diff options
Diffstat (limited to 'old/53022-0.txt')
| -rw-r--r-- | old/53022-0.txt | 1652 |
1 files changed, 0 insertions, 1652 deletions
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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |