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WORK LISTS AND SUPPORTING DOCUMENTATION FOR

Organ-building in Georgian and Victorian

Nicholas Thistlethwaite

❧ Contents

WORK LISTS 1. Work List 1775–1821 vii 2. Work List 1821–38 xxii 3. Work List 1839–90 xl 4. Branch, major projects 1865–90 lxxvii Index to Work Lists lxxxiii

DOCUMENTS Chapter One 1.1 Proceedings of the Old Bailey: trial of Patrick Birmingham and Samuel Hall for burglary, 21 April 1784. 1 1.2 Lease of land at the corner of Court Road and the New Road between the Earl of Hertford and Robert and William Gray, 1791. 4 1.3 Agreement between the Trustees of St Chad’s , and Robert and William Gray for the building of an organ, 1791. 6 1.4 St James’s , Road, : articles of agreement between the Trustees and Robert and William Gray for the building of an organ, 1792. 9 1.5 St Anne’s Church, : documents relating to the building of an organ by Robert and William Gray, 1794–5. 11 1.6 Robert Gray’s will, 1796. 18

Chapter Two 2.1 St Michael’s Church, Paternoster Royal, : documents relating to the provision of an organ by William Gray, 1797 and 1820. 19 2.2 William Gray’s estimate for a new organ for Wakefield Church, 1804. 21

iii iv Organ-building in Georgian and Victorian England

2.3 Articles of agreement between the Dean and Chapter of St Patrick’s , Dublin and William Gray, 1815. 22 2.4 Documents relating to the building of a new organ for St by William Gray, 1814–16. 24 2.5 Agreement between the Trustees of the new church at Bathwick and William Gray for an organ, 1818. 29 2.6 William Gray’s will, 1816 (proved 1821). 32

Chapter Three 3.1 Extracts from John Gray’s stock accounts (1825, 1827) and valuations of the business (1825, 1826, 1827). 35 3.2 Correspondence concerning the commissioning and installation of an organ in Crediton Church, , 1821–2. 45 3.3 Documents relating to the building of an organ for Camden Chapel, St Pancras, 1823–5. 46 3.4 Documents relating to the building of an organ for St Mary’s Church, Blackburn, 1824–32. 49 3.5 George Cooper’s account of repairs needed to the organ of St Sepulchre’s, , City of London, 1834. 61 3.6 Documents relating to the reconstruction of the organ in Trinity College Chapel, , 1835–6. 62 3.7 Robert Gray’s ‘Improved Church ’ as described in the Musical World, 1839. 69

Chapter Five 5.1 Description of the Hill & Davison organ for St John’s Church, Chester, 1838. 72

Chapter Six 6.1 All Saints’, Hertford: papers relating to the replacement of the organ, 1839–40. 74 6.2 Chester Cathedral: commissioning of the new organ, 1841–4. 83 6.3 Review of ‘The Model Organ on the German Plan’ for St Paul’s, , 1843, from the Musical World. 86 online supplement: Contents v

6.4 Documents relating to the reconstruction of the organ in Christ Church Cathedral, , 1847. 89 6.5 Extracts from the will of John Gray, 1848–9. 98

Chapter Seven 7.1 Gray & Davison’s organs for the Great Exhibition, Hyde , London, 1851, described by William Pole. 102 7.2 Description of the Glasgow City Hall organ, 1853, issued by Gray & Davison. 105 7.3 Review of the new organ in Magdalen College Chapel, Oxford, 1855. 109 7.4 Extract from a review of the organ for Birmingham Music Hall, 1856. 114 7.5 Extract from ‘A Popular Account of the Handel Festival Organ’, 1857. 120 7.6 Leeds Town Hall organ: extracts from the minutes of the Leeds Town Hall organ sub-committee, 1858; report of opening, 1859; specification and description. 126 7.7 Specification of the organ, 1852. 138 7.8 Review of the new organ for , 1856. 139 7.9 Extract from a review of the reconstructed organ in St George’s Chapel, , 1855. 143 7.10 Bolton Town Hall organ: specification and ledger account, 1872. 148

Chapter Eight 8.1 Correspondence between Frederick Rothwell and Gray & Davison concerning the Crystal Palace organ, 1882. 155 8.2 Printed description of the organ for St Philip & St James, Rock, Northumberland, 1881. 158 8.3 Description of Gray & Davison’s factory, 1889. 160 8.4 Letters and other papers from the Rothwell archive concerning the organ in St George’s Chapel, Windsor Castle, 1887–8. 161 8.5 Correspondence relating to the termination of Frederick Rothwell’s employment with Gray & Davison, 1889. 164 8.6 Obituary of Frederick Davison, 1889. 169

APPENDIX

1. WORK LIST 1775–1821

ROBERT GRAY (1772–c1782) ROBERT & WILLIAM GRAY (c1782–96) WILLIAM GRAY (1796–1821) WILLIAM & JOHN GRAY (c1815–21)

Abbreviations

Type of instrument: pf = pianoforte Nature of work: m = minor work Pedals: p = pedals (generic) bo = barrel organ r = repair pd = pull-downs bf = barrel and finger organ a = additions gp = german pedals co = chamber organ rb = rebuild tp = toe pedals ch = church organ n = new con = concert organ 2/h = second-hand clavi = claviorganum

Dates that are uncertain are recorded in italics.

vii viii Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1775 Original location unknown co rb 1 6 G&D L4, 137 Dingestow Court Monmouth Freeman & Rowntree 1977: 177 ‘This organ was originally built by that celebrated Wilson 2001: 111 artist commonly called / Father Smith, and erected in its present form by Robert Gray of London 1775’ An entry in Ledger 4:137 records moving an organ from Forest House, to Dingestow in 1848. 1775 Original location unknown co n 1 4 Wilson 2001: 213–14 Lower Clapton, St James the Great Martin Goetze & Dominic Gwynn, ‘Robertus Gray Londini Fecit 1775’ Report on the restoration of the Moved to St James’ Church from The Refuge for Robert Gray chamber organ … the Destitute, Hackney Road, in 1923 (2003), unpublished (plaque).

1777 Original location unknown Suffolk co n 1 6 Wilson 2001: 214–15 Naughton, St Mary NPOR [D00097] ‘Robertus Gray Londini Fecit 1777’ Possibly originally at Wood Hall, Sudbury; later at a private house in St Peter’s Street, Ipswich (‘The Sailor’s Rest’).

1782 St Anne & St Agnes, City of London ch n 2 11 LMA: St Anne & St Agnes, VM (main text, p. 000) 1780-3; CA 1751–1802 Leffler, 1 ix Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1782 Original location unknown co n 1 3 BIOSR 8 (1984) 4: 10 West Butterwick, St Mary Pacey 2001: 96 In 1848 Forster & Andrews installed a second- hand chamber organ said to be ‘William Gray 1782’; and reputedly from Hessle Church; sold 1897.

1782–6 Original location unknown Greater London co n 1 7 Wilson 2001: 213 Holborn, Freemasons’ Hall, Great Queen Street ‘Robert and William Gray / Queen Ann Street East 72’ Acquired from Michael Thomas in 1969 and formerly in the Masonic Hall, Windsor.

1783 co rb 1 5 Wilson 2001: 99–100 Reconstruction of 1609 chamber organ by Haan or Dallam; said to be work of ‘Robert Gray’.

1783 Location unknown BOA Photograph in B.B. Edmonds collection of pipes, dated and signed by Robert Gray

1784 St Bride’s, City of London ch r/a £120 0s 4d 3 20 LMA: St Bride’s, Fleet Street, VM Church records refer to both ‘Mrs Robt & Willm 1765-86; CA 1765–86 Gray’ and ‘Wm Gray & Co.’ Leffler, 14 x Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1784 Original location unknown clavi n Colt 1981: 32–4 Until recently in The Colt Collection, Bethersden Claviorganum made by John Joseph Merlin, Queen Ann Street East; includes a single rank of wooden pipes, the lowest of which is signed ‘R & W Gray 31st January 1784’. 1785 Gorhambury House, Hertfordshire co r? £15 10s 0d 1 8? Wilson 2001: 211–12 Payment to ‘Robert Gray’ for unspecified work. 1786 Original location unknown co n 1 6? Correspondence with the current Private residence Oxfordshire owner ‘Robert and William Gray / 4 New Road / Near the end of Portland Road, London / 1786’ 1787 Formerly in Grendon Hall co n 1 4 Wilson 2001: 215–16 Thornborough, St Mary Buckinghamshire ‘Robert and William Gray / 4 New Road / Near the end of Portland Road, London / 1787’ c1787 Original location unknown pf n Clinkscale 1993: 129 Washington, Smithsonian Institution USA ‘Robert and William Gray No 4 New / Road, near the End of Portland Road, London.’ c1787 Original location unknown pf n Castle Museum, York: York, Castle Museum City of York correspondence and photographs ‘Robert and William Gray No 4 New / Road, near the End of Portland Road, London.’ 1789 Marquis of Anglesea ? co n BOA: Freeman Collection, Notes on A gift of George III; later at Vines Church, organs, 341 Rochester. xi Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1790 Burghley House, Stamford Lincolnshire co n £124 9s 10d 1 6 Dominic Gwynn, Burghley ‘Robert and William Gray / New Road Portland House: chamber organ by Robert Road / London 1790’ and William Gray 1790, Harley Made in the shape of a harpsichord. Monographs no. 1, 1990 Wilson 1968: plate 16; 2001: 209–10 1790 Gloucester Cathedral Gloucestershire ch rb £241 10s 0d 3 20 GCA: Chapter Acts 1775–1807; Treasurer’s Accounts 1786–1810 Leffler, 92 1790 Stoke-next-Guildford, St John the Evangelist ch n 3 13 WJGList Sperling says ‘Wm Gray 1790’. Sperling 1, 180 WGList includes ‘Stoke, Surrey’. 1790 Original location unknown co n 1 5 NPOR [N12062] Wigginton, St Mary & St Nicholas North Yorkshire 1792 St Pancras, Hampstead Road, St James’ Greater London ch n £173 5s 0d 2 9 WAC: St James , Minutes Chapel of Trustees of St James’ Chapel, ‘Robert and William Gray Organ Builders of the Hampstead Road, 1789–1847 New Road St Pancras’ (chapel records) 1792 Shrewsbury, St Chad ch n £395 17s 0d 2 14 SA: Shrewsbury, St Chad, Minutes of Trustees for Rebuilding the Church, 1789–97; Agreement for new organ, 1791 Leffler, 146 1792 Shrewsbury, St Julian Shropshire ch n 2 8 Owen & Blakeway 1825, 2: 427 Leffler, 147 1793 Soho, St Patrick Greater London ch n £262 10s 0d 2/p 11 Pearce 1912: 108 ‘A capital organ, long octaves in a mahogany BIOSR 21 (1997), 3: 25 case. Two sets of keys, great organ and swell, and one octave of double diapason pipes, made by Messrs. Grays.’ (Chapel inventory, 1794) xii Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1794 , Holy Trinity Greater London ch n 3 21 LMA: Clapham, Holy Trinity, Later moved to St John, . Trustees Minutes Book 1774–1813; The church records confirm that an organ was VM 1752-98 installed in 1794 but do not name the builder. Organographia, fol. 264 Other sources are confused about the date but Sperling, 1, 70 name ‘Gray’ as maker. 1795 Soho, St Ann Greater London ch n £456 17s 6d 3 20 WAC: St Ann, Soho, VM 1786–1804; Minutes of Committee for erecting an organ 1794-6 Leffler, 11 1795 Worcester, St Swithun Worcestershire ch n £165 0s 0d 1? 7? WRO: Worcester, St Swithun, VM Sperling attributes it erroneously to Snetzler, but 1786–1824 the VMs record the installation of an organ in WJGList 1795 and it appears in William Gray’s list. Berrow 2013: 11–14 1795 Original location unknown co n 1 6 Wilson 2001: 217 Leeds Castle Kent No maker’s inscription; attributed to Robert and William Gray by Martin Renshaw who restored the organ in 1981. 1796 Watson’s Bay, St Peter New South Wales co n 1 6 BIOSJ, 5 (1981): 54, 55 Made for The Rt Hon. Spencer Perceval, perhaps Australia Rushworth 1988: 258–9 for his residence; in its present location since 1920. 1798 St Michael, Paternoster Royal City of London ch 2/h 38 guineas 3 16 LMA: St Michael, Paternoster Royal The old Harris organ from St Anne, Soho, annuity VM 1774–1827 formerly in the Queen’s Chapel, St James’ Palace. Leffler, 35 Dawe 1983: 16, 58 Plumley 1996: 110 xiii Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1798 St Paul, Greater London ch n £577 10s 0d 3/p? 22 WAC: St Paul, Covent Garden, VM 1787–1806; Minutes of trustees for rebuilding the church 1796–1829; Ledger 1796–1801 Leffler, 39 1800 St Martin-in-the-Fields, London Greater London ch n £630 3 22 WAC; St Martin-in-the-Fields, VM 1793–1803; CA 1800–1 Leffler, 66 Freeman 1921: 10 1800 St Marylebone, Welbeck Chapel Greater London ch n 2/p? 10 Smith 1833: 125 Previously known as Titchfield Chapel and later Sperling 1, 116 as St James’ Chapel, St Marylebone. G&D, L1, 96 (1831) 1801 City of London, St Paul’s Cathedral City of London ch m £6 6s 0d Plumley 2001: 53

1802 Original location unknown co n 1 5 (6) G&D, L1, 62 (1833) South Kilworth, St Nicholas Leicestershire BOA, Freeman collection, SBN, 387 ‘Willm Gray / New Road / Fitzroy Square, (1910) London’ Clutton & Niland 1982: 278 (date) The organ may already have been in South Wilson 2001: 215 Kilworth (not necessarily in the church) in 1833 when John Gray repaired a chamber organ there for the Revd D. Pearson (see Work List 2). 1802 Knutsford, St John the Baptist ch n 2? 12? Sperling 2, 43 The only source (Sperling) gives details of the organ following its enlargement by Renn in 1830. Sperling was uncertain whether the organ was made by Gray or Holland. 1803 Harlow, St Mary the Virgin ch n 2 8 WJGList Sperling 2, 100 1804 Chigwell, St Mary Essex ch n WJGList Sperling 2, 100 BIOSR, 28 (2004), 2: 14 xiv Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1804 Wakefield, All Saints West Yorkshire ch n £728 14s 0d 3/p 25 WJGList Sperling 3, 78 Walker 1888: 118–20 Grayson 1942: 90 1804 Berkeley, Berkeley Castle Gloucestershire co n 1 ? BIOSJ, 17 (1993), 141 Removed 1923. Now in St Anne’s Church, Williamson, Organs of Cwmffrwd, near Carmarthen. Gloucestershire, 19 1804 Original location unknown co n 1 7 Pacey 2001: 71 Mumby, St Thomas Lincolnshire Said to have been installed in 1850 and removed in 1919. 1805 Original location unknown co n 1 8 Wilson 2001: 210–11 Cambridge, USA, Christ Church Massachusetts, USA Barbara Owen, ‘Tracing an English ‘William Gray / New Road / Fitzroy Square / chamber organ’, in, The Tracker, 22 London 1805’ (1978), 2–6 The organ was in the USA not later than 1821 when it was acquired by University Hall, Harvard, and set up in the chapel. 1806 Holy Cross (Abbey Church), Shrewsbury Shropshire ch n £383 5s 0d 2/p? 14 WJGList Owen & Blakeway, 2, 82 Sperling 2, 233 Clutton & Niland 1982: 288 1806 Chapel Greater London ch n 3 16 G&D, L1, 78 John Gray supplied a new organ in 1835, but had Sperling 1, 57, 58 repaired the existing (1806?) organ in 1829. 1807 Killerton House Devon co n 1 6? NPOR [N12976] Organ commissioned by Sir Thomas Acland for Wilson 2001: 212–13 his bride, Lydia Hoare. Rebuilt by Henry Dyer & Son in 1901 with second keyboard and pedals. 1807 , St Mary Shropshire ch n £262 10s 0d 2 ? WJGList Sayer 1978: 125–7 xv Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1807 , Philanthropic Society’s Chapel Greater London ch n 2/p 13 WJGList St George’s Fields Organographia, fols. 171, 326 Replaced by John Gray in 1825 with a new organ. G&D, L1, 25 Sperling 1, 162 1807 Papworth St Agnes, St John the Baptist co? n 1/p? 8 Sperling 2, 38 ‘Wm Gray 1807’ (Sperling) New organ by Holdich c.1855. 1808 Original location unknown Norfolk co n 1 4 [6] Wilson 2001: 216 Trunch, St Botolph ‘1808 / William Gray / London’ Altered by Williamson & Hyatt in 1957. 1808 Shrewsbury, St Julian Shropshire ch a Organographia, fol. 106 Cleaning and addition of Trumpet Pearce 1912: 152–3 1808 St Andrew-by-the-Wardrobe City of London ch n 3 23 LMA: St Anne, Blackfriars (St (United Parish of St Anne, Blackfriars) Andrew-by-the-Wardrobe) VM 1789- 1826 Leffler MS, 160 Organographia, fol. 96 Leffler, 160 Plumley 1996: 45 1808 Original location unknown ch? n 2 8? NPOR [NO5880] Marston Green, St Leonard Previously in Yardley Church; reputedly rebuilt in 1907. 1809 Costessey Hall, Norfolk co n 1 8? Wilson 2001: 214 , English Organ School Further information from Margaret ‘W. Gray / New Road Fitzroy Square / London’ Phillips and the late David Hunt Said to have been built for the new chapel at (EOS) Costessey (1809); later (1924?) moved to the RC Church of St Mary & St Walston, Costessey, and then to the Queen’s Hall, . Acquired by the English Organ School in 1992. xvi Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1809 St Swithin, London Stone City of London ch n £304 10s 0d 2 13 LMA: St Swithin, London Stone VM 1808–26 G&D, SB2 (1844), 20 Sperling 1, 25 Plumley 1996: 200 1809 Bishopwearmouth, St Michael & All Angels Durham ch n £425 0s 0d 2/p? 11 WJGList Sperling 2, 89 NPOR [NO4223] 1810 Ecclesall, All Saints South Yorkshire bf n 1 7 WJGList Given as ‘Eccleshall, Yorkshire’ in WGList Organ, 53 (1974), 20 [Buckingham] but identified by Buckingham as Ecclesall near . 1810 St Marylebone, Portman Chapel Greater London ch n 2? G&D, L1, 135 Replaced by Gray & Davison in 1836; the old Sperling 1, 77, 110 organ was rebuilt for St Mary’s, Vincent Square, . 1811 Cheltenham, St Mary Gloucestershire ch n 2 ? WJGList The organ was opened on 5 May 1811 – Williamson 1989: 92 Cheltenham Chronicle, 9 May 1811, cited by Williamson. 1811 Auckland Castle, Chapel Durham ch r Organ, 53 (1974), 37 [Buckingham] One-manual organ by Father Smith, reconstructed by Snetzler. 1812 Huddersfield, St Peter West Yorkshire ch n £700 3/pd? 19? WJGList Moved to new church in 1836; the organ was Sperling 3, 71 replaced in 1867. MO, 16 (1893), 406–7 MT, 43 (1902), 239 1812 Bampton, St Mary Oxfordshire ch n 2 12? WJGList Rebuilt by Gray & Davison in 1870; subsequently G&D, SB9, 40 extensively altered. NPOR [N01045] xvii Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1813 Drury Lane Theatre, London Greater London con n? WJGList Oratorio organ Organographia, fol. 167 The organ replaced one destroyed in the Drury G&D, L1, 20, 117 Lane fire of 1809; it may be that on which the Olleson 2003: 131 theatre paid occasional hire charges between 1821 and 1834. 1814 Bocking, St Mary Essex ch n 2/p? 11 Sperling 2, 98

1814 St Marylebone, St John’s Chapel Greater London ch n £367 10s 0d ? ? WAC: St Marylebone Parish Church, Later St John’s Wood Church. Proceedings … for new churches and Replaced or possibly rebuilt by Gray & Davison , 2 (1813-15) in 1841. G&D, SB1, 36 1815 Original location unknown co n 1 6? Pacey & Popkin 1997: 86–7 Oxford, St Anthony (RC) Oxfordshire Wilson 2001: 217 Formerly in the Masonic Lodge, Banbury Road, Oxford. Much altered. 1816* Dublin, St Patrick’s Cathedral Ireland ch rb £591 10s 0d 3 ? WJGList Gray renewed the mechanism of the organ in its Dublin, St Patrick’s Cathedral: entirety but the contract makes no mention of Gray’s contract (1815) tonal alterations. 1816* St Marylebone, St Marylebone Parish Church Greater London ch n £973 0s 0d 3/p 29? WAC: St Marylebone Parish Church, Proceedings … for new churches and chapels, 2–4 (1813–20) WJGList Sperling 1, 80 1817* Arundel, St Nicholas’ Church West ch n £450 0s 0d 2 (3) ? WJGList The organ was completed by the addition of the Sperling 3, 8 Choir Organ shortly after the original installation. Lee 1997: 1–2 1818 St Sepulchre, Holborn City of London ch r/a £304 10s 0d 3/p 26 LMA: St Sepulchre Holborn, Church repair minutes (1816–23); VM 1805–31 CR, 15 (1833), 625–6 Leffler, 42 xviii Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1818* Chelsea, Royal Hospital Chapel Greater London ch n 2/p? 14 WJGList ‘William Gray New Road Fitzroy Square 1818’ Sperling 1, 104 BOA, Freeman Collection, SBN, 1094 1818* Woodbridge, St Mary Suffolk ch n 2/tp? 14 WJGList Sperling 2, 271 Pearce 1912: 159 1819 Newcastle-upon-Tyne, St Andrew Tyneside ch rb £210 0s 0d 3/p? 19? WJGList Organ reputedly by Harris & Byfield; moved by Mackenzie 1827: 328 John Gray in 1837 to the Episcopal Chapel, Grays G&D, L1, 134 Inn Road, London. Sperling 1, 110 1820* Bath, St Mary, Bathwick Somerset ch n 3/p? 18? Bath Chronicle, 3 February 1820 Later removed to a Congregational Chapel in WGList Salisbury, and then in 1985 to the Staatliches Prentis 1973: 5 Institut für Musikforschung in Berlin. Wilson 1984: 70, 79–80 1820 St Michael, Paternoster Royal City of London ch a [annuity LMA: St Michael, Paternoster Royal Addition of pedal pull-downs in return for an organ] VM 1774–1827 increase in the annuity payment to Gray. 1820* St Albans Abbey Hertfordshire ch 2/h £450 3/p 19? WJGList Installation of the old organ from St Dunstan-in- Sperling 2, 129 the-East, City of London. Delacour de Brisay 1927: 131 Lucas 2009: 8–9 1820 Guildford, St Mary Surrey ch ? 1? 7? WJGList Sperling records ‘an old organ of W. Gray’s Sperling 1, 172 erected here in 1820’. This may mean that it was Brayley & Britton 1841: 1, part 2, second-hand. 332 xix Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. 1821* St Dunstan-in-the-East City of London ch n £648 18s 0d 3/p 22 LMA: St Dunstan-in-the-East VM 1819–34; Accounts for Repairing Church, 1821 Sperling 1, 10 Plumley 1996: 162 U* Berriew [no location] Montgomery WJGList

U Bombay [no location] India WJGList East India Company U Brandon, J.W. Walker & Sons Ltd Suffolk bo n n/a 5 Langwill & Boston 1970:108 ‘R. & W. Gray’ chamber barrel-organ with 3 barrels. U Calcutta, Old Church India WJGList East India Company U Calcutta, New Church India WJGList East India Company U Castletown, Isle of Man Isle of Man WJGList

U Chester, St Mary Cheshire WJGList

U* Clogher, Clogher Cathedral Ireland WJGList

U Cobham [no location] Kent WJGList

U* Coddenham [no location] Suffolk WJGList

U Dublin, Vice Royal Chapel Ireland WJGList

U Edge Hill, Liverpool [no location] WJGList xx Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. U Fakenham [no location] Norfolk WJGList

U* Hanley, Bethesda Chapel WJGList

U Halesworth [no location] Suffolk WJGList

U Houghton-le-Spring Durham WJGList Buckingham recorded an old organ in the Sperling 2, 91 parish church installed c1793. Were the Grays Organ, 53 (1974), 126 [Buckingham] responsible for this? U Kettering, Meeting House ch? n? 1/gp? 7 Sperling 2, 198 Sperling says ‘Gray’ but gives no date. It could therefore be John Gray’s work. U* Liverpool, Church for the Blind Merseyside ch n WJGList John Gray added 7 double diapason pipes in 1822 G&D, L1, 29 at a cost of £75. U Poplar, Poplar Chapel Greater London WJGList

U* Presteigne [no location] Radnor WJGList

U Nantwich [no location] Cheshire WJGList

U Newport, Isle of Wight

U Rolvendon [no location] Kent WJGList Russell supplied an organ to the church in 1826. U St Helena St Helena WJGList East India Company U St Marylebone, Oxford Chapel Greater London WJGList Leffler and related sources record an old organ Sperling 1, 92 which Sperling attributes to Jordan. Leffler, 80 xxi Organ-building in Georgian and Victorian England: Appendix 1—WORK LIST 1775–1821

Year Location County/City Type Nature Cost Keys/ Stops Sources (London) Pedals Printed sources are listed (present day) in the Bibliography, and referenced here by author/date. U St Marylebone, Portland Chapel Greater London WJGList Later St Paul’s, Marylebone; John Gray was paid G&D, L1, 96 £83 for repairs in 1831. Sperling records a Hill Sperling 1, 87 organ of 1847. U Woburn Chapel, Greater London ch n 2 12 WJGList Both sources attribute to ‘W. Gray’ Sperling 1, 92 Leffler, 154 U Sandal [Magna], St Helen West Yorkshire WJGList Organ said to have been sold in 1997 [NPOR]. NPOR [N02737] U Soho, St James’ Chapel Greater London WJGList

U Southwark, Asylum Chapel, St George’s Fields Greater London WJGList

U Southwark, Institution for the Blind, St Greater London WJGList George’s Fields G&D, L1, 93 John Gray supplied a new organ in 1831, allowing £131 10s for the old organ. U Weston [no location] Staffordshire WJGList

* Organs named as being the work of John Gray in the ‘List of Church and Chapel Organs built by William and John Gray’ (c1824) [WJGList] APPENDIX

2. WORK LIST 1821–38 [Ledger 1]

JOHN GRAY (1821–c1836) GRAY & SON (from c1836)

Abbreviations

Type of instrument: pf = pianoforte Nature of work: m = minor work Pedals: p = pedals (generic) bo = barrel organ r = repair pd = pull-downs bf = barrel and finger organ a = additions gp = german pedals co = chamber organ rb = rebuild ch = church organ n = new con = concert organ 2/h = second-hand parts = components (e.g. pipes)

Dates that are uncertain are recorded in italics.

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1821 St Swithin, London Stone, City of London City of London ch m £10 10s 0d L1, 6; Plumley 1996, 200 St Bride, Fleet Street City of London ch r £26 5s 0d L1, 7 Freemasons’ Hall co m £39 19s 4d L1, 12 Marquis of Anglesey ? co r £36 1s 11d L1, 21 St James, Middlesex ch r £1 1s 0d L1, 22 Mrs Perry, (for Mr Greene, Blackwall) Surrey bo m £2 10s 0d L1, 22 Woburn Chapel, St Pancras Middlesex ch a £6 6s 0d L1, 29; Sperling, 1, 92

xxii xxiii Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1822 Crediton Parish Church (subscribers) Devon ch n/rb £472 10s 0d 3/p 18? L1, 10; Document 3.2b, below Freemasons’ Hall Middlesex co m £15 1s 3d L1, 12 Spanish Chapel, St Marylebone Middlesex ch r £3 0s 0d L1, 13 Mrs Hancock, , City of London City of London co/pf m £18 12s 6d L1, 22 Revd Dr Pearson, Middlesex co? m £7 6s 9d L1, 22 Mr Green, Black Wall Yard Middlesex bo m £3 18s 0d L1, 24 Hon. Miss Perceval, (organ from Wyddial Middlesex co m £3 18s 0d L1, 24 Hall) St Pancras, New Church Middlesex ch n £1050 0s 0d 3/p 24? L1, 26; Sperling, 1, 85 Alexander Maitland, Esq., Gloucester Gloucestershire co m £28 8s 6d L1, 27 Bluecoat School, Liverpool (Trustees) Merseyside ch n £273 0s 0d 1/? L1, 29 Prescot Parish Church (gift of Mr Atherton) ch n £546 0s 0d L1, 29 All Saints, ch n £609 0s 0d 2?/p 14 L1, 29; Sperling, 2, 120 Blind School, Liverpool (Trustees) Merseyside ch a £75 0s 0d L1, 29 Leek Parish Church Staffordshire ch m £31 10s 0d L1, 29 Woburn Chapel, St Pancras (Mr Goodman) Middlesex ch a £8 8s 0d L1, 29 1823 St John, Marylebone Middlesex ch m £10 10s 0d L1, 1 St Sepulchre, Holborn, City of London City of London ch m £12 12s 0d L1, 5 St Bride, Fleet Street City of London ch m + a £50 0s 0d L1, 7 Francis Nicholson, Esq., Charlotte Street, Middlesex bo m £2 18s 0d L1, 10 Marylebone Mr Chapman, Burton Crescent, St Pancras Middlesex co m £15 0s 0d L1, 22 Revd Thomas Haynes, Boston Lincolnshire bo n £122 16s 6d L1, 28 Holy Rood, Southampton Hampshire ch r £52 10s 0d L1, 29 Handelian Society, Horns Tavern, Kennington Surrey co? hire £157 10s 0d L1, 33 Newcastle-under-Lyme, Parish Church Staffordshire ch rb £94 10s 0d L1, 35; Sperling, 2, 262 Revd John Gibbons, Harley Shropshire ? m £12 7s 9d L1, 35 Mr Hingston, Cirencester Place, Marylebone Middlesex co? m £3 13s 6d L1, 36 Richard Cooke, Esq., Caldicott Hill, Middlesex co m £3 3s 0d L1, 37 St Alkmund, Shrewsbury Shropshire ch n £194 11s 0d L1, 37 St Chad, Shrewsbury Shropshire ch a £15 15s 0d L1, 37 William Hawes, Esq., Adelphi Terrace, Middlesex co m £56 15s 10d L1, 95 Westminster xxiv Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1824 St Paul, Covent Garden, Westminster Middlesex ch m £28 15s 0d L1, 4 St James, Westminster Middlesex ch m + r £15 0s 0d L1, 15 Camden Chapel, St Pancras Middlesex ch n £420 0s 0d 2/p 14 L1, 26; Sperling, 1, 107 Woburn Chapel, St Pancras Middlesex ch a £2 12s 6d L1, 29; Sperling, 1, 92 Asylum, Dublin (Trustees) Ireland ch n £309 10s 0d 2/? 12 L1, 36 Mr Cole, , Marylebone Middlesex bo m £7 3s 6d L1, 36 Ashby-de-la-Zouch, Parish Church Leicestershire ch rb £315 11s 4d L1, 38 St Luke, Chelsea (Trustees) Middlesex ch n + r £867 4s 6d 3/p 33 L1, 39; Sperling, 1, 65 Harrow, Parish Church Middlesex bf n £234 16s 0d L1, 40 Revd H. Peckhell, Dix Oxfordshire co n £286 7s 8d L1, 40 German Church, Trinity Lane City of London ch r + a £84 5s 0d L1, 41 St Andrew’s Hall, Norwich (Corporation) Norfolk con n £388 10s 0d L1, 41 Robert Atcheson, Esq., Hampshire co? hire £210 0s 0d L1, 42 Revd G.L. Harvey, Disworth Leicestershire bo n £59 4s 8d L1, 42 St Mark, Kennington (Building Committee) Surrey ch n £430 0s 0d L1, 43 Hobarts Town, Van Dieman Land Tasmania ? n £300 0s 0d L1, 43 xxv Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1825 Drury Lane Theatre, Westminster Middlesex con m £28 16s 0d L1, 20 Philanthropic Society’s Chapel, Southwark Surrey ch n £651 0s 0d 3/p 21 L1, 25; Organographia, 326 St Nicholas, Arundel Sussex ch m £21 14s 0d L1, 27 , Parish Church Kent ch r £49 7s 0d L1, 31 St Mildred, City of London ch m £4 0s 0d L1, 32 St Peter, St Albans Hertfordshire ch m £10 10s 0d L1, 34 St Chad, Shrewsbury Shropshire ch m £15 15s 0d L1, 37 St Luke, Chelsea Middlesex ch m £64 9s 0d L1, 39; Sperling, 1, 65 Parochial Chapel, Chelsea Middlesex ch r £78 15s 0d L1, 39 Mr Bult, Baker Street, Marylebone Middlesex co n £157 10s 0d L1, 42 St Helena (East India Company) St Helena parts pipes £23 5s 0d L1, 43 Rayleigh, Parish Church Essex ch m £14 15s 0d L1, 43 St Bartholomew the Less City of London ch n £294 0s 0d 2/? L1, 45 Revd T.P. Magee ? ch 2/h £336 0s 0d L1, 45 Wellington, Parish Church Shropshire ch r £39 18s 0d L1, 45 St Julian, Shrewsbury Shropshire ch m £14 14s 0d L1, 45 Southwold, Parish Church Suffolk ch 2/h £226 13s 8d L1, 46 St Mary, Cheltenham Gloucestershire ch m £6 6s 0d L1, 46 Covent Garden Theatre, Westminster Middlesex con hire £18 18s 0d L1, 46 Dr Boisragon [?], Cheltenham Gloucestershire ? m £13 1s 10d L1, 46 Mr Backler, Newman Street, Marylebone Middlesex bo r £4 10s 0d L1, 46 Revd R.F. Elwin, Norwich Norfolk co 2/h £47 5s 0d L1, 47 Mr James Corbett, Limerick Ireland parts pipes £7 11s 8d L1, 47 Unitarian Chapel, Liverpool Merseyside ch n £367 10s 0d 2/? L1, 47 xxvi Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1826 St Marylebone Parish Church Middlesex ch rb £64 10s 0d L1, 1 St Sepulchre, Holborn City of London ch a £37 0s 0d L1, 5; Sperling, 1, 39 St Anne [& St Agnes], Gresham Street City of London ch r + a £66 3s 0d L1, 11 St James [Piccadilly], Westminster Middlesex ch m £14 2s 0d L1, 15 Regent’s Chapel, St Pancras Middlesex ch n £420 0s 0d 2/p 13 L1, 26; Sperling, 1, 107 Camden Chapel, St Pancras Middlesex ch a £84 0s 0d L1, 26 Somers Town Chapel, St Pancras Middlesex ch n ? 2/p 12 L1, 26; Sperling, 1, 111 St Andrew’s Hall, Norwich Norfolk con m £12 12s 0d L1, 41 Concert Room, Norwich (Revd R.F. Elwin) Norfolk con m £30 19s 9d L1, 47 New Chapel, Hampshire ch 2/h £119 10s 0d L1, 48 King’s Theatre, Westminster (Lent oratorios) Middlesex con hire £36 15s 0d L1, 48 St Mary, Dublin Ireland ch m £16 12s 0d L1, 48 Revd Dr Butler, Harrow Middlesex bo 2/h £59 17s 4d L1, 48 Revd Mr [Putt?], [Giltsham?] Devon bo 2/h £88 11s 8d L1, 48 Beddington Parish Church Surrey ch m £2 2s 0d L1, 48 St Sepulchre, Holborn City of London ch a £47 16s 11d L1, 49 Methodist Church, (Mr George Cooper) Hampshire ch a £3 13s 6d L1, 49 Revd T.L. Fox, Sturminster Newton co m £26 19s 3d L1, 49 Sir Thomas Acland, Killerton Devon co m £16 91s 4d L1, 50 St Mary, Bury St Edmunds Suffolk ch n £787 10s 0d 3/p 23 [?] L1, 50; Sperling, 2, 269 St Stephen City of London ch r £63 0s 0d L1, 50 Catholic Chapel, Norwich (Mr Castillo) Norfolk ch? 2/h £170 0s 0d L1, 51 Mr Pierre Erard, Westminster Middlesex co n £168 9s 2d L1, 51 St Peter’s Chapel, Portsea (subscribers) Hampshire ch 2/h £112 0s 0d L1, 51 Launceston (E. Barnard, Esq.) Tasmania ? n £250 0s 0d L1, 54 Hexton Church (Joseph Latour) Hertfordshire bo n £181 4s 0d L1, 54 Norwich Cathedral, school room and main organ Norfolk co/ch m £10 10s 0d L1, 55 Unitarian Chapel, Norwich Norfolk ch rb £108 0s 0d L1, 55 St Andrew, Norwich Norfolk ch m + a £43 1os 0d L1, 55 xxvii Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1827 St Martin-in-the-Fields, Westminster Middlesex ch r £57 15s 0d L1, 3 Milverton Church Somerset ch n £189 0s 0d L1, 3 Mr Ancell, Porlock Somerset bo n? £28 0s 0d L1, 3 St Bride, Fleet Street City of London ch m £10 10s 0d L1, 7 Spanish Chapel, St Marylebone Middlesex ch hire £13 13s 0d L1, 13 Woburn Chapel, St Pancras Middlesex ch r £8 8s 0d L1, 14; Sperling, 1, 92 Hon. Miss Perceval, Berkeley Square, Mayfair Middlesex co m £3 3s 0d L1, 24 Mr R. Taylor, Myddleton Square, Middlesex co? m £3 17s 0d L1, 33 Sturminster Newton Parish Church Dorset ch n £496 12s 6d L1, 49 Deaf and Dumb Asylum, Aberdeen Aberdeen ch? pipes £8 8s 0d L1, 51 St Bene’t’s Church, Cambridge Cambridgeshire ch 2/h £153 3s 0d 1 7 L1, 51 St James, Sydney Australia ch n £500 0s 0d 2/p 12 L1, 54 Hexton Church Hertfordshire ch m £41 0s 0d L1, 54 Mr Cope, St Marylebone Middlesex co m £3 0s 6d L1, 53 City Chapel, Grubb Street City of London ch hire £147 0s 0d L1, 56 Concert Room, Norwich Norfolk con m £50 3s 4d L1, 56 The Baroness Le Despencer, West Wycombe Buckinghamshire co r £25 10s 0d L1, 57 Great Yarmouth, Parish Church Norfolk ch m £31 10s 0d L1, 57 Great Yarmouth, St George’s Chapel Norfolk ch r + a £98 10s 0d L1, 57 Mr R. Baylis, Clerkenwell Middlesex co hire £136 10s 0d L1, 58 Music Festival Committee, Norwich Norfolk con m £21 0s 0d L1, 58 Mr Thomas Woodroffe, Beccles Norfolk co? pipes £55 16s 4d L1, 60 East India Company India ch? pipes £288 19s 0d L1, 61 xxviii Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1828 St Sepulchre, Holborn City of London ch r £58 0s 0d L1, 5; Sperling, 1, 39 Royal Hospital, Chelsea Middlesex ch m £18 0s 0d L1, 9 Spanish Chapel, St Marylebone Middlesex ch n £400 0s 0d L1, 13 St Patrick’s Chapel, Soho Middlesex ch m £8 8s 0d L1, 19 St Mildred, Bread Street City of London ch m £10 10s 0d L1, 32 Parish Church Hertfordshire ch m £8 8s 0d L1, 35 Mr Bult, Baker Street, St Marylebone Middlesex co m £31 10s 0d L1, 42 St Mary, Cheltenham Gloucestershire ch m £12 12s 0d L1, 46 Thames Ditton Parish Church Surrey ch r + a £21 0s 0d L1, 47 Dr Butler, Harrow (moved to Gayford) Middlesex bo m £10 5s od L1, 48 Mr Little, , St Marylebone Middlesex co? r £6 6s 0d L1, 55 Mr Chapman, New Road, St Pancras Middlesex co m £8 12s 0d L1, 57 Revd D. Williams, Overton Hampshire bo 2/h £71 0s 0d L1, 60 Netherbury Parish Church Dorset bo n £75 11s 0d L1, 61 St Mary, Blackburn Lancashire ch n £850 10s 0d 3/p 24 L1, 63; Documents 3.4, below St Anne, Soho Middlesex ch m £12 12s 0d L1, 64; Sperling 1, 128 St Mark, Myddleton Square, Clerkenwell Middlesex ch n £672 0s 0d 3/p 25 L1, 65; Warren 1842, 69 Messrs Burkingyoung & Co., for Calcutta India bo x2 n £270 8s 2d L1, 66 St John, Hackney Middlesex ch rb £215 5s 0d L1, 68; Sperling, 1, 57 xxix Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1829 St John’s Chapel, St Marylebone Middlesex ch m £10 10s 0d L1, 1 St Paul, Covent Garden Middlesex ch a £15 0s 0d L1, 4 Mr William Soward, Middlesex co hire £64 11s 6d L1, 7 St George’s Chapel, Windsor Castle Berkshire ch m £26 5s 0d L1, 8 Spanish Chapel, St Marylebone Middlesex ch a £75 0s 0d L1, 13 Chapel, St Pancras Middlesex ch n £315 0s 0d 2/p 12 L1, 26; Sperling, 1, 94 St John, Cheltenham Gloucestershire ch n £275 0s 0d 2/p 12? L1, 57; Sperling, 2, 102 Poor Law Guardians, St Pancras Middlesex ch r £25 0s 0d L1, 57 Revd J. Oliver, Swepstone Leicestershire bo r £1 5s 0d L1, 58 Mr Adam Cottam, Whalley Lancashire ? a £157 10s 0d L1, 60 Col. Harvey, Thorpe Norfolk bo m £16 5s 8d L1, 60 Clementi & Co., Cheapside City of London co n £150 0s 0d L1, 70 Wiveliscombe Church (Clementi & Co.) Somerset ch n £430 0s 0d L1, 70 Kettering Parish Church Northamptonshire ch m £8 0s 0d L1, 74 St Paul’s Chapel, Kilburn Middlesex ch hire £136 10s 0d L1, 72 St Mary’s Chapel, Hastings Sussex ch n £316 1s 0d 2/p 13 L1, 75, 100; Sperling, 3, 10 Union Chapel, , Chelsea Middlesex ch hire £157 10s 0d L1, 75 Ombersley Church (Marchioness of Downshire) Worcestershire ch n £385 0s 0d 2/p 13? L1, 76 Hon. & Revd J. Douglas, Broughton Rectory Northamptonshire bo n £84 0s 0d L1, 75 Mr Wansel, Fitzroy Square, St Marylebone Middlesex bo m £4 4s 0d L1, 76 Revd Mr Parson, Clapham Surrey co hire £136 10s 0d L1, 77 St Mary, Stamford Lincolnshire ch n £325 10s 0d 2/p 11 L1, 77; Sperling, 2, 181 St John’s Chapel, Hackney (Revd Mr Norris) Middlesex ch r £30 0s 0d L1, 78; Sperling, 2, 57 St Peter, Middlesex ch hire £350 0s 0d 2/p 13 L1, 79; Sperling, 1, 87 Mr Northcote, Spanish Town Jamaica ? pipes £64 2s 0d L1, 81 xxx Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1830 Society of Freemasons, London Middlesex ? n £357 0s 0d L1, 12 All Saints, Southampton Hampshire ch m £10 0s 0d L1, 29 Mr Russell, Ironmonger Lane City of London co r £5 10s 0d L1, 31 St Martin Orgar, for St Clement City of London ch rb £300 0s 0d L1, 38 Mr George Loddis [?], Hackney Middlesex ch r £3 3s 0d L1, 47 Bury [St Edmunds] Music Society Suffolk ? m £2 10s 0d L1, 50 The Lodge of Antiquity, Free Mason Tavern City of London? ? m £3 3s 0d L1, 58 Committee for the Music Festival, Norwich Norfolk con m £21 0s 0d L1, 58 Mr John Hosking, Fleet Street City of London bo n £40 0s 0d L1, 59 Col. Harvey, Thorpe Norfolk bo m £16 5s 8d L1, 60 Mr Robert Creswell, Ashby de la Zouch Leicestershire bo r £21 0s 0d L1, 61 Messrs Burkingyoung & Co., Calcutta India bo (2) n £189 0s 0d L1, 66 St Augustine & St Faith City of London ch r £88 10s 0d L1, 71 Mr Joseph Webb, Liverpool Street City of London co m £3 3s 0d L1, 74 Campsey Church [Campsea Ash?] [Suffolk?] ch n £210 0s 0d L1, 77 Earl of Tyrconnel, Catterick Yorkshire bo n £60 1s 3d L1, 77 The Revd Mr Tucker, Middlesex co hire £120 0s 0d L1, 80 Mr Northcote, Spanish Town Jamaica ? pipes £35 0s 6d L1, 81 John Cazenove, Esq., Little Middlesex co r/a £48 0s 0d L1, 83 St Mary the Virgin, Andover Hampshire ch m £82 12s 0d L1, 84 St Mary, Whittlesey Cambridgeshire ch n £332 0s 0d 2/gp 12 L1, 85; Sperling, 2, 39 Bewsher & Fleetwood, Liverpool Lancashire bo parts £6 6s 0d L1, 88 St Peter & St Paul, Bourne [‘Bowen’] Lincolnshire bf n £236 5s 0d L1, 92; Sperling, 2, 183 xxxi Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1831 Spanish Chapel, St Marylebone Middlesex ch a £85 0s 0d L1, 13 Holy Trinity, Cheltenham Gloucestershire ch m £15 15s 0d L1, 37 St Bartholomew the Less, Smithfield City of London ch m £35 0s 0d L1, 45 Mr Gall, Woodbridge Suffolk ? m £2 4s 0d L1, 51 Chapel, Bridewell Hospital City of London ch m £25 0s 0d L1, 57 Mr Thomas Whyman, Whittlesey Cambridgeshire ? pipes £4 7s 0d L1, 63 St Anne, Soho, Westminster Middlesex ch r/a £119 0s 0d L1, 64; Sperling, 1, 28 Messrs Burkingyoung & Co., Calcutta India bo (2) n £240 0s 0d L1, 66 St James, Sydney Australia ch pipes £39 1s 6d L1, 74 Hon. & Revd J. Douglas, Rectory, Broughton Northamptonshire bo m £55 18s 2d L1, 75 Bedford Chapel, Bloomsbury Middlesex ch hire £350 0s 0d L1, 80 Mr Northcote, Spanish Town Jamaica ? pipes £62 16s 0d L1, 81 Messrs Bywater & Co., Grosvenor Street Middlesex co? m £5 12s 0d L1, 84 Free Church [St Paul], Cheltenham Gloucestershire ch r £252 10s 0d L1, 89 St Mary, North Mymms Hertfordshire ch r £29 3s 0d L1, 89 St Mark, Kennington Surrey ch n £613 0s 0d 3/gp 21 L1, 89; Sperling, 1, 159 St James, Cheltenham Gloucestershire ch hire £666 0s 0d 3/p 20? L1, 91; Sperling, 2, 116 All Saints, Cambridge Cambridgeshire ch n £145 14s 0d L1, 92; Sperling, 2, 30 Grays Inn Chapel, Holborn Middlesex ch n £283 10s 0d 2/? L1, 92 E.A. Sanford, Esq., Audley Square, Mayfair Middlesex co r £8 8s 0d L1, 93 School for the Blind, St George’s Fields, Surrey ch n £472 10s 0d L1, 93 Southwark W.W. Hayward, Esq., Bene’t Place, Cambridge Cambridgeshire co n £102 1s 6d L1, 95 St Peter’s Chapel, St Marylebone Middlesex ch r £30 0s 0d L1, 96 St Paul’s Chapel, St Marylebone Middlesex ch r/a £83 0s 0d 2/gp 12 L1, 96; Sperling, 1, 120 St James, St Marylebone Middlesex ch r/a £83 0s 0d L1, 96 The Hon. Col. Moreton, Fortsworth Gloucestershire ? m £7 10s 0d L1, 96 Mr Richard Taylor, Clerkenwell Middlesex co m £11 12s 0d L1, 97 [Church?], Mrs Henry Thompson, Cheltenham Gloucestershire bf n £220 0s 0d 1/? 5 L1, 97 St Nicholas, Gloucester Gloucestershire ch 2/h £168 0s 0d L1, 97 Parish Church, Middlesex ch rb £199 10s 0d 2/gp 16 L1, 99; Sperling, 1, 72 xxxii Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1832 St Dunstan in the East City of London ch m/a £21 0s 0d L1, 2 St George’s Chapel, Windsor Castle Berkshire ch m/a £21 0s 0d L1, 8 Society of Freemasons, London Middlesex ? m £22 0s 0d L1, 12 St James [Piccadilly?], Westminster Middlesex ch m £2 2s 0d L1, 15 Drury Lane Theatre, Westminster Middlesex con hire £21 0s 0d L1, 20 St Pancras Church Middlesex ch a £24 3s 0d L1, 26; Sperling, 1, 85 St Luke, Chelsea Middlesex ch a £16 12s 0d L1, 39; Sperling, 1, 65 St Mary, Blackburn Lancashire ch rb £367 10s 0d L1, 63 Messrs Goulding & Dalmaine, Middlesex bo r £14 4s 0d L1, 65 Public Schools, (Mr Salisbury) Surrey co 2/h £15 0s 0d L1, 73, 83 Church Missionary Society, Salisbury Square Middlesex co 2/h £60 16s 4d 1 4 L1, 89 Augustine George, Esq., Middlesex clock a £82 4s 7d L1, 94 The Revd George Dickson, Lincoln Lincolnshire co 2/h £130 8s 9d L1, 96 Mrs Henry Thompson, Cheltenham Gloucestershire bo a £14 5s 0d L1, 97 Mr Langworthy, Fetter Lane City of London co m £8 16s 3d L1, 97 St Mary’s Chapel, Hastings East Sussex ch r/a £33 2s 0d L1, 100 St Bene’t Fink City of London ch r £18 18s 0d L1, 100 St Michael (New Church), Middlesex ch hire £315 0s 0d L1, 103 xxxiii Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1833 St Anne [& St Agnes], Gresham Street City of London ch m £10 0s 0d L1, 11 Spanish Chapel, St Marylebone Middlesex ch a £6 6s 0d L1, 13 Woburn Chapel, St Pancras Middlesex ch m £2 12s 6d L1, 14 Philanthropic Society’s Chapel, Southwark Surrey ch m £23 10s 0d L1, 25 Gorhambury House, St Albans (Earl of Verulam) Hertfordshire co m £4 13s 0d L1, 31 St Mary, Cheltenham Gloucestershire ch m/a £40 15s 0d L1, 46, 102 Revd D. Pearson, South Kilworth Leicestershire co m £11 6s 11d L1, 62 St Mark, Clerkenwell Middlesex ch m £8 8s 0d L1, 65 Parish Church, Ashby de la Zouch Leicestershire ch m £16 12s 0d L1, 77 Mr Samuel Deacon, Leicester Leicestershire ch 2/h £147 0s 0d L1, 88 J. Clarke, Esq., 12 Creed Place, Kent co m £9 15s 0d L1, 88 Mr George Redman, Appleshaw, Andover Hampshire bo m £5 14s 0d L1, 88 St Martin, Leicester Leicestershire ch r £36 15s 0d L1, 96 St Margaret, Leicester Leicestershire ch m £3 3s 0d L1, 96 Mr Vincent Wing, Melton Mowbray Leicestershire co n £155 0s 0d L1, 101 Revd Dr Colston, Great Sydford Somerset bo n £134 11s 0d L1, 102 Revd John Edwards, Prestbury Gloucestershire bo 2/h £45 0s 0d L1, 102 Trinity Church, Cheltenham Gloucestershire ch m £5 5s 0d L1, 102 Youlston Park, Barnstaple (Sir Arthur Chichester) Devon bo m £39 11s 4d L1, 104 Charles Newington, Esq., Ticehurst Sussex bo 2/h £34 4s 4d L1, 104 Revd William Jackson, Stone, near Dartford Kent bo n £110 19s 0d L1, 105 Revd G.W. Gillet, Waltham Leicestershire bo n £113 2s 0d L1, 105 T.F. Turner, Esq., Brickwall House, Northiam Sussex bo m £15 5s 0d L1, 106 J. Watson, House, Kingston-on-Thames Surrey bo? m £7 1s 9d L1, 106 Burleigh Chapel, Westminster Middlesex ch n £262 10s 0d L1, 108 St Ann’s Chapel, Surrey ch m £26 5s 0d L1, 109 St Katherine’s Hospital City of London (?) ch? r £75 0s 0d L1, 110 St Mary the Virgin, Sussex ch n £231 0s 0d L1, 111 Bosworth Parish Church Leicestershire ch 2/h £92 7s 6d L1, 111 Mr Robert Tickler, Wainfleet Lincolnshire ? pipes £4 7s 6d L1, 111 St Nicholas’ Chapel, Liverpool Lancashire ch n £540 0s 0d 3/p 24? L1, 112; Sperling, 2, 166 Trinity Church, St George-in-the-East Middlesex ch hire £168 0s 0d 2/gp 11 L1, 112 Holy Trinity, Drewsteignton Devon ch n £140 10s 4d L1, 113 Henry Sanford, Esq., Bryanston [2 organs] Dorset co? m £74 14s 7d L1, 113 St Philip, Clerkenwell Middlesex ch hire £250 0s 0d L1, 114; Sperling, 1, 107 Drury Lane Theatre, Westminster Middlesex con hire ? L1, 117 Parish Church Surrey ch a £80 0s 0d L1, 118 xxxiv Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1834 St Albans Abbey Hertfordshire ch m £7 3s 0d L1, 33 City of London ch m £15 4s 6d L1, 50 St John, Hackney Middlesex ch m £3 3s 0d L1, 68 Kenmere Castle, New Galloway Scotland co 2/h £109 15s 4d L1, 76 St John’s Chapel, Hackney Middlesex ch a £11 11s 0d L1, 78 Messrs Forster & Smith, City of London bo n? £59 17s 0d L1, 85 All Saints, Cambridge Cambridgeshire ch m £2 12s 0d L1, 92 Upper Clapton Chapel Middlesex ch r £80 0s 0d L1, 98 Revd G.W. Gillett, Waltham Leicestershire bo m £6 12s 0d L1, 105 T.F. Turner, Esq., Brickwall House, Northiam Sussex bo m £5 10s 0d L1, 106 St Nicholas’ Chapel, Liverpool Lancashire ch a ? L1, 112 Luscombe, Paris ch n £286 0s 0d L1, 112 St Wulfram, , Lincolnshire ch a £121 10s 0d L1, 114 Mr Geo. Skey [?], Charterhouse Square City of London co m £35 5s 8d L1, 119 Mr Arthur O’Leary, Tralee Ireland ch? n £227 3s 0d L1, 120 John Drewry, Esq., co n £140 0s 0d L1, 120 Royal Musical Festival, Middlesex con hire ? BIOSJ, 17, 143 Mr L. Hill, York Yorkshire ch 2/h £156 0s 0d L1, 121 Trinity Chapel, Kent ch n £280 0s 0d L1, 121 St Olave, City of London ch a £12 12s 0d L1, 122 xxxv Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1835 St Dunstan in the East City of London ch m £2 0s 0d L1, 2 St Sepulchre, Holborn City of London ch rb £258. 15s 0d L1, 5; Sperling, 1, 39 Spanish Chapel, St Marylebone Middlesex ch m £12 0s 0d L1, 13 St Pancras Parish Church Middlesex ch a £47 0s 0d L1, 26; Sperling 1, 85 South Hackney Chapel Middlesex ch n £400 0s 0d L1, 78 Trinity Church Hall, Cheltenham Gloucestershire ch m/a £78 15s 0d L1, 102 St Edward, Essex ch 2/h £126 0s 0d L1, 112 Revd William Thursby, Bank Hall, Worsthorne Lancashire bo bo £132 12s 0d L1, 113 St Wulfram, Grantham Lincolnshire ch a £153 8s 0d L1, 114; Sperling, 2, 178 Messrs W.R. & S. Mitchell, City of London bo n £57 4s 0d L1, 117 Tooting Parish Church Surrey ch m £19 19s 0d L1, 118, Sperling 1, 173 Revd Dr Goddard, Cadogan Place, Chelsea Middlesex bo m £46 15s 0d L1, 119 Woolwich Parish Church Kent ch m £14 0s 0d L1, 122 All Saints, Southampton Hampshire ch m £17 2s 0d L1, 123 Ashley Park, Walton-on-Thames Surrey co? rb £92 15s 6d L1, 124 The Hon. & Revd Leland Noel, Exton Rutland bo n £73 10s 0d L1, 124 [Mr] Taylor, Weybridge Surrey co? m £7 8s 6d L1, 125 Capt. R.D. Middleton, Commercial Road Middlesex bo n £169 12s 10d L1, 125 Revd Dr Jennings, Hampstead Middlesex co? m £42 10s 0d L1, 127 Mr Richard Binfield, Reading Berkshire ch 2/h £150 0s 0d L1, 127 St Mildred Poultry City of London ch m £12 12s 0d L1, 128 All Saints, Derby Derbyshire ch r £126 16s 0d L1, 129 The Hon. Berkley Portman, Bryanston Dorset co? m £6 8s 0d L1, 129 St Mary the Virgin, Baldock Hertfordshire ch rb £105 15s 9d L1, 129 St George’s Chapel, Windsor Castle Berkshire ch a ? Willement 1844, 53 xxxvi Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1836 Spanish Chapel, St Marylebone Middlesex ch a £80 0s 0d L1, 13 Marquis of Anglesey ? co m £22 12s 0d L1, 21 Directors of the Poor, St Pancras Middlesex bo r £3 13s 6d L1, 57 Revd D Pearson, South Kilworth Leicestershire co/bo a £35 0s 0d L1, 62 Messrs Burkingyoung & Co., Calcutta (2 organs) India bo n £180 0s 0d L1, 66 St James, Cheltenham Gloucestershire ch m £20 0s 0d L1, 91 St Paul, Cheltenham Gloucestershire ch m £6 6s 0d L1, 91 [Mr] Capper, Cheltenham Gloucestershire co m £2 2s 0d L1, 91 Portland Chapel, Cheltenham Gloucestershire ch m £3 3s 0d L1, 91 Trinity College, Cambridge Cambridgeshire ch rb £410 0s 0d Documents 3.6, below Thomas Frewen Turner, Esq., Northiam Sussex bo m £1 5s 0d L1, 106 Messrs W. & S. Mitchell, Lime Street (2 organs) City of London bo n £114 8s 0d L1, 117 Woolwich Parish Church Kent ch m £1 16s 0d L1, 122 Warbleton Parish Church (George Darby, Esq.) Sussex bo n £90 8s 0d L1, 125 St George, Ramsgate Kent ch n £321 0s 0d L1, 130 Revd D. Harrington, Kidlington Oxfordshire bo n £113 2s 0d L1, 130 Revd ? Beddy [?], Monmouth Monmouth ch? 2/h £75 0s 0d L1, 130 All Saints, Stamford Lincolnshire ch n £334 16s 0d 2/gp 14 L1, 131; Sperling, 2, 181 St John, Derby Derbyshire ch 2/h £170 0s 0d L1, 131 Exeter Hall Festival, Westminster Middlesex con hire £600 0s 0d L1, 132 Lt Jellicoe Turner, RN, Stevenage Hertfordshire bf n £163 16s 0d L1, 132 Portman Chapel, St Marylebone London ch n £399 0s 0d L1, 135 Windsor Parish Church Berkshire ch m £15 15s 0d L1, 138 xxxvii Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1837 St George’s Chapel, Windsor Castle Berkshire ch m £16 0s 0d L1, 8 Harrow Parish Church Middlesex ch m £4 4s 0d L1, 40 Minehead Parish Church (E. Ayshford Sanford) Somerset ch m £4 4s 0d L1, 93 Jesuit Church, Dublin Ireland ch (n) £800 0s 0d MW, 5, 123 Trinity Church, Boston (Dr Wainwright) USA ch n £1168 0s 0d 3/p 24 L1, 133 St James, Halifax Yorkshire ch n £399 0s 0d L1, 133 Revd John Blackmore, Culmstock Somerset bo n £82 17s 4d L1, 133 Wellington Parish Church Somerset bf n £200 0s 0d 1/gp 6 L1, 133; Sperling, 2, 245 Episcopal Chapel, Gray’s Inn Lane, Holborn Middlesex ch 2/h £474 0s 0d L1, 134; Sperling 1, 110 Toronto (Messrs Gillespie, Gould Square) Canada ch n £890 0s 0d L1, 139 Hon. and Revd S. Best [?], Abbots [Ann?] Hampshire bo n £87 10s 3d L1, 140 The Hon. & Revd L. Powys, Titchmarsh Northamptonshire bo n £120 0s 6d L1, 140 Revd J.S. Pratt, St Margarets Hertfordshire bf m/a £73 2s 0d L1, 141 Revd John Jennings, Westminster Middlesex ch n £359 4s 0d L1, 141 French Ambassador’s Chapel, St Marylebone Middlesex ch n £220 0s 0d 2 L1, 142 Dr Biber, Kingston-on-Thames Surrey co n £260 0s 0d 2 L1, 142 J.C. Kearney, Esq., Gowran, Kilkenny Ireland co n £485 0s 0d 3 L1, 143 Revd Thomas Pott, Gibsham, Honiton Devon bo m £19 6s 6d L1, 143 xxxviii Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1838 Revd J. Curtis, Blythe Marsh Staffordshire bf m £49 9s 5d L1, 118 George Davenport, Esq., Middlesex co n £180 0s 0d L1, 134 Lord Barham, Barham Court Kent co? m £29 18s od L1, 139 The Rt Hon. Lord Manras [?] ? bo n £66 7s 0d L1, 140 Revd J.M. Echalaz [?], Appleby Leicestershire ch? n £165 16s 0d L1, 140 J.C. Kearney, Esq., Gowran, Kilkenny Ireland co a £35 0s 0d L1, 143 Trinity Chapel, Tottenham Middlesex bf n £265 0s 0d L1, 144 The Hon. & Revd W.J. Law, Yeovilton Somerset bo n £87 9s 10d L1, 145 Mrs Kerr, Northampton Northamptonshire bf n £210 0s 0d L1, 145 Parish Church Middlesex ch r/a £78 0s 0d L1, 145 Loughton Church Buckinghamshire bo 2/h £34 9s 0d L1, 146 W.F. Low, Esq., Regents Park Middlesex co a £42 0s 0d L1, 146 St Michael City of London ch m £20 L2, 19 St John’s Wood Chapel, St Marylebone Middlesex ch m £15 L2, 27 St Marylebone Parish Church Middlesex ch m £20 L2, 27 St George’s Chapel, Windsor Castle Berkshire ch r/a £27 5s 0d L2, 34 St Mark, Clerkenwell Middlesex ch m £10 10s 0d L2, 52 St George the Martyr, Queen Square, Holborn Middlesex ch rb £157 14s 0d L2, 59 Revd -?- Maitland, Gloucester Gloucestershire co m £11 1s 2d L2, 102 Mr Henry Phillips, , Westminster Middlesex co m £8 11s 0d L2, 103 Mr W. Pilcher, Upper Belgrave Place, Chelsea Middlesex ? pipes £57 10s 0d L2, 104 J.C. Kearney, Esq., Gowran, Kilkenny Ireland co m £89 15s 4d L2, 104 Mr Hutchinson, Surrey co m £5 10s 0d L2, 105 Revd J. Athanes, Loughton Rectory Buckinghamshire bo m £8 16s 0d L2, 105 Mr Deacon, Music Warehouse, Leicester Leicestershire ? m £5 L2, 106 Lady Southampton, Whittlebury Lodge Northamptonshire co? n £303 10s 10d 2/? L2, 106 J.W. Raynolds, Esq., Place Middlesex? bo r £5 6s 0d L2, 107 St Paul’s Chapel, , St Marylebone London ch hire £273 L2, 107 George Prickett, Esq., Margate Kent bo m £6 L2, 107 xxxix Organ-building in Georgian and Victorian England: APPENDIX 2—WORK LIST 1821–38 [Ledger 1]

Year Location County/City of Type Nature Cost Keys/ Stops Sources London Pedals Sources that add information to (as at this period) the details in the ledger are noted. 1838 Mr E. Nunnely, Market Harborough Leicestershire ? parts £26 L2, 108 (cont) The Hon. Mrs Carpenter, Windermere Westmorland co a £83 18s 3d L2, 108 The Revd W.B. Barter, Burghclere Hampshire bo n £65 L2, 109 Samuel Taylor, Esq., Eccleston Hall, Eccleston Lancashire bf n £168 4s 0d L2, 110 Lady Southampton, Denbigh Hall Denbigh co a £40 7s 6d L2, 110 Sir Robert Newman, Bt ? bo n £98 11s 6d L2, 111 Charles Hatchett, Belle Vue House, Chelsea Middlesex co a £12 18s 0d L2, 111 Charles Higgs, Wolverhampton Staffordshire co 2/h £51 3s 11d L2, 112 Professor Willis, Cambridge Cambridgeshire ? pipes £6 11s 6d L2, 112 - Cooper, Esq., 111 Bishopsgate Street City of London co? pedals £2 10s 0d L2, 112 Mr Langworthy, Middlesex co r/a £41 12s 6d L2, 113 The Dowager Lady Hartland, Wrexham Wales co a £20 4s 6d L2, 113 Workhouse Chapel, St Pancras Middlesex ch r £2 6s 0d L2, 117 L.B. Dykes, Esq., Daventry Hall, Cockermouth Cumberland bo n £75 6s 0d L2, 114 St Marylebone Parish Church Middlesex ch r/a £100 L2, 117 - ? - , City of London City of London bo n £72 2s 6d L2, 118 Exeter Cathedral Devon ch rb £241 MW, 10 (1838), 152 Holy Trinity (New Church), Clifton Gloucestershire ch n ? 2/p 17 Ibid., 264; Sperling, 2, 110 APPENDIX

3. WORK LIST 1839–90

GRAY & SON (to 1840) GRAY & DAVISON (from 1841)

Abbreviations

Type of instrument: parts = components (e.g. pipes) Nature of work: r = repair bo = barrel organ a = alterations/additions bf = barrel and finger organ rb = rebuild co = chamber organ n = new ho = house organ 2/h = second-hand ch = church or chapel organ hire = hire syn = synagogue move = relocation con = concert organ sch = school organ coll = college organ inst = private institution

Dates that are uncertain are recorded in italics.

