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| author | nfenwick <nfenwick@pglaf.org> | 2025-02-06 06:12:45 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-06 06:12:45 -0800 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..ef3db70 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53022 (https://www.gutenberg.org/ebooks/53022) diff --git a/old/53022-0.txt b/old/53022-0.txt deleted file mode 100644 index 7a3ffd2..0000000 --- a/old/53022-0.txt +++ /dev/null @@ -1,1652 +0,0 @@ -The Project Gutenberg eBook, First Steps to Bell Ringing, by Samuel B. -Goslin - - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - - -Title: First Steps to Bell Ringing - Being an Introduction to the Healthful and Pleasant Exercise of Bell Ringing in Rounds and Changes upon Church Bells - - -Author: Samuel B. Goslin - - - -Release Date: September 10, 2016 [eBook #53022] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK FIRST STEPS TO BELL RINGING*** - - -E-text prepared by deaurider, Harry Lamé and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was produced from -images generously made available by The Internet Archive -(https://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 53022-h.htm or 53022-h.zip: - (http://www.gutenberg.org/files/53022/53022-h/53022-h.htm) - or - (http://www.gutenberg.org/files/53022/53022-h.zip) - - - Images of the original pages are available through - Internet Archive. See - https://archive.org/details/cu31924022498012 - - -Transcriber’s note: - - Text enclosed by underscores is in italics (_italics_). - - Small capitals have been changed to CAPITALS. - - - - - -FIRST STEPS TO BELL RINGING: - -Being an Introduction to the Healthful and Pleasant Exercise of -Bell Ringing, in Rounds and Changes, Upon Church Bells. - -by - -S. B. GOSLIN, F.M.S., ETC., - -Author of the “A B C of Musical Hand Bell Ringing,” “The Musical -Hand Bell Ringer’s Instructor,” etc., etc. - -[Illustration] - - “Let me in outline sketch them all, - Perchance uncouthly.” - - LONGFELLOW’S “_Wayside Inn_.” - -Second Edition. - -Copyright. Entered at Stationers’ Hall. - - - - - - - -London: -John Warner & Sons, The Crescent Foundry, Cripplegate, E.C., -and M’Corquodale & Co., Cardington Street, -Hampstead Road, N.W. - -1881. - - - -[Illustration] - -[Illustration] - - “List! the merry bells are ringing, - And the choristers are singing.” - - - - -INTRODUCTION. - - -When such works as those written by the Rev. Mr. Ellacombe, and when -every local bell history, or encyclopædia of any note, give full -information both as to the early use, construction, and form of bells, -it is needless to add another word upon such topics in such a production -as this; and when, as is the case at the present time, so many good -books are to be so easily obtained, on Change Ringing and Bells, with -examples of the various methods or interchanging of positions, by fixed -rules or courses, they would at first sight and thought appear to be -subjects, which have been literally exhausted, and in which no room -remains for further attempts at description in letter-press. However, -such is not the fact, for the young beginner now, especially if no -experienced guide can be secured, to give advice in person, is in the -position of a schoolboy who is called upon to work out a calculation in -decimals, before he clearly understands the rule or the method of -pointing, unless he has the good fortune to find and secure a copy of -“Wigram’s Change Ringing Disentangled,” or, “Troyte’s Change Ringing to -Six Bell Work,” which with some amount of study, he may in time get on -and become proficient. - -The want of something more, as the first steps to ringing, has been felt -and acknowledged by many persons at many times; and to supply this want -is all that is now attempted--not in any way to disparage the well-known -works of others more skilled in the art of ringing, but to lead upwards -and onwards to those works by short and easy words and lessons, is the -wish of the Author in the following pages. - -[Illustration] - -[Illustration] - - - - -NOTE TO THE SECOND EDITION. - - -The appreciation and successful issue of the first edition of this work -is duly acknowledged by the Author, as well as the many expressions of -approval from persons at home and in foreign parts. It is a source of -satisfaction and gratification to know that the attempt has produced a -large amount of interest, and has also been the means of producing some -ringers in several of our Colonies, as well as working up a desire for -and supply of other productions, such as the second edition of -“Banister’s Change Ringing,” Wigram’s new, better, and enlarged “Change -Ringing Disentangled,” and “Snowdon’s Rope Sight,” which are worthy of a -place in every bell student’s and every ringer’s library. - -The continued demand for the “First Steps” has prompted this second -edition, which is somewhat altered and extended, the desire of the -Author being to make all things as plain and as easy as possible. - -[Illustration] - -[Illustration] - -[Illustration] - - “Sweet bells ring for ever, - ’Tis your old familiar strain - That awakes the past again.” - - - - -BELL RINGING - -[Illustration] - -ON CHURCH BELLS. - - -England is frequently said to be known as the Ringing Isle, from the -fact that wherever the stranger or foreigner turns, or stays, in this -land, he is sure to meet with the well tuned bells, and well timed -changes, pealing forth from our venerable church towers and steeples; -whilst on the Continent of Europe, and in other parts of the world, the -ear is accustomed only to the hodgepodge, jangle or clatter of several -bells, either in or out of tune, no matter which, all striking as fast -as possible, in utter disorder, seemingly in a race for the greatest -number of blows per minute, for each or any one in particular. But -whilst in England the townsman, citizen, or villager is accustomed to -the order, and the sweet music from the steeple bells, it is strange to -find that so few really care to understand by what means, method, or -performance such results are produced. Happily, however, much has been -done within the last fifty years to emulate enquiry, and foster interest -in such matters by many gentlemen, who have spent a large share of their -spare time to effect this purpose, both by essays, books, lectures, -advice, and practice--foremost amongst them all being the venerable Rev. -H. T. Ellacombe, of Clyst St. George, Devon, who from quite a young man -has entered deeply and fully into all matters of interest relative to -Church Bells and Ringing, and who now supervises that bell-ringing page -in the interesting weekly paper called _Church Bells_, where from time -to time much is given which is interesting to all who may wish to become -ringers in practice or performance, with good and reliable information -as the groundwork upon which they desire to ultimately place their -edifice of knowledge of the subject in question. - -[Illustration: (_Illustration of a Ring of Eight Bells and Ringers in -the act of starting to set the Bells from rest._)] - -But not only is there a general lack of knowledge upon ringing church -bells on the part of the majority, even in this bell ringing isle--it -can well be added that, as to change ringing, the really scientific, -very useful, and interesting part of ringing is “dog Latin” or “double -Dutch” to ninety-nine persons out of every hundred, or even more, the -general impression being that it is all very easy, and only to -pull--that anyone can do all that is to be done in a very short time; -whereas it is in every particular an interesting study, proficiency -gained by practice, thought, care, and application alone--a science as -true, as useful, and as healthy to mind and body, as is possible to be -found, practised, or studied. - -To ring, and to ring changes, on either church or musical hand bells, -are three very different subjects. In order to ring changes, however, it -is absolutely necessary to have a good knowledge of ringing, or the -means adopted to make the bells sound in their proper time and place, -whether it be in the church tower, on the large swinging bells with -ropes, or in the parlour or drawing-room, upon the musical bells, held -in the hand or hands. But not to deal with too many subjects together, -and to avoid confusion, it is well to start with - -[Illustration] - -[Illustration] - - - - -HINTS ON CHURCH BELLS AND FITTINGS. - - -At all times when it may be desired to produce a good performer upon any -musical instrument, it is well that he should understand the instrument -itself; for just as the driver who understands his steam engine -thoroughly in its parts and details, is the man who can work it best, so -is it with the ringer with his bell in the steeple or tower. It is not -at all difficult to picture the scene, surroundings, and thoughts of an -intended ringer, upon his first visit to the bell-tower, or ringing -chamber, unless it be as has been the experience of many, as well as -that of the writer, to learn to pull the rope and catch the sally when a -boy at school on the large school-bell, or that at the parish church. -And even then, if not in the midst of an octave of ropes, the dancing of -the rope upon which he had to start or practice was, at first sight, -perplexing; graceful, however, if handled well, but yet a mystery. - -[Illustration: (_Illustration of a Ring of Eight Bells as they would -appear in the Frame or Cage in the Belfry._)] - -Presuming that the reader desires to become a ringer, to understand his -instrument, and for this purpose has ascended the tower--has passed the -ringing room with a glance, and has made up his mind to know the why and -wherefore of the bells and fittings, so that if anything goes wrong in -the practice or performance he may be able to set it right if possible -or remedy any defect--he will go at once to the bell cage, and learn (as -was the writer’s first lesson) the names of the parts and fittings of -the bell, where such an arrangement will be seen as is shown by the -following illustration, to which is added the names of each part. -Everyone may know what a church bell is like in form, and the purpose -for which it is founded; but not so can it be said of its various parts -and appurtenances. In order to help the reader in this direction, the -following sketch will answer for reference. With the shadow it is easy -to realize or imagine the fact, and to conceive that we are facing the -bells in the tower, where each is fitted, as the sketch shows, -separately, and by the numbers and references the names of the parts can -be easily learnt. - -[Illustration: (_Illustration of a Bell with detached frame or sections -for reference to parts._)] - -In giving a description of the bell and its fittings, for all ordinary -purposes, it is not necessary to go into details as to the best -proportion or shape, for that is so well understood by founders of any -note or excellence, and as it is all so well treated in other writings, -here it would be superfluous. The following, however, will always be -found useful for reference:-- - - No. 1 represents that part called the Head of the bell, which is - varied in form under various circumstances, sometimes being what is - known by the name of button or mushroom head, at others by canon head, - or as is shown. The most frequently used are the crown head or with - canons. - - No. 2. The shoulder. - - No. 3. The waist. - - No. 4. The sound bow. - - No. 5. The lip. - - No. 6. The clapper. - - No. 7. The stock (_a wood beam to which the bell is hung_). - - No. 8. The gudgeons or axles (_of wrought iron turned, upon which the - bell swings_). - - No. 9. The bearings (_of gun metal, in which gudgeons work_). - - No. 10. The wheel (_of wood, which acts as a lever to set the bell in - motion_). - - No. 11. The shrouding (_the guard of the wheel to keep the rope in its - place on the sole_). - - No. 12. The slider (_a piece of wood working on a centre to support - the stay_). - - No. 13. The stay (_a piece of wood attached to the stock to support - bell when set_). - - No. 14. The rope. - - No. 15. The pulley or rope guide. - - No. 16. The wheel stay (_an iron rod or rods fastened between the - stock and wheel, to support or steady the wheel, not shown_). - - No. 17. The sally (_not shown, but a soft tufting near the bottom end - of the rope. See cut of Bells at Hand Stroke, page 15_). - -The particular name of each part will also be found to be described very -fully in “Banister’s Change Ringing,” and in the Rev. H. T. Ellacombe’s -“Practical Remarks on Belfries and Ringers,” which should be perused on -this subject. - -Now having learnt this lesson, the next would be that which was taught -by the older bell boys to the writer at school, viz., to grease the -bearings; to take up or let out the rope, as occasion might require, for -a taller or shorter person, taking notice of how it is, or should be -fastened to the wheel, and passed through the pulley; then look to the -slider and stay, to see if sound and in order, so to leave all tight and -trim and ready for ringing, and then, as one of the tutors in the art -was in the ringing room ringing, the scholar was so placed in the belfry -as to see, and have it explained to him by another companion, how that -the _slider_ and _stay_ were needed to _set_ the bell at the _hand_ or -_back strokes_; how the rope danced, and needed catching below at the -sally, to prevent the breakage of either the slider or stay, if not so -caught. By this at once understanding, by optical demonstration and -friendly counsel, the object and use of all that pertains to the bell, -as well as the reason for setting it up. - -With this fairly in the mind, it will be well at once to turn the -attention to ringing, which, perhaps, will explain in part as we -proceed, the use of the former remarks as to the application of the -parts or fittings sufficiently, for cases where a tutor cannot be found -in person. - -[Illustration] - -[Illustration] - - “Hark the bonny Christchurch bells: - One, two, three, four, five, six. They sound - So mighty great, - So wondrous sweet, - So merrily.” - - - - -THE PRACTICE OF RINGING. - - -It may be perplexing when consulting a variety of books, to determine -what are the best plans for a beginner to adopt. And it may or should be -known that bell ringing is a dangerous practice for a novice, should he -commence it by himself without instruction, thought, or care. In such a -case, he runs the risk of being hung by the neck, as was the case not -long since, when, at a certain place in Essex, a man pulled the tenor of -a ring of bells, _left set_ for a company of ringers, without knowledge, -the result being that he was confused, caught by the rope round the -neck, pulled up and thrown with great force to the floor, but where -fortunately there happened to be some thick cocoa-nut matting, which -broke the fall and so saved him. - -Now, although it may be dangerous to begin or to practise by oneself, -yet a little help, such as we should seek in learning to skate or to -swim, or in any other exercise or art, from an expert, will overcome and -_set aside all danger_, as well as the mind at perfect rest on such -thoughts. Therefore, as a precaution, wherever it is practicable and -possible, the advice should be taken to obtain the assistance and -counsel of a ringer at starting; and having secured the good offices and -help of the teacher, the first lesson will be, as a matter of course, -to see and take notice of the way in which he _sets_ the bell, by -repeated pulls, and catches at the sally or tufting of the rope, -marking particularly, as is shown in the illustrations of the ringers in -the ringing room, or that immediately following, the best plan to hold -the rope, viz., with the rope near to its bottom or end, in the left -hand permanently, and the right hand at liberty, to catch the sally or -ease the bell on its slider and stay, and to pull at the hand or back -strokes in their turn.[1] - - [1] See also Banister (on Change Ringing) on this point. - -[Illustration: (_Illustration of a Ring of Eight Bells and Ringers, with -Bells set at Hand Stroke ready to start either for Round or Peal -Ringing._)] - - NOTE.--_Being Set_ means standing mouth upwards. - -[Illustration: (_Illustration of a Bell at rest and best plan to hold -the rope._)] - -Whilst watching, it will be noticed that after starting to pull the bell -from the position of _rest_, as is shown in the sketch, to get the -“_bell up_,” or “_set the bell_,” as it is termed, that the rope will -begin in a very short time to dance, which is caused by the bell, and -the wheel reversing sides, for the rope on the wheel, in swinging; and -then it will be seen how that, as the bell approaches nearer the _set -point_ or balance, there is much to be gained by catching the sally or -tufting, giving a slight pull as the rope reverses, until the point be -reached, when the balance or _set_ is obtained, and the bell is held or -caught and eased to the _hand stroke_, in the position as is shown by -the following sketch (fig. 1), where the stay rests against the slider -on the one side, in which case it will be seen that the rope comes much -in the position as when at rest, and is pulled off the _set_ by the -sally; then, when pulled, it will be noticed that the bell will swing to -the reverse side, and _set_ at the position called the _back stroke_, -being eased to its proper place or point by the hands, in the position -as is shown by the sketch (fig. 2), where the stay rests against the -slider on the reverse side, in which case it will be seen that the rope -is all round the wheel, and the end only is in the hands, and is so -pulled off its _set_ to the _hand stroke_. - - NOTE.