the history and art of change ringing · fabian stedman 1 f abian stedman has aptly been termed...

T he Historyand Art of

Change Ringingby

Ernest MorrisFile 06 – Chapters VII, VIII and IX

– Pages 316 to 402

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CHAPTER VII

STEDMAN-(A) "THE MAN"; (B) THE "METHOD "

" All you young men yt learn ye ringing art, Be sure you see and well perform your parts ; No musick with it can excell Nor be compared to ye melodious bells."

Fenstanton " Rules."

FABIAN STEDMAN 1

FABIAN STEDMAN has aptly been termed " the father of the art of Change Ringing," and tradition has constantiy asserted that he was born at Cambridge about

1631 : but though exhaustive searches of registers of various parishes of the town were made by the Rev. A. H. F. Boughey, of Trinity College, Rev. E. C. Pearce, Vicar of St. Benets, and R. A. Daniell, Esq., no record of his birth could be found. A branch of the Stedman family settled at Haslingfield, about five miles from Cambridge, before 1563, as in that year letters of administration of the goods of Walter Stedman of that parish were issued from the Court of the Bishop of Ely, and from the Bishop's transcripts it appears that the family remained there at least until the time of Fabian. In Cambridge itself, the only member of the family traceable is John Stedman, who married Mabel Middleton at Holy Trinity Church, April 14, 1629. This date is interesting, coinciding as it does with the tradition, for it is possible that this pair had a son in 1631, or near that date. Mr. Daniell could not trace the occupation followed by this John Stedman, but evidently he was a householder of respectable position, for in 1646 he was churchwarden of Holy Trinity.

1 Enthusiastic ringers have named their sons after this great leader. Thus we have Stedman White, of Appleton ; Stedman Symonds, of Lavenham ; Dr. Stedman Poole, of South Wigston, Leicester; B. Stedman Payne, of Syston; and the author's brother, Stedman Morris, of Leicester.

Mr. G. E. Symonds, of Ipswich, named his son" John Garthon Symonds" from his having been born on Garthon's anniversary.

316

STEDMAN

If Fabian was the son of John, we should naturally expect to find the record of his baptism in one of the Cambridge parochial registers, but there is a fact which suggests a possible reason why we have not found it, and that fact is the Plague. This dire disease visited Cambridge both in 1630 and 1631. The former of these visitations was very severe, and broke up the work of the University. Tutors retired with their pupils to country places, and as many persons as could leave the town probably did so. The epidemic of the following year was not so deadly, but the recollection of the previous year would scare people face to face with a possible repetition.

We must remember that parochial registers were not written out at that time in the way they now are. The practice seems to have been that the Clerk, or some one else, kept a record of baptisms, marriages and burials, and these items were written up annually into the register books. It is obvious that a system of this kind offered chances of omission in the final record, and that with such a disturbing element as the Plague, these chances must have been considerably increased. So that though Fabian was not registered in Cambridge at the traditional time, it is still possible that he was born there. What, however, appears much more probable is that he was not born in the town. If people were being scared away by fear of the Plague, nothing can be more in the natural course of things than that Mabel Stedman should seek some more healthy spot for her confinement than Cambridge then was ; and it may be that the record of her son's baptism is to be found in one of the Cambridgeshire villages. This would be sufficiently near the tradition, though not exactly agreeing with it, as in any case it is reasonable to suppose that if Fabian was the son of John his boyhood's home was at Cambridge, and his birth elsewhere a mere accident. So far, then, as the Cambridge registers go, it seems that they are not inconsistent with the truth of the tradition.

Fabian undoubtedly received a good education, and if he was the son of John, his life at Cambridge would afford ample opportunity for obtaining it. In addition to the private tutors available, there was the Grammar School, but it is to be regretted that the records of the admissions from the opening

318 HISTORY AND ART OF CHANGE RINGING

of the school were accidentally burnt in 1885, so we cannot hope to trace him there.

Besides all this, the language of some titles in Stedman's books appears to indicate his connection with Cambridge ; the peals are stated to have been composed there ; and a method of Doubles is called " Fulboum," the name of a neighbouring village.

At the time of the College Youths' anniversary in 1901, Mr. Owden Stedman communicated to them an abstract of a will as follows, written with beautiful neatness :-

Extracted from the Principal Registry of the Probate Divorce and Admiralty Division of the High Court of Justice.