Numbers of stops have square brackets when some were ‘prepared for’ but not installed.

Locations of barrel organs costing less than £150 are omitted; the total for each year appears at the end of the entry.

xl xli Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1839 Holy Trinity, Guildford Surrey ch rb £208 3/p GG/g 19 L3, 107 St James, Holloway Middlesex ch n £250 2/p GG/g 12 L3, 97; Sperling 1, 105 St Peter, Mile End, Middlesex ch n £355 2/p GG/? L3, 98; Sperling 1, 132 , Captain Terry Middlesex co n £230 L3, 105 Edinburgh [residence] Scotland co 2/h £143 L3, 109 Christ Church, Surrey ch n £270 2/p GG/e 14 L3, 111; Sperling 1, 177 Montreal Canada bf n £120 L3, 112 St Mark, Middlesex ch n £300 2/p GG/c 14 L3, 119; Sperling 1, 120 St Mary, Lincolnshire bo? n £200 L3, 120 St John the Baptist, Gloucester Gloucestershire ? n £217 GG/? L3, 120 ? Mauritius bf n £152 L3, 125 St Philip, Charleston USA ch n £662 3/p 26 L3, 126; MW, 3, 362 Kensington [residence] Middlesex co? rb £297 L3, 117 Bridgetown [church?] Barbados bf n £216 L3, 132 St Mary, Essex ch a £64 L3, 59 St Mary the Virgin, Peldon Essex ? 2/h £80 L3, 110 10 barrel organs under £150

1840 Clerkenwell, St Mark, Myddleton Middlesex ch rb £51 L3, 52 Square St James’s Palace, Westminster, Middlesex ch a £38 L3, 54 Chapel Royal All Saints, Battersea Surrey ch n £263 L3, 110 Chelsea, Christ Church Middlesex ch n £231 L3, 112 St Edmund (RC), Costessy Norfolk ? n £105 L3, 115 Mr Bevan, Southgate Middlesex co 2/h £141 L3, 118 Holy Trinity, Tunbridge Wells Kent ch n £490 3/p GG/c 19 L3, 127; Sperling 2, 194 St Patrick (RC), Belfast Ireland ch n £540 3/p GG/? 26 L3, 130; Sperling 3, 135 xlii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1840 All Saints, Hacheson Suffolk ch n £177 1 L3, 130 (cont.) St Peter, Ipswich Suffolk ch n £165 2? L3, 131 St Mary the Virgin, Ivinghoe Buckinghamshire bf n £200 L3, 131 Worksop [residence?] Nottinghamshire co? n £232 L3, 134 Collard & Collard (agents) [abroad] ? n £400 2/p L3, 136 St Mary, Wymeswold Leicestershire ch? n £171 L3, 137 St Saviour, Chelsea Middlesex ch n £260 2/p GG/f 12 L3, 142; Sperling 1, 116 All Saints, Hertford Hertfordshire ch n £446 3/p GG/c 19 L3, 144; Sperling 2, 133 St Marylebone, Lord Barham, Middlesex co n £315 L3, 145 Cavendish Square Parish Church, Accrington Lancashire ch n £359 2/p GG/c 15 L3, 142; SB1, 1 Christ Church, Middlesex ch n £315 2/p C/c 15 L3, 124; SB1, 2 [Chamberlayne], Chelsea Middlesex bo n £231 L3, 112; SB1, 5 St Mary (RC), St Helens Lancashire ch n £252 2/p GG/g 11 L3, 143; SB1, 10 Sir William Medlycott, Milborne Somerset ? n £168 L3, 144 Port Revd W. Lord, Northiam Sussex ? 2/h £250 L3, 147 Toxteth, Liverpool, St Saviour Lancashire ch n £586 3/p C/c 21 L3, 151; SB1, 11 Parish Church, Shropshire bf n £223 1 GG 7 L3, 170 [?]; SB1, 13 Revd Robert Eden, Leigh on Sea Essex ch n £147 1 GG 5 L3, 132; SB1, 18 St Werbergh, Derby Derbyshire ch n £321 2/p GG/c 15 L3, 152; SP1, 19 [church?], Kingston Jamaica ch? n £525 2 GG/g 12 L3, 150; SB1, 20 St Giles City of London ch rb £247 L3, 61; SB1, 22 [residence?], Lancashire bf n ? 12 SB1, 26 St Faith under St Paul’s City of London ch n ? 2/p GG/c? 14 L3, 3; SB1, 30 21 barrel organs under £150 xliii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1841 Loretto House (RC), Rathfarnham, Ireland ch n £472 3/p GG/f 18 L3, 160; SB1, 16 Dublin Eton College, Eton Buckinghamshire sch n £666 3/p GG/c 20 L3, 15; SB1, 3. St Andrew, Kingsbury Middlesex bf n £105 1 C 3 L3, 163; SB1, 5. Diorama, Regent’s Park Middlesex bo? n ? C 6 L2, 142; L4, 119; SB1, 5 St Augustine (RC), Preston Lancashire ch n £550 3/p GG/c 19 L3, 167; SB1, 6 Rossall, Sir Hesketh Fleetwood Lancashire bf n £270 2/p GG/g 10 L3, 166; SB1, 8 Christ Church, Watney Street, St Middlesex ch n £367 2/p C/c [20] L3, 164; SB1, 9 George-in-the-East Demerara [Ecklin & Ayling] Guyana bf n £189 1 C 4 L3, 154; SB1, 27 , Westminster, Middlesex co n £271 1 C 7 L3, 148; SB1, 28 Prince’s Room St John’s Wood Chapel, St John’s Middlesex ch n £231 2/p GG/c 15 L2, 130; SB1, 36 Wood Windsor Castle, Music Hall Berkshire ho [n] ? 2/p GG/C 16 L4, 126; SB1, 7 14 barrel organs under £150

1842 Dominican Church (RC), Cork Ireland ch n £603 3/p GG/f 23 L4, 157; SB1, 32 St Mary Magdalene, Surrey ch n £261 2 GG/c [14] L2, 146; L4, 149; SB1, 35 Holy Trinity, Preston Lancashire ch n £614 3/p GG/c 24 L4, 158; SB1 37 Unitarian Church, Stockport Cheshire ch n £200 2 GG/g 10 L4, 139; SB 1, 39 St George’s Cathedral, Demerara Guyana ch n £399 2 GG/f 11 L$, 200; SB1, 40 St Michael, Highgate Middlesex ch n £630 3/p GG/c 19 L4, 190; SB1, 41 St John, Preston Lancashire ch a £240 L4, 186; SB1, 47 [church?], Hobart Town Australia ? n £262 1 C 6 L4, 218; SB1, 48 [church?], Hamilton Jamaica ? n £200 1/p C 7 L4, 199; SB1, 53 Buckingham Palace, Westminster, Middlesex co move £108 L4, 126 Chapel St George, Wilton Somerset ? n £215 L4, 142; SB2, 139 Pentonville Prison, Islington Middlesex ch £225 L4, 174; SB2, 152 xliv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1842 St Edward, Stow-on-the-Wold Gloucestershire ch n £265 L4, 178 (cont.) J. Coppock [?] ? n £200 2/p? L2, 145 St Bertoline, Barthomley Cheshire bo n £180 L2, 151 18 barrel organs under £150

1843 St George’s Chapel, Windsor Berkshire ch rb £294 3/p FF/F 32 L2, 128 Castle St Paul, Knightsbridge Middlesex ch n £1000 3/p C/C 40 L4, 216; SB1, 42 Chester Cathedral Cheshire ch n £766 3/p GG/F 37 L4, 230; SB1, 49 St Mary, Tenbury Wells Worcestershire ch n £350 2/p C/c 21 L4, 223; SB2, 3 St Patrick (RC), Manchester Lancashire ch n £453 2/p C/c 19 L4, 219; SB2, 5 Moseley Street Chapel, Lancashire ch n £440 2/p C/c 22 L4, 229; SB2, 7 Manchester St Lawrence, Bishopstone Herefordshire ch 2/h £128 3/p GG/g 16? L4, 200 Chapel of Merchant Taylors City of London bf n £194 L4, 206 St Gregory and St Martin, Wye Kent bf n L4, 220 18 barrel organs under £150

1844 Hon. Mrs Howard, Ashtead Surrey ? n £150 1 C 5 L4, 234; SB1, 54 St Mary Magdalene, Surrey ch n £315 2/p GG/c 16 L4, 237; SB2, 9 Emmanuel Church, Camberwell Surrey ch a £107 L4, 95; SB2, 11 All Saints, Bedworth Warwickshire ch n £190 1/p C 8 L4, 240; SB2, 12 [English Church?], Boulogne France ch n £300 2/p GG/c 11 L4, 243; SB2, 13 [‘organ committee’], Oldham Lancashire ch n £300 2/p C/c 15 L4, 243; SB2, 13 Parish Church, Bainton Yorkshire bf n £194 1/p C 7 L4, 260; SB2, 16 Chichester Cathedral, Chichester Sussex ch a £165 L4, 244; SB2, 17 St Barnabas (RC), Nottingham Nottinghamshire ch n £500 3/p C/c 28 L4, 249; SB2, 18 xlv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1844 St Swithin, London Stone City of London ch a £63 L4, 34; SB2, 20 (cont.) St James, Bradford Yorkshire ch n £450 2/p C/c 20 L4, 252; SB2, 21 Bedford Chapel, Holborn Middlesex ch n 1/p C 9 L4, 255; SB2, 23 Union Chapel, Manchester Lancashire ch n £265 2/p C/c 13 L4, 256; SB2, 23 Broughton Chapel, Salford Lancashire ch n £225 2/p C/c 12 L4, 259; SB2, 25 St Chad’s Cathedral, Birmingham Warwickshire ch 2/h £110 L4, 231, 234 St Mary Magdalene, Southwark Surrey ch n £315 L4, 237 St Luke, Old Street, Finsbury Middlesex ch rb £600 C/C? L4, 239 St Mary, Stotfold Bedfordshire ch 2/h L4, 245 St Peter and St Paul, Exton Rutland ch n L4, 245 St Paul, Valletta Malta ch 2/h L4, 253 St Marylebone Church Middlesex ch a £72 L4, 73; SB2, 27 St Luke, Chelsea Middlesex ch a L2, 125; SB2, 27 10 barrel organs under £150

1845 Calcutta Cathedral India ch n £1000 3/p GG/c 22 L4, 267; SB1, 45 Mr Eccles, Darwen Lancashire bf n £336 2 GG/g 8 L4, 268; SB2, 15 St John the Baptist, Windsor Berkshire ch n £385 2/p GG/c 17 L4, 14; SB2, 29 St Andrew by the Wardrobe City of London ch a £131 L4, 26; SB2, 33 Arley Hall, Arley Cheshire co? n £120 1 C 3 L4, 234; SB2, 34 St Mary & St Clement, Clavering Essex bf n £140 1 C 4 L4, 263; SB2, 36 Lune Street Wesleyan, Preston Lancashire ch n £300 2/p C/c 17 L4, 264; SB2, 37 St Stephen, Salford Lancashire ch n £300 2/p C/c 16 L4, 265; SB2, 39 St John, Dukinfield Cheshire ch n £350 2/p C/c 17 L4, 266; SB2, 40 Church (RC?), Enfield Middlesex ch n £180 1 GG 7 L4, 263; SB2, 41 xlvi Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1845 St Mary, Yazor Herefordshire bf n 2/p GG/g 9 SB2, 42 (cont.) Holy Trinity, Hulme, Manchester Lancashire ch n £500 2/p C/c 22 L4, 270; SB2, 43 Mrs Currie, Fittleworth Sussex co? n £120 1 C 4 L4, 245; SB2, 44 Mr Slater, Manchester Lancashire co n £250 2/p C/c 10 L4, 271; SB2, 46 Wesleyan Chapel, Burnley Lancashire ch n £450 2/p C/c 23 L4, 272; SB2, 49 Holy Trinity, Runcorn Cheshire ch 2/h £130 L4, 191, 270 6 barrel organs under £150

1846 Trindad Cathedral, Port of Spain Trinidad ch n £840 3/p C/c 28 L4, 274; SB2, 30 Sir Trayton Drake, Nutwell Court, Devon bf n £210 1 C 4 L4, 279; SB2, 45 Exeter Blind Asylum, Southwark Surrey ch n £388 3/p C/c 22 L4, 54; SB2, 47 Cross Street Chapel, Manchester Lancashire ch n £500 2/p C/c 26 L4, 281; SB2, 51 Revd E. Moore, Frittenden Kent co n £157 1 GG 6 L4, 285; SB2, 53 St Peter, Wrockwardine Shropshire bo n £165 8 L4, 276; SB2, 54 St Mary, Uttoxeter Staffordshire ch n £300 2/p C/c 14 L4, 281; SB2, 55 Parish Church, Loughborough Leicestershire ch a £130 L4, 176; SB2, 56 Wesleyan Chapel, Macclesfield Cheshire ch n £330 2/p C/c 17 L4, 286; SB2, 57 St Mary, Haggerston [‘Father Middlesex ch 2/h £220 L4, 287; SB2, 60 Smith organ’] St Mary the Virgin, Prescot Lancashire ch a £97 L4, 211; SB2, 61 R.H. Wood, Cambridge [Christ Cambridgeshire ch a £80 L4, 243; SB2, 63 Church?] Mr Nield, Leigh Delamere bf n £125 1 C 3 L4, 279; SB2, 64 [residence] Swansea Glamorgan ? 2/h £125 2 L4, 280 [?] Saxmundham Suffolk n £160 L4, 281 xlvii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1846 13 barrel organs under £150 (cont.)

1847 Castle Church, Stafford Staffordshire ch n £170 1 C 5 L4, 288; SB2, 65 Wesleyan Chapel, West Bromwich Staffordshire ch n £415 2/p C/c 19 L4, 286; SB3, 1 Halifax Place Wesleyan Chapel, Nottinghamshire ch n £395 2/p C/c [24] L4, 289; SB3, 3 Nottingham St Mark, Hamilton Terrace, Middlesex ch n 3/p C/c [29] SB3, 5 St John’s Wood Convent Chapel (RC), Warwickshire ch n £90 1 C [5] L4, 234; SB3, 7 Birmingham Parish Church, Macclesfield Cheshire ch a £80 L4, 168; SB3, 8 Convent Chapel (RC), Nottingham Nottinghamshire ch n £135 1 GG 6 L4, 249; SB3, 9 [church?], Frittenden Kent bf n £200 1 C 7 L4, 285; SB3, 10 [residence], Bradford on Avon Wiltshire ? n £140 1/p GG 7 L4, 288; SB3, 11 St Mary the Virgin, Stoke-by- Suffolk ch n £300 2/p GG/c 14 L4, 289; SB3, 12 Nayland St Paul, Blackburn Lancashire ch n £300 2/p C/c [16] L4, 293; SB3, 13 Christ Church Cathedral, Oxford Oxfordshire ch rb £430 L4, 293; SB3, 15 St Mary, Shrewsbury Shropshire ch a £240 L4, 292; SB3, 16 Parish Church, Little Elm Somerset ch n £69 1 GG 3 L4, 294; SB3, 17 Demerara Guyana ? n 1 GG 5 L4, 215 [?]; SB3, 20 [residence]. Tewkesbury Gloucestershire bf n L4, 290 Holy Trinity, Chantry Somerset ch n/parts? 2/p GG/c 14 L4, 294 6 barrel organs under £150

1848 St John, Charlotte Street, St Middlesex ch n £322 2/p GG/c 18 L4, 101; SB3, 18 Pancras xlviii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1848 St Patrick, Sydney, NSW Australia ch n £300 2/p C/c 14 L4, 142; S (cont.) B3, 19 St Thomas, Charterhouse Middlesex ch n £350 2/p C/c 16 L4, 222; SB3, 25 St Mary, Islington Middlesex ch a £50 L4, 89; SB3, 26 Wooton, St Edmund Isle of Wight ch n ? 1/p C 6 SB3, 26 [residence], Montrose Angus ho 2/h £90 L4, 124 Wesleyan Chapel, Bedford Bedfordshire ch 2/h £180 L4, 175 [residence], Kent co n £85 L4, 188 St Peter, Marlow Buckinghamshire ch 2/h £70 L4, 193 [residence], Holborn City of London co n? £160 L4, 283 9 barrel organs under £150

1849 St Wilfred (RC), Cotton, Cheadle Staffordshire ch n £310 2/p C/c 14 L4, 299; SB3, 27 St Paul, Dock Street, Stepney Middlesex ch n £278 2/p C/c 14 L5, 25; SB3, 28 All Saints, Wandsworth Surrey ch n £279 2/p C/c 14 L5, 67; SB3, 28 Congregational Chapel, Staffordshire ch n £300 2/p C/c 14 L5, 127; SB3, 30 Wolverhampton Wesleyan Chapel, Dudley Worcestershire ch n £270 2/p C/c 13 L5, 109; SB3 31 St Augustine the Less, Bristol Somerset ch n £250 2/p C/c 14 L5, 139; SB3, 33 Kilnwick Percy, Parish Church East Yorkshire ch n £100 1 C 2 L5, 132; SB3, 34 Mr Peek, Wandsworth Surrey co n £235 2/p C/c 12 L5, 136, SB3, 35 [Stock] co n 2/p GG/c 9 SB3, 37 Baptist Chapel, Tottenham Middlesex ch n £120 1/p GG [9] L5, 141; SB3, 39 St Sepulchre, Holborn City of London ch a £300 L5, 61’ SB3, 40 [chapel], Kensington Middlesex co 2/h L4, 186 Freemasons’ Hall, Newcastle- Staffordshire inst n £85 L5, 120 under-Lyme xlix Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1849 Hobart Australia ? n £100 L5, 125 (cont.) Exeter Cathedral Devon ch a £42 L5, 146 Christ Church, Downend Gloucestershire ch 2/h £180 L5, 161 6 barrel organs under £150

1850 Harthill, All Hallows South Yorkshire ch n £150 1/p C 5 L5, 178; SB3, 38 Liverpool, St Francis Xavier (RC) Lancashire ch n £703 3/p C/c 31 L5, 150’ SB3, 41 Erdington, St Barnabas Warwickshire ch n £230 2/p C/c 11 L5, 174; SB3, 43 Mr Peek Jr, Balham Surrey ho n £55 1 C 2 L5, 136; SB3, 44 Clapham Choral Society Surrey con hire 1 C 9 L5. 131; SB3, 45 St Matthew, Finsbury Middlesex ch n £320 2/p C/c 16 L5, 107; SB3, 46 Centenary Chapel (Wesleyan), Lincolnshire ch n £750 3/p C/c 41 L5, 208; SB3, 47 Boston Byculla Church, Bombay India ch n £300 2/p C/c 13 L5, 195; SB3, 50 Sproughton, All Saints Suffolk ch n £130 1 C 4 L5, 197; SB3, 51 Cape of Good Hope South Africa ? n £178 1/p GG 5 L5, 198; SB3 52 St John, Portsea Hampshire ch a £229 L5, 211; SB3, 56 7 barrel organs under £150

1851 The Oratory, Westminster Middlesex ch n £300 2/p C/c 14 L5, 113; SB3, 36 St Anne, Limehouse Middlesex ch n £800 3/p C/c 33 L5, 231; SB3, 53 St Thomas of (RC), Middlesex ch n/hire [£300] 2/p C/c 15 L5, 216; SB3, 57 Fulham St Mary, Portsmouth Hampshire ch rb £118 L5, 214; SB3, 58 St Margaret, Canterbury Kent ch n £330 2/p C/c 15 L5, 224; SB3, 59 l Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1851 St John, Woolwich Kent ch n £395 2/p C/c 16 L5, 213; SB3, 60 (cont.) St Mary, Soho, Westminster Middlesex ch n £150 1/p C 8 L5, 218; SB3, 61 St Peter, Bolton Lancashire ch rb £669 3/p C/C 36 L5, 233; SB3, 62 Dr Lister, Sandown Isle of Wight ho bf/n £130 1/p GG 5 L5, 222; SB3, 65 St Mary, Gosport Hampshire ch n £100 1/p C 5 L5, 222; SB3, 66 ? India ? bo £320 7 L5, 232; SB3, 67 Christ Church, Wiltshire ch n £400 2/p C/c 19 L5, 225; SB4, 3 Holy Trinity, Blackburn Lancashire ch 2/h £287 L5, 174; SB4, 5 St Giles, Cripplegate City of London ch a £43 L5, 18; SB4, 7 Lady Marsham, Maidstone Kent ? n £126 1/p GG 4 L5, 223; SB4, 18 4 barrel organs under £150

1852 Christ Church, Spitalfields Middlesex ch rb £431 L5, 17; SB4, 1 Eton College Chapel Buckinghamshire sch n £550 3/p GG/c 28 L5, 32; SB4, 5 Eaton Chapel, Middlesex ch n/hire [£350] 2/p C/c [15] L5, 243; SB 4, 9 St Magnus the Martyr City of London ch a £168 L5, 28; SB4, 11 Union Chapel, Islington Middlesex ch n £120 (?) 2/p C/c [14] L5, 148; SB4, 12 West Chapel, Galway Ireland ch n £300 2/p C/c [15] L5, 242; SB4 14 St Mary Magdalene, Munster Middlesex ch n £533 2/p C/c 19 L5, 234; SB4, 16 Square, St Pancras Revd – Le Feuvre, Jersey Channel Islands co n £256 (?) 2/p GG/c 10 L5, 235; SB4, 19 Cheadle, ? Cheshire ? n ? 1/p C 5 SB4, 20 St John, Fairfield, Liverpool Lancashire ch n £510 (?) 2/p C/C 17 L5, 240; SB4, 21 Gray’s Inn Chapel, Holborn Middlesex ch n/hire [£200] 1/p C 8 L5, 69; SB4, 26 Wesleyan Chapel, Luton Bedfordshire ch n £320 2/p C/c 13 L5, 234; SB4, 27 Congregational Chapel, Clapham Surrey ch n £300 2/p C/c 18 L5, 245; SB4, 28 li Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1852 Margate, St John the Baptist Kent ch n £330 2/p C/c 18 L5, 238; SB4, 30 (cont.) Holy Trinity, Guildford Surrey ch a £120 L5, 20; SB4, 32 St Mary, Tarrant Gunville Dorset ch n/bf £100 1/p C 3 L5, 239; SB4, 33 Independent Chapel, Richmond Surrey ch n/bf ? 1/p C 4 SB4, 33 I barrel organ under £150

1853 Glasgow, City Hall Scotland con n £1632 3/p C/C 45 L5, 236; SB4, 23 10001 Charles Higgs, Wolverhampton Staffordshire co n £140 2/p C/c 10 L5, 191; SB4, 35 10002 St Andrew, Soham Cambridgeshire ch n £160 1/p C [7] L5, 241’ SB4, 36 10003 Pitcairn Island Pacific ? n/bf £130 1 C 3 L5, 247; SB4, 37 10004 St Nicholas, Hertfordshire ch hire ? 1 C 5 L5, 254; SB4, 38 10005 St Mark, Princes Terrace, St Middlesex ch n/hire [£250] 2/p C/c 11 L5, 26; SB4, 39 Pancras St Jude, Southwark Surrey ch rb £100 L5, 77; SB4, 40 10006 Sub Deanery Church, Chichester Sussex ch n £275 2/p C/c 11 L5, 265; SB4, 41 10007 Wesleyan Chapel, Holmfrith Yorkshire ch n £250 2/p C/c 11 L5, 250; SB4, 42 10008 Catholic Apostolic Church, Gordon Middlesex ch n/hire [£350] 2/p C/c 18 L5, 255; SB4, 43 Square 10009 [residence] ho n/bf 1/p C 6 SB4, 44 10010 [stock?] n/bf 1 C 3 SB4, 45 10011 St Nicholas, Elstree [cf. 10004] Hertfordshire ch n £150 1/p C [8] L5, 254; SB4, 46 10013 Wesleyan Chapel, Heywood Lancashire ch n £310 2/p C/c 17 L5, 252; SB4, 48 10014 [stock?] n/bf 1 C 3 SB4, 49 10016 St John the Baptist, Aldenham Hertfordshire ch n/bf £135 1/p C [8] L5, 253; SB4, 51 10018 St Mark, Tollington Park, Finsbury Middlesex ch n ? 1/p C 4 SB4, 53

10019 [stock?] n 1/p C 4 SB4, 54 10020 [stock?] n/bf 1/p C 3 SB4, 55 lii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1853 10021 St Peter, Pimperne Dorset ch n £80 1/p C 3 L5, 248; SB4, 56 (cont.) 5 barrel organs under £150

1854 10012 Hanover Square Rooms, Middlesex con n £350 2/p C/c 16 L5, 258; SB4, 47 Westminster 10015 Mental Hospital, Middlesex ch n/bf £120 1/p C 7 L5, 19; SB4, 50 10017 - ? - , Great Street City of London ? n £420 2/p C/c 15 L5, 257; SB4, 53 10024 Independent Chapel, Blackburn Lancashire ch n £538 (?) 2/p C/C [24] L5, 263; SB4, 62 10025 Holy Trinity, Shropshire ch n £310 2/p C/c [16] L5, 260; SB4, 63 10027 Mr Gooch, Paddington Middlesex co n £210 1/p C 7 L5, 194; SB4, 67 10028 St Hilary of Poitiers, Wallasey Cheshire ch n £321 2/p C/c [16] L5, 270; SB4, 68 10029 All Saints, Notting Hill Middlesex ch n ? 2/p C/C 20 SB4, 69 10030 [church?], Harbridge Cheshire ch? n £140 1/p C 5 L5, 267; SB4, 71 10031 Lord Normanton, Hampshire bf n £162 1/p C 5 SB4, 72 10032 St David, Merthyr Tydfil Glamorgan ch n £300 2/p C/c [15] L5, 268; SB5, 2 10033 Mr Kilburn, Hampstead Middlesex co n £158 (?) 2/p C/c 17 L5, 279; SB5, 4 10034 Duns Castle Berwickshire ? n/bf £131 1/p C 5 L5, 271; SB5, 6 10035 Dr Bowles, Stanton Lacy Shropshire ? n/bf £189 1/p C 5 L5, 266; SB5, 7 10036 [St Augustine with] St Faith City of London ch n ? 2/p C/c 15 SB5, 8 10037 St Mary, Torquay Devon ch n £328 2/p C/c [22] L5, 275; SB5, 9 10038 [Lord Buckinghamshire?] ? ? n/bf ? 1/p C 7 SB5, 11 St James, Cheltenham Gloucestershire ch a ? L5, 188; SB5, 12 10041 Weld Chapel, Southgate Middlesex ch n £150 1/p C 7 L5, 276; SB5.17 2 barrel organs under £150

1855 10026 Magdalen College, Oxford Oxfordshire coll n £1781 4/p C/C 31 L5, 273; SB4, 64 10039 St John, Calcutta India ch n £903 3/p C/c 24 L5, 283; SB5, 13 liii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1855 10040 Mr Chandos Pole, Radbourne Derbyshire ho n £320 2/p C/c [17] L5, 281; SB5, 15 (cont.) 10042 - ? - , Corfton Shropshire ? n/bf £90 1/p? C 4 L5, 278; SB5, 18 Mr Forbes, Hampstead Middlesex ho? rb £251 L5, 284; SB5, 20 10044 Christ Church, Folkestone Kent ch N £315 2/p C/c 15 L5, 288; L5, 20 10045 St Mary the Virgin, Flaxley Gloucestershire ch N ? 2/p C/c 13 SB5, 22 10046 Mr Howell, Shanghai China ? N £350 2/p C/c 13 L5, 283; SB5, 23 10047 Music Hall, Birmingham Warwickshire con n £1213 3/p C/C 36 L5, 57; SB5, 24 10048 - ? - , Middlesex ? n ? 1/p C 5 SB5, 26 10049 ? ? ? n/bf ? 1/p C 4 SB5, 27 J26 St Francis Xavier, Dublin Ireland ch a £220 L5, 212; SB5, 28 J63 St Peter & St Paul, Tonbridge Kent ch a £150 L5, 159; SB5, 29 10050 First Presbyterian Church, Belfast Ireland ch n £400 2/p C/c 18 L5, 128; SB5, 30 10051 - ? - , Salisbury Wiltshire ? n ? 1/p C 5 SB5, 31 10052 [church] ? n ? 1/p C 8 SB5, 32 City Hall Glasgow con a £560 L5, 236; SB5, 33 10053 Hope Street Chapel, Liverpool Lancashire ch n £650 2/p C/C 22 L5, 57; SB5, 34 St George’s Chapel, Windsor Berkshire ch a £420 L5, 53; SB5, 36 Castle 10054 St Mary the Virgin, Harlow Essex ch n £186 1/p C 6 L5, 76; SB5, 38 10055 St Mary (RC), Burnley Lancashire ch n £412 2/p C/c 18 L5, 186; SB5, 39 10056 St Mary, Harrow Middlesex ch n £400 2/p C/c 16 L5, 190; CB5, 41 10057 St Mary, Wargrave Berkshire ch n £225 2/p C/c 11 L5, 265; SB5, 42 10058 ? ? ch n ? 2/p C/c [11] SB5, 43 10059 [Cathedral?], Colombo Ceylon ch? n/bf 1/p GG 4 SB5, 44 10060 Hanover Chapel, Stockport Cheshire ch n £458 2/p C/C 19 L5, 293; SB5, 44 10061 Tennison’s Chapel, Westminster Middlesex ch rb £300 2/p C/C 18 L5, 99; SB5, 46 St Thomas, Portsmouth Hampshire ch a £109 L5, 202; SB5, 47 liv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1855 1 Barrel organ under £150 (cont.)

1856 10023 Sherborne Abbey Dorset ch n £1135 3/p C/c 33 L5. 183; SB4, 59 10043 St Patrick (RC), Sydney Australia ch n £350 2/p C/c 15 L5, 15; SB5, 19 Buckingham Palace, Westminster, Middlesex ho a £200 L5, 293; SB5, 47 Ballroom 10062 All Saints, King’s Langley Hertfordshire ch N £176 2/p C/c 9 L5, 295; SB5, 49 10063 St Giles-in-the-Fields, Holborn Middlesex ch rb ? 3/p C/C 30 SB5 48 10064 St James the Great, East Malling Kent ch N £262 2/p C/c 11 L5, 23; L5, 50 10065 St Mark, Tollington Park, Finsbury Middlesex ch N £380 2/p C/c 18 L5, 232; L5, 51

10066 All Saints, Childs Hill Middlesex ch n £220 2/p C/c 12 L5, 27; SB5, 52 10067 St John the Evangelist, Weymouth Dorset ch n £200 2/p C/c [14] L5, 189; L5, 53 10068 St Anne, Sale Cheshire ch n £250 2/p C/c 14 L6, 146; SB5, 54 10069 St Mary Magdalene, Knightrider City of London ch rb £394 L5, 7 and 75; SB5, 55 Street 10070 Exhibition Rooms [Allsop], Lancashire ? n £320 2/p C/c 17 L5, 21; SB5. 56 Liverpool 10071 St Mary, Spring Grove, Middlesex ch n £525 2/p C/C 18 L5, 274; SB5, 57 10072 St Michael, Hulme Walfield Cheshire ch n/bf ? 1/p C [4] SB5, 58 10073 Crystal Palace, Sydenham, Handel Surrey con n/hire [£3000] 4/p C/C 66 L5, 260, [SB5, 58] Festival Organ

1857 10074 Revd Henry Owen [?] ? ? n/bf £126 1/p C 4 L6, 111; SB5, 59 10075 Cheltenham College Gloucestershire sch N £380 2/p C/c 17 L6, 101; SB5, 60 10076 St Mary, Thatcham (?) Berkshire ch N ? 2/p C/c 15 SB5, 61 10077 , Epsom Surrey sch n £200 1/p C 8 L6, 150; SB5, 62 10078 St James, Louth Lincolnshire ch n £800 3/p C/C 35 L6, 137; SB5, 63 10079 ? ? ? n ? 2/p C/c 13 SB6, 1 lv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1857 10080 St James the Great, Haslingden Lancashire ch n £300 2/p C/c 16 L6, 112; SB6, 2 (cont.) 10081 Enniskean [?] Ireland ? n £140 1 C 5 L6, 141; SB6, 3 10082 Town Hall, Leeds West Yorkshire con n £5084 4/p C/C [91] G&D job record does not survive 10083 Music Hall, Lancaster Lancashire con n £280 2/p C/c 16 L6, 142; SB6, 4 10084 St Paul, Stepney Middlesex ch n £320 2/p C/c 14 L6, 227; SB6, 5 10085 ? Mauritius ? n £120 1/p C 4 L6, 123; SB6, 6

1858 10086 St James’ Hall, Piccadilly, Middlesex con n £540 1/p C 22 L6, 223; SB6, 8 Westminster 10087 ? ? ? n ? 2/p C/c 19 SB6, 7 10088 St Mary, Stoke Newington Middlesex ch n £600 3/p C/C 37 L6, 225; SB6, 9 10089 St Saviour (RC), Warwick Avenue, Middlesex ch n £700 2/p C/C 21 L6, 113; SB6, 12 10090 [Burkingyoung, London agents], India ch? n £713 2/p C/c 15 L6, 231; SB6, 14 Calcutta 10091 Town Hall, Newcastle-upon-Tyne Northumberland con n £2000 3/p C/C 41 L6, 246; SB6, 16 10092 St Andrew, Plymouth Devon ch rb £650 3/p C/C 33 L6, 237; SB6, 19 10093 Infant Asylum, Essex ch n £300 2/p C/c 15 L6, 87; SB6, 22 10094 St Mary, Wigton (?) Cumberland ch n £240 2/p C/c 12 L6, 231; SB6, 23 10095 English College, Lisbon Portugal ch n £300 2/p C/c 14 L6, 232; SB6, 24 10096 St James’s School, Clapham Surrey sch n £125 1/p C 5 L6, 233; SB6, 25

1859 10097 Grove Street Wesleyan Chapel, Lancashire ch n £650 3/p C/C [32] L6, 239; SB6, 26 Liverpool 10098 Synagogue, Margaret Street, Middlesex syn n £350 2/p C/c 15 L6, 68; SB6, 28 Westminster 10099 Stoney Place Chapel, Nottingham Nottinghamshire ch n £220 2/p C/c 10 L6, 242; SB6, 29 lvi Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1859 St John the Baptist, Broad Clyst Devon ch a £86 L6, 195; SB6, 30 (cont.) 10100 St Mary, Hatfield Broad Oak Hertfordshire ch n £300 2/p C/C? 13 L6, 243; SB6, 31 10101 St Leonard, Scorborough Yorkshire ch n ? 2/p C/c 10 SB6, 32 10102 Van Diemans Land Australia ? n £360 2/p C/c 10 L6, 256; SB6, 34 10103 Park (Lady ) Norfolk ho n £270 3/p C/c 15 L6, 4; SB6, 35 10104 Albury (?) Surrey ? n £50 1 C 2 L6, 254; SB6, 36 10105 [stock] n 1 C 2 SB6, 36 10106 Leamington College Chapel Warwickshire ch n £73 1/p C 4 L6, 256; SB6, 37 10107 [Great] Torrington (?) Devon co? n £136 1/p C 4 L6, 261; SB6, 37 10108 St Mark, Reigate Surrey ch n £220 2/p C/c [13] L6, 260; SB6, 38 10109 [stock] ? ? n 1/p C 4 SB6, 39 1 barrel organ under £150

1860 10110 [stock] n 1 C 4 SB6, 40 St Anne, Wandsworth Surrey ch a £102 L6, 72; SB6, 41 10111 - ? - , Sturminster Marshall Dorset ? n/bf £110 1/p C 3 L6, 238; SB6, 42 Court Field, Ross-on-Wye Herefordshire ho? a £80 L6, 258; SB6, 43 10112 St John, Limehouse Middlesex ch n £257 2/p C/c 13 L6, 189; SB6, 44 10113 St Laurence, Shropshire ch rb £1034 3/p C/C [36] L6, 235; SB6, 45 10114 St Mary (RC), Wrexham Denbigh ch n £260 2/p C/c 16 L6, 232; SB6, 48 10115 All Saints, Clapham Park Surrey ch n £630 2/p C/C [22] L6, 73; SB6, 49 10116 Royal Agricultural College, Gloucestershire coll n £160 2/p C/c [12] L6, 10; SB6, 51 Cirencester 10117 All Saints, Kensington Middlesex ch n £1000 3/p C/C 31 L6, 67; SB6, 53 Hambro’ German Church, Surrey ch a £60 L6, 9; SB6, 55 lvii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1860 10118 Mr Lacey, Cape of Good Hope South Africa ch? n £365 2/p C/c 18 L6, 259; SB6, 56 (cont.) 10119 Llandaff Cathedral Glamorgan ch n £900 3/p C/C 32 L6, 95; SB6, 57 10120 - ? - , Ashton-under-Lyne Lancashire co n ? 2/p C/c 12 SB6, 59 10121 ? ? ? n ? 1/p C 7 SB6, 60 10122 St Mary, Hemel Hempstead Hertfordshire ch n ? 2/p C/C [18] SB6, 61 10123 St Mary the Virgin, Whitchurch Oxfordshire ch n £630 3/p C/C 23 L6, 3; SB6, 62 10124 St Mary, West Derby Lancashire ch n £1050 3/p C/C 37 L6, 228; SB6, 64

1861 10125 St Mary, Lincolnshire ch n £386 2/p C/C [24] L6, 78; SB6, 67 10126 [stock] n 1 C 2 SB7, 1 10127 - ? - , Hunstanworth Co. Durham n £80 1 C 2 L7, 123; SB7, 1 10128 Miss Griffin (?), Petersfield Hampshire co n £246 2/p C/C 8 L6, 23; SB7, 2 10129 C.W. Wilshere (?), Brighton Sussex co n £157 2/p C/C 7 L6, 2; SB7, 3 10130 St Anthony, Lisbon Portugal ch n £440 2/p C/c 14 L6, 208; SB7, 4 10131 St Edward the Confessor, Shropshire ch n/bf £168 1/p C 7 L6, 20; SB7, 5 Dorrington 10132 St Mark, Regent’s Park Middlesex ch n £435 2/p C/c 18 L6, 135; SB7, 6 10133 Ebbw Vale Monmouth ch n £400 2/p C/c 19 L6, 122; SB7, 8 10134 St Andrew, Surrey ch n £320 2/p C/C [16] L6, 107; SB7, 10 10135 St Peter & St Paul, Wymering Hampshire ch n £163 1/p C 5 L6, 248; SB7, 12 10136 [export?] ? n 2/p C/c 19 SB7, 14 10137 Hobart Australia bo n ? 4 SB7, 16

1862 10138 [stock] n 1/p C 4 SB7, 17 10139 [stock] n 1/p C 4 SB7, 17 lviii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1862 10140 W.G. Howell, Shanghai China ch? n £400 2/p C/C 16 L7, 148; SB7, 18 (cont.) 10141 Masonic Lodge, Shanghai China inst n £200 2/p C/c 9 L7, 161; SB7, 20 10142 [church], Netherfield Sussex (?) ch n £105 1 C 3 L6, 201; SB7, 21 10143 Mr F. Kilburn, Brighton Sussex co n £250 2/p C/c 10 L7, 282; SB7, 22 10144 [church], Kent ch n £160 1/p C 6 L6, 111; SB7, 23 10145 St Joseph (RC), Stockport Cheshire ch n £320 2/p C/c [15] L6, 100; SB7, 25 10146 Mr Malcolm, Kilmartin Argyll co n £700 2/p C/C 18 L7, 207; SB7, 28 St Margaret, Lothbury City of London ch a £96 L7, 216; SB7, 30 10147 ? ch? n 2/p C/c 16 SB7, 31 Sir Henry Gordon, Shorwell Isle of Wight co? a £80 1/p C 5 L7, 225; SB7, 32 10148 St John the Evangelist, Havering Essex ch n £100 1/p C 4 L7, 222; SB7, 33 10149 [Houghton, Smith & Co.] [export] ? ? n £300 2/p C/c 10 L7, 233; SB7, 34 10150 Huntley, St John the Baptist Gloucestershire ch n £350 2/p C/C 15 L7, 213; SB7, 35 10151 St Peter, Rendcombe Gloucestershire ch n £75 1/p C 3 L7, 156; SB7, 36 10152 [stock] ? n 1/p C 3 SB7, 36 10153 St Simon, Southsea Hampshire ch n £195 1/p C 10 L7, 128; SB7, 37 10154 Masonic Institute, Middlesex inst n ? 1 C 1 SB7, 38 10155 St Andrew, Thursford Norfolk ch n £100 1/p C 4 L7, 260; SB7, 40 10156 St John the Divine, Sharrow West Yorkshire ch n £100 1/p C 4 SB7, 41 10157 [stock] n 1 C 1 SB7, 42 10158 [stock] n 1 C 1 SB7, 42 10159 [stock] n 1 C 2 SB7, 42 10160 [stock] n 1 C 2 SB7, 42 10161 Mr Kurtz, Liverpool Lancashire co n £471 2/p C/c 10 L7, 228; SB7, 45 10162 St Mary the Virgin, Bleasby Nottinghamshire ch rb £130 2/p C/c 10 L7, 228; SB7, 45

1863 10163 St Edburg, Bicester Oxfordshire ch n £200 2/p C/c 9 L7, 240; SB7, 46 lix Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1863 10164 St Bartholomew-the-Less, City of London ch n £283 2/p C/c 13 L7, 21; SB7, 47 (cont.) Smithfield 10165 St Peter, Great Windmill Street, Middlesex ch n £400 3/p C/C [23] L7, 28; SB7, 48 Westminster 10166 St John the Baptist, Netherfield Sussex ch n £160 1/p C 6 L7, 188; SB7, 49 10167 Hereford Cathedral Herefordshire ch n £1000 3/p C/C [40] L7, 248; SB7, 51 10168 Christ Church, Wimbledon Surrey ch n £250 2/p C/c 14 L7, 245; SB7, 54 10169 [stock?] n 1/p C 6 SB7, 55 10170 St Botolph, Northfleet Kent ch n £360 2/p C/C [18] L7, 262; SB7, 57 10171 Gray’s Inn Chapel, Holborn Middlesex ch n £350 3/p C/c 15 L7, 42; SB7, 60 10172 Mr T. Banting, Worthing Sussex co n £126 1/p C 4 L7, 270; SB7, 62 10173 [stock] n 1/p C 5 SN7, 63 10174 - ? - , Cuddington Buckinghamshire ch? n £125 1/p C 5 L7, 269; SB7, 64 10175 Sir W.W. Wynn, Wynnstay Denbigh co rb £370 2/p C/C 19 L7, 280; SB7, 65 10176 All Saints, Belvedere Kent ch n £340 2/p C/c 16 L7, 261; SB7, 66 10177 St Joseph (RC), Stockport Cheshire ch rb £270 2/p C/c 16 L7, 279; SB7, 67 10178 St Paul’s Chapel, Marylebone Middlesex ch rb £130 2/p C/c 14 L7, 18; SB7, 68 10179 All Souls, Brighton Sussex ch a £120 L7, 281; SB7, 69 10180 Millers Church, Lancashire ch n £370 2/p C/C 17 L7, 264; SB7, 70 1 barrel organ under £150

1864 [10134] St Andrew, Lambeth Surrey ch a £78 L7, 121; SB7, 71 10181 St Patrick’s Cathedral, Ballarat Australia ch n £760 2/p C/C [25] L7, 260; SB7, 73 10182 Workhouse, Liverpool (?) Lancashire ch n £300 2/p C/C 15 L7, 218; SB7, 75 10183 Wesleyan Chapel, Bootle Lancashire ch n £260 2/p C/C [18] L7, 249; SB7, 77 10184 St Andrew, Great Ryburgh Norfolk ch n £140 1/p C 6 L7, 242; SB7, 79 lx Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1864 10185 Her Majesty’s Theatre, Middlesex [con] n £260 1/p C 12 L7, 257; SB7, 80 (cont.) Westminster 10186 St John the Baptist, Egham Surrey Coll n £400 2/p C/C 17 L7, 237; SB7, 81 [10116] Royal Agricultural College, Gloucestershire ch a £60 L7, 236; SB7, 83 Cirencester 10187 St Anthony, Surrey ch n/hire 1/p C 7 L8A, 275; SB7, 84 10188 St Mary the Virgin, East Bergholt Suffolk ch n £200 2/p C/c 10 L7, 217; SB7, 85 10189 - ? - , Port Lyttleton New Zealand ? n £170 1/p C 6 L7, 287; SB7, 86 10190 St Mary (RC), Middlesex ch n £305 2/p C/c [14] L7, 183; SB7, 87 10191 St Michael, Swanmore, Ryde Isle of Wight ch n £200 2/p C/c 10 L7, 181; SB7, 88 10192 Benedictine monastery, Norwich Norfolk ch n £130 1/p C 5 L7, 218; SB7, 89 10193 St Pancras Parish Church, St Middlesex ch move & rb £410 L7, 40; SB7, 90 Pancras (ex-Birmingham Music Hall) 10194 ? ? ? n ? 2/p C/c? 16 SB7, 91 10196 St Luke, Paddington Middlesex ch n £300 2/p C/C [17] L7, 264; SB7, 92 10197 [church], Llanfrynach Brecknock ch n £150 1/p C 7 L7, 291; SB7, 94 10198 Holy Trinity, Sutton Coldfield Warwickshire ch n £300 2/p C/c 15 L7, 82; SB7, 95 10199 ? ? ? r SB7, 96 10200 St Thomas, Charterhouse, Middlesex ch n £220 2/p C/C 18 L7, 96; SB7, 97 Clerkenwell 10201 St Mary’s Hall, Oxford Oxfordshire coll n £115 1/p C 4 L7, 77; SB7, 99

1865 10202 St Mary the Virgin, Almondsbury Gloucestershire ch n £255 2/p C/c 13 L7, 81; SB7; 100 10203 St Paul, Dock Street, Whitechapel Middlesex ch r £117 L7, 19; SB7, 101 10204 St Mary, Windermere Westmoreland ch n £315 2/p C/C 17 L7, 71; SB7, 102 10205 Masonic Institute, Wood Green Middlesex inst n £301 2/p C/c [14] L7, 264; L7, 104 10206 St Silas, Toxteth Lancashire ch n £380 2/p C/C 16 L8A, 267; SB7, 105 lxi Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1865 10207 St Andrew, Leicester Leicestershire ch n £389 2/p C/C [17] L8A, 273; SB8, 1 (cont.) [10082] Town Hall, Leeds West Yorkshire con a £280 L8A, 18; SB8, 2 10208 St Leonard, Stanton Fitzwarren Wiltshire ch rb £130 L8A, 278; SB8, 3 10209 St Chad, Hanmer Flint ch n £600 2/p C/C 20 L8A, 307; SB8, 5 10210 St Matthew, Toxteth, Liverpool Lancashire ch n £360 2/p C/C 16 L8A, 271; SB8, 7 10211 Congregational Chapel, Harley Middlesex ch n £448 2/p C/C 16 L8A, 167; SB8, 8 Street, Bow 10213 St John the Evangelist, Kent ch n £150 1/p C 7 L8A, 271; SB8, 11 10214 St Michael, Paternoster Royal City of London ch rb £157 L8A, 4; SB8, 13 10215 St Mary, Woodchester Gloucestershire ch n £250 2/p C/c 15 L8A, 282; SB8, 14 10216 Holy Trinity, Milton, Gravesend Kent ch n £150 1/p C 6 L8A. 241; SB8. 15 10217 Revd H. Berry, Lutterworth Leicestershire ? n £80 1/p C 4 L8A, 286; SB8. 16 10218 St Mary, Thatcham Berkshire ch n £400 3/p C/C [26] L8A, 223; SB8, 17 10219 Town Hall, Newbury (?) Berkshire con n/hire? £300 2/p C/c 11 L8A, 278, SB8, 19 4027 Hawkesyard Priory, Staffordshire ch rb £500 L8A, 291; SB8, 20 [10088] St Mary, Stoke Newington Middlesex ch a £200 L8A, 54; SB8, 21

1866 10220 Mr S. Copestake, Highgate Middlesex ho n £324 2/p C/C 14 L8A, 309; SB8, 22 10221 St James, Spanish Place, Middlesex ch n £600 3/p C/C [28] L8A, 171; SB8, 23 Marylebone St Mark, Hamilton Terrace, St Middlesex ch a £97 L8A, 157; SB8, 25 John’s Wood 10222 St John the Evangelist, Maindee Monmouth ch n £180 1/p C 7 L8A, 289; SB8, 27 10223 Dockyard Chapel, Portsmouth Hampshire ch n £230 2/p C/c 13 L8A, 305; SB8, 28 10224 St Botolph, Bishopsgate City of London ch a £100 L8A, 62; SB8, 29 10225 St Bride, Liverpool Lancashire ch n £800 3/p C/C 30 L8A, 321; SB8, 30 lxii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1866 10226 St Andrew, Hill Middlesex ch n £270 2/p C/c 14 L8A, 151; SB8, 32 (cont.) 10227 St Cecilia, Little Hadham Hertfordshire ch n £152 1/p C 6 L8A, 339; SB8, 33 4134 Mrs Henry Owen, Llangefni Anglesey co? a £125 L8A, 302; SB8, 34 10228 Unitarian Chapel, Stockport Cheshire ch n £200 2/p C/C 15 L8A, 310; SB8, 35 10229 Emmanuel, West Derby, Liverpool Lancashire ch n £650 3/p C/C 30 L8A, 319; SB8, 36 10230 St James, Garlickhythe City of London ch rb £285 L8A, 172; L8, 37 10231 St George, Albermarle Street, Middlesex ch n £360 2/p C/C [18] L8A, 175; SB8, 38 Westminster Magdalen College, Oxford Oxfordshire coll r £60 L8A, 18; SB8, 39 10232 St Leonard, Heston Middlesex ch n £250 2/p C/c 11 L8A, 323; SB8, 40 10233 St David, Neath Glamorgan ch n £400 2/p C/c 17 L8A, 312; SB8, 41 [10212] Cirencester, St John the Baptist Gloucestershire ch [rb] £466 3/p C/C [25] L8A, 331; SB8, 42 10234 St Andrew, Enfield Middlesex ch rb £242 L8A, 306; SB8, 45 10235 Milton Abbey, Milton Dorset ch n £360 2/p C/c 17 L8A, 311; SB8, 44 10236 St Mary Magdalen, Thornford Dorset ch n £85 1/p C 3 L8A, 322; SB8, 46

1867 10237 Holy Trinity, Southwell Nottinghamshire ch n £185 1/p C 8 L8A, 320; SB8, 47 4123 St George’s Hall, Langham Place, Middlesex con rb £600 3/p C/c 26 L8A, 324; SB8, 48 Marylebone 10238 St James, Westmoreland Street, Middlesex ch n £260 2/p C/c 13 L8A, 9; SB8, 49 Marylebone 10239 Mr W.H. Hart, Streatham Surrey ho n £366 3/p C/c 14 L8A, 58; SB8, 50 4140 St Bartholomew, Dublin Ireland ch 2/h £374 3/p C/c 20 L8A, 334; SB8, 51 10240 Iron Works Church, Coatbridge Lanarkshire ch n £100 1/p C 5 L8A, 326; SB8, 52 10241 Christ Church, Clapton Middlesex ch n £100 1/p C 5 L8A, 347; SB8, 52 10242 St Saviour’s Retreat, Broadway Worcestershire ch n £160 1/p C 6 L8A, 327; SB8, 54 [10224] St Botolph, Bishopsgate City of London ch a £150 L8A, 62; SB8, 55 lxiii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1867 10243 St Peter, Buckingham Gate, Middlesex ch n £220 2/p C/c 11 L8A, 348; SB8, 57 (cont.) Westminster 10244 St Oswald, Bidston Cheshire ch n £210 2/p C/c 11 L8A, 325; SB8, 56 10245 St Bartholomew the Great, City of London ch n/hire [£160] 1/p C 6 L8A. 338; SB8, 58 Smithfield 10246 [Houghton Smith & Co., agents] Canary Islands ? n £120 1 C 4 L8A, 338; SB8, 59 10247 Leeds Grammar School West Yorkshire sch n £550 3/p C/C [25] L8A, 317; SB8, 60 10248 Wesleyan Chapel, Rock Ferry Cheshire ch n £335 2/p C/C 13 L8A, 339; SB8, 61 10249 St Dionis Backchurch City of London ch r £150 L8A, 55; SB8, 62 10250 St John the Baptist, Leytonstone Essex ch n £300 2/p C/C 10 L8A, 357; SB8, 63 10251 Wesleyan Chapel Middlesex ch n £486 3/p C/C [29] L8A, 56; SB8, 64 10252 St Margaret, Brighton Sussex ch a £250 L8A, 344; SB8, 66 10253 St Peter & St Paul, Ringwood Hampshire ch n £335 3/p C/C [24] L8A, 331; SB8, 67

1868 10254 Quebec Chapel, Marylebone Middlesex ch n £1000 3/p C/C 30 L8A, 347; SB8, 69 10255 St John the Evangelist, Sutton Hampshire ch n £343 2/p C/C [19] L8A, 341; SB8, 71 Veny St Clement Eastcheap City of London ch a £50 L8A, 2; SB8, 72 10256 All Saints, Pitsford Northamptonshire ch n £153 1/p C 7 L8A, 343; SB8, 73 10257a St Paul, Heath Middlesex ch n £150 1/p C 7 L8A, 38; SB8, 74 10257b St John, Sevenoaks Kent ch n £150 1/p C 7 L8A, 148; SB8, 74 10258 St Matthew, Upper Clapton Middlesex ch n £800 3/p C/C 28 L8A, 305; SB8, 75 St Mary, Eaton Socon ch rb £166 L8A, 243; SB8, 78 10259 City of London ch rb £150 2/p C/C 16 L8A, 354; SB8, 79 St Marylebone Parish Church Middlesex ch a £55 L8A, 155; SB8, 80 St Giles, Cripplegate City of London ch a £169 L8A,5; SB8, 81 10260 ? ? ch? rb 3/p C/f? 17 SB8, 82 lxiv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1868 10261 Leeds Exhibition West Yorkshire [con] n [£1500] 4/p C/C 40 L8A. 46; SB8, 84 (cont.) 10262 Mr W.J.P. Chatto, Torquay Devon co n £230 2/p C/c 11 L8A, 377; SB8, 86 10263 St Edward, Knighton Radnorshire ch n £250 2/p C/c 13 L8A, 364; SB8, 87 10264 St John. St George-in-the-East Middlesex ch n £318 2/p C/c 15 L8A, 363; SB9, 1 10265 Christ Church, Somers Town Middlesex ch n £420 2/p C/c 18 L8A, 360; SB9, 2 10266 Revd D. Rigaud [export?] ? ? n £175 1/p C 6 L8A, 366; SB9, 3 St Swithin, London Stone City of London ch a £116 L8A, 172; SB9, 4 10267 St Mary, Hanwell Middlesex ch n £210 2/p C/c 11 L8A, 206; SB9, 5 10268 St Peter, South Weald Essex ch n £300 2/p C/c 15 L8A, 391; SB9, 6 10269 Earl Kilmorey, Richmond Surrey co n £250 2/p C/c 11 L8A, 364; SB9, 7

1869 10270 St Mary Magdalene, Addiscombe Surrey ch n £520 [3/p] C/C [30] L8A, 373; SB9, 8 10271 St Peter & St Paul, Albury Surrey ch n £218 2/p C/c 11 L8A, 248; SB9, 10 St Anne & St Agnes City of London ch a £98 L8A, 1; SB9, 11 10272 Emmanuel, Maida Hill Middlesex ch n £430 2/p C/C 20 L8A, 379; SB9, 13 10273 St Peter, Dunchurch Warwickshire ch n £289 2/p C/c 16 L8A, 368; SB9, 12 10274 St Peter’s Home, Kilburn Middlesex ch? n £276 1/p C 7 L8A, 377; SB9, 15 10275 St Matthias, Richmond Surrey ch a £260 L8A, 374; SB9, 17 10276 St John the Evangelist, Milborne Somerset ch a £120 L8A, 373; SB9, 19 Port 10277 Christ Church, Castle Rock Ireland ch n £268 2/p C/C 16 L8A, 388; SB9, 20 10278 St Peter, Swepstone Leicestershire ch n £250 2/p C/c 11 L8A, 386; SB9, 21 10279 Wesleyan Mission, Nevis Leeward Islands ch n £180 1/p C 7 L8A, 381; SB9, 22 10280 St Catherine, Birmingham Warwickshire ch rb £250 2/p C/c 14 L8A, 77; SB9, 23 10281 Catholic Apostolic Church, Gordon Middlesex ch n £1061 3/p C/C 42 L8A, 53; SB9, 25 Square, Bloomsbury lxv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1869 10282 Christ Church, Port Vale, Bengeo Hertfordshire ch n £250 2/p C/c 13 L8A, 385; SB9, 27 (cont.) St Philip, Middlesex ch a £72 L8A, 383; SB9, 29 10283 Neath Abbey (RC), Skewen Glamorgan ch n £260 2/p C/c 13 L8A, 186; SB9, 29 10284 St Kenelm, Minster Lovell Oxfordshire ch n £110 1 C 4 L8A, 391; SB9, 30 10285 [residence], Meigle Angus co n £115 1/p C 4 L8A, 382; SB9, 30 10286 St Stephen, Shepherds Bush Middlesex ch a £124 L8A, 383; SB9, 31 St Sepulchre, Holborn City of London ch a £33 L8A, 154; SB9, 31 Christ Church, Folkestone Kent ch a £68 L8A, 363; SB9, 32 10287 St Giles, Stoke Poges Buckinghamshire ch n £250 2/p C/c 13 L8A, 392; SB9, 32 10288 Synagogue, Marylebone Middlesex syn n £1200 3/p C/C 31 L8A, 107; SB9, 34 10289 All Hallows, Lombard Street City of London ch rb £350 3/p C/C 20 L8A, 189; SB9, 36

1870 10290 Higher Broughton Wesleyan Lancashire ch n £400 2/p C/C 19 L8A, 395; SB9, 38 Chapel, Salford 10291 St Mary, Bampton Oxfordshire ch rb £250 2/p C/C 16 L8A, 399; SB9, 40 10292 Abbey Church, Bourne Lincolnshire ch rb £280 2/p C/C 13 L8A, 394; SB9, 41 10293 Catholic Apostolic Church, Middlesex ch rb £250 3/p C/C 22 L8A, 387; SB9, 42 Chelsea 10294 Mt Wilshere, Welwyn Hertfordshire ho n £275 2/p C/C 6 L8A, 342; SB9, 43 10295 Holy Cross, Canterbury Kent ch n £200 2/p C/c 11 L8A, 193; SB9, 44 10296 St Andrew, Laverstock Wiltshire ch n £150 1/p C 7 L8A, 403; SB9, 45 10297 St Paul’s School, Whitechapel Middlesex ch rb £200 3/p C/c 18 L8A, 345; SB9, 46 10298 Christ Church Cathedral, Oxford Oxfordshire ch rb £660 3/p C/C [30] L8A, 102; SB9, 47 10299 St Paul, Knightsbridge Middlesex ch rb £398 3/p C/C 39 L8A, 168; SB9, 50 10300 Holy Trinity, Reading Berkshire ch n £310 2/p C/C [18] L8A, 198; SB9, 52 St Michael, Queenhithe City of London ch a £55 L8A, 108; SB9, 53 lxvi Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1870 St Mary, Old Kent Road, Surrey ch a £60 L8A, 4; SB9, 54 (cont.) Southwark 10301 St Thomas, Middlesex ch rb £98 L8A, 53; SB9, 55 10302 All Saints’ School, Bloxham Oxfordshire ch n £457 3/p C/C 20 L8A, 196; SB9, 56

