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Secretary
Smithsonian Institution

SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY • NUMBER 47

The Organs of Mexico City Cathedral

Dirk Andries Flentrop
John Fesperman, translator

Smithsonian Institution Press

City of Washington

1986

ABSTRACT

Dirk Andries Flentrop (John Fesperman, translator). The Organs of Mexico City Cathedral. Smithsonian Studies in History and Technology, number 47, 53 pages, 28 figures, appendix.—Published as part of Visitatio Organorum, a tribute to Dr. Maarten Vente, The Organs of Mexico City Cathedral gives a description of the two cathedral organs based on information gathered during their restoration under the author’s direction.

A brief description of the first cathedral organ, made in Spain by Jorge de Sesma and set up in the Cathedral by Tiburcio Sans in 1693, is followed by a detailed account of the two existing organs, their muscial resources, and their restoration. Both instruments were probably made in Mexico by Jose Nassarre, a Spanish builder, and both were completed in 1735–1736. They are the largest eighteenth-century organs in the Americas and constitute a splendid monument to Spanish culture in the New World. It is likely that some parts of an earlier organ were incorporated into one or both of the present instruments, and Flentrop notes the problems of dating them precisely.

The restoration, begun in 1975 and completed in 1978, is described in detail; changes found to have been made in the original instruments are noted. Pipe scales and dispositions for both organs are given, along with other technical information about their design and construction.

OFFICIAL PUBLICATION DATE is handstamped in a limited number of initial copies and is recorded in the Institution’s annual report, Smithsonian Year. SERIES COVER DESIGN: Gospel Organ in the Mexico City Cathedral; drawing by S. Schaper (see Figure 25).

Library of Congress Cataloging in Publication Data.
Flentrop, D. A. (Dirk Andries), 1910-
The organs of Mexico City Cathedral.

(Smithsonian contributions to studies in history and technology ; no. 47)

Translation of: De orgels in de Kathedraal van Mexico-City.

Bibliography: p.

Supt. of Docs. no. SI 1.28:47

1. Organs—Mexico—Mexico City. 2. Catedral de Mexico—Organs. I. Title. II. Series.

ML565.F6313 1986 786.6’27253 85-600240

Preface

Restoration has always been a prime concern of the organ builder D.A. Flentrop, and the restoration of the two great organs of Mexico City Cathedral represents the crowning accomplishment of his career as Directeur of the Flentrop Orgelbouw. But for his dedicated efforts, based on long experience with early instruments in both northern European and Iberian styles, these monumental organs might well have been drastically altered or lost forever. After decades of neglect, both organs were so damaged by fire in 1967 that their survival was problematic.

Dr. Flentrop’s description of the state of the organs in 1975, what is known of their early history, and the work done to restore them, was originally published in the Festschrift honoring the Dutch historian, Dr. Maarten Vente, on his sixty-fifth birthday. Flentrop’s tribute to Dr. Vente is therefore included in this English edition (see page v). This translation was made from Dr. Flentrop’s manuscript; it corresponds to the published Dutch version, with occasional editorial changes. The notes have been gathered into a separate section; the translator’s additions and annotations are in the form of initialed (J.F.) notes. Photos not otherwise credited were taken by D.A. Flentrop.

Publication by the Smithsonian Press was made possible with the kind permission of the Dutch publisher, Frits Knuf of Amsterdam, and Dr. Flentrop, who also reviewed the translation. The enormity of the restoration problems in Mexico City Cathedral and the meticulous care with which they were solved constitute a special tribute to Dr. Flentrop. His description of the work will both instruct and encourage lovers of the organ and its music.

John T. Fesperman, Curator
Division of Musical Instruments
Smithsonian Institution
July, 1980

Dedication

Dr. M.A. Vente’s Ph.D. dissertation, presented to the University of Utrecht in 1942, for his degree was entitled “Foundations for a History of the Dutch Organ in the Sixteenth Century.” Our acquaintance dates from the years when he was preparing this work. Our mutual concern for the historical organ was not limited to the Netherlands. After several exploratory investigations by Maarten Vente into the then unknown area of early Spanish organs, we went, together with several other interested people, to Spain in order to study several of the most important historic organs. Later, another trip was made in order to make detailed measurements and to study the construction and sound characteristics of the Spanish horizontal reed stops or “Chamade registers.” The study and measurement of these, of which so little was then known by Dutch organ builders, served as the basis for making the Chamade registers in the organ for the Rotterdam Concert Hall, “De Doelen.”