IN THE PREROGATIVE COURT OF CANTERBURY

IN THE NAME OF GOD AMEN-I Fabian Stedman of the Parish of St Andrew Undershaft London Gent do make this my last Will and Testament and write it with my own hand in manner and form following First I bequeath my Soul to Almighty God that gave it hoping through the Merritts of my Saviour for a joyfull Resurreccon amongst the just And as to the Estate wherewith it hath pleased God to bless me I do give and dispose thereof as follows Imprimis I do give and bequeath to Christs Hospitall London fifty pounds Item I give and bequeath to my sister Sara Bond twenty pounds Item I give and bequeath to all my said sisters children fifty pounds a piece Item I give and bequeath to all my said sisters grandchildren thirty pounds a piece But my will is that the legacies which I have herein given to my cousin Fowler one of the daughters of my said sister and to her children shall not be payable nor paid to her husband Fowler but shall be laid out and disposed of for the best benefitt and advantage of my said cousin Fowler and her children as my executor with the approbation of my said sister shall think fitt Item I give and bequeath to Mr Edward Lerpiniere a clerk in the Auditor of Excises Office thirty pounds Item I give and bequeath to•Mr Bartholomew Bruere also a clerk in the said office twenty pounds Item I give and bequeath to Mr John Ogden also a clerk in the said office ten pounds Item I give and bequeath to Mr Alexander Tulidah also a Clerke in the said Office five pounds Item I give and bequeath to Mr Taylor and to Mr Clark the two dorekeepers to the Commissioners of Excise and also to Mr Patterson the porter at the gate forty shillings a peice Item I give and bequeath to Mr Settree to Mr Chapman to Mr Feild and to Mr Stamp being the four watchmen and to Mr Jackson the yard keeper twenty shillings a peice I also give to the maid that cleans my office twenty shillings Item I give and bequeath to Mrs Phebe Wickins of the Parish of St Andrew U ndershaft London

STEDMAN

Widow One hundred pounds Item I give and bequeath to Mrs Mary Walker of the same Parish daughter of the said Mrs Phebe Wickins One hundred pounds Item I give and bequeath to the poor of the Parish where I was born ten pound and to the poor of the Parish where I shall dye I give five pounds Lastly all the rest and residue of my Estate goods and chattels I give and bequeath to my cousin John Ravenhill son to my sister Ursula whom I make sole EXECUTOR of this my last will and Testament and I do hereby revoke and make void all other wills which at any time I have heretofore made IN WITNESS whereof I have hereunto sett my hand and seale the seventeenth day of October in the year of our Lord God 1713 F. STEDMAN Signed and sealed also published and declared by the said Fabian Stedman to be his last Will and Testament in the presence of ROBT DOD JOHN BRUERE

Proved 28th November 1713

The nature of Stedman's employment in London becomes quite clear from a perusal of this document. He was what we should now call a Civil Servant of the Crown, in the office of the Auditors of the Excise, and he must have held a high position in it ; for it is plain that no inferior member of the staff would have left legacies to so many officials, and, moreover, he refers to the maid who cleaned his office, from which we may infer either that he occupied a room to himself or that any other person sitting with him was his subordinate. From the nature of the bequests, Stedman appears to have been an old man-indeed, he must apparently have been about So-who was either a bachelor or a childless widower. But who were Mrs. Wickins and Mrs. Walker?

The register of St. Andrew Undershaft, in the City of London, recording Stedman's burial there on November 16, 1713, describes him as " a lodger," thereby showing that he was not a householder ; therefore one is disposed to identify Mrs. Wickins with a certain" Widow Wiggins," who was the tenant of a house belonging to the parish on the west side of St. Mary Axe, and with whom Stedman may have lodged. The house stood near the present Ward Schools. The will was duly proved in the Prerogative Court of the Archbishop of Canterbury, and is now among the documents preserved at Somerset House. The Churchwarden's accounts of St. Andrew Undershaft show the receipts from the Executors of the legacy for the poor, and it is most tantalising that the testator did not mention the name of the parish where he was


born. There is no existing monument or tombstone recording him in St. Andrew's.

In the author's own private researches for data concerning the revision of" Church Bells of Leicestershire," the following interesting sidelight on Stedman's career was discovered.1 It consists of extracts from the diary of the late W. Barrow, a wellknown historian of Leicester, and brother of the late Joseph Barrow, of Long Eaton:-

x668. May nth, Whit Monday.-' Mr. Fabian Steadman, printer, of Cambridge, sent his letter to ye bell ringers of the town, settinge forthe that having discovered the " artes or mysteries " of performing ye sweete musick of change-ringinge on church-bells, to the great edifyinge of you the, and the publishinge of his" booke " called "Tintinnalogire, or ye Artes, Mysteries, and Fancie of Diffusing Sweet Musick," explaininge to ye bell ringers ye desirabilitie of establishinge a societie of scholars for setting forth ye " artes and mysteries " of change-ringing not onlie for ye edifyinge of their minds, but also for their enjoyment, and the healthfull · exercise of their bodies. And desiring, with Alrnightie God permitting, to visit their cittie at a time appointed, and hoping the pleasure of their good will and companie.'-Fab. Steadman. St. Martin's MSS., Leicester. W.B.