1871 10303 - ? - , Grahamstown South Africa ? n £250 2/p C/c 11 L8A, 194; SB9, 58 10304 St Paul’s Chapel, Marylebone Middlesex ch a £105 L8A, 193; SB9, 59 10305 Freemasons’ Grand Lodge, Middlesex inst rb £150 2/p C/c 13 L8A, 161; SB9, 60 Holborn Crystal Palace, Sydenham Surrey con a £600 L8A, 56; SB9, 61 10206 St Jude, Southsea Hampshire ch rb £550 3/p C/C 32 L8A, 103; SB9, 62 Wesleyan Chapel, Barnsbury Middlesex ch a £57 L8A, 56; SB9,64 All Saints, Cuddesdon Oxfordshire ch a £75 L8A, 196; SB9, 64 10307 St Mary, Hainton Lincolnshire ch n £111 1/p C 4 L8A, 187; SB9, 65 10308 St , Scrooby Nottinghamshire ch n £100 1/p C 4 L8A, 181; SB9, 66 10309 St Leonard. Hollington Sussex ch n £100 1/p C 4 L8A, 16; SB9, 67 10310 St Oswald, Broughton-in-Airedale West Yorkshire ch n £100 1/p C 4 L8A, 424; SB9, 67 10311 Sir W.W. Wynn, Wynnstay Denbigh co rb £180 2/p C/c 16 L8A, 249; SB9, 68 10312 All Saints, Clapton Middlesex ch n £600 2/p C/C 22 L8A, 379; SB9, 69 10313 St Clement, Eastcheap City of London ch rb £300 3/p C/c 24 L8A, 2; SB9, 70 10314 Christ Church, Crowton Cheshire ch n £120 1/p C 4 L8A, 185; SB9, 71 10315 [residence], Clapton Middlesex dom n £235 2/p C/c 9 L8A, 308; SB9, 73 10316 All Saints, Birchington Kent ch n £255 2/p C/c 11 L8A, 178; SB9, 74

1872 10317 Kings Place Independent Chapel, Essex ch n £150 1/p C 7 L8A, 180; SB9, 75 Buckhurst Hill 10318 St Faith, Maidstone Kent ch n £420 2/p C/C 17 L8A, 412; SB9, 76 lxvii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1872 10319 St Andrew, Kensal Town Middlesex ch n £250 2/p C/c 14 L8A, 384; SB9, 77 (cont.) 10320 St Leonard, Walton-le-Dale Lancashire ch n £750 3/p C/C 26 L8A, 413; SB9, 78 10321 All Saints, Cawthorne West Yorkshire ch n £150 1/p C 6 L8A, 179; SB9, 80 10322 Wesleyan Church, Withington, Lancashire ch n £355 2/p C/C 17 L8A, 409; SB9, 81 Manchester 10323 St Oswald, Methley West Yorkshire ch n £400 2/p C/C 16 L8A, 415; SB9, 82 10324 Mr Gibbs, Regent’s Park Middlesex ho n £260 2/p C/c 8 L8A,422; SB9, 83 10325 St Clement, Boscombe Hampshire ch n £650 3/p C/C 25 L8A, 424; SB9, 84 10326 St Mark the Evangelist, Jersey Channel Islands ch n £532 3/p C/C [27] L8A, 415; SB9, 85 10327 St John, Lemsford Hertfordshire ch n £175 2/p C/c [8] L8A, 416; SB9, 86 10328 St James, Devonport Devon ch n £350 2/p C/c [16] L8A, 416; SB9, 91 10329 Christ Church, Carmarthen Carmarthen ch n £367 2/p C/c 14 L8A, 417; SB10, 1 10330 Town Hall, Bolton Lancashire con n £2220 4/p C/C 48 L8A, 111; SB9, 88 10331 All Saints, Madeley Staffordshire ch n £365 2/p C/C 17 L8A, 420; SB10, 4 10332 [Reinart Graaf] South Africa ch n £200 1/p C 7 L8A, 426; SB10, 6

1873 10333 Durham Cathedral Co. Durham ch n/hire [£500] 2/p C/C [20] L8A, 423; SB10, 7 10334 St Maurice, Ellingham Northumberland ch n £300 2/p C/c 13 L8A, 68; SB10, 9 10335 St John, South Hackney Middlesex ch rb £420 3/p C/C [30] L8A, 20; SB10, 11 10336 St Mary the Virgin, Harlow Essex ch rb £120 L8A, 214; SB10, 14 10337 St Mary’s Hall, Oxford Oxfordshire coll rb £74 L8A, 21; SB10, 13 10338 St Peter (school room), Cradley Worcestershire sch n £400 2/p C/C 15 L8A, 34; SB10, 17 10339 Royal Agricultural College, Gloucestershire ch a £149 L8A, 238; SB10, 15 Cirencester 10340 St Barnabas, Burnmoor Co. Durham ch n £330 2/p C/c 13 L8A, 34; SB10, 19 St Mary the Virgin, Olveston Gloucestershire ch a £125 L8A, 421; SB10,21 lxviii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1873 All Saints, Cuddesdon Oxfordshire ch a £71 L8A, 196; SB10, 21 (cont.) 10341 St Paul, Paddington Middlesex ch n £465 2/p C/C [21] L8A, 30; SB10, 22 10342 St John the Evangelist, Surrey ch n £300 2/p C/C 11 L8A, 28; SB10, 24 10343 St Mary, Spital Square, Spitalfields Middlesex ch n £220 2/p C/c 11 L8A, 69; SB10, 26

Town Hall, Leeds West Yorkshire co r £240 L8A, 18; SB10, 28

1874 10344 Middle Class School, Middlesex sch n £550 2/p C/C 19 L8A, 36; SB10, 32 10345 St Margaret, Brighton Sussex ch n £800 3/p C/C 20 L8A, 36; SB10, 32 10346 City of London ch n £860 3/p C/C 33 L8A, 45; SB10, 37 10347 St Mary le Bow, Durham Co. Durham ch n £200 1/p C 8 L8A, 31; SB10, 40 10348 St Peter, Pimperne Dorset ch n £125 1/p C 5 L8A, 29; SB10, 42 St Lawrence, New Essex ch a £100 L8A, 11; SB10, 43 10349 St Jude, Wolverhampton Staffordshire ch n £428 2/p C/C 19 L8A, 369; SB10, 44 10350 St Andrew, Stockwell Green Surrey ch rb £130 2/p C/c 16 L8A, 41; SB10, 48 10351 Mr W. Bird, Stockbridge Hampshire co? n £110 1/p C 4 L8A, 163; SB10, 50 10352 All Saints, Shooters Hill Kent ch n £141 1/p C 5 L8A, 79; SB10, 51 10353 St Peter, Sawrey Lancashire ch n £250 2/p C/c 13 L8A, 47; SB10, 52 10354 St Mary, Stoke Newington Middlesex ch a £600 L8A, 414; SB10, 54

1875 10355 South Metropolitan School, Sutton Surrey sch n £200 2/p C/c 10 L8A. 33; SB10, 56 10356 Christ Church, Todmorden Lancashire ch n £700 3/p C/C 28 L8A, 78; SB10, 58 10357 St Mary the Virgin, Middlesex ch n £225 2/p C/c 11 L8A, 43; SB10, 61 10358 Guy’s Hospital, Southwark Surrey ch n £270 2/p C/C 11 L8A, 72; SB10, 63 10359 St John the Baptist, Margate Kent ch n £720 3/p C/C 44 L8A, 83; SB10, 81 10360 St Nicholas, Rattlesden Suffolk ch n £200 2/p C/c [11] L8A, 47; SB10, 68 lxix Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1875 10361 Wesleyan Chapel, Horseferry Middlesex ch n £375 3/p C/c 22 L8A, 76; SB10, 70 (cont.) Road, Westminster St Anne, Limehouse Middlesex ch r £83 L8A, 158; SB10, 72 10362 Hospital for Sick Children, Middlesex ch n £70 1/p C 3 L8A, 75; SB10, 74 Holborn 10363 St Mark, Tollington Park Middlesex ch a £180 L8A, 106; SB10, 75 10364 All Saints, Bolton Lancashire ch n £736 3/p C/C 24 L8A, 83; SB10, 81 10365 St Paul, West Wycombe Buckinghamshire ch n £120 1/p C 3 L8A, 80; SB10, 84 10366 German Church, Dalston Middlesex ch n £350 2/p C/C 16 L8A, 48; SB10, 85 10367 Trent College, Nottingham Nottinghamshire coll n £520 3/p C/C [21] L8A, 84; SB10, 87 10368 St Matthew, Bolton Lancashire ch n £890 3/p C/C 33 L8A, 86; SB11, 1 10369 St Michael, Penkevel Cornwall ch n £270 2/p C/c 9 L8A, 86; SB11, 4

1876 10370 St Elphin, Warrington Lancashire ch n £1296 3/p C/C 40 L8A, 88; SB11.6 10371 Christ Church, Macclesfield Cheshire ch n £1000 3/p C/C 33 L8A, 84; SB11, 10 10372 St Marnen Episcopal Church, Banff ch n £75 1/p C 3 L8A, 37; SB11, 14 Aberchirder 4169 St Peter & St Paul, Hertfordshire ch 2/h £437 2/p C/c [18] L8A, 83; SB11, 15 10373 Baptist Chapel, Tottenham Middlesex ch n £200 2/p C/c 10 L8A, 154; SB11, 17 10374 All Saints, Gloucester Gloucestershire ch n £500 2/p C/C 20 L8A, 91; SB11, 19 City Hall, Glasgow Scotland con a £530 L8A, 356; SB11, 21 10375 Wesleyan Chapel, Haslingden Lancashire ch n £750 3/p C/C 28 L8A, 91; SB11, 22 10376 Shirburn Castle, Shirburn Oxfordshire ? n £115 1/p C 4 L8A, 82; SB11, 25 10377 St James, Chipping Camden Gloucestershire ch rb £150 L8A, 82; SB11, 26 St Margaret, Brighton Sussex ch a £98 L8A, 428; SB11, 27 Sherborne Abbey Dorset ch a £328 L8A, 256; SB11, 28 10378 St Mary, Bolton-on-Swale North Yorkshire ch n £230 2/p C/C 10 L8A, 35; SB11, 33 lxx Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1876 10379 Congregational Chapel, Milton- Kent ch n £225 2/p C/C [15] L8A, 93; SB11, 35 (cont.) next-Gravesend 10380 - ? - , Caledon South Africa ? n £570 2/p C/C 20 L8A, 119; SB11, 36 10381 - ? - , Paarl South Africa ? n £570 2/p C/C 20 L8A, 124; SB11, 38 St Mary, Surrey ch r £40 L8A, 109; SB11, 39 St Margaret, Brighton Sussex ch a £51 L8A, 428; SB11, 39 10382 Sir W.W. Wynn, Wynnstay Denbigh ? n £200 1/p C 7 L8A, 249; SB11. 40 Meiford, St Tyssilio & St Mary Montgomery ch 2/h £105 L8A, 92; SB11, 41 10383 St James, Clerkenwell Middlesex ch rb £400 3/p C/C 24 L8A, 49; SB11, 43 10384 St James, Thornes South Yorkshire ch n £300 2/p C/c 12 L8A, 94; SB11, 46 10385 Shirburn Castle, Shirburn Oxfordshire ? n £160 1/p C 7 L8A, 82; SB11, 49

1877 10386 St James, Islington Middlesex ch n £572 2/p C/C 20 L8A, 132; SB11, 50 10387 St John of Beverley, Whatton-in- Nottinghamshire ch n £250 2/p C/c 11 L8A, 131; SB11, 52 the Vale 10388 St Mary the Virgin, Welwyn Hertfordshire ch n £410 2/p C/C 17 L8A, 93; SB11, 54 10390 [church], Bangor-is-y-Coed Flintshire ch n £220 2/p C/c 10 L8A, 58; SB11, 58 Trent College, Nottingham Nottinghamshire coll a £250 L8A, 95; SB11, 60 10391 Exton Park, Oakham Rutland co? n £200 1/p C 8 L8A, 33; SB11, 56 10392 Wesleyan Chapel, Burnley Lancashire ch rb £500 3/p C/C 30 L8A, 39; SB11, 63 10393 St Luke, Cheltenham Gloucestershire ch a £192 L8A, 132; SB11, 66 10394 Wesleyan Chapel, King Street, Lancashire ch n £488 2/p C/C 18 L8A, 96; SB11, 68 Haslingden 10395 Wesleyan Chapel, Folkestone Kent ch n £295 2/p C/C 13 L8A, 95; SB11, 70 10396 St Saviour, Hill Surrey ch n £410 2/p C/C [18] L8A, 405; SB11, 72 Magdalen College, Oxford Oxfordshire coll rb £810 L8A, 67; SB11, 74 St Luke, Paddington Middlesex ch a £200 L8A, 245; SB11, 75 lxxi Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1877 10397 All Saints, Husbands Bosworth Leicestershire ch n £160 1/p C 7 L8A, 273; SB11, 76 (cont.) 10398 St Giles, Cripplegate City of London ch rb £780 3/p C/C 34 L8A, 5; SB11, 77 10399 St John the Baptist, Campsea Ashe Suffolk ch n £350 2/p C/C 12 L8A, 312; SB11, 80 10389 German Church, Cleveland Street, Middlesex ch rb £258 3/p C/c 21 L8A, 81; SB11. 82 Westminster St Marychurch, Torquay Devon ch a £250 L8A, 376; SB11, 84 10400 St Anthony, Nunhead Surrey ch n £560 3/p C/C [31] L8A, 275; SB11, 85

1878 10401 Mr Frederick Jackson, Hampstead Middlesex co n £200 2/p C/c 10 L8A, 89; SB11, 89 10402 St Peter, Newbold, Rochdale Lancashire ch n £650 3/p C/C 25 L8A, 134; SB12, 1 10403 St Mary, Winkfield Berkshire ch rb £140 L8A, 88; SB12, 4 10404 , Aldenham Hertfordshire ho rb £140 L8A, 422; SB12, 5 10405 St Paul, Lisson Grove, Marylebone Middlesex ch rb £126 2/p ? ? L8A, 62; SB12, 6

10406 St Sepulchre, Holborn City of London ch rb £1008 3/p C/C 42 L8A, 156; SB12, 7 10407 St Mary, Hornby North Yorkshire ch n £316 1/p C 8 L8A, 162; SB12, 12 10408 Christ Church, Accrington Lancashire ch rb £732 3/p C/C 30 L8A, 159; SB12, 13 10409 St Michael & All Angels, Notting Middlesex ch a £182 3/p C/C ? L8A, 121; SB12, 16 Hill 4197 St Clement, Fulham Middlesex ch n [stock] £200 2/p C/c 13 L8A, 288; SB12, 20 10410 St John the Baptist, Pewsey Wiltshire ch rb £320 2/p C/C 15 L8A, 183; SB12, 22

1879 10411 St Michael the Archangel, Hampshire ch n £380 2/p C/C 13 L8A, 181; SB12, 26 4133 St Mildred, Canterbury Kent ch rb [stock] £220 2/p ? ? L8A, 145; SB12, 29 10412 St Andrew, Chippenham Wiltshire ch rb £800 3/p C/C 34 L8A, 97; SB12, 30 10413 St Mary the Virgin, Goldington Bedfordshire ch n £220 1/p C 6 L8A, 190; SB12, 33 lxxii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1879 10414 All Saints, Sudbourne Suffolk ch n £250 1/p C 8 L8A, 194; SB12, 34 (cont.) 10415 St Mark, Myddelton Square, Middlesex ch rb £260 3/p C/C 31 L8A, 158; SB12, 35 Clerkenwell 10416 Dutch Reformed Church South Africa ch n £512 2/p C/C 13 L8A, 208; SB12, 38 Bloemfontein 10417 Clapham Congregational Church Surrey ch rb £550 3/p C/C 30 L8A, 136; SB12, 40 10418 Town Hall, Holborn Middlesex con n £571 2/p C/C 15 L8A, 139; SB12, 43 10419 St Patrick’s in the East (RC?), Middlesex ch rb £148 L8A, 199; SB12, 45 10420 - ? - , Glen Innes Australia ? n £75 1 C 4 L8A, 204; SB12, 48 10421 St Augustine, Kimberley South Africa ch n £80 1 C 4 L8A, 192; SB12, 49 10422 St Cyprian, Kimberley South Africa ch n £550 2/p C/C 23 L8A, 27; SB12, 50

1880 10423 , St Pancras Middlesex ch rb £270 2//p C/C 15 L8A, 27; SB12, 52 10424 St John the Evangelist, North Essex ch rb £147 2/p C/c 16 L8A, 21; SB12, 54 Woolwich 10425 St Mary of Grace, Aspall Suffolk ch n £125 1/p C 5 L8A, 209; SB12, 56 10426 Mr F. Bradley, Acton Middlesex ho n/hire? [£350] 2/p C/C 13 L8A, 235; SB12, 57 10427 Repton School, Repton Derbyshire sch n £617 3/p C/C 19 L8A, 249; SB12, 59 10428 St Oswald, Blankney Lincolnshire ch n £240 2/p C/C 11 L8A, 210; SB12, 61 10429 Christ Church, Swindon Wiltshire ch rb £182 2/p C/C 21 L8A, 314; SB12, 63 10430 - ? - , Fairfield Sussex co n £325 2/p C/c 9 L8A, 144; SB12, 66 10431 Mr Lewis, Ealing Middlesex co n £470 2/p C/C 16 L8A, 143; SB12, 67

1881 10432 All Hallows by the City of London ch rb £611 3/p C/c 18 L8A, 225; SB12, 69 10433 St Paul, Four Elms Kent ch n £200 1/p C 7 L8A, 98; SB12, 71 10434 St George-in-the-East, Stepney Middlesex ch rb £580 3/p C/C [29] L8A, 148; SB12, 72 lxxiii Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1881 10435 St George of Cappadocia, Shropshire ch n £343 2/p C/C 14 L8A, 137; SB12, 75 (cont.) Frankwell 10436 St Philip & St James, Rock Northumberland ch n £1019 3/p C/C 20 L8A, 240; SB12, 77 St Mildred, Bread Street City of London ch rb £165 L8A, 3; SB12, 79 10437 St John the Baptist, Aldenham Hertfordshire ch n £520 2/p C/C 17 L8A, 404; SB12, 80 St Elphin, Warrington Lancashire ch a £65 L8A, 88; SB12, 82 St Mary, Rotherhithe Surrey ch a £200 L8A, 149; SB12, 83 10438 Mr Smith, Piccadilly, Westminster Middlesex co n £387 2/p C/C 11 L8A, 253; SB12, 84 10439 St Andrew, Kingham Oxfordshire ch n £200 1/p C 8 L8A. 236; SB12, 86

1882 10440 St Michael, Shrewsbury Shropshire ch n £345 2/p C/C 14 L8A, 269; SB12, 87 10441 St Michael & All Angels, Berkshire ch n £250 2/p C/C 11 L8A, 231; SB12, 91 Sandhurst 10442 St Peter & St Paul, Dorset ch n £160 1/p C 6 L8A, 433; SB13, 1 Caundle 10443 St Lawrence, Mereworth Kent ch n £220 2/p C/c 9 L8A, 410; SB13, 2 10444 Llanthony Abbey Brecknock ch n £500 2/p C/C [20] L8A, 367; SB13, 3 St James, Clerkenwell Middlesex ch a £170 L8A, 49; SB13, 5 10445 Mr Roberts, Bryngwanallt Denbigh co n £385 2/p C/C 13 L8A, 285; SB13, 6 10446 St George’s Chapel, Windsor Berkshire ch rb £1380 4/p C/C 42 L8A, 419; SB13, 8 Castle 10447 St John, Filey East Yorkshire ch n £225 2/p C/c 8 L8A, 433; SB13, 12 10448 Cheltenham Ladies College Gloucestershire sch n £440 3/p C/C [17] L8A, 365; SB13, 13

1883 10449 St John, Walham Green, Fulham Middlesex ch rb £200 2/p C/C 16 L8A, 330; SB13, 15 10450 St Simon, Chelsea Middlesex ch rb £154 2/p C/C ? L8A, 137; SB13, 17 10451 St Laurence, Ludlow Shropshire ch rb £752 4/p C/C 43 L8A, 294; SB13, 18 10452 Town Hall, Leeds Yorkshire con r £648 L8A, 316; SB13, 23 lxxiv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1883 10453 Our Lady & St Denis (RC), St Devon ch n £245 2/p C/C 8 L8A, 267; SB13, 25 (cont.) Marychurch, Torquay 10454 Congregational Chapel, Westgate Kent ch n £256 2/p C/c 11 L9A, 87; SB13, 26 on Sea 10455 St Alphege, Greenwich Kent ch rb £180 L9A, 51; SB13, 27 10456 St Giles, Shrewsbury Shropshire ch n £450 2/p C/C 17 L9A, 9; SB13, 29 10457 St Ann, Kew Surrey ch rb £638 3/p C/C 22 L9A, 49; SB13, 31 10458 Mr Broome, Stourport Worcestershire co n £270 3/p C/c 10 L9A, 135; SB13, 33 10459 St Saviour, Warwick Avenue, Middlesex ch rb £233 L9A, 1; SB13, 35 Paddington 10460 Alms Houses, Turvey Bedfordshire ? n £248 2/p C/C 8 L9A, 239; SB13, 36

1884 10461 St Pancras Parish Church, St Middlesex ch rb £1500 4/p C/C 47 L9A, 101; SB13, 42 Pancras 10462 Turner Memorial Church, Lancashire ch n £400 2/p C/C 12 L9A, 231; SB13, 39 Liverpool 10463 Christ Church, Middlesex ch n [stock] £235 2/p C/C 7 L9A, 5; SB13, 41 10464 All Saints, Martock Somerset ch rb £296 2/p C/C 19 L9A, 65; SB13, 48 10465 St John the Divine, Hildenborough Kent ch rb £209 2/p C/C 13 L9A, 202; SB13, 51 10466 St Giles-in-the- Fields Middlesex ch rb £200 3/p L9A, 20; SB13, 53 10467 Hall, Brixton Surrey co? n £550 2/p C/C 18 L9A, 237; SB13, 55 10468 St Marylebone Parish Church, Middlesex ch n £2400 4/p C/C 48 L9A, 182; SB13, 57 Marylebone 10469 Mr W.J. Talbot, Roscommon Ireland co n £150 1/p C 6 L9A. 240; SB13, 61 10470 Presbyterian Chapel, St Leonards- Sussex ch n £430 2/p C/C 17 L9A, 238; SB13, 62 on-Sea 10471 All Saints, Banstead Surrey ch n £287 2/p C/C 9 L9A, 241; SB13, 64 10472 Osborne House, East Cowes Isle of Wight co n £225 2/p C/C 7 L9A, 234; SB13, 65 lxxv Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw) 1884 10473 Freemasons Hall, Holborn Middlesex inst n £500 2/p C/C 13 L9A, 244; SB13, 66 (cont.)

1885 10474 St Gabriel, Notting Hill Middlesex ch n £400 2/p C/C [16] L9A, 237; SB13, 68 10475 St Peter & St Paul, Wantage Oxfordshire ch rb £555 3/p C/C 32 L9A, 264; SB13, 70 10476 St Gabriel, Warwick Square Middlesex ch rb £525 3/p C/C [32] L9A, 255; SB13. 73 10477 Hotel Mount Dore, Hampshire inst n/hire? [£200] 2/p C/C 7 L9A, 331; SB13, 76 10478 St Paul, Valletta Malta ch rb £195 3/p L9A, 276; SB13, 77 10479 Wesleyan Chapel, Seaforth Lancashire ch n £320 2/p C/C 11 L9A, 280; SB13, 79

1886 10480 St Bride, Fleet Street City of London ch rb £660 3/p C/C 32 L9A, 292; SB13, 81 10481 St Katherine, Regent’s Park Middlesex ch rb £520 3/p C/C 24 L9A, 183; SB13, 84 St George-in-the-East, Stepney Middlesex ch a £168 3/p L9A, 60; SB13, 87 10482 Curzon Street Chapel, Westminster Middlesex ch rb £435 3/p C/C [25] L9A, 289; SB13, 88

10483 St Mary, Middlesex ch rb £370 2/p C/C 19 L9A, 14; SB13, 90

1887 Magdalen College, Oxford Oxfordshire coll a £120 L9A. 193; SB13, 91 Sherborne Abbey Dorset ch r £125 L9A, 216; SB13, 91 10484 St Mary (RC), Derbyshire ch n £350 2/p C/C 12 L9A, 306; SB14, 1 10485 Church of the Holy Spirit, Nice France ch n £393 2/p C/C 13 L9A, 309; SB14, 2 10486 St Bartholomew, Dublin Ireland ch rb £663 3/p C/C 34 L9A, 316; SB14, 5 10487 Guildhall School of Music City of London coll n £330 2/p C/C 15 L9A, 316; SB14, 8 St Mark, Tollington Park Middlesex ch rb £231 L9A, 148; SB14, 10 10488 St Stephen, Hammersmith Middlesex ch rb £258 2/p C/C 18 L9A, 204; SB14, 12 10489 Holy Trinity, West Cowes Isle of Wight ch n £1242 3/p C/C 33 L9A, 2; SB14, 14 10490 Mr G.B. Cowderoy, Bournemouth Hampshire co n £300 3/p C/C 9 L9A, 323; SB13, 94 lxxvi Organ-building in Georgian and Victorian England: APPENDIX 3—WORK LIST 1839–90

Year Job Location County/Country Type Nature Cost Keys/ Key Stops Sources number pedals Compass (Gt/Sw)

1888 10491 Mt L. Currie, Minley , Hampshire ch n £666 3/p C/C 21 L9A, 332; SB14, 20 Farnborough 10492 St Deniol, Criccieth Carnarvon ch n £645 2/p C/C 21 L9A, 336; SB14, 21 10493 Bilton Grange, Bilton Warwickshire ho n £595 3/p C/C 19 L9A. 329; SB14, 23 Christ Church, Ealing Middlesex ch rb £208 L9A, 330; SB13, 98 10494 Clumber Chapel, Clumber Park Nottinghamshire ch n £2270 3/p C/C 36 L9A, 345; SB14, 25 10495 St James the Great, Milton Dorset ch n £270 2/p C/C 9 L9A, 334; SB14, 29

1889 10496 St John the Evangelist, Everton, Lancashire ch n £532 2/p C/C 19 L9A, 349; SB14, 30 Liverpool 10497 Gwyn Hall, Neath Glamorgan con n £1100 3/p C/C 35 L9A, 344; SB14, 32 10498 St Julian, Wellow Somerset ch n £362 2/p C/C [17] L9A, 348; SB14, 35 10499 Town Hall, Portsmouth Hampshire con n £2980 4/p C/C 51 L9A, 355; SB14, 37

1890 10500 St George, Tilehurst Berkshire ch rb £330 2/p C/C 16 L9A, 279; SB14, 42 10501 All Saints, Rockwell Green Somerset ch n £650 2/p C/C 18 L9A, 350; SB14, 44 Synagogue, Marylebone Middlesex syn a £184 L10, 10l SB14, 46 10502 Baptist Chapel, Middlesex ch n £400 2/p C/C [17] L10, 92; SB14, 47 Willesden [10451] St Laurence, Ludlow Shropshire ch a £431 L10, 100; SB14, 50 APPENDIX

4. WORK LIST, LIVERPOOL BRANCH, MAJOR PROJECTS 1865–90

Type of instrument: co = chamber organ Nature of work: n = new ho = house organ a = alterations/additions ch = church or chapel organ rb = rebuild con = concert organ transfer = relocation sch = school organ 2/h = second-hand hire = hire clean = clean and overhaul

Year Job Location County Type Nature Cost Manuals Source number 1865 Blue Coat School, Warrington Lancashire sch n? £270 2 L8B, 2 135 Holt Hill Wesleyan Chapel, Cheshire ch n £250 2? L8B, 25 Tranmere 140 Bethesda Chapel, Runcorn Cheshire ch n £250 2 L8B, 36 191 St George, Cam Gloucestershire [sic] ch n? £91 ? L8B, 22

1866 [residence], Lancashire ho n £430 3 L8B, 1 Chester Cathedral Cheshire ch a £200 L8B, 110 142 St Saviour, Everton Lancashire ch hire L8B, 211 143 Waterloo Street Chapel, Wavertree Lancashire ch hire L8B, 214

Independent Chapel, Waterloo Lancashire ch n £210 2 L8B, 233 0194 St Beuno, Berriew Montgomery ch n £215 1 L8B, 244 150 Wesleyan Chapel, Rockferry Cheshire ch hire L8B, 256 lxxvii lxxviii Organ-building in Georgian and Victorian England: APP 4—WORK LIST, LIVERPOOL, MAJOR PROJECTS 1865–90

Year Job Location County Type Nature Cost Manuals Source number 1866 Whitefield Road Wesleyan Chapel, Lancashire ch hire L8B, 257 (cont.) Everton

1867 152 St Thomas, Preston Lancashire ch a £263 ? L8B, 253 0146 Ancient Chapel, Toxteth Lancashire ch hire L8B, 258 120 St Luke, Nether Whitley Cheshire ch n £105 1 L8B, 268 155 St Mark, Claughton Cheshire ch n? £120 1? L8B, 272

1868 St Jude, Everton Lancashire ch a £106 L8B, 189

1869 113 St David, Caernarvon Caernarvon ch a £70 L8B, 302

1870 St Stephen, Liverpool Lancashire ch n 2 L8B, 102 St Mary, Carlisle (ex-Lancaster Cumberland ch transfer £50 L8B, 308 Music Hall) Lower Broughton Wesleyan Lancashire ch transfer £158 L8B, 314 Chapel, Salford (ex-Higher Broughton Wesleyan_ 4074 Wesleyan Chapel, Wavertree Lancashire ch hire L8B, 316 Catherine Street Chapel, Cumberland ch a £71 L8B, 320 Whitehaven

1871 Welsh Wesleyan Chapel, Everton Lancashire ch n? £250 2? L8B, 347 151 St Ambrose (RC), Everton Lancashire ch hire [£150] L8B, 367

1872 Wesleyan Chapel, Leigh Lancashire ch r £538 L8B, 339 159 [residence], Liverpool Lancashire ho n £150 1 L8B, 348 167 St Mary the Virgin, Stotfold Bedfordshire [sic] ch n £250 2 L8B, 349 lxxix Organ-building in Georgian and Victorian England: APP 4—WORK LIST, LIVERPOOL, MAJOR PROJECTS 1865–90

Year Job Location County Type Nature Cost Manuals Source number 1872 [residence], Liverpool (ex-St Lancashire ho 2/h £95 L8B, 352 (cont.) Andrew, Gargrave 166 St Werbergh, Birkenhead Cheshire ch a L8B, 378 St Laurence, Birkenhead Cheshire ch rb £600 L8B, 378 St John the Baptist, Harborne, Warwickshire ch a £220 L8B, 390 Birmingham

1873 St Mark, Hulme Lancashire ch a £69 L8B, 381 Holy Trinity, Garswood Lancashire ch a £90 L8B, 382 179 St Gregory (RC), Chorley Lancashire ch rb £200 L8B, 383 Wesleyan Chapel, Colne Lancashire ch n £600 2 L8B, 385

1874 180 Prebyterian Chapel, Egremont Cheshire ch n £380 2 L8B, 29 0181 St John the Evangelist, Burscough Lancashire ch n 1 L8B, 365

1481 Wesleyan Chapel, Stoke-on-Trent Staffordshire ch 2/h £280 3 L8B, 365 0179 Congregational Chapel, Bethesda Caernarvon ch n £295 2 L8B, 366

1875 181 St Mary, Derbyshire ch rb L8B, 101 182 St Edward’s College, Everton Lancashire ch n 1 183 Ditto Ditto ch n £826 (x2) 2 L8B, 30 184 Pembroke Wesleyan Chapel, Lancashire ch n 2 L8B, 79 Liverpool

1876 0176 St Mary, Bettws-y-Coed Caernarvon ch n £316 2 L8B, 78 186 All Saints, Speke Lancashire ch n £340 2 L8B, 121 Bewsey Road Wesleyan Chapel, Lancashire ch 2/h £131 L8B, 123 Warrington (ex-Bluecoat School, Liverpool) lxxx Organ-building in Georgian and Victorian England: APP 4—WORK LIST, LIVERPOOL, MAJOR PROJECTS 1865–90

Year Job Location County Type Nature Cost Manuals Source number 1876 187 [residence], Preston Lancashire ch n £457 3 L8B, 132 (cont.) 189 Wesleyan Chapel, Darwen Lancashire ch n £750 3 L8B, 126 136 Wesleyan Chapel, Tottington Lancashire ch 2/h £106 L8B, 136 (ex-Darwen) City Hall, Glasgow Scotland con a L8B, 256, 357 St Laurence, Birkenhead Cheshire ch 2/h L8B, 392 (ex-Preston Exhibition)

1877 10190 Rusholme Congregational Chapel, Lancashire ch n £591 3 L8B, 12 Manchester Bank Street Chapel, Bolton Lancashire ch a £115 L8B, 178

1878 188 St John the Evangelist, Walton-on- Lancashire ch hire L8B, 193 the-Hill 191 [residence], Orrell Lancashire co n? L8B, 69

1879 193 St Thomas, Seaforth Lancashire ch rb 3 L8B, 278 St Michael, Ditton Cheshire ch n £342 2 L8B, 220 [residence], Middleton Lancashire ho a £102 L8B, 221 4134 All Saints, Oxton, Birkenhead Cheshire ch hire L8B, 224

1880 0188 [residence], Ince Blundell Lancashire ho n? L8B, 260 0198 St James, Accrington Lancashire ch rb £212 2 L8B, 265

1881 199 St Luke, Lower Tranmere (ex- Cheshire ch hire [£250] L8B, 275 Birkenhead Music Hall) 4074 [residence], Liverpool Lancashire ho 2/h? £66 L8B, 292 lxxxi Organ-building in Georgian and Victorian England: APP 4—WORK LIST, LIVERPOOL, MAJOR PROJECTS 1865–90

Year Job Location County Type Nature Cost Manuals Source number 1882 St Peter, Much Woolton Lancashire ch a £79 L8B, 441 202 [residence?]. Birkenhead Lancashire ho rb L8B, 364

1883 197 St Alphonsus (RC), Everton Lancashire ch n (stock) £88 L8B, 238 St Bede (RC), Appleton Lancashire ch a £120 L8B, 318 202 St Peter & St Paul, New Brighton Cheshire ch 2/h L8B, 364 (ex-Birkenhead) Town Hall, Bolton Lancashire con clean L8B, 388

1884 205 St Thomas, Melling Lancashire ch n £340 2 L9B, 004 206 New Brighton Palace, New Cheshire con hire L9B, 037 Brighton Wesleyan Chapel, Waterloo Lancashire ch rb £174 L9B, 091 207 Fairfield Presbyterian Chapel, Lancashire ch n £550 2 L9B, 109 Everton 0199 Primitive Methodist Chapel, Bury Lancashire ch n £250 L9B, 110

Birkenhead School Cheshire sch rb L9B, 141

1885 Wesleyan Chapel, Mersey Road, Lancashire ch rb L9B, 148 Crosby 212 Congregational Chapel, Sligo Ireland ch n £250 2 L9B, 166 0219 [residence], Toxteth Lancashire ho hire L9B, 178

1886 St James the Great, Whitehaven Cumberland ch rb L9B, 014 214 St Mary, Rufford Lancashire ch n £252 2 L9B, 203 0217 Holy Trinity, Ashton-in- Lancashire ch rb £159 L9B, 213 Makerfield 218 Holy Trinity, Yockleton Shropshire ch n £200 2 L9B, 214 lxxxii Organ-building in Georgian and Victorian England: APP 4—WORK LIST, LIVERPOOL, MAJOR PROJECTS 1865–90

Year Job Location County Type Nature Cost Manuals Source number 1887 222 Holy Trinity, Whitehaven Cumberland ch rb L9B, 013 219 [residence], Everton Lancashire ho n £180 L9B, 216 0206 Exhibition, Liverpool Lancashire ? hire L9B, 220 St Anne, Edge Hill Lancashire ch rb £575 L9B, 230

1888 213 Our Lady (RC), Lancashire ch n? £200 L9B, 106 207 Sligo Cathedral Ireland ch n? L9B, 237 (ex-Liverpool Exhibition) 0223 St Michael & All Angels, Bootle Lancashire ch n £300 2 L9B, 240 St Mary, Uttoxeter Staffordshire ch rb £266 L9B, 253 Tue Brook Wesleyan Chapel, Lancashire ch 2/h £150 L9B, 256 Stanley (ex-St George’s Presbyterian Chapel)

1889 [residence], St Helens Lancashire ho rb L9B, 095 Presbyterian Chapel, Egremont Cheshire ch a L9B, 116 St Mary the Virgin, Eccleston Cheshire ch rb £230 L9B, 264

1890 232 St Michael, Workington Cumberland ch n £725 3 L9B, 276 0210 [residence], Aigburth Lancashire ho n? £120 L9B, 281 INDEX TO WORK LISTS

Dates refer to work recorded in the London shop books. Dates followed by (L) refer to entries in the ledgers of the Liverpool branch (there are no surviving shop books from Liverpool).

(1/U) = Work list 1 (1775–1821), date unrecorded

A

Abbots Ann [?], Hampshire, Best, Hon. and Revd S. 1837 Aberchirder, Banff, St Marnen Episcopal Church 1876 Aberdeen, Deaf and Dumb Asylum 1827 Accrington, Lancashire, Christ Church 1878 Parish Church [= Christ Church?] 1840 St James 1880 (L) Addiscombe, Surrey, St Mary Magdalene 1869 Aigburth, Lancashire, [residence] 1890 (L) Albury, Surrey, St Peter & St Paul 1869 [no location] 1859 Aldenham, Hertfordshire, Aldenham House 1878 St John the Baptist 1853, 1881 Aldershot, Hampshire, St Michael the Archangel 1879 Almondsbury, Gloucestershire, St Mary the Virgin 1865 Andover, Hampshire, Redman, Mr George 1833 St Mary the Virgin 1830 Anglesey, Marquis of, 1789, 1821, 1836 Appleby, Leicestershire, Echalaz [?], Revd J.M. 1838 Appleton, Lancashire, St Bede 1883 (L) Arley, Cheshire, Arley Hall 1845 Arundel, Sussex, St Nicholas 1817, 1825 Ashby-de-la-Zouch, Leicestershire, Cresswell, Mr Robert 1830 Holy Trinity 1824, 1833 Ashtead, Surrey, Howard, Hon. Mrs 1844 Ashton-in-Makerfield, Lancashire, Holy Trinity 1886 (L) Ashton-under-Lyne, Lancashire, [chamber organ?] 1860 Aspall, Suffolk, St Mary of Grace 1880 Auckland Castle, Co. Durham, Bishop’s Chapel 1811

B

Bainton, Yorkshire, St Andrew 1844 Baldock, Hertfordshire, St Mary the Virgin 1835

lxxxiii lxxxiv Organ-building in Georgian and Victorian England

Ballarat, Australia, St Patrick’s Cathedral 1864 Bampton, Oxfordshire, St Mary 1812, 1870 Bangor-is-y-Coed, Flintshire, [church] 1877 Banstead, Surrey, All Saints 1884 Barham Court, Kent, 1838 Barnstaple, Devon, Youlston Park 1833 Barthomley, Cheshire, St Bertoline 1842 Bath, Somerset, St Mary Bathwick 1820 Beccles, Woodroffe, Mr Thomas 1827 Beddington, Surrey, St Mary 1826 Bedford, Wesleyan Chapel 1848 Bedworth, Warwickshire, All Saints 1844 Belfast, First Presbyterian Church 1855 St Patrick 1840 Belvedere, Kent, All Saints 1863 Bengeo, Hertfordshire, Christ Church 1869 Berkeley, Gloucestershire, Berkeley Castle 1804 Berriew, Montgomery (1/U) St Beuno 1866 (L) Bethesda, Caernarvon, Congregational Chapel 1874 (L) Bettws-y-Coed, Caernarvon, St Mary 1876 (L) Bicester, Oxfordshire, St Edburg 1863 Bidston, Cheshire, St Oswald 1867 Bilton, Warwickshire, Bilton Grange 1888 Birchington, Kent, All Saints 1871 Birkenhead, Cheshire, All Saints, Oxton 1879 (L) Birkenhead School 1884 (L) Music Hall 1881 (L) [residence] 1882 (L) St Laurence 1872 (L), 1876 (L) St Luke, Lower Tranmere 1881 (L) St Werbergh 1872 (L) Birmingham, Warwickshire, Convent Chapel 1847 Music Hall, 1855 St Catherine 1869 St Chad’s Cathedral 1844 St John the Baptist, Harborne 1872 (L) Bishops Caundle, Dorset, St Peter & St Paul 1882 Bishopstone, Herefordshire, St Lawrence 1843 Bishopwearmouth, Co. Durham, St Michael & All Angels 1809 Blackburn, Lancashire, Holy Trinity 1851 Independent Chapel 1854 St Mary 1828, 1832 St Paul 1847 Blankney, Lincolnshire, St Oswald 1880 Bleasby, Nottinghamshire, St Mary the Virgin 1862 Bloemfontein, South Africa, Dutch Reformed Church 1879 online supplement: index to work lists lxxxv

Bloxham, Oxfordshire, All Saints’ School 1870 Blythe Marsh, Staffordshire, Curtis, Revd J. 1838 Bocking, Essex, St Mary 1814 Bolton, All Saints 1875 Bank Street Chapel 1877 (L) St Matthew 1875 St Peter 1851 Town Hall 1872, 1883 (L) Bolton-on-Swale, Yorkshire, St Mary 1876 Bombay, India, Byculla Church 1850 [no location] (1/U) Bootle, Lancashire, Millers Bridge Church 1863 St Michael & All Angels 1888 (L) Wesleyan Chapel, 1864 Boscombe, Hampshire, St Clement 1872 Boston, Haynes, Revd Thomas 1823 Boston, Lincolnshire, Centenary Chapel 1850 Boston, USA, Trinity Church 1837 Bosworth, Leicestershire, St Peter 1833 Boulogne, France, [Episcopal Church?] 1844 Bourne, Lincolnshire, St Peter & St Paul 1830, 1870 Bournemouth, Hampshire, Cowderoy, Mr G.B. 1887 Hotel Mount Dore 1885 Bradford, Yorkshire, St James 1844 Bradford-on-Avon, Wiltshire, [residence] 1847 Brandon (1/U) Bridgetown, Barbados, [church] 1839 Brighton, Sussex, All Souls 1863 Kilburn, Mr F. 1862 St Margaret 1867, 1874, 1876 (x2) Wilshere, Mr C.W. 1861 Bristol, Somerset, St Augustine the Less 1849 Broad Clyst, Devon, St John the Baptist 1859 Broadway, Worcestershire, St Saviour’s Retreat 1867 Brockley Hill, Surrey, St Saviour 1877 Bromley, Kent, [church] 1862 Broughton, Northamptonshire, Douglas, Hon. & Revd J. 1829, 1831 Broughton-in-Airedale, Yorkshire, St Oswald 1871 Bryanston, Dorset, Sanford, Mr Henry 1833 Portman, The Hon. Berkley 1835 Bryngwanallt, Denbigh, Roberts, Mr 1882 Buckhurst Hill, Essex, Kings Place Independent Chapel 1872 Buckinghamshire, Lord (?) [location?] 1854 Burghclere, Hampshire, Barter, The Revd W.B. 1838 Burghley House, Stamford, Lincolnshire 1790 Burnley, Lancashire, St Mary the Virgin 1855 Wesleyan Chapel 1845, 1877 lxxxvi Organ-building in Georgian and Victorian England

Burnmoor, Co. Durham, St Barnabas 1873 Burscough, Lancashire, St John the Evangelist 1874 (L) Bury, Lancashire, Primitive Methodist Chapel 1884 (L) Bury St Edmunds, Suffolk, Music Society 1830 St Mary 1826

C

Caernarvon, St David 1869 (L) Calcutta, Burkingyoung & Co., Messrs 1828, 1830, 1831, 1836, 1858 Calcutta Cathedral 1845 New Church (1/U) Old Church (1/U) St John 1855 Caledon, South Africa, [no location] 1876 Cam, Gloucestershire, St George 1865 (L) Cambridge, All Saints 1831, 1834 Hayward, Mr W.W., Bene’t Place 1831 Trinity College 1836 St Bene’t 1827 Willis, Professor 1838 Wood, Mr R.H. [Christ Church?] 1846 Cambridge, Massachusetts, USA, Christ Church 1805 Campsea Ash, Suffolk, St John the Baptist 1830, 1877 Canary Islands, [no location] 1867 Canterbury, Kent, Holy Cross 1870 St Margaret 1851 St Mildred 1879 Cape of Good Hope, South Africa, [no location] 1850 Lacey, Mr 1860 Carlisle, Cumberland, St Mary 1870 (L) Carmarthen, Carmarthen, Christ Church 1872 Castle Rock, Ireland, Christ Church 1869 Castletown, Isle of Man (1/U) Catterick, Yorkshire, Tyrconnel, Earl of 1830 Cawthorne, Yorkshire, All Saints 1872 Chantry, Somerset, Holy Trinity 1847 Charleston, USA, St Philip 1839 Cheadle, Cheshire [no location] 1852 Cheltenham, Gloucestershire, Boisragon [?], Dr 1825 Capper, [Mr] 1836 Cheltenham College 1857 Cheltenham Ladies College 1882 Holy Trinity 1831, 1833, 1835 Portland Chapel 1836 St James 1831, 1836, 1854 St John 1829 online supplement: index to work lists lxxxvii

St Luke 1877 St Mary 1811, 1825, 1828, 1833 St Paul (Free Church) 1831, 1836 Thompson, Mrs Henry (church?) 1831, 1832 Chester, Cathedral 1843, 1866 (L) St Mary (1/U) Chichester, Sussex, Cathedral 1844 Sub Deanery Church 1853 Chigwell, Essex, St Mary 1804 Chippenham, Wiltshire, St Andrew 1879 Chipping Camden, Gloucestershire, St James 1876 Chorley, Lancashire, St Gregory 1873 (L) Cirencester, Gloucestershire, Agricultural College 1860, 1864, 1873 St John the Baptist 1866 Claughton, Cheshire, St Mark 1867 (L) Clavering, Essex, St Mary & St Clement 1845 Clifton, Gloucestershire, Holy Trinity (New Church) 1838 Clogher, Ireland, Clogher Cathedral (1/U) Clumber Park, see Worksop Coatbridge, Lanarkshire, Iron Works Church 1867 Cobham, Kent (1/U) Cockermouth, Cumberland, Daventry Hall (L.B. Dykes, Esq.) 1838 Coddenham, Suffolk (1/U) Colne, Lancashire, Wesleyan Chapel 1873 (L) Colombo, Ceylon, [Cathedral?] 1855 Colt Collection (formerly), Bethersden, Kent 1784 Coppock, Mr J. [no location] 1842 Corfton, Shropshire, [no location] 1855 Cork, Ireland, Dominican Church 1842 Costessey, Norfolk, Costessey Hall 1809 St Edmund 1840 Cotton, Staffordshire, St Wilfred 1849 Cradley, Worcestershire, St Peter (school room) 1873 Crediton, Devon, Holy Cross 1822 Criccieth, Carnarvon, St Deniol 1888 Crosby, Lancashire, Wesleyan Chapel, Mersey Road 1885 (L) Crowland, Lincolnshire, St Mary 1839 Crowton, Cheshire, Christ Church 1871 Cuddesdon, Oxfordshire, All Saints 1871, 1873 Cuddington, Buckinghamshire, [church?] 1863 Culmstock, Somerset, Blackmore, Revd John 1837

D

Darwen, Lancashire, Eccles, Mr 1845 Wesleyan Chapel 1876 (L) Demerara, Guyana, Ecklin & Ayling 1841 St George’s Cathedral 1842 [no location] 1847 Denbigh, Denbigh Hall (Lady Southampton) 1838 Derby, All Saints 1835 Drewry, John 1834 St John 1836 St Werbergh 1840 Devonport, Devon, St James 1872 Dingestow Court, Monmouth 1775 Disworth, Leicestershire, Harvey, Revd G.L. 1824 Ditton, Cheshire, St Michael 1879 (L) Dix, Peckhell, Revd H. 1824 Dorrington, Shropshire, St Edward the Confessor 1861 Downend, Gloucestershire, Christ Church 1849 Drewsteignton, Devon, Holy Trinity 1833 Dublin, Ireland, Loretto House, Rathfarnham 1841 Molyneux Asylum 1824 St Bartholomew 1867, 1887 St Francis Xavier 1836, 1855 St Mary 1826 St Patrick’s Cathedral 1816 Vice Royal Chapel (1/U) Dudley, Worcestershire, Wesleyan Chapel 1849 Dukinfield, Cheshire, St John 1845 Dunchurch, Warwickshire, St Peter 1869 Duns Castle, Berwickshire 1854 Durham, Cathedral 1873 St Mary le Bow 1874

E

East Bergholt, Suffolk, St Mary the Virgin 1864 East Cowes, Isle of Wight, Osborne House 1884 East India Company 1827 East Malling, Kent, St James the Great 1856 Eastbourne, Sussex, St Mary the Virgin 1833 Eaton Socon, Huntingdonshire, St Mary 1868 Ebbw Vale, Monmouth, [church] 1861 Ecclesall, Yorkshire, All Saints 1810 Eccleston, Cheshire, St Mary the Virgin 1889 (L) Eccleston, Lancashire, Eccleston Hall (Samuel Taylor, Esq.) 1838 Edge Hill, Liverpool (1/U) Edinburgh, [residence] 1839 Egham, Surrey, St John the Baptist 1864 Egremont, Cheshire, Presbyterian Chapel 1874 (L), 1889 (L) Ellingham, Northumberland, St Maurice 1873 Elstree, Hertfordshire, St Nicholas 1853 (two entries) Enniskean [?], Ireland, [no location] 1857 online supplement: index to work lists lxxxix

Epsom, Surrey, Epsom College 1857 Erdington, Warwickshire, St Barnabas 1850 Eton, Buckinghamshire, Eton College Chapel 1841, 1852 Exeter, Devon, Cathedral 1838, 1849 Nutwell Court (Sir Trayton Drake) 1846 Exton, Rutland, Exton Park (The Hon. and Revd Leland Noel) 1835, 1877 St Peter & St Paul, 1844

F

Fairfield, Sussex, [no location] 1880 Fakenham, Norfolk (1/U) Farnborough, Hampshire, Minley Manor 1888 Filey, Yorkshire, St John 1882 Fittleworth, Sussex, Currie, Mrs 1845 Flaxley, Gloucestershire, St Mary the Virgin 1855 Folkestone, Kent, Christ Church 1855, 1869 Wesleyan Chapel 1877 Fortsworth, Gloucestershire, Moreton, The Hon. Col. 1831 Four Elms, Kent, St Paul 1881 Frankwell, Shropshire, St George of Cappadocia 1881 Frittenden, Kent, [church?] 1847 Moore, Revd E. 1846

G

Gargrave, Yorkshire, St Andrew 1872 (L) Garswood, Lancashire, Holy Trinity 1873 (L) Glasgow, City Hall 1853, 1855, 1876, 1876 (L) Glen Innes, Australia, [no location] 1879 Glossop, Derbyshire, St Mary 1887 Gloucester, All Saints 1876 Gloucester Cathedral 1790 Maitland, Mr 1822, 1838 St John the Baptist 1839 St Nicholas 1831 Goldrington, Bedfordshire, St Mary the Virgin, 1879 Gorhambury House, St Albans, Hertfordshire 1785 Gosport, Hampshire, Methodist Church 1826 St Mary 1851 Gowran, Kilkenny, Kearney, Mr J.C. 1837, 1838 (x2) Graaf, Mr Reinart, South Africa 1872 Grahamstown, South Africa, [no location] 1871 Grantham, Lincolnshire, St Wulfram 1834, 1835 Gravesend, Kent, Holy Trinity 1865 Great Ryburgh, Norfolk, St Andrew 1864 Great Sydford, Somerset Colson, Revd Dr 1833 xc Organ-building in Georgian and Victorian England

Great Torrington [?], Devon, [chamber organ?] 1859 Great Yarmouth, St George’s Chapel 1827 St Nicholas 1827 Guildford, Surrey, Holy Trinity 1839, 1852 St Mary 1820

H

Hacheston, Suffolk, All Saints 1840 Hainton, Lincolnshire, St Mary 1871 Halesworth, Suffolk (1/U) Halifax, St James 1837 Hamilton, Jamaica, [church?] 1842 Hanley, Staffordshire, Bethesda Chapel (1/U) Hanmer, Flint, St Chad 1865 Harbridge, Cheshire, [church?] 1854 Harley, Shropshire, Gibbons, Revd John 1823 Harlow, Essex, St Mary the Virgin 1803, 1855, 1873 Harthill, Yorkshire, All Hallows 1850 Haslingden, Lancashire, St James the Great 1857 Wesleyan Chapel 1876 Wesleyan Chapel, King Street 1877 Hastings, Sussex, St Mary’s Chapel 1829, 1832 Hatfield House, Hertfordshire 1783 Hatfield Broad Oak, Hertfordshire, St Mary 1859 Havering, Essex, St John the Evangelist 1862 Hemel Hempstead, Hertfordshire, St Mary 1860 Hereford, Cathedral 1863 Hertford, Hertfordshire, All Saints 1840 Hexton, Hertfordshire, St Faith 1826, 1827 Heywood, Lancashire, Wesleyan Chapel 1853 Hildenborough, Kent, St John the Evangelist 1865, 1884 Hobart Town, Van Dieman Land, [church?] 1842 [no locations] 1824, 1849, 1861 Hollington, Sussex, St Leonard 1871 Holmfirth, Yorkshire, Wesleyan Chapel 1853 Hornby, Yorkshire, St Mary 1878 Horncastle, Lincolnshire, St Mary 1861 Honiton, Devon, Pott, Revd Thomas 1837 Houghton-le-Spring, Co. Durham (1/U) Houghton, Smith & Co., [export] 1862 Huddersfield, Yorkshire, St Peter 1812 Hulme Walfield, Cheshire, St Michael 1856 Hunstanworth, Co. Durham, St James 1861 Huntley, Gloucestershire, St John the Baptist 1862 Husbands Bosworth, Leicestershire, All Saints 1877 online supplement: index to work lists xci

I

Ince Blundell, Lancashire, [residence] 1880 (L) India, [no location] 1851 Ipswich, Suffolk, St Peter 1840 Ivinghoe, Buckinghamshire, St Mary the Virgin 1840

J

Jersey, Channel Islands, Le Feuvre, Revd 1852 St Mark the Evangelist 1872

K

Kenmere Castle, New Galloway 1834 Kettering, Northamptonshire, Meeting House (1/U) St Peter & St Paul 1829 Kidlington, Oxfordshire, 1836 Killerton House, Devon 1807, 1826 Kilmartin, Argyll, Malcolm, Mr 1862 Kilnwick Percy, Yorkshire, Parish Church 1849 Kimberley, South Africa, St Augustine 1879 St Cyprian 1879 Kingham, Oxfordshire, St Andrew 1881 King’s Langley, Hertfordshire, All Saints 1856 Kingston, Jamaica, [no location] 1840 Kingston-on-Thames, Surrey, Biber, Dr 1837 Surbiton House (J. Watson) 1833 Knighton, Radnorshire, St Edward 1868 Knutsford, Cheshire, St John the Baptist 1802

L

Lancaster, Music Hall 1857 Launceston, Tasmania, Barnard, Mr E. 1826 Laverstock, Wiltshire, St Andrew 1870 Leamington, Warwickshire, Leamington College Chapel 1859 Leeds, Yorkshire, Grammar School 1867 Leeds Exhibition 1868 Town Hall 1857, 1865, 1873, 1883 Leeds Castle, Kent 1795 Leek, Staffordshire, Parish Church 1822 Leicester, St Andrew 1865 Leigh, Lancashire, Wesleyan Chapel 1872 (L) Leigh Delamere, Wiltshire, Nield, Mr 1846 Leigh on Sea, Essex, Eden, Revd Robert 1840 Leicester, Deacon, Mr Samuel 1833, 1838 xcii Organ-building in Georgian and Victorian England

St Margaret 1833 St Martin 1833 Lemsford, Hertfordshire, St John 1872 Lewisham, Kent, [residence] 1848 Leytonstone, Essex, St John the Baptist 1867 Limerick, Corbett, Mr James 1825 Lincoln, Dickson, The Revd George 1832 Lisbon, Portugal, English College 1858 St Anthony 1861 Little Elm, Somerset, Parish Church 1847 Little Hadham, Hertfordshire, St Cecilia 1866 Liverpool, Lancashire, Ancient Chapel, Toxteth 1867 (L) Bewsher & Fleetwood 1830 Blind School/Church (1U), 1822 Bluecoat School 1822 Exhibition 1887 (L) Exhibition Rooms (Mr Allsop) 1856 Fairfield Presbyterian Chapel, Everton 1884 (L) Grove Street Wesleyan Chapel 1859 Hope Street Chapel 1855 Independent Chapel, Waterloo 1866 (L) Kurtz, Mr 1862 [residence] 1872 (L) [residence] 1872 (L) [residence] 1881 (L) [residence], Everton 1887 (L) [residence], Toxteth 1885 (L) Pembroke Wesleyan Chapel 1875 (L) St Alphonsus, Everton 1883 (L) St Ambrose, Everton 1871 (L) St Anne, Edge Hill 1887 (L) St Bride, 1866 St Edward’s College, Everton 1875 (x2) (L) St Francis Xavier 1850 St John, Fairfield 1852 St John the Evangelist, Everton 1889 St Jude, Everton 1868 (L) St Matthew, Toxteth 1865 St Nicholas 1833, 1834 St Saviour, Everton 1866 (L) St Saviour, Toxteth 1840 St Silas, Toxteth 1865 St Stephen 1870 (L) Turner Memorial Church 1884 Unitarian Chapel 1825 Waterloo Street Chapel, Wavertree 1866 (L) Welsh Wesleyan Chapel, Everton 1871 (L) online supplement: index to work lists xciii

Wesleyan Chapel, Tue Brook 1888 (L) Wesleyan Chapel, Waterloo 1884 (L) Wesleyan Chapel, Wavertree 1870 (L) Whitefield Road Wesleyan Chapel, Everton 1866 (L) Workhouse 1864 Llandaff, Glamorgan, Cathedral 1860 Llanfrynach, Brecknock, [church] 1864 Llangefni, Anglesey, Owen, Mrs H. 1866 Llanthony Abbey, Brecknock 1882 Lydiate, Lancashire, Our Lady 1888 (L)

LONDON

City of London

All Hallows, Lombard Street 1869 All Hallows-by-the-Tower 1881 Bridewell Hospital, Chapel 1831 Church Missionary Society, Salisbury Square 1832 Clementi & Co., Cheapside 1829 Collard & Collard 1840 City Chapel, Grub Street 1827 Cooper, Mr, Bishopsgate Street 1838 Forster & Smith, Bishopsgate 1834 German Church, Trinity Lane 1824 Great Winchester Street, [no location] 1854 Green, Mr, Black Wall Yard 1822 Guildhall School of Music 1887 Hancock, Mrs, Cheapside 1822 Hosking, Mr John, Fleet Street 1830 Langworthy, Mr, Fetter Lane 1832 Lodge of Antiquity, Freemason Tavern 1830 Merchant Taylors’ Chapel 1843 Mitchell, Messrs W.R. & S., Lime Street 1835, 1836 Russell, Mr, Ironmonger Lane 1830 Skey [?], Mr, Charterhouse Square 1834 St Andrew-by-the-Wardrobe 1808, 1845 St Anne & St Agnes, Gresham Street 1782, 1826, 1833, 1869 St Augustine & St Faith, 1830, 1854 St Bartholomew the Great 1867 St Bartholomew the Less 1825, 1831, 1863 St Bene’t Fink 1832 St Botolph, Bishopsgate 1866, 1867 St Bride, Fleet Street 1784, 1821, 1823, 1827, 1886 St Clement Eastcheap 1830, 1868, 1871 St Dionis Backchurch 1867 St Dunstan-in-the-East 1821, 1832, 1835 xciv Organ-building in Georgian and Victorian England

St Faith-under-St Paul’s 1840 St Giles Cripplegate 1840, 1851, 1868, 1877 St James, Garlickhythe 1866 St Lawrence Jewry 1874 St Luke, Old Street 1844 St Magnus the Martyr 1852 1862 St Mary Woolnoth 1868 St Mary Magdalene, Knightrider Street 1856 St Michael, Paternoster Royal 1798, 1820, 1865 St Michael, Queenhithe 1838, 1870 St Mildred, Bread Street 1881 St Olave, Old Jewry 1834 St Mildred, Bread Street 1825, 1828 St Mildred Poultry 1835 St Paul’s Cathedral 1801 St Sepulchre, Holborn 1818, 1823, 1826 (x2), 1828, 1835, 1849, 1869, 1878 St Stephen Walbrook 1826, 1834 St Swithin, London Stone 1809, 1821, 1844, 1868

Greater London

Acton, Bradley, Mr F. 1880 Balham, Peek Junior, Mr 1850 Barnsbury, Wesleyan Chapel 1867, 1871 Battersea, All Saints 1840 Perry, Mrs 1821 Bayswater, Langworthy, Mr 1838 Bethnal Green, St Philip 1869 Bloomsbury, Bedford Chapel 1831 Catholic Apostolic Church, 1853, 1869 Tucker, Revd Mr 1830 Bow, Congregational Chapel, 1865 Brixton, Brixton Hall 1884 Camberwell, Christ Church 1839 Emmanuel Church 1844 Chelsea, Catholic Apostolic Church 1870 Chamberlayne, [Mr] 1840 Christ Church 1840 Goddard, Revd Dr, Cadogan Place 1835 Hatchett, Charles, Belle Vue House 1838 Parochial Chapel 1825 Pilcher, Mr W., Upper Belgrave Place 1838 Royal Hospital Chapel 1818, 1828 St Luke 1824, 1825, 1832, 1844 St Saviour, Walton Place 1840 St Simon 1883 online supplement: index to work lists xcv

