STACK 
 
 ANNEX 
 
 BRIEF HISTORY 
 
 THE ORGAN 
 
 CHAPEL OF 
 
 TRINITY COLLEGE, CAMBRIDGE 
 
 G. F. COBB, M.A 
 
 
 ALAN GRAY, LL.M., Mr- Doc. 
 
 t im'sf. 
 
 ( AMBR1DGH : 
 ]) TYLKR, LIM i

 
 THE ORGAN BEFORE 1 87O.
 
 A BRIEF HISTORY 
 
 THE ORGAN 
 
 TRINITY COLLEGE, CAMBRIDGE 
 
 BY 
 
 G. F. COBB, M.A. 
 
 Fcirmcrly Fcllmv and Junior Bursar. 
 
 EDITED nv 
 
 ALAN GRAY, LL.M., Mus.Doc. 
 
 Organist. 
 
 CAMBRIDGE: 
 K\BR \xn TYLER, LIMITED.
 
 PREFACE. 
 
 THK renovation of the Trinity Organ is a fitting 
 opportunity for the reissue of the late Mr. Gerard Cobb's 
 u Brief History,'' originally published in the Trident (July, 
 December, 1890), a Trinity College Magazine which appeared 
 from June, 1889, to December, 1891. The "Brief History" 
 was subsequently issued as a pamphlet. Mr. Cobb (1838-1904) 
 was a prominent musical amateur and a prolific composer, 
 many of his songs, especially his setting of the " Barrack 
 Room Ballads," having attained great popularity. As Junior 
 Bursar of Trinity from 1869 to 1894, he took a warm interest 
 in the improvements of the organ in 1870 and 1890, and 
 devoted much loving care to the details of the work done. 
 His pamphlet is of considerable historic interest, and his 
 suggestion as to the origin of the phrase u Chaire " organ 
 is, I believe, original, and is now generally accepted as well 
 founded. The pamphlet is also probably one of the earliest 
 specimens of the historical accounts now usually printed on 
 such occasions as the present one. It is reprinted verbatim 
 with the exception of a detailed account of the 1890 restora- 
 tion and a few sentences referring thereto. I have added 
 a description of the work just completed. I am indebted to 
 Dr. Fletcher for calling my attention to the passage quoted 
 in the note on p. 16. It throws an interesting light on 
 Smith's social position. The photograph showing the organ 
 before 1870 was kindly given me by Mr. B. B. Bales, F.R.C.O. 
 
 A. G. 
 
 Jan., 
 
 2111267
 
 THE CHAPEL ORGAN. 
 
 I have been applied to by the Editors of the Trident to 
 furnish them with some remarks on the Chapel Organ, and 
 gladly comply with their request. The subject is not altogether 
 an easy one to treat in a magazine article intended for general 
 reading, for it is hardly possible to be accurate without using 
 terms which have a special and technical meaning. It will be 
 my endeavour to avoid technicalities as far as possible ; at the 
 same time I can hardly be expected to write with that comfort- 
 able indifference to the true signification of words which seems 
 so generally to influence both speech and pen whenever music 
 is under consideration, and which not long ago induced the 
 special correspondent of a leading daily paper to describe a big 
 organ then in course of erection as u a stupendous structure, 
 with its marvellous ramification of fugues and diapasons. 1 " 
 
 1 There is perhaps hardly any subject in which such ludicrous 
 mistakes are constantly being- made by literary authors as in music. 
 Writers of even the highest tepute venture (perfectly gratuitously) into 
 the domain of musical terminology without the slightest trace of any 
 misgivings as to the result. A few instances from the pages of some of 
 our best writers of fiction may amuse the musical reader. ' George 
 Eliot ' is a conspicuous offender in this matter. In one of the many 
 unpleasant scenes between Grandcourt and Gwendolen, the former is 
 represented as breaking off the conversation and then resuming it as 
 "after a long organ stop"; (Daniel Deronda, edition 1876, Vol. III., 
 p. 362) as if an organ stop meant a pause in an organ performance. 
 In " The Mill on the Floss " (pp. 339, 340 of the one volume edition) she 
 represents the lovers Stephen and Lucy as singing a duet in a " perfect 
 accord of descending thirds and fifths " with a lot of other hopelessly 
 misapplied phraseology ; (see also ibid. p. 371). 
 
 Charles Reade at the end of Chapter II. of "The Cloister and the 
 Hearth " innocently ventures on a musical quotation set up in musical 
 type, with the result that a melody in one key is prefaced by the 
 signature of another, whilst its rhythm, which is that of three crotchets 
 in the bar, is indicated by the figures . As regards the key-signature 
 the copy of the book in the Union Society's Library to which I have 
 just referred to verify my recollections of the case affords a beautiful 
 illustration of proverbial dangers, for some " fool has rushed in " with 
 his indignant pencil, and having just the " little knowledge " to see that 
 something was amiss, has supplied the passage with another key- 
 signature even wider of the mark still. 
 
 It scarcely needed a keen sense of the sanctities of the Scotch 
 Sabbath to justify " Leezibeth's " resentment of " Coquette's " per-
 
 formance of " Mozart's Sonata in A sharp," which we are told despite 
 its appalling signature " she was playing carelessly enough," (A 
 Daughter of Heth, nth edition, p. 24); neither does it seetn necessary 
 that we should be informed that the music had a strange distance and 
 unearthliness about it," and that "the Whaup had never heard any- 
 thing like it before 1 ': and so passionately attached is Mr. William 
 Black to this monstrous creation of his musical ignorance that we are 
 again favoured with it in " Kilmeny," where the hero (p. 75) wonders 
 whether Miss Lesley " would only express a faint surprise on hearing 
 Mozart's Sonata in A sharp." 
 
 It has been reserved tor Mr. Gunter (the author of " Mr. Barnes of 
 New York") to furnish us with an entirely new variety of violin. In 
 his last book (" That Frenchman," page 56) the eyes of Louise are 
 described as betraying " the anxiety of some great strain upon the 
 mind, something that keeps her nervous system at a constant un- 
 relaxing tension, that makes it like the C-string of a highly-tuned 
 violin." 
 
 Apropos of organs in particular a good story is told of a church- 
 warden who was deputed by the vestry to select one among a number 
 of competitive specifications for a new organ for his church, and who 
 thinking that the phrase " to Tenor C " implied an extension rather 
 than contraction of compass selected the one in which it occurred with 
 the greatest frequency, under the idea that he would be getting most 
 for the money. The organ-builder, on hearing of this, naturally 
 enough professed his readiness to let him have a few more of the stops 
 made " to Tenor C " for the same estimate. 
 
 (I am unable to resist the temptation of adding to Mr. Cobb's 
 am using list of novelists' dealings with music, even though the matter has 
 nothing to do with the subject of this pamphlet. The extract is from 
 Ouida's " Signa." Signals a musical genius of a peasant boy. He 
 saw an old pearwood violin in a shop, "took it down, and began to 
 make the strings sound, not knowing how, but rinding the music out 
 for himself as the young Pascal found the science of mathematics. 
 Sweetest sounds dancing the air like butterflies, etc." Signa finally 
 manages to buy the violin. His master, Bruno, " who had a melodious 
 ear (!) listened aghast the music was never wrong in a chord : it was 
 sweet as all the nightingales in the country singing all together. The 
 owls cried ' Woe ' from the great walnut trees over the house roof, the 
 sweet melody seemed to fill the place with wonder, and to live in the 
 quivering rays of the moon, and to pass out with them through the 
 lattice among the leaves, and so go straight to the stars." 
 
 Bruno does not approve of all this music, and " set his heel on the 
 violin, and stamped it down again and again as if it had been a snake. 
 The bruised wood cracked and broke under his heel ; a single string 
 snapped with a shrill, sad, shivering sound, like the sound of some 
 young thing dying. . . . All night Signa tried to mend his shattered 
 Rusignuolo. It was quite useless. The wooden shell he could piece 
 together very well, but the keys were smashed beyond all chance of 
 restoration, and for the broken silvery strings there was no hope. . . . 
 His heart was oppressed with a vague yearning, such as made Mozart 
 weep, when he heard his own Lacrimosa chanted." 
 
 Poor Signa has to take to the mandoline, on which he "struck a 
 few broad, sweet chords . . . just a few chords in the minor key, sad 
 and soft, and almost solemn." 
 
 He hardly appears to have fulfilled the promise of his youth, for 
 music does not play much part in his subsequent adventures, though 
 we learn incidental!}' that " they were giving his music at Como, and 
 they were about to bring the Lamia out in Milan." A.G.)
 
 Neither again will it be desirable to over-burden the text with 
 too frequent references to the exact chapter and verse of my 
 authorities. 2 No statements, however, shall be made in the 
 course of this article as statement of fact except such as I have 
 the means of thoroughly establishing. Wherever my materials 
 are in the least degree imperfect or ambiguous, they will be 
 referred to in terms of proper qualification. 
 
 Mr. Sedley Taylor has an excellent story of a native waiter 
 at the Bernerhof, who, on being asked one day whether there 
 was going to be a recital on the big organ in the Cathedral 
 at Berne, replied : u No, Sir ; the organ, Sir, she is sick " ! 
 It is now ten months since our organ first passed (on Monday, 
 July 15, 1889) into the doctor's hands, and the feeling of con- 
 gratulation on its long-delayed recovery must, one would think, 
 be universal. Thanks to the efforts of our Choir and the pains 
 taken with them by our Organist and his Coadjutor, as well as to 
 the energy and vigilance of our Precentor, our Choral Services 
 have been throughout not unworthy of the College ; still our 
 Choir is not, numerically speaking, strong enough for much un- 
 accompanied singing, especially on occasions when the chapel is 
 full and its resonance proportionately impaired ; and we have had 
 moreover a particularly adverse season to contend with in the 
 matter of bronchial epidemics. The College has indeed in 
 years past seen worse times, when choir as well as organ were 
 
 - The chief, if not the only sources of information, as to the history 
 of our organ are (i) the " Conclusion Books " or records of the decisions 
 of the Master and Eight Senior Fellows who were until recently the 
 Governing- Body of the College, (2) the Account Books of the Officers 
 of the College, and (3) the College Register or transcript of all docu- 
 ments to which the Seal of the College had to be attached. Mr. 
 Forsyth has kindly assisted me in making extracts from some of these 
 books, and between us we have I think managed to collect pretty nearly 
 all the information procurable on this subject, at any rate since the 
 Restoration. I am also greatly indebted to Mr. J. W. Clark for kindly 
 lending me his collection of Memoranda made at the time when he was 
 preparing his great work on the Architectural History of the Univer- 
 sity and its Colleges, a work the full value of which can hardly be 
 appreciated except by those who have had themselves to make search 
 in our old documents, and who have been privileged to see with 
 what laborious care and accuracy Mr. Clark's investigations have been 
 carried out. Mr. Clark has in fact anticipated much of what I have 
 to say, and although I may be able to add a few new features to the 
 story, the chief work left for me to do is to weave into something like a 
 connected history the various points about the organ already intro- 
 duced sporadically and incidentally into his pages.
 
 silenced, for we find that on August 12, 1625, the Master and 
 Seniors u concluded " as follows : 
 
 " Y' by reason of suspicion of daunger of y e plague 3 increasing and 
 y" neare dwelling of one of the singing-men to y e place suspected, y e 
 Quire for a time should breake up and intermitt their attendance in 
 the Chappell on Sundaies, Holydays, and Halfe Holydaies." 
 
 and it was but a few years later that our organ was u sick '' even 
 unto death, 4 and our Choral Services entered on that twice nine 
 
 3 The Conclusion Book at this period bears frequent testimony to 
 the sad interruption to College life occasioned by this " Visitation " as 
 it was called. On April 26, 1630, it was agreed " that the whole Societie 
 of this Colledge should breake up, and Commons in the Hall to cease 
 upon Fridaye next which is to be the 30 of this moneth, and that 
 betweene this day and that every one whatsoever to provide for him- 
 self and to depart the Colledge, and to provide that wheresoever they 
 live they must not expect ingress and regress into the said Coll : till it 
 please God to lessen or remove the greate danger in which we live." 
 The Master, the Vice-Master, and two Bursars, and a few Seniors 
 stayed " for the conversation and possession of the Colledge '' with a 
 minimum staff of servants among whom "the College Landerer " is 
 specially mentioned. Commons in Hall were apparently not resumed 
 until November 20, full six months after their very abrupt discon- 
 tinuance. 
 
 4 Senior Bursar's Accounts 1643 : 
 
 " To George Woodruffe for taking downe y e organs and hang- 
 ings." xv*. 
 
 " To Mr. Jenings for taking downe y 8 organ pipes." xlv*. 
 
 What a lamentably dehumanising influence this cessation of our Choral 
 Services speedily exercised even upon Scholars of the House, is well 
 exemplified by the following entry in the Conclusion book : 
 
 "1643, August i. Agreed upon by the Vice-Master and the rest 
 of Seniors that Carrill should bee punisht a monthes Commons for 
 offendinge against the Statute of Modestia Morum. 
 
 "Agreed at the same time that Pepys besides a monthes Commons 
 should have an admonition and pay the charges of the Chirurgion for 
 the healinge Carril's heade which hee broke with a key." 
 
