An alternative, and I suggest more reliable, narrative of what has been going on at Winchester will be found in this article from the Church Times.  I don’t think it is necessary to comment further.  As always, we must wait to see what happens. https://www.churchtimes.co.uk/articles/2024/21-june/news/uk/winchester-cathedral-row-bishop-steps-in

At times I do wonder at this instrument and think to myself that CC must be spinning in his shroud at what has been done to " improve " it over the years.     Has to be said that in reality it became a vehicle for satisfying Cochereau and his huge ego . This piece of artillery could quite easily be reduced by at least 1/3rd with no detriment to the overall tonal effect  -    and he planned to enlarge it further ? ?  !! This  (IMHO ) is size for the pure sake of size, bit like Liverpool Anglican where they have installed an " Echo Section " comprising I believe 5 stops (  I stand to be corrected on this one )   Since under the new regime they only use the instrument mainly as a hymn accompanying machjne  this would seem to serve no other purpose than fulfilling the terms of the original specification; and the egos of certain individuals. Like ND,  at least 1/3rd  of this instrument could safely disappear unnoticed but no, the expenditure went ahead on a " full restoration " but the  begging buckets are still out. Getting back to ND and the console.  I never could understand why they replaced the classic CC console with its classic , sensual curves  with a grim copy of what is essentially an English console .  My impression of this type of console is more akin to staring at a sharks open mouth than anything else. To finish this diatribe  I will return to the shores of  Good `OL Blighty  just to say that the work of CC seems to be providing  more of a source of interest with regards to Notre Dame for Good `Ol Johnny English than the current project still under way at Manchester and the hope that it may reach completion by next year, and the unfortunately unchanging situation with regard to  the Parr Hall instrument.

In the Netherlands it's common to refer to a Quintfluit as 3'. Often they're on the hoofdwerk and quite chunky and produce a rich sound, and intended to produce a prominent solo voice for leading singing. Much Dutch protestant church music is based on psalm singing, requiring a strong leading voice, or "uitkomende stem" as required in some printed music. This is quite different from Anglican psalmody. A quintfluit is rarely accompanied by a higher 1 3/5 tone, although organs often have separate cornet or sesquialter stops. I can think of at least one instrument which does have separated quints, at 3' and 6', for forming a cornet on an 8' or 16' basis. In fact, a single 3' Quintfluit is often enough to turn the whole hoofdwerk into a massive cornet. These are not English 12ths. Sydney Sussex's is therefore in nomenclature a fairly traditional Dutch hoofdwerk. As for the nasard 2 2/3, well that's obviously for the French swell and means nothing without the terts. A nasard is not a quintfluit. This is clearly not based on a Dutch bovenwerk, positief, or nevenwerk, which are rarely in swell boxes. The nomenclature does have a clear meaning, at least if you're Dutch. It's another discussion really, but throughout the centuries there were Dutch organ builders who built for protestant churches, and those who built for catholic churches, and they reflect different traditions. It's far too simplistic to say that Sydney Sussex has a protestant hoofdwerk and a catholic zwelwerk with a pedal to suit both, and though I've never heard it I'm sure it doesn't sound like two separate instruments, but you can see the provenance. But the proliferation of such stops means that even on a modest Dutch organ you can play a wide variety of music from surrounding countries quite convincingly, especially England.

I’m trying to find the details online - proving rather difficult.