. It is now a frequent custom to place the 16, 8, and
4 feet flue stops on one sound-board, the Smaller flue stops on a second, and the
reeds on a third, supplied by a heavy wind. The “trebles” are further placed
on separate Sound-boards, and blown by a stronger blast.
The roller-boards. 1225. The rollers should be so disposed that the tapped
wires, buttons, hooks, &c., that communicate with them can be easily got at
for purposes of regulation, renewal, &c., when occasion may require. Wooden
rollers and arms are now generally cancelled in favour of those of iron, and some
builders also bush the iron studs which support the rollers, i.e., line their per-
forations with cloth, or make the centre-pins work in leather buttons, to quiet the
noise otherwise consequent on their motion.
The bellows. I226. The bellows should be made of such dimensions
that they will easily yield, and continue to give an abundant supply of wind,
when all the Manuals are coupled together, with every stop drawn, and the
fullest chords are played on the Manuals and Pedal. The first thing Sebastian
Bach used to do, when requested to examine a new organ, was to draw out all
the stops, and play on the full organ. He used to say, he must first know
whether the instrument had good lungs. (Forkel’s Life of Bach.) A copious
supply of wind is more particularly necessary, in the first instance, if the organ
is intended to receive subsequent additions. There should be no unsteadiness
perceivable in the tone of the organ at the moment when the feeders commence
and complete their work ; neither ought any clacking to be heard when the
valves fall over the suckers in the feeders and the bottom-board; nor should
there be any sucking or gasping noise heard when the feeders are being
replenished; but which will be the case if the suckers are too few or too small.
The feeders and blowing-action should also work with but little noise. Many
organs have the Pedal as well as the Manual organs Supplied from the same
bellows. When this is the case, the tone of the Manual organs should remain
perfectly firm and unaffected when any disjunct or staccato passage is being
played on the Pedals,
294 THE INTERIOR ARRANGEMENT OF THE ORGAN,
1227. The reservoir of the bellows should of course have inverted ribs,
counterbalances, and a waste pallet, which latter will cause the least noise if
it be made to discharge the superfluous air into the feeders. The shape of
the bellows is a matter of no importance; their proportions must necessarily
be influenced in a great measure by local circumstances.
1228. As regards the situation for the bellows, the lower part of the organ
near to the ground is the place usually assigned to them in modern English
instruments. In German organs they are more frequently put outside the
case ; as they were indeed in many old English instruments. Where the
necessary additional room can be spared, the latter arrangement is the most
advantageous, as it allows So much more space for the convenient distribution
of the mechanism, as well as admitting of more ready means of access to its
several parts for purposes of regulation, repair, &c., besides which the free
space then left is beneficial to the resonance of the organ. At Westminster
Abbey the bellows are in two chambers under the organ, in the choir screen ;
at the Temple Church they are in a bellows room below ; at St. Martin’s-in-
the-Fields, and at St. Philip's, Waterloo Place, they are placed in the belfry
behind the organ. In many large modern organs the feeders and reservoirs
are made quite distinct, and the former placed in some convenient situation
outside the organ, where they are blown by one of Joy's hydraulic machines,
while the latter are placed close to the sound-boards. This is the arrangement at
King's College Chapel, Cambridge. In many large instruments, where there is
plenty of room, a special reservoir is placed near to every sound-board, which is
an admirable arrangement.
1229. If the bellows are to produce different pressures of wind—to do
which they will require to be furnished with upper reservoirs—much additional
height will be required for bellows room. Under these circumstances, and if they
are to be placed under the Sound-boards, the latter must be well elevated ; or the
bellows might even be kept out of the organ altogether.
The wind-trunks. 1230. The wind-trunks should be large enough to convey an
ample supply to the wind-chests; otherwise it will be of little use, the bellows
yielding a good quantity. Concussion bellows should also be applied, if found
necessary; but if the wind-trunks are capacious, and are not very long, such
appliances will probably be less required. If not absolutely necessary, they are
almost better omitted than introduced. The writer is acquainted with an instance
of a concussion bellows being attached to a new organ, in obedience to one of
the conditions of the contract ; and of its disturbing the wind, which, before its
introduction, was perfectly steady. It is a question whether concussion bellows
are not occasionally made too large. When it is seen how small a bellows, in
the shape of a tremulant, will disturb the wind, it seems that one four or five
times the size can Scarcely be necessary to correct the far less accidental dis-
turbance that would be likely to occur in a well-winded organ.
The Swell-box, I 231. The Swell-box should not be less than 2 inches in
thickness; and it would be the better for being 23, particularly if it be a large
one. The edges of the shutters should be faced with leather, cloth, or felt, to
make them bed closely and shut in the tone. Walker lines the interior of his
swell-boxes with very Stout brown paper, about ; of an inch thick, to further sub-
due the tone when the shutters are closed.
* for the pipe- I232. The general dimensions of an organ containing
WOrk. a given list of stops are influenced by no one thing more
than by the scale adopted for the bass pipes. Or, to put the fact in another
THE INTERIOR ARRANGEMENT OF THE ORGAN. 295
shape, no single circumstance affects the question as to the number of stops which
may be satisfactorily placed in a given space, more than the wide or narrow
measure selected for the large pipes. Continental organs of moderate dimensions
Ordinarily contain from 4 to 6 Pedal stops; while those of the first class frequently
have from 15 to 18. (See all the Foreign Specifications, in the Appendix.) To
any one who might be led to calculate the standing-room of such instruments by
the amount of space necessary to accommodate a single English stop of the Scale
to which many sets of “ Pedal pipes” have been made, it would seem that such
organs must occupy a site almost sufficient for a Small church. Such, however,
is not the case. It was stated in the first chapter of this division that in
Germany most of the Pedal stops are properly viewed as simply “Basses” to
some of the Manual stops. This being the case, their scales exhibit but a very
slight advance on those of the Manuals; one pipe only frequently being the extent
of the difference. The 16-feet Open basses of Continental organs, moreover, are
frequently made of wood, as in English. Of the three fine instruments by Silber-
mann at Strasbourg two contain “Principal Basses” of this material (see Foreign
Specifications); and of these organs the latter has two open wood Pedal stops
of 16 feet; yet the largest of these only measures 9 inches by II. In some very
large German organs, having about 16 stops on the Pedal, and including two
16-feet open wood stops, independently of the Violone, the scale of one is
sometimes advanced, and the stop hence called “Major-Bass,” i.e., Great-Bass;
but even the CCC pipe of this stop seldom exceeds Io inches in width by 12 in
depth. In two instances only could the writer trace the existence of stops of
greater calibre in foreign organs. The “Contra Violone” at Cologne Cathedral
(Foreign Specifications) measures 12 inches across the mouth, and a stop
approaching the scale of English Pedal pipes occurs in the St. Eustace organ
at Paris. (Foreign Specifications.)
1233. In English organs, even of ordinary size, the CCC Pedal pipe not
unfrequently measures 18 inches in width and 20 inches in depth : some examples
are as much as 2 feet in depth.
1234. Then, of the Continental Scales of longer wooden pipes; in the organ
at St. Paul's, Frankfort (Foreign Specifications), built by the famous Walker,
of Ludwigsburg, which has two Pedal stops of 32 feet, one measures II inches
across the mouth, the other 15% inches. The CCCC wood pipe in the Cathedral
organ at Bremen (Foreign Specifications), and in St. Mary's Church, Wismar
(Foreign Specifications), both by Schulze, measure exactly I2 inches each across
the mouth. Comparing these dimensions with the English scale given above,
it is seen that the 16-feet Pedal pipe, as it.exists in many of our ordinary-sized
organs, exceeds in bulk the 32-feet pipe of cathedral and other first-class
instruments of the Continent.
1235. The vast disparity of breadth in proportion to length between English
and foreign organ pipes naturally suggests these three questions—(1) How have
pipes of such huge bulk come into use 2 (2) What may be their effect? and (3) Is
that effect such as will justify the allotment of so much space, not easily spared, to
their accommodation ? f
1236. The first open wood Pedal pipes made in England were those added
by Avery to the organ in Westminster. Abbey. They were “Unisons;” and,
from that circumstance, being designed simply to reinforce the Manual Diapasons
in the bass, no doubt proved sufficient for that purpose. What may have been
the scale of those pipes the writer has not been able to ascertain ; but, sub-
sequently, the measure for the GG unison Pedal pipe became, and for several
years continued to be, ordinarily, 12 inches for the depth; that is to say, the Io;
296 THE INTERIOR ARRANGEMENT OF THE ORGAN,
**
feet pipe was equal in bulk to the 16-feet major bass pipe of Continental organs.
When Pedal pipes came to be altered in pitch from Unisons to Doubles, a single
set, of the Scale and power before in use, was incapable of asserting its
independence.
1237. As, in former days, the compass of the Manuals was extended down-
wards, as a primitive method of obtaining from it deeper tones, so the calibre
of the “ Pedal pipes” was now augmented, gradually, from little to more, in the
hope of obtaining from them the effect of a proper Pedal bass, until they at length
assumed the dimensions already quoted. The huge scale, therefore, originated
from a correct feeling, namely, a consciousness of the necessity for a Pedal bass,
proportioned in power to the Manual departments of the organ, but accompanied
at the same time by a misconception as to the proper method of carrying that
, feeling into effect. A “Bass" to the entire organ was attempted to be forced from
a single rank of pipes, and with astonishing success, had one only, and that
of an unvarying kind, been required from the Pedal. The effect of such a
Pedal stop was certainly most powerful and commanding, but not amalgamating,
It formed no suitable bass to any one stop in the organ. As a Pedal continua-
tion to the Manual Diapason, it was without the true, Serious, calm, deliberate,
and mixing characteristics of that stop. It was also too powerful and predomi-
nating for the numerous softer effects in constant requisition in all organs, and
Only appeared to be in proportion when used in conjunction with the loud organ ;
but the employment of the full organ being the exception, rather than the rule,
the heavy Sound of the great stop constituted, in the great majority of cases, a
very unsuitable bass. Then, with regard to standing room, the large scale Pedal
pipes in Some cases occupied as much room as would have accommodated three
16-feet Pedal stops made to a more strictly correct measure ; and it must be
obvious that a Pedal organ possessing an Open Diapason, Stopped Diapason,
and Trombone, would have formed a far more efficient and tractable bass to
an instrument. -
I238. Experiments subsequently made, together with a closer acquaintance
with the Continental principles of the art, conduced to make evident the nature
and extent of the original misconception to which reference has already been
made ; and to bring into clear view the true means by which it was to be
rectified and superseded. These included a reduction of the measure previously
adopted for Pedal fºes, and an increase in the number of independent Pedal
stops. Among the first to revise their Pedal bass scales were the late Mr. Hill
and Mr. T. Robson. Mr. Hill, who had built a greater number of large organs
than any other man in England, and had therefore given the large Pedal pipe
scale the most extended trial, thought it not inconsistent with the high position
and character as a true artist to scrutinise his former work, and to materially
modify the previously received proportions for large wood pipes. Added to
this, he insisted on the importance of securing several stops instead of one ; an
honourable course, which he ceased not to follow stedfastly and consistently
up to the time of his death.
1239. Reverting to the scales of Continental stops before given, some of them
will be viewed as being extremely small. The quantity of tone, however, pro-
duced from the largest of them is really most astonishing. Being copiously
winded, they speak with a promptness and fulness that is highly satisfactory. A
very careful trial and comparison of the smaller-scaled open wood stops of
Continental organs with the huge scale Pedal pipes of English instruments,
however, leads to the firm impression that the most useful scale for musical
purposes lies between the two. And that such a scale is equal to the production
THE INTERIOR ARRANGEMENT OF THE ORGAN, 297
of the best effects is exemplified in the excellent 32-feet open pipes of the West-
minster Abbey organ, made by Mr. Hill, the sound of which is sufficient to fill
the Minster, yet does not overpower even a single voice, which is detected the
moment it is added to that of the other stops by the richness which it imparts, yet
does not obtrude itself, but on the contrary, blends in the happiest manner with the
sound of the rest of the organ. The scale of the 16-feet pipe of this stop is
Io inches by II# inches, which is a slight advance on Silbermann's Strasbourg scale,
already quoted, and of the 32-feet pipe, 19 inches by 22 inches, which is a little
in advance of the Frankfort scale. For a unison Pedal Open, the German major
bass scale already given, namely IO inches by 12 inches for thé 16-feet pipe,
was adopted by Robson in his organ in Trinity Church, Sloane Street, where, for
a moderate-sized organ, it answered as well as could possibly be desired. At West-
minster Abbey, where the Great organ is extended down to CCC, to serve as a
substitute for an independent Pedal, the 16-feet pipe of the Pedal Open Diapason
measures 13; inches by 16 inches. This, although far below the old Pedal pipe
measure, yet forms an admirable and ample “Major Bass " Scale to the rest of the
Organ.
1240. Then, with regard to large metal pipes, great variation has likewise, at
different periods, been made in their scale, also, in English instruments. The
organ in St. Paul's Cathedral had two Open Diapasons, part of the original
work of Father Smith, on the Great Manual. The article in the Musica/
Gazette, so often quoted, says of them, “They have always been esteemed the
finest Schmidt ever made, and are regular and uniform in the quality of tone
throughout.” The largest of the two 8-feet or CC pipes of those stops measures
somewhat less than 6 inches in diameter. The original FFF pipe at the Temple
was 7 inches in diameter, and the largest of the two original CCC or 16-feet pipes
at St. Paul's is a little under Io inches across. Towards the latter end of the last
century Green effected a considerable increase on the measurement above given.
This was before the introduction of Pedal pipes (which either originated with
Avery or about his time), and no doubt was intended by Green to impart additional
weight to the bass of his organs. The CC pipe he increased in diameter from
6 inches to 8 inches, his GG to II inches, and his FFF from 7 inches to I2 inches;
that is, to 2 inches beyond Smith's scale for the 16-feet pipe. Avery and England,
who succeeded Green, availing themselves of the advantage which a set of
small Pedal pipes presented, reduced the Scale again for the bass of the metal
Diapasons.
1241. In specifications for modern organs, even those for Small churches, it is
sometimes stipulated that the CC metal pipe shall measure 8 inches in diameter,
or, in other words, shall be wider than Smith's large cathedral scale for the FFF
pipe. As a matter that materially affects the question of room, it is worthy of
consideration whether the advantages of so greatly an enlarged Scale are com-
mensurate with the increased quantity of space required to accommodate pipes of
such a measure. Metal pipes of so great a scale no doubt produce a somewhat
heavier, thick, and more ponderous tone than others of less bulk, but not so close,
firm, and clean a sound. There is always sufficient difficulty in obtaining an
even tone from a stop that increases in scale gradually from the lowest pipe up
to the top one. It was, in fact, this difficulty which led Muller of Amsterdam
and Batz of Utrecht to apply duplicate pipes to the trebles of their organs, and
Cavaillé-Coll to adopt a heavier wind in the upper part of the Manual compass to
overcome it. But if the scale be enlarged from the tenor downwards also, and
a more powerful tone really be produced in that direction, it seems clear that
the tendency to an inequality in the general effect must be increased. It is well
298 THE INTERIOR ARRANGEMENT OF THE ORGAN.
known that, for richness, fulness, and power, the bass of Smith's Diapasons have
never been surpassed. If they ever failed, as they occasionally did, it was in the
upper part. Moreover, it is by no means a matter of course that an enlargement
of scale will result in the production of a tone of an improved quality, as the
following extract will show. The Christian Remembrancer for October, 1833,
page 624, speaking of the Temple organ, says, “It is somewhat remarkable that
Schmidt should be able to produce so ponderous a tone in the lower notes of the
Open Diapason out of so small a scale pipe, the FFF measuring only 7 inches
in diameter, whereas the same pipes in Green's Organ at Greenwich Hospital
measures 12 inches, and does not give So fine a note. The fact is, when
the scale is increased the pipes then no longer remain members of the “Principal-
work,” but, from that enlargement, merge into the “Flute-work,” and at the
same time also cease to retain that clear and pure character of tone which
is so closely associated with the idea of a true Diapason, and which then
is exchanged for a heavier and less silvery tone. This refers to the large
pipes. As the “Diapason-measure * is exceeded higher up in the musical scale,
the cornet-scale is approached. For instance, if a Pedal Principal were to be
made to a much-increased measure, so that its middle C* pipe (2 feet) were to
be advanced from about 2 inches to nearly 2% inches in diameter, it would produce
a tone, powerful and broad indeed, but utterly unlike that of a member of the
Diapason-work.
1242. It has already been mentioned that the largest of the two 16-feet
pipes at St. Paul's Cathedral does not measure quite IO inches in diameter,
neither do those made by Cavaillé-Coll, in his magnificent new organs at the
Madeleine and St. Vincent de Paul, at Paris. And of upwards of twenty
examples in German organs which the writer measured, not one exceeded Io
inches across, while the smallest was 9; inches only. The corresponding pipe
in modern English work has occasionally been made as much as I4 inches
across, that is, within an inch of the 32-feet pipe at Haarlem, which measures but
15 inches over. There seems, however, to be no essential advantage arising from
the use of such very large scales, while the waste of room which they involve is very
great. - 2
1243. The subject of the scale of large Open wood and metal pipes has been
entered into thus fully, because those who have to decide on the comparative
merits of different specifications are sometimes apt to attach undue value to those
which promise “good bumping scales,” and think lightly of others which do not—
to consider the necessity for great Scaled pipes as an unquestionable fact, and their
advantages as being beyond doubt. t
1244. Stopped wood pipes present a no less variation in regard to Scale
than do those of the Open kind. . The ordinary English measure for the CCC
Bourdon or Double Stopped Diapason pipe, 16-feet tone, is 7% inches in width,
by 9 inches in depth. Occasionally this scale has been increased to I2 inches
in depth, but it has seldom been much lessened in England. The Swiss scale
for Stopped pipes is somewhat larger than the first of the above-mentioned
English measures; i.e., it is about 9%, inches by II inches for the CCC pipe. In
some modern German organs the Scale of the large Stopped pipes has been
much reduced, and that without involving any loss of tone, so that a great
saving of room has been effected. The unreduced quantity of tone from the
narrower pipe is Secured by allowing a more copious Supply of wind to enter
the foot, instead of shutting part of it off by plugging, making a wider wind-
way, and by cutting the mouth high. In this way a perfectly firm, plump, and
pure tone is obtained from a CCC pipe, measuring 63 inches by 43, A Bourdon
THE INTERIOR ARRANGEMENT OF THE ORGAN. 299
of the above scale occurs on the Great Manual of the German organ in the
Exchange Room at Northampton, and produces a remarkably full tone. The
Smaller Scaled pipes present the additional advantage of being more easily
planted over their own wind on the sound-board. It should be mentioned that
the pipes of a stop, made to the German scale just referred to, sometimes
decrease in size or bulk more gradually than is common with English Scales;
that is to say, the scale is not reduced to half measure until it has reached
the pipe that sounds the interval of an eleventh from the pipe whence the
calculation commences. The following therefore presents an outline of the Scale in
question :-
GREAT MANUAL BOURDON SCALE.
Pipe. Depth. Width. Diameter of foot-hole,
CCC. . . . . 6; inches . . 4; inches . . I; inch.
GG . . . . . 4% inches . . 3% inches . . I; inch.
CC . . . . . 3# inches . . 24% inches . . . I; inch.
FF . . . . . 3# inches . . 24% inches . . I; inch.
Tenor c. . . . 2% inches . . 2% inches . . # inch.
Middle b flat. . I# inch . . I; inch . . $ inch.
1245. The height of mouth for a 3-inch wind is, on the average, about equal to
half the width.
1246. Another class of covered stops, producing a delicate tone, and called, in
Germany, Lieblich Gedackt (Lovely-toned Stopped Diapason), is made to a smaller
Scale again than the Bourdon. It occurs in many foreign instruments ; and is also
frequently introduced by Schulze to form the Unison and Double Stopped Diapasons
of his Choir or Swell organs. Its scale decreases in the same ratio as that of the
Bourdon already noticed.
LIEBLICH GEDACKT SCALE, FOR CHOIR OR SWELL COVERED STOPS.
Pipe. T)epth. Width. Diameter of foot-hole,
CCC . . . 5 inches . . 3% inches . . # of an inch.
GG . . . . 3% inches . . 2% inches . . # of an inch.
CC . . . . 3 inches . . 2% inches . . # of an inch.
FF . . . . 2# inches . . I # inch . . # of an inch.
Tenor C . . I# inch . . I; inch . . # of an inch.
Middle b flat I# inch . . # of an inch . . ; of an inch.
1247. The peculiar value of the Lieblich Gedackt Scale for the Swell-covered
stops consists more particularly in the comparatively Small amount of standing
and speaking room required for the accommodation of pipes made to that
measure. The CCC pipe is scarcely any wider or deeper than the CC pipe
of some English scales, that is to say, the lowest pipe of a Double Stopped
Diapason made to the Lieblich Gedackt Scale does not call for more standing
room than the lowest pipe of some Unison Stopped Diapasons made to the
English scale. It consequently admits of the entire stop being placed inside
the Swell-box, whereby its whole range derives the advantage and benefit of
the crescendo and diminuendo ; whereas, on account of the size of the bass
pipes of a Bourdon made to the usual English scale, the lowest octave of the
stop has generally to be placed outside the box, even in the largest Swells.
Examples of Lieblich Gedackts, as Choir organ stops, of 16 and 8 feet tone, occur on
the upper Manual of the organ at the Exchange, Northampton ; and of 16, 8, and
4 feet tone at the Temple,
3OO THE INTERIOR ARRANGEMENT OF THE ORGAN,
1248. It will now be seen why a German organ should not cover the great
space that might at first have been imagined. The lowest Open Stopped and
Pedal pipes of an ordinary GG organ frequently equal in bulk the 16-feet pipes of
a German organ.
1249. There is one thing in connection with the question of large and Small
scales that is well worth mentioning in this place. It does not answer to plant
large scale Bourdons semitonally. This fact was proved by an organ-builder
in the following manner. The CCC pipe was voiced, put in its place, and
tuned ; then the CCCſ; was completed in a similar manner, when it was found
that the CCC pipe had become uncertain and windy in its speech. The DDD
was next added, and, having in its turn been tuned and voiced, the CCCſ, was
tried, and that was found to be spoiled by the DDD, as the CCC had been
by the CCC#. Four more pipes, up to FFF!, were added, one by one, and
every successive pipe destroyed the speech of the one below it. There was
not a single exception ; the only good Sound was from the FFF; pipe
which completed the series. It was shown by this experiment, (I) that the
speech of a Stopped pipe is not affected by the note its semitone Čelow, but by
the semitone above ; and (2) that the vibration at the mouth of a large scale
Stopped pipe has an influence upon the pipe its Semitone below, that does
not appear in small scale Stopped pipes; and it is argued from this that the
semitonal arrangement and the large Scale English Stopped-work could not be
satisfactorily combined. If this be true, it is curious that, in the system of
semitonal arrangement, the Scale should be required to be Small, and for two
very opposite reasons (at least, having no intermediate relation); Ist, that they
may be planted without loss of room ; and 2nd, that an acoustical phenomenon
or law requires them to be so, if planted Semitonally; and, of course, it would
be absurd to set out a Sound-board semitonally to simplify the action, and
then by conveyances, groove-boards, or such like means, to plant the pipes
otherwise. -
The materials for the 1250. The different metals, woods, and compounds used
pipe-work. in the construction of organ pipes were enumerated in a
previous chapter. In the specification for which the organ-builder's estimate
is afterwards to be obtained, it ought to be distinctly specified what materials
are desired to be used in the formation of the pipe-work ; which stops, if any,
are to be made of pure tin, which of metal, and which of wood ; also, if some
are designed to be made partly of tin or metal, and the remainder of wood,
on what note the metal pipes are to be discontinued and the wood ones to
commence ; and lastly, the proportions of tin and lead to be employed in the
composition of the metal. One of the particulars on which the ultimate cost
of an organ rightly depends is the standard of the metal that is to be used,
and the groSS weight of it to be embodied in the instrument; and an organ-
builder who proposes to employ tin or the best metal, in good quantity, must
necessarily require a higher sum for his work than he would demand, were a
less valuable metal and a Smaller quantity of it understood to be all that was
desired. An estimate, therefore, that would appear to be a high one, were not
these circumstances to be taken into consideration, will often prove to be both
just and reasonable when it is more closely examined. But English organ-
builders are by no means agreed on certain questions relating to metal pipes ;
Some considering that “substance” in material is of more importance than
quality, while others view quality as of more consequence than substance.
Preparatory to offering any observations on these points, it may be observed
THE INTERIOR ARRANGEMENT OF THE ORGAN, 3OI
that the bodies of metal pipes should viðraſe, but not tremöle, that is to say,
they should vibrate from the natural elasticity of the metal or compound of
which they are made, but not tremble from thinness of material or weakness
of texture. Of the two materials which form the chief ingredients in organ
pipe metal tin is light, firm, and elastic ; and lead, heavy, weak, and Com-
paratively inelastic. * -
I25I. Strictly speaking, it is the periodical motion of the column of air that
is within a pipe, rather than the pipe which encloses it, that is the source of
the tone. The substance and quality of the walls of the pipes, however, have
a great deal to do with the strength and character of the sound produced ;
and in this way, if the material of which a pipe is made be thin in Substance,
it will be weaker, more pliant, and consequently less impatient to return to its
state of repose. The pipe therefore will not bear much blowing, as, in that
case, its sides would not be strong enough to resist or counterbalance the
power of the wind ; and would tremble, and produce a blurring sound. Being
thus unable to resist any violent excitation of the column of air within, a thin
pipe can only be slightly blown, and hence will produce only a light tone.
If thin material, however, be pure tin, or good spotted metal, it will on that
account be firmer ; and the sharp and rapid vibration of a pipe made from Such
sheets will cause the tone to be of a more refined and silvery quality. The pipes
of a Gamba are the better for being thin and of fine metal.
1252. A pipe made of thick metal will bear much more blowing, without
its vibratory motion being exaggerated into a trembling ; consequently it will
be capable of producing a much fuller tone than a thin pipe of the same Scale.
For instance, the stronger the organ-wind, or the greater the quantity of it
entering a pipe through a larger foot-hole, the more powerfully will the column
of air within the pipe be excited, and consequently the greater will be its
friction against the sides of the pipe. If the strength and firmness of the
pipe have been correspondingly increased, it will successfully resist the influence
of the stronger current; the whole, resulting in the production of a clearer and
better tone. If, added to its substance, the metal of the pipe be compounded
chiefly of tin, this will cause it to be firmer still, and therefore more resisting
at first ; but if fully excited by the more copious blowing which it will bear,
it will prove more elastic, and more impatient to return to its State of rest :
and, from the great strength and power of its vibrations, will produce a sound
remarkable for clearness as well as for a ringing character. A heavy pipe is there-
fore good for a Diapason. - *
1253. It has been customary to attribute the distinction in the tone of the
organs of different builders to the voicing and winding of the pipes, which is
of course true to a great extent ; but the substance and quality of the metal
are by no means unimportant agents in the matter. Father Smith used
metal of fine quality and of great substance, usually, for his front pipes. His
inside pipes were of a metal of less high standard, but were very thick and
heavy. Green employed good spotted metal, but of less thickness ; and Smith
could no more have obtained Green’s light, playful, and musical tone from his
thick pipes, than could Green have produced Smith's powerful and ringing
tone from his thin pipes. Green was aware of this, particularly in regard to
bass pipes : hence his great enlargement of the scale ; though, from the thinness
of their material, they would not bear so much blowing.
1254. But, whatever difference of opinion may exist as to whether and to
what extent the tone is influenced by the metal or compound used; there can
be no doubt of the greater durability of pipes formed of tin, or chiefly So,
3O2 THE INTERIOR ARRANGEMENT OF THE ORGAN.
over every other composition that has been commonly employed for the
purpose. The metal used by Harris and Smith, for the chief part of the pipe-
work of their organs, contained a great proportion of tin among its ingredients;
and the present condition of the original pipes of many of the instruments
constructed by those makers fully confirms the correctness of the opinion as to
the lasting character of organ pipes made, in the first instance, of metal of good
quality and thick in substance. Harris's organ, at St. Sepulchre's, was built in
1667; Smith's, at the Temple, in 1685 ; and that at St. Paul's Cathedral, by the
last-mentioned builder (the front pipes of which still remain), in 1695. The Com-
parative durability of metal compounds, of various kinds, was well illustrated in an
organ which passed not long since into the hands of an organ-builder. The
organ had been made rather more than a century; and while the original pipes,
of spotted metal, were found to be quite sound, the feet of others of subsequentë
introduction, formed of inferior metal, had been so attacked by the strong acid in
the wood of which the upper-boards were made, that the apex of the feet of Several
of them was completely eaten away.
1255. Other evidences of the great durability of substantial pipes of tin, or
good metal, are afforded by the great age of several Continental organs, the
dates of the erection of which are authenticated. The organ in the Cathedral
at Constance, in Switzerland, was built in 1518; that in the Cathedral of
Freiburg, in Bresgau, in 1520; that in the Cathedral at Antwerp, in 1645;
and that in the Cathedral at Lucerne, in Switzerland, in the year 1651. The
last has recently been replaced by a new organ. The particulars of numerous
other old organs are contained in the Appendix; but, from the affroatimate age
only having been ascertained, they cannot be quoted here.
1256. Moreover, the writer put the question distinctly to a German organ-
builder, how long he considered an organ ought to last ; and he gave it as his
deliberate opinion that, if well constructed, out of the best and most substantial
materials, and taken the best care of, it ought to continue good for 400 years.
An organ lasting for so protracted a period will no doubt appear strange to
many ; but the undoubted age of numerous Continental instruments, together
with the good state of preservation the pipes of many of them are in, fully
justify the above calculation ; while the fact of certain of the stops of old organs
being in some cases retained in their successors, as at Cologne and Liège, further
supports it. *
1257. That pipe-work made of metal of good quality and substance retains
its fulness, brilliance, and “ring,” for a very lengthened period, is a fact fully
borne out by the effect of numerous old English organs. Age also may have
exercised some influence in imparting to the tone that peculiar richness, purity,
and healthy clearness for which many old instruments are so remarkable ;
although, as there are good, bad, and indifferent old instruments, and in some
cases by the same maker, it cannot always have had so much to do with the
production of the peculiar mellowness that some imagine.
1258. And if time really effects so much for an organ, how important must
it be to secure the use of the most durable metal for its pipe-work ; otherwise,
when the mellowing hand of time ought to be bringing the instrument to per-
fection, the pipe-work will have seen its best days, and be becoming useless when
it ought to be enhancing in value. Zinc is now much used for large metal beyond
4 feet speaking length, and, when properly prepared, is very efficacious. It is
particularly useful for organs that are to be exported, as the pipes do not flatten
during the journey. -
1259. While, in some instances, the scale has been increased for the large
THE INTERIOR ARRANGEMENT OF THE ORGAN. 3O3
metal pipes, it has been decreased for the small ones forming the “chorus.”
When the scale of the harmonic series of stops is “kept up,” and the pipes
are well blown, a tone is produced that is remarkable for fulness, breadth, and
power. When, on the contrary, their measure is reduced more rapidly, the
Small stops are less full and more penetrating in tone, and require the frequent, or
even constant, addition of a reed stop to modify their keenness and impart strength
to the sound. In some German organs, both codes of Scales are adopted ; that is
to say, a rather large scale is followed for the harmonic Series of stops, including
the first Mixture, and a smaller for the second Compound stop; the 2-feet pipe (cº)
of the latter being usually of the same diameter as the e" or f* pipe of the
Diapason, i.e., of Geigen Principal scale. The second stop is then sometimes
called “Scharf,” or “Cymbal,” either of which names would suggest the idea of
a ringing, sharp-toned stop. The third Compound stop is usually a Cornet, so
that on many German Great Manuals will be found, first, a Mixture of nearly
full Principal scale, a second rather below, and a third one above that measure,
1260. Wood pipe-work is introduced to a greater proportionate extent in
modern than it was in old organs, as it effects a judicious saving in the expense.
Many of the largest pipes in the Pedal organ are almost invariably made of
this material ; so also is some of the Flute-work of recent invention or intro-
duction into this country. The Stopped Diapason and Flute stops of modern
organs, too, are frequently made of wood ; so are the bass pipes of the Open
Diapason; while, in old instruments, the treble of the former and the bass of
the latter were more commonly made of metal. When long wood pipes are
made to a small scale, they are capable of producing a very close imitation of
the “metal tone,” and in that case form a most efficient substitute for good metal
pipes, in the bass, when the latter are not attainable. In some foreign organs
a wood bass of this kind is united to a metal treble so successfully, that it is
scarcely possible to trace on what note the one material is discontinued and
the other commenced.
The price of the organ. 1261. We have now arrived at the last, but by no means
the least important question for consideration, namely, the Arice of the organ,
This matter necessarily rests, to Some extent, with the builder chosen, but remains
to a much greater degree in the hands of the purchasers.
1262. From what has been explained in the preceding sections it must be
obvious that there is a durable, complete, but costſy way of building an organ,
and an unsubstantial, incomplete, and cheaff way of making it. It is also equally
evident that organ-building may be viewed as a calling of high art, or treated
merely as a matter of business; and it will be exercised in either the former or
the latter spirit, according to circumstances.
I263. Under the most extreme circumstances, the organ-builder must exist
by the exercise of his calling ; but at the same time it is only consistent with
the proper feeling of ambition that actuates every genuine artist, that he would
prefer also rearing specimens of his art to which he might point with pride, as
well as his successors for generations after him. But this second condition
must obviously depend on the means placed at his disposal.
1264. On being applied to to make proposals for the construction and erection
of an organ, an organ-builder may draw up a specification for an instrument
of given contents, and, intending to use certain materials, and to devote much
attention to various matters of detail and finish which cannot be specified in
an estimate without extending to the length of a pamphlet, place his charge
at, say, 4 IOOO. He may, however, have good reason to know that that figure
3O4. THIE INTERIOR ARRANGEMENT OF THE ORGAN.
will ensure him the loss of the “ order;” accordingly, without altering one of the
ZUritten conditions of his contract, or foregoing one penny of his own fair profit,
but simply by reducing the standard or substance, or both, of his metal, and
paying less regard to the minute excellencies of his work, he can, “to meet
circumstances,” at once lower his estimate from £1,000 to £850. It is in this sense
that “the price of the organ ” is said to remain so much in the hands of
the Žurchasers. But when the organ is completed, will it rank as highly, as a
work of art, as it was originally intended by its designer it should do Will it
reflect more than temporary credit on its builder P A few years pass, and the
organ itself probably solves these problems. And, as though to reduce its
existence to the shortest span, the crowded organ has perhaps been consigned
to a site bounded by cold or damp walls, where the leather-work has quickly
rotted, the brass-work corroded, the iron-work rusted, the glue Soddened, and
the accurate adjustment of the several parts of the wood-work, by Swelling, been
disturbed. Crooked or bruised metal pipes, cracked wooden pipes, running
sound-boards, twisted rollers, double frictional resistance opposed to the fingers
at the keys, and numerous other such fatalities, too frequently indicate what are
and must ever be among the most probable distinctivenesses of the “cheap organ.”
Nor is the builder exactly to be held responsible for all this, if he gave timely
advice and warning.
1265. So far it has been shown by how easy a course the price of an Organ
of a given size may be materially reduced, to accommodate the estimate to
particular circumstances. But the process may be reversed ; i.e., the size of
an organ may undergo great aftarent increase, when “a grand Organ ” is desired
for the price of one of ordinary dimensions.
1266. An organ with, say, fifty stops will cost either about £1,000 or nearly
£2,000, according to circumstances. If its specification be drawn up in a
spirit consistent with the magnitude of the work, as implied by the number
of its stops—if the stops chosen are introduced mostly in a “complete ’’ form,
and if a just proportion be observed in the distribution of the stops between the
Manuals and Pedal—the cost of such an instrument will certainly approach the
higher of the two rough estimates above given. But then it will also be a
genuine specimen of high art organ-building, carried out in its amplitude and
integrity. Among the fundamental laws of that System are these : if a great
Manual be furnished with sixteen stops, these should include at least two double
stops, one of which must be a Double Open Diapason throughout. Or, to follow
the German form of expression more closely, the Great organ should be a
“I6-feet Manual.” Then all the Manuals—by which is meant the organs as
well as the keys—should be of equal, that is CC range ; and the Pedal moreover
should, as a minimum proportion, have at least one-third as many stops as the
Great Manual.
1267. These and other governing rules of the science, however, can only
be recognised, or, at least, followed, when “the priče º will admit of their being
so. But it too frequently happens that the approximate price for the organ
has already been fixed, and the hoped-for number of stops also considered ; in
which case, all that is left for an organ-builder to do, who desires to secure the
order, is to prepare a design that will as little as possible run counter to these
performed expectations. He sees clearly that a plan for an instrument on the
most artistic principle will exclude itself by its appended estimate ; that there
is every probability of the prize falling into the hands of one who can prepare the
most “promising” specification ; therefore ideas about “art” must subserve to
those relating to “business.”
THE INTERIOR ARRANGEMENT OF THE ORGAN. 305
I 268. Nor can organ-builders fairly be held accountable for adopting the
obvious alternative thus imposed upon them, and which amounts to this in
effect, if not in words: he who will prepare the specification that seems to
promise the most extensive instrument for the stated terms—who, in fact, can the
most Successfully make what would form a smaller organ look like a larger
upon paper—will stand the best chance of securing “the order.” And the
ingenuity sometimes displayed in estimates drawn up to meet such expectations
almost calls for admiration. First, instead of the specification stating that the
proposed instrument shall be built on the German system, which would be
embodying a great deal, all it will promise, if it be prudently drawn up, is that
it shall be made to the German compass, which is, at the same time, the old
English compass of two centuries ago, and implies but little. Next, several
of the stops are planned to draw in halves, every such divided stop thus
appearing as two , or they are introduced in an incomplete form to meet
other incomplete stops.” In this manner a great step is made towards securing
the necessary array of “stops,” many persons judging of the excellence of
an organ by the number of its handles rather than by the excellence and
completeness of what those handles govern. The couplers even, to swell the
number, are sometimes’ enumerated as “stops.” Then the important distinction
between “standard size” and “size of tone” is overlooked, and the two portions
of the Stopped Diapason, which together form in reality but one stop of 8-feet
foºte, in consequence bear the aspect of two stops of 8 feet. The Bourdon,
also, if divided, appears as two stops of 16 feet. In this manner the stops
in question, and by consequence the department to which they belong, are left
open to a flattering estimate of their real dimensions.# The one Sesquialtera
of V ranks, again, which is to be found in all the most important organs of
Germany, as well as those of Bridge, Byfield, Harris, and Snetzler, has to be
made to draw as two or even three stops. Then the Swell organ, which
is essentially of English invention and development, and is more highly and justly
appreciated in this country than in any other in Europe, is a department in
the construction of which an organ-builder takes peculiar pride and interest;
this must be cut short at tenor c, which denudation deprives the Swell of its finest
octave, though at the same time it affects a Saving of nearly £IOO in the cost of that
department alone, in the instance of a design for a large Swell, and must therefore
be resorted to as one means of keeping down the price of the instrument. The
Swell Manual, indeed, perhaps runs “throughout,” though that is of little value
without its proper pipes. Numerous Small, inexpensive, and incomplete stops,
again, find admission, particularly in the Choir organ, which assist in making up
the required number at no great outlay ; while many large and costly ones are
excluded, to bring the instrument within the narrow bounds prescribed by the
* As a matter of fact, it may be mentioned that two of the modern organs that are
the most free from half and incomplete stops are those in the church of St. Mary at Hill,
and St. Walburgh's Catholic Church, Preston, both by the late Mr. Hill. The former has but
four such stops among a series of thirty; the second, not one stop of broken range among
thirty stops. Many other builders are now equally averse to the half-stop system.
+ It has already been explained that it is not the tone of the deepest sounding covered
stop, but the “standard length” of the largest stop of the Open Diapason species, that
fixes the size of a Manual or Pedal organ. Among other instruments, of which the Great
organ department is a 16-feet Manual in the strict sense of the term, must be classed those
at St. Paul’s, by Willis; and at Buxton Road and Highfield Chapels, Huddersfield, by Robson
and Walker,
H H
306 THE INTERIOR ARRANGEMENT OF THE ORGAN.
stipulated terms. In this manner the admirable rule which lies at the very
foundation of the German and French systems of organ-building—that the Pedal
shall have, at the least, one-third as many stops as the Great Manual—and
which is specially intended to check all excess in small or incomplete stops, as
well as the slighting of large and more important ones, is treated as though it
had no existence. By the above and other such means, a specification for an
organ of almost any number of stops—i.e., handles—may be provided, to suit
almost any sum that may be named. But it cannot be supposed that any
organ-builder who has a real love for his art can Žrefer building an instrument
according to so unhealthy a system, however readily he may consent to do so.
Yet, despite the discouraging influences under which it has been sometimes
carried on, organ-building has nevertheless progressed marvellously within the
last fifteen years, particularly in respect to those mechanical details which
ensure quietness in the action generally, and which relate to lightness and
promptness in the touch of large instruments, as well as in the selection and
variety of the stops; and in regard to the completeness of the compass of the stops,
and the excellence of the metal used in their conformation, great “progress” has
also been made, particularly by some of the younger firms, by going back to the
customs of a century or more since. These latter returns, it is but reasonable to
hope, are accompanied by a corresponding return to Something akin to the fair and
liberal terms paid to the artists of former times. What these might have been may
be gathered from the following extracts, taken quite at random, from a list of
many which were ready to hand. It is recorded that Father Smith had 1,000
guineas for the organ (about 20 stops) at the Temple Church, and 500 more
for the case; for the St. Paul's Cathedral organ (about 28 stops), £2,000; and
for that in Durham Cathedral (17 stops), £700 and the old organ. For the
Westminster Abbey organ (2I stops), Schrider had £1,000 ; and Green, for
the organ at Greenwich Hospital (26 stops), £1,000, exclusive of the case.
Harris had for the St. Patrick's Cathedral organ, Dublin (13 stops), £505.
Then, for a single stop, Byfield received £50 for the Trumpet in the cathedral
organ at Chichester. It is, indeed, true that most of the stops in the organs
above mentioned were “whole” stops, and not only so, but were even beyond
the full necessary CC range. Still, after making an ample reduction for the
costly extra notes below, a sum remains that is far beyond what an English
organ-builder is sometimes supposed to be fairly entitled to in the present day for
a similar amount of work. We need not wonder, then, at the completeness, so
far as they went, goodness of material, excellence of finish, beauty of tone, and
durability of old instruments made under such favourable auspices.
1269. For the organ in the church of St. Vincent de Paul (40 sounding-
stops), at Paris, Cavaillé-Coll received £2,000 ; and for that at the Madelaine (48
sounding-stops), £2,500. The above matters relating to the price, excellence,
and completeness of an organ, have been entered into thus fully and unre-
servedly in this place, first, because, emanating as they do from one who is
wholly unconnected with the organ-building business, and who, therefore, can
in no way be interested in the issue, beyond what is shared by all who admire
excellence, irrespective of size, they may perhaps be permitted to exercise some
influence with those who have to detect the actual merits of competing esti-
mates; and, secondly, because they really involve the permanent interest of the
purchaser, the credit of the builder, and the progress of the art in equal
degrees. It need only be added that a builder of high reputation will naturally
expect, and will be entitled to receive, higher remuneration for his work than
one of less eminence.
PLANS FOR ORGANS OF WARIOUS SIZES. 3O7
CHA PT E R XXXIX.
PLANS FOR ORGANS OF WARIOUS SIZES.
1270, SOME plans or specifications for organs of various sizes will now be given,
which will illustrate the several rules that have been explained in detail in preced-
ing chapters of this book; and will also serve to show by what easy and successive
Steps an instrument may be gradually developed from a small chancel or school-
room organ into a large cathedral or town hall organ, without any of the primary
laws of the science being overturned or modified in any way. In their preparation,
the Schemes of the best English and foreign organs, of old as well as of recent
times, have been consulted, and their best features embodied, so far as has been
found practicable, or seemed to be in accordance with the requirements of
a modern English organ. As, however, nearly every organ-builder and organist
has his predilection in favour of particular stops, some of the details of the
following specifications would, of course, be modified to adapt them to particular
taSteS.
POSITIF ORGANS.
1271. Before entering upon these several matters, a few words may be said on
a kindred subject. The question has frequently been raised as to the most
economic mode of using the funds and space—both usually too limited—that may
be available for organs for small village and mission churches, and where the use
of the instrument will only be needed as an accompaniment to simple vocal har-
mony. For an organ built for the sole purpose indicated, and under the close
restrictions mentioned, as great a proportion as possible of the small funds should
be expended on fiftes, and as little as possible on mechanism, as much on the most .
efficient attainable production of those notes specially required for the guidance
and support of the voices, and as little as possible on anything and everything
beyond. The first question, then, that presents itself is that as to the compass that
would be sufficient for such an instrument. If we refer back some centuries to the
time when the organ could have been used for no other purpose in the church than
as an accompaniment to the voices, we find its range agreeing very nearly, if
not exactly, with that of the human voice; and that compass is fully represented
by the ancient great stave of eleven lines with the notes immediately below and
above :—

ed
ۼ
H. & E E = −eFE =
|*|| GF=
N->
1272. For an organ for the purpose indicated a compass of three octaves and
H. H. 2
*
308 PLANS FOR ORGANS OF WARIOUS SIZES.
a tone—FF to gº in alt, 39 notes—would be sufficient. With regard to the stops,
it should be mentioned that a single stop, and that in unison with the voices,
never can keep the voices in tune long together. Singers find a difficulty in
hearing a stop that is in unison with their voices, but readily detect one that
sounds in the octave above them. The smallest organ, therefore, should have two
stops, a Unison and an Octave. For a small delicate toned instrument there
might be—
I.
I. Lieblich Gedact. §
2. Dulcet, or Octave Dulciana.
For a two-stop organ of fuller tone the following would be suitable :-
II.
I. Stopped Diapason.
2. Principal, Gemshorn, or Spitzflöte.
For an organ of three stops:—
III.
I. Stopped Diapason.
2. Open Diapason to Middle cº,
3. Principal.
1273. Father Smith, in numerous small organs, made the Open Diapason to
range simply from middle cº upwards; and, as that note marked the full average
range downwards of the treble voice, there was a certain completeness and distinct-
ness of adaptibility about the little stop. It is, therefore, proposed above,
IV.
For a four-stop organ the following registers will be quite Satisfactory:—
I. Lieblich Bourdon.
2. Open Diapason.
3. Stopped Diapason.
4. Principal.
1274. As the Bourdon appears in these plans for Positif organs for the first
time in the foregoing, a few words may be said in reference to that stop. Deep-
sounding bodies generate large and ample sound-waves; and large sound-waves
exercise an impressive effect on the feelings of auditors within their influence. In
drawing up plans for Small organs, advantage should be taken of this fact to intro-
duce those deep-sounding bodies as soon as practicable, that they may exercise on
those engaged in acts of devotion the wholesome influence just adverted to.
1275. If the Bourdon be made to the Small scale, and voiced to the sweet tone
implied by the adjunct “Lieblich,” it will be found to enrich and deepen the
general tone, without obscuring or disputing the predominance of the unison pitch.
The compass of the above organ is supposed to be the same as before ; but as the
pipes to the keys in the upward direction would be Small and inexpensive, and yet
would be most useful in a variety of ways, the range might be continued another
octave, as being everything short of a necessity. The first and most obvious use of
PLANS FOR ORGANS OF WARIOUS SIZES, 309
the upper octave of keys would consist in its being available for playing the melody
“in Octaves” when the voices might be showing a tendency to get flat, and of its
thus offering an ever-ready means of checking such tendency without the player
having to remove a hand from the Manual to draw the Octave stop.
I276. The extra octaves of keys would, in conjunction with the Bourdon, admit
of a very pretty combination, resembling that produced by the Stopped Diapason
and Flute on ordinary organs.
1277. A desire is sometimes evinced to have introduced, into organs even of
the very small kind under consideration, the movement called by the Spanish
organ-builders of the last century “Terzo Mano,” and by Mr. Holditch, who
introduced it into England, “ Diocton.” It is a question whether it be advisable to
introduce any mechanical appliance whatever into So Small an organ. If, however,
its insertion be proposed, some care will be required as to the selection of the stops.
The effect of an “octave coupler,” it may be as well to explain, is to repeat all the
sounding stops at half size, and add them in that new form to the stops in their
actual size. There is a great risk, therefore, of the 4-feet tone being made to
exceed the 8-feet tone by a movement of the above kind, and of the general tone
becoming top-heavy. If an octave coupler be desired, the stops in their half
size, as well as their full, should be written down, and the size and proportion of
the whole then tested. No Scheme of four stops will bear this trial better than the
following:—
V.
I. Bourdon . . 16.
2. Open Diapason 8.
3. Dulciana . . 8.
4. Flute . . . 4.
*º-
“Reproduced" as above, the scheme would stand thus:–
VI.
I
I. Bourdon .
2. Open Diapason.
*3. Stopped Diapason.
4. Dulciana . e
*5. Principal .
6. Flute
*7. Dulcet .
*8. Piccolo.
That is to say, like one stop 16 feet, three of 8 feet, three of 4 feet, and one
of 2 feet.
For an organ capable of sustaining some hundreds of voices the following five
stops would be good —
VII.
. Bourdon.
. Open Diapason.
. Stopped Diapason.
. Principal.
. Mixture, II ranks—I2 and 15.
:
:
These organs might well be distinguished as Positif Organs, as that is not only
3 IO PLANS FOR ORGANS OF WARIOUS SIZES.
the old English name for small instruments, but is one that has not hitherto been
appropriated in modern days.
CHANCEL ORGANS.
1278. Another kind of small organ is appropriately called the Chancel organ.
This consists of at least one Manual of full compass, and a good complement
of pedals; and two stops at the least, one of 8 feet and one of 4.
For a delicate toned organ of this kind the following stops would answer
well —
VIII,
Manual compass CC to gº, 56 notes. Pedal CC to dº, 27 notes.
I. Lieblich Gedact . . . . . . . . 8 feet tone.
2. Dulcet . . . . . . . . . . . . 4 feet.
For a somewhat fuller tone :—
IX.
Compass as before.
I. Stopped Diapason . . . . . . . . 8 feet tone.
2. Gemshorn. . . . . . . . . . . 4 feet.
For a stronger tone the following three stops:—
X.
I. Stopped Diapason . . . . . . . . 8 feet tone.
2. Open Diapason to Middle cl . . . . 8 feet,
3. Principal . . . . . . . . . . . 4 feet.
For an organ of six sounding stops the following would answer well:—
XI.
Manual Organ. * -
I. Open Diapason . . . . . . . . 8 feet.
2. Stopped Diapason. . . . . . . . 8 feet tone.
3. Dulciana to tenor c, grooved into -
No. 2 below . . . . . . . . . 8 feet.
4. Principal . . . . . . . . . . . 4 feet.
5. Mixture, II ranks . . . . . . . . I2 and 15.
Pedal Organ.
6. Bourdon, CCC to tenor d, 27 notes 16 feet tone.
1279. In drawing up plans for organs, however small, advantage ought to be
taken of the experience and successful experiments of the early builders and
their successors, and to propose, as soon as practicable, not only the tone to
CC, but below them as far as FFF, to obtain a greater or less number of
which the makers of past times did not hesitate to depart from what they knew
to be the proper compass, rather than lose those tones altogether. Without
those tones somewhere, all the simple church music, written in the scales of B
flat, A, G, and F, forming a considerable portion of the whole, would be
PLANS FOR ORGANS OF WARIOUS SIZES, 3 II
deprived of its deep-toned tonic, as well as many of its grave-sounding pro-
gressions. In the above plan for a Chancel organ the Manual presents the
range not only indispensable for an accompaniment organ—like the Positifs,
already proposed—but also the compass necessary for the unfettered study and
practice of the Manual parts of the greatest works ever written for the instru-
ment ; while the Pedals present not only the deep tones necessary to afford a
satisfactory interpretation of any of the bass progressions of vocal church music,
but likewise the still freer parts of essentially church organ music. This subject
cannot be followed any further in this place. Probably it may be treated of
more fully in a separate form of publication.
CHURCH ORGANS,
1280. The next subject to be touched upon is the Smallest kind of church
organs, from which point the subject may be continued forward uninterruptedly.
XII.
For a small organ of two Manuals and Pedal and Io Sounding stops:—
Great Organt.
I. Open Diapason . . . 8 feet. grooved into No. 2
2. Stopped Diapason . . 8 feet tone. below . . . . . . 8 feet.
3. Dulciana to tenor c, 4. Principal.
Swell Organ.
5. Violin Diapason, or 7 Violino, or Gemshorn . 4 feet.
Spitzflöte, to tenor c, 8. Mixture, II ranks, 12
grooved into No. 6 and I5 . . . . . . 23 feet.
below . . . . . . 8 feet. 9. Oboe . . . . . . 8 feet.
6. Rohr-gedact . . . . 8 feet tone.
Pedal Organ.
Io Stopped Bass . . . . . . . . . . . 16 feet tone,
Bass Flute, 8 feet tone by means of octave coupler.
Accessory Stofs, Movements, &c.
I. Swell to Great. 3. Great to Pedal.
2. Swell to Pedal. 4. Octave Coupler, Pedal.
1281. An “octave coupler,” to produce the effect of a “Bass Flute,” is pro-
posed for the Pedal. A stop of this kind is very useful, even when the extra
octave of pipes, to complete its upward compasā, is not attainable, as is Sup-
posed to be the case in the present instance. The 8-feet “helper” quickly
defines the deep tones of the 16-feet octave, and has the advantage of doing
this, according to the present plan, without either of the Manuals being coupled
to the Pedal for the purpose. The Manuals are thus left free to be used with
their own separate and special soft combinations whenever required. The higher
tones of the 16-feet range are quite distinct, and not far removed in pitch from
the Manual tones; hence the omission of the 8-feet. Sound is not felt to be
material. In place of No. 8 a 2-feet stop of some kind might be substituted,
3 I2 PLANS FOR ORGANS OF WARIOUS SIZES.
XIII.
SPECIFICATION FOR AN ORGAN OF TWELVE SOUNDING STOPS, TWO MANUALS,
AND PEDAL.
Great Organ. Swell Organ.
I. Open Diapason . . . 8 feet. 7. Violin Diapason, Open
2. Stopped Diapason . . 8 feet tone. Diapason, or Spitz-
3. Dulciana to tenor c, flöte, to tenor c . . 8 feet.
grooved into No. 2 8. Lieblich Gedact. . . 8 feet tone.
below . . . . . . 8 feet. 9. Violino, Principal, or
4. Principal . . . . . 4 feet. Gemshorn. . . . 4 feet.
5. Flute, Stopped, Open, or Io, Mixture, II ranks . . 23 feet.
Harmonic . . . . 4 feet. II. Trumpet, Horn, or
6. Mixture, II ranks, 12 Cornopean . . . 8 feet.
and 15 . . . . . . 23 feet.
Pedal Organ.
12. Stopped Bass . . . . . . . . I6 feet tone.
Bass Flute by means of octave coupler.
1282. A difficulty that frequently attends the planning of a small English organ
of two Manuals, on the modern principle, is the satisfactory treatment of the bass
or 8-feet octave of the second Manual, or Swell, owing to the size of the stops that
are justly considered to be indispensable for even the most limited departments of
that kind to possess. In the instance of the second Manual or Choir organ of the
instruments of the last century no such difficulty existed, on account of the stop
generally selected for that department being comparatively small ones—as Stopped
Diapason, 8-feet tone (4 feet literal length); Principal, 4 feet, and so on ; but now
that the Swell invariably takes the precedence of the Choir organ, and an Open
Metal Flue stop of 8 feet and at least one Reed stop of the same size are
required for even the smallest specimen of that division of an organ, the case is
very different. • * * * - - -
1283. By way of illustrating the extent of this alteration and increase in the
size of the stops, the following experiment might be tried on a tenor C Swell,
containing the following six stops —
f
1. Bourdon . . . . . 16 feet tone. 4. Principal . . . . . . 4 feet.
2. Open Diapason . . 8 feet. 5. Mixture II ranks . 23 and 2 feet.
3. Stopped Diapason . 8 feet tone. 6. Hautboy . . . . . 8 feet.
First, press down the tenor c key, then draw the Bourdon, when a Sound like that
from a CC Stopped Diapason will be heard. The Open Diapason, when added,
will sound like a Principal, the Stopped Diapason like a Flute, the Principal like
a Fifteenth, the Twelfth and Fifteenth like a II-rank Mixture, and the Hautboy
like a Clarion. Thus it will be exemplified that the tenor c pipes of those six
Swell stops are as large as the CC pipes of the following six Choir stops:—
I. Stopped Diapason . . 8 feet tone. 4. Fifteenth . . . . . 2 feet.
2. Principal . . . . . 4 feet. 5. Mixture, II ranks.
3. Flute . . . . . . . 4 feet tone, 6, Clarionet , , , 8 feet tone,
PLANS FOR ORGANS OF WARIOUS SIZES, 3I3
That is to say, the Swell stops of a modern organ are ordinarily twice the size of
the Choir Stops of old organs. This will at once give an idea of the great amount
of extra Standing-room a Swell must require beyond what is necessary for a Choir
organ of the same number of stops, even supposing the necessary additional funds
to secure the more costly stops in a complete form to be forthcoming ; added to
which there is the price of the expensive “large wooden room,” or box, to hold
them, to be taken into account. A Swell, therefore, with all its stops of complete
compass, could scarcely be expected in an organ for so small a church as the above
would be calculated; yet, on the other hand, it is very disadvantageous to the effect
of the music, as well as unsatisfactory to the player, when the range of the Second
Manual organ is far short of what it should be.
1284. To overcome this difficulty, the bass octave of the Stopped Diapason and
Principal in the Great organ has sometimes been “borrowed;” that is to say, they
have been made to act on the corresponding octave of the Swell Manual without
the remaining Great organ stops Sounding. Something analogous to this in
principle used to be effected by Harris, Bridge, and other builders, who, in Some
of their organs, borrowed the two lower octaves of their “Choir organ ” from the
Great, as at St. Andrew Undershaft, by means of double grooves, one set for each
Manual, and two sliders to each borrowed stop, of which also one was for each
Manual. Conveyances or grooves extended from the upper-boards over the one
slider to the bass pipes over the other, and Small leather valves were placed over
each set of sound-board holes to prevent any of the wind that came up from One
department of the organ passing down into the other division. The borrowing,
however, has been effected in various ways, as, for instance, by partitioning off a
small portion of the single sound-board grooves, and providing pallets and sliders
as before. All such contrivances are designed to arrive at the same end, though
a borrowed bass is far better than the plan of making the Swell keys below tenor c
act on the entire Great organ, which is a very primitive device. Another plan
has been to introduce a small “Choir bass” to act on the bass octave of the
second Manual to meet the Swell. This is a better arrangement still, as the
Stopped Diapason bass and Principal, of which it is usually composed, can be
scaled and voiced with some reference to the strength of the Swell stops. Still this
is not entirely satisfactory, as, of course, it cannot be made to match the Swell stops
equally well, whether the Swell-box be open or closed. Of the several methods that
have been devised none appear to be open to so little objection as the following.
1285. The Open Diapason might, to save room, be discontinued at the 4-feet
c pipe, as in the ordinary tenor c Swell; but the Stopped Diapason could be
carried down to CC, the longest pipe of which would even then only be of the
same 4-feet length, although its sound would be of 8-feet fitch. The Principal
might also be carried right down, the lowest pipe of which octave stop would
even then be no longer than the Open Diapason pipe of the Octave above, that
is, 4 feet. About the Mixture, smaller again, yet so pretty in its effect, there
would be no difficulty. Lastly, the Reed could be mitred down without any
detriment to its tone, but rather the contrary, and so be reduced to the 4-feet
height. In this way the 8-feet octave of Manual tones could be secured to the
Swell without increasing the height of the Swell-box at all, by adding to its
breadth to some extent, and to its depth to a less degree, while its sounds
would be rendered susceptible of being increased or diminished with the rest
of the Swell, which power, of course, cannot be secured by any of the other
plans. Within the last few years this plan has been frequently and successfully
followed by Foster and Andrews and other organ-builders. The lowest septave of
the Principal might be made to draw on the Open Diapason slide, in conjunction
3I4. PLANS FOR ORGANS OF WARIOUS SIZES,
with the bass of the Stopped Diapason, to which it would act as a helper. In that
case the Principal, as a separate stop, would not sound below the tenor C key; but,
as it is never used as a separate stop without the Diapason, this would practically
be no disadvantage. The 8-feet septave of the Stopped Diapason as a bass to
the Open always sounds somewhat dull and muffled without some such “helper.”
1286. A mistake sometimes finds its way on to the labels of the Pedal couplers
which it is worth while to point out. It is generally understood that, of the two
claviers named on the label of a coupler, the first is that of the row of keys coupled,
and the second that of the one to which it is united. Thus, “Swell to Great” is
understood to mean that the former is coupled to the latter, which is the case ;
but with the Pedal coupler the names frequently get reversed, and although the
mechanism attaches the Great organ to the Pedal, yet the label announces that it
unites the “Pedal to Great.”
XIV.
SPECIFICATION FOR AN ORGAN WITH SEVENTEEN SOUNDING STOPS, TWO
MANUALS, AND PEDAL.
Great Organ, 9 Stoffs.
1. Bourdon . . . . . I6 feet tone. 6. Flute . . . . . . 4 feet tone.
2. Open Diapason . . 8 feet. 7. Twelfth . . . . . 23 feet.
3. Dulciana to Tenor c. 8 feet. 8. Fifteenth . . . . . 2 feet.
4. Stopped Diapason . 8 feet tone. 9. Mixture, III, IV, or V
5. Principal . . . . 4 feet. ranks.
Swell Organ, 6 Sãoffs.
Io. Open Diapason . . 8 feet tone. 13. Mixture, II ranks . 23 and 2 feet.
II. Stopped Diapason . 8 feet. 14. Hautboy . . . . 8 feet.
12. Principal . . . . . 4 feet. I5. Horn . . . . . 8 feet.
Pedal Organ, 2 Stoffs.
16. Open Bass . . . . I6 feet. a. Octave Bass {º by) 8 feet.
f
17. Stopped Bass . . . I6 feet tone. b. Flute Bass . *: * 8 feet tone.
Accessory Stoffs, Movements, &c. Compass.
I. Swell to Great. Great, CC to gº in altissimo, 56 notes.
2. Great to Pedal. Swell. CC to gº in altissimo, 56 notes.
3. Pedal Octave. Pedal. CCC to Tenor f, 30 notes.
4, 5, 6, 7, 8. Five double-action Composition pedals, to act on the stops of the
Great organ in the following manner —
4, to draw out the Dulciana, and reduce the full organ to the same.
5, to draw out the Diapasons, and reduce the full organ to the same.
6, to draw out to the Fifteenth, and reduce the full organ to the same.
7, to draw out the full organ.
8, to compound a Choir organ by drawing out the Stopped Diapason, Dulciana,
Principal, and Flute, and reducing the full organ to the same.
1287. The last Composition pedal mentioned in the above scheme, although
but seldom introduced, would prove of the greatest possible use in all small organs
which have no separate Choir organ. It was tried for the first time (at the writer's
PLANS FOR ORGANS OF WARIOUS SIZES. 3 I5
suggestion) in the organ built by Walker, for Trinity Church, Vauxhall Bridge, in
1852. As a Pedal of the kind does not belong to the series for increasing the
strength of the organ tone by gradations from Žiano to ſorte, and for reducing it
back again, but is designed to answer a distinct and special purpose, it had better
be placed quite apart from the rest, say, to the extreme left, opposite to where the
Swell Pedal is usually situated. The Bourdon is proposed to be acted on only by
the Composition Pedal that is to draw out the full organ, as its use is not governed
by any laws analogous to those which regulate the employment of the other stops,
but is sometimes required in Soft combinations, while at others it is not desired for
much louder ones. For these reasons it will be better for it to be controlled chiefly
by the hand. -
1288. In many small English organs a Bourdon of 16-feet tone is placed on
the second Manual, while all stops of the same pitch are omitted from the first.
This is not in accordance with the Continental custom, as will be perceived on
referring to any of the specifications of Small organs contained in the Appendix.
1289. Two independent Pedal stops are included in the specification last
given. Both those stops are proposed to be of 16 feet ; Flue stops of that size
or size of tone being the most important ones for the Pedal to have first, they
forming the “Open and Stopped basses” to the Diapasons of the Manual. Of
scarcely less importance are the 8-feet Pedal stops, for which a Pedal octave
coupler is proposed, as before. - - *
I290. At the same time, a plan for compounding a second independent stop
out of a first has been quite successfully tried by Schulze, Jardine, Wadsworth,
Robson, and others. It is as follows:—CCC and CC grooves are placed side by
side ; the CCC sharp and CC sharp grooves the same ; and so on throughout the
sound-board ; an extra octave being added at the end to complete the 8-feet
range. Each Pedal roller is then provided with two lowering arms, one communi-
cating with the CCC pallet, the other operating on a second pallet in the CC
groove. On the table are twice the usual number of sliders, say four instead of
two ; that is to say, in addition to those for the two actual stops, the same number
is introduced for the borrowed octaves, and those for the 16-feet stop and the
borrowed octave are in each case placed side by side. The CCC and CC pipes
also stand side by side on the Sound-board, to save conveyancing or grooving ;
and all the other pipes are arranged in the same manner. By these means
the independence of the 8-feet range is so completely established that it is
Scarcely possible to discover that there are less than twice as many actual stops as
really exist.
XV.
SPECIFICATION FOR AN ORGAN WITH TWENTY SOUNDING STOPs, Two MANUALs
AND PEDAL. - 5
Greaf organ, Io Słońs.
I. Bourdon . . . . . I6 feet tone. 5. Principal * @ 4 feet.
2. Open Diapason . . 8 feet. 6. Stopped Flute or
3. Dulciana, or Gamba, Harmonic Flute . 4 feet tone.
to tenor c . . . 8 feet. 7. Twelfth . . . . . 2; feet.
4. Stopped Diapason, 8. Fifteenth . . . . 2 feet.
Clarabella, Hohl- 9. Mixture, III, IV, or
flöte, or Harmonic V ranks . . . . 2 feet.
Flute . . . . , 8 feet tone, Io, Trumpet . . . . 8 feet,
316 PLANS FOR ORGANS OF WARIOUS SIZES.
Swell Organ, 9 Stoffs.
II. Lieblich Bourdon . I6 feet tone. I5. Principal . . . . 4 feet.
I2. Open Diapason . . 8 feet. I6. Mixture, III ranks. 2 feet.
I3. Stopped Diapason . 8 feet tone. 17. Hautboy . . . . 8 feet.
I4. Keraulophon or Viola 8 feet. I8. Horn . . . . . 8 feet.
Pedal Organ, 2 Stoffs.
I9. Open Bass . . . 16 feet. a. Octave Bass }: 8 feet.
2O. Stopped Bass . . I6 feet tone. b. Bass Flute 3.S º: 8 feet tone,
Accessory Słońs, Mozements, &c. Compass.
I. Coupler Swell to Great. Great. CC to gº in altissimo, 56 notes.
2. Swell Octave. Swell. CC to gº in altissimo, 56 notes.
3. Coupler Great to Pedal. Pedal. CCC to tenor f, 30 notes, with
4. Pedal Octave. extra octave of organ, to complete
5, 6, 7, 8, 9. Composition Pedals as the octave range.
before,
1291. In Germany a satisfactory specification for a 10-stop Great organ always
includes one Flue stop of 16-feet tone, three or four of 8 feet, two of 4 feet, and a
Compound stop of from III to VI ranks. This skeleton scheme cannot be improved
upon ; and there is the less occasion for even making the attempt, since there is
so much room for indulging individual taste in making the selection of stops
wherewith to fill it up.
1292. It will be seen that the “ Double" in the Great organ is proposed
to be stopped throughout (Bourdon), and not open in the tenor and treble,
as it is sometimes made in England. The Continental rule is that when there
is but one stop of I6-feet pitch on a Manual that should be a covered stop
(see Specifications in Appendix); and to this rule very few exceptions
indeed exist. A Bourdon or kindred stop is first introduced, because it
is more prompt in its speech than a Double Open Diapason ; because it
deepens the organ tone so admirably, without rendering the sub-octave Sound
so weighty and Sonorous as to confuse it with the unison pitch in Soft combi-
nations; and because it is the less expensive stop, and also requires less
standing and speaking room. For these several reasons its adoption has been
recommended above. Sometimes a Quintaton, 16 feet (Fifth-sounding covered
stop, 16-feet size of tone) is found proposed in foreign specifications. A
stop of the kind is not designed to give its actual tone purely, but to produce
its twelfth, of 53-feet, as Strongly as its ground tone. The original design of
such a stop is to obtain the effect of two from one rank of pipes, on which
account the stop in question is in Germany termed a “simple mixed stop.” It, of
course, is never intended to be used by itself.
1293. The Flute on the Great Manual of the organ at Hampton Court, by
Father Smith, is really a Quintaton of 4-feet ground tone. It is formed of metal
pipes, with metal caps without chimneys.
I294. A Swell octave coupler is proposed above, that is, one to unite the
Swell to itself in that interval. A movement of this kind is very useful for
solo playing in the middle and tenor octaves, as either reed can then have
its 4-feet effect brought into conjunction with its 8-feet. Moreover, where the
Swell is coupled to the Pedal, a very excellent effect, by additional distinctness,
is imparted to the latter by it. Lewis has introduced this very successfully
into some of his recent instruments,
PLANS FOR ORGANS OF WARIOUS SIZES, 317
XVI.
SPECIFICATION FOR AN ORGAN OF TwenTy-EIGHT SOUNDING STOPs, THREE
MANUALS, AND PEDAL.
Great Organ, Io Stoffs.
I. Bourdon . 16 feet tone. 6. Stopped Flute, or
2. Open Diapason 8 feet. Flute Harmonic 4 feet tone.
3. Spitzflöte, or Gamba. 8 feet. 7. Twelfth . 23 feet.
4. Stopped Diapason, 8. Fifteenth. . . 2 feet.
Metal Treble, Clara- 9. Mixture, III, IV, or
bella, or Hohlflöte 8 feet. V ranks . . . . 2 feet.
5. Principal. 4 feet. Io, Trumpet. 8 feet.
Swell Organ, 9 Stops.
II. Lieblich Bourdon. 16 feet tone. 16. Mixture, III and IV
I2. Open Diapason 8 feet. ranks . 2 feet.
I 3. Rohr Gedact . 8 feet tone. 17. Hautboy. 8 feet.
I4. Principal 4 feet, I8. Horn . 8 feet.
I5. Fifteenth 2 feet. I9. Clarion 4 feet.
Choir Organ, 5 Stoffs.
20. Dulciana. & g 8 feet, 23. Flute . . . 4 feet tone.
2.I. Lieblich Gedact . 8 feet tone. 24. Clarionet, to tenor
22. Principal, or a Taper C . 8 feet.
stop . . . . . . . 4 feet.
Pedal Organ, 4 Słożs.
25. Open Bass . . . . 16 feet. 27, Principal Bass. . 8 feet.
26, Stopped Bass . 16 feet tone, 28, Posaune, woodentubes 16 feet.
Accessory Stoffs, Movements, &c.
I, Swell to Great.
2. Great to Pedal.
Compass.
Great, CC to gº in altissimo, 56 notes,
Swell, CC to gº in altissimo, 56 notes,
Choir. CC to gº in altissimo, 56 notes.
Pedal, CCC to tenor f, 30 notes,
3. Choir to Pedal.
4, 5, 6, 7, Four double-action Composition Pedals to act as follows:–
4, to draw out Diapasons (2, 3, and 4), and reduce full organ to the same.
5, to draw out to Fifteenth, and reduce full organ to the same.
6, to draw out full organ without Reed, and draw in Trumpet.
7, to draw out full organ.
I295. The effect of a second Open Diapason has generally been to increase
the quantity of smooth unison tone. Most English organs of the size represented
in the preceding specification used to contain the repetition in question ; whereas
very few of the Continental instruments include any such duplication of the
equivalent stop, i.e., of the “Principal, Prestant, or octave of 8 feet.” The
organs at Rotterdam, Freiburg, and Tours, offer exceptions to the rule, which,
however, are all much larger instruments. (See Foreign Specifications.) . It
might, therefore, be supposed that the foreign organs do not contain any stop
318 PLANS FOR ORGANS OF WARIOUS SIZES.
corresponding with the English “second Open; ” which inference, however, would
only be correct so far as the name is concerned, for they very generally do
possess a second Unison Open Metal Flue stop of rather strong tone. It is
true, indeed, that they usually present but one “Principal, or most important
Stop of 8 feet,” which, forming the basis from which the length and scale of the
whole series of harmonic corroborating stops are calculated, thus constitutes the
Diaffason thereto ; but then they have, in lieu of a second stop of that same name
and size, some member of the Flute-work, which is selected according to the
character of tone it is desired the “second Open” shall produce.
1296. The point of difference, therefore, in this particular, between the English
and the Continental system is this : that whereas in this country the second
open stop is almost always labelled “Open Diapason,” although its tone may
differ much, and advantageously so, from the full and sonorous character of that
of the first stop of the same name ; in Germany, the several varieties of tone are,
On the contrary, produced from as many different kinds of stops, each of which has
Something peculiar in its form to distinguish it to the organ-builder, Some-
thing Special in its ſome to distinguish it to the auditor, and something
distinct in its name to distinguish it to the organist. Thus, in some German
organs, we find a “second Open,” slightly conical in form, producing a rather
lighter tone than the first, of a slightly flutey quality, and bearing the inscrip-
tion “Sółłºſłółe 8 feeſ.” In others, we find the second 8-feet open stop more
Conical than the last-mentioned, producing a clear, piping, and chirping quality
of tone, and labelled “Gems/horn 8 feet.” Other organs contain a second open
Stop that is more or less reedy in tone, and smaller in scale, bearing the
name Gamba, Salicional, Geigen Principal, &c., as the case may be. Any
Specification in the Appendix may be referred to for an illustration of these
particulars,
I297. The origin of the introduction of a second Open Diapason into the
English Organ is possibly connected in some way with the custom, prevalent
in the Seventeenth century, of erecting the organ on the choir screen, which
rendered a “ double front” necessary, demanding two sets of cylindrical pipes
wherewith to adorn them. And it is worthy of observation that, although Father
Smith frequently introduced “two Opens,” he generally voiced the smallest one
so that it produced a tone partaking in some degree of the peculiar flutey
quality of the German S/#3/78te. The custom of introducing two Open
Diapasons has prevailed very generally in England, from the time of Smith
and Harris down to our own. The fault generally was that they did not
possess Sufficient individuality of tone, nor, consequently, the amount they
might have done when combined.
1298. The particular in which the English system is felt to be insufficient
is in its not possessing any nomenclature whereby the stops producing the
several characters of tone can be distinguished and specially referred to. That
the adoption of something of the kind would prove advantageous, there can
scarcely be a second opinion. All must have experienced the convenience of
being able, for instance, to distinguish a Dulciana from an Open Diapason by
a name instead of a description, and a Keraulophon from both by the same
simple means. Perhaps “smooth Open" and “clear Open " would be suffi-
ciently definite for the purpose.
1299. The second Open Diapason is sometimes, indeed, labelled “small
Open ;” but this addition only refers to the scale of the stop, and not to the
quality of its sound, which may vary considerably in different examples. More-
over, one builder’s “Small ” Open will not unfrequently nearly equal in size
fºLANS FOR ORGANS OF WARIOUS SIZES. 319
the “large” Open of another. What the performer requires most especially
is a key to the tone-character of the stop ; and, if some special term could be
applied to every stop, the sound of which differed from that of the actual
“Diapason,” such a series of names would doubtless prove most acceptable.
Under this impression, the second Unison Open stop on the Great Manual of
the last specification is marked “Spitzflöte 8 feet;” for which, however,. Some
other 8-feet stop could be substituted, or even the hitherto usual English stop
and terminology, if preferred. -
1300. In selecting the particular kind of Stopped Diapason and Flute for
the Great and Choir Manuals, a better opportunity is afforded for the exercise
of individual choice than is the case with almost any other class of stops in
an organ. It was a frequent custom with the younger Harris to make the
Treble of his Choir Stopped Diapason and Flute of metal, as in the late
Doncaster organ ; while the younger Smith as often made his both of wood
throughout, as at Finedon. The elder Smith, on the contrary, frequently made
the two stops of a different kind of material ; so that if the Stopped Diapason
was of wood, the Flute would be of metal ; and when the Stopped Diapason
was of metal, the Flute was of wood. In a few cases he made the one Stopped
and the other Open, as in the Durham Cathedral organ, where to a Stopped
Diapason of wood on the Great and Choir organs a Hohlflöte of octave pitch was
placed in each instance.
I3OI. The “crossing ” of the Stopped Diapason and Flute, in regard to
their material, after the manner adopted by the elder Smith, has long been a
prevalent practice, though by no means an invariable one, with the German
organ-builders. It was followed by Silbermann in his fine instruments at
Dresden, in the Choir organs of each of which it will be seen, on referring to
their Specifications in the Appendix, that to a “Gedact of 8-feet tone” he intro-
duced a “Rohrflöte of 4-feet tone.” It will be noticed, also, that to the “Gedact of
8-feet tone” in the Choir he in each case disposed a “Rohrflöte of 4-feet tone” in
the Great organ.
1302. By making one of the covered stops on the same Manual of wood,
and the other of metal, greater individuality of character in the tone is obtained
from each than is usually secured by the voicing alone ; and by making two stops
of similar nature on two different Manuals—as, for instance, the Stopped Diapasons
on the Great and Choir organs—of different materials, a nice, mild contrast is
caused to exist even between stops which (in England, at any rate) usually bear
the same name. Much variety is also to be obtained by crossing the Clarabella of
8 feet and the Flute Harmonic of 4 feet ; also by the use of the Rohrflötes, Gedacts,
and the numerous Flutes that have been invented or introduced within the last few
years.
1303. The plan of making the covered stops of 8 and 4 feet tone “cross” was
adopted by the late Mr. Hill for the Choir organ of his instrument at the Panopticon,
and also by the late Mr. Walker.
13O4. It is the nature of all good stops of Flute quality of tone, whether
they be stopped or open, metal or wood, to impart to the metal tone of those
members of the Diapason-work with which they sound in unison a certain
fulness and mellowness of effect not attainable without them ; and this
mollifying influence is exercised to the most beneficial extent when the Flute
sound is fully proportioned to that of the metal, yet without being so strong as
to prevent its mixing perfectly with, and merging, as it were, in the metal tone.
For an organ that is to be lightly and sweetly voiced, somewhat after the Green
model, for instance, a Stopped Diapason and Stopped Flute would answer
32O PLANS FOR ORGANS OF WARIOUS SIZES.
best ; as a Clarabella and Flute Harmonic would in that case be likely to
produce rather a “hooting ” effect through the light foundation and chorus-
work. Instead of simply imparting body and breadth to the Open Diapason and
Principal, they would tend to obscure the predominance and “glisten” of the
metal quality by their nearer equality of strength, and would thus serve only
to thicken and deaden the tone. But, if the Diapason and Harmonic Series of
stops are to be boldly and fully voiced, a Clarabella and Flute Harmonic might
be advantageously introduced ; for the reasons that, while they would be covered
by the peal of the ringing Mixtures, they would in their turn assist in supporting
them by the broader effect which they would impart to the unison and octave
Sounds. &
1305. The Clarabella is generally of excellent quality in the upper octave and
a half of its compass, being clear and smooth, yet powerful ; but in the middle
octave its tone is sometimes thick and woody, probably on account of the
largeness of its scale, and its not being blown sufficiently. In the German
equivalent for the above-named English stop—the Hohlflöte—the pipes increase
in bulk far more gradually downwards, yet the most perfect evenness of quality is
preserved. -
1306. A singular mistake is sometimes made in the labelling of the Swell
octave coupler, which it is necessary to notice. The coupler in question is
frequently marked suffer-octave, which means not “the octave above,” but
“above the octave,” and therefore indicates that it operates in the 2-feet pitch,
whereas it in reality acts in the single octave or 4-feet pitch. This error is the
more confusing where the terms octave or super-octave are applied to any of the
4 or 2-feet organ stops.
XVII.
SPECIFICATION FOR AN ORGAN OF TWENTY-FOUR SOUNDING STOPS, TWO
MANUALS, AND PEDAL.
Great Organ, I2 Słoffs.
I. Bourdon . . . . . 16 feet tone. 7. Twelfth . . . . . . 23 feet.
2. Open Diapason . . . 8 feet. 8. Fifteenth . . . . . 2 feet.
3. Dulciana . . . . . 8 feet. 9. Harmonic Piccolo . . 2 feet.
4. Stopped Diapason or Io. Mixture, V ranks . . 2 feet.
Clarabella . . . . 8 feet tone. II. Trumpet . . . . . 8 feet.
5. Principal . . . . . 4 feet. 12. Clarionet . . . . . 8 feet tone,
6. Harmonic Flute . . 4 feet tone.
For No. 9 a Gamba might be substituted.
Swell Organ, IO Stoffs.
13. Bourdon . . . . . I6 feet tone. 19. Mixture, III and IV
14. Open Diapason . . . 8 feet. ranks . . . . . . 2 feet.
15. Rohr Gedact. . . . 8 feet tone, 20, Hautboy . . . . . 8 feet,
16. Gamba to tenor C . . 8 feet. 21. Horn . . . . . . 8 feet.
17. Principal . . . . . 4 feet. 22. Clarion . . . . . . 4 feet.
18. Fifteenth . . . . . 2 feet.
For No. 18 a Flute or a Flageolet might be substituted,
PLANS FOR ORGANS OF WARIOUS SIZES, 32 I
Pedal Organ, 4 Stoffs.
23. Open Bass, wood . . I6 feet. 25. Principal Bass, metal . . 8 feet.
24. Stopped Bass, wood . 16 feet tone, 26, Posaune, wooden tubes , , 16 feet.
Accessory Słońs, Movements, &c. Coſſºftass.
I. Swell to Great. Great, CC to gº in altissimo, 56 notes.
2. Great to Pedal. Swell. CC to gº in altissimo, 56 notes.
3. Swell to Pedal. Pedal, CCC to tenor f . , 30 notes.
4. Swell Octave.
5. Swell Sub-octave.
6, 7, 8, 9. Four Composition Pedals, as before,
i.
1307. The Piccolo, which now appears in the Great Organ Specifications for the
first time, completes the Flute or wood organ, consisting of the Bourdon, Stopped
Diapason, Flute, and Piccolo—a series of stops of the greatest Service for purposes
of accompaniment and for solo playing. A Harmonic Piccolo or Flageolet of 2
feet might take the place of the wood stop, if preferred.
1308. The Octave and Sub-octave Couplers are sometimes made to attach the
“Swell to Great;” at others they unite the Swell to itself in the octave above and
below. In the latter case, the octave sound, each way, can be concentrated on a
single Swell key, provided the octave be within the standard compass of the
Manual. The Octave and Sub-octave Swell Couplers are then freely available,
without the independence of the Great organ being of necessity lost for the time
being. If either the Octave or the Sub-octave effects, or both, were required in
conjunction with the Great, they are then obtainable by drawing the usual Coupler
Swell to Great ; when, of course, every key united to the Swell unison would also
descend on that key, being drawn down by the corresponding key of the Great
organ. The only effect lost is that of attaching the Swell to the Great in the
Octave and Sub-octave without the Swell unison.
1309. Several excellent Pedal effects are placed at the organist's command,
when the Swell unites to itself. For instance, the Swell—with the “Swell Octave.”
drawn—on being coupled to the Pedal, would, by means of the Clarion, produce
the effect of a 2-feet Reed, and thus impart to the Pedal entry of a subject a great
amount of point and brightness; or, with the Sub-Octave drawn, which would
attach the CC Swell key to the second c of the Pedals, and consequently bring the
I6-feet CCC Bourdon foſte on to the same CC Pedal, the effect of a light Pedal stop
of 32-feet tone would be obtained through the octave and a half of the Pedal range
from that key upwards.
I310. Octave and Sub-octave Couplers occur in most of the Italian Organs,
whether of ancient or recent date. It would be interesting to know positively the
exact period of the introduction of such useful movements. The Unison Coupler
would naturally be the first kind thought of; and, from the prominent way in which
that description of accessory stop is mentioned in the old account of the Lucerne
organ (Foreign Specifications), it is not improbable that a clavier coupler was, at
the period of the construction of that instrument (1561), then either a new feature
or a great novelty in the Science.
I I
322 PLANS FOR ORGANS OF WARIOUS SIZES.
XVIII.
SPECIFICATION FOR AN ORGAN OF THIRTY-SIX SOUNDING STOPS, THREE
MANUALS, AND PEDAL.
Great Organ, 13 Stoffs.
I. Bourdon . . . . . 16 feet tone. 7. Twelfth . . . . 23 feet.
2. Smooth Open Dia- 8. Fifteenth . . . . . 2 feet.
pason . . . . . . 8 feet. 9. Piccolo. . . . . . 2 feet.
3. Clear Open Diapason. 8 feet. Io. Full Mixture, III
4. Stopped Diapason, ranks . . . . . . 2 feet.
Clarabella, or Hohl- II. Sharp Mixture, III,
flöte . . . . . . 8 feet tone, IV, or V ranks . or 2 feet.
5. Principal . . . . 4 feet. 12. Trumpet . . . . . 8 feet.
6. Stopped Flute, or I3. Clarion . . . . . . 4 feet,
Flute Harmonic . . 4 feet tone.
For No. IO a Gamba might be substituted.
Swell Organ, Io Sãoffs.
14. Bourdon . . . . . 16 feet tone. 19. Fifteenth . . . . . 2 feet.
I5. Open Diapason . . . 8 feet. | 20. Mixture, IV ranks. , 13 foot.
I6. Stopped Diapason, 21. Hautboy . . . . . 8 feet.
metal treble. . . . 8 feet tone. 22. Horn . . . . . . 8 feet.
17. Bell Gamba . . . . 8 feet. 23. Clarion . . . . . . 4 feet.
18. Principal . . . . . 4 feet.
Choir Organ, 7 Stoffs.
24. Open Diapason . . . 8 feet. 27. Spitzflöte . . . . . 4 feet.
25. Stopped Diapason, 28. Metal Flute . . . . 4 feet tone.
wood . . . . . . 8 feet tone. 29. Gemshorn. . . . . . 2 feet.
26. Dulciana. . . . . . 8 feet. 30. Clarionet to tenor c : 8 feet tone.
a—Pedal Organ, 6 Słońs. y
31. Open Bass, wood . . I6 feet. 34. Principal Bass, metal. 8 feet.
32. Stopped Bass, wood . I6 feet tone. 35. Flute Bass, wood . . 8 feet tone.
33. Great Quint Bass, 36. Posaune, wooden tubes 16 feet.
wood, stopped. . . IO3 feet tone,
à–Pedal, 6 Stoffs.
I. Open Bass . . . . 16 feet. 5. Mixture, II ranks, I2
2. Stopped Bass . . . I6 feet tone. and I 5 . . . . . 5; feet.
3. Quint Bass . . . . IO3 feet tone 6. Posaune . . . . . I6 feet.
4. Principal Bass . . , 8 feet.
c—Pedal, 6 Stoffs.
I. Open Bass . . . . I6 feet. 4. Posaune . . . . . I6 feet.
2. Principal Bass . . . 8 feet. 5. Trumpet . . . . . 8 feet.
3. Fifteenth Bass . . . 4 feet. 6. Clarion . . . . . . 4 feet.
Accessory Stofts, Movements, &c.
I. Coupler Swell to Great. 6. Swell to Pedal.
2. Swell Octave. . 7. Choir to Pedal. -
3. Swell Sub-Octave. 8, 9, Io, I I. Four Composition Pedals
4. Choir to Great. to Great.
5. Great to Pedal, 12, 13. Two Composition Pedals to Swell.
Compass.
Great, CC to gº in altissimo, 56 notes. Choir, the same.
Swell, the same. Pedal, CCC to tenor f, 30 notes.
PLANS FOR ORGANS OF WARIOUS SIZES. 323
I31 I. Three distinct plans are given for a Pedal of 6 stops in the foregoing
Specification. The first contains a Great Quint Bass, of Iož-feet tone, which
Stop, though but little used in England, is capable of great effect. Many German
and Flemish organs produce a mild, yet distinct, 32-feet tone from a Pedal organ,
which, nevertheless, contains no stop of that pitch. The sounds which would be
Supposed to proceed from such a stop are in reality only an “acoustical illusion,”
resulting from the introduction of a stop of the above kind ; every third vibration
of which coinciding with every second vibration of the 16-feet stops and with
every fourth vibration of the 8-feet stops together, so reinforce the periodical
vibrations which occur thirty-two times in a second, that they produce the effect
above mentioned. Where room and expense are objects, and no Sub-Bourdon is
therefore obtainable, the above plan of obtaining the deepest musical tones, by
making the phenomenon of Sub-harmonic Sounds Subservient to practical use,
might advantageously be adopted, particularly as the additional stop necessary to
produce them is of no greater length than the Pedal Twelfth.
I312. The second plan for a 6-stop Pedal organ is a favourite English scheme ;
while the third is almost a literal reproduction of one held in high esteem by
Silbermann and other German builders. (See Specifications in Appendix.) The
first of the three schemes appears, on the whole, to be the best adapted for the
accompaniment of the English Church Service, whether choral or congrega-
tional ; while the second unquestionably would form the best chorus organ. In
many Continental churches the Canto Fermo, or melody of the old church chant,
thundered forth in unison by a large choir of priests, is made the Öass in the
accompaniment, the harmony appearing as a kind of SuperStructure, the effect of
which arrangement of the parts is frequently most commanding. For this kind
of use the third specification, with its three octaves of Reeds—I6, 8, and 4 feet—
would be the best, it being equal to the production of most impressive effects
when employed in this manner.
1313. The consideration of the above three Pedal specifications offers a striking
illustration of the immeasurable superiority of the system of organ-building which
treats the Pedal as an independent department of an Organ over that which
recognises the extension of the Manuals down below CC as a substitute for it.
In the former case several plans, consisting of the same number of stops, but
very dissimilar in their selection, each possessing merits of its own, and each
specially adapted to answer a distinct end, can be prepared, and from these a final
selection be made, according to special requirements; whereas in the latter
this is not possible, for the very existence of the Pedal as an independent and
important division of an organ is then Scarcely recognised,
XIX.
SPECIFICATION FOR AN ORGAN OF FIFTY SOUNDING STOPS, THREE MANUALS,
AND PEDAL.
- Greaf Organ, 17 Słońs. -
I. Double Open Dia- 9. Stopped Flute, wood . 4 feet tone.
pason. . . . . . I6 feet. Io. Twelfth . . . . . 23 feet.
2. Bourdon . . . . . I6 feet tone. II. Fifteenth . . . . . 2 feet.
3. Open Diapason . . . 8 feet. I2. Piccolo” . . . . . 2 feet.
4. Spitzflöte . . . . . 8 feet. 13. Full Mixture, III ranks 2 feet.
5. Stopped Diapason, 14. Sharp Mixture, V ranks I; foot.
metal Treble . . . 8 feet tone. I5. Double Trumpet . . I6 feet.
6. Quint . . . . . . 5; feet. I6. Posaune . . . . . . . 8 feet. .
7. Principal . . . . . 4 feet. I7. Clarion . . . . . . 4 feet.
8. Gemshorn . . . . .4 feet.
* Or another 8 feet stop.
I
I
2
324. PLANS FOR ORGANS OF WARIOUS SIZES,
Swell Organ, 12 Stoffs.
18. Bourdon . . . . . 16 feet tone. 24. Twelfth" . . . . . 23 feet.
19. Open Diapason . . 8 feet. 25. Fifteenth . . . . . 2 feet.
20. Stopped Diapason . 8 feet tone. 26. Mixture, IV ranks . . Hå foot,
2I. Gamba to tenor c : 8 feet, 27. Hautboy . . . . . 8 feet.
22. Principal . . . . . 4 feet. 28. Horn . . . . . . 8 feet.
23. Flute . . . . . . 4 feet. 29. Clarion . . . . . . 4 feet.
* Or a Vox Angelica.
Choir Organ, IO Stoffs.
30. Lieblich Bordun . . I6 feet tone. 35. Gemshorn . . . . . 4 feet.
31. Spitzflöte . . . . . 8 feet. 36. Lieblich Flöte . . . 4 feet tone,
32. Lieblich Gedact . . 8 feet tone. 37. Flute Harmonic . . 4 feet.
33. Dulciana to tenor c : 8 feet. 38. Mixture, II ranks". , 23 feet,
34. Keraulophon to 39. Corno di Bassetto,
tenor c . . . . 8 feet. throughout . . . . 8 feet tone,
* Or a Flageolet or Piccolo.
Pedal Organ, II Sfogs.
40. Sub-Bass, Stopped or 46. Flute Bass, wood . . 8 feet tone,
Open . . . . . 32 feet. 47. Twelfth and Fifteenth
41. Open Bass, wood . . I6 feet. Bass . . . . . . 5; feet.
42. Violone . . . . . . I6 feet. 48. Trombone . . . . 16 feet.
43. Stopped Bass, wood. I6 feet tone. 49. Trumpet . . . . . 8 feet.
44. Quint Bass, Stopped IO3 feet tone. 50, Clarion . . . . . . 4 feet.
45. Principal Bass, metal 8 feet.
Accessory Słoffs, Movements, &c.
I. Coupler Swell to Great. 8. Pedal Ventil.
2. Coupler Choir to Great. 9. Tremulant to Swell.
3. Swell Octave. IO, II, 12, 13. Four Composition Pedals
4. Swell Sub-octave. to the Great organ.
5. Great to Pedal. I4, 15. Two Composition Pedals to the
6. Swell to Pedal. Swell organ,
7. Choir to Pedal.
Compass.
Great, CC to gº in altissimo, 56 notes. Swell, CC to gº in altissimo, 56 notes.
Choir the same, Pedal, CCC to tenor f, 30 notes.
As a solo organ to the above, the following four stops would form a good addition
to be operated upon by a fourth Manual —
I. Diapason Harmonic 8 feet. 3. Tuba . . . . . . 8 feet,
2. Flute Harmonic . . 4 feet. 4. Tuba Clarion . . . 4 feet.
There should in that case be two extra couplers, namely, one to unite “Solo to
Great,” and a second to attach “Solo to Pedal,”
PLANS FOR ORGANS OF WARIOUS SIZES. 325
I314. A German Great Manual organ, containing 16 stops, is usually furnished
with two or three stops of 16 feet, a Quint, and two metal Open Flue stops of 4
feet. All these excellent features are embodied in the plan for the Great Organ
department of the preceding specification. The Great organ has, in fact, now
become strictly a “ 16-feet” organ. Two Principals, like two Open Diapasons,
have frequently been introduced into large English organs, as in the fine instru-
ments at St. Sepulchre's, Snow Hill; Temple Church; Christ Church, Spitalfields;
Hereford Cathedral, &c.; and, when there is much Mixture work above, a second
stop of the kind, or nearly allied to it, is a most advisable one for an organ to
have, as it strengthens the medium tone of the instrument materially. As, how-
ever, German organ-builders seldom “repeat themselves,” the second 4-feet open
metal stop in their specifications is never a repetition of the Principal, but
frequently a member of the taper Flute-work, as a Gemshorn or a Spitzflöte of
4 feet, Sometimes the stop in question is an Octave to the 8-feet Stop, occupying
the position corresponding to our second Open Diapason ; Sometimes, however,
the Spitzflöte and Gemshorn “cross” after the manner of the Stopped Diapason
and Flute, as already detailed ; i.e., if the 8-feet stop be a Gemshorn, the 4-feet
will be a Spitzflöte. The latter plan is the most highly esteemed in Germany, and
is therefore suggested above.
1315. But the above Great organ specification contains 17 stops. This number
has been preferred, since it allows of the incorporation of the Piccolo of 2 feet,
which stop is less highly esteemed in Germany than in England or France, and
therefore does not usually appear on the 16-stop Great manuals of the former
country, -
1316. As the full-compass Swell presents a second complete Manual organ
composed of cylindrical stops, a few stops of tapering outline might be proposed
for the Choir organ, for the purpose of obtaining greater individuality of tone, if
preferred. Thus a Spitzflöte of 8 feet and a Gemshorn of 4 feet have been Sug-
gested in lieu of the usual Open Diapason and Principal. In some German organs
the taper Flute-work of the Choir is made to “cross” that of the Great organ,
after the manner of the covered work. Thus, if the Great has a Spitzflöte of 8 feet
and a Gemshorn of 4 feet, the Choir would have a Gemshorn of 8 feet and a
Spitzflöte of 4 feet; so that there are many ways of varying a specification with
good effect. A stop of 8 feet of string tone, as a Gamba, Salicional, Viol d'Amour,
&c., might be proposed for the Choir organ, if preferred.
1317. It is a rule with German organ-builders that, when a Pedal organ contains
Io stops, it should include a stop of 32-feet size, or size of tone. Sometimes a stop
of that pitch occurs even in a Pedal of 7 or 8 stops. A Mixture, however, is
seldom included in a 10-stop German Pedal.
1318. Most German Pedals of 4 stops and upwards contain a “Violone of
16 feet.” This is a particularly fine stop, and One of which several-good speci-
mens by the late Mr. Hill were made. It is an open stop, usually of wood, and of
small scale, the block of the 16-feet CCC generally measuring only 5% inches by
7 inches. It forms the “ Pedal bass” to the Gamba and other string-toned
Manual stops. Its intonation is very Crisp and pungent, and is in close imita-
tion of the bowing on a large string instrument ; hence its name Violone (Double
Bass).
1319. In the organ at Cologne Cathedral the 16 feet Violone pipe measures as
much as 12 inches across the mouth, and is, from its great Scale, called “Contra
Violone.” When heard from the choir of the cathedral, its tone is very like a
fine Pedal Diapason combined with a soft 16-feet Reed of equal quality and
accurate intonation,
326 PLANS FOR ORGANS OF WARIOUS SIZES.
XX.
SPECIFICATION FOR AN ORGAN OF EIGHTY-SEVEN STOPS, FOUR MANUALS, AND
PEDAL.
Great Organ, 22 Stoºs.
I. Sub-Bourdon to the II. Principal 4 feet.
tenor c key . 32 feet tone. I2. Flute . 4 feet.
2. Double Open Dia- 13. Twelfth . 23 feet.
pason . . I6 feet. I4, Fifteenth . 2 feet.
3. Bourdon . . I6 feet tone. 15. Piccolo . . . 2 feet.
4. Open Diapason 8 feet. 16. Full Mixture, III ranks 2 feet.
5. Open Diapason 8 feet. 17. Sharp Mixture, V ranks 2 feet.
6. Gamba . . . 8 feet. 18, Cornet, II, III, and
7. Stopped Diapason, IV ranks.
metal . . 8 feet tone. I9. Double Trumpet . , 16 feet,
8. Clarabella to tenor c. 8 feet. 20. Posaune . 8 feet.
9. Quint. - 5% feet. 21. Trumpet . 8 feet.
IO. Principal 4 feet. 22. Clarion 4 feet,
Swell Organ, 20 Słońs.
23. Bourdon . 16 feet tone. 34, Octave Flute 2 feet.
24. Open Diapason 8 feet. 35. Mixture, V ranks. 2 feet.
25. Gamba 8 feet. 36. Echo Dulciana Cor-
26. Echo Dulciana 8 feet. net, V ranks . 4 feet.
27. Rohr Gedact 8 feet tone. 37. Double Bassoon . , 16 feet.
28. Voix Celeste 8 feet. 38. Hautboy. 8 feet.
29. Principal 4 feet. 39. Trumpet . 8 feet.
30. Gambette 4 feet, 40. Horn . 8 feet.
3I. Flute . 4 feet. 4I. Clarion 4 feet,
32. Twelfth . 23 feet. 42. Vox Humana . 8 feet tone.
33. Fifteenth 2 feet.
Choir Organ, 15 Stoffs.
43. Lieblich Bourdon . . [6 feet tone. 5.I. Flute . 4 feet tone.
44. Open Diapason 8 feet. 52. Twelfth . 23 feet,
45. Lieblich Gedact . 8 feet tone. 53. Gemshorn . 2 feet.
46. Flauto Traverso 8 feet tone. 54. Flageolet 2 feet.
47. Dulciana 8 feet. 55. Mixture, IV ranks I# foot.
48. Keraulophon 8 feet. 56, Corno di Bassetto 8 feet tone.
49. Spitzflöte 4 feet. 57. Bassoon, throughout 8 feet,
50. Dulcet 4 feet.
Solo Organ, 12 Sãoffs.
58. Bourdon . . 16 feet tone. 64. Contra Fagotto . I6 feet.
59. Violin Diapason . 8 feet, 65, Clarinet . 8 feet tone.
6O. Flute Harmonic . 8 feet. 66, Hautboy. º 8 feet,
61. Violino 4 feet. 67, Hautboy Clarion , 4 feet,
62. Flute Octaviant 4 feet. 68. Tuba . & & 8 feet.
63, Piccolo Harmonic 2 feet. 69. Tuba Clarion , 4 feet,
PLANS FOR ORGANS OF WARIOUS SIZES. 327
Pedal Organ, 18 Stoffs.
70. Double Open Bass, 79. Flute Bass . . . . 8 feet tone.
wood . . . . 32 feet. 80. Twelfth Bass. . . . 5; feet.
7I. Double Open Bass. 32 feet tone. 8I. Fifteenth Bass . . . 4 feet.
72. Open Bass, wood . 16 feet. 82. Mixture, VI ranks . 3; feet.
73. Great Bass, wood . 16 feet. 83. Contra Posaune . , 32 feet.
74. Violone . . . . 16 feet. 84. Posaune . . . . . I6 feet.
75. Stopped Bass. . . 16 feet tone. 85. Bassoon . . . . . . I6 feet.
76. Great Quint Bass . Io; feet tone. 86. Trumpet . . . . . 8 feet.
77. Principal Bass, metal 8 feet. 87. Clarion. . . . . . 4 feet,
78. Violoncello, wood . 8 feet.
Accessory Słońs, Movements, &c.
I. Coupler Swell to Great. 9. Pneumatic Lever attachment,
2. Choir to Great. Io, I I, Pedal Ventils. -
3. Solo to Great. 12, 13, 14, 15. Four Composition Pedals
4, Great to Pedal. to Great Organ, acting on Pedal
5. Swell to Pedal. Organ in proportion.
6. Choir to Pedal. | 16, 17, 18. Three Ditto to Swell.
7, Solo to Pedal. 19, Piano Pedal,
8, Tremulant to Swell,
Compass,
Manual, CC to C4 in altissimo, 61 notes. | Pedal, CCC to tenor f, 30 notes.
I32O. The length of the slides in large Pedal organs is so great, and the weight
of the superincumbent pipe-work so considerable, that the slides frequently can
Only be set in motion by the exercise of great force. This motive power is some-
times provided in the shape of a pneumatic action. But this is not always sure in
its operation, and is, moreover, liable to extra resistance from atmospheric causes.
Walcker, of Ludwigsburg, puts every stop of his large Pedal organs on a separate
Sound-board, furnished with mushroom valves; and the stops are controlled by
ventils, which can then be worked by a simple tracker. This plan has so many
Conveniences to recommend it, that Messrs. Hill and Sons are adopting Something
of the same kind in principle for the Yarmouth organ they are now rebuilding, and
for the Great organ for Melbourne Town Hall.
I32 I. It will be seen that the German custom of attaching the word “Bass”
to the Pedal stops of double size to the Manual stops of like kind has been
followed in all the preceding specifications. This has been done, not only because
it is the most simple system of nomenclature that has yet been devised, but also
because it is the only system that appears to be likely to clear away the confusion
that has so long existed in England as to the only correct manner of naming and
classifying the Pedal stops. It has frequently been the case that the 8-feet Pedal
stops have been classed as Diapasons instead of as Octaves; whereas the Pedal
stops are, in nearly every instance, twice the length of the similarly labelled
Manual stops. Exceptions to this rule, however, are presented by the Trumpet and
Clarion, which are 8 and 4 feet stops respectively, whether placed on the Manual or
Pedal. &
I322. There are Several excellent stops in German Organs that are not at
present made in England, for which reason their names have not been included in
the foregoing spécifications. They will, however, be readily traced in the plans of
foreign organs that will now be given in the form of an Appendix. An examina-
tion of these schemes and a comparison of different Specifications, comprising the
same number of stops, with the view of ascertaining their points of difference, will
be found not only a very interesting, but also a very instructive employment.
A P P E N D I X.
A P P E N D IX,
CONTAINING
AN ACCOUNT OF FOREIGN AND BRITISH ORGANS,
<>
I. HAARLEM.
THE organ in the Cathedral Church of St. Bevan, in this city, has long been
celebrated in the annals of organ-building as one of the largest, as well as one of
the finest, instruments in the world. It was built by Christian Muller, of Amsterdam,
and was nearly three years and a half in course of construction ; it having been
commenced on the 23rd of April, 1735, and finished on the 13th of September,
I738. The Haarlem organ has 60 Sounding stops, among which are two of 32
feet, and eight of 16 feet; and all the stops are whole ones, excepting the Cornets
and the Hautboy in the Great organ. Many of the stops, further, have two
pipes to each key in the treble. This is the case with the Prestant of 16 feet
(Double Open Diapason), which not only extends throughout the entire range of
the Great Manual, but has duplication pipes from the middle b key (gamut B pipe)
upwards. The octave, of 8 feet (Open Diapason), also has two pipes to a note,
commencing on the same key. The Prestant of 8 feet (Open Diapason), on the
Choir Manual, similarly has two pipes to every note, commencing as low down in
the Scale as gamut G ; and the corresponding Stop (Prestant) in the Echo also has
double pipes, beginning at middle b. The ranks of Mixture likewise increase in
number as the Scale ascends. All the stops are made of metal, excepting the
Pedal Sub-Bass, which is of wood, and is a subsequent insertion. The front pipes,
which include the Pedal “Sub-Principal” of 32 feet, are of pure English tin,
burnished ; and all the interior metal pipes are formed of a composition con-
sisting of half tin and half lead. The 32-feet pipe, which is 15 inches in diameter
and nearly 40 feet long, stands in one of the chief towers. The instrument, with
its magnificent case, altogether cost about £12,000. The following is a list of its
stops —
H Great, I6 Stoffs, 1209 Pºes.
Pipes. Tipes,
1. Prestant ..., , , , , , , , , , 16 feet ............ 78 9, Quint Prestant 23 feet ......... 5 I
2. Bourdon ............ I6 feet tone ...... 5I IO. Woodfluit, .....,,, 2 feet ............ 5I
3. Octaay ... . . . . . . . . . 8 feet ............ 78 II. Tertian, II ranks I foot ............ IO2
4. Roerfluit............ 8 feet tone ...... 5I I2. Mixture, VI, VIII, and X ranks ... 339
5. Viol di Gamba ... 8 feet ............ 5I | I3. Trompet ......... I6 feet ... ......... 5 I
6. Roerquint ......... 5; feet tone...... 51 | I4. Trompet ... ...... 8 feet ......... ... 5 I
7. Octaav ... . . . . . . . . . 4 feet ............ 5 I I5. Hautbois ......... 8 feet ... ...... . . . 5 I
8. Gemshorn ........ , 4 feet ............ 5I I6. Trompet ..., , , ... 4 feet ... ... ... ... 5 I
332 APPENDIX.
Choir, in front, 14 Stoffs, I268 Piñes.
Pipes Pipes.
I7. Prestant ......... 8 feet ............ 24. Sesquialtera, II, III, and IV ranks i44
I8. Quintadena ...... 8 feet tone ...... 25. Mixtur, VI, VII, and VIII ranks... 360
I9. Hohlfluit ......... 8 feet ............ 26. Cimbel, II ranks ..................... IO2
2O. Octaav ............ 4 feet ............ 27. Cornet, V ranks ........................ IO8
2I. Fluit-doux ...... 4 feet ............ 28. Fagot ............ I6 feet ............ 5.I
22. Speelfluit ......... 2% feet............ 29, Trompet ......... 8 feet ............ 5.I
23. Super-octaav ... 2 feet ............ 30. Regal ............ 8 feet ............ 5 I
Echo, I 5 Stoffs, IO98 Piñes.
3I. Quintadena ...... 16 feet tone ...... 39. Flageolet ......... I# foot............ 5 I
32. Prestant ......... 8 feet ............ 40. Sesquialtera, II ranks.................. IO2
33. Baarpyp ......... 8 feet ............ 4I. Mixtur, IV, V, and VI ranks ...... 246
34. Quintadena ...... 8 feet tone ...... 42. Cimbel, TV ranks ..................... Io8
35, Octaav ............ 4 feet ............ 43. Schalmey......... 8 feet ............ 5 I
36. Flagfluit ......... 4 feet ............ 44. Dulcian ......... 8 feet ............ 5.I
37. Nassat ............ 23 feet............ 45. Vox Humana 8 feet ............ 5 I
38. Nachthorn ... ... 2 feet ............
Pedal, I 5 Stoffs, 513 Piñes.
46. Sub-principal ... 32 feet ............ 54. Hohlfluit ......... 2 feet ............ 27
47. Prestant ......... I6 feet ............ 55. Ruisquint, Vranks 23 feet ............ 27
48. Sub-bass ......... I6 feet ............ 56, Buzaim ............ 32 feet ............ 27
49. Roerquint......... Io; feet tone...... 57. Buzain ............ I6 feet ............ 27
50, Octaav ............ 8 feet ... ........ 58. Trompet ......... 8 feet ............ 27
51. Hohlfluit ......... 8 feet ............ 59, Trompet ......... 4 feet ......... .. 27
52. Quint ............ 4 feet tone....., 60. Cinq .............. 2 feet ............ 27
53. Octaay............ 4 feet ............
Accessozy Słońs, Movements, &c.
. Coupler, Choir to Great.
. Coupler, Echo to Great.
4. Two Tremulants.
Wind to Great organ.
, Wind to Choir organ.
, Wind to Echo organ.
. Wind to Pedal organ.
Twelve Bellows, 9 feet by 5.
Compass.
Manuals, CC to d” in alt., 5 I notes.
Pedals, CCC to tenor d, 27 notes.
Mumber of Piñes.
Great ...............…. I2O9
Choir ................... .......... I 268
Echo .............................. Io98
Pedal .............................. 5.I.3
Total............ 4088
2. ROTTERDAM.
The organ in the Cathedral Church of St. Lawrence, situated at the upper
part of Rotterdam, is a very fine and powerful instrument, and will, when com-
pleted, be one of the largest in the world.
is designed to have 92.
It already contains 75 stops, and
Its pipes at present amount in number to about 5,700,
the largest of which, standing in front, measures 32 feet Speaking length, and
I6 inches in diameter. Among the stops are included 3 of 32 feet, and I2 of 16
Great, 18 Stoffs.
IO.
II.
I2.
I3.
I4.
I5.
I6.
I7.
Octave ........................ 2 feet
Woudfluit..................... 2 feet.
Sesquialtera, II ranks...... 23 feet
Mixtur, IV, V, and VI ranks.
feet. The distribution of its stops is as follows:–
I. Prestant ... . . . . . . . . . . . . . . . . . . . . . I6 feet.
2. Bourdon ........................ I6 feet tone.
3. Octave............................ 8 feet.
4. Prestant ........................ 8 feet.
5. Holpfeif ........................ 8 feet.
6. Quint ..................... . . . . . . 5% feet.
7. Octave ........................... 4 feet.
8. Speelfluit ........................ 4 feet.
9. Quint ... . . . . . . . . . . . . . . . . . . . . ... 23 feet.
I8,
Scharf, IV and V ranks.
Cornet, VI ranks,
Trompet ..................... I6 feet
Dulcian........................ I6 feet.
Trompet ..................... 8 feet
AN ACCOUNT OF FOREIGN Ol{GANS, 333
a Swell and Composition Pedals.
Positiſ, 18 Stoffs.
I9. Bourdon........................ 16 feet tone. 28. Gemshorn..................... 2 feet
20. Prestant ........................ 8 feet. 29. Sesquialtera, II ranks...... 23 feet.
2I. Roerfluit ..................... 8 feet tone. 30. Mixtur, VI and VII ranks.
22. Fluit Traverse, discant...... 8 feet. 31. Mixtur, IV and V ranks.
23. Dolce ........................... 8 feet. 32, Cornet, VI ranks.
24 Octaav ........................ 4 feet. 33. Fagot ... . . . . . . . . . . . . . . . . . . . . . I6 feet
25. Roerfluit ..................... 4 feet tone. 34. Trompet ............ . . . . . . . . . 8 feet
26. Gemshorn ..................... 4 feet 35. Oboe . . . . . . . . . . . . . . . . . . . . . . . . . 8 feet,
27 Octaav ........................ 2 feet 36. Fagot ... . . . . . . . . . . . . . . . . . . . . . 8 feet
Choir, I 5 Słoffs.
37. Quintadena .................. I6 feet tone, 45. Octaav ........................ 2 feet
38. Prestant ........................ 8 feet. 46. Fluit ........................... 2 feet
39, Quintadena .................. 8 feet tone. 47. Flageolet ..................... I foot
40. Gamba ......... .............. 8 feet. 48. Cornet, III ranks.
4I. Holpfeif ........................ 8 feet. 49. Vox Humana ............... 8 feet tone,
42. Octaav ........................ 4 feet. 5O. Schalmey ..................... 8 feet,
43. Open fluit ..................... 4 feet. 5.I. Carillon, III ranks.
44. Roerfluit ..................... 4 feet tone.
Echo, 8 Stoffs.
52. Bourdon........................ 8 feet tone. 56. Vox Angelica ............... 8 feet
53. Salicional ..................... 8 feet. 57. Salicional ......... ........... 4 feet
54, Barpfeif ........................ 8 feet. 58. Fluit ........................... 4 feet
55. Gamba ........................ 8 feet, 59. Gemshorn..................... 2 feet
Pedal, 16 Stoffs.
60. Prestant ........................ 32 feet. 68. Octaay ........................ 8 feet
61. Sub-bass........................ 32 feet tone, 69. Octaav ........................ 4 feet
62. Prestant ........................ I6 feet. 70. Octaav, ........................ 2 feet
63. Sub-bass........................ I6 feet, 7.I. Buzian ........................ 32 feet
64. Bourdon........................ I6 feet tone, 72, Buzian ........................ I6 feet
65. Prestant ........................ I6 feet. 73. Trombone..................... 8 feet
66. Quint ........................... Io; feet 74. Trompet ..................... 4 feet
67. Prestant ........................ 8 feet 75. Cinq ........................ .. 2 feet
Accessory Stoffs, Movements, &c.
I, Coupler, Echo to Choir.
2. Coupler, Choir to Great.
3. Coupler, Positif to Great.
Compass.
Manuals, CC to f" in alt., 54 notes,
4. Coupler, Great to Pedal.
5, 6. Two Tremulants.
7, 8, 9, Io, II. Five Wind-trunk valves.
Pedal, CCC to tenor f, 30 notes,
3. ROTTERDAM.
The organ in the Octagon Church at Rotterdam was built by Batz, of
Utrecht, in 1850, and is a very fine instrument. It has three Manuals and a
Pedal of 8 stops, and is one of the very few German organs which have
Stops, &c. :-
The following is an enumeration of its
Great, 13 Stoſs.
I. Prestant ........................ I6 feet.
2. Octaaf ........................... 8 feet
3. Gemshorn........................ 8 feet.
4. Bourdon ............ ........... 8 feet tone,
5. Octaaf ........................... 4 feet.
6. Fluit .............................. 4 feet.
7. Quint ........................... 23 feet,
8. Octaaf ........................ 2 feet
9. Mixtur, VIII ranks.
IO. Cornet, V ranks.
II. Fagot........................... I6 feet
I2. Trompet ..................... 8 feet
13. Clarinet........................ 4 feet
334 - APPENDIX.
Choir, II Słożs.
I4. Bourdon........................ I6 feet tone. 20. Nazard ........................ 23 feet.
I5. Prestant ........................ 8 feet. 2I. Woudfluit ..................... 2 feet.
I6. Viol di Gamba ............... 8 feet. 22. Cornet, V ranks.
I7, Roerfluit........................ 8 feet tone. 23. Trompet ..................... 8 ſeet.
18 Octaaf............................. 4 feet. 24. Dulcian........................ 8 feet.
19. Open-fluit ..................... 4 feet, -
25. Gamba ........................ 8 ſect. 29. Roerfluit ..................... 4 feet tone.
26. Salicional ..................... 8 feet. 30. Gemshorn ..................... 2 feet.
27. Holpyp ........................ 8 feet. 31. Schalmey ..................... 8 feet.
28, Salicional ..................... 4 ſect, 32. Vox Humana . . . . . . . . . . . . . . . 8 feet,
Pedal, 8 Słońs.
33. Prestant ........................ I6 feet. 37. Octaaf ........................ 4 feet.
34. Sub bass ..................... I6 feet tone. 38. Buzian ........................ I6 feet.
35. Octaaf........................... 8 feet, 39. Trombone..................... 8 ſeet.
36. Fluit Bass ..................... 8 feet, 40. Trompet ..................... 4 feet.
Accessory Stoffs, Movements, &c.
I. Swell to Choir. 5. Octave Pedal.
2. Choir to Great. 6, 7, 8, 9. Four Wind-trunk valves.
3. Tremulant Swell. IO, II, I2. Three Composition Pedals,
4. Great to Pedal.
Compass.
Manuals, CC to f" in alt., 54 notes. Pedal, CCC to tenor f, 30 notes,
4. AMSTERDAM.
The organ in the old church at Amsterdam was begun by R. B.
Druyschot in 1683, and finished by him in 1686. It is a most effective
instrument ; all the Foundation stops are doubled, which increases the fulness
and solidity of the tone. The Reed stops and Mixtures are also very good,
and the mechanism is very fair for so old an organ. This instrument contains
51 stops, distributed as follows:–
Great, 16 Słożs.
I. Prestant ... . . . . . . . . . . . . . . . . . . . . . I6 feet. 9. Octaaf ... . . . . . . . . . . . . . . . . . . . . . 2 feet.
2. Bourdon ....................... ... I6 feet tone. IO. Fluit ........................... 2 feet.
3. Octaaf........................... 8 feet. II. Flageolet ..................... I foot,
4. Holpyp ........................ 8 feet. I2. Sesquialtera, IV ranks ... 23 feet.
5. Quint ... . . . . . . . . . . . . . . . . . . . . . . . . 5% feet. I3. Mixtur, VI, VII, and VIII ranks.
6. Octaaf........................... 4 feet. I4. Scherp, VI ranks.
7. Roerfluit..................... ... 4 feet tone. I5. Trompet ..................... (6 feet.
8, Roerquint ..................... 2#feet tone. 16, Trompet .................... , 8 feet,
Choir, I2 Stoffs.
I7. Prestant . . . . . . . . . . . . . . . . . . . . . . . . 8 feet. 23. Quint........................... 23 feet.
18. Gedact ........................ 8 feet tone. 24 Octaaf ........................ 2 feet.
19. Quintaton ..................... 8 feet tone. 25. Sesquialtera, IV ranks ... 23 feet.
20. Dulciana........................ 8 feet. 26. Mixtur, VII and VIII ranks.
21, Octaaf........................... 4 feet. 27. Scherp, VI ranks.
22. Fluit ... . . . . . . . . . . . . . . . . . . . . . . . . 4 feet. 28, Trompet ................. ..., 8 feet.
AN ACCOUNT OF FOREIGN ORGANS,
335
Echo, I 3 Stoffs.
29, Quintadeen .................. I6 feet tone. 36. Super-Octaaf ............... 2 feet.
30. Prestant ..................... 8 feet. 37. Sesquialtera, III ranks... 23 feet.
31, Baarpyp ..................... 8 feet 38. Cimbel, III ranks.
32. Gamba ........................ 8 feet 39. Fagot ........................ I6 feet
33. Octaaf ........................ 4 feet 40. Trompet .............. ... ... 8 feet
34, Gemshorn .................. 4 feet. 4I. Vox Humana ............... 8 feet
35, Našat ........................ 23 feet
Pedal, Io Stoffs.
42. Prestant ..................... 16 feet. 47. Nachthorn .................. 2 feet.
43. Sub-bass ..................... I6 feet tone. 48. Buzian........................ I6 feet.
44. Octaaf ........................ 8 feet. 49. Trompet..................... 8 feet.
45, Roerquint......... ........... # feet tone. 50. Trompet..................... 4 feet
46, Octaaf ........................ 4 feet. 5.I. Cornetin..................... 2 feet
Accessory Słożs, Movements, &c.
1. Coupler, Echo to Great.
2. Coupler, Choir to Great.
Compass.
Manuals, CC to dº in alt,
3, Coupler, Great to Pedal. *
4. Tremulant Echo.
Pedal, CCC to tenor d,
5. AMSTERDAM.
The organ in the new Church at Amsterdam is also a very old one, like
the last. The original builder's name is unknown, but it was repaired and
enlarged in 1673 by J. Duyschor van Goor, of Dordrecht.
instrument, though scarcely equal to that in the old church.
however, are very brilliant, and the Reeds are very well voiced.
of which the following is a list:—
Great,
I. Prestant ... . . . . . . . . . . . . . . . . . . I6 feet.
2. Quintadena .................. I6 feet tone.
3. Octaaf ........................ 8 feet.
4. Holpyp........................ 8 feet
5. Octaaf ... . . . . . . . . . . . . . . . . . . . . . 4 feet
6. Gemshorn ................., 4 feet
Choir,
I3, Prestant ..................... 8 feet.
I4. Holpyp........................ 8 feet,
I5. Quintadena .................. 8 feet tone.
16. Octaaf ........................ 8 feet.
17. Fluit........................... 4 feet
I8. Quintfluit..................... 23 feet
I9 Octaaf ......................., 2 feet
Echo,
27, Prestant ..................... 8 feet.
28, Quintadena .................. 8 feet tone
29. Baarpyp ..................... 8 feet.
3O. Gamba ........................ 8 feet
31, Octaaf ........................ 4 feet,
It is a most excellent
The Mixtures,
It has 44 stops,
I2 Stoffs.
7. Quint ... . . . . . . . . . . . . . . . . . . . . 23 feet
8. Siſlet ........................ 2 feet.
9. Mixtur, VI ranks.
IO. Scherp, VII ranks.
II. Fagot ... . . . . . . . . . . . . . . . . . . . . . I6 feet.
I2. Trompet ..................... 8 feet,
I4 S/offs.
20. Fluit ... . . . . . . . . . . . . . . . . . . . 2 feet
21. Siflet ........................ I foot
22. Sesquialtera, II ranks ... 23 feet.
23. Mixtur, III ranks.
24. Scherp, VI ranks.
25. Quartane, IV ranks.
26. Cornet, V ranks.
Io Słożs.
32. Fluit ........................ 4 feet
33. Octaaf........................ 2 feet
34. Sesquialtera ............... 23 feet
35. Trompet ..................... 8 feet
36, Vox Humana............... 8 feet
336 APPENDIX.
- Pedal, 8 Słońs.
37. Prestant ..................... I6 feet. 41, Octaaf........................ 4 feet
38. Bourdon ..................... I6 feet tone. 42. Buzian........................ I6 feet
39. Octaaf ........................ 8 feet, 43. Trompet ..................... 8 feet
40. Roerquint..................... 5% feet tone. 44. Trompet ..................... 4 feet
Accessory Słoffs, Movements, &c. .
I. Coupler, Echo to Great.
2, Coupler, Choir to Great.
4. Tremulant Echo.
5. Tremulant, Choir.
3. Coupler, Great to Pedal. 6, 7, 8, 9. Four Wind-trunk valves.
Compass.
Manuals, CC to d” in alt., 51 notes. | Pedal, CCC to tenor d, 27 notes,
6, NYMENGEN.
The organ in the Church of St. Stephen, at Nymengen, in Holland, was
built, in 1766, by König, of Cologne. It is a much larger as well as more
complete instrument than any which König built for his own city. It contains
altogether 53 stops, 3 Manuals, and Pedal; the latter comprising 12 stops. The
following is the specification of the above-named instrument, which is one of the
best in Holland, particularly in regard to its solo stops –
Great, I 3 Słożs.
I. Prestant ..................... I6 feet 8. Tertian ..................... 3% feet.
2. Octaaf ........................ 8 ſeet 9. Super-Octaaf ............... 2 feet.
3. Gemshorn .................. 8 feet. IO. Mixtur, VI ranks.
4. Roer Gedact.................. 8 feet tone, II. Fourniture, III ranks,
5. Quint Gedact ............... 5% feet tone. I2 Trompet Discant 6 feet
6, Octaaf ........................ 4 feet. UTrompet Bass . IO ièët.
7. Roerflote ..................... 4 feet tone, I3. Trompet .................. 8 feet.
Cho??, 14 Słożs.
I4. Bourdon ..................... I6 feet tone. 21. Klein Octave ............... 2 feet
I5. Prestant ..................... 8 feet. 22. Flageolet .................. I foot
I6. Flauto Traverso ............ 8 feet. 23. Mixtur, VI ranks.
I7. Klein Bourdon ............ 8 feet tone. 24. Carillon, II ranks.
I8. Octaaf ........................ 4 feet. 25. Trompet ..................... 8 feet.
I9. Flaut a becq ............... 4 feet. 26. Bassoon ..................... 8 feet,
20, Quint ........................ 23 feet 27. Vox Humana ............... 8 feet tone
Acho, I4 Stoffs.
28. Quintadeen .................. I6 feet tone. 35. Quint Fluit.................. I} feet
29. Koppel........................ 8 feet. 36. Mixtur, V ranks.
30. Viol di Gamba ............ 8 feet. 37. Cornet, V ranks.
3I. Weide Gedact ............... 8 feet tone. 38. Echo, II ranks ............ 8 & 4 feet
32. Octaaf ........................ 4 feet. 39. Hautbois..................... 8 feet.
33. Nazard and Composita, II 40. Vox Humana ............... 8 feet tone
ranks ..................... 23 feet 4I. Vox Angelica Bass......... 4 feet.
34. Super-octave ............... 2 feet
Pedal, 12 Stoffs.
42. Principal ..................... I6 feet 48. Quint ........................ 5% feet
43. Violin ........................ I6 feet. 49. Octaaf........................ 4 feet.
44. Sub-bass ..................... 16 feet tone. 50. Bombarde .................. I6 feet
45. Quint Bass .................. Ioš feet tone. 51. Trompet ..................... 8 feet
46, Octaaf ........................ 8 feet. 52. Clarion ..................... 4 feet
47, Roer Bass..................... 8 feet tone. 53. Cornet Bass ............... 2 feet
AN ACCOUNT OF FOREIGN ORGANS. 337
Accessory Słoffs, Movements, &c.
I. Great to Pedal. 4. Tremulant to Choir,
2. Choir to Great. 5, 6, 7, 8, Four Wind-trunk valves,
3. Echo to Great.
Compass.
Manuals, CC to fº in alt, 54 notes. | Pedal CCC to tenor d, 27 notes,
7. GOUDA,
The organ in the Church of St. John the Baptist, at Gouda, was built by
Moreau, of Rotterdam, in 1736. One of the chief features in this instrument is its
Vox Humana stop, which is particularly fine ; but the tone of the whole organ is
most excellent. It has 3 Manuals and Pedal, and 5 I stops, the names and distribu-
tion of which are as follows:–
Great, 13 Stoffs.
I. Prestant ........................ I6 feet, 8. Octaaf ........................ 2 feet.
2. Prestant ........................ 8 feet. 9. Mixture, IV and VI ranks.
3. Holpyp ........................ 8 feet. IO. Cornet, V ranks.
4. Quint ........................... 5% feet. II. Trompet ..................... I6 feet.
5. Octaaf........................... 4 feet. I2. Trompet ..................... 8 feet.
6. Roerfluit........................ 4 feet tone. I3. Schalmey ..................... 8 feet tone,
7. Open-fluit ..................... 4 feet.
Choir, I 5 Stoſs.
I4. Bourdon........................ I6 feet tone, 22, Woudfluit..................... 2 feet,
I5. Prestant ........................ 8 feet. 23. Mixture, VI ranks.
I6. Holpyp ........................ 8 feet, 24. Scherp, VI ranks.
I7. Fluit Traverso ............... 8 feet, 25. Cornet, VI ranks.
18. Octaaf........................... 4 feet. 6 Carillon Discant, III ranks.
I9. Fluit Douce .................. 4 feet. 20. { Carillon Bass, II ranks.
20. Quint ........................... 23 feet. 27. Trompet........................ 8 feet.
21, Octaaf........................... 2 feet, 28. Dulcian ........................ 8 feet,
Echo, I2 Stoffs.
29. Prestant ........................ 8 feet, '35. Octaaf ........................ 2 feet.
30, Salicional ..................... 8 feet, 36. Nachthorn .................. 2 feet.
3I. Echo Holpyp.................. 8 feet. 37. Sesquialtera, II ranks...... 2% feet.
32. Quintadon ..................... 8 feet tone. 38. Flageolet ..................... I foot.
33. Octaaf........................... 4 feet. 39. Echo Trompet ............... 8 feet.
34, Echo Fluit ..................... 4 feet. 40, Vox Humana ............... 8 feet tone.
-- Pedal, II Stoffs.
4I. Prestant ........................ I6 feet. 47. Hohlfluit ................. ... 2 feet.
42. Sub-bass........................ I6 feet tone, 48. Bazuin ........................ I6 feet.
43. Prestant ........................ 8 feet, 49. Trompet ... . . . . . . . . . . . . . . . . . . 8 feet,
44. Wyd Gedact .................. 8 feet tone. 50. Clarion ........................ 4 feet.
45. Rohrquint ................... ... 5% feet tone, 51. Cornetin ..................... 2 feet,
46, Octaaf........................... 4 feet.
Accessory Stops, Movements, & 'c.
I. Great to Pedal. 4. Tremulant Echo.
2. Choir to Great, 5, 6, 7, 8, Four Wind-trunk valves,
3. Echo to Great,
Compass.
Manuals, CC to dº in alt, 51 notes, | CCC to tenor c, 25 notes.
I K.
338 APPENDIX.
8, THE HAGUE,
The organ in the Lutheran Church at the Hague is a very good instrument,
possessing 3 Manuals and Pedal, and 39 stops, the names and distribution of
which latter are as follows:–
Greaf, I4 Słoffs.
I. Bourdon ........................ I6 feet tone. 8. Octaaf ........................ 2 feet.
2. Prestant .............. . . . . . . . . . . 8 feet. 9. Woudfluit..................... 2 feet.
3. Roerfluit........................ 8 feet tone. Io. Mixture, WI ranks. .
4. Quintadon ..................... 8 feet tone, II. Cornet, V ranks.
5. Octaaf........................... 4 feet. I2. Fagot........................... I6 feet.
6. Nachthorn..................... 4 feet. I3. Trompet........................ 8 feet.
7. Quint ........................... 2% feet. I4. Trompet........................ 4 feet.
- Choir, 9 Stoffs.
I5. Prestant ........................ 8 feet. 2O. Sesquialtera, II ranks...... 23 feet.
I6. Holpyp ......... . . . . . . . . . . . . . . . 8 feet. 2I. Flageolet ..................... I foot.
I7. Octaaf........................... 4 feet. 22. Mixture, III ranks ......... 2 feet.
18. Fluit .............. . . . . . . . . . . . . . 4 feet. 23. Dulcian ........................ 8 feet,
19. Octaaf........................... 2 feet 3.
Echo, 8 Stoffs.
24. Prestant ........................ 8 feet, 28. Roerfluit ..................... 4 feet tone.
25. Baarpyp ........................ 8 feet. 29. Fluit ............... * * * * * * * * * * * * 2 feet.
26. Quintadon ..................... 8 feet tone, 30, Schalmey ..................... 8 feet tone.
27. Salicional ..................... 4 feet, 3I. Vox Humana ............... 8 feet tone.
- Pedal.
32. Prestant ........................ I6 feet, 36. Octaaf ........................ 4 feet.
33. Bourdom........................ 16 feet tone, 37. Trompet........................ I6 feet.
34. Prestant ........................ 8 feet. 38. Trompet........................ 8 feet.
35. Roerquint ..................... à feet tone. 39, Trompet........................ 4 feet,
Accessory Stops, Movements, &c.
I. Choir to Great. 4. Tremulant, Echo.
2. Echo to Great. 5. Tremulant, Choir.
3. Great to Pedal, 6, 7, 8, 9, Four Wind-trunk valves,
Compass.
CC to c" in alt., 49 notes, | Pedal CCC to tenor c, 25 notes.
9. DELFT,
The organ in the New Church at Delft was built by Batz, of Utrecht, and is
altogether a very fine organ, especially the reed stops. It has 3 Manuals and
Pedal, and 43 stops, of which latter the following is a list:—
Great, I 3 Stoffs.
I. Prestant ........................ I6 feet. 8. Octaaf ........................ 2 feet,
2. Bourdon........................ I6 feet tone, 9. Mixture, IV, VI, and VIII
3. Octaaf........................... 8 feet. ranks.
4. Roerfluit........................ 8 feet tone. Io. Cornet, V ranks.
5. Octaaf................... ... . . . . . . . 4 feet. II. Fagot........................... I6 feet.
6. Gemshorn ..................... 4 feet. 12. Trompet........................ 8 feet.
7. Quint ........................... 2% feet. 13. Trompet,....................... 4 feet.
AN ACCOUNT OF FOREIGN ORGANS, 339,
Choir, II Stoffs.
14. Prestant ........................ 8 feet. 20 Octaaf ........................ 2 feet,
15. HolpyP ........................ 8 feet. 21. Mixture, III, IV, and VI
I6. Quintadon ...................., 8 feet tone, ranks.
17 Octaaf........................... 4 feet, 22. Cornet, IV ranks.
I8. Roerfluit........................ 4 feet tone. 23. Trompet ..................... 8 feet,
19, Quint ........................... 2% feet, 24. Dulcian........ * * * * * * * ... . . . . . . . . 8 feet,
FCho, 9 Stoffſ.
25. Prestant ........................ 8 feet, 30, Salicional ... ................. 4 feet.
26. Holpyp ... .................... 8 feet. 3I. Woudfluit ..................... 2 feet.
27. Viol di Gamba ............... 8 feet. 32. Trompet ..... . . . . . . . . . . . . . . . . 8 feet.
28. Quintadena .................. 8 feet tone. 33. Vox Humana ............... 8 feet tone,
29. Open-ſluit ..................... 4 feet.
Pedal, Io Stoffs.
34. Prestant ........................ I6 feet. 39. Octaaf ........................ 4 feet.
.35. Sub-bass........................ I6 feet tone. 40. Bazuin ........................ I6 feet.
36. Octaaf........................... 8 feet. 4I. Trompet ..................... 8 feet.
37. Fluit Bass ..................... 8 feet. 42. Trompet ..................... 4 feet.
38. Roerquint ..................... 5#feet tone. 43, Cinq ..................... * * * * * * 2 feet,
Accessory Stops, Movements, &c.
I. Echo to Great. 4. Tremulant.
2. Choir to Great. 5, 6, 7, 8, Four Wind-trunk valves,
3. Great to Pedal.
Compass.
Manuals, CC to fº in alt., 54 notes. Pedals, CCC to tenor e, 29 notes,
Io, UTRECHT,
The organ in the principal Protestant Church at Utrecht is a very fine one,
and is remarkable for having two pipes to each key, from Middle c upwards,
throughout all the stops of the great organ. It was built by Batz, of Utrecht,
in 1826, and contains 51 stops, 3 Manuals, and Pedal. The following is a list
of its contents:— -
Great, I 3 Stoffs.
I. Prestant ....... *t tº $ tº $ tº t t t c 4 fl & e º º tº I6 feet, 7. Quint........................... 23 feet.
2. Bourdon, metal Treble, 8. Octaaf ........................ 2 feet.
wood Bass .................. I6 feet tone. 9. Gemshorn..................... 2 feet.
3. Octaaf..................... . . . . . . 8 feet. IO. Sesquialtera, IV ranks.
4. Roerfluit........................ 8 feet tone. II. Mixture, VII ranks.
5. Octaaf........................... 4 feet, I2. Fagot ........................ I6 feet.
6. Gemshorn ...................., 4 feet. 13. Trompet ..................... 8 feet.
Choir, 13 Stoffs.
14. Prestant, 2 pipes all through 8 feet. 2I. Fluit ............. . . . . . . . . . . . . . . 2 feet.
15. Holpyp ........................ 8 feet. 22. Mixture, V ranks.
I6. Quintadena .................. 8 feet. 23. Scherſ, VIII ranks,
17. Octaaf........................... 4 feet. , 24. Cornet, V ranks.
I8. Roerfluit........................ 4 feet tone, 25. Trompet .............. . . . . . . . 8 feet.
I9. Quint ........................... 23 feet. 26. Dulcian........................ 8 feet.
20 Octaaf........................... 2 feet, *
34O
APPENDIX,
Echo, 13 Stoffs.
27. Prestant ........................ 8 feet.
28, Bourdon ........................ 8 feet tone.
29. Gamba ........................ 8 feet,
30. Flute Traversie to tenor c... 8 feet.
31. Barpyf........................... 8 feet.
32. Octaaf........................... 4 feet
33. Fluit, open, large ............ 4 feet
Pedal, 12 Stoffs.
40. Prestant, metal in front ... 16 feet.
4I. Sub-bass, wood............... I6 feet tone.
42. Octaaf, metal.................. 8 feet,
43. Fluit Bass ..................... 8 feet tone.
44. Roerquint ..................... # feet.
45. Octaaf, of metal ............ 4 feet.
Sounding Stops, 2 Manuals, and Pedal.
34. Quintfluit ..................... 2% feet.
35. Woudfluit..................... 2 feet.
36. Flageolet ..................... I foot
37. Trompet ..................... 8 feet
38, Voix Humaine ............... 8 feet
39. Carillon, II ranks.
46. Mixture, VI ranks ......... 2% feet.
47. Bazuin, CCC, IO inch...... I6 feet.
48. Trombone..................... 8 feet.
49. Trompet ..................... 4 feet
50. Cinq ........................... 2 feet
51. Clarion ........................ I foot
Accessozy Słoffs, Movements, & 'c.
I. Positif to Great.
2. Echo to Great,
3. Great to Pedals.
4. Tremulant Positif.
5, 6, 7, 8, Four Wind-trunk valves,
Compass.
Manuals, CC to f" in alt., 54 notes.
II,
Pedal, CCC to tenor d, 27 notes,
TRIEBEL.
The organ in the State Church at Triebel, in the Netherlands, has 22
The following is a list of the
stops :-
Great, IO Stoffs.
I. Bourdon, Ioloth metal in the , 5. Octave, 12 loth English
treble ; the bass of wood I6 feet tone. tin ........................... 4 feet.
2. Principal, I4 loth tin, po- 6. Fullfluit, IO loth metal ... 4 feet.
lished, and in front ...... 8 feet. 7. Quint, I2 loth tin ........, 23 feet,
3. Salicional, I4loth English tin 8 feet. 8. Super-octave, I2 loth tin... 2 feet.
4, Hohlfluit, Io loth metal to 9. Mixture, IV ranks ......... 2 feet.
tenor c; the 8-feet octave IO. Trompet ..................... 8 feet
of wood..................... 8 feet.
Choir, 8 Stoffs.
II. Violdi Gamba, I4 loth English 15. Wald-fluit, Ioloth English
tin ........................... 8 feet, tin ........................... 2 feet.
I2. Flaut d'amour ............... 8 feet I6. Plageolet, 12loth English tin 2 feet.
13. Principal, I4 loth English 17. Cornet, I2 loth English tin,
tin, in front ............... 4 feet, III ranks ..................
14. Nazard, 12 loth English 8 Oboe, I2 loth English #} 8 feet
tin, ..................... 23 feet. Fagot, I2 loth English tin ſº
Pedal, 4 Stoffs.
I9. Principal, I4 loth Eng. tin, 2O. Sub-bass, wood ............ I6 feet tone.
- in front ; the five lowest 2I. Octave, wood ............... 8 feet.
Pipes of Pine, and Stopped 16 feet. 22. Posaune........................ I6 feet
Accessory Stoffs, Movements, &c.
I. Choir to Great,
2. Great to Pedal.
3, 4, 5. Three Wind-trunk valves.
Three Bellows, IO feet long.
Six Sound-boards.
Compass.
Manuals, CC to fº in alt., 54 notes,
Pedal, CCC to tenor d, 27 notes.
AN ACCOUNT OF FOREIGN ORGANS, 34. I
I2. ST, DENIS.
The organ in the Abbey Church of St. Denis, near Paris—the Westminster
Abbey of France—is a particularly fine instrument. It was made by MM.
Cavaillé-Coll, organ-builders of Paris, and was opened on the 21st of September,
I841. It contains sixty nine sounding stops, among which are twelve for the Pedal;
and there are three Manuals. The “Clavier de Bombardes” is not furnished with
a separate Manual, as at the Madelaine, but communicates with the Great organ
keys. Among the most remarkable features in this organ is the adjustment of the
wind. Not only are the Reed stops placed on a heavier wind than those of the
Flue Species, but the upper octaves of all the stops are in common supplied with
a stronger blast than the lower; upon the principle that wind instrument players
exercise a greater pressure of the muscles upon the lungs when producing the
acute sounds. There are also several stops of a novel kind, called by Cavaillé
“Harmonique,” which sound the octave above the note that the length of the
pipe would indicate. This was the first organ that had Barker's Pneumatic
Lever attachment for lightening the touch. The Combination Pedals, eight
in number, are of novel and convenient construction. The following is a list of its
stops :-
Clavier du Grand Oſgue, 20 Słońs.
Pipes. Pipes.
1. Montre, throughout; I2. Grosse Fourniture, IV
of spotted metal to ranks............ . . . . . . . . . . . . . . . . . . . . . . . . 216
CCC ; last octave 13. Grosse Cymbale, IV
of wood............ 32 feet ......... 54 ranks.................................... 2I6
2. Montre ............... I6 feet ......... 54 I4. Petite Fourniture, IV
3. Bourdon............... I6 feet tone ... 54 ranks.................................... 216
4. Montre ............... 8 feet ......... 54 15. Petite Cymbale, IV
5. Bourdon,.............. 8 feet tone... 54 ranks.................................... 2I6
6. Viola .................. 8 feet ......... 54 I6. Première Trompette
7. Flute Traversière Har- Harmonique ...... 8 feet ......... 54
monique ......... 8 feet ......... 54 17. Deuxième Trompette
8. Prestant............... 4 feet ......... 54 Harmonique ...... 8 feet ......... 54
9, Flute Octaviante - 18. Bassonet Cor Anglais 8 feet ......... 54
Harmonique...... 4 feet ......... 54 I9. Cornet à pavillon ... 8 feet ......... 54
IO. Nazard ............... 2% feet......... 54 20, Clarion Octaviant... 4 feet ......... 54
II. Doublette ............ 2 feet ......... 54
Clavier de Bombardes, 12 Stoffs.
21. Bourdon............... I6 feet tone... 54 28. Bombarde... ......... I6 feet ......... 54
22. Flute .................. 8 feet ......... 54 29. Trompette de Bom-
23. Bourdon............... 8 feet tone... 54 barde ............... 8 feet ......... 54
24. Prestant............... 4 feet ......... 54 30, Trompette Har-
25. Quint.................. 2% feet ...... 54 monique ............ 8 feet ......... 54
26. Doublette ............ 2 feet ......... 54 || 31. Clarion Harmonique 4 feet ........ 54
27. Cornet, VII ranks ..................... 2IO | 32. Clarion Octaviant... 4 feet ......... 54
Clavier de Récit.-Echo Expressif, 8 Stoffs.
33. Bourdon............... 8 feet tone... 54 38. Trompette Harmo-
34. Flute Harmonique 8 feet ......... 54. nique ............... 8 feet ......... 54
35. Flute Octaviante Har- 39. Voix Humaine Har-
monique ......... 4 feet ......... 54 monique............ 8 feet ......... 54
36. Quint.................. 2% feet ...... 54 40, Clarion Harmo-
37. Octavin Harmonique 2 feet , , , , , , ... 54 nique ...…. 4 feet ......... 54
342 APPENDIX.
Clavier du Positif, 17 Stoffs.
- Pipes. Pipes.
4I. Bourdon,............., I6 feet tone... 54 || 51, Tierce .........,,,,.. I# feet ...... 54.