 Even poetic natures, usually so securely nourished in their own 
 sweetness and light as to be indifferent to vicissitudes of surrounding, 
 were found to be unequal to the strain of this terrible time of artistic 
 famine, and we learn that the spirit of great Dryden was soured into 
 ungenial courses : 
 
 " July 9, 1652. Agreed then that Dreyden be put out of Commons 
 for a fortnight at least, and that he goe not out of the Colledg during 
 the time aforesaid, excepting to Sermons, without express leave from 
 the Master or Vice-Master, and that at the end of the fortnight he 
 read a confession of his crime in the hall at Dinner-time at the three 
 Fellowes tables. 
 
 " His crime was his disobedience to the Vice-Master andhis contumacy 
 in taking of his punishment inflicted by him." 
 
 With regard to the following Conclusion it might perhaps be 
 questioned whether it does not point as much to the growth of a Puritan 
 sposition in the Governing Body (newly leavened by the intrusion o
 
 years of Puritan eclipse so grimly prefaced by the entry in the 
 Senior Bursar's Accounts (for 1643) : 
 
 " To Chambers for not blowing y c organs a whole year xK" 
 
 A Laudian enthusiast might perhaps have regarded this as a 
 fitting punishment for " malversation " with regard to the choir. 
 For whereas the Statutes of that day required the College to 
 maintain " ad sanctum Dei cultum pie et religiose quotidie in 
 Collegio exequendum " 4 Chaplains, 6 Singing-men or Lay- 
 Clerks (" Clerici seculares"), and 10 Singing-Boys (" pueri 
 Symphoniaci qui Choristae nominentur "), it seems that the 
 College was sufficiently u advanced " to put a fairly liberal inter- 
 pretation upon its Statutes. At least, that is the only explanation 
 that I can venture to offer of a curious expression of somewhat 
 frequent occurrence in the Conclusion Book of that time, viz. r 
 " a dric Chorister." It would seem that the emoluments of the 
 " Chorista " of that date were considerable ; they were ap- 
 parently better than those of a Sizarship, and almost if not quite 
 equal to those of a Scholarship. The " Master and Seniors " 
 at that time were in the habit of electing into vacant chorister- 
 ship students who had even taken their Bachelor's degree, and 
 who therefore, making full allowance for the juvenile age at 
 which the Trinity undergraduate of that day matriculated r 
 could not have been of any use as Singing-Boys. 5 That in their 
 
 Parliamentary nominees) as to the deterioration of undergraduate 
 behaviour. 
 
 " July 17, 1646. Agreed then by the Master and Seniors in considera- 
 tion of the Sophisters' pronenesse to unsufferable Abuses which arise 
 by the permission of Salting nights. That from henceforth all such 
 meetings whatsoever of any Sophister or others be wholly layd aside, 
 And that they carry themselves in all Civilitie and without any noyse 
 or humminge upon those nights which were formerly so called, repayre- 
 ing to theyre Chambers and Tutors as upon other nights, Conforminge 
 themselves in all particulars to the rule prescribed them in Statute 
 entitled de modestia morum." (For an explanation of these " Salting 
 Nights " see Mullinger, Vol. II., page 400). 
 
 5 A reference to the Senior Bursar's Accounts in a particular case 
 will illustrate this. Comparing the Conclusion of October 20, 1614, 
 with that of November 13, 1615, we find that the Choristership held by 
 Prentice was " a drie Chorister's place." The Accounts for 1611, 1613, 
 and 1617 are missing, but in those for 1610 Prentice appears as a Sizar, 
 in 1612 he appears as a Chorister, being then in his third year of 
 residence at least and presumably therefore too old for a singing boy. 
 In 1614 he still appears as a Chorister although he had taken his 
 Bachelor's Degree, and he continues as such, until Michaelmas, 1616, 
 when we may fairly assume he proceeded to his Master's Degree.
 
 weaker moments the Seniority suffered some qualms of con- 
 science in the matter is obvious from the Conclusion No. 4 of 
 March 29, 1613 : 
 
 "That whereas we have agreed upon an order never hereafter to 
 choose any drye quirister into a quirister's place : yet for this once and 
 no more, we have dispensed with this order and have chosen Tho. 
 Ritcher (sic) drye quirister." 
 
 And accordingly we find u Richard " (sic) on May 3, ordered 
 
 " Actually to come in S r6 Wilson's place, and Peake chosen in to be 
 quirister potentia to sing in y e meantime and if his voice hold to enjoye 
 it, till it fayle." 
 
 But this weak-kneed'd repentance was as short-lived as it was 
 unavailing, for on June 2 of the very next year stronger counsels 
 prevailed, and " Smith, senr., Mr. Cheeke's pupill," was u chosen 
 dry chorister to take place the next that falls," and we have 
 similar appointments at intervals up to the time of the follow- 
 ing famous entry : 
 
 " March the 30, 1636. It is ordered by the Master and Seniors in 
 the Chappel the 3Oth of March, 1636, that Abraham Cowley is chosen 
 into a drie chorister's place in reversion, and that the Colledge shal 
 allowe him the benefit! thearof till it fall, or that he be chosen scholler 
 att y- Election of Schollers next following." 
 
 Happily, no doubt, for the Choir, Cowley remained in it but 
 fifteen months, for he was '' chosen and admitted Scholler by 
 the King's letters dispensatory on 1637. J unu ' I 4-" 
 
 It would be wrong to assume that the College was altogether 
 indifferent to the claims of the Choral Service, for we have 
 plenty of entries implying a due regard to vocal qualification, 
 and on one occasion (1628. Martii 21) not only was "Warner 
 chosen into a Quirister's place being voyd," but u at the same 
 
 The following Conclusion also aptly illustrates the conditions as re- 
 gards age and circumstance of these appointments. ' 1629, Jan. 5. Then 
 also it was agreed that Nath. Willis, being at the time of the last 
 election of Scholars hindred by sickness from being then present in the 
 Coll : and one of good hope both for his manners and learning, and 
 above five years' standing since his admission, shold be and also is 
 chosen this day at the sole instance of the Lo. Duke of Lenoux a 
 Querister extraordinary, yet so as this Act shall not be taken as presi- 
 dent for the others hereafter. L. Bath & Wells." 
 
 fi " S r " i.e. Sir, was at this time the vernacular prefix used to imply 
 that the Bachelor's Degree had been taken.
 
 time were chosen probationers for the Chorus, Edmons, 
 Xitingale, Marrett and Baily ; upon condition that he whose 
 voyce and skill were fittest for y e quire when any place fell 
 voyd, should be chosen into it." 
 
 The above extracts, however, all seem to me to point to the 
 conclusion that the " Choristae " of that period were not all 
 " pueri symphoniaci " as the Statutes required, but that they 
 were divided into those who were " drie " and those who were 
 not ; and that in contradiction to the more melancholy ex- 
 perience of recent times (with regard at least to adult singers) 
 it was those who did not sing that were habitually " dry," 
 rather than those who did. 
 
 Under the Commonwealth compliance with the Statutes 
 was in several important particulars made impossible, and on 
 February 23, 1645, we find that no less than eight "com- 
 mencing Bachelors " were made Choristers, obviously on a 
 41 dry " footing, and a few years later (Jan. 17, 1654) it was 
 ordered 
 
 " That the Choristers shall bee examined and chosen at the same 
 time and in the same manner with y e Scholars of y e House." 
 
 It is significant to note that this last resolution which, consider- 
 ing the peculiar circumstances of the time, was a most laudable 
 one, did not precede but succeeded (by just 12 months) a reso- 
 lution (January 24, 1653) appointing as chorister "with im- 
 mediate enjoyment of all profits and emoluments thereof 
 Thomas Arrowsmith our M r?s son," a piece of scandalous 
 jobbery on the part of the Puritan Council such as we may 
 hope formed the subject of a question even in a Puritan 
 Parliament. 
 
 But it is time to return to the Organ. Little need be said of 
 our pre-Restoration Organs, as it is quite certain that whatever 
 "original elements'' our present organ may still contain, it can 
 set up no claim to be their successor except in a purely 
 chronological sense. The first organ used in our present 
 Chapel was one which had been already in use in the old 
 chapel (of King's Hall) and was moved into it in 1563. In 
 1594 one Hugh Kose was employed to build a new organ 
 which was completed in 1596. In 1610 John Yorke repaired 
 and improved "the ould orgaine," -and also made "a new
 
 IO 
 
 chaire 7 orgaine." In 1615 and again in 1621 Stephen 
 Brittaine did some extra work to the organs. In the year 
 1635 u Mr. Dallam" appears on the scene. His is a name of 
 considerable note in the history of organ-building. I have 
 not come across any entry in our books in which his Christian 
 name occurs, but it is reasonable to assume that he is " Robert 
 Dallam " who had just about this time built organs for Canter- 
 bury, York and Durham Cathedrals. The " Thomas Dallam " 
 who built the organ in King's Chapel just 30 years previously 
 (the case of which practically remains to this day) was his 
 father, from whom he no doubt inherited the care of the King's 
 Organ, and on this account was selected by the College to 
 take our own in hand. This is a most interesting period in 
 the history of our Chapel, when the Chapel "furniture," &c., 
 was ordered according to Cathedral usage, 8 the Chapel beauti- 
 fied and adorned, and the presence of dogs no longer tolerated. 9 
 Two relics of this short-lived and ill-fated " Catholic Revival " 
 survive in the shape of two gilt flagons, still in use, which were 
 presented to us in the year i636 10 by John and Bernard 
 Stuart, the two pleasant-looking youths whose picture, prob- 
 ably taken about the time they were here, some of us may 
 have noticed in the Stuart Exhibition last vear. 11 
 
 7 The explanation of this phrase " Chaire-Organ " is reserved for a 
 Note in Appendix A. 
 
 8 Conclusion, "June 15, 1635, agreed by y e M'\ and y e Seniors to 
 set o r Communion-table in o r Chappell as it is in Cathedrall Churches 
 and Chappells, at y e upper end, and y (! ground to be raysed ; and y' y- 
 Chappell be adorned accordingly." See also Conclusion of January 14* 
 163?. 
 
 9 Senior Bursar's Accounts, 1637 : 
 
 " To him that should keepe dogges out of y e Chappell." xxvj". viij d . 
 
 10 The Hall-mark of the flagons is 1607. They form two of (only) 
 4 pieces of Plate now in possession of the College which survived 
 those " troublous times." The other two pieces are the " Nevile " Cup 
 (Hall Mark, 1615), and a Bason & Ewer (1635) presented to "the 
 Bursars Table" by one of the Senior F'ellows named Ambrosius 
 Aykerod then Bursar. 
 
 11 Lords John and Bernard Stuart were younger brothers of James 
 Stuart, fourth Duke of Lennox and first Duke of Richmond. They 
 both died in 1645 fighting for Charles I. In the Small Combination 
 Room there is a mezzotint engraving by McArdell, after the magnificent 
 portrait painted by Vandyck and recently lent to the National Gallery 
 by Lord Lucas. A. G.
 
 II 
 
 The sums paid to Mr. Dallam do not indicate that he did 
 much more than thoroughly overhaul, clean and repair the 
 existing organ, but he was afterwards permanently engaged at 
 an annual salary to tune and look after it. Two entries of 
 " Sackbuts " purchased for the Chapel at this period furnish 
 an opportunity of mentioning that it was not unusual at that 
 and subsequent times to supplement the organ with other 
 instruments, and in the College records I have found entries 
 at different periods of representatives of the three chief con- 
 stituents of the modern " orchestra," viz. : string, wood, and 
 brass instruments. 12 
 
 Mr. Dallam was not so fortunate as Chambers the blower-, 
 and received no payment for u not " tuning the organ during 
 the period of its dethronement, neither did we employ him at 
 the Restoration, most probably because he was then busily 
 engaged at Oxford in building organs for New College and for 
 the Oxford Music Schools ; he died very shortly after and was 
 buried in the Cloisters of New College. The accounts for 
 1660, however, show that we took an early opportunity of 
 setting up an organ again, and of appointing an Organist in 
 the person of Mr. George Loosemore, one of three brothers 
 natives of Exeter. A second brother, Henry, was Organist at 
 King's at this time, whilst a third, John, living at Exeter, was 
 an organ-builder of repute and built (in 1665) the Cathedral 
 Organ there, which was regarded as one of the wonders of the 
 day. It would seem that our brother George must also have 
 been instructed in the art of organ-building, for not only was 
 
 12 Senior Bursar's Accounts, 1596 : 
 
 " Item a Cornett bought for y e Chappell." xx"." 
 
 (The Cornett was a reed instrument of the Oboe class). 
 
 Ib. 1637 : 
 
 " For y e Sackbut. xl'." 
 
 (The modern representative of the Sackbut is the Trombone). 
 
 The allusions to " violls " are frequent. In addition to those used 
 in the Chapel, a set of violls was provided for use in the "Common 
 Chamber." In the Junior Bursar's Accounts for 1672 we have " To 
 Mr. Loosemore for strings and stringing y e violls in y e Comon Chamber 
 01. 10. oo." 
 
