CHAPTER VI.

THE MINOR DETAILS OF AN ORGAN.

Room in the Loft.--Loft should not be used as a Singing

Gallery.--Reversed Key-boards.--Black Keys for Naturals,

&c.--Rows of Stops, perpendicular, horizontal.--Varied Forms of

Pedals.--Music Desk.--Lights.--Looking Glass.--Clock.--Carving

between the Pipes.--Fox-tail Stop.--Electric and Pneumatic

Actions.

It is a pity that many small things about an organ are not a little

more cared for. The cramped room in the loft is uncomfortable for the

player; he is often jammed between the two cases, or his back touches

the balustrade of the gallery, rendering it a matter of difficulty for

any one who may be in the loft with him, to get from one side of the

instrument to the other, which is troublesome if the player requires

assistance, as is sometimes wanted; and a loft should have comfortable

sitting and kneeling accommodation: an organist and those with him in

the loft ought to have the means of following the service, and hearing

the sermon, with a certain amount of ease. The organ-loft being used

as a singing-gallery is to be avoided, except when it is a spacious

gallery, and even then the organist should have plenty of elbow room,

and be screened off more or less from the singers. A reversed key-board

rather complicates the mechanism, and therefore should be avoided, as

the supposed advantage of the player being able to see what is being

done in the church is problematical, for with his music before him,

it is next to impossible for him to do so. The organist at Exeter

Hall used to face the conductor, but some years back the key-board

was re-arranged in its usual position. The organist’s place between

the Great and Choir of Father Smith’s organ at Durham, when it stood

on the north side of the Choir, was as good as could be wished. Black

keys for naturals, and white (ivory) for the sharps look well: they are

sometimes to be seen in old instruments, and should be retained; the

contrast between them and more modern key-boards, which have a strong

harmonium or American organ look, is in their favour. Every player has

his own views as to whether the old perpendicular rows of stop-handles,

or the French horizontal rows, are the best, and no one form of pedals,

plain, concave, radiating, or both concave and radiating, gives

universal satisfaction. A good music-desk should be fixed to every

organ: in general they are ricketty things, and will only hold a little

octavo hymn-tune book. The lights, be they candles or gas, should be

securely fixed, and not liable to be knocked against by the player.

A looking-glass, which should be a part of the organ, and not a

shaving-glass hung up with string and nails, should be fixed so that

the player can see down the church; and something better than fastening

with a pin to the side of the desk a shabby bit of paper with the list

of music, &c., might be arranged. In England, Holland, and Normandy,

a clock is occasionally part of the organ case, sometimes on the

Great, and sometimes on the Choir case, and it is a useful accessory.

Sometimes when there is no Choir Organ, it is inserted in the front of

the gallery. In Whitehall Chapel a clock hangs from the ceiling under

the organ-loft, a puzzle how any one can get at it to wind it up. In

some few organs carved wood-work is introduced between the feet of the

pipes, so as to fill up the triangular space. The pipes in the towers

of St. Lawrence, Jewry, have a sort of tall leaf between them. From

a French work I give the following extract: “A la tribune de l’orgue

de la Cathédral de Barcelonne, on voit une tête de Maure suspendue

par son turban. Lorsque les jeux les plus doux se font entendre, la

figure frémit; mais si les sons augmentent de force, ses yeux roulent

dans leurs orbites, ses dents s’entre-choquent, et toute la face est

en proie à d’horribles convulsions. Le méchanisme qui produisait ces

effets a été supprimé.” This must be the delight or horror of small

children, and no one would dream of such an addition to a modern church

or concert-room organ, neither would the fox-tail stop be inserted,

although a person who was fond of “curios” might put them into a

chamber instrument. I do not make more than the passing remark on the

electric and pneumatic actions, that they are very valuable adjuncts

to a large instrument, and afford great facilities in many ways to the

player, as they are well explained and illustrated in the last (1870)

edition of Hopkins’s “Organ.”

NOTES ON ORGANS AT HOME AND ABROAD.

NOTES ON ENGLISH ORGANS.

Although English cases cannot in general, in size and carving, compete

with their compeers on the continent, many of them are very good, and

might be studied by modern architects and builders. The contents of

our old instruments are less than those of the same date in France,

Germany, and Holland, and the Pedal Organ was for many years neglected.

Our modern organs now can vie with any; and if their cases were better,

they could hold their own against their foreign rivals. There are some

good modern cases, but they are the exception and not the rule.

I now give my notes, which from time to time I have made, of our

English instruments.

LONDON.

_FATHER SMITH’S ORGAN IN ST. PAUL’S._--This instrument, when it stood

where it was originally intended to be, on the Choir Screen, both

looked and sounded well. The case, which was a very exceptional one for

Father Smith, who hardly ever varied from his four-tower arrangement,

had fine carving by Grinling Gibbons, and, with the Choir Organ in

front, harmonised well with the handsome oak Stalls. Some years ago it

was pulled down and put over the Stalls on the north side of the Choir,

where, to my taste, it did not look or sound well, and the Choir case

was placed in front of the large transept organ, where it looked small

and out of place. The old case is now divided, and placed on each side

of the Choir, the old Choir case put in its proper position, before one

half of the Great case, and a new Choir case of similar design made

to complete the other. The contents are by Willis, and it is a good

specimen of a modern cathedral organ.

_ALL HALLOWS, LOMBARD STREET._--A pretty case of peculiar design, which

used to stand in the gallery at the west end of the Church, but is now

placed on the floor in the south-east corner. The case consists of two

towers, one on each side of the instrument, with a circular opening

between them, filled with pipe-work, above which stands a small tower,

with a flat of pipes on each side. There is a quaintness about it which

I like.

_CHRIST CHURCH, NEWGATE STREET._--Has a large fine organ standing at

the west end of the Church; its four towers, surmounted by mitres

and crowns, give it a Church and State look. Although the case is

large, there is nothing very striking about it; but the quality of its

contents is good.

_ST. CLEMENT’S, EASTCHEAP._--The organ stands on the south side of the

Church; it formerly stood at the west end, and is very similar to that

at All Hallows, but of a more elaborate design, consisting of two large

towers, between which is an oval of pipes, upon which stands a small

tower, with an oval of pipes on each side, above which stand two small

flats of pipes. Modern taste has heavily painted the pipes; in fact,

I never saw so much solid paint put on metal pipes; and in my opinion

when they were plain gilt they looked much better.

_ST. LAWRENCE, JEWRY._--The organ, which stands at the west end of the

Church, has as fine and as correctly designed a case as can well be.

The carving is excellent, and the old French rules for designing

an organ case have been carried out with the best effect. Since I

sketched it, a new inside has been put into it, and the case enlarged

in very good taste. It is now, perhaps, to be critical, a little too

square in form, but it ranks among the best in London.

[Illustration: S^{T.} LAWRENCE JEWRY

3^{RD.} DEC^{R.} 1870.]

_ST. MAGNUS THE MARTYR, LONDON BRIDGE._--This organ, remarkable as the

first which had a swell, is rather peculiar in design. The dark wood

carving is good, and there is a quiet look of solid workmanship about

the case which is much to be commended.

[Illustration: S^{T.} MAGNUS THE MARTYR--LONDON BRIDGE.

MAY 1871.]

_ST. OLAVE’S, SOUTHWARK._--The organ, with four towers, and famous for

having a thirty-two feet stop on the Great Organ, after the manner of

large German instruments, stands at the west end, in a good plain case,

but one that would hardly be worth adopting as a model for another

instrument.

_ST. SEPULCHRE’S_ has a handsome large organ, with a Choir case in

front. The wood-work is fine, the mouths of the pipes nicely shaped,

and the effect of the angular tower in the centre good. The case, I

should think, must have looked better before the two wings of large

pipes were added.

[Illustration: S^{T.} SEPULCHRE--SNOW HILL.

16^{TH.} MAY 1871.]

CHESTER CATHEDRAL.

The new organ, erected in 1876, stands in a stone loft, with marble

pillars, under the north arch of the centre tower. It has an abundance

of carved Gothic wood-work, and the pipes are plain gilt. The mouths

of the large pipes are shaped in the French style, but appear to me a

little exaggerated. On the Choir Screen stands the Echo Organ, which

puts me in mind of that in Notre-Dame de Bruges, on a very small

scale. The thirty-two feet pedal pipes (wood) stand on the ground at

the end of the north transept. They were incomplete when I saw them

in November, 1876, and I should very much doubt if they will prove

effective. Water-power and a gas-engine have been tried for blowing,

and did not succeed, and a steam-engine was being erected.

DURHAM CATHEDRAL.

A fine organ of Father Smith’s usual pattern formerly stood, with

its Choir Organ in front, on the Choir Screen. Some years ago it was

removed and placed on the north side of the Choir; and, in 1876, has

given place to a new divided organ, by Willis, half standing on each

side of the Choir. The arrangements of the old organ loft were very

comfortable; I mention this, as but too often the loft is so cramped

and inconvenient that the player can never be quite at ease.

YORK MINSTER.

One of our largest cathedral organs stands on the magnificent Choir

Screen. It is a huge, square mass of painted pipes and Gothic carving.

