n the course of my research I have collected over a hundred references to the existence of secular British organs in the seventeenth century. Most refer to small chamber instruments of the various consort types (chest, table, cabinet and claviorgan) but a few are known to have been larger church-style instruments in secular settings, such as the well-known extant example at Adlington Hall, Cheshire. The type is identified wherever possible in the list. I have, as at present, chosen to omit references to organs in domestic chapels, although it is clear from some references that some of these were actually consort organs. An extant example is that in the estate church at Staunton Harold, Leicestershire: below the dummy church organ case is a c1630 consort organ.

Primary sources are quoted wherever possible, or otherwise the earliest known secondary source. Dates refer to the reference and not necessarily the construction of the organ.

The situation at the court is obscured by the fact that the surviving references are complex, incomplete and often imprecise. The frequent movement of organs within and between the London palaces, together with the difficulty of distinguishing between references to liturgical and secular organs in the accounts, complicates the picture further. Nevertheless, it seems that a ‘pool’ of some four to five instruments was available to the Lutes, Viols and Voices prior to the Civil War, and a similar number was provided for the Private Musick after the Restoration. A number of other instruments are listed in the apartments of various court officials at Whitehall and St James’s but were presumably for their private use.

The list is inevitably incomplete (information regarding additions would be gratefully received) and the surviving references probably represent a fraction of the instruments that once existed.

Date	Location	Builder	Source
1598	Whitehall		Groos, G. (Ed.), The Diary of Baron Waldstein (London; Thames and Hudson, 1981), p.45
Baron Waldstein described the organ as inlaid with mother-of-pearl and bearing a Latin inscription extolling the virtues of Elizabeth I.
1598	Secret Jewel House, Privy Gallery, Whitehall		Ibid.
The description 'on which two persons can play duets' suggests something more than two people playing at the same keyboard: perhaps it was a claviorgan with keyboards set in different sides of the instrument. The instrument was seen again in 1612 (see below). The Secret Jewel House was a chamber in the Privy Gallery in which a number of the instruments in the Henry VIII inventory were recorded in 1547.
c1600	Blackfriars Theatre, London		F. Gershow quoted in Lindley, D., Shakespeare and Music (London: Bloomsbury, 2006), p.92
The upper story of the tiring house at the theatre was divided into three boxes, one of which was used by the musicians. Gershow reported hearing an organ in a pre-performance entertainment in 1602, and it was specified in several of the plays staged there, such as Marston's Triumph of Sophonisba (1606).
c1600	St Paul's Theatre, London		Taylor, M. (Ed.), Thomas Middleton: A Mad World, My Masters, and Other Plays (Oxford: OUP, 1995), p.16
An organ was specified in some of the plays presented here, such as Middleton's A Mad World, My Masters , which includes a scene featuring an organ and organist as a symbol of excessive wealth.
1603	Hengrave Hall, Suffolk: music room		Gage, J., The History and Antiquities of Hengrave Hall, Suffolk. (London: James Carpenter, 1822), pp.21-2
The inventories of the Kitson family include lists of the instruments and repertoire used at Hengrave. The 'wind instrument like a virginall' appears either to have been a chest organ, or a claviorgan in a rectangular case.
1605	Thorndon Hall, Essex	?Robert Brough	Hatfield House, Cecil Papers cxci ff.272r-273v
Thorndon supported an impressive musical establishment at which Byrd and Mico served. The organ may be that supplied by Robert Brough, Byrd's brother-in-law, for £50 in 1585, although another organ was also listed in the chapel. Byrd was heard playing the organ here in 1605.
1607	Austin Friars, London: Sir Fulke Greville		Hulse, L., The Musical Patronage of English Aristocracy, c.1590-1640 (Unpublished PhD Thesis, King's College, London, 1992) p.114
Greville patronised Martin Peerson, but little is otherwise known about musical activity at his house. The reference refers to the loan of an organ to Salisbury House.
1607	Ruckholt, Essex:		Wiggins, M., British Drama: A Catalogue 1533-1642 Vol. V (Oxford: OUP, 2015), p.400
John Bull was recorded playing this instrument whilst James I dined privately at a banquet at the Merchant Taylors Hall in 1607. It had been loaned by Sir Michael Hickes from Ruckholt, and transported thence for £2 18s.
1608	Hatfield House: Robert Cecil	?T. Dallam	HMC Salisbury MS Bills 33
Dallam supplied the organ, previously sited in the Earl of Suffolk‰'s chambers at Whitehall, for £24 though it is not certain that he made it.
