CLAVIS CAMPANALOGIA OR
A KEY TO THE ART OF RINGING
By
WILLIAM JONES, JOHN REEVES & THOMAS BLAKEMORE
File – 03: Chapters XVI to XXI, Appendix, Index, (pages 312 to 432)
This document is provided for you by The Whiting Society of Ringers visit www.whitingsociety.org.uk for the full range of publications and articles about bells and change ringing CHAPTER XVI.
REAL DOUBLE TEN IN.
HE following peal consists of 5040· D changes, with the bobs behind and before alternately. 54632 I 2345678gx* 65243 I 26354 I f3728564 24365' *6452837 32546 I f4367285 *2643578 53624 1 25634 .. 65432 I 62453 I t6728354 46253 I 46325 I *5432867 43265' 45362' 42563 45236' 42356' h748635 24653 I 34625 .. *3564827 62345 I 63542 I +5237486 36524 1 56234 I *4352678 34562' 25463 I" 53l46 I 23456'
The first three courses inserted by the bob changes, is a sufficient guide to the rest, the: small figures denoting the number of bobs in each course.
The following are the bob changes of the first part of 5100, on the system of being two bobs in one lead, which twice repeated com pletes the peal.
• Tbe character xis uted for the tenor, or teotb bell, and we have already. observed that it is unnecessary to use either ulntb or teoor in pticking the bob change11 of tb- kind of methods. 314 Clavis Campanalogia; or,
23456789X 4257386 6342578 2367584 3285746 4523678 3246578 2437586 5426378 2486753 2453678 4683725 4625378 5237486 5286743 6583724 5243678 6524378 ---- 4537286 2647583 34256 3526478
In the above peal the sixth is at home nine -times wrong and twelve times right.
The following are the course-ends of the the first part of 6o6o changes on the fore .going system, which, twice repeated, com pletes the peal.
. 52364~' 35264* 45236 24536* 5 2 436~' 34256 A Key to tlu Arl of RiNging. 315
In the above peal the sixth is also nine times wrong and twelve times right.
The following are the course-ends of the first part of 6540 changes, being the fewest in which the sixth can be at home twelve times wrong and twelve times right.
These marks * denote the course ends which are brought by the great bells making bobs, which shortens the course one lead.
I -._I, • ,._~ , -- ''".. ;~ ~M. - ••"'o• I ~ GRANDSIRE TEN IN~
The following peal consists of 5159, of which we here give the bob changes.
r:;------, L~~~~~ Clavis Ca•jaHalggia.
23456789x
7529JJt486 I 467382X59 4
23456g7X8 I 3425697x8 7 4235697x8 7 36427589X 6 64327589x 7 J2594X687 I '4J26g7X8 6 2465397X8 8 43526g7x8 7 4625397x8 7 S643728gx 6 23467s8gx 6 64S3728gx 7 34267589x 7 3462597X8 a 6435297X8 8 4632597x8 7 4J65297X8 7 3546728gx 15 6243758gx 6 5436728gx 7 2463758gx 7 26S94X387 I 5J294X687 I 5426J97X8 6 2453697X8 6 4256397X8 7 45236g7x8 7 .26457389x 6 964x28573 I 6425738gx 7 8X9763452 I X98763452 7 S463297X8 8 37X592846 t ·465]297X8 7 25J476X89 I 52467389X 6 642859JX7 I 2456738gx 7 986Jt47235 I w95X2846 a 6423597x8 8 Roun at hand a .4263597X8 'I 6542738gx 15 5462738gX 7 Clavis Campanalogia.
The foregoing method may be rung with the hind bells in other situations, viz. 7-8- g-x at home every course-end, or 7-x-8-g, but we think the foregoing way the best, as it is • exactly on the Cater System, and by referring to which the practitioner may have any length he pleases. COURT BOB TEN IN.
12345678gx 12436587xg 1426385x79 21436587x9 24135678gx 197X583624 42316587x9 1795X38264 2436185X79 426381X597 146283X597 46283X1579 16482x3957 6482X35197 46283X5917 17593X2846 6482X39571 IS7392X486 684X293751 86x4927315 r684x29375 684X297135 r86x492735 86x4921753 8x6g412735 IS37294X68 x8g6147253 13527496X8 8xgx674523 x8rg765432 I8X6947253 xr8g674523 rx8g674523 xxg8765432 rgx7856342 1325476g8x 12345678gx .320 Clauis Camptmalogia; or,
The praditioner, by referring to pages 178 .and z8z, will there find on eight bells two }ieals in the above method, somewhat different from each other, and with different appellations, viz. London Court Bob and Norwich Court Bob, but here we have no occasion for any such distinction as in the aboye they both unite, for, on inspection, the above will appear .exactly to correspond with that on six bells, and which both the others in some measure differ, nor will it admit on eight bells exactly. For example, in the London Court, the bells dodge before and behind, according to the proper method, but then the places there made does not agree with that on six bells on the other hand, in Norwich Court the places are right, and that causing double dodging before and behind, makes it imperfect ; whereas the .above is perfectly consistent and uniform.
In respect to the method of ringing or com posing Court ten in, it is similar to Norwich Court (as eighth's place is made at the bobs) except in ringing you only run single instead of double, and make eighth's and seventh's, seventh's and eighth's places instead of fifth's .and sixth's. A Key to tlu Arl of R;,.gittg. 32I
The following are the bob changes and course·ends of the first part of 5400, which being four times repeated completes the peal.
gx7856423 795X48623 x8g273645 45362
*gx786~345 53462
*gx786253 x8g273456 Course-ends of 56342 each part. 36245 42563 gx7842563 65324 x8g276354 54632 23456
The above peal may be reduced to 5040 changes, by omitting the three bobs marked,* in either of the parts, or it may be augmented to above 6ooo, by adding a course more to each part, which may be done by calling another bob when g--x is before. X 322 Clavis Ca"!pa.alogits; tw,
N. B.-The first and only peal that has been rung hitherto in the a~ve method was by the St. Peter's company, in the city of Norwich, on the old peal of ten bells, which formerly occupied that steeple.
We cannot help here making another observation, which is, notwithstanding the custom of making eighth's place at the bob was from the first origin of this method, we don't conceive it obligates every company to abide by it, neither should .they be tied to making a particular place at a bob in any other method ; by all means let every one follow his taste in this particular, as the art of pricking will still be the same, for whoever has skill as a composer can very easily surmount any alterations of that kind, therefore in this method we would recommend fourth's place at the bob as it certainly would make great amendment to the music in a peal or even a touch, for by having the bobs in this manner you fall into the treble bob system as far as that of making Triple dodges while the great bells are behind, which is so much admired by all professors of the exercise, it will likewise lengthen the courses in a similar manner, A Key to IM Arl ~t Ritfgi11g. 323 therefore it is necessary to pursue the same method in composing ; upon the whole, we think this way would have much the pre ference.
By way of specimen we give the following peal with fourth's place "at the bobs.
2345678gx
642385x79 • 264385x79 1 2635478gx 8 2657394X8 ° 3526478gx • 2356478gx' Course-ends of each part. 2367594X8 ° 42563 5623478gx • 2563478gx' 36245 2537694x8 ° 54632 3257694X8 1 6532478gx • 23456
The aboTe bob changes are the first part of «>oo, which, four times repeated, completes the peal. -
CHAPT~R XVII.
OXFORD TREBLE BOB
ROYAL.
AVING already shown the inutility 111 of more than eight bells in pricking the bob changes for ten or twelve, particu larly even bell methods, we shall therefore make no further observation thereon, but proceed.
The following peal consists of 5040 changes upon the most simple construction, being comprised in three parts, making together only nine courses in the whole. Clavis Campanalogia.
6423857 4352867 3265847 2643857 5432867 3254678 6357284 4267583 5324678 5637284 6427583 2356478 5264378 5236478 6524378
Course-ends of each part. 43526 23456
We have inserted the first part of the above -peal with ·the bob changes by way of -Specimen, for we don't mean to pursue it any further, there being a corred scale of the ·course-ends at the conclusion of Oxford Treble Bob eight in (see page 228) to which the .practitioner may easily refer. We shall there fore now give peals in this method, by course ·ends only.
The following is the course-ends of 5200 <:hanges, being the full extent that can be -obtained in nine courses only. 56342 I M 32654 36524 64523 2 H 54263 I M 23645 26435 65432 23456 I H
N. B.-In this peal there are only five· omits,* which are marked by the side of each course what they are, viz. 1 M, signifying there was one bob omitted, when the tenor· dodged in 7-8 coming down, commonly called the middle ; R signifies when she dodges in· g-x the wrong way, and H when she dodges at home, or in g-x the right way; for example, in the first course of the above peal thEre was one omit in the middle, in the second course two at home ; in the 5th one in the middle ; and in the ninth or last one at home. The foregoing· nine courses if run on twelTe bells would. produce 7104 changes.
The following is the course-ends of 5040 changes, with the sixth at home twelve times wrong, and twelve times right.
• Omits, signifies where boba mi~tht be called and ia not, as for Instance sl:l boba may be called ID each coune of the aboYe method, without parting ;>-8--9--x, viz. 2 the N, 2 a, and 2 at H , therefore what are left of them uncalled are termed emits. A KfY. to 1/u Arl ofRilfgifft. 327
52364 35426 24365 24536 45362 25346 54263 23456
The above ten courses on twelve bells' contains 7008 changes, which was rung by the Society of College Youths on Wednesday. the roth of March, 1784, at St. Saviour's, Southwark, being the greatest extent ever yet completed in that method, which was per formed in six hours five minutes, and by twelve men only, notwithstanding the tenor is upwards of 52 cwt.