The most picturesque part of the instrument is the tuba, the pipes of

which are arranged horizontally, pointing down the nave. This stop is

the best of its kind I know.

This is but a meagre account of English organs, as it only includes

those which I have had the means of studying: I ought to have written

about the Temple organ, that in Westminster Abbey, the huge instrument

in the Albert Hall, and the one in the Crystal Palace. That in the

Temple has been described, much better than I can do it, by Edmund

Macrory, in his “Few Notes on the Temple Organ.” I hope that some

day the Abbey authorities will see how poor, not in tone, but in

appearance, their present organ is. They have ample space to erect a

magnificent case. The Albert Hall organ is an attempt at a new style

of case, which I think is a failure; and the Handel organ has a very

ordinary (except for its size) façade, with four towers, and the usual

painted pipes.

NOTES ON FRENCH ORGANS.

ABBEVILLE.

_ST. WOLFRAM._--A fine organ stands in a gallery which fills the first

compartment of the nave, so that the case stands well away from the

west window. The great case has five towers, of five pipes each, the

smallest in the centre, on the top of which is a winged angel, with a

sword in one hand and a scroll in the other. On each side is a flat

of five pipes, then a middling-sized tower, beyond these are flats of

four pipes each, and then two great towers, which overhang the sides

of the case. The Choir Organ, which stands in front, consists of two

flats, of ten pipes each, and three towers, the largest in the centre,

each containing seven pipes. The Accompaniment Organ (by this term I

mean an organ standing in the Choir, to accompany the Priests’ voices)

stands on the north side of the Choir, in a plain modern flat-topped

case, with a little Gothic work about it. It is played from a reverse

key-board in the Stalls. Tone fair.  1875.

[Illustration: S^{T.} WOLFRAM--ABBEVILLE

14^{TH.} MAY, 1875.]

_ST. SEPULCHRE._--The west-end organ has a plain classic face of oak,

with three towers, the tallest in the middle. The Choir Organ in front

has three towers, disposed in the same manner. In a Chapel, on the

south-east side of the Church, is a modern Gothic organ, the front of

which forms a sort of reredos to an Altar, an arrangement certainly not

to be commended.  1875.

AMIENS.

_THE CATHEDRAL._--The Great Organ, which stands in a gallery at the

west end of the Church, is one of the oldest in France. It is simple in

design, consisting of three flat towers, with flats between them. The

case is painted blue, and much gilded. It has a Choir Organ in front,

which is an addition, and rather Belgian in style. It is a good-sized

instrument, but does not look large enough for so spacious a Church.

In the north aisle of the Choir is an Accompaniment Organ, in a common

case, with no pipes; air-holes are cut in the wood-work, some of which

show through the backs of the Stalls, from which it is played. The

tone of the Great Organ flue stops is coarse, but that of the reeds

good, and on the whole the instrument is very suitable for the large

Cathedral in which it stands. The quality of the Accompaniment Organ is

very fair. In 1868 I heard them both played at Mass. The players were

good, especially the organist of the large instrument.  1868, 1875.

_ST. ----._--In a Church, the name of which I omitted to note, was an

organ, the front of which consisted of a painting of an organ front

(scene-painter’s work). It looked dirty, as if it had been up for

some time. I suppose they were either short of funds to carry out the

design, or there was some yet unsettled dispute pending; such things

happen nearer home than Amiens.  1868.

BAYEUX.

_THE CATHEDRAL._--The large organ stands at the west end of the Church,

with its Choir in front. It stands in a gallery, supported by a stone

arch thrown across the nave. The great case consists of a large central

tower with five pipes, surmounted by an urn, on each side of which is

a flat of seven pipes, then a small tower, containing one pipe only;

again a flat of seven pipes, and at each end of the case is a tower

containing three pipes, which are supported by figures. The Choir

Organ consists of a small tower of five pipes in the centre, with a

flat on each side, and beyond them a taller tower of three pipes. The

tone is full, but wanting in sweetness, and is deficient in bass. Under

the arch, on the north side of the Choir, next the centre tower, is an

Accompaniment Organ, in a very handsome case with three towers, and of

fair quality in tone. About this district, most of the organs stand on

an arch, thrown across the west end of the nave.  1866.

BEAUVAIS.

_THE CATHEDRAL._--The Great Organ stands in an exceptional position,

at the south end of the east aisle of the south transept, standing as

forward as the first column of the transept, leaving space between

it and the end of the transept, for bellows, &c. Although one of the

largest organs in France, the case is plain and simple, consisting

merely of three towers of five pipes each, the smallest in the centre,

with flats between, and a Choir Organ in front, consisting of a long

flat, with two circular towers. Above the Great Organ case, stands some

old painted screen-work. As far as the case is concerned, the organ

is not worthy of the lofty Cathedral in which it stands. I did not

hear this organ, so cannot judge of its tone. In the Choir is a modern

Gothic organ, with three gabled flats, and in the north transept is a

harmonium.  1875.

_ST. ETIENNE_ has, at the west end, a good-sized organ of dark oak,

standing in a gallery, supported by two square oak pillars. The Great

Organ case consists of three towers, with five pipes each. The largest,

which are at each end, are supported by angels, and crowned with vases,

and the centre tower is surmounted by an angel. The flats between the

towers are each divided in half by a pilaster. The Choir Organ, also

in dark oak, has three towers, the least in the centre. In the spaces

between the Great Organ case and the sides of the nave, are wooden

arches filled in with lattice-work, behind which is placed a quantity

of pipe-work, so that the organ is really larger than it appears to be

at first sight.  1875.[B]

[B] In the Museum at Beauvais are two curious organ pipes, with

raised mouldings and painted decorations, which I believe

are some of the original pipes of the old organ at Gonesse.

[Illustration: S^{T.} ETIENNE--BEAUVAIS

18^{TH.} MAY, 1875.]

BOULOGNE.

_THE CATHEDRAL._--Over the west door stands a large modern organ,

consisting simply of panels of open work, and without any pipes

showing.  1875.

CAEN.

_ST. ETIENNE._--At the west end is a large organ, with four towers;

those at the side of the case are borne by giants. In front stands the

Choir Organ, consisting of two flats, and three towers of five pipes

each, the least in the centre. Under the north arch of the centre tower

(the Choir reaching as far as the western piers of the same) is an

Accompaniment Organ of modern Gothic work. In the middle of the Choir

is a harmonium, which I was told was for the boys.  1866.

_ST. JEAN_ has a handsome organ, with its Choir Organ in front. It also

shows, under the arch against which it stands, a little front facing

the west entrance.  1866.

_ST. PIERRE._--At the west end stands a large old organ, with its Choir

in front, as usual, and on the south side of the Choir is a small

Accompaniment Organ.  1866.

_ST. TRINITÉ._--In the north transept stands a shabby-looking organ.

This handsome Norman church should have something more worthy of

it.  1866.

COUTANCES.

_THE CATHEDRAL._--At the west end of the church, supported by four

pillars, arranged two and two on each side, stands a fine organ

with the customary Choir in front. Among the sketches of David

Roberts, which were sold after his death, was a very good one of this

instrument. Under the north arch of the centre tower, stands a small

modern Gothic Accompaniment Organ, consisting of four panels with

flat tops. It is played from the front row of the Choir Stalls, the

Choir, as at Caen, extending as far as the western arch of the centre

tower.  1866.

_ST. NICOLAS._--At the west end stands an old organ in a very

English-looking case, with three towers, the largest of which is

in the centre. As the case is flush with the front of the gallery,

the key-board must be either at the back, or on one side of the

instrument.  1866.

_ST. PIERRE._--In a gallery, standing across the western bay of the

nave, unsupported by pillar or arch, stands the organ with its Choir in

front, in a very ordinary case.  1866.

DIEPPE.

_ST. JACQUES._--Supported on wooden pillars at the west end of the

church, is a large early Renaissance organ, with a Choir in front, in a

dirty condition.  1866.

_ST. RÉMI_ has an organ very similar to St. Jacques, not quite so old,

which, when I saw it, was in a very shabby state.

DIJON.

_THE CATHEDRAL._--The organ is in a Grand case at the west end. By some

people it is considered one of the finest cases in France. I have never

been able to get a drawing or photograph of it, and omitted to sketch

it myself.  1855.

LAON.

_THE CATHEDRAL._--At the end of the north transept stands the very

picturesque Great Organ, with its Choir in front. It has five towers,

the two largest of which, supported by giants, stand at the sides, and

the smallest occupies the centre. The Choir Organ has three towers,

the least in the middle. Wood pipes, coloured red, are placed on each

side of the Great Organ, with bad effect. The tone of the instrument

is reedy and weak, and the wind short. The Accompaniment Organ, in

an ordinary flat modern Gothic case, stands on the north side of the

Choir.  1868.

LISIEUX.

_ST. PIERRE_ (_formerly the Cathedral_).--A good sized organ, of a fair

Gothic design, is on the north side of the Choir. It is played from the

Stalls. There is no organ at the west end, which is rather unusual in a

large French church.  1866.

_ST. JACQUES._--The church was so dark that I could only make out that

the organ, which stood at the west end of the church, had four towers,

and the Choir in front, three. The case might have been an old one,

half Flamboyant, and half Renaissance, or perhaps modern Gothic.  1866.