42. Salicional ......... ... 8 feet ......... 54 52. Cymbale, IV ranks .................. 216
43. Flute Harmonique 8 feet ......... 54 || 53. Fourniture, IV
44. Bourdon,.............. 8 feet tone... 54 ranks.................................... 2I6
45. Prestant............... 4 feet ......... 54 54. Trompette Harmo-
46. Flute .................. 4 feet ......... 54 nique ............... 8 feet ......... 54
47. Flute Octaviante ... 4 feet ......... 54 || 55. Clarion Octaviant..., 4 feet ......... 54
48. Quint.................. 2% feet ...... 54 56. Cor d'harmonie et
49. Doublette ............ 2 feet ......... 54 Hautbois ......... 8 feet ......... 54
50, Flageolet Harmo- 57, Cromorne ............ 8 feet ......... 54
nique ............... 2 feet ......... 54
Clavier de Pedales, 12 Słońs.
58, Flute Ouverte ............ 32 feet ... 25 65. Première Trom-
59. Flute Ouverte (24 ft.)... 16 feet... 25 pette ......... (I2 ft.)... 8 feet ... 25
60. Contre Basse ... (24 ft.)... 16 feet ... 25 | 66, Deuxième Trom-
61. Flute Ouverte (12 ft.)... 8 feet ... 25 pette . . . . . . . . . (I2 ft.)... 8 feet ... 25
62. Grosse Quint ...(8 ft.). 53 feet 25 | 67. Basson ......... (12 ft.)... 8 feet ... 25
63. Flute Ouverte (6 ft.)... 4 feet ... 25 | 68. Première Clarion(6 ft.)... 4 feet ... 25
64, Bombarde ...... (24 ft.)... I6 feet ... 25 | 69. DeuxièmeClarion(6ft.)... 4 feet ... 25
Combination Pedals, &c.
1. Recit. (Swell) to Great. 6. The Bass of Positif Reed and Harmonic
2. Bombardes to Great Manual. Stops to Foundation Stops,
3. Swell Stops. 7. Manuals, Basses to Pedal,
4. Positif to Great. 8. Sub-octave Manual.
5. The Treble of Positif Reed and Harmonic 9. Tremulant Swell.
Stops to Foundation Stops.
Compass.
Manuals, CC to ſº in altissimo, 54 notes, | Pedal, FFF to tenor f, 25 notes.
13. ST. VINCENT DE PAUL, PARIS.
The organ in the Church of St. Vincent de Paul, at Paris, was built by Cavaillé-
Coll, and is quite on an equality with the same builder's admirable instrument at
the Madelaine, both in regard to refinement of tone and perfectness of finish in the
mechanism. It stands at the west end of the church, and is divided, so as not to
obstruct the light through the west window. The stops are forty in number, of
which the following is a list :—
Great Orgaſt, 14 Stoffs.
I. Montre ,,,,,,,,,..., * * * * * * g e g g tº I6 feet, 8. Quint ... . . . . . . . . . . . . . . . . . . 23 feet,
2. Bourdon ........................ I6 feet tone. 9. Doublette .................. 2 feet.
3. Montre ................ '• . . . . . . . 8 feet. Io. Fourniture, V ranks.
4. Gamba ........................ 8 feet. II. Cymbale, III ranks.
5. Bourdon ........................ 8 feet tone. I2. Trompette .................. 8 feet.
6. Prestant ........................ 4 feet. I3. Cornet à pavillon ......... 8 feet.
7. Flute. ........................... 4 feet, 14. Clarion.................. . . . . . . 4 feet.
AN ACCOUNT OF FOREIGN ORGANS. 343
Choir Organ, Io Stoffs.
I5. Bourdon........................ 16 feet tone, 20. Flute Octaviante ............ 4 feet,
I6. Flute Harmonique ......... 8 feet, 21. Doublette ..................... 2 feet.
17, Salicional ..................... 8 feet tone. 22. Octavin Harmonique ...... 2 feet.
18. Bourdon........................ 8 feet tone. 23. Trompette............... . . . . . . 8 feet.
19. Prestant ........................ 4 feet. 24, Cromorne ... . . . . . . . . . . . . . . . . . . 8 feet tone,
Swell Organ, 8 Stoffs.
25. Flute Harmonique ...,,..., 8 feet, 29, Voix Celeste............ . . . . . . 8 feet,
26, Bourdon,....................... 8 feet tone, 30, Trompette Harmonique ... 8 feet.
27. Prestant ........................ 4 feet. 31. Cor Anglais .................. 8 feet.
28. Flute Douce ................., 4 feet. 32, Voix Humaine............... 8 feet tone.
Pedal Organ, 8 Stoº.
33, Grand Bourdon............... 32 feet tone, 37, Bombarde..................... 16 feet,
34. Montre ........................ I6 feet tone. 38. Contre Basse ............... I6 feet.
35. Contre Basse .................. I6 feet, 39. Trompette..................... 8 feet.
36. Flute Ouverte .....,,,,,,,,,, 8 feet. 40. Clarion ........................ 4 feet.
Accessory Stoffs, Movements, &c.
I to 8. Manual and Pedal Couplers. 23. Pneumatic Lever attachment.
9 to 22. Fourteen Composition Pedals,
Compass.
Manuals, CC to fº in alt., 54 notes, | Pedal, CCC to tenor c, 25 notes,
14, THE MADELAINE, PARIS,
The fine instrument in the Church of the Madelaine, at Paris, was built by the
eminent artists who constructed the St. Denis organ, MM. Cavaillé-Coll. It was
completed in 1846, and was opened in the church on the 29th of October of that
year, with a performance of vocal and instrumental Sacred music. The organ has
4 Manuals and Pedal, and 48 stops, distributed in the following manner —
Clavier du Grand Orgue, 12 Stoffs.
I. Montre ....'.................... I6 pieds. 7. Prestant ..................... 4 pieds,
2. Violon Basse .................. I6 , , , 8. Quint........................... .2%. , ,
3. Montre ........................ 8 , , 9. Doublette ..................... 2 ; ;
4. Bourdon........................ 8 , , IO. Plein Jeu, X ranks.
5. Salicional ..................... 8 , , II. Trompette .................. 8 , ,
6. Flute Harmonique ......... 8 , , I2, Cor Anglais .................. 8 , ,
Clavier de Bombardes, Io Stoffs.
I3. Soubasse ..................... I6 pieds. 18. Octavin ........................ 2 pieds.
I4. Basse ...........… ............ 8 , , I9. Bombarde...................., I6 ,
I5. Flute Harmonique ......... 8 , , 2O. Trompette Harmonique... 8 , ,
I6. Flute Traversière ............ 8 , 2I. Deuxième Trompette ....., 8 , ,
I7. Flute Octaviante ............ 4 : , 22, Clarion ................... . . . .'; 4 ; ;
Clavier du Positif, Io Stoſs.
23. Montre . . . . . . . . . . . . . . . . . . . . . . . . 8 pieds, 28. Dulciana ..................... 4 pieds.
24. Viol di Gamba ... ... . . . . . . . . . 8 , , 29. Octavin........................ 2 : ,
25. Flute Douce .................. 8 , , 30, Trompette .................. 8 ,
26. Voix Celeste ............... 8 , , 3I. Basson et Hautbois......... 8 ,,
27, Prestant , , , , , , , , , , , # * * * * * : * * * * : * 4 , , 32. Clarion ........................ 4.
344 APPENDIX,
Clavier de Récit. Ea:#7 ess if, 8 Stoffs.
33. Flute Harmonique .,,,,, ... 8 pieds, 37. Octavin........ . . . . . . . . . . . . . . . . 2 pieds.
34, Bourdon........................ 8 , , 38. Voix Humaine............... 8 , ,
35. Musette ............... . . . . . . . . . 8 , , 39. Trompette Harmonique... 8 , ,
36, Flute Octaviante ............ 4 , , 40, Clarion Harmonique ...... 4 : ,
Clavier de Pédales, 8 Stoffs.
41. Quintaton ... . . . . . . . . . . . . . . . . . 32 pieds. 45, Grosse Flute ............... 8 pieds.
42. Contre Basse . . . . . . . . . . . . . . . I6 ,, . 46. Bombarde...... . . . . . . . . . . . . . . . I6 , ,
43. Basse Contre...... . . . . . . . . . . . I6 ,, 47. Trompette .................. 8 , ,
44, Violoncelle .................. 8 , , , 48. Clarion ... . . . . . . . . . . . . . . . . . . 4 , ,
Combination Pedals, &c.
I, Positif to Great, 8, Tremulant to Choir and Swell.
2. Great to Pedal. i 9. Great Reeds.
3. Bombarde to Positif. - Io, Bombarde Reeds,
4. Pedal to Great. . II, Choir Reeds.
5. Great Organ Sub-Octave. I2, Swell Reeds.
6, Bombarde Sub-octave. 13. Pedal Reeds,
7, Pedal octave above.
Compass.
Manuals, CC to ſ” in alt, 54 notes, | Pedal, CCC to tenor d, 27 notes,
15, ST. EUSTACHE, PARIS.
The magnificent new organ in the Church of St. Eustache was built by
Ducroquet, of Paris, and was opened in May, 1854. It contains 68 Sounding
stops, 4 Manuals, and a Pedal of 18 stops. The following is a list of its
COIntentS :— -
Great Organ, 16 Stoffs.
I, Montre ........................ I6 feet. 9. Doublette ......... . . . . . . . . . . . . 2 feet.
2. Grosse Flute .................. 8 feet. Io, Fourniture, V ranks.
3. Flute ........................... 8 feet. II. Cymbale, IV ranks.
4. Flute à pavillon............... 8 feet. 12. Cornett, V ranks.
5. Bourdon........................ 8 feet tone, 13. Euphone ..................... I6 feet.
6. Prestant ........................ 4 feet. I4. Trompette,.................... 8 feet.
7. Flute ........................... 4 feet. I5. Trompette... . . . . . . . . . . . . . . . . . . 8 feet.
8. Nazard ........................ 3 feet, I6, Clarion ........................ 4 feet.
Clavier des Bombardes, Io Stoffs,
17. Gamba ........................ I6 feet, 22, Gamba ... . . . . . . . . . . . . . . . . . . . . . 4 feet.
18. Bourdon,....................... 16 feet tone, 23. Salicional ..................... 4 feet.
19. Gamba ....................... 8 feet. 24, Bombarde..................... I6 feet.
2O. Salicional ..................... 8 feet. 25, Trompette..................... 8 feet.
21. Bourdon,...,,,,,,,,,,,,,,,,,,,, 8 feet tone, 26, Clarion ........................ 4 feet.
Positif, 14 Stoffs.
27. Montre ,,,,,, . . . . . . . . . . . . . . . . . . 8 feet. 35. Trompette...... . . . . . . . . . . . . . . . 8 feet,
28, Bourdon.,,,,,,,,,,,,,,,,,,,,,,, 8 feet tone. 36. Hautbois to tenor f ...... 8 feet.
29. Flute Harmoniqueto tenor c 8 feet. 37, Hautbois (free Reed) to -
30, Keraulophon .................. 8 feet. tenor f .,,,,,,,, ... . . . . . . . . . 8 feet.
3I. Salicional ..................... 4 feet. 38. Cromorne .................. 8 feet tone.
32. Flute Ouverte ............... 4 feet, 39. Basson ..................... ... 8 feet.
33. Plein Jeu, V ranks, 40. Clarion ... . . . . . . . . . . . . . . . ..., 4 feet.
34, Cor Anglais ............. ,,,,, 16 feet,
AN ACCOUNT OF FOREIGN ORGANS, 345
Recit. Ea/ressiſ, Io Stoffs.
41. Bourdon........................ I6 feet tone. 46. Trompette..................... 8 feet.
42. Flute Harmonique ......... 8 feet. 47. Hautbois ..................... 8 feet.
43. Bourdon........................ 8 feet tone. 48. Euphone ..................... 8 feet.
44. Flute Harmonique ......... 4 feet. 49. Voix Humaine............... 8 feet tone.
45. Trompette .................. ,, . I6 feet. 50. Clarion ........................ 4 feet.
Pedale, 18 Słońs.
5.I. Flute, montre . . . . . . . . . . . . . . . 32 feet, 60, Salicional ..................... 4 feet.
52, Flute, wood .................. I6 feet, 6I. Bombarde..................... 32 feet.
53. Contre Basse .................. I6 feet. 62. Bombarde ..................... I6 feet.
54. Bourdon ........................ I6 feet tone. 63. Basson ........................ I6 feet,
55. Flute ........................... 8 feet. 64. Trompette..................... 8 feet.
56, Salicional ..................... 8 feet, 65, Trompette..................... 8 feet.
57. Violoncello..................... 8 feet, 66, Basson ........................ 8 feet
58. Flute ........................... 8 feet. 67. Clarion ........................ 4 feet
59. Flute Ouverte ... . . . . . . . . ..., 4 feet. 68. Basson ........................ 4 feet.
16. ST. SULPICE, PARIs,
The organ in this church was rebuilt by Aristide Cavaillé-Coll, and inaugurated
29th April, 1862.
Grand Chaeur d'uf à Sol, 56 Wotes.
I. Salicional ..................... 8 feet, 8, 2 E Trompette ........,..., 8 feet.
2, Octave ........................ 4 feet, 9. Clarion ..................... 4 feet.
3. Grosse Fourniture, IV ranks. IO. Clarion Doublette ......... 2 feet
4. Grosse Cymbale, WI ranks. | II. Basson ......................., 8 feet,
5. Plein Jeu, IV ranks. I2, Basson ........................ I6 feet.
6. Cornet, V ranks. I3. Bombarde .................. I6 feet
7. I* Trompette ............... 8 feet.
Grand Orgue, d'ut & Sol, 56 Moſes.
I. Principal-harm ............... 32 16 feet, 8. Bourdon ..................... 8 feet.
2, Montre ........................ I6 feet. 9. Diapason ..................... 8 feet.
3. Bourdon .......... . . . . . . . . . . . . . . I6 feet. Io, Flute à pavillon ............ 8 feet,
4. Flute Conique ...... . . . . . . . . . I6 feet, II. Prestant........................ 4 feet.
5. Flute Harmonique ......... 8 feet. I2. Grosse Quint.................. 5% feet.
6. Flute Traversière ............ 8 feet, I3. Doublette ..................... 2 feet.
7. Montre ........................ 8 feet,
Bombarde d'ui & Sol, 56 Moſes.
I. Soubasse........................ I6 feet, II. Grosse Quint.................. 5% feet.
2. Flute Comique ............... I6 feet. I2. Grosse Tierce ............... 3# feet
3. Principal........................ 8 feet. 13. Quint........................... 2% feet.
4. Flute Harmonique ......... 8 feet. 14 Octave ........................ 4 feet.
5. Bourdon ........................ 8 feet. 15 Octavin ........................ 2 feet.
6. Gamba ........................ 8 feet. I6. Cornet, V ranks,
7. Violoncello..................... 8 feet. I7. Trompette..................... 8 feet.
8. Keraulophon ................., 8 feet. 18. Clarion ........................ 4 feet.
9. Flute Octaviante ............ 4 feet, I9. Baryton........................ 8 feet.
IO. Prestant ........................ 4 feet. 2O. Bombarde ..................... I6 feet,
Positif d'uf à Sol, 56 AVotes.
I, Violon Basse .................. I6 feet. II. Quint........................... 23 feet,
2, Quintaton ..................... I6 feet, I2. Doublette ..................... 2 feet,
3. Quintaton .......... . . . . . . . . . . . 8 feet, I3. Plein Jeu-harm, III-VI ranks,
4. Flute Traversière ..... . . . . . . . 8 feet, I4. Tierce ........................ I# foot.
5. Salicional ..................... 8 feet. 15. Larigot ........................ # foot.
6. Viol di Gamba ......... . . . . . . 8 feet, I6. Piccolo ........................ I foot,
7. Unda Maris .................. 8 feet, I7. Trompette..................... 8 feet,
8. Flute Octaviante ............ 4 feet. I8, Clarinette ............... * , , , , , 8 feet.
9. Flute Douce .................. 4 feet. I9. Clarion ........................ 4 feet.
IO, Dulcian ......... . . . . . . . . . . . . . . . 4 feet. 2O, Euphone ... .................. I6 feet,
346
APPENDIX.
Recit. Eafressif d'uf à Sol, 56 Notes.
I. Quintaton ..................... I6 feet, Şeux de Combinaison.
2. Bourdon........................ 8 feet 13. Flute Harmonique ......... 8 feet.
3. Violoncello .................. 8 feet I4. Flute Octaviante............ 4 feet.
4. Prestant ........................ 4 feet I5. Dulcian........................ 4 feet
5. Doublette ..................... 2 feet I6. Nazard ........................ 23 feet
6. Fourniture, IV ranks. I7. Octavin........................ 2 feet
7. Cymbale, V ranks. 18. Cornet, V ranks,
8. Basson et Hautbois ......... 8 feet I9. Trompette .................. 8 feet
9, Voix Humaine ............... 8 feet 2O, Trompette-harm ............ 8 feet
Io, Cromorne ..................... 8 feet 2I. Bombarde..................... I6 feet
II. Cor Anglais .................. I6 feet 22. Clarion ........................ 4 feet
I2, Voix Celeste .................. 8 feet -
Clavier de Pedale (ou Pedalier d'uf à Fa, 30 AVotes.)
I. Principal Basse............... 32 feet 7. Clarion ........................ 4 feet
2. Contre Basse.................. I6 feet 8, Ophicleide .................. 8 feet
3. Soubasse ..................... I6 feet 9. Trompette .................. 8 feet
4. Flute ........................... 8 feet Io. Basson ........................ I6 feet
5. Violoncello ............ . . . . . . 8 feet II. Bombarde..................... I6 feet
6. Flute ........................... 4 feet I2, Contre Bombarde ......... 32 feet
Pedales de Comčinatson. -
I. Orgue. II. Anches Bombardes,
2. Tirasse Grand Choeur. I2. Anches Positif,
3. Tirasse Grand Orgue. I3, Anches Recit.
4. Anches Pédalle. 14, Copula Grand Choeur.
5. Octaves Grand Choeur. I5. Copula Grand Orgue.
6. Octaves Grand Orgue. I6. Copula Bombardes,
7. Octaves Bombardes, 17. Copula Positif.
8. Octaves Positif. 18. Copula Recit.
9. Octaves Recit. #9. Tremblant,
Io. Anches Grand Orgue. 2O. Expression.
w Aegisteres de Combinaison.
glass, above.
. Combinaison Pedal G.
. Combinaison Grand Orgue G.
. Bombardes G.
, Combinaison Positif G,
. Combinaison Recit, G.
i
6. Combinaison Pedal G.
7. Grand Orgue D.
8, Bombarde D,
9. Positif D.
IO, Recit, D,
Registeres Accessoires.
. Sonnette du Haut G,
2, Sonnette du Bas G.
I
Total—IOO Stops, II 8 Registers, 20 Composition
3. Sonnette du Haut D.
4. Sonnette du Bas D.
Pedals, 6706 Pipes,
17. AMIENS,
The organ in the Cathedral at Amiens, which has a 16-feet front, was
completed in the year 1429, and was built at the expense of Alphonse de
Myrhe, one of the chamberlains of King Charles the Sixth. It still retains its
interesting antique appearance, and Stands at the west-end of the nave, with
the west entrance below, and a handsome circular window, filled with stained
The Amiens Cathedral Organ has 3 Manuals and Pedal, and
40 stops, of which latter the following is a list —
Great Organ, 16 Stoffs.
I, Montre ........................ I6 feet,
2. Bourdon ..................... I6 feet tone,
3. Montre ........................ 8 feet.
4. Bourdon ..................... 8 feet tone,
5. Flute ........................... 8 feet.
6. Prestant........................ 4 feet
7. Nazard ........................ 2% feet
8. Doublette ..................... 2 feet
9. Tierce ........................ I# foot.
IO. Fourniture.
II. Cornet.
I2, Bombarde .................. I6 feet
I3. Trompette .................. 8 feet
I4. Trompette .................. 8 feet
15. Clarion........................ 4 feet
I6. Vox Humaine............... 8 feet
AN ACCOUNT OF FOREIGN ORGANs, 347
Choir Organ, II Słońs.
I7. Montre ..... ................., 8 feet, 23. Tierce ...,...,,,,,,,,,,,,, ... I# foot.
I8, Bourdon ...................... 8 feet tone, 24. Plein Jeu.
19. Flute........................... 8 feet, 25. Cornet.
2O. Prestant........................ 4 feet. 26, Trompette .................. 8 feet,
21. Nazard ........................ 23 feet. 27. Cromorne .................. 8 feet tone,
22, Doublette ..................... 2 feet.
Recit., 6 Stoffs.
28. Bourdon ..................... 8 feet tone, 31. Cornet.
29. Flute ........................... 8 feet, 32. Trompette ......., * * * * * * * * * * 8 feet.
30, Prestant........................ 4 feet. 33. Hautbois ..................... 8 feet.
Pedal Organ, 7 Stoffs.
34. Flute ........................... 16 feet. | 38. Bombarde .................. I6 feet.
35. Bourdon ..................... I6 feet tone, 39. Trompette .................. 8 feet.
36. Flute ........................... 8 feet, 40. Clarion........................ 4 feet.
37. Flute ........................... 8 feet,
I8. AMIENS.
The organ in the Church of St. Remy, at Amiens, was built by the monks
of St. Basil, and finished by them, in the year 1842, at a cost of £1,000. It
has 34 Sounding stops, 3 Manuals, and Pedal. The following is an enumera-
tion of the stops —
Great Organ, 14 Stoffs.
I, Bourdon ..................... I6 feet, tone, 8. Doublette .................. 2 feet.
2. Montre ........................ 8 feet, 9. Fourniture.
3. Bourdon ..................... 8 feet tone, Io. Cornet.
4. Prestant........................ 4 feet. II. Trompette .................. 8 feet.
5. Dulcian ........................ 4 feet. I2. Trompette .................. 8 feet.
6. Flute ........................... 4 feet. I3. Voix Humaine ............ 8 feet tone.
7, Nazard ........................ 2% feet. 14. Clarion........................ 4 feet.
Choir Organ, IO Stoffs.
I5. Bourdon........................ 8 feet tone. 20. Quarte de Nazard ......... 2 feet.
I6. Prestant........................ 4 feet. 2I. Fourniture.
17. Flute........................... 4 feet. 22. Cornet.
18. Nazard ........................ 2% feet. 23. Cremona (throughout) ..., 8 feet tone.
I9. Doublette ..................... 2 feet. 24. Clarion........................ 4 feet.
Swell Organ, 6 Stoffs.
25. Bourdon ..................... 8 feet tone. 28. Nazard........................ 23 feet.
26. Prestant........................ 4 feet, 29, Hautbois..................... 8 feet.
27. Flute ........................... 4 feet. 30, Trompette .................. 8 feet.
Pedal Organt, 4 Stoffs.
31. Flute ........................... ió feet. 33, Bombarde .................. I6 feet.
32. Flute ... . . . . . . . . . . . . . . . . . . . . . . . 8 feet, 34, Trompette .................. 8 feet.
Com/ass.
Great CC to f" in alt., 54 notes. | Swell, tenor c to fº in alt, 42 notes.
Choir CC to fº in alt., 54 notes, Pedal, FFF to tenor f, 25 notes,
19, TOURS.
There were two cathedrals at Tours. That dedicated to St. Martin was
destroyed. The large organ here described was destroyed in the Revolution ; but
its specification is worth preservation. The instrument was built by J. B. U.
348 APPENDIX.
Le Fevre, of Rouen, was of immense power, and had 4 Manuals and 6o
sounding stops, supplied by 13 bellows. The stops were distributed in the
following manner —
Great Organ, 23 Stoffs.
1. Grosse Principal to FFFF 32 feet. 13. Quint ........................ 3 feet.
2. Sub-bourdon.................. 32 feet tone. I4. Doublette..................... 2 feet.
3. Prestant........................ I6 feet. 15. Tierce ........................ I# foot
4. Bourdon ..................... I6 feet tone. 16. Quint ........................ I} foot.
5. Montre ........................ 8 feet, I7." Mixture, XV ranks.
6. Prestant........................ 8 feet. 18. Cornet, V ranks.
7. Principal ..................... 8 feet. I9. Tirst Trompette ............ 8 feet.
8. Bourdon ..................... 8 feet tone, 20, Second Trompette ......... 8 feet.
9. Quint........................... 6 feet. 2I. Third Trompette............ 8 feet.
IO. Octave ........................ 4 feet. 22. First Clarion ............... 4 feet.
II, Octave ........................ 4 feet. 23. Second Clarion ............ 4 feet.
12, Tierce ........................ 3% feet
Choir Organ, 16 Stoffs.
24. Bourdon ... . . . . . . . . . . . . . . . . . I6 feet tone. 32, Tierce ........................ I# foot
25. Principal ..................... 8 feet. 33. Quint ........................ I# foot.
26. Prestant........................ 8 feet. 34. Mixture, IX ranks.
27. Bourdon ..................... 8 feet tone. 35. Cornett, V ranks.
28. Octave ........................ 4 feet. 36. Trompette .................. 8 feet.
29, Quint........................... 3 feet. 37. Clarion........................ 4 feet.
30, Octave ........................ 2 feet. 38. Cromorne .................. 8 feet.
31, Doublette ..................... 2 feet, 39. Voix Humaine ............ 8 feet.
Bombarde, 6 Stoffs.
40. Bourdon ... . . . . . . . . . . . . . . . . . . 8 feet tone. 43. Bombarde .................. I6 feet
41. Octave ........................ 4 feet. 44. Trompette .................. 8 feet.
42. Cornet, V ranks. 45. Clarion........................ 4 feet.
Fourth Manital.
A general Echo to the Great organ.
Pedal, I 5 Słońs,
46. Grosse Principal ............ I6 feet. 54, Octave.…. 2 feet.
47. Octave ........................ 8 feet. 55. Tierce ........................ I; ſeet.
48. Prestant........................ 8 feet. 56. Bombarde .................. 32 feet
49, Quint............ . . . . . . . . . . . . . . . 6 feet. 57. Trompette .................. I6 feet.
50. Octave ........................ 4 feet. 58. Trompette .................. 8 feet,
51. Flute ........................... 4 feet. 59. Clarion........................ 4 feet.
52. Tierce . . . . . . . . . . . . . . . . . . . . . . . . 3% feet, 60, Clarion........................ 2 feet.
53, Quint........................... 3 feet
20, ROUEN.
The organ in the magnificent Church of St. Ouen, at Rouen, was built in the
year 1630. It has recently been renovated by MM. Cavaillé-Coll. It had 5
Manuals, a Pedal organ of 2 Octaves in compass, 12 pairs of bellows, and 49
Sounding stops, distributed as follows:–
Great, 13 Stoffs (Fourth Manual).
1. Montre (throughout, in 7. Quart ........................ 2 feet.
metal) ..................... I6 feet, 8. Tierce ........................ I# foot.
2. Bourdon (throughout) ...... I6 feet. 9. Fourniture.
3. Montre .......... # * * * * * * * * * * * * * 8 feet. Io, Cymbale,
4. Bourdon ..................... 8 feet, II. Bassus de Trompette ... ... 8 feet.
5. Prestant ..................... 4 feet. 12. Voix Humaine "............ 8 ſeet.
6. Quint......... * * * * * * * * * * * * * * * * * * 2% feet. 13. Clarion.,,............ ... ... 4 feet,
AN ACCOUNT OF FOREIGN ORGANS. 349
Choir, I4 Stoffs (Lower Manual),
I4. Prestant........................ 8 feet. 2I. Cornet.
I5. Bourdon ..................... 8 feet. 22, Galonbel.
I6. Prestant........................ 4 feet. 23. Plein Jeu.
17. Flute ........................... 4 feet. 24. Cromorne ..................... 8 feet,
18. Nazard ........................ 23 feet. 25. Basson et Hautbois ...... 8 feet,
I9. Doublette ..................... 2 feet. 26. Trompette .................. 8 feet.
20. Tierce ........................ I# foot. 27. Clarion ........................ 4 feet,
- Echo, 4 Stoffs (U//er Manual).
28, Flute .........................., 8 feet, 30, Trompette .................. 8 feet.
29, Cornet, 31. Clarion........................ 4 feet.
Recit., 6 Stoffs (Second Manital),
32. Bourdon, Recit. ..........., 8 feet. 35. Hautbois, Recit. ............ 8 feet.
33. Flute, Recit................... 4 feet, 36. Trompette, Recit. ......... 8 feet,
34. Cornet, Recit. 37. Clarion, Recit................ 4 feet,
Bombarde, 4 Stoffs (Third Manual).
38. Bombarde .................. I6 feet. 40. Clarion ........................ 4 feet.
39. Trompette..................... 8 feet. 4I. Cornet,
- Pedal, 8 Stoffs.
42. Prestant ... . . . . . . . . . . . . . . . . . . I6 feet. 46, Prestant ..................... 4 feet,
43. Gamba ........................ I6 feet. 47. Bombarde .................. I6 feet.
44. Prestant ..... … 8.feet. | 48. Trompette ................., 8 feet,
45. Quint . . . . . . . . . . . . . . . . . . . . . . . . 5% feet. 49. Clarion ........................ 4 feet,
2I. ABBEVILLE.
The organ in the Cathedral at Abbeville is placed over the west entrance,
where it has a majestic appearance. The case of the Great organ has five
towers, with the Smallest one in the centre ; the Choir organ has three towers,
with the largest one in the centre. The 16-feet Montre stands in front, and
is of polished tin. The organ is an old one, and originally belonged to
the Church of St. George, which building was completely demolished in the
Revolution of 1793. The organ escaped sharing the same fate through the
care of Honoré Blondin, the nephew of whom was for many years, and, perhaps,
still is, organist. The instrument was enlarged and thoroughly repaired by
M. Charles Lefevre, of Abbeville, some years since, but both cathedral and
instrument were in a dilapidated condition when we last saw them. The organ
contains 42 stops, distributed as follows:–
Great, 18 Stoffs.
I. Montre (throughout) ...... I6 feet, IO. Doublette ..................... 2 feet.
2. Bourdon (throughout) ...... 16 feet tone. II. Flute........................... 2 feet,
3. Montre ... . . . . . . . . . . . . . . . . . . . . . 8 feet. I2. Fourniture
4. Bourdon ..................... 8 feet tone. I 3. Grand Cornet
5. Flute......... . . . . . . . . . . . . . . . . . . 8 feet. I4. Trompette .................. 8 feet.
6. Prestant ..................... 4 feet. I5. Trompette .................. 8 feet.
7. Flute ........................... 4 feet. I6. Clarion ........................ 4 feet.
8. Flute Tacet .................. 4 feet. I7. Cromorne (throughout) ... 8 feet.
9. Nazard . . . . . . . . . . . . . . . . . . . . . . . . 23 feet. I8. Voix Humaine............... 8 feet,
Choir, I2 Stoffs.
I9. Bourdon ..................... 8 feet tone. 25. Petit Nazard ............... I# foot.
2O. Montre ........................ 4 feet. 26. Fifre........................... 1 foot."
2I. Flute à Cheminée ......... 4 feet. 27. Fourniture.
22. Nazard ........................ 23 feet. 28. Hautbois Tacet ............ 8 feet.
23. Super Octave ............... 2 feet. 29. Clarion ..................... 4 feet.
24, Doublette ..................... 2 feet. 30, Cromorne (throughout) ..., 8 feet.
350 APPENDIX.
Swell, 6 Słożs.
31. Dulcian........................ 8 feet. 34. Flute,..... . . . . . . . . . . . . . . . . . . . . . 2 feet.
32. Flute ........................ 4 feet. 35. Hautbois ..................... 8 feet.
33, Nazard ........................ 23 feet. 36, Trompette .................. 8 feet,
Pedal, 6 Słońs.
37. Flute Allemande ............ 16 feet. 40. Musette
38. Flute........................... 8 feet. 4I. Bombarde, wood ............ I6 feet.
39. Flute.,,,,, ..................... 4 feet, 42, Trompette, metal ......... 8 feet.
There are four Manuals : the lower one for the Choir organ, the second for
the Great ; the third for the Pedal organ, which is of the same compass as the
other organs ; and the fourth for the Swell. The compass of the Great, Choir,
and Pedal is from CC to f* in alt. The Swell, to tenor f; the Pedal-board is
from CCC to tenor f, two octaves and a half. The Manuals are coupled together
by being drawn out about half an inch.
22, BEAUWAIS.
The organ in the Cathedral at Beauvais has 5 Manuals and Pedal, and
64 sounding stops, of which the following is a list:—
Grand Orgue (Great), 19 Słożs.
I. Montre ........................ I6 feet. II. Quarte de Nazard ......... 2 feet.
2. Bourdon ..................... I6 feet tone. I2. Tierce ........................ I# foot.
3. Montre ....................... 8 feet, I3. Grosse Fourniture,
4. Flute ........................... 8 feet. I4. Fourniture.
5. Gamba ........................ 8 feet, I5. Cymbale.
6. Bourdon ..................... 8 feet tone. I6. Great Cornet.
7. Gros Nazard.................. 5% feet. I7. Première Trompette ...... 8 feet.
8. Prestant ..................... 4 feet, 18, Deuxième Trompette...... 8 feet.
9. Grosse Tierce ............... 3% feet. I9. Clarion ..................... 4 feet,
Io, Nazard ........................ 2% feet.
Positif (Choir), 14 Stoffs.
20. Montre ........................ 8 feet. 27, Fourniture, III ranks.
2I. Bourdon ..................... 8 feet tone. 28. Cymbale, II ranks.
22. Flute ........................... 8 feet. 29, Cornet, V ranks.
23. Prestant........................ 4 feet. 30, Trompette .................. 8 feet.
24, Nazard ........................ 23 feet. 31. Clarion ........................ 4 feet.
25, Doublette ..................... 2 feet. 32. Cromorne .................. 8 feet tone.
26. Tierce ......................., I# foot. 33. Basson ........................ 8 feet,
Bombarde, 4 Sãoffs.
34. Bombarde..................... I6 feet. 36, Clarion ........................ 4 feet,
35, Trompette ... . . . . . . . . . . . . . . 8 feet, 37. Grand Cornet.
Recit., Echo, 14 Stoffs.
38. Salicional ..................... 8 feet, 45. Doublette..................... 2 feet.
39. Bourdon ..................... 8 feet tone, 46. Quintadena .................. 2 feet.
40. Flute ............ . . . . . . . . . . . . . . . 8 feet, 47. Tierce ........................ I# foot.
4I. Flute Harmonique ......... 8 feet. 48. Trompette ...... ........... 8 feet.
42. Principal ..................... 4 feet. 49. Cor Anglais .................. 8 feet.
43. Flute Douce .................. 4 feet. 50. Hautbois ..................... 8 feet.
44. Quint........................... 23 feet. 5.I. Voix Humaine ............ 8 feet tone,
AN ACCOUNT OF FOREIGN ORGANS, 35 I
Swell, 3 Stoffs.
52. Conoclite, | 53. Euphone. 54. Terpomele. ,
Pedal, Io Stoffs.
55. Flute Ouverte.................. I6 feet. 60. Flute ........................... 4 feet.
56. Contre Basse .................. I6 feet. 61. Bombarde ..................... 24 feet.
57. Bourdon ........................ I6 feet tone, 62. Trompette..................... I2 feet.
58. Flute .......................... 8 feet. 63. Clarion ........................ 6 feet.
59. Quint ........................... 5% feet. 64. Dermogloste,
Compass.
Manuals, CC to fº in alt., 54 notes. | Pedal, FFF to tenor f. 25 notes,
23. ANTWERP,
The organ in the Cathedral at Antwerp was built by De la Haye, of Antwerp,
in 1645, and repaired by Folder, of Brussels, in 1834. It has 44 stops, 3 Manuals,
and Pedal. The following is a list of its contents — -
Great Organ, 18 Stoffs.
I. Montre ........................ I6 feet. II. Tierce …....... I# foot,
2. Bourdon ........................ I6 feet tone. I2. Fourniture.
3. Montre ........................ 8 feet. I3. Cymbale.
4. Bourdon ................ . . . . . . . . 8 feet tone. I4. Cornet. •
5. Flute traversière ............ 8 feet. - Bombarde Discant I6 feet
6. Gros Nazard .................. 5% feet. *5 i Bombarde Basse t €6t.
7. Prestant ....................... , 4 feet. Trompette Discant
8. Flute ........................... 4 feet. I6. Trompette Basse 8 feet,
9. Nazard ........................ 23 feet. 17. Clarion ........................ 4 feet.
IO, Doublette ..................... 2 feet. I8, Voix Humaine ............... 8 feet tone,
Choir Organ, Io Stoffs.
I9. Montre ........................ 8 feet. 25. Fourniture.
2O. Bourdon ........................ 8 feet tone, 26, Cornet,
2I. Prestant ........................ 4 feet. 7 {#. Biscant * 8 feet
22. Flute ........................... 4 feet tone, l Trompette Dasse ee
23, Nazard ........................ 2% feet, 28, Hautbois ..................... 8 feet,
24, Doublette ..................... 2 feet.
Swell Organ, 6 Stoffs,
29. Montre discant ............... 8 feet. 32. Flute ........................... 4 feet.
30. Bourdon ........................ 8 feet tone, 33. Doublette ..................... 2 feet.
3I. Prestant ........................ 4 feet. 34, Cromorne ..................... 8 feet.
Pedal Organ, Io Stoffs.
35. Montre ........................ I6 feet. 40. Flute ........................... 4 feet.
36. Bourdon ......................, . I6 feet tone. 4I. Fourniture.
37. Prestant ........................ 8 feet. 42. Bombarde ..................... 16 feet.
38. Bourdon ........................ 8 feet tone. 43. Trompette..................... 8 feet.
39, Prestant ........................ 4 feet, 44. Clarion ........................ 4 feet.
Compass. p
Manuals, CC to fº in alt. | Pedals, FFF to tenor f.
24. ANTWERP.
The organ in the Church of St. Paul, at Antwerp, was built by Terbrugen, of
Antwerp, in the year 1670, and was repaired and improved in 1825. It has
3 Manuals and Pedal, and 51 stops. The Pedal-board is very inconveniently
352
APPENDIX.
arranged, and the touch is disagreeable ; otherwise it is a very satisfactory instru-
ment, and rather superior to that in the Cathedral. The following is a list of its
stops —
I,
2,
*
I
45.
46.
47.
48.
. Flute Traversière
. Grosse Tierce.................,
. Bourdon
. Prestant
. Flute
. Nazard
Principal .....................
Bourdon,.......................
Montre ........................
Bourdon ........................
Quintaton .....................
Grand Nazard
Prestant
Flute
* * * * * * * * * * * * * * *
* * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * * * * > * * * * * * * * * * * * * * * *
* * * * * * * * * * * *
, Bourdon ........... * * * * * * * * * * * * *
. Viol di Gamba
. Prestant
e e º is ſº e º 'º e º is g g tº dº
tº dº ſº tº g tº tº $ 8 º' g º 4 tº # * * * * * * * * *
Flute ...........................
* * tº $ 8 & B g tº tº $ tº
* : * * * g g g g º a t < * * * * * * * * * * *
* * * * * * * * * * * s a a t t < * * *
* * * * * * * * * tº a tº m is a s a t w = e tº t
* f : º a tº $ g g tº e º & 4 tº 8 & 9 º' tº tº º $ tº
& & ) is 8 º' tº $ tº tº e s tº 8 tº $ tº t e º tº 4 & g g g tº
* * * * * * * * * * * * * * * * * * * * * * * *
is a g º e g º e º e i t . . . . g g g º º
Prestant
Quintaton
Flute
Prestant
it a tº t d tº a 4 tº g º a tº a # 9 tº t e º ſº º º
& ſº tº tº 8 & 9 & e º 'º e i & # * * * * * *
* † tº t e º e a t < e < * * * * * * * * * * * * * * *
e g g g g º f : * > * * * g : * g º e º g s a e
Great Organ, 19 Stops.
I6 feet, II, Nazard ......................., 3 feet
I6 feet tone. I2, Doublette ..................... 2 feet,
8 feet. 13. Fourniture,
8 feet tone, 14. Cymbale.
8 feet tone, 15. Cornet.
6 feet. I6. Bombarde. .................. I6 feet
4 feet, Trompette Fº
4 feet. 17. {#: Basse 8 feet
4 feet. 18, Clarion ........................ 4 feet
3% feet. I9. Voix Humaine ... . . . . . . . . . ... 8 feet
Choir Oygan, 15 Stoffs.
8 feet tone. 28. Tierce ......................., I# foot.
8 feet. 29. Fourniture.
4 feet. 30, Cornet. *.
4 feet. 31, Trompette..................... 8 feet
4 feet. 32. Hautbois ..................... 8 feet
3 feet. 33. Vox Angelica ............... 8 feet
2 feet. 34. Basson . . . . . . . . . . . . . . . . . . . . . . . 8 feet,
2 feet.
Echo Organ, Io Stoſs.
8 feet. 40. Tierce ......................., I# foot,
4 feet. 4I. Fourniture.
4 feet. 42. Cornet.
3 feet. 43. Trompette..................... 8 feet
2 feet, 44. Voix Humaine............... 8 feet
Pedal Organ, 7 Stoffs.
I6 feet. 49. Bombarde ..................... I6 feet
I6 feet tone. 50. Trompette..................... 8 feet
8 feet, 51. Clarion ........................ 4 feet
4 feet.
Co/n/ass.
Manuals, CC to fº in alt.
The organ in the Cathedral Church of St. Gudule, at Brussels, contains
47 stops, 3 Manuals, and Pedal containing a 32-feet reed. The following list
Pedals, CCC to tenor c,
25. BRUSSELs.
shows the distribution and names of the stops —
I
, Bourdon Discant
. Tierce
$ 8 tº t # 8 º' tº $ tº g tº
Montre
$ 8 m tº 6 ſº tº $ tº $ g is tº a tº a t t t e º f is tº
, Bourdon ........................
Prestant
Bourdon ........................
* * * * * * * * * * * * * * * * * * * * * * * *
e e s = e g g tº e & e º 'º ſº e º 'º e º is tº e º gº
* * g g g g g g g tº a tº 4 g º s & g a tº # 9 & 5 tº e g
tº & # 8 º' tº g g g g g g g tº a # * * * * * * * *
* * * * * * * g º e º e s tº # 8 g º s º º
tº t w y # tº g º f tº $ $ tº 4 º 'º & ſº tº g º f is tº
Great Organ, 18 Stops.
32 feet tone,
I6 feet.
I6 feet tone.
8 feet.
8 feet tone.
4 feet.
4 feet.
2% feet.
2 feet.
I# foot,
II, Quint........... * * * * * * * * * * * * * * * * I} foot,
I2. Fourniture.
I3. Cymbale.
I4. Cornet.
I5. Cornet, lowest rank,
Bourdon..................... I6 feet
I6, Bombarde..................... I6 feet
I7. Trompette..................... 8 feet
18, Clarion Bass.................. 4 feet
AN ACCOUNT OF FOREIGN ORGANS. 353
Choir Organ, 12 Słońs.
I9. Bourdon ...................., I6 feet tone. 25. Octave........................ 2 feet.
2O. Bourdon ..................... 8 feet tone. 26. Tierce ........................ I; foot.
2I. Flute .........… 8 feet. 27. Larigot........................ I# foot.
22. Prestant........................ 4 feet. 28. Fourniture.
23. Flute ........ . . . . . . . . . . . . . . . . . . . . 4 feet. 29. Cornet. -
24. Nazard ........................ 2% feet. 30, Hautbois ..................... 8 feet,
Echo Organ, 7 Stoffs.
31. Prestant........................ 8 feet. 35. Doublette..................... 2 feet.
32. Bourdon ..................... 8 feet tone. 36. Fourniture.
33. Octave ........................ 4 feet. , 37. Trompette .................. 8 feet,
34. Flute ........................... 4 feet z
Pedal Organ, IO Słożs.
38. Montre ......................., I6 feet. 43. Flute ......... ..….......... 4 feet.
39. Bourdon ..................... I6 feet tone. 44. Quart .......... . . . . . . . . . . . . . . 2 feet.
40. Flute ........................... 8 feet. 45. Buzain ........................ 32 feet.
41. Bourdon ..................... 8 feet tone. 46. Bombarde .................. I6 feet.
42. Quint ........................... # feet, 47. Trompete .................. 8 feet,
26, LIEGE,
The organ in the Church of St. Martin, at Liege, built by Clerinex, at a
cost of £1,000, has 3 Manuals and Pedal, and 35 Sounding stops, of which the
following is a list :— .*
Great Organ, I4 Stoffs.
I. Bourdon ..................... I6 feet tone. 8. Super-Octave ............... 2 feet.
2. Principal ..................... 8 feet. 9. Sesquialtera, III ranks ... 3 feet.
3. Bourdon ..................... 8 feet tone, Io. Fourniture, IV ranks.
4. Gamba ........................ 8 feet. II. Cornet, IV ranks.
5. Flute Traversière............ 8 feet. I2. Trompette .................. 8 feet.
6. Prestant........................ 4 feet. 13. Clarion........................ 4 feet.
7. Flute pointue .............., 4 feet. I4. Cromorne .................. 8 feet
Choir, 9 Stoſs,
I5. Salicional ..................... 8 feet. 2O. Sesquialtera.
I6. Bourdon ..................... 8 feet tone, 2I. Cornet.
I7. Prestant........................ 4 feet. 22. Trompette .................. 8 feet.
I8. Old Flute ..................... 4 feet. 23. Hautbois..................... 8 feet,
I9. Super-Octave ............... 2 feet,
Echo, 6 Stoffs.
24. Bourdon ..................... 8 feet tone. 27. Super-octave ............... 2 feet.
25. Prestant........................ 4 feet, 28. Cornet.
26. Flageolet. 29, Trompette .................. 8 feet,
Pedal, 6 Słoffs.
30, Montre, metal ............... I6 feet. 33. Montre........................ 8 feet.
3I. Flute, wood Open............ I6 feet. 34, Bombarde” .................. I6 feet.
32, Soubasse ..................... I6 feet tone. 35. Bombarde ... ........ ...... 8 feet,
* The CCC pipe, 12 inches in diameter.
354
APPENDIX.
27, COLOGNE.
The organ in the Cathedral of Cologne was built in the year 1572, and
repaired in 1734 by J. J. Schmitt, of Mülbeim.
It was re-constructed and consider-
ably enlarged by Engelbert Maas, of Cologne, in the years 1817 and 1821 ; more
than half the pipes, the mechanism, &c., being made by him. The organ, since
the completion of the nave of the cathedral, has been re-erected in the north
transept.
of the former being as follow —
It has now 40 stops, 3 Manuals, and Pedal, the names and distribution
Great, II Stoffs.
I. Principal, tin, in front...... I6 feet . 7. Rauschwerk, V ranks...... 2% feet.
2. Octave ........................ 8 feet, 8. Cymbale, IV ranks.
3. Viol di Gamba ............... 8 feet. 9. Sesquialtera, II ranks...... 2% feet.
4, Hohlflote ..................... 8 feet IO. Posaune ..................... I6 feet.
5. Super-Octave...... ........... 4 feet II. Trompette .................. 8 feet
6. Flautin ........................ 2 feet
Choir, II Stoffs.
I2. Principal ..................... 8 feet, I8. Cornett, IV ranks.
I3. Rohrſlote ..................... 8 feet tone. Bourdon, Discant I6 feet
I Viol di Gamba, Discant 8 feet 9. Contraſagot, Bass t º
+ i Violoncello Bass º 2O. Clarion........................ 8 feet.
I5. Queerflote, Discant ......... 8 feet. 2I. Krumhorn .................. 8 feet tone.
I6, Rohrflote ..................... 4 feet tone. 22, Glockenspiel.
I7. Super-Octave.................. 2 feet.
Echo, 9 Stofs.
Hohlflote, Discant 28. Super-flote .................. 2 feet.
23. | Hohlflote, Bass | * - º + c & 8 feet 29, Quint-flote .................. I# foot,
24. Queerfiote, Discant......... 8 feet 30. Cymbale.
25. Prestant........................ 4 feet. I Clarinett, Discant 8 feet t
26. Hohlflote ..................... 4 feet. 3I. Clarinett, Bass CCL [CIlê,
27, Super-Octave.................. 2 feet
Pedal, 9 Słońs.
32. Contra Violin ............... I6 feet. 37. Posaune ..................... I6 feet
33. Sub-bass ..................... I6 feet tone. 38. Trompette .................. 8 feet
34. Violin ............... . . . . . . . . . 8 feet. 39. Clarion........................ 4 feet
35. Octave Sub-bass .....'....... 8 feet tone. 40, Clarinett ..................... 2 feet
36, Super-Octave... . . . . . . . . . . . . . . . 4 feet.
Compass,
Manuals, CC to f" in alt., 54 notes,
Pedal, CCC to tenor c, 25 notes.
28, COLOGNE.
The organ in the Minorets Church is said to be no less than 400 years old. Its
tone is exceedingly good, and it has 33 stops, of which the following is a list :-
Great, I 5 Stoffs.
I. Bourdon ..................... I6 feet tone. 9.
2. Prestant........................ 8 feet, IO.
- Gamba, Discant II.
3 Gamba, Bass “ 8 feet, I2,
4. Violoncello ................., 8 feet
5. Hollpfeife ..................... 8 feet I3.
6. Octave ........................ 4 feet I4.
7. Flote ........................... 4 feet I5.
8. Wald-flote..................... 4 feet
Salicema, Oder Quint ...... 23 feet.
Super-octave ............... 2 feet
Quint ........................ I# foot
Mixture, III and IV ranks,
Trompette, Discant )
Trompette, Bass "
Clarion........................
8 feet.
Vox Humana
4 feet.
8 feet tone,
AN ACCOUNT OF FOREIGN ORGANS, 355
I6.
I7.
I8.
I9.
2O.
2 I,
28.
29.
30.
Choir, I2 Stoffs.
Hollyfeife ..................... 8 feet. 22, Octave........................ 2 feet.
Flaut Traversière..........., 8 feet. 23, Cymbale, III ranks.
Prestant........................ 4 feet, 24. Carillon, II ranks.
Flaut Douce.................. 4 feet. 25. Hautbois ..................... 8 feet.
Vox Angelica ............... 4 feet. 26. Clarinett ..................... 8 feet tone.
Quint-flaut .................. 23 feet tone. 27, Vox Humana ... . . . . . . . . . . . . 8 feet tone,
Pedal, 6 Sãoffs.
Principal, in front ........, 16 feet. 31. Posaune ..................... I6 feet.
Octave Bass ................... 8 feet. 32. Trompette .................. 8 feet.
Super-octave.................. 4 feet. 33. Clarion ..................... 4 feet,
Accessory Sãoffs.
I, Choir to Great. | 2, Great to Pedal,
Compass,
Manuals, CC to dº in alt., no top cº sharp, Pedal, CCC to EE, 17 notes.
50 notes,
29. COLOGNE,
The organ in the Jesuits' Church at Cologne is a particularly fine instrument.
It was originally built about the year 1750, and was repaired and enlarged in 1822. .
It has now 34 Stops, 3 Manuals, and a Pedal of 6 Stops.
Great, II Słoffs,
I. Principal ..................... I6 feet. 7. Super-octave ............... 2 feet.
2. Prestant . . . . . . . . . . . . . . . . . . . . . 8 feet. 8. Mixture, IV ranks.
3. Gamba ..... . . . . . . . . . . . . . . . . . . . 8 feet, 9, Cornett, V ranks.
, Bourdon ... . . . . . . . . . . . . . . . . . . 8 feet tone, Trompette, Discant
4. IO B ..., 8 feet.
5. Octave ... . . . . . . . . . . . . . . . . . . . . . 4 feet. Trompette, Bass
6, Quint... . . . . . . . . . . . . . . . . . . . . ..., 2% feet. , II, Clarion ... . . . . . . . . . . . . . . . . . . 4 feet,
Choir, II Stoffs.
I2. Prestant...... . . . . . . . . . . . . . . . . . . 8 feet, 18, Flautino ............ . . . . . . . . . 4 feet.
13. Gamba ............... . . . . . . . . . 8 feet. I9. Super-Octave ... . . . . . . . . . . . . 2 feet,
I4. Hollpfeife..................... 8 feet, 20. Carillon, II ranks.
I5. Travers-flote........ . . . . . . . . . . 8 feet, 21, Cornett, V ranks.
I6, Octave ......... . . . . . .. . . . . . . . . . 4 feet. 22. Clarinett . . . . . . . . . . . . . . . . . . . . . 8 feet tone,
17, Flote ... . . . . . . . . . . . . . . . . . . . . . . . 4 feet. *
Echo, 6 Stoffs.
23. Gemshorn........., . . . . . . . . . . . 8 feet. 26. Flote ... . . . . . . . . . . . . . . . . . . . . . 4 feet.
24. Hollpfeife..... . . . . . . . . . . . . . . . 8 feet. 27. Hautbois ..................... 8 feet.
25, Prestant . . . . . . . . . a a 4 feet. 28. Vox Humana ... . . . . . . . . . . . . 8 feet tone,
Pedal, 6 Stoffs.
29, Sub-bass ............ . . . . . . . . . 16 feet. 32, POSaune . . . . . . . . . . . . . . . . . . . . . I6 feet.
30, Octave. ... . . . . . . . . . . . . . . . . . . . . . 8 feet. 33. Trompette ... . . . . . . . . . . . . . . . 8 feet.
31. Violone......... . . . . . . . . . . . . . . . 8 feet. 34. Clarion........ . . . . . . . . . . . . . . . . 4 feet.
Accessory Stoffs, Movements, &c.
I, Choir to Great, 3. Great to Pedal. .
2. Echo to Choir, 4. Tremulant to Choir.
Cozzºa.ſ.º.
Manuals, CC to f* in alt., 54 notes. Pedal, CCC to FF, 1% octave, 18 motes.
L L 2
356 APPENDIX,
30, COLOGNE,
The Church of Maria de Capitol, at Cologne, contains an imposing-toned
organ, erected by Ludwig König, of Cologne, in 1767. In the year 1839 a Cornett
and Flautino were added, and the organ raised to its present pitch by Engelbert
Maas, of Cologne. It has now 40 stops, 3 Manuals, and Pedal of Io stops. The
following is the disposition :--
Great, I2 Słoffs.
I. Principal ..................... I6 feet. 7. Quint ........................ 23 feet.
2. Octave ...... . . . . . . . . . . . . . . . . . . 8 feet. 8. Mixture, IV ranks ......... 2 feet.
3. Viola di Gamba ............ 8 feet. 9. Cymbale, III ranks ...... I foot.
4. Hollpfeife ..................... 8 feet. Io. Cornett, IV ranks,
5. Octave ........................ 4 feet. II. Trompette .................. 8 feet.
6. Flaut........................... 4 feet. I2, Clarion........................ 4 feet.
Choir, I2 Stoffs.
13. Prestant ..................... 8 feet. 20. Flautina ..................... 2 feet.
I4. Viol di Gamba .............., 8 feet, 2I, Quint-flaut .................. I# foot.
I5. Hollpfeife ...................... 8 feet, 22. Carillon, II ranks ......... 4 feet.
I6. Flaut Traversière, Discant 8 feet. 23. Vox Humana ...... . . . . . . . . 8 feet tone.
17 Octave ......................... 4 feet. 2 Clarinett, Discant 8 feet
18. Flaut........................... 4 feet. Hautbois, Bass tº £ tº tº
I9. Super-Octave.................. 2 feet
Echo, 6 Stoffs.
25. Hollyfeife..................... 8 feet. 29, Hautbois, Discant ......... 8 feet.
26. Gemshorn..................... 4 feet. | Vox Humana, Discant : 8 feet tone
27. Flaut........................... 4 feet tone, Vox Humana, Bass *
28, Super-Octave................., 2 feet.
Pedal, Io Stoffs.
31, Bourdon ..................... I6 feet. 36. Octave........................ 4 feet.
32. Viol di Gamba............... 8 feet. 37. Posaune ..................... I6 feet.
33. Prestant........................ 8 feet. 38. Trompette .................. 8 feet.
34. Gemshorn..................... 8 feet. 39. Clarion ............ . . . . . . . . . 4 feet.
35. Quint ........................ feet, 40, Clarino........................ 2 feet,
Accessory Słoffs, Movements, & 'c,
I, Great to Pedal. | 2. Tremulant Echo. | 3. Tremulant Positif.
& Compass,
Manuals, CC to fº in alt., 54 notes, Pedal, CCC to Gamut A, 22 notes,
31, COLOGNE,
The organ in the Church of St. Columba, at Cologne, was made by König, in
1753, and presents the remarkable peculiarity, for a German organ of the size, of
being entirely without Pedal Stops. The following is a list of the contents of the
above-named instrument:-
Great, I2 Stoffs.
I. Prestant........................ I6 feet. 7. Super-octave ............... 2 feet.
2. Principal ..................... 8 feet. 8. Sesquialtera, III ranks ... 2% feet.
3. Viol di Gamba............... 8 feet. 9. Mixture, IV ranks ......... 2 feet.
4. Gedact ........................ 8 ſeet tone, Io. Posaune ..................... I6 ſeet.
5. Octava ........................ 4 feet. II. Trompette .................. 8 feet.
6. Flaut Douce.................. 4 feet. I2. Clarion........................ 4 feet,
AN ACCOUNT OF FOREIGN ORGANS.
357
Choir, 9 Stoffs.
13. Gedact ........................ 8 feet tone,
I4. Prestant ..................... 4 feet.
I5. Flaut Traversière............ 4 feet
I6. Flaut Douce.................. 4 feet
17 Octava ........................ 2 feet
18, Quint-flaut ...,,,,,,,,,,,,,,. I# foot.
I9. Carillon, II ranks.
2O, Clarinett, Discant ......... 8 feet tone.
2I, Vox Humana ............... 8 feet tone.
32, COLOGNE.
The organ in the Church of St. Ursula is a new instrument, and was built by
Heinrich, of Cologne. It contains 25 stops, 2 Manuals, and a Pedal of 6 Stops.
The following is a list of its contents —
Great, II Stoffs,
I. Bourdon ..................... I6 feet tone, 7. Quint ........................ 23 feet.
2. Principal ..................... 8 feet, 8. Octave ........................ 2 feet,
3. Bourdon ..................... 8 feet tone, 9. Mixture, IV ranks.
4. Gamba ........................ 8 feet, IO. Cornett.
5. Octave ........................ 4 feet II. Trompette ..................... 8 feet
6. Flote........................... 4 feet
Choir, 8 Stoffs.
12. Prestant ..................... 8 feet. I6. Flaut ........................... 4 feet
13. Bourdon ..................... 8 feet tone, 17. Octave .................... ... 2 feet.
I4. Salicional ..................... 8 feet. 18, Oboe ........................... 8 feet
I5. Fernflote ..................... 4 feet I9. Basset Horn .................. 8 feet
Pedal, 6 Słożs.
2O. Sub-bass ..................... I6 feet, 23. Posaune ......................., I6 feet
2 I. Violoncello ................., 8 feet 24. Trompette ..................... 8 feet
22, Octave Bass .................. 8 feet 25. Clarion ........................ 4 feet
33. BONN.
There is a fine old organ in the Cathedral at Bonn, containing 29 sounding
stops, among which is a particularly fine 16-feet Posaune on the Pedal, of wood.
The instrument has 2 Manuals and Pedal, among which the stops are thus
distributed —
Great, I2 Stoffs.
I. Bourdon ..................... I6 feet tone, 7. Quint........................... 3 feet
2. Principal ..................... 8 feet. 8. Super-Octave.................. 2 feet
3. Bourdon ..................... 8 feet tone. 9. Octavine ..................... I foot
4. Gamba ........................ 8 feet, IO, Mixture,
5. Salicional ..................... 8 feet II. Trompette ..................... 8 feet
6. Octave ........................ 4 feet I2. Clarion . . . . . . . . . . . . . . . . . . . . . . . . 4 feet
Choir, I I Słożs,
I3. Bourdon ..................... 8 feet tone, | 19. Octave ........................ 2 feet
I4. Flote, Discant ............... 8 feet, 2O, Mixture.
I5. Principal ..................... 4 feet. 21. Trompette..................... 8 feet
I6. Octave ........................ 4 feet. 22. Bassoon ........................ 8 feet
I7. Rohrflote ..................... 4 feet tone. 23, Vox Humana ............... 8 feet
18. Quint........................... 3 feet,
Pedal, 6 Stoffs.
24. Sub-bass ..................... I6 feet tone, 27. Posaune ........................ I6 feet.
25. Principal ..................... 8 feet 28, Posaune ........................ 8 feet
26. Violoncello .................. 8 feet 29, Posaune ... . . . . . . . . . . . . . . . . . . . . . 4 feet,
358 - APPENDIX.
34. BONN.
The organ in the Protestant Church at Bonn, by Weil, is an excellent instru-
ment. It has 19 stops, of which the following is a list —
Great, 9 Stoffs,
I. Bourdon ..................... I6 feet tone. 6. Flute........................... 4 feet.
2. Principal ...........… 8 feet, 7. Salicional..................... 4 feet.
3. Bourdon ..................... 8 feet tone. 8. Super-octave ............... 2 feet.
4. Gamba ........................ 8 feet. 9. Trompette .................. 8 feet.
5 Octave ........................ 4 feet.
Choir, 7 Słońs,
Io, Flote ........................... 8 feet. I4, Rohrfiote..................... 4 feet.
II. Hohlflote ...,,,,,, ............, 8 feet. I5. Super-Octave ............... 2 feet,
I2, Harmonica .................. 8 feet, I6, Krumhorn .................. 8 feet.
13. Principal ..................... 4 feet. -
Pedal, 3 Stoffs. -
17, Principal., 16 feet, 18, Sub-bass., 16 feet tone, | 19, Octave... 8 feet.
35, COBLENTZ.
The organ in the Church of Castor, at Coblentz, has 39 stops, distributed
among 3 Manuals and Pedal, as follow :—
Great, 16 Stoffs, *
I. Gross Gedact ....... . . . . . . . . I6 feet tone, Io, Quint ........................ 23 feet.
2. Principal ..................... 8 feet, II. Super-octave ............... 2 feet.
3. Viol di Gamba ............... 8 feet. I2, Vox Angelica ............... 2 feet.
4. Hollpfeife ............ . . . . . . . . . 8 feet. 13. Terz ........................... I# foot.
5. Quintadena .................. 8 feet tone, I4. Mixture ................... . I foot.
6. Coppel ........................ 8 feet. I5. Cornett.
7, Octave ........................ 4 feet. I6 Trompette, Treble 8 feet
8. Salicional ...................., 4 feet ' U Trompette, Bass ČC
9. Flaut........................... 4 feet,
Choir, 9 Stoffs,
17, Bourdon ..................... 8 feet tone, 22, Octave ...,,,,,,,,,,,,,........ 2 feet.
18. Flaut Ravena ............... 8 feet, 23. Mixture.
19. Principal ..................... 4 feet. 24. Krumhorn .................. 8 feet tone.
20. Flaut... ... .............. . . . . . . . 4 feet. 25, Vox Humana ............... 8 feet tone.
21, Quint................. . . . . . . . . . . 23 feet
Echo, 7 Stoffs,
26. Bourdon ..................... 8 feet tone, 30, Octave........................ 2 feet.
27. Flaut........... ............... 4 feet, 31, Trompette .................. 8 feet.
28, Salicional ..................... 4 feet. 32, Vox Humana ............... 8 feet tone.
29, Quint........................... 2% feet.
Pedal, 7 Słońs.
33. Violon Bass .................. 16 feet, 37. Posaune T3ass ............... I6 feet.
34. Sub-bass ..................... I6 feet tone, 38, Clarion Bass ...,,,,,,,..... 4 feet.
35. Principal Bass ............... 8 feet. 39, Cornet Bass ............... 2 feet.
36, Octave Bass , , , ............... 4 feet.
Accessory Słoffs, Movements, &c,
1. Choir to Great, | 2, Great to Pedal, | 3, Tremulant Echo.
- Compass,
Manuals, CC to dº in alt., 51 notes, | Pedal, CCC to Gamut G, 20 notes.
AN ACCOUNT OF FOREIGN ORGANS. 359
36, STRASBOURG,
Strasbourg has long been famous for its bell-founders, clock-makers,
organ-builders, and for its Freemasons. So early as the 13th century there
were Several organs in its cathedral very curious in their structure, and
Sonorous in their tone. The present instrument was built by Silbermann,
of Strasbourg, and was completed in August, 1716. It has 42 sounding stops,
of which number 7 are on the Pedal; 2,242 pipes; and 6 bellows, 12 feet
by 6. The organ is placed on the north side of the nave, where it pro-
jects from the triforium about 50 feet above the pavement of the cathedral,
The following are the particulars of the instrument:- -
Great, I 3 Stoſs,
1. Bourdon ...,,,,,,,,,,,,,,,,,, I6 feet tone. 9. Cymbale.
2. Montre, tin .......... “. . . . . . . . 8 feet, Io, Cornet, V ranks.
3. Bourdon ..................... 8 feet tone, Trompette, Fº
& II. - ... 8 feet.
4. Prestant........................ 4 feet. - | Trompette, Basse
5. Nazard ........................ 23 feet. I2. Trompette .................. 8 fect.
6. Doublette ..................... 2 feet. I Clarion, Discant | feet
7. Tierce ...... ................. I# foot, Clarion, Basse ) '''''' 4 ICCt.
8. Fourniture. e
Choir, II Stoffs.
14, Montre, tin .................. 8 feet, 20. Tierce ... ... . . . . . . . . . . . . . . . . . . 1} foot.
I5. Bourdon ..................... 8 feet tone, 2I. Larigot........................ I# foot.
I6. Prestant........................ 4 feet. 22. Fourniture.
17. Flute ........................... 4 feet. 23. Cymbale.
18, Nazard ........................ # feet, Cromorne, Discant 8 feet
I9. Doublette...................... 2 feet, * Cromorne, Basse t
Fcho, II Stoffs,
25. Montre, tin ................. 8 feet, 31. Flute Magique ... ... § 2 g º a º 4 feet,
26. Gamba ........................ 8 feet. 32. Doublette............ { * * * * * * * * 2 feet.
27. Bourdon ...................., 8 feet tone, 33. Hautbois..................... 8 ſeet.
28. Salicional ........ .* * * * * * * * * * * * * 8 feet, 34. Voix Humaine .......... ... 8 feet.
29. Prestant........................ 4 feet. ~, Trompette, Discant 8 feet
30. Flute ........................... 4 feet, 35 Basson, Basse tº E tº te
Pedal, 7 Słoffs,
36. Montre, tin .................. I6 feet. 40. Bombarde .................. I6 feet.
37. Bourdon ..................... I6 feet tone, 4I. Trompette .................. 8 feet.
38. Montre ........................ 8 feet. 42. Clarion........................ 4 feet.
39. Prestant........................ 4 feet. *
Accessoºy Stoffs, Movements, &c.
Tremulant to Great, | Tremulant to Echo,
The Echo and Choir Manuals couple to the Great by being drawn out a little,
Compass,
Manuals, CC to c" in alt., 49 notes, Pedal, CCC to tenor e, 25 notes.
360. - APPENDIX.
37, STRASBOURG.
The organ in St. Thomas's Church is also the work of Silbermann, and bears
the date of 1740. It has undergone some alterations by Weltzer, a resident
organ-builder in Strasbourg. It contains 36 sounding stops, of which number
7 are on the Pedal, The distribution of the stops is as follows:–
Great, 13 Stoffs.
I, Bourdon, stopped metal to 8. Doublette..................... 2 feet.
the tenor c key, then wood 16 feet tone, 9. Fourniture, IV ranks,
2. Montre ........................ 8 feet, Io, Cornet, V ranks.
3. Bourdon, metal ............ 8 feet tone, Trompette, Discant 8 feet
4. Salicional ..................... 8 feet, II. Trompette, Basse º
5. Prestant........................ 4 feet. I Clarion, Discant ! feet
6. Flute ........................... 4 feet. 2. Clarion, Passe ) '''''' 4.
7. Nazard ........................ 2% feet. I3. Voix Humaine............... 8 feet.
Choir, 8 Słoffs,
I4. Bourdon, metal ............ 8 feet tone, 18, Flute ........................ 4 feet.
I5. Quintadena .................. 8 feet, I9, Nazard........................ 3 feet.
I6. Prestant........................ 4 feet. 2O. Doublette..................... 2 feet.
I7. Cordedain..................... 4 feet, 21, Cromorne,........ . . . . . . . . . . . . 8 feet.
Echo, 8 Stoffs.
22, Montre ........................ 8 feet, 27. Cordedain, a kind of flaut
23. Viol di Gamba ............... 8 feet. traverse, of metal......... 4 feet.
24. Bourdon, metal ............ 8 feet tone. 28, Trompette .................. 8 feet,
25. Salicional ..................... 8 feet tone, 29, Basson ........................ 8 feet.
26, Flute ........................... 4 feet.
Pedal, 7 Słożs,
30, Principal, wood ............ I6 feet, 34. Bombarde, wood............ I6 feet.
31. Octave ........................ 8 feet, 35. Trompette, metal ......... 8 feet,
32. Quint........................... 6 feet. 36, Clarion, metal,............., 4 feet.
33, Prestant........................ 4 feet, $
Compass,
Manuals, CC to cº in alt., 49 notes. | Pedal, CCC to tenor c, 25 notes.
The Echo and Choir Manuals move and couple to Great,
38, STRASBOURG,
The organ in the Protestant Church, called the “Temple neuf,” the work of
Silbermann, was destroyed, together with the building in which it stood, during the
Prussian War, and, like the last, an excellent instrument, being especially remark-
able for the beauty of its Diapasons and Metal Flutes. It had 46 stops, 3 Manuals,
and Pedal, as follows:–
- Greaf, I4 Słoffs.
I, Bourdon ..................... I6 feet tone, 9, Tierce . . . . . . . . . . . . . . . . . . . . . . . . I# foot.
2. Montre ........................ 8 feet, IO. Fourniture, III ranks...... I foot.
3. Bourdon ..................... 8 feet tone, II, Cymbale, III ranks...... 2 feet.
4. Quintaton ..................... 8 feet. 12. Cornet, V ranks.
5. Prestant........................ 4 feet. Trompette, Discant 8 feet
6. Flute ........................... 4 feet tone, I3. Trompette, Basse €62t.
7. Quint............ . . . . . . . . . . . . . . . 2# feet. Clarion, Discant feet
8. Doublette ... ...,..., . . . . . . . . . , 2 feet. I4. Clarion, Basse . . . . . . 4 fee
AN ACCOUNT OF FOREIGN ORGANS, 361
Choir, Io Stoffs.
15. Bourdon ...... .............. 8 feet tone, 20, Doublette..................... 2 feet.
I6. Salicional ..................... 8 feet. 2I. Larigot........ ** * * * * * * * g tº s t t is I# foot.
I7. Prestant........................ 4 feet. 22. Hautbois, Discant ......... 8 feet.
18. Flute ........................... 4 feet tone. 23. Cromorne..................... 8 feet.
I9. Jeu Celeste .................. 4 feet. 24, Cor de basset ............... 8 feet,
Echo, I 3 Słoffs.
25. Bourdon ..................... I6 feet tone, 32. Sifflute ........................ I foot.
26. Montre ........................ 8 feet, 33. Fourniture, III ranks. -
27. Bourdon ..................... 8 feet tone, 34, Cornett, IV ranks,
28, Viol di Gamba ............... 8 feet. 35. Trompette .................. 8 feet.
29. Prestant........................ 4 feet. 36. Basson ........................ 8 feet.
30. Flute ........................... 4 feet tone, 37, Vox Humana ............... 8 feet,
3I. Doublette ..................... 2 feet.
Pedal, 9 Słożs.
38. Principal, wood ............ I6 feet. 43. Plein jeu, II ranks,
39. Bourdon (open wood) ... ... I6 feet. 44. Bombarde, metal ......... I6 feet.
40. Octave ............... . . . . . . . . . 8 feet. 45, Trompette, metal ......... 8 feet.
4I. Violoncello .................. 8 feet. 46. Clarion, metal............... 4 feet.
42. Prestant........ . . . . . . . . . . . . . . . 4 feet,
39. FREIBURG IN BRESGAU,
The Cathedral of Freiburg in Bresgau, so long celebrated for its beautiful Gothic
spire, contains two organs, both of which are small, but of remarkably sweet and
full tone. The one in the nave is very old, having been put up in 1520 ; that in
the Choir, which is about the same size, was built in 1811. The Nave organ
has 24 stops, 2 Manuals, and Pedal, of which the following are the par-
ticulars:– -
Great, Io Stoſs.
1. Bourdon … I6 feet tone, 6. Nazard ........................ 23 feet.
2. Principal ..................... 8 feet, 7. Super-Octave.................. 2 feet,
3. Bourdon ..................... 8 feet tone. 8. Mixture, III ranks.
4 Octave ........................ 4 feet. 9. Cymbale, III ranks.
5. Flote ........................... 4 feet tone, IO. Trompette..................... 8 feet.
Choir, Io Stoffs.
II. Principal ..................... 8 feet. I6, Flote........................... 4 feet.
I2, Bourdon ..................... 8 feet tone, 17. Waldflote ..................... 2 feet.
13. Salicional ..................... 8 feet. 18. Sesquialtera,’II ranks...... 23 feet.
14. Gamba ........................ 8 feet. I9. Cromorne ..................... 8 feet tone,
15. Octave ........................ 4 feet. 2O, Vox Humana ... ............ 8 feet tone.
Pedal, 4 Sãoffs,
21. Montre ........................ I6 feet. 23. Octave ........................ 8 feet,
22, Bourdon ..................... I6 feet tone. 24. POSaune, to FFF, ........... I6 feet,
Compass.
Manual, CC, short octave, up to a” in alt, Pedal, CCC to CC, one octave complete,
362
APPENDIX,
years ago, but has lately been repaired.
40, FREIBURG IN BRESGAU.
The organ in the Lutheran Church at Freiburg in Bresgau was built about 300
32 stops, of which the following is a list —
It has 2 Manuals and Pedal, and
Great, I4 Słoffs.
I. Bourdon ..................... I6 feet tone. 8. Quint........................... 2% feet
2. Principal ..................... 8 feet. 9. Super-Octave ............... 2 feet
3. Hohlflote ..................... 8 feet. IO. Waldflote ..................... 2 feet.
4. Bourdon ..................... 8 feet tone. II, Cymbale, III ranks,
5. Octave ........................ 4 feet I2. Mixture, II ranks.
6. Flote ........................... 4 feet I3. Cornett, V ranks.
7. Fugara .,,..................... 4 feet I4. Trompette,..............… 8 feet
Choir, Io Sãoffs.
15. Principal ..................... 8 feet. 20. Gemshorn .................. 4 feet.
I6. Bourdon ...................... 8 feet tone, 2I. Flote........................... 4 feet.
I7, Gamba ........................ 8 feet. 22. Rohrflote ..................... 4 feet tone.
I8. Salicional ..................... 8 feet 23. Super-Octave ............... 2 feet.
19. Octave ........................ 4 feet 24, Trompette..................... 8 ſeet
Pedal, 8 Stoffs.
25. Montre ......... . . . . . . . . . . . . . . . I6 feet. 29, Bourdon ..................... 8 feet tone.
26. Bourdon ..................... I6 feet tone, 30. Mixture, III ranks.
27. Quintaton ..................... I6 feet tone, 3I. Posaune........................ I6 feet
28, Principal ..................... 8 feet, 32. Trompette,.................... 8 feet
Walker, of Ludwigsburg, and was opened in the month of June, 1833.
Compass.
Manuals, CC to fº in alt., 54 notes.
Pedal, CCC to Gamut G, I; octave,
Coupler.
Choir to Great,
4I. FRANKFORT,
The very large and fine organ in St. Paul's Church, Frankfort, was built by
It contains
74 stops, 3 Manuals, and 2 Pedals, and 12 Bellows I4 feet long by 5;
broad. The draw-stops are placed over as well as at the sides of the Manuals.
The quality and varied tones of the numerous I6, 8, and 4 feet Manual
Flue stops are deserving of all praise.
Stops in this organ —
The following is an enumeration of the
Great, 23 Sãoffs.
I. Manual-Untersatz , ,,,,,,, 32 feet tone.
2. Principal, in front ......... 16 feet.
3. Gamba major ............... I6 feet.
4. Tibia major ........... ... ... I6 feet tone.
5 Octave ........................ 8 feet,
6. Viol di Gamba...... § e o t e º is 8 feet,
7. Gemshorn..................... 8 feet,
8. Jubalflote, 2 mouths ...... 8 feet
9. Quint. ........................ # feet.
IO. Octave ........................ 4 feet
II. Hollpfeife ...,,,,,,,,,,,,,,, 4 feet
12. Fugara ... . . . . . . . . . . . . . . . . . . . . 4 feet,
I3. Gemshorn-terz.,,,,,,,,,,, ... 3% feet.
14. Quint ........................ 2% feet
I5. Super-Octave, II-ranks ... 2 feet
I6. Waldflote ..................... 2 feet
I7. Terz Discant ............... I# feet
I8. Klein Octave ............... I foot
I9. Mixture, IV ranks.
2O. Scharf, V ranks.
2I. Cornett, V ranks.
22. Tuba ........................... 16 feet,
23. Trompette .................. 8 feet
AN ACCOUNT OF FOREIGN ORGANS, 363
Choir, I 5 Stoffs,
24. Bourdon ..................... I6 feet tone. 32. Flauto Traverso ............ 4 feet.
25. Principal, in front ... ... ... 8 feet. 33. Rohrfiote..................... 4 feet tone.
26, Salicional ..................... 8 feet. 34. Gemshorn Quint............ .2% feet.
27. Dolce........................... 8 feet. 35. Octave........................ 2 feet.
28, Gedact ............, . . . . . . . . . . . 8 feet tone, 36. Mixture, V ranks ......... 2 feet.
29. Quintaton ..................... 8 feet tone, 37. Posaune ..................... 8 feet.
30, Quintflote ..................... 5% feet tone. 38, Vox Humana .......... ... ... 8 feet.
31, Octave ........................ 4 feet. -
* Echo, I4 Stoffs.
39, Quintaton ..................... I6 feet tone, 46, Dolcissimo .................. 4 feet.
40. Principal ..................... 8 feet. 47. Flute d'amour............... 4 feet.
4I. Harmonica .................. 8 feet, 48. Gedact........................ 4 feet tone.
42. Bifaro ........................ 8 feet. 49. Nazard........................ 2% feet,
43. Hohlflote ..................... 8 feet. 50. Flautino ..................... 2 feet.
44. Gedact, two mouths......... 8 feet tone, 51. Hautbois..................... 8 feet.
45. Spitzflote ..................... 4 feet, 52, Physharmonica ............ 8 feet,
First Pedal, 15 Słoffs.
53. Contra Bass, open ........, 32 feet. 61. Terza ........................ 64 feet.
54. Sub-bass, open............... 32 feet. 62. Quint ........................ 5% feet,
55. Principal Bass, in front ... I6 feet. 63. Octave........................ 4 feet.
56. Octave Bass.................. I6 feet. 64. Posaune ..................... I6 feet.
57, Violon ........................ I6 feet. 65. Trompette .................. 8 feet.
58. Quint........................... Io; feet, 66, Clarino........................ 4 feet.
59. Octave ........................ 8 feet, 67. Cornettino .................. 2 feet.
60, Violoncello .................. 8 feet, -
Second Pedal, 7 Słoffs,
68. Sub-bass , , , , , , , , , , , , . . . . . . . . . I6 feet tone, | 72, Flote ........................ 4 feet.
69. Violon d'amour ............ I6 feet, 73. Waldflote..................... 2 feet.
70, Principal ..................... 8 feet, 74. Fagotto ..................... I6 feet,
7.I. Flote . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 feet,
Accessory Stoffs, Movements, &c.
1. Choir to Great. 4. Choir to second Pedal.
2, Echo to Choir. 5. Second to first Pedal.
3. Great to first Pedal. - 6 to IO. Five Wind-trunk valves,
- Compass.
Manuals, CC to f" in alt., 54 keys, | Pedal, CCC to tenor d, 27 keys,
42. FULDA,
of
be
The organ in the Town Church at Fulda was constructed by G. F. Ratzmann,
Ohrdruff. It has 48 sounding stops, 3 Manuals, and Pedal of 9 stops; also
llows measuring 12 feet by 8. The following is its disposition —
Great, I 5 Stoffs,
Alarge Scale and full intonation.
.**
1. Principal, tin, the 16 feet II. Octave, II ranks, tin...... 2 feet & I ft,
octave in front ......... ... I6 feet, I2. Mixture, IV ranks, c*, e”,
2. Bourdon, wood............... I6 ſeet tone, g", cº ..................... 2 feet.
3. Principal, tin, in front ... 8 feet. I3. Cymbale, III ranks, g”,
4. Bourdon, wood......... . . . . . . 8 feet tone. cº, g” ..................... I# foot.
5. Hohlflote, wood ...........: 8 feet, I4. Cornett, IIIranks, the first
6. Quint, wood Bass, tin Treble 53 feet. and second ranks, wood
7. Gamba Quint ............... 5% feet. stopped, C. g. c .......... 8 feet tone.
8. Octave, tin ... . . . . . . . . . . . . . . . 4 feet. I5. Trompette, tin, with free
9. Hohlflote, wood ............ 4 feet. reeds ... . . . . . . . . . . . . . . . . . . . . . 8 feet,
IO. Quint, tin ... . . . . . . . . . . . . . . . . . . 2% feet,
364
APPENDIX,
Choir, I2 Słożs.
Smaller Scale and clear intonation.
I6. Principal, the bass and 21, Octave, tin .................. 4 feet.
- tenor octaves of wood, 22, Flote, wood.................. 4 feet.
the treble of tin ......... I6 feet. 23. Klein Gedact, tin ......... 4 feet tone.
17. Principal, tin in front ...... 8 feet. 24. Waldflote, tin............... 4 feet.
18. Gemshorn, the bass and 25. Quint, tin..................... 23 feet.
tenor octaves of wood, 26. Octave, II ranks, tin...... 2 feet & I ft.
the treble of tin ......... 8 feet. 27. Mixture, IV ranks, tin, c*.
I9. Still Gedact, Wood ......... 8 feet tone, - e', g’, Cº.................. 2 feet.
2O. Quintaton, tin ............... 8 feet tone,
Echo, I2 Stoffs,
Smaller Scale and delicate intonation,
28, Quintaton, the bass octave 34. Spitzflote, tin ......... 7 t t e º a 4 feet,
of wood, the remainder 35. Flote Traversière, wood... 4 feet.
of tin........................ I6 feet tone. 36. Flageolet, tin ............... 2 feet,
29. Geigen Principal, tininfront 8 feet. 37. Sifflote, tin .................. I foot.
30. Salicional ..................... 8 feet. 38. Mixture, III ranks, tin,
3I. Gedact, wood ............... 8 feet tone. cº, g’, cº .................. 2 feet.
32. Flote Traversière, wood... 8 feet. 39, Clavioline .................. 8 feet.
33. Octave, tin .................. 4 feet.
Pedal, 8 Stoffs.
Margest Scale and fullest intonation,
40. Untersatz, wood ............ 32 feet tone. 45. Octaven Bass, wood ...... 8 feet.
41. Principal Bass, wood ...... I6 feet, 46. Violoncello, wood ......... 8 feet.
42. Violon, wood ............... I6 ſeet. 47. Traversen Bass ... ........ 8 feet.
43. Sub-bass, wood ............ I6 feet tone. 48. Posaune, wooden tubes ... I6 feet.
44. Traversen Bass, wood...... I6 feet,
Accessory Słożs, Movements, &c.
1. Coupler Choir to Great, 5. Tremulant,
2. Coupler Echo to Great. 6, 7, 8, 9. Four double action composition
3. Coupler Great to Pedal. Pedals,
4. Coupler Choir to Pedal.
Com/ass,
Manuals, CC to f" in alt., 54 notes, Pedal, CCC to tenor d, 27 notes.
43. GOTHA,
The organ in St. Augustine's Church, at Gotha, was built in 1841, by Schulze,
and contains 34 stops, of which the following is a list –
Great, I 5 Stoffs.
1. Bourdon to the fiddle g key 32 feet tone. 6. Hohlflote..................... 8 feet,
2. Principal ; bass and tenor 7, Octave........................ 4 feet.
octaves of wood ; from 8. Hohlflote..................... 4 feet.
the middle cº key up- 9. Gedact........................ 4 feet tone.
wards, of tin ............ I6 feet. IO. Quint ........................ 2% feet.
3. Bourdon ... . . . . . . . . . . . . . . . . . . 16 feet tone. II. Octave ........................ 2 and I.
4. Octave ; bass octave of I2. Mixture, V ranks ... ...... 2 feet.
wood; from tenor c up- I3. Cymbale, III ranks ...... 2 feet.
wards, of tin, ... ... & a # s : * * * 8 feet. I4. Cornett, III ranks.
5. Gamba . . . . . . . . . . . . . . . . . . . . . . . . 8 feet, I5. Trompette ... . . . . . . . . . i e i t t a 8 feet,
AN ACCOUNT OF FOREIGN ORGANS, 365
I6.
I7.
I8.
I9.
2O,
27.
28.
29.
3O.
Choir, II Słożs.
Lieblich Gedact ............ I6 feet tone. 2I. Lieblich Gedact ............ 8 feet tone.
Geigen Principal ; bass oc- 22 Octave ........................ 4 feet.
tave wood.................. 8 feet. 23. Flaute Douce ............... 4 feet.
Salicional ..................... 8 feet. 24. Quinte ........................ 2% feet.
Flauto Traverso ............ 8 feet, 25. Octave ........................ 2 feet.
Harmonica..................... 8 feet, 26. Scharf, III ranks ......... 2 feet.
Pedal, 8 Stoffs.
Principal Bass ............... I6 feet. 31. Violoncello .................. 8 feet.
Violon Bass .................. I6 feet, 32. Gedact Bass.................. 8 feet tone,
Sub-bass ............. ... • . . . . . . I6 feet tone. 33. Posaune ..................... 32 feet.
Octave Bass ..............,..., 8 feet, 34. Posaune ..................... I6 feet,
44, GOTHA.
\
The organ in the Church of St. Margaret, at Gotha, was also built by Schulze.
It contains 26 stops, distributed as follows:—
Great or Lower Manual, 13 Stoffs.
I. Principal ..................... I6 feet. 8. Quint, stopped wood ...... 5; feet tone.
2. Bourdon........................ I6 feet tone, 9. Octave ........................ 4 feet.
3. Principal ..................... 8 feet. IO. Flote........................... 4 feet.
4. Gamba ........................ 8 feet, II Quint........................ 23 feet.
5. Hohlflote ..................... 8 feet. Octave ..................... 2 feet.
6. Gedact ........................ 8 feet tone. I2. Mixture, V ranks............ 2 feet.
7, Harmonica .................. 8 feet. I3. Scharf, III ranks............ 2 feet.
Choir or Užffer Manual, 7 Stoffs.
14. Lieblich Gedact ............ I6 feet tone, 18. Flauto Traverso ............ 8 feet.
15. Geigen Principal ............ 8 feet. I9. Principal ..................... 4 feet.
I6. Salicional ..................... 8 feet. 2O. Flauto TraverSO ............ 4 feet,
17, Lieblich Gedact ..........., 8 feet tone, - •
Pedal, 6 Stoffs.
2I, Principal Bass ............... I6 feet. 24 Octaven Bass ............... 8 feet.
22. Violon ........................ I6 feet. 25. Violoncello .................. 8 feet.
23. Sub-bass ..................... I6 feet tone. 26. Posaune ........ ... • * * * * * * * * * * * * I6 feet,
45. HAARHAUSEN.
The organ in the Church at Haarhausen, in the Dukedom of Gotha, has 2.
Manuals and Pedal, and 22 stops. The following is its disposition —
Great, Io Stoffs.
I. Quintaton ..................... I6 feet tone. 6. Octave ........................ 4 feet.
2. Principal, English tin ...... 8 feet. 7. Quint ........................ 23 feet.
3. Gedact ........................ 8 feet tone, 8. Super-Octave ............... 2 feet.
4. Gamba ........................ 8 feet. 9. Mixture, IV ranks ......... 2 feet.
5. Hohlflote, of wood ......... 8 feet, IO, Cymbale, III ranks ...... I foot.
Choir, 8 Słożs.
II. Flote, to tenor c ............ 8 feet. I5. Nachthorn .................. 4 feet.
I2. Still Gedact .................. 8 feet tone. I6. Octave ........................ 2 feet.
I3. Quintaton .................... 8 feet tone. 17, Sesquialtera, II ranks ... 23 feet.
I4.
Principal, English tin ... ... 4 feet. I8. Mixture, IV ranks ......... I foot.
366 APPENDIX.
Pedal, 4 Słoffs.
I9. Violon Bass ... ............... I6 feet. 21. Octaven Bass ............... 8 feet.
20. Sub-bass ..................... I6 feet tone. 22. Posaunen Bass............... I6 feet,
Accessory Słońs, &c.
I. Choir to Great. 3, 4, 5, Three Wind-trunk valves,
2. Great to Pedal, - #
46. ELTSLEBEN,
The organ in the Church at Eltsleben, in the Princedom of Schwartzburg, was
built.by Francis Volkland, of Erfurt. It has 2 Manuals and Pedal, and 28 stops,
the names and distribution of which latter are as follow —
Greaſſ, 12 Stoffs.
I, Quintaton ... . . . . . . . . . . . . . . . . . . I6 feet tone, 7. Quint ........................ 23 feet,
2. Principal, English tin ....., 8 feet, 8. Super-Octave ............... 2 feet.
3. Bourdon,........ . . . . . . . . . . . . . . . 8 feet tone. 9. Sesquialtera, II ranks...... • 23 feet.
4. Gamba ........................ 8 feet. IO. Mixture, VI ranks ......... 2 feet.
5. Flauto Traverso ............ 8 feet. II. Cymbale, IV ranks......... I foot,
6, Octave ... . . . . . . . . . . . . . . . . . . . . . 4 feet. I2. Trompette .................. 8 feet,
Choir, Io Stoffs.
3. Gedact . . . . . . . . . . . . . . . . . . . . . . . . 8 feet tone. 18. Hohlflote ..................... 4 feet.
I4. Quintaton ..... ::::::::. . . . . . . . 8 feet tone, 19. Octave ........................ 2 feet.
15. Principal, English tin ...... 4 feet. 2O. Sesquialtera, II ranks ... 23 feet.
I6. Nachthorn..................... 4 feet. 2I. Mixture, IV ranks ......... I# foot.
17, Spitzflote . . . . . . . . . . . . . . . . . . . . . 4 feet. 22, Vox Humana ............... 8 feet tone,
Pedal, 6 Stoffs.
23. Violon Bass .................. I6 feet. 26. Violon Bass.................. 8 feet.
24. Sub-bass........................ I6 feet tone, 27. Hohlfloten Bass ............ 4 feet.
25, Octaven Bass ............... 8 feet, 28, POSaunen Bass............... I6 feet.
Accessory Słońs, Movements, &c.
I. Coupler Choir to Great. 4, 5, 6. Three Wind-trunk valves to Manuals
2. Coupler Great to Pedal. and Pedal.
3. Tremulant to Choir. 7. Cymbelstern, g, h, d, g.
8. Cymbelstern, c, e, g, c,
47. WALTERSHAUSEN.
The fine organ at Waltershausen, in the Dukedom of Gotha, was built by
G. H. Trost, of Altenbourg, in the years 1726 to 1730. It contains 3 Manuals and
Pedal, and 50 Sounding stops; the names and distribution of which latter are as
follow :-
Great, 17 Stoſs.
I. Bourdon........................ I6 feet tone. IO, Rohrflote ..................... 4 feet tone.
2. Quintaton ..................... I6 feet tone. II. Salicional ..................... 4 feet.
3. Prestant, Eng. tin, in front 8 feet. 12. Quint ........................ 23 feet.
4. Bourdon........................ 8 feet tone, I3. Super-Octave ............... 2 feet.
5. Gamba ......... . . . . . . . . . . . . . . . 8 feet. I4. Sesquialtera, II ranks ... 23 feet.
6. Gemshorn ..................... 8 feet. I5. Mixture, VIII ranks ...... 2 feet,
7. Quintaton ..................... 8 feet tone. I6. Tagotto........................ I6 feet.
8. Unda Maris .................. 8 feet tone. I7. Trompette .................. 8 feet.
9. Octave ... . . . . . . . . . . . . . . . . . . . . . 4 feet.
AN ACCOUNT OF FOREIGN ORGANS, 367
Choir, 12 Stoffs.
18. Spitzflote Major ...,....., ..., 8 feet. 24. Gemshorn Quint........,..., 23 feet,
I9. Nachthorn ................., 8 feet. 25. Nasat ........................ 23 feet,
2O. Principal, Eng, tin, infront 4 feet. 26. Octave........................ 2 feet.
21. Quintaton...................., 4 feet tone, 27. Sesquialtera .............., I # foot,
22. Gemshorn..................... 4 feet. 28. Mixture, IV ranks ...,...,..., 23 feet.
23, Flauto Douce .............., 4 feet. 29, Hautbois ..................... 8 feet,
- Echo, 7 Stoffs.
30, Geigen Principal, Eng, tin, 33. Flauto TraverSO ..........., 8 feet,
in front ..................... 8 feet. 34, Spitzflote..................... 4 feet,
3I. Doppel-Flute ............... 8 feet. 35. Still Gedact ............... 4 feet tone.
32. Hohlflote ..................... 8 feet. 36. Hohlflote.,,.................. 2 feet,
-- Pedal, I4 Stoffs.
37. Gross Untersatz ..........., 32 feet tone. 44. Viol di Gamba ............ 8 feet.
38. Gross Principal, Eng. tin, 45. Quint ........................ # feet,
infront ..................... I6 feet. 46. Octave........................ 4 feet.
39. Quintaton ..................... I6 feet tone. 47. Rohrſlote...................., 4 feet tone,
40. Violon ........................ I6 feet, 48. Mixture ..................... 2 feet,
41. Untersatz ..................... I6 feet tone, 49. Posaune ..................... I6 feet.
42. Octaven Principal ......... 8 feet. 50. Trompette .................. 8 feet,
43. Bourdon ..................... 8 feet tone.
Accessory Stoffs, Movements, &c.
I. Coupler Choir to Great. - 4. Tremulant to Choir.
2. Coupler Echo to Great. 5. Cymbelstern.
3, Coupler Great to Pedal, 6, 7, 8, 9. Four Wind-valves,
48. ZERBST,
The new organ in the Church of St. Nicholas, Zerbst, was built by Zuberier
and his partner, Geibelin, of Dresden, in 1840. It contains 37 Stops, 2 Manuals,
and a Pedal of 9 stops. The details of the instrument are as follow :—
Great, I 5 Stoffs.
I. Principal, in front ......... I6 feet, 9. Gedact.................. . . . . . . 4 feet tone.
2. Quintaton ..................... I6 feet tone. IO. Gemshorn .................. 4 feet.
3. Octave ........................ 8 feet. II. Quint ........................ 23 feet.
4. Gedact ........................ 8 feet tone, I2. Quint decima ............... 2 feet.
5. Viol di Gamba............... 8 feet. 13. Mixture, VI ranks.
6. Hohlflote ..................... 8 feet. I4. Cornett, IV ranks.
7. Quint ........................ 5% feet. I5. Trompette .................. 8 feet,
8, Super-Octave ............... 4 feet.
- Choir, I 3 Słoffs.
I6. Bourdon ..................... I6 feet tone. 23. Flaut Douce ............... 4 feet.
I7. Principal ..................... 8 feet. 24. Quint ...... . . . . . . . . . . . . . . . . . . 23 feet.
18. Gedact ........................ 8 feet tone. 25. Super-Octave ............... 2 feet,
I9. Quintaton ........ ............. 8 feet tone. 26. Waldflote..................... 2 feet.
2O. Flauto TraverSO ............ 8 feet. 27. Tertia ........................ I# foot.
21. Octave ........................ 4 feet. 28. Mixture, IV ranks......... 2# feet,
22, Salicet ........................ 4 feet.
Pedal, 9 Słońs.
29. Untersatz ..................... 32 feet tone. 34. Violoncello .................. 8 feet.
3O. Principal, in front ......... I6 feet. 35. Super-octave ............... 4 feet
31. Sub-bass ..................... I6 feet tone. 36. POSaune ..................... I6 feet.
32. Violon ........................ I6 feet. 37. Trompette .................. 8 feet,
33. Octave ........................ 8 feet.
Accessory Słoffs, Movements, &c.
I, Coupler Great to Pedal. | 2, 3, 4. Three Wind-trunk valves,
Six Bellows, Io feet by 5.
368
APPENDIX,
49, LANGENSULZA.
The new organ in the Church of St. Boniface, at Langensulza, contains 34 stops,
distributed among 2 Manuals and Pedal in the following manner —
Great, I4 Słożs.
8. Spitzflote.,,,,................ 4 feet.
9. Quint .......... . . . . . . . . . . . . . . . # feet.
IO. Super-Octave ............... 2 feet,
II. Mixture, VI ranks ......... 2 feet.
I2. Cymbale, III ranks ....., I foot,
I3. Cornett, III ranks.
I4. Trompette .................. 8 feet
Choir, 13 Stoffs.
I. Bourdon, of wood ......... I6 feet tone.
2. Principal, of English tin.., 8 feet.
3. Bourdon ..................... 8 feet tone,
4. Gemshorn .................. 8 feet
5. Viol di Gamba............... 8 feet
6. Flauto Major .............., 8 feet
7, Octave ........................ 4 feet
I5, Quintaton ..................... I6 feet tone,
I6. Principal, of English tin... 8 feet.
I7. Gedact, wood ............... 8 feet tone.
18. Flauto Traverso, pear-tree
- wood........................ 8 feet,
19. Klein Gedact, metal ... ... 4 feet tone.
20, Nachthorn, , , , , , ............... 4 feet,
Pedal, 7
28. Gross Untersatz, wood ... 32 feet tone.
29, Principal Bass, wood ...... I6 feet.
30. Violon Bass, wood ......... I6 feet tone.
3I. Sub-bass, wood ............ I6 feet tone.
21. Flach-flote, pear-tree wood 4 feet.
22. Octave, metal ............... 2 feet.
23. Sesquialtera, II ranks ... 23 feet.
24. Mixture, IV ranks ......... 2 feet.
25, Scharf, IV ranks ......... I foot.
26, Cymbal, III ranks......... # foot.
27. Vox Humana ............... 8 feet tone,
Stoffs.
32. Traversen Bass, wood ... I6 feet.
33. Octaven Bass, Wood ...... 8 feet,
34. Posaunen Bass, wood ... I6 feet.
Accessory Stoffs, Movements, &c.
1. Coupler Choir to Great.
2. Coupler Great to Pedal.
3. Coupler Choir to Pedal,
4. Tremulant to Choir.
3. 6, 7. Three Wind-trunk valves,
, Cymbelstern.
50. MUHLHAUSEN,
The organ in the Church at Muhlhausen has 60 sounding stops, 3 Manuals
and Pedal. The following is a list of the stops —
Great, I 5 Stoffs.
I. Bourdon ..................... I6 feet tone, 9. Super-Octave ............... 2 feet
2. Surdun ........................ I6 feet tone, Io, Waldhorn .................. 2 feet
3. Principal ..................... 8 feet. II. Sexte ........................ 23 feet
4. Spitzflote ..................... 8 feet, I2. Sifflote........................ I foot
5. Salicional ..................... 8 feet. 13. Mixture, VII & VIII ranks. :
6. Octave ........................ 4 feet; I4. Mixture, WI ranks.
7, Offenefiote .................. 4 feet. I5, Zink, reed .................. 8 feet
8. Quint........................... 2% feet.
Choir, 14 Słożs.
I6. Principal ..................... 8 feet. 23. Super-Octave .............., 2 feet
I7. Gedact ........................ 8 feet tone, 24. Gemshorn .................. 2 feet
I8. Quintaton ..................... 8 feet tone. 25. Tertian........................ 2 feet
I9. Hohlflote ..................... 4 feet. 26. Sifflote........................ I foot
29. Quintaton ..................... 4 feet tone. 27. Mixture, VI ranks.
2I. Querfiote ..................... 4 feet. 28. Dulcian ..................... I6 feet.
22, Quint,.......................... 23 feet 29, Krummhorn ............... 8 feet tone,
Echo, I3 Stoffs.
30. Salicional ..................... I6 feet. 37. Waldflote .................. 2 feet
3I. Principal ...................... 8 feet 38. Tertia ........................ 2 feet
32. Viol di Gamba............... 8 feet 39. Cymbale, IV ranks.
33. Hohlflote ..................... 8 feet 40. Harfen-regal ............... I6 feet
34. Spitzflote ..................... 4 feet 4I. Hautbois ..................... 8 feet
35. Flote Douce .................. 4 feet. 42. Trompette .................. 4 feet
36. Quint ........................ 2% feet,
AN ACCOUNT OF FOREIGN
ORGANS.
Pedal, 18 Stoffs.
43. Sub-bass........................ 32 feet tone.
44. Principal ..................... I6 feet,
#. * * * * * * * * * * * * * * * * * * * * * * * * * I6 feet tone.
40. Octave ... .................... 8 feet.
47. Waldflote ..................... 8 feet.
48. Octave ........................ 4 feet.
49, Quintaton ...... .............. 4 feet tone.
50. Nachthorn ..................... 4 feet.
5.I. Super-octave ... ............... 2 feet
52. Super-Super-Octave ......... I foot
53. Mixture, X ranks.
54. Posaune ..................... 32 feet
55. Posaune ..................... I6 feet
56. Dulcian........................ I6 feet
57. Trompete ..................... 8 feet.
58. Krummhorn .................. 8 feet tone.
59. Schalmey ..................... 4 feet tone.
60. Cornett........................ 2 feet,
51. MERSEBURG.
The Organ in the Cathedral Church, at Merseburg, in Saxony, originally erected
in the year 1629, and enlarged in 1698, was considerably augmented and improved
by Herr Ladegast, in the year 1853.
It now contains 5686 pipes, and the follow-
ing 8 I Sounding stops. The compass of the Manuals is from CC to g in alt. ; and
the Pedal, from CCC to tenor f.
Aſatºwerä, 20 Słoffs,
I. Sub-Bourdon, to tenor c II. Gedact, metal ............ 4 feet.
key, CCC pipe............ 32 feet tone. I2. Gemshorn, metal............ 4 feet.
2. Principal, in front, Eng, tin I6 feet tone. I3. Quint, metal.................. 23 feet
3. Bourdon, wood ............... I6 feet tone, I4. Octave, metal ............... 2 feet.
4. Principal, in front tin ...... 8 feet. I5. Doublette, II ranks........, 4 & 2 feet.
5. Doppel Gedact, wood ...... 8 feet tone. I6. Mixture, IV ranks.
6. Gamba, tin .................. 8 feet. 17. Scharf, IV ranks.
7. Hohlflote, wood ............ 8 feet. 18. Cornet, III to V ranks.
8. Gemshorn, tin ............... 8 feet. I9. Fagotto........................ I6 feet
9. Quint Gedact, tin ............ #feet tone. 20, Trompette .................. 8 feet
IO, Octave, tin..................... 4 feet,
Oberwerk, 16 Stoffs,
2I. Quintaton, metal ............ I6 feet tone. 29. Spitzflote, wood ............ 4 feet
22. Principal, tin ............... 8 feet. 3O. Quint, metal.................. 23 feet
3. Rohrflote, tin.................. 8 feet tone. 31. Waldflote, metal ............ 2 feet.
24, Gamba, tin..................... 8 feet. 32. Terz, metal .................. I} foot
25. Gedact, tin .................. 8 feet tone. 33. Sifflote, metal ............... I foot.
26. Flaute Amabile, wood ...... 8 feet. 34. Mixture, IV ranks.
27. Octave, metal ............... 4 feet. 35. Schalmey, metal............ 8 feet tone.
28, Rohrflote, metal ............ 4 feet tone, 36. Stahlspiel.
Ailchºositiv, II Stoffs.
37. Bourdon, wood............... I6 feet tone, 43. Gedact, metal ............ 4 feet tone.
38. Principal, Eng. tin ......... 8 feet. 44. Octave, metal ............... 2 feet,
39. Flauto Traverso, wood ... 8 feet. 45. Mixture, IV ranks.
40. Quintaton, metal ............ 8 feet tone. 46. Cornett, II to V ranks.
4I. Fugara, tin..................... 8 feet, 47. Oboe . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 feet,
42, Octave, metal ............... 4 feet
Brustwerk, I4 Stoffs.
48. Lieblich Gedact, wood ... I6 feet tone. 56. Salicional, metal ............ 4 feet
49. Geigen Principal, tin ...... 8 feet. 57. Nasat, metal ............... 23 feet
50. Lieblich Gedact, wood 8 feet tone. 58. Octave, metal ............... 2 ſeet
5.I. Salicional ..................... 8 feet. 59. Cymbale, III ranks.
52. Flauto Dolce, wood......... 8 feet. 60. Progressiv-Harmonica, II to
53. Unda Maris, II ranks, tin 8 feet. IV ranks.
54, Octave, tin..................... 4 feet 61. AEoline ........................ I6 feet.
55. Zartflote, wood ............... 4 feet
370
APPENDIX.
Pedal, 20 Stoffs.
62. Untersatz, wood ............ 32 feet. 72. Rohr Quint, metal ......... 5 feet
63. Principal, Eng. tin, in front 16 feet. 73. Octave, metal ............... 4 feet.
64. Sub-bass........................ I6 feet tone. 74. Flote, wood .................. 4 feet
65. Violin Bass .................. I6 feet. 75. Scharf-flote, metal ......... 4 feet
66. Salicet Bass .................. I6 feet. 76. Mixture, IV ranks.
67. GroSSmaSat .................. Io; feet. 77. Cornett, IV ranks.
68. Principal ..................... 8 feet. 78. Posaune ..................... 32 feet
69. Bass-flote ..................... 8 feet. 79. Posaune. ..................... I6 feet
70. Violoncello .................. 8 feet, 80. Dulcian........................ I6 feet
7I. Terz, metal .................. 63 feet. 8I. Trompette .................. 8 feet
A ccessory Stoffs, Movements, &c.
82-84. Three Manual Couplers.
85-87. Three Pedal Couplers.
88-91. Four Wind-valves to Manuals.
92-94. Three Wind-valves to Pedals.
95, Tremulant,
. Collectivzug to Pedal.
, Calcantenruf.
. Cymbelstern.
. Echozug,
. Vacant.
. HALLE.
The old organ in the Church of St. Maurice, at Halle, was made by Isaac
Compenius, of Brunswick, in 1625.
and contains 40 stops, distributed between
The present instrument was built by Schulze,
3 Manuals and Pedal. The Sound-
boards are made to slope upwards from front to back, so that the stops stand in
terrace form.
Greaf, I4 Sãoffs.
I. Bourdon to the fiddle g key 32 feet tone. 8. Quint ........................ 5; feet
2. Principal ..................... I6 feet. 9. Octave ........................ 4 feet.
3. Bourdon ..................... I6 feet tone. IO. Flote ........................... 4 feet.
4. Octave ........................ 8 feet. II. Quint and Octave...... 2# & 2 feet
5. Gedact ........................ 8 feet tone. I2. Mixture, V ranks ......... 2 feet.
6. Gamba ........................ 8 feet. I3. Cornett, III ranks.
7, Hohlflote ..................... 8 feet I4. Trompette..................... 8 feet
Choir, Io Sãoffs.
I5. Bourdon........................ 16 feet tone. 20, Octave ........................ 4 feet.
I6. Principal ..................... 8 ſeet. 2I. Hohlflote ..................... 4 feet.
17. Gedact ........................ 8 feet tone. 22. Quint ........................ 2% feet
18. Flote ........................... 8 feet. 23. Octave ........................ 2 feet.
I9. Salicional ..................... 8 feet 24. Scharf, V ranks ............. 2 feet
FCho, 8 Słożs.
25. Lieblich Gedact ............ I6 feet tone. 29. Harmónica .................. 8 feet
26. Geigen Principal ............ 8 feet. 3O. Schweizerfiote ............... 8 feet
27. Lieblich Gedact ............ 8 feet tone. 3I. Geigen Principal ............ 4 feet.
28. Flauto Traverso ............ 8 feet. 32. Gedact ........................ 4 feet tone.
Pedal, 8 Stoffs.
33. Principal Bass ............... 16 feet. 37. Gedact Bass ............... 8 feet tone.
34. Sub-bass ..................... I6 feet tone. 38. Violoncello .................. 8 feet.
35. Violone ......................... I6 feet 39. Posaune ..................... 32 feet.
36. Octave Bass .................. 8 feet 40. Posaune ..................... I6 feet.
AN ACCOUNT OF FOREIGN ORGANs,
37 I
. Hohlflote
. Quint
i.
. Lieblich Gedact
I6.
I7.
I8.
I9.
, Harmonica
53. LOIZ.
The organ in the Marien-Kirche at Loiz, built by Johann Frederic Schulze, has
34 Sounding stops, 2 Manuals, and Pedal. The following is a list of its contents:—
. Bourdon to the fiddle g key
. Bourdon
. Principal
* * * - - - - - - - - * * * * * * * * - -
* * * * * * * * * * * * * * * * * * * * *
Gedact
Gamba
# * * * * * - - - - - - - - tº e is g º e º 'º - -
* g º e s - - - - - - - - - e. e. e. e. e. e. e s - -
tº s º a • * * * * * * * * * * * * * * * *
s a t < e s m e º 'º e º a tº s º e º e a s = e 4
Geigen Principal ............
Lieblich Gedact
Salicional .....................
Flauto Traverso
• * * * * * * * * * ~ *
* * * * * * * * * c > t e g º a a
Great, I4 Stoffs.
32 feet tone,
I6 feet,
8 feet.
8 feet tone.
8 ſeet.
8 ſeet.
5% feet.
Choir, I2 Słożs.
I6 feet tone,
8 feet.
8 feet tone.
8. Octave ........................ 4 feet
9. Gedact-flote .................. 4 feet
IO. Quint........................... 23 feet
II. Octave ........................ 2 feet
I2. Mixture, V ranks............ 2 feet
I3. Scharf, III ranks............ 2 feet
I4, Trompette..................... 8 feet.
21. Octave ........................ 4 feet
22. Flauto Traverso ............ 4 feet
23. Quint ........................ 23 feet.
24 Octave ........................ 2 feet
25. Scharf, III ranks............ 2 feet
26. Afoline ........................ 8 feet
Pedal, 8 Stoffs.
* * * * * * * - - - - - * * * * * * * * * * * * 8 feet tone.
3I. Gedact
32. Violoncello .................. 8 feet.
33. Posaune ..................... 32 feet.
34. Posaune ..................... I6 feet,
Compass.
Pedal, CCC to tenor d, 28 tones.
54. KATSCHER.
The organ in the Catholic Church at Katscher was built by Müller, sen., in *
27. Violone........................ I6 feet.
28. Sub-bass ..................... I6 feet tone.
29, Gross Quint................... Io; feet.
3O, Octaven Bass ............... 8 feet.
Manuals, CC to fº in alt., 54 tones.
1843.
the following manner:—
I2.
I3.
I4.
I8.
I9.
. Doppel-rohrflote,
. Bourdon, maple-wood in the
treble, pine in bass ......
. Principal, ſº tin, in front...
. Salicet, maple-wood totenor
C, remaining Octave, pine
Oak to
middle cº, pine for the
remaining two octaves
Principal, in front
Salicet, of probe tin in the
treble, pine in the bass
Flaut major, oak in the
treble, pine in the bass
* * * * ~ *
Violon, of pine-wood
Sub-bass, of pine-wood ...
It has 21 Sounding stops, distributed among 2 Manuals and Pedal in
Great, I I Słońs.
I6 feet tone.
8 ſeet,
8 feet.
8 ſect tone.
Choir, 6 Słożs.
8 feet.
8 feet,
8 ſeet tone.
Pedal, 4 Stoffs.
I6 feet.
I6 feet tone.
5. Portunalflaut ............... 8 feet.
6. Principal ..................... 4 feet tone.
7. Doppel-rohrflote, of oak... 4 feet tone.
8. Gemshorn quint, metal ... 2% feet.
9. Super-octave, metal ...... 2 feet.
Io. Mixture, probe tin, Vranks.
II. Trompette .................. 8 feet
I5. Salicet ........................ 4 feet.
I6. Portunal, of maple and pear-
tree woodstotenor c; the
last octave of pine ...... 4 feet.
I7. Violini, I4 loth, probe tin 2 feet.
2O. Violon, of pine wood ...... 8 feet.
2I. Posaune, peartree-wood ... I6 feet.
M M 2
372 APPENDIX.
Accessory Słoffs, &c. Compass, &c.
I. Wind to Great. Manuals, CC to dº in alt.
2. Wind to Choir. Pedal, CCC to tenor d.
3. Wind to Pedal. 3 Bellows, 9 feet by 4%.
55. ERDMANNSDORF.
The organ in the Church at Erdmannsdorf was built by Buckow, in 1840 ; and
has 19 sounding stops, of which the following is a list —
Great, 9 Stoffs.
I. Bourdon, wood............... I6 feet tone, 6. Nazard (conical) 12loth, tin 3 feet.
2. Principal, of Eng. tininfront 8 feet. 7. Super-octave, I4 loth, tin 2 feet,
3. Gemshorn, I4 loth. tin ... 8 feet. 8. Cornetti, I2 loth. tin, of
4. Principal octave, Eng. tin in conical pipes, III ranks 2 feet.
front ........................ 4 feet. 9. Progressio, I4loth, tin, III
5. Gemshorn, I4 loth, tin ... 4 feet. and IV ranks ............ 2 feet.
Choir, 6 Słoffs.
Io. Salicional, Eng, tin......... 8 feet, . 14. Flautd'amour, Ioloth.metal 4 ſeet.
II. Viola di Gamba ............ 8 feet. I5. Flautino, I2 loth. probe tin,
I2. Flauto Douce, Ioloth, metal, conical pipes............... 2 feet.
lower octaves of wood... 8 feet. I6. Slide for a reed stop of ... 8 feet.
I3, Principal, Eng, tin ......... 4 feet.
Pedal, 4 Stoffs.
I7. Violon, wood ............... I6 fect. I9. Violoncello, the upper notes
I8. Sub-bass, wood ..........., I6 feet tone, of probe tin ............... 8 feet.
20. Posaune ..................... I6 feet,
A ccessory Słożs, &c.
I. Coupler, Choir to Great. 2. Coupler, Great to Pedal, 3, 4, 5. Three Wind-trunk valves.
Compass, &c. .
Manuals, CC to fº in alt. Pedal, CCC to tenor d.
56. KRUMOLS,
The organ in the new Catholic Church at Krumols has 22 sounding stops, of
which the following is a list —
Great, IO Słoffs.
I. Bourdon, metal treble, wood 5. Octave, I2 loth. Eng. tin 4 feet.
bass ........................ I6 ſcet tone. 6. Gemshorn, I2 loth. Eng. tin 4 feet.
2. Principal, Eng.tin, polished, 7. Quint, I2 loth. Eng. tin 23 feet.
and in front ............... 8 feet. 8. Super-octave, I2 loth. Eng.
3. Gemshorn, 14 loth, Eng. tin 8 feet. tin ........................... 2 feet.
4. Hohlflote, the upper 3% oc- 9. Progressio, I2 loth. Eng. tin,
tave in Ioloth, metal, the III, IV, and V ranks ... 2 feet.
remainder in wood ...... 8 feet. IO. Trompette..................... 8 feet,
Choir, 8 Słożs.
II. Viola di Gamba, I5 loth. I4. Flautd’amour, Ioloth.metal 4 feet.
Eng, tin .................. 8 feet, I5. Quinta dulcis ............... 23 feet.
I2. Flaut Douce, IO loth, metal I6. Flautino, I2 loth. Eng. tin, 2 feet.
to tenor c, last Octave I7. Flauto Piccolo, I2 loth.
Wood ... . . . . . . . . . . . . . . . . . . 8 ſeet. Eng: tin..................... I foot.
13. Principal, I4 loth. Eng. tin, I8. Cornetti, I2 loth, Eng, tin,
in front..................... 4 feet. III ranks,
AN ACCOUNT OF FOREIGN ORGANS. 373
Pedaſ, 4 Stoffs.
I9. Principal, wood............... I6 feet. 2I. Octave, I2 loth tin ......... 8 feet.
2O. Sub-bass, wood............... I6 feet tone. 22, POSaune........................ I6 feet.
Accessozy Słoffs, Movements, &c.
I. Coupler, Choir to Great. 3, 4, 5. Three Wind-trunk valves.
2. Coupler, Great to Pedal.
º Compass. Y-
Manuals, CC to fº in alt. | Pedal, CCC to tenor d. | Three Bellows, Io feet long.
57. HALBERSTADT.
by J. F. Schulze, in the year 1838.
pipes. There are 4 Manuals and a Pedal organ of 18 Stops.
The organ in the great church at Halberstadt was almost completely re-built
of the stops is as follows :-
I7.
I8.
I9.
2O.
2I.
22,
29,
3O.
. Principal
Octave
. Gemshorn
Gedact
Nasat .
Octave
. Gedact
. Quint
. Gedact
Quintaton
Principal
Viola di Gamba
Hohlflote
Gedact
Octave
Bourdon
Principal
. Salicional
32.
33.
34.
Gedact
Octave
tº $ 9 tº a tº # tº t t is a tº e º 8. § { * $ tº
tº g º e º t e º a # 8 tº e g º g º 4 & 8 ° tº s
tº gº tº e g º $ tº tº e º e º # 3 e º 'º 8 tº
$ tº e g g g tº e º e º º ſº º q & s : º a s º a º
a s # 8 tº * * * * * * * * * * * * * * * * * * * * *
* * * * * * * * * * * : * * * * * * * * * * * *
tº t e º 'º g tº t is $ g º 8 tº 8 9 & e is a 4 tº a
& 9 tº e º & t e º 'º e s tº a ſº a 3 tº t t e º tº
tº 9 s tº w w tº s t t is a t < * * * tº # 4 º'
• s & s & E & 8 s tº w & e s tº e º t e º 'º t t tº
* = & e º ſº e = * * * * * * *
a s e º q & 8 s tº e s º º t e º e º is 9 &
tº g g g g g g g g º g tº e s & s 6 & # * * * * *
* * * * * * * * * * * * * * * * * * s e º & º
u e º f g º a tº a 3 s is s is a tº e º 'º º a tº
* g º 'º 9 tº $ tº & # 8 s tº w t t t tº 4 & 9 º' tº tº
* * * * * * * * * * * * * * * > e º a 6 tº
tº e º e º 'º e tº g ſº tº tº a tº t e º e º tº tº 9 º'
* g g g g tº $ tº r + tº e º # * * * * * : * tº 9 tº
* g g g g g º o e s ſº tº $ e º s tº e º e
Aºrsé Manual, I 5 Stoffs.
It has 65 Sounding-stops, and about 4,250
The specification
I6 feet. 9. Octave ............... ........ 2 feet
8 feet. IO. Mixture, WI ranks ......... 2 feet
8 feet. II. Scharf, IV ranks ............ 2 feet.
8 feet tone. I2. Cornett, IV ranks.
5% feet. I3. Contra-bourdon ............ 32 feet tone.
4 feet. I4. Trompette..................... I6 ſect.
4 feet tone. I5. Trompette..................... 8 feet
2% feet.
Second Mantual, I3 Stoffs.
I6 feet tone. 23. Flute Douce ... . . . . . . . . . . . . . . . 4 feet.
8 feet. 24. Quint........................... 2% feet
8 feet. 25. Octave ........................ 2 feet.
8 feet. 26. Mixture, V ranks............ 2 feet
8 feet. 27. Cymbale, III ranks......... I foot
8 feet tone. 28, Hautbois ..................... 8 feet
4 feet.
Third Manual, I I Stoffs.
I6 feet tone. 35. Nasat......................... . 23 feet.
8 feet, 36. Octave .................... .. 2 feet.
8 feet. 37. Mixture, IV ranks.
8 feet tone. 38. Cornett, III ranks.
4 feet. 39, Vox humama.............. .. 8 feet tone.
4 feet.
Fourth Manual, 8 Stoffs.
I6 feet tone. 44. Lieblich Gedact
. Lieblich Gedact
. Terpodion
, Harmonica
, Flauto
. Untersatz
. Principal
. Violone
. Sub-bass
. Sub-bass
. Grossnasat
. Octave
, Violoncello.....................
, Gedact
s tº ſº tº º f * tº t tº a 3
s e º e g g { * * * * * * * * * * * * * *
• a s tº g g tº a s g º 'º e g º º t e º a t
Traverso ............
* * * * * : * * * * * * * * * * * * * tº ſº
g g g g g g g g g is a 9 tº e g º f is t tº # 8 º' s
tº e s tº g º e g º s s e s ∈ e º 'º tº a s e º e &
tº 6 g º e s a tº a tº e s tº £ tº t e º $ tº tº $ $ 8
* e s tº g º $ tº t t t w e º e º is e tº $ 8
tº e º e s a s g g s e º 'º º & tº e º 'º w w tº $ tº
8 feet tone.
8 feet. 45. Principal ..................... 4 feet.
8 feet. 46. Flauto Traverso ............ 4 feet.
8 feet. 47. Phyzharmonica............... 8 feet.
Aedaſ, 18 Sãoffs.
32 feet tone, 57. Tertia ..................... . 63 feet.
I6 feet. 58. Nasat........................... 5% feet.
I6 feet. 59. Octave ........................ 4 feet.
I6 feet tone, 60. Mixtur, IV ranks............ 4 feet.
. I6 feet. 6I. Cornett, V ranks.
Io; feet. 62. Posaune........................ 32 feet
8 feet. 63. Posaune............ ........... I6 feet
8 feet. 64. Trompette...... .............. 8 ſeet
8 feet tone, 65. Trompette..................... 4 feet
374 APPENDIX.
58. HIRSCHIBERG.
The large organ in Christ Church, Hirschberg, has 62 sounding Stops, 4
Manuals, Pedal of 16 stops, and 3,844 pipes. The stops are disposed in the
following manner —
Aºrst Manual, 16 Stoffs.
I. Principal, # tin ............... I6 feet. 9. Quint, tin ..................... 23 feet.
2. Quintaton, metal ............ 16 feet tone. Io. Vigesima Secunda, tin...... 2 feet.
3. Principal, Eng, tin ......... 8 feet. II. Rauschguint, II ranks, tin I} foot.
4. Gemshorn, metal ............ 8 feet. 12. Mixture, V ranks, tin ...... 2 feet.
5. Hohlflote, wood ............ 8 feet. I3. Scharf, IV ranks, tin ...... I# foot.
6. Nazard, tin..................... 5% feet. 14. Cymbale, III ranks, tin... I ſoot.
7. Super-Octave, tin ............ 4 feet. I5. Tromba, # tin ............... I6 feet.
8. Flute Douce, wood ......... 4 feet. 16. Trompette, # tin ............ 8 feet.
Second Manital, I 3 Stoffs.
17. Bourdon, Oak-wood ......... I6 feet tone. 24. Super-octave, tin ............ 2 feet.
I8. Principal, in front, tin ...... 8 ſeet. 25. Terz, tin ... . . . . . . . . . . . . . . . . . . I; foot.
I9. Gedact, metal ............... 8 feet tone. 26. Flageolet, tin ............... I ſoot.
2O. Quintaton, metal ....... . . . . . . 8 feet tone. 27. Mixture, VI ranks, tin...... 2 feet.
21. Octave, tin..................... 4 feet. 28, Cymbale, III ranks, tin ... I; foot.
22, Gemshorn, tin ............... 4 feet. 29. Vox humana, # tin ......... 8 feet tone.
23. Quint, tin ..................... 23 feet.
Third Manual, Io Stoffs.
30. Principal, Eng. tin ......... 8 feet. 35. Quint......... . . . . . . . . . . . . . . . . . 2% feet.
3I. Fugara, pine and maple-wood 8 feet. 36. Super-Octave.................. 2 feet.
32. Gedact, oak-wood............ 8 feet tone. 37. Mixture, IV ranks.
33. Octave ........................ 4 feet. 38. Sesquialtera, II ranks.
34. Rohrflote, metal ............ 4 feet tone, 39. Schalomo, tin ............... 8 feet tone.
Fourtſ. Manua/, 7 Słożs.
40. Prestant, tin ...... ........... 8 feet. 44. Super-octave, tin............ 2 feet.
4I. Flaut Douce, wood ......... 8 feet. 45. Cornett, II ranks, tin ...... I# foot,
42. Octave, tin..................... 4 feet. Oboe im descant, wood 8 feet
43. Flaut Traversière, wood ... 4 feet. 40. Fagotto im bass, wood º
Pedal, 16 Słożs.
47. Untersatz, wood ............ 32 feet tone. 55. Super-Octave, tin............ 4 feet.
48. Principal, Eng. tin ......... I6 feet. 56. Nachthorn, tin............... 2 feet.
49. Violon........................... I6 feet. 57. Mixture, V ranks, tin ...... 2% ſcet.
50. Quintaton ..................... I6 feet tone, 58. Rauschquint, II ranks, tin
5.I. Sub-bass........................ I6 feet. 59. Contra-posaune, wood ... 32 ſeet.
52. Octave, wood and metal ... 8 fect. 60. POSaune, wood............... I6 feet.
53. Violoncello..................... 8 feet. 6I. Trompette, # tin ............ 8 feet.
54. Quint, metal .................. 5% feet, 62. Clarino, # tin ............... 4 feet.
Accessory Słoffs, &c.
I, 2, 3, 4. Couplers for all 4 Manuals. 6 to I2. Seven Wind-trunk valves.
5. Coupler, Great to Pedal. I3. Tremulant.
59. NAUMBERG.
The organ in the Church of St. Wenzel, in Naumberg, contains 52 sounding
stops, 3 Manuals, and a Pedal of I2 stops; 3,000 pipes, and 7 large pairs of
bellows. The oldest parts of the instrument date as far back as 1613, to which
AN ACC
375
OUNT OF FOREIGN ORGANS.
additions were made in 1734 (by Hildebrand, of Leipzig), in 1737 and in 1810.
The present contents of the organ are as follow :- -
3O.
3I.
32.
33.
35.
4 I.
42.
43.
44.
. Principal
. Quintaton
, Spitzflote
. Gedact
. Prestant
, Spitzflote
. Gedact
, Bourdon
. Principal
. Principal Undamar.........
. Hohlflote
. Flauto Traverso... .........
. Clav. AEoline
. Fugara
. Violon
46.
Octave ........................
* s is º a # * * * * * * * * g e º 9 s 3 s s a s
* * * * * * * * tº g g º ºf g a s h tº a º
* tº £ tº t t t w is a g g º g g g g g g º º
* * * * * * * * * * * * * * * * * * * * *
Prestant
* * * * is g º f tº g º º e º g g g g tº g tº
Tibia major
Principal
Gemshorn
Viola di Gamba
* * * * * * * * * * * * * * * * * *
* * * * * * * * * * * * * * * * * * * * *
* e º 'º e º 'º º $ tº e º a gº tº e º a
* e º e s a s g g s g g
* º º q & # * * * * * * * is $ & E tº a tº * * *
Rohrflote
# s é º a g º e º e º e º g g tº º is e º s
Principal
Violon
Sub-bass
Octave Bass
• ' ' ' . . . . . . . . . . . . . . . . .
* * is “ & & 8 e º e º e s s tº s s s s a s , , e.
tº tº $ tº e s ∈ tº e s e º 'º e s s a e º s
* * * * * * * * * * * * * * * * s e
* * * * * * * * * * * * * * * * * * * * * * * *
Quint
Great, I 5 Stoffs.
I6 feet. 9. Quint ........................
I6 feet tone. IO. Octave ........................
8 feet. II. Weitpfeife ..................
8 feet. I2. Mixture, V ranks,
8 feet tone. 13. Cornett, V ranks.
4 feet. I4. Bombard .....................
4 feet. I5. Trompette .......... .......
4 feet tone.
Acho, I4 Słożs.
I6 feet tone. 23. Gemshorn
tº E tº $ 8 g a g º a º $ tº 8 & 3 & 8
8 feet. 24, Gedact ........................
8 feet. 25. Quint ........................
8 feet 26. Octave ........................
8 feet 27. Waldflote .....................
8 feet 28. Sifflote ........................
4 feet 29. Mixture, V ranks.
Choir, II
I6 feet tone,
Słoffs.
36. Quintaton
8 feet. 37. Prestant .....................
8 feet. 38. Rohrflote .....................
8 ſeet, 39. Octave ........................
8 feet. 4O. Mixture, V ranks............
8 feet tone.
Pedal, I2 Stoffs.
I6 feet. 47. Octave ........................
I6 feet. 48. Octave ........................
I6 feet tone. 49. Mixture, V ranks............
8 feet. 50. Posaunc .....................
8 ſeet 5.I. Posaune .....................
6 feet 52. Trompette ..................
60. TREBNITZ.
are distributed as follows:—
4.:
;
I4.
I5.
. Bourdon, wood
. Principal, Eng, tin, in front
. Quintaton, half tin
. Rohrflote, metal, except the
& 6 & 1 & 6 ºf g is g º ºs
Salicet, 3 tin to tenor f,
Wood bass..................
. Gemshorn, metal, except
the bottom octave, which
is of wood
tº # 6 tº g g tº e g tº a ſº tº $ tº
8 feet octave, which is
of wood
* * * * * * * * * * * * * * * * * *
s & r * g g g º &
Principal, Eng. tin
Salicet, the lowest octave
I6.
I7.
of wood
Portunalflote, wood.........
Flaut major, wood
* * * * * * * * {
Great, I 3 Słoffs.
I6 feet. 7. Gemshorn Quint, metal ...
8 feet. 8. Octave, English tin in
front ........................
8 feet. 9. Toppel-rohrfiote, maple-
Wood................... . . . .
IO. Quint, metal ...............
8 feet. II. Super-Octave, metal ......
8 feet tone. I2. Mixture, V ranks.
I3. Trompette, 3 tin ............
8 feet.
Cho?, 9 Słożs.
8 feet. 18, Salicet, tin ..................
I9. Portunal .....................
8 feet. 2O. Gemshorn Quint, # tin ..
8 feet. 2I. Super-Octave, metal ......
8 feet tone. 22. Cymbale, III ranks.
& e g g g g º g g g g g º e º 'º 6 &
8 feet tone.
4 feet.
4 feet tone.
2 feet.
The Organ in the Catholic Church at Trebnitz has 33 sounding stops, which
5; ſeet.
4 feet.
376
APPENDIX.
Pedal, II Stoffs.
23. Principal, wood ............ I6 feet,
24. Gamba, wood ............... I6 feet.
25. Salicet, wood ............... I6 feet.
26. Sub-bass, wood ............ I6 feet tone.
27. Quinten Bass, wood ...... Io; feet.
28. Octaven Bass, wood ...... 8 feet.
Accessory Stoffs, &c,
I, Coupler, Choir to Great.
2. Coupler, Great to Pedal.
29. Salicet, wood ............... 8 feet.
3O. Doppelflaut, wood ......... 8 feet tone.
3I. Super-octave ............... A feet.
32. POSaune, wood............... I6 feet
33. Trompette, ; tin ............ 8 feet
| 3, 4. Two Wind-trunk valves.
Four Bellows, 9 feet by 4%,
Com/ass,
Manuals, CC to fº in alt.
| Pedal, CCC to tenor d,
6I, SALZWEDEL,
The organ in the Church of St. Catharine, in the new town of Salzwedel, has
42 Sounding stops, and was built by Frederick Turley, Treuenbritzen, in 1838.
Great, I 5 Stoffs.
I. Principal, in front ......... I6 feet. 9. Quint ........................ 2% feet
2, Octave ........................ 8 feet, IO. Super-Octave ............... 2 feet.
3. Spitzflote ..................... 8 feet. II. Cornett, TV ranks, 6, 4, 3}, and 2 feet.
4. Gedact ........................ 8 feet tone, I2. Scharf, IV ranks, 2, Iš, I#, and I foot.
5. Quint ........................ 5% feet. I3. Cymbale, III ranks, I, #, and # foot.
6. Super-Octave ............... 4 feet. I4. Trompette .................. 'I6 feet.
7. Rohrflote ..................... 4 feet tone. I5. Trompette .................. 8 feet
8. Lieblich Gedact ............ 4 feet tone.
- Choir, I3 Stoffs.
I6. Bourdon ..................... I6 feet tone, 23. Gemshorn .................. 4 feet
I7. Principal, in front ......... 8 feet. 24, Nasat ........................ 3 feet
I8. Viola di Gamba ............ 8 feet. 25. Super-Octave ............... 2 feet
I9. Salicional ..................... 8 feet. 26. Mixture, IV ranks, 2, I., I, and # feet.
2O. Quintaton .................. 8 feet tone. 27. ABoline ........................ I6 feet,
2I. Lieblich Gedact ............ 8 feet tone. 28. Hautbois, to c"............... 8 feet
22 Octave ........................ 4 feet.
Pedal, I4 S/offs,
29. Principal, in front ......... I6 feet. 36. Nasat ........................ 6 feet
30. Violon ........................ I6 feet. 37. Super-Octave . . ............ 4 feet.
3I. Sub-bass ..................... I6 feet tone. 38. Compensation Mixture, V ranks.
32. Grossnasat .................. I2 feet. 39. Posaune ..................... I6 feet.
33. Octave ........................ 8 feet. 40. Dulcian ..................... I6 feet
34. Gedact ........................ 8 feet tone, 4I. Trompette .................. 8 feet
35. Tertia ........................ 6% feet. 42. Clarion ........................ 4 feet
I9 stops, 2 Manuals, and Pedal.
Accessozy Słoffs, &c.
I. Coupler, Choir to Great. 3, 4, 5. Three Wind-trunk valves,
2. Tremulant. Six Bellows.
62. WEISSENFELS.
The organ in the Lock Church at Weissenfels was built by Schulze. It has
The following is a list of its contents:—
Great, IO Słożs.
I. Bourdon ..................... 16 feet tone. 6. Octave ...., , , , , , , tº º 8 & 3 w tº g º s tº 4 feet
2. Principal ..................... 8 feet. 7. Quint ........ 4 * * * * * * * * * * * * * * * 2% feet.
3. Viola di Gamba ............ 8 feet. 8. Octave ........................ 2 feet
4, Hohlflote ..................... 8 feet. 9. Mixture, V ranks........, ... 2 feet,
5. Gedact ....................... 8 feet tone, IO. Scharf, III ranks..........., 2 feet
AN ACCOUNT OF FOREIGN ORGANS. 377
* I
I 2
I3
17
Choir, 5 Słożs.
Lieblich Gedact ............ I6 feet tone. I4. Iieblich Gedact ............ 8 feet tone,
Salicional ..................... 8 feet, 15. Principal ..................... 4 feet.
Flauto Traverso ............ 8 feet
Pedal, 4 Stoffs.
Gedact ........................ I6 feet tone. 18. Gedact ........................ 8 feet tone,
Principal ..................... 8 feet. I9. POSaune ..................... I6 feet.
Accessozy Stoffs,
I. Coupler, Choir to Great. | 2. Coupler, Great to Pedal.
Com/ass,
Manuals, CC to fº in alt. Pedal, CCC to tenor d.
63. CELLE.
The organ in the Ludwigs Church at Celle has 15 stops, 2 Manuals, and Pedal.
The following are the names of the stops —
Great, 7 Stoffs,
I. Bourdon, metal to middle cº, 4. Octave, 4 loth, metal ...... 4 feet.
remaining 2 Octaves wood I6 feet tone. 5. Gemshorn, 4 loth, metal ... 4 feet.
2. Principal, I2 loth, tin, in front 8 feet. 6. Octave, 4 loth, metal ...... 2 feet.
3. Rohrflote, metal treble, wood 7. Mixture, III ranks.
bass ........................... 8 feet tone.
Choir, 4 Stoffs.
8. Salicional........................ 8 feet. IO, Rohrfiote, 4 loth, metal ... 4 feet tone.
9. Gedact, metal treble, wood II. Waldflote, 4 loth, metal... 2 feet.
bass … 8 feet tone.
Pedal, 4 Sãoffs.
12, Sub-bass, wood............... I6 feet tone. I4. Octave, 4 loth, metal...... 4 feet.
I3. Principal, 12 loth. metal... 8 feet, I5. Posaune ..................... I6 feet.
64. VERDEN.
The organ in the pretty little Cathedral at Verden is a particularly fine instru-
ment, built by Schulze, containing 34 sounding stops, of which the following is a
list —
Great, I4 Słoffs,
I. Bourdon........................ 32 feet tone. 8 Octave ..…. 4 feet.
2. Bourdon........................ I6 feet tone, 9. Flote........................... 4 feet.
3. Principal ..................... 8 feet. IO. Hohlflote ..................... 4 feet.
4. Gedact ........................ 8 feet tone. II. Quint and Octave ......... 2} & 2 feet.
5. Gamba ........................ 8 feet. I2. Mixture, V ranks ......... 2 feet.
6. Hohlflote ..................... 8 feet. I3. Cymbale, III ranks ...... 2 feet.
7. Quint ........................... 5% feet. I4. Cornett, III ranks ......... 4 feet.
Choir, I I Stoffs,
I5. Lieblich Gedact ............ I6 feet tone. 21. Geigen Principal............ 4 feet.
16. Lieblich Gedact ............ 8 feet tone. 22. Flauto Traverso ............ 4 feet.
I7. Geigen Principal ............ 8 feet, 23. Quint and Octave ......... 23 & 2 feet.
I8. Salicional ..................... 8 feet. - 24. Scharf, III ranks.
I9. Flauto TraverSo ............ 8 feet. 25. Aboline ........................ 8 feet.
2O, Harmonica .................. 8 feet, -
378 APPENDIX.
26.
27.
28.
29.
3O.
Pedal, 9 Słożs.
Principal Bass ............... I6 ſeet. 3I. Gedact-bass .................. 8 feet tone.
Sub-bass........................ I6 feet tone. 32. Violoncello .................. 8 feet.
Violon ........................ I6 feet. 33. Posaune ..................... 32 feet.
Quinten Bass.................. IOśfeettone. 34. Posaune ..................... I6 feet.
Octave Bass .................. 8 feet,
- Coſyº/ass.
Manuals, CC to fº in alt, 54 notes, Pedal, CCC to tenor d, 27 notes,
65. BREMEN.
The organ in the Cathedral Church at Bremen was built by Schulze, and con-
tains 59 stops, 16 of which are devoted to the Pedal. It presents the peculiarities
of having a stop of 32-feet tone on the Choir as well as on the Great Manual, and
of having a Great stopped Quint of 213 feet on the Pedal. The following is the
specification of the above-named instrument:-
Great, 16 Słożs.
I. Bourdon, to tenor c key ... 32 feet tone. 9. Octave ........... ............ 4 feet.
2. Principal ..................... I6 feet. IO. Flote ........................ 4 feet.
3. Bourdon............, , . . . . . . . . . . . I6 feet, II. Quint and Octave ......... 2# & 2 feet.
4. Principal ..................... 8 feet. I2. Mixture, V ranks............ 2 ſeet.
5. Gedact ........................ 8 feet tone. I3, Cymbale, III ranks ...... 2 feet.
6, Gamba ........... . . . . . . . . . . . . . 8 feet. I4. Cornett, III ranks ......... 4 feet.
7. Hohlflote ..................... 8 feet. I5. Trompette..................... I6 feet.
8, Quint ........................... # feet. I6. Trompette .................. 8 feet.
Choir, I3 Słoffs.
I7. Bourdon, to tenor c key ... 32 feet tone. 24, Flote ........................ 4 feet.
18. Bourdon........................ I6 feet tone. 25. Spitzflote ..................... 4 fect.
I9. Salicional ..................... 8 feet. 26. Quint and Octave ......... 2# & 2 feet.
2O. Gedact ........................ 8 feet tone. 27. Mixture, V ranks............ 2 feet.
2I. Flote ........................... 8 feet. 28. Scharf, III ranks ......... 2 feet.
22, Principal ..................... 8 feet, 29, Phyzharmonica ............ 8 feet.
23 Octave ........................ 4 feet.
Swell, I4 Stoffs.
30. Lieblich Gedact ............ I6 feet tone. 37. Geigen Principal ......... 4 feet.
31. Geigen Principal ............ 8 feet, 38. Flauto Traverso ............ 4 feet.
32. Harmonica .................. 8 feet. 39, Zart-flote ..................... 4 feet.
33. Lieblich Gedact ............ 8 feet tone, 40. Quint........................... 23 feet.
34. Terpodion ..................... 8 feet, 4I, Octave ........................ 2 feet.
35. Gedact-flote .................. 8 feet tone, 42. Mixture, III ranks ......... 2 feet.
, 36. Flauto Traverso ............ 8 feet, 43. AEoline .................. ... . . . . . 8 feet.
Pedal, 16 Słożs.
44. Principal Bass ............... 32 feet. 52. Gedact Bass.................. 8 feet tone.
45. Gross Quinten Bass ......... 21% feet tone, 53. Floten Bass .................. 8 feet.
46. Principal Bass ............... I6 feet. 54. Violoncello .................. 8 feet.
47. Major Bass .................. I6 feet, 55. Octave ........................ 4 feet.
48. Violon ........................ I6 feet. 56. Posaune ..................... 32 feet.
49. Sub-bass ..................... I6 feet tone. 57. Reim. ........................ I6 feet.
50. Quinten Bass ............... IOśfeet tone. 58. Posaune ..................... I6 feet.
5.I. Octaven Bass ............... 8 feet, 59. Trompette .................. 8 feet.
HAMBURG.
The ancient city of Hamburg was long celebrated for the number (namely, 5)
and excellence of its 32-feet organs, two of which, however, perished in the great
AN ACCOUNT OF FOREIGN ORGANS. 379
conflagration of 1842. Of the 3 which remain that in the present church of
St. Michael is the best known, and is also the most modern One.
66. CHURCH AND ORGAN OF ST. MICHAEL's, HAMBURG.
The old church of St. Michael being struck by lightning and burnt down, the
present edifice was commenced in 1750, from the designs of Mr. Ernest George
Sonnin, and opened for service in 1762. The height of the church inside is
93 feet, its length 249 feet, and its breadth 178 feet. The organ stands at the
west end, and contains the following stops —
Great Orgart, 18 S/offs.
I. Principal, tin ............... I6 feet. IO. Nasat, metal ............... 23 feet.
. 2. Quintadena, wood and II. Octave, tin .................. 2 feet.
metal........................ I6 feet tone. 12. Rauschpfeife, II ranks, tin 23 feet.
3. Octave, tin ............ . . . . . . 8 feet. I3. Mixture, VIII ranks, tin 2 feet.
4. Gedact, wood and metal... 8 feet tone. I4. Scharf, V ranks, tin ...... I# foot.
5. Gamba, tin .................. 8 feet. I5. Cornet, V ranks, tin ...... 8 feet.
6. Gemshorn, metal............ 8 feet. I6. Trompette, tin ............ I6 feet.
7. Quint, tin..................... 5% feet. I7. Trompette, tin ............ 8 feet.
8. Octave, tin .................. 4 feet. I8. Oboe, from tenor f, tin ... 8 feet.
9. Gemshorn, metal............ 4 feet. -
Choir Organ, 16 Słoffs.
19. Rohrflote, wood and metal 16 feet tone. 27. Nasat, tin .................. 23 feet.
2O. Principal, tin ............... 8 feet. 28. Octave, tin .................. 2 feet.
2I. Principal, to fiddle g ...... 8 feet. 29. Flach-flote, metal ......... 2 feet.
22. Rohrſlote, metal ............ 8 feet tone. 3O. Quint, tin..................... I# foot.
23. Flauto Traverso, wood ... 8 feet. 3I. Rauschpfeife, II ranks, tin 23 feet.
24. ISlein-Gedact, wood ....., 8 feet tone. 32. Cymbale, V ranks, tin ...
25. Octave, tin...... ............ 4 feet. 33. Chalumeau, tin ............ 8 feet.
26. Rohrſlote, metal ............ 4 feet tone, 34, Trompette, tin ............ 4 feet.
Upper-work and Swell on the same Manual, 20 stops:—
Užffer-work, 16 Stoffs.
