Saint-Paul-de-Montmartre was built in 1896-1897. It is
the work of Auguste Rey, an architect of Protestant
origin (to whom we also owe the Lutheran church of
BonSecours, rue Titon. in the 11th arrondissement of
Paris). The style of the church is Romano-Byzantine with
geometric and plant decorations. The façade is made of
stone and topped by a bell tower. The interior of the
church is sober and clear. The nave is composed of 4
spans opened by arches to the right and left
overlooking the grandstands and aisles.
Cult with organ
Sunday at 10:30 a.m.
Joseph Merklin establishments sent the parish an offer
dated 18 Dec. 1897. It provided for two manual keyboards
(at the Grand Orgue, 56 notes [ut-sol]: Montre, Bourdon
and Salicional of 8 feet; at the Récit expressif, 56 notes [ut-
sol]: Gamba and Voix Cécleste of 8 feet, Flûte octaviante of
4 feet and Bassson-Haurbois of 8 feet) and a Pedal
keyboard (30 notes [ut-fa] Soubasse of 16 feet). The pipes
of the manual stops were made of tin, those of the pedal
of wood. The organ buffet was designed by the architect
of the church, Augustin Rey. At the same time, the Merklin
establishments delivered three other "Protestant"
instruments, to l’Oratoire du Louvre and the Temples of
Batignolles and Raincy.
By 1910, the instrument had already undergone the rigors
of temperature variations: pieces of wood had cracked
and horns were occurring. To make matters worse, the
Merklin establishments no longer seriously maintained
the instrument. The organ builder was changed in 1912.
In 1926, the wind engine became electric and was
modified in 1929 to match the new frequency of electric
In 1933, Georges Gutschenritter, former head of Merklin,
proceeded to the complete overhaul of the organ. He had
just installed the organ of the Lutheran church of La
Villette (Saint-Pierre, rue Manin).
In January 1977, Adrien Maciet (Montainville, Yvelines)
proposed a proposal for the restoration and enlargement
of the organ. In addition to the work of dismantling,
dusting, repairing the pipes, restoring the (then)
pneumatic traction and its transformation into direct
mechanics, the composition of the instrument had to
evolve: at the Grand Orgue. transformation of the
Salicional 8' into a 4' Prestant and the addition of a
Doublette 2’ or Plein Jeu; to the Pedal, reconstruction of
the keyboard, with the addition of three real stops. A
"complementary project" reported in November of the
same year, states the necessary reconstruction of two new
wind chests to replace the single one, which had become
irreparable. The new composition of the instrument,
proposed by Marie-Louise Girod-Parrot, titular of the great
organ of l; Oratoire du Louvre, became:
on the GO: Montre and Bourdon of 8 feet, Prestant 4'.
Doublette 2'·, Plein Jeu IV
on the Swell (or Positive), Cor de nuit 8', Flute 4'·,
Quarte 2'·, Nasard, Tierce, Cymbale II and Hautbois 8;
on the Pedal: always the Soubasse 16'.
In 2021, Ie Grand Orgue includes the Montre and the
Bourdon of 8' as well as the Prestant of 4'.
On the Swell, which is no longer expressive, take place Ie
Cor de nuit 8', the Flute octaviante 4', the Nasard and the
Basson-Hautbois 8' (reassembled in the 2010s). The Pedal
is unchanged. Of the six original coupling and
combination pedals, only the two pulls and the coupling
of the two manual keyboards now work.
Yves Fossaert now maintains the instrument.
Source: Le Paris des Orgues, Marathon des orgues 18