--_The sally must be caught in the hands before the stay reaches - the slider at hand stroke, and eased to its position, and the rope - held in check as the bell goes to back stroke, or the slider or stay - may be broken and the bell turn a somersault._ - -[Illustration: FIG. 1.] - - NOTE.--_In some cases the rope is not held in the one hand, as shewn - in the wood-cut, but is pulled off at hand stroke, and caught when - approaching at back stroke, and_ vice versa. - -It will thus be seen how the rope is held, and pulled, and caught. It -will also be seen, by watching, how easy it is to keep pulling in time, -on either side, to hand or back strokes, with any interval, at pleasure, -and with precision. And at this point it would be well to join the -teacher, standing face to face, taking the rope in the hand as -described, pulling when he pulls, catching when he catches, and easing -as he eases, so as to get the knack without excitement, without hard -labour, and without bending the knees. - -[Illustration: FIG. 2.] - -Both pull and catch easy at first, with eyes and ears well open, or as -is said:-- - - “The ears open, - Eyes wide, - Feet steady, - Tongue tied.” - -By such means, and by such practice, it will very soon result in being -able to pull by oneself, and then remains only the practice, so as to -learn to keep time at both strokes, to get the bell up, and to let it -down without help: always remembering that the weight of the body, -thrown on to the rope, is far more effective and less tiring than using -great muscular force, or bending and twisting the body which causes much -needless exertion, loss of power and breath; a rule being:-- - - “Stand upright, - Pull down straight, - You’ll ring right.” - -When this is accomplished, there need be no delay in proceeding to ring -rounds with your friends in company. - -[Illustration] - - “Hark! the merry bells ring round.” - - - - -RINGING ROUNDS. - - -To ring-in rounds, it matters little which bell is taken to perform -upon, as each takes its place in proper turn, whether it be first, -middle, last, or any other position, which will be very well understood -if the new ringer has practised, as he should do, _rounds upon hand -bells_. - -Musical hand bells are the most handy for the practice of time, place, -and position, and should accompany every ring of church bells anywhere -and everywhere for this purpose, so much may be practised upon them in -the quiet and comfort of a home fireside. But in ringing rounds on the -bells of the church in the tower, every bell must be _set_ at the start, -and should be brought round to the _hand stroke_, as shown in the cut on -page 15. When all the company are ready--whether four, five, six, eight, -or more in number--the leader or conductor will say “_Ready_”--”_Go_,” -upon which every one will start off in proper order and time, looking at -the ringer preceding as to when to pull off, by turning his eyes or -head, not his body, and keeping the ears open, so as to be in time and -order in striking. The treble (or highest note) bell, in all church bell -ringing, is understood as being No. 1, whether there be a ring of three, -four, six, eight, ten, or twelve bells; and so, presuming a ring of -eight, the bells will be rung in rounds in the order of 1, 2, 3, 4, 5, -6, 7, 8, at the _hand stroke_; then 1, 2, 3, 4, 5, 6, 7, 8, on the _back -stroke_, and repeated in the same way or method to any length, at will -or pleasure. - -Should there be only six bells in the ring, they will be rung to the -call of the leader as 1, 2, 3, 4, 5, 6, at the _hand stroke_; then 1, 2, -3, 4, 5, 6, at the _back stroke_, and so for any number of bells. - - NOTE.--_Any number of bells from 3 to 12 in a tower is called a “Ring - of Bells.”_ - -Thus it will be seen the usual practice in ringing rounds, is to ring -down the scale, as it is termed in the art of music; or, in other -words, from the highest to the lowest note, or down to the bell with the -deepest tone. There is no reason, however, but custom to prevent the -reverse order (or ringing backwards, as it is put in “Bonnie Dundee”) -being adopted, used, or tried, either in practice or purpose;[2] and to -make a change in the following of place or position in ringing, it is -not at all a bad move to reverse the order of custom, and so ring in the -order of 8, 7, 6, 5, 4, 3, 2, 1, _hand stroke_; 8, 7, 6, 5, 4, 3, 2, 1, -_back stroke_; and after say twelve to twenty rounds resume the first -order or exercise down the scale, viz., 1, 2, 3, 4, &c. (of course, this -is quite a matter of taste, and if not approved can be passed over). -Then it may be well for all to pull or strike together, so as to fire a -volley, at both hand and back strokes, and in such practice the whole -company should be as much together as when the captain’s call of “Fire!” -is responded to by a company of soldiers, with their rifles, shot, and -powder. - - [2] Mr. North, in “Bells of Leicester,” which the writer has now - before him, tells us the bells at Barrow-on-Soar are rung backwards to - give notice of fire--a hint for country and colonial friends, when, if - adopted, the motto of the seventh bell of St. Ives would carry a good - intimation into practice-- - - “When backward rung we tell of fire: - Think how the world shall thus expire.” - -Now, so much for ringing and ringing rounds; much more might be said, -but the writer does not consider it just to repeat that which is so well -put in “Bannister’s Change Ringing,” “Rope Sight,” “Wigram’s Change -Ringing Disentangled,” and in “Troyte’s Introduction to Change Ringing,” -and to which at this point he recommends the reader or learner to take -in hand and study. When that has been well digested and understood, -then, and not till then, the next or following portion can or should be -attempted either as for study or practice, viz.:-- - -[Illustration] - -[Illustration] - - “The bells ring out a merry peal, - Their music on our ear doth steal.” - - - - -CHANGE RINGING. - - -Ringing the Changes is a phrase often used by the general public in -every-day life, and especially by some who wish to appear witty or -clever, but to whom, as a rule, if a question be put as to its meaning, -or proper application, it is seen in a moment that such knowledge is -either too great or too small for them--in fact, that they know nothing -at all about it. The lack of this special knowledge is easily traced to -its origin; for how many schoolboys ever have a sum or exercise in the -rule of permutation? Many, if not most, boys on leaving their studies -and school would, it is believed (or as has been tested to some extent), -be found utterly ignorant both of its use or practice. They may have -learnt that it is the changing or varying the order of things; and that -to multiply all the given terms or numbers the one into the other the -last product will be the number of changes required--as 1, 2, 3, 4, 5, -6:-- - - 1 - 2 - ---- - 2 - 3 - ---- - 6 - 4 - ---- - 24 - 5 - ---- - 120 - 6 - ---- - 720 - - NOTE.--_Any changes of a complete number or course through a series of - permutations is called a “Peal.”_ - -Thus 2 bells (they may learn) produce 2 changes, 3=6, 4=24, 5=120, -6=720, and so on. They may have had the old tale told, and the old and -often single, as well as singular, question put to them in this rule:--A -young scholar, coming into town for the convenience of a good library, -demands of a gentleman with whom he lodged what his diet would cost for -a year, who told him £10; but the scholar, not being certain what time -he should stay, asked him what he must give him for so long as he should -place his family (consisting of six persons beside himself) in different -positions every day at dinner? The gentleman, thinking it would not be -long, told him £5, to which the scholar agreed. What time did the -scholar stay with the gentleman? Which, as a matter of simple -multiplication, is very easy to answer--5,040 days. And even the other, -and most likely last question, may have been put, viz.:--How many -changes may be rung upon 12 bells, and in what time would they be rung -once over, supposing 10 changes may be rung in a minute, and the year to -contain 365 days 6 hours?--Answer: 479,001,600 changes in 47,900,160 -minutes, or 91 years 3 weeks 5 days 6 hours. - -Either of these examples may be very easy so far, but as to the -practical part of working them out in any performance in every-day life -is quite another matter, and it is left for the schoolboy to wait or to -forget all about both the rule and the figures, unless he comes to see -its workings in the steeple or the fireside, upon the church or the -musical hand bells, he would, perhaps, never see it necessary to prove -by practice, attention, thought, and care that which is multiplied and -multiplied, and left on the slate with astonishment, without any good or -lasting effect either upon the mind or the senses. The Rev. Mr. Wigram -very well shows a supposed case of persons changing positions upon -steps, ascending and descending in method or order, as an example of -permutation. But the positions or places may be made or taken, and the -rule worked out for amusement and practice at the breakfast or dinner -table, where there may be several persons meeting repeatedly. And in -this it is not more astonishing than it is amusing to see the zest and -interest given and taken by a boy of only eight years of age in its -practice, when once fairly explained and started, cultivating both -memory, thought, and interest in a fixed plan until it is accomplished, -by no means an unimportant trait in character (for how many begin a task -with zest, and falter or never finish, is abundantly seen). Such, in a -higher sense, is the effect of change ringing on bells, where, beyond -the changing places at a table, the sense of hearing and the practice of -time or order are added to those of sight and touch. - -Three questions naturally suggest themselves to the student at the very -outset of the art of change ringing upon church bells, viz.:-- - - 1st. How many changes can be rung on various rings of bells of various - numbers numbers from 2 to 12? - - 2nd. How long would it take to ring them? - - And 3rd. How is it to be done? - -Now the first two of these questions are so well answered at a glance by -the tabulated form prepared by Mr. Troyte, in his work on change -ringing, and by other books, and are so easily computed by the method of -calculation as is shown a few lines back, and reckoning either 20, 24, -or 28 changes per minute, as may be deemed most convenient to the -performer; so that all that is left for such a work as this is to answer -in a very simple way, the third question--How to do it? - -Change ringing on bells, then, is to be accomplished just as all other -arts or studies, not by seeking to take the monitor’s place at first, -but by taking the lowest place on the lowest form, and by giving -attention to every lesson or hint that can be gathered from others, -commencing as with the alphabet, and then proceeding to spell or to -compose. And for this there can be no better plan than to note upon -paper the changes which may be made with from 2 to 4 bells, assuming -that one, which may be represented by a cross, star, or other mark, is -the bell which the student takes to move, vary, or change. Whether he -takes the position of 1, 2, or any other number, No. 1, in a ring of -church bells, is always that with the highest note, and in this way it -will be plain, first, to presume that there are 2 bells, and the reader -takes the second, upon which there are, as he knows already as shown, -but two changes; he will write thus-- - - Hand stroke 1 . × --H. S. × . 1 - Back stroke × . 1 --B. S. 1 . × - -and then, when in the tower, try it on the actual bells. On no account, -however, run out of time, and jangle or clatter them, as some are -endeavouring purposely to do, _à la Rome_, in the present day. Then sit -down, write out and commit to memory the changes on 3 bells, still -assuming that No. 2 bell is in hand, thus:-- - - EXERCISE 2. - H. S. 1 . × . 3 | H. S. 3 . × . 1 - B. S. 1 . × . 3 | B. S. 3 . 1 . × - H. S. × . 1 . 3 | H. S. 1 . 3 . × - B. S. × . 3 . 1 | B. S. 1 . × . 3 - -This will be seen is easy to write and easy to remember, as Mr. Troyte -shows the method or order to be to always change places at every move, -variation, or round after starting with the one who struck after you in -the previous move. Thus No. 1 was first followed by X, then 1 takes X’s -place, 1 is then followed by 3, consequently 1 immediately changes place -with 3 and goes to the bottom or _behind_, X being at that time in the -original place of 1, or at the _lead_, she changes in with 3, and is -followed by 1; X now being the changing bell, takes the place of 1, and -comes to the bottom or _behind_, 3 being at the _lead_; 3 then begins to -change as the others did, and so the peal comes _round_. The moving -bells are said in this to be _hunting_, which holds good in whichever -order the moves are made, either _up_ or _down_. Then the six changes -might be written, learnt, and tried in the other form, thus:-- - - EXERCISE 3. - H. S. 1 . × . 3 | H. S. 3 . × . 1 - B. S. 1 . × . 3 | B. S. × . 3 . 1 - H. S. 1 . 3 . × | H. S. × . 1 . 3 - B. S. 3 . 1 . × | B. S. 1 . × . 3 - -This will be seen to be what is referred to, and known as _hunting down_ -and _up_; the last bell here takes the position of the one before it, -until it comes to the top or _lead_, and then returns to its original -position, striking in after the one who struck next following in the -preceding move. Now, this hunting up and down is the basis of all change -ringing, and should be practised in just the same way upon 4, 5, 6, or -8 bells before any other method be tried; in fact it would be well for -any young ringers to thoroughly master the method of hunting, upon -either musical hand bells or church bells, beginning with the 6 changes -on 3 bells, and become proficient in these before 4 be attempted, and -when hunting on 4 be mastered, try 5, and so on, progressing to 8 in -hunting alone. Of course, when the musical hand bells are used, it will -be well to take but one in the right hand and strike either at hand or -back stroke, as would be done upon the larger bells in the belfry in -ringing; the hand stroke on the musical hand bells being up and the back -stroke being down. It would be also well to change places from time to -time, not always taking No. 1 or No. 2 position, but changing positions -and bells with your friends, at times taking No. 4, 6, 8, or otherwise, -but in the tower take the one or other most suited to the strength of -the student. This method of changing or hunting is supposed to be that -which was first discovered, and, without doubt, is the easiest for any -beginner, as also it is the safe and sure road to the other methods of -changing. Our advice is, go slowly but surely, and so progress and -succeed. - -Such being the case, and such advice being followed, in order to -introduce another bell for practice, the easiest plan to adopt is to -work out the same changes as has been previously given for three bells, -and to place the fourth bell to strike last in each move, thus:-- - - EXERCISE 4. | EXERCISE 5. - 1 . 2 . 3 . 4 | 1 . 2 . 3 . 4 - 1 . 2 . 3 . 4 | 1 . 2 . 3 . 4 - 2 . 1 . 3 . 4 | 1 . 3 . 2 . 4 - 2 . 3 . 1 . 4 | 3 . 1 . 2 . 4 - 3 . 2 . 1 . 4 | 3 . 2 . 1 . 4 - 3 . 1 . 2 . 4 | 2 . 3 . 1 . 4 - 1 . 3 . 2 . 4 | 2 . 1 . 3 . 4 - 1 . 2 . 3 . 4 | 1 . 2 . 3 . 4 - -In this it will be very convenient to place the latest or dullest -scholar, if there be one, to the fourth bell, who will simply strike in -at the close of each move or change of those before him, and will count -the time of his pulling to himself, as 1. 2. 3. 4--1. 2. 3. 4, so as to -strike his bell in time or order in the fourth place as long as may be -mutually agreed upon. Then it would be well to try a simple plan for -every bell to make a change, following the rule, viz., to strike from -the lead or first position after the one which previously followed, -thus:-- - -EXERCISE 6. - - 1 at lead 1 . 2 . 3 . 4 - 2 . 1 . 3 . 4 so 1 takes place of 2 - 2 „ 2 . 3 . 1 . 4 „ 1 „ „ 3 - 3 . 2 . 4 . 1 „ 1 „ „ 4, and 2 at lead of 3 - 3 „ 3 . 4 . 2 . 1 „ 2 „ „ 4 - Then 1 returns to lead, after 2 strokes at behind. - 4 . 3 . 1 . 2 so 3 takes place of 4 and 2 of 1 - 4 „ 4 . 1 . 3 . 2 „ 3 „ „ 1 - 1 . 4 . 2 . 3 „ 4 „ „ 1 - 1 „ 1 . 2 . 4 . 3 „ 4 „ „ 2 - brought round 1 . 2 . 3 . 4 - -And after this being practised and mastered, the usual method of plain -hunting on four bells will come easy, in which the lead and last bells -each begin to change after the first move, the one up and the other -down, at the hand stroke, and the two middle bells cross at the back -stroke, thus:-- - - EXERCISE 7. - 1 . 2 . 3 . 4 | 4 . 3 . 2 . 1 - 1 . 2 . 3 . 4 | 3 . 4 . 1 . 2 - 2 . 1 . 4 . 3 | 3 . 1 . 4 . 2 - 2 . 4 . 1 . 3 | 1 . 3 . 2 . 4 - 4 . 2 . 3 . 1 | 1 . 2 . 3 . 4 - -Then it would be well to confine the attention to 4 bell ringing, or -singles, as it is termed, in the other and more advanced method known as -_dodging_, which is a move of positions, as Banister says, in which a -bell is made to stop in its hunting course, return back one place, and -then proceed as before. This should be thoroughly understood and -mastered before 5, 6, or 8 bells be even tried. The number of changes -which may be produced-- - - Upon 2 bells are 2, and are called ---- - „ 3 „ 6, „ ---- - „ 4 „ 24, „ Singles. - „ 5 „ 120, „ Doubles. - „ 6 „ 720, „ Minor. - „ 7 „ 5,040, „ Triples. - „ 8 „ 40,320, „ Major. - „ 9 „ 362,880, „ Caters. - „ 10 „ 3,628,800, „ Royal. - „ 11 „ 39,916,800, „ Cinques. - „ 12 „ 479,001,600, „ Maximus. - -With this wide field, it is easy to realize the scope for the pleasure, -the exercise, and the skill there may be to those who are disposed to -give the time, the study, the attention, and the practice the art -deserves. - -The student, taking the syllabus, and proceeding in the following -order:-- - - 1. Learn the names and the uses of the parts of the bell and fittings. - - 2. Learn to handle the rope and to ring, _with clapper tied fast to - prevent nuisance_. - - 3. Learn to ring in rounds. - - 4. Learn to hunt or plain course work or singles. - - 5. Learn to dodge. - - 6. Learn place making. - - 7. For 5 bells learn bob double, grandsire doubles, and Stedman’s - doubles or methods in order as given. - - 8. For 6 bells learn bob minor, grandsire minor, treble bob minor. - - 9. Learn 7 bells learn bob triples, Stedman’s triples. - - 10. Learn 8 bells learn bob major; treble bob major. - - 11. Learn 10 bells learn grandsire caters. - - 12. Learn 11 bells learn grandsire cinques. - - Learn 12 bells learn treble bob maximus. - -The various methods for making the changes or varying the positions are -described, and are worked out in the Books by Messrs. Troyte, Hubbard, -Banister, and others. - -With such writings on these, more intricate and advanced methods, so -well compiled, so much appreciated, and so easily obtained, giving all -the technical words, and names, in the change ringing art, showing so -plainly the rules for bringing round the peal to its starting position, -through the many variations and changes, it is needless in such a -production as this to say more than to refer the student at once to -those Works, and to wish him every success. Desiring only to lead such -onward, to the further study and practice of this healthy and -fascinating art, with many apologies for humble efforts, and, doubtless, -many mistakes, at the same time craving the forbearance of the masters -of the art, the Writer desires to _stand_ and to subscribe himself as - - THE STUDENTS’ WELL WISHER. - - “Ring out, ye bells, and waft the sound - Till heathen lands your notes rebound; - Till every soul o’er all the earth - Shall sing the great Redeemer’s birth.” - -[Illustration] - - - _The thanks of the Writer are tendered to T. North, Esq., for - permission to use extracts from his “Bells of Leicestershire;” to - Messrs. Warner & Sons for the use of their several woodcuts; to the - Rev. H. T. Ellacombe and Mr. H. W. Haley for several hints of interest - which are embodied by permission in the foregoing pages._ - - - - -BOOKS PUBLISHED ON - -BELLS AND BELL RINGING, - -WHICH CAN BE OBTAINED OF - -_J. WARNER & SONS, LONDON._ - - - s. d. - The A B C OF MUSICAL HAND-BELL RINGING. By S. B. GOSLIN 1 0 - THE MUSICAL HAND BELL RINGER’S INSTRUCTOR 2 0 - TROYTE ON CHANGE RINGING. Abridged, as far as Six Bell Work 1 0 - Do., to Eight Bell Work 3 6 - CHANGE RINGING. By WILLIAM BANISTER, Member of Ancient Society - of College Youths 2 6 - WIGRAM’S CHANGE RINGING DISENTANGLED 2 0 - HUBBARD’S CAMPANALOGIA; or, ELEMENTS OF CAMPANOLOGY 3 0 - “PRACTICAL REMARKS ON BELLS AND BELFRIES,” with an Appendix on - Chiming. Written by the Rev. H. T. ELLACOMBE, of Topsham, Devon 3 0 - MAUNSELL ON CHURCH BELLS AND RINGING 1 0 - PLAIN HINTS TO BELL RINGERS 0 1 - THE BELL: ITS ORIGIN, HISTORY, AND USES. By Rev. A. GATTY, D.D. 3 0 - ROPE SIGHT. By JASPER SNOWDON 1 6 - TREBLE BOB, in 2 parts. By JASPER SNOWDON 1s. and 2 0 - - -OPINIONS OF THE PRESS, &c., - -UPON THE “A B C OF MUSICAL HAND BELL RINGING.” - -From the _Ironmonger_, August, 1874. - - _The ABC of Hand-Bell Ringing._ By ALPHA BETA. London: M’Corquodale & - Co., and J. Warner & Sons. - - This little work is of considerable interest, as it comprises short - notes for young beginners, and a collection of easy tunes, arranged in - an easy form for the use of persons not possessing a knowledge of - musical notation; and also a short insight into the principles of - change ringing. Those of our readers who supply bells, and are - occasionally asked for information on ringing, could not do better - than secure a copy of this little pamphlet. - -From the _Record_, August 3rd, 1874. - - HAND-BELL MUSIC.--Few of the novel performances of the present day - have given more pleasure than those of the band called the “Royal - Hand-Bell Ringers.” This department of music has been systematised in - a manual entitled _The A B C of Musical Hand-Bell Ringing_, published - by M’Corquodale & Co., Cardington Street, N.W. This manual, and - several other books on bells and bell ringing, may also be obtained at - the bell-founding firm of Warner & Sons, Crescent, Cripplegate, - London, E.C. - -From _Church Bells_, July 25th, 1874. - - HAND-BELL MUSIC.--We have been favoured with a copy of a tractate just - issued by M’Corquodale & Co., for 1s., entitled _The A B C of Musical - Hand-Bell Ringing_. It is just the thing which was wanted for young - beginners. We have much pleasure in recommending it. It is also to be - obtained of John Warner & Sons, of the Crescent Foundry, who offer to - send post free their _New Bell Catalogue_, which they say every - clergyman ought to have. - -From _Church Review_, August 8th, 1874. - - A great many of our readers will be much interested by a tract on the - A B C of musical hand-bell ringing, etc. It seems to be a complete - manual upon the subject, with exercises and rules for beginners, and - no doubt before long a set of hand bells will be as familiar in a - drawing-room as the indispensable pianoforte. To all who take an - interest in the science of campanology this little book will be very - acceptable. - -From _Church Bells_, September 19th, 1874. - - CHIMES AT HAMPSTEAD.--A correspondent writes that “_an awful bungle_” - is produced by the chimer who attempts tunes. He would learn a better - way if he would purchase for 1s. (which we would advise him to do for - the good of trade), the clever “A B C” elementary _brochure_ lately - issued by Messrs. Warner of Cripplegate. As for ourselves, we don’t - like chiming tunes for services; plain chiming in regular succession - is the correct way.--Ed. - - 5, _Crown Street, Chorley, Lancashire_, October 11th, 1874. - - Messrs. J. Warner & Sons, London. - - Dear Sirs,--I received your book on Wednesday, with thanks. As a - hand-bell ringer I have already found it to be the most simple and - useful book a young or experienced ringer can obtain for commencing - practice. - - PETER BUNDLE - - -JOHN WARNER & SONS, - - [Illustration] - - Bell and Brass Founders - To Her Majesty, - By Special - Appointment. - -THE CRESCENT FOUNDRY, CRIPPLEGATE, LONDON, E.C. - - [Illustration: INTERNATIONAL EXHIBITION, - HYDE PARK, 1851. - _A Prize Medal awarded for - Bells._] - - [Illustration: INTERNATIONAL EXHIBITION, - SOUTH KENSINGTON, 1862. - _Prize Medal awarded “For - Excellent Workmanship and - Ingenuity applied in Chiming - Bells by Machinery.”_--See - Jurors’ Report.] - - [Illustration: INTERNATIONAL EXHIBITION, - VIENNA, 1873. - _Two Grand Medals of Merit - and Honourable Mention._] - - -VIENNA EXHIBITION, 1873. - -The Largest Number of Awards in THE METAL INDUSTRY were awarded to J. W. -& SONS. - -ESTABLISHED A.D. 1763. - -[Illustration] - -BELLS SINGLY OR IN RINGS. - -JOHN WARNER & SONS have always a Large Stock of New Bells on hand, which -can be seen at their Foundry. - -OLD BELLS RE-CAST OR RE-HUNG. - -J. W. & SONS are prepared to send an experienced Bellhanger to report or -advise upon Repairs, Alterations, or New Rings of Bells. - -Every Clergyman should have J. W. & SONS’ New Bell Catalogue, which can -be obtained upon application, post free, giving a large amount of -information; also other parts as enumerated below. - - -[Illustration: BELLS FOR ALL PURPOSES.] - -Illustrated Priced Catalogues Post Free. - - 1. HYDRAULIC--Pumps, &c., of all kinds. - 2. PLUMBERS--Cocks, Valves, Steam Work, &c. - 3. SANITARY--Closets, Baths, Lavatories, &c. - 4. Bells--Church, School, and Plantation Bells. - 5. BRAZIERY--Copper work of every description. - 6. WIND MILLS. - -[Illustration: BELLS OF EVERY DESCRIPTION.] - - -[Illustration] - -WARNER’S MUSICAL HAND BELLS, - -Tuned to the Diatonic or Chromatic Scales, with improved Clappers, and -pegged on a new system, which gives a superior tone and facility for -ringing. The bells by J. W. & Sons are warranted of the best description -both in accuracy of note and finish. - -PRICES OF SETS IN DIATONIC OR CHROMATIC SCALES. - - A Set A Set A Set A Set A Set - of 8. of 10. of 12. of 15. of 19. - £ s. d. £ s. d. £ s. d. £ s. d. £ s. d. - No. 22 size, in C 6 7 0 7 0 0 7 14 0 8 10 0 10 10 0 - „ 21 „ D 5 16 0 6 7 0 7 0 0 7 9 0 10 0 0 - „ 20 „ E 5 5 0 5 16 0 6 2 0 7 0 0 9 10 0 - „ 19 „ F 4 16 0 5 5 0 5 15 0 6 7 0 8 15 0 - „ 18 „ G 4 9 0 4 14 0 5 6 0 5 16 0 7 0 0 - „ 17 „ A 4 4 0 4 11 0 4 19 0 5 12 0 6 10 0 - „ 16 „ B 3 19 0 4 7 0 4 14 0 5 6 0 6 0 0 - „ 15 „ C 3 15 0 4 4 0 4 10 0 5 0 0 5 15 0 - A Set of 26 Bells, No. 15 size, in C, 2 Octaves in Chromatic Scale - 8 16 0 - „ 37 „ No. 2 size, in C, 3 „ „ „ - 14 14 0 - „ 44 „ in F, 3½ Octaves in Chromatic Scale 17 0 0 - „ 50 „ „ 4 „ „ „ 20 0 0 - -Sets of any other numbers and sizes made to order. - -Sets of 8, 10, and 12 are adapted for Change Ringing. - -Old Sets Repaired, Re-leathered, Re-pegged, or Re-clappered. - -_New Bells added or replaced in sets in lieu of those cracked or old._ - - -[Illustration] - -WARNER’S MUSICAL CLOCK BELLS, - -Tuned either to the Diatonic or Chromatic Scales, in Sets. - - A Set of 8 Bells, tenor 3½ inches in diameter £0 15 0 - „ 13 „ „ „ „ 1 5 0 - „ 19 „ „ „ „ 1 13 0 - „ 32 „ „ „ „ 2 5 0 - -Sets of any other numbers and sizes made to order. - -Large Sizes for Turret Clocks and Cemeteries. - - -UNSOLICITED TESTIMONIALS. - - Cheddar, October 11th, 1875. - Weston-super-mare, Somersetshire. - - To Messrs. J. Warner & Sons, - - Dear Sirs,--Our present set of Hand Bells were purchased from your - establishment, and have given every satisfaction. - - Yours sincerely, ELI BROOKS, - Captain of the Cheddar Bell-ringing Society. - - Office Citizens’ Insurance Co., No. 105, Broadway, - BROOKLYN, N.Y., E.D., Oct. 11th, 1875. - - John Warner & Sons, - - Dear Sirs,--About a year ago my brother (Mr. W. Grim) ordered a set of - Swiss Musical Hand Bells from your firm for me (you will find them on - page 11 of your Bell Catalogue), viz.: “A peal of 50 Bells in F, 4 - octaves, Chromatic Scale, £20.” I have used them ever since, and am - well pleased with them. Now let me know what you will charge me for - another peal like them, to be nickel-plated. - - Yours truly, C. L. GRIM, - 151, Seventh Street, Williamsburgh, New York, United States. - - - _Bells of every description and size supplied complete for use by - JOHN WARNER & SONS, Bell and Brass Founders to Her Majesty_, - THE CRESCENT FOUNDRY, CRIPPLEGATE, LONDON, E.C., - AND THE FOUNDRY WORKS, WALTON-ON-THE-NAZE, ESSEX. - - - PRICE TWO SHILLINGS. - THE MUSICAL HAND-BELL RINGER’S INSTRUCTOR; - _Being a short historical - account of SMALL BELLS_, - A DESCRIPTION OF - HAND-BELLS, THEIR USES AND PURPOSES, - THE RUDIMENTS OF HAND-BELL MUSIC, - WITH EASY EXERCISES AND TUNES. - - BY SAMUEL B. GOSLIN, - - _Author of “The First Steps to Bell Ringing upon Church Bells;” “The A - B C of Musical Hand-Bell Ringing;” &c., &c., &c._ - - PART II. - - LONDON: - - PUBLISHED BY JOHN WARNER & SONS, THE CRESCENT FOUNDRY, CRIPPLEGATE, - E.C., AND M’CORQUODALE & CO., LIMITED, CARDINGTON STREET, HAMPSTEAD - ROAD, N.W. - - -OPINIONS OF THE PRESS. - -_The Churchman_, March, 1880. - - “THE MUSICAL HAND-BELL RINGER’S INSTRUCTOR,” by Mr. S. B. Goslin - (Warner & Sons), will prove, to a certain class, _an interesting - pamphlet_. Many of the illustrations are curious. - -_The Bazaar_, February 23rd, 1880. - - We have from Messrs. Warner & Sons, of the Crescent Foundry, - Cripplegate, E.C., two pamphlets on the art of hand-bell ringing, both - written by Mr. S. B. Goslin, who is, practically and theoretically, an - authority on the subject. The first of these, “The A B C of Musical - Hand-Bell Ringing,” comprises short notes for young beginners, a - collection of easy tunes, arranged, by means of numerals, for those - without any knowledge of music, and a general guide to the principles - of change ringing. The second, “THE MUSICAL HAND-BELL RINGER’S - INSTRUCTOR,” contains a short historical account of small bells, a - practical description of hand-bells, and the rudiments of the music - played on them. Messrs. Warner are eminent as bell founders, and - _their two publications may be relied on as trustworthy guides_. - -_The Bookseller_, February 3rd, 1880. - - “THE MUSICAL HAND-BELL RINGER’S INSTRUCTOR;” being a short historical - account of small bells, a description of hand-bells, their uses and - purposes, the rudiments of hand-bell music, with easy exercises in - tune. By Samuel B. Goslin. A _curious and interesting contribution_ to - the literature of campanology. - -_The Church Review_, April 16th, 1880. - - “THE MUSICAL HAND-BELL RINGER’S INSTRUCTOR,” By S. B. Goslin. Warner & - Co., Crescent Foundry, Cripplegate.--Very interesting to general - readers, but more valuable to ringers, giving a sketch of the history - of bells in all countries and ages, and enriched with many curious - illustrations. To assist beginners in the art of ringing, the latter - part consists of elementary musical instruction, but the real value of - the work is in the early portion, containing a deal of information in - a very small compass. Published in a cheap form (costing two shillings - only), _it should have a large circulation among students of bells_, - to _whom we heartily commend it_. - -_City Press_, January 7th, 1880. - - In the “MUSICAL HAND-BELL RINGER’S INSTRUCTOR, Part II.” (Warner & - Sons, Cripplegate), Mr. S. B. Goslin has produced a work which will be - found to be of _great practical utility_. It contains, too, a good - deal of _curious_ matter connected with the history and uses of bells, - and is illustrated. - -_Church Bells_, January 17th, 1880. - - “MUSICAL HAND-BELL RINGER’S INSTRUCTOR.”--This is a very clear and - valuable addition to bell literature, and _we advise all who are - desirous of making progress with hand-bells to get it_ from the - author, Mr. Goslin. The _brochure_ is historically _most interesting_. - -_Ironmonger_, January 24th, 1880. - - “THE MUSICAL HAND-BELL RINGER’S INSTRUCTOR.” (London: John Warner & - Sons, Cripplegate.)--This is a comprehensive little treatise on the - subject of which the author, Mr. Samuel B. Goslin, is evidently a - master. _The interest of the work is much enhanced by the exceedingly - quaint engravings_ given of old cymbals and other matters. _All_ who - are in any way _concerned in bell founding_ or _hand-bell ringing_ - should _not fail to procure_ and peruse this work. - -_Rock_, January 30th, 1880. - - A very interesting sketch of the history of small bells is given by - Mr. S. B. Goslin in his “MUSICAL HAND-BELL RINGER’S INSTRUCTOR” (J. - Warner & Sons), in which _a great deal_ of information is condensed - _into a small_ compass. _The illustrations_, which are chiefly taken - from old manuscripts, _are of themselves worthy of attention_. - -_The Literary Churchman and Church Fortnightly_, March 5th, 1880. - - “THE MUSICAL HAND-BELL RINGER’S INSTRUCTOR.”--Messrs. Warner are - famous for bells; and we are led therefore to entertain somewhat high - expectations from a treatise on the subject with which their name is - connected. Nor are we disappointed. The essay before us _is - particularly interesting_, as well _because of the mass of curious and - recondite learning_ which the author has gathered together to - illustrate the history of his subject, as _from the clear directions - given for hand-bell ringers_, and the exercises here provided for - their use. - - It appears to us quite worth the consideration of the clergy whether - the practice of hand-bell ringing would not do much to keep their - corps of church ringers together and provide an antidote to the - public-house. We find that a medium set of eight hand-bells, forming - an octave, can be obtained for from four to five pounds; and the steps - of the art present no considerable difficulty, even to rustic - intellects. Many a young country curate would find it a pleasant thing - to take the post of leader, and call his choir together for hebdomadal - practices. - - - - - * * * * * * - - - - -Transcriber’s note: - -Footnotes have been moved to directly underneath the paragraph they -refer to. Illustrations and Notes have been moved to between -paragraphs. - -“... and to which ... he points the reader ... to take in hand ...” as -printed in the source document. - -Some minor obvious typographical and punctuation errors have been -corrected silently. - -Table “The number of changes which may be produced”, last line: 22 -changed to 12. - -“Bannister” and “Banister” standardised to “Banister”. - - - -***END OF THE PROJECT GUTENBERG EBOOK FIRST STEPS TO BELL RINGING*** - - -******* This file should be named 53022-0.txt or 53022-0.