1609	Hatfield House: Robert Cecil		HMC Salisbury MSS Accounts 9/5
The organ was supplied by the Dutchman John Haan as part of a consignment of luxury goods, though it is not certain, and probably unlikely, that he built it. There is no clear evidence to suggest that it was sourced from overseas. It was gilded by Rowland Buckett in 1611 for £26 4s 3d. It was recorded in the larger of the two Great Chambers, built for a visit of James I, in 1612. Only the case now consists of C17 work, though this in itself is a significant survival.
1609	Hatfield House: Robert Cecil		HMC Salisbury MSS Accounts 160/1 f.139.
Another organ sourced through Haan for å£35. Thomas Dallam set up and repaired this instrument in 1610.
1611	St James's Palace: Prince Henry	Foreign	D-Kl ms68 f70
This organ was sourced from Dordrecht; it was inlaid with Prince Henry's arms and decorated with mother-of-pearl.
1612	Privy Gallery, Whitehall Palace: Secret Jewel House		Groos, G. (Ed.), The Diary of Baron Waldstein (London; Thames and Hudson, 1981), p.43
This organ 'on which two may play at the same time' appears to be the same instrument seen by Waldstein in 1598.
1612	Salisbury House, London
Salisbury House was built for Sir Robert Cecil and completed in 1602. The 1612 inventory listed four organs, though not the rooms in which they stood. The 'greate Organ in a case of wainscott' may possibly have been housed in the chapel. See Hatfield House for other Cecil organs.
A 'ffaire greate wynd Instrument the Case of wallnutree curiously inlayed'.
A 'greate harpsicall wynd Instrum't with virginall in it, in a Case of wood painted'.
A 'litle Organ in a Case of wainscot with a frame to stand uppon'.
1615	Lord Arundel's House, Greenwich		Letter 23 Feb 1614/15, quoted in Hervey, M., The Life, Correspondence & Collections of Thomas Howard Earl of Arundel (Cambridge: CUP, 1921) p.93
Arundel instructed: 'let the organ be removed into the lower dininge Chamber'.
1616	London, Ware Park, Warwick Lane: Sir Henry Fanshawe		Lee, S., 'Sir Henry Fanshawe' National Dictionary of Biography 18, 183-4 (London: Smith, Elder & Co., 1888 )
John Ward, patronised by Fanshawe, mentioned a 'great Winde Instrument' in 1616 with reference to a now lost organ book to his vocal works for viols and voices.
1618	Buckhurst Park, Sussex: parlour		Town, E., 'A House Re-edified': Thomas Sackville and the Transformation of Knole 1605-1608 . (DPhil thesis, University of Sussex, 2010) p.197
Buckhurst was the ancient seat of the Earls of Dorset, the first of whom owned the extant Knole organ of c.1600. It is unlikely that this is the Knole organ, which appears to have remained in use at Knole after the dissolution of the first earl's musical establishment there in 1608, but it is not impossible.
1619	Hedon, Yorkshire		CW Bolton MSS book 98 f.84v
A young Hingeston, in the service of the Earl of Cumberland, sent two musicians from Skipton to inspect this organ in 1619.
1620	Skipton Castle, Yorkshire		CW Bolton MSS bk. 99, f. 223v
A 'virginal with a wind instrument in it' which was one of several organs that Hingeston was responsible for in the Clifford's northern residences.
1620	Normanby Hall, Lincolnshire		CW Bolton MSS book 98 f. 252.
This represents the loan of the instrument from Lord Sheffield to the 4th Earl of Cumberland for a visit of Emmanuel Scrope to Londesborough in 1620. It was transported via the Trent and Ouse for 18s.
1621	Barley, Herts		DNB Vol 61
Andrew Willett, Rector of Barley, played on 'a little organ which he had in his house'
1622	St James‰Ûªs Palace	Craddock	SC6/Jas.I/1685 ( RECM IV p.225)
This instrument was supplied for the use of 'Coperario's Musicke' at the court of Prince Charles. It cost £44 and took 5 months to make. Many of the consort works written by Coprario and Gibbons for it may be identified. Given the influence of this repertoire, it is a pity that nothing more is known of the instrument.
1624	Gilling Castle, Yorkshire		Peacock, ?. (Ed.), Inventories made for Sir William and Sir Thomas Fayrfax, Archaeologica XLVIII pt.1 (London: Society of Antiquaries, 1885) pp.138-9
The nomenclature 'rigalles' suggests that this was an old instrument of one of the types represented in the Henry VIII inventory.
1624	Sheriff Hutton, Yorkshire: Sir Arthur Ingram		W. Yorks archive service MS TN/SH/A4/15
No further information.