To introduce the two following courses between, the sixth being at home wrong and right in the above peal, will . lengthen it one lead, which makes soBo changes, and on twelve bells 7456 being the extent, on that plan in ten courses,
and by having the four following courses between, they will make 6120 changes, and on twelve bells 84g6. The following are ~he course-ends of 5200 <;hanges, with the sixth twelve times each way.
52364 34562 25463 43265 64352 62534 32546 54326 45236 23456
The above ten courses on twelve bells will make 7200 changes.
The following are the course-ends of 536o <;hanges, with the sixth twelve times each way.
52364 34562 25463 43265 24653 42635 32546 54326 45236 23456
The above ten courses on twelve bells wil make 7392 changes. The following are the course-ends of 5440 changes, being the full extent that can be <>btained with the sixth at home twelve times wrong and twelve times right, in ten courses.
52364 25463 :14365 53462 24653 53624 52436 25346 54326 23456
The above on twelve bells will make 7488 changes.
Either of the preceding peals may easily be augmented to upwards of 6ooo changes ·· by adding another course (between the sixth .being at home wrong and right) in each part.
The following are the course-ends of the -first part of 6ooo changes, which twice repeated .completes the peal. The above twelve courses, on twelve bells,. will make 8352 changes.
The following is the first part of I 2ooo changes, · which being four times repeated, completes the peal.
Course-ends of each part. 42635 36452 35264 54632 63542 64523 45362 s6342 23456
The above peal is the greatest extent of changes that have hitherto been rung in the above method ; it was performed by ten of the Society of Cumberland Youths, at it. Leo nard's, Shoreditch, on Saturday, the 27th or March, I784, in nine hours and five minutes, being the longest time that ever one set or men stood to ring without rest.
The following is the first part of I 38oo, being the full extent of changes that can A Key to tlu Arl oj Riffgi~~g. 331 possibly be obtained in this method without parting the hind bells, viz., 7-8-g-x.
Course-ends of each part. 36452 62345 45362 56342 34562 65243 24653 56234 45623 23456
We here take leave of changes on ten bells. entirely, as no practitioner can expect us to launch into so much extravagance as to give cramp for Surprise peals on so great a number there being so very little probability of their being practised. But, however, if there should be any who might wish to go to such extremes,. we have only to observe, that those peals heretofore inserted on six bells, by strictly adhering to the same rule, they can exactly be brought to correspond on ten, as six and ten perfectly agree with each other. CHAPTER XVIII.
OF CHANGES ON ELEVEN
BELLS.
ftiiE have at length arrived at the utmost .lUll extent of odd bell peals (at least as far as have hitherto been deemed practicable) nor need we scarcely inform our practitioners that all peals whatsoever on this number, are -entitled Cinques, which being evidently derived from the French, we shall no longer dwell on the etymology of the title, but proceed to more important matter. 333·
And, first, for Grandsire Cinques.
The Grandsire method on a lesser number of bells having already been very copiously handled in some of the preceding pages, we shall therefore not trouble the young artist with any inpertinent repetitions, but proceed to the method of calling peals.
The following peal consists of 6oo6 changes. 23456789XO*
97205x3846 a 6894X30572 3
5362478o9x a 36S2478ogx 8 2637504X89 9 6327504x8g 8 2563478ogx 7 5623478o9x a 3657204x8g 9 45638297X0 7 6537204X89 8 2347so6x8g ' 3265478ogx 7 { 34275o6x8g a 2635478o9x 8 42.575o6x89 8 S627304X89 9 3542678ogx 7 5432678ogx 8 34528697XO 6 24573o6x89 9 623740Sx8g 1 4527306x8g 8 { 2367405x89 8 2345678ogx 7 3627405x8g 8 (3425678ogx B 2436578ogx 7 4326578ogx 8 75304X2g68 1 6347205x8g 9 X079583642 1 34672osx8g 8 68x2940375 a 6234578ogx 7 426385X790 l 2364578ogx 8 3472o6g8xs 1 43276o5x89 9 07593x4826 l 32476o5x89 8 8xo6927453 a 4632578ogx 7 2684x30597 1 6342578ogx 8 Rounds a
The foregoing peal is composed with the seventh behind the eleventh, and only the
• This charaCter o Is introduced to represent the eleventh beU. A Key to 1/u Arl of Ritfgt11g. 335'
fourth, fifth and sixth before the eighth, it being unnecessary to have any more, and they being next in rotation from behind and most proper, in order to keep the largest bells together.
By omitting those bobs which are braced it will cut out thirty-nine leads, and reduce the peal to 5148 changes. The bells are brought round from the tittums, five-six being a home, by a bob every lead, except when the tenth and eleventh is in the hunt, where they remain two leads : they will also come round by calling -a bob, when the tenth is to make third's place, and another, when the eleventh is to make third's place, which is commonly called the tenth before, and the eleventh before, which brings the bells into plain courses, for example :
2345678ogx gx28o67453 2ogx785634
But this is not so good a way, as it does not keep the great bells so well together. 336 Clavis Campanalogia; Of',
The following peal consists of 6I8:l changes.
2345678gxo 465392X708 6 97205X3846 2 234768sogx 1 8xg6o47325 2 { 342768sogx 8 go8x762453 7 423768sogx 8 4693X50287 2 36425798XO 7 2547386ogx 2 64325798xo 8 432567g8xo '1 2467385ogx 9 4627385ogx 8 264395X708 7 23465798xo 7 532768409X 1 34265798XO 8 { 325768409X 8 6437285ogx 9 253768409X 8 436728509x 8 36254798XO 7 62435798xo 7 62354798xo 8 526738409X 9 456293X708 7 265738409X 8 3247S86ogx 1 53264798XO 7 { 2437586ogx 8 32564798XO 8 4327586ogx 8 623758409X 9 254367g8xo 7 2367584ogx 8 542367g8xo 8 65234798XO 7 87503X4926 Z 246593X708 7 gx86027453 7 3527486ogx 1 8ogx765234 " 5237486ogx 8 2684X30597 2 Rounds"
The above• peal is composed with the eighth behind the eleventh, .and only the fourth, fifth and sixth before the ninth, for the same reason we have already assigned. A Key to flu Arl oJRi11ging. 337
By omitting ;the bobs which are braced, it will cut out forty-five leads, and reduce the peal to 5192 changes.
There is another way to come round from the above which would augment the peal,. being not so short a way ; it is as follows:
542367g8xo 87503Xf926 268493X507 2345678ogx from which change they come round as before shewn at page 335·
The following peal consists of I 07 I 4 changes-
y 338 Clavis Campanalogia; or,
2345678gxo 364592X708 9 253768409X 1 97205X3846 a 532768409X 8 8xg6047325 2 325768409X 8 go8x762453 7 S6J:Z4798XO 7 4693XSO:Z87 2 63524798xo I 53426798xo 1 236758409x 9 362758409X 8 465392X708 7 25364798XO 7 234768sogx 1 53264798xo 8 34:Z768sogx 8 635728409x g 423768sogx 8 356728409X 8 36425798XO 7 62354798XO 7 64325798XO 8 :z46738sogx g 346295X708 7 462738509X I 24356798xo 9 23465798xo 7 34:Z65798XO 8 36::1495X7o8 7 6437:Z8S09X 9 543768:zogx 1 4367:z8sogx 8 435768:zogx 8 62435798XO 'I 354768:zogx 8 46352798XO 7 456293X708 7 6J452798XO 8 3247S86ogx r 536748:zogx 9 ---- 365748:zogx 8 s6 349:zx7os 6 54362798xo 7 245768309X 1 43562798xo 8 45:Z768J09X 8 634758:zogx 9 524768309X 8 346758:zogx 8 46523798xo 'I 65342798ox 7 65423798xo 8 ZS6748309X g 326594X708 7 S6:Z748309X 8 523467g8xo 9 24563798xo 7 235467g8xo 8 45263798xo 8 4327586ogx 9 654728309X 9 254367g8xo 'I S467:Z8Jogx 8 542367g8xo 8 6:z543798xo 'I ---- S36294X708 7 87503X4926 2 4257386ogx 1 gx86027453 2 8ogx765234 7 2684X30597 2 l~ounds 2 A Key to tlu Arl of Ri"gi"J· 339
The foregoing is the full extent of changes that -can be obtained iwith the 8th or any one bell behind the I Ith, it may easily be extended in ·;the coming round either to uooo changes, or .as many as the practitioner may please.
ScALE FOR Boa CHANGES. 7529304X68 ~~~lea~.. pr~. uc~ 97205X3846 r3rd ...... og2x785634 4th ...... X028967453 A Boa' sth ...... 8x26049375 6th 6824X30597 7th 462385x7og 8th 3425678gxo gth 5327496o8x CHAPTER XIX.
REAL DOUBLE CINQUES.
