DIRK ANDRIES FLENTROP translated by JOHN FESPERMAN 

SMITHSONIAN INSTITUTION PRESS 1986 
SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION 

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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 
ABSTRAC T 

Dirk Andries Flentrop (John Fesperman, translator). Th e 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. 

T h e 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-

T h e 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 
Contents 

Preface iv 

Dedication v 

Important Points in the History of Mexico City Cathedral 1 

Notes on the History of the Organs of Mexico City Cathedral 1 

Dating the Cathedral Organs 4 

Restoration 4 

Some Characteristic Features of Construction 5 

Appendix 7 

Gospel Organ Pipe Scales 7 

Epistle Organ Pipe Scales 18 

Notes 29 

Selected Bibliography 30 

Figures 1 -2 8 31 

111 
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 

IV 
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. 

T h e 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 

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 Zumarrage 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 cathedral. 

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 Jestis 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. Th e organ's facade and the choir 

John Fesperman (translator), Division of Musical Instruments, 

National Museum of American History, Smithsonian Institution, 

Washington, 20560. 

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) 

flautado de 26 

flautado mayor 

flautado nave 

violon 

octava clara 

octava nazarda 

fabiolete 

espigueta 

docena clara 

docena nazarda 

quincena clara 

quincena nazarda 

diez y setena clara 

diez y setena nazarda 

diez y novena clara 

veinte docena clara 

corneta de eco 

lleno 

simbala 

sobre simbala 

chirimia nave 

bajoncillo 

trompeta real 

bajoncillo 

clarin en quincena 

orio 

clarin en quincena 

Do sostenido. . . re (25 notas)' 

flautado de 26 

flautado mayor 

flautado nave 

violon 

octava clara 

octava nazarda 

flauta traversa 

espigueta 

docena clara 

docena nazarda 

quincena clara 

quincena nazarda 

diez y setena clara 

diez y setena nazarda 

diez y novena clara 

corneta magna 

corneta de eco 

lleno 

simbala 

sobre simbala 

tolosana 

trompeta magna 

clarin claro 

clarin claro 

clarin claro 

trompeta magna 

chirimia 

obue 

obue 

trompa real 

clarin claro 
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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 

violon lleno 

violon 

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 Cadereta^ 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. Thre e 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)^ 

flautado en 26 

flautado mayor 

flautado nave 

violon 

octava clara 

octava nazarda 

espigueta 

docena nazarda 

docena clara 

espigueta 

quincena clara 

quincena nazarda 

diez y setena nazarda 

diez y novena clara 

veinte docena clara 

veinte docena nazarda 

Do. . .re (26 notas) 

flautado en 26 

flautado mayor 

flautado nave 

violon 

octava clara 

octava nazarda 

espigueta 

docena nazarda 

docena clara 

flauta traversa 

quincena clara 

quincena nazarda 

diez y setena clara 

diez y setena nazarda 

diez y novena clara 

rochela 

corneta magna 

corneta de ecos 

lleno 

simbala 

sobre simbala 

orio 

trompeta real 

bajoncillo 

bajoncillo 

clarin de quincena 

orio 

chirimia 

lleno 

simbala 

sobre simbala 

tolosana 

trompeta magna 

trompeta magna 

trompeta real 

clarin claro 

clarin claro 

clarin claro 

obue 

chirimia 

ORGANO CADERETA: PRIMER TECLADO 

trompeta 

violon 

octava clara 

veinte docena 

diez y setena 

diez y novena 

lleno 

trompeta 

violon 

octava nazarda 

docena clara 

diez y setena clara 

tolosana 

lleno 

POSITIVO DE ESPALDA (PRIMER TECLADO) 

octava clara octava clara 

quincena clara quincena clara 

diez y novena 

corneta magna 

veinte docena clara 

RECITATIVO (EN CAJA DE EXPRESION) 

Teclado de do. . .re (27 notas) violines 

chirimia 

violon 

docena clara 

quincena clara 

diez y novena clara"* 

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

T h e organs, located in the Coro (choir) between two great arches of the nave, can also be 

seen from the side aisles. Th e 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 varas^ high and 11 varas wide ... . bellows 

placed high in the case. Thre e thousand, three 
NUMBER 47 

hundred and fifty pipes, with a list of register 

names.^ 

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. 

T h e organ case was made for four thousand 

pesos. Th e 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. Th e 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. 

«S.^ D.^Uiian Aiit?cieVzarron.y EL^uiarreta i 

Jtt^Xavilib los S""K"iftti5fo ' 

ga yD.WJo&kGlclallosy Ratal.-

""im^^ 

D." Joseph Nassarre fecit ano 1735 siendo Arfs.J 

S.'' D." Juan Ant." de Vizarrron y Eguiarreta = y f J 

Jss.""" Cavildo los S."' D."' D." Aloso Mor en f ] 

ga y D.'^ D." Joseph Codallos y Rabat. = Patrf J 

cM JOSL uertz dic/o/a^h^p lff2 uijijjarffJ autnestsiM^ 0/ yor 

no ai d dm de J^JZ ftcndo c^nobupom el Smr 2^i m 

^i<'" 

V*! 

D."" Jose Perez de Lara, hizo los Reparos que nesesita ''" este "" Organo en el ano de 1817. Siendo Arsobispo el Senor Don Pedro dela Fonte 

[ J subtituto de chantre el S. D. ^ Villaurrutia, quien sue el comi para este 

[finf 
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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. Th e 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 Cft. 

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 

T h e restoration of the organs was undertaken 

in 1975-1978, under the authority of the Direccion 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. Irt 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. 

T h e old pipes, windchests, bellows, and other 

components were conserved with the greatest 

possible care in their original state. Th e 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. Th e 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) 

Sobre Simbala (II bass) 

Simbala (II treble) 

original IV rank register 

original III rank register 

original III rank register 
NUMBER 47 

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 

Main Division 

Simbala (II) 

original 11 rank register 

Epistle Organ 

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 topboard do not agree. 

T h e 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. Th e 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. 

T h e measurements of the main case are: 

depth, 280 cm; width, 900 cm; and height, 1500 

cm. Th e 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, Ctt 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. Th e 

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. Th e 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. Th e 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. 

T h e 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). 

T h e 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. 
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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 

Pipe Rank C, D-c ' f° 

Flautado de 26 

0 

mouth width 

cut-up 

Flautado Mayor 

mouth width 

cut-up 

Flautado Mayor 

0 

mouth width 

cut-up 

Violon 

0 

mouth width 

cut-up 

Octava Clara 

0 

mouth width 

cut-up 

Octava Nasarda 

0 

mouth width 

cut-up 

Espigueta 

0 

mouth width 

cut-up 

Docena Clara 

0 

mouth width 

cut-up 

Docena Nasarda 

0 

mouth width 

cut-up 

Quincena Clara 

0 

mouth width 

cut-up 

Prestant 16' 

Prestant 8' 

choir side 

Prestant 8' 

nave side 

Gedekt 8' 

Octaaf 4 ' 

Open Fluit 4' 

Roerfluit 4 ' 

Quint 2% ' 

Open Fluit 2% ' 

Octaaf 2 ' 

280x230 

230 

75 

167 

121.9 

35 

157.3 

114.9 

34.5 

117X94 

93 

32 

88.7 

64.6 

21 

127 

87.5 

21 

104.5 

74.5 

22 

67.5 

50 

15 

97.3 

64 

18 

46 

35.8 

10.9 

235X185 

185 

58 

137 

100 

29 

137.3 

100.3 

27.8 

103.9 

78.5 

30.2 

71.4 

49.5 

18.8 

100 

66.4 

21 

83.1 

58 

20.7 

52.1 

34.8 

13.7 

76.8 

51.5 

16 

37.1 

26.4 

11.5 

152x128 

128 

42 

95 

69.4 

20.3 

92.7 

67.7 

20 

73.9 

55.8 

24 

46.8 

34.5 

12 

70 

48.8 

15.5 

55.7 

38.8 

17.4 

35.5 

26 

10 

63.8 

37 

12.7 

30.6 

21.9 

9.4 

110X100 

100 

34 

82 

59.9 

17.5 

76.2 

55.6 

16.2 

58.6 

44.8 

21.1 

37.9 

26 

10 

61.1 

40.8 

13.6 

45.5 

32.3 

15.4 

28.5 

21 

8 

40.3 

27.8 

9.6 

23.9 

18.1 

6.3 

77x6 3 

63 

24 

51 

37.2 

11 

52 

38 

11.2 

44.6 

33 

12.9 

27.1 

20 

7.4 

45.2 

30 

10.7 

33.4 

25 

11.3 

20.5 

14.8 

5.7 

31.2 

21.5 

8.2 

17 

13.4 

5.2 
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Pipe Rank 

Quincena Nasarda 

0 

mouth width 

cut-up 

Espigueta 

0 

mouth width 

cut-up 

Diez y Setena Nasarda 

0 

mouth width 

cut-up 

Diez y Novena Clara 

0 

mouth width 

cut-up 

Veinte y Docena Clara 

0 

mouth width 

cut-up 

Veinte y Docena Nasarda 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Simbala 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

c, 

Open 

Roerf 

Open 

Quint 

D-c ' 