 A special orchestra was hired on great occasions under heading 
 " For a Symphony of Music," or " For a Consort of Music " ; but it 
 seems doubtful whether this refers to music in the Chapel, or only in 
 the Hall, though in one instance (" at y e opening of y e new organ " 
 1694) the former is probably meant.
 
 12 
 
 Tie paid for "mending y e organs," but (in 1^63) an item 
 .appears 
 
 " To Mr. Leusemore for removing his ovvne organ," 
 a natural inference from which is that he had as a temporary 
 stop-gap supplied us with some small organ of his own or 
 possibly his brother's construction. It would, however, appear 
 that some portion at any rate of the organ which was dis- 
 mantled in 1643 was rehabilitated in 1660, though not with a 
 result which was considered worthy of the place and occasion, 
 for under date June 9, 1662 we have a Conclusion signed by the 
 famous " John Pearson," then just appointed Master : 
 
 " Agreed that six-score pounds be layd out upon a Chaire-Organ in 
 order to a Faire one." 
 
 This new organ was built by Thamar of Peterborough, and 
 completed in 1663. Besides furnishing us with a new organ, he 
 supplied us with a new boy to sing to it. 13 The organ remained 
 in his hands for tuning, cleaning, and repairs until Lady-Day, 
 1685, he receiving an annual payment for the customary tuning 
 and regulating, besides extras for any special work. In 1675 
 for instance there is an extra payment for 
 
 " Mending the Organ when eaten w th Ratts," 
 and this in despite of an entry a short time previously 
 
 " F"or a Ratt trapp for the Chappell oo. 01. 04," 
 
 as well as an apparent cessation of the functions of the man 
 il that should keepe dogges " out of it. 
 
 In the Accounts for the year 1686, we are brought for the 
 first time into possible, though hardly probable, touch with our 
 present organ, for they contain a mention of the famous 
 
 i:i Conclusion December 16, 1662. Agreed "that young Thamar 
 son of the Organ-maker be admitted into the next Chorister's place 
 which shall be void, and that he be in the meane time allowed such 
 profits as belong unto a Chorister." 
 
 That Thamar was a builder of more than East Anglian repute is 
 proved by a fact furnished me by Mr. W. Barclay Squire, viz. : that 
 there exists in the Chapter Records at Winchester an agreement dated 
 27 July, 1665, "with Thomas Thamar of the Univer'' of Cambridge 
 Organ Maker to set up in the Cathedral under the great arch^ betwixt 
 the two great pillows on the North side of the Quire of the sd church 
 where the great organ heretofore stood a fair substantiall good and 
 perfect double organ. 1 ' One would rather infer from this reference to 
 Cambridge that Thamar had settled here.
 
 13 
 
 " Father " Smith, 14 whose position with regard to modern 
 organ-building is somewhat similar to that occupied by u Papa " 
 Haydn with regard to modern music. After the wholesale 
 extirpation of organs by Act of Parliament it was natural 
 that the trade of organ-making should at the Restoration 
 receive a proportionate impulse, and that there should be 
 sufficient work not only for our English builders but for 
 foreigners as well. "Bernard Schmidt," however, has as 
 strong a claim to the title of a " home " organ-builder and to 
 the English name of Smith, as u Georg Friederich Haendel " 
 half a century later had to be considered a " home " musician 
 and to bequeath his name to (English) posterity untrammeled 
 by any refinements of vowel modification. 
 
 We know nothing whatever of Smith's pre-English history r 
 personal or professional, bat there is a vague tradition that he r 
 like Handel, was a Saxon from Halle. He certainly seems to 
 have plumped full-blown into the world of English organ- 
 building, for with the help of his nephews he had erected his 
 Whitehall organ within a very few weeks of the landing of 
 the King, and his Westminster Abbey organ was finished 
 before the year was out. It is happily unnecessary to justify 
 his reputation by any detailed allusion to the long list of 
 organs which forty-eight years of constant employment 
 enabled him to erect. It is, however, interesting to note 
 how greatly his work was appreciated in Cambridge, inasmuch 
 as he was called in by Pembroke, Christ's, and Emmanuel, 
 as well as by the University and ourselves to build for 
 them. Neither was he without admirers at the sister 
 University, where he built organs for Christ Church and for 
 the University (both for the Church and the Theatre). It 
 is not at all unlikely that in addition to his general reputation 
 the historic organ-duel 15 at the Temple church, in which he 
 
 11 Senior Bursar's Accounts, 1686: "To M'Tho: Smith for putting: 
 y e Organ into tune and Serv ls that assisted him 01. 06. oo" : also " To 
 M r Denson y'' First payment upon y e Articles between him and M r 
 Smith towards makeing- an Org^an 10. oo. oo." The Christian name 
 Thomas is probably a mistake, as there does not seem to be any trace 
 of his having- borne any Christian name but Bernard, whilst the 
 introduction of Bernard in subsequent entries makes it clear that it is 
 " Father " Smith that is referred to. 
 
 15 The Smiths had at least one powerful rival to contend with, and
 
 14 
 
 had so recently been victorious, was a special means of getting 
 him an introduction to the College, for of the six Benchers in 
 whose names the contract for the purchase of the Temple organ 
 was drawn out, one certainly (Roger North), and most likely a 
 second (Oliver Montagu) were closely connected with College 
 Authority. The Roger North here mentioned was the brother 
 of Dr. John North, who was Master of the College 1677 1683. 
 He was succeeded in the Mastership by Dr. John Montagu, 
 who as one of the " Manchester " house of Montagu must 
 have been some relative of his predecessor's mother. The 
 Norths seems to have been a very musical family, especially 
 the second brother (Lord Keeper Guildford) and Roger, and to 
 have taken a very keen interest in organs. To Dr. North him- 
 self too, who held a Court appointment as Clerk of the Closet, 
 and was also a Prebendary of Westminster, Smith's position 
 and person would of course be very familiar. Although it is 
 evident from the entry quoted that Smith contracted to build 
 our Organ in 1686, the fulfilment of the contract was for some 
 reason postponed. It would not seem to have been an 
 
 the Benchers of the Temple being sorely put to it to choose between 
 the specifications submitted to them by Bernard Smith and Renatus 
 Harris, as well as to satisfy the enthusiastic expectations of the many 
 eminent friends and supporters of the rival candidates, who were 
 instant in urging- their claims, adopted the somewhat astonishing course 
 of having both organs set up in the church at once, to be used alter- 
 nately Sunday by Sunday (like a kind of musical Mediety) and, at a 
 later period, to be used alternately even in the same Service. This 
 most unseemly contest was waged with uncompromising vigour for 
 more than a whole year, no lesser celebrities than Blow and Purcell 
 being called in to " show off " Smith's organ, and a foreign organist of 
 the Court named Draghi playing for his rival. If Burney is to be 
 believed, either the fury of partisanship or the exigencies of the 
 betting-book assumed quite modern proportions, such as in these days 
 unhappily necessitate the vigilant watch kept over a Clasper or a 
 Searle on the eve of the Boat-Race, for on the morning of the last day 
 of trial it was discovered that Harris' friends had during the previous 
 night surreptitiously perforated Smith's bellows, with the intention no 
 doubt of producing that charming acoustic effect which results when 
 " the wind goes out." It may be some consolation to us to know that 
 the casting vote on the Committee of Benchers who had finally to 
 decide between them was that of a Trinity man, the famous Judge 
 Jefferies, and we will patriotically assume that on this occasion at any 
 rate the only " metal " in question was that of the organ-pipes. 
 
 That Harris as well as Smith had " friends at court " in Cambridge 
 may be inferred from the fact of his being selected to build the King's 
 organ in this very year, 1686. What a " high time" the musical 
 undergraduate would have had here if King's had seen fit to adopt the 
 Temple precedent.
 
 exceptionally busy period with him, for his big organ at 
 Durham was completed and his Temple troubles were fairly 
 over, whilst the "breeze" between him and Sir Christopher 
 at St. Paul's had not yet sprung up. Whatever be the ex- 
 planation of the delay, we did not get our organ until 1694. 
 Including the charges for the u commons " of the builders, who 
 were apparently boarded in College, the price paid for it was 
 ^"160, a sum about equivalent in such a case to ^"600 of present 
 value. 10 It could not therefore have been a large organ, not 
 much larger in fact than the u chaire organ " erected by 
 Thamar twenty years before. Although it is apparent that 
 there was a contract in this instance, that contract has dis- 
 appeared, and we have no means whatever of ascertaining 
 what stops the organ really contained. This organ, however, 
 did not have a very long life, for only 12 years later (in 1706) 
 Bentley's work in the Chapel was begun. Amongst other 
 alterations made at this time the Organ-screen itself, which 
 had originally occupied exactly the same position as it has 
 done since 1870, was moved 17 feet or so eastwards. This 
 removal rendered it of course necessary to take down the 
 organ, just as it had to be taken down in 1870, when we 
 shifted the screen back again. The opportunity was accord- 
 ingly taken of giving Smith an order for a new organ of more 
 adequate proportions. It is of course just possible that in 
 building it he re-used some of his 1694 pipes, but as the " scale " 
 of the two organs must have been essentially different, and as 
 he would have such ample opportunities of making use of these 
 smaller scaled pipes elsewhere, it is not likely that he did this. 
 Here again, most unfortunately, the specification and contract 
 have not survived ; neither have we any record of the sum paid. 
 The funds for the Chapel Restoration of this date were mainly 
 provided from private sources and no adequate entries of 
 expenditure occur in the Corporate Accounts. When Pro- 
 fessor Walmisley stated fifty years ago in the Cambridge 
 Portfolio that this Organ cost ^"1500 he could have had no 
 evidence for that statement which is not accessible to our- 
 selves, and the account of our organ presumably furnished by 
 
 16 I have the support of no less an economic authority than Pro- 
 fessor Thorold Rogers in taking 4 as a safe multiple in this instance.
 
 i6 
 
 him a few years later for Rimbault and Hopkins' History 
 contains such extraordinary mis-statements as to render his 
 authority on such a point quite worthless. As, however, this- 
 " new organ " formed one of the most salient features in the 
 articles of indictment against our illustrious but unpopular 
 Master, 17 we may fairly assume that a good round sum had been 
 spent upon it. We have, too, other means of deriving at least 
 an approximate notion of the kind of scale adopted. The con- 
 tract for work done to the organ in 1836 is so detailed as to 
 enable us with the help of other references to frame with 
 tolerable certainty a list of the contents of the organ as the 
 contractor must then have found it, and though in those 
 intervening 130 years the organ was often in the hands of 
 eminent builders for " repairs and improvements " it does not 
 seem likely from the sums spent that the scale of its contents 
 can have been very materially modified. Then again the 
 Organ case (as it was previous to its extension in i8/o) 18 was 
 the original case of 1708, and the case of an organ of that date 
 is in itself a very fair indication of the probable extent of its 
 contents ; lastly, we undoubtedly have a sufficient remnant of 
 
 17 Bentley appears to have ordered the organ first, and then to have 
 beautified the Chapel in order to make the latter worthy of the new 
 instrument a reversal of the usual order of procedure. 
 
 "His true reason for doing this" (repairing the Chapel) "was, 
 because he had promised the old organist, one of his Club, whom he 
 called Father Smith, that he should make the College an Organ, soon 
 after he was Master. The old man continually dunn'd him for his 
 Promise, and at last told him he had near made it; the Price, I think, 
 was about 1500', which made it almost necessary to beautify the Chapel 
 for the reception of this costly Instrument." (Some remarks upon a 
 Letter entituled the Present State of Trinity College in Cambridge. By 
 Mr. Miller, Fellow of the College. London. 1710.) 
 
 Miller is a prejudiced witness, but his account of this matter is 
 accepted by Monk (" Life of Richard Bentley," Vol. I., p. 205). A. G. 
 
 18 The original Organ case was not altered in any way in 1870, 
 only added to. The extreme flanking "towers " at each end with the 
 " flats " adjoining them are additions, the rest is original. As regards 
 the little case in front, that was not touched in 1870, and though it has 
 just now been projected out on cantilevers, to the very great improve- 
 ment of its appearance and effect, its front is still what it was when 
 first constructed. The general effect of the original case will be seen in 
 Le Keux's sketch as given at p. 587 of Mr. Clark's Vol. II., but in 
 details it is very inaccurate, and furnishes a good instance of how little 
 reliance can be placed on such prints as evidence of fact. The outer 
 portions of the little case, for instance, are drawn as " towers " instead 
 of " flats " as they should be. (For a view of the Organ before 1870, 
 see facing title-page).
 
 THE ORGAN IN 1 87O.
 
 17 
 
 the more important of those contents to give us a good clue 
 for estimating the rest. Putting all these considerations 
 together I think we should not be far wrong in saying that 
 the scale of our Organ, as of our Hall, was much the same as 
 that of the Temple, and that a round ^~iooo would have been 
 the price paid for it. 
 