HE following peal consists of 5236 D changes with the bobs behind and betore alternately. A Key to t'lu Arl of RH.gsng. 34l:
2345678gxo 2467503X8g V 5J268497XO a Og7x582634 1 3624578ogx v 4683X20597 1 6234578ogx' 3265478gxo 1 24376osx8g v 2635478gxo ' 65238497X0 a 5324678ogx: 9 907X285463 6 3254678ogx ' 4893X60572 7 24573o6x8g 9 5267403X8g G 36258497X:0 a 43568297X0 a 47503x6g28 1 27604X3958 1 3645278ogx a 4326578ogx 1 6547302x8g v 3627405x8g 9 32648597X0 8 453286g7x0 a 2465378ogx v 5236478ogx • 4625378ogx ' 2356478oxg' 6527403X8g 9 3657204X89 V 4J628597XO a 243586g7xo a 3265478ogx 9 4536278ogx v 2635478ogx ' 5346278ogx ' 6537204x8g v 3647502x8g 9 24638597X0 8 52348697X0 1 g8x6240375 a 57405X2938 1 209x785634 a ,;264>378ogx a Rounds 1 The above peal is a composition of Mr. ·George Gross's, which he called at St. Saviour's, Southwark, on Monday, February 26th, 1716. The fDilowing peal consists of 5192 changes with twa bobs in one lead. 2345678gxo 5738402X6g 4 97503X2846 6 3427685ogx • 24638597XO 1 42675s3ogx 8 075X392846 1 265738409X 8 68g4x20375 1 6537482ogx 8 8gx4026375 8 5347286ogx 8 49x2o38567 4 087X395642 6 7536284ogx 1 2694X50387 1 5326487ogx 8 087X392654 1 3246785ogx 8 46g5x20387 1 o86x293547 6 325768409X 6 7594X30286 1 256748309X 1 2J46587ogx 6 56473B2ogx a 3456782ogx 8 6437285cgx 8 457628309X 1 087X496532 6 2593X6o487 1 657B2o4x39 • 4637582091' 7245386ogx • 635728409lt 8 2435687ogx • 352748609" 8 o85x492736' 6793X20485 1 087X5936~4 6 o85x496723 1 324567089X 1 3792X6o485 1 x8795036%4 1 4625783ogx 6 324567x8og 1 627~38409X 8 8759203Xf.6 6 2735486ogx 8 2345el78gKo 7 In the aboYe peal the 7th is at home her fulJI extent in the above method. N .B.-Any course-end as 52436 or 35426- cannot be admitted in this method upon either nine or eleven bells, except the great bells are called into the hunt, otherwise the peal must. inevitably be false. PLAIN BOB CINQUES.
The following are the course-ends of the first part of 5500 changes, which four times repeated completes the peal. Course-ends of each part. 35642 64235 62534 26435 42635 54263 63425 46325 23456 By omitting the bob at home the first course end, it cuts out two courses, which will reduce the peal to 506o changes ; it may also be aug mented to upwards of 6ooo, by adding another course to each part with a bob at home. NEW DOUBLE CATERS · AND CINQUES.
For the method of this peal the practitioner has only to refer to refer to page 118, where he will find a lead of it on seven bells, from which he may very easily obtain it upon nine or eleven. And as the plain leads and bobs are exactly the same as Plain Bob Caters and Cinques, therefore the peals inserted in those methods may likewise be rung in this, and the .same observations hold good.
N .B.-As we omitted speaking of the above method at changes on nine bells, we have in .troduced it as above to serve for both. UNION CINQUES.
We shall only observe, with respect to this method, that the rule is continued on eleven bells, as is heretofore on nine, viz., fifth's place .at the handstroke leading of the treble.
The following is the first part of 7418 changes which twice repeated completes the peal.
2345678gxo 694508237x ' 346527g8xo a 8o2674x359 8 543627g8xo 9 948S6X3702 I 64532798xo 9 32g6x80457 8 5438gx67o2 ~ go6275X438 8 { 365427g8xo ' 8S932X47o6 I 463527g8xo 9 4682X90537 8 564327g8xo 9 35498X2706 ° ----- 4235678gxo' 495608237x ' ----- 354627g8xo a 34256 lcJI 6534279Sxo 9 456327g8xo 9 lof! ----- 23456 346 Clavis Campanalogia.
By omitting the three bobs (which are braced)· in the two first parts it will reduce the peal to 6336 changes ; it may in like manner be re duced to five thousand.
ScALE FOR BoB CHANGEs. xst lead produces ... 7529304X68 2nd .. . 072x589634 3rd .. . 8o2674X359 +th .. . 482309657X A Bon 5th .. . 94258x3706 6th .. . xg27465o83 7th .. . 6x20937845 8th .. . 3628x50497 gth .. . 5324678gXOo
[~~ ...__: _--<~~__ _ - CINQUES ON STEDMAN'S PRINCIPLE ..
There is nothing further to add in this method than to inform the practitioner that what we have already given at the article of Caters (see page 299) is sufficient, as a peal of almost any length may be selected from that number of changes, only take notice that the two addi tional bells, working with the rest, will extend the number of changes in each course. CHAPTER XX.
OF CHANGES ON TWELVE BELLS.
JmE have at length arrived to the summit liD of our design (viz.) that of changes on twelve bells ; and it is rather extraordinary that so great a number, which is undoubtedly .capable of producing the most extensive variety of methods, has hitherto been confined to four at furthest (Grandsire Twelve in being an addition of our own) but to proceedmethodi ·Cally the first peal which comes under our pre .sent consideration is usually termed Plain "Twelve in, but more properly BOB MAXIMUS, the method of which being so nearly affined to those treated of in pages 129 and 306 that nothing more remains now to be added but the method of calling peals, and to which we pro ceed. The following' are the course ends of the first part of 5544 changes, which twice repeated completes the peal. 64235 26435 42635 63425 Course-ends of each part. 46325 23564 34625 23645 By omitting the first bob at home it cuts out two courses. and reduces the peal to 5016 changes. The following are the course-ends of the first part of 5280 changes, which four times repeated completes the peal. .350 Clavis Ca,.ptMOlogia; or,
Course-ends of each part. 45623 64352 56234 36452 45362 62345 34562 23456
The following are the course-ends of 5016 -changes.
64235 52436 26435 43526 24536 43265 53246 24365 25346 34562 32546 25463 54326 45362 35426 23564 42356 34256 23-i-56
In the above peal the 6th is at home, six times wrong, and eleven times right, being the most she possibly can be (at home) wrong and right in nineteen courses only.
The following are the course-ends of 528o changes. 64235. 26435 43265 23564 24365 52436 32465 43526 54326 24536 35426 53246 42356 45236 34256 23456 . 25346 32546 In the above peal the 6th is at home twelve times. The following are the course-ends of 6072 .changes. 64235 26435 52436 54263 43526 25463 24536 34562 53246 53462 25346 45362 32546 35264 54326 42563 35426 52364 42356 43265 34256 23564 23456 In the above peal the 6th is at home, ten ·times wrong, and eleven times right in 23 courses. 352 Clavis Campanawgia.
The following are the course-ends of 6072 changes, with the 6th at home seven times wrong and twelve times right.
64235 65324 36245 36524 24365 35426 52364 24536 34562 42356 35264 53246 54263 34256 23564 45236 32465 25346 52436 23456 54326 32546 43526 The following are the course-ends of the first part of 6336 changes (with the 6th at home, twelve times right) which twice repeated com· pletes the peal. 43652 45236 65432 25634 24536 62453 52436 42356 If the practitioner should require a greater extent of changes than we have here given, he need only refer to Bob Major, or ten in, as the peals there insert~d will also serve in this method. REAL DOUBLE TWELVE
IN.
The following are the ,bob changes, and the course-ends of the first part of 528o, wi.th the bobs behind and befo~e alternately, whicb four times repeated completes the peal.
2345678gxoz* 3728564 4768235 645z837 3526847 42635 56342 2748356 6758423 5634827 2345867 64523 3627584 5236478
•Thla claaracter & represenll the tenor, or twelfth bell. 354 Clavis Campanalogia; or,
Course-ends of each part. 65243 46532 34625 23456
N. B.-In all peals of real double the first bob is caHed when the treble is behind, and the last when she is before.
The following are the course-ends of 5 lOO changes with two bobs in one lead.
~'64523 •:'35264
~'56234 ~'23645 *64352 46253 53264 24365 36245 43652 54326 52643 26354 63425 32654 46325 53462 42635 . 56342 23456
The above peal was composed and called by 1\rr. John Povey, which the Society of .A. Key ID tlu Arl ot Ri,.King. 355
College Youths rung at St. Bride's, on Wednesday, March the 24th, 1784, being the first true peal ever rung in the above method on any number of bells.
The following are the course-ends of the first part of 5328 changes, which twice repeated completes the peal.
In the above peal the 6th is at home nine times wrong and nine times right.
The following are the course-ends of the first part of 6o48 changes, which, twice repeated, completes the peal.
*63254 ~'45236 43265 *24536 52364 *52436 *35264 34256 356 Clavis Camparralogia.
In the foregoing peal tl:te 6th is at home nin.e times wrong and twelve times right. It wa:s rung ~t St. Saviour's, Southwark, by tl:te Ancient Society of College Youths, on Monday, March the 26th, I 784, being the most ever yet rung in that method.
N. B.-These marks * d~ote the cou_rse·en~ which come by the great bells making bobs. GRANDSIRE TWELVE IN.
The following peal consists of sors changes~
97205z3X486 1 8xg6z403752 a 465293X7Z80 1 zo8g7x26543 1 26435798XOZ lo Xg%:60483752 1 3627485ogzx Io 6gx4z305827 lo 7638204z5X9 lo 457293x6z8o 8 346592X7z8o 1 3246S87ogzx 1 54320798xoz Io {2436587ogzx 11 435267g8xoz ' 352476g8xoz 8 2347586ogzx 1o 52 3476g8xoz 11 3427586ogz:ic 0 253467g8xoz 8 6458203Z7X9 1 532467g8xoz ' o86z4X59273 1 4357286ogzx lo 7903X2z5846 a 3547286ogzx. ' 237594o6x8z 1 423567g8xoz 8 64285ZjX709 1 234567g8xoz' z86x4029573 1 5327486ogzx lo goz7x385624 1 379502Z4X68 1 Round at hand 1
In the above peal, by introducing the three following bobs instead of those that are braced, it will augment it ten leads. 358 Clavis CaMpaHaiogits.
