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Centre Pompidou / Paris
It is the largest and most important museum of modern art in Europe. It is featuring the late 19th-20th century art. with over 50,000 works, including movements from Fauvism, Cubism, Surrealism and Abstract Expressionism.
The escalators are located outside the building, with a nice look over Paris. The building looks very futuristic, with all of its internal facilities – air conditioning, elevators and pipework – on its façade!.
Post processed with LR. Mainly increased contrast and I used dehaze. This led to the enhanced blues not only in the sky.
HSS! Happy sliders Sunday!
Some work I had done in a house some years ago. You would think there is little else to take out, but most of the pipework here also got changed, as did the floor.
Italy – Villa d’Este
The Villa d’Este is a 16th century building in Tivoli, near Rome. It was commissioned by Cardinal Ippolito II d’Este (1509-1572). Because of his great influence and connections he wanted passionately to become Pope and in spite of his 5 attempts he was unsuccessful.
Construction began in 1560. In that time till 1569 many demolitions took place, private houses, public buildings and roads. Although there was much hue and cry, he was to powerful a man to let anything step into his path. A lot of material (marble and statues) came from other excavations in the area, such as the Villa Hadriana. The river Aniene was diverted to make a comples system of water jets, pools and cascades. Out of this intense construction rose terraces, arcades, grottos and other architectural structures. Canals were dug out and over 600 foot of pipework were laid. This was needed to feed the extensive number of fountains that were to be installed.
The garden was carefully laid out into to compartments, each to be close to 100 foot across. Its final effect is awesome and to stand on the terrace and view the whole garden is a breadth taking experience.
The Cardinal was also the Governor of Tivoli and had a property that went with the title. This was too small for his occupation so it was demolished and a new one was built on the site. The plans for the construction were left to the control of Alberto Galvani, court architect of the Este. He in turn obtained the services of Livio Agresti for the internal decoration and between 1565 and 1566 a team of artists under the direction of Girolamo Muziano and Frederico Zuccari began the incredible task of painting the villa. From 1867–1872 there were many teams of painters, sculptors and stucco artisans, as well as ceramists, mosaic artist and fountain engineers. Work was not nearly as fast as the Cardinal would have liked but he had many financial difficulties after losing some of his ecclesiastical positions in France. There was much to do, in 1872 the top floors of the villa were redecorated and there was an urgency to complete the construction of the Dragon Fountain, the reason for the speed to complete this part was the visit of Pope Gregory XIII. However in December the Cardinal died and the property passed on to his nephew Cardinal Luiggi. Although construction carried on, it was on a much smaller scale, the maintenance costs being much higher than the new Cardinal imagined. Cardinal Luiggi died in 1586 and the Villa was then owned by the Cardinal Deacons of the Sacred College by 1599 it was passed back to the Este family, this time with Cardinal Alessandro who carried out major restoration work to both Villa and Gardens.
This concludes the early part of the Villa’s history, there is much more to tell but if you are interested please go to Wikipedia for the rest of the story.
Items of interest to see:
1: The Hall of the Stories of Solomon.
2: The Fountain of Venus.
3: The Salon.
4: Ippolito’s Bedroom.
5: The Hall of Glory.
6: The Hall of Noah.
7: One Hundred Fountains.
8: The Fountain of Neptune.
9: The Oval Fountain or ‘Fontana dell’Ovato’.
10: The Fountain of the Tripod.
These are the many delights that can be seen in Villa d’Este, a fantastic and memorable place to visit and there is so much more that can be said and seen.
Boiler controls and hot water tank going in before the cupboard for them is made and electric sockets and flooring etc coming out. A spare bedroom days before seen during the conversion to a bathroom.
Pentax *istD
Italy – Villa d’Este
The Villa d’Este is a 16th century building in Tivoli, near Rome. It was commissioned by Cardinal Ippolito II d’Este (1509-1572). Because of his great influence and connections he wanted passionately to become Pope and in spite of his 5 attempts he was unsuccessful.