On other trips by Maarten Vente, contacts were made with the Gulbenkian Foundation in Lisbon. These contacts led to our working together on the restoration of several historic organs in Portugal. It was the information and experience gained here that caused Mexican authorities to engage me for the restoration of the organs in the Cathedral of Mexico City.

Just as Maarten Vente’s dissertation brought together basic information for the history of the Dutch organ, so this documentation of two organs, from the beginning of the Iberian organ culture in Mexico, attempts to assemble foundations for the rich history of Latin-American organ-building. These are only building stones, without any pretence at completeness, except for the inclusion of pipe scales. What follows is a summary description of these fascinating and hitherto almost unknown Spanish organs.

The deep concern of Maarten Vente for Iberian organ culture richly deserves this contribution to the Festschrift honoring his sixty-fifth birthday.

D.A. Flentrop

The Organs of Mexico City Cathedral

Dirk Andries Flentrop
John Fesperman, translator

____________

John Fesperman (translator), Division of Musical Instruments, National Museum of American History, Smithsonian Institution, Washington, 20560.

Important Points in the History
of Mexico City Cathedral

1521 | On August 13 of this year, the Spanish conquerors arrive in Mexico City.
1524 | Cortez oversees construction of the first Christian church in Mexico City.
1528 | Pope Clement VII elevates this church to the rank of cathedral. In the same year, the newly named Bishop, Juan de Zumárrage plans the building of a new cathedral.
1573 | Work on the foundations was begun in 1528, but it is not until 1573 that the first stone of the new cathedral is actually laid.
1615 | King Philip III approves the plan for building the cathezdral.
1655 | On February 2, the first consecration of the incomplete building is held.
1667 | With the completion of the interior, a second consecration of the cathedral is held on December 22.

Notes on the History of the Organs
of Mexico City Cathedral

According to Jesus Estrada (1973:38-42), an organ, built in 1693 by Jorge de Sesma, was ordered for the cathedral in Mexico City. Tiburcio Sans installed it in the cathedral as the first Epistle organ. The organ’s facade and the choir seats were designed by Juan de Rojas. The organ, put into use on April 15, 1695, had the following disposition.

Disposition of the Epistle Organ

Registros bajos
Registros altos

SEGUNDO TECLADO

Do. . . do (25 notas) | Do sostenido. . . re (25 notas)¹
flautado de 26 | flautado de 26
flautado mayor | flautado mayor
flautado nave | flautado nave
violón | violón
octava clara | octava clara
octava nazarda | octava nazarda
fabiolete | flauta traversa
espigueta | espigueta
docena clara | docena clara
docena nazarda | docena nazarda
quincena clara | quincena clara
quincena nazarda | quincena nazarda
diez y setena clara | diez y setena clara
diez y setena nazarda | diez y setena nazarda
diez y novena clara | diez y novena clara
veinte docena clara | corneta magna
corneta de eco | corneta de eco
lleno | lleno
simbala | simbala
sobre simbala | sobre simbala
| tolosana
chirimia nave | trompeta magna
bajoncillo | clarin claro
trompeta real | clarin claro
bajoncillo | clarin claro
clarin en quincena | trompeta magna
orlo | chirimia
clarin en quincena | obue
| obue
| trompa real
| clarin claro

ORGANO CADERETA: PRIMER TECLADO

octava clara | flautado mayor
docena clara | octava clara
diez y setena | docena clara
diez y novena | tolosana
lleno | corneta de ecos
violón | lleno
violón

ORGANO POSITIVO: PRIMER TECLADO (de espalda)

octava clara | fabiolete
quincena clara | quincena clara
veinte docena | diez y setena clara
| corneta magna

The history of the Gospel organ (Estrada, 1973:42-47) is of special interest, because it was made entirely in New Spain. It was built by Jose Nassarre, after he had rebuilt the Epistle organ. The enlarging of the Cadereta² was completed on May 5, 1734. Nassarre undertook to build the other (Gospel) organ himself: it was to have 79 registers and cost 30,000 pesos. It was to be constructed like the Epistle organ. Three organists were mentioned. In October 1735 the rebuilding of the first organ and the construction of the new organ were completed.