254376g8xoz 542376g8xoz 3456287ogzx
\Ve shall just observe, in respect to this method, that it is far superior to the other plain method on an even number of bells both for music and variety of changes; as for instance, in ringing a peal of Plain Bob Maximus, you have in every course the same thing over again, except a little alteration with the small bells ; but here we have both music and variety of changes upon the whole number ; it also serves to prove our former observations concerning bells coming round at hand, as it appears every peal we have inserted in this method on an even number, are brought round in that manner.
We here close with plain peals, and in respect to Court Bob, it not being a method adapted for twelve bells, shall omit it. CHAPTER XXI.
OXFORD TREBLE BOB
MAXIMUS.
HE following are the course-ends of D 5040 changes with the sixth at home five times wrong and twelve times right.
35426 24536 25346 23456 The following are the course-ends of 5 I 36 changes with the sixth at home nine times wrong and nine times right.
52364 24365 45362 24653
The above is the full extent of changes that possibly can be obtained in seven courses with the sixth at home wrong and right eighteen times.
The following are the course-ends of 6ooo changes.
52364 43~65 52643 62534 45236 54326 34562 23456
In the above peal the sixth is at home nine times wrong and nine times right.
We here conclude with peals entirely, for greater lengths in this method the practitioner need only refer to what has already been inserted on eight and ten bells. A Key to tlu Art of Ri~~gi~~g. 36r
Thus we have regularly gone through all the gradations of this comprehensive science, in which we trust we have answered the most sanguine expectations of the curious ; for copiousness and variety of peals we have exceeded even our own intention ; and at the same time we presume that it is not unnatural in us to suppose that x6o peals (many of which will admit of various alterations), is a far greater number than the generality of our readers could have expected, or eTen wished. However, to fulfil our engagement with the public, and as far as in our power lies, give general satisfaction, a complete set of touches is inserted in the following Appendix ; so that whoever may be disappointed, or dissatisfied, in the preceding pages, we hope will find ample amends in the following: and in order to gratify the taste of every class of our readers we have introduced some miscellaneous traCts adapted to the subject, so that should any adepts of the art be disappointed in the instructive, they may at least find something of the agreeable.
APPENDIX.
APPENDIX.
JIIIE no~ ,cam~ .~o anoth~ p;u:t 9! ,our um promise, viz. that of giving w,hat is gem;rally call~ touches, i1;1 c;lq~qg .whi~ we shall endeavour to select some of the most musical and curious, and first we shall begin ' . . , . . '· - with Grandsi.re l'riples.
N. B.-We shall only pursue this plan in those methods which are consta,ntly .in practice. GRANDSIRE TRIPLES.
The following bobs being twice repeated, brings the Queen's change, tittums, and round, in twenty-four leads, or 336 changes •
.It may also be done as follows :
462753 s 374562 1 Queen's 1
The following bobs twice repeated brings the tittums first, then the Queen's, and round in thirty-three leads, or 462 changes. 342567 c 673254 I 426573 1
The following bobs twice repeated, are the twelve courses with the sixth at home, which makes 672 changes.
· 672453 I 346572 1 723654 I 467523 1
The following bobs make just 7co changes.
752634 1 745632 ll 237546 8 267345 1 532674 ~ 362574. 325674 c 623574 c
743562 I 526437. 257643 1 375642 ll 652374 G 423567 11 526374 c 234567 c 368 Claws Catt~pfUUllogia; or,
The following bobs twice repeated make 1260 changes (commonly called a quarter-peal) with the tittu~s, Queen's, and round.
752634 l 273645 l 527634' 342756. ~45762 .' 423756'
The following bobs twice repeated is also a quarter-pe~l with the twelve seven-fours, and twelve si:~C-se.v~.
635274 I 356274. 673542.
The following bobs twice repeated make 1386 changes, being the fewest in which can be introduced .the twelve seven-fours, the twelve four-saes, and the twelve six-sevens. The following bobs twice tepeated makes 1638 changes, in which is also introduced the afore mentioned particulars.
462375. 534762 1 673542. 465327. 256473 1 734265 1 452367. 237546 6 524367'
We make no doubt but the practitioner will be sufficiently satisfied with the foregoing touches as to this method, shall therefore now proceed to some of Bob Major • •
BB BOB MAJOR.
Having already informed the practitioner how to call three courses, we shall now show how easily they may be augmented to either five, seven, or nine, for example, the three courses before inserted (see page I 3 I) is by three bobs at. home, one at each course-end ; now by introducing a bob the wrong, which is the first lead from rounds, then your three at home, and two wrong afterwards, they will come round at the fifth, in plain course ; again, is after you haTe called one wrong, three at home, you call one wrong and three at home again, then by calling one more the wrong, they will come round at the seventh course end, and if you still add three more at home, it makes nine courses or 1oo8 changes ; this rule will also do for ten or twelve bells. We now proceed to some few others rather more curious.
The following bobs twice repeated produces the tittums, Queen's, and round in 24leads, or 384 changes.
The following bobs, twice repeated, produces the Queen's, tittums, and round in thirty leads, or +So changes.
The following are the twelve courses, with the sixth at home at each course-end, which makes 128o changes. 372 Clam CtlllfJflffalogia; or,
3578264 4278563 3586742 4286735 3564827 4263857 3542678 4235678 43526 34256 52436 23456 45236 24536 53246 25346 32546 54326
The following are the twelve courses with the sixth at home at each course-end, without parting the tenors, which makes 1440 changes• . 7864523 7863254 7842635 7835642 7823456 7854326 3564827 4263857 3542678 4235678 43526 34256 52436 23456 45236 24536 53246 25346 3~546 54326 A Key lo flu Arl of Ri11gi~~g. 373
The following are the bob changes of the first part of 2172, which twice repeated, pro duces the sixty seven-eights before.
2357486 6427583 5267384 3657482 7864352 7835426 7843265 7824653 7845623 7852364 7836452 7845236 7852436 7826543 7865324 7853462 7823564 7864235 7852643 7836524 6452378 52364 36452 2453678
N. B.-There is one seTen-eight before comes in every course without a bob.
,. ... I ~ ,... I '~:.::. ...,,,~ I .~;.,•; ~ ~.i.. ~,-- ~ / .J ! -- I I ···~· ...... ~ ~,.. --..,--,.J .._ OXFORD TREBLE BOB
EIGHT IN.
To call two courses in this method is one wrong, and one at home repeated, or two wrong two at home repeated. To call three courses is one wrong and two at home, twice repeated.
The above will also do for ten and twelve bells.
To call five courses, or n2o changes, is seven-eight before five times.
The following bobs twice repeated produce the Queen's, tittums, and round, in twenty -seven leads, or 864 changes.
68:Z4735 l 3572468. The following bobs make 928 changes.
6423857 4352867 2643857 5432867 6357284 6783254 5637284 8673254 2356478 5427386 5236478 2547386 3425678 2345678
The following bobs repeated produce the twelve course-ends with the sixth at home, which makes 14o8 changes.
By calling two in the middle, two wrong1 two at home, and repeating it four times1 it will make 2080 changes in five courses. GRANDSIRE CATERS.
The following bobs containing the shortest touch in which the bells can be brought round at hand, being only 359 changes.
The above was first produced by Mr. John Frazier, which is inserted entirely for curiosity, as the bells are thrown into such cross positions that few practitioners choose to ring it, but it <:annot possibly be done any better way.
The following bobs make 395 Changes, beingi only two leads more than the foregoing, and much more musical and regular. The following bobs make 503 changes. •
The following bobs contain 684 changes, being the fewest in which can be introduced the tittums, Queen's, and rounds.
46238597 I 43592867 1 75493862 1 7846g235 I 62738495. 35792468. --- 546g3827 1 72356g84 5 63542978. 49785623' 52637489 I 23456789.
The following bobs make 701 changes. The following bobs contain 827 change being the fewest in which can be introduCE the Queen's, tittums, and round at hand.
The following bobs make 1o61 changes. .d K17 ttl 1111 Arl of Ri,.,.,. 379
The following bobs make 1565 changes in which the sixth is her full extent behind the ninth. TEN IN.
In respect to touches in this, and all even bell methods; enough has been already given on eight bells to serve for ten and twelve. We shall therefore pass on and finish touches, .with some on eleven bells, viz. Grandsire Cinques. GRANDSIRE CINQUES.
The following bobs make go2 changes,. commonly called the old nine hundred.
75203"4968 1 X079582634 1 68X4930275 I 346.l8 5X790 1 5237406g8x 1 07592X38.j.6 1 8xo6947452 1 4683X20597 1 2345678gxo
The way of bringing the bells round from 2345678ogx in the above method, is by calling bobs successively every lead, except when the tenth and eleventh are in the hunt, each of which must remain there two leads.
By omitting the three bobs that are braced, it will reduce the touch to 572 changes. The following bobs make I I44 changes, in which the eighth is behind the eleventh.
The above may be reduced seven leads, or to 990 changes by omitting the bob marked,* the bells will then come round in plain course.
The following bobs make I no changes, in which the fifth is behind the eleventh. 9720SX38.f.6 I 68g.f.X30572 • 3+6S82g7JCO I 25374o6X8g 1 .f,6238597X0 t 75403X~28 1
62738495X0 1 3264758ogx • 053X.f.92867. 78o6g2X.f.53' XS79304826 • 68X2049357 1
N. B.-Any of the · preceding touches may easily be augmented at the practitioner's pleasure, by introduciag as many courses as he may think proper, only taking care to bring the bells at the last course in a proper position to come round, as has here been shewn.