1624	Londesborough Hall, Yorkshire		Hulse, L., John Hingeston, Chelys 12, 23-42 (VdGS, 1983), p.27
Mashrother and Brownlesse rebuilt this organ in 1624, replacing metal pipes with wooden ranks. This is an interesting alteration that may have been intended to render it more suitable for use with string consorts. Mashrother is also recorded as a maker of viols.
1627	Stonyhurst, Lancashire: the hall		Sherborn, C., A History of the Family of Sherborn (London: Mitchell & Hughes, 1901), p.40
Richard Sherborn left a 'paire of organes standing in the hall' and other instruments to his son.
1627	Music School, Oxford		Och MS Mus. Sch C203*(R)
A 'Harpsichord with a winde instrument of two stops' was recorded in an inventory of instruments and associated furniture in 1627. This instrument served until c.1665 when it was replaced by an organ by Ralph Dallam (see below).
1627	Glamis Castle, Scotland: Great Hall		Glamis Archives MS NRA(S) 0885/257(1). The organ was mentioned again in an inventory of 1648 MS NRA9S) 0885 256/1(2)
This 'Ane pair of Organes' is one of only two secular organs represented in sources from Scotland from the whole of the century.
1628	Cawood Castle, Yorkshire: Archbishop's Palace		Althorp papers Bl/39/l.
An 'Organ with a harpsicall'.
1629	Denmark House: Queen Henrietta Maria	?Burward	Pro SC6/ChasI/1694 ( RECM V p.5)
This source, recording the tuning of an organ by Burward, dates from before the construction of the neighbouring Catholic chapel, so is likely to be a secular organ in style, although it might have been used in the temporary chapel set up within the house in 1626. It may also be the chamber organ on which Locke was recorded as playing in the new chapel after the Restoration.
1629	Salisbury, Choristers‰Ûª House, Parlour		Payne, I., The Will and Probate Inventory of John Holmes (d.1629): Instrumental Music at Winchester and Salisbury Cathedrals Revisited, The Antiquaries Journal 83, 369-96 (London: Society of Antiquaries of London, 2003)
The inventory of John Holmes, organist of Salisbury Cathedral, recorded an organ and 'table board and 6 joyne stools' in the parlour of the choristers' house in 1629. These were evidently used for consort playing by the boys.
c.1629	Chelsea House: Great Chamber		KAO U269/K293
The house was owned at this time by the politician and military leader the 1 st Duke of Hamilton, but little is known of the musical activity there despite the presence of two domestic organs.
1629	Chelsea House: Dining room		KAO U269/K264
See entry above.
1630s	Kirby Hall, Northants		Wainwright, J., Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670) (Aldershot: Scolar Press, 1997), pp.25-6
This organ was associated with the significant collection of consort MSS amassed by the Hattons, much of which is extant. The organist and composer George Jeffreys was a member of the household.
c1630	Little Gidding Manor, Cambs.Great Chamber		Blackstone, B., (Ed.), The Ferrar Papers (Cambridge: CUP, 1938), p.29
The household of Nicholas Ferrar is interesting for the strict and regular domestic devotions that took place there on the hour from 8am to 6pm every day. Many of these involved the organ in the accompaniment of psalms.
1630	Hunstanton Hall, Norfolk	?Dallam	Accounts quoted in Dunan-Page, A., and Lynch, B., (Eds.), Roger L'Estrange and the Making of Restoration Culture (Aldershot: Ashgate, 2008), pp.150-1
The earliest extant table organ and a highly significant survivor. The very low price of £11 prompts speculation that it was purchased second-hand and thus predates 1630. Associated with the extant and extensive L'Estrange MS collection (esp. works by Jenkins, who was resident) and probably played at Hunstanton by Thomas Brewer.
1630	?Hammersmith: Earl of Mulgrave		Bolton MSS Book 161
The Sheffield family also owned Normanby Hall (see above) but little is known of their musical activity.
1633	Harefield Place, Middlesex		Hastings MSS Misc box 1
An organ tuned by Burward. Harefield was home to Richard Newdigate, Lord Chief Justice, but nothing is known of any music practised there.
1633	Edinburgh		Maitland, W., History of Edinburgh (Edinburgh: Hamilton, Balfour and Neill, 1753), p.66
An organ was set up on a stage in Edinburgh High Street as part of a pageant to celebrate the visit of Charles I. It was played by Andrew Sinclaire in an ode entitled Caledonia by Stephen Tulliduff.
1634	Chester, Richard Newbold		Legg, L. (Ed.), A Relation of a Short Survey of 26 Counties in a Seven Weeke Journey (London: Russell Press, 1904), pp.46-7
Newbold was organist of Chester Cathedral. The 'domesticke organ' was played to visitors in his home in 1634.