Disposition of the Gospel Organ

Registros bajos
Registros altos

SEGUNDO TECLADO

Do, re. . .do (24 notas)³ | Do. . .re (26 notas)
flautado en 26 | flautado en 26
flautado mayor | flautado mayor
flautado nave | flautado nave
violón | violón
octava clara | octava clara
octava nazarda | octava nazarda
espigueta | espigueta
docena nazarda | docena nazarda
docena clara | docena clara
espigueta | flauta traversa
quincena clara | quincena clara
quincena nazarda | quincena nazarda
| diez y setena clara
diez y setena nazarda | diez y setena nazarda
diez y novena clara | diez y novena clara
veinte docena clara | rochela
veinte docena nazarda | corneta magna
| corneta de ecos
lleno | lleno
simbala | simbala
sobre simbala | sobre simbala
| tolosana
| trompeta magna
orlo | trompeta magna
trompeta real | trompeta real
bajoncillo | clarin claro
bajoncillo | clarin claro
clarin de quincena | clarin claro
orlo | obue
chirimia | chirimia

ORGANO CADERETA: PRIMER TECLADO

trompeta | trompeta
violón | violón
octava clara | octava nazarda
veinte docena | docena clara
diez y setena | diez y setena clara
diez y novena | tolosana
lleno | lleno

POSITIVO DE ESPALDA (PRIMER TECLADO)

octava clara | octava clara
quincena clara | quincena clara
veinte docena clara | diez y novena
| corneta magna

RECITATIVO (EN CAJA DE EXPRESIÓN)

Teclado de do. . .re (27 notas) | violines
| chirimia
| violón
| docena clara
| quincena clara
| diez y novena clara⁴

Manuel Toussaint’s book, La Catedral de Mexico (1948:113), provides further useful information.

The organs, located in the Coro (choir) between two great arches of the nave, can also be seen from the side aisles. The structure is baroque, with important French influences. Ornamentation is executed in the rocaille style. They date from the eighteenth century and were completed in 1736.

Later, Toussaint (1948) gives the following information from the Gazeta de Mexico for October 23, 1736.

Handsomely designed cases of beautiful wood, 17 varas⁵ high and 11 varas wide . . . . bellows placed high in the case. Three thousand, three hundred and fifty pipes, with a list of register names.⁶

In Toussaint (1948:286) an interesting letter from Tiburcio Sans to officials in Spain is quoted; a summary follows. At the order of the King, an organ was made for the cathedral of Mexico City. The organ case was made for four thousand pesos. The organ has been set up. In addition, the following were made: two bellows, windchests and a Registro de Contras, and four hundred extra pipes to fill the facade. The organ was given the pitch directed by the musicians. Changes in the original plan were made as required for the addition of the “Contras.” Because of these changes, a higher remuneration than the eight thousand pesos, for the setting up of the organ itself, is requested.

From this letter it appears that although the main parts of the organ were made in Spain, important subsidiary parts were made by Tiburcio Sans in Mexico.

In addition to the scanty evidence drawn from the above-mentioned articles, the inscriptions below were found in the main windchest of the Gospel organ during the restoration, which was accomplished between 1975 and 1978.

D.n Joseph Nassarre fecit año 1735 siendo Ar[S.]
S.r D.n Juan Ant.° de Vizarrron y Eguiarreta = y [ ]
Jss.mo Cavildo los S.res D.res D.n Alõso Moren[ ]
ga y D.r D.n Joseph Codallos y Rabal. =Patr[ ]

D.an José Perez de Lara, hizo los Reparos que nesesita da este Organo en el aarto de 1817. Siendo Arsobispo el Seartnor Don Pedro dela Fonte [ ] subtituto de chantre el S. D. r Villaurrutia, quien sué el comi para este [fin].

