Transcriber’s Note:

New original cover art included with this eBook is granted to the public domain.

CAMPANALOGIA:
OR THE
ART
OF
RINGING
Improved.
With plain and easie Rules to guide the Practitioner in the Ringing all kinds of Changes.
TO
Which is added, great variety of
NEW PEALS.

LONDON,

Printed by W. Godbid, for W.S. and are to be sold by Langley Curtis in Goat-Court on Ludgate-hill. 1677.

TO
THE HONOURED
AND TO
His much Esteemed FRIENDS,
The Members of the Society of
COLLEDG YOUTHS.

Gentlemen,

As your Society even ab origine hath deservedly acquired an eminency in many respects above others of this kind; so more especially for the pregnancy of its Members in the composing of Peals. For when the Art of Cross-pricking lay enveloped in such obscurity, that it was thought impossible that double Changes on five bells could be made to extend farther than ten, and triple and double Changes on six farther than sixty; then it was that a worthy and knowing Member of your Society, to dissipate those mists of Ignorance, and to usher in the bright morn of Knowledg, prickt those much applauded Peals of Grandsire and Grandsire Bob; which for their excellency have for many years together continued triumphant in practice amidst all others whatsoever; and which indeed have been a great light in the production of that great variety of new Peals herein contained; the greatest part of which being also the offspring of your Society, I therefore thought fit to usher them into the world under the wings of your Protection.

Gentlemen, as a member I held my self obliged to add my Mite to your full fraught Treasury of Speculative and Practical Knowledg of this kind; though I confess your acquisition on this account will be very mean, since my want of ability sufficient to undertake a thing of this nature, and also want of opportunity by converse with others to supply my own defects, have rendred the Book less acceptable than it might have been done by some more knowing head and acuter Pen. And although I am conscious that it meriteth not your acceptance; yet I assume the confidence to believe that you will favour it with a kind entertainment amongst you; and the rather, for that I know you are too judicious to sentence it without first casting into the ballance of your indifferent judgments some Grains of Allowance: The countenance you shew it will silence Detractors, and be Armour of proof against the fools bolts which may happen to be soon shot at the Author, who is

Gentlemen,

A constant well-wisher to

the Prosperity (though an

unworthy member)

of your Society,

F.S.

ERRATA.

Courteous Reader,

Some few faults have escaped the Press: as page [27] line the 4th, for grateful read graceful. page [31]. line the 19th. for imitatieg read imitating, with some others, which you are desired either candidly to amend, or tasitly to pass over.

OF THE
ART
OF
Changes.

These clear dayes of Knowledge, that have ransackt the dark corners of most Arts and Sciences, and freed their hidden mysteries from the bonds of obscurity, have also registred this of Ringing, in the Catalogue of their Improvements; as well the Speculative as the Practick part, which of late years remain’d in Embryo, are now become perfect, and worthy the knowledge of the most ingenious. Although the Practick part of Ringing is chiefly the subject of this Discourse, yet first I will speak something of the Art of Changes, its Invention being Mathematical, and produceth incredible effects, as hereafter will appear. But first, I will premise a word or two, to shew what the nature of those Changes are. Some certain number of things are presupposed to be changed or varied; as 2.3.4.5.6. or any greater number whatsoever; then the number of things to be so varied must have the like number of fixed places assigned them. As if five men were sitting upon five stools in a row; the stools are supposed to be fixed places for the five men, but the men by consent may move or change to each others places at pleasure, yet still sitting in a row as at first: now this Art directs how, and in what order those five men may change places with each other, whereby they may sit sixscore times in a row, and not twice alike. And likewise a Peal of five Bells, being raised up to a fit compass for ringing of Changes, are there supposed to have five fixed places, which time assigns to their notes or strokes; yet the notes of the Bells may change into each others places at pleasure: now this Art also directs the manner and method of changing the five notes in such sort, that they may strike sixscore times round, and not twice alike.

The numbers of Changes are thus to be discovered. Two must first be admitted to be varied two wayes; then to find out the Changes in three, the Changes on two must be multiplied by three, and the product will be six, which are the compleat number of Changes on three.

Those six Changes being multiplied by four, will produce 24, which are the compleat number of Changes on four. The 24 Changes on four, being multiplied by five, will produce 120, which are the compleat number of Changes on five. And in like manner the 120, being multiplied by six, will produce 720, which are the compleat number on six. The 720, being multiplied, by seven, will produce 5040, which are the number of Changes on seven. The 5040, being multiplied by eight, will produce 40320, which are the number of Changes on eight. Those Changes on eight, being multiplied by nine, will produce 362880, which are the number of Changes on nine. Those Changes on nine, being multiplied by ten, will produce 3628800, which are the number on ten. Those on ten, being multiplied by eleven, will produce 39916800, which are the number on eleven. Those also being multiplied by twelve, will produce 479001600, which are the compleat number of Changes on twelve. And if twelve men should attempt to ring all those Changes on twelve Bells, they could not effect it in less than seventy five years, twelve Lunar Months, one week, and three days, notwithstanding they ring without intermission, and after the proportion of 720 Changes every hour. Or if one man should attempt to prick them down upon Paper, he could not effect it in less than the aforesaid space. And 1440 being prickt in a sheet, they would take up six hundred sixty five Reams of Paper, and upwards, reckoning five hundred Sheets to a Ream; which Paper at five shillings the Ream, would cost one hundred sixty six Pounds five Shillings,

The reason of the aforesaid Multiplication, by which the numbers of Changes are discovered, and also that those Products are the true numbers of Changes, will plainly and manifestly appear in these following Demonstrations.

But first, two must be admitted to be varied two ways, thus.——

And then consequently, three will make three times as many Changes as two; for there are three times two figures to be produced out of three, and not twice two the same figures, which are to be produced by casting away each of the three figures one after another. First, cast away 3, and 1.2 will, remain; cast away 2, and 1.3 will remain; cast away 1, and 2.3 will remain. So that here are three times two figures produced out of the three, and not twice two the same figures, as 12. 13. 23. each two may be varied two ways, as before: then to the changes which each two makes add the third figure which is wanting; as to the two changes made by 1.2 add the 3, to the changes on 1.3 add the 2, and to the changes on 2.3 add the 1, and the three figures will stand six times together, and not twice alike, as here appeareth.

Four will make four times as many changes as three. For there are four times three figures to be had out of four, and not twice three the same figures, which are to be produced by casting away each of the four figures by turns. First cast away 4, and 123 will remain; cast away 3, and 124 will remain; cast away 2, and 134 will remain; and lastly, casting away 1, and 234 will remain; so that here is 123, 124, 134, 234, and not twice three the same figures. Now each three may be varied six ways, according to the preceding Example. Then to the six changes which each three makes, add the fourth figure which is wanting; as to the six changes on 123 add the 4, to the six changes on 124 add the 3, to the six changes on 134 add the 2, and to the six changes on 234 add the 1, which renders the changes compleat; for then the four figures stand twenty four times together, and not twice alike, as here appears.

Five will make five times as many changes as four; for there are five times four figures to be had out of five, and not twice four the same figures, which are to be produced as before, by casting away each of the five figures by turns. Cast away 5, and 1234 will remain; cast away way 4, and 1235 will remain; cast away 3, and 1245 will remain; cast away 2, and 1345 will remain; cast away 1, and 2345 will remain. So that here are five times four figures produced, and not twice four the same figures. Now each four may be varied twenty four ways, as in the preceding example; then to the twenty four changes which each four makes, add the fifth figure which is wanting: as to the twenty four changes on 1234, add the 5; to the twenty four changes on 1235, add the 4. to the changes on 1245, add 3. to the changes on 1345, add 2. and to the changes on 2345, add 1. which renders the changes compleat, for then the five figures stand sixscore times together, and not twice alike.

And in this manner the compleat numbers of changes on six, seven, eight, nine, ten, eleven, twelve, &c. may also be demonstrated.

The numbers of changes will also plainly appear by the methods, whereby they are commonly prickt and rung. Now the nature of these methods is such, that the changes on one number comprehends the changes on all lesser numbers, and that so regularly, that the compleat number of changes on each lesser number are made in a most exact method within the greater; insomuch that a compleat Peal of changes on one number seemeth to be formed by uniting of the compleat Peals on all lesser numbers into one entire body; which will manifestly appear in the 479001600 changes on twelve: for that Peal comprehends the 39916800 changes on eleven; these likewise comprehend the 3628800 changes on ten, these changes on ten comprehend the 362880 on nine, these on nine comprehend the 40320 on eight, these on eight comprehend the 5040 on seven, these likewise the 720 on six, the 720 also comprehend the 120 on five, the 120 comprehend the 24 changes on four, these also comprehend the six changes on three, and the six comprehend the two changes on two. Each of these Peals (viz.) on eleven, ten, nine, eight, seven, six, five, four, three, and two, being made in a most exact method within the changes on twelve. For Example, two are first admitted to be varied two ways, thus——

Now the figure 3 being hunted through each of those two changes, will produce the six changes on three. The term Hunt, is given to a Bell to express its motion in Ringing, which in figures is after this manner. It must lie behind, betwixt, and before the two figures: first behind them thus, 1 2 3; then betwixt them, thus, 1 3 2; now before them, thus, 3 1 2: this is called a hunting motion, and here it has hunted through the first change of the two, wherein it made three variations, as appears in the figures, standing thus in order.——

Now it must hunt through the other change, which is 2 1, in the same manner as before; that is, first it must lie before, then betwixt the two figures, then behind them, thus, 321, 231, 213. Here it has hunted through again, wherein it made three more variations; which three being set directly under the former, the six variations will then plainly appear, as in these figures: where the three figures stand six times together, and not twice alike.

Now the figure 4 being in like manner hunted through each of those six changes, will produce the 24 changes on four. First, therefore it must hunt through the first, which is 123, letter (a), then through the second change of the six, which is 132, letter (b); then through the third, which is 312, letter (c), and so it being hunted through the rest of the changes likewise, will produce the twenty four changes on four.

The figure 5 being hunted through each of those twenty four changes, will produce the 120 changes on five, First therefore it must hunt through the first, which is 1234, letter (a); then through the second, which is 1243, letter (b); then also through the third, which is 1423, letter (c). In which manner it being hunted through the rest of the twenty four changes, will produce the 120 on five. And then the figure 6 being hunted through each of those sixscore changes will produce the 720 changes on six. And the figure 7 being hunted through each of those 720 changes, will produce the 5040. In which manner also the eighth, ninth, tenth, eleventh, and twelfth, being successively hunted through each Peal in the aforesaid order, will at length produce the compleat number of changes on twelve. Wherein ’tis observable, that all the figures, except two, have a hunting motion; which two may properly be term’d the Center, about which the rest do circulate. By these methods it is evident, that every hunting figure hath a certain number of figures assigned, through which tis constantly to hunt: as in the aforesaid Example on twelve, where the 1.2 are assigned for the figure 3 to hunt through, as appears in the six changes before. And in like manner, 123 are assigned for the figure 4 to hunt through; 1234 are assigned for the figure 5 to hunt through; 12345 for 6 to hunt through, &c. Now the figure 3 hunts as many times through the 1.2. as those two make changes, that is, two times wherein it makes twice three changes, that is, six, as before appeareth. The figure 4 hunts as many times through the 123, as those three figures make changes, that is, six times; wherein it makes six times four changes, which amounts to twenty four. The figure 5 hunteth as many times through the 1234, as those four figures make changes, that is, twenty four times; wherein it makes twenty four times five changes, which amounts to 120. The figure 6 hunts as many times through the 12345, as those five make changes, that is 120 times, wherein it maketh 120 times six changes, which amounts to 720. And in like manner the figure 7 hunts 720 times through 123456, wherein it maketh 720 times seven changes, which amounts to 5040. The eighth hunteth 5040 times through 1234567, wherein it makes 40320 changes. The 9^th hunteth 40320 times through 12345678, wherein it makes 362880 changes. The tenth hunteth 362880 times through 123456789, wherein it makes 3628800. The eleventh hunteth 3628800 times through 1.2.3.4.5.6.7.8.9.10. wherein it makes 39916800. And lastly, the twelfth hunteth 39916800 times through 1.2.3.4.5.6.7.8.9.10.11. wherein it makes 39916800 times twelve changes, which amounts to 479001600, being the compleat number on twelve. By which ’tis evident, that every hunting figure hunts as many times through its assigned number of figures, as those figures are capable of making changes, which in short comprehends the summe and substance of this method, which is universal from two, to all greater numbers whatsoever.

If we consider the multitude of different words, wherewith we express our selves in Speech, it may be thought almost impossible that such numbers should arise out of twenty four Letters; yet this Art of variation will produce much more incredible effects. To give an instance thereof, I will shew the numbers of every quantity of Letters from two to twelve, that may be produced out of the Alphabet. The generality of Words consisting of these quantities, (viz.) two letters, three letters, four, five, six, seven, eight, nine, ten, eleven, and twelve letters. There are 10626 times four letters to be produced out of the twenty four letters of the Alphabet, and not twice four all the same Letters. There are likewise 42504 times five letters, 134596 times six letters, 346104 times seven, 735471 times eight, 1307504 times nine, 1961256 times ten, 2496144 times eleven, and 2704156 times twelve. Now each quantity being varied by the rules of this Art, will produce incredible numbers. First the 10626 times four letters, being multiplied by 24, which are the number of ways to vary each four letters, will produce 255024 that is to say, four letters may be produced out of the Alphabet to stand together after this manner (a b c d) two hundred fifty five thousand and twenty four times, and not twice alike. And in like manner, the 42504 times five Letters, being multiplied by 120, which are the number of ways to vary each five, will produce 5100480. The 134596 times six letters, being also multiplied by 720, will produce 96909120. The 346104, being multiplied by 5040, will produce 1744364160. The 735471, being multiplied by 40320, will produce 29654190720. The 1307504, being multiplied by 362880, will produce 474467051520. The 1961256, being multiplied by 3628800, will produce 7117005772800. The 2496144, being multiplied by 39916800, will produce 99638080819200. And lastly, the 2704156 time twelve letters, being multiplied by 479001600, will produce 1295295050649600, which products being all added together, as also 12696 which are the numbers consisting of two and three letters, the whole will amount to 1402556105125320, wherein there are not two alike, nor two letters of one sort in any one of them; which being written or printed on large Paper in folio, allowing 5000 to a sheet, they would take up 561022442 Reams of Paper and upwards, reckoning 500 sheets to a Ream: which Paper all the Houses in the City and Liberties of London would not contain; and in quantity doubtless infinitely exceeds all the Books that ever were printed in the world, reckoning only one of each Impression. And at the rate of five shillings the Ream, the Paper would cost 140255610.5 Pounds sterling; which is above four times as much as the yearly Rent of all the Lands and Houses in England amounts to. And all the people both young and old in the City and Suburbs of London (admitting they are five hundred thousand) could not speak the like numbers of words under forty years and upwards, each of them speaking 15000 every hour, and twelve hours every day. These prodigious numbers are the more to be admired, considering that the greatest number of letters in any of them, exceeds not twelve, neither are two letters of one sort in any one of them: but by producing and varying all the greater quantities, and placing two or more letters of one sort, or two of one sort and two of another, with all variety of the like nature that commonly happens in words, the numbers arising thereby would infinitely exceed the former; And if all the numbers of every quantity of letters from one to twenty four, together with all the variety as aforesaid, were methodically drawn out and varied according to the rules of this Art; which might easily be performed in respect of the plain and practical method of doing it; but the infinite numbers of them would not permit a Million of men to effect it in some thousands of years: it would be evident, that there is no word or syllable in any language or speech in the world, which can be exprest with the character of our Alphabet, but might be found literatim and entire therein; and more by many thousands of Millions than can be pronounced, or that ever were yet made use of in any language.