1635	Wrottesley Hall, Staffs: parlour		Inventory of Sir Hugh Wrottesley: https://ereed.library.utoronto.ca/records/staff-ridm46169824/
The detailed inventory of Wrottesley mentions no other instruments apart from a virginals; the organ is listed in conjunction with prayer books and a bible in the parlour, suggesting that its principal function may have lain in domestic devotion.
1636	Welbeck Abbey, Derbyshire: Long Gallery		Inventory quoted in Hulse, L., The Duke of Newcastle and the English Viol, Chelys 29, 28-43 (VdGS, 2010)
William Cavendish maintained a large musical establishment at Welbeck. 'Mr Tomkins' was organist. It is interesting to find this 'Organ and harpsicall, to geather' in the relatively private Long Gallery rather than the Great Chamber: Cavendish himself played the viol recreationally.
1637	Haddon Hall		G. le Blanc Smith, Haddon, the manor, the hall, its lords and traditions. (London, 1906)
An inventory recorded a 'gilded orgaine' in the gallery. The organ was repaired in 1649.
1638	Tawstock Court, Devon		MA U269/A518/5 p.226
The earls of Bath maintained liveried musicians at Tawstock. This 'pair of organs with virginals' was listed in an inventory in the Parlour in 1638 and in the staircase hall, together with other instruments, in 1639. It may also be the 'old organ' listed in a bedchamber in 1655.
1639	Tawstock Court, Devon: Great Chamber		MA U269/A518/5 p.219
A 'fair organ' valued at £100: an expensive instrument, which may therefore have been unusually large or lavishly decorated.
1640	Denmark House: drawing room	?R. Dallam	Pro SC6/ChasI/1704 ( RECM V p.17)
Queen Henrietta-Maria's withdrawing room was the last in a sequence of chambers leading to her Great Bed Chamber, wherein she received visitors in the French manner. This 'newe cabinet organ' may be the instrument sold in 1650 for £10, or it may be that rescued by Mico and returned to the court in 1663, where it was used at St James's.
c.1640	Londesborough Hall, Yorkshire: Great Parlour		CW Bolton MSS bk. 100, ff. 196-97
Another reference to the organ rebuilt in 1624 (see above).
c.1640	Skipton Castle, Yorkshire: parlour		CW Bolton MSS bk. 99, f. 223v
One of the instruments played by Hingeston during his service at Skipton.
1640	Whitehall Palace: queen's apartments		Lpro LR5/67 ( RECM VIII p.127)
This is presumably one of the two Denmark House organs recorded above: it seems to have temporarily replaced the organ from the queen's privy gallery at Whitehall which itself was temporarily in use in her chapel at Whitehall whilst the organ there was repaired.
1640	Knowsley, Merseyside: 7 th Earl of Derby		WOo MS xxv f.47
Little is known of the musical activity in this prominent Royalist household.
1641	Tawstock Court, Devon	R. Dallam	MA U269/A518/5 p.185
Extensive correspondence on the purchase of this organ, made for £55, and the interaction with Dallam survives. It was built by Dallam whilst, or just after, he was working on his Gloucester Cathedral organ, and transported to Tawstock by water where it was inspected by John Lugge, organist of Exeter.
1641	Barnard's Castle, London		Bolton MSS Book179
The London home of the Earls of Pembroke. Lady Anne Clifford lived here from 1641 after her marriage to the 4th Earl: she is noted for her ability in music, tuition by Jenkins, patronage of Henry Lawes etc.
1643	Croydon: Archbishop Laud		Laud, W. The History of the Troubles and Tryal of Archbishop Laud (London, Chiswell, 1645), p.455
Laud left a number of instruments to his organist, Richard Cobb. Cobb soon after became organist to the Bourchiers at Tawstock, but it is not certain what he did with the organ.
1646	Bath House, London	Burward	MA U269/A518/1
Although the account entry for this organ is amongst items for Tawstock Court, it seems more likely that the London-based Burward built it for the Bourchiers' house in Lincoln's Inn Fields. It cost å£20.
1649	London: Edward Norgate		Will of Edward Norgate, 5 October 1649. Pro PROB 11/215
We may assume that Norgate, organ maker to the court, built this organ for himself.
1649	Dorset House, London		MA U269/E79/3
The London home of the Earls of Dorset had an organ 'upon the stayers'. Other Dorset organs are recorded at Knole, Kent and Buckhurst Park, Sussex.