Inscription A confirms Estrada’s (1973:47) assertion that the construction of the new (Gospel) organ was finished in October 1735.

Inscription B shows that the same organ was restored in 1817 by Jose Perez de Lara, sadly without any information about what that restoration entailed.

Nothing further about the history of the organs is known, except that they were damaged by fire in 1967. Due to the fire, nearly all the front pipes and most of the resonators for the Chamade reed stops were lost. The “Positivo de Espalda” of the Epistle organ was seriously damaged and the windchest, with all the pipework standing on it, was completely destroyed. In both organs, the ornamental carving in the facades on the choir side was badly burned in various places.

Dating the Cathedral Organs

According to Estrada (1973), the Epistle organ was put into use in 1695 and the Gospel organ was completed by 1736. The latter date is confirmed by the inscription in the main windchest to the effect that this organ was made by Joseph Nassarre in 1735.

An inspection of the instruments supports the assumption that the Gospel organ is the older of the two. On both keyboards it lacks great C#. The Epistle organ has a complete great octave, an indication that it was built at a later time.

From the manner of construction of the two organs, it is certainly not clear which is older. Because of the similarity of the two, the first suspicion is that both were made in 1735–1736. In that case, it is not unlikely that Joseph Nassarre used various pipes and perhaps rebuilt parts from the 1695 Epistle organ in the two new organs.

A careful historical investigation might clarify both the dating and the history of these instruments. It would be very interesting to see where such a project would lead.

Restoration

The restoration of the organs was undertaken in 1975–1978, under the authority of the Direción General de Obras en Sitios y Monumentos del Patrimonio Cultural.

Architect Jaime Ortiz Lajous, director of the above-named department, provided the vigorous leadership that made the work possible, despite many formidable obstacles. His colleagues, the architects Louis Caetano, Michael Drewes, and Francisco Ursus Cocke, should also be mentioned here. The Smithsonian Institution must also be acknowledged. In 1973 David Hinshaw provided a detailed description of the reed stops. John Fesperman and Scott Odell, concerned with the preservation of historical instruments at the Smithsonian, also contributed to the restoration.

The restoration was done by the Flentrop Orgelbouw B.V., based on the same principles as those applied in the Netherlands by the state consultant for organs.

The old pipes, windchests, bellows, and other components were conserved with the greatest possible care in their original state. The parts damaged by the fire were restored to their original state. Pipes and others items destroyed by the fire were replaced, but in the “old” way, using the same materials and construction techniques originally employed. Pipes and parts that had disappeared over the course of the years were made new, based on existing parts and evidence within the organs. The carving was restored by Mexican woodworkers under the direction of the office of Patrimonio. Further restoration of the carving and replacement of decorations for the new front pipes will also be financed by the office of Patrimonio.

It is clear that in both organs, a number of changes were made in the past, for which, up to now, no documentation whatever has been found. Existing pipe holes in topboards indicate alterations, as shown below.

Gospel Organ

Main Division |
Simbala (III bass) | original IV rank register
Sobre Simbala (II bass) | original III rank register
Simbala (II treble) | original III rank register
Sobre Simbala (III treble) | original IV rank register

Cadereta Exterior |
Veinte y Docena Clara (bass) | original III rank register

Cadereta Interior |
Lleno (III bass) | original IV rank register
Lleno (III treble) | original V rank register
Open space, bass and treble | original reed register

“Solo” |
Docena Clara | original II rank register

Epistle Organ

Main Division |
Simbala (II) | original single rank register
Sobre Simbala (III bass) | original single rank register
Simbala (III treble) | original IV rank register
Sobre Simbala (II treble) | original III rank register

For the last two registers, the apparently original piperacks are for III and II rank registers respectively, so rackboards and holes in the top-board do not agree.

The resonators for the Chamade register Bajoncillo have been replaced with longer ones. It is not impossible that larger reeds and shallots were put in at the same time. The pitch is low, lying between F and G (16′) in place of the original C at 4′ pitch. It appears that the Clarin Claro 8′ and the Obue 4′ were originally 4′ and 2′ registers, respectively.

The apparent changes in the disposition were not restored, because there is not yet enough certainty as to the original condition of the instrument.

Some Characteristic Features of Construction

The lowest front section of the main organ case consists of pipes of the Flautado Mayor 8′ of the main division. At the left and right sides are the pipes from the Flautado 16′ of the Pedal. The two front sections above these consist completely of pipes which do not speak.

The measurements of the main case are: depth, 280 cm; width, 900 cm; and height, 1500 cm. The measurements of the Cadereta case are: depth, 52 cm; width, 210 cm; and height, 245 cm.

The keyboards from both organs have a range of C-d‴. In the Gospel organ, C# is omitted on both keyboards. At the right side of the keyboard for the main division of the Gospel organ, there is a third keyboard for the “Solo,” with a range of c′-d‴ (see Figures 18, and 19). The pedal register has a range of C, D, E-B (see Figure 23). Additionally, at the left side of the main division keyboard there are 10 extra keys, which are directly connected to the pedal windchest. The pedal registers can therefore be played with either pedal keys or manual keys (see Figures 18, 19).

The design and measurements of the windchests made it feasible to use a very simple action, which travels a very short distance. The large pipes are placed off the main chests, fed by wind conductors, thus making it possible to have chests of minimal length in the main division. The short length of the chest makes it possible to have very short trackers, which are practically friction free. The main division chests are located directly above the keyboards, allowing the various turning points of the action to be kept to a minimum. Also, the Cadereta pallet box, located directly under the keyboards, requires a minimum of turning points for its action. From this separate pallet box, the wind goes through wooden conductors to the interior and exterior windchests of the Cadereta (see Figures 22, 24, and 26).

From the way in which the windchests are made and the manner in which the action is connected, it is clear that in both organs a responsive and light touch was intended.

The windchests, all in chromatic arrangement, are made from massive pieces of solid wood, with channels carved in the wood itself. This is in contrast to the normal frame construction, with separate pieces glued in between the channels (see Figure 21).

The Gospel organ has six bellows, placed above the organ. They are V-shaped and have six folds per bellows (see Figures 26, 27). They can be raised using ropes.

The two very large V-shaped reservoir bellows, with eight folds per bellows (see Figure 20) in the top part of the Gospel organ, are winded from the top and bottom sides, each being fitted with two folds. These “two times two” bellows are set in motion by only one lever. Thanks to the remarkable balancing of the bellows, this lever can be managed by only one man.

The front pipes are made of an alloy of 40% tin and 60% lead. The interior pipework consists of 20% tin and 80% lead. No inscriptions or pitch indications were found on any of the pipes. The wooden pipes are made of pine.

At a temperature of 20° Celsius the pitch of both organs is a half step lower than A = 440. Both organs are tuned according to Chaumont temperament. Both pitch and temperament are in accord with the original length of the pipes. Wind pressure of the Gospel organ is 95 mm, and of the Epistle organ is 75 mm.

Appendix

Gospel Organ Pipe Scales

Organo Principal, Bass Registers

Chamade Registers, Choir Side

Chamade Registers, Nave Side

Organo Principal, Treble Registers

Chamade Registers, Choir Side

Chamade Registers Nave Side

Cadereta Exterior, Bass Registers

Cadereta Interior, Bass Registers

Cadereta Exterior, Treble Registers

Cadereta Interior, Treble Registers

Pedal Registers

Epistle Organ Pipe Scales

Organo Principal, Bass Registers

Chamade Registers, Choir Side

Chamade Registers, Nave Side

____________

*Bajoncillo stands inside the organ. Resonators are of wood.

Organo Principal, Treble Registers

Chamade Registers, Choir Side

Chamade Registers, Nave Side

Cadereta Exterior, Bass Registers

Cadereta Interior, Bass Registers

Cadereta Exterior, Treble Registers

Cadereta Interior, Treble Registers

Pedal Registers

Notes

¹ A range of 25 notes is incorrectly given here. “De sostenido . . . re” means c#′ to and including d‴, which is a range of 26 notes.