I will here give one instance of another kind, shewing the admirable effects of this Art, and so conclude. A man having twenty Horses, contracts with a Brick-maker to give him one hundred pound Sterling; conditionally that the Brick-maker will deliver him as many Loads of Bricks, as there are several Teams of six Horses to be produced out of the aforesaid twenty to fetch them, and not one Team or Sett of six Horses to fetch two Loads. The Brick-maker might be thought to have made a very advantageous bargain, but the contrary will appear. For there are thirty eight thousand seven hundred and sixty several Teams of six Horses, to be produced out of twenty, and not twice six the same Horses; then the Brick-maker must deliver as many Loads as there are Teams, and each Load consisting of five hundred Bricks, the whole would amount to 19380000, which being bought for one hundred pounds as aforesaid, would not cost above five Farthings a thousand; and at the rate of thirteen shillings and four pence the thousand, they amount to twelve thousand nine hundred and twenty pounds Sterling. But should a contract be made with the Brick-maker to deliver as many Loads of Bricks, as there are Teams of six Horses in each, to be produced out of the aforesaid twenty, which shall stand in the Cart in a differing manner; that is to say, although there may be the same Horses in several Teams, yet their places shall be so changed, that they shall not stand twice alike in any two Teams. On this account the Brick-maker must deliver seven hundred and twenty times as many as before; for there are 38760 several Teams as before I have shewed: then each Team may be placed 720 ways in the Cart, and not twice alike, which is to be done according to the methods whereby the 720 changes on six Bells are rung. So that 38760, which are the number of Teams, multiplied by 720, which are the number of ways to vary the six Horses in each Team, the product will be 27907200, which are the compleat number of Teams; and every Team carrying one Load, consisting of five hundred Bricks, the Whole will amount to 13953600000 Bricks. And after the proportion of a hundred and fifty thousand of Bricks to a House, they would build ninety three thousand and twenty four Houses; which are above six times as many as the late dreadful fire in London consumed. And at the rate of thirteen shillings and four pence the thousand, they are worth 6976800 pounds Sterling, which is at least four hundred Waggon-loads of money, as much as five Horses can ordinarily draw.

AN
INTRODUCTION
To the Practice of
RINGING

As the original design of casting Peals of Bells was in order to make pleasant Musick thereon; so the Notes in every Peal are formed apt for that end and purpose, every Peal of Bells being tun’d according to the principles of Musick; for in a Peal of six Bells are the six plain Song-Notes, whereupon all Musick consists, namely, la sol fa mi re ut. But in regard that in ringing of them the Notes cannot be had at command, as the Notes of other Instruments may; therefore, as the Practitioners in ancient time found some necessity to cause all the Notes to strike successively after one another, so likewise they thought fit in ringing them to place the Notes in this following order. The least note to lead or strike first, then the Note which is the next degree deeper or flatter, and so the rest of the notes to strike after each other according to their degrees, the flattest striking last; in which order the notes were successively reiterated both at fore-stroke and back-stroke, from the beginning to the end of each Peal. And at this day the same order is also observed in raising, ceasing, and ringing them at a low compass; wherein each note being confin’d to strike in a certain place, therefore had they their terms of First, Second, Third, Fourth, Fifth, &c. given them, to denote their order and places of striking; from whence also the Bells derive those terms of distinction by which they are now known. Although the ringing of a Peal of Bells in the aforesaid order, (which is commonly term’d Round-ringing) is in it self Musical; yet the Notes may be so placed in ringing, that their Musick may be rendred much more pleasant: for in Musick there are Concords, which indeed may be term’d the very life and soul of it, that renders all Musick exceeding pleasant: the principal are Thirds, Fifths, and Eights; Thirds are 1 3. 2 4. and such like: Fifths are 1 5. 2 6. &c. Eights are 1 8. 2 9. 3 10. &c. each Concord consisting of two notes. They may well be termed Concords, in respect of their agreement and harmony; for the two notes (as if it were by mutual consent) being struck together at one instant, or else immediately after one another, affords delightful melody to the ear; in which respect, a peal of five Bells are capable of making better Musick than a peal of four; six better than five; and more especially will ten or twelve make more excellent Musick than any lesser numbers can possibly do, there being greater variety of Concords therein, and especially of Eights. For this Musical end were changes on Bells first practised, changes being nothing else but a moving and placing of the Notes in ringing, whereby variety of pleasant Musick is made; and as the manner of moving the notes, is, for two notes to change places with each other, therefore are they called Changes. The methods of changes being somewhat intricate, I have therefore penn’d the following Treatise as a Clue to guide the Practitioner through the Labirinth of them, wherein I have made use of figures to represent the notes of Bells, the manner thus. In a peal of five Bells there are five several notes, which with figures are thus exprest, 1 2 3 4 5: the figure 1 represents the least or sharpest note, which is term’d the First, because its place in round ringing is to lead; this note is most commonly called the Treble. The figure 2 represents the note which is the next degree deeper or flatter, and is term’d the Second, because it strikes in the second place. And in like manner 3 represents the note of the third Bell, 4 the note of the fourth Bell, and 5 the note of the Fifth or Tennor. In which manner, the figures in all the following methods do likewise represent the notes of Bells.

Since the ringing of changes requires the peal of Bells, on which the changes are to be rung, to be first raised up to a set Pull, which compass is most proper for the ringing of them; therefore the Learners first practice must be to raise a Bell true in peal, to ring it at a low compass, and also to cease it true in peal, wherein consists the chief grounds of this Art, which depends on the Ear, and therefore much judgment is required therein. And to speak the truth, most practitioners are in these days somewhat deficient herein; the ringing of changes having generally diverted the Learners fancy from the practice of raising, round-ringing, and ceasing, by which means we have in a manner lost one Excellency in the pursuit of another. Therefore I could wish that the Practitioners of this Art would set a greater esteem on true Ringing in general, since the only excellency as well in the ringing of Changes as Rounds, depends thereon: the keeping of time being as essential to render all kinds of ringing pleasant to the ear, as ’tis to render any other kind of Musick; therefore the practitioner ought to have a Musical eare, and to have some judgment in beating time, without which he can never ring his Bell true in its place. A prospect of true ringing at any certain compass under the Sett, may thus be taken; for Instance, in ringing a peal of 5 Bells; from the fore-stroke of every note to the next fore-stroke of the same note, there ought to be eleven punctums or Beats of time, which are all supposed to stand at Æquidistances: now in ten of these punctums, the five notes ought exactly to strike at the fore-stroke and back-stroke, and the eleventh stands as a Cypher to guide the Treble-note at fore-stroke to a double proportion of time from the Tennor-note at back-stroke: which blank punctum must also be beaten in the same place by every note, to render its fore-stroke answerable to that of the Treble. For example; the third note having struck at fore-stroke, it must beat eleven punctums of equidistance unto its striking there again. The first punctum is that of the 4^th note, the second 5, the third 1, the fourth 2, the fifth 3, the sixth 4, the seventh 5, the eighth 0, the ninth 1, the tenth 2, the eleventh its own place of striking again at fore-stroke. These punctums or Beats of time, must be proportioned either wider or closer, according to the compass of the Treble: therefore first the Treble must fix its compass certain and true at fore-stroke, which ought to be proportionate to what the number of the notes, and compass of the peal of Bells, may according to judgment permit; and then from one fore-stroke of it to the next, if there are five notes; there ought to be eleven punctums of equidistance assigned, wherein the notes should exactly strike (except the blank) as before. From hence ’tis, that the most judicious Ringer ought to be put to the Treble; for that bell cannot possibly be rung true by any other means than by beating of its own time; and although the exactness of true ringing requires the like in every note, when once the compass is fixed, yet the leading note being rung true, may be a guide to the rest of the notes, which may tolerably take their measures of time from the Treble-note: but for every note to take its measure of time solely from the next preceding note, must needs be very erronious; for thereby they implicitely lead one another out of the way. Or else in the ringing of five bells, from the fore-stroke of every note to the next fore-stroke of the same note, there may be one and twenty punctums or beats of time assigned, to stand at equidistances; and the five notes, as they follow one another, at the fore-stroke and back-stroke to strike in every second punctum, except the Treble-note at fore-stroke, which must strike in the third punctum from the Tenor at back-stroke; so that then there will be two of those spaces betwixt every note, and three betwixt the note of the Tenor at back-stroke and the note of the Treble at fore-stroke, which possibly by some may be held a better compass than the former: but quot homines tot sententiæ. Every Practitioner, that has judgment to beat his own time, has the advantage of ringing his bell true, whilst the rest of the notes commit faults; for the compass being once fixed, as many bells as do either rise or fall from thence commit errors.

The truest way of raising a peal of bells according to the best of modern practice, is, as quick as may be; every Ringer taking assistance to raise his bell, according as the going of it requires. In raising of them, the lesser bells as the Treble &c. ought at the first pull to be swayed very deep, and held down in the sway by strength of armes as much as may be, to delay the time of their first striking, by which means the bigger bells, which carry a large compass, may have space to come in; and the raising of the smaller bells to be continued with a strong pull, giving them scope over head (for the aforesaid reason) untill they come up Frame-high, or thereabouts, and then the pull to be slacken’d, and the bells leisurely to be raised to the intended height or pitch. The bigger bells of the peal, as the Tenor &c. must in their first raising be checkt or pinch’d over head, by which means the notes of all the bells may be made to strike round in their due place and order from the beginning; and observe, that at the first pull all the bells must follow one another as close as may be. A peal of bells may thus be ceased: the falling of the bells from a Sett-pull must gradually be done, by checking them only at Sally, until the low compass renders the Sally useless; and when they are ceased so low, that they scarce strike at back-stroke for want of compass: then he that rings the Treble, may give notice (by stamping on the ground) that the next time the bells come to strike at the fore-stroke, they may be checkt down so low as to cease their striking at the back-stroke, yet their striking round at the fore-stroke may be continued, until they are brought into a chime, which is a graceful conclusion of a peal.

In raising of a peal of bells, all the notes ought to strike round at one pull: but mistake me not, I do not mean at the first pull; for at small bells ’tis usual to sway them all round at the first pull without striking; at the second pull to strike them at the fore-stroke, and at the third pull at back-stroke. In raising of a peal of more weighty bells, ’tis usual to strike them double at the fourth pull, because the extraordinary weight and large compass of the hind-bells permits it not to be done sooner. In the first raising of a peal of bells, one bell ought not to strike before the rest, or to miss striking when the rest go round: neither ought any bell in ceasing to strike after the rest, or to leave striking before the rest; all which, according to the strictness of true ringing, are accounted great faults.

The peal of bells on which the changes are to be rung, must first be raised up to a Sett-pull, which compass is most proper for the ringing of changes; for then the notes of the bells may be had at command. Therefore before the young Practitioner can be capable of ringing changes, he must be extraordinary well skill’d in the managing of a bell at a Sett-pull, which is absolutely requisite, for this reason: In the ringing of changes, his mind will be so busied and wholly taken up with the consideration of the course and method of them, and his eye continually wandring about to direct his pull in the following of the other bells; that unless he has extraordinary skill in the managing of his own bell, and can set it in a manner hood-winkt, he will be apt either to drop or overturn it; or else on the other hand, for want of skill, his eye and mind will be so fixed on his own rope and bell to guide the managing of it, that he cannot at the same time mind the course of the changes, and then no wonder if he is in a wood, which consequently follows; and indeed hence partly ’tis, that the Learners in their first practice do oftentimes toil and moil themselves to so little purpose. Therefore ’tis not enough that the young Practitioner can set a bell it may be half a score times together, when ’tis an even wager that he either drops or overturns it in those ten-pulls: but he must be so perfectly skill’d, as that he might adventure to lay ten to one, that he can set it thirty or forty times together, both fore-stroke and back-stroke, without dropping or overturning it, and without looking directly either on his hands or rope whilst he sets it. Therefore in his practice of setting a bell, he may cast his eye about on the other bell-ropes whilst he manageth his bell, whereby he may accustom himself to manage it as the ringing of changes requires.

The ringing of changes is performed, partly by the ear, and partly by the eye; the ear informs when to make a change, the eye directs the pull in the making of it, but then again the ear guides the striking of the note true in its place according to time. So that the ear and eye have each of them its proper object in the ringing of changes, and therefore ought at the same time to be absolutely free from all others whatsoever, the notes of the bells being the object of the ear, and the bell-ropes the object of the eye. Now these two Senses in the time of ringing do each of them thus perform its office. First, the ear, as a Sentinel, discovers the near approaching change, and also the place wherein his note lies, that is, whether before or behind the note wherewith ’tis to make a change, and gives present information to the eye, to perform its part accordingly in the making of it; but then again the eye refers it to the ear, to place the note true in striking. But questionless (by the bie) the truest ringing of changes is to be performed only by the ear; but then the Practitioners must be capable to judg of time, and to beat it true, which must be the only direction to guide their pull; and then it must be performed at a peal of bells that may be managed with ease: and being so fitted in all respects, the changes may doubtless be rung more true, with greater pleasure to the Practitioners, and much more free from mistakes and forgets, only by the ear, than by making use of the eye to direct their pull. But in regard that either the ill going of the bells, or want of fit accomplishments in the practitioners, may render it unfit for common practice; therefore the surest way is to ring both by the eye and ear, as I said before. Now to render the eye and ear rightly useful in the ringing of changes, five things ought by the young Practitioner to be well understood. First, he must be able to distinguish the notes of a peal of bells, and to know one from another in the time of ringing. Secondly, he must apprehend the places of the notes. Thirdly, the precedency of notes. Fourthly, the manner of making a change in ringing. Fifthly, a general prospect of the manner of putting the four preceding notions into practice.