 This second " Smith " organ is undoubtedly the legitimate 
 progenitor of our present instrument, however much the line 
 of its descent may be blurred and complicated by intervening 
 alterations, and it possesses a special historical interest as 
 having been the result of his latest and maturest efforts. In 
 fact it was not actually " out of hand " before his death, though 
 it must have been all but completed. The order was probably 
 given for it early in 1707, if not in 1706. The work of the 
 Chapel Restoration was begun in July, 1706 (see the orders 
 quoted by Mr. Clark on p. 578 and p. 580 of his 2nd volume), 
 but as was the case with the Chapel Restoration of our own 
 times, the masons and other external workmen were first in 
 the field. The taking down of the organ, however, must have 
 been the initial step in any internal work, and it would 
 naturally have been decided at this point whether it was to 
 be rebuilt or a new one substituted. The Chapel was re- 
 opened again in the summer of 1708 (very likely on Trinity 
 Sunday) as the Steward's Accounts to Michaelmas 1708 
 testify ; and as there was evidently a u big function " on the 
 occasion, we may fairly assume that the Organ took its share in 
 the proceedings. The exact date of Smith's death is not 
 known, but that it probably took place in February or March 
 of this year is a reasonable inference from an entry, under date 
 April 6, in the parish books of St. Margaret's, Westminster, 
 appointing " Henry Turner to be organist in the room of 
 Bernard Smith, deceased," His death was the occasion of the 
 following interesting entry in our Conclusion Book : 
 
 May 3, 1708. "Agreed by the Master and Seniors y' Mr. 
 Christopher Schrider do finish the Organ by tuning and voicing it ; and 
 that he be allowed so much out of y e total sum agreed for with the late 
 Mr. Bernard Smith for making y e whole Organ, as Her Majesties 
 Organists shall think reasonable. 
 
 Schreider was Smith's son-in-law and had no doubt been 
 his mainstay in the business during his later years, though this 
 
 B
 
 i8 
 
 partitioning of the payment for executor's purposes shows that 
 he did not occupy the legal position of partner. It is interest- 
 ing to know that this reference of arbitration is a link which 
 brings our Organ into association with the two greatest English 
 musicians then living 19 , Dr. John Blow and Dr. William Croft, 
 who, though successive organists of the Abbey, held simul- 
 taneous appointments at the Chapels Royal. 
 
 It is curious how history repeats itself. Just as our Organ 
 in 1708 was the last task to occupy the thought and attention of 
 u Father " Smith, so its re-construction and enlargement in 1870 
 was the very last work undertaken by Mr. William Hill, the 
 head of the well-known firm of u Hill & Son," who for the 
 excellence as well as the importance of his organs, and 
 especially for the lead he took in the substitution of the CC 
 for the old GG compass, most justly deserves to be called the 
 " Father " of modern English organ-building. I well remember 
 my visits to him in his office (then in the Euston Road), and 
 the patient care with which he entered into every detail of our 
 plan of reconstruction ; a truly grand and noble-looking old 
 man of eighty summers, who continued his daily visits to the 
 factory almost to the last day of his life. His death on 
 December 18 of that year prevented his seeing the completion 
 of his work in our Chapel. 
 
 But to return to the original organ. In Smith's time, 
 what we now know as the Swell Organ, had not been invented. 
 If, as we may fairly assume, our organ, like those at the 
 Temple and St. Paul's, was a u 3 manual " organ, that is one 
 with three separate soundboards, and three corresponding sets 
 of keys communicating with them, the three would be (i) The 
 Great Organ, (2) The Little or Chaire Organ (now known as 
 the Choir Organ), and (3) The Echo Organ. Very shortly, 
 however, after Smith's death the idea was started of so con- 
 structing the box in which this third organ was enclosed that 
 a portion or portions of it could be made gradually to open at 
 the player's pleasure, thus producing a" crescendo " or swelling 
 of the sound and a corresponding " diminuendo " on its being 
 closed again. According to a contemporary advertisement in 
 
 19 Their still greater contemporary, Henry Purcell, though born ten 
 years later than Blow, had then been dead thirteen years.
 
 19 
 
 the Spectator (February 8, 1712), the organ erected in that 
 year by Abraham Jordan in the church of St. Magnus at the 
 north end of London Bridge was the first scene of this experi- 
 ment, and how ready the College was then, as now, to welcome 
 on behalf of its own organ any well ascertained improvement, 
 will be seen by the Conclusion quoted below 20 , from which it 
 may be inferred that we took the first opportunity afforded by 
 those periodical dismemberments of the organ which are 
 necessary for cleaning purposes to add this new feature to it. 
 The Organ remained in the hands of Smith's representative 
 Schreider (or u Shryder," as the name is most frequently spelt 
 in our books), up to the end of the year 1734, both for the 
 regular tuning as well as for those more elaborate periodical 
 
 20 1715, November 24: " Agreed that Mr Bursar pay to Mr Schrider 
 y> for cleaning and voicing y 6 Chapel Organ, and ,y> for y e swelling 
 stops." 
 
 After this entry it is somewhat astonishing to be told in Rimbault 
 and Hopkins' History of the Organ (p. 541) that the Swell was added 
 to our organ by Byfield, a builder who most certainly never had any- 
 thing to do with it at any time. But the whole account there given (which 
 it is clear from internal evidence was furnished in the year 1854), is full 
 of errors ; and to make matters worse the reference which occurs in the 
 first edition of the book (1855) to Walmisley as "the present " organist 
 was altered in the second (1870) edition into " late " organist thereby 
 leaving the reader to infer that the description of the organ (which is re- 
 produced without any material alteration from the first edition), was 
 supplied after Walmisley's death in 1856, and therefore represented 
 the organ as it was subsequent to that date; a curious instance of the 
 confusing results of isolated verbal alteration such as one is not 
 accustomed to find except in Acts of Parliament or University Syndi- 
 cate Reports. 
 
 In connection with Schreider 's work at this time I ought perhaps to 
 qualify the expressions used in the last note but one about the case. 
 
 In speaking of the case (as it was in 1869) as the " original " case, I 
 meant that it undoubtedly belonged to the " Smith and Schreider " 
 period, and with regard to the larger case there can be no question of its 
 having been put up in 1708: though it is just possible (but hardly 
 probable) that it may have been in whole or in part a revival of the 
 case of 1694. It will be noticed, however, that the mouldings of the 
 smaller case are more elaborate than those of the larger, so that the two 
 cases may not be absolutely of the same date. Schreider's work 
 referred to in this order of November 24, 1715, would form a very fitting 
 occasion for some enlargement, and the resemblance between the 
 carvings on the small case and those on the tablet near the vestry door 
 in memory of Roger Cotes, who died in the following year, suggest 
 very forcibly that they may have been designed by the same hand. At 
 the same time the fact that this arrangement of a double case " great 
 and chayre " in buildings such as our Chapel was so thoroughly estab- 
 lished, makes it much more likely that with us, as at King's, this little 
 case formed part of the original design.
 
 20 
 
 overhaulings essential in the case of so complicated a structure 
 as an organ 21 . In addition to the one just referred to seven 
 years after its erection, another took place in 1723, and the 
 accounts for 1732 and 1734 give indications of still more 
 elaborate works involving presumably some substantial repara- 
 tion. This is the latest date at which it remained in the hands of 
 those concerned with its original construction. In 1 735 it passed 
 into the charge of a local builder named Turner (who was also 
 an organist 22 ), who continued for very many years to tune it, 
 and by whom it seems to have been specially overhauled in 
 1747. During this period the history of the Organ brings 
 pleasantly under notice the great interest taken in it by 
 Dr. Robert Smith, a name endeared to the heart of each suc- 
 cessive generation of Cambridge mathematical students as that 
 of the founder of the u Smith's Prizes," but which will be 
 more enthusiastically and universally revered in Trinity, as 
 that of one who was not merely a Benefactor in the ordinary 
 pecuniary sense, but the donor of that priceless work of art,. 
 Roubiliac's Newton, a statue, which, as regards the artist's 
 astounding triumph over the difficulties of modern official 
 dress, as well as the vividly spiritucl aspect he has imparted to 
 the whole work, may fairly be described as one of the mosc 
 wonderful efforts of modern sculpture. Both as Fellow, and 
 subsequently as Master, Dr. Smith displayed a special and. 
 active interest in our organ and in our choral service generally. 
 Though not like one of his predecessors, St. Just of King's 
 Hall, a Doctor of Music, his reputation as a musical connois- 
 
 21 It is truly lamentable to observe how in this respect the gifts of 
 one generation are ruined and rendered valueless by the carelessness or 
 niggardliness of the next. There are thousands of organs in England 
 at this day, the productions of skilful and conscientious builders, which 
 are being gradually destroyed by the lack of proper attention. Whether 
 by general parochial subscription, or by the individual generosity of 
 "the great man at the hall" an organ is erected, but no simultaneous 
 provision is made to meet the constant and the periodic charges which 
 are as necessary for the maintenance of the gift in proper working 
 condition, as are the constant cleanings and periodic new main-springs 
 in the case of a presentation gold watch. Those who are inclined to 
 make their " local benefaction " take the form of an organ had better 
 by far spend only three-quarters of the sum intended on the instrument 
 itself and leave the remaining quarter in trust to help the parish in. 
 maintaining it. 
 
 22 See Preface to Dr. Robert Smith's " Harmonics," page ix.
 
 21 
 
 seur, especially in the matter of organs, was so great, that his 
 judgment and advice were sought in 1749 by the authorities 
 of the Foundling Hospital, then in its tenth year of existence ; 
 and it was under his superintendence that Parker, a leading 
 organ-builder of that time, erected in their newly-completed 
 chapel the organ which Handel "opened" in 1750. We are 
 told (somewhat in the u fugues and diapasons " style) that the 
 41 learned Master of Trinity added demitones, &c., and some of 
 the niceties not occurring in other organs." It is hardly 
 probable that Handel's protege and amanuensis, John Chris- 
 topher Smith, who was appointed organist at the Foundling, 
 was related to our Dr. Robert Smith, for he was of German 
 extraction, but it may fairly be assumed that Handel's well- 
 known and generous interest in the Foundling must have 
 brought him, in this matter of the organ, into close personal 
 contact with our Master, and it would be most interesting to 
 know if his anthems, which the Senior Bursar's Accounts for 
 the year 1748 show to have already found their way into our 
 Chapel, were followed at any time by the great man himself 
 on a visit to the Lodge, and whether he ever accompanied 
 them on our own organ. 
 
 Amongst many other interesting points touched upon in 
 Dr. Robert Smith's " Harmonics '' is the question of pitch, 
 a propos of which he gives us some most valuable information. 
 It will very possibly be a surprise to some to be told that 
 although the notation of the sounds as Handel and others then 
 employed them was for all practical purposes the same as that 
 used in the present day, and although the relationship between 
 the sounds remains the same, the sounds themselves owing to 
 alterations in pitch were very different. The fatigue and effort 
 now involved in the rendering of such airs as u I know that 
 my Redeemer liveth," and " The trumpec shall sound," or of 
 any big Handelian chorus, whether in our Chapel, or still 
 more in a modern concert-room, were unknown in the happier 
 times in which they were composed ; and it will be seen from 
 what follows that the Trinity Chorister of Dr. Smith's day was 
 exceptionally favoured in this matter. In a Scholium to 
 Prop. XX. of his "Harmonics" (edn. 1759, page 208) Dr. 
 Smith speaks of our organ as having been at some previous 
 time " new voiced,'' and by altering the disposition of the keys
 
 22 
 
 depressed a tone lower, and thereby reduced to the Roman 
 pitch, as I judge by its agreement with that of the pitch pipes 
 made about the year 1720." He also made experiments 23 to 
 ascertain the actual pitch of the organ as it was at the time he 
 wrote, and found it to be that which would give a vibration- 
 number for the A above middle C of 395*2. One of Father 
 Smith's organs, that at Hampton Court, was left absolutely un- 
 altered in any way up to a very few years ago, and the pitch of its 
 A was found to be 442, or '97 of a tone higher. This, therefore, 
 was no doubt the pitch of our organ when first erected by him 
 in 1708, from which it was lowered a whole tone by Schreider r 
 either in 1715 or more probably during his last visit to it 
 fifteen years later. The pitch for which Handel wrote, as we 
 know from his own tuning fork, was that of 422*5, whilst 
 modern concert pitch is 4547. The present pitch of our 
 organ is 441*7, nearly a semitone above Handel's pitch, whilst 
 concert pitch is more than five-eighths of a tone above it. 21 
 Pending any demonstration on the part, of the eminent physio- 
 logists of our Society that the mechanism of the human voice 
 
 23 With what conscientious care and affection Dr. Smith conducted his 
 experiments may be inferred from the following remarks on tuning to be 
 found on page 209 of the second edition (1759) of his "Harmonics." 
 After telling us that he declined to continue an experiment on the 
 ground that the tuning of the organ " would be troublesome and im- 
 proper at the present season, when cold and damp weather is coming 
 on very fast," he proceeds: "For the properest times for tuning the 
 diapason of an organ seem to be from the latter end of August to the 
 middle of October, when the air being dry, temperate, and quiet, will 
 keep nearer to the same degree of elasticity for a given time. Because 
 a very small alteration in the warmth of moist air will suddenly and 
 sensibly alter its elastic force and thereby the pitch of the pipes before 
 the whole stop can be accurately tuned. For that reason constant care 
 must be taken not to heat the pipes by touching them oftener than is 
 needful, nor to stay too long at a time in the organ case ; nor to tune 
 early in the morning, but rather towards evening, when the air is drier 
 and its declining warmth is kept at a stay by the warmth of the persons 
 about the organ." 
 
