inventories of Gigault's possessions, taken in 1662 and in 1700 (on the account of his marriage and his wife's death, respectively), reveal that already by 1662 he was no longer poor and could afford a well-furnished home with a collection of paintings and sculptures, and a large number of musical instruments: a chamber organ, two harpsichords (one with two manuals, the other with one), three spinets, two clavichords, a bass viol, two treble viols, a theorbo and a guitar. Most of the paintings Gigault had in his home were of a devotional nature, which, coupled with the lengthy dedications of his organ collections to the Blessed Virgin Mary, suggests an important place of religion in Gigault's life. Apart from his activities as organist, Gigault was also in demand as an organ consultant and as an instrumentalist. Works Gigault published two collections of organ works. The first, Livre de musique dédié а la Très Saincte Vierge of 1682, contains the earliest known examples of the French noël (a set of variations on a Christmas carol) and an allemande. Gigault's 20 noëls include variations on Christmas songs and church hymns connected to Christmas. These pieces always progress from two-part to four-part settings and feature a somewhat rigid variation technique. In the preface Gigault suggests that these pieces can be performed on any instruments: i.e., on a pair of viols, or on a lute, etc. The solitary allemande bears no connection whatsoever to Christmas. It is presented in two versions, the second being set in "ports de voix", showing various common ornamentation patterns. Gigault's second collection, Livre de musique pour l'orgue of 1685, contains 184 pieces. It begins with three organ masses, which rely heavily on Mass IV melodies, like all other surviving French organ masses from the period. However, Gigault's contemporaries limited their use of the chant to cantus planus settings, whereas in Gigault's masses chant melodies also appear paraphrased or transformed into fugue subjects, and form a very large proportion of the masses. The first and the third masses are large, each comprising more than 20 pieces, while the second mass is extremely short with just 7 versets. The rest of the collection is arranged by mode: there are numerous fugues (a fact mentioned in the preface) and also various typical French forms such as dialogues and récits. Also included are three hymns: Pange lingua, Veni Creator and a complete setting