| 1 2 3 4 5 6 7 | “Rounds.” | 7 5 6 1 4 2 3 | (10th change.) |
| 2 1 3 5 4 7 6 | (1st change.) | 5 7 1 6 2 4 3 | |
| 2 3 1 4 5 6 7 | 5 1 7 2 6 3 4 | ||
| 3 2 4 1 6 5 7 | 1 5 2 7 3 6 4 | ||
| 3 4 2 6 1 7 5 | 1 2 5 3 7 4 6 | ||
| 4 3 6 2 7 1 5 | (5th change.) | 2 1 5 7 3 6 4 | (15th change.) |
| 4 6 3 7 2 5 1 | 2 5 1 3 7 4 6 | ||
| 6 4 7 3 5 2 1 | 5 2 3 1 4 7 6 | ||
| 6 7 4 5 3 1 2 | 5 3 2 4 1 6 7 | ||
| 7 6 5 4 1 3 2 | 3 5 4 2 6 1 7 | ||
| 3 4 5 6 2 7 1 | (20th change.) |
It will be observed that at the 1st change the third bell and at the 15th the fifth bell, according to the rule of this “method,” strikes a second blow in the third place (“makes third’s place”). This stops the regular work of the bells which at the previous change were in the 4th, 5th, 6th and 7th places (“in 4, 5, 6, 7”), causing them to take a step backwards in their course “up” or “down,” or as it is technically called, to “dodge.” Were it not for this, the bells would come back into “rounds” at the 14th change. It is by the use of “place-making” and “dodging,” according to the rules of various “methods,” that the required number of changes, upon any number of bells, can be produced. But in order that this may be done, without the bells coming back into “rounds” (as, e.g. in the “plain course” of Grandsire Triples, above given, they will do in seventy changes), further modifications of the “coursing order,” called technically “Bobs” and “Singles,” must be introduced. In ringing, notice of these alterations as they occur is given by one of the ringers, who acts as “conductor,” calling out “Bob” or “Single” at the right moment to warn the ringers of certain bells to make the requisite alteration in the regular work of their bells. (Hence, in ringing language, to “call” a peal or touch = to conduct it.) Particulars of these, as of other details of change-ringing, may be gathered from books dealing with the technique of the art; but they are best mastered in actual practice. The term “single,” applied to five-bell ringing meant that, as the first three bells remained unchanged, only a single pair of bells changed places, e.g. 1 5 4 3 2, 1 5 4 2 3. On larger numbers of bells it loses this meaning; but the effect of this “call” is that the “coursing order” of a single pair of bells is inverted. The origin of “Bob” is unknown. As a “call” it was perhaps adopted as a short, sharp sound, easily uttered and easily heard by the ringers. As applied to a “method” or system of ringing it may refer to the evolution of “dodging,” e.g. in “Treble Bob” to the zigzag “dodging” path of the treble bell; but none of the old writers attempts to explain it.
The number of possible “changes” on any given series of bells may be ascertained, according to the mathematical formula of “permutations,” by multiplying the number of the bells together. Thus on three bells, only 6 changes or variations of order (1 × 2 × 3) can be produced; on four bells, 1 × 2 × 3 × 4 = 24; on five, 24 × 5 = 120; on six, 120 × 6 = 720; on seven, 720 × 7 = 5040. A “peal” on any such number of bells is in ordinary language the ringing of all the possible changes. But technically, only the full extent of changes upon seven bells, usually rung with a “tenor behind,” is called a “peal”; a shorter performance upon seven or more bells, or the full extent upon less than seven, being, in ringing parlance, a “touch.” On six bells the full extent of changes must be repeated continuously seven times (720 × 7 = 5040), and on five bells forty-two times (l20 × 42 = 5040) to rank as a “peal.” On eight or more bells 5000 changes in round numbers is accepted as the minimum standard for a peal; and on such numbers of bells up to twelve (the largest number used in change-ringing), peals are so arranged that the bells come into rounds at, or at some point beyond, 5000 changes. As many as 16,000 changes, occupying from nine to ten hours, have been rung upon church bells. But the great physical strain upon the ringers—to say nothing of the effect upon those who are within hearing—makes such performances exceptional. The word “peal” is often, though incorrectly, used (1) for a set of church bells (“a peal of six,” “a peal of eight”), for which the correct term is “a ring” of bells; (2) for any shorter performance than a full peal (e.g. “wedding-peal,” “muffled peal,” &c.), called in ringing language a “touch.” Its use as equivalent for “method,” found in old campanological works, is now obsolete.