 24 The greatest modern authority on the subject of musical pitch is 
 Mr. Alexander J. Ellis, and the result of his investigations are to be 
 found in the "Journal of the Society of Arts" for March 5, 1880. It is 
 from this most valuable paper that I have extracted the figures given 
 above. His recent death has robbed the College of one of its ablest 
 scientific members, and it is sad to think that he should not be the only 
 one out of the comparatively small group of distinguished men on whom 
 the University conferred Honorary Degrees in June last that has been 
 lost to the world in this short interval. (Mr. Cobb's remarks were 
 written before the " flat " pitch was adopted by the leading English 
 societies. A.G.).
 
 23 
 
 has received a corresponding development and adjustment 
 during the intervening 150 years, let us be sympathetically 
 tolerant whenever the members of our Choir with all their 
 willingness fail somewhat in their intonation of passages which 
 we compel them to sing so very much higher than the com- 
 posers themselves in their sweeter reasonableness ever intended 
 them to be sung 
 
 That Dr. Robert Smith's interest in our Organ was the 
 interest of a life-time is pro *ed by the following entry in the 
 Junior Bursar's Accounts for the year 1767 : 
 
 " To Mr. Parker, Organ Maker in London, for repairs and improve- 
 ments in y e Organ by Order of and in Agreement with the Master and 
 Seniors .185." 
 
 This was the last complete year of Dr. Smith's Mastership, 
 and it is pleasant to think of him in his declining years as once 
 more associating himself in so congenial an occupation with 
 the builder with whom he had worked nearly a score of years 
 previously under Handel's auspices at the Foundling Hospital. 
 Unfortunately we are here without any information as to the 
 nature of the work executed. The " Agreement " was probably 
 only an ordinary estimate, for it did not receive the College 
 Seal, and therefore was not entered in the College Register, 
 and we are left to our own imaginations to conjecture what 
 " demitones or other exceptional niceties " the learned Master 
 and his collaborateur introduced. The sum, however, is not 
 of a character to suggest any very extensive improvements or 
 alterations, but as 20 years (an exceptionally long time) had 
 passed since it was "cleaned, &c.," no doubt a thorough over- 
 hauling was necessary, together with an entire renewal of 
 some of the more perishable parts such as bellows, and tracker- 
 action, &c., which had probably not been touched since 
 Schreider's last visit in 1734. 
 
 With the exception of some new bellows in 1790, and a 
 few occasional repairs executed by a local builder named 
 Argent, the Organ for the remainder of the century seems to. 
 have followed suit with the ecclesiastical times and to have 
 lapsed into a condition of quiet and uneventful repose, from 
 which it woke up, with the Evangelicals, at the commence- 
 ment of the present century. In 1801 and 1802 we paid John 
 Avery (partly direct and partly through the agency of the
 
 24 
 
 Bankruptcy Commissioners) sums amounting to about ^240 
 for work to the organ, the nature of which we are unable to 
 particularise. Considering, however, that 35 years had elapsed 
 since it was last in an organ-builder's hands, such a sum as 
 that could scarcely have gone further than to render it decently 
 playable by cleaning and repairs. Old Dr. Randall, the 
 organist, in his declining years had no doubt preferred to 
 let' things jog on as they were sooner that face the troubles 
 of improvement, but the enterprising Dr. Clarke (better known 
 under his later name of Whitfeld or Clarke-Whitfeld) must 
 have viewed the condition of things with some disgust when 
 he entered in the summer of 1799 on his duties as College 
 Organist. We had not only, it seems, to render the organ 
 playable, but to make it presentable to the eye as well, and in 
 1 80 1 we paid "Thos. Johnson for new gilding Organ Pipes, 
 ^"33 5$." Avery was a builder of eminence, whose workshops 
 were in the yard of St. Margaret's, Westminster, for which 
 church he built an organ. He does not appear to have been 
 called in to do work at Cambridge until quite late in his 
 carter ; when he had finished our work, he went on to King's. 
 Though a good workman, his personal reputation was shady ; 
 he seems, according to Mr. Hill, u to have paid nobody and 
 left behind him such a bad reputation in Cambridge that 
 organ-builders were looked upon askance by the tradesmen 
 for some years afterwards." Rimbault and Hopkins (p. 541) 
 say that " he added a set of Pedal pipes," but as this is in the 
 same sentence which credits us with "a Swell by Byfield" (vide 
 ante, note 18) this statement cannot be relied on. Lincoln, 
 another London builder, did work for us in 1808 for ^116, 
 but this was probably only cleaning ; extensive Chapel works 
 were being carried out at this time (nearly ^*iooo was spent 
 in painting alone), and no doubt the organ got into a mess. 
 Lincoln had charge of the organ during the next ten years, 
 until in an evil hour the College placed themselves (in 1819) 
 in the hands of Messrs. Flight and Robson, and worse still 
 tried ventures with them in the Courts of Law. Many hours 
 have been spent in a vain hunt in the Cambridge Chronicle, 
 the Times, and the Law Reports for the years 1819 and 1820, 
 in the hope of coming across some explanation of the untoward 
 fate which thus befell our noble Organ, but without result.
 
 25 
 
 The lamentable fact, however, is too evident that Messrs. 
 Flight and Robson "claimed extras" (on an estimate of 147) 
 which we disputed ; that we had to pay them these extras and 
 their costs (making together another ^"106) and that our 
 lawyer's bill, including Dr. Whitfeld's expenses as witness, 
 amounted to ^280 ! ! making a total of ^"533. Mr. Hill tells 
 me, and he is not likely to be wrong on this point, that they 
 put in some " Apollonicon bellows, worked on the rotary 
 principle, and some Pedal pipes " ; it is also probable that 
 Rimbault is right in saying that they altered the pitch of the 
 organ, for it was certainly raised some time previous to 1830, 
 and there is no other entry in the accounts which could 
 adequately account for this. Messrs. Flight and Robson were 
 said to be " sharp practitioners, often at law and invariably 
 victorious," but if they really did to our organ all that is here 
 ascribed to them one can happily be surprised at their claims 
 being allowed in Court, and the College must have been very 
 ill-advised indeed to have disputed them. 
 
 The work done to the Organ by Messrs. Flight & Robson 
 was not only dearly paid for by the College, but did not in 
 itself prove very satisfactory. Whether the choir ''struck" or 
 not on account of the alteration of the pitch 25 in the organ we 
 are not told, but it certainly is the case that the new-fangled 
 ^Apollonicon bellows" struck work in a comparatively short 
 
 25 Their grievance in such a case would not have been a purely 
 sentimental one. Some of the older Vicars-Choral at Westminster 
 Abbey complained bitterly when on the reconstruction of the organ 
 some seven years since the pitch was raised. The mechanism of the 
 human voice is so extremely delicate and minute, that it is by no means 
 an easy matter for a singer who has been singing precisely the same 
 music at a given pitch in the same building for very many years, and 
 with whom, therefore, the " muscular associations " in the case have 
 become, as it were, stereotyped, suddenly to shift his base and adjust 
 the vocal processes to their new conditions. If he is called upon to 
 sing something entirely new, the case is different ; his only difficulty 
 then arises from the increased strain upon the voice implied in the 
 raising of the register; it is in the sudden "transposing" of familiar 
 music, in which habit has had time to assert itself, that the difficulty 
 occurs. The voice, no doubt, has a certain diurnal transposition of its 
 own register, its compass extending upwards as the day grows older ; 
 and I remember once meeting on the Continent a lady vocalist who 
 carried about with her five copies of " II Bacio'' in five different keys 
 (ascending by semitones), to fit in with the conditions of her voice at 
 five separate periods of the day ! " This, however, belongs to another 
 .story."
 
 26 
 
 time, and, after giving much trouble, had to be supplanted in 
 1830 by new ones made by Messrs. Elliott & Hill. 
 
 In the year 1836, under date April 26, we have the following 
 Conclusion : 
 
 " A specification and estimate of certain proposed reparation and 
 improvements in the Organ in the Chapel having- been laid before the 
 Board this day, agreed by the Master and Seniors that the proposed 
 works be executed agreeably thereto by Mr. John Gray under the 
 direction and superintendence of Mr. George Cooper, 26 and that a legal 
 agreement be prepared by the College Solicitor between the College 
 and Mr. Cooper." 
 
 This agreement was duly copied into the College Register. 
 If you were to dictate to a poetess of average intensity a page 
 and a half of an official report of some chemical analyst, you 
 would probably succeed in producing a fair equivalent of the 
 struggles of our solicitor's clerk with the mysterious tech- 
 nicalities of the organ-builder. From this point of view the 
 document is amusing, though somewhat stiff reading, but its- 
 real value and interest is in the light it throws upon the nature 
 and contents of the Organ as then existing, and the help r 
 therefore, which it gives in enabling us to specify with a 
 greater or less degree of certainty what are the really original 
 parts of the present instrument. Mr. John Gray was a well- 
 known builder of that day, and his lineal successors, the firm 
 of Messrs. Gray & Davison, have since erected many important 
 organs in England, notably the big " Handel Festival " organ 
 in the transept of the Crystal Palace. A detailed description 
 of their work on this occasion would be too technical, but it 
 really amounted to a reconstruction of the Organ almost pro- 
 portionate in extent to that subsequently undertaken by 
 Messrs. Hill & Son in 1870, though hardly displaying that 
 conservative reverence in the preservation of old work which 
 has always characterised the organ restorations of this latter 
 firm. 
 
 The chief features of Gray's alterations were : 
 (i) The conversion of the Organ from what is known as 
 a G organ into a C organ by an extension of the Great Organ 
 
 - G Mr. George Cooper was Assistant Organist at St. Paul's to- 
 Attwood, and Organist of St. Sepulchre, Holborn, and the father of 
 the perhaps better known George Cooper, who was his successor in- 
 both posts.
 
 27 
 
 compass downwards by seven notes. Its upward compass also- 
 was increased by three notes. Additions were at the same 
 time made to the compass of the Choir and Swell, though they 
 fell short of giving them the complete range we are now 
 accustomed to. 
 
 (2) The insertion of several new stops, especially reed- 
 stops, in the place of old ones, the addition of extra stops r 
 and the thorough repair and cleaning of such old ones as were- 
 retained. 
 
 (3) It is impossible to say what had been the previous- 
 compass of the Pedal board, but it is not likely to have been 
 more than twelve notes, if so many ; Gray made a Pedal board 
 of two octaves. 
 
 (4) The Swell was entirely reconstructed, both box and 
 sound-board. 
 
 Two features introduced at this time (at the suggestion of 
 the organist, Dr. Walmisley) were not only innovations, but 
 were so unique 27 as to constitute our Organ an object of 
 curiosity for many years to come. The most important of 
 them was the prolongation of the Great Organ manual 
 throughout the whole tonal compass of the instrument ; in 
 other words, the key board was made to approximate to that 
 of the pianoforte by the addition of an extra bass octave (down 
 to the :6-ft. C) most C organs both then and subsequently 
 ending their manual compass at the 8-ft. C. It should be 
 remembered that the Pedal board was still in a very primitive 
 stage of development, and the art of pedal playing as now 
 understood was at that time possessed by an extremely small 
 number of organists, of whom Walmisley could hardly be 
 reckoned one. 28 The addition, therefore, of this extra octave 
 
 27 The CCC manual was not strictly unique in 1836, as the York 
 organ (1830) had already been furnished with one. Moreover, Smith's 
 organ at St. Paul's retained this (its original) compass up to 1874. A.G. 
 
 28 Mr. Cobb's reference to Walmisley may be misunderstood in 
 these later days. It may be that he did not possess the execution of 
 more modern organists, but the testimony of all who heard him play 
 the service is unanimous as to his remarkable powers as an accompanist. 
 As a composer, Walmisley hardly did himself justice, but his Evening 
 Service in f) minor remains one of the finest in the repertoire of the 
 English Church. I have been told on good authority, that he had not 
 a high opinion of this sen-ice, and that but for the remonstrances of the 
 late Rev. A. R. Ward, it would have been burnt. A.G.
 
 28 
 
 on the manual enabled him to produce effects which were 
 beyond the reach of the average player of that time. The 
 subsequent rapid development of pedal playing, however, soon 
 robbed our organist and his organ of their former advantage, 
 .and this unique keyboard in the latter years of its existence 
 .(for it was not removed until 1870) became a cause of surprise 
 rather than admiration, as well as the source of confusion to 
 strange organists, who on sitting down to play a Fugue would 
 often find themselves starting the u subject " an octave lower 
 than they had intended. The other remarkable feature in the 
 Organ was a coupling stop which connected the pedals with 
 .the Choir Orgin manuals at a register of two octaves above. 
 By this means the player could play the melody of a move- 
 ment with his feet, and so devote both hands to the 
 accompaniment. 
 
 The organ-case was on this occasion enlarged to make 
 room for the various additions, but in depth only, so that its 
 .appearance, as seen from below, remained precisely what it 
 was before. 
 
