Johnson's Opus 95, has been in the same room since it was built,
though it was moved down from the gallery to the sanctuary floor in
1874, according to a penciled note on the back of the swell box.

I've written about this instrument here before.  It's in a remarkable
state of preservation, with the original paint on the pedal pipes and
swell shades.  The case was repainted, but by frugal Yankees, who left
the original finish on the side of the case against the wall.  The
bellows was releathered in the 1990's, the action was refurbished
eight or ten years ago, and the seals in the wind chest were recently
replaced, so it's fully playable and sounds wonderful.

The instrument also has a couple of literally unique features, as far
as I've been able to find out.  One is the practice pedal -- a pedal
hooked to the feeder bellows that came through the kick panel next to
the 25-note pedalboard.  It allowed the organist to pump the bellows
from the bench so he or she could practice without scaring up a boy to
work the handle.  The pedal itself was removed at some point, but the
slot and some of the mechanism is still there.  The original pump
handle and feeder bellows are still there and functioning.

And the case is unusual, especially for Johnson at the time, because it was 
designed for a nook with an arched opening a the back of the gallery/choir 
loft.  The nook is still there, being used as a robing room.  If you go into 
it, you can see the two holes in the ceiling where they moved the bell rope 
after the organ is installed.  It still has its 1827 door at the top of the
stairs, and if you look carefully, you can see that the hinges were
reversed so the door would open out -- again, to accommodate the new
organ in 1860.

The other feature is the Solo Clarabella, a 16' open flute stop that
consists of 20 pipes mounted horizontally on top of the swell box.  If
you close the shades and pull the 4' principal, you can play the
melody up an octave and accomnpanyment down an octave and get a
wonderful two-manual sound.