Union Chapel, Sloane Street 1829 Child’s Hill, [no location] 1855 All Saints 1856 Clapham, All Saints, Clapham Park 1860 Choral Society 1850 Congregational Chapel 1852, 1879 Holy Trinity 1794 Parson, Revd Mr 1829 St James’s School 1858 Clapton, All Saints 1871 Christ Church 1867 [residence: no location] 1871 Clerkenwell, Baylis, Mr R. 1827 St James 1876, 1882 St Mark, Myddleton Square 1828, 1833, 1838, 1840, 1879 St Philip 1833 St Thomas, Charterhouse 1848, 1864 Taylor, Mr R., Myddleton Square 1827, 1831 Dalston, German Church 1875 Ealing, Christ Church 1888 Lewis, Mr 1880 Enfield, Jesus Church, Forty Hill [?] 1845 St Andrew 1866 Finsbury, St Mark, Tollington Park 1853, 1856, 1875, 1887 St Matthew 1850 Fulham, All Saints 1831 St Clement 1878 St John, Walham Green 1883 St Thomas of Canterbury 1851 Greenwich, Clarke, Mr J., Creed Place 1833 St Alphege 1883 Hackney, Loddis, Mr 1830 St John 1828, 1829, 1834 St John’s Chapel, 1834 South Hackney Chapel 1806, 1835 Upper Clapton Chapel 1834 Haggerston, St Mary 1846 Hammersmith, St Peter 1829 St Stephen 1887 Hampstead, Forbes, Mr 1855 Jackson, Mr Frederick 1878 Jennings, Revd Dr 1835 Kilburn, Mr 1854 Hanwell, Mental Hospital 1854 St Mary 1868 Harrow, Butler, Revd Dr 1826, 1828 St Mary, 1824, 1837, 1855, 1886 xcvi Organ-building in Georgian and Victorian England

Haverstock Hill, St Andrew 1866 Heston, St Leonard 1866 Highgate, Copestake, Mr S. 1866 St Michael (New Church) 1832, 1842 Holborn, Bedford Chapel 1844 Episcopal Chapel, Gray’s Inn Lane 1837 Freemasons’ Hall, Great Queen Street 1782-6, 1821, 1822, 1829 [?], 1832, 1871, 1884 Grays Inn Chapel 1831, 1852, 1863 Hospital for Sick Children 1875 [residence] 1848 St George the Martyr, Queen Square 1838 Town Hall 1879 Holloway, St James 1839 , St Paul 1868 Hoxton, Christ Church 1840 Isleworth, St Mary, Spring Grove 1856 Islington, Pearson, Revd Dr 1822 Pentonville Prison 1842 St James 1877 St Mary 1848 Union Chapel 1852 Kennington, Handelian Society, Horns Tavern 1823 St Mark 1824, 1831 Kensal Town, St Andrew 1872 Kensington, All Saints 1860 [chapel] 1849 Christ Church, West Kensington 1884 Terry, Captain 1839 [residence] 1839 Kew, St Anne 1838, 1883 Kilburn, St Paul’s Chapel 1829 St Peter’s Home 1869 Kingsbury, St Andrew 1841 Knightsbridge, St Paul 1843, 1870 Lambeth, St Andrew 1861, 1864 Limehouse, St Anne 1851, 1875 St John, 1860 Lower Clapham, St James 1775 Maida Hill, Emmanuel 1869 Maida Vale, St Savour, Warwick Avenue 1858 Mayfair, Percival, Miss 1822, 1827 Sanford, Mr E.A. 1831 Moorgate, Cazenove, Mr John, Little Moorfields 1830 Webb, Mr Joseph, Liverpool Street 1830 Norwood, St John the Evangelist 1873 Notting Hill, All Saints 1854 online supplement: index to work lists xcvii

St Gabriel 1885 St Michael & All Angels 1878 Paddington, Gooch, Mr 1854 St James 1821 St Luke 1864, 1877 St Paul, 1873 St Saviour, Warwick Avenue 1883 Peckham, St Mary Magdalene 1842 Perivale, St Mary the Virgin 1875 Pimlico, Eaton Chapel 1852 St Gabriel, Warwick Square 1885 Ponders End, George, Mr A. 1832 Poplar, Poplar Chapel (1/U) Rotherhithe, St Mary 1876, 1881 St George-in-the-East, Parish Church 1881, 1886 St John 1868 St Giles-in-the-Fields, Parish Church 1856, 1884 St Marylebone, Backler, Mr, Newman Street 1825 Barham, Lord, Cavendish Square 1840 Bult, Mr, Baker Street 1825, 1828 Cole, Mr, Baker Street 1824 Cope, Mr 1827 French Ambassador’s Chapel 1837 Gibbs, Mr, Regent’s Park 1872 Hingston, Mr, Cirencester Place 1823 Little, Mr, Cavendish Square 1828 Low, Mr W.F., Regent’s Park 1838 Nicholson, Mr Francis, Charlotte Street 1823 Oxford Chapel (1/U) Portland Chapel (1/U) Portman Chapel 1810 Quebec Chapel 1868 St George’s Hall, Langham Place 1866 St James 1831, 1867 St James, Spanish Place 1866 St John’s Chapel 1814, 1823, 1829 St John’s Wood Chapel 1838, 1841 St Katherine’s Hospital, Regent’s Park 1833, 1886 St Mark, Hamilton Crescent, St John’s Wood 1847, 1866 St Marylebone Parish Church 1816, 1826, 1838 (x2), 1844, 1868, 1884 St Paul’s Chapel, [Lisson Grove?] 1831, 1838, 1863, 1871, 1878 St Peter’s Chapel 1831 Spanish Chapel 1822, 1827, 1828, 1829, 1831, 1833, 1835, 1836 Synagogue 1890 Wansel, Mr, Fitzroy Square 1829 Welbeck Chapel 1800 St Pancras, Camden Chapel 1824, 1826 xcviii Organ-building in Georgian and Victorian England

Chapman, Mr, Burton Crescent 1823, 1828 Hampstead Road, St James’s Chapel 1792 Kentish Town Chapel 1829 Poor Law Guardians 1829, 1836, 1838 Raynolds, Mr J.W., Tonbridge Place 1838 Regents Chapel 1826 St John, Charlotte Street 1848 St Mark, Regent’s Park, [Princes Terrace] 1853, 1861 St Mary Magdalene, Munster Square 1852 1822, 1832, 1835, 1864, 1884 St Pancras Old Church 1880 Somers Town Chapel 1826 Soward, Mr William, Tottenham Court Road 1829 Synagogue 1869 Woburn Chapel, Tavistock Square (1/U), 1821, 1822, 1824, 1827, 1833 Shepherds Bush, St Stephen 1869 Shoreditch, Middle Class School 1874 Soho, Goulding & Dalmaine, Soho Square 1832 St Ann 1795, 1828, 1831 St James’s Chapel (1/U) St Patrick (RC) 1793, 1828 Somers Town, Christ Church 1868 South Hackney, St John 1873 Southgate, Bevan, Mr 1840 Weld Chapel 1854 Southwark, Asylum Chapel, St George’s Fields (1/U) Guy’s Hospital Chapel 1875 Institution for the Blind, St George’s Fields (1/U), 1831, 1846 Philanthropic Society’s Chapel 1807, 1825, 1833 St Jude (ex-Philanthropic Society’s Chapel) 1853 St Mary, Old Kent Road 1870 St Mary Magdalene 1844 Spitalfields, Christ Church 1852 St Mary, Spital Square 1873 Stanmore, Cooke, Richard, Cladicott Hill 1823 Stepney, Christ Church, Watney Street 1841 Middleton, Captain R.D., Commercial Road 1835 St Paul, Dock Street 1849, 1857 St Peter, Mile End 1839 Trinity Church, St George-in-the East 1833 Stoke Newington, Davenport, Mr George 1838 Stockwell Green, St Andrew 1874 Stoke Newington, St Mary 1858, 1865, 1874 Streatham, German Church 1860 Hart, Mr W.H. 1867 Sutton, South Metropolitan School 1875 Sydenham, Crystal Palace 1856, 1871 online supplement: index to work lists xcix

Tooting, Parish Church 1833, 1835 Tottenham, Baptist Chapel 1849, 1876 Trinity Chapel 1838 Upper Clapton, St Matthew 1868 Walthamstow, St Mary 1839 Walworth, St Mary 1844 Wandsworth, All Saints 1849 Peek, Mr 1849 St Ann’s Chapel 1833, 1860 Wanstead, Infant Asylum 1858 Wapping, St Patrick’s-in-the-East 1879 Westminster, Buckingham Palace, Ballroom 1856 Chapel 1842 Prince’s Room 1841 Burleigh Chapel 1833 Bywater & Co., Grosvenor Street 1831 Covent Garden Theatre 1825 Curzon Street Chapel 1886 Drury Lane Theatre 1813, 1825, 1832, 1833 Erard, Pierre 1826 Exeter Hall Festival 1836 German Church, Cleveland Street 1877 Hanover Square Rooms 1854 Hawes, William, Adelphi Terrace 1823 Her Majesty’s Theatre 1864 Phillips, Mr Henry, Bond Street 1838 Jennings, Revd John 1837 King’s Theatre 1826 Oratory 1851 Royal Musical Festival, Westminster Abbey 1834 St George, Albermarle Street 1866 St James, Piccadilly 1824, 1826, 1832 St James’s Hall, Piccadilly 1858 St James’s Palace, Chapel Royal 1840 St Martin-in-the-Fields 1800, 1827 St Mary, Soho 1851 St Paul, Covent Garden 1798, 1824, 1829 St Peter, Buckingham Gate 1867 St Peter, Great Windmill Street 1863 St Thomas, Regent Street 1870 Smith, Mr, Piccadilly 1881 Synagogue, Margaret Street 1859 Tennison’s Chapel 1855 Wesleyan Chapel, Horseferry Road 1875 Whitechapel, St Mark 1839 St Paul, Dock Street 1865 St Paul’s School 1870 c Organ-building in Georgian and Victorian England

Willesden, Brondesbury Baptist Chapel 1890 St Mary 1864 Wimbledon, Christ Church 1863 Wood Green, Masonic Institute 1862, 1865 Woolwich, St John 1851 Vauxhall, Hutchinson, Mr 1838 Woolwich, Kent, St Mary Magdalen 1835, 1836 Trinity Chapel 1834

Loughborough, Leicestershire, All Saints 1846 Loughton, Buckinghamshire, All Saints 1838 Louth, Lincolnshire, St James 1857 Athanes, Revd J, Rectory 1838 Ludlow, Shropshire, St Laurence 1860, 1883, 1890 Luton, Bedfordshire, Wesleyan Chapel 1852 Lutterworth, Leicestershire, Berry, Revd H. 1865

M

Macclesfield, Cheshire, Christ Church 1876 Parish Church 1847 Wesleyan Chapel 1846 Madeley, Staffordshire, All Saints 1872 Magee, Revd T. P. [no location] 1825 Maidstone, Kent, All Saints 1825 Marsham, Lady 1851 St Faith 1872 Maindee, Monmouth, St John the Evangelist 1866 Manchester, Lancashire, All Saints, Withington 1872 Cross Street Chapel 1846 [domestic?] 1840 Holy Trinity, Hulme 1845 Moseley Street Chapel 1843 Rusholme Congregational Chapel 1877 (L) St Mark, Hulme 1873 (L) St Patrick 1843 Slater, Mr 1845 Union Chapel 1844 Margate, Kent, Prickett, Mr George 1838 St John the Baptist 1852, 1875 Market Drayton, Shropshire, St Mary 1807 Market Harborough, Leicestershire, Nunnely, Mr E. 1838 Marlow, Buckinghamshire, St Peter 1848 Marston Green, Warwickshire, St Leonard 1808 Martock, Somerset, All Saints 1884 Mauritius, [no location] 1857 Meiford, Montgomery, St Tyssilio & St Mary 1876 online supplement: index to work lists ci

Meigle, Angus, [residence] 1869 Melling, Lancashire, St Thomas 1884 (L) Melton Mowbray, Wing, Mr Vincent 1833 Mereworth. Kent, St Lawrence 1882 Merthyr Tydfil, Glamorgan, St David 1854 Methley, Yorkshire, St Oswald 1872 Middleton, Lancashire, [residence] 1879 (L) Milborne Port, Somerset, Medlycott, Sir William 1840 St John the Evangelist 1869 Milton, Dorset, Milton Abbey 1866 St James the Great 1888 Milton-next-Gravesend, Kent, Congregational Chapel 1876 Milverton, Somerset, St Michael 1827 Minehead, Somerset, St Michael & St Andrew, 1836 Minley Manor, see Farnborough Minster Lovell, Oxfordshire, St Kenelm 1869 Monmouth, [Revd – Beddy?] 1836 Montreal, Canada, [no location] 1839 Montrose, Angus, [residence] 1848 Much Wenlock, Shropshire, Holy Trinity 1854 Much Woolton, Lancashire, St Peter 1882 (L) Mumby, St Thomas 1804

N

Naughton, Suffolk, St Mary 1777 Nantwich, Cheshire (1/U) Neath, Glamorgan, Gwyn Hall 1889 Neath Abbey 1869 St David 1866 Netherbury, Dorset, St Mary 1828 Netherfield, Sussex, [church] 1862, 1863 Nevis, Leeward Islands, Wesleyan Mission 1869 New Brentford, Essex, St Lawrence 1874 New Brighton, Cheshire, New Brighton Palace 1884 (L) St Peter & St Paul 1883 (L) Newbury [?], Berkshire, Town Hall 1865 Newcastle-under-Lyme, Staffordshire, Freemasons’ Hall 1849 Parish Church 1823 Newcastle-upon-Tyne, St Andrew 1819 Town Hall 1858 Newman, Sir Robert [no location] 1838 Newport, Isle of Wight, Catholic Church (1/U) Nice, France, Church of the Holy Spirit 1887 Norbury, Derbyshire, St Mary 1975 (L) North Mymms, Hertfordshire, St Mary 1831 North Whitley, Cheshire, St Luke 1867 (L) cii Organ-building in Georgian and Victorian England

North Woolwich, Essex, St John the Evangelist 1880 Northampton, Kerr, Mrs 1838 Northfleet, Kent, St Botolph 1863 Northiam, Sussex, Brickwall House 1833, 1834, 1836 Lord, Revd W. 1840 Norwich, Benedictine Monastery 1864 Cathedral 1826 Catholic Chapel 1826 Concert Room 1826, 1827 Elwin, Revd R.F. 1825 Music Festival Committee 1827, 1830 St Andrew 1826 St Andrew’s Hall 1824, 1826 Unitarian Chapel 1826 Nottingham, Convent Chapel, Our Lady of Mercy 1847 Halifax Place Wesleyan Chapel 1847 St Barnabas 1844 Stone Place Chapel 1859 Trent College 1875, 1877 Nunhead, Surrey, St Anthony 1864, 1877

O

Oldham, Lancashire, [organ committee] 1844 Olveston, Gloucestershire, St Mary the Virgin 1873 Ombersley, Worcestershire, St Andrew 1829 Orrell, Lancashire, [residence] 1878 (L) Osborne House, see East Cowes Overton, Hampshire, Williams, Revd D. 1828 Owen, Revd Henry [no location] 1857 Oxford, Oxfordshire, Christ Church Cathedral 1847, 1870 Magdalen College 1855, 1866, 1877, 1887 St Anthony (RC) 1815 St Mary’s Hall 1864, 1873

P

Paarl, South Africa, [no location] 1876 Papworth St Agnes, Cambridgeshire, St John the Baptist 1807 Paris, Luscombe, Bishop 1834 Peldon, Essex, St Mary the Virgin 1839 Penkevel, Cornwall, St Michael 1875 Petersfield, Hampshire, Atcheson, Robert 1824 Griffin, Miss 1861 Pewsey, Wiltshire, St John the Baptist 1878 Pimperne, Dorset, St Peter 1853, 1874 Pitcairn Island, Pacific, [no location] 1853 online supplement: index to work lists ciii

Pitsford, Northamptonshire, All Saints 1868 Plymouth, Devon, St Andrew 1858 Porlock, Somerset, Ancell, Mr 1827 Port of Spain, Trinidad, Trinidad Cathedral 1846 Port Lyttleton, New Zealand, [no location] 1864 Portsea, Hampshire, St John 1850 St Peter’s Chapel 1826 Portsmouth, Hampshire, Dockyard Chapel 1866 New Chapel 1826 St Mary 1851 St Thomas 1855 Town Hall 1889 Prescot, Lancashire, St Mary the Virgin 1822, 1846 Prestbury, Gloucestershire, Edwards, Revd John 1833 Presteigne, Radnor (1/U) Preston, Lancashire, Exhibition 1876 (L) Holy Trinity 1842 Lune Street, Wesleyan Chapel 1845 [residence] 1876 (L) St Augustine 1841 St John 1842 St Thomas 1867 (L)

R

Radbourne, Derbyshire, Chandos Pole, Mr 1855 Ramsgate, Kent, St George 1836 Rattlesden, Suffolk, St Nicholas 1875 Rayleigh, Essex, Holy Trinity 1825 Reading, Berkshire, Binfield, Mr Richard 1835 Holy Trinity 1870 Reigate, Surrey, St Mark 1859 Rendcombe, Gloucestershire, St Peter 1862 Repton, Derbyshire, Repton School 1880 Richmond, Surrey, Independent Chapel 1852 Kilmorey, Earl 1868 St Matthias 1869 Rigaud, Revd D., [no location] 1868 Ringwood, Hampshire, Normanton, Lord 1854 St Peter & St Paul 1867 Rochdale, Lancashire, St Peter, Newbold 1878 Rock, Northumberland, St Philip & St James 1881 Rock Ferry, Cheshire, Wesleyan Chapel 1866 (L), 1867 Rockwell Green, Somerset, All Saints 1890 Rolvendon, Kent (1/U) Romford, Essex, St Edward 1835 Roscommon, Ireland, Talbot, Mr W.J. 1884 civ Organ-building in Georgian and Victorian England

Ross-on-Wye, Herefordshire, Court Field 1860 Rossall, Lancashire, Fleetwood, Sir Hesketh 1841 Rufford, Lancashire, St Mary 1886 (L) Rugeley, Staffordshire, Hawkesyard Priory 1865 Runcorn, Cheshire, Bethesda Chapel 1865 (L) Holy Trinity 1845

S

St Albans, Hertfordshire, Abbey 1820, 1834 Gorhambury House, Earl of Verulam 1833 St Peter 1825 St Helena, East India Company (1/U), 1825 St Helens, Lancashire, [residence] 1889 (L) St Mary 1840 St Leonards-on-Sea, Sussex, Presbyterian Chapel 1884 St Margaret’s [?], Hertfordshire, Pratt, Revd J.S. 1827 St Marychurch, Torquay, Devon, Our Lady & St Denis 1883 St Mary 1877 Sale, Cheshire, St Anne 1856 Salford, Lancashire, Broughton Chapel 1844 Higher Broughton Wesleyan Chapel 1870 Lower Broughton Wesleyan Chapel 1870 (L) St Stephen 1845 Salisbury, Wiltshire, [no location] 1855 Sandal [Magna], Yorkshire (1/U) Sandhurst, Berkshire, St Michael & All Angels 1882 Sandown, Isle of Wight, Lister, Dr 1851 Sawrey, Lancashire, St Peter 1874 Saxmundham, Suffolk, [no location] 1846 Scorborough, Yorkshire, St Leonard 1859 Scrooby, Nottinghamshire, St Wilfrid 1871 Seaforth, Lancashire, St Thomas 1879 (L) Wesleyan Chapel 1885 Sevenoaks, Kent, St John 1868 Shadwell Park, Norfolk, Buxton, Lady 1859 Shanghai, China, Howell, Mr W.G. 1855, 1862 Masonic Lodge 1862 Sherborne, Dorset, Sherborne Abbey 1856, 1876, 1887 Sharrow, Yorkshire, St John the Divine 1862 Shifnal, Shropshire, St Andrew 1840 Shirburn, Oxfordshire, Shirburn Castle 1876 (x2) Shooters Hill, Kent, All Saints 1874 Shorwell, Isle of Wight, Gordon, Sir Henry 1862 Shrewsbury, Holy Cross (Abbey Church) 1806 St Alkmund 1823 St Chad 1792, 1823, 1825 online supplement: index to work lists cv

St Giles 1883 St Julian 1792, 1808, 1825 St Mary 1847 St Michael, 1882 Sligo, Ireland, Cathedral 1888 (L) Congregational Chapel 1885 (L) Soham, Cambridgeshire, St Andrew 1853 South Kilworth, Leicestershire, [St Nicholas?] 1802, 1833, 1836 South Weald, Essex, St Peter 1868 Southampton, Hampshire, All Saints 1822, 1830, 1835 Holy Rood 1823 Southport, Lancashire, [residence] 1866 (L) Southsea, Hampshire, St Jude 1871 St Simon 1862 Southwell, Nottinghamshire, Holy Trinity 1867 Southwold, Suffolk, St Edmund 1825 Spanish Town, Jamaica, Northcote, Mr 1829, 1830, 1831 Speke, Lancashire, All Saints 1876 (L) Sproughton, Suffolk, All Saints 1850 Stafford, Castle Church 1847 Stamford, Lincolnshire, All Saints 1836 St Mary 1829 Stanley, Staffordshire [?], [no location] 1888 (L) Stanton Fitzwarren, Wiltshire, St Leonard 1865 Stanton Lacy, Shropshire, Bowles, Dr 1854 Stevenage, Hertfordshire, Turner, Lt Jellicoe 1836 Stockbridge, Hampshire, Bird, Mr W. 1874 Stockport, Cheshire, Hanover Chapel 1855 St Joseph 1862, 1863 Unitarian Church 1842, 1866 Stoke-by-Nayland, Suffolk, St Mary 1847 Stoke-next-Guildford, Surrey, St John the Evangelist 1790 Stoke-on-Trent, Staffordshire, Wesleyan Chapel 1874 (L) Stoke Poges, Buckinghamshire, St Giles 1869 Stone, Kent, Jackson, Revd William 1833 Stotfold, Bedfordshire, St Mary 1844, 1872 (L) Stourport, Worcestershire, Broome, Mr 1883 Stow-on-the-Wold, Gloucestershire, St Edward 1842 Sturminster Marshall, Dorset, [no location] 1860 Sturminster Newton, Dorset, Fox, Revd T.L. 1826 St Mary 1827 Sudbourne, Suffolk, All Saints 1879 Sutton Coldfield, Warwickshire, Holy Trinity 1864 Sutton Veny, Hampshire, St John the Evangelist 1868 Swanmore, Isle of Wight, St Michael 1864 Swansea, Glamorgan, [residence] 1846 cvi Organ-building in Georgian and Victorian England

Swepstone, Leicestershire, Oliver, Revd J. 1829 St Peter 1869 Swindon, Wiltshire, Christ Church 1851, 1880 Sydney, Australia, St James 1827, 1831 St Patrick 1848 St Patrick (RC) 1856

T

Tarrant Gunville, Dorset, St Mary 1852 Teddington, Surrey, Public Schools 1832 Tenbury, Worcestershire, St Mary 1843 Tewkesbury, Gloucestershire, [residence] 1847 Thames Ditton, Surrey, St Nicholas 1828 Thatcham, Berkshire, St Mary 1857, 1865 Thornborough, Buckinghamshire, St Mary 1787 Thornes, Yorkshire, St James 1876 Thornford, Dorset, St Mary Magdalen 1866 Thorpe, Norfolk, Harvey, Col. 1829, 1830 Thursford, Norfolk, St Andrew 1862 Ticehurst, Sussex, Newington, Mr Charles 1833 Tilehurst, Berkshire, St George 1890 Titchmarsh, Northamptonshire, Powys, The Hon. and Revd L. 1837 Todmorden, Lancashire, Christ Church 1875 Tonbridge, St Peter & St Paul 1855 Toronto, Canada, Gillespie, Messrs (Gould Square) 1837 Torquay, Devon, Chatto, Mr W.J.P. 1868 St Mary 1854 Tottington, Lancashire, Wesleyan Chapel 1876 (L) Tralee, Ireland, O’Leary, Mr Arthur 1834 Tranmere, Cheshire, Holt Hill Wesleyan Chapel 1865 (L) Tring, Hertfordshire, St Peter & St Paul 1876 Trunch, Norfolk, St Botolph 1808 Tunbridge Wells, Holy Trinity 1840 Turvey, Bedfordshire, Alms Houses 1883

U

Uttoxeter, Staffordshire, St Mary 1846, 1888 (L)

V

Valletta, Malta, St Paul 1885 [no location] 1844 Van Diemans Land, Australia, [no location] 1859 online supplement: index to work lists cvii

W

Wainfleet, Lincolnshire, Tickler, Mr Robert 1833 Wakefield, Yorkshire, All Saints 1804 Wallasey, Cheshire, St Hilary of Poitiers 1854 Waltham, Leicestershire, Gillet, Revd G.W. 1833, 1834 Walton-le-Dale, Yorkshire, St Leonard 1872 Walton-on-Thames, Surrey, Ashley Park 1835 Walton-on-the-Hill, Lancashire, St John the Evangelist 1878 (L) Wantage, Oxfordshire, St Peter & St Paul 1885 Warbleton, Sussex, St Mary the Virgin 1836 Wargrave, Berkshire, St Mary 1855 Warrington, Lancashire, Bewsey Road Wesleyan Chapel 1876 (L) Blue Coat School 1865 (L), 1876 (L) St Elphin 1876, 1881 Washington, USA, Smithsonian Institution c1787 Watford, Bedfordshire, Parish Church 1828 Watson’s Bay, New South Wales, Australia, St Peter 1796 Wellington, Shropshire, All Saints 1825, 1837 Wellow, Somerset, St Julian 1889 Welwyn, Hertfordshire, Wilshere, Mr 1870 St Mary the Virgin 1877 West Bromwich, Staffordshire, Wesleyan Chapel 1847 West Butterwick, St Mary 1782 West Chapel, Galway, [chapel?] 1852 West Cowes, Isle of Wight, Holy Trinity 1887 West Derby, Lancashire, Emmanuel Church 1866 St Mary the Virgin 1860 West Wycombe, Buckinghamshire, Le Despncer, The Baroness 1827 St Paul 1875 Westgate on Sea, Kent, Congregational Chapel 1883 Weston, Staffordshire (1/U) Weybridge, Surrey, Taylor, Mr 1835 Weymouth, Dorset, St John the Evangelist 1856 Whalley, Lancashire, Cottam, Mr Adam 1829 Whatton-in-the-Vale, Nottinghamshire, St John of Beverley 1877 Whitchurch, Oxfordshire, St Mary the Virgin 1860 Whitehaven, Cumberland, Catherine Street Chapel 1870 (L) Holy Trinity 1887 (L) St James the Great 1886 (L) Whittlebury Lodge, Northamptonshire, Southampton, Lady 1838 Whittlesey, Cambridgeshire, Whyman, Mr Thomas 1831 St Mary 1830 Wigginton, Yorkshire, St Mary & St Nicholas 1790 Wigton [?], Cumberland, St Mary 1858 Wilton, Somerset, St George 1842 Windemere, Westmoreland, Carpenter, The Hon. Mrs 1838 cviii Organ-building in Georgian and Victorian England

St Mary, 1865 Windsor, Berkshire, Music Hall, Windsor Castle 1841 St George’s Chapel, Windsor Castle 1829, 1832, 1835, 1837, 1838, 1843, 1855, 1882 St John the Baptist 1836, 1845 Winkfield, Berkshire, St Mary 1878 Wiveliscombe, Somerset, St Andrew 1829 Wolverhampton, Congregational Chapel 1849 Higgs, Mr Charles 1838, 1853 St Jude 1874 Woodbridge, Suffolk, Gall, Mr 1831 St Mary 1818 Woodchester, Gloucestershire, St Mary 1865 Wooton, Isle of Wight, St Edmund 1848 Worcester, St Swithun 1795 Workington, Cumberland, St Michael 1890 (L) Worksop, Nottinghamshire, Clumber Park, Chapel 1888 [residence] 1840 Worsthorne, Lancashire, Bank Hall (Revd William Thursby) 1835 Worthing, Sussex, Banting, Mr T. 1863 Wrockwardine, Shropshire, St Peter 1846 Wrexham, Denbigh, Hartland, The Dowager Lady 1838 St Mary 1860 Wyddial Hall, Hertfordshire 1822 Wye, Kent, St Gregory & St Martin 1843 Wymering, St Peter & St Paul 1861 Wymeswold, Leicestershire, St Mary 1840 Wynnstay, Denbigh, Wynn, Sir W.W. 1863, 1871, 1876

Y

Yazor, Herefordshire, St Mary the Virgin 1845 Yeovilton, Somserset, Law, The Hon. and Revd W.J. 1838 Yockleton, Shropshire, Holy Trinity 1886 (L) York, Yorkshire, Castle Museum c1787 Hill, Mr L. 1834 DOCUMENTS chapter 1

1.1 Proceedings of the Old Bailey: trial of Patrick Birmingham and Samuel Hall for burglary, 21 April 1784 [PRO, Proceedings of the Old Bailey, ref. t17840421-14].

PATRICK BIRMINGHAM, and SAMUEL HALL were indicted for burglariously and feloniously breaking and entering the dwelling house of Robert Gray, about the hour of eight in the night, on the 2d day of April, with intent the goods and chattles of the said Robert, in the said dwelling house, burglariously and feloniously to steal.

The Witnesses examined apart at the request of the Prisoner.

ROBERT GRAY sworn.

I live in Dean-street, Red Lion-square.

What is your business? – An organ-builder, I know nothing of the robbery, I was out at the time.

CHRISTOPHER IBBETSON sworn.

On the 2d of April, about eight o’clock, me and another person were riding down Leigh- street, Red Lion-square, and we saw a young fellow come out of Mr. Gray’s parlour window, I spoke to the gentleman that was along with me, and as I spoke, Hall opened the window, and the prisoner Birmingham jumped out; there were pallisadoes before the win- dow, Hall was in the street and had hold of the shutters, Hall opened the window shutter, and then Birmingham came out.

Court. Was it dark? – Yes, it was candle-light.

How near was you to him? – About three yards.

How did you distinguish their faces? – It was quite a moon-light night, I could distinguish them by the light of the moon; Hall did not attempt to run away.

Mr. Sylvester, Prisoner’s Council. Did Hall stop? – I crossed over to him, and bid him stop.

1 2 Organ-building in Georgian and Victorian England

And he stopped immediately? – Yes.

How many minutes might it be? – Not many.

Prisoner Hall. He swore that I had hold of the shutter the first time, and the second time he said I was near it, but I had not hold of it.

When you was before the Justice of Peace, did not you swear that he stood near the win- dow, not that he touched it, or much less that he opened it? – If I did I must say false, for he opened it, and held it for the other man to come out.

Was you examined twice? – Yes.

Did the Justice admit him to bail? – Not when I was present.

SARAH WOOLLEY sworn.

I live with a gentlewoman that has Mrs. Gray’s first floor, Mrs Gray came up stairs to sit with the gentlewoman that is ill, and brought a young child about two months old, and I took it down stairs, and gave it to the maid to give it some victuals, and then I heard the alarm.

Court. Do you know how the house door was? – I cannot tell, it was shut when I heard the alarm, I did not hear any body in the house.

MARY HARROW sworn.

I was in the house, my master was not within, my mistress was, the door was shut, it is with a spring lock, and it is generally shut, it cannot be opened on the outside without a key.

Was the parlour window open or shut? – I shut it between six and seven, pushed it in, but not fastened it, and the sash was down, I am sure of it.

Did you see or hear any body in the house? – No. Supplement to Chapter 1 3

Mr. Sylvester. What does your family consist of? – Master, mistress, and five children.

What are the ages of those? – The eldest is thirteen.

A boy or girl? – A boy.

Is he at ? – He is put out to school.

Was he at home then? – I cannot say where he was, he was not in the house at that time, he was out with other boys.

When did he go out? – After he had had his dinner.

How long did he stay out? – Till after it was over.

What age is the next child? – About nine, that is a girl, she is at home.

Where was she that afternoon? – She was in the parlour in the mean time with me.

I suppose you was going backwards and forwards in the house was not you? – No, I was in the parlour with three of the children, I did not leave the parlour till we heard the cry of thieves.

How came you not to shut the window shutters? – I just pushed it to with my hand, and a little child in my arms, I meant to get a light to fasten it.

Did you push it to from the outside or the inside? – The outside, that was between six and seven, I cannot say whether any body had been in from that time till the alarm was, I do not think they had.

What do you know? – I know for certain that nobody had been in that room, my mistress was above stairs with a lady that was sick, she was but just gone up stairs, she drank tea in the parlour, but not in that parlour.

When your mistress got out; do you know which way she went? – No. 4 Organ-building in Georgian and Victorian England

Do you know what time the boy came home? – No.

What is the age of the next child? – About seven, a girl, she was all the time there.

Do your children always sit still my girl? – She was not out of the room I am sure, be- cause I was with her, we have no lodgers, only a lady in the first floor, I pulled the door after me, it is a catch lock.

You are not careless I suppose at all? – No, I am not careless, I went out in the street, and coming by with a child in my arms, I thought it was time to have the door shut, they could not open it without a key on the outside.

Did you try it? – No, I shut it in the usual way.

Court. You say your mistress went up to the sick person, what time was that? – Between seven and eight.

She does not go through the parlour? – No, the stairs front her as soon as she comes out of the door, and she goes directly up.

You are sure the sash was shut down? – Yes, I shut it down in the morning, and it was not opened at all, it sticks out when it is not fastened, any body can tell that it is not fastened.

Was the sash fastened down? – It was fastened down, it was not screwed down.

Following testimony by the defendants and two character witnesses, the summed up the case; both men were found guilty, but Hall was recommended to mercy by the Jury.

1.2 Lease of land at the corner of Tottenham Court Road and the New Road between Francis, Earl of Hertford and Robert and William Gray, 1791 [LMA, Land Regis- try (Middlesex): MDR 1791, vol. 9, entry 305].

An Indenture of Lease bearing date the 13th day of September in the year of our Lord One thousd seven hundred and ninety one Between the Right Honourable Fras Earl of Hertford Knight of the Most Noble Order of the Garter and the Right Hon’ble Henry Seymour Supplement to Chapter 1 5

Conway of the first Part The Right Honourable Chas Lord Sothampton of the second Part of Charles Street in the Parish of Saint Pancras in the County of Midd’ex Builder and George Malpas of Pancras next Tottenham Court Road in the said Parish of St. Pancras Builder of the third Part and Robert Gray and William Gray of the New Road near Tottenham Court in the said Parish of St. Pancras Organ Builder [sic] of the fourth part Whereby for the Cons’ons therein mentd They the said Francis Earl of Hertford and Henry Seymour Conway by and with the Consent and Approbation of the sd Chas Ld Southampton and at the request of the said Joseph Beaumont & George Mal- pas Did Grant Demise and Lease unto the said Robert Gray and Willm Gray their Ex’ors Adm’ors and Assigns All that Piece or Parcel of Gd situate lying and being on the South side of Tottenham Court in the Parish of St. Pancras otherwise called Kentish Town in the County of Midd’ex being Part of a Piece of Ground lately commonly called or known by the Name of the Cow Lair and which sd Piece of Parcel of Ground intended to be thereby demised fronts Northward on Tottenham Court aforesd and Westward on Tottenham Court Road and is bounded on the South and East by Ground separately leased or intended to be Leased to the said Robt Gray and Willm Gray and contains in the Front next Tottenham Court fifteen feet at the South end thereof nineteen Feet at theWest front thereof seventy three feet nine inches and on the East side thereof seventy six feet three inches of Assize little more or less Together with the Double brick Messuage or Tenemt now erecting & building or lately erected and built upon the said Piece or Parcel of Ground thereby demised at the South end thereof being the first or Corner House on the So. side ofTot - tenham Court and on the East side of Tottenham Court Road with all and singular the Appurts thereunto belonging To Hold the same unto the said Robert Gray and Willm Gray their Ex’ors Adm’ors and Assigns from the twenty ninth day of September which was in the Year One thousd seven hundred and eighty nine for and during the Term of Ninety nine years from thence next ensuing and fully to be compleat and ended At and under the Yearly Rent of Six Pounds Payable Quarterly as therein mentd and subject to such Cove- nants and Agreements as are therein contained which sd Indre. as to the Execution thereof by the said Chas Lord Southampton is Witnessed by Willm Birch of Soho Esquire As to the execution thereof by the said Francis Earl of Hertford is Witnessed by Thos Archall and Joe Probart his Servants As to the Execution thereof by the said Henry Seymour Conway is Witnessed by Joseph Knowles and Thos Quiles both of Park Place Berks And as to the execution thereof by the said Joseph Beaumont and George Malpas Is Witnessed by John Birch of Dean St aforesd Gent and Peter Graham Clerk to the said Willm Birch and is thereby reqd to be registered by the said Joseph Beaumont As Witness his hand and Seal Joseph Beaumont [seal] Signed and sealed in the Presence of John Birch P. Graham 6 Organ-building in Georgian and Victorian England

1.3 St Chad’s Church, Shrewsbury: agreement between the Trustees of St Chad’s Church and Robert and William Gray for the building of a new organ, 1791 [SA, St Chad’s, Shrewsbury: P253/J/3/14].

Articles of Agreement indented [and] made the twenty fourth Day of December in the thirty second Year of the Reign of our Sovereign Lord George the Third by the Grace of God of Great Britain France and Ireland King Defender of the Faith and so forth and in the Year of our Lord one thousand seven hundred and ninety one Between William Simes of the Town of Shrewsbury in the County of Salop Gentleman Clerk to for an on behalf of the Trustees nominated and appointed for carrying into Execution a certain Act of Parlia- ment made and passed in the twenty ninth Year of the Reign of his present Majesty intitled “An Act for Rebuilding the Parish Church of Saint Chad in the Town of Shrewsbury and County of Salop and for providing a new Cemetery or Burial Ground and making conve- nient Avenues and Passages to the said Church and Cemetery And also by another Act made and passed in the thirty first Year of the Reign of his said Majesty intitledAn Act for enlarging the Powers of the aforesaid Act and for raising a further Sum of Money for fully assisting the General Purposes in the said Act mentioned” of the one part and Robert Gray and William Gray of the New Road in the Parish of Saint Pancras in the County of Middlesex Organ Builders of the other part ------Whereas the said Trustees have agreed with the said Robert Gray and William Gray for the Building and erecting an Organ in the said Church of Saint Chad of such Construction and Dimensions and with such Ornaments and Embellishments as hereinafter is men- tioned and described at or for the Sum of three hundred and ninety five pounds seventeen Shillings to be paid as hereinafter mentioned The said Trustees therefore at a Meeting held the tenth Day of November last Ordered that the said Clerk prepare and enter into a Contract with the said Robert Gray and William Gray for Building and Erecting the said Organ agreeable to the Terms of the said Agreement Now these Presents Witness that in Pursuance of the said Order and for carrying the said Agreement into Execution the said William Simes as Clerk to and on behalf of the said Trustees and the said Robert and William Gray do covenant conclude contract and agree to and with each other by these Presents in manner and form following (that is to say) First the said Robert Gray and William Gray for and in Consideration of ten Shillings of lawful Money of Great Britain to them in Hand paid by the said William Simes at and before the Sealing and Delivery hereof the Receipt whereof is hereby acknowledged And also for and in Consideration of the further Sum of three hundred and ninety five Pounds seventeen Shillings of like lawful Money to be paid to them at the Times and in manner hereinafter mentioned Do and each of them doth by these Presents Covenant promise contract and agree with the said William Simes on behalf of the said Trustees as afore- Supplement to Chapter 1 7 said that they the said Robert Gray and William Gray or one of them their or one of their Executors Administrators or Assigns shall and will erect and build or cause or procure to be erected and built a good and substantial Organ for the use of and to be put up in the said Church of Saint Chad of such Construction executed and finished in the manner hereinafter mentioned and described that is to say The Organ to contain Great Organ, Swell to Tenor F, with Choir Organ Accompaniment, To have two separate Rows of Keys (Long Octaves from GG up to F in alt To have a Pedal Movement to answer for the Choir Organ And to contain the following Stops (Videlicet) In the Great Organ, Open Diapason — Stop Diapason — (Principal, Twelfth, fifteenth) seven hundred and fifty eight Pipes — Sixquealtre [sic] three Ranks — two Ranks — four Ranks — Trumpet — Swell to Tenor F — Stop Diapason — Open Diapason, (Principal, Hautboy, Trumpet) two hundred and twenty seven Pipes — Stop Diapason to Tenor E — Flute to D — Great Organ seven hundred and fifty eight Pipes — Swell and Accompaniment two hundred and twenty seven Pipes, Total Number of Pipes nine hundred and eighty five,And the said Robert Gray and William Gray do hereby further Construct and Agree to and with the said William Simes on behalf of the said Trustees as aforesaid that they the said Robert Gray and William Gray or one of them their Executors Administrators or Assigns shall and will build and inclose the aforesaid Organ in a good substantial Case with proper Doors to get at the inside Work therein The back of the said Case to consist of well seasoned Deal and the Front and sides thereof of Mahogany The Capitals of which to be of Composition and Gilt, the Cornice white and plain, The Freese [sic] part carved in Limetree and Gilt And the whole executed and finished according to a plan or Drawing of the same Organ fur- nished by George Steuart Esquire and approved by the said Trustees with such Ornaments as are in the said Drawing or Design thereof marked and set forth And shall and will Gild the Front Pipes of the said Organ and Execute the same Together with the Case thereof in a Workman like manner And also shall and will on or before the thirty first Day of May next put up the said Organ in the said Church and completely finish the same in a proper judicious and Workman like manner Subject to the inspection of a Skilfull Workman to be nominated by the said Trustees And further that they the said Robert and William Gray or one of them their or one of their Executors Administrators or Assigns shall and will find and provide All such Scaffolding Tools Machines and Utensils And also pay bear and de- fray the Carriage Package and all incident Expences attending the bringing down erecting putting up and completely finishing the said Organ in the said Church And that the same shall be played upon and approved by some Musician of Eminence in London to be also nominated by the said Trustees if required by them previous to its being brought down into the Country Provided always and it is hereby declared and agreed by and between the said Parties to these presents that in case the said Organ shall upon such inspection and Trial be found defective in any part of the Works thereof that they the said Robert 8 Organ-building in Georgian and Victorian England

Gray and William Gray or one of them their or one of their Executors Administrators or Assigns shall and will re-execute finish and complete the said Organ to the Satisfaction of the said Trustees or such Workman and Musician as they shall so nominate as aforesaid And also do and shall put the said Organ and every part of it in perfect Tune immediately on its Erection in the said Church and leave it in that state And the said Robert and Wil- liam Gray do hereby also further covenant promise and agree to and with the said William Simes on behalf of the said Trustees aforesaid that they the said Robert Gray and William Gray or one of them their or one of their Executors Administrators or Assigns shall and will Tune clean or otherwise repair the said Organ once at least after the Expiration of one year from the Time of its Erection in the said Church free of all Expence whatsoever (Except his or their Travelling Expences to and from Shrewsbury which the said Trust- ees agree to Pay and defray) And it is also hereby declared and agreed by and between the said Parties hereto that in Case the said Organ so hereinbefore contracted to be done is not executed and completely fitted up in the said Church in - ? – on or before the said thirty first Day of May next owing to the neglect or Default of the said Robert Gray and William Gray their Executors Administrators or Assigns or any of their - ? – employed in the Execution thereof that they the said Robert Gray and William Gray their Execu- tors Administrators or Assigns or some or one of them shall and will forfeit and pay to the said Trustees their - ? – for the time being for their use the Sum of Fifty Pounds such forfeiture to be abated or allowed to the said Trustees out of the said sum of three hundred and ninety five Pounds seventeen Shillings so agreed to be paid to them as aforesaidAnd the said William Simes for and on behalf of the said Trustees as aforesaid Doth covenant promise and agree to and with the said Robert Gray and William Gray their Executors Administrators or Assigns by these Presents that they the said Trustees their Clerk or Trea- surer for the Time being shall and will well and truly pay or cause to be paid unto the said Robert Gray and William Gray their Executors Administrators or Assigns the said Sum of three hundred and ninety five pounds seventeen Shillings in manner following (that is to say) the Sum of one hundred and fifty Pounds part thereof within one Month next after the Date and Execution of these Presents And the further Sum of two hundred and forty five pounds seventeenth Shillings the residue thereof within one Month next after the said Or- gan shall be finished to the Satisfaction of the said Trustees or the Persons to be by them nominated as aforesaid to inspect the same and completely fitted up in the said Church in the Stile mentioned and pointed out by the said Drawing And it is hereby mutually covenanted declared and agreed by and between the said Parties touching the Execution and finishing of the said Organ so constructed to be built and erected as aforesaid or any Matter or Thing relating thereto That every such Dispute shall be referred to the Award Order or Determination of two indifferent Persons (one to be chosen by each Party) And Supplement to Chapter 1 9 that the Award Order or Determination of the said Arbitrators or Referees so to be nom- inated as aforesaid shall be binding upon the said Parties in difference and conclusive to all intents and purposes whatsoever In Witness whereof the said Parties to these Presents have hereunto set their Hands and Seals the Day and Year first above written —

Willm Simes [seal] Robert [seal] Gray Will m [seal] Gray

1.4 St James’s Chapel, Hampstead Road, London: agreement between the Trustees and Robert and William Gray for an organ for St James’s Chapel, Hampstead Road, London (1792) [WAC, St James Piccadilly: Minutes of the Trustees of St James’s Chapel, Hampstead Road (1789–1847), D1715].

[p.64] Articles of Agreement indented and made Concluded and Agreed upon this Twen- ty fourth day of March in the thirty Second year of the Reign of our Sovereign Lord George the Third by the grace of God of Great Britain France and Ireland King Defender of the Faith and so forth and in the year of our Lord One thousand Seven hundred and Ninety two Between Luke Ideson of the Parish of Saint James Westminster in the County of Middlesex Gentleman as Agent and on Behalf and for the Use of the Reverend William Parker Doctor in Divinity of the said Parish The Most Noble George Grenville Nugent Temple Marquis of Buckingham The Right Honorable William Legge John Griffin Griffin [sic] Lord Howard De Walden Jeffrey Lord Amherst Sir Archibald Edmonstone Baronet Thomas Edwards Freeman Esquire Robert Darell Esquire Thomas Hammersby Esquire and Christopher Spencer the Senior of the said Parish of Saint James the Present Trustees for Carrying into Execution two Several Acts of Parliament the One made in the twenty Ninth year of the Reign of his Present Majesty and Intitled “An Act for providing an additional Burial Ground for the Parish of Saint James Westminster and Erecting a Chapel adjoining thereto and also a House for the Residence of a Clergyman to Officiate in Burying the Dead” and the other made in the thirtieth year of the Reign of His present Majesty and In- titled “An Act to Amend an Act of the last Session of Parliament for Providing an Additional Burial Ground for the Parish of Saint James Westminster and Erecting a Chapel Adjoining thereto and also a House for the Residence of a Clergyman to officiate in Burying the Dead” of the One Part And Robert Gray and William Gray of the New Road in the Parish of Saint Pancras in the County of Middlesex Organ Builders of the other part as followeth. 10 Organ-building in Georgian and Victorian England

Imprimis It is hereby Agreed by and between the Parties to these Presents and they the said Robert Gray and William Gray do hereby for themselves Severally and for their several and respective Heirs Executors and Administrators Covenant promise and agree to and with the said Luke Ideson his Executors and Administra- tors and to and with the said Trustees that they the said Robert Gray and William Gray shall and will at their own proper Costs and Charges make build erect and Compleat in a good and Workmanlike manner an handsome and perfect Organ of good Sound stuff and Materials and shall and will make and set up the same in the New Chapel now Erected and built for the said Parish of Saint James in the Kent- ish Town Road on a piece of Ground there lately belonging to and Purchased of the Right Honorable Charles Lord Southampton the said Organ to be made built and finished in manner and According to the Directions plan and design hereafter Mentioned (that is to say) the said Organ to be in a Mahogany case with gilt front Agreeable to the design made out and given by Mr Hardwick the Surveyor to the said new Chaple [sic] and described in a Drawing thereof hereto Annexed and the said Organ to be Short Octaves up to F in Alt and to Consist of the following Stops Vizt Stop diapason Bass wood and Treble metal open diapason metal as far as D.D. an E.E. in Front principal in Metal twelfth Ditto fifteenth Ditto Sexquialtra three Ranks Do Cornet three Ranks Do Trumpet through to have a separate set of Keys for the swell from middle C. up to F. in Alt the Swell to have Open diapa- son in Metal and Trumpet Ditto the total Number of pipes in the Organ to be five hundred and fifty five And they the said Robert Gray & William Gray do hereby Agree that the whole of the said Organ and Works with all the Members parts and Appendages thereto Properly Appertaining and every thing belonging thereto shall be done and finished in a good substantial and Workmanlike manner and Erected compleat in the said new Chapel at and for the price and Sum of One hundred and Seventy three pounds five shillings of lawful Money of Great Britain to be there- fore paid for the same and that the whole thereof shall be Completely done and finished on or before the twenty Ninth day of September now next Ensuing the day of the Date of these presents And it is hereby further declared and Agreed by and between the said Parties to these Presents — That if there shall then be Occasion or it shall be thought necessary the whole of the said Works shall be Adjudged or Approved of by two able Masters or Organists by the Parties hereunto indif- ferently chosen & they to Choose and agree on One able Master as an Umpire to determine if they Cannot agree such adjudication and Approval nevertheless to be made and Completed within the Space of One Month mext after the said Twenty Ninth day of September now next Ensuing And the said Robert Gray and William Supplement to Chapter 1 11

Gray for themselves and their respective Executors and Administrators do hereby also Covenant promise and Agree to and with the said Parties hereto and to and with any of them that they the said Robert Gray and William Gray or one of them shall and will at their or one of their proper Costs and Care keep the said Organ and works in good repair order and time without waste or abuse for the space of twelve Calendar Months to be Computed from the time the said Organ shall be Built finished and set up as aforesaid And in Consideration of the Promises and of the said Organ and Work Stuff and Materials so to be provided made done and Completely finished and Approved of he the said Luke Ideson doth hereby for himself and his said Masters the aforesaid Trustees covenant promise and Agree to pay unto the said Robert Gray and William Gray their Executors Administrators or Assigns the full Sum of One hundred and Seventy three Pounds five shillings of good and lawfull money of Great Britain with in fourteen days after the Adjudica- tion or Approval thereof as aforesaid In Witness whereof the said Parties to these Presents have hereunto interchangeably set their hands and Seals the day and year first above written

Robert Gray [seal] Wm Gray [seal] Sealed and Delivered. } (being first duly stamped) } in the presence of } Saml Clarke Clk to Mr Ideson

1.5 St Anne’s, Soho, London: documents concerning the erection of an organ by Rob- ert and William Gray, 1794.

1.5a Minutes of a meeting of the Committee for erecting an organ in St Anne’s Church, Soho, 6 March 1794 [WAC, St Anne Soho: Draft Minutes of the Committee for erecting an organ (1794–6); A2314].

[f.2r] Saint Anne Westmr.} At a Meeting of the Committee 6th March 1794 } for regulating the erecting of a New Organ pursuant to an Order of Vestry. – 12 Organ-building in Georgian and Victorian England

Present Mr Barber in the Chair The Revd. Mr Eaton Wm Knox Esqr. Benjn. Gee Esqr. Lionell Darrell Esqr. Edwd. Bowman Esqr. Mr Fisher Mr Marshall Mr Dobson Mr Lockett Mr West

The Rector and having consulted several of the most eminent of Organ Musick and having taken to their assistance some respectable Organ Builders and examined the present state of the Organ informed the Committee that it was their opinion that as many of the Old Pipes as were in a sound state should be preserved but that the compass of the Organ being too contracted it would be proper to enlarge it by the addition of some new Pipes and the Churchwardens had [f.2v] in Consequence of those opinions desired Messrs. Gray to prepare an Estimate of the expence of building an Organ conformable thereto the said Estimate was laid before the Committee and at the same time some other proposals of other organ builders were also presented and the Committee taking the whole into Consideration resolved that the Organ be erected upon the plan and agreeable to the proposal and Estimate prepared by Mr. Gray but that Mr. Gray be acquainted that the Committee would think it proper to all to their Assistance some eminent Organ builder to examine the Pipes when the Organ is taken down in order to Judge which of the Pipes are fit to be used in the New Organ And that the Ornaments of the New Case should be adapted to the Architecture of Supplement to Chapter 1 13

the Church and Mr. Gray having been called in and being informed of the said intentions of the Committee signifed his consent thereto whereupon the Committee unanimously came to the resolution to emply Messrs. Gray to build the New Organ and to accept his proposal and estimate which is as follows (that is to say)

An Estimate by Robert and William Gray Organ Builders of the New Road London To repair improve and enlarge the Organ [f.3r] belonging to the Parish Church of Saint Anne Soho

The Organ to be in a Solid Mahogany Case of the following Dimensions – 22. feet High – 14. feet Wide and 8. feet Deep. All the old Pipes to be used again (except the Cremona and those that may be in a state of Decay), To each of the old stops of Pipes are to be added five Notes at the Bottom and five at the Top which will make the Organ Compleat Long Octaves (from G.G. up F. in Alt) The Old Pipes to be substantially repaired The stop Diapasons both in the Great and Choir Organs to be new stoped [sic]and leathered, and the Mettle part of the same to have new Tops and Chimneys, soldered on as likewise the Mettle part of the flute which will make them stand much better in Tune New additions as follows – To add to the Great Organ a New Open Diapason throughout the lower part of the same to stand in front (and to be gilt) To add to the Sexquialtra One Rank of Pipes making together four Ranks which are to be regular throughout To add to the Choir Organ a New Principal and Cremona. To add to the Swell a New Hautboy . a New Open Diapason . a New Dulceana and make a regular cornet out of the Old Pipes which compose the twelfth and mixture, The Springs of the Trumpet to be New The Organ to have two large pair of Bellows which are to be fold [?] inside (and to blow at the End) To have three 14 Organ-building in Georgian and Victorian England

separate Rows of Keys, viz Great Organ, Choir Organ [f.3v] and Swell from Tenor F. All the Movements, Keys, Sound Boards, Wind Trunks and in short no part of the Old Organ to be used again except a part of the Old Pipes as above describ’d for Brother and Self Wm Gray

The Composition of Stops as follows.

Great Organ Two open Diapasons

Stop Diapason Principal } Old Pipes - 216

Twelfth } New Do. 542 Fifteenth } 758

Sexquialtra 4 Ranks Cornet 4 Do. Trumpet

Choir Diapason Principal Flute} Old Pipes 146 New Do. 144 290 Cremona

Swell to Tenor F Open Diapason Stop Diapason [f.4r] Dulceana Principal Cornet 3 Ranks Trumpet} Old Pipes 171 Supplement to Chapter 1 15

Hautboy} New Do. 141     312 Great Organ Pipes 758 Choir Do. 290 Total Number of Pipes 1360

The whole of the before mentioned Work to be executed in a good sound Workmanlike manner with the best dry well seasoned Materials – (Warranted) to be delivered and completely erected in the said Church within one year from the time the Organ is given for the sum of 395. Guineas and all the Materials belonging to the Old Organ (Pipes only excepted) Robert and William Gray also agree that during their lives no extra expence shall be charged the Parish for keeping the above described Organ, in Order more than the annual Salary for the Tuning, and occasionally cleaning (accidents only excepted) – for brother and self  Wm. Gray.

1.5b Minutes of a meeting of the Committee for erecting an organ in St Anne’s Church, Soho, 17 April 1794 [WAC, St Anne Soho: Draft Minutes of the Committee for erecting an organ (1794–6); A2314].

[f.4v] The Clerk read the Minutes of the last Meeting which were approved and signed by the Chairman. Mr: William Gray was called in and being asked whether he thought the Case for the New Organ would be best with four Towers or three as the present Instrument He answered that for the accommodation of the Work, four Towers would be more commodious, and he then produced a plan of Elevation which was approved and after being signed by five of the Committee then 16 Organ-building in Georgian and Victorian England

present was delivered back to Mr: Gray to proceed upon. Messrs: Edward Bowman and George Lockett two of the Committee reported that they had viewed the Gallery in the Church where the present Organ [f.5r] stands and that it was their opinion the Case for the New Organ should be comprized within the width of Thirteen Feet in Front instead of the original Proposal of fourteen Feet and Mr: Gray having informed the the [sic] Committee that thirteen Feet would be fully sufficient for every Purpose it was recommended to him that in the erection of the Organ the Compass of Thirteen Feet be attended to – It appearing by a Minute of Vestry the 24th: Janry 1782 that an open Diapason was made in front of the Organ and consequently the Outer Pipes being introduced at that time could not be considered as Part of the old Pipes required to be preserved by order of Vestry The Committee therefore left it to the determination of Mr. Gray to use or reject those pipes in the Front of the Present Organ as he may judge expedient when the Instrument is taken down. Ordered that the Vestry Clerk draw and Agreement with Covenants on the usual Stamps for the Signature of Messrs. Robert and William Gray and five of the Committee Men conformable to the Proposals made by Messrs. Gray and the Resolutions of this Committee.

1.5c Minutes of a meeting of the Committee for erecting an organ in St Anne’s Church, Soho, 11 December 1795 [WAC, St Anne Soho: Draft Minutes of the Committee for erecting an organ (1794–6); A2314].

[f.8v] The Reverend Mr Eaton opened the Business of this Meeting by desiring that Mr. Gray should be called in and report whether the Organ be in such a complete state as he thinks it proper to be inspected by any Person Supplement to Chapter 1 17

the Committee may appoint Mr. Gray being called in gave his Report that he had now completed the Organ agreable [sic] to the Particulars specified in a Contract entered into with the Committee on the 21st. April 1794 and a Resolution of the Committee of the 1st: July formed on a Report of Messrs. Ohrman and Nutt Organ Builders dated the 28th: June 1794 [f.11r] and was desirous that it might be inspected by [sic] M r. Joah Bates or some other competent Judge whom the Committee should think proper to appoint for that Purpose.

Resolved that the Church Wardens be desired to wait upon Mr. Joah Bates or Messrs. Ohrman and Nutt Organ Builders in this Parish to request those or either of those Gentlemen to inspect and examine the Organ and to inform the Committee in writing whether in their opinion the organ be finished and completed in a good and Workmanlike Manner, agreeable to contract and the Resolution abovementioned and alluded to

Ordered that the Original Contract be lodged in the hands of Mr. Joseph Davies for the Inspection and assistance of Mr. Joah Bates or Messrs. Ohrman and Nutt in forming their opinion relative to the Organ

Ordered that it be recommended to Mr. Dunford to advance One Hundred Pounds [and to] pay the same to Messrs. Robert and William Gray on Account and [ - - - - - ] [f.11v] of the Purchase Money for the new Organ 18 Organ-building in Georgian and Victorian England

1.6 Robert Gray’s Will (1796) [LFRC PROB11/1277/1796/362/176-7].

I Robert Gray of the New Road Fitzroy Square in the Parish of St Pancras in the County of Middlesex Organ Builder being of sound mind and memory but being lately afflicted with a fit of illness and considering the uncertainty of life do make and publish this my last Will and Testament in manner following that is to say I give and bequeath all my Leasehold Estate Stock in Trade Book debts household furniture and all other my Estate of what nature or kind soever unto my Brother William Gray and my Friend William Vale of Bunhill Row in the Parish of St. Luke in the County of Middlesex Watchmaker their Executors Administrators and Assigns in Trust in the first place to pay all my debts and Funeral Expenses and also to pay to my Son Thomas Gray now I believe of Calcutta or in some other part of the East Indies the sum of Twenty pounds which I do hereby give and bequeath to him and as to all the Remainder of my Estate after the payments afore- said I do will and direct that the same may be sold and disposed of by the said William Gray and William Vale my said Trustees for the benefit of my Children Margaret Anne and Benjamin Gray the produce of such Estate to be equally divided amongst them share and share alike And I do hereby nominate constitute and appoint my said Brother and the said William Vale joint Executors hereof In Witness whereof I have hereunto set my hand and Seal this fourth day of July in the year of Our Lord One thousand seven hundred and ninety Six, Robert Gray, Signed Sealed published and declared by the said Testator Robert Gray as and for his last Will and Testament in the presence of us who at his request in his presence and in the presence of each other have hereunto Subscribed Our Names as Witnesses, J.G. Wakefield, Richd [Beale?].

This Will was proved at London the nineteenth day of July in the Year of Our Lord One thousand seven hundred and ninety Six before the Worshipful Samuel Pearce Parson, Doctor of Laws, Surrogate of the Right Honorable Sir William Wynne Knight Doctor of Laws Master Keeper or Commissary of the Prerogative Court of Canterbury lawfully Constituted by the Oaths of William Gray the Brother of the deceased and William Vale the Executors named in the said Will to whom Administration was granted of all and sin- gular the Goods Chattels and Credits of the said deceased having been first sworn duly to Administer.

chapter 2

2.1 St Michael’s, Paternoster Royal, City of London: documents concerning the instal- lation of an organ, 1797.

2.1a William Gray’s proposal for an annuity organ (1797) [LMA, St Michael, Paternos- ter Royal, VM, 2 (1774–1827): 6 October 1797, no pagination].

Sundry Proposals for Building an Organ were laid before the Committee in consequence of Letters having been sent to different Organ Builders on examining which it appeared to [the said] Committee most advantageous to Treat with Mr William Gray Organ Builder, his proposals being as follows Viz, To Erect an Organ in an Enrich’d & Carv’d Case painted either White, Mahogany or Wainscott colour its di- mensions to be 18 feet high, 10 feet wide & 6 feet deep — The Organ to have three Sepa- rate rows of Keys Viz: Great Organ, Choir Organ & Swell to have two pairs of horizontal Bellows the composition of the Stops as follows. Short Octaves up to F in alt.

Stops in the Great Organ Stops in Choir Organ Stops in Swell to Tenor F

Open Diapason all thro’ Stop Diapason Open Diapason Stop Diapason do } Flute } Pipes Stop Diapason } Principal do } Pipes Fifteenth } 220 Principal } Pipes Twelfth do } 615 Cremona } Trumpet } 148 Fifteenth do } 220 Sesquialtra 3 Ranks do } 615 Cornet 4 do Mounted } Total number of Pipes 983 Trumpet thro’

The Organ to be erected on an Annuity for one Life at thirty eight guineas pr Annum the Annuitant to find a proper Preson to play the same and also to keep the Organ in repair and Tune during the whole Period of the Life on which the Annuity is granted. Mr Gray being asked to mention the said Life, he named his own. Resolved Unanimously that Mr William Gray Organ Builder of New Road Fitzroy Square be allowed an Anny of 38 Guineas pr Ann during the Term of his natural Life upon his duly fulfilling the above Proposals.