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/5/3/0/2/53022 - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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text-align: center; font-size: .9em; margin-top: 100px; line-height: .9em;} - .warnermedals - {background: url('images/illo30b.jpg') center center no-repeat; height: 128px;} - - h1.pg { margin-top: 0em; } - h3,h4 { text-align: center; - clear: both; } - div.body { max-width: 40em; - margin-left: auto; - margin-right: auto; } - hr.full { width: 100%; - margin-top: 3em; - margin-bottom: 0em; - margin-left: auto; - margin-right: auto; - height: 4px; - border-width: 4px 0 0 0; /* remove all borders except the top one */ - border-style: solid; - border-color: #000000; - clear: both; } - </style> -</head> -<body> -<h1 class="pg">The Project Gutenberg eBook, First Steps to Bell Ringing, by Samuel B. -Goslin</h1> -<p>This eBook is for the use of anyone anywhere in the United States -and most other parts of the world at no cost and with almost no -restrictions whatsoever. You may copy it, give it away or re-use it -under the terms of the Project Gutenberg License included with this -eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a>. If you are not -located in the United States, you'll have to check the laws of the -country where you are located before using this ebook.</p> -<p>Title: First Steps to Bell Ringing</p> -<p> Being an Introduction to the Healthful and Pleasant Exercise of Bell Ringing in Rounds and Changes upon Church Bells</p> -<p>Author: Samuel B. Goslin</p> -<p>Release Date: September 10, 2016 [eBook #53022]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK FIRST STEPS TO BELL RINGING***</p> -<p> </p> -<h4>E-text prepared by deaurider, Harry Lam,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive<br /> - (<a href="https://archive.org">https://archive.org</a>)</h4> -<p> </p> -<table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> - <tr> - <td valign="top"> - Note: - </td> - <td> - Images of the original pages are available through - Internet Archive. See - <a href="https://archive.org/details/cu31924022498012"> - https://archive.org/details/cu31924022498012</a> - </td> - </tr> -</table> -<p> </p> -<div class="body"> -<div class="tnbox"> -<p class="center noindent">Please see the <a href="#TN">Transcriber’s Note</a> -at the end of this text.</p> -</div> -</div> -<p> </p> -<hr class="full" /> -<p> </p> -<p> </p> -<p> </p> - -<div class="body"> - -<div class="scr"> -<div class="figcenter"> -<img src="images/cover_sm.jpg" alt="title page" width="368" height="600" class="bt br bb bl" /> -</div> -</div> - -<hr class="chap" /> - -<h1><span class="oldtype fsize125">First Steps to Bell Ringing:</span><br /> -<span class="fsize50"><span class="padtop">BEING AN</span><br /> -INTRODUCTION TO THE HEALTHFUL AND PLEASANT<br /> -EXERCISE OF</span><br /> -<span class="fsize125">BELL RINGING,</span><br /> -<span class="fsize50">IN</span><br /> -ROUNDS AND CHANGES,<br /> -<span class="fsize50">UPON</span><br /> -CHURCH BELLS.</h1> - -<p class="center noindent highline1"><span class="smcap">By S. B. GOSLIN, F.M.S., etc.</span>,</p> - -<p class="center noindent highline1 blankbefore fsize80">AUTHOR OF THE “A B C OF MUSICAL HAND BELL RINGING,” -“THE<br />MUSICAL -HAND BELL RINGER’S INSTRUCTOR,” ETC., ETC.</p> - -<div class="figcenter"> -<img src="images/illo01.png" alt="Bell" width="150" height="179" /> -</div> - -<div class="poemcenter w13"> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“Let me in outline sketch them all,<br /></span> -<span class="i0">Perchance uncouthly.”<br /></span> -</div> -</div> - -<p class="poemcredit noindent"><span class="smcap">Longfellow’s</span> “<i>Wayside Inn</i>.”</p> - -</div><!--poemcenter--> - -<hr class="tb" /> - -<p class="center noindent highline2 fsize80"><i>SECOND EDITION.</i></p> - -<p class="center noindent highline2 sstype fsize80"><b>COPYRIGHT. ENTERED AT STATIONERS’ HALL.</b></p> - -<hr class="tb" /> - -<p class="center noindent fsize80">LONDON:<br /> -JOHN WARNER & SONS, THE CRESCENT FOUNDRY, CRIPPLEGATE, E.C.,<br /> -AND M’CORQUODALE & CO., CARDINGTON STREET,<br /> -HAMPSTEAD ROAD, N.W.</p> - -<hr class="tb" /> - -<p class="center noindent highline1 fsize80">1881.</p> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo02.jpg" alt="Ornament" width="250" height="267" /> -</div> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo03a.jpg" alt="Ornament" width="500" height="156" /> -</div> - -<div class="figcenter"> -<img src="images/illo03b.jpg" alt="Bell" width="200" height="189" /> -</div> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“List! the merry bells are ringing,<br /></span> -<span class="i0">And the choristers are singing.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<h2>INTRODUCTION.</h2> - -<div class="figcenter"> -<img src="images/line03.png" alt="Ornament" width="150" height="17" /> -</div> - -<div class="scr"> - -<div class="figleft"> -<img src="images/w0301.jpg" alt="Fancy W top" width="150" height="120" /> -</div> - -<div class="figleft cap"> -<img src="images/w0302.jpg" alt="Fancy W middle" width="113" height="60" /> -</div> - -<div class="figleft"> -<img src="images/w0303.jpg" alt="Fancy W bottom" width="80" height="64" /> -</div> - -</div><!--scr--> - -<div class="hh"> - -<div class="figleft"> -<img src="images/w03.jpg" alt="Fancy W" width="150" height="240" /> -</div> - -</div><!--hh--> - -<p class="fancycap"><span class="fancycap">W</span>hen such works as those written by the Rev. Mr. -Ellacombe, and when every local bell history, or -encyclopædia of any note, give full information both -as to the early use, construction, and form of bells, it is -needless to add another word upon such topics in such a -production as this; and when, as is the case at the present -time, so many good books are to be so easily obtained, on Change -Ringing and Bells, with examples of the various methods or interchanging -of positions, by fixed rules or courses, they would at first -sight and thought appear to be subjects, which have been literally -exhausted, and in which no room remains for further attempts at -description in letter-press. However, such is not the fact, for the -young beginner now, especially if no experienced guide can be -secured, to give advice in person, is in the position of a schoolboy -who is called upon to work out a calculation in decimals, before he -clearly understands the rule or the method of pointing, unless he -has the good fortune to find and secure a copy of “Wigram’s -Change Ringing Disentangled,” or, “Troyte’s Change Ringing to -Six Bell Work,” which with some amount of study, he may in time -get on and become proficient.</p> - -<p>The want of something more, as the first steps to ringing, has -been felt and acknowledged by many persons at many times; and -to supply this want is all that is now attempted—not in any way to -disparage the well-known works of others more skilled in the art of -ringing, but to lead upwards and onwards to those works by short -and easy words and lessons, is the wish of the Author in the -following pages.</p> - -<div class="figcenter"> -<img src="images/illo04.jpg" alt="Ornamental angel" width="400" height="214" /> -</div> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo05a.jpg" alt="Ornament" width="500" height="111" /> -</div> - -<h2>NOTE TO THE SECOND EDITION.</h2> - -<div class="figcenter"> -<img src="images/line05.png" alt="Ornament" width="150" height="13" /> -</div> - -<p>The appreciation and successful issue of the first edition of this -work is duly acknowledged by the Author, as well as the many -expressions of approval from persons at home and in foreign parts. -It is a source of satisfaction and gratification to know that the -attempt has produced a large amount of interest, and has also been -the means of producing some ringers in several of our Colonies, as -well as working up a desire for and supply of other productions, -such as the second edition of “Banister’s Change Ringing,” -Wigram’s new, better, and enlarged “Change Ringing Disentangled,” -and “Snowdon’s Rope Sight,” which are worthy of a place in every -bell student’s and every ringer’s library.</p> - -<p>The continued demand for the “First Steps” has prompted this -second edition, which is somewhat altered and extended, the desire -of the Author being to make all things as plain and as easy as -possible.</p> - -<div class="figcenter"> -<img src="images/illo05b.jpg" alt="Ornament" width="250" height="144" /> -</div> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo06.jpg" alt="Belfry" width="150" height="433" /> -</div> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo07.jpg" alt="Ornament" width="350" height="96" /> -</div> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“Sweet bells ring for ever,<br /></span> -<span class="i0">’Tis your old familiar strain<br /></span> -<span class="i0">That awakes the past again.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<p class="h1repeat">BELL RINGING <span class="noshow">ON CHURCH BELLS.</span></p> - -<div class="figcenter"> -<img src="images/line07.png" alt="Ornament" width="150" height="21" /> -</div> - -<h2>ON CHURCH BELLS.</h2> - -<div class="scr"> - -<div class="figleft"> -<img src="images/e0701.jpg" alt="fancy E top" width="150" height="131" /> -</div> - -<div class="figleft cap"> -<img src="images/e0702.jpg" alt="fancy E middle" width="117" height="57" /> -</div> - -<div class="figleft"> -<img src="images/e0703.jpg" alt="fancy E bottom" width="79" height="67" /> -</div> - -</div><!--scr--> - -<div class="hh"> - -<div class="figleft"> -<img src="images/e07.jpg" alt="Fancy E" width="150" height="251" /> -</div> - -</div><!--hh--> - -<p class="fancycap"><span class="fancycap">E</span>ngland is frequently said to be known as the -Ringing Isle, from the fact that wherever the stranger -or foreigner turns, or stays, in this land, he is sure to -meet with the well tuned bells, and well timed changes, -pealing forth from our venerable church towers and -steeples; whilst on the Continent of Europe, and in -other parts of the world, the ear is accustomed only to the hodgepodge, -jangle or clatter of several bells, either in or out of tune, -no matter which, all striking as fast as possible, in utter disorder, -seemingly in a race for the greatest number of blows per minute, -for each or any one in particular. But whilst in England the townsman, -citizen, or villager is accustomed to the order, and the sweet -music from the steeple bells, it is strange to find that so few really -care to understand by what means, method, or performance such -results are produced. Happily, however, much has been done -within the last fifty years to emulate enquiry, and foster interest in -such matters by many gentlemen, who have spent a large share of -their spare time to effect this purpose, both by essays, books, lectures, -advice, and practice—foremost amongst them all being the venerable -Rev. H. T. Ellacombe, of Clyst St. George, Devon, who from -quite a young man has entered deeply and fully into all matters -of interest relative to Church Bells and Ringing, and who now -supervises that bell-ringing page in the interesting weekly paper -called <i>Church Bells</i>, where from time to time much is given which -is interesting to all who may wish to become ringers in practice or -performance, with good and reliable information as the groundwork -upon which they desire to ultimately place their edifice of knowledge -of the subject in question.</p> - -<div class="figcenter"> -<img src="images/illo08a.jpg" alt="" width="600" height="403" /> -<img src="images/illo08b.jpg" alt="" width="600" height="598" /> -<p class="caption">(<i>Illustration of a Ring of Eight Bells and Ringers in the act of starting to set the Bells from rest.</i>)</p> -</div> - -<p>But not only is there a general lack of knowledge upon ringing -church bells on the part of the majority, even in this bell ringing -isle—it can well be added that, as to change ringing, the really -scientific, very useful, and interesting part of ringing is “dog Latin” -or “double Dutch” to ninety-nine persons out of every hundred, -or even more, the general impression being that it is all very easy, -and only to pull—that anyone can do all that is to be done in a -very short time; whereas it is in every particular an interesting -study, proficiency gained by practice, thought, care, and application -alone—a science as true, as useful, and as healthy to mind and body, -as is possible to be found, practised, or studied.</p> - -<p>To ring, and to ring changes, on either church or musical hand -bells, are three very different subjects. In order to ring changes, -however, it is absolutely necessary to have a good knowledge of -ringing, or the means adopted to make the bells sound in their -proper time and place, whether it be in the church tower, on the -large swinging bells with ropes, or in the parlour or drawing-room, -upon the musical bells, held in the hand or hands. But not to deal -with too many subjects together, and to avoid confusion, it is well -to start with</p> - -<div class="figcenter"> -<img src="images/illo09.jpg" alt="Ornamental harpist" width="350" height="147" /> -</div> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo10a.jpg" alt="Ornament" width="500" height="89" /> -</div> - -<h2>HINTS ON CHURCH BELLS AND FITTINGS.</h2> - -<div class="scr"> - -<div class="figleft"> -<img src="images/a1001.jpg" alt="fancy A top" width="150" height="130" /> -</div> - -<div class="figleft cap"> -<img src="images/a1002.jpg" alt="fancy A middle" width="114" height="52" /> -</div> - -<div class="figleft"> -<img src="images/a1003.jpg" alt="fancy A bottom" width="79" height="68" /> -</div> - -</div><!--scr--> - -<div class="hh"> - -<div class="figleft"> -<img src="images/a10.jpg" alt="Fancy A" width="150" height="248" /> -</div> - -</div><!--hh--> - -<p class="fancycap"><span class="fancycap">A</span>t all times when it may be desired to produce a good -performer upon any musical instrument, it is well that -he should understand the instrument itself; for just as -the driver who understands his steam engine thoroughly -in its parts and details, is the man who can work it best, -so is it with the ringer with his bell in the steeple or tower. -It is not at all difficult to picture the scene, surroundings, and -thoughts of an intended ringer, upon his first visit to the bell-tower, -or ringing chamber, unless it be as has been the experience of many, -as well as that of the writer, to learn to pull the rope and catch the -sally when a boy at school on the large school-bell, or that at the -parish church. And even then, if not in the midst of an octave -of ropes, the dancing of the rope upon which he had to start or -practice was, at first sight, perplexing; graceful, however, if handled -well, but yet a mystery.</p> - -<div class="figcenter"> -<img src="images/illo10b.jpg" alt="" width="600" height="357" /> -<p class="caption">(<i>Illustration of a Ring of Eight Bells as they would appear in the Frame or Cage in the Belfry.</i>)</p> -</div> - -<p>Presuming that the reader desires to become a ringer, to -understand his instrument, and for this purpose has ascended the -tower—has passed the ringing room with a glance, and has made -up his mind to know the why and wherefore of the bells and fittings, -so that if anything goes wrong in the practice or performance he -may be able to set it right if possible or remedy any defect—he will -go at once to the bell cage, and learn (as was the writer’s first -lesson) the names of the parts and fittings of the bell, where such an -arrangement will be seen as is shown by the following <a href="#FigRef1">illustration</a>, -to which is added the names of each part. Everyone may know -what a church bell is like in form, and the purpose for which it is -founded; but not so can it be said of its various parts and appurtenances. -In order to help the reader in this direction, the following -<a href="#FigRef1">sketch</a> will answer for reference. With the shadow it is easy to -realize or imagine the fact, and to conceive that we are facing the -bells in the tower, where each is fitted, as the <a href="#FigRef1">sketch</a> shows, -separately, and by the numbers and references the names of the -parts can be easily learnt.</p> - -<div class="figcenter" id="FigRef1"> -<img src="images/illo11.jpg" alt="" width="411" height="600" /> -<p class="caption">(<i>Illustration of a Bell with detached frame or sections for reference to parts.</i>)</p> -</div> - -<p>In giving a description of the bell and its fittings, for all ordinary -purposes, it is not necessary to go into details as to the best proportion -or shape, for that is so well understood by founders of any -note or excellence, and as it is all so well treated in other writings, -here it would be superfluous. The following, however, will always -be found useful for <span class="nowrap">reference:—</span></p> - -<ul class="bellparts"> - -<li>No. <span class="padl1">1</span> represents that part called the Head of the bell, which is -varied in form under various circumstances, sometimes -being what is known by the name of button or -mushroom head, at others by canon head, or as is -shown. The most frequently used are the crown head -or with canons.</li> - -<li>No. <span class="padl1">2.</span> The shoulder.</li> - -<li>No. <span class="padl1">3.</span> The waist.</li> - -<li>No. <span class="padl1">4.</span> The sound bow.</li> - -<li>No. <span class="padl1">5.</span> The lip.</li> - -<li>No. <span class="padl1">6.</span> The clapper.</li> - -<li>No. <span class="padl1">7.</span> The stock (<i>a wood beam to which the bell is hung</i>).</li> - -<li>No. <span class="padl1">8.</span> The gudgeons or axles (<i>of wrought iron turned, upon -which the bell swings</i>).</li> - -<li>No. <span class="padl1">9.</span> The bearings (<i>of gun metal, in which gudgeons work</i>).</li> - -<li>No. 10. The wheel (<i>of wood, which acts as a lever to set the bell -in motion</i>).</li> - -<li>No. 11. The shrouding (<i>the guard of the wheel to keep the rope -in its place on the sole</i>).</li> - -<li>No. 12. The slider (<i>a piece of wood working on a centre to -support the stay</i>).</li> - -<li>No. 13. The stay (<i>a piece of wood attached to the stock to support -bell when set</i>).</li> - -<li>No. 14. The rope.</li> - -<li>No. 15. The pulley or rope guide.</li> - -<li>No. 16. The wheel stay (<i>an iron rod or rods fastened between -the stock and wheel, to support or steady the wheel, not -shown</i>).</li> - -<li>No. 17. The sally (<i>not shown, but a soft tufting near the bottom -end of the rope. See cut of <a href="#FigRef2">Bells at Hand Stroke</a>, -page 15</i>).</li> - -</ul><!--bellparts--> - -<p>The particular name of each part will also be found to be -described very fully in “Banister’s Change Ringing,” and in -the Rev. H. T. Ellacombe’s “Practical Remarks on Belfries and -Ringers,” which should be perused on this subject.</p> - -<p>Now having learnt this lesson, the next would be that which -was taught by the older bell boys to the writer at school, viz., to -grease the bearings; to take up or let out the rope, as occasion -might require, for a taller or shorter person, taking notice of how it -is, or should be fastened to the wheel, and passed through the -pulley; then look to the slider and stay, to see if sound and in -order, so to leave all tight and trim and ready for ringing, and then, -as one of the tutors in the art was in the ringing room ringing, the -scholar was so placed in the belfry as to see, and have it explained -to him by another companion, how that the <i>slider</i> and <i>stay</i> were -needed to <i>set</i> the bell at the <i>hand</i> or <i>back strokes</i>; how the rope -danced, and needed catching below at the sally, to prevent the -breakage of either the slider or stay, if not so caught. By this at -once understanding, by optical demonstration and friendly counsel, -the object and use of all that pertains to the bell, as well as the -reason for setting it up.</p> - -<p>With this fairly in the mind, it will be well at once to turn -the attention to ringing, which, perhaps, will explain in part as we -proceed, the use of the former remarks as to the application of the -parts or fittings sufficiently, for cases where a tutor cannot be -found in person.</p> - -<div class="figcenter"> -<img src="images/illo13.jpg" alt="Ornament" width="250" height="155" /> -</div> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo14.jpg" alt="Ornament" width="500" height="114" /> -</div> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i0">“Hark the bonny Christchurch bells:<br /></span> -<span class="i0">One, two, three, four, five, six. They sound<br /></span> -<span class="i0">So mighty great,<br /></span> -<span class="i0">So wondrous sweet,<br /></span> -<span class="i0">So merrily.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<h2>THE PRACTICE OF RINGING.</h2> - -<div class="scr"> - -<div class="figleft"> -<img src="images/i1401.jpg" alt="fancy I top" width="150" height="126" /> -</div> - -<div class="figleft cap"> -<img src="images/i1402.jpg" alt="fancy I middle" width="114" height="61" /> -</div> - -<div class="figleft"> -<img src="images/i1403.jpg" alt="fancy I bottom" width="82" height="67" /> -</div> - -</div><!--scr--> - -<div class="hh"> - -<div class="figleft"> -<img src="images/i14.jpg" alt="Fancy I" width="150" height="252" /> -</div> - -</div><!--hh--> - -<p class="fancycap"><span class="fancycap">I</span>t may be perplexing when consulting a variety of -books, to determine what are the best plans for a -beginner to adopt. And it may or should be known -that bell ringing is a dangerous practice for a novice, -should he commence it by himself without instruction, -thought, or care. In such a case, he runs the risk of being -hung by the neck, as was the case not long since, when, at a certain -place in Essex, a man pulled the tenor of a ring of bells, <i>left set</i> for a -company of ringers, without knowledge, the result being that he was -confused, caught by the rope round the neck, pulled up and thrown -with great force to the floor, but where fortunately there happened -to be some thick cocoa-nut matting, which broke the fall and so -saved him.</p> - -<p>Now, although it may be dangerous to begin or to practise by oneself, -yet a little help, such as we should seek in learning to skate or -to swim, or in any other exercise or art, from an expert, will overcome -and <i>set aside all danger</i>, as well as the mind at perfect rest on -such thoughts. Therefore, as a precaution, wherever it is practicable -and possible, the advice should be taken to obtain the assistance and -counsel of a ringer at starting; and having secured the good offices -and help of the teacher, the first lesson will be, as a matter of course, -to see and take notice of the way in which he <i>sets</i> the bell, by -repeated pulls, and catches at the sally or tufting of the rope, -marking particularly, as is shown in the illustrations of the ringers -in the ringing room, or that immediately following, the best plan to -hold the rope, viz., with the rope near to its bottom or end, in -the left hand permanently, and the right hand at liberty, to -catch the sally or ease the bell on its slider and stay, and to pull -at the hand or back strokes in their <span class="nowrap">turn.<a href="#Footnote1" class="fnanchor" id="FNanchor1">[1]</a></span></p> - -<div class="footnote"> - -<p id="Footnote1"><a href="#FNanchor1"><span class="label">[1]</span></a> See also Banister (on Change Ringing) on this point.</p> - -</div><!--footnote--> - -<div class="figcenter" id="FigRef2"> -<img src="images/illo15a.jpg" alt="" width="600" height="403" /> -<img src="images/illo15b.jpg" alt="" width="600" height="596" /> -<p class="caption">(<i>Illustration of a Ring of Eight Bells and Ringers, with Bells set at Hand Stroke ready to start -either for Round or Peal Ringing.</i>)</p> -</div> - -<div class="note"> -<p><span class="smcap">Note.</span>—<i>Being Set</i> means standing mouth upwards.</p> -</div> - -<div class="figcenter"> -<img src="images/illo16.jpg" alt="" width="307" height="500" /> -<p class="caption">(<i>Illustration of a Bell at rest and best plan to hold the rope.</i>)</p> -</div> - -<p>Whilst watching, it will be noticed that after starting to pull the -bell from the position of <i>rest</i>, as is shown in the sketch, to get the -“<i>bell up</i>,” or “<i>set the bell</i>,” as it is termed, that the rope will begin -in a very short time to dance, which is caused by the bell, and the -wheel reversing sides, for the rope on the wheel, in swinging; and -then it will be seen how that, as the bell approaches nearer the <i>set -point</i> or balance, there is much to be gained by catching the sally or -tufting, giving a slight pull as the rope reverses, until the point be -reached, when the balance or <i>set</i> is obtained, and the bell is held or -caught and eased to the <i>hand stroke</i>, in the position as is shown by -the following sketch (<a href="#FigRef3">fig. 1</a>), where the stay rests against the slider -on the one side, in which case it will be seen that the rope comes -much in the position as when at rest, and is pulled off the <i>set</i> by the -sally; then, when pulled, it will be noticed that the bell will swing -to the reverse side, and <i>set</i> at the position called the <i>back stroke</i>, -being eased to its proper place or point by the hands, in the position -as is shown by the sketch (<a href="#FigRef4">fig. 2</a>), where the stay rests against the -slider on the reverse side, in which case it will be seen that the -rope is all round the wheel, and the end only is in the hands, and -is so pulled off its <i>set</i> to the <i>hand stroke</i>.</p> - -<div class="note"> - -<p><span class="smcap">Note.</span>—<i>The sally must be caught in the hands before the stay reaches the slider at hand stroke, and -eased to its position, and the rope held in check as the bell goes to back stroke, or the slider or -stay may be broken and the bell turn a somersault.</i></p> - -</div><!--note--> - -<div class="figcenter" id="FigRef3"> -<img src="images/illo17.jpg" alt="" width="327" height="500" /> -</div> - -<div class="note"> - -<p><span class="smcap">Note.</span>—<i>In some cases the rope is not held in the -one hand, as shewn in the wood-cut, but is pulled off -at hand stroke, and caught when approaching at back stroke, and</i> vice versa.</p> - -</div><!--note--> - -<p>It will thus be seen how the rope is held, and pulled, and -caught. It will also be seen, by watching, how easy it is to keep -pulling in time, on either side, to hand or back strokes, with any -interval, at pleasure, and with precision. And at this point it -would be well to join the teacher, standing face to face, taking -the rope in the hand as described, pulling when he pulls, catching -when he catches, and easing as he eases, so as to get the knack -without excitement, without hard labour, and without bending the -knees.</p> - -<div class="figcenter" id="FigRef4"> -<img src="images/illo18.jpg" alt="" width="343" height="500" /> -</div> - -<p>Both pull and catch easy at first, with eyes and ears well open, -or as is said:—</p> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“The ears open,<br /></span> -<span class="i0">Eyes wide,<br /></span> -<span class="i0">Feet steady,<br /></span> -<span class="i0">Tongue tied.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<p class="noindent">By such means, and by such practice, it will very soon result in being -able to pull by oneself, and then remains only the practice, so as to -learn to keep time at both strokes, to get the bell up, and to let it -down without help: always remembering that the weight of the -body, thrown on to the rope, is far more effective and less tiring -than using great muscular force, or bending and twisting the body -which causes much needless exertion, loss of power and breath; a -rule <span class="nowrap">being:—</span></p> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i0">“Stand upright,<br /></span> -<span class="i0">Pull down straight,<br /></span> -<span class="i0">You’ll ring right.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<p class="noindent">When this is accomplished, there need be no delay in proceeding to -ring rounds with your friends in company.</p> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo10a.jpg" alt="Ornament" width="500" height="89" /> -</div> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“Hark! the merry bells ring round.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<h2>RINGING ROUNDS.</h2> - -<div class="scr"> - -<div class="figleft"> -<img src="images/t1901.jpg" alt="fancy T top" width="150" height="124" /> -</div> - -<div class="figleft cap"> -<img src="images/t1902.jpg" alt="fancy T middle" width="113" height="60" /> -</div> - -<div class="figleft"> -<img src="images/t1903.jpg" alt="fancy T bottom" width="79" height="70" /> -</div> - -</div><!--scr--> - -<div class="hh"> - -<div class="figleft"> -<img src="images/t19.jpg" alt="Fancy T" width="150" height="251" /> -</div> - -</div><!--hh--> - -<p class="fancycap"><span class="fancycap">T</span>o ring-in rounds, it matters little which bell is taken -to perform upon, as each takes its place in proper -turn, whether it be first, middle, last, or any other -position, which will be very well understood if the new -ringer has practised, as he should do, <i>rounds upon hand -bells</i>.</p> - -<p>Musical hand bells are the most handy for the practice of time, -place, and position, and should accompany every ring of church -bells anywhere and everywhere for this purpose, so much may be -practised upon them in the quiet and comfort of a home fireside. -But in ringing rounds on the bells of the church in the tower, every -bell must be <i>set</i> at the start, and should be brought round to the -<i>hand stroke</i>, as shown in the <a href="#FigRef2">cut</a> on page 15. When all the company -are ready—whether four, five, six, eight, or more in number—the -leader or conductor will say “<i>Ready</i>”—”<i>Go</i>,” upon which every -one will start off in proper order and time, looking at the ringer -preceding as to when to pull off, by turning his eyes or head, -not his body, and keeping the ears open, so as to be in time -and order in striking. The treble (or highest note) bell, in -all church bell ringing, is understood as being No. 1, whether -there be a ring of three, four, six, eight, ten, or twelve bells; and -so, presuming a ring of eight, the bells will be rung in rounds in the -order of 1, 2, 3, 4, 5, 6, 7, 8, at the <i>hand stroke</i>; then 1, 2, 3, 4, 5, -6, 7, 8, on the <i>back stroke</i>, and repeated in the same way or method -to any length, at will or pleasure.</p> - -<p>Should there be only six bells in the ring, they will be rung to -the call of the leader as 1, 2, 3, 4, 5, 6, at the <i>hand stroke</i>; then -1, 2, 3, 4, 5, 6, at the <i>back stroke</i>, and so for any number of bells.</p> - -<div class="note"> -<p><span class="smcap">Note.</span>—<i>Any number of bells from 3 to 12 in a tower is called a “Ring of Bells.”</i></p> -</div> - -<p>Thus it will be seen the usual practice in ringing rounds, is to -ring down the scale, as it is termed in the art of music; or, in other -words, from the highest to the lowest note, or down to the bell with -the deepest tone. There is no reason, however, but custom to -prevent the reverse order (or ringing backwards, as it is put in -“Bonnie Dundee”) being adopted, used, or tried, either in practice -or purpose;<a href="#Footnote2" class="fnanchor" id="FNanchor2">[2]</a> and to make a change in the following of place or position -in ringing, it is not at all a bad move to reverse the order of -custom, and so ring in the order of 8, 7, 6, 5, 4, 3, 2, 1, <i>hand stroke</i>; -8, 7, 6, 5, 4, 3, 2, 1, <i>back stroke</i>; and after say twelve to twenty -rounds resume the first order or exercise down the scale, viz., -1, 2, 3, 4, &c. (of course, this is quite a matter of taste, and if not -approved can be passed over). Then it may be well for all to pull -or strike together, so as to fire a volley, at both hand and -back strokes, and in such practice the whole company should be -as much together as when the captain’s call of “Fire!” is -responded to by a company of soldiers, with their rifles, shot, and -powder.</p> - -<div class="footnote"> - -<p id="Footnote2"><a href="#FNanchor2"><span class="label">[2]</span></a> Mr. North, -in “Bells of Leicester,” which the writer has now before him, tells us the bells -at Barrow-on-Soar are rung backwards to give notice of fire—a hint for country and colonial -friends, when, if adopted, the motto of the seventh bell of St. Ives would carry a good intimation -into <span class="nowrap">practice—</span></p> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“When backward rung we tell of fire:<br /></span> -<span class="i0">Think how the world shall thus expire.”<br /></span> -</div> -</div> - -</div><!--footnote--> - -<p>Now, so much for ringing and ringing rounds; much more might -be said, but the writer does not consider it just to repeat that which -is so well put in “Bannister’s Change Ringing,” “Rope Sight,” -“Wigram’s Change Ringing Disentangled,” and in “Troyte’s -Introduction to Change Ringing,” and to which at this point he -recommends the reader or learner to take in hand and study. -When that has been well digested and understood, then, and not -till then, the next or following portion can or should be attempted -either as for study or practice, <span class="nowrap">viz.:—</span></p> - -<div class="figcenter"> -<img src="images/illo20.jpg" alt="Ornamental dancing bear" width="200" height="204" /> -</div> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo21.jpg" alt="Ornament" width="500" height="91" /> -</div> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“The bells ring out a merry peal,<br /></span> -<span class="i0">Their music on our ear doth steal.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<h2>CHANGE RINGING.</h2> - -<div class="scr"> - -<div class="figleft"> -<img src="images/r2101.jpg" alt="fancy R top" width="150" height="127" /> -</div> - -<div class="figleft cap"> -<img src="images/r2102.jpg" alt="fancy R middle" width="112" height="60" /> -</div> - -<div class="figleft"> -<img src="images/r2103.jpg" alt="fancy R bottom" width="79" height="65" /> -</div> - -</div><!--scr--> - -<div class="hh"> - -<div class="figleft"> -<img src="images/r21.jpg" alt="Fancy R" width="150" height="252" /> -</div> - -</div><!--hh--> - -<p class="fancycap"><span class="fancycap">R</span>inging the Changes is a phrase often used by the -general public in every-day life, and especially by -some who wish to appear witty or clever, but to -whom, as a rule, if a question be put as to its meaning, -or proper application, it is seen in a moment that such -knowledge is either too great or too small for them—in fact, -that they know nothing at all about it. The lack of this special -knowledge is easily traced to its origin; for how many schoolboys -ever have a sum or exercise in the rule of permutation? Many, if -not most, boys on leaving their studies and school would, it is -believed (or as has been tested to some extent), be found utterly -ignorant both of its use or practice. They may have learnt that it -is the changing or varying the order of things; and that to multiply -all the given terms or numbers the one into the other the last product -will be the number of changes required—as 1, 2, 3, 4, 5, <span class="nowrap">6:—</span></p> - -<table class="changes allclear" summary="changes"> - -<tr> -<td class="right">1</td> -</tr> - -<tr> -<td class="right bb">2</td> -</tr> - -<tr> -<td class="right">2</td> -</tr> - -<tr> -<td class="right bb">3</td> -</tr> - -<tr> -<td class="right">6</td> -</tr> - -<tr> -<td class="right bb">4</td> -</tr> - -<tr> -<td class="right">24</td> -</tr> - -<tr> -<td class="right bb">5</td> -</tr> - -<tr> -<td class="right">120</td> -</tr> - -<tr> -<td class="right bb">6</td> -</tr> - -<tr> -<td class="right">720</td> -</tr> - -</table> - -<div class="note"> -<p><span class="smcap">Note.