The last-named was composed by a Shropshire schoolmaster, who also devised verses of the same type for bells in his own church of High Ercall. One example may be given—
WHERE MEANDRING RODEN GENTLY GLIDES
OR TURNE’S PROUD CURRENT FILLS ITS AMPLE SIDES
HENCE MEDITATION VIEWS OUR CALM ABODE,
HEALS THE SICK MIND, AND YIELDS IT PURE TO GOD.
The Rudhalls of Gloucester, who were typical “Church and State” men, usually place on their tenor bells the familiar couplet—
I TO THE CHURCH THE LIVING CALL
AND TO THE GRAVE DO SUMMON ALL.
Perhaps the worst specimen of the taste of this period is to be found at Hornsey, in Middlesex—
THE RINGER’S ART OUR GRACEFUL NOTES PROLONG;
APOLLO LISTENS AND APPROVES THE SONG.
Doubtless this seemed appropriate enough to an age which adorned its tombs and churchyards with cupids, urns, and such-like pagan emblems.
Other examples of this kind from the provinces are—
THE PUBLIC RAISED ME WITH A LIBERAL HAND;
WE COME WITH HARMONY TO CHEER THE LAND [Stroud].
ALL YOU OF BATH THAT HEARE ME SOUND
THANK LADY HOPTON’S HUNDRED POUND [Bath Abbey].