19 20 Organ-building in Georgian and Victorian England

2.1b Extract from the Vestry Minutes, St Michael Paternoster Royal, concerning new agreement between the Vestry and William Gray, 25 November 1820 [LMA, St Michael, Paternoster Royal, VM, 2 (1774–1827): 25 November 1820, no pagina- tion].

The Churchwardens produced a Letter & Proposal from Mr Gray of which the following are Copies

Sir I herewith agreeably to Your desire return the Inclosed statement fill’d up for the consideration of the Gentlemen of the Vestry belonging to the United of St Michael Royal & St Martin and beg leave to add that if the Pedals are Apply’d together with the Gilding it will make an Additional [sic] to me of 28 Guineas beyond the original contract.

New Road Fitzroy Square I am Sir with highest Respect 17th Novr 1820 Your Devoted humble Servt Wm Gray

The Blank proposal filled in alluded to at the United Vestry 16th of this Month: At an United Vestry held in the Vestry room the 16th November 1820, Mr Gray the Organist [sic] being called in – Admits agreeable to the existing Contract with the Parishes that the Organ becomes the property of the Parishes upon the decease of the said Mr Gray, his having been paid the stipulated annuity of Thirty eight Guineas per Annum. That he now agrees to keep the Organ in repair & tune (accidents & embellishments excepted) and provide an Organist & Blower to play the same twice on every Sunday, viz on the Morn- ing & Afternoon or evening as required, & also on Xmas day & good Friday – and also to new Gild the Front Pipes now & add a set of Pedals to act upon the great Organ, for the accompaniment of the Swell & also use occasionally in the Chorus free of any expence and to perform the same to the satisfaction of the Churchwardens for the time being upon condition of an increased Annuity to [sic] Eight Guineas per Annum during the life of the said William Gray being in all an annuity of Forty Six Guineas per Annum.

New Road Fitzroy Square Wm Gray 17th November 1820

Resolved that the above proposal of Mr Gray be acceded to & to commence at Xmas 1820 & that the Vestry Clerk do immediately acquaint him with the same. Supplement to Chapter 2 21

2.2 William Gray’s estimate for a new organ for Wakefield Parish Church (1804) [transcribed in, John W. Walker, The history of the old Parish Church of All Saints, Wakefield (Wakefield 1888): 118-119; the original is lost].

Wakefield, May 19th, 1804 An estimate by Wm. Gray Organ builder of London to build a new Organ and fix the same in the old Organ Case in the Parish Church of Wakefield, Yorkshire. The Organ to have three separate rows of keys, viz: Great Organ, Choir Organ, and Swell, the compass of the Great Organ and Choir ditto to be from GG long octaves up to F in alt inclusive. The Swell from Tenor F to F in alt inclusive. The Organ to have two large pairs of bellows, and a set of feet [sic] pedals from the lower Octave of the Great Organ. The composition of stops as below.

Great Organ Choir Organ Swell. Two open Diapasons Open Diapason metal Open Diapason in mettle throughout throughout Stop do. One stop ditto Stop Diapason } Principal Principal } Flute } Pipes Cornet 3 } Pipes Flute } Pipes 15th } 464 ranks } 333 12th } 932 Mixture 2 ranks Trumpet 15th } Hautboy Sexquiattre 3 ranks New invented Tierce Violoncello Great Organ 932 Mixture 2 do. Principal Choir do. 464 Cornet 4 do. mounted Swell do. 333 Trumpet throughout Total No. of Pipes 1729

The whole of the before mentioned work to be done with the best dry well-sea- soned materials (warranted). To be packed and completely erected in the before-men- tioned Church within fifteen months from the time the order is given, for the sum of 630 guineas, Carriage of Organ and gilding of front pipes only excepted, the packing case to be returned. W. Gray would allow 50 guineas for the materials belonging to the old organ.

Signed, Wm Gray 22 Organ-building in Georgian and Victorian England

2.3 Articles of Agreement between the Dean and Chapter of St Patrick’s Cathedral, Dublin and William Gray (1815) [St Patrick’s Cathedral, Dublin: cathedral ar- chives].

Articles of Agreement

Indented had made Concluded and agreed upon the fifth day of August in the year of our Lord One thousand Eight Hundred and fifteen Between William Gray of New Road St Pancras of the County of Middlesex Organ Builder of the One part and The Reverend John William Kealinge [?] Doctor of Divinity Dean of the Cathedral Church of Saint Patrick Dublin and The Chapter of the same of the other part.

Witness That for and in consideration of the payment of the sum of Five Hundred and Ninety one pounds ten shillings sterling herein after Covenanted and Agreed by the said Dean and Chapter to be made by them to the said William Gray in hand paid by the said Dean and Chapter at or immediately before the perfection of these presents (the Receipt whereof the said William Gray Doth hereby acknowledge) He the said William Gray Hath undertaken Contracted Covenanted promised and Agreed and by these presents Doth undertake Contract Covenant promise and Agree to and with the said Dean and Chapter and their Successors in manner following That is to say that he the said William Gray his Executors or Administrators at his and their proper Cost and Charge and Expence (and finding and providing at his and their proper Cost charge and Expence all necessary sound and perfect Articles Matters and Materials of every kind fit and proper for the purpose) shall and will by or before the first day of November which will be in the year of our Lord One thousand Eight hundred and sixteen by himself his [Successors] or Administrators and his and their necessary Artificers and Workmen to be employed by him and them for that purpose completely repair, amend and Improve the Organ in the said Cathedral Church of Saint Patrick Dublin in the most [???] perfect permanent Substantial Skilful Scientific Masterly effectual manner and with all proper Ornaments and Embellishments and amongst all such other matters and things necessary to be Executed made formed done and provided for that purpose shall and will Execute make form provide and do all and singular the matters and things following that is to say that he and they shall and will make the said Organ long Octaves up to E in alt, Make three new sets of Keys, Make Supplement to Chapter 2 23 a new pair of large Horizontal bellows upon an improved principle, Make new sound Boards with all necessary movements, Wind trunks, And new and Sound Board and to extend the present Compass by adding five pipes to each of the present Stops to G and repair and revoice all Defective pipes and add all that may have been Destroyed or are wanting and add a Sett of feet Pedals and alter said Ornaments [to the] East front of the Organ (Re Gilding the pipes and painting the Case not included) pursuant and ac- cording to the plan of Design annexed to these presents and clean tune and put the whole Organ in perfect order and all such work Articles and matters as shall be made formed [or] provided in England to pack up in a safe and proper manner so that same may be sent arrive and be delivered safe in Dublin at the Risque [sic] Cost Charge and Expence of the said William Gray his Executors of Administrators and so that he and they may have [the] said Organ completely executed and finished within the time aforesaid And that he the said William Gray his Executors or Adm[inistrat]ors shall and will compleat and finish the said Organ to the satisfaction of the said Dean and Chapter And the said Dean and Chapter in consideration of the completely doing Executing and finishing the said organ in manner aforesaid and finding and providing all materials and matters as aforesaid by the said William Gray his Executors or Administrators and of the Covenants and Agreements aforesaid on the part and behalf of the said William Gray his Executors and Administra- tors to be done performed fulfilled and Executed Do hereby for themselves and their suc- cessors Covenant promise and Agree to and with the said William Gray his Executors and Adm[inistrat]ors That they the said Dean and Chapter or their successors shall and will well and truly pay or cause to be paid unto the said William Gray his Executors or Admin- istrators the aforesaid sum of Five Hundred and Ninety one pounds ten shillings Sterling when the said Organ shall be completely executed and finished in a manner and with the Materials and matters Ornaments and Embellishments aforesaid and for the due perfor- mance of this Contract and Agreement on the part and behalf of the said William Gray his Executors and Administrators to be done and performed He the said William Gray Doth hereby bind himself his Heirs Executors Administrators and Assigns unto the said Dean and Chapter and their successors in the sum of One Thousand pounds Sterling In Witness whereof the said William Gray hath hereunto put his hand and seal And the said Dean and Chapter Have caused their Common seal to be hereunto affixed the day and year first in these presents Written

Signed Sealed and Delivered } Wm Gray in the presence of } } Wm [illegible] } 24 Organ-building in Georgian and Victorian England

I The above named William Gray Do hereby acknowledge to have Received from the above named Dean and Chapter the sum of ten shillings sterling being the consideration money in the foregoing Contract mentioned to be paid to me Witness my Hand this 5th day of August 1815 Wm Gray

2.4 St Marylebone Parish Church: documents concerning the building of a new organ by William Gray, 1814–16.

2.4a Letter of Thomas Hardwick (Surveyor) to the Vestry recommending a location for the organ in the new church, 1814 [WAC, St Marylebone Parish Church, Proceed- ings of Vestry for new church and chapels, 2 (1813–15): 206–7].

Berners Street, 12th February 1814

[p.206] Mr Hardwick has the honour to state to the Vestry that in the Chapel erecting on the South side of the New Road there are three situations in which the Organ may be placed viz: in the Upper Gallery at the North End1 in which he had designed it in the lower Gallery at the North End and to be carried up through both Galleries, or to be placed on a screen at the back of the Altar at the South End of the Chapel. The reasons that induced Mr Hardwick to place the Organ in the Upper Gallery were, first to increase as much as possible the number of the Congregation, to preserve the general arrangement of the Galleries and in compliance with the almost universal custom of placing the Organ opposite the Altar, but as this has been objected to by the Committee the other situations will be now for the consideration of the Vestry. The Organ to be placed in the lower- Gallery will require the Work in the Upper Gallery to be cut away and altered, and as most of the Pews are prepared for the lower Gallery that will also be destroyed the expense of all which will be an addition

1 The liturgical ‘west’ end of the building. Supplement to Chapter 2 25

of about £130 on the Contract and a loss of about thirty-five Sittings. To construct a Gallery for the Organ at the back of the Altar with Seats for the Children will be an addition to the Contract of £187 and the loss of Free Seats about Ninety two Mr Hardwick thinks it proper to state that his opinion is decidedly against placing the Organ in the lower Gallery at the North End as it will not only tend considerably to weaken the Upper Gallery but the effect of the Internal [p.207] appearance of the Chapel will be destroyed. Mr Hardwick would therefore recommend of these Two Situations that, over the Altar with an open Organ (as shewn in the Section accompanying this Report)2 leaving a space sufficient for the Center [sic] Part of the Window as the Chapel would otherwise be too much darkened and may be introduced with a very good effect. Mr Hardwick would also recommend the Screen to be constructed of Wainscot this will be an addition of about £80 on the above Estimate, but constructing the Case for the Organ with the same material instead of Mahogany would together be a Saving on the Total Expense and this is the more desirable as the Pulpit and Reading Desk are to be executed in wainscot by the Contract.

2.4b St Marylebone Parish Church: appointment of Organist, 1816 [WAC St Marylebone Parish Church, Proceedings of Vestry for new church and chapels, 3, 1815–17].

[p.186] 13th April 1816

Report of the Committee appointed to consider the Duties of the Organist to the New intended Church and other regulations regarding the Election.

2 The drawing has not survived. 26 Organ-building in Georgian and Victorian England

[p.187] That the duty of the Organist shall be done personally and not by Deputy, during the Morning, Afternoon, and Evening Services, on Sundays and on all Festivals, Fasts, and Thanksgiving days throughout the year; and on no account shall he be absent without leave of the Vestrymen, except in case of Sickness, or other unavoidable Circumstances. That he be elected annually on the day when the Churchwardens shall be appointed. That persons, wishing to become Candidates, shall attend the Committee on Wednesday the Fifteenth of May, between the hours of twelve and one o’Clock and give in their names addresses and ages, when the Clerk shall be directed to read the foregoing Regulations to them. That the Committee shall ascertain the qualifications of the several Candidates, and strike out all such as shall appear ineligible and report their proceedings to the Vestry. That a meeting of the Vestrymen shall take place at the New parish Church at Eleven o’Clock on the first Thursday after the Organ shall be ready, when those who were admitted Candidates shall be invited to play on the New Organ. That a Ballot for the Election of Organist shall be taken at the Court House on the Saturday following between the hours of eleven and one o’Clock.

[p.190] 20th April 1816

Resolved that the Organist to be appointed to the intended New Church do on all occasions after the performance of his Duty sign his name in a Book to be kept in the Vestry Room of the said Church for that purpose. Supplement to Chapter 2 27

[p.197] 4th May 1816

Resolved Unanimously that the Salary to be paid to the Organist who may be appointed to the said intended New Church shall be One hundred pounds per annum for the Services to be performed in the said Church throughout the year, to be paid quarterly and to commence from the Consecration of the said Church.

[p.208] 18th May 1816

Report of the Committee appointed to admit Candidates for the Organist’s post

Letters from the following persons proposing themselves as Candidates, were laid before the Committee and read, viz. Messieurs Wesley, Webbe, Rawlings, and Drummond and Testimonials, as to the abilities of the three latter Gentlemen, were produced and read; which the Committee take leave to refer to the Vestry. Mr Webbe also addressed a letter to the Committee with a view to exonerate himself from a Charge, that has been made, that he is a Catholic,3 which he deems unfounded from the circumstance of having estranged himself from that Communion for a period of twenty years and attached himself to the , as his attendance at the Sacramental Rites and the Baptism of his Children will prove, to which testimony he is willing to add by attendance, if required.

3 The Vestry had agreed on 4 May 1816 that the person appointed Organist must be a member of the Established Church (ibid., 196). 28 Organ-building in Georgian and Victorian England

The Duties of the Organist and the stipulations required by the Vestry were then read by the Clerk to Mr Webbe, and he signed the same … Mr Wesley, in answer to Questions proposed to him by the Chairman at the request of the Committee, stated, that as Organist to the Prince Regent he is under the necessity of attending him, when called upon; but in that case he will always provide an eligible Substitute, that the attendance is not frequent, perhaps a Month in the Summer, that he was on one occasion detained five Weeks.4 The Committee Resolved that he be admitted a Candidate.

[p.226] 15th June 1816

The Board then proceeded to Ballot for the appointment of an Organist to the New Church agreeably to the Resolution of the Vestry on Saturday last and the Ballot being finally closed there appeared to be thirty four in favor of Mr Charles Wesley, twenty seven in favor of Mr Thomas Rawlings, thirteen in favor of Mr Drummond and six in favor of Mr Samuel Webbe whereupon Mr Charles Wesley was declared duly elected.

2.4c St Marylebone Parish Church: William Gray’s bill for the new organ, 24 June 1816 [WAC, St Marylebone Parish Church, Proceedings of Vestry for new church and chapels, 4, 1817–20, 11].

4 Wesley’s attendance on the Prince Regent was principally at the Royal Pavilion, Brighton, where George maintained his Private Band and resided for much of the summer and early autumn. See Thistlethwaite 2006: pp. 8–9 Supplement to Chapter 2 29

[p.11] The Parish of St Marylebone To William Gray

1816 £ June 24th: To building and erecting a New Organ } 819. ” . ” . in the Church as per Contract dated 31 March 1814. } After making the Contract the Design of the Case [p.12] was altered from the one estimated on to the present, as will be seen by a reference to annexed Drawg. Its width was encreased [sic], and ordered to be made of best Spanish Mahogany; the addition of which at a very moderate Measurement for Materials Workmanship and Extra Carving amounts to ------112. ” . ” .

To adding a Set of double Bass Pedal Pipes to the Lower Octave of one of the Open Diapasons with a Coupling Movement to unite the Great and Choir Organs at the pleasure of the performer, not specified in the Contract ------36. 15. ” .

To making a Spanish Mahogany double Music Stool, three feet long with Box to ditto lined. French stuffed in Horse hair and red Morocco Silk Tufts and Btass Beading, Chased brass Handles, Lock and Hinges ---- 5. 5. ” .

2.5 Agreement between the trustees of the new church at Bathwick and William Gray for an organ (1818) [SCRO, D/P/batw.m 8/1/2]; transcription by Gordon Curtis, to whom the author extends his thanks.

An Agreement made the Twenty Sixth day of May in the Year of Our Lord One thousand eight hundred and Eighteen Between The / Reverend Peter Gunning[,] Wyndham Goodden[,] Alexander Erskine[,] Henry Haffey and John Rye Esquires _ Thomas Gibbons and William Willsher _ Gentlemen / being Trustees acting under and by virtue of an Act of Parliament intituled “An Act for building a New Church and also a Workhouse in the Parish of Bathwick in the County of Somer- 30 Organ-building in Georgian and Victorian England

set[”] / and also “An Act intituled “An Act to amend an Act of the Fifty fifth year of his present Majesty for building a New Church and Workhouse in the Parish of Bathwick in the / County of Somerset[”] – of the One part and William Gray of the Parish of Saint Pancras in the County of Middlesex Organ builder of the other part – First the said William / Gray for the Consideration hereinafter mentioned doth hereby for himself[,] his Executors and Administrators covenant[,] prom- ises and agree to and with the said Trustees / and their Successors in the manner following (that is to say) that he the said William Gray[,] his Executors and Ad- ministrators shall and will with Workmen and others / at his or their own costs and charges on or before the First day of February which will be in the year of Our Lord One thousand eight hundred and Nineteen / build[,] complete and finish in a good substantial and workmanlike manner and with the best seasoned Materials (as affecting the internal as well as the external / parts thereof) An Organ with an Organ Case with a Choir Organ and Organ Case in front thereof[,] both cases to be of the best and cleanest Riga Oak / and of the height[,] width and size in every particular and to contain the number and description of Stops[,] Pipes[,] Bellows[,] Dimensions of Pipes[,] Pedals and every / other essential calculated to form a complete and perfect Instrument agreeably in every respect to the specification hereunder written[,] and shall and will / on or before the said first day of February put up[,] erect[,] set up and affix such Organ and Choir Organ in the Gallery of the New Church now building in the said Parish / of Bathwick in a competent[,] firm and Workmanlike manner and to the satisfaction of the said Trustees and shall and will keep such Organ and Choir / Organ when so erected as aforesaid in Tune and attend to any alterations which such Organ or Choir Organ may require at any time or times during / Twelve Months after the same are so erected and set up as to keep the same in good Tune[,] Order and Condition for and during the whole of such Term of Twelve / Months free of any costs or charges whatever to the said Trustees or their Successors except the necessary Travelling expences [sic] of the Workman or Person / who may be sent down for that purpose _ In consideration whereof the said Trustees and their Successors do and each of them doth covenant / promise and agree to and with the said William Gray[,] his Executors and Ad- ministrators by these presents that they the said Trustees and their / Successor shall and will and truly pay or cause to be paid unto the said William Gray[,] his Execu- tors and Administrators the sum of Seven Hundred / and Sixty three pounds Fif- teen shillings of Lawful British Money so soon as the said Organ and Choir Organ thereunto belonging shall be / finished and erected and approved of as aforesaid in the said Church now building in the Parish of Bathwick aforesaid[.] In Witness whereof / the said parties to these presents have hereunto set their Hands and Seals this day and year first above written[.] Supplement to Chapter 2 31

Specifications hereinbefore referred to [The original layout is not reproduced precisely here.] The Great and Choir Organs to be long Octaves from GG up to F in alt[,] 58 Keys – the swell from Tenor F to F in alt[,] 37 Keys Stops in the Great Organ as follow: 1st Open Diapason Metal 58 Pipes 2nd Stopt Diapason 58 Pipes Metal Treble 3rd Principal Metal 58 Pipes 4 Twelfth Metal 58 Pipes 5 Fifteenth Metal 58 Pipes 6 Sesquialtra Bass Metal 84 Pipes 3 ranks 7 Cornet Treble Metal 90 Pipes 3 ranks 8 Trumpet Metal 58 Pipes 9 Double Diapason in One Octave from GG to Gamut, both inclusive[,] 12 Wood Pipes of larger dimensions[,] Unison Open Total Five hundred and thirty four pipes in the Great Organ upon full Church Scale[.] Stops in the Choir Organ as follow: 1st Stopt Diapason 58 Pipes Metal Treble 2nd Open Diapason to Gamut[,] slender scale 47 Pipes Metal 3rd Principal 58 Pipes Metal 4th Flute 58 Pipes Metal to C in the Bass 5th Violoncello 58 Pipes Metal Total Two hundred and Seventy Nine Pipes in the Choir Organ[.] Stops in the Swell as follow: 1st Open diapason 37 Pipes Metal 2nd Stopt diapason 37 Pipes Metal 3rd Principal 37 Pipes Metal 4th Hautboy 37 Pipes Metal 5th Trumpet 37 Pipes Metal Total One hundred and Eighty five Pipes in the Swell – Seventeen Pedals for the Feet – The Choir Organ to be placed in front – the Cases to be Riga Oak – of design and dimensions to be approved of by the Trustees – Horizontal Bellows to contain Seventy Cubit [sic] feet of Wind with double feeders [-] 32 Organ-building in Georgian and Victorian England

the front pipes to be guilt [sic] – Packing – carriage and erecting in the Church complete[.]

Peter [seal] Gunning John [seal] Rye Wm Gray [seal] Wyndm [seal] Goodden Thomas [seal] Gibbons Alex. [seal] Erskine William [seal] Willshire Henry Haffey [seal]

2.6 The will of William Gray, 1816 (proved 11 August 1821) [LFHC, PROB11/1647/459/63].

This is the last Will and Testament of me William Gray of the New Road near Fitzroy Square in the County of Middlesex Organ Builder first I desire that my just debts funeral expenses and the charges of proving this my Will be fully paid and satisfied I direct that my Son John Gray of Tottenham Court Tottenham Court Road in the said County Organ Builder do take and enjoy the benefit and advantage of the Trade or business of an Organ Builder now carried on by me in the New Road aforesaid upon his paying unto my dear Wife Mary Gray and my Daughters Mary Ann Gray and Caroline Gray the sum of fifty pounds per annum out of the profits of such Trade to be qually divided between them during their joint lives and the lives and life of the survivors and survivor of them as joint tenants and it is also my will and desire that my said Son John Gray do take the Stock finished and unfinished as well in the Workshops as the dwelling house tools implements and Utensils in trade on paying for the same the sum of eight hun- dred pounds to be paid by Instalments of one hundred pounds per annum which payments are to be laid out and disposed of in the purchase of Stock and are to go into and form part of the Residue of my Estate and it is also my will and de- sire that my said Son John Gray shall [ ? ] possess and enjoy the Workshops and Yard for all my [ ? ] and interest therein on payment of the yearly rent of twenty six pounds six shillings and all taxes and outgoings that may attach thereon and I give and bequeath the sum of five pounds each to my nieces Margaret Reid and Ann Gray and give and bequeath to my dear Wife Mary Gray the use of all that my leasehold house wherein I now reside and also the use of the Goods chattels household furniture [carpets?] musical Instruments Plate linen china and effects therein and thereupon for and during the time of her natural life provided she continues a Widow [ ? ] longer and from [and after?] the decease [or marrying?] Supplement to Chapter 2 33 of my said dear Wife that I give and bequeath to my said Son John Gray my said leasehold house wherein I now reside to be held and enjoyed by him for all my term and interest then to come therein and I direct that upon the decease or mar- riage of my said Wife all the household furniture Goods Chattels [carpets?] musi- cal Instruments Plate linen china and effects whatsoever in and upon my dwelling house at my decease shall go into and form part of the residue of my Estate and as to all the [ ? ] and [ ? ] of my leasehold estates either in possession [reversion?] [remainder?] or [exportancy???] book and other debts bills bonds notes sum and sums of money in the funds or elsewhere and all other my Estate and Effects whatsoever and wheresoever I give and bequeath the same and every part thereof unto my said dear Wife Mary Gray my said son John Gray and my two daughters Mary Ann Gray and Caroline Gray the rents issues interest dividends and product to be equally divided between them and to be held and enjoyed by them during their joint natural lives and the lives and for the mutual benefit of the survivors as joint [tenants?] it being my intention that the longest liver shall take the whole and I desire that immediately after my decease [ ? ] an Inventory may be taken of all such goods household furniture chattels plate linen china and effects and it is my [ ? ] desire and intention that the whole of my property [ ? ] [undisposed?] of and held and enjoyed by my said dear Wife my son and two daughters during their joint lives in manner aforesaid [ ??? ] the interest arising therefrom being in any way [charged?] [effected?] by them collectively or individually except by the survivor who I desire shall become possessed of and intitled to the whole of my said property and I [nominate?] constitute and appoint my said dear Wife Mary Gray James Boult of the Consol Office Gentleman my said son John Gray and my said daughters Mary Ann Gray and Caroline Gray joint Execu- trices and Executors of this my last Will and I give and bequeath to the said James Boult twenty pounds and I do declare this to be my last Will and Testament and do revoke all former and other Wills by me In witness whereof I the said William Gray the testator have to this my last Will and Testament contained in two sheets of paper to the first sheet set my hand and to the second and last sheet my hand and seal this seventeenth day of December in the year of our Lord one thousand eight hundred and sixteen – Wm. Gray (S.S.) Signed sealed published and delivered by the said William Gray the testator as [ ? ] his last Will and Testament in the presence of us who in his presence at his request and in the presence of each other subscribed our names and witnesses hereto – Tho: Venner Solicitor 26 Upper Thornaugh [St] – Wm. Carter [ ? ] Tottenham Place, Tottenham Court Road 34 Organ-building in Georgian and Victorian England

Proved at London 11th August 1821 before the Worpl Charles Coote Dr of Laws & Swore by the oaths of Mary Gray Widow the Relict James Boult John Gray the Son & Mary Ann Gray Spinster & Caroline Gray Spinster the daughters the Ex- ecutors to whom [administration] was granted being first sworn duly to adm [sc. administer] chapter 3

3.1 Extracts from John Gray’s stock accounts (1825, 1827) and valuations of the busi- ness (1825, 1826, 1827).

3.1a John Gray’s Stock Account, January 1st 1825 [BOA, G&D Ledgers, vol. 1, fols. 258–9].

[fol. 258v] Stock Account from Jany 1st 1825

Organs finished

A Chamber Organ on hire at Petersfield 200 0 0 A do. do. on hire Sevenoaks 100 0 0 A large do. on hire to Mr. Elliston 150 0 0 An Oratorio Organ in Erecting Room 150 0 0

Organs Unfinished

Two chamber organs in Ware Room 190 0 0 A Piano Forte Organ do. 10 10 0 A Barrel’d Organ & Case 46 0 2

Organs in progress

St Bartholomew. Case Labour 13 13 0} Stuff 13 15 0} 69 18 3 Organ Labour 29 1 4} Stuff 13 8 9}

Byfield Organ – estimated at 100 0 0

35 36 Organ-building in Georgian and Victorian England

Philanthropic Organ. Case Labour 23 3 3} Stuff 7 1 2} Swell 7 0 0} 80 4 2 Organ Labour 31 19 7} Stuff 11 9 2}

Blackburn Organ. Labour 6 13 6} Stuff 5 8 10} 12 2 4

A Barrel’d Organ Case Labour 13 2 5} Stuff 2 17 9} 16 0 2

Metal

Tin sheets 2592 lbs 6d 64 15 0 “ Cuttings 797 do. 4d 13 5 0 Blocks 364 do. 4d 6 1 4

Stores

29 doz. rack pins at 6d 19 ditto old at 4d 1 0 10 32 [?] [?] 2 8 0 Quantity of roller arms 8 0 0 47½ Gross of Screws 10 7 6 20 Iron Squares 0 6 8 Sundry Brass Work 3 0 0 68 Knobs 2 5 4 Wire pins & Wire 4 5 0 Gloves [sc. purses] & Parchment 0 18 0 Carried over 1241 7 9

[fol. 258r] Stores continued 1241 7 9 60 Pedal Feet 2 5 0 Colours various 1 0 0 Brass Reeds 9 9 0 Supplement to Chapter 3 37

Tongues 9 0 0 3 Sets of Bass Blocks 0 16 0 Set of Pedal do. 0 16 0

Pipes

Hautboy to Fiddle G Old 2 0 0 Cremona to do. 3 0 0 3 Principal Basses 12 0 0 23 large Principal Pipes 4 0 0 Tubes of a Trumpet Bass 4 10 0 Trumpet stop incomplete 1 15 0 Two Trumpets to Fiddle G 5 0 0 Sundry odd do. 1 0 0 do. in Press 5 0 0 Wood Open Diapason Smith 1 5 0 Old Wood Pipes 2 0 0 Stop Diapason Complete 6 0 0 do. Bass 5 0 0 Lower Octave Open Diapason Labour 4. 4. 0 Stuff An Octave of Pedal Pipes Labour 1. 8. 0

Stuff Four Odd Pedal Pipes 4 0 0 Stop Diapason to fiddle G 1 10 0 Two Metal front Pipes 1 11 6 Blocks for Pedals 2 3 0 Sundry Sockets 0 18 0 Three Rank Cornett 2 8 0 Two Stop Diapason Trebles 2 0 0 Old Organ Nicholls 14 0 0 Two long Movements valued in utensils A venetian Swell 3 0 0 Glew 35 lb 1 12 0 31 Dozen of Pipes Feet, & 55 Dozen Stopper handles @ 1/9d 5 9 3 Carried over 1355 7 6 38 Organ-building in Georgian and Victorian England

[fol. 259v] Bro. over 1355 7 6 Spanish Mahogany A plank of Honduras do. 18′ 2″ @ 3/6 3 3 0 174′ 6″ of 1″ Spanish do. @ 2/6 21 15 0 111 do ½″ do do. @ 1/2 5 11 0 83 do 1″ Spanish Slabs @ 1/2 4 3 0 21 Spanish Veneer @ 28 /- 29 8 0

Honduras 160 of 1″ do. @ 1/6 12 6 0 40 of 1½″ Spanish @ 3/- 6 0 0 352 “ ½″ Honduras @ 7d 11 15 0 49 “ 1″ do. Slab @ 8d 1 12 6 32 “ ¾″ do. @ 4d 0 16 0 10 “ ½″ do. @ 4d 0 3 4

Sundry Veneers 479 1″ Class [?] Boards @ 1/2 [?] 23 19 6 120 ¾″ do. @ 9d 4 10 0 700 ½″ do. @ 7d 20 6 9

Dutch Wainscot Veneers 14 2″ Oak @ 2/- 1 8 0 9 1½″ do. 1/6 0 13 6 53 Cubic feet of do. Portland Wharf 9£ 9 18 0 35 do. of do. 12 6 6 42 3″ 21 ft planks do. @ 7d 25 4 6 9 3″ 14 deals 6 12 6 18 3″ 12 do. 5 16 0 3 3″ 16 ft planks do. 1 12 0 135.6″ 2″ Deal @ 8d 3 19 10 67.6″ 1½″ do. @ 6d 1 13 9 569 1″ do. @ 4d 9 9 2 738 ¾″ do. @ 3d 9 7 0 1620 ½″ do. 2d 13 10 0 240 3/8″ do. 2d 2 0 0 Supplement to Chapter 3 39

117 1″ reduced of Birch 4d 2 18 6 9 3″ Lime Plank 1/6d 0 13 4 44 Scaffold Planks 0 12 0 Sundry Stock in Back Shed 5 0 0 Stone 1 0 0 carried over 1623 0 2

[fol. 259r] 1623 0 2 Sundry Old Organ Work in Ware Room 3 0 0 Sundry Stock in Top Shop 10 0 0 Various Fixtures and Utensils 150 0 0 1786 0 2

3.1b John Gray’s Stock Account, January 1st 1827 [BOA, G&D Ledgers, vol. 1, fols. 262–3].

[fol. 262v] Stock Account Jany 1st 1827

Organs

An Organ on hire at Drury Lane 150 0 0 A do. on hire at Banden [?] Park 100 0 0 A do. on hire Somers Town 126 0 0 Two Chamber Organs 240 0 0 A ditto on hire Poly [?] Chapel, Garth Street 147 0 0 A large barrell [sic] Organ 60 0 0 A ditto 65 0 0 Two Chamber Barrel Organs 50 0 0 Old Organ Nicholls 14 0 0

Cases A handsome Organ Case 50 0 0 A do. 30 0 0 A do. part of Marylebone 5 0 0 40 Organ-building in Georgian and Victorian England

Blackburn Bellows 12 2 4 Swell 12 19 0 Material 14 16 6 Labour 60 6 0

Finger & Barrel Organ in [?] 14 16 0

Sturminster Labour 14 8 2 Material 15 18 6

Van Diemens Labour 24 5 0 Material 15 8 6 Labour – on Case 24 0 2 Material do. 19 0 4 For Movements &c 0 13 0

Somers Town Labour 1 18 0 Material 15 0 6 Carried up 1282 11 8

[fol. 262r] 1282 11 8 Metal Fine Sheets 2. 2. 0. @ 9d 10 10 0 Tin 3. 7. @ 111d 3 5 0 Common Sheets 7. 2. 0 @ 6d 21 15 0 Shurny [?] 13. 2. 0 @ 4d 23 12 6 Hands 36. 0. 19 @ 28 /- 46 14 0 Metal Cut 2. 0. 0 5 12 0 Part of Sheets 1. 2. 0 4 4 0 Languids 2. 2. 21 6d 7 12 0 Blocks 2. 6d 1 11 6 Metal Lead 3. 14 4d 1 5 0 Cuttings 4. 2. 0 4d Solders 14/- 8 12 6 Supplement to Chapter 3 41

Wood Pipes 10 Stop Diapasons 60 0 0 1 Octave Pedal Pipes 8 0 0 1½ ditto Blackburn 40 0 0 2 Op Flutes 4 0 0 1 Octave of Old Pedal 6 0 0 2 Open Diapason lower Octave [no entry]

Unfinished Sundry Old Pipes 5 0 0 4 Pedal do. 4 0 0 Sundry Block Wood 1 5 0 Odd Pipes 3 10 0 Metal Pipes Two Principals 12 0 0 Dulciana to Gam } 6 0 0 One Open large } 8 0 0 2 15ths & 1 12th } 11 0 0 1 Open to 4 ft. } Fine 4 4 0 1 Principal do. } 1 10 0 1 Sesquialtra } 5 0 0 1 Open to Gamut front 10 0 0 1 Principal do. 8 0 0 5 large Open Pipes 8 0 0 1630 14 2

[fol. 263v] 1630 14 2 7 Open Diapason to Gamut 42 0 0 4 12ths 14 0 0 4 15ths 10 0 0 2 15ths 5 0 0 3 Opens to F 6 15 0 5 Sesquialtras 20 0 0 3 Principals to Fiddle [G] 2 14 0 3 Trumpets long 60 0 0 1 ditto to Gamut 6 0 0 1 ditto to C 3 10 0 42 Organ-building in Georgian and Victorian England

1 ditto to F 7 10 0 1 Hautboy 2 15 0 1 Cremona to G 5 0 0 2 Open Trebles 3 15 0 1 12th ” 3 10 0 1 Sesquialtra Bass 3 0 0 25 Pipes @ 9d 0 18 9 6 Sets of Reeds to Tenor [c] 2 14 0 6 long Sets 1 16 0 8 long do. tongues 4 16 0 111 Treble do. 3 0 0 6 Doz sharp [?] 0 9 0 Draw Knobs 0 14 0 Glew 1 6 5 Wire and Pins 4 5 0 Colors [sc. Collars?] various 1 0 0 Scaffold Planks 0 12 0 Rubbish 5 0 0 Screws 3 0 0 Roller[s] 500 Iron 1 0 0 Brass Work 2 0 0 2 Sets of Keys 5 0 0 Brick, Lime, and Slabs 10 0 0 Veneers 24 0 0 3 Sets of Sound Board Bars 3 0 0 An old Trumpet 1. 0. 0. and Diapason (Small) 2 5 0 1901 19 4

[fol. 263r] 1901 19 4 Mahogany ft. 181 of 1″ Spanish @ 2/6d 22 12 6 24 “ 1½ do. 2.10 3 8 0 130 “ ½ do. 1.3 9 13 0 20 “ 2″ Honduras 3.8 3 13 4 411 “ 1½ do. 2.9 56 10 3 24 “ 1¼ do. 2.3 2 14 0 81 “ 1″ do. 1.8 6 14 0 106 “ ¾ do. 1.3 6 12 6 Supplement to Chapter 3 43

703 “ 5/8 do. 1.- 35 3 3 696 “ ½ do. 10d 29 0 0 1180 “ 3/8 do. 10d 49 11 8 143 “ ¼ do. 3 11 6

Oak

134 2½ Oak @ 2.2 14 19 00 308 2 do. @ 1.8 25 13 04 92 1¾ do. @ 1.6 6 18 0 467 1½ do. 1.4 31 2 6 459 1¼ do. 1.1 24 17 3 811 1 do. 11d 37 3 4 1142 ¾ do. 8d 38 2 8 154 5/8 do. 7 4 10 0 163 ½ do. 6 4 1 4 1825 ½ do. 6 45 12 6 69 ¼ do. 4d 1 3 0

Deals & Pine

Deals. Pine. Timbers 107 3 8 Cedar 6 4 8 Ivory 1. 10. 0 Bellow 4. 0. 0. Oak Veneers 2. 10. 0 10 0 0 Oak Slabs at Wharf 3. 0. 0. 14 ft 1½ Oak 4 3 6 Swell box unfinished 3 4 0 Improvements to Shop Fixtures 525 0 0d 3020 15 5

3.1c Valuations of the business: 1825, 1826, 1827 [BOA, G&D Ledgers, vol. 1, fol. 259r].

1825 £. s. d. Jany 1st Amount of Debts in Ledger 1872 17 9 Cash and Bill 89 0 0 Stock 1786 0 2 3747 .. 17 .. 11 44 Organ-building in Georgian and Victorian England

1826 Jany 1st Amount of Debts in Ledger 1432 19 4 Stock 3149 12 10 4582 12 2

1827 Jany 1st Amount of Debts in Ledger 2024 1 10 Cash and Bill 82 0 0 Stock 3020 0 2 5126 2 0

3.1d Profits on business done in 1825 and 1826 [BOA, G&D Ledgers, vol. 1, fol. 257]

Balance 1826 £. s. d. Jany 1 Amount of work done in 1825 including Tuning & Repairs 2732 0 0 Disbursements 2579 0 0 153 0 0

Encrease of Stock 1363 0 0 Profit 1516 0 0

1827 Jany 1 Amount of Work done in 1826 3597 0 0 Disbursements 2473 0 0 1124 0 0

Decrease of Stock 129 0 0 Profit 995 0 0

Contra 1826 Jany 1 Materials & Expenses 1825 1034 0 0 Wages 1006 0 0 Bills owing 539 0 0 2579 0 0 Supplement to Chapter 3 45

1827 Jany 1 Materials & Expenses 1826 754 0 0 Wages 1119 0 0 Bills owing 600 0 0 2473 0 0

3.2 Correspondence concerning the commissioning and installation of an organ in Credition Church, Devon (1821–2) [Devon Record Office, Credition Governors’ collection: 1660A/410]; transcribed by Dr Browne, to whom the author extends his thanks.

3.2a James Dawson to unidentified correspondent in Crediton (10 May 1821).

London 10 May 1821 Sir It was this morning before an interview could be obtained with the gentle- man who has the disposal of the Organ & from what he represents it is problemati- cal whether the parties can listen to each other … [?] … as £1200 is the price fixed on it, curiosity prompted me to see it, & certainly the mechanism excited in me great surprise and much gratification – from what I could learn it will be the largest in England & when complete probably the most complete [sic], such is the inten- tion of the builder. However its amazing powers may be its least recommendation for it is too great for an ordinary Church – the foreman informed me that £500 would not pay for the metal of which the Pipes are made, it will contain more than 2000 [pipes] & will require extra exertion to complete it in three months it stands thus described “A capital large organ, suitable for a cathedral or church, being 25 ft high 17 ft wide and 12 ft deep, in forward state of completion containing the fol- lowing stops: great organ, three open diapasons, two stop diapasons, two principals, two twelfths, two fifteenths, sesquialtra of four ranks, trumpet & clarion. the choir organ contains two dulcianas, stop diapason, principal, flute & bassoon; compass from GG to F in alt. The swell contains two open diapasons, two stop diapasons, two dulcianas, two principals, two trumpets, two hautboys, compass from F below fiddle G to F in alt, with a handsome mahogany gothic case, three sets of keys, with pedal & pedal pipes for the two lowest octaves of the great Organ” the only chance that remains will depend if it is not too large for any of the new churchs [sic] which are now building, to these their attention is directed, it they do not succeed probably then an opening may present itself favorable for the Gentlemen of Crediton. I am Sir your obet Serv James Dawson 46 Organ-building in Georgian and Victorian England

3.2b Particulars of the organ (8 July 1821), corrected by William Gray.

Particulars of an organ to be erected in the Church of Crediton by Mr Gray of No 9 New Road Fitzroy Sq London.

The organ to have three rows of keys. The first for the great organ, to compass from GG up to F D in alt, long short octaves, and commanding the following stops. Open Diapason – Stop Diapason – Principal – 12th – 15th – Sesquialtera throughout and separate Cornet three rows, and trumpet throughout The second row of keys for the Choir organ to compass from GG up to F D in alt short octaves commanding a stop diapason, fifteenth & principal throughout. The third row of keys for the swell to compass from G below middle [sic] up to F D in alt, commanding a stop diapason – open diapason, Principal & Hautboy. all the stops to be whole stops, and of a full Church scale. The organ to be constructed with new pedal pipes and German Pedals on the most improved plan the largest 11 inch by 13 inch 13 in by 15 in external dimensions.

The open diapason of the great organ to be new, the bass of which to be in front, the largest pipe in front to be CC metal. The organ to have complete new and improved horizontal bellows with two feed- ers, extending and contracting folds, equalizing the wind at any height, and to be inclosed in a complete new wainscot case, varnished, on the scale and correspond- ing to the design sent, with the front pipes well gilt. All the old parts of the organ to be in good condition, and any which may be found defective to be replaced with new, and the whole instrument to be fitted up in a substantial and workmanlike manner, - to be warranted sound and harmonious & to answer permanently the purpose of a new instrument. The work to be proceeded with immediately and to be finished in months. Mr Gray to be at the expence of the packing, packing-cases, and erecting in the church, and of every other expence except the carriage, and on the completion of the work, and its approval in the church, to receive the sum of £472. 10s. 0d.

Wm Gray 9 New Road Fitzroy Square July 8 1821

3.3 Camden Chapel, St Pancras, commissioning of new organ, 1823–5 [St Pancras Parish Archives, Minutes of the Church Trustees, vol. III]; transcribed by Michael Ogden, to whom the author extends his thanks. Supplement to Chapter 3 47

3.3a John Gray’s proposal for the new organ [August 1823].

Proposals by John Gray, Organ Builder, to build an organ for Camden Chapel

The Organ to be in a Wainscot Case designed by Mr Inwood; to have two whole rows of keys to be long octaves from GG up to F in alt, to have a pair of Horizon- tal Bellows upon the Improved principle with internal and external folds and dou- ble feeders. The Great Organ sound board to be constructed with separate wind channels (similar to that in the Church Organ) to prevent concussion of tone. An octave of German pedals and an octave of large open pedal pipes upon separate sound boards, and a coupling stop to unite them with the Great Organ at pleasure. The Swell to be both Vertical and Venetian, and to have a Bass accompaniment to prevent the necessity of shifting the hand[.] A shifting movement to form a Choir Organ by taking off the Chorus stops.

The Great Organ to contain the following stops upon full Church scale[:] Open Diapason throughout fine metal, GG being 27″ in circumference Stop Diapason Bass Wood Stop Diapason Treble Metal Principal throughout in Metal Twelfth ditto ditto Fifteenth ditto ditto Sesquialtera 3 ranks ditto Cornet ditto ditto Mixture 3 ranks ditto Trumpet bass ditto 12 Pedal pipes

The Swell Organ to fiddle G[:] Open Diapason Metal Stop Diapason Metal Principal Metal Trumpet Metal Hautboy Metal

Choir Bass Stop Diapason Principal Total nos of Pipes 859

The whole of the within work to be done in the most substantial manner with the best seasoned materials (warranted) and completely erected in the Chapel for the 48 Organ-building in Georgian and Victorian England

sum of four hundred and fifty guineas including a case and embellishments of 100 guineas value. To remain on bond with interest after the first year or upon annuity for 2 lives at 7 per cent including all expences of tuning, cleaning and repairs (accidents except- ed) or to play, tune, clean and keep the organ in repair for £65 per annum during John Gray’s life, and 7 per cent during the life of Jane Gray should she be the survivor.

(signd) John Gray

3.3b Letter from John Gray to the Committee (11 August 1823).

Reverend Sir and Gentlemen,

I herewith have the honour of laying before you a proposal for the erection of an organ in Camden Chapel. In the Specification I have described one of the best instruments of the class that can be manufactured, and I am confident that it would be found of ample power and variety. By repeated Trials in several Church organs which I have lately built, I have proved that the plan of continuing the Swell row of keys to the bottom is an effective substitute for the separate Choir organ in instruments of this description, assisted as it is by the stops for attaching the Pedals or Pedal pipes to the keys and separating them at pleasure, and with the shifting movement for reducing the power without putting in the stops. The idea of constructing the Swell with a Vertical and Venetian movement is, I presume, original, and cannot fail to materially improve so beautiful a part of the organ. The Terms which I have proposed will, I trust meet your approbation and should you be pleased to honour me with your commands upon this occasion, I would endeavour to improve that favourable opinion which you have so kindly entertained of my first effort in the construction of the New Church Organ.

I am, Reverend Sir and Gentlemen, With the highest respect, Your very humble servant

John Gray Supplement to Chapter 3 49

3.3c Report of meeting between representatives of the trustees, professional advisers and John Gray to consider ’s complaints about the organ (12 Janu- ary 1825).

Camden Chapel. 12th January 1825 The Committee appointed in reference to the state of the Organ at Camden Chapel.

Report; That your Committee attended this day at Camden Chapel to ascertain the Tone and Strength of the organ built for the Chapel by Mr Gray. That Mr Thomas Adams, an eminent performer and organist of Camberwell Church attended at the request of your Committee and tried the power and tone of this organ, but being acquainted with Mr Gray who was present, he declined giving his opinion of the organ. Mr Wesley, the organist of the Chapel also attended, and on being referred to, tried the organ. He objected to the Diapason not being sufficiently strong and observed that the wind was communicated in a tremulous way and not with effect. In addition to four members of the Committee who were present, two Gentlemen of scientific knowledge were also at the Chapel and heard the different tones of the organ tried by Mr Adams and Mr Wesley. Being requested to state their opinion and having mentioned what appeared to them objectionable in the organ, and both concurring with Mr Wesley that the Diapason was not sufficiently strong, Mr Gray at once offered to build a new organ altogether under the direction of Mr Wesley at the same price as agreed and in substitution of the present instrument, the Case of the organ to remain the same. Your Committee have therefor [sic] to recommend that Gray’s offer be accepted.

3.4 Blackburn Parish Church, commissioning of the new organ, 1824–32 [3.4a-f, h-s: LRO, Blackburn St Mary, Coucher Book 1820–31 (PR 3073/2/43); 3.4g, t-x: Blackburn Cathedral, Song School].

3.4a Extract from a letter of Mr S.G. Crane (Preston) to the Revd Thomas Whittaker (Blackburn), 28 April 1824 [LRO, PR 3073/2/43, fol. 2].

Sir Understanding that Messrs Bewsher & Fleetwood of Liverpool are can- didates for the building of an Organ in Blackburn, I cheerfully offer you my Testimony to the very superior workmanship as well as Skill display’d in the Construction of their Instruments --- I have inspected a many [sic] of their Organs in Liverpool & elsewhere & can con- scientiously say, they are worthy of any confidence placed in them on such an oc- 50 Organ-building in Georgian and Victorian England

casion as the present one – I may add, that I have had frequent occasion to employ them & invariably find their work satisfactory. At this time I have the pleasure to preside at the Organ in Trinity Church in this Town wch is one of their Building & shall have great pleasure in shewing you the same whenever you were disposed to examine its merits …

3.4b Letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whit- taker and other trustees of the new church (Blackburn), 4 June 1824 [LRO, PR 3073/2/43, fol. 5]; this is accompanied by Gray’s estimate for the new organ (25 May 1824) the wording of which is almost identical to that included in the agree- ment dated 1 November 1824 (below, 3.4g).

Rev Sir and Gentlemen

In submitting for your consideration a specification and Estimate of the Intended Organ for your New Church I beg to be permitted to offer a few Obser- vations, probably my Estimate exceeds that of another Builder but I have endeav- oured to fix the lowest possible Sum that would enable me to execute theWork in a Manner satisfactory to yourselves and creditable to that Character which I flatter myself you will believe I already possess – The Small Pipe is presented to your Notice, as a Specimen of the Quali- ty of Metal, which form [sic] a Material part of the Expense in an Organ of such Magnitude, being double the cost of the Metal in Ordinary use for Organ Pipes, its composition and Method of casting was originally discovered by the late celebrat- ed Green, and to this, aided by his Skill in may be attributed the Superior Tone of his Organs, those in the of Salisbury, Canterbury, Rochester, Lichfield, St Georges Windsor, and others of his Building are justly Esteemed the best Modern Specimens of the Art – I have proposed to place a Clarionet Stop (a recent Invention of my own) in the Choir Organ instead of the Bassoon, as being much more harmonious than the best Imitation of a Bassoon. In conclusion I beg to assure you that should you be pleased to honor [sic] me with your Commands I would endeavour to place in the Parish Church of Blackburn an Organ that should not be surpassed by any of Modern Construction in the Kingdom –

I have the Honor to be Revd Sir and Gentlemen with the highest respect your very humble servant John Gray

Supplement to Chapter 3 51

3.4c Extract from a letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 4 June 1824 1824 [LRO, PR 3073/2/43, fol. 5].

Revd Sir Agreeable to your desire I waited on Mr Palmer in Manchester and had some conversation with him relative to his Design of the Organ Case, we came to a pretty Clear Understanding as to the Main figure of the Case, and itsValue, but there were many points in the detail of the Design on which Mr P.had not made up his Mind, but promised to forward to me a rough Sketch of the whole early in the present week, but having waited till the last Moment and not hearing from him I have ventured to send a Slight Design of my own trusting that you will pass over its Errors both in Drawing and Composition as I intend it merely to shew the richness of the Case contemplated in my Estimate, of course I should be bound to execute any other Design (approved by the Trustees) of equal Value …

3.4d Extract from a letter of Mr Dixon Robinson (was he a trustee?) to the Revd Thom- as Whittaker (Blackburn), 14 June 1824 [LRO, PR 3073/2/43, fol. 6].

Palmer came over on Thursday last and brought the Elevation of the Organ which I now send you. Bewsher called upon me on Wednesday and said that he had seen you in Manchester, and he also said, that although the Case, according to Mr Palm- er’s Plan, will contain much more work than he had calculated upon, yet, as he had made an offer which was to include the Case, he wd not now swerve from it. It appears to be quite impossible for Gray to put up an Organ upon this Scale for £600, and that we cannot do better than give the Order to Bewsher & Fleetwood ...

3.4e Extract from a letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 19 July 1824 [LRO, PR 3073/2/43, fol. 9].

Revd Sir I have carefully examined the Drawings of the Organ Front, and beg to say that if the Case be constructed agreeable to Mr Palmer’s Design it will reduce the Estimate 60 Guineas, it will then stand 810 Guineas instead of 870 Guineas … I beg to observe that the Centre of the Choir Organ will I think be found too high as it will not only exclude the View of the handsome Pediment or Truss beneath the centre of the Principal Organ but will also Interrupt the line of the Pipes of the latter when viewed from the Body of the Church. A clear height of about 6ft 6in would be sufficient for the work within it – 52 Organ-building in Georgian and Victorian England

3.4f The Revd Thomas Whittaker (Blackburn) to John Gray (9 New Road, Fitzroy Square, London), 19 August 1824 [LRO, PR 3073/2/43, fol. 10].

Sir, I am happy to say that the Trustees for taking down & rebuilding our Parish Church have determined to accept your tender respecting their organ. Your specifica- tion stands in every respect the same; but the estimate is that contd in your last letter to me, being to the amount of 810 Guineas instead of 870 Guineas, as the Trustees have decided in favour of Palmer’s plan of a case. I hope you will consider their prefer- ence of you in the light of no small compliment, when I inform you that the estimate sent in by Messrs Bewsher & Fleetwood did not exceed £600; & that in the instrument you furnish us, you will not only rival, but outdo all your former outdoings. The Trustees agree with you in opinion respecting the Choir Organ, & have determined that its central Tower shall be lower than the two others, so as in no degree to interrupt the view of the Great Organ. You had better write to Palmer on the subject; he must send you the drawings complete, with any alterations that you may require in the Choir Organ, & also working drawings, if any be wanted. Should he be dilatory in sending them, you must write repeatedly until you have wearied him into obedience. We hope you will be ready to put up the organ at Michaelmas 1825, that being the time when the contractors have engaged to have all the work in the inte- rior of the building complete. Should you wish for any further information, be kind enough to address a letter to me. I remain Yours obedly & truly T.W. Whittaker

3.4g Memorandum of agreement between the Trustees and John Gray for the building of an organ for the new church, with endorsement following the fire of 1831 for its repair [Blackburn Cathedral, Song School].

Memorandum this first day of November in the year of our Lord one thousand eight hundred and twenty four that John Gray of New Road Fitzroy Square London Organ Builder hath agreed with the Trustees for taking down and rebuilding the Parish Church of Blackburn Supplement to Chapter 3 53

in the County of Lancaster to build and complete at the price or sum of eight hundred and ten Guineas an Organ for the said Church according to the following Specification except that the lower Octave in one of the open Diapasons in the great Organ shall be made of large Wood Pipes – viz.

The Organ to be of the first Class to have three rows of Keys viz. Great Organ, Choir Organ and Swell the Compass to be long Octaves from G:G: up to F: in alt, to have two pair of horizontal Bellows upon Cummins principle with internal and external folds each with double Feeders – the Great Organ Sound Board to be so constructed as to prevent any concussion of tone when the Hand is taken off the Bass to have 18 actual double Diapason open pedal pipes from G:G:G: about 21 feet in length (including G:G:G#) to [tenor c] upon separate sound Boards G:G:G: being 24 inches by 22 in diameter – the Choir organ to be placed in front of the principal Organ and inclosed in a Venetian Swell – The Cases to be made of Wainscot agreeable to a design by John Palmer and the front pipes Gilt.

Stops in Great Organ.

1. Large open Diapason metal throughout G:G being 9 inches in diameter and the other stops graduated from that pipe – 2. Open Diapason. Ditto 3. Stop Diapason Ditto 4. Principal Ditto 5. Twelfth Ditto [omission of Fifteenth?] 6. Sesquialtra Bass 3 ranks 7. Sesquialtra treble or cornet Ditto 8. Mixture . 2 ranks 9. Trumpet 10. Clarion 11. Double Diapason 54 Organ-building in Georgian and Victorian England

Stops in Choir Organ –

1. Dulciana to Gamut G 2. Stop Diapason 3. Principal 4. Flute 5. Fifteenth 6. Clarionet Pipes in Choir 337 -

Stops in Swell to [tenor c]

1. Double Diapason 2. Open Diapason 3. Principal 4. Stop Diapason 5. Fifteenth or Cornet 6. Trumpet 7. Hautboy Pipes in Swell 378 -

The whole of the work to be done in the best possible manner (warranted) with the best well seasoned Materials and completely erected in the Church subject to the inspection of any Organ builder or other competent Judge including Packing Carriage and every other expence for the said Sum of eight hundred and ten Guineas –

John Gray

[endorsement following 1831 fire:]

Blackburn Novr 21st 1831

The Organ to be rebuilt in all respects agreeable to the above Contract to be completely Erected in the Church including the regilding of the Pipes where absolutely necessary Varnishing the Case and every other Expence for the Sum of Three Hundred and Fifty Guineas. John Gray Supplement to Chapter 3 55

The Original Contract does not specify the description of Metal of which the Pipes are composed, it is superior to that in Ordinary use both, as respects its durability, and the Tone of the Pipes, there was also in the Organ a coupling Stop to put the Pedals upon the Choir Organ in addition to the one specified in the Great Organ

John Gray

3.4h Letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 15 November 1824 [LRO, PR 3073/2/43, fol. 14].

Revd Sir I have written twice to Mr Palmer for the Drawings of Blackburn Organ Case, but have not received any reply; as the Interior of the Organ is so much governed by the Number and arrangement of the external speaking pipes I am pre- vented going on with the Instrument, indeed if much further Delay occurs I shall not be able to fulfil my engagement to complete it by September next – In the Large Organ which I have just finished in Chelsea Church, thelower octave of one of the open Diapasons in the great Organ is made of Large wood Pipes and when joined with the Metal Diapasons the Effect is much more power- ful than the two Metal Diapasons together. I believe you have a printed Particular of that Instrument in which you will find a note to that Effect. If the Trustees of Blackburn Church will consent to that Variation in the Specification I think it will be an Improvement. The size of the GG pipe would be the same as described in the particular Viz. 36 Inches in Circumference. I have written to Mr Palmer by this post.

3.4i Letter of John Gray (‘Bell, London Road, Liverpool’) to the Revd Thomas Whit- taker (Blackburn), 21 January 1826 [LRO, PR 3073/2/43, fol. 63].

Revd Sir I called on Mr Palmer in Manchester last Week relative to some further explanations of the Drawings for the Case. I understood from him that the Church would not be completed till June or July, as I am desirous of making my arrange- ments for the year, I beg to be informed whether the Organ will be required to be Erected during the present year, all the Internal part is done but not fixed up, as it 56 Organ-building in Georgian and Victorian England

would take up more room in my Manufactory than I could spare for any length of Time, a Letter will find me as above till Saturday Next.

3.4j Extract from a letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 2 October 1826 [LRO, PR 3073/2/43, fol. 72].

Revd Sir I beg to acknowledge your favor [sic] of 25th ult. which I was prevented duly answering by absence. I have made but little progress in the case of Black- burn Organ, as I had no Drawing in my possession till the 30th of July last. I have now all that I require and will lose no Time in getting the Work forward. Mr Palm- er has enriched the sides of the Organ, although I had all along understood from him that they were to be framed in Plain Pannels [sic] only, however I will execute it according to his drawing to prevent any delay, as I have been nearly two years in getting the Drawings I have …

3.4k Extract from a letter of Thomas Greenwood (Westminster) to the Revd Thomas Whittaker (Blackburn), 12 December 1826, concerning the possible employment of S.S. Wesley as the new organist at Blackburn [LRO, PR 3073/2/43, fol. 76].

As to your Organ Sam. Wesley Senr tells me he does not think it will be completed till May next. It was not put together when he called, the workmen were pro- ceeding with what is called the voicing of the pipes; that is, as I understand it, the process of reducing them to an equality of tone. This I am told is a work of the first necessity, of great labour and requiring considerable time and attention. From your letter I concluded it was in a greater state of forwardness …

3.4l Letter of John Gray (9 New Road) to the Revd Thomas Whittaker (Blackburn), 22 March 1827 [LRO, PR 3073/2/43, fol. 79].

Revd Sir I have been from home which prevented an Earlier reply to your Letter of the 13th. The Interior of the Organ for your Church has been long made, but cannot be put together till the Case is nearly completed. Mr Novello who has called on me several Times has therefore not heard it. I hope to put it up in my Manufactory in May, and I see no difficulty in sending it off in the course of August. The Erection Supplement to Chapter 3 57

of it in the Church will occupy about 3 Weeks, but as I am engaged to attend the Musick Festival I do not think that I shall be able to get to Blackburn during the Month of September. The Case is so Tedious a thing and from its nature I can Em- ploy so few Hands upon it, that I fear to make a promise of completing the Organ in the Church by the End of August and as my attendance at Norwich will occupy me till the end of September I think you cannot safely fix upon an Earlier Time than the Middle of October for your Intended Oratorios; when the matter is decid- ed on, I shall be glad to be informed of it and will make every exertion to be ready. I purpose sending the Organ by Canal, should you come to London in the Early part of May and will favor me with a line a few Days previous I will endeavour to be at home, but after the 15th I shall be in Dorset for the remainder of the Month.

3.4m Extract from a letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 3 November 1827 [LRO, PR 3073/2/43, fol. 99].

Revd Sir Your Letter of the 27th ult. found me confined to the House by a severe Cold which has not permitted much attention to Business for some Time. The Organ for your Church is now so nearly completed nothing remaining but parts of the reed stops, that 4 or 5 Days application will finish it entirely & this I hope to accomplish next Week; as it is the largest Instrument I have Built I should like to keep it up a few Days for the Trial of my Musical Friends; the taking it down & packing will occupy full 10 Days[.] I do not know the precise Times in which the Canal Boats make the Journey but I think it cannot exceed 12 Days, & when I get to work in the Church with the Assistance I shall bring with me, I hope we shall not far exceed 3 Weeks in its Erection. I presume the Gallery floor is laid ready to receive it. Should you be desirous that any of your Friends in London should see the Organ I shall be proud to wait on them …

3.4n Extract from letter of Thomas Greenwood (Westminster) to the Revd Thomas Whit- taker (Blackburn), 14 December 1827 [LRO, PR 3073/2/43, fol. 101].

I paid immediate attention to Gray’s note; the organ pleases me mightily, it is soft and agreeable in the tone, and of very considerable power, & no useless or fantas- tical Stops in it. The Diapasons are excellent and the trumpet stop clear without harshness – the usual fault of that stop. I was unluckily unable to attend when either Novello or Sam Wesley tried it … 58 Organ-building in Georgian and Victorian England

3.4p Letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 21 December 1827 [LRO, PR 3073/2/43, fol. 103].

Revd Sir I beg to acquaint you that your Church Organ is now taking to pieces. Mr Novello at his last visit to the Instrument undertook to inform you of its com- pletion; as I found it impossible to Erect it according to your wishes by Xmas Day I kept it up longer than I at first intended. Indeed, as I submitted it to public Inspection by advertisement the principal Professors & their Friends were more numerous about the Time I had fixed for its Close. I will acquaint you with its departure & will take care to have a proper Person on the spot to unload it.

3.4q Extract from letter of John Gray (9 New Road, Fitzroy Square) to the Trustees of the New Church, Blackburn, 25 December 1827 [LRO, PR 3073/2/43, fol. 103].

… to every enquiry as to the Value of the Instrument I have stated it at 1200 Guin- eas for although I have made a sacrifice to place an Organ of the 1st Class in so fine a situation as the New Church at Blackburn & in a part of the Country where I am looking forward to further Employment, I had no desire to put every enquirer in possession of that fact ….

3.4r Letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 10 January 1828 [LRO, PR 3073/2/43, fol. 104].

Revd Sir Your Church Organ left London yesterday by Holts Boats, the weight of it is 6Ton 8Cwt – it will arrive at Manchester on Monday next, and the Man I shall have there to meet it will see it conveyed to Blackburn by Boat or Waggon as may be found best, as soon as I hear of its arrival at the Church, I will send down my Fore- man and will come myself in due Time to complete it.

3.4s Letter of Joseph John Harris, Organist of Blackburn, to the Revd Thomas Whittak- er, ‘February 1828’ [LRO, PR 3073/2/43, fol. 106].

Revd Sir, Agreeably to your request I have inspected the contract for building an Organ in your parish Church and have carefully examined the Organ now erected to see if they correspond, and have the pleasure to inform you that Mr Gray has entirely finished it according to his Specification in every possible respect. Supplement to Chapter 3 59

3.4t Extract from a letter of John Gray (9 New Road, Fitzroy Square) to the Revd Thomas Whittaker (Blackburn), 5 November 1831 [Blackburn Cathedral, Song School].

Revd Sir

On my return last night from Fulham I found your favour of the 1st Inst: I was prepared to expect something like the resolutions which have been adopted respecting the rebuilding of your Church Organ. I cannot possibly get out of Lon- don until the 14th Inst: as on the 13th I have to open 3 Organs, one at Fulham Church, a second at Grays Inn Chapel and the third at the New Church . If any thing should occur to prevent my setting out on the 14th I will write again, otherwise you may reckon upon my arrival in Blackburn on the Evening of the 15th, the printed Specification is deficient in more than one Important point but as an actual Inspection of the remains of the Instrument is enjoined, it is perhaps not material. “Pedal Pipes”, their extent, the Swell to the Choir, the compass of the Swell and the peculiarity of the Metal, (which cost more than double the price of that in ordinary use) are not mentioned. You may rely upon my doing all in my power to further your kind wishes on my behalf, but it is Impossible that mine can be the lowest Estimate.

3.4u John Gray (‘Blackburn’) to the Revd Thomas Whittaker (Blackburn), 21 Novem- ber 1831 [Blackburn Cathedral, Song School].

Revd Sir I have thoroughly examined every part of the remains of your Church Or- gan, and beg to submit the following statement of its condition; as you are already aware that the whole of the light connecting movements from the Keys to the wind Chests, together with the draw stop action, rollers &c are totally destroyed, the Case damaged, both pair of Bellows, swell Box & Wind Chest entirely taken to pieces, and every part of the Machinery more or less damaged I may without further details of the mechanical part proceed to describe the state of the Pipes: The wood Pipes are not much damaged, but there is a deficiency of 33 of their number, I am sorry to have to report a considerable loss among the Metal Pipes, the Organ originally contained 1200 Metal Pipes. I have counted over every one remaining in a state fit for use after proper repair, and I find them to amount to less than 700, leaving a deficiency in missing and those rendered 60 Organ-building in Georgian and Victorian England

useless of about 500, probably the number in the warehouse which I have found useless may amount to 100, in the accompanying Estimate I have intended to restore the metal Pipes, with Metal of precisely the same quality as the Original Pipes, in fact this is absolutely necessary to insure an equal tone from the union of the new Pipes with those remaining, from the short time and the confusion in which the Instrument was taken down I am surprised that more damage was not done to it, but I cannot help observing that something more than was necessary for preservation appears to have been done in the breaking up of the Bellows and Swell Box. I am [Etc.]

3.4v Extract from a letter of John Gray (9 New Road, Fitzroy Square, London) to the Revd Thomas Whittaker (Blackburn), 5 June 1832 [Blackburn Cathedral, Song School].

Revd Sir I have done all that the shortness of the Notice would permit in seeking a good Organist, but I shall now be obliged to send you young Mr Nimmo, whom I mentioned in my last Letter, & omitted writing to you last night in the hope that a Correspondence with a young Man named Bayley (formerly one of the King’s Chapel Boys) would have terminated favourably … I shall desire Mr Nimmo to wait on you Immediately on his arrival on Friday Evening.

3.4w Letter of John Gray (9 New Road, Fitzroy Square, London) to the Revd Thomas Whittaker (Blackburn), 26 June 1832 [Blackburn Cathedral, Song School].

Revd Sir

I have delayed troubling you with a Letter until I had succeeded in finding a Gentleman of sufficient talent to offer to your Notice as an Organist. rM Henry Smart Son of the late professor of that name, and nephew of Sir G Smart, is very anxious to be appointed to the situation, and his Capability is beyond question, as I shall have the honor to wait on you on the 3rd of July I will defer particulars respecting him and others, until then.

Supplement to Chapter 3 61

3.4x Extract from a letter of Henry Smart (3 Store Street, Bedford Square, London) to the Revd Thomas Whittaker (Blackburn), 31 July 1832 [Blackburn Cathedral, Song School].

Sir Mr Gray having informed me that you have been kind enough to express yourself satisfied with his favourable representations of my ability to fill the situ- ation which I aspire to (that of organist to the Church at Blackbourne) & also that you wished testimonials in my favour from professors of eminence in London, I have deemed it my duty not to delay writing to you any longer in order to express my grateful sense of the obligation under which you have placed me by this very kind preference, And to assure you that I shall be happy to commence my duties at Blackbourne on the 9 of Septr …

I am Sir Your most obedient Servant Henry Smart

3.5 St Sepulchre Holborn, City of London (1834): George Cooper’s account of ‘re- pairs necessary to be done to the Organ at St Sepulchres Church’ [LMA, St Sepul- chre Holborn, Parish Estates Committee, 3 (1814–34), 4 February 1834].

1. – To take out all the Pipes of the great Organ, Choir, and Swell, and remove the Instrument further back. 2. – To make a new sound board to the great Organ of large dimensions to enable the Organ Tuner to get conveniently at all, each, and every Pipe, without at any time taking out the front pipes (gilt pipes) to get at those down the middle, and the same at each end, so as to permit the tuner to have easy access to any individual pipe, without the possibility of injuring the Trumpet, Clarion or any other pipes, which cannot be avoided in the present soundboard, it being so badly constructed. 3. – A new Roller Board to the Great Organ movements &c to and from the Keys; to work in leather, and to be perfectly quiet, silent, and steady; and instantly to obey the touch. 4. – Concussion valves, to be placed near the Sound Board, or at the extremity of the Wind Trunks to remedy the existing unsteadiness of Wind. 62 Organ-building in Georgian and Victorian England

5. – Three composition pedals to the great Organ, and one to the swell. 6. – Seven Pedal Pipes, from GG – CCC, to correspond with the scale of the Ped- als that are already in the organ. 7. – The compass of the Swell to be extended from G to C, in the Bass, with the addition of a Clarion; there being no stop of that description in the swell. 8. – New Stop Diapason Treble (of Metal) in the Choir organ in place of wooden one, very old, and bad. 9. – Open Diapason, or small scale Cremona in the Choir Organ, in place of the Voxhumane – a bad stop, and never used. 10. – To remove the 10 large Open Diapason Pipes (Metal) and place them at each side of the case – right and left – five at a side, and to convey theWind to them in the same manner as it is done to the gilt pipes in front. – These 10 pipes need not be gilt, but painted to correspond with the Case, like those at Westminster Abbey.

The Organ will not want gilding, nearly the whole of it having been done about 6 years ago.

3.6 Trinity College, Cambridge: documents relating to the reconstruction of the chapel organ, 1835-6 [College Archives, Bound Volume ‘The Chapel’, containing miscel- laneous manuscripts relating to the College Chapel].

3.6a George Cooper of Heralds College, Doctors Commons, London to the Revd Dr – Wordsworth, Trinity College (11 April 1835) [‘The Chapel’: 31].

London Apl 11th 1835 Revd Sir, I have this day sent my Report of the Examination of the Organ at Trinity Coll: Chapel to Mr Walmisley, with a request that he would examine it, & then forward it to you Sir, & accompany it with any remarks or suggestions he may think proper to make. – Having gone thoroughly into it – in detail, I have been enabled to give a faithful account of the Organ in its present state, and also what repairs and Supplement to Chapter 3 63

improvements I think it requires. – I have under the Head of “Extra’s” pointed out Several things which I consider necessary in an Organ where the Cathedral Service has to be accompanied. If the whole repair be executed, I think the Organ will rank amongst the finest in England. – I have no objection to take upon myself the charge of Superintending the Repair, and becoming re- sponsible to the College for the same. – I have a similar large repair under my superintendence at this time – the large Organ at St Sepulchres Church . – I think it would [be] advisable to take receive estimates from at least two builders. – Mr Walmisley having named one, I beg to forward the name of another – Mr Gray, who has repaired most of the largest Organs in London, and is now executing the extensive repairs to the Organ at St Sepulchre’s Church. – For his character as an ingenious and upright tradesman, I beg to refer you to Watson, Rector of Hackney, & the Revd S. Natt [?], Vicar of St Sepulchre – London –

Waiting your further commands, I remain Rev Sir Your Obet Sert George Cooper

3.6b George Cooper of Heralds College, Doctors Commons, London to – Randall, Solicitor, Cambridge (7 May 1836) [‘The Chapel’: 33].

London May 7. 1836 Sir, I recd a letter last week from the Rev. the Master of Trinity Coll: informing me that I should in a few days hear from Mr Randall the Solicitor to their College. – Not having yet recd the expected communication I write, to say – that I propose being at Cambridge on Thursday 64 Organ-building in Georgian and Victorian England

next – the 12th Inst, in company with Mr Gray, the Organ Builder, to make arrangements with him respecting the plan of the in= tended repair at Trinity Coll: Chapel. – I hope the necessary documents will be ready for our joint signature, as we shall leave Cambridge on Friday afternoon. –

Heralds College Most respectfully Yours Doctors Commons George Cooper

To – Randall Esqr Cambridge

P.S. – As I have pledged myself to the College to be responsible for the intended Organ Repair, I beg to have inserted in the instrument or document that I am to sign, - words to this effect, That the work shall be done to the satisfaction of the said George Cooper, without any appeal or reference to a second person (or parties) – That no law proceedings shall take place on behalf of the Organ Builder in case any misun- derstanding during the repair should arise – That upon a certificate being obtained from the said George Cooper, stating the repair &c to be done to his satisfaction, & according to contract, Mr Gray shall be entitled to receive the sum of ------&c ------and that a penalty of Five guineas per day be imposed upon Mr Gray in case of his failing to complete the repairs by the time specified in the Bond.

I wish the paper to be strongly & solemnly worded. Supplement to Chapter 3 65

3.6c Extract from the Articles of Agreement between John Gray and others, and the Master, Fellows and Scholars of Trinity College, Cambridge (18 June 1836) [‘The Chapel’: 35].

Articles of Agreement made and entered into this eighteenth day of June in the year of our Lord One thousand eight hundred and thirty six Between John Gray of Number 9 New Road Fitzroy Square in the County of Middlesex Organ Builder of the first part John Mitchell of No 4. Seymour Place Euston Square in the County of Middlesex Gentleman and Frederick Braithwaite of No 104. in the said County Land Surveyor of the second part and The Reverend Christopher Wordsworth Doctor in Divinity Master of the College of the Holy and Undivided Trinity within the Town and of King Henry the Eighth’s foundation and the Fellows and Scholars of the same College of the third part.

Whereas the said Master Fellows and Scholars being desirous of making various reparations additions and improvements to their Organ standing in the Chapel of their said College the said John Gray in consideration of the sum of Four hundred and ten pounds to be paid to him in manner hereinafter mentioned by the said Master Fellows and Scholars hath agreed on the tenth day of July next ensuing or within seven days thereafter to commence and carry on and on or before the first day of October next to complete the said reparations additions and improvements in manner hereinafter mentioned agreeably to a certain Specification hereinafter contained prepared by rM George Cooper of the Heralds College Doctors Commons in the City of London Professor of Music and Organist of St Sepulchre’s Church, Holborn and signed by the said John Gray and according to the true intent and meaning of these presents Now these presents Witness 66 Organ-building in Georgian and Victorian England

that in pursuance of the said Agreement and for effectuating and more fully setting forth the same and for the consideration hereinbefore and hereinafter expressed He the said John Gray Doth hereby for [over] himself his heirs executors and administrators covenant promise and agree with and to the said Master Fellows and Scholars and their successors in manner following (that is to say) That he the said John Gray his executors or administrators shall and will on the tenth day of July next or within seven days thereafter commence and carry on and on or before the first day of October now next ensuing complete and finish in the best and most workmanlike manner the said reparations additions and improvements to the said Organ agreeably to the following Specification prepared by the said George Cooper as aforesaid and subject to his superintendence or the superintendence of such other person who in case of the death of the said George Cooper shall be appointed by the said Master Fellows and Scholars to superintend the said work (that is to say)

Great To take out repair and cleanse all the pipes and render them Organ perfect when wanted – To extend the Compass downwards from G.G. to C.C.C. with the intermediate Notes, videlicet. D.D.D., D.D.D#, E.E.E., F.F.F., F.F.F# and G.G# in all seven Notes – to go through the following stops – First stop Diapason, Second open ditto – third principal – fourth Twelfth – fifth Fifteenth – sixth Nason – seventh Flute – eighth Sexquialtra ninth Trumpet (N.B. The second open Diapason is to join the stop ditto below G.G.) and to extend the compass upwards from D to F in alto three notes in all the stops – making in all ten Notes – To add a new Trumpet to the Great Organ from C.C.C. (without C.C.C#) to F in alt sixty five Notes. – To revoice the present Trumpet and transpose the same – thereby making a Clarion of it and putting it in the place of the Nason, the last Octave (videlicet from F to F in alt) to have principal pipes. Four Composition Pedals – Two Octaves of German Pedals – A stop to attach the Pedals to the Great Organ Keys. A coupling stop to unite the choir Organ to the Great – Ditto to unite the Swell to the Great Organ. A stop to take off the pedal pipes – An improvement for rendering the Wind steady – New Wind trunk (extra) of large Supplement to Chapter 3 67

dimensions. The pipes of the Great Organ to be equalized, in tone, throughout, and soldered up and otherwise repaired. [over] where wanted. Choir To make a new Cremona and put it in the Organ place of the – From C in the tenor to F in alt forty two Notes – To extend the compass of the Dulciana from C to Gamut 5 notes and then to join the Stop Diapason at bottom. To add D#, E and F through all the stops – A stop to unite the Pedals to the Choir Organ. Swell To extend the compass downwards to C in the tenor (seven notes) in all the stops with the necessary Sound Board &c &c and to extend the Compass upwards to F in alt (three notes) ten notes in all. To make a new Swell Box with a venetian front to open towards the Choir. – A pedal to take off the Reed stops. To extend the Compass of the Swell to G – Gamut through all the stops and prepare a new Sound Board to contain the following stops one stop Diapason, two open Ditto, three principal, four Cornet, three Ranks, five Trumpet, six Hautboy seven Clarion, eight double Diapason (stopped Wood pipes) with the necessary draw Stops roller board &c. &c. with a Venetian front. To add three new stops throughout, vixt one Cornet or Sexquialtra three Ranks, two Clarion, three double Diapason. To extend the compass of the five stops already in the Swell, say from C in the tenor to Gamut five notes – A two Rank Mixture in the Great Organ in place of the Block Flute – An open Diapason in the Choir Organ to Gamut in place of the twelfth or any other stop – A movement to enable the Performer to play Octaves on the Pedals ad libitum when only one Pedal is put down A Movement to enable the performer to play with the Pedals two Octaves on the Choir Organ commencing at Middle C, and upwards in alt, or in other words to play the treble of the Choir Organ with the Pedals. The Three new sets of Keys – the Great Organ to extend from Mechanical C.C.C. to F in alt. The compass of the Swell and Choir to be alike Part videlicet, from G.G. (no G.G#) to F in alt – The Swell keys to take the Choir Organ below C – the case of the Great Organ to be enlarged in depth one pannel [sic] or more if necessary so as to admit 68 Organ-building in Georgian and Victorian England

[over] all the proposed additions within the case including the pedal pipes – To make the two Octaves of pedal pipes complete by adding the following Notes, videlicet, C.C.C#, D.D.D#, E.E.E., F.F.F., F.F.F#, G.G# (five double notes) to correspond in point of quality and scale with those already in the Organ and then to add four notes at the top to make the upper Octave complete, videlicet, G#, A.A#, B and C Unison pipes. And further that he the said John Gray shall and will find and provide at his own Costs and Charges the scaffolding and all the materials (except gilding) necessary for carrying on and completing the said reparations additions and improvements such materials to be each of the best quality of their several sorts to be approved of by the said George Cooper or other the Superintendent of the said Master Fellows and Scholars for the time being … And the said Master Fellows and Scholars in consideration of the covenants herein contained on the part of the said John Gray do hereby covenant promise and agree to and with the said John Gray his executors administrators and assigns that they the said Master Fellows and Scholars or their Successors shall and will pay or cause to be paid unto the said John Gray his executors administrators or assigns the sum of Four hundred and ten pounds of lawful money of Great Britain together with the amount or value of any additional work upon the completion of the said Work to the entire satisfaction of the said George Cooper or other Superintendent for the time being to be certified in writing under his hand Which certificate shall be delivered by the said John Gray his executors or administrators to the Senior Bursar for the time being of the said College in order to entitle him or [over] them to such payment as aforesaid … And for the true observance and performance of all and singular the Covenants Articles and [over] Agreements hereinbefore contained on the part of the said John Gray his executors and administrators to be observed and performed he the said John Gray and also his Sureties the said John Mitchell, and Frederick Braithwaite do hereby jointly and severally bind themselves and their respective heirs executors and administrators unto the said Master Fellows and Scholars their successors and assigns in the penal sum of Two hundred pounds of lawful money of Great Britain In witness whereof the said Master Fellows and Scholars have Supplement to Chapter 3 69

hereunto affixed their Common Seal and the said other parties hereto of the first and second parts have set their hands and seals the say and year first above written

Signed sealed and delivered } John Gray [seal] by the said John Gray and } Frederick Braithwaite in } J.Mitchell [seal] the presence of – } Willm Saltwell } Carlton Chambers Regent St London

Signed sealed and F.W. Braithwaite [seal] delivered by the said John Mitchell in the presence of Thos Walles Clerk to Messrs Butler [?] & Saltwell [College Seal]

3.7 Robert Gray’s Improved Church Barrel Organ (Musical World, vol. 11 (7 March 1839), 145–7.

Mr. EDITOR – The great and still increasing demand for Barrel Organs, particularly in village churches, has induced us to direct our attention to such improvements in the principle of their manufacture as should render them more permanently useful than the ordinary barrel organs have hitherto been. The main defects in the latter instruments are – the uncertainty of the keys passing correctly over the pins, arising from the brass bolt work, which, however well manufactured, soon becomes ricketty [sic] and imperfect in its action – the unavoidable damage to the cogged heads of the barrels in passing them under the brass worm every time they are changed (from these causes alone the hobbling perfor- mance of the tune, so frequent in the ordinary barrel organ, arises); the liability of damage to the pins on a barrel when changed; the noise occasioned by bolt work at every change of tune, and the inconvenience and, in some instances, the impossibility of changing the barrels during divine service, in which case the range of tunes under command is so limit- ed that, with the greatest care in the selection and distribution of the various metres to be set on the barrels, a change of them is almost always necessary in each service; for in- stance, in many churches it is the custom to commence with the morning hymn, and when 70 Organ-building in Georgian and Victorian England this is the case, the barrels must be frequently changed, or none but the limited collection of tunes on that barrel will ever be heard during the service. Having pointed out the principle [sic] objections to the ordinary barrel organ, the truth of which we are sure will be recognised by every possessor of one, we proceed, with the assistance of the annexed section, to describe the means we have adopted for their avoidance, premising that we do not claim as our invention the mere placing a number of barrels upon one frame, it having been done long since by ourselves as well as others, in a very different and useless manner, as it retained the bolt work, which it is the main object of our invention to remove. Supplement to Chapter 3 71

The spindle of the iron frame D, being cut with an endless screw, a single revolu- tion of it changes to tune on each barrel, from the first to the second, and so on in succes- sion, to the whole extent of them (thirty in number). A contrary revolution will, of course, produce a return to the first or any intermediate tune that may be desired, its number being ascertained by reference to an index at the end of the spindle at C, no bolt work whatever is necessary, and every change, either of tune or barrel, is effected with perfect silence and the greatest ease. The barrels being closely fitted between the frameD , all lateral inaccuracy with the key frame and the pins on the barrels is prevented. Upon raising the worm A it is immediately arrested by a self-acting sling, and there held until relieved by the finger of the barrel turner after he has changed the tune or barrel, and at no time does any necessity arise for touching any part of the barrels with the hand, the possibility of damage to the pins (unless wilfully done) is therefore wholly removed. Uniformity of plan enables us to supply these instruments at even less cost than the ordinary barrel organ, the whole of the mechanism being comprised in one package, and may be set up without the assistance of an organ builder, a matter of no little consid- eration when required at a distance from the Metropolis. The instrument is wholly inde- pendent of an external case, which may, if preferred, be made in the country, and may be had with one barrel only, with the option of adding a second and third at any subsequent period. We have applied the same unerring principle to an organ of a higher class, for both Finger and Barrel. The instrument may be inspected at our manufactory, where every explanation will be afforded by Mr. Robert Gray, the projector.

We are, Mr. Editor, Your most obedient Servants, 9, New Road, Fitzroy Square JOHN GRAY AND SON. chapter 5

5.1 Description of the Hill & Davison organ for St John’s Church, Chester (1838) from the Musical World, vol. 10 (1838), 44

THE CHESTER ORGAN

We have derived much pleasure from an inspection of this splendid instrument, built by Messrs. Hill and Davison, on a novel plan, at least in this country, and we advise our organic friends to have “a peep at it,” previous to its removal to the fine old church of St. John, Chester. It is constructed on the German plan, and is designed by Mr. Davison, of the above firm, to whose hands the execution of the work was entrusted. There are three rows of keys from CC the 8 feet pipe to F in alt, and a small pedal organ of two octaves from CCC 16 feet to C 4 feet. Although it consists of only three stops, the upper octave, by means of a copula, is connected to the lower octave, thus doubling its power; for instance, the foot being placed on the lowest pedal key sounds a double open diapason pipe of 16 feet, a double stopped dia- pason of 8 feet, an open diapason of 8 feet, a stopped diapason of 4 feet, a double trumpet of 16 feet (similar to the one in the Birmingham organ), and a trumpet of 8 feet, speak together [sic]. The following is a list of the stops: –

Great Organ Choir Organ. Open diapason, No. 1, large scale 8 feet. Double stopped diapason, 8 feet, Ditto 2, smaller do. do. to meet same stop in the Swell. Stopped diapason. Open diapason, gamut G. Principal. Dulciana, tenor C. Twelfth. Stopped diapason bass. Fifteenth. Clarabella, treble. Sesquialtra and cornet, 4 ranks. Principal. Trumpet. Fifteenth. Cremona, tenor C.

72 Supplement to Chapter 5 73

Swell from C 4 feet to F (the keys continued to CC, acting on the lower octave of the choir organ). Double stopped diapason, 4 feet [sic] Fifteenth Open diapason. Mixture, 3 ranks. Stopped ditto. Trumpet Principal. Hautboy.

Pedal Organ Copulas. Double open diapason, 16 feet. Swell keys to Great. Ditto stopped ditto 8 ditto. Choir ditto ditto. Ditto trumpet 16 ditto. Pedal ditto ditto Ditto ditto Choir Ditto octave.

The copulas from the pedal keys to the manuals do not pull down the keys, but act on the movements independent of them. There are three composition ped- als to the great organ, and two to the swell. It will be seen from the above description, that the performer on this instru- ment must be more than a pianoforte player; he must be de facto an organist, capa- ble of using his feet as well as his hands – to this class of our artists, “the Chester organ” holds out advantages superior to any other instrument in this country. chapter 6

6.1 All Saints’, Hertford: papers relating to the replacement of the organ, 1839–40 [Hertfordshire Archives, Hertford All Saints].

6.1a John Gray’s estimate for rebuilding the organ (24 September 1839).

[p.1] Specification and Estimate of proposed improvement and repairs of the Organ in All Saints’ Church Hertford

To make new wind chests for the Great and Choir Organs, together with all movements and actions from the Keys to the same, to extend the compass of both Great and Choir Organs to long octaves inclusive of GG# in each; To put into the Great Organ a new open Diapason all of Metal commencing from the smallest Pipe in the front to the extent of the Compass of the Instrument in the bass, inclusive of Gilding. To add an Octave and a half of German Pedals, and Pedal Unison open Pipes upon a full Scale from GG to Gamut G, these Pipes to be acted upon independent of the Keys, and to be coupled with the Great and Choir Organs, seperately [sic] or combined, to make an ample Pair of Horizontal Bellows (upon Cumming’s Principle) with compensating folds, double feeders, and internal waste Valves for silence in their action, the Bellows to be placed in the present blowing room, the Swell to be retained entire, longer Sharps to be substituted for the present ones, and the necessary Keys to be added for the extension of the Compass; In its improved state the Organ would contain the following Stops In the Great Organ open Diapason throughout Metal, being 9 notes lower than the present extent of that Stop in Metal Stop Diapason Principal, replacing with new ones such pipes as may be found defective, the observation will apply to all the Stops throughout the Instrument

74 Supplement to Chapter 6 75

Twelfth all new, the Scale of the present Stop being disproportionate Fifteenth Do. Do. Do. Sesquialtra Do. Do. Do. [p.2] Cornet with one or more ranks new as may be found requisite Trumpet to be retained entire The necessary notes to be added to each Stop for the extension of the compass from Short to long octaves The new pipes in the great Organ by substitution and addition will amount to: 266, if a second open as hereinafter described add[ed:] 58 = 324 In the Choir Organ Stop Diapason, the scale to be enlarged by transposition to such extent as may be found expedient New Principal Metal throughout, the Bass of the present one is of wood New open Diapason of Metal to Gamut G from Middle C# which is the extent only of the present stop Flute. new Fifteenth throughout new Dulciana to fiddle g. The necessary notes to be added to each Stop in the Choir for the extension of the compass from short to long octaves The new Pipes in the Choir Organ by substitution and addition will amount to: 179

The within described work to be completed in a substantial Manner (Warranted) and subject to the inspection of any Organ Builder or other Competent Judge and the Organ revoiced regulated and tuned fit for use for the Sum of Two Hundred and Seventy Guineas and the old Materials. If a second open Diapason be added to the Great Organ throughout, the lower octave being of wood the expence will be increased Forty Guineas – Packing Carriage and all contingent expences are included in the above Estimates. [p.3] A New Organ embracing all the improvements and additions of both the annexed Estimates, and with an 76 Organ-building in Georgian and Victorian England

extended Swell to C in the Tenor, the Dulciana being transferred from the Choir to the Swell, a Coupling Stop to unite the Great and Swell Organs, and the whole enclosed in a Wainscot Case with Gilt Pipes, agreeably to the accompanying or any more approved Design, to be Erected complete for Four Hundred and Fifty Guineas and the Present Organ, If the Present Excellent Trumpet Stop be introduced into the New Organ the expence will be thereby reduced to Four Hundred and Twenty five guineas. John Gray 9 New Road Sept. 24th. 1839 Fitzroy Square

6.1b John Gray & Son’s estimate for a new organ in the hand of Frederick Davison (24 September 1839).

Specification of a New Organ proposed to be erected in All Saints’ Church, Hertford, To have three Rows of Keys, the compass of the Great and Choir Organs from GG to F inclusive of GG sharp 59 Keys – the Swell to be on the Venetian Sliding principle from Tenor C to F 42 Keys – To contain the following Stops In the Great Organ No of Pipes 1 Open Diapason in Metal throughout 59 2 Open Diapason to Gamut G in Metal, the lower octave wood 59 3 Stopd Diapason 59 4 Principal 59 5 Twelfth 59 6 Fifteenth 59 7 Sesquialtra 3 Ranks } 8 Cornet 3 Ranks } 177 9 Trumpet 59 Supplement to Chapter 6 77

In the Choir Organ 10 Open Diapason to Gamut G 47 11 Stopd Diapason 59 12 Principal 59 13 Flute throughout Metal Treble 59 14 Fifteenth 59 15 Cremona to Fid G 35

In the Swell 16 Open Diapason 42 950

[p.2] 17 Dulciana 42 18 Stopd Diapason Wood 42 19 Principal Metal 42 20 Hautboy Do. 42 21 Trumpet Do. 42

22 Pedal Pipes octave and a from GG to G 13 1173

23 Copula Swell to Great 24 do. Pedals to Great 25 do. do. to Choir

An octave and a half of Pedals, an ample pair of Horizontal Bellows (upon Cummings’ principle) with compensating folds, double feeders and internal waste Valves for Silence in their action, the Bellows to be placed in the present blowing room –

The whole to be enclosed in a Wainscot Case according to an approved design with Gilt speaking Pipes in front and erected complete in the Church for Four Hundred and fifty Guineas and the present Instrument 78 Organ-building in Georgian and Victorian England

9 New Road, Fitzroy Sqr. 24th Sept 1839 John Gray & Son.

Should the Trumpet in the present Organ be retained the annexed Estimate will be reduced to Four Hundred and twenty five Guineas. JG&S

6.1c Report of the organ committee (25 September 1839), endorsed by the Vestry (30 September 1839).

[p.1] Report of the Committee appointed to “consider the propriety of repairing the present Organ or of erecting a New one”, agreed to, at a meeting held on Wed nesday the 25th Sept instant, present The Revd Mr Colbeck in the Chair Mr Alderman Gilbertson Mr T. Crawley Senr. Mr James Nunn } Mr James Hancock } Churchwardens

The Committee having determined an opinion of a competent person should be obtained on the present state of the Organ, unanimously resolved that Mr Gray, Organ builder of London should be consulted; and Mr Gray having attended & made the necessary inspection, transmitted to the Committee, a specification & estimate of the repairs required, and also a design & estimate for a New Instrument. It appears that the repairs & improvement of the present Organ, to render it substantially serviceable, will amount to 270 Guineas, and if a proposed additional open diapason is added it will cost 40 Guineas more, making Supplement to Chapter 6 79

a total of £325. 10 – independent of any repairs, alterations or decorations the present case might require to render it capable of receiving such addition. The great outlay necessary for the substan tial repair of the present Organ, rendered it worthy the consideration of the Committee, whether it would not be more desirable, to purchase (if possible) a new Instrument, at the additional expence of 115 Guineas; as thereby a more [p.2] handsome exterior will be obtained, as well as the proposed additional diapason, an extended Swell &c &c and by a different disposition of the parts the power of the Instru ment will be increased, and as it will not occupy more space than the present one no loss of sitting room will occur; the whole will be completed for 425 Guineas & the materials of the present Organ. The Committee have therefore resolved “That it is desirable that a New Organ be erected, according to the design & estimate furnished by Mr Gray, if the necessary funds can be obtained[”].

[endorsement follows:]

At a Vestry held on Monday Sept. 30 this report was read and unanimously adopted. Present Rev W.R. Colbeck Messrs Nunn & Hancock Austin, Gilbertson, Crawley, Bridgeman, Rev C B Lowe G Hancock 80 Organ-building in Georgian and Victorian England

6.1d Copy of the letter from the churchwarden and treasurer instructing Gray to pro- ceed with the new organ (29 January 1840).

Hertford 29 Jany 1840 Sir, You are requested to build a New Organ in All Saints Church, Hertford, according to the Estimate and Specification signed by you this day and delivered to the Committee at the sum of Four hundred and twenty five Guineas.

Yours obediently James Hancock. Churchwarden James Gilbertson – Treasurer to the Subscribers Thos Sworder [?] – Hon Secretary

Mr John Gray 9 New Road Fitzroy Square

6.1e Letter of John Gray, from 9 New Road, Fitzroy Square,‘To the Committee for superintending the Erection of a New Organ in All Saints Church Hertford’ (20 January 1840).

[p.1] Gentlemen You will have seen in the Hertford Papers a Letter of mine denying the truth of a Paragraph in one which appeared in “the Essex Mercury” of last month signed “a Parishioner”, I thought it best became me to confine my remarks to the Paragraph in question which bore directly on myself, I say directly, for a careful perusal of the Letter convinces me, that although the avowed object was to censure the Committee, the real Supplement to Chapter 6 81

intention of the writer was, to place me in an invidious position before the Parishioners of Hertford; the whole Letter is adroitly and cautiously worded, just affording to a reader entirely ignorant of the facts, sufficient hints to enable them a doubt of my being a fit person to whom the Committee could safely entrust the execution of the work confided to their superintendence; I think I am borne out in this view by several passages in the Letter, I would premise that the writer is evidently acquainted with any particular of the Case [?], but he has contrived to make it appear throughout that my proposals are inferior in Value to those of Mr. Bishop[;] for instance, he states Mr. B’s Estimate [p.2] for a New Organ (with exceptions which he names) to be 285 Guineas, while he describes mine of 270 to be for a substantial repair, and that my Estimate for a New Organ is 425 Guineas, he then speaks of my “appropriating to myself the old Materials to be used by me in any other organ I may Choose” thus inferring, that I was not only to have a right of appropriation which it was not intended Mr. Bishop should have under his Estimate, but that I might work them up in the intended New Organ; he does not say this in express words, nor does he venture to say by what means, or by whom, I was made acquainted with Mr. B’s Estimate, as to the latter point, I trust my Letter in the paper will satisfy any unprejudiced Person. He concludes his Letter with a masked [?] warning that the Committee may have cause to repent of having employed me, but I beg Gentlemen most respectfully and earnestly to assure you that should I be honored [sic] with your Commands I would so execute the work as to give “no Parishioner” cause to regret my being employed. I am Gentlemen very respectfully Your Obt humble Servant John Gray 82 Organ-building in Georgian and Victorian England

6.1f Letter of John Gray, from 9 New Road, Fitzroy Square, to Mr James Hancock, churchwarden (29 May 1840).

[p.1] Sir I have received a Letter from the Revd Mr Lowe stating his desire that the new Organ should be opened on the 14 of July. The repairs of the Church commencing on the 8th of June, I have replied to him assuring him that I will be ready by the 14th. I think I should be able to sell the present Organ by advertisement, if you would permit me to refer parties for an inspection of it on the spot, and as it will only be required for use once after the appearance of the advertisement there would be little danger of its being injured by Persons who might view it so as to prevent its use for the 7th of June. I intend having a Public trial of your New Organ here on Monday the 29th of June[.] Mr. Adams will perform. The Clique belonging to “the Musical Journal” (not the Musical World) will, as usual cut it up being one of my Instruments, one of the Proprietors of the Work is an Organ Builder, and the Principal compiler of it is the Paid Jackass, or Trumpeter in Ordinary to another Organ Builder, I merely mention all this as I heard [p.2] there were some misgivings among some of my Friends at Hertford in consequence of the Journal’s abuse of my Tunbridge Wells organ, in London where these [illegible] sort of writers are well known by name their trash is unheeded, hoping to be favored [sic] with a line by return I am, Sir most respectfully your very humble Servant John Gray Supplement to Chapter 6 83

6.2 Chester Cathedral: installation of new organ, 1841–4 [CRO: Chester Cathedral collection, EDD/4/11].

6.2a William Hill’s estimate for a new organ (16 April 1842) [BOA, Hill & Son, Letter Book, 1, 118].

Chester } Estimate April 16th 1842 Cathedral } 3 rows of keys CC to F Great keys to CCC to act upon Pedal organ. Great Org[an] , Dou Dia, Open, Open, Stop, Quint, Prin, 12th, 15th, Sesquialtra, Doublette, Mixture, Trombone, Wald fl[.] Choir Org[an], Stop B, Claribel Treb, Viol de Gamba, Dulciana, Prin, 15th, Oboe fl, Cremona tenor C. Swell tenor C, Dou Dul, Open, Stop, Prin, Doublette, Flageolet, Cornopean, Oboe. Pedal organ CCC to D. Open, Stop, Prin, 15th, Sesquialtra 5 ranks, Trombone. Copulas, Ped to Great, Do to Choir, Sw to Gt & Choir to Do. 2 8ves & 2 notes of pedals, 3 composition pedals. Painted deal case, gilt front pipes, fixed up complete for £850. £100 is allowed for case of organ. The lower 8ve of 32 ft Open wd cost £260 gilt, if not gilt £200. If the CCCC pipe is put in front the case will have to be 50 ft high.

6.2b Gray & Davison’s estimate for a new organ (23 August 1842).

[p.1] The New Organ for Chester Cathedral.

Three Rows of Keys from GG to F 59 notes – the Choir from GG to F 59 notes – the Great Organ from CC to F 54 notes the Keys below to GG to act on the Pedal Organ – the Swell from FF to F the Keys to GG acting on the Choir Organ Bass. The Pedal Organ from CCC 16 feet to D, 2 octaves and 2 notes – To contain the following Stops – 84 Organ-building in Georgian and Victorian England

Great Organ Bourdon Double Diapason meeting Bourdon Open Diapason large scale Open Diapason smaller do Stopd Diapn Bass & Clarabella Treble Quint Principal Wald Flute Twelfth Fifteenth Sesquialtra 3 Ranks Mixture 2 Ranks do or Doublette 2 Ranks Trumpet Clarion

[p.2] Swell Bourdon Double Diapn meeting Bourdon Open Diapason Stopd Diapn Principal Stopped Flute Sesquialtra 3 Ranks Cornopean Hautboy Clarion

Choir Open Diapn Dulca Gamt G Stopd Bass Stopd Treble Principal Wood Flute Fifteenth Cremona Tenor C Supplement to Chapter 6 85

Pedal Organ Double Open Diapn 16 feet Bourdon 16 “ Open 8 “ Prin 4 “ Twelfth 3 “ Fifteenth 2 “ Tierce 1 7/8 [sic]

[p.3] Copulas Pedals to Great Pedals to Choir[,] G to take GG Swell to Great Swell to Choir or Choir to Great Both or either as practicable

Four Composition Pedals to the Great Organ and two to the Pedal Organ. Horizontal Bellows with Double Feeders for both Manuals and Great Organ [sic] – Speaking metal Pipes to be made for both the Choir and Nave Fronts and Gilded with the best Gold – To be packed conveyed and completely erected in the Cathedral without a Case for £766 10/- Net Cash on com- pletion without a Case. Frederic Davison 9 New Road Fitzroy Sq 23rd Augt 1842

6.2c Contract for the organ case (15 May 1843).

We agree to complete a Case for the Organ which we are now constructing for the Cathedral of Chester according to the following specification. The case is to be made according to the dimensions and pattern shewn in the Design annexed, of the best Deal free from knots, strongly framed, and put together in a workmanlike manner, with two fronts, like that shewn in the drawing, and with the sides appropriately panelled 86 Organ-building in Georgian and Victorian England

and with every appurtenance that is requisite for the perfect use & protection of the Organ. The whole is to be properly grained or stained in imitation of old oak & varnished with the best carriage varnish. The Case is in every respect to be constructed in the best manner and to the satisfaction of the Dean and Chapter of Chester, and to be completed and erected in the Cathedral together with around the Organ for the sum of two hundred and forty seven pounds. No extras whatever to be charged. Dated this 15th day of May 1843 Gray & Davison [added:] This contract in no way to disturb our previous Estimate for the Organ – G&D.

6.3 ‘The Model Organ on the German Plan’ for St Paul’s, Knightsbridge: review from the Musical World, vol. 18 (1843), pp.140–1 (20 April).

[140] We were, last week, unable to give any detailed account of this grand and magnificent instrument, which, comprising all the modern improvements of style and mechanism, and some novelties hitherto unattempted, also includes those advantages of compass and ponderous grandeur in the bass, that belonged to the early organs of Germany, for which Bach and other great masters wrote, but which, for lack of great organists, and especially pedal-players in latter days, have gradually been abridged and diminished. The object of the builders seems to have been to restore the vigour and sublimity of the giant-instrument, to combine with these the delicate refinements and brilliancy of the best modern organs, and by mechanical invention, to facilitate the hitherto surpassing difficulties of execution; and thus render the perfection of organ performance and effect more readily attainable, and more generally in use. The present is, therefore, submitted by them as a “Model Organ,” for future imitation and preference. It is the largest and most complete instrument lately produced; for the two great organs in the city, though planned upon a grander scale, are yet unfinished and imperfect – and, so far as we are acquainted, it surpasses in volume, and in the sweet and equable voicing of the solo-stops, any instrument in the metropolis. The programme of Wednesday last, comprised several fine pieces of Sebastian Bach, Graun, Haydn, Mozart, Gluck, Winter, and Handel, besides several of Mr. Adams’ extraordinary extempore pieces – unfortunately, from Supplement to Chapter 6 87 illness, he was unable to perform the whole selection, but sufficient was done to exhibit to great perfection, the remarkable talent he possesses, and the surpassing qualities of the instrument. In Storace’s beautiful air, “Ye streams that round my prison creep,” an entirely new stop was introduced, called the KERAULOPHON – in tone it resembles a reed stop blended with the mellower sounds of the flute, and is, at the same time, extremely brilliant and delicate. We doubt much whether Messrs. Gray and Davison will succeed in their effort, to extend the principle of this new discovery to the more powerful reed stops; but the attempt is praiseworthy. The Keraulophon is of quite a different genus to any other organ stop, and is evidently not new only in name. The different solo stops, of which there are a great variety in the instrument, were introduced by Mr. Adams, in the various pieces, and were highly effective, particularly the flute and the clarionet. The diapasons in the great organ are extremely full, and at the same time, bright and flowing; and were much admired. The swell of the instrument, from its extent, and construction, is particularly fine; when shut, the effect is that of a distant organ; and the gradual crescendo as it opens is grand and imposing in the extreme. This part of the instrument is superior to the swell in any organ we recollect to have heard. Nor must we omit to mention the completeness of the pedal organ, which is of an extent greater than in any other instrument in this country, with no less than nine ranks of pipes throughout. Its compass is from CCC 16 feet to E above C 4 feet, two octaves and three notes, and three stops of 16 feet. The plan adopted by the builders is that of the German organs, for which Bach wrote his magnificent pedal fugues. The compass of the manuals, or key- boards, commences at CC, the 8-feet pipe (instead of GG the 12-feet pipe; or FFF, as is generally the case in the organs hitherto built in this country), and has an independent pedal organ an octave below the manuals – that is, from CCC, 16-feet, with several ranks of pipes throughout of extended compass, instead of one stop of very limited compass. In this instrument, there are four rows of keys; one for the great or full organ – a second for the swell-organ, which is of the same compass as the great and choir organs – a third for the choir, or chamber organ, containing the solo stops – and a fourth on the bass of the choir-manual, for the purpose of a second performer playing on the pedal organ, in the absence of an experienced pedal player, and so far desirable. We may congratulate the admirers of the organ, resident in the metropolis, that, at last, we are to have an instrument of such pretensions, which is not only to be heard at an organ factory, and then sent off to some country town, or a distant part of the world, but to be erected in a metropolitan church – the new one of St. Paul, Wilton Place, Knightsbridge. The following are the stops in the various parts of the instrument: - 88 Organ-building in Georgian and Victorian England

SWELL ORGAN. Double Diapason, Bass 16 feet Sesquialtra 3 ranks Double Diapason, Treble 16 feet Mixture 2 ranks Open Diapason 8 feet Hautboy 8 feet Stopped Diapason 8 feet Cornopean 8 feet Principal 4 feet Trumpet 8 feet Flute 4 feet Clarion 4 feet Fifteenth 2 feet

GREAT ORGAN. Double Diapason, Bass 16 feet Fifteenth 2 feet Double Diapason, Treble 16 feet Sesquialtra 4 ranks Open Diapason 8 feet Mixture 2 ranks Open Diapason 8 feet Furniture 2 ranks Stopped Diapason 4 feet Trumpet 8 feet Principal 4 feet Clarion 4 feet Twelfth 3 feet

CHOIR ORGAN. Dulciana 8 feet Principal 4 feet Keraulophon (New Stop) 8 feet Piccolo 2 feet Stopped Diapason, Bass 8 feet Fifteenth 2 feet Stopped Diapason, Treble 8 feet Mixture 2 ranks Clarabella Flute 8 feet Clarionet 8 feet Flute 4 feet

PEDAL ORGAN. Open Diapason 16 feet Fifteenth 4 feet Stopped Diapason 16 feet Sesquialtra 4 ranks Principal 8 feet Trombone 16 feet

COPULAE. Swell to Great Manual. Swell to Choir Manual. Swell Manual to Pedals. Great Manual to ditto. Choir Manual to ditto. Supplement to Chapter 6 89

The Swell Organ is of the same compass as the Great and Choir Organs – CC 8 feet – and is of an improved construction. The four Reed stops, Hautboy, Cornopean, Trumpet and Clarion as well as the Double Diapason of 16 feet are throughout the whole compass of this part of the instrument. In the Choir organ are five solo stops, amongst them, one of quite a new description introduced for the first time in this instrument.

There are eight composition-pedals for changing the stops with the feet, four for the great organ, two for the swell, and two for the pedal-organ. There are nearly three thousand pipes in the instrument. Sixty form the ornamental front of the case, which is of the style of architecture termed perpendicular, prevalent during the fifteenth century, and composed from the best existing models of canopy-work of that date. Its outline is a square, with large octagonal turrets at each angle, with delicate buttresses and angle canopies surmounted by lofty and richly-crochetted [sic] pinnacles. The space between the turrets is filled by a series of five beautiful canopies. The lower part is a solid base from which the buttresses and pipes rise; and on the imposts is a series of carved angles [sic] with harps, lutes, and other symbols of music. The whole organ covers an area of fourteen feet square by thirty feet in height. The Marquis of Westminster has most munificently subscribed five hundred pounds towards the fund for placing this splendid instrument in St. Paul’s church, where it will be erected and ready for its devotional purpose in the course of next month.

6.4 Christ Church Cathedral, Oxford: the reconstruction of the organ, 1847 [Christ Church, Oxford, Archives: Estates 143, Cathedral 1582–1954].

6.4a Memorandum of Sir F.A.G. Ouseley concerning the organ (8 May 1847) [Estates 143, 119].

[p.1] Although the Christ Church Organ has many good points about it Yet the louder portions of it are too harsh and the mechanism so very old and imperfect that it is really almost unfit for 90 Organ-building in Georgian and Victorian England

the service – Indeed I am rather inclined to think that unless it be considerably enlarged and restored it will ere long become necessary to be replaced by an entirely new one the price of which would approach 900 or 1000 pounds whereas the necessary Additions & improvements to the present Instrument would [p.2] not exceed 350 or 400 pounds if judiciously applied – the present Organ is one of Father Schmidt’s Celebrated Instruments, and like all similar ones contains better Diapasons than any builder of modern date can manufacture. It would be I think a thousand pities to sacrifice these parts of the Organ – which would be the Case, I fear, unless timely restoration be resorted to – Another defect of the Organ as it at present stands is the very limited and awkward com: pass of the Manuals and pedals. [p.3] The Organ at present is as follows. Great Organ. Open Diapason, Stop’d Diapason, Principal, Twelfth, Fifteenth, Tierce, Sesquialtera, Cornet, Trumpet – Choir Organ. Stop’d Diapason, Flute, Principal, Fifteenth – Swell Organ. Stop’d Diapason, Dulciana, Open Diapason, Principal, Hautboy & Trumpet – Supplement to Chapter 6 91

The Compass is from GG (short octaves) to C in alt barely sufficient for the Common services, and totally inadequate to the Execution of Handel, Haydn, Bach, &c &c – The first thing I would suggest wd be to extend the scale both [p.4] upward and downward, so as to make it from FFF to F in alt like the Organ in New College Chapel. I would then propose an entire restoration of the Mechanism: as it is now, I regret to say, quite impossible to use, with any con: venience. With reference to the other improvements I can only refer to Mr Corfe the Orgt as I am sure he knows well what additions would produce the best results with the least ex: penditure.

F.A.G. Ouseley

May 8th 1847

6.4b John Gray’s report on the condition of the organ [7 July 1847?] [Estates 143, 125].

[p.1] The Organ in Ch. Church is deficient in compass both in the Bass and in the Treble, in the former there are 4 Keys wanting, not for the extension of the Compass below its present note GG, but to supply the notes GG#. BBb. BB. and CC# which this Instrument (in common with all others of the same Period of construction) never Possessed. In the treble an extension of 5 notes is required, by the introduction 92 Organ-building in Georgian and Victorian England

of 3 Pipes on the Pedals the notes BBb. BB. & CC# have been obtained for one Stop only, but it is an improvement of little value, as it renders the Pedals and Key Boards at variance with each other in compass. The Diapasons of the Great Organ are very good but the Chorus Stops beyond the Principal are of too large a Scale and render the full Organ too noisy for the Diapasons to bear up against, moreover the Trumpet Stop, of which there are few (if any) of the Original Pipes, has been filled up from time to time upon various Scales and should be replaced by an entirely new one, many of the larger pipes of this stop are broken down beyond further repair. The Swell, an addition of late years, is, as a distinct feature exceedingly good, but totally different in its quality of Tone to the rest of the Instrument[;] its compass should be extended to [ten. c on stave] and the Pipes transposed, whereby their Scale would be increased made to correspond with that of the Original Organ. The Choir Organ has only one Solo stop, a Dulciana or Keraulophon would be an improvement to it[.] There are no Pedals [sic] Pipes and a very limited complement of Pedals. There is at this time a difference of Opinion among Musical Men as to the Compass of the Key Board of an Organ, a return to the compass of the Continental Organ of the Past and Present Century is fast gaining ground in England, that compass has a less range of Keys for the finger with a greater number for the feet. Whichever scale is adopted in the improvement of the Ch. Church Organ it will be necessary to increase the size of the Case by making it wider from east to west. There would then be room within the Case for the Bellows which should be upon a better Principle, and acted upon by one Handle, and a Passage would be obtained behind the west part from South to North. No additions [p.2] whatever can be made without an enlargement of the Case, together with new Wind Chests, Keys and other movements.

6.4c Gray & Davison’s specification for repairs and improvements to the Christ Church organ (8 July 1847) [Estates 143, 129].

[p.1] Specification & Estimate for the repair and improvement of the Organ in Christ Church Cathedral Oxford Supplement to Chapter 6 93

The Whole of the Mechanism from long use has become so worn and loose that no Effectual renovation of it can be looked for – moreover the Wind Chests and Key Boards are too contracted to admit of the additional notes required to remedy the Original deficiency of the scale. The Bellows are upon an exploded principle, supplying only a constantly varying quantity of wind as the one or the other of the handles are [sic] pressed down. We therefore propose to remove the whole of the present interior of the instrument (pipes excepted) and reconstruct it upon a plan commensurate with the contemplated improvements in Compass &c. The Organ would then appear according to the following plan. To contain three complete rows of Keys from GG to F in alt, and two complete Octaves of German Pedals, an ample pair of Horizontal bellows with double feeders, compensating folds and internal waste valves, to be acted upon by one lever, a sufficient number of concussion valves to be introduced to prevent any tremor in the tone. The Case to be made two feet deeper from East to West, the East front retaining its present position Great Organ Open Diapason – The present stop, with 9 additional pipes Stop Diapason do. do. Principal do. do. Twelfth do. in the bass only, new treble of a less noisy scale Fifteenth do. do. Sesquialtra 3 ranks altogether new for the reason assigned respecting the Twelfth & fifteenth [p.2] Mixture – 2 Ranks an additional stop Trumpet altogether new, the present one being made up of all sorts of scales, probably none of the original pipes being in existence Clarabella – an additional stop to Tenor F, necessary to support the middle and upper part of 94 Organ-building in Georgian and Victorian England

the instrument the want of which is so apparent in the harsh sound of the Chorus.

Choir Organ Stop Diapason, the present stop with 9 additional pipes Principal do. do. Flute do. do. × Fifteenth do. do. × as this latter is seldom, if ever required in the verse parts of the service we would recommend its being exchanged for a Cremona, or Clarinet Stop, to fiddle G Dulciana an additional stop to Gamut G continued throughout with the Stop Diapason

Swell Organ Open Diapason } The present pipes transposed Stop Diapason } so as to assimilate with the Principal } scale of the original Organ Dulciana } together with 10 additional Hautboy } pipes to each stop Trumpet }

Open Pedal Pipes from CCC 16 feet to G (the extent of the pedals) the notes below CC to be repeated from those above

Coupling Stops 1 Pedals to Great 2 Pedals to Choir 3 Great to Swell [sic] 4 Choir to Swell [sic] 5 All three of the Organs upon the Great Manual

[p.3] The whole of the within described work to be constructed in the most substantial manner warranted and completely Erected in the Cathedral for use inclusive of all cost of packing carriage and every other Supplement to Chapter 6 95

charge for the sum of Four Hundred and Thirty Pounds. The substitution of a cremona for the 15th would cost Eight Pounds – in addition If the compass of the great organ Choir Organ and pedals be Extended to FFF a double diapason be substituted for the dulciana in the Swell and a Sesquialtra be added to the swell the extra expense will be Sixty five Pounds These Estimates are exclusive of any external embellishment beyond the colouring and varnishing of the additions to the Case Gray & Davison 9, 11 New Road Fitzroy Square July 8th 1847

[Endorsed in another hand:]

In Ch Ch July 9th 1847 The Canons present, Dr Self Dr Bull Dr [illegible] Sanctioned the [illegible] of 438£ upon the Cathedral organ, according to this Specification, Estimate of Mr John Gray

6.4d Letter of John Gray, from 9 New Road, Fitzroy Square, to The Revd Dr Bull, Can- on of Christ Church (8 July 1847) [Estates 143, 127].

Revd Sir You will perceive that I have drawn the accompanying specification in accordance with the compass set forth in my Memorandum of yesterday; at Mr Corfe’s request I have made a separate Estimate for the FFF, as also for the substitution of a Double Diapason for the Dulciana in the Swell, and for an additional Stop. Sir Frederick Ouseley mentions FFF as desirable, but it may be observed that it is 96 Organ-building in Georgian and Victorian England

by no means a compass at any time in general use, indeed it was confined with very few exceptions to the Organs of one Builder only, the celebrated Samuel Green, and as his Instruments are to be found in so many of the Cathedrals in England, Viz: Canterbury, Rochester, Salisbury, Wells, Lichfield, St Georges Chapel Windsor and New College Oxford &c – hence the predeliction on the part of Cathedral Organists for the FFF compass. As respects the Continental or reduced Scale of the Key Board, except in the power of the Pedal Organ (which would be incompatible with such a Building as Christ Church) that reduced scale may be made available in the GG Organ by merely confining the left hand to CC. Our Specification embraces an entirely new interior with the exception of the Stops of Pipes which we have particularised, those Stops (especially all which are of wood) are as sound as at the time of their construction and will remain so for Centuries to come. I trust what I have herein stated, together with a reference to my Paper of yesterday[,] will fully explain the completeness of the Plan we have the Honor to submit. I am Revd Sir most respectfully Your St John Gray

6.4e Letter of John Gray, from 9 New Road, Fitzroy Square, to The Revd Dr Bull, Christ Church, Oxford (10 July 1847) [Estates 143, 131].

Revd Sir We should not want to disturb any part of the Organ, or send any Workmen into the Cathedral until the Middle of next month, from that time until the whole work should be completed the organ would be useless. If a service commenced at 12 at noon it might be continued during the whole time of the repair, and that within the Choir, as we should require no scaffolding except in the Organ Gallery, and the End Supplement to Chapter 6 97

of one of the transepts or the Chapel on the south side would be sufficient for our Workmen, the whole of the new interior of the Instrument would be built here upon a frame independent of the Case so that the enlargement of the Case itself would be the only manufacturing work done in the Cathedral. We would undertake that all our Workmen should be out of the Cathedral on the 1st of October except the Tuner, and his work would be completed before the following Friday 8th[;] to carry this into Effect the work must be put in hand immediately. I shall go to Bath on Monday Eve and return by the rail on Wednesday Eve and could Order our Foreman to meet me at Oxford on Thursday morning when I would give him the necessary instructions. A Letter would reach me here by the Morning Mail from Oxford on Monday, and at “The Post Office, Bath” on Tuesday and Wednesday morning. I am Revd Sir most respectfully Yr Ob Sert John Gray

6.4f Letter of John Gray, from 9 New Road, Fitzroy Square, to The Revd Dr Bull, Christ Church, Oxford (12 July 1847) [Estates 143, 133].

[p.1] Revd Sir, I went to Ch. Church on the 15 Inst and took the necessary dimensions for the Rebuilding of the Organ, the Plan is now all arranged within the limits of the Case as agreed, Viz an Addition of 2 feet to the westward which leaves a Passage on that side from north to south. I propose removing the present interior of the Instrument on Monday 98 Organ-building in Georgian and Victorian England

morning the 16th of August when the use of the Instrument must of course cease[.] The omission of that Part of our Estimate comprising the extension of the Compass to FFF and the introduction of a Sesquialtra in the Swell, will, in our Opinion, not be detrimental to the general Effect of the Instrument, but the substitution of a Double [p.2] Diapason for the Dulciana we consider so desirable that we propose making that Alteration without charge. We shall avail ourselves of your Permission to introduce the Clarionet in the place of the 15th in the Choir. I am, Revd Sir most respectfully Your Ob Sert John Gray

6.5 Extracts from the will of John Gray (1848–9) [LFHC: PROB 11/2094/435/284-7].

I John Gray of the New Road in the Parish of Saint Pancras and of Holly Lodge Hanwell in the County of Middlesex Organ Builder do declare this to be my last Will and Testament I give and bequeath unto my dear Wife Jane Ann Warner Gray for her absolute use and benefit the sum of two hundred pounds of lawful money of Great Britain to be paid to her within three calendar months after my decease I also give and bequeath unto my said Wife for her absolute use and benefit all my household furniture plate linen china jewels trinkets watches wearing apparel wines and liquors and other effects of a household [denomination?] which at the time of my decease may be in or about or belonging to my dwellinghouse at Hanwell aforesaid or wherever I may then be residing I also give and bequeath to my said wife for her absolute use and benefit … All the estate [term?] and interest which at the time of my decease I shall or may have Supplement to Chapter 6 99 in my said house and grounds and the lands held therewith at Hanwell aforesaid … but in case my said wife shall not accept the said lease within the said space of three calendar months then I direct that the said leasehold house and grounds an the lands held therewith shall be sold by my Executors … for the best price that can be reasonably obtained for the same and the proceeds arising from the sale and the rents and profits thereof [shall] become part of my residuary personal estate And whereas by the Articles of Copartnership subsisting between me and my Copartner Frederick Davison for carrying on the Business of an Organ Builder and Organ Tuner it is provided that if he survive me he shall become the purchaser of my share of and in the capital or joint stock and effects of the said copartnership except debts owing to the same at or for such price or sum of money as shall be the amount of a valuation and amount to be then made out and taken thereof for that purpose by or on behalf of my said Partner and my Executors and shall also take the several Organs mentioned in the Schedule to the said Articles and which are my separate property at the several prices in the said Schedule mentioned and that the amount of the valuation so to be made as aforesaid including the amount of the prices of the said several Organs shall be paid together with interest thereon at the rate of five pounds per centum per annum by three equal instalments or portions at the end of twelve eighteen and twenty four calendar months to be respectively computed from the day of my decease And that for securing the payment thereof by such instalments with interest as aforesaid the said Frederick Davison with one or more surety or sureties to be appointed by my Executors shall give and execute unto them to their satisfaction a Bond in a sufficient penalty and thereupon they shall at the costs and charges of the said Frederick Davison only assign or release to him all my share and interest of and in the said capital or joint stock and effects and the goodwill of the said copartnership business and that all the debts and monies which at the time of my decease shall be due and owing or belonging to or in respect of the said copartnership business shall as soon as conveniently may be afterwards collected got in and received by the surviving partner and the same when so collected got in and received shall after and subject to provision being made for payment of all the debts which should be then due and owing by from or in respect of the copartnership be divided between him the said Frederick Davison and my Executors in the proportions in which I and my said partner are entitled to the same And it was by the said Articles also provided that in case I should die during the continuance of the copartnership leaving my said Wife Jane Ann Warner Gray my widow that then and in such case in addition to the payment to be made to my Executors for the purchase of my share as aforesaid the said Frederick Davison shall thenceforth during the life of my said wife pay 100 Organ-building in Georgian and Victorian England

to her a clear annuity or [yearly?] sum of one hundred and fifty pounds by four equal portions in every year without any deduction or abatement on any account whatsoever (whether the copartnership business shall be continued by the said Frederick Davison his exors or administrators or not) the first quarterly payment thereof to be made at the end of three calendar months next after my decease And that the said Frederick Davison his executors or administrators shall at his or their expense execute and give to my said Wife a deed of Covenant for payment of the said annuity with powers of distress upon the copartnership premises or such other premises whereon the said business shall for the time being be carried on by the said Frederick Davison his executors or administrators … And I hereby give and bequeath unto my said Wife for her absolute use and benefit the said annuity of one hundred and fifty pounds payable to her under the said Articles And also a further annuity or annual sum of one hundred pounds during her life by equal quarterly payments the first quarterly payment thereof to be made at the expiration of three calendar months from the day of my decease without any deduction or abatement whatsoever except in respect of Property or Income Tax I give and bequeath unto my said Wife and to John Mitchell of [Trevegar?] Square Mile End Road in the County of Middlesex Gentleman (my Brother in Law) their executors and administrators all my leasehold messuages or tenements and parts or shares of leasehold messuages or tenements situate and being in Tottenham Court Tottenham Court Road and Mortimer Market in the the County of Middlesex or elsewhere except my said leasehold tenements at Hanwell aforesaid And also all my Residuary Estate upon Trust that they my said trustees … do and shall pay the surplus yearly rents issues and profits of the said leasehold tenements and premises … and of the interest dividends and annual produce of my residuary estate after answering and satisfying the said annuities … unto my … daughter Maria [Gray] and my daughter Emily Mitchell in equal shares for their respective use and benefit And from and after the decease of my said Wife do and shall stand and be possessed of the said leasehold tenements and premises and residuary estate and the rents issues profits and dividends interest and annual produce thereof In Trust for my said two daughters Maria and Emily in equal shares and proportions … I appoint my said Wife and the said John Mitchell Executrix and Executor of this my last Will and Testament … In witness whereof I the said John Gray have to this my last Will and Testament contained in six sheets of paper set my hand this thirtieth day of August in the year of our Lord one thousand eight hundred and forty eight – John Gray – Signed by the above named John Gray and by him declared to be his last Will and Testament in the presence of us present at the same time and who in his presence and in the presence of each other have Supplement to Chapter 6 101

hereunto subscribed our names as witnesses. Chas J. Shoubridge Solr 3 Bedford Row – Thos C. Bramley Solr same place.

