Chapter VI: The Minor Details of an Organ (1)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

HAARLEM.