This big and very majestically positioned church was built during the reign of Napoleon III by the architect Louis-Antoine Heret, in a neo-Romanesque style with a visible metal structure. Built at the top of the hill of Ménilmontant, the forecourt had to be arranged with 54 steps to make up for the difference in level between the façade and the apse. It is the third-largest church in Paris in terms of length and slate roof surface. The roof is supported by a wooden frame resting on metal beams, which complete cast-iron ribs visible beneath the nave vaults. It was the first church in Paris to have a visible metal structure.
C1The organ of Notre-Dame-de-la-Croix is one of the few organs in Paris built by Cavaillé-Coll that has not undergone major alterations.The organ was built between 1872 and 1874. When designing the instrument, Cavaillé-Coll faced two major technical problems caused by the large rose window and the passage for the bells through the middle of the organ loft. Because of its architectural and theological importance, the rose window had to remain fully visible from the lower part of the nave, so that the nine crosses in it could be seen. Cavaillé-Coll therefore had to build the case in two separate sections. He also had to place the console at the edge of the gallery to leave enough space for the bells to be lowered through the middle. These constraints led to a major change in the original design. Indeed, the first estimate called for a three-manual organ with an expressive Récit, Grand Orgue, expressive Positif, and Pedal.After the Récit and Grand Orgue had been installed, it became clear that there was no room left for the Positif. Since the console was already in place, the first manual was turned into a permanent coupler manual, meaning that it couples the Récit to the Grand Orgue. To accommodate the bell passage, Cavaillé-Coll was forced to turn the console around so that it faced the rose window, and to devise a complex mechanical action.The right-hand case contains the Grand Orgue pipes, placed high up. In the lower section are the action, part of the wind system, and the Barker machine.The left-hand case contains the Récit, whose pipes are enclosed in a swell box. This box has shutters that can be opened or closed with an expression pedal at the console. Right next to it is a large empty space that was meant to hold the Positif’s 11 stops.At the back of the organ loft is the Pedal division, arranged on both sides with the main bellows in the center. The pedal pipes are open to the air. The largest pipes, 16-foot ranks, are about 5.5 metres high and 45 centimetres wide, which is exceptionally large.1912Charles Mutin renovated the organ and raised the wind pressure. 1922Overhaul by Fernand Prince. 1955Erwin Müller modified two stops: the 4' Octave in the Grand-Orgue became a 2 2/3' Quinte; the harmonic progression of the Plein Jeu III-VI in the Grand-Orgue was modified to become a Plein-Jeu III-IV with breaks (C = 1 1/3, c = 2, c' = 2 2/3', c'' = 4). 1989The organ was restored by Daniel Birouste (Plaisance) with a limited financial budget. 2010Overhaul by Hubert Brayé. An important work of equalization, especially concerning the reed stops, was carried out.Although this organ has only 26 stops, the instrument has an amazing power and it can be described as one of the finest Cavaillé-Colls in Paris. Site of the organ
Photo : Christopher Marx
1874 - Cavaille-Coll (1)1912 - Charles Mutin (6)1922 - Fernand Prince (6)1955 - Erwin Muller (3b)1990 - Daniel Birouste (5)2010 - Hubert Brayé (6)
C1The organ of Notre-Dame-de-la-Croix is one of the few organs in Paris built by Cavaillé-Coll that has not undergone major alterations.The organ was built between 1872 and 1874. When designing the instrument, Cavaillé-Coll faced two major technical problems caused by the large rose window and the passage for the bells through the middle of the organ loft. Because of its architectural and theological importance, the rose window had to remain fully visible from the lower part of the nave, so that the nine crosses in it could be seen. Cavaillé-Coll therefore had to build the case in two separate sections. He also had to place the console at the edge of the gallery to leave enough space for the bells to be lowered through the middle. These constraints led to a major change in the original design. Indeed, the first estimate called for a three-manual organ with an expressive Récit, Grand Orgue, expressive Positif, and Pedal.After the Récit and Grand Orgue had been installed, it became clear that there was no room left for the Positif. Since the console was already in place, the first manual was turned into a permanent coupler manual, meaning that it couples the Récit to the Grand Orgue. To accommodate the bell passage, Cavaillé-Coll was forced to turn the console around so that it faced the rose window, and to devise a complex mechanical action.The right-hand case contains the Grand Orgue pipes, placed high up. In the lower section are the action, part of the wind system, and the Barker machine.The left-hand case contains the Récit, whose pipes are enclosed in a swell box. This box has shutters that can be opened or closed with an expression pedal at the console. Right next to it is a large empty space that was meant to hold the Positif’s 11 stops.At the back of the organ loft is the Pedal division, arranged on both sides with the main bellows in the center. The pedal pipes are open to the air. The largest pipes, 16-foot ranks, are about 5.5 metres high and 45 centimetres wide, which is exceptionally large.1912Charles Mutin renovated the organ and raised the wind pressure. 1922Overhaul by Fernand Prince. 1955Erwin Müller modified two stops: the 4' Octave in the Grand-Orgue became a 2 2/3' Quinte; the harmonic progression of the Plein Jeu III-VI in the Grand-Orgue was modified to become a Plein-Jeu III-IV with breaks (C = 1 1/3, c = 2, c' = 2 2/3', c'' = 4). 1989The organ was restored by Daniel Birouste (Plaisance) with a limited financial budget. 2010Overhaul by Hubert Brayé. An important work of equalization, especially concerning the reed stops, was carried out.Although this organ has only 26 stops, the instrument has an amazing power and it can be described as one of the finest Cavaillé-Colls in Paris. Site of the organ
1874 - Cavaille-Coll (1)1912 - Charles Mutin (6)1922 - Fernand Prince (6)1955 - Erwin Muller (3b)1990 - Daniel Birouste (5)2010 - Hubert Brayé (6)