Observation 1. The Learner must be able to distinguish the notes of a peal of bells one from another, and to know them asunder; as the Treble-note from the Second, the Second from the Third, &c. which, tis true, may readily be done in round ringing, because each note may be known by the place wherein it constantly strikes; but in ringing of changes it is more difficult. For admitting that six bells should strike in this order, 5.3.6.1.4.2. it might puzzle an unskilful ear to judg which is the Treble, or which the Second note, especially whilst any other note strikes betwixt them: and the like difficulty might happen in distinguishing the rest of the notes, as the 2d from the 3d, &c. To remove this difficulty, he must endeavour to acquire some skill in tuning the notes of a peal of bells, with his voice, which he may do by imitating the notes of the bells when he hears them ring: or else any person that has skill in singing, will presently direct him therein, and also how to take the true pitch of any notes with his voice, which will be the only means to distinguish them asunder.

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│3│4│5│

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Observ. 2d. The Learner must rightly apprehend the places of the notes, which I think cannot better be done than by this means. Considering that the notes of a peal of bells do all strike one after another at the fore-stroke, and the like at back-stroke; it might be requisite for him to imagine, that the notes in their striking do lie in a direct line, that is, in a row at the fore-stroke, and the like again at back-stroke; for then the places of the notes will much resemble the places of the figures wherewith the changes are prickt: for as the figures of every change do all stand in a row; so likewise the notes of the bells, being imagined to strike in the like row, he may the more readily apprehend the places of the notes, and consequently of changing them. For the practick part of this Art, is performed by means of imaginary, not real notions; which will thus manifestly appear. This is the platform of a Frame, wherein five bells may be supposed to hang in a Steeple, the figures therein representing the places wherein the five bells hang. Now in the sixscore changes on five bells, we will suppose the Treble to be the whole Hunt, and to hunt up first over the Second, then over the Third, &c. Now the Treble cannot really move out of the place wherein it hangs; but by delaying its striking untill the Second Bell has struck, it may by that means strike next after it; and again, by delaying its striking until the Third has struck; it may also strike next after that, this being the true manner of the changes; by which ’tis evident, that the bells have neither really such places nor motion as is pretended, but is meerly imaginary, and was at first feigned only as a Guide to direct the Practitioner’s apprehension in the ringing of them. So that although the art of changes is in it self a real thing, yet the notions by which they are reduced to practice on bells, are not so. For which reason, the several practitioners of this Art, before they can become expert, are fain to form in their minds imaginary notions to guide them; some after one manner, some perhaps after another, according to their several fancies, yet all tending, to render the methods of changes practicable on bells; and having once form’d in their minds such imaginary helps, they become expert in short time: and then no sooner do they understand the methods of changes prickt with figures, which they commonly discover at first view; but they are presently capable of ringing them readily on bells, which experience daily testifies. And hence it is, that oftentimes the Learners, although they perfectly understand the methods of changes prickt, and also can perfectly manage a Bell; yet for want of a right apprehension of the nature of changing the notes, which of themselves it may be they cannot soon attain, are therefore much puzzled in their first practice of ringing changes. Therefore as a guide, the Learner must first form in his mind a fit representation of the places of the notes; which I think cannot better be done, than by imagining each note to be a figure; as the Treble-note to be the figure 1, the second note the figure 2, the third note the figure 3, and the like of the rest. Then whensoever he hears a peal of bells ring, let him by strength of imagination conceit, that each note bears the shape of a figure; that is, at the same instant of time that the note strikes, he may imagine that it leaves the impression of the figure behind it, and that with the eye of his imagination he perfectly sees it: and likewise as the notes of the bells do all strike after one another at the fore-stroke, so he may imagine that they lie in a row in the shape of figures; and the like again at back-stroke. For instance: suppose that five Muskets were charged with five bullets, and that each bullet bears the shape of a figure; one Gun to be charged with the figure 1, another with the figure 2, and the other three Guns with these three figures, 3. 4. 5. Then supposing a straight line were drawn upon the wall, thus —————————— and that the five Muskets were by five men levell’d against the line, which is to be the mark for them to shoot at; the figure 1 to be first shot off, then the figure 2, and so the rest in order immediately after one another: now at the same instant of time that the Guns are heard to go off, the five figures would appear in a row upon the wall, thus.

So in like manner when he hears a peal of five bells strike after one another at the fore-stroke, and again at back-stroke, he may imagine that at the very instant of their striking their notes appear to his apprehension in the shape of the five figures, and that they strike in a row, thus, 1 2 3 4 5, as if each Bell were a Gun, and had shot out its note in the shape of a figure. There being necessity that the young Practitioner must either imagine each note to be a real figure, or else a representative: for as the ear is to be his guide to direct when to make each change; so a right apprehension of the motion and places of the notes, must be a means to guide his ear. Now in regard that the changes are first prickt with figures, from whence the notes of the bells derive their course, therefore if in ringing he imagine each note to be a real figure, then the same knowledge that guides the pricking, guides also as readily the ringing of them, for then the note of his bell is supposed to have the same course with that of a real figure. But if he imagines that each note is not a real, but a representative of a figure; then consequently it must only have the like, and not the same course: by which means, whilst he is ringing of changes, his mind must have frequent recourse to his Pocket, that is, to the changes there prickt; from whence he must continually fetch instructions to direct the course of his Bell, which is oftentimes the case of the Learner: his thoughts in the time of ringing being commonly upon the figures that are prickt, either upon paper, or else upon the Steeple-wall, whilst it should be wholly intent upon the notes. Therefore in a word, the Practitioner whilst he is ringing of changes, must fix his mind fully and wholly upon the notes of the bells, and not permit it in the least to wander from thence; for the notes are to be the sole object of the thoughts in the time of ringing.

The notes being imagined to strike in a row as aforesaid, their places will then soon be understood. The notes do take their places according to their successive order of striking both at fore-stroke and back-stroke; each succeeding note taking its place next to that which preceds it: for whatsoever bell leads either at fore-stroke or at back-stroke, its note lieth in the first place of the supposed row of notes; and that which strikes next after the leading note, its note lieth in the second place of the supposed row of notes, and so the rest in the like order. As if five bells should strike thus after one another either of fore-stroke or back-stroke, 5 4 1 2 3. here the 5th lieth in the first place, because it was first struck; the 4th in the second place, because it was second struck; the Treble in the third place, because it was third struck; the 2d in the fourth place, because it was fourth struck; and the 3d in the last place, because it was last struck; and the like of the notes in every change.

Observ. 3. The next thing to be understood by the Learner, is the precedency of the notes. Now whereas in the ringing of changes, the notes do all strike after one another at the fore-stroke, and again at the back-stroke, therefore are they said to lie before or behind each other, according to their places of striking. As if five men were standing in a row, as these five figures represent, 1 2 3 4 5, the first man to stand at the fig. 1, the second man at the figure 2, &c. and that they stand with their faces all one way, that is, the first man ready to lead, and the rest to follow him one behind another. Now the first man stands before the rest, and the fifth man behind the rest; the second man stands behind the first man, but before the third; the third man stands behind the second, but before the fourth; and the fourth stands behind the third, but before the fifth. In which manner the notes being supposed to strike in the like row, may also be laid to lie before or behind each other as the men did. For whatsoever note leads either at fore-stroke or back-stroke, is said to lie before the rest; and that which strikes last, to strike behind the rest. The note which lieth in the second place, as on the one hand it lieth behind the leading note, so on the other hand it lieth before the note in the third place. As the note in the third place lieth behind the note in the second place, so it lieth before the note in the fourth place. And in like manner, every note is said to lie behind those that strike before it, and before those that strike after it.

Observ. 4. A Change is to be made betwixt two notes, by moving them into each others places; wherein ’tis to be observed as a general Rule, That every change must be made betwixt two notes that strike next to each other. As if five bells were ringing round in this order, 12345, the 1 and 2 may make a change, or 2 and 3, or likewise 3 and 4, or 4 and 5, because each two lie next each other; but the 1 and 3 cannot, because 2 strikes between them, much less may 1 and 4, &c. The two notes which make every change, moves into each others places in the making of it; wherein one note is said to move up, and the other down. The reason why one of them is said to move up, is, because he that rings that bell, in the making of the change must hold it up at the Sett a little longer than ordinary, to delay its striking, whereby ’tis made to follow the other note which before it preceded; and because ’tis so held up, therefore ’tis said to make an Up-change, or to move up: and on the contrary, the reason why the other note is said to move down, is, because he that rings it, pulls down the bell a little sooner than ordinary, to make it strike before the note which before it followed; and because ’tis so pulled down, therefore it is said to make a Down-change, or to move down. I will here give a short though certain rule to know when an Up-change or a Down-change is to be made: whensoever any note moves to strike behind the note wherewith it makes a change, it makes an up-change in doing it; and whensoever it moves to strike before the note, which ’tis to make a change with, it makes a down-change in doing it: so that every note which moves fromward the leading-note, makes an up-change; and when it moves toward the leading-note, it makes a down-change. I will here shew the manner of making a change: admitting that a peal of five bells were raised to a sett-pull, which is the usual compass for ringing of changes; the notes are first supposed to strike in this order, 12345. Now a change may be made betwixt any two notes that strike next each other; I will here make it betwixt the 3d. and 4th. which is to be done by moving them into each others’ places. Now ’tis observable, that before the making of the change, the 3d. note lies before the 4th. that is, it strikes next before the 4th; and the 4th. lies behind the 3d. that is, it strikes behind it: now in the making of the change, the 3d. must move to strike behind the 4th: wherein it makes an up-change; and the 4th. note at the same time must move to strike before the 3d. wherein it makes a down-change; the change being made, the bells will strike thus, 12435. All changes whatsoever are made in the aforesaid manner: for as the 3d note made an up-change in moving to strike behind the 4th, and the 4th at the same time a down-change in moving to strike before the 3d; so in like manner the two notes that make every change, must in the making of it move the one up, and the other down, as the 3d and 4th here has done. The Learner may take notice, that in ringing termes ’tis not usual to say, that a bell makes an up-change, or a down-change; but in short, that it moves up or down, which implies the former. When a note makes an up-change, ’tis then said to move over the other note; and when it makes a down-change, to move under it: as in the next preceding example, where the 3d note is said to move up over the 4th, and the 4th down under the 3d, in which manner the terms over and under are given to the two notes that make every change.

Observ. 5. In the time of ringing changes, two things are by the Practitioners to be well considered. First, to observe and readily to know, which two bells are always to make the next succeeding change: Secondly, if he is concern’d therein, to consider what bell he is to follow in the making of it. Upon a right knowledge of these two things, depends the Practick part of this Art. To make him expert herein, he must before hand perfectly understand, and readily remember the course and method of the changes prickt with figures, wherein he ought to be so well skill’d, as to be able to prick them down divers ways, that is, to make any figure a Hunt at pleasure; which when he can readily and speedily do, without pausing to consider of the course, then ’tis presumed that he understands the methods throughly. But yet he will not be capable to put them in practice, untill he understands the manner of making a change in ringing; neither can he understand that, until he understands the precedency of the notes; nor the precedency, until he understands the places; nor the places, until he knows the notes one from another. Therefore the four preceding observations being first perfectly understood, and also the methods of the changes as before; the Practitioner may then successfully proceed in the ringing of changes; and as a further help therein I will here instruct him. There are three bells concern’d in the making of every single change, except only when ’tis made behind, and then but two: whensoever the note of his bell is to make a change with any other note, his ear must then inform him whether it lies before or behind the other note; if it lies before, then in making the change it must move up behind it, that is, to follow it; and consequently, he must draw down his bell next after that which he makes a change with, which is called an up-change, as I said before. But if the note of his bell lies behind the other, then in making of the change it must move down to strike before it, and consequently he must draw down his bell next after that which the other before followed, this being a down-change. So that the making of an up-change is very easie, because he must always follow that bell which he makes a change with; but a down-change is more difficult, because he cannot so readily apprehend what bell he is to follow; yet there is a certain rule for it, which is this: to observe beforehand what note strikes the next but one before his, which bell he must follow in the making of the change. Whensoever the two notes, which strike next before his note, are to make a change; he must consider, that notwithstanding his note is to lie still in its place, yet he is concern’d therein, because the bell which he followed before the making of the change, must in the making of it move away down, and therefore he must follow the bell that comes into its place.

The changes are to be rung, either by walking them, as the term is; or else Whole-pulls, or Half-pulls. By walking them, is meant, that the bells go round four, six, eight times or more in one change; which way is very proper for young Practitioners, to introduce them into a more ready way of Practice; for whilst the bells go round divers times in one change, they have in the mean time leisure to consider which two bells are to make the next following change, and also what bell each of them is to follow in the making of it; and so by diligence in practice they will by degrees acquire a more ready skill to enable them to ring at whole-pulls. Whole-pulls, is, when the bells go round at the fore-stroke and back-stroke in a change; and every time they are pull’d down at Sally, a new change is made. Whole-pulls was the general practice in former times; and indeed, considering the manner of the hanging of the bells in those days, they could not well be rung at half-pulls: but since the improvement of the Art of Bell-hanging, that is, with round Wheels, trussing them up in the Stock, and placing the Roll at right Angles with the Sole of the Wheel; the bells go much better, and are managed with more ease at a Sett-pull than formerly: therefore the changes are now generally rung at half-pulls, that is, at the fore-stroke one change, at the back-stroke another, and so throughout.

In ringing half-pulls, some peals of changes will cut compass, wherein the whole Hunt comes always to lead at the back-stroke; to prevent which, make the first change of the peal at the back-stroke. In plain and single changes on six bells, to hunt (that is, whole Hunt) the Treble, third, or fifth, down at the beginning of a peal cuts compass, unless prevented as before. Also to hunt the second, fourth, or sixth up at the beginning of a peal, cuts compass, unless prevented as before. Which rules, leaving out the Tenor, serves in like manner to prevent cutting compass on five bells.

’Tis convenient in ringing, to give notice of the extream changes, and he that rings the slowest Hunt, may best do it. The manner of it is, to say Extream, when the leading bell is pulling down, in order to make the change next before the extream; by which means there will be one compleat change betwixt the warning and the extream: longer warning would be too much, and shorter too little.