Fluit 2 ' 

Iuit2' 

Fluit lYs' 

I'/s' 

Octaaf 1' 

Open Fluit 1' 

Mixtuur V 

1' 

%' 

'/2' 

'/a' 

'A' 

Scherp III 

%' 

Vi' 

W 

C 

81.2 

54 

17.5 

56.1 

39 

14 

63.4 

42.8 

14.6 

36.5 

26 

9.2 

29.1 

18.7 

7.3 

44.6 

29.5 

10 

30 

23 

8 

20.4 

14.5 

6.3 

17.2 

13 

4.8 

14.8 

9 

4 

14.5 

10.5 

4 

21.6 

15.5 

5.8 

15.5 

11.2 

4.5 

14.2 

10 

4 

F 

66.2 

43.7 

13.4 

47.1 

33.6 

13.8 

56.4 

39 

14 

28.3 

20 

7.9 

25.5 

15.7 

6.8 

40.4 

16.8 

10.7 

23.8 

17.2 

6 

17 

11.5 

5 

15 

9.8 

4.2 

12.8 

8 

3 

12 

8 

4.2 

17.5 

14.5 

4.8 

13.2 

9.2 

4 

12.2 

8 

4.2 

c° 

46.7 

31.6 

11 

31.8 

23.7 

9.4 

37.7 

22.6 

10.7 

21 

15.6 

6.7 

18.3 

13 

4.8 

25.8 

17 

5.8 

17 

12 

5 

12.8 

9.8 

4 

11.7 

8.8 

4 

10.5 

7.5 

2.8 

10 

7 

3 

13 

9.7 

3.8 

11 

8 

3.8 

9.2 

7 

3 

f° 

39.8 

27.1 

9.4 

25.3 

17.6 

7.5 

30.9 

22 

7.6 

17.7 

12.7 

5.7 

16.2 

10.3 

4 

23.2 

15 

5.6 

14.5 

10.8 

3.8 

10.8 

7.3 

3.2 

9.3 

6.7 

3.3 

9 

5 

1.8 

8.2 

5.8 

3 

12 

8.7 

3.8 

10 

7.2 

3.5 

7.8 

5.8 

2.8 

c' 

26.6 

18.3 

6.8 

21.3 

14.4 

6.5 

22 

14.4 

6 

13.1 

9.6 

4.4 

12.9 

8.2 

2.6 

18.6 

13.1 

3.7 

12 

7 

2.8 

9.2 

6.3 

3 

6.8 

4.7 

2.7 

8 

6 

1.8 

7.2 

5.2 

2 

8.2 

5 

3 

8 

5.6 

2.8 

7.2 

5 

1.5 
NUMBER 47 

Pipe Rank 

Sobre Simbala 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Trompa Real 

0 upper 

0 lower 

tongue width 

C, D-c ' 

Cymbel II 

'A' 

'/.' 

Trompe t 8 

C 

14 

10.5 

4 

12.7 

9.3 

3.3 

110 

28 

14 

F 

12.5 

7.5 

2.7 

10.7 

7.8 

3 

105 

28 

11 

c" 

10.2 

6 

2.2 

8.3 

6 

2 

86 

28 

10.5 

f° 

8.2 

6 

1.7 

7 

5.1 

1.8 

77 

23 

9 

9 

c' 

8.7 

5 

1.8 

6 

4.4 

1.8 

76 

19 

9 

Chamade Registers, Choir Side 

Pipe Rank 

Bajoncillo 

upper 0 

lower 0 

tongue width 

Orio 

upper 0 

lower 0 

tongue width 

Clarin en Quincena 

upper 0 

lower 0 

tongue width 

C, D-c ' 

Trompe t 4 ' 

Trompe t 4 ' 

Trompe t 2 ' 

C 

70 

18 

13.9 

79.5 

19.5 

12.5 

67.5 

17 

9.9 

F 

67.5 

18 

11.5 

75.5 

19 

12.2 

61 

16 

8.7 

c° 

62.5 

18 

10.5 

65 

17 

8.1 

54.3 

14 

6.3 

f° 

60.5 

15.5 

9.4 

61.4 

15.5 

7.8 

50.3 

13 

6 

c' 

58 

14 

7.1 

57.5 

13.5 

6.4 

38.1 

12.5 

4.9 

Chamade Registers, Nave Side 

Pipe Rank 

Chirimia 

cylinder 0 

tongue width 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Clarin en Quincena 

upper 0 

lower 0 

tongue width 

C, D-c ' 

Hobo 4 ' 

Trompe t 4 ' 

Trompe t 2 ' 

33.6 

10.1 

79.5 

18.5 

13.2 

67.5 

15.5 

10.8 

30.4 

9.2 

75.5 

17.5 

11.1 

61 

15 

7.8 

35.2 

7.7 

65.9 

17.5 

8.9 

54.3 

13.5 

7 

22.9 

6.5 

61.9 

15 

6.7 

50.3 

13.5 

5.5 

20.7 

6.2 

58 

14.2 

6.7 

41.7 

15 

5.5 
10 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Organo Principal, Treble Registers 

Pipe Rank 

Range 

c#-d"' 

Pipe 

ett' 

76X62 

62 

24 

50.5 

36.9 

11.5 

49.8 

36.9 

11.2 

40.4 

29.5 

15.7 

28x25 

28 

15 

28X27 

27 

14 

25.5 

19.8 

7.5 

43.8 

30 

11.5 

31.7 

24.2 

10.5 

22.3 

14.3 

5.9 

34 

18 

7 

34.4 

24.1 

7.6 

17.2 

12 

4.9 

f 

58X46 

48 

17 

43 

31.4 

10.4 

43 

31.4 

8.7 

35.4 

26.2 

14.8 

23X23 

23 

14 

23X23 

23 

14 

25.5 

18 

7.3 

40.3 

25.4 

9.1 

28 

20 

9.9 

17.4 

12.4 

5.1 

30 

16 

7 

30.1 

20 

5.4 

14.3 

10.2 

4.8 

c" 

43X33 

36 

13 

31 

22.6 

7.5 

31 

22.8 

7.2 

26.6 

19.2 

11.4 

20x20 

23 

11 

20x20 

20 

11 

18.2 

13 

5 

33.4 

21.4 

8 

20.8 

14.7 

6 

13.2 

9.2 

3.8 

24.4 

12.5 

5.3 

22.3 

15.1 

4.6 

10.7 

8 

3 

f" 

42x32 

31 

14 

26.5 

19 

6.5 

26.5 

19.7 

6 

23.1 

17.5 

8 

19X19 

19 

9 

19X19 

19 

8 

14.8 

10.5 

3.8 

30.6 

20.4 

6.2 

17.5 

11.8 

4.5 

10.9 

7.7 

3 

15.6 

10.8 

3.8 

16.9 

11 

3.7 

9.2 

6.5 

2.5 

c'" 

36X26 

26 

10 

20 

14.6 

5 

20 

14.6 

4.5 

19.7 

16.2 

7.3 

16x16 

16 

6 

16X16 

16 

6 

11.5 

8.5 

3 

23.4 

15.5 

3.9 

14 

10.6 

3 

8.9 

6.5 

2.2 

11.8 

8.4 

3.3 

13.4 

8.4 

2.7 

7.9 

5.5 

2 

Flautado de 26 

0 

mouth width 

cut-up 

Flautado Mayor 

0 

mouth width 

cut-up 

Flautado Mayor 

0 

mouth width 

cut-up 

Violon 

0 

mouth width 

cut-up 

Flauta Traversa 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Octava Clara 

0 

mouth width 

cut-up 

Octava Nasarda 

0 

mouth width 

cut-up 

Espigueta 

0 

mouth width 

cut-up 

Docena Clara 

0 

mouth width 

cut-up 

Docena Nasarda 

0 

mouth width 

cut-up 

Docena Nasarda 

0 

mouth width 

cut-up 

Quincena Clara 

0 

mouth width 

cut-up 

Prestant 16' 

Prestant 8' 

choir side 

Prestant 8' 

nave side 

Gedekt 8' 

Zweving 11 8' 

Octaaf 4 ' 

Open Fluit 4 ' 

Roerfluit 4 ' 

Quint 2% ' 

Open Fluit 2% ' 

Open Fluit 2% ' 

Octaaf 2 ' 
NUMBE

R 47 

Pipe Rank 

Quincena Nasarda 

0 

mouth width 

cut-up 

Diez y Setena Nasarda 

0 

mouth width 

cut-up 

Diez y Novena Clara 

0 

mouth width 

cut-up 

Diez y Novena Nasarda 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Simbala 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Sobre Simbala 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Tolosano 