Construction began in 1560. In that time till 1569 many demolitions took place, private houses, public buildings and roads. Although there was much hue and cry, he was to powerful a man to let anything step into his path. A lot of material (marble and statues) came from other excavations in the area, such as the Villa Hadriana. The river Aniene was diverted to make a comples system of water jets, pools and cascades. Out of this intense construction rose terraces, arcades, grottos and other architectural structures. Canals were dug out and over 600 foot of pipework were laid. This was needed to feed the extensive number of fountains that were to be installed.
The garden was carefully laid out into to compartments, each to be close to 100 foot across. Its final effect is awesome and to stand on the terrace and view the whole garden is a breadth taking experience.
The Cardinal was also the Governor of Tivoli and had a property that went with the title. This was too small for his occupation so it was demolished and a new one was built on the site. The plans for the construction were left to the control of Alberto Galvani, court architect of the Este. He in turn obtained the services of Livio Agresti for the internal decoration and between 1565 and 1566 a team of artists under the direction of Girolamo Muziano and Frederico Zuccari began the incredible task of painting the villa. From 1867–1872 there were many teams of painters, sculptors and stucco artisans, as well as ceramists, mosaic artist and fountain engineers. Work was not nearly as fast as the Cardinal would have liked but he had many financial difficulties after losing some of his ecclesiastical positions in France. There was much to do, in 1872 the top floors of the villa were redecorated and there was an urgency to complete the construction of the Dragon Fountain, the reason for the speed to complete this part was the visit of Pope Gregory XIII. However in December the Cardinal died and the property passed on to his nephew Cardinal Luiggi. Although construction carried on, it was on a much smaller scale, the maintenance costs being much higher than the new Cardinal imagined. Cardinal Luiggi died in 1586 and the Villa was then owned by the Cardinal Deacons of the Sacred College by 1599 it was passed back to the Este family, this time with Cardinal Alessandro who carried out major restoration work to both Villa and Gardens.
This concludes the early part of the Villa’s history, there is much more to tell but if you are interested please go to Wikipedia for the rest of the story.
Items of interest to see:
1: The Hall of the Stories of Solomon.
2: The Fountain of Venus.
3: The Salon.
4: Ippolito’s Bedroom.
5: The Hall of Glory.
6: The Hall of Noah.
7: One Hundred Fountains.
8: The Fountain of Neptune.
9: The Oval Fountain or ‘Fontana dell’Ovato’.
10: The Fountain of the Tripod.
These are the many delights that can be seen in Villa d’Este, a fantastic and memorable place to visit and there is so much more that can be said and seen.
Another discovery whilst staying local! I walked miles in the bright sunlight yesterday and I came across this bridge over the Lancaster Canal near Garstang.
I thought it may look better in the low evening light, so I returned again later with the camera and took this shot. I suppose one thing about lockdown is that you are forced to explore your own hinterland and its surprising what you find!
The rusting metal pipework arching over the canal is nicely reflected in the still waters to produce an "eye" shaped image with the curved towpath adding to the shapeliness of the scene.
"The organ was built by Henry Willis in 1879, and was inaugurated on Easter Day by the Cathedral Organist, Dr A.L. Peace, as the first permanent organ installed in the Cathedral since the Reformation. It was rebuilt and enlarged by Henry Willis & Sons in 1903 and 1931, and again by J.W. Walker & Sons in 1971. In 1996 the organ was completely reconstructed and redesigned by Harrison & Harrison, with new slider chests, rebuilt actions and an improved layout; the original wind reservoirs have been fully restored. The excellent Willis pipework of 1879, somewhat altered over the years, remains at the heart of the organ." Source: glasgowcathedral.org
"L'orgue a été construit par Henry Willis en 1879 et inauguré le jour de Pâques par l'organiste de la cathédrale, le Dr AL Peace, en tant que premier orgue permanent installé dans la cathédrale depuis la Réforme. Il a été reconstruit et agrandi par Henry Willis & Sons en 1903 et 1931, et de nouveau par JW Walker & Sons en 1971. En 1996, l'orgue a été entièrement reconstruit et redessiné par Harrison & Harrison, avec de nouveaux coffres coulissants, des actions reconstruites et une disposition améliorée; les réservoirs de vent d'origine ont été entièrement restaurés. l'excellente tuyauterie Willis de 1879, quelque peu modifiée au fil des ans, reste au cœur de l'orgue." Source: glasgowcathedral.org
Italy – Villa d’Este
The Villa d’Este is a 16th century building in Tivoli, near Rome. It was commissioned by Cardinal Ippolito II d’Este (1509-1572). Because of his great influence and connections he wanted passionately to become Pope and in spite of his 5 attempts he was unsuccessful.
Construction began in 1560. In that time till 1569 many demolitions took place, private houses, public buildings and roads. Although there was much hue and cry, he was to powerful a man to let anything step into his path. A lot of material (marble and statues) came from other excavations in the area, such as the Villa Hadriana. The river Aniene was diverted to make a comples system of water jets, pools and cascades. Out of this intense construction rose terraces, arcades, grottos and other architectural structures. Canals were dug out and over 600 foot of pipework were laid. This was needed to feed the extensive number of fountains that were to be installed.
The garden was carefully laid out into to compartments, each to be close to 100 foot across. Its final effect is awesome and to stand on the terrace and view the whole garden is a breadth taking experience.
The Cardinal was also the Governor of Tivoli and had a property that went with the title. This was too small for his occupation so it was demolished and a new one was built on the site. The plans for the construction were left to the control of Alberto Galvani, court architect of the Este. He in turn obtained the services of Livio Agresti for the internal decoration and between 1565 and 1566 a team of artists under the direction of Girolamo Muziano and Frederico Zuccari began the incredible task of painting the villa. From 1867–1872 there were many teams of painters, sculptors and stucco artisans, as well as ceramists, mosaic artist and fountain engineers. Work was not nearly as fast as the Cardinal would have liked but he had many financial difficulties after losing some of his ecclesiastical positions in France. There was much to do, in 1872 the top floors of the villa were redecorated and there was an urgency to complete the construction of the Dragon Fountain, the reason for the speed to complete this part was the visit of Pope Gregory XIII. However in December the Cardinal died and the property passed on to his nephew Cardinal Luiggi. Although construction carried on, it was on a much smaller scale, the maintenance costs being much higher than the new Cardinal imagined. Cardinal Luiggi died in 1586 and the Villa was then owned by the Cardinal Deacons of the Sacred College by 1599 it was passed back to the Este family, this time with Cardinal Alessandro who carried out major restoration work to both Villa and Gardens.
This concludes the early part of the Villa’s history, there is much more to tell but if you are interested please go to Wikipedia for the rest of the story.
Items of interest to see:
1: The Hall of the Stories of Solomon.
2: The Fountain of Venus.
3: The Salon.
4: Ippolito’s Bedroom.
5: The Hall of Glory.
6: The Hall of Noah.
7: One Hundred Fountains.
8: The Fountain of Neptune.
9: The Oval Fountain or ‘Fontana dell’Ovato’.
10: The Fountain of the Tripod.
These are the many delights that can be seen in Villa d’Este, a fantastic and memorable place to visit and there is so much more that can be said and seen.
The Münster Cathedral has three organs but the main one can be found in the east transept or the Johannischoir and is shown in its splendor in this photo.
The pipework’s are the craftmanship of Hans Klais and were originally installed in the Stephanschoir niche in 1956 but were later moved in 1987 to a position that showed it off in better light under the southern window in the Johannischoir.
In 2002 in order to produce a more uniform sound throughout the cathedral there was an auxiliary set of works installed in the upper chapel of the north tower and is wholly operated by the main organ.
This organ is probably to my eye the most beautiful thing in the cathedral and would have loved to hear it play but unfortunately I was there at the wrong time of day.
I took this with my D750 and Tamron SP 24-70mm 2.8 G2 Lens at 24mm 1/40s, f/5.6 ISO 800 processed in LR, Topaz Denoise, PS (Lumenzia and DXO Nik Color Efex)
Disclaimer: Not trying to be realistic in my editing there is enough realism in the world, my style is a mix of painterly and romanticism as well as a work in progress.
Italy – Villa d’Este
The Villa d’Este is a 16th century building in Tivoli, near Rome. It was commissioned by Cardinal Ippolito II d’Este (1509-1572). Because of his great influence and connections he wanted passionately to become Pope and in spite of his 5 attempts he was unsuccessful.
Construction began in 1560. In that time till 1569 many demolitions took place, private houses, public buildings and roads. Although there was much hue and cry, he was to powerful a man to let anything step into his path. A lot of material (marble and statues) came from other excavations in the area, such as the Villa Hadriana. The river Aniene was diverted to make a comples system of water jets, pools and cascades. Out of this intense construction rose terraces, arcades, grottos and other architectural structures. Canals were dug out and over 600 foot of pipework were laid. This was needed to feed the extensive number of fountains that were to be installed.
The garden was carefully laid out into to compartments, each to be close to 100 foot across. Its final effect is awesome and to stand on the terrace and view the whole garden is a breadth taking experience.
The Cardinal was also the Governor of Tivoli and had a property that went with the title. This was too small for his occupation so it was demolished and a new one was built on the site. The plans for the construction were left to the control of Alberto Galvani, court architect of the Este. He in turn obtained the services of Livio Agresti for the internal decoration and between 1565 and 1566 a team of artists under the direction of Girolamo Muziano and Frederico Zuccari began the incredible task of painting the villa. From 1867–1872 there were many teams of painters, sculptors and stucco artisans, as well as ceramists, mosaic artist and fountain engineers. Work was not nearly as fast as the Cardinal would have liked but he had many financial difficulties after losing some of his ecclesiastical positions in France. There was much to do, in 1872 the top floors of the villa were redecorated and there was an urgency to complete the construction of the Dragon Fountain, the reason for the speed to complete this part was the visit of Pope Gregory XIII. However in December the Cardinal died and the property passed on to his nephew Cardinal Luiggi. Although construction carried on, it was on a much smaller scale, the maintenance costs being much higher than the new Cardinal imagined. Cardinal Luiggi died in 1586 and the Villa was then owned by the Cardinal Deacons of the Sacred College by 1599 it was passed back to the Este family, this time with Cardinal Alessandro who carried out major restoration work to both Villa and Gardens.
This concludes the early part of the Villa’s history, there is much more to tell but if you are interested please go to Wikipedia for the rest of the story.
Items of interest to see:
1: The Hall of the Stories of Solomon.
2: The Fountain of Venus.
3: The Salon.
4: Ippolito’s Bedroom.
5: The Hall of Glory.
6: The Hall of Noah.
7: One Hundred Fountains.
8: The Fountain of Neptune.
9: The Oval Fountain or ‘Fontana dell’Ovato’.
10: The Fountain of the Tripod.
These are the many delights that can be seen in Villa d’Este, a fantastic and memorable place to visit and there is so much more that can be said and seen.
The main organ is in the east transept (Johannischoir). The pipeworks are largely those of the organ built by Hans Klais in 1956 and installed in a niche in the Stephanschoir (the north east transept, K) opposite the chapter house. In 1987 the instrument was removed and re-installed in a new housing in front of the south window of the south east transept, with a slightly different disposition. The disposition was slightly altered again in 2002.
He says main part the main Op went well. Minor problem He hopes, got to go back next week to have pipework removed as they had to replace it.
We've just returned from another wonderful week in our favourite holiday cabin in Mannum, up in South Australia's Riverland region. It was great to be back in the cabin again as the last contact with the caravan park was that they had sold these cabins due to the recent floods, and would never replace them in that water-front position. Well, happy to say they changed their minds and got them all back right where they always were. The town is recovering well since the floods and the park is open again after four months out of action, where water and power had to be turned off. Much of the pipework in the holiday park has had to be dug up and replaced, and a huge levee wall removed from the entire river frontage. The work will go on for w while yet, so it is great that they have been able to get back up and running again, even with a little extra mud here and there!
We have shared the town with thousands upon thousands of these little corellas. These two came along and sat in a branch of the gum tree right in front of the cabin deck.
Apologies if I upload a huge number of corella shots in the coming weeks, but they were just irresistible to another click of the shutter!