The divers kinds of changes on Bells may be comprehended under two heads, viz. Plain Changes, and Cross Peals, which terms are comparatively given: for as the first are plain and easie only in comparison to the methods of the second; so consequently the second cross and intricate in comparison to the methods of the first. I will first shew in what respect they differ, and then proceed to the methods. Plain changes (I mean compleat peals) are such as have one universal method, wherein all the notes except three have a direct hunting course, moving gradually under each other in one plain and uniform order. But the methods of cross peals are various, each peal having a course differing from all others: and although most of them have Hunts, yet the Hunts have different kinds of motions, and some very intricate. Moreover plain changes are also term’d Single changes, because in the ringing of them there is only a single change made in the striking of all the notes once round either at fore-stroke or back-stroke; whereas in cross changes ’tis usual to make as many changes as the number of notes will permit. For example, supposing that a peal of 5 bells were raised, and rung at a Sett-pull; the notes are supposed to strike round in this order, 12345: now any two of the notes that strike next together may make a change, therefore either a single or a double change may be made at pleasure. The single change is made by changing only two notes; the double change is made by changing four notes, that is, two to make one change and two another, yet ’tis called one double change, and not two changes, in regard ’tis made in the striking of the five notes of the bells once round: as, admit the treble, second, third, and fourth, should make a change, ’tis thus to be done, 21435, where the Treble and Second made one change, and 3, 4 another; which we will imagine to be made at the fore-stroke of the bells, and therefore ’tis called one double change, and not two changes, because ’tis entirely made in the striking of the five notes once round. So that this one double change has effected that which would have required two single changes to have done the like. For instance, there can but two notes change their places at once in a single change, therefore the Treble and Second shall first change their places thus, 21345; then the third and fourth thus, 21435: so that here the five notes have gone twice round to effect that, which in the double change was done in going once round. And this is the nature of the difference between Plain and Cross changes.

As the Learner ought to proceed regularly in his practice, beginning first with the plainest and easiest methods. I will therefore observe that order, and first shew the course and methods of Plain changes.

The Changes on two Bells.

Two bells are capable to make only two changes, which is to be done by changing the notes twice, as in these figures.——

The Changes on three Bells.

There are six changes on three bells; which are made by this rule: the two first and two last notes must be changed by turns.

In these six changes ’tis observable, that the two first notes, which were 1 2, made the first change of the six; but they may as well be rung by

The six changes can be rung no more than these two ways here set down.

The Six changes are sometimes rung by observing a hunt therein, which is very improper, since every note has a like course. Yet I confess in demonstrating the methods on twelve, I did there admit a Hunt into the six changes; but that was only for demonstration sake.

The compleat peals of plain changes, from three to all greater numbers whatsoever, as the Twenty four changes on four, the Sixscore on five, the Seven hundred and twenty on six, &c. are prickt and rung by one method; all the notes having a hunting-motion, except only three in each peal, which three do make the six changes in the same manner as they are before prickt. So that the Six changes on three may be term’d the basis or foundation of the compleat peals on all greater numbers.

Every Hunting note in each peal has a certain number of notes assigned, through which ’tis always to hunt. The term hunt is given to a note in respect of the manner of its motion, which I will shew in this example. First, the notes of four bells are supposed to strike round in this order, 1234. The Treble shall be the Hunt, and the other three assigned or appointed for it to hunt through. Now whereas the Treble-note leads, it must move through its assigned number to strike behind them: and whereas every change must be made betwixt two notes that strike next each other, as I have shewed before in the 4th Observation; therefore the hunting-note is confin’d to move gradually through the rest by making a change with each note that strikes next to it; and accordingly it must first move into the 2d place, next into the 3d place, and lastly into the 4th. So that ’tis to make a change with every note that lies behind it; first with the 2d note, next with the 3d, and lastly with the 4th.

The hunting note has here moved through its assigned number; for whereas at first it did lead, now it strikes behind them. Wherein ’tis observable, that it made up changes all the way; which of necessity it must do, because every note with which it was to make a change, lay behind it: and because it made up changes, therefore ’tis said to have hunted up. The hunting-note shall now move through its assigned number again, to lead as at first. Therefore first it must move into the 3d place, then into the second place, and lastly into the first place, which is called the Treble’s place; in which motion it must make a change with each note that strikes next before it: first with the 4th note, next with the 3d, then with the 2d.

’Tis observable, that here the Treble made down-changes all the way, which of necessity it must do, because every note with which it was to make a change, lay before it: and because it made down-changes, therefore it is said to have hunted down. This is the manner of the motion of the hunting notes in all peals of plain changes; for they hunt up and down through their assigned number, as the 1 here has done. This example is plain and full to instruct the Learner in the hunting of any bell, therefore he ought to peruse it diligently, that he may understand the true scope and meaning of it; and as a help he may apply himself to practice by taking a Treble, and attempt to hunt it up and down as this Example directs; which he may the more readily do, if he understand the 5th Observation before set down, which guides him to make a change in ringing. So that partly by reading and well considering of what I have here wrote, and partly by practice, he may in a short time become perfect in the hunting motion of any note; which when he rightly apprehends, he will then presently be capable of understanding the following methods; and therefore I shall be the more brief in my directions to them.

The Changes on four Bells.

Twenty four changes may be rung upon four bells: but the Learner may first practice the twelve changes, and the eighteen changes. In the twelve changes the notes are all to be hunted up after one another, which may be called the Twelve all over. First the treble-note must be hunted up, letter (a); then the second note must likewise hunt up, letter (b); next the third note must hunt up, letter (c); and lastly the 4th note also, letter (d).

The four notes may also hunt down one after another. First, the 4th note must hunt down to lead: then the 3d note likewise, and so the 2d and Treble one after another, which may be term’d the Twelve all under.

Courteous Reader, in my directions to the course of each peal, I do there refer by letters to the examples; which I am forced to do, to prevent those confused breaks, and unhandsome spaces, which otherwise would have happen’d both in examples and precepts. Whatever letter I mention in my directions, refers to the like at the figures. For instance; in my directions to the twelve changes next before, I there directed the treble-note to be first hunted up, letter (a); which letter refers to the like letter at the first three changes of the twelve, where the Treble hunted up, as ’tis here again represented, and the like of the rest.

In the Eighteen changes, the Treble is a hunting note, but never hunts up farther than the 3d place; and when it lies there, the two first notes must make a change; and every time it leads, the two hindmost notes. First it hunts up into the 3d place, letter (a); the two first notes, Which are 2.3, make a change, letter (b); the Treble hunts down (c). The two hindmost notes make a change (d), the Treble hunts up (e). The two first notes, which are 3.4, make a change (f) the Treble hunts down (g); the two last notes, which are 3.2, make a change (h), which method being continued, will bring the bells round at the end of eighteen changes. The Eighteen changes may also be rung by hunting the 4th note down into the 2d place, and then a change to be made behind: the 4th note to be hunted up again into its own place, and then a change to be made before, which course being continued, will produce Eighteen changes.

The Six changes on three are the ground of the Twenty four changes on four; for one of the four notes hath a constant hunting motion through the other three, in the same manner as in the preceding Example, page [50]. and the three notes are to make the six changes in the same manner as I have before shewed in the changes on three bells; one of the six changes being always made every time the hunt lies either before or behind the three bells: therefore if the Learner do but rightly apprehend the course of the six changes, and also the manner of the motion of the hunting note, he will presently understand the method of the twenty four changes. The six changes in the twenty four, according to the terms of ringing are called Extream changes, and the three bells which makes them, Extream bells. So that in the twenty four changes, there is a hunt and three extream bells. Every time the hunt lies either before or behind the extream bells, an extream change must then be made. The extream changes may be made two ways, viz. either betwixt the two farthest extream bells from the hunt, or else betwixt the two nearest extream bells to it. In this Example every extream change shall be made betwixt the two farthest extream bells from the hunt, and the treble shall be the hunting note, which must first hunt up (a); then the two farthest notes from the hunt, which are 2.3, must make an extream change (b). The Treble must hunt down (c). The two farthest notes from the hunt, which are 2.4, must make an extream change (d). The treble must hunt up (e); the two farthest notes from the hunt, which are 3.4, must make an extream change (f). The treble-note must hunt down (g). The two farthest extream bells from the hunt, which are 3.2, must make an extream change (h). The treble must hunt up (i). The two farthest notes from the hunt, which are 4.2, must make an extream change (k). The treble must hunt down (l). The two farthest extream bells, which are 4.3, must make an extream change (m), which concludes the peal. Now the Learner for his satisfaction may take out the extream changes in the same order as they were made, as first at (b), then (d), and so (f.h.k.m.) and they will stand as they are here set down; where ’tis evident, that 2.3.4 have made the six changes according to the method of the first six changes on three bells, before set down, (page [48].) where the first change of that six was 213, and this being 324, is the same in course though the figures differ, and the rest of the changes in this six, are likewise the same in course and method with those.

3241

1342

4321

1423

2431

1234

In the preceding twenty four changes, every extream change was made betwixt the two furthest extream bells from the hunt. I will therefore here set down an example, where they shall be made between the two nearest bells, to it. First, the treble hunts up (a). The two next notes to the hunt, which are 3.4, must make an extream change (b). The Treble must hunt down (c). The two nearest notes to the hunt, which are 2.4, must make an extream change (d). The Treble hunts up (e). The two nearest extream bells to the hunt, which are 2.3, must make an extream change (f). The Treble hunts down (g). The two next extream bells to the hunt, which are 4.3, must make a change (h). And the like extream changes being made as at (k) and (m), concludes the peal.

The six extream changes, viz. (b.d.f.h.k. and m.) being set down by themselves, will stand in this order, as here you see; where ’tis plain, that 2 3 4 have made the six changes, according to the method of the last six changes on three bells, page [49]. where the first change of that six is made between the last two notes thus, 1 3 2. So in like manner is the first here thus, 243, which is the same method with that, though not the same figures.

2431

1423

4321

1342

3241

1234

So that the making of the extream changes two ways in the twenty four, proceeds from the two ways of making the six changes on three bells. This last way of making the extream changes, may, for distinction from the other way, be called mediums; which term is very proper, in regard that the two middlemost of the four notes do always make the extream change. The extream changes in one peal must all be made alike, that is, either betwixt the two farthest notes from the hunt, or else betwixt the two nearest notes to it; but the most usual way is to make them between the two farthest.

Any note may be made a hunt at pleasure, and its first motion at the beginning of the peal may be either up or down. The twenty four changes may be rung sixteen ways according to the aforesaid method, yet the changes to each are still one and the same; but by making each note a hunt, and moving it either up or down at the beginning, and also by making the extream changes two ways, the course of the changes will be so altered, that the same changes shall not come all along together in any two of those sixteen ways. With the hunting of one note it may be rung four ways; for the note may move either up or down at the beginning of the peal; then in its motion either way the extream changes maybe made two ways, as before: so that to make each note a hunt, and with each hunt to ring it four ways makes sixteen in the whole. Wherein ’tis observable, that the treble-note cannot be moved down at first, nor the 4th up; therefore an extream change must first be made, which is as effectual as if either note had moved at first. I have here prickt the twenty four changes three ways, wherein the extream changes are all made betwixt the two farthest notes from the hunt.

The Changes on five Bells.

There are sixscore changes to be rung on five bells; but the Learner may first practice some shorter peals, as the Ten changes, the twelve, the Fourteen, the Twenty all over, the Twenty with one hunt, and the Forty eight.

In the Ten changes the treble must first hunt up (a); the 2.3 must make a change (b). The treble must hunt down again (c); the 3.2 must make another change (d). The ten changes may also be rung by hunting down the 5 to lead; then 3.4 to make a change; the 5 to be hunted up again, and the 4.3 to make another change.

In the Twelve changes the treble hunts up into the third place, then the two first notes make a change; the treble hunts down again, then the two hindmost notes make a change. First the treble hunts into the 3d place (a); the two first notes 2.3 make a change (b). The treble hunts down (c); the two last notes make a change (d); the treble hunts up (e); the two first notes make a change (f); the treble hunts down (g); the two last notes make another change (h).

In the Fourteen changes, the treble first hunts up behind; then the 5 hunts down to lead; the treble then hunts down again into its own place; and the fifth also hunts up into its own place.

The Twenty all over are rung in the same manner as the Twelve all over upon four bells, to which I refer.

In the Twenty changes with one hunt, the hunting note continually hunts up and down through the other notes, and every time it lies either before or behind them, an extream change must be made betwixt the two farthest notes from it. The treble shall be the hunt, and first hunteth up (a). An extream change is made (b); the treble hunts down (c); an extream change is made (d); which course must be continued to the end. The extream changes may also be made betwixt the two next notes to the hunt. Any note may be made a hunt at pleasure, yet still observing to make the extreams as before.

In the forty eight changes, the 5th and 4th are both hunts, and 1 2 3 do make the six changes; the 5.4 do hunt down by turns, and when either of them leads, then one of the six changes is made. First the 5 hunts down (a); one of the six changes is made (b); the 5 hunts up into its own place (c); the 4 hunts down (d); another of the six changes is made (e); then the 4 must hunt up, and the 5 down again, &c. which course must be continued to the end.

In the Sixscore changes, four of the notes do make the Twenty four changes, and the fifth note hunts continually through them: so that the course and method of the Sixscore is in effect the same with that of the Four and twenty. For as the Four and twenty comprehended the Six changes on three; so in like manner the Sixscore comprehend the Four and twenty changes on four, and the Six changes on three. Therefore in the Sixscore there must be two hunts and three extream bells; one of the hunts is term’d the whole-hunt, and the other the half-hunt, The three extream bells do make the Six changes in the same manner as they were made before in the Four and twenty changes upon four bells, and are here also call’d Extream changes: the half-hunt and three extream bells do make the Four and twenty changes in the same manner as the Four and twenty changes on four bells were likewise made: and the whole hunt continually hunts through those four bells, and every time it either leads or lies behind them, one change must then be made in the twenty four. 1 shall here be the whole-hunt, 2 the half-hunt, and 345 extream bells: so that 2345 must make the four and twenty changes. Every extream change shall be made betwixt the two farthest extream bells from the half-hunt. First, the treble hunts up (a). One of the twenty four changes must now be made; and therefore 2 which is the hunt in the twenty four, must begin its motion through the extream bells (b). The treble hunts down (c); the half-hunt must proceed in its course (d); the whole-hunt hunts up (e); The half-hunt proceeds forward (f); the whole-hunt moves down (g). The half-hunt should now proceed, but having finished its course through the extream bells, therefore an extream change must now be made betwixt the two farthest extream bells from it, which are 3.4 (h). The treble must hunt up (i); the half-hunt must now begin its course again through the extream bells (k); treble hunts down (l); the half-hunt proceeds in its course down (m); treble hunts up (n); the half-hunt proceeds in its course down (o); treble hunts down (p); the half-hunt having finished its course, therefore an extream change must be made betwixt the two farthest extream bells from it, which are 3.5 (q). The treble hunts up (r). The half-hunt begins its motion again through the extream bells, and first it moves up over 4th (s). The whole hunt moves down (t); the half-hunt must proceed in its course, and therefore must move over another note (v). And this method being observed, will produce sixscore changes, and then the bells will in course come round. Now ’tis observable, that the changes at (b d f h k m o q s v x and z), being set down by themselves, that is, the 1 to be excluded, and the changes on 2345 to be set directly under one another in the same successive order as they were made, it will thereby appear, that those four figures have made twelve changes of the twenty four, according to the method of the first twenty four changes on four bells before set down. And whereas here are just half the sixscore changes prickt down, so likewise here are just half the four and twenty changes made therein: and the remaining part of this sixscore being likewise prickt, the remaining part of this four and twenty would also appear therein, which part being added to the former twelve, would make up the twenty four changes compleat; and the method of them the same in all respects with the first twenty four changes on four bells, page.