1649	Wimbledon Palace, London		Inventory of household furniture of Charles I, 5th October 1649, quoted in RECM VIII, p.133
This is the only royal residence apart from Whitehall, St James, Denmark House and Hampton Court at which a (presumably domestic) organ, valued at £6, is recorded.
1649	Hampton Court		Millar, The King's Goods p.178
The description and condition (a Paire of Portaves broke to peeces 2s.) of this and several other organs in the catalogue of royal instruments sold off during the Interregnum suggest that it may have been a survival from the 1549 Henry VIII inventory.
1649	Hampton Court		Ibid. p.178
A 'Regalls in an old case' 10s. Many of the Henry VIII instruments were 'regals' that combined a regal stop with flue pipes.
1649	Hampton Court		Ibid. p.178
A 'paire of Portaves covered with sattine 2s'. A number of the Henry VIII instruments were described as covered in Bruges Satin, a combination of satin and wool.
1649	Hampton Court, Kitchens		Ibid. p.184
A 'pr of broken Organs' £2
1649	Whitehall Palace: Jewel House		Ibid. p.385
One old Clocke to make an Organ goe' 10s. This appears to be a clockwork mechanism to play an organ automatically. It may have been similar to those made by the Dallams, such as that incorporated into the famous gift to Sultan Mehmet.
1649	St James's Palace: Major Legg's quarters		Ibid. p.364
Valued at £20, this appears to have been a privately owned organ rather than a court instrument. Is this William Legge, Groom of the Bedchamber, or William Legge, Keeper of the Wardrobe?
c.1650	Kirtling Hall, Cambridgeshire		North Family Account Books, quoted on the Loosemore website accessed 18 January 2018
Henry Loosemore (organist of King's College, Cambridge) occupied himself during the Interregnum as Lord North's semi-resident organist. The use to which this instrument was put is described in detail in Roger North's various reminiscences.
c.1650	Whitehall Palace: Cockpit Theatre		Anthony Wood quoted in Hulse, L., John Hingeston, Chelys 12 (VdGS, 1983), p.28
Designed by Inigo Jones, the Cockpit Theatre staged the lavish masques of Charles I's court, but no organs are recorded in conjunction with these. Wood claimed that Cromwell had the organ placed there (from elsewhere in Whitehall?) and Hingeston was employed to accompany Dering's Latin motets on it for his entertainment.
1651	St James's Palace: Col. Hamand		Millar, The King's Goods p.419
I am not yet certain which of the various Hammonds who were involved in the Civil War this refers to: presumably one of those on the Royalist side as his property is being confiscated. The organ was sold for £10.
1650s	London: Mitre Tavern		Wilson, Roger North, pp.107-9
According to North, the organist Phillips played on this 'chamber organ' in a lane behind St Paul's to an audience of smoking and drinking shopkeepers and foremen. The repertoire was mainly drawn from Playford's collections of catches. (North did not approve of music houses).
1652	Chelsea, house of John Danvers		BL Egerton MS 1997 ff68 r-v
On the 10 March Lodewijk Huygens heard Gibbons play on a chamber organ at the house of John Danvers.
1652	London: Davis Mell		Holman, P., Mell, Davis in Sadie, S. and Tyrell, J. (Eds.) The New Grove Dictionary of Music and Musicians: Second Edition XVI pp.348-9. (Oxford: OUP, 2001)
Mell had led the court violin band for Charles I, and was recorded playing with various other former court musicians at his house. One wonders whence he acquired the organ.
1658	Kimberley Lodge, Norfolk: music room		Will of Sir Thomas Wodehouse, quoted in Earl, J., The Wodehouses of Kimberley (n.p., 1887)
Sir Philip Wodehouse inherited his father's extensive collection of instruments, including an organ, in this year. It was at Kirtling that John Jenkins spent his final years.
1655	Tawstock Court, Devon	Loosemore	MA U269/A520/4.
John Loosemore looked after the instruments at Tawstock and also undertook general maintenance duties, reflecting his dual role of organ builder and Clerk of the Works at Exeter Cathedral. This instrument was made for £21. It may have been an organ - or could it have been the Loosemore virginals dated 1655 now in the V&A?
1660	Whitehall Palace: Earl of Sandwich's apartments		Pepys 9 November 1660
Pepys described this organ as 'an ugly one in the form of Bridewell'. It is not clear what he meant: did the organ have a case that reflected the architectural front of the Bridewell in some way, or does he mean it resembled a prison in some manner, perhaps by having a pipeless facade, or with an iron grille at the front?
1660	Whitehall Palace		Pro LC 3/2 ( RECM I p.3) Pro E351/546 f.25r ( RECM V p.113)
This organ was ordered for Christopher Gibbons within months of the Restoration, demonstrating the importance placed on re-establishing the Private Musick after the Interregnum.
c1660	Whitehall Palace, John Hingeston's chambers		L‰ÛªEstrange, R., Truth and Loyalty Vindicated... (London: H Brome and A. Seil. 1662), p.50
Roger L'Estrange (a prominent Royalist activist, as well as a fine violist) was alarmed to be visited by Cromwell when playing consorts to the organ in Hingeston's chambers during the Interregnum. Cromwell listened awhile, but left without comment.
1660s	Jesus College, Cambridge: chambers of John North		Lbl Add. MS. 32.514 f.28 p.253
Roger North recorded that the noise of the bellows of his brother John's organ kept the student in the room below awake at night. The neighbour responded by playing bowls indoors in the early hours.
1660s	Oxford: William Ellis's music meetings		Kiessling, N. (Ed.), The Life of Anthony Wood in His Own Words (Oxford: Bodleian Library, 2009), pp.47-9
Ellis, formerly organist of St John's College, played the organ at the influential meetings held in his house. Anthony Wood was a member and left a detailed account of the context in which this instrument was used.
1661	Cambridge: Henry Loosemore		Anon., Organ Building at Cambridge in 1606, The Ecclesiologist. Vol. XX No. CXXXV, 395 (London: Masters, 1859)
Loosemore, the organist of King‰Ûªs College, loaned his own chamber organ to the chapel whilst the Dallam organ was being repaired. Henry was brother to the organ builder John, although no connection between him and this instrument is known.
c.1662	Cubberley, Herefordshire: Parlour		Ward, R (Ed.), Thirteenth Report Part II: The Manuscripts of His Grace the Duke of Portland, Preserved at Welbeck Abbey, England Vol. 2. (London: Historical Manuscripts Commission, 1891), p.296
Thomas Baskerville remarked on this ‰Û÷fair organ‰Ûª and other instruments in the parlour of Mrs Castlemain of 'Coberly Hall'.
1662	St James‰Ûªs Palace: Musique Room		Pro LC 5/138 ( RECM I p.49)
The provision of organs at St James is obscured by confusing and incomplete references in the records. This organ was procured by Hingeston for the queen's private Catholic chapel at St James's in 1662, but was almost immediately removed to the music room where it was used in conjunction with the French musicians that served Catherine of Braganza's court. It then appears to have been moved back to the chapel again in 1663 where it acted as a secondary instrument to the one returned from Mico's residence (see below); the provision of two organs was a feature of the royal Catholic chapels at this time) and its role in the music room was taken over by an organ moved from Whitehall (also see below).
1662	Hampton Court		Pro LC 5/138 ( RECM I p.49)
Hingeston was paid £155 for two organs (the other for St James's) and a harpsichord. The sum suggests the two organs must therefore have been chamber instruments.
1663	St James's Palace,		Pro LC 9/375 ( RECM I p.43)
This organ was moved to St James's from Whitehall for the 'French musique' to replace the chapel organ of 1662 that had been temporarily used in the queen's music room (see above).
1663	Greenwich: Unidentified music house		Pepys, 21 August 1663
An organist named Arundell, whose services Pepys had secured for the Earl of Sandwich, was heard playing 'a fine voluntary or two' here.
1663	St James's Palace		Pro LC 9/375 ( RECM I p.43)
An organ moved 'from Mr Micoes'. This may perhaps have been one of those from Denmark House, where Mico had been organist to Queen Henrietta Maria, that he had possibly rescued from its fate at the hands of the Parliamentarians and was now being returned to its rightful royal owners. Mico did not resume a court employment at the Restoration. It was described as a 'larger organ' than the other consort organ referred to in this entry (see above) and appears to have been used as the main organ in the Queen's chapel at St James's. Is this the organ in Jan Kip's engraving (c.1688)?
1663	Arundel House, The Strand		de Beer, E. (Ed.), The Diary of John Evelyn (Oxford: OUP, 1955), Vol III p.310
Evelyn heard French and English musicians playing on viols, theorbos and organ here.
1663	Scampton Hall, Lincolnshire: High Gallery		Inventory quoted in Fleming, M. and Bryan, J., Early English Viols: Instruments, Makers and Music (Oxford: Routledge, 2016)
Scampton was the seat of Sir Robert Bolles, who employed Simpson and was acquainted with Jenkins and Locke. Valued sat £60.
1663	Westminster: Dean's residence		Pepys, 3 August 1663
Pepys heard Christopher Gibbons play this organ when it was up for sale, but considered it too big for his music room.
