As a result of the research, data on the original painting of the organ cabinet was obtained, which became the basis for determining the final concept in this area. The biggest surprise was the discovery of the basic, original colors of the organ cabinet in blue, sometimes in a slightly darker shade. In relation to the cornices, the original painting in the form of marbling was visible, kept in cool shades of pink and purple. With regard to the original curtains and curtains in the fields and pipe towers, as well as to the two original earhooks currently attached to the right side altar in the church in Daugach, the original gray paint layer lay on a thin layer of white chalk-glue mortar, and its gilding was left over, made with gold put on the varnish. The figure of King David was also repainted and the original layer indicated the use of different colors to cover different parts of the figure.

The original paintings of angels were not identified, because only after the above-mentioned query was made, the information was obtained from written sources that originally the organ prospectus also featured figures of angels, which are probably identical to those currently on the altar in the church in Daugi. Their measurement took place during the works on the construction of the instrument. However, we cannot say with certainty that the angels placed on the main altar in the church in Daugach, the number of which is consistent with the description in the sources, the gestures suggest that they originally held the instruments (trumpets), and that the body proportions match the size of the organ prospectus, original from the organ prospectus. However, we did not find any other prototypes, neither in the church in Daugach nor in the surrounding churches, so we took them as a model to recreate. It was also not possible to find any information about the details of the layout and forms of the angelic figures, hence the details of their costumes and instruments, as well as the location on the wardrobe was my original proposal.

As a result of the research, it was possible to determine the original colors of the prospectus and the technology of painting and woodcarving. The structural part as well as cornices and finials were covered with polychrome, placed directly on the glued layer of wood. The original polychrome in the prospectus was deep, saturated blue. The cornices were covered with a cool shade of pink and purple marbling. Carving details in fields and pipe towers as well as ears are made of linden wood, which was covered with a thin layer of chalk-glue mortar before gilding and polychrome was made. The golden foil was placed in the oil technique, only on the edges of the forms, the remaining surfaces were covered with a light gray polychrome. The statue of King David was originally polychrome and set on the top of the central tower. On both sides of King David, on the tops of the towers and organ fields, an angelic orchestra in the form of four greater angels, two smaller angels decorated with two flower vases was seated.

In addition to the conservation research, architect Mr. Maciej Hajdul also made a detailed measurement inventory of the organ cabinet, and technical drawings prepared on the basis of these measurements became the basis and starting point for the contractor’s technical design. When analyzing the measurement results of the Daugach cabinet, it was possible to observe at least 3 phases of its reconstruction. Probably one took place just after the instrument was brought and installed in the church in Daugach, the second – when the instrument underwent extensive reconstruction in 1889, and the third in 1931, dictated by a completely new structure of another instrument installed behind the 18th-century facade. In terms of organ building, the preserved traces of the original windchest mounts and blocks of prospect pipes were important to us. Although the old instrument was finally completely replaced in the 20th century by the company of Wacław Biernacki from Vilnius, as it turned out, the pipe material was not uniformly twentieth-century, and a small part of the metal pipes, including prospectus pipes, could have an eighteenth-century origin, which was then verified and taken into account by the contractor of the project, the Subbass pipes 16 ‘ were also verified.

In my concept, I assumed two construction variants of the instrument: the first, where the instrument would be built in two cabinets – the main one according to the dimensions of the Daugas and pedal – located right behind it, and the second variant, in which the entire instrument would be placed in one large integrated cabinet, and this version has been completed. Ready-made paints by Remmers were used to paint the simple (structural) elements of the organ cabinet. The original, more plum shade of blue, most similar to the original one, which I chose after consultation with Monika Filar-Maksymowicz, was finally replaced with a slightly lighter shade, which according to the client and Lithuanian conservators who performed these paintings more closely matched the colors used in the organ choir after reconstruction and renovation. However, the paintings and gilding of all cornices, carved elements į sculptures were polychrome in accordance with the eighteenth-century technologies.

Instrument disposition

The organ disposition includes 1,786 handmade pipes formed in 29 voices, including 13 voices in the main manual, 10 positives, and 6 voices, including 4 real ones in the pedal section.

The organ has a mechanical playing pattern, a mechanical register pattern, flap-gate windbars, three 54-tone manual keyboards, including one transposing to play with baroque instruments and a 30-tone pedal keyboard, which is also adapted to play with baroque instruments.

Tuning height: a ‘= 465 Hz at a temperature of 20.5 ° C, pressure 75 WS

Tuning Type: Bach-Lehman

Manual, lower keyboard, keyboard range: C-f ”'(54 tones)

Positive, upper keyboard, keyboard range: C-f “” (54 tones)

Pedal, keyboard range: C-f ‘(30 tones)

Transposition a ‘= 465 – 415 Hz in the form of a transposing keyboard and a sliding pedal keyboard.

The mechanism for the calikant was placed on the left side of the organ.

3 bellows inside the organ cabinet – two large double-fold wedge bellows made of pine, lambskin, cowhide and parchment. However, in order to obtain air stabilization, an additional single-fold parallel compensating bellow was built into the air system.

Mixtura VI

C 2′ 1 1/3′ 1’ 1′ 2/3’ ½’

c’ 4’ 3′ 2′ 2’ 1 1/3′ 1′

c” 5 1/3’ 4’ 4’ 3’ 2’ 1 1/3’

Cymbał III

C 1′ 2/3′ 1/2′

c 1 1/3′ 1′ 2/3′

fis’’ 2′ 1 1/3′ 1′