Any note may be made a whole hunt at pleasure, and its first motion at the beginning of the peal may either be up or down. Any note may also be made a half-hunt, and its first motion likewise up or down at pleasure; yet still observing that the half-hunt and three extream bells must make the twenty four changes, as in this last example. So that in the sixscore changes the Learner may observe, that the three extream bells are always assigned for the half-hunt to hunt through; and the half-hunt and three extream bells are also assigned for the whole-hunt to hunt through: so that the whole-hunt always hunts through four notes, and the half-hunt through three. The extream changes may be made two ways; first, betwixt the two farthest extream bells from the half-hunt, as in this last example; secondly, betwixt the two next extream bells to the half-hunt, which may be called mediums, for distinction from the former. But the most usual and easiest way, is to make them betwixt the two farthest notes from the half-hunt.

Whereas the treble or fifth being made whole-hunts, the first of them can neither be moved down, nor the last up, at the beginning of a peal; therefore one of the twenty four changes must first be made, which is as effectual, as if the treble had moved down, or the 5th up.

The Learner may observe, that two of the four and twenty changes are never made together in any sixscore, but as soon as one is made, the whole-hunt moves through the four notes before another can be made.

The sixscore changes may be rung one hundred and sixty ways, which are thus demonstrable. There are five times four figures to be produced out of five, and not twice four the same figures: as 1234. 1235. 1245. 1345. 2345. with each four the twenty four changes may be prickt sixteen ways, as before I have shewed on four bells; so that here will be five times sixteen four and twenties, which amount to eighty, and not two alike. Now to each four add the fifth figure which is wanting, as to 1234 add 5, to 1235 add 4, to 1245 add 3, to 1345 add 2, to 2345 add 1, and every fifth figure being hunted through the sixteen four and twenties, which the other four make, as the 5 through the sixteen four and twenties which the 1234 make, and the like of the rest, will produce as many sixscores as there were four and twenties, that is, 80. Then the whole hunt may hunt two ways through each four and twenty, that is, up and down at the beginning, which doubles the former number, and makes 160 in the whole.

Treble up, fifth down.

Treble up, fourth down.

Second down, fourth up.

In ringing terms the hunts are named in short, as in the peals here prickt. The first which is named is here understood to be the whole-hunt, and the last the half-hunt. For instance, Treble is the whole-hunt, and fifth the half-hunt; and treble is the whole-hunt, and fourth the half-hunt, &c.

The Changes on six Bells.

There are seven hundred and twenty changes to be rung of six bells. But the Learner may first practice some shorter peals.

The twenty four changes are thus rung. The treble must continually hunt through the rest of the notes, and every time it leads or lies behind them, an extream change must then be made between the two farthest notes from it. The treble hunts up (a). A change is made betwixt the two farthest notes from it, which are 2.3 (b). The treble hunts down (c). An extream change is made betwixt 5.6 (d), which method must be continued to the end. Any note may be made a hunt at pleasure, and the extream changes may as well be made betwixt the two nearest notes to the hunt. The Thirty-all-over are rung according to the method of the Twelve all over upon four bells, to which I refer.

The thirty six changes are thus rung. The treble hunts up into the third place, and then the two first notes make a change. The treble hunts down again to lead, and then the two notes in the 3d and 4th places do make a change, except the 2 lies next the treble, and then the two hindmost notes. The treble hunts up (a). The two first notes make a change (b). The treble hunts down (c); the 2.4 make a change (d). In which manner the changes are to be made untill the treble leads, and the 2 (which may be term’d the half-hunt) lies next it, and then the extream change is made behind, as in the last change of this example, there being but two of these changes in the peal.

In the Twelvescore long-hunts, (otherwise called the Esquire’s twelvescore); the 6th and 5th are hunts, and 1234 do make the twenty four changes. The 6th and 5th do hunt down by turns, and when either of them leads, one of the twenty four changes must then be made. The course and method of this is the same with that of the forty eight changes on five bells, to which I refer the Learner.

In the Sevenscore and four, the treble and tenor are both hunts; and 2345 do make the twenty four changes, 2 being the hunt therein. The treble and tenor do both hunt at one and the same time, the one up, and the other down, crossing each others course; and when one of them leads, the other always lies behind; at which time one of the twenty four changes must be made. The extream changes in this peal are made in the same manner as before I have shewed upon four bells. The treble hunts up, and the tenor down (a). One of the twenty four changes is made (b). The treble hunts down, and the tenor up (c). Another of the twenty four changes is made (d). The treble hunts up, and the tenor down (e), &c. which method must be observed to the end.

In the sixscore changes there is a whole-hunt, a half-hunt, and four extream bells. The half-hunt and four extream bells do make the twenty changes in the same manner as the twenty changes were made upon five bells with one hunt. page [61]. The whole hunt hath a continual motion through the other five notes, and every time it leads and lies behind them, one of the twenty changes must then be made. In this example, treble is the whole-hunt, 2 the half-hunt, and 3456 extream bells; therefore 23456 must make the twenty changes wherein 2 is the hunt, and every time it lies either before the four extream bells, or behind them, an extream change must then be made, which here shall be betwixt the two farthest extream bells from the half-hunt. The treble hunts up (a). One of the twenty changes must now be made, therefore 2 being the hunt in it, must begin its course through the extream bells (b). The treble hunts down (c); The half-hunt proceeds forward (d); the treble hunts up (e); the half-hunt proceeds forward in its course (f); the treble hunts down (g); the 2 proceeds forward (h); the treble hunts up (i); the half-hunt should now proceed forward, but its course through the extream bells being finished, therefore an extream change must be made betwixt 3.4, which are the two farthest extream bells from it, (k). The treble must hunt down (l); the half-hunt must now go its course again through the extream bells, and first it moves down under the 6th, (m) &c. which method must be continued to the end. Any note may be made a whole hunt at pleasure, or a half-hunt also. And the extream changes may be made betwixt the two nearest extream notes to the half-hunt; but withall observing to make all the extreams in one peal alike. There are four extream changes in each peal, and thirty changes distance from one to another.

The method of the Seven hundred and twenty, hath an absolute dependency upon the method of the Sixscore changes on five bells; for five of the notes are to make the sixscore changes, and the sixth note hunts continually through them, and every time it leads or lies behind them, one of the Sixscore changes must then be made. The method of the Seven hundred and Twenty is in effect the same with that of the Sixscore: for as the Sixscore comprehended the Twenty four changes on four, and the Six on three; so likewise the Seven hundred and twenty comprehend the Sixscore changes on five, the Twenty four changes on four, and the Six changes on three. Therefore here must be three Hunts, and three Extream bells: the three Hunts are thus distinguished; one of them is call’d the whole-hunt, another the half-hunt, and the other the quarter-hunt. The Half-hunt, Quarter-hunt, and three Extream bells, are to make the Sixscore changes; the Quarter-hunt and three Extream bells are to make the Twenty four changes, and the three Extream bells are to make the six changes, which are here also called extream changes, and made in the same manner as before I have shewed upon four bells. In this example here prickt, treble is the whole-hunt, 2d the half-hunt, 3d the quarter-hunt, and 4 5 6 extream bells. Now ’tis observable, that 4 5 6 are to make the six extream changes, which will divide the seven hundred and twenty into six equal parts; the 3 4 5 6 are to make the twenty four changes, wherein the 3d is the hunt, (but in the seven hundred and twenty ’tis call’d the quarter-hunt;) and 2 3 4 5 6 are to make the sixscore changes, wherein the 2d is the whole-hunt (though in the 720 ’tis call’d the half-hunt,) by which ’tis evident, that the treble continually hunts through these five 2 3 4 5 6, the 2d through the four 3 4 5 6, and the 3d through these three 4 5 6; which are assigned for the respective hunts to hunt through, from the beginning to the end of the peal. First the treble hunts up (a). Now one of the sixscore changes must be made, therefore the 2d being the hunt in the sixscore, must begin its course through the other four notes (b). The treble hunts down (c); the 2d proceeds in its course (d); the treble hunts up (e). The 2d proceedeth forward in its course (f); the treble hunts down (g); the 2d proceeds forward (h); the treble hunts up (i); the 2d, which is the half-hunt, should now proceed forward, but having finished its course through the four bells, therefore the 3d, which is the quarter-hunt, must begin its motion through the extream bells (k). The treble hunts down (l). The half-hunt must now begin its course again through the four bells, and first therefore it moves down under the 6 (m). The treble must hunt up again, and then the 2d must move down under another bell, which method must be observed untill the 2d has moved quite down through the four bells again, and then the 3d must proceed forward by moving over another of the extream bells; which method must be observed in the motion of the three hunts, until the quarter-hunt hath moved up behind the extream bells, and then the whole and half-hunts, having gone their course again through the bells, an extream change must be made: after which the whole, half, and quarter-hunts proceed again in their course as before.

The letter h standing by the figures signifies half-hunt, that is, the motion of the half-hunt in that change; and likewise q the quarter-hunt. Here are the first sixscore changes of a seven hundred and twenty; wherein ’tis observable, that all the changes at h and q being set down by themselves in the same successive order as they were made, that is, the 1 to be excluded, and the changes on the other five figures to be set down directly under one another, and the extream change at last, it will thereby appear, that the five figures have made twenty changes of a sixscore, according to the method of the example on five bells, page [63]. with this only difference, these are made on 23456, and those were made on 12345; but the five figures of each have both alike course, the 2d and 3d going the same course in this, as the treble and 2d did in that. Now whereas the sixscore changes here prickt down are a sixth part of the seven hundred and twenty, so likewise are the twenty changes, here made by 23456, a sixth part of the sixscore: and then consequently, the seven hundred and twenty changes being all prickt, the sixscore changes on 23456 would plainly appear therein, in the same manner as twenty of them appear in this sixscore. Therefore more need not be said of the method of the 720, since the method of the sixscore changes on five bells being well understood, will be a sure and certain guide to the Learner: only this one thing farther; in ringing of this peal with any hunts, the second extream change being made between the two bells which made the first extream, will always bring the bells round at the end of the twelvescore. But after twelvescore are made, they cannot in course be brought round until the end of the 720.

The 720 changes may be rung one thousand nine hundred and twenty several ways, which is thus demonstrable. There are six times five figures to be produced out of six, and not twice five the same: as 12345. 12346. 12356. 12456. 13456. 23456. and with each five the sixscore changes may be prickt one hundred and sixty ways, as before I have shewed on five bells. Now to each five add the sixth figure which is wanting, as to 12345 add 6, to 12346 add 5, to 12456 add 3, to 13456 add 2, and to 23456 add 1. And the sixth figure which is added, being hunted through all the several sixscores which the other five figures make; for instance, the 6 through the 160 several sixscores which 12345 make, and the 5 also through the 160 several sixscores, which 12346 make, and the like of the rest; will produce as many seven hundred and twenties as there are sixscores, that is, six times one hundred and sixty, which amounts to nine hundred and sixty. Then the note that hunts through the other five, may hunt two ways through each sixscore, that is, up and down, which will double the former number, and make nineteen hundred and twenty in the whole.

AN INTRODUCTION
to the Knowledge of
CROSSE PEALS.

These Peals are term’d cross in respect of their intricate methods; wherein several notes moving at one and the same time, do thwart or cross each other in their course and motion, some moving up, others at the same time down, gives this Denomination to the Peals. The end of pricking them is to make the compleat number of changes by a method differing from that of other Peals. For although five can be varied but 120 ways, and six but 720 &c. yet the methods by which they are varied, are differing, according to the several fancies of the Artist. And as order and method are the only basis on which this Art is founded; so the skilful Artists, the better to effect the aforesaid end, have thought fit in most peals to appoint one note to be as it were a Helm or Rudder, by which the course of the peal is steered; which note is term’d a Hunt, and hath one constant uniform motion throughout the peal, differing from that of the other notes. The manner of its motion is continually through the other notes, that is, from leading to strike behind, and from thence again to lead, which motion, first up and then down, is term’d one compleat Course. Some peals upon five bells, as old Doubles, &c. consist of single Courses; there being ten changes in every single Course, and twelve of those Courses in the peal. Other peals upon five bells, as London Paradox, &c. consist of double Courses; there being twenty changes in every double Course, and six of those Courses in the peal. Upon six bells there are also single and double Courses, viz. twelve changes in every single Course, as in Grandsire Bob &c. and twenty four changes in every double Course, as in Colledg Bob, &c. the change wherein the Hunt leaves leading being the first change of every Course. Now the methods of these peals being well considered, they will be found more easie than at the first view they may seem to be; for the first Course of any Cross Peal being judiciously viewed, the general method of the whole peal will thereby appear: for all the Courses in a Cross peal do agree in these three respects. First, in the motion of the Hunt; secondly, in the motion of the rest of the notes; thirdly, in the making of the changes, which will plainly appear in the following peals, (some few changes in each peal only excepted, as hereafter I shall shew in my Directions to the several peals:) for proof of which I will give an instance in the peal of new Doubles upon five bells, these being the three first Courses of the peal. Wherein ’tis observable, that the last change of the first Course which is 13524, I have set down again at the top of the second Course; and likewise the last change of the second Course which is 15432, I have also put at the top of the third course; which I have done for the plainer Demonstration of what I here intend. So that the ten lowermost changes are the ten changes of each Course.

First therefore, as to the motion of the hunt, the 1 which is the hunt moves directly up behind, where it lieth twice, and then down again to lead, where it lieth also twice; as appears in each of these three Courses, and the like also throughout the peal.