Having given a set of touches, which Cor curiosity of composition, and pleasing variety of music, we trust will give general satis· faction ; it may not be improper just to take notice or the harmonious effect some positions produce above that of others, and likewise some improvements the art has received, in which· we shall introduce a biographical anecdote not impertinent to the subject. When the art was mor~ in its infant state, and half-pull ringing was esteemed a very valuable aquisition (being then but a new discovery) the method of bringing bells into the tittums. (by which means the prime and choicest of music is selected) was a matter totally unknown in those days. Ho~ long the art might have remained in this roughcast state (were it not for the gentleman whose name we are about to introduce) is rather hard to say. But certain it is that Mr. Benjamin Anable, when ·he entered this vast field of rude and uncultivated waste, like a skilful planter, divided it into all its regular parts and proportions, with that taste, elegance, and symmetry as at once evinced the judg ment and abilities of the ingenious artiste. But to quit allegory, Mr. Anable soon found the then present state of the art stood in the utmost need of correction, and on exploring it still farther found an ample field for improve ment, accordingly he went to work.
What progress he made ia five or six-bell peals we shall pass over, as not very important, but on seven bells there is every reason to believe that he was the first who produced 5040 ringable changes, which was the peal of Plain Bob Triples, with two singles (i.e. one at the end of each half). This wa s looked upon as a very great. acquisition (and at that time undoubtedly it was) till Mr. Holt's peal without a single appeared. But notwith standing Mr. .Holt is deserving of all the eulogiums we have paid to his memory, yet it must be confessed that he was in some mtasure indebted to Mr. Anable, for laying those firm foundations on which was afterwards raised such noble structures I
Our author's next effort was at Grandsire Triples, here, though unsuccessful, he was very far from being contemptible. For tho' he did not obtain the whole peal complete, yet he went much farther than any of his predecessors, or even cotemporaries, and his peal stood foremost till that of Mr. Holt made its appearance.
From thence he proceeded to Bob Major. where he also found considerable room for improvement. He saw no necessity for parting the tenors in a peal of either five or .six thousand. He made· the sixth perform her cc 386 Claflis Campallalogia; Ol', proper revolution in five courses, and five-six to come home together every fifteen,* this was undoubtedly a very great addition to Bob Major, for those who did not admire the music of it before, could not help confessing that this new dress served as a foil, which set it off to very great advantage. He next pro ceeded to Caters and Cinques, which he found in SliCh a rude and chaos-like jumbled state, as may be easier conceived than des cribed t; but Mr. Anable threw them into the harmonious tittums § where they still continue, and most likely ever will remain.
The time these improvements took place we cannot exactly determine ; but the gentleman whose name we have taken some pains to celebrate, died in the latter part of the year 1755, between sixty and seventy years of age, so that by comparing these observations with the date of Mr. Holt's works, it may be Tery nearly judged.
• We have dven two peals on this plan In pages 131 and 132, with wbicb Mr. G"ross's peal of real double, In page 169, Is perfecti:J consimilar. I t There is a pes! of Caters of thia description in the old Cam panalogla, at page 1~. t Tlttums e:rplalned, see pqe t57· .A. Key w tlu Arl of RiJWing. 387
We shall in the next place endeavour to give a list of the peals of twelve and ten bells, that are in the kingdom at this present time, as near as we have been able to collect.
But must inform our readers that the first peal of twelve was made for York Minster, in the year t68I, they being originally but a peal of eight, augmented next to ten, and then to twelve ; the tenor weighing 63 cwt. and the the treble hardly more than 3 cwt., but they have since been taken down and recast into a peal of ten, as will appear in the fol lowing list.
The next peal of twelve that was made and which now remains as the first (but we have not been able to procure the exact time) is at Cirencester, in Gloucestershire, they were also .at first but eight, then ten, and afterwards twelve, the tenor weighs about 28 cwt • •
We come next to the metropolis, where there are four, which is halfthe number in the kingdom, there being at present eight. St. Bridget's, or Bride's, was , made a peal of twelve (they being first a peal of ten) by joint subscription of the Societies of College Youths and London Scholars, in the year 1718, who kept the two new trebles chained up, not permitting any other company to ring them for some time. The tenor weighs 28 cwt.
St. Martin's-in-the-Fields was cast in the year I 726, these was the first peal of twelve made at one and the same time, .the tenor weighs near 34 cwt.
St. Michael's, Cornhill, was cast a peal of twelve in the year 1729, the tenor weighs near 40 cwt.
St. Saviour's, Southwark, was cast a peal of twelve in the year I 735, the tenor weighs upwards of 51 cwt. •
Great St. Mary's, Cambridge, was aug mented to a peal of twelve (they being first a peal of ten) in the year 1770, the tenor weighs about 30 cwt. A Key to the Arl of RingiHg. 389
St. Martin's, Birmingham, was augmented to a peal of twelve (they being first a peal of
ten) in the year I77I 1 the tenor weighs about .36 cwt.
St Peter's, Mancroft, in the city of Norwich,
was cast a peal of twelve in the year 17751 the tenor weighs upwards of 41 cwt. This at present, though it remains the last, is by some ·deemed the first in point of merit.
The following is an Alphabetical list of the -counties, and how many peals of ten are -contained in each.
Bedfordshire o. Berkshire, I : St. Lawrence, Reading. Buckinghamshire, o. Cambridgeshire, o. Cheshire, o. Cornwall, I : Penzance. Cumberland, o: Derbyshire, I : All Saints', Derby. Devonshire, 1: The Cathedral, Exeter. These are at this time the heaviest peal in the kingdom, the tenor weighing 67 cwt. 390 Clawis Ca,.pa~~alogia; 01',
Dorsetshire, o. Durham, o. Essex, I: All Saints', West Ham. Gloucestershire, 2 : Christ Church, I 1 i Painswick. Hampshire, o. Herefordshire, o. Hertfordshire, I : St. Peter's, at St. Alban's. Huntingdonshire, o. Kent, 3: St. Alphage, Greenwich; St. Nicho las, Leeds ; All Saints', Maidstone. Lancashire, o. Leicestershire, 2: St. Margarefs, Leicester; St. Martin's, Leicester. Lincolnshire, I: Grantham. Middlesex, 9: St. Mary-le-Bow, London; Christ Church, Spitalfields, London ; St. Giles's, Cripplegate, London ; St. Sepulchre, London; St. Margaret's. Westminster, London ; St. Leonard's, Shoreditch, Lon don; St. Magnus-the-Martyr, London; St~ Dionus Backchurch, London; All Saints', Fulham. Monmouthshire, o. Norfolk, I: Aylesham. Northamptonshire, I : The Cathedral, Peter borough. A Key to the Arl of Ringing. 391
Northumberland, o. Nottinghamshire, I: St. Mary's, Nottingham. Oxfordshi_re, 3: Maudlin College, Oxford; New College, Ox(ord; Christ Caurch, Oxford. Rutlandshire, o. Shropshire, I: St. Chad's, Shrewsbury. Somersetshire, I: The Abbey, Bath. Staffordshire, I : The Cathedral, Utchfield. Suffolk, 3 : Bury St. Edmund's; Stonham Asple ; Beccles. Surrey, 2: Kingston; St. John's, Southwark. Sussex, o. Warwickshire, 3: St. Mary's, Warwick; St. Phillip's, Birmingham; St. Michael's, Coventry. \Vestmorland, o. Wiltshire, o. Worcestershire, I: All Saints', Worcester. Yorkshire, I : The Cathedral, York. Wales, I: Wrexham, in Denbighshire.
It here appears that of the forty counties in England, seventeen are without peals of ten, it also shows there are forty-two in England, and one in Wales, which makes frty-three. 392 Claflis Campattaltlgia; 01',
In Ireland there are some few peals of eight, and six, and in Scotland there are very few ringing peals, if any, but they have the mul tiplicity of small bells in their towers, with keys similar to an harpischord, and men employed to play on them at certain hours of the day, and by what accounts we have heard they perform in a very capital style.
Upon the whole there are in the British dominions,
8 peals of 12 43 do. of xo about soo do. of 8 about 6oo do. of 6 about 300 do. of 5
We shall now proceed to give some account of the origin of bells, that is church bells.
And first we may go as far back as the time of King David, who in his xsoth Psalm, where he speaks of praising the Lord with all kinds of musical sounds, and instruments, at the fifth Terse, he says, A Key to the Arl of Ritlging. 393
" Praile Him upon the loud Cymbals. " Praise him upon the high sounding Cymbals."
Now what can that mean but church bells,' it certainly must appear so to any one's reason. In fad Mr. Tate, iu his new version of singing Psalms has nearly rendered it so.
" Cymbals of common use, " And those that loudly sound on solemn days."
Now what can be plainer alluded to than -church bells ; but (to proceed) if we are ever so just in our construction of the holy writ, it is more than probable that bells were totally unknown at that time in Europe, for an ancient author says that bells were invented by Paulinus, Bishop of Nola in Campania*, about the year A.D. 400.
