No. 1. A Cathedral Organ proposal from 'The Modern Organ', 1883.

GREAT
    32       Quintatön
    16       Open Diapason
    16       Bourdon
     8       First Open Diapason
     8       Second Open Diapason
     8       Bell Diapason
     8       Harmonic Diapason
     8       Salicional
     8       Hohlflöte
    5 1/3    Quint
     4       Principal
     4       Gemshorn
     4       Harmonic Flute
    3 1/5    Tierce
    2 2/3    Twelfth
     2       Fifteenth
     2       Spitz Flöte
    IV       Cornet
    VI       Full Mixture
    VII      Sharp Mixture
    16       Double Trumpet
     8       Tuba
     8       Trumpet
     4       Clarion
 
SWELL
    16       Bourdon
     8       Open Diapason
     8       Stopped Diapason
     8       Viol da Gamba
     8       Voix Célestes
     4       Principal
     4       Flauto Traverso
     2       Fifteenth
    VII      Mixture
    16       Contra Fagotto
     8       Harmonic Trumpet
     8       Orchestral Hautboy
     8       Vox Humana
     4       Clarion    
 
CHOIR
    16       Lieblich Gedeckt
     8       Open Diapason
     8       Stopped Diapason
     8       Vienna Flute
     8       Keraulophon
     8       Dulciana
     8       Vox Angelica
     4       Viola
     4       Lieblich Flöte     
     2       Piccolo
    III      Mixture or IV Echo Cornet
    16       Orchestral Bassoon
     8       Corno di Bassetto
     8       Hautboy
 
GREAT PEDALIER
    64       Acoustic Bass
    32       Open Diapason
    16       Great Bass
    16       Open Diapason
    16       Violone
    16       Stopped Diapason
   10 2/3    Quint
     8       Principal
     8       Gemshorn
    6 2/5    Tierce
     4       Fifteenth
    VI       Full Mixture
    VII      Sharp Mixture
    32       Posaune
    16       Tuba Magna
     8       Trumpet
 
SWELL PEDALIER
    32       Acoustic Bass
    16       Sub Bass
     8       Principal
    32       Contra Fagotto
    16       Trombone
     8       Trumpet
 
CHOIR PEDALIER
    16       Gedeckt
     8       Violoncello
    16       Bassoon
     8       Orchestral Bassoon
     8       Hautboy
     4       Clarionet
 
Couplers: 3 to Pedals; Swell to Great.
3 'retaining pedals'.
Composition pedals: 5 to Great & Pedal, 4 to Swell & Pedal, 3 to Choir & Pedal.
Tremulant to 'echo reeds'.
2 pedal helps.

Casson stated that Great should be on the north side, Swell on the south side, and choir on the screen.

In Casson's book the stops are laid out diagramatically as though on stop jambs. Great and Great Pedalier are on the right jamb, the other divisions on the left. In each department the stops are subdivided into groups; for example, the Great stops are grouped as Doubles, Positif, Diapasons, Mutations, Octaves, Chorus, Reeds. The only significant subdivisions are Positif on Great (salicional, flutes 8ft. and 4ft.) and Echo on Swell (strings, hautboy, vox), the latter showing that the 16ft. Contra Fagotto was intended to complete the trumpet chorus.

No.2: St. Mary, Redgrave, Suffolk.
Casson Patent Organ Co, London 1899

GREAT    
     8       Open Diapason
     8       Gedact
     4       Principal
     4       Harmonic Flute
 
SWELL
     8       Rohr Flute
     4       Gemshorn
     2       Flautina
     8       Trumpet
 
CHOIR
     8       Viole Sourdine
     8       Lieblich Gedact
     4       Harmonic Flute
 
PEDAL
    16       Open Diapason (Great Pedalier)
    16       Bourdon (Great Pedalier)
    16       Sub Bass (Swell Pedalier)
    16       Sub Bass (Choir Pedalier)
 
5 unison couplers (no Choir to Great)

SOURCE
Charles Drane notebooks.

No.3: St. Edmund King & Martyr, Forest Gate, London.
Casson, date unknown.

LOWER
    16       Contra Salicional
     8       Open Diapason
     8       Gedact     
 
UPPER
     8       Clarabella
     8       Viole d'Orchestre
     8       Voix Celeste
     8       Trumpet    
 
FLOATING
     8       Salicional
     4       Lieblich Flute     
 
PEDAL
    16       Double Bass   
    16       Sub Bass

SOURCE
Charles Drane notebooks.

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