---------------------------------------- ---------------------- ,transcriber's ,notes ,passages in italics are indicated by italics4 ,passages in bold are indicated by bold4 ,passages in blackletter are indicated by blackletter4 ,passages in small caps are shown in uppercase without explicit indication4 ---------------------------------------- ---------------------- ,the ,arts of the ,church ,,edited ,,by ,,the ,,rev4 ,,percy ,,dearmer1 ,m4,a4 ---------------------------------------- ---------------------- ,the ,arts of the ,church ,edited by the ,,rev4 ,,percy ,,dearmer1 ,m4,a4 #afmo4 ,profusely ,illustrated4 ,cloth1 #a_/f net4 #a4 ,,the ,,ornaments ,,of ,,the ,,ministers4 ,by the ,rev4 ,,percy ,,dearmer1 ,m4,a4 #b4 ,,church ,,bells4 ,by ,h4 ,b4 ,,walters1 ,m4,a41 ,f4,s4,a4 #c4 ,,the ,,architectural ,,history ,,of ,,the ,,christian ,,church4 ,by ,a4 ,g4 ,,hill1 ,m4,a41 ,f4,s4,a4 ,,others ,,to ,,follow ---------------------------------------- ---------------------- ,illustration3 ,frontispiece4 ,,king ,,david ,,playing ,,on ,,hand-,,bells4 ,from a manuscript ,psalter in the ,british ,museum4 ,this subject was often selected for the heading to the forty-sixth ,psalm1 as here4 7,see page #f74 ,the ,arts of the ,church ,,church ,,bells ,,by ,h4 ,b4 ,,walters1 ,m4,a41 ,f4,s4,a4 ,author of ,greek ,art1 c4 ,,with ,,thirty-,,nine ,,illustrations ,a4 ,r4 ,,mowbray ,,co4 ,,ltd4 ,,london3 #cd ,great ,castle ,street1 ,oxford ,circus1 ,w4 ,,oxford3 #i ,high ,street ,first printed1 #aijh ,,editor',s ,,note ,the little volumes in the ,,arts ,,of ,,the ,,church series are intended to provide information in an interesting as well as an accurate form about the various arts which have clustered round the public worship of ,,god in the ,church of ,,christ4 ,though few have the opportunity of knowing much about them1 there are many who would like to possess the main outlines about those arts whose productions are so familiar to the ,christian1 and so dear4 ,the authors will write for the average intelligent man who has not had the time to study all these matters for himself2 and they will therefore avoid technicalities1 while endeavouring at the same time to present the facts with a fidelity which will not1 it is hoped1 be unacceptable to the specialist4 ,,author',s ,,note ,acknowledgements must be expressed to the following persons who have assisted in supplying photographs or other materials for the illustrations to this book3 to the ,rev4 ,w4 ,h4 ,frere1 ,mr4 ,a4 ,riley1 and the ,committee of the ,alcuin ,club for permission to reproduce in plate #d a page of a ,,ms4 ,pontifical2 to ,dr4 ,amherst ,d4 ,tyssen and the ,rev4 ,dr4 ,jessopp for blocks2 to ,w4 ,watson1 ,esq41 of ,york1 and ,miss ,wilson of ,idbury for photographs2 to ,messrs4 ,wills and ,hepworth of ,loughborough1 ,messrs4 ,mears and ,stainbank1 and ,messrs4 ,taylor and ,co4 of ,loughborough for blocks1 negatives and photographs4 ,,contents ,,chapter ,,page ,i4 ,,early ,,history ,,and ,,methods ,,of ,,casting #a ,,ii4 ,,the ,,english ,,bell-,,founders #ba ,,iii4 ,,big ,,bells2 ,,carillons ,,and ,,chimes2 ,,campaniles #dc ,,iv4 ,,change-,,ringing #fg ,v4 ,,uses ,,and ,,customs ,,of ,,bells #ha ,,vi4 ,,the ,,decoration ,,of ,,bells ,,and ,,their ,,inscriptions #aje ,,vii4 ,,the ,,care ,,of ,,bells #aci ,,index #aeg ,,illustrations ,,page ,,king ,,david ,,playing ,,on ,,hand-,,bells ,frontispiece ,,saxon ,,tower1 ,,earl',s ,,barton #c ,a ,,performer ,,on ,,hand-,,bells #g ,,tower ,,or ,,turret ,,with ,,bells #aa ,,blessing ,,two ,,bells ,,newly ,,hung #ae ,,late ,,norman ,,bell-,,turret ,,at ,,wyre #ai ,,inner ,,moulds ,,for ,,casting ,,bells #bc ,,outer ,,moulds ,,for ,,casting ,,bells #bg ,,moulds ,,ready ,,for ,,casting #ca ,,forming ,,the ,,mould #ce ,,running ,,the ,,molten ,,metal #ci ,,the ,,mortar ,,of ,,friar ,,towthorpe #db ,,bell ,,by ,,an ,,early ,,fourteenth-,,century ,,founder #dg ,,blessing ,,the ,,donor ,,of ,,the ,,bell #ea ,,stamps ,,used ,,by ,,london ,,founders #ed ,,bell ,,by ,,robert ,,mot ,,of ,,london #ei ,a ,,ring ,,of ,,eight ,,bells #fc ,,the #i,,th ,,bell ,,of ,,loughborough ,,church #ff ,,tenor ,,bell ,,of ,,exeter ,,cathedral #gc 8,,great ,,john ,,of ,,beverley0 #gg ,,the ,,great ,,bell ,,of ,,tong #hc 8,,great ,,paul0 #hg ,,the ,,old 8,,great ,,tom0 ,,of ,,westminster #ia ,,the ,,belfry ,,of ,,bruges #id ,,the ,,campanile1 ,,chichester ,,cathedral #ii ,,the ,,old ,,campanile ,,of ,,king',s ,,college1 ,,cambridge #ajb ,,the 8,,bell ,,house0 ,,at ,,east ,,bergholt #ajg ,,diagram ,,showing ,,method ,,of ,,hanging ,a ,,bell #aaj ,,peal ,,of ,,eight ,,bells1 ,,aberavon ,,church #aac ,,ringers ,,at ,s4 ,,paul',s ,,cathedral #aai ,,ringing ,,the ,,sacring ,,bell #abc ,,sacring ,,bell ,,hung ,,on ,,rood-,,screen #abf ,,ancient ,,sanctus ,,bell #abi ,,tower ,,of ,,waltham ,,abbey ,,church #acc ,,symbols ,,of ,,the ,,four ,,evangelists #acg ,,bell ,,by ,,john ,,tonne #ada ,,gothic ,,initial ,,letters1 ,,etc4 #ade #adi ,,part ,,of ,a ,,seventeenth-,,century ,,bell #aec ,the ,arts of the ,church ,,church ,,bells ,illustration ,,chapter ,i ,early ,history and ,methods of ,casting4 ,the origin of the bell as an instrument of music is1 one may almost say1 lost in antiquity4 ,its use is1 moreover1 widely spread over the whole world4 ,but ,i do not propose to enlarge on its early history here1 or on its employment by all nations1 ,christian or heathen4 ,space will not permit me to do more than trace its history and uses in the ,christian ,church1 and more particularly in the ,church of ,england4 ,the word 8bell0 is said to be connected with 8bellow0 and 8bleat0 and to refer to its sound2 the later ,latin writers call it1 among other names1 campana1 a word with which we are familiar1 not only as frequently occurring in old bell inscriptions1 but as forming part of the word 8,campanalogy10 or the science of bell-ringing4 ,the ,french and ,germans1 again1 call it cloche and glocke respectively1 the words being the same as our 8clock02 but that is a later use1 and they really mean 8cloak10 with reference to the shape of the bell1 or rather of the mould in which it is cast4 ,modern bell-founders1 it is interesting to note1 speak of the mould as the cope1 which again suggests a connection with the form of a garment4 ,it is not known exactly when bells were introduced into the ,christian ,church2 but it is certain that large bells of the form with which we are familiar were not invented until after some centuries of ,christianity4 ,the small and often clandestine congregations of the ages of persecution needed no audible signal to call them together2 but with the advent of peaceful times1 and the growth of the congregations1 some method of summons doubtless came to be considered necessary4 ,their invention is sometimes ascribed to ,paulinus1 ,bishop of ,nola1 in ,italy1 about ,a4,d4 #djj2 sometimes to ,pope ,sabinianus 7,a4,d4 #fjd71 the successor of ,gregory the ,great4 ,at all events1 from the beginning of the seventh century notices of bells of some size become frequent4 ,the ,venerable ,bede in #fhj brought a bell from ,italy to place in his ,abbey at ,wearmouth1 and mentions one as being then used at ,whitby ,abbey4 ,about #gej1 we read that ,egbert1 ,archbishop of ,york1 ordered the priests to toll bells at the appointed hours4 ,ingulphus1 the chronicler of ,croyland ,abbey1 mentions that a peal of seven bells was put up there in the tenth century1 and that there was not such a harmonious peal in the whole of ,england2 which implies that rings of bells were then common4 ,if any doubt on the matter still remained1 it would be dispelled by the existence to this day of some hundred church towers dating from the ,saxon period1 and evidently1 by their size and construction1 intended to hold rings of bells 7,plate #a74 ,illustration3 ,plate #a4 ,photo by ,c4 ,law4 ,,saxon ,,tower1 ,,earl',s ,,barton1 ,,northants4 ,a tower built in the first half of the eleventh century and intended to contain bells4 7,see page #e47 ,i speak of 8rings of bells0--and that is a more correct term than 8peal10 which refers to the sound they make--but it must be remembered that in those days bells were not rung as in modern times4 ,at best they were 8chimed10 i4e41 sounded without being rung up2 but change-ringing1 which implies the full swinging round of the bell through a complete circle1 so that the clapper strikes twice in each revolution1 was only introduced in the seventeenth century1 and moreover has always been peculiar to this country4 ,illustration3 ,plate #b4 ,a ,,performer ,,on ,,hand-,,bells4 ,from a ,,ms4 ,missal in the ,british ,museum4 7,see page #e47 ,several ancient manuscripts have pictures which throw light on the use of bells in early times1 as1 for instance1 one which depicts a performer on a row of small 8hand-bells0 suspended from an arch1 which he strikes with a hammer 7,plate #b74 ,another portrays ,king ,david engaged in a similar act 7,frontispiece72 and others give representations of church towers or turrets with bells hanging in them1 apparently without wheels or ringing arrangements 7,plate #c74 ,in the ,bayeux tapestry there is a representation of the funeral of ,edward the ,confessor1 in which the corpse is accompanied by two boys1 each ringing a pair of hand-bells4 ,illustration3 ,plate #c4 ,,from ,a ,,manuscript ,,in ,,the ,,british ,,museum4 ,two bells hung in a church tower or turret2 the method of hanging not shown4 7,see page #f47 ,ancient bells were invariably dedicated with elaborate ceremonies1 and were baptized with the name of the saint or other person after whom they were named 7,plate #d74 ,the bells at ,croyland1 just mentioned1 were named ,pega1 ,bega1 ,turketyl1 ,tatwin1 ,bartholomew1 ,betelin1 and ,guthlac4 ,there is1 however1 much disputing as to the exact ceremonies employed1 some authorities maintaining that bells were neither baptized nor even 8washed10 but merely blessed and consecrated1 so as to be set apart from all secular uses4 ,in the ,norman and early ,plantagenet period the use of bells must have been generally recognized4 ,in ,london we hear of one ,alwoldus1 a campanarius 7#aaej71 which can only mean 8bell-founder40 ,and as early as the reign of ,richard ,i the ,guild of ,saddlers were granted the privilege of ringing the bells of the ,priory of ,s4 ,martin-le-,grand on the occasion of their bi-weekly masses in the church4 ,the priory was also entitled to claim the sum of #h;d4 for ringing at the funeral of deceased members of the ,guild4 ,some of the bell-cotes of our smaller parish churches1 as at ,northborough in ,northants and ,manton1 ,rutland1 appear to date from the ,norman period 7,plate #e74 ,in the twelfth century ,prior ,conrad gave five large bells to ,canterbury ,cathedral1 and in #ajej there were seven at ,exeter2 to ring the former no less than sixty-three men were required6 ,but these are all mere historical records1 and it may be of more interest to know whether any bells of this remote date still exist in ,england4 ,with one or two exceptions1 bells did not begin to bear inscriptions until the fourteenth century1 and even then we do not find dates upon them4 ,the only early-dated bells in ,england are at ,claughton1 in ,lancashire 7#abif71 and ,cold ,ashby1 ,northants 7#acag74 ,there are1 however1 here and there bells of a peculiar shape which it is possible to assign to a period previous to the fourteenth century4 ,they are long and cylindrical in form1 with hemispherical or square heads1 and usually very unpleasing in tone1 as the straight sides check vibration4 ,one such bell1 formerly in ,worcester ,cathedral1 and now in the possession of ,lord ,amherst of ,hackney1 must belong to the ring put up by ,bishop ,blois in #abbj in honour of our ,,lord and ,his ,mother4 ,even more remarkable is a bell at ,caversfield in ,oxfordshire1 dedicated 8in honour of ,s4 ,lawrence10 a long inscription on the edge showing that it was given by ,hugh ,gargate1 ,lord of the ,manor in the reign of ,king ,john 7about #abaj71 and ,sybilla his wife4 ,such an inscription is very rare at this early date2 and it is interesting to note that it is in plain ,roman or ,saxon capital letters1 whereas all the later inscribed bells have what are known as ,gothic or ,lombardic letters1 which came in about the end of the thirteenth century4 ,most counties possess examples of these long1 narrow bells2 they are specially common in ,shropshire and ,northumberland4 99 99 99 99 99 ,the earliest bells were probably not cast1 but made of metal plates riveted together1 like the modern cow-bell4 ,not a few bells of this kind have been unearthed at different times1 but they are all mere hand-bells of very remote date1 i4e41 before the ,norman ,conquest1 and the process of casting must have been introduced in very early times into ,england4 ,bell-metal is a compound of copper and tin1 in varying proportions1 but usually three to four parts of copper to one part of tin4 ,the former metal adds strength and tenacity to the bell1 the latter brings out its tone4 ,the popular superstition that silver improves the tone of bells is not only entirely baseless1 but in point of fact it has just the opposite effect6 ,the numerous stories which are current1 of silver being thrown into bells at their casting1 of which ,great ,tom of ,lincoln is an example1 must therefore be discredited4 ,in recent years steel bells have been made by one ,english firm1 but they are only one degree less objectionable than the tubes of metal which are sometimes also dignified by the name4 ,the process of casting a bell1 as employed both by ancient and modern founders1 may be described somewhat as follows3--,the first business is the construction of the core1 a hollow cone of brick somewhat smaller than the inner diameter of the intended bell1 over which is plastered a specially-prepared mixture of clay1 bringing it up to the exact size and shape of the interior of the bell4 ,this was usually modelled with the aid of a wooden 8crook10 something like a pair of compasses2 but is now done with an iron framework called a 8sweep10 which revolves on a pivot and moulds the core by means of metal blades4 ,this clay mould is then baked hard by means of a fire lighted within it4 ,the next stage was the construction of the cope or outer casing of the mould1 which used to be also made in hard clay1 its inner surface following the outer shape and dimensions of the bell4 ,the 8thickness0 of the bell itself1 i4e41 the part to be occupied by the molten metal1 was formed in a friable composition which was laid over the core and then destroyed4 ,in modern times the 8thickness0 has been dispensed with1 the cope being formed by lining a casing of cast iron with clay shaped to the external form and dimensions of the bell4 ,the mould is now complete1 except for providing for the cannons or metal loops which attach the bell to the stock1 and the loop to which the clapper is suspended inside4 ,every care having been taken to adjust the respective positions of the cope and core with exactness1 the molten metal is then poured in through an opening1 and left to cool1 after which the bell comes out complete4 ,the process is analogous to that known as cire perdu1 employed by sculptors for the casting of bronze statues4 ,illustrations of the moulding processes are given in ,plates #f-aj4 ,inscriptions and ornaments are produced in relief on the bell from