LYONS.

_THE CATHEDRAL._--On the side of the Choir is a sweet-toned organ, a

drawing of which is given in “Le Facteur d’Orgues.” 1855.

PARIS.

_NOTRE-DAME._--A gigantic organ (the contents of which are by Cavaillé)

stands at the west end of the church, in a fine old case of five

towers, the largest of which are at each end of the case, and in the

centre is the smallest, surmounted by a clock. In place of the usual

Choir case is a console containing the keys, enabling the player to see

down the nave. The organ is supported partly by a vaulting of stone,

and partly by a wooden gallery, which, although no doubt perfectly

correct, appears to me rather mean. Over the Stalls, on the north side

of the Choir, is a small Accompaniment Organ, the wood-work of which

does not harmonise well with the Stalls.  1868.

_ST. EUSTACHE._--This church has three organs. At the west end is the

Great Organ, with Choir in front, the case of which is of a rather

unusual but handsome pattern. On the south side of the Choir is a

good-toned Accompaniment Organ, in a plain case; and on the south side

of the Lady Chapel is a little five-stop organ, with a plain case,

composed of two flats.  1868.

RHEIMS.

_THE CATHEDRAL._--The Great Organ stands in the north transept, in

a very fine case, part Flamboyant and part Renaissance. It has five

towers, the largest of which stands in the centre, the next in size at

each end of the case, and the least occupy the intermediate positions.

The Choir Organ in front has three towers, the tallest of which are at

the ends. In the flats, of which there are four, two and two together,

are ovals over the pipes, also fitted with pipes: the inner ovals had

the smallest pipes I have ever seen put in front of an organ. The full

tone of the instrument is very good; to be critical, a little wanting

in diapason. The solo stops are good, the vox humana fairish, and the

tremulant effective. The player knew well how to use the instrument.

On each side of the case stand some pipes painted white, which are by

no means so conspicuous as might be expected. The Choir Organ, for in

this case it can hardly be called merely an Accompaniment Organ, stands

on the south side of the Choir. Architecturally speaking, it stands

in the nave, as the Choir extends three bays down the nave. It is

modern Gothic, with a lofty tower in the centre, surmounted by a high

pinnacle, and a sloping flat of pipes on each side. It has a good full

tone; and, when I heard it, was exactly in tune with the large organ;

so it was a great treat to hear one respond to the other. It has two

rows of keys, and a pedal; and the stops were arranged on each side

from the key-board down to the pedal, which cannot be convenient to the

player. On a week day, I heard a very young man accompany the mass; he

played very well and steadily, and when his services were not required,

attended to the service in a manner which some organists might follow

with advantage. Above the Great Organ stands a good rose window.  1868.

[Illustration: RHEIMS CATHEDRAL

17^{TH.} AUGUST 1868.]

_ST. ANDRÉ._--The organ stands on the south side of the Choir; it is in

a flat case of carved oak, in the modern Norman style, but where they

got their precedent, I do not know. However, it looked well, and the

tone was good.  1868.

_ST. RÉMI._--The organ is fitted into one of the north arches of the

nave, part of which is used as the Choir, as in the cathedral. It has a

plain flat front, and is played from the Choir Stalls. The stop handles

are arranged in the same manner as those in the smaller organ in the

cathedral.  1868.

ROUEN.

_THE CATHEDRAL._--At the west end, under a grand rose window, stands

one of the best organs in Normandy. Its gallery is supported by two

internal buttresses of white stone, or marble, on each side of the

grand entrance. It consists of five towers of five pipes each, the

largest, which are the outside towers, being supported by giants,

and surmounted by a statue. The two next towers have vases on their

summits; and the centre tower, which is the least, is crowned with a

clock. Between these towers stand four equal flats, with nine pipes

each, which are perhaps the only failure in this grand case. The Choir

in front has three towers, with five pipes each, surmounted with

vases, the least in the centre, and two flats of nine pipes each. The

culs-de-lampe have much open work about them. The organ gallery is

concave in plan. The tone of the Great Organ is good, the shrill stops

not being prominent, and the reeds not too loud. When I heard it, the

player could not be called first-class. The Accompaniment Organ stands

on the north side of the Choir; it has two gabled flats, with a narrow

gable tower between, of modern Gothic work. Its tone is fair, but

nothing particular.  1866, 1875.

[Illustration: ROUEN CATHEDRAL

21^{ST.} MAY, 1875.]

_CANTELEU._--The parish church is without an organ, but in the centre

of the Choir stands a harmonium or American organ. It is a pity that

a good church like this, in a wealthy suburb, is without a proper

instrument.  1875.

_ST. GEORGES DE BOSCHERVILLE._--A small village some little distance

from the city, with a famous Norman church, which has a small old

three-towered organ, with no Choir in front, standing in its west

gallery.  1875.

_ST. MACLOU._--The organ, which stands at the west end of the church,

has four towers of five pipes each, the largest outside, overhanging

the case. The two adjoining flats have seven pipes each, and the centre

flat, which is divided in half, has nine pipes in its lower division,

and thirteen in the upper, which is surmounted by a clock. The Choir

in front, has three towers; the centre, which is the tallest, having

seven pipes, the outer towers have five pipes, and the intermediate

flats seven. The organ gallery is supported by grey marble columns, and

on its south side has a very fine stone-staircase. The case has very

elaborate Renaissance carving, and above it stands a good rose window.

When I saw it in 1866, the organ had just been repaired, and the

pipe-work was brilliant and had well-shaped mouths. When I saw it again

in 1875, they looked very dull and out of condition.  1866, 1875.

[Illustration: S^{T.} MACLOU, ROUEN.

20^{TH.} MAY, 1875.]

_NOTRE-DAME DE BON SECOURS_ has, at the west end, a modern French

Gothic organ, with much gilding and plain pipes. The Choir Organ in

front is very small, merely a screen in front of the player. Behind

the Stalls, on the south aisle of the Choir, is a long low oak box,

containing a small organ, the key-board of which is in the Choir

Stalls.  1866.

_ST. OUEN._--The organ stands in a grand case, in a gallery supported

by white marble columns, at the west end of the church, with one of the

finest rose windows in France over it. The great case has five towers

with five pipes each, and four flats with seven each. The largest

towers overhang the extremity of the case, and are surmounted by winged

angels. The intermediate towers, which are half hexagons, have on the

southern tower, the statue of St. Cecilia, and on the northern, one

of King David. The centre tower, which is the smallest, has a figure

which I could not make out. Query, St. Ouen? The Choir case has three

towers of five pipes each, the least in the centre, with two flats of

seven pipes. This organ has very good Renaissance carving about it. In

a chapel on the north side of the Choir is a modern Gothic organ, the

mouths of whose pipes are well formed. The key-board is in the Choir,

and the trackers run under the side aisle.  1866, 1875.

[Illustration: S^{T.} OUEN--ROUEN

20^{TH.} MAY, 1875.]

_ST. SEVER_ (_on the south side of the river_).--The organ in this

church is curiously arranged. The west tower, which projects into the

church, is faced with marble, the lower part of which consists of a

large arch for the western door. It has on either side a round-headed

recess, holding on one side a painting of St. Paul, and on the

other, that of St. Peter. Above this is a large round arch, panelled

with oak, with a small Choir Organ in front, and the upper part of

the arch has pipes which follow its curve. Beyond this, can be seen

a circular west window, with a flat of pipes underneath, with oak

carving. On each side of this arch stand tall round arches, filled with

pipe-work.  1875.

_ST. VINCENT._--The aristocratic church of Rouen. The Tarif de Chaises

beats any regulation for letting pews that I am aware of in England. At

the west end is a Renaissance organ, with a Choir Organ in front, in

fairish condition. On the north side of the Choir is an Accompaniment

Organ, of the usual French Gothic pattern.  1866.

_ST. VIVIEN._--In a gallery at the west end is a large organ, very

similar to that in the Cathedral, the chief difference being, that in

place of the intermediate towers, are pilasters surmounted by statues.

The Choir Organ in front, which has three towers, projects very far

from the gallery. On the north side of the Choir is a small organ of no

particular style, consisting of three flats.  1875.

The three great organs in Rouen, in the Cathedral, St. Ouen, and St.

Maclou, have cases of which any city or town may well be proud.

ST. LO.

_ST. LO_ (_formerly the Cathedral_).--At the west end stands the organ,

with its Choir in front. The case is a handsome one, in the old French

style. It is not a large instrument, and its quality is noisy and

bad.  1866.

_ST. CROIX._--A modern Gothic organ stands at the west end, wanting the

usual Choir Organ in front.  1866.

ST. RICQUIER.

_THE ABBEY CHURCH._--A poor Picardy village, with a magnificent church,

which has a good-looking organ, standing very high up in a vaulted

gallery, at the west end. Its oak case has five towers, the largest at

the ends, and the least in the centre, with an ordinary French Choir

Organ in front.  1875.

STRASBURG.