1663	Cambridge: George Loosemore:		Payne, I., George Loosemore at Trinity College, Cambridge, 1660-1682, Proc. Cambridge Antiquarian Society, lxxvii (Cambridge: CAS, 1988) p.146
George was brother of Henry (and John) and, like Henry, loaned his chamber organ to his College chapel (Trinity) whilst repairs were effected.
1665	Oxford: Music School	Ralph Dallam	Hawkins, J., A General History of the Science and Practice of Music IV (London: Payne & Son, 1776), p.375
å£10 was given for the old claviorgan (see above). The new organ, made for £48, was painted and gilded by a Mr Taylor for £1 10s and placed between two cupboards housing the extensive university MS collection, most of which survives. It was rebuilt by Green in 1774 although much original material survives behind the case front. Since 1937 it has been housed in Worcester Cathedral. A number of sources detail the context and repertoire associated with this organ at Oxford.
c.1666	Exeter: Cathedral choir school	Loosemore	Hopkins, E and Rimbault, E., The Organ: Its History and Construction (London: Robert Cocks & Co., 1855), pp.51-2
This organ included a 4ft flute, a stop that, on the consort organ, was particularly associated with vocal repertoire.
1666	Oxford: Exeter College: Narcissus Marsh's chambers		Hawkins, History p.793
The repertoire and extant sources associated with Marsh's meetings indicate that he had a consort organ at his disposal at Exeter College.
1667	Whitehall Palace: choristers music room		Pepys, 16 November 1667
In the choristers' music room Pepys heard the 'best and smallest organ go that ever I saw in my life', played by Captain Henry Cooke, for many years master of the Chapel Royal boys.
1667	Whitehall Palace: Privy Lodgings	?Dallam	Ob MS. Malone 44 f105v
Made for £40, no further information is known about this instrument.
1667	St James's Palace, Lord Aubigney's apartments		Pepys, 23 January 1667
A claviorgan that Pepys considered purchasing, but he described it as 'but a bauble, with a virginall joining to it'.
1668	London: Albertus Bryne		Sealey, M., liner note to Albertus Bryne: Keyboard Music. 2008. Compact Disc. Deux-Elles, DXL1124
Bryne was organist of St Paul's.
1668	Hanham Court, Bristol		PROB 11/329/118
Sir Henry Creswicke's will recorded an organ in the great parlour.
1669	Chichester	Craddock	PROB 11/133/136
Henry King, Bishop of Chichester, left 'a cabinett organ made by Craddock' in his will.
1670	Windsor		Keri Dexter and Geoffrey Webber, The Restoration Anthem 1, (Church Music Society, 2004), p.34
John Heaver, Canon, left an organ for 'the Organists Chamber for the better bringing up of the choristers in Musick'.
1674	Whitehall Palace, Banqueting House	Smith	Pro LC 5/141
Smith hired the organ for an unspecified occasion. Smith gave three days of his time for setting up and dismantling, including the event itself, for which he charged £4 plus 18s for porterage, representing roughly one and a half days' work for four men. Smith's house was located near Charing Cross and his workshop was also evidently close to Whitehall. Assuming the organ was required for a day's use, this suggests that a consort organ could be set up and tuned in less than a day when required.
1674	London: John Playford		Playford, J. (Ed.), Cantica Sacra, The Second Sett (London: Playford, 1674).
That Playford had an organ at his house is indicated by the preface to the second volume of his Cantica Sacra in which he described 'some noble Friends Seeing and Hearing perform'd (at my House) several Choice English Anthems of like nature for Two Voices to an ORGAN'.
1675	Dublin: Christ Church Cathedral choir school,		Boydell, B., A History of Music at Christ Church Cathedral, Dublin (Woodbridge: Boydell Press, 2004), p.83
Bishop Fuller of Lincoln bequeathed this instrument to Dublin Cathedral in 1675. It had stood in his Lincoln residence.
1676	Cambridge: Thomas Mace		Mace, T., Musick's Monument, or a Remembrancer of the best Practical Musick (London: Mace, 1676), p.243
Mace described and illustrated his 'table organ' of 8 stops in detail. It was designed specifically for consort playing, with music desks that could be folded down to reduce the volume and a specification that included reeds. That Mace was unfamiliar with some very similar continental examples, or with earlier English chest organs, is demonstrated by his claim that the design was of his own invention. It seems unlikely, though, that he actually built it himself as he claimed. Mace had a second similar instrument in his possession.
1678	Clerkenwell, London: Thomas Britton's music house		Hawkins, History p.790
Britton's organ was housed in the low room above his coal shop wherein he held his influential series of music meetings. After his death it was sold as being of 'five stops, exactly consort pitch, fit for a room, and with some adornments may serve for any chapel, being a very good one'.
1678	Bristol, house of John Bevill, Arms-painter		Probate Inventory quoted in George, E. and George, S., (Eds.), Bristol Probate Inventories 1657-1689 (Bristol: Bristol Record Society, 2005) p.89
This record is highly unusual in recording the possession of not one but two organs by a tradesperson, albeit seemingly a successful one. A 'new Organ' valued at £20 was listed along with an 'old broken Organ' valued at £1.
1678	London, house of Silas Taylor		Andrew Clark (ed.), John Aubrey: Lives 2 (Oxford, Clarendon Press, 1890), p.254
Taylor, a Parliamentarian officer but also a composer and friend of Locke, had 'a very fine chamber organ in those unmusicall days'.
1679	Cambridge, home of Samuel Newton	Thomas Thamar	JE Foster (Ed.), The Diary of Samuel Newton, Alderman of Cambridge, 1662-1717 (Cambridge, Cambridge Antiquarian Society, 1890)
Agreed then at the Rose with Mr. Thamar Organmaker in the presence of Mr. George Loosemore Organist for an Organ of 3 stopps viz. A dyapazon, a Flute and a Fifteenth to be delivered to me and sett upp at my house tomorrow, For which I agreed with him to pay him Eleaven poundes, of which I then gave him in parts one shilling'
1682	Oxford		PROB 11/370/400
Edward Lowe's will mentioned an organ to be sold.
1683	London, house of John Hingeston		PROB 11/375/
Hingeston left 'my organ whivh hath two Setts of Keys' to Ralph Courteville. If this was a consort organ, it was one of only two instruments known to have two manuals, the other being the extant instrument at Compton Wynyates.
1684	Farningham Manor, Kent: Organ Room		Inventory quoted in Charlston, T., An instrument in search of its repertoire? The Theewes claviorgan and its use in the performance of sixteenth- and seventeenth-century keyboard music. RCOJ 3, 24-41 (London: RCO, 2009)
The claviorgan made by Theeuwes in c1578, the remains of which are now in the V&A, was first recorded in 1684, although it was manufactured over a century earlier. The arms painted on it indicate it was made for Farningham, although it was later moved to Ightam Mote, also in Kent.
1687	Donyland Hall, Colchester	Smith	Moved to Hadleigh Church, Suffolk in 1730.
This is one of several domestic organs built in the church style rather than in the distinctive and very different manner of the consort organ. It has two manuals. Other examples include those still in situ at Nettlecombe Court, Wollaton Hall and Adlington Hall.
1689	Lutterworth, Leicestershire: house of Anthony Gore: Parlour		https://www.victoriacountyhistory.ac.uk/explore/sites/explore/files/explore_assets/2013/07/06/lutt_anthony_gore_1689.pdf
1 organ' with other goods including a harpsichord were valued at £3-10-06. Gore was a Leicestershire Justice, but nothing is known of his household.
?1690s	Rougham Hall, Norfolk: Gallery	Smith	Boydell, S., The Domestick or retired life of The Honble Roger North. (Unpublished MS, Forster Collection, Victoria and Albert Museum, 1826)
According to North's writings, this organ was unusual for a consort instrument in possessing a Trumpet (of which North thought little). Burney praised it for its sprightly tone. North's organ was presented to the local parish church in 1785, and rebuilt in 1827 when a 4 stop Swell and a rank of pedal pipes was added to it. Three of the original stops (Stopped Diapason, Principal, Fifteenth) survive and are now incorporated in the Choir section of the current Richard Bower organ.
1690	Wapping: Mitre Tavern		Ward, E., The London Spy Compleat. (London: John How, 1703), p.329
Ward's description paints a colourful picture of this music house with its 'hum-drum organ' that resembled the 'Harmonious Grunting of a Hog'.
1697	Exeter: house of Charles Rewallin		Portman, D. Exeter Houses 1400-1700 (Exeter 1966)
The inventory of the house of Charles Rewallin, Exeter organ builder, taken on 5 July 1697, included 'in the high back chamber on Argon' together with a spinet and a cabinet, valued together at £17.
1697	Exeter: workshop of Charles Rewallin		Ibid.
Rewallin's inventory also inlcuded 'for an Organ at the Globe', valued at £15. The Globe is assumed to be the Globe Inn in Exeter. Its price is modest compared to those for court or aristocratic contexts, but may be more typical of simple instruments made for less exalted purposes.
1699	Islington, Sadler's Musick House		Ward, E., The London Spy Compleat. (London: John How, 1703)
Ward heard an 'organ and fiddlesÉ humming and scraping'.