x669. September 30th, Thursday.-' Mr. Fabian Steadman came on a visit to the town for several days, for to introduce his "New Book on ye Artes and Mysteries of Tintinnalogire "(campanology), and being ye fayer time, and manye strangers coming in, Mr. Steadman was entertayned by ye gentlemen ringers to sweete musick at ye churches, expressinge joye with ye late newe ring of heavie bells that bee in St. Margaret's, which diocoursed sweete musick nightlie. Saturday being ye 2nd day (Oct.) young ringers did entertayn Mr. Steadman with musick at St. Marie's. And in ye night tyme gentlemen and young ringers entertayned Mr. Steadman sumptouslie at Maister Baker's at ye "Angell," £x z6s. 8d. being spent for meates, wines, beere, tobacco and pipes, etc., as appears by bill. Sondaye being ye 3rd daye (Oct.) after ye morning service at Seynt Martin's, Mr. Steadman entertayn'd them all at his inn neere ye High Cross, and afterwards gave forthe his orations on ye " Artes and Mysteries" in ye Greate Chamber, or gallerie of his quarters, wherewith the gentle'n and youth, with many others, clergie, and gentle'n, were mightilie pleased, all departinge to their homes neere seaven of ye clocke. Munday ye 4th daye, Mr. Steadman departed his quarters at ye Red Lyon by ten of ye clocke, when ye gentlemen and youths companyed his horse a mille beyonde ye conduite springe hill, and so gave him their farewell on his journie towards Har-

1 See article on Fabian Stedman, Ringing World, August 17, 1928, pp. 521-2 ; August 24, 1928, pp. 537-8.

STEDMAN

borow.'-Nath'l Baker, filius, St. Martin's MSS. W. B., per W. Thirlby, clerk.

Then is added : ' It would appear that Mr. Steadman was a person of good repute in those times, and the circumstance of his visit to Leicester to diffuse the " artes and mysteries " of campanology or change-ringing, was probably the first origin of the Society of Leicester Scholars, and from the fact that Mr. Nath'l Baker, son of mine host of the" Angell," written an account of Mr. Steadman's visit, he was one of the " gentlemen ringers " who " discoursed sweet musick nightlie." And the Angel, in the Sheepside (Cheapside) would be the rendezvous of the gentlemen ringers and youths, and it is only to be expected that the " sumptuous entertainment " got up in honour of Mr. Steadman's coming to the town, would likewise take place at the Angel Inn, the site in after times being occupied by Messrs. Morley. Regarding the "sweet musick," it would be somewhat difficult to explain the matter, taking into account that St. Margaret's and St. Martin's contained rings of six, and St. Mary's a ring of five bells. They might possibly at that time understand a Plain Grandsire of 120 changes on five bells with a cover (tenor), or the 24 changes on four bells with a tenor, which might be rang several times in succession, or they might have some knowledge of change-ringing by other methods. Mr. Steadman's " booke" and his oration no doubt threw considerable light on the " artes and mysteries" of change-ringing, and his book would be resorted to as a work of reference both at the Angel and belfries of the town. A Sunday afternoon dinner and entertainment would be nothing unusual in those times, as the services of the church were morning on one Sunday and afternoon on another Sunday; and persons, after attending services, were at liberty for the transaction of any necessary business or pleasure.'

The writer then goes on to explain the situation of the Conduit Spring Hill, etc.

Under the date 1710, May 2, Monday, we find :-'A number of gentlemen of the Musical Society, Scholars from

Neighbouring towns of Coventry, Hinckley and Loughborough, etc., came in to the fair, and rang the six great bells of St. Margaret's for the space of more than two hours ; and afterwards about 30 gentlemen dined together at the Angel Inn, after which it was" voiced" by the scholars that the projected adding of two new " fore-bells " to the ring of six heavy bells in St. Margaret's, Leicester (making the number to eight), would much enhance the musick of the town, and facilitate to the instruction and improvement of youth in the arts and mysteries and diversion of ringing.'

The two " fore-bells " mentioned were cast by A. Rudhall, of Gloucester, in 1711, and erected in 1712, making the first ring of eight in Leicestershire.