² The Cadereta is the separate division, placed at the organist’s back (Rugwerk or Positiv). There can also be a second windchest for the Cadereta in the main case. In fact, the Cadereta is divided into two sections. Both parts are playable from the same keyboard. The smaller, freestanding part is called in both dispositions “Positivo de Espalda.” The larger interior section is called “Organo Cadereta.”

³ The range of 24 notes is correct here. Instead of 25 notes, as in the Epistle organ, C# is omitted, making 24 in the Gospel organ.

⁴ In both dispositions, the pedal registers are missing. The construction of both organs makes it unlikely that the pedal registers are later additions. It can be assumed that the omission of these registers was an oversight.

⁵ 1 Vara is 84 cm.

⁶ In view of the sparse documentation, it seems likely that the dispositions given in Música y Músicos may also have come from the Gazeta de México. The omission of the pedal registers could point to copying from a possibly incomplete newspaper article.

⁷ Possibly a Corneta? (J.F.)

Selected Bibliography

Estrada, Jesus

1966. Datos para la historia del organo in Mexico. Revista del Conservatorio, 13:9-10.

1973. Música y Músicos de la Epoca Virreinal. Edited by Andres Lira, Mexico City: Sep/Setenas.

Fesperman, John

1979. Organs in Mexico. Raleigh, North Carolina: Sunbury Press.

1982. Flentrop in America. Raleigh, North Carolina: Sun-bury Press.

1984. The Mexican Legacy of Organs. Musical Times, 84(2): 107-109.

Platt, Simon

1981. Organs of the Vice-regal Period in Four Mexican Cathedrals. In Organ Yearbook, 1981:55-80. Amsterdam: Frits Knuf.

Toussaint, Manuel

1948. La Catedral de Mexico y el Sagrario Metropolitano. Mexico City: Comision Diocesana de Orden.

Velazco, Jorge

1975. Organos barrocos Mexicanos. In Anales del Instituto de Investigations Esteticas, 44. Mexico City: Universidad Nacional Autonoma de Mexico.

Figures 1-28

FIGURE 1.—Epistle organ, choir side, before fire of 1967. (Photo by Patrimonio Cultural)

FIGURE 2.—Epistle organ, choir side, after the restoration of 1975–1978.

FIGURE 3.—Gospel organ, nave side, after the restoration of 1975–1978.

FIGURE 4.—Epistle organ, choir side, keyboards, stop knobs, before the restoration of 1975–1978.

FIGURE 5.—Gospel organ, keyboards and stop knobs during the restoration of 1975–1978. (Some keys of solo keyboard not properly adjusted and register names only partially replaced.)

FIGURE 6.—Gospel organ, Main Division, before the restoration of 1975–1978. Ranks (left to right): Flauta traversa (winded by conductors), Espigueta, Tolosana, Octava Clara, Docena Clara, Quincena Clara, Lleno, Sobre Simbala, and Simbala.

FIGURE 7.—Gospel organ, Main Division, after the restoration of 1975–1978. The same registers as Figure 6. Just visible, far right, Flautado de 26.

FIGURE 8.—Epistle organ, Main Division, before the restoration of 1975–1978. Ranks (left to right): Octava Nasarda, Docena Nasarda, Tolosana, Quincena Nasarda, and Diez y Setena Nasarda.

FIGURE 9.—Epistle organ, Main Division, after the restoration of 1975–1978. The same registers as in Figure 8.

FIGURE 10.—Epistle organ, Cadereta, before the restoration of 1975–1978 shows extensive fire damage.

FIGURE 11.—Epistle organ, Cadereta, after the restoration of 1975–1978. Elements (left to right); conductors from pallet box to windchest for Cadereta Exterior; rackboards for Diez y Setena Clara (2 ranks), Quincena Clara, and Fabiolete. Conductors for Corneta Magna above, stop action in background.