35. Bourdon, wood and metal 8 feet tone, 43. Octave, tin .................. 2 feet.
36. Principal, tin ............... 8 feet. 44. Rauschpfeife, II ranks, tin 23 feet.
37. Quintadena, wood and 45. Cymbale, V ranks, tin ... I; foot.
metal........................ 8 feet tone. 46. Echo cornett, to fiddle g,
38. Spitzflote, metal ............ 8 feet. Vranks..................... 8 feet.
39. Unda Maris, to fiddle g ... 8 feet. 47. Trompette .................. 8 feet.
40. Octave, tin ............... ... 4 feet. 48. Vox humana, tin............ 8 feet.
4I. Spitzflote, metal ............ 4 feet. 49. Cremona to tenor f......... 8 feet.
42. Quint, tin ..................... 23 feet. 50. Glockenspiel to tenor f... 8 feet.
Swell, 4 Stoffs.
51. Octave ........................ 8 feet. 53. Cornett, V ranks in the
52. Octave ... . . . . . . . . . . . . . . . . . . . . . 4 feet. treble, II in bass.
54. Trompette .................. 8 feet.
Pedal, 16 Słońs.
55. Principal, tin ............... 32 feet. 63. Gedact, tin .................. 8 feet tone.
56. Sub-bass, wood ............ 32 feet tone. 64. Octave, tin .................. 4 feet. *
57. Principal, tin ............... I6 feet. 65. Mixture, tin, X ranks.
58. Sub-bass, open, wood...... I6 feet. 66. Posaune, tin ............... 32 feet.
59. Sub-bass, stopped, Wood... I6 feet tone. 67. Posaune, tin ............... I6 feet.
60. Violone, wood ............... I6 feet. 68., Fagotto ..................... I6 feet.
61. Rohr-quint, metal ......... IOż feet tone. 69. Trompette, tin ............ 8 feet.
62, Octave, tin .................. 8 feet. 70, Clarion, tin .................. 4 feet.
38O APPENDIX.
Accessory Stoffs.
I. Tremulant to Great Manual. 4. Wind to Choir Organ.
2. Cymbalstar. 5. Wind to Upper-work.
3. Wind to Great Organ. 6. Wind to Pedal Organ.
The case presents a handsome front, 60 feet in height and 60 feet in width.
The 32-feet pipe stands in the centre by itself, in an immense pilaster; the
remainder of the 32-feet stop in two great concave compartments, one on each
side, and every pipe is supported below by a base, and finished off above with
a Corinthian capital, gilded, the pipes themselves forming the shafts, being of
their natural bright silvery colour. ^.
The organ is finely laid out inside, in four stories, to each of which free access
is obtained by wide staircases with hand-rails. Passage-boards occur in abun-
dance, and any pipe in this immense instrument can be got at without disturbing
a second one.
There are no “conveyanced off” pipes, except those which appear in the front
of the case, the site of the organ being so favourable as to allow of the Sound-
boards being made of ample dimensions.
Those of the Great organ are made “in halves,” each half measuring from
84 to 9 feet in length, and the pipes of every stop stand in a single row, even to
the 16-feet double trumpet.
The CCCC pipe in the middle of the front is made of pure tin, is 35 feet
6 inches in length, weighs upwards of 960 pounds, is 20 inches in diameter, and
the body was cast in one sheet. -
The diameter of the 32-feet Posaune is 16 inches at the bell, and of the 16-feet
Posaune, Io inches. A light sieve of metal wire, with wide meshes, placed over
the bell of each of the large reed pipes, keeps out the birds—a most necessary and
excellent precaution. The tops of a great portion of the large metal pipes also
have an addition that is by no means common. This consists of a sliding cylinder,
introduced to aid the process of tuning, which is drawn up or pressed down accord-
ing as the pitch of the pipe may require flattening or sharping. The top of the
pipe is further covered with leather outside to prevent the cylinder slipping. None
of the pipes are pressed out of shape, none present bent or ragged tops, as is too
frequently the case in English organs, but all preserve their symmetry of outline.
Silbermann, the celebrated organ-builder, of Dresden, was invited to construct
the new St. Michael's organ, which invitation he accepted ; but, dying shortly
afterwards, the execution of the work was entrusted to his principal workman,
Hildebrand. This was about the year 1768. T. Matheson, the celebrated com-
poser and theorist, left, by will, £4,000 towards paying for this organ, which sum,
however, did not nearly equal the amount expended in its fabrication.
67. ST. CATHERINE’s CHURCH, HAMBURG.
f
An organ stood in this church as early as the year K501. A portion of the
present instrument was made in 1540, including a Principal, on the Pedal, of
26 feet. This latter was removed, on account of its damaged State and feeble
tone, in 1670, after being in use at least 130 years, and the present stop of 32 feet,
of the best English tin, polished, Substituted. Sebastian Bach, when a youth,
made frequent journeys to Hamburg to hear the then organist of St. Catherine's
Church, John Adam Reinkin, who was at that time very famous ; and he remem-
bered to his latest years, with lively Satisfaction, this organ, with its magnificent
32-feet Pedal, on which, in after life, he sometimes publicly performed. In 1867
an organ committee was formed, consisting of four gentlemen connected with the
AN ACCOUNT OF FOREIGN ORGANS,
38I
administration of the Church, and the present organist, Herr H. Dagenhardt, who
entered into a contract with the organ-builder, Mr. Heinr. Wolfsteller, junr., for the
cleansing, improvement, and enlarging of the instrument, according to a design
prepared by the organist.
The organ now contains the following stops:–
Jºſauftwerk.
I. Principal ..................... 16 feet. 7. Octave ........................ 4 feet
2. Quintaton ..................... I6 feet tone. 8. Octave ........................ 2 feet
3. Principal ..................... 8 feet. 9. Rauschpfeife, II ranks.
4 Octave ........................ 8 feet Io. Mixture, VI to X ranks.
5. Salicet ........................ 8 feet II, Trompette .................. I6 feet,
6, Hohlflote ..................... 8 feet 12, Trompette .................. 8 feet
Offeriver.4.
I3; Bourdon ..................... 16 feet tone, 19, Waldflote ..................... 2 feet
I4. Principal ..................... 8 feet, 2O. Scharf, III to V ranks.
15. Gedact ........................ 8 feet tone. 21. Trompette .................. 8 feet
I6. Rohrfiote ..................... 8 feet tone. 22. Trompette .................. 4 feet,
17 Octave ........................ 4 feet 23. Vox humana.................. 8 feet
18, Flote........................... 4 feet 24. Glockenspiel.
Rickſositiv. -
25. Bourdon ..................... I6 feet tone. 3I. Nasat........................... 3 feet
26. Principal ..................... 8 feet, 32. Octave ........................ 2 feet
27. Quintaton..................... 8 feet tone. 33. Sesquialtera, II ranks.
28. Gedact ........................ 8 feet tone. 34. Scharf, V ranks.
29 Octave ........................ 4 feet 35. Dulcian........................ I6 feet
30, Hohlflote ..................... 4 feet 36. Hautbois d'Amour ........, 8 feet
Brusſwerk (Swell).
37. Principal ..................... 8 feet. 4I. Scharf, V ranks.
38. Gedact ........................ 8 feet tone. 42. Trompette .................. 8 feet
39. Octave ........................ 4 feet. 43. Oboe........................... 8 feet
40. Quintaton ..................... 4 feet tone. 44. Cimbalstern,
Peda/.
45. Principal ..................... 32 feet 52. Octave ........................ 4 feet
46. Principal ...................., I6 feet. 3. Rauschpfeiſe, II ranks.
47. Sub-bass ..................... I6 feet tone. 54. POSaume ..................... 32 feet
48. Violon ........................ I6 feet 55. Posaune ..................... I6 feet
49. Quint........................... Io; feet. 56. Dulcian........................ I6 feet
50, Octave ........................ 8 feet. 57. Trompette .................. 8 feet
51, Bourdon ..................... 8 feet tone. 58. Trompette .................. 4 feet
68. HAMBURG.
The fine organ in the Church of St. Jacobi, at Hamburg, was built by the Abbe
Schnittker, and was completed towards the close of the seventeenth century.
Sebastian Bach, when a young man, was very desirous to obtain the appointment
of organist to this church, on account of the great excellence of the instrument it
contained ; but, in spite of the excitement which his wonderful playing created, he
did not succeed ; the reason being that a clerical amateur, of mediocre talent,
offered a sum of money for the appointment, which temptation had more weight
with the authorities than the transcendent skill of the great master.
has 60 Sounding stops, 4 Manuals, and Pedal of 14 stops.
disposition :-
The organ
The following is the
Great, 12 Stoffs.
I. Principal ..................... I6 feet.
2. Quintadena .................. I6 feet tone,
3. Octave ........................ 8 feet.
4. Viola di Gamba ............ 8 feet
5. Spitzflote ..................... 8 feet
6. Octave ........................ 4 feet
7. Rohrflote ..................... 4 feet tone.
8. Quint ........................ 23 feet
9. Super-Octave ............... 2 feet
Io. Mixtur, VI and VIII ranks.
II. Rauschpfeife.
I2.
Trompette I6 feet,
* * * * : * * * * * tº t + 4 g g g a
382 APPENDIX.
Choir, I 3 Słożs.
I3. Principal ..................... 8 feet. 2O, Octave ........................ 2 feet.
I4. Bauerpfeife .................. 8 feet. 2I. Sifflote ........................ I foot.
I5. Quintadena .................. 8 feet tone. 22. Sesquialtera, II ranks...... 23 feet.
I6. Gedact ........................ 8 feet tone, 23. Scharf, VI and VIII ranks.
I7. Octave ........................ 4 feet. 24. Dulcian........................ 8 feet.
I8. Blockflote..................... 4 feet. 25, Trompette .................. 8 feet,
19. Nasat........................... 2% feet.
Echo, 13 Stoſs, -
26. Principal ..................... 8 feet. 33. Gemshorn .................. 2 feet.
27. Hohlflote ..................... 8 feet. 34. Cymbale, III ranks, -
28. Rohrfiote ..................... 8 feet tone. 35. Scharf, VI ranks.
29 Octave ........................ 4 feet. 36. Trompette .................. 8 feet.
30. Spitzflote ..................... 4 feet. 37. Oboe, to middle cº ......... 8 feet.
3I. Nasat........................... 23 feet. 38. Vox humama.................. 8 feet tone.
32. Octave ........................ 2 feet,
- Swell, 8 Słońs.
39. Principal ..................... 8 ſeet. 43. Sesquialtera, II ranks...... 23 feet.
40. Octave ........................ 4 feet. 44. Scharf, VI and VIII ranks.
4I. Hohlflote ..................... 4 feet. 45. Dulcian........................ 8 feet.
42. Waldflote ..................... 2 feet, 46. Trichter-regal ............... 8 feet.
Pedal, I4 Słońs.
47. Principal, in front ......... 32 feet. 54. Rauschpfeife, II ranks.
48. Octave ........................ I6 ſeet. 55. Posaune ..................... 32 feet.
49. Sub-bass ..................... I6 feet tone. 56. Posaune ..................... I6 feet.
50. Octave ........................ 8 feet. 57. Dulcian........................ I6 feet.
51. Octave ........................ 4 feet. 58. Trompette .................. 8 feet.
52. Nachthorn ...... * * * * * * * c s e s tº 2 feet. 59. Trompette .................. 4 feet.
53. Mixtur, VI and VIII ranks. 60. Cornet ........................ 2 ſeet,
The 4 Manuals can be coupled together.
Accessory Słożs.
I to 5. Five Wind-trunk valves. 7. Glockenspiel.
6. Cymbalstar. 8. Trommel.
The name of the builder of the above excellent organ is held in great veneration
in Germany; where his instruments are as highly prized for their stability, as they
are justly celebrated for their dignified and impressive tone. The Abbe Schnittker
resided at a place about thirty-six English miles from Hamburg, in the Hanoverian
territories, in a house that has gone by the name of “the organ-builder's box” or
villa ever since. *
The three fine instruments, just noticed, form most interesting objects for
examination to an English admirer of the organ ; not simply on account of the
very distinct character in the tone of each, but because they so closely resemble,
in quality, the organs of three of the most celebrated builders of this country of
past times; and they therefore picture to the hearer what the instruments of those
builders would have been, had the art in England been in a more advanced State
in their day.
The organ in the Church of St. Catherine, which is the oldest of the three, is
strikingly like Harris's in tone ; clear, ringing, and dashing in the Mixtures.
That in the church of St. Jacobi calls to mind the instruments of Father Smith;
resonant, solemn, and dignified ; with somewhat less fire than that at St. Catherine's,
but rather more fulness. The organ at St. Michael’s, the most recently constructed
one of the three, also the largest in scale, is less powerful than the others, but
very musical and pleasing ; and, in all these respects, forcibly calls to mind the
excellent instruments of Green,
AN ACCOUNT OF FOREIGN ORGANS.
383
I. Principal ..................... I6 feet. 8. Spitzflote ......... , I g g g g g tº t e & & 4 feet.
2. Quintadena ........ . . . . . . . . . . I6 feet tone. 9. Rauschpfeife, III ranks ... 2% feet.
3. Octave ........................ 8 feet, IO. Super-Octave ............... 2 feet.
4. Spitzflote ..................... 8 feet. II. Mixture, VI to IX ranks.
5. Salicional, wood ............ 8 feet. I2. Scharf, III ranks. .
6. Viola di Gamba ............ 8 feet I3. Trompette .................. I6 feet
7, Octave ........................ 4 feet I4. Trompette .................. 8 feet
Echo, I4 Stoffs.
I5. Quintadena .................. I6 feet tone. 22. Flachflote..................... 2 feet
I6. Octave ........................ 8 feet. 23. Scharf, IV to VI ranks,
I7. Quintadena .................. 8 feet tone. 24. Cymbale, III ranks.
I8. Rohrflote ..................... 8 feet tone, 25. Trompette .................. 8 feet
I9. Octave ........................ 4 feet. 26. Trompette .................. 4 feet.
2O. Rohrfiote ..................... 4 feet. 27. Krumhorn..................... 8 feet tone.
21, Nasat ........................ 23 feet. 28, Vox humana.................. 8 feet tone,
Choir, in front, 13 Stoffs.
29. Bourdon ..................... I6 feet tone. 36. Sifflote '........................ 2 feet
30. Principal ..................... 8 feet. 37. Querflote ..................... 2 feet
3I. Quintadena .................. 8 ſeet tone. 38. Scharf, VI to IX ranks.
32. Gedact ........................ 8 feet tone. 39. Dulcian ..................... I6 ſeet
33. Octave ........................ 4 feet. 40, Trompette .................. 8 feet
34. Rohrfiote ..................... 4 feet tone. 41, Trompette to middle cº ... 8 feet
35. Sesquialtera, II ranks...... 23 feet.
Brustwerk, Io Sãoffs.
42. Principal ..................... 8 feet 47. Rauschpfeiſe, II ranks ... 23 feet.
43. Bauerpfeife .................. 8 feet 48. Waldflote ..................... 2 feet.
44. Blockflote, wood............ 8 feet 49. Nasat ........................ I; foot.
45. Principal ..................... 4 feet 50. Scharf, III to VI ranks.
46. Blockflote, Wood............ 4 feet 51. Dulcian........................ 8 feet
Pedal, 16 Stoſs.
52. Principal ..................... 32 feet 6O. Nachthorn..................... 2 feet
53. Octave ........................ I6 feet 61, Mixture, VI to X ranks.
54. Quint........... . . . . . . . . . . . . . . . . Io; ſeet 62. Posaune ..................... 32 feet
55. Octave ........................ 8 feet 63. Posaune ..................... I6 feet
56. Violoncello .................. 8 feet 64. Dulcian........................ I6 feet
57. Rauschpfeife, III ranks ... 5; feet. 65. Trompette .................. 8 feet.
58. Octave ........................ 4 feet. 66. Krumhorn .................. 8 feet tone,
59. Gedact ........................ 4 feet tone. 67. Trompette .................. 4 feet.
Accessory Stoffs.
I. Cymbalstar. 3. Tremulant. 5 to IO. Six Wind-trunk valves.
2. Glockenspiel.
ancient one in the city.
69. HAMBURG.
The organ that lately stood in the Church of St. Nicholas, at Hamburg, had 67
sounding stops, and, like the last, was built by Schnittker, who completed it in
the year 1686. The following is a list of the stops that were contained in this
instrument :—
Great, I4 Słożs.
4. Riegal.
II, Coupler, Choir to Pedal.
70. HAMBURG.
The organ that stood in St. Peter's Church, previous to the fire, was the most
It is not known when or by whom it was originally built ;
but the last two Manuals, which were Subsequent additions, were made upwards of
384
APPENDIX.
300 years ago, i.e., in 1548, at Hartzogenbuch, in Brabant, and sent thither by Sea.
The stops in the above organ were as follows:–
Great, I I Stoffs.
I. Principal ..................... I6 feet. 7 Octave ........................ 4 feet.
2. Gedact ........................ I6 feet tone, 8. Rauschpfeife, II ranks ... 23 feet,
3. Octave ........................ 8 feet. 9. Mixture, IV ranks.
4. Rohrſlote ..................... 8 feet tone. Io. Scharf, III ranks.
5. Viola di Gamba ............ 8 feet, II. Trompette..................... I6 feet,
6, Quint........................... # feet
Echo, I4 Stoffs.
I2. Quintadena .................. I6 feet tone. I9. Sesquialtera, II ranks...... 2#.feet.
I3. Principal ..................... 8 feet. 2O. Mixture, IV ranks.
I4. Principal ..................... 8 feet. 2I. Cornett, V ranks.
I5. Gedact ........................ 8 feet tone. 22. Trompette .................. 8 feet
I6, Octave ........................ 4 feet, 23. Trompette .................. 8 feet
I7. Spitzflote ..................... 4 fect. 24. Oboe Discant ............... 8 feet.
I8. Nasat ........................ 23 feet. 25. Vox Humana ............... 8 feet tone.
Choir, in front, 12 Stoffs.
26. Principal ..................... 8 feet. 32. Flote........................... 2 feet
27. Quintadena .................. 8 feet tone. 33. Sifflote ........................ I foot
28. Gedact ........................ 8 feet tone. 34. Scharfe, IV ranks.
29 Octave ........................ 4 feet. 35. Dulcian ..................... I6 feet
3O. Blockflote..................... 4 feet. 36. Trompette .................. 8 feet
3I. Sesquialtera, II ranks. 2% feet. 37. Trompette, tenor C ......... 8 feet
Pedal, I 3 Stoffs.
38. Principal ..................... 32 feet. 45. POSaune 32 feet
39. Untersatz ..................... I6 feet. 46. POSaume I6 feet
40. Octave ........................ 8 feet. 47. Dulcian ..................... I6 feet
4I. Rohr-quint .................. #feet tone. 48. Trompette .................. 8 feet
42. Octave ............ * * * * * * * * * * * * * 4 feet. 49. Trompette .................. 4 feet
43. Mixture, WI ranks, 50, Cornett........................ 2 feet
44. Rauschpfeiſe, II ranks,
7.I. LUBECK.
The Marien Kirche, in the ancient town of Lubeck, contains two organs; the
largest of which stands at the west end of the church, a stately Gothic edifice,
measuring upwards of 120 English feet in height inside, and about 300 feet in
length. It was built in the year 1518; the choir organ being added in the year
1561, which date is ingeniously recorded among the ornamental carving on the
top. The case presents a most noble and magnificent, though not elaborate,
façade; and is from 70 to 80 feet in height, 40 in width, and 7 in depth. It has
the 32-feet metal pipes in front, the largest of which is 19 inches in diameter. All
the front pipes are of pure tin, burnished; and are slightly but exquisitely diapered
about the mouth. The case is made of a handsome dark wood, probably walnut,
and has a great quantity of Carved and gilt work about it, which gives a gorgeous
effect to the whole. *
Diederich Buxtehude was organist of this church in the early part of the last
century, and was so celebrated, that Sebastian Bach, then a youth, undertook a
journey on foot to Lubeck to hear him. Among Buxtehude's compositions for the
organ, there is one with a double pedal part, with which Bach seems to have been
acquainted.
The Lubeck organ has just had a new inside put to it, by J. F. Schulze, of Paul-
inzelle, from a specification drawn up by H. Jimmerthal, the organist to the church.
It is laid out in four stories, the Swell occupying the upper one. The frame-work
and Sound-boards are almost entirely of oak ; the front-boards of the latter
being of polished mahogany, handsomely inlaid with ebony. The front-boards are
AN ACCOUNT OF FOREIGN ORGANS. 385
fastened on with woodent screws having large six-sided heads, which present the
great advantage of being capable of being turned by the fingers unaided. The
beams that support the organ are built into the wall behind, and the organ hangs,
pendant fashion, therefrom, with the most elegant effect.
The organ has 82 sounding stops, distributed among 4 Manuals and 2 Pedals,
and includes 3 stops of 32 feet, 17 of 16 feet, and 30 of 8 feet.
The following is a detailed account of its contents —
Great, 21 Słożs.
I. Bourdon to the tenor c II. Octave ........................ 4 feet.
key ........................ 32 feet tone. I2. Spitzflote ..................... 4 feet.
2. Principal ..................... I6 feet, I3. Gambette ..................... 4 feet.
3. Viola Major .................. I6 feet, I4. Nasat ................ . . . . . . . . 23 feet.
4. Bourdon........................ I6 feet tone. 15. Rausch-quint, II fach...... 23 & 2 feet.
5. Principal ..................... 8 feet, I6. Mixture, V fach ............ 2 feet.
6. Gemshorn ..................... 8 feet. I7. Cymbale, III fach ......... 2 feet.
7. Hohlflote ..................... 8 feet. 18. Cornett, IV fach.
8. Viol di Gamba ............... 8 feet. I9. Trompette .................. I6 feet
9. Gedact ........................ 8 feet tone. 20. Trompette .................. 8 feet.
IO. Quint ........................... 5; feet, 2I. Trompette .................. 4 feet.
Choir, 16 Stoffs.
22. Principal ..................... I6 feet. 30. Gemshorn................... . 4 feet.
23. Bourdon,....................... I6 feet tone, 3I. Rohrflote ..................... 4 feet tone.
24. Principal ..................... 8 feet. 32. Quint ........................ 23 feet.
25. Salicional ..................... 8 feet. 33. Octave ........................ 2 feet.
26. Spitzflote ..................... 8 feet. 34. Mixture, V fach ............ 2 feet.
27. Czakan Flote ............... 8 feet. 35. Scharf, III fach ..... . . . . . . . 2 feet.
28. Gedact ........................ 8 feet tone. 36. Phyzharmonica ............ I6 feet.
29 Octave ........................ 4 feet. 37. Trompette .................. 8 feet.
- Echo, I4 Stoffs.
38. Ijeblich Gedact ..........., I6 feet tone, 45. Zartflote ..................... 4 feet.
39. Geigen Principal ............ 8 feet. 46. Flauto TraverSO ............ 4 feet.
40. Terpodion ..................... 8 feet. 47. Quint ........................ 23 feet.
4I. Lieblich Gedact ............ 8 feet tone. 48. Waldflote ..................... 2 feet.
42. Flauto Traverso ............ 8 feet. 49. Mixture, V fach ............ 2 feet
43. Doppelfiote .................. 8 feet tone. 50. AEoline ........................ 8 feet.
44. Geigen Principal ............ 4 feet. 51. Oboe........................... 8 feet.
Swell, IO Słożs.
52. Quintaton ..................... I6 feet tone, 57. Principal . . . . . . . . . . . . . . . . . . . . . 4 feet.
53. Principal ..................... 8 feet. 58. Viola d'amour ............... 4 feet.
54. Fugara ........................ 8 feet. 59. Mixture, III fach ......... 2 feet.
55. Gedact ........................ 8 feet tone. 60. AEoline ........................ I6 feet.
56. Harmonica .................. 8 feet. 61. Clarinetto..................... 8 feet tone.
Great Pedal, 16 Stoffs.
62. Gross Principal ............ 32 feet. 70. Terz ........................ 63 feet.
63. Principal Bass ............... I6 feet. 7I, Quint ........................ 5% feet.
64. Basso Magiore ............... I6 feet. 72. Octave ........................ 4 feet.
65. Violon ........................ I6 feet. 73. Cornett, V fach.
66. Quint ........................... Iož feet. 74. Contra POSaune ............ 32 feet.
67. Principal Bass ............... 8 feet. 75. Posaune ..................... I6 feet.
68. Basso Minore .............., 8 feet, 76. Trompette .................. 8 feet.
69. Violoncello .................. 8 feet. 77. Clarine ........................ 4 feet
Choir Pedal, 5 Stoffs.
78. Sub-bass ..................... I6 feet tone. 8I. Gedact ........................ 8 feet tone,
79. Doppelflotenbass ............ I6 feet tone. 82. Fagotto........................ I6 feet.
80, Violoncello , ...,...,,,,, * * * * * * 8 feet,
N N
APPENDIX,
. Wind to Great.
. Wind to Choir.
. Wind to Echo.
. Wind to Swell.
, Wind to Great Pedal Basses,
i
Accessory Stops, &c.
6. Wind to Pedal Reed-work,
7. Wind to Choir Pedal.
8. Coupler, Choir to Great.
9. Coupler, Echo to Great.
Io, Coupler, Great to Pedal,
72. LUBECK.
The second organ in this church—the “little organ,” as it is called—contains
33 stops, 3 Manuals, and a Pedal; has a 16 feet speaking front, and has the Choir
Organ in front.
The specification is as follows:—
Greaf, 8 Słożs.
I. Quintaton ..................... I6 feet tone, 5. Flote........................... 4 feet.
2. Principal ..................... 8 feet. 6. Rausch-quint, II ranks ..., 2% & 2 feet.
3. Spitzflote ..................... 8 feet. 7. Mixture, IV and V ranks.
4. Octave ........................ 4 feet 8. Trompette .................. 8 feet,
Choir, I I Stoffs,
9. Principal ..................... 8 feet. 15. Sesquialtera, II ranks...... 2}& Išfeet.
IO. Quintadena .................. 8 feet tone, I6. Mixture, IV ranks, -
II, Rohrſlote ..................... 8 feet tone. 17. Scharf, V ranks.
I2. Octave ........................ 4 feet. I8, Fagotto........................ I6 feet tone,
I3, Rohrſlote' ..................... 4 feet tone. 19, Regal ........................ 8 feet.
I4. Flote ........................... 2 feet. 4.
Swell, 4 Stoffs,
20. Gedact ........................ 8 feet tone, 22. Cornett, III ranks.
2I, Gedact ........................ 4 feet tone, 23. Trompette .................. 8 feet
Pedal, Io Stoffs.
24, Principal, in front ......... I6 feet. 29. Octave ........................ 4 feet
25. Gross Quint, stopped ... ... Iožfeet tone. 30. Mixture, III ranks ......... 2% feet,
26. Octave ............ ... . . . . . . . . . 8 feet, 3I. Posaune ..................... I6 feet,
27, Gedact ........................ 8 feet tone. 32. Trompette .................. 8 feet.
28 Octave ........................ 8 feet. 4 feet tone,
33. Schalmey ....................,
73, LUBECK.
The organ in the second church, not the cathedral, has 4 Manuals, and Pedal
and 45 stops, of which the following is a list —
. Principal
Great, 9 Stoffs.
I. Principal . . . . . . . . . . . . . . . . . . . . . I6 feet. 6. Flote........................... 4 feet.
2. Quintaton ..................... I6 feet tone, 7. Rauschpfeife, II ranks ..., 2% feet.
3. Octave ........................ 8 feet. 8. Mixture, VIII ranks,
4. Viol di Gamba ............... 8 feet, 9. Scharf, VI ranks.
5. Octave ........................ 4 feet
Choir, Io Stoffs.
IO, Principal ..................... 8 feet. I5. Flote........................... 4 feet
II. Gedact ........................ 8 feet tone. I6. Siffiote ........................ 2 feet
I2. Quintaton ..................... 8 feet tone. 17. Mixture, IV ranks.
I3, Barpfeife ..................... 8 feet, I8, Schalmey..................... 8 feet tone.
I4. Octave ........................ 4 feet I9. Regal . . . . . . . . . . . . . * * * * * * * 8 feet,
AN ACCOUNT OF FOREIGN ORGANS.
20. Principal ..................... 8 feet.
2I. Hohlflote ..................... 8 feet.
22. Zink ........................... 8 feet,
23. Principal ..................... 4 feet.
24. Flote ........................... 4 feet.
Swell,
30. Gedact ........................ 8 feet tone,
31 Octave ........................ 4 feet.
32, Quintaton ..................... 8 feet tone.
33. Waldflote ..................... 2 feet.
Pedal,
37. Principal ..................... I6 feet.
38. Sub-bass ..................... I6 feet tone.
39. Octave ........................ 8 feet.
40. Violoncello .................. 8 feet.
4I. Gedact ......................., 8 feet tone,
was finished in 1840,
Echo, Io Słońs.
25, Nasat ........................ 23 feet
26. Waldflote ..................... 2 feet
27. Cymbale, III ranks.
28, Trompette ................. , 8 feet.
29, Vox humana ............... 8 feet tone,
7 Stoffs.
34. Scharf, IV ranks.
35. Dulcian ..................... 16 feet tone,
36. Regal ........................ 8 feet,
9 Stoffs,
42. Octave........................ 4 feet
43. Mixture, IV ranks.
44. Posaune ..................... I6 feet
45. Trompette .................. 8 feet
74. WISMAR.
The organ in St. Mary's Church, at Wismar, was built by J. F. Schulze, and
It has 56 sounding stops, 8 bellows, and 3 Manuals and
Pedal. The following is a list of the stops:—
Great, I 5 Stoffs,
I. Bourdon to g ............... 32 feet tone. 9. Octave........................ 4 feet
2. Principal ..................... I6 feet, IO, Gemshorn .................. 4 feet,
3. Quintaton ..................... I6 feet tone. II. Scharf, V ranks.
4 Octave ........................ 8 feet, I2. Cymbale, III ranks.
5. Hohlflote ..................... 8 feet, I3. Cornett, III ranks.
6. Terpodion..................... 8 feet. I4. Trompette ............ ... ... I6 feet.
7. Gedact ........................ 8 feet tone. I5. Trompette .................. 8 feet,
8. Quint........................... 5% feet,
Choir, I 3 Stoffs,
I6. Bourdon ..................... I6 feet, 23. Spitzflote..................... 4 feet
I7. Principal ..................... 8 feet, 24. Flote ........................ 4 feet.
I8. Gemshorn..................... 8 feet. 25. Quint and Octave, IIranks 23 & 2 feet.
19. Gamba ........................ 8 feet. 26. Mixture, IV ranks ......... I# foot.
2O. Flauto Traverso ............ 8 feet. 27. Phyzharmonica ............ I6 feet.
2I. Gedact ........................ 8 feet tone. 28, Trompette .................. 8 feet
22 Octave ........................ 4 feet. -
Swell, II Stoffs.
29. Lieblich Gedact ............ I6 feet. 35. Octave........................ 4 feet
3O. Geigen Principal ............ 8 feet. 36. Fugara........................ 4 feet
3I. Salicional ..................... 8 feet, 37. Waldflote .................. 2 feet
32. Zartflote ..................... 8 feet. 38. Mixture, III ranks.
33. Flauto Traverso ............ 8 feet. 39. Afºoline........................ 8 feet,
34. Lieblich Gedact ............ 8 feet tone. -
Pedal, 17 Słożs.
40. Principal Bass ............... 32 feet 49. Gedact Bass ............... 8 feet tone,
4I. Principal ..................... I6 feet 50. Octave........................ 4 feet.
42. Quintaton ..................... I6 feet 5.I. Mixture, V ranks,
43. Major Bass .................. I6 feet. 52. Posaune ..................... 32 feet.
44. Sub-bass ..................... I6 feet tone. 53. Posaune ..................... I6 feet,
. Quint........................... Ioš feet. 54. Bombarde .................. I6 feet.
46. Octaven Bass ............... 8 feet. 55. Trompette .................. 8 feet.
47. Violone......................., 8 feet. 56. Clarino........... 4 feet.
48. Minor Bass ... .,,,,, ........, 8 feet.
N N 2
APPENDIX.
75. PERLEBERG.
The organ in the Church at Perleberg was built by Tobias Turley and his son,
John F. Turley, in 1831, and has 36 sounding stops:–
Great, I4 Słońs.
I. Bourdon ..................... I6 feet tone,
2. Principal, Eng. tin, in front 8 feet.
3. Spitzflote, metal to tenor c,
lowest octave wood...... 8 feet.
4. Hohlflote, metal to tenor c,
lowest octave wood...... 8 feet.
5. Rohrſlote, metal ............ 8 feet tone,
6. Octave, Prussian tin ... ... 4 feet.
7. Gemshorn, metal............ 4 feet.
8. Lieblich Gedact, metal ... 4 feet tone.
Choir, 12 Stoffs.
15, Bourdon, metal, except the
lowest octave, which is
of wood..................... I6 feet tone.
I6. Principal, in front ......... 8 feet.
17. Viol di Gamba, Eng. tin to
tenor c, last octave wood 8 feet.
18. Flauto Traverso, pear-tree
Wood........................ 8 feet
Pedal,
27. Untersatz, wood ............ 32 feet tone.
28. Principal, in front ......... I6 feet.
29. Sub-bass, wood ............ I6 feet tone.
3O. Gross Nasat, wood ......... Io; feet
31. Octave, Wood ............... 8 feet,
of Berlin.
9. Quint, Prussian tin ...... 3 feet.
Io. Super-octave, Prussian tin 2 feet.
II. Scharf, V ranks, Prussian
tin............... 2, I#, Ił, I, and 3 feet.
12. Cymbale, III ranks, Prus-
sian tin .................. I, #, and # foot.
I3. Cornett, III ranks, Eng.
tin . . . . . . . . . . . . . . . . . . . . . 23, 2, and Ił feet.
I4. Trompette .................. 8 feet.
I9. Gedact, metal............... 8 feet tone,
2O. Octave........................ 4 feet.
2I. Rohrſlote..................... 4 feet tone.
22. Nasat ........................ 23 feet.
23. Super-Octave ............... 2 feet.
24. Mixture, III ranks...... I#, I, and # foot.
25. AEoline, wood............... I6 feet
26. Hautbois, treble............ 8 feet
IO Słożs.
32. Gedact-bass, wood ......... 8 feet tone.
33. Terz, wood .................. 6% feet.
34. Super-Octave, metal ...... 4 feet.
35. Posaune ..................... I6 feet.
36. Trompette .................. 8 feet,
76. BERLIN.
The organ in St. Mary's Church at Berlin was originally built, in 1722, by
Joachim Wagner, but has received subsequent additions at the hands of Buchholz,
It now has 40 sounding stops, 3 Manuals, a Pedal of 9 stops, and
6 pairs of bellows, 9 feet long by 4; broad. The stops are distributed as follows:-
Greaſ, 12 Słońs.
I. Bourdon ..................... I6 feet tone.
2. Principal ..................... 8 feet.
3. Rohrflote ..................... 8 feet tone.
4. Viol di Gamba............... 8 feet.
5. Octave ........................ 4 feet
6. Spitzflote ..................... 4 feet
Choir,
I3. Salicional ..................... 8 feet.
I4. Gemshorn..................... 8 ſeet.
I5. Gedact ........................ 8 feet tone.
I6, Quintaton ..................... 8 feet tone,
I7. Octave ........................ 4 feet.
Jºcho,
22. Quintaton ..................... I6 feet tone.
23. Principal ..................... 8 feet.
24. Gedact ............... ........ 8 feet tone.
25. Octave ........................ 4 feet.
26. Rohrflote .. 4 feet tone.
27, Nazard ..............,...,..., 2% feet.
9
7. Quint ........................ 3 ſeet.
8. Super-Octave ............... 2 feet.
9. Cornett, V ranks.
IO. Scharf, V ranks.
II. Cymbale, III ranks.
I2. Trompette .................. 8 feet
Sãoffs.
18. Fugara........................ 4 feet.
I9. Lieblichflote ............... 4 feet tone.
2O. Nazard........................ 23 feet.
2I. Super-Octave ............... 2 feet
Stoffs.
28. Super-Octave ............... 2 feet
29. Sifflote........................ I foot
~, Mixture, major * * * * * *
J Mixture, minor IV ranks.
r) Hautbois, discant
3 I Fagotto, bass | 8 feet.
AN ACCOUNT OF FOREIGN ORGANS.
389
32. Principal, in front ......... I6 feet.
33. Sub-bass ..................... I6 feet tone.
34, Violon ........................ I6 feet.
35. Gross Nazard ............... Io; feet
36. Gemshorn..................... 8 feet
Pedal, 9 Stoffs.
37. Bass-flote .................. 8 feet tone.
38. Octave........................ 4 feet,
39. Contra-Posaune ............ 32 feet,
40. Posaune ..................... I6 feet,
Accessory Słożs.
I. Coupler, Choir to Great.
2, Coupler, Echo to Great.
- 3. Coupler, Great to Pedal.
4, 5, 6, 7, Four Wind-trunk valves.
77. BERLIN.
The organ in the Garrison Church at Berlin was built, in 1725, by Joachim
Wagner, and contains 49 stops, 3 Manuals, and Pedal of I2 stops.
The names
and distribution of the stops are as follow :-
Great, I 3 Stoffs.
I. Bourdon ..................... I6 feet tone. 8. Quint ........................ 23 feet
2. Principal ..................... 8 feet. 9. Octave........................ 2 feet.
3. Rohrfiote ..................... 8 feet tone. Io. Mixture, IV ranks.
4. Viol di Gamba............... 8 feet. II. Cornett, V ranks.
5. Flauto Traverso ............ 8 feet I2. Scharf, VI ranks.
6. Octave ........................ 4 feet I3, Fagotto ..................... I6 feet.
7. Spitzflote ..................... 4 feet -
AEcho, I I Stoffs.
I4. Gedact ........................ ’8 feet tone. 20. Flageolet..................... 2 feet.
I5. Quintaton..................... 8 feet tone. 21. Terz........................... I# foot.
I6. Principal ..................... 4 feet. 22. Quint ........................ I# foot.
I7. Rohrflote ..................... 4 feet tone. 23, Cymbale, IV ranks.
18. Nasat........................... 2% feet. 24. Vox humana ............... 8 feet tone.
19. Octave ........................ 2 feet
Choir, I 3 Słożs.
25. Quintaton ..................... I6 feet tone. 32. Octave........................ 2 feet
26, Principal ..................... 8 feet. 33. Waldflote .................. 2 feet
27. Gedact ........................ 8 feet tone. 34. Sifflote........................ I foot
28, Salicional ..................... 8 feet. 35, Scharf, V ranks.
29. Octave ........................ 4 feet. 36. Cymbale, III ranks.
30. Fugara ........................ 4 feet. Trompette Discant 8 feet
31. Quint........................... 23 feet. 37. Trompette Bass Gºe
Pedal, I2 Słożs.
38. Principal, in front ......... I6 feet. 44. Quint........................ 23 feet
39. Violon ........................ I6 feet 45. Mixture, VIII ranks.
40. Octave ........................ 8 feet 46. Posaune ..................... 32 feet
4I. Gemshorn .................. 8 feet. 47. Posaune ..................... I6 feet
42. Quint........................... 5% feet 48. Trompette .................. 8 feet
43. Nachthorn .................. 4 feet. 49. Clarion........................ 4 feet
78, KRONSTADT.
The fine organ in the Cathedral Church at Kronstadt was built from the plans
of C. Buchholz, of Berlin, in 1839.
Pedal of 17 stops, and 9 large pairs of
follows :-
It contains 63 Sounding stops, 4 Manuals, and
bellows. The stops are distributed as
Great, I 5 Stoffs.
I. Principal ..................... I6 feet.
2. Quintaton..................... I6 feet tone,
3. Principal ..................... 8 feet,
4. Rohrflote ..................... 8 feet tone.
5. Gemshorn..................... 8 feet.
6. Viol di Gamba............... 8 feet.
7. Nasat # feet.
8. Octave ........................ 4 feet.
9. Spitzflote..................... 4 feet.
IO. Waldflote .................. 4 feet.
II. Quint ........................ 23 feet
I2. Super-Octave ............... 2 feet.
I3. Cornett, V ranks.
I4. Scharf, V ranks.
I5. Cymbale, V ranks.
390
APPENDIX.
Ae
IO,
I7.
I8,
I9.
20.
2 I,
22,
29.
3O.
32.
33.
34.
40,
4 I.
42.
43.
the touch is so heavy that playing on it is a great labour.
Bourdon
Quintaton .............
Octave ................
Salicional .............
Principal .............
. Gedact ................
Viol di Gamba.......
Flauto Traverso
Octave ................
Fagotto tº º ſº a g º q is t t t w t t e º
Trompette.............
Clarionett ...'..........
. Principal .............
. Untersatz .............
. Principal .......* * * * * * *
. Sub-bass .............
. Violon ................
. Nasat
frincipal ............
Gedact ................
g ºt tº E tº a 9 tº
# tº $ tº g º f tº
tº tº t e º e º gº
* 9. § 3 ; ; ; ;
. Principal .............
. Bass-flote .............
. Violon ................
4 g g g g g g tº
Echo, 13 Stoffs.
tº º tº 6 tº t e º I6 feet tone. 23. Rohrſlote..................... 4 feet tone.
8 feet. 24, Fugara........................ 4 feet.
8 feet tone, 25. Nasat ........................ 2% feet.
8 feet. 26. Super-octave, II ranks ... 2 feet.
8 feet. 27. Mixture, V ranks.
8 feet tone, 28, Hautbois,.................... 8 feet
4 feet.
Choir, I I Stoffs.
tº g tº 9 tº 8 & I6 feet 35. Viol d'amour ............... 4 feet
8 feet. 36. Flauto Douce ... ............ 4 feet
8 feet tone. 37. Gemshorn Quint ......... 23 feet.
8 feet. 38. Decima Quint............... 2 feet
8 feet 39, Progressio harmonica, III
4 feet to V ranks.
Reed-work Manual, 7 Słońs.
s s a g º e I6 feet, 44, Rohrſlote.,,,,,,,,,,,,...,,..., 8 feet tone.
8 feet, 45. Violon ........................ 8 feet.
8 feet 46. Principal ..................... 4 feet.
8 feet
Nos. 44, 45, and 46 are Lip Stops,
Pedal, 17 Stoffs.
tº a t d g p 32 feet. 56. Gemshorn .................. 8 feet
tº g º is e º a g 32 feet tone, 57. Quint ........................ 5; feet
tº º e º 'º a s , I6 feet. 58. Octave........................ 4 feet
* * * s • * * * * I6 feet tone. 59. Mixture, IV ranks,
tº t w tº ſº tº tº a I6 feet. 6O. Contra-Posaune ............ 32 feet.
& # g g g { * * Io; feet 61. POSaune ..................... I6 feet.
8 feet. 62. Trompette .................. 8 feet
8 feet tone. 63. Cornett ..................... 4 feet
8 feet,
Accessory Stoffs, Movements, & 'c.
5 to 9. Five Wind-trunk valves.
1, 2, 3. Three Manual Couplers.
4. Pedal Coupler.
g Compass.
Manuals, CC to gº in alt, 56 notes,
79. LEIPZIG.
Pedal, CCC to fiddle g, 32 notes.
The organ in the University Church at Leipzig is a very fine instrument, but
It has 3 Manuals and
Pedal, and 58 stops, of which latter the following is an enumeration —
Great, 18 Stoffs.
4 feet. I8.
I. Principal ................. ... 16 feet. IO. Quint ........................ 23 feet.
2. Bourdon ..................... I6 feet tone. II. Octave........................ 2 feet.
3. Octave ........................ 8 feet. 12. Tertia ........................ I# feet.
4. Gemshorn..................... 8 feet. I3. Mixture, VI ranks.
5. Gamba ........................ 8 feet. I4. Cymbale, III ranks.
6. Rohrflote ..................... 8 feet tone. I5. Cornett, V ranks. -
7. Quinta ........................ 5% feet. I6. Fagotto ..................... I6 feet.
8. Octave ........................ 4 feet. I7. Trompette ......... ........ 8 feet.
9, Gemshorn..................... Clarion 4 feet.
AN ACCOUNT OF FOREIGN ORGANS, 391
Choir, 12 Stoffs.
19. Salicional ..................... 8 feet, 25. Nasat ...... . . . . . . . . . . . . . . . . . . 2 feet.
2O. Flote ........................... 8 feet. 26. Octave .................. . . . . . . 2 feet.
2I. Rohrſlote ..................... 8 feet tone, 27. Quint ........................ I# foot.
22, Principal ..................... 4 feet. 28. Flageolet ..................... I foot.
23. Flote ....................... ... 4 feet. 29. Mixture, IV ranks.
24. Gedact ........................ 4 feet tone, 30. Oboe ........................... 8 feet
Echo, I4 Stoffs.
31. Quintaton ..................... 16 feet tone, 38. Rohrſlote ..................... 4 feet tone.
32. Principal ..................... 8-feet. 39. Quint........................... 2% feet.
33. Spitzflote ..................... 8 feet. 40. Octave ........................ 4 feet.
34. Fugara ........................ 8 feet. 4I. Mixture, VI ranks.
35. Quintaton ..................... 8 feet tone. 42, Cornett, III ranks,
36. Gedact ........................ 8 feet tone, 43. Phyzharmonica ............ 8 feet tone.
37, Octave ........................ 4 feet. 44, Vox humana ... ............ 8 feet tone.
- Pedal, I4 Sãoffs. -
45. Principal ..................... 32 feet. 52. Quint ........................ 5% feet.
46. Octave ........................ I6 feet, 53. Octave ........................ 4 feet.
47. Violon ........................ I6 feet. 54. Mixture, V ranks.
48. Sub-bass ..................... I6 feet tone, 55, POSaune .................... 32 feet.
49. Quint ........................... Iož feet. 56. Posaune ..................... I6 feet.
50. Octave ........................ 8 feet. 57. Trompette .................. 8 feet.
5I, Violoncello .................. 8 feet. 58. Clarion ........................ 4 feet.
Accessory Słożs, Movements, &c.
I. Echo to Great. 4. Tremulant Echo.
2. Choir to Great. • 5, 6, 7. Three Wind-trunk valves.
3. Great to Pedal.
t Compass.
Manuals, CC to e” in alt. | Pedal, CCC to tenor e.
DRESIDEN.
The five principal churches in the city of Dresden all contain very fine
organs, four of which are by Silbermann, one of the most renowned German
organ-builders of the last century, and whose name (Silbermann) very well
describes the sparkling and chaste tone of his instruments. In the Ramble
among the Musicians of Germany, a most interesting volume, written by the
late Mr. Edward Holmes, and published in 1828, the author, in describing these
instruments, observes –“ In glancing over the list of contents, the musical
reader may please his imagination by fancying with what effect a piece of
florid and artful counterpoint comes out of a German organ, where the player
sits with a flood of sound ready to the touch of his fingers and store of
thunder lying harmless at his feet. The thickness, depth, and independence
of the Pedals here vindicate Supremely the poetical ascendancy of the fugue
over every other class of musical composition; and in slow subjects, when
the bass rolls in its ponderousness—there is no disputing it—it is like the fiat
of the Omnipotent. As a matter of Science, it is worthy consideration how far
the structure of our organs might be improved by uniting the Sweet cathedral
quality of tone for which those of the Temple, Westminster Abbey, &c., are
noted with the magnificence of Silbermann. If there lived now in England
a mechanic capable of associating the best points of the two, a perfect specimen
of the kind would be the result.” Since the above excellent observations on
the effect of the Dresden organs were written, a considerable advance has been.
made in the art of organ-building in England.
392 APPENDIX.
The largest of Silbermann's four Dresden organs stands in the Royal
Catholic Church.
80. DRESIDEN.
The fine organ in the Royal Catholic Church is esteemed Silbermann's
masterpiece. Gottfried Silbermann died during its progress, and it was
finished by his nephew, John Daniel Silbermann, of Strasbourg, who had
assisted him in the work; and was completed and erected in the year 1754.
It has 48 stops, distributed in the following manner —
*** Great, 16 Słoffs. ºr
I. Principal ..................... I6 feet. 9. Octave ........................ 2 feet.
2. Bourdon........................ I6 feet tone. Io, Terz ........................... I# foot.
3. Principal ..................... 8 feet. II. Mixture, IV ranks.
4. Viol di Gamba ............... 8 feet. I2. Cymbale, III ranks.
5. Rohrflote ..................... 8 feet tone. I3. Cornett, V ranks.
6. Octave ........................ 4 feet. I4. Fagotto........................ I6 feet.
7. Spitzflote ..................... 4 feet. I5. Trompette .................. 8 feet.
8. Quint ........................... 2# feet. I6. Clarion ........................ 4 feet.
Echo, I4 Stoffs.
I7. Quintaton ..................... 16 feet tone. 24. Nasat ........................ 23 feet.
18. Principal ..................... 8 feet. 25. Octave ........................ 2 feet.
I9. Gedact ........................ 8 feet tone. 26. Terz ........................... I# foot.
2O. Quintaton ..................... 8 feet tone. 27, Flageolet ..................... I foot.
2I. Unda Maris .................. 8 feet tone. 28. Mixture, IV ranks.
22. Octave ........................ 4 feet. 29. Echo, V ranks.
23. Rohrflote ................. ... 4 feet tone. 30, Vox humana ............... 8 feet tone.
Choir, ſo Stoſs.
31. Gedact ........................ 8 feet tone. 36. Quint ........................ I# foot.
32. Principal ..................... 4 feet. 37. Sifflote ........................ I foot.
33. Rohrſlote ..................... 4 feet tone. 38. Mixture, III ranks.
34. Nasat.... ...................... 23 feet. 39. Sesquialtera, II ranks.
35. Octave ........................ 2 feet. 40. Chalumeau .................. 8 feet tone.
~, Pedal, 8 Stoffs.
41. Untersatz ..................... 32 feet tone, 45. Mixture, VI ranks.
42. Principal ..................... I6 feet. 46. Posaune ........ ... • * * * * * * * * * * s I6 feet.
43. Octave-bass .................. 8 feet. 47. Trompette .................. 8 feet.
44, Octave ........................ 4 feet. 48. Clarion........................ 4 feet.
- Accessory Sãoffs, &c.
I. Echo to Great. 3. Tremulant Echo.
2. Great to Pedal. .** 4. Tremulant Great.
Coſt/ass.
Manuals, CC to d” in alt. | Pedal, CCC to tenor c.
8I. DRESDEN.
The organ in the Royal Church of the Evangelists, at Dresden, was
completed and erected by Silbermann in the year 1720. It has 32 sounding
stops, distributed among 2 Manuals and Pedal, in the following manner —
Greaſ, 14 Słoffs.
I. Bourdon............ . . . . . . . . . . . . I6 feet tone. 8, Octave ........................ 2 feet.
2. Principal ............ . . . . . . . . . 8 feet. 9. Terz ........................... I# foot.
3. Spitzflote ......... . . . . . . . . . . . . 8 feet. Io. Mixture, IV ranks.
4. Rohrfiote ............ . . . . . . . . . 8 feet tone. II. Cymbale, III ranks.
5. Octave ........................ 4 feet. 12. Cornett, IV ranks.
6. Gemshorn ..................... 4 feet. I3. Trompette .................. 8 feet.
7. Quint ........................... 23 feet. I4. Clarion ... . . . . . . . . . . . . . . . . . . . . . 4 feet.
AN ACCOUNT OF FOREIGN ORGANS. 393
Choir, I3 Stoffs.
I5. Quintaton..................... I6 feet tone, 22. Nasat ........................ 23 feet.
I6. Principal ..................... 8 feet. 23. Octave........................ 2 feet.
17. Gedact - ...................... 8 feet tone. 24. Quint ........................ I# foot.
I8. Quintaton ..................... 8 feet tone. 25. Sifflote........................ I foot.
I9. Unda Maris .................. 8 feet tone. 26. Mixture, III ranks,
2O. Octave ........................ 4 feet. 27. Vox humana ............... 8 feet.
2I. Rohrfiote ..................... 4 feet tone. *
Pedal, 5 Stoffs.
28. Principal Bass............... I6 feet. 31. Posaline ..................... I6 feet.
29. Sub-bass ..................... 16 feet tone. 32. Trompette .................. 8 feet tone.
3O. Violon ........................ 8 feet. -
82, DRESDEN.
The organ in St. Mary's Church was completed in the year 1736, It has
43 Stops, 3 Manuals, and a Pedal of 8 stops, including a covered stop of 32-feet
tone. The distribution of the stops is as follows:–
Great, I4 Słożs.
I. Principal ..................... I6 feet. 8. Octave........................ 2 feet.
2. Octave ........................ 8 feet. 9. Terz ........................ I# foot.
3. Viol di Gamba............... 8 feet. IO. Mixture, IV ranks.
4. Rohrfiote ..................... 8 feet tone. II. Cymbale, III ranks.
5. Octave ........................ 4 feet. I2. Cornett, V ranks.
6. Spitzflote ..................... 4 feet. I3. Fagotto ..................... I6 feet.
7. Quint........................... 2# feet. I4. Trompette .................. 8 feet.
- Echo, II Stoffs.
I5. Quintadena .................. I6 feet tone, 2I. Nasat ........................ 23 feet.
I6. Principal ..................... 8 feet. 22. Octave........................ 2 feet.
17. Gedact ........................ 8 feet tone. 23. Terz ........................ I# foot.
18. Quintaton .............. ". . . . . . . 8 feet tone. 24. Mixture, IV ranks.
19. Octave ........................ 4 feet. 25. Vox humana ............... 8 feet tone.
2O, Rohrfiote ..................... 4 feet tone.
e Choir, IO Stoffs.
26. Gedact ............. … 8 feet tone. 3I. Gemshorn .................. 2 feet.
27. Principal ..................... 4 feet. 32. Quint ........................ I; foot.
28. Rohrflote .................... 4 feet tone. 33. Sifflote........................ I foot.
29. Nasat........................... 2% feet. 34. Mixture, III ranks. -
30 Octave ........................ 2 feet. 35. Chalumeau .................. 8 feet tone.
Pedal, 8 Stoffs.
36. Untersatz ..................... 32 feet tone. 40. Mixture, VI ranks.
37. Principal Bass ............... I6 feet. 41. Posaune ..................... I6 feet.
38. Octave Bass .................. 8 feet, 42. Trompette .................. 8 feet.
39, Octave ........................ 4 feet. 43. Clarion........................ 4 feet.
AVečeň Register.
1. Tremulant. 2. Schwebung, 3. Bass Ventil. | 4 Coppel. 5. Klingel.
83. DRESDEN.
The organ in the Church of St. Sophia, at Dresden, was built by Silbermann,
about the year 1750, and is a very fine instrument. It contains 33 stops, which are
distributed among 2 Manuals and Pedal in the following manner —
Great, 15 Słońs.
i. Bourdon ... ... ..." * * * * * * * * * * * , I6 feet tone, 9. Octave........................ 2 feet,
2. Quintaton ..................... I6 feet tone. IO. Terz.........................., I# foot,
3. Principal ..................... 8 feet. II. Mixture, V ranks.
4. Spitzflote ..................... 8 feet, I2. Cymbale, III ranks.
5. Rohrfiote ..................... 8 feet tone. I3. Cornett, V ranks.
6. Octave ........................ 4 feet. I Trompette Discant 8 f
7. Gemshorn..................... 4 feet. 4. Trompette Bass eet.
8.
Quint........................... 2# feet. I5. Clarion ..................... 4 feet,
394 APPENDIX.
Choir, 12 Stoffs.
I6. Quintaton ..................... I6 feet. 22, Rohrfiote......... . . . . . . . . . . . . 4 feet tone.
I7. Principal ..................... 8 feet, 23. Nasat ........................ 23 feet
18. Gedact ........................ 8 feet tone, 24. Octave........................ 2 feet
I9. Quintaton ..................... 8 feet tone, 25. Super-octave ............... I foot
20. Unda Maris.................. 8 feet tone, 26. Mixture, III ranks,
21, Octave ........................ 4 feet. 27, Vox humana ............... 8 feet tone.
Pedal, 6 Stoffs. --
28, Principal ..................... I6 feet, 31, Cornett, VIII ranks.
29, Bourdon ..................... I6 feet tone. 32. Posaune ..................... I6 feet
30, Sub-bass ..................... I6 feet, 33. Trompette ................. 8 feet
is altogether a very fine instrument.
Accessory Stoffs, &c.
1. Coupler, Choir to Great,
2. Coupler, Great to Pedal.
3. Tremulant to Choir,
Compass.
Manuals, CC to d” in alt.
Pedal, CCC to tenor c.
84. DRESDEN.
The organ in the Church of the Holy Cross, built by Jagermann, of Dresden,
It is the largest in the city, and contains
56 sounding stops, 3 Manuals, and Pedal of 32 feet. The following is a list of its
COIntentS :– • -
Great, I6 Stoffs.
I. Principal .................... I6 feet. 9. Quint ....................... 23 feet
2. Bourdon ..................... I6 feet tone, IO. Octave........................ 2 feet
3. Gross-octave ............... 8 feet, II, Terz................. . . . . . . . . . . I# foot.
4. Gamba ........................ 8 feet, I2. Mixture, VI ranks, -
5. Gemshorn .................. 8 feet. I3. Cymbale, V ranks.
6. Rohrflote ..................... 8 feet tone. I4. Cornett, V ranks. -
7. Octave ........................ 4 feet. I5. Fagotto ..................... I6 feet
8, Gemshorn..................... 4 feet, I6, Trompette .................. 8 feet
Choir, Io Słożs.
I7. Lieblich Gedact ............ 8 feet tone, 22. Octave ..................... 2 feet
18. Rohrflote ..................... 8 feet tone, 23. Quint ........................ I# foot
I9. Principal ..................... 4 feet. 24. Sifflote................. I foot
2O. Rohrflote ..................... 4 feet tone, 25. Mixture, IV ranks.
2I. Nasat .......................... 2% feet. 26. Cromorne .................. 8 feet tone.
Echo, I4 Stoffs.
27. Quintaton ..................... I6 feet tone. 34. Quint ......................., 23 feet
28. Principal ..................... 8 feet. 35. Octave ..................... 2 feet
29. Schwiegel .................. 8 feet. 36. Flageolet..................... I foot
30. Gedact ........................ 8 feet tone. 37. Mixture, V ranks.
31. Quintaton .................. 8 feet. 38. Cymbale, IV ranks.
32, Octave ........................ 4 feet. 39. Cornett, V ranks.
33. Rohrfiote ..................... 4 feet tone. 40, Vox humana ............... 8 feet tone,
Pedal, 16 Stoffs.
41. Gross Principal Bass ... ... 32 feet, 49. Koppel ..................... 8 feet
42. Principal Bass ............... 16 feet. 50. Quint Bass .................. # feet.
43. Violon Bass.................. I6 feet. 51. Octave Bass ............... 4 feet
44. Sub-bass ..................... I6 feet tone. 52. Octave Bass ............... 2 feet
45. Gedact Quint Bass ......... IOż feet tone. 53. Mixture Bass, VI ranks.
46. Principal Bass ... ... ......... 8 feet, 54. Posaune Bass ............... I6 feet
47, Quintaton Bass ............ 8 feet tone, 55. Trompette Bass ............ 8 feet,
48. Violon Bass ... ... ... ......... 8 feet. 56, Clarion Bass , , , , , , 4 feet,
AN ACCOUNT OF FOREIGN ORGANS.
395
Accessory
I. Coupler, Great to Pedal.
2. Coupler, Echo to Great.
Stoſs, &c.
3. Tremulant Echo.
4, 5, 6. Three trunk valves.
Couplers.
Manuals, CC to dº in alt.
| Pedal, CCC to tenor d.
85. FREIBERG IN SAXONY.
The cathedral at Freiberg, in Saxony, contains one of Silbermann's largest
and finest Organs, comprising 45 stops, 3 Manuals, and a Pedal of Io stops.
The following is a list of the several stops contained therein –
Great, I 3 Sãoffs,
I. Bourdon, wood in the bass 16 feet tone. 9. Fourniture, IV ranks,
2. Principal, Eng. tin ......... 8 feet. Eng. tin,
3. Viol di Gamba, tin ......... 8 feet, IO, Cymbale, III ranks, Eng.
4. Rohrflote, tin ............... 8 feet tone, - tin,
5. Octave, tin .................. 4 feet. II. Cornett, V ranks, Eng.
6, Quint, tin ..................... 23 feet. tin,
7. Super-Octave, tin............ 2 feet. I2. Trompette, Eng. tin ...... 8 feet
8. Tierce ........................ I# foot, I3, Clarion, Eng, tin ......... 4 feet
Choir, I3 Stoffs.
I4. Quintaton, Eng, tin ... ... I6 feet tone. 22. Fourniture, III ranks, .
I5. Principal, Eng, tin ......... 8 feet. Eng. tin.
I6. Bourdon, metal treble, 23, Cymbale, III ranks, Eng.
wood bass.................. 8 feet tone, tin,
I7, Octave, Eng, tin ............ 4 feet. 24. Echo Cornett, V ranks,
18. Flute, Eng, tin............... 4 feet. metal. *.
I9. Nazard, metal ............... 2% feet. 25, Cromorne, Eng, tin ...... 8 feet tone.
2O, Super-Octave, Eng. tin ... 2 feet. 26. Vox humana, Eng. tin ... 8 feet tone.
2I, Tierce, Eng, tin ............ I# foot, -
Acho, 9 Słożs.
27. Bourdon, metal ............ 8 feet tone. 32. Tierce, metal ............... I# foot.
28, Principal, Eng. tin ......... 4 feet. 33. Quint, Eng, tin ............ I# foot.
29. Rohrſlote, Eng, tin ......... 4 feet tone, 34. Sifflote, Eng, tin ......... I foot.
30, Nazard, metal ............... 2% feet, 35. Fourniture, III ranks,
3I. Octave, Eng, tin ............ 2 feet. Eng, tin,
Pedal, IO Słożs.
36. Untersatz, wood ............ 32 feet tone. 41. Super-Octave, tin ......... 4 feet
37. Principal Bass, Eng. tin... I6 feet. 42. Fourniture, WI ranks, tin.
38. Sub-bass, wood ............ I6 feet tone. 43. Bombarde, tin............... I6 feet
39. Octave, wood ............... I6 feet 44. Trompette, tin ............ 8 feet
. Octave Bass, tin ............ 8 feet 45. Clarion, tin.................. 4 feet
Accessory Stoſs, &c.
Coupler, Great to Pedal.
Wind-trunk valves.
Two Tremulants.
Six bellows.
86. PRAGUE,
The organ in the Church of St. Dominico, at Prague, is a very large and most
interesting instrument.
the following manner —
It has 4 Manuals and Pedal and 7 I stops, distributed in
Great, I4 Stoffs.
1. Principal ..................... 16 feet. 8. Super-Octave ............... 2 feet
2. Gross Gedact ......... ...... I6 feet tone. 9. Spitzflote.................... 2 feet
3. Octave ... ... ...... 4 * * * * * * * * * * * 8 feet. IO. Sexte ........................ 23 feet.
4. Gedact ......... . . . $ i , t , s , , , ; ; a 8 feet tone, II. Quint ..................... ... I# foot
5. Octave a 4 + · · = { 4 feet. I2. Kuzialfiote .................. I foot,
6. Offenflote ..................... 4 feet. 13. Mixture, X ranks.
7. Quint............. * * * * * * * * * * * * , , 2.É feet, I4. Cymbale, IV ranks,
396 APPENDIX.
AEcho, 12 Stoffs.
15. Quintaton ..................... I6 feet tone. 21. Nachthorn .................. 4 feet.
I6. Surdun ........................ I6 feet tone, 22. Super-octave ............... 2 feet.
I7. Principal ..................... 8 feet. 23. Rauschpfeife, III ranks... 23 feet.
I8. Gemshorn..................... 8 feet. 24. Koppel Quint................ I; foot.
I9. Hohlflote ..................... 8 feet. . 25. Mixture, WI ranks.
20 Octave ........................ 4 feet. 26. Cromorne .................. 8 feet tone.
Inside Choir, 9 Słońs.
27. Gedact ........................ 8 feet tone. 32. Sedecima ..................... I foot.
28. Gedact ........................ 4 feet tone. 33. Cymbale, III ranks.
29. Quintaton ..................... 4 feet tone. 34. Jungfern regal............... I6 feet.
30 Octave ........................ 4 feet. 35. Regal ........................ 8 feet.
31. Quint........................... I# foot. *
Front Choir, 18 Stoffs.
36. Principal ............... ..... I6 feet, 45. Super-Octave ............... 2 feet.
37. Salicional ..................... 16 feet. 46, Gemshorn .................. 2 feet.
38. Principal ..................... 8 feet. 47. Waldflote .................. 2 feet.
39. Rohrfiote ..................... 8 feet tone. 48. Sexte ......................., I# foot,
40. Quintaton ..................... 8 feet tone. 49. Sifflote........................ I foot.
41. Octave ........................ 4 feet. 50. Mixture, V ranks.
42. Blockflote ..................... 4 feet. 5.I. Cornett, III ranks.
43. Querfiote ..................... 4 feet. 52. Dulcian, of wood ......... I6 feet.
44. Quint ... . . . . . . . . . . . . . . . . . . . . . . . 2# feet. 53. Trompette .................. 8 feet.
Pedal, 18 Stoffs.
54. Principal ..................... 32 feet. Quint, III ranks.
55. Octave ........................ I6 feet. 6 Super-octave, II ranks.
56. Principal ..................... I6 feet. 5 Tertian, iſ ranks.
57. Salicional ..................... I6 feet. Koppel, III ranks.
58. Octave ........................ 8 feet. 66. Mixture, VIII ranks.
59. Gross Quint.................. # feet. 67. Posaune ..................... 32 feet.
60. Super-Octave............... ... 4 feet. 68. POSaune ..................... I6 feet.
6I. Nachthorn .................. 4 feet. 69. Dulcian ..................... I6 feet.
62. Spitzflote ..................... 2 feet. 70. Trompette .................. 8 feet.
63. Koppel ........................ 2 feet. 7I, Schalmey..................... 4 feet.
64. Bauerflote..................... I foot.
87. GOERLITZ,
The organ in the Church of St. Peter and St. Paul, at Goerlitz, in Upper
Lusatia, was built by Eugenius Casparini and his son, Adam Horatius, in six
years; and was consecrated by a Solemn Service, August 19th, 1703. It has 82
stops, 55 of which are whole stops, and 3,27O pipes, 522 of which are of metal.
The front of the organ case shows above 280 pipes of polished tin, the largest of
which is the FFFF in the Pedal, 24 feet long. The organ has 3 Manuals and
12 pairs of bellows. The following is an enumeration of the whole stops —
Great, I6 Stoffs.
I. Principal, in front ......... I6 feet. 9. Quint ........................ 2% fect.
2. Octave Principal ............ 8 feet. IO. Sedecima..................... 2 feet.
3. Viol di Gamba............... 8 feet. II. Quint ........................ I# foot.
4. Quintadena .................. 8 feet tone. I2. Mixture, V ranks.
5. Gedact ........................ 8 feet tone, I3. Rauschpfeife, III ranks.
6. Flote-quint .................. 5% feet, I4. Bombarde .................. I6 feet.
7. Super-Octave.................. 4 feet. I5. Trompette ...... ......... ... 8 feet.
8. Salicional ..................... 4 feet. I6. Vox humana ............ ... 8 feet tone,
Echo, 8 Słożs.
17. Gedact ........................ 8 feet tone, 21. Nason ........................ I} foot,
18. Principal ... ... ... ... # * * * * * * * * 4 feet. 22. Sedecima..................... I foot,
I9. Octave ............ . . . . . . . . . . . 2 feet. 23. Mixture, III ranks.
20. Flageolet ..................... 2 feet. 24. Hautbois ... .................. 8 ſect,
AN ACCOUNT OF FOREIGN ORGANS.
397
Choir, I2 Stoffs.
25. Quintadena, cypress-wood 16 feet tone.
26, Principal ..................... 8 feet.
27. Unda Maris, cypress-wood
28. Octave ........................
29. Flote...........................
30, Quint....................... * * * *
4 feet.
2% feet.
8 feet tone.
4 feet tone.
Pedal, IQ Słożs.
37. Gross Principal, tin......... 32 feet.
38. Violon Bass ..................
39. Bourdon .....................
40. Tubalflote.....................
4I. Quintadena ..................
8 feet.
42. Quint ........................ 5% feet.
43. Super-Octave ............... 4 feet.
44. Virgin royal .................. 4 feet
45. Tubalflote..................... 4 feet
46. Tubalflote..................... 2 feet
I6 feet tone.
8 feet tone.
Compass of Pedals, 2 Octaves, from CCC to tenor C.
88, GOERLITZ.
3I. Sedecima..................... 2 feet
32. Flageolet .................. 2 feet
33. Super-Sedecima ............ I foot
34. Cornett, V ranks.
35. Mixture, II ranks.
36. Cymbale, II ranks.
47. Rustic ........................ 2 feet
48. Mixture, V ranks.
49. Scharf, II ranks.
50. Cymbale, II ranks.
51. Posaline ..................... I6 feet.
52. Fagotto ..................... I6 feet.
53. Trompette .................. 8 feet.
54. Schalmey-bass ............ 8 feet tone,
55. Corno ............ . . . . . . . . . ... 8 feet.
The organ in St. Mary's Church, at Goerlitz, has 16 Sounding stops, and was
built by Buckow, in 1838.
Great, 8 Stoffs.
I. Bourdon, wood ............ I6 feet tone, 6. Super-octave, I2 loth.
2. Principal, I4 loth. Eng. Eng, tin .................. 2 feet
tin, in front ............... 8 feet 7. Mixture, I2 loth. Eng.
3. Flaut grave, wood ......... 8 feet tin, IV ranks ............ 2 feet
4. Principal-Octave, I4 loth. 8. Cornett to fiddle g, III
Eng. tin, in front ... ... 4 feet ranks ..................... 2 ſeet.
5. Gemshorn-quint, I2 loth. 9. Slide for a Trompette ... 8 feet.
Eng, tin. .................. 23 feet.
Choir, 4 Słońs.
IO. Viol di Gamba, I2 loth. I2. Dulcian, wood ............ 8 feet.
Eng, tin .................. 8 feet. I3. Flaut d'amour, wood......
II. Flaut Douce, wood......... 8 feet,
Pedal, 3 Słońs.
I4. Violon, pine-wood .........
15. Violoncello, pine-wood ... 8 feet.
I6 feet tone.
I6. Posaune 16 feet.
tº a tº tº $ tº q is tº tº 6 tº 8 & © tº ſº # 6 & 8
Accessory Stoffs.
I. Coupler, Choir to Great.
| 2. Coupler, Great to Pedal.
89. LIEGNITZ.
4 feet tone.
The organ in the Church of St. Peter and St. Paul, at Liegnitz, was erected by
Buckow, in the year 1839.
It has 3 Manuals and Pedal, and 42 Sounding stops,
the names and distribution of which are as follow :- -
Great, I 3 Słoffs.
I. Bourdon, wood ............
2. Principal, # tin............... 8 feet.
3. Gemshorn, tin ............... 8 feet.
4. Viol d'amour, tin............ 8 feet.
5. Flaut grave .................. 8 feet.
6. Flaut Douce, wood......... 8 feet.
7, Octave, tin .................. 4 feet
I6 feet tone.
8. Flaut Douce, metal ...... 4 feet
9. Quint, metal ............... 23 feet
IO. Super-Octave, metal ...... 2 feet
II. Flautino, metal ............ 2 feet
I2. Progressio, III, IV, and
V ranks .................. 2 feet.
13, Cornett, III ranks.........
5%, 4, 3# ft.
398 APPENDIX,
Choir, 8 Stoffs.
I4. Quintaton, tin; the great I8. Piffaro, # Eng. tin......... 4 feet.
Octave of wood ......... I6 feet tone. I9. Flautino, # Eng. tin ...... 2 feet.
I5. Salicional, Eng. tin...... 8 feet. 2O. Cornett, III ranks, Eng.
I6. Pyramidfiote, wood......... 8 feet. tin ........................ 2%, 2, 1+ ft.
I7, Préstant, 4 Eng, tin ...... 4 feet. 21. Oboe ........................ 8 feet.
Echo, 9 Stoffs.
22, Prestant, # tin ............... 8 feet. 26, Flaut amoroso, metal ... 4 feet.
23. Viola di Gamba, § tin...... 8 feet. 27. Spitzflote-quint, tin ...... 23 feet.
24. Flaut amabile, metal, the 28. Octave, tin .................. 2 feet.
bass octave of wood ... 8 feet. 29. Flaut Piccolo, tin ......... I foot.
25, Principal, $ Eng, tin ...... 4 feet. 30. Mixture, III ranks......... I# feet.
- Pedal, I2 Słożs.
31. Principal, polished tin, in 37. Bass-flote, wood............ 8 feet tone,
front,....................... I6 feet, 38. Quint, tin and wood ...... # feet.
32, Violon, Oak .................. I6 feet. 39. Super-octave ............... 4 feet.
33. Prestant, oak ............... I6 feet. 40. Octave........................ 2 feet.
34, Sub-bass ..................... I6 feet tone, 4I. Posaune ..................... I6 feet.
35. Principal ..................... 8 feet. 42. Trompette .................. 8 feet,
36. Violoncello, wood ......... 8 feet, -
Accessory Słożs.
1. Cotipler, Choir to Great. -- 3. Coupler, Great to Pedal.
2, Coupler, Echo to Great, 4, 5, 6, 7. Four Wink-trunk valves,
90. BRESLAU.
The Cathedral Church of St. John, at Breslau, contains no less than 3 distinct
organs; one in the nave, a second in the choir, and a third in one of the small
chapels. The Great organ has 60 sounding stops, 3 Manuals, and a Pedal of 18
stops ; 4,700 pipes, and I2 bellows. The following are the details of the largest
Organ –
Great, I6 Stoffs.
I. Principal, in front, tin ... I6 feet. 9. Super-Octave, metal ....... 4 feet.
2. Quintaton, metal........... . I6 feet tone. Io. Rohrfiote, metal............ 4 feet tone.
3. Octave, in front, tin ...... 8 feet. . II. Gemshorn, metal ......... 4 feet.
4. Gemshorn, metal............ 8 feet, I2. Quint, metal ............... 23 feet.
5. Salicet, metal ............... 8 feet. I 3. Sedecima, metal............ 2 feet.
6. Quintaton, metal............ 8 feet tone. I4. Scharf, metal, IV ranks.
7. Flaut major, wood ......... 8 feet. 15. Mixture, metal, VII ranks.
8. Quint, metal........... ...... 5% feet. I6. Trompette, tin ............ 8 feet.
Echo, I4 Stoffs.
17, Bourdon, maple-wood...... I6 feet tone. 24. Spitzflote, metal............ 4 feet.
I8, Principal, tin ............... 8 feet. 25. Doppel Rohrflote, maple 4 feet tone,
I9. Salicet, tin .................. 8 feet. 26. Nasat, metal ............... 23 feet.
2O. Flaut allemande, metal ... 8 feet. 27. Super-Octave, metal ...... 2 feet.
21. Doppel Rohrfiote, maple 8 feet tone, 28. Cymbale, metal, III ranks.
22. Octave, tin .................. 4 feet. 29. Mixture, metal, WI ranks,
23. Salicet, tin .................. 4 feet. 3O. Clarinett, tin ..........… 8 feet tone,
Choir, I2 Stoffs.
3I. Principal, in front, tin ... 8 feet. 37. Octave, metal............... 4 feet.
32. Gamba, metal ............... 8 feet. 38. Flaut minor, wood......... 4 feet.
33. Flaut Traverse............... 8 feet. 39, Quint, metal ............... 23 feet.
34. Quintaton..................... 8 feet tone. 40. Super-Octave, metal ...... 2 feet.
35. Flaut Douce.................. 8 feet. 41. Mixture, metal, IV ranks.
36, Flaut major ................., 8 feet, 42, Hautbois, metal ......... 8 feet,
AN ACCOUNT OF FOREIGN ORGANS, 399
Pedal, 18 Stoffs.
43. Principal, of tin to FFFF 51. Gemshorn, metal ......... 8 feet,
sharp, and in front ; the 52. Violoncello, wood ......... 8 feet.
lower pipes of wood...... 32 feet. 53. Doppelfiote, of oak......... 8 feet tone.
44, Octave, metal ............... I6 feet. 54. Quint, metal ............... 5% feet.
45. Violon, wood.................. I6 feet. 55. Sedecima, metal ............, 4 feet.
46. Gamba, wood ............... I6 feet. 56. Nachthorn, of Oak ......... 4 feet.
47. Sub-bass, of Oak ............ I6 feet tone. 57. Posaune, wood ............ 32 feet.
48. Quintaton, of oak............ I6 feet tone, 58. Posaune, wood ............ I6 feet.
49. Gemshorn-quint, metal ... Io; feet. 59. Fagotto, wood ..........., I6 feet.
50. Principal, tin.................. 8 feet. 6O. Trompette, tin , , , , , , , , , , , , 8 feet,
Accessory Słońs, &c.
I. Echo to Great. 6. Wind-valve to Echo,
2. Choir to Great. | 7. Wind-valve to great Pedal Sound-
3. Great to Pedal. board.
4. Wind-valve to Great. 8, Wind-valve to Pedal Reed-work
5. Wind-valve to Choir. and 32 feet Principal,
Compass.
Manuals, CC to fº in alt, | Pedal, CCC to tenor c,
9I. BRESLAU.
The Choir organ —
Manual, 9 Stoffs. --
I. Principal ..................... 8 feet. 6. Doppel Rohrflote ......... 4 feet tone.
2. Gamba ........................ 8 feet, 7, Nasat-quint .................. 2% feet,
3. Flaut allemande ............ 8 feet. 8, Super-octave ............... 2 feet,
4. Flaut major .................. 8 feet tone, 9. Mixture, IV ranks,
5. Octave ........................ 4 feet. -
Pedal, 3 Stoffs.
IO, Sub-bass ..................... I6 feet tone. 12. Super-octave .............., 4 feet,
II, Octave Bass .................. 4 feet.
Compass. -
Manual, CC to fº in alt. | Pedal, CCC to tenor c. Coupler, Manual to Pedal.
9IB. BRESLAU.
The little organ in one of the Chapels —
I. Salicet ........................ 8 feet. 5. Flaut allemande ............ 4 feet.
2. Quintaton ..................... 8 feet tone, 6. Quint........................... 23 feet.
3. Principal ..................... 4 feet. 7. Super-octave ............... 2 feet.
4. Flaut amabile ............... 4 feet. 8. Mixture, III ranks,
92. BRESLAU.
The old part of the large organ in the Church of St. Mary Magdalen, at
Breslau, is the work of Joh. Roder, of Berlin, who constructed it in 1725; to whose
work additions were made by Engler in 1821. The organ has now 55 Sounding
stops, 3 Manuals, and Pedal of 16 stops; 3,415 pipes, and IO pairs of bellows.
There is, besides the large organ, a Small one in the choir, of I2 stops. Contents
of the large organ :—
Great, I4 Słożs.
I. Contra Principal, of tin, in 8. Rohrfiote, metal ............ 4 feet tone.
front ........................ I6 feet. 9. Quint, metal ............... 23 feet.
. Quintaton, metal ....... .... I6 feet tone. Io. Super-octave, metal ...... 2 feet.
. Principal, metal ............ 8 feet. II. Scharf, IV ranks............ I foot.
. Saliget, tin..................... 8 feet. I2. Mixture, VIII ranks ...... I# foot.
. Flautallemandemajor, wood 8 feet tone. 13. Rausch-quint, II ranks ... 23 feet.
. Quintaton ..................... 8 feet tone. I4. Trompette, metal ......... 8 feet,
. Octave, metal ............... 4 feet.
i
4OO
APPENDIX.
Echo, I 3 Słożs.
15. Principal, of tin, in front... 8 feet.
I6. Gemshorn, metal ............ 8 feet.
I7. Salicet to tenor f. tin ...... 8 feet.
* * * * * * * * *
18. Flaut major, wood
I9. Octave, metal ............... 4 feet.
20. Doppel Spitzflote, wood ... 4 feet.
21, Fugara, metal ............... 4 feet.
8 feet tone.
22, Quint, metal ............... 23 feet
23. Super-octave, metal ...... 2 feet
24. Waldflote, metal ............ 2 feet.
25. Mixture, VI ranks, metal I; foot.
26. Cymbale, III ranks, metal I# foot.
27. Vox humana, wood ...... 8 feet tone,
Choir, I2 Stoffs.
28. Principal, of tin, in front... 8 feet.
29. Salicet to fiddle g, wood ... 8 feet.
30. Flaut allemande, metal ... 8 feet.
31. Flaut amabile, wood ...... 8 feet.
32. Octave, metal ............... 4 feet.
33. Spitzflote, metal ............ 4 feet.
Pedal, I6 Słożs.
40. Principal ..................... 32 feet.
41. Octave, metal ............... I6 ſeet.
42. Violon, Wood ............... I6 feet.
43. Salicet, wood ............... I6 feet.
44. Sub-bass, wood...............
45. Octave Bass ..................
46. Violoncello, wood.............
47. Doppelflote Bass, wood ...
8 feet.
8 ſeet.
I6 feet tone.
8 feet tone.
34. Doppelfiote, wood ......... 4 feet tone.
35. Quint, metal ............... 23 feet.
36. Super-Octave, metal ...... 2 feet.
37. Cymbale, II ranks ......... I# foot.
38. Mixture, IV ranks ......... I foot.
39. Oboe, metal.................. 8 feet,
48. Flauten Bass, wood ...... 8 feet
49. Quint, metal ............... # feet. .
50. Super-Octave, metal ...... 4 feet
51. Mixture, V ranks, metal... 4 feet
52. Posaune, wood ............ 32 feet
53. Posaune ..................... I6 feet
54. Fagotto, metal............... I6 feet
55. Trompette, tin............... 8 feet
Accessory Stoffs, &c.
6. Wind-valve to Pedal Flue-work.
7. Wind-valve to Pedal Reed-work.
8. Glockenspiel to Great.
9. Glockenspiel to Pedal.
Choir to Great.
. Echo to Great.
, Wind-valve to Great.
. Wind-valve to Choir.
, Wind-valve to Echo.
i
Compass.
Manuals, CC to cº in alt, without CC sharp. | Pedal, CCC to tenor d, without CCC sharp.
93. BRESLAU,
The large organ in St. Elizabeth’s Church, Breslau, was built by Michael
Engler, in 1750, and has since been enlarged (1830) by Müller.
ing stops, 3 Manuals, and Pedal of 14 stops; and 8 large pairs of bellows.
Choir there is a Smaller organ, containing 17 stops.
are as follow :-
It has 54 Sound-
In the
The details of the chief organ
Great, 16 Stoffs.
. Flaut major, wood
Octave, tin.....................
tº t t tº s a tº a $
4 feet.
8 ſeet tone,
I. Salicet, tin..................... I6 feet,
2. Quintaton, tin ............... I6 feet tone.
3. Bourdon, wood............... I6 feet tone,
4. Principal, tin.................. 8 feet.
5. Gemshorn, tin ............... 8 feet.
6. Salicet, tin..................... 8 feet.
7
8
9.
IO.
II.
I2.
I3.
I4.
I5.
I6.
Nachthorn .................. 4 feet
Quint ........................ 2; ſeet
Super-Octave ............... 2 feet
Cymbale, III ranks.
Mixture, VI ranks.
Muset Bass .................. I6 feet.
Trompette, metal ......... 8 ſeet.
Vox humana, tin (labial) 8 feet.
FCho, I4 Stoffs.
I7. Bourdon, wood...............
18. Principal, tin ............... 8 feet.
I9. Salicet, tin..................... 8 feet.
20. Fugara, tin ................. 8 feet.
2I. Flaut amabile, wood ...... 8 feet
22. Octave, tin..................... 4 feet
23. Spitzflote, Wood ............ 4 feet
I6 ſeet tone.
24. Rohrflote, wood ............ 4 feet tone.
25. Quint, metal............ ...... 23 feet
26. Super-Octave ............... 2 feet
27. Terz .................. ........ I# foot.
. Rausch-quint
. Mixture, IV ranks. -
, Schalmey, metal ...........,
AN ACCOUNT OF
FOREIGN ORGANS. 4OI
Choir,
3I. Principal ..................... 8 feet.
32. Flaut allemande, tin ...... 8 feet.
33. Flaut amabile, wood ...... 8 feet.
34. Quintaton, wood ............ 8 feet tone
35. Octave, tin .................. 4 feet.
Pedal,
4I. Major bass, wood ......... 32 feet tone.
42. Principal, of tin, in front... I6 feet.
43. Salicet, of tin and wood... I6 feet.
44. Violon, wood ............... I6 feet,
I6 feet tone.
I6 feet tone.
8 feet.
45. Sub-bass, wood
. Quintaton, wood
47. Principal, tin, in front
- - - # s = º - e. e. e. g.
• * * * * * * * * s a -
Accessory
. Choir to Great.
. Echo to Great.
. Wind-valve to Great.
IO Stoffs.
36. Portunal, wood ............ 4 feet.
37. Quint, metal ............... 23 feet
38. Super-Octave ............... 2 feet
39. Mixture, III ranks.
40. Oboe, metal.................. 8 feet
I4 Słożs.
48. Bassflote, wood ............ 8 feet tone.
49. Gemshorn Quint, metal... 5; feet.
5O. Super-Octave, tin ......... 4 feet.
5.I. Mixture, metal, V ranks.
52. Posaune ..................... 32 feet
53. POSaune, wood ............ I6 feet
54. Trompette, tin............... 8 feet
Słoffs, &c.
5. Wind-valve to Choir.
6. Wind-valve to Pedal flue-work.
7. Wind-valve to Pedal reed-work.
. Wind-valve to Echo.
Coſt/ass.
Manuals, CC to cº in alt., without CC sharp. | Pedal, CCC to tenor e, without CCC sharp.
94, BRESLAU,
Contents of the Small organ in Choir :-
Manital, I2 Sãoffs.
I. Principal, in front ......... 8 feet. 7. Flaut minor.................. 4 feet.
2. Quintaton ..................... 8 feet tone, 8. Quint ........................ 23 feet
3. Salicet ........................ 8 feet. 9. Super-Octave ............... 2 feet.
4. Flaut major .................. 8 feet. IO. Cymbale, II ranks.
5. Principal ..................... 4 feet II. Mixture, IV ranks.
6, Octave ........................ 4 feet I2, Vox humana ............... 8 feet tone.
Pedal, 5 Stoffs.
I3. Violon ........................ I6 feet. I6. Doppelflote .................. 8 feet
I4. Sub-bass ..................... I6 feet tone. 17, Super-Octave ............... 4 feet
I5. Octave Bass .................. 8 feet.
Com/ass.
Pedal, CCC to tenor c, 2 octaves.
Manual, CC to cº in alt., 4 octaves.
95. BRESLAU.
The organ in the Church of St. Bernhardin was built by Casparini in 1705,
and enlarged by Hartig in 1831. It has 35 sounding stops, 2 Manuals, and
Pedal of 12 stops. Besides the large organ, there is a small one in the church
which has 14 stops. The specifications are as follow —
LARGE ORGAN.
Great, I 3 Słoffs.
I6 feet tone. 8. Doppelfiote
I. Bourdon ..................... prº--~~~~ . . . . . . . . . . . . . . . . . . g
2. Quintaton ......... . . . . . . . . . . . . I6 feet tone, 9. Quint ........................ 23 ſeet
3. Principal, in front ......... 8 feet. IO. Super-octaye * * * * * * * * * * * * * * * 2 feet,
4. Gamba ... . . . . . . . . . . . . . . . . . . . . . 8 feet. II. Mixture, V ranks.
5. Flaut major .................. 8 feet. 12. Cymbale, II ranks.
6. Portunal ...................... 8 feet 13. Trompette .................. 8 feet
7. Octave ......... . . . . . . . . . . . . . . . 4 feet
4O
APPENDIX.
Choir, Io Stoffs.
I4. Principal, in front ......... 8 feet. I9. Quint ........................ 2% feet.
I5. Salicet ........................ 8 feet 20. Super-Octave ............... 2 feet.
I6. Flaut amabile ............... 8 feet 2I. Mixture, IV ranks.
I7, Octave ........................ 4 feet 22, Cymbale, II ranks.
18. Flaut minor .................. 4 feet 23. Oboe ........................ 8 feet.
Pedal, I2 Stoffs."
24. Major........................... 32 feet 3O. Doppelflote.................. 8 feet.
25. Principal, in front ......... I6 feet 3I. Quintaton ................... 8 feet tone.
26, Violon ........................ I6 feet 32. Super-Octave ............... 4 feet.
27. Sub-bass ..................... I6 feet tone. 33. POSaume ..................... 32 feet
28. Major Quint .................. Ioš feet. 34. Posaune ..................... I6 feet
29. Violon ........................ 8 feet. 35. Trompette .................. 8 feet
Accessory Słożs, &c.
I. Choir to Great. 4. Wind-valve to Choir.
2. Great to Pedal. 5. Wind-valve to Pedal flue stops.
3. Wind-valve to Great. 6. Wind-valve to Pedal reed stops.
96. SMALL ORGAN.
Manual, Io Sãoffs,
I. Principal ..................... 8 feet. 6. Flaut Traverso ............ 4 feet
2. Gamba ........................ 8 feet. 7. Quint ........................ 23 feet
3. Quintaton ..................... 8 ſeet tone. 8. Super-Octave ............... 2 feet
4. Portunal ........ ............ 8 feet. 9. Mixture, IV ranks.
5. Octave ............... . . . . . . . . . 4 feet IO. Cymbale, II ranks.
Pedal, 4 Stoffs.
II. Violon ........................ I6 feet. I3. Octave........................ 8 feet
I2. Sub-bass . I6 feet tone, I4. Super-Octave ...... 4 feet
97. BRESLAU.
The organ in the Church of St. Vincent, at Breslau, has the very unusual
proportion of half as many Pedal stops as there are Manual stops; that is to
Say, I 5 of the former to 30 of the latter. The specification is as follows:–
Great, I 5 Słoffs.
. Quintaton
. Principal ....................
. Gemshorn .....................
. Salicional ................
. Portunal
. Unda Maris
. Octave
& a s is a tº $ $ t t e º s e º is a tº e º is
Flaut............ º
* * * * * * * * * * * * * * * * * * * * * * * *
. Prestant........................
. Gamba
. Fugara
. Trinona........................
Flaut...........................
. Quintaton ...................
. Principal
. Trinona ........................
* * * * * * * s a 4 e g º e º e g º a 3 s = e g
* * * s w a tº 4 t t e º $ tº g a s & # e. g.
I6 feet tone, 9. Gemshorn 4 feet.
8 feet. IO, Octave ........................ 2 feet.
8 ſeet. II. Rauschguint Bass.
8 feet, I2. Mixture, VI ranks.
8 feet. I3. Cymbale, III ranks.
8 feet tone. I4, Cornett, IV ranks.
8 feet. I5. Trompette .................. 8 feet
4 feet.
Choir, I 5 Stoffs.
8 feet. 24. Flaut ........... ............ 4 feet.
8 feet. 25. Flaut Traverso ............ 4 feet
8 feet. 26. Octave Bass.
8 feet. 27. Quint, III ranks.
8 feet. 28. Mixture, IV ranks.
8 feet tone. 29. Cymbale, III ranks.
4 feet. 30, Clarinett ..................... 8 feet tone,
4 feet -
AN ACCOUNT OF FOREIGN ORGANS, 4O3
Pedal, I 5 Słożs.
31. Major........................... 32 feet tone. 39. Violon ........................ 8 feet.
32. Principal ..................... I6 feet. 40. Violoncello .................. 8 feet.
33. Gamba ....................... , 16 feet. 41. Flaut.....................…. 8 feet.
34. Violon ........................ I6 feet. 42. Gemshorn-quint ............ 5% feet.
35. Sub-bass........................ I6 feet tone. 43. Octave ........................ 4 feet.
36. Quintaton .................... 16 feet tone. 44. Posaune ..................... I6 feet.
37. Octave ........................ 8 feet. 45. Trompette .................. 8 feet.
38, Gamba ........................ 8 feet.
Accessory Stoffs, Couplers, &c.
I. Choir to Great. | 3, 4, 5. Three wind-trunk valves,
2. Great to Pedal. i Five Bellows.
98. BRESLAU.
The organ in the Church of St. Ethelbert, in Breslau, was built by the elder
Müller, and completed in 1837. It has 24 sounding stops, 2 Manuals, and Pedal
of 5 stops. The following is a list of the stops:–
Great, I2 Sãoffs.
I. Bourdon ..................... I6 feet tone. 7. Octave ........................ 4 feet.
2. Principal, in front ......... 8 feet, 8. Doppel-rohrfiote ............ 4 feet tone.
3. Salicet ........................ 8 ſeet, 9. Quint ........................ 23 feet.
4. Gemshorn ..................... 8 feet, IO. Super-Octave ............... 2 feet.
5. Bourdon........................ 8 feet tone. II. Mixture, V ranks. "--
6. Gemshorn Quint ............ 5; feet. I2. Clarinette ..................... 8 feet tone.
Choir, 7 Słoffs. º
I3. Salicet ...... … 8 feet. I7. Portunal ..................... 4 feet.
I4. Flaut major .................. 8 feet. 18. Super-Octave ............... 2 feet.
I5. Portunal........................ 8 feet. I9. Cymbale, II ranks.
I6. Principal ..................... 4 feet.
- Pedal, 5 Stoffs. -
2O, Principal ..................... I6 ſeet, 23. Octave ........................ 8 ſeet.
21. Gamba ........................ I6 feet. 24. Posaune ..................... I6 feet.
22, Sub-bass ...... * . . . . . . . . . . . . . . I6 feet tone.
Accessory Stoffs, &c.
I. Choir to Great. 4. Wind-valve to Choir.
2. Great to Pedal. 5. Wind-valve to Pedal.
3. Wind-valve to Great.
Co/t/ass.
Manuals, CC to d” in alt. | Pedal, CCC to tenor c.
99. BRESLAU.
The organ in the Church of the Eleven Thousand Virgins, at Breslau, was
built by Müller, sen, in 1826; and has 27 sounding stops, 2 Manuals, and Pedal,
The following is a list of its contents:—
Great, II Sãoffs.
I. Bourdon ..................... I6 feet tone, 7. Rohrfiote ..................... 4 feet tone.
2. Principal ..................... 8 feet. 8. Quint ........................ 23 feet.
3. Gamba ........................ 8 feet. 9. Super-Octave ............... 2 feet.
4. Portunal........................ 8 feet, Io. Mixture, V ranks. -
5. Doppelflote .................. 8 ſect. II. Clarinett ..................... 8 feet tone.
6. Octave ....................... 4 feet.
O O 2
404 APPENDIX.
Choir, 9 Słoffs.
12. Salicet ........................ 8 feet. I7. NaSat-quint .................. 23 feet.
I3. Quintaton ...................., 8 feet tone. 18. Super-octave ............... 2 feet,
I4. Flaut major .................. 8 feet. 19. Mixture, III ranks.
I5. Principal ..................... 4 feet. 20, Vox humana (labial) ...... 8 feet,
I6. Flauto Traverso ............ 4 feet.
Pedaſ, 7 Stoffs.
2I. Violon ............. . . . . . . . . . I6 feet. 25. Doppelflote .................. 8 feet tone.
22. Gamba ........................ I6 feet. 26. Octave ........................ 4 feet.
23. Sub-bass ..................... I6 feet tone, 27. POSaune ... . . . . . . . . . . . . . ...., 16 feet.
24 Octave ........................ 8 feet,
Accessory Słońs, &c.
I. Choir to Great. 4. Wind-valve to Choir.
2. Great to Pedal. 5. Wind-valve to Pedal.
3. Wind-valve to Great. Compass of Manuals, CC to fº in alt.
IOO. BRESLAU.
The organ in the Church of St. Salvator, in Breslau, has 19 stops, of which
number 8 are on the Pedal. The following shows the disposition —
Manital, I I Stoffs.
I. Principal, in front............ 8 feet, 7. Flaut minor.................. 4 feet.
2. Salicet ........................ 8 feet, 8. Quint ........................ 2# ſeet,
3. Quintaton ..................... 8 feet tone. 9. Super-Octave ............... 2 ſeet.
4. Flaut major .................. 8 feet. Io. Mixture, IV ranks.
5. Octave ........................ 4 feet. II. Cymbale, II ranks.
6. Gemshorn ..................... 4 feet
Pedal, 8 Stoffs.
12. Violon ........................ I6 feet. I6, Quint ........................ 5% feet.
13. Sub-bass.................. ..... I6 feet tone. 17, Super-octave .............., 4 feet.
I4. Octave Bass .................. 8 feet, 18. Mixture, III ranks.
I5. Flote Bass..................... 8 feet tone, | 19. Posaune ..................... I6 feet.
- IOI. BRESLAU,
The organ in the Cemetery Church at Breslau has 12 stops, as follows:—
- Great, 6 Stoffs.
I. Principal........................ 8 feet. 4. Flaut major .................. 8 feet.
2. Salicet............. ‘. . . . . . . . . . . . . . 8 feet. 5. Octave ........................ 4 feet.
3. Quintaton ..................... 8 feet tone. 6. Spitzflote ..................... 4 feet.
- Choir, 3 Stoffs.
7. Dulcian (labial) 8 feet. 8. Flaut amabile 8 feet. 9. Doppelfiote ...... 4 feet,
Pedal, 3 Stoffs.
IO. Sub-bass ... I6 feet tone, II, Quintaton 16 feet tone, I2. Octave-bass ....., 8 feet.
Couplers, &c.
I. Great to Pedal.
Compass of Manuals, CC to cº in alt. Compass of Pedal, CCC to tenor e.
IO2. BRESLAU.
The organ in the Church of St. Mauritius, in Breslau, has 9 stops, of which
the following is a list —
Manilal, 7 Stoffs.
I. Principal ..................... 8 feet. 5. Gemshorn..................... 4 feet.
2. Hohlflote ..................... 8 feet. 6. Quint........................... 23 feet.
3. Gedact ........................ 8 feet tone. 7. Super-Octave ............... 2 feet
4. Octave ........................ 4 feet,
Pedal, 2 Słońs. --
Sub-bass ..................... I6 feet tone, 9. Octave Bass................., 8 feet,
8,
AN ACCOUNT OF FOREIGN ORGANS, 4O5
IO3. BRESLAU.
The organ in the Church of St. Barbara, at Breslau, has 21 sounding stops, of
which the following is a list :—
Great, 8 Stoffs.
I. Quintaton ..................... I6 feet tone. 5. Octave........................ 4 feet.
2. Principal ..................... 8 feet. 6. Quint ........................ 2% feet.
3. Salicet ........................ 8 feet. 7. Super-Octave ............... 2 feet.
4. Flote …....................... 8 feet tone. 8. Mixture, V ranks,
Cºffer Manual, Choir, 7 Słożs.
9. Salicet ........................ 8 feet. , 13. Quint ..................... 2% feet.
Io, Flote ........................... 8 feet tone. I4. Super-Octave ............ 2 feet.
II. Principal ..................... 4 feet. I5. Mixture, II ranks. --
I2. Doppelfiote .................. 4 feet tone.
Pedal, 6 Słożs.
I6. Sub-bass ..................... I6 feet tone, I9. Quint Bass.................. # feet.
I7. Octave Bass .................. 8 feet. 20, Gemshorn .................. 4 feet.
18, Flote Bass .................. 8 feet tone, 2I. Fagotto ..................... I6 feet.
IO4, BRESLAU.
The organ in the Music-room of the University at Breslau has 14 stops, dis-
tributed in the following manner — -
Aºirs? Manual, 6 Słożs.
I. Principal ..................... 8 feet. 4. Doppel-rohrfiote............ 4 feet tone,
2. Portunal ..................... 8 feet. 5. Quint ........................ 2% feet.
3. Octave ........................ 4 feet. 6, Super-Octave ............... 2 feet,
Užfter Manual, 4 Stoffs.
7. Salicional, metal............ 8 feet. 9. Rohrfiote.................... , 4 feet tone,
8. Gedact, metal, treble ...... 8 feet tone. IO. Waldflote, metal............ 2 feet.
Pedal, 4 Stoffs.
II. Violon ........................ I6 feet. 13. Violon ........................ 8 feet.
I2. Sub-bass ..................... I6 feet tone, I4. Principal ..................... 4 feet.
Compass, &c.
Manuals, CC to fº in alt. | 3 Bellows, 8 feet by 4. | Pedals, CCC to tenor e.
Io;. CRACOW.
The organ in the Evangelist's Church at Cracow has I5 stops, of which the
following is a list :—
Great, 9 Słoffs.
I. Bourdon, wood ............ I6 feet, 6, Hohlflote, wood............ 4 feet.
2. Principal, tin ............... 8 feet. 7. Quint, tin .................. 2# feet.
3. Gamba, tin .................. 8 feet, 8. Super-Octave, tin ......... 2 feet.
4. Flote, wood .................. 8 feet. 9. Mixture, II ranks ......... 2 feet.
5. Octave, tin .................. 4 feet.
Choir, 3 Słożs.
IO. Salicet...8 feet. | II. . Portunal.., 8 feet. | I2, Portunal...4 feet.
Pedal, 3 Stoffs.
I3. Violon... 16 feet. | 14. Sub-bass... 16 feet tone, I5. Violon, , .8 feet.
4O6 APPENDIX.
IO6. WARSAW.
The organ in the Lutheran Church at Warsaw has 27 Sounding stops. It was
built in 1827-9 by Robert Müller, jun., of Breslau, and has 6 bellows, Io feet long
by 5 in breadth. The following is an enumeration of the stops :— tº
Great, IO Stoffs.
I. Principal, tin, in front...... I6 feet. 6. Octave, tin .................. 4 feet.
2. Principal, tin ............... 8 feet. 7. Doppel-rohrflote, wood... 4 feet tone.
3. Gemshorn, tin ............... 8 feet. 8. Quint, tin .................. 2% feet.
4. Portunal wood ............... 8 feet. 9. Octave, tin .................. 2 feet.
5. Doppelflote, wood ......... 8 feet tone. Io. Mixture, tin, IV ranks.
Choir, 8 Stoffs.
II. Salicet, tin .................. 8 feet. . I5. Principal, tin ............... 4 feet.
I2. Flauto, wood ............... 8 feet. I6. Salicet, tin .................. 4 feet.
I3. Flaut Traverso, wood...... 8 feet. I7. Violini, tin .................. 2 feet.
I4. Quintaton, tin ............... 8 feet tone. 18. Clarinett ..................... 8 feet tone.
Pedal, 9 Stoffs.
I9. Major, wood.................. 32 feet tone, 24. Quint, wood ............... 5% feet.
2O. Violon, wood ............... I6 feet. 25. Octave, tin .................. 4 feet.
2I. Gamba, wood ............... I6 feet. 26. POSaune, wood ............ I6 feet.
22, Sub-bass wood............... I6 ſeet tone. 27. Trompette, wood ......... 8 feet.
23. Octave Bass, wood ......... 8 feet.
Io'7. VIENNA.
. The organ in the Cathedral Church of St. Stephen, at Vienna, is a very
old one. It has 41 stops, distributed among 2 Manuals and Pedal in the following
Iſlanller —-
Great, 18 Stoffs.
I. Major Flute .................. I6 feet. IO. Fugara........................ 4 feet.
2, Quintaton ..................... I6 feet tone, II. Nachthorn .................. 4 feet.
3. Principal ..................... 8 feet. 12. Quint ........................ 2% feet.
4. Bourdon ..................... 8 feet tone. 13. Super-octave ............... 2 feet,
5. Gamba ........................ 8 ſeet. * | I4. Mixture, VIII ranks.
6. Salicional ..................... 8 feet. I5. Sesquialtera, IV ranks.
7, Octave ........................ 4 feet. I6. Cymbale, VIII ranks.
8. Spitzflote ..................... 4 feet. I7. Scharf, IV ranks.
9. Gamba ........................ 4 feet. I8, Trompette .................. 8 feet.
Choir, Io Stoffs. *
19. Coppel ........................ 8 feet, 24. Flote ........................ 4 feet.
2O. Rohrfiote ..................... 8 feet tone, 25. Dulcian ..................... 4 feet.
2I. Flote amabile ............... 8 feet. 26. Nazard........................ 23 feet.
22, Quintaton ..................... 8 feet tone. 27, Octave......................... 2 feet.
23. Principal ..................... 4 feet, 28. Mixture, V ranks.
Pedal, I 3 Słońs.
29. Principal, metal ............ I6 feet. 36. Octave........................ 4 feet.
3O. Sub-bass, wood ............ I6 feet. 37. Mixture, VI ranks.
, Bourdon ..................... I6 ſeet tone. 38. Cornett, IV ranks.
32. Principal, metal ............ 8 feet, 39. Bombarde .................. I6 feet.
33. Octave, wood ............... 8 feet, 40. Posaune ..................... I6 feet.
34, Violoncello .................. 8 feet. 4I. Trompette .................. 8 feet.
35. Quint........................... 5% feet.
Accessozy Słoffs, &c.
I, Choir to Great. 3. Tremulant. .
2. Great to Pedal. 4, 5, 6, Three Wind-trunk valves.
Compass.
Manuals, CC to d” in alt, | r Pedal, CCC to tenor c.
AN ACCOUNT OF FOREIGN ORGANS. 4O7
Io8. VIENNA.
The organ in St. Michael's Church, at Vienna, is a very old instrument. It
has 3 Manuals, Pedal, and 40 stops, the distribution and names of which are as
follow :-
Great, I6 Stoffs.
I. Bourdon ......... .* * * * * * * * * * * * I6 feet tone, 9. Nachthorn .................. 4 feet.
2. Principal ..................... 8 feet. IO. Feldflote ..................... 4 feet.
3. Piffaro ........................ 8 feet. II. Quint ........................ 23 feet.
4. Quintaton ..................... 8 feet tone. I2. Tierce ........................ I# foot.
5. Salicional ..................... 8 feet, I3, Mixture, II ranks.
6. Octave ........................ 4 feet. I4. Sesquialtera, III ranks.
7. Fugara ........................ 4 feet, 15. Cymbale, V ranks.
8. Spitzflote ..................... 4 feet. I6. Super-Octave ............... I foot.
Choir, Io Stoffs.
17. Coppel ........................ 8 feet. 22, Flote minor.................. 4 feet.
18. Flote major .................. 8 feet. 23. Quint ........................ # feet.
I9. Principal ..................... 4 feet. 24 Octave ........................ 2 feet.
2O, Octave ........................ 4 feet. 25. Super-Octave ............... I foot.
21. Coppel ........................ 4 feet. 26. Mixture, II ranks.
Acho, 4 Sãoffs.
27. Coppel ........................ 8 feet. 29. Flote ........................ 4 feet.
28, Principal ..................... 4 feet. 30, Octave........................ 2 feet.
Pedal, Io Stoffs.
3I. Principal, metal ............ I6 feet. 36. Coppel ..................... 8 feet.
32. Sub-bass, wood ............ I6 feet, 37, Octave .................... ... 4 feet.
33. Bourdon, wood ............ I6 feet tone. 38. Cornett, III ranks. -
34. Octave, metal ............... 8 feet, 39. Posaune ..................... I6 feet.
35. Octave, wood ............... 8 feet. 4O. Trompette ......... . . . . . . . . . 8 feet.
Accessory Stoffs, &c. Compass, s
I. Choir to Great. Manuals, CC to cº in alt., short octaves,
2. Echo to Great, Pedal, CCC short to A,
Io9, VIENNA.
The organ in the Lutheran Church, at Vienna, was built by Deutschmann, of
that city, and has 2 Manuals and Pedal, and 23 stops, of which the following is a
list :—
Great, 9 Słożs.
. Principal ..................... 8 feet. 6. Quint ........................ 2} feet.
I
2. Gamba ........................ 8 feet. 7. Super-Octave ............... 2 feet.
3. Flote ........................... 8 feet. 8. Mixture, IV ranks.
4. Octave ........................ 4 feet. Hautbois Discant 8 feet
5. Fugara ........................ 4 feet. 9. F agotto, Bass tº g g Cel.
Choir, 6 Sãoffs.
IO. Coppel ........................ 8 feet. I3. Octave........................ 2 feet.
II. Principal ..................... 4 feet. I4. Super-Octave ............... I foot.
I2, Dulciana ...................... 4 feet. I5. Vox humana ............... 8 feet tone,
Pedal, 8 Stoſs,
I6. Bourdon, open ............... I6 feet. 20. Octave........................ 8 feet.
17. Sub-bass ..................... I6 feet tone. 21, Octave ........................ 4 feet.
18. Principal ..................... 8 feet. 22. Posaune ..................... I6 feet,
I9. Violoncello .................. 8 feet. 23. Trompette .................. 8 feet.
Accessory Stoffs, & 'c.
I. Choir to Great. | 2. Tremulant to Choir.
Compass,
Manuals, CC to dº in alt. Pedal CCC to A.
408 APPENDIX.
I IO, VIENNA.
The organ in the Church of the Minorites, at Vienna, which is a very old one,
has lately been renovated by Deutschmann of that city. It has two Manuals and
Pedal, and 24 stops, of which the following is a list —
Great, IO Słoffs,
I. Principal ..................... 8 feet, 6. Nachthorn .................. 4 feet
2. Quintaton ..................... 8 feet tone. 7. Quint ........................ 23 feet
3. Waldflote ..................... 8 feet. 8. Super-Octave ............... 2 feet
4. Octave ........................ 4 feet. 9. Mixture, V ranks.
5. Rohrflote ..................... 4 feet tone. Io, Cymbale, II ranks.
Choir, 8 Stoffs.
II. Principal ..................... 8 feet. I5. Flote ........................ 4 feet
12. Coppel ........................ 8 feet. I6. Octave........................ 2 feet
13. Salicional ..................... 8 feet. 17. Quint ........................ I; foot
I4. Principal ..................... 4 feet 18. Super-octave ............... I foot
Pedal, 6 Słoffs,
19. Coppel ........................ I6 feet. 22. Octave........................ 8 feet.
20. Violon ........................ I6 feet 23. Quint ........................ 5% feet.
2I. Principal ..................... 8 feet 24. Cornett, III ranks.
Accessory Słoffs,
I. Choir to Great. | 2. Great to Pedal.
Compass.
Manuals, CC short to fº in alt. | Pedal, CCC short to A.
III, VIENNA.
The organ in St. Peter's Church is a very old instrument. It has 30 stops'
3 Manuals, and Pedal of 6 stops. There are no reeds in the organ, and the
Mixtures are harsh ; but the 16, 8, and 4 feet stops are good. The following is a
Specification of the stops —
Great, I2 Stoffs.
I. Principal ..................... 8 feet. 7. Gemshorn .................. 4 feet
2. Coppel ........................ 8 feet. 8, Nachthorn .................. 4 feet
3. Gamba ........................ 8 feet. 9. Fugara ..................... 4 feet
4. Salicional ..................... 8 feet. IO. Quint ........................ 23 feet
5. Quintaton ..................... 8 feet tone, II. Octave........................ 2 feet
6. Octave ........................ 4 feet. I2. Mixture, VI ranks.
AEcho, 8 Stoffs.
13. Coppel ........................ 8 feet I7. Flageolet ..................... 2 feet
I4. Principal ..................... 4 feet. 18. Quint ........................ I# foot
15. Flote........................ . 4 feet. I9. Octave ..................... I foot
I6, Octave ........................ 2 feet, 2O. Mixture, IV ranks.
Choir, 4 Sãoffs.
2I. Coppel ........................ 8 feet, 23. Flote ........................ 4 feet
22. Principal ..................... 4 feet 24 Octave........................ 2 feet,
Pedal, 6 Stoffs,
25. Coppel ........................ I6 feet, 28 Octave........................ 8 feet
26. Sub-bass ..................... I6 feet tone. 29. Octave........................ 4 feet
27. Principal ..................... 8 feet. 3O. Cornett, IV ranks.
Com/ass,
Compass of Manuals, CC short to cº in alt, Compass of Pedal, CCC short to A.
AN ACCOUNT OF FOREIGN ORGANS. 4O9
I 12, FREIBURG, IN SWITZERLAND.
In the Cathedral Church of St. Nicholas, at Freiburg, in Switzerland, is a parti-
cularly fine organ, built by Aloise Moser in 1834. It has 4 Manuals, 2 Pedals,
6I Stops, and 4,165 pipes. The draw-stops do not operate in the usual way,
i.e., forwards, but they slide to the right and left. The case is of dark walnut-tree
wood, very elaborately ornamented with gilded carved work. The Vox humana
in the Echo is described as being a singularly Successful stop. The following is
a list of the contents of this admirable instrument:—
Great, 16 Stoffs.
I. Montre ........................ I6 feet. 9. Doublette..................... 2 feet.
2. Bourdon ..................... I6 feet tone, IO. Fourniture, VI and VII ranks.
3. Octave …...................... 8 feet. II. Cymbale, III ranks ...... 2 feet.
4. Principal ..................... 8 feet. I2. Scharf, VIII ranks......... 2 feet.
5. Bourdon ..................... 8 feet. I3. Petit Cornett, III ranks.
6. Gamba ........................ 8 feet. I4. Grand Cornett, a reed ... 16 feet.
7. Prestant ..................... 4 feet. I5. Trombone .................. 8 feet.
8. Dulcian........................ 4 feet. I6. Clarion........................ 4 feet.
Choir, I4 Stoffs.
I7. Quintadena ...... ........... I6 feet tone. 24. Flüte à cheminée ......... 4 feet tone.
I8. Principal ..................... 8 feet. 25. Nazard........................ 2 feet.
I9. Principal ..................... 8 feet. 26. Doublette .................. 2 feet.
20. Gamba ........................ 8 feet. 27. Flageolet ..................... I foot.
2I. Flute Douce.................. 8 feet. 28. Fourniture, IV and Vranks 2 feet.
22. Octave ........................ 4 feet. 29, Cornett, V ranks............ 8 feet.
23. Flute ........................... 4 feet. 30. Trompette .................. 8 feet.
Positif, 12 Słożs.
3I. Montre ........................ 8 feet, 37. Flüte bouchée............... 4 feet.
32. Bourdon ..................... 8 feet tone, 38. Dulcian ..................... 4 feet.
33. Viola........................... 8 feet. 39, Quintflote .................. 23 feet.
34. Salicional ..................... 8 feet. 40. Flageolet ..................... 2 feet.
35. Prestant........................ 4 feet. 4I. Cornett, V ranks.
36. Calcan ........................ 4 feet. 42. Cromorne..................... 8 feet tone.
Acho, 8 Stoffs.
43. Montre ........................ 8 feet. 47. Quint Flute.................. 4 feet.
44. Bourdon ..................... 8 feet tone. 48. Flageolet..................... 2 feet.
45. Flute ........................... 8 feet. 49. Vox humana ............... 8 feet.
46. Salicional ........... ......... 8 feet. 50. Cornett ..................... 8 feet.
Great Pedal, 6 Stoffs.
5.I. Bass Bourdon ............... 32 feet tone. 54. Prestant ..................... 4 feet.
52. Sub-bass ..................... I6 feet. 55. Bombarde .................. I6 feet.
53. Octave ........................ 8 feet. 56. Trombone .................. 8 feet.
Choir Pedaſ, 5 Słożs.
57. Montre ........................ I6 ſeet. 60. Prestant ..................... 4 feet.
58. Principal ..................... 8 feet. 61. Trompette .................. 8 feet,
59. Flute ... . . . . . . . . . . . . . . . . . . . . . . . . 8 feet tone. -
Accessory Słożs, &c.
I. Choir to Great. 3. Tremulant Great.
2. Great to Pedal. 4. Tremulant Echo.
Com/ass.
Manuals, CC to fº in alt. | Pedals, CCC to tenor c.
II.3. HANOVER.
The organ in the Market Church at Hanover is a very fine instrument, the
work of Herr Meyer. It contains 47 Sounding stops, three Manuals, and a
separate Pedal. The following is a list of the stops of this organ —
4 IO APPENDIX.
Great, I 5 Stoffs.
I. Principal, in front ......... 16 feet. 9 Octave........................ 4 feet.
2. Bourdon ..................... I6 feet, IO, Rohrfiote..................... 4 feet.
3. Principal ..................... 8 feet, II. Octave........................ 2 feet.
4. Gemshorn..................... 8 feet. I2. Mixture, V ranks,
5. Gamba ........................ 8 feet, I3. Cornett, IV ranks.
6. Doppelfiote .................. 8 feet. I4. Trompette .................. I6 feet.
7. Rohrſlote .................... 8 feet. I5. Trompette .................. 8 feet,
8. Quint...................: tº t e º a t 5% feet.
- Choir, I2 Stoffs.
I6, Bourdon ..................... 16 feet tone, 22, Querfiote ..................... 4 feet,
I7. Principal ..................... 8 feet. 23. Nasat ........................ 2# feet.
18. Gedact ............... . . . . . . . . . 8 feet tone, 24 Octave ........................ 2 feet.
I9, Quintaton ..................... 8 feet. 25. Mixture, III ranks, g
20. Octave' ........................ 4 feet. 26. Dulcian ..................... I6 feet.
2I, Quintaton ................. ..., 4 feet. 27, Oboe ........................ 8 feet.
- Swell, 6 Stoffs.
28. Geigen Principal ............ 8 feet, 31, Salamine ..................... 4 feet.
29. Salicional ..................... 8 feet, 32, Waldflote .................. 2 feet.
30, Gedact ... . . . . . . . . . . . . . . . . . . . . . 8 feet. 33. AEoline........... • * * * * * * * * * * * * 8 feet.
Pedal, I4 Stoffs.
34, Principal ..................... I6 feet, 41, Octave........................ 4 feet.
35, Violon ........................ I6 feet. 42. Flote ........................ 2 feet.
36. Sub-bass ..................... 16 feet tone, 43. Mixture, III ranks.
37. Quint........................... IOż feet tone, 44, Posaune ..................... 32 feet.
38. Principal ..................... 8 feet, 45. Posaune ..................... I6 feet.
39. Violon ........................ 8 feet, 46. Trompette .................. 8 feet.
40, Bourdon ..................... 8 feet, 47, Trompette .................. 4 feet.
Accessories, -
Io Bellows:–6 for Manuals; 4 for Pedal Forte Pedal and Piano Pedal; the latter
Organ. leaves stops Nos. 35, 36, 39, and 40 in
4 Wind-trunk valves. operation.
I I4. HANOVER,
The organ in the Chapel Royal at Hanover was made by Meyer, and contains
the following 40 stops —
Great, I 3 Stoffs.
I, Bourdon ..................... I6 feet tone. 8. Flote ........................ 4 feet.
2. Principal ..................... 8 feet. 9. Quint ........................ 23 feet.
3. Gemshorn ..................... 8 feet. IO, Octave........................ 2 feet.
4. Gamba ........................ 8 feet. II. Mixture, V ranks,
5. Rohrflote ..................... 8 feet tone, I2. Trompette .........., , , , , , , , I6 feet,
6. Quintaton ..................... 8 feet. I3. Trompette .................. 8 feet.
7, Octave ........................ 4 feet. -
Choir, Io Sãoffs.
14. Quintaton ..................... 16 feet tone. I9. Doppelfiote , , , , , , , , , , , , ...... 4 feet.
I5. Principal ..................... 8 feet. 2O. Nasat ........................ 23 feet.
16. Gamba ........................ 8 feet, 21. Octave........................ 2 feet.
I7. Rohrflote ..................... 8 feet. 22. Mixture, III ranks.
18, Octave ........................ 4 feet. 23. Oboe ........................ 8 feet,
Swell, 7 Stoffs,
24, Geigen Principal ............ 8 feet, 28, Spitzflote..................... 4 feet.
25, Salicional ..................... 8 feet. 29. Waldflote .................. 2 feet.
26, Gedact ........................ 8 feet tone, 30, Oboe ........................ 8 feet.
Octave ........................ 4 feet,
AN ACCOUNT OF FOREIGN ORGANS. 4II
Pedal, Io Stoffs.
3I. Principal ..................... I6 feet, 36. Octave......................... 4 feet.
32. Sub-bass ..................... I6 feet tone. 37. Posaune ..................... I6 ſeet.
33. Quint........................... IO}ſeettone. 38. Trompette .............. .... 8 feet.
34 Octave ........................ 8 feet. 39. Trompette .................. 4 feet.
35. Bourdon ..................... 8 feet tone. 40. Cornett ..................... 2 feet.
Accessories.
8 Bellows ; 5 for the Manuals, 3 for the 4 Wind valves ; Forte and Piano Pedals
Pedals, for the Pédal Organ,
II 5. HANOVER.
The new organ in St. John's, Hanover, contains 44 stops, and, like the two
preceding, was built by Meyer, who is a resident of the town —
Great, I 5 Sãoffs,
1. Principal ..................... 16 feet. 9. Octave........................ 4 feet.
2. Bourdon ..................... I6 feet tone. IO. Gemshorn .................. 4 feet.
3. Principal ..................... 8 feet. II. Octave........................ 2 feet.
4. Spitzflote ..................... 8 feet. I2. Mixture, V ranks.
5. Rohrflote ..................... 8 feet tone. 13. Cornett, IV ranks.
6. Hohlflote ..................... , 8 feet. I4. Trompette .................. I6 feet.
7. Quintaton..................... 8 feet tone. I5. Trompette .................. 8 feet.
8, Quint........................... 5;feettone.
Choir, II Stoffs.
I6, Quintaton..................... I6 feet tone. 22. Flote ........................ 4 feet.
I7. Principal ..................... 8 feet, 23. Quint ........................ 23 feet.
I8, Gamba ........................ 8 feet, 24 Octave........................ 2 feet.
I9. Gedact ........................ 8 feet tone. 25. Mixture, IV ranks.
2O, Doppelflote .................. 8 feet. 26, Dulcian ..................... I6 feet.
21. Octave ........................ 4 feet,
Swell, 6 Słoffs.
27, Geigen Principal ............ 8 feet. 30. Salamine..................... 8 feet,
28, Salicional ..................... 8 feet. 3I. Spitzflote..................... 4 feet.
29. Gedact ........................ 8 feet tone. 32. Hohlflote .................... 4 feet.
Pedal, I2 Słoffs.
33. Principal ..................... I6 feet, 39, Bourdon ................ ... ... 8 feet tone.
34, Violon ............ • * * * * * * * * * * * I6 feet. 40. Octave........................ 4 feet.
35. Sub-bass ..................... I6 feet tone, 4I. Posaune ..................... 32 feet.
36. Quint........................... IO#feet tone. 42. POSaune ..................... I6 feet.
37. Principal ...................., 8 feet, 43. Trompette .................. 8 feet.
38. Violoncello ............... ... 8 feet. 44. Trompette .................. 4 feet.
II.G. ULM.
The Cathedral at Ulm has, for upwards of two centuries and a half, enjoyed
the high reputation of possessing an Organ ranking among the finest specimens of
its kind and time, not only in regard to excellence, but also as to completeness.
So far back as the year I 591 it was furnished with an instrument, then quite new,
reputed to have been the united work of three distinct firms; Andre Schneider, of
Silicie, Conrad Schott, of Suabe, and Pierre Grunwalder, of Nuremberg, being
mentioned as having taken part in its construction. This joint production, after
being repaired, in 1630, by Jean Meyer, the builder of the organ recently burnt in
the cathedral at Frankfort, yielded at length to the ravages of time, and was, in
the year 1730, replaced by a new 32-feet organ, made by the Schmahls, father and
son, which contained 45 stops, 2 Manuals and Pedal, and 16 bellows. The largest
4 I2 APPENDIX,
pipe in this instrument measured I3 inches in diameter, and the entire work was
enclosed in an elaborate case, measuring 93 feet in height and 28 feet in width.
In the course of time this organ, also, like its predecessor, became decayed and
infirm, and the erection of a new one in its place was some years since accordingly
agreed upon. The execution of this great work was entrusted to Walcker, of
Ludwigsburg, who, with Schulze, of Paulinzelle, near Erfurt, shares the highest
reputation among the present generation of German organ-builders, and also the
most extensive and important practice. Walcker's first specification was prepared
in the year 1838; a second one, for an organ of 80 stops, was drawn out in 1845,
and a third one in 1846, for an instrument of 94 stops. It was not, however, until
the 11th of January, 1849, that the agreement of Mr. Walcker was finally made
out and signed, which was then for an instrument to contain IOO stops, 4 Manuals,
and 2 Pedals, 6,564 pipes, 18 bellows, &c. The removal of the old organ occupied
the period between the 22nd of January and the 17th of March, 1849; and the
erection and completion of the new one in the church from May, 1854, to October
13th, 1856, on which latter day it was formally inaugurated with a concert of organ
music. *
This new Ulm organ contains, as already Stated, IOO stops, which are appro-
priated in the following manner, viz. –
- Stops
To the First Manual (Great Organ) ....................................... 3O
,, Second Manual (Choir Organ) .................. … 23
,, Third Manual (Swell Organ) ....................................... I6
,, First (or loud) Pedal................................................... 24
, Second (or soft) Pedal ................................................ 7
IOd
The scheme of the stops stands thus :-
First Manual, 30 Stoffs.
I, Untersatz to tenor c key, 17. Octave........................ 2 feet.
the CCC pipe ............ 32 feet. I8. Waldflote .................. 2 feet.
2. Principal ............ . . . . . . . . . I6 feet. I9. Octave........................ I foot.
3. Tibia major .................. I6 feet. 2O, Sesquialtera, II ranks ... 2% feet.
4. Viol di Gamba............... 16 feet. 2.I. Cornett, V ranks, all
5. Octave ... . . . . . . . . . . . . . . . . . . . . . 8 feet. through..................... Io; feet.
6. Gemshorn ..................... 8 feet. 22. Mixture, V ranks ......... 4 feet.
7. Gedact ............ . . . . . . . . . . . . 8 feet, 23. Mixture, V ranks ......... 23 feet,
8. Salicional ..................... 8 feet. 24, Scharf, V ranks............ 2 feet.
9. Flote (open wood) ......... 8 ſeet. *25. Contra fagotto ............ I6 feet,
IO. Viol di Gamba............... 8 feet. *26. Fagotto, wood, small ... 16 feet.
II. Quint ... . . . . . . . . . . . . . . . . . . . . . 5; feet. *27. Posaune ..................... 8 feet.
I2. Octave ......... . . . . . . . . . . . . . . . 4 feet. *28. Trompette .................. 8 feet.
I3. Flote........... . . . . . . . . . . . . . . . . 4 feet. 29, Clarine ..................... 4 feet.
I4. Rohrfiote ......... . . . . . . . . . . . . 4 feet. *30, Clarinett, flue pipes in
I5, Fugara ... . . . . . . . . . . . . . . . . . . . . . 4 feet. the treble.................. 2 feet.
I6, Terz ... . . . . . . . . . . . . . . . . . . . . . . . . 3% feet.
Second Mantual, 23 Stoffs.
31. Salicional, lowest Octave 42. Viola ........................ 4 feet.
Wood........... . . . . . . . . . . . . . I6 feet, 43. TraverSO flute............... 4 feet.
32. Gedact ........................ I6 feet, 44. Klein Gedact............... 4 feet.
33. Principal ..................... 8 ſeet. 45. Octave........................ 2 feet.
34, Flote ........................ 8 feet. 46. Piccolo, metal ............ 2 feet,
35. Piffaro, small scale with 47. Mixture, VIII ranks...... 2# feet.
beard and ears............ 8 feet. 48. Cymbale, III ranks ...... I foot.
36. Dolce............... . . . . . . . . . . . . 8 feet. *49. Posaune ..................... 8 feet.
37. Gedact ......... . . . . . . . . . . . . . . . 8 feet. 50. Trompette ... ............... 8 feet.
38. Quintaton ..................... 8 feet. .5I. Fagotto ..................... 8 feet,
39. Quintflote............ . . . . . . . . . 5% feet. *52. Clarinett..................... 8 feet.
40, Octave ... . . . . . . . . . . . . . . . . . . . . . 4 feet. "53. Corno ........................ 4 feet,
41. Spitzflote ......... . . . . . . . . . . . . 4 feet.
AN ACCOUNT OF FOREIGN ORGANS, 4 I 3
Third Manual, 16 Sãoffs.
54, Bourdon ............... . . . . . . . I6 feet. 62. Dolce ........................ 4 feet.
55. Principal ..................... 8 feet. 63. Nazard ..................... 23 feet.
56. Spitzflote ..................... 8 feet. 64, Octave.................... ... 2 feet.
57. Piffaro ........................ 8 feet. 65. Flautino ..................... 2 feet.
58. Harmonica .................. 8 feet. 66. Mixture, V ranks ......... 2 feet.
59. Gedact ........................ 8 feet. *67. Vox humana ............... 8 feet.
6O. Octave ......................., 4 feet. 68. Phyzharmonica ............ 8 feet,
61. Gemshorn ..................... 4 feet, *69. Oboe ........................ 4 feet,
Fourth Manual, 13 Reed Stoffs.
Belonging to the other Manuals, which borrowed stops are distinguished by an asterisk on their
7-aspective Manuals.
25. Contra fagotto ............... I6 feet. 52. Clarinett ..................... 8 feet.
26, Fagotto........................ I6 feet. 67. Vox humana ............... 8 feet.
27. Posaune........................ 8 feet. 29. Clarine ..................... 4 feet.
28. Trompette..................... 8 feet, 53. Corno ........................ 4 feet.
49. Posaune........................ 8 feet. 69. Oboe ............... ........ 4 feet.
* 50. Trompette..................... 8 feet. 30, Clarinett ..................... 2 feet.
51. Fagotto........................ 8 feet.
First Pedal, 24 Słożs
70, Principal Bass, in front ... 32 feet. 82. Terz ........................ 6% feet.
7.I. Grand Bourdon ............ 32 feet. 83. Quint........................ 5% feet.
72. Octave Bass .................. I6 feet. 84, Octave........................ 4 feet,
73. Principal Bass ............... I6 feet. 85. Cornett, V ranks ......... 4 feet.
74. Violon Bass .................. I6 feet. 86. Bombardon, free reed ... 32 feet.
75. Bourdon ..................... I6 feet, 87. Posaune ..................... I6 feet.
76. Sub-bass ..................... I6 feet. 88. Fagotto ..................... I6 feet.
77. Quint.................... ...... Iož feet. 89. Posaune ..................... 8 feet.
78. Octave ........................ 8 feet. 90. Trompette .................. 8 feet.
79. Flote Bass .................. 8 feet. 9I. Clarine ..................... 4 feet.
80. Violoncello .................. 8 feet. 92. Corno-basso ............... 4 feet.
8I. Viola ........................... 8 feet. 93. Cornettino .................. 2 feet.
Second Pedal, 7 Sãoffs.
94. Violon Bass .................. I6 feet, 98. Hohlflote .................. 2 feet.
95. Gedact Bass .................. I6 feet. 99. Serpent ..................... I6 feet.
96. Flauto ........................ 8 feet. IOO. Basset horn.................. 8 feet,
97, Flauto ........ * . . . . . . . . . . . . . . . 4 feet.
Couſh/ers.
I. First and second Manual. 6. Fourth and first Manual.
2. Second and third Manual. 7. First Manual and first Pedal.
3. First and third Manual. - 8. Second Manual and second Pedal,
4. Fourth and third Manual. 9. First and second Pedal,
5. Fourth and second Manual.
*
Crescendo to the Phyzharmonica.
Crescendo and Decrescendo to the entire work.
Among the most striking features of this specification must be classed the
great amount and variety of 16, 8, and 4 feet flue-work therein included. Although
not comprehending everything—the French Harmonic Flute and the English
Dulciana class of stops being absent—yet the double, unison, and octave flue
stops on the Manuals present, on the whole, facilities for tone-colouring such as
are to be found scarcely in any other organ in existence. Another point worthy of
attention is the composition of the chorus stops. The size, which is given, of
the longest rank of each of those in the Great organ, clearly indicates that the
mixtures are not simply composed of Small ranks of pipes, which would do little
more than add to the general din of the instrument, but are so compounded
that while each one is qualified to do its individual share in imparting brightness
to the general effect, each can also do its individual share in toning down that
brightness by strengthening and giving additional roundness to Some of the Sounds
4I4 APPENDIX.
which lie below. The Great organ, too, contains, as do all the modern first-class
instruments in Germany, a stop of 32-feet tone (Untersatz), while the great
Cornett includes the Mutation aliquots of the pitch.
The internal, mechanical, and other arrangements present many peculiarities
and excellencies which are worth noting. The bellows are formed after the
fashion of gasometers; that is to say, they each consist of an upper cylinder
working inside a lower. By this plan side-ribs are done away with, and the
strength of the wind produced is absolutely equal at all times. Every stop in
the organ is placed on a little Sound-board of its own, the object of which is
to prevent the possibility of any stops robbing others of wind when they are
all in use. Each little sound-board is furnished with as many pallets as there
are keys on the controlling clavier, and the pallets, which may be familiarly
described as being of mushroom shape, are arranged vertically, and operate by
being lifted up instead of drawn down. To prevent the touch being disagreeably
heavy from the concentration of So many pallets on each key, Barker's pneumatic
lever is introduced, which removes all unpleasant resistance from the finger. The
pipes of most of the stops are placed in their natural or semitonal order, that
is to say, with the largest pipe to the extreme left, and the smallest to the extreme
right, Walcker giving the preference to this arrangement over all others on
acoustical grounds. As there are numerous Small sound-boards, instead of one
or more large ones, slides, which are only required for Securing the use of the stops
independently, are unnecessary, and the stops are each brought into play, or the
reverse, by opening or closing a ventil at one end of the little sound-board. One
great merit of this separate sound-board system consists in the facility which
it offers for borrowing stops from One Manual for the use of another. . In the
present instance no less than thirteen reed stops, collected from the three Manuals,
are concentrated on a fourth, thus forming what the French term a “Bombarde
Organ;” and all this is accomplished mainly by the introduction of an additional
ventil placed at the second end of the sound-board of each of the borrowed stops.
One of the most effective and important novelties in this organ is the “Cres-
cendo and Decrescendo’ to the entire work. This movement draws every stop
in the entire instrument in the best Succession, So that a perfectly gradual
crescendo can be produced from the most delicate £iamissimo up to the most
overwhelming forfissimo. The movement can, moreover, be checked at any
stage, and there allowed to remain, or it can be reversed, so as to produce a partial
piano, then advanced again, and so on. The apparatus itself seems to be the most
complete and simple for the purpose that has yet been devised. It is worked
by a wheel, of which there are two, one placed on each side of the pedal claviers,
and can, therefore, be controlled by either foot. -
The instrument stands at the west end of the church, the most favourable
place for it in one respect, but so far back as to be in the tower (with its front
just under the tower arch), which is somewhat damaging to its effect. The
cost of the organ was 28,000 florins, or about £2,240 Sterling, |
II.7. FRANCE.
The organ in the Cathedral of Carcassaune was built by Cavaillé-Coll, and
contains 40 sounding stops, of which the following is a list –
Grand Orgue.
I, Montre ............... . . . . . . . . . I6 feet. 5. Flute harmonic ............ 8 feet.
2. Bourdon ..................... I6 feet. 6. Viole de Gamba ..........., 8 feet.
3. Montre ............ . . . . . . . . . . . . 8 feet. 7. Prestant ..................... 4 feet.
4. Bourdon ..................... 8 ſect. 8. Viole d’amour............... 4 feet.
AN ACCOUNT OF FOREIGN ORGANS, 4. I 5
jeux de Combinaison.
9. Octave ...... ~ 4 feet. 13. Cymbale, III ranks.
IO. Quint ........................... 3 feet. I4. Bombarde..................... I6 feet.
II. Doublette ..................... 2 feet. I5. Trompette .................. 8 feet.
I2. Fourniture, IV ranks. ....., - I6. Clarion ........................ 4 feet.
Positif, Io Stoffs. #
I7. Montre ........................ 8 feet. 22. Quint ..................... ... 3 feet.
18. Bourdon........................ 8 feet. 23. Doublette .................. 2 feet.
I9. Salicional ..................... 8 feet. 24. Plein Jeu, III ranks.
2O. Prestant........................ 4 feet. 25. Trompette .................. 8 feet.
2I. Flute Douce .................. 4 feet. 26. Cromorne .................. 8 feet.
A'ecif. Ea/ressiſ, 4 Stoffs.
27. Flute Harmonic ............ 8 feet. 29. Viole d’amour ............... 8 feet.
28. Flute Douce .................. 8 feet. 3O. Flute Octaviante ............ 4 feet.
Jeux de Combinaison.
31. Octavin ........................ 2 feet 33. Bassoon et Hautbois ...... 8 feet.
32. Trompette Harmonic ... ... 8 feet 34. Voix humaine ............... 8 feet,
C/azyżer Pedales. -
35. Contre-bass .................. I6 feet. 37. Octave ........................ 4 feet.
36. Basse ........................... 8 feet.
Şeux de Combinaison.
38. Bombarde ..................... I6 feet. 40. Clarion........................ 4 feet.
39. Trompette ..................... 8 feet.
Eleven Pedals de Combinaison, &c,
I 18. PARIS, NOTRE-DAME-DE-LORETTE.
This organ was constructed, in 1836, by Cavaillé-Coll, father and Son, and is
the first instrument built by them after their establishment in Paris. It has 3
Manuals, a separate Pedal of 6 stops, and 47 sounding stops, of which the following
is a list :-—
Great Organ, IQ Stoffs, Compass, CC to fº, 54 AVotes,
I. Montre, the bass of wood I6 feet. I2. Grand Cornet, commenc-
2. Bourdon........................ I6 feet tone, ing at f, VII ranks.
3. Montre ........................ 8 feet. I3. Gross Fourniture, IV ranks.
4. Salicional ..................... 8 feet. I4. Petite Fourniture, IV ranks.
5. Bourdon........................ 8 feet tone. I5. Cymbale, IV ranks.
6. Prestant ........................ 4 feet. I6, Bombarde, the Bass octave
7. Flute ........................... 4 feet. in unison with the Trom-
8. Dessus de Flåte conique ... 4 feet. Pette . . . . . . . . . . . . . . . . . . . . . . . . I6 ſeet.
9. Nazard ........................ 23 feet. I7, Trompette .................. 8 feet.
IO. Quatre de Nazard ......... 2 feet. 18. Clarion ........................ 4 feet.
II. Doublette ..................... 2 feet. I9. Voix humaine ............... 8 feet tone,
Choir Organ, I2 Stoffs, Compass, CC to fº, 54 AVotes.
2O. Bourdon........................ 8 feet tone. 26. Tierce ..................... I# foot.
2I. Flute ........................... 8 feet. 27. Plein Jeu, V ranks.
22. Prestant ........................ 4 feet. 28. Cornet, V ranks.
23. Flute ........................... 4 feet. 29. Trompette .................. 8 feet.
24. Nazard ........................ 23 feet. 30, Clarion ........................ 4 feet.
25. Doublette ..................... 2 feet. 31. Bassoon ..................... 8 feet.
Swell, IO Stoffs, Compass, Tenor f to f *, 37 Votes.
32. Bourdon...... … 8 feet tone. ). 37. Cornet, III ranks.
33. Flute Traversière ............ 8 feet. 38. Trompette .................. 8 feet.
34. Flute ........................... 4 feet. 39. Hautbois ..................... 8 feet.
35. Flute Octaviante ............ 4 feet. 40. Voix humaine ............... 8 feet tone.
36. Flageolet ..................... 2 feet. 4I. Cor Anglais.................. 8 feet.
416 APPENDIX.
Pedal, 6 Słożs, Com/ass, CCC to Tenor c, 25 Noſes.
42. Flute Ouverte.................. I6 feet. 45. Trompette .................. I6 feet.
43. Flute ........................... 8 feet. 46. Trompette .................. 8 feet.
44. Flute ........................... 4 feet. 47. Clarion ........................ 4 feet,
I 19. PARIS, SAINT GENEVIEVE.
The organ in this Church was built by Cavaillé-Coll in 1852-3, and contains the
2I Sounding stops mentioned below —
Great, 9 Słońs, Com/ass, CC ſo fº, 54 Moſes.
I. Bourdon........................ I6 feet tone. 6. Gamba ....... . . . . . . . . . . . . . . . . . . 4 feet.
2. Montre ........................ 8 feet. 7. Doublette .................. 2 feet.
3. Salicional ..................... 8 feet. 8. Trompette .................. 8 feet.
4. Bourdon........................ 8 feet tone. 9. Clarion ........................ 4 feet.
5. Prestant ........................ 4 feet. -
Swell, 8 Słońs, Com/ass, Tenor c to ſº, 42 AVotes.
IO. Flute harmonic............... 8 feet, I4. Octavin........................ 2 feet.
II. Bourdon........................ 8 feet. I5. Trompette .................. 8 feet.
I2. Viole di Gamba ............ 8 feet. I6. Cor Anglais et Hautboy... 8 feet.
3. Flute Octaviante ............ 4 feet. I7. Voix humaine ............... 8 feet tone.
Pedal, 4 Słożs, Com/ass, CCC to Gamułg, 20 Moſes.
18. Sub-bass........................ I6 feet. 2O. Trompette .................. 8 feet.
19, Bass ........................... 8 ſeet, 2I. Clarion ........................ 4 feet.
I2O, ELBERFELD.
The new Church in Elberfeld contains a very fine new organ built by J. F.
Schulze and Son, in 1858. It has three Manuals and Pedals, and the stops men-
tioned below :-
Great Organ, II Stoffs.
I. Principal ..................... I6 feet. 7. Gemshorn..................... 4 feet.
2. Bourdon............... . . . . . . . . . I6 ſeet tone. 8. A Twelfth, .................... 23 feet.
3. Principal ..................... 8 feet. Fifteenth .................. 2 feet.
4. Viole di Gamba ............ 8 feet. 9. Mixture, V ranks ......... 2 feet.
5. Hohlflote ..................... 8 feet. IO. Cornett, III ranks ......... 2% feet.
6. Octave ......... . . . . . . . . . . . . . . . 4 feet. II. Trompette .................. 8 feet.
Choir Organ, 9 Stoffs,
12. Lieblich Bourdon............ I6 feet tone. I7. Rohrſlote ..................... 4 feet tone,
13. Geigen Principal ............ 8 feet. 18. Nazard ........................ 23 feet.
I4. Gemshorn ..................... 8 feet. I9. Flautino ..................... 2 feet.
I5. Rohrfiote ..................... 8 feet tone, 20, Oboe........................... 8 feet.
I6, Octave ........................ 4 feet.
Third C/azyżer.
21. Lieblich Gedact ............ 8 feet tone. 24. Flauto Traverso ............ 8 feet.
22. Harmonica .................. 8 feet. 25. Viola d'amour ............... 4 feet.
23. Vox Angelica ............... 8 feet, 26. Flute Harmonic ............ 4 feet.
Peda/.
27. Violon ............ . . . . . . . . . . . . I6 feet. 31. Gedact-bass .................. 8 feet tone.
28. Sub-bass ............ . . . . . . . . . I6 feet tone. 32. Octave ........................ 4 feet.
29, Quint............… IO#feet tone. 33. Posaune ..................... I6 feet.
3O. Violoncello ......... . . . . . . . . . 8 feet. 34. Trompette .................. 8 feet.
AN ACCOUNT OF FOREIGN ORGANS.
4I /
I 2 I.
BASLE.
The fine new organ in the Minster Church at Basle is the work of Frederick
Haas, and contains 60 Sounding stops, of which the following is a list :—
Great, 17 Stoſs.
I. Principal, Eng. tin, in front I6 feet. 8. Quint, wood.................. 5% feet tone.
2. Bordun, wood, double 9. Octave, Eng, tin ............ 4 feet.
mouths, from tenor c pipe 16 feet tone. IO. Gemshorn, probe tin ...... 4 feet.
3. Octave, Eng. tin ............ 8 feet. II. Hohlflote, wood ............ 4 feet.
4. Gemshorn, probe tin ....., 8 feet. I2. Quint, probe tin ............ 2% feet.
5. Viol di Gamba, Eng. tin 8 feet. I3. Waldflote, probe tin ...... 2 feet.
6. Bordun, wood, double I4. Mixture, probe tin, V ranks 4 feet.
mouths, from tenor c pipe 8 feet tone, I5. Cornet, probe tin, III ranks 5%, 4, & 3%ft.
7. Flauto, wood, double mouths, I6. Fagotto........................ I6 feet.
from fiddle g pipe......... 8 feet. I7. Trompette, tin ............... 8 feet
Choir, I 5 Stoffs.
18. Quintaton ..................... I6 feet tone. 26. Fugara ........................ 4 feet.
I9. Principal........................ 8 feet. 27. Klein Gedact ............... 4 feet tone.
