NOTES ON ITALIAN ORGANS.
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PRIVATE CHAPEL OF VILLA MELZI.—Just inside the chapel, is a “grinder” with four or five stops, in a cabinet case. 1869.
SAN LORENZO.—At the west end is an organ of pale-coloured varnished wood, with gilt ornaments. It consists of a round arched centre, with flat wings. The gallery in which it stands, is level with the capitals of the nave arches, and is carried out on each side as far as the first pillars, making two excellent side galleries for a divided choir. 1869.
THE CATHEDRAL.—The two organs stand under the eastern arches of the nave, in galleries, which stand on elliptical arches, borne on four columns. Their cases, the whole of which are gilt and burnished, consist of two Corinthian or composite columns, bearing a broken pediment. The pipe-work is covered with a blue curtain. A statue of the Virgin forms the centre ornament of the north organ, and on the southern instrument is one of a bishop. The back of this latter instrument has a Renaissance screen, of curious lattice-work, brightly gilt. That of the north organ is simply plain wood. There are seats and music desks in the gallery in the front of each organ for the choristers. For antiphonal music, nothing can be better than the arrangement of these instruments. The position at Milan is good, but this is preferable. 1869.
IN THE CHURCH(not in the Chapel of the Palace), in a gallery at the west end, stands an organ, in a white painted case, picked out with colour, consisting of merely two pilasters, supporting a low pediment. The pipes, which looked quite new, are bright tin, the tallest standing in the centre, and the smallest half-way between the centre and the sides of the case, against which stand tall pipes, so that the arrangement is somewhat like a W. The pipes show their real heights, their tops all being below the top of the case, without any bad effect from want of symmetry; if anything,the effect is good. Some wood bourdons, standing outside the instrument on each side, show that at some time or other additions have been made to it. I may mention that it is common in Italy for the pipes to show their real heights, and for the montre to be covered with curtains or blinds, or sometimes with pictures, when the instrument is not in use. 1869.
IL SANTUARIO.—An organ with a very fine case, well carved on both sides, stands across the transept, the montre covered by a large picture.
IL DUOMO(the Cathedral).—On each side of the choir stand two fine organs, externally both alike; the back and front of each is very similar, the latter having more ornaments. Their bases on the choir side, are faced with dark wood, that facing the aisle is marble. Their montres are closed with painted shutters, their choir front has two Corinthian or composite columns, with a flat entablature. The front towards the aisle, has similar columns, and a broken carved pediment. Each organ is surmounted with a circular temple, with statues in the niches, and covered with a dome, with a statue on its summit. All the work about the instrument is gilt, the pipes are left their natural colour and their correct heights, and their tops do not reach the carved work among which they stand. The five largest are arranged in the centre, and the compartment on each side of these has two tiers, with nine pipes each. Beyond them is an outer compartment of five pipes. I did not think the quality of these instruments so good as Mr. Hopkins states them to be in his work on “The Organ.” The quality of the northern organ was sweet, but lacking in power. The voicing of the flute was very good. The vox humana (said to be a flute stop, as reeds are not permitted by the Ambrosian rite) was very suggestive, and had a peculiar intonation, which was very pleasant, although not a good imitation of the human voice. The player’s style was very operatic, and the singing resembled the old Madrigal style. I like the full tone of the southern organ, rather better than that of the northern one. It was weak for the large building in which it stands, and more diapason and pedal work was much wanted. I did not hear the solo stops of this organ, but there was “the old tone” in the instrument, which was pleasant to hear. 1869.
SAN AMBROGIO.—The organ has a long low case of several compartments painted white, and the montre is covered with dark blue curtains. It stands close to the dome, over the south transept, in what was originally the women’s gallery. 1869.
SAN GIOVANNI IN LATERAN.—The organ in a case, consisting of two pilasters with entablature over a round arch, with a curtain concealing the pipes, stands at the west end of the Church. 1869.
SAN LORENZO.—An octagon church, has in the gallery on its south-east side a small organ in a white and gold case, consisting of a round arched centre, and two flat sides, looking somewhat like a handsome wardrobe. Green curtains covered the pipes. In a rather large chapel attached to this Church, stood a grand pianoforte, an old instrument, but evidently still in use. This is the only place in which I ever recollect seeing a piano in a church. 1869.
SANTA MARIA DELLE GRAZIE.—This Church has a dome in its centre, the base of which expands into a square, on the east side of which, right and left of the choir, two similar organs stand in galleries, having much gilding. The cases, which are of dark wood, have flattops, bearing two angels with trumpets, and raised carved work in the centre. The pipes were covered with a curtain, and the ornaments in the front and sides of the cases were gilt. 1869.
SANTA MARIA PODONE.—This little old Church has in a painted gallery at its west end, an organ in a square case, with a curtain, as usual, drawn over the pipes. 1869.
SAN ——, (in the Via di Giadini), has at its west end, standing in a rococo gallery, an organ of the same style, in a polished, and much gilded brown case, which is either new, or else lately done up. The pipes are covered with curtains, and the design of the case consists of three compartments, the outer ones having round arches. The central compartment is surmounted by a confusion of curved lines, having the appearance of a drawing-room looking-glass, slightly overdone with ornament. 1869.