FIGURES 12, 13.—Epistle organ, Chamade reed registers: 12 (above), before the restoration of 1975–1978, showing extensive fire damage; 13 (below), after the restoration of 1975–1978. Ranks (top to bottom) are Trompa Magna (treble), Orlo (bass), Bajoncillo (bass), and Clarin en Quincena (bass).

FIGURES 14, 15.—Gospel organ, Chamade reed registers: 14 (above), before the restoration of 1975–1978; 15 (below), after the restoration of 1975–1978. Ranks (top to bottom) are Obue (treble), Clarin de Campana (treble), Clarin de Campana (treble), and Clarin Claro (treble). The treble registers for the Chirimia and the Trompa Magna are placed with the bass Chamade registers.

FIGURES 16.—Gospel organ, action for solo division before the restoration of 1975–1978.

FIGURES 17.—Gospel organ, action for solo division after the restoration of 1975–1978.

FIGURES 18, 19.—Gospel organ, keyboards: 18 (above), before the restoration of 1975–1978; 19 (below), after the restoration. At the left side of the top keyboard (for the Main Division) are the 10 extra keys that correspond to the same pedal keys. At the right side of the lower keyboard (Cadereta), is the keyboard for the solo rank.

FIGURES 20, 21.—20 (above), Reservoir bellows with eight folds and double feeder folds above and below, after the restoration of 1975–1978; 21 (below), Epistle organ, windchest for the Main Division, during the restoration of 1975–1978. Channels carved out of the solid wood; the cracks caused by this construction were made airtight with sheep leather.

FIGURES 22, 23.—Epistle organ, after the restoration of 1975–1978: 22 (above), Cadereta elements (left to right), interior windchest with pipework, walk board over conductors, conductors from pallet box to interior windchest, pallet box, parts of pedal keys inside case, with trackers for Cadereta keyboard passing between pedal keys to pallet box; 23 (below), Pedal keyboard: C, D, E, F, G, A, and B are covered with ivory; F, G, and A are covered with copper knobs.

FIGURE 24.—Epistle organ, Cadereta, after the restoration of 1975–1978. Visible elements (left to right) are: keyboards for Main Division and Cadereta; pedal keys; conductors from pallet box to exterior windchest; section of floor; and pipework on exterior windchest.

FIGURE 25.—Gospel organ, choir side. (Drawing by S. Schaper, Flentrop Orgelbouw)

FIGURE 26.—Gospel organ, section. (Drawing by S. Schaper, Flentrop Orgelbouw)

FIGURE 27.—Gospel organ, front view, facade and interior. (Drawing by S. Schaper, Flentrop Orgelbouw)

FIGURE 28.—Gospel organ, ground plan. (Drawing by S. Schaper, Flentrop Orgelbouw)

REQUIREMENTS FOR SMITHSONIAN SERIES PUBLICATION

Manuscripts intended for series publication receive substantive review (conducted by their originating Smithsonian museums or offices) and are submitted to the Smithsonian Institution Press with Form SI-36, which must show the approval of the appropriate authority designated by the sponsoring organizational unit. Requests for special treatment—use of color, foldouts, case-bound covers, etc.—require, on the same form, the added approval of the sponsoring authority.

Review of manuscripts and art by the Press for requirements of series format and style, completeness and clarity of copy, and arrangement of all material, as outlined below, will govern, within the judgment of the Press, acceptance or rejection of manuscripts and art.

Copy must be prepared on typewriter or word processor, double-spaced, on one side of standard white bond paper (not erasable), with 1¼″ margins, submitted as ribbon copy (not carbon or xerox), in loose sheets (not stapled or bound), and accompanied by original art. Minimum acceptable length is 30 pages.

Front matter (preceding the text) should include: title page with only title and author and no other information, abstract page with author, title, series, etc., following the established format; table of contents with indents reflecting the hierarchy of heads in the paper; also, foreword and/or preface, if appropriate.

First page of text should carry the title and author at the top of the page: second page should have only the author’s name and professional mailing address, to be used as an unnumbered footnote on the first page of printed text.

