This report forms part of the symposium begun in BIOS Journal, volume 11, and will discuss some technical aspects of the organ as well as describing a number of the techniques used in reconstructing and restoring the instrument.
Some unusual characteristics of the Lulworth organ as an example of English 18th-century style are: the separate reversed console housed in a 'dummy' Chair case, the large number of facade pipes (taken from four separate stops) and the presence of three complete eight-foot (stopped) basses in a single- manual organ.
Preparatory to restoration, the pipework was removed and laid out to allow it to be studied and details to he recorded. During this procedure, and the subsequent dismantling, a photographic record of the various stages was made.
Examination of the organ revealed the fairly recent replacement of a number of parts, including the keyboard, stop knobs, two square-beams and the roller arms. Other alterations, dating back to the 19th century, had been: the removal of the Swell reed; the substitution of a Gamba for the original 'Great' reed; the removal of two ranks of the Sesquialtera; the removal of eighteen 'helpers' from the bass of the two full-compass Open Diapason stops; the replacement of the reservoir, feeders and wind trunk; an increase in wind pressure (with some consequential re-voicing); and the addition of a pedalboard.
The purpose of our reconstruction was to return the organ to its probable state (as far as evidence allowed) when installed in the Chapel in about 1787, except for the retention of the pedalboard and the replacement of the electrical blower. The organ itself provided much information, particularly with regard to the mechanism, winding and voicing, but for detailed information about the keyboard and reed stops it was necessary to identify and study some other stylistically appropriate instruments.
Several parts of the organ warrant more detailed discussion. For clarity, this will he set out in two sections: Part I, a description of the organ prior to the reconstruction; and Part II, an account of some of the techniques which we employed.

Soundboard: the soundboard was made in the traditional English manner, with its bars separated by spacers and glued to the table, with an outside frame applied to the completed grid. The frame, table, spacers, screw-bars (to receive the upperboard screws), fillings-in behind the pallets, and upperboards are of oak; and the remainder of the bars are of pine. The underside of the grid was covered with parchment (from old records) and protected by a thin pine cover- board. Unusually, the table was not scored, but the other surfaces in contact with the slider were treated normally. This arrangement aggravated runnings, caused mainly by the uneven movement of the oak and pine bars, evident from the many bleed-holes which were found in the pipe feet and in the underside of the soundboard.
The wind-box had been enlarged by inserting a second wind-bar, drilling through the original one and extending the bottom board. (Within the wind- box, the pallets, now covered with felt and leather, were 278mm long in the bass and 206mm long for the top fifteen notes; an interior brass strip provided the bushing for the pull-down wires.)
The large number of off-notes and facade pipes placed at the side of the case had required an unusual number of conveyances to be arranged, up to four layers deep over the front and sides of the soundboard. Many of these were leaking and had been repaired with a variety of materials; and in a few instances they had been replaced with flexible tubing. Wind for the stops within the Swell box is provided through 3/4" (19mm) lead conveyances, one set for each stop linking the main upperboard to a grooved upperboard forming the bottom of the box.
The grooving in the upperboards was done from the top and covered with thin oak veneers, let into the surface.

Winding: the complete wind system had been replaced in the 19^th century employing a double-rise horizontal reservoir with two feeders operated by a blowing handle. The new reservoir and wind trunk had been painted with red oxide size.

Key Action: most of the key action had been replaced, and only the roller-board frame, the rollers and some trackers - all of scots pine - remained from the original action.

Stop Action: a shifting movement had originally operated on most of the stops (though not on the two Swell stops and the Stopped Diapason, Flute and Fifteenth) by means of a horizontal trundle, controlled by two pedals and acting on an upper set of sliders separated from the lower ones by secondary upperboards. Probably during the 19^th century, the Fifteenth was given a second slider and upper-board (both of mahogany) to allow the shifting movement to operate on it as well. At the console, the stop knobs and visible ends of the trace rods had been replaced, but all other parts of the stop action were original. The trundles within the console are of two different materials (pine and iron tube); there is nothing to indicate that both sets are not original.

Pipework: the remaining pipework had survived remarkably well, the most serious fault being the condition of the pipe feet, many of which had become brittle and cracked, while those of the larger pipes had collapsed due to inadequate staying. Tuning slides had been fitted to all but the largest pipes, and the chimneys of the metal Stopped Diapason had been lengthened with red pneumatic tubing. The tuning slots of the front pipes had been extended, and some of the 'windows' of the pipes with overlength had been enlarged. The wooden pipes (made of scots pine but with their feet, caps and block facings made of oak) were all in good condition apart from loose caps and stoppers, a small number of splits and some open seams.
With the exception of a few treble pipes, replaced with some removed from Sesquialtera, all the pipe markings corresponded with the note they still sounded.

Voicing, Pitch and Temperament: only two stops - the Fifteenth and the inside pipes from one of the Open Diapasons the feet of the Swell Open Diapasons - showed evidence of altered cut-ups, but all the feet of the Swell Open Diapason had holes pierced in their sides, presumably as a means of softening the stop. Angled nicking was used on all the languids and on the blocks of all but the largest pipes. (This is typical of 18^th century English voicing.) The flues were generous except in the metal pipes forming the treble of the Stopt Diapason and in the middle and upper ranges of the Flute.
The wind pressure was found to be 3 5/8" (92mm) W. G. and the pitch was approximately 440 Hz. Although the organ was badly out of tune, the remnants of an equal temperament were discernible.