Secondly, as the 2d, 3d, 4th, and 5th bells move through the first Course, so the bells that lie in the 2d, 3d, 4th, and 5th places in the last change of every course, moves in the same manner also through the next following course. For instance; first, for the bell in the 2d place: in the first course the 2d bell moves down to lead, where it lieth twice, and then dodges untill the treble comes down to it. So likewise in the second course, the 3d bell lying in the 2d place moves down to lead, where it lies twice, and then dodges until treble comes down to it; and also in the third course, the 5th bell lying in the 2d place, moves down to lead where it lieth twice, and dodgeth until the treble moves down to it. Secondly, for the bell in the 3d place. In the first course the 3d bell moves down to lead, and there dodgeth untill the treble comes down to it: so likewise in the second course the 5th bell lying in the 3d place moves down to lead, and there dodgeth untill the treble comes down to it: and also in the 3d course the 4th bell lying in the 3d place moves down to lead, and there dodgeth until the treble comes down to it. Thirdly, for the bell in the fourth place: In the first course, the fourth bell moves up behind, then down into the 3d place where it lieth twice, then up again behind; so likewise in the second course, the 2d bell lying in the 4th place moves up behind, then down into the 3d place where it lieth twice, then up again behind; and also in the third course the 3d bell lying in the 4th place, moves therefore up behind, then down into the 3d place where it lieth twice, then up again behind. And such uniform motion also hath the bell in the 5th place through every course.

Thirdly, that the changes in all the courses of the peal are made alike, will here also plainly appear in the three courses. For the first change of every course is made on the two first and two last bells; the second change of every course is made on the four last; the third is made on the four first; the fourth on the two first and two last; the fifth on the four first; the sixth on the two first and two last; the seventh on the four first; the eighth on the four last; the ninth on the two first and two last; and the tenth single.

And thus in every Cross-peal the Courses do all agree, first in the motion of the Hunt, secondly in the motion of the rest of the notes, and thirdly in the making of the changes, as before I have showed. So that these three things being well observed, will be very helpful both in pricking and ringing them; the first and third being most proper to direct the pricking of them, and the first and second the ringing of them. Therefore if the Practitioner do but observe how the changes are made in the first course of a peal, wherein he must have particular regard to the motion of the Hunt, (with a little further help from the following directions to each peal, as to the making of Extreams and Bob-changes) he may easily prick down all the following Courses of the same peals and therefore in the following peals I have onely prickt down two or three of the first courses for an example, and then have abridged the rest of the peal by setting down only the changes that are made at the leadings of the Hunt. But note, there are some few Cambridg-peals upon five bells, wherein all the courses of each peal do not agree in the aforesaid three respects: For although as to the motion of the whole-hunt they do, yet in the motion of the rest of the notes, and consequently in the making of the changes they do not.

It being very difficult to begin the following peals with cross hunts, that is, to make the 2d, 3d, 4th &c. whole-hunts, I will therefore set down a general rule for making the first changes at the beginning of each Peal, wherein consists the great difficulty. In any Cross-peal the whole-hunt may move either up or down at the beginning; and the motion of the whole-hunt in the first course of each of the following peals will direct the first motion of any cross hunt, and consequently of making the first changes in that peal. For Example, admit the 4th were made the whole-hunt in the peal called Old doubles and singles upon five bells, and to hunt up at first: now to know how to make the first changes, observe how the change is made wherein the treble (which is there the whole-hunt) moves up out of the 4th place, and in the same manner must the change be made wherein the 4th bell also moves up out of that place: therefore as the change wherein the treble moves up out of the 4th place is a single behind; so likewise must the change wherein the 4th bell moves up out of that place, be also a single behind thus, 12354: and then as the next change wherein the treble lieth still behind is double of the four first bells; so likewise the next change wherein the 4th bell lieth still behind, must also be made on the four first, thus, 21534, &c. Or admit the 4th were to hunt down at the beginning, then observe how the change is made wherein the treble hunts down out of the 4th place, and so in like manner must the change be made wherein the 4th hunts also down out of that place: therefore as the change wherein the treble hunts down out of the 4th place, is double of the four first bells; so likewise must the change wherein the 4th bell hunts down out of that place, be also double of the four first thus, 21435; then as the treble makes a single when it moves down out of the 3d place, so likewise must the 4th next make a single change in moving down out of the 3d place thus 24135, &c. which observations will guide the making of the first changes in any cross peal with any Hunts; but observe whensoever the first change of any peal happens to be single, it must be made at the back-stroke to prevent cutting compass; and the like when a double change happens first in a peal of Triples and Doubles. And moreover by the way observe, that all the following peals are so prickt, that in ringing them at half-pulls, if the first change of each peal is made at the fore-stroke, the single changes in each peal will always be made at the back-stroke; and also the double changes in Triples and Doubles, excepting some few Single in two or three peals. But when it happens that the first change of a peal is made at the back-stroke, then consequently the bells at the end of the peal will come round at a fore-stroke change.

In such peals on five bells where singles are made in the 3d and 4th places at the leadings of the whole-hunt, the extreams may there be made three ways in each peal; viz. every time the half-hunt lieth next to the whole-hunt; secondly, every time it lieth behind; thirdly, every time the half-hunt lieth next the whole-hunt, and also behind: in this last way there are six extreams in each peal, but in other ways only three in each; the extreams being always made when the whole-hunt leads, and betwixt the two farthest extream bells from the half-hunt.

In such peals upon five bells wherein there are three extreams, and made in the 3d and 4th places at the leadings of the whole-hunt; the rest of the singles at the leadings of the whole-hunt may be made two ways in each peal, viz. either in the 2d and 3d, or the 4th and 5th places; if they are made in the 2d and 3d, then the extreams must be made when the half-hunt lyeth behind; but if the singles are made behind, then the extreams must be made when the half-hunt lieth next the whole-hunt, the extreams being always made between the two next extream bells to the half-hunt.

In all the following peals the figures standing by themselves at the title of the peal, are the hunts in the peal there prickt: for instance, in the first cross-peal upon five bells call’d Old doubles and singles, the two figures standing thus 1 and 2, are the hunts in that peal; 1 is the whole-hunt, 2 the half-hunt, and the like of the rest.

All peals of doubles upon five bells, which go sixty changes compleat without any single, by making of two extreams they will go 120. And also all peals of doubles upon six bells, and triples and doubles upon six, which go 360 changes without any single or extreme, by making of two extreams they will go 720. The extreams in all these compleat peals proceeding from one and the same cause, are therefore to be made after one manner, according to this general and infallible rule: Wheresoever any two of the extream bells are in course to make a change, those two bells by lying still will effectually make the extream. So that the making of the extream in doubles upon five bells, necessitates the making of a single change at the same time, by reason that the two extream bells which should contribute to the making of the double change, do lie still; so that the single change is accidental, and very improperly called the extream. When the extreams in triples and doubles upon six bells are made at double changes, then there happens two singles in the peal; but when they are made at triple changes, then those two changes will become double, and consequently the 720 will then go compleat without any single. Upon five bells the first extream must be made within sixty changes from the beginning, and the second extream just sixty changes from the first. Upon six bells the first extream must be made within 360 changes from the beginning, and the second extream just 360 changes from the first. The easiest way in practice, is to make the extremes at the leadings of the whole-hunt; wherein it may be observed as a general rule, That in all peals upon six bells, where the half-hunt dodgeth behind at the bobs, there the first extream may be made either the first, second, or third time: the half and quarter-hunts dodg together behind, and then the second extream must be made the third time those two bells dodg again together behind, after the first extream is made. And also in all such peals upon six bells, where the doubles at the leadings of the whole-hunt are made on the four middle bells, there the first extream may be made either the first, second, or third time the half and quarter-hunts do make a change in the 2d and 3d places, and then the 2d extream must be made the third time those two bells come there again to make a change after the first extream is made. The singles at all these extreams must be made by the half and quarter-hunt. The first extream in any peal may also be made at any place, where two of the extream bells are in course to made a change according to the preceding general rule; and then the making of the second extream may be guided by observations taken from the changes at the leadings of the whole-hunt: for at the leadings of the whole-hunt the half and quarter-hunts always come together to make a change in one place, just at 120 changes distance from one another throughout each peal. Now as the second extream must be made just 360 changes from the first, so the making of it may thus be guided: Look how many changes, or else how many leadings of the whole-hunt the first extream is made after the half and quarter-hunts have made a change together, so many changes or leadings of the whole-hunt must the second extream be made, after the third following time that those two bells do made a change in the same place again. And likewise in all peals, where there are single and double bobs, the same observations will also hold good, in making the extreams either after the single or double bobs as before; there being likewise 120 changes distance between the single bobs and also between the double bobs: so that if the first extream is made at a single bob, the second must then be made at the third following single bob, and the like also at double bobs. And such kind of observations, according to the nature of the peal, will guide the making of the second extream in any peal, either upon five or six bells. Wherein ’tis observable, that the second extream must always be made by the same two bells, and in the same place where the first was made, which two bells will in course lie apt for that purpose; and the rest of the bells will also in course lie in the same places at the second extream where they lay at the first. After the making of the first extream, the method of the peal goeth on as if no extream had been made; and also after the making of the second extream if any remaineth, it also goes on, until in course the bells come round.

In all compleat peals of doubles upon six bells there may also moveable extreams be made, which are made according to this rule; wheresoever any two of the extream bells are together, and in course to lie still, those two bells by making a change will thereby make the extream, which is as effectual as the fixed extream, the reason and ground of both being one and the same. There are also two of these extreams in the peal, and the second always made 360 changes from the first, and the making of it guided by such kind of observations as before. When moveable extreams are made, then there will be two triple changes in the 720; but when fixed extreams are made, then two singles.

The art of cross-pricking may receive a being from this consideration. As every compleat peal of plain changes upon one number comprehends the compleat peals on all lesser numbers; so likewise every compleat cross-peal must of necessity do the like, although their cross course permits it not to be done so regularly and demonstrably as the former. From whence may be inferr’d, that every note in a cross-peal must of necessity lie as many times in one place, as the rest of the notes are capable of making changes; and also that two or more of the notes must jointly lie in the same places as many times, as the remaining number are also capable of making changes: this being a certain touchstone to prove all cross-peals after they are prickt, and must be held as a principle on which to ground such methods of pricking, that the course of all the notes may demonstrably tend to produce those effects. And from hence it is, that the whole hunt immediately derives the manner of its uniform motion through the courses of each peal. And the changes in every course are as so many guides to conduct the rest of the notes in such sort, that they may be prepared to lie at the last change of the course in apt places for each succeeding course to receive them, and to perform the like. Now as the changes in all the courses of a peal are made alike, except as before; so in the composing of cross-peals, by pricking of one course may soon be discovered, whether or no a compleat Peal will from thence arise.

Cross Peals.

The Twenty four, Doubles and Singles on four Bells.

This peal consists equally of double and single changes; one change is double, the next single, and so throughout. 1 is here the hunt, and 2.3.4 extream bells. Every double change is made on the two first and two last bells, and every single on the two middle bells, except when the 1 leads, and then behind which is call’d extream. All the bells have a direct Hunting course up and down until 1 leads, and then the bell in the second place lyeth still, whilst the two hind-bells make a dodg; which being made, all the bells proceed again in their Hunting course. The three changes of (a.b.c) are the three extream changes.

There are three ways to make the extream changes. First, every time the hunt leads, as in the peal here prickt; secondly, every time it lies behind; thirdly, every time it leads and lies behind: in this last way there are six extream changes in the peal, but in the other two ways, only three extreams; the extream changes must always be made betwixt the two farthest bells from the hunt. Any bell may hunt at pleasure, and it may move either up or down at the beginning of the peal. If the 1st or 3d do hunt down, or the 2d or 4th up at the beginning, the first change must be single, and made of the back-stroke (if ’tis rung at half-pulls) to prevent cutting compass; but if either of those bells do hunt the contrary way, then the first change must be double.

Old Doubles and Singles. 1 and 2.

One change is double, the next single, and so by turns. The treble hath a direct hunting course, as in plain changes. Every double change is on the four first bells, and the treble is one of the two bells that makes every single change, except when it leads, and then the single is in the 3d and 4th places; but when 2 lies next the treble, then the single is behind, which is call’d extream. Every time the treble leaves leading, the two first bells continue slow dodging, until the treble comes down and displaceth them. And when the treble moves down out of the 5th place, the bell that comes into it lies still there, untill the treble comes thither again, except when the extream change is made behind. Every bell lies twice together in the 3d and 4th places, except when the treble leads, and also when it hinders them in hunting.

This old peal may be rung by a new course, which differs from the former only in the single changes that are made every time the whole-hunt leads, viz. every single may be made either in the 2d and 3d, or 4th and 5th places. If they are made in the 2d and 3d, then the extreams must be made when the half-hunt lies behind; but if they are made in the 4th and 5th places, then the extreams must be made when the half-hunt lies next the whole-hunt, the extreams being always made in the 3d and 4th places.

London Paradox. 1 and 2.

One change is double, the next single, and so by turns. The motion of the treble is after this manner; in hunting up, first, it makes a dodg in the 2d and 3d places, then it lies twice in the 4th place, and four times behind; in which manner also it hunts down again, and then leads four times. The rest of the bells have a like course and motion with that of the treble, untill the treble leads. Now ’tis observable, that every single change is made in the 2d and 3d places until the treble leads, and then in the 3d and 4th places; but when 2 lies next the treble, then an extream behind. The changes at the leadings of thewhole-hunt have an absolute dependency upon the course of the twenty four changes, doubles and singles upon four bells; and the extreams to be made as many ways as in that peal, which are here guided by the motion of the half-hunt.

Phœnix 5 and 4.

One change is double, the next single, and so by turns. Every bell leads twice, and lies behind four times. Every single is made in the 2d and 3d places, until the 5th comes behind, and then in the 3d and 4th places; but when the 4th leads, (the 5th being behind) the single is in the 2d and 3d places.

London pleasure. 1 and 2.

This peal in the former printing of it was prickt another way, but I have here transposed that Course, which in my opinion renders it more easie and practical.

Mr. Tendring’s Peal, call’d Grand Paradox. 1 and 5.

One change is double, the next single, and so by turns. The motion of the whole-hunt is after this manner: first, it moves up into the 2d and 3d places, lying twice in each; then it moves up and makes a dodg behind, and then lieth still one change in the 5th place; then it makes another dodg behind, and so moves down into the 3d and 2d places lying twice in each as before, and then leads four times. Every other bell hath a like course and motion with that of the treble until the leadings of the treble, and then observe, that every time the treble goeth to lead and leaves leading, the double change is made on the two first and two last bells, except when it goeth to lead if the half-hunt lies next it, and then not. Every bell leads four times, and every single is made behind. The change wherein each bell leaves leading, is always made on the four first bells, except as before.