Change-ringing upon five bells is called “Doubles,” upon seven bells “Triples,” upon nine “Caters” (Fr. quatre), and upon eleven “Cinques,” from the fact that at each change two, three, four or five pairs of bells change places with each other. “Doubles” can be and are rung when there are only five bells; but as a rule these “odd-bell” systems are rung with a “tenor behind,” i.e. struck at the end of each change; the number of bells in a tower being usually an even number—six, eight, ten or twelve. In “even-bell” systems the tenor is “rung in” or “turned in,” i.e. changes with the other bells, and a different terminology is employed; change-ringing on six bells being called “Minor”; on eight bells, “Major”; on ten bells, “Royal”; and on twelve, “Maximus.” The principal “methods” of change-ringing, each of which has its special rules, are—(1) “Grandsire”; (2) “Plain Bob”; (3) “Treble Bob”; (4) “Stedman,” from the name of its inventor, Fabian Stedman, about 1670. In “Grandsire” the treble and one other bell, in “Plain Bob” the treble alone, has a “plain hunt,” i.e. works from the first place, or “lead,” to the last place, or “behind,” and back again, without any dodging; in “Treble Bob” the treble has a uniform but zigzag course, dodging in each place on its way up and down. This is called a “Treble Bob hunt”; and under these two heads, according to the work of the treble, are classified a variety of “plain methods” and “Treble Bob methods,” among the latter being the so-called “Surprise” methods, the most complicated and difficult of all. “Stedman’s principle,” which is sui generis, consists in the three front bells ringing their six possible changes, while the remaining pair or pairs of bells dodge. It is thus an “odd-bell” method adapted to five, seven, nine or eleven bells; as also is “Grandsire,” though occasionally rung on even numbers of bells. “Treble Bob” is always, and “Plain Bob” generally, rung on even numbers—six, eight, ten or twelve. In ringing, whenever the treble has a uniform course, unaffected by “Bobs” or “Singles,” it serves as a guide to the other changing bells, according to the place in which they meet and cross its path from “behind” to the “lead.” The order in which the different dodges occur, and the “course bell,” i.e. the bell which he follows from behind to lead, are also useful, and on large numbers of bells indispensable, guides to the ringer.
Quite distinct from the art of change-ringing is the science of “composing,” i.e. arranging and uniting by the proper “calls,” subject to certain fixed laws and conditions, a number of groups of changes, so that no one change, or series of changes represented in those groups, shall be repeated. A composition, long or short, is said to be “true” if it is free from, “false” if it involves, such repetition; and the body of ascertained laws and conditions governing true composition in any method constitutes the test or “proof” to be applied to a composition in that method to demonstrate its truth or falseness. Many practical ringers know little or nothing of the principles of composition, and are content with performing compositions received from composers, or published in ringing books and periodicals. An elaborate statement of the principles of composition in the “Grandsire” method may be found in an appendix to Snowdon’s Grandsire (1888), by the Rev. C.D.P. Davies. Those which apply to “Treble Bob” are explained in Snowdon’s Treatise on Treble Bob, Part I. But, so far as can be ascertained, there is no treatise dealing with the science of composition as a whole; nor is it possible here to attempt a popular exposition of its principles.