This is a Codicil to the last Will and Testament of me John Gray of the New Road in the Parish of Saint Pancras and of Holly Lodge Hanwell in the County of Middlesex Organ Builder bearing date the thirtieth day of August one thousand eight hundred and forty eight whereas by an Indenture bearing date on or about the twenty sixth day of March one thousand eight hundred and forty nine and made between myself of the one part and my partner Frederick Davison of the other part (endorsed on our Articles of Partnership) I have covenanted and agreed that in the event of my decease in his lifetime the period for payment by him of the amount of the valuation and account of my share of the copartnership property and effects (except debts owing to us as copartners) and of certain organs my separate property with interest as therein mentioned shall be extended to five years from the day of my decease by ten equal half yearly instalments to be computed from that day … I give and bequeath unto my dear Wife Jane Anne Warner Gray John Mitchell (named in my said will) and Charles John Shoubridge of Bedford Row in the county of Middlesex Solicitor or other Executors of my Will for the time being the sum of five hundred pounds of lawful money of Great Britain upon Trust that they or the survivors or survivor of them or the executors administrators or assigns of such survivor so and shall invest the same in their or his names or name in the public Stocks or funds or at interest upon Government or freehold copyhold or leasehold securities in England or Wales … to pay and apply the dividends interest and annual produce thereof in or towards the education maintenance and support of my Grandson Alfred John Gray Son of my Son Alfred Gray during his minority in such manner as they my said trustees or trustee shall think fit without reference to the ability of my said Son to provide for such maintenance education and support and for that purpose … And I do hereby appoint the said Charles John Shoubridge Trustee and Executor of my said Will jointly with my said Wife and the said John Mitchell … In witness whereof I the said John Gray have to this Codicil to my Will contained in three sheets of paper set my hand this twenty ninth day of March in the year of our Lord one thousand eight hundred and forty nine – John Gray – Signed by the above named John Gray and by him declared to be a Codicil to his last Will and Testament in the presence of us present at the same time and who in his presence and in the presence of each other have hereunto subscribed our names as witnesses. Harry Shoubridge 3 Bedford Row – Elizabeth Homer Hanwell chapter 7

7.1 Gray & Davison’s organs for the Great Exhibition, Hyde Park, London (1851), described by William Pole, Musical instruments in the Great Industrial Exhibition of 1851 (London, 1851), 65–8.

[p.65] Messrs. Gray and Davison exhibit three organs, viz., a large church organ, placed in the gallery at the extreme eastern end of the building; an improved barrel organ, and a small church organ in the north gallery of the transept. The large church organ has three rows of keys, and 34 stops, viz., -

Great Organ (middle clavier).

1. Double open diapason Open 16 feet. 2. Open diapason Open 8 feet. 3. Open diapason Open 8 feet. 4. Stopped diapason Stopped 8 feet. 5. Octave Open 4 feet. 6. Flute Stopped wood 4 feet. 7. Twelfth Open 2⅔ feet. 8. Fifteenth Open 2 feet. 9. Flageolet Open wood 2 feet. 10. Sesquialter Compound 3 ranks. 11. Mixture Ditto 2 ranks 12. Posaune Reed 8 feet. 13. Clarion Reed 4 feet.

Choir Organ (lower clavier). 1. Dulciana Open 8 feet. 2. Keraulophon Open 8 feet. 3. Stopped diapason bass Stopped 8 feet. 4. Clarionet flute Half stopped wood 8 feet. 5. Octave Open 4 feet. 6. Flute Open wood 4 feet. 7. Fifteenth Open 2 feet. 8. Clarionet Reed 8 feet.

102 Supplement to Chapter 7 103

[p.66] Swell Organ (upper clavier). 1. Bourdon Stopped 16 feet. 2. Open diapason Open 8 feet. 3. Stopped diapason Stopped 8 feet. 4. Octave Open 4 feet. 5. Fifteenth Open 2 feet. 6. Sesquialter Compound 3 ranks. 7. Cornopean Reed 8 feet. 8. Oboe Reed 8 feet. 9. Clarion Reed 4 feet.

Pedal Organ. 1. Grand Open Diapason Open wood 16 feet. 2. Grand Bourdon Stopped 16 feet. 3. Grand Octave Open 8 feet. 4. Grand Bombarde Reed 16 feet.

The compass of the great and choir organs is from C to F, four and a half octaves; the swell organ is an octave less, extending only down to tenor or 4-feet C. The clavier has, however, the same compass as the other two, the notes below 4-feet C playing on the choir organ. The compass of the pedals is two octaves and a third, from C to E. The stop called keraulophon* is the invention of this firm, and was first introduced by them in the organ in St. Paul’s Church, Wilton-place. It consists of an open metal pipe, having a sliding tube at the top, pierced with a hole in the side. It gives a very agreeable tone, intermediate in character between a flute stop and a horn or soft reed. There are five coupling stops. The first couples the swell upon the great organ manual, and the second upon the choir. A third causes the pedals to pull down the lower keys of the great organ, and a fourth answers the same purpose for those of the choir. The fifth coupler brings the pedals on the swell an octave higher; the lowest note acting on 4-feet C, and the upper one extending high into the treble part of the clavier; by which means a canto firmo may be played by the pedals in the tenor part, or even in the soprano, if required.† There is another coupling apparatus, in the form of a pedal, which brings the great organ upon the swell; this is called the sforzando pedal, its use being to give a sudden forte while playing on the swell organ. 104 Organ-building in Georgian and Victorian England

There are six composition pedals for changing the stops. The first two [p.67] belong to the swell, – one for bringing on the two stops marked 3 and 7; the second the full swell organ. The other four pedals belong to the great organ; the third gives stops Nos. 2, 4, 6, and 9; the fourth Nos. 1, 2, 3, and 4; the fifth brings on a forte combination, consisting of Nos. 1, 2, 3, 4, 5, 7, 8, and 10, and the sixth gives the fortissimo or full organ. The swell box has a double set of Venetian louvre boards, one in front of the other, the more effectually to shut in the sound. They are both acted on by the same pedal. The bellows are of double construction, and placed outside the organ case. They are two in number, giving different pressures of wind; the higher pressure applies to the pedal organ, the lower one to the remainder of the instrument. The barrel organ exhibited by Messrs. Gray and Davison is on a new principle, patented by them … [p.68] The present instrument is a small one, containing thirty psalm tunes on three barrels, and has three stops. The tunes are arranged in four distinct parts, so that the organ may be used to lead a choir of voices if required. This organ is not enclosed in a case, but the whole of the machinery is exhibited to view. The framework is so constructed that there is no necessity to take the instrument to pieces for removal or exportation. The same firm also exhibits a small church organ, with one row of keys, and a pedal clavier. There are eight stops to the manuals, and one (16 feet) to the pedals. It has also couplers and composition pedals, and the whole is enclosed in a case, having Venetian swell shutters in front.

* From κέράς, a horn, άϋλος, a flute, and φώνή, sound; - an ingenious and appropriate name, albeit rather pedantic. “Horn-flute” would have answered the purpose, with the advantage of being intelligible to the multitude.

† Vide several such arrangements in the Choral Vorspiele of Sebastian Bach. Supplement to Chapter 7 105

7.2 A description of the Glasgow City Hall organ (1853), issued by Gray & Davison, and printed in the Musical World, vol. 31 (1853), 525–6.

[p.525] This large and fine Instrument, containing fifty-five stops and upwards of three thousand pipes, being, by many degrees, the most complete organ yet erected in Scotland, and, in a variety of respects, among the most remarkable hitherto produced in the , it is deemed advisable to place before the musical profession and the public a somewhat more extended description of its structure than is usually considered necessary. Designed specially as a concert-organ – as an instrument, in other words, not only capable of efficiently supporting and accompanying a large band of voices in the choruses of an oratorio, but equally adapted to every species of solo performance, from the severest fugue of Sebastian Bach, to the lightest modern French overture, the first point for notice is the unusually large compass of its key-boards. Each manual has a range of five complete octaves, or sixty-one notes, extending from CC to C in alt., thus affording facility for the just execution of any known orchestral music without the distortion, inversion, and consequently frequent mutilation, of its passages. The pedal clavier has a compass of two octaves and a third, and besides being capable of connection at will with any or all of the manuals, commands an independent organ of its own. The general contents of the instrument are most conveniently exhibited in tabular form, and this is subjoined: –

GREAT ORGAN. 1. Bourdon 16 feet 2. Open Diapason 8 3. Stopped Diapason 8 4. Gamba 8 5. Octave 4 6. Piccolo 4 7. Twelfth 3 8. Fifteenth 2 9. Ottavina 2 10. Sesquialtra 3 ranks. 11. Mixture 3 [ranks] 12. Flute Harmonique 8 feet 13. Flute Harmonique 4 14. Posaune 8 15. Clarion 4 106 Organ-building in Georgian and Victorian England

SWELL ORGAN. 1. Bourdon 16 feet 2. Open Diapason 8 3. Keraulophon 8 4. Stopped Diapason Bass 8 5. Clarionet Flute 8 6. Octave 4 7. Flute 4 8. Fifteenth 2 9. Flageolet 2 10. Sesquialtra 3 ranks 11. Mixture 2 [ranks] 12. Contra-Fagotto 16 feet 13. Cornopean 8 14. Oboe 8 15. Voix-Humaine 8 16. Clarion 4

CHOIR ORGAN. 1. Open Diapason, Tin 8 feet 2. Clarionet Flute 8 3. Stopped Diapason Bass 8 4. Salcional 8 5. Octave 4 6. Flute 4 [526] 7. Fifteenth 2 8. Piccolo 2 9. Corno di Bassetto 8 10. Voix-Celeste 8

PEDAL ORGAN. 1. Contra Bourdon 32 feet 2. Open Diapason 16 3. Bourdon 16 4. Octave 8 5. Fifteenth 4 6. Trombone 16 Supplement to Chapter 7 107

COUPLING STOPS. 1. Swell to Great Manual, Unison. 2. Swell to Great Ditto, Super-Octave. 3. Swell to Great Ditto, Sub-Octave. 4. Choir to Great Ditto, Sub-Octave. 5. The Reeds and Harmonic Flutes of Great Organ to Swell, Unison, by a Pedal. 6. Swell Manual to Pedals. 7. Great Ditto to Pedals. 8. Choir Ditto to Pedals.

And lastly, there is a in connection with the swell-organ, six composition pedals for producing varied combinations of the great organ stops, and two for the swell stops. A mere glance at the foregoing enumeration will sufficiently show that the Glasgow organ possesses unusual capabilities for both power and variety of effect. Its great and remarkable peculiarities of structure, however, are not so easily discernible, and require, therefore, more detailed description. The whole may be regarded as an important step in a new direction, – the outset of a carefully considered endeavour to ameliorate and exalt the entire character of the organ as a musical instrument. Great as have been the improvements in its construction in this country within the last twenty years, there yet remains much ground for the complaint, often urged, of its insufficient adaptability to variety of style in music. While undisputedly suited to the grand, severe, and massive, it yet but cumbrously lends itself to the tender, expressive, and passionate. Its tones, admitted to be majestic and striking, are yet often too reviled as cold and unsympathetic. Its mechanism, while efficient in strength and certainty of action, is frequently clumsy and unscientific in detail, and invariably more or less distressing in its operation on the performer. And lastly, there are obstacles in the way of a perfect equalization of its tones, known only to those technically intimate with the subject, and dependent on acoustic peculiarities but imperfectly understood, which have never as yet found a remedy, – at least, in this country. In seeking to overcome these disadvantages, attention has been first given to the internal mechanism immediately in connection with the touch. The fingers of the organ performer it must be popularly known, are employed – through the intervention of the keys and their connections – in opening a series of 108 Organ-building in Georgian and Victorian England

valves whereby compressed air is admitted to the pipes of the instrument. This compressed air at all times resists the finger of the player to a certain extent; but when, as in large instruments, two or three key-boards are united by means of the couplers, and thus twice or thrice (in the case of the Glasgow organ six times) the ordinary number of valves have to be simultaneously opened, the force required for the purpose is inconveniently and fatiguingly great. In the present instance, all this is at once remedied by the adoption of the admirable mechanism patented some years since in Paris by Mr. Barker, and known as the Pneumatic Lever. This apparatus may be briefly described as a species of subsidiary engine interposed between the keys of the organ and the valves in the sound-boards, and which, on being supplied with air by the fingers of the player, acts by pneumatic pressure on any required number of valves, together or in succession, and thus the wind, hitherto the antagonist of the performer, is ingeniously converted into his assistant. Another remarkable feature of this instrument is found in the “Great Organ,” the last four stops of which (the harmonic flutes and reeds) are placed on a distinct sound-board, in order that they may be supplied with air at a higher pressure than that allotted to the rest of the great organ; and this pressure is again increased in the three upper octaves of these stops. This increasing pressure is adopted in deference to well-known acoustic laws, and will be found to greatly augment the volume and quality of the reed stops, besides obviating that tendency to thinness and irregularity in the upper portions of their compass, which has been otherwise found irremediable. Furthermore, by a peculiar mechanical arrangement, these four stops can at pleasure be thrown out of connection with the great organ-keys, and placed under the command of the swell manual – thus possessing in many respects, the effect and advantage of a fourth key-board. Two of these stops, the harmonic flutes, are entire novelties in this country. They are of French invention, and possess characteristics of volume and quality which must speedily render them indispensable in organs of any pretension to excellence. Another point demanding notice is the number and variety of the coupling stops, or, in other words, those contrivances by which one key-board is made to act on the others. Thus, for example, the swell may be combined with the great organ in four distinct ways, and this wholly independent of the arrangement of stops employed in either manual. By these means, on the one hand, the power of the instrument may be nearly doubled; and, on the other, such a number of varied, delicate, and exquisite combinations – such close mimicries of the most fanciful effects of the modern orchestra – may be attained, as can in no other conceivable way be placed under the will of a single performer. It may also be here mentioned Supplement to Chapter 7 109

that the mechanism of these coupling stops is of novel construction, which offers infinitely smaller chances of derangement than that hitherto in use. On the same principles, and with similar objects, which govern the distribution of the wind in the great organ, care has been taken to separate and vary the air-pressure in the pedal sound-boards. A degree of pressure necessary to develop the tone of the 16-feet reed trombone would be wholly unsuited to the contra-boudon, and provision is, therefore, made for a separate and differently- weighted supply in each case. It remains to direct attention to three other important novelties – the voix humaine and tremulant of the swell, and the voix celeste of the choir. The first two are only known traditionally in this country – the last is wholly new here. All three have been adopted from the most refined specimens of the organ-builder’s art in existence; and it is confidently expected the result will justify the taste which has governed their introduction. It is unnecessary to enter into any description of their structure, though it may be well to explain that, in effect, they are capable of imparting, in various degrees, that breathing vitality to organ tone, the absence of which has hitherto rendered next to profitless any attempt to make it the exponent of impassioned music.

7.3 Review of the new organ in Magdalen College Chapel, Oxford from the Musical World, vol. 33 (1855), 130-1 (3 March).

[130] MAGDALEN COLLEGE CHAPEL, OXFORD.

This organ, lately completed by Messrs. Gray and Davison, has been several times exhibited at their manufactory with perfect success. As it will very shortly be removed to its destined site in the Chapel of Magdalen College, Oxford, and is, in several respects, a remarkable instrument, something more than a mere record of its existence may, perhaps, be acceptable to our readers. To begin with, then, we subjoin a list of its registers: – Four complete Manuals, from CC 8 feet to F in alt, the swell throughout, – the Pedal Organ, two octaves and a fourth, from CCC 16 feet to F. The following are the stops in this instrument: – 110 Organ-building in Georgian and Victorian England

PEDAL ORGAN. Flute d-Amour 4-feet Grand Open Diapason 16-feet Piccolo 2-feet Grand Bourdon 16-feet Corno di Bassetto 8-feet Grand Octave 8-feet Grand Trombone 16-feet SWELL ORGAN. Bourdon 16 feet SOLO ORGAN. Open Diapason 8-feet Flute Harmonique 8-feet Stopped Diapason Bass 8-feet Tromba 8-feet Clarionet Flute 8-feet Keraulophon 8-feet GRAND ORGAN. Octave 4-feet Open Diapason 8-feet Super Octave 2-feet Open Diapason 8-feet Sesquialtra 3-ranks Stopped Diapason 8-feet Cornopean 8-feet Octave 4-feet Oboe 8-feet Flute 4-feet Clarion 4-feet Twelfth 3-feet Tremulant Super Octave 2-feet Sesquialtra 3-ranks COUPLERS Mixture 2-ranks Swell to Great Manual. Posaune 8-feet Swell to Choir Manual. Swell Manual to Pedals. CHOIR ORGAN. Great Manual to Pedals. Salcional 8-feet Choir Manual to Pedals. Gamba 8-feet Choir Sub Octave to Great Manual. Stopped Diapason Bass 8-feet Swell to Great Sub Octave. Concert Flute 8-feet Swell to Great Super Octave. Octave 4-feet Solo to Swell Manual.

A mere inspection of this scheme will convince any one acquainted with the subject that the Magdalen Organ, though by no means what, in these days, can be called a very large, is a singularly complete instrument. Indeed, it would be difficult to mention another organ of which the comparatively small contents are made to go so far, or in which, as limited a number of registers place, by judicious contrivance, an equal amount of effect in the hands of the solo-performer. The only serious omission – and a very strange one it is – seems to be the absence of any sixteen-feet register on the great-organ manual. As, in London, at least, the sixteen-feet stop has long been recognized an essential component of the character Supplement to Chapter 7 111

of tone required for a great-organ – at least, in instruments of any pretension to magnitude, we presume that in omitting it, in this case, the organ-builders simply followed their instructions. In some of the quiet spots in England, where learning and progress do not always mean the same thing, the organs of Father Smith and Greene still reign supreme as models of effect. What our forefathers did, that must their posterity do. There is a sort of pious horror of a “double diapason.” We hear all sorts of things alleged against it. It is offensive to the ear, and it makes all manner of breaches in musical grammar, which are, doubtless, more distressingly felt at the seats of learning than elsewhere. Nevertheless – and ears and grammar and everything else to the contrary notwithstanding, (perhaps, our Continental neighbours may chance to be quite as sensitive on these points as any one else) – we caution the objectors that they will never make a fine great organ without this dreaded stop. We mention the omission merely on the score of effect. So far as power and magnitude are concerned, the instrument is abundantly enough for the building in which it is to be heard: – indeed, it is highly probable that, when placed in situ, a very judicious style of management may be expedient if its tones are to be kept on the agreeable side of sufficience. The first constructive peculiarity we notice about this instrument is the fourth manual, or “Solo Organ.” It is placed above the swell manual, and commands a Flute Harmonique of eight feet, down to tenor C, and a Tromba of eight feet, extending through the compass of the key-board. The sound-boards of this manual are placed near the front, and at the top of the organ case. The pipes of the Tromba, completely in view, project horizontally over the cornice at the front and sides of the case, and above these again rise perpendicularly the tubes of the Flute Harmonique, yielding, in the catenarian curve formed by their extremities, an elegant finish to the contour of the design. Appearance, however, is by no means the chief object of this arrangement. Both these stops – and each appropriately in its kind – gain immensely in effect by the lofty and unscreened position assigned to them. The delicious qualities of the Flute Harmonique we have often referred to. Messrs. Gray and Davison were the first builders in England who attempted the making of this stop, and have yet remained by far the most successful: the present instance makes no exception to their claims in this respect. The Tromba is a powerful reed of the “Tuba” species, blown with six inches pressure of wind; – a limited force, certainly, for stops of this description, but selected, with great judgment, we think, as sufficient in reference to the general size of the organ and the requirements of the building in which it is to be heard. 112 Organ-building in Georgian and Victorian England

This is the first stop of its kind made by Messrs. Gray and Davison, and does infinite credit to the skill of its voicer. It is very powerful, its quality is, throughout, pure, rich, and brilliant, and it affords, perhaps, especially in the upper part of its compass, the best imitation of the orchestral trumpet we have heard. Under clever management, surprising effects are producible with this tromba. The force of its tone enables it to penetrate with perfect clearness through the whole volume of the Great Organ, even when thrice-coupled to the swell, and yet its power is always truly musical. It would be a great improvement, we conceive, on another occasion, to give the performer a control in modifying the energy of its tone by means of some application of the Venetian swell. Nothing else, in short, is wanted to make this stop an unexceptionable substitute in all cases of obbligato accompaniment, for the orchestral trumpet. Other very noticeable peculiarities in the structure of this instrument are, first, an arrangement in the great-organ sound-boards, by which all the upper half of the compass in the flue-work, as well as in the reeds, is supplied with a slightly increased air-pressure. We have repeatedly pointed out the value of this application, and are glad to find it here adopted. Its object is to ensure a more even balance of force between the trebles and basses, and, in the present instance, the correctness of the principle is well demonstrated. Second, the introduction of the super and sub-octave couplers between the swell and great organ, which were first applied by Messrs. Gray and Davison to the organ of St Luke’s, Old-street, and by means of which such extraordinary effects of combination are producible; and third, necessitated by the number of couplers – the pneumatic apparatus to the great organ touch; every fresh experiment with which more clearly shows the beauty of the invention, and its paramount utility in all large or mechanically complicated instruments. The general nature of the mechanical arrangements and the distribution of the work are not fairly discussable points, since they were manifestly dictated to the builders by circumstances superior to all discretion in the matter. There is, perhaps, not another organ in existence in which so much work and of such varied description is enclosed within the same number of cubic feet. The case is now four feet wider than that of the original organ, yet, notwithstanding the increased space, the interior is a mass and jumble of material through which the eye with difficult penetrates, and into which bodily entrance seems all but impossible. Now, although under such circumstances, it is highly creditable to the builders to find room for the speech of pipes and just action of machinery, the whole thing is, we submit, a great mistake. People who employ architects first, and organ- Supplement to Chapter 7 113

builders afterwards, and expect master-pieces from the hands of both, should take care that fair-play is administered to each in the progress of his work. We hear a vast fuss made [131] about piscine [sic], sedilia, credence-tables, rood-screens, and other trumpery, of which neither the names nor uses find mention in the prayer-book, and which cannot be of the slightest service to any one either here or hereafter; while the organ, by far the most important piece of furniture in the church, and all but inevitably necessary to that “Singing” of praise and prayer which no one has yet had the hardihood to reckon less than of but secondary value to any act of worship whatever, is usually thrust about into any hole or corner of the building suggested by the vanity of ignorance of the architect. We do not say this has been literally done at Magdalen Chapel. The organ is to stand on the screen, as heretofore; but, in dread of obscuring a few extra superficial feet of a pretty, but not more than pretty, west window, the organ-case has been limited to dimensions anything but favourable to its internal economy. Either the authorities should have been content with a smaller organ, or should have conceded sufficient space for a larger one. The present arrangement is in the highest degree, unfair to the builders. These errors, however, generally bring their own punishment with them. Wait until something gets extensively out of order in the Magdalen organ, and the paymasters may probably discover the cost of attempting to cram a bullock into a goat’s skin. Of the voicing of the instrument, we can speak in the very highest terms of praise. The flue-work is pure and beautiful throughout, and the reeds, without any exception, are among the finest in this country. The mixture-work of the Great Organ is somewhat too tame; but this – judging from the usual style of these builders – we conclude to be, like the omission of the 16-feet stop in the same manual, “done to order.” The Choir Organ, especially, is a perfect galaxy of gems. The Flute d’amour and Piccolo of this manual are both as utterly novel in character as delicious, and the Corno di Bassetto, extending throughout the key-board, is the most admirable reed of the kind we ever heard. The limited dimensions of the case compelled the adoption of unusually small scales for the Pedal Organ. But this, in reality, has proved rather an advantage than otherwise; for the tone of this part of the instrument, while sufficient in volume, has a crispness and punctuality of articulation which heavier scales might somewhat have impaired … 114 Organ-building in Georgian and Victorian England

7.4 Extract from a review of the new organ for Birmingham Music Hall from the Musical World, vol. 34 (1856), 556–7, 569–70 (30 August, 6 September).

[556] THE NEW MUSIC HALL AT BIRMINGHAM & ITS ORGAN

The organ recently exhibited at Messrs. Gray and Davison’s manufactory, and, by this time we suppose, fairly placed in its destined position at Birmingham, is an instrument sufficiently remarkable, in many respects, to call for something more at our hands than a mere tabular enumeration of its contents. We give the latter, however, to commence with.

GREAT ORGAN. (Compass from CC to A in altissimo.) Double Diapason 16 feet. Twelfth 3 feet. Open Diapason 8 ” Super Octave 2 ” Gamba 8 ” Furniture 3 Ranks. Flute Harmonique 8 ” Mixture 3 ” Stopped Diapason 8 ” Posaune 8 feet. Flute Octaviante 4 ” Clarion 4 ” Octave 4 ”

SWELL ORGAN. (Compass same as Great Organ.) Bourdon 16 feet. Mixture 3 Ranks. Open Diapason 8 ” Cornopean 8 feet. Stopped Diapason 8 ” Oboe 8 ” Octave 4 ” Clarion 4 ” Super Octave 2 ”

CHOIR ORGAN. (Compass same as Great Organ.) Salcional 8 feet. Flute d’Amore 4 feet. Viol di Gamba 8 ” Gems Horn 4 ” Stopped Diapason Bass 8 ” Piccolo 2 ” Clarionet Flute 8 ” Corno di Bassetto 8 ” Supplement to Chapter 7 115

PEDAL ORGAN. (Compass from CCC to F.) Contra Bourdon 32 feet. Super Octave 4 feet. Open Diapason 16 ” Trombone 16 ” Bourdon 16 ” Trumpet 8 ” Octave 8 ”

COUPLERS, &c. Swell to Great Manual Unison Great Manual to Pedals Ditto ditto Sup. Octave Choir Manual to Pedals Ditto ditto Sub. Octave Tremulant Swell to Choir Manual Seven Composition Pedals Swell Manual to Pedals

It very seldom happens, in this country, that circumstances combine to permit even an approach to perfection in the plan of a large organ. Sometimes a want of space is the evil influence; just as often an insufficiency of money increases the difficulty; and now and then a case occurs in which, while neither of these obstacles stands in the way of excellence, the designing of the instrument falls into hands unworthy of the trust. The Birmingham organ, like most of its fellows, is by no means perfect. In making this statement, however, we must not be understood to charge any special fault either to the builders or their employers. The funds at their disposal were, we hear, very limited; and the question became how these could best be turned to account in [557] producing an instrument which was to do duty, not alone in the way of elaborate solo display, but in accompanying and controlling large bodies of voices, either in conjunction with, or in the absence of, an orchestra. Under all these circumstances we know not how the design could be advantageously altered. It is our duty, nevertheless, to point out the omissions which – without going altogether into a larger class of organ – should be rectified in order to make the instrument thoroughly complete in its kind; and as it is contemplated to make some additions to the scheme at a future opportunity, our suggestions may be of value in guiding the process. It is a defect of the swell organ that it has been, almost necessarily, designed wholly with a view to power. With the exception of the Oboe, it contains no register of specially delicate character. A Keraulophon, or some analogous stop, and two small scaled flutes of 4 and 2 feet pitch respectively, are certainly necessary to complete this portion of the instrument. The choir organ – in 116 Organ-building in Georgian and Victorian England

accordance with English custom – is too small, whether for solo performance or accompaniment; and, as a more obvious defect, it has no 8 feet open flue-stop which descends below tenor C. The pedal organ should certainly have contained a 16 feet open metal stop. All this part of the organ is judiciously scaled and admirably voiced, but nevertheless does, and must, want that crisp, col arco effect, which metal only will yield. The great organ would be improved by the addition of a Quint and 16 feet reed. Not only is the whole instrument of a class to warrant the introduction of these registers, but the particular manual in question has a strength and ringing character of tone which would bear their addition with much advantage. With this, our fault-finding comes to an end. Doubtless had sufficient means been at hand, all we have suggested, and more, perhaps, would have been done. We can, however, but speak of the instrument as we find it – as a sort of compromise between the artistic desires of a constructor and the pecuniary strength of his employers – and trust that, as soon as money and leisure are propitious, its present owners will give due attention to its wants. Of the execution of the instrument, we are happy to be able to speak in terms of unqualified approbation. From first to last it gives evidence of care and determination to advance, at once highly creditable to its constructors and significant as to the march of organ-building in this country … [569] It is now time to draw attention to some of the mechanical peculiarities of the Birmingham Organ. First of these, we must notice the distribution of the wind; in which, separation and the increasing pressure system are carried to a greater extent than in any previous English example. As this system adds materially to the cost of an organ, it may be worth while to devote a few lines in this place to an explanation of its advantages. Until within the last few years, the English organ, with all its fine qualities, has been, on one important point, a total mistake. It was the taste of the past generation – descending, unfortunately, far into the present one – to have gruff and ponderous basses, accompanied by weak and effeminate trebles; and, on this plan, all organ-music in which important passages in the upper range of the instrument were supported by full harmony in the tenor and lower parts of the scale, became unintelligible. A similar evil was experienced elsewhere, though not to so great an extent as in this country. The first and obvious attempt at a remedy was to diminish the scales of the basses, and proportionately enlarge those of the trebles. But a well-known principle stepped in to interfere with the result. Pipes under-blown are as bad as those over-blown, and while, therefore, the large-scaled trebles were supplied only with the same air-pressure as the small-scaled basses, the evil was merely altered, not removed. To Cavaillée [sic], of Paris, is due the application of an increasing pressure of air, co-relative with the increasing scale of the pipes in ascending from the lower to Supplement to Chapter 7 117 the upper octaves; and, thus, for the first time, was secured a just balance of power over the whole compass of the instrument. This system is in gradual course of introduction in this country, and with the happiest results. By its operation, the performer has, at length, the power of giving to florid passages their natural importance, whatever force of accompaniment they may have to contend against. In the Birmingham instrument the Great Organ sound-boards are so divided as to admit of four distinct weights of wind. Up to the middle of its compass, all the flue-work (except the harmonic flutes) has a pressure of 2¾ inches, and from thence to the top the pressure is 3¾ inches. The reeds and harmonic flutes commence with a pressure of 3¾ inches, which is increased, at the middle of their range, to 5 inches. In the Swell Organ a similar division is provided, - the air-pressure being 2¾ and 3¾ inches, for the basses and trebles respectively. A series of small reservoirs, weighted to the required pressures, are placed in close proximity to the great organ and swell sound-boards, delivering their wind by the shortest possible trunks, and receiving their supply – through the intervention of self-acting stop-valves – from the main reservoirs on the ground-floor. Since, by this arrangement, no manual part of the organ is alimented directly from the reservoirs into which the feeders deliver their supply, there results from it, as one consequence, the most perfect steadiness of wind under all circumstances; while the different pressures, which it is specially designed to distribute, impart an effect of grandeur, force, and brilliancy to the great organ more particularly, which, considering its small number of registers, we do not remember to have heard equalled. It was not considered necessary to apply this system to the Choir or Pedal organs; but in the latter the reeds are supplied with a higher air-pressure than the flue-work. The construction of the Pneumatic Apparatus – which is necessarily applied to the Great Manual of an organ of this class – presents a novelty very well worthy of attention. The circular drop-valves used, in all the French, and most of the English, examples of this mechanism, for the supply and exhaustion of the motive bellows, are here discarded in favour of slide-valves, precisely similar in form and operation to the slide-valve of a locomotive-engine, and, like it, kept tight by the pressure of the elastic fluid they are appointed to distribute. This species of valve, though found to act admirably in the Pneumatic draw-stop movement recently applied to the organ in St George’s Chapel, Windsor, was considered open to certain theoretical objections, if placed in connection with so rapid and delicate an agent as the performer’s finger. These objections were, indeed, felt on a first trial; but the dimensions of the “ports” and the “throw” of the valves – to speak in engineering phrase – having undergone revision, the apparatus 118 Organ-building in Georgian and Victorian England

is found to operate in the most satisfactory manner, the touch being extremely prompt and exquisitely light. Should nothing objectionable be hereafter found to arise from the nature of the material in which the work is necessarily executed, this new construction of the Pneumatic Lever will prove of much importance. It greatly simplifies the apparatus, and must reduce its cost by fully one third, and offers, certainly, the smallest possible chance of derangement. Another mechanical novelty in this instrument is the kind of action employed to transmit to the Great Organ sound-boards (double palleted throughout, it must be remembered) the power derived from the Pneumatic Apparatus. In consequence of the comparatively small depth allowed to the instrument, the two Great Organ sound-boards are widely separated by the interposition of the entire Choir Organ; and as the distance between the extreme pallets of the Great Organ is thus too large to permit the use of a roller-board with safety, a new kind of movement has been devised which has all the virtues ascribed to the “Direct Action System,” without any of the disadvantages which that much-lauded method certainly entails. The new mechanism is very simple in operation, but almost impossible to describe without the aid of a drawing. It is similar in effect to that employed, for like reasons, by Mr. Hill at the Panopticon; but it is less complex and acts with less resistance from friction. The seven composition pedals – three to the Swell and four to the Great Organ – operate on the slides by the intervention of pneumatic pressure, the apparatus being precisely the same in principle – though, of course, on a much increased scale – as that used for the Great Organ manual. The performer will at once appreciate the application of the Pneumatic Lever. In place of the violent and disagreeable exertion often necessary on the old system, he finds the stops springing in and out by groups with all possible promptness, in obedience to a pressure on the pedal not exceeding a few ounces, and, therefore, wholly insignificant. To all this we have only to add that the interior work of the instrument, whether novel or of ordinary kind, is finished with very praiseworthy care and accuracy. In general design, execution, and evident determination to ameliorate the condition of organ-mechanism, it worthily stands among the best specimens of modern English structure, and is, certainly, the most ably-completed instrument we have seen from the hands of its builders. Of the tone of the Birmingham organ it is impossible to speak otherwise than in the very highest terms. The Great manual, especially, considering its limited number of registers, is in our experience, quite unrivalled. Indeed, it is almost impossible for the listener to believe the grand and striking volume of tone Supplement to Chapter 7 119

it pours forth is solely derived from the thirteen stops which it contains. Several circumstances combine to produce this excellent result. There are no halved or incomplete stops in this manual; a very judicious style of scaling has been employed; the increasing pressure system contributes its full share to the work; and last, though by no means least, the voicing is of absolutely first-rate quality. Not a stop is allowed to say less or more than is set down for it – not a single pipe is permitted to shirk an atom of its allotted part in the general effect. And yet, with all its force, there is nothing rank or harsh about it; it is all music from first to last. Where [570] so much is excellent it is difficult to extract points for special commendation. A few of these, however, ought not to be passed over. The reeds, for example, are superb. The harmonic flutes, also, have surprising force, brilliance, and liquidity of tone. It has been found impossible to carry the 8-feet harmonic flute, with any effect, lower than fiddle G; from this note downwards, in the present instance, the scale is completed by open wood pipes; and it is worth remarking with what skill the voicer has concealed the break between the fundamental and harmonic series of sounds – so much so, indeed, that the whole scale may be played over without the change being manifest, unless to a very practised ear. The difficulty here overcome can only be properly estimated by those conversant with the peculiarities of this kind of register. The mixtures, too, have extraordinary breadth and sonorous brilliancy. They are somewhat peculiar from the effective nature of their breaks, and – in deference to the supposed antagonism of equal temperament to perfect thirds in the compound stops – from a total absence of tierce ranks from their composition. The Swell is a fine and effective manual, containing beautiful reeds, and, among them, one – the oboe – the most admirable stop of its class we have yet heard. The Choir, also, is replete with beauties, - foremost among them, perhaps, standing the delicious corno di bassetto, a reed which, in the lovely character and perfect equality of its tone to the lowest extreme of its compass, has certainly never been surpassed. The viol da gamba, in this manual, is of the true Schulze- Töpfer school, and, when combined with the salcional – in order to abate that unpleasant extreme of slowness inevitable in stops of this character – has a truly charming effect. Its tone is singularly pungent and searching without disagreeably approaching harshness; and, as a matter of variety and individual character, its introduction will have important use in the English organ. A noticeable feature of the Pedal Organ is the reduction which has been advantageously made in the scales of the 16-feet flue-work. The wood open CCC, for example, measures inside but 9½ by 11½ inches; and though these dimensions are vastly inferior to those which found universal favour a few years since, a 120 Organ-building in Georgian and Victorian England

decided gain has been accomplished by the change. The tone is abundantly round and ample for any purpose; while the economy of space and material is too important to be overlooked. The 32-feet Bourdon is wisely made of somewhat larger dimensions than those above given, and its effect, in company with its open neighbour, is very striking. The 16-feet Trombone has, we think, been a little too much subdued. Its quality is unexceptionable; but for use in a large building it will probably be found expedient to allow it rather more liberty of speech. In closing our notice of the Birmingham organ, we have sincere pleasure in congratulating Messrs. Gray and Davison on the completion of an instrument so remarkable and beautiful, and in expressing our confidence that it will abundantly proclaim its own merits when heard at the forthcoming festival.

7.5 Extract from ‘A Popular Account of the Handel Festival Organ’ [in the Crystal Palace, Sydenham] in the Musical World, vol. 35 (1857), 391–2 (20 June).

[The stop-list as recorded in the Musical World is given in the left-hand column; differences in H&R, 2 (1870), pp. 470–1 are noted in the right-hand column.]1

[Musical World, 1857] [Hopkins & Rimbault, 1870]

GREAT ORGAN 1. Double Open Diapason Metal 16 feet 2. Double Dulciana 16 ” [omission] [add: Open Diapason] 3. Flute à Pavilion 8 ” Flaut à Pavillon 4. Viol de Gamba 8 ” [missing] 5. Octave 4 ” [missing]

6. Harmonic Flute 8 ” Flute Harmonique 7. Clarabel Flute 8 ” Claribel Flute 8. Flute Octaviante 4 ” 9. Super Octave 2 ” 10. Flageolet Harmonic 2 ” Flageolet Harmonique

1 The differences are principally ones of nomenclature and are probably of little significance. The 1857 version of the scheme omits the Great open diapason (which must be an oversight) but includes a viol di gamba; the 1870 version omits the Great octave, which must also be an error. Supplement to Chapter 7 121

11. Quint 6 ” 12. Twelfth 3 ” 13. Mixture 4 ranks 14. Furniture 3 ” 15. Cymbal 5 ”

16. Bombarde 16 feet Contra Trombone 17. Posaune 8 ” 18. Trumpet 8 ” Trumpet Harmonique 19. Clarion 4 ” 20. Octave Clarion 2 ”

CHOIR ORGAN 1. Bourdon 16 feet 2. Gamba 8 ” 3. Salcional 8 ” 4. Voix Celeste 8 ” 5. Clarionet Flute 8 ” Clarinet Flute 6. Gems Horn 4 ” Gemshorn 7. Wald Flute 4 ” Claribel Flute, 4’

8. Spitz Flute 2 ” 9. Piccolo 2 ” 10. Mixture 2 ranks Mixture, 3 ranks 11. Cor Anglais and Bassoon 8 feet 12. Trumpet (small scale) 8 ”

SOLO ORGAN Grand Tromba 8 feet Harmonic Flute 8 ” Flute Harmonique Flute Octaviante 4 ” Mixture 2 ranks Corno di Bassetto 8 feet

SWELL ORGAN 1. Bourdon 16 feet 2. Open Diapason 8 ” 3. Keraulophon 8 ” 122 Organ-building in Georgian and Victorian England

4. Concert Flute 8 ” 5. Octave 4 ” 6. Flute 4 ” Flute Octaviante 7. Vox Humana 8 ”

8. Twelfth 3 ” 9. Super Octave 2 ” 10. Piccolo 2 ” 11. Mixture 4 ranks 12. Scharf 3 ” Furniture, 3 ranks

13. Contra Fagotto 16 feet 14. Cornopean 8 ” 15. Oboe 8 ” 16. Clarion 4 ”

17. Echo Tromba 8 ” Tremulant

PEDAL ORGAN 1. Contra Bass 32 feet

2. Open Diapason - Wood 16 ” 3. Violon 16 ” Violone 4. Open Diapason – Metal 16 ” 5. Octave 8 ”

6. Twelfth 6 ” 7. Super Octave 4 ” 8. Mixture 4 ranks

9. Contra Bombarde – “free Reed” 32 feet 10. Bombarde – Metal 16 ” 11. Trumpet 8 ” 12. Clarion 4 ” Supplement to Chapter 7 123

COUPLERS Swell to Great Manual. Ditto Sub Octave. Ditto Super Octave. Swell to Pedals. Swell to Choir. Solo to Great. Solo to Choir. [missing] Super Octave Great. [missing] Solo to Pedals Choir to Pedals. Great to Pedals. Choir to Great. Sforzando [Great to Swell] [missing]

COMBINATION PEDALS 3 to Great and Pedal Organ. [not recorded] 2 to Swell Organ [not recorded] 1 to Choir Organ. [not recorded]

The Manual and Pedal Couplers, with the exception of the Solo Organ, are acted upon by Pedals. [not recorded]

[392] Having thus furnished a general account of the contents of the Crystal Palace Organ, it remains but to notice some peculiarities of its structure, which may probably interest such readers as have given attention to the subject. Although it can claim no absolute originality of contrivance, some of its features are wholly novel in English practice, and others are but of recent introduction and as yet but sparingly employed in this country. As force and volume of tone were, obviously, the first essentials in an organ so placed, it has been deemed advisable to supply the pipes with air at a pressure considerably higher than that ordinarily employed; while – following the principle first enunciated by the great French builder, Cavaillée [sic] – this pressure is again considerably increased in the upper half of the compass throughout the instrument. With the same view – as well as for their individual beauty of quality – some of the more powerful stops of recent French origin have been introduced. These are the Flute à Pavillon, the Trompette 124 Organ-building in Georgian and Victorian England

Harmonique, and the Flute Harmonique – this last appearing in greater variety than has hitherto been tried in the English organ, since, besides two specimens of different kinds in the swell and choir organs, there are three – respectively of 8, 4, and 2 feet pitch – in the great organ, contributing greatly to the sonorous richness of this portion of the instrument; and, lastly, two, of large calibre and speaking at an unusually high air-pressure, in the solo organ. The 32 feet Contra Bombarde of the pedal organ is a stop of the “free- reed” kind – a mode of construction which, though but little used as yet in England, has many and decided advantages over the percussive variety of reed when employed in these profound registers of the instrument. The present is believed to be the first free-reed stop of 32 feet pitch produced in this country. The pipes which are observed to project horizontally over the centre portion of the organ are those of the Tromba, belonging to the solo key-board. The idea of thus placing reed-stops appears to have originated with the Spanish builders, in many of whose instruments – and notably in the two large organs of the Cathedral at Seville – all the trumpets, clarions, etc., have this horizontal and external position. The advantage of this arrangement is that the tone, travelling towards the auditor in a far more direct course than when the pipes stand erect, derives from it a great apparent increase of volume and intensity. The pipes of the Echo Tromba of the swell organ are, also, similarly placed within the swell-box. One remarkable mechanical arrangement which pervades the whole instrument is quite novel in English practice. It is the distinct grouping together of certain stops of each manual – each group having its own sound-board, placed apart from, and supplied with wind independently of, the remainder. In the list of stops above quoted, the mode in which the stops of each manual are thus grouped is indicated [by breaks in the lists of registers for each department], and from thence it will be seen that there are, for the great organ, four of these separate sound- boards; for the swell organ, three;2 for the choir organ, two; for the solo organ, two; and for the pedal organ, four – or rather, as these are again subdivided, eight. Among its minor advantages, this grouping and separately alimenting of a small number of stops secure a more equable maintenance of the prescribed pressure in the wind-chests than can at all times be depended on under the ordinary system. As a wide passage-way is provided between the sound-boards of each manual, this arrangement has, also, the advantage of giving unusual facility to the necessary

2 The layout of the stop-list in the printed specification is ambiguous. The most likely arrangement is that given above, i.e. three soundboards with an extra chest for the Echo Tromba. However, it is possible that the Tromba chest was the third ‘soundboard’, and that all the fluework, together with the Vox Humana, stood on a single soundboard. Supplement to Chapter 7 125 operations of the tuner. The chief object of its employment in this instance, however, was the introduction of another untried novelty in this country – the system of “Combination Pedals,” invented and now invariably used by Cavaillée, of Paris. These “Combination Pedals” occupy the usual position, and – with a difference and advantage of their own – discharge the functions of the composition pedals ordinarily employed in the English organ. They operate, however, on a widely different principle. They have no connection with the draw-stops or slides of the sound-boards; their action is simply to admit the supply of air to, or cut it off from, the various sound-boards, and thus, obviously, to command the speech or silence of the groups of stops placed on them. It is necessary to add that each pedal – in the progression from piano to forte – acts also on that which precedes it; thus at once providing against any unnatural or improper grouping of stops, and simplifying the operations of the performer. Ease, rapidity, and noiselessness of action are unquestionable characteristics of this system; but its peculiar advantage will be found in the number and variety of the combinations it affords. A pre- arrangement of the draw-stops obviously determines what number of any group of pipes shall appear at the command of each pedal; and thus the varieties of tone placed within reach of the performer’s feet appear only limited by the number of combinations of which the stops themselves are legitimately capable. The Pneumatic Lever, now generally admitted to be an essential feature in the mechanism of any large organ, is certainly indispensable to an instrument wherein, from the arrangement of the sound-boards, such an unusual number of valves must be operated on simultaneously by the finger of the performer. This beautiful apparatus is, it is believed, now too generally known in this country to require explanation in detail; yet it may not be here out of place to describe it, generally, as a kind of subsidiary machine interposed between the keys and the valves of the sound-boards, whereby the labour of opening the latter is, in fact, transferred from the finger of the performer to the arm of the bellows-blower. Its mode of operation is very similar to that of the steam-engine; steam and a reciprocating piston being represented in the Pneumatic Lever by compressed air, and the alternate inflation and exhaustion of a small bellows which – thrown into action by the slightest pressure of the player’s finger – acts, in turn, with considerable force on the train of connections by which the sound-board valves are opened. There are two sets of this apparatus in the Crystal Palace instrument, one for the Swell Organ, and the other for the Great Organ and its numerous array of couplers; and by their means, the “touch,” even when all the separate members of the instrument are united on one key-board, is rendered as light and invariable as that of a grand pianoforte. 126 Organ-building in Georgian and Victorian England

The necessary quantity of wind is supplied and distributed through this [393] large instrument by twenty-two pairs of bellows. Four, only, of these, however, are employed to furnish the supply of air – the remainder act merely as reservoirs in determining and regulating the pressure at which it is delivered to the various wind-chests …

7.6 Leeds Town Hall organ: extracts from the minutes of the Leeds Town Hall Organ Sub-committee, 1858 [Leeds City Council archives, West Yorkshire Archive Service]; report of opening, 1859; specification and description.

7.6a Letter of Gray & Davison to the Chairman of the Leeds Town Hall Organ Sub- committee, undated but entered in the sub-committee’s minutes for 23 June 1858 [WYAS, LLC20/3/1: Sub Town Hall (Organ) Committee Minutes, 1856–69; no pagination].

We beg to report to you, for the information of the Organ Committee, that the Instrument for the New Town Hall is progressing satisfactorily, and that at the end of next week, we shall have completed the Clavier portion, with the exception of the Solo Organ, which we have not height to put in its proper place, and must therefore be finished separately. The whole of the Great, Choir, & Swell Organs will then be complete and playable, and in the week after, taken down and dispatched to Leeds. The Solo Organ is being put up in another part of , a great number of the pipes are made and Voiced, and the rest are in hand, the completion of this portion will follow immediately on the removal of the first part. The Work of the Pedal Organ is in a very forward State as well as the Front pipes, and we are in no way fearful of the completion of the whole in the Hall by the time of the Queen’s Visit, if the Case be ready to put up by the 26th of July, when we shall require it. We had not anticipated being able to do so much here, but by cutting away the Floor of our Supplement to Chapter 7 127

large erecting Room, so as to sink the Keys, and a little bit out of the Roof, we have managed it, and are persuaded it has been much to the advantage of the Instrument.

We are, Sir, Yours faithfully, Gray & Davison

7.6b Letter of Gray & Davison to the Leeds Town Hall Organ Sub-committee, undated but entered in the sub-committee’s minutes for 17 July 1858 [WYAS, LLC20/3/1: Sub Town Hall (Organ) Committee Minutes, 1856–69; no pagination].

Gentlemen, We beg to inform you that the Organ is now being packed up and a considerable quantity of it will arrive in Leeds on Thursday morning. During the past week we have had two private trials of that portion of the Instrument we were enabled to complete here, when Mr Smart, Mr Spark and other distinguished organists exhibited its powers and variety of tone, which we are happy to say was most successful, we have also tested the CCCC 32 feet metal Pipe, and it produces a very fine note. By our Contract, or rather the Specification, the Pneumatic action was not to be applied to the Choir Organ, but the Touch is not good, and we should strongly recommend the Committee to have a Pneumatic action to it, that all four Manuals may be equally good. The cost of this we calculate with all Work appertaining to it, at £50. We shall also recommend the large Pipes of the Pedal Organ, the lower octaves of the 32 feet Open and Stopped, the Sub Bass and Contra Bourdon, in the Specification to have separate Reservoirs to supply them with wind, which may be of that pressure found to be the best for them, and the cost of them with extra Wind Trunks and fixings will be £32. 128 Organ-building in Georgian and Victorian England

Should you be pleased to order this Work no delay will be occasioned by it, [by] which in our opinion the completeness and effectiveness of the Instrument in these respects will be ensured.

We are, Gentlemen, Your obedt Servts Gray & Davison

7.6c Extract from the report of the opening of the Leeds Town Hall organ from the Leeds Mercury, 9 April 1859, 8.

This instrument, certainly one of the largest in the world, was formally opened on Thursday morning by the designers, Mr. Henry Smart, of London, and Mr. William Spark, of Leeds, in order that the public might judge whether the instrument, now completed, came up to the expectations that had been formed of it. The result, we believe, amongst those most competent to judge, is in every respect a favourable one, and there can be little doubt that Leeds has in her magnificent Hall an organ in every respect worthy of the building, and one which for power, beauty of tone, and mechanical arrangements for producing varied effects, has very few equals in the world. The designers had the double duty of exhibiting the various excellencies of the instrument, and of providing a musical entertainment. The following was the programme of the morning’s performance –

PART 1. – Mr. HENRY SMART. 1. Extemporaneous performance. 2. Air – “He layeth the beams.” Handel. 3. Overture – “Jessonda.” Spohr. 4. Fugue – C Minor. J.S. Bach. 5. Marche aux Flambeaux. Meyerbeer.

PART 2. – Mr. SPARK. 1. Air – “If with all your hearts.” Fugue – G Major. Mendelssohn. 2. Operatic Selection – “Lucrezia Borgia.” Donizetti. 3. Fugue – B Minor. S Bach. 4. Concerto in F (1st. Movement.) Rink. [sic] 5. Chorus – “The horse and his rider.” Handel. Supplement to Chapter 7 129

This programme afforded Mr. Smart and Mr. Spark ample means of displaying the instrument, of which they amply availed themselves. Greater attention to the softer combinations might, perhaps, have been desirable, for the full power of the instrument is really something approaching to an infliction upon delicate ears. Mr. Smart’s extemporaneous performance, however, displayed its capabilities to a greater extent, although, from the great number of “fancy” stops which it contains, and the numberless contrivances for combining them, it would not be an easy task for the most accomplished organist, even with many performances, to exhaust the means of variety which it affords. The introduction, however, of music specially adapted for the organ, and written for it, as, for instance, Bach’s fugues and Rink’s concerto; of music written for an orchestral band, as, for example, the overture to Jessonda, Meyerbeer’s March, in which the imitative powers of the instrument are brought to the test; and lastly, the transference to it of purely vocal music, as Handel’s air, “He layeth the beams,” Mendelssohn’s “If with all your hearts,” and the operatic selection, in which the fine and more expressive stops are called into requisition, were all in their way calculated to develop the resources of the instrument, and, it may be added, in order to pay both gentlemen a proper compliment, to exhibit their powers as organists. The instrument, great and perfect as it is, would be, in worthless hands, what Dr. Chalmers once, with little reverence for the beautiful in musical art, termed a “box of whistles.” The evening’s performances are comprised in the following programme, in which it will be seen, a careful selection of the three classes of music above indicated may be noticed: –

PART 1. – Mr. SPARK. 1. Grand Offertoire (No. 3.) L. Wely. 2. Operatic Selection – “Don Pasquale.” Donizetti. 3. Fantasia colla Fuga. W. Spark. 4. National English Airs. 5. Chorus – “To thee, Cherubim.” Handel.

PART 2. – Mr. HENRY SMART. 1. Chorus – “Wretched lovers.” Handel. 2. Larghetto in E flat – From Symphony. Spohr. 3. Fugue – A Minor. J.S. Bach. 4. Chorus – “Let no rash intruder.” Handel. 5. “God save the Queen,” extemporaneously varied. 130 Organ-building in Georgian and Victorian England

But all these performances, good as they were, left ample room for future performers, and in fact it may be said of this Leeds organ, what has often been said of a great book, that it is not worth much if any mind can possess itself of all its excellencies by a single grasp. Our musical readers will be interested in knowing that the tuning of the instrument approaches as near to the equal temperament as makes no matter. There is a slight leaning in favour of the more commonly used keys C, G and F major, but what is thus taken from the other keys is so well distributed that the most extreme keys are satisfactorily playable, and for all practical purposes the temperament may be considered to be equal. Of course, in an instrument of this magnitude, in which there is a bewildering number of mechanical arrangements, the perfect action of every part must be to some extent a work of time. The only point that needs to be noticed here – and this demands the most careful attention of the Committee – is the ventilation of the instrument. The different “organs” above described are situated at different levels, and unless means be adopted of keeping the temperature uniform throughout, the consequence is such a difference of pitch between one organ and another as to render their combination impossible. The solo organ, situated 40 to 50 feet above the pedal organ, especially in an evening and with large audiences and numerous singers and players in the orchestra, becomes unduly heated, and as the pitch of the pipes depends upon the velocity of the vibrations, that velocity depending upon the elasticity of the air within the pipes, and the elasticity itself depending upon the temperature, it is obvious that the uppermost organ is always in danger of having its pitch improperly raised, and, pro tanto, the remark applies to all the organs above the pedal organ. We are, however, given to understand that there are really no practical difficulties of any magnitude in the way of a thorough ventilation, but it is a point that deserves the serious consideration of the committee. A matter of this kind should not be allowed to stand in the way of rendering this instrument in every respect a fitting adjunct to the noble building which, it may be fearlessly said, will hand the great heart of Yorkshire down to posterity.

7.6d Specification and description of the Leeds Town Hall organ from, E.J. Hopkins and E.F. Rimbault, The Organ (2nd edition, 1870), 516–19; this is substantially the same as an account in the Musical World, 35 (1857), 592–3, 625–6, but includes details of the Echo Organ added in 1865.

The organ has four Manual Claviers, the compass of each from CC to C in altissimo, 61 notes, and a Pedal Clavier from CCC to F, 30 notes. Supplement to Chapter 7 131

The Orchestral Solo organ (uppermost Clavier), contains the following Stops: –

By Pipes on Sound Boards. Feet. Pipes. 1. Bourdon 8 61 6. Oboe 8 49 2. Concert Flute Harmonic 8 42 7. Cor Anglais and 3. Piccolo Harmonic 4 49 Bassoon (free reed) 8 61 4. Ottavina Harmonic 2 61 8. Tromba 8 61 5. Clarinet 8 61 9. 8 61

By Mechanical Combination. 10. Clarinet and Flute, in Octaves. 14. Oboe and Bassoon, in Octaves. 11. Oboe and Flute, in Octaves. 15. Flute, Clarinet, and Bassoon, in 12. Clarinet and Bassoon, in Octaves. Double Octaves. 13. Clarinet and Oboe, in Octaves. 16. Flute, Oboe, and Bassoon, in Double Octaves.

The Swell organ (Second Clavier), contains the following Stops: –

1. Bourdon 16 61 11. Fifteenth 2 61 2. Open Diapason 8 61 12. Piccolo 2 61 3. Stopped Diapason (tr.) 8 49 13. Sesquialtera, IV ranks 244 4. Stopped Diapason (bass) 8 12 14. Mixture, III ranks 183 5. Keraulophon 8 49 15. Contra Fagotto 16 61 6. Harmonic Flute 8 49 16. Trumpet 8 61 7. Octave 4 61 17. Cornopean 8 61 8. Gemshorn 4 61 18. Oboe 8 61 9. Wood Flute 4 61 19. Vox Humana 8 61 10. Twelfth 3 61 20. Clarion 4 61

The Great organ (Third Clavier) contains, in reality, two complete and distinct organs, of different powers and qualities. One called the “Front Great organ,” contains the following Stops: –

1. Double Diapason 16 61 7. Twelfth 3 61 (open metal) 8. Fifteenth 2 61 2. Open Diapason 8 61 9. Quint Mixture, IV ranks 244 3. Spitz Gamba 8 61 10. Tierce Mixture, V ranks 305 132 Organ-building in Georgian and Victorian England

4. Stopped Diapason 8 61 11. Trumpet 8 61 5. Octave 4 61 12. Clarion 4 61 6. Wald Flute 4 61

The contents of the Back Great organ are as follows: – 13. Bourdon 16 61 20. Piccolo Harmonic 2 61 14. Flute à Pavilion 8 61 21. Cymbal, III ranks 183 15. Viola 8 61 22. Furniture, IV ranks 244 16. Flute Harmonic 8 61 23. Contra Trombone 16 61 17. Quint 6 61 24. Trombone 8 61 18. Octave 4 61 25. Trumpet Harmonic 8 61 19. Flute Octaviante 4 54 26. Tenor Trombone 4 61

[517] The Choir organ (lowermost Clavier) contains the following Stops: – 1. Sub Dulciana 16 61 9. Flute Harmonic 4 49 2. Open Diapason 8 61 10. Twelfth 3 61 3. Rohr Flute (metal) 8 49 11. Fifteenth 2 61 4. Stopped Diapason, bass 12. Ottavina (wood) 2 61 (wood) 8 12 13. Dulciana Mixture, V ranks 305 5. Salcional 8 61 14. Euphone (free reed) 16 61 6. Viol di Gamba 8 49 15. Trumpet 8 61 7. Octave 4 61 16. Clarion 4 61 8. Suabe Flute 4 49

The Echo organ3 (which can be played on either the Solo or Choir Clavier), contains the following Stops: – 1. Bourdon (wood) 16 49 5. Flute d’Amour (metal) 8 61 2. Dulciana (metal) 8 49 6. Dulciana Mixture (metal) 3. Lieblich (wood) 8 61 4 ranks 244 4. Flute Traverso (wood) 4 61

3 The Echo Organ was added in 1865; it formed part of the original plan, and was only omitted at first on the score of expense. Supplement to Chapter 7 133

The Pedal organ contains the following Stops: – 1. Sub Bass (open metal) 32 30 9. Violoncello 8 30 2. Contra Bourdon (wood) 32 30 10. Twelfth 6 30 3. Open Diapason (metal) 16 30 11. Fifteenth 4 30 4. Open Diapason (wood) 16 30 12. Mixture, V ranks 150 5. Violon (wood) 16 30 13. Contra Bombard 6. Bourdon (wood) 16 30 (free reed) 32 30 7. Quint (open wood) 12 30 14. Bombard 16 30 8. Octave 8 30 15. Fagotto 16 30 16. Clarion 8 30

The Coupling Stops are as follows: – 1. Solo organ to Great Clavier. 9. Choir organ to Great Unison. 2. Great organ to Solo Clavier. 10. Swell organ to Pedal Clavier. 3. Solo organ, Super Octave (on its 11. Choir organ to ditto. own Clavier) 12. Great organ to ditto. 4. Solo organ, Sub Octave (on its 13. Full Pedal organ. own Clavier) 14. Solo organ to Pedal Clavier. 5. Swell organ to Great Super Octave. 15. Echo organ to Solo Clavier. 6. Swell organ to Great Unison. 16. Echo organ to Choir Clavier. 7. Swell organ to Great Sub Octave. 17. Tremulant to Echo organ. 8. Swell organ to Choir Clavier.

The Pedals, &c., for various purposes of mechanical adjustment, are as follows: – 1. Swell Pedal. 6, 7, 8, 9. Composition Pedals. 2. Swell Pedal for Solo organ. 10. . 3. Swell Tremulant Pedal. 11. Diminuendo Pedal. 4. Pedal admitting Wind to the Back 12 to 15. Indexes to Composition Great organ. Pedals. 5. Pedal coupling the Back Great 16 and 17. Wind Couplers to organ to Swell Clavier. Composition Pedals.