2O. Bordun ........................ 8 feet tone, 28, Quinte ........................ 2% feet
2I. Viola d'amour ............... 8 feet 29. Octave ........................ 2 feet
22. Salicional ..................... 8 feet 3O. Mixtur, IV ranks............ 2 feet
23. Dolce ........................... 8 feet 31. Cornet, V ranks.
24 Octave ........................ 4 feet 32. Fagott and Clarinett ...... 8 feet
25. Flauto TraverSo............... 4 feet
Swell, I4 Stoffs.
33. Lieblich Bordun ............ I6 feet tone. 40. Flåte d'amour ............... 4 feet.
34. Spitzflote ..................... 8 feet. 41. Quinte ........................ 23 feet
35. Harmonika .................. 8 feet. 42. Flautino ..................... 2 feet.
36. Flauto Traverso............... 8 feet. 43. Phyzharmonika ............ I6 feet
37. Still Gedact .................. 8 feet tone. 44, Phyzharmonika ............ 8 feet
38. Spitzflote ..................... 4 feet. 45. Vox humana.................. 8 feet
39. Dolcissimo..................... 4 feet. 46. Vox humana.................. 8 feet
Pedal, I4 Stoffs.
47. Untersatz, Open, wood...... 32 feet. 54. Violoncello, proof tin ...... 8 feet.
48. Octave Bass, wood ......... I6 feet 55. Flote, wood .................. 8 feet.
49. Violon Bass, Eng. tin ...... I6 feet 56. Quintflote, wood ............ 5% feet
50. Violon Bass, wood ......... I6 feet 57. Octave ........................ 4 feet.
5.I. Sub-bass, wood............... I6 feet tone. 58. Posaune........................ I6 feet
52. Quinte, stopped wood ...... Ioš feet. 59. Trompette..................... 8 feet
53. Octave Bass, proof tin ...... 8 ſeet. 60. Clarine ........................ 4 feet
Accessory Słońs, &c.
Coupler, Choir to Great.
Coupler, Great to Pedal.
Calcantenwecker,
I 22.
by Andreas Schulze, in the year 1791.
and separate Pedal.
Registerzug for the Pedal.
Registerzug for the Great Manual.
Registerzug for the Choir Manual.
QUITTELSDORF.
The organ in the village Church of Quittelsdorf, near Paulinzelle, was built
It has 2I sounding stops, two Manuals,
Great Organ, IO Stoffs.
I. Bordun ........................ I6 feet
2. Principal........................ 8 feet
3. Viol di Gamba ............... 8 feet
4. Gedact ........................ 8 feet
5. Hohlflote ..................... 8 feet
7. Vogelflote
e e º e º e s m a e º e s : * * * * * * *
8. Sesquialtera, II ranks. I2, 17, 2% & Iš ft.
9. Mixtur, VI ranks. ............
2 feet.
Io, Cimbel, IV ranks.
P P
4
H
8
APPENDIX.
Choir Organ, 7 Stoffs.
II. Lieblich Gedact............... 8 feet. I5. Rohrfiote ..................... 4 feet
I2. Quintaton ..................... 8 feet. I6. Waldflote ............... . . . . . 2 fect.
I3. Flauto Traverso............... 8 feet. 17. Scharſ, III ranks............ 2 ſeet,
I4. Principal........................ 4 fect.
- Pedal, 4 Stoffs.
18. Violon........................... I6 feet, 20. Octave Bass .................. 8 feet.
I9. Sub-bass........................ I6 feet. 2I. Posaun Bass.................. I6 feet.
Com/ass. -
Pedal CCC to tenor c. | Manual CC (no C#) to c (4 Octaves).
Accessory Słoffs, Colt/lers, &c.
Manual to Pedal. t Accord-glocks.
Choir to Great. Tremulant.
* 23. MILBEITZ.
*
The organ in the village Church of Milbeitz, near Paulinzelle, was made by
Andreas Schulze, the grandfather of the present organ-buildcrS, and contains
the 21 Sounding Stops mentioned below:—
Great Organ, 9 Sãoffs.
I. Bordun ........................ I6 feet tone. 6. Octave........................... 4 feet.
2. Principal........................ 8 feet. 7. Flote ..... ... . . . . . . . . . . . . . . . . . . . 4 feet.
3. Gedact ........................ 8 feet. 8. Sesquialtera............ I2, I'7, 2} & I+ feet.
4. Hohlflote ..................... 8 feet. 9. Mixtur, V ranks............... 2 feet.
5. Gamba ..................... ... 8 feet. -
Choir Organ, 7 Sãoffs.
Io, Lieblich Gedact.......... . . . . . 8 feet tone. I4. Rohrſlote ..................... 4 feet.
II. Salicet............... . . . . . . . . . . . . 8 feet tone. I5. Quint........................... 23 feet.
I2. Flauto Travers)............... 8 feet. I6, Octave .................". . . . . . . 2 feet.
I3. Principal........................ 4 feet.
Peda/Organ, 5 Słońs.
I7. Violin ........................... I6 feet, 20. Violin ............ . . . . . . . . . . . . 8 feet.
18. Sub-bass ........................ I6 feet. 2I. POSaune Bass ............... I6 ſeet,
I9. Octave Bass .................. 8 foot.
Com/ſers.
Accord-glocks. | Tremulant.
Com/ass.
Pedal, CCC to tenor c. | Manuals, CC to C3 (no CC#).
I 24, ANGSTADT.
The organ in this Church was built by J. F. Schulze about the year 1838. It
contains 2 I sounding stops, 2 Manuals, and Pedal. The following is a list of
its contents :-
Great Organ, 8 Sfoſs.
I. Principal, to middle c key, 5. Octave........................... 4 feet
Bordun below ............ I6 fect. 6. Flote ........................... 4 feet.
2. Principal ..................... 8 feet. 7. Mixtur, V ranks............... 2 feet.
3. Gambe . . . . . . . . . . . . . . . . . . . . . . . . 8 feet, 8. Cymbel, III ranks ......... 2 feet.
4. Hohlflote .............. , ....., 8 feet.
AN ACCOUNT OF FOREIGN ORGANS. 4 IQ
Choir Organ, 8 São/s.
9. Bordun ....................... I6 feet tone. 13. Salicional .................. 4 feet.
IO. Principal ..................... 8 feet. I4. Dolzflote ..................... 4 feet.
II. Flauto Traverso ............ 8 feet. I5. Octave ........................ 2 feet.
I2. Gedact ........................ 8 feet. I6. Scharf, III ranks ......... 2 feet.
Peda/Organ, 5 Stoffs.
I7. Violin ........................ I6 feet. 20 Octave Bass ............... 8 feet.
18. Sub-bass' ..................... I6 feet. 2I. Violon ........................ 8 feet.
I9. Principal Bass ............... 8 feet.
2 Couplers.
I25. LUCERNE.
The organ in the Cathedral at Lucerne, in Switzerland, was built by Geissler, of
Salzburg, in the year 1651. It has 48 stops, 3 Manuals, and Pedal of 13 stops,
among which is a particularly fine Sub-bass of 32 feet in metal. It is proposed to
rebuild this organ very shortly. -
Over the Manuals is the following quaint account of the organ —
“ORGAN IN THE COLLEGIATE CHURCH Air LUCERN.E.”
“This organ is the masterpiece of John Geissler, native of Salzburg. It was commenced
and finished in the space of 17 years. The first use made of it dates from 1651, when the
son of this famous artist, elected chaplain of this college, was celebrating his first Mass.
The whole work consists of 3 Manuals; of a Pedal with two octaves; and 2826 Pipes,
composed, for the most part of them, of English pewter. The largest of these measures 2
feet in diameter [Qy.], 37 feet in length, and should contain very easily 1308 French pints of
any liquor. The Mixtures of this admirable work may be varied 7 times’; and, besides this
advantage, there are several registers whereby one may make use of the three Manuals
together, or one or two of them separately. This masterpiece was first tried and approved of
by four organists belonging to foreign princes, and cost about I2,OOO Rhenish florins, a sum
which is esteemed very valuable for that time.”
The following is a list of the stops in the Lucerne organ —
Great,r12 Stoffs.
I. Nachthorn ..... ............ I6 feet. 7. Nazard........................ 2% feet.
2. Prestant ..................... 8 feet. 8. Spitzflote..................... 2 feet.
3. Hohlflote ..................... 8 feet, 9. Quintadena .................. 2 feet tone.
4. Salicional ..................... 8 feet. IO. Sesquialtera, V ranks...... 2% feet.
5. Gemshorn .................. 4 feet. II. Trompet ................ ** s • * * 8 feet.
6. Quintflote..................... 2#feet tone. I2, Vox humana ............... 8 feet,
Choir, II Stoffs.
13. Principal ..................... 8 feet. 19. Mixtur, III ranks.
I4. Hohlflote ..................... 8 feet. 2O. Cymbel, III ranks.
I5. Quint........................... ~5% feet. 2I. Cornet, V ranks.
I6. Octave ........................ 4 feet. 22. Schalmey..................... 8 feet tone,
I7. Quintflote .................. 23 feet tone. 23. Hornlein, a small reed ... 8 feet.
I8. Terzflote ..................... I#foottone.
FCho, 12 Stoffs.
24. Principal ..................... I6 feet. 3O. Gross-terz .................. 3% feet.
25. Octave ........................ 8 feet. 31. Duodecima .................. 23 feet.
26. Solo Principal ............... 8 feet. 32. Quintadena .................. 2 ſeet tone.
27. Viola. ........................ 8 feet. 33. Klein-terz .................. I# foot.
28. Quint........................... 5% feet. 34. Sesquialtera, IV ranks ... 23 feet.
29. Super-octave ............... 4 feet. 35. Mixtur, III ranks.
P P 2
42O APPENDIX.
Pedal, I3 Stoffs.
36. Sub-bass, metal ............ 32 feet. 43. Super-octave ............... 4 feet.
37. Bass, metal ................. I6 feet. 44. Mixtur, V ranks.
38, Principal, metal ..... ...... 16 feet. 45. Bombarde .................. I6 feet.
39. Holz-bass, wood ............ I6 feet. 46. Posaune ..................... 8 feet.
40. Bourdon, wood ............ I6 feet tone, 47. Portune ..................... 4 feet.
41. Qctave ........................ 8 feet. 48. Horn ........................ 2 feet.
42. Klein Octave ............... 8 fect
A ccessory Stoffs, &c.
I. Echo to Great. 3. Great to Pedal.
2. Choir to Great. 4. Echo to Choir.
Com/ass.
Manuals, CC to e” in alt., short octaves. | Pedal. CCC to tenor c, short octaves.
I 26, WINTERTHUR.
The organ in the principal Church at Winterthur, near Zurich, was built partly
by Hasse and partly by Moser, of Freiburg.
Manuals, and a Pedal of 9 stops. Among the latter is a very fine 32-feet Sub-bass,
of wood. The following is a list of the stops:–
Great, I4 Słońs.
I. Principal ..................... I6 feet. 8. Octav ........................ 4 feet.
2. Bourdon ..................... I6 feet tone. 9. Fugara......................... 4 feet.
3. Octav ........................ 8 feet. IO. Quinte ........................ 23 feet.
4. Bourdon ..................... 8 feet tone. II. Waldflote .................. 2 feet.
5. Viol di Gamba ............ 8 feet. I2. Mixture, V ranks.
6. Flote, dopp lab, ............ 8 feet. I3. Cornet, V ranks.
7. Quintflote..................... #feet tone. I4. Trompette .................. 8 feet.
Choir, I I Stoffs.
I5. Bourdon ..................... I6 feet tone. 2I. Rohrflote..................... 4 feet tone.
I6. Principal ..................... 8 feet. 22. Flauto TraverSO ............ 4 feet.
I7. Viol di Gamba............... 8 feet. 23. Octave ..................... 2 feet.
I8. Bourdon ..................... 8 feet tone. 24. Mixture, IV ranks.
I9. Dolce ........................ 8 feet. 2 Clarinet Treble 8 feet
2O, Gemshorn .................. 4 feet. * * 5 i Bassoon Bass “ tº
Swell, Io Stoffs.
26. Principal ..................... 8 feet. 31. Spitzflote .................. 4 feet.
27. Lieblich Gedact ............ 8 feet tone. 32. Flauto d’amore ............ 4 feet.
28. Harmonica .................. 8 feet. 33. Flautino ..................... 2 feet.
29. Salicional ..................... 8 feet. 34. Phyzharmonica, free reeds 8 feet.
30, Lieblich-flote ............... 8 feet tone. 35. Vox humana ............... 8 feet tone.
Pedal, 9 Stoffs.
36. Sub-bass, wood ............ 32 feet. 4I. Violoncello .................. 8 feet.
37. Octav Bass, wood ......... I6 feet. 42. Octav ...................... ... 4 feet.
38. Sub-bass, wood ............ I6 feet tone. 43. Posaune ..................... I6 ſeet,
39. Octav Bass, metal ......... 8 feet. 44. Trompette .................. 8 feet,
40, Flote Bass, wood ......... 8 feet tone.
Accessory Słońs, Movements, &c.
I. Coupler, Choir to Great. 5, 6, 7. Three Wind-trunk Valves.
2. Ditto Swell to Choir. 8. Tremulant to Swell.
3. Ditto Great to Pedal. 9, Io. Two Composition Pedals.
4. Ditto Choir to Pedal.
Com/ass,
Manuals, CC to fº in alt., 54 notes. | Pedal, CCC to tenor c, 25 notes,
It contains 44 Sounding Stops, 3
AN ACCOUNT OF FOREIGN ORGANS, 42 I
I27. CONSTANCE.
The organ in the Cathedral at Constance, in Switzerland, was originally built
in the year I518, which date appears on the case of the instrument. It stands at
the west end of the nave, and has the front pipes richly decorated with diaper and
Scroll work. The organ has 2 Manuals and Pedal, and 27 sounding stops, of
which the following is a list – -
Great, II Stoffs.
I. Bourdon ..................... I6 feet tone. 7. Quinte ........................ 2# feet,
2. Principal ..................... 8 feet. 8. Super-Octave ............... 2 ſeet
3. Viol di Gamba ............... 8 feet. 9. Mixtur, VI ranks ......... 2 ſeet
4. Gedact ........................ 8 feet tone. Io, Cymbel, IV ranks ......... I foot
5. Octave ........................ 4 feet. II. Dulcian........................ 8 feet
6, Flote Gedact.................. 4 feet tone.
Choir, 8 Stoffs.
12, Principal ..................... 8 feet. I6. Octave ........................ 4 feet.
I3. Gemshorn ..................... 8 feet. I7. Rohrſlote ..................... 4 feet tone
I4. Bourdon . ..................... 8 feet tone. 18. Quinte ........................ 2% feet.
I5. Salicional ..................... 8 feet. I9. Mixtur, III ranks ......... 2 feet
Pedal, 8 Stoffs,
2O. Principal Bass ............... I6 feet. 24. Rausch-quinte, II ranks... 23 feet.
2I. Nassat Major.................. I2 feet tone. 25. Mixtur, TV ranks............ 2 feet.
22. Octave Bass .................. 8 feet, 26. Posaune ..................... I6 feet.
23. Prestant Bass ............... 4 feet 27. Trompette 8 feet.
Accessory Stoffs.
I. Choir to Great.
2. Great to Pedal.
Compass.
Manuals, CC to fº in alt.
Pedal, CCC to Gamut G.
I28. STUTGARD.
An organ was erected in the Stiftskirche, at Stutgard, by Conrad Schott,
about the year I 591. The instrument now standing there was built in the year
I 737, for the Benedictine Abbey of Zwiefalten, by Martin, of Hayengen, partner of
the celebrated organ-builder, Gabler. It has been repaired and enlarged
by Walker, of Ludwigsburg, and is a particularly fine instrument. It has
4 Manuals and 2 Pedals, and contains 70 Sounding stops, of which the following
is a list :--
Great Organ, 16 Stoffs.
. Bourdon ..................... 32 feet tone. 9. Octav ........................ 4 feet
. Principal, tin, in front ...... I6 feet. IO. Dolce ........................ 4 feet
. Bourdon ...... '• * * * * * * * * * * * * * * * * * I6 feet tone. II. Fugara ... * 4 fect
Octav ........................... 8 feet. I2. Super-Octav ............ 2 feet
4, 23, Iš, & I feet.
IO; feet tone.
Mixtur, IV ranks...
Cornet, IV ranks
8 feet. I3.
8 feet tone. I4.
tº s º ſº º ºs e º 4 & 6 s & & e º 'º e g g g g º º
* * * * s ∈ # * is g g g g g g g g g g g + 4 e s ºf J. & wºº We We we & A. A. º. is I ºr 4-ha º *** *-* * * * * * * * * * **w J. & 24, 2*, *-j tº t w = e s = e s
G
3.1
Tl
|b
al
. Piffara, II ranks ............ 8 & 4 feet. I5. Tuba ...........................
Quint ........................... 5% feet. I6. Trompette..................... 8 feet
Second /l/atºzºal, I 3 Sãoffs.
I7. Bourdon ..................... I6 feet tone. 24, Flote........................... 4 feet.
I8. Principal ..................... 8 feet. 25. Rohrfiote ..................... 4 feet tone.
19. Gedact ........................ 8 feet tone. 26. Nazard ........................ 23 feet.
2O. Viola ...... 8 feet. 27. Super-octave .......... 2 feet.
2I. Salicional ..................... 8 feet. 28. Mixtur, IV ranks...... 2 feet.
22, Piffara........................... 8 feet. 29. Clarinet e & e 8 ſeet tone,
23. Octave ........................ 4 feet
422 APPENDIX.
Choir, or 3rd Organ, II Stoffs.
30, Salicional ..................... I6 feet. 36. Octav ........................ 4 feet.
31. Principal ..................... 8 feet. 37. Travers-flote.................. 4 feet.
32. Gedact ........................ 8 feet tone. 38. Flageolet ..................... 2 feet.
33. Viola ........................... 8 feet. 39. Mixtur, II ranks.
34. Harmonica..................... 8 feet. 40, Phyzharmonica............... 8 fect.
35. Flote ........................... 8 feet.
Echo Organ, 9 Stoffs.
4I. Principal ..................... 8 feet. 46. Flote ........................... 4 feet.
42. Gedact ........................ 8 feet tone. 47. Salicet ........................ 2 feet.
43. Dolce .......................... ... 8 feet. 48. Super-Octav .................. 2 feet.
44, Viola ........................... 4 feet. 49. Sesquialtera, II ranks...... 2% & I; ſeet.
45. Octav ........................... 4 feet.
First Pedaſ, 14 Stoffs.
50. Sub-bass, wood............... 32 ſect. 57. Quint ............. .......... 5; feet.
5.I. Principal, metal ............ I6 ſect. 58. Octav ........................ 4 fect.
52. Octav, wood .................. 16 feet. 59. Posaunc ..................... 32 feet.
53. Violon, II ranks ............ I6 & 8 feet. 60. Posaune ..................... I6 feet.
54. Quint ........................... Io; feet. 61. Trompette .................. 8 feet.
55. Octav ........................... 8 feet. 62. Clarion ........................ 4 feet.
56. Quintadon ..................... 8 feet tone. 63. Clarion ........................ 2 feet.
- Second Pedal, 7 Słońs.
64. Bourdon........................ 16 feet tone. 68. Flautino ..................... 2 feet.
65. Violoncello .................. 8 feet. 69. Serpent........................ 16 feet.
66. Bourdon ..................... 8 feet tone. 70. Basset Horn.................. 8 feet.
67. Flote ........................... 4 feet.
Accessary Słożs.
I. First Pedal to Second Pedal. 4. Second Manual to Second Pedal.
2. First and Second Manual. 5. Second and Third Manual.
3. First Manual to First Pedal. 6. Third and Fourth Manual.
Co/77%ass.
Four Manuals, CC to dº in alt. | Two Pedals, CCC to tenor d.
I29. STUTGARD,
The organ in the Jews' Synagogue was built by Weigle in the year 1860. It
has 2 Manuals, Pedal, and 22 stops, of which the following is a list —
Great Organ, II Stoffs.
I. Bourdon ..................... I6 feet tone. 7. Rohrſlote ..................... 4 feet tone
2. Principal ..................... 8 feet. 8. Quint........................... 2% feet.
3. Gedact ............... • . . . . . . . . 8 ſeet tone. 9. Super-Octave ............... 2 feet.
4. Viol di Gamba ............... 8 feet. Io. Mixtur, IV ranks.
5. Flaut dolce .................. 8 feet. II. Trompette .................. 8 feet.
6. Octave ........................ 4 feet.
Choir Organ, 7 Słożs.
I2. Principal ..................... 8 feet. I6, Gemshorn..................... 4 feet.
I3. Lieblich Gedact ............ 8 feet tone, 17. TraverSO ..................... 4 feet.
I4. Dolce ........................... 8 feet. I8. Phyzharmonica ............ 8 feet.
I5. Salicional ..................... 8 feet.
Pedal, 4 Słoffs. -
I9. Violon ........................ I6 feet. 21, Octave ........................ 8 feet.
2O. Bourdon ..................... I6 feet tone, 22. Posaunc ..................... I6 ſeet.
Couplers, &c.
Choir to Great, Great to Pedal. | Choir to Pedal, Glock.
AN ACCOUNT OF FOREIGN ORGANS, 423
130. WEINGARTEN.
The central dome and the two west towers of the great Church of the Benedic-
tine Monastery at Weingarten are seen to great advantage from the Ravensburg
Railway. The monastery is approached by a flight of twenty steps, leading to a
paved “place,” with the west end of the Church in front ; a house, with gateway
leading to monastic buildings, to the right; a fine prospect of the country to the
left, with the steps, the town, and a view of Ravensburg, and country between and
beyond, in the remaining direction. The organ in the monastery was being
cleaned and repaired, at the time of our visit, by Weigle, of Stutgard. We could
not, therefore, form any opinion of its general effect ; but we tried several of the
pipes separately, and obtained a general idea of the scale of some of the stops.
The 32-feet pipe, of tin, in front, measures between 15 and 16 inches in diameter;
the largest stopped pipe, 32 feet tone, about II by 13 inches inside, of yellow deal ;
the Violoncello, 8 feet, on the Pedal, is harmonic, 16 feet in length, of tin,
3; inches in diameter; the Violon and Octave Bass, 16 feet, are of wood, the
latter about Io inches across the mouth. The “Coppel’ is of metal, stopped,
with sliding cap ; large scale, the CC pipe (4 feet length) being over 4 inches in
diameter, probe tin, very thick, with arched lip ; tone full and pure, like that of
very good wood pipes. The Principal Tutti, large scale, CC, 5% to 6 inches, and
very heavy pipes; tone very strong. The Carillon on third Manual, composed of
real bells, shaped like those attached to skeleton clocks, of bright metal ; very
musical and pure in tone. Bombarde Bass, 32 feet, of wood, like pear tree in the
upper part, painted white outside. Scale Small, tenor d about 2 inches Square
inside. Largest pipes have metal boots and sockets, wooden reeds, leathered, and
brass tongues. *
The draw stops are arranged in six horizontal rows on each side, six in a row,
with two additional on each side, making 76 draw stops in the total. Knobs of
turned ivory; the draws also of ivory, 3 of an inch square. The names of the stops,
on plates of ivory, are let into the fittings. -
Great, 16 Słońs.
I. Prestant........................ I6 ſect. 9, Querflote................... ... 4 feet.
2. Principal ..................... 8 feet, IO. Hohlflote..................... 2 feet.
3. Rohrflote ..................... 8 feet tone. II. Super-octave ............... 2 feet.
4. Piffara ........................ 8 feet. 12. Sesquialtera, VIII ranks 2; ſeet.
5. Quintaton ............ . . . . . . . . . 8 feet tone. I3. Mixture, XX ranks ...... 2 feet.
6. Octave ........................ 4 feet. I4. Cornet, VIII ranks ... ... 2 feet.
7. Rohrflote ..................... 4 feet tone. I5. Trompetten (new) ......... 8 feet.
8. Flote IDouce .................. 4 feet. I6. Cymbelstern.
Choir, I2 Stoffs. .
I7. Bordun ........................ I6 ſeet tone. 23. Salicional..................... 8 feet.
18. Principal tutti (strong) ... 8 feet. 24 Octav Douce ............... 4 feet.
I9. Violoncello .................. 8 feet. 25. Viola ........................ 4 feet.
20. Coppel ........................ 8 feet. 26. Nasat ........................ 2 feet.
2I. Hohlflote ................... ... 8 feet. 27. Mixture, XXI ranks ...... 4 feet.
22. Unda Maris .................. 8 feet. 28. Cymbal, II ranks ......... 2 feet.
AEcho, I 3 Słoffs.
29. Bordun ........................ 16 feet tone. 36. Piffaro ........................ 4 feet.
30. Principal ..................... 8 feet. 37. Super-Octave ............... 2 feet.
31. Quintaton..................... 8 feet tone. 38. Mixture, XII ranks ...... 2 feet.
32. Viola Douce.................. 8 feet, 39. Cornet, IV ranks ......... I foot.
33. Flauten........................ 8 feet. 4O. Clarinet (new)......... . ... 8 feet.
34 Octave ........................ 8 feet. 4I. Carillon, from tenor f up-
35, Hohlflote ..................... 4 feet. wards,
424
APPENDIX.
Posińſ, 12 Sãoffs.
42. Principal Douce, in front... 8 feet, 48. Rohrflote..................... 4 feet tone.
43. Violoncello .................. 8 feet 49, Querflote..................... 4 feet.
44. Quintaton ..................... 8 feet 50. Flageolet..................... 4 feet.
45. Flute Douce .................. 8 feet 5.I. Cornet, XII ranks... ..... 2 feet.
46. Piffaro ........................ 4 feet 2. Hautbois........... ......... 8 feet.
47. Flauto Traverso ............ 4 feet 53. Voix humaine ............... 8 feet.
Pedal, 17 Stoffs.
54. Contra-bass, tin, in front... 32 feet. 63. Sesquialtera Bass, II and
55. Sub-bass, wood ............ 32 feet tone. III ranks.................. 2% feet.
56. Octave Bass, wood ......... I6 ſeet. 64. Mixturen Bass, V ranks... 8 feet.
57. Violon Bass, wood ......... I6 feet. 65. Bombarde Bass ............ 32 feet
58. Quintaton Bass............... I6 feet. 66. Posaune Bass ............... I6 feet
59. Super-octave Bass, in front 8 feet. 67. Trompette Bass ............ 8 feet
6O. Flote Douce Bass ......... 8 feet. 68. Fagott Bass.................. 8 feet
6I. Violoncello Bass ............ 8 feet. 69. Cornet Bass ............... 4 feet
62. Hohlflote Bass............... 4 feet 70. Carillon Pedal. .
Compass.
Manuals, CC to cº in alt.
Flat pitch.
Pedals, CCC to tenor d.
Accessory Stoffs, Movements, &c.
I. Coupler, Echo to Great.
2. Tremulant.
3. Cuckoo.
4. Rosignal.
5. Cymbals.
6. La Force.
I31. MUNICH.
The organ in the Odéon Concert-room, at Munich, is a little gem.
It was
built, in 1851, by Walker, of Ludwigsburg, and contains 20 stops, distributed
among two Manuals and Pedal. The Phyzharmonica is on a separate wind, and is
managed, by a new Pedal contrivance, so as to produce the most exquisite effects
of delicate crescendo and diminutemaſo.
above-named organ —
The following is the specification of the
Great, Io Stoffs.
. Bourdon, wood ............ I6 feet
. Principal, metal ............ 8 feet
. Gamba, wood ............... 8 feet
8 feet tone.
8 feet tone.
. Rohrfiote, metal ...........
. Gedact, wood ........... ...
i
AEcho, 6
II. Salicional, metal ............ 8 feet.
I2. Flote, wood .................. 8 feet.
I3. Gedact, wood ............... 8 feet tone,
Pedal, 4
I7. Sub-bass, wood, open...... I6 feet,
I8. Viol di Gamba, metal...... 16 feet.
6. Octave, metal............... 4 feet
7. Flote, wood e 4 feet
8. Octave, metal............... 2 feet.
9. Cornet, VII ranks ......... I6 feet tone.
IO. Trompette .................. 8 feet.
Słońs.
I4. Spitzflote, metal ............ 4 feet
I5. Dolce, metal ............... 4 feet
I6. Phyzharmonica ............ 8 feet
Stoffs.
I9. Violoncello, metal ......... 8 feet.
2O, Fagotto ..................... I6 feet
Accessory Stoffs,
1. Echo to Great. |
2. Great to Pedal,
Compass.
Manuals, CC to fº in alt. |
Pedal, CCC to tenor d.
AN ACCOUNT OF FOREIGN ORGANS. 425
I32. RATISBON.
The organ in the Church of St. Emmeran, at Ratisbon, was built about
250 years ago. It has 28 stops distributed among 2 Manuals and Pedal in the
following manner:—
Great, Io Stoffs.
I. Principal ..................... 8 feet, 6. Flote ............ . . . . . . . . . . . . 4 feet.
2. Bourdon ..................... 8 feet tone. 7. Quint ........................ 2# feet.
3. Gamba ........................ 8 fect. 8. Super-Octave ............... 2 feet.
4. Coppel ........................ 8 feet. 9. Mixtur, III ranks.
5. Octave ........................ 4 feet. Io, Mixtur, minor, II ranks.
Choir, 8 Słońs.
II. Coppel ........................ 8 feet. I5. Octave ........................ 4 feet.
I2. Salicional ..................... 8 feet. I6, Flote ................... * - - - - 4 feet.
I3. Allemande .................. 8 feet. I7, Spitzflote..................... 4 feet.
I4. Principal ..................... 4 feet. 18, Super-Octave ............... 2 feet.
Pedal, 8 Słożs.
I9, Gross-bass..................... I6 feet, 23. Quint ........................ 5% feet.
2O. Violone ........ ............... I6 feet. 24 Octave ........................ 4 feet.
2I. Principal .................. . . 8 feet. 25. Super-Octave ............... 2 feet.
22, Violoncello .................. 8 feet. 26. Mixtur, V ranks,
Accessory Słońs.
I. Choir to Great. | 2. Great to Pedal.
Compass.
Manuals, CC to cº in alt. | Pedal, CCC to A.
I33. BOTZEN.
The organ in the Parish Church at Botzen, Tyrol, was built by Hess, and
repaired by Carlo Mauracher. It has 2 Manuals and Pedal, and 30 stops, of
which the following is a list — -
Great, I2 Stoffs.
I. Coppel ........................ I6 feet. 7. Flauto duodecimo ......... 2% feet,
2. Gamba ........................ 8 feet. 8. Super-Octave ............... 2 feet.
3. Flaut amabile ............... 8 feet. 9. Mixtur.
4. Flauto stoppo ............... 8 feet tone. Io. Cornet.
5. Quintadena .................. 8 feet tone. II. Trombe ..................... 8 feet.
6. Octave ........................ 4 feet. I2. Vox humana ............... 8 feet tone.
Choir, IO Stoffs.
13. Coppel ........................ 8 feet. 18. Sesquialtera, II ranks ... 23 feet.
I4, Viola ........................... 8 feet. I9. Flageolet ..................... 2 feet.
I5. Salicional ..................... 8 feet. 2O. Tibia Silvest ............... 2 feet.
I6. Principal ..................... 4 feet. 2.I. Cymbal ..................... I# foot.
I7, Flauto ........................ 4 feet. 22. Dulcian ..................... 8 feet.
Pedal, 8 Stoffs.
23, Principal Bass ............... I6 feet. 27. Octave Bass ............... 8 feet.
24. Violon Bass .................. I6 feet. 28. Mixtur Bass ............... 4 feet.
25. Sub-bass ..................... I6 feet tone. 29. POSaune ..................... 8 feet.
26. Principal ..................... 8 feet, 3O. Clarion........................ 4 feet.
Co/ass.
Manuals, CC to f" in alt, | Pedal, CCC to FF.
420 APPENDIX,
134. ST. PETER’s, AT ROME.
So little is generally known in England concerning the organs of Italy that
it is presumed the following accounts of Some of the large cathedral and Cele-
brated church organs of that country will be perused with much interest. It
will be perceived, from the particulars relating to the subject appended to the
specifications in question, that the compass most usually adopted by the Italian'
organ-builders for the Manuals of their instruments is that descending to the
CCC or 16-feet key. Occasionally this range is met with “complete,” as in
the organ at St. Alessandro, at Milan, and therefore corresponding almost
exactly with the downward compass of the Great organ Manuals at St. Paul's
Cathedral, Westminster Abbey, &c. The stops of a Manual of such range
are just double the size of the usually quoted lengths ; that is to say, the
Principal (Open Diapason) is 16 feet actual measurement, and not 8 ; the
Ottava (Principal) is 8 feet, and not 4, and so on ; and the Pedal organ of
such instruments usually consists of but a very few stops, as the deeper tones of
the Manual serve as a sort of substitute for it in general effects. Sometimes
the Manuals are of the compass denominated “CCC short ;” that is, they
have the 16-feet key for the lowest note, but with certain tones omitted from
the scale, and such an arrangement of the remaining keys as is shown in the
following scheme — -
FFF;
CCC FFF | pop GG ºr AA BB CC
Sometimes the Italian Manuals descend to FFF, as in the two large organs
at Milan Cathedral, corresponding with the compass adopted by Green for
his organs at St. George's Chapel, Windsor, Salisbury Cathedral, Greenwich
Hospital, &c. The length of the stops in all such FFF Manuals is half as large
again as the corresponding stops of CC organs; thus the Manual and Pedal
Diapasons are not simply 8 and 16 feet in length, but I2 and 24 feet respectively.
In a few instances CC Manuals are met with, as in two of the Geneva organs,
with, of course, a Somewhat larger proportionate Pedal organ by way of “Bass.”
Among other peculiarities in the Italian system of organ-building will be
noticed that of placing one more Open Diapason (Principale) in the treble of
the Manual than in the bass, evidently with the view of preserving an equal
strength between the upper and lower tones of the gamut, as in the organs at
St. Peter's at Rome, Milan Cathedral, &c. In some instances this plan for
strengthening the acute Sounds will be found extended to the Principal (Ottava),
as in organs at Milan, Como, &c. Another feature in connection with the Italian
schemes is the plan of making a greater number of the small ranks of pipes
draw separately than is the custom in any other country. Thus we find not
only the 19th and 22nd frequently appearing as separate stops, but also the 26th,
29th, and even the 33rd and 36th, disposed in a similar manner. Among the
most striking features in the Italian organs, however, is the constant presence
of the Octave and Sub-Octave couplers, which so materially increase the number
of distinct combinations, as well as augment the general power of instruments
possessing them.
AN ACCOUNT OF FOREIGN ORGANS. 427
In the Church of St. Peter's, at Rome, there are four organs ; all of which,
however, are Small for so spacious an edifice. The largest one of the number was
originally built about 150 years since, but has recently been reconstructed and
enlarged by Priori, an organ-builder in Rome. It has 2 Manuals and Pedal, and
27 stops, of which the following are the names. As, however, many of the names
are probably new to many English readers, a list of equivalent terms is placed in
parallel columns therewith, which will serve to elucidate their meaning —
I
3
. Principale doppio, Soprano e Basso
. Principale Imo Soprano .............
. Principale 2ndo Soprano
Greaf, Iy Słoffs.
Principale Imo Basso ........................
* * * * * * * * * * * * * * * * * *
Principale 2ndo Basso........................
Double Diapason, Treble and Bass.
First Open Diapason, Treble.
First Open Diapason, Bass.
Second Open Diapason, Treble.
Second Open Diapason, Bass.
4. Principale 320, Soprano ..................... Third Open Diapason, Treble.
5. Flauto TraverSo, Soprano e Basso......... German Flute, Treble and Bass.
6. Flauto Tedesca, Soprano A kind of Clarabella.
7. Ottawa Soprano Octave or Principal Treble.
Ottawa Basso Octave or Principal Bass.
8. Duodecima .................................... Twelfth. -
9. Decima quinta ................................. Fifteenth.
IO. Ottavini, Basso e Soprano .................. Piccolo, Bass and Treble.
II. Decima nona * * * * * * * s & © e g º q = & g a INineteenth or Larigot. -
I2. Vigesima Seconda.............................. Twenty-second or Octave Fifteenth.
I3. Vigesimanoma ............................. Twenty-ninth or Super-octave Fifteenth.
I4. Ripieno di quattro ........................... Chorus or Mixture, TV ranks.
I5. Cornetto Soprano, di cinque ............... Cornet, Treble, V ranks.
Tromba Soprano
Trombone Basso
Corno Inglese, Soprano .....................
Fagotto, Basso.................................
* g º a tº e s tº tº t e º e e º tº a t t e º & g : * * * *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * a s
Trumpet, Treble.
Trombone, Bass.
English Horn, Treble.
Bassoon, Bass.
Swell, 6 Stoſs.
18. Principale, Soprano........................ Open Diapason, Treble.
Principale, Basso.............................. Open Diapason, Bass.
19. Ottawa .......................................... Octave or Principal.
2O.
2 I.
22.
23.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Decima quinta
Ripieur, di cinque
Oboe, Soprano
Tromba, Soprano..............................
tº g º & e º s & s 9 e º e º e s a # * is t w a s & e º # 8 º' tº e
Fifteenth.
Mixture, V ranks.
Hautboy, Treble.
Trumpet, Treble.
Corno, Basso ................................. Horn, Bass.
Pedal, 4 Sãoffs,
24. Contra-Basso, di I6............... … Open Diapason, wood ......... I6 feet
25. Principale, di I6 .............................. Diapason ........................... I6 feet.
26. Principale, di 8 .............................. Principal ........................... 8 feet.
27. Reinforza a lingue Free Reed, without tubes ...... I6 feet tone.
Accessory Stoffs, Movements, &c.
1. Coupler, Swell to Great.
2. Coupler, Great to Pedal.
3. Coupler, Swell to Pedal.
4, 5. Octave and Sub-Octave on GreatManual.
6, 7, 8, Three Composition Pedals.
9. Drum Pedal.
Com/ass.
Manuals, CCC short to fº in alt,
Pedal, CCC short to tenor c.
428 APPENDIX.
I35, ROME.
The organ that ranks as Second in point of size in St. Peter's, at Rome, was
built by Priori, of that city, and has I Manual and Pedal, and 21 stops, of which
the following is a list —
Mammal, 17 Stoffs,
I. Contra-Bassi, Soprano e Basso. IO. Decima nona.
2. Principale, Imo Soprano. II. Vigesima seconda.
Principale, Basso. I2. Vigesima nona.
3. Principale, 2ndo Soprano. 13. Ripieno di cinque.
4. Flauto Traverso, Soprano e Basso. I4. Cornetto di quattro, Soprano.
5. Flauto Tedesco, Soprano. - I5. Voce Umana (not a reed).
6. Ottava, Soprano. I6. Tromba, Soprano.
Ottava, Basso. Trombone, Basso.
7. Duodecima. I7. Corno Inglese, Soprano.
8. Decima quinta Fagotto, Basso.
9. Ottavini ne Basso.
Pedal, 4 Stoffs.
18. Contra-Basso, di 16. 20, Ottava, di 4.
19. Principale, di 8. 2I, Bombarde, di I6.
Accessory Stoff.
Drum.
The Church of St. John, of Lateran, at Rome, has an organ of 36 stops. It was
first built in 1549, and is the largest instrument in the city.
136. MILAN CATHEDRAL,
In Milan Cathedral there are two organs, one on each side of the choir; both
of which are exceedingly effective, and suit admirably the noble building in which
they are placed. Neither of them contains any Reed stops ; stops of that nature
being expressly forbidden by the Ambrosian rite. Both instruments were made by
the brothers Serassi, of Bergamo. That which stands on the north-side of the
choir was completed in 1842, has I Manual and Pedal, and the following stops:—
Mantual, 28 Słożs.
I. Doppio ne Soprani, di 24 Piedi. I5. Decima quinta, 2ndo ....... ... • * * * * * * * (I5th.)
- (Double Treble.) | 16. Flautino .............. ............ (Piccolo.)
Contra-Basso, di 24 Piedi. (Double Bass.) | 17. Decima nona, e .................. Ill] O.
2. Principale, Imo Soprano. (Open Treble.) Vigesima Seconda ............(19 and 22.)
Principale, Imo Basso ...... (Open Bass.) | 18. Decima nona, e ............... 2ndo. .
3. Principale, 2ndo Soprano. (OpenTreble.) Vigesima Seconda ............ (I9 and 22.)
Principale, 2ndo Basso ...... (Open Bass.) | 19. Vigesima Sesta, e ] (26 and 29.)
4. Principale, 320 Soprano (Open º M. nona | “” & 9.
. Violone Soprano .................. iolin.) | 20. Vigesima quarto, e
5 Violomo i. • * * * * * * * * * * * * * * * * * * * * * º j º ! e e º e º º (24 and I7.)
6. Flautone, Soprano......... (Met, St. Dn.) | 21. Trigesima terza, e l 36.)
Flautone, Basso............ (Stopped Bass.) Trigesima sesta '''''' (33 and 36.
7. Flauto Tedesca ............... (Clarabella.) 22. Trigesima prima, e I and 36.)
8. Ottava, Imo Soprano ......... (Prin. Tre.) Trigesima sesta || “” (31 and 36.
Ottava, Imo Basso............ (Prin. Bass.) 23. Ripieno di quatro (Mixture IV ranks.)
9. Ottava, 2ndo Soprano ... ... (Prin, Tre.) 24. Ripieno di tre (Mixture III ranks.)
Ottava, 2ndo Basso ......... (Prin. Bass.) || 25. Cornetto Soprano, a cinque (Cornet V
IO. Ottawa, 320 Soprano ........, (Prin, Tre.) ranks.)
II. Viola Soprano............ (Octave Gamba.) | 26, Cornettino Sop. : a quattro (small Cornet
Violoncello Basso ......... (Gamba Bass.) TV ranks.)
12. Flauto Traverso ......... (German Flute.) | 27. Corno dolce, Soprano ...... (Soft Horn.)
13. Duodecimo ............ . . . . . . . . . . . . . . . (I2th.) | 28. Voce Humana, Sop. .........(not a reed.)
14. Decima quinta, Imo ............... (15th.)
AN ACCOUNT OF FOREIGN ORGANS.
29.
3O.
I. Terza Mano (third-hand, octave Coupler). |
Aedal, 4 Słożs.
Contra Basso ...............
Basso Profundo
24 feet.
24 feet.
e s m e s , s s a s e e
31. Ottava
32. Principale
I2 feet.
I2 feet.
Accessory Słońs, Movements, &c.
2, Pedali armonichi (Pedal Coupler).
and a Pedal of Io stops.
%.:
º
. Principale Soprano Imo ...
Manual, FFF to fº in alt., complete,
Compass.
3. Tremblant.
4, 5.
Two Composition Pedals.
Pedal, FFF to tenor c, complete.
I37. MILAN CATHEDRAL,
The organ on the south side of the Choir has 2 Manuals and 29 stops, of
which the following is a list —
Gºeal, 2I Sãoffs.
I. Contra Bassi. IO,
2. Principale, Imo Soprano. II.
Principale, Imo Basso. I2.
3. Principale, 2ndo Soprano. I3.
Principale, 2ndo Basso. I4.
4. Flauto Traverso. I5.
5. Ottava Soprano. I6.
Ottava Bassi. I7.
6. Ottawa Soprano. I8.
Ottava Bassi.
7. Flauto in Ottava. I9.
8. Duodecima. 2O.
9. Quinta decima. 2I.
Positif, 8 Stoffs,
22. Principale Soprani. 25.
Principale Bassi. 26.
23. Flauto Soprani. * 27.
24. Ottawa Soprani. 28.
Ottawa Bassi. 29.
Decima nona.
Vigesima seconda.
Vigesima Sesta.
Vigesima nona.
Vigesima Sesta e nona.
Trigesima terza.
Trigesima Sesta.
Trigesima terza e Sesta,
Quadragesima, e
Quadragesima, terza.
Cornetta primo.
Cornetta secunda.
Voce Umana.
Quinta decima.
Decima nona.
Vigesima Secunda.
Vigesima Sesta.
Vigesima nona.
Accessory Słoffs, Movements, &c.
I. Bassi Armonici ne Pedali,
2. Terzo Mano,
Manuals, FFF to g” in altissimo.
o
J -
4.
Compass.
Sub-octave Coupler.
Piano and Forte movement.
| Pedal Clavier, FFF to tenor b.
I38, MILAN.
The organ in the Church of St. Alessandro, at Milan, has 49 stops, 2 Manuals
The following is its specification —
Great, 24 Stoffs.
32 feet.
Principale Basso Imo 32 feet.
& © e º º º
. Principale Sop. eBasso 2ndo 32 feet.
. Violone Basso al CC......... 32 feet.
. Principale Soprano Imo ... I6 feet.
Principale Basso Imo ...... I6 feet.
. Principale Soprano 2ndo ... I6 feet.
Principale Basso 2ndo ...... I6 feet.
. Viola Soprano ............... I6 feet
Viola Basso..................... I6 feet
. Corno Flauto .................. I6 feet
. Ottava Soprano Imo......... 8 feet
Ottava Basso Imo ............ 8 feet
. Ottava Sop. e Basso ......... 8 feet
. Flauto Soprano ............... 8 feet.
Flauto BaSSO .................. 8 feet.
5
II. Violino Soprano............ 8 ſeet
Basso Viola.................. 8 feet
I2. Quinta decima Imo ...... 4 feet
I3. Quinta decima 2ndo ...... 4 feet
I4. Decima nona ............... 3 feet
I5, Ottavino ..................... 2 feet
I6. Ripieno di due.
17. Ripieno di quattro.
18. Ripieno di tre.
I9. Ripieno di quattro.
2O. Corno Inglese............... 32 feet.
2I. Tromba Soprano ......... I6 feet
Tromba Basso............... I6 feet
22. Clarinetto Soprano......... I6 feet
Fagotto Basso ............ I6 feet.
23. Tromba Allemano Basso I6 feet.
24. Tromba Armoniche ...... 8 feet.
APPENDIX.
25.
42.
43.
44.
I596, and was afterwards much improved, but is now unplayable.
erected in 1650 by Hermann, a Jesuit, and is of exquisite tone.
Swell, I 5 Słońs.
Principale Soprano
Principale Basso
tº e º e º e º a 9
I6 feet,
a e < * * * * * * * * *
. Voce flebile Soprano Imo I6 feet.
Voce flebile Basso ......... I6 feet.
27. Voce flebile Sop. 2ndo ... 16 feet.
28. Violetta Soprano Imo...... 16 feet.
Violoncello Basso ......... I6 feet.
29. Violetta Soprano 2ndo ... 16 feet.
30. Ottawa ........................ 8 feet.
40. Violone profondo............ 32 feet.
4I. Contrabassi e rinforzi...... I6 feet.
3I.
32.
33.
34.
35.
36.
37.
38.
39.
Pedal, Io Stoffs.
45.
46.
Violoncello a lingur in la I6 ſeet. 47.
Bassi Armonichi e duodecima. 48.
Principali e Ottava............ 8 & 4 feet. 49.
Flauto Traverso Soprano 8 feet.
Viola Basso.......... 8 feet.
Decima quinta ............ 4 feet
Decima nona ............... 3 feet
Vigesima Seconda ......... 2 feet
Vigesima sesta e nona.
Clarinetto Soprano ...... I6 feet
Fagottone Basso ......... 32 feet
Claroone Basso ............ 8 feet
8, 6, & 4 feet.
Ripieno a tre ...............
Bombardi..................... I6 feet.
Tromboni .................. 8 feet.
Corni da caccia ............ 4 feet.
Timpani.
Accessory Słońs, Movements, &c.
. Coupler, Swell to Great.
. Coupler, Great to Pedal.
.
Separate wind.
. Seraphine, or Fisarmonica, on a
Compass.
4. Thūnder Pedal.
5. Drums.
6, 7, 8. Three Composition Pedals.
Great, CCC to cºin altissimo, six complete octaves.
Swell, CC to c" in altissimo, five complete octaves.
Tedal, CCC to Tenor c, two complete octaves,
39. COMO.
There are two organs in the Cathedral at Como. The oldest was built in
The other was
It has 3 Manuals
and Pedal, and 48 stops, of which the following is a list —
Great Ozgan, 2O Sãoffs.
I. Principale Soprano ......... 32 feet.
2. Principale Soprano e BāSSO 32 feet.
3. Principale Soprano Imo... I6 feet.
Principale Basso Imo ...... I6 feet.
4. Principale Soprano 2ndo... I6 feet.
Principale Basso 2ndo...... I6 feet.
5. Principale Soprano 32O ... I6 feet.
6. Flauto Soprano ............ I6 feet.
7. Viola Basso profonda ...... I6 feet.
8. Ottawa Soprano Imo ...... 8 feet.
Ottava Bass Imo ............ 8 feet,
9. Ottava Soprano e Basso... 8 feet.
Io, Flagto in Ottava, Soprano
e Basso..................... 8 feet.
2 I
22.
23.
24.
25.
26.
27.
Principale Soprano
* * * * * * * * * I6 feet.
Principale Basso ............ I6 feet.
Principale Soprano ......... I6 feet.
Flauto Allemanno Soprano I6 feet.
Violino Soprano ............ I6 feet.
Violono BaSSO ............... I6 feet
Ottava Soprano ............ 8 feet
Ottava Basso ............... 8 fect
Flauto in Ottava Soprano 8 feet.
Flauto Basso 8 feet.
Quinta Decima
tº e º º tº e tº t e º e tº
29.
3O.
3I.
32.
33.
34.
35.
36.
37.
II., Duodecima ........... ...... 6 feet.
I2. Quinta decima Soprano... 4 feet.
Quinta decima Basso ...... 4 feet.
3. Ottavius Soprano ......... 4 feet.
I4. Decima nona ............... 3 feet
I5. Vigesima Seconda ......... 2 feet
I6. Ripieno di quattro.
I7. Ripieno di quattro.
18. Tromba Soprano ......... I6 feet
Tromba Basso............... I6 feet.
19. Trombe di caccia Soprano I6 feet.
Fagotto Basso ............ I6 feet.
20. Voce Umana Soprano ... I6 feet,
Choir Organ, 17 Słożs.
28. Flagioletta Soprano ...... 4 feet
Decima nona ............... 3
Vigesima seconda
Vigesima Sesta e nona.
Trigesima terza e Sesta.
Cornetto Soprano di cinque.
Corno Inglese Soprano ... 32 feet.
Oboe Soprano............... I6 feet.
Violoncello Basso (a reed) 16 feet.
Voce Umama Soprano ... I6 feet.
Tromba Armoniche Basso 8 feet.
AN ACCOUNT OF FOREIGN ORGANS. 43 I
Swell Organ, 7 Słońs. -
38. Principale Soprano ......... I6 feet. 41. Corno dolce, Soprano ...... 32 feet.
Principale Basso ............ I6 feet. 42. Corno Bassetto, Soprano... 32 feet.
39. Flauto in Ottava. ............ 8 feet. 43. Voce Umana, Soprano ... I6 feet.
40. Ripieno di cinque. 244. Fagottone, Basso............ I6 feet,
Peda! Cºgan, 4 Słońs.
45. Contra Bassi con rinforzi... 32 & 16 feet,
47. Bombardone .................. I6 feet.
46. Contra Bassidolci (stopped) I6 feet.
48. Tromboni ..................... 8 feet,
Accessory Słoffs, Movements, &c.
I. Coupler, Choir to Great.
2. Coupler, Swell to Great.
4, 5, Octave and Double Couplers.
6, 7, 8. Three Composition Pedals,
3. Coupler, Great to Pedal. 9. Drums.
Compass.
Manuals, CCC short to f * in alt. | Pedal, CCC short to tenor d.
I40, COMO.
The organ in the Church of the Santissimo Crocifisso, at Como, was built by the
Brothers Serassi, of Bergamo. It has 2 Manuals, a Pedal of 8 Stops, and 39 stops,
of which latter the following is a list –
Great, 24 Sãoffs.
I. Principale Soprano ......... 32 feet. Flauto Ottava, Başso ...... 8 feet.
Principale Basso ............ 32 feet. I3. Duodecima .................. 6 feet.
2. Principale Soprano ......... 32 feet. I4. Quinta decima, Soprano ... 4 feet.
3. Corno dolce .................. 32 feet. Quinta decima, Basso ... ... 4 feet.
4. Principale Soprano, Imo... I6 feet. I5. Decima nona.................. 3 feet.
Principale Basso, Imo ...... I6 feet. I6. Vigesima Seconda............ 2 ſeet.
5. Principale Soprano, 2ndo I6 feet. I7. Ripieno di quattro.
6. Principale Soprano, 320 ... I6 feet. 18. Ripieno di quattro.
7. Flauto Traverso Soprano... I6 feet. 1 19. Cornetto di cinque.
8. Violone Basso ............... I6 feet. 2O. Corno Inglese, Soprano ... 32 feet.
9. Ottava Soprano e Basso ... 8 feet. 2I. Tromba Soprano ............ I6 feet.
IO. Ottava Soprano ............ 8 feet. 22. Fagotti Basso ............... I6 feet.
II. Viola Basso .................. 8 feet. 23. Voce Umana, Soprano ... I6 feet,
I2. Flauto Ottava, Soprano ... 8 feet. 24. Clarone, BaSSO ......... . . . . . . 8 feet,
Swell Organ, 8 Sãoffs.
25. Principale Soprano ......... I6 feet. 28. Flauto in Ottawa ............ 8 feet.
Principale Basso ............ . I6 feet. 29. Decima quinta e nona.
26. Corna Musa .................. I6 feet. 30. Ripieno di tre.
27. Ottava Soprano ............ 8 feet. 31. Cornettino di tre, Soprano.
Ottava Basso ............... 8 feet. 32. Serpentino Bass, al CC ... 32 feet.
Peda/Organ, 8 Stoffs.
33. Contra-bassi, al Sol (GGG) 32 feet. 37. Bombardi ..................... I6 feet.
34. Contra-bassi con rinforzi ... I6 feet. 38. Tromboni ..................... 8 feet.
35. Ottavo ........................ 8 feet, 39. Trombe........................ 4 feet.
36. Ripieno di cinque.
Accessory Słożs, Movement/s, &c.
1. Coupler, Swell to Great. 6. Timpani.
2. Coupler, Great to Pedal. 7. Bells.
3. Coupler, Swell to Pedal. 8. Thunder.
4. Octave Coupler. 9, Io. Two Composition Pedals.
5. Sub-octave Coupler.
- Com/ass.
Manuals, CCC short to f * in alt. | Pedal, CCC short to tenor c.
4.32
APPENDIX.
. 28.
I4I. FLORENCE.
The organ in the Church of St. Gaetano, at Florence, has 3 Manuals, embracing
34 stops, and a very good Contra-basso on the Pedal.
the stops —
Greaf, I4 Sãoffs.
I. Principale, Soprano ......... 8 feet. 8. Vigesima seconda............ I foot.
Principale, Basso ............ 8 feet. 9. Ripieno di tre.
2. Ottava........................... 4 feet. Io. Cornetta di tre.
3. Flauto........................... 4 feet. II. Cornettino di tre.
4. Nasardo ........................ 3 feet. I2. Tromba, Soprano............ 8 feet.
5. Decima quinta ............... 2 feet. . Tromba, Basso............... 8 feet.
6. Flautino, Soprano e Basso 2 feet. I3. Voce Umana.................. 8 feet.
7. Decima noma .................. I} foot. 14. Clarone ........................ 4 feet.
Choir, I I Stoffs.
I5. Corno dolce, Soprano ...... I6 feet 2O. Flauto tº º & ... 4 feet.
I6. Principale, Soprano ......... 8 feet 2I. Flautino........................ 2 feet.
Principale, BaSSO ............ 8 feet 22. Corno Inglese, Soprano ... I6 feet.
I7. Voce Angelica ............... 8 feet 23. Tromba, Basso e Soprano 8 feet.
18. Flautone, metal ............... 8 feet 24. Oboe, Soprano........ ...... 8 feet
19. Ottava........................... 4 feet 25. Voce Umana.................. 8 feet
Echo, 8 Stoffs.
26. Principale ..................... 8 feet. 3O. Decima Quinta............... 2 feet
27. Ottava........................... 4 feet. 3I. Ripieno di quattro.
Flauto . . . . . . . . . . . . . . . . . . . . . . . . 4 feet. 32. Cornettino di tre,
29. Nasardo ........................ 3 feet. 33. Tromba ........................ 8 feet
Pedal, I Stoff.
34. Rinforza de Contra-bassi (wood, Open)......
Accessory Stoffs,
1. Coupler, Choir to Great.
2. Coupler, Echo to Great.
3. Great Octave Coupler,
I6 feet.
Movements, &c.
4. Great Sub-octave Coupler.
5. Great to Pedal.
The following is a list of
6, 7, 8. Three Composition Pedals.
Com/ass.
Manuals, CC short to cº in alt. |
Pedal, CCC short to tenor c.
at Florence, the particulars of which, however, are not at hand.
There are very excellent organs in the churches of St. Spirito and Santa Croce
That in the
church of St. Spirito has been rebuilt by Ducie, of Florence, and contains some
remarkably fine reeds and a very effective 16 feet Principale on the Pedal.
I42. GENOA.
The organ in the Church of Santa Maria des Vignes, at Genoa, was built by
the Brothers Serassi, of Bergamo.
list — -
Manza/, 27 Słońs.
I, Soprano Doppio.
Contra-basso.
2. Principale, Imo Soprano.
Principale, Imo Basso.
3. Principale, 2ndo Soprano.
Principale, 2ndo Basso.
4. Flauto Tedesco.
5. Flauto Francese, Soprano.
6. Ottava, Soprano.
Ottava, Basso.
7. Traverso Ottava,
8. Viola Basso.
9. Duodecima.
. Decima Quinta Imo.
II. Decima Quinta 2ndo,
Ottavini,
It has 28 stops, of which the following is a
. Decima nona.
. Vigesima seconda.
. Vigesima Sesta.
. Vigesima nona.
. Flageoletti ne Bassi.
. Trigesima Sesta.
. Ripieno di quattro.
. Ripieno di tre.
. Cornetto di cinque,
. Cornetto di tre.
. Tromba, Soprano.
Trombone, Basso.
. Cor Anglais, Soprano.
. Fagotti, Basso.
. Timpani.
, Bells,
AN ACCOUNT OF
FOREIGN ORGANS. 433
Pedal,
28. Rinforzo di Contra Bassi (open, wood)
Accessory Słoffs,
|
I, Octave Coupler.
2. Sub-Octave Coupler.
I Słoż.
# & e º is t t e º a tº $ tº &
Movements, &c.
3 to 8. Six Composition Pedals,
Compass.
Manual, CC short to cº in alt,
Pedal, CCC short to tenor c,
I43. GENOA.
The organ in the Carigrana Church, at Genoa, was built by Hermann.
It
contains 3 Manuals and 42 stops, of which the following is a list —
Great, 25 Słożs.
. Contra Basso, Soprano e Basso.
. Contra Basso, Soprano.
. Principale Soprano Imo.
Principale Basso Imo.
. Principale Soprano 2ndo.
Principale Basso 2ndo.
. Principale Soprano 320.
Flauto Traverso, Soprano e Basso.
. Flauto Tedesco, Soprano e Basso.
. Ottava Soprano Imo,
Ottava Basso.
. Ottavini, Soprano e Basso.
. Decima nona.
. Vigesima seconda.
. Vigesima nona.
. Trigesima Sesta.
. Sesquialtera di quattro.
. Ripieno di cinque.
. Cornetto di quattro.
. Cornetto di tre.
. Tromba Soprano.
Trombone Basso,
Tromba Real, Soprano.
Fagotto Basso.
Voce Umana (a Reed).
Corna Musa, Soprano.
23.
24.
25.
5 Stoffs.
30. Vox Pueri, Soprano.
di cinque. Vox Tauri, Basso.
Acho, 6 Stoffs.
9. Ottava Soprano 2ndo.
IO. Flautino.
II. Duodecima.
I2, Decima quinta. p.
- Choir,
26. Principale. 28. Ottava.
27. Flautino. 29. Ripieno
3I. Principale. 33. Ottava.
32. Corno Dolce, Soprano. 34. Ripieno
35. Oboe, Soprano.
|
Pedal, 6 Słożs.
37. Contrabasso, all aſtoAAA) 32 feet.
38. Principale ..................... 8 feet.
39, Contra Basso ............... I6 feet,
Accessory Stoffs,
I, Coupler, uniting all the Manuals.
2. Coupler, Great to Pedal.
3, 4, 5. Three Composition Pedals,
6. Bells, on Choir Manual.
di quattro. 36. Tromba, Soprano. . .
40. Principale .................. 8 feet
41, Tromba ..................'... I6 feet
42. Clarone ..................... 8 feet
Movements, &c.
7, 8. Two Bird stops, on Echo Manual.
9. Thunder, by means of a Pedal.
IO. Drum, by means of a Pedal.
Compass.
Great, CCC short to cº in alt.
Choir, CCC short to cº in alt.
Swell, CC to cº in alt.
Pedal, CCC short to tenor d.
I44. GENEVA.
The organ in the Cathedral Church of St. Pierre, at Geneva, was built by
Gerger about I 50 years ago,
Stops, of which the following is a list —
It has 4 Manuals, a Pedal of 2 octaves, and 45
Great, 17 Słożs.
I. Montre ........................ I6 feet,
2. Grand Bourdon ............ I6 feet tone,
3. Huit Pieds Ouverte......... 8 feet.
4. Principal ..................... 8 feet.
5. Flute ........................... 8 feet.
6. Bourdon ..................... 8 feet tone.
7. Prestant........................ 4 feet
8. Nazard ........................ 3 feet
9. Quarte de Nazard........ ... 2 feet
IO. Doublette .........,,,,,..., 2 feet.
II. Tierce ........................ I# foot.
I2. Cymballe.
I3. Fourniture.
I4. Cornette, V ranks.
I5. Trompette des dessus...... 8 feet
Trompette des bassus...... 8 feet
16. Clairon..................... .. 4 feet.
I7. Voix Humaine ..........., 8 feet tone
Q Q
434 APPENDIX.
Choir, Io Stoffs.
18. Bourdon ..................... 8 ſect. 23. Cymballe.
I9. Prestant........................ 4 feet. 24. Fourniture.
20. Flute ........................... 4 feet. 25. Cornette.
2I. Doublette ..................... 2 feet. 26. Trompette .................. 8 feet.
22. Tierce ........................ I# foot. 27. Crom Horn.................. 8 feet tone.
Acho, 6 Słoffs.
28. Bourdon ........... '• . . . . . . . . . 8 feet tone. 31. Cornette, III ranks.
29. Prestant............. . . . . . . . . . . . 4 feet. 32. Trompette .................. 8 feet.
30. Flute ........................... 4 feet. 33. Crom Horn.................. 8 feet tone.
Orgue de Recit., 6 Słożs. -
34. Bourdon ..................... 8 feet tone. 37. Doublette .................. 2 feet.
35. Flute Allemande ............ 8 feet. 38. Cornette, IV ranks.
36. Prestant... .................... 4 feet 39. Trompette .................. 8 feet.
Pedal, 6 Słożs.
40. I6 Pieds Ouverte, to GG... I6 feet. 43. Bombarde .................. I6 feet.
4I. Bourdon ..................... I6 feet tone, 44. Trompette .................. 8 feet.
42, Huit Pieds Ouverte......... 8 feet. 45. Clairon........................ 4 feet.
Accessory Stoffs, Movements, &c.
I. Coupler, Positif to Great. | 2. Coupler, Great to Pedal.
Compass.
Great, CC to dº in alt. Echo, Middle cºl to dº in alt.
Positif, CC to dº in alt. Pedal, CCC to tenor c.
. Orgue de Recit, Fiddle g to dº in alt.
I45. SIENA.
The Organ in the cathedral is very small, yet a very effective instrument. It
has but I Manual and I4 stops, of which the following is a list –
Mantual, I I Stoffs,
I. Principale, Soprano. 6. Vigesima seconda.
Principale, Basso. 7. Ripieno di quattro.
2. Flauto Traverso. 8. Cornetto di cinque.
3. Ottava. 9. Tromba, Soprano e Basso.
4. Decima quinta. IO. Corno Inglese.
5. Decima nona. II. Voce Umana (not a Reed).
- Pedal, 3 Stoffs.
12. Contra Bassi, al La (AAA) 32 feet. | I4. Rinſorza de Contra Bassi
I3. Contra Bassi, al La (AA)... I6 feet. | (Trombone) ............ I6 feet.
Compass.
Manual, CCC short to dº in alt. | Pedal, CCC short to FF.
Accessory Słoffs, Movemeſtás, &c.
I, 2. Manual Couplers, octave above and - 3. Manual to Pedal.
below,
I46. SEVILLE.
The large organ in Seville Cathedral has frequently been extolled by tourists
for its magnitude and great power. There are several organs in the cathedral,
the two principal of which stand, sideways, one on each side of the choir, and
opposite each other. Each of these has a complete and beautifully adorned front,
both behind as well as before; and also a handsome “Choir organ in front,” not
AN ACCOUNT OF FOREIGN ORGANS. 435
only towards the choir, but also another towards the aisle. The Reed stops
which are unexampled for their number are placed outside the Organs, and pro-
ject horizontally from the several fronts in 2, 3, and 4 tiers. The largest pipes
are uppermost, and are supported by iron bars. The mouths of the tubes are
Trumpet-shaped. *
The older of the two chief organs is the largest. According to most
accounts, this has I ſo stops and 5,300 pipes. It is evident, however, that many
of the stops are, like those in the Italian organs just described, only “half
stops.” By no other means could such an aggregation of stops be accounted to
comprise a number of pipes inferior to that contained in the Rotterdam, Wein-
garten, and Some other organs, which have at the same time 30 or 40 stops less
than the Seville organ. Still less could it otherwise be explained how there can be
two “first" Mixtures, two “second” Mixtures, and so forth. The following
account and translation of the large Seville organ has been prepared from memo-
randums made from the draw-stop handles by J. W. Fraser, Esq., of Manchester,
and forwarded to Mr. Hill, the eminent organ-builder, who kindly furnished them
to the writer. The figures, I 3, 26, and 52, attached to certain stops, seem to
correspond with the signs 8, 16, and 32, in the German tablature, in marking
the size of the large Foundation stops —
Greaſ, 42 Stoffs, 62 Draw Słońs.
I. Flauto de 26 ................................. Double Diapason. (Treb.)
Flauto de 26 ................................. Double Diapason. (Bass.)
2. Flauto de 26 ................................. Double Diapason. (Treb.)
3. Violon de 26 ................................. Gamba Major, or Double Gamba. (Treb.)
Violon de 26 ................................. Gamba Major, or Double Gamba. (Bass.)
4. Tolosana de 26 .............................. Double stop ; probably either invented or first
made at Toulouse, and hence named after
that place.
5. Baxoncillo .................................... Open Diapason. (T.) . Baxon” is a Bassoon and
Baxoncillo ....................... ............ Qpen Diapason. (B.) ...º.º.º.º.º.
6. Baxoncillo .................................... Öpen Diapason. (T.) ...}...
&XO11C | |al ( known to be the equivalent to
Baxoncillo .................................... Open Diapason. (B ) the English Open Diapason.
7. Baxoncillo .................................... Open Diapason. (Treb.)
8. Tapadillo .................................... Stopped Diapason. (Treb.)
Tapadillo .................................... Stopped Diapason. (Bass.)
9. Tapadillo ................................ ... Stopped Diapason. (Treb.)
IO. Flauta de I3 ............ * * tº 9 tº g tº t e g tº 9 s ſº º g º º is tº º ſº Unison Flute. (Treb.)
Flauta de I3 ................................, Unison Flute. (Bass.)
II. Flauta de I3 ................................. Unison Flute. (Treb.)
I2. Flauta Traversa .............................. German Flute. (Treb.)
13. Violom de I3 ................................. Gamba. (Treb.)
Violon de I3 ................................. Gamba. (Bass.)
I4, Violon de I3 ................................. Gamba. (Treb.)
I5. Tolosana ....................................... Unison stop. See No. 6 above.
I6. Docena de 26 ................................. Twelfth to the 26-feet stops.
- Fifth to the 13-feet stops. Quint.
17 Octava ....................................... Octave or Principal. (Treb.)
Octava .............................. ......... Principal. (Bass.)
18. Octava ...................................... ... Principal.
19. Docen y 26° ................................. Twelfth and 26th (Octave Larigot).
20. Quincena .................................... Fifteenth,
21. Lleno I’............................... . . . . . . . . First Mixture. (Treb.)
Lleno tº ....................................... First Mixture. (Bass.) .
22. Leno 2 ....................................... Second Mixture. (Treb.)
Lleno 2° ....................................... Second Mixture. (Bass.)
3. Leno .......................................... Mixture.
24. Corneta ....................................... Cornet.
25. Corneta ....................................... Cornet.
26. Trompa de 52................................. Double Double Trumpet.
27. Trompa de 26....... • * * * * * * * * * * * * * * * * * * * * * * * * * Double Trumpet. (Treb.)
Tromba de 26................................. Double Trumpet. (Bass.)
- Q Q 2
436 APPENDIX.
28, Trompa Real ................................. Royal or Grand Trumpet. (Treb.)
Trompa Real ................................. Royal or Grand Trumpet. (Bass.)
29. Trompa Real ................................. Royal or Grand Trumpet. (Treb.)
Trompa Real ................................. Royal or Grand Trumpet. (Bass.)
3O. Trompa de Batalla ........................ Battle Trumpet. (Treb.)
Trompa Magna .............................. Great Trumpet. (Bass.)
31, Trompa 8....................................... Octave Trumpet, probably.
32. Oboe............................................. Hautboy.
Fagot .......................................... Bassoon.
33. Cremona ....................................... Cremona.
34. Vox de I3 ............. • * * * * * * * * * * * * * * * * * * * * * * * * * Vox Humana.
35. Viejos .......................................... “Viejos,” the eyebrows. This stop takes its
Viejos .......................................... name from the shape of the cover or plug at
the top of the pipe.
36. Clarin Real .................................... Royal or Grand Clarion. (Treb.)
Clarin Real .................................... Royal or Grand Clarion. (Bass.)
37. Clarin Real .................................... Royal or Grand Clarion.
38. Clarin de Batalla ........................... Battle Clarion. (Treb.)
Clarin de Batalla ........................... Battle Clarion. (Bass.)
39. Clarin Claro ................................. Clear Clarion.
40. Clarin en 15 ................................. Octave Clarion. (Treb.)
Clarin en 15 ................................. Octave Clarion. (Bass.)
41. Clarin en 15 ................................. Octave Clarion.
42. Orlo ............................................. Orlo, shawn; “Cink” of Dutch and “Zincke ’’
& of German organs. The original instrument
exists only in the German saying : “In hea-
ven the angels only play fiddles and shawms.”
Forfe de AEcho, Io Sãoffs, 12 Draw Stoffs.
43. Baxoncillo .................................... Open Diapason.
44. Tapadillo....................................... Stopped Diapason.
45. Flauta Traverso .............................. German Flute.
46. Flauta .......................................... Flute.
47. Corneta ....................................... Cornet.
48. Trompa Real ...................... * 8. § { * g g g g g tº Grand Trumpet.
Trompa Magna .............................. Great Trumpet.
49. Trompa Bastarda ........................... “Bastarda,” a piece of ordnance. [Trumpet.
• * Bombarde or Great Reed. Probably a Double
50. Vox Contralto................................. Contralto Voice.
51. Oboe............................................. Hautboy.
Fagot .......................................... Bassoon.
52. Clarin Sordina .............................. Soft Clarion.
Echo, I2 Stoffs; I4 Draw Słoffs.
53. Baxoncillo .................................... Open Diapason.
54. Tapadillo....................................... Stopped Diapason.
55. Violon de I3 ................................. Gamba.
56. Tolosama ....................................... Unison stop.
57. Flauto TraverSo .............................. German Flute.
58. Flauto de I3e 8va ........................... Flute, of Octave as well as Unison pitch.
59. Docena.......................................... Twelfth.
60. Quincena ....................................... Fifteenth.
61. Lleno .......................................... Mixture.
62. Corneta ....................................... Cornet.
63. Trompa Real ................................. Royal Trumpet.
Trompa Magna .............................. Great Trumpet.
64. Vox de I3 .................................... Vox Humana.
Vox Contralto................................. Contralto Voice.
Contra Pedale, 7 Słoffs.
65. Trompa de 26 .................. .............. Trumpet of 26 feet.
66. Trompa de 26................................. Trumpet of 26 feet.
67. Trompa de I5 ................................. Trumpet of 13 feet.
68. Trompa de Octave........................... Octave Trumpet (64 feet).
69. Trompa de 15 ................................. Twelfth Trumpet (44 feet).
70. Trompa en I5................................. Fifteenth Trumpet (34 feet),
7I. Trompa en I7................................. Tierce Trumpet,
AN ACCOUNT OF FOREIGN ORGANS. 437
Compass.
Manuals, CC to gº in altissimo. | Pedal, One Octave.
The above organ has several more stops, the names of which are not on the
Stop-handles. These are probably Couplers, Wind-valves, and other Accessory
Stops.
Great........................... 42 Stops. 62 draw-stops.
Forte de Echo ............... IO I2
Echo ........................... I 2 I4.
Pedal........................... 7 7
Couplers, wind-valves, &c. I5
71 I IO
*º
The mode of blowing the bellows of the above organ is peculiar. Instead of
working with his hands, a man walks backwards and forwards along an inclined
plane of about I 5 feet in length, which is balanced in the middle on its axis,
These communicate with five other pair, united by a bar; and the latter are so
Contrived that, when they are in danger of being overstrained, a valve is lifted up,
and gives them relief.
Passing ten times along the inclined plane fills all these vessels, which are so
ample that, when stretched, they supply the full organ fifteen minutes.
I47. SEVILLE.
The Second organ in Seville Cathedral has 71 draw-stops, 3 Manuals, and
Pedal.
The contents of the several Manual organs were not placed separately in
the memorandum from which the following account was prepared —
Manual Stoffs.
a s e s a s = e s s a s : s s e s s = e s s e a s s s a e e º 'º e º 'º e º e s e is
e e s s e a g º a m e º a g º e < * * * * * * *
& e º e º a s s & e g s a e g º e º e s s a u & a tº e s tº e s ∈ & e º 'º e 9 & 4 is a e
. Clarin en 22*
. Clarin en I 5*
. Clarin Claro ....................................
$ g º g g g tº 4 tº t e & 6 e º & e º e º a tº $ tº * * * * * * * * *
e g g g g g g º e s e º e e s e º e º is e º 'º s & s e º 'º e º 'º º
I
. Chirimia
II. Violata Suave
I2. Baxoncillo.......................................
I3. Trompeta en I5
I4. Trompeta en 8 .................................
I5. Trompeta en 26
I6. Mudo
I7. Nasardo.................. . . . . . . . . . . . . . . . . . . . . . . . .
I8. Corneta de 26
I9. Octava de Nasardo ...........................
2O. Quincena Tapada..............................
2I. Octava Tapada.................................
22. Violon de I3....................................
23. Lleno de 8.......................................
24, Diezmonowena .................................
25. Quincena
26. Docena ..........................................
27. Octava
28. Flauta de I3 ....................................
29. Flautada de I3.................................
3O. Flautada de 26.............. * * * * * * * * * * * * * * * * * * *
Violon,
. Clarin de Campama ........................... •
• * * * g e º & e º a e º e º s is e s ∈ e º a s a e < * * * * * * * * * * * *
• * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* : * * * * * * * * * * * * * * * * * * * * * * * * * * * *
e & e g g º e g º a g g : e º º q t is º $ e s tº 8 & e s sº e º º e º & e º $ 3 & 8 a
e s tº e s 9 & 3 a s gº tº t t tº a s tº e s º tº º is tº t e º 0 & # 8 # 4 º º 8 tº 8
tº g g g g g g g g g g g g g g s g g g tº E t t e º e s tº gº tº e a t e º is a t < * tº s
* * * * * * * * * * * * * * * g º e g º 'º a g º $ tº tº a 8 tº ſº tº a
Small Viol, or Gambette.
Open Diapason.
Battle Trumpet.
See 35 in No. 146.
Cink. A small Reed.
Super-Octave Clarion.
Octave Clarion.
Clear Clarion.
Hunting Horn.
Clarion.
Soft Viola.
Open Diapason.
Octave Clarion.
Clarion.
Double Trumpet.
Mute. Wind-valve P
Twelfth.
Double Reed..............................
Nineteenth, or Larigot.
Stopped Fifteenth. Stopped Piccolo.
Stopped Octave. Stopped Flute.
Gamba.
Mixture. -
Nineteenth, or Larigot.
Fifteenth.
Twelfth.
Octave, or Principal.
Unison Flute.
Large Unison Flute.
Double Diapason.
26 feet.
438 APPENDIX.
32. Contra Baxo.................................... Double Bass.
33. Clarin en I5* ................................. Octave Clarion.
34. Baxoncillo....................................... Open Diapason.
35. Trompeta Real................................. Grand Trumpet.
36. Trompeta Real................................. Grand Trumpet.
37. Tolosana ............................. ,< * * * * * * * * * Unison stop.
38. Leno.…............................... Mixture.
39. Diezmonovena ................................. Nineteenth, or Larigot.
40. Quincena ....................................... Fifteenth,
41. Docena ...................................... ..., Twelfth,
42. Octava ..…............ ..................... Octave.
43. Flautada de I3 ................................. Large Unison Flute.
44. Preparacion .................................... Preparation. Probably a wind-valve, or a
bell to give notice to the blower.
45. Trompa .......................................... Trumpet. t
46. Serpenton ........ .............................. Great Serpent. Double Reed.
47. Vox Humana.................................... Vox Humana.
48. Clarin en 15 .................................... Octave Clarion.
49. Clarin de Sordino.............................. Soft Clarion.
50. Clarinete ....................................... Clarinet. ---
51. Fagot............................................. Bassoon.
52. Nasardo en 19" .............................. Twelfth and Larigot.
53. Nasardo en 17° Twelfth and Tierce. Sesquialtera.
54. Nasardo en I 5* Twelfth and Fifteenth. Rausch-quint.
55. Leno............................................. Mixture. --
56. Diezmonovena ................................. Larigot.
57. Quincena ....................................... |Fifteenth.
58. Octava .......................................... Principal,
59. Violon de I3.................................... Gamba.
Pedal, 9 Stoffs.
60. Flautada de 26................................. Great Flute or Diapason of ... 26 feet.
61. Contra de 26.................................... Double, of ........................ 26 feet.
62. Contra 8 ....................................... Double Octave.
63. Contra 15 ....................................... Double I5.
64. Contra 22 ....................................... Double 22.
65. Contra 29 ....................................... Double 29.
66. Bombarda de 26 .............................. Great Reed ........................ 26 feet. .
67. Bombarda de I3 .............................. Great Reed ........................ 13 feet.
68. Contra de Clarin .............................. Great Clarion ..................... 2% feet.
69, 70, 71. Three stops without names.
Compass.
Manuals, AA to cº alt., in 5% octaves.
I48. COLOGNE CATHEDRAL.
An account of the Organ in Cologne Cathedral has already been given ; but a
new one, of first-class dimensions, has been projected by A. W. Gottschalg, of
which the following are the particulars:— -
Choir Organ, CC to G.
I. Principal ..................... I6 feet. I2. Quint Flute .................. 5% feet.
2. Flute Conique ............... I6 feet. I3. Gambette ..................... 4 feet.
3. Contra Fagotto' ............ I6 feet. I4. Octave Flute ............... 4 feet.
4. Principal ..................... 8 feet. I5. Fugara ........................ 4 feet.
5. Double Gedackt ............ 8 feet. 16. Viola........................... 4 feet.
6. Salicional..................... 8 feet. I7. Clarion Conique ............ 4 feet.
7. Rohrflote ..................... 8 feet. I8. Gemshorn Quinte ......... 23 feet.
8. Dolce ........................ 8 feet. I9. Wald Flute .................. 2 feet.
9. Quintaton..................... 8 feet. 2O. Doublette..................... 2 feet.
Io. Bassoon and Clarionet ... 8 feet. 2I. Cornet, V ranks.
II. Trompette Harmonique... 8 feet. 22. Mixture, V ranks.
AN ACCOUNT OF FOREIGN ORGANS.
439
Great Organ, CC to G.
23. Manual Untersatz (Sub- 37. Octave ........................ 4 feet
Bourdon) .................. 32 feet. 38. Rohrflote ..................... 4 feet
24. Principal (Double Dia- 39. Gemshorn..................... 4 feet
Pason)......…............. I6 ſeet, 40. Clarion ........................ 4 feet
25. Gamba ........................ I6 feet, 4I. Twelfth........................ 23 feet.
26. Flauto Major ............... I6 feet. 42. Fifteenth ..................... 2 feet
27. Bombarde..................... I6 feet. 43. Clarinet, with divided lips.
28. Principal, No. I. (in 44, Octave Fifteenth............ I foot
English tin) ............... 8 feet. 45. Grand Cornet, V ranks
29. Principal, No. 2. (Small (commencing with the
scale) ........................ 8 feet Fifth above) ............... I6 feet tone.
30. Viol di Gamba............... 8 feet 46. Mixture, XV ranks (com-
3I. Double Flute ............... 8 feet mencing with) ............ 4 feet tone.
32. Fugara ........................ 8 feet 47. Mixture, V ranks (com-
33. Hohlflote ..................... 8 feet mencing with Twelfth).
34. Tromba........................ 8 feet 48. Sharp Mixture, V ranks
35. Trombone..................... 8 feet (commencing with Fif-
36. Quint........................... 54 feet, teenth).
Swell, CC to G.
49. Bourdon ..................... I6 feet 61, Rohr Quint .................. 5% feet
50. Euphone ..................... I6 feet. 62. Violin Principal ............ 4 feet.
5.I. Gemshorn..................... 8 feet 63. Traversflote .................. 4 feet
52. Flute Harmonique ......... 8 feet 64. Dulciana ..................... 4 feet
53. Keraulophon ............... 8 feet 65. Clarion ........................ 4 feet
54. Bourdon ..................... 8 feet 66. Piccolo Harmonique ...... 2 feet
55. Cor Anglais.................. 8 feet 67. Echo Cornet, Vranks, from 4 feet tone.
56. Bassoon Oboe ............... 8 feet 68. Sesquialtera, II ranks,
57. Vox Humana ............... 8 feet Twelfth and Seventeenth.
58. Voix Celeste.................. 8 feet 69. Harmonia AEtheria, IV
59. Trompette Harmonique... 8 feet. ranks, from Fifteenth.
60. Viole d’Amour............... 8 feet
Solo Organ, CC to G.
70. Lieblich Gedackt............ I6 feet. 76. Tuba Mirabilis (with Swell
71, Fernflote (Distant Flute) 8 feet. Effect).
72. Echo Dulciana............... 8 feet 77. ISlein Gedackt............... 4 feet
73. Vox Angelica ............... 8 feet 78. Orchestral Flute ............ 4 feet
74. Harmonica .................. 8 feet 79. Violin ........................ 4 feet
75. Corno di Bassetto ......... 8 feet 80. Flageolet ..................... 2 feet
Pedal Organ, CCC to D.
81. Principal Bass (English 93. Octave Bass ............... 8 feet
tin, the ten largest pipes 94. Flute Bass .................. 8 feet
standing in the front) ... 32 feet. 95. Gedackt Bass............... 8 feet
82. Grand Bourdon ............ 32 feet 96. Bassoon .......... • . . . . . . . . . . 8 feet
83. Contra Bombarde ......... 32 feet 97. Trombone ................., 8 feet
84. Contra Bass.................. I6 feet. 98. Posaune ................... , 8 feet.
85. Principal Bass ............... I6 feet. 99. Great Third ............... 63 feet
86. Sub-Bass ..................... I6 feet. IOO. Octave Quinl............... 53 feet.
87. Violin Bass .................. I6 feet. IOI. Fifteenth............ ... • . . . . . . . 4 feet
88. Bourdon ..................... I6 feet IO2. Octave Flute ............... 4 feet
89. Contra Fagotto ............ I6 feet IO3. Juba Clarion ............... 4 feet
90. Bass Trombone ............ I6 feet IO4. Cornet, V ranks (com-
9I. Quint Bass .................. Io; feet mencing from Fifteenth).
92. Violoncello .................. 8 feet
44O APPENDIX.
Accessory Słoffs,
Choir to Pedals.
I. Copulas
2 5 3 Great to Pedals.
3 7 2 Swell to Pedals.
4. 2 3 Solo to Pedals.
5. 5 3 Solo to Great.
6. 5 5 Solo to Swell.
7. 2 3 Swell to Great.
8 2 3 Swell to Choir.
9 2 3 Great to Pneumatic
Action.
Composition Pedals.
IO.
II.
I2.
I3.
I4.
I5.
I6.
17. Closing Ventil for Pneumatic Stops of Pedals.
I8. 3 2 2 3
I9. 5 3 3 3
2O. 5 3 5 5
2.I. 2 5
22. Copula for Forte Pedal.
Choir,
Great.
Swell.
Solo,
Copulas–Choir to Great.
Octave Copula on Solo.
Octave Copula on Great.
Sub-Octave Swell to Choir.
Super-Octave Swell to Choir.
Bellows Signal.
Tremulant for Vox Humana
of Swell.
23. Combination for Piano on Pedal, Choir, Great, and Swell.
24. 2 3 Mezzo Forte on the same Organs.
25. 5 7 Forte on the same Organs.
26. 3 3 Fortissimo on the same Organs. w
27. 5 5 Full Power on the Three Manuals and Pedal.
28. General Crescendo Pedal for the whole Organ.
29. Diminuendo
30. Swell Effect for the Three Manuals.
35
31. Combination for Swelling Tuba Mirabilis of Solo, and separate Swell of Vox
Humana and Bassoon of the Swell Organ,
I49. ST. PETER’s, ROME.
An organ of the first magnitude has been designed for the Cathedral Church of
St. Peter, at Rome, by M. Aristide Cavaillé-Coll, the great organ-builder of Paris, to
contain I24 Sounding stops, 5 Manuals, of five octaves each, in compass, from
CC to c in altmo., and a Pedal of 30 notes from CCC to tenor F. The following
is a list of its proposed contents :-
Peda/ Organ.
I. Principal Bass ............ 32 feet.
2. Front Bass (Double Open
Diapason), metal ...... 32 feet.
3. Great Bourdon ............ 32 feet.
4. Acoustic Bass ............ 32 feet.
5. Great Flute ............... I6 feet.
6. Contra-Bass ............... I6 feet,
7. Violone ..................... I6 feet.
8. Sub-bass ..................... I6 feet.
9. Great Quint ............... IO3 feet,
Io, Flute ........................ 8 feet.
I I. Principal * * * * * * * * tº 4 - * * * g. t = • * * > 8 feet
I2.
I3.
I4.
I5.
I6.
I7.
I8.
I9.
2O.
2I.
22.
Violoncello ............... 8 feet.
Stopped Flute ............ 8 feet.
Tierce ..................... 6% feet.
Quint ..................... 5% feet.
Seventh ..................... 4} feet.
Fifteenth .................. 4 feet.
Contra-Bombarde ...... 32 feet.
Bombarde .................. I6 feet.
Quint-Bombarde ......... IO3 feet.
Trumpet .................. 8 feet.
Clarion ..................... 4 feet,
AN ACCOUNT OF FOREIGN ORGANS,
44 I
First Manual. Great Organ (I&# Division).
23. Front Double Open Dia- 34, Octave ..................... 4 feet
PaSOIl . . . . . . . . . . . . . . . . . . . . . I6 feet. 35. Twelfth ..................... 2% feet.
24. Bourdon ..................... I6 feet. 36. Fifteenth .................. 2 feet
25. Front Open Diapason ... 8 feet, 37. Great Furniture, IV ranks.
26. Harmonic Flute............ 8 feet. 38. Great Cymbal, V ranks.
27, Diapason .................. 8 feet, 39. Furniture, III ranks.
28. Viol di Gamba ............ 8 feet 40. Cymbal, IV ranks.
29. Bourdon ..................... 8 feet 4I. Bassoon .................. I6 feet.
30, Dulciana .................. 8 feet. 42. Harmonic Trumpet ...... 8 feet,
31. Quint ........................ 5; feet 43. Bassoon .................. 8 feet.
32. Principal..................... 4 feet 44, Clarion ..................... 4 feet
33. Flute ........................ 4 feet
Great Choir (2nd Division).
45. Acoustic Bass ............ I6 feet. 53. Piccolo ..................... 2 feet
46. Great Harmonic Flute ... I6 feet. 54. Cornet, V ranks ......... 8 feet,
47. Violoncello ............... 8 feet, 55. Sesquialtera, III ranks 8 feet.
48. Harmonic Flute............ 8 ſeet. 56. Tuba Magna ............ I6 feet
49. Diapason .................. 8 feet. 57. Tuba Mirabilis............ 8 feet
50. Unda Maris, tenor c...... 8 feet, 58. Quint Trumpet ......... 5% feet.
5.I. Principal .................. 4 feet 59. Clarion ..................... 4 feet
52. Flute ........................ 4 feet 60, Octave Clarion ......... 2 feet
Second Manual: Bombard Organ,
61. Principal Bass ............ I6 ſeet 69, Great Tierce............... 3% feet.
62. Quintaton .................. I6 feet 70. Quint........................ 23 feet.
63. Harmonic Flute ......... 8 feet 7I. Seventh ..................... 2% feet.
64. Cone Flute ............... 8 feet 72. Octave (Fifteenth) ...... 2 feet
65. Keraulophon ............... 8 feet 73. Great Cornet, V ranks 16 feet
66. Stopped Diapason ...... 8 feet 74. Bombard .................. I6 feet
. 67. Great Flute ............... 4 feet 75. Trumpet .................. 8 feet
68. Principal..................... 4 feet 76. Clarion ... .................. 4 feet
Third Manual: Choir Organ.
77. Violone ..................... I6 feet 85. Dulciana .................. 4 feet.
78. Bourdon ..................... I6 feet 86. Twelfth ..................... 23 feet.
79. Traverse Flute ............ 8 feet 87. Fifteenth .................. 2 feet
80. Diapason .................. 8 feet 88. Full Mixture, V ranks... 8 feet
8I. Salicional .................. 8 feet 89. Full Horn.................. I6 feet
82. Night-Horn ............... 8 feet 90. Harmonic Trumpet ...... 8 feet
83. Vox Angelica, tenor c ... 8 feet 91. Cremona .................. 8 feet
84. Dulcet Flute ............... 4 feet 92. Bassoon and Oboe ...... 8 feet
Fourth Manza!. Swell Organ.
93. Bourdon ..................... I6 feet IOI. Principal .................. 4 feet
94. Dulcet Horn ............... I6 feet IO2. Flageolet .................. 2 feet
95. Harmonic Flute............ 8 feet IO3. Cornet, V ranks ......... 8 feet
96. Pavilion Flute ............ 8 feet IO4. Bassoon..................... I6 feet
97. Gamba ..................... 8 ſeet IO5. Musette ..................... 8 feet
98. Voix Celeste, tenor c 8 feet IO6. Vox Humana ............ 8 feet
99. Dulcette ..................... 4 feet IO. Harmonic Trumpet ...... 8 feet
IOO, Flute ............. . . . . . . . . . . . 4 feet IO8, Harmonic Clarion ...... 4 feet
442 APPENDIX,
Fifth Manua/: Solo Organ,
IO9. Sub-bass .................. I6 feet. II.7. Tierce ..................... I# ſoot.
II.O. Conic-Flute ............... I6 feet. I 18. Larigot .................. I# foot.
III. Traverse-Flute Harmonic 8 feet. II9. Seventh .................. I} foot.
II2. Diapason .................. 8 ſeet. I2O. Super-Piccolo ............ I foot.
II.3. Quintaton .................. 3 feet.* I2I. Cor Anglais ............... I6 feet.
II4. Flute ........................ 4 feet. I22. Clarinette ............... 8 feet.
II5. Twelfth ..................... 23 feet. I23. Harmonic Trumpet ...... 8 feet.
II6. Fifteenth 2 feet. I24. Violin Harmonic ......... 4 feet.
Combination Stoffs.
There are 7 of these, one to each Clavier, with the exception of the Great, which has 2,
one to each of its divisions. Each knob is present in duplicate on each side of the Manual,
thus making, of course, I4 in all.
8. Bell.
Composition Stoffs.
There are 15 of these in all, 3 to the Pedale, 4 to the Great, and 2 to each of the
remaining Manuals; one stop governs the foundation, or, as we would say, unison work, the
other the mutation, chorus, and reeds; for the Pedale there is a further division into 32
and 16 feet. These stops are placed over the Solo Manual.
Pedals of Effect.
I. Storm Pedal.
Coupling Pedals.
2. Great to Pedals. Io. Great to Pneumatic.
3. Great Choir to Pedals. II. Great Choir to Pneumatic.
4. Bombarde to Pedals. 12. Bombarde to Great (Pneumatic).
5. Choir to Pedals. I3. Choir to Great.
6. Swell to Pedals. - I4. Swell to Great.
7. Solo to Pedals. I5. Solo to Great.
8. Sub-Octave to Great. I6. Swell to Choir.
9. Sub-Octave to Bombarde. 17. Solo to Bombarde.
Tre/22//a/eff Pedals.
I8. Tremulant to Swell. | 19. Tremulant to Solo.
Composition Pedals Proffer.
These do not act on arbitrary combinations, as with English work, but on previous arrange-
ments prepared by hand at pleasure, and of course giving any composition that the stops
admit of ; there is thus necessity for but 7 of these, 2 to the Great, and I to each of the other
Claviers.
Sweſ/ Peda/s.
27. Swell Pedal. | 28. Solo Pedal.
These 28 Pedals are to be arranged, properly grouped, in two rows, one above the
other in the usual position.
* We think this must be a misprint.
AN ACCOUNT OF FOREIGN ORGANS. 443
I 50, BOMBAY CATHEDRAL.
The following is a description of the large and fine organ built by Messrs.
Bishop and Starr for the Cathedral; Bombay. The case and wood pipes are
made of Solid mahogany –
Great, Io Sfoſs; Compass, CC to G in alt.
I. Open Diapason ............ 8 feet, 6. Flute ~~~~ 4 feet.
2. Bell Diapason ............... 8 feet. | 7. Twelfth........................ 3 feet.
3. Stopped Diapason, Bass ... 8 feet tone. 8. Fifteenth ..................... 2 feet.
4. Clarabella ..................... 8 feet tone. 9. Sesquialtera, III ranks. •
5. Principal ..................... 4 feet. IO. Trumpet ..................... 8 feet.
Choir, 8 S£offs, Compass, CC to G in alt.
I. Dulciana ..................... 8 feet, 5. Metallic Flute ............... 4 feet.
2. Stopped Diapason, Bass ... 8 feet tone. 6. Principal ..................... 4 feet.
3. German Flute ............... 8 feet tone, 7. Piccolo ........................ 2 feet.
4. Keraulophon .................. 8 feet. 8. Cremona ..................... 8 feet,
Swell, 7 Słożs ; Com/ass, CC to G in aż.
I. Double Diapason ............ I6 feet tone, 5. Fifteenth ..................... 2 feet.
2. Open Diapason............... 8 feet. 6. Cornopean .................. 8 feet.
3. Stopped Diapason ......... 8 feet tone. 7. Hautboy ..................... 8 feet,
4. Principal ..................... 4 feet.
Pedal, 6 Stoffs, Compass, CCC to E.
I. Open Diapason, Bass, wood I6 feet. 4. Principal, metal ............ 8 feet.
2. Ditto, ditto, metal I6 feet. 5. Fifteenth, metal. ............ 4 feet.
3. Bourdon ..................... I6 feet tone. 6. Prepared for Reed.
Accessory Stoffs, Movements, &c.
I. Great to Pedals. 6. Sub Swell to Choir.
2. Choir to ditto. 7. Super Swell to Great.
3. Swell to ditto. - 8. Three Composition Pedals to Great.
4. Ditto to Great. 9. Two ditto ditto to Choir.
5. Ditto to Choir. IO. One ditto ditto to Swell.
I5 I. BOMBAY.
The organ in the Town Hall, Bombay, was built by Messrs. Bishop and
Starr. It has 4 Manuals, a separate Pedal, and 40 Sounding stops, of which the
following is a list –
Great Organ, Compass CC to A, 58 moſſes.
I. Sub Open Diapason ...... I6 feet. 4. Principal ..................... 4 feet.
2. Open Diapason ............ 8 feet. 5. Mixture (I2th and I5th) 3 and 2 feet.
3. Clarabella (open through- 6. Sesquialtera, III and IV
out) ........................ 8 feet. ranks ..................... Various.
444 APPENDIX.
Solo Great Organ, Compass CC to A, 58 notes.
7, Bell Diapason (grooved in IO. Wald Flute.................. 4 feet
No. 8) ..................... 8 feet. II. Harmonic Piccolo ......... 2 feet
8. Harmonic Flute ............ 8 feet. I2. Trumpet ..................... 8 feet
9. Geigen Principal............ 4 feet I3. Clarion ..................... 4 feet
The Solo organ is on the same Manual as the Great organ, but is on a higher
pressure of wind. The same pneumatic pallet acts on both, by means of a novel
mechanical arrangement.
Swell Organ, CC to A, 58 notes.
I4. Lieblich Bourdon ......... I6 feet 20. Fifteenth ..................... 2 feet.
I5. Open Diapason ............ 8 feet 2I. Mixture, III ranks......... Various.
16. Salicional (grooved into 22. Contra-fagotto ............ I6 feet
No. 15) .................. 8 feet 23. Cornopean .................. 8 feet
I7. Clarinet Flute ............... 8 feet 24. Hautboy..................... 8 feet
I8. Principal ..................... 4 feet 25. Vox Humana ............... 8 feet
I9. Ilieblich Flute ............ 4 feet
Choir Organ, CC to A, 58 noſes.
26. Dulciana ..................... 8 feet 3I. Flageolet .................. 2 feet
27. Keraulophon ............... 8 feet 32. Orchestral Oboe, C ...... 8 feet
28. Suabe Flute .................. 8 feet 33. Cremona 8 feet
29. Salicet ........................ 4 feet 34. Bassoon Bass ) “‘’’’ ‘’’ ee
30, Hohl Flute .................. 4 feet
Pedal Organ, CCC to F, 30 notes.
35. Grand Open Diapason, 37. Grand Bourdon ............ I6 feet
metal ..................... I6 feet. 38. Grand Principal............ 8 feet
36. Grand Open Diapason, 39. Grand Fifteenth ............ 4 feet
wood........................ I6 feet. 4O. Grand Bombarde ......... I6 feet
Com/lers, &c.
I. Swell to Great. 5. Choir to Great.
2. Swell to Pedals. 6. Great to Pedal.
3, Swell to Choir. 7. Tremulant to Swell.
4. Choir to Pedals. 8. Sforzando,
49 to 57. Composition Pedals.
Four pairs of bellows with pressures of wind varying from 2; to 5 inches.
C. K. K. Bishop's Patent Simplified Pneumatic Actions applied to the Great
and Swell Manuals.
The interior metal pipes are of “Spotted Metal,” except the Keraulophon,
which contains a still higher percentage of tin.
Thé exterior metal pipes are of zinc, which metal will better sustain the shaking
it will experience in its long voyage. The wood pipes are all of Mahogany.
The rest of the wood-work is of Mahogany, Oak, and Cedar, and is varnished
throughout, to protect it from the effects of changes of climate.
The rollers are of tubular iron, the Squares of gilded brass, and the wire-work of
a metal made expressly for this organ instead of the usual tinned iron wire, which
speedily rusts in India.
The bellows are provided with Messrs. Bishop and Starr’s “Unalterable Pallet”
for extreme climates, and all the leather-work is poisoned to protect it from the
attacks of white ants,
AN ACCOUNT OF FOREIGN ORGANS.
445
The following is an account of the large organ built by Messrs. E. an G.
Hook for the Tremont Temple, United States, which is reprinted from the
description circulated by the builders at the time of the opening of the instrument
in 1854. The Swell is throughout, and there is an independent Pedal organ,
Wind is supplied by three bellows at different pressures.
comprising every variety of tone, and embracing all the novelties of the most
I 52. TREMONT TEMPLE, BOSTON.
celebrated European organs.
It occupies a space at the end of the hall, 50 feet high and 50 feet wide,
and is concealed by an open-work screen.
instrument :-
47. Double Diapason ............ 32 feet
48. Bourdon .................... . I6 feet
49. Open Diapason, wood I6 feet
50, Open Diapason, metal...... I6 ſeet
5.I. Open Diapason............... 8 feet,
The following are the stops in this
Great, I5 Stoffs, Compass, CC to A in alt., 58 AVotes.
. Grand Open Diapason.
Open Diapason.
. Melodia.
. Stopped Diapason.
. Grand Principal.
. Principal.
, Twelfth.
. Tenoroon, Open Diapason.
9. Grand Fifteenth.
Io, Fifteenth.
II. Sesquialtera, II ranks.
I2. Mixture, III ranks.
13. Furniture, IV ranks.
I4. Trumpet.
I5. Clarion.
Choir, IO Słońs; Compass, CC to A in alt., 58 AVotes.
I6. Open Diapason.
I7. Dulciana.
I8. Stopped Diapason.
19. Principal.
2O, Fifteenth.
2I. Mixture, III ranks.
22. Hohl Flute.
23. Viol d’Amour.
24. Clarionet.
25. Bassoon.
Swell, I 5 Stoffs, Compass, CC to A in alt., 58 AVotes.
26. Sub-bass.
27. Double Diapason.
28. Open Diapason.
29. Viol di Gamba.
3O. Stopped Diapason.
3I. Principal.
32. Night Horn.
33. Twelfth.
34. Fiſteenth.
35. Sesquialtera, III ranks.
36. Trumpet, Bass.
37. Trumpet, Treble.
38. Hautboy.
39. Clarion,
40. Double Trumpet.
Solo, 6 Stoffs; Compass, CC to A in alt., 58 AVotes.
4I. Horn Diapason.
42. Gamba.
43. Clarabella.
44. Wald Flute.
45. Piccolo.
46. Trumpet.
Pedal, Io Stoffs, Compass, CCC to D, 27 Notes.
52.
53.
54.
55.
56.
Violoncello .................. 8 ſeet
Quint ........................ 6 feet
Principal ..................... 4 feet
Trombone..................... 8 feet
Posaune ..................... I6 feet
Accessozy Słoffs, Mozements, &c.
. Swell to Great, Unison.
. Swell to Great, Super-octave.
, Choir to Great, Sub-Octave.
. Swell to Choir, Unison.
. Swell to Solo, Unison.
. Solo to Great, Unison. ,
, Swell to Pedals.
8.
9.
IO,
II.
I2.
I3.
I4.
Great to Pedals.
Choir to Pedals.
Pedal Octaves.
Pedal Bourdon, Separation.
Pedal Open Diapason, Separation,
Solo Organ Signal.
Bellows Signal,
It contains 70 registers,
446 APPENDIX.
I53. MUSIC HALL, BOSTON.
The grand organ in the Music Hall, Boston, United States (described as
the “Great Monster Organ of the New World”), was built by E. F. Walcker
and Son, of Ludwigsburg, Wurtemberg. It was begun in 1857, and finished
in 1863. --
Some of the most important stops are the Bifra, in the Choir, with its double set
of pipes and Tremolo; the Physharmonica, in the Choir, a free Reed without pipes,
with a Swell of its own ; the great Mixture of 5 ranks in the Pedal, which
gives a ground tone of 32 feet in Harmonics, Sub-bass 16 feet, Quint Io; feet,
Octave 8 feet, Tenth 53 feet, and Fifteenth 4 feet; and a Vox Humana in the
Solo, with double pipes, Swell, and Tremulant of its own.
There are six pairs of large bellows-feeders, which gather the wind into a
huge reservoir containing about 400 cubic feet. There are several smaller ones,
distributors, making in all fifteen pairs of bellows. These are worked by a
machine, which is propelled by water derived from the reservoirs. The case,
or orga/-gehause, is of black walnut, and is covered with carved statues, busts,
masks, and figures in bold relief. It is about 47 feet in width ; the two projecting
central towers are 60 feet high. *
The following is a synopsis of the contents of this organ —
Great, 25 Stoffs.
1. Principal, or Double Dia- 16. Flute d'Amour, of pine
DaSOI] . . . . . . . . . . . . . . . . . . . . . . . . I6 feet. and pear-wood, slender 4 ſeet.
Of pure English tin; the 24 I7. Clairon (Clarion) ......... 4 feet.
largest pipes displayed in front. Reed stop, of proof tin, trum-
2. Tibia Major .................. I6 feet. - pet-like ; in the highest octave
Of pine wood ; borrows the . 2. open flue pipes in unison
lower octave from Principal. replace the Reeds.
3. Viola Major .................. 16 feet. 18. Waldflote (Flute of the
4. Basson (Bassoon) \ ......... I6 feet. Woods), proof tin ...... 2 feet.
5. Ophicleid ......... ) ......... 8 feet. I9. Quint (Fifth), proof tin ... 5; feet.
Complements to each other. 2O. Terz (Tenth), proof tin ... 3+ feet.
Free Reeds, tuned by a screw. 21. Quintflote (Flute Twelfth)
Chiefly of wood, but bells of t ‘OOf ti - 2 o
upper octaves tin. proo tin 6 º' tº t t t e º 'º e g º 9 º' tº e º 'º 2# feet.
6. Principal (Diapason) ...... 8 feet, 22. Terz Discant (Seven-
7. Flote (Flute).................. 8 feet. teenth), proof tin......... I# foot,
Wood, double width, with 23. Cornet, V ranks............ # feet.
double mouths. Harmonics of 16 feet tone;
8. Gemshorn..................... 8 feet. take their ground tones from .
9. Viola di Gamba, pure tin 8 feet. ºf compasſengeas,
Io. Gedackt (Stop Diapason) #. 24. Mixtur, VI ranks ......... 23 feet.
II. Trombone............ : . . . . . . . . €et. Harmonics of 8 feet tone.
I2. Trumpet, of proof tin ... ... 8 feet, . Proof tin.
13, Octave (Engl. Principal), 25. Scharff, TV ranks ......... I# foot.
pure tin. Harmonics of 4 feet tone,
I4. Fugara, pure tin ............ 8 feet, Proof tin.
15. Hohlflote (hollow-toned
flute), metal ............... 4 feet.
Choir, I 5 Stoffs.
26. Gedackt ... . . . . . . . . . . . . . . . . . I6 feet. 33. Viola, proof tin ............ 8 feet.
27. Principal Flute........... ..... 8 feet. . Of soft intonation, like the
Pure English tin ; largel piano in Physharmonica.
pipes displayed. 34. Physharmonica ... ......... 8 feet.
28, Spitzflote ............. . . . . . . . 8 feet. S ºly metal Reeds with a
e ical flute of >Well. . . - --
º pointed or conical flute o 35. Hohlpfeife .................. 4 feet.
20. Bifra, II ranks............... 8 & 4 feet. Lowest octaves of maple, the
9 of tin; each note has 2 pipes, rest of metal. Very bright and
one stopped, the other (its oc- liquid flute tone, . 4.
tave) open and slender. It has 36. Principal Flute, tin, ...... 4 feet.
also a Tremolo, 37. Dolce (Dulciana), tin...... 4 feet.
30. Gedackt, wood............... 8 feet. 38. Flautino (Octave Flute)... 2 feet.
31. Clarin Bass ... . . . . . . . . . . . . . . . 4 feet. 39. Sesquialtera, II ranks ... 2% & Iš feet.
32. Clarin Discant ............... 4 feet. 40, Super-Octave, tin ......... I foot.
. Reeds, trum et-like, of proof
tin,
AN ACCOUNT OF FOREIGN ORGANS.
447
4 I.
42.
43.
44.
45.
46.
47.
48.
49.
59.
6O.
61.
62.
63.
70.
7I.
72.
73.
74.
75.
76.
S’well, 18 Stoffs.
Bourdon (DoubleStop Lia-
Pason)........................
Principal, proof tin
Salicional .....................
Proof tin, slender. Tone like
a Dulciana of reedy quality, but
a little stronger.
Dolce (Dulciana)............
Of metal; one of the soſtest
stops.
Quintaton .....................
A stop pipe of tin, sounding
its Harmonic Fifth (or Twelfth)
with the ground tone.
Gedackt (Stop Diapason)
Wood, double width; double
mouths in upper octaves. Very
full round tone, with other
stops.
Trombonel3ass(Trombone)
Trombone Disct. (Trum-
pet), bells of brass ......
Bassoon Bass (Bassoon) ...
I6 feet.
8 feet.
8 feet.
8 feet.
8 feet.
8 feet,
8 feet.
8 feet.
8 feet.
Solo, II
Bourdon (Stopped Dia-
pason)........................
Two lowest octaves of wood,
the rest of metal.
Gamben Principal, pure tin
Æoline ........................
The softest and most string-
like stop of all; lower octave of
wood, continuation, of proof
tin, very slender.
Concert Flute ...............
Of finest pine-wood, square.
From Cupward double length,
pierced, and blowing the octave.
Corno Basetto ...............
Reed stop of clarionet-like
tone; bells of tin,
I6 feet.
8 feet.
8 feet.
8 feet.
8 feet.
50.
5.I.
52.
53.
. Cornettino
. Quintflote
. Nasard (Twelfth), tin ...
. Octave, tin 49
. Mixtur, V ranks
Hautbois (Oboe)............
Principal Octave, proof tin
Rohrfiote
What English builders call a
“half-stopped pipe,” of metal.
French: Flute-à-Chemuinée.
Traversflote (Traverse
Flute) .....................
The lowest octaves of fir and
pear-wood, square, slender,
The rest of maple, turned, like
the actual German flute; double
length, pierced in the middle,
and overblown, i.e., sounding
the octave.
* * * * * * * * * * * * * * * * * *
. Soft, trumpet-like, of tin, 12
highest pipes doubled, and ſlue
plpes.
& tº # 8 ºf y º e tº tº 9 tº g tº a tº a
Słoffs.
64.
65.
66.
67.
68.
69.
Vox Humana ...............
Of metal, with two pipes to
each note, one of them a Reed
pipe, and partly with double
reeds. Also has a special Swell
and Tremulant.
Gemshorn, proof tin
Piffaro, II ranks
Vox Angelica ...............
A delicate Reed stop.
Quint ........................
A covered pipe of metal.
Piccolo (Octave Flute),
tº $ tº * * *
Pedal, 20 Słoffs,
Principal Bass (Double
Double Diapason).........
Six of the largest pipes of
pure English tin, the rest of
WOOCI. *
Grand Bourdon, V ranks... 32 feet.
A compound stop, having for
foundation Sub-bass 16 feet,
which, with four ranks of Har-
monic tones, gives the 32 feet
Sound. -
Bombardon ..................
A monster Reed tone, with
Screw tuning apparatus.
Octave Bass
Pure tin; 13 pipes in front.
Sub-bass
Strong wood, open, of very
wide scale.
Trombone.....................
. Powerful Reed tone; bells of
Z111C.
32 feet.
32 feet,
is e g : s is tº s , s m º e g g g s
tº g g g g g g g g º & © tº e º s is is e º º
77.
78.
79.
8o.
8I.
82.
83.
84.
85.
86,
87.
88.
89.
Octave Bass, tin............
Hohlfloten Bass (Hollow
Flute Bass) ...............
Violoncello, tin
Trumpet .....................
Corno-Basso
Octave, tin ..................
Cornettino, tin ............
N.B.-The following stops
are placed in the Swell-box.
Bourdon (Double Stopped
Diapason)............ tº e º e º a
Viola ........................
Of tin; soft Gamba tone,
Flute, wood..................
Flute ........................
Basson (Bassoon) .........
A very powerful deep Reed
tone, tuned with screw.
Waldflote, metal
& ſº tº $ g is tº s m e º 'º e g g
tº ſº a n < t s 5 tº
4 feet.
# feet.
23 feet.
2 feet.
2 feet.
8 feet.
4 feet.
4 & 2 feet.
4 feet.
23 feet.
2 feet.
8 feet.
8 feet.
8 feet.
8 ſeet,
4 feet.
4 feet.
2 feet.
I6 feet.
8 feet.
8 feet.
4 feet.
I6 feet,
There are I2 Pedal combination movements for producing various changes
and connections.
448 APPENDIX.
I. Zungen Stimmen, draws all the Reeds of 4. Piano Hauptwerk, draws the 8 feet stops
the Great organ. of the Great organ.
2. Fortissimo Hauptwerk, draws all the 5. Solo Orgel, draws Corno and Bassetto of
Great Organ except Scharff, Cornet, Solo Organ. -
and Reeds. 6. Volleswerk, draws Full organ.
3. Forte Hauptwerk, draws one 16 feet, 7 to I2. Pedal Couplers.
five 8 feet, and four 4 feet stops of the
Great organ.
There is, situated over the Manuals of the Great organ, within the reach
of the thumbs of the performer, a set of small knobs—couplers—which control
the couplings of the several Manuals. One of the most important mechanical
contrivances is the crescendo and diminuendo Pedal, by which the performer is
enabled to bring out, one by one, ad liff, each stop of the organ to its fullest
capacity, and z/ice versä.
Over the Manuals, on a tablet of black marble, in letters of gold is this
inscription –
E. F. WALCI&ER & CO.
LUDWIGSBURG, KDM, WURTEMBERG.
O, P, C, C,
BEGUN, FEB, 1857, FINSHED, OCT, 1863.
I 54. NEW YORK.
The new organ in Trinity Church, New York, was built by Mr. Henry Erben
in 1846, from a specification prepared by Dr. Hodges, and has recently been
enlarged by the same firm. It has now 39 Sounding stops and II Couplers ;
3 Manual organs, of 16, 8, and 4 feet compass respectively; a Swell Bass of
2 stops, and a 32-feet Pedal stop. The instrument, which stands at the west
end of the church, is enclosed in a bold Gothic case, designed by Richard
Upjohn, Esq., the architect of the church. The Choir organ is in front, and has an
8-feet Speaking front; while the Great organ has a 16-feet speaking front. All the
Manuals descend to CCC, 16 feet; and the Swell ascends an extra octave also.
The following is a list of the stops in the above-named instrument:—
Great Organ.
I. Strong Open Diapason. 7. Double Octave,
2. Clear Open Diapason. 8. Twelfth.
3. Stopped Diapason. 9. Sesquialtera.
4. Strong Principal. IO. Mixture.
5. Bright Principal. II. Trumpet.
6, Flute, I2. Clarion.
Choir Organ.
13. Stopped Diapason. 17. Fifteenth.
I4. Dulciana. I8. Clarionet.
I5. Principal. I9. Bassoon.
I6. Flute,
Swell Organ.
2O. Double Diapason. 25. Cornet.
2I. Open Diapason.
22.
23.
24.
Dulciana.
Stopped Diapason.
Principal.
26, Hautboy.
27. Trumpet.
28. Vox Humana.
AN ACCOUNT OF FOREIGN ORGANs. 449
Swell Bass.
29. Dulciana. | 30, Serpent.
Solo Organ.
31. Double Diapason. 35. Harmonic Flute.
.32. Horn Diapason. 36. Tuba Mirabilis.
33. Gamba. 37. Cornopean.
34. Melodia.
Pedal Organ.
38. Grand Double Open Diapason. 39, Grand Open Diapason.
- Couplers.
I. Swell to Great. 7. Great to Pedal, 8 feet pitch.
2. Swell and Great at octaves. 8. Choir to Pedal. &
3. Swell to Choir. 9. Swell Bass to Pedal.
4. Choir to Great. Io. Pedal pipes in 32 feet pitch.
5. Choir and Swell at octaves. II. Pedal pipes in 16 feet pitch.
6. Great to Pedal, 16 feet pitch.
Compass.
Great, CCC to fº in alt., 66 keys. I6 feet compass,
Choir, CC to fº in alt., 54 keys, 8 feet compass.
Swell, tenor c to fin alt., 54 keys, 4 feet compass.
Swell Bass, two octaves.
Pedal Stop, CCCC to tenor c, 37 pipes, 32 feet compass.
Pedal Clavier, CCC to tenor c, 25 keys. -
I 55. NEW YORK.
The organ in the Church of the Annunciation, New York, United States, was
built by George Jardine, of New York, in 1853.
It contains 3 Manual organs, of 8
feet compass, and a separate Pedal, and also 30 sounding stops. The following is
a list of its contents:—
Great, 9 Słożs.
I. Double Diapason ......... I6 feet, 6. Twelfth ..................... 23 feet
2. Open Diapason ............ 8 feet. 7. Fifteenth ..................... 2 feet
3. Stopped Diapason ......... 8 feet tone. 8. Sesquialtera, TV ranks.
4. Melodia ..................... 8 feet. 9. Trumpet ..................... 8 feet
5. Principal ..................... 4 feet - -
Choir, 8 Stoſs.
IO. Open Diapason ............ 8 feet. I4. Flute ........................ 4 feet tone.
II. Viola di Gamba ............ 8 feet. I5. Fifteenth ....................... 2 feet.
I2. Stopped Diapason ......... 8 feet tone. I6. Clarinet, Treble ............ 8 feet tone.
I3. Principal ..................... 4 feet. I7. Bassoon, Bass............... 8 feet.
Swell, IO Słoffs.
18. Bourdon ..................... I6 feet tone. || 23. Fifteenth ..................... 2 feet
I9. Open Diapason ............ 8 feet. 24. Mixture, III ranks. º
2O. Stopped Diapason ......... 8 feet tone. 25. Trumpet ..................... 8 feet.
2I. Dulciana ..................... 8 feet. 26. Oboe ........................ 8 feet
22, Principal ..................... 4 feet 27. Clarion ........................ 4 feet
450
28. Open Diapason ............
29. Bourdon .....................
Swell to Great.
, Swell to Choir.
Choir to Great.
i
Great, CC to fº in alt.
Choir, CC to fº in alt.
By means of Mr. G. Jardine's pallet the touch is relieved from all disagreeable
Stiffness, although there are 5 Manual Couplers, upwards and downwards, as well as
in the unison.
Pedal, 3 Słoffs.
I6 feet.
I6 feet tone.
Swell Octave to Great,
Choir Sub-octave to Great.
30, Octave........................ 8 ſeet.
6. Great to Pedal.
7. Choir to Pedal.
8. Swell to Pedal.
9. Pedal Organ Octave.
Swell, CC to fê in alt.
Pedal, CCC to tenor c.
I56. NEW YORK.-BROOKLYN TABERNACLE.
This admirable organ was built by Messrs. Jardine and Son, and consists of
(I) Great Organ, divided into three compartments, namely, Diapason Organ,
Chorus Organ, and Solo Organ, controlled by eight piston combination knobs;
(2) a Swell Organ ; (3) an Orchestral Organ ; and (4) a separate Pedal Organ.
The dimensions of the organ are 50 feet wide, 14 feet deep, and 50 feet high.
The bellows are supplied by three hydraulic engines.
two registers, of which the following are the details:—
I. Double Open Diapason,
metal, deep tone .........
2. Open Diapason Major,
metal, full Sonorous......
3. Open Diapason minor,
metal, clear and round
6. Quint, metal, harmonic in-
tonation ..................
7, Principal, metal, round yet
clear tone ..................
8. Nasard, metal, round and
Subdued tone ............
9. Piccolo, metal, round and
brilliant . ............ . . . . . .
I6 feet.
8 feet.
8 feet.
Great Organt.
4. Doppel Diapason, wood,
very full and pervading 8 feet.
5. Melody Diapason, wood,
clear and ringing ...... 8 feet.
Chorus Organ.
6 feet.
4 feet.
3 feet.
IO. R. Cymbal, metal, con-
sisting of the 17th and
I9th tones above the
Diapasons............... ..
II. R. Sesquialtera, metal,
I5th, 22nd, and 29th
tones, and breaking into
2 feet.
8th, I2th, and I5th tone 2 fect.
There are altogether fifty-
AN ACCOUNT OF FOREIGN ORGANS.
45 I
Solo Organ.
I2. Gamba, metal, crisp, light I4. Harmonic, pure and imita-
tone . . . . . . . . . . . . . . . . . . . . . . . . 8 feet. tive ........................ 4 feet.
I3. Dulcissima, metal, sweet, I5. Clarionet, very orchestral 4 feet,
singing tone ............... 8 feet. I6. Trumpet, round and mellow 8 feet.
17. Quint ........................
Second Manital, or Swell.
18. Bourdon, wood and metal, 25. R. Cornet, metal, very rich 3 or 4 feet.
deep, pervading tone ... 16 feet. 26. Cornopean, metal, new
I9. Open Diapason, metal, very Scale, very round and
full........ .* * * * * * * * * * * * * * * s • e is 8 feet. mellow ..................... 8 feet.
2O. Clariona, metal, reedy, clear 8 feet. 27. Oboe with Bassoon, im-
2I. Clarionet Flute, wood and ported reeds, new scale 8 feet.
metal, round and pure 8 feet. 28. Vox Humana, metal, im-
22. Dulciana, metal, very deli- ported reeds, this new
Cate ........................ 8 feet. score from Cavaille of
23. Violono, metal, brillianttone 4 feet. Paris........................ 8 feet.
24. Piccolo, metal, brilliant 29. Echo Flute, distant, soft
tone ........................ 2 feet. tone . . . . . . . . . . . . . . . . . . . . . . . . 4 feet.
Third Manual, Orchestral Organ.
30. Song Trumpet, metal ...... 8 feet. 32. Horn, metal, clear and
3I. Concert Flute, wood, a stop º ringing ..................... 8 feet.
of immense power ...... 8 feet. 33. Flute à Pavillon, Sparkling
tone . . . . . . . . . . . . . . . . . . . . . . . . 4 feet.
Pedal Organ.
34. Open Diapason, powerful 38. Violoncello, stringy and
and deep .................. I6 feet. imitative .................. 8 feet.
35. Violin, metal, rich, deep tone 16 feet. 39. Flute, metal, round and
36. Contra-Bourdon, pervad- orchestral .................. 4 feet.
ing, full..................... I6 feet. 40. Trombone, metal, pure
37. Gross - Quint, wood pro- and broad tone ......... I6 feet.
ducing 32 feet effect ... I2 feet.
A mezzzzza??c P:stoſz Kºzzo&s.
I. Open Diapason major, mezzo power. 5. Diapason Organ, forte power.
2. Gamba, piano power. 6. Solo Organ, ſortissimo power.
3. Dulcissima, pianissimo power. 7. Solo and Diapason Organ, FF.
4. Harmonic Flute, mezzo power. 8. Diapason, Solo, and Chorus Organ.
Be//s.
I. 8 feet. 2% octaves of real Bells, operated by the Swell or Great Organ keyboards;
they are struck with a piano action, are imported by the maker, 32 Bells.
2. 8 feet. Sharp effect on Bells.
Couplers.
I, Swell Manual to Great Organ. 3. Bellows.
2, Orchestral to Great Manual.
These Couplers, made on an improved system, are free from friction.
R. R. 2
452 APPENDIX.
Pedals of Combinations.
| 2. Orchestral to Pedal.
3. Swell Manual to Pedal. *
I. The Sforzando Pedal is a new effect introduced, by which, in a moment, from the softest
effect the full power of the organ can be thrown on.
2. Balance Swell Pedal with vertical shades, introduced from Europe.
I. Great Manual to Pedal.
Summary.
Great Organ Manual—
ſ Diapason Organ .......................................... 5 registers.
Sub-divisions. ! º Organ • * * * * * * * g c s s s a s m e º 'º - a tº a tº e º e º e s is a s tº e a c e s - a - e º s 6 registers.
| Solo Organ ................................................ 5 registers.
U Piston Combination....................................... 8 registers.
Swell Organ (Manual) ......................................................... I2 registers.
Orchestral Organ (Manual) ................................................... 4 registers.
Bells, 32 …....….........................…. 2 registers.
Couplers .........…...............….......... 3 registers.
Pedals of Combination, 5......................................................
Total : 32 Bells; 5 Pedals; 52 Registers.
I 57. TRINITY CHAPEL, NEW YORK,
The organ in Trinity Chapel was built by Messrs. J. H. & C. S. Odell from a
specification prepared by Mr. W. B. Gilbert. It contains the 33 Sounding stops,
&c., mentioned below :—
Great Organ.
I. Contra Gamba, ............ I6 feet 6. Twelfth ..................... 3 feet
2. Stopped Diapason ......... 8 feet 7. Fifteenth..................... 2 feet
3. Open Diapason ............ 8 feet 8. Sesquialtera, IV ranks, pure tin,
4. Gamba ........................ 4 feet 9. Trumpet, pure tin ......... 8 feet.
5. Principal ..................... 4 feet IO. Clarion 3 5 . . . . . . . . . 4 feet.
Szwell Organ.
II. Bourdon ..................... I6 feet tone. 17. Principal..................... 4 feet
I2. Stopped Diapason ......... 8 feet, 18. Mixture, IV ranks.
I3. Dulciana ..................... 8 feet. I9. Oboe ........................ 8 feet
I4. Salicional ..................... 8 feet 2O, Cornopean .................. 8 feet
I5. Open Diapason ............ 8 feet 2I. Contra Trumpet............ I6 feet
16. Dulcet Flute.................. 4 feet -
Choir Organ.
22, Melodia........................ 8 feet. 25. Concert Flute............... 4 feet
23. Dolce........................... 8 feet. 26. Principal. .................. 4 feet
24, Keraulophon ............... 8 feet, 27, Clarionette .................. 8 feet
Pedal Organ.
28. Sub-Bourdon ............... 32 feet tone, 31. Open Diapason ............ I6 feet.
29. Bourdon ..................... I6 feet. 32, Violoncello .................. 8 feet.
3O. Bell Gamba .................. I6 feet. 33. Trombone .................. I6 feet.
Couplers, &c.
I. Swell to Great.
2. Swell to Choir.
3. Choir to Pedal.
4. Great to Pedal.
5. Swell to Pedal.
6. Signal to blowers.
AN ACCOUNT OF FOREIGN ORGANs,
453
of which latter the following is a list —
::
22.
23.
I853.
. Bourdon
i
Manuals, CC to a”, 58 notes.
Composition Pedals.
Three double action on Great Organ.
Compass.
*
| Two double action on Swell Organ.
Pedal, CCC to e, 29 notes.
I58. CALIFORNIA.
The organ in the Presbyterian Church, Oakland, San Francisco, built by
Messrs. Bevington and Son, has two Manuals, separate Pedal, and 24 Sounding Stops
. Open Diapason
. Dulciana
. Flute Harmonique
. Principal
Swell to Great.
Swell to Pedal.
| claipei.......................
p e s is a s a s is tº a s s is t is s & e º q
. Double Diapason............
. Open Diapason
. Lieblich Gedact
. Bell Gamba
, Wald Flute
tº $ tº tº e º $ it s tº ſº º is 8 tº 6 tº º
\
Great Orgaſt.
8 feet 6, Fifteenth ..................... 2 feet.
8 feet 7. Full Mixture, III ranks... , 3 feet.
8 feet 8. Clarionet ...... . . . . . . . . . .... • * * * * 8 feet.
4 feet 9. Bassoon ...... . . . . . . . . . . . . . . . -
4 feet IO. Trumpet ......... . . . . . . . . . . . . 8 feet
Swell Organ.
I6 feet I7. Principal ..................... 4 feet
I6 feet 18. Twelfth ..................... 3 feet
8 feet I9. Fifteenth ..................... 2 feet
8 feet 2O. Cornopean .................. 8 feet
8 feet 2I. Oboe 8 feet
4 feet
Pedal Organ.
24. Bourdon … I6 feet
Great Open Diapason, wood 16 feet.
Great Open Diapason, metal I6 feet.
Couplers, &c.
Swell Sub-Octave to Great.
Swell Octave to Great,
Compass.
Manuals, CC to gº, 56 notes.
Great to Pedal.
Tremulant to Swell by Pedal.
Three Composition Pedals to Great.
Three Composition Pedals to Swell.
| Pedal, CCC to F, 30 notes,
159. ST. JoHN’s CATHEDRAL, NEWFOUNDLAND.
The organ in St. John's Cathedral, Newfoundland, was built by Robson in
Great Organ, 16 Stoſs, Compass,
. Double Diapason, Bass
Double Diapason
. Large Open Diapason
Open Diapason
. Stopped Diapason ...... ..
I6 feet tone.
8 feet.
8 feet.
8 feet tone.
6 feet.
4 feet.
3% feet.
8.
9.
IO.
II.
I2.
I3.
I4.
It contains 46 sounding stops, as follows:–
CC to G in alt., 56 Moſes.
Twelfth ..................... 3 feet
Fifteenth..................... 2 feet
Sesquialtera, III ranks.
Mixture, III ranks.
Furniture, III ranks.
Contra Fagotto ............ I6 feet
Posaune ..................... 8 feet
. Principal
. Tenth
Quint................... ... & tº ſº e g tº g tº
* * * * * * * * * * * * * * * * * * * * *
I 5.
Clarion ..................... 4 feet.
454. APPENDIX.
Choir Organ, II Stoffs, Compass, CC to G in alt., 56 Wołes.
I6. Dulciana ..................... 8 feet. 22. Flute ........................ 4 feet.
I7. Viol di Gamba............... 8 feet. 23. Piccolo........................ 2 ſeet.
18. Stopped Diapason ......... 8 feet tone. 24. Mixture, Dulciana Scale,
I9. Clarabella Flute ............ 8 feet. III ranks.
2O. Celestina Viol ............... 4 feet. 25. Bassoon 8 feet t
2I. Principal ..................... 4 feet. Clarionet ( ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' eCl tone,
Swell Organ, I 3 Stoffs, Compass, CC to G in alt., 56 Notes.
26. Double Diapason, Bass I6 feet tone. 32. Sesquialtera {v ranks.
Double Diapason ......... Mixture ...
27. Open Diapason ......... . . 8 feet. 33. Horn........................... 8 feet.
28. Stopped Diapason ... ... .. 8 feet tone. 34. Oboe ........................... 8 feet.
29. Principal .............. ...... 4 feet. 35. Clarion ........................ 4 feet.
30. Twelfth ........................ 3 feet. 36. Octave Clarion...... . . . . . . . . . 2 feet,
3I. Fifteenth ...................., 2 feet.
Pedal Organ, 6 Stoffs, Com/ass, CCC to F, 30 Notes.
37. Open Diapason............... I6 feet. 40. Basso-flauto .................. 8 feet tone,
38. Stopped Diapason ......... I6 feet tone. 4I. Trombone..................... I6 feet.
39. Principal ..................... 8 ſeet. 42. Trumpet ..................... 8 feet,
Couplers.
I. Swell to Great. - 3. Great to Pedals.
2. Ditto to Pedals. 4. Choir to ditto,
16O. ST. PAUL, WELLINGTON, NEW ZEALAND.
This organ, comprising two complete Manuals and separate Pedal, was built by
Mr. T. C. Lewis, and contains the following 17 sounding stops —
Great Organ, CC to G, 56 noſes.
I. Lieblich Gedact ............ I6 feet. 5. Octave........................ 4 feet.
2. Open Diapason ............ 8 feet. 6. Flute ........................ 4 feet.
3. Lieblich Gedact ............ 8 feet. 7. Mixture, III ranks......... 2 feet.
4. Salicional (tenor c, grooved
for bass) .................. 8 feet.
Swell Organ, CC to G, 56 notes.
8. Rohrfiote ..................... 8 feet. I2. Geigen Principal............ 4 feet.
9. Geigen Principal ............ 8 feet. 13. Flautina ..................... 2 feet.
Io. Viol di Gamba ............ 8 feet. I4. Horn ........................ 8 feet.
II. Voix Céleste.................. 8 ſeet. I5. Oboe and Bassoon ......... 8 feet,
Pedal Organ, CCC to F, 30 notes.
I6. Open Baš5..................... I6 feet. | I7. Sub-Bass..................... I6 feet.
Cou?/ers.
Great to Pedals. | .# Swell to Pedals. | Swell to Great.
Three Pedals of Combination,
AN ACCOUNT OF FOREIGN ORGANS. 455
I61. MELBOURNE, AUSTRALIA.
Description of the new organ for the Town Hall, Melbourne, Australia, by
Messrs. William Hill and Son. Compass of each Manual, CC to C, 61 notes :—
Great Organ.
I. Double Open Diapason ... I6 feet. Io. Twelfth ..................... 3 feet.
2. Bourdon ..................... I6 feet. II. Fifteenth ..................... 2 feet,
3. Open Diapason ............ 8 feet. I2. Mixture, IV ranks.
4. Open Diapason ............ 8 feet. I3. Mixture, III ranks.
5. Gamba ........................ 8 feet. I4. Double Trumpet ......... I6 feet.
6. Stopped Diapason ......... 8 feet. I5. Posaune ..................... 8 feet.
7. Principal ..................... 4 feet. I6. Trumpet ..................... 8 feet.
8. Principal ..................... 4 feet. I7. Clarion ..................... 4 feet.
9. Harmonic Flute ............ 4 feet.
Choir Organ.
18. Bourdon ..................... I6 feet. 23. Principal ..................... 4 feet.
I9. Salicional ..................... 8 feet. 24. Gemshorn Twelfth......... 3 feet.
20. Dulcian........................ 8 feet. 25. Gemshorn Harmonic...... 2 feet.
2I. Gedact (metal treble) ...... 8 feet. 26. Dulcian Mixture, II ranks.
22. Gamba ........ * . . . . . . . . . . . . . . . 4 feet. 27, Clarionet .................. 8 feet.
Swell Organ.
28. Bourdon ..................... I6 feet. 35. Twelfth ..................... 3 feet.
29. Open Diapason ............ 8 feet. 36. Fifteenth..................... 2 feet.
30, Cone Gamba.................. 8 feet. 37. Mixture, IV ranks.
31. Pierced Gamba ............ 8 feet. 38. Double Trumpet ......... I6 feet.
32. Stopped Diapason (metal 39. Cornopean .................. 8 feet.
treble) ..................... 8 feet. 40. Oboe ........................ 8 feet.
33. Principal ..................... 4 feet. 4ſ. Clarion ..................... 4 feet.
34. Suabe Flute .................. 4 feet.
Solo Organ.
42. Lieblich Bourdon, tenor 47. Glockenspiel, tenor c, II ranks.
C . . . . . . . . . . . . . . . . . . . . . . . . . . . I6 feet. 48. Bassoon, tenor C ......... I6 feet.
43. Harmonic Flute, wood 49. Clarionet..................... 8 feet.
bass ........................ 8 feet. 50. Orchestral Oboe, tenor c 8 feet.
44. Vox Angelica, Tenor c, 5.I. Vox Humana ............... 8 feet.
II ranks .................. 8 feet. 52. Oboe Clarion ............... 4 feet.
45. Flute Octaviante............ 4 feet. 53. Tuba Mirabilis ............ 8 feet.
46. Piccolo ........................ 2 feet. 54. Tuba Mirabilis ............ 4 feet.
Peda/Organ, Compass CCC to F, 30 notes.
55. Double Open Diapason, 61. Violon ........................ 8 feet.
metal ..................... 32 feet. 62. Twelfth ..................... 6 feet.
56. Open Diapason, metal ... I6 feet. 63. Fifteenth ..................... 4 feet,
57. Open Diapason, wood ... I6 feet. 64. Mixture, III ranks.
58. Bourdon ..................... I6 feet. 65. Trombone .................. I6 feet.
59. Quint........................... I2 feet. 66. Clarion ..................... 8 feet.
60. Principal ..................... 8 feet.
Couplers, &c.
Swell to Great. Choir to Great (Sub-Octave). | Choir to Pedal.
Swell to Great (Sub-Octave). Solo to Great. Great to Pedal.
Swell to Choir, Solo to Pedal. Swell to Pedal.
4 Composition Pedals to Great, 3 do, to Swell, 2 do. to Choir, and 4 Combination stops
(by hand) to Solo Organ, Solo Tremulant. Total, 79 stops, and 4373 pipes,
456 APPENDIX.
I62, ADELAIDE.
. Description of the organ for the Town Hall, Adelaide, Australia, built by Hill
and Son in 1876. Three Manuals, compass of each, CC to A, 58 notes, and Pedal
Clavier, CCC to F, 30 notes.
Great Organ.
. Double Diapason, wood... 16 feet. 7. Twelfth, metal - 3 feet.
I. L. Oll D16 UIal)&lSO11, WOOCl. . . . I O Tect. 7. i Welftſ], 1,16tall . . . . . . . . . . . . . . . J
2. Open Diapason, metal ... 8 feet. 8. Fifteenth, metal ............ 2 feet.
3. Open Diapason, No. 2, metal, 8 feet. 9. Full Mixture, metal, III ranks.
4. Stopped Diapason, wood... 8 feet. Io. Sharp Mixture, metal, II ranks.
5. Principal, metal ... 4 feet. II. Posaune, metal ............ 8 feet.
6. Harmonic Flute, , , ... 4 feet. I2. Clarion, , , ............ 8 feet,
Choir Organ.
13. Cone Gamba, metal... 8 feet. I7. Gemshorn, metal... 4 feet.
14. Dulciana (Cgrooved) , ... 8 feet. I8. Lieblich Flute, ,, ... 4 feet.
15. Voix Celeste (tenorc) , , ... 8 feet. I9. Flageolet, ,, ... 2 feet.
I6. Lieblich Gedact, wood ... 8 feet. 2O, Clarionet, tenor c, , , ... .8 feet.
Swell Organ.
21. Lieblich Bourdon, wood... I6 feet. 27. Fifteenth, metal............ 2 feet.
22. Open Diapason, metal...... 8 feet. 28. Mixture, metal, III ranks.
23. Pierced Gamba (Cgrooved) 29. DoubleTrumpet, metal ... 16 feet.
metal........................ 8 feet. 30. Cornopean, ,, ... 8 feet.
24. Hohl Flute, wood ......... 8 feet. 3I. Oboe, ,, ... 8 feet.
25. Principal, metal ......... 4 feet. 32. Clarion, ', ... 8 feet.
26. Rohr Flute, , , ......... 4 feet.
Pedal Organ,
33. Double Open Diapason, wood 32 feet. 36. Violoncello, wood ............ 8 feet.
34. Open Diapason, wood ......... I6 feet. 37, Trombone, wood ............... I6 feet,
35. Bourdon, wood ...... '• * * * . . . . . . . . I6 feet,
Couplers.
I. Swell to Great. 5. Choir to Pedal.
2. Swell to Sub-Octave. 6. Great to Pedal.
3. Swell to Octave. 7. Swell to Pedal.
4. Swell to Choir. *
Four Composition Pedals to Great Organ, Three Composition Pedals to Swell Organ.
Pneumatic action to Great and Couplers.
AN ACCOUNT OF BRITISH ORGANS,
457.
B R IT IS H O R G A N S.
L O N ID O N A N D I T S E N V I R O N S.
I63. ST. PAUL’S CATHEDRAL,
The organ built by Father Smith for this Cathedral in 1697 consisted of a
“Great and Choir organ,” with probably a small Echo. The Great extended down
to CCC (16 feet), without the CCC ; while the Choir ranged to FFF, BB% being
the first semitone.
Towards the latter part of the last century a Swell of 7 stops
was added by Crang; and at the commencement of the present century the pitch of
the whole organ, which had previously been very high, was lowered a. semitone,
an entirely new series of pipes being introduced for the lowest key. Subsequently
“new trebles” were put to the Chorus stops, and after that entire new stops were
substituted for some of the old ones, until at length very little of the original
organ remained.
In 1874 an almost entirely new organ was supplied by Mr.
Henry Willis, who divided the fine old case into two parts, repairing and preserving
the two original 16-feet metal Diapasons as the front pipes.
The organ now
consists of 4 complete Manuals from CC to A, 58 notes, and two octaves and a
half of concave and radiating Pedals from CCC to F, 30 notes.
I. Flute harmonique ......... 8 feet
2. Concert Flute ............... 4 feet
3. Corno-di-Bassetto ......... 8 feet
7. Contra Gamba.............., I6 feet
8. Open Diapason ............ 8 feet
9. Lieblich Gedact ............ 8 feet
IO. Salicional ..................... 8 feet
II. Vox Angelica ............... 8 feet
I2. Principal ..................... 4 feet
I9. Double Diapason............ I6 feet
2O. Open Diapason ............ 8 feet
2I. Open Diapason ............ 8 feet
22. Claribel Flute ............... 8 feet
23. Quint........................... 6 feet
24. Flute harmonique ......... 4 feet
25. Principal ..................... 4 feet
33. Bourdon ..................... I6 feet
34. Open Diapason ............ 8 feet
35. Dulciana ..................... 8 feet
36. Violoncello .................. 8 fect
37. Claribel Flute ............... 8 ſeet
38. Lieblich Gedact ............ 8 feet
44. Double Open Diapason,
Wood ..................... 32 feet.
. Open Diapason, wood ... I6 feet.
46. Violone, metal............... I6 feet.
47. Violoncello, metal ......... 8 feet.
Solo.
, Oboe ........................ 8 feet
. Tuba Major .............., 8 feet
. Clarion ..................... 4 feet
. Fifteenth ..................... 2 feet
. Echo Cornet.
. Contra POSaune ............ I6 feet
. Cornopean .................. 8 feet.
. Hautboy ...... .* * * * * * * * * * * * * * * 8 feet
. Clarion ..... ............... 4 feet
. Octave Quint ............... 3 feet
. Super Octave ............... 2 feet
. Fourniture.
. Mixture.
. Trombone .................. I6 feet
. Tromba ..................... 8 feet
. Clarion ..................... 4 feet
. Flute harmonique ......... 4 feet
. Principal ..................... 4 feet
. Flageolet .................. 2 feet
. Corno-di-Bassetto ......... 8 feet
. Cor Anglais ............... 8 feet
. Octave, metal............... 8 feet
. Mixture, metal.
. Contra Posaune ............ 32 feet
. Grand Bombard............ I6 feet.
. Clarion ..................... 8 feet
458 APPENDIX.
Couplers.
53. Solo to Great. - 58. Swell to Pedals.
54. Choir to Great, 59. Great to Pedals.
55. Swell to Great, Sub-Octave. 6o. Choir to Pedals.
56. Swell to Great, Unison. 61. Solo to Pedals.
57, Swell to Great, Super-Octave. 62, Ventil Pedale.
Four patent Pneumatic Combination Pistons for acting upon the different stops
are applied to each Manual organ. Four Pneumatic Combination Pedals for
Pedal organ acting also on the pistons of the Great organ. A double acting Pedal
for Great to Pedal Coupler. A Pedal for Swell to Great Unison Coupler. The
Pneumatic lever is applied to the Great organ.
The Swell and Choir organs, which are on the opposite side of the Choir, are
acted upon by the patent pneumatic tubular apparatus connected with a Pneumatic
lever of a peculiar construction which has the advantage of working noiselessly,
and never failing. The draw-stop movement is treated in a similar manner,
The Pedal organ which is on the floor of the cathedral, behind the Choir stalls
and standing away from the other portion of the instrument, is acted upon by the
S2,1]\e IſlCa.1).S.
The organ derives its wind from three very powerful bellows placed in the
crypt, having each 4 feeders; these bellows are worked with 3 hydraulic engines,
and supply the wind to the different reservoirs placed above in the organ
automatically, i.e., when the bellows’ reservoirs are full the water Supply is cut
off, and, as the wind is consumed, the engine or engines are again brought into
action.
I64. WESTMINSTER ABBEY.
The present organ in Westminster Abbey was originally built in 1730 by
Schreider & Jordan. It then consisted of Great and Choir, ranging from GG
(Io; feet compass), up to d” in alt., and a Swell with 4 Unison stops to Fiddle g
(23 feet compass). A Pedal-board from GG to Gamut A, with an octave of
Unison open pipes, was added by Avery during the time Dr. Cooke was organist.
In 1828 an octave of GGG Pedal pipes, and a new (soft) Trumpet and Clarion, in
place of the old Reeds, were introduced by Elliott. Subsequently a new Swell to
tenor c, with 8 stops, was added by Hill ; and a Dulciana and Open Diapason
put into the Choir organ in place of the Fifteenth and Cremona. In 1848 the
organ was entirely re-constructed by Mr. Hill, and divided ; the Great organ with
new and larger sound-boards, movements, &c., being placed on the South side of
the screen, and the Swell on the north ; leaving the centre unoccupied, so that
an uninterrupted view of the upper part of the minster may be obtained from one
end to the other. The Choir organ remains in its old place over the doorway
leading from the nave into the choir, and the 32 feet Pedal Diapasons are laid
horizontally along the Screen. The Claviers are placed crossways behind the
Choir organ,
The alterations in 1848 comprised an extension of the Great organ down to
CCC (16 feet compass), with the addition of a new Open Diapason ; the conversion
of one of the old Diapasons into a Double ; the insertion of a Quint ; a Posaune,
and three additional ranks of Mixture. The compass was also extended up to fº
in alt. An entirely new Swell to CC (8 feet compass) was introduced ; a Holl
Flute and Cromorne added to the Choir, and two Open Diapasons, 16 and 32 feet,
appropriated to the Pedal –such of the old Pedal pipes as were available being
used in the latter,
AN ACCOUNT OF BRITISH ORGANS. 459
...)