_THE CATHEDRAL._--I include this organ among French organs, as when I

saw it, it belonged to France. Silberman’s fine organ projects from

the north triforium in the nave, its Gothic case, painted and gilded,

is very handsome, and when I saw it, it looked as if it had just been

put into good order. The case consists of a large central tower, with

a flat on each side, beyond which are carved oak wings, with much

gilding. Its Choir Organ, which projects in front, is very similar in

pattern. Its quality is sweet, but a little muffled. However, I did not

hear its full power. It was played by a lady, a good performer, who

had presided at the instrument for some years. This is one of the best

hanging organs I know, and without looking unwieldy, holds forty-two,

a fair number of stops. It received considerable damage during the

siege.  1868.

TROYES.

_THE CATHEDRAL._--A fine organ stands at the west end of the church,

under a grand Flamboyant rose window. It is proposed to remove the

stone vault on which it stands, and to place the instrument, which is

said to have been brought from the Abbey of St. Bernard, at Clairvaux,

on iron girders, so as to allow the rose to be better seen. It has

five towers, that in the centre containing the five largest pipes,

surmounted by King David, with his harp; on each side of which is a

flat containing nine pipes, then a little tower of five pipes, above

which is an angel, who holds festoons of flowers, which come from the

centre and end towers. Next comes a flat of eight pipes, beyond which

are the end towers, with five large pipes, supported by giants, and

crowned with a sitting angel, playing on a violin. The Choir Organ has

three towers of five pipes each, the smallest tower, which is in the

centre, carries a shield, and the end towers have each an angel. The

base of the Choir Organ is stone, and on each side of the Great Organ

case stand large wood pipes. The wood-work of the case is dark in

colour, and the carving elaborate, with no gilding, and the pipes are

plain. The Accompaniment Organ stands on the north side of the Choir,

with a reversed key-board, played from the Stalls. Its pipes are plain,

and the wood is left its natural colour. Its style is ultra-Gothic,

minus the correct painting and gilding.  1869.

[Illustration: TROYES CATHEDRAL

2^{ND.} SEPT^{R.} 1869]

_ST. JEAN._--At the west end is a fair-sized organ, with a Choir Organ

before it, both having three towers, the smallest in the centre.  1869.

_ST. NIZIER._--On the north side of the Choir stands an organ of modern

Gothic work, with its key-board reversed.  1869.

_ST. RÉMI._--An organ, the design of which is modern Gothic, stands at

the west end.  1869.

* * * * *

The figures given at the end of each description, are the dates at

which I saw the different instruments.

Unless it is stated that the pipes are gilded or painted, it is to be

understood that the pipes in foreign organs are left their natural

colour.

NOTES ON BELGIAN ORGANS.

ANTWERP.

_THE CATHEDRAL_ (_Notre Dame_) has a grand instrument at the west

end, standing in a gallery of black and white marble, supported by

scagliola columns on black plinths. The gallery projects very much in

front of the organ, so as to allow room for an orchestra. The centre

tower contains seven pipes, and has on each side a bowed compartment

of seven pipes, and next a flat of six pipes. These have over them

a seated angel, so as to fill up the space between the centre and

the next towers, which each contain five pipes. The next is a bowed

compartment of three slender pipes, then a flat of three pipes, and at

each end is a tower of five pipes surmounted by an angel playing on a

large lute. The centre tower is surmounted by a sitting figure with

angels, backed with carved work, above which is a winged angel holding

a palm branch. The intermediate towers have each a high finial, with

two angels holding trumpets. The oak work is elaborately carved, the

claires-voies are gilt, and between the feet of the pipes carved work

is inserted, which is also gilt. The mouths of the pipes, which, when

I saw them, were in dirty condition, are gilt. The west window appears

above the organ case, but the end of the Church is gloomy, and it is

difficult to make out detail. I did not much admire the tone of this

instrument.  1872.

[Illustration: ANTWERP CATHEDRAL

11^{TH.} SEP^{TR.} 1872.]

_THE ENGLISH CHURCH_ has a small organ in the west gallery, consisting

of one manual with ten stops and no pedal, the tone bad. The oak case

in the Renaissance style, with three towers, the smallest in

the centre. Although the pipes of the outer towers are arranged in a

semi-circle, the top is square, the gilded work at the top of the pipes

making a sort of capital, which looks very well.  1872.

_ST. GEORGE._--A new church, highly decorated, has at its west end a

divided Gothic organ, not otherwise remarkable.  1872.

_ST. JACQUES._--A semi-divided organ stands on a Choir Screen of black

and white marble, the front towards the west, has on each side next

the pillars of the church, a tower of seven pipes, then a small flat,

beyond which is a still smaller flat. A low straight piece of oak

carving joins this to similar work on the opposite side. The Choir

front consists of a low centre, which has a bas-relief of St. Cecilia,

below which is a small oval opening, which I fancy is useful to the

organist. On each side of this is a flat of six pipes, a tower of

five pipes, a flat of four pipes, and lastly, a tower of five pipes

surmounted by figures. This portion of the case is low, and looks like

a Choir Organ rather larger than usual. On each side of this work,

comes a small flat of five pipes, then a larger flat of five pipes,

and a tall tower of five pipes, all of which are crowned with figures

and carving. The feet of the pipes in these last divisions commence

about the level of the middle of those in the centre part. The mouths

of the pipes are gilt, and have gilded work between their feet. This

instrument is an excellent specimen of an organ standing on a Choir

Screen, and so arranged as not to injure the view up and down the

church.  1872.

_ST. PAUL_ (_Dominicans_).--The organ, with its Choir Organ in front,

said to be the finest in Belgium, and as far as the case and carving

is concerned it well may be, stands at the west end of the Church,

in a semi-circular gallery of black and white marble, with gilt

balustrades. The rough outline of the case may be said to be a steep

gable, with fantastic carvings above. The central portion stands

on a very high plinth, the middle tower, which is crowned with a

phœnix, standing above much curious carving, has five pipes carried on

“ponts,” and has on each side a double tier of eleven pipes, then an

angular tower, crowned with a lyre and two angels, beyond which is a

flat of seven pipes. All the wood-work is well carved, with a little

gilding judiciously used. On each side of this central portion is a

tower springing from a corbel, at a much lower level than the rest

of the work, so that the tops of the pipes, which are five, standing

on “ponts,” are about level with the tops of the lowest pipes in the

centre of the case. They are crowned with domes, from which dragons

peep, and are surmounted by winged angels bearing trumpets. The Choir

case has three angels on its central tower of seven pipes, on each

side of which are two tiers of small pipes, and then an angular tower,

surmounted by an angel. A wooden gallery joins the Choir case to the

inner angle of the outer towers of the Great case, and a like gallery

joins these towers to the walls of the nave. All this work overhangs

the marble gallery below, and its curved supports are beautifully

carved. The lower gallery contains the usual fittings of an orchestra,

the pipes are quite plain and the leaf of their mouths is rounded,

not sharp as in the Cathedral, or at St. Jacques, and no carving is

introduced between their feet.  1872.

The wood of all these organs is dark, not black, oak, and the sculpture

excellent.

[Illustration: S^{T.} PAULS ANTWERP

12^{TH.} SEPT^{R.} 1872]

BRUGES.

_THE CATHEDRAL_ (_St. Sauveur_).--On the Choir Screen stands an

elaborately designed organ. Its base is taller than usual, and the

arrangement of pipes somewhat complicated. In the centre is a tower of

seven pipes, with a flat on each side containing two tiers of pipes.

Above the cornice of this work, rises in the centre a tall tower of

seven pipes, crowned with much carved work, and surmounted by a large

figure. On each side is a flat of pipes, with an angel playing on a

trumpet in each corner. On each side of the organ stands a tower of

five large pipes, with elaborate cornices and wings. That on the south

side is surmounted by King David, and that on the north by St. Cecilia.

These towers overhang the case, and are joined to the centre work by

flats of seven pipes. The pipes are gilt in the English fashion, the

front facing the Choir consists simply of panels of carved open work,

with a Choir Organ in front, the pipes of which are gilt.  1872.

_ST. ANNE._--On the Choir Screen stands a little organ, with gilt pipes

and very elaborate carving.  1872.

_ST. JACQUES._--On the Choir Screen is a handsome organ, with good

carving. The side facing the Choir shows pipes in its two end towers

only, the rest being filled in with open work tracery.  1872.

_ST. JEAN_ (_chapel in the hospital of_).--The organ, not a very old

instrument, stands in a second gallery, at the west end of the chapel,

its pipes are gilt, and arranged somewhat in the German manner, showing

a Great and Choir front in one case.  1872.

_NOTRE DAME._--There is on the Choir Screen a very curious early

Renaissance organ case, forming the base of the rood. Its pipes are not

gilt, and it has a plain Choir Organ on its eastern side.  1872.

_LES SŒURS DE CHARITÉ_ (_chapel in the convent of_).--In the west

gallery is a small organ, standing flush with its front. It consists

of a single flat of bright tin pipes, and the wood-work is painted

white.  1872.

BRUSSELS.

_STE. GUDULE._--At the west end is an ugly divided organ case, with

very little work about it. In the front of its gallery is a hanging

Choir Organ, of bad Gothic. On the south side of the Choir, stands a

fair-sized harmonium.  1869.