One of the objects kept in view by composers is musical effect. Certain sequences or contrasts of notes strike the ear as more musical than others; and an arrangement which brings up the more musical changes in quicker succession improves the musical effect of the “peal” or “touch.” On seven bells all the possible changes must be inserted in a true peal; but on larger numbers of bells, where the choice is from an immense number of possible changes, the composer is free to select those which are most musical. Unless, however, the bells of any given “ring” are in perfect tune and harmony with each other, their musical effect must be impaired, however well they are rung. This gives importance to the science and art of bell-tuning, in which great progress has been made (see above).
The art of scientific change-ringing, peculiar to England, does not seem to have been evolved before the middle of the 17th century. Societies or gilds of ringers, however, existed much earlier. A patent roll of 39 Henry III. (1255) confirms the “Brethren of the Guild of Westminster, who are appointed to ring the great bells there,” in the enjoyment of the “privileges and free customs which they have enjoyed from the time of Edward the Confessor.” In 1602 (as appears from a MS. in the library of All Souls’ College, Oxford) was founded a society called the “Scholars of Cheapside.” In 1637 began the “Ancient Society of College Youths,” so called from their meeting to practise on the six bells at St Martin’s, College Hill, a church destroyed in the Great Fire of London, 1666. At first only “rounds” and “call-changes” were rung, till about 1642, when 120 “Bob Doubles” were achieved; but slow progress was made till 1677, when Fabian Stedman of Cambridge published his Campanologia, dedicating it to this society, his method being first rung about this time by some of its members. Before the end of the 17th century was founded the “Society of London Scholars,” the name of which was changed in 1746 to “Cumberland Youths” in compliment to the victor of Culloden. These two metropolitan societies still exist, and include in their membership most of the leading change-ringers of England: one of the oldest provincial societies being that of Saffron Walden in Essex, founded in 1623, and still holding an annual ringing festival. In the latter half of the 18th and first half of the 19th century change-ringing, which at first seems to have been an aristocratic pastime, degenerated in social repute. Church bells and their ringers, neglected by church authorities, became associated with the lower and least reputable phases of parochial life; and belfries were too often an adjunct to the pothouse. In the last half of the 19th century there was a great revival of change-ringing, leading to improvements in belfries and in ringers, and to their gradual recognition as church workers. Diocesan or county associations for the promotion of change-ringing and of belfry reform spread knowledge of the art and aroused church officials to greater interest in and care for their bells. A Central Council of Church Bell Ringers, consisting of delegates from these various societies, meets annually in London or at some provincial centre to discuss ringing matters, and to collect and formulate useful knowledge upon practical questions—e.g. the proper care of bells and the means of preventing annoyance from their use in the neighbourhood of houses, rules for the conduct of belfries, &c. It is now less likely than ever that the Belgian carillons will be preferred in England to the peculiarly English system of ringing bells in peal; by which, whatever its difficulties, the musical sound of bells is most fully brought out, and their scientific construction best stimulated.