What you please, Doubles and Singles.

Every bell leads four times, and lies behind twice, except when the extream is made behind; and twice in the second place, except when the extream is made before: and note, when the treble is before the fourth stroke, the single is in the 2d and 3d, the next time the single is behind; but at other times the single is in the 3d and 4th places. When any bell leaves leading the double change is on the two first and two last, and the extreams are made by turns, first behind, then before, and so on to the end, for there are six extreams.

Old Doubles.
1 and 2.

The changes are all double, except one single every time the treble leads. The treble hath a perfect hunting course as in plain changes, and every other bell hath a like hunting course with that of the treble until the treble leads, and then a single is made in the 3d and 4th places; but when the 2 lies next the treble, the single is behind which is call’d extream.

New Doubles.
1 and 2.

The changes are all double, except one single at every leading of the treble. The treble hath a perfect hunting course as in plain changes; and when it moves up from leading, the two first bells dodg untill it comes down again and displaceth them. Every bell that comes into the 3d place lies there twice, and then moves up behind; but the bell which lies there when the treble leaves leading, moves down. Every bell lies twice behind, except at the changes wherein the treble goeth to lead and leaves leading. Every time the treble leads, a single change is then made in the 3d and 4th places; but when the 2 lies next the treble, an extream behind.

Reding Doubles. 1 and 2.

The treble hath a direct hunting course as in plain changes, and when it moves up from leading the two first bells dodg until it comes down again and displaceth them; and whilst they dodg before, every bell that comes down into the 3d place lies there twice, and then moves up again behind. But after the dodging all the bells go a direct hunting course up and down, until the dodging again hindreth them as before. Every bell lies twice behind, except when the treble leaves leading if the 2d lies next it, and then the double is made on the two first and two last bells; by which means the two hind-bells then make a dodg, which happens in course once in twenty changes, that is, every second time the treble leaves leading. By this method it will go sixty changes, and then an extream must be made. The extreams in this peal may be made according to the preceding general rule set down in the Introduction. Here the first extream is made at the end of sixty changes, the bells lying 1 3 2; and when they come to lie so again, the second extream must be made; the extream is made behind, two of the extream bells lying there, and the single is made in the 2d and 3d place at both the extreams.

Grandsire. 1 and 5.

The treble hath a direct hunting course as in plain changes, and every other bell hath also a like hunting course with that of the treble except when the bobs hinder. The bobs are double changes, and made on the two first and two last bells according to this rule, viz. every time the treble goes to lead and leaves leading, a bob-change is then made, except the 5th lying next it makes a change there with it, and then not. Now ’tis observable, that once in twenty changes, that is, at every second leading of the treble, the 5th lies next it, and consequently there is but one bob-change then to be made, but at other times two; so that at one leading of the treble there is but one bob-change made, at the next leading there are two, and so successively by turns, which for distinction may be call’d single and double bobs, The two bells that dodg behind at a bob continue there dodging until the treble comes up and displaceth them, and at every bob-change the bell in the 3d place lieth still, and then moves down to lead. By this method it will go sixty changes; and to carry on the course extreams must be made, there being two in the peal. The manner of making an extream I have at large shewed in the Introduction, and the extreams may here be made in any place according to the general rule there set down. The easiest way in practice is to make them at the leadings of the treble; at any single bob it maybe made behind, two of the extream bells lying there, and to lie still whilst the bells in the 2d and 3d places do make the single change: at any double bob it may be made in the 2d and 3d places, so that the single must there be made behind. If the first extream is made at the single bob, the second must be made at the third following single bob; or if the first is made at a double bob, the second must be made at the third double bob following, as in this peal here prickt, where the first extream is made at a double bob, and the second also made at the third following double bob.

This peal will go with any hunts, and to begin it on the four hind bells; but then in ringing it at half-pulls, the first change being made at back-stroke to prevent cutting compass, the bells at the end of the peal will come round at a fore-stroke change. Therefore the better way is to begin it on the four first bells, which may also be done with any hunts, excepting 1.3, 1.5. and 2.3, 2.4, 2.5, wherein the first change of each may be a bob. And observe, that in any way of beginning it, the bells must all proceed in such a perfect hunting course as the first change directs them, until the first bob comes to be made.

Old Triples and Doubles.

One change is triple, the next double, and so by turns, except one single at the end of every sixty changes. Every triple change is made on the two first, the two middle, and two last bells; and every double is made on the four middle bells, except when the hunt leads and then on the four hind bells. Treble is here the hunt, and hath a direct hunting course up and down as in plain changes: the rest of the bells have also a direct hunting course up and down except when the treble leads, and then each bell that was hunting up (except that in the 2d place) makes a dodge with the next bell below it, and then proceeds forward again in its course up; and each bell which at the same time was hunting down, makes a dodg with the next bell above it, and so proceedeth forward in its course down; which method will carry on the peal five courses of the hunt, that is sixty changes as they are here prickt.

In the 120 there is also a half-hunt; and when the whole-hunt leads and the half-hunt lies next it, a single change must then be made, either in the 3d and 4th, or 5th and 6th places; but observing when the half-hunt comes again to lie next the whole-hunt, another single change must be made in the same place where the first was made. These single changes are called extreams, there being two in every sixscore, and the last of them always falls out in course to be made just 60 changes from the first, that is, at the fifth leading of the whole hunt after the first extream.

In the 240 there is also a half-hunt; and when the whole-hunt leads, and the half-hunt lies next it, a single change being then made in the 4th and 5th places, will bring the bells round at twelvescore, there being four singles in the peal, one of which falls in the course at the end of every sixty changes.

In the 720 there is a whole, half, and quarter hunt, and every time the whole-hunt leads and the half-hunt lies next it, a single change must then be made in the 4th and 5th places as in the twelvescore; but when the quarter-hunt lies next the half-hunt, that is, when the three hunts come together before, (which always happen at the end of every twelvescore) then the single must be made behind, which is call’d extream, there being three of them in the peal.

The sevenscore and four triples and doubles are the same with the former except at the leadings of the treble, and then a single is always made in the 3d and 4th places; but when the 2 lies next the treble, an extream is made in the 4th and 5th places. This peal is grounded on the twenty four doubles and singles, the four middle bells making them at the leadings of the treble.

Grandsire Bob. 1, 2 and 4.

The general method of this peal is the same with that next before, but with this difference; whereas in that peal singles were made at the end of every sixty changes to carry on the course, in this there are double changes made in their stead, which are called Bob-changes, and made when the treble leads in the 2d and 3d and the 5th and 6th places, whereas at other times the double is there made on the four hind bells.

The Practitioner may observe these rules in the ringing of it, viz. whatsoever bells he followeth when he hunteth up, he must follow the same bells again, and in the same order, the next time he hunts down, as in these changes here prickt; where the treble in hunting up first follows 2, then 4, and then 6; and when it comes behind, first it follows 2 again, then in its hunting down it follows 4 and 6 in the same order as when it hunted up; which is also observed in the ringing of any other bell, but with this difference betwixt the whole-hunt and the rest of the bells, viz. Every time the whole-hunt leaves the treble’s place and hunts up, it followeth different bells from what it did in its former hunting up, as may be seen in this example: where in its first hunting up it first follows 2, then 4, then 6; whereas in the next hunting up it first follows 3, then 2, then 4. But the first time any other bell leads after a bob, whatsoever bells it then follows in its hunting up, it follows the same bells likewise and in the same order every time it hunts up, and consequently every time it hunts down unto the next bob; as in this example, where 2 in its first hunting up, first follows 4, then 6, then 5, and likewise when it next hunts up it follows 465 as before, &c. But when the whole-hunt is the second bell which he follows in hunting up, he must follow it again when he next lies behind.

123456

214365

241635

426153

462513

645231

654321

563412

536142

351624

315264

132546

135264

312546

321456

234165

243615

426351

462531

645213

’Tis observable, that at every leading of the treble the two hind bells dodg; and whensoever the half-hunt dodgeth there, a bob must then be made, except the quarter-hunt dodgeth there with it, and then not; which is an infallible rule, by which he that rings the half-hunt may always give notice of the bobs as well when the peal is inverted, as in the ordinary way of ringing it. The bobs fall out in course single and double, the one single, the next double; and so by turns; there being three single bobs and three double bobs in the eighteenscore, and consequently six of each in the 720.

The aforesaid method being observed, will carry on the course of the peal to the end of eighteenscore, which is just half the 720, and then it terminates, as appears in the eighteenscore here prickt: but by making an extream that number may be doubled; for then eighteenscore changes more will go in course according to the former method; and another extream being likewise made at the end of the last eighteenscore will compleat the 720. The manner of making an extream I have shewed at large in the Introduction, page [90]. where I have also set down a general rule for making them, to which I refer.

The first extream may be made either the first, second, or third time that the half and quarter hunts dodg behind; or else at the first, second, or third single bob; at either of which places the single must be made behind.

Here are eighteenscore changes wanting one, which one if it were made double as the former, would bring the bells round, therefore an extream must be made as in this change 123465, the two hind bells making the extream, and the bells in the 3d and 4th places making the single. Now in regard that this extream is made the second time the whole-hunt leads after a double bob, therefore the second extream must be made the second time the whole-hunt leads after the third double bob following.

This peal may be rung with any hunts, and to begin the changes triple and double as in this here prickt.

Fifty three London-Peals
upon Five, Six, Seven, and Eight
Bells, composed by F.S.

Crambo.

The changes are all single; it hath a perfect course, and may be prickt many ways.

The Primrose. 1 and 2.

The treble hath a perfect course as in plain changes. And when it hunts up out of the 2d place it makes two singles together, and the like when it hunteth down. When it leads, the single is in the 3d and 4th places, except when 2 lies next it, and then an extream behind. Every bell (except the treble) leads four times, and lies still behind untill the treble displaceth it, except at the extream.

Orpheus.

One change is double, the next single, and so by turns.

New Doubles and Singles. 1 and 2.

One change is double, the next single, and so by turns. The treble hath a direct hunting course up and down as in plain changes, and every time it goeth to lead and leaves leading, the change is double on the two first and two last bells, the rest of the double changes are on the four first. The treble is one of the two bells that makes every single change except when it leads, and then the single is made in the 3d and 4th places; but when the 2 lies next the 1, then an extream is made behind. When the treble leaves the two first bells, they continue slow dogding until treble comes down and displaceth them. Every bell (except the treble) lieth twice in the 3d place.

The Morning Star. 1 and 2.

The treble hath a direct hunting course as in plain changes; and every time it hunts up, it makes two singles together, and the like when it hunts down: when it leads the single is behind, but when 2 lies next it an extream is made in the 3d and 4th places. Every time the treble goeth to lead and leaves leading, the double is on the two first and two last bells, and every bell except the treble leads four times together.

The Quirister. 1 and 2.

This peal consists most of double changes; the treble hath a direct hunting course as in plain changes, and every time it hunts up and down it makes a single in the 3d and 4th places; and when it leads, the single is behind, but when 2 lies next it an extream is made in the 3d and 4th places.

When the treble leaves the two hind bells, they continue dodging untill it comes up again and displaceth them, and then they hunt directly down; the first to lead, and the other into the 2d place: that which moves to lead, having lead four times, gives place to the treble; but when the Treble hath done leading it takes the treble’s place again, and leads four times more and then hunts directly up; the other bell which moved down into the 2d place lies there twice, and then the Treble in hunting down moves it into the 3d place where it lies still, untill the Treble in hunting up moves it back into the 2d place, where having lain twice it hunteth up. This Peal is as musical, easie, and practical as any of this kind that ever was prickt.

The Faulcon. 1 and 2.

This Peal consists most of double changes. The treble hath a direct hunting course as in plain changes, and every time it hunts up and down it makes a single in the 3d and 4th places, and when it leads a single is also made there, but when 2 lies next it the extream is made behind. When the treble leaves the two first bells they continue there until it comes down again and displaceth them, but observe, when the treble moves into the 5th place, and again from thence, the double is on the two first and two last bells, by means of which the two first bells then dodg, but before and after they lie still. Every bell lies twice in the 3d place and then hunts up, except that which lies there when the treble leaves leading.

Merry Andrew.
1 and 2.

One change is double, the next single, and so by turns. The treble leads four times, lies behind four times, and twice in every other place. Every other bell leads four times. When the treble leaves the two hind-bells, they continue dodging untill it comes up again and displaceth them. Every single is made behind until the treble hinders, and then in the 2d and 3d places. When the treble leads and the 2d lies next it, then an extream is made in the 3d and 4th places.

When the treble goes to lead and leaves leading, the double is on the two first and two last bells, and when every other bell goes to lead and leaves leading, the double in on the four first.

May-day. 1 and 5.

One change is double, the next single, and so by turns. When the treble goes to lead and leaves leading, the double is on the two first and two last bells; and when every other bell goes to lead and leaves leading, the double is on the four first.

The treble hath a constant dodging course, for in its hunting up it first makes a dodg in the second and third places, and then another behind, and then it lies still one change in the 5th place; then in its hunting down it makes another dodg behind, and also another in the 2d and 3d places, and then leads four times. So that the treble in one of the two bells that makes every single until it leads, and then ’tis made in the 2d and 3d places, except when the 5th lies behind, and then an extream is made in the 3d and 4th places. When the treble leaves the two hind-bells they continue slow dodging, until it comes up again and displaceth them. Every bell leads four times.

St. Dunstan’s Doubles. 1 and 2.

The changes are all double except one single every 2d time the treble leads, there being six in the peal. The treble is a perfect hunt; and every time it goeth to lead and leaves leading, the double is made on the two first and two last bells, at which changes the bells in the 3d place lie still and then move down, and the two hind-bells at the same time dodg: but at other times all the bells have a direct hunting course. When the treble leads, and the 2d lieth either in the 2d or 3d places, then a single must always be made betwixt the two next extream bells to the 2d.

Church Doubles. 1 and 2.

The changes are all double except six singles as the former. The treble is a perfect hunt; and every time it moves up into the 5th place, and also out of it, the double is then made on the two first and two last bells, at which time the bells in the 3d place do lie still and then move up; and the two first bells at the same time dodg. When the treble leads, and the 2d lieth either in the 2d or 3d places, then a single must always be made betwixt the two next extream bells to the 2d.