A Solo organ has subsequently been added, and the Instrument now contains
38 Sounding stops, of which the following is a list —
Great, CCC (16 feet compass), 14 Stoffs.
I. Double Diapason to CC key. 8. Twelfth.
2. Open Diapason (throughout). 9. Fifteenth.
3. Open Diapason to CC. IO. Sesquialtera, V ranks.
4. Stopped Diapason. - II. Mixture, III ranks.
5. Principal. I2. Double Trumpet to tenor c key,
6. Principal (throughout). I3. POSaune (throughout).
7. Stopped Flute to CC key. I4. Clarion.
Swell, CC (8 feet compass), Io Stoffs.
15. DoubleDiapason. 2O. Sesquialtera, III ranks.
16. Open Diapason. 21. Contra Fagotto, to tenor c key.
I7. Stopped Diapason. 22. Cornopean.
18. Principal. 23. Hautboy.
19. Fifteenth. 24. Clarion.
Choir, GG (103 feet compass), 6 Słońs.
25, Open Diapason to Gamut G. 28. Principal.
26. Hohl Flute, 29. Flute.
27, Stopped Diapason. 3O. Cromorne.
Solo Organ, CC (8 feet coſ/s/ass).
- |Pipes. e º Pipes.
31, Bourdon, wood......... 8 feet ... 56 34. Tuba Mirabilis, metal 8 feet ..., 56
32. Open Diapason, metal 8 feet ... 56 35. Vox humana, metal 8 feet ... 56
33. Harmonic Flute, 36. Orchestral Oboe,
metal .................. 8 feet ... 56 metal.................. 8 feet ..., 56
Pedal, CCC (16 feet compass), 2 Sãoffs.
37. Great Open Diapason, 32 feet. | 38. Open Diapason, 16 ſeet.
Accessory Słożs, Movements, &c.
1. Coupler Swell to Great. 4. Choir to Pedal, 16-feet pitch.
2. Great to Pedal, 16-feet pitch. - 5. Swell to Pedal, 8-feet pitch.
3. Great to Pedal, 8-feet pitch. 6, 7, 8. Three Composition Pedals.
165. TEMPLE CHURCH.
The fine organ in the Temple Church was built by Father Smith, in the year
1688. From the time of its first construction it had fourteen notes in each octave,
instead of the usual twelve only, the extra notes or “quarter tones” being D sharp
and A flat, which were quite distinct from the usual notes, G Sharp and E flat.
The keys for these added notes were provided, externally, by those for G sharp
and E flat being divided crossways, the back halves Serving for the special
keys being made to rise as much above the front portions as did the latter above
the long keys. Internally the keys were necessarily of half width only, so that
on each side of the pin-hole very little Substance could remain. This defect
caused the keys at times to “Spring,” and So render the touch uncertain. The
original compass of the organ was from cº in alt. down to FFF, and, while
there were the quarter notes in the upper octaves, there was but one semitonic key
between the five lower tones from CC down to FFF, namely BB flat.
460
APPENDIX.
The following is a copy of Father Smith's original disposition of stops :—
THE SCHEDULE,
Great Organ.
I. Prestant, of mettle ................................. 61 pipes..................... I2 foote tone.
2. Hohlflute, of wood and mettle .................. 61 pipes..................... I2 foote tone.
3. Principall, of mettle .............................. 61 pipes..................... o6 foote tone.
4. Quinta, of mettle.................................... 61 pipes .................... O4 foote tone.
5. Super-Octave ....................................... 61 pipes..................... O3 foote tone.
6. Cornett, of mettle ................................. r12 pipes..................... O2 foote tone.
7. Sesquialtera, of Imettle ............................ 183 pipes..................... O3 foote tone.
8. Gedackt, of waines-cott ........................... 61 pipes..................... O6 foote tone,
9. Mixture, of mettle ................................. 226 pipes..................... O3 foote tone.
IO. Trumpett, of mettle................................. 61 pipes..................... I2 foote tone,
Choir Organ.
II. Gedackt, of waines-Cott ........................... 61 pipes..................... I2 foote.
I2. Hohlflute, of metal................................. 61 pipes..................... O6 foote.
I3. A Sadt, of mettle.................................... 61 pipes..................... O6 foote.
I4. Spitzflute, of mettle................................. 61 pipes..................... O3 foote.
I5. A Violl and Violin, of Imettle .................. 61 pipes..................... I2 foote.
I6. Voice Humaine, of mettle ........................ 61 pipes..................... I2 foote.
366 pipes,
Fechos.
I7. Gedackt, of wood ................................. 61 pipes..................... O6 foote tone.
18. Sup. Octave, of mettle ........................... 61 pipes........ ............ O6 foote tone.
I9. Gedackt, of wood ................................. 29 pipes.
2O. Flute, of mettle .................................... 29 pipes.
2.I. Cornett, of mettle ................................. 87 pipes.
22. Sesquialtera .......................................... IO5 pipes.
23. Trumpett ............................................. 29 pipes.
4OI
366
948
With three full sets of keys and quarter notes.
21st jºine, Zó88. (Signed) BER, SMITH,
When the organ was first built the pipes were crowded together in a most
inconvenient and irregular manner, but which arrangement was unavoidable, on
account of the contracted dimensions of the site destined for its reception, under
the centre arch separating the round church from the choir.
Some years after the re-erection of the organ in the organ-chamber (i.e., in
1856), new and more extensive Sound-boards, admitting of a more orderly and
systematic arrangement of the pipes were constructed, larger and more capacious
bellows were provided, and new mechanism was introduced ; though the case
remaining where it was originally set up, some 5 or 6 feet within the recess,
necessarily deprived the instrument of much room that would have been of the
greatest value at the time that it was being laid out afresh. The Swell was at the
same time carried down from tenor c to CC, by the late Mr. T. J. F. Robson.
Several new stops were also introduced which were at the time new to this Country,
in the construction and voicing of which Mr. Hopkins had the good fortune to
AN ACCOUNT OF BRITISH ORGANS. 461
secure the assistance of Mr. Edward Schulze, the eminent organ-builder of
Paulinzelle, near Erfurt. The organ, which is blown by two of Joy’s patent
hydraulic engines, now contains the following stops —
3
3O.
Great Organ, I6 Sãoffs.
. Double Diapason............ I6 feet tone. 8. Octave, clear and strong 4 feet tone.
. Open Diapason, Smooth 9. Nason Flute, Stopped ... 4 feet.
and mellow ............... 8 feet tone. IO. Twelfth ..................... 2#feettone.
. Open Diapason, clear and II. Fifteenth ..................... 2 feet tone."
Strong ..... ................ 8 feet tone. I2. Full Mixture, III ranks... , 2 feet tone.
, Stopped Diapason, metal, 13. Sharp Mixture, V ranks 2 feet tone.
to tenor C sharp ......... 8 feet tone. I4. Small Trumpet, old, re-
. Hohlflote, Bass octave voiced ......... • * * * * * * * * * * * 8 feet.
Gedact ..................... 8 feet tone. I5. Large Trumpet, new ...... 8 feet tone.
. Viol di Gamba ............ 8 feet tone. I6. Clarion ..................... 4 feet tone.
. Principal, smooth and
mellow ..................... 4 feet tone.
Swell Organ, 12 Słońs.
I7. Bourdon ..................... I6 ſeet tone. 23. Mixture, IV ranks......... I; foottone.
I8. Open Diapason ............ 8 feet tone. 24, Double Bassoon............ I6 feet tone.
I9. Rohr Gedact.................. 8 feet tone. 25. French Horn ............... 8 feet tone.
2O. Principal ..................... 4 feet tone. 26. Hautboy ..................... 8 feet tone.
2I. Rohrflote ..................... 4 feet tone. 27. Clarion........................ 4 feet tone.
22 {#. * * * * * * * * * * s a s a s e a s 23 feet. 28. Oboe ........................ 8 feet tone.
Fifteenth .................. 2 feet tone. * -
Choir Organ, II Stoffs,
29, Lieblich Bordun ............ I6 feet tone. 35. Gemshorn .................. 4 feet.
Spitzflote ..................... 8 feet. 36. Violino........................ 4 feet.
31. Violin Diapason ............ 8 feet. 37. Lieblich-Flote ............ 4 feet tone.
32. Dulciana ..................... 8 feet. 38. Flautino ................* * * * * * 2 feet.
33. Lieblich-Gedact ............ 8 feet. 39. Corno di Bassetto ......... 8 feet,
34. Flauto TraverSo ............ 8 feet. -
Peda/Organ, 8 Stoffs.
40. Sub-Bass to FFFF ......... 32 feet. 45. Violoncello.................. 8 feet.
4I. Open-Bass .................. I6 feet. Twelfth Bass ............ 5; feet.
42. Stopped Bass' ............... I6 feet tone. * iFifteenth Bass............ 4 feet.
43. Violin ........................ I6 feet. 47. Trombone .................. I6 feet.
44. Quint ........................ IO3 feet tone,
Compass of all the Manuals CC to gº in alt. Compass of Pedals CCC to tenor f.
Accessory Słożs, Movements, &c.
I. Swell to Great. 7, 8, 9, IO, II. Five Composition Pedals,
2. Choir Sub-Octave to Great. acting on the Great and Pedal organs '
s in combination.
3. Swell to Choir. I2, I3, I4. Three Composition Pedals,
4. Great to Pedal. I 5. S º the Swell organ.
t - I 5. Soft Pedal organ.
5. swell to P edal. I6. Pedal acting : “Great to Pedal.
6. Choir to Pedal. I7. Tremulant.
462 APPENDIX.
I66, EXETER HALL.
The large organ in Exeter Hall was built expressly for the Sacred Harmonic
Society, in the year 1839, by Mr. Joseph William Walker, of Francis Street,
Tottenham Court Road. The exterior, which corresponds with the architecture of
the Hall, was designed by Mr. Robert R. Banks. The width of the instrument is
30 feet, and the height 40 ; the depth in the lower part is 4 feet 6 inches only, the
Directors of the Hall having limited the builder to these dimensions, to prevent a
loss of space on the platform when public meetings are held. Within this lower
part, the bellows, 4 in number, are placed ; while above, at the height of I2 feet
from the floor, comes the main body of the organ, carried out on projecting
cantilions or consoles. Over each console rises a circular turret of gilt pipes,
surmounted by an ornament imitative of that beautiful ancient specimen, the
choragic monument of Lysicrates. The two centre towers are considerably higher
than the outer ones, and project 5 feet each beyond the body of the instrument ;
the longest pipes in these towers measure 20 feet from the base, and 16 from the
body (C and C sharp); the circumference is 45 inches, the diameter I5 inches,
and the weight of each 4 cwt. The whole front of the organ, including the circular
ends (which are novel features in the design), is divided into eleven compartments
of gilt pipes. The keys are so arranged that the organist, when playing, faces the
conductor and the audience, instead of sitting with his back towards them. In
1849 the Pneumatic action for lightening the touch was added to the Organ, this
being the first instance of its employment by any of the London builders. Larger
and more powerful Reed Stops were at the same time introduced into the Great
organ and Swell. Still more recently the instrument was enlarged and partly
remodelled, under the direction of the late Mr. Brownsmith, the then organist
to the Society for which it was built. Two Reeds on a heavy pressure of wind
were added to the Swell, and the Double Diapason turned into a Second Unison
Open; the compass of the Swell was extended from FF down to CC ; a third
Open Diapason and a Second Principal were introduced into the Great organ,
and the system of equal temperament adapted for the tuning ; the latter improve-
ment was at the suggestion of Sir M. Costa.
The organ now contains 42 Sounding stops, of which the following is a list —
Great, I 3 Stoffs.
I. Open Diapason. 8. Fifteenth.
2. Open Diapason, large. 9. Sesquialtera, III ranks.
3. Open Diapason, Small. Io. Mixture, II ranks.
4. Stopped Diapason. II. Furniture, II ranks.
5. Principal, large. I2. Trumpet.
6. Principal. I3. Clarion.
7. Twelfth.
Choir, 7 Słożs.
I4. Open Diapason. I8. Metal Flute.
I5, Stopped Diapason. 19. Fifteenth.
I6. Dulciana to FF. 2O. Cremona to fiddle g.
I7. Principal.
Swell, I 3 Słożs.
2I. Open Diapason. 28. Sesquialtera, III ranks.
22. Open Diapason, large. 29, Horn.
23. Stopped Diapason. 30. Oboe.
24. Dulciana. 3I. Clarion.
25. Principal. 32. Ophicleide, 8 feet O]] a.
26. Metal Flute. - 33. Ophicleide, 4 feet heavy wind,
27. Fifteenth.
AN ACCOUNT OF BRITISH ORGANS, - 463
Pedal, 9 Stoffs.
34. Double Open, to FFFF ... 32 feet. 39. Fifteenth ..................... 4 feet.
35. Open Diapason, wood ... 16 ſeet. 4O. Sesquialtera, III ranks.
36. Open Diapason, metal ... 16 feet. 4I. Trombone .................. I6 feet.
37. Bourdon ..................... I6 feet. 42. Trumpet ..................... 8 feet.
38. Principal ..................... 8 feet.
Accessory Stoffs, Movements, &c.
I. Swell to Great. 5 to II. Seven Composition Pedals; viz., 3
2. Choir to Great. to Great, 2 to Swell, and 2 to
3. Great to Pedal. Pedal.
4. Choir to Pedal. I2. Pneumatic attachment.
Compass.
|
Great and Choir, FFF to gº in alt. Swell, CC to gº in alt.
Pedal, CCC to tenor e.
I67. ROYAL ALBERT HALL.
The instrument in the Royal Albert Hall, constructed by Mr. Henry Willis, of
Camden Town, London, consists of 5 Claviers. The Compass of the 4 Manual
Claviers extends from CC to C in alt. (5 complete octaves, or 61 notes), and that of
the Pedal from CCC to G (25 Octaves, or 32 notes). The following is the
disposition of the stops —
Choir, 20 S.*.
I. Violone ... . . . . . . . . . . . . . . . . . . . . . I6 feet. II. Flageolet..................... 2 feet.
2. Viol di Gamba ............... 8 feet. I2. Piccolo (harmonic)......... 2 feet.
3. Dulciana ......... . . . . . . . . . . . . 8 feet. I3. Super-octave ............... 2 feet.
4. Lieblich Gedact ..... . . . . . . . 8 feet. I4. Mixture, III ranks.
5. Open Diapason ............ 8 feet. I5. Corni di Bassetto ......... I6 feet.
6. Vox Angelica ............... 8 feet. I6. Clarionet ..................... 8 feet.
7. Principal (harmonic) ...... 4 feet. I7. Cor Anglais.................. 8 feet.
8. Gemshorn..................... 4 feet. I8. Oboe ........................ 8 feet.
9. Lieblich Flote ............... 4 feet. I9. Trompette harmonique ... I6 & 8 feet.
IO, “Celestiana..................... 4 feet. 2O. Clarion ..................... 4 feet.
The pipes in this organ are of metal. The effect of wood is imparted by the harmonic construction, and
the disadvantage of using wood for small pipes is therefore avoided. . The stops numbered I, 3,.6, 8, 9, II, 14,
and 17 are intended to represent what is called the “Echo Organ” in Some large organs, and in them placed
on a fifth Clavier.
Great, 25 Słoffs.
2I. Flute conique, partly har- 33. Viola ........................ 4 feet.
monic ..................... I6 feet. 34 Octave........................ 4 feet.
22. Contra Gamba............... 16 feet. 35. Quinte Octaviante ......... 3 feet.
23. Violone....................... I6 feet. 36. Piccolo Harmonique ...... 2 feet.
24. Bourdon ..................... I6 feet. 37. Super-Octave .............., 2 feet.
25. Open Diapason ............ 8 feet. 38. Furniture, V ranks.
26. Open Diapason ............ 8 feet. 39. Mixture, V ranks.
27. Viol di Gamba ...... ........ 8 feet. 40. Contra POSaune ............ I6 feet.
28. Claribel........................ 8 feet. 4T. Posaune ..................... 8 feet.
29. Flute Harmonique ......... 8 feet. 42. Trompette Harmonique... 16 & 8 feet.
3O. Flute à Pavillon ............ 8 feet, . 43. Tromba ..................... 8 feet.
31. Quint........................... 6 feet. 44. Clarion Harmonique ...... 8 & 4 feet.
32. Flute Octaviante Har- 45. Clarion ..................... 4 feet.
monique ... . . . . . . . . . . . . . . . 4 feet.
Of the above stops only the basses of the Bourdon and Claribel are of wood,
464 APPENDIX.
Swell, 25 Stoſs.
46. Double Diapason............ I6 feet, 59. Piccolo Harmonique ...... 2 feet.
47. Bourdon ..................... I6 feet. 60. Sesquialtera, V ranks.
48. Salicional ..................... 8 feet. 6I. Mixture, V ranks.
49. Open Diapason ............ 8 feet. 62. Contra Posaune ............ I6 feet.
50. Viol di Gamba ............... 8 feet, 63. Contra Oboe ............... I6 feet.
5.I. Flutes à Cheminées......... 8 feet. 64. Baryton ..................... I6 feet.
52. Claribel Flute ............... 8 feet. 65. Voix Humaine ............ 8 feet.
53. Quint........................... 6 feet. 66. Oboe ........................ 8 feet.
54. Flute Harmonique ......... 4 feet. 67. Cornopean .................. 8 feet.
55. Viola........................... 4 feet. 68. Tuba Major ............... 8 feet.
56. Principal ..................... 4 feet. 69. Tuba ........................ 4 feet.
57. Quinte Octaviante ......... 3 feet. 70. Clarion ..................... 4 feet.
58. Super-Octave ............... 2 feet. -
Of these stops only the basses of the Bourdon and Claribel Flute are of wood.
Solo, 20 Słożs.
7.I. Contra Basso ............... I6 feet. 8I. Corno di Bassetto ......... I6 feet.
72. Flute à Pavillon ............ 8 feet. 82. Clarionet..................... 8 feet.
73. Viol d'Amore ............... 8 feet, 83. Bassoon ..................... 8 feet.
74. Flute Harmonique ......... 8 feet. 84. French Horn ............... 8 feet.
75. Claribel Flute ............... 8 feet. 85. Ophicleide .................. 8 feet.
76. Voix Celeste.................. 8 feet. 86, Trombone .................. 8 feet.
77. Flute Traversière ......... 4 feet. 87. Oboe ........................ 8 feet.
78. Concert Flute ............... 4 feet. 88, Bombardon .................. I6 feet.
79. Piccolo Harmonique ... ... 2 feet. 89. Tuba Mirabilis ............ 8 feet.
80, Cymbale .................... 90. Tuba Clarion ............... 4 feet.
Nos. 81, 82, 83, 84, and 87 are inclosed in a swell box.
Pedal, 21 Stoffs.
91. Double Open Diapason, IOI. Quint, metal............... 6 feet.
wood ..................... 32 feet. IO2. Super-Octave, metal...... 4 feet.
92. Double Open Diapason, IO3. Furniture, V ranks.
metal ............…..... 32 feet. | | IO4. Mixture, III ranks.
93. Contra Violone, metal ... 32 feet. IO5. Contra Posaune, wood... 32 feet.
94. Open Diapason, wood ... I6 feet. IOG. Contra Fagotto, wood... I6 feet.
95. Open Diapason, metal ... I6 feet. IO7. Bombarde, metal......... I6 feet.
96. Bourdon, wood ............ I6 feet. IO8. Ophicleide, wood ......... I6 feet.
97. Violone, metal ............ I6 feet. Io9. Trombone, metal......... I6 feet.
98. Great Quint, metal ...... I2 feet. II.O. Fagotto, Wood ............ 8 feet.
99. Violoncello, metal......... 8 feet. III. Clarion, metal ............ 8 feet.
IOO. Octave, Wood............... 8 feet.
The inside pipes belonging to those stops that contribute to the front are similarly shaped in mouth,
body, and foot.
Couplers,
I. Solo Sub-Octave (on itself). 8. Swell to Choir.
2. Solo Super-Octave (on itself). 9. Solo to Choir.
3. Swell Sub-Octave (on itself). IO. Solo to Pedals.
4. Swell Super-Octave (on itself). II. Swell to Pedals.
5. Unison Solo to Great. I2. Great to Pedals.
6. Unison Swell to Great. I3. Choir to Pedals.
7. Unison Choir to Great. I4. Sforzando.
A double-acting vertical movement, Struck by the heel of either foot, instantly
detaches and connects the movement of the Pedal organ from all but the
Bourdon, Violone, Open Diapason (metal), and Octave, and also draws and with-
draws the Pedal Coupler to Great Organ.
AN ACCOUNT OF BRITISH ORGANS. 465
Eight patent Pneumatic Combination Pistons govern the whole of the stops of
each Manual organ. These thirty-two pistons appear immediately below and in
front of each Clavier, concentrated so as to be at all times within reach of the
hands of the performer.
Six Pedals govern the stops of the Pedal organ by means of ventils. Two
Pedals apply and detach a movement that causes the aforesaid six Pedals
governing the Pedal organ to act also upon the combination movement of the
Great organ. Six Pedals govern and combine in various ways all the other
accessories, and thus, by one instantaneous operation of the performer, vary the
effect of the whole instrument at once. Two Tremulants, governed by Pedals
(one to the Swell, the other to the Solo organ), are applied. These Tremulants
act only upon Suitable stops. The Sforzando is brought in action by means of a
Pedal. Two Pedals govern the Great to Pedal Coupler. The patent atmospheric
contrivance of 1862 for actuating the Swell independently of the Swell Pedals is
also applied.
The general construction of the instrument is of the most elaborate and
beautiful kind, of the best materials and workmanship. The internal metal pipes
consist of 5-9ths lamb-stamp commercial tin and 4-9thS Soft lead, and the scales of
these, as well as those of the front, are suitable to the proportions of the building,
All the front pipes are made of tin 90 and lead IO in IOO parts, and are burnished
and polished in the same manner as those in the best Continental organs. The
key-fittings are elegant in design, the combination pistons being plated with gold
and engine-turned. The claviers are made of very thick ivory.
The main reservoirs in which the compressed air is forced are placed in a
chamber prepared in a clean and dry locality. The feeders supplying the air by
steam power are of the most ample size, and constructed to receive their wind from
the room above, and not from the locality in which they are placed. To carry out
this arrangement (of the highest importance), passages are provided for the wind-
shafts to and from the organ to the chamber in which the main reservoirs are
placed. The main reservoirs deliver their wind to numerous reservoirs in imme-
diate connection with the pipes.
I68, WESTMINSTER AQUARIUM.
The large organ in the Royal Aquarium and Summer and Winter Gardens,
Westminster, was built by Mr. Henry Jones, under the direction of Dr. Sullivan.
It has three complete Manuals, extending from CC to C, 61 notes. The Pedal
organ is of the full compass, CCC to F, 30 notes; and every stop is of the full range.
Great Organ, CC to C, 61 Moſes.
I. Double Diapason, metal... 16 feet. Io. Octavine Harmonic, metal 2 feet.
2. Open Diapason, metal ... 8 feet. II. Mixture, III ranks, metal various.
3. Harmonic Diapason, metal 8 feet. I2. Mixture, II ranks, metal various.
4. Gamba, metal ............... 8 feet. 13. Contra Posaune, metal ... I6 feet.
5. Gedact, wood and metal 8 feet. I4. Posaune, metal ............ 8 feet.
6. Octave, metal ............... 4 feet. I5. Trumpet, metal ............ 8 feet.
7. Harmonic Flute, metal ... 4 feet. I6. Clarion, metal............... 4 feet.
8. Twelfth, metal............... 2% feet. 17. Spare Slide.
9. Fifteenth, metal .,,......... 2 feet.
466 APPENDIX.
Swell Organ, CC to C, 61 Wotes.
18. Double Diapason, wood - 26. Octave, metal............... 2 feet.
and metal.................. I6 feet. 27. Mixture, III ranks, metal various.
I9. Open Diapason, metal ... 8 feet. 28. Contra Fagotto, metal ... 16 feet.
2O. Gamba, metal ............... 8 feet. 29. Horn, metal ............... 8 feet.
2I. Salicional, metal ............ 8 feet. 30. Harmonic Trumpet, metal 8 feet.
22. Voix Celeste, metal......... 8 feet. 31. Orchestral Oboe, metal... 8 feet.
23. Gedact, wood and metal 8 feet. 32. Clarion, metal............... 4 feet.
24. Harmonic Flute, metal ... 4 feet. 33. Voix Humaine, metal ... 8 feet.
25. Principal, metal ............ 4 feet. 34. Spare Slide.
Choir Organ, CC to C, 61 Wołes.
35. Open Diapason, metal ... 8 feet. 39. Harmonic Flute, metal... 4 feet.
36. Dulciana, metal ............ 8 feet. 40. Piccolo, wood and metal 2 feet.
37. Stopped Diapason, wood 8 feet. 41. Hautbois, metal............ 8 feet.
38. Octavel&eraulophon, metal 4 feet. 42, Clarionet, metal............ 8 feet.
Pedal Organ, CCC to F, 30 Moſes.
43. Double Open Diapason, - 47. Bass Flute, wood ......... 8 feet.
wood ..................... 32 feet. 48. Violoncello, wood ......... 8 feet.
44. Great Unison, wood ...... I6 feet. 49. Trombone, wood ......... I6 feet.
45. Bass Gamba, metal......... I6 feet. 50. Bassoon, metal ............ 8 feet.
46. Bourdon, wood ............ I6 feet. 51. Spare slide.
Couplers.
52. Swell to Great. 57. Choir to Pedals.
53. Choir to Great. 58. Octave Great.
54. Swell to Choir. 59. Space prepared.
55. Swell to Pedals. 60. Space prepared.
56. Great to Pedals.
Accessory Movements.
1, 2, 3, 4. Composition Pedals acting on 9, Io. Tremulant acting on Swell, by
- Great and Pedal organs. Pedal.
5, 6, 7, 8, Composition Pedals acting on II. Crescendo Pedal.
Swell organ.
2; Octaves of German Pedals.
General Summary,
Great Organ ........................ I7 . . . . . . . . . I, I59
Swell Organ ........................ I7 . . . . . . . . . I,098
Choir Organ ........................ 8 ......... 488
Pedal Organ ........................ 9 . . . . . . . . . 24O
Couplers....................… 9
Total.................. 60 ......... 2,985
Preparation has been made for the addition of a fourth or Solo organ, in
addition to the extra slides on Great, Swell, and Pedals, as mentioned above.
Four large bellows (placed beneath) supply the instrument with wind at different
pressures. These bellows are driven by steam power, but are so arranged that
manual labour can be employed should any mishap occur among the steam
machinery. An improved Pneumatic Lever is attached to the Great and Swell
organ keys, by which means a light touch is obtained, and the Couplers (when in
use) cause no extra weight on the Manuals. It is also fitted with Radiating and
AN ACCOUNT OF BRITISH ORGANS. 467
Concave Pedals, Diagonal Draw-stops, Overhanging keys, and every modern
improvement to bring the whole instrument comfortably within the control of the
performer. The Reed stops are voiced on a heavy pressure wind, while the
Scaling of the pipes throughout has been carefully selected from the best
authorities, both English and Foreign. To ensure the variety that is necessary
for orchestral purposes, the lighter Solo stops have been manufactured and voiced
by two of the most eminent Firms in Paris.
I69. CRYSTAL PALACE.
The following is a description of the large organ built by Messrs. Gray and
Davison, expressly for the Great Handel Festival at the Crystal Palace in 1857.
The space it occupies in the centre transept is 40 feet in width by 24 in depth,
exclusive of the platform for the bellows. Of these reservoirs there are altogether
I6, by which a great variety of pressure is obtained, which gives increased brilliancy
to the treble portion of the registers, and brings out the tone of some of the more
commanding stops. The weight of the instrument is about 20 tons.
Great Organ, CC to A in alt., 19 Stoffs.
I. Double Open Diapason ... 16 feet. II. Flageolet Harmonique ..., 2 feet.
2. Double Dulciana ............ I6 feet. 12. Mixture, IV ranks.
3, Open Diapason ..........., 8 feet. 13. Furniture, III ranks.
4. Flauta Pavillon ............ 8 feet. I4. Cymbal, V ranks, . -
5. Claribél Flute ............... 3 feet. I5. Contra Trombone ......... I6 feet.
6. Flute Harmonique ......... 8 feet. I6. Posaune ..................... 8 feet.
7. Quint.…...................... 6 feet. I7. Trumpet Harmonique ... 8 feet.
8. Flute Octaviante ............ 4 feet. 18. Clarion........................ 4 feet.
9. Twelfth ........................ 3 feet. I9. Octave Clarion ............ 2 feet.
IO, Super-Octave.................. 2 feet
-- Choir Organ, CC to A in alt., 12 Stoffs. }
2O. Bourdon ..................... I6 feet. 26. Claribel Flute ............... 4 feet.
21. Gamba ........................ 8 feet. 27. Spitz Flute .................. 2 feet.
22. Salicional ..................... 8 feet. 28. Piccolo ..................... 2 feet.
23. Voix céleste .................. 8 feet. | 29. Mixture, III ranks.
24. Clarinet Flute ............... 8 feet. 30. Cor Anglais and Bassoon 8 feet. .
25, Gemshorn ..................... 4 feet. 31. Trumpet ... . . . . . . . . . . . . . . . . . 8 feet.
Swell Organ, CC to A in alt., 17 Sãoffs.
32. Bourdon ..................... I6 feet. 4I. Mixture, IV ranks.
33. Open Diapason ............ 8 feet. 42. Furniture, III ranks.
34. Vox Humana ............... 8 feet. 43. Piccolo Harmonique ...... 2 feet.
35. Keraulophon.................. 8 feet. 44. Contra Fagotto ............ I6 feet.
36. Concert Flute ............... 8 feet. 45. Cornopean .................. 8 feet.
37. Octave ........................ 4 feet. 46. Oboe ........................ 8 feet.
38. Flute Octaviante ............ 4 feet. 47. Clarion.................. ,, . . . . . 4 feet.
39. Twelfth........................ 3 feet. 48. Echo Tromba ............... 8 feet.
40. Super-Octave.................. 2 feet -
Solo Organ, 5 Stoffs.
49. Flute Harmonique ......... 8 feet. 52. Corni di Bassetto . . . . . . . 8 feet.
5O. Flute Octaviante ......... 4 feet. 53. Grand Tromba ............ 8 feet.
5.I. Open Diapason ............ 8 feet.
468 APPENDIX.
Pedal Organ, CCC to F, 12 Stoffs.
54. Contra Bass .................. 32 feet. 60, Octave .................. ..... 8 feet.
55. Contra Bombarde ......... 32 feet. 61. Twelfth ..................... 5% feet.
56. Open Diapason, wood ... I6 feet. 62. Super-Octave ... . . . . . . . . . . . . 4 feet.
57. Open Diapason, metal ... I6 feet. 63. Mixture, TV ranks.
58. Violone........................ I6 feet. 64. Trumpet ..................... 8 feet.
59. Bombarde..................... I6 feet. 65. Clarion........................ 4 feet,
Couplers,
I. Swell to Great. 3. Swell to Choir. 6. Solo to Great.
2. Swell Octave, and Sub- 4. Choir to Great. Each Manual to Pedals.
Octave, 5. Choir to Octave. - Tremulant.
Total number of stops ............ 65 | Total number of pipes ......... 4568
170. ALEXANDRA PALACE,
The organ in the Alexandra Palace, Muswell Hill, was built by Mr. Henry
Willis, of London. The distribution of the stops is as follows:–
Solo, I4 Słoffs.
I. Violoncello (imitative) ... 8 feet. 8. Bombardon .............. .... I6 feet.
2. Viola (imitative) ............ 4 feet. 9. Trumpet (Harmonic)...... 8 feet.
3. Flute Harmonique ......... 8 feet. IO. Ophicleide .................. 8 feet.
4. Flute Octaviante ............ 4 feet. II. Bassoon ..................... 8 feet,
5. Concert Flute (imitative)... 4 feet. I2. Oboe (Orchestral) ......... 8 feet.
6. Piccolo (imitative) ......... 2 feet. I3. Clarionette (Orchestral)... 8 feet.
7. Claribel........................ 8 feet. 14. Clarion ..................... 4 feet.
Swell, 21 Słoffs.
15. Touble Diapason............ I6 feet. 26. Fifteenth ..................... 2 feet.
16. Bourdon ..................... I6 feet. 27. Sesquialtera, V ranks.
17. Open Diapason ............ 8 feet. 28. Mixture, III ranks.
18. Open Diapason ............ 8 feet. 29. Contra POSaune ............ I6 feet.
19. Salicional ..................... 8 feet. 3O. Contra Fagotto ............ I6 feet.
2O. Lieblich Gedact ............ 8 feet. 3I. Cornopean .................. 8 feet,
2I. Flute Harmonique ......... 8 feet. 32. Trumpet ..................... 8 feet.
22. Flute Octaviante ............ 4 feet. 33. Hautboy..................... 8 feet.
23. Flauto Traverso ............ 4 feet. 34. Vox Humana ............... 8 feet.
24. Principal ..................... 4 feet. 35. Clarion........................ 4 feet.
25. Twelfth........................ 3 feet.
36. Double Diapason............ I6 feet. 46. Quinte Octaviante ....., 3 feet.
37. Bourdon ..................... I6 feet. 47. Super-Octave ............... 2 feet.
38. Open Diapason ............ 8 feet. 48. Piccolo........................ 2 feet.
39. Open Diapason ............ 8 feet. 49. Sesquialtera, V ranks.
40. Open Diapason ............ 8 feet. 50. Mixture, III ranks.
4I. Viol di Gamba ............ 8 feet. 5I. Trombone .................. I6 feet.
42. Claribel........................ 8 feet. 52. Bombard ..................... 8 feet.
43. Quinte ........................ 6 feet. 53. Trumpet ..................... 8 feet.
44. Principal ..................... 4 feet. 54. Posaune ..................... 8 feet.
45, Flute Traversière,...,,,,,,, 4 feet, 55. Clarion........................ 4 feet,
AN ACCOUNT OF BRITISH ORGANS. 469
Choir, 17 Słożs.
56. Contra Gamba ............... I6 feet. 65. Viola........................... 4 feet.
57. Viol di Gamba ............... 8 feet. 66. Lieblich Flote............... 4 feet.
58. Salicional ..................... 8 feet. 67. Flageolet ..................... 2 feet.
59. Claribel........................ 8 feet. 68. Mixture.
6O. Flute Harmonique ......... 8 feet. 69. Trompette Harmonique... 8 feet.
6I. Lieblich Gedact ............ 8 feet. 70. Clarion........................ 4 feet.
62. Vox Angelica ............... 8 feet. 7.I. Corno di Bassetto ......... 8 feet.
63. Flute Octaviante ............ 4 feet. 72. Corno Inglese ............... 8 feet.
64. Gemshorn ..................... 4 feet,
Aedaſe.
73. Double Diapason, open 80. Octave ........................ 8 feet.
Wood........................ 32 feet. 8I. Principal ..................... 8 feet.
74. Double Diapason, open 82. Super-octave ............... 4 feet.
metal........................ 32 feet. 83. Sesquialtera, III ranks.
75. Sub-Bourdon ............... 32 feet. 84. Mixture, III ranks.
76. Open Diapason, wood...... I6 feet. 85. Bombard ..................... 32 feet.
77. Violone, metal............... I6 feet. 86. Trombone .................. I6 feet.
78. Bourdon ..................... I6 feet. 87. Ophicleide .................. I6 feet.
79. Contra Basso, open wood I6 feet. 88. Clarion........................ 8 feet.
Accessories.
89. Solo to Great. 97. Choir to Great.
90. Solo Sub-octave on itself. 98. Pedale in Octaves on Nos. 86, 87,88.
9I. Solo Super-octave on itself. 99. Pedale in Octaves on Nos. 82, 83, 84.
92. Solo to Choir. IOO. Solo to Pedals.
93. Swell to Great, Unison. IoI. Swell to Pedals.
94. Swell to Great, Sub-Octave. Io2. Great to Pedals.
95. Swell to Great, Super-Octave. IO3, Choir to Pedals,
96. Swell to Choir,
Compass.
Four Manuals, CC to C, 61 notes. | Pedal Organ, CCC to G, 32 notes.
To enable the performer to command these stops and accessories, there are
eight pneumatic combining pistons to each clavier, which arrange in fixed selec-
tions the stops of each organ by the mere pressure of the finger.
Six Pedals govern the stops of the Pedal organ by a similar pneumatic
arrangement. The Sforzando is brought into action by means of a Pedal. Two
Pedals, or a double-acting Pedal, actuate the Great to Pedal Coupler. Two
Tremulants, governed by Pedals, are applied to suitable stops—one to the Swell,
the other to the Solo organ. *
The metal pipes throughout the organ to 4 feet are made of the finest spotted
metal. -
The wind is derived from bellows placed in the basement. Two of these are
blown by a steam engine of 12-horse power, and Supply ordinary pressures of air.
Another bellows (heavy pressure, and of prodigious strength) is blown in connec-
tion with a vacuum apparatus by a second engine of 8-horse power. From the
bellows in the basement the wind passes into numerous reservoirs placed in the
localities of the various sections of each organ. A -
Each Manual is furnished with a pneumatic lever of the most approved con
struction as an intermediary power between the keys and the valves of the organ.
The Pedal organ is played throughout by means of the novel and beautiful pneu-
matic tubular apparatus patented by the builder.
47O APPENDIX.
The whole draw-stop movement is upon, an entirely new principle, each stop
being drawn and withdrawn by a pneumatic lever of a peculiar construction in
connection with a reciprocating apparatus commanded by the ordinary draw-stop
rod, the motor being highly compressed air for the one and highly attenuated air
for the other. By this means the ordinary draw-stop movements, such as levers,
shafts of iron, rods, centres, &c., are entirely got rid of. For this invention, and
for other contrivances in connection with the wind, the builder has obtained a
patent,
171. Bow AND BROMIEY INSTITUTE.
This instrument, built by Messrs. Brindley and Foster, of Sheffield, in 1874,
comprises two key-boards, each from CC to A, four octaves and three-quarters, a
Pedal-board from CCC to G, two octaves and a half, and 27 sounding stops, of
which the following is a list –
Great Organ, I I Słożs.
I. Bourdon, wood and metal I6 feet. 7. Flute Harmonique, wood
2. Open Diapason, metal ... 8 feet. and metal .................. 4 feet.
3. Lieblich Gedact, wood and 8. Grave Mixture, II ranks... 23 feet.
metal ..................... 8 feet. 9. Full Mixture, III ranks ... 2 feet.
4. Hohlflote, wood ............ 8 feet. IO. Trumpet, metal ............ 8 ſeet.
5. Vox Angelica, metal ...... 8-feet. II, Clarinet and Bassoon ...... 8 feet,
6. Principal, metal ............ 4 feet.
Swell Organ, IO Słożs.
I2. Lieblich Bourdon, wood I6. Voix Célestes, metal ...... 8 feet.
and metal.................. I6 feet. I7. Principal, metal ............ 4 feet.
13. Open Diapason, metal ... 8 feet. I8. Piccolo, metal ............... 2 ſeet.
I4. Lieblich Gedact, wood and I9. Full Mixture, III ranks ... 2 feet.
metal........................ 8 feet. 2O. Cornopean, metal ......... 8 feet.
15. Viol di Gamba, metal...... 8 feet. 2I. Hautbois, metal ............ 8 feet,
Pedal Organ, 6 Stoffs.
22. Contra-bass, metal ......... I6 feet. 25. Flute Bass, wood ......... 8 feet.
23. Sub-bass, wood ............ I6 feet. 26. Trombone, metal ......... I6 feet.
24, Principal Bass, metal ...... 8 feet. 27. Trumpet, metal ............ 8 feet.
The Pneumatic action is applied to the Great and Swell organs.
Five Couplers acted upon by Small Pedals.
I. Swell to Pedals.
2. Great to Pedals.
3. Swell to Great.
4. Swell Sub-Octave, on its own keyboard.
5. Swell Super-octave, ditto.
Seven Ventil Combination Pedals; four acting on the Great and Pedal organs simul-
taneously, the remaining three on the Swell. -
172. “THE HALL,” REGENT'S PARK.
The Organ at the residence of Mr. Nathl, J. Holmes, the Hall, Primrose Hill
Road, Regent's Park, was constructed from the designs of Mr. W. T. Best by Messrs.
Bryceson Brothers and Morten, London ; commenced in 1872, finished 1875. It
AN ACCOUNT OF BRITISH ORGANS. 47 I
has 4 key-boards, each from C to C, 5 octaves in extent ; the Pedal-board from C
to F, two octaves and a half; and contains the following registers :-
Great Organ.
(Zowest Aey-board.)
I. Double Diapason............ I6 feet. 8. Principal ..................... 4 feet.
2. Open Diapason ............ 8 feet. 9. Flute Harmonique ........ , 4 feet.
3. Viola ................... ....... 8 feet. IO. Twelfth ..................... 3 feet.
4. Hohlflote ..................... 8 feet. II. Fifteenth ..................... 2 feet.
5. Flauto Traverso ............ 8 feet. I2. Full Mixture, III ranks.
6. Salicional ..................... 8 feet. I3. Trombone .................. 8 feet.
7. Dulciana .............. ..... 8 feet. I4. Clarion ..................... 4 feet.
Choir Organ.
(Second Key-board.)
I5. Lieblich Bourdon ......... I6 feet. 2I. Octave Viola ............... 4 feet.
I6. Spitzflote ..................... 8 feet. 22. Flute Harmonique......... 4 feet.
I7. Viol di Gamba............... 8 feet. 23. Lieblich Flote............... 4 feet.
18. Echo Dulciana............... 8 feet. 24. Piccolo ..................... 2 feet.
I9. Lieblich Gedact ............ 8 feet. 25. Cor Anglais.................. 8 feet.
2 O. Vienna Flute ............... 8 feet. 26. Clarionet and Bassoon ... 8 feet.
Swell Organ.
(7%ird Aey-board.)
27. Double Diapason............ I6 feet. 35. Octave Flageolet ......... I foot.
28. Open Diapason ............ 8 feet. 36. Echo Cornet, III ranks,
29. Keraulophon.................. 8 feet, 37. Contra Fagotto ............ I6 feet,
30. Hohl Flote .................. 8 feet. 38. Cornopean .................. 8 feet.
3I. Lieblich Gedact ............ 8 feet. 39. Hautbois .................. ... 8 feet.
32. Voix Célestes ............... 8 feet. 40, Vox Humana ............... 8 feet.
33. Principal ..................... 4 feet. 4I. Corno di Bassetto .......... 8 feet.
34. Lieblich Flote ............... 4 feet. 42. Clarion ..................... 4 feet.
Solo Organ.
(Fourth Aey-board.)
43. Clarionet (in a separate 46. Tromba ..................... 8 feet.
Swell) ..................... 8 feet. 47. Contra Trombone ......... I6 feet.
44. Orchestral Flute ......* * * * * * * 8 feet. 48. Carillon (a gamut of 61
45. Piccolo ........................ 2 feet. bells)........................ 4 feet.
AEcho Ozgan,
(Fourth Key-board.)
49. Bourdon Doux............... I6 feet. 52. Voix Célestes ............... 8 feet.
50. Corno Dolce.................. 8 feet. 53. Flute Douce ............... 4 feet.
51. Viole d’Amour, ............ 8 feet. 54. Harmonica, III ranks.
Pedal Organ.
55. Double Open Diapason ... 32 feet. 6I, Super Octave ............... 4 feet.
56. Contra Bass .................. I6 feet. 62. Contra Bombarde ..... ... 32 feet.
57. Sub-Bass ..................... I6 feet. 63. Trombone .................. I6 feet.
58. Violon ........................ I6 feet. 64. Bassoon ........... ........ 8 feet.
59. Violoncello .................. 8 feet. 65. Trumpet ..................... 8 feet.
60. Bass Flute..................... 8 feet.
Couplers, &c.
(On the Zeft Side.)
I. Solo to Pedals. 4. Great to Pedals.
2. Swell to Pedals. 5. Ventil to Pedal Organ.
3. Choir to Pedals, 6, Ventil to Echo Organ,
472 - APPENDIX.
(On the Right Side.)
7. Solo to Great. Io, Swell to Great.
8. Swell Super-octave, on its own key- II. Swell to Choir.
board. I2, Ventil to Choir.
9. Swell Sub-Octave, on its own key-
board. -
The necessary changes of tone are effected by means of eight Combination
Pedals, and a series of eight small pistons placed between the key-boards, both of
a new construction.
The sound-boards receive the wind at various pressures from I 5 Separate
reservoirs, which derive their supply from the main bellows, placed in the base-
ment, and blown by a steam engine of 11-horse power. The regulation of the wind
Supply is automatic. - -
The key-boards are detached from the organ itself, and reversed in position, so
that the player faces the audience, and is enabled to hear the various effects of
tone produced without difficulty.
Every stop extends throughout the entire Manual compass, and the key-boards
are constructed so that a passage of organ music can be readily played on two
adjoining rows of keys by the same hand.
The various stop-handles are within convenient reach of either hand, and do
not descend below the level of the fourth key-board. -
The pneumatic touch is applied to the Great, Swell, and Pedal claviers.
The two Swell Pedals, usually to the right of the player, are here placed in the
Centre.
The Couplers, and other accessory appliances, are acted upon by a System of
small Pedals; and a Tremulant (also brought into operation by means of a Pedal),
can be applied to any of the nine reed-stops in the Swell and Solo organs,
There are 65 Sounding stops in the Organ, 9 Couplers, 2 I adjusting Pedals, &c.,
and 4,209 pipes.
The Echo organ is placed at the opposite end of the concert-room on a raised
corbel, 30 feet from the floor, and at a distance of IOO feet away from the key-boards,
and it is provided with the new electric action. It is controlled from the fourth
Manual of the Great organ. Vacuum pneumatic instantaneous draw-stop action
(Messrs. Bryceson Brothers & Mortem, patentees), is applied both to the Great
and Echo organs. -
The Great organ Stands 50 feet high, 30 feet wide, and 30 feet deep. The
largest pipe in the organ is to be found in the centre tower ; it belongs to the
Pedal Double Diapason, and is in metal, 38 feet high, 20 inches in diameter,
vibrating 33 times in a Second, and Sounding the lowest C of the musical gamut.
The weight of the organ is 87 tons.
I73. ROYAL NORMAL COLLEGE AND ACADEMY OF MUSIC FOR THE BLIND,
UPPER NORWOOD, S.E.
The organ in the Hall of the above College was built by Messrs. Forster
and Andrews. It contains the 26 sounding stops mentioned below —
Great Organ, CC to A.
Feet Tone. Pipes. Feet Tome, Pipes.
I. Open Diapason, metal ... ... 8 ...... 58 5. Harmonic Flute, metal ... 4 ...... 58
2. Gamba, metal.................. 8 ...... 58 6. Fifteenth, metal ............ 2 . . . . . . 58
3. Hohflote, wood ............... 8 ...... 58 7. Mixture, III ranks, metal ...... I74
4. Principal, metal ............... 4. . . . . . . 58 8. Trumpet, metal............... 8 ...... 58
AN ACCOUNT OF BRITISH ORGANS. - 473
Swell Organ, CC to A.
9. Lieblich Bourdon, wood ... I6 ...... 58 || 13. Voix Célestes, metal......... 8 ...... 46
IO. Open Diapason, wood and I4. Principal, metal ............ 4 . . . . . . 58
metal ........................ 8 ...... 58 I5. Harmonic Piccolo, metal... 2 ...... 58
II. Rohrfiote, metal ............ 8 ...... 58 | 16. Horn, metal .................. 8 ...... 58
12, Salicional, metal ............ 8 ...... 58 I7. Oboe, metal .................. 8 ...... 58
Choir Organ, CC to A.
18. Dulciana, metal ............... 8 ... 58 || 2 I. Flautino, metal............... 2 . . . . . . 58
19. Lieblich Gedact, wood ...... 8 ...... 58 22. Corno di Bassetto, metal.., 8 ...... 58
2O. Flauto Traverso, metal...... 4 . . . . . . 58 - ^{j
23. Open Diapason, wood ...... I6 ...... 30 25. Quint, wood ............ … IO# ... 30
24. Bourdon, wood......... ...... I6 ...... 3O | 26. Flute, wood .................. 8 ... ... 3O
Couplers.
I. Swell to Great. 4. Great to Pedals.
2. Swell to Pedals. 5. Choir to Pedals.
3. Swell to Octave. 6. Swell to Choir.
Six Composition Pedals.
Case of pitch pine, having angular projecting towers and decorated front pipes.
The above, with two other organs for the same Institution, are supplied with blowing
power from a gas engine in the base of the building.
174, CHAPEL ROYAL, WHITEHALL.
This organ was originally built by Father Schmidt. The case and some of the
original wood pipes remain to this day. It is in oak, of noble design, with four
towers, and most elaborately carved, about 24 feet high by I6 feet in breadth,
surmounted with the royal arms. It was rebuilt in 1814 by Elliot ; it then had
20 stops. In 1844 Messrs. Hill and Son added an entire new Swell, of large
dimensions, and other improvements, at the suggestion of the organist, Mr.
Massey. The organ now contains 4 Manuals and 33 sounding stops. Compass,
from GG to F in alt. Pedal pipes from FFF up, twenty-one notes to D, with
Choir organ in front of the gallery.
- Great, 8 Stoffs.
I. Open Diapason. 5. Fifteenth.
2. Stopped Diapason. 6. Sesquialtera, III ranks.
3. Principal. 7. Mixture, II ranks.
4. Twelfth. 8. Trumpet.
Choir, 6 Stoffs.
9. Open Diapason. I2. Viol di Gamba.
IO. Stopped Diapason, Treble. I3. Principal.
II. Stopped Diapason, Bass. I4. Bassoon.
Swell, 14 Słożs.—Down to FF.
I5. Bourdon. 22. Fifteenth.
I6. Tenoroon. 23. Sesquialtera.
I7. Open Diapason. º, 24. Mixture.
18. Clarabella. 25. Corno, BaSSO.
I9. Stopped Diapason, BaSS. 26. Cornopean.
2O. Flageolet. 27. Clarion.
21. Principal. 28. Hautboy.
474
APPENDIX.
CO
29. Open Diapason, 30. Stopped Diapason. 31. Flute.
I. Pedal to Great.
2. Pedal to Choir.
Solo, 4 Słożs.
| 32, Cromorne.
Pedal, I Stoff.
33. Open Pipes to FFF, I2 feet.
Couplers.
3. Swell to Great.
4. Swell to Choir (Octave below).
175. ST. MARGARET’s, WESTMINSTER.
The fine organ in St. Margaret's Church, Westminster, was built by Avery, in
1804, and cost eight hundred guineas and the old organ by Father Smith, for
which Avery allowed two hundred pounds.
G. M. Holditch, and the following is a description of the organ as it now stands —
The Organ was rebuilt in 1859 by Mr.
Great Organ, CC to F in alt.
I. Open Diapason, front ...... 8 feet 6. Fifteenth ..................... 2 feet.
2.*Open Diapason ............ 8 feet 7. Tierce ........................ I# foot.
3. Stopped Diapason and Cla- 8. Sesquialtera.
rabella ..................... 8 feet 9. Mixture.
4. Principal ..................... 4 feet IO. Trumpet ..................... 8 feet
5. Twelfth ........................ 3 feet
Choir Organ, CC to F in alt.
II. Dulciana ..................... 8 feet, 15. Flute ........................ 4 feet
12. Stopped Diapason ......... 8 feet. 16. "Slide for Unison Stop.
13. Stopped Diapason, Bass... 8 feet. I7.* Cremona.
I4. Principal ..................... 4 feet.
Swell Organ, CC to F in alt.
18.*Bourdon ..................... I6 feet 24. Twelfth ..................... 3 feet
I9.*Double Diapason............ I6 feet 25. Fifteenth ..................... 2 feet
2O.*Open Diapason, Bass ...... 8 feet 26. "Sesquialtera.
21. Open Diapason, Treble ... 8 feet. 27.*Double Trumpet ......... I6 feet
22. Stopped Diapason ......... 8 feet 28.*Cornopean .................. 8 feet
23. Principal ..................... 4 feet 29. Hautboy..................... 8 feet
Pedal Organ, extending to CCC, 16 feet.
3O. Open Diapason ............ I6 feet. 34. Sesquialtera.
3I. Stopped Diapason ......... I6 feet 35. Mixture.
32. Principal ..................... 8 feet 36. Trompet ..................... I6 feet.
33. Fifteenth ..................... 4 feet
There are only 4 notes at present in the Pedal organ extending to GG, but not
including GG sharp.
Accessory Stoffs, Movements, &c.
6. Choir to Swell.
. Pedals to Great.
. Pedals to Choir.
. Pedals to Swell.
i
. Swell to Great.
. I6 feet Pedals to Great.
Three Composition Pedals to Great.
Three Composition Pedals to Swell.
Two Octaves and a third of German Pedals.
The stops marked thus (*) are not at present in the organ, but the mechanism
for them is provided. None of the stops extend through in the Swell organ.
The old Swell organ had only 35 notes in compass; the present one has 54 notes
Impass.
The bellows are of peculiar construction, very large, and will afford an
ample supply of wind when the organ has all the stops of pipes completed.
AN ACCOUNT OF BRITISH ORGANS. 475
176. ST. JAMES’s, PICCADILLY.
The organ, by Harris, that was placed in this church immediately after its
erection, was given by Queen Mary, in 1691, having been before “in yº Greate
Chappell at Whitehall, which heretofore yº Papist possessed.” In 1852 an entirely
new inside was put to the instrument, with the exception of a fine Metal Stopped
Diapason and the front Open Diapason, which are retained. The handsome old
case is also preserved ; the new Choir organ being enclosed in a new and separate
case, placed in front of the gallery. The present instrument, built by J. C.
Bishop and Son, contains 36 Sounding stops, distributed among 3 Manuals and
Pedal in the following manner —
Great, I2 Stoffs.
Twelfth ..................... 2% feet.
I. : Open Diapason ............ 8 feet. 7.
2. Open Diapason ............ 8 feet. 8. Fifteenth ..................... 2 feet.
3. Stopped Diapason, metal, 9. Sesquialtera, III ranks ... I; foot.
Treble ..................... 8 feet tone. Io. Mixture, III ranks......... # foot.
4. German Flute ............... 8 feet. II. Posaune ..................... 8 feet.
É. Principal ..................... 4 feet. I2. Clarion ..................... 4 feet,
Flageolet ..................... 4 feet.
Swell, II Słożs.
I3. Bourdon ..................... I6 feet tone. I9. Mixture, III ranks......... # foot.
I4. Open Diapason ............ 8 feet. 2O. Contra Fagotto ............ I6 feet.
I5. Stopped Diapason ......... 8 feet tone, 2I. Cornopean .................. 8 feet.
I6. Principal ................ . . . . . . 4 feet. 22. Hautboy..................... 8 feet.
I7. Fifteenth ..................... 2 feet. | 23. Clarion ..................... 4 feet
18, Sesquialtera, III ranks ... I # foot.
Choir, 9 Stoffs.
24. Open Diapason ............ 8 feet. 29. Harmonic Flute............ 4 feet.
2 Lieblich Gedact ......... 8 feet 30. Fifteenth ..................... 2 feet.
5. Stopped Bass ............. e 3I. Piccolo........................ 2 feet.
26. Dulciana ..................... 8 feet. 2, Cremona Treble......... 8 feet
27. Viol de Gamba ............ 8 feet. * Bassoon Bass .......... ee
28. Principal ........... ** e s t t < * m º º 4 feet.
Pedal, 4 Słożs.
33. Open Diapason ............ I6 feet. 35. Principal ..................... 8 feet.
34. Bourdon ..................... I6 feet tone. 36. Trombone ............. . . . . . I6 feet.
Accessory Stoffs, Movements, &c.
1. Coupler, Swell to Great. 5. Coupler, Swell to Pedal.
2. Coupler, Choir to Great. 6. Coupler, Choir to Pedal.
3. Coupler, Swell to Choir. 7 to I5. Nine Composition Pedals.
4.
Coupler, Great to Pedal.
Com/ass.
All the Manuals, CC to fº in alt. | Pedal, CCC to tenor e,
476 APPENDIX,
177. CHAPEL ROYAL, ST. JAMES’S.
The organ in the Chapel Royal, St. James's, built by Messrs. Wm. Hill and Son,
contains 27 Sounding stops, 3 Manuals, compass of each CC to G, 56 notes, and a
Pedal Clavier CCC to F, 30 notes.
Great Organ.
Pipes Pipes.
I, Open Diapason, metal 8 feet ...... 56 5. Twelfth, metal ......... 3 feet ...... 56
2. Cone Gamba, metal ... 8 feet ...... 56 6. Fifteenth, metal ...... 2 feet ...... 56
3. Stopped Diapason and 7. Mixture, metal, II -
Clarabella, wood 8 feet ....., 56 ranks..............................…. II 2
4. Principal, metal ...... 4 feet ...... 56 8. Trumpet, metal ...... 8 feet ... ... 56
Choir Organ.
9. Open Diapason, metal 8 feet ...... 56 I2. Gemshorn, metal ...... 4 feet ...... 56
IO, Dulciana (gamut g, I3. Suabe Flute, wood ... 4 feet ...... 56
groove No. 3), I4. Clarionet, tenor C,
metal.................. 8 feet ...... 44 metal.................. 8 feet ...... 44
II. Lieblich Gedact, wood 8 feet ...... 56
Swell Organ.
I5. Lieblich Bourdon, 19. Principal, metal ...... 4 feet ... ... 56
wood .................. I6 feet ...... 56 20. Celestina, metal ...... 4 feet ...... 56
I6. Open Diapason, metal 8 feet ...... 56 21. Fifteenth, metal ...... 2 ſect ...... 56
I7. Keraulophon, metal... 8 feet ...... 56 22. Mixture, metal, III ranks ............ I68
I8. Stopped Diapason, 23. Horn, metal ............ 8 feet ...... 56
Wood .................. 8 feet ...... 56 24. Oboe, metal............ 8 feet ...... 56
Pedal Organ.
25. Open Diapason, wood I6 feet ...... 30 27. Violon, wood ~ 8 feet ....., 3O
26. Bourdon, wood ...... I6 feet ...... 3O
Couplers.
1. Swell to Great.
2. Swell to Super-Octave.
3. Swell to Choir.
4. Great to Pedal.
5. Choir to Pedal.
6. Swell to Pedal.
Three Composition Pedals to Great organ.
Two Composition Pedals to Swell organ.
178. ST. KATHERINE’s, REGENT's PARK.
The organ in St. Katherine's Church, Regent's Park, removed from the
demolished Collegiate Church of the same name near the Tower, is one of
Green's finest instruments. It was built in 1778, under the direction of Joah
Bates ; and comprises Great and Choir organs from GG (103 feet compass) up to
AN ACCOUNT OF BRITISH ORGANS. - 477
e° in alt. ; and a Swell down to Gamut G (5; feet compass), a most extensive and
excellent range for the period. Below G, the Swell keys act on the Choir organ.
The following is a list of the stops in the above-mentioned instrument —
Great, Io Stoffs.
I. Open Diapason. 6. Fifteenth.
2. Open Diapason. 7. Sesquialtera, III ranks.
3. Stopped Diapason. 8. Mixture, II ranks.
4. Principal. 9. Trumpet.
5. Twelfth. IO. Cornet, IV ranks.
Choir, 5 Stoffs.
II. Stopped Diapason. I4. Fifteenth.
12. Principal. I5. Bassoon.
13. Flute.
Swell, 6 Stoffs.
I6. Open Diapason. I9. Cornet, III ranks.
I7. Stopped Diapason. 2O. Trumpet.
18. Principal. 2I. Hautboy.
Pedal, I Stoff.
22. An Octave of Open Pipes to CCC, 16 feet length.
Pedal Clavier to GG.
179, ST. MARTIN-IN-THE-FIELDS.
This organ, originally built, in 1854, by Messrs. Bevington, for the Parish
Church of St. Martin-in-the-Fields, was subsequently re-modelled by Messrs. Hill
and Son. It contains 3 Manuals, from CC to G in alt. (56 keys) and Pedal organ,
2} octaves (30 keys); 2 pairs of double-action bellows, with inverted rib, Io feet
long by 7 feet wide, and 43 Register Stops.
The whole is enclosed in two richly carved cases of solid wainscoat oak, from
the designs of Thomas Allom, Architect, M.I.B.A. The large case, 29 feet in
height by 19 in width, contains the Great, the Swell, and the Pedal organs, all the
gilt front pipes forming the lower notes of the Diapasons, the centre pipe, CCC,
being 18 feet in length. The Smaller case in front of the lower gallery, Io feet
wide by 12 feet in height, contains the Choir organ, the front gilt pipes also
forming a portion of the interior stops.
Great Organ, Com/ass CC to G, 56 AVotes.
1. Double Open Diapason ... I6 feet. 7. Twelfth ..................... 3 feet.
2. Open Diapason, No. 1 ... 8 feet. 8. Fifteenth ..................... 2 feet.
3. Open Diapason, No. 2 ... 8 feet. 9. Mixture, IV ranks.
4. Stopped Diapason ......... 8 feet. IO. Posaune ..................... 8 feet.
5. Principal ..................... 4 feet. II. Clarion ..................... 4 feet.
6. Harmonic Flute ............ 4 feet.
Swell Organ, Compass CC to G, 56. Notes.
12. Double Open Diapason ... I6 feet. I9. Fifteenth, metal ............ 2 feet.
I3. Open Diapason ............ 8 feet. 2O. Mixture, II ranks.
I4. Dulciana to tenor c ......... 8 feet. 21. Oboe ........................ 8 feet.
15. Stopped Diapason, wood 8 feet. 22. Horn ........................ 8 feet.
I6. Principal, metal ............ 4 feet. 23. Double Trumpet............ I6 feet,
17. Flute, wood .................. 4 feet. 24, Clarion... . . . . . . . . . . . . . . . . . . . . . 4 feet.
18, Twelfth, metal,.............. 3 feet.
478 - APPENDIX.
Choir Organ, Compass CC to G, 56 Wołes.
25. Double Open Diapason, 3I. Stopped Diapason, Bass,
- Wood........................ I6 feet. wood........................ 8 feet.
26. Bourdon, wood ............ I6 feet. 32. Principal, metal ............ 4 feet.
27. Open Diapason, metal ... 8 feet. 33. Flute, wood.................. 4 feet.
28. Dulciana, to tenor c, metal 8 feet. 34. Flautina, metal ............ 2 feet.
29. Keraulophon, metal ...... 8 feet. 35. Clarionet, to tenor c ...... 8 feet.
3O. Claribel, wood ............ 8 feet. 36. Bassoon ................. . . . . . I6 feet.
Pedal Organ, Compass CCC to F, 29 Notes.
37. Great Open Diapason, wood 16 feet. 4I. Fifteenth, metal............ 4 feet.
38. Bourdon, wood ............ I6 feet. 42. Great Trombone, metal... 16 feet.
39. Bass Flute, wood............ 8 feet. 43. Clarion, metal............... 8 feet.
40. Principal, metal ............ 8 feet.
Couplers.
I. Swell to Great. 4. Choir to Pedals.
2. Swell to Choir. 5. Swell to Pedals.
3. Great to Pedals. - -
Six Composition Draw stop Pedals acting ; three on the Great and three on the Swell
organ.
180. CHRIST CHURCH, NEWGATE STREET.
The fine organ in Christ Church, Newgate Street, was originally built by
Harris in 1690. After receiving various additions, it was entirely remodelled by
Mr. Hill about the year 1835, when all the Manual organs were re-constructed to
the CC compass; but at that time the Pedal organ had but one octave of pipes
to each stop, and the Pedal reeds only four notes to each stop ; the Open
Diapason in Choir ceased at Gamut G ; and the Organ had no Composition
Pedals. The touch was extremely heavy ; the number of speaking stops then
being 39.
In the years 1867-68 extensive improvements were suggested by the present
organist, Joseph Thomas Cooper, F.R.A.S., and by the liberality of the united
parishes of Christ Church, Newgate Street, and St. Leonard's, Foster Lane, the
work was executed by Messrs. Hill & Son. The instrument now contains the
following stops —
Great Organ, I3 Stoffs.
1. Double Open Diapason ... I6 feet. 8. Sesquialtera, V ranks.
2. Open Diapason ............ 8 feet. 9. Mixture, V ranks.
3. Open Diapason ............ 8 feet. IO. Doublette, II ranks ...... 2 feet.
4. Stopped Diapason ......... 8 feet tone. II. Touble Trumpet,........... I6 feet.
5. Principal ..................... 4 feet. I2. Posaune ..................... 8 feet.
6. Twelfth........................ 2% feet. 13. Clarion ..................... 4 feet.
7. Fifteenth ..................... 2 feet
Swell Organ, II Stoffs.
I4. Double Diapason............ 16 feet tone. 20. Mixture, V ranks.
I5. Open Diapason ............ 8 feet. 21. Corno ........................ 8 feet.
I6. Stopped Diapason ......... 8 feet tone. 22. Trumpet ..................... 8 feet.
17. Principal ..................... 4 feet. 23. Hautbois..................... 8 feet.
18. Flageolet ..................... 4 feet. 24. Clarion........................ 4 feet.
I9. Fifteenth ..................... 2 feet.
AN ACCOUNT OF BRITISH ORGANS. 479
Choir Organ, 8 Stoffs.
25.”Open Diapason (now ex- 30.’"Lieblich Flute............... 4 feet.
tended to CC) ............ 8 feet. 3I. Fifteenth ..................... 2 feet.
26. Stopped Diapason ....... ... 8 feet tone. 32.*Flute Piccolo (converted
27.*Dulciana ..................... 8 feet. from the previous Stopped
28.*Clarionet (to CC)............ 8 feet. Flute)........................ 2 feet.
29. Principal ..................... 4 feet.
Pedal Organ, IO Stoffs.
33. “Sub-Bass (converted from 37. Principal ..................... 8 feet.
the previous Double 38. Twelfth ..................... 5% feet.
Open Diapason, and now - 39. Fifteenth..................... 4 feet.
carried throughout) ...... 32 feet. 4O. Larigot Mixture, V ranks. -
34. Open Wood.................. I6 feet. 4I. Trombone .................. I6 feet.
35. Montre, open metal......... I6 feet. 42. Octave Trombone ......... 8 feet.
36.” Bourdon ..................... I6 feet tone.
Accessory Słoffs, Movements, &c.
2. Coupler, Swell to Pedal. 5. Coupler, Choir to Great.
3. Coupler, Choir to Pedal. 6. Coupler, Choir to Swell.
*
I. Coupler, Great to Pedal. 4. Coupler, Swell to Great.
Composition Pedals.
Three to Great organ. | Two to Choir organ.
Com/ass,
Great CC to fº in alt. Pedal Organ, CCCC, to tenor f.
Swell CC to fº in alt. Pedal Clavier, CC, to f1 ; two
Choir CC to fê in alt. octaves and a half.
The improvements made in 1867-68, were :—New Manuals, new radiating
Pedal-board ; the Pneumatic action applied to the Great organ and all the
Couplers; a new Dulciana, Clarionet, and Lieblich Flute added to Choir; the
Open Diapason. Choir extended from Gamut G to CC ; the Old Stopped Flute in
Choir converted into a Piccolo ; a new Bourdon stop added to Pedal organ ; one
of the open wood, 16-feet Pedals converted into a Sub-bass, 32-feet (these new
stops and conversions are marked *). All the Pedal stops extended to the
Complete compass, two octaves and a half; and the five Composition Pedals.
181. ST. LAWRENCE JEWRY, GUILDHALL.
This organ was built by Gray and Davison, 1875, the handsome old case by
Harris being retained. It has 33 stops, 5 couplers, 3 Manuals, CC to A, and
Pedal CCC to F. * -
- Great Organ.
. Double Diapason............ I6 feet. 6. Flute Octaviante............ 4 feet.
I
2. Open Diapason ............ 8 feet. 7. Quint ........................ 23 feet.
3. Open Diapason ............ 8 feet. 8. Super Octave ............... 2 feet.
4. Clarabella..................... 8 feet. 9. Mixture, V ranks.
5.
Octave ........................ 4 feet. Io. Trumpet ..................... 8 feet.
480 APPENDIX, -
Swell Organ.
II. Lieblich Bourdon ......... I6 feet. 16. Geigen Principal ......... 4 feet.
I2. Open Diapason ............ 8 feet. 17. Mixture, III ranks.
I3. Keraulophon ............... 8 feet. 18. Cornopean .................. 8 feet.
I4. Rohr Flute .................. 8 feet. I9. Oboe ........................ 8 feet.
I5. Voix Céleste ............... 8 feet. 2O. Clarion ..................... 4 feet.
Choir Organ.
2I, Lieblich Bourdon ......... I6 feet. 25. Suabe Flute ............... 4 feet.
22. Salicional..................... 8 feet. 26. Flageolet Harmonic....... 2 feet.
23. Lieblich Gedact ............ 8 feet. 27. Corno di Bassetto ......... 8 feet.
24. Viol d'Amour ............... 4 feet.
Pedal Organ.
28. Open Diapason ............ I6 feet. 3I. Violoncello .................. 8 feet.
29. Violon ........................ I6 feet. 32. Super Octave ............... 4 feet.
30, Quint........................... Io; feet. 33. Trombone .................. I6 feet.
Couplers.
I. Swell to Great. 4. Great to Pedals.
2. Swell to Pedals. 5. Choir to Pedals.
3. Swell to Choir. -
7 Composition Pedals, 4 to the Great and Pedal Organs, and 3 to the Swell.
The Pedal Couplers are acted on by Pedals as well as by hand.
The case has three fronts, and is of oak, very richly carved, with the case of the
Choir organ, which is now inside the larger case in front.
182.-ROYAL SARDINIAN CHAPEL, LINCOLN'S INN, FIELDS.
The organ in the Sardinian Chapel, Lincoln's Inn Fields, was built by Messrs.
Bishop, Starr, & Richardson. It has 3 Manuals, a separate Pedal, and 40 Stops,
of which the following is a list — -
Great Organ, Compass CCC to A, 70 Moſes.
I. Double Diapason ............ I6 feet. 8. Principal ..................... 4 feet.
2. Open Diapason, Bass, 9. Wald Flute .................. 4 feet.
metal ........................ I6 feet. IO. Twelfth........................ 3 feet.
3. Open Diapason, Treble, II. Fifteenth ..................... 2 feet.
metal ........................ 8 feet. I2. Block Flute .................. 2 feet.
4. Open Diapason, Bright ... 8 feet. I3. Sesquialtera, IV ranks.
5. Stop Diapason and Clara- I4. Mixture, III ranks.
bella ........................ 8 feet. I5. Posaune ..................... 8 feet.
6. Harmonic Flute ............ 8 feet. I6. Trumpet ..................... I6 feet.
7. Principal ..................... 8 feet. 17. Clarion ........................ 8 feet,
18. Dulciana, Bass ............... 8 feet. - || 23. Principal ..................... 4 feet
I9. Dulciana, tenor c ............ 8 feet. 24. Flute........................... 4 feet.
2O. Viol di Gamba ............... 8 feet. 25. Fifteenth ..................... 2 feet
2I. Stopped Diapason, Bass ... 8 feet. 26. Bassoon........................ 8 feet
22, Stopped Diapason, tenor c, 27. Cremona ..................... 8 feet.
metal ........................ 8 feet,
AN ACCOUNT OF BRITISH ORGANS. 481
Swell Organ, CC to A, 58 Moſes.
28. Double Diapason ............ I6 ſeet, 33. Mixture, III ranks.
29. Open Diapason............... 8 feet. 34. Contra Fagotto ............ I6 feet.
30. Stop Diapason ............... 8 feet. 35. Horn........................... 8 feet.
31. Principal ..................... 4 feet. 36. Hautboy ..................... 8 feet.
32. Fifteenth ..................... 2 feet. 37. Clarion .................... ... 4 feet.
- Pedal Organ, CC to E, 29 Notes.
38. Contra Bourdon ............ 32 feet. 40. Bourdon ..................... I6 feet,
39. Open Bass..................... I6 feet.
Couplers.
4I. Great to Pedals............... I6 feet. 45. Choir to Great...............
42. Great to Pedals............... 8 feet. 46. Swell to Great...............
43. Choir to Pedals............... 47. Swell to Choir...............
44. Swell to Pedals...............
Accessory Movements.
Two Octaves and one-third of Pedals. Three Composition Pedals to Swell.
Four Composition Pedals to Great. Movement to take on and off I6ft. Pedal Stop.
|
This organ has five large pairs of bellows, with different pressures of wind,
183. CHURCH OF ST. PETER, EATON SQUARE.
Organ built by Mr. T. C. Lewis, The following is a synopsis of its contents —
Great Organ, CC to A, 58 AVotes.
Front Sound-board (3}-inch wind). IO. Clarion ........................ 4 feet.
I. Open Diapason * * * * * * * g g g g g g º is I6 feet. This Sound-board is governed by a Ventil,
2. Open Diapason, No. 1...... 8 feet. with a stop-handle; ,
3. Hohlflote ..................... 8 feet. E. Sound-board (3;-inch wº
4. Viol di Gamba ............... 8 feet. II. ourdon s & s & a s is tº 9 tº e º e º & º º tº e º º I6 feet.
Oct f - I2. Open Diapason, No. 2 ... 8 feet.
5. Octave . . . . . . . . . . . . . . . . . . . . . . . . 4 feet. Viol 8 feet
6. Hohlflote ..................... 4 feet. I3. §§ a. . . . . . . . . . . . . . . . . . . . . . . . . . . eer
7. Great Mixture, V ranks . 2 feet. I4. Stop P ed. Diapason ......... 8 feet.
This Sound-board is governed by a Ventil, 15. Quint....... ................... 2} feet.
- with a stop-handle. f I6. Gemshorn..................... 4. feet.
Middle Sound-board (53-inch wind.) I7. Full Mixture, II ranks ... Ił feet.
8. Trumpet........................ I6 feet. I8. Mixture, IV ranks ......... I# feet.
9. Trumpet........................ 8 feet.
Swell Organ, CC to A, 58 AVotes.
19. Bourdon........................ I6 feet. 26. Flute Harmonique ......... 4 feet
2O. Rohrfiote ..................... 8 feet. 27. Mixture, V ranks ......... 2 feet
2I. Geigen Principal ............ 8 feet. 28. Trumpet ..................... I6 feet
22. Flute Harmonique ......... 8 feet. 29. Trumpet .................... ... 8 feet.
23. Gamba ........................ 8 feet. 30. Oboe and Bassoon ......... 8 feet.
24. Voix Célestes, tenor c ... 8 feet. 31. Clarion........................ 4 feet.
25. Geigen Principal ............ 4 feet. 32. Voix Humaine ............ 8 feet
Choir Organ, CC fo 4, 58 Moſes.
33. Lieblich Gedact ............ I6 feet. 39. Lieblich Gedact ............ 4 feet.
34. Lieblich Gedact ............ 8 feet. 4O. Flauto TraverSO ............ 4 feet.
35. Salicional ..................... 8 feet. 4I. Lieblich Gedact ............ 2 feet,
36. Vox Angelica ............... 8 feet. 42. Mixture, III ranks ......... 2 feet.
37. Flauto Traverso ............ 8 feet. 43. Orchestral Oboe ............ 8 feet.
38
J
. Salicet ........................ 4 feet. 44. Clarionet ..................... 8 feet.
482
APPENDIX.
Pedal Organ, CCC to G, 32 AVotes.
Back Sound-board (4-inch wind).
45. Great Bass, wood............... I6
Middle Sound-board (4-inch wind).
46. Quint Bass Io; feet.
47. Octave Bass ..................... 8 feet.
These Sound-boards are governed by a Ventil,
with a Stop-handle.
Front Sound-board (5:#-inch wind).
48. Posaune........................... I6 feet.
49. Trumpet 8 feet.
This Sound-board is governed by a Ventil,
with a Stop-handle.
feet.
# tº a t < * * * * * g e º is tº a e º e º &
$ e g º º t e º º q e º is º a s tº £ tº & © tº tº tº
. Great to Pedals.
Swell to Pedals.
. Choir to Pedals.
. Swell to Great.
Choir to Great.
. Great organ Reed Ventil.
:2.I
North Sound-board (4-inch wind).
50. Violon I6 feet.
51. Violoncello 8 feet.
This Sound-board is governed by a Ventil,
with a Stop-handle.
South Sound-board (4-inch wind).
52. Sub-bass -
53. Flute Bass........................
* * * * * * * * * * * * * * * * * * * * * * * * * * *
* & s ∈ is s a g g g g g g g g g g g g º gº
g tº 8 tº tº ſº sº g º G is g g g g is a tº * * * * * *
Couplers and other Movements.
7. Front Great organ Ventil.
8. Great Bass, Quint Bass, Octave Bass
Ventil. -
9. Pedal Reed Ventil.
Io, Violon and Violoncello Ventil.
Sixteen Comtöznaćion and of/her Peaſa/s.
Choir to Pedals, on and off.
Swell to-Pedals, on and off.
Three Combinations to Swell.
Four Combinations to Great.
Great and Pedal Reeds, on and off.
Pedal to bring out all Ventil Stops, and
Great to Pedal Coupler.
Pedal to take in all Ventil Stops, and
Great to Pedal Coupler.
Choir Swell Pedal.
Voix Humaine Swell Pedal.
Swell Pedal. &
Tremulant.
184. FOUNDLING. HOSPITAL.
• The new organ at the Foundling Hospital was built by Bevington, from a
Specification prepared by Mr. Willing, the organist to the chapel.
of 49 Sounding stops, 3 Manuals, and Pedal.
which it contains —
It consists
The following is a list of the stops
Great, 18 Słożs.
Pipes. Feet. *
I. Double Open Diapason
to the tenor c key ... 49 ... I6
2. Bourdon, CCC to BB... I2 ... I6 tone.
3. Open Diapason, No. 1... 61 ... 8
4. Open Diapason, No. 2... 61 ... 8
5. Open Diapason, No. 3,
large scale ............ 6I ... 8
6. Stopped Diapason through 61 8 tone.
7. Clarabella to fiddle g ... 42 ... 8
8. Principal, No. 1 ......... 6I ... 4 .
Choir, II
19. Tulcian, Treble ......... 49 ... 8
2O. Dulcian, Bass ............ I2 ... 8
2I. Viol di Gamba, tenor c 49 ... 8
22. Stopped Diapason ...... 6I 8 tone.
23. Principal .................. 6I .. 4
24. 49 ... 4
Wald Flute, tenor c
Pipes. Feet.
9. Principal, No. 2 ... ... 6I ... 4
Io. Wald Flute to tenor c 49 ... 4
II. Twelfth .................. 6I ... 2%
I2. Fifteenth ............... 6I ... 2
I3. Sesquialtera ............ 244 ... IV ranks.
I4. Mixture .................. I83 ... III ranks.
I5. Furniture ............... 183 ... III ranks.
I6. Trumpet ............... 6I ... 8
17. Tromba, solo stop 49 ... 8
18, Clarion .................. 61 ... 4
Stoffs.
25. Suabeflute, tenor c ... 49 ... 4
26. Fifteenth , ............... 6I ... 2
27. Piccolo, tenor c ...... 49 ... 2
28. Double Bassoon, tenor c 49 ... I6
. Clarionette, tenor c... 49 ... 8 tone.
AN ACCOUNT OF BRITISH ORGANS.
483
Swell, 15 Stoffs.
Feet.
I6
... I6 tone.
8
8 tone.
8 tone.
8
Pedal, 5 Stoffs.
I6
I6
Pipes.
3O. Double Open Diapason
to fiddle g key ......... 42 . . .
3I. Bourdon Bass, CCC to
FF: ..................... I9 .
32. Open Diapason ......... 61 ...
33. Stopped Diapason, Treble 49 ...
34. Stopped Diapason, Bass. I2 ...
35. Dulciana, tenor c ...... 49 . . .
36. Viol di Gamba, tenor c 49 ...
45. Open Diapason, wood... 30 ...
46. Open Diapason, metal... 30 ...
47. Bourdon, wood ......... 3O ...
I6 tone.
*
Pipes. Feet,
37. Principal ............... 6I ... 4
38. Open Flute, tenor c ... 49 ... 4
39. Triplet .................. 183 ... IIIranks.
4O. Doublette ............... I22 ... II ranks.
4I. Trombone ............ 6I ... I6
42. Cornopean ............ 61 ... 8
43. Oboe ..................... 61 ... 8
44. Clarion .................. 61 ... 4
48. Principal, metal ...... 30 ... 8
49. Trombone, metal...... 3O ... I6
Also by means of an octave coupler and an additional octave of pipes above
tenor f :-
a. Octave, wood ............ I2 .
b. Principal, metal .........
C. Bass Flute, wood......... I2 .
8
8
8 tone.
d.
€.
Fifteenth, metal.........
Trumpet, metal .........
Accessory Stoffs, Movements, &c.
. Swell to Great.
. Swell to Choir.
. Pedal to Great.
. Pedal to Swell.
:
5. Pedal to Choir.
6. Octave up to Great.
7 to I5. Nine Composition Pedals.
Compass.
Great, CC to cº in altissimo, 5 complete
Octaves.
Choir, CC to cº in altissimo, ditto.
Swell, CC to cº in altissimo, ditto.
Pedal Organ, CCC to Middle f", 3% octaves.
Pedal Clavier, CCC to Tenor F, 2} octaves.
185. CHRIST CHURCH, WESTMINSTER ROAD.
This Organ, by Mr. T. C. Lewis, has 36 Sounding stops, 3 Manuals, and a
separate Pedal organ. The following is its disposition —
Great Organ, CC to G, 56 Notes.
I. Bourdon ..................... I6 feet
2. Open Diapason, No. 1 ... 8 feet
3. Open Diapason, No. 2 ... 8 feet
4. Stopped Diapason ......... 8 feet
5. Hohlflote ..................... 8 feet
6. Octave ........................ .4 feet
13. Lieblich Gedact ............ I6 feet
I4. Geigen Principal ............ 8 feet
I5. Gamba ............... . . . . . . . . . 8 feet
16. Voix Célestes, tenor c...... 8 feet
I7. Rohrflote ..................... 8 feet
18. Geigen Principal ............ 4 feet
7. Hohlflote .................. 4 feet
8. Qctave Quint ............... 23 feet.
9. Super-Octave ............... 2 feet
IO. Mixture, IV ranks......... I; foot
II. Trumpet ................. I6 feet
I2. Trumpet ..................... 8 feet
G, 56 AVotes.
I9. Mixture, III ranks......... 2 feet.
2O. Trumpet ..................... I6 feet.
2I. Trumpet ..................... 8 feet.
22. Oboe ........................ 8 feet
23. Clarion........................ 4 feet
484 APPENDIX.
Choir Organ, CC to G, 56 Wotes.
. Lieblich Gedact ............ 8 feet. 28. Flauto Traverso ............ 4 feet.
Salicional ..................... 8 feet. 29. Flautina ..................... 2 feet.
. Vox Angelica ............... 8 feet. 30. Clarionet..................... 8 feet.
. Salicet ........................ 4 feet.
Pedal Organ, CCC to F, 30 Notes.
. Open Bass .................. I6 feet. 34, Octave Bass.................. 8 feet.
. Sub-bass ..................... I6 feet. 35. Flute Bass .................. 8 feet.
. Quint Bass .................. IO3 feet. 36. Posaune ..................... I6 feet.
Couplers.
I. Choir to Pedals. 3. Swell to Pedals.
2. Great to Pedals. 4. Swell to Great.
Pedals of Comöination,
4 to the Great organ. | 3 to the Swell organ.
186. SAINT JOHN THE EVANGELIST, WILTON ROAD, PIMLICO.
This organ, by Mr. T. C. Lewis, has 3 complete Manuals, a separate Pedal
organ, and the 32 Sounding stops mentioned below:—
Great Organ, CC to A, 58 IVotes.
i. Bourdon ..................... I6 feet. 7. Hohlflote .................. 4 feet.
2. Open Diapason, No. 1 ... 8 feet. 8. Octave Quint ............... # feet.
3. Open Diapason, No. 2 ... 8 feet. 9. Super-Octave ............... 2 feet.
4. Stopped Diapason ......... 8 feet. Io. Mixture, IV ranks ......... I# foot.
5. Hohlflote ..................... 8 feet. II. Trumpet ..................... 8 feet,
6. Octave ........................ 4 feet.
Swell Organ, CC to A, 58 Notes.
12. Lieblich Gedact ............ 16 feet. 19. Mixture, III ranks......... 2 feet.
13. Geigen Principal ............ 8 feet. 2O. Trumpet ..................... I6 feet.
I4. Rohrfiote ..................... 8 feet. 2I. Trumpet ..................... 8 feet.
15. Gamba ....................... 8 feet. 22. Oboe ........................ 8 feet,
I6. Voix Célestes, tenor c...... 8 feet. 23. Voix Humaine ............ 8 feet.
I7. Æolian ........................ 8 feet. 24. Clarion........................ 4 feet,
18. Geigen Principal............ 4 feet
Choir Organ, CC to A, 58 Notes.
25. Lieblich-Gedact ............ 8 feet. 28. Concert Flute ............... 4 feet.
26. Salicional ..................... 8 feet. 29. Salicet ........................ 4 feet.
27. Vox Angelica ............... 8 feet
Pedal Organ, CCC to F, 30 Notes.
Independent Pedal action, 16-feet pitch.
30. Open Bass .................... I6 feet. 32. Posaune ..................... I6 feet,
3I. Sub-bass ..................... I6 feet.
- Independent Pedal action, 8 feet pitch.
I. Octave ........................ 8 feet. 3. Trumpet ..................... 8 feet.
2. Flute Bass................ ... ... 8 feet,
AN ACCOUNT OF BRITISH OF GANS.
485
Mr. Brownsmith, organist to the church.
the Sounding stops, and 6 Couplers.
Coºlers.
I. Choir to Pedals.
2. Great to Pedals.
3. Swell to Pedals.
4. Swell to Great.
5. Swell to Choir.
Pedals of Combination.
4 to the Great organ.
4 to the Swell organ.
187. ST. GABRIEL’s CHURCH, PIMLICO.
This organ was built by Bevington, from a specification prepared by the late
It contains 32 draw stops, commanding
The following is a list of its contents:–
Great, II Stoffs.
te Pipes. Pipes.
I. Open Diapason ........................ 59 8. Sesquialtera ........................... 177
2. Open Diapason ........................ 59 9. Mixture ................................. II.8
3. Stopped Diapason..................... 59 IO. Trumpet .............................. 59
4. Principal ................................. 59 II. Clarion ................................. 59
5. Flute .................................... 59 --
6. Twelfth ................................. 59 826
7. Fifteenth ................................. 59
Swell, II Stoffs.
I2, Double Diapason, Bass............... I9. Mixture ................................. 94.
I3. Double Diapason, Treble ............ 47 . 2O, Horn .................................... 47
I4. Open Diapason ........................ 47 21. Oboe .................................... 47
15. Dulciana ................................. 47 22. Clarion ................................. 47
I6. Stopped Diapason..................... 47 •--
17. Principal ................................. 47 517
18. Flute .................................... 47
Choir, 8 Stoffs.
23. Dulciana ................................. 47 | 28. Fifteenth .............................. 59.
24. Stopped Diapason..................... 59 29. Bassoon................................. 59
25. Principal ................. ..….. 59 || 30. Cremona ..............................
26. Flute, Bass .............................. sº-
27. Flute, Treble ........................... 59 342
- Pedal, 2 Stoffs.
31. Open Diapason to CCC, 16 feet 32, Trombone to CCC, 16 feet length 20
length …............................ 2O -
4O
Accessory Słoffs, Movements, &c.
I. Swell to Great. 5. Pedals to Great.
2. Octave down, Choir to Great. 6. Pedals to Choir.
3. Octave up, Great. 7 to II. Five Composition Pedals.
4. Octave down, Choir.
Compass.
Great, GG, with GG#, up to fº in alt.
Choir, GG, with GG'+, up to fº in alt.
Swell organ, Gamut G, up to fº in alt.
Swell Clavier, down to GG, acting on
Choir organ below Gamut G.
Pedal organ, Gamut G down to CCC, 16
feet length, then repeating.
Pedal Clavier, GG to Fiddle g, two octaves.
The organ is enclosed in a Gothic screen case of solid oak, with gilt speaking
pipes, designed by Thomas Cundy, Esq., the architect of the church,
486 APPENDIX.
188. ST. PAUL's, WILTON PLACE, KNIGHTSBRIDGE,
This organ, built by Gray and Davison in 1843, was enlarged by the builders
in 1871, and re-erected in an organ chamber on the north side of the church,
It consists of four rows of keys, 42 Sounding stops, and has an independent
Pedal organ, an octave lower than the Manuals, of two octaves and three notes in
compass, CCC, 16 feet, to E, with nine ranks of pipes throughout.
is a list of the stops —
Great, I 3 Stoffs.
I. Double Diapason, Bass ... 16 feet. 8. Fifteenth ..................... 2 feet,
2, Double Diapason, Treble 16 feet. - 9. Sesquialtera, IV ranks -
3. Open Diapason ............ 8 feet. Io. Mixture, II ranks.
4. Open Diapason ............ 8 feet. II. Harmonic Flute ............ 4 feet.
5. Stopped Diapason ......... 8 feet. I2. Trumpet ..................... 8 feet
6. Principal ..................... 4 feet. 13. Clarion ........................ 4 feet.
7. Twelfth....... . . . . . . . . . . . . . . . . . 3 feet,
Choir, II Stoffs.
I4. Dulciana ..................... 8 feet, 20. Principal ..................... 4 feet.
I5. Keraulophon ............... 8 feet. 2I. Piccolo ........................ 2 feet.
16. Stopped Diapason, Bass... 8 feet. 22. Fifteenth ..................... 2 feet.
I7. Stopped Diapason, Treble 8 feet. 23. Suabe Flute .................. 4 feet.
18. Voix Celeste.................. 8 feet. 24. Clarionet ................... ... 8 feet.
19. Flute ........................... 4 feet.
Swell, I3 Stoffs.
25. Double Diapason, Bass ... I6 feet. 32. Sesquialtera, III ranks.
26. Double Diapason, Treble 16 feet. 33. Mixture, II ranks.
27. Open Diapason ............ 8 feet. 34. Hautboy ..................... 8 feet.
28. Stopped Diapason ......... 8 feet. 35. Cormopean .................. 8 feet.
29. Principal ..................... 4 feet. 36. Trumpet ..................... 8 feet.
30. Flute ........................... 4 feet. 37. Clarion ........................ 2 feet.
31. Fifteenth ..................... 2 feet - -
Pedal, 6 Stoffs.
38. Open Diapason ............ I6 feet. 4I. Fifteenth..................... 4 feet.
39. Stopped Diapason ......... I6 feet. 42. Trombone ................., I6 feet.
40. Principal ..................... 8 feet.
Couplers.
I. Swell to Great Manual. 4. Great Manual to Pedals.
2. Swell to Choir Manual. 5. Choir Manual to Pedals.
3. Swell Manual to Pedals. 6. Tremulant to Swell.
The Swell organ is of the same compass as the Great and Choir organs
—CC, 8 feet—and is of an improved construction.
boy, Cornopean, Trumpet, and Clarion, as well as the Double Diapason of 16
feet, are throughout the whole compass of this part of the instrument. The
Keraulophon was introduced for the first time in this instrument.
eight Composition Pedals, to change the stops in the various organs.
The following
The four reed stops, Haut-
There are
AN ACCOUNT OF BRITISH ORGANs,
487
ig Pipes. Feet. Pipes. Feet.
I. Sub Open Diapason, metal 58...... I6 | 9. Twelfth ........................ 58...... 3
2. Open Diapason ............... 58...... 8 IO. Fifteenth .................... 58...... 2
3. Bell Diapason.................. 58...... 8 II. Block Flute .................. 58...... 2
4. Clarabella ..................... 58...... 8 I2. Sesquialtera, IV ranks ...... 232
5. Stop Diapason ............... 58...... 8 || 13. Mixture, III ranks............ I74
6. Principal ........................ 58...... 4 I4. Posaune ........................ 58...... 8
7. Wald Flute..................... 58...... 4 | 15, Clarion ......................., 58...... 4.
8, Harmonic Flute ............... 39...... 8
Swed/ Organ, CC to A, 58 Moſes.
16. Double Diapason ............ 58...... I6 || 23. Sesquialtera, III ranks ...... I74
I7. Open Diapason ............... 58...... 8 || 24. Mixture, III ranks............ I74.
18. Salicional ..................... 46...... 8 || 25. Contra Fagotto ............... 58...... I6
I9. Stopped Clarionette Flute... 58...... 8|26. Cornopean ..................... 58...... 8
2O. Principal ........................ 58 ..... 8 27. Hautboy........................ 58...... 8
2I. Keraulophon ............... .. 58...... 4 28, Clarion ........................ 58...... 4.
22. Fifteenth ........................ 58...... 2 -
Choir Organ, CC to F, 58 Wotes.
29. Bourdon, Bass ............... I2. . . . . . 19 |37. German Flute.................. 46...... 4
30. Sub-Dulciana .................. 42. . . . . . I6 || 38. Hohl Flute ..................... 58...... 4.
31. Open Diapason, C grooved 39. Fifteenth ........................ 58...... 2
Bass........................... 46...... 8 |40. Piccolo........................... 58...... 2
32, Dulciana ........................ 58...... 8 || 41. Dulciana Mixture, III ranks 174
33. Stopped Diapason, Bass...... I2. . . . . . 8|42. Bassoon, Bass.................. I2. . . . . . 8
34. Metallic Flute.................. 46...... 8|43. Bassoon ........................ 46...... 8
35. Viol di Gamba ............... 46...... 8|44. Cremona ........................ 46...... 8
36. Principal........................ 58...... 4 -
Solo Organ, CC to A, 58 AVotes.
45. Tuba .................. ........ 58...... 8 47. Octave Tuba (prepared) ............... 4.
46. Flute Harmonique............ 58...... 8
Pedal Organ, CCC to Æ, 29 AVotes.
48. Space for .................................... 32 54. Stopped Flute.................. 41 . . . . . . 8
49. Open Diapason, metal ...... 4.T. . . . . . I6 |55. Fifteenth ..................... .. 4I...... 4.
50. Open Diapason, wood ...... 29...... I6 || 56. Sesquialtera .................. 82
51. Violon ........................... 29. . . . . . I6 || 57. Mixture ........................ 82
52. Bourdon .............. . . . . . . . . . . 4I. . . . . . I6 58. Bombardone .................. 29. . . . . . I6
53. Principal ........................ 4I . . . . . . 8 || 59. Clarion........................... 41 . . . . . . 8
Couplers, .
. Solo to Great. 7. Swell to Pedals.
. Solo to Swell. 8. Great to Pedals.
189. THE ORATORY, BROMPTON.
This instrument was built by Messrs. Bishop and Starr, and contains 59 sounding
stops, distributed among 4 Manuals and Pedal in the following manner:-
Great Organ, CC to A, 58 Moſes.
Swell to Great.
Choir to Great.
. Swell to Choir.
. Solo to Pedals,
i!
. Choir to Pedals.
. Pedal Super-octave.
. Tremulant. +
Steam,
488 APPENDIX.
Accessory Słoffs.
Four Composition Pedals to Choir Three Composition Pedals to Swell.
Three Composition Pedals to Great. Three Composition Pedals to Pedals.
The organ has four large pairs of bellows, with different pressures of wind,
operated upon by steam power. It is 24 feet wide, 18 feet deep, and 31 feet high,
and is surrounded by large metal pipes, which for the present are left in their
Imetallic lustre.
190, PARISH CHURCH, KENSINGTON.
Description of the organ in the Parish Church, Kensington, built by Hill
and Son in 1872. Three Manuals, compass of each, CC to G, 56 notes, and Pedal
Clavier, CCC to F, 30 notes.
Great Organ.
Pipes. Pipes.
1. Double Diapason, wood 6. Principal, metal ............ 4 feet ... 56
and metal.................. 16 feet ... 56 7. Harmonic Flute, metal... 4 feet ... 56
2. Open Diapason, wood and 8. Twelfth, metal ............ 3 feet ... 56
metal ..................... 8 feet ... 56 9. Fifteenth, metal ............ 2 feet ... 56
3. Open Diapason, No. 2, • Io. Mixture, metal, IV ranks. ... 224.
wood and metal ......... 8 feet ... 56 II. Posaune, metal ............ 8 feet ... 56
4. Gamba, wood and metal... 8 feet ... 56 I2. -Clarion, metal............... 8 feet ... 56
5. Stopped Diapason, wood 8 feet ... 56
Choir Organ.
13. Open Diapason, metal ... 8 feet ... 56 17. Wald Flute, wood......... 4 feet ..., 56
I4. Dulciana, metal ............ 8 feet ... 56 | 18. Flautina, metal ............ 2 feet ... 56
I5. Gedact, wood ............... 8 feet ... 56 | 19. Clarionet, metal............ 8 feet ..., 56
16. Gemshorn, metal............ 4 feet ... 56
Swell Organ.
2O. Bourdon, wood ............ I6 feet ... 56 26. Twelfth, metal ..., , , , , , , , . 3 feet ... 56
2I. Open Diapason, metal ... 8 feet ... 56 27. Fifteenth, metal ..........., 2 feet ... 56
22. Salicional, metal ..........., 8 feet ... 56 28. Mixture, metal, IV ranks. . . .224
23. Stopped Diapason, wood 8 feet ... 56 29. Horn, metal ............... 8 feet ... 58
24, Principal, metal ............ 4 feet ... 56 30. Oboe, metal ............... 8 feet ... 58
25. Suabe Flute, wood ......... 4 feet ... 56 || 31, Clarion, metal............... 8 feet ... 58
Pedal Organ.
32. Sub-Bourdon, wood ...... 32 feet ... 30 || 36. Principal, metal ............ 8 feet ... 30
33. Open Diapason, wood ... I6 feet ... 30 37. Fifteenth, metal............ 4 feet ... 30
34. Violone, wood ............... I6 feet ... 3O || 38. Trombone, wood ......... I6 feet ... 30
35. Bourdon, Wood ............ 16 feet ... 30
Couplers.
I. Swell to Great. 4. Choir to Pedal.
2. Swell to Choir. 5. Swell to Pedal.
3. Great to Pedal.
Four Composition Pedals to Great and Pedal, | Three Composition Pedals to Swell Organ,
AN ACCOUNT OF BRITISH ORGANS. 489
191, CHURCH OF ST. MARY ALDERMARy, QUEEN VICTORIA STREET.
The organ in this church, built in 1781 by England and Russell, was rebuilt and
enlarged by G. M. Holdich in 1877, and now contains 30 Sounding stops,
t Great Organ, CC to G.
. Double Diapason ......... I6 feet. 6. Principal ..................... 4 feet.
I
2. Open Diapason ............ 8 feet. 7. Twelfth ..................... 3 feet.
3. Gamba ........................ 8 feet. 8. Fifteenth ..................... 2 feet.
4. Stopped Diapason ......... 8 feet. 9. Sesquialtera, III ranks.
5. Wald Flute .................. 4 feet. IO. Trumpet ..................... 8 feet,
Choir Organ, CC to G.
II, Dulciana ..................... 8 feet. I5. Piccolo Flute ............... 2 feet.
I2. Stopped Diapason ......... 8 feet. I6. Oboe ........................ 8 feet.
13. Flute ........ ............... 4 feet. I7. Cremona to tenor c ...... 8 feet.
I4. Principal ..... ............... 4 feet.
Swell Organ, CC to G.
18. Open Diapason ..........., 8 feet. 23. Mixture, III ranks,
I9. Stopped Diapason ......... 8 feet. 24. Horn ........... ............ 8 feet.
2O. Salicional ..................... 8 feet. 25. Hautboy..................... 8 feet.
2I. Principal ..................... 4 feet. 26. Clarion ..................... 4 feet.
22. Fifteenth ... .................. 2 feet.
Pedal Organ, CCC to F.
27. Double Open Diapason ... 16 feet. 29. Octave........................ 8 feet.
28. Bourdon ..................... I6 feet. 30. Trombone .................. I6 feet.
Compass.
2. Choir to Pedals. 5. Swell to Choir.
I, Great to Pedals. 4. Swell to Great.
3. Swell to Pedals. 6. Sub-octave Swell.
Three Composition Pedals to Great. Two Composition Pedals to Swell.
192. ST, SEPULCHRE’s.
The organ in St. Sepulchre's Church, Snow Hill, was originally built by
Renatus Harris, in 1670, and is supposed to be the oldest instrument of his make
now existing in London. It consisted at first of a Great and Choir organ only,
the compass being from GG, short octaves, to dº in alt. On the instrument under-
going an extensive repair by the elder Byfield, about the year 1730, a small Tenor
f Swell was added, and a new Trumpet, Clarion, and Open Diapason Bass put to
the Great organ. In 1817 the compass was carried up to e” in alt., and made
“long octaves” in the Bass by Mr. Hancock; another Open Diapason was added
throughout the Great organ, a Dulciana put in the Choir organ, in place of the
Vox Humana ; and an Octave of GG Pedals and Unison Pedal Pipes applied.
In 1827 the Swell was extended in compass down to Gamut G by Mr. Gray, and
two octaves of CCC Pedals laid down ; also two Couplers, Great and Choir to
Pedal, introduced. In 1835 Mr. Gray made a further extension of the Swell, and
added the Great Pedal Diapason, which is the identical one that was used in the
490
APPENDIX.
organ erected for the Festival in Westminster Abbey, in 1834. A new sound-
board was also made to the Great organ for facilitating the tuning, and for
improving and preserving the instrument. The organ has since been considerably
enlarged and improved by Gray and Davison, through the liberality of the parish
and the munificence of a private gentleman. The new work consisted of an inde-
pendent Pedal organ of Io stops, the Keraulophon and Clarionet stops in the
Choir organ, an extension of the Swell Double Diapason, new Manuals, &c.; and
“it now requires only a Double Diapason and a new Open Diapason in the Great
organ, the Double Diapason in the Swell to be completed, and a Contra Fagotto
or Double Reed throughout the same Manual, with new Draw-Stop Action,
Composition Pedals, &c., to make this truly magnificent instrument complete.” It
contains 42 sounding stops, of which the following is a list :-
Great Organ, I 5 Słoffs.
I. Open Diapason, No. 1 ... 8 feet. 9. Tierce ........................ I# foot.
2. Open Diapason, No. 2 ... 8 feet. IO. Larigot ..................... I# foot.
3. Stopped Diapason ......... 8 feet. II. Sesquialtera, III ranks ... I; foot.
4. Clarabella Treble ......... 8 feet. 12. Mixture, II ranks ......... # foot
5. Principal, No. I ............ 4 feet. I3. Furniture, III ranks ...... I# foot.
6. Principal, No. 2 ............ 4 feet. I4. Trumpet ..................... 8 feet
7. Twelfth........................ 3 feet, 15. Clarion........................ 4 feet
8. Fifteenth ......... . . . . . . . . . . . . 2 feet,
Swell Organ, Io Stoffs.
16. Double Diapason, Bass ... I6 feet. 2I. Sesquialtera, III ranks... I feet.
I7. Open Diapason ............ 8 feet. 22. Horn ........................ 8 feet
18. Stopped Diapason ......... 8 feet. 23. Trumpet ..................... 8 feet
I9. Principal ..................... 4 feet 24. Hautbois..................... 8 feet
20. Fifteenth ..................... 2 feet 25. Clarion ..................... 4 feet
Choir Organ, 7 Stoffs.
26. Stopped Diapason ......... 8 feet. 30. Flute ........................ 4 feet
27. Dulcian........................ 8 feet. 3I. Fifteenth ..................... 2 feet
28. Keraulophon ............... 8 feet. 32. Clariomet..................... 8 feet
29. Principal ..................... 4 feet
Pedal Organ, Io Słożs.
33. Grand Open Diapason, 38. Grand Fifteenth ............ 4 feet
Wood......... .............. I6 feet. 39. Grand Mixture, V ranks.
34. Grand Violon, metal ...... I6 feet. 4O. Grand POSaune ............ I6 feet.
35. Grand Bourdon ............ I6 feet 4I. Grand Trumpet ............ 8 feet
36. Grand Principal ............ 8 feet 42. Grand Clarion............... 4 feet
37. Grand Twelfth............... 6 feet
Accessory Stoffs, Movements, &c.
1. Coupler, Great to Pedal, 16 feet pitch. 7. Choir, Sub-octave to Great.
2. Coupler, Great to Pedal, 8 feet pitch. 8. Sforzando Coupler, Great to Swell.
3. Coupler, Choir to Pedal, 8 feet pitch. 9 to I5. Seven Composition Pedals.
4. Coupler, Swell to Pedal, 16 feet pitch. I6. Pneumatic Lever attachment.
5. Coupler, Swell to Great. 17. Tremulant Swell.
6. Coupler, Swell to Choir. Two Horizontal Bellows.
Great, GG to e” in alt.
Choir, GG to e” in alt.
Com/ass.
, Swell, GG to e” in alt.
Pedal, CCC to tenor f. .
* Advertisement to the late Mr. Cooper's Organist's Manital,
AN ACCOUNT OF BRITISH ORGANS, 49 I
193. ST. ANDREW’s, HOLBORN.
Description of the organ in St. Andrew's Church, Holborn, built by Hill
and Sons in 1872. Three Manuals, compass of each CC to G, 56 notes, and
Pedal Clavier, CCC to F, 30 notes.
Great Organ.
I. Double Diapason, wood... I6 feet. 7. Twelfth, metal............ 3 feet.
2. Open Diapason, metal ... 8 feet. 8. Fifteenth , , ......... 2 feet.
3. Open Diapason, No. 2, metal 8 feet. 9. Sesquialtera ,, ............ 3 ranks.
4. Stopped Diapason, wood 8 feet. IO. Mixture 2 y - - - - - - - - - - - - 4 ranks.
5. Principal, metal ............ 4 feet. II. Posaune 3 2 * * * * * * * * * * * * 8 feet.
6. Harmonic Flute, metal ... 4 feet. I2. Clarion 3 2 . . . . . . . . . . . . 8 feet,
- Choir Organ.
13. Lieblich Gedact, wood ... I6 feet. I8. Principal, metal............ 4 feet.
I4. Open Diapason, metal ... 8 feet. I9. Suabe Flute, wood......... 4 feet.
I5. Gamba, metal ............... 8 feet. 2O. Fifteenth, metal............ 2 feet.
I6. Dulciana, metal ............ 8 feet. 2I. Clarionet, tenor c, metal 8 feet.
I7. Claribel, wood............... 8 feet.
Swell Organ.
22. Bourdon, wood ............ I6 feet. 29. Mixture, metal ............ 5 ranks,
23. Open Diapason, metal ... 8 feet. 30. Double Trumpet, metal... I6 feet.
24. Viol d'amour, metal ...... 8 feet. 31. Cornopean, metal ......... 8 feet.
25. Stopped Diapason, wood 8 feet. 32. Trumpet, metal ............ 8 feet.
26. Principal, metal ............ 4 feet. 33. Oboe, metal ............... 8 feet.
27. Wald Flute, wood ......... 4 feet. 34. Clarion, metal ............ 8 feet.
28. Fifteenth, metal ............ 2 feet, t
Pedal Organ.
35. Open Diapason, wood .... I6 feet. 39. Twelfth, metal ............ 6 feet.
36. Open Diapason, metal ... I6 feet. 4O. Fifteenth, metal ............ 4 feet.
37. Bourdon, wood ............ I6 feet. 4I. Trombone, wood ......... I6 feet.
38. Principal, metal ............ 8 feet. 42. Trumpet, metal ............ 8 feet.
Couplers.
I. Swell to Great. 4. Great to Pedal.
2. Swell to Great (Sub-Octave). 5. Choir to Pedal.
3. Choir to Swell. 6. Swell to Pedal.
Three Composition Pedals to Great Organ Three Composition Pedals to Swell Organ.
and Pedal. &
Pneumatic Action to Great Organ and Couplers,
194. ST. PETER’s, CORNHILL.
The organ in St. Peter's Church, Cornhill, was originally built by Father
Smith, in 1681, at a cost of £2 IO, inclusive of painting and gilding. It then
contained the following I3 Stops; compass, GG, Short Octaves, to d in alt., viz. –
Greaſ, 9 Słoffs.
I. Open Diapason. 4. Twelfth. 7. Mixture, II ranks.
2. Stopped Diapason. 5. Fifteenth. 8. Trumpet.
3. Principal. 6. Sesquialtera, III ranks. 9. Cornet to Middle cº,
V ranks.
Choir, 4 Słońs.
Io. Stopped Diapason. II. Principal. I2. Fifteenth. 13. Cremona.
492 APPENDIX.
To which Crang added a tenor f Swell of 6 stops. The “Chorus” of Smith's
organ was originally a very fine one, but had been in very bad hands. A new inside
was put to the organ, and the case widened, by the insertion of a centre tower, by
Mr. Hill, about the year 1840. On removing the old instrument, it was found to
contain many wooden pipes of Smith's construction, which the mellowing hand of
time had rendered of more than ordinary value, and which were accordingly incor-
porated with the new work. The present organ, which is considered one of the
finest in London, contains the following stops :-
Great, 20 Draw Stoffs.
I. Tenoroon Diapason to II. Stopped Flute............... 4 feet tone.
tenor c key ............... I6 feet. I2. Twelfth ..................... 23 feet.
2. Bourdon to meet No. I ... I6 feet tone. 13. Fifteenth ..................... 2 feet.
3. Principal Diapason ......... 8 feet. I4. Tierce ........... . . . . . . . . . . . . . I# foot.
4. Stopped Diapason, Treble 8 feet tone. I5. Sesquialtera, II ranks ... Iš foot.
5. Stopped Diapason, Bass... 8 feet tone. I6. Mixture, II ranks ......... # foot.
6. Dulciana to tenor c ...... 8 feet. I7. Doublette, II ranks ...... 2 feet.
7. Claribel Flute to tenor c... 8 feet. I8. Corno Trombone ......... 8 feet.
8. Principal Octave ............ 4 feet. I9. Corno Clarion ............ 4 feet.
9. Wald Flute .................. 4 feet. 2O. Cremorne to tenor c ...... 8 feet tone.
IO. Oboe Flute .................. 4 feet.
Swell, 18 Draw Słożs.
2I. Tenoroon Dulcian to 30, Fifteenth ..................... 2 feet
tenor c key ............... I6 feet. 3I. Piccolo to tenor c ......... 2 feet
22. Bourdon to meet No. 21 16 feet tone. 32. Sesquialtera, III ranks ... Iš foot
23. Principal Diapason ......... 8 feet. 33. Mixture, II ranks ......... # foot
24. Stopped Diapason, Treble 8 feet tone. 34. Echo Dulcian Cornet,
25. Stopped Diapason, Bass... 8 feet tone. V ranks.
26. Principal Octave ............ 4 feet. 35. Cornopean .................. 8 feet
27. Suabe Flute to tenor c ... 4 feet. 36. Tromba ..................... 8 feet
28. Flageolet to tenor c ...... 4 feet. 37. Hautboy ..................... 8 feet
29. Twelfth........................ 2% feet. 38. Clarion........................ 4 feet
Pedal, 2 Draw Stoffs.
39, Great Diapason ............ I6 feet. | 40, Contra Posaune ............, I6 feet
Accessory Stoffs, Movements, & c.
* 4. Octave Pedal.
1. Coupler, Swell to Great.
2. Coupler, Great to Pedal.
3. Coupler, Swell to Pedal.
Compass.
Great Organ, CC to fº in alt., 54 notes.
Swell Organ, CC to fº in alt., 54 notes.
5, 6, 7, 8, Four Composition Pedals.
Pedal Organ, CCC to BB, 12 notes.
Pedal Clavier, CCC to tenor a, 27 keys,
I95. ST, MICHAEL'S CORNHILL.
The organ in St. Michael's Church, Cornhill, was originally built by Renatus
Harris, A.D., 1684. In the year 1789 a Swell was added, and other improvements
made, by Green ; and in 1849 the organ was entirely re-constructed by Messrs.
Robson, under the direction of the late Mr. Limpus. The electric action has
lately been applied to the instrument,
AN ACCOUNT OF BRITISH ORGANS. 493
Great Organ, I2 Stoffs.
Feet. Pipes. Feet. Pipes.
I. Double Open Diapason, 7. Twelfth ........................ 3 56
metal ........................ I 56 8. Fifteenth........................ 2 256
2. Large Open Diapason ...... 8 56 9. Sesquialtera, IV ranks....... 2 224
3. Open Diapason ............... 8 56 IO. Mixture, IV ranks............ I 24.
4. Stopped Diapason ............ 8 56 | II. Trumpet........................ 8 56
5. Principal ........................ 4. 56 I2. Clarion ........................ 4 56
6. Wald Flute ..................... 4. 56
Choir Organ, 8 Stoffs.
Feet. Pipes. Feet. Pipes.
13. Dulcian ........................ 8 64 I7. Flute, metal .......... A * * * * * * * 4 tone. 56
I4, Viol di Gamba ............... 8 54 | 18. Fifteenth........................ 2 56
I5. Stopped Diapason ............ 8 tone. 56 | 19. Bassoon ........................ 8 56
I6. Principal ........................ 4. 56 20. Clarionet ..................... 8 tone. 44
Swell Organ, 12 Stoffs.
Feet. Pipes. e Feet. Pipes.
21. Double Open Diapason...... I6 tone. 56 27. Piccolo ........................ 2 56
22. Open Diapason ............... 8 56 28. Sesquialtera, III ranks...... I# 168
23. Dulcian ........................ 8 56 29. Mixture, II ranks ............ # II2
24. Stopped Diapason ............ 8 tone. 56 || 30. Oboe ........................... 8 56
25. Principal ........................ 4. 56 31. Horn ........................... 8 56
26. Fifteenth ........................ 2 56 32. Clarion ........................ 4. 85
Pedal, 3 Stoffs.
Feet. Pipes. Feet. Pipes.
33. Open Diapason ............... I6 30 35. Trombone ..................... I6 30
34. Stopped Diapason ............ I6 tone. 30
Accessory Słoffs, Movements, &c.
I. Swell to Great. 5. Swell to Pedal.
2. Swell to Choir. 6. Octave Pedal.
3. Great to Pedal. 7, 8, 9, IO. Four Composition Pedals.
4. Choir to Pedal.
Compass.
All the Manuals, CC to gº in alt. Pedal, CCC to tenor f.
Summary of Stoffs.
Stops. Pipes. Stops, Pipes.
Great Organ ........................ I2 IOO 32 226o
Swell Organ ........................ I2 828 Pedal Organ ........................ 3 90
Choir Organ ........................ 8 424 | Copulas .............................. 6
32 226o 4. I
I96. St. STEPHEN’s CHURCH, WALBROOK.
This organ, originally built by George England about the year 1760, has been
considerably enlarged and improved by Messrs. Hill and Son. It now contains the
34 Sounding stops mentioned
I. Open Diapason
. Open Diapason ............
. Stopped Diapason, metal,
Treble
Principal .....................
Nason, open, wood
:
* 6 tº tº º a 4 tº 4 g º e º 'º a s g g s - e.
- - - a s - - - -
t
below :—
Great Organ.
6. Twelfth
7. Fifteenth .....................
8. Mixture, IV ranks.
9. Furniture, III ranks.
IO. Trumpet .....................
II, Clarion........................
* m & 8 e º 'º e º e s w = * * * * * * * *
2350
494 APPENDIX.
Szwell Ozgan.
12. Bourdon ..................... I6 feet I6. Principal ..................... 4 feet.
I3. Open Diapason ............ 8 feet 17. Twelfth and Fifteenth ... 3 and 2 feet.
I4. German flute, metal, 18. Mixture, IV ranks. -
grooved to open in Bass I9. Double Trumpet,...,,,,, ... I6 feet
Octave . . . . . . . . . . . . . . . . . . . . . 8 feet. 20. Oboe ........................ 8 feet
15. Stopped Diapason, metal 2I. Trumpet ........... . . . . . . . . . . 8 feet
Treble ........ * * * * * * * * * * * * * 8 feet 22. Clarion ..................... 4 feet
Choir Organ.
23. Keraulophon.................. 8 feet 27. Stopped Flute, open,
24. Dulcian, grooved to metal, Treble ............ 4 feet
Keraulophon in Bass 28. Fifteenth ..................... 2 feet
Octave . . . . . . . . . . . . . . . . . . . . . 8 feet 29. Clarionet..................... 8 feet
25. Stopped Diapason, metal, 30. French Horn ............... 8 feet
Treble ..................... 8 feet 3I. Vox Humana ............... 8 feet
26, Principal ..................... 4 feet
Pedal Organ.
32. Open Diapason ............ I6 feet. 34 Trombone ... ............... I6 feet
33. Bourdon ...... . . . . . . . . . . . . . . . I6 feet,
Couplers.
I. Swell to Great.
2, Swell to Choir.
3. Swell to Pedals.
4. Great to Pedal.
5. Choir to Pedal.
Three Composition Pedals to Great, and two to Swell.
Compass.
Manuals, CC to g in altissimo, 56 feet.
by
Pedal, CC to f, 3o notes.
I97. ST. MARY-AT-HILL.
The organ at St. Mary-at-Hill is a very fine instrument, and was built in 1849
It contains 30 sounding stops, distributed among two
Messrs. Hill and Co.
Manuals and Pedal in the following manner : —
I6.
I7.
I8.
. Octave Quint
. Super-octave
Great, I 5 Stoffs.-Every Słoż żhroughout.
, Bourdon and Open Diapason
Open Diapason
tº g tº a tº t t t w tº a 4 tº a º a
. Gamba..............................
. Stopped Diapason ...............
Quint
Octave......................... . . . . .
tº g º º e º 'º tº ſº - ºr w tº e º 'º t t t e º º 0 ° 4 + 8 tº t tº
- tº 4 s tº $ tº $ tº º tº w w tº a s tº t t tº
• * * * * * * * * * * * * * * * * * * *
Bourdon and Open Diapason
Open Diapason
} Stopped Diapason, Bass
Stopped Diapason, Treble
Hohl Flute ........................
Octave ..............................
Suabe Flute
I6 feet.
8 feet.
8 feet.
8 feet.
6 feet.
4 feet.
3 feet.
2 feet.
Swell, I2 Stoffs.
I9.
2C).
2I,
4 * * * * * * * * * * * * * * : * *
* G - e º a tº gº tº # 4 º w ł & W G w e
I6 feet.
8 feet.
8 feet.
9. Walde Flute..................... 4 feet
IO. Flageolet ............ ........... 2 feet
II. Sesquialtera, III ranks.
I2. Mixture, ... III ranks.
13. Posaune........................... 8 feet
I4. Clarion ........................... 4 feet
I5. Krum Horn ..................... 8 feet
22, Octave Quint .................. 3 feet
23. Super-octave .................. 2 feet
24. Sesquialtera, III ranks.
25. Cornopean........ . . . . . . . . . . . . . . . . 8 feet
26, Hautboy ........................ 8 feet
27. Clarion ........................... 4 feet
AN ACCOUNT OF BRITISH ORGANS. 495
Pedal, 3 Stoffs,
28. Open Diapason, 16 feet. 29. Octave, 8 feet. | 30. Trombone.
Accessory Stoſs, Movements, &c.
I. Coupler, Swell to Great. 3. Coupler, Swell to Pedal.
2. Coupler, Great to Pedal. 4, 5, 6. Three Composition Pedals.
Com/ass.
Great, CC to f * in alt. Swell, CC to f * in alt. Pedal, CCC to tenor e.
198. ST, MICHAEL’s, CHESTER SQUARE.
This instrument, built by T. J. Robson, in 1847, consists of three Manual
organs, viz., Swell, Great, and Choir, together with an independent Pedal organ.
The Manuals are of the Orthodox range, from CC, ascending from thence to
gº in altissimo, 56 notes. The Pedal-board, with the Pedal organ running
throughout, extends from CCC to tenor f, 30 notes, being the first Pedal organ
erected in London of this complete compass.
Great, I2 Słożs.
I. Double Stopped Diapason 16 feet tone. 7. Fifteenth ..................... 2 feet.
2. Open Diapason ............ 8 feet. 8. Piccolo, open, wood ...... 2 feet.
3. Stopped Diapason ......... 8 feet tone, 9. Sesquialtera, III ranks ... I; foot.
4. Principal ..................... 4 feet. IO. Mixture, II ranks ......... # foot.
5. Flute, open, wood ......... 4 feet. II. Trumpet ..................... 8 feet.
6. Twelfth............. • * * * * * * * * * * * * * 23 feet. 12. Clarion ........................ 4 feet.
Choir, Io Słożs.
13. Dulciana ..................... 8 feet. I9. Fifteenth..................... 2 feet.
I4. Viol di Gamba............... 8 feet. 2O. Furniture, II ranks ...... I# foot.
15. Stopped Diapason, Treble 8 feet tone. 21. Bassoon throughout ...... 8 feet.
16. Stopped Diapason, Bass... 8 feet tone. 22. Clarionet and Corno di
17. Principal ..................... 4 feet. Bassetto .................. 8 feet tone.
18. Flute ........................... 4 feet * -
Swell, 12 Stoffs.
23. Double Dulciana............ I6 feet. 29. F ifteenth # * * * 0 tº tº e º 'º º t t t t e º a • 2 feet.
24. Open Diapason ............ 8 feet. 30. Mixture, III ranks ...... I# foot.
25. Stopped Diapason ......... 8 feet tone. 3I. Double Bassoon............ I6 feet.
26. Principal ............... . . . . . . 4 feet. 32. Horn ........................ 8 feet.
27. Celestina ........... . . . . . . . . . . 4 feet. 33. Hautboy..................... 8 feet.
28. Twelfth .................. . . . . . 2% feet. 34. Clarion ..................... 4 feet.
Pedal, 3 Słoffs.
35. Open Diapason ............ I6 feet, 37. Trombone, metal ... ... 16 feet.
36. Stopped Diapason ......... I6 feet tone. -
Accessory Słożs, Mozements, &c.
I. Swell to Great. 4. Choir to Pedal.
2. Swell to Choir. 5. Pedal Octave. * , -
3. Great to Pedals. 6, 7, 8. Three Composition Pedals.
496 APPENDIX.
199. ST, SAVIOUR's, SOUTHWARK.
The organ in St. Saviour's Church, Southwark, possesses a fine bold tone, and
originally was enclosed in a splendid case, with the 16 feet metal Double
Diapason in front. The instrument was built in the year 1703, and has been
attributed to Schrider and to Schwarbrook, but the work appears more like that
of Harris. The Great and Choir organs were originally “short octave, GG,”
and ascended to e º in alt.; the Swell to fiddle g was a subsequent addition,
having been made by Byfield. In 1818 the organ was considerably enlarged
by Davis, who made the Great and Choir organs “long octaves,” and added
the f * in alt. above. The Swell was extended to tenor c ; an octave and a half
of G Pedals were laid down ; a similar compass of GGG Pedal pipes applied ;
and a Swell and two Pedal Couplers were also introduced.
Subsequently, Mr. Bishop put in a Cremona in place of the Vox Humana
in the Choir organ ; a Clarabella, in the room of the 5-rank Cornet in the Great
organ; a new Twelfth and Fifteenth ; and a Pedal Octave Coupler. In 1841
the organ was removed from its previous position between the Transepts to the
west-end of the new Nave, just then rebuilt on the site of the old one. The
Swell was then extended down to Gamut G by Bishop, and two horizontal
bellows provided. At the same time the magnificent old case was superseded
by the present one, designed and provided by the architect of the building,
and the largest pipes of the original front were placed inside. The organ now
Contains 28 Sounding stops, of which the following is a list –
Great, I 3 Słożs.
I. Double Open Diapason. 8. Twelfth.
2. Open Diapason. 9. Fifteenth.
3. Open Diapason. IO. Sesquialtera, IV ranks,
4. Stopped Diapason. II. Furniture, III ranks.
5. Clarabella. I2. Trumpet.
6. Principal. I3. Clarion.
7. Stopped Flute,
Choir, 7 Słońs.
14. Open Diapason. I8. Fifteenth.
15. Stopped Diapason. I9. Mixture, III ranks.
I6. Principal. ; : 2O. Cremona.
17. Stopped Flute.
Swell, 7 Stoffs.
2I. Open Diapason. 25. Trumpet.
22. Stopped Diapason. 26. Oboe.
23. Principal. 27. Clarion.
24. Sesquialtera, III ranks.
Pedaſ, I Stoff.
28. Open wood Pipes, CC to Gamut GGG ...... 21% feet length.
Compass.
Great, GG to fº in alt. Swell Gamut, G to fê in alt,
Choir, GG to fº in alt. Pedal, GG to tenor c.
Accessory Słoffs, Movements, &c.
1. Swell to Great. 2, Choir to Great. 3. Great to Pedal, 4. Choir to Pedal,
AN ACCOUNT OF BRITISH ORGANS,
497
2OO. ST. OLAVE's, SOUTHWARK,
“This organ, of a 32 feet Manual Gamut, was designed by Mr. H. J. Gauntlett,
commenced by Mr. Lincoln, 1844, and perfected by Mr. William Hill, 1846.”
The foregoing inscription appears on a brass plate between the Manuals.
The organ is about to be rebuilt. At present it contains 40 sounding stops,
of which the following is a list —
Great, 27 Sãoffs.
I. Sub-bourdon to tenor c I4. Duo decimo ............... 3 feet.
key ........................ 32 feet. I5. Super-Octave ............... 2 feet.
2. Tenoroon to tenor c key 16 feet. I6. Piccolo to tenor c ......... 2 feet.
3. Bourdon ..................... I6 feet tone. 17. Octave decima ............ I# foot
4. Unison, open ............... 8 feet. 18. Sesquialtera, III ranks.
5. Unison, treble, closed...... 8 feet tone. . I9. Mixture, II ranks.
6. Unison, bass, closed ...... 8 feet tone. 20. Furniture, III ranks.
7. Viol di Gamba to tenor c 8 feet. 2I. Doublette, II ranks.
8. Salicional to tenor c ...... 8 feet. 22. Glockenspiel, II ranks.
9. Clarabella to tenor c ...... 8 feet. 23. Posaune ..................... 8 feet
IO. Quint........................... 6 feet. 24. Clarion ..................... 4 feet
II. Octave ........................ 4 feet. 25. Octave Clarion ............ 2 feet
I2. Wald Flute to tenor c 4 feet. 26. Cromhorn to tenor c ...... 8 feet tone.
I3 Decima ........................ 3; feet. 27. Corno Flute to tenor c ... 8 feet.
Swell, IO Stoffs.
28. Tenoroon ..................... I6 feet. 33. Super-Octave ............... 2 feet
29. Unison, open ............... 8 feet. 34. Flageolet..................... 2 feet
30. Unison, closed............... 8 feet tone. 35. Octave Fifteenth ......... I foot
3I. Octave ........................ 8 feet, 36. Cornopean .................. 8 feet
32, Suabe Flute .................. 4 feet 37. Hautbois ..................... 8 feet
Pedal, 3 Sãoffs.
38. Contra Bourdon ............ 32 feet tone. 40. Bass Trombone ............ I6 feet.
39. Principal Contra Bass...... I6 feet,
Couplers, &c.
I. Grand organ combined.
2. Swell to Grand.
Great CC to fº in alt.
Com/ass.
| Swell, tenor c to fº in alt.
3. Grand to Pedal.
4. Swell to Pedal.
Pedal, CCC to tenor d.
The Great organ has two separate sound-boards, which accounts for the
Coupler denominated “Grand organ combined.”
201, ST. JAMES’s, BERMONDSEY.
This organ was built by Bishop in 1829, and contains the following 29 stops :-
Great, IO Słoffs.
. Open Diapason.
. Open Diapason.
. Stopped Diapason.
. Principal.
, Twelfth.
i
59 AVotes, from GG to F.
6. Fifteenth.
7. Sesquialtera, III ranks,
8. Mixture, II ranks.
9. Trumpet.
IO. Clarion.
U U
498 AppENDIX.
Choir, 8 Stoffs. 59 AWotes, from GG to F.
II. Open Diapason. I5. Flute.
I2. Stopped Diapason. I6. Fifteenth.
I3. Dulciana, from Gamut G. 17. Cremona, Treble.
I4. Principal. g I8. Bassoon, Bass.
Swell, 8 Stoffs. 47 Wołes, from Gamut G to F.
With keys continued to GG, acting on the Choir organ.
19. Open Diapason. 23. Cornet (originally 12th, 15th, and
2O. Open Diapason. Sesquialtera; now, unfortunately,
2I. Stopped Diapason. only 12th and I5th).
22. Principal. 24, French Horn.
25. Trumpet.
26. Hautboy.
Pedal, 3 Słoffs.
27. Double Diapason, 25 Notes, from GGG.213 feet length.
28. Unison............... Ditto ......... GG... IO; , , 3 5
29. Trombone ......... Ditto ........... GG... IO} , , 3 2
Couplers.
I. Swell to Great. 4. Pedals to Great.
2. Swell to Choir. 5. Pedals to Choir.
3. Great to Choir.
Composition Pedals, &c.
4. Shifting movement for shutting off all
Swell but the Diapasons.
5. Pedal for coupling Swell to Great.
There is a key-board at the side, by means of which a second performer can play the Pedals.
I. Full.
2. Full, without Reeds.
3. Diapasons.
2O2. QUEBEC CHAPEL.
This organ was built, in 1868, by Gray and Davison. It has 3 complete
Manuals from CC to A, and Pedal from CCC to F. - -
Swell Organ.
I. Bourdon ..................... I6 ſeet. 6. Fiſteenth ..................... 2 feet.
2. Open Diapason ............ 8 feet. 7. Mixture, III ranks,
3. Stopped Diapason ......... 8 feet. 8. Cornopean .................. 8 feet.
4. Keraulophon ............... 8 feet. 9. Oboe ........................ 8 feet.
5. Principal ..................... 4 feet. IO. Clarion........................ 4 feet.
Great Organ.
II. Double Diapason............ I6 feet. I6. Principal ..................... 4 feet.
I2. Open Diapason ............ 8 feet. I7. Twelfth ...... • * * * * * * * * * * * * * * * 3 feet.
13. Flute Harmonique ......... 8 feet. 18. Fifteenth ............... ** a • * * * 2 feet.
14. Stopped Diapason ......... 8 feet. I9. Mixture, IV ranks.
15. Flute Octaviante ............ 4 feet. 2O. Posaune ..................... 8 feet
Choir Organ.
21. Dulciana ..................... 8 feet. 24, Gemshorm .................. 4 feet.
22. Lieblich Gedact ......... ... 8 feet. 25. Piccolo........................ 2 feet.
23. Wald Flute .................. 4 feet. 26. Corno di Bassetto ......... 8 feet,
AN ACCOUNT OF BRITISH OFGANS. 499
Pedal Organ.
27. Grand Open Diapason ..., 16 feet. 29. Grand Principal ............ 8 feet
28. Grand Bourdon ............ 16 feet. 3O. Grand Trombone ........, I6 feet
Couplers.
. Swell to Great Manual.
. Swell to Choir Manual.
. Swell Manual to Pedals.
. Great Manual to Pedals,
5. Choir Manual to Pedals.
7 Composition Pedals.
and 3 to Swell.
:
4 to Great organ
The organ is placed in the gallery, at the north side of the chancel, and the
key-boards, &c., brought down to the floor so that the organist sits near the
Singers.
203, ST, PANCRAS CHURCH.
This organ, originally built by Gray and Davison (1856) for the Music Hall,
Birmingham, was rebuilt and erected by the same firm in St. Pancras Church.
It has three Manuals, CC to A, and Pedals, from CCC to F, and contains 37 stops
and 7 couplers.
Great Organ.
I. Double Diapason ......... I6 feet. 8. Twelfth ..................... 3 feet
2. Open Diapason ............ 8 feet. 9. Fifteenth ..................... 2 feet
3. Gamba ........................ 8 feet IO. Sesquialtera, III ranks.
4. Stopped Diapason ......... 3 feet II. Mixture, III ranks.
5. Flute Harmonic ............ 8 feet I2. Posaune ..................... 8 feet
6. Octave ..................... .. 4 feet I3. Clarion........................ 4 feet
7. Flute Octaviante ...,,,,..... 4 feet
Swell Organ.
I4. Bourdon ..................... I6 feet I9. Sesquialtera, III ranks.
I5. Open Diapason ............ 8 feet 2O. Cornopean .................. 8 feet
I6. Stopped Diapason ......... 8 feet 21. Oboe ........................ 8 feet
17 Octave 3....................... 4 feet 22. Clarion ..................... 4 feet
18. Fifteenth ..................... 2 feet Tremulant.
Choir Organ,
23. Salicional ..................... 8 feet. 27. Gemshorn .................. 4 feet
24. Vox Celeste .................. 8 feet. 28. Flute d'Amour ............ 4 feet
25. Stopped Diapason Bass ... 8 feet. 29. Piccolo ..................... 2 feet
26. Concert Flute ............... 8 feet. 30, Clarionet ..................... 8 feet
Pedal Organ.
3I. Contra Bourdon ............ 32 feet. 35. Fifteenth ..................... 4 feet
32. Open Diapason ............ I6 feet. 36. Trombone ......... ........ I6 feet
33. Bourdon ..................... I6 feet 37. Trumpet ..................... 8 feet
34 Octave ........................ 8 feet
Couplers.
. Swell to Great Manual. -
. Swell to Great, Sub-octave.
i
. Swell to Pedals.
Swell to Great, Super-octave.
5. Swell to Choir.
6. Great Manual to Pedals.
7. Choir Manual to Pedals.
Composition Pedals.
4 to the Great; 3 to the Swell; and I to the Pedal organ.
|U U 2
5OO
APPENDIX.
2O4. KENSINGTON PARK, ALL SAINTS.
F, and Pedals, CCC to E.
I2.
I3.
I4.
18.
I9.
2O.
2 I.
22.
23.
29.
3O.
Pedal organ, and 32 Sounding stops.
. Double Diapason
. Open Diapason
. Gamba
. Stopped Diapason
. Principal
i
* * * * * * * * * * * *
tº º q & d g º & e º 'º &
e is tº € g g º ſº ſº º 'º e º e º ſº tº e s tº tº ſº e º
E. & e º 'º ºf tº g tº
is a g º f is $ $ tº 8 e º e s s a g º e º a
tº 9 tº t t e g º e s º º
Dulciana .....................
Stopped Diapason
Flute
* * * * g e º ſº º
in g º tº E & g { } @ g º ſº a g º e º 8 tº e s : * * * *
Bourdon
Open Diapason
Keraulophon ...............
Stopped Diapason, Bass...
Clarionet Flute...............
Principal
* * * * * * * * g e is g a # * * * * * * *
tº e g º º e º f tº $ tº e º e º e º ſº & G &
Grand Open Diapason ...
Violon
* * * * * * * * * * * * * * * * * * * * * * * *
, Swell to Great.
. Swell to Pedals.
. Great to Pedals.
. Choir to Pedals.
:
This organ was built by Gray and Davison in 1860.
It has 3 Manuals, CC to
Great Organ.
I6 feet. 7. Twelfth ..................... 3 feet
8 feet. 8. Fifteenth ..................... 2 feet
8 ſeet, 9. Mixture, III ranks.
8 feet. IO. Furniture, III ranks..
4 feet. II. Trumpet ..................... 8 feet
4 feet.
Choir Organ.
8 feet. I5. Gemshorn .................. 4 feet
8 feet. I6. Piccolo ... . . . . . . . . . . . . . . . . . 2 feet
4 feet. I7. Corno di Bassetto ......... 8 feet
Swell Organ.
I6 feet. 24. Fifteenth ..................... 2 feet
8 feet. 25. Mixture, III ranks.
8 feet. 26. Cornopean .................. 8 feet
8 feet. 27. Oboe... ..................... 8 feet
8 feet. 28. Clarion........................ 4 feet
4 feet. Tremulant.
Pedal Organ.
I6 feet. 3I. Principal ..................... 8 feet.
I6 feet. 32, Trombone .................. I6 feet.
Couplers.
5. Swell to Choir.
6. Swell to Great Octave.
7. Swell to Great Sub-octave.
Composition Pedals.
4 to the Great and Pedal organs; 2 to the Swell organ.
205. CITY TEMPLE.
This organ, erected by Forster and Andrews, Hull, has 3 Manuals, a separate
The Pedal-board is concave and radiating.
The case is of classic design, with circular towers, and carried out in selected pitch
pine ; and the front pipes are handsomely decorated. The following is a list of its
stops —
I
;
. Double Open Diapason,
metal
. Open Diapason Minor, metal 56.....,
. Hohlflote, wood
. Principal, metal
& # 4 g g × 9 & & # * * * * * * * * * * * * * *
. Open Diapason.Major, metal 56......
a 4 g º g g ſº e g = & ©
Great Organ, CC to G.
Pipes. Feet. . Pipes Feet.
• 6. Harmonic Flute, metal ..., 56...... 4.
56...... I6 7. Twelfth, metal ............ 56...... 2#
8 8. Fifteenth, metal ............ 56...... 2
8 9. Mixture, V ranks, metal. 280...... *
56...... 8 IO. Posaune, metal ............ 56...... 8
56...... 4. II. Clarion, metal,.............. 56...... 4
AN ACCOUNT OF BRITISH ORGANs. * 50ſ
Choir Organ, CC to G.
Pipes. Feet. Pipes. Feet.
I2. Violin Diapason, metal..... 56...... 8 I5. Flauto Traverso, metal.., 56...... 4.
I3. Lieblich Gedact, wood ... 56....., 8 I6. Flautino, metal ............ 56...... 2
I4. Dulciana (grooved into No. I7. Clarionet, metal............ 44. . . . . . 8
8
I3), metal .................. 44. . . . . .
- Swell Organ, CC to G.
18. Lieblich Bourdon, wood ... 56...... I6 22. Principal, metal ............ 56......
I9. Open Diapason, wood and 23. Harmonic Piccolo, metal 56...... 2
metal........................ 56...... 8 || 24: Mixture, III ranks, metal 168...... *-º-º:
2O. Gamba, wood and metal... 56...... 8 25. Horn, metal.................. 56...... 8
2.I. Viol d'Amour (grooved 26. Oboe, metal.................. 56...... 8
into No. 20), metal...... 44. . . . . . 8 27. Clarion, metal............... 56...... 4.
Pedal Organ, CCC to F.
28. Large Open Diapason, wood 30...... I6 3I. Violoncello, wood ......... 3O... ... 8
29. Bourdon, wood............... 30...... I6 32. Trombone, wood and metal 30...... I6
30, Quint, wood .................. 3O. . . . . . IO}
Couplers.
I. Swell to Great. 4. Swell to Choir.
2. Swell to Pedals. 5. Great to Pedals.
3. Swell Octave. 6. Choir to Pedals.
6 Composition Pedals to Great and Swell organ.
Recapitulation.
Great organ ............... II Registers .................. 840 Pipes.
Choir organ ............... 6 5 2 • * * * * * * * * * * * . . . . 3I2 ; ,
Swell Organ ............... IO 3 5 - " " " - - - - - - - - - , , , , , 66O , ,
Pedal organ ............... 4. 3 5 • * . . . . . . . . . . . . . .• I2O , ,
Couplers .................. 6 5 j . . . . . . . . . . . . . . . . . . — , ,
Grand Total ...... 37 Registers ............... I932 Pipes.
... 206. ST. GILES, CAMBERWELL.
The organ at this church was built by Mr. J. C. Bishop, in 1844, from a
specification prepared by the late Dr. S. S. Wesley. It contains 41 sounding
stops,
Great, 14 Stoſs.
I. Open Diapason ............ 8 feet. 8. Fifteenth .....…............. 2 feet.
2. Open Diapason ............ 8 feet. 9. Sesquialtera, III ranks.
3. Open Diapason, wood, large 8 feet. Io. Mixture, III ranks.
4. Clarabella..................... 8 feet. II. Furniture, II ranks.
5. Principal ..................... 4 feet. I2, Doublette, II ranks.
6. Principal ..................... 4 feet. 13. Trumpet ..................... 8 feet.
7. Twelfth........................ 23 feet. I4. Clarion........................ 4 feet.
Choir, Io Stoffs.
I5. Open Diapason, metal 20. Flute ...................... 4 feet.
throughout ............... 8 feet. 2I. Fifteenth ..................... 2 feet.
16. Dulciana, metal throughout 8 feet. 22. Mixture, II ranks ......... I# foot.
I7. Stopped Diapason ......... 8 feet tone. 23. Cremona ..................... 8 feet tone.
18. Clarabella..................... 8 feet. 24. Bassoon ..................... 8 feet,
I9. Principal .............. * . . . . . . 4 feet.
5O2 APPENDIX,
Szweſ/, I4 Słożs.
25. Bourdon ..................... I6 feet tone. 32. Sesquialtera, III ranks ... I # foot.
26. Double Diapason............ I6 feet. 33. Mixture, II ranks ......... ; foot.
27. Open Diapason ............ 8 feet, 34. Doublette, II ranks ...... 2 feet.
28. Open Diapason ............ 8 feet. 35. Horn ........................ 8 feet.
29. Stopped Diapason ......... 8 feet tone. 36. Trumpet ..................... 8 feet.
30, Principal ..................... 4 feet. 37. Hautboy ..................... 8 feet.
3I. Fifteenth ..................... 2 feet. 38. Clarion ..................... 4 feet.
Pedal, 3 Sãoffs.
39. Double Diapason............ I6 feet. 4I. Double Trumpet............ I6 feet,
40. Open Diapason, largescale, -
metal ..................... 8 feet.
Accessory Słożs, Movements, &c.
I. Swell to Pedals. 4. Swell to Great.
2. Great to Pedals. 5. Wood, open, to Pedals separately.
3. Choir to Pedals. 6 to 13. Eight Composition Pedals.
207. HOLY TRINITY, PADDINGTON.
The new organ for the above church was built by Mr. T. C. Lewis. It has 3
Manuals, a separate Pedal organ, and the 29 stops mentioned below —
Great Organ, CC to G, 56 AVotes.
I. Bourdon ........................ I6 feet. 5. Octave Quint ........... • * * * * * * 23 feet.
2. Open Diapason ............... 8 feet. 6. Super-octave .................. 2 feet.
3. Rohrfiote ............... ... … 8 feet. 7. Mixture, IV ranks ............ I# foot.
4 Octave ........................... 4 feet. 8. Trumpet ........................ 8 feet.
Swell Organ, CC to G, 56 AVotes.
9. Lieblich-gedact ............... I6 feet. I4. Geigen Principal ............... 4 feet.
IO. Geigen Principal ............... 8 feet. I5. Mixture, III ranks ............ 2 feet.
II. Lieblich Gedact ............... 8 feet. I6. Trumpet ....…................... 8 feet.
12. Gamba ........................... 8 feet. 17. Oboe .............................. 8 feet.
13. Voix Celeste, tenor c ......... 8 feet. 18. Vox Humana .................. 8 feet,
Choir Organ, CC to G, 56 Wotes.
19, Lieblich Gedact ............... I6 feet. 23. Flute Harmonique ............ 4 feet.
2O. Salicional ........................ 8 feet. 24. Clarionet ........................ 8 feet.
2I. Vox Angelica .................. 8 feet. 25. Flautina ........................ 2 feet
22. Salicet ........................... 4 feet.
Pedal Organ, CCC to F, 30 Notes.
6. Open Bass ..................... I6 feet. 28. Sub-bass ........... ........ ... I6 feet.
7. Sub-bass ........................ 32 feet. 29. Posaune ........................ I6 feet.
Couplers.
I. Choir to Pedals. 4. Swell to Great.
2. Swell to Pedals. 5. Swell to Choir.
3. Great to Pedals. Five Pedals of Combination.
The Pedal organ is carried up an octave beyond the compass of the Pedal-
board, 42 notes to each stop, and furnished with an octave coupler.
AN ACCOUNT OF BRITISH ORGANS. 5O3
208, WEST LONDON SYNAGOGUE.