_NOTRE DAME DES VICTOIRES._--A Renaissance organ stands at the west

end, the pipes plain, and the case dirty. It consists of a centre

tower, two curved compartments, and two outer towers, supported by

giants, and set at an angle of 45° with the front. The Choir Organ in

front is very similar in pattern; the upper part of the Great Organ

case has many carvings of musical instruments, &c., and a medallion

bearing a head in the centre.  1872.

GHENT (Gand).

_THE CATHEDRAL_ (_St. Bavon_).--A handsome organ stands at the junction

of the north transept with the Choir, which has three towers with five

pipes each; the two outside ones are supported by satyrs, and crowned

with angels holding trumpets. On each side of the centre tower, are

two flats of five pipes each, over which is much carving, with shields

supported by angels. Over the centre tower is a small three-sided

case, containing seven pipes in each compartment, surmounted with

tabernacle work, on which is a figure on horseback, query, St. Bavon?

The key-board of the organ is behind in a gallery, just under the

vaulting of the north aisle of the Choir, which has a small Choir

front facing the east; but I was told that this was really quite an

independent instrument. The arches under the organ are cased with

black and white marble, all the carving about the case is good, and

dates from the seventeenth century. The case is of oak, but after the

fashion of the country, painted oak colour. I objected to this, but was

informed what could I expect, when they were in the habit of painting

imitation marble on marble. The main case reaches about half-way up the

triforium, and the upper case more than half-way up the clerestory

windows. The tone is good, and from its quality, I should say, has not

been much altered from its original state. At High Mass I heard it very

well played. The soft stops I could hardly hear, on account of the

people perpetually moving in the Church.  1872.

[Illustration: CATHEDRAL (S^{T.} BAVON) GHENT.

5^{TH.} OCT, 1872.]

_THE BÉGUINAGE._--At the west end is an organ, not a very large one,

with its Choir Organ planted just in front of it, or else inserted into

the lower part of the case, German fashion. Its quality was not bad,

and was fairly played by one of the Béguines, who was seated at the

back of the instrument.  1872.

_THE ENGLISH CHURCH_ (_Temple Protestant_).--In the west gallery is a

small, poor-toned organ; it has three towers, the least in the centre,

which, however, stands higher than the others, from the plinth of the

case curving up in the middle. On each side is a flat, with two tiers

of pipes, and the cornice of the centre tower overlaps those of the

other towers, which gives a crowded effect to the case.  1872.

_ST. JACQUES._--The case of the organ, at the west end, is divided into

three parts, the centre one being lower than the others.  1872.

_ST. MICHAEL._--The modern organ at the west end of the church, is of a

peculiar and very ugly design.  1872.

_ST. NICOLAS._--At the west end is a modern Gothic organ, the front

of which consists of a gable, with a lofty tower and pinnacle in the

centre.  1872.

LIÉGE.

_ST. JACQUES._--At the west end is a very pretty Renaissance organ.

In the centre of the case is a large tower containing seven pipes,

on each side of which is a flat, with a double tier of pipes, then a

flat of four pipes, beyond which are semi-circular endings containing

three pipes, supported by figures holding trumpets, and surmounted

by tabernacle work. The lower part of the case is very tall, so that

from the gallery to the feet of the pipes is nearly half the height of

the instrument. In the front projects the Choir Organ, supported by

a stone bracket. It consists of a central tower of seven pipes, with

much carved work above, supporting a statue of St. Cecilia, with a

flat on each side, and semi-circular ends, filled with pipes. All the

work about this organ is very good, and by some it is considered the

prettiest organ case in existence.  1863.

LOUVAIN.

_ST. PIERRE._--The organ stands projecting from the east wall of the

north transept, and fills the space between the clerestory and half

way up the opening into the side aisles. The case consists of a tower

of seven pipes in the centre, with tabernacle work on the top, crowned

with St. Peter. On each side are tall flats, with a semi-circular

pediment, beyond which are semi-circular ends, supported by brackets.

It may be noted that the pipes in the semi-circular ends are very

slender, and their feet are longer than their bodies. The Choir Organ

in front is very similar in design. The carving about the case and

gallery is nice, without being anything particular, and the tone fair,

though rather deficient in power.  1872.

MECHLIN (Malines).

_THE CATHEDRAL_ (_St. Rumbold_).--The organ, which stands at the west

end, is an old ordinary-looking instrument. In the south aisle of the

Choir is a modern Gothic organ. In the Cathedral of the Primate of

Belgium one might expect that there would be finer instruments.  1872.

_ST. JEAN._--At the west end is a modern Renaissance organ. A white

plaster wall is brought so forward, that it stands flush with the front

of the case, the effect of which is not good.  1872.

_NOTRE-DAME._--In the south transept, over the Choir aisle arch, stands

an organ with its Choir in front, good in tone, and in a very clean

and good condition, so that I fancied it to be a new instrument. I

was, however, told that it was old. The pipes were left their natural

colour, and there was no gilding about the wood-work. It is a very

pretty instrument on a moderate scale.  1872.

NOTES ON DUTCH ORGANS.

AMSTERDAM.

_NIEUWE KERK._--At the west end is a large organ, with double shutters,

the lower half of the case being wider than the upper part. It is

painted mahogany colour, as well as the Choir Organ in front. It is

altogether a tasteless design. A second organ stands at the junction of

the nave with the south transept; it is closed with shutters, and is

a very good picturesque specimen of a small organ, as tasteful as the

west organ is tasteless.  1872.

_OUDE KERK._--At the west end, in a marble gallery, stands a fine

organ, the wall behind which is painted black. The case is bronze

colour, with white statues and decorations. The claires-voies and the

bases of the pipes have much gilding, and the mouths of the pipes

are also gilt. It has five towers, the centre and the two outer of

which are circular, the two others are angular. The central tower is

surmounted by a black-faced clock, with white and gold ornaments. The

southern circular tower has a statue of St. John, and the south angular

tower a shield bearing a “ship proper.” The north angular tower has the

arms of the town, and the north circular tower a figure standing by an

altar. The flats between the towers have each three tiers of pipes,

the central tower two tiers, seven pipes in the lower, and nine in the

upper. The angular towers have also two tiers, seven below and eleven

above. The outer towers have seven pipes each. The Choir Organ has a

central tower of seven pipes, with a flat on each side, containing two

tiers of pipes, ten in each; then an angular tower of seven pipes, with

half circles of ten pipes for a finish, above which are white recumbent

figures. On the north side of the Church is a little organ closed with

shutters, on which musical instruments are painted.  1872.

[Illustration: OUDE KERK AMSTERDAM.

25^{TH.} SEPT^{R.} 1872.]

DELFT.

_NIEUWE KERK._--A large organ at the west end, with a Choir Organ in

front, said to have a very fine tone. The case is painted a light

bright pink, and is very tasteless.  1872.

_OUDE KERK._--At the west end is a large organ, with its Choir in

front. Both have three towers, the largest in the centre. The pipes

have gilt mouths, and the case is painted light salmon colour. It is a

very similar design to the organ in the Nieuwe Kerk.  1872.

GOUDA.

_JANSKERK_ (_St. John’s_).--A fine organ with its Choir in front,

painted a cold dark brown colour, stands in a marble gallery, at the

west end of the Church. It is surrounded by a plaster curtain or

mantle, coloured blue, with a dull red lining. It has three towers; the

largest in the centre has seven pipes, and is crowned with two

angels, one of whom plays on a harp. On each side of the centre tower

is a flat, with angels over them, the one playing a flute, the other a

triangle; beyond which are angular compartments, joining the two outer

towers, which are surmounted by angels bearing trumpets. Under the

pipe-work stands coats-of-arms, blazoned and gilded. The front of the

organ, which curves forward, is supported by four Corinthian columns,

with gilt capitals. The centre tower of the Choir Organ has nine pipes,

with a coat-of-arms over, supported by lions, on each side of which is

a flat of pipes, beyond which are angular towers and curved ends. A

large white and gold bracket supports this portion of the instrument.

The balustrade of the gallery is wood-work, painted of the same colour

as the organ, with coats-of-arms blazoned thereon, and having a

handsome gilded cresting. The mouths of the pipes are gilt, and there

is much gilding about the case, &c. The marbles of the gallery are grey

and dove-coloured.  1872.

[Illustration: JANS KERK GOUDA

19^{TH.} SEPT^{R.} 1872.]

HAARLEM.

_GROOTEKERK_ (_St. Bavon_).--This famous organ stands in a marble

gallery at the west end of the Church, but the effect of its grand case

is somewhat marred, by the Dutch want of taste, in the way the case is

painted. The wall behind the instrument is painted a glossy black (the

rest of the Church being whitewashed). The statues, coats-of-arms, &c.,

on the top of the instrument, are painted bright white, their bases

grey marble, and the remainder of the case is painted with a light

tint of dull pinkish drab. The mouths of the pipes and the carving at

their tops and feet, are all brightly gilt. The support of the Choir

Organ is bronze, with a large and two small gilded angels on it. Under

the gallery is a white marble allegory, which I will not attempt to

explain, and the entire top of the case, except the outer towers, is

crowned with a mass of carving, with the arms of the town supported by

lions. The central tower consists of two tiers, the lower of seven, the

upper of nine pipes. On each side is a narrow flat, divided into five

compartments, the next but one to the top being occupied by a statue

playing on a musical instrument, and the rest filled with small pipes.

