A private donation received in 1980 enabled the Friends of the Organ of Saint-Étienne Cathedral to purchase a new instrument. The decision to install an Italian organ in the Sainte-Anne Chapel was made for two reasons. One was the overall organ policy followed by Toulouse (restoring old instruments from different periods and building new ones of particular types capable of offering a specific repertoire) and the second was the Italianate architecture of the Chapel built in the second half of the 19th Century. This is why it is now possible to hear in Toulouse ricercari, canzone and toccate by Girolamo Frescobaldi, Michelangelo Rossi, Bernardo Pasquini, Domenico Zipoli and so many other Italian composers with their typical Italian tones. Italian organs usually have a rectangular case crowned with a pediment, a single manual with extra notes in the base, sometimes a rudimentary pedalboard, a few stops divided between bases and trebles and a few reed stops. These instruments are based on what is known as ripieno (full and brilliant tone colours produced by a set of fundamental and harmonic stops). They also include some concert stops (or solo stops). When the organ builders Anselmi and Luciano Tamburini constructed the organ of the Chapel of Sainte-Anne in 1980, they gave Toulouse an instrument very much along these lines. The case was decorated by the painter Gian Giacomo Geroldi de Crema and crowned with a capital reminiscent of the one over the entrance porch. The organ has a single manual with fifty-nine keys and ravalement down to base F. The pedalboard is of the Italian type but can be adapted for a German pedalboard to allow performance of a wider repertoire. The instrument's eighteen stops are, for the most part, divided between basses and trebles. There are also two reed stops and the vox humana so typical of the Italian organ. When the principal is tuned slightly sharp and combined with a stop from the same family, the vibrations sound like the vibrato of the human voice. This principle which was first used in the 19th Century with a gamba stop gives one of the most characteristic tones of the romantic organ, the voix celeste.