stamps1 also in relief1 which are pressed into the mould1 making a hollow impression in it4 ,copies of coins were often produced in this way by the older founders4 ,down to about the end of the seventeenth century each letter1 or sometimes each word1 was placed on a separate patera or tablet of metal4 ,the usual place for the inscription is just below the 8shoulder0-angle2 but modern founders prefer the middle or 8waist40 ,illustration3 ,plate #d4 ,,the ,,blessing ,,of ,,two ,,bells ,,newly ,,hung ,,in ,a ,,church ,,tower4 ,from a ,,ms4 ,pontifical of the fifteenth century4 7,see page #f47 ,a very interesting illustration of these processes is given in the famous bell-founder's window in the north aisle of ,york ,minster1 dating from the fourteenth century1 part of which is here reproduced4 ,the window is divided into three lights1 each having five compartments1 and in each light is a large principal subject surrounded by ornamentation in the form of bells1 grotesque animals1 and other devices1 with two rows of bells hanging in trefoil-headed arches above4 ,in the central compartment of the middle light 7,plate #ac7 the subject is the blessing by an archbishop of the bell-founder1 who kneels in a supplicating attitude2 in his hands is a scroll inscribed with his name1 ,,richard ,,tunnoc1 and under the canopy above the group a bell is suspended4 ,the other two lights have as their main subjects scenes from the actual processes of bell-founding4 ,in the left-hand light 7,plate #i7 we have the forming of the inner mould or 8core10 as already described4 ,one figure is turning it with a handle like that of a grindstone1 while another moulds the clay to its proper form with a long crooked tool4 ,the core rests on two trestles1 between the legs of which two completed bells are seen2 above are a bell and a scroll with the founder's name4 ,in the right-hand window 7,plate #aj7 are three figures engaged in running the molten metal1 which is coloured red4 ,the metal is kept heated in the furnace by means of bellows1 worked by two boys1 while the chief workman watches the molten stream running into the mould4 ,the next process1 in the case of a 8ring0 of bells1 is the tuning which is generally necessary1 though sometimes the founder is fortunate enough to turn out what is known as a 8maiden peal40 ,formerly this was done by chipping the inside of the bell or cutting away the edge of the lip4 ,but it is now more effectively accomplished by a vertical lathe1 driven by steam4 ,the modern bell-founder can attain to much greater exactness in this respect1 because it is now recognized that there is a regular ratio between the weight of a bell and its diameter1 and that a certain size or weight implies a certain musical note4 ,thus for a ring of eight in the key of ,f1 the weight of the tenor would be #ad cwt41 and its diameter at the mouth reckoned at #db inches1 the treble #e cwt41 and its diameter #bi inches4 ,the frames are made separately1 and the bells hung on them in the tower with their headstocks already attached#a2 until recently all these fittings were made of wood1 and iron or brass were only used for the smaller parts1 but it is now the custom of some founders to employ iron frames1 and even iron stocks1 which may be an improvement in lightness and stability1 or for ringing purposes1 but are hardly so in appearance4 ,illustration3 ,plate #e4 ,photo by ,j4 ,glover1 ,pershore4 ,,late ,,norman ,,bell-,,turret 7,,about #aahj7 ,,at ,,wyre ,,church1 ,,worcestershire4 ,there are openings for two bells1 but only one is now used4 7,see page #h47 ,,chapter ,,ii ,the ,english ,bell-founders ,in early mediaeval times it is probable that bell-founding was largely the work of the monastic orders4 ,it was regarded rather as a fine art than a trade1 and ecclesiastics seem to have vied in producing the most ingenious and recondite ,latin rhyming verses to adorn their bells4 ,s4 ,dunstan1 whose skill as a smith is familiar to all1 is known to have been instrumental in hanging1 if not in casting bells2 and at ,canterbury he gave careful directions for their correct use4 ,s4 ,ethelwold1 ,bishop of ,winchester #ifc-ihd1 cast bells for ,abingdon ,abbey4 ,in the museum at ,york there is a mortar of bell-metal cast by ,friar ,william de ,towthorpe1 with the date #acjh 7,plate #aa72 but this belongs to later times1 when a class of professional founders had sprung up1 and is therefore exceptional4 ,we read1 however1 of ,sir ,william ,corvehill1 a monk of ,wenlock ,priory1 who died shortly after its dissolution1 in #aedf1 that he 8could make organs1 clocks1 and chimes10 and was 8a good bell-founder and maker of the frames for bells40 ,it has not been possible to trace his work in any existing bells4 ,illustration3 ,plate #f4 ,,inner ,,moulds ,,or ,,cores ,,for ,,casting ,a ,,ring ,,of ,,eight ,,bells4 7,see page #ad47 ,from time to time1 however1 we hear of professional bell-founders1 as they may be termed1 and even in the thirteenth century foundries appear to have been started in ,london1 ,bristol1 ,gloucester1 and ,york4 ,the ,london 8belleyeteres10 as they are called1 early attained a position of importance4 ,many of them are mentioned in contemporary records of the fourteenth century2 of others we have the existing wills1 which enable us to trace the succession from one generation to another2 and again the names of several occur on bells of this period1 contrary to the usual mediaeval practice4 ,in the days when work for the ,church was a labour of love1 less importance was attached to self-advertisement2 though the student of the past may regret this in some measure if it deprives him of information he wishes to acquire4 ,the first ,london founders of note were a family of the name of ,wymbish1 residing in ,aldgate1 which was always the bell-founders' quarter1 as the still existing name of ,billiter 7or ,belleyetere7 ,street implies4 ,there were three ,wymbishes--,richard1 ,michael1 and ,walter--covering the period #abij-acaj4 ,richard cast bells for the neighbouring ,priory of the ,holy ,trinity1 and has left his name at ,goring1 in ,oxfordshire1 and on other bells in ,essex1 ,kent1 ,northants1 and ,suffolk2 ,michael cast five bells still remaining in ,bucks2 and ,walter1 one in ,sussex4 ,other important founders of this century are ,peter de ,weston1 ,william ,revel1 and ,william ,burford4#b ,john and ,william ,rufford1 who may have had their foundry at ,bedford1 were known as 8,royal bell-founders10 and placed upon their bells the heads of the reigning ,king1 ,edward ,,iii1 and his consort1 ,philippa4 ,these stamps have a very curious history2 and were successively the property of founders at ,king's ,lynn1 ,worcester1 ,leicester1 and ,nottingham4 ,at the latter place they remained in use from about #adjj down to the end of the eighteenth century2 and their last appearance is in #ahjf1 on a bell at ,waltham ,abbey1 cast by ,briant of ,hertford4 ,between #acgj and #ache there was a founder in ,kent whose name was ,stephen ,norton2 he used very richly-ornamented letters1 which may be seen on one of the old bells of ,worcester ,cathedral1 cast by him when the tower was rebuilt4 ,the other principal foundries of this century were at ,king's ,lynn1 ,gloucester1 and ,york4 ,the ,gloucester foundry was successively in the hands of 8,sandre of ,gloucester0 7#acjj-acbj7 and 8,master ,john of ,gloucester0 7#acdj-acej74 ,the latter's reputation apparently extended to ,east ,anglia1 as in #acdg he was commissioned to cast six new bells for the ,cathedral at ,ely1 which were conveyed thither from ,northampton by way of the ,nene and ,ouse4 ,the largest bell1 called 8,,iesvs10 weighed nearly two tons1 and the fourth was named 8,walsingham10 after the famous ,prior ,alan who constructed the central octagon of the cathedral4 ,illustration3 ,plate #g4 ,,outer ,,moulds ,,or ,,copes ,,for ,,casting ,a ,,ring ,,of ,,eight ,,bells4 7,see page #ad47 ,of the ,york founders1 the most famous is ,richard ,tunnoc1 commemorated in the remarkable 8,bell-founder's window0 already described 7,plate #ac74 ,he was ,m4,p4 for the city in #acbg1 and died in #accj4 ,the names of other known founders of this city extend from ,johannes de ,copgrave1 in #aaej1 down to the time of the ,reformation4 ,a bell at ,scawton1 in the ,north ,riding1 has been thought to be the work of ,copgrave1 and1 if so1 is by far the earliest existing church bell in ,england1 if not in ,europe4 ,in the fifteenth century 7with which we may include the whole period down to the ,reformation7 the bell-foundries increase not only in importance but in numbers2 and those already mentioned find rivals springing up at ,reading and ,wokingham1 ,exeter1 ,bristol1 ,leicester1 ,norwich1 ,nottingham1 ,bury ,st4 ,edmunds1 ,salisbury1 and ,worcester4 ,the character of the inscriptions now changes1 and in most cases 7though not invariably7 we find 8black-letter smalls10 with initial capitals1 substituted for the old ,gothic capitals used throughout4 ,there is also a great increase in the number and variety of the crosses and other ornamental devices used by the founders1 and many introduce foundry-shields or trade-marks1 with quasi-heraldic or punning devices4 ,the ,london foundries1 however1 still maintain their place at the head of the craft1 and their bells are found all over ,england from ,northumberland to ,cornwall4 ,two founders of the fifteenth century1 ,henry ,jordan and ,john ,danyell1 whose date is about #adej-adgj1 cast between them about two hundred bells still existing4 ,these are adorned with some beautiful and ingenious devices1 such as an elegant cross surrounded by the words ihu merci ladi help 7,plate #ad7 and the ,royal ,arms surmounted by a crown4 ,jordan's foundry-shield bears1 among other devices1 a bell and a laver-pot as symbolical of his trade1 and a dolphin with reference to his membership of the ,fishmongers' ,company4 ,another remarkable device 7,plate #ad7 is that used by ,william ,culverden 7#aeaj-aebc71 with a rebus on his name 7culver 8pigeon074 ,thomas ,bullisdon is remarkable as having cast a ring of five bells for the ,priory of ,s4 ,bartholomew in ,smithfield about #aeaj1 all of which still exist there4 ,to tell of the works of ,roger ,landen of ,wokingham1 ,robert ,hendley of ,gloucester1 ,john of ,stafford 7a ,leicester founder71 ,robert ,norton of ,exeter1 or the ,brasyers of ,norwich1 would require a volume4 ,i can only note some interesting features of their work4 ,the ,brasyers seem to have been the most successful workers outside ,london1 and no less than one hundred and fifty of their bells still exist in ,norfolk4 ,their trade-mark was a shield with three bells and a crown1 which after the ,reformation went to the ,leicester foundry1 and some of their inscriptions1 in rhyming hexameters1 are very beautiful4 ,a ,bristol founder of about #adej used for his mark a ship1 the badge of his native city4 ,the ,bury founders were also gun-makers1 and place on their trade-mark a bell and a cannon1 with the crown and crossed arrows of ,s4 ,edmund4 ,illustration3 ,plate #h4 ,,moulds ,,ready ,,for ,,casting4 ,the inner and outer moulds clamped together2 the molten metal is poured in through an aperture at the top4 7,see page #ad47 ,very few bells of this period are dated2 but we find examples at ,worcester1 perhaps cast by the monks there1 with the dates #adhj and #adhb2 and at ,thirsk 7#adaj71 on a bell which is said to have come from ,fountains ,abbey4 ,there are also some bells in ,lincolnshire1 dated #adbc and #adca1 by an unknown founder1 but remarkable for the extraordinary beauty of the lettering 7,plate #cf74 ,dated mediaeval bells are more commonly from foreign sources1 as at ,baschurch1 in ,shropshire1 where is a ,dutch bell by ,jan van ,venlo1 dated #addg1 which is said to have come from ,valle ,crucis ,abbey4 ,at ,whalley ,abbey1 in ,lancashire1 is a ,belgian bell of #aecg1 by ,peter van den ,ghein1 and at ,duncton1 in ,sussex1 a ,french bell dated #acfi4 ,the period of the ,reformation1 down to about #afjj1 was1 as has been said1 8a real bad time for bell-founders10 and several of the important foundries1 as at ,bristol1 ,gloucester1 and elsewhere1 appear either to have been closed for a time or died out altogether4 ,the chief cause of this was doubtless the dissolution of the monasteries1 coupled with the operations of ,edward ,,vi's commissioners1 large numbers of bells being sold or converted into secular property4 ,these were distributed among the parish churches1 and many instances may be traced of second-hand bells still existing1 as at ,abberley1 in ,worcestershire1 where there is an ancient bell from a ,yorkshire monastery4 ,it should also be remembered that very little church-building was done in the latter half of the century4 ,on the other hand1 the statement which has gained some currency1 that the commissioners only left one bell in each parish church1 is not borne out by facts4 ,many churches still possess three or even four mediaeval bells which must have hung untouched in their towers before and since the reign of ,edward ,,vi4 ,but this lapse in bell-founding was not invariable2 the foundries at ,leicester1 ,nottingham1 ,bury ,st4 ,edmunds1 and ,reading actually seem to have received a new lease of life1 and #aefj-afjj is almost their most flourishing period4 ,this is especially the case at ,leicester1 where a well-known family named ,newcombe were at work1 succeeded by an equally celebrated founder named ,hugh ,watts1 whose fine bells were deservedly famous4 ,at ,nottingham we have the dynasty of the ,oldfields1 lasting from #aeej to #agaj2 and at ,reading a series of founders of different names1 ending in a succession of ,knights down to #agjj4 ,the ,hatches of ,ulcombe1 in ,kent1 were another prosperous family1 as were the ,eldridges of ,chertsey4 ,illustration3 ,plate #i4 ,,forming ,,the ,,mould4 ,part of the ,bell ,founder's ,window in ,york ,minster4 7,see page #af47 ,at ,bury ,st4 ,edmunds1 one ,stephen ,tonne reigned from #aefj to #aehj4 ,his foundry was1 however1 destined to yield to the sway of that at ,colchester1 which begins with ,richard ,bowler about #aeij1 and reached its culmination between #afbj and #afdj1 under the great ,miles ,graye1 who has been called 8the prince of bell-founders40 ,numbers of his bells remain in ,essex and ,suffolk1 his masterpiece being1 by common consent of ringers1 the tenor at ,lavenham1 in ,suffolk4 ,at ,colchester1 as in other foundries1 the seven years of storm and stress--#afdb-afdi--while the ,civil ,war between ,charles ,i and the ,parliament raged in ,england1 practically put an end to bell-founding4 ,siege and other troubles certainly hastened the end of old ,miles ,graye1 who died in #afdi1 worn out by privation and bodily suffering4 ,his grandson ,miles kept on the foundry until #afhf4 ,turning to the ,west of ,england1 we find the foundries at ,bristol1 ,gloucester1 ,worcester1 and ,salisbury still in a flourishing condition4 ,at ,bristol ,george ,purdue1 a native of ,taunton1 was followed by ,roger and ,william ,purdue in the seventeenth century2 the latter migrated to ,salisbury about #afee1 where he carried on the work of ,john ,wallis and ,john ,danton4 ,thomas ,purdue1 the last of the family1 died at ,closworth1 in ,somerset1 in #agaa1 and on his tombstone are the words-- 8,,here ,,lies ,a ,,bellfounder1 ,,honest ,,and ,,true1 ,,until ,,the ,,resurrection1 ,,named ,,purdue40 ,in the ,west of ,england their place was filled by the ,penningtons of ,exeter1 the ,evanses of ,chepstow1 and the ,bilbies of ,chew-,stoke1 ,somerset4 ,the ,keenes of ,bedford and ,woodstock1 ,john ,palmer of ,gloucester1 and ,john ,martin of ,worcester1 all did good work in their day1 as did the ,cliburys of ,wellington1 in ,shropshire4 ,another important ,midland firm was that of the ,bagleys1 of ,chacomb1 in ,northamptonshire1 whose foundry was opened in #afca1 and flourished till the end of the eighteenth century2 though in the latter period its owners became restless1 and settled temporarily in ,london1 ,witney1 and other places4 ,in the ,north1 ,york was again the chief bell-founding centre1 and ,samuel ,smith and the ,sellers were famous exponents of the art2 in the ,east of ,england we have1 besides ,miles ,graye1 first the ,brends of ,norwich1 then ,john ,darbie of ,ipswich1 and ,thomas ,gardiner of ,sudbury4 ,several founders between #aefj and #agjj were mere journeymen1 who went about from place to place1 doing jobs where they could4 ,of such was ,michael ,darbie1 of whom it is said1 8one specimen of his casting seems to have been enough for a neighbourhood40 ,at ,blewbury1 in ,berkshire1 a local man attempted to recast a bell in #ahbe4 ,he failed twice1 but was then successful1 and placed on his work the appropriate motto1 ,nil desperandum4 ,apart from this1 it was not at all uncommon for bells to be cast on the spot1 as were ,great ,tom of ,lincoln and the great bell of ,canterbury1 or at some convenient intermediate place4 ,illustration3 ,plate #aj4 ,,running ,,the ,,molten ,,metal4 ,part of the ,bell ,founder's ,window in ,york ,minster4 7,see pages #af1 #ag47 ,in #afhd a fresh start was given to the ,gloucester foundry1 then fallen on bad days1 by ,abraham ,rudhall1 perhaps the most successful founder ,england has known4 ,he and his descendants cast altogether #d1eba bells down to #ahcj1 and their fame spread all over the ,west of ,england1 from ,cornwall to ,lancashire1 and even over the seas4 ,most of the big rings of bells in the ,west ,midlands are their work4 ,the foundry finally came to an end in #ahce1 when the business was bought up by ,mears of ,london4 ,in ,london itself bell-founding seems to have come almost to an end between #aecj and #aegj4 ,but about the latter year arose one ,robert ,mot1 who set on foot what is now the oldest-established business of any kind in ,england4 ,the foundry in the ,whitechapel ,road1 now only a short distance removed from its original home1 has always upheld its reputation throughout the three hundred years and more during which it has been continuously worked4 ,several of ,mot's bells still remain in ,london1 and many others in ,kent and ,essex 7,plate #ae74 ,in the seventeenth century the foundry was in the hands of ,anthony and ,james ,bartlet1 who cast many bells for ,wren's churches after the ,great ,fire4 ,in the eighteenth1 under ,phelps1 ,lester1 ,pack1 and ,chapman1 successively1 its reputation gradually increased1 and in #aghc began a dynasty of ,mearses lasting down to #ahgj4 ,the name is still preserved by the firm of ,mears and ,stainbank1 though neither a ,mears nor a ,stainbank now owns a share in the business4 ,an illustration of their bells is given in ,plate #af4 ,their great rivals of modern times1 the ,taylors of ,loughborough1 cannot emulate them in antiquity1 though they can still boast a respectable pedigree1 dating from ,thomas ,eayre of ,kettering1 in #agca4 ,after moving to ,s4 ,neots1 ,leicester1 and ,oxford1 the firm finally settled1 about #ahdj1 under ,john ,taylor1 at ,loughborough1 where his grandsons now carry on the business4 ,illustrations of their bells are given in ,plates #ag-ba4 ,illustration3 ,plate #aa4 ,,the ,,mortar ,,of ,,friar ,,towthorpe4 7,see page #ba47 ,,chapter ,,iii ,big ,bells2 ,carillons and ,chimes2 ,campaniles ,bells of exceptional size1 styled in ,latin ,signa1 are no new invention of the founder's art4 ,it speaks much for the skill of the mediaeval craftsman that he should have been able to cast giant bells which not only rivalled the chefs-d'oeuvre of our own day1 but1 as objects of beauty1 certainly surpassed them4 ,in the twelfth century a 8tenor0 was added by ,prior ,wybert to ,prior ,conrad's great ring of five at ,canterbury ,cathedral1 which bell1 it is said1 took thirty-two men to ring it4 7,this was achieved by placing them on a plank fastened to a stock1 by which means it was set in motion47 ,it was1 however1 surpassed by another cast in #acaf1 in memory of ,s4 ,thomas of ,canterbury4 ,this weighed over #c tons1 but was broken in the fall of the campanile1 #achb1 and was replaced in #adei by a slightly heavier bell1 cast in ,london1 and dedicated in honour of ,s4 ,dunstan4 ,its successor1 a re-casting by ,lester and ,pack of ,london1 in #agfb1 stills hangs in the south-west tower1 and is used for the clock and for tolling4 ,the cathedral of ,exeter was furnished with two bells which deserve the title of great2 but one1 the tenor of the old ring of seven1 does not strictly come within the limits of this chapter1 which deals with single bells4 ,all these old bells had names1 some derived from their donors1 and the tenor was called ,grandison1 from the bishop by whom it was given about #acfj4 ,its successor1 cast in #aijb1 by ,taylor of ,loughborough1 weighs about #c tons 7,plate #ah74 ,the other1 ,great ,peter of ,exeter1 hangs in the north tower1 and was the gift of ,bishop ,peter 7,courtenay7 in #adhd4 ,it has been twice re-cast1 and the present bell is the work of the ,thomas ,purdue mentioned in the previous chapter1 dated #afgf4 ,the founder attempted to preserve the old mediaeval inscription1 ,plebs patri plaudit dum petrum plenius audit 8,the people of the country applaud when they hear ,peter's full sound10 but only found room for the first five words4 ,from the style of the inscription we gather that it was originally cast at the ,exeter foundry4 ,its weight is given as #f tons1 but according to another estimate is not more than four4 ,there is a rival 8,great ,peter0 at ,gloucester1 and here the original bell still survives1 the only mediaeval signum which we still possess4 ,it bears the inscription1 ,me fecit fieri conventus nomine petri 8,the monastery had me made in ,peter's name10 together with two shields1 one charged with three bells1 the other with the arms of the abbey4 ,it may have been cast by the monks1 as it bears no known foundry-stamps1 but the expression 8had me made0 seems to imply otherwise4 ,its weight is #b tons #ah cwt4 ,yet another1 but a modern 8,great ,peter10 is that of ,york ,minster1 cast in #ahde1 and weighing #ab tons4 ,it is the second largest church bell in ,england4 ,illustration3 ,plate #ab4 ,,bell ,,by ,,an ,,early ,,fourteenth-,,century ,,london ,,founder4 ,with inscription in ,gothic capitals4 7,see page #bd47 ,from 8,great ,peters0 we pass to 8,great ,toms40 ,of these there are two famous examples1 one at ,lincoln ,cathedral1 the other at ,christ ,church1 ,oxford4 ,the ,lincoln ,tom1 which hangs in the central tower of the cathedral1 does not appear in records before #afaj1 in which year it was re-cast by ,henry ,oldfield of ,nottingham1 and ,robert ,newcombe of ,leicester4 ,it was cast in the minster yard1 and weighed #d tons #h cwt4 ,in course of time it was found to be too heavy for the tower1 and was 8clocked10 or tied down1 as a contemporary journalist describes it1 in #ahjb3 8,he has been chained and riveted down1 so that instead of the full mouthful he hath been used to send forth1 he is enjoined in the future merely to wag his tongue40 ,the result was inevitable1 and in #ahbg 8he0 was reported cracked1 which led to his being re-cast by ,mears of ,whitechapel in #ahce4 ,great ,tom of ,christ ,church1 which now hangs in the tower over the gateway1 originally came to the newly-founded 8,,house ,,of ,,christ0 from the despoiled ,abbey of ,oseney4 ,six other bells were brought with it1 of which two still hang in the 8meat-safe0 belfry4 ,antony ,wood1 the ,oxford chronicler1 tells us that it bore the inscription3 ,,in ,,thomae ,,lavde ,,resono ,,bimbom ,,sine ,,fravde 8,in the praise of ,thomas ,i sound #8,bimbom' without guile40 ,thrice unsuccessfully recast between #afab and #afhj1 it is in its present form the work of ,christopher ,hodson1 a ,london founder1 who placed upon it a long inscription beginning with the words1 ,,magnus ,,thomas 78,great ,tom074 ,oxonians will remember the ringing of the bell every night at nine o'clock4 ,among other great bells of historical interest we may mention that which hangs in the south tower of ,beverley ,minster4 ,it survived from mediaeval times until so recent a date as #aijb1 when it was re-cast by ,messrs4 ,taylor of ,loughborough the weight being no less than #g tons 7,plate #ai74 ,the old bell was probably cast at ,leicester about #acej1 and bore some of the most beautiful lettering ever designed by mediaeval craftsmen 7,plate #cf74 ,another of ,messrs4 ,taylor's great works is the great bell of ,tong1 in ,shropshire 7,plate #bj71 originally given by ,sir ,harry ,vernon1 in #aeah1 to be tolled 8when any ,vernon came to ,tong40 ,it was recast in #agbj1 and again in #ahib1 its present weight being #b tons4 ,it was dedicated to ,,ss4 ,mary and ,bartholomew4 ,another great mediaeval bell1 only recently recast1 deserves mention here1 though strictly speaking1 the tenor of a ring1 and not a signum4 ,this is the magnificent tenor at ,brailes1 in ,warwickshire1 richly ornamented with shields1 crowns1 and other devices1 cast by ,john ,bird of ,london1 about #adbj4 ,it bore a beautiful inscription taken from an old ,ascension ,day hymn4 ,greatly to the credit of the local authorities1 the inscription and ornaments were exactly reproduced from the old cracked bell on its successor1 an admirable piece of work executed in #ahgg by ,messrs4 ,blews of ,birmingham4 ,the bell weighs about #b tons4 ,illustration3 ,plate #ac4 ,,blessing ,,the ,,donor ,,of ,,the ,,bell4 ,part of the ,bell ,founder's ,window in ,york ,minster4 7,see page #bf47 ,among great modern bells the hour-bell at ,worcester ,cathedral1 cast by ,taylor in #ahfh1 and weighing #d tons1 deserves special mention1 as does a bell at ,woburn1 ,bedfordshire1 the work of ,mears and ,stainbank of ,london1 in #ahfg1 weighing nearly #c tons4 ,the former bears an inscription taken from ,ephesians v4 #ad1 and the letters used are copied from those on the beautiful ,lincolnshire fifteenth-century bells mentioned in the previous chapter 7p4 #cb74 ,but the chief masterpiece of recent founding is ,messrs4 ,taylor's 8,great ,paul0 at ,s4 ,paul's ,cathedral1 which holds the reputation of the largest bell in ,england 7,plate #ba74 ,it has1 however1 a rival in the hour-bell of the same cathedral1 which has a more lengthy history4 ,there was once at ,westminster a famous bell known as 8,great ,tom10 which hung in a clock-tower opposite ,westminster ,town ,hall1 but was removed to ,s4 ,paul's at the end of the seventeenth century4 ,this bell was famous for its connection with the story told of a sentinel at ,windsor ,castle in the reign of ,william ,,iii1 who was accused of sleeping at his post4 ,he defended himself by stating that he had heard the ,westminster bell strike thirteen at midnight1 and this brought about his acquittal4 ,though the truth of the story has often been doubted1 the striking thirteen is1 mechanically1 quite possible4 ,it is said that this bell was originally given by ,edward ,,iii in honour of the ,confessor4 ,on the way to ,s4 ,paul's it was cracked by a fall1 and eventually it was recast by ,richard ,phelps1 of ,whitechapel1 in #agaf 7,plate #bb74 ,it now hangs in the south-west tower1 and is used for striking the hour1 and for tolling at the death of various great personages4 ,its weight is #e tons #d cwt4 ,illustration3 ,plate #ad4 ,,stamps ,,used ,,by ,,london ,,founders4 ,ornamental ,cross used by ,henry ,jordan of ,london 7#adfj74 ,with the words 8ihu merci ladi help0 and trade mark of ,william ,culverden of ,london 7#aeaj-bj71 with the words 8,in d'no co'fido0 and a rebus on his name4 7,see pages #bi1 #ajf47 ,great ,paul is the masterpiece of ,messrs4 ,taylor1 8one of ,loughborough's glories10 says ,dr4 ,raven4 ,it hangs in the same tower1 below ,phelps' bell1 and weighs #af tons #ad cwt41 the diameter at the mouth being #i feet4 ,it was cast in #ahha1 and simply bears the founders' trade-mark and the words 7said to have been selected by ,canon ,liddon7 from #a ,corinthians ix4 #af3 ,,vae ,,mihi ,,si ,,non ,,evangelisavero 8,woe unto me if ,i preach not the ,gospel40 ,it is used for a few minutes before ,sunday services1 and at certain other times4 ,a description of ,s4 ,paul's bells is hardly complete without an allusion to the great ring of twelve cast by ,taylor in #ahgg1 and placed in the north-west tower1 the tenor weighing over #c tons4 ,they were given by the ,city ,companies and the late ,baroness ,burdett-,coutts4 ,in addition there are a 8service bell10 cast in #agjj1 and two quarter-bells of #agag for the clock4 ,among other great ,london bells are the ring of ten at the ,imperial ,institute1 cast by ,taylor in #ahhg1 and the tenors of the rings at ,southwark ,cathedral1 ,s4 ,mary-le-,bow1 ,s4 ,michael1 ,cornhill1 ,s4 ,giles1 ,cripplegate1 and other famous towers2 those mentioned are all from rings of twelve1 and weigh #b tons or more4 ,the old campanile at ,westminster1 built by ,edward ,,iii1 originally contained three 8great bells02 it was pulled down in #afih1 and we have followed the history of one of these bells1 but the others disappeared4 ,they had no successor until #ahef1 when the late ,lord ,grimthorpe 7then ,mr4 ,denison71 an enthusiast for clocks and bells1 designed a great bell for the clock tower of the ,houses of ,parliament4 ,it was called 8,big ,ben10 either after ,sir ,benjamin ,hall1 who was then ,first ,commissioner of ,works1 or after a noted boxer of the time named ,benjamin ,brain4 ,its original founders were ,messrs4 ,warner of ,london1 but being sounded in ,palace ,yard with a hammer1 for the amusement of the public before being hung1 it was very soon cracked4 ,in #aheg a new bell was cast by ,george ,mears of ,whitechapel1 from an improved design1 and containing less metal4 ,its weight is given at #ac tons4 ,shortly after its casting ,big ,ben gave way1 but after being quarter-turned1 could be once more utilized for striking the hours4 ,its tone1 however1 is anything but satisfactory1 and one is forced to the opinion that these excessively large bells1 very difficult to cast and awkward to manipulate1 are apt to prove great mistakes4 ,,chimes ,sets of chimes1 or arrangements for playing tunes on bells1 existed in ,england even in mediaeval days2 but they are nowadays regarded as a speciality of ,belgium1 and the famous carillons of ,antwerp1 ,bruges1 and ,mechlin are well known to many a traveller4 ,but it is not our province to speak of these1 and it may be of some interest to see what use has been made of such arrangements in ,england4 ,dr4 ,raven1 in his fascinating book1 ,the ,bells of ,england1 tells us that the machinery of the carillon was a recognized thing in the middle of the fifteenth century1 and quotes from the will of ,john ,baret of ,bury ,st4 ,edmunds1 who died in #adfc1 and gave