Next are angular towers, with their pipes arranged in the same mode

as the centre, beyond which is a flat, containing two tiers of pipes,

above which is a niche with a statue. Beyond this are the two outer

towers of seven great pipes each, the feet of which commence at a much

lower level than the rest of the pipes, so that the summit of these

towers is not so high as the rest of the instrument. That on the south

side is crowned with King David, and that on the north with a figure,

but whom it represents I never could find out. Outside the great tower,

on tall pedestals, stand angels with trumpets. The Choir Organ has its

tallest tower of seven pipes in the centre; a flat of three tiers of

pipes on each side; then an angular tower of seven pipes, and curved

ends. These last are surmounted by sitting figures. The balustrade

of the gallery has some elaborate carved open work above it, and its

supporting columns are of some sort of dark marble. The general tone

of the instrument is very good, but the vox humana is bad. The player,

though he could hardly be called first-rate, was very skilful in

showing off the quality of the instrument. All the fittings about the

key-board are clumsy; the black keys are topped with tortoiseshell. The

cornices of the towers greatly overhang, but the flats between being

small in proportion to the towers, and the intricacy of the general

forms, prevent the usual ill effect.  1872.

[Illustration: S^{T.} BAVON HAARLEM.

23^{RD.} SEPT^{R.} 1872.]

HERTOGENBOSCH (Bois-le-Duc).

_ST. JANSKIRK._--The organ case at the west end of this church is

perhaps the finest in Europe. The oak wood-work is very dark, and

profusely carved, without any gilding, and is in a good state of

polish. The top of the case from the ground is about one hundred feet.

The pipes, which, when I saw them, were in very bright condition, have

their mouths gilded. The centre pipes of each tower have a pattern

beaten upon their surface, and are gilt, with the exception of the

lower one on the centre tower, which is only partially gilt. The centre

tower, which is surmounted by a clock, under which is the Dance of

Death, or some such subject, has two tiers of pipes, seven below and

eleven above. On each side of this is a flat, divided into two tiers,

which contain, in the lower compartment, what may be called five double

pipes, or perhaps, more accurately speaking, it has ten pipes, with

their feet joined together, the heads of the lower ones standing on the

plinth, and the upper ones in their usual position. I could not see

how these pipes were supplied with wind, and I have a strong idea that

they are dummies. In the upper part were six double pipes arranged in

the same manner, and above are niches, figures, columns, and pediments.

Next come two angular towers, with a lower tier of seven, and an upper

tier of eleven pipes. And to finish the organ, instead of the great

towers, as at Haarlem, are two large flats corbelled out from the sides

of the instrument, containing five large pipes, and sloping towards the

wall behind. These are crowned with fantastic pyramids. The Choir Organ

in front has over its centre tower, which contains five pipes, a figure

of St. John with his Eagle, on each side of which is a flat with seven

small pipes, in its lower compartment, and in its upper compartment six

double pipes, similar to those in the Great Organ. Beyond this, is an

angular tower of seven pipes, with a vase on its summit, and a small

return compartment of pipes, joining the case to the gallery, which is

of elaborately carved oak, and supported by two grey stone pillars.

I did not hear the instrument, but was told it was nearly as good as

Haarlem.  1872.

[Illustration: S^{T.} JAN HERTOGENBOSCH

28^{TH.} SEPT^{R.} 1872.]

ROTTERDAM.

_GROOTEKERK_ (_St. Lawrence_).--At the west end stands a very large

organ. The centre tower, which is ninety feet high from the ground, and

is crowned with an angel holding a trumpet, has two tiers of pipes,

the lower containing fifteen, and the upper nineteen. On each side is

a flat with three tiers of pipes; then a flat of four tall pipes; and

at each end a tower surmounted with a vase, containing five pipes,

belonging to the thirty-two feet stop, and which look very long and

thin, as they have a rather narrow scale. On a bracket, outside the

north tower, is an angel playing on the lute; on the south side, one

who plays on the flute. The buffet, or lower part of the case, rises in

a curve to the centre; the Choir Organ in front, has its tallest tower

in the centre, surmounted by three angels; next to which is a flat of

two tiers of pipes, seven in each; then a flat of four pipes, and at

each end a tower of seven pipes. The organ loft is white, and supported

by eight Ionic columns, with bronze capitals, and the culs-de-lampe of

the three towers of the Choir Organ are also bronze. The pipes had gilt

mouths, the wood-work was all brown oak, much carved with festoons of

flowers, and sham curtains for claires-voies. I heard the organ at a

week-day evening service, the tone was good, but wanting in fulness. I

suspect I did not hear the full power.  1872.

[Illustration: S^{T.} LAWRENCE (GROOTE KERK) ROTTERDAM.

17^{TH.} SEPT. 1872.]

UTRECHT.

_THE CATHEDRAL_ (_St. Martin_).--The organ stands where the nave of the

Cathedral, which has fallen down, commenced, and beneath it is a pulpit

with a square sounding-board. It is a new instrument, of a light yellow

colour, in modern German Gothic. The great case consists of three equal

towers, of seven pipes each, the centre surmounted by King David, and

the others by pinnacles of open-work; and an open-work gallery joins

these together, beneath which are two flats, the upper part of which

is an elaborate Gothic window, the background of dark blue, with four

and twenty pipes in each, divided by the mullion of the window. The

Choir Organ consists of a large gable, of open Gothic work, between

two pinnacled towers of seven pipes each. In the centre is a sort of

Gothic window, with two flats of twelve pipes, and on each side, a flat

with a double tier of pipes, adjoining the towers. A gallery, decorated

with quatre-foils, connects the two organs. The mouths of the pipes are

gilt, and there is some gilding about the case, which cannot be called

a handsome one, as it violates all the rules of what a good organ case

should be.  1872.

_ST. NICOLAS._--At the west end is a very curious little old organ,

with a quaint Choir Organ in front, supported by a single square

column. It consists of two flat overhanging towers, with an angular

centre tower, rather taller, all crowned with Gothic pinnacle work.

The flats joining these towers, which rise to the centre tower, have

each fourteen pipes, above which are a set of pipes with two bodies,

two mouths, and two feet; in fact two pipes joined together at their

feet. I could not see how they could be supplied with wind. The Choir

Organ in front has three angular towers, with no flats between them;

the centre, the tallest, has seven pipes; the others have five pipes on

their outer side, and on their inner side pipes similar to those in the

upper part of the flats of the Great Organ. A small curved compartment

on each side, completes this case. The mouths of the pipes are gilt,

and there is some gilding about the case. It was dusk when I saw this

organ, which I am sure is worth a careful examination, as there is much

about it that is old and curious.  1872.

In the museum of the Archbishop are some painted shutters belonging to

some old organ, the bass being David playing before the Ark, and the

treble, David playing before Saul.  1872.

NOTES ON GERMAN ORGANS.

COBLENTZ.

_ST. CASTOR._--A west end organ, with a rather elaborate case, which

has the German peculiarity of the Great Organ case having, under the

usual pipes, pipes as of a Choir Organ. I imagine this organ was played

from the side.  1869.

COLOGNE.

_THE CATHEDRAL._--The organ stands in a wooden gallery at the end of

the north transept. The case, which is of a confused design, is not

good; part of the work is old. The Choir Organ pipes show, after the

German manner, in the lower part of the Great Organ case. The tone was

fair, but it was not sufficient for the building, and there was no

striking quality about it.  1869.

This organ is to be replaced by an enormous instrument, with at least

100 registers.

_THE MINORITES._--At the west end stands a large organ, said to be the

best in the city, and the little I heard at vespers was good. The pipes

were very dull and dirty. The case, painted white, and relieved with

gilding, is very curious. It stands right across the church, flush

with the front of the gallery, on which it stands. At each end is a

projecting tower, supported by figures, and containing seven pedal

pipes. In the middle of the gallery is the Choir Organ, the centre

tower of which is supported by a figure. Arches are thrown from this

organ to the towers on each side, on which, and above the Choir Organ,

stands the Great Organ case, a confused mass of angular and round

towers, curved and broken pediments, &c.

The player sat under the arch on the north side, but I could not see

the precise position of the key-board. The case was broad and shallow,

and stood about one bay clear of the west window, which was large and

handsome.  1869.

FRANKFORT.

_THE CATHEDRAL._--When I saw this church, it was under repair after the

fire, and the only organ in it was a small modern Gothic instrument,

which was evidently a temporary erection.  1869.

FREIBURG-IM-BRESGAU.

_THE CATHEDRAL._--The Great Organ is a hanging one, and is pendent

above a pillar half way down the north side of the nave. It was built

in 1515, and repaired in 1818. It has two flat towers of seven pipes

each, the largest being outside, with a V flat of 20 pipes between,

above which is a statue of the Virgin and Child, with scroll work all

gilt. The towers overhang the base on each side. The Choir Organ, which

consists of a flat of nine pipes, between two flat towers of five pipes

each, hangs in front of the organ gallery, which is a semi-octagon,

with gilt open-work, and its corbel terminates in an angel playing a

trombone. This organ is only played at the great festivals; the tone is

said to be good. Showing under the south-east arch of the choir, is an

organ placed on a platform, which fills up one bay of the south aisle.