0 

mouth width 

cut-up 

Range 

ctt-d'" 

Open Fluit 2 ' 

Open Fluit IVs' 

Quint Wa' 

Open Fluit IVs' 

Mixtuur V 

4 ' 

2 % ' 2 ' 

IVs' 

IVs' 

Scherp 11 

2' 

IVs' 

Scherp 111 

2 ' 

VA' 1' 

Sesquialter 111 

3V5' 

c^' 

24 

16.8 

7 

21 

13.5 

5.6 

13.5 

9 

3.9 

22.1 

14.6 

5.6 

27.7 

21.2 

7 

20 15 

6 

16.8 12 

5 

18.8 13 

5 

13 

8.8 

3.8 

16.5 

11.7 

5 

14 

9.5 

5.4 

15.8 

11.8 

5.2 

15.7 

11.2 

5.3 

11.3 

8 

3.3 

23.3 

16.4 

6.3 

f 

22.6 

15.8 

5.7 

17.1 11 

4.6 

11.3 

8 

3.8 

19.4 13 

4.6 

22.7 

15.5 

7 

16.9 

12.5 

4.5 

14.4 

9.7 

5 15 

10.5 

4.3 

11.8 

8 

3.8 

14.3 10 

4.4 

11 

8 

3.3 

15.5 10 

5 

13 10 

4.8 

10 

7.7 

2.7 

24 

17.5 

7 

Pipe c" 

17.2 

11.5 

4 

13.9 

9.2 

3.6 

9 

6.3 

2.5 

13.4 

8.8 

3.6 

17.5 

13.2 

4.7 

13.8 10 

3.8 

12.7 

8.2 

3.3 10 

7.2 

3.8 

10.2 

7 

2.8 

10.8 

7.7 

3 

10 

7 

2.5 

11 

7.6 

3.5 

10.8 

8 

3.5 

8 

5.5 

2.5 

18.9 13 

5.2 

f" 

11.8 

8 

3.1 

11 

8 

3.4 

8.2 

5.5 

2.3 

12.1 

8.4 

3.1 

15.2 

10.8 

4.4 

12.7 

9.5 

3.2 

10.8 

7.5 

2.8 

8 

5.5 

2.8 

9 

6.2 

2.2 

10 

7 

2 

8.4 

6 

2 

12 

7 

2.8 

10 

7 

2.5 

7.3 

5 

2.4 

15.9 11 

4.5 

1 1 

r'" 

9.2 

7.1 

2.1 

9.2 

6.4 

2.2 

7 

5 

1.8 

10.2 

6.5 

1.6 

12.7 

9 

3.2 

9.9 

7 

2.5 

8.4 

6 

2.3 

8 

6.4 

2 

6.8 

5 

1.6 

8.6 

6 

2 

6.7 

5 

1.8 

8.6 

6 

2 

8 

5 

1.7 

6.7 

5.3 

1.2 

11.9 

8 

3 
12 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Pipe Rank 

Range 

ctt-d'" 

2 % ' 

2 ' 

Cornet Vll 

Roerfluit 8' 

open 4 ' 

open 2% ' 

open 2 ' 

open 2' 

open V/b' 

open iVs' 

Echo Cornet Vll 

Roerfluit 8' 

open 4 ' 

open 2% ' 

open 2 ' 

open 2' 

open IVs' 

open IVs' 

Trompe t 8' 

ett' 

21 

15 

5.2 

20.5 

12.5 

4.7 

52 

37 

15 

43 

29 

10 

31 

20 

7.5 

27 

18 

6 

24.5 

16.5 

5.8 

25.5 

16 

5 

21.2 

13.5 

5 

53 

40 

13.3 

44.5 

32 

9 

33 

24.5 

7.5 

24 

18 

5.5 

24 

16 

6.8 

21 

15 

5.8 

22 

15 

6.2 

76 

19 

9.5 

f 

19.4 

10.5 

5.4 

18 

12.2 

5 

44.5 

33 

11.5 

36.5 

24 

9 

26 

17 

6 

23 

15 

5 

22.5 

14 

5 

20 

13 

4.3 

19.7 

13 

4.5 

45 

34 

12.8 

34.5 

25 

8.5 

24.5 

17.7 

7.2 

20.8 

15 

5 

20 

15 

5 

19 

13.7 

4 

18 

12.2 

5 

69 

17 

8.5 

c" 

14.2 

9 

3.8 

14 

9 

3.7 

34 

20 

9 

29.5 

19 

6 

22 

14.5 

5 

17.5 

12 

3.7 

18 

11.5 

4 

15.5 

10.5 

3 

13.9 

9 

3.8 

35 

26 

11 

24.5 

18 

6 

19 

14 

5 

15 

11.3 

4.3 

15.8 

10.8 

3.8 

13 

9 

3 

13.5 

9 

3.5 

69 

15 

7.5 

f" 

12.3 

8 

3 

11.4 

8.2 

3 

30 

21 

9.5 

23 

14 

5 

20.2 

12.8 

3.5 

17 

11 

4 

14.5 

10 

3 

13.5 

9 

2.7 

11.5 

7.5 

2.2 

28.3 

21 

7.3 

20 

13 

5 

14.5 

9.5 

3.5 

12 

8.5 

3 

12 

8 

3 

13 

8 

2.5 

12 

8.5 

2.8 

61 

14 

7 

c'" 

9.2 

6 

2.2 

8.6 

5.5 

2 

25.5 

16.5 

6 

16.5 

11 

3.6 

15.5 

10 

3.5 

10.5 

7 

2.5 

11 

7 

2 

11 

5.7 

1.3 

9.9 

6.2 

2 

22 

16.5 

6.5 

16.8 

10 

3.8 

10.8 

6.3 

2.8 

10 

5.5 

2 

8 

5 

2 

9 

7 

2 

9.3 

5.3 

2 

56 

15 

6 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Corneta 

0 

mouth 

cut-up 

0 

mouth 

cut-up 

0 

mouth 

cut-up 

0 

mouth 

cut-up 

0 

mouth 

cut-up 

0 

Magna 

width 

width 

width 

width 

width 

mouth width 

cut-up 

0 

mouth 

cut-up 

width 

Corneta en Eco 

0 

mouth width 

cut-up 

0 

mouth 

cut-up 

0 

width 

mouth width 

cut-up 

0 

mouth 

cut-up 

0 

mouth ' 

cut-up 

0 

mouth 1 

cut-up 

0 

width 

width 

width 

mouth width 

cut-up 

Trompa Real 

upper 0 

lower 0 

tongue width 
NUMBER 47 13 

Chamade Registers, Choir Side 

Pipe Rank 

Trompa Magna 

upper 0 

lower 0 

tongue width 

Chirimia 

cylinder 0 

tongue width 

Clarin de Campana 

upper 0 

lower 0 

tongue width 

Clarin de Campana 

upper 0 

lower 0 

tongue width 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Obue 

cylinder 0 

tongue width 

Pipe Rank 

Bajoncillo 

upper 0 

lower 0 

tongue width 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Obue 

cylinder 0 

tongue width 

Pipe Rank 

ctt-d'" 

Trompe t 16 

Hobo 16' 

Trompe t 8' 

Trompe t 8' 

Trompe t 8' 

Hobo 8' 

ett'-d'" 

Trompe t 16 

Trompe t 8' 

Hobo 8' 

solo e'-d' " 

c^' 

68.8 

19 

12.9 

33 

11.8 

76 

19.5 

11.8 

76 

19.5 

11.1 

87 

17 

11.6 

36 

10.6 

Chamade Registers 

c^' 

68.8 

19 

12.2 

86.9 

17 

11.1 

36 

10.8 

c' 

f 

64 

17 

10.5 

30.4 

11.3 

70 

18.5 

8.5 

70 

18.5 

8.6 

78.2 

15.5 

9 

34.1 

7.9 

Nave Side 

f 

64 

18 

11.6 

78.2 

16 

8.2 

34.1 

8.5 

f 

c" 

57.3 

15 

9.4 

25.2 

7.5 

64 

18 

7.7 

64 

18 

7.2 

69.4 

14 

6.1 

30.3 

6.9 

c" 

57.3 

14.2 

9.2 

69.4 

14 

7 

30.3 

6.2 

c" 

f" 

53.2 

13 

8.7 

22.9 

7.3 

56.5 

15.5 

7 

56.5 

15.5 

6.4 

63.4 

13 

5.3 

28.7 

5.7 

f 

53.2 

12.5 

9.5 

63.4 

12.7 

6 

28.7 

6 

f" 

c'" 

49.4 

11.5 

6.3 

20.7 

6.7 

50 

12 

5.8 

50 

12 

5.4 

59.6 

12 

5 

27.1 

5.3 

c'" 