 Messrs. W. Hill & Son did some minor work to the Organ 
 in 1841 and 1848, and made some more important and exten- 
 .sive alterations in 1853. In 1855 they added a set of i6-ft. 
 pipes (the Violone stop, still in the organ), which were then 
 placed on a supplementary sound-board of their own in the 
 sill of the window on the north side of the organ-loft. Beyond 
 the regular tuning and one thorough cleaning in 1861 nothing 
 further was done to the Organ until the alterations and decora- 
 tion of the Chapel carried on during the year 1870 and five 
 following years. 
 
 One main object of these alterations was to provide further 
 .accommodation for our growing numbers, and in order to 
 obtain this, the organ screen, which in Bentley's time had 
 been shifted one bay to the east (thereby adding to the length 
 of the ante-chapel), was shifted back again to its original 
 position and its depth contracted, thereby adding considerably 
 to the Chapel proper and thus increasing the area at command 
 for seating purposes. The shifting of the screen made the 
 temporary dismemberment and removal of the Organ a neces- 
 sity ; and it was at first suggested that it might be placed in 
 .an organ chamber built out for the purpose on the north side
 
 2 9 
 
 of the Chapel, as at St. John's. Happily this wicked invention; 
 of the modern church-builder found but little support, and it 
 was soon decided to rebuild the Organ on the screen, and to 
 take the opportunity of adding materially to its contents. The 
 contraction of the organ screen made it impossible to add to 
 the depth of the case, so that the extra space had to be gained 
 by adding to its width^ the two flanking " towers '' with the 
 adjacent u flats " being the new portions. The case was also 
 decorated agreeably to the general scheme of chapel decoration, 
 the top story of it being further embellished with the crown, 
 supports, and some other ornaments previously attached to 
 the baldacchino^ the removal of which was felt to be desirable 
 in view of the new decorative treatment which it was to 
 receive. 23 
 
 Messrs. Hill & Son's contract amounted virtually to the 
 building of a new organ, but with the careful incorporation in 
 it of all that was really valuable in the existing one. (A com- 
 parison of the specifications of the Organ before and after 
 1870, given on pages 36 and 37, will shew the additions of that 
 year. A. G.) Up to 1870 it had been blown by hand, but 
 the facilities afforded by the excellent pressure of our local 
 water supply enabled us to introduce hydraulic engines, and 
 so spare our organist the harrowing thought that he could 
 never let his thunders loose without wringing the last pound 
 of flesh out of his gasping and panting collaboratetir in the 
 rear. 
 
 The work of Chapel decoration was not finally completed 
 until the spring of 1876, and as during its progress the dust at 
 times flew thick and furious, it was inevitable that the Organ 
 should get into a grimy condition, so that it had to undergo 
 careful cleaning and overhauling in the summer of 1876. 
 
 (G. F. COBB). 
 
 29 These ornaments have now (1912) been removed from the organ- 
 A. G.
 
 3 
 
 In 1889 a good deal of work was done to the Organ. The 
 action was altered to the pneumatic system then in vogue, 
 which was far from being so efficient as it has since become, 
 and a few more stops were added. The most important of 
 these was a 32 feet Open wood on the pedal. As to this, 
 Mr. Cobb writes : 
 
 " This extension of the compass downwards would, it was 
 thought, add materially to the balance and solidity of the 
 general organ-tone, and the result has fully justified the 
 expectation. . . No organ of the size of ours could have been 
 considered complete without a set of 32-ft. pipes, but the 
 great difficulty has been to find space for them. Various 
 proposals were made to meet that difficulty, including one 
 very novel one of placing them horizontally between the 
 ceiling and the roof, and perforating the panels of the former 
 just beneath the " mouths " of the pipes so as to get them to 
 u speak " down into the Chapel. The best that could be said 
 for such a proposal was that there was a moderate probability 
 of its proving successful ; but the experiment, had it failed, 
 would have been a somewhat costly one, and it was thought 
 better not to hazard it. A great deal of misgiving was not 
 unnaturally entertained at the idea of placing the pipes in the 
 corner of the ante-chapel, under the apprehension that their 
 appearance would be crude and unsightly. They cannot 
 indeed be considered architecturally ornamental, but the bit 
 of blank wall against which they are placed has so seldom any 
 strong light thrown upon it that the presence of the pipes is 
 hardly noticeable, and it has been ascertained by experience, 
 that comparatively few visitors to our ante-chapel have yet 
 made the discovery of their existence. Though unattractive, 
 they have at least the merit of being retiring and unobtrusive. 
 The most marvellous thing about them is the promptitude 
 with which they speak, notwithstanding their distance (over 
 70 feet) from the player.' 1 
 
 The other additions of i88y are enumerated on p. 38. 
 
 In 1911 certain defects of the Organ had become so 
 prominent that the College Council decided to entirely re- 
 construct the instrument. The work was entrusted to Messrs. 
 Harrison and Harrison, of Durham, a firm which in the last 
 few years has attained to the very front rank of the world's
 
 organ builders. Many of the old stops were of beautiful 
 quality, and the large variety of soft registers was an admirable 
 feature. This gave a peculiar richness to the soft combina- 
 tions, and testified to the care and thought bestowed on the 
 plan by Sir Chas. Stanford and the late Mr. Gerard Cobb. 
 But the Organ had serious defects. The chief of these were : 
 
 (1) The slow and noisy action. 
 
 (2) The bad quality of the Reeds, especially of the Chorus 
 
 Reeds. These were all on light pressure. The 
 science of Reed voicing has made great strides in 
 the last twenty years, and heavy pressure for the 
 powerful stops, then practised exceptionally, is now 
 a sine qua non. 
 
 (3) The unsteadiness of the wind supply, which though 
 
 ample in itself, was badly distributed. 
 
 (4) The weakness of the Pedal Organ. This, though 
 
 adequate on paper, was very ineffective, partly 
 owing to its unfavourable position. 
 
 (5) The crowded state of the organ generally, which 
 
 remained as laid out in 1870. The additions of 1890 
 only aggravated this defect. 
 
 The works necessary to amend these faults have been very 
 extensive and amount to a rebuilding of the Organ : 
 
 (1) The action has been replaced by the builders' latest 
 
 tubular pneumatic and electro-pneumatic systems. 
 The latter process is applied to the Swell and Solo 
 Organs. 
 
 (2) The Reeds have all been revoiced and replaced by 
 
 new stops where necessary. The Chorus Reeds have 
 been placed on heavy pressure. 
 
 (3) The wind supply has been re-arranged, and numerous 
 
 additional reservoirs have been introduced. 
 
 (4) The Pedal Organ has been largely augmented by the 
 
 employment of " borrowing." Of the two heavy i6-ft. 
 registers, the Open metal has been replaced by a new 
 stop, and the Open wood has been rescaled, revoiced 
 on heavier pressure, and placed in a more advan- 
 tageous position. 
 
 (5) The Choir and Solo Organs have been rebuilt north 
 
 and south respectively of the Swell box. The Choir
 
 32 
 
 was formerly alongside the Great, while the Solo- 
 occupied a very cramped position to the west of the 
 swell box. These alterations leave the whole of the 
 first floor to the Great Organ, and provide room for 
 a much-needed longitudinal expansion of the swell 
 box. 
 
 On the Manuals but few absolutely new stops have been 
 added, but the whole Organ has been revoked, and many 
 stops have been recreated by the genius of Mr. Arthur 
 Harrison. Morever, nearly all the Reed stops have been 
 so treated as to be practically new. The Hohl Flute, 
 Quintaton, and Viol represent types of tone that did not exist 
 on the old Organ, and some stops which appeared to be super- 
 fluous have been discarded in order to make room for them. 
 There has also been a considerable interchange of stops for the 
 purpose of securing more effect and variety of tone. An 
 instance of such advantageous transposition may be noted 
 the Piccolo on the Solo was rarely used, and its place is now 
 practically supplied by the Octave Couplers in conjunction 
 with the Harmonic Flutes. It is therefore placed on the 
 Great, where it completes a family of 16, 8, 4, 2 wooden stops. 
 The old Wald flute on the Great (4ft.) and the Clarabella (8 ft.) 
 on the Choir have also changed places and become 8 ft. and 
 4 ft. respectively- Mr. Harrison informs me that the former 
 stop, certainly dating from the i8th century and conjecturally 
 ascribed by Mr. Cobb to Parker (1767) is a real Clarabella, 
 a stop which is usually considered to have been invented by 
 Bishop at a much later date. 
 
 As no less than eleven ranks of mixture have been added 
 to the organ, a word on the subject of Mixtures may not be out 
 of place. These stops in old organs, both foreign and English, 
 were numerous, and as a rule noisy. In English organs 
 during the past forty years they have been few and invariably 
 noisy. In some instruments of recent years they have dis- 
 appeared altogether, and it is frequently stated that they are 
 becoming obsolete. But the most modern authorities and 
 builders, amongst whom Messrs. Harrison are prominent, hold 
 that the old builders were right in introducing many ranks of 
 mixture, but wrong in making them noisy. They consider 
 that all the available intervals of the harmonic series, including
 
 THE ORGAN IN 1913.
 
 33 
 
 the third, and even the flat seventh should be represented,, 
 not with the object of furnishing a u shrieking apparatus,' r 
 but strictly as a corroboration of the natural sounds already 
 existing. To this end the tones are carefully subdued and 
 graduated, according to the proportionate strength of the 
 original harmonic sounds. The result is a fascinating bell-like 
 fulness, obtainable in no other way. Considering the results 
 which have been obtained in the last few years, it is not too 
 much to say with Mr. Audsley, that the art of Mixture making 
 is in its infancy. 
 
 The Father Smith stops, about seven in number, have 
 been carefully preserved. Apart from their intrinsic merit, it 
 was a special point of interest to preserve pipes, to the tones 
 of which so many eminent men from Newton downwards 
 must have listened. The Pedal Organ has been on paper t 
 and practically, considerably augmented, and the increase in 
 the number of the stops in the organ is almost entirely due 
 to additions here. When completed, it will contain sixteen 
 as against eleven stops. The nominal increase of five stops in 
 reality understates the case, as the previously independent 
 Fifteenth has been absorbed in the Mixture, which used to 
 contain only three ranks and now has five. Nevertheless, 
 owing to the extensive use of " borrowing," rendered possible 
 by the wonders of modern mechanism, the number of pipes 
 in the department is actually reduced by thirty. Borrowing 
 has been resorted to with especial freedom, for the purpose of 
 saving room, and in two cases pipes already in the organ have 
 been discarded to this end. There are only six complete 
 stops ; five of a soft character are borrowed direct from manual 
 registers, and five are extensions of the complete stops. 
 
 The new Pedal Organ is one of the finest in the kingdom, 
 even though one important stop is not at present inserted. 
 I believe that the number of i6-feet stops is only equalled or 
 exceeded by one English Organ (the gigantic instrument at 
 Colston Hall, Bristol). 29 All these seven stops are well 
 
 29 The recently published scheme for the new organ in Liverpool 
 Cathedral has already made the above remarks out of date. This 
 instrument is to contain 167 stops, considerably more than twice the 
 number in the Trinity Organ ! 
 
 C
 
 34 
 
 differentiated, and supply a Bass for every possible 
 Manual Combination. Of the new stops No. 8 is pp, 
 No. 6 is of medium power, and No. 7 supplies a mf 
 bass of exquisite quality. No. 12 renders an enclosed 
 Reed available on the Pedal, and in fact ihe only criticism 
 that can be passed on this department of the organ is 
 that there are no other enclosed Pedal Basses. Conditions, 
 however, rendered a sufficiently high Swell box impracticable, 
 and for the same reason the Bass of the Swell Double Salicional 
 has had to be stopped. 
 
 The Positive is entirely composed of Father Smith Stops. 
 It is distinct from the Choir, and practically forms a fifth 
 "Organ." 
 
 The internal arrangement of the Organ has been 
 completely remodelled, and it is now possible to reach any 
 part without difficulty. The location of the different manual 
 u Organs " has been already indicated. On the Pedal Organ 
 the big Open wood and its extension has been placed on the 
 south side of the case, the larger pipes being in front. The 
 large Open metal and its octave is similarly disposed on the 
 north side. Behind them is the upper part of the 32 ft. and 
 its extension, with the Violone to the west. The long pipes 
 of the Double Dulciana are near the Choir sound-board 
 in the south-east tower, behind the front pipes which 
 are now made to speak, and fcrm the bass of the 
 large Great Open. The pedal reeds and Tuba are in 
 front of the swell-box, and the Sesquialtera is on the 
 ground floor beneath the open wood. The lowest pipes of 
 the pedal 32 ft. remain in the ante-chapel, and the middle pipes 
 of the same stop stand as before in the " well " on the north 
 side, but they have been depressed, so that they are no 
 longer visible from the floor of the chapel, and an improve- 
 ment in the appearance of the Organ is thus effected. 
 
 A further improvement in the view of the instrument from 
 the East has been made by the removal of the ornaments 
 referred to on page 29. The central portion of the organ is 
 now as left by Smith. The illustration " before 1870" (facing 
 title) shows it without the wings which were added in that year. 
 This original part of the case is of the pattern almost invariably 
 adopted by Smith.
 