This organ was built by Gray and Davison in the year 1869. It has three
Complete Manuals, from CC, 8 feet, to A, and Pedal organ from CCC to E.
Great Organi.
I. Double Diapason ......... I6 feet. 6. Principal ..................... 4 feet.
2. Open Diapason ............ - 8 feet 7. Piccolo Harmonic ......... 2 feet.
3. Flute Harmonique ......... 8 feet. 8. Ottavina ..................... 2 feet,
4. Stopped Diapason ......... 8 feet, * 9. Mixture, IV ranks.
5. Flute Octaviante ............ 4 feet. IO. Posaune ..................... 8 feet
Swell Organ.
II. Bourdon ..................... I6 feet. 17: Mixture, III ranks.
I2. Open Diapason ............ 8 feet. 18, Cornopean .................. 8 feet.
I3. Stopped Diapason ......... 8 ſeet. I9. Oboe ........................ 8 feet.
I4. Keraulophon ............... 8 feet. 2O. Clarion ..................... 4 feet.
I5. Principal ................… 4 feet. Tremulant.
I6. Fifteenth ..................... 2 feet.
Choir Organ.
2I. Dulciana ..................... 8 feet. 24. Suabe Flute ............... 4 feet.
22. Lieblich Gedact ............ 8 feet. 25. Flageolet..................... 2 feet.
23. Flute d'Amour ............ 4 feet. 26. Corno di Bassetto ......... 8 feet,
- Pedal Organ.
27. Open Diapason ............ I6 feet. 30. Principal ..................... 8 feet.
28. Violone........................ I6 feet. 3I. Trombone .................. I6 feet.
29, Bourdon ..................... I6 feet.
Couplers, &c.
4. Swell Manual to Pedals.
2. Swell to Choir Manual. 5. Great Manual to Pedals.
3. Swell to Great Manual octave. 6. Choir Manual to Pedals.
4 Composition Pedals to the Great and Pedal organ, and 4 to the Swell.
I. Swell to Great Manual.
209. SouTH HACKNEY CHURCH.
This organ was built by Gray and Davison in 1873, and consists of 3 Manuals,
CC to G, and Pedals, CCC to E.
Great Organ.
I. Double Diapason............ I6 feet. 6. Quint ........................ 23 feet.
2. Open Diapason ............ 8 feet. 7. Super-Octave ............... 2 feet.
3. Hohl Flute .................. 8 feet. 8. Mixture, IV ranks,
A. Stopped Diapason, Bass... 8 feet. 9. Trumpet ..................... 8 feet.
5. Octave ........................ 4 feet.
Szwell Organ.
IO. Bourdon ........... . . . . . . . . . . I6 feet. I5. Super-Octave ............... 2 feet.
II. Open Diapason ............ 8 feet. I6. Mixture, III ranks. --
12. Keraulophon, tenor C ...... 8 feet. I7. Cornopean .................. 8 feet.
13, Stopped Diapason ......... 8 feet. 18. Oboe ....................... ... 8 feet.
I4. Octave ... . . . . . . . . . . . . . . . . . . . . . 4 feet. 19. Clarion........................ 4 feet.
5O4 APPENDIX.
Choir Organ.
20. Dulciana .................. .. 8 feet. 24. Flute ........................ 4 feet.
2I. Viol di Gamba............... 8 feet. 25. Piccolo ..................... 2 feet.
22. Stopped Diapason ......... 8 feet. 26. Clarionet..................... 8 feet,
23. Gemshorn ..................... 4 feet w
Pedal Organ.
27. Open Diapason ............ I6 feet. 29. Violoncello .................. 8 feet,
28. Bourdon ..................... I6 feet. 30. Trombone .................. I6 feet.
Couplers.
I. Swell to Great.
2. Swell to Choir.
3. Swell to Pedals.
Some of the pipes of the former organ have been re-voiced and retained in
this organ.
4. Great to Pedals.
5. Choir to Pedals.
2IO. ST, MARy’s, STOKE NEWINGTON.
This organ was erected by Gray and Davison in 1858, and completed in 1875.
It has 3 Manuals, CC to F, and Pedals from CCC to F. It is placed in a gallery
in the South transept, and the key-boards are brought down and turned round.
The disposition of the stops is as follows:–
Great Organ.
I. Bourdon ..................... I6 feet. 7, Octave ........................ 4 feet.
2. Open Diapason ............ 8 feet. 8. Twelfth ..................... 3 feet.
3. Open Diapason ............ 8 feet. 9. Super-Octave ............... 2 feet.
4. Flute Harmonic ............ 8 feet. Io. Mixture, IV ranks.
5. Stopped Diapason ......... 8 feet. II. Posaune ..................... 8 feet.
6. Flute Octaviante ............ 4 feet. 12. Clarion........................ 4 feet.
Swell Organ,
I3. Double Diapason............ I6 feet, I9. Super-Octave ............... 2 feet.
I4. Open Diapason ............ 8 feet. 2O. Mixture, III ranks.
I5. Keraulophon ............... 8 ſeet, 2I. Cornopean .........… 8 feet.
I6. Stopped Diapason, Bass... 8 feet. 22. Oboe ........................ 8 feet.
I7. Concert Flute ............... 8 feet. 23, Clarion........................ 4 feet.
18. Octave ........................ 4 feet. Tremulant.
Choir Organ.
24. Salicional ..................... 8 feet. 29. Flute d'Amour ............ 4 feet.
25. Viol di Gamba ............... 8 feet. 30. Super-Octave ............... 2 feet
26. Stopped Diapason, Bass... 8 ſeet. 31. Piccolo........................ 2 feet.
27. Clarionet Flute ............ 8 feet. 32, Corno di Bassetto ......... 8 feet
28. Gemshorn..................... 4 feet.
Pedal Organ.
33. Open Diapason ..........., I6 feet, 36. Super-octave ............... 4 feet.
34, Violon ................ . . . . . . . . I6 feet, 37. Trombone .................. I6 feet.
35. Octave ........................ 8 feet. -
Couplers, &c.
I. Swell to Great.
2. Swell to Pedals
3. Swell to Choir.
4 Composition Pedals to Great. 3 Composition Pedals to Swell,
2 Composition Pedals to Pedals,
4. Choir to Pedals.
5. Great to Pedals.
AN ACCOUNT OF BRITISH ORGANS.
505
2II..ST. MATTHEW's, UPPER CLAPTON.
This organ was built by Gray and Davison in 1867, and consists of three
Manuals, from CC to G, 56 notes, and two octaves and a fourth of Pedals, from
CCC to F, 30 notes.
Great Organ.
I. Double Diapason ......... I6 feet 6. Harmonic Flute ............ 4 feet
2. Open Diapason ............ 8 feet 7. Twelfth ..................... 3 feet
3. Gamba ........................ 8 feet 8. Fifteenth ..................... 2 feet
4. Clarinet Flute ............... 8 feet 9. Mixture, IV ranks.
5. Principal ..................... 4 feet IO. Trumpet ..................... 8 feet
Swell Organ.
II. Bourdon ..................... I6 feet I6. Fifteenth ..................... 2 feet
I2. Open Diapason ............ 8 feet 17. Mixture, II ranks.
I3. Keraulophon ............... 8 feet I8. Cornopean .................. 8 feet
I4. Concert Flute ............... 8 feet I9. Oboe ........................ 8 feet
I5. Principal ..................... 4 feet 2O. Clarion........................ 4 feet
, Choir Organ.
2I. Open Diapason ............ 8 feet 25. Suabe Flute ............... 4 feet
22. Viol di Gamba.......... .... 8 feet 26. Piccolo........................ 2 feet
23. Lieblich Gedact ............ 8 feet 27. Corno di Bassetto ......... 8 feet
24. Gemshorn .................. 4 feet
Peda/ Organ.
28. Grand Open Diapason ... I6 feet. 30. Grand Principal ............ 8 feet.
29. Grand Bourdon ............ I6 feet.
Couplers,
. Stopped Flute
. Twelfth
i
I. Swell to Great Manual.
2. Swell Octave to Great Manual.
3. Swell Manual to Pedals.
4. Swell to Choir Manual.
5. Great Manual to Pedals.
6. Choir Manual to Pedals.
Composition Pedals.
4 to Great Organ.
3 to Swell.
This organ is placed in an organ chamber at the south side of the chancel, and
the key-board, &c., brought down. t
212. ST. ANN’s, LIMEHOUSE.
The new organ in St. Ann’s, Limehouse, was made by Gray and Davison, and
is the same which those builders erected in the Great Exhibition building in 1851.
It contains 34 stops, of which the following is a list :—
Great, I 3 Stoffs.
. Double Open Diapason ... 16 feet.
. Open Diapason ............ 8 feet.
Open Diapason ............ 8 feet.
Stopped Diapason
Octave
& # 3 & 4 & 6 & 8 º' tº g tº d tº t tº $ tº e # 8 & 8 4 feet.
tº E s is a tº º sº tº e º 'º # 3 +
2# feet.
8 feet tone.
4 féet tone.
8.
9.
IO.
II.
I2.
I3.
Fifteenth ..................... 2 feet.
Flageolet, open ............ 2 feet.
Sesquialtera, III ranks ... I; foot
Mixture, II ranks ......... # foot.
Posaune ..................... 8 feet
Clarion ..................... 4 feet
506 - APPENDIX.
Choir, 8 Stoffs. * -
I4. Dulciana ..................... 8 feet. 18. Octave........................ 4 feet.
I5. Keraulophon ............... 8 feet. I9. Flute, Open ............... 4 feet.
I6. Clarinet Flute ............... 8 feet tone. 20. Fifteenth ..................... 2 feet.
17. Stopped Diapason Bass ... 8 feet tone. 21. Clarinet ...................., 8 feet tone.
Swell, 9 Słoffs.
22. Bourdon ..................... 16 feet tone. 27. Sesquialtera, III ranks.
23, Open Diapason ............ 8 feet. 28. Cornopean .................. 8 feet.
24. Stopped Diapason ......... 8 feet tone. 29. Oboe ........................ 8 feet.
25. Octave ........................ 4 feet. 30, Clarion ..................... 4 feet.
26. Fifteenth ..................... 2 feet
Pedal, 4 Stoffs.
31. Grand Open Diapason ... 16 feet. 33. Grand Octave ............ 8 feet.
32. Grand Bourdon ............ I6 feet tone. 34. Grand Bombarde ......... I6 feet,
Accessory Słoffs, Movements, & "c.
I. Swell to Great. 3. Great to Pedal. 5. Swell to Pedal.
2. Swell to Choir, 4. Choir to Pedal. 6. Sforzando Pedal.
7 to 12. Six Composition Pedals.
Compass.
Great, CC to f * in alt. Swell Clavier down to CC, acting on Choir
Choir, CC to f * in alt. organ below tenor c.
Swell organ, tenor c (4 feet compass) to f * | Pedal, CCC to tenor e.
in alt.
213. CHRIST CHURCH, SPITALFIELDS.
The organ in this fine Church is one of the largest and best in the metropolis.
It was originally built by Bridge, in 1730, for the sum of £600, scarcely half its
real value. In 1822 it was repaired by Mr. Bishop, who introduced the Dulcian
into the Choir organ, in place of the III-rank Mixture. The instrument after-
wards suffered materially from water, during the fire that occurred in the steeple,
and was Subsequently repaired and enlarged by Lincoln, in 1837, who added the
Pedal pipes to GGG, and extended the Swell to tenor c, besides adding several
new stops. In 1852 the organ underwent further enlargement, owing to the spirit
and musical taste of the Rev. Mr. Stone, the Rector, which amplification was
effected by Messrs. Gray and Davison, under the direction of Mr. J. S. Noble, the
then organist of the Church. The Spitalfields organ now contains 45 sounding
stops, distributed among 3 Manuals and Pedal, in the following manner —
Great Organ, 16 Stoffs.
I. Open Diapason. ſ 9. Fifteenth. .
2. Open Diapason. Io. Tierce.
3. Stopped Diapason. 4 II. Sesquialtera, V ranks.
4. Clarabella. I2. Mixture, II ranks.
5. Principal. I3. Furniture, III ranks.
6. Principal. 14. Posaune.
7. Twelfth. I5. Trumpet.
8, Fifteenth. I6. Clarion,
AN ACCOUNT OF BRITISH ORGANS.
507
I7.
I8.
I9.
2O.
2.I.
22.
23.
31. Open Diapason.
32. Stopped Diapason.
33. Dulciana.
34. Principal.
42. Open Diapason.
Swell Organ, I4 Sãoffs.
Double Diapason. , 24.
Bourdon.
Open Diapason.
Open Diapason to tenor c.
Stopped Diapason to tenor c. 28
Stopped Diapason Bass. 29
Principal. 3O
Choir Organ, II Słoffs.
35. Flute.
36. Fifteenth.
37. Flageolet.
Pedal Organ, 4 Stoffs.
44. Principal.
43. Bourdon.
38. French Horn to tenor c.
Fifteenth.
Sesquialtera, III ranks.
. Mixture, II ranks.
Contra Fagotto,
. Cornopean,
. Oboe.
. Clarion.
39. Trumpet to tenor c.
4O. Cremona.
4.I. Bassoon.
45. Trombone.
Accessory Stoſs, Movements, &c.
1. Coupler, Swell to Great.
2. Coupler, Choir to Great.
3. Coupler, Swell to Choir. ...
4. Coupler, Great to Swell (Sforzando).
5. Coupler, Choir Sub-octave to Great.
6. Coupler, Great to Pedal.
Compass.
Great, GG to f * in alt............ 59 notes.
Choir, GG to f * in alt ......... 59 notes.
swell, CC to final
Pedal, partly GG to middle e... 34 notes.
7. Great Sub-octave to Pedal.
8. Choir to Pedal.
9. Swell to Pedal.
IO. Octave Pedal Coupler.
II to 17. Seven Composition Pedals.
a & a g g º g º &
54 notes.
Summary of Stoffs and Piffes,
Great .................. I6 stops .............
Choir .................. II Stops .............
Swell .................. I4 Stops ... . . . . . . . . . .
Pedal .................. 4 Stops .............
45 stops.
Couplers............... 9
... I328 pipes.
... 551 pipes.
... 798 pipes.
... 92 pipes.
sº-º-º-ººse
2769 pipes.
tºº--sºmeº
214. ST. LUKE's CHURCH, OLD STREET ROAD.
The organ in St. Luke's Church, Old Street Road, was originally built by
Bridge, but has been re-modelled and entirely re-constructed by Gray and Davison.
It now consists of 3 Manual organs of complete compass, an independent Pedal,
and 32 stops, of which the following is a list —
Greaſ, 14 Słoffs.
I. Sub-Octave, stopped ...... I6 feet tone, 8. Fifteenth ..................... 2 feet.
2. Principal, open ............ 8 feet. 9. Ottavina ..................... 2 feet.
3. Principal, open ............ 8 feet. IO. Seventeenth.................. I# foot
4. Stopped Principal ......... 8 feet tone. II. Sesquialtera, II ranks ... I # foot.
5. Octave ........................ 4 feet I2. Mixture, II ranks ......... # foot
6. Piccolo Flute ............... 4 feet 13. Trumpet ..................... 8 feet.
7. Twelfth........................ 3 feet I4. Clarion........................ 4 feet
508 APPENDIX.
%
Choir, 7 Słońs.
15. Stopped Flute, Treble ... 8 feet tone. 19. Flageolet .................. 4 feet.
I6. Stopped Bass ............... 8 feet tone, 20. Fifteenth .................. 2 feet.
17. Dulciana ..................... 8 feet. 2I. Clarinet ............. . . . . . . . . 8 feet tone.
18. Octave ........................ 4 feet. .*
Sweſ/, 9 Stoffs.
22. Sub-Octave, Stopped ...... 16 feet tone. 27. Sesquialtera, III ranks ... Ił ſoot,
23. Principal ..................... 8 feet. 28. Hautboy ..................... 8 feet.
24. Concert Flute ............... 8 feet. 29. Cornopean .................. 8 feet.
25 Octave ........................ 4 feet. 30, Clarion ..................... 4 feet.
26. Fifteenth ..................... 2 feet
Pedal, 2 Słońs.
31. Grand Principal ............ I6 feet, | 32. Grand Octave. . . . . . . . . . . . . . . 8 feet,
Accessory Słożs, Movements, &c.
I. Coupler, Swell to Great. 5. Coupler, Choir to Pedal.
2. Coupler, Swell to Great, Sub-octave. 6. Coupler, Swell to Pedal.
3. Coupler, Swell to Great, Super-octave. 7, 8, 9, 10. Four Composition Pedals.
4. Coupler, Great to Pedal. II. Tremulant Swell. -
Compass.
Great, CC to fê in alt. Swell, CC to f * in alt.
Choir, CC to fº in alt, Pedal, CCC to Tenor c,
215. ST. MARY'S CATHOLIC CHAPEL, MOORFIELDS.
The organ in St. Mary's Catholic Chapel, Moorfields, was built by Bevington
and Son. It contains 31 Sounding stops, of which the following is a list —
Great, 13 Stoffs.
I. Open Diapason, metal, No. I. 8. Twelfth.
2. Open Diapason, ditto, No. 2. 9. Fifteenth,
3. Open Diapason, Small, No. 3. IO, Sesquialtera, IV ranks.
4. Stopped Diapason, No. I. II. Mixture, III ranks.
5. Stopped Diapason, No. 2. I2. Trumpet.
6. Principal, large, No. 1. I3. Clarion.
7. Principal, No. 2.
Choir, 8 Stoffs.
I4. Open Diapason. I8. Flute.
I5. Stopped Diapason. 19. Fifteenth.
I6. Dulciana. 20. Mixture, III ranks.
17. Principal. 2I. Cremona.
Swell, 9 Słożs.
22. Double Diapason. 27. Cornet, III ranks.
23. Open Diapason. 28. Trumpet.
24. Stopped Diapason 29. Clarion.
25. Claribel. 30. Oboe.
26. Principal.
AN ACCOUNT OF BRITISH ORGANS. 509
Pedal, I Słoż.
31 Open Pipes from CC down to FFFF............... 24 feet length.
Accessory Stoffs, Movements, &c.
I, 2, 3. Three Couplers. | 4 to 12, Nine Composition Pedals.
Compass.
Great, FFF to fé in alt.
Choir, FFF to fº in alt.
Swell, FF to fê in alt.
Pedal, FFF to Tenor c.
216. GREENWICH.
The organ in the chapel of the Royal Hospital, at Greenwich, is a most
admirable specimen of Green’s work. It cost £1,000, exclusive of the case, and
contains the following 26 stops:—
Great, I2 Stoffs.
I. Open Diapason. . 8. Fifteenth.
2. Open Diapason. 9. Sesquialtera, III ranks.
3. Stopped Diapason. - IO. Mixture, III ranks.
4. Clarabella, in lieu of IV rank Cornet. II Trumpet, Treble.
5. Principal. UTrumpet, Bass.
6. Metal Flute. I2. Clarion.
7. Twelfth.
Choir, 5 Słońs.
13. Stopped Diapason. I6. Fifteenth.
I4. Principal. I7. Cremona.
15. Flute.
- Swell, 8 Stoffs.
18. Open Diapason. 22. Dulciana Principal.
I9. Dulciana. 23. Cornet, III ranks, I2, I5, 17.
2O. Stopped Diapason. 24. Hautboy.
21. Principal. 25. Trumpet.
Pedal, I Stoff.
26. Open Diapason, CC down to CCC ; then return BB to FFF.
Accessory Słońs, Movements, &c.
I. Coupler, Swell to Great. 3. Coupler, Great to Pedal.
2. Coupler, Choir to Great. 4. Coupler, Choir to Pedal.
Compass.
Swell, FF to e” in alt. ; keys below FF acting.
Great, FFF to e8 in alt. ; no FFF #
Pedal Clavier, FFF to tenor c.
Choir, FFF to e” in alt. ; no FFF:
217. LEE CHURCH, KENT.
This fine organ was built by Bishop in 1850. It has 29 Sounding stops, of
which the following is a list – w
Greaſ, 9 Stoffs.
I. Open Diapason ............ 8 feet. 6. Fifteenth ..................... 2 feet
2. Stopped Diapason ......... 8 feet tone. 7. Sesquialtera, III ranks.
3. German Flute ...... . . . . . . . . . 8 feet, 8. Mixture, II ranks.
4. Principal ......... . . . . . . . . . . . . 4 feet 9. Trumpet ..................... 8 feet
5. Twelfth............ . . . . . . . . . . . . 23 feet.
5 IO - APPENDIX.
Choir, 8 Stoffs.
IO. Open Diapason ............ 8 feet. I4. Principal ..................... 4 feet.
II. Dulciana ..................... 8 feet. I5. Flute ........................ 4 feet.
I2. Stopped Diapason ......... 8 feet tone. | 16. Fifteenth ..................... 2 feet.
13. Viol di Gamba ............... 8 feet. I7. Cremona ..................... 8 feet tone.
Swell, Io Stoffs.
18. Bourdon, Bass ............... I6 feet tone. 23. Twelfth ..................... 2% feet.
I9. Tenoroon ..................... I6 feet. 24. Fifteenth ..................... 2 feet.
20. Open Diapason ............ 8 feet. 25. Sesquialtera, III ranks.
2I. Stopped Diapason ......... 8 feet tone. 26, Horn ........................ 8 feet.
22. Principal ..................... 4 feet. 27. Hautboy ..................... 8 feet.
Pedal, 2 Słożs.
28. Open Diapason ............ I6 feet. | 29, Stopped Diapason ......... I6 feet tone,
Couplers, &c. ~,
I. Pedals to Choir organ. 5. Swell to Great.
2. Ditto to Great organ. 6. Choir to Great.
3. Ditto to Swell. 7 to 13. Seven Composition Pedals, viz.,
4. Swell to Choir. * | * 3 to Great organ, 4 to Swell.
Com/ass.
All the Manuals, CC to f * in alt. | Pedal, CCC to tenor c.
218. ST, MARy’s, CLAPHAM.
This organ was built by Mr. J. C. Bishop in 1845. It has three complete
rows of keys, from CC to F, and 28 sounding stops :-
Great, 8 Stoffs.
I. Open Diapason ............ 8 feet. 5. Twelfth ..................... 23 feet.
2. Stopped Diapason ......... 8 feet tone. 6. Fifteenth ..................... 2 feet.
3. German Flute ............... 8 feet. 7. Sesquialtera, III ranks.
4. Principal ..................... 4 feet. 8. Trumpet ..................... 8 feet,
Choir, 8 Słoffs,
9, Open Diapason ............ 8 feet. 14. Flute ........................ 4 feet.
IO. Dulciana ..................... 8 feet. I5. Fifteenth ..................... 2 feet.
II. Stopped Diapason ......... 8 feet tone, I6. Clarionet ..................... 8 feet tone.
I2. Clarabella..................... 8 feet. I7. Double Diapason, Bass... I6 feet tone.
13. Principal .................... 4 feet.
Swell, IO Stoffs,
18. Open Diapason ............ 8 feet. 23. Sesquialtera, III ranks.
I9. Stopped Diapason ......... 8 feet tone. 24. Mixture, II ranks.
2O. Principal ..................... 4 feet. 25. Horn ........................ 8 feet.
21. Twelfth ..................... 23 feet. 26. Hautboy ..................... 8 feet.
22. Fifteenth ..................... 2 feet. 27. Clarion........................ 4 feet.
Pedal, I Stoff,
AN ACCOUNT OF BRITISH ORGANS. 5 II
Accessory Słoffs, Movements, &c.
I. Swell to Pedal. * 7. Swell to Great, octave higher.
2. Great to Pedal. 8, 9, Io. Three Composition Pedals to
3. Choir to Pedal. Great.
4. Swell to Great. II, I2, 13. Three Composition Pedals to
5. Choir to Great. Choir.
6. Swell to Choir.
Com/ass.
Great, CC to f * in alt. - Swell, CC to f * in alt.
Choir, CC to f * in alt. Pedal, CCC to tenor c.
219. HAMPTON COURT PALACE.
The organ in the Chapel Royal, Hampton Court Palace, is a most excellent
and interesting little instrument, built by Father Smith. It has been enlarged
and much improved by Hill, who added the Pedal pipes, and also a Cremona to
the Choir organ. The organ now contains 20 Sounding stops, of which the fol-
lowing is a list —
Great, 9 Stoffs.
I. Open Diapason. 6. Fifteenth.
2. Stopped Diapason. 7. Sesquialtera, III ranks.
3. Principal. 8. Cornet, III ranks.
4. Flute (Quintaion). 9. Trumpet.
5. Twelfth.
Choir, 5 Stoffs.
IO. Stopped Diapason. I3. Fifteenth.
II. Principal. I4. Cremona.
I2. Flute,
Swell, 5 Słożs.
I6. Stopped Diapason. I9. Trumpet.
I5. Open Diapason. 18. Hautboy.
17. Principal.
Pedal, I Słoż.
20. Open Pipes, Gamut G down to CCC, 16 feet length ; repeating on lowest # octave
of Pedal.
Couplers, -
I. Swell to Great. | 2. Great to Pedal. | 3. Choir to Pedal.
Compass.
Great, GG to e” in alt. Pedal Stop, CCC to gamut G.
Choir, GG to e” in alt. Pedal Clavier, GG to fiddle g.
Swell, Tenor f to fº in alt. !
5 I2 APPENDIX.
COUNTRY OR GANs.
22O, WINDSOR,
THE organ that was built by Father Smith, in the reign of Charles the Second,
for St. George's Chapel, Windsor, was, on the completion of the present instrument
by Green, presented to Windsor Church by King George the Third. Green's
organ was opened on Sunday, October 17, 1790. It was originally enclosed in
a “general Swell; ” but this was removed many years ago. Considerable addi-
tions have been made to the instrument by Gray and Davison ; among the most
important of which may be mentioned the extension of the Swell to FF, together
with the introduction of six new stops; the application of open Pedal pipes to
FFFF; the substitution of a Mixture and a Clarabella in place of the Furniture
and a IV rank Cornet in the Great organ, and of a Keraulophon in lieu of the
Fifteenth in the Choir. The organ now contains 33 Sounding stops, of which the
following is a list —
Great, I2 Stoffs.
I. Open Diapason, Nave Front. 7. Fifteenth.
2. Open Diapason, Choir Front. 8. Sesquialtera, III ranks.
3. Stopped Diapason, 9. Mixture, II ranks.
4. Clarabella Flute. Io. Trumpet, Treble.
5. Principál. II. Trumpet, Bass.
6. Twelfth, I2. Clarion.
Choir, 7 Słońs.
13. Dulciana to FF. I7. Keraulophon.
I4. Stopped Diapason. I8. Bassoon.
I5. Principal. I9. Clarionet.
I6. Octave Flute.
Swell, 12 Stoffs.
2O. Double Diapason. 26. Fifteenth.
2I. Open Diapason. 27. Sesquialtera, III ranks.
22. Stopped Diapason. 28. Cornopean.
23. Dulciana. 29. Hautboy.
24. Dulciana Principal. 30. Trumpet.
25. Principal. 3I. Clarion.
Pedal, 2 Sãoffs.
32. Double Open Diapason to FFFF............... 24 feet length.
33. Open Diapason to FFF........................... I2 feet length.
Couplers.
Swell to Great. Great to Pedals.
Choir to Pedal. Swell to Pedals,
AN ACCOUNT OF COUNTRY ORGANS, 5 I 3
22I. WINDSOR,
The organ in St. George's Hall, Windsor Castle, was built by Messrs. Hill and
Co. It contains 29 Sounding stops, 2 complete Manuals, and an independent
Pedal of 3 stops. It is also furnished with two sets of movements, draw-stops,
Claviers, &c., so that it can be used in the Chapel as well as in the Hall. The
following is a list of the stops — -
Great, I2 Stoffs.
I. Double Open and Bourdon 16 feet. 7. Flute ........................ 4 feet.
2. Open Diapason ............ 8 feet, 8. Twelfth ................. ... 3# feet.
3. Cone Gamba ............... 8 feet. 9. Fifteenth..................... 2 feet.
4. Stopped Diapason ......... 8 feet tone. IO. Sesquialtera, III ranks.
5. Quint ........................ # feet. II. Posaune ..................... 8 feet.
6. Principal'..................... 4 feet. I2. Clarion : ..................... 4 feet.
Choir, 6 Słożs.
13. Open Diapason, throughout 8 feet. I6. Gemshorn .................. 4 feet.
14. Clarabella and Stopped Bass 8 feet. I7. Flute ........................ 4 feet.
I5. Salicional to tenor c ...... 8 feet, I8. Cromorne .................. 8 feet tone.
Swell, 8 Słoffs.
I9. Double Diapason............ 16 feet. 23. Fifteenth ..................... 2 feet.
2O. Open Diapason ............ 8 feet. 24. Sesquialtera, II ranks.
2I. Stopped Diapason ......... 8 feet tone, 25. Cornopean .................. 8 feet.
22. Principal ..................... 4 feet. 26, Oboe ............... * . . . . . . . . 8 feet.
Pedal, 3 Słońs.
27. Open Diapason ............ I6 feet. 29. Trombone ................ 16 feet.
28. Principal ..................... 8 feet.
Accessory Słoffs, Movements, &c. -
I. Swell to Great. | 2. Great to Pedal. | 3. Swell to Pedal.
Com/ass,
Great, CC to fº in alt. Swell, CC to fº in alt. | Pedal, CCC to tenor d.
222. TORQUAY.
Description of the organ in St. John's Church, Torquay, built by Hill and Son
in 1873. 4 Manuals, compass of each CC to G, 56 notes, and Pedal Clavier
CCC to F, 30 notes — -
Great Organ.
Labelled.
I. Bourdon ................................. Tibia Pileata Gravis, XVI.
2. Open Diapason ........................ Regula. Primaria, VIII.
3. Hohl Flute .............................. Tibia Fistulata, VIII.
4 Octave .................................... Octava, IV.
5. Harmonic Flute ........................ Tibia Transversa, IV,
6. Twelfth .................................... Duodecima, III.
7. Fifteenth ................................. Quintadecima, II.
8. Mixture, IV ranks ..................... Miscella Quadruplex.
9. Posaune ............. f : * * * * * * * * * * * * * * * * * * Tuba Magna, VIII.
5 I4.
APPENDIX.
Choir Organ.
IO. Pierced Salicional ..................... Tibia Salicionalis, VIII.
II. Wald Flute .............................. Tibia Silvestris, VIII.
I2. Rohr Flute .............................. Tibia Arundinacea, IV.
I3. Viol d'Amour Pierced.................. Fides Amoris, IV.
I4. Spitz Flote .............................. Tibia Acuta, II.
15. Bassoon.................................... Fascis, VIII.
I6. Sub-Octave Coupler .................. Sub-Octave Copula.
I7. Tremulant........... . . . . . . . . . . . . . . . . . . . . . . Flatus Tremulus,
Swell Organ.
18. Bourdon ................................. Tibia Pileata Gravis, XVI.
I9. Open Diapason ........................ Regula Primaria, VIII.
2O. Lieblich Gedact ........................ Tibia Pileata Amabilis, VIII.
21. Octave .................................... Octava, IV.
22. Suabe Flute .............................. Tibia Suavis, IV.
23. Mixture, III ranks ..................... Miscella Triplex.
24 Horn ....................................... Cornu, VIII.
25. Oboe ....................................... Calamus.
26. Sub-Octave Coupler .................. Sub-Octava Copula.
27. Tremulant................................. Flatus Tremulus,
Solo Organt. (In Double Swell.) ,
28, Viol di Gamba .,,........................ Fides Cruralis, VIII.
29. Unda Maris, tenor c ...... * * * * * * * . . . . . Unda Maris, VIII.
30. Dulciana ................................. Tibia Dulcis, VIII.
3I. Vox Humana .................... 4 * * * * * * Vox Humana, VIII.
32. Cremona ................................. Cantus Cremonensis, VIII.
33. Tremulant ......... ** * * * * * * * * * * : * * * * * * t e tº Flatus Tremulus.
34. Duplicate handle ........................ Manual 2 ad Pedals.
Pedal Orgart.
35. Sub-bass ........................... • . . . . . Tibia Pileata Gravissima, XXXII.
36. Open Diapason, metal.................. Regula Primaria, XVI.
37. Open Diapason, wood.................. Tibia Aperta Magna, XVI.
38. Bourdon,....................... . . . . . . . . . . * * * Tibia Pileata, XVI.
39. Principal ................................. Octava, VIII.
40. Fifteenth ................................. Quintadecima, IV.
41. Trombone ................................. Tuba Ductilis, XVI.
Couplers.
I. Swell to Great ........................ -- Manual III and Manual II.
2. Choir to Great ............ . . . . . . . . . . . . . . . ,, . I and , II.
3. Swell to Choir ........................... ,, III and , I.
4. Sub-octave in Swell..................... (Second Swell.)
5. Sub-Octave in Choir..................... (Second Choir.)
6. Swell to Pedal ........................... Manual III and Pedal.
7. Great to Pedal ........................... $ 2 II and , , ,
8, Choir to Pedal .................... * * * * * * * 3 y I and ,
Tremulant on Solo, Swell, and Choir. Three Composition Pedals to Great. Two
Composition Pedals to Pedal, Three Swell Pedals, one to Swell, two to Solo.
AN ACCOUNT OF COUNTRY ORGANS. 515
223, GLOUCESTER CATHEDRAL.
This organ was originally built by the elder Harris, in conjunction with his son,
Renatus, in the year 1670. In 1847 the instrument was considerably enlarged by
Henry Willis, of London, who added a Swell of I2 stops, all of which are entirely
new (with its movement), excepting some old pipes which are derived from the old
Twelfth in the Great organ and the old Swell. The continuation of the Great
organ from GG to CCC, and the entire re-arrangement of the Pedals and mechanism,
including new Couplers, &c., and the addition of a Mixture and Clarion to the
Great organ, are also by Willis. The instrument now contains 29 sounding stops,
of which the following is a list —
Great, I I Stoffs.
I. Open Diapason. 7. Fifteenth. Fºr
2. Open Diapason. 8. Sesquialtera, IV ranks.
3. Stopped Diapason. 9. Mixture, II ranks.
4. Clarabella. IO. Trumpet.
5. Principal. II. Clarion,
6. Twelfth,
Choir, 5 Słoffs.
I2. Dulciana. I5. Flute, metal.
I6. Fifteenth,
I3. Stopped Diapason,
I4. Principal.
Swell, I2 Stoffs,
17. Open Diapason. 23. Fifteenth.
18. Open Diapason. 24. Sesquialtera.
I9. Stopped Diapason. 25. Trumpet.
20. Dulciana. 26. Hautboy.
21. Principal. 27. Cremona,
22. Flute, 28. Clarion.
Pedal, I Stoff,
29. Open Diapason.
- Accessory Słożs, Movements, &c.
1. Coupler, Swell to Great.
2. Coupler, Choir to Great.
3. Coupler, Swell to Choir.
5. Coupler, Pedals to Choir.
4. Coupler, Pedals to Great.
6. Coupler, Pedal to Great.
Co/t/ass.
| Swell, CC to fº in alt.
Great, CCC to f * in alt.
Pedal, CCC to tenor e.
Choir, GG to fº in alt.
224. TEWKESBURY.
Part of the organ now standing in the Abbey Church of Tewkesbury formed a
portion of that which originally stood in Magdalen College, Oxford ; whence it
was removed to its present locality in 1740, on the completion of Schwarbrook's
organ for the College just mentioned. The Tewkesbury organ, however, has been
X X 2
516 APPENDIX.
entirely re-modelled and greatly enlarged by Willis. But little of the original work
remains, except a few Diapasons and the Principal, together with the East or Choir
front, which, although thin, are valuable, as they are made of tin, alloyed with
about eight pounds of lead in the cwt. The organ contains 22 stops,
Greaſ, 13 Stoffs, from CC to F.
I. Open Diapason ............ 8 feet. 8. Fifteenth ..................... 4 feet.
2. Open Diapason ... ......... 8 feet. 9. Sesquialtera.
3. Stopped Diapason ......... 8 feet tone. Io. Mixture.
4. Clarabella .................. 8 feet. II. Trumpet ..................... 8 feet.
5. Dulciana ..................... 8 feet. I2. Clarion ..................... 4 feet.
6. Principal ..................... 4 feet. 13. Cremona ..................... 8 feet tone,
7. Twelfth ..................... 23 feet. *
Swell, 7 Stoffs, from CC to F.
I4. Open Diapason ............ 8 feet. 18. Sesquialtera, III ranks ... I; foot.
I5. Stopped Diapason ......... 8 feet tone, 19. Trumpet (only prepared for).
I6. Principal ..................... 4 feet. 2O. Hautboy ..................... 3 feet,
I7. Fifteenth ... .................. 2 feet,
Pedal, 2 Stoffs, 2 Octaves and a Major Third, from CCC to E.
2I. Double Open Diapason ... 16 fect. | 22. Double Trumpet ......... I6 feet.
Couplers.
I. Swell to Great. | 2, Swell to Pedals, | 3. Great to Pedal.
225. HEREFORD CATHEDRAL.
This organ, originally built by Renatus Harris in 1686, was a present from
King Charles the Second. Byfield afterwards added the Choir organ ; and the
instrument has since been successfully repaired by Snetzler, Green, Avery, Lincoln,
Elliott, who, in 1806, put Pedals and Pedal pipes; and, by Bishop, who introduced
the present Swell and Pedal pipes. -
Since the close of 1862 it has undergone a number of alterations and additions,
amounting to an entire re-modelling, at the hands of Messrs. Gray and Davison.
In fact, it may be described as a new instrument, rather than a restored organ,
although Such of the old pipes as were in good condition, having been re-voiced,
are again used.
The site selected is underneath the westernmost arch of the south aisle of the
Choir, the Swell being in the triforium, and the bellows, erected in a framework of
wood, in the passage leading to the robing room.
The pneumatic action, for lightening the touch, &c., is applied to the Great
organ and its Couplers, also to the whole of the Draw stop and Composition
Action throughout. It is intended to blow the instrument by hydraulic power, but
at present three handles are uscd for the purpose. The pipes of the Pedal Violone
AN ACCOUNT OF COUNTRY ORGANS.
517
(some of the largest in England) are placed in front, and from their great height,
as well as from their elaborate decorations, designed by Sir Gilbert Scott, present
a most imposing appearance. There are 2230 pipes in the organ. -
Great Organ, 16 Słożs.
I. Bourdon ..................... I6 feet 9. Gamba.
2. Open Diapason 8 feet IO. Open Diapason ............ 8 feet
3. Stopped Diapason ......... 8 feet II. Clarabella .................. 8 feet
4. Principal ..................... 4 feet I2. Principal, metal............ 4 feet
5. Twelfth. I3. Fifteenth.
6. Tierce. I4. Iarigot.
7. Furniture, IV ranks. I5. Mixture, II ranks.
8. Trumpet ..................... 8 feet I6. Clarion........................ 4 feet
Choir Organ, 7 Słońs.
I7. Stopped Diapason. 2I, Dulciana.
18. Principal. 22, Spitzflote.
I9. Flute. 23. Flageolet.
2O. Cremona.
Swell Organ, IO Słożs.
24. Bourdon ..................... I6 feet. 29, Open Diapason ............ 8 feet
25. Keraulophon ............... 8 feet 30. Soft Diapason............... 8 feet
26. Principal ..................... 4 feet 3I. Fifteenth.
27. Mixture. 32. Cornopean .................. 8 feet
28, Oboe ........................... 8 feet 33. Clarion ..................... 4 feet
Pedal Organ, CCC to F, 7 Słońs.
34. Bourdon ..................... I6 feet. 38. Violone, metal ............ I6 feet
35. Grand Open Diapason ... I6 feet. 39. Principal ..................... 8 feet.
36. Fifteenth ..................... 4 feet 40. Trombone .................. I6 feet.
37. Trumpet ..................... 8 feet
Compass.
I. Pedals to Swell.
2. Pedals to Choir.
3. Swell to Choir.
| Total—45 stops.
4. Pedals to Great.
5. Swell to Great.
There are 6 Composition Pedals.
226, WORCESTER CATHEDRAL.
The Choir organ was built by Messrs. Hill and Co. in the year 1842. It contains
39 sounding stops, of which the following is a list :-
Great, 14 Stoffs.
. Tenoroon ..................... I6 feet. 8. Wald Flote ............... 4 feet
. Bourdon, to meet No. I... I6 feet tonc. 9. Twelfth ..................... 2# feet
. Open Diapason, back...... 8 feet. Io, Fifteenth .....…............ 2 feet
Open Diapason, front...... 8 feet. II. Sesquialtera, III ranks ... 14 foot,
. Stopped Diapason ........, 8 feet tone. I2. Mixture, II ranks ......... # foot.
. Quint ......... * * * * * * * * * * * * * * * 5% feet 13. Doublette, II ranks ... ... 2 feet.
. Principal ..................... 4 feet, I4. Posaune . . . . . . . . . . . . . . . . . . . . . 8 feet
518 - APPENDIX.
Choir, 8 Stoffs.
I5. Dulciana … 8 feet. I9. Stopped Flute............... 4 feet tone
I6. Clarabella .................. 8 feet. 2O. Oboe Flute .................. 4 feet.
17. Stopped Diapason ......... 8 feet tone. 2I. Fifteenth ................ . . . . . 2 feet.
18. Principal ..................... 4 feet. 22. Cremona ............... . . . . . . 8 feet tone.
Swell, II Stoffs.
23. Double Dulciana............ I6 feet. 29. Flageolet..................... 2 feet,
24. Open Diapason ... . . . . . . . . . 8 feet. 30. Doublette, II ranks ...... 2 feet.
25. Stopped Diapason ......... 8 feet tone. 31. Echo Cornet.
26. Dulciana ........ . . . . . . . . . . . . . 8 feet. 32. Oboe ............ . . . . . . . . . . . . 8 feet.
27. Principal ..................... 4 feet. 33. Cornopean .................. 8 feet.
28. Suabe Flute .................. 4 feet.
Pedal, 6 Sãoffs.
34. Open Diapason ............ 16 feet. 37. Fifteenth ..................... 4 feet.
35. Stopped Diapason ......... 16 feet tone, 38. Sesquialtera, V ranks. -
36. Principal ..................... 8 feet. 39. Trombone .................. I6 feet.
Accessory Stoffs, Movements, &c.
1. Coupler, Swell to Great. 4. Coupler, Pedals to Choir.
2. Coupler, Swell to Choir. 5 to 9. Five Composition Pedals.
3. Coupler, Pedals to Great. -
Com/ass.
Great, CC to fº in alt. Swell, tenor c to fº in alt.
Choir, CC to fê in alt. Pedal, CCC to tenor e.
227. WORCESTER.
Description of the organ built by Hill and Son for Worcester Cathedral transept
in 1875. Four Manuals, compass of each, CC to A, 58 notes, and Pedal Clavier,
CCC to F, 30 notes,
Great Orgaſt.
I, Double Open Diapason, 7. Principal, metal ............ 4 feet,
metal...... § - w w e º u ........... I6 feet. | 8. Harmonic Flute, metal ... 4 feet.
2. Bourdon, wood ............ I6 feet. 9. Twelfth, metal ............ 3 feet
3. Open Diapason, metal ..., 8 feet. IO. Fifteenth, metal ............ 2 feet.
4. Open Diapason, No. 2, ‘II. Full Mixture, metal, III ranks.
metal ........................ 8 feet. I2. Sharp Mixture, metal, IV ranks.
5. Gamba, metal ............... 8 feet. I3. Posaune, metal ............ 8 feet.
6. Stopped Diapason, wood... 8 feet. I4. Clarion, metal............... 4 feet.
Choir Organ.
15. Open Diapason, metal...... 8 feet. I9. Principal, metal ............ 4 feet.
16. Dulciana, metal ............ 8 feet. 2O. Waldflote, wood ......... 4 feet
17. Salicional, grooved, No. 2, 2I. Flautina, metal ............ 2 feet.
metal ........................ 8 feet. 22. Dulciana Mixture, metal, II ranks.
18, Hohlflote, wood ......... 8 feet, 23. Clarionet, metal ............ 8 feet,
Solo Ongan,
24. Tuba Mirabilis, metal ..... 8 feet, 26. Vox Humana, metal ... 8 feet.
25, Vox Angelica, metal, II ranks, 27. Harmonic Flute, metal ... 4 feet,
AN ACCOUNT OF COUNTRY ORGANS.
519
Swell Organ.
28. Bourdon, wood ............... I6 feet 35. Fifteenth, metal ............ 2 feet
29. Open Diapason, metal ...... 8 feet 36. Mixture, metal, III ranks.
3O. Salicional, metal ............ 8 feet. 37. Double Trumpet, metal... 16 feet.
3I. Stopped Diapason, wood ... 8 feet. 38. Cornopean, metal ......... 8 feet.
32. Principal, metal ..........., 4 feet. 39. Oboe, metal.................. 8 feet
33. Lieblich Flute, metal......... 4 feet. 40. Clarion, metal,.............. 8 feet
34. Twelfth, metal ............... 3 feet
Pedal Organ.
41. Double Open Diapason, 47. Principal, metal ............ 8 feet
metal ........................ 32 feet 48. Violoncello, wood ......... 8 feet
42. Double Open Diapason, 49. Twelfth, metal............... 6 feet
Wood ........................ 32 feet 50. Fifteenth, metal ............ 8 feet
43. Open Diapason, metal ...... I6 feet 5.I. Mixture, metal, III ranks.
44. Open Diapason, wood ...... I6 feet 52. Trombone, wood ......... I6 feet
45. Violone, wood ............... I6 feet. 53. Clarion, metal............... 8 feet,
46. Bourdon, wood ............... I6 feet
Couplers.
I. Swell to Great. 6. Great to Pedal.
2. Swell to Octave. 7. Choir to Pedal.
3. Swell to Sub-octave. 8. Swell to Pedal. *
4. Solo to Great. 9. Pedal “Forte” ventil. .
5. Swell to Choir. &
4 Composition Pedals to Great and Pedal.
3 Composition Pedals to Swell organ.
I. Tenoroon Diapason......... I6 feet.
2. Bourdon ..................... I6 feet tone.
3. Principal Diapason ......... 8 feet.
4. Stopped Diapason, Treble 8 feet tone.
5. Stopped Diapason, Bass... 8 feet tone.
6. Dulciana ..................... 8 feet.
7. Quint........................... 5% feet
8. Principal Octave ......... ... 4 feet
9. Waldflote .................. 4 feet
Swell, I2
19, Tenoroon Diapason......... I6 feet.
2O. Bourdon, to meet No. 1 ... I6 feet tone.
2I. Principal Diapason ...... 8 feet,
22, Stopped Diapason, Treble 8 feet tone.
23. Stopped Diapason, Bass... 8 feet tone.
24. Principal Octave ............. 4 feet.
25. Suabe Flute .................. 4 feet.
3 Composition Pedals to Pedal organ.
Pneumaticaction to Great, Swell and Couplers.
228, STRATFORD-ON-Avon.
The organ in the Parish Church at Stratford-on-Avon was built by Hill, in
1841, from a specification prepared by Mr. F. Marshall, of Leamington. It
contains 36 Sounding stops, of which the following is a list:—
Great, 18 Sãoffs,
IO, Oboe Flute .................. 4 feet
II. Twelfth ..................... 2% feet
I2. Fifteenth ..................... 2 feet
I3. Octave Fifteenth ......... I foot
I4. Sesquialtera ............... I# foot
I5. Mixture ..................... # foot.
I6. Corno Trombone ......... 8 feet
17. Corno Clarion ............ 4 feet.
18, Cromorne 8 feet tone.
Słożs.
26. Flageolet..................... 2 feet,
27. Doublette, II ranks ...... 2 feet
28. Echo Dulciana Cornet,
V ranks .................. I# foot,
29, Oboe ........................ 8 feet
30. Cornopean .................. 8 feet,
52O APPENDIX.
Pedal, 6 Słożs.
31. Open Diapason ............ I6 feet. 34. Fifteenth ..................... 4 feet.
32. Bourdon ..................... I6 feet tone. 35. Mixture, V ranks ......... 4 feet.
33. Principal ..................... 8 feet, 36. Posaune ..................... I6 feet.
Accessory Słożs, Movements, &c.
2. Great to Pedal. 5 to 7. Three Composition Pedals,
I. Coupler, Swell to Great. 4, Octave Pedal.
3. Swell to Pedal.
Com/ass.
Great and Swell, CC to ſº in alt. | Pedal CCC to tenor d.
229. BIRMINGHAM.
The splendid organ in the Town Hall, Birmingham, was built by Mr. William
Hill, of London, and cost about £3,000. The height of the case is 40 feet; it is
35 feet wide, and 15 feet deep. The bellows contains 300 square feet of Surface,
and upwards of three tons' weight upon the bellows is required to give the necessary
pressure. The trackers, if laid out in a straight line, would reach above five
miles. The principal metal pipe, standing in front of the organ, is 35 feet 3 inches
long, and 5 feet 8 inches in circumference. The largest wood pipe, CCCC, 32 feet,
is 12 feet in circumference, and its interior measurement is 224 cubic feet.
Originally the Great and Choir organs were of 16 feet compass ; but, on the
occasion of the instrument being re-modelled, they were altered to the CC or
8-feet range; the Great being at the same time converted into a “ 16-feet Manual,”
in the German acceptation of the term. The Pedal stops were also increased in
number from four to ſifteen. The organ has a fourth Manual, in connection with a
Combination or Solo organ, upon which, by an ingenious contrivance, can be
played any stop or stops out of the Swell or Choir organs, without interfering
with their previous arrangement on their separate Manuals. There are two
Octaves and five notes of Pedals. The timber alone used in this instrument
weighs between twenty and thirty tons; and the metal and other materials
employed in its formation raise it to a total weight of at least forty tons.
The Birmingham organ has 53 sounding stops, of which the following is a
list —
Great, I9 Stoffs.
1. Double Open Diapason ... 16 feet. II. Doublette, II ranks ...... 2 feet.
2. Open Diapason ............ 8 feet. I2. Sesquialtera, V ranks. w
3. Open Diapason ............ 8 feet. I3. Mixture, V ranks.
4. Open Diapason ............ 8 feet. I4. Furniture, V ranks.
5. Stopped Diapason ......... 8 feet tone. 15. Contraor IDouble Trumpet 16 feet.
6. Quint........................... 5% feet tone. I6. Posaune ..................... 8 feet.
7. Principal ..................... 4 feet. 17. Clarion ..................... 4 feet.
8, Principal ..................... 4 feet. 18. Octave Clarion ............ 2 feet.
9. Twelfth........................ 23 feet. I9. Great Ophicleide, on a
IO. Fifteenth ..................... 2 feet, heavy pressure of wind 8 feet.
Swell, Io Stoffs.
2O. Double Diapason............ I6 feet. 25. Sesquialtera, V ranks ... I # foot.
21. Open Diapason ............ 8 feet, 26. Horn ........................ 8 feet.
22. Stopped Diapason ......... 8 feet tone, 27, Trumpet ..................... 8 feet.
23. Principal ................... ... 4 feet, 28. Hautboy..................... 8 feet.
24, Fifteenth ............... ! s : * * * 2 feet, 29, Clarion ..................... 4 feet.
AN ACCOUNT OF COUNTRY ORGANS.
521
8 feet.
Choir, 9 Stoffs.
30. Open Diapason ............ 35. Oboe Flute .................. 4 feet
31. Dulciana ..................... 8 feet. 36. Waldflote .................. 4 feet
32. Stopped Diapason ......... 8 feet tone. 37. Fifteenth ..................... 2 feet
33. Principal ..................... 4 feet 38. Cornopean .................. 8 feet
34. Flute ........................... 4 feet -
Pedal, I 5 Stoffs.
39. Contra Open Diapason, 46. Twelfth ..................... 6 feet
metal .......... * * * * * * * * * * * 32 feet 47. Fifteenth ..................... 4 feet
40. Contra Open Diapason, 48. Sesquialtera, V ranks.
Wood........................ 32 feet 49. Mixture, V ranks.
4I. Open Diapason, metal ... I6 feet. 50. Contra Posaune ............ 32 feet
42. Open Diapason, metal ... I6 feet 51. Posaune ..................... I6 feet
43. Open Diapason, wood ... I6 feet. 52. Trumpet ..................... 8 feet
44. Stopped Diapason ......... I6 feet tone, 53. Clarion........................ 4 feet
45. Principal .......... … 8 feet. 4. &
COMBINATION OR SOLO ORGAN.
. Open Diapason.
. Cornopean.
. Dulciana.
. Stopped Diapason.
;
9. Hautboy.
IO. Clarion.
II. Trumpet.
I2, Horn.
13. Fifteenth.
Choir, 8 Stoffs.
. Harmonica.
. Flute.
. Cremona.
. Bells.
:
Swell, 9 Słoffs.
I4. Clarabella.
I5. Principal. -
I6. Stopped Diapason.
I7. Open Diapason.
Accessory Stoffs, Movements, &c.
. Swell to Great.
. Choir to Great.
. Pedals to Great.
. Pedals to Choir.
:
All four Manuals, CC to ſº in
Compass.
alt.
5. Pedals only.
6. Combination Choir.
7. Combination Swell.
8 to I4. Seven Composition Pedals,
Pedal, CCC to tenor f.
230. LICHFIELD CATHEDRAL,
The old organ, now removed, was erected by Samuel Green in 1789.
the present organ was erected by Mr. G. M. Holditch.
J. Spode, Esq., of Hawkesyard Park, in the county of Stafford,
In 1860
It was a present from
522
APPENDIX.
The organ consists of 3 whole rows of keys, and a large independent Pedal
organ. The compass of the Manuals is from CC to F in alt.
Great Organ, 19 Stoffs.
Feet. Pipes. - Feet Pipes.
I. Sub-bass ..................... I6 ... I2 I2. Super-quint .................. 3 ... - 54
2. Tenoroon ..................... I6 42 | I3. Super-octave ............... 2 54
3. Open Diapason ............ 8 54 I4. Tierce ........................ I# ... 54
4. Open Diapason ............ 8 42 I5. Sesquialtera.................. I# ... IO8
5. Open Diapason, Bass'...... 8 I2 | 16. Doublette..................... 2 ... IOS
6. Bell Gamba .................. 8 42 | I7. Mixture ..................... ... Io&
7. Clarabella ..................... 8 ... 54 | 18. Posaune ..................... 8 54.
8. Stopped Diapason ......... 8 ... , 54 | 19. Clarion........................ 8 54.
9. Octave ........................ 4 ... 54 -
IO. Gamba Octave ............... 4. 54 IO56
II. Waldflote .................. 4 42
Choir Orgaſt, 7 Słożs.
20. Dulciana .,,,,,,,,,,,,,,,,, ... 8 54 25. Fifteenth ..................... 2 54
21. Stopped Diapason, Bass... 8 I2 26. Cremona ..................... 8 42
22. Stopped Diapason, Treble 8 42 a-
23. Principal ..................... 4. 54. 3I2
24. Flute ........................... 4. 54 -
Swell Organ, 17 Słońs.
27. Bourdon........................ I6 I2 37. Mixture........................ IO8
28. Double Diapason............ I6 I2 38, Cornopean, Bass............ 8 I 2
29. Open Diapason ............ 8 42 39. Cornopean, Treble ......... 8 42
30. Open Diapason, Bass ...... 8 I2 40. Trumpet ..................... 8 54
3I. Keraulophon ............... 8 42 || 41. Hautboy ..................... 8 42
32. Stopped Diapason ......... 8 54 42. Tromba ..................... I6 42
33. Principal ..................... 4. 54 43. Clarion........................ 4. 54.
34. Fifteenth ..................... 2 54 -
35. Tierce ........................ I# ... 54 828
36. Sesquialtgra .................. I# ... IOS -
Pedal Organ, Io Stoffs y Compass from CCC to E, 2 Octaves and a Third.
44. Double Double Open Dia- 50, Sesquialtera.................. 58
paSOD. . . . . . . . . . . . . . . . . . . . . . . . 32 I2 51. Mixture ..................... 58
45. Double Open Diapason ... I6 29 52. Grand Trombone ......... I6 ... 29
46. Montre .................. 4 * * * * * I6 29 53, Grand Trumpet ... ...... ... 8 ... 29
47. Grand Bourdon ............ I6 29
48, Octave ......... * * * * * * * * * * * * * * * 8 29 3II
49, Super-octave ... ............ 4. 29
Couplers.
1, Pedals to Great. 5. Great to Choir.
2. Pedals to Swell. 6. Swell to Choir.
3, Pedals to Choir. 7, Octave Coupler Pedals.
4, Swell to Great.
AVumber of Piñes. . AVumber of Stoffs.
Great organ ................................. IO56 || Great organ .................................... I9
Choir organ ............... . . . . . . . . . . . . . . . . 312 | Choir organ .................................... 7
Swell organ ............................... 828 Swell organ .................................... 17
Pedal organ ............................... 3II | Pedal organ .................................... IO
- + — | Couplers 7
Total number of pipes,..., 2507 -
Total number of stops,..... 60
There are 8 Composition Pedals to change the various stops.
AN ACCOUNT OF COUNTRY ORGANS.
523
The Great and Pedal organs have the pneumatic action applied.
whole organ is supplied by three pairs of bellows, with double feeders.
The
The
^.
organ is constructed in a peculiar way, and the large 32-feet CCCC pipes are laid
down, as the instrument stands in the side aisle of the transept of the cathedral,
and the keys brought through the wall into the side aisle of the choir,
Harris and Byfield in 1729.
231, SHREWSBURY.
The organ in St. Mary's, Shrewsbury, is a fine instrument, and was built by
In 1847 it was enlarged and improved by Gray and
Davison, and now contains 23 Sounding stops.
º Pipes Pipes.
I. Open Diapason ........................ 53 6. Sesquialtera, III ranks............... I47
2. Stopped Diapason ..................... 53 7. Mixture, II ranks..................... 65
3. Principal ................................. 53 8. Trumpet .............................. 53
4. Twelfth .................................... 53 wº-
5. Fifteenth ................................. 53 53O
Cho?, 5 Słoffs.
9. Stopped Diapason ..................... 53 I2. Flute .................................... 53
IO. Dulciana to tenor c..................... 4. I 13. Fifteenth .............................. 53
II. Principal ................................. 53 -
- 253
Swell, 9 Słoffs, from feſtor c.
14. Double Diapason........................ 4. I I9. Sesquialtera ......................... I23
I5. Open Diapason........................... 4I | 20. Hautboy................................. 4 I
I6. Stopped Diapason ..................... 41 21. Cornopean .............................. 4I
17. Principal .................................. 41 22. Clarion ................................. 4I
18. Fifteenth ................................. 4I -
- - 45 I
Pedal, I São/,
23. Open Diapason, from CCC to D ............................................................... 27
Total number of pipes..................... I26I
and improved by Gray and Davison in 1848.
54.:
Couplers.
I. Swell to Great. |
2. Pedals to Great. |
3. Pedals to Choir,
232. SHREWSBURY.
The organ in St. Chad's, Shrewsbury, was built by Gray in 1794, and enlarged
Great, 9 Stoffs, from CC to F, 54 AVotes.
* Pipes
. Stopped Diapason ..................... 54.
. Open Diapason ... . . . . . . . . . . . . . . . . . . . . . 54
. Open Diapason to tenor c, in place
of II rank Mixture ............... 42
. Clarabella to Middle c”, in place
of IV rank Cornet............ ... ... 3O
. Principal ... . . . . . . . . . . . . . . . . . . . . . . . . . . . ... 54
Pipes
6. Twelfth ................................. 54
7. Fifteenth .............................. 54.
8. Sesquialtera, III ranks ............ I5O
9. Trumpet................................. 54
546
524 APPENDIX.
IO,
II.
I2.
I3.
I4.
18,
I9.
2O.
2 I.
22.
23.
27.
Choir, 8 Stoffs.
- Pipes. Pipes.
Stopped Diapason, Treble I5. Flute ........................ ... ...... ... 42
Stopped Diapason, Bass “ 54 | 16. Cremona ...................... 42
Keraulophon ........................... 42 I7. Bourdon, CCC to BB ............... I2
Dulciana ................................. 42 ºs-
Principal ................................. 54 e 288
Swell, 9 Stoffs, from feſtor c.
Double Diapason ..................... 42 24. Hautboy… 42
Stopped Diapason ..................... 42 25. Cornopean.............................. 42
Open Diapason ........................ 42 26, Clarion ................................. 42
Principal ...... .......................... 42 *-*.
Fifteenth ................................. 42 462
Sesquialtera.............................. I26 -
Pedal, I Stoff.
Open Diapason, from CCC to E .................................... . . . . . . . . . . . . ............... 29
Total number of pipes..................... I325
Couplers, &c.
I. Swell to Great. 4 to 8. Five Composition Pedals; viz. –
2. Pedals to Great. 3 to the Great organ,
3. Pedals to Choir. 2 to the Swell.
233. CHESTER CATHEDRAL.
This organ was built by Messrs. Gray and Davison in 1844, and contained 36
sounding stops, of which the following is a list. It has recently been re-erected,
and perhaps somewhat altered.
Great, I4 Stoffs, CC to F.
I. Double Diapason. 8. Twelfth.
2. Open Diapason. 9. Fifteenth.
3. Open Diapason. IO. Sesquialtera, III ranks.
4. Stopped Diapason. II. Furniture, II ranks.
5. Fifth, stopped. I2. Mixture, II ranks.
6. Principal. - I3. Trumpet.
7. Flute. I4. Clarion,
Choir, 7 Stoffs, GG to F.
20. Fifteenth.
15. Open Diapason. 18. Principal.
I6. Dulciana. 19, Flute. 2I. Clarion.
17, Stopped Diapason.
Swell, 9 Stoffs, FF to F.
22. Double Diapason. 25. Principal. 28, Hautboy.
23. Open Diapason. 26. Fifteenth. 29. Cornopean.
24. Stopped Diapason. 27, Sesquialtera, IIIranks. 30, Clarion.
Pedal, 6 Stoffs, CCC to D.
31. Open Diapason ............ I6 feet. 34. Fifteenth ..................... 4 feet.
32. Stopped Diapason ......... I6 feet, 35. Tierce ........................ 3+ feet.
33. Principal ......... * * * * * * * * * * * * 8 feet. 36. Sesquialtera, II ranks.
Couplers.
I, Swell to Great. 3. Choir to Great. | 5. Choir to Pedals,
2. Swell to Choir, 4. Great to Pedals,
AN ACCOUNT OF COUNTRY ORGANS, 525
2
234. LIVERPOOL,
The organ in Great George Street Chapel was built by Hill in 1841, and
contains 52 Sounding Stops, of which the following is a list :—
Great, I6 Stoffs.
I. Tenoroon to tenor c key... I6 feet. 9. Tenth ........................ 3% feet.
2. Bourdon, to meet No. I I6 feet tone. IO. Twelfth ..................... 23 feet.
3. Open Diapason ............ 8 feet, II. Fifteenth ..................... 2 feet.
4. Open Diapason ............ 8 feet. I2. Sesquialtera, III ranks... I # foot.
5. Stopped Diapason ........, 8 feet tone. 13. Mixture, III ranks......... # foot.
6. Quint........................... 5% feet. I4. Doublette, II ranks ...... 2 feet.
7. Principal ..................... 4 feet. I5. Posaune ..................... 8 feet.
8. Flute........................... 4 feet. I6. Clarion' ........... . . . . . . . . . . 4 feet.
Swell, 20 Słoffs.
17. Tenoroon to tenor c key ... 16 feet. 27. Flageolet..................... 2 feet.
18. Bourdon to meet No. 17 16 feet tone, 28. Sesquialtera, III ranks ... I # foot.
I9. Open Diapason ............ 8 feet. 29. Mixture, II ranks ......... # foot.
20. Dulciana ..................... 8 feet. 30. Echo Cornet, V ranks.
21. Stopped Diapason ......... 8 feet tone. 31. Contra Fagotto ............ I6 feet.
22. Quint........................... 5% feet. 32. Cornopean .................. 8 feet.
23. Principal ..................... 4 feet. 33. Trumpet ..................... 8 feet.
24. Suabe Flute .................. 4 feet. 34. Oboe ........................ 8 feet.
25. Twelfth........................ 23 feet. 35. Corno Flute ............... 8 feet.
26. Fifteenth ..................... 2 feet. 36. Clarion ..................... 4 feet.
Choir, 8 Stoffs.
37. Open Diapason ............ 8 feet. 42. Stopped Flute............... 4 feet tone.
38. Dulciana ..................... 8 feet tone. 43. Waldflote .................. 4 feet.
39, Stopped Diapason ......... 8 feet. 44. Oboe Flute .................. 4 feet.
40. Clarabella..................... 8 feet. 45. Cremona ..................... 8 feet tone.
41. Principal ..................... 4 feet.
Solo Organ, I Stoff.
46. Tuba Mirabilis........................ 8 feet.
- Pedal, 6 Stoffs.
47. Open Diapason ............ I6 feet. 50. Fifteenth ..................... 4 feet.
48. Bourdon ..................... I6 feet tone. 51. Sesquialtera, V ranks ... 3% feet.
49. Principal ..................... 3 feet. 52. Trombone .................. I6 feet.
Accessory Stoffs, Movemends, &c.
I. Swell to Great. 4. Swell to Pedal.
2. Choir to Great. 5. Choir to Pedal.
3. Great to Pedal. 6 to Io. Five Composition Pedals.
Compass.
Great, CC to f * in alt. Swell, CC to f * in alt.
Choir, CC to f * in alt. | Pedal, CCC to tenor d.
235. ST. GEORGE's HALL, LIVERPOOL.
The organ in this magnificent building was erected in 1855 by Henry Willis, of
London, in accordance with the plans of the late Dr. S. S. Wesley.
In 1867 the Corporation ordered the entire re-construction of the instrument,
which important undertaking was carried out by Mr. Willis, under the Superin-
526 APPENDIX,
tendence of Mr. W. T. Best, who has acted here as organist since 1855. The
organ now contains exactly one hundred “sounding” stops, disposed between four
Claviers and Pedal. The compass of each key-board is five octaves and two notes ;
(GG to A in alt.)—the Pedal range is two octaves and a half—(CCC to F).
Every stop extends throughout the entire Manual compass. The Choir organ
contains 18 stops; the Great, 25; the Swell, 25; the Solo organ, I 5 ; and the
Pedal, 17. The accessory appliances consist of Io Couplers and 42 pneumatic
pistons, which places the varied tone-character of the immense instrument at the
immediate disposal of the player. No zinc is employed in the construction of
the pipes. The wind is derived from two large bellows, placed in the basement
of St. George's Hall, blown by a steam engine of eight horse power. These
bellows supply fourteen reservoirs, placed in various departments of the instru-
ment; the wind pressure ranges from three-and-a-half inches to twenty. Each
key-board possesses the pneumatic lever, as an intermediary agent between the
keys and the valves of the organ. The pedal board has two pneumatic levers for
the same purpose. The entire cost of the organ, including every detail, amounted
to £10,000,
First Manual (Choir), 18 Stoffs.
1. Bourdon ..................... I6 feet. IO, Octave Viola............... 4 feet.
2. Open Diapason ............ 8 feet. . II. Twelfth ..................... 3 feet.
3. Clarabella..................... 8 feet. 12. Fifteenth .................. 2 feet.
4. Lieblich Gedact ............ 8 feet. I3. Flageolet .................. 2 feet.
5. Dulciana ..................... 8 feet. 14. Sesquialtera, IV ranks.
6. Viol di Gamba............... 8 feet. I5. Tromba ..................... 8 feet.
7. Voix Céleste.................. 8 feet, I6. Clarionet .................. 8 feet.
8. Principal ..................... 4 feet. I7. Orchestral Oboe ... ...... 8 feet.
9, Harmonic Flute ............ 4 feet. 18, Clarion ..................... 4 feet.
Second Manital (Great), 25 Stoffs.
19. Double Open Diapason, 3I. Decima ..................... 3% feet.
metal ..................... I6 feet. - 32. Twelfth ..................... 3 feet.
2O. Open Diapason ............ 8 feet. 33. Fifteenth .................. 2 feet.
21. Open Diapason ............ 8 feet. 34. Fifteenth .................. 2 feet.
22, Clarabella..................... 8 feet. 35. Doublette, II ranks...... 2 and I feet.
23. Flute à Pavillon ............ 8 feet. 36. Sesquialtera, V ranks.
24. Lieblich Gedact ............ 8 feet. 37. Mixture, IV ranks.
25. Violoncello .................. 8 feet. 38. Contra Trombone ...... I6 feet.
26. Quint........................... 6 feet. 39. Trombone .................. 8 feet.
27. Octave Viola ............... 4 feet. 40, Ophicleide.................. 8 feet;
28, Principal ..................... 4 feet. 41. Trumpet .................. 8 feet,
29. Principal ..................... 4 feet. 42. Clarion ..................... 4 feet.
3O. Flauto TraverSO ............ 4 feet. 43. Clarion ..................... 4 feet.
Third Manual (Swell), 25 Stoffs.
44. Double Diapason............ I6 feet. 57. Doublette, II ranks ... 2 & I feet.
45. Open Diapāson ............ 8 feet. 58. Sesquialtera, V ranks.
46. Open Diapason ............ 8 feet. 59. Contra Trombone ...... I6 feet.
47. Echo Dulciana ............ 8 feet. - 6O. Contra Fagotto ......... I6 feet.
48. Lieblich Gedact ............ 8 feet. 61. Ophicleide.................. 8 feet.
49. Voix Céleste.................. 8 feet, 62. Trumpet .................. 8 feet.
50. Principal ..................... 4 feet. 63. Corno Dolce ......... ... 8 feet.
51. Gemshorn..................... 4 feet. 64. Oboe ..................... 8 feet.
52. Waldflote .................. 4 feet. 65. Corno di Bassetto ...... 8 feet.
53. Twelfth........................ 3 feet. 66. Vox Humana ............ 8 feet.
54. Fifteenth ..................... 2 feet. 67. Clarion ..................... 4 feet.
55. Fifteenth ..................... 2 feet. - 68. Clarion .................. 4 feet.
56, Piccolo ........................ 2 feet. Tremulant to Swell,
AN ACCOUNT OF COUNTRY ORGANS,
527
Fourth Manual (Solo Organ), 15 S/offs.
78. Orchestral Oboe
79. Clarion
8O. Tromba
81. Ophicleide ...............
82. Cornopean..................
83. Trompette Harmonique
* * * * * * * * * * * s tº e º 'º - e.
inches.
Pedal Organ, 17 Stoffs.
69. Bourdon ..................... I6 feet.
7O. Flauto Dolce ............... 8 feet.
7.I. Lieblich Gedact ............ 8 feet.
72. Flute Harmonique ......... 4 feet.
73. Piccolo Harmonique ...... 2 feet.
74. Contra Fagotto ............ I6 feet.
75. Trombone..................... 8 feet
76. Bassoon........................ 8 feet.
77. Clarionet ..................... 8 feet
84. Double Open Diapason,
wood ..................... 32 feet.
85. Double Open Diapason,
metal ..................... 32 feet
86. Contra Trombone ......... 32 feet
87. Open Diapason, wood I6 feet
88. Open Diapason, metal ... 16 feet.
89. Violone, metal............... I6 feet.
90. Bourdon ..................... I6 feet.
91, Principal ..................... 8 feet,
Swell to Great, Unison.
. Swell to Great, Sub-octave.
. Choir to Great.
. Solo to Great,
i
236.
Jackson, of Liverpool, in 1850,
. Swell to Great, Super-octave,
94. Fifteenth
95. Fourniture, V ranks.
96. Mixture, IV ranks.
97. Trombone ..................
98. Ophicleide..................
99. Trompette ...................
IOO. Clarion
Couplers.
6. Solo to Choir.
7. Great to Pedals.
8. Swell to Pedals.
9. Choir to Pedals.
Io. Solo to Pedals,
LIVERPOOL.
below :-
Great, 20 Stoffs, 16 Ranks.
I, Tenoroon ..................... I6 feet. 8. Fifteenth .....................
2. Bourdon, to meet No. 1 ... I6 feet tone, 9. Sesquialtera, III ranks.
3. Great Open Diapason...... 8 feet. Io. Mixture, III ranks.
4. Small Open Diapason 8 feet. II. Sharp twentieth.
5. Stopped Diapason ......... 8 feet tone, I2. Trumpet .....................
6. Principal ..................... 4 feet. I3. Clarion ... ..................
7. Twelfth ..................... 23 feet.
I4.
Choir, II Stoffs.
Open Diapason ............ 8 feet
I5. Stopped Diapason ......... 3 feet
I6. Clarabella..................... 8 feet
17. Keraulophon ............... 8 feet
18. Dulciana ..................... 8 feet
I9. Principal ..................... 4 feet
25. Double Diapason............ 16 feet.
26. Open Diapason ............ 8 feet.
27. Stopped Diapason ......... 8 feet.
28. Principal ..................... 5 feet
29. Fifteenth ..................... 2 feet
2O. Flute ........................
21. Piccolo........................
22. Fifteenth .....................
23. Bassoon
* * * * * * * * * * ~ * * * * * * * * * *
24. Clarionet..................... -
Swell, 9 Stoffs.
30. Echo Dulciana Cornet,
III ranks.
3I. Cornopean
32. Oboe
33. Clarion
• * * * * * * * * * * * 4 s e s tº e s e a e s tº
* s e º 0 & 4 & a 4 tº 3 s a s s is a w s a
4 feet.
These last four registers are on a heavy
wind-pressure, ranging from I5 to 20
The organ in the Collegiate Institution, Liverpool, was built by Mr.
It contains the 40 Sounding stops mentioned
528
APPENDIX.
Pedal, 7 Słońs.
34. Great Open Diapason...... I6 feet, 38. Fifteenth ..................... 4 feet
35. Bourdon ..................... I6 feet, 39. Mixture, VI ranks.
36. Principal ..................... 8 feet. 40. Posaune ..................... I6 feet,
# feet.
37. Twelfth........................
Accessory Stoffs, Movements, &c.
. Swell to Great.
. Choir to Swell.
. Sub-octave Choir to Great.
. Swell to Pedals.
:
All the Manuals, CC to gº in altissimo.
5. Choir to Pedals.
6. Great to Pedals.
7. Super-octave to Pedals.
8 to I3. Six Composition Pedals.
Compass.
Pedal, CCC to Fiddle g.
237, LIVERPOOL.
Description of the organ in St. Margaret's Church, Liverpool, built by Hill
and Son in 1873.
Clavier, CCC to F, 30 notes:—
Feet, Pipes. Feet. Pipes.
I. Double Open Diapason, . Principal, metal ............ 4. 56
wood ........................ I6 I 2 9. Harmonic Flute, metal ... 4 ... 56
2. Tenoroon Diapason, wood I6 44 IO. Twelfth, metal ............ 3 56
3. Open Diapason, metal...... 8 56 II. Fifteenth, metal ............ 2 56
4. Flute à Pavillon, wood ... 8 56 I2. Mixture, metal, IV ranks. , 224.
5. Gamba, metal ............... 8 56 I3. Trumpet, metal ..........., 8 56
6. Hohlflote, wood ............ 8 56 I4. Clarion, metal............... . 4. 56
7. Stopped Diapason, wood 8 56
Choir Organ. \
I5. Dulciana, metal ............ 8 56 I9. Harmonic Piccolo, metal 2 56
I6. Gamba, metal ............... 8 56 2O. Clarionet, metal ............ 8 56
17. Clarabella, wood............ 8 56 2I. Orchestral Oboe, metal... 8 56
18, Lieblich Flute, wood ....., 4. 56
N
Sweſ/ Organ.
22. Bourdon, wood ............ I6 56 29. Contra Trumpet, metal ... 8 56
23. Open Diapason, metal 8 56 30. Cornopean, metal ......... 8 56
24. Lieblich, wood............... 8 56 31. Oboe, metal ............... 8 56
25. Keraulophon, tenor C, 32. Clarion, metal ..........., 8 56
metal ............ . . . . . . . . . 8 44. 33. Vox Humana, metal ...... 8 56
26. Principal, metal ............ 4. 56 34. Vox Angelica, II ranks,
27. Fifteenth, metal ............ 2 56 to tenor c, Gedact, bass 8 IOO
28. Mixture, metal, III ranks 68 35. Tremulant
Pedal Organ. (Radiating and Concave.)
36. Double Open Diapason, 39. Bourdon, wood ............ I6 3O
wood........................ 32 3O 40. Violoncello, wood ......... 8 3O
37. Open Diapason, wood...... I6 3O 41. Mixture, metal, III ranks. ......... 90
38. Violone, wood , , , ,,,,,,,,,,,, I6 3O 42, Trombone, wood ......... I6 ... 30
3 Manuals, C
ompass of each, CC to G, 56 notes, and Pedal
Great Organ.
* AN ACCOUNT OF COUNTRY ORGANS. 529
Couplers.
I. Swell to Great. 5. Swell to Choir.
2. Swell to Octave. 6. Swell to Great.
3. Swell to Sub-octave. 7. Great to Pedal.
4. Choir to Great. 8. Swell to Pedal.
4 Composition Pedals to Great organ.
I Composition Pedal to Choir organ.
3 Composition Pedals to Swell organ,
Pneumatic action to Great and Couplers,
238. LIVERPOOL.
The following is the description of the organ at the Wesley Chapel, Stanhope
Street, built by Gray and Davison in 1874 —
Choir Organt,
I. Geigen Principal ............ 8 feet. 5. Piccolo Harmonique ...... 2 feet.
2. Salicional ..................... 8 feet. 6. Clarionet..................... 8 feet.
3. Clarabella..................... 8 feet, 7. Orchestral Oboe............ 8 feet.
4. Waldflote ..................... 4 feet.
(Nos. 6 and 7 are placed in a separate Swell box, and Tremulant applied to them.)
Great Organ.
8. Contra Gamba ............ 16 feet. I4. Mixture, V ranks ......... various,
9. Open Diapason ............ 8 feet, I5. Hohlflote .................. 8 feet.
IO. Viola........................... 8 feet. I6. Flute Octaviante ......... 4 feet.
II. Principal ..................... 4 feet. I7. Posaune ..................... 8 feet.
12. Twelfth........................ 3 feet. I8, Clarion...... ................. 4 feet.
I3. Fifteenth ..................... 2 feet.
Swell Organ.
19. Lieblich Gedact ............ I6 feet. 26. Mixture, IV ranks......... various,
2O. Spitz Flote .................. 8 feet. 27. Sifflote........................ 2 feet.
2I. Viol d'Amour ............... 8 feet, 28. Contra Trumpet......... ... 16 feet.
22. Voix Céleste ............... 8 feet. 29. Cornopean .................. 8 feet.
23. Gedact ..................... 8 feet. 30. Oboe ........................ 8 feet.
24. Gemshorn.................... ... 4 feet. 3I. Clarion ..................... 4 feet.
25. Flute d'Amour............... 4 feet. Tremulant.
Pedal Organ.
32. Open TXiapason ............ I6 feet. 36. Bass Flute ... ... ........... 8 feet.
33. Violone........................ I6 feet. | 37. Violoncello .................. 8 feet.
34. Bourdon ...................... I6 feet. 38. Trombone .................. I6 feet.
35. Grosse Quint ............... I2 feet.
Couplers and Accessozy Słożs.
1. Choir Manual to Pedals. 8. Swell Octave to Great Manual,
2. Great Manual to Pedals. 9. Choir Sforzando.
3. Swell Manual to Pedals. Io. Swell Sforzando.
4. Choir Manual to Great Manual. II. Solo to Choir.
5. Swell Manual to Choir Manual. I2. Solo to Great.
6. Swell Sub-octave to Great Manual. I3. Solo to Swell.
7, Swell Manual to Great Manual. I4, Clochette,
Y Y
530
APPENDIX,
Pedal organ of 9 stops,
is a list :—
\
Accessory Pedals.
. Choir Tremulant.
. Choir Sforzando,
. Solo to Swell.
. Solo to Choir.
5 to 8. Swell Combinations,
9. Solo to Great,
:
Io to 13. Great Combinations.
14. Swell Sforzando.
15. Great Manual to Pedals.
I6. Swell Crescendo.
17, Choir Crescendo.
General Remarks.
The stops numbered 15, 16, 17, 18, are on a heavy pressure of wind, and So arranged
that they can be used on any Manual.
Pneumatic levers attached to the Great organ and Couplers.
By a peculiar mechanical arrangement the Great organ Diapasons can be detached and
used with Choir organ for loud accompaniments.
Three complete Manuals, CC to A
Pedal organ, CCC to F
s & n e º e g º e s tº a e a s h tº ſº e i b & 8 tº e º ſº
56 notes.
30 notes.
* * * * * * * * * * * * * * * * * *
239. HUDDERSFIELD.
The organ in Buxton Road Chapel, Huddersfield, was built by T. J. Robson, of
London, and consists of 3 Manuals—Great, Choir, and Swell—with an independent
&
It contains 40 Sounding stops, of which the following
Great, 15 Stoſs, CC to C in alt., 61 Wotes.
I. Double Open Diapason, 8. Twelfth ..................... 3 feet
metal throughout ...... I6 feet. 9. Fifteenth ..................... 2 feet
2. Large Open Diapason 3 feet. IO. Piccolo ..................... 2 feet
3. Open Diapason ............ 8 feet. II. Sesquialtera, III ranks ... Ił foot
4. Stopped Diapason ......... 8 feet tone. . . I2. Mixture, II ranks ......... # foot
5. Quint........................... 6 ſect. I3. Turniture, III ranks.
6. Principal ...................... 4 feet I4. Trumpet ..................... 8 feet
7. Wald Flute .................. 4 feet I5, Clarion ..................... 4 feet
Choir, 4 Stoffs, CC to C in aſt, 61 AMoſes.
I6. Stopped Diapason and 18. Viol di Gamba ............ 8 feet
Clarabella ............... 8 feet tone. I9. Principal ..................... 4 feet
I7, Dulciana ..................... 8 feet.
Swell, 12 Słońs, CC to C in alt., 61 Moſes.
2O. Double Diapason............ I6 ſect tone. 27. Contra Fagotto, metal ... 16 feet
2I. Open Diapason ............ 8 feet, 28, Clarionet and Corni di
22. Stopped Diapason ......... 8 feet tone. Bassetto .................. 8 feet
23. Viol di Gamba............... 8 feet. 29. Hautboy..................... 8 feet
24. Principal ..................... 4 feet. 30. Horn ........................ 8 feet
25. Fifteenth ..................... 2 feet. 31. Clarion ..................... 4 feet
26. Sesquialtera, III ranks ... I # foot,
Pedal, 9 Stoffs.
The compass of the pipes, CCC to F (42 notes), three and a half octaves, the
upper octave being added for the purpose of completing the Octave Copula,
AN ACCOUNT OF COUNTRY ORGANS, 53 I
32. Open Diapason ............ I6 feet, 37. Sésquialtera, V ranks 3% feet.
33. Violone....................... I6 feet tone. 38. Posaune, metal ............ I6 feet.
34. Principal ..................... 8 feet, 39. Trumpet ..................... 8 feet
35. Quint..…...................... 6 feet 40, Clarion ..................... 4 feet
36. Fifteenth ..................... 4 feet
Couplers, &c.
| 2. Great to Pedals. | 3. Choir to Pedals.
5 to IO. Six Composition Pedals.
I. Swell to Great, | 4. Octave Pedals,
Summary of Stoffs and Piffes.
Stops, Pipes.
Great organ.............................. I5 . . . . . . I232
Swell organ.............................. I2 . . . . . . 854
Choir organ.............................. 4 . . . . . . 22O
Pedal organ.............................. 9 . . . . . . 546
Couplers ................................. 4. . . . . . .
44 2852
240. ASHTON-UNDER-LYNE.
The organ in the Parish Church of Ashton-under-Lyne was the noble
gift of Edward Brown, Esq., of the Firs, and was built by Hill in the year 1845.
It contains 55 Sounding Stops, besides 8 Couplers, 3 Manuals, and a Pedal of
6 stops. The following is its disposition —
Great, 21 Stoffs.
Pipes. Feet, Pipes. Feet
I. Tenoroon Diapason ... 42 ... I6 I2. Fifteenth ............... 54 ... 2
2. Bourdon, CCC to BB I2 ... I6 tone. I3. Tierce..................... 4 ... Iš
3. Open Diapason ......... 54 ... I4. Sesquialtera, III ranks I62 ... I;
4. Open Diapason ......... 54 ... 8 I5. Mixture, III ranks ... I62 ... }
5. Stopped Diapason to 16. Doublette, II ranks ... IO3 ... 2
tenor C. ................. 42 ... 8 tone. 17. Tenoroon Trumpet ... 42 ... I6
6. Stopped Diapason, Bass 12 ... 8 tone. 18. Double Trumpet, CCC
7. Quint ..................... 54 ... 5% to BB .................. I2 ... I6
8. Principal .................. 54 ... 4 I9. Posaune .................. 54 ... 8
9. Wald Flute to tenor c 42 ... 4 2O. Clarion .................. 54 ... 4
Io. Tenth ..................... 54 2I. Octave Clarion ......... 54 ... 2
II. Twelfth .................. 54 ... 2%
Swell, 18 Stoffs.
22. Tenoroon Dulciana ... 42 ... I6 31. Fifteenth ............... 54 ... 2
23. Bourdon, CCC to BB 12 ... I6 tone. 32. Flageolet, tenor c...... 42 ... 2
24. Open Diapason ......... 54 ... 33. Sesquialtera, III ranks I62 ... I;
25. Echo Dulciana to tenor 34. Mixture, II ranks ...... IO8 ... }
C . . . . . . . . . . . . . . . . . . . . . . . . 42 ... 8 35. Echo Dulciana Cornet
26. Stopped Diapason, to tenor c, V ranks 2 IO
Treble .................. 42 ... 8 tone. 36. Tenoroon Trumpet to
27. Stopped Diapason, Bass 12 ... 8 tone. tenor C. . . . . . . . . . . . . . . . . . 42 ... I6
28. Principal .................. 54 ... 4 37. Cornopean ............... 54 ... 8
29. Suabe Flute to tenor c 42 ... 4 38. Oboe ..................... 54 ... 8
30. Twelfth .................. 54 ... 2% 39. Clarion .................. 54 ... 8
Y Y 2
APPENDIX.
Choir, Io Stoffs.
& Pipes. Feet. Pipes. Feet.
40. Open Diapason ......... 54 ... 8 45. Oboe Flute to tenor c 42 ... 4
4I. Claribel to tenor c ...... 42 ... 8 46. Stopped Flute to tenor
42. Viol di Gamba to tenor C . . . . . . . . . . . . . . . . . . . . . . . . 42 . . . 4. One.
° . . . . . . . . . . . . . . . . . . . . . . . . 42 ... 8 47. Fifteenth ............... 54 ... 2
43. Stopped Diapason, Bass I2 ... 8 tone. 48. Piccolo to tenor c 42 ... 2
44. Principal .................. 54 ... , 4 49. Cremona to tenor c. 42 ..., 8 tone.
Pedal, 6 Stoºs.
50. Open Diapason ......... 27 ... I6 53. Fifteenth ............... 27 ... 4
5.I. Bourdon .................. 27 ... I6 tone, 54. Mixture, V ranks ...... I35 ..., 3}
52. Principal .................. 24 ... 8 55. Trombone ............... 27 ..., I6
Accessory Słońs, Movements, &c.
I to 8. Eight Couplers, 9 to I4. Six Composition Pedals. 15. Sforzando Pedal.
Compass.
Great Organ, CC to fº in alt....... 54 notes. Choir Organ, CC to fº in alt....... 54 notes.
Swell Organ, CC to fº in alt....... 54 notes. | Pedal Organ, CCC to tenor d...... 27 notes,
Summary of Pºžes and Słożs.
Great organ
Swell organ
Choir organ
Pedal organ
* * * * * * * g º $ tº g { g : * * * * * *
tº a tº ſº tº m e º & 9 & 0 & 6 g º e g º º º
tº º e º º e º 9 & I230 . . . . . , 2I
tº º tº t t t t t tº II34 ...... I'8
a & 2 g g º i º º 426 ...... IO
tº tº * is tº $ tº º is 27O ...... 6
s ſº tº g tº 4 tº 9 3060 ......
24I. STOCKPORT.
The organ in the large room of the
Stockport Sunday School was built in
1853 by Kirtland and Jardine, of Manchester, according to a scheme drawn up by
the late George Cooper, Esq., of London.
The instrument contains 23 sounding
stops, distributed among 2 complete Manuals and Pedal in the following manner —
Great, I2 Stoffs.
Feet. Pipes. Feet. Pipes.
I. Open Diapason, major 54 8. Fifteenth ..................... 2 ... 54
2. Open Diapason, minor ... 8 ... 59 9. Sesquialtera, IV ranks ... I } ... 216
3. Stopped Diapason ......... 8 tone. 54 Io, Trumpet ..................... 8 54
4. Dulciana ..................... 8 54 II. Clarion ........................ 4. 54.
5. Wald Flute .................. 4. 54 I2. Cremona to fiddle g ...... 8 35
6. Principal ..................... 4 ... 54 - *º-º-º-º
7. Twelfth ........................ 2} ... 54 . Number of pipes............... 636
Swell, Io Sãoffs.
13. Double Stopped Diapason 16 54 | 19. Fifteenth ..................... 2 ... 54
I4. Open Diapason............... 8 54 20. Sesquialtera, III ranks ... I; I62
15. Stopped Diapason ......... 8 54 21. Cornopean .................. 8 54
16. Keraulophon to tenor c ... 8 42 22, Hautboy ..................... 8 54
17. Principal ..................... 4. 54 * *
18. Hohlflute ..................... 4. 54 Pipes in Swell,..... . . . . . 636
Pedal, I Stoff.
1 23. Open Diapason...
... ............ 16 feet,
AN ACCOUNT OF COUNTRY ORGANS. 533
Accessory Stoffs, Movements, &c.
I. Swell to Great, Unison. Io and 11. Two Composition Pedals to
2. Swell to Great, Sub-octave, Swell Organ.
3. Swell to Great, Octave. . I2. Pedal, Sub-octave Swell.
4. Great to Pedal. I3. Pedal, Unison Octave Swell.
5. Swell to Pedal. I4. Pedal, Octave Swell.
6 to 9. Four Composition Pedals to Great 15. Sforzando Pedal, acting simultaneously
Organ. upon the three Swell Couplers,
Compass.
Great, CC to fº, in alt, | Swell, CC to f* in alt. | Pedal, CCC to tenor f.
242. OLDHAM.
The organ in the Parish Church at Oldham was built in the year 1830 by
Elliott and Hill, of London. It contains 31 sounding stops, of which the following
is a list :— º
Great, I4 Słońs.
I. Double Diapason, Treble. 8. Twelfth.
2. Double Diapason, Bass, 9. Fifteenth.
3. Open Diapason, No. I. IO. Sesquialtera, IV ranks.
4. Open Diapason, No. 2. II. Mixture, III ranks.
5. Stopped Diapason, 12. Trumpet, Treble.
6. Principal, No. 1. 13. Trumpet, Bass.
7. Principal, No. 2. I4. Clarion.
Choir, 8 Stoffs.
I5. Open Diapason. ^- - 19. Fifteenth.
I6. Stopped Diapason. 2O. Flageolet.
17. Principal. 2I. Cremona.
I8. Flute. 22, Bassoon.
Swell, 8 Stoffs.
23. Double Diapason. 27. Principal.
24. Open Diapason. 28. Mixture, III ranks.
.25. Stopped Diapason, 29. Trumpet.
26. Dulciana. & . 30. Hautboy.
Pedal, I Słoſ.
31. Pedal pipes.
Accessory Słoffs, Movements, &c.
I. Coupler, Swell to Great. 3. Coupler, Choir to Pedal.
2. Coupler, Great to Pedal. 4, 5, 6. Three Composition Pedals,
Compass.
Great, GG to f * in alt. - Swell Clavier, down to GG, and acting
Choir, GG to f * in alt. on Choir organ below tenor c.
Swell organ, tenor c to fº in alt. Pedal Clavier, GG to tenor d,
534 Af'PENDIX.
243. SALISBURY CATHEDRAL,
The new organ in Salisbury Cathedral, built by Mr. Henry Willis, has 4 Manuals,
Separate Pedal, and the 55 sounding stops mentioned below :-
Great Organ:
I. Double Open Diapason, 8. Twelfth, metal ............ 3 feet
metal........................ I6 feet. 9. Fifteenth, metal ............ 2 feet.
2. Open Diapason, large, metal 8 feet. IO. Piccolo, metal............... 2 feet
3. Open Diapason, small, metal 8 feet. II. Mixture, full, IV ranks,
4. Stopped Diapason, metal 8 feet. metal.......... .......... 2 feet.
5. Claribel Flute, closed, Bass, I2. Double Trumpet, metal... I6 feet.
Wood........................ 8 feet. I3. Cornopean, metal ......... 8 feet.
6. Principal, metal ............ 4 feet. I4. Clarion, metal............... 4 feet.
7. Flute Harmonique, metal 4 feet.
Solo Organ,
15. Flute Harmonique, metal 8 feet. 18. Tuba, metal ............... 8 feet.
I6. Flute Harmonique, metal 4 feet. I9. Corno di Bassetto, metal 8 feet.
I7. Orchestral Oboe, metal ... 8 ſeet. 2O. Clarion, metal............... 4 feet.
- Sweſ/ Organ.
2I. Contra Gamba, metal...... I6 feet. 28. Super-octave, metal .....: 2 feet
22. Viol di Gamba, metal 8 feet. 29. Mixture, metal, IV ranks.
23. Open Diapason, Hietal 8 feet. 30. Contra Fagotto, metal ... I6 feet.
24. Lieblich Gedact, metal ... 8 feet. 3I. Trumpet, metal ............ 8 feet
25. Vox Angelica (undulating 32. Hautboy, metal ............ 8 feet
to tenor c), metal ...... 8 feet. 33. Clarion, metal ............ 4 feet
26. Octave, metal ............... 4 feet. 34. Vox Humana, metal ...... 8 feet
27. Flute Harmonique, metal 4 feet,
Choir Organ.
35. Lieblich Gedact, metal ... [6 feet. 40. Salicional, metal ......... 8 feet
36. Lieblich Gedact, metal ... 8 feet. 4I. Gemshorn, metal ......... 4 feet
37. Lieblich Gedact, metal ... 4 feet. 42. Flageolet, metal..... ...... 2 feet
38. Flute Harmonique, metal 8 feet. 43. Corno di Bassetto, metal 8 feet
39. Flute Harmonique, metal 4 feet. 44. Cor Anglais, metal ...... 8 feet
Pedal Organ.
45. Double Open Diapason, 50. Flute, open, wood ......... 8 feet
metal........................ 32 feet. 51. Mixture, metal, IV ranks.
46. Open Diapason, metal ... I6 feet. 52. Contra Posaune, wood ... 32 feet.
47. Violone, metal............... I6 feet. 53. Ophicleide, metal ......... I6 feet.
48. Octave, metal ............... 8 feet. 54. Clarion, metal ............ 8 feet.
49. Open Diapason, wood...... I6 feet, 55. Bourdon, Wood ............ I6 feet.
Couplers.
Swell to Great, Unison.
Solo to Pedals.
Śwell to Pedals.
Great to Pedals.
Choir to Pedals.
Tremulant to Swell, Vox Humana.
Swell to Great, Super-octave.
Swell to Great, Sub-octave,
Solo to Great.
Choir to Great.
Four Patent Pheumatic Combination Pistons to each Clavier ; Four Combination Pedals
to Pedal Organ ; a double-acting Pedal to Great, to Pedal Coupler; four complete Manuals
from CC to A, 58 notes, and 2 octaves and a half of Concave and Radiating Pedals from
CCC to F, 30 notes.
AN ACCOUNT OF COUNTRY ORGANS. 535
244. HALIFAX.
The fine organ in the Parish Church at Halifax was built by Snetzler in 1766.
It has received several additions since then, and now contains 26 Sounding stops,
of which the following is a list —
Great, I I Stoffs.
I. Open Diapason, throughout 8 feet. 7. Sesquialtera, IV ranks ... 2 feet.
2. Open Diapason, throughout 8 feet. 8. Mixture, III ranks......... I foot.
3. Stopped Diapason ......... 8 ſeet tone. 9. Mounted Cornet, to Middle
4. Principal ..................... 4 feet. c", V ranks ............... 8 feet tone.
5. Twelfth........................ 23 feet. IO. Trumpet ..................... 8 feet.
6. Fifteenth ..................... 2 feet, II. Clarion........................ 4 feet.
I2.
~)
I5.
I9.
2C).
2 I.
22.
Swell, 7 Stoffs.
Double Diapason............ I6 feet tone, I6. Sesquialtera, III ranks ... 23 feet.
Open Diapason ............ 8 feet. I7. Cornopean .................. 8 feet.
. Stopped Diapason ......... 8 feet tone. 18, Oboe ........................ 8 feet
Principal ..................... 4 feet.
Choir, 7 Słońs.
Open Diapason, throughout 8 feet. | 23. Flute ….......... 4 feet tone.
Stopped Diapason ......... 8 feet tone. 24. Fifteenth ..................... 2 feet.
Dulciana to Gamut G...... 8 feet. 2 V Bassoon Treble 8 feet
Principal ..................... 4 feet. 5 | Bassoon Bass ( ' ' ' ' ' ' ' ' ee
Pedal, I Stoff.
26. Great Open Diapason, wood, DD down to GGG, 21% feet length.
*
245. ALL SOULS' CHURCH, HALIFAX.
This organ, built by Messrs. Foster and Andrews, has 4 complete Manuals,
from CC to A, Pedals from CCC to F, and 53 sounding stops, as follows:–
Great Organ.
- Feet Tone. Pipes. Feet Tone. Pipes.
1. Double Diapason, closed, 8. Twelfth, metal ............ 2} ... 58
Wood ... . . . . . . . . . . . . . . . . . . . . . I6 ... 58 9. Fifteenth, metal ............ 2 ... 58
2. Open Diapason, metal...... 8 ... 58 Io. Full Mixture, II & III
3. Violon Diapason, metal ... 8 ... 58 ranks, metal............... ... I 50
4. Hohlflote, wood ............ 8 ... 58 II. Bright Mixture, III ranks,
5. Stopped Diapason, wood... 8 ... 58 metal........................ ... I 74
6. Principal, metal ............ 4 ... 58 I2. Trumpet, metal ............ 8 ... 58
7. Harmonic Flute, metal ... 4 ... 58 I3. Clarion, metal............... 4 ... 58
Swell Organ.
I4. Bourdon, wood............... 16 ... 58 21. Fifteenth, metal............ 2 ... 58
I5. Open Diapason, metal...... 8 ... , 58 22. Mixture, III ranks, metal ... I 75
I6. Salicional, metal ............ 8 ... 46 23. Contra Fagotto, metal ... I6 ... 46
17. Rohrflote, wood and metal 8 ... 58 24. Horn, metal ............... ... 58
I8. Principal, metal ............ 4 ... 58 25. Oboe, metal ............... 8 ... 58
I9. Viola d’Amour, metal ...... 4 ... 58 26. Voix Humaine, metal ... 8 ... 58
2O.
Twelfth, metai ............... 2: ... 58 27. Clarion, metal ............ 4 ... 58
536 APPENDIX.
Choir Organt.
Feet tone. Pipes. Feet tone. Pipes.
28. Lieblich Bourdon, wood... 16 ... 46 32. Salicional, metal............ 4 ... 53
29. Dulciana, metal ............ 8 ... 58 33. Lieblich Flote, wood...... 4 ... 58
3O. Lieblich Gedact, wood and 34. Flautino (Harmonic), metal 2 ... 58
metal........................ 8 ... 58 || 35. Krummhorn, metal ...... • * * * * Q
3I. Bell Gamba, metal ......... 8 ... 46 36. Bassoon, metal ............ 8 ... ) 58
AEcho Organ.
37. Tibia Major, wood ......... I6 ... 46 41. Flauto Traverso, wood ... 8 ... 58
38. Vox Angelica, metal ...... 8 ... 2 42. Flauto Dolcissimo, wood 4 ... 58
39. Salamine, metal ............ 3 ... (9 43. Celestina, metal............ 4 ... 53
g y º
4O. Fºº wº * 8 ... 58 44. Harmonica Ætheria, metal{*}... II6
Pedal Organ.
45. Open Diapason, wood...... I6 ... 30 50. Flute, wood ............... 8 ... 30
46. Violon, metal ............... I6 ... 30 || 51. Fifteenth, metal ............ 4. . . , 30
47. Bourdon, wood............... I6 ... 30 52. Trombone, metal ......... I6. ... 30
48. Gross Quint, wood ......... IO} ... 30 53. Trumpet, metal ............ 8 ... 30
49. Violoncello, metal ......... 8 ... 30
Couplers, &c.
I. Great to Pedals. 6. Swell to Choir.
2. Choir to Pedals. 7. Swell Octave to Great.
3. Swell to Pedals. 8. Choir Sub-octave to Great.
4. Pedal Pipes, wind, 9. Swell to Echo, by Pedal.
5. Swell to Great.
Accessory Stoffs.
1, 2, 3. Composition Pedals to Great Organ. 4, 5, 6. Composition Pedals to Swell Organ.
7. Tremulant to Swell by Pedal.
The organ is placed in the North Chapel. The case is of selected Memel
wainscoat oak (designed by Sir G. G. Scott, A.R.A., the architect of the Church).
On the impost stand the large I6 and 8 feet pipes, enclosed by a wrought-iron
band, and decorated on the spotted metal of which they are made. The various
bellows, by means of which the organ is supplied with five different pressures of
wind, are blown by a patent hydraulic engine, with provision for the usual hand-
blowing action. Nearly the whole of the metal pipes, including the 16-foot Pedal
Violon, are made of the finest spotted metal.
246, BRADFORD.
The organ in Eastbrook Chapel, Bradford, was built by Hill in 1844-45. It
has 3 Manual organs of complete compass, a Pedal of 7 stops, and 44 stops, of
which the following is a list –
Great, I 5 Stoffs.
I, Tenoroon ..................... 16 feet. 9. Tenth ........................ 3% feet.
2, Bourdon, metal ............ I6 feet. Io. Twelfth ..................... 2% feet.
3. Open Diapason ............ 8 feet. II. Fifteenth ..................... 2 feet.
4. Open Diapason ............ 8 feet. . I2. Sesquialtera, V ranks ... I; foot.
5. Stopped Diapason ......... 8 feet tone. 13. Mixture, III ranks......... # foot.
6. Quint.............. . . . . . . . . . . . . . 5% feet. I4. Posaune ..................... 8 feet.
§ Principal ..................... 4 feet. 15. Clarion........................ 4 feet,
Wald Flute .................. 4 feet,
AN ACCOUNT OF COUNTRY ORGANs. 537
Swell, I4 Stoffs.
I6. Tenoroon ..................... I6 feet. 23. Twelfth ..................... 23 feet.
I7. Bourdon ..................... I6 feet. 24. Fifteenth ..................... 2 feet.
18. Open Diapason ............ 8 feet. 25. Flageolet...................., 2 feet.
I9. Stopped Diapason ......... 8 feet tone. 26. Sesquialtera, III ranks... I; foot.
2O. Dulciana to tenor c......... 8 feet. 27. Cornopean .................. 8 feet.
2I. Principal ..................... 4 feet. 28. Hautboy..................... 8 feet.
22. Flute ........................... 4 feet, 29. Clarion................. ...... 4 feet.
Choir, 8 Stoffs.
30. Open Diapason ............ 8 feet. 34. Wald Flute........ ... . . . . . . . 4 feet.
31. Stopped Diapason ......... 8 feet tone. 35. Fifteenth ...... . . . . . . . . . . . . . . 2 feet.
32. Viol di Gamba ............ 8 feet, 36. Cremona ...................., 8 feet tone.
33. Principal ..................... 4 feet. 37. Bassoon ..................... 8 feet.
Pedal, 7 Stoffs.
38. Open, wood, to GGG ... ... 32 feet. 42. Fifteenth ................. ... 2 feet.
39. Open, metal.................. I6 feet. 43. Sesquialtera, V ranks ... 34 feet.
40. Principal ...... ............., 8 feet. 44. Trombone .................. I6 feet,
41. Twelfth........................ 6 feet.
Accessory Stoffs, Movements, &c.
I. Coupler, Swell to Great. 4. Coupler, Choir to Pedal.
2. Coupler, Great to Pedal. 5, 6, 7, Three Composition Pedals,
3. Coupler, Swell to Pedal.
Compass.
Great, CC to f* in alt., 54 notes. ! Choir, CC to fº in alt., 54 notes.
Swell, CC to fº in alt., 54 notes, | Pedal, CCC to tenor d, 27 notes.
247. LEEDS TOWN HALL.
The grand organ which stands in the Leeds Town Hall was built by Messrs.
Gray and Davison, from plans prepared by Mr. Henry Smart, of London, and
Dr. William Spark, of Leeds. It was commenced in 1857, completed in 1859,
and inaugurated by two public performances on the 7th of April.
The case was designed by Mr. Broderick, architect of the Town Hall. The
lower part, which is of oak, was made in Leeds by Messrs. Thorp and Atkinson.
The ornaments are all of carved wood, and are exceedingly well executed by
Mr. Matthews, also of Leeds.
The total cost, including the case and hydraulic engines, was about £6000.
The organ has 4 Manual claviers, the compass of each, from CC to C in
altissimo, 61 notes, and a Pedal Clavier, from CCC to F, 30 notes,
The Orchestral Solo organ (uppermost Clavier) contains the following stops:–
By Piñes on Sound Boards,
Feet, Pipes. Feet. Pipes.
I. Bourdon........................ 8 ... 61 6. Oboe........................... 8 ... 49
2. Concert Flute, Harmonic... 8 ... 42 7. Cor Anglais and Bassoon,
3. Piccolo, Harmonic ......... 4 . . . 49 free reed .................. 8 ... 61
4. Ottavina, Harmonic......... 2 ... 61 8, Tromba ..................... 8 ... 61
5. Clarinet ........................ 8 .,, 61 9. Ophicleide .................. 8 ... 81
538 APPENDIX.
IO.
II.
I 2.
I3.
I4.
By Mechanical Combination.
Clarinet and Flute, in Octaves. 15. Flute, Clarinet, and Bassoon, in Double
Oboe and Flute, in Octaves. Octaves.
Clarinet and Bassoon, in Octaves. 16. Flute, Oboe, and Bassoon, in Double
Clarinet and Oboe, in Octaves. Octaves.
Oboe and Bassoon, in Octaves.
The Swell organ (second Clavier) contains the following stops —
Feet. Pipes. Feet. Pipes.
I. Bourdon ..................... I6 ... 61 II. Fifteenth ........... ......... . 2 ... 61
2. Open Diapason............... 8 ... 61 | I2. Piccolo ........................ 2 ... 61
3. Stopped Diapason, Treble. 8 ... 49 || 13. Sesquialtera, IV ranks ... ... 244
4. Stopped Diapason, Bass ... 8 ... I2 I4. Mixture, III ranks ......... I ... I83
5. Keraulophon ............... 8 ... 49 || I5. Contra Fagotto ............ I6 ... 61
6. Harmonic Flute ............ 8 ... 49 I6. Trumpet ..................... 8 ... 6 I
7 Octave ........................ 4 ... 61 I7. Cornopean .................. 8 ... 6 I
8. Gemshorn ..................... 4 ... 61 18. Oboe ........................ 8 ... 61
9. Wood Flute .................. 4 ... 61 I9. Vox Humana ............... 8 ... 61
IO. Twelfth ........................ 3 ... 6 I 2O. Clarion....... . . . . . . . . . . . . . . . . . . 4 ... 61
The Great organ (third Clavier) contains, in reality, two complete and distinct
organs, of different powers and qualities. One, called the “A”ortſ Great organ,"
contains the following stops —
I. Double Diapason, open, 7. Twelfth ..................... 3 ... 61
metal ........................ 16 ... 61 8. Fifteenth ..................... 2 ... 61
2. Open Diapason............... 8 ... 61 9. Quint Mixture, IV ranks ... 244
3. Spitz Gamba ............... 8 ... 61 IO. Tierce Mixture, V ranks ... 3O5
4. Stopped Diapason ......... 8 ... 61 | II. Trumpet ..................... 8 ... 61
5. Octave ........................ 4 ... 61 12, Clarion........................ 4 ... 61
6. Wald Flute .................. 4 ... 61
The contents of the Back Great organ are as follows:–
13. Bourdon............... . . . . . . . . . I6 ... 61 2O. Piccolo Harmonic ......... 2 ... 61
I4. Flute à Pavillon ............ 8 ... 61 | 21. Cymbal, III ranks ......... ... 183
I5. Viola ........................... 8 ... 6 I 22. Furniture, IV ranks ...... ... 244
16. Flute Harmonic ............ 8 ... 61 23. Contra Trombone ......... I6 ... 61
17. Quint ............... . . . . . . . . . . . . 6 ... 61 24. Trombone .................. 8 ... 61
18. Octave ........................ 4 ... 61 25. Trumpet Harmonic......... 8 ... 61
19. Flute Octaviante ............ 4 ... 54 26. Tenor Trombone............ 4 ... 61
The Choir Organ (lowermost Clavier) contains the following stops —
I. Sub-dulciana ........... ... I6 ... 61 9. Flute Harmonic ............ 4 . . . 49
2.. Open Diapason............... 8 ... 61 IO. Twelfth ..................... 3 ... 61
3. Rohrflote, metal ............ 8 ... 49 II. Fifteenth ..................... 2 ... 61
4. Stopped Diapason, Bass, I2. Ottavina, wood ............ 2 ... 61
Wood ............ . . . . . . . . . . . . 8 ... 12 || 13, Dulciana Mixture, V ranks ... 305
5. Salicional ......... . . . . . . . . . . . . 8 ... 61 I4. Euphone, free reed ......... I6 ... 61
6. Viol di Gamba ............... 8 ... 49 I5. Trumpet ..................... 8 ... 61
7, Octave ... . . . . . . . . . . . . . . . . . . . . 4 ... 61 I6, Clarion........................ 4 ... 61
8. Suabe Flute .................. 4 . . . 49 -
The Echo Organ,” which can be played on either the Solo or Choir Clavier,
contains the following Stops —
I.
2.
3.
4.
Bourdon, wood............... I6 ..., 49 5. Flute d'Amour, metal ... 4 ... 61
Dulciana, metal ..........., 8 ... 49 6. Dulciana Mixture, metal,
Lieblich Gedact, wood ... 8 ... 61 TV ranks .................. . . . 244
Flute Traverso, wood ...... 4 ... 61 7. Carillons.
* The Echo organ was added in 1865; it formed part of the original plan, and was only
omitted at first on the Score of expense,
AN ACCOUNT OF COUNTRY ORGANS, 539
The Pedal Organ contains the following stops —
Feet. Pipes, Feet. Pipes,
I. Sub-bass, open metal ...... 32 ... 30 | Io. Twelfth ..................... 6 ... 30
2. Contra Bourdon, wood ... 32 ... 3O II. Fifteenth ..................... 4. ... 3O
3. Open Diapason, metal...... I6 ... 30 I2. Mixture, V ranks...... ..... ... I 50
4. Open Diapason, wood...... I6 ... 30 I3. Contra Bombard, free
5. Violon, wood ............... I6 ... 30 reed ........................ 32 ... 3O
6, Bourdon, wood............... I6 ... 30 I4. Bombard ..................... I6 ... 30
7, Quint, open, Wood ......... I2 ... 3O I5. Fagotto........................ I6 ... 30
8. Octave ........................ 8 ... 30 I6, Clarion........................ 8 ... 30
9. Violoncello .................. 8 3O
The Coupling Stoffs are as follows:–
1. Solo organ to Great Clavier. 9. Choir organ to Great Unison.
2. Great organ to Solo Clavier. Io. Swell organ to Pedal Clavier.
3. Solo organ, Super-octave (on its own II. Choir organ to ditto.
Clavier). * I2. Great organ to ditto,
4. Solo organ, Sub-Octave (On its own 13. Full Pedal organ.
Clavier). I4. Solo organ to Pedal Clavier.
5. Swell organ to Great Super-Octave. I5. Echo organ to Solo Clavier.
6. Swell organ to Great Unison. I6. Echo organ to Choir Clavier.
7. Swell organ to Great Sub-octave. 17. Tremulant to Echo organ.
8. Swell organ to Choir Clavier.
The Pedals, &c., for various purposes of mechanical adjustment, are as follows:–
I. Swell Pedal. 6, 7, 8, 9. Composition Pedals.
2. Swell Pedal for Solo organ. IO. Crescendo Pedal.
3. Swell Tremulant Pedal. II. Diminuendo Pedal.
4. Pedal admitting wind to the back Great I2 to I5. Indexes to Composition Pedals.
Organ, I6 and 17. Wind Couplers to Composition
5. Pedal coupling the back Great organ to Pedals,
Swell Clavier.
Summary of Draw Stoffs, &c.
Solo organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Echo organ … 6
Combination Pedal ..................... 7 Pedal organ .............................. I6
Swell organ .................. . . . . . . . . . . . . 20 Coupling Stops........................... 17
Great organ—Front 12, back I4 ... 26 *-i-º-º-º:
Choir organ ... ... . . . . . . . . . . . . . . . . . . . . . . . . I6 Making a total of...... I 17
Summary of Piñes.
Solo organ . . . . . . . . . . . . . . . . . . . . . . . . . . . 500 Echo organ ... . . . . . . . . . . . . . . . . . . . . . . . . 520
Swell organ ............. . . . . . . . . . . . . . . . I44O Pedal organ ........................... 6OO
Great organ . . . . . . . . . . . . . . . . . . . . . . . . . . . 23II smºmºmº
Choir organ ............ . . . . . . . . . . . . . . . II23 Total...... 6500
248. YORK MINSTER.
This instrument was built after the fire at the Minster in 1829 by Messrs.
Elliott and Hill, under the superintendence of the late organist, Dr. Camidge. It
was considered the largest in the world, containing 80 stops, and 8000 pipes :
it cost about £5000, including the original gift of the late Earl of Scarborough
(who was the senior prebendary of the Cathedral at the time the first fire occurred),
of 4,3000. Unhappily, his lordship died before the completion of the instrument,
º,
54O APPENDIX.
so that the remaining £2000 had to be furnished by the Chapter, assisted by sub-
scriptions from the neighbouring nobility, gentry, and clergy. It was, however,
his lordship's desire and intention to have supplied the sum wanting, beyond that
contracted for ; but, as his death occurred so suddenly, they were deprived of this
advantage. The Great Manual contained 4818 pipes; the Swell organ, I 586;
the Choir organ, 1399; and the Pedal organ, 200 pipes,
In connection with the York Minster organ various improvements were sug-
gested at different times, and carried out by the late Dr. Camidge, to assist in
making up for the defects in its original construction. Still, however, these defects
were appreciably visible to all persons conversant with the anatomy of a cathedral
organ ; and, in the spring of the year 1863, the Dean and Chapter instituted an
examination of the instrument, when it was found that it had become considerably
impaired in power. It was, therefore, determined that it should undergo a thorough
renovation and re-construction ; and an appeal was made to the public for subscrip-
tions to carry out the object, which was liberally responded to. The construction
of the organ was carried out by Messrs. Hill, under the superintendence of Dr.
Monk, the present organist. -
The following is a description of the large screen organ as it now stands:–
Great, 24 Słoffs, CC to G in al/.
1. Double Open Diapason, metal 16 feet. I3. Twelfth, metal ................., 3 feet.
2. Gedact, wood ......... . . . . . . . . . . . . I6 feet. I4. Fifteenth, metal.................. 2 feet.
3. Open Diapason, East, metal.., 8 feet. I5. Octave Flute, wood ............ 2 feet.
4. Open Diapason, West, metal... 8 feet. I6. Full Mixture, IV ranks.
5. Open Diapason, No. 3, metal... 8 feet. 17. Sharp Mixture, III ranks.
6. Gamba, metal ..................... 8 feet. 18. Tierce Mixture, III ranks.
7. Stopped Diapason, wood ... ... 8 feet. I9. Cornet, IV ranks.
8. Quint................................. 6 feet. 2O. Glockenspiel, II ranks.
9 Octave .............................. 4 feet. 2I. Double Trumpet, metal ...... I6 feet.
IO. Octave .............................. 4 feet. 22. Posaune, metal .................. 8 feet.
II. Open Diapason .................. 8 feet. 23. Trumpet, metal .................. 8 feet
12. Harmonic Flute .................. 4 feet. 24. Clarion, metal .................. 4 feet.
Choir, 9 Słoffs, CC to G in alt.
25. Gedact, wood ..................... 16 feet. 30. Wald Flute, wood ............... 4 feet.
26. Open Diapason, metal ......... 8 feet. 3I. Fifteenth, metal.................. 2 feet.
27. Dulciana, metal .................. 8 feet. 32, Mixture, II ranks.
28. Stopped Diapason, metal ...... 8 feet. 33. Clarionet....................‘. . . . . . . 8 feet.
29. Gemshorn........................... 4 feet.
Swell, 14 Słoffs, CC to G in alſ. *.
34. Bourdon, wood .................. I6 feet. 4I. Dulciana Mixture, III ranks.
35. Open Diapason, metal ......... 8 feet. 42. Double Bassoon .................. I6 feet.
36. Dulciana, metal .................. 3 feet, 43. Horn .............................. 8 feet.
37. Stopped Diapason ....... ....... 8 feet. 44, Trumpet ........................... 8 feet.
38. Octave, metal ..................... 8 feet. 45. Oboe .............................. 8 feet.
39. Fifteenth, metal .................. 2 feet. 46. Vox Humana ..................... 8 feet.
40, Full Mixture, III ranks. | 47. Clarion ........................... 4 feet.
Solo, 3 Stoffs, CC to G in alt.
48. Tuba, metal ........................ I6 feet. 50, Harmonic Flute,...,...,........... 4 feet
49. Tuba, metal ........................ 8 feet, -
AN ACCOUNT OF COUNTRY ORGANs. 541
Pedal, 19 Słoffs, CCC to F, 30 modes.
5.I. Double Open Diapason, wood 32 feet. 61. Flute Bass, wood ...,...,...,,. ..., 8 feet.
52. Double Open Diapason, metal 32 feet. 62. Twelfth, wood ........,........, 6 feet.
53. Open Diapason, wood ......... I6 feet. 63. Fifteenth, wood .................. 4 feet.
54. Sub-Bass, wood .................. I6 feet. 64. Mixture, V ranks ............... 3% feet
55. Open Diapason, metal ......... I6 feet. 65. Sackbut, wood ........... ... .. 32 feet.
56. Violone, wood ..................... I6 feet. 66. Trombone .................... ... I6 feet.
57. Bourdon ........................... I6 feet. 67. Bassoon, metal ................., I6 feet.
58. Quint (Stopped) .................. I2 feet. 68. Clarion, metal ........... : e º e º a 8 feet.
59. Octave, metal .............. ....., 8 feet. 69. Octave Clarion ................., 4 feet.
60, Octave Bass, wood ............... 8 feet,
Couplers.
I. Great to Pedals. 4. Swell to Choir. 6. Solo to Swell.
2. Swell to Pedals. 5. Swell to Great. 7. Swell to Great.
3. Choir to Pedals. -
Composition Pedals.
2 to Pedal, | 2 to Swell. 4 to Great, | 2 Tremulants.
Summary of Stoffs.
Great ........................... 24. Solo.............................. 3
Choir ........................... 9 Pedal ........................... 19
Swell ........................... I4.
249. THE NAVE ORGAN, YORK MINSTER.
This instrument, which was erected in September, 1863, under the third arch of
the north aisle, by Messrs. Hill and Son, from a specification of the present
organist, Dr. Monk, is intended for the “Special Services” in the nave, to accom-
pany and support large bodies of singers; for this purpose it has been designed,
scaled, and voiced.
It consists of 3 complete Manual organs, and a Pedal organ, viz. –
Great, II Stoffs, CC to A, 58 Moſes.
I. Bourdon, wood............... I6 ſeet tone. 7. Twelfth, metal ............ 23 feet.
2. Open Diapason, No. 1 ... 8 feet. 8. Fifteenth, metal ............ 2 feet.
3. Open Diapason, No. 2 ... 8 feet. 9. Mixture, IV ranks, metal I, foot,
4. Stopped Diapason, wood 8 feet tone, Io. Posaune, metal ............ 8 feet,
5. Octave, metal ............... 4 feet. II. Clarion, metal .......... ... 4 feet.
6. Harmonic Flute, metal ... 4 feet. ,’
Choir, 7 Słoffs, CC to A, 58 AVožes.
12. Cone Gamba, throughout, I5. Gemshorn, metal ........, 4 feet.
metal........................ 6 feet. I6. Lieblich Flote, wood...... 4 feet tone.
13. Dulciana to tenor c, metal 8 feet. I7. Piccolo, wood............... 2 feet.
14, Lieblich Gedact, wood ... 8 feet tone. 18, Clarinet to tenor c......... 8 feet tone.
Swell, 9 Stoffs, CC to A, 58 AVotes.
19. Bourdon, wood ............ I6 feet tone. 24. Mixture, IV ranks......... I# foot,
20. Open Diapason, metal ... 8 feet. 25. Corno ........................ 8 feet.
2I. Stopped Diapason ......... 8 feet tone. 26. Oboe ........................ 8 feet.
22. Octave ........................ 4 feet. 27, Clarion........................ 4 feet,
23. Fifteenth ..................... 2 feet.
542 APPENIOIX.
Pedal, 6 Słońs, CCC to femorſ, 30 Notes.
28. Open Diapason, wood ... I6 feet. 3I. Octave, metal............... 8 feet.
29. Sub-bass, wood ............ I6 feet tone, 32. Fifteenth, metal............ 4 feet.
3o, Violone, wood ............... I6 feet. 33. Trombone, Wood ......... I6 feet,
Couplers, Accessory Słońs, &c.
I. Swell to Great. 6. Swell to Pedals.
2. Swell Sub-octave to Great, 7 to Io. Four Composition Pedals.
3. Choir to Great. Radiating and Concave Pedal Board, and
4. Great to Pedals. - Draw-stop Jambs, placed at an angle, So
5. Choir to Pedals. that the stops draw towards the performer.
250, YORK.
The new organ at New Street Wesleyan Chapel, York, was built by Messrs. Foster
and Andrews, of Hull. The following is a synopsis of the stops of the instrument —
Great Organ, CC to G.
Feet, Pipes. Feet,
I. Open Diapason, metal...... 8 ... 56 6. Principal, metal ............ 4 ...
2. Hohlflote, wood ............ 8 ... 56 7. Twelfth, metal............... 2% ...
3. Dulciana, metal ............ 8 ... 56 8. Fifteenth ..................... 2
4. Lieblich Gedact, wood....., 8 ... 56 9. Clarionet ..................... 8
5. Flauto Traverso, metal ... 4 ... 56
Sweſ/ Organ C C to G.
IO. Lieblich Bourdon, wood... I6 ..., 56 I4. Principal, metal ............ 4.
II. Open Diapason, wood and I5. Flageolet, wood ............ 2
metal........................ 8 ... 56 16. Mixture, II ranks, metal
I2. Salicional (I2 stopt), metal 8 ... 56 I7. Horn, metal.................. 8
13. Voix Célestes, metal ...... 8 ... 44 | 18. Oboe, metal.................. 8
Pedal Organ, CCC to F.
I9. Open Diapason, wood...... I6 ... 30 | 20, Bourdon, wood ............ I6
Couplers.
I. Great to Pedals. . 3. Swell to Great.
2, Swell to Pedals. 4. Swell Octave,
Piffes.
Great organ ......................................... ‘. . . . 492
Swell organ ............................................. 548
Pedal organ ............................................. 6O
I IOO
Pipes.
56
56
56
44
3 Composition Pedals to Great and 3 to Swell. Radiating Pedal-board. Front pipes
handsomely decorated,
AN ACCOUNT OF COUNTRY ORGANS,
Separate Pedal of good proportion, and 34 Sounding stops.
251. TANKERSLEY, YORKSHIRE.
This organ, built by Messrs. Brindley and Foster in 1874, has 3 Manuals,
specification :--
Great Organ, 9 Stoffs.
I. Double Stopped Diapason 16 feet. 6. Rohrfiote..................... 4 feet
2. Open Diapason ............ 8 feet. 7. Grave Mixture, II ranks.
3. Gamba ........................ 8 feet 8. Great Mixture, V ranks.
4. Hohlflote ..................... 8 feet 9. Trumpet ..................... 8 feet
5. Principal ..................... 4 feet
Swell Organ, IO Słoffs.
Io. Tieblich Bourdon ........, 16 feet I6. Horn ........................ 8 feet
II. Violin Diapason ............ 8 feet I7. Oboe ........................ 8 feet
I2. Vox Angelica ............... 8 feet. 18. Clarion........................ 4 feet
13. Voix Célestes, undulating 8 feet. I9. Vox Humana, in second
I4. Principal ..................... 4 feet. Swell box .................. 8 feet.
I5. Mixture, III ranks.
Choir Organ, 8 Słoffs.
20, Salicional ..................... 8 feet 24. Flauto Traverso............ 4 feet
2I. Dulciana ..................... 8 feet 25. Dulcet Twelfth ............ 3 feet
22. Lieblich Gedact ............ 8 feet 26. Piccolo........................ 2 feet
23. Salicet ........................ 4 feet 27. Clarionet ..................... 8 feet
Pedal Organ, 7 Stoffs.
28. Open Bass .................. I6 feet. 32. Flute Bass .................. 8 feet
29. Sub-bass ..................... I6 feet. 33. Trombone Bass ............ I6 feet
3O. Quint Bass .................. Io; feet. 34. Trumpet Bass...... ........ 8 feet.
3I. Principal Bass ............... 8 feet,
Couplers.
I. Swell to Great. 5. Swell to Pedal.
2. Swell to Choir. 6. Great to Pedal.
3. Choir to Pedal. 7. Choir to Great.
4. Swell Sub-Octave. 8. Tremulant.
5 Composition Pedals.
Manuals, CC to g”, 56 notes.
Compass.
|
Pedals, CCC to e, 29 notes.
252. CHRIST CHURCH, MACCLESFIELD.
This organ was built by Messrs, Gray and Davison in 1876.
The following is its
It consists of 3
Manuals, from CC to G, and Pedals, from CCC to F, two octaves and a fourth.
. Double Diapason ......... I6 feet
... Open Diapason ............ 8 feet
:.
Gamba ........................ 8 feet
. Clarionet Flute ............ 8 feet
. Octave ................ * * * * * * * * 4 feet.
6.
7.
8.
9.
IO.
Great Organ.
Flute Octaviante ......... 4 feet.
Quinte ................. ...... 23 feet.
Super-octave ............... 2 feet
Mixture, IV ranks.
Trumpet ..................... 8 feet
544 APPENDIX.
Swell Organ.
II. Lieblich Bourdon ......... I6 feet, 18. Mixture, III ranks.
I2. Open Diapason ............ 8 feet. I9. Cornopean .................. 8 feet.
I3. Keraulophon ................ 8 feet. 2O. Orchestral Oboe............ 8 feet.
I4. Voix Céleste.................. 8 feet. 2 I. Vox Humana (in a separate
I5. Concert Flute ............... 8 feet. box)............ .…. 8 feet.
I6. Octave ........................ 4 feet. 22. Clarion ..................... 4 feet.
I7. Super-Octave ............... 2 feet. Tremulant.
Choir Organ.
23. Dulciana, tenor c............ 8 feet. 27. Suabe Flute.................. 4 feet.
24. Viol di Gamba......... * . . . . . 8 feet. 28. Flageolet Harmonique ..., 22 feet.
25. Lieblich Gedact ............ 8 feet, 29. Clarionet..................... 8 feet.
26, Gemshorn .................. 4 feet. 3O. Corno di Bassetto ......... 8 feet.
Pedal Organ.
31, Grand Open Diapason ... ió feet. 33. Violoncello .................. 8 feet.
32, Grand Bourdon ............ I6 feet. 34. Trombone ........... ...... I6 feet.
Couplers.
I. Swell to Great Manual. 4, Great Manual to Pedals.
2. Swell to Choir Manual. 5. Choir Manual to Pedals.
3. Swell Manual to Pedals.
7 Composition Pedals; 4 to Great and 3 to the Swell organ.
253. ST, MARY'S CHURCH, BEVERLEY.
The organ in St. Mary's Church, Beverley, was built by Messrs. Forster and
Andrews in 1869. The case, designed by Sir G. G. Scott, is of oak, richly carved.
The front and pipes at west side are handsomely decorated. The pneumatic
movement is applied to the Great organ and its couplers, and the whole is blown
by three different pressures of wind. The following is the specification —
Great Organ, CC to G, II Słońs.
1. Double Open Diapason ... I6 feet. 7. Twelfth ........................ 2% feet,
2. Open Diapason ............... 8 feet. 8. Fifteenth ..................... 2 feet.
- 3. Gamba ..... ................... 8 feet. 9. Mixture, V ranks.
4. Stopped Diapason............ 8 feet. IO. Posaune........................ 8 feet.
5. Principal........................ 4 feet. II. Clarion ........................ 4 feet.
6. Harmonic Flute............... 4 feet.
Swell Organ, CC to G, Io Stoffs.
12. Bourdon ........................ I6 feet. 17. Flageolet ..................... 2 feet.
I3. Open Diapason ............... 8 feet. 18. Mixture, IV ranks.
I4. Flute d'Amour ............... 8 feet. 19. Horn ........................... 8 feet.
I5. Stopped Diapason............ 8 feet. 20. Oboe ........................... 8 feet.
I6. Principal........................ 4 feet. 21. Clarion ........................ 4 feet.
Choir Organ, CC to G, 7 Stoffs,
22. Dulciana ......... 4 * * * * * * * * * * * 8 feet. 26. Lieblich Flote ............ ... 4 feet.
23. Bell Gamba .................. 8 feet. 27. Flautino Harmonic ......... 2 feet.
24. Lieblich Gedact............ ... 8 feet. 28. Corno di Bassetto............ 8 feet,
25. Flauto Traverso... ... ... ... ... 4 feet.
AN ACCOUNT OF COUNTRY ORGANS, 545
Peda/Organ, CCC to F, 5 Stoffs.
29. Open Diapason ............... I6 feet. 32. Flute ........................... 8 feet.
30. Violon........................... I6 feet. 33. Trombone ..................... I6 feet,
31. Bourden ........................ I6 feet.
Coló/ers. -
I. Great to Pedals. 5. Swell Octave to Great.
2. Swell to Pedals. 6. Swell to Great.
3. Choir to Pedals. 7. Swell Sub-octave to Great.
4. Swell to Choir.
3 Composition Pedals to Great organ. 3 Composition Pedals to Swell organ,
254. HOLY TRINITY CHURCH, HULL.
The organ in Holy Trinity Church was built by Messrs. Forster and Andrews,
and, although not the largest in Yorkshire, it is one possessing very exceptional
features in quality of tone and in mechanical appliances for variety of effect.
The pneumatic movement is applied to Great, Swell, and Pedal keys, and
all couplers in connection therewith. The Pedal-board is of the latest improved
construction ; and the wind is supplied at various pressures suitable for the
different qualities of tone. The dimensions of the organ are 36 feet high, 16 feet
I6 inches wide, and 22 feet deep. The following description indicates what is
complete and what is prepared for :—
Great Organ, CC to A.
Feet. Pipes, Feet, Pipes.
I. Double Open Diapason, 7. Waldflute, metal ......... 4 ... 58
metal ........................ I6 ... 58 8. Twelfth, metal............... 2# ... 58
2. Large Open Diapason, metal 8 ... 58 9. Fifteenth, metal ............ 2 ... 58
3. Gamba, metal ............... 8 ... 58 Io. Mixture, IV ranks, metal ... 23O
4. Flute Harmonic, wood ... 8 ... 58 II. Posaune, metal ............ 8 ... 58
5. Stopped Diapason, wood..., 8 ... 58 I2. Clarion, metal............... 4 ... 58
6, Principal, metal ............ 4 ... 58
Swell Organ, CC to A.
I3. Bourdon, wood............... 16 ... 58 20. Mixture, V ranks, metal ... 29O
14. Open Diapason, metal ... 8 ... 58 2I. Double Trumpet (Space
I5. Rohrfiote, wood ............ 8 ... 58 - only), metal ............... I6 ... 58
I6. Salicional, metal ............ 8 ... 58 22. Horn, metal.................. 8 ... 58
I7. Principal, metal ............ 4 ... 58 || 23. Oboe, metal.................. 8 ... 58
18. Flute (space only) metal ... 4 ... 58 24, Clarion, metal............... 4 ... 58
I9. Fifteenth, metal ............ 2 ... 58
Choir Organ, CC to A.
25. Lieblich Bourdon (space 29. Lieblich Gedact, wood ... 8 ... 58
only), Wood ............... 16 ... 58 30. Flauto Traverso, metal ... 4 ... 58
26. Dulciana, metal ............ 8 ... 58 || 31. Lieblich Flote, wood...... 4 ... 58
27. Voix Céleste, metal......... 8 ... 58 || 32. Piccolo, metal............... 2 ... 58
28. Bell Gamba, metal ..... ..., 8 ... 58 || 33. Corno di Bassetto, metal 8 ... 58
Lower Octave do. (space
only), metal ............... ... I2
Pedal Organ, CCC to F.
34. Contra Diapason, Open 38. Grosse Quint, wood ....., IO# ... 30
(space only), wood ...... 32 ... 30 39. Principal, metal ............ 8 ... 30
35. Open Diapason, wood...... 16 ... 30 40. Flute, wood.................: 8 ... 30
36. Violon, metal ............... 16 ... 30 41. Trombone, wood and metal 16 ... 30
37. Bourdon, wood............... 16 ... 30 42. Trumpet, metal ............ 8 ... 30
546 APPENDIX.
Couplers.
I. Swell to Great. 5. Choir to Pedals,
2. Swell to Octave. 6. Choir to Pedals.
3. Swell to Sub-Octave. 7. Swell to Choir,
4. Swell to Pedals,
Accessory Movements.
8 Pneumatic Combination Pedals, acting upon Great, Swell, and Pedal stops, Tremulant
to Swell by Pedal, Sforzando Pedal.
Summary.
Great Organ .................. 868 Pipes .................. 12 Registers.
Swell Organ .................. 928 .................. I2 3 3
Choir Organ .................. 5IO . . . . . . . . . . . . . . . . . . . . 9 3 3
Pedal Organ .................. 270 , , . . . . . . . . . . . . . . . . . . 9 9 3
Couplers ..................... .................. 7 3 y
2576 , , 49 , ,
255, WYCLIFFE CONGREGATIONAL CHURCH, HULL,
The organ in Wycliffe Congregational Church was built by Messrs. Forster
and Andrews, of Hull, and contains the stops mentioned below —
Great Organ, CC to G.
Feet. Pipes. Feet. Pipes.
I, Double Open Diapason, 6. Waldflote, wood............ 4 ..., 56
metal........................ I6 ... 56 7. Twelfth, metal ............ 2} ... 56
2. Open Diapason, metal...... 8 ... 56 8. Fifteenth, metal ............ 2 ... 56
3. Violin Diapason, metal ... 8 ... 56 9. Mixture, metal, IV ranks. ... 224
4. Hohlflote, wood ............ 8 ... 56 Io. Trumpet, metal ............ 8 ... 56
5. Principal, metal ............ 4 ... 56
Swell Organ, CC to G.
II. Lieblich Bourdon, wood... 16 ... 56 I6. Fifteenth, metal ............ 2 ... 56
I2. Open Diapason, metal...... 8 ... 56 17. Mixture, metal, V ranks... ... 280
I3. Salicional, metal ............ 8 ... 56 | 18. Horn, metal.................. 8 ... 56
I4. Stopped Diapason, wood... 8 ... 56 | 19. Oboe, metal.................. 8. ... 56
I5. Principal, metal ............ 4 ... 56 20, Clarion, metal............... 4 ... 56
Choir Organ, CC to G.
2I. Dulciana, metal ............ 8 ... 56 || 25. Lieblich Flote, wood ...... 4 ... 56
22. Bell Gamba, metal ......... 8 ... 56 26. Flautino, metal ............ 2 ... 56
23. Lieblich Gedact, wood ... 8 ... 56 27, Corno di BaşSetto, metal.., 8 ..., 44
24. Flauto Traverso, metal ... 4 ... 56
Pedal Organ, CCC to F.
28. Open Diapason, wood....., I6 ... 30 || 30. Violoncello, wood ......... 8 ... 30
29, Bourdon, Wood............... I6 ... 30 3I. Flute, Wood.................. 8 ... 30
Couplers.
I. Swell to Great. 4. Swell Sub-octave to Great,
2. Swell to Pedals. 5. Great to Pedals.
3. Swell Octave to Great, 6, Choir to Pedals,
AN ACCOUNT OF COUNTRY ORGANS.
Couplers.
in a double-framed box.
adopted as more useful for Congregational accompaniment.
On either side are angular towers, containing the Open Diapason pipes.
he 16-feet Double Open Diapasons, presenting a fine
deal.
Behind the centre pipes are t
appearance.
near Erfurt.
There are three Composition Pedals to the Great organ and three to the
Swell organ. The pneumatic movement is applied to the Great organ and its
The whole is blown by three pressures of wind. The Swell is enclosed
The new French pitch, or “Normal Diapason,” has been
The case is stained
256. DONCASTER.
is a list of its stops —
The present organ in the Parish Church of St. George, at Doncaster, was
built by Herr Edmund Schulze, the celebrated organ builder of Paulinzelle,
It was commenced in 1857, and completed in 1862.
Great, 21 Stops; CC to A in alt., 58 AVotes.
I. Sub Bourdon to tenor c ... 32 feet. 12. Twelfth tº a 3 & 4 - - 23 feet.
2. Double Open Diapason ... 16 feet. I3. Fifteenth ..................... 2 feet.
3. Bourdon ..................... I6 feet. I4. Mixture, V ranks.
4. Open Diapason ............ 8 feet. I5. Cymbal, III to V ranks.
5. Octave ........................ 8 ſeet. I6. Cornet to tenor c, IV ranks.
6. Hohlflote ..................... 8 feet, I7. Double Trumpet............ I6 feet.
7. Stopped Diapason ......... 8 feet. 18. Trumpet ..................... 8 feet
8. Great Quint .................. 5% feet. I9. Posaune ..................... 8 feet
9. Principal ..................... 4 feet 20. Horn ........................ 8 feet
IO. Gemshorn..................... 4 feet 21. Clarion........................ 4 feet
II, Stopped Flute ............... 4 feet -
Choir, 13 Stoffs, CC ſo A in alt., 58 Notes,
22. Lieblich Gedact ..........., I6 feet. 29. Lieblich Flute ............ 4 feet
23. Geigen Principal ............ 8 feet. 3O. Flauto TraverSO ............ 4 feet
24. Viol di Gamba............... 8 feet 31. Quintaton .................. 4 feet
25. Flauto Traverso ............ 8 feet 32. Flautino ..................... 2 feet
26. Salicional ..................... 8 feet 33. Mixture, III ranks.
27. Lieblich Gedact ............ 8 feet 34. Clarionet ............., 8 feet
28. Geigen Principal ............ 4 feet *
Swell, 18 Słożs, CC to A in alt., 58 AVotes.
35. Bourdon ...................., I6 feet. 44. Viol d'Amour.............., 4 feet
36. Open Diapason ............ 8 feet. 45. Mixture, V ranks.
37. Gemshorn..................... 8 feet. 46. Scharf, III ranks.
38. Terpodion..................... 8 feet. 47. Cornet to tenor c, IV ranks.
39. Harmonic Flute ............ 8 feet, 48. Double Bassoon ............ I6 feet.
40. Rohrflute ..................... 8 feet. 49. Hautboy..................... 8 feet
4I. Principal ..................... 4 feet 50. Trumpet ..................... 8 feet
42. Harmonic Flute ............ 4 feet 51. Horn ........................ 8 feet
43. Stopped Flute ............... 4 feet 52. Clarion........................ 4 feet
Solo (most of which is faken from the Swell), 9 Stops, CC to A in all. , 58 AVotes.
Gemshorn..................... 8 feet
Harmonic Flute ............ 8 feet
Rohrflote ..................... 8 feet
Harmonic Flute ............ 4 feet
Stopped Flute ..., ,,,,,,,,, 4 feet
58.
59.
6O.
6I.
Double Bassoon ............ I6 feet.
Hautboy..................... 8 feet
Horn ........................ 8 feet
Vox Humana ............... 8 feet
The following
548 APPENDIX.
Acho, 8 Słożs, CC to A in alt., 58 AVotes.
62. Tibia Major .................. I6 feet. 66. Flauto Amabile ............ 8 feet.
63. Vox Angelica ............... 8 feet. 67. Celestina ..................... 4 feet.
64. Harmonica .................. 8 feet. 68. Flauto Dolcissimo ......... 4 feet.
65. Flauto TraverSO ............ 8 feet. 69. Harmonica AEtheria, II ranks.
Pedal, 25 Stoffs, CCCC to E, 29 Moſes.
70. Sub-principal ............... 32 feet. 83. Fifteenth, Bass ............ 4 feet.
7I. Major, Bass .................. I6 feet. 84. Tierce ..................... 3% feet.
72. Principal, Bass............... I6 feet. 85. Mixture, II ranks.
73. Sub-bass ..................... I6 feet. 86. Cymbal, II ranks.
74. Open Diapason, Bass ...... I6 feet. 87. Contra POSaune ............ 32 feet.
75. Violone........................ I6 feet. 88. Posaune ..................... I6 feet.
76. Minor, Bass..... ............ 8 feet. 89. Bombarde .................. I6 feet.
77. Octave, Bass.................. 8 feet. 90. Contra Fagotto ............ I6 feet.
78. Violoncello .................. 8 feet. 91. Trumpet ..................... 8 ſeet.
79. Flute, Bass .................. 8 feet. 92. Horn ........................ 8 feet.
8O. Great Quint .................. Io; feet. 93. Fagotto ..................... 8 feet.
8I. Quint, Bass .................. 5% feet. 94. Clarion........................ 4 feet.
82. Great Tierce.................. 6% feet.
Accessory Słoffs, &c.
I. Great to Pedal n 6 and 7. Composition stops for Great.
2. Swell to Great B Pedals 8. Combination for the Pedals.
3. Choir to Great ( By redals. 9 and IO. Combination stops for Swell,
4. Tremulant for Swell J II. Combination for Choir organ.
5. Thunder Stop,
257. SHEFFIELD.
The organ by Messrs. T. C. Lewis and Co., for St. Marie's Catholic Church, at
Sheffield, is to have 3 Manuals, with separate pedal, and the 23 sounding stops
enumerated below :-
Great Organ, CC ſo A , 58 AVožes.
I. Bourdon ..................... I6 feet. 5. Octave Quint ............... 23 feet.
2. Open Diapason ............ 8 feet. 6. Super-Octave ............... 2 feet.
3. Stopped Diapason ......... 8 feet. 7. Mixture, IV ranks ......... I# foot.
4. Octave ........................ 4 feet. 8. Trumpet ..................... 8 feet.
§ Swell Organ, CC to A, 58 Notes.
9. Geigen Principal ............ 8 feet. I3. Flautino ..................... 2 feet.
IO. Rohrſlote ..................... 8 feet. I4. Horn ........................ 8 feet.
II. Afolian ........................ 8 feet. I5. Oboe ........................ 8 feet,
I2. Geigen Principal ............ 4 feet.
Choir Organ, CC to A, 58 Notes.
16. Salicional ..................... 8 feet. I9. Salicet ........................ 4 feet.
17. Vox Angelica .............., 8 feet. 2O. Flute Harmonique ......... 4 feet.
18, Lieblich Gedact ............ 8 feet. 2.I. Clarionet..................... 8 feet.
Pedal Organ, CCC to F, 30 AVotes.
22, Open Bass .................. 16 feet. | 23. Sub-bass ..................... I6 feet
Couplers.
I. Choir to Pedals. 4. Swell to Great.
2. Great to Pedals. g 5. Swell to Choir,
3, Swell to Pedals. -
Three Pedals of Combination,
AN ACCOUNT OF COUNTRY ORGANs.
258. CARLISLE CATHEDRAL.
This organ was built by Mr. Willis, in 1856, from a specification prepared by
Mr. Ford, the organist, and Mr. W. T. Best, of Liverpool. The compass is
It has a Pedal-board containing 30 notes, or
2# Octaves, from CCC to F, and all the registers extend throughout the compass of
4# Octaves, from CC to g in alt.
the key-boards, without exception.