• The whole of this account, taken colleaively, as it stands, appears too probable to admit a doubt; for Nota is Latin for a little bell, i.1. a Saint's Bell, and Campana is the Latin for a bell. Now if we compare this author's .account with the geography of those places, we shall find that Campania was a country of Italy in the realm of Naples (now called Terra di Lavaro) and in the middle of which stood the town called Nola. Now if it is .admitted that Paulinus, then Bishop of Nota; either first invented or (as is most likely) first adopted (in that -c:ountry, the ute of bells ; then certainly it will appear 394 Clavis Campannlogia; tw,
He also adds that they were first known in France about the year 550, and introduced in churches in IOJO, and the testimony of this author is comfirmed by that of others, who also add that in the reign of Edmund I., Anno· 945, Croyland Abbey, in Lincolnshire, was rebuilt, and in it were hung the first tunable sett of bells, Now, according to this account. this is evidently the first sett of church bells ever put up in England; but whether they were hung properly for ringing, or only similar to those in Scotland (which we have before mentioned for tunes, &c.) we cannot pretend to determine.
However, it is universally agreed that Pauli· nus was the first who brought bells into use in the church, and hence it is added, they had their Latin names of Noire and Campanre, but more than probable, that France, from its vicinity with Italy, might, in the course of a century or a little better, adopt the use of bells, borrowing the hint from their neighbours; and we will be bold to say, that observation and experience bath abuadantly evinced that it is nothing uncommon for one nation to borrow or copy the fashions and customs of another. Upon the whole there is some· thing in the above account so natural, and probable, and a chain of corroborant circumstances so regular as we think might almost cure incredibility itself. A Key to the Arl of Ringing. 395 others say they take those names not from their being invented in Campania, but because it was there the manner of hanging and balancing them, now in use, was first practised, at least that they were hung on the model of a kind of balance, invented or used in Cam pania ; for in the Latin writers we find Campana flatera, for a steel yard, and in the Greek, CampanizeiN, for ponderare, to weigh.
Polyqore Virgil ascribes the invention of church bells to Pope Sabinian (St. Gregory's successor), but by mistake for St. Jerom, cotemporary with Paulinus, makes mention of one. In fact, Pope Sabinian did not invent bells, but he was the first who appointed th~ canonical hours to be distinguished by them.
We find mention made of bells in Ovid, Tibullus, Martial, Statius, Manilius, and the Greek Authors, under the appellations of Tintinnabula and sounding brass. Suetonius. Dion, Strabo, Polybius, Joseph;us, and others mentioned them under the names of Petasus, Tintinnabulum, lEramentum, Crotalum, Sig num, but these appear to have been no more than baubles, and little iike the huge bells hung and in use among us. 396 ClatJis Cawpatullo~Jia; tw,
Hieronimus Magius, who has a treatise express upon bells, written when in chains in Turkey, and which is accounted very remark able, purely from his memory, without the assistance of any book, makes large bells a modern invention. Indeed we do not hear of them before the sixth century. In 6xo, we are told, that Lupus, Bishop of Orleans, being at Sanis, then besieged by the army of Clotharius, forced away the besiegers by the ringing of the bells of St. Stephen's.
The first large bells in England are men tioned by Bede, towards the end of that cen· tury. They seem to have been pretty common in the year 8x6. The Greeks are usually said to have been wholly unacquainted with them till the ninth century, when their construction was first taught them by a Venetian. Indeed it is not true that the use of bells was entirely unknown in the Eastern Churches, and that they called the people to church, as at present, with wooden mallets.
Leo Allatius, in his Dissertation on the Greek Temples, proves the contrary from several ancient writers. It is his opinion that A Key to flu .A.rt of Ringing. 397
bells first began to be disused among them after the taking of Constantinople, by the Turks, who it seems prohibited them, least their sound should disturb the repose of souls ; which, according to them, wander in the air. He adds that they still retain the use of bells in places remote from the intercourse of the Turks; particularly very ancient ones in Mount Athos.
F. Simon thinks the Turks rather prohibited the Christians the use of bells, out of political, than religious motives-in as much as the ring ing of bells might serve as a signal for the execution of revolts, &c.
The city of Bourdeaux was deprived of its bells for rebellion, and when it was offered to have them restored, the people refused it, after having tasted the ease and con.veniency of being freed from the constant din and jangling of bells.
Matthew Paris observes, that anciently the use of bells was prohibited in time of mourning, though at present they make one of the prin cipal ceremonies of mourning. Mabillon adds, that it was an ancient custom to ring the bells 398 Clavis Campanalogia; or,
---~------~---~- for persons about to expire, to advertise the people to pray for them, whence came the custom of Passing Bells.
Lobineau observes, that the custom of ringing bells at the approach of thunder is of some antiquity, but that the design was not so much to shake the air and so dissipate the thunder, as to call the people to church, to pray that the parish might be preserved from that terrible meteor.
The cuatom of christening, or blessing bells is very ancient; some say it was introduced by Pope John the 13th, in 972; but it is evidently of an older standing ; there being an express prohibition of the practice in a Capi tular of Charlemain, in 789. Alcuin says it was established long before the eighth century so that what has been said of Pope John the 13th, is only to be understood of an order of that Pope for restoring the practice, which had been disused, vide Hospitlitm de origitu
Tnnplorum, p. 1131 where there is a particular account of all the ridiculous ceremonies prac tised about bells. A Key to the Art of Ringing. 399
Nankin, a city of China, was anciently famous for the largeness of its bells, but their enormous weight having brought down the tower in which they hung, the whole building fell to ruin, and the bells have ever since lain on the ground. One of these bells is near twelve English feet high, the diameter seven and a half, and its circumference twenty-three, its figure almoit cylindric, except for a swelling in the middle, and the thickness of the middle about the edges seven inches. From the dimensions of this bell, its weight is computed at so,ooo lbs., which is more than double the weight of that of Erfort, said' by Father Kircher to be the greatest bell in the world, These bells were cast by the first emperor of the preceding Dynasty, about 300 years ago. They have each their name. The hanger Tchoui, the eater clu, the sleeper choui, the will fi. Father Le Comte adds, that there are seven other bells in Pekin, another city of China, cast in the reign of Youlo, each of which weighs 12o,ooo lbs. But the sounds even of their biggest bells are very poor ; being struck with a wooden in lieu of an iron clapper. The Egyptians have none but wooden bells, except one brought by the Franks from the Monastery of St. Antony.
The next tract we shall introduce concerning the origin of this art is the following. It is the production of an ingenious gentleman, whose favour and friendship we can no other wise requite but by giving it a place•
• "OF all the arts, in which most men are in some measure interested, that of music has obtained the summit of aamiration. A melodious peal of bells is not perhaps less captivating than the finest toned instrument ever yet invented; and much may be said on the merits both of the theory and practice of ringing.
" After the mind has been depressed through intense application (which this art requires preparative to a competent knowledge thereof) the faculties are roused as it were from stupor, and so exhilarated by the diversity of agreeable tones issuing from the harmony of ringing, that they will return to their former employ with the liveliest sensation of pure invention.
DD ORIGIN OF RINGING.
"Not a ray of light is found in the annals of *history whereby we can trace out the church in which the first regular peal of bells was hung in this kingdom.
"'Tis, however, certainly known by dates and other signs, that many bells were cast in the fifteenth century, at which time, it seems probable that ringing in peal commenced.
"EYery age leaves something for prosterity to investigate, and every age will experience something that is inscrutable.
" The first regular peal of bells that I have been able to trace out was a peal of five, which, about the year 1456, was sent by Pope
• Historia Britaniz. lib. 3· c. r. Clavis Campanalogia.
Calixt Ill. to King's College, Cambridge, wher~ they remained 'till about the year 1750, the largest peal in the kingdom : the tenor weighing 57 cwt.
" As these bells were hung very near the water, it is not improbable that this was the peal alluded to by Mr. Major, the historian, who* writes about the year 1518, that 'whilst 'he was of Christ College, he frequently lay ' in his bed to hear the melody of the bells ' which were rung early in the morning on ' festivals, and being near the river, was ' heightened. by the reverberation from the 4 water.
cc About the beginning of the 16th century, eight bells were hung in a few churches : this was a very pleasing and acceptable addition, .as it opened a large field for the inprovement of ringing.
cc The sons of harmony were then daily increasing, and a variety of peals were corn-
• This author most likely meana the History of EnglaDd. 404 Clavis Campattakgia; or, posed for their recreation : at length they amas sed such a fund of materials, that in the year 1677, a book was published called * Cam panalogia, or the Art of Ringing.
"Towards the latter part of the same cen tury, the number of bells was increased to ten, and soon after to twelve."
Thus we have endeavoured to trace the antiquity and the origin of this sublime art. Should any of the parts seem to clash with each other, we trust the candid reader will not condemn the whole for a trifling fault or two ; but reconcile, to the best of his judg ment, whatever may appear harsh or contra dictory: as that of giving universal satisfaCtion being our soJ.e aim, we shall conclude the subject with the following fragment.
"The Priory of the Hply Trinity, called Christ Church, situated near Aldgate, in the City of London, was founded by Queen
• This word is compounded of the Latin Campana, which signifies a bell, and the Greek logos, which sig nifies a report. A Key to the Art of Ringing. 405
Matilda, wife of Henry I., and the first prior was Norman, Anno. Dom. no8. This priory in process oftime became so large as to exceed every other in the city or county of Middle sex ; the church was a spacious building, with a lofty bell tower, wherein was a peal of nine bells, the whole was well endowed with lands, and rich in ornaments ; the priors being Aldermen of Portsoken Ward, it was surren dered to Henry VIII., in July, ISJI, who gave it to Sir Thomas Audley, and he offered the church, with the bells, &c. to the parishioners of St. Catherine Cree, in exchange for their small church, but for some reason they rejected the offer, and the church and priory was then pulled down, four of the largest bells were sold to the parish of Stepney, and the five smallest to St. Stephen, Coleman Street ; the place where this priory stood is now called Duke's Place."
~ ~ CAMPANALOGIA.