49.4 

12.2 

6 

59.6 

12 

4.5 

27.1 

5.3 

c'" 

Violon 

0 

mouth width 

cut-up 

Docena Clara 

0 

mouth width 

cut-up 

Quincena Clara 

0 

mouth width 

cut-up 

Gedekt 8 

Quint 2% ' 

Octaaf 2 ' 

46.8 

33.5 

16 

22.6 

16.2 

6.5 

18.7 

14 

5.8 

37.1 

24.1 

13 

18.3 

13.3 

6.2 

14.5 

10 

4.5 

29.3 

20.7 

11.1 

13.5 

10.3 

4.1 

11.8 

9 

3.5 

22.9 

15.5 

7 

11.5 

7.8 

4 

11.2 

7.8 

3.2 

16.7 

11.5 

5.5 

9.1 

6.8 

3.4 

9.2 

5.8 

2.2 
14 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Pipe Rank 

Diez y Novena Clara 

0 

mouth width 

cut-up 

Chirimia 

cylinder 0 

tongue width 

Violines 

upper 0 

lower 0 

tongue width 

solo c'-d' " 

Quint I'A' 

Hobo 16' 

Schalmei 8' 

c' 

13.5 

10 

4.2 

30 

11 

68 

17.5 

10 

f 

11.8 

8 

4 

27.5 

10 

64.5 

15.5 

10 

c" 

8 

5 

3 

24 

5 

58.3 

14.5 

9 

f" 

7.5 

4.8 

2.3 

22 

7.5 

52.5 

15 

8.2 

c'" 

7 

4.5 

2 

21 

6 

49 

14.5 

6.8 

Cadereta Exterior, Bass Registers 

Pipe Rank C, D-c ' 

Octava Clara 

0 

mouth width 

cut-up 

Quincena Clara 

0 

mouth width 

cut-up 

Veinte y Docena 

Clara 

0 

mouth width 

cut-up 

Octaaf 4 ' 

Octaaf 2 ' 

Octaaf 1' 

97.5 

71.2 

20.8 

48.4 

35.6 

12.1 

30.7 

23 

9.5 

69.5 

50.8 

14.5 

37.4 

26.6 

11.8 

22 

14.5 

8 

51 

37.2 

11.3 

24.8 

18.6 

7.9 

16.8 

10.5 

5.5 

42.5 

31 

10 

23.6 

17 

6.3 

14.2 

10 

4.5 

32 

23.4 

8.3 

16.9 

12 

5.8 

12 

6.8 

3.1 

Cadereta Interior, Bass Registers 

Pipe Rank 

Violon 

0 

mouth width 

cut-up 

Octava Nasarda 

0 

mouth width 

cut-up 

Diez y Setena Clara 

0 

mouth width 

cut-up 

Diez y Novena Clara 

0 

mouth width 

cut-up 

C. D-c ' 

Gedekt 8' 

Open Fluit 4 ' 

Terts IVs' 

Quint I'A' 

C 

121.8 

91.6 

29.1 

89.2 

67.3 

19.6 

39.3 

29 

10.8 

35 

24.8 

10.2 

F 

99.7 

70.2 

22 

74.5 

53 

17.4 

32 

23.8 

9.5 

28 

19.6 

7.9 

c° 

69.1 

50.9 

20.5 

51.6 

37.5 

13.8 

25 

17.7 

7.2 

20 

15 

6 

f° 

56.8 

42.5 

20.4 

40.9 

29.2 

10.2 

21.7 

15.5 

5.2 

16.4 

12.2 

5 

c' 

42.4 

32.1 

17.9 

28.4 

21.2 

8 

16.8 

10.2 

4.9 

13.6 

10.8 

4 
NUMBER 47 15 

Pipe Rank C, D-c ' f° 

Veinte y Docena Clara 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Octaaf 1' 

Mixtuur 111 

%' 

'A' 

'A' 

30.8 

22 

6.5 

21.8 

14.8 

6 

17 

12.8 

5 

13.2 

8.8 

4 

30.2 

22.5 

6 

18.2 

13.5 

4.9 

14.9 

11.2 

4.8 

12.4 

9.2 

4.2 

21.3 

15.3 

5.3 

13.7 

10.5 

4.8 

12 

8.8 

3.9 

10 

6.3 

2.8 

17.4 

10.8 

4 

11.8 

9 

3.5 

10 

7 

3.2 

10 

6.2 

2.8 

14.7 

8.9 

3.2 

9.2 

7 

3 

7.2 

5 

2.3 

7 

4.7' 

1.5 

Cadereta Exterior, Treble Registers 

Pipe Rank c'-d ' cr f" 

Octava Clara 

0 

mouth width 

cut-up 

Quincena Clara 

0 

mouth width 

cut-up 

Diez y Novena Clara 

0 

mouth width 

cut-up 

Corneta Magna 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Octaaf 4 ' 

Octaaf 2 ' 

Quint 1 '4 ' 

Cornet V 

Roerfluit 8' 

Open 4 ' 

Open 2% ' 

Open 2 ' 

Open I'W 

27.2 

19.2 

8 

15.9 

8.7 

4.9 

13.5 

9.7 

4 

50.9 

37 

13.8 

44.3 

28.4 

9.6 

31.2 

20.7 

7.7 

25 

16 

5.3 

21.7 

13.8 

5.7 

24.4 

18.5 

7.6 

14 

8.2 

4 

11.9 

6.7 

2.4 

44.1 

32 

12 

38.8 

25 

10 

27 

17.5 

6 

22.2 

14.2 

5.5 

18.2 

11.2 

5.2 

18.6 

13.6 

5.6 

11.1 

8 

3.7 

8.9 

6.8 

3.1 

33.4 

24 

10 

27 

18 

7 

20 

13.8 

5 

16 

10.8 

3.8 

14.3 

9.5 

2.8 

15.9 

12 

4.6 

9.7 

7.8 

3.6 

7.6 

6 

2.8 

29.3 

21 

7.7 

21.8 

14.3 

6.5 

17.2 

11.3 

3.8 

12.5 

8.2 

2.7 

13.2 

8.8 

2.4 

13.1 

8.6 

4.3 

8.4 

6.3 

2.9 

7.2 

5.4 

2 

23.2 

16.8 

6 

15.8 

12.2 

3.6 

12.2 

8 

3 

11 

7.2 

2 

9.4 

6.4 

1.4 
16 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Cadereta Interior, Treble Registers 

Pipe Rank 

Flautado Mayor 

0 

mouth width 

cut-up 

Violon 

0 

mouth width 

cut-up 

Octava Nasarda 

0 

mouth width 

cut-up 

Docena Clara 

0 

mouth width 

cut-up 

Diez y Setena Clara 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Tolosana 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

c'-d' " 

Prestant 8' 

Gedekt 8' 

Open Fluit 4 ' 

Quint 2% ' 

Terts 1%' 

Mixtuur 111 

2-% ' 

2' 

l-'A' 

Sesquialter III 

3'A' 

2 % ' 

2 ' 

cr 

50 

32 

11.2 

41.2 

29.3 

16 

40.4 

29.8 

10.7 

20.1 

15.8 

6.2 

18 

11.9 

4.6 

21 

15.6 

5.4 

14 

10 

5 

14.3 

10.3 

4 

24 

17.7 

6.3 

22 

15 

6 

17.8 

13 

4.8 

f 

40.6 

26.6 

9 

35.7 

26.1 

14.5 

36.6 

27 

9 

17 

12 

5.2 

13.2 

10 

4 

17.7 

13.9 

5 

12.4 

9 

4.4 

11 

8.7 

4.2 

21.9 

15 

5.5 

17 

12 

6 

15.3 

11 

4.5 

c" 

32.5 

22.3 

8 

26.6 

20.4 

10.5 

30.9 

25.7 

6.8 

13.9 

10.7 

4 

11.1 

8.1 

3.7 

14.5 

10 

3.9 

10.5 

7 

3.5 

10.5 

7 

2.5 

17 

11.8 

4.8 

13.9 

10.2 

3.8 

12.1 

9 

3.2 

f" 

24.8 

18 

6.5 

22.9 

16.4 

9.8 

22.9 

17 

6 

11 

8.3 

3.9 

9.7 

7 

3.4 

12 

8 

4 

9.7 

7.4 

3.6 

8 

5.7 

2.5 

15.2 

9.8 

4.8 

11.3 

8.5 

3.2 

9.2 

7 

2.3 

c'" 