directions for the playing of a ,requiem aeternum for his dirge at noon for thirty days after his death1 and on each 8mind-day10 or anniversary1 to be continued during the octave4 ,the sexton was also to 8take heed to the chimes and wind up the pegs and the plummets0 as required4 ,the music of this ,requiem1 we are told1 only compassed five notes1 and must have been somewhat wearisome to the good people of ,bury4 ,in old churchwardens' accounts1 as at ,ludlow or ,warwick1 we find frequent references to the repair or upkeep of the chimes4 ,illustration3 ,plate #ae4 ,,bell ,,by ,,robert ,,mot ,,of ,,london 7#aege-afjj71 ,the first owner of the ,whitechapel ,foundry1 where it had been for some years preserved1 but is now broken up4 7,see page #dj74 ,the principle of the carillon is similar to that of a barrel-organ or musical-box1 implying a barrel or drum1 set with pegs1 and set in motion by being connected with the mechanism of the clock4 ,the pegs1 as they turn1 raise levers which pull wires in connection with the hammers which strike on the bells4 ,with the ordinary eight bells of an ,english belfry it is obvious that only a limited choice of tunes within the compass of an octave is possible1 and that they can only be played in one key on single notes4 ,the ,belgian carillons have sometimes forty or fifty bells in communication with a key-board like that of an organ1 and tunes can therefore be played on them in harmony4 ,there are a few carillons of this type in ,england1 the best known being at ,boston1 in ,lincolnshire1 and at ,cattistock1 in ,dorset1 but usually the ordinary bells are employed1 as at ,worcester ,cathedral and in many towns4 ,at the ,reformation chimes largely died out1 but with the ,restoration they revived1 and we hear of them at ,cambridge1 ,grantham1 and elsewhere4 ,another kind of chime which may here be mentioned is that employed for striking the quarters for the clock4 ,here1 of course1 no mechanism is required beyond the connecting-wire which raises the hammer and drops it on the bell4 ,of such chimes the best known are the ,cambridge ,quarters1 put up in ,great ,s4 ,mary's ,church in #agic4 ,they were composed by ,dr4 ,jowett1 the ,regius ,professor of ,laws1 assisted by the composer ,crotch1 who was then only eighteen4 ,the latter is said to have adapted a movement in the opening symphony of ,handel's 8,i know that my ,redeemer liveth10 for the purpose4 ,the practice sometimes adopted nowadays of playing hymn tunes on bells by means of ropes tied to the clappers is a miserable substitute for the mechanical contrivance4 ,it not only causes agonies to the musical ear by the unavoidable occurrence of false notes1 but is only too likely to lead to the destruction of the bells altogether1 as the result of the 8clocking10 of which ,i shall have more to say later4 ,,campaniles ,we have seen that it is the normal rule in ,england for bells to be placed in towers forming part of the structure of churches2 or rather it should be said that towers for containing the bells were regarded as an essential feature in the construction of a church from the ,saxon period onwards4 ,over the greater part of the ,continent the same also holds good2 but in ,italy we find detached bell-towers1 or campaniles1 to be of frequent occurrence4 ,the most familiar examples in that country are the campanile of ,s4 ,mark's at ,venice1 and that built by ,giotto at ,florence4 ,there are many others in ,northern ,italy1 especially at ,bologna1 and at ,ravenna1 where the churches are of great antiquity4#c ,illustration3 ,plate #af4 ,a ,,ring ,,of ,,eight ,,bells4 ,recently cast at the ,whitechapel ,foundry for ,uckfield1 ,sussex4 7,see page #da74 ,nor are such campaniles altogether unknown in ,england4 ,in mediaeval times they were attached to several of our cathedral churches1 as1 for instance1 ,old ,s4 ,paul's1 ,chichester1 ,salisbury1 and ,worcester4 ,the bells of ,old ,s4 ,paul's were traditionally gambled away by ,henry ,,viii in #aecd1 and the campanile at ,worcester did not survive the ,reformation2 but that at ,salisbury1 a most picturesque structure1 with a wooden upper storey and spire1 was wantonly destroyed in #aggg because the bells were misused6 ,that at ,chichester alone remains1 a fine ,perpendicular erection1 at the north-west angle of the cathedral 7,plate #bd74 ,at ,king's ,college1 ,cambridge1 a noble peal of five bells hung in a low wooden belfry on the north side of the chapel1 which was destroyed when the bells were sold and melted down in #aged 7,plate #be74 ,detached towers are not uncommon features of our parish churches in some parts of ,england1 particularly in ,herefordshire and ,norfolk4 ,the best examples are at ,berkeley1 ,gloucestershire2 ,ledbury1 ,herefordshire2 ,west ,walton1 ,norfolk2 and ,beccles1 ,suffolk4 ,some churches1 again1 can only boast wooden detached belfries of moderate height to hold their bells1 as at ,pembridge in ,herefordshire1 ,brooklands in ,kent1 and ,east ,bergholt in ,suffolk 7,plate #bf74 ,the belfry at the last-named place is no more than a mere shed1 and more than one story is told in explanation of the absence of a tower to the otherwise imposing church4 ,illustration3 ,plate #ag4 ,,the #i,,th ,,bell ,,of ,,loughborough ,,parish ,,church4 ,cast by the ,taylors of that town4 7,see page #da47 ,,chapter ,,iv ,change-,ringing ,one of the chief uses made of church bells in modern times is not strictly a religious use1 though it is more or less associated with the ,church's seasons1 particularly with ,sundays and ,christmas ,day4 ,but it has always been recognized that the secular use of bells1 within certain limits1 is permissible1 as will be further seen in the next chapter4 ,change-ringing is1 as we have already noted1 an entirely modern introduction1 and is1 moreover1 confined to ,england4 ,in pre-,reformation days we hear of guilds of ringers1 as1 for instance1 at ,westminster ,abbey1 in the reign of ,henry ,,iii1 where the brethren of the guild appear to have enjoyed their privileges since the time of ,edward the ,confessor4 ,in smaller monastic or collegiate establishments clerics in minor orders were often entrusted with the duty of ringing the bells1 as at ,tong1 in ,shropshire 7cf4 ,plate #cj74 ,but this kind of ringing was in no way scientific1 nor were the fittings of the bells adapted for ringing in the strict modern sense4 ,the accompanying diagram 7,plate #bg2 compare also ,plate #bh71 showing the way in which a modern bell is hung1 will serve to explain the method now adopted for ringing proper1 as opposed to chiming4 ,the headstock1 or wooden block to which the top of the bell is firmly fixed 7so that the bell cannot move independently of it71 revolves by means of brass pivots1 known as the 8gudgeons10 in a socket made in the top of the framework4 ,one of these pivots forms the axle of a large wooden wheel1 half the circumference of which has a groove for the rope1 one end of which is fixed in it1 the other passing through a pulley down into the ringing-chamber4 ,in mediaeval times half-wheels only were used1 but the complete wheel seems to have been introduced by the fifteenth century1 and single bells were 8rung0 in the sixteenth4 ,peal-ringing1 as we know it1 cannot be traced before the seventeenth4 ,the essential feature of ringing in peal is that the bell shall perform an almost complete revolution each time the rope is pulled1 starting from an inverted position4 ,to prevent its falling over again at the conclusion of the stroke1 a vertical bar of wood or iron1 known as the 8stay10 is fixed to the side of the stock1 which is checked by a movable bar in the lower part of the frame1 called the 8slider40 ,it is clear that in the course of each revolution the clapper will strike the side twice4 ,before the invention of the wheel1 the bell was merely sounded by means of a lever connecting the rope with the stock1 as is still done in ringing small bells1 either as 8ting-tangs10 or when hung in an open turret4 ,before the peal can be started1 the bells must be rung up or 8raised0 to the inverted position1 which the ringer achieves by a series of steady strokes1 each pull increasing in length until it is balanced2 at the end of the peal this process is reversed4 ,when bells are merely chimed they are not 8raised10 but the rope is pulled each time sufficiently to allow one stroke of the clapper4 ,by means of an ingenious apparatus invented by the late ,canon ,ellacombe1 this can now be done by one man if necessary1 the muscular effort required being reduced to a minimum4 ,but change-ringing is a real science1 and entails long and assiduous practice and considerable muscular exertion4 ,it is1 in fact1 one of the best forms of physical exercise conceivable1 and must have proved a godsend in that respect to many men whose opportunities would otherwise be limited4 ,its elementary principle is1 of course1 that the bells should be rung in succession1 but in a varying order4 ,the method in which the succession varies is the foundation of the various forms known vaguely to most of us as ,grandsire ,triples1 ,treble ,bob-,major1 and so on4 ,they are founded on a recognized arithmetical basis1 that of permutations1 or the number of arrangements possible of any given number of objects4 ,we know that three letters or numbers can be arranged in six different ways3 #abc #acb #bca #bac #cab #cba ,thus1 on three bells1 only six changes can be rung so as to vary the order each time1 and we must then begin over again4 ,with four bells we have a choice of twenty-four changes1 which might run as follows3 #abcd #cabd #dcba #dbac #bacd #acbd #dcab #dbca #bcad #acdb #dacb #bdca #bcda #cadb #adcb #bdac #cbda #cdab #adbc #badc #cbad #cdba #dabc #abdc ,this method is known as 8hunting the treble up and down10 and was invented by ,fabian ,stedman1 a ,cambridge printer1 who printed in #affg the earliest treatise on change-ringing4 ,if the above table is carefully observed1 it will be seen that the first bell1 or treble1 shifts its place by one each time1 backwards or forwards1 while the other three only change six times in all2 in other words1 if the treble was omitted it would be a peal of six changes on three bells4 ,illustration3 ,plate #ah4 ,,the ,,tenor ,,bell ,,of ,,exeter ,,cathedral1 ,,called 8,,grandison40 ,recast by ,taylor1 #aijb4 7,see page #dd47 ,when we come to rings of five1 six1 or eight bells1 these changes are1 of course1 capable of greater variety4 ,on five bells we may have #e times #bd1 or #abj changes2 on six1 #f times #abj1 or #gbj2 on eight bells1 #dj1cbj2 and so on4 ,but in actual practice it is very rare to have more than five or six thousand rung1 even if there are eight or more bells2 about #a1fjj changes can be rung in the course of an hour1 and two to three hours' consecutive work is as much as an ordinary ringer is capable of accomplishing4 ,the essential feature of each set of changes is to bring the bells round to the order in which they started2 as they would naturally do in the peal given above4 ,the result of the introduction of systematic and organized change-ringing was that companies or societies of ringers were very soon formed4 ,so early as #afjc we hear of a company known as the 8,scholars of ,cheapside10 formed in ,london4 ,in #afcg was founded a famous ,london ,society1 that of the 8,college ,youths10 probably a revival of the one just named2 its name is derived from some connection with ,sir ,richard ,whittington's ,college of the ,holy ,ghost1 near ,cannon ,street4 ,it was to them that ,stedman dedicated his ,tintinnalogia1 the work already mentioned4 ,there is still an energetic 8,ancient ,society of ,college ,youths10 but it is not certain whether it can trace an actual descent from the older society4 ,another well-known ringing society is that of the 8,cumberland ,youths10 originally 8,london ,scholars10 who changed their name in #agdf in compliment to the victor of ,culloden4 ,before leaving the subject1 may ,i venture here a protest against the absurdities perpetrated by the artists of ,christmas cards and illustrated magazines1 in the attempt to render the form of a bell and the method in which it is rung8 ,it is certain that few can ever have visited either belfry or ringing-chamber6 ,plate #bi gives a more truthful rendering of the method of ringing4 ,it may be fairly claimed as one of the far-reaching effects of the ,church ,revival that the conditions of our belfries and the conduct of our ringers will compare very favourably with what it was some forty or fifty years ago4 ,where the more accessible portions of the fabric were given over to dirt and neglect1 and slovenliness was the chief feature of all ordinary forms of worship1 it was hardly surprising that the towers and their internal arrangements were neglected1 and frequently given over to more secular uses4 ,nor was this merely a result of the general laxity and indifference of the 8dead0 period in the ,church4 ,there are not wanting signs that in the seventeenth century the standard of discipline among ringers was not high4 ,we may recall how ,john ,bunyan1 at one time an enthusiastic member of the ringing company of ,elstow1 was constrained to abandon the pursuit1 along with other enjoyments1 as not tending to edification4 ,that conviviality reigned in the belfry in those days is shown by the use of ringers' jugs1 some of which still exist1 in which large quantities of beer were provided1 and by the frequent entries in parish accounts of money spent on beer for the ringers4 ,one of the bells at ,walsgrave1 in ,warwickshire 7dated #agjb7 has the inscription3 8,hark do you hear8 ,our clappers want beer10 evidently intended for a gentle hint that the ringers suffered from thirst6 ,illustration3 ,plate #ai4 8,,great ,,john ,,of ,,beverley40 ,a fourteenth-century bell recast by ,taylor1 with old lettering reproduced4 7,see pages #di1 #aaf1 #aee47 ,at the same time there was a feeling that the actual ringing should be properly carried out1 which finds vent in the numerous 8,ringers' ,rules10 mostly dating from the eighteenth century1 which may be seen painted up on the walls of our belfries4 ,they all follow very much on one pattern1 and one of the best versions is at ,tong1 in ,shropshire1 which may be given as an example-- 8,if that to ,ring you doe come here ,you must ring well with hand and eare4 ,keep stroak of time and goe not out2 ,or else you forfeit out of doubt4 ,our law is so concluded here ,for every fault a jugg of beer4 ,if that you ,ring with ,spurr or ,hat ,a jugg of beer must pay for that4 ,if that you take a ,rope in hand1 ,these forfeits you must understand4 ,or if that you a ,bell ou'r-throw ,it must cost ,sixpence e're you goe4 ,if in this place you sweare or curse1 ,sixpence to pay1 pull out your purse3 ,come pay the ,clerk1 it is his fee2 ,for one that ,swears shall not goe free4 ,these laws are ,old1 and are not new2 ,therefore the ,clerk must have his due40 ,,geo4 ,,harrison1 #afid4 ,it is satisfactory to note that the rule against swearing was very generally included1 though possibly honoured more in the breach than the observance2 but it is probable that the objection to wearing a hat was more on the grounds of inconvenience to the ringers than of irreverence4 ,as late as #aheg1 the ,rev4 ,w4 ,c4 ,lukis1 one of the earliest writers on church bells1 complained of his own county1 ,wiltshire1 