A POEM,
IN PRAISE OF RINGING.
~ E sacred Nine ! assist a daring bard ILIJ Who scorns the vulgar hackney'd r.oad to fame. Parnassian-One who aims, elate with hope Adventurous, to reach your sweet abodes Through paths which poet never trod before ; Oh! harmonize my numbers, while I sing The Art of Ringing. Let the measure sound, Tuneful as is my theme, nor think it aught . Ignoble, insignificant. For health This exercise awaits-and hence the nerves Brace into strength. Hence too the life-blood rolls In sprightlier torrents through the swelling veins, And ev'ry manly muscle looks robust Claws Campanalogia.
Such as distended great Alcide's arms. To you, my countrymen I I strike the lyre, Ye Britons! who delight to ring the change Of bells melodious. Smile ! oh ! smile applause, Ye festive sons of music. Attend my song, And let the sentiment supply the rhime.
Critics ! to your good nature much I owe. But should your taste this barren choice condemn, I shall not weep.--- Nor let my tongue speak aught in your dispraise. Enough for me, if those for whom I breathe The voluntary pipe, applaud the lay. First the youths try one single bell to sound, For to perfection who can hope to rise, Or climb the steep of science, but the man, Who builds on steady principles alone, And method regular! Not he who aims To plunge at once in to the midst of art, Self-confident in vain. Amaz'd he stands, Confounded and perplex'd, to find he knows Least, when he thinks himself the most expert. As well the school boy might assume the stile Of rhetoricians, and as well declaim In British periods, whom his tutor taught Beginning at the alphabet's extreme.
In order due to Rounds they next proceed, And each attunes numerical in turn. Adepts in this, on three bells' they essay Their infant skill. Complete in this they try Their strength on four, and musically bold Full four and twenty changes they repeat. Next, as in practice, gradual they advance, Ascending unto five, they ring a peal Of Grandsires, pleasing to a tuneful soul. On they proceed to six. What various peals Join'd with plain Bobs loud echo thro' the air, While ev'ry ear drinks in th' harmonick sound! With Grandsire Triples then the steeple shakes On seven with tenor behind. From eight alone The musical Bob Major next is heard. Caters with tenor behind on nine they ring, On ten Bobs Royal-from eleven, Cinques Accompanied with tenor, forth they pour, And the Bob Maximus results from twelve.
These are the rules, on which depends the art, But yet from these, far other peals are heard A Key lo tlu Art of RiHget~g. 409
Of infinite variety. Suffice, The chief are mentioned. Endless were the task To record and enumerate the whole. To you, ye seniors I I submit, pleas'd most To stand corrected there, where most I err.
Hail to thee, Geary ! * tho' expert of skill In matters naval-tho' the azure deep Thou know'st-tho' navigation has disclos'd Her stores to thee, and pregnated thy mind With useful knowledge.-Yet dost thou vouchsafe To patronize this many British art. Nor Blackwell ! t thou, not least, altho' the last, · In silence be forgotten, At thy fame Detraction lays her finger on her lip, Tho' sullen, yet convinc'd, and (truth to tell!) Envy herself to admiration turns.
• The late Admiral Francis Geary, Esq., who com manded the grand fleet about the year 1780; and when at the age of seventeen, ranc, with the Society of College Youths, in the first peal of twelve-in, which was per formed at St. Bride's, about the year 1730.
t Samuel Blackwell, Esq. of Gloucestershire, and late member of Parliament for Cirencester in that county. 410 Clavis Campanalogia; or,
But Hardham! * shall my young, good-natur'd muse Be silent in thy praise! No-she applauds Thy strict sincerity of mind, and deigns To call thee no mean patron of this art. Nor may'st thou blush to own it, since thy soul With milk of human kindness is replete, And truth and open honesty are thine. Long may'st thou live accompanied with health, The sweetest, comeliest progeny of Jove ! Without whose presence, all that meets the eye, Wears an unpleasing aspect, and the hand Of wealth devolves her golden tide in vain. Be others pleas'd with trifling gew-gaw sights Unmeaning-but let me behold a band Selected, and of twelve compos'd, with arms Ascending, and descending, stand, while health Sits wreathing roses on their damask cheek, And jocund pleasures dances in their eyes : While ev'ry bell strikes true, and not a note Of jarring discord hurts attention's ear.
• Late an eminent tobacconist and snuffman, in Fleet street. A Key to t/u Art of Ringing. 41 I
Toe-.wracking gout ! begone-with limping foot Hobble on other ground. To man of ease Who sits in pamper'd state in elbow-chair Thy steps direct. He shall support thee long And wrap thee in the flannel's warmest coat.
Bells what can equal ! Is not public joy By them demonstrated, when gales benign \Vaft o'er victorious news-when Prussia's king, Pours his dread thunder o'er th' ensanguin'd field Scattering the Austrian host, while all dismay'd Their leaders own him victor of the day.
These, too, the sacred nuptial tie proclaim, And ev'ry sound, and every varied peal, Call smiles of transport from the happy pair. " Can none remember-yes, I'm sure-some must When gracious Charlotte, prime of all her sex, The Queen of rare accomplishment, arriv'd, How ev'ry bell divulg'd it thro' the isle, And ev'ry steeple nodded high applause." 412 Clavis CanepaMlogia; or,
These in most climes, but most in British Jand Tell to the travelling winds their monarch's birth. Oft as the annual blessed day returns For thee, oh George! superior they aspire And bid the nation triumph at thy name. Ev'n grief lifts up her melancholy head, Wipes from her face the slow descending tear, And for a day grows convert unto mirth.
Go ! view the rural region, where the blush Of innocence is seen ; where health imprints Her kisses on the cheek. Soon as the peal, By rusticks rung, each virgin's ear salutes, How blithe her eye ! how sprightly is her mein! And ev'ry stripling gambols with delight. Ev'n infants, hanging at their mother's breast, Quit the sweet nutriment, their pleasure smile Ineffable, clench hard their little hands, And seem'd convuls'd with agonies of joy. Echo, coy nymph, who loves to dwell unseen, Unrival'd mistress of uncounted sounds, Dear memory's sister twin, her voice exalts Mellifluous, and ever fond to learn Repeats distinct the bold harmonious tones. A Key to the A1't of RiNging. 413
Nor you, ye social spirits! let me pass Un-notic'd, who around the festive board, With handbells charm the minutes. Tho' ye shine In miniature, not less ye merit praise. Indulge your honest joy. By turns regale Your cheerful hearts with nectar from the vine But let sobriety present the glass. Yours is the tie of friendship. Yours the bond Till death indissoluble. Long in mirth May ye survive, and bid old care good night! And if the Muse can prophesy with truth Your names shall flourish, longer than the verse Of him who aims to register your praise. Far better thus to close the mirthful eve If scandal be away, and mad excess That drowns the struggling soul. Far better thus Than at one fatal cast to sink your fame And substance to perdition, or to tire Your constitution in the harlot's arms.
Now rise accordant. Pull the pendent ropes. Bid ev'ry bell strike true. The aoble touch Rouses the lethargy, that clogs my mind, Clans Cat~~pa~~alogia.
And prompts me on to action. Swell my heart, And dance without control ! for sweeter far These lofty sounds, than those dead, languid airs, That tremble on an instrument of wire ! As far superior as th' expressive notes Of Beard and Lowe are to the eunuch's trills.
Britons! arise-resume the reins of taste, And let the natives of your isle receive . Your amplest tribu~e of deserv'd applause; For whilst 'tis yours to boast an Arne or Boyce, No skill is wanting from a foreign land. AN ODE,
TO BE SUNG AT THE ANNUAL
FEAST.
(Tune, the Early Horn.)
RECITATIVE.
HE annual day, one more with joy D returns, And pleasure brightens in each sparkling eye, To usher in the feast; The jocund feast, where smiling plenty fills her copious horn, And pours her bounteous gifts with lavish hand. The God of Wine, his welcome visit pays, Claflis Campanalogia.
And brings the nectar of empurpl'd grapes. The sons of humour smile immense applause, Each object to the mirthful scene invites : But most this room, where ravishingly sweet, Harmonious handbells lull the ear, And rivet each attentive Son of Mirth. Each lively stroke a different change diffuses round, And gives new spirits to the festive board. AIR.
Ye youths so gay! To hail this day, Your cheerful music bring, No sounds excells, The fine-ton'd bells, When merrily they ring. The list'ning crowd around Their joy reveal, To hear the peaJ, All, all, applaud th' enliv'ning sound.
aa · A POEM
ADDitBSS&D TO A
BELL FOUNDER AND CHIME
MAKER.
By the REV. MR. SAMUEL ROGERS,
OF CHILLINGTON, IN BEDFORDSHIRE.