Center heads of whatever level should be typed with initial caps of major words, with extra space above and below the head, but no other preparation (such as all caps or underline, except for the underline necessary for generic and specific epithets). Run-in paragraph heads should use period/dashes or colons as necessary.

Tabulations within text (lists of data, often in parallel columns) can be typed on the text page where they occur, but they should not contain rules or numbered table captions.

Formal tables (numbered, with captions, boxheads, stubs, rules) should be submitted as carefully typed, double-spaced copy separate from the text; they will be typeset unless otherwise requested. If camera-copy use is anticipated, do not draw rules on manuscript copy.

Taxonomic keys in natural history papers should use the aligned-couplet form for zoology and may use the multi-level indent form for botany. If cross referencing is required between key and text, do not include page references within the key, but number the keyed-out taxa, using the same numbers with their corresponding heads in the text.

Synonymy in zoology must use the short form (taxon, author, year:page), with full reference at the end of the paper under “Literature Cited.” For botany, the long form (taxon, author, abbreviated journal or book title, volume, page, year, with no reference in “Literature Cited”) is optional.

Text-reference system (author, year:page used within the text, with full citation in “Literature Cited” at the end of the text) must be used in place of bibliographic footnotes in all Contributions Series and is strongly recommended in the Studies Series: “(Jones, 1910:122)” or “. . . Jones (1910:122).” If bibliographic footnotes are required, use the short form (author, brief title, page) with the full citation in the bibliography.

Footnotes, when few in number, whether annotative or bibliographic, should be typed on separate sheets and inserted immediately after the text pages on which the references occur. Extensive notes must be gathered together and placed at the end of the text in a notes section.

Bibliography, depending upon use, is termed “Literature Cited,” “References,” or “Bibliography.” Spell out titles of books, articles, journals, and monographic series. For book and article titles use sentence-style capitalization according to the rules of the language employed (exception: capitalize all major words in English). For journal and series titles, capitalize the initial word and all subsequent words except articles, conjunctions, and prepositions. Transliterate languages that use a non-Roman alphabet according to the Library of Congress system. Underline (for italics) titles of journals and series and titles of books that are not part of a series. Use the parentheses/colon system for volume (number): pagination: “10(2):5-9” For alignment and arrangement of elements, follow the format of recent publications in the series for which the manuscript is intended. Guidelines for preparing bibliography may be secured from Series Section, SI Press.

Legends for illustrations must be submitted at the end of the manuscript, with as many legends typed, double-spaced, to a page as convenient.

Illustrations must be submitted as original art (not copies) accompanying, but separate from, the manuscript. Guidelines for preparing art may be secured from Series Section, SI Press. All types of illustrations (photographs, line drawings, maps, etc.) may be intermixed throughout the printed text. They should be termed Figures and should be numbered consecutively as they will appear in the monograph. If several illustrations are treated as components of a single composite figure, they should be designated by lowercase italic letters on the illustration; also, in the legend and in text references the italic letters (underlined in copy) should be used: “Figure 9b.” Illustrations that are intended to follow the printed text may be termed Plates, and any components should be similarly lettered and referenced: “Plate 9b.” Keys to any symbols within an illustration should appear on the art rather than in the legend.

Some points of style: Do not use periods after such abbreviations as “mm, ft, USNM, NNE.” Spell out numbers “one” through “nine” in expository text, but use digits in all other cases if possible. Use of the metric system of measurement is preferable; where use of the English system is unavoidable, supply metric equivalents in parentheses. Use the decimal system for precise measurements and relationships, common fractions for approximations. Use day/month/year sequence for dates: “9 April 1976.” For months in tabular listings or data sections, use three-letter abbreviations with no periods: “Jan, Mar, Jun,” etc. Omit space between initials of a personal name: “J.B. Jones.”

Arrange and paginate sequentially every sheet of manuscript in the following order: (1) title page, (2) abstract, (3) contents, (4) foreword and/or preface, (5) text, (6) appendixes, (7) notes section, (8) glossary, (9) bibliography, (10) legends, (11) tables. Index copy may be submitted at page proof stage, but plans for an index should be indicated when manuscript is submitted.