Its date is about 1700. It has three flat towers of five pipes each,

the smallest in the centre with one pipe in each angle, so as to make

the towers project slightly in front of the two flats, which contain

ten pipes each. On each side of the case is a wooden screen containing

a wheel window. The towers are crowned with open Gothic pinnacles, and

the style is a mixture of Gothic and Renaissance. The organ gallery

has open wood work about it. Three bellows stand in a loft on a level

with the organ pipes. The blower stands on a floor level with the organ

gallery, and works the bellows by means of ropes coming through the

floor, as if he were ringing bells. The organ has but one manual, C C

to f^3 fifty-four notes, and a pedal from C C C to D, fifteen notes.

Its naturals are black and its sharps white. Its contents are:

Principal 4

Viole de Gambe 8

Quinte 3

Octave 2

Fagot Man. bass 8

Waldfloete disc^t 8

Octav bass 8

Sub-bass 16

Principal 8

Cornet (Qy.) 8

Bourdon 8

Floete 4

Mixtur 5 ranks

1 }

2 } Draw stops without names.

3 }

The Nave Organ in this Church is a very good specimen of a hanging

organ.  1869.

[Illustration: FREIBURG IM BRESGAU

21^{ST.} SEPT^{R.} 1869.]

_ST. ----._--A Church (near the statue of Schwartz) the name of which

I omitted to learn. At the west end in a very deep gallery, supported

by many columns, is an organ of brown wood, in the Teutonic taste of

the seventeenth century. It has a large centre tower, with a small flat

of little pipes on each side; then a painted tower, beyond which is a

wing of pipes, looking like the open shutter of a tryptich, the largest

pipe being outside. The Choir Organ, which stands well away from

the great case, has three towers, the least in the centre, with flats

between. All the ornaments are painted white, and the pipes stand their

natural heights, with carved work so fitted as to stand clear of them.

The irregular effect is peculiar.  1869.

INNSBRUCK.

_HOFKIRCHE._--In the Silver Chapel is an organ said to have belonged to

Philippina, who died in 1580. It is a curious old instrument, with a

montre of cedar, and all the work is very rough and clumsy.  1855.

_THE JESUITS’ CHURCH._--At the west end stands an organ in a heavily

designed case, painted white, with a very small Choir before it, not

higher than the front of the gallery. In the centre of the Great Organ

is a fanciful arrangement of pipes, forming a perspective. I may

mention that this Church has its flat roof painted so as to represent

three domes, a clever deception on first entering the Church. In the

Tyrol flat towers with seven pipes are common.  1855.

MAGDEBURG.

_THE CATHEDRAL._--At the west end is an organ having plain metal pipes,

and decorated with much bad modern Gothic work.  1863.

MAYENCE.

_THE CATHEDRAL._--In the north gallery of the western transept, stands

a small organ of last century work. It has two fronts, the chief

looking towards the west, and the other to the north. The case, which

is white, has much ornament about it. As the Cathedral was under repair

at the time I saw it, there may be some larger instrument in it which I

did not see.  1869.

MUNICH.

_THE JESUITS’ CHURCH._--The only note I took of the organ was that

it had a very low Choir Organ, not higher than the front of the

gallery.  1863.

PRAGUE.

_THE CATHEDRAL._--The organ at the west end is very much divided. In

the lowest gallery stands a sort of Choir Organ, above which in another

gallery stands a still smaller case, and again, above this, is the

Great Organ, which is a divided one. On the right of the entrance, in

a small side chapel, is the rudest organ I have yet met with. It is

closed with shutters, and a sort of screen of wood pipes stands behind

the player.  1863.

_THE MONASTERY OF STRAHOW._--The organ stands at the west end of the

Church, and another at the north side of the choir, to match which on

the south side is a painting of a similar organ.  1863.

SCHWARZ.

_PFARRKIRCHE._--This is a curious double Church, with two naves and

chancels, standing side by side. The organ stands at the west end,

and the Choir Organ in front goes round the pillar common to both

naves.  1863.

NOTES ON SWISS ORGANS.

BERNE.

_THE CATHEDRAL._--The organ stands at the west end. It was originally

built in 1727, and was repaired and greatly enlarged in 1847 by F.

Hass. It contains fifty-six stops and has four rows of keys. I did

not like the tone of the instrument, it was loud and hard, the reeds

and mixtures too prominent, the trumpet stops but ordinary, and the

vox humana bad. The organ was played well by the organist, who gave

us but a short exhibition of his skill. The old case is retained, and

consists of five towers of seven pipes each, separated by flats of

four pipes each. The largest tower is in the centre, surmounted with a

large vase and many carved flowers. The next towers in size are at the

extremity of the instrument, surmounted by angels playing on musical

instruments. The least towers stand in the centre of the intermediate

spaces, surmounted by large vases and carvings of musical instruments.

The gallery in which it stands is modern Gothic.  1863.

COIRE.

_THE DOM_ (_St. Lucius_).--At the west end is an organ, erected in

1815, containing thirteen stops, one manual, and a pedal. The case is

painted brown, picked out with green, and is certainly ugly. It stands

before a plain round-headed window, and may be called a divided organ.

At each end of the case is a compartment with an ogee top, containing

seven pipes, next to which is a compartment with a curvilinear top

and fourteen pipes, leaving the centre of the organ above the impost

clear for about the width of the window, except for a small frame,

with double ogee top, containing a single row of small pipes. On the

north side of the case are posted wooden trumpet tubes, and the tubes

of a similar stop appear over the smaller case on the north side. The

bellows are in a chamber on the north side of the organ, and a wooden

tube brings the wind down to it. I was told that behind the high altar

was a very old small organ, but I could not see it as the Church was

under repair.  1869.

FREIBURG.

_ST. NICOLAS._--This famous organ stands in a modern Gothic gallery

at the west end of the Church. The outline of the case (which is also

modern Gothic) is a large gable, having in the centre a tall tower,

with two tiers of seven pipes each. The compartments on each side

of this have each two tiers of pipes, between which is wood work,

containing a rose of Gothic tracery. Beyond this is a tall tower of

five pipes, then a flat of tall pipes, and the organ terminates at each

end with a tower of five pipes. All the work is crowned with pinnacles

and tabernacle work, the wood-work is pale oak, with gilding about it.

Although intended to be a handsome case I do not quite like it. The

tone of the organ is good, especially the echo, and the vox humana has

a great renown.  1868.

GENEVA.

_THE CATHEDRAL._--The Great Organ, at the west end of the building,

has a modern Gothic case, with five towers, the largest in the centre,

and the least at the ends. It is not handsome. This organ was built by

Merklin and Schulse, of Brussels and Paris. It has forty-six stops,

three manuals, and pedal. Its quality was loud, and wanting in diapason

tone. The reeds are monotonous, and the vox humana bad. The organist

was a pupil of the late Herr Vogt, the organist at Freiburg, who was

one of the best of European organists.  1868.

_THE ENGLISH CHURCH_ has, in its west gallery, a poor-toned organ, in a

dingy-coloured Gothic case, consisting of three towers, the largest in

the centre, separated by flats, with two tiers of pipes.  1868.

THE GREAT ST. BERNARD.

_THE HOSPICE._--The organ, which stands at the west end, appears to

have been brought forward, as the colour of the wood-work at the side

shows, the front panels looking older than those behind. The bellows

stand in a high box on the north side of the instrument, and are dated

1812, which I fancy must mean the date of some reparation, as the case

looks older. The front consists of three flat towers, of five pipes

each, with flats between. On the centre tower, which is the tallest,

is a standing figure, and above the side towers are seated figures. It

has black naturals, and the sharps have an ivory line down them. The

key-board has four octaves and two notes, C C to D, no lower, C C^#.

The pedal-board is one octave and four notes, C C C to E, no lower,

C C C^#, with an iron bar for a rest over them. When I heard the organ

it was much out of order, and the wind was leaky. The full organ tone

was still good.

CONTENTS.

Prestant.

Bourdo’.

Nasard.

Viole.

Tierce.

Tromp.

Basse.

Cornet.

Flute.

Doublet.

Viole.

Tromp.

Clarion.

Tremb^t.

The gallery which holds the above is supported by pillars, and the

paintings in the compartments, beginning from the left, are a Pot of

Lilies, a Pelican and her Piety, King David, Instruments of Music (this

is the centre compartment), St. Cecilia, a Burning Cloud and a Pot of

Lilies.  1868.

LUCERNE.