19.1 

14.1 

5.8 

20.5 

15 

7.1 

16.1 

10.4 

4.4 

9.6 

6.6 

2.9 

8.1 

6.2 

2.6 

9 

7 

3.3 

9 

6 

2 

7 

4.8 

2 

9.1 

6.5 

2.5 

8.6 

6.5 

2.2 

7.3 

5.5 

2 
NUMBE

R 47 

17 

Pedal Registers 

Pipe Rank 

C, D, E-B 

Flautado 

0 

mouth width 

cut-up 

Flautado 

0 

mouth width 

cut-up 

Flautado 

0 

mouth width 

cut-up 

Bajoncillo 

upper 0 

lower 0 

tongue width 

Bajoncillo 

upper 0 

lower 0 

tongue width 

Bajoncillo 

upper 0 

lower 0 

tongue width 

open 16' 

open 8' 

open 4 ' 

Trompet 16' 

Trompet 8' 

Trompet 4 ' 

325 

237 68 

166 

121 30 

119 87 

22.8 

180X180 30 

27/25.5 

109 27 15 81 18 13 

280 

204.5 57 

158 

115.5 28 

114 

83.2 

20.5 

170X150 30 

22.8 

100 26 

14.5 76 21 

10.8 

197 

144 

41.8 

114 

83.2 24 78 61 

17.8 

123X123 30 

21.3 83 23 12 71 20 10 
Epistle Organ 

Organo Principal, 

Pipe Scales 

Bass Registers 

Pipe Rank 

Flautado Mayor 

0 

mouth width 

cut-up 

Flautado Mayor 

0 

mouth width 

cut-up 

Flautado Mayor 

0 

mouth width 

cut-up 

Violon 

0 

mouth width 

eut-up 

Octava Clara 

0 

mouth width 

cut-up 

Octava Nasarda 

0 

mouth width 

cut-up 

Docena Clara 

0 

mouth width 

cut-up 

Docena Nasarda 

0 

mouth width 

cut-up 

Fabiolete 

0 

mouth width 

cut-up 

Quincena C^lara 

0 

mouth width 

cut-up 

Espigueta 

0 

mouth width 

cut-up 

C-c ' 

Prestant 8' 

choir side 

Prestant 8' 

nave side 

Prestant 8' 

wood 

Gedekt 8' 

Octaaf 4 ' 

Open Fluit 4 ' 

Quint 22/3' 

Open Fluit 2V3' 

Nasard 22/3' 

Octaaf 2' 

Roerfluit 2 ' 

C 

165 

120.5 

32 

165 

120.5 

30 

145X117 

117 

30 

119X94 

94 

26 

85 

66.6 

19.1 

126.9 

84.5 

18.4 

59.9 

44.2 

15.8 

90.4 

60.4 

19.4 

89.2/63.7 

45.1 

18 

43.5 

34.7 

12 

57.8 

51.2 

12 

F 

136 

99.3 

26 

134.7 

98.4 

25 

110X102 

102 

30 

100X81 

81 

24 

65 

49.4 

15.3 

100.2 

66.2 

20.3 

45.9 

33.6 

12.7 

71.7 

51.7 

16.4 

69.9/47.9 

36.4 

15.6 

34.5 

26.9 

10.8 

42 

39 

10.8 

c" 

87 

63.5 

20.2 

90 

63.6 

19 

80X60 

60 

28 

74.8 

59.7 

26.3 

45.5 

35 

12.7 

74.5 

47.5 

16 

32.5 

24.4 

9.4 

61.2 

42.1 

12.1 

54.1/37.3 

29.3 

12.9 

27.4 

22.2 

9.2 

36.2 

32.7 

9.2 

f° 

78 

57 

18 

68.5 

50 

14.9 

65x5 0 

50 

18 

60 

47.2 

19.5 

35.8 

26.6 

10.3 

61.1 

39.8 

14 

28 

17 

9.2 

48.4 

33.2 

11.1 

43.6/31.4 

22.2 

11 

23.1 

18.2 

7.7 

32.3 

27.8 

7.7 

c' 

59 

43.1 

14 

54 

39.4 

11.6 

41X40 

40 

20 

44.5 

34.8 

15.2 

26.6 

20.1 

9.6 

44.7 

29 

11.7 

19.4 

14 

6 

36.4 

24.5 

7.3 

36.3/28.5 

17.9 

9 

17.4 

13 

5 

28 

24 

5 

18 
NUMBE

R 47 

Pipe Rank 

Quincena Nasarda 

0 

mouth width 

cut up 

Diez y Setena Clara 

0 

mouth width 

cut-up 

Diez y Setena Nasarda 

0 

mouth width 

cut-up 

Diez y Novena Clara 

0 

mouth width 

cut-up 

Veinte y docena Clara 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Simbala 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Sobre Simbala 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

C-c ' 

Open Fluit 2' 

Terts IW 

Terts Fluit PA' 

Quint I'/s' 

Octaaf 1' 

Mixtuur V 

r 

Vs' 

'/2' % ' 

'A' 

Scherp III 

Vs' 

>/2' 

Vs' 

Cymbel II 

Vs' 

%' 

C 

74.5 

51.4 

15.9 43 

31.1 

12.3 

68.4 

40.8 

16.2 

35.8 

25.2 

9.3 

28.9 

17.5 

8.3 

30.9 20 

7.2 

22.8 

15.7 

7 

19.4 

12.5 

5 

16.2 11 

5 

14 

10.9 

4.8 

23.2 16 

6 

18.5 13 

5 

15 

10.5 

4.3 

13.4 

10.6 

4.3 

11.8 

8.3 

3.3 

F 

59.6 

41.5 

14.2 

39.3 25 

10.1 60 

40.5 

14.1 

28.5 

19.6 

7.3 

24.2 

14.8 

6.2 

25.5 

18.5 

6.3 

19.9 

14.1 

5.5 

16.5 

11.3 

5.2 

14 

9.5 

3.8 

13.6 10 

4.3 

18.5 13 

4.8 

15.6 11 

4.5 

11.8 

8.5 

3.2 

11.7 

8.6 

3.9 

10.2 

7.2 

2.8 

c° 

44 

26.9 

10.6 

29.1 19 

6.7 

38.8 27 

7.8 

26.2 

18.1 

5.1 

18.6 

11.1 

4.8 

18.8 

13.7 

5.1 

15.1 

10.5 

4.5 

11.9 

8.9 

3.8 

11.9 

7.5 

3.2 

11 

6.8 

4 

14.6 

10.5 

4.8 

12.1 

8.5 

3.2 

9.9 

7 

2.9 

9.9 

6.5 

2.9 

8.6 

6 

2 

f° 

35.2 

20.8 

8.3 

24 16 

5.2 

31.5 

21.6 

6.1 

23.5 

16.7 

6.1 

15.3 

9.6 

4.5 

16.7 

11.8 

4.9 

13.3 

9.2 

3.7 

9.8 

5.7 

3 

9.6 

7.2 

2.9 

10.4 

6.5 

2.1 

11.8 

8.5 

3.1 

10.5 

7.5 

2.8 

8.9 

6.5 

2.3 

8.6 

6 

2.3 

8 

5.5 

2 

19 

c' 

24.8 16 

5.4 

16.8 12 

5.2 

28.8 

19.9 

5.4 

13.9 

10.1 

4.7 

12.4 

7.2 

3.3 

13.4 

8.4 

3.7 

11 

8.1 

3 

8.5 

6.1 

2.5 

8.5 

5.9 

2.5 

7.8 

5 

2.1 

9.6 

7 

2.8 

8.6 

6 

2.5 

7.6 

5.5 

2 

7.6 

5.4 

2 

7.2 

5 

1.9 
20 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Pipe Rank 

Trompa Real 

upper 0 

lower 0 

tongue width 

ett' -d'" 

Trompet 8' 

cr 

109 

22.2 

14 

f 

93 

25.5 

12 

c" 

87 

24.5 

11.9 

f" 

77 

23.2 

8 

c'" 

67 

19.3 

7.6 

Chamade Registers, Choir Side 

Pipe Rank 

Orio 

upper 0 

lower 0 

tongue width 

Bajoncillo 

upper 0 

lower 0 

tongue width 

Clarin en Quincena 

upper 0 

lower 0 

tongue width 

C-c ' 

Trompe t 4 ' 

Trompet 4' 

Trompet 2' 

C 

78 

20.5 

14.5 

82.5 

19 

12 

67.5 

17 

9.8 

F 

74 

20 

12 

74.5 

17 

11.5 

61.2 

15 

7.2 

e" 

66.5 

19 

11.2 

66.5 

16 

8.5 

53.7 

13 

7.4 

f° 

58 

17 

9.4 

62 

15 

8 

49 

13.3 

6.5 

c' 

48 

16 

8.7 

58.5 

12 

6.6 

48 

13.3 

5.5 

Chamade Registers, Nave Side 

Pipe Rank 

Bajoncillo* 

upper 0 

lower 0 

tongue width 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Obue 

upper 0 

lower 0 

tongue width 

C-c ' 

Trompet ?' 