</span>—<i>Any changes of a complete number or course through a series of permutations is -called a “Peal.”</i></p> -</div> - -<p class="noindent">Thus 2 bells (they may learn) produce 2 changes, 3=6, 4=24, -5=120, 6=720, and so on. They may have had the old tale told, -and the old and often single, as well as singular, question put to -them in this rule:—A young scholar, coming into town for the convenience -of a good library, demands of a gentleman with whom he -lodged what his diet would cost for a year, who told him £10; but -the scholar, not being certain what time he should stay, asked him -what he must give him for so long as he should place his family -(consisting of six persons beside himself) in different positions every -day at dinner? The gentleman, thinking it would not be long, told -him £5, to which the scholar agreed. What time did the scholar -stay with the gentleman? Which, as a matter of simple multiplication, -is very easy to answer—5,040 days. And even the other, and -most likely last question, may have been put, viz.:—How many -changes may be rung upon 12 bells, and in what time would they -be rung once over, supposing 10 changes may be rung in a minute, -and the year to contain 365 days 6 hours?—Answer: 479,001,600 -changes in 47,900,160 minutes, or 91 years 3 weeks 5 days 6 hours.</p> - -<p>Either of these examples may be very easy so far, but as to the -practical part of working them out in any performance in every-day -life is quite another matter, and it is left for the schoolboy to wait -or to forget all about both the rule and the figures, unless he comes -to see its workings in the steeple or the fireside, upon the church or -the musical hand bells, he would, perhaps, never see it necessary to -prove by practice, attention, thought, and care that which is multiplied -and multiplied, and left on the slate with astonishment, without -any good or lasting effect either upon the mind or the senses. The -Rev. Mr. Wigram very well shows a supposed case of persons -changing positions upon steps, ascending and descending in method -or order, as an example of permutation. But the positions or places -may be made or taken, and the rule worked out for amusement and -practice at the breakfast or dinner table, where there may be several -persons meeting repeatedly. And in this it is not more astonishing -than it is amusing to see the zest and interest given and taken by -a boy of only eight years of age in its practice, when once fairly -explained and started, cultivating both memory, thought, and interest -in a fixed plan until it is accomplished, by no means an unimportant -trait in character (for how many begin a task with zest, and falter -or never finish, is abundantly seen). Such, in a higher sense, is the -effect of change ringing on bells, where, beyond the changing places -at a table, the sense of hearing and the practice of time or order are -added to those of sight and touch.</p> - -<p>Three questions naturally suggest themselves to the student at -the very outset of the art of change ringing upon church bells, viz.:—</p> - - -<div class="questions"> - -<p>1st. How many changes can be rung on various rings of bells of -various numbers numbers from 2 to 12?</p> - -<p>2nd. How long would it take to ring them?</p> - -<p>And 3rd. How is it to be done?</p> - -</div><!--questions--> - -<p>Now the first two of these questions are so well answered at a -glance by the tabulated form prepared by Mr. Troyte, in his work -on change ringing, and by other books, and are so easily computed -by the method of calculation as is shown a few lines back, and -reckoning either 20, 24, or 28 changes per minute, as may be deemed -most convenient to the performer; so that all that is left for such a -work as this is to answer in a very simple way, the third question—How -to do it?</p> - -<p>Change ringing on bells, then, is to be accomplished just as all -other arts or studies, not by seeking to take the monitor’s place at -first, but by taking the lowest place on the lowest form, and by -giving attention to every lesson or hint that can be gathered from -others, commencing as with the alphabet, and then proceeding to -spell or to compose. And for this there can be no better plan than -to note upon paper the changes which may be made with from 2 to -4 bells, assuming that one, which may be represented by a cross, -star, or other mark, is the bell which the student takes to move, -vary, or change. Whether he takes the position of 1, 2, or any -other number, No. 1, in a ring of church bells, is always that with -the highest note, and in this way it will be plain, first, to presume -that there are 2 bells, and the reader takes the second, upon which -there are, as he knows already as shown, but two changes; he will -write <span class="nowrap">thus—</span></p> - -<table class="nowrap" summary="exercise"> - -<tr> -<td class="left padr1">Hand stroke</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="left padr1">—H. S.</td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -</tr> - -<tr> -<td class="left padr1">Back stroke</td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="left padr1">—B. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -</tr> - -</table> - -<p class="noindent">and then, when in the tower, try it on the actual bells. On no -account, however, run out of time, and jangle or clatter them, as -some are endeavouring purposely to do, <i>à la Rome</i>, in the present -day. Then sit down, write out and commit to memory the changes -on 3 bells, still assuming that No. 2 bell is in hand, thus:—</p> - -<table class="nowrap" summary="exercise"> - -<tr> -<th colspan="12" class="center"><span class="smcap">Exercise 2.</span></th> -</tr> - -<tr> -<td class="left padr1">H. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">3</td> -<td class="left padl3 padr1">H. S.</td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -</tr> - -<tr> -<td class="left padr1">B. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">3</td> -<td class="left padl3 padr1">B. S.</td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -</tr> - -<tr> -<td class="left padr1">H. S.</td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">3</td> -<td class="left padl3 padr1">H. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -</tr> - -<tr> -<td class="left padr1">B. S.</td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">1</td> -<td class="left padl3 padr1">B. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -</tr> - -</table> - -<p class="noindent">This will be seen is easy to write and easy to remember, as Mr. -Troyte shows the method or order to be to always change places at -every move, variation, or round after starting with the one who -struck after you in the previous move. Thus No. 1 was first followed -by <span class="sstype"><b>X</b></span>, then 1 takes <span class="sstype"><b>X</b></span>’s -place, 1 is then followed by 3, consequently -1 immediately changes place with 3 and goes to the bottom or -<i>behind</i>, <span class="sstype"><b>X</b></span> being at that time in the original place of 1, or at the <i>lead</i>, -she changes in with 3, and is followed by 1; <span class="sstype"><b>X</b></span> now being the -changing bell, takes the place of 1, and comes to the bottom or -<i>behind</i>, 3 being at the <i>lead</i>; 3 then begins to change as the others -did, and so the peal comes <i>round</i>. The moving bells are said in this -to be <i>hunting</i>, which holds good in whichever order the moves are -made, either <i>up</i> or <i>down</i>. Then the six changes might be written, -learnt, and tried in the other form, thus:—</p> - -<table class="nowrap" summary="exercise"> - -<tr> -<th colspan="12" class="center"><span class="smcap">Exercise 3.</span></th> -</tr> - -<tr> -<td class="left padr1">H. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">3</td> -<td class="left padl3 padr1">H. S.</td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -</tr> - -<tr> -<td class="left padr1">B. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">3</td> -<td class="left padl3 padr1">B. S.</td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -</tr> - -<tr> -<td class="left padr1">H. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">×</td> -<td class="left padl3 padr1">H. S.</td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -</tr> - -<tr> -<td class="left padr1">B. S.</td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">×</td> -<td class="left padl3 padr1">B. S.</td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">×</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -</tr> - -</table> - -<p class="noindent">This will be seen to be what is referred to, and known as <i>hunting -down</i> and <i>up</i>; the last bell here takes the position of the one before -it, until it comes to the top or <i>lead</i>, and then returns to its original -position, striking in after the one who struck next following in the -preceding move. Now, this hunting up and down is the basis of all -change ringing, and should be practised in just the same way upon -4, 5, 6, or 8 bells before any other method be tried; in fact it would -be well for any young ringers to thoroughly master the method of -hunting, upon either musical hand bells or church bells, beginning -with the 6 changes on 3 bells, and become proficient in these before -4 be attempted, and when hunting on 4 be mastered, try 5, and so -on, progressing to 8 in hunting alone. Of course, when the musical -hand bells are used, it will be well to take but one in the right hand -and strike either at hand or back stroke, as would be done upon the -larger bells in the belfry in ringing; the hand stroke on the musical -hand bells being up and the back stroke being down. It would be -also well to change places from time to time, not always taking No. 1 -or No. 2 position, but changing positions and bells with your friends, -at times taking No. 4, 6, 8, or otherwise, but in the tower take the -one or other most suited to the strength of the student. This method -of changing or hunting is supposed to be that which was first -discovered, and, without doubt, is the easiest for any beginner, as -also it is the safe and sure road to the other methods of changing. -Our advice is, go slowly but surely, and so progress and succeed.</p> - -<p>Such being the case, and such advice being followed, in order to -introduce another bell for practice, the easiest plan to adopt is to -work out the same changes as has been previously given for three -bells, and to place the fourth bell to strike last in each move, <span class="nowrap">thus:—</span></p> - -<table class="nowrap" summary="exercise"> - -<tr> -<th colspan="7" class="center padr3 br"><span class="smcap">Exercise 4.</span></th> -<th colspan="7" class="center padl3"><span class="smcap">Exercise 5.</span></th> -</tr> - -<tr> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padr3 br">4</td> -<td class="center padl3">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -</table> - -<p class="noindent">In this it will be very convenient to place the latest or dullest -scholar, if there be one, to the fourth bell, who will simply strike in -at the close of each move or change of those before him, and will -count the time of his pulling to himself, as 1. 2. 3. 4—1. 2. 3. 4, -so as to strike his bell in time or order in the fourth place as long as -may be mutually agreed upon. Then it would be well to try a -simple plan for every bell to make a change, following the rule, viz., -to strike from the lead or first position after the one which previously -followed, <span class="nowrap">thus:—</span></p> - -<table class="nowrap" summary="exercise"> - -<tr> -<th colspan="9" class="center highline"><span class="smcap">Exercise 6.</span></th> -</tr> - -<tr> -<td rowspan="2" class="right top padr1">1</td> -<td rowspan="2" class="center top">at lead</td> -<td class="center padl1 padr1">1 <b>.</b> 2 <b>.</b> 3 <b>.</b> 4</td> -<td colspan="5"> </td> -</tr> - -<tr> -<td class="center padl1 padr1">2 <b>.</b> 1 <b>.</b> 3 <b>.</b> 4</td> -<td class="center">so</td> -<td class="center padl1 padr1">1</td> -<td class="center">takes place of</td> -<td class="center padl1 padr0">2</td> -<td rowspan="2"> </td> -</tr> - -<tr> -<td rowspan="2" class="right top padr1">2</td> -<td rowspan="2" class="center top">„</td> -<td class="center padl1 padr1">2 <b>.</b> 3 <b>.</b> 1 <b>.</b> 4</td> -<td class="center">„</td> -<td class="center padl1 padr1">1</td> -<td class="center">„<span class="padl3">„</span></td> -<td class="center padl1 padr0">3</td> -</tr> - -<tr> -<td class="center padl1 padr1">3 <b>.</b> 2 <b>.</b> 4 <b>.</b> 1</td> -<td class="center">„</td> -<td class="center padl1 padr1">1</td> -<td class="center">„<span class="padl3">„</span></td> -<td class="center padl1 padr0">4</td> -<td rowspan="2" class="left top padl0">, and 2 at lead of 3</td> -</tr> - -<tr> -<td rowspan="3" class="right top padr1">3</td> -<td rowspan="3" class="center top">„</td> -<td class="center padl1 padr1">3 <b>.</b> 4 <b>.</b> 2 <b>.</b> 1</td> -<td class="center">„</td> -<td class="center padl1 padr1">2</td> -<td class="center">„<span class="padl3">„</span></td> -<td class="center padl1 padr0">4</td> -</tr> - -<tr> -<td colspan="7" class="center">Then 1 returns to lead, after 2 strokes at behind.</td> -</tr> - -<tr> -<td class="center padl1 padr1">4 <b>.</b> 3 <b>.</b> 1 <b>.</b> 2</td> -<td class="center">so</td> -<td class="center padl1 padr1">3</td> -<td class="center">takes place of</td> -<td class="center padl1 padr0">4</td> -<td rowspan="5" class="left top"> and 2 of 1</td> -</tr> - -<tr> -<td rowspan="2" class="right top padr1">4</td> -<td rowspan="2" class="center top">„</td> -<td class="center padl1 padr1">4 <b>.</b> 1 <b>.</b> 3 <b>.</b> 2</td> -<td class="center">„</td> -<td class="center padl1 padr1">3</td> -<td class="center">„<span class="padl3">„</span></td> -<td class="center padl1 padr0">1</td> -</tr> - -<tr> -<td class="center padl1 padr1">1 <b>.</b> 4 <b>.</b> 2 <b>.</b> 3</td> -<td class="center">„</td> -<td class="center padl1 padr1">4</td> -<td class="center">„<span class="padl3">„</span></td> -<td class="center padl1 padr0">1</td> -</tr> - -<tr> -<td class="right padr1">1</td> -<td rowspan="2" class="center top">„</td> -<td class="center padl1 padr1">1 <b>.</b> 2 <b>.</b> 4 <b>.</b> 3</td> -<td class="center">„</td> -<td class="center padl1 padr1">4</td> -<td class="center">„<span class="padl3">„</span></td> -<td class="center padl1 padr0">2</td> -</tr> - -<tr> -<td colspan="2" class="right">brought round</td> -<td class="center padl1 padr1">1 <b>.</b> 2 <b>.</b> 3 <b>.</b> 4</td> -<td colspan="4"> </td> -</tr> - -</table> - -<p class="noindent">And after this being practised and mastered, the usual method of -plain hunting on four bells will come easy, in which the lead and -last bells each begin to change after the first move, the one up and -the other down, at the hand stroke, and the two middle bells cross -at the back stroke, <span class="nowrap">thus:—</span></p> - -<table class="nowrap" summary="exercise"> - -<tr> -<th colspan="14" class="center"><span class="smcap">Exercise 7.</span></th> -</tr> - -<tr> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">4</td> -<td class="center padl3 padr1">4</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -</tr> - -<tr> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">4</td> -<td class="center padl3 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -</tr> - -<tr> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">3</td> -<td class="center padl3 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -</tr> - -<tr> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">3</td> -<td class="center padl3 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -<tr> -<td class="center padl1 padr1">4</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr3 br">1</td> -<td class="center padl3 padr1">1</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">2</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">3</td> -<td class="center padl1 padr1"><b>.</b></td> -<td class="center padl1 padr1">4</td> -</tr> - -</table> - -<p class="noindent">Then it would be well to confine the attention to 4 bell ringing, or -singles, as it is termed, in the other and more advanced method -known as <i>dodging</i>, which is a move of positions, as Banister says, -in which a bell is made to stop in its hunting course, return back -one place, and then proceed as before. This should be thoroughly -understood and mastered before 5, 6, or 8 bells be even tried. -The number of changes which may be <span class="nowrap">produced—</span></p> - -<table class="nowrap" summary="changes"> - -<tr> -<td class="center">Upon</td> -<td class="right padl1 padr1">2</td> -<td class="center">bells are</td> -<td class="right padl1 padr1">2,</td> -<td class="center">and are called</td> -<td class="left padl1">——</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">3</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">6,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">——</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">4</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">24,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Singles.