In this and the former peal the singles may be made in another manner, viz. when the whole-hunt leads, and the half-hunt lieth either in the 4th or 5th places, a single must then be made betwixt the two next bells to the half-hunt; but at other times a double change to be made when the whole-hunt leads, as in the former way.

Stedman’s Principle.

The changes are all double, two singles excepted. One double is made on the two first and two last bells, the next on the four last, and so by turns successively; excepting every sixth change, which is double on the four first bells, and for distinction is called a Parting change. All the bells have a like course. The general method is this; the three first bells go the six changes, and the two hind-bells in the mean time dodg; then a Parting change is made which parts the two hind-bells, moving that in the fourth place down into the 3d, and that in the 3d place up into the 4th, and then the three first bells go the six again, the two hind-bells in in the mean time dodging as before; and then another Parting change is made, and so successively on. Every bell that comes behind continues there dodging six changes with one bell and six with another, and then in course the Parting change brings it down. One six cuts compass, the next doth not, and so by turns successively. In the six which cut compass the two first bells of the three makes the first change of it, but in the other the two last of the three. By this method the peal will go sixty changes, and to carry it on farther extreams must be made. An extream is made by the lying still of two bells when in course they should make a change, as before I have shewed more fully in the Introduction, page [90]. but withall observing, that whereas in this peal the bells have all a like course, therefore they may all be termed extream bells, and consequently the extreams to be made according to this general rule, viz. the first extream may be made by any two bells that are in course to make a change within the compass of the first sixty changes of the peal; and the second extream must be made according to this rule. Whatsoever two bells are dodging behind at the first extream, when the same two bells come to dodg there again, is a certain warning for the second extream to be then made. And observe, how many changes the first extream is made from a parting change; so many likewise must the last extream be made after a Parting change also. And the single and extream comes in course each of them to be made in the same place and by the same bells at the last extream, as they were at the first. Here the singles are made behind, and the extreams in the 2d and 3d places; and as the 4th and 5th bells do dodg behind at the first extream, so likewise when they come to dodg there again, the second extream is then made, the treble leading at both of them, as appeareth in the peal here prickt.

The first Parting change is here made the third change at the beginning, and that six cuts compass.

In all the several ways of ringing this peal, if the Parting changes are made at the fore-stroke, as in course they are in this here prickt, then cutting compass is always on the same sixes, as in this peal: but when the Parting changes are made at back-stroke, then the contrary six always cuts compass to what doth here.

Peals upon Six Bells.

The single Method.

The changes are all single, and treble is the hunt. When the treble moves up out of the 2d place, the two first bells continue slow dodging untill the treble comes there again. And when the treble moves down out of the fourth place, the two hind-bells likewise continue slow dodging until the treble comes there again. When the treble leads, (if ’tis rung at half-pulls) the fore-stroke change (that is, at the third stroke of the treble’s leading) is made in the 3d and 4th places, the rest of the changes there are made behind. By this method it will go sixscore changes.

To ring 240. When the whole-hunt leads, and the half-hunt dodgeth behind; the fore-stroke change must then be made in the 2d and 3d places, as in this here prickt, where the 2d is the half-hunt and there are little marks set at the fore-stroke changes.

To ring 360. When the whole-hunt leads, and the half and quarter-hunts dodg behind, the fore-stroke change must then be made in the 2d and 3d places as before.

To ring 720. When the whole-hunt leads, and the half-hunt dodgeth behind, the fore-stroke change must then be made in the 2d and 3d places as before, except the quarter-hunt dodgeth there with the half-hunt, and then in the 3d and 4th places as at other times. The 2d an 4th, or the 2d and 6th may be the half and quarter-hunts, or others at pleasure.

“Note, in all the following peals upon six bells, the bobs are double changes, and always made at the leadings of the whole hunt (except No-nsuch Bob, for there the Bobs are made at the change wherein the whole-hunt goeth to lead, and not when it doth lead.) And whereas in the following peals the directions for calling bob runs thus; viz. Every time the half-hunt dodgeth behind, a Bob must then be made, &c. ’tis there implied, That whereas every time the whole-hunt leads, the two hind-bells then dodg; therefore when the half-hunt dodgeth there at the leading of the whole-hunt, a bob must then be made. And in like manner also must all the bobs in the following peals be made at the leading of the whole-hunt. He that rings the half-hunt may best call bob in all peals.”

A Cure for Melancholly.

Doubles and Singles. The Treble is the whole-hunt which leads four times, lieth behind as many, and twice in every other place. When it moves up out of the fourth place, the two bells in the third and fourth places continue dodging until it comes down there again, and then the two hind-bells dodg until the Treble displaceth them. The Treble is one of the bells which maketh every double change, except when it lieth still behind, and then the double is on the four first, and also when it leads the double is on the four last. Every single is made in the fifth and sixth places, except when the Treble lieth there, and then in the third and fourth places. Every bell except the Treble lieth four times in the second place. By this method it will go sixscore changes, but by making of bobs it will go 240, 360, or 720. The bob is a double change at the leading of the Treble, wherein the bell in the fourth place lieth still.

To ring 240. Every time the half-hunt dodgeth behind, a bob must then be made as in this here prickt, where 2 is the half-hunt.

To ring 360. Every time the half and quarter-hunts dodg together behind, a bob must then be made.

To ring 720. Every time the half-hunt dodgeth behind a bob must then be made, except the quarter-hunt dodgeth there with it, and then not.

2 may be the half hunt, and 4 the quarter hunt, or others at pleasure.

The Morning Exercise.

Doubles and singles. The treble is the whole hunt, and hunteth up into the 2d, 3d and 4th places, lying twice in each; then having made a dodg behind, it lyeth still in the sixth place, and then makes another dodg behind, and so hunts down in the same manner as it hunted up, and then leads four times. When the Treble moves down out of the fifth place, the two hind-bells dodge untill it comes up there again; during which time the bell in the 4th place lieth still. And when the Treble moves up out of the second place, each bell that comes there lieth four times, until the Treble comes down there again. Every single is made behind. By this method it will go 120 changes; and by making of bobs it will go 240, 360, or 270. At the bobs the bell in the 2d place always lieth still.

To ring 240. Every time the half-hunt dodgeth behind, a bob must then be made, as in this here prickt, where 2 is the half-hunt.

The warning for the bobs in the 360 and 720, is the same with that in the peal next before: 2 may be the half-hunt, and 4 the quarter-hunt, or others at pleasure.

The City Delight.

Doubles and Singles. Treble is the whole-hunt, and lieth four times before, four times behind, and twice in every other place. When it moves up out of the third place, the singles are made in the second and third places until it comes there again, and then behind until it moves up again out of the third place. When it moves down out of the fourth place, the two hind-bells dodg until it comes up there again, during which time the bell in the fourth place lieth still. By this method it will go 120, and by making of bobs it will go 240, 360, or 720. At the bobs the bell in the second place always lieth still; and the warning for them is the same with that in the two last peals. In the 240 here prickt, 2 is the half-hunt; and in the 360 or 720, the 2 and 4 may be the half and quarter-hunts, or others at pleasure.

London Nightingale.

Doubles and Singles. Treble is the whole-hunt, and lieth four times before, four times behind and twice in every other place. When it moves down out of the 5th place, the two hind-bells continue dodging until it comes there again, during which time the bell in the fourth place lieth still. And when the two hind-bells leave dodging then the two first bells dodg until the hind-bells dodg again, and then they cease. By this method it will go 120; and by making of bobs it will go 240, 360, or 720. At the bobs the bell in the second place always lyeth still; and the warning for them is the same with that in the preceding peals. In the 240 here prickt, 2 is the half-hunt; and in the 360 or 720, the 2 and 4 may be the half and quarter-hunts or others at pleasure.

The Evening Delight.

Doubles and Singles. Treble is the whole-hunt and leads four times, lies behind four times, and twice in every other place, except in the 2d and 3d places where it makes a dodg every time it hunts up and down. Every other bell hath the same course with the whole-hunt; but observing, when they come down and have made a dodg in the second and third places, they lie still one change in the second place, and then make another dodg there, and so hunt up as the Treble did. But note, when the Treble goeth to lead and leaves leading, the bells in the third and fourth places lie still. Every single is made in the second and third places, and every bell lieth four times behind. By this method it will go 120, and by making of bobs it will go 240, 360, or 720. At the bob-change, the bell in the 4th place always lieth still.

To ring 240. Every time the half-hunt dodgeth in the second and third places a bob must then be made, as in this here prickt, where 6 is the half-hunt.

To ring 360. Every time the half and quarter-hunts dodg together in the second and third places, a bob must then be made.

To ring 720. Every time the half-hunt dodgeth in the 2d and 3d places a bob must then be made, except when the quarter-hunt dodgeth there with it, and then not.

In the 360 or 720, the 6 and 5 may be the half and quarter-hunts, or else 2 and 4, or others at pleasure.

Colledge Doubles.

Treble is the whole-hunt, and hath a direct hunting course. When it moves down out of the 5th place, the two hind-bells dodg until it comes there again; during which time the bell in the fourth place lieth still: but otherwise the five hind-bells have a direct hunting course. By this method it will go sixty changes; and by making of bobs it will go 120, 180, 360. At the bob-changes the bell in the second place always lieth still.

To ring 120. Every time the half-hunt dodgeth behind, a bob must then be made; as in this here prickt, where 2 is the half-hunt.

To ring 180. Every time the half and quarter-hunt dodg together behind, a bob must then be made.

To ring 360. Every time the half-hunt dodgeth behind a bob must then be made, except when the quarter-hunt dodgeth there with it, and then not.

In the 180 or 360, 2 and 4 may be the half and quarter-hunts, or others at pleasure.

By making of two extreams the 360 may be doubled. They are to be made according to the rules in the Introduction, page [90].

Non-such Bob.

Doubles. Treble is the whole-hunt, and hath a direct hunting course. When it moves up out of the third place, the bell that comes there lieth still until the Treble comes down there again; during which time the two first bells dodg. When the Treble leaves the two hind-bells, they dodg until the change wherein the Treble goeth to lead, and then one of them moves down; but as soon as that change is made, the two hind-bells dodg again until the Treble moves up and parts them. Every time the Treble leads, the double is made on the four hind-bells throughout the peal. By this method it will go sixty changes; and by making of bobs it will go 120, 180, or 360. The bob is always made at the change wherein the Treble goeth to lead, the two first and two last bells making it.

To ring 120. Every time the half-hunt dodgeth before, is a warning for a bob to be made the next time the whole-hunt goeth to lead; as in this here prickt, where 6 is the half-hunt.

To ring 180. Every time the half and quarter-hunts dodg together before, is a warning for a bob to be made when next the Treble goeth to lead.

To ring 360. Every time the half-hunt dodgeth before, is a warning for a bob to be made the next time the Treble goeth to lead, except the quarter-hunt dodgeth there with it, and then not.

In the 180 and 360, the 6 may be the half-hunt and 5 the quarter-hunt, or others at pleasure.

By making of two extreams the 360 may be doubled; they must be made according to the rule in the Introduction, page [90].

The bobs in this peal may also be made at the leadings of the whole-hunt as in other peals, and the bell in the fourth place to lie still at every bob-change. The warning for them in the 120, 180, and 360 being the same with that in the Colledge Doubles, page [143].

London Doubles.

The Treble is the whole-hunt; and hath a direct hunting course. When it moves down out of the fifth place the two hind-bells dodg until it comes there again, during which time the bell in the fourth place lieth still. When the Treble is behind, the two first bells make a change; but at other times the leading bell lieth still. By this method it will go sixty changes, and by making of bobs it will go 120, 180, or 360. At the bob-changes the bell in the second place always lieth still. The warning for the bobs in the 120, 180, and 360, is the same with that in Colledge Doubles, p. [143]. By making of two extreams it will go 720. The extreams must be made according to the rule in the Introduction, page [90].

In the 120 here prickt, 2 is the half-hunt; and in the 180 and 360, 2 and 4 may be the half and quarter-hunts, or others at pleasure.

Triples, Doubles, and Singles.

Triples, Doubles, and Singles dodging behind.

Doubles, and Triples.

Single Bob.

London Bob.

City Bob.

These six peals will each of them go sixty changes without any bob, and by making of bobs each of them will go 120, 180, and 360. In three of them, viz. Triples Doubles and Singles, Single bob, and City bob, at the bob-changes the bell in the fourth place always lyeth still; whereas at the rest of the changes which are made at the leadings of the whole-hunt, the bell in the second place lieth still. And in the other three peals, viz. Triples doubles and singles dodging behind, Doubles and Triples, and London Bob, at the bob-changes the bell in the second place always lieth still, whereas at the rest of the changes that are made at the leadings of the whole-hunt, the bell in the fourth place lieth still. The warning for the bobs in the 120, 180, and 360, in each of these six peals is the same with that in the 120, 180, and 360 in Colledge Doubles, p. [143]. Each of these peals will go 720 with two extreams, which must be made according to the rule in the Introduction, page [90].

In the 120 of each there prickt, viz., in City Bob, London Bob, and Triples doubles and singles, the 2 is the half-hunt, and in the other three peals the 3 is the half-hunt.

In the 180 and 360 of each peal, the 2 and 4 may be the half and quarter-hunts, or others at pleasure.

New Bob.

Triples and Doubles. The general method of this Peal is the same with Grandsire Bob, and the bobs also made as in that peal. It will go 120, 180, or 240, and by making of two extreams it will go 360 or 480; and with six singles it will go 720.

To ring 120. Every time the half-hunt dodgeth behind a bob must then be made.

To ring 180. Every time the half and quarter-hunt dodg together behind, a bob must then be made; and by making of two extreams it will go 360. The first extream may be made at the first, second, or third bob; observing to make the second extream at the third following bob from the first extream, where the singles in both must be made behind.

To ring 720. The bobs throughout the peal are made by the same rule as in the 120, but farther observing, when the whole and half-hunts come together before, if the quarter-hunt lieth either in the third or fourth places, then a single must be made betwixt the two next extream bells to the quarter-hunt.

The 2 may be the half-hunt and 4 the quarter-hunt, or others at pleasure.

Colledge Little Bob, dodging behind.

Triples and Doubles. The Treble is the whole-hunt, and hath a direct hunting course. When it moves down out of the fifth place, the two hind-bells dodg until it comes there again. All the bells have a direct hunting course, but observing, that when any bell moves up into the fourth place, if the Treble is then any where below it, it lies there twice, and then moves down again. By this method it will go sixty changes; and by making of bobs it will go 120, 180, or 360. At every bob-change the bell in the second place lieth still. The warning for the bobs is the same with that in Colledge Doubles, page [143]. And the two extreams in the 720 must be made according to the rule in the Introduction, page [90].