_HOFKIRCHE, CHURCH OF ST. LEODEGAR_ (_St. Leger_).--The fine old organ

of this Church stands at the west end, and was greatly added to and

repaired, by M. Hass, who lives close to the Church, and who completed

his work in 1862. It now contains seventy sounding stops, all of which

are throughout, none of the metal stops having the lowest octave in

wood, nor are closed pipes used instead of open. There are four manuals

and a pedal. The case consists of five compartments. The centre, which

is by far the largest, holds the five lower pipes (of pure tin) of the

thirty-two foot open, which have very short feet. On each side of this,

is a compartment of nine pipes with very long feet. The outer flats

have nine good-sized pipes, with feet of average length. These two last

compartments stand at an angle with the other three compartments. All

the pipe-work is bright tin; the wood-work brown oak, with a quantity

of fantastic carving. There is a peculiar look about this front, it is

a Screen, not a case to the organ. The Great Organ has a good tone, the

old tone, without the bray of the reeds, which one so often gets in

modern instruments. The imitation of thunder is fair, the full power of

the organ good, the trumpets telling well, without being overpowering.

The vox humana was very good: “Quelle soprano!” exclaimed a French lady

behind me, as the organist was showing it off. When the swell of the

vox humana is closed, and the tremulant drawn, it makes an excellent

vox angelica, very soft and good, but trembling a little too much, and

the tone is so hushed, that people must be very quiet in the Church

to hear it. The organist, when I heard this instrument, was a showy

player, but he accompanied the Mass in a very efficient manner, and

with great judgment. A fugue he played at the end of the service had

only one fault, that was, its shortness.  1863, 1869.

_THE ENGLISH CHURCH_ has a modern Gothic organ at its west end. At

each end of the case is a tall tower, of seven pipes, with pinnacles

of open work. Next is a gabled compartment, and the centre consists of

two flats, having a horizontal cornice. Much tawdry gilt-work is spread

about the case. The Choir Organ has three compartments, with a flat

cornice and much gilded carvings. I expect this case is a sham, and is

merely a buffet for the keys, as on the top of it was a music-desk, and

the player sat with his back to the Great Organ. I did not like the

tone of the instrument, which was but fair.  1869.

NOTES ON ITALIAN ORGANS.

BELLAGGIO.

_PRIVATE CHAPEL OF VILLA MELZI._--Just inside the chapel, is a

“grinder” with four or five stops, in a cabinet case.  1869.

CHIAVENNA.

_SAN LORENZO._--At the west end is an organ of pale-coloured varnished

wood, with gilt ornaments. It consists of a round arched centre, with

flat wings. The gallery in which it stands, is level with the capitals

of the nave arches, and is carried out on each side as far as the first

pillars, making two excellent side galleries for a divided choir.  1869.

COMO.

_THE CATHEDRAL._--The two organs stand under the eastern arches of

the nave, in galleries, which stand on elliptical arches, borne on

four columns. Their cases, the whole of which are gilt and burnished,

consist of two Corinthian or composite columns, bearing a broken

pediment. The pipe-work is covered with a blue curtain. A statue

of the Virgin forms the centre ornament of the north organ, and on

the southern instrument is one of a bishop. The back of this latter

instrument has a Renaissance screen, of curious lattice-work, brightly

gilt. That of the north organ is simply plain wood. There are seats

and music desks in the gallery in the front of each organ for the

choristers. For antiphonal music, nothing can be better than the

arrangement of these instruments. The position at Milan is good, but

this is preferable.  1869.

ISOLA BELLA.

_IN THE CHURCH_ (_not in the Chapel of the Palace_), in a gallery at

the west end, stands an organ, in a white painted case, picked out with

colour, consisting of merely two pilasters, supporting a low pediment.

The pipes, which looked quite new, are bright tin, the tallest standing

in the centre, and the smallest half-way between the centre and

the sides of the case, against which stand tall pipes, so that the

arrangement is somewhat like a W. The pipes show their real heights,

their tops all being below the top of the case, without any bad effect

from want of symmetry; if anything, the effect is good. Some wood

bourdons, standing outside the instrument on each side, show that at

some time or other additions have been made to it. I may mention that

it is common in Italy for the pipes to show their real heights, and for

the montre to be covered with curtains or blinds, or sometimes with

pictures, when the instrument is not in use.  1869.

MADONNA DI TIRANO.

_IL SANTUARIO._--An organ with a very fine case, well carved on both

sides, stands across the transept, the montre covered by a large

picture.

MILAN.

_IL DUOMO_ (_the Cathedral_).--On each side of the choir stand two

fine organs, externally both alike; the back and front of each is very

similar, the latter having more ornaments. Their bases on the choir

side, are faced with dark wood, that facing the aisle is marble. Their

montres are closed with painted shutters, their choir front has two

Corinthian or composite columns, with a flat entablature. The front

towards the aisle, has similar columns, and a broken carved pediment.

Each organ is surmounted with a circular temple, with statues in the

niches, and covered with a dome, with a statue on its summit. All the

work about the instrument is gilt, the pipes are left their natural

colour and their correct heights, and their tops do not reach the

carved work among which they stand. The five largest are arranged in

the centre, and the compartment on each side of these has two tiers,

with nine pipes each. Beyond them is an outer compartment of five

pipes. I did not think the quality of these instruments so good as Mr.

Hopkins states them to be in his work on “The Organ.” The quality of

the northern organ was sweet, but lacking in power. The voicing of the

flute was very good. The vox humana (said to be a flute stop, as reeds

are not permitted by the Ambrosian rite) was very suggestive, and had

a peculiar intonation, which was very pleasant, although not a good

imitation of the human voice. The player’s style was very operatic,

and the singing resembled the old Madrigal style. I like the full tone

of the southern organ, rather better than that of the northern one. It

was weak for the large building in which it stands, and more diapason

and pedal work was much wanted. I did not hear the solo stops of this

organ, but there was “the old tone” in the instrument, which was

pleasant to hear.  1869.

_SAN AMBROGIO._--The organ has a long low case of several compartments

painted white, and the montre is covered with dark blue curtains.

It stands close to the dome, over the south transept, in what was

originally the women’s gallery.  1869.

_SAN GIOVANNI IN LATERAN._--The organ in a case, consisting of two

pilasters with entablature over a round arch, with a curtain concealing

the pipes, stands at the west end of the Church.  1869.

_SAN LORENZO._--An octagon church, has in the gallery on its south-east

side a small organ in a white and gold case, consisting of a round

arched centre, and two flat sides, looking somewhat like a handsome

wardrobe. Green curtains covered the pipes. In a rather large chapel

attached to this Church, stood a grand pianoforte, an old instrument,

but evidently still in use. This is the only place in which I ever

recollect seeing a piano in a church.  1869.

_SANTA MARIA DELLE GRAZIE._--This Church has a dome in its centre, the

base of which expands into a square, on the east side of which, right

and left of the choir, two similar organs stand in galleries, having

much gilding. The cases, which are of dark wood, have flat tops,

bearing two angels with trumpets, and raised carved work in the centre.

The pipes were covered with a curtain, and the ornaments in the front

and sides of the cases were gilt.  1869.

_SANTA MARIA PODONE._--This little old Church has in a painted gallery

at its west end, an organ in a square case, with a curtain, as usual,

drawn over the pipes.  1869.

_SAN ----_, (_in the Via di Giadini_), has at its west end, standing in

a rococo gallery, an organ of the same style, in a polished, and much

gilded brown case, which is either new, or else lately done up. The

pipes are covered with curtains, and the design of the case consists

of three compartments, the outer ones having round arches. The central

compartment is surmounted by a confusion of curved lines, having the

appearance of a drawing-room looking-glass, slightly overdone with

ornament.  1869.

CONCLUSION.

I have now given to my readers the full substance of all the notes I

have made on the various organs I have seen, and regret that they were

not all taken so systematically as I could have wished, for when I

began them, they were simply memoranda, to assist my own recollection,

and I had no intention of ever publishing them. But as my note book

kept filling with accounts of organs, and my portfolio with sketches,

I could but feel that I should like others to have the use of the

information I had accumulated. My descriptions are simply taken from

what I saw, and not extracts from books, or the accounts of friends,

and the sketches have all been made on the spot, no doubt with some

errors, but still the evidence of an eye-witness is better than

second-hand information, gathered from sources that may be sometimes

inaccurate, and, being copied over and over again, come to be handed

down as facts. Should this little work in any way tend towards the

improvement of THE ORGAN, I shall be amply repaid for the time and

trouble spent upon it.

Transcriber’s Notes

Punctuation, hyphenation, and spelling were made consistent when a

predominant preference was found in the original book; otherwise they

were not changed.

Simple typographical errors were corrected; unbalanced quotation

marks were remedied when the change was obvious, and otherwise left

unbalanced.

The Frontispiece is in its original position. The other illustrations

have been moved to immediately follow their descriptive notes.

In the List of Illustrations, the page numbers 22-24 were unreadable

and the page numbers 25-27 were printed incorrectly as 28-29.

Transcriber has corrected both of these errors. In versions of this

eBook that support hyperlinks, the page references lead to the

corresponding illustrations; the visible numbers are just ranges.

Inconsistent punctuation in the captions of illustrations has been

retained.

The index near the beginning of the book was not checked for proper

alphabetization or correct page references.

The caption “ST. WOLFRAM--ABBESVILLE” was spelled as “ST.

WOLPAM-ABBESVILLE” in the original book, and has been changed here to

be consistent with the spelling of that name in the rest of the book.