Trompet 8' 

Hobo 4 ' 

C 

150X145 

25 

19.3/16 

95 

21 

15 

86.2 

33.6 

12.5 

F 

113 

22 

18.3 

90 

19 

13.3 

82.5 

29.9 

9.6 

c° 

90 

19.7 

14 

75 

19 

12 

67.8 

24.8 

7.7 

f° 

85 

17.3 

13 

73 

17.7 

11.4 

60.2 

22.8 

6.9 

c' 

77 

18 

12 

64 

17.3 

9 

47.2 

21.3 

5.5 

Bajoncillo stands inside the organ. Resonators are of wood. 
NUMBER 47 21 

Organo Principal, Treble Registers 

Pipe Rank 

Flautado de 26 

0 

mouth width 

eut-up 

Flautado Mayor 

0 

mouth width 

cut-up 

Flautado Mayor 

0 

mouth width 

cut-up 

Flauta Traversa 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Violon 

0 

mouth width 

cut-up 

Octava Clara 

0 

mouth width 

cut-up 

Octava Nasarda 

0 

mouth width 

cut-up 

Espigueta 

0 

mouth width 

cut-up 

Docena Clara 

0 

mouth width 

cut-up 

Docena Nasarda 

0 

mouth width 

cut-up 

Quincena Clara 

0 

mouth width 

cut-up 

Quincena Nasarda 

0 

mouth width 

cut-up 

ctt'-d'" 

Prestant 16' 

Prestant 8' 

choir side 

Prestant 8' 

nave side 

Zweving 11 8' 

Gedekt 8' 

Octaaf 4 ' 

Open Fluit 4 ' 

Roerfluit 4 ' 

Quint 2V3' 

Quint Fluit 2%' 

Octaaf 2 ' 

Open Fluit 2 ' 

cr 

76x5 9 

59 

19.3 

53 

38.7 

11.1 

57 

41.6 

12.8 

30X25 

25 

10.4 

31X29 

29 

14.2 

47 

31.8 

13.7 

29 

18.5 

7 

41.8 

27.3 

9.1 

32 

23.8 

10.5 

22.3 

14.1 

6 

32.2 

21 

8.3 

18 

11.7 

4.8 

26.4 

18 

6.5 

f 

63X49 

49 

13.1 

45.2 

33 

9.6 

49 

35.8 

11 

27.5x25.5 

25.5 

9.4 

28X26 

26 

12 

39.5 

25.8 

12.7 

23 

17 

6.4 

38.5 

26 

8.4 

26.4 

20.3 

8.4 

19.1 

13.1 

5.5 

27.8 

18 

7 

16.5 

11.1 

4.5 

22.3 

14.5 

5.1 

c" 

43X35.5 

35.5 

12.4 

30 

21.9 

7.1 

31 

22.6 

7.2 

23x18.5 

18.5 

11.4 

22.8X19.8 

19.8 

8 

29 

19 

9 

17.3 

13.1 

5.2 

25.6 

17.5 

6 

22.5 

17.8 

6.4 

15.1 

9.6 

4.2 

21.3 

14.1 

4.7 

13 

9.5 

3.4 

18 

11.5 

4.3 

r 

39x21.5 

21.5 

11.8 

26.3 

19.2 

6.2 

26.3 

19.2 

5.8 

18.5x16.5 

16.5 

8.7 

20X17 

17 

8.2 

25 

14.9 

8.8 

15.1 

9.2 

3.6 

22.2 

14.7 

5 

20.5 

15.7 

6 

13.6 

8.7 

4.2 

18.5 

12 

4.2 

10.3 

8 

2.6 

15.6 

10 

3.4 

c'" 

30.5x20 

20 

11.4 

20.5 

15 

5.1 

20.5 

15 

4.8 

15X14 

14 

7.3 

15x13 

13 

5.6 

20.4 

13 

5.8 

11.8 

8.8 

3.2 

17.2 

11 

4.3 

14.6 

11.7 

3.4 

11.4 

8.4 

3 

15.9 

10 

3.2 

9.7 

6.3 

2.1 

13.1 

8.5 

3 
22 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Pipe Rank 

Diez y Setena Clara 

0 

mouth width 

cut-up 

Diez y Setena Nasarda 

0 

mouth width 

cut-up 

Diez y Novena Clara 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Tolosana 

0 

mouth width 

eut-up 

0 

mouth width 

cut-up 

0 

mouth width 

eut-up 

Simbala 

0 

mouth width 

cut-up 

0 

mouth width 

eut-up 

0 

mouth width 

eut-up 

Sobre Simbala 

0 

mouth width 

cut-up 

ctt'-d'" 

Terts IV5' 

Terts Fluit VA' 

Quint I'A' 

Mixtuur V 

4 ' 

2^3' 

2' 

VA' 

I'/s' 

Sesquialter 111 

3'A' 

22/3' 

I'A' 

Scherp 111 

2V3' 

2 ' 

r 

Cymbel 11 

2 ' 

cr 

16.5 

12 

4.3 

23.6 

16 

5.1 

15.6 

9.4 

3.5 

24.6 

16.1 

5 

21.3 

15.5 

6.8 

19.3 

12.5 

5.5 

17.2 

11 

5 

15.8 

10.2 

4.8 

32.5 

21 

8.2 

27.7 

18.5 

6.8 

20.4 

13.5 

4.5 

19.5 

14.5 

6.1 

17.1 

10.6 

5.1 

13.9 

9.4 

3.9 

16.8 

10.1 

4.9 

f 

15.7 

10.4 

3 

19.6 

13 

4.5 

13.2 

10 

3.5 

25.1 

15.8 

6.2 

21 

14 

6 

18.2 

11.1 

4.5 

13.3 

8.8 

3.2 

14.1 

9.8 

3.8 

28.3 

18.3 

6.2 

23.2 

15.3 

5.2 

17.8 

12 

4.4 

19.2 

13.5 

5.8 

16.7 

10.2 

4.8 

12.7 

9 

3.4 

15.6 

10.9 

4.3 

c" 

11.4 

8.6 

2.4 

15.9 

10.5 

3.7 

10.3 

7.4 

2.5 

20.4 

14 

5.1 

15.8 

11.2 

4.5 

13.5 

8.5 

3.5 

10.5 

5.1 

2.8 

9.2 

5.9 

2.8 

23 

15 

5.5 

19.1 

13.1 

4.5 

14.6 

9.5 

3.9 

13.2 

9.8 

4.5 

12.5 

8.6 

4.6 

9.9 

7 

2.3 

11.9 

7.4 

4.2 

{" 

10.3 

7 

2 

14 

9 

3.5 

9 

6.1 

2.3 

14.6 

8.4 

4.1 

11.7 

6.4 

3.6 

11.9 

6.5 

3.4 

8.8 

4 

2.8 

7 

4 

2.1 

17.6 

11.1 

4 

17.2 

11.5 

4.2 

12.4 

8.3 

2.2 

12.5 

8.7 

3.7 

11.3 

7.6 

3.1 

7.5 

5 

2 

9.9 

6.7 

2.7 

c'" 

9 

6.5 

2 

12.1 

7.5 

2.3 

9.1 

5.7 

1.5 

12.6 

8.2 

3.7 

7.4 

4.6 

1.8 

7.8 

4.8 

2 

7.3 

4 

1.8 

7 

3.8 

1.5 

13.1 

9 

3.3 

13.1 

9 

3.2 

10.2 

6.8 

1.9 

8.5 

7 

2.1 

9.2 

6.4 

2.8 

6.5 

4.5 

1.7 

8.6 

5.3 

2.6 
NUMBE

R 47 

23 

Pipe Rank ctt'-d' cr f" 

Sobre Simbala 

0' 

mouth width 

eut-up 

Corneta Magna 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Corneta en Eco 

0 

mouth width 

eut-up 

0 

mouth width 

cut-up 

0 

mouth width 

eut-up 

0 

mouth width 

eut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Trompa Real 

upper 0 

lower 0 

tongue width 

Cymbel 11 

VA' 

Cornet VII 

Roerfl. 8' 

open 4 ' 

open 2Vs' 

open 2 ' 

open 2 ' 

open iVs' 

open VA' 

Echo Cornet Vll 

Roerfluit 8' 

open 4 ' 

open 2^3' 

open 2 ' 

open 2 ' 

open VA' 

open IVs' 

Trompet 8' 