that 8there are sets of men who ring for what they can get1 which they consume in drink2 but there is very little love for the science or its music2 and alas6 much irreverence and profanation of the ,house of ,,god4 ,there is no #8plucking at the bells' for recreation and exercise4 ,church-ringers with us have degenerated into mercenary performers4 ,in more than one parish where there are beautiful bells1 ,i was told that the village youths took no interest whatever in bell-ringing1 and had no desire to enter upon change-ringing40 ,although less money is available nowadays for payments to ringers on special occasions1 it may be feared that these remarks still hold good to some extent4 ,but in other respects there is undoubted improvement4 ,we do not now hear of 8prize-ringing10 or ringing in celebration of a victory in the ,derby or in a parliamentary election1 and if our ringing-chambers do not always reach a high standard of decency1 there is a marked improvement in the character and behaviour of the ringers themselves4 ,,chapter ,v ,uses and ,customs of ,bells ,an old monkish rhyme sums up the ancient uses of bells as follows3-- 8,laudo ,deum verum1 plebem voco1 congrego clerum2 ,defunctos ploro1 pestem fugo1 festa decoro2 ,funera plango1 fulgura frango1 sabbata pango2 ,excito lentos1 dissipo ventos1 paco cruentos03 which may be rendered in ,english3-- 8,i praise the true ,god1 ,i call the people1 ,i assemble the clergy2 ,i mourn the departed1 ,i put to flight pestilence1 ,i honour festivals2 ,i knoll for burials1 ,i break the power of the lightning1 ,i mark the sabbaths2 ,i rouse the sluggard1 ,i disperse the winds1 ,i calm the bloodthirsty40 ,these lines will be familiar to readers of ,longfellow's ,golden ,legend2 but some of the uses mentioned belong to a time when bells were thought to have a magic power over the forces of nature1 and a category of modern uses embraces many others here ignored4 ,the modern uses of bells naturally fall into two main divisions--religious and secular1 or quasi-religious uses4 ,by the former ,i mean the ringing of bells for divine service1 and1 in particular1 for the festivals of the ,church1 and their use at weddings1 funerals1 and other events of life with which the ,church is naturally concerned4 ,other uses1 again1 though now purely secular1 had once a religious meaning1 such as the ,curfew and ,pancake bells4 ,more secular uses are those of the ,gleaning bell and the ,fire bell1 of bells rung for local meetings or festivities1 or in commemoration of national events4 ,illustration3 ,plate #bj4 ,,the ,,great ,,bell ,,of ,,tong ,,church1 ,,shropshire4 ,recast by ,taylor1 #ahib4 7,see page #di47 ,the only allusion to bells in our ,prayer ,book is in the ,preface1 which directs that the minister 8shall cause a bell to be tolled thereunto a convenient time before he begin1 that the people may come to hear ,,god',s ,word1 and to pray with him40 ,this was1 of course1 the original purpose for which bells were applied to an ecclesiastical use1 and by virtue of which they are reckoned among the 8,ornaments of the ,church40 ,it is1 therefore1 the rule that every place of worship within the realm of the ,church should have at least one bell1 and in ,england at any rate there are not more than half a dozen parishes where the rule is ignored4 ,the fifteenth ,canon similarly enjoins the ringing of a bell on ,wednesdays and ,fridays for the ,litany4 ,methods of ringing the bells for service depend largely on the number of bells available and the possibility of collecting ringers together2 and the ringing of peals at these times is comparatively rare4 ,ordinarily1 where there are more than two1 the bells are chimed for periods varying from ten minutes to half an hour on ,sundays1 while on week-days a single bell perforce suffices1 tolled haply by the parson himself4 ,in many places it is the custom to toll the largest bell for the last few minutes before service begins2 this is known as the 8,sermon ,bell10 and was originally meant to indicate that a sermon would be preached4 ,or the smallest bell is rung hurriedly1 as if to warn laggards1 and this is called the 8ting-tang10 8priest's10 or 8parson's0 bell4 ,some of these little bells bear the appropriate inscription1 8,come away make no delay40 ,the use of a sermon bell is said to date from before the ,reformation4 ,in many parishes it used to be an invariable custom to ring a single bell1 or chime several1 at eight o'clock on ,sunday morning2 this1 however1 has lost its original significance since the general introduction of early ,celebrations4 ,in former times the regular hour for ,mattins was at eight1 followed by ,mass at the canonical hour of nine1 and though such an arrangement of services soon came to an end after the ,reformation1 the bells which used to announce them were continued even down to the present day4 ,there are still not a few parishes where a bell is rung at nine as well as at eight1 even when there are no early services4 ,illustration3 ,plate #ba4 8,,great ,,paul40 ,cast by ,taylor1 #ahha4 ,now hanging in the south-west tower of ,s4 ,paul's ,cathedral4 7,see page #eb47 ,in pre-,reformation days most churches possessed1 besides the regular 8ring10 several smaller bells1 which are described in inventories as 8saunce0 or 8sanctus0 bells1 8sacring bells10 and so on4 ,their uses are sometimes confused nowadays1 but were clearly defined4 ,the sanctus bell1 or saunce1 usually hung in a turret or cot on the gable over the chancel arch1 and was intended to announce the progress of the service to those outside who could not come to church4 ,it was rung at that point in the ,sarum or ,english rites of the ,eucharist when the singing of the ,sanctus or 8,holy1 ,holy1 ,holy10 just before the ,canon of the ,mass1 was reached2 whence its name4 ,the sacring-bell1 on the other hand1 was much smaller1 and hung inside the church1 usually on the rood-screen4 ,it was rung at the end of the ,consecration ,prayer1 or 8prayer of sacring0 7,plate #cj71 and announced the completion of the act of sacrifice4 ,the ,reformers made a dead set against these practices1 but it is difficult to see that much superstition was involved therein1 and the revival in modern days of the 8sacring bell0 in the form of a few strokes at the time of the consecration has more to recommend than to condemn it4 ,a few sacring bells still exist1 hanging on rood-screens1 in ,east ,anglian churches1 as at ,salhouse and ,scarning 7,plate #ca71 and one at ,yelverton1 in ,norfolk1 has just been restored to its old position4 ,ancient sanctus bells are more numerous1 and a few still hang in their original cots1 as at ,wrington1 in ,somerset1 and ,idbury1 in ,oxfordshire 7,plate #cb74 ,they have mostly been fixed in the towers and used as 8ting-tangs40 ,the majority have no inscription on them1 but there are notable exceptions in some of the ,midland counties4 ,the only other 8,sunday use0 to which ,i have to draw attention is the ringing of a bell after services4 ,this is1 or was1 sometimes done with the object of notifying a service in the afternoon2 but it is known in some places1 as at ,mistley1 in ,essex1 as the 8,pudding ,bell10 it being supposed that it was intended to warn housewives to get ready the ,sunday dinner6 ,some writers have thought that this midday bell is really a survival of the midday ,angelus1 or ,ave bell2 but it is more likely to date from the bad times of non-residence and irregular services4 ,the ringing of bells on festivals is more particularly associated with ,christmas and the ,new ,year1 though the latter is a secular rather than a religious occasion4 ,the ,christmas bells have been a favourite theme with poets1 great and small1 and the best-known lines on the subject are in ,tennyson's ,in ,memoriam1 said to have been composed by him on hearing the bells of ,waltham ,abbey1 in ,essex 7,plate #cc74 8,the time draws near the birth of ,,christ2 ,the moon is hid2 the night is still2 ,the ,christmas bells from hill to hill ,answer each other in the mist40 ,and again3 8,the time draws near the birth of ,,christ2 ,the moon is hid1 the night is still2 ,a single church below the hill ,is pealing1 folded in the mist40 ,the more famous stanzas1 beginning3 8,ring out1 wild bells1 to the wild sky1 ,the flying cloud1 the frosty light3 ,the year is dying in the night2 ,ring out1 wild bells and let him die4 ,ring out the old1 ring in the new1 ,ring1 happy bells1 across the snow2 ,the year is going1 let him go2 ,ring out the false1 ring in the true10 refer rather to ,new ,year's ,eve4 ,on ,new ,year's ,eve the old year is rung out and the new year in1 in many parishes4 ,sometimes one bell only is tolled until the clock strikes twelve1 in other cases the bells are rung muffled1 i4e41 with the clappers wrapped round to deaden the sound1 these being uncovered at midnight1 when a merry 8open0 peal bursts forth4 ,either practice is to be preferred to that of ringing consecutively before and after the hour1 which obscures the significance of the performance4 ,illustration3 ,plate #bb4 ,,the ,,old 8,,great ,,tom0 ,,of ,,westminster4 ,recast by ,philip ,wightman in #afih4 ,from an old drawing1 made before its recasting by ,phelps in #agaf4 7,see page #ec47 ,a muffled peal is sometimes rung on the ,holy ,innocents' ,day1 a custom said to be kept up still in ,herefordshire2 and in addition to the ,greater ,festivals1 the ,epiphany1 ,all ,saints' ,day1 ,s4 ,andrew's ,day1 and ,s4 ,thomas's ,day1 have been or are still specially honoured4 ,ringing on the last-named occasion1 which is kept up in several ,warwickshire parishes1 appears to be associated with the distribution of local charities4 ,but ringing on 8superstitious0 occasions1 not mentioned in the ,book of ,common ,prayer1 is forbidden by the #hhth ,canon4 ,another day of the ,church's year with which bell-ringing is associated is ,shrove ,tuesday1 on which day the ,pancake bell is rung in some places at eleven o'clock4 ,two bells are generally used1 the sound of which is supposed to resemble the word 8pancake40 ,the origin of the custom is to be found in the calling of the faithful to confess their sins and be 8shriven0 at the beginning of the ,lenten fast4 ,that pancakes were associated with this day is due to the fact that butter was forbidden during the whole of ,lent4 ,it was always the ,church's rule that the bells should be silent during that season--at least that there should be no peal-ringing in ,lent1 and no bells used at all during ,holy ,week2 and this is now generally observed4 ,illustration3 ,plate #bc4 ,,the ,,belfry ,,of ,,bruges4 7,see page #fb47 ,except in the case of royalty we seldom now hear of bells being rung to usher mankind into the world2 but they have always been associated with the rejoicings of a wedding ceremony1 and in some parts1 as in ,lincolnshire1 are even rung at the putting up of ,banns4 ,but their use at the time of death is even more universal4 ,the passing bell originally sounded as a summons to the faithful to pray for a soul just passing out of the world2 but it has now degenerated into a mere notice that death has taken place1 and as it is rung 7to suit the sexton's convenience7 some hours after death1 or even on the following day1 the name has ceased to be appropriate4 ,it appears to be one of the oldest of all uses of bells1 and is said to have been rung for ,s4 ,hilda1 of ,whitby1 in #fhj4 ,unlike most other customs it received the strong approval of the most ardent reformers1 and in the churchwardens' accounts of the sixteenth and seventeenth centuries there are often long lists given every year of money received from parishioners 8for the ,knell40 ,the sum paid was usually fourpence4 ,the #fgth ,canon directs that the passing bell shall be tolled1 8and the minister shall not then slack to do his last duty40 ,when the ,knell is rung1 it is a frequent practice to indicate the age or sex of the deceased4 ,the former is done by tolling a number of strokes answering to the years of his or her life1 or more vaguely by using the largest bell for an adult and a smaller for a child4 ,sex is sometimes similarly indicated1 but more usually by what are known as 8tellers10 a varying number of strokes for male or female1 and sometimes also for a child4 ,the commonest form is three times three for male1 three times two for female2 and sometimes three times singly for a child2 but some parishes keep up curious variations of this rule4 ,the old saying 8nine tailors make a man0 is really 8nine tellers10 or three times three4 ,the knell with the tellers is sometimes repeated at funerals1 but more frequently the tenor bell is tolled at intervals of a minute1 becoming more rapid when the corpse appears in sight4 ,in some country districts the bells are or used to be chimed at this time1 and in ,shropshire this is known as the 8joy-bells10 or 8ringing the dead home40 ,in olden days a hand-bell or 8lych-bell0 was rung before the corpse on its way2 this is still done at ,oxford at the funeral of any ,university official4 ,bells were largely used in mediaeval times to mark the hours of the day1 even before the introduction of clocks4 ,in the monastic establishments they were naturally rung at the canonical hours of twelve1 three1 six1 and nine1 for the services of ,mattins1 ,lauds1 ,prime1 ,tierce1 ,sext1 ,none1 ,vespers1 and ,compline4 ,it has been suggested that this is the reason why chimes are usually played at these hours1 where there are carillons4 ,but one of the best known uses of bells for this purpose is the ,curfew1 which was often accompanied by a corresponding bell in the early morning4 ,we have usually been taught that the ,curfew or 8cover-fire0 was a tyrannical and unpopular enactment by ,william the ,conqueror1 and therefore a purely legal and secular institution4 ,there is1 however1 evidence that it was in use long before at ,oxford1 where ,king ,alfred directed that it should be rung every evening 7as it is still72 and ,william probably only made use of an existing custom for the beneficent purpose of guarding against fires4 ,illustration3 ,plate #bd4 ,photo by ,j4 ,valentine 4 ,sons4 ,,the ,,campanile ,,or ,,bell-,,tower ,,of ,,chichester ,,cathedral4 7,see page #fd47 ,but it has also been suggested that the ,curfew was in its origin a bell with a religious as well as a secular significance1 namely the ,ave bell1 or ,angelus1 which was rung in the early morning and the evening1 usually at #i a4m4 and #e4cj p4m41 and also at midday1 and at the sound of which every one was expected to repeat the memorial of the ,incarnation or 8,hail ,mary40 ,some have thought that bells dedicated to the angel ,gabriel were specially devoted to such a purpose2 but this is doubtful1 though the old ,curfew bell at ,s4 ,albans still bears such a dedication4 ,at ,mexborough1 in ,yorkshire1 a bell is rung morning1 noon1 and evening1 obviously a survival of the ,angelus bell4 ,the ,curfew bell seems to have appealed especially to poets1 even to the ,american ,longfellow1 and the puritan ,milton1 who in ,il ,penseroso says3 8,oft on a plat of rising ground ,i hear the far-off ,curfew sound ,over some wide-watered shore ,swinging slow with sullen roar40 ,compare the opening line of ,gray's ,elegy3 8,the curfew tolls the knell of parting day40 ,the morning bell1 whether an ,ave bell or not1 is seldom now rung1 but may be heard at #e a4m4 