Great, II Stoffs.
I. Double Open Diapason,
6. Fifteenth, metal............ 2 feet.
metal........................ I6 feet 7. Sesquialtera, V ranks, metal.
2. Open Diapason, metal ... 8 feet 8. Furniture, III ranks, metal.
3. Stopped Diapason, wood... 8 feet 9. Trombone, metal ......... 8 feet.
4. Principal, metal ............ 4 feet IO. Trumpet, metal ............ 8 feet.
5. Twelfth, metal............... 3 feet II. Clarion, metal ............ 4 feet
Choir, 6 Sãoffs.
I2. Open Diapason, metal 8 feet, I5. Gamba, metal............... 8 feet
I3. Clarabella, wood............ 8 feet. I6. Harmonic Flute, metal... 4 feet
I4. Dulciana, metal ............ 8 feet. I7. Clarionette, metal ......... 8 feet
Swell, II Stoffs.
18. Double Diapason, metal... 16 feet. 24. Contra Fagotto, wood ... 16 feet.
I9. Open Diapason, metal 8 feet. 25. Horn, metal ... ............ 8 feet
20. Stopped Diapason, wood... 8 feet. 26. Oboe, metal ............... 8 feet
2I. Principal, metal ... ........ 4 feet 27. Clarion, metal ............ 4 feet
22. Flageolet, wood ............ 2 feet 28. Vox Humana, metal ...... 8 feet
23. Echo Cornet, V ranks, the Tremulant.
lowest rank of wood, the
remaining IV of metal.
Pedal, 7 Sãoffs.
29. Open Diapason, wood...... I6 feet. 33. Fifteenth, metal............ 4 feet
3O. Violone, metal............... I6 feet. 34. Trombone, metal ......... I6 feet
3I. Bourdon, wood ............ I6 feet 35. Trumpet, metal ............ 8 feet
32. Principal, metal ............ 8 feet
Couplers.
4. Pedal to Swell.
1. Swell to Great.
5. Pedal to Choir.
2. Choir to Great.
3. Pedal to Great.
AWumber of Pińes.
Great organ ............ . . . . . . . . . . . . . . . . . . . . . . . . . . . 952
Swell organ ....................................... 840
Choir organ ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Pedal organ ....................................... 2 IO
550 APPENDIX.
259. ST. PETER’s ROMAN CATHOLIC CHURCH, SCARBOROUGH,
This organ was built by Messrs. Forster and Andrews in 1874. The following is
a list of the stops —
Great Organ, Io Stoffs, Compass, CC to G, 56 Piñes.
I. Double Stopped Diapason...... I6 feet. 6. Waldflote ............ * u, º e s - e º s º 4 º' t t w ł 4 feet.
2, Open Diapason .................. 8 feet. 7. Twelfth............... .............. 2% feet.
3. Violin Diapason .................. 8 feet. 8. Fifteenth ........................... 2 feet,
4. Stopped Diapason ............... 8 feet. 9. Mixture, IV ranks.
5. Principal ........................... 4 feet. Io. Trumpet ........................... 8 feet,
Swell Organ, 7 Słońs, Compass, CC to G, 56 Piffes,
II. Lieblich Bourdon.................. I6 feet. I5. Spitzflote ........................... 4 feet.
12. Gedact .............................. 8 feet. I6. Cornopean ........................ 8 feet.
I3. Open Diapason .................. 8 feet. 17, Oboe........................ ........ 8 feet,
I4. Flute d'Amour .................. 8 feet, -
Choir Organ, 4 Sãoffs, Compass, CC to G, 56 Pipes.
18. Gedact .............................. 8 feet, 2O, Harmonic Flute .................. 4 feet,
19. Dulciana ........................... 8 feet, 2I. Krummhorn ........................ 8 feet.
Pedal Organ, 3 Stoffs, Compass, CCC to D, 27 Moſes.
22. Open Bass ........................... I6 feet. 24, Violoncello........................... 8 feet.
23. Bourdon Bass........................ I6 feet, --
Cotºlers.
1, Swell to Great, 4. Swell to Pedals.
2. Swell Octave. 5. Choir to Pedals.
3. Great to Pedals,
4 Composition Pedals,
260. SCARBOROUGH BAR CONGREGATIONAL CHURCH.
This organ was built by Messrs. Forster and Andrews in 1870. The case is of
pitch pine, with angular towers supporting the 16 feet pipes, which, with the re-
mainder of the front, are richly gilded. The stops are as follows:–
Great Organ, Io Stoffs, CC to G.
I. Double Open Diapason ... 16 feet. 6. Harmonic Flute............ 4 feet.
2. Open Diapason ............ 8 feet, 7. Twelfth ..................... 23 feet.
3. Gamba ........................ 8 feet. 8. Fifteenth..................... 2 feet.
4. Hohlflote ..................... 8 feet, 9. Mixture, IV ranks.
5. Principal ................ ..., 4 feet. IO. Trumpet ..................... 8 feet,
Swell Organ, Io Stoffs, CC to G.
II. Lieblich Bourdon ......... I6 feet. I6. Fifteenth ..................... 2 feet.
I2. Open Diapason ............, 8 feet. I7. Mixture, V ranks.
I3. Salicional ..................... 8 feet. 18, Horn ........................ 8 feet,
I4. Rohrfiote ..................... 8 feet. 19. Oboe ........................ 8 feet.
15. Principal ..................... 4 feet. 20. Clarion........................ 4 feet.
- Choir Organ, 5 Stoffs, CC to G.
, 21. Dulciana ...................., 8 feet. 24. Flautino ..................... 2 feet,
22. Lieblich Gedact ............ 8 feet. 25. Corno di Bassetto ......... 8 feet.
23. Flauto TraverSO ...,,,...... 4 feet.
Pedal Organ, 3 Stoffs, CCC to F.
26. Open Diapason ...,,,,,,. , , 16 feet. 28. Flute ........................ 8 feet,
27. Bourdon .................... , I6 feet,
Couplers.
1. Swell to Great. 4, Swell to Choir.
2. Swell to Pedals. 5, Swell Octave to Great,
3. Great to Pedals, 6, Choir to Pedals,
5 Composition Pedals,
AN ACCOUNT OF COUNTRY ORGANs.
55 I
26I. CHORLEY PARISH CHURCH,
This organ was built by Messrs. Forster and Andrews in 1872. The case has
angular towers and decorated front pipes. The stops are as follows:–
Great Organ, Io Stoffs, CC to G.
I. Double Open Diapason ... 16 feet. 6. Harmonic Flute............ 4 feet.
2. Open Diapason ............ 8 feet. 7. Twelfth ..................... 23 feet,
3. Dulciana ..................... 8 feet. 8. Fifteenth .............. § n w w e s $ 2 feet,
4. Stopped Diapason ......... 8 feet. 9. Mixture, IV ranks.
5. Principal ..................... 4 feet. Io. Trumpet ..................... 8 feet,
Swell Organ, 7 Stoffs, CC to G.
II. Bourdon ..................... I6 feet. I5. Flageolet ...................., 2 feet,
I2. Open Diapason ............. 8 feet. I6. Cornopean .................. 8 feet,
13. Flute d'Amour............... 8 feet. I7. Oboe ........................ 8 feet,
14. Principal ..................... 4 feet.
18. Viol d'Amour ............... 8 feet. 2I. Flautino ..................... 2 feet.
I9. Lieblich Gedact ............ 8 feet. 22, Corno di Bassetto ......... 8 feet,
2O. Flauto Traverso ............ 4 feet.
Pedal Organ, 2 Stoffs, CCC to F.
23. Open Diapason ............ I6 feet, | 24, Bourdon ..................... I6 feet.
Couplers,
1. Swell to Great. 4. Choir to Pedals.
2, Great to Pedals. 5. Swell Octave,
3. Swell to Pedals.
5 Composition Pedals.
262. PETERSFIELD.
The organ in Petersfield Parish Church was built by Messrs. Forster
Andrews in 1874. It has 19 stops, of which the following is a list —
Great Organ, Io Stoffs, Compass, CC to G, 56 AVotes,
I. Open Diapason ............ 8 feet. 6. Harmonic Flute ............ 4 feet.
2, Hohlflote ..................... 8 feet. 7. Twelfth ..................... 2# feet.
3. Dulciana ..................... 8 feet, 8. Fifteenth ..................... 2 feet.
4. Gamba ........................ 8 feet. 9. Mixture, III ranks.
5. Principal ..................... 4 feet. Io. Trumpet ..................... 8 feet.
Sweſ! Organ, 7 Słoffs, Com/ass, 2 Słożs, CC to G, 56 AVožes.
II. Lieblich Bourdon ......... I6 feet. I5. Mixture, II ranks.
I2. Open Diapason ............ 8 feet, I6. Horn ........................ 8 feet.
I3. Viol d'Amour ............... 8 feet. I7. Oboe ........................ 8 feet,
I4. Principal ..................... 4 feet. *
Pedal Organ, 2 Stoffs, CCC to F, 30 Notes.
18, Open Diapason ............ I6 feet, | 19. Bourdon ..................... I6 feet,
Couplers.
I. Swell to Great, 3. Swell to Pedals,
2. Swell Octave, 4, Great to Pedals,
6 Composition Pedals,
and
552
APPENDIX.
263. DURHAM CATHEDRAL.
The fine new organ in this Cathedral was built by Mr. Henry Willis. It
is supplied with wind by six large bellows, blown by three hydraulic engines,
55 Sounding stops are as follows:–
Great Organ, CC to A, 58 AVotes.
I. Open Diapason, metal ... I6 feet. 8. Harmonic Flute, metal.., 4 feet.
2. Open Diapason (large), 9. Twelfth, metal ............ 2% feet.
metal ..................... feet. IO. Fifteenth, metal ............ 2 feet
3. Open Diapason (Small), II. Piccolo, wood............... 2 feet
metal ..................... 8 feet. I2. Mixture, IV ranks, metal. .
4. Gamba (throughout), metal 8 feet. I3. Double Trumpet, metal... I6 feet.
5. Stopped Diapason, wood 8 feet. I4. Cornopean, metal ........, 8 feet
6. Claribel Flute, wood ...... 8 feet. I5. Clarion, metal............... 4 feet
7, Octave, metal ............... 4 feet.
Swell Organ, CC to A, 58 AVožes.
16. Double Diapason, metal 23. Fifteenth, metal ............ 2 feet
and wood.................. I6 feet. 24. Piccolo, wood............... 2 feet.
17. Open Diapason, metal ... 8 feet. 25. Mixture, V ranks, metal.
18. Open Diapason (Small), 26. Contra Fagotto, metal ... I6 feet.
metal ..................... 8 feet 27. Trumpet, metal ............ 8 feet.
19. Viol d'Amour, metal ...... 8 feet. 28. Oboe, metal ............... 8 feet.
2O. Lieblich Gedact, wood ... 8 feet. 29. Vox Humana, metal ...... 8 feet.
2I. Octave, metal ............... 4 feet. 3O. Clarion, metal ............ 4 feet
22, Harmonic Flute, metal ... 4 feet.
Choir Organ, CC to A, 58 Moſes.
31. Lieblich Gedact, metal and 35. Flauto Traverso, wood ... 8 feet.
Wood........................ I6 feet. 36. Lieblich Gedact, metal ... 4 feet.
32. Lieblich Gedact, metal and 37. Gemshorn, metal ......... 4 feet.
wood........................ 8 feet 38. Flauto Traverso, wood ... 4 feet.
33. Salicional, metal ............ 8 feet 39. Corno di Bassetto ......... 8 feet.
34. Vox Angelica, metal ... ..., 8 feet
Solo Organ, CC to A, 58 Wotes.
40. Harmonic Flute, metal ... 8 feet. 44. Concert Harmonic Flute,
4I. Orchestral Oboe, metal ... 8 feet. metal ..................... 4 feet
42. Corno di Bassetto, metal 8 feet. 45. Clarion, metal ............ 4 feet
43. Tuba, metal ............... 8 feet.
Pedal Organ, CCC to F, 30 Moſes,
46. Open Diapason, wood ... 32 feet. 5.I. Octave, metal............... 8 feet
47. Open Diapason, wood ... I6 feet. 52. Flute, wood ............ .. 8 feet
48. Open Diapason, metal ... I6 feet. 53. Mixture, IV ranks, metal.
49. Violon, metal ............... I6 feet. 54. Posaune, metal ............ I6 feet
50, Bourdon, wood ............ I6 feet 55. Cornopean, metal ......... 8 feet
4 Composition Pedals to Great organ.
3 Composition Pedals to Swell organ,
Couplers, &c, &c.
Swell to Great, Unison.
. Swell to Great, Octave,
Swell to Great, Sub-octave.
. Choir to Great,
. Solo to Great,
i
~)
J
I
6. Solo to Pedals.
7, Swell to Pedals,
8. Great to Pedals.
9. Choir to Pedals.
IO. Tremulant to Swell.
Composition Pedals to Pedal organ,
The
Double action Pedal, Great to Pedals,
AN ACCOUNT OF COUNTRY ORGANS. 553
264. LINCOLN CATHEDRAL.
This organ was built, in 1826, by W. Allen, and extended by his son Charles
Allen in 1851. -
Great, I I Stoffs, Compass of Great and Choir, from GG to F in alſ.
I. Large Open Diapason. 7. Fifteenth. --
2. Small Open Diapason. 8. Cornet, Treble, TV ranks.
3. Stopped Diapason. 9. Sesquialtera, Bass, III ranks.
4. Clarabella. IO. Trumpet, Treble.
5. Principal. II. Trumpet, Bass.
6. Twelfth.
Choir, 6 Słońs.
I2. Stopped Diapason. I4. Viol di Gamba. I6. Flute.
I3. Dulciana. I5. Principal. 17. Fifteenth.
Swell, 9 Stoffs; Gamut to F in alt.
18, Double Diapason. 2I. Principal. 24. Fifteenth.
I9. Open Diapason. 22. Flute. 25. Hautboy.
20. Stopped Diapason. 23. Twelfth. 26. Horn.
Pedal, 7 Słońs.
27. Sub-bourdon ............... 32 feet. 3I. Fifteenth ...................., 4 feet.
28. Open Diapason ............ I6 feet. 32. Sesquialtera.
29. Principal ..................... 8 feet. 33. Trombone .................. I6 feet.
30. Twelfth........................ 6 feet. -
Accessory Słoffs, Movements, &c.
I. Swell to Great. 4. Swell to Choir.
2. Swell to Choir. 5 to 9. Five Composition Pedals.
3. Pedal to Great. -
Com/ass.
Great, GG to fº in alt. Pedal stops, Nos. 27 and 28, CCC to
Choir, GG to fº in alt. fiddle g; Nos. 29 to 33, CCC to
Swell Gamut, G to fº in alt. FFF #, seven semitones, to meet
Pedal Clavier, CCC to fiddle g. Great "organ at GG.
265. BOSTON.
The large organ in the Centenary Chapel, Boston, Lincolnshire, was built by
Gray and Davison in the year 1850. It has Great and Choir Manuals, from CC,
8 feet, to F in alt. ; Pedal organ, two octaves and a fourth ; CCC, to tenor f, and
Swell to tenor c.
There are two bellows—one for the Manuals, the other for the Pedal organ ;
and four Composition Pedals; also a Sforzando Pedal.
The sides, as well as the front of the case, contain speaking pipes; and the
dimensions of the instrument are 26 feet high, 23 feet wide, and 18 feet deep.
There are 42 stops, and 2490 Pipes.
554 APPENDIX.
Great, I4 Stoffs.
1. Double Open Diapason ... 16 feet. 8. Octave Quint ............... 8 feet
2. Open Diapason ............ 8 feet. 9. Super-octave ............... 2 feet
3. Open Diapason ............ 8 feet. Io, Flageolet..................... 2 feet
4. Stopped Diapason ......... 8 feet. II. Sesquialtera, III ranks.
5. Quint........................... 6 feet. I2. Furniture, III ranks.
6. Octave ........................ 4 feet I3. Posaune ..................... 8 feet
7. Flute........................... 4 feet, I4. Clarion........................ 4 feet
Choir, I2 Stoffs.
15. Open Diapason ............ 8 feet 2I. Flute ........................ 4 feet
I6. Gamba ........................ 8 feet, 22, Gemshorn .................. 4 feet.
17. Keraulophon ............... 8 feet 23. Super-Octave ............... 2 feet
18. Stopped Diapason, Bass... 8 feet. 24. Flageolet......... ........... 2 feet
19. Clarionet Flute ............ 8 feet. 25. Sesquialtera, III ranks.
20, Octave ........................ 4 feet. 26, Corno di Bassetto , , , , , , ... 8 feet
Swell, Io Stoffs.
27. Bourdon ..................... I6 feet 32. Sesquialtera, III ranks.
28. Open Diapason ............ 8 feet 33. Contra Fagotto ............ I6 feet
29. Stopped Diapason ......... 8 feet 34. Cornopean .................. 8 feet
30, Octave ........................ 4 feet 35. Oboe ........................ 8 feet
31. Super-octave ............... 2 feet 36. Clarion .................. ... 4 feet
Pedal, 6 Stoffs.
37. Grand Open Diapason ... 16 feet. 40. Grand Octave............... 8 feet,
38. Grand Violon ............... I6 feet, 4I. Grand Super-Octave ...... 4 feet.
39, Grand Bourdon , , , , , , , , , , , . 16 feet, 42, Grand Trombone . . . . . . ... I6 feet,
Couplers.
I. Swell to Great Manual. 5. Great Manual to Pedals.
2. Choir to Great Manual. 6, Choir Manual to Pedals.
3. Swell to Choir Manual. 7. Sforzando Pedal.
4, Swell Manual to Pedals,
266. PARISH CHURCH, BOSTON, LINCOLNSHIRE:
The old organ in the Parish Church, Boston, Lincolnshire, was built by
Christian Smith, at the end of the 17th century. The following is a list of its
stops and pipes :-
Great, 12 Stops, CC to F in alt., 54 Notes,
Pipes.
. Open Diapason, Front ... 54
Open Diapason, Back ...... 54
. Stopped Diapason ......... 54
• Principal ..................... 54
Flute i Bec .................. 46
. Clarabella .,,,,,, tº g º f s i s m i s m = s. 3O
Feet
8
... 8
... 8
4.
4.
8
7. Twelfth ..................... 54
8, Fifteenth ..................... 54
9. Sesquialtera, III ranks ... I62
IO. Mixture, II ranks ......... Io8
II. Cornet............. { i s e e º e º s e 3O
12, Trumpet ..., , , , , , , ......... • 54
Feet.
AN ACCOUNT OF COUNTRY ORGANs, 555
Choir, 5 Stoffs, CC to F in alt., 54 AVoies.
Pipes. Feet. Pipes. Feet.
13. Dulciana, ..................... 47 ... 8 I5. Principal ..................... 54 ... 4
I4. Lieblich Gedact, orStopped I6. Flute ........................ 54 ... 4
Diapason, wood and metal 54 ... 8 I7. Cremona ...................., 42 ... 8
Swell, 9 Słoffs, Tenor C to F in alt., 42 Moſſes.
18. Double Diapason ............ 42 ... 16 || 23. Cornet, II ranks ......... 84 2
I9. Open Diapason ............ 42 ... 8 24. Cornopean .................. 42 8
2O. Stopped Diapason ......... 42 8 25. Hautboy..................... 42 8 .
2I. Principal ..................... 42 4 26, Clarion ..................... 42 4.
22. Fifteenth ..................... 42 2
Pedal, 3 Stoffs, CCC to E, 29 Noſes.
27. Diapason ..................... 29 ... I6 29, Trumpet ...................., 29 ... 16
28, Bourdon ...................., 29 ... I6
Accessory Słońs, &c.
2. Great to Pedals. Tremulant to Swell,
I. Swell to Great. Three Composition Pedals to Great.
3. Choir to Pedals,
267. SOUTHWELL,
The organ in Southwell Collegiate Church was originally built by Father
Schmidt, but, having been damaged by fire, it was repaired by Snetzler,
whose bill, dated January, 1766, is still in the possession of the Chapter. Compass
of Great and Choir organs, from GG to dº in alt. ; of the Swell, from fiddle g to
d3 in alt. ; and of the Pedal Clavier, GG to tenor c. The general effect of the
instrument is excellent, considering the smallness of the number of its stops; and
the Diapasons are very fine.
Great, 8 Stoffs.
. Fifteenth.
. Sesquialtera, III ranks.
. Trumpet.
. Cornet to Middle cº, V ranks.
. Open Diapason.
. Stopped Diapason.
. Principal.
, Twelfth,
:
:
Choir, 5 Stoffs.
9. Stopped Diapason. I2. Flute.
Io. Dulciana to Gamut G. 13. Fifteenth.
II. Principal.
Swell, 4 Stoffs.
I4. Open Diapason. I6. Principal.
I5. Stopped Diapason. 17. Fifteenth.
268, NOTTINGHAM,
The former organ of St. Mary's Church, Nottingham, was sold to St. Andrew's
Church, Nottingham, where it still contains Snetzler's original Diapasons, Flute,
and Mixture. In 1871 the old organ was replaced at St. Mary's by a fine instru-
556 - APPENDIX.
ment, built by Messrs. Bishop and Starr; this is placed on the north side of the
chancel in a very handsome Gothic bracket case of carved oak, designed by
Sir Gilbert Scott. The pipes shown in front of this case are of spotted
metal, and all the interior metal pipes are composed of 25 parts tin to
75 parts lead. The pneumatic lever is applied to the Great and Swell Manuals,
and Bishop's simplified pneumatic action to the Choir organ. The following is the
2. Swell to Pedals, 5. Choir to Pedals.
3. Swell to Choir. 6. Choir to Great.
IO Composition Pedals.
1. Swell to Great. 4, Great to Pedals,
Total number of pipes.................. 2422.
Specification :-
Great Organ, CC to G, 12 Stoffs.
Feet. Pipes. Feet.
I. Sub-open Diapason, metal 16 ... 56 7. Twelfth, metal ............ 2} .
2. Open Diapason, metal...... 8 ... 56 8. Fifteenth, metal ............ 2 ..
3. Bell Diapason, metal ...... 8 ... 56 9. Sesquialtera, IV ranks,
4. Clarabella and Stopped metal ........................
Diapason, wood ......... 8 tone 56 Io. Mixture, III ranks, metal
5. Principal, metal ............ 4 ... 56 | II. Posaune, metal ............ 8
6. Harmonic Flute, metal ... 4 ... 56 12. Clarion ........................ 4.
Swell Organ, CC to G, 12 Słożs.
13. Double Diapason, Stopped, I9. Grave Mixture, II ranks,
Wood ........................ 16 tone 56 metal ...............2% and 2
I4. Open Diapason, metal...... 8 ... 56 20. Acute Mixture, III ranks,
I5. Salicional, tenor c, metal... 8 ... 44 metal........................
I6. Stopped Diapason and 2I. Contra Fagotto, metal ... 16
Metallic Flute, wood and 22, Cornopean, metal ......... 8
metal........................ 8 tone 56 || 23. Hautboy, metal ............ 8
17. Principal, metal ............ 4 ... 56 || 24, Clarion, metal............... 8
18. Lieblich Gedact, wood ... 4 tone 56
Choir Organ, CC to G, 9 Stoffs.
25. Dulciana, metal ............ 8 ... 56 || 30, Fifteenth, metal ............ 2
26. Viol di Gamba, tenor c, 3I. Piccolo, wood and metal 2
metal........................ 8 ... 44 || 32. Dulciana Mixture, III
27. German Flute, wood ...... 8 ... 56 ranks, metal ............... -
28. Geigen Principal, metal ... 4 ... 56 || 33. Cremona and Bassoon ... 8
29. Hohlflote, wood ............ 4 ... 56
Peda/Organ, CCC fo F. 4 Słożs.
34. Open Diapason, wood...... I6 ... 30 36. Principal, metal ............ 8
35. Bourdon, wood............... I6 tone 30 37. Bombardone, wood ...... I6
Couplers,
Pipes.
56
... 224
. I68
56
56
3O
3O
The Stopped Diapason and Metallic Flute of the Swell and the Dulciana of the
Choir organ are arranged in half stops to draw treble and bass separately. There
are three pairs of bellows, worked by one of Joy's hydraulic engines,
AN ACCOUNT OF COUNTRY ORGANS, 557
269. MECHANICS' HALL, NOTTINGHAM.
The organ originally built for this hall by Bevington, and afterwards enlarged
and improved by Groves, of London, was destroyed by fire in 1867. The present
instrument was erected in 1869, at a cost of £800, by Messrs. Hill and Son. It
contains the following stops :-
Grea; Organ, CC to G, Io Stoffs.
Feet. Pipes. Feet. Pipes,
I. Bourdon, wood ............ I6 tone 56 6. Waldflote, wood ............ 4 ... 56
2. Open Diapason, metal....., , 8 ... 56 7. Twelfth, metal ............ 2} ... 56
3. Gamba, metal ............... 8 ... 56 8. Fifteenth, metal ............ 2 ... 56
4. Stopped Diapason, wood 8 tone 56 9. Mixture, III ranks, metal ... I68
5. Principal, metal ............ 4 ... 56 | Io, Trumpet, metal ............ 8 ..., 56
Swell Organ, CC to G, Io Sãoffs.
II. Lieblich Bourdon, wood... I6 tone 56 I6. Fifteenth, metal ............ 2 ... 56
I2. Open Diapason, metal...... 8 ... 56 || 17. Mixture, II ranks, metal ... II 2
I3. Keraulophon to tenor c, 18. Cornopean, metal ......... 8 ... 56
metal ........................ 8 ... 44 | 19. Oboe, metal ............... 8 ... 56
I4. Stopped Diapason, wood 8 tone 56 | 20. Clarion, metal............... 4 ... 56
I5. Principal, metal ............ 4 ... 56
Choir Organ, CC to G, 7 Słońs.
2I. Dulciana, metal ............ 8 ... 56 25. Lieblich Flute, metal...... 4 ..., 56
22. Voix Céleste, tenor c, metal 8 ' ... 44 26. Piccolo, metal.............. 2 ... 56
23. Gedact, wood ............... 8 tone 56 27. Clarionet, tenor c, metal 8 ... 44
24. Gemshorn, metal ............ 4 ..., 56
º Pedal Organ, CCC to F, 6 Stoffs.
28. Open Diapason, wood...... I6 ... 30 || 3I. Violon, wood ............... 8 ... 30
29. Bourdon, wood............... I6 tone 30 32. Bass Flute, wood ......... 8 ... 30
3O. Great Quint, wood ......... IO} ... 30 33. Trombone, wood ......... I6 ... 30
Couplers.
I. Swell to Great. 4. Choir to Pedals.
2. Swell to Choir. - 5. Swell to Pedals.
3. Great to Pedals.
3 Composition Pedals to Great organ. 2 Composition Pedals to Swell organ.
270. DERBY ROAD CHAPEL, NOTTINGHAM.
This organ was built in 1873 by Messrs. Conacher and Co., of Huddersfield,
to the specification of Mr. W. Shelmerdine. It is placed in a chamber on the
north side of the chancel, and occupies a space of about IO feet by I4 feet, and
25 feet high. The bellows, blown by a Duncan's double action hydraulic engine,
are placed under the floor of the chapel. The motive power is under perfect
control from the organist's seat, and an automatic governor increases or reduces
the speed of the engine, as the quantity of wind in use may require. A copper
558 APPENDIX.
air-vessel on the supply pipe protects the engine from the slightest shock from
variations of water pressure, and concussion valves in the air trunks further steady
the wind; the result is an ample supply on the most sudden demand and perfect
evenness of pressure under intermittent use. The stops draw at an angle of 45°,
and every stop, without exception, runs through the entire compass. The Manuals
are beaked and overhang; the pedals radiating and concave. -
Great organ, CC to G, 8 Stoffs.
Feet, Pipes. Feet. Pipes.
I. Open Diapason, metal...... 8 ... 56 6. Fifteenth, metal ..., , , , ....., 2 ... 56
2. Horn Diapason, spotted 7. Sesquialtera, III ranks,
metal........................ 8 ... 56 metal........................ ... I68
3. Stopped Diapason, oak ... 8 tone 56 8. Trumpet, metal ..........., 8 ... 56
4. Principal, spotted metal ... 4 ... 56 *
5. Harmonic Flute, spotted
metal........................ 4 tone 56
Choir Organ, CC to G, 8 Stoffs.
9. Dulciana, metal ............ 8 ... 56 13. Nason, oak .................. 4 tone 56
IO. Keraulophon, metal, with I4. Gemshorn, metal............ 4 ... 56
mouth of tin.............., 8 ... 56 I5. Piccolo, spotted metal,
II, Flauto Traverso, pine, tri- stopped..................... 2 tone 56
angular pipes ............ 8 ... 56 I6. Clarionet, spotted metal... 8 ... 56
I2. Suabe Flote, wood ......... 4 ... 56
Swell Organ, CC to G, 11 Stoffs.
I7. Lieblich Gedact, wood...... I6 tone 56 23. Fifteenth, metal ............ 2 ..., 56
18. Open Diapason, metal...... 8 ... 56 24. Mixture, III ranks, metal ..., I68
I9. Salicional, spotted metal... 8 ... 56 || 25. Cornopean, spotted metal 8 ..., 56
20. Rohrfiote, metal and wood 8 tone 56 26. Oboe, spotted metal ...... 8 ... 56
2I. Principal, metal ............ 4 ..., 56 27. Clarion, metal............... 4 ... , 56
22. Waldflote, wood ............ 4 ... 56 -
Pedal Organ, CCC to F, 3 Słońs.
28. Open Diapason, wood ... I6 ... 30 30. Violoncello, metal ......... 8 ..., 30
29. Bourdon, wood............... 16 tone 30 -
Couplers.
2. Swell to Choir. 5. Choir to Pedals.
3. Swell to Pedals. 6. Great to Pedals.
8 Composition Pedals, Tremulant to Great organ and Swell,
I. Swell to Great. 4. Choir to Great.
271, UNITARIAN CHAPEL, NOTTINGHAM.
The following is the description of the organ at the Unitarian Chapel, High
Pavement, Nottingham, erected by Bishop and Son in 1876 –
Great Organ, CC to G, 56 Moſes.
Feet, Pipes. Feet. Pipes.
I. Sub-open Diapason ......... I6 ... 56 6. Harmonic Flute ............ ... 56
2. Open Diapason ............ 8 ... 56 7. Grave Mixture (12th and -
3. Viola ........................... 8 ... 56 I5th), II and III ranks... ... II 2
4. Clarabella ..................... 8 ... 56 8. Sesquialtera .................. 3 ... 168
5. Principal . . . . . . . 4 56 9. Trumpet ...,,,,,,,,,,,,,,,,,, 8 ..., 56
AN ACCOUNT OF COUNTRY ORGANs, 559
Swell Organ, CC to G.
Feet. Pipes. Feet. Pipes.
IO. Lieblich Bourdon............ I6 ... 56 I5. Fifteenth ..................... 2 ... 56
II. Violin Diapason ............ 8 56 I6. Mixture, III ranks......... various I68
I2. Rohrfiote ..................... 8 56 I7. Cornopean .................. 8 56
13. Voix Célestes, C ....,,...,..., 8 44 | 18. Bassoon and Oboe ..., , .,,,, 8 56
I4. Principal ..................... 4. 56 I9. Clarion.............. ! s e º a s 9 m e 4. 56
Choir Organ, CC to G,
20. Viol di Gamba .,,,,,,...,,... 8 ..., 56 24. Flauto Traverso ............ 4. 56
21. Dulciana, C, grooved bass 8 ... 44 25. Harmonic Piccolo ......... 2 56
22. Lieblich Gedact ............ 8 ... 56 26. Euphone (free reed) ...... 8 56
23. Salicet ........................ 4 ... 56
Pedal Organ, CCC to F, 30 Notes.
27. Grand Open Diapason...... I6 30 30, Violoncello .................. 8 30
28. Bourdon,....................... 16 tone 30 31. Prepared for Trombone ... I6
29. Violone ......................... I6 30
Couplers,
I. Swell to Great.
2. Choir to Great,
3. Swell to Choir,
4 Composition Pedals to Great,
5. Choir to Pedal.
4. Swell to Pedal.
6, Great to Pedal.
3 Composition Pedals to Swell,
The Great organ is furnished with C. K. K. Bishop's diminutive pneumatic
action, which also controls the Manual couplers.
272, NORTHAMPTON,
The organ in All Saints' Church, Northampton, was built by Mr. Hill about
twenty-two years ago; a great portion of the previous organ being used up in the
new work.
of 7 stops,
1. Double Open
2. Double Stopped through-
tº e é º e º a s # 8 tº
3. Open Diapason
4. Open Diapason
5. Stopped Diapason
6
7
8
Gº".
. Principal
. Twelfth........................
tº g º e º is $ ſº tº a s ſº tº a # * * * : * * : * *
is g º a ſº tº € tº tº tº $ ſº tº & 8 h tº tº 4
. Dulciana ........ ............
. Stopped Dulciana
. Principal
4 & # * * * * * *
6 º' g a 2 a. s. s is a tº a º a tº 6 s > * º
. Double Diapason............
. Open Diapason
. Stopped Diapason
. Dulciana
. Principal .....................
. Twelfth........................
. Fifteenth .....................
. Sesquialtera, III ranks,
ſº º ſº t e º e s s
& e º $ tº g tº ºn tº a g g { } & # 3 & 8 & 9
Great, 16 Stoffs, CC to F.
I6 feet, 9. Fifteenth ... .................. 2 feet
IO. Sesquialtera, III ranks ... I # foot
I6 feet II. Doublette, II ranks ...... 2 feet
8 feet I2. Furniture, IV ranks ... ... # foot.
8 feet I 3. Double Trumpet ......... I6 feet
8 feet I4. Posaune ..................... 8 feet
6 feet I5. Trumpet ..................... 8 feet
4 feet I6. Clarion........................ 4 feet
3 feet
Choir, 6 Stops, CC to F.
8 feet. 20. Flute ........................ 4 feet
8 feet. 2I. Fifteenth ..................... 2 feet
4 feet 22. Cremona ..................... 8 feet
Swell, I 5 Stoffs, CC to F.
I6 feet 3I. Mixture, II ranks.
8 feet 32. Contra Fagotto ............ 16 feet
8 feet 33. Cornopean .................. 8 feet
8 feet 34. Trumpet ..................... 8 feet
4 feet 35. Oboe ........................ 8 feet
3 feet 36. Clarion........................ 4 feet
2 feet 37. Flute ,,,,,,,,,,,, ... tº º t w w w w w a 4 feet,
It contains 44 Sounding stops, 3 Manuals, and an independent Pedal
The following is a specification of the instrument as left by Mr. Hill —
560 APPENDIX.
Pedal, 7 Stoffs, CCC to tenor d.
38. Open, wood ...... . . . . . . . . . . . . I6 feet. 42. Sesquialtera, V ranks.
39. Sub-bass ..................... I6 feet. 43. Trombone .................. I6 feet.
40. Principal ..................... 8 feet. 44. Trumpet ............ . . . . . . . . . 8 feet.
4I. Fifteenth ..................... 4 feet.
Couplers.
3 Pedal Couplers, | I Manual Coupler,
273. NORTHAMPTON.
The organ in the Exchange Room, at Northampton, is the German instrument
that was placed in the Great Exhibition building of 1851 by Schulze, of Paulin-
zelle, near Erfurt. It is an admirable organ, and presents varieties of tone, both in
regard to character and strength, quite unusual in an instrument with so few stops.
It contains I6 sounding stops, of which the following is a list :—
Great, 8 Słożs.
I. Bourdon ..................... I6 feet tone. 6. Octave ........................ 4 feet.
2. Open Diapason ............ 8 feet. Quint and } drawing 2% feet.
3. Gamba ........................ 8 feet. 7. Super-octave j together 2 feet.
4. Hohlflote ..................... 8 feet. 8. Mixture, V ranks ......... 2 feet,
5. Gedact ........................ 8 feet tone.
Choir, 6 Słożs.
9. Lieblich Gedact to Gamut I2. Flauto TraverSO ............ 8 feet.
G key (GG pipe)......... I6 feet tone. 13. Geigen Principal ......... 4 feet.
IO. Geigen Principal ............ 8 feet. I4. I’lauto Traverso and Lieb-
II. Lieblich Gedact ............ 8 feet tone. lich Gedact, on I slider 4 feet,
Pedal, 2 indefendent Słożs, and 2 by communication.
A. Sub-bass, borrowed from B. Flute Bass, borrowed from
Manual Bourdon......... I6 feet tone, Manual Gedact ......... 8 feet tone.
I5. Octave Bass, wood ... ...... 8 feet, I6. Posaune, free reeds ....., I6 feet tone,
Couplers. -
I. Great to Pedals, | 2, Choir, Sub-Octave to Great,
Com/ass.
Great, CC to fº in alt. Choir, CC to f* in alt. Pedal, CCC to tenor d.
The Pedal Clavier is concave in section, consequently the extreme keys are
much more within convenient reach than usual.
274, ST. MARY'S CATHEDRAL, NEWCASTLE-ON-TynE.
This fine organ was built by Messrs. Thos. C. Lewis and Co., of Shepherd's
Lane, Brixton, London, and is a noble example of high-class work. It is in the
Gothic style, after the designs of John F. Bentley, Esq., and harmonises well with
the structure of the Cathedral, an edifice by the elder Pugin. The instrument
occupies a gallery which extends across the entire width of the nave, its dimensions
are 25 feet 6 inches wide, I5 feet deep, and 21 feet high. The front—the plan of
which recedes in two breaks on either side of the organ to the depth of 9 feet—
is divided into seven compartments, five of which are occupied above the impost
AN ACCOUNT OF COUNTRY ORGANS, 56I
by the two Diapasons of the Great organ, the remainder having small panels filled
with gilt ornaments; the massive case is deeply moulded and battlemented, the
lower part being filled with rich panelling, and the upper part with cusped head-
ings, the posts buttressed and surmounted by finial terminations. The front rank
of Diapason pipes alone weighs upwards of 43 cwt., and the richness in pure tin of
the metal pipes in this work may be inferred from the fact that this organ contains
40 cwt., or 2 tons, of the finest spotted metal. The organ has 3 Manuals, CC to
A, 58 notes ; has 35 Sounding Stops, and a total of 2035 pipes,
Choir, 7 Sãoffs.
I. Lieblich Gedact, wood and 4. Vox Angelica ............... 8 feet.
metal ........................ I6 feet. 5. Salicet ........................ 4 feet.
2. Lieblich Gedact, wood and 6. Flute Harmonique........, 4 feet.
metal ........................ 8 feet. 7. Clarionet and Bassoon ... 8 feet.
3. Salicional ..................... 8 feet
Greal, IO Słoffs.
8. Bourdon, wood and metal I6 feet. 13, Gemshorn .................. 4 feet.
9. Open Diapason ............ 8 feet. I4. Octave Quint ............... 23 feet,
IO. Open Diapason, Small ... 8 feet. I5. Super-octave ............... 2 feet.
II. Hohlflote, wood and metal 8 feet. I6. Mixture, III ranks......... 8 feet.
I2. Octave ........................ 4 feet. 17. Trumpet ..................... 8 feet,
Swell, I2 Sãoffs,
I8. Bourdon, wood and metal 16 feet. 24. Mixture, II ranks ......... 23 feet.
I9. Geigen Principal ............ 8 feet, 25. Bassoon .................... I6 feet.
2O, Lieblich Gedact, wood and 26. Oboe and Bassoon ......... 8 feet.
metal ........................ 8 feet. 27. Trumpet ..................... 8 feet.
2I. Viol di Gamba ...... ...... 8 feet. 28. Voix Humaine ............ 8 feet.
22. Voix Célestes, tenor c ... 8 feet. 29. Clarion........................ 4 feet.
23. Geigen Principal ............ 4 feet,
Pedal, 6 Słoffs (42 #iffes to each stop).
30. Great Bass, wood ......... I6 feet. 33. Great Quint, wood and
31. Open Diapason, metal and metal ........................ Io; feet.
zinc.. ......................... I6 feet. 34. Posaune ..................... I6 feet.
32. Sub-bass, wood ............ I6 feet. 35. Octave.
Accessory Movements, &c.
I. Couplers, Choir to Pedals. 3. Couplers, Swell to Pedals.
2. Couplers, Great to Pedals. 4. Couplers, Swell to Great.
Three Pedals of combination to Great organ and three to Swell organ. Pedal to take off
Great to Pedals. Pedal to Voix Humaine. Two Swell Pedals, Nos. I and 2, and Tremulant.
The bellows to this Organ are on a new plan, and are arranged in a peculiar
manner. Two storage bellows are placed on either side of the organ, and these
are filled by two double-action vertical feeders; the supply from one of these two
bellows flows according to demand into a large air reservoir, occupying the whole
central space of the floor of the organ, and is then regulated by an automatic
movement, which at all times renders the wind perfectly steady, because all Com-
munication with the Pedal sound-board is avoided. The Pedal Sound-board
A. A. A.
562 APPENDIX.
takes its supply solely from the other storage bellows, which is of ample dimensions
for every demand upon it. The bellows and reservoir measure together 150 Super-
ficial feet, and contains I60 cubic feet of air.
The Swell box, again, is treated on a novel system, being fitted with Venetian
shutters, both back and front, for the purpose of equalising the temperature
between the Manuals by leaving both sets of shutters freely open when the organ is
not in use. The plan has proved most excellent to the organist for removing that
trying perplexity of the Swell being out of tune by reason of differences of tempera-
ture between that and the other organs. The Voix Humaine is enclosed in a box
inside the Swell, has its mechanism of shutters, and is acted upon by a special
Pedal. The Swell within the Swell produces most delicate contrasts of tone, and
the two sets of shutters, through the action of separate pedals, allow more finely
graduated crescendo, and a more prompt and powerful Sforzando than is ordinarily
commanded,
275. Town HALL, NEWCASTLE-ON-TYNE.
This organ was built by Gray and Davison in 1858. It contains 3 Manuals,
CC to A, and Pedals, CCC to F.
Great Organ.
I. Double Diapason ............ I6 feet. 8. Twelfth ........................ 3 feet.
2. Open Diapason ............... 8 feet. 9. Super-Octave ............... 2 feet.
3. Flute à Pavillon ............ 8 feet. IO. Mixture, III ranks.
4. Flute Harmonic............... 8 feet. II. Furniture, III ranks.
5. Stopped Diapason............ 8 feet. I2. Contra Fagotto............... I6 feet.
6. Octave........................... 4 feet. I3. Posaune ........................ 8 feet,
7. Flute Octaviante ............ 4 feet. I4. Clarion ........................ 4 feet
Swell Organ.
I5. Bourdon ........................ I6 feet. 22. Super-Octave ......... . . . . . . . . . 2 feet.
I6. Open Diapason ............... 8 feet. 23. Mixture, III ranks.
I7. Keraulophon .................. 8 feet. 24. Cornopean..................... 8 feet.
18. Stopped Diapason, Bass ... 8 feet. 25. Oboe ........................... 8 feet.
I9. Clarionet Flute ............... 8 feet. 26. Clarion ........................ 4 feet
20. Octave........................... 4 feet. Tremulant,
2I. Twelfth ........................ 3 feet.
Choir Organ.
27. Salicional ..................... 8 feet. 32. Gemshorn ..................... 4 feet.
28. Voix Céleste .................. 8 feet, 33. Suabe Flute .................. 4 feet.
29. Gamba ........................ 8 feet. 34. Piccolo ........................ 2 feet.
3O. Stopped Diapason, Bass ... 8 feet. 35. Fifteenth ..................... 2 feet.
3I. Concert Flute.................. 8 feet, 36. Corno di Bassetto............ 8 feet
Peda/Organ,
37. Contra Bourdon............... 32 feet. 4I. Octave ........................ 8 feet
38. Open Diapason ............... I6 feet. 42. Super-Octave.................. 4 feet.
39. Violon........................... I6 feet. 43. Trombone..................... I6 feet.
40. Bourdon ........................ I6 feet.
Couplers.
I. Swell to Great, Unison. 6. Choir to Pedals.
2. Swell to Sub-octave. 7. Great to Pedals.
3. Swell to Super-octave. 8. Sforzando Coupler.
4. Swell to Choir. 9. Great to Swell by Pedal.
5. Swell to Pedals.
4 Composition Pedals to Great ; 3 to Swell ; 2 to Pedals,
AN ACCOUNT OF COUNTRY ORGANS. 563
276. LUDLOW CHURCH.
This organ was built by Gray and Davison in 1860. It contains 4 Manuals,
CC to G ; and Pedals, CCC to E. -
Great Organ.
I. Double Diapason............ I6 feet. 7. Fifteenth .......... • * * * * * * * * * * 2 feet,
2. Open Diapason ............ 8 feet. 8. Mixture, III ranks.
3. Stopped Diapason ......... 8 feet. 9. Furniture, III ranks.
4. Spitz Flute ........... . . . . . . . 8 feet. IO. Trumpet ..................... 8 feet.
5. Principal ............. . . . . . . . . . 4 feet. II. Clarion ..................... 4 feet,
6. Twelfth ..................... 3 feet.
Choir Organ.
I2. Open Diapason ............ 8 feet. I6. Flute ........................ 4 feet.
I3. Stopped Diapason ......... 8 feet. I7. Piccolo........................ 2 feet.
I4. Dulciana ..................... 8 feet. I8. Clarionet..................... 8 feet,
I5. Principal ..................... 4 feet.
Solo Organ.
I9. Grand Tuba .................. 8 feet, 2I. Cornet, V ranks.
2O, Harmonic Flute ............ 8 feet,
Swell Organ.
22. Bourdon ..................... I6 feet. 27. Fifteenth ..................... 2 feet.
3. Open Diapason ............ 8 feet. 28. Mixture, II ranks.
24. Stopped Diapason ......... 8 feet. 29, Cornopean .................. 8 feet.
25. Principal .............. . . . . . . . . 4 feet. 30. Oboe ........................ 8 feet,
26. Keraulophon ............... 8 feet. - Tremulant.
Pedal Organ.
3I. Open Diapason ............ I6 feet, 34. Principal..................... 8 feet.
32. Bourdon ...... ............... I6 feet. 35. Fifteenth ..................... 4 feet.
33. Violon ......... ............... I6 feet. 36. Trombone .................. I6 feet.
Coºlers.
I. Swell to Great. t 5. Choir to Pedals.
2. Swell to Pedals. 6. Choir to Great.
3. Great to Pedals. 7. Solo to Great.
4. Swell to Choir.
3 Composition Pedals to Great and 2 to Swell. Some of the pipes and case of former
organ, by Snetzler, have been retained.
277. SHERBORNE ABBEY.
This organ was built by Gray and Davison in 1856, and enlarged and improved
by them in 1876. It contains 3 Manuals, CC to F. Swell throughout, and
Pedals, from CCC to F.
Great Organ.
I. Double Diapason............ I6 feet. 7. Fifteenth ..................... 2 feet.
2. Open Diapason ............ 8 feet, 8. Sesquialtera, III ranks.
3. Open Diapason ............ 8 feet. 9. Harmonic Flute ............ 4 feet.
4. Stopped Diapason ... ...... 8 feet. IO. Posaune ..................... 8 feet.
5. Octave .............". . . . . . . . . . . 4 feet. II. Clarion........................ 4 feet.
6. Twelfth ..................... 3 feet.
564 APPENDIX.
Choir Organ.
I2. Gamba. I7. Flute ........................ 4 feet
I3. Dulciana ..................... 8 feet 18. Fifteenth ..................... 2 feet
I4. Stopped Diapason, Bass... 8 feet I9. Piccolo........................ 2 feet
I5. Clarionet Flute ............ 8 feet 2O. Clarionet ..................... 8 feet
I6, Gemshorn..................... 4 feet
Swel/Organ.
21. Bourdon ..................... I6 feet 27. Super-Octave ............... 2 feet
22. Open Diapason ............ 8 feet 28. Sesquialtera.
23. Keraulophon ............... 8 feet 29. Cornopean .................. 8 feet
24. Stopped Diapason ......... 8 feet 30. Oboe ........................ 8 feet
25 Octave ........................ 4 feet 31. Clarion........................ 4 feet
26. Harmonic Flute ............ 4 feet Tremulant.
Pedal Organ.
32. Open Diapason ............ I6 feet. 35. Super-Octave ............... 4 feet.
33. Bourdon ..................... I6 feet 36. Trombone .................. I6 feet.
34 Octave ........................ 8 feet
Couplers.
I. Great Manual to Pedals. 5. Swell to Choir Manual.
2. Choir Manual to Pedals. 6. Swell to Great and Octave.
3. Swell Manual to Pedals. 7. Sforzando Great to Swell by Pedal,
4. Swell to Great Manual.
3 Composition Pedals to Great, and 2 to Swell,
278. LYNN REGIS,
The old organ at St. Margaret's, Lynn Regis, Norfolk—partly the work of
Dallans, and partly the production of some more ancient workman—was given to
the church by “John Tinner,” in 1679. The present fine instrument was built by
the celebrated Snetzler, under the direction of Dr. Burney, in the year 1754. It
is the largest instrument Snetzler ever made in England ; slightly exceeding in
this respect his other celebrated piece of handiwork at Halifax. The Lynn organ
originally contained a III-rank Furniture in the Great organ, in addition to the
IV-rank Sesquialtera (as at Halifax); also a separate Tierce, and a Bourdon, in
meſſa/, to CC, excepting the two lowest pipes, which were of wood. These three
stops were at Some time cancelled, and a second Open Diapason, Principal, and
Fifteenth placed in their stead ; a Clarabella has also been inserted in the Choir
organ, in place of the Vox Humana. In the Swell there were originally three
unison Reeds (Hautboy, Trumpet, and French Horn); but there are now but two.
The organ was repaired in 1796 by Lincoln, and underwent a second renovation
in 1816. About eighteen years since it received the important addition of a Pedal
Diapason to GGG, which was added by Holdich, of London. The organ now
contains 27 Sounding stops, of which the following is a list —
Great, I2 Stoffs.
. Fifteenth.
I. Open Diapason. 7
2. Open Diapason.
3. Stopped Diapason. 9
4. Principal. IO
5. Principal. II
6. Twelfth, I 2
8. Fifteenth.
. Sesquialtera, IV ranks.
. Cornet to c", V ranks.
. Trumpet.
. Clarion,
AN ACCOUNT OF COUNTRY ORGANS.
5
6
§
Choir, 7 Sãoffs,
3. Tulciana. 17. Flute.
I4. Stopped Diapason. 18. Fifteenth.
I5. Clarabella. I9. Bassoon up to middle g”.
I6. Principal.
Swell, 7 Słożs.
20. Open Diapason. 24. Cornet, IV ranks.
2I. Stopped Diapason. 25. Trumpet.
22. Principal. 26. Hautboy.
23. German Flute,
Pedal, I Stoff.
27. Open Diapason, to GGG, 21% feet length,
Couplers.
2, Pedals to Great. | 3. Pedals to Choir.
1. Swell to Great, |
Co/t/ass.
Swell, tenor f to e” in alt.
Great, GG to e” in alt.
Pedals, down to GG.
Choir, GG to e º in alt.
The Swell Clavier descends to GG, and acts on the Bass of the Choir Stopped
Diapason, Dulciana, and Flute, below tenor f, which are made to draw separately
and independently for that purpose, whereby the apparent number of Sounding
stops is increased from 27 to 30.
This is the first English organ that had a Dulciana; a stop that, in this example,
runs through to GG in metal. -
279. NORWICH CATHEDRAL.
This organ has an elaborately carved Gothic oak case; it stands over the
screen, and consequently has a double front, containing, in the western, the open
Diapason (said to be of Harris's make), and, in the Choir front, an open Diapason
of Byfield's. The organ underwent a considerable change some time since, it being
removed to its present situation, when the Choir organ was taken from its usual
position and placed on the South side of the instrument, and the Swell organ on
the opposite side, both being on a level with the base of the Great organ, and
unseen from the Choir. At this time Double Diapason Pedal pipes, down to GGG,
were added by Bishop, and located on the north side of the building, under the
triforium, having Separate bellows and a long movement. The instrument
COIntallnS :—
Great, IO Stoffs.
I. Open Tiapason, 6. Twelfth.
2. Open Diapason, 7. Fifteenth,
3. Stopped Diapason. 8. Tierce.
4. Clarabella, in place of V-rank Cornet. 9. Sesquialtera.
5. Principal. IO. Trumpet.
566
APPENDIX.
II,
I3.
17.
I8.
19.
1. Coupler, Swell to Great.
2. Coupler Great to Pedal.
Great, GG to fº in alt.
Choir, GG to f * in alt.
Swell, tenor c to f * in alt.
Choir, 6 Sãoffs.
Dulciana to tenor c.
. Stopped Diapason.
Principal.
Swell, 5 Stoffs.
Stopped Diapason,
Open Diapason.
Principal.
Pedal, I Słoż.
22. Open Diapason to GGG...........
Stopped Flute.
Fifteenth.
Cremona to tenor f.
ſº Hautboy.
. Trumpet.
.21% feet length.
Accessory Słożs, Movements, &c.
Com/ass.
28O, NORWICH,
3. Coupler, Choir to Pedal.
4, 5, 6. Three Composition Pedals.
Swell Clavier to GG, acting on Choir
organ below tenor c.
The organ in the Church of St. Peter Mancroft, Norwich, is a fine instrument,
Originally built by Harris, and afterwards repaired by England, who added the
Dulciana to the Choir organ, and put in a new Swell.
its stops, as drawn by the late Mr. Russell —
21.
22.
23.
Great, 12 Stoffs.
I. Open Diapason. 8.
2. Stopped Diapason. 9.
3. Principal. IO.
4. Twelfth. II.
5. Fifteenth.
6. Tierce. I2.
7. Larigot,
Choir, 8 Słoffs.
Dulciana to Gamut G. I7.
. Open Diapason to tenor d. I8.
. Stopped Diapason to tenor d. I9.
. Principal to tenor d. 2O.
Swell, 6 Słożs.
Open Diapason.
Stopped Diapason.
Principal.
24.
25.
26.
The following is a list of
Sesquialtera, III ranks.
Mixture, II ranks.
Furniture, III ranks.
Cornet, mounted, to middle cº,
V ranks,
Trumpet,
Flute.
Fifteenth.
Vox Humana throughout.
Bassoon, throughout.
Cornet, 111 ranks,
Hautboy.
Trumpet.
The Open Diapason, Stopped Diapason, and Principal in the Choir organ,
are borrowed from the corresponding stops of the Great organ, from tenor d
downwards,
AN ACCOUNT OF COUNTRY ORGANS. 567
281. ST. NICHOLAS CHURCH, GREAT YARMOUTH,
Description of the organ at St. Nicholas Church, Great Yarmouth, as originally
built by Jordan, Bridge, and Byfield in 1733, and recently re-constructed by Messrs.
Bishop and Son.
Great Organ, CC to G.
Feet. Pipes. Feet. Pipes,
I. Double Open Diapason, 9. Harmonic Flute, metal ... 4 ... 56
metal ........................ I6 ... 56 | Io. Twelfth, metal.......... .... 3 ... 56
2. Open Diapason, large, metal 8 ... 56 | II. Fifteenth ..................... 2 ... 56
3. Open Diapason, Small, metal 8 ... 56 I2. Mixture, III ranks, metal, various. I68
4. Viola, metal and wood...... 8 ... 56 I3. Sesquialtera, Vranks, metal, various 280
5. Stopped Diapason, metal I4. Double Trumpet, metal ... 16 ..., 56
Treble ..................... 8 ... 56 | I5. Posaune, metal............... 8 ... 56
6. Clarabella C, wood ......... 8 ... 44 | 16. Trumpet, metal ............ 8 ... 56
7. Principal, metal ............ 4 ... 56 I7. Clarion, metal ............... 4 ... 56
8. Octave, metal ............... 4 ... 56
Choir Organ.
18. Open Diapason............... 8 ... 56 | 24. Fifteenth ..................... 2 ... 56
I9. Hohlflote, closed, Bass...... 8 ... 56 25. Cremona ..................... 8 ... 56
20. Dulciana ..................... 8 ... 56 26. Mixture, II ranks, and one
2I. Keraulophon, C grooved, Bass 8 ... 44 prepared ............... various... II2
22. Flute, metal .................. 4 ... 56 27. Orchestral Oboe, prepared 8
23. Principal........................ 4 ... 56
well Organ.
28, Lieblich Bourdon, wood ... 16 tone 56 || 37. Mixture, IV ranks ...... various... 224
29. Open Diapason ............... 8 ... 56 || 38. Contra Fagotto............... I6 ... 56
3O, Stopped Diapason, wood 39. Horn ........................... 8 ... 56
and metal .................. 8 tone 56 | 40, Trumpet ............ ...... 8 ... 56
3I. Gamba, C grooved, Bass... 8 ... 44 || 41. Hautboy ... ................. 8 ... 56
32. Voix Célestes C. .............. 8 ... 44 42. Clarion ........................ 4 ... 56
33. Principal.................. •º 5 tº º g g 4 ... 56 || 43. Vox Humana, in a distinct
34. Suabe Flute .................. 4 ... 56 box at back, and inside of
35. Piccolo, wood ............... 2 ... 56 Great Swell box ......... 8 ... 56
36. Fifteenth ..................... 2 ... 56
Peda/Organ, CCC to F, 30 Moſes.
44. Double Open Diapason ... 32 ... 30 || 48. Principal ..................... 8 ... 30
45. Open Diapason............... I6 ... 30 || 49. Trombone .................. I6 ... 33
46. Violon ........................ I6 ... 30 50. Prepared slide for Mixture.
47. Bourdon........................ I6 tone 30
Solo Organ,
At present the keys alone of this organ are inserted,
Couplers, &c.
1. Swell to Pedals. 7. Choir to Great,
2. Choir to Pedals, 8. Swell Sub-Octave.
3. Swell to Great. 9. Tremolo to Swell organ.
4. Swell Octave. IO. Compositions to Pedal organ.
5. Great to Pedals. II. Compositions to Swell Organ.
6. Swell to Choir. I2. Compositions to Great Organ.
The instrument is “ divided,” the two halves being placed in the aisles, and the
key-boards in the chancel amongst the choir seats. The whole of the mechanism,
even to the Swell and Tremolo actions, is planned on the tubular pneumatic sys-
tem, but dispensing with exhaust bellows. In the north aisle are placed the Great
Organ and a portion of the Pedal organ, contained in the Original fine case. In
the south aisle are the Swell and Choir organs with the remainder of the Pedal
organ, contained in the fine case from St. Peter a Mancroft at Norwich, which was
purchased purposely. -
568 APPENDIX.
long movement,
1. Double Diapason............ I6 feet. 8. Super-octave ............... 2 feet.
2. Open Diapason ............ 8 feet. 9. Sesquialtera, III ranks.
3. Open Diapason ............ 8 feet. Io. Mixture, III ranks.
4. Stopped Diapason ......... 8 feet. II. Posaune ..................... 8 feet.
5. Quint........................... 6 feet, I2. Trumpet ..................... 8 feet.
6. Octave ........................ 4 feet. I3. Clarion........................ 4 feet.
7, Octave Quint ............... 3 feet
Choir, 7 Sãoffs.
I4. Open Diapason ............ 8 feet. 18. Flute ........................ 4 feet.
15. Clarabella, throughout ... 8 feet. I9. Super-Octave ............... 2 feet
I6. Stopped Diapason ......... 8 feet. 2O. Cremona ..................... 8 feet.
17 Octave ........................ 4 feet.
Swell, 6 Słożs.
21. Double Diapason............ I6 feet. 24 Octave........................ 4 feet.
22. Open Diapason ............ 8 feet. 25. Trumpet ..................... 8 feet.
23. Stopped Diapason ......... 8 ſeet. 26. Hautboy ..................... 8 feet.
Pedal, 6 Stoffs.
27. Open, wood........ … I6 feet, 30. Super-Octave ............... 4 feet.
28. Open, metal.................. I6 feet. 3I. Sesquialtera, III ranks.
29, Octave ..............… 8 feet, 32. Trombone .................. I6 feet.
Accessory Stoffs, Movements, &c.
1. Swell to Great. 3. Pedals to Great. .
2. Choir to Great. 4. Pedals to Choir.
Compass.
Great, CC to f* in alt. Swell, tenor c, to fº in alt.
Choir, CC to fº in alt. Pedal, CCC to tenor d.
283, TRINITY COLLEGE, CAMBRIDGE,
Description of the organ in Trinity College, Cambridge, built by Hill and Son
in 1871. Four Manuals, compass of each CC to G, 56 notes, and Pedal Clavier,
282. ELY CATHEDRAL.
This organ, erected by Hill in 1851, is placed in the triforium, and projects
out from the arches about six feet. The keys are placed in a stone gallery,
behind the top of the stalls, and communicate with the organ by means of a
The instrument is enclosed in a handsome case of oak, made
according to a design prepared by Sir Gilbert Scott.
The organ contains:—
Great, I 3 Stoffs.
CCC to F, 30 notes —
Great Organ.
Feet. Pipes, Feet,
I. Double Open Diapason, | 8. Principal, metal ............ 4 . . . . . . . . .
metal........................ 16..... ... 56 || 9, Wald Flute, wood ......... 4. . . . . . . . . .
2. Open Diapason, metal...... 8 ......... 56 | Io, Nason, wood ............... 4.........
3. Open Diapason, No. 2, II. Twelfth, metal ............ 3
metal........................ 8 ......... 56 I2. Fifteenth, metal ............ 2 . . . . . . . . .
4. Salicional, metal ............ 8 ......... 56 13. Full Mixture, metal, III ranks
5. Pierced Gamba, metal...... 8 ......... 56 I4. Sharp Mixture, metal II ranks........
6. Stopped Diapason, wood 8......... 56 I5. Trumpet, metal ............ 8 .........
7. Quint, metal ..........., ... 6 “... .. 56 | 16, Clarion, metal ............... 4 ....... .., 56
• * * * * *
tº is e e s - 4 -
AN ACCOUNT OF COUNTRY ORGANS. 569
Choir Organ.
feet, Pipes. Feet, Pipes.
17. Double Dulciana, metal ... 16......... 56 22, Stopped Diapason, wood 8......... 56
I8. Dulciana, metal ............ 8 ......... 56 23. Stopped Flute, wood...... 4. . . . . . . . . . 56
I9. Open Diapason, metal ... 8......... 56 24. Principal, metal ............ 4 . . . . . . . . . 56
2O. Claribel, c grooved, wood 8......... 44 || 25. Flautina, metal ............ 2 . . . . . . . . . 56
2I. Viol di Gamba, metal ...... 8 ..... ... 56 26. Cremona, metal ............ 8 ......... 56
Solo Organ.
27. Harmonic Flute, metal ... 8 ......... 56 || 31. Lieblich Flute, metal ... 4 ......... 56
28. Harmonic Flute, metal ... 4 ......... 56 || 32. Tuba Mirabilis, metal ... 8......... 56
29. Vox Angelica, metal, II ranks......... II2 || 33. Vox Humana, metal ... ... 8 ......... 56
3O. Piccolo, metal ............... 2 . . . . . . . . . 56 34. Orchestral Oboe, metal... 8 ......... 56
(All in box but Tuba and Flute Harmonic.)
Swell Organ.
35. Double Diapason, wood... I6......... 56 42. Fifteenth, metal ............ 2 . . . . . . . . . 56
36. Open Diapason, metal ... 8 ......... 56 |43. Mixture, metal, III ranks ........... I68
37. Salicional, metal ............ 8 ......... 56 |44. Touble Trumpet, metal... I6 ......... 56
38. Cone Gamba, metal ...... 8 ... ..... 56 |45. Trumpet, metal ............ 8 ......... 56
39. Stopped Diapason, wood... 8 ......... 56 |46. Cornopean, metal ......... 8 ......... 56
40. Suabe Flute, wood ......... 4 . . . . . . . . . 56 |47. Oboe, metal ............... 8 ......... 56
4I. Principal, metal ............ 4 . . . . . . . . . 56 48, Clarion, metal............... 8 ......... 56
Pedal Organ.
49. Sub-bourdon, wood......... 32 . . . . . . . . . 3O 55. Bass Flute, wood......... 8 ......... 30
5O. Open Diapason, wood ... I6 ......... 3O || 56. Fifteenth, metal............ 4 . . . . . . . . . 3O
5.I. Open Diapason, metal ... I6 ......... 3O | 57. Mixture, metal, III ranks ........... 90
52. Violon, wood ............... I6 ......... 3O | 58. Trombone, wood ......... 16......... 3O
53. Bourdon, wood ............ 16......... 30 59. Clarion, metal............... 8 ......... 3O
54. Principal, metal ............ 8 ......... 3O
Couſſers.
I. Swell to Great. 6. Great to Pedal.
2. Choir to Great. 7. Choir to Pedal.
3. Solo to Great. 8. Solo to Pedal.
4. Solo to Swell. 9. Swell to Pedal.
5. Swell to Choir.
4 Composition Pedals to Great and Pedal combined. 3 Composition Pedals to Swell
organ. Tremulant to Swell organ and Solo organ. Pneumatic Action to Great and
Couplers.
284. ST. JOHN'S COLLEGE, CAMBRIDGE.
The organ in the chapel of St. John's College, Cambridge, was built by Hill in
I839. It is not complete, preparation being made for five more stops.
Greaf, Io Stoffs, Compass, FFAE to fº in alt.
I, Open Diapason. 6. Clarabella.
2. Stopped Diapason. 7. Twelfth and Fifteenth on one side.
3. Double Dulciana. 8, Fifteenth, No. 2,
4. Principal. 9. Sesquialtera.
5. Flute, IO. Trumpet,
Choir, 6 Stoffs, FFF to fin alf.
II. Open Diapason throughout, | I4. Flute.
I2. Stopped Diapason, I5. Principal,
f3, Dulciana, I6, Cremona,
570 Aï'PENDIX.
Swell, 9 Stoffs, FF to fin alt.
17. Open Diapason. 22. Sesquialtera, IV ranks.
18. Stopped Diapason. 23. Hautboy.
I9. T)ulciana. 24. French Horn.
20. Principal. 25. Clarion.
2I. Harmonica,
Pedal, I Stoff.
26, Open Diapason, to FFF.
Couplers.
1. Swell to Great. 2. Octave Swell to Great. | 3. Choir to Great.
285. BEDFORD.
The organ in St. Paul's Wesleyan Chapel was built by Wadsworth, Manchester,
in 1869. The following are its stops —
Great, 12 Stoffs, CC to G.
Feet, Pipes. t Feet. Pipes.
I. Bourdon, wood and metal I6 ... 56 7. Flute Harmonique, metal. 2 ... 56
2. Open Diapason, metal,..... 8 ... 56 8. Fifteenth, metal ............ 2 ... 56
3. Violin Diapason, metal ... 8 ... 44 9. Mixture, II ranks, metal ... II 2
4. Hohlflote ... . . . . . . . . . . . . . . . . . . 8 ..., 56 IO. Furniture, II ranks, metal , , , II2
5. Rohr Gedact, wood and II. Trumpet, metal ............ 8 ... 56
metal............ ** * * * * * * * * * * * 8 ... 56 I2. Clarionet, metal ............ 4 ... 56
6. Principal, metal ............ 4 ... 56
Swell, 12 Stoffs, CC to G.
13. Lieblich Bourdon, wood 19. Fifteenth, metal ............ 2 ... 56
and metal .................. 16 ... 56 20. Mixture, III ranks, metal ... II 2
14. Open Diapason, metal...... 8 56 2I. Cornopean, metal ......... 8 ... 56
15. Flute d'Amour, metal ... ... 8 ... 56 22. Hautboy, metal ............ 8 ... 56
16. Keraulophon, metal......... 8 ... 44 || 23. Clarion, metal............... 4 ... 56
17. Spitzflote, metal ............ 4 ... 56 || 24. Vox Humana ............... 8 ... 56
18. Flute Céleste, wood......... 4. 56 Tremulant to Swell.
Choir, 6 Stoffs, CC to G.
25, Lieblich Gedact, wood and 28. Lieblich Gedact, metal ... 4 ... 56
metal......... . . . . . . . . . . . . . . . 8 ... 56 || 29. Flageolet, metal ............ 2 ... 56
26. Dulciana, metal ............ 8 ... 56 || 30, Clarionet, metal ............ 8 ..., 56
27. Viola, metal .................. 8 ... 44
Pedal, 5 Słożs, CCC to G.
31. Open Diapason, wood....., I6 ..., 29 || 34. Octave, wood ............ ... 8 ... 29
32. Sub-bass ..................... I6 ... 29 || 35. Trombone, wood............ 8 ... 29
33. Principal, Wood ............ 8 ..., 29
Accessory Słożs, Movements, &c.
Coupler, Swell to Great. . . " Coupler, Choir to Pedals.
Coupler, Swell to Great Sub-octave. Coupler, Choir to Great Sub-octave.
Coupler, Swell to Pedals. 5 Composition Pedals,
Coupler, Great to Pedals.
The metal pipes are of the best tin metal of the most approved substance,
and all the trebles, except the reeds, are of spotted metal; it is tuned to the
“Normal Diapason pitch.” The reeds and flue work on the Great and Swell are
of different pressures. The Pedals are radiating and concave. The bellows are
horizontal, double-leathered, with double feeders and compensating folds, and
the case is of polished pitch pine,
AN ACCOUNT OF COUNTRY ORGANS. 57.1
286. ROCHESTER CATHEDRAL.
This organ, originally built by Samuel Green, was enlarged by Hill in 1835.
A few years ago it was divided, the work being commenced by Walker, and
completed by Messrs. Forster and Andrews, of Hull, who introduced the two
Front 16 feet Metal Diapasons.
Great, IO Słoffs, GG to F in alt., 59 Moſes.
I. Double Open Diapason ... I6 feet. 7. Twelfth ........................ 2# feet.
2. Open Diapason............... 8 feet. 8. Fifteenth ..................... 2 feet.
3. Open Diapason............... 8 feet. 9. Sesquialtera, III ranks.
4. Stopped Diapason ......... 8 feet tone. IO. Mixture, II ranks. -
5. Principal ..................... 4 feet. II. Trumpet.............. ... tº tº t t is tº $ $ 3. 8 feet.
6. Flute, tenor c ............... 4 feet,
Choir, 7 Słoffs, GG to F in alt., 59 Moſes.
12. Dulciana ..................... 8 feet, I6. Wald Flute (CC) ............ 4 feet.
I3. Stopped Diapason ......... 8 feet tone. 17. Fifteenth ..................... 2 feet.
I4. Gamba ........................ 8 feet, I8, Clarionet (CC) ............... 8 feet tone.
I5. Principal ..................... 4 feet,
Swell, II Słońs, CC to F in alt., 54 Moſes.
19. Bourdon........................ I6 feet. 25. Cornet, III ranks.
2O. Open Diapason............... 8 feet, 26. Dulciana Mixture, IV ranks.
2I. Stopped Diapason, metal.., 8 feet tone. 27. Horn ........................... 8 feet.
22. Dulciana, Gamut G ......... 8 feet. 28. Hautboy........................ 8 feet.
23. Principal ................. ... 4 feet. 29, Clarion ......................., 4 feet.
24. Dulciana Principal ......... 4 feet.
Pedal, 5 Słożs, CCC to F, 30 AVožes.
* 30. Sub-bass (GGG) ............ 32 feet tone. 33. Open Diapason, metal ... I6 feet.
3I. Open Diapason, wood...... I6 feet. 34. Principal, or Violoncello... 8 feet.
32. Violone ........................ I6 feet. 35. Posaune........................ I6 feet.
Accessory Stoffs, Movements, &c.
I. Swell to Great. 5. Choir to Pedal.
2. Choir Sub-octave to Great. 6. Four Composition Pedals to Great.
3. Swell to Pedal. 7. Two Composition Pedals to Swell.
4. Great to Pedal.
287. TONBRIDGE WELLS.
The organ in Trinity Church, Tonbridge Wells, was built by Gray in 1840,
The following is the specification –
Great, 8 Stoffs, Compass, GG to F in alſ.
1. Stopped Diapason. 5. Twelfth.
2, Open Diapason. 6. Fifteenth.
3. Open Diapason. 7. Sesquialtera, III ranks,
4. Principal. 8. Trumpet,
572 APPENDíX.
Choir, 6 Stoffs, GG to F in alf.
9. Stopped Diapason. I2. Fifteenth.
IO. Open Diapason. I3. Flute.
II. Principal. I4. Cremona to fiddle g.
Swell, 5 Słoffs, Compass, from Tenor C fo F in alſ.
I5. Open Diapason.
I6. Stopped Diapason.
I7. Principal.
18. Trumpet.
I9. Hautboy.
Pedal, I Stoff.
2O. Open Diapason, CC to CCC, one octave...... I6 feet length.
Accessory Słoffs, Movements, &c.
Coupler to Great Organ. Two Octaves and a note of German Pedals,
Four Composition Pedals. from CCC,
288, CANTERBURY CATHEDRAL,
It is not known who was the original builder of the organ in Canterbury Cathe-
dral; but it was re-built by Samuel Green, in 1784, who put in new Diapasons and
enlarged the Scale of the pipes. It was removed, in 1827, from above the screen,
by Longhurst, Sen, who put in new keys and a long movement of upwards of 90
feet ; he also re-built the Swell organ, and extended the compass to tenor c.
The organist now sits in the Choir behind the Decani Lay Clerks. The organ,
which is very inefficient, is placed over the south aisle ; has 3 sets of keys; Com-
pass, from GG to E ; two octaves of Pedals, and one octave of Pedal Pipes from
CCC to CC.
Greaſ, 12 Stoffs.
I. Open Diapason. 7, Twelfth.
2. Open Diapason. 8. Sesquialtera, III ranks.
3. Stopped Diapason. 9, Mixture, II ranks.
4. Clarabella, Treble, in place of V-rank IO. Trumpet, Treble.
Cornet. II. Great Trumpet (throughout).
5. Principal. I2. Clarion (throughout).
6. Fifteenth,
Choir, 6 Stoffs.
13. Stopped Diapason, 16. Open Flute.
I4. Dulciana. 17. Principal.
I5. Stopped Flute. I8. Cremona.
Swell, IO Stoffs.
19. Stopped Diapason. 24. Twelfth. •
20. Double Open Diapason. - 25. Sesquialtera, III ranks,
21. Unison Open Diapason. 26. Cornopean.
22. Principal. 27. Trumpet.
23. Fifteenth. | 28, Hautboy.
Pedal, 2 Stoffs.
29. Stopped Diapason, wood. | 30. Open Diapason, wood,
Couplers.
1. Swell to Great, | 2, Pedal to Great. | 3. Pedal to Choir,
AN ACCOUNT OF COUNTRY ORGANS. 573
289. CRANBROOK.
The organ in the Parish Church at Cranbrook, Kent, was built by Mr.
Willis in 1854, and consists of two complete rows of keys, of the Compass
from CC to F in alt., fifty-four notes, and two octaves and a half of Pedals, of
the Compass CCC to F, thirty notes. It contains the following stops:–
Great, I I Stoffs.
I. Double Diapason, closed, wood I6 feet. 6. Flute (Harmonic), metal ...... 4 feet.
2. Large Open Diapason, metal 8 feet. 7. Principal, metal.................. 4 feet.
3. Small Open Diapason, metal 8 feet. 8. Twelfth, metal .................. 3 feet.
4. Stopped Diapason and Clara- 9. Fifteenth, metal.................. 2 feet.
bella, wood .................. 8 feet. IO. Sesquialtera, V ranks, metal Iš foot.
5. Dulciana, metal .................. 8 feet. II. Trumpet, metal .................. 8 feet.
Swell, IO Stoffs.
12. Double Diapason, closed, I7. Fifteenth, metal ............... 2 feet,
Wood .................... ... ... I6 feet. I8. Mixture, III ranks, metal.
I3. Open Diapason, metal ... ..... 8 feet. I9. Contra Hautboy, metal ...... I6 feet.
I4. Stopped Diapason, wood....., 8 feet. 20. Hautboy, metal.................. 8 feet.
I5. Gamba to tenor c, metal ...... 8 feet. 2I. Trumpet, metal.................. 8 feet.
I6. Principal, metal.................. 4 feet.
Pedal, I Stoff.
22, Grand Open Diapason, Wood........................ I6 feet.
Couplers,
I. Swell to Great. 2. Swell to Pedals. 3. Great to Pedals.
290. CHICHESTER CATHEDRAL.
This organ was built by Renatus Harris in 1678, and originally had but one
Manual ; no Pedals ; only one Open Diapason, which stood in the west front of
the case, diapered and gilded ; and no Reed stop. In the year 1725 Byfield
added the Choir organ, and put a Trumpet stop into the Great organ. In 1778
the east front Open Diapason was added by Knight, who at the same time built
the Swell. In 1806 England considerably improved the organ, by introducing new
and larger Sound-boards; at the same time making the Great and Choir Manuals
long Octaves; putting a II-rank Mixture into the Great organ; placing a Hautboy
in the room of the Swell Trumpet, and a Dulciana to Gamut G, in lieu of the
Choir Cremona. The old pipes were at the same time rounded out and repaired.
For these repairs and improvements England received 200 guineas. A Pedal
Clavier, of the same compass, GG to tenor c, was also laid down by England,
acting on the Bass keys of the Great Manual. In 1829 Pilcher added a set of
Unison Pedal pipes from FFF to tenor c, and placed a Clarabella in the Swell in
the room of the IV-rank Cornet. He also put in a new horizontal bellows, using
the old diagonals as the two feeders, and also re-gilt the Choir front pipes. The
cost was about £100. In 1844 a set of Double Open Pedal pipes, FFFF to CC,
and a separate bellows, were added by Gray and Davison, the largest pipes being
laid horizontally at the back of the organ, in the organ loft. The Swell Clavier
was at the same time extended to GG, communicating with and pulling down the
corresponding keys of the Choir organ ; a Clarabella stop was inserted in place of
the V-rank Cornet in the Great organ ; a Cremona was put into the Choir; a
Coupler, Swell to Great, was applied ; also two Composition Pedals; and the
574. APPENDIX.
whole of the pipes were repaired, and many much improved. The cost was £218.
In 1851 a Swell of 8 stops was added by Hill, the organ then containing
the following stops —
Greaſ, IO Słożs.
I. Open Diapason. 6. Twelfth.
2. Open Diapason. 7. Fifteenth.
3. Stopped Diapason. 8. Sesquialtera, III ranks.
4. Clarabella, in place of V-rank Cornet. 9. Mixture, II ranks.
5. Principal. IO. Trumpet, draws in halves,
Choir, 6 Słońs.
II, Dulciana to Gamut G. I4. Flute.
I2. Stopped Diapason. 15. Fifteenth.
I3. Principal. I6. Cremona to fiddle g.
Swell, 8 Stoffs.
17. Double Diapason. 2I. Fifteenth.
18. Open Diapason. 22. Sesquialtera, III ranks.
I9. Stopped Diapason, 23. Hautboy.
2O. Principal. 24. Cornopean.
Pedaſ, 2 Słożs.
25. Great Open Bass, to FFFF, 24 ſeet, 26, Open Diapason, to FFF, 12 feet.
Accessory Sãoffs, &c.
I. Swell to Great. 3. Choir to Pedal.
2, Great to Pedal. 4, 5. Two Composition Pedals.
Compass.
Great, GG to dº in alt. Swell Clavier, GG to dº in alt.
Choir, GG to dº in alt. Pedal, FFF to tenor c, 20 notes,
Swell, tenor c to dº. in alt.
291. WINCHESTER.
The fine organ in Winchester Cathedral was built by Willis, under the direction
of Dr. S. S. Wesley. It comprises 4 Manuals, an independent 32-feet Pedal of 8
stops, and, altogether, 48 sounding stops, nearly all of which are whole stops. The
following is the Scheme —
Great, I 3 Słożs.
I. Double Diapason............ I6 feet. 8. Fifteenth ..................... 2 feet.
2. Open Diapason ............ 8 feet, 9. Sesquialtera.
3. Open Diapason ............ 8 ſeet. IO. Mixture.
4. Stopped Diapason ......... 8 feet tone. II. Trombone .................. 8 feet.
5. Principal ..................... 4 feet. I2. Trumpet ..................... 8 feet.
6. Principal ..................... 4 feet. 13. Clarion........................ 4 feet.
7. Twelfth........................ 23 feet.
Swell, I3 Słońs.
I4. Double Diapason............ I6 feet. 2I. Sesquialtera.
15. Open Diapason ............ 8 feet. 22. Mixture.
I6. Stopped Diapason ......... 8 feet tone. 23. Trumpet ..................... I6 feet.
I7. Principal ..................... 4 feet. 24. Trumpet ..................... 8 feet.
18. Flute ........................... 4 feet. 25. Hautboy ................. ... 8 feet.
I9. Twelfth........................ 23 feet. 26. Clarion,..... f : * * * * * * * * * * * * * * * * 4 feet,
20, Fifteenth ...,,............... 2 feet.
AN ACCOUNT OF COUNTRY ORGANS, 575
Choir, 8 Słożs,
27. Open Diapason ............ 8 feet. 3I. Flute ........................ 4 feet.
28. Stopped Diapason ......... 8 feet tone. 32. Fifteenth ..................... 2 feet.
29. Dulciana ..................... 8 feet. 33. Sesquialtera.
30, Principal ..................... 4 feet. 34. Cremona ..................... 8 feet tone,
Solo, 6 Stoffs.
35. Harmonic Flute ............ 8 feet. 38. Horn ........................ 8 feet,
36. Harmonic Flute ............ 4 feet. 39. Orchestral Hautboy ..., ... 8 feet.
37. Piccolo ........................ 2 feet. 4O. Corno di Bassetto ......... 8 feet tone,
Pedal, 8 Stoffs.
41. Double Double Diapason 32 feet. 45. Principal ..................... 4 feet.
42. Double Open Diapason ... I6 feet. 46. Mixture.
43. Double Dulciana ............ I6 feet. 47. Trombone .................. I6 feet.
44, Open Diapason ............ 8 feet. 48. Tromba ................. ..., 8 feet,
Compass of all the Manuals, CC. Pedal, CCC.
Couſh/ers.
I. Swell to Great. 3. Great to Pedal. 5. Swell to Pedal,
2. Choir to Great, 4. Choir to Pedal,
292. RIPON CATHEDRAL.
The new organ for the Cathedral at Ripon is being built by Mr Lewis, and
is to consist of 3 complete Manuals, a 32-feet Pedal, and to contain the following
specified stops — -
Great Organ, CC to A, 58 Moſes.
I. Bourdon ..................... I6 feet. 8. Hohlflote..................... 4 feet.
2. Open Diapason, large...... 8 feet, 9. Octave Quint ............... 23 feet.
3. Open Diapason, Small ... 8 feet. IO. Super-Octave ............... 2 feet.
4. Viola........................... 8 feet, II. Full Mixture, IV ranks... I foot.
5. Hohlflote ..................... 8 feet. I2. Contra Trumpet............ I6 feet.
6. Stopped Diapason ......... 8 feet. 13. Trumpet ..................... 8 feet,
7, Octave ............... . . . . . . . . . 4 feet.
I4.
I 5.
I6.
I7.
I8.
I9.
2O.
28.
29.
3O.
3I.
32.
Swell Organ, CC to A, 58 AVotes.
Bourdon ..................... I6 feet. 21. Dulcet ........................ 4 feet.
Geigen Principal ............ 8 feet. 22. Flautina ..................... 2 feet.
Rohrflote (old organ) ...... 8 feet. 23. Mixture, III ranks......... 2 feet.
Pierced Gamba ............ 8 feet. 24. Contra Trumpet............ I6 feet.
Dulciana (Old Organ) ...... 8 feet. 25. Horn ........................ 8 feet.
Geigen Principal............ 4 feet. 26. Oboe ........................ 8 feet.
Rohrfiote (old organ) ...... 4 feet. 27, Clarion ..................... 4 feet.
Choir Organ, CC to A, 58 Notes.
Lieblich Gedact ............ I6 feet. 33. Vox Angelica ............... 8 feet.
Salicional (old Organ)...... 8 feet. 34. Lieblich Gedact............ 4 feet.
Lieblich Gedact ............ 8 feet. 35. Flauto Dolce ............... 4 feet.
Stopped Diapason (old 36. Lieblich Gedact............ 2 feet.
Organ) . . . . . . . . . . . . . . . . . . . . . 8 feet ‘ 37. Clarionet..................... 8 feet
Dolce ........................ 8 feet
576 - APPENDIX.
Pedal Organ, CCC to F, 30 Woſſes.
38. Sub-bass ..................... 32 feet. 42. Flute Bass..................... 8 feet.
39. Open Diapason ............ I6 feet. 43. Octave ........................ 8 feet.
40. Bourdon ..................... I6 feet. 44. Trombone..................... I6 feet.
4I. Quint Bass ...... ........... Iož feet.
Couplers.
Choir to Pedals Swell to Great.
Great to Pedals. Swell to Choir.
Swell to Pedals.
7 Pedals of Combination,
293. WELLS CATHEDRAL.
The old organ in this Cathedral was built by Father Smith in 1664; and
re-built by Green in 1786. An octave and a half of Pedals and Double Pedal
pipes were added by Smith, of Bristol, about the year 1830. It contained 23
sounding stops. The present organ was erected by Mr. Henry Willis in 1857.
Great, I 3 Słożs, CC to G in aż, 56 AVožes.
I. Double Diapason, metal ...... I6 feet. 8. Fifteenth, metal .................. 2 feet.
2. Open Diapason, metal ......... 8 feet, 9. Sesquialtera, III ranks, metal.
3. Open Diapason, metal ......... 8 feet. IO. Mixture, III ranks, metal.
4. Stopped Diapason, wood ...... 8 feet, II. Posaune, metal .................. I6 feet.
5. Principal, metal .................. 4 feet. I2. Trombone, metal................., 8 feet.
6. Principal, metal .................. 4 feet. I3. Clarion, metal ..................... 4 feet,
7. Twelfth, metal..................... 3 feet.
Choir, 9 Słożs, CC to G in alt., 56 AVotes.
I4. Douple Diapason, wood ...... I6 feet. I9. Flute Harmonique, metal ...... 4 feet.
15. Open Diapason, metal ......... 8 feet. 2O. Piccolo Harmonique ............ 2 feet.
I6. Dulciana, metal .................. 8 feet. 2I. Clarinet and Corno di Bassetto 8 feet.
17. Stopped Diapason, wood ...... 8 feet, 22. Oboe (Orchestral), from fiddle
18. Principal, metal .................. 4 feet. G...…. 8 feet.
Swell, Io Stoffs, CC to G in aſt., 56 Noſes.
23. Double Diapason and Dul- 28. Echo Cornet, III ranks.
Ciana ........................... I6 feet. 29. Contra Fagotto, wood ......... I6 feet.
24. Open Diapason, metal ......... 8 feet. 30. Trumpet, metal .................. 8 feet.
25. Stopped Diapason, wood ... .. 8 feet. 3I. Hautboy, metal .................. 8 feet.
26. Principal, metal .................. 4 feet. 32, Clarion, metal ..................... 4 feet.
27. Fifteenth, metal .................. 2 feet,
Pedal, 7 Sãoffs, CCC to F, 30 Moſes.
33. Double Diapason, wood......... I6 feet. 37. Mixture, III ranks, metal.
34. Violone, Open, metal............ I6 feet. 38. Trombone, wood.................. 8 feet.
35. Principal, metal .................. 8 feet. 39. Posaune, metal .................. I6 feet.
36. Fifteenth, metal ......... ........ 4 feet.
Couplers.
I. Swell to Great. 3. Swell to Pedals. 5. Choir to Pedals,
2, Choir to Great. 4, Great to Pedals.
AN ACCOUNT OF COUNTRY ORGANS. 577
294, VICTORIA ROOMS, BRISTOL.
This organ, originally built for the Panopticon, Leicester Square, by Messrs.
Hill and Co., in 1853, has been re-erected in the above rooms by Messrs. Bryceson
Brothers, who have partly re-constructed it. It has 4 Manual organs, all of the CC
or 8-feet compass ; a separate Pedal of Io stops and 6 bellows at different pres-
SUITeS.
All the musical scales have alike been rendered available to the performer on
this instrument, by the adoption of the admirable system of equal temperament,
The following is a list of the stops in this organ — -*
Great Organ, 16 Słożs.
I. Double Open Diapason, 8. Octave Quint, metal ...... 3 feet
metal and wood ......... I6 feet. 9. Super-octave, metal ...... 2 feet
2. Open Diapason, metal ... 8 feet. IO. Sesquialtera, III ranks, metal.
3. Open Diapason, No. 2, II. Mixture, III ranks, metal.
metal ..................... 8 feet. I2. Furniture, III ranks, metal.
4. Stopped Diapason, wood... 8 feet tone. I3. Trumpet, metal ............ I6 feet.
5. Salicional ..................... 8 feet. I4. Posaune, metal ............ 8 feet
6. Octave, metal ............... 4 feet I5. Trumpet, metal ............ 8 feet
7. Wald Flute, wood ......... 4 feet I6, Clarion, metal ............ 4 feet
Choir Organ, 12 Stoffs.
I7. Bourdon, wood............... I6 feet tone. 23. Super-octave, metal ...... 2 feet.
18. Gamba, metal ............... 8 feet. 24. Sesquialtera, II ranks, metal.
19. Open Diapason ............ 8 feet 25. Stopped Flute, metal...... 4 feet tone.
2O. Stopped Diapason, metal 26. Flageolet..................... 2 feet.
and wood.................. 8 feet tone. 2 Bassoon Bass, wood..... 8 feet
21. Octave ........................ 4 feet. 7 Clarionet Treble, wood €6L.
22, Octave Quint, metal ...... 3 feet 28. Trumpet, metal ............ 8 feet.
Solo Organ, 9 Stoffs.
29. § 3 ( I. Grand Tuba Mi- 34. Doublette, II ranks, metal 2 feet.
º #} rabilis, metal ... 8 feet. 35. Vox Angelica, II ranks,
30.5" 5 (2. Do. Clarion, metal 4 feet. metal ..................... 8 feet.
3I. Claribel, wood ............ 8 feet. 36. Krum Horn, metal ...... 8 feet tone.
32. Harmonic Flute, metal ... 4 feet. 37. Vox Humana, metal ...... 8 feet tone.
33. Piccolo ........................ 2 feet.
Swell Organ, 13 Stoffs.
38. Bourdon ..................... I6 feet. 45. Sesquialtera, V ranks, metal.
39. Open Diapason, metal 8 feet. 46. Suabe Flute, wood......... 4 feet.
40, Salicional, metal ............ 8 feet. 47. Cornopean, metal ......... 8 feet.
41. Stopped Diapason, wood... 8 feet. 48. Trumpet, metal ............ 8 feet
42. Octave, metal ............... 4 feet. 49. Hautboy, metal ............ 8 feet.
43. Octave Quint, metal ...... 3 feet. 50. Clarion, metal............... 4 feet
44. Super-Octave, metal ...... 2 feet.
Peda/Organ, IO Stoffs.
51. Double Open Diapason, 57. Super-Octave, metal ...... 4 feet
Wood........................ 32 feet 58. Sesquialtera, V ranks,
52. Open Diapason, wood I6 feet metal ......…........... 3 feet
53. Open Diapason, metal ... I6 feet. 59. Trombone, metal ......... I6 feet
54. Bourdon, wood ............ I6 feet tone. 60. Octave Trombone, metal 8 feet.
55. Octave, metal ............... 8 feet. 61. Drums CC—C.
56. Octave Quint ..............: 6 feet,
B B B
578 APPENDIX.
Accessory Słoffs, Movements, &c.
I. Coupler, Swell to Great. 7. Pedal to Solo. tº , ſº
2. Choir to Great. 8 to 16. Nine Composition Pedals.
3. Solo to Great. 17, 18. Two Tremulants.
4. Pedal to Great. 19. Pneumatic Lever attachment.
5. Pedal to Choir. 20. Crescendo and Diminuendo Pedal,
6. Pedal to Swell.
Mo. of Sounding Stoffs. AVo. of Piñes.
Great Organ ........................ I6 Great Organ ..................... 1276
Choir ................................. I2 Choir .............................. 754.
Swell ................................. I3 Swell................................. 932
Solo.................................... 9 Solo ................................. 626
Pedal ................................. IO Pedal................................. 4I6
6O - 4OO4.
295. BRISTOL.
The organ in St. James's Church has been re-built by Mr. W. G. Vowles, Bristol.
It has 44 sounding stops, 6 Couplers, 6 Composition Pedals, 4 Manuals, and Pedal
organ. Pneumatic action is attached to Great Manual and Couplers, with 3 large
reservoirs and 6 feeders to supply them with wind. The contents are as follows :-
Great Organ, CC to G in alt., 56 AVotes.
* & Feet. Pipes. Feet. Pipes.
I. Double Diapason, wood and 6. Suabe Flute, wood............ 4 ... 56
metal ........................ I6 tone 56 || 7. Twelfth, metal ............... 3 ... 56
2. Open Diapason, large, metal 8 ... 56 | 8. Fifteenth, metal ............... 2 ... 56
3. Open Diapason, Small, metal 8 ... 56 9. Mixture, 4 ranks, metal ... Various 224
4. Stopped Diapason, wood ... 8 ... 56 IO. Trumpet, metal ............... 8 ... 56
5. Principal, metal ............ 4 ... 56 | II. Clarion, metal.................. 4 ... 56
Grand Swell, CC to G in all, 56 AVožes.
I2. Lieblich Gedact, wood ...... I6 ... 56 | 19. Twelfth, metal ............... 3 ... 56
I3. Open Diapason, metal ...... 8 ... 56 | 20. Piccolo, metal.................. 2 ... 56
I4. Stopped Diapason, wood ... 8 ... 56 21, Mixture, III ranks, metal, various... I68
I5. Dulciana, metal ............... 8 ... 56 22. Cornopean, metal ............ 8 ... 56
I6, Vox Angelica, metal ......... 8 ... 56 || 23. Hautboy, metal ............... 8 ... 56
I7. Principal, metal ............... 4 ... 56 || 24. Clarion, metal.................. 4 ... 56
I8. Stopped Flute, metal......... 4 ... 56 -
Æcho Swell, Ženor c to G, 44 AVožes.
25. Open Diapason, metal ...... 8 ... 44 || 30. Tierce, metal.
26. Stopped Diapason, wood ... 8 ... 44 || 31. Trumpet, metal ......... ..... 8 ... 44
27. Principal, metal ............... 4 ... 44 || 32. Oboe, metal .................. 8 ... 44
28. Twelfth, metal ............... 3 ... 44 || 33. Clarionette, metal, (octave). 4 ..., 44
29. Fifteenth, metal ............... 2 ... 44
Choir Organ, CC to G in alt., 56 Moſes.
34. Dulciana, metal ............... 8 ... 56 || 38. Stopped Flute, metal......... 4 ... 56
35. Gamba, metal.................. 8 ... 56 |39. Piccolo, wood.................. 2 ... 56
36. Stopped Diapason, wood ... 8 ... 56 |40. Clarionette and Bassoon,
37. Flute Harmonique, metal... 4 ... 56 metal ........................ 8 ... 56
Pedal Organ, CCC to G.
4I. Grand Open Diapason, wood I6 ... 30 |43. Bourdon, wood ............... I6, ... 30
42. Violone, wood.................. I6 ... 30 |44. Principal, metal ............... 8 ... 30
The old Echo Swell has been preserved intact, although a few of the stops
might have been advantageously cancelled for new ones,
AN ACCOUNT OF COUNTRY ORGANS. 579
296. COLSTON HALL, BRISTOL.
The instrument consists of 4 sets of Manuals, from CC to C in alt., 61 notes,
and concave and radiating Pedals, from CCC to G, 32 notes.
Great Orgaſt.
. Grand Double Diapason......... I6 feet. 7. Quint................................. 3 feet,
I
2. Open Diapason .................. 8 feet. 8. Super-Octave ........... • * * * * s - a s a 2 feet.
3. Open Diapason .................. 8 feet. 9. Fourniture, IV ranks.
4. Violoncello ........................ 8 feet. IO. Trombone......... . . . . . . . . . . . . . . . . . . I6 feet.
5. Flute Harmonique ............... 8 feet. II. Tromba Harmonic ............... 8 feet.
6, Octave .............................. 4 feet. 12. Clarion .............................. 4 feet,
Sweſ/.
13. Contra Gamba .................. I6 feet. 20. Echo Cornet, III ranks.
14. Salicional ........................... 8 feet. 2I. Contra POSaune .................. I6 feet.
I5. Open Diapason .................. 8 feet. 22. Cornopean ........................ 8 feet,
I6. Lieblich Gedact .................. 8 feet. 23. Hautboy ........................... 8 feet.
I7. Vox Angelica ................. ... 8 feet, 24. Clarionet ........................... 8 feet,
18. Principal ............................ 4 feet. 25, Vox Humana ......... ........... 8 feet.
I9. Fifteenth ........................... 2 feet, 26. Clarion .............................. 4 feet.
Choir,
27. Dulciana ........................... 8 feet. 32. Flageolet ........................... 2 feet.
28. Lieblich Gedact .................. 8 feet. 33. Corno di Bassetto ............... 8 feet.
29. Claribel Flute ........... . . . . . . . . . . 8 feet. 34. Bassoon........... … 8 feet.
30, Violoncello ........................ 8 feet. 35. Posaune.............................. 8 feet.
31. Flute Octaviante Harmonique 4 feet
Solo.
36. Flute Harmonique ............... 8 feet. 40, Corno di Bassetto ..... ...,...... 8 feet.
37. Concert Flute ..................... 4 feet. 4I. Oboe (Orchestral) ............... 8 feet.
38. Viol di Gamba,.................... 8 feet. 42. Tuba Major Harmonic ......... 8 feet.
39. Violin .............................. 4 feet. 43. Clarion .............. ............... 4 feet.
Peda/.
44. Double Diapason, wood......... 32 feet. 49. Octave, wood ..................... 8 feet,
45. Open Diapason, wood ......... I6 feet. 50. Mixture, III ranks.
46. Violone, metal..................... I6 feet. 5.I. Grand Bombard ................. I6 feet.
47. Bourdon, wood .................. I6 feet. 52. Contra Posaune } Prepared | 32 feet.
48. Violoncello, metal ............... 8 feet. 53. Clarion ......... for only 8 feet.
Accessories, & "c.
I. Solo to Great. 6. Solo to Pedals.
2. Swell to Great, Sub-octave on itself. 7. Swell to Pedals.
3. Swell to Great, Unison. 8. Great to Pedals.
4. Swell to Great, Super-octave on itself. 9. Choir to Pedals.
5. Choir to Great.
Tremulant to Vox Humana Swell.
The patent atmospheric combinations movement is applied in 4 changes to
each of the Manuals. Four Pedals acting on those of the Great organ also affect
the Pedal organ, and adapt it to the power then obtained in the Great organ.
Four Pedals act on the Couplers, as Composition Pedals act on Ordinary stops. A
double acting Pedal produces a £6 effect, even when the tutti Pedal is arranged.
B B B 2
58O APPENDIX.
The Swell and Great organs are played through the agency of the pneumatic lever.
The wind is supplied from bellows placed in a chamber beneath the organ and
blown by means of two hydraulic engines. These bellows draw their air down
from an altitud esomewhat above the pipes in the organ ; the wind thus obtained
then passes into numerous reservoirs peculiarly constructed to obtain absolute
steadiness, and from them passes to the various sections of the wind chests at
suitable pressures for the different variety of stops; the wind chests being furnished
with the patent prize medal valves of 1862,
297. BRISTOL CATHEDRAL.
The old organ was built by Renatus Harris in 1685. Upon its removal (on the
re-building of the present organ) it was found to be completely worn out and worm-
eaten. Upon the restoration of the Cathedral, the present organ was erected in
the north aisle. The inside wood-work was entirely renewed. The wood pipes
were retained, as also the front pipes, which are of pure tin, and formed the two
Open Diapasons of the Great organ from GG to middle C, and the lowest octave of
the two Principals. With the exception of the above, and the Trumpet and Clarion
of the Great organ, the whole of the other part was renewed, but the old metal was
used as far as possible. The whole of the metal pipes are spotted metal. The
present organ was re-built by Mr. W. G. Vowles, of Bristol, in 1861.
Great, I2 Stoffs, GG to G.
I. Open Diapason (large scale). 7. Twelfth.
2. Open Diapason (small scale). 8. Fifteenth.
3. Clarabella to Gamut G. 9. Sesquialtera, IV ranks.
4. Stopped Diapason. IO. : Mixture, II ranks.
5. Principal. II. Trumpet.
6. Principal. I2. Clarion.
Choir, 7 Słoffs, GG to G.
I3. Stopped Diapason. I7. Principal.
I4. Dulciana to Gamut G. I8. Piccolo, wood.
I5. Viol di Gamba to Gamut G. I9. Cremona to tenor c.
I6. Flute.
Swell, I I Stoffs, Gamut G to G.
2O. Double Dulciana. 26. Fifteenth.
2I. Open Diapason. 27. Mixture, II ranks.
22. Stopped Diapason. 28. Cornopean.
23. Harmonic Flute. 29. Trumpet.
24. Principal. 30, Hautboy.
25. Twelfth.
Pedal, 3 Stoffs, CCC to F.
3I. Open Diapason, wood. 32, Bourdon, wood. | 33. Principal, metal.
Couplers. -
I. Swell to Choir. 5. Pedals to Great, Unison.
2. Swell to Great, Unison. 6. Pedals to Great, Octaves,
3. Swell to Great, Octaves. 7, Pedal organ in Octaves.
4. Pedals to Choir.
Composition Pedals.
3 to the Great organ. 2 acting on the Couplers and Pedal
5 to the Swell organ. organ Draw-Stops.
The old case, which is very richly carved (said to be the work of Grinling
Gibbons), has been carefully preserved and adapted to the enlarged instrument.
The Choir organ case, at the back of the organist, is entirely new, and, being of
Gothic design, contrasts strangely with the old organ case.
AN ACCOUNT OF COUNTRY ORGANS. 58t
298, LLANDAFF CATHEDRAL.
This organ was built by Gray and Davison in 1857. It consists of 3 Manuals
CC to F, and Pedals, CCC to E.
Great Organ.
I. Bourdon ..................... I6 feet. 6. Harmonic Flute ............ 4 feet.
2. Open Diapason ............ 8 feet, 7. Twelfth ..................... 3 feet.
3. Gamba ........................ 8 feet. 8. Fifteenth ..................... 2 feet.
4. Stopped Diapason ......... 8 feet. 9. Mixture, IV ranks.
5. Principal ..................... 4 feet. IO. Trumpet ..................... 8 feet.
Swell Organ.
II. Double Diapason............ I6 feet, I6. Fifteenth ..................... 2 feet,
I2. Open Diapason ............ 8 feet. I7. Mixture, II ranks.
3. Keraulophon ............... 8 feet. I8. Cornopean .................. 8 feet.
I4. Stopped Diapason ......... 8 feet. I9. Oboe ........................ 8 feet.
I5. Principal ..................... 4 feet. 20. Clarion........................ 4 feet.
- Choir Organ.
2I. Double Diapason............ I6 feet, 26. Gemshorn .................. 4 feet.
22. Spitz Flute .................. 8 feet. 27. Flute ........... ............ 4 feet.
23. Dulciana ..................... 8 feet. 28. Piccolo........................ 2 feet.
24. Stopped Diapason, Bass... 8 feet. 29. Clarinet, tenor c............ 8 feet.
25. Clarinet Flute ............... 8 feet.
Pedal Organ.
30. Open Diapason ............ I6 feet. 32. Principal ..................... 8 feet.
31. Bourdon ..................... I6 feet. 33. Trombone .................. I6 feet.
Couplers.
I. Swell to Great Manual. 4. Great to Pedals.
2. Swell to Choir Manual. 5. Choir to Pedals.
3. Swell to Pedals,
4 Composition Pedals to Great ; 2 Composition Pedals to Swell.
299. EXETER CATHEDRAL.
The organ made by John Loosemore, in 1665, has recently undergone con-
siderable alteration at the hands of Mr. Speechly, who has put in new Choir and Swell
organs. The original Great organ Sound-board, the large double metal pipes, and
the handsome old case, are still retained. The organ now contains 31 sounding
stops, of which the following is a list —
Great Organ, Compass GG ſo F, 58 Moſes (no Gi).
Feet, Pipes. Feet. Pipes
I. Double Diapason, wood and 7. Flute Harmonique, metal 4 ... 58
metal ... . . . . . . . . . . . . . . . . . . . . I6 ... 58 8. Twelfth, metal............... 2} ... 58
2. Open Diapason, metal... ... 8 ... 58 9. Fifteenth, metal ............ 2 ... 58
3. Open Diapason, metal...... 8 ..., 58 Io." Mixture, II ranks, metal... various II6
4. Stopped Diapason, wood II. "Mixture, III ranks, metal various 174
and metal .................. 8 ..., 58 * Formerly one stop.
5. Clarabella, wood ..........., 8 ... 12. Trumpet, metal ............ 8 ... 58
6. Principal, metal . . . . . . . . . . . 4 ..., 58 || 13, Clarion, metal................ 4 ... 58
582
APPENDIX.
Swell Organ, Compass CC to F, 54 Wotes (freflared, CC to G, 56 Motes).
- Feet. Pipes. Feet.
14. Double Diapason, wood... 16 ... 54 | 18. Octave, metal …; 4. . . .
15. Open Diapason, metal...... 8 ... 54 19. Mixture, III ranks, metal, various
16. Stopped Diapason, wood 2O. Cornopean, metal .........
and metal .................. 8 ... 54 || 21. Oboe, metal.................. 8
17. Salicional, metal ............ 8 ... 42 22, Clarion, metal ............... 4.
23.
24.
25,
29. Open Diapason, metal...... 32 ... 35
30. Open Diapason, from No.
Choir Organ, Compass CC to F, 54 Wołes (frepared, CC to G, 56 Moſes).
Gamba, metal ............... 8 ... 54 26. Wald Flute, wood ......... 4.
Lieblich Gedact, wood and 27, Gemshorn, metal..........., 4.
metal ..................... 8 ... 54 28, Corno di Bassetto, metal 8
Dulciana, metal ............ 8 ... 54
Pedal Organ, Compass of Piñes GGG to F (35), G: added.
Compass of Pedals CCC to F, 30 Notes.
31. Bourdon, Wood ............ I6
I, metal... . . . . . . . . . . . . . . . . . . I6 ... 30
Couplers, &c.
4. Choir to Pedal.
2. Great to Pedal, GG, 5. Swell to Great.
3. Great to Pedal, CC. 6. Swell to Choir.
4 Composition Pedals to the Great organ.
4 Composition Pedals to the Swell organ.
I. Swell to Pedal.
Pipes.
54.
I62
54
30
A double action Pedal for governing the Great to Pedal Coupler.
300, ST, JUDE's, SOUTHSEA.
This organ was built by Gray and Davison in 1872. It consists
- Manuals, from CC to G, and Pedals, from CCC to F.
f. Touble Diapason............ 16 feet, 7. Twelfth ..................... 3 feet,
2. Open Diapason ............ 8 feet. 8. Fifteenth ..................... 2 feet.
3. Gamba ........................ 8 feet. 9. Mixture, III ranks.
4. Stopped Diapason ......... 8 feet, IO. Trumpet ..................... 8 feet
5. Harmonic Flute ............ 4 feet. II. Clarion ..................... 4 feet.
6. Principal ..................... 4 feet.
I2.
I3.
I4.
I5.
I6.
I7.
Great Organ,
Swell Organ,
of
Double TXiapason,........... I6 feet. 18. Sesquialtera, III ranks,
Open Diapason ............ 8 feet, I9. Cornopean .................. 8 feet.
Keraulophon ............... 8 feet, 20. Oboe ........................ 8 feet.
Stopped Diapason ......... 8 feet, 2I. Clarion ..................... 4 feet.
Principal ..................... 4 feet. Tremulant.
Fifteenth ..................... 2 feet.
22.
23.
24.
25.
Choir Organ.
Dulciana ..................... 8 feet. 26. Suabe Flute ............... 4 feet.
Viol di Gamba............... 8 feet. 27. Flageolet..................... 2 feet.
Lieblich Gedact ............ 8 feet, 28. Corno di Bassetto ......... 8 feet.
Gemshorn ...,,,,,, ... ... ... 4 feet,
r)
J
AN ACCOUNT OF COUNTRY ORGANS. 583
29.
3O.
Pedal Organ.
Open Diapason ............ I6 feet. 31. Principal..................... 8 feet,
Bourdon ..................... I6 feet, 32. Trombone .................. I6 feet,
Coºlers.
2. Swell to Choir Manual. 5. Choir Manual to Pedals.
I. Swell to Great Manual. 4. Great Manual to Pedals,
3. Swell Manual to Pedals.
4 Composition Pedals to Great; 4 Composition Pedals to Swell.
Some of the pipes, re-voiced, have been retained.
301, ST, JOHN'S CHURCH, MARGATE.
This organ was built by Gray and Davison in 1876. It has three Manuals,
CC to G, Pedals, from CCC to F, and contains the following stops:–
Great Organ.
I. Double Diapason .................. I6 feet. 8. Twelfth .............................. 3 feet.
2. Open Diapason ..................... 8 feet. 9. Fifteenth.............................. 2 feet.
3. Gamba .............................. 8 feet. IO. Sesquialtera, III ranks.
4. Stopped Diapason.................. 8 feet. II. Mixture, II ranks. -
5. Clarinet Flute ..................... 8 feet. I2. Trumpet ........................... 8 feet.
6. Principal.............................. 4 feet. 13, Clarion .............................. 4 feet.
7. Flute Harmonic..................... 4 feet.
Swell Orgaſt.
I4. Lieblich Bourdon .................. I6 feet. 19. Fifteenth.............................. 2 feet,
I5. Open Diapason ..................... 8 feet. 20. Mixture, III ranks,
16. Keraulophon ........................ 8 feet. 21: Oboe ................................. 8 feet.
17. Stopped Diapason.................. 8 feet. 22. Cornopean ........................... 8 feet.
18. Principal.............................. 4 feet. 23, Clarion .............................. 4 feet.
Choir Organ,
24. Open Diapason ..................... 8 feet. 28. Flute ................................. 4 feet.
25. Dulciana ........................... 8 feet. 29. Flageolet .................. . . . . . . . . . 2 feet.
26. Lieblich Gedact .................. 8 feet. 30, Corno di Bassetto .................. 8 feet.
27. Gemshorn ...... .................... 4 feet. º
Pedal Organ.
31. Grand Open Diapason ............ I6 feet. 33. Violoncello ........................ 8 feet.
32, Grand Bourdon ..................... I6 feet, 34, Trombone ........................... I6 feet.
Coló/ers.
I. Swell to Great Manual. 5. Great Manual to Pedals,
2. Swell Manual to Pedals. 6. Choir Manual to Pedals.
3. Swell Octave. . 7. Pedal Octave,
4, Swell to Choir Manual.
4 Composition Pedals to the Great and Pedal Organ, and 3 to the Swell.
584 APPENDIX.
302, BRIGHTON.
The instrument in the Great Concert Hall, built by Bryceson and Co.,
has four complete Manuals, compass CC to A, 58 notes, viz., Solo, Swell, Great,
and Choir organs, also an independent Pedal organ, CCC to F, 30 notes, the
largest pipe being CCCC, 32 feet. The Great organ and Manual Couplers are
played by means of the pneumatic apparatus. The Combination Pedals also act
by pneumatic power. The bellows supply three pressures of wind. The case is
of Italian design, introducing ornamental wrought ironwork, and 16 feet metal
pipes, arranged in two towers; a double tier of 8 feet pipes, and projecting trumpets,
forming the centre front. The front pipes are richly decorated with gold and
colours. Dimensions, 37 feet high, 25 feet wide, and 16 feet deep. The necessary
atmospheric temperature for tuning and maintaining band Žitch is secured by
the introduction of a self-regulating high-pressure hot-water apparatus (Perkins's
patent) placed beneath the organ especially for this purpose.
Solo, 6 Stoffs.
Pipes. Feet. Pipes. Feet.
1. Corno Dolce, metal ...... 58 ... 8 4. Orchestral Oboe and Bas-
2. Orchestral Flute, metal ... 58 ... 4 Soon, metal ............... 58 ... 8
3. Corno di Bassetto, metal 58 ... 8 5. Tromba (Harmonic), metal 58 ... 8
6. Clarion, metal ............ 58 ... 4
Swell, I4 Słoffs.
7. Bourdon and Double Dia- 14. Twelfth and Fifteenth,
pason, Wood ............ 58 ... I6 metal ..................... II6 ... 3 & 2
8. Open Diapason, metal ... 58 8 I5. Mixture (19, 22), metal... II6 ...
9. Viola, wood and metal ... 58 8 16. Double Trumpet, metal 58 ... 16
Io, Rohrfiote, wood and metal 58 8 17. Voix Humane, metal ... 58 ... 8
II. Principal, metal ............ 58 4. 18. Cornopean, metal ......... 58 8
I2. Echo Flute, metal ......... 58 4. I9, Oboe, metal ............... 58 8
I3. Flageolet, metal ............ 58 ... 2 2O. Clarion, metal ............ 58 4.
(Tremulant acting on Swell.)
Great, I2 Stoffs.
21. Double Open Diapason 27. Waldflote, wood and metal 58 4
wood and metal ......... 58 ..., 16 28. Twelfth, metal ............ 58 3
22. Great Open Diapason, metal 58 8 29. Fifteenth, metal............ 58 2
23. Violin Open Diapason, metal 58 8 30, Mixture (19, 22), metal... II6
24. Hohlflote, wood and metal 58 8 3I. Trumpet, metal............ 58 8
25. Salicional, wood and metal 58 8 32. Clarion, metal ............ 58 4.
26. Principal, metal ............ 58 4
Choir, 8 Stoffs.
33. Dulciana, metal ............ 58 ... 8 37. Harmonic Flute, metal... 58 4.
34. Flauto Trayerso, metal ... 58 ... 8 38. Stopped Flute, metal . . 58 4.
35. Voix Céleste, metal ...... 58 ... 8 39. Harmonic Piccolo, metal 58 2.
36. Lieblich Gedact, wood and 40. Clarionet and Bassoon,
metal ..................... 58 8 metal ..................... 58 8
Pedal, 9 Stoffs.
41. Sub-bass, wood ............ 30 ... 32 || 46. Flute, wood ............... 3O 8
42. Open Diapason, wood .. 30 ... 16 47. Bombarde, metal ......... 3O 32
43. Violon, metal ............... 3O ... I6 48. Trombone, metal ......... 3O I6
44. Bourdon, wood ............ 3O ... I6 49. Trumpet, metal ..........., 3O 8
45. Violoncello, metal ...,,,,.
AN ACCOUNT OF COUNTRY ORGANS.
585
Couplers.
I. Super-solo to Choir. 9, Choir to Great.
2. Sub-solo to Choir. Io. Solo to Pedals.
3. Solo to Choir. - II. 'Swell to Pedals.
4, Solo to Great. I2, Great to Pedals.
5. Super-swell to Great. 13. Choir to Pedals.
6. Sub-swell to Great. I4.
7. Swell to Great. I5.
8, Swell to Choir.
Summary.
Stops. Pipes.
Solo Organ ........................... 6 … 348
Swell Organ ........................... I4 . . . . . . . . . . . . . . . • * * g is g º is a tº s e 928
Great Organ........................... I2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754.
Choir Organ........................... 8 … 464
Pedal Organ........................... 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Couplers .............................. I5
Total..................... 64 2764
4 Combination Pedals to Swell Organ. 4 Combination Pedals to Pedal Organ.
4 Combination Pedals to Great Organ. 4 Combination Pedals to Couplers.
303. BRIGHTON.
The organ in the Concert Room of the Dome Pavilion, Brighton, was built by
Mr. Henry Willis. It has 4 complete Manuals, from CC to A, 58 notes, and two
octaves and a half of Pedals, from CCC to F, 30 notes.
Solo Organ, 6 Słożs.
I. Tuba Major Harmonic...... 8 feet. 4. Oboe ........................... 8 feet.
2. Clarion ........................ 4 feet. 5. Concert Flute ............... 8 feet.
3. Clarionet........................ 8 feet, 6. Flute Octaviante ............ 4 feet.
Swell Organ, I2 Słońs.
7. Salicional ..................... I6 feet. I3. Mixture.
8. Salicional ..................... 8 feet. I4. Contra POSaune............... I6 feet,
9. Open Diapason ............... 8 feet. I5. Cornopean ..................... 8 feet,
IO. Lieblich Gedact............... 8 feet. I6. Hautboy........................ 8 feet,
II. Principal........................ 4 feet. I7. Vox Humana.................. 8 feet.
I2. Flageolet ..................... 2 feet. 18, Clarion ................... .... 4 feet.
Great Organ, II Stoffs.
19. Double Open Diapason ... 16 feet. 25. Quint Octaviante ............ 3 feet,
20. Open Diapason ............... 8 feet, 26. Super-Octave .................. 2 feet
2I. Open Diapason ............... 8 feet. 27. Furniture.
22. Viola ........................... 8 feet, 28. Bombard Harmonic ......... 8 ſeet.
23. Claribel Flute ............... 8 feet, 29. Clarion Harmonic ............ 4 feet.
24. Principal........................ 4 feet.
Choir Organ, 9 Stoffs,
30. Viol di Gamba ............... 8 feet. 35. Flute Dolce . . . . . . . . . . . . . . . . . 4 feet,
3I. Dulciana........................ 8 feet. 36. Flageolet ..................... 2 feet.
32. Vox Angelica.................. 8 feet. 37. Viola ........................... 4 feet,
33. Flute Harmonique ........ 8 feet, 38, Corno di Bassetto........ ... 8 feet.
34. Gemshorn ........... à e s 3 s e s s s # 4 feet.
586
APPENDIX.
Pedal Organ, 6 Stoffs.
39. Double Diapason tº e º e º 'º e º e s e e 32 feet. 42. Octave........................... 8 feet
40. Open Diapason ............... I6 feet. 43. Furniture. -
41. Bourdon ........................ I6 feet 44, Ophicleide ..................... I6 feet.
Couplers.
I, Swell to Great, Super-octave, 6. Great to Pedals.
2. Swell to Great, Unison. 7. Choir to Pedals.
3. Swell to Great, Sub-octave. 8. Choir to Great.
4. Swell to Pedals. 9. Solo to Great.
5. Solo to Pedals. IO. Tremulant.
This organ was built by Gray and Davison in the year 1874.
The wind is supplied by two hydraulic engines,
304, ST, MARGARET’s CHURCH, BRIGHTON.
It contains 31
stops, which are distributed among 3 Manuals and Pedal in the following
manner. The blowing is by hydraulic power.
Great Organ.
I. Touble Diapason ..........., I6 feet 7. Quint ........................... 23 feet
2. Open Diapason ............... 8 feet 8. Super Octave.................. 2 feet.
3. Gamba ............ ... . . . . . . . . . 8 feet 9. Mixture, IV ranks
4. Clarionet Flute ............... 8 feet IO. Trumpet ........................ 8 feet
5. Octave........................... 4 feet II. Clarion ........................ 4 feet
6, Harmonic Flute............... 4 feet
Swell Organ,
12. Lieblich Bourdon ............ I6 feet. I8. Mixture, II ranks,
I3. Open Diapason ............... 8 feet. I9. Cornopean ..................... 8 feet,
I4. Keraulophon .................. 8 feet. 20. Oboe ........................... 8 feet
I5. Concert Flute,................. 4 feet. 2I. Clarion .................. # * * * * * 4 feet,
I6, Octave........................... 4 feet. Tremulant.
I7, Octavina............ § s = { * * * * * * * * 2 feet
Choir Organ.
22. Dulciana ..................... 8 feet. 25. Suabe Flute .................. 4 feet
23. Viol di Gamba ... ........... 8 feet. 26. Flageolet........................ 2 feet
24. Lieblich Gedact ............ 8 feet 27. Clarinet ............... ........ 8 feet
Pedal Organ,
28. Grand Open Diapason ...... I6 feet. 30. Quint ....... ................... I2 feet
29. Grand Bourdon ............... I6 feet. 3I. Violon ........................ 8 feet
Couplers,
1. Swell to Great Manual. 5. Choir Manual to Pedals.
2. Swell to Choir Manual, 6. Swell Octave on its own Manual.
3. Swell Manual to Pedals. 7. Choir Sub-octave on its own Manual.
4. Great Manual to Pedals. 8. Pedal Octave,
Composition Pedals,
3 to Great,
3 to Swell,
AN ACCOUNT OF COUNTRY ORGANS. - 587
305. MAGDALEN COLLEGE,
The new organ in Magdalen College Chapel, Oxford, was built by Gray
and Davison, and completed in the early part of 1855.
It contains 35 Sounding
Stops, distributed among 4 Manuals and Pedals in the following manner:—
Great, IO Stoffs.
I. Open Diapason ............ 8 feet.
2. Open Diapason ............ 8 feet.
3. Stopped Diapason ......... 8 feet.
4 Octave ........................ 4 feet.
5. Flute ........................... 4 feet.
II. Salicional ..................... 8 feet.
I2. Gamba ........................ 8 feet.
I3. Stopped Diapason, Bass... 8 feet.
I4. Concert Flute ............... 8 feet.
19. Bourdon ..................... I6 feet.
2O. Open Diapason ............ 8 feet.
2I. Stopped Diapason, Bass... 8 feet.
22. Clarionet Flute ............ 8 feet.
23. Keraulophon ............... 8 feet,
24 Octave... ..................... 4 feet.
6. Twelfth ..................... 3 feet.
7. Super-Octave ............... 2 feet.
8. Sesquialtera, III ranks.
9. Mixture, II ranks.
IO, POSaune ..................... 8 feet.
Sãoffs.
I5. Octave........................ 4 feet.
I6. Flute d'Amour ............ 4 feet.
I7. Piccolo .................... 2 feet.
I8. Corno di Bassetto ......... 8 feet.
Sãoffs.
25. Super-Octave ............... 2 feet.
26. Sesquialtera, III ranks.
27. Cornopean .................. 8 feet.
28. Oboe ........................ 8 feet.
29. Clarion ..................... 4 feet.
Solo, 2 Sãoffs,
30, Flute Harmonique ......... 8 feet.
31, Tromba .,,.................. 8 feet,
Pedal, 4 Stoffs.
32. Grand OpenT)iapason ... 16 feet.
33. Grand Bourdon ............ I6 feet.
34. Grand Octave............... 8 feet.
35, Trand Trombone ......... I6 feet.
Accessory Słoffs, Movements, &c.
, Swell to Great Manual.
. Swell to Choir Manual.
. Swell Manual to Pedals.
Great Manual to Pedals.
Choir Manual to Pedals.
Choir Sub-octave to Great Manual,
Swell to Great Sub-octave.
i
8. Swell to Great Super-octave.
9. Solo to Swell Manual.
Io. Tremulant Swell.
II to 16. Six Composition Pedals.
17 and 18. Two Pedals for taking on and
off the Coupling Stops.
I9. Pneumatic Lever attachment.
There are several reservoirs, producing different weights of wind; and the
increasing pressure system has been applied to the Great organ.
The Solo
organ is also voiced to a heavy weight of wind. To prevent the numerous
Couplers disagreeably affecting the touch, the pneumatic apparatus is applied
to the Great organ Manual and all that it affects.
588 APPENDIX.
306. KEBLE COLLEGE, OXFORD.
The organ in the Chapel of this College was erected by Messrs. Hill and Son in
1876. It contains three Manuals, a separate Pedal, and 30 stops, of which latter
the following is a list:—
Great Organ, IO Stoffs.
I. Double Diapason............ I6 feet, 6. Wald Flute .................. 4 feet.
2. Open Diapason ............ 8 feet. 7. Twelfth ........................ 3 feet.
3. Open Diapason ............ 8 feet. 8. Fifteenth ..................... 2 feet.
4. Stopped Diapason ......... 8 feet. 9. Mixture, III ranks.
5. Principal ..................... 4 feet. IO. Trumpet ..................... 8 feet.
Choir Ongan, 7 Słożs.
II. Gamba ... . . . . . . . . . . . . . . . . . . . . . 8 feet. I5. Suabe Flute .................. 4 feet.
I2. Dulciana ..................... 8 feet, I6, Flautina ..................... 2 feet.
I3. Gedact ........................ 8 feet. I7. Clarionet ..................... 8 feet.
I4. Gemshorn..................... 4 feet.
18. Bourdon ..................... I6 feet. 23. Lieblich Flute ............... 4 ſeet.
I9. Open Diapason ............ 8 feet. 24. Fifteenth ..................... 2 feet.
2O. Salicional ..................... 8 feet. 25. Mixture ........................ 2 feet,
2I. Hohlflote ..................... 8 feet, 26. Cornopean .................. 8 feet.
22, Principal ..................... 4 feet. 27. Oboe ........................... 8 feet.
Pedal Organ, 3 Stoffs.
28. Open Diapason ............ I6 feet. 30, Violoncello .................. 8 feet.
29. Bourdon ..................... I6 feet.
Couplers, &c.
5 Composition Pedals.
Compass.
Manual, CC to G*, 56 notes. Pedals, CCC to tenor f, 30 notes.
307. CHRIST CHURCH CATHEDRAL, OXFORD.
This organ was built by Gray and Davison in 1870. It consists of 3 Manuals,
CC to G, and Pedals, from CCC to F.
Great Orgaſt,
1. Open Diapason ............ 8 feet. 6. Fifteenth ..................... 2 feet,
2. Open Diapason ............ 8 feet. 7, Sesquialtera, III ranks.
3. Stopped Diapason ......... 8 feet. 8. Mixture, II ranks,
4. Principal ..................... 4 feet. 9. Trumpet .................. ... 8 feet,
5. Twelfth........................ 3 feet.
Choir Orgaſt,
Io. Dulciana ..................... 8 feet. I3. Flute . . . . . . . . . . . . . . . . . . . . . . . . . . 4 feet,
II. Stopped Diapason ......... 8 feet, I4, Cremona . . . . . . . . . . . . . . . . . ... 8 feet,
I2. Principal ..................... 4 feet,
AN ACCOUNT OF COUNTRY ORGANS. 589
Swell Organ.
I5. Double Diapason ......... I6 feet. | 20. Fiſteenth ..................... 2 feet.
I6. Open Diapason ............ 8 feet. 2I. Mixture, II ranks.
I7. Keraulophon ............... 8 feet. 22. Cornopean .................. 8 feet.
I8. Stopped Diapason ......... 8 feet. 23. Oboe ...... .................... 8 feet.
I9. Principal ..................... 4 feet. 24. Clarion ........................ 4 feet,
Pedal Organ.
25. Grand Open Diapason ... I6 feet. 27. Grand Principal ............ 8 feet.
26, Grand Bourdon ............ I6 feet. 28. Grand Trombone ......... I6 feet,
Couplers.
4. Choir Manual to Pedals.
5. Great Manual to Pedals.
. Swell to Great Manual.
. Swell to Choir Manual.
. Swell Manual to Pedals.
4 Composition Pedals to Great; 2 to Swell.
º
Some of the pipes of the former organ, by Father Schmidt and Case, have been
retained.
308, RADLEY.
The organ in St. Peter's College, Radley, near Oxford, was built by Messrs.
Telford, of Dublin. It consists of 3 complete Manuals, an independent Pedal
of Io stops, and 47 Sounding stops, of which the following is a list –
Great, I6 Stoffs.
I. Double Open Diapason, 8. Tenth, metal ............... 3% feet.
metal ..................... I6 feet. 9. Twelfth, metal ............ 23 feet.
2. Open Diapason, Great, IO. Fifteenth, metal......... ... 2 feet.
metal ..................... 8 feet. II. Octave Flute, wood ...... 2 feet.
3. Open Diapason, Small, I2. Sesquialtera, metal, IV ranks.
metal ..................... 8 feet. 13. Mixture, metal, III ranks.
4. Stopped Diapason, wood 8 feet tone. I4. Double Trumpet, metal 16 feet.
5. Quint, metal.................. # feet. I5. Trumpet, metal ............ 8 feet.
6. Principal, Great, metal ... 4 feet. I6. Clarion, metal ............ 4 feet.
7. Principal, Small, metal ... 4 feet.
Choir, 8 Stoffs.
I7. Stopped Diapason, wood 8 feet tone. 2I. Wald Flute, wood ......... 4 feet.
18. Dulciana, metal ............ 8 feet. 22. Fifteenth, metal ......... 2 feet.
I9. Viol di Gamba, metal...... 8 feet. 23. Mixture, metal ............ I# foot.
2O. Principal, metal ............ 4 feet. 24. Cremona, metal............ 8 feet.
Swell, I 3 Stoffs.
25. Double Diapason, metal 31. Twelfth, metal ............ 23 feet.
and wood.................. I6 feet. 32. Fifteenth, metal............ 2 feet.
26. Open Diapason, metal ... 8 feet. 33. Twenty-second, metal ... I foot.
27. Dulciana, metal ............ 8 feet. 34. Sesquialtera, metal, III ranks.
28. Stopped Diapason, wood 8 feet tone. 35. Cornet (Dulciana), metal, III ranks.
29. Principal, metal ............ 4 feet. 36. Trumpet, metal ............ 8 feet.
30. Principal, Small, metal ... 4 feet. 37. Oboe, metal ............... 8 feet.
Pedal, Io Stoffs.
38. Double Double Open 42. Principal, metal ............ 4 feet.
Diapason, wood ......... 32 feet. 43. Twelfth, metal ............ 23 feet.
39. Double Open Diapason, 44. Fifteenth, metal............ 2 feet.
Wood........................ I6 feet. 45. Sesquialtera, metal, IV ranks.
40. Double Open Diapason, 46. Double Trumpet, metal 16 feet.
metal........................ I6 feet. 47. Trumpet, metal ........ ... 8 feet,
4I. Open Diapason, metal ..., 8 feet.
590 APPENDIX.
Accessory Słożs, Mozements, &c.
I. Coupler, Swell to Great.
2. Coupler, Swell to Choir.
3. Coupler, Swell to Pedal.
4. Coupler, Great to Pedal.
5 to IO. Six Composition Pedals,
Compass.
Great, CC to gº in altissimo. Swell, CC to gº in altissimo.
Choir, CC to g” in altissimo, Pedal, CCC to fiddle g.
309. HENLEY-ON-THAMES.
The organ in the Church at Henley-on-Thames was built by Mr. Holdich
in 1854. It contains 36 Sounding stops, of which the following is a list –
Great, I2 Słożs.
I. Large Open Diapason...... 8 feet. 7. Fifteenth ..................... 2 feet.
2. Open Diapason ............ 8 feet. 8. Tierce ..................... I# foot.
3. Clarabella Treble, and 9. Sesquialtera.................. I# foot.
Stopped Diapason, Bass 8 feet. IO. Mixture ..................... # foot.
4. Principal ..................... 4 feet. II. Trumpet ..................... 8 feet.
5. Flute........................... 4 feet. 12, Clarion ..................... 4 feet.
6. Twelfth ..................... 23 feet
Choir, 8 Stoffs.
13. Dulciana ..................... 8 feet. 17. Flute ........................ 4 feet.
I4. Clarabella..................... 8 feet. 18. Fifteenth ..................... 2 feet.
15. Stopped Diapason, Bass... 8 feet. 19. Piccolo........................ 2 feet.
I6. Principal ..................... 4 feet. 2O. Cremona ..................... 8 feet tone,
Swell, 12 Stoffs.
2I. Double Diapason............ I6 feet. 28. Tierce ........................ I# foot.
22. Bourdon ..................... I6 feet. 29. Sesquialtera ............... I# foot.
3. Open Diapason ............ 8 feet. 3O. Double Trumpet ......... I6 feet.
24. Stopped Diapason ......... 8 feet. 3I. Cornopean .................. 8 feet.
25. Viol di Gamba............... 8 feet. 32. Hautboy ..................... 8 feet.
26. Principal ..................... 4 feet. Diaocton,
27. Fifteenth ..................... 2 feet,
Pedal, 4 Stoffs.
33. Grand Double Diapason... 16 feet. 35. Grand Principal............ 8 feet.
34. Grand Bourdon ............ I6 feet. 36. Grand Trombone ......... I6 feet.
- Compass. -
Manuals, CC to f * in alt. Pedal, down to CCC, .
310, BEDDINGTON CHURCH, SURREY.
This organ is a very handsome and costly structure, built by Messrs. Thomas
C. Lewis & Co., of Shepherd's Lane, Brixton, London. It is most skilfully planned
in every detail ; the case is well designed by Mr. Joseph Clark, and is decorated
and illuminated in a highly artistic and elaborate manner by Morris Marshall
& Co., of Queen Square, Bloomsbury.
Choir, 5 Stoffs, CC to G, 56 Moſſes.
I. Lieblich Gedact, wood and 3. Salicet ........................ 4 feet.
metal ..................... 8 feet. 4. Flute Harmonique......... 4 feet.
2. Salicional ..................... 8 feet, 5. Clarionet and Bassoon ... 8 feet,
AN ACCOUNT OF COUNTRY ORGANS, 59 I
Great, 8 Stoffs.
6. Bourdon, wood and metal 16 feet, IO. Octave Quint .............., 2% feet.
7. Open Diapason ............ 8 feet. II. Super-octave .............., 2 feet.
8. Rohrflote, wood and metal 8 feet. I2. Mixture, III ranks......... 2 feet.
9
Octave .................... ..., 4 feet, 13. Trumpet ...................., 8 feet,
Swell Organ, 9 Stoffs.
I4. Lieblich Gedact, wood and I8. Voix Célestes, tenor c ..., 8 feet.
metal ..................... I6 feet. I9. Geigen Principal ......... 4 feet.
I5. Geigen Principal............ 8 feet. 2O. Mixture, II ranks ......... 23 feet.
I6. Lieblich Gedact, wood and 2I. Trumpet ..................... 8 feet.
metal ..................... 8 feet. 22. Oboe and Bassoon......... 8 feet.
I7. Gamba ........................ 8 feet.
Pedal, 5 Stoffs, CCC to F, 30 Moſes (42 AVotes to each Stoff).
23. Open Diapason, metal and 25. Quint, wood ~ Io; feet.
Zinc ........................ I6 feet. 26. Posaune, metal ............ I6 feet,
24. Sub-bass, Wood ..........., I6 feet. 27. Octave Coupler,
Couplers, &c.
I, Choir to Pedals, 2. Great to Pedals. 3. Swell to Pedals. 4. Swell to Great,
-*
5 Pedals of Combination and Tremulant.
The bellows is placed in a chamber beneath the organ, the feeders are worked
by two three-throw crank axles, with which fly-wheels are connected; there is also
a distinct air reservoir, communicating directly with the Manual sound-boards,
obviating the necessity for the Ordinary concussion bellows. The metal pipes are
all of fine spotted metal,
3II. ST, ASAPH'S CATHEDRAL.
This organ was built by Hill in 1834. In 1859 additions and improvements to
the organ, under the Superintendence of the organist, Mr. Robert Augustus Atkins,
were carried out by Hill and Son, much to the satisfaction of the Dean and
Chapter.
Great, II Słożs, GG to F in alf.
I. Open Diapason ............ 8 feet. 7. Wald Flute.................. 4 feet.
2. Open Diapason ............ 8 feet. 8. Twelfth ..................... 3 feet.
3. Gamba ........................ 8 feet. 9. Fifteenth ..................... 2 feet.
4. Stopped Diapason ......... 8 feet. IO. Sesquialtera, III ranks.
5. Principal ..................... 4 feet. II. Trumpet ..................... 8 feet.
6. Nason Flute.................. 4 feet,
I2. Open Diapason ............ 8 feet. I5. Principal ..................... 4 feet.
I3. Stopped Diapason ......... 8 feet. I6. Suabe Flute ..... ‘. . . . . . . . . . 4 feet.
I4. Viol di Gamba ........... , ..., 8 feet. | 17, Cromorne .................. 8 feet,
592 APPENDIX.
Sºve//, IO Stoffs, femor c to F in alſ.
18. Double Diapason............ I6 feet. 23. Fifteenth ..................... 2 feet.
19. Open Diapason ............ 8 feet, 24. Mixture, III ranks.
20. Vox Angelica, II ranks ... 8 feet. 25. Cornopean .................. 8 feet.
2I. Stopped Diapason ......... 8 feet. 26. Oboe ........................ 8 feet.
22. Principal ..................... 4 feet. 27, Tremulant.
Pedal, 2 Stoffs.
28, Open Diapason ............ I6 feet. | 29, Bourdon ..................... I6 feet tone,
Couplers.
I, Swell to Great, | 2. Great to Pedals. | 3. Choir to Pedals,
312. ST, DAVID'S CATHEDRAL.
The organ in St. David's Cathedral was originally built by Father Schmidt, of
whose workmanship (excepting the old oak case) only the Open Metal Diapason
pipes remain ; the rest is the production of Mr. Lincoln, and was supplied about
twenty-five years ago. The Compass of the Great organ is from CC to F in alt.,
Mr. Lincoln having added five notes to the original range, which was CC to C
in alt.
Of the reeds in the Great organ, the Posaune only is complete ; but the instru-
ment is pierced and ready for the Clarion, although there are as yet no pipes for it.
There is no Choir organ, which is a sad defect, as it is so much required in the
Cathedral service.
Great, I2 Stoffs.
I. Double Diapason (i.e., Bourdon and 7. Twelfth.
Tenoroon). 8. Fifteenth.
2. Open Metal Diapason (Schmidt's). 9. Sesquialtera, III ranks.
3. Open Wood Diapason. IO. Mixture.
4. Quint. II. Posaune (very fine).
5. Principal. I2. Clarion (no pipes as yet).
6, Wald Flute,
Swell, 9 Stoffs, from tenor c.
13. Double Diapason. 18. Doublette.
I4. Diapason, metal. I9. Cornopean.
I5. Diapason, wood. 2O. Hautboy.
I6. Principal, 2I. Clarion.
I7. Piccolo.
Pedal, I Stoff.
22, Open Diapason from CCC .................. I6 feet.
Couplers.
I. Swell to Great. | 2. Pedals to Manuals. 3. Two octaves of Pedals.
There is a Tremulant to the Swell ; six composition Pedals to the Great organ
stops, two for the Swell, and the pneumatic lever for lightening the touch. The
last four stops of the Great (the Harmonic flutes and reeds) are placed on a distinct
Sound-board, and supplied with air at a higher pressure than that allotted to the
rest of the Great organ. By a peculiar mechanical arrangement these four stops
can be thrown out of connection with the Great organ keys, and placed under the
command of the Swell Manual,
AN ACCOUNT OF COUNTRY ORGANS, 593
313. LANCASTER,
The organ in St. Thomas's Church, Lancaster, was the noble gift of the Rev.
Colin Campbell to his church and its congregation. It was built by Banfield,
of Birmingham, and is an extensive instrument, consisting of 35 sounding stops,
comprising 3 complete Manuals, and an independent Pedal of 4 stops. The organ
is enclosed in a very beautiful case of oak, made by Hatch, of Lancaster, from a
design by Messrs. Sharpe & Paley, the architects.
The Pedal clavier is made on the radiating principle ; and the doors which
close up the organ are furnished with plate-glass panels. The specification of the
above-named organ is as follows:–
Great, II Stoffs.
º Pipes. Feet. Pipes. Feet.
I. Open Diapason ...... 54 ... 8 8. Sesquialtera,IIIranks 162 ... I;
2. Open Diapason ...... 54 ... 8 9. Mixture, II ranks ... IO8 ... }
3. Clarabella ............ 54 ... 8 IO. Trumpet ............... 54 ... 8
4. Stopped Diapason ... 54 ... 8 tone. II. Clarion ............... 54 ... 4
5. Principal ............... 54 ... 4 *-
6. Twelfth.................. 54 2% 756
7. Fifteenth ............... 54 2
Choir, 9 Słońs.
12. Dulciana, throughout 54 ... 8 17. Celestiana............... 54 ... 4
I3. Keraulophon ......... 42 ... 8 18. Flute .................. 54 ... 4
I4. Stopped Diapason, I9. Ottevena ............... 54 ... 2
Treble ............... 42 ... 8 tone. 20, Cremona ............... 35 8 tone.
I5. Stopped Diapason, Bass I2 ... 8 tone. -º-
I6. Principal ............... 54 ... 4 4OI
Swell, II Stoffs.
21. Double Diapason, CCC 54 ... I6 28. Horn..................... 54 8
22. Open Diapason ...... 54 ... 8 29. Trumpet ... ........... 54 8
23. Stopped Diapason ... 54 ... 8 tone. 30. Hautboy ............... 54. 8
24. Principal ............... 54 ... 4 31. Clarion.................. 54. . . . IO
25. Twelfth.................. 54 2% *-
26. Fifteenth ............... 54 2 702
27. Mixture, III ranks ... I62 I#
Pedal, 4 Stoffs.
32. Grand Open Diapason 29 ... I6 35. Grand Mixture, III ranks ... 87
33. Grand Bourdon......... 29 ... I6 tone. *-*-
34. Grand Principal ...... 29 ... 8 I74
- Making a total of 2033 pipes,
Couplers.
I. Great organ to Pedals. 6. Swell to Choir.
2. Choir organ to Pedals. 7. Swell and Choir to Great.
3. Swell organ to Pedals. 8. Creat to Swell Sub-octave.
4. Pedal organ in Octaves. 9. Great to Choir Sub-Octave,
5. Swell to Great,
C C (.
594 APPENDIX.
3I4. PRESTON.
The organ in Preston Parish Church was originally built by Davis, of London,
in 1802, and had a Great organ from GG to F in alt., and a Swell to fiddle g.
No Pedals or Pedal pipes—Diagonal Bellows. It has subsequently received
several additions, made by Gray and Davison, Jackson, of Liverpool, &c., at the
expense of S. Horrocks, Esq., Guild Mayor ; W. A. Cross, Esq., of Red Scar.
Mr. Greaves, the organist, added the ºf Twentieth. The organ has now 36 Sound-
ing Stops, of which the following is a list :—
Great, 16 Słożs.
w
I. Double Diapason, Bass e tal 9. Fifteenth, metal.
2. Double Diapason, Treble. | lil Iſletºll. IO. Fifteenth, wood.
3. Stopped Diapason. II. Sesquialtera, III ranks.
4. Open Diapason, large scale. I2. Mixture, II ranks.
. Open Diapason. I 3. it Twentieth.
3. #. : º Bass.
7. Principal, wood. I5. Trumpet, Treble.
8.
Twelfth. I6. Clarion.
Cho??, 7 Sãoffs.
I7. Stopped Diapason. 2O. Principal. 22. Fifteenth.
18. Clarabella. 2I. Flute. 23. Cromorne.
I9. Dulciana.
Swell, 9 Stoffs.
24. Double Diapason. 27. Keraulophon. 30. Mixture.
25. Stopped Diapason. 28. Principal. 31. Hautboy.
26. Open Diapason. 29, Fifteenth. 32. Cornopean,
Pedal, 4 Słoffs.
33. Open Diapason ............ I6 feet. 35. Fifteenth ..................... 4 feet.
34. Principal ..................... 8 feet. 36. Sesquialtera, III ranks.
Accessory Stoffs, Movements, &c.
I. Coupler, Pedals to Great. 5. Coupler, Octave Coupler Swell.
2. Coupler, Pedals to Choir. 6, 7. Three Composition Pedals for
3. Coupler, Swell to Great. Great organ stops.
4. Coupler, Choir to Swell.
Compass.
Great and Choir organs, from CC to fº in alt. Swell, from tenor c to f * in alt.
Pedal, CCC to tenor e.
315. WARRINGTON.
The organ in the Parish Church, Warrington, was built by Gray and Davison
in 1876. It consists of 3 Manuals, CC to G, and Pedals, CCC to F, two octaves
and a fourth.
Great Organ.
. Double Open Diapason ... I6 feet. 7. Twelfth
I. LJOuble Open LJ1apaSOn ... IO feet. 7. Twelfth ..................... 3 feet.
2. Open Diapason ............ 8 feet. 8. Fifteenth ..................... 2 feet.
3. Viola ........................... 8 feet. 9. Furniture, III ranks.
4. Hohlflote ..................... 8 feet. IO, Mixture, IV ranks,
5. Principal ..................... 4 feet. II. Trombone .................. 8 feet.
6, Flute Harmonique ......... 4 feet, 12. Clarion........................ 4 feet,
AN ACCOUNT OF COUNTRY ORGANS. 595
Swell Organ.
I 3. Lieblich Bourdon............ I6 feet. 2O. Sifflote................ . . . . . . . . 2 feet.
