In Ringing treble, third, and fifth; and second, third, and fifth; and also third, fifth, and second; the first change is treble, and the next double, and so forward in the common course of trebles and doubles, until the first Bob in each comes to be made. In treble, second and third, the first changes are treble and double in the common course; and the second time the treble leads, there's a double Bob. In treble, tenor and second, the first changes are treble and double in the common course; and the second time the treble leads, there's a single Bob. In treble, second and fifth, the first change is a dodge between the four hindmost Bells; and the second time the treble leads, there's a single Bob. In second, fourth and tenor, the first change is made between the 4 Bells in the midst. In treble, second and fourth, the first change is a dodge behind; and the second time the treble leads, there's a double Bob.

Changes on eight Bells.

There are 40320 several changes on 8 bells, which to Ring it is altogether impossible; the greatest Peal that ever was Rang on 8 Bells, is 1680, being only a third part of the changes on seven Bells, which are to be Rang with a whole Hunt, half Hunt, quarter Hunt, half quarter Hunt (for so you may term it) and three extream Bells: But the most complete and musical Peal that ever was Rang on eight Bells, is Grandsire Bob, treble, second and fifth, Half-pulls, on 1.2.3.5.6.7. the fourth and the tenor lying behind every change, thus, 123567,48. which has of late been practised by the Colledge-Youths, and excellently well performed by them. Grandsire, and Tendring Six-score on eight Bells makes good Musick, 7.4.8. lying behind every change: And a Six-score (four extreams) on the six Bells in the midst, the treble leading all the way, and the tenor lying behind, making a change at first between the 4 and 5, and then proceeds forwards in the Six-score, making the second the whole Hunt, and the seventh the half Hunt, it makes excellent Musick; but after the Six-score changes are made, the fourth and fifth must change their places again to bring the Bells round.

35678,241
12357,864
12357,468
12357,648
12356,748
34567,218
45678,321
12368,574

The most musical Peals that are commonly Rang on eight Bells, are these Six-scores on five, the other three Bells lying behind every change: For example, the uppermost fig. are 35678,241. here the 35678, makes the Six-score changes, 3 the whole hunt, and 8 the half Hunt, or any others, and 241. strikes behind every change, in the same order as they now lie, and so of the rest. The three Bells which are to lie behind, must first be hunted up one after the other in order, before any of the Six-score changes are made. The Seven-score and four on the six middle Bells, the treble leading, and the tenor lying behind every change, makes good Musick.

Of Hanging Bells.

First, for the Stock, much need not be said, but of placing the Cannons or Crown of the Bell into it, which is called Hanging of a Bell, I shall speak something: First, find out whether the Cannons be upright and true, then raise the Bell up by some Rope tyed to the Cannons, and so that the Bell hang level, which you may find, by applying a Plumet to the brim, then fasten a string to the Crown-staple within the Bell, then (a Plumet being tyed to the other end of the string) if the string hang in the midst between the two sides of the Bell whereon the Clapper should strike, the Crown-staple is cast into the Bell true: Now when you have hung the Bell, and let the Gudgeons in true by Keys (for therein consists the main point of the going of a Bell) then if the Clapper hang in the midst between the two striking sides, and the Stock stand upright, the Bell is well hung.

If a Bell have a longer stroke on the one side, than the other, truss up that side which hath the short stroke more, or let the other side down, and put a piece or two of Leather in, according to the stroke; but sometimes the fault of the stroke is in the Sally, which you may remedy, by tying the Fillet (or little Cord about the rim of the Wheel, which causeth the dancing of the Rope) nearer, or farther off the main Spoke; nearer makes a short stroke, farther off the Spoke, a long one.

And observe, that the trussing or taking up of a great Bell far into the Stock by a notch, makes the Bell go easier, and lie lighter at hand (that is) when it is set, for the farther the brim of the Bell is from the centre of gravity, the heavier it is: Now the centre of gravity is a supposed line drawn through the Stock from one Gudgeon to the other; but note, if you truss a Bell up, that the Crown-staple be much above the Gudgeons, you must fasten a false Eye to the Crown-staple, and to this false Eye hang the Clapper, otherwise it will not strike so freely: Now small Bells must be trussed up short, for else the Bell hanging low, and fetching a great Compass in the swing, and having but little Compass in the brim, the Clapper keeps along by the side of the Bell, and gives no blow at all; but being hung short, the Bell fetches a quick and short Compass, equal to the bigness of the brim, and the Clapper strikes well.

Now for the tempering of the Gudgeons, I leave it to the judgment of the Workman; but a word or two of the polishing of it. After it is filed, or turned exactly round, take two pieces of Oak, and oyl one side of each, and strew fine Sand thereon, and clap them in a Smiths Vice, with the round of the Gudgeon between, then turn it about, until you think it is sufficiently polished, then oyl the sides of the pieces of Oak wherein there is no Sand, and so clap them in a Vice, with the Gudgeon between, as before, then turn it round, and it will polish the Gudgeon wonderful smooth; and if the Brasses are likewise well polished, the Bell will go as well at the first, as ever: Now by the neglect of this, the roughness of the Gudgeon will wear the Brasses so unequally, that the Bell will never go smooth and steddy.