 35 
 
 Specifications of the Organ before and after 1870 and of 
 the instrument of to-day are appended. In the account of the 
 last, I have noted the principal transfers of stops, and I 
 have also given the names of the original makers of all 
 stops dating from the i8th century. It is of course necessary 
 to remember that in most cases only the middle portions of 
 these stops are old, as from time to time the compass has 
 been extended in both directions and new pipes have had to 
 be added. I have also given details of the piston work, as in 
 some respects the arrangements are unusual. 
 
 A. G.
 
 THE ORGAN BEFORE 187O. 
 
 GREAT. (CCC to F 3 ). 
 
 1. Double Diapason (to CC) 
 
 2. Open Diapason 
 
 3. Stopped Diapason to GG 
 
 4. Gamba to CC 
 
 5. Salicional to CC 
 
 6. Quint to CC 
 
 7. Principal 
 
 jet. 
 
 
 Feet. 
 
 16 8. 
 
 Wald Flute 
 
 4 
 
 8 9- 
 
 Twelfth 
 
 2J 
 
 8 10. 
 
 Fifteenth 
 
 2 
 
 8 ii. 
 
 Sesquialtera 
 
 3 ranks 
 
 8 12. 
 
 Mixture 
 
 2 ranks 
 
 5* 13- 
 
 Trumpet 
 
 8 
 
 4 14- 
 
 Clarion 
 
 4 
 
 CHOIR. (GG to F 3 ). 
 
 15. Open Diapason 
 
 1 6. Stopped Diapason 
 
 17. Dulciana 
 
 18. Principal 
 
 19. Flute 
 
 20. Cremona 
 
 SWELL. (Gamut G to F 3 ). 
 
 21. Double Stopped Diapason 16 
 
 22. Open Diapason 8 
 
 23. Stopped Diapason 8 
 
 24. Principal 4 
 
 25. Sesquialtera 
 
 26. Oboe 
 
 27. Trumpet 
 
 28. Clarion 
 
 3 ranks 
 8 
 8 
 
 4 
 
 29. Sub Bourdon 
 
 PEDAL. (CCC to C). 
 32 30. Violone 
 
 16 
 
 1. Great to Pedal 
 
 2. Great to Pedal 
 
 3. Choir to Pedal 
 
 ACCESSORY STOPS. 
 
 16 ft. pitch 4. Choir to Pedal 
 8 ft. pitch 5. Swell to Great 
 16 ft. pitch 6. Tremulant 
 
 2 ft. pitch
 
 37 
 THE ORGAN IN 187O. 
 
 GREAT ORGAN. (CC to G). 
 
 i. Double Open Diapason 16 
 
 9. Wald Flute 
 
 2. Open Diapason No 
 
 . I 8 
 
 10. Nason 
 
 3. Open Diapason No 
 
 .2 8 
 
 ii. Twelfth 
 
 4. Stopped Diapason 
 
 8 
 
 12. Fifteenth 
 
 5. Pierced Gamba 
 
 8 
 
 13. Full Mixture 
 
 6. Salicional 
 
 8 
 
 14. Sharp Mixture 
 
 7. Quint 
 
 5^ 
 
 15. Trumpet 
 
 8. Octave 
 
 4 
 
 16. Clarion 
 
 
 SWELL. 
 
 (CC to G). 
 
 17. Double Diapason 
 
 16 
 
 24. Fifteenth 
 
 18. Open Diapason 
 
 8 
 
 25. Mixture 
 
 19. Stopped Diapason 
 
 8 
 
 26. Double Trumpet 
 
 20. Cone Gamba 
 
 8 
 
 27. Cornopean 
 
 21. Salicional 
 
 8 
 
 28. Trumpet 
 
 22. Octave 
 
 4 
 
 29. Oboe 
 
 23. Flute 
 
 4 
 
 30. Clarion 
 
 
 CHOIR. 
 
 (CC to G). 
 
 31. Double Dulciana 
 
 16 
 
 36. Dulciana 
 
 32. Open Diapason 
 
 8 
 
 37. Flute 
 
 33. Stopped Diapason 
 
 8 
 
 38. Octave 
 
 34. Clarabella 
 
 8 
 
 39. Flutina 
 
 35. Viol da Gamba 
 
 8 
 
 40. Clarinet 
 
 
 SOLO. 
 
 (CC to G). 
 
 41. Vox Angelica, 2 ranks 8 
 
 45. Piccolo 
 
 42. Harmonic Flute 
 
 8 
 
 46. Tuba 
 
 43. Harmonic Flute 
 
 4 
 
 47. Orchestral Oboe 
 
 44. Lieblich Flute 
 
 4 
 
 48. Vox Humana 
 
 
 PEDAL. 
 
 (CCC to F). 
 
 49. Sub Bourdon 
 
 32 
 
 55. Flute 
 
 50. Open Diapason 
 
 metal 16 
 
 56. Fifteenth 
 
 51. Open Diapason 
 
 wood 1 6 
 
 55. Mixture 
 
 52. Bourdon 
 
 16 
 
 58. Trombone 
 
 53. Violone 
 
 16 
 
 59. Trumpet 
 
 <u. Octave 
 
 metal 8 
 
 
 4 
 4 
 
 2| 
 
 2 
 
 3 ranks 
 2 ranks 
 
 2 
 
 3 ranks 
 16 
 8 
 8 
 8 
 4 
 
 8 
 
 4 
 
 3 ranks 
 16 
 8
 
 38 
 
 In 1876 a Double Bassoon (to ten. C) took the place of the 
 Solo Harmonic Flute 4 ft. transferred to the Great in place of 
 No. 14. 
 
 In 1889 three stops on 5-inch wind (Open Diapason, Spitz 
 Flute, and Bourdon 16 ft.) were added to the Great. A 
 Dulciana took the place of the Nason. Two new stops in 
 the Choir were a Doppel Flute, a rare stop in England, 
 and a free reed Cor Anglais (16 ft.), the latter from Cavaille 
 Coll. A Harmonic Gemshorn was also substituted for the 
 Flutina. The East Choir or Positive of four stops was 
 added, the old front pipes by Smith or Schrider being again 
 brought into use. They formed the middle part of a second 
 Open Diapason, the upper octaves being completed by some 
 old pipes of Snetzler, formerly in the Halifax organ ; these were 
 presented to the College by Mr. Walker Joy, who also gave a 
 Dolce, made by Schulze in 1864. The Clarabella and the 
 Smith 4-feet Flute from the Choir completed the East Choir. 
 On the Pedal Organ an Open 32 ft. wood was substituted for 
 the Sub Bourdon, and a Violoncello took the place of the 
 Octave. The number of Stops was brought up to 67. 
 
 THE ORGAN IN 1912. 
 
 PEDAL ORGAN. (16 Stops, 4 Couplers). 
 
 Feet. 
 
 1. Double Open Wood wood 32 
 
 2. Open Wood (i) 16 
 
 3. Open Diapason (i) metal 16 
 
 4. Violone wood 16 
 
 5. Sub Bass (from No. 32) 16 
 
 6. Open Wood (2), (18 from No. i) 16 
 
 7. Open Diapason (2), (from No. 34) metal 16 
 
 8. Dulciana (from No. 17) 16 
 
 9. Octave Wood (18 from No. 2) wood 8 
 
 10. Principal Metal (18 from No. 3) metal 8 
 
 11. Flute (from No. 32) wood 8 
 
 12. Sesquialtera 12, 15, 17, 19, 22 metal 
 
 13. Bombardon (prepared), (18 from No. 14) 32 
 
 14. Ophicleide 16
 
 39 
 
 PEDAL ORGAN continued. 
 
 15. Trumpet (from No. 64) 
 
 16. Posaune (18 from No. 41) 
 
 I. Choir to Pedal. 
 
 II. Great to Pedal. 
 
 III. Swell to Pedal. 
 
 IV. Solo to Pedal. 
 
 Feet, 
 metal 16 
 
 CHOIR AND POSITIVE ORGANS. (15 Stops, 2 Couplers). 
 
 Feet, 
 metal 16 
 
 17- 
 
 18. 
 19. 
 
 20. 
 
 21. 
 22. 
 
 23- 
 24. 
 
 25- 
 26. 
 27. 
 28. 
 
 Double Dulciana 
 Open Diapason 
 Spitz Flute* 
 Viola di Gamba 
 Dolcet 
 
 metal & wood 
 wood 
 
 Clarabella* (to ten. C) 
 Rohr Flute}: 
 
 Salicet metal 
 
 Claribel Flutet wood 
 
 Harmonic Gemshorn metal 
 
 Echo Cornet 15, 17, 19, 22 
 Cornopean^ (Harmonic Trebles) 
 
 metal 
 
 V. Swell to Choir. 
 VI. Solo to Clioir. 
 
 1 Parker, 1767. 
 Sch rider, 1715. 
 
 POSITIVE. 
 
 29. 
 
 Open Diapason 
 
 metal 
 
 8 
 
 Smith. 
 
 30- 
 
 Stopped Diapason $ 
 
 wood 
 
 8 
 
 Smith. 
 
 3i- 
 
 Nason 
 
 
 
 4 
 
 Smith. 
 
 * From Great, f From Positive. 
 
 t From Swell. 
 
 From Cho r. 
 
 GREAT ORGAN. 
 
 32. Sub Bourdon (ten C;* 
 
 33. Bourdon 
 
 34. Double Open Diapason 
 
 35. Open Diapason I. 
 
 36. Open Diapason II. 
 
 37. Open Diapason III. 
 
 38. Gamba 
 
 (20 Stops, 4 Couplers). 
 wood 
 
 metal 
 
 32 
 16 
 16 
 
 Smith. 
 
 Smith. 
 
 * Formerly as Pedal Bourdon.
 
 GREAT ORGAN co ntinued. 
 Feet. 
 
 39. Hohl Flute wood 8 
 
 40. Stopped Diapason ,, 8 Smith. 
 
 41. Octave metal 4 Smith. 
 
 42. Principal! ,, 4 
 
 43. Wald Flutef wood 4 
 
 44. Octave Quint metal 2* 
 
 45. Super Octave 2 
 
 46. Piccolo* wood 2 
 
 47. Sesquialtera 5, 10 metal 
 
 48. Harmonics 15, 17, 19, 21, 22 
 
 49. Contra Tromba (prepared) 16 
 
 50. Tromba 8 
 
 51. Octave Tromba 4 
 
 VII. Reeds on Clio ir. 
 
 VIII. Choir to Great. 
 
 IX. Swell to Great. 
 
 X. Solo to Great. 
 
 f From Choir. J From Solo. 
 
 SWELL ORGAN. (15 Stops, 2 Couplers). 
 
 52. Double Salicional (Closed Bass)* 
 
 metal & wood 16 
 
 53. Open Diapason metal 8 Schrider. 
 
 54. Doppel Flutet wood 8 
 
 55. Salicional metal 8 
 
 56. Vox Angelica (ten C) ,, 8 
 
 57. Principal 4 
 
 58. Lieblich Flute* 4 
 
 59. Fifteenth 2 
 
 60. Mixture 12, 19, 22, 26, 29 
 
 61. Double Bassoon* 16 
 
 62. Hautboy 8 
 
 63. Vox Humana* ,, 8 
 
 Tremulant (by Pedal). 
 
 64. Double Trumpet 16 
 
 65. Trumpet (HarmonicTrebles) metal 8 
 
 66. Clarion 4 
 
 XI. Octave. 
 XII. Solo to Swell. 
 * Upper part from Gi-eat. f From Choir. JFrom Sol<
 
 SOLO ORGAN. (8 Stops, 3 Couplers). 
 
 Feet. 
 
 67. Quintaten metal 16 
 
 68. Viol (Orchestral) 8 
 
 69. Harmonic Flute 8 
 
 70. Harmonic Flute* ,, 4 
 
 71. Cor Anglaist 16 
 
 72. Orchestral Hautboy 8 
 
 73. Clarinett 8 
 
 67 to 73 in a Swell Box. 
 
 XIII. Octave. 
 
 XIV. Sub Octave. 
 XV. Unison off. 
 
 74. Tuba (Harmonic) 8 
 
 * From Great. f From Choir. 
 
 COMBINATION COUPLERS. 
 
 XVI. Pedal to Great Pistons and Pedals. 
 XVII. Pedal to Swell Pistons.
 
 42 
 
 ACCESSORIES. 
 PEDAL ORGAN. Three Combination]Pedals. 
 
 (1) draws 5, 8, n ; withdraws II. 
 
 (2) Adjustable 
 
 (3) Reversible for No. 14. 
 
 CHOIR ORGAN. Six Combination Pistons. 
 
 (1) draws 21 and 23 (pp). 
 
 (2) 22 and 25 (Flutes). 
 
 (3) 19, 20, 24 (Gambas). 
 
 (4) 18, 19, 21, 23 (mf). 
 
 (5) 17-21, 23, 24, 27 (Full). 
 
 (6) Adjustable. 
 
 Double Switch to bring on Choir or Positive. 
 
 GREAT ORGAN. Seven Combination Pistons. 
 