[518] These tabular statements show the Leeds organ to be, at least, one of the largest in Europe. But large as it is, its claims to notice depend less on its size than on its completeness, and the facilities it offers to the skilful performer for the execution of all styles of music with just effect. Whilst other organs may contain a larger number of actual pipes than the Leeds instrument; it will, nevertheless, be evident to any person inspecting the peculiar construction, and the number of mechanical contrivances for increasing the variety of effects, especially in the Solo organ, that, in an almost unlimited change and degree of tone, as well as in intensity of power and orchestral combinations, this organ stands unrivalled. 134 Organ-building in Georgian and Victorian England

No stop belonging to the Solo organ has any reference to those massive or “full” effects, which properly are the province of the other portions of the instrument. Every stop (except the “Bourdon”) is simply what it pretends to be – a solo stop – having the nearest attainable relation with its orchestral prototype. Further, to increase the practical usefulness of this relation, all the stops are placed horizontally – a position which, by careful experiment, has been found to add between twenty and thirty per cent. to their ordinary intensity of tone, and to meet this unusual position the sound-boards are placed vertically instead of horizontally. Furthermore, the first eight stops in the list are supplied with a high pressure of wind (six inches in the bass and tenor, and seven inches for the middle and treble portions of their compass), and are enclosed in two swell-boxes, having Venetian shutters above, below, and in front. The ninth stop (ophicleide) stands, or rather lies, below the rest of the Solo organ, and is supplied with ten inches air pressure throughout. The great peculiarity of this Solo organ, however, is found in the stops numbered from 10 to 16, which, by means of a number of mechanical contrivances (simple in themselves, but almost impossible to describe clearly without the aid of diagrams), enable the performer to play certain of the stops in octaves to each other, while merely touching single notes on the clavier. Thus, for example, on drawing the stop (No. 15), labelled “flute, clarinet, and bassoon, in double octaves,” and pressing down the middle C of the solo clavier, the result will be, the Tenor C of the Cor Anglais, the middle C of the Clarinet, and C above of the 8-ft. Flute Harmonique, sounding simultaneously. Similarly, any of the stops numbered 10 to 16 will place at the performer’s disposal the combinations with which they are labelled … By these contrivances, then, a very accurate imitation of almost all the ordinary wind combinations of an orchestra is placed easily within the grasp of one of the performer’s hands, leaving the other free for any of those purposes of florid accompaniment in which the modern race of players are [sic] so proficient. By the use, again, of Nos. 3 and 4 of the “coupling stops,” a different class of effects is presented. A melody, for example, played in unison on the “Ophicleide,” can be accompanied in the octave above and below it by any or all of the other stops of the Solo organ, and this merely by playing single notes on the clavier. On the whole, it may be said that this Solo organ more nearly fulfils the objects implied in its title than any yet constructed. [519] In the Great organ there are some excellent features of arrangement. The idea of dividing the Great organ into two distinct masses is certainly not altogether novel; a similar distribution has been at least hinted at in two or three continental examples. In the present instance, however, the principle has been developed, and the various resources it affords have been made available to a far greater extent than appears to have been contemplated in any other case. The twelve stops Supplement to Chapter 7 135

placed on the “front” sound-boards are calculated to form a comparatively light, though powerful and brilliant organ, while the remaining fourteen stops placed on the “back” sound-boards, comprising some of the strongest members of the flue- work – the flute à pavillon,4 the viola, and the harmonic series of 8, 4, and 2 feet pitch, together with the quint, the large mixtures, and the heavy reeds, will form a “band” entirely different to the foregoing in amount and quality of force. There is a pedal, numbered “4,” in the list of pedals for “mechanical adjustment,” which operates on stop-valves placed in the wind trunks of the “back” sound-board, or, in other words, discharges the functions of what the Dutch and German builders call a “wind-coupler.” So long as this pedal remains “hitched down,” all the twenty- six stops are at the performer’s disposal on the Great organ clavier; while the act of releasing this pedal instantaneously cuts off the wind-supply from the stops of the “back” sound-boards, and thus severs them from the control of the keys. Hence, then, by the use of this pedal, all or any of the stops of the “back” sound- boards may be instantaneously added to the whole or any part of the “front” Great organ: thus providing – (besides numerous other effects depending on the stops at the moment in use) – the most rapid and perfect sforzando possible. There is, besides, another pedal, numbered “5,” in the same list, the operation of which, on being “hitched down,” is to disconnect the stops of the “back” sound-boards from the great, and couple them to the swell clavier, - thus rendering the two portions of the Great organ separately disposable on different claviers, and suggesting a host of novel combinations, of which the modern race of organists will not be slow to avail themselves. We may close this account of the mechanical arrangement of the Great organ, by stating that its twenty-six stops are disposed on nine sound-boards of ample dimensions; and that the wind with which they are supplied is increased in pressure twice in the range of the compass – namely, at fiddle G sharp, and again at D sharp, the twelfth above; while the pressure of wind supplied to the four reed stops of the “back” sound-boards, increasing at the same points, has a higher initial pressure than that allotted to the flue-work. The tone-composition of the Great organ is also worthy of remark. Taking the proportions of the flue-stops alone, they stand thus: – two stops of 16 feet, six of 8 feet, one of 6 feet, four of 4 feet, one of 3 feet, two of 2 feet, and sixteen ranks of mixture. To this, add the reeds, namely: – one of 16 feet, three of 8 feet, and two of 4 feet; and the total statement will be, three stops of 16 feet, nine of 8 feet, one of 6 feet, six of 4 feet, one of 3 feet, two of 2 feet, and, as before, sixteen ranks of mixtures. Throughout all this, there are no “vain repetitions” of similar scales

4 The stop is of French origin, and its name has once or twice been Anglicised into ‘Bell Diapason’. It is one of the most powerful stops of the flue kind. 136 Organ-building in Georgian and Victorian England

and qualities. For example, the six stops which compose the 8 feet pitch of the flue-work, are an open diapason (of the Old English class), a gamba (of the conical description), a bourdon, a flute à pavillon (previously described), a viola (the largest and most powerful of the German kind known as “string-toned stops”), and a flute harmonique. The same care is exercised throughout the remainder of the flue- work, not omitting the four mixture stops, the scales and compositions of which are studiously varied with reference to the particular part contemplated for each in the general effect. In the reed work, also, of this manual, a similar variety is [520] observed. The trumpet and clarion of the “front” Great organ are intended to follow as nearly as possible the model of that brilliant, clangy, description of reeds which Byfield made so deservedly famous – a quality, by the way, far too much neglected of late years in this country; while in the “back” Great organ, the modern English style of reed-work has been adopted for the contra trombone, trombone, and tenor trombone; and the most successful achievement of the French school has its representative in the harmonic trumpet. Under all these circumstances, then, of quantity and variety, there can be no doubt that, as a single manual, this Great organ has very few rivals in Europe. Having gone somewhat into detail in describing the Great organ, it is needless – beyond stating that similar principles are observed throughout the instrument – to do more with regard to the Swell and Choir organs, than refer to the list of their registers as amply representing the qualities of these manuals respectively. In one respect, however, the arrangements of the Swell organ differ from those usually adopted. Having its twenty stops disposed on four sound- boards, the two front sound-boards, containing all the reed work, are supplied with wind at one inch greater pressure than that allotted to the others. The Echo organ constitutes a complete little organ of six stops, the pipes of which have their own sound-boards placed within the box of the Swell organ. It can be played on either the Solo or Choir Claviers, by drawing the coupling stops, Nos. 15 and 16. All the pipes are of a small scale, and voiced upon an extremely light pressure of wind. There is a convenient mechanical arrangement in the Pedal organ which obviates most of the difficulty sometimes complained of in manipulating a large number of pedal stops. Next to the coupler “Great organ to Pedals” is placed a draw stop, which controls the admission of wind to all the Pedal organ, except only the violon and bourdon. As both these stops can be easily drawn or returned simultaneously, the full Pedal organ may be reduced to soft 16 feet stops by the same action which detaches the Great organ keys from the pedals. The pneumatic action is applied to all the claviers, so that the touch, which would otherwise be very heavy on so large an organ, is extremely light. The touch Supplement to Chapter 7 137

of the Choir organ is the lightest, being lighter than the touch of some pianofortes. That of the Great organ, is the heaviest, though not any heavier than that of many Church organs, and even when the five couplers are used, no difficulty is experienced in playing the most rapid passages. The claviers project over each other so that the distance from the player to the Solo clavier is materially less than it otherwise would be. The draw-stop action is arranged on the right and left, and in front of the performer. On the right is the draw-stop action of the Great, Solo, and Pedal organs; on the left, that of the Choir, Swell, and Echo organs, and of the Solo combination stops. In front of the performer and over the Solo clavier are arranged the coupling stops. In order as little as possible to complicate the operations of the performer, there are but four (double action) composition pedals for the whole instrument. These, however, by an instantaneous adjustment (Nos. 16 and 17) act, as the player requires, on the Swell organ alone, or on the Swell, Great, and Pedal organ simultaneously, or on the two latter only. Furthermore, each of these four composition pedals is capable of effecting three different combinations (the changes extending, as before mentioned, to the Swell, Great, and Pedal organs, or either of them), the modus operandi, so far as the performer is concerned, being simply the setting of an index (Nos. 12, 13, 14, and 15, one of which appertains to each of the composition pedals), to the number indicating the required combination. The crescendo and diminuendo pedals (Nos. 10 and 11) act on the Swell and Great organ combined, or on each separately, in the manner as mentioned of the composition pedals; and in all these cases the pneumatic action has been applied, so that only a slight pressure of the foot is required to produce its motion, and the pressure of the foot and the motion of the draw-stop action is almost instantaneous. The mechanism, pipes, &c., are placed upon four floors. On the first, or ground floor (which is the top of the orchestra, and 16 feet from the floor of the Hall), is arranged the greater part of the mechanism; on the second floor are arranged the Great and Pedal organs; on the third floor are the Swell and Choir organs; and on the fourth floor, the Solo organ in two separate boxes. The pipes are distributed over several sound-boards, so that the tuner experiences no difficulty in getting to any part of the organ … The difficulty (always experienced) of supplying organs of the largest class with an adequate quantity of wind has, in this instance, been overcome by the employment of hydraulic engines. Five of these most simple machines are attached to a like number of bellows, placed in the basement of the building, and the wind-supply thus procured is thence distributed to the various departments of the instrument, through the intervention of twenty-seven reservoirs, so weighted 138 Organ-building in Georgian and Victorian England

as to give the desired varieties of pressure. The united power of these hydraulic engines (equal to 8-horse power) is capable of supplying 150 cubic feet of air per second, if necessary; and it is impossible to speak too highly of the accuracy and precision of their action.

7.7 Specification of the Eton College organ as recorded in E.J. Hopkins and E.F. Rimbault, The Organ (1st edition, 1855), 492.

The present organ in Eton College was built by Gray and Davison, in the year 1852. It stands on the floor, and sideways, with its back against the south wall, in nearly the centre of the length of the building. The Case, designed by Mr. Deason, is of oak, and is very handsome. The Pipes, which appear in the front of the case are of polished tin. There are altogether 29 Sounding Stops, of which the following is a list:

Great, 10 Stops – Compass, GG to F in alt. 1 Open Diapason 8 feet. 6 Fifteenth 2 feet. 2 Open Diapason 8 feet. 7 Sesquialtera, III rks. 3 Stopped Diapason 8 feet. 8 Mixture, III rks. 4 Principal 4 feet. 9 Posaune 8 feet. 5 Twelfth 3 feet 10 Clarion 4 feet.

Choir, 9 Stops – Compass, GG to F in alt. 11 Dulciana 8 feet. 16 Flute 4 feet. 12 Keraulophon 8 feet. 17 Fifteenth 2 feet. 13 Clarionette Flute 8 feet. 18 Piccolo 2 feet. 14 Stopped Diapason, Bass 8 feet. 19 Clarionet to Tenor c 8 feet. 15 Principal 4 feet.

Swell, 9 Stops – Compass, Tenor C to F in alt. 20 Bourdon 16 feet. 25 Sesquialtera, III rks. 21 Open Diapason 8 feet. 26 Cornopean 8 feet. 22 Stopped Diapason 8 feet. 27 Oboe 8 feet. 23 Principal 4 feet. 28 Clarion 4 feet.

Pedal, 1 Stop. 29 Grand Pedal Open Diapason, to CCC 16 feet length. The Pedal Clavier descends to GG. Supplement to Chapter 7 139

Couplers. 1 Swell to Great. 4 Great to Pedal. 2 Swell to Choir. 5 Choir to Pedal. 3 Choir Sub-octave to Great.

7.8 Review of the new organ for Sherborne Abbey Church from the Musical World, vol. 34 (1856), 182-3 (22 March).

NEW ORGAN FOR SHERBORNE ABBEY CHURCH

[182] This instrument, lately completed by Messrs. Gray and Davison, was formally opened at their manufactory, on Wednesday evening in last week, on which occasion Mr. Best displayed his well-known skill in performing a selection of organ music. The organ has three rows of keys, and contains the following stops: –

GREAT ORGAN. SWELL ORGAN (CC to F in alt.) (Tenor C to F in alt.) Bourdon 16 feet Bourdon 16 feet Open Diapason 8 ” Open Diapason 8 ” Ditto (at present omitted) 8 ” Stop Diapason 8 ” Stopped Diapason 8 ” Principal 4 ” Principal 4 ” Fifteenth 2 ” Flute 4 ” Sesquialtera 3 ranks Twelfth 3 ” Cornopean 8 feet Fifteenth 2 ” Oboe 8 ” Sesquialtera 3 ranks Clarion 4 ” Mixture 2 ” Trumpet 8 feet PEDAL ORGAN. Clarion 4 ” (CCC to E.) Open Wood 16 feet CHOIR ORGAN. Bourdon 16 ” (CC to F in alt.) Octave 8 ” Dulciana 8 feet Trombone 16 ” Gamba 8 ” Stop Diapason 8 ” COPULAE, &c. Gemshorn 4 ” Swell to Great. Flute 4 ” Choir to Great, Sub-octave. 140 Organ-building in Georgian and Victorian England

Fifteenth 2 ” Great to Pedal. Piccolo 2 ” Choir to Pedal. Clarinet 8 ” Composition Pedals, Tremulant, &c.

The Sherborne organ, it will be seen, is not among the very important works of the day, either in its size or the variety of its combinations. Its most remarkable feature, on the whole, is the comparatively large proportion of its pedal stops to those of the Great Organ – comparatively large, we mean, by contrast with what would certainly have appeared in an English organ of similar general dimensions a few years since – thus showing a marked advance of opinion on a very essential point in this country. Though by no means a giant, it is, however, a very well-finished and effective instrument. The proper quality of the Great Organ has yet, in a great degree, to be developed, by the addition of a second open 8-feet stop, for which the soundboards are prepared, but which – in deference to economical views that might have been more properly applied to the exterior of the instrument – is at present omitted. The absence of the calculated amount of 8 feet tone leaves an effect of preponderance about 16 feet and mixture work which will disappear as soon as the defect is supplied. The “increasing- pressure” principle is applied to this manual. From middle C sharp upwards, the wind is half-an-inch heavier than on the lower octaves; and the value of this system is immediately manifest in the enlarged volume and importance of the trebles, and particularly those of the 8-feet trombone [sic] – which stop, by the way, merits especial mention for the remarkably fine tone preserved throughout its compass. The swell is powerful and brilliant; but we have here, again, to regret a misplaced economy which has limited this manual to only a 4 feet compass. The swell of an organ destined for so magnificent a church, should certainly have been extended to CC. The choir is a gem throughout; it is long since we heard any specimen of the voicer’s art to approach the exquisite grace and purity of the dulciana, the gamba, the 4 feet gemshorn, and the metal flute, on this manual. An experiment has been tried on the 16 feet trombone of the pedal organ, in substituting tubes of zinc for those of the ordinary metal, and has, in our opinion, completely failed. With precisely the same scale of reeds and tongues, and the same quantity of finish, ordinarily employed by the same builders, the tone of this stop is sharp and meagre to a degree that must convince even the most sceptical person of the influence exercised on the sound of a pipe by the Supplement to Chapter 7 141

material of which it is formed. With free-reeds, the [183] shape, and scarcely or not at all the material, of the tube, is the influencing element. The action of the tube on the space of a free-reed is strictly analogous to that of a speaking-trumpet on the human voice, – it is simply a magnifier of the tone. In reed-stops of the percussion kind, on the other hand – the tubes partake absolutely, as well as sympathetically, of the vibrations of the tongues, – in other words, the tubes yield notes of their own in addition to those of the reeds; and consequently, should have weight and firmness, as well as elasticity, of material, proportioned to their place in the musical scale. The organ is tuned by equal temperament, – a system which, in spite of a good deal of opposition, is rapidly growing into general use. We trust, indeed, shortly to find it so thoroughly universal, that its presence will cease to be a noteworthy feature in a new instrument. We have elsewhere complained of the evil effects of a parsimony that might have been better applied to the exterior of the Sherborne organ. As the matter is full of importance generally, we may profitably occupy a few more lines with a fuller explanation. The case of the Sherborne organ is of Gothic design – presumably of the same period as the architecture of the church, and is, no doubt, the kind of thing which a modern architect, or cabinet-maker, would call beautiful. The choir organ stands in front and displays one tower, triangular in plan; while the large case – containing the great, swell, and pedal organs – is, though divided by pilasters, (or “mullions,” we suppose) into three compartments, all but absolutely flat in front; and, indeed, there is nothing to diminish the square, box-like appearance of the whole, except two pieces of pierced carved-work projecting, one on each side, from the case, commencing just above the impost moulding and extending nearly to the top. If these projections supported anything, they would be called “flying buttresses,” we presume, but as they really have no apparent office, we can only liken them to a couple of “handles” by which some Magog might, now and then, lift the organ down from its intended site when it needed a little occasional dusting, or so forth. The case, both of the choir and great organ, is made of solid oak, is very thick and massive, and is expensively and elaborately carved throughout, while the pipes, in both fronts, are “diapered” alternately in dark and light colours enriched with gilding. Now considering that the organ it to be placed in a gallery in one of the transepts, at a considerable elevation from the ground, the design we have briefly described has many and weighty faults. The main case is so disproportionately small to the choir organ in front of it, that it must certainly 142 Organ-building in Georgian and Victorian England

be quite concealed by the latter, unless the spectator be placed far away in the opposite transept, and, even there, it will look utterly insignificant. Again, there is nothing striking or bold in the contour of the case generally. Viewed from a distance, and en face, it is – save the “handles” before mentioned – a square, flat box. The absence of all grand projections, upwards and sideways, gives poverty of outline, while a similar want in front precludes all bold contrasts of light and shade – except, indeed, the disadvantageous shadow created by the choir-organ in front. The minute carving with which it is decorated, and on which much appears to be reckoned, can avail nothing. As people are not generally in the habit of carrying opera-glasses with them to church, it can never be seen, and is, therefore, together with all the money it cost, absolutely thrown away. The last, and, perhaps, the greatest defect of the case is its puny size compared with the organ enclosed within it; and this is the less excusable as there was abundance of room for a case twice the present dimensions, which would thus have afforded the interior work that free space and breathing room, in this, and so many English examples, so much needed. This piece of work cannot have cost much less than £350 or £400; and had the architect known anything about designing an organ- case for a large building, and satisfied himself with producing a grand, bold, and effective outline, instead of a richly carved doll’s house faced with a row of bedizened barbers’ poles in lieu of front pipes – not one square inch of the detail of which will ever be visible – at least one half the cost we have mentioned might have been saved, and applied to bettering the interior of the instrument. Had money been “no object,” as the phrase goes, we should have taken less notice of the matter; but since, on the plea of economy, one of the foundation-stops of the great organ is omitted, and the swell is shorn of a whole octave of its proper compass, we think it right to point out that sufficient money to remedy both these defects has been frittered away on a piece of useless cabinet-work that has none of the essentials of grand design. The way in which the best intentions of English organ builders are thwarted by the perversity and specific ignorance of the architects with whom they are associated, is becoming daily matter for more serious consideration. A French or Dutch organ-builder would at once claim for his instruments the respect due to works of art – would insist on ranking them at least as loftily as the “lecterns,” “foldstools,” “rood-screens,” and other mediaeval trumpery with which it is the fashion to crowd churches, and would not for a moment submit to their being cramped or limited in any way that would impair their efficacy: and until our English builders learn to imitate the resolution and independence of Supplement to Chapter 7 143

their continental brethren, we shall never have really irreproachable organs made in this country. The history of the Sherborne organ is really quite instructive on points of this kind. Two years since Messrs. Gray and Davison received the order for this instrument, and after a tough controversy with the architect then employed in the restoration of the church – the late Mr. Carpenter – succeeded in procuring for the organ a position at the west-end of the building. Under their superintendence a design for the case was prepared, which had, at least, the merit of considerably greater effectiveness than the present one, without obscuring any portion of the west window under which it was to stand; amd, in accordance with this design, the interior work of the instrument was commenced and completed. The arrival, however, of a new vicar at Sherborne – having somewhat stronger mediaeval notions than his predecessor – once more turned the balance in the architect’s favour. After a long delay, it was decided to place the organ in one of the transepts; Messrs. Gray and Davison received the present design, and were instructed to fit their organ to its shape and dimensions. This was, in effect, ordering a bouleversement of the whole thing. The choir organ, which was originally inside the main case, had to be placed outside; and, indeed, the interior work had to be entirely re-constructed. But who pays for all this? Of course, not the vicar, nor the architect, nor Messrs. Gray and Davison. The good folks at Sherborne pay for it; and in paying for all these alterations and architectural knick-knackeries, they will, in the end, expend a sum that, under competent superintendence, would have procured them an organ really worthy, in size and completeness, of their magnificent church. Meanwhile, by the present arrangement, they have an organ which, however excellent so far as it goes, is by no means commensurate with the requirements of the building; this organ is to be placed in anything but the best position for its effect; and, to crown the whole, they will pay a very large sum for a carved oak case, the beauty of which – if it have any – can never possibly be seen.

7.9 Extract from a review of the reconstructed organ in St George’s Chapel, Windsor Castle, from the Musical World, vol. 33 (1855), 798–9 (15 December).

This instrument – long celebrated as one of the most effective of the older cathedral or collegiate chapel organs – is now in process of re-erection after another course of alteration and improvement, at the hands of Messrs. Gray and 144 Organ-building in Georgian and Victorian England

Davison, sufficiently extensive, this time, to be called a complete re-construction. The organ in its original state was interesting as, probably, the very best specimen of its builder’s (Green’s) workmanship extant. The material of its metal pipes was of unusual excellence, their composition nearly throughout containing fifty per cent of pure tin; the wood pipes were nearly all of red deal, and the voicing of the whole possessed that peculiar grace and suavity for which the builder’s style of tone was celebrated. The reeds, only, were unworthy of the rest. They were in Green’s best manner, undoubtedly; but it is needless to add that this manner was not comparable to that of the modern reed-voicers, nor, even, to that of his immediate predecessors, the Byfields … In order to carry out the improvements just effected, it was necessary to erect it complete, with the exception of the pedal organ, in Messrs. Gray and Davison’s factory; and this, when done, afforded unmistakeable evidence of the extent to which the character of many old organs is assisted by the acoustic properties of the buildings in which they are heard. In St. George’s Chapel this instrument was not only sweet but powerful; – visitors, acquainted with the subject, were accustomed to notice that its full- organ reverberated through the building with an effect of grandeur and force certainly not indicated by the amount of its contents. Nevertheless, in Messrs. Gray and Davison’s erecting-room, which is, beyond doubt, the largest and most advantageous place of the kind in the kingdom, no one who heard it could fail to be struck with the weakness and singular want of solidity in its tone. To say that it sounded thin would be no exact expression of its peculiarity. Added to this, there was an absence of decision that strangely contrasted with its effect when in its proper position. Now, in this case, it is evident that, besides the mellowing properties of space in concealing defects, the size of the building and the position of the organ absolutely operate, and that very largely, in magnifying the tone: and it seems certain that if, at any time, a fashionable ecclesiastical notion should cause it to be removed from its present site on the screen and placed in some side-chapel or other condemned-hole of mediaeval music, its tone and its builder’s reputation would alike be dissipated – Messrs. Gray and Davison’s new and fine reeds notwithstanding. It is now time to describe what has been done to the Windsor organ. The whole of its mechanical interior, its frame-work, bellows, sound-boards (except that of the swell, which was put in but a few years since), keys, and movements of every kind, are new. In the pipe-department, besides some minor changes, a new trumpet and clarion have been furnished to the great organ, and three new stops added to the pedal organ. Its contents, as now completed, stand thus: – Supplement to Chapter 7 145

GREAT ORGAN. 2. Open Diapason 8 feet (Compass FFF to F in alt.) 3. Dulciana 8 ” 1. Open Diapason (metal 4. Stop Diapason 8 ” throughout) 8 feet. 5. Principal 4 ” 2. Do. do. 8 ” 6. Dulciana Principal 4 ” 3. Principal 4 ” 7. Fifteenth 2 ” 4. Twelfth 3 ” 8. Sesquialtera 3 ranks 5. Fifteenth 2 ” 9. Cornopean 8 ” 6. Sesquialtera 3 ranks 10. Trumpet 8 ” 7. Mixture 2 ” 11. Oboe 8 ” 8. Posaune 8 feet 12. Clarion 4 ” 9. Clarion 4 ” 10. Claribella (to middle C) 8 ” PEDAL ORGAN. (One Octave and a half, from CHOIR ORGAN. FFFF). (Compass same as Great.) 1. Double Diapason 16 feet.5 1. Dulciana (to Gamut G) 8 feet. 2. Open Diapason 8 ” 2. Stopped Diapason Bass 8 ” 3. Bourdon 16 ” 3. Do. Treble 8 ” 4. Trombone 16 ” 4. Keraulophon (Tenor C) 8 ” 5. Principal 4 ” COPULAE. 6. Flute 4 ” 1. Swell to Pedals. 7. Piccolo 2 ” 2. Great to Pedals. 8. Corno di Bassetto 8 ” 3. Choir to Pedals. 4. Swell to Great. SWELL ORGAN 5. Swell to Choir. (Compass FF to F in alt.) 6. Choir sub-Octave to Great. 1. Double Diapason 16 feet.

All this work, we are bound to say, has been completed in excellent style. Expense and care have nowhere been stinted, and, as a result, the structural arrangements and finish of details are the best we have yet seen from Messrs. Gray and Davison’s factory. The usual fault of English organs, want of sufficient internal space, still remains an evil here; but from this the builders had no escape. The dimensions of the original case were to be rigidly preserved, and, thus

5 This is not, of course, the length of the pipe. We merely use these figures to denote that this stop is of the unison pitch of the Pedal Organ – that is, so far as such a mongrel arrangement can be said to have any pitch at all. 146 Organ-building in Georgian and Victorian England

circumscribed, we know not in what way the available room could have been more advantageously disposed of. Two very noticeable things occur in the mechanism. The pallets of the pedal organ are of a novel construction, are very light and noiseless, present a large sectional area of opening with a small amount of motion, and, though not positively equilibrated, offer but slight resistance to the opposing air-pressure. They have the advantage, also, of opening two grooves of the sound- board at once; and, although this is not done in a manner to admit of two distinct weights of wind, it is highly useful in separately alimenting different portions of the pedal organ. The draw-stops of the great and swell organs operate on their respective slides by means of a new form of the pneumatic apparatus, which is remarkably simple, elegant, and efficacious; and by the intervention of which, also, the composition pedals act with an ease and celerity quite unknown to those necessary but clumsy contrivances in general. The introduction and working out of these little novelties do great credit to the builders. All that is new in the matter of tone merits unqualified praise. The trumpet and clarion of the great organ (having tubes of very fine metal) are quite in the best style of reed-voicing; and the new stops of the pedal organ are equally admirable. The FFFF trombone is of the free-reed variety. This species of pedal reed, altogether new to English practice, has been adopted, we [799] think, wisely in this case. The quality of the percussive reed deteriorates rapidly below the 16 feet C. As its vibrations grow slower, the blows truck by the tongue on the lips of the reed become more and more distinctly separable by the ear, until, at length, in the lower half of the 32 feet octave, a rapid and not agreeable sound of hammering takes the place of genuine tone. This can never be the case with a reed of the free kind; and the notes we have heard, as finished for the Windsor organ, completely justify the experiment. They are quite sufficiently powerful, and are perfectly round and smooth in quality. Among the alterations, however, there is one that we can by no means approve. A few years since, one of the unison reeds in the swell was, by the desire of the organist, Dr. Elvey, taken out and its place occupied by a double-trumpet, – a change which, necessarily imparted to this clavier an effect of volume and dignity of which no other single stop was capable. Now, however, Dr. Elvey seems to have changed his mind, for the double-trumpet is removed and a cornopean substituted. This is a march backwards which we are sorry to have to record. The new cornopean is a fine stop, certainly, but can never exercise the influence on the general grandeur of the swell organ possessed by its predecessor. Where, for once in a way, a dean and chapter have been found willing to spend so much money in renovating their organ, and where so much work has been so excellently done, it appears hard that any room should be gratuitously left for censure. Yet much there is, we regret to say, in the present case. We find, for Supplement to Chapter 7 147 instance, the original compass – (FFF on the keys, and FFFF on the pedals) – still retained in all the fullness of its antiquated perversity. It is too much to expect, perhaps, from Dr. Elvey, or any other man, that he should abandon his educational persuasions all at one blow. We could not have hoped, for instance, for his consent to the reduction of his manual claviers to the legitimate CC compass. Perhaps, even, something of an amiable, but often obstructive, reverence for antiquity on the part of those who are “seized in fee” of Samuel Green’s “priceless” pipes, might have interfered with this amputative process. But why not have brought the pedal organ to the now all but universal range of two-and-a-half octaves from CCC upwards? Every reason is in favour of this mode, and surely nothing but prejudice can be against it. In the first place, not one solitary pipe of Green’s would be touched, for nothing did that worthy organ-builder contribute to this part of the instrument. Secondly, as the present open FFFF pipes are of cumbrous scale that was in fashion when they were made, they could be converted into an admirable 32 feet stop by simple lengthening, without shift of position; and on their substratum such a complete pedal organ could be formed as can never possibly exist on the present plan. Thirdly, to accommodate tender consciences, and to avoid a waste of old Green’s manual basses, two sorts of pedal couplers could be introduced, as at St. Sepulchre’s; so that those who had a preference for pure basses might play them, and, equally, those who admired old-fashioned distortions of passages, might be gratified. And, lastly, both organists and organ- builders would have been spared the charge of sharing in the continuance of a system which not only renders the just performance of music impossible, but can be proved to violate, both structurally and musically, the whole theory of organ- building. In addition to all this, we are bound to express our conviction that no organists, either in designing the construction of a new instrument or the alteration of an old one, has a right to tie up his successors to his own notions, when those notions are opposed to all but universal practice. If he do but agree with the world on the broad principles of structure, he may loose the reins of his fancy for details to any extent he pleases, – whoever comes after him may use or discard his novelties without damage to the rights of organ-playing. But not so as to such a fundamental point as that we now have in view. His privilege of gratifying his own prepossessions at the expense of others who may have wider field of experience cannot conscientiously extend as far as this. Dr. Elvey is, certainly, a man in the prime of life; yet, in the nature of things, he must have a successor. And unless that successor be able to persuade the purse-bearers of St. George’s Chapel to spend a large sum of money in undoing what Dr. Elvey has done – no very probable event, we imagine – he will be forced to rest content with playing the organ as Germany has never played it, and as, within the last twenty years, 148 Organ-building in Georgian and Victorian England

England has only seen it played in a few isolated cases. To him, for instance, a fugue of Sebastian Bach will be an impossible luxury; and though Her Majesty and Prince Albert may, perhaps, have an exceptional disinclination to this German production, and though the dean and canons may have not a whit more appetite for its beauties, he might keenly face the privation – so keenly, perhaps, as to wish his predecessor – anywhere but where he was. On another important point – though certainly subordinate to that we have just mentioned – a great mistake has, we think, been committed. The old system of tuning has been retained; whereas, in course of such a wholesale renovation as this, the equal temperament should certainly have been introduced. It is known, however, that the change of temperament necessitates a change of pitch in certain parts of the scale, and thus again, we believe, it happens that a reverence for the immaculate integrity of Samuel Green’s pipes has stepped in the way of improvement. We need not point out to anybody acquainted with the matter, that the cutting of a quarter or half-an-inch from the length of a fine pipe will in no wise damage its quality. Reeds, only, might be periled by an alteration of pitch; but as not one of Green’s reeds, we believe, remains in the organ, we do not see how the fame of that venerated artist could be put in jeopardy by the process of equal-tuning. Meanwhile, all that has been done to the Windsor organ has been admirably done. Messrs. Gray and Davison have most loyally fulfilled their part of the transaction, and it can be in no wise attributable to them that so large a quantity of work has not ended in a perfect result.

7.10 Bolton Town Hall, specification and ledger account, 1872.

7.10a Extract from a manuscript ‘Specification of Proposed Organ for the Town Hall Bolton. April 1872. W.T. Best.’ In the possession of the late Cecil Clutton and transcribed by him in ‘W.T. Best as consultant’, BIOS Journal, 8 (1984), 27–32; Clutton believed it was Best’s own copy. It corresponds closely to the entry in Gray & Davison’s Shop Book, 9, 88.

SPECIFICATION of proposed New Organ for the Town Hall, Bolton.

To comprise Four key boards each from C.C. to C4 in alto five octaves in extent. The Pedal board from C.C.C. to g, two octaves and a half. Every Stop, without exception, to extend throughout. Supplement to Chapter 7 149

Pedal Organ (32 Notes)

1. Double Open Diapason (wood) 32ft. 2. Contra-Bass (open wood) 16 3. Bourdon (closed wood) 16 4. Violon (metal) 16 5. Claribella-Bass (open wood) 8 6. Violoncello (metal) 8 7. Trombone (metal) 16 8. Trumpet (metal) 8

Eight Stops

Choir Organ (61 Notes)

9. Bourdon (closed wood) 16 10. Violin Diapason (metal) 8 11. Vox Angelica (metal) 8 12. Lieblich Gedackt (wood and metal) 8 13. Flauto Traverso (metal) 4 14. Piccolo (metal) 2 15. Echo Dulciana Cornet, of Five Ranks (metal) 16. Trumpet (metal) 8

Eight Stops

Great Organ (61 Notes)

17. Double Open Diapason (metal) 16 18. Open Diapason (metal) 8 19. Viola (metal) 8 20. Claribel-Flute (open wood) 8 21. Principal (metal) 4 22. Flûte Octaviante (metal) 4 23. Quint Mixture, of Two Ranks 2 2/3 and 2 24. Great Mixture, of Five Ranks 25. Double Trombone (metal) 16 26. Harmonic Trumpet (metal) 8 27. Clarion (metal) 4 150 Organ-building in Georgian and Victorian England

Eleven Stops

Solo Organ (61 Notes) (immediately above the Great Organ)

28. Concert Diapason (metal) 8 29. Flûte Harmonique (metal) 8 30. Flûte Octaviante Harmonique (metal) 4 31. Cor Anglais (metal) 8 32. Clarionet and Bassoon (metal) 8 33. Tuba Mirabilis (metal) 8 34. Carillon (a Gamut of Bells, 4ft. pitch)

Seven Stops

Swell Organ (61 Notes) (highest key board)

35. Lieblich Bordun (wood and metal) 16 36. Open Diapason (metal) 8 37. Viol de Gambe (metal) 8 38. Voix Célestes (metal) 8 39. Lieblich Gedact (wood and metal) 8 40. Salicet (metal) 4 41. Nazard (metal) 2 2/3 42. Flautino (metal) 2 43. Mixture of Three Ranks 44. Vox Humana (metal) 8 45. Corno di Bassetto (metal) 8 46. Hautbois (metal) 8 47. Trumpet (metal) 8 48. Clarion (metal) 4

Fourteen Stops

Eight Manual Couplers and Four Pedal Couplers

1. Swell to Great 2. Solo to Great Supplement to Chapter 7 151

3. Solo to Choir 4. Swell to Choir 5. Solo sub-octave, on its own keyboard 6. Solo super-octave, on its own keyboard 7. Swell sub-octave, on its own keyboard 8. Swell super-octave, on its own keyboard 9. Great to Pedals 10. Solo to Pedals 11. Swell to Pedals 12. Choir to Pedals

Twelve Couplers

Details of Construction

The Keyboards and Pedalboard

The keyboards are to be brought fairly away from the front of the case, say, four feet. As circumstances do not allow the advantage to the player of a reversed position, facing the audience, the usual construction of the keyboards will be observed.

The four keyboards to be brought as near each other as possible, without in anyway interfering with the length of the black keys, so that passages can readily be played on any two keyboards by the same hand.

The length of the Black keys, through each series of keyboards to be three inches.

The length of the White keys to be five inches.

The pneumatic touch to be applied to the Great, Solo, and Swell keyboards, but not to the Choir Organ.

The pedal board to be slightly concave with radiating keys. The dimensions as follows: 152 Organ-building in Georgian and Victorian England

Width across C.C.C. to g; four feet three inches (in front of black keys). Width across at end of Pedal keys (under the organ seat) two feet ten inches. Length of short keys six inches; Length of long keys two feet one inch. The pedal keys to present a perfectly flat surface to the foot – the breadth of each key being one inch.

All stop-handles to be within immediate reach of either hand, and the following Couplers, (the only ones acted upon by “stop handles”) to be disposed of in front of the player, above the swell keyboard. 1. Swell to Pedals 5. Swell sub-Octave 2. Choir to Pedals 6. Swell super-Octave 3. Swell sub-Octave 7. Swell to Choir 4. Solo super-Octave 8. Swell to [Great]

Two .

One to the Swell stops, numbered in the specification 44, 45, 46, 47 and 48. – the other to the Solo Organ stops, numbered 31 and 32.

Pipe Metal.

No zinc to be employed for any department of the instrument. The front pipes – comprising part of the 16 feet. Manual Double Open Diapason and other Great Organ stops –, to be made of lamb stamp tin and pure soft lead, in the proportion of tin 90 and lead 10, in 100 parts. The interior metal pipe-work to be made of an alloy of 5 ninths lamb stamp tin, and 4 ninths pure soft lead, as before.

Remarks on the Stops.

[These detailed and extensive notes are fully transcribed by Clutton, but are omitted here for reasons of space.] Supplement to Chapter 7 153

System of Ventils or Wind Pedals.

The contents of the Pedal and Great Organs, and also the Swell Organ to be governed by a series of small Pedals, which, when “hitched” down, cut off the wind from various stops as specified. Pedals, also, to “hitch down”, connect the Great to the Pedals; Solo to the Pedals; Swell Organ to the Great Organ; and Solo Organ to the Great Organ.

The Pedal marked No. 1 … to cut off the wind from the Great Organ Reeds, (3) and the Pedal Reeds (2)

Pedal No. 2 to cut off the wind from the Great Organ, Quint Mixture, and the Great Mixture, only (2)

Pedal No. 3 to cut off the wind from the Great Organ Double Open Diapason and Principal, and also from the Pedal Organ, 32 ft. Double Open Diapason (3)

Pedal No. 4 to cut off the wind from the Claribel-Flute and Open Diapason of 8 ft., also from the Pedal Organ Bourdon, 16 ft. and Violoncello 8 ft. (4)

Pedal No. 5 to cut off the wind from the Swell Organ Reeds (5)

Pedal No. 6 to cut off the wind from the Swell Organ Mixture, Flautino and Nazard (3)

Pedal No. 7 to cut off the wind from the Lieblich Bordun, and Viol de Gambe (2)

No. 8 Connects Solo Organ to Pedals No. 9 Connects Great Organ to Pedals No. 10 Connects Swell Organ to Great Organ No. 11 Connects Solo Organ to Great Organ No. 12 – Tremulant to Swell No. 13 – Tremulant to Solo No. 14 – Solo Organ Swell Pedal No. 15 – Swell Pedal 154 Organ-building in Georgian and Victorian England

[A pencil note gives the wind pressures:

Flue 3¼ Tuba 10 Reeds 3¾ Pedal Flue 3¾ Solo 5 Pedal Reeds 4¼ ]

7.10b Ledger entry for Bolton Town Hall, October 1874: G&D, L8A, 111.

The Corporation of Bolton

1874 To a Grand Organ No 10330 of Four Manuals and Pedal Oct 23 Organ, as per Specification and Estimate 2220 - -

Vertical Feeders, Reservoirs and Engines as per Estimate 348 - -

Swell Pedals on an improved principle 8 - -

Key and Draw Stop Fittings in Oak and Ebonised Wood with gilding[,] extra thick Ivory Knobs[,] solid engraved Ivory Knobs with colored [sic] letters[,] Sliding cover &c &c 120 - -

An Elaborately carved Oak Case to Architects design the carving in Pine[,] as per Estimate 1161 - -

Extra Front Pipes to Architects design (150 feet extra length equivalent to the difference between Tin, as originally specified, and Zinc[,] and therefore not charged). Raising centre Pipes, Pattern Pipes for decoration, &c &c 263 15 -

A Stool in Oak 2 12 6

Cash paid Mr B and Mercantile Insurance Coy for Insurance from Fire 7 10 - ______4130 17 6

chapter 8

8.1 Correspondence between Frederick Rothwell and Gray & Davison concerning the Crystal Palace organ (March and April 1882) from the Rothwell archive [RCM, London: currently uncatalogued].

8.1a Memorandum from Gray & Davison Limited, 370 , London. N.W. to Mr Rothwell, Crystal Palace, Sydenham (25 March 1882).

We are not quite clear about Solo Organ wind pressures in the book. Please say how you understand them? Is it not 8 inches for all except Tromba, the latter being 13 – As to the 32 ft Ped. Open, marked 2 ½ in. Cannot more than this be applied?

[pencilled reply on rear:]

The Solo organ (except Tromba) is on 8 inches Tromba to be on 12 inches – The 32 ft. Pedal Open could be placed on 6 inches with advantage, it will then be on the same as the Great & Swell Diapasons, at the same time it would be as well to raise the pressure on the Wood Open, Violon and Principal Pedals to 6 inches they are now marked 5 inches.

8.1b Memorandum from Gray & Davison Limited, 370 Euston Road, London. N.W. to Mr Rothwell, Crystal Palace, Sydenham (29 March 1882).

We don’t want to sharpen the 32 ft. Open by extra wind so as to render it necessary to put it up a pipe. Would it bear 4 or 5 inches pressure without need of shifting?

[pencilled reply on rear:]

March 30th The 32ft open will bear the 6 in wind without shifting up. it was intended to make tuning boxes for this stop and they can be made long enough for 4. 5. or 6 inches wind the extra pressure does not sharpen the lower notes so much as the upper ones. 155 156 Organ-building in Georgian and Victorian England

8.1c Memorandum from Gray & Davison Limited, 370 Euston Road, London. N.W. to Mr Rothwell, Crystal Palace, Sydenham (31 March 1882).

We think a 5 inch wind will be ample for the Pedal 32 & 16 ft. flue work.

8.1d Memorandum from Gray & Davison Limited, 370 Euston Road, London. N.W. to Mr Rothwell, Crystal Palace, Sydenham (5 April 1882).

Let us have the Scale for the new bass 32 ft. reeds, and we will order them at once. Also let us know what new pipes are required to put up the Choir Organ generally one pipe. The Gt. Open Diapason will have to remain on the slide already arranged – but the panel in front may be opened out. That there can be no objection to.

[pencilled on back, probably by FR:]

I have sent to the factory a CCC reed as a pattern for the new reed, the 32 ft to be carried an octave lower of course. The following pipes are required for Choir organ. Salcional Ten C. 2 5/8 in Voix Celeste Ten C. 2 3/8 Principal CC 3 3/8 Harmonic Flute CC 2 ¾ Harmonic Piccolo 3 7/8 [?] Spitz Flute 2 ft CC 2 in Clarabel Flute 4 ft Ten C 2 1/8 x 1 ¾ Clarionet CC 1 7/8

8.1e Postcard from Frederick Davison, 370 Euston Road, to Mr Rothwell at Crystal Palace (postmarked 27 April 1882).

I have determined to shift up the Great Mixtures therefore bring particulars of the Pipes required with you on Saturday.

Fredk Davison Supplement to Chapter 8 157

8.1f Undated note of wind pressures at the Crystal Palace [1882?].

New Pressures Crystal Palace

Gt Organ Soundboard No 1} 16 ft 8 ft & 4 ft to 6 inches “ 2} “ 3 Remain as before. 3 7/8 “ 4 Reeds, - Bass 6in, Treble 8in

Sw Organ Soundboard 1 Reeds. 6in Bass, 8in Treble “ 2 [?] 6 in throughout

Choir Organ Soundboards 1} Reeds & Flutework – 4 inches “ 2}

Pedal Organ Wood Open } Violon } 5 inches Principal }

Metal Open - 3 ¾ inches

Twelfth } Fifteenth } 2 ½ inches Mixture }

Trombone } Trumpet } 5 inches Contra Posaune} Contra Bombard & Contra Bass – not weighed 158 Organ-building in Georgian and Victorian England

Solo Organ Tromba } Clarionet } Open Diapason } 10 inches Harmonic Flute } Flute Octaviante }

8.2 Printed description of the organ for St Philip & St James, Rock, Northumberland (1881); a photograph of the leaflet which is framed and attached to a panel of the organ case appears in, Organ, vol. 43 (1964), opp. p. 189.

Description of the Organ designed and presented to Rock Church by Robert Holford Macdowall Bosanquet, Esq., late Fellow of St. John’s College, Oxford; built by Messrs. Gray and Davison, 370, Euston Road, London, under instructions from Mr. Bosanquet, and opened in Rock Church at a special service on Friday, the 25th of November, 1882.

The chief peculiarities of the instrument are: - New Swell action from back of seat. Parallel concave Pedals, with fronts of sharps straight. Arrangement of stops on principle that what is controlled by compositions (Great and Swell) should be on the right, everything else on the left. Double reed on Swell and Bourdon on Great, unusual in so small an organ. Metal Open Diapason 16 standing in sight, more suitable in character than a heavy wooden Open, and much more economical in space. The borrowing of three stops (Small Bourdon, Bass Flute, Principal) for the Pedal from the Great Organ, particularly the Small Bourdon; this is the Bass of the Manual bourdon, and is more suitable for soft effects than the Great (Pedal) Bourdon. The Choir Clarabella is intended to be a powerful stop, so that a balance of strength with another Manual stop may be got more easily than usual. All the stops run throughout, except the Dulciana in the Swell, which is grooved into the Gedackt in the lowest octave. Supplement to Chapter 8 159

The Basses of most of the metal stops stand in sight, and are of burnished tin. The interior work is of good spotted metal. The Great to Pedal coupler is placed next to the 16-foot Open Diapason, so that the two may be reached by one movement of the hand.

SPECIFICATION. SHOWING THE POSITIONS OF STOP HANDLES, &c.

Choir. Couplers. Great. Swell. 8 Clarionet. Swell to Great 8ve. 4 Harmonic Flute. 4 Clarion. 4 Lieblich Flute. Swell to Great. 4 Principal. 8 Cornopean. 8 Clarabella. Swell to Pedal. 8 Stopped Diapason. 16 Contra Fagotto. 8 Gamba. Choir to Pedal. 8 Open Diapason. 2 Fifteenth. Great to Pedal. 16 Bourdon. 4 Suabe Flute. 8 Dulciana [T.C.] 8 Open Diapason.

Pedal. 8* Principal. 16 Open Diapason (Tin). 8* Bass Flute. 16 Grand Bourdon. 16* Small Bourdon. * borrowed from Great Organ.

Compositions. 7 6 5 4 3 2 1

1. Full Great, putting out also Pedal Open Bass and Great to Pedal Coupler. 2. Puts out Great Diapasons, reduces to same; puts out Pedal Open Bass, and Great to Pedal Coupler. 3. Puts in Pedal Open Bass, Pedal Principal and Great to Pedal Coupler. 4. Puts out Dulciana and Lieblich Gedackt [sic] Swell, and reduces to same. 5. Puts out Dulciana, Lieblich Gedackt, and Oboe, and reduces to same. 6. Full Swell. 7. Octave Coupler, backwards and forwards motion. 160 Organ-building in Georgian and Victorian England

8.3 Description of Gray & Davison’s factory from Musical Opinion, vol. 12 (June 1889), 437.

PASSING ALONG THE EUSTON ROAD, the observant wayfarer would possibly be struck by the handsome Gothic gateway which leads into the extensive Organ Factory of Messrs. GRAY & DAVISON, – a factory that lovers of music would find well repay[s] a visit. Of all musical instruments, the Organ is doubtless the most impressive and elevating, as well as the most interesting and complicated in its construction, and one that admits apparently of no limit to its power of development. The establishment of Messrs. GRAY & DAVISON is not only admirably adapted for the construction of these noble instruments, but is peculiarly fortunate, inasmuch as it was erected by the late Sir GILBERT SCOTT for the express object to which it is devoted. Every part of the instrument can be and is prepared on the premises. There are timber yards for the storing and seasoning of the beautiful woods used, much of which is kept for years before it is deemed fit for use. A casting shop, in which the pure tin and lead is cast into sheets to reappear as the pipes destined to convey such charming sounds to our senses. There are Voicing rooms to test the power and merit of the pipes. Further, there is one voicing machine now in this factory, the keys of which were touched by no less a master than the great Handel; another can claim the same honour with regard to Purcell. One can linger long over each department – for each is of great interest – ere one passes into the Great Hall, where Organs are in process of construction. A magnificent Organ, now being built for the Duke of Newcastle – which, when complete, will be erected in Clumber Church – promises to be as near perfection as possible, as it will have every improvement which the firm have introduced to make their instruments perfect. Lofty as the Great Hall is, it is none too much so for this Chamber Organ, which will rise nearly to the roof. There is immense variety in the size and power of the instruments manufactured by Messrs. GRAY & DAVISON, ranging from the Chamber Organ to the Grand Organ of the Leeds Town Hall, with its one hundred and seventeen stops. The firm have a world-wide reputation, and are unceasing in their efforts to bring their productions to the highest degree of perfection attainable. Altered conditions in the manufacture of Organs have been met at Messrs. GRAY & DAVISON’S factory by the introduction of labour saving machinery. The whirl of the circular saw tells one that the days of hand-sawing are numbered; Supplement to Chapter 8 161

here is a moulding machine which will turn out a moulding of nearly any pattern in the twinkling of an eye; there is a planing machine; and scattered about are other contrivances to save human muscles. A “cyclone” is in full blast, with pipe ramifications all through the workshops, which by its mighty breath sucks up the sawdust and shavings, and so keeps the work and material free from dust and dirt. The visitor to the works can feel assured of a most cordial and courteous reception from Mr. CHARLES DAVISON, who now undertakes the active part in the management of the business, Mr. FREDERICK DAVISON, though still the chief proprietor, being unable to do so.

8.4 Letters and other papers from the Rothwell archive [RCM, London, currently uncatalogued] concerned with Frederick Rothwell’s work on the Windsor organ, 1887–8.

8.4a Draft memorandum (pencil) in Rothwell’s hand concerning St George’s, Windsor – undated [January 1888?].

Gentlemen

I beg respectfully to call your attention to the state of the organ at St Georges, Windsor, and to the complaints of Mr. Parratt, He complains first of unsteadiness in the wind of the Great organ when used full power, the upper notes trembling much at each repetition of the bass, Mr. Parratt also complains of an ugly running in the Choir Keraulophon, when CC and tenor C are held together [some?] upper notes speaks [sic] quite loudly. To remedy the unsteadiness of the great organ I should recommend the addition of two trunks direct from the top of the reservoir, one into each half of the Gt. soundboards, not less than 12 inches by 6 inches each inside measurement, each of these trunks would require a small bellows and to rise and fall with the reservoir. The two small trunks that already exist have such a very bad bend … these I should recommend to be altered … I should also have the check valves of the reservoir taken out and replaced by two slide valves, one each end, to act very quickly and thus prevent the reservoir from falling when the organ is used, and take away the variation of pressure on the present valves. The running in the Keraulophon is in the upperboards as it runs in that stop alone, and could be cured by boring holes through the upperboard to intercept and allow the wind to escape before it reaches the upper notes. 162 Organ-building in Georgian and Victorian England

8.4b Letter from Charles Davison to Rothwell at Windsor (17 January 1888).

[Euston Road]

Not having had a line from you or even heard in any way since Jany 3rd we should like to know the state of things when you intend completing. You have now been at Windsor, it seems since Dec 27/87 & considering (as far as we know) the Organ only wanted tuning through carefully & the Reeds regulated, & what with being kept in the dark, we really cant make out what is being done to the organ – of course we wish Mr Parratt to be perfectly satisfied, but we think you will see yourself that from Dec 27th the present date is a long time for the work which we understood was to be done – We wish you to call on the Revd: John Danberry Winkfield Vicarage Windsor & see him about moving his organ 6 inches from its present position; some alterations it seems are being carried out on the Chancel which will make this necessary. Take all particulars to enable us to Estimate.

G&D

8.4c Frederick Rothwell to Charles Davison, from Windsor, draft in pencil (undated, but presumably response to previous letter).

Gentlemen I am afraid from your letter you did not understand fully the state of the organ here before I came down. I found to commence every flue stop very bad in regulation particularly the basses of the Swell, some of the notes were dumb and many unsteady in speech. The pitches of the Gt, Sw, and Choir organs were all different as bad indeed between the Gt. & Sw as to sound like a Voix Celeste when a note on each manual was drawn, in fact there was not a single stop in the whole organ in tune with itself but the worst of all were the reeds, four of these stops had not been out of the organ at all to be cleaned, and the rest cleaned in such a manner as to be absolutely worse than if they had never been touched. If I tuned them through by the time I came out of the organ some would be dumb and after a voluntary I should find seven or eight silent, on my first visit after the ganor was cleaned I found fully twenty notes in the Solo Tromba dumb and the stop useless. In face of all this, and remembering I had the sharpest ears in the world to satisfy, I had no alternative but to commence [to] regulate and tune the organ all through, take out the reeds and clean them in a thorough manner, replace and Supplement to Chapter 8 163

regulate them, I have been doing this so far, and have finished the Choir, and shall finish the Swell tomorrow night two of the Contra Fagotto and one of the Cornopean basses I found in this state [drawing showing a collapsed resonator] and had to cut them apart to make them right. To do work of any kind to this organ will take twice as long as elsewhere and no man can help it, there is a practice at 8. am and two services a day which take often one hour and a half each never less than 75 minutes, a rehearsal of 40 minutes after Service on Saturday, and since I have been here they have had rehearsals for and the performance of Bachs “Christmas Oratorio”, coupled with this the instr is the most awkward & inconvenient it is possible to think of. I have had all the reeds to hoist over the top of the organ case as there is no way fit down through the organ. I am certain to do the organ in this manner I am doing [sic] is the only way to give Mr. Parratt the satisfaction he means to have and to keep his favour, which we have very nearly lost. It will take me about a fortnight to finish.

8.4d From Charles Davison to Rothwell at Windsor (21 January 1889).

Organ Manufactory, established 1770, 370, Euston Road, Fitzroy Square, London, N.W.

Sir,

Yours to hand, we note your remarks re: [Winkfield?]. I really cannot understand how St Georges Organ is in such a state & now I see that 4 pipes are running. Do you think that anyone has been inside the Organ? I should like your opinion. It is all the more puzzling as I hear that Mr Parratt expressed himself satisfied at [?] Dyer & Monk – I cannot ask Dyer as he is out & so is Monk. XP.O.s enclosed for yourself & Boy. I should like Mr Parratt to be pleased with the organ, but at the same time I must confess that I think something is wrong.

Yours &c Charles Davison x Braudlaugh has taken your money

164 Organ-building in Georgian and Victorian England

8.4e Frederick Rothwell to Charles Davison, undated but evidently a reply to the preceding letter.

There has been no-one inside the organ except our own people, and all the irregularity of the stops and all the manifold things that I am engaged upon have been left by those who did the organ in the first case. As regards Mr. Parratt expressing his satisfaction to Dyer and Monk, I believe his remark was that the organ seemed alright then but he would not say for certain till he had tried it for a fortnight or so. Today I found the bass of the small Open Dia in the Great quite as loud as the large Open on the same organ, and the lowest note on the Double Diapason weighing about four hundredweight speaking with the faintest hum; the weight of the pipe has crushed up the tip of the foot and thus closed the hole. If there had been any attempt to regulate this stop this note and two others which I have set right must have been found and should have been cured when most of the pipes were out. Now to cure it I shall have to cut the bottom out of the groove block, on which it stands, and thus get at the tip of the foot. In every stop of this organ there has been something of one kind or another left that should have been done when it was convenient to get at. I am up on Saturday evening and shall be pleased to call at 24 Fitzroy Square, if you wish to see me and will let me know.

8.5 Correspondence relating to the termination of Frederick Rothwell’s employment with Gray & Davison (1889); Rothwell Archive [RCM, London, currently uncatalogued].

8.5a Trans-Atlantic cablegram to ‘Rothwell, 370 Euston Road, Ldn N W’ from Theo. C. Knauff Company, Philadelphia, USA (3 December 1889).

Send also promptly vox humana and clarinet with slim bassoon bass for same organ

Theodore C. Knauff Supplement to Chapter 8 165

8.5b Letter from Charles Davison, 24 Fitzroy Square to Mr Rothwell, The New Church, Clumber, near Worksop (3 December 1889, 10 p.m.).

Sir,

Just received the enclosed Cablegram, for which I have signed & thinking something serious had occurred I opened it, so that I might write you – I am exceedingly surprised & may say that I had suspicion for some time – You know it is against the rules for any workman to work for any other firm of Organ Builders, or private individual, therefore unless you can give me a satisfactory explanation I must give you notice of immediate dismissal –

Yours &c Chas Davison for Gray & Davison Ld Organ Builders 370 Euston Rd London N W

8.5c Letter from Frederick Rothwell, Clumber Church, to Charles Davison; pencil draft of letter, dated 5 December 1889.

Sir,

I am in receipt of your letter dated Decr. 3rd. It has been laying in Clumber House since yesterday or it would have received my earlier attention. On Nov 19th I received an application from T. Knauff & Co to execute some work for them, & the letter was posted on to me from Euston Road. They stated that my name was given them by their foreman who formerly worked in London. This letter has never received any answer from me to this day, it is only one application among many that I receive from time to time. How their foreman came to give my name as one likely to supply them with pipes I cannot make out, as I never did such a thing. Thinking, I suppose, that I was able to supply them with their first order, they sent on the telegram you opened, these two are the only communications I have received from them and they have never received any from me. 166 Organ-building in Georgian and Victorian England

The eager way in which you have seized upon the pretext for my dismissal tells me at once that I am suffering in your estimation from the efforts of the backbiters and traducers who have been busy for months past, trying to undermine whatever confidence you may have had in me. You, of all others I know, I should have thought the last to open other men’s correspondence, and had it not been for others who gave you the suspicion you have had of me you would never have done such a thing. Why I should be subject to this treatment I cannot make out. Why cannot I meet these men face to face if there is anything wrong and so have an opportunity of rebutting the lies that are whispered in your ear, by men who will in the end be your ruin. Throughout the whole of the fourteen years I have worked for Messrs. Gray & Davison I have endeavoured to do all that should forward the interests of the firm by doing my work in the best manner possible and using for its benefit my influence everywhere with people I may have come in contact with. And it seems a poor reward to me to be always the scapegoat of men whose actions and ability will not bear the slightest investigation. Awaiting your reply till Saturday I remain Your obedient Servant F. Rothwell

8.5d Letter from Charles Davison (Gray & Davison), to Mr. Rothwell, Clumber Church (6 December 1889).

Sir, Your letter to hand, before I can give you a reply, I must ask you to send me the correspondence of T. Knauff & Co. & also any other correspondence you have. You say you never answered their last letter, the cablegram says “send also promptly” as if you had already corresponded with them. What you ought to have done, & which I feel sure any other man in our employ would have done, would have been to have handed any letters to me; I have really the right to open any letters addressed here, to any of the men. If you have not carried out the work yourself, have you given it to anyone else? – Then you go on to say that I have taken Knauff’s cablegram as a pretext for dismissal & also that you are subject to certain treatment, & that lies are being whispered in my ears by men who will be my ruin. Really I do not understand what you are driving at & I must ask you for a full explanation of your meaning, as I am determined to get to the bottom of it which I know, as I have already told you, is pure imagination on your part. I Supplement to Chapter 8 167

told you some time ago I had never heard anything said against you. You must be more careful in your expressions relating to the men, which might prove very unpleasant for you & which I consider quite uncalled for. I was very vexed the other day when Dr. Roberts wrote me saying the Organist of Clumber had written that we were not getting on with the Organ as quickly as we might & that the blowing Chamber was fit to receive the feeders & your name was mentioned in connection with this. I do not call this working for the interests of the firm. What you said I do not know. You ignore rule 12, we hardly ever hear from you & don’t know how you progress, or anything else. I will investigate the whole matter, & shall expect the letters already asked for, by return of post. If on investigation I find there is nothing to prove against you I will of course retain you, but this will be on certain conditions, as I do not intend to go on as hitherto. Yours &c. Chas Davison, for Gray & Davison

Let me know how far you have got with the Organ & when you are likely to finish. I consider it should have been done long ago. CD

8.5e Letter from F. Rothwell, Clumber Church, to C. Davison, Esq. (7 December 1889).

Sir, No, most decidedly, I will not send the correspondence of Messrs. T. Knauff and Co. and empty my pockets of any other letters I may have. You have taken already far too great a liberty with it. I never in my life heard a more preposterous claim than that you make with reference to other men’s letters in which you have not the slightest property. If these letters had belonged to a stranger, you would have returned them to the Post Office, the only honourable thing to do. As they belonged to me and your suspicion being roused you took the most unwarrantable course of opening one, to find what? “A Mares nest” (I find on reexamining the envelope of the first letter that it also has been tampered with) Out of courtesy to you and believing your statement “that you thought something serious had occurred” I gave you the true explanation of it, and I say again that I have not taken any steps to execute myself or get executed Messrs. Knauff’s orders. With refference [sic] to the letter and cablegram I will just ask you one question. Do you think it at all likely if I had answered the first letter on Nov 20th 168 Organ-building in Georgian and Victorian England

that the cablegram would have come to Euston Road on Dec 3? certainly not, I should have given them my own address and the mail is only nine days. Again I fail to see how sending pipes to America can affect in the slightest degree the external interests of Messrs. Gray & Davison. Here this very little “Storm-in-a-Teacup” must end as far as I am concerned, with the request that you will allow me to manage my correspondence my own way. With reference to my statement about lies and tittle-tattle being poured in your ears, I may say the occasion when you accused me of obtaining from your office information that was to form an advertisement for myself is still fresh in my memory. With regard to your being ruined, I say I do not believe there is a man or boy on the premises but knows you are losing money in big lumps or at least not making any profit on your business. The remark I made about the bellows chamber to the organist at Clumber was this, that the bellows being in the room now, I did not think it would make much difference whether they were idle or used, under certain conditions and offered to propose these things to you on my return. The organ is finished except the Choir the touch of which I got this morning having to wait for it nearly two days. If all goes well I shall finish next week.

I remain Yours faithfully F. Rothwell

8.5f W.A. Kendall (Company Secretary), Gray & Davison, to Mr F. Rothwell, Clumber (10 December 1889).

Sir, I am directed to inform you that your services will not be required by this Company after Saturday the 21st. inst.

Yours Obdtly W.A.Kendall Secretary

Supplement to Chapter 8 169

8.6 Obituary of Frederick Davison, Musical Opinion, vol. 13 (1 December 1889), 144.

In the person of the late Mr. F. Davison, death – which took place on November 12th, in his seventy-fifth year – has removed one of the foremost figures of the musical world. The oldest English firm of organ builders was founded at the commencement of the eighteenth century by Mr. William Gray – whose grandson, Mr. Robert Gray, by the way, became tutor to the late Prince Consort – and the recently deceased gentleman (my marriage) became a partner of the late Mr. John Gray, and hence came the alliance of the two names, which has become historical. Many of the apprentices of the original firm are now prominent organ builders, and, almost to the day of his death, Mr. F. Davison maintained a lively interest in all that concerned the advancement of his craft. The Liverpool branch of this eminent firm was purchased from Messrs. Bewsher & Fleetwood in 1845, and Mr. Charles Davison (nephew) had for a number of years the control of this establishment. By the death of his uncle, he now becomes the head of the firm of Gray & Davison, under whose sole guidance it has flourished for some time past, and for whom we may predict much success. The premises were closed on November 16th – the day of the funeral at – all the workmen having expressed a wish to be present at the cemetery. We might state that Messrs. Gray & Davison are the builders of some of our largest organs, – viz., the organ at the Crystal Palace, and the large organs in the town halls at Leeds, Bolton, Portsmouth, &c.