Soundboard: uneven movement of the oak and pine bars and in spite of meticulous re-truing it proved impossible to eliminate all runnings as there was no scoring of the table (see above). It was decided to isolate the table holes from each other by making and fitting thin (0.28mm) hard paper rings. The additional wind-bar was removed to restore the wind-box to its original size. The felt and leather coverings were removed from the pallets and, after leveling, two layers of leather were applied.

Winding: the filled-in opening for the original wind trunk could be clearly seen in the bottom-board; and this, together with some notches cut into the back of the rollerboard frame where the trunk had previously been located, indicated that the trunk had been 240mm x 147mm inside, with walls 18mm thick. A new diagonal multi-fold reservoir (1650 x 1100mm) and feeder (1300 x 1000mm) were constructed in pine, made to the maximum dimensions which the casework and interior construction allowed. The new feeder is operated by a weighted pedal.
A new blower was provided, feeding into the reservoir through a vertical trunk linking it to the wind-box.

Key Action: details for the new keyboard were derived from those of a chamber organ by Richard Seede, now at Pamber Priory. A slotted action-beam with the broken remains of mechanical levers (of oak) was found underneath the floor, supporting the back of the pedalboard. Its construction, materials and spacing indicated that it may have formed a 'pendulum' device to support the horizontal trackers between the console and the organ (which were no longer original). This beam and the remains of the levers served as a model for new square beams.
Forged brass roller arms were made, using those in the Seede organ at Pamber Priory as a pattern. In order to reduce mechanical rattle, leather bushing was provided at the link between the pull-down wires and the wire ends of the vertical trackers from the rollerboard. All the roller ends and rollerboard studs were plugged and re-drilled to receive new pins of brass.

Stop Action: the original function of the shifting movement was reinstated, but provision was made to allow the Fifteenth to be reconnected. (The exclusion of the Fifteenth from the shifting movement is also to be found in the organ by Brice Seede (Richard Seede's father) at Powderham Castle.)

Pipework: all the interior pipes of the organ were lengthened to enable the tuning slides to be removed and the organ to be re-tuned at its earlier pitch (see below). Many of the foot tips required renewal because the metal had deteriorated.
The pipes of the Sesquialtera were each scribed with their true note, their position in the scale being shown by an inked number corresponding with the key (C=1, C#=2, etc.). Enough pipes remained to reconstruct the original composition of the stop, taking into account the evidence from the empty, unaltered rack-board holes. The only misleading section was in the middle octave, where according to the ink markings, the composition had been:

The tierce rank, present to tenor b, was thus terminated at a point which made the loss of its characteristic timbre apparent in an important melodic range. By arranging one set of pipes from the doubled ranks in chromatic order, it was found that an additional octave of tierce pipes could be formed, providing a more logical and musical solution. The final version of the Sesquialtera became:

The rack-board holes for the missing 'helpers' had remained intact, and it was possible to determine their scale by inserting corresponding pipes from the Principal.
The new reed stops (both of them Trumpets) were copied from an early 19th-century organ by Charles Allen at Everingham (Humberside), selected because the conservative style of the instrument is more typical of the previous century than of its own. The fitting of the bass pipes of the full-compass Trumpet required careful mitering (using 45^o mitres, usual in the 18th and early 19th centuries) since the height of the case required all the pipes below F# to be shortened. The upperboard holes for the Trumpet are all on slider spacing, so a number of resonators are stayed at an angle.

Voicing, Pitch and Temperament: at the initial examination of the organ, wind pressure was found to he abnormally high for this period, so tests were carried out to establish a pressure at which the pipes responded well, with due allowance for those receiving indirect wind. This was found to be 2 7/8"(72mm).
The height of the cut-ups for most of the pipes had remained unaltered and after correcting the often distorted speaking parts of the pipes, it was found possible to achieve a good balance in various combinations of stops. The raised cut-ups of the altered Open Diapason were retained since it was still possible regulate the stop to musical effect. In order to achieve a good balance between the Fifteenth and the other chorus stops, however, the cut-ups of the middle range had to be lowered. The Swell Open Diapason (which had been re-voiced as a soft Dulciana) regained its former character when the pierced holes in their feet were closed.
With the flue chorus thus balanced, the new Trumpets fitted readily into the tonal scheme. (The shallots and tongues are made from brass manufactured France according to historic methods, producing a softer material than modern brass and hence a timbre blending well with the generally restrained character of the organ. Although the measurements of the two Trumpet stops are nearly identical, the placement of one in a Swell box gives it a distinctly different character.
Regular 1/5-comma meantone temperament was chosen as being a type of tuning widely used in England and appropriate to the period. Because of the fortunate transposition of two pipes from the Flute when tuning slides were fitted, the earlier (and probably original) pitch of 428 Hz could be reinstated.

The combination of an important historic instrument in a private chapel and an owner who was convinced of the need for careful restoration produced an unusual opportunity to devote the necessary time to a study and evaluation of the surviving material and to the restoration itself.
Perhaps the most significant characteristic of the restored organ is its unforced, singing quality. This is typical of the work of the 18^th - and early 19th-century English builders. Their instruments are equally successful in the average, relatively non-resonant English church and in the more lively acoustics of buildings such as the Lulworth Castle Chapel.
The dynamic output of organs must, of course, vary for different acoustical environments, however the English 18^th century builders achieved this largely by varying the pipe scales rather than by any pronounced variation in voicing. The use of moderate foot control in combination with low cut-ups enabled them to produce the remarkably well-blended quality which typifies these instruments.