 When XVI. is drawn, Great Pistons and Pedals will draw II. and 
 act on the Pedal Stops as in the second column. 
 
 (1) draws 38, 40 draws 4, 5, 8, n. 
 
 (2) 36,37.40 4,5,7,8,11. 
 
 (3) 36-4o,4 2 } do not 4-8,11. 
 
 (4) ,, 35, 37, 3 8 , 40, 42 affect 2,4,5,7,8,11. 
 
 (5) ,. 35-38,40-42- J 33- ,, 2,4-9,10,11. 
 
 (6) Reversible for 33. 
 
 (7) Adjustable. 
 
 Three Composition Pedals. 
 
 (1) adds 33, 44, 45 to Piston 5 draws 2-4, 6, 7, 9, 10, 15. 
 
 (2) 34, 47, 48 to Pedal i adds i and 12 to Pedal I. 
 
 (3) ,, (49), 5o, 5i to Pedal 2 (13), 14, and 16 to Pedal 2. 
 
 (does not affect 32). 
 
 SWELL ORGAN. Five Combination Pistons. 
 
 When XVII. is drawn, the Pistons will draw III., withdraw II., and 
 act on Pedal Stops as in the second column. 
 
 (1) draws 54, 55, 58 draws 8. 
 
 (2) ,, 53-55,57 ,, 5,8. 
 
 (3) ,, 52-55, 57, 59. 62. ,. 4, 5, 8, 
 
 (4) ,, 52-55, 57, 59, 60, 64-66 i, 4-6, 8, 15. 
 
 (5) Adjustable.
 
 43 
 
 SOLO ORGAN. Four Combination Pistons. 
 
 (1) draws 69. 
 
 (2) Adjustable- 
 
 (3) draws 73. 
 
 (4) Adjustable. 
 
 Pistons I and 3 take in XIII., XIV., and XV. 
 
 Reversible Pedal for 74 and IV. 
 
 Reversible Pedal and Piston for II. 
 
 Reversible Piston for IX. 
 
 WIND PRESSURES. 
 
 Pedal No. 2, 4! inches ; No. 15, 7 inches, Nos. 49-51, 15 inches; the 
 rest 3 inches. 
 
 Clioir 2$ inches. 
 
 Positive 2^ inches. 
 
 Great 33, 35, 39, 4 inches ; 49-51, 10 inches; the rest 3 inches. 
 
 Swell 64-66, 7 inches ; the rest 3? inches. 
 
 Solo No. 74, 15 inches ; the rest 5 inches. 
 
 Action 10 inches. 
 
 The Compass of the Manuals is from CC to C 4 . Pedals CCC to F. 
 
 The wind is supplied by three Discus blowers, driven by a ten horse- 
 power electric motor. 
 
 There are over twenty miles of tubing and electric wire in the 
 instrument.
 
 44 
 
 APPENDIX A. 
 
 ON THK PHRASK Chair-, Chaire-, or C hay re- Organ. 
 The meaning and history of this phrase have been matter 
 of dispute. In Grove's " Dictionary of Music," s.v., we are 
 told that it is u a corruption of Choir-Organ in use in the last 
 century, not impossibly arising from the fact that in cathedrals 
 the Choir-Organ often formed the back of the organist's seat." 1 
 This explanation is hardly satisfactory. It is probably grounded 
 in part on Hawkins' statement (vol. iv., p. 150): "We in 
 England call it the Choir, and by corruption Chair-Organ." 
 But there is no evidence whatever of the chronological pre- 
 cedence of " Choir " over u Chair." " Chair " is in constant 
 use throughout the lyth century, and a well-attested instance 
 of the employment of "Choir" during that period has yet to 
 be found. In Rimbault's History of the Organ many letters 
 and specifications, &c., referring to organs built during the 
 last quarter of that century have been printed, in which both 
 phrases are given, and at first sight it rather looked as if this 
 Restoration period might prove to be the time at which the 
 supplanting phrase " Choir-Organ " first stepped in. But an 
 examination of the original MSS, 2 so far as it has been possible 
 to obtain it, has in every case revealed the fact that the word 
 .actually written was u Chair " and not '' Choir " ; and although 
 the employment of a Chair" in the i8th century does not 
 seem to be very frequent, the appearances of u Choir " appear 
 also to be rare. It seems, therefore, difficult to assign any 
 precise date to the transition from one phrase to the other. 
 The only thing that can be safely asserted is that u Chaire- 
 Organ " was as much the normal phrase throughout the 17th 
 century as ''Choir-Organ" has been in the igth. 
 
 1 In the new edition of " Grove " the sentence quoted is modified. 
 Chair Organ is said to be an older form of Choir Organ. The sugges- 
 tion as to the origin of the term is left unaltered. A. G. 
 
 2 I wish to acknowledge my indebtedness to my friends Mr. W, 
 Barclay Squire (of the British Museum), and Drs. C. Harford Lloyd, 
 and J. Varley Roberts of Oxford for their kind assistance in this 
 respect.
 
 45 
 
 As regards the meaning of the phrase " chair-organ " (at 
 least as used in the earlier portion of the i;th century) there 
 can be no question. In the accounts for the building of the 
 organ in King's College Chapel by the elder Dallam in 1605-6, 
 mention is made of the " chayre organ " and the u greate 
 organ " (when spoken of separately), but when they are referred 
 to jointly they are spoken of as the " litle and greate organs " ; 
 and the same usage can also be established, though not with 
 the same fascinating simplicity, from our College records. 
 Neither does the etymological history of the word in this 
 application appear so very obscure. The lexicographers (see 
 Skeat, and the Oxford Dictionary s. v.) connect u char " or 
 "chare" with " kehr " (as in Umkehr), meaning a " turn.' r 
 A door is ajar, i.e., " on char," when it is on the " turn." To- 
 do a u chare " or " chore " is to do a " turn " or " service " (see 
 Antony and Cleopatra, IV. 15. 75 and V. 2. 231) ; and a "char- 
 woman" is one who takes her turn of work, and especially 
 of somewhat common necessary work. And so the "chayre- 
 organ " is the ordinary " service" organ; the " little" organ 
 for every-day use and for purposes of ordinary accompaniment, 
 whilst the a great " organ was reserved for bigger u functions Ir 
 and more ample effects. It would not be safe to assume that 
 the "little" or "chaire-" organ always occupied what we may 
 call the Cathedral position, presenting the aspect of a separate 
 detached organ in front of the larger one, but it was a very 
 useful arrangement as bringing it nearer to the singers whom 
 it was intended to accompany ; and as moreover it lent itself 
 kindly to architectural and decorative effect, such a treatment 
 of it would easily come to be regarded as normal and typical. 
 It is then not improbable that the recognition of this use and 
 position might (as the etymology of the word "chaire" came 
 to be forgotten) lead to the introduction of the phrase u Choir 
 Organ " as a substitute for it, not merely as being the organ 
 which usually accompanied the Choir, but also as being locally 
 nearest to the u Choir," perhaps in both senses of the word, 
 choral and architectural. Few organs of those which have 
 been built (originally) in this century possess a Choir-organ 
 in this sense, viz., an organ in a separate case in front of the 
 Great Organ. The custom has been to include all the com- 
 ponent parts of the instrument in one and the same case, and
 
 4 6 
 
 when we speak of the Choir-Organ, the Solo-Organ, the Swell- 
 Organ, the Pedal Organ, and the Great Organ, these are 
 separate organs only in the sense of the pipes being ranged 
 on separate sound-boards, and being in other mechanical 
 respects separately constructed. Barring, however, the acci- 
 dent of its not being in a separate case, the modern " Choir-" 
 Organ is still the legitimate successor of the old "Chaire-" 
 Organ, both because it is so laid out as regards the scale and 
 character of its contents as to be particularly serviceable for 
 ordinary accompaniment, and because it occupies in relation 
 to the Great Organ a comparatively humble and subordinate 
 position. 
 
 The phrases "the orgaines" or "a pair of orgaines" so 
 common in the iyth century probably did not bear reference 
 to this division of the Organ into "Chayre-" and "Great-" 
 Organ, but were due to the composite character of organ- 
 structure in which, for every separate sound to be produced, 
 a separate pipe had to be provided. The expression u a pair," 
 as most readers will be aware, is one of multitude, not merely 
 of duality, and stands for a " set '' or u row." A "pair of 
 stairs," for instance, would be u set" of steps or stairs, and 
 a "pair of orgaines" probably means a "row" of organ pipes.
 
 47 
 
 APPENDIX B. 
 
 LIST OF PAST ORGANISTS OF THE COLLEGE FROM THE 
 RESTORATION. 
 
 [Where the day and month are given they indicate the date of the 
 Conclusion making- the appointment.] 
 
 George Loosemore 
 
 
 I660. 1 
 
 Robert Wildbore 
 
 Sept. u. 
 
 1682. 
 
 Charles Quarles 
 
 Dec. 26. 
 
 1^88. 
 
 Charles Quarles ) 
 John Bowman 1 
 
 Aug. 13. 
 
 1709.2 
 
 John Bowman ... 
 
 July 4. 
 
 1717. 
 
 James Kent 
 
 June 25. 
 
 1731.3 
 
 Edward Salisbury 
 
 Nov. 20. 
 
 I738- 4 
 
 William Tireman 
 
 July 27. 
 
 1741. 
 
 William Tireman ) 
 John Randall 
 
 Nov. 13. 
 
 1762.* 
 
 William Tireman 
 
 June 1 1. 
 
 1768. 
 
 1 There is no entry in the Senior Bursar's Accounts to Michaelmas 
 1659, or 1660 under the head of Organist. The first entry is in 1661 (for 
 the Quarter ending Xmas 1660), but an entry in the Accounts for 1660 
 of " work done in y e Organ-loft by Mr. Loosemore's directions " shows 
 that he must have been appointed before Michaelmas 1660. 
 
 - Conclusion : " That John Bowman perform on the Organ for six 
 months in the year alternately with Mr. Charles Quarles." 
 
 (A very charming minuet by Charles Quarles is included in 
 Vincent Novello's " Select Organ Pieces." A.G.). 
 
 3 On December 17, 1730, "Mr. Eblyn was chosen Organist" on 
 Mr. Bowman's death, but his name does not appear in the Accounts, 
 and the Conclusion of June 25, 1731, appoints Mr. Kent to "the place of 
 College Organist void by the death of Mr. Bowman." It would look 
 therefore as if Mr. Eblyn never really received the appointment. 
 
 (Some of Kent's anthems were at one time very popular. He was 
 appointed organist of Winchester Cathedral, Jan. 13, 1737, so perhaps 
 Mr. Jones filled the gap until Mr. Salisbury's appointment. A.G.). 
 
 4 There is a similar entry to that last-quoted appointing a Mr. Jones 
 to succeed Mr. Kent, but nothing seems to have come of it. 
 
 ' Dr. Randall was appointed to share duties with Mr. Tireman. 
 This arrangement was abolished after five and a half years. 
 
 (John Randall was Professor of Music in the University, 1755 99. 
 At the present time he is only known by two chants, but he also set 
 Gray's Ode for the Installation of the Duke of Grafton as Chancellor 
 not at all to the poet's satisfaction. A.G.).
 
 4 8 
 
 John Randall ... ... ... April i. 1777- 
 
 John Clarke-Whitfeld ... 1799.* 
 
 William Beale ... ... ... Nov. i. 1820 7 
 
 Samuel Matthews ... ... Dec. 29. 1821. 
 
 Thomas At twood Walmisley .. Feb. i. 1833. 
 
 John Larkin Hopkins ... Mar. 31. i856. 8 
 
 Charles Villiers Stanford ... Feb. 21. I&* 
 
 * Clarke-Whitfeld was Professor of Music in the University, 1821 36- 
 He was composer of meritorious anthems, particularly " Hear, O 
 Thou Shepherd " and " In Jewry is God known." He was the editor of 
 many arrangements of Handel, and also particularly of a very interest- 
 ing volume, "The Beauties of Purcell. (A.G.). 
 
 ' Wm. Beale is known as the composer of the madrigal " Awake 
 sweet Muse" and " Come let us join the roundelay. (A.G.). 
 
 8 Dr. Hopkins died April 25, 1873. 
 
 9 Sir Chas. Stanford resigned at Christmas, 1892. 
 
 APPENDIX C. 
 
 The singing men of Trinity included in the eighteenth 
 century Thomas Mace, the author of the well-known work 
 u Music's Monument." He does not in this work allude to 
 the College or its music, but as he was born in Cambridge, 
 is known to have lived there in 1636, describes himself on the 
 title page of his book as " Clerk of Trinity College," and states 
 in his work (1676) that he has sung for over fifty years, it is- 
 probable that his term of service to the College was a long 
 one. He is supposed to have lived until 1709. Mace has 
 claims to have originated the idea of the " Swell." In the 
 place of what he calls a u Table Organ " the pipes are enclosed 
 in a box, panels of which could be opened at pleasure. His 
 portrait is in the Small Combination Room. In later years such 
 celebrities as Mr. Edward Lloyd and Mr. Barton McGuckin. 
 have been included among the " Clerici Seculares." 
 
 A. G.
 
 A 000126367 2