17.8 

10.2 

4.6 

51.2 

40.8 

16.9 

43.8 

33.8 

10.7 32 

24.4 

8 

24.8 

17.8 

6.4 

23.3 18 

6.4 

22.9 

15.7 

4 

22.7 

16.8 

5.1 

55 

37.4 

15.6 

48.2 

34.4 

9.5 

32.6 

23.1 

6.2 

28.7 

20.1 

6.4 

22 

14.8 

6.5 

26.2 

16.9 

4 

22.1 

13.8 

5.6 

73 

15.5 

7.5 

12.9 

9.1 

4.6 

43 

33.7 

11.5 

33.4 25 

9.3 

26.1 

19.1 

6.6 

22.1 

16.6 

5.7 

22.2 

16.4 

5.8 

19.3 

13.5 

4.2 

18.9 

13.1 

4.6 

45.5 32 

12.6 38 

26.3 

7.1 

27.9 19 

6.5 

22.2 

15.4 

4.4 

24.2 

16.9 

5 

19.8 

13.5 

3.8 

18.8 

10.7 

4.6 

70 17 

7 

9.9 

7.1 

3 

34 26 

10.3 

23.4 

17.8 

6 

19.7 

14.2 

5.2 

15.1 

11.3 

3.4 

15.2 

11.1 

3.9 

14.1 

10.3 

3.2 

15 

9.8 

3.1 

33.7 23 

9.8 

29 

20.1 

6.2 

21.2 

15.3 

4.3 

17 

12.2 

3.6 

17.8 

11.8 

3.8 

16.1 

9.8 

3.7 

15.9 

10.7 

3.5 

59.4 

13.3 

6.8 

9 

6.6 

2.9 

28.4 

20.7 

9.9 

21.7 

14.3 

5.1 

15.8 

11.3 

4.1 

14.5 

9.9 

3.2 

14 

10.2 

3.6 

11.4 

7.8 

2.8 

10.2 

7 

2.8 

28.3 

19.6 

8.2 

23 

15.4 

5.5 

17.1 

12.4 

3.3 

15.4 

11.1 

3.1 

15.3 

11.1 

3.1 

12 

8.3 

2.2 

13 

8.5 

2.5 

50 

11.7 

6 

7.6 

4.4 

2.3 

21.6 

16.6 

6 

17.5 13 

3.9 

12.7 

11.5 

2.1 

10.7 

6.7 

2.1 

8.9 

5 

2.2 

9.2 

6 

2.2 

9.3 

5.1 

2.6 

20.4 

14.5 

4.4 

17.4 

12.3 

3.8 

14.1 10 

2.2 

11.5 

8.6 

2.1 

12.9 

8.5 

2.3 

13.1 

7.8 

2.5 

9.6 

5.1 

1.5 

38 13 

4 
24 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Chamade Registers, Choir Side 

Pipe Rank 

Trompa Magna 

upper 0 

lower 0 

tongue width 

Chirimia 

upper 0 

lower 0 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Obue 

upper 0 

lower 0 

tongue width 

ctt'-d'" 

Trompet 16' 

Hobo 16' 

Trompet 8' 

Trompe t 8' 

Trompe t 8' 

Hobo 8' 

cr 

68.8 

17.5 

12.5 

86 

19 

67 

12 

8.7 

84 

17 

10.7 

86.9 

17 

10.8 

91 

16 

11 

f 

64 

17 

12 

82.5 

18.5 

61.5 

11 

7.9 

77 

16 

8.7 

78 

16 

8.7 

82 

16 

8.1 

c'' 

57.3 

14 

9.5 

67.8 

14 

54.5 

11 

6.7 

68 

14 

7.7 

69 

14 

7.6 

70.5 

14 

7.8 

f" 

53.2 

12.5 

8.3 

60.2 

13 

49.5 

10 

6.5 

62 

12.5 

5.5 

63 

12.5 

5.5 

61.1 

12 

6.6 

c'" 

49.4 

12 

6.2 

47.2 

11 

46.5 

9 

5.5 

58 

11.5 

5 

59 

11.5 

5 

42 

12 

4.6 

Chamade Registers, Nave Side 

Pipe Rank 

Trompa Magna 

upper 0 

lower 0 

tongue width 

Clarin Claro 

upper 0 

lower 0 

tongue width 

Obue 

upper 0 

lower 0 

tongue width 

ctt'-d'" 

Trompet 16' 

Trompe t 8' 

Hobo 8' 

cr 

73 

19 

11 

55 

16.3 

8 

91.2 

16 

10.4 

r 

68 

17 

9.5 

55 

16.3 

7 

81 

16 

8.3 

c" 

62 

18 

8 

46 

15.6 

5.8 

70.5 

13.5 

7.6 

f" 

53 

17 

7 

42 

15.8 

5.2 

61 

12 

6.5 

c'" 

50 

15.8 

7 

34 

12 

4.5 

41.8 

12 

4.4 
NUMBER 47 25 

Cadereta Exterior, Bass Registers 

Pipe Rank 

Octava Clara 

0 

mouth width 

eut-up 

Quincena Clara 

0 

mouth width 

cut-up 

Viente y Docena Clara 

0 

mouth width 

cut-up 

C-c ' 

Octaaf 4 ' 

Octaaf 2' 

Octaaf 1' 

C 

87 

63.5 

20.1 

48 

35.6 

12.2 

30 

21 

8.5 

F 

66 

48.2 

13.3 

37 

26.6 

10.1 

22.5 

15.7 

8.1 

c° 

51 

37.2 

11.2 

27 

19.4 

8.3 

16.5 

11.3 

5.9 

f° 

40 

29.2 

9.4 

23 

16.8 

6.2 

13 

9 

4.3 

c' 

28 

20.4 

7.7 

16.5 

12 

5.7 

11.8 

8 

3.6 

Cadereta Interior, Bass Registers 

Pipe Rank 

Violon 

0 

mouth width 

cut-up 

Octava Clara 

0 

mouth width 

cut-up 

Docena Clara 

0 

mouth width 

cut-up 

Diez y Setena Clara 

0 

mouth width 

cut-up 

Diez y Novena Clara 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

eut-up 

Bajoncillo 

upper 0 

tongue width 

C-c ' 

Gedekt 8' 

Octaaf 4 ' 

Quint 2Vs' 

Terts VA' 

Quint I'A' 

Mixtuur III 

w 

Vi' 

Vs' 

Trompe t 4 ' 

C 

132.2 

92 

34 

88.9 

62 

20.5 

64.2 

45.1 

16.3 

39.6 

29.5 

11.1 

32.8 

26 

9 

23 

17.6 

5.9 

18.7 

11.5 

5.3 

14.8 

11.2 

4.7 

81 

12 

F 

98.2 

65 

23 

71 

47 

16.1 

60.6 

46 

15.1 

29.1 

22.7 

9.5 

26 

19.4 

7.3 

18.3 

13.2 

5.2 

15.9 

11 

5.8 

12.1 

9.3 

3.5 

74 

11 

c° 

79 

53.5 

19.2 

53.5 

31.8 

11 

44.5 

33.1 

12 

22.8 

17.6 

4.3 

19.8 

15 

6.7 

15 

11.1 

4.8 

13.2 

9.2 

3.5 

10.2 

7.2 

2.9 

65 

9 

f° 

65.6 

45.1 

17.5 

45.1 

29.5 

9 

41.4 

28.6 

11 

18.3 

13 

5.4 

15.8 

10.1 

5 

12.2 

9.4 

3.6 

11.2 

7.8 

3.2 

9.1 

6.7 

2.6 

62 

8 

c' 

53.8 

35 

14.3 

34.6 

23 

9.1 

30.8 

20.7 

7.3 

14.5 

8.8 

4 

13 

9.9 

4.1 

10.1 

7.0 

2.8 

9.3 

6.8 

2.5 

7.8 

6.2 

2.5 

58 

6.5 
26 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Cadereta Exterior, Treble Registers 

Pipe Rank 

Fabiolete 

0 

mouth width 

cut-up 

Quincena Clara 

0 

mouth width 

eut-up 

Diez y Setena 

0 

mouth width 

eut-up 

0 

mouth width 

cut-up 

Corneta Magna 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

ctt'-d'" 

Gemshoorn 4 ' 

Octaaf 2' 

Octaaf-Terts 11 

2' 

VA' 

Cornet V 

Roerfluit 4 ' 

open 4' 

open 2%' 

open 2' 

open lYs' 

ett' 

43/31 

24 

7.8 

16 

11 

3 

15.5 

11 

3.2 

14.2 

10 

3.1 

53 

35 

13.8 

38 

29 

8.2 

32 

22.8 

6.8 

24 

14.2 

4.3 

20 

11.7 

4 

f 

38/38 

20 

6.2 

14.5 

9.5 

2.6 

14 

9.5 

2.9 

12.5 

8.5 

2.7 

44 

32.2 

10.7 

34 

25.6 

7.8 

28 

19.6 

6.4 

21 

12.3 

4 

18.5 

10.8 

3.7 

e" 

31.5/24 

16.5 

5.1 

12 

8.5 

2.3 

12 

8.5 

2.6 

10 

7 

2.4 

33 

23 

8.1 

27 

19.2 

6.3 

22 

16 

4.8 

16 

9.6 

3.1 

13.5 

7.5 

2.4 

f" 

27/21 

14 

4.6 

9.5 

6.5 

2.1 

9.5 

6.5 

2.1 

8.5 

6 

1.9 

26.5 

18.3 

6.3 

24 

17 

5.1 

20 

14.4 

4.4 

13.5 

7.8 

2.5 

11 

6.8 

2.2 

c'" 

21/17.5 

10.5 

3.6 

7.5 

5.2 

1.9 

7.5 

5.2 

1.7 

7 

5 

1.8 

19 

14 

4.8 

19.5 

14.1 

4.3 

17 

11.6 

3.9 

9.5 

5.2 

2 

9.5 

6 

2 

Cadereta Interior, Treble Registers 

Pipe Rank 

Flautado Mayor 

0 

mouth width 

cut-up 

Violon 

0 

mouth width 

cut-up 

Octava Clara 

0 

mouth width 

cut-up 

ctt'-d'" 

Prestant 8' 

Gedekt 8' 

Octaaf 4 ' 

cr 

49 

32.2 

9.7 

42 

32.2 

15.6 

29.9 

19.2 

7.3 

f 

43.3 

27.4 

10 

35.3 

27.7 

12.6 

24.5 

16 

6.9 

c" 

33.8 

21.8 

8.5 

28.3 

21 

8.8 

18.9 

13 

4.8 

f" 

26.9 

16.5 

7.2 

24.7 

18.2 

7.2 

17 

10.8 

4.8 

c'" 

21.5 

13.7 

5.7 

20.4 

15.4 

4.9 

12.7 

8.8 

3.2 
NUMBE

R 47 

Pif>e Rank 

Docena Clara 

0 

mouth width 

cut-up 

Tolosana 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Lleno 

0 

mouth width 

cut-up 

0 

mouth width 

eut-up 

0 

mouth width 

cut-up 

Corneta en Eco 

0 

mouth width 

eut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Clarin Claro 

upper 0 

tongue width 

ctt'-d'" 

Quint 22A' 

Sesquialter 111 

2W 2 ' 

VA' 

Mixtuur III 

2^3' 2 ' 

I'/s' 

Cornet V 

Roerfl. 8' 

open 4 ' 

open 2%' 

open 2 ' 

open VA' 

Trompet 8 ' 

c^' 

23.1 

14.6 

5.1 

21 

15.1 

5.2 

17 

12.6 

4.6 

17 

12.1 

3.9 

21.3 

15.3 

5.1 

19.3 

11.4 

5.2 

15.8 

11.5 

4.6 

52.8 35 

14.3 

41.9 

30.3 

9.2 

31.6 

22.6 

6.7 

22.6 

13.8 

4.8 

19.7 

11.6 

4.2 

85 

10.7 

f 

19.7 13 

3.7 

19.5 

13.3 

4.3 

16.7 

11.8 

5.7 

14.3 

10.3 

3.5 

20 

14.1 

4.8 

15.5 

10.6 

4.9 

14.2 

10.5 

4.3 

44.6 

32.4 12 

35.4 

26.1 

8.2 

27.6 

19.5 

6.6 

19.9 12 

4.5 

18.3 

10.8 

3.6 

78 

8.7 

e" 

14.4 

9.9 

3 

16 

11.8 

3.8 

13 

12.5 

4.1 

11.5 

8.6 

2.9 

15.6 

11.7 

3.7 

12 

6.7 

3.8 

11.2 

8.7 

3.1 

33.4 

23.1 

10.8 

27.8 

19.5 

6 

21.8 

15.9 

5.1 

15.3 

9.4 

2.5 

13.5 

7.5 

2.4 

69 

7.8 

f" 

11.2 

8.1 

3.1 

13 

9.8 

3.2 

12 

7.2 

3.8 

10 

6.9 

2.4 

11.7 

8.4 

2.8 

10.5 

6.7 

3.2 

9.1 

5.8 

2.5 

26.7 

18.4 

8.5 

24.2 

17.1 

5.2 

19.9 

14.3 

4.3 

13.2 

7.9 

2.6 

11.1 

6.8 

2.6 

63 

5.6 

27 

c'" 

9.5 

6 

2.5 

10 

7.5 

2.6 

9.5 

7.2 

2.3 

9.2 

6 

2.1 

10 

7.1 

2.4 

9 

6.3 

2.5 

8.3 

5.5 

2.4 

20.5 

14.6 

6.5 

19.7 

14.2 

4.2 

17.2 

11.7 

3.2 

9.2 

5.1 

2.2 

9.7 

6.1 

2.6 

60 

5 
28 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Pedal Registers 

Pipe Rank 

Flautado 

0 

mouth width 

cut-up 

0 

mouth width 

cut-up 

Flautado 

0 

mouth width 

cut-up 

Flautado 

0 

mouth width 

cut-up 

Bajoncillo 

upper 0 

lower 0 

tongue width 

Bajoncillo 

upper 0 

lower 0 

tongue-width 

Bajoncillo 

upper 0 

lower 0 

tongue width 

C, D, E 

open 16' 

metal 

wood 

open 8' 

open 4 ' 

Trompet 

Trompet 

Trompe t 

-B 

II 

16' 

8' 

4' 

C 

325 

238 

67.5 

277X250 

250 

69 

180 

131.4 

37 

120 

87.6 

26 

230X228 

26X17 

27.2 

109 

22.4 

11.4 

78.5 

15.8 

8.3 

F 

284 

208 

59.5 

260X230 

230 

67 

138 

100.8 

28.3 

103 

75.2 

21.8 

220X215 

28x2 2 

22 

96 

21 

13 

72 

15.5 

8.3 

B 

195 

143 

42 

235X205 

205 

59 

99 

72.3 

20.5 

64.2 

46.4 

14.5 

124X120 

27X17 

17.3 

82 

17.4 

10.9 

71.5 

14.5 

7.2 
Notes 

' A range of 25 notes is incorrectly given here. 

"De sostenido . . . re" means eft' to and including 

d'", which is a range of 26 notes. 

^ 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. Th e smaller, freestanding part is called in both dispositions "Positivo de Espalda." Th e larger interior section is 

called "Organo Cadereta." 

^ 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. 

"* 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. 

^ 1 Vara is 84 cm. 

^ In view of the sparse documentation, it seems 

likely that the dispositions given in Musica y Musicos may also have come from the Gazeta de 

Mexico. The omission of the pedal registers could 

point to copying from a possibly incomplete 

newspaper article. 

' Possibly a Corneta? (J.F.) 

29 
Selected Bibliography 

Estrada, Jesus 

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

1973. Musica y Musicos 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: Sunbury Press. 

1984. Th e Mexican Legacy of Organs. Musical Times, 

84(2): 107-109. 

Piatt, 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 barroeos Mexicanos. In Anales del Instituto de Investigaciones Esteticas, 44. Mexico City: 

Universidad Nacional Autonoma de Mexico. 

30 
NUMBER 47 31 

FIGURE 1.—Epistle organ, choir side, before fire of 1967. (Photo by Patrimonio Cultural) 
32 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 2.—Epistle organ, choir side, after the restoration of 1975-1978. 
NUMBER 47 33 

FIGURE 3.—Gospel organ, nave side, after the restoration of 1975-1978. 
34 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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

1975-1978. 
NUMBER 47 35 

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.) 
36 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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. 
NUMBER 47 37 

FIGURE 7.—Gospel organ. Main Division, after the restoration of 1975-1978. Th e same 

registers as Figure 6. Just visible, far right, Flautado de 26. 
38 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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. 
NUMBER 47 39 

FIGURE 9.—Epistle organ. Main Division, after the restoration of 1975-1978. Th e same 

registers as in Figure 8. 
40 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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

fire damage. 
NUMBER 47 41 

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. 
42 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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), Orio (bass), Bajoncillo (bass), and Clarin en 

Quincena (bass). 
NUMBER 47 43 

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). 

T h e treble registers for the Chirimia and the Trompa Magna are placed with the bass Chamade 

registers. 
44 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 16.—Gospel organ, action for solo division before the restoration of 1975-1978. 
NUMBER 47 45 

FIGURE 17.—Gospel organ, action for solo division after the restoration of 1975-1978. 
46 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

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. 
NUMBER 47 47 

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. 
48 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 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. 
NUMBER 47 49 

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. 
50 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

NTAKO CIT^ CATIIBDK.A.1^ OHCAXO EVANGCLLO 

FIGURE 25.—Gospel organ, choir side. (Drawing by S. Schaper, Flentrop Orgelbouw) 
NUMBER 47 51 

SOLO 

ORGAIVO PRFNCIPAL 

CADERETA EXTERIOR 

FIGURE 26.—Gospel organ, section. (Drawing by S. Schaper, Flentrop Orgelbouw) 
52 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

CADERETA EXTERIOR 

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

Orgelbouw) 
NUMBER 47 53 

CORO 

.^^ 

CADE-RETA./ 

IMTERIOR / 

CADERETA 

EXTERIOR 

lasrr: 

^==^ 

A -

"^>p ^ 

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

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