"The organ was built by Henry Willis in 1879, and was inaugurated on Easter Day by the Cathedral Organist, Dr A.L. Peace, as the first permanent organ installed in the Cathedral since the Reformation. It was rebuilt and enlarged by Henry Willis & Sons in 1903 and 1931, and again by J.W. Walker & Sons in 1971. In 1996 the organ was completely reconstructed and redesigned by Harrison & Harrison, with new slider chests, rebuilt actions and an improved layout; the original wind reservoirs have been fully restored. The excellent Willis pipework of 1879, somewhat altered over the years, remains at the heart of the organ." Source: glasgowcathedral.org
"L'orgue a été construit par Henry Willis en 1879 et inauguré le jour de Pâques par l'organiste de la cathédrale, le Dr AL Peace, en tant que premier orgue permanent installé dans la cathédrale depuis la Réforme. Il a été reconstruit et agrandi par Henry Willis & Sons en 1903 et 1931, et de nouveau par JW Walker & Sons en 1971. En 1996, l'orgue a été entièrement reconstruit et redessiné par Harrison & Harrison, avec de nouveaux coffres coulissants, des actions reconstruites et une disposition améliorée; les réservoirs de vent d'origine ont été entièrement restaurés. l'excellente tuyauterie Willis de 1879, quelque peu modifiée au fil des ans, reste au cœur de l'orgue." Source: glasgowcathedral.org
Another excursion on the bike took me to Aston Lane South overbridge, not far from Preston Brook, and the Liverpool line just north of Weaver Junction.
Not the obvious take from this spot, and probably not for the purists, but I quite liked the symmetry of the steel frame around the pipework and opted to use it for a pair of approaching 'Cans' working the 2.50am Felixstowe North - Garston FLT (4M45) containers. Freightliner units 86613 and 86628 were doing the honours.
10.44am, 29th May 2020
I must admit that I became a little bit obsessed with shooting these chandelier lights during the Exhibition Buildings tour the other day. I think this was my favourite shot of them. At first look I thought I wouldn't like it with all the crossing pipework but I actually quite like that aspect of it.
My submission for the monthly Flickr Friends Melbourne theme of "Lights".
Just downloaded the new Topaz Impressions plug in
I think I am going to have a great deal of fun experimenting with it.
Can't wait to try out its full potential.
As previously mentioned, the 74th members Meeting at Goodwood this year featured a number of Porsche 917's both on display and doing demonstration laps round the circuit. Quite possibly the most iconic of these is the Gulf liveried 917 that featured in the Steve McQueen film Le Mans. At the 74MM there were 3 917's that were shown in the Gulf livery, including this car, chassis 917-031, which forms part of the Rofgo Collection of Gulf Liveried cars.
The Porsche 917 was designed by Hans Mezger, chief engineer at Porsche. The car was built using a light spaceframe chassis that was pressurised with gas to detect cracks in the welding. Hans Mezger designed the original 4.5ltr V12 engine, which used two Porsche 2.25ltr flat-6 engines mated together. The gearbox, mounted longitudinally, was designed to take a set of four or five gears as dictated by the circuit and conditions. To ensure that the size of the car remained compact, the driver actually sits with feet positioned ahead of the front axle.
The 917 made use of components made of titanium and magnesium to provide strength and lightness, while the the gear knob was made from balsa wood. One of the clever techniques used to save weight was to put the oil through to the front cooler via the tubular spaceframe chassis itself rather than adding independent pipework that would add weight and complexity.
The Porsche 917 ran in the 1969, 1970 and 1971 World Sportscar Championship. Initially it was described as being incredibly unstable, using all the road at speed by factory driver Brian Redman. When suspension modifications did not resolve the issue, it was found that the long tail was creating an amount of lift not seen in sports racing before. As the 917 was significantly faster than anything that had run at Le Mans before, the aerodynamic lift was a new experience for the teams involved in this kind of racing.