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">5</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">120,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Doubles.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">6</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">720,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Minor.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">7</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">5,040,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Triples.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">8</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">40,320,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Major.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">9</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">362,880,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Caters.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">10</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">3,628,800,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Royal.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">11</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">39,916,800,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Cinques.</td> -</tr> - -<tr> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">12</td> -<td class="center padl1 padr1">„</td> -<td class="right padl1 padr1">479,001,600,</td> -<td class="center padl1 padr1">„</td> -<td class="left padl1">Maximus.</td> -</tr> - -</table> - -<p class="noindent">With this wide field, it is easy to realize the scope for the pleasure, -the exercise, and the skill there may be to those who are disposed -to give the time, the study, the attention, and the practice the art -deserves.</p> - -<p>The student, taking the syllabus, and proceeding in the following -<span class="nowrap">order:—</span></p> - -<ul class="lessons"> - -<li><span class="padl1">1.</span> Learn the names and the uses of the parts of the bell and fittings.</li> -<li><span class="padl1">2.</span> Learn to handle the rope and to ring, <i>with clapper tied fast to prevent nuisance</i>.</li> -<li><span class="padl1">3.</span> Learn to ring in rounds.</li> -<li><span class="padl1">4.</span> Learn to hunt or plain course work or singles.</li> -<li><span class="padl1">5.</span> Learn to dodge.</li> -<li><span class="padl1">6.</span> Learn place making.</li> -<li><span class="padl1">7.</span> For 5 bells learn bob double, grandsire doubles, and -Stedman’s doubles or methods in order as given.</li> -<li><span class="padl1">8.</span> For 6 bells learn bob minor, grandsire minor, treble bob minor.</li> -<li><span class="padl1">9.</span> For 7 bells learn bob triples, Stedman’s triples.</li> -<li>10. For 8 bells learn bob major; treble bob major.</li> -<li>11. For 10 bells learn grandsire caters.</li> -<li>12. For 11 bells learn grandsire cinques.</li> -<li><span class="showblank">13. </span>For 12 bells learn treble bob maximus.</li> - -</ul><!--lessons--> - -<p>The various methods for making the changes or varying the -positions are described, and are worked out in the Books by Messrs. -Troyte, Hubbard, Banister, and others.</p> - -<p>With such writings on these, more intricate and advanced -methods, so well compiled, so much appreciated, and so easily -obtained, giving all the technical words, and names, in the change -ringing art, showing so plainly the rules for bringing round the peal -to its starting position, through the many variations and changes, it -is needless in such a production as this to say more than to refer the -student at once to those Works, and to wish him every success. -Desiring only to lead such onward, to the further study and practice -of this healthy and fascinating art, with many apologies for humble -efforts, and, doubtless, many mistakes, at the same time craving the -forbearance of the masters of the art, the Writer desires to <i>stand</i> and -to subscribe himself as</p> - -<p class="right padr2 highline2"><span class="smcap">The Students’ Well Wisher</span>.</p> - -<div class="poemcenter"> - -<div class="poem"> -<div class="stanza"> -<span class="i00">“Ring out, ye bells, and waft the sound<br /></span> -<span class="i0">Till heathen lands your notes rebound;<br /></span> -<span class="i0">Till every soul o’er all the earth<br /></span> -<span class="i0">Shall sing the great Redeemer’s birth.”<br /></span> -</div> -</div> - -</div><!--poemcenter--> - -<div class="figcenter"> -<img src="images/illo28.jpg" alt="bell" width="250" height="328" /> -</div> - -<hr class="sec" /> - -<p class="fsize80"><i>The thanks of the Writer are tendered to T. North, Esq., for permission to use extracts -from his “Bells of Leicestershire;” to Messrs. Warner & Sons for the use of their several -woodcuts; to the Rev. H. T. Ellacombe and Mr. H. W. Haley for several hints of interest -which are embodied by permission in the foregoing pages.</i></p> - -<hr class="chap" /> - -<p class="center highline2"><b>BOOKS PUBLISHED ON</b><br /> -<span class="sstype fsize150"><b>BELLS AND BELL RINGING,</b></span><br /> -<span class="fsize80">WHICH CAN BE OBTAINED OF</span><br /> -<span class="fsize125"><i>J. WARNER & SONS, LONDON.</i></span></p> - -<hr class="tb" /> - -<table class="warnertab" summary="book list"> - -<tr> -<th colspan="2"> </th> -<th class="center padl1 padr1">s.</th> -<th class="center padl1 padr1">d.</th> -</tr> - -<tr> -<td colspan="2" class="booktitle">The A B C OF MUSICAL HAND-BELL RINGING. By <span class="smcap">S. B. Goslin</span></td> -<td class="cost">1</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">THE MUSICAL HAND BELL RINGER’S INSTRUCTOR</td> -<td class="cost">2</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">TROYTE ON CHANGE RINGING. Abridged, as far as Six Bell Work</td> -<td class="cost">1</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">Do., to Eight Bell Work</td> -<td class="cost">3</td> -<td class="cost">6</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">CHANGE RINGING. By <span class="smcap">William Banister</span>, Member of -Ancient Society of College Youths</td> -<td class="cost">2</td> -<td class="cost">6</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">WIGRAM’S CHANGE RINGING DISENTANGLED</td> -<td class="cost">2</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">HUBBARD’S CAMPANALOGIA; or, ELEMENTS OF CAMPANOLOGY</td> -<td class="cost">3</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">“PRACTICAL REMARKS ON BELLS AND BELFRIES,” -with an Appendix on Chiming. Written by the Rev. <span class="smcap">H. T. Ellacombe</span>, of Topsham, Devon</td> -<td class="cost">3</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">MAUNSELL ON CHURCH BELLS AND RINGING</td> -<td class="cost">1</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">PLAIN HINTS TO BELL RINGERS</td> -<td class="cost">0</td> -<td class="cost">1</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">THE BELL: ITS ORIGIN, HISTORY, AND USES. By Rev. <span class="smcap">A. Gatty, D.D.</span></td> -<td class="cost">3</td> -<td class="cost">0</td> -</tr> - -<tr> -<td colspan="2" class="booktitle">ROPE SIGHT. By <span class="smcap">Jasper Snowdon</span></td> -<td class="cost">1</td> -<td class="cost">6</td> -</tr> - -<tr> -<td class="booktitle">TREBLE BOB, in 2 parts. By <span class="smcap">Jasper Snowdon</span></td> -<td class="right bot padr1">1s. and</td> -<td class="cost">2</td> -<td class="cost">0</td> -</tr> - -</table> - -<p class="center blankbefore highline1">OPINIONS OF THE PRESS, &c.,<br /> -<span class="fsize80">UPON THE “A B C OF MUSICAL HAND BELL RINGING.”</span></p> - -<hr class="tb" /> - -<p class="publication">From the <i>Ironmonger</i>, August, 1874.</p> - -<p class="opinion"><i>The ABC of Hand-Bell Ringing.</i> By <span class="smcap padl3 padr3">Alpha -Beta.</span> London: M’Corquodale & Co., and J. Warner & Sons.</p> - -<p class="opinion"><span class="padl2">This</span> little work is of considerable -interest, as it comprises short notes for young beginners, and a collection -of easy tunes, arranged in an easy form for the use of persons not possessing a knowledge of musical -notation; and also a short insight into the principles of change ringing. Those of our readers who supply -bells, and are occasionally asked for information on ringing, could not do better than secure a copy of this -little pamphlet.</p> - -<p class="publication">From the <i>Record</i>, August 3rd, 1874.</p> - -<p class="opinion"><span class="smcap">Hand-Bell Music.</span>—Few of the novel -performances of the present day have given more pleasure than those -of the band called the “Royal Hand-Bell Ringers.” This department of music has been systematised in a -manual entitled <i>The A B C of Musical Hand-Bell Ringing</i>, published by M’Corquodale & Co., Cardington Street, -N.W. This manual, and several other books on bells and bell ringing, may also be obtained at the bell-founding -firm of Warner & Sons, Crescent, Cripplegate, London, E.C.</p> - -<p class="publication">From <i>Church Bells</i>, July 25th, 1874.</p> - -<p class="opinion"><span class="smcap">Hand-Bell Music.</span>—We have been favoured -with a copy of a tractate just issued by M’Corquodale & Co., -for 1s., entitled <i>The A B C of Musical Hand-Bell Ringing</i>. It is just the thing which was wanted for young -beginners. We have much pleasure in recommending it. It is also to be obtained of John Warner & Sons, of -the Crescent Foundry, who offer to send post free their <i>New Bell Catalogue</i>, which they say every clergyman -ought to have.</p> - -<p class="publication">From <i>Church Review</i>, August 8th, 1874.</p> - -<p class="opinion">A great many of our readers will be much interested by a tract on the A B C of musical hand-bell ringing, -etc. It seems to be a complete manual upon the subject, with exercises and rules for beginners, and no doubt -before long a set of hand bells will be as familiar in a drawing-room as the indispensable pianoforte. To all -who take an interest in the science of campanology this little book will be very acceptable.</p> - -<p class="publication">From <i>Church Bells</i>, September 19th, 1874.</p> - -<p class="opinion"><span class="smcap">Chimes at Hampstead.</span>—A correspondent -writes that “<i>an awful bungle</i>” is produced by the chimer who -attempts tunes. He would learn a better way if he would purchase for 1s. (which we would advise him to -do for the good of trade), the clever “A B C” elementary <i>brochure</i> lately issued by Messrs. Warner of Cripplegate. -As for ourselves, we don’t like chiming tunes for services; plain chiming in regular succession is the -correct way.—Ed.</p> - -<p class="fsize80 right padr2">5, <i>Crown Street, Chorley, Lancashire</i>, October 11th, 1874.</p> - -<p class="fsize80 noindent">Messrs. J. Warner & Sons, London.</p> - -<p class="opinion">Dear Sirs,—I received your book on Wednesday, with thanks. As a hand-bell ringer I have already found -it to be the most simple and useful book a young or experienced ringer can obtain for commencing practice.</p> - -<p class="right padr2 fsize80"><span class="smcap">Peter Bundle</span></p> - -<hr class="chap" /> - -<p class="center fsize150 blankbefore">JOHN WARNER & SONS,</p> - -<div class="hh"> - -<div class="figcenter"> -<img src="images/illo30a-e.jpg" alt="" width="600" height="91" /> -</div> - -</div><!--hh--> - -<div class="scr"> - -<div class="warner1"> - -<div class="warn1left"> -<p>Bell and Brass Founders</p> -<p>By Special</p> -</div> - -<div class="warn1right"> -<p>To Her Majesty,</p> -<p>Appointment.</p> -</div> - -</div><!--warner1--> - -</div><!--scr--> - -<p class="center fsize125 highline1"><span class="smcap">The</span> CRESCENT FOUNDRY, CRIPPLEGATE, LONDON, E.C.</p> - -<hr class="tb" /> -<hr class="tb" /> - -<div class="scr"> - -<div class="warnermedals"> - -<div class="split333333"> - -<div class="left33"> -<p class="warner2 dn"><span class="smcap">International Exhibition</span>,<br /> -HYDE PARK, 1851.<br /> -<i>A Prize Medal awarded for<br /> -Bells.</i></p> -</div> - -<div class="right33"> - -<div class="middle33"> -<p class="warner2 up"><span class="smcap">International Exhibition</span>,<br /> -SOUTH KENSINGTON, 1862.</p> -<p class="warner2 part2"><i>Prize Medal awarded “For<br /> -Excellent Workmanship and<br /> -Ingenuity applied in Chiming<br /> -Bells by Machinery.”</i>—See<br /> -Jurors’ Report.</p> -</div> - -<div class="rightright33"> -<p class="warner2 dn"><span class="smcap">International Exhibition</span>,<br /> -VIENNA, 1873.<br /> -<i>Two Grand Medals of Merit<br /> -and Honourable Mention.</i></p> -</div> - -</div><!--right33--> - -</div><!--split333333--> - -</div><!--warnermedals--> - -<p class="thinline allclear"> </p> - -</div><!--scr--> - -<div class="hh"> - -<div class="figcenter nomargin"> -<img src="images/illo30b.jpg" alt="medals" width="600" height="128" /> -</div> - -<p class="center fsize90"><span class="smcap">International Exhibition</span>,<br /> -HYDE PARK, 1851.<br /> -<i>A Prize Medal awarded for<br /> -Bells.</i></p> - -<p class="center fsize90 blankbefore"><span class="smcap">International Exhibition</span>,<br /> -SOUTH KENSINGTON, 1862.<br /> -<i>Prize Medal awarded “For<br /> -Excellent Workmanship and<br /> -Ingenuity applied in Chiming<br /> -Bells by Machinery.”</i>—See<br /> -Jurors’ Report.</p> - -<p class="center fsize90 blankbefore"><span class="smcap">International Exhibition</span>,<br /> -VIENNA, 1873.<br /> -<i>Two Grand Medals of Merit<br /> -and Honourable Mention.</i></p> - -</div><!--hh--> - -<hr class="tb" /> -<hr class="tb" /> - -<p class="center highline1"><b>VIENNA EXHIBITION, 1873.</b></p> - -<p class="center fsize80">The Largest Number of Awards in <span class="smcap">The Metal Industry</span> were -awarded to <span class="smcap">J. W. & Sons</span>.</p> - -<hr class="chap" /> - -<p class="center highline1">ESTABLISHED <span class="smcapall">A.D.</span> 1763.</p> - -<div class="figcenter nomargin"> -<img src="images/illo30c.jpg" alt="bells" width="500" height="340" /> -</div> - -<p class="center"><span class="fsize125">BELLS SINGLY OR IN RINGS.</span><br /> -<span class="smcap">John Warner & Sons</span> have always a Large Stock of New Bells on hand, which can be seen<br /> -at their Foundry.</p> - -<p class="center"><span class="fsize125">OLD BELLS RE-CAST OR RE-HUNG.</span></p> - -<p><span class="smcap padl2">J. W. & Sons</span> are prepared to send an experienced Bellhanger to report or advise upon -Repairs, Alterations, or New Rings of Bells.</p> - -<p><span class="padl2">Every</span> Clergyman should have <span class="smcap">J. W. & Sons’</span> -New Bell Catalogue, which can be obtained -upon application, post free, giving a large amount of information; also other parts as enumerated -below.</p> - -<hr class="tb" /> - -<div class="scr"> - -<div class="split255025"> - -<div class="left25"> -<div class="figcenter nomargin"> -<img src="images/illo30d.jpg" alt="bell" width="88" height="81" style="padding-top: 7px;" /> -<p class="caption">BELLS FOR ALL<br /> -PURPOSES.</p> -</div> -</div><!--left25--> - -<div class="right75"> - -<div class="middle66"> - -<p class="center">Illustrated Priced Catalogues Post Free.</p> - -<p class="noindent fsize90">1. HYDRAULIC—Pumps, &c., of all kinds.<br /> -2. PLUMBERS—Cocks, Valves, Steam Work, &c.<br /> -3. SANITARY—Closets, Baths, Lavatories, &c.<br /> -4. Bells—Church, School, and Plantation Bells.<br /> -5. BRAZIERY—Copper work of every description.<br /> -6. WIND MILLS.</p> - -</div><!--middle66--> - -<div class="rightright33"> - -<div class="figcenter nomargin"> -<img src="images/illo30e.jpg" alt="bell" width="102" height="95" /> -<p class="caption">BELLS OF EVERY<br /> -DESCRIPTION.</p> -</div> - -</div><!--rightright33--> - -</div><!--right75--> - -</div><!--split255025--> - -<p class="thinline allclear"> </p> - -</div><!--scr--> - -<div class="hh"> - -<div class="figcenter nomargin"> -<img src="images/illo30d.jpg" alt="bell" width="88" height="81" style="padding-top: 7px;" /> -<p class="caption">BELLS FOR ALL<br /> -PURPOSES.</p> -<img src="images/illo30e.jpg" alt="bell" width="102" height="95" /> -<p class="caption">BELLS OF EVERY<br /> -DESCRIPTION.</p> -</div> - -<p class="center">Illustrated Priced Catalogues Post Free.</p> - -<p class="noindent fsize90">1. HYDRAULIC—Pumps, &c., of all kinds.<br /> -2. PLUMBERS—Cocks, Valves, Steam Work, &c.<br /> -3. SANITARY—Closets, Baths, Lavatories, &c.<br /> -4. Bells—Church, School, and Plantation Bells.<br /> -5. BRAZIERY—Copper work of every description.<br /> -6. WIND MILLS.</p> - -</div><!--hh--> - -<hr class="chap" /> - -<div class="figcenter nomargin"> -<img src="images/illo31a.jpg" alt="bells" width="400" height="107" /> -</div> - -<p class="center fsize150">WARNER’S MUSICAL HAND BELLS,</p> - -<p class="noindent">Tuned to the Diatonic or Chromatic Scales, with improved Clappers, and pegged -on a new system, which gives a superior tone and facility for ringing. The bells -by J. W. & Sons are warranted of the best description both in accuracy of note -and finish.</p> - -<p class="center fsize90 blankbefore highline1"><span class="smcap">Prices of Sets in Diatonic or Chromatic Scales.</span></p> - -<table class="handbells" summary="price list"> - -<tr> -<th colspan="4"> </th> -<th colspan="3" class="center padl1 padr1">A Set of 8.