Authorities.—The literature of bell-lore (or campanology) consists chiefly of scattered treatises or pamphlets upon the technique of different methods of change-ringing, or upon the bells of particular counties or districts. The earliest that deal with the science and art of change-ringing are Campanologia or the Art of Ringing Improved (1677), and a chapter of “Advice to a Ringer” in the School of Recreations, or Gentleman’s Tutor (1684), showing that in its early days bell-ringing was a fashionable pastime. Then follow Campanologia, or the Art of Ringing made Easy (1766), Clavis Campanologia, a Key to Ringing (1788), and Shipway’s Campanologia (1816). The revival of change-ringing in recent years has produced many manuals: e.g. Snowdon’s Rope-Sight (explaining the “Plain Bob” method), Grandsire, Treatise on Treble Bob, Double Norwich Court Bob Major, and Standard Methods (with a book of diagrams); Troyte on Change-Ringing; The Duffield Method, by Sir A.P. Heywood, Bart., its inventor. Somewhat prior to these are various works by the Rev. H.T. Ellacombe, inventor of a chiming apparatus which bears his name, and a pioneer in belfry reform. Among these are accounts of the church bells of Devon, Somerset and Gloucester, and pamphlets on Belfries and Ringers, Chiming, &c.; much of their contents being summarized in The Ringer’s Guide to the Church Bells of Devon, by C. Pearson (1888). A Glossary of Technical Terms used in connexion with church bells and change-ringing was published (1901) under the auspices of the Central Council of Church Bell Ringers. On the history of church bells and customs connected with them much curious information is given in North’s English Bells and Bell Lore (1888). By the same author are monographs on the church bells of Leicestershire, Northamptonshire, Lincolnshire and Hertfordshire. There are similar works on the church bells of Suffolk and Cambridgeshire, by Dr Raven; of Huntingdonshire, by the Rev. T.M.N. Owen; and on the church bells of Essex, by the Rev. C. Deedes. A compilation and summary of many data of bell-lore will be found in A Book about Bells, by the Rev. G.S. Tyack; and in a volume by Dr Raven in the “Antiquary’s Books” series (Methuen, 1906), entitled The Bells of England, which deals with the antiquarian side of bell-lore. See also Quarterly Review, No. cxc. (September 1854); Windsor Magazine (December 1896); Lord Rayleigh’s paper “On the Tones of Bells” in the Phil. Mag. for January 1890; and a series of articles from the Guardian, reprinted as a pamphlet under the title, Church Bells and Bell-ringing.
(T. L. P.)
House Bells.—Buildings are commonly provided with bells, conveniently arranged so as to enable attendants to be summoned to the different rooms. In the old system, which has been largely superseded by pneumatic and still more by electric bells, the bells themselves are of the ordinary conical shape and are provided with clappers hung loosely inside them. Being supported on springs they continue to swing, and therefore to give out sound as the clapper knocks against the sides, for some time after they have been set in motion by means of the strings or wires by which each is connected to a bell-pull in the rooms. These wires are generally placed out of sight inside the walls, and bell-cranks are employed to take them round corners and to change the direction of motion as required. A lightly poised pendulum is often attached to each bell, to show by its motion when it has been rung. In pneumatic bells the wires are replaced by pipes of narrow bore, and the current of air which is caused to flow along these by the pressing of a push-button actuates a small hammer which impinges rapidly against a bell or gong. An electric bell consists of a small electro-magnet acting on a soft iron armature which is supported in such a way that normally it stands away from the magnet. When the latter is energized by the passage of an electric current, the armature is attracted towards it, and a small hammer attached to it strikes a blow on the bell or gong. This “single stroke” type of bell is largely used in railway signalling instruments. For domestic purposes, however, the bells are arranged so that the hammer strikes a series of strokes, continuing so long as the push-button which closes the electric circuit is pressed. A light spring is provided against which the armature rests when it is not attracted by the electro-magnet, and the current is arranged to pass through this spring and the armature on its way to the magnet. When the armature is attracted by the magnet it breaks contact with this spring, the current is interrupted, and the magnet being no longer energized allows the armature to fall back on the spring and thus restore the circuit. In this way a rapid to and fro motion is imparted to the hammer. The electric current is supplied by a battery, usually either of Leclanché or of dry cells. One bell will serve for all the rooms of a house, an “indicator” being provided to show from which it has been rung. Such indicators are of two main types: the current either sets in motion a pendulum, or causes a disk bearing the name or number of the room concerned to come into view. Each push must have one wire appropriated to itself leading from the battery through the indicator to the bell, but the return wire from the bell to the battery may be common to all the pushes. Bells of this kind cease to ring whenever the electrical continuity of any of these wires is interrupted, but in some cases, as in connexion with burglar-alarms, it is desirable that the bell, once set in action, shall continue to ring even though the wires are cut. For this purpose, in “continuous ringing” bells, the current, started by the push or alarm apparatus, instead of working the bell, is made to operate a relay-switch and thus to bring into circuit a second battery which continues to ring the bell, no matter what happens to the first circuit.