N. P. Mander
1983

This is perhaps the second-oldest extant Snetzler, ascribed by Barnes and Renshaw in the Snetzler biography as his No. 4. In their biography of Snetzler, they cite a letter from the then-owner of this organ, Sir Thomas Drew, Feb. 1889, who makes the supposition that it was a nearly identical organ built the same year (1742) which was the instrument used for Messiah and not his organ. This second organ was at that time in the possession of a third or fourth owner, Rev. R. Johnston, Kilmore (County Armagh), and lost after a move to Denmark 1920. The first four organs Snetzler made after his establishing himself in business in London (the year is in question), were all residential chamber organs of the box organ variety. Organ No. 2 was enlarged with a substantial case, and this organ was enlarged to its present proportions apparently by Snetzler himself, at an unknown later date. While the myth persists in some quarters this is the Dublin organ associated with Handel, the Drew letter is the basis for contemporary doubt.

The stunning trompe l'oeil is one of the finest remaining examples of its era as applied to an organ case, and was hidden under layers of dark varnish until being uncovered and restored by Mander in 1983. Mander is of the opinion the organ was originally built as a low-boy secretary organ, later enlarged by Snetzler with the raised rear case section, for the addition of the Open Diapason Treble and a reordering of the Stopt basses without miters for easier tuning access, taking advantage of the raised case section to now stand unmitered. He was also of the opinion the Sesquialtra and Cornet were original treble and bass divisions of one mixture, with the treble continuation of the Sesquialtra added at the same time as the organ's expansion. The organ is unusual in not having a 4' Principal between the Open Diapason and four ranks of mixture, but it subsequently appeared in the treble disposition of the new Sesquialtra.

Noel Mander tried without success to prove this was the instrument used for the Dublin premier of Handel's Messiah in 1742, where it is well documented Handel conducted from a chamber organ and played continuo on an organ recently delivered to Dublin. The evidence this was the same organ is only circumstantial, but while the fact can not be conclusively proven, it has not been conclusively discounted either, so it remains a tantilizing 'maybe' with reservations.

Updated through online information from Giacomo Nicotra.

Status Note: There 1997

Restored Noel Mander, 1983. A typical portable organ of the box-organ type, with a very simple box case rather garishly painted. There are no front pipes, but only a fabric covering which has a stylized painting of pipes on it. Stops are controlled by levers on both ends of the keyboard. The organ has a hand pumping mechanism controlled either by a foot lever operated by the player, or by leather straps operated by an assistant.