Interestingly, the works racers at the time preferred the Porsche 908 due to its stability, especially on the more complex and technical tracks. This however caused a problem for Porsche who had a surplus of 917's to sell and so wanted to continue promoting the car. To do this they initially approached BMW and asked for their drivers Hubert Hahne and Dieter Quester to compete in the 917 at the 1000km Nurburgring, but after initial testing BMW refused. This led Porsche to turn to Englishman David Piper and Australian Frank Gardner, but they struggled to finish in 8th place whereas the Porsche Team entry of six 908's finished in the top 5 places.
At the 1969 24 Hours of Le Mans, the inexperienced privateer and British gentleman-driver John Woolfe crashed and was killed when his Porsche 917 came off the track at Maison Blanche on the opening lap.
__________________________________________
Dictatorshop
Vespera Coffin Bed
Adult Vanilla (MF, FF, FMM, MFF)
455 animations, full texture changer
18 land impact
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Trinkets Pipework Lamp Set
3 pieces (2 wall, one table)
on/off switch, 6 metal colors included
Both Available at Mainstore:
Pipes feeding the Bonnington hydro power station on the upper reaches of the River Clyde just south of New Lanark.
This particular collective organic specimen lives in the cathedral at Chichester, West Sussex.
It is described on the cathedral website in the following manner:
The organ at Chichester contains some of the oldest pipework in England and dates from the seventeenth century. It narrowly escaped destruction when the spire collapse in 1861, having been moved to the North Transept shortly beforehand.
The magnificent double case designed by Dr Arthur Hill was added in 1888, incorporating some decorated display pipes from the 1678 instrument by Renatus Harris. In 1986, Mander Organs undertook a comprehensive rebuild, retaining the subtle qualities of the historic pipework and sensitively adding to them.
The superbly carved limestone choir screen dates from 1330. It is a marvellous example of Decorated Gothic architecture with crocketed pinnacles and arches with tiny carved animal heads.
On the pillars are small carvings of saints. The Puritans knocked the heads off the statues but they were recarved by the Victorians who added bishops' heads. Looking at the posture of the statues and their dress, they are more likely to be female saints. The walls of the screen are covered with carvings of leaves and flowers. Traces of red and blue medieval paint can still be seen on them. In the centre is a wrought iron metal gate which is used by the choir before a service.
Originally there would have been a crucifix above the screen. Now there is a massive wooden pipe organ dating from 1898 with more carved crocketed pinnacles. On either side are gateways leading into the side aisles outside St Hugh's Choir. On the south arch are carvings of a dragon stealing grapes (one of the seven deadly sins). St Michael with his sword is about to kill the dragon. On the opposite side is the body of the dead dragon representing the victory of good over evil.
The £4,675 'Father Willis' organ was originally dedicated on St Hugh's Day, 17 November 1898, before a congregation of 4700 people. It was to be the first British cathedral organ to be blown by electricity, but at the time of its inauguration, Lincoln's power station had not yet entered service, so it was pumped manually by soldiers of the Lincolnshire Regiment.
No changes were made to the organ until 1960, when Harrison and Harrison carried out a complete rebuild at a cost of £14,000. Six new registers were added, but the Willis pipework was left unaltered. The action and blowing equipment were renewed, and a new console provided. A further restoration was undertaken by the same firm in 1998, and the organ was rededicated on 20 November, just over a century after it was first played in public.
References:
Conditions de prises de vues très diificiles dans cette cathédrale, peu de lumière.
L’orgue de la cathédrale Saint-Bertrand de Comminges possède l’un des plus beaux buffets Renaissance conservé à ce jour et classé Monument Historique depuis 1840. Commandé par Jean de Mauléon, évêque du Comminges, il fut réalisé après l’achèvement des stalles du chœur en 1551.
Comme les stalles, ce buffet serait l’œuvre de Nicolas Bachelier, architecte et sculpteur français (1487 – 1556) à qui l’on doit, entre autre, le célèbre Hôtel d’Assézat à Toulouse.
Le nom du facteur et la composition d’origine de l’instrument nous sont inconnus. Il subira de nombreux avatars au cours des siècles et, en 1793, les tuyaux de montre seront fondus et l’instrument abandonné.