at ,ludlow1 and at ,nuneaton and ,coleshill in ,warwickshire4 ,one of the old bells of ,s4 ,michael's1 ,coventry1 now at ,s4 ,john's ,church in that town1 has the inscription3 8,i ring at six to let men know ,when to and from their work to go4 #afge40 ,the ,curfew bell1 though alas6 growing rapidly rarer1 may be heard at #i p4m4 all the year round in our two ,university towns2 and is also rung at eight at ,ludlow1 ,pershore1 ,shrewsbury1 and in ,warwickshire4 ,but it is now usually confined to the winter months1 from ,michaelmas to ,lady ,day1 or an even shorter period4 ,in some places the day of the month is tolled afterwards1 as at ,cambridge2 at ,oxford #aja strokes are given1 representing the number of persons on the foundation of ,christ ,church4 ,of purely secular uses of bells space forbids me to say much4 ,the ,gleaning bell used to be rung in many parishes during harvest1 morning and evening1 to signify to the people when gleaning was allowed4 ,with the decay of agriculture in ,england this use has almost died out1 especially in the midlands1 but it is still kept up in corn-growing parts1 as in the north of ,essex4 ,illustration3 ,plate #be4 ,,the ,,old ,,campanile ,,of ,,king',s ,,college1 ,,cambridge4 ,destroyed in the eighteenth century4 ,it contained five large bells4 7,see page #fd47 ,ringing has always been customary--at least since the ,reformation--on secular anniversaries1 such as the birthday or ,coronation ,day of the ,sovereign1 or on the occasion of great victories4 ,it was also very common at one time on ,restoration ,day 7,may #bith71 and ,gunpowder ,plot ,day 7,november #eth71 but--perhaps since their removal from our ,prayer ,book--these occasions are becoming more and more ignored4 ,ringing on ,november #eth is1 however1 still common in ,warwickshire4 ,another day on which ringing was often practised was that of the parish feast1 usually corresponding with the patronal festival1 or day on which the original dedication of the church was honoured4 ,it is or has been a tradition in some places that in cases of fire the church bells should be rung backwards2 and elsewhere a bell was specially devoted to this purpose4 ,at ,s4 ,mary's1 ,warwick1 there is a small fire bell dated #afgj1 which1 however1 is not now hung2 and there is a well-known one at ,sherborne1 in ,dorset1 dated #afec1 with the inscription3 8,,lord1 quench the furious flame2 ,arise1 run1 help1 put out the same40 ,the large and small bells of the ,guild ,chapel1 ,stratford-on-,avon1 are also intended to be rung in cases of fire4 ,the ringing of daily bells1 especially at night1 is often accounted for by stories of people who found their way when lost1 or were delivered from nocturnal dangers1 by hearing the bell of some church4 ,instances of this are scattered all over the country1 and there are the ,ashburnham bell at ,chelsea1 the great bell of ,tong in ,shropshire1 and others which were originally given in commemoration of such events1 with the object of keeping up the ringing for the benefit of other wanderers4 ,,chapter ,,vi ,the ,decoration of ,bells and their ,inscriptions ,most of us are probably aware that it is usual for bells to bear inscriptions1 be it only the date or name of the maker2 but few who have not actually examined bells for themselves may have discovered that they are often richly or effectively decorated4 ,we do not as a rule find them as highly ornamented as foreign bells1 which often have every available space covered with inscriptions1 figures and devices1 or borders of ornament2 but to some the greater soberness of the ,english method may seem preferable4 ,nor is this practice of ornamenting bells confined to the more artistic age before the ,reformation4 ,some of our most richly decorated bells belong to the seventeenth century or even later 7see ,plate #ch72 and it is only the character of the ornamentation which is changed4 ,illustration3 ,plate #bf4 ,,the 8,,bell ,,house0 ,,in ,,the ,,churchyard ,,at ,,east ,,bergholt1 ,,suffolk4 7,see page #fd47 ,in point of fact the earliest bells are usually the plainest1 and the mediaeval craftsman contented himself with devoting his skill to producing elegant and artistic lettering1 beautiful initial crosses1 or ingenious foundry marks 7,plates #ad1 #cf74 ,the latter were introduced about the end of the fourteenth century1 when1 as we have seen in an earlier chapter1 the guild of braziers or 8belleyeteres0 were more regularly organized4 ,those used by ,henry ,jordan 7see page #bi7 are good examples2 as are the shields of the ,bury and ,norwich foundries 7page #cj74 ,in the ,west and ,north of ,england such devices are rarer2 but badges1 such as the ,bristol ship1 or the ,worcester 8,royal ,heads10 take their place4 ,one or two of the ,london founders use the symbols of the four ,evangelists 7,plate #cd74 ,a favourite device is the merchant's mark1 a kind of monogram1 or the rebus1 a pictorial pun on the founder's name4 ,john ,tonne1 who worked in ,sussex and ,essex about #aebj-aedj1 decorated his bells in the ,french fashion1 with large florid crosses1 busts and figures1 and other devices 7,plate #ce74 ,initial crosses are almost invariably found on mediaeval bells1 and their variety is endless1 from the plainest form of ,greek cross to the elaborate specimen shown on ,plate #cf1 which is found in the ,midland counties4 ,the words were frequently divided by stops1 varying from a simple row of three dots to such devices as a wheel1 a rosette1 or an ornamented oblong panel4 ,impressions from coins pressed into the mould are by no means uncommon4 ,but often the chief or sole beauty of a mediaeval bell is its lettering4 ,in the fourteenth century this is invariably composed of capital letters throughout1 of the ornamental form known as ,gothic or ,lombardic 7,plate #cf74 ,towards the end of that century the black-letter text used in manuscripts was introduced into other branches of art1 such as brasses1 and thus also makes its appearance on bells4 ,but the initial letter of each word is still executed in the old ,gothic capitals1 and such inscriptions are known as 8,mixed ,gothic0 7,plate #cg71 later ones of the sixteenth century being more strictly styled 8black-letter10 where no capitals are used4 ,the change1 however1 was not universal1 and many of the foundries in the ,west and ,north of ,england preferred to adhere to the capitals down to the ,reformation2 while even in ,london1 as at ,leicester1 ,reading1 and elsewhere1 there was a distinct revival of inscriptions in capitals during the sixteenth century4 ,illustration3 ,plate #bg4 ,diagram showing method of hanging a bell for ringing 7see page #fh74 ,a4 ,wheel with rope attached4 ,b4 ,headstock4 ,,cc4 ,straps or ,keys4 ,d4 ,cannons 7modern form74 ,e4 ,stay4 ,,ff4 ,gudgeons4 ,g4 ,brasses 7in which the gudgeons revolve74 ,h4 ,slider4 ,the reign of ,queen ,elizabeth is usually regarded as a period of transition1 and there was1 before the general introduction of modern ,roman lettering1 a time when no general rule was observed4 ,some founders used ,gothic capitals2 others black-letter2 others again1 nondescript ornate capitals difficult to classify2 while the ,roman lettering1 introduced about #aefj-gj1 gradually ousted all the older styles from favour1 and with very few exceptions became general about #afbj4 ,the use of older lettering and stamps by many founders during this 8transition0 period is noteworthy4 ,the ,leicester founders were especially addicted to this practice1 and among other old stamps bought up the beautiful lettering and ornaments used by the ,brasyers1 of ,norwich1 in the fifteenth century4 ,henry ,oldfield of ,nottingham 7#aehj-afbj71 and ,robert ,mot of ,london 7#aege-afjh71 may also be mentioned under this head4 ,i have said that seventeenth century bells were often very richly decorated2 and the ornamental running borders or elaborate arabesque patterns which separate the words of the inscriptions or surround the upper and lower edges of the bells1 surpass in that respect anything attempted in mediaeval times 7,plate #ch74 ,thomas ,hancox of ,walsall 7#afbj-afdj7 adorned his bells with reproductions of mediaeval seals2 and as late as the beginning of the eighteenth century the ,cors of ,aldbourne1 in ,wiltshire1 bought up a lot of pieces of old brass ornaments from which they used to decorate their bells4 ,at ,malmesbury and ,tisbury in that county they have left bells covered with figures of cherubs1 coats of arms and monograms1 a medallion of the ,adoration of the ,wise ,men1 and other curious ornaments4 ,most of these founders1 such as ,john ,martin of ,worcester1 ,oldfield of ,nottingham1 and ,clibury of ,wellington1 used trade-marks with their initials1 and a bell or other device4 ,illustration3 ,plate #bh4 ,,peal ,,of ,,eight ,,bells 7,,tenor #af ,,cwt47 ,,for ,,aberavon ,,church1 ,,glamorganshire4 ,this is an example of an ordinary ,english peal constructed for change-ringing and shows some of the bells 8up10 ready for ringing4 ,in this case the frame and stocks are of iron and the bells are without cannons4 ,seventeenth-century ,roman lettering1 although plain1 is often most effective and artistic2 capitals are almost always used throughout1 and small ,roman letters are very rare4 ,it is not until the middle of the next century that it was replaced by the dull mechanical printing types which are characteristic of the present day4 ,but since the ,gothic revival several modern founders have re-introduced capital letters of the old style with good effect2 notably the ,taylors of ,loughborough4 ,nowadays1 however1 there is little attempt at ornamenting bells2 not only the usual inscription-band on the shoulder1 but the whole surface of the bell is utilized for immortalizing local officials and celebrities4 ,on a bell recently cast for a church on the outskirts of ,london are given the names1 not only of the ,vicar1 ,bishop1 and ,archbishop1 but of the ,prime ,minister1 ,member of ,parliament1 and ,chairman of the ,district ,council6 ,so far little has been said about the inscriptions placed on bells2 but as these form one of the most interesting features of the subject1 they demand some little attention4 ,the earliest inscriptions1 those of the fourteenth century1 were usually in ,latin1 and very simple in form4 ,we find merely a name such as ,,iesvs or ,,iohannes1 or such phrases as ,,campana ,,beati ,,pavli1 8the bell of blessed ,paul10 or ,,in ,,honore ,,sancti ,,laurencii1 8in honour of ,saint ,lawrence40 ,more rarely1 the founder's name1 as-- ,,michael ,,de ,,vvymbis ,,me ,,fecit 8,michael de ,wymbis made me40 ,,ion ,,me ,,yeyt 8,john cast me40 ,other forms of inscription soon became common1 especially the simple invocation to a saint-- 8,sancte ,petre 7or #8,sancta ,katerina'7 ora pro nobis40 8,saint ,peter10 or 8,saint ,katherine1 pray for us40 ,by one founder1 whose theology was somewhat confused1 the ,holy ,trinity itself was similarly invoked-- 8,sancta ,trinitas ora pro nobis40 ,he should have said 8miserere nobis10 8have mercy upon us10 as in our ,litany4 ,what are known as 8leonines10 or rhyming hexameter verses1 are also very popular1 such as-- ,,in ,,multis ,,annis ,,resonet ,,campana ,,iohannis 8,for many years let the bell of ,john resound40 ,,virginis ,,egregie ,,vocor ,,campana ,,marie 8,i am called the bell of ,mary the excellent ,virgin40 ,,missi ,,de ,,celis ,,habeo ,,nomen ,,gabrielis 8,i have the name of heaven-sent ,gabriel40 ,,virgo ,,coronata ,,duc ,,nos ,,ad ,,regna ,,beata 8,crowned ,virgin1 lead us to realms of bliss40 ,,sum ,,rosa ,,pulsata ,,mundi ,,katerina ,,vocata 8,i am the rose of the world1 when struck1 called ,katherine40 ,most frequent of all is the ,angelic salutation 7,s4 ,luke i4 #bh73 ,,ave ,,maria ,,gracia ,,plena ,,dominus ,,tecum sometimes found in an ,english form as-- 8,,hail ,,mary ,,ful ,,of ,,gras0 78,full of grace074 ,there are said to be altogether seventy different forms of dedication to the ,blessed ,virgin4 ,she is by far the favourite saint with bell-founders1 though ,s4 ,katherine 7possibly on account of her emblem the wheel7 was their special patron4 ,on the whole the dedications correspond fairly to those favoured for churches2 but we note that ,s4 ,andrew1 ,s4 ,james1 and ,s4 ,paul1 are rarely found1 whereas ,s4 ,anne and ,s4 ,gabriel are more common4 ,we must not expect to find bells necessarily dedicated to the patron saints of their churches2 it is in fact exceptional1 and possibly the name was determined by that of some guild or chantry4 ,where they are the same it is usually the tenor2 but the old ring of five at ,s4 ,bartholomew1 ,smithfield1 has the treble dedicated to that saint4 ,among texts of scripture are also found ,,sit ,,nomen ,,domini ,,benedictum 8,blessed be the ,name of the ,lord0 7,job i4 #ba74 ,,iesvs ,,nazarenvs ,,rex ,,ivdeorvm 8,jesus of ,nazareth the ,king of the ,jews0 7,s4 ,john xix4 #ai74 ,,beatvs ,,venter ,,qvi ,,te ,,portavit 8,blessed is the womb that bare thee0 7,s4 ,luke xi4 #bg74 ,but such texts become commoner in the seventeenth century4 ,an early post-,reformation example is at ,hannington1 ,northants3 ,,love ,,horteth ,,not 7,rom4 xiii4 #aj74 ,illustration3 ,plate #bi4 ,,ringers ,,at ,s4 ,,paul',s ,,cathedral ,,ringing ,a ,,peal ,,on ,,new ,,year',s ,,eve ,,on ,,the ,,twelve ,,bells4 7,see page #ge74 ,sometimes a bell bears a prayer for its donor1 or for his soul1 as at ,goring1 ,oxfordshire-- ,,orate ,,pro ,,petro ,,exoniense ,,episcopo1 8,pray for ,peter1 ,bishop of ,exeter40 ,this was ,peter ,quivil1 ,bishop about #abij4 ,or at ,bolton-in-,craven1 ,yorkshire-- ,sc'e ,paule1 ora pro a'i'abus ,henrici ,pudsey et ,margarete consorte sue 8,st4 ,paul1 pray for the souls of ,henry ,pudsey and ,margaret his wife40 ,in these cases we are enabled to gain a clue to the date of the bell1 a piece of information rarely found given in mediaeval times4 ,henry ,pudsey1 for instance1 died about #aeaj4 ,there is an interesting bell at ,aldbourne1 in ,wiltshire1 dated #aeaf1 with a prayer for the souls of ,richard ,goddard of ,upham1 his two wives and his children4 ,it is said that this is the only known record of his double marriage1 though the family is an old one1 well known in those parts4 ,english inscriptions are very rare1 but when found are often very quaint1 as at ,snowshill1 in ,gloucestershire-- 8,,in ,,name ,,of ,,trinite2 ,,gillis ,giles' ,,belle ,,men ,,calle ,,me02 or at ,alkborough1 in ,lincolnshire-- 8,,jesu ,,for ,,yi ,,modir the ,mother's ,,sake ,,save ,,al ,,ye ,,sauls ,,that ,,me ,,gart ,,make had made ,,amen40 ,the ,reformation brought about a great1 though not an immediate but gradual1 change in the character of bell inscriptions4 ,we often find about this time the whole or a portion of the alphabet2 and it has been supposed that the founder wished to use his old stamps1 but was afraid of giving offence by adhering to the old style of inscription1 and so arranged the letters in a fashion to which none could object6 ,but right through the ,reformation period1 the reign of ,elizabeth1 and the ensuing ,stuart period1 it is by no means rare to find the old formulae repeated4 ,it is possible that ignorant founders reproduced them when recasting bells1 without realizing their meaning1 or that they trusted to the inaccessibility of belfries1 not to be found out6 ,still the fact remains1 not only that more 8,popish0 inscriptions