The “Bell House” in the Churchyard at East Bergholt, Suffolk.

(See page [64].)

In point of fact the earliest bells are usually the plainest, and the mediaeval craftsman contented himself with devoting his skill to producing elegant and artistic lettering, beautiful initial crosses, or ingenious foundry marks (Plates [14], [36]). The latter were introduced about the end of the fourteenth century, when, as we have seen in an earlier chapter, the guild of braziers or “belleyeteres” were more regularly organized. Those used by Henry Jordan (see page [29]) are good examples; as are the shields of the Bury and Norwich foundries (page [30]). In the West and North of England such devices are rarer; but badges, such as the Bristol ship, or the Worcester “Royal Heads,” take their place. One or two of the London founders use the symbols of the four Evangelists (Plate [34]). A favourite device is the merchant’s mark, a kind of monogram, or the rebus, a pictorial pun on the founder’s name. John Tonne, who worked in Sussex and Essex about 1520–1540, decorated his bells in the French fashion, with large florid crosses, busts and figures, and other devices (Plate [35]).

Initial crosses are almost invariably found on mediaeval bells, and their variety is endless, from the plainest form of Greek cross to the elaborate specimen shown on Plate [36], which is found in the Midland counties. The words were frequently divided by stops, varying from a simple row of three dots ⠇ to such devices as a wheel, a rosette, or an ornamented oblong panel. Impressions from coins pressed into the mould are by no means uncommon.

But often the chief or sole beauty of a mediaeval bell is its lettering. In the fourteenth century this is invariably composed of capital letters throughout, of the ornamental form known as Gothic or Lombardic (Plate [36]). Towards the end of that century the black-letter text used in manuscripts was introduced into other branches of art, such as brasses, and thus also makes its appearance on bells. But the initial letter of each word is still executed in the old Gothic capitals, and such inscriptions are known as “Mixed Gothic” (Plate [37]), later ones of the sixteenth century being more strictly styled “black-letter,” where no capitals are used. The change, however, was not universal, and many of the foundries in the West and North of England preferred to adhere to the capitals down to the Reformation; while even in London, as at Leicester, Reading, and elsewhere, there was a distinct revival of inscriptions in capitals during the sixteenth century.

Plate 27.

Diagram showing method of hanging a bell for ringing (see page [68]).

A.Wheel with rope attached.
B.Headstock.
CC.Straps or Keys.
D.Cannons (modern form).
E.Stay.
FF.Gudgeons.
G.Brasses (in which the gudgeons revolve).
H.Slider.