I4. Open Diapason ............ 8 feet. 21. Mixture, IV ranks.
I5. Keraulophon ............... 8 feet. 22. Double Trumpet............ I6 feet.
I6. Voix Angelique ............ 8 feet. 23. Cornopean .................. 8 feet.
17. Gedact ........................ 8 feet. 24. Oboe ........................ 8 feet.
18. Gemshorn..................... 4 feet, 25. Clarion........................ 4 feet,
I9. Flute d'Amour............... 4 feet. Tremulant,
Choir Organ.
26. Lieblich Gedact ............ I6 feet. 3O. Waldflute .................. 4 feet.
27. Geigen Principal..........., 8 feet. 3I. Celestina ..................... 4 feet.
28. Clarabella..................... 8 feet. 32. Piccolo Harmonique ...... 2 feet.
29. Dulciana ..................... 8 feet. 33. Clarionet ..................... 8 feet.
Pedal Organ.
34. Sub-bass ..................... 32 feet. 38. Flute Bass .................. 8 feet.
35. Open Diapason ............ I6 feet. 39. Violoncello .................. 8 feet.
36. Violone........................ I6 feet. 40. Bombarde .................. I6 feet,
37. Bourdon ..................... I6 feet -
Couplers.
I. Swell Manual to Choir.
2. Swell Manual to Great.
3. Swell Manual to Great Sub-octave.
4. Swell Manual to Great Octave.
Swell Manual to Pedals.
Great Manual to Pedals.
Choir Manual to Pedals.
Choir Manual to Great.
8 Composition Pedals: 4 to the Great ; 4 to the Swell.
:
316. DUNHAM MASSEY.
The organ in St. Margaret's Church, as rebuilt by M. August Gern, and erected
in 1876, has 3 Manuals, an independent Pedal, and 29 stops, of which latter
the following is a list — --
Great Organ, IO Stoffs.
I. Open Diapason ............ 8 feet. 7. Octave Quint ............... 23 feet.
2. Flute Harmonique ......... 8 feet. 8. Super-Octave . . ........... 2 feet.
3. Clarabella..................... 8 feet. 9. Sesquialtera, III ranks.
4. Viol di Gamba............... 8 feet. IO. Trumpet ..................... 8 feet.
5. Octave ........................ 4 feet. Pneumatic Action.
6. Flute Octaviante............ 4 feet
Swell Organ, 9 Stoffs.
II. Double Diapason ......... I6 feet. I6. Octavin ..................... 2 feet.
I2. Open Diapason ............ 8 feet. I7. Cornopean .................. 8 feet.
I 3. Salicional ..................... 8 feet. 18. Hautbois..................... 8 feet.
14. Voix Céleste.................. 8 feet. I9. Voix Humaine ............ 8 feet,
I5. Octave ........................ 4 feet. Pneumatic Action.
Choir Organ, 7 Stoſs.
2O. Flute Traversière............ 8 feet. 24. Wald Flute.................. 4 feet.
2I. Dulciana ..................... 8 feet. . . 25. Piccolo...................... s. 2 feet.
22. Lieblich Gedact ............ 8 feet. 26, Clarionet..................... 8 feet.
3. Gemshorn..................... 4 feet. --
Pedal Organ, 3 Słożs.
27. Open Diapason ............ I6 feet. 29. Fagotto ..................... I6 feet.
23, Sub-bass ................., ..., I6 feet, -
596 APPENDIX.
Compass.
Manuals, CC to gº, 56 notes. | Pedals, CCC to e, 29 notes.
Couplers, & c.
I. Swell O Great. 6. Great to Pedal.
2. Choir :o Great. 7. Swell to Pedal.
3. Choir Sub-octave to Great. 8. Choir to Pedal,
4. Swell Detave. 9. Pedal Octave.
5. Swell Sub-octave. Io. Tremulant to Swell.
4 Combination Pedals to Great, with Pneumatic Action; 3 Combination Pedals to Swell.
The organ is placed in the north transept, on each side and over the large
window, the Swell being placed above, directly under the roof of the church. The
console is at a distance of 25 feet from the wall, the length of trackers from the
Swell organ being 60 feet. The organ has one large bellows and four reservoirs,
one being placed directly under each sound-board. The feeders are worked by a
gas steam engine, supplied by Mr. W. T. Mabley, of Manchester.
317. WEDNESBURY.
The Town Hall organ, the munificent gift of Alexander Brogden, Esq., and
costing about £3000, was built by Forster and Andrews. It has three Manuals of
the complete range of 58 keys, CC to A in altissimo, and a Pedal of 30, from CCC to
F. It consists of Great, Swell, and Choir organs, all of the full compass of the
Manuals, and a Pedal organ of the same compass as the Pedal keys, and contains
the following Stops arranged in the various organs as below —
Great Organ.
Feet. Pipes. Feet. Pipes.
I. Double Open Diapason, metal I6 ... 58 7. Twelfth, metal............... 2} ... 58
2. Open Diapason, metal...... 8 ... 58 8. Fifteenth, metal ............ 2 ... 58
3. Violin Diapason, metal ... 8 ... 58 9. Mixture, metal, IV ranks ... 232
4. Hohlflote, wood ............ 8 ... 58 IO. Trumpet, metal ............ 4 ... 58
5. Principal, metal ............ 4 ... 58 II. Clarion, metal ............... 8 ... 58
6. Harmonic Flute, metal ... 4 ... 58
Swell Organ.
I2, Bourdon, wood............... I6 ... 58 || 17. Fifteenth, metal ............ 2 ... 58
13. Qpen Diapason, metal...... 8 ... 58 | 18. Mixture, metal, III ranks ... I 74
I4. Salicional, metal ............ 8 ... 46 | 19. Horn, metal.................. 8 ... 58
I5. Rohrfiote, metal ............ 8 ... 58 20. Oboe, metal.................. 4 ... 58
I6. Principal, metal ............ 4 ... 58
Choir Organ.
2I. Dulciana, metal............... 8 ... 58 ſ 24. Flauto Traverso, metal ... 4 ... 58
22. Lieblich Gedact, wood ... 8 ... 58 25, Harmonic Piccolo, metal 2 ... 58
23. Lieblich Gedact, wood ... 4 ... 58 26. Krummhorn, metal......... 8 58
Pedal Organ.
27, Grand Open Diapason, 29. Violoncello, wood ......... 8 ... 30
Wood ........................ I6 ... 30 30, Trombone, metal............ I6 ... 3O
28, Bourdon, wood ............... I6 ... 30
Summary of Piñes.
Great “.................................. 812
Swell .................................... 626
Choir .................................... 348
AN ACCOUNT OF COUNTRY ORGANS. 597
The Pedal keys and Manuals are connected or isolated by the following
couplers :—
I. Pedal to Great. 5. Great to Choir.
2. Pedal to Swell. 6. Swell Sub-Octave.
3. Pedal to Choir. 7. Swell Super-octave.
4. Great to Swell.
There are also three combination Pedals, producing various mixtures to the
Great organ, and two to the Swell. The entire number of draw-stops, including
the Trombone, is 38.
The wind is supplied by two pairs of bellows, fixed underneath the organ plat-
form, and both being under the immediate control of the performer. To one pair
are fixed diagonal feeders, which are moved by hand, and to the other are fixed
French feeders, worked by Duncan's patent hydraulic engines, supplied by Messrs.
G. Forester and Co., of Liverpool.
The front bears the following inscription —“Presented by A. Brogden, Esq.,
M.P., the first member returned for the borough of Wednesbury, June 26, 1872.”
The case is from designs by Messrs. Loxton Brothers, architects, of Wednesbury.
The pipes presented to view are decorated and enriched in colour and gold, and
extend round the sides of the case as well as across the front.
3.18. BOLTON.
The Great organ erected in the Town Hall, Bolton, is by Messrs. Gray and
Davison. It has 4 key-boards, each from C to C, five octaves in extent ; a Pedal-
board, from C to G, two octaves and a half, and 48 Sounding stops, as follows:–
Choir Organ.
(Zozvest Aey-board.)
I. Bourdon ....... .* * * * * * * * * * * * * * I6 feet. 5. Flauto TraverSo............ 4 feet.
2. Violin Diapason ............ 8 feet. 6. Piccolo........................ 2 feet.
3. Vox Angelica ............... 8 feet. 7. Echo Dulciana Cornet, V runks.
4. Lieblich Gedact ............ 8 feet. 8. Trumpet ..................... 8 feet.
Great Organ.
(Second Āey-board.)
9. Double Open Diapason ... 26 feet. I5. Quint Mixture, II ranks,
IO. Open Diapason ............ 8 feet. I6. Great Mixture, V ranks.
II. Viola........................... 8 feet. I7. Double Trombone ......... 6 feet.
I2. Claribel Flute ............... 8 feet. 18. Harmonic Trumpet ...... 8 feet.
13. Principal ..................... 4 feet. 19. Clarion ..................... 4 feet.
I4. Flute Octaviante ............ 4 feet.
Solo Organ,
(Third Aſey-board.)
20. Concert Open Diapason... 8 feet. 23. Cor Anglais ............... 8 feet,
2I. Flute Harmonique ......... 8 feet, 24, Clarionet and Bassoon ... 8 feet,
22. Flute Octaviante Har- 25. Tuba Mirabilis ............ 8 feet.
monique ...... § i s \ a tº $ i & 4 feet. 26, Carillon (Bells) ............ 4 feet.
598 - APPENDIX.
Swell Organ.
(Highest Aey-board.)
27. Lieblich Bourdon ......... I6 feet. 34. Flautino ..................... 2 feet.
28. Open Diapason ............ 8 feet. 35. Mixture, III ranks.
29. Viol di Gamba ............ 8 feet. 36. Vox Humana .............. . 8 feet.
30. Voix Célestes ............... 8 feet. 37. Corno di Bassetto ......... 8 feet.
3I. Lieblich Gedact ............ 8 feet. 38. Hautbois............ ........ 8 feet.
32. Salicet ........................ 4 feet, 39. Trumpet ..................... 8 feet.
33. Nazard ........................ 23 feet. 40. Clarion .............. ...... 4 feet.
Pedal Organ.
41. Double Open Diapason ... 32 feet. 45. Clarabella Bass ............ 8 feet.
42, Contra Bass .................. I6 feet. 46. Violoncello .................. 8 feet.
43. Bourdon ..................... I6 feet. 47. Trombone .................. I6 feet.
44. Violon ........................ I6 feet. 48. Trumpet ..................... 8 feet.
Couplers.
1. Swell to Great. 7. Solo Sub-octave, on its own key-board.
2. Solo to Great. 8. Solo Super-octave, on its own key-
3. Swell to Choir. - board.
4. Solo to Choir. 9. Choir to Pedals.
5. Swell Sub-octave, on its own key- IO. Great to Pedals.
board. II. Solo to Pedals.
6. Swell Super-octave, on its own key- 12, Swell to Pedals.
board.
The key-boards are so constructed, that a passage of organ music can be readily
played on two adjoining rows of keys by the fingers of the same hand,
All the stop-handles are within convenient reach of either hand, and do not
ascend beyond the level of the fourth key-board.
The pneumatic touch is applied to the Great, Solo, and Swell key-boards.
There are two Tremulants; one to the Swell Reed stops, and the other to
the Cor Anglais and Clarionet, in the Solo organ.
The stops in the Solo organ (Nos. 25 and 26), are enclosed in a separate Swell.
There are two Swell Pedals, which can be arrested in their action at any point
desired.
Instead of effecting the necessary changes of tone by means of “Composition
Pedals,” or other appliances, the varied tone-character of this instrument is
governed by a system of “Ventils,” which admit the wind to various sections of the
Organ, without affecting the stop-handles in any way.
The Ventils are brought into operation by fixing down a series of small Pedals.
Of these the Great and Pedal organs are provided with 4, and the Swell organ with 3.
The Couplers, NOS. I, 2, Io, and II (Swell to Great, Solo to Great, Great to
Pedals, Solo to Pedals) are actuated by small Pedals on the right and left of the
player. The remaining 8 Couplers (having stop-handles) are placed in front,
immediately above the Swell key-board. The cost of the organ and case, with
the accessories, was about £4000.
319, ST. MATTHEW's, BOLTON,
This Organ was built by Gray and Davison in 1876. It consists of 3 Manuals,
CC to G, and Pedals, from CCC to F. The stops are as follows:–
Great Organ.
I. Double Diapason............ I6 feet. 6. Flute Octaviante............ 4 feet,
2. Open Diapason ............ 8 feet, 7. Quint ............ ... ... ...... 2% feet,
3. Gamba ........................ 8 feet. 8. Super-Octave ............... 2 feet,
4. Clarionet Flute ... ......... 8 feet. 9. Mixture, IV ranks,
5 Octave ........................ 4 feet. IO. Trumpet ..................... 8 ſeet,
AN ACCOUNT OF COUNTRY ORGANs. $99
Swell Organ.
II. Lieblich Bourdon ......... I6 feet. I7. Mixture, III ranks.
I2. Open Diapason ............ 8 feet. 18. Cornopean .................. 8 feet.
I3. Keraulophon ............... 8 feet, 19. Oboe ........................ 8 feet.
I4. Concert Flute ............... 8 feet. 2O, Vox Humana ............... 8 feet.
15. Octave ........................ 4 feet. 21. Clarion........................ 4 feet.
I6. Super-octave ............... 2 feet. Tremulant.
Choir Organ.
22. Dulciana, tenor c ......... 8 feet, 26. Suabe Flute ............... 4 feet,
23. Viol di Gamba............... 8 feet. 27. Flageolet Harmonique ... 2 feet.
24. Lieblich Gedact ........... 8 feet. 28. Corno di Bassetto ......... 8 feet.
25. Gemshorn ................. 4 feet.
Pedal Organ.
29. Grand Open Diapason ... I6 feet. 31. Violon ........................ 8 feet.
30, Grand Bourdon ............ I6 feet, 32, Trombone .................. I6 feet.
Couplers.
I. Swell to Great Manual. 4. Great Manual to Pedals.
2. Swell to Choir Manual. 5. Choir Manual to Pedals.
3. Swell Manual to Pedals. -
7 Composition Pedals; 4 to Great; 3 to Swell.
320. ALL SAINTS', BOLTON.
The organ in All Saints', Bolton, was built by Gray and Davison in 1876. It
contains three complete Manuals, from CC to G, and Pedals, from CCC to E, and
the following stops:— -
Great Organ.
I. Double Diapason............ I6 feet. 5. Quint ........................ 23 feet,
2. Open Diapason ............ 8 feet. 6. Super-Octave ............... 2 feet.
3. Clarionet Flute ............ 8 feet. 7. Mixture, IV ranks.
4. Octave ........................ 4 feet. 8, Trumpet ..................... 8 feet,
- Swell Organ.
9. Lieblich Bourdon............ I6 feet. I4. Mixture, II ranks.
IO. Open Diapason ............ 8 feet. I5. Oboe ........................ 8 feet.
II. Keraulophon ............... 8 feet. 16, Cornopean ............. .... 8 feet.
I2. Concert Flute ............... 8 feet, Tremulant.
I3, Octave ........ * . . . . . . . . . . . . . . . 4 feet.
Choir Organ.
17. Dulciana ..................... 8 feet. 2O. Flageolet Harmonic ...... 2 feet.
I8. Lieblich Gedact ............ 8 feet. 2.I. Clarionet..................... 8 feet.
I9. Flute........................... 4 feet, -
Pedal Organt,
22, Grand Open Diapason ... I6 feet. 24. Violon ........................ 8 ſeet.
23. Grand Bourdon ............ I6 feet,
* Couplers,
I, Swell to Great Manual, 4. Great to Pedals.
2. Swell to Choir Manual. 5. Choir to Pedals.
3, Swell to Pedals,
Accessory Move/lents,
3 Composition Pedals to Great, 3 Composition Pedals to Swell.
600 APPENDIX.
321. ST. LUKE'S, MANCHESTER.
The organ in St. Luke's, Manchester, was built by Hill in 1840. The following
is the Specification —
Great, Io Stoffs, CC to F in alt.
I. Double Open Diapason ... 16 feet. 6. Twelfth .................... . 3 feet.
2. Open Diapason ............ 8 feet. 7. Sesquialtera, III ranks.
3. Stopped Diapason ......... 8 feet. 8. Mixture, II ranks.
4. Principal ..................... 4 feet. 9. Octave Fifteenth ......... I foot.
5. Fifteenth ..................... 2 feet. Io. Posaune.
Choir, Io Stoffs, CC to F in alt.
II. Open Diapason ............ 8 feet. I6. Fifteenth ..................... 2 feet.
I2. Stopped Diapason ......... 8 feet. I7. Oboe Flute .................. 4 feet.
I3. Clarabella ..................... 8 feet. I8. Wald Flute.................. 4 feet.
14. Principal ..................... 4 feet. I9. Piccolo........................ 2 feet.
15. Dulciana ..................... 8 feet. 2O. Cremona ..................... 8 feet.
Swell, 7 Stoffs, femor c to F in alt.
21. Double Open Diapason ... I6 feet. 25. Doublette, II ranks ...... 2 feet
22. Open Diapason ............ 8 feet. 26. Cornopean .................. 8 feet.
23. Stopped Diapason ......... 8 feet. 27. Oboe ........................ 8 feet.
24, Principal ..................... 4 feet.
Pedal, 3 Stoffs; One Octave, CCC to CC.
28. Open Diapason ............ I6 feet. 30, Trombone .................. I6 feet.
29, Bourdon ..................... I6 feet.
Couplers.
I. Choir to Great. 5. Swell to Pedals.
2. Swell to Great. 6, 7. Two Composition Pedals to Swell.
3. Great to Pedals. 8, 9, Io. Three Composition Pedals to
4. Choir to Pedals. Great,
322. HOLY TRINITY, MANCHESTER,
The organ in Holy Trinity Church, Manchester, was built in 1852 by Kirt-
land and Jardine, of Manchester. It has 4 Manuals, Great organ, Choir, Swell,
and Solo, besides an independent Pedal, and contains 49 stops, of which the
following is a list —
I. Bourdon ..................... I6 feet. 8. Clear Flute
Great, I4 Stoffs; CC to F, 54 AVotes.
2, Open Diapason ............ I6 feet. 9. Twelfth ..................... 2% feet.
3. Salicional ..................... 8 feet. IO. Fifteenth ..................... 2 feet.
4. Stopped. Diapason, Bass... . g feet II. Sesquialtera, III ranks ... I} foot,
5. Clarabella..................... e I2. Mixture, III ranks......... I foot.
6. Quint..................... ..... 5% feet. 13. Trumpet ..................... 8 feet.
7. Principal ..................... 4 feet. I4. Clarion........................ 4 feet.
Choir, II Stofts; CC to F, 54 Wołes.
I5.” Bourdon ..................... I6 feet, 2I. Rohrflute, tenor c ......... 4 feet.
I6. Dulciana ..................... 8 feet, 22. Twelfth ..................... 2% feet.
17. Stopped Diapason, Bassº. 3 feet 23. Fifteenth ..................... 2 feet,
18. Stopped Diapason, Treble €t, 24. Flageolet, tenor c ......... 2 feet.
19. Viol di Gamba, tenor c ... 8 feet, 25. Bassoon and Clarinet, ,,,,, 8 feet,
2O, Principal ...,,,,,...,* * * * * * * * * * 4 feet.
AN ACCOUNT OF COUNTRY ORGANS. 601
Swell, Io Stoffs ; CC to F, 54 AVotes,
26. Bourdon ..................... I6 feet. 3I. Fifteenth ..................... 2 feet.
27. Open Diapason ............ 8 feet. 32. Mixture, III ranks......... I# foot.
28. Stopped Diapason ......... 8 feet. 33. Cornopean .................. 8 feet.
29. Principal ..................... 4 feet. 34. Hautboy.......... * : * * * * * * * * * 8 feet.
3O. Twelfth........... * * * * * * * * * * * * * 2% feet. 35. Clarion........................ 4 feet.
Solo, 5 Stoffs, feſtor c to F, 42 Moſes.
36.”Gamba ........................ 8 feet. 39.” Flute Harmonique......... 4 feet.
37.* Vox Angelica ............... 8 feet. 40.” AEoline ..................... 8 feet.
38.*Flauto Traverso ..... ...... 4 feet. **
Pedal, 9 Stoffs; CCC to F, 30 Moſes.
4I. Open Diapason ............ I6 feet. 46. Fifteenth ..................... 4 feet.
42, Stopped Diapason ......... I6 feet. 47. Mixture (I9, 22, 26, 29).
43. Quint........................... Io; feet. 48.*Posaune ..................... I6 feet.
44. Principal ..................... 8 feet. 49. "Clarion ..................... 8 feet.
45. Twelfth ..................... 5% feet.
Couplers............... 6 | Ventils............... 4 || Composition Pedals... 6
The keys are 25 feet from the organ, yet the “touch” is remarkably crisp, and
pleasant to the performer. The keys of the Solo, Swell, and Great organs each
project an inch over the keys next below them ; by this means the top set (Solo) is
brought 3 inches nearer to the performer than in keys made in the usual manner.
The stops marked (*) have no pipes in, but are “prepared’ to receive them.
323. FREE TRADE HALL, MANCHESTER,
The fine organ in the Free Trade Hall, Manchester, was built by Messrs.
Kirtland and Jardine in 1857. It has 60 draw stops, of which 52 are sounding
stops, several of which are modelled from the inventions of the most celebrated
organ builders of France and Germany. The Hohlflote, Gamba, Harmonica,
and Posaune (16 feet) are from the German ; the Voix Céleste, Voix Humaine,
Flute Harmonica, Euphone, &c., from the French. The Posaune, Euphone, and
Harmonica, are “free reeds,” which are seldom used in English organs. The
organ is constructed on the “Simplification System” invented by the Abbé Vogler,
of Mannheim, and introduced into this country by Messrs. Kirtland and Jardine,
By this system every pipe stands directly over the air chamber supplying it with
wind. There are 4 wind reservoirs. These are supplied with air by 6 feeders, put
in motion by means of 2 hydraulic engines. The various organs have different
pressures of wind, and thus the desired intonation and true character of the stops
are more perfectly obtained. The pipes are scaled in accordance with the theory
of Professor Topfer, of Weimar, and the instrument is tuned on the equal tempera-
ment system,
Great Oºgam, I 5 Słożs; CC to G in alt., 56 AVožes.
I, Double Open Diapason ... I6 feet. 9. Clear Flute.................. 4 feet.
2. Open Diapason ............ 8 feet. IO. Twelfth ..................... 2% feet.
3. Violin Diapason ............ 8 feet. II. Fifteenth ..................... 2 feet.
4. Hohlflote ..................... 8 feet. I2. Mixture, V ranks.
5. Open Diapason ............ 8 feet, I3. Double Trumpet ........, I6 feet,
6. Quint ........................ 5% feet. I4. Posaune ..................... 8 feet,
7. Principal ..................... 4 feet. I5. Clarion . . . . . . . . . . { w ś , , t iſ a s d 4 feet,
8. Gamba ..................... ... 4 feet.
6O2
AppENDIX.
Swell Organ, 20 Stoffs, CC to G in alt., 56 Wotes,
I6. Bourdon ..................... I6 feet.
I7. Open Diapason ............ 8 feet
18. Salicional ..................... 8 feet
I9. Stopped Diapason ......... 8 feet
20. Dulciana ..................... 8 feet
2I. Voix Céleste.................. 8 feet.
22, Quint........................... 5% feet
23. Principal ..................... 4 feet
24. Hohlflote ..................... 4 feet
25, Rohrfiote ..................... 4 feet
35. Hohlflote ..................... 8 feet
36. Gamba ........................ 8 feet
37. Corno Dolce.................. 8 feet
38. Flute Harmonique ......... 4 feet
Pedal Organ, Io Stoffs; CCC to E, 29 Notes.
43. Sub-bass ..................... 32 feet.
44. Open Diapason ............ I6 feet,
45. Bourdon ..................... I6 feet.
46. Qūint........................... Io; feet.
47. Principal ..................... 8 feet
26. Twelfth ..................... 23 feet.
27. Fifteenth ..................... 2 feet.
28. Mixture, V ranks,
29. Euphone ................... ... 16 feet.
3O. Cornopean .................. 8 feet
31. Oboe ........................ 8 feet
32. Voix Humaine ............ 8 feet
33. Clarion ..................... 4 feet
34. Octave Clarion ...... ..... 2 feet
Tremulant.
G in alt., 56 Notes.
39. Bassoon and Clarionet ... 8 feet.
40, Tuba. ........................ 8 feet.
4I. Harmonica ......... . . . . . . . . . 4 feet
42. Tuba. ... . . . . . . . . . . . . . . . . . . . . . 4 feet
48. Violoncello .................. 8 feet
49. Twelfth ..................... 5% feet.
50. Fifteenth ..................... 4 feet
51. Posaune ..................... I6 feet.
52. Trumpet ..................... 8 feet
Accessory Stoffs, Movements, & c.
Swell to Great, Unison.
. Swell to Great, Octave.
Solo to Great.
. Swell to Pedals.
Great to Pedals.
::
6. Solo to Pedals.
7. Clochette.
Four Combination Pedals to Great.
Two Combination Pedals to Swell.
Two Combination Pedals to Pedals,
324. ST, PETER’s, MANCHESTER.
The organ in St. Peter's Church, Manchester, was built in 1856 by Kirtland
and Jardine.
It contains the following stops:–
Great Organ, 17 Stoffs, CC to G in alt., 56 AVotes,
1. Double Opén Diapason ... 16 feet.
2. Grand Open Diapason 8 feet.
3. Open Diapason ............ 8 feet.
4. Gamba ........................ 8 feet.
5. Flute à Pavillon ............ 8 feet.
6. Stopped Diapason ......... 8 feet,
7. Quint........................... 5% feet
8. Grand Principal ............ 4 feet
9. Principal ..................... 4 feet
18. Bourdon ..................... I6 feet
I9. Spitzflote ..................... 8 feet
20. Dulciana ..................... 8 feet
2I. Viol di Gamba ............ 8 feet
22. Gedact ..................... *... 8 feet
23. Voix Célestes ............... 8 feet
24, Gemshorn ............ ... ... ... 4 feet
IO. Clear Flute .................. 4 feet.
II. Twelfth ..................... 2% feet.
I2. Fifteenth ..................... 2 feet
13. Full Mixture, V ranks.
I4. Sharp Mixture, IV ranks.
I5. Double Trumpet............ I6 feet.
16. Trompette Harmonique... 8 feet.
17. Clarion........................ 4 feet.
25. FlautoTraverso, Harmonic 4 feet,
26, Rohrfiote..................... 4 feet.
27. Fifteenth ..................... 2 feet,
28. Mixture, IV ranks.
29, Euphone and Bassoon ... I6 feet,
30. Trumpet ..................... 8 feet,
3I. Voix Humaine ... ......... 8 feet,
AN ACCOUNT OF COUNTRY ORGANS,
603
Swell Organ, 14 Stoffs, CC to G in alt., 56 Moſes.
32. Bourdon ..................... I6 feet. 39. Fifteenth ..................... 2 feet.
33. Open Diapason ............ 8 feet, 4O. Clear Mixture, V ranks. -
34, Hohlflote ..................... 8 feet. 4I. Contra Fagotto ............ I6 feet.
35. Stopped Diapason ......... 8 feet, 42. Cornopean .................. 8 feet.
36. Principal ..................... 4 feet. 43. Hautboy ..................... 8 feet.
37. Gedact Flute ............... 4 feet. 44. Cor Anglais.................. 8 feet.
38. Twelfth ........................ 2% feet. 45. Clarion........................ 4 feet.
Solo Organ, 5 Stoffs,
46. Open Diapason, Harmonic 8 feet. 49. Tromba ..................... 8 feet.
47. Concert Flute, Harmonic 8 feet. 50. Corno di Bassetto and
48. Flageolet, Harmonic ...... 2 feet. Clarionet .................. 8 feet.
Pedal Organ, II Słoffs, CCC to femorf, 30 AMoſes.
51. Sub-bass ..................... 32 feet. 57. Violoncello .................. 8 feet.
52. Open Diapason ............ I6 feet. 58. Twelfth ............ . . . . . . . . . # feet.
53. Violon ........................ I6 feet. 59. Fifteenth ..................... 4 feet.
54. Stopped Diapason ......... I6 feet. 60, Posaune ..................... I6 feet.
55. Grosse Quint ............... Iož feet. 61. Trumpet ..................... 8 feet.
56. Principal ..................... 8 feet,
1871.
Accessory Stoffs, Movements, &c.
325. MANCHESTER CATHEDRAL.
following is a list :—
Great Organ, CC to G.
1. Solo to Great. IO. Pedal Organ Attachment.
2. Swell to Great, Unison. II. Clochette.
3. Swell to Great, Octave. Tremulant Swell.
4. Swell to Great, Sub-octave. Tremulant to Choir.
5. Choir to Great. Sforzando Pedal.
6. Solo to Great. 4 Combination Pedals to Great.
7. Swell to Pedals. 2 Combination Pedals to Pedals.
8. Great to Pedals. 2 Combination Pedals to Swell.
9. Choir to Pedals. -
The new organ in Manchester Cathedral was built by Messrs. Hill and Son in
It has 4 Mañuals, independent Pedal, and 5 I Sounding stops, of which the
Pipes,
Feet. |Pipes. Feet.
1. Double Open Diapason (and 8. Twelfth, metal ............ 3 56
Bourdon, Bass), wood 9. Fifteenth, metal ............ 2 56
and metal.................. I6 ... 56 Io, Full Mixture, III ranks
2. Open Diapason, metal...... 8 ... 56 metal....................... . . I68
3. Harmonic Flute, metal ... 8 ... 56 II. Sharp Mixture, IV ranks,
4. Gamba, metal ............... 8 56 metal........................ , 224
5. Stopped Diapason, wood 8 ..., 56 12. Posaune, metal ............ 8 56
6. Principal, metal ............ 4 ... 56 I3, Clarion, metal............... 4. 56
7. Harmonic Flute, metal ... 4 ... 56
Choir Organ, CC to G. -
14. Open Diapason, metal...... 8 ... 56 | 18. Wald Flute, wood ......... 4. 56
I5. Dulciana, metal ............ 8 ... 56 | 19. Principal, metal ............ 4. 56
16. Salicional (grooved), metal 8 ... 44 20, Flautina, metal ............ 2 56
I7, Stopped Diapason and 2I. Clarionet ....... i e d t < * * * * * * * * * 8 56
Claribel, Wood......... ... 8 ... 56
604 APPENDIX.
Swell Organ, CC to G.
Feet. Pipes. Feet. Pipes.
22. Lieblich Bourdon, wood... I6 ... 56 31. Dulciana Mixture, IIranks,
23. Open Diapason, metal...... 8 ... 56 metal........................ ... I I2
24. Keraulophon, metal......... 8 ..., 56 32. Sharp Mixture, III ranks,
25. Dulciana, metal ............ 8 ... 56 metal........................ ... I68
26. Stopped Diapason, wood 8 ... 56 || 33. Double Trumpet, metal... I6 ... 56
27. Principal, metal ............ 4 ... 56 34. Cornopean, metal ......... 8 ... 56
28. Dulcet, metal ............... 4 ... 56 || 35. Oboe, metal.................. 8 ... 56
29. Suabe Flute, wood ......... 4 ... 56 || 36. Clarion, metal............... 4 ...: 56
3O. Flageolet, wood ............ 2 ... 56 || 37. Vox Humana, metal ...... 8 ... 56
Solo Organ (enclosed in a Swell).
38. Tuba Mirabilis, metal...... 8 ... 56 | 40. Voix Céleste, II ranks,
39. Harmonic Flute, metal ... 4 ... 56 metal........................ ... IOO
- 41. Orchestral Oboe, metal ... 8 ..., 56
Pedal Organ, CCC to F.
42. Double Open Diapason, 47. Principal, metal ............ 8 ... 30
wood........................ 32 ... 30 || 48. Bourdon, wood ............ I6 ... 30
43. Open Diapason, metal...... I6 ... 30 || 49. Fifteenth, metal ............ 4. ... 3O
44. Open Diapason, wood ... I6 ... 30 5O. Trombone, wood............ I6 ... 3O
45. Violom, wood ............... 8 ... 30 51. Clarion, metal............... 8 ... 30
46. Violon, metal ............... 8 ... 30
Couplers.
I. Swell to Great. 6. Swell to Pedal.
2. Swell to Octave. 7. Choir to Pedal.
3. Swell to Sub-octave. 8. Swell to Pedal.
4. Swell to Choir. 9. Solo to Pedal.
5. Solo to Great.
Pneumatic apparatus to Great, Swell, and Pedal organ.
Great Pneumatic acts on Manual Coupler connected with it.
A Pedal to take on and off Great to Pedal.
Tremulant to the Swell organ.
The Swell box has shutters at the back and front,
—Cºcº-D-
UNC ºn
ORGANS IN SCOTLAND AND IRELAND,
326. CITY HALL, GLASGOW.
This instrument was built by Gray and Davison in 1853. It was considerably
enlarged in 1855, and great improvements have recently (Christmas, 1876) been
made to it by the Same builders. It has 4 Manuals, 57 Stops, 12 Couplers, &c.,
and each Manual has a range of five complete octaves, or sixty-one notes, extending
from CC to C in altissimo. The Pedal organ has a compass of two octaves and a
third. The general contents of the instrument are as follows:–
Choir Organ.
I. Lieblich Gedact ............ I6 feet, 8. Flute ........................ 4 feet.
2. Open Diapason ............ 8 feet. 9. Fifteenth ..................... 2 feet,
3. Salicional ..................... 8 feet, IO. Celestina ... ..., * * * * * * * * * * * * * * 4 feet,
4, Voix Céleste .................. 8 feet, II. Sesquialtera, III ranks.
5. Stopped Diapason, Bass... 8 feet. I2. Trumpet ..................... 8 feet.
6, Clarionet Flute,.............. 8 feet. I3. Corno di Bassetto ........, 8 feet,
7, Octave ... . . . . . . . . . . . . . § 0 & 6 s a 4 feet.
AN ACCOUNT OF SCOTCH AND IRISH ORGANS.
605
I4. Double Diapason............ I6 feet. 22. Sifflote........................ 2 feet
I5. Open Diapason ............ 8 feet. 23. Mixture, IV ranks.
I6. Viola........................... 8 feet. 24. Furniture, III ranks.
I7. Stopped Diapason ......... 8 feet. 25. Posaune ..................... 8 feet
I8. Octave ........................ 4 feet 26. Clarion........................ 4 feet
I9. Twelfth........................ 3 feet 27. Flute Harmonique ......... 8 feet
2O. Fifteenth ..................... 2 feet 28. Flute Octaviante............ 4 feet
2I. Flute d'Amour............... 4 feet
Swell Organ.
29. Bourdon ..................... I6 feet 37. Flageolet ..................... 2 feet
3O. Open Diapason ............ 8 feet 38. Sesquialtera, III ranks.
3I. Keraulophon ............... 8 feet 39. Mixture, II ranks.
32. Stopped Diapason, Bass... 8 feet 4O. Contra Fagotto ..........., I6 feet
33. Clarionet Flute ............ 8 feet 4I. Cornopean .................. 8 feet
34 Octave ..................... .. 4 feet 42. Oboe........................... 8 feet
35. Flute ........................... 4 feet 43. Voix Humaine............... 8 feet
36. Fifteenth ..................... 2 feet 44. Clarion......................., 4 feet
Solo Organ.
45. Flute Harmonique ......... 8 feet 49. Orchestral Oboe............ 8 feet
46. Flute Octaviante ............ 4 feet 50. Tromba tº t e º 'º 8 feet
47. Piccolo ........................ 2 feet 5.I. Carillons.
48. Clarionet ..................... 8 feet
Pedal Organ.
52. Contra Bourdon ............ 32 feet. 55. Principal ...... .............. 8 feet
53. Open Diapason ............ I6 feet. 56. Violoncello ................., 8 feet
54. Bourdon ..................... I6 feet 57. Bombarde ... .............. I6 feet
Couplers.
I. Choir to Pedals. 7. Swell to Great.
2. Great to Pedals. 8. Swell to Great Sub-octave.
3. Swell to Pedals. 9. Swell to Great Octave.
4. Solo to Pedals. IO. Choir to Great Sub-octave.
5. Solo to Great. II. Storm Pedal.
6. Solo to Swell. I2. Tremulant to Swell.
the Great and Swell-organs.
Great Organ.
There are eight Combination and Composition Pedals acting on the stops of
A new and larger wind-chest for the Great organ has
been introduced on the ventil System, and so constructed that every pipe has its
own valve and stands over its own wind, with the exception of the front pipes.
327. GLASGOW.
its specification :-
:
3.
5.
Front Great Organ, CC to C, 61 Wołes.
Double Open Diapason ... I6 feet.
Open Diapason, large 8 feet.
Open Diapason, Small ... 8 feet.
Rohrflote ..................... 8 feet.
Octave ............... ........ 4 feet
6.
7.
8.
9.
Twelfth ..................... 23 feet.
Fifteenth ... ................. 2 feet.
Sesquialtera, IV ranks ... I* foot.
Trumpet ..................... 8 feet,
The organ for the Public Hall, Glasgow, is being built by Mr. Lewis, and will
have 4 Manuals and Pedal Organ, and 64 Sounding stops. The following will be
6O6 APPENDIX.
Aack Great Organ.
IO. Bourdon ..................... I6 feet. I5. Mixture, V ranks ......... 2 feet.
II. Viola........................... 8 feet. I6. Double Trumpet............ I6 feet.
12. Hohlflote ..................... 8 feet. I7. Trombone .................. 8 feet.
3. Harmonic Flute ............ 4 feet. 18, Clarion........................ 4 feet,
I4. Octave Viola .,,,,,,,,,,..., 4 feet.
I9. Bourdon ..................... I6 feet. 28. Fifteenth ..................... 2 feet.
2O. Open Diapason ............ 8 feet, 29. Full Mixture, IV ranks... Ił foot.
2I. Spitzflote ..................... 8 feet. 30. Echo Dulciana Cornet,
22. Viol di Gamba............... 8 feet. VI ranks .................. 8 feet.
23. Voix Céleste.................. 8 feet. 3I. Contra Fagotto ............ I6 feet.
24. Flauto Dolce ............... 8 feet. 32. Trumpet ..................... 8 feet.
25. Octave ........................ 4 feet. 33. Cornopean .................. 8 feet.
26. Suabe Flote .................. 4 feet. 34. Oboe ........................ 8 feet.
27. Nazard ........................ 23 feet. 35. Clarion ..................... 4 feet.
Solo Organ, CC to C, 61 Moſes (enclosed in Swell).
36. Tuba........................... 8 feet. 40. Cor Anglais ............... 8 feet.
37. Tromba........................ 8 feet. 41. Oboe ........................ 8 feet.
38. Harmonic Flute ............ 8 feet. 42, Clarionet..................... 8 feet,
39. Octave Flute ............... 4 feet.
Choir Organ, CC to C, 61 Notes.
43. Lieblich Bourdon ......... I6 feet, 48. Lieblich Flote............... 4 feet.
44. Violin Diapason ............ 8 feet. 49. Gemshorn .................. 4 feet.
45. Dulciana ..................... 8 feet. 50. Piccolo ..................... 2 feet.
46. Flauto Traverso ............ 8 feet. 51. Vox Humana | Enclosed ſ 8 feet.
47. Lieblich Gedact ............ 8 feet. 52. Clarionet in a Swell { 8 feet,
Pedal Organ.
53. Double Open Diapason ... 32 feet. 59. Violoncello .................. 8 feet.
54. Open Diapason, wood ... I6 feet. 60. Grave Mixture, II ranks 54 feet.
55. Open Diapason, metal ... I6 feet. 61. Trombone .................. I6 feet.
56. Violon Dulciana ............ I6 feet. 62. Contra Fagotto ............ I6 feet.
57. Quint........................... Iož feet. 63. Trumpet ..................... 8 feet.
58. Octave ................. ...... 8 feet. 64. Clarion ..................... 4 feet.
Total number of Sounding Stoffs.
Solo organ, 7; Swell organ, 17; Choir organ, IO; Great organ, 18; Pedal organ, I2.
Total, 64.
Couplers, &c.
I. Full Pedal organ. - 8. Swell to Great Super-octave.
2. Great to Pedal. 9. Choir to Great.
3. Choir to Pedal. Io. Swell to Choir.
4. Swell to Pedal. * II. Solo to Great.
5. Solo to Pedal. I2. Great to Solo.
6. Swell to Great Sub-octave. I3. Solo Sub-Octave, on its own Clavier.
7. Swell to Great Unison. I4. Solo Super-Octave, on its own Clavier.
Thirteen Combination and other Pedals. Three Combination Pedals for the Swell
organ. Four Combination Pedals for the Great and Pedal organs. Ventil Pedal,
admitting wind to the stops of the “Back Great organ.” Swell “Crescendo?” Pedal.
sº º ” Pedal. Choir “Crescendo’ Pedal. Tremulant to Choir. Tremulant
to SWell.
Coupling Pedals.
e º to Pedals, Great to Pedals, on the left, Solo to Great, Swell to Great, on the
right.
AN ACCOUNT OF SCOTCH AND IRISH ORGANS, 607
328. EDINBURGH UNIVERSITY.
This organ, built for Professor Donaldson in 1861 by Hill & Son, has, since
Professor Oakeley’s succession to the Chair of Music, received many additions and
improvements. It has also (through the munificence of Sir David Baxter, Bart., a
great benefactor to the University) been enclosed in a handsome oak case, and
the larger pipes in the side wings or towers have been gilded. In the centre are
placed the arms of General Reid, the founder of the Chair of Music. Some
additions to the Pedal organ were from the first contemplated, which have now
probably been supplied.
Great, I2 Stoffs, CC to G.
7.
8.
9.
IO.
II.
I2.
Twelfth, metal ............ 2% feet.
Fifteenth, metal............ 2 feet.
Mixture, IV ranks, metal
Trumpet, metal ............ 8 feet.
Clarion, metal ............ 4 feet.
Harmonic Mixture, XIV
ranks, tenor c.
Swell, I 3 Stoſs, Samte Compass.
Mixture, II ranks.
Choir, Io stops,
2O.
2I.
22.
23.
24.
25.
Oboe, metal.................. 8 feet.
Horn, metal ............... 8 feet,
Clarion, metal............... 4 feet.
Vox Humana, metal ...... 8 feet.
Contra Fagotto, metal ... I6 feet.
same Compass.
32. Gemshorn, to tenor c,
metal........................ 8 feet.
33. Suabe flute, wood ......... 4 feet,
34. Gemshorn, metal ......... 4 feet.
35. Piccolo, wood and metal 2 feet,
Solo, 9 Stoffs, same Compass.
I. Double Open Diapason,
to C, metal ............... I6 feet.
2. Open Diapason, metal ... 8 feet.
3. Stopped Diapason, wood 8 feet.
4. Gamba, metal ............... 8 feet.
5. Principal, metal ............ 4 feet.
6. Harmonic Flute, to C,
metal........................ 4 feet.
13. Bourdon, Wood ............ I6 feet.
14. Open Diapason, metal ... 8 feet.
15. Stopped Diapason, wood 8 feet.
I6. Dulciana, metal ............ 8 feet.
I7. Principal, metal ............ 4 feet.
18. Flute, metal.................. 4 feet.
I9. Fifteenth, metal ............ 2 feet,
26. Double Diapason, wood... I6 feet.
27. Open Diapason, wood ... 8 feet.
28. Stopped Diapason, wood 8 feet.
29. Dulciana, metal ............ 8 feet.
3O. Salicional, metal............ 8 feet.
31. Gamba, metal ............... 8 feet.
36. Hohl Flute, wood ......... 8 feet.
37. Flute d’Amour, metal,
lower octave, wood...... 8 feet.
38. Salicional, to C, metal ... 8 feet.
39. Flauto Traverso, metal ... 4 feet.
40. Dolcean, metal ............ 4 feet.
Pedal,
45. Double Open Diapason,
wood ..................... 32 feet. .
46. Open Diapason, wood ... I6 feet.
47. Keraulophon, metal ...... I6 feet.
48. Violon, wood ............... 8 feet.
49. Fifteenth, metal ............ 4 feet.
I. Pedal to Great.
2. Pedal to Swell.
3. Pedal to Choir.
4. Choir to Great.
5. Solo to Great.
4I. Clarionet, metal............ 8 feet.
42. Orchestral Oboe, to G,
metal........................ 8 feet.
43. Voix Humaine ............ 8 feet.
44. Cor Anglais, metal......... I6 feet.
Io Stoffs, CCC to F.
50. Trombone, wood ......... I6 feet.
51. Trumpet, metal ..........., 8 feet.
52. Mixture, III ranks.
53. Violon ........................ I6 feet.
54. Double Open Diapason,
metal........ ... ............ 32 feet.
Couplers.
6. Solo to Swell.
7. Swell Unison to Great.
8, Swell Sub-octave to Great.
9. Swell Super-octave to Great.
IO. Swell to Choir.
Composition Pedals: 3 to Great; 2 to Swell; Tremulant to Swell.
608
APPENDIX.
329. EDINBURGH.
The organ in the Music Hall, at Edinburgh, was built in the year 1843 by Mr.
Hill, of London, and contains 38 sounding stops, of which the following is a
list –
Great, I4 Słożs.
I. Tenoroon ..................... I6 feet. 8. Wald Flute.................. 4 feet
2. Bourdon, to meet No. 1... I6 feet tone. 9. Duodecima .................. 23 feet
3. Unison, open ............... 8 feet. IO. Super-Octave .............., 2 feet.
4. Unison, closed, Treble ... 8 feet tone, II. Sesquialtera, III ranks... I # foot
5. Unison, closed, Bass ...... 8 feet tone. I2. Mixture, II ranks ......... # foot
6. Quint........................... # feet, I3. Doublette, II ranks ...... 2 feet
7 Octave ........................ 4 feet. I4. Posaune ..................... 8 feet
Choir, II Stoffs.
I5. Clarabella..................... 8 feet. 2I. Oboe Flute .................. 4 feet.
I6. Unison, closed, Bass ...... 8 feet tone. 22, Piccolo ..................... 2 feet.
I7. Salicional ..................... 8 feet. 23. Cremona ..................... 8 feet tone.
I8. Viol di Gamba............... 8 feet. 24. Corno Flute ............... 8 feet.
I9. Closed Flute.................. 4 feet tone. 25. Cornopean, Bass............ 8 feet
2O. Celestina ..................... 4 feet.
Swell, IO Słoffs.
26. Tenoroon Dulciana......... I6 feet. 3I. Flageolet..................... 2 feet
27. Unison, open ............... 8 feet. 32. Doublette, II ranks ...... 2 feet
28, Unison, closed............... 8 feet tone. 33. Echo Cornet, IV ranks.
29. Octave ........................ 4 feet 34. Oboe ........................ 8 feet
30, Suabe Flute .................. 4 feet 35. Cornopean .................. 8 feet
Pedal, 3 Stoffs.
36. Contra Bass, open ......... I6 feet. 38. Trombone, wood ......... I6 feet
37. Bourdon, stopped ......... I6 feet tone,
Accessory Stoffs, Movements, &c.
I. Coupler, Swell to Great.
2. Coupler, Choir to Great.
3. Coupler, Great to Pedal.
Great, CC to fº in alt.
Choir, CC to fº in alt.
4. Coupler, Choir to Pedal.
5, 6, and 7. Three Composition Pedals.
Co/ºffass.
Swell, tenor c to fº in alt.
Pedal, CCC to tenor d.
The Case is 35 feet in height, and 17% feet in width.
330. DUNDEE, KINNAIRD HALL.
This organ, built by Messrs. Forster and Andrews, has 4 complete Manuals, from
CC to A, and a Pedal organ, from CCC to F.
Ft. Tone,
. Double Diapason, closed,
wood and metal ......... I6
. Open Diapason, metal...... 8
. Violin Diapason, metal 8
. Hohlflote, wood ............ 8
. Stopped Diapason, wood... 8
. Principal, metal ............ 4.
. Harmonic Flute, metal 4
, Twelfth, metal ... ...,,. ... ..., 2%
Great Organ.
Pipes,
Ft. Tone. Pipes.
9. Fifteenth, metal ............ 2 ... 58
IO. Full Mixture, Vranks, metal . 29O
II. Sharp Mixture, III ranks,
metal ........................ I74
I2. Double Trumpet, metal ... I6 58
I3. Posaune, metal............... 8 58
I4. Trumpet, metal ............ 8 58
I5, Clarion, metal ............... 4. 58
AN ACCOUNT OF SCOTCH AND IRISH ORGANS,
609
Choir Organ.
Feet. Pipes. Feet.
I6. Bourdon, wood and metal I6 ... 58 || 19. Viol d’Amour, metal ...... 4.
I7. Dulciana, metal............... 8 ... 58 20. Gedact Flote, metal ...... 4
I8. Lieblich Gedact, wood and 2I. Flautino, metal ............ 2
metal ........................ 8 ... 58 22, Krummhorn, metal,........ 8
Swell Organ.
23. Double Stopped Diapason, 28. Flauto Traverso Harmonic,
Wood ........................ I6 ... 58 metal ........................
24. Open Diapason, metal...... 8 ... 58 29. Mixture, IV ranks, metal
25. Viol di Gamba, metal ...... 8 ... 58 30. Contra Fagotto, metal ... I6
26. Stopped Diapason, wood 3I. Horn, metal.................. 8
and metal .................. 8 ... 58 || 32. Hautboy, metal ............ 8
27. Principal, metal ............ 4 ... 58 || 33. Clarion, metal ............... 8
34. Tremulant, metal............
Solo Organ.
35. Harmonic Flute, metal ... 8 ... 58 || 38. Tuba, metal.................. 8
36. Orchestral Clarionet, metal 8 ... 46 39. Flute Octaviante, metal ... 4
37. Orchestral Oboe, metal ... 8 ... 46.
4O.
4I.
42.
43.
44.
All the Solo Organ, except the Tuba, is enclosed in a Swell box.
Pedal Organ.
Double Open Diapason, 45. Quint, wood.................. IO} ...
(preparation only), wood 32 ... 46. Principal, metal ............ 8
Large Open Diapason, wood I6 ... 30 47. Flute, wood.................. 8
Open Diapason, metal...... I6 ... 30 || 48. Violoncello, wood ......... 8
Violon, wood.................. I6 ... 30 49. Trombone, metal............ I6
Bourdon, Wood ............... I6 ... 30 50. Trumpet, metal ............ 8
Couplers.
I. Solo to Great Organ. 5. Swell organ to Pedals.
2. Swell to Great organ. 6. Choir organ to Pedals.
3. Choir to Great organ, Sub-Octave. 7. Great organ Reeds.
4. Great organ to Pedals.
Four Combination Movements to draw in and out the stops of the Great and Pedal
organs simultaneously.
Three Combination Movements to draw in and out the stops of the Swell organ.
Summary,
Great organ ... . . . . . . . . . . . . . . . . . . . . . . . . I218 pipes ............... I5 registers.
Swell organ .................... . . . . . . . . . . 812 , , ............... I2 , ,
Choir organ ......... . . . . . . . . . . . . . . . . . . . . . 394 , , . . . . . . . . . . . . . . . 7 5 *
Solo organ ............... . . . . . . . . . . . . . . . 266 , , ............... 5 5 5
Pedal organ ............... . . . . . . . . . . . . . . . 846 , , ............... II 5 3
Couplers ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . o s : * * u, º 9 tº t > * * * * 7 ; 3
2936 , , 57 3 J
58
58
3O
I 2
I 2
I2
3O
3O
This organ is one of the largest in Scotland. It occupies a space of nearly 40
feet in width, by about 17 feet in depth ; and is upwards of 30 feet in height. The
instrument is supplied with wind, at various pressures, both by hand and hydraulic
power, the former being available should the latter fail through any cause. The
bellows are placed in an apartment below the orchestra, on which the organ is
built.
D D D
6IO APPENDIX.
331. PAISLEY ABBEY.
This organ, by M. Cavaillé-Coll, was erected in 1874. It contains 24 Sounding
stops, 2 complete Manuals, and a separate Pedal, of which the following are the
particulars:—
Great Organ, 12 Stoffs.
I. Bourdon, wood and tin ... I6 feet. 7. Octave, tin .................. 4 feet.
2. Principal, tin throughout 8 feet. 8. Doublette, tin............... 2 feet.
3. Flute Harmonique, wood - 9. Plein Jeu, VI ranks.
and tin ..................... 8 feet. IO. Bassoon ..................... I6 feet.
4. Bourdon, wood and tin ... 8 feet. II. Trompette .................. 8 feet.
5. Salicional, wood and tin... 8 feet. I2. Clarion........................ 4 feet.
6. Prestant, tin.................. 4 feet. -
Swell Organ, 8 Słożs.
I3. Viol di Gamba, tin ......... 8 feet. 17. Flute Octaviante, tin...... 4 feet.
14. Flute Traversière Harmo- 8 feet. 18. Trompette .................. 8 feet.
nique ........................ 8 feet. 19. Hautbois and Bassoon ... 8 feet.
I5. Bourdon, wood and tin ... 8 feet. 2O. Voix Humaine ............ 8 feet
I6. Voix Céleste, to tenor c 8 feet.
Pedal Organ, 4 Stoffs.
2I. Contre Basse Ouverte, wood 16 feet. 23. Violoncello, metal ......... 8 feet
22, Bourdon, wood and tin ..., I6 feet. 24. Bombard, tin ............... I6 feet.
Compass.
Manuals, CC to gº, 56 notes. | Pedal, CCC to tenor f, 30 notes.
II Coupler and Combination Pedals,
The instrument is built in two divisions at the west end of the church, the
Great organ being placed on the south, and the Swell on the north side of the
large Stained window,
332. KILMARNOCK.
The organ in the Corn Exchange Hall was built by Forster and Andrews in
1871. The following is the specification —
Great Organ, 11 Słoffs, CC to C in alt., 61 Moſes.
I. Double Open Diapason ... 16 feet, 7. Fifteenth ...................., 2 feet.
2. Open Diapason ............ 8 ſeet. 8. Piccolo........................ 2 feet.
3. Violin Diapason ............ 8 feet. 9. Mixture, IV ranks.
4. Hohlfiote ..................... 8 feet. IO. Trumpet ..................... 8 feet.
5. Principal ..................... 4 feet. II. Clarion ..................... 4 feet,
6. Harmonic Flute ............ 4 feet.
Swel/Organ, 9 Stoffs, CC to C in alt., 61 Moſes.
I2. Lieblich Bourdon ......... I6 feet. I7. Flageolet..................... 2 feet,
I3. Open Diapason ... ......... 8 feet. I8, Mixture, III ranks.
I4. Salicional ..................... 8 feet. 19. Horn ........................ 8 feet.
I5. Stopped Diapason ......... 8 feet, 20. Oboe ........................ 8 feet,
I6. Principal ..................... 4 feet,
Echo Organ, 3 Stoffs, CC to C in alt., 61 Wołes.
2I. Echo Dulciana ............ 8 feet. 23. Echo Flautino ............ 2 feet,
22. Echo Celestina............... 4 feet. -
AN ACCOUNT OF SCOTCH AND IRISH ORGANs. 6 II
Solo Organ, 4 Stoffs, CC to C in alt., 61 Moſes.
24. Orchestral Flute ............ 8 ſeet, 26. Orchestral Oboe............ 8 feet
25. Orchestral Clarionet and 27, Tromba ..................... 8 feet
Bassoon .................. 8 feet
Pedal Organ, 3 Stoffs, CCC to F, 30 Notes.
28. Open Diapason ............ I6 feet. 30, Violoncello ................., 8 feet
29. Bourdon ..................... I6 feet.
Couplers, &c.
. Solo Octave.
. Swell to Great.
. Solo to Pedals.
. Solo to Great.
. Great to Pedals.
. Swell to Pedals.
. Pedal Octave.
. Swell Octave,
:
:
7 Composition Pedals.
The design of case is suited to the building, with richly decorated pipes in front,
Symmetrically arranged and Supported by perforated bands,
333. ST. ANDREW’s CATHEDRAL, INVERNESS,
This instrument, the gift of Miss Macpherson-Grant, of Aberlour, was built
by Messrs. Hill and Son, of London, from the specification, and under the super-
intendence of Professor Oakeley, and contains the following stops —
Great, CC to G, Io Stoffs,
I. Bourdon ..................... I6 feet 6. Wald Flute.................. 4 feet
2. Open Diapason ............ 8 feet 7. Twelfth ..................... 3 feet
3. Cone Gamba ............... 8 feet 8. Fifteenth ..................... 2 feet
4. Stopped Diapason ......... 8 feet 9. Mixture, III ranks. ... ... I# foot
5. Principal ..................... 4 feet IO. Trumpet ..................... 8 feet
Swell, CC to G, 8 Słożs.
II. Bourdon and Double Open 16 feet. I5. Mixture, III ranks.
I2. Open Diapason ............ 8 feet. I6. Cornopean .................. 8 feet
I3. Stopped Diapason ......... 8 feet 17. Oboe ........................ 8 feet
I4, Principal ..................... 4 feet I8, Vox Humana ............... 8 feet
Choir, CC to G, 5 Stoffs.
I9. Dulciana ..................... 8 feet 22. Suabe Flute 4 feet
20. Gedact ........................ 8 feet 23, Clarionet,.... . . . . . . . . . . . . . . . . 8 feet
21, Gemshorn..................... 4 feet
Pedal, CCC to E, 3 Stoffs.
24. Open Diapason... I6 feet, 25, Bourdon.,,,,, I6 feet, 26, Violone,,,,,, 8 feet,
Couplers.
I. Swell to Great.
2. Swell to Pedal.
3. Great to Pedal.
4. Choir to Pedal.
T) ID ID 2
612 AN APPENDIX.
Composition Pedals.
3 to Great Organ 2 to Swell. | Tremulant to Swell,
The total number of pipes is 1590.
The organ is provided with 3 Manuals, and is blown by one of Joy's patent
water engines.
It was the original intention of the Committee to have placed the organ in the
small chamber to the left, but the presentation of so handsome a gift rendered this
fortunately impossible, and the end of the south transept was selected—a position
which has met with the approval of all musical authorities. *
Room is provided for additional stops, with 32-feet Open Diapason on the
Pedal,
334, ST, PATRICK's CATHEDRAL, DUBLIN.
The original organ in St. Patrick's Cathedral, Dublin, was built by Renatus
Harris in 1697; in confirmation of which, the following is extracted from the
Chapter book –“ 12th August, 1695. The Dean and Chapter agree with Renatus
Harris, of London, organ builder, to make and set up a double organ for the Sum
of £505. In the Great organ, Open Diapason of metal, Stopped Diapason of
wood, Principal of metal, Nason of wood, a Great Twelfth of metal, Fifteenth of
metal, Sesquialtera of metal, a Mixture of metal, a Cornet of metal. In the Little
organ—a Principal of metal, Stopped Diapason of wood, Fifteenth of metal, Nason
of wood, being in all I 3 stops, consisting of 800 pipes, Sound-board, &c, &c. The
pipes of the old organ to be removed, and to allow £65 for the same.”
“I Ith March, 1697. Organ erected and examined by the several vicars.”
“IOth May, 1697. Further contract for additional stops for £350, to be paid at
Strongbow's Tomb, in Christ Church, on stated times named—viz., Trumpet Stop,
Echo stop, Time São/ (?), entire Open Diapason, Flute of metal, Great Furniture
Of III ranks.”
The Organ as it now stands contains the following stops —
Great, I I Stoffs, GG to F in alt.
I. Open Diapason. 7. Tierce.
2. Large Open Diapason, 8. Sesquialtera, III ranks.
3. Stopped Diapason. 9. Furniture, III ranks.
4. Principal. IO. Cornet, from tenor c, V ranks.
5. Twelfth. II. Great Trumpet.
6. Fifteenth.
Choir, 4 Słożs, GG to F in alſ.
12. Stopped Diapason. I5. Large Principal, stopped and
I3. Dulciana, open, borrowed from the Great
I4. Flute, Organ by means of tubes.
Swell, 8 Stoffs, from Gamut G.
I6. Double Diapason. 2O. Twelfth.
I7. Open Diapason. 2I. Fifteenth.
18. Stopped Diapason, 22. Hautboy.
I9, Principal. 23. Trumpet.
Pedal, 2 Słożs ; from CCC to E, two Octaves and two Wołes.
24. Double Diapason, I6 feet. | 25. Stopped Diapason, 8 feet, Unison,
Couplers,
I. Great to Swell. | 2. Pedals to Great,
AN ACCOUNT OF SCOTCH AND IRISH ORGANS, 613
335. CHRIST CHURCH CATHEDRAL, DUBLIN.
The organ in Christ Church Cathedral, Dublin, was originally built by Byfield,
of London, in A.D. 1751, but has been altered by various builders, and numerous
additions made at different times. It originally consisted of 2% rows of keys, Great
and Choir organs, GG long octaves to d” in alt., Swell from fiddle g to d” in alt.
An excellent Swell was added in 1845, from CC to F in alt. The older organ
formed a portion of the one built by Renatus Harris for the Temple Church,
London. Upon the erection of the present instrument by Byfield, he took the old
organ in exchange as part of payment, which instrument was sold, after his death,
for £500, and placed in Wolverhampton Church. This organ originally contained
a Double Bassoon to the DD key (DDD Pipe), which appears to have been the
first double Reed introduced into any British organ.
Greaf, Io Stoffs, GG to F in alf.
I. Double Open Diapason. 6. Twelfth.
2. Open Diapason, No. 1. 7. Fifteenth.
3. Open Diapason, No. 2. 8. Doublette, 8ve, 15th, and 22nd.
4. Stopped Tiapason. 9. Sesquialtera, III ranks (useless).
5. Principal. IO. Trumpet (entirely useless).
Choir, 5 Stoffs, GG to F in alf.
II. Open Diapason, from middle D I3. Stopped Diapason.
upwards. I4. Principal.
12. Dulciana. I5. Flute.
Swell, II Stoffs, CC to F in alf,
16. Double Stopped Diapason, 22. Fiſteenth.
17. Open Diapason. 23. Doublette, 8ve, I5th, and 22nd.
18. Dulciana. 24. Sesquialtera.
I9. Stopped Diapason. 25. Oboe.
2O. Principal. 26. Trumpet,
2I. Twelfth.
Pedal, 2 Stoffs, CC to D, two Octaves and two Wołes.
27. Open Diapason, 16 feet. | 28. Principal, 8 feet.
Coupling Actions.
Swell to Great. | Swell to Pedals, | Great to Pedals,
336. TRINITY COLLEGE CHAPEL, DUBLIN.
The greater portion of the organ in Trinity College Chapel, Dublin, was built
by Telford, of Dublin, in 1838. It occupies the case of an organ built by Green,
of London. The Choir of Green's instrument was not removed, on account of its
excellence ; the Swell, Great, and Pedal organs are alone new.
Great, 8 Stoffs, GG to F in alf.
1, Open Diapason. 5. Twelfth.
2. Open Diapason. 6. Fifteenth.
3. Stopped Diapason. 7. Sesquialtera,
4. Principal. 8. Trumpet.
614
Ap12ENIDIX.
Choir, 4 Stoffs, GG to E in alt.
9. Stopped Diapason,
IO, Dulciana.
II. Principal.
I2. Fifteenth.
Swell, 9 Stoffs, C, 4 feet, to F in alt.
13. Touble Stopped Diapason,
I4. Open Diapason.
15. Dulciana.
I6. Stopped Diapason.
17, Principal,
18. Principal.
19. Fifteenth.
2O, Oboe,
2I. Trumpet.
Pedal, 5 Stoffs, GG to F, Octave and a half.
22. Unison.
23. Principal.
24, Twelfth.
25. Fifteenth.
26. Trumpet.
Coupling Actions.
Swell to Creat.
Great to Pedals.
337. DUBLIN.
The organ in the Roman Catholic Church of St. Nicholas, Dublin, was built
by Telford, of Dublin.
Great, 12 Stoffs, FFP to F.
I. Great Open Diapason, metal 8 feet. 7. Twelfth, metal ............ 23 feet.
2. Open Diapason, metal 8 feet. 8. Fifteenth, metal............ 2 feet
3. Dulciana, Open, metal...... 8 feet. 9. Sesquialtera, III ranks.
4. Stopped Diapason, wood 8 feet. IO. Mixture, II ranks.
5. Principal, metal ............ 4 feet. II. Trumpet ..................... 8 feet
6. Second Principal, metal... 8 feet. 12, Clarion........................ 4 feet
Choir, 7 Stoffs, FFP to F.
3. Open TJiapason, metal ... 8 feet. 17. Flute, wood.................. 4 feet
I4. Dulciana, metal ............ 8 feet, I8. Fifteenth, metal............ 2 feet
I5. Stopped Diapason, wood 8 feet. I9. Cremona, metal ........ ... 8 feet
I6. Principal, metal ............ 4 feet,
Swell, IO Stoffs, Gamut G to F.
20. T)ouble Stopped Diapason, 25. Twelfth, metal ............ 23 feet
metal........................ I6 feet, 26. Fifteenth, metal............ 2 feet
2I. Open Diapason, metal ... 8 feet 27. Sesquialtera, III ranks.
22. Dulciana, metal ............ 8 feet. 28. Trumpet ..................... 8 feet
23. Stopped Diapason, wood 8 ſect. 29. Hautboy ..................... 8 feet
24. Principal, metal ............ 4 feet.
Pedal, 5 Stoſs, FFF ſo F.
3O. Double, Open, wood ... ... 16 feet, 33. Twelfth ...... . . . . . . . . . . . . . . 23 feet.
3I. Unison, open, metal ...... 8 feet, 34, Fifteenth .................. 2 feet
32, Octave ... . . . . . . . . . . . ... 4 feet,
AN ACCOUNT OF SCOTCH AND IRISH ORGANS, 615
338. DUBLIN.
. The organ in the Roman Catholic Church of St. Francis Xavier, Gardener
Street, Dublin, was built by Flight and Robson, and finished and erected by Gray
and Son, + -
Great, 13 Stoffs, FFF to G in alf,
Feet, Pipes, Feet, Pipes,
I. Double Diapason, metal and 7. Twelfth, metal .,,,,,,,,...... 2# ... 63
Wood ........................ I6 ..., 51 | 8. Fifteenth, metal............... 2 ... 63
2. Great Open Diapason, metal 8 ... 63 9. Twenty-second, metal ...... I ... 63
3. Small Open Diapason, metal 8 ... 51 IO. Sesquialtera, IIIranks, metal I ... 189
4. Stopped Diapason, wood ... 8 ... 63 II. Mixture, II ranks............ I ... I26
5. Quint, metal .................. 5% ... 5 I I2. Trumpet, metal............ ... 8 ... 63
6. Principal, metal ............... 4 ... 63 | 13, Clarion, metal .............., 4 ... 63
Choir, 8 Sãoffs, FAA’ ſo G.
14. Open Diapason, metal ...... 8 ... 63 | 18. Principal, metal ............. 4 ... 63
I5. Dulciana, wood and metal 8 5I I9. Flute, wood .................. 4 . , 5 I
I6. Stopped Diapason, wood ... 8 ... 63 20. Fifteenth, metal ..........., 2 ... 64
I7. Keraulophon, metal ......... 8 ... 44 2I. Cremona, metal.............., 8 39
Swell, 12 Sãoffs, FF to G in alſ,
22, Double Stopped Diapason, 27. Flute, wood ............... 4 ... 51
Bass, wood.................. I6 ... 28. Fifteenth, metal ............ 2 ... 5 I
23. Double Open Diapason, . 29. Sesquialtera, III ranks ... ... I 53
Treble, metal............... I6 ... 3O. Cornopean, metal ......... 8 ... 51
24. Open Diapason, metal...... 8 ... 51 3I. Trumpet, metal ............ 8 ... 51
25. Stopped Diapason, wood... 8 ... 51 32. Hautboy, metal ............ 8 ... 51
26. Principal, metal ............ 4 ... 5I 33. Clarion, metal............... 4 ... 51
Pedal, 2 Stoffs, FFF to F.
34, Double Open Diapason, 35. Unison Open Diapason ..., 8 ... 25
Wood ........................ I6 ... 25 -
Accessory Sãoffs, Movementis, &c.
1 to 8. Eight Composition Pedals, 9 to I2. Four Coupling Actions,
339. BELFAST.
The organ in the New Church of St. Malachy, Belfast, was built by Telford, of
Dublin, in 1849. It has 3 complete Manuals, from CC to F in alt., and a
Pedal, from CCC to E–two octaves and four notes ; also 33 Sounding Stops, of
which the following is a list —
Great, I 3 Stoffs, CC to F in all,
I. Bourdon, wood .................. I6 feet. 8. Fifteenth, metal ............... 2 feet.
2. Tenoroon, metal.................. I6 feet. 9. Doublette, metal ............... I foot.
3. Great Open Diapason, metal 8 feet. IO. Sesquialtera, metal, III ranks.
4. Small Open Diapason, metal 8 feet. II. Mixture, metal, II ranks.
5. Stopped Diapason, wood ...... 8 feet. I2. Posaune, metal.................. 8 feet.
6. Principal, metal.................. 4 feet, I3, Clarion, metal .................. 4 feet.
7. Twelfth, metal .................. 2% feet, -
616 .#
APPENDIX.
Choir, 7 Stoffs, CC to F in alſ.
I4. Dulciana, metal .................. 8 feet. 18. Principal, metal ............... 4 feet.
I5. Stopped Diapason, wood ...... 8 feet. 19. Wald Flute, wood ............ 4 feet.
I6. Clarabella, wood ............... 8 feet. 2O. Fifteenth, metal ............... 2 feet.
I7. Viol di Gamba, wood ......... 8 feet.
Swell, Io Stoffs, CC to F in all.
21. Double Stopped Diapason, 26. Fifteenth, metal.................. 2 feet,
Wood .............................. I6 feet. 27. Toublette, metal ............... I foot.
22. Open Diapason, metal ......... 8 feet, 28. Sesquialtera, metal, III ranks.
23. Dulciana, metal .................. 8 feet. 29, Cornopean, metal............... 8 feet.
24, Principal, metal.................. 4 feet. 30, Hautbois, metal ............... 8 feet.
25. Twelfth, metal .................. 23 feet.
- Pedal, 3 Słożs, CCC to E, 29 Notes.
31, Grand Double Open Diapa- 32. Double Trombone . . . . . . . . . . . . I6 feet.
SOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I6 feet. 33. Unison Trombone ............ 8 feet.
2c &
Couplers, &c.
4. Great organ to Pedals.
5 to 8. Four Composition Pedals,
1. Swell organ to Great Manual,
2. Swell organ to Choir Manual,
3. Swell organ to Pedals.
The largest pipe is 16 feet long; the smallest, % of an inch.
340, CASHEL,
The organ in Cashel Roman Catholic Cathedral, Ireland, was erected, in 1846,
by Bevington and Sons. It is one of the largest organs in the South of Ireland.
Great, 11 Słońs, FFF to F.
Pipes. Pipes
f. Tenoroon, metal........................ 6O 7. Fifteenth........................ . . . . . . . . . 6O
2. Bourdon Bass, FFFF ............. .. 8. Sesquialtera, IV ranks............... 24O
3. Open Diapason, FFF, metal ...... 6O 9. Mixture, III ranks .................. I8O
4. Stopped Diapason ..................... 60 | Io. Trumpet................................. 6O
5. Principal ................................. 60 II, Clarion ................................. 6o
6. Twelfth ................................. 6O
Choir, 9 Stoffs.
12. Open Diapason, FFIF, metal ...... 6C 17. Flute, FFF ......... . . . . . . . . . . . . . . . . . . 6O
I3. Dulciana, FF ........................... 49 | 18. Fifteenth .............................. 6O
I4. Stopped. Diapason, Treble ......... 60 || 49. Clarionet ..................... . . . . . . . . . 42
I5. Stopped Diapason, Bass, FFF .. 2O, Bassoon, Bass, FFF, ................. I8
I6. Principal, FFF ........................ 6O
Swell, 8 Stoffs, feſtor 6 to ſ.
21, Double Diapason ..................... 42 25. Flute, open, wood ................., 42
22. Open Diapason ........................ 42 26. Cornet, III ranks ..................... I26
23, Stopped Diapason ..................... 42 27. Cornopean .............................. 42
24. Principal ................................. 42 28, Oboe .................................... 42
Pedal, I Stoff,
29, Open, wood, CC to FFFF ...,,,,,, 24 feet,
Accessozy Słoffs, Movements, &c,
I to 6. Six Composition Pedals. | 7 to Io, Four Coupling Movements,
Pipes, JPipes,
Great organ ........................... 900 Pedal . . . . . . ................................. 20
Choir .................................... 4O9 - *
Swell i = 0 , , ; ; ; ; ; ; ; , , , s , , , , , ; ; ; ; ; ; ; ; , ; ; ; ; ; ; 420 Total * f \ , ; ; ; ; ; ; ; a I749
AN ACCOUNT OF SCOTCH AND IRISH ORGANS, 617
341, KILKENNy.
The organ in the Cathedral Church of St. Canice, Kilkenny, was first erected
in the Great Exhibition Building at Dublin, and was afterwards sold to the Dean
and Chapter of the above Cathedral. The case is Gothic, handsomely carved.
The organ contains 3 rows of keys—Great, Swell, and Choir; and Pedal of
2 Octaves and 2 notes.
Great, I I Stoffs, CC to F in alt., 54 Notes.
Pipes Pipes
1. Open Diapason, No. 1 ............... 54 7. Fiſteenth .............................. 54
2. Open Diapason, No. 2 ............... 54 8. Sesquialtera, III ranks............... I62
3. Stopped Diapason 9. Mixture, II ranks..................... IO8
4. Claribel ............ ) “‘’’’ ‘’’ ‘’’ ‘’’ ‘’’ 54 IO. Trumpet .............................. 54
5. Principal ................................. 54 II. Clarion ................................. 54
6. Twelfth ................................. 54
Swell, 8 Stoffs, tenor c to F in alſ, 42 Moſes.
I2, Double Diapason ..................... 42 I6, Doublette, I5th and 22d ............ 84
13. Open Diapason ........................ 42 17. Double Trumpet ..................... 42
I4. Stopped Diapason ..................... 42 18. Cornopean .............................. 42
15. Principal ................................. 42 | 19. Clarion ................................. 42
Choir, 8 Stoffs, CC to F in alt., 54 Moſes.
2O. Double Diapason, Bass, closed 23. Dulciana, tenor c..................... 54
Wood .................................... 54 24. Viol di Gamba, tenor c ............ 42
21. Double Diapason, Treble, closed 25. Principal, CC ........................ 54
wood ................................. .. 54 26. Flute, tenor c ........................ 42
22, Stopped Diapason ..................... 54 27. Cremona; G ........................... 35
Pedal, 1 Słoż, CCC to C, 27 AVožes.
28. Great Open Diapason ............... 16 feet ...... 27 pipes.
Coupling Actions,
. Swell to Great. 4. Pedals to Choir.
, Swell to Choir. 5. Pedals to Swell,
3. Pedals to Great.
!
342. CORK,
The organ in SS. Peter and Paul's Catholic Church, Cork, was built by
Bryceson Brothers and Morten in 1876. It is enclosed in a handsome carved
Gothic case, of Memel wood, 36 feet high, 30 feet wide, 12 feet deep, with four
towers of 16 feet metal pipes, the whole frontage of pipes and woodwork richly
illuminated in gold and colours.
The pneumatic lever apparatus is applied to both Swell and Great organs sepa-
rately, as well as to Manual couplers. Tubular pneumatic power is introduced in
addition, so that a pallet is now placed beneath each large front pipe, instead of a
conveyance being used for its supply of wind.
The Great organ reeds are on an increased pressure of wind, and enclosed in
the same box with the Swell organ. Each Manual sound-board is divided and
supplied by two distinct reservoirs of its own for Treble and Bass. Pedal sound-
boards have two large reservoirs, There are three main bellows, with double
618
APPENDIX.
feeders to each for filling reservoirs.
stop throughout, excepting Voix Céleste.
Pitch, French Diapason normal.
stop knobs placed at an angle to performer.
Every draw-stop knob represents a sounding
Couplers act by hitching pedals only.
Concave and radiating Pedal-board. Draw-
Great Organ, CC to A.
Pipes. Feet, - Pipes, Feet,
1. Double Open Diapason, 7. Harmonic Flute, metal ... 58 ... 4
metal ..................... 58 ... 16 8. Flautina, metal ............ 8 ... 2
2. Open Diapason, metal 58 ... 8 9. Full Mixture, IV ranks,
3. Open Flute, wood and metal 58 8 metal ..................... 232
4. Viola, metal .................. 58 8 IO. Double Trumpct, metal... 58 ... I6
5. Stopped Diapason, wood | | II. Trumpet, metal ............ 58 8
and metal .................. 58 8 | 12, Clarion, metal............... 58 ... 4
6. Principal, metal ............ 58 4.
Swell Organ, CC to A.
13. T)ouble Diapason, wood and 18. Principal, metal ............ 58 ... 4
metal ..... : . . . . . . . . . . . . . . . 58 ... 16 || 19. Echo Flute, metal ......... 58 ... 4
I4. Open Diapason, wood and 2O. Harmonic Piccolo, metal 58 ... 2
metal ..................... 58 ... 8 || 21. Mixture, III ranks, metal 174
I5. Viol di Gamba, metal ...... 58 ... 8 22. Cornopean, metal ......... 58 8
I6. Voix Célestes, metal ...... 46 ... 8 || 23. Oboe, metal.................. 58 8
I7. Lieblich Gedact, wood and - 24. Vox Humana, metal ...... 58 8
metal ..................... 58 ... 8 | Tremulantacting on Swell,
Choir Organ, CC to A.
25. Dulciana, metal ............ 58 8 29. Lieblich Flote, metal...... 58 ... 4
26. Viol d'Amour, metal ...... 58 8 3O. Flageolet, metal ............ 58 ... 2
27. Rohrfiote, wood and metal 58 8 || 31. Clarionet and Bassoon,
28. Gemshorn, metal ............ 58 4. metal ..................... 5 8
Pedal Organ, CCC ſo F.
32. Contra Bass, wood ......... 30 ... 32 || 36. Violoncello, metal ......... 3O ... 8
33. Open Diapason, wood...... 3O ... I6 37. Bass Flute, wood ......... 3O 8
34. Violone, metal ............... 3O ... I6 || 38. Trombone, wood ......... 3O I6
35. Bourdon, wood............... 3O ... 16
Couplers by Pedals,
I. Swell to Great. 6. Great to Pedals.
2. Swell to Choir. 7. Choir to Pedals.
3. Sub-choir to Great. 8. Trombone on and off.
4. Great Reeds to Swell. 9, Swell Tremulant.
5. Swell to Pedals.
Summary.
Swell organ ..................... 12 stops . . . . . . . . . . . . . . . . . . . . . . . . 800 pipes.
Great organ ..................... 12 , , . . . . . . . . . . . . . . . . . . . . . . . 870 , ,
Choir organ ..................... 7 : . . . . . . . . . . . . . . . . . . . . . . . . 398 , ,
Pedal organ ..................... 7 . . . . . . . . . . . . . . . . . . . . . . . . . . 2IO , ,
Total sounding stops...... 38 , , - 2278 , ,
4 Combination Pedals to Great and Pedal Organs,
3 Combination Pedals to Swell Organ
NOTES. - 619
N O T E S.
After paragraph No. 200, p. 49.-The following account and date of the first
use of a “reversed key-board” will be read with interest. It has been kindly fur-
nished to Mr. Hopkins by Mr. W. H. Cummings, who discovered it —
“An organ made by Mr. Jordan, being the first of its kind, the contrivance of
which is such that the master, when he plays, sits with his face to the audience
(and the keys being but 3 feet high), sees the whole company, and would be very
useful in churches. This organ has but one set of keys, but is so contrived that the
Trumpet Bass and Trumpet Treble, the Sesquialtera and Cornet stops are put off
and on by the feet, singly, or altogether, at the master's discretion, and as quick as
thought, without taking the hand off the keys. The said Mr Jordan invites all
masters, gentlemen and ladies, to come and hear this performance at his work-
house, against St. George's Church, Southwark, and will give his attendance from
2 till 4 o'clock, all next week, Ash Wednesday only excepted. N.B.--This organ
was played on and approved by several masters in public, the latter end of
November, and is fit for any small church or chappel.”—Advertisement in the
Zondoſt journal, Saturday, Feb. 7, 1729–30.
After paragraph No. 266, p. 68.—Among other motors for blowing organs, gas
engines have been introduced. These start at full power at a moment's notice;
and common gas is said to feed the engine at one penny an hour per horse power.
After paragraph No. 307, p. 87,-The “pneumatic tubular transmission
System " remains here to be noticed. This recent improvement promises to
Supersede the ordinary tracker “long-movement” for the distant departments of
all large Organs. The germ of this application is found in the late Mr. Booth’s
contrivance already referred to on p. 59, consisting of a tube receiving compressed
wind at one end and having a “motor' at the other; but it was not until the year
1867 that the principle was turned to the present admirable account, when it was
applied to an organ publicly shown at the Paris Exhibition in that year. The
tube-pneumatic was first introduced to the English public by Mr. Henry Willis,
in his recent re-build of the organ in St. Paul’s Cathedral. It is also extensively
used by the same builder in his Great organ in the Alexandra Palace ; by Messrs.
Bryceson, in the organ removed by them from St. Paul’s to the Victoria Rooms,
Bristol; by the Messrs. Bishop, in the Yarmouth organ as recently re-built by
them ; and by Mr. Lewis, for the Pedal organ of his new instrument in Ripon
Cathedral,
After paragraph No. 559, p. 133-Among the future improvements of the
organ the introduction of string stops promises to be one of considerable impor-
tance. For Some years experiments have been carried on to perfect an arrange-
ment by which the vibrations of a reed are communicated direct to a string, and
the Sound produced is that of the string. This has been the subject of a series
of patents. The plan is in so forward a state that a small separate instrument,
called the “wind-viol,” has been successfully tried, producing sounds of organ-like
power, but with the true string tone. A series of apparatus to illustrate the inven-
tion was exhibited in the Loan Collection of Scientific Apparatus at South Kensington,
620 APPENDIX.
the description of which occupies two pages of the official catalogue (pages 170
and 171, 2nd edition). The last patent shows the invention as applied to a separate
instrument, by superseding the bow by the use of wind governed by the keys of
an ordinary Manual, so that with a string for each note a complete Stop is formed,
and it is perfectly understood that the production of new and original stops for the
organ is the ultimate object of Mr. J. B. Hamilton and the other patentees, and
that the great value of the patent lies in that direction. The patentees at present
appear only desirous to complete their invention and secure their rights.
After paragraph No. 1165, p. 282.-The most convenient height for the surface
of the organ-stool above the pedals is twenty inches.
FOREIGN AND ENGLISH EQUIVALENT TERMS, 621
A LIST OF FOREIGN AND ENGLISH EQUIVALENT TERMS.
As many of the names which appear in the foregoing accounts of Continental
organs may not be familiar to some readers, the following table of the chief Foreign
Stops, with their English equivalents, when they exist, and a brief notice of them
when they do not, has been prepared, which, it is hoped, may assist those who
may not be able to decipher the foreign nomenclature.
Manual Stoffs.
Grosse Principal, 32 feet.—Double Double Open Diapason, 32 feet.
Montre, 32 feet.—The same, “mounted,” or in “front.”
Sub-Bourdon, 32 feet tone.—Double Double Stopped Diapason, 32 feet tone.
Manual-Untersatz, 32 feet tone.—The same.
Bourdon, or Bordun, 32 feet tone. —The same.
Principal, 16 feet.—Double Open Diapason, 16 feet.
Montre, I6 feet.—The same, “mounted,” or in “front.”
Prestant, I6 feet.—The same.
Gamba Major, I6 feet.—Great, or Double Gamba, I6 feet.
Salicional, 16 feet.--Reedy Double Dulciana, 16 feet.
Bourdon, or Bordun, 16 feet tone. —Double Stopped Diapason, 16 feet tone.
Tibia Major, 16 feet tone.—The same. -
Gross Gedact, 16 feet tone,—The same. *
Lieblich Gedact, 16 feet tone. —Double Stopped Diapason, of slender scale and sweet into-
nation,
Rohrflote, 16 feet tone.—Double Stopped Diapason, of metal pipes with chimneys.
Quintaton, 16 feet tone. —Double Stopped Diapason, of rather small scale, producing the
Twelfth of the fundamental sound, as well as the ground tone itself—i.e., sounding the 16
and 5; feet tones—I6 feet tone. *
Octave, 8 feet.—Octave to the “Principal” or Double Open Diapason of 16 feet, and there-
fore identical with the Unison Open Diapason, 8 feet.
Principal, 8 feet.—Open Diapason, 8 feet, +
Montre, 8 feet.—The same.
|Flute, 8 feet.—The same.
Geigen Principal, 8 feet.—Violin or crisp-toned Diapason, 8 feet.
Gamba, or Viol di Gamba, 8 feet.—Bass Viol Unison stop, of smaller scale and thinner, but
more pungent tone than the Violin Diapason, 8 feet.
Fº 8 feet.—A species of small-scale Gamba, of bright and cutting tone, and slow speech,
feet.
Salicional, 8 feet.—Dulciana of reedy quality, 8 feet.
Flauto Traverso, 8 feet.—German Flute, formed of cylindrical pipes of pear-tree wood, and
sounding their octave in the Treble, 8 feet.
Hohlflote, 8 feet.—Hollow Flute, a kind of Clarabella, 8 feet.
Harmonica, 8 feet.—A unison open wood stop, sometimes Smaller in the treble and larger in
the bass than the Hohlflote, 8 feet.
Spitzflote, 8 feet.—Spire or Taper Flute, a unison open metal stop, formed of pipes with
conical bodies, 8 feet.
Gemshorn, 8 feet.—Goat Horn, a unison open metal stop, more conical than the Spitzflote,
8 feet.
Coppel, 8 feet.—Coupling-flute, a kind of stopped Diapason or Clarabella, intended to be
used chiefly in combination with some other stop—as the Stopped Diapason is used with
the Clarinet in England—hence its name, 8 feet.
Portunal-flaut, 8 feet.—An open wood stop, of the Clarabella species, the pipes of which are
larger at top than at bottom, and producing a tone of Clarionet quality, 8 feet.
Biſara, 8 feet.—A unison open stop, formed of pipes having two mouths, the speech of which
is accompanied by a pleasing undulation, 8 feet.
622 APPENIDIX.
Unda Maris, 8 feet,_Wave of the Sea. A unison open stop, tuned rather sharper than the
other stops, and producing an undulating or waving effect when drawn in conjunction
with another stop, 8 feet. *
Voix Céleste, 8 feet.—A stop of II ranks, resembling Dulcianas, one of which is tuned sharper
than the other, producing an undulating effect like that of the Unda Maris, 8 feet.
Blºº 8 feet.—Common or ordinary Flute, formed of pipes larger than Diapason scale,
eet,
Portunal, 8 feet,_An open wood stop, of the Clarabella species, but with the pipes larger at
top than at bottom, and producing a tone like that of the Clarionet, 8 feet.
Flauto Dolce, 8 feet,_-A unison Flute stop, of tranquil and agreeable tone, well adapted for
º music, for which an Open Diapason would be both too strong and too full,
ČCL,
Gedact, 8 feet tone.—Covered stop. Stopped Diapason, 8 ſeet tone.
Lieblich Gedact, 8 feet tone,—Stopped Diapason, of slender scale and Sweet intonation, 8 feet
tone.
Still Gedact, 8 feet tone,—Stopped Diapason, of quiet tone, 8 feet tone.
Rohrfiote, 8 feet tone.-Reed Flute. Metal Stopped Diapason, with reeds, tubes, or
chimneys, 8 feet tone.
Quintaton, 8 feet tone.—Stopped Diapason, producing the Twelfth as well as the ground-
tone—i.e., sounding the 8 and 23 feet tones—8 ſeet tone.
Nacht Horn, 8 feet tone.—Night Horn. Nearly identical with the foregoing, but of larger
Scale, and more horn-like in tone, 8 feet tone.
Quint, 54 feet,_Fifth-sounding stop. In this case producing the Fifth above the Diapason,
5% feet.
Grosse Nazard, Nasard, Nassat, Nasat, 5% feet.—Fifth to the Unison Diapason, 5% feet.
Gemshorn-quint, 5% feet.—Fifth composed of Gemshorn pipes, 5% feet.
Quint Gedact, 5% feet tone.—Stopped Fifth, 54 feet tone.
Roer-quint, 5% feet tone,—Stopped Fifth, formed of metal pipes with chimneys, 5% feet tone.
Super-Octave, 4 feet.—The second octave or Fifteenth above the “Principal,” or Double
Open Diapason Öf 16 feet, identical with the English Principal, 4 feet.
oº:: 4 feet,_The Octave to the Open Diapason of 8 feet. The English Principal, 4
eet. -
Principal, 4 feet.—Principal, 4 feet.
Prestant, 4 feet.—The same, 4 feet. -
Spitzflote, .4 feet.—Octave stop, formed of conical pipes, 4 feet.
Geigen Principal, 4 feet.—Violin Principal, 4 feet.
Gambette, 4 feet.—Small Gamba, or Octave Gamba, 4 feet.
Salicional Octave, 4 feet.—Octave Salicional, 4 feet.
Flauto Traverso, 4 feet.—German Flute, the Treble pipes sounding their Harmonic, or
Octave, 4 feet.
Hohlflote, 4 feet.—A kind of Octave Clarabella, 4 feet.
Flaut-à-becq, 4 feet.-Flute with beak or mouth-piece at one end. The old English Flute,
4 feet.
Klein Gedact, 4 feet tone.—Small Covered stop. Stopped Flute, 4 feet tone.
Rohrſlote, 4 feet tone.—Stopped metal Flute, with reeds, tubes, or chimneys, 4 feet tone.
Grosse Tierce, 3% feet.—Great Third-sounding Stop. In this case producing the Third above
the Principal. Tenth or Decima, 33 feet.
Quinte, 2% feet.—Fifth-sounding stop when of this size, producing the Fifth above the Prin-
cipal Twelfth, or Duodecimo, 23 feet.
Gemshorn-quint, 23 feet.—Twelfth, formed of Gemshorn pipes, 23 feet.
Nasard, 23 feet.—Twelfth, 23 feet.
Sedecima, 2 feet.—The third octave, Octave Fifteenth, or Twenty-second, above the “Prin-
cipal” or Double Open Diapason of 16 feet. Identical with the English “Fifteenth,”
2 feet.
sº 2 feet.—The Second Octave above the Unison “Principal.” The Fifteenth,
2 feet.
Octave, 2 feet.—Octave to the Principal of 4 feet, 2 feet.
Doublette, 2 feet.—The same, 2 feet.
Quarte de Nazard, 2 feet.-The same.
FOREIGN AND ENGLISH EQUIVALENT TERMS. 623
Quinta-decima, 2 feet.-The Fifth above the Tenth—i.e., the Fifteenth, 2 feet.
Gemshorn, 2 feet.-Gemshorn Fifteenth, 2 feet,
Waldflote, 2 feet.-Forest-flute, 2 feet. s
Hohlflote, 2 feet.—Hollow Flute, of Fifteenth pitch, 2 feet.
Rausch-pfeif, 23 feet.—Twelfth and Fifteenth on one slider, 23 feet.
Rausch-quint, 23 feet,_-The same.
Flageolet, 2 feet.—Flageolet, 2 feet.
Terz, I# foot.—Tierce, when of this size, sounding the Third above the Fifteenth, 13 feet.
Sexte, 23 feet.--Sixth. A II-rank Mutation stop, sounding the interval of a major sixth. A
Twelfth and Tierce on one slider, 23 feet. *.
Sesquialtera, 2% feet.—Sesquialtera, II ranks; the same, 23 feet.
Quinta, 1% foot.—Fifth-sounding stop, producing the Fifth above the Fifteenth. The Nine-
teenth or Larigot, Iº; foot.
Tertian, I; foot.—A II-rank Mutation stop, sounding the interval of a minor third. A
Tierce and Larigot on one slider, I# foot.
Sedecima, I foot.—Twenty-second or Octave Fifteenth, I foot.
Mixture, 2 feet.— A mixed Stop—i.e., consisting of Foundation and Mutation ranks of pipes,
compounded together, the largest rank being usually a Fifteenth, 2 feet.
Scharf, Iº; foot.—Sharp, also a mixed stop, composed of Smaller pipes than the Mixture, or
on a smaller scale, and sometimes containing a Tierce, particularly if the Mixture has
not one, Iº; foot.
Cymbel, I foot.—The most acute of the bright stops, being very small in scale, and high in
pitch—it is sometimes formed exclusively of octave ranks—I foot.
Cornet.—Cornet, frequently a Compound stop, formed of pipes several scales larger than
Diapason measure, and producing a “horny” tone ; hence its name. Sometimes the
Cornet is a large Manual Reed, as at Freiburg and Seville; in other examples it is a
small Pedal Reed, as at Muhlhausen, Merseburg, &c.
Contra Fagott, 32 feet, Double Double Bassoon, 32 feet.
Tromba, 16 feet.—Double Trumpet, I6 feet.
Tuba, 16 feet.—The same.
Trompet, 16 feet.—The same.
Dulcian, 16 feet.—Dulcian means, literally, a small Bassoon. In this case, a Double Bassoon,
I6 feet.
|Fagotto, 16 feet.--Double Bassoon, I6.
Bombarde, 16 feet.—Double Reed, I6 feet.
|Euphone, 16 feet.—Double Reed, 16 feet.
Phisarmonica, 16 feet.--Double Reed, with Free Reeds, and Tubes of half length, 16 feet
tone.
Grand Cornet, 16 feet.—Double Reed, I6 feet.
Corneta–Double Reed.
Trompette, 8 feet.--Trumpet, 8 feet.
Trompette Harmonique, 8 feet.—Harmonic Trumpet, 8 feet.
Hautbois, 8 feet.—Hautboy, 8 feet.
Cor Anglais, 8 feet.—-English Horn, 8 feet.
Dulcian, 8 feet.—Bassoon, 8 feet.
Fagotto, 8 feet.—The same.
Rrumhorn, 8 feet tone.—Clarionet, 8 feet tone.
Cromhorn, 8 feet tone.—The same.
Schalmay, 8 feet tone.—The same.
Vox Humana, 8 feet tone.—Human Voice, 8 feet tone.
Clarin, 4 feet.-Clarion, 8 feet tone.
Pedal Stops.
Sub-principal, 32 feet.—“Under Principal,” i.e., below the Pedal Diapason pitch. Double
Open Bass, 32 feet.
Gross Principal, 32 feet.—Great or Double Diapason Bass, 32 feet.
Prestant, 32 feet.—The same.
624 APPENDIX,
Flute Ouverte, 32 feet,_The same,
Untersatz, 32 feet tone.—“Below position,” i.e., under the Pedal Unison pitch. Double
Stopped Bass, 32 feet tone.
Sub-bass 32 feet tone.—“Under Bass,” or Double Stopped Bass, 32 feet tone.
Quintaton, 32 feet tone.—Double Stopped Bass, sounding the Twelſth as well as the ground.
tone, in this case producing the 32 and IO3 feet tones.
Grand Bourdon, 32 feet tone.—Great or Double Bourdon, 32 feet tone.
Gross Quinten Bass, 21% feet tone,—Fifth to the Great Bass of 32 feet, 21% feet tone.
Principal Bass, 16 feet.—Open Diapason Bass, 16 feet,
Octave, 16 ſeet.—The same.
Prestant, 16 feet.—The same. Where there is a Metal “Principal” of 16 feet on the same
Pedal, the name Prestant is applied to a wood Open Bass of the same size.
Flute Ouverte, 16 feet.—The same.
Violone, 16 feet,--Double Bass. A unison open wood stop, of much smaller scale than the
Diapason, and formed of pipes that are a little wider at the top than at the bottom, and
furnished with ears and beard at the mouth. The tone of the Violone is crisp and
resonant, like that of the orchestral Double Bass; and its speech being a little slow, it
has the Stopped Bass always drawn with it; 16 feet.
Gamba, 16 feet,_-Gamba Bass, 16 feet.
Salicet, I6 feet,_Dulciana Bass, 16 feet,
Sub-bass, 16 feet tone,—Stopped Bass, usually, but sometimes Open wood, 16 ſeet, 16 feet
tone,
Bourdon, 16 feet tone.—This name is very rarely applied to a Pedal stop. When it is so, it
is generally to a Stopped Bass, though Occasionally to a wood open Bass, 16 feet, 16 feet
tone. g-
Quintaton, 16 feet tone.—A small scale unison covered stop, sounding the Twelfth as well
as the ground tone—i.e., producing the 16-feet and 5% feet tones—16 feet tone.
Gross Quint, Stopped, Io; feet tone,—Great Fifth, Stopped, Iož feet tone.
Roer-quint, I03 feet tone,—Stopped Fifth, formed of pipes with reeds, tubes, or chimneys,
Ioğ feet tone,
Octave, 8 feet. —Octave, or Principal to the Diapason of 16 feet, 8 feet.
Violoncello, 8 feet.—Crisp-toned open stop, of Small scale. The “Octave’’ to the Violone
of 16 feet, 8 feet. -
Bass Flute, 8 feet tone,—Flute Bass. The Stopped Octave to the Stopped Bass of 16 feet
tone, 8 feet tone.
Tertia, 6% feet.—Tenth, or Great Tierce, 6% feet.
Quint, 5% feet.—Twelfth, 5% feet.
Rohr-quint, 5% feet tone.—Stopped Twelfth, 5% feet tone.
Super-octave, 4 feet.—Fifteenth, 4 feet.
Mixtur, V ranks.--Mixtur, V ranks, 4 feet.
Cornet, VIII ranks. –Pedal Cornet.
Contra Posaune, 32 feet.—Double Trombone, 32 feet,
Posaune, 16 feet.—Trombone, I6 feet.
Bombarde.—Large Unison Pedal Reed, 16 feet.
Fagotto, 16 feet.—Bassoon, I6 feet. J
Dulcian, 16 feet.—Small Bassoon, 16 feet.
Trompet, 8 feet.—Trumpet, 8 feet.
Trombone, 8 feet.—Large Octave Reed, 8 feet.
Basson, 8 feet.—Octave Bassoon, 8 feet.
Krummhorn, 8 feet.—Cremona, 8 feet tone,
Clairon, 4 feet.
Cornet, 4 feet.
Cinq, 2 feet.
Cornet, 2 feet.
Clarion, 4 feet.
Cornet.—A small Reed Clairon, 4 feet.
Octave Clarion, 2 feet.
Octave Clairon, 2 feet.
INDEX TO HISTORY OF THE ORGAN.
AGRICOLA (Rudolph), organ-builder,
&c. ..........................................
Andre, of Brunswick, organ-builder ...
Antegnati, of Brescia, a celebrated
family of organ-builders
Athenaeus, his description of the hy-
draulic organ
Avery (John), notice of, and list of his
* g g g º e i & s e a g º e g a s s & s e s e e s tº e º 'º º
Organs a s : * * : * * * * * * * * * * * * * * * * s p * * * * * * * * * * * * * * *
Bagpipe, its origin.........”...............
Barbye, organ-builder .....................
Beck (David), of Halberstadt, organ-
builder
Bedos (Dom), his work entitled Z'Art
du Aacteur des Orgates
Bellows, the ancient, described
—“a la lanterne”
—its first invention
Bernhard, the reputed inventor of the
pedal
Beton, or Betun (William),
builder
Beynton (Richard),
Blowing, ancient mode of..................
Bonani's (Father), Gabinetto Armonico,
notice of curious Organs from
Borton (Robert), organ-builder
Bridge (Richard), biographical notice
of, and list of his organs
Broughe, organ-builder
Browne (Thomas), organ-builder
Bumbulum cum fistulā aereà, an organ
so called
Byfield (John), biographical notice of,
and list of his organs
—(John), jun., biographical notice of,
and list of his Organs
Byfield, Bridge, and Jordan — list of
organs by these builders conjointly...
s = < e < e < e < * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
e s s m s s e º e º a s tº g g tº e º g
tº t w tº $ tº t tº g
e e g e s tº 8 & 3 a s e e s e º e s t t is e s s
* * * * * * * w s e s tº s s e < * * * * *
Organ-
tº it a tº e s tº t tº
tº º t t e º a q t e º s tº tº e
s: º a s g g g g º e s is g g º º e s $ $ tº
tº tº & © tº ſº.
• * * * * * * * * * * * * * * = • , s s a s e s = s - e e s a w x * * *
* * * * * * * * *
Carillon playing described ...............
Casparini (Eugenius), organ-builder ...
Cassiodorus, his description of the
I53
5
6O
76
I3
35
36
4.
45
58
6O
35
88
5 I
I44.
60
6O
3I
I34.
I45
45
I
pneumatic Organ
Castendorſer (Stephen), organ-builder
Chamberlyn, or Chamberlayne (John),
organ-builder
Chappington (John), organ-builder
Churches, organs first introduced into
* g g g g e g º e º ºs e º e º e s e º $ tº s º º
• e g g g g g g g g g g tº s 4 tº e º & tº $ 8 tº e º f * * * *
33
I59
17
54
56
6o
17
Page
Colonna (Vincenzo), organ-builder...... 77
Columbi (Vincenzo), organ-builder...... 77
Constantinople, representation of an
Organ on the obelisk at............... I6
Couper (John), organ-builder. ............ 48
Crang and Hancock (Messrs.), notice
of these builders........................... I49
Ctesibius, hisinvention ofthewater organ 9
Curiosities of organ building ............ 87
D.
Dalham (George), organ-builder......... 7I
Dalham (Thomas)..................... 64 to 71
Dalham (Robert), organ-builder......... 68
Dallans (Ralph), organ-builder ......... 71
Dempsey (James), organ-builder ...... 62
Duddyngton (Anthony), organ-builder 56
Dunstan (St.), organs erected by ...... I9
Durham Cathedral, Smith's specification
of organ for........................... I IO
— Ancient A'ites and Monuments of 49
Eadwine's Psalter, representation of an
organ from ................................. 22
Egan (Nicholas), organ-builder ......... 74
Engelbrecht (Ulric), priest and organ-
builder .................................... 54
England (George), notice of, and list of
his organs ........................... I54.
— (George Pike), notice of, and list
of his organs ........................ I54.
English Organ-builders, early ............ 55
Engler (Michael), organ-builder ......... I59
Exeter Cathedral, Roger North's de-
Scription of the organ there ............ 62
Faber (Nicholas), priest and Organ-
builder 54
French Organ-builders, some notice of 157
tº a $ $ $ tº ſº * * * * * * * * * tº $ tº $ tº $ tº a # e º e g g g g g g g tº
Gabler (Johann), organ-builder
Gaffurius's (Franchinus)Theorica Musica,
engraving of an Organ from ............ 34.
German organ-builders, early ............ 54.
improvements by ..................... 75
further progress of .................. I56
Giaſar, the Arabian, an organ con-
structed by ................................. I8
Gibbs, organ-builder,....................... 6O
626
INDEX TO HISTORY OF THE ORGAN,
- IPage
Glyn & Parker (Messrs.), notice of these
builders, and list of their organs...... I46
Gori's 7%esaurus ZXºychore/me, curious
representation of an organ from ...... 32
Green (Samuel), biographical notice of 150
list of his organs ..................... I5I
Griffin (Thomas), organ-builder ......... I47
H.
Hancock, organ-builder .................. I49
Harris (Renatus), biographical notice of II9
— list of his organs ..................... I27
— (John), biographical notice of...... 34
— list of his organs ..................... I35
— (Renatus, jun.)........................ I33
(Thomas), organ-builder............ II9
Hanson (John), organ-builder............ 6O
Hayward (Robert), organ-builder ...... 62
Herbst (Heinrich), organ-builder ...... I59
Hermann, a Jesuit, organ-builder ...... 77
Hero of Alexandria, his description of
the organ.................................... IO
Hildebrand (Zacharie and Johann Gott-
fried), organ-builders..................... I59
I.
Ightam, old organ at........................ 98
Ireland, organs in ........................... 74
Italian Organ-builders ..................... 77
John de John, organ-builder
Jordan (Abraham), father and son, bio-
graphical notice of.................. I39
list of their organs .................. I42
Julian the Apostate, his epigram on the
Olgall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I 5
K.
Kepler, his opinion of the water organ 12
Key-board, the first ........................ 33
the improved........................ 44, 76
Kleng (Gregorius), organ-builder ...... 45
ICircher's (Athanasius) Musurgia, en-
gravings of primitive organs from ... 4, 6
Kranz (Henry), organ-builder............ 54
ISrebs (Frederick), organ-builder ...... 55.
L.
Lewes (William), organ-builder ......... 58
Leslie (George), organ-builder
Lincoln Cathedral, engraving of old organ 81
Lobsinger (Hans), of Nuremberg, inven-
tor of the bellows with One fold ...... 76
Loosemore (John), of Exeter, organ-
builder ................................... 62
Lucinius's Musurgia, engraving of the
Regals from .............................. 4. I
M. -
Mace's (Thomas), Musicäs Monument,
notice of a chamber organ from ...... 88
Macraphe d’Aruchin, a Hebrew instru-
ment ... . . . . . . . . . . . . . . . ..................... 6
Mersennus's A/armonie (Juiverselle, en-
graving of an ancient bellows from... 36
Micheau Paul, organ-builder ............ I55
Minstrels' Gallery........................... 39
Page
Mixture Stops, their supposed origin... 36
Monastic Organs, the first.................. 38
Monastic Organs in England ............ 46
Müller (Christian), organ-builder ...... I6O
— (Nicholas), organ-builder ...... 55
N.
North (Hon. Roger), his description of
the organ of Exeter Cathedral ....., 62
Organ (the), anterior to the invention of
the key-board........................ I
— as mentioned in Genesis and other
books of the Old Testament ... 2
- Cilician ................................ ... 3
– Hydraulic.............................. 6, 13
- Altar .................................... IO
– Pneumatic.............................. I5
first introduced into the Church... I7
Anglo-Saxon........................... I9
Mediaeval, after the invention of
the key-board........................ 33
— Monastic .............................. 38
— Portative .............................. 39
Positive ................................. 4. I
— its position in ancient times ...... 9
at Magdalen College, Oxford,
erroneous account concerning ... 96
Organs in Scotland, Ireland, and Wales 72
existing Old English.................. 98
meaning of “a pair” explained 43
notices of English .................. 7I
— notices of foreign..................... 77
— English, prior to the Rebellion ... 98
— their destruction in England during
the great Rebellion ............... 9I
Organ-builders, payments to old, in
monastic times ..................... 48
early, in Germany .................. 54
— early, in England..................... 55
— improvements by German ... ...... 75
Italian ................................. 77
– French ................................. I57
Organ-building, the curiosities of ...... 87
the founders of modern ............ IO2
Organ Cases, curious decorations of, in
former times .............................. 89
Organist, duties of this officer in mo-
nastic times .............................. 47
Organum, the Greek and Roman use
of the word ........................ I
— the term, in the middle ages ...... 37
P. -
“Pair of organs” explained............... 43
Parker, organ-builder ..................... I46
Paul's (St.) Cathedral, queries about the
OſgåJl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . II.4.
Pedal (the), its invention ..................
Pepin (King), his introduction of the
organ into France ........................ I8
Pepys' Diary, extracts from, concerning
OrganS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Perugino (Luca Blasi), organ-builder... 77
Portative organs explained ............... 39
INDEX TO HISTORY OF THE ORGAN.
627
Page
Position of the organ in ancient times ;
Positive organs explained.................. 4. I
Powell (Dr.), his account of hydraulic
OrganS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I4.
—his notice of the curiosities of organ
building .............................. 87
Praetorius' Theatrum Instrumentorum
Je: Sciographia, representation
of key-board from................ ... 33
— representation of the ancient mode
of blowing from...................., 35
Preston, of York, organ-building ...... 62
Pull-downs, their origin ................. 5
R.
Radnor, old organ at ..................... IOO
Rebellion, destruction of organs during
the great..... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 9I
Regals, the term explained ............... 39
– engraving of, from Lucinius's Mu-
$26.73% . . . . . . . . . . . . . . . . . ! s • * * * * * * . . . . . . . . . . . . . 4 I
Robartt, organ-builder..................... 6 I
Roder (Johann Michael), organ-builder I 59
Roose (John), organ-builder ............ 49
Rosenburger, or Rothenburger (Con-
rad), organ-builder ..................... 54
Salisbury Cathedral, account of a curious
print of Harris's organ................., I26
Schowt, or Stut (John), organ-builder 60
Schrider (Christoph.), biographical
notice of .............................. I36
— list of his organs ..................... 37
Schwarbrook (Thomas), biographical
notice of, and list of his organs ..., , , I 38
'Scotland, organs in ........................ 72
Seidel, his account of “grotesque”
OrgallS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Silbermann (Andreas), biographical no-
tice of, and list of his organs ... I 56
— (Gottfried), ditto ..................... I 57
— (Johann Andreas), ditto ......... .. I58
— (Johann Daniel), ditto............... I59
Contemporaries and successors of
this celebrated family
Smid (Erhart), organ-builder ............
Smith (Christian), Father Smith's nephew 132
Smith (Father), biographical notice of IO2
list of his organs ..................... II6
(Gerard), Father Smith's nephew 131
Smyth (Thomas), organ-builder ......... 6
Snetzler (John), biographical notice of I47
list of his organs ..................... I48
Sterzing (Adam), organ-builder ......... I59
Page
Stops, Mixture, their supposed origin 36
Swell (the) invented by the Jordans ... I40
Syrinx, or Pipe of Pan ..................... 3
Temple organ (the), account of the cele-
brated contention concerning ......... IO4.
Tertullian, his opinion of the water
Orgaſ] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I 2
Thamar of Peterborough, organ-builder 62
Theophilus, the Monk, his curious Trea-
tise on Organ-building in the IIth
Century ..... . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 to 3i
Thessner (Zacharius) organ-builder...... I 59
Tibia Utricularis ........................... 5
Todino (Michele) of Savoy, organ-
builder ................................. 88
Traxdorf (Heinrich) organ-builder ...... 54.
Tresorer (William) organ-maker ...... 58
v.
Vaucks (John) organ-builder ........... , 59
Van Os (Albert) called “Albert th
Great,” priest and organ-builder...... 54
Valve, origin of the ........................ 4.
Vincentino (Don Nicola) harpsichord
invented by................................. 88
Vitruvius, his description of the hydraulic
Olgall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Vossius, his account of an hydraulic
Organ . . . . . . . . . . . tº s º e º a s e s & s is a 2 s tº º a g º e # 6. I3
W.
Wagner (Joachim) organ-builder ...... I 59
Wales, organs in .........................., 75
Whitehall Chapel, entries relative to
Harris's organ for .................... . . . I25
Wilphlingseder's (Ambrosius) Erofemata
Musices Practica, engraving of a
positive organ from........................ 42
Winchester Cathedral, description of
its organ at the close of the IOth
Century ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2O
Wind-chest, origin of the .................. 5
Wind-trunk, origin of the.................. 4.
Wotton (William) of Oxford, organ-
builder....................................... 55
Wulston, his description of an organ at
Winchester................................. 2O
Wyght or White, organ-builder ......... 58
York Minster, Robert Dallam's specifi-
cation of his Organ for ............ 69
— Fabrick rolls of........................ 48
£ E E 2
INDEX TO CONSTRUCTION OF THE ORGAN.
Accompaniment (Choral), the adaptation
of the organ tone to the purposes
Acoustic capacity of a Manual organ,
how increased to adapt its tone to a
large building.............................. 256
Acoustic principles, the effect of large
organs not constructed on ............ 257
Acoustical facts regarding Sound......... 235
grounds on which double stops are
introduced into organs ............ 256
Anemometer (the), explained ............ 23
B.
Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I45
(Double) .............................. I44.
Bellows, their use ........................... 9
— different kinds of ..................... 9
— the diagonal described............... 9, IO
the horizontal described......... 9, IO, II
— original defects of the diagonal ... I2
- structural features of the horizontal I4
- working of the horizontal ......... 17
construction of the reservoir ...... 17
— — of the feeder..................... I8
– the cuckoo ſeeder..................... 2 I
— the double feeder ..................... , 2I
— the concussion described............ 2
the blowing action of the............ I8
the Waste pallet........................ I9
defects in, and their causes ......... 209
how they should be made ......... 293
Blockflute .................................... I4. I
Bordun ....................................... 35
Building-frame (the)........................ 287
C.
Cathedral(recent) arrangements respect-
ing the organ and choir ............... 249
Celestina .................................... I4O
Chancel (the), an eligible situation for a
divided organ.............................. 247
Choir-screen (the), erection of Father
Smith's organ on, at St. Paul’s, op-
Posed ....................................... 244
Choir (Vocal), its relative position with
the Organ
Church organ, general requisites of a ... 253
Ciphering, the different causes of
- - - - - - 2O I
Clarabella ............................... . . . . . . I37
Clarion …................................ 145
(octave) ................................. I46
Clarionet....................................... I45
Page
Clarionet (Flute) ........................... I37
Claviers (the), described ............... 47, 49
their proper compass considered... 213
Clear-flute .................................... I4O
Compass, the CC and GG compared,
- 217 to 226
Composition Pedals, their arrangement
considered ................................. 282
Compound Stops considered ... 265 to 277
Construction of an organ, hints to those
who have to superintend the... 213 to 226
Contra-Fagotto .............................. I44
Cornet.......................................... I43
(Mounted) .............................. I43
(Echo) ................................. I43
Corno di Bassetto........................... I45
Corno-flute .................................... I45
Cornopean .................................... I44.
Coupler (Sforzando) ........................ 56
Couplers (Manual), various kinds of ... 54
(Pedal) ................................. 56
CrOmorne, or Krumm-horn ............... I45
Cymbal ....................................... 274
D.
Decima ....................................... I40
Diapason (Double Open)....... $ $ 4 * * * * * * * * I34.
(Double Stopped).......... * * * * * * * * . . . I35
— (Open) ........................ . . . . . . . . . I35
(Stopped) ............ * * * * * * * * * * * * * * * ... I 37
Dolcan ....................................... I37
Double Pedal Pipes. Their introduction
as the first pedal stopnotin accordance
with the laws of organ-building ...... 232
Double Stops, acoustical grounds on
which they are introduced into organs 256
Double Trumpet
Doublette
Draw-stops, arrangement of, considered 283
Dulcet
> -- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Dulciana...... ............................... I36
Dulciana (Double)........................... I35
E,
East-end of an aisle or a chancel chapel
as the situation for the organ con-
sidered ................................... 247
Echo Organ (the), described ............ 9I
its cause, and its influence on the
tone of an organ .................. 237
Echo Cornet ................................. I43
Electric action .............................. 69
INDEX TO CONSTRUCTION OF THE ORGAN.
629
F Page
Fagotto ....................................... I45
(Contra)................................. I44
Faults, causes of, in organs, together
with their remedies ............... 2OI to 2 I2
Feeder, construction of a ............... I8, 20
Fifth, Quint ................................. I39
Fifteenth, Super-octave .................. I4.I
(Octave)................................. I4 I
Flageolet.............. ........................ I4I
Flute .......................................... I39
— (Harmonic) ........................... I37
— (Hohl) ................................. I38
— (Spitz) ................................. I4O
— (Wald) ................................. I4O
— (Clear) ................................. I4O
— (Oboe) ................................. I4O
— (Suabe)................................. I4O
(Block) ................................. I4. I
Furniture .................................... I43
G.
Gamba ....................................... I37
Geigen Principal ........................... 138
Gemshorn .................................... I4O
Grooves, their situation..................... 3I
first plan of arrangement of ...... 44
— Second plan of ditto.................. 45
third plan of ditto.....................
— double ones in the bass advisable 293
H.
Harmonic Flute.............................. I37
Harmony (divided) on the organ ...... 2I9
Hautboy....................................... I44.
(double)..................... ........... I44.
(octave) ................................. I46
Hohl Flute......................, & e º a s s a s s a s = * I38
Horn .......................................... I44
Human Voice, its strength, as compared
with that of the Organ-wind............ 252
IIydraulic engine ......... ................. 66
I.
Intonation, unequal ........................ 2 IO
J.
Joy's Patent Hydraulic Engine ......... 66
K.
IKeraulophon ................................. I38
key. Pitch supposed to exercise an
influence in establishing its character 178
The internal resource of musical
art capable of giving any character to
any key .................................... I79
Reys, the different characters of ......... 177
Rey Movement (the), described ......... 50
— action of .............................. 5.I
Key Movement (the), defects in ......... 2O5
Krumm-horn ................................. I45
L.
Larigot ....................................... I4 I
M. Page
Manual. The meaning of the German
terms, I6-feet, 8-feet, 4-feet............ 262
Manuals (the)................................. 47
their true compass ascertained ... 215
— arguments against the CC compass
considered ........................... 216
— How the CC compass was first ex-
ceeded................................. 224
Manuals and Pedals, their width and
proper situation to each other......... 279
Mixtures........................ … I42
their composition ............ 265 to 277
— specimens of their composition in
old organs ........................... 275
Mounted Cornet ........................... I43
Movement (long) described ............... 49
Music-desk (the) considered............... 282
N.
Nason ….................... . . . . . I40
O.
Oboe Flute.................................... I4O
Ophicleide .................................... I44.
Organ (the) case described ............ 5, 278
Echo described........................ 9I
cause of faults which arise in, and
how they may be remedied ...... 2O I
its situation considered....., 235 to 251
— its size in proportion to the congre-
gation and church .................. 252
— its exterior arrangement...... 278 to 286
its interior arrangement...... 278 to 306
Organs. Plansforinstruments of various
sizes ................................. 307 to 327
Organ compass. The CC contrasted with
the GG …............................. 234.
Organ stool (the), considered ............ 282
Passage-boards, their advantage......... 292
Pallet (waste)................................. I9
(Mr. Hill's) ........................... 33
— (Mr. Holt's) ........................... 33
(Valve) ................................. 34.
(relief) ................................. 34
Pedals (the), described..................... 49
their introduction into England,
and their correct compass......... 227
the insufficiency and incorrectness
of the GG compass ............... 228
— the impossibility of satisfactorily
uniting CCC pipes to GG pedal 229
(Composition), described 88
Piccolo ....................................... I4 I
Pipes, materials used for .................. 96
tin ..….............. 96
metal .................................... 98
Spotted metal ........................ 98
lead …............................ 98
antimony metal........................ 99
- zinc .................................... 99
Wood .................................... IOO
— cylindrical, of various kinds ...... IOI
— conical, of various kinds............ IO3
— pyramidal and inverted ............ Io;
630 INDEX TO CONSTRUCTION OF THE ORGAN.
Pipes, their standard length...............
names of the sounds produced from
classification of sounds produced
Page
I2O
I2O
from.................................... I2 I
— the size of those used for stop-
measurement ............ . . . . . . . . . . . . I23
— stopped, described .................. I27
— (Flue).................................... IO6
* of metal ......... . . . . . . . . . . . . . . . IO7
--- of Wood ........................ IO8
— — the speech of ....... # * * * * * * * * * * IO9
wº- the voicing of .................. III
* influence of the materials of II.3
---------- influence of the wind on the
tone... . . . . . . . . . . . . . . . . . . . . . . . . . . . I 14
--- number of vibrations in ...... II8
* causes of their inequality of
tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 II
— (Front) general arrangement of ... 5
various figures in which they
may be formed ............... 6
**** arrangement of in regard to
Sound ........................... 7
**º- the decoration of............... 8
– (Reed) ................................. IO6
* the formation of ............... II 5
— — the tubes of ..................... II6
— — different mouth-pieces of ... II.7
ºwº-ºº-ºº. influence of the tube on the
tone of........................... II 7
— — influence of the tongue on the
tone of........................... II.8
very susceptible of change of
temperature ..................
wooden of various kinds ............
— — — influenced by the change of
temperature ..................
stopped wood, deranged by heat
and drought ...........................
Pipe-work, its scale considered...279 to
the materials for, considered ......
Pitch, its influence in establishing the
character of key .....................
how to alter that of organ-pipes...
altered in organs by heat and cold,
in different seasons ...............
that to which an organ should be
tuned .................................
- the presumed lower pitch of two
centuries since .....................
the early English composers Sup-
posed to have disregarded definite
pitch .................................
— grounds for believing in the former
existence of a high ecclesiastical
pitch .................................
old organs in Germany a whole
tone sharp ...........................
— the flattened pitch accompanied
by a raised notation ...............
— lower again at the commencement
of the 18th century in England,
France, and Germany ............
— to which of the three church pitches
should an organ be tuned.........
— the production of sound from 118
I9 I
IO I
2 I2
2 I 2
285
285
178
I 59
185
187
187
I88
I89
189
I9 I
I9 I
Page
Plans for organs of various sizes 307 to 321
Platform (the) .............................. 287
Pneumatic action (the), described ...... 59
Posaune ....................................... I44.
Price of an organ considered ...... 288 to 303
Principal, Octave ........................... I39
Proportions, bad causes of, in many organs 288
Pyramidon ..................... . . . . . . . . . . . . . . . I35
Q.
Quarter-tones................................. 172
R,
Rausch-quint ........................ . . . . . . . . . 273
Reed, the open.................. ... ... II 7
the closed ....................... § 6 s e $ s a 117
the free ................................. I 17
Reservoir, construction of a............... 17
Resonance, its influence on the tone of
all Orgaſ] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Roller-board (the)........................... 52
Roller-boards, how they should be dis-
posed ....................................... 293
Room, conducive to the orderly arrange-
ment of the organ ........................ 28
unoccupied space not lost ......... 29O
Salicional or Salicet ........................ 138
Sesquialtera ................................. I42
Shifting Movement ........................ 88
Situation (the) of an organ considered
235 to 25I
Size of the organ, particulars concerning
the.................................... 252 to 257
Sound, how produced and propagated 235
impediments to its distribution ... 238
— arrangements favourable to......... 39
Velocity of.............................. 239
acoustical facts regarding ......... 35
penetration of ........................ 24O
Sounds, table of, produced by the several
leading Manual and Pedal stops from
the low C key ........................... I46
Sound-board, formation of a ............ 3O
pallets described .................. 3I, 32
bars ditto .............................. 3I
grooves ditto ........................ 3
table ditto ............... ... . . . . . . . . . . . . . . 35
-— upper-boards of the ditto ......... 3
the sliders .............................. 4O
the bearers.............................. 4. I
the pipe-racks ........................ 4. I
arrangement of stops on the ...... 43
its distribution ........................ 270
advantages of a large ............... 272
Spitz Flute.................................... I40
Stop, its definition..... ..................... I28
Stop (draw), action described ............ 63
disarrangements connected with it 186
Stops, the various kinds described ...... I29
— their size, how ascertained ......... I 30
their classification into reed stops
and flue stops........................ I 30
their classification into foundation,
mutation, and compound Štops I31
INDEX TO CONSTRUCTION OF THE ORGAN. 631
Page
Stops, Foreign, the names of, with their
English equivalents ...... 621 to 624
— their names in English Organs ... I 34
— Sub-bordun ........................... I34.
Double Open Diapason ............ I34
Double Dulciana ..................... I35
Double Stopped Diapason, or
Bordum .............................. I35
– Pyramidon.............................. I 35
— Open Diapason........................ I36
Dulciana .............................. I3
— Harmonic Flute ..................... I37
— Voix Célestes ........................ I37
— Stopped Diapason .................. I37
— Clariomet Flute........................ I37
— Clarabella .............................. 37
Dolcan ................................. 37
— Viol di Gamba, or Gamba ......... I37
— Keraulophon........................... I38
— Hohl-flute (Hollow-toned Flute) 138
— Geigen Principal (Violon Diapason) 138
Salicional, or Salicet ............... I
Fifth, Quint, Double Twelfth,
Diapente ........................... 39
Principal Octave ..................... I39
— Dulciana Principal, Dulcet......... I 39
— Flute .................................... I39
—- Spitz-flute .............................. I4O
— Gemshorn .............................. I4O
— Nason ................................. I4O
— Wald-flute (wood, or forest-flute) I40
— Clear-flute .............................. I4O
— Oboe-flute .............................. I4O
Suabe-flute ........................... I4O
— Celestina .............................. I4O
—- Tenth, Double Tierce, Decima ... I40
— Twelfth, Duodecimo ............... I4.I
— Fifteenth, Super-octave ............ I4 I
— Block-flute (common, or ordinary
flute) ................................. I4 I
Piccolo ......... ....................... I4 I
— Flageolet .............................. I4I
— Tierce, Seventeenth.................. I4 I
Larigot, Ninteenth, Octave-twelfth I4I
— Octave-fifteenth, Twenty-second I4I
— Doublette .............................. I4 I
Sesquialtera ........................... I42
– Mixture ................................. I42
Furniture .............................. I43
— Cornet ............ . . . . . . . . . . . . . . . . . . . . . I43
— The Mounted Cornet ............... I43
— Echo Cornet........................... I43
Double Trumpet ... . . . . . . . . . . . . . . . . . . I44.
— Double Bassoon, Contra Fagotto I44
— Double Hautboy ..................... I44
Trumpet ... . . . . . . . . . . . . . . . . . . . . . . . . . . . I44.
— Horn ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I44
— Cornopean... . . . . . . . . . . . . . . . . . . . . . . . . . . . I44
— Trombone POSaune .................. I44.
— Ophicleide, Tuba Mirabilis......... I44.
— Hautboy ... . . . . . . . . . . . . . . . . . . . . . . . . . . . I45
— Bassoon Fagotto ............ . . . . . . . . . I45
— Clarionet, Cormorne, Cromorne,
or Krumm-horn, Cremona, Corni
di Bassetto . . . . . . . . . . . . . . . . . . . . . . . . . . . I45
— Corno-flute *
Page
Stops, Vox Humana........................ I45
Clarion ...................... tº t e º e s t t tº I45
Octave Hautboy ..................... I46
— Octave Clarion......................., I46
— of various sizes, founded on a
phenomenon in nature ............ I47
reasons for marking their length
on the knobs ........................ I49
theoretical exceptions to certain... I49
— particulars concerning the scale and
balancing of ........................ I5 I
the correct use of ..................... I93
general rules for the use of ......... I93
character of tone of some of the
leading ….......... I94.
the combination of, so as to pro-
duce any required strength ...... I96
their arrangement on the sound-
board ...…................... 46
the proportionate division of a
given number of, among the
Several departments ............... 258
various matters connected with the
division of, and their selection
according to their size ... 258 to 264
— (Compound) considered ... 265 to 277
(Pneumatic draw) action............ 65
Suabe Flute ................................. I4O
Sub-bourdon ................................. I34
Suggestions for the consideration of
those who have to superintend the
construction and erection of an or-
gall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 to 226
Swell (the), described ..................... 9I
Swell-box (the), how it should be made 294
Swell Pedal (the), considered ............ 282
Square and tracker-work .................. 53
T.
Table (the).................................... 35
Temperament, the phenomenonin nature
that occasions its necessity, and
the different systems ............... I6o
unequal ................................. I6 I
Perfect ................................. I73
– equal .................................... I74.
a reason in favour of unequal...... 176
illustrations of Sacred music as
Sounded on an unequally tem-
pered organ ........................ I64
unequal, advocated on the score
that it preserves a distinctive
character of key..................... 176
— equal, recommended on the same
grounds .............................. 177
as the only source of distinction of
key questioned ..................... 178
characteristics of equal............... I79
Tenth, Double Tierce ..................... I4O
Tertian ....................................... 273
Tierce .......................................... I4 I
Tone, extent of, in an Organ ............ 236
Tremulant (the), described ............... 94.
Trombone .................................... I44.
Trumpet ....................................... I44.
— (Double) .............................. I44
632 INDEX TO CONSTRUCTION OF THE ORGAN,
Page
Tuba Mirabilis .............................. I44
Tuning, laying the bearings, and extend-
ing their influence to the stops
generally.............................. 183
how the pitch of the several kinds
of Organ pipes is altered ......... I84
Twelfth Duodecima ........................ I4 I
V.
Velocity of Sound ........................... 239
Vibrations, the number of, produced in
a flue pipe ................................. II.8
Viol di Gamba .............................. I37
Vogler's (the Abbé) simplification system 290
Voix Célestes ................................. I37
Vox Humana ................................. I45
W. Page
Wald Flute.................................... I4O
West end of a church, examples of Con-
tinental organs so situated ...... 240
— its merits, as the situation for an
organ, considered .................. 24.I
an architectural objection to ...... 242
Sphith and Harris's parish church
organs usually So placed ......... 243
— Harris's proposal for a grand west-
end organ in St. Paul's Cathedral 244
Wind-chest, its use ........................ 27
Wind-trunks ........ . . . . . . . . . . . . . . * * * * * * * * * * * * 25
how they should be made ......... 294,
Wind, unsteadiness of organ ............ 2O
INDEX TO BRITISH AND FOREIGN ORGANS.
-º-O-ºs-
A. Page - Page
Abbeville Cathedral........................ 349 Brighton, St. Margaret's Church......... 586
Adelaide Town Hall........................ 456 Bristol Cathedral ........................... 580
Amiens Cathedral........................... 346 — St. James's Church .................. 578
— Church of St. Remy.................. 347 – Victoria Rooms ..................... 577
Amsterdam Old Church .................. 334 — Colston Hall........................... 579
New Church........................... 335 Brussels Cathedral ........................ 352
Angstadt Church ........................... 4.18
Antwerp Cathedral ........................ 35I C
St. Paul's Church..................... 35I tº gº º & sº. -
Asaph's (St.) Cathedral ................. , 591 cº, Presbyterian Church, Oak-
Ashton-under-Lyne Parish Church...... 53I cºme Cathedral..................... #
B Carlisle Cathedral........... . . . . . . . . . . . . . . . . 549
13asle, Minster Church tº £ tº º ſº tº g º is tº 0 lº & tº e º a tº 417 Cambridge, Trinity College. • * * * * * * * * * * * * 568
Beauvais Cathedral ........................ 350 St. John's College .................. 569
Beddington Church ........................ 590 Canterbury Cathedral....................... 572
Bedford, Wesleyan Chapel ............... 570 Cashel, Roman Catholic Cathedral ... 616
Belfast, St. Malachy * 615 Celle, Ludwig's Church .................. 377
Berlin. St. Mary's Čhurch"............... 388 Chester Cathedral.......................... , 524
Čarrison Church º 389 Chichester Cathedral........................ 573
Beverley, St. Mary's Church ..... § a s & 4 g & 544 3. Fºh º; º & º $ tº s is ºn tº a tº tº º ſº e g g g g º º tº 5 #
Birmingham Town Hall .................. 52O oblentz, Church Of Castor............... 35
Bolton Town Hall........................... 597 | colº gº rch • * * * * * * * * * * * * * * * 354, ;
St. Matthew’s ........................ 598 inºt; ºnuſen.....................
- All Saints’........................... — Jesuits' Church......................, , 355
Bombay 㺠e s & & e º e s e e º ſº tº is tº ſº g ; — St. Marie de Capitol ........ ....... 356
Hºwa Hai"........................... tº –Š. º. ... ;
Bonn Cathedral.............................. 357 • UTSulla. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
— Protestant Church .................. 358 Como º fisso........................ 43O
Boston Centenary Chapel.................. 553 Stmo, Croci sº...…. 43 I
Parish Church ........................ 554 Constance Cathedral tº $ tº º e º 'º e º g g º 8 & 9 ºf ; :::: 42 I
– (U.S.) Tremont Temple............ 445 Cork, St. Peter's and St. Paul's Ca-
Music Hall ......................... 4.46 thedral Church. a s a s s s a tº e s e º a 4 s p a s e s w tº e º a tº 617
Botzen Parish Church ..................... 425 Cracow, Evangelist's Church ............ 405
Bradford, Eastbrook Chapel ............ 536 Cranbrook Parish Church ...,,,,,,,,,,,. 573
Bremen Cathedral........................... 378
Breslau Cathedral........................... 398 T),
- Ditto, second organ.................. 399 || David's (St.) Cathedral...,,,,,,,,,,,,,,,,,, 592
- Ditto, third organ .................. 399 || Delft, New Church ........................ 338
— St. Mary's Church .................. 399 || Doncaster Parish Church.................. 547
— St. Elizabeth's Church ............ 4OO | Dresden Catholic Church.................. 392
— St. Bernhardin.............., , & & & J & © tº gº tº 4OI — Evangelist's Church.................. 392
— Ditto, second organ.................. 402 || – St. Mary's Church .................. 393
- St. Vincent ........................... 402 || – Church of St. Sophia ............... 393
— St. Ethelbert........................... 4O3 - Holy Cross ........................... 394.
— Eleven Thousand Virgins ......... 4O3 Dublin, St. Patrick's Cathedral ......... 612
- St. Salvator .................,,....... , 4O4 — Christ's Church Cathedral ......... 613
*mºg sº Church..................... 4O4 — Trinity College........................ 613
- St. Mauritius........................... 4O4 — St. Nicholas's Church ............... 614
— St. Barbara ......................., ... 405 | — St. Xavier's Church.................. 615
— University Music Room ..........., 405 | Dundee, Kinnaird Hall .................. 608
Brighton, Concert Hall .................. 584 | Dunham Massey ........................... 595
- Concert Room, Dome Pavilion..., 585 | Durham Cathedral ........................ 552
634
INDEX TO BRITISH AND FOREIGN ORGANS,
Page
E.
Edinburgh University ...................., 607
— Music Hall ........................... 608
Elberfeld, New Church .................. 416
Eltsleben....................................... 366
Ely Cathedral .............................. 568
Erdmannsdorf .............................. 372
Exeter Cathedral ........................... 581
F.
Florence, St. Gaetano ..................... 432
Frankfort, St. Paul’s Church ............ 362
Freiberg Cathedral (Saxony) ............ 395
Freiburg Cathedral (Bresgau) ............ 361
Protestant Church .................. 362
Cathedral (Switzerland) ............ 4O9
Fulda Town Church........................ 363
- G.
Geneva Cathedral ........................... 433
Genoa, Carigrana ........................... 433
St. Maria .............................. 432
Glasgow, City Hall ........................ 6O4
Organ for the Public Hall ......... 605
Gloucester Cathedral........................ 5I 5
Goerlitz, St. Peter and St. Paul ......... 396
— St. Mary’s Church .................. 397
Gotha, St. Augustine's Church ....,,... 364
— St. Margaret's Church............... 365
Gouda, St. John's Church .............., 337
- H.
Haarhausen ................................. 365
Haarlem Cathedral ........................ 33I
Hague (The), Lutheran Church ......... 338
Halberstadt, Great Church ............... 373
Halifax Parish Church ..................... 535
All Souls’ Church .................. 535
Halle, St. Maurice ........................ 370
Hamburg, St, Catherine's Church ...... 38O
St. Jacobi .............................. 381
— St. Michael's Church ............... 379
— St. Nicholas Church ............... 383
St. Peter's Church .................. 383
Hanover, Market Church.......,,........, 4O9
— Chapel Royal ........................ 4 IO
St. John's .............................. 4II
Henley-on-Thames ......................., 590
Hereford Cathedral ........................ 516
Hirschberg, Christ Church ............... 374
Huddersfield, Buxton Road Chapel ... 536
Hull, Holy Trinity Church .............. 545
— Wycliffe Congregational Church 546
Inverness Cathedral........................ 6II
- R.
Katscher, Catholic Church ............... 371
Kilkenny Cathedral ........................ 617
Kilmarnock, Corn Exchange Hall...... 6IO
Kronstadt Cathedral........................ 389
Krumols, Catholic Church ............... 372
L.
LONDON AND ITS ENVIRONs.
Albert Hall .............................. 463
Alexandra Palace .................. Q & e 468
Page
LONDON AND ITS ENVIRONS–Comid.
All Saints, Kensington Park ......... 5OO
Bow and Bromley Institute ............ 47O
Chapel Royal, St. James's ............ 476
Chapel Royal, Whitehall............... 473
Christ Church, Newgate Street ...... 478
Christ Church, Spitalfields ............ 506
Christ Church, Westminster Road ... 483
Church of St. Mary Aldermary, Queen
Victoria Street ........................ 489
Church of St. Peter, Eaton Square... 481
City Temple .............................. 5OO
Crystal Palace ........................... 467
Exeter Hall .............................. 462
Foundling Hospital ..................... 482
Greenwich Hospital ..................... 509
Hampton Court Palace ............... 5II
Holy Trinity, Paddington ............ 502
Lee Church, Kent........................ 509
Parish Church, Kensington............ 488
Quebec Chapel ........................... 498
Royal Normal College and Academy
of Music for the Blind ............... 472
Royal Sardinian Chapel, Lincoln's
Inn Fields .............................. 48o
South Hackney Church ............... '503
St. Andrew's, Holborn.................. 49 I
St. Ann's, Limehouse .................. 505
St. Gabriel's, Pimlico .................. 485
St. Giles's, Camberwell ............... 5OI
St. James's, Bermondsey ............... 497
St. James's, Piccadilly.................. 475
St. John the Evangelist, Wilton Road,
Pimlico ................................. 484
St. Katherine's, Regent's Park ...... 476
St. Lawrence Jewry, Guildhall ...... 4.79
St. Luke's, Old Street Road ......... 507
St. Margaret's, Westminster ......... 474
St. Martin-in-the-Fields ...... . . . . . . . . . 477
St. Mary-at-Hill
St. Mary's Catholic Church, Moor-
* * * * * * * * * * * * * * * * * * * * * * * *
fields .................................... 5C8
St. Mary's, Clapham .................. 5 IO
St. Mary's, Stoke Newington ......... 5O4
St. Matthew’s, Upper Clapton ...... 5C5
St. Michael's, Cornhill.................. 492
St. Michael’s, Chester Square......... 495
St. Olave's, Southwark ............... 497
St. Pancras Church ..................... 499
St. Paul’s Cathedral, Transept organ 457
St. Paul's, Knightsbridge.............., 486
St. Peter's, Cornhill ..................... 49 I
St. Saviour’s, Southwark............... 496
St. Sepulchre's, Snow Hill ............ 489
St. Stephen's, Walbrook ............... 493
Temple Church........................... 459
“The Hall,” Regent's Park ......... 47O
The Oratory, Brompton ... ...,,,,,, ..., 487
West London Synagogue............... 5O3
Westminster Abbey ..................... 458
Aquarium ........................... 465
Lancaster, St. Thomas's Church ...... 593
Llandaff Cathedral ........................ 581
Langensulza, St. Boniface ............... 368
Leeds Town Hall ........................... 537
INDEX TO BRITISH AND FOREIGN ORGANS, 635
Page
Lichfield Cathedral ........................ 52I
Liege, St. Martin's Church ............... 353
Liegnitz, St. Peter and St. Paul......... 397
Lincoln Cathedral........................... 553
Liverpool, St. George's Hall ............ 525
George Street-Chapel ............... 525
— Collegiate Institution ............... 527
— St. Margaret's Church............... 528
— Wesley Chapel, Stanhope Street 529
Loiz, Marien-Kirche........................ 37I
Lubeck, Marien-Kirche .................. 384
– Ditto, second Organ.................. 386
— Ditto, Second church ............... 386
Lucerne Cathedral ........................ 4I9
Ludlow Church.............................. 563
Lynn Regis Parish Church ............... 564
M.
Macclesfield, Christ Church ............ 543
Manchester Cathedral ..................... 603
— St. Luke's Church .................. 6oo
— St. Peter’s Church .................. 6O2
— Free Trade Hall ..................... 6OI
— Holy Trinity Church ............... 6OO
Margate, St. John's Church ............ 583
Melbourne Town Hall..................... 455
Merseburg Cathedral ..................... 369
Milan Cathedral ........................... 428
— Second organ ........................ 429
— St. Allesandro ......................., 429
Milbeitz ....................................... 418
Muhlhausen ................................. 368
Munich, Concert Room .................. 424
N.
Naumberg, St. Wenzel .................. 374
New York, Trinity Church ............... 448
Church of the Annunciation ...... 449
— Brooklyn Tabernacle ............... 45O
Trinity Chapel ........................ 452
New Zealand, St. Paul’s, Wellington... 454
Newcastle-on-Tyne, St. Mary's Ca-
thedral....................................... 56o
Town Hall ........................... 562
Newfoundland, St. John's Cathedral... 453
Northampton, All Saints' Church ...... 559
— Exchange Room ..................... 560
Norwich Cathedral ........................ 565
— St. Peter Mancroft .................. 566
Nottingham, St. Mary's Church ......... 555
— Mechanics’ Hall ..................... 557
Derby Road Chapel.................. 557
Unitarian Chapel ..................... 558
Notre-Dame-de-Lorette .................. 4I5
Nymengen, St. Stephen's Church ...... 336
O,
Oldham Parish Church..................... 533
Oxford Cathedral ........................... 588
Magdalen College .................. 587
– Keble College ........................ 588
P.
Paisley Abbey .........................., ... 610
Page
Paris, St. Denis, near .................. ... 34I
— St. Eustache........................... 344
— St. Genevieve ........................ 4I6
— St. Sulpice .........................., 345
— St. Vincent de Paul................., 342
The Madelaine ........................ 343
Perleberg ..................... * . . . . . . . . . . . . . . 388
Petersfield Parish Church.................. 55I
Prague, St. Dominico ..................... 395
Preston Parish Church ...................., 594
Q.
Quittelsdorf Village Church ,,,,,,,,,,,, 417
R. \
Radley College ............ * * * * * * * * * * * * * * ..., 589
Ratisbon, St. Emeran ..................... 425
Ripon Cathedral ............................ 575
Rochester Cathedral..,...,. “...... 57 I
Rome, St. Peter’s ..................... 426, 440.
— Second Organ ..................... ... 428
Rotterdam Cathedral ..................... 332
Octagon Church ..................... 333
Rouen, Church of St. Ouen.............., 348
S.
Salisbury Cathedral ...............,,,,,,,,, 534
Salzwedel, St. Catharine .................. 376
Scarborough, St. Peter's Roman Catho-
lic Church .........................., 550
— Bar Congregational Church ...... 550
Seville Cathedral ........................... 434
Second Organ ........................ 437
Sheffield, St. Marie's Catholic Church 548
Sherborne Abbey ........................... 563
Shrewsbury, St. Mary’s Church ......... 523
— St. Chad's Church .................. 523
Siena Cathedral.............................. 434
Southsea, St. Jude's ........................ 582
Southwell Collegiate Church ............ 555
Stockport Sunday School.................. 532
Strasbourg Cathedral ..................... 359
St. Thomas’s Church ............... 360
Protestant Church .................. 360
Stratford-on-Avon........................... 5I9
Stutgard, Stiftskirche ..................... 42I
Jews' Synagogue ...................., 422
T.
Tankersley.................................... 543
Tewkesbury Abbey ........................ 515
Tonbridge Wells, Trinity Church ...... 57I
Torquay ....................................... 5.I.3
Tours .......................................... 347
Trebnitz, Catholic Church ............,,. 375
Triebel, State Church ..................... 34Q
|U,
Ulm .......................................... 4 II
Utrecht Protestant Church ...,,..... , , , , , 339
V.
Verdun Cathedral........................... 377
636
INDEX TO BRITISH AND FOREIGN ORGANS.
Page
Vienna Cathedral .,,..., tº , t d º ſº tº tº 8 ............ 406
— Lutheran Church ..................... 4O7
— Minorites’ Church ...,,,............ 408
— St. Michael's Church .,,,,,,,,,,,,,, 4O7
– St. Peter's Church .................. 408
W.
Waltershausen .............................. 366
Warrington Parish Church ............... 594
Warsaw Lutheran Church ............... 4O6
Wednesbury Town Hall .................. 596
Weingarten, Benedictine Monastery ... 423
Weissenfells ................................. 376
Wells Cathedral............................... 576
Winchester Cathedral .,,,,,,,,,,.......... 574
3.
Windsor, Chapel Royal .................. 512
Windsor Castle, St. George's Hall...... 5I3
Winterthur, Principal Church............ 42O
Wismar, St. Mary's Church............... 387
Worcester Cathedral........................ 517
— Transept ......... . . . . . . . . . . . . . . . . . . . . . 518
Y.
Yarmouth Parish Church.......,,,,,,,, ..., 567
York Cathedral .............................. 539
— The Nave Organ ..................... 54I
— New Street Wesleyan Chapel ... 542
Z,
Zerbst, St. Nicholas ...,,,,,,,,,,,,,,,,,,,, , 367
HENDERSON, RAIT, & FENTON, GENERAL PRINTERS, MARYLEBONE LANE, OXFORD ST., W.
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