were left intact by ,reformer and ,puritan on bells than on any other part of the fabric of churches1 but also that prejudice and fanaticism here seems to have played a smaller part4 ,yet there are indications of ,protestant zeal on the part of some seventeenth-century founders4 ,tobie ,norris of ,stamford 7#afjc-afbf7 is fond of proclaiming-- ,,non ,,sono ,,animabvs ,,mortvorvm ,,sed ,,avribvs ,,viventivm 8,i sound not for the souls of the dead but for the ears of the living02 and ,william ,purdue of ,bristol1 in #afgh1 perhaps with the fear of ,james ,,ii's advent to the throne before his eyes1 gives vent to the prayer3 ,,lord ,,by ,,thy ,,might ,,keep ,,us ,,from ,,poope ,,and ,,hypocrite1 at ,stanley ,s4 ,leonard1 ,gloucestershire4 ,illustration3 ,plate #cj4 ,,the ,,ringing ,,of ,,the ,,sacring ,,bell ,,by ,a ,,clerk ,,in ,,minor ,,orders4 ,from a ,manuscript in the ,british ,museum4 7,see pages #fh1 #hh74 ,for the most part the inscriptions of this period are1 when not merely churchwardens' names1 coloured with a piety which finds vent in quaint and homely expressions1 such as 8,,feare ,,god10 8,,iesvs ,,bee ,,ovr ,,speed10 8,,in ,,god ,,is ,,my ,,hope40 ,they remind us of the bells of ,rylstone1 in ,yorkshire1 of which ,wordsworth says3 8,when the bells of ,rylstone played ,their ,sabbath music--,god us ayde-- ,inscriptive legend1 which ,i ween1 ,may on those holy bells be seen40 ,he was1 however1 unfortunately misinformed1 as the true inscription 7on one bell7 was1 8,in ,,god is all40 ,other attempts are more ambitious1 such as-- ,i ,,am ,a ,,crier ,,in ,,the ,,house ,,of ,,god ,,come ,,and ,,kip keep ,,holi1 at ,witcomb1 ,gloucestershire 7#afcj71 or-- ,,be ,,mecke ,,and ,,loly ,,to ,,heare ,,the ,,word ,,of ,,god1 at ,chichester ,cathedral 7#aehg74 ,some of these inscriptions are on bells by ,john ,wallis of ,salisbury1 of whom it has been said1 8,if we estimate him by his works he was a great man2 and if we take his laconic epigraphs as an index of his heart1 he was a trustful1 thankful1 religious character40 ,they are1 at all events1 characteristic of the sober and straightforward piety of the days of ,george ,herbert and ,bishop ,andrewes4 ,three more characteristic expressions of the period are largely used by the ,nottingham founders3 8,i sweetly toling men do call to taste on meate that feeds the soule40 8,all you who hear my roaring sound repent before you lie in ground40 8,my roaring sound doth warning give that men may not here always live40 ,illustration3 ,plate #ca4 ,,sacring ,,bell ,,hung ,,on ,,rood-,,screen1 ,,scarning ,,church1 ,,norfolk4 7,see page #hh74 ,other founders1 like ,tobie ,norris1 already quoted1 preferred to use ,latin4 ,another favourite of his is-- ,,non ,,clamor ,,sed ,,amor ,,cantat ,,in ,,avre ,,dei 8,the sound that reacheth ,,god above ,is not a clang but voice of love40 ,a very beautiful ,latin inscription1 and most remarkable for the time when it was composed 7#afea71 is on the tenor at ,stockton1 ,salop2 it runs in ,english-- 8,glory in the highest to ,,god the ,,father1 ,,son1 and ,,holy ,,ghost2 ,william ,whitmore1 ,knight1 patron and restorer of this church1 now called to the ,church triumphant1 vowed and designed me for the use of the ,church militant40 ,more quaint than edifying are the following1 found at ,thatcham in ,berkshire-- #a4 ,i ,,as ,,trebil ,,begin #b4 ,i ,,as ,,second ,,wil ,,sing #c4 ,i ,,as ,,third ,,wil ,,ring #d4 ,i ,,as ,,forth ,,in ,,my ,,place #e4 ,i ,,as ,,fift ,,will ,,sovnd #f4 ,i ,,as ,,tennar ,,hvm ,,all ,,rovnd4 ,we pass from these to others of the same period1 which show a sad falling-off in poetry and sentiment4 ,early in the seventeenth century the deplorable habit of self-advertisement was begun by the ,newcombes of ,leicester1 who invented the distich-- ,,be ,,yt ,,knowne ,,to ,,all ,,that ,,doth ,,me ,,see ,,that ,,newcombe ,,of ,,leicester ,,made ,,me4 ,this is adopted1 but not improved1 by later founders1 as by ,henry ,farmer of ,gloucester1 who1 on a bell of #afbc1 at ,throckmorton1 in ,worcestershire1 proclaims-- ,,be ,,it ,,knowne ,,to ,,all ,,that ,,shall ,,vs ,,see ,,that ,,henrie ,,farmer ,,made ,,we #d ,,of #c4 ,illustration3 ,plate #cb4 ,,ancient ,,sanctus ,,bell 7,,fourteenth ,,century74 ,in its ,original ,cot over the ,chancel ,arch of ,idbury ,church1 ,oxfordshire4 7,see page #hh74 ,worse depths are reached by ,richard ,keene of ,woodstock on two bells at ,brailes1 ,warwickshire4 ,on one is-- ,,ime ,,not ,,the ,,bell ,i ,,was ,,but ,,quite ,,another ,,ime ,,now ,,as ,,right ,,and ,,true ,,as ,,george ,,my ,,brother4 ,on the other-- ,i',,ll ,,crack ,,no ,,more ,,now ,,ring ,,your ,,fill ,,merry ,,george ,i ,,was ,,and ,,will ,,be ,,still4 ,this style of inscription is even more characteristic of the early eighteenth century2 and we find at ,meriden1 in ,warwickshire-- ,,when ,,my ,,first ,,and ,,third ,,begin ,,to ,,ring ,,my ,,third ,,was ,,broke ,,before ,,we ,,all ,,did ,,sing4 ,there is a pun here on the name of the founder1 ,william ,brooke4 ,an even worse punster is ,henry ,pleasant of ,sudbury1 who at ,all ,saints'1 ,maldon1 placed on four of the bells the following effusions-- 7#a7 ,,when ,,three ,,this ,,steeple ,,first ,,did ,,hold 7#b7 ,,we ,,were ,,three ,,emblems ,,of ,a ,,scold 7#c7 ,,no ,,musick ,,then ,,but ,,now ,,you ,,shall ,,see 7#d7 ,,what ,,pleasant ,,musick ,,six ,,will ,,be4 ,joseph ,smith of ,edgbaston1 another would-be poet1 has several inscriptions of this class1 as at ,alvechurch1 ,worcestershire-- ,,if ,,you ,,would ,,know ,,when ,,we ,,ware ,,runn ,,it ,,was ,,march ,,the #bb1 #agaa i4e41 8seventeen-one-one04 ,yet another type of vulgarity is to be found at ,bakewell1 ,somerset-- ,,bilbie ,,and ,,boosh ,,may ,,come ,,and ,,see ,,what ,,evans ,,and ,,nott ,,have ,,done ,,for ,,me4 ,when we reach the middle of the century a change comes over the inscriptions1 though hardly one for the better4 ,the frivolous doggerel rhymes are replaced by prim1 though not always decorous1 couplets which seem to be thoroughly characteristic of that period4 ,in fact1 so greatly was ,methodism feared by the correct and worldly churchmen of ,georgian days that we actually find on a bell at ,welwyn1 ,herts4-- ,,prosperity ,,to ,,the ,,church ,,of ,,england ,,and ,,no ,,encouragement ,,to ,,enthusiasm4 ,the most typical specimens1 however1 are on the bells of the ,london founders at this period-- ,,at ,,proper ,,times ,,our ,,voices ,,we ,,will ,,raise ,,in ,,sounding ,,to ,,our ,,benefactors' ,,praise4 ,,when ,,female ,,virtue ,,weds ,,with ,,manly ,,worth ,,we ,,catch ,,the ,,rapture ,,and ,,we ,,spread ,,it ,,forth ,,may ,,all ,,whom ,i ,,shall ,,summon ,,to ,,the ,,grave ,,the ,,blessings ,,of ,a ,,well-,,spent ,,life ,,receive4 ,illustration3 ,plate #cc4 ,,tower ,,of ,,waltham ,,abbey ,,church1 ,,essex4 ,the ,bells of which inspired ,tennyson's well-known lines4 7,see page #ij74 ,the last-named was composed by a ,shropshire schoolmaster1 who also devised verses of the same type for bells in his own church of ,high ,ercall4 ,one example may be given-- ,,where ,,meandring ,,roden ,,gently ,,glides ,,or ,,turne',s ,,proud ,,current ,,fills ,,its ,,ample ,,sides ,,hence ,,meditation ,,views ,,our ,,calm ,,abode1 ,,heals ,,the ,,sick ,,mind1 ,,and ,,yields ,,it ,,pure ,,to ,,god4 ,the ,rudhalls of ,gloucester1 who were typical 8,church and ,state0 men1 usually place on their tenor bells the familiar couplet-- ,i ,,to ,,the ,,church ,,the ,,living ,,call ,,and ,,to ,,the ,,grave ,,do ,,summon ,,all4 ,perhaps the worst specimen of the taste of this period is to be found at ,hornsey1 in ,middlesex-- ,,the ,,ringer',s ,,art ,,our ,,graceful ,,notes ,,prolong2 ,,apollo ,,listens ,,and ,,approves ,,the ,,song4 ,doubtless this seemed appropriate enough to an age which adorned its tombs and churchyards with cupids1 urns1 and such-like pagan emblems4 ,other examples of this kind from the provinces are-- ,,the ,,public ,,raised ,,me ,,with ,a ,,liberal ,,hand2 ,,we ,,come ,,with ,,harmony ,,to ,,cheer ,,the ,,land ,stroud4 ,,all ,,you ,,of ,,bath ,,that ,,heare ,,me ,,sound ,,thank ,,lady ,,hopton',s ,,hundred ,,pound ,bath ,abbey4 ,some inscriptions again are of historical interest1 such as at ,child ,okeford1 ,dorset1 where1 in #afdh1 ,,god ,,bless ,,king ,,charles was actually placed on a bell by a founder who must have had the courage of his convictions6 ,it need hardly be pointed out that the royal cause was just then at the depth of unpopularity4 ,the eight bells of ,s4 ,helen's1 ,worcester1 bear the names of ,marlborough's victories in ,queen ,anne's reign1 with an appropriate couplet in each case4 ,other bells1 such as the great bell of ,glasgow ,cathedral1 and the tenor of ,stepney1 ,london1 record their own history from mediaeval times down to their latest re-casting4 ,a curious form of inscription found on seventeenth-century bells1 and sometimes revived at the present day1 is the chronogram1 where the date is given by ,roman letters of a larger size than the rest of the inscription1 as at ,clifton-on-,teme1 ,worcestershire-- ,,henricvs ,,ieffreys ,,kenelmo ,,devovit1 where the letters ,,mdclvvviii in numerical order read as the date #affh4 ,illustration3 ,plate #cd4 ,,symbols ,,of ,,the ,,four ,,evangelists4 ,used as stamps by ,london bell-founders of the fifteenth century4 7,see pages #ajf1 #ajh47 ,it is one of the many debts that we owe to the ,church ,revival of the last century that such desecrations of our bells as quoted above are now a thing of the past4 ,if our modern bells are often very dull affairs as regards their decoration or inscriptions1 we can at least be thankful that profanity and frivolity have disappeared4 ,though as ,i have already noted1 a tendency to self-advertisement is still too apparent1 there has been a great change in the last fifty years1 and the improvement in the choice of inscriptions is most marked4 ,those to whom such things are a concern have begun to realize that a bell is a vehicle of history1 and that1 therefore1 its history should be duly recorded and preserved4 ,but what is of far more importance1 they have also learned to look upon it as an instrument destined for ,,god',s service--as one of the 8,ornaments of the ,church0--and therefore just as deserving of honour as any other furniture of ,,god',s house4 ,,chapter ,,vii ,the ,care of ,bells ,it has already been pointed out that our bells deserve to be treated with care and reverence as much as any other part of the church fabric1 because they not only have their historic interest1 but are closely connected with our acts of worship and religious rites4 ,i wish1 therefore1 in my concluding chapter1 to offer a few suggestions as to their proper treatment4 ,and when we speak of the bells in this connection we must not forget the belfries also4 ,some fifty years ago the ,rev4 ,w4 ,c4 ,lukis1 whom ,i have already had occasion to quote1 called attention to the disgraceful condition of many ,wiltshire belfries1 in words which were by no means too strong for the occasion4 ,he pointed out that the neglect of the bells not only led to their becoming useless1 but also endangered the whole fabric of the tower1 and eventually did mischief to the parishioners also1 who either had to do without their bells or pay for the repairs4 ,many of the towers were in so dangerous a state that the bells were forbidden to be rung1 and though this may have been partly due to the vibration caused by change-ringing1 for which1 of course1 the towers were not originally built1 the evils were1 in his opinion1 due much more to neglect on the part of the churchwardens1 who were responsible for the care of the bells4 ,illustration3 ,plate #ce4 ,,bell ,,by ,,john ,,tonne1 ,a ,,founder ,,of ,,henry ,,viii',s ,,time 7#aebj-aedj74 ,ornamented in the ,french fashion4 7,see page #ajh74 8,bells10 he says1 8require very constant attention to keep them in ringing order40 ,therefore it is not the use of the bells1 not even change-ringing of the most violent description1 which destroys the bells and endangers the belfries2 but simply neglect or carelessness4 ,it must be borne in mind that bells are enormously heavy1 and are yet required to move and revolve with perfect ease1 and to be hung with perfect balance and adjustment of all their parts4 ,any temporary or amateurish repairs will probably end in doing more harm than good2 nor will an occasional use of oil or new ropes supply all that is wanted4 ,above all1 the frame-work must be kept clear of the walls of the tower1 or the vibration will inevitably destroy it4 ,there is another matter to which the same writer calls attention1 which1 if not a source of danger to the bells1 may often be so to those who visit them1 and which in any case is a disgrace to those who have the ,house of ,,god in their care4 ,i allude to the condition of the staircases or ladders by which the bells are approached4 8,generally speaking10 says ,mr4 ,lukis1 8the dark1 winding stone staircases 7when they have any7 leading to them are dirty1 worn1 and difficult to tread2 and when you have secured your footing1 you suddenly come upon a huge heap of sticks1 straws1 feathers1 and other rubbish1 the patient and laborious work of indefatigable jackdaws4 ,when the towers have no stone staircases1 the bells have to be reached by a succession of crazy ladders1 planted on equally crazy floors4 ,why should towers be so desecrated8 ,are they not as much a portion of the church as any other part80 ,these words1 at the time they were written1 were doubtless true of the majority of belfries in the country2 but ,i fear there are still not a few of which the same may be said4 ,i have been into many a belfry1 in which1 on raising the trap-door admitting me to the bells1 ,i have been forcibly convinced1 by the showers of accumulated filth descending upon me1 that they have literally not been visited for years6 ,in justice it may be said that where proper access to the bells exists this is seldom the case4 ,at the worst1 the bottom of the staircase is made the receptacle for brushes1 dust-pans1 and candlesticks1 or such-like necessary articles4 ,but why should not proper access be provided in every case8 ,even the solitary tinkler in a small and elevated turret sometimes requires attention2 and even if the casual visitor to a belfry must not always expect to be considered1 it is surely reasonable that the parish official whose duty it is to care for the bells should not find obstacles placed in the way of reaching them4 ,there are very few churches1 not reckoning those where the bells are hung outside1 in which a permanent ladder might not be fixed1 where there is no possibility of a staircase4 ,and this1 whether of wood or iron1 need not be either an expensive or unsightly object2 but it should be stout and sound if of wood1 and always fixed firmly at top and bottom4 ,illustration3 ,plate #cf4 ,,specimens ,,of ,,gothic ,,capital ,,letters4 ,both sets are reduced to about half size4 7,see pages #cb1 #di1 #aji47 ,i have said that1 on the whole1 the last fifty years have seen a great improvement in the treatment of bells and belfries2 but only so lately as #ahig1 a recent writer1 a keen ringer and expert in all relating to bells1 had occasion to re-echo ,mr4 ,lukis' complaints4 ,he points out1 however1 that the ,central ,council of ,ringers1 then recently formed1 is doing excellent work by its reports on bell-hanging and similar matters4 ,some of these remarks of ,mr4 ,a4 ,h4 ,cocks1 in his great work on ,buckinghamshire bells1 are so admirable and so instructive that ,i cannot forbear to quote them4 ,he devotes himself to finding out the reasons why bells crack2 and his conclusion is that such a thing rarely happens except from sheer neglect4 ,further1 that while the sexton and ringers may be entrusted with the actual care and use of the bells1 the real responsibility lies1 in the first place1 with the incumbent of the parish1 and1 in a lesser degree1 with the churchwardens4 ,the incumbent1 it should be remembered1 has the legal right of granting or refusing access to the bells1 and of saying when they shall or shall not be rung4 8,if all incumbents10 he says1 8would remember that bell-hangings are machines1 even if not quite so complicated as a steam-engine1 and that all machines want a little attention1 the lamentable and disgraceful state of many of the belfries would cease2 and we bell-hunters would no longer get the almost stereotyped1 semi-apologetic statement1 on making our request for the key1 #8,i'm afraid you will find a great mess up there1 but1 to tell you the truth1 ,i have never been up to them4'0 ,as he aptly points out1 ringers1 who usually visit towers where the bells are ringable and everything in order1 know little of these neglected places2 but it is the incumbent's duty to know what goes on under his supposed charge2 and if he refuses1 the authority of rural deans and archdeacons should step in to arouse him to his duty4 ,let every incumbent1 then1 who 8has never been up10 determine to visit his bells4 ,he will doubtless find his trouble repaid1 if they bear interesting inscriptions or devices2 and if he finds the attempt attended by risk of life or limb1 let him be persuaded to renew worn steps or broken ladder-rungs4 ,if he finds the belfry or staircase full of animal and vegetable rubbish1 let him take the simple but necessary step of fixing wire-netting over the windows1 and cleanliness1 once attained1 should be easily preserved4 ,illustration3 ,plate #cg4 ,,specimens ,,of 8,,mixed ,,gothic0 ,,lettering ,used by ,henry ,jordan of ,london 7#adfj74 ,reduced to about two-thirds size4 7,see pages #bi1 #aji47 ,and now as to the cracking of bells1 and how to prevent it4 ,bells may crack either at the top1 or 8crown10 or at the rim1 or 8sound-bow10 where the clapper strikes4 ,the former is usually due to defective methods of hanging1 which cannot be explained without becoming too technical2 but the latter comes from a very simple and avoidable cause4 ,moreover1 a bell cracked at the crown does not thereby lose its tone1 and may last for years in that condition2 but if cracked at the rim it is immediately and hopelessly ruined4 ,if1 again1 the cannons1 or metal loops by which the bell hangs from the wooden stock1 should be broken1 the bell may be kept sound by boring holes in the crown and bolting it to the stock4 ,but in making this latter suggestion ,i do not wish to commend--rather to protest against--the practice of modern bell-founders1 who do this in all cases1 instead of using cannons4 ,they are supported by the ringers1 who say it makes the bell swing more easily2 but it is a barbarous practice1 and destroys the whole appearance of the bell4 ,of all dangers which beset our unfortunate bells1 by far the worst is the objectionable1 but only too common1 practice of 8clocking10 as it is called4 ,against this1 no protests can be too strong4 ,the reason is a very simple one4 8,clocking0 consists in tying the clapper to the rope in order to make the bell sound more easily and with little effort on the ringer's part4 ,now1 this gives the clapper very little play1 and it strikes continually on one place at very short intervals4 ,this checks vibration and prevents the effect of the stroke from spreading1 and is a sure cause of cracking at the rim sooner or later4 ,yet all over the country it is constantly being done1 and on a recent visit to ,essex it was my experience in tower after tower4 ,worse than that1 ,i found the bells in several cases actually hung 8dead10 the stocks being fixed to the frames1 so that any swinging was impossible4 8,clocking0 is1 unfortunately1 no new practice1 as we hear of it at ,reading three hundred years ago2 but would that modern churchwardens would take the same view of it that the good ,joseph ,carter1 churchwarden of ,s4 ,lawrence and bell-founder1 did then4 ,he got the vicar to draft a resolution that1 8,whereas there was1 through the slothfulness of the sexton in times past1 a kind of tolling the bell by the clapper-rope1 it was now forbidden and taken away1 and that the bell should be tolled as in times past and not in any such idle sort40 ,in ,london alone twenty-eight large bells in the principal churches were cracked by 8clocking0 between #ahbj and #ahfj4 ,even the ordinary clock-hammer1 striking on the upper side of the rim of the bell1 often has the same effect2 and for the same reason4 ,but in both cases there is a remedy1 if put in hand at once and after consulting a good bell-hanger1 namely1 that of 8quarter-turning10 or turning the bell round through one quarter of its circumference1 so that the clapper may strike on a place at right angles to the old one1 if that has become worn4 ,illustration3 ,plate #ch4 ,,part ,,of ,a ,,seventeenth ,,century ,,bell ,,by ,,henry ,,oldfield ,,of ,,nottingham4 ,the lettering is an imitation of mediaeval types1 but the ornament is characteristic of the later period4 7,see pages #ajf1 #aab74 ,if1 however1 a bell has once become hopelessly cracked1 there is no remedy but recasting into a new one2 though it is said that a cracked bell in ,dorset was successfully repaired by a ,norwegian artificer about fifteen years ago1 and where he has succeeded1 others may yet4 ,nevertheless it is only too common for bells to be re-cast when there is no necessity4 ,perhaps one bell is broken1 or it is desired to increase the number of the bells1 and the founder1 with a pardonable eye to business1 suggests that all the old bells should be melted down1 in order to have an entirely new ring1 guaranteed in tune with each other4 ,and thus disappears many an interesting and valuable old bell1 perfectly sound and well-toned4 ,it does not follow that because a bell is old its tone is inferior to a new one1 or that it cannot be fitted into a new ring4 ,rather1 the contrary is the case1 and tone improves and mellows with age4 ,but when all else fails1 and re-casting is absolutely unavoidable1 let me plead that some faithful record of the old bell may be kept4 ,at least the old inscription may be preserved1 as to their credit was often done by the seventeenth-century founders1 on the new bell4 ,this practice1 ,i note1 is increasing1 and deserves every commendation4 ,but there is an even more excellent way4 ,the inscription may be copied in exact fac-simile on the new bell 7with1 of course1 an indication of the new date71 as has been successfully done in many instances1 notably by ,blews of ,birmingham on the old tenor at ,brailes1 ,warwickshire1 and in other cases by ,mears and ,stainbank and by ,taylor 7see ,plate #ai74 ,or1 again1 the inscription-band may be cut out and kept in the church1 or used as the ring of a candelabrum4 ,this has been done at ,chester-le-,street1 in ,durham2 ,west ,bergholt1 in ,essex2 and elsewhere4 ,it at least preserves what is of special interest and beauty4 ,or1 lastly1 the old bell may be kept in its entirety1 as a relic of the past1 in some part of the church4 ,this has been done1 to the great credit of the parish authorities at ,wingrave1 in ,bucks2 ,batcombe1 in ,dorset2 ,barrow ,gurney1 in ,somerset2 and ,swyncombe1 in ,oxfordshire4 ,this may perhaps be a counsel of perfection1 as it entails the sacrifice of the money allowed for the old metal2 but it is certainly the most praiseworthy course1 even if it is too much to expect from a poor parish4 ,i plead1 therefore1 in conclusion1 first for clean and accessible belfries2 secondly for orderly ringing-chambers2 thirdly for due care and attention to the bells and their fittings2 and last1 but not least1 for the preservation of all old and interesting bells1 not only to earn the gratitude of the casual antiquary1 but to show that their historic value1 and the services they have so long and faithfully rendered1 receive due appreciation4 ,,footnotes3 #a ,for an illustration of bells in a frame1 see ,plate #bh4 #b ,an early ,london bell is illustrated on ,plate #ab4 #c ,the belfry of ,bruges is shown in ,plate #bc4 ,,index ,aldbourne1 ,wilts1 foundry at1 #aab2 bell at1 #abj4 ,alfred the ,great introduces ,curfew1 #ih4 ,angelus bell1 #ih4 ,bagleys 7founders71 #cg4 ,bartlets 7founders71 #dj4 ,belfries and bell-turrets1 #f1 #h1 #fb ff42 condition and care of1 #ge1 #aci ff42 and see ,campanile1 ,tower4 ,bell1 ,derivation of word1 #a4 ,bell-founders1 #h1 #ba ff42 monastic1 #ba2 in ,london1 #bb1 #bd1 #bh1 #dj2 of #adth century1 #bd ff42 of #aeth century1 #bh ff41 #ajf2 ,elizabethan1 #cc1 #aaa2 of #agth-#ahth centuries1 #cd ff41 #aaa2 itinerant1 #cg2 modern1 #da1 #dd ff41 #aej1 #aed1 #aee4 ,bell-founding1 see ,casting4 ,bell-metal1 ,composition of1 #aj4 ,bells1 ,introduction into ,church1 #b2 earliest use in ,england1 #d1 #h2 early methods of ringing1 #e2 dedication of1 #f1 #aag2 earliest existing1 #i2 early dated1 #i1 #cj1 #cb2 methods of casting1 #aj ff42 decoration of1 #ad1 #bh ff41 #di1 #ej1 #eb1 #aje ff42 tuning of1 #ah2 foreign1 #cb2 of exceptional size1 #dc ff42 inscriptions on1 #de1 #dh1 #ej1 #ee1 #aad ff42 modern methods of hanging and ringing1 #fh1 #ge2 ancient uses of1 #ha2 modern uses of1 #hb ff42 for ,church services1 #hd ff42 for festivals1 #hi2 for death and funerals1 #ie2 to mark time1 #ig2 secular uses of1 #aja2 proper treatment of1 #aci ff42 cracking of1 how to prevent1 #adh2 preservation of1 #aed4 8,belleyeteres10 #bb1 #bd4 ,bergholt1 ,east1 ,suffolk1 ,belfry at1 #fd4 ,beverley ,minster bell1 #di4 ,bird1 ,john1 7founder71 #ej4 ,blews 7founder71 #ej1 #aee4 ,brailes1 ,bells at1 #ej1 #acj1 #aee4 ,brasyers1 7founders71 #cj1 #aaa4 ,bristol1 foundry1 #bb1 #bh1 #cj1 #cf4 ,bunyan1 ,john1 #gf4 ,bury ,st4 ,edmunds1 foundry1 #bh1 #cj1 #cc1 #cd2 chimes at1 #eh4 ,cambridge1 ,ringing at1 #fj1 #fa1 #aja2 chimes at1 #fd4 ,campana1 #b4 ,campanalogy1 the science of bell-ringing1 #b4 ,campaniles1 #ef1 #fa ff4 ,canterbury1 ,bells at1 #h1 #dc4 ,carillons1 #eg ff4 ,carter1 ,joseph1 of ,reading1 #aea4 ,casting of bells1 #ab ff4 ,caversfield1 ,oxon41 ,bell at1 #i4 ,changes on bells1 #gb4 ,change-ringing1 ,introduction into ,england1 #fg2 method of1 #fh ff41 #ge4 ,chimes1 #eg ff41 #ig4 ,chiming1 #e1 #gj1 #hd2 at funerals1 #ig4 ,chichester ,cathedral bell-tower1 #fd2 bell at1 #abe4 ,christmas1 ,bells at1 #hi4 ,chronograms1 #acf4 ,cliburys 7founders71 #cg1 #aab4 8,clocking0 of bells1 #aej4 ,cocks1 ,a4 ,h41 quoted1 #adf4 ,colchester1 ,foundry at1 #cc4 ,cope of bell-mould1 #b1 #ac4 ,copgrave1 ,johannes de1 7founder71 #bf4 ,cors 7founders71 #aab4 ,corvehill1 ,sir ,w41 7founder71 #bb4 ,coventry1 ,bell at1 #ajj4 ,cracking of bells1 #adf1 #adh ff4 ,crotch1 ,dr41 #fa4 ,croyland1 ,bells at1 #d1 #f4 ,culverden1 ,william1 7founder71 #bi4 ,curfew bell1 #ig ff4 ,customs of bells1 #ha ff4 ,danyell1 ,john1 7founder71 #bi4 ,darbie1 ,michael1 7founder71 #ch4 ,dates on early bells1 #i1 #cj1 #cb4 ,david playing on bells1 #f4 ,divine ,service1 ,ringing for1 #hd4 ,ely ,cathedral1 ,bells of1 #bf4 ,exeter ,cathedral1 ,bells of1 #h1 #dd4 ,farmer1 ,henry1 7founder71 #abh4 ,festivals1 ,bells used at1 #hi1 #ib4 ,fire bell1 #ajc4 ,founders1 see ,bell-founders4 ,founding of bells1 see ,casting4 ,foundries1 #bb ff4 ,gleaning bell1 #aja4 ,gloucester foundry1 #bb1 #be1 #bf1 #ch2 bell of ,cathedral1 #de4 ,goring1 ,oxon41 ,bell at1 #bd1 #abj4 ,graye1 ,miles1 7founder71 #cd4 ,hancox1 ,thomas1 7founder71 #aab4 ,hodson1 ,christopher1 7founder71 #di4 ,idbury1 ,oxon41 ,bell at1 #hh4 ,incumbents1 ,duties of1 #adf4 ,inscriptions1 how produced1 #ad2 on great bells1 #de1 #dh1 #ej1 #ee2 mediaeval1 #aae ff42 post-,reformation1 #abb ff42 of #ahth century1 #acj ff42 modern1 #aad1 #ach1 #aed2 of historical interest1 #ace2 importance of preserving1 #aed4 ,jordan1 ,henry1 7founder71 #bi1 #ajf4 ,king's ,lynn1 ,foundry at1 #be4 ,leicester1 ,foundry at1 #be1 #bh1 #cc2 and see ,newcombes4 ,lettering on bells1 #aj1 #aji1 #aaa4 ,lincoln ,cathedral1 ,bell of1 #df4 ,lincolnshire1 ,early dated bells in1 #cb4 ,london 7founders71 #bb1 #bd1 #bh1 #dj2 early ringing in1 #h1 #gd2 bells in1 #eb ff41 #acf4 ,loughborough foundry1 #da2 and see ,taylor4 ,ludlow1 ,bells rung at1 #eh1 #ajj1 #aja4 ,lukis1 ,rev4 ,w4 ,c41 quoted1 #gi1 #aci4 ,mearses 7founders71 #dj1 #dh1 #ef4 ,mears and ,stainbank 7founders71 #da1 #eb1 #aee4 ,milton quoted1 #ajj4 ,monastic bell-founders1 #ba4 ,mot1 ,robert1 7founder71 #dj1 #aaa4 ,moulding of bells1 #ac4 ,newcombes 7founders71 #cc1 #df1 #abh4 ,new ,year's ,eve1 ,ringing on1 #ij4 ,norris1 ,tobie1 7founder71 #abb1 #abg4 ,norton1 ,stephen1 7founder71 #be4 ,norwich1 ,foundry at1 #bh1 #cj2 and see ,brasyers4 ,nottingham1 ,foundry at1 #be1 #bh1 #cc1 #cd2 and see ,oldfields4 ,oldfields 7founders71 #cd1 #df1 #aaa1 #aab4 ,oxford1 ,bells and ringing at1 #dh1 #ig1 #ih1 #aja4 ,pancake bell1 #ic4 ,passing bell1 #ie4 ,phelps1 ,richard1 7founder71 #dj1 #ec4 ,prayer ,book1 ,mention of bells in1 #hb4 ,purdues 7founders71 #cf1 #de1 #abd4 ,raven1 ,dr41 quoted1 #ec1 #eg4 ,reading1 ,foundry at1 #bh1 #cc1 #cd2 see also1 #aea4 ,reformation1 ,effect of1 on bell-founding1 #cb1 #aji1 #aba1 #abb1 #abd4 ,ringers1 ,guilds and ,societies of1 #fg1 #gd2 clerical1 #fh2 behaviour of1 #ge1 #gi2 rules for1 #gh4 ,ringing1 ,methods of1 #e1 #dc2 early mention of1 #e1 #h2 modern1 #fg2 and see ,change-ringing4 8,rings of bells10 #d1 #e4 ,rudhalls 7founders71 #ch1 #acd4 ,rylstone1 ,yorks41 ,bells of1 #abd4 ,sacring bell1 #hh4 ,salisbury1 ,foundry at1 #bh1 #cf4 ,sanctus bell1 #hf4 ,sermon bell1 #he4 ,signa1 #dc ff4 ,stedman1 ,fabian1 #gb1 #gd4 ,sundays1 ,ringing on1 #hd ff4 ,taylor ,co4 7founders71 #da1 #dd1 #di1 #ej1 #eb1 #ec1 #ee1 #aad1 #aee4 ,tellers1 #if4 ,tennyson1 quoted1 #hi4 ,tong1 ,shropshire1 ,great bell of1 #di1 #ajd2 ringing at1 #fh2 ringers rules at1 #gh4 ,tonne1 ,john1 7founder71 #ajh2 ,stephen1 #cd4 ,towers1 detached1 #fd2 and see ,belfries4 ,towthorpe1 ,friar ,william1 #ba4 ,trade-marks1 #bh ff41 #ajf ff4 ,tunnoc1 ,richard1 7founder71 #af1 #bf4 ,uses of bells1 #ha ff4 ,waltham ,abbey1 ,bells at1 #be1 #ij4 ,warwick1 ,ringing at1 #eh1 #ajc4 ,westminster1 ,bells of1 #eb1 #ef4 ,william the ,conqueror1 #ih4 ,worcester1 ,bells of ,cathedral1 #i1 #be1 #ej1 #acf2 foundry at1 #cj2 carillon at1 #fj2 campanile at1 #fb2 bells of ,s4 ,helen's1 #acf4 ,wordsworth quoted1 #abd4 ,wymbishes 7founders71 #bd4 ,york1 ,bell-founder's window at1 #af1 #bf2 mortar at1 #ba2 foundry at1 #bb1 #be1 #bf1 #cg2 ,great bell of minster1 #df4 ,a4 ,r4 ,,mowbray ,,and ,,co4 ,,ltd41 ,,printers1 ,,oxford ---------------------------------------- ---------------------- ,transcriber's ,notes ,all inconsistencies were left unchanged1 like3 ,bellfounder -- ,bell-founder framework -- frame-work recast -- re-cast recasting -- re-casting ,the following changes have been made3 p4 #f 8pourtrays0 replaced by 8portrays04 p4 #aei 810 removed4 p4 #aei 810 replaced by 8404 ---------------------------------------- ----------------------