In Sir Gervase Glyn's organ the soundboards and pipework were provided by Hele; the electric action, console and one h.p. reed came from the Hope-Jones Electric Organ Company, Birkenhead.

GREAT    
     8       Open Diapason 
     8       Claribel
     4       Harmonic Flute
             Octave coupler
 
SWELL
    16       Lieblich Bourdon
     8       Violin Diapason
     8       Hohl Flute
     8       Salicional
     8       Voix Celeste tc
     4       Gemshorn
    III      Dulciana Mixture
     8       Oboe
             Tremulant
             Octave coupler
             Suboctave coupler
 
CHOIR
     8       Gamba
     8       Lieblich Gedacht
     4       Lieblich Flute
     8       Corno di Bassetto         in Swell box
             Octave coupler
 
SOLO
     8       Tuba                      in Swell box
             Octave coupler
             Suboctave coupler
 
PEDAL
    16       Bourdon
    16       Swell Bourdon
     8       Bass Flute
    16       Ophicleide                in Swell box
             second touch:
    16       Ophicleide
 
Couplers: Swell to Great 8ve, unison, sub8ve;  Solo to Swell 8ve & unison;
          Swell to Choir; Solo, Swell, Great & Choir to Pedal.
Second-touch couplers: Swell to Great; Solo to Great; Swell to Choir.
3 composition pedals each to Great and Swell.
Sforzando pedal:  first touch forte, second touch fortissimo.
Balanced swell pedal.
Stop switch

This 20-stop organ is in many ways typical of British residence organ of its time. It has the novelty of the Hope-Jones action and console with second-touch; also the fourth keyboard with its high-pressure Tuba. Otherwise it is representative of its genre: relatively few stops spread over several manuals; a truncated Great chorus; a refined Swell ensemble; a small, conservative Choir organ; an emphasis on delicate colour.

Here is an instrument built by Bishop & Son for Mr. Cambridge of Stanton Court, Weymouth in 1880/81.

GREAT
     8       Open Diapason
     8       Stopped Bass & Clarabella
     8       Dulciana                       grooved
     4       Principal
 
SWELL
     8       Violin Diapason                grooved
     8       Lieblich Gedacht
     4       Harmonic Flute
     2       Harmonic Piccolo
 
CHOIR
     8       Flauto Dolce                   wood
     8       Vox Angelica
 
PEDAL
    16       Bourdon
     8       Violoncello
 
5 couplers, 5 composition pedals, 2 1/2in. wind pressure.

At this date the Vox Angelica was often a gentle dulciana or salicional stop, not an undulating rank. The deliberate absence of reeds would reduce the necessity for frequent tuning; and the grooved bass octaves saved both money and space (the bottom 12 notes of a rank are as expensive as the whole of the rest of the compass). In this organ the Swell is like a conventional Choir division; the Choir is an echo/accompanimental organ.

In 1897 Forster & Andrews of Hull built an organ for the residence of W. Johnson Galloway MP at 47A Portland Place, London. In 1929 it went to Orange Street Congregational Church, behind the National Gallery. The stoplist is as follows:

GREAT 
     8       Open Diapason
     8       Gamba
     8       Stopped Diapason
     4       Principal
     4       Harmonic Flute
 
SWELL
     8       Violin Diapason
     8       Hohl Flute                      triangular plan
     8       Salicional
     8       Voix Celeste
     4       Gemshorn
     8       Oboe
             Tremulant
 
CHOIR
     8       Lieblich Gedact
     8       Dulciana
     4       Lieblich Flute
     8       Clarinet
 
PEDAL
    16       Bourdon
 
6 unison couplers.
2 composition pedals each to Great and Swell.
Trigger swell pedal.
Compass: 56/30.
Mechanical action to manuals and drawstops; tubular-pneumatic to pedals.
Originally fitted with high-pressure hydraulic engine & hand-blowing lever;
now electrically blown.

Having been purchased by a church, this little organ is one of the relatively few residence organs of its type to survive. Apart from the electric blower, it remains in its 1897 condition. The solid ivory drawstops, mahogany casework and stencilled pipe-front in brown and gold attest to the quality of its construction. Tonally it has the feminine Victorian virtues: modesty, decorum and unassuming competence. Like the Bishop organ above, it is representative of all those Victorian and Edwardian organs with 'feminine' tonal schemes, so unfashionable today (1999) when the bolder, 'masculine' productions of Hill, Lewis et al are the sort which we admire, and which accord most closely with our ideals of bold chorus building and tonal effect.

SOURCES
The Hele/Hope-Jones stoplist is from the Charles Drane notebooks, formerly in the Organ Club Library, London; also from 'Robert Hope-Jones' by David Fox (The Organ Historical Society, Richmond, Virginia, USA). My thanks to Larry Chace for drawing my attention to the Fox stoplist.
The Bishop stoplist is from 'Bishop and Son, Organ Builders' by Laurence Elvin (Lincoln, 1984).
The Forster & Andrews stoplist is from 'Forster and Andrews: their Barrel, Chamber and Small Church Organ' by Laurence Elvin (Lincoln, 1976); and from my visit to the organ in January 1999.