INCE you, Good Sir, (whose fame each • county tells For founding, hanging, and attuning bells.) Since you, to them, ajust harmonious chimes, Soft, artful echo of the Poet's rhimes, The muse, in verse with pleasure shall relate Thy art, assistant both to Church and State. She means not, Sir, her time and pains to waste On tinckling handbells of inferior cast ; What Stentor rings, with gravity of phyz, To usher in the importance of" 0 yez." Nor those which, jingling from the foremost load, Chear each slow-footed pack-horse on the road. Nor those that ring a thousand times a day, \Vhom Waiters, Maids, and Footmen all obey. Far nobler themes I sing, the lofty power Of sound, from yon old venerable Tower, Which in loud clangor rends the echoing air, When happy damon weds the blooming fair. Or furious Britons on th' embattled plain Vanquish'd their foes, the fields great masters reign. When Roman heroes with the spoil of wars Approached the city in triumphal cars, While gladsome peans hail'd the glorious day And fresh-cull'd flowers bestrow'd the public way. Had bells but rung, complete had been their joys, And fuller shouts of triumph rent the skies. Ev'n fancy now, brings to my ravish'd ears, Notes like the fam'd musick of the spheres. Hark I they come floating on each spreading gale Down Tyber's stream, thro' all the neigh bouring vale. 420 Cl4vis Campanalogia; or,
From Jove's high Capitol how strong they sound, And Rome's seven hills re-echo all around. The nice divisions viols boast, the harp . Abounds with strings, whose notes are flat and sharp. Tho' various stops the solemn Organ grace, The sprightly treble and majestic bass, Yet say what bass, what treble can excel, The chearful m a tin, or the funeral knell? What note like that which sounds from Paul's. high dome, From Oxford, or fam'd Lincoln's mighty Tom? What diapason like their lofty hum? Nor less have bells our passions at command Then vocal choir, or instrumental band; When the deep sound tolls slow o'er solemn biers, See ! pity droops, and sorrow shed her tears. But whene'er gay festivities draw nigh, And happy seasons call forth public joy, What notes more lively can our senses know, Than the loud Changes, which melodious flow. From Bride's, Saint Martin's, Michael's, Overy's, Bow, And thence convey'd along the bordering streams, Rejoice each village on the .banks of Thames. A Key to tlu Art of Ri11gi,g. 421
When Bells hail in great George's natal day, When every village, every town is gay, On Market-hill!! when crackling bonfires blaze, While every street rebellows with huzzas, Then, then our souls true patriot pleasures feel As each high steeple gives the joyful peal ; In every Tavern honest healths go round, And Jacobites grow loyal ev'n by sound. Let Handel play, and Frasi charm the fair With op'ra songs, and soft Italian air, Our country swains with greater pleasure hear Famed Majors, Caters, Triples, and Grandsire, Which while they ring sonorous, clear and sweet, The face of commerce smiles along the street; Their merry sounds ev'n some refreshment yeild To toiling husbandry admidst the field. Let skilful Germans, with their hands and feet, Still play their chimes, and labour still and sweat, Far more the barrell does our wonder move, Which strikes the hammers on the Bells auuve, Taught thus with sounds melodious to prolong Playford's grave psalm, or Purcel's tuneful • song. No longer Albion, for the time to co:ne, 422 Clavis CampaHalogia; 01',
Shall raise her armies by the beat of dtum,. Her youth but coldly mind what captains say Of pleasant quarters or of present pay ; But when they hear, in notes exalted higher, " Briton~ strike home" from yonder sacred spire; Their spirit kindling at the martial song, Rush furious to " revenge their country's wrong." In vain a sister bids her brother stay, In vain invents new causes of delay. In vain the mother would her son detain, And black-ey'd Susan sheds her tears in vain: See the brave lads whilst brighter glory charms, Resistless break from their opposing arms : Cheerful to war in burning climes they run, As if the labour of the harvest done, They meant themselves awhile but to regale, With merry dancing, and with cakes and ale ; Not here forget the pious founder's care, When notes discordant strike th' offended ear; Soon as the constant sounds are known, He pares of all excressences of tone. Studious examines all, •till all agree Nule follvwing n;:;tc in truc:;t h:umony. Thus bards retrench each rough poetic draught, And lop of all redundancy of thought;. Correcting long what they had wrought too soon, Smooth each harsh line, and chip them into tune. Proceed great man, whose fam'd mechanic hand Works wond'rous service to thy native land; Proceed, till chimes, by thy auspicious art, Raise noblest passions in each British heart ; Proceed, till squeamish schismatic's shall deign To hear their sounds, nor think their music vain. No longer bells with Popery condemn, But, turn'd to peace, learn harmony from them. Hence village swains thy bells and fame shall raise, The muse you aid shall chime in grateful lays, And every town ring loudly of thy praise. Tlu following PoeJic4l Pie&~ is extracted from a very
Ancient Autluw, and, we doubt not, fllill ~ acceptable to some ofour Readers.
ON
THE INGENIOUS ART OF
RINGING.
I\'IJHAT Music is there that compar'd BD may be To well-tun'd bells enchanting melody I Breaking with their sweet sound the willing air, And in the list'ning ear the soul ensnare; The ravisht air such pleasure loth to lose, With thousand echoes still prolongs each close ; And gilding streams which in the vallies trills, Assists its speed unto the neighbouring Hills; Where in the rocks and caves, with hollow grounds, The warbling lightsome element rebounds. This for the musick: In the Action's Health, And every bell is a wit's Common-wealth: For here by them we plainly may discern, How that civility we are to learn. The treble to the tenor doth give place, And goes before him for the better grace : But when they chance to change, 'tis as a dance, They foot A Galliard, a'la mode de Fram:e. An Eighteenscore's a figure dance, but Grandsire Hath the Jig-steps and Tendrings Peal doth answer The manner of Corants : A plain six-score, Is like a Sarabarul, the motion flower. When bells ring round, and in their order be, They do denote how neigh hours should agree ; But if they clam, the harsh sounds spoils the sport, And 'tis like women keeping Dover Court, For when all talk there's none can lend an ear The others story, and her own to hear; But pull and hall, straining for to sputter What they can hardly afford time to utter. Like as a valiaJ:ll!; captain in the field, By his conduct, doth make the foe to yield ; ------Ev'n so, the leadiag bell keeping true time, The rest do follow, none commits a crime: But if one soldier runs, perhaps a troop Seing him gone, their hearts tiegin to droop : Ev'n so the fault of one bell spoils a ring, (And now my Pegasus has taken wing.) ERRATA.
Page 30, line 7, for cut at band read cut at backstroke. Page 123, lines 17 and 18, for for just as the bell is behind is going; read just as the bell behind is 10inc, a: c. Page 6.53· line 17, for first part of J08o, read first part or I0,08o. Page 191, line 7 of figures, read it 6234.578. Page 198, line 3, for 61!.44, read 6144. Page 2.51, line 4• for twenty-second read twenty-third course-end, Page 291, at the course-ends of each part after 47326589 shonld follow 542763!:19 and then 35746289 Page 327, line 9, for upwards of .52 cwt., read nearly .52 cwt. Page 388, line 10, for the year 1726 r•d 1728. . INDEX.
HE Practitioner's first lesson x, 2, 3• D Instructions for round ringing 3· Compass explained 4· Raising and Falhng 5· Introduction to ChaRges 7· Hunting Explained 8, g, 10, u, 12. Dodging and Snapping 1iz, 13. Place Making 13, 14. The Order of Changes 15. Four and Twenties on Four Bells 16, 17, x8. Grandsire on Five Explained 19, 20. Double Dodge 21. Variety of Grandsires 23. Old Doubles 26. New Doubles 28. Stedman's Principle 30. Fully r.xplained 32. Mermaid and Success 36. Changes on Six Bells 37· Plam Bob 38. Reverse 47· Double 49· 720 Without a Plain Lead so. Grandsire six In sx. College Single 53· Court Bob 55· Oxford Double 57· Stedman's Slow Course 57· Claflis Ca,.palfalogia.
Treble Bob 61. Largely Explained 63, 64, 65, 66. New Treble Bob 67. College Exercise 6g. Morning Exercise 71. Sixteen Surprise Peals 75 to 78. Changes on Seven Bells 81. Grandsire Triples 83. The 5040 with some Observation on Mr. Holt 88, 8g. A variety of Peals called different ways go to g8. Directions for Calling g8, 99· Peals on different Plans 101, 102. Double Grandsire Triples 104. Plain Bob Triples 108. Union Triples IIJ. New Double Triples n8. Stedman Triples 120. Changes on Eight Bells 127. Bob Major, with a great variety of Peals 129 to 163. Double Bob Major 165. Debated on 166. Bob Major Reverse I73· Grandsire Eight in 174. London Court 178. Norwich Court 181. Oxford Treble Bob 186. A great variety of Peals 189 to 255· Directions for Pricking 230. Directions for Proving and Detecting False Peals 232. Discoveries in Treble Bob 237· New Treble Bob 240. College Exercise 241. Morning Exercise 243; Impenal the Third 245· Cambridge Surprize 257· London Surprize 252. · Superlative Surprize 252. Changes on Nine Bells 255· Grandsire Caters 256 A Pemonstration of the Principal on which the Art in General is Founded :z6o. 430 Clavis CaMpaNalogia.
Reasons why some Peals cannot be brought Round at band 186. Variety of Peals :z64 to 285. Real Double Caters 287. Plain Bob Caters 293· Union Caters 295. Stedman Caters 299· Change~ on Ten ~ells 305. Bob MaJor Royal 306. Real Double Ten In 312. Grandsire Ten In 316. Court Ten In 319. Treble Bob Ten In 324. Changes on Eleven Bells 332. Grandsire Cin9.ues 333· Real Double Cmques 340· Plain Bob Cinquea 343· New Double Caters and Cinques 344· Union Cin~ues 345· Stedman Cmques 347· Changes on Twelve Bells 348. Plain Twelve In 349· Real Double Twelve In 353· Grandsire Twelve In 357· Treble Bob Twelve In 359· APPENDIX.
Touches of Grandsire Triples 366. , Bob Major 370. , Treble Eight In 374· , Grandsire Caters 376. , Plain Ten In 38o. , Grandsire Cinques 381. Mr. Anable 384. A List of Peals of Bells 387, An Account of the Antiquity and Origin ot Bells and tbe Art of Ringing 392. A Poem in Praise of Ringing 4o6. Another 415. A small Poetical Piece extracted from an Ancient Author424
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