De l’instrument Renaissance enfermé dans ce buffet, il ne reste rien. Pour imaginer en quoi pouvait consister l’instrument commandé par Jean de Mauléon, évêque du Comminges, on en est réduit à formuler des hypothèses, en se référant d’une part à la composition connue d’orgues de cette époque, à la structure du buffet, et d’autre part, à la littérature pour clavier éditée autour des années 1550. Les parties les plus anciennes (2 sommiers de grand orgue de 48 notes et deux petits sommiers de pédale, plus quelques jeux anciens, bourdons et flûtes) remontent aux XVIIe et XVIIIe siècles.
Bernard Raupp, facteur d’orgues à Mirande, a retrouvé des dessins sur des soupapes des sommiers de grand orgue, qui peuvent être attribués à Jean-François Lépine. Le reste résulte des reconstructions successives menées au cours des siècles suivants.
En 1896, les frères Magen reconstruisent l’orgue et livrent un instrument à 2 claviers et pédale.
En 1970, Robert Chauvin restaure les sommiers du Grand Orgue, puis sous la direction de Pierre Lacroix, la reconstruction de l’instrument actuel est confiée à Jean-Pierre Swiderski et réalisée en plusieurs tranches, de 1975 à 1981. À l’exception de 218 tuyaux du XVIIe siècle et de 243 tuyaux de Magen, la tuyauterie est entièrement neuve. Réalisée à la demande, elle a été harmonisée par Jean-Pierre Swiderski pour les jeux de fonds et Georges Lhôte pour les jeux d’anches. L’instrument conserve encore deux sommiers de 14 jeux au Grand Orgue et deux sommiers 4 jeux à la pédale remontant au XVIIe siècle.
Depuis 1974, la commune de Saint-Bertrand-de-Comminges, propriétaire, a délégué ses pouvoirs à l’Association des Amis de l’Orgue de Saint-Bertrand-de-Comminges, en vue de la restauration et de l’entretien de l’instrument.
Very difficult shooting conditions in this cathedral, little light.
The organ of the Saint-Bertrand de Comminges cathedral has one of the most beautiful Renaissance cases preserved to date and classified as a Historic Monument since 1840. Commissioned by Jean de Mauléon, bishop of Comminges, it was made after the completion of the stalls of the choir in 1551.
Like the stalls, this buffet would be the work of Nicolas Bachelier, French architect and sculptor (1487 – 1556) to whom we owe, among other things, the famous Hôtel d’Assézat in Toulouse.
The name of the maker and the original composition of the instrument are unknown to us. It will undergo many avatars over the centuries and, in 1793, the watch stems will be melted down and the instrument abandoned.
Of the Renaissance instrument enclosed in this case, nothing remains. To imagine what the instrument ordered by Jean de Mauléon, bishop of Comminges, could consist of, one is reduced to formulating hypotheses, by referring on the one hand to the known composition of organs of this period, to the structure of the buffet, and on the other hand, to keyboard literature published around the 1550s. in the 17th and 18th centuries.
Bernard Raupp, organ builder in Mirande, found drawings on the valves of the windchests of the great organ, which can be attributed to Jean-François Lépine. The rest is the result of successive reconstructions carried out over the following centuries.
In 1896, the Magen brothers rebuilt the organ and delivered an instrument with 2 keyboards and pedal.
In 1970, Robert Chauvin restored the windchests of the Grand Orgue, then under the direction of Pierre Lacroix, the reconstruction of the current instrument was entrusted to Jean-Pierre Swiderski and carried out in several stages, from 1975 to 1981. With the exception of 218 pipes from the 17th century and 243 pipes from Magen, the pipework is completely new. Produced on demand, it was harmonized by Jean-Pierre Swiderski for the back stops and Georges Lhôte for the reed stops. The instrument still retains two 14-stop windchests in the Grand Orgue and two 4-stop pedal windchests dating back to the 17th century.
Since 1974, the municipality of Saint-Bertrand-de-Comminges, owner, has delegated its powers to the Association of Friends of the Organ of Saint-Bertrand-de-Comminges, with a view to the restoration and maintenance of the tool.