</th> -<th rowspan="10" class="w1"> </th> -<th colspan="3" class="center padl1 padr1">A Set of 10.</th> -<th rowspan="10" class="w1"> </th> -<th colspan="3" class="center padl1 padr1">A Set of 12.</th> -<th rowspan="10" class="w1"> </th> -<th colspan="3" class="center padl1 padr1">A Set of 15.</th> -<th rowspan="10" class="w1"> </th> -<th colspan="3" class="center padl1 padr1">A Set of 19.</th> -</tr> - -<tr> -<th colspan="4"> </th> -<th class="center padl1 padr1">£</th> -<th class="center padl1 padr1">s.</th> -<th class="center padl1 padr1">d.</th> -<th class="center padl1 padr1">£</th> -<th class="center padl1 padr1">s.</th> -<th class="center padl1 padr1">d.</th> -<th class="center padl1 padr1">£</th> -<th class="center padl1 padr1">s.</th> -<th class="center padl1 padr1">d.</th> -<th class="center padl1 padr1">£</th> -<th class="center padl1 padr1">s.</th> -<th class="center padl1 padr1">d.</th> -<th class="center padl1 padr1">£</th> -<th class="center padl1 padr1">s.</th> -<th class="center padl1 padr1">d.</th> -</tr> - -<tr> -<td class="center">No.</td> -<td class="center padl1 padr1">22</td> -<td class="center">size, in</td> -<td class="center padl1 padr3">C</td> -<td class="amount">6</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">0</td> -<td class="amount">7</td> -<td class="amount">14</td> -<td class="amount">0</td> -<td class="amount">8</td> -<td class="amount">10</td> -<td class="amount">0</td> -<td class="amount">10</td> -<td class="amount">10</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="center padl1 padr1">21</td> -<td class="center">„</td> -<td class="center padl1 padr3">D</td> -<td class="amount">5</td> -<td class="amount">16</td> -<td class="amount">0</td> -<td class="amount">6</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">0</td> -<td class="amount">7</td> -<td class="amount">9</td> -<td class="amount">0</td> -<td class="amount">10</td> -<td class="amount">0</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="center padl1 padr1">20</td> -<td class="center">„</td> -<td class="center padl1 padr3">E</td> -<td class="amount">5</td> -<td class="amount">5</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">16</td> -<td class="amount">0</td> -<td class="amount">6</td> -<td class="amount">2</td> -<td class="amount">0</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">0</td> -<td class="amount">9</td> -<td class="amount">10</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="center padl1 padr1">19</td> -<td class="center">„</td> -<td class="center padl1 padr3">F</td> -<td class="amount">4</td> -<td class="amount">16</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">5</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">15</td> -<td class="amount">0</td> -<td class="amount">6</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">8</td> -<td class="amount">15</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="center padl1 padr1">18</td> -<td class="center">„</td> -<td class="center padl1 padr3">G</td> -<td class="amount">4</td> -<td class="amount">9</td> -<td class="amount">0</td> -<td class="amount">4</td> -<td class="amount">14</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">6</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">16</td> -<td class="amount">0</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="center padl1 padr1">17</td> -<td class="center">„</td> -<td class="center padl1 padr3">A</td> -<td class="amount">4</td> -<td class="amount">4</td> -<td class="amount">0</td> -<td class="amount">4</td> -<td class="amount">11</td> -<td class="amount">0</td> -<td class="amount">4</td> -<td class="amount">19</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">12</td> -<td class="amount">0</td> -<td class="amount">6</td> -<td class="amount">10</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="center padl1 padr1">16</td> -<td class="center">„</td> -<td class="center padl1 padr3">B</td> -<td class="amount">3</td> -<td class="amount">19</td> -<td class="amount">0</td> -<td class="amount">4</td> -<td class="amount">7</td> -<td class="amount">0</td> -<td class="amount">4</td> -<td class="amount">14</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">6</td> -<td class="amount">0</td> -<td class="amount">6</td> -<td class="amount">0</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="center padl1 padr1">15</td> -<td class="center">„</td> -<td class="center padl1 padr3">C</td> -<td class="amount">3</td> -<td class="amount">15</td> -<td class="amount">0</td> -<td class="amount">4</td> -<td class="amount">4</td> -<td class="amount">0</td> -<td class="amount">4</td> -<td class="amount">10</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">0</td> -<td class="amount">0</td> -<td class="amount">5</td> -<td class="amount">15</td> -<td class="amount">0</td> -</tr> - -<tr> -<td colspan="2" class="left">A Set of</td> -<td class="center padl1 padr1">26</td> -<td class="left">Bells,</td> -<td colspan="16" class="left">No. 15 size, in C, 2 Octaves in Chromatic Scale</td> -<td class="amount">8</td> -<td class="amount">16</td> -<td class="amount">0</td> -</tr> - -<tr> -<td colspan="2" class="center">„</td> -<td class="center padl1 padr1">37</td> -<td class="center">„</td> -<td colspan="16" class="left">No. 2 size, in C, 3 Octaves in Chromatic Scale</td> -<td class="amount">14</td> -<td class="amount">14</td> -<td class="amount">0</td> -</tr> - -<tr> -<td colspan="2" class="center">„</td> -<td class="center padl1 padr1">44</td> -<td class="center">„</td> -<td colspan="16" class="left">in F, 3<sup>1</sup>⁄<sub>2</sub> Octaves in Chromatic Scale</td> -<td class="amount">17</td> -<td class="amount">0</td> -<td class="amount">0</td> -</tr> - -<tr> -<td colspan="2" class="center">„</td> -<td class="center padl1 padr1">50</td> -<td class="center">„</td> -<td colspan="16" class="left">in F, 4 Octaves in Chromatic Scale</td> -<td class="amount">20</td> -<td class="amount">0</td> -<td class="amount">0</td> -</tr> - -</table> - -<p class="center highline2 fsize90">Sets of any other numbers and sizes made to order.</p> - -<p class="center highline1">Sets of 8, 10, and 12 are adapted for Change Ringing.</p> - -<p class="center highline1"><b>Old Sets Repaired, Re-leathered, Re-pegged, or Re-clappered.</b></p> - -<p class="center highline1"><i>New Bells added or replaced in sets in lieu of those cracked or old.</i></p> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/illo31b.jpg" alt="bells" width="450" height="108" /> -</div> - -<p class="center fsize150">WARNER’S MUSICAL CLOCK BELLS,</p> - -<p class="center">Tuned either to the Diatonic or Chromatic Scales, in Sets.</p> - -<table class="handbells" summary="price list"> - -<tr> -<td class="left padr1">A Set of</td> -<td class="right">8</td> -<td class="left">Bells,</td> -<td class="left">tenor 3<sup>1</sup>⁄<sub>2</sub> inches</td> -<td class="left">in</td> -<td class="left padr3">diameter</td> -<td class="amount">£0</td> -<td class="amount">15</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="right">13</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="amount">1</td> -<td class="amount">5</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="right">19</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="amount">1</td> -<td class="amount">13</td> -<td class="amount">0</td> -</tr> - -<tr> -<td class="center">„</td> -<td class="right">32</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="center">„</td> -<td class="amount">2</td> -<td class="amount">5</td> -<td class="amount">0</td> -</tr> - -</table> - -<p class="center fsize80">Sets of any other numbers and sizes made to order.</p> - -<p class="center fsize125">Large Sizes for Turret Clocks and Cemeteries.</p> - -<hr class="chap" /> - -<p class="center highline1 sstype"><b>UNSOLICITED TESTIMONIALS.</b></p> - -<p class="right padr4 fsize80"><span class="padr12">Cheddar, October 11th, 1875.</span><br /> -Weston-super-mare, Somersetshire.</p> - -<p class="noindent fsize80">To Messrs. J. Warner & Sons,</p> - -<p class="fsize80"><span class="padl2">Dear</span> Sirs,—Our present set of Hand Bells -were purchased from your establishment, and have given -every satisfaction. -<span class="righttext"><span class="padr25">Yours sincerely, ELI BROOKS,</span></span><br /> -<span class="righttext"><span class="padr4">Captain of the Cheddar Bell-ringing Society.</span></span></p> - -<p class="allclear right padr10 fsize80 blankbefore2">Office Citizens’ Insurance Co., No. 105, Broadway,</p> - -<p class="noindent fsize80">John Warner & Sons, -<span class="righttext"><span class="smcap">Brooklyn, N.Y.,</span> E.D., Oct. 11th, 1875.</span></p> - -<p class="fsize80"><span class="padl2">Dear</span> Sirs,—About a year ago my brother (Mr. -W. Grim) ordered a set of Swiss Musical Hand Bells from -your firm for me (you will find them on page 11 of your Bell Catalogue), viz.: “A peal of 50 Bells in F, -4 octaves, Chromatic Scale, £20.” I have used them ever since, and am well pleased with them. Now let me -know what you will charge me for another peal like them, to be nickel-plated. -<span class="righttext"><span class="padr25">Yours truly, C. L. GRIM,</span></span><br /> -<span class="righttext"><span class="padr4">151, Seventh Street, Williamsburgh, New York, United States.</span></span></p> - -<p class="thinline allclear"> </p> - -<hr class="sec" /> - -<p class="center highline1"><i>Bells of every description and size supplied complete for use by<br /> -JOHN WARNER & SONS, Bell and Brass Founders to Her Majesty</i>,<br /> -THE CRESCENT FOUNDRY, CRIPPLEGATE, LONDON, E.C.,<br /> -AND THE FOUNDRY WORKS, WALTON-ON-THE-NAZE, ESSEX.</p> - -<hr class="chap" /> - -<p class="center fsize125">PRICE TWO SHILLINGS.</p> - -<p class="center highline1">THE<br /> -<span class="fsize125">MUSICAL HAND-BELL RINGER’S INSTRUCTOR;</span><br /> -<span class="fsize90"><i>Being a short historical account of SMALL BELLS</i>,</span><br /> -<span class="fsize80">A DESCRIPTION OF</span><br /> -<b>HAND-BELLS, THEIR USES AND PURPOSES,</b><br /> -<span class="fsize125">THE RUDIMENTS OF HAND-BELL MUSIC,</span><br /> -<span class="fsize90"><b>WITH EASY EXERCISES AND TUNES.</b></span></p> - -<p class="center blankbefore"><span class="fsize110"><span class="smcap">By</span> SAMUEL B. GOSLIN,</span><br /> -<span class="fsize80"><i>Author of “The First Steps to Bell Ringing upon -Church Bells;” “The A B C of Musical<br />Hand-Bell -Ringing;” &c., &c., &c.</i></span></p> - -<p class="center highline2 fsize125"><span class="padl3 padr3 bt bb">PART II.</span></p> - -<p class="center blankbefore">LONDON:<br /> -<span class="fsize80">PUBLISHED BY JOHN WARNER & SONS, THE CRESCENT FOUNDRY, CRIPPLEGATE, E.C., -AND M’CORQUODALE & CO., LIMITED, CARDINGTON STREET, HAMPSTEAD ROAD, N.W.</span></p> - -<hr class="tb" /> - -<p class="center highline1 sstype"><b>OPINIONS OF THE PRESS.</b></p> - -<p class="publication"><i>The Churchman</i>, March, 1880.</p> - -<p class="opinion">“<span class="smcap">The Musical Hand-Bell -Ringer’s Instructor</span>,” by Mr. S. B. Goslin (Warner & Sons), will prove, to a -certain class, <i>an interesting pamphlet</i>. Many of the illustrations are curious.</p> - -<p class="publication"><i>The Bazaar</i>, February 23rd, 1880.</p> - -<p class="opinion">We have from Messrs. Warner & Sons, of the Crescent Foundry, Cripplegate, E.C., two pamphlets on -the art of hand-bell ringing, both written by Mr. S. B. Goslin, who is, practically and theoretically, an -authority on the subject. The first of these, “The A B C of Musical Hand-Bell Ringing,” comprises short notes -for young beginners, a collection of easy tunes, arranged, by means of numerals, for those without any -knowledge of music, and a general guide to the principles of change ringing. The second, “<span class="smcap">The Musical -Hand-Bell Ringer’s Instructor</span>,” contains a short historical account of small bells, a practical description of -hand-bells, and the rudiments of the music played on them. Messrs. Warner are eminent as bell founders, -and <i>their two publications may be relied on as trustworthy guides</i>.</p> - -<p class="publication"><i>The Bookseller</i>, February 3rd, 1880.</p> - -<p class="opinion">“<span class="smcap">The Musical Hand-Bell -Ringer’s Instructor</span>;” being a short historical account of small bells, a -description of hand-bells, their uses and purposes, the rudiments of hand-bell music, with easy exercises in -tune. By Samuel B. Goslin. A <i>curious and interesting contribution</i> to the literature of campanology.</p> - -<p class="publication"><i>The Church Review</i>, April 16th, 1880.</p> - -<p class="opinion">“<span class="smcap">The Musical Hand-Bell -Ringer’s Instructor</span>,” By S. B. Goslin. Warner & Co., Crescent Foundry, -Cripplegate.—Very interesting to general readers, but more valuable to ringers, giving a sketch of the -history of bells in all countries and ages, and enriched with many curious illustrations. To assist beginners -in the art of ringing, the latter part consists of elementary musical instruction, but the real value of the work -is in the early portion, containing a deal of information in a very small compass. Published in a cheap -form (costing two shillings only), <i>it should have a large circulation among students of bells</i>, to <i>whom we heartily -commend it</i>.</p> - -<p class="publication"><i>City Press</i>, January 7th, 1880.</p> - -<p class="opinion">In the “<span class="smcap">Musical Hand-Bell -Ringer’s Instructor</span>, Part II.” (Warner & Sons, Cripplegate), Mr. S. B. -Goslin has produced a work which will be found to be of <i>great practical utility</i>. It contains, too, a good deal -of <i>curious</i> matter connected with the history and uses of bells, and is illustrated.</p> - -<p class="publication"><i>Church Bells</i>, January 17th, 1880.</p> - -<p class="opinion">“<span class="smcap">Musical Hand-Bell Ringer’s -Instructor.</span>”—This is a very clear and valuable addition to bell literature, -and <i>we advise all who are desirous of making progress with hand-bells to get it</i> from the author, Mr. Goslin. The -<i>brochure</i> is historically <i>most interesting</i>.</p> - -<p class="publication"><i>Ironmonger</i>, January 24th, 1880.</p> - -<p class="opinion">“<span class="smcap">The Musical Hand-Bell Ringer’s -Instructor.</span>” (London: John Warner & Sons, Cripplegate.)—This -is a comprehensive little treatise on the subject of which the author, Mr. Samuel B. Goslin, is evidently a -master. <i>The interest of the work is much enhanced by the exceedingly quaint engravings</i> given of old cymbals and -other matters. <i>All</i> who are in any way <i>concerned in bell founding</i> -or <i>hand-bell ringing</i> should <i>not fail to procure</i> -and peruse this work.</p> - -<p class="publication"><i>Rock</i>, January 30th, 1880.</p> - -<p class="opinion">A very interesting sketch of the history of small bells -is given by Mr. S. B. Goslin in his “<span class="smcap">Musical Hand-Bell -Ringer’s Instructor</span>” (J. Warner & Sons), in which <i>a -great deal</i> of information is condensed <i>into a small</i> -compass. <i>The illustrations</i>, which are chiefly taken from old manuscripts, <i>are of themselves worthy of attention</i>.</p> - -<p class="publication"><i>The Literary Churchman and Church Fortnightly</i>, March 5th, 1880.</p> - -<p class="opinion">“<span class="smcap">The Musical Hand-Bell Ringer’s -Instructor.</span>”—Messrs. Warner are famous for bells; and we are led -therefore to entertain somewhat high expectations from a treatise on the subject with which their name is -connected. Nor are we disappointed. The essay before us <i>is particularly interesting</i>, as well <i>because of the mass -of curious and recondite learning</i> which the author has gathered together to illustrate the history of his subject, -as <i>from the clear directions given for hand-bell ringers</i>, and the exercises here provided for their use.</p> - -<p class="opinion">It appears to us quite worth the consideration of the clergy whether the practice of hand-bell ringing -would not do much to keep their corps of church ringers together and provide an antidote to the public-house. -We find that a medium set of eight hand-bells, forming an octave, can be obtained for from four to five -pounds; and the steps of the art present no considerable difficulty, even to rustic intellects. Many a young -country curate would find it a pleasant thing to take the post of leader, and call his choir together for -hebdomadal practices.</p> - -<p> </p> -<hr class="chap" /> -<p> </p> - -<div class="tnbot" id="TN"> - -<h2>Transcriber’s Note</h2> - -<p>Footnotes have been moved to directly underneath the paragraph they refer -to. Illustrations and Notes have been moved to between paragraphs.<br /> -“... and to which ... he points the reader ... to take in hand ...” as printed in the source document.</p> - -<p>Some minor obvious typographical and punctuation errors have been corrected silently.<br /> -Table “The number of changes which may be produced”, last line: 22 changed to 12.<br /> -“Bannister” and “Banister” standardised to “Banister”.</p> - -</div><!--tnbot--> -</div> - -<p> </p> -<p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK FIRST STEPS TO BELL RINGING***</p> -<p>******* This file should be named 53022-h.htm or 53022-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/5/3/0/2/53022">http://www.gutenberg.org/5/3/0/2/53022</a></p> -<p> -Updated editions will replace the previous one--the old editions will -be renamed.</p> - -<p>Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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