C.R. y


Stedman as an '' Apostle " Can we not draw a fairly good picture of the circumstances

and the scene? Stedman had produced his book, and, filled with an enthusiasm for the new art, he determines to become an" apostle." The centres in which anything in the nature of ringing took place in those days were few and far between, and the best that was practised was probably only changes in which one pair of bells moved at a time. The College Youths had been in existence in London as a society for about thirty years, and Stedman knew all about them, for he became a member in 1664, and to them he dedicated his book. It was printed in London, and among the ringers there, of course, it would find a circulation. But outside London and Cambridge there would be little demand, partly because in very few places would its existence be known, and, in addition, those who rang the bells needed educating to the advantages of the " artes and mysteries " of this new " fancie of diffusing sweet musick." Leicester was possibly one of the nearest places at which Stedman could hope to get together any considerable number of persons likely to be interested in the subject. Norwich is slightly nearer, and it would be extremely interesting to know if he made a similar pilgrimage to that city. It is certainly not unlikely, when it is remembered that it was at Norwich that the first peals were rung.

Things moved slowly in those distant days, and the arrangements for the visit took a long time to materialise. It will be observed that his letter was sent in May, 1668, but it was not until sixteen months later that the visit actually took place. It must have been something of a venturesome journey. The distance would be at least seventy miles, and, as we see, Stedman travelled on horseback. His route would probably be through St. Neots and Higham Ferrers to Kettering and Market Harborough ; or it might have been via Huntingdon and Thrapston. Certain it is that it would be at least a two days' journey, if not more, and he would fall in on the road with many others making their way to Leicester, for was it not '' fayer time, and many strangers coming in " ? 1

1 I am inclined to the belief that Stedman travelled via Kettering, probably giving the ringers there an insight into the "artes and mysteries " of change ringing, for this company succeeded in ringing a complete 5040 as

STEDMAN 323

Stedman arrived on Thursday. He was welcomed by the gentlemen ringers, and taken with evident pride to hear the new bells of St. Margaret's and those of St. Mary's. Then on the Saturday they feasted the stranger, and we can imagine what a merry time they spent at the "Angell" that evening. They dined " sumptouslie," and we can picture them sitting round the table afterwards, smoking their long clay pipes, and discussing, over their tankards of beer, the new method of producing changes. And the next day Fabian Stedman returned the compliment. The ringers were his guests at the inn where he was staying, and afterwards came his" orations " in the big room of the hostelry. There must have been a considerable company to listen to the lecture on change ringing, and they were apparently of varied stations in life. Stedman evidently pleased his audience, and we know that soon after a Society of Leicester Scholars was formed.1

Mr. R. A. Daniell's deductions relating to Stedman's parentage and early connection with Cambridge are deeply interesting, and, as he states, most likely to be true ; but seem to cause some doubt whether the Fabian Stedman who died in the parish of St. Andrew Undershaft was the same Fabian Stedman of Cambridge. It is most unlikely that a man in those days would engage in two distinct professions. He was still a printer of Cambridge 2 in I668, as is shown by the Leicester diary, and if he was born in I 63 I would have been thirty-eight years old on his visit of I669 ; it hardly seems likely that he would change his career to that of a Civil Servant in London so suddenly. Again, if the Stedman of Cambridge and Stedman of the Will are one and the same, he would have been over eighty years of age when he died, and it is extremely improbable that a man would hold such an important office at that period at so advanced an age. If he had been a Civil Servant in London, he would not have been described in the College Youths' Name-book for I664 as "Fabian Stedman, Cambridge." early as 1729, and the Leicester Scholars not until 1730. Upon this becoming known to the Kettering Company, they put a notice in the Norwich Gazette, stating: "We think (ours) as great a Performance as that of the Leicester Scholars."

1 Seep. 250. 2 Shipway gives his profession as that of a "Printer " ; see "Art of

Ringing," x8x6, Reprint, 1886, p. xxii. y 2


The only things that connect Fabian Stedman of Cambridge with London are the printing of his book there in I 668 and his holding office in the College Youths as steward in I677 and as Master in I682. On the title page of" Tintinnalogia" we find the imprint, "London. Printed by W. G. for Fabian Stedman, at his shop in St. Dunstan's Churchyard, in Fleet Street, 1668." As in those days such publications had to be licensed -and this book was licensed November I, I667-it is quite a probability that Stedman visited London for the purpose of getting the licence, and while there made arrangements for the printing of the book, for, although he was himself a printer, it is possible that his plant and facilities were not sufficient to produce a volume of I36 pages, such as the first edition of " Tintinnalogia " made.

As to his connection with the College Youths, his election to office does not necessarily imply residence in London. He had dedicated his book to the College Youths, many of whom he doubtless knew and had rung with on his occasional visits to the city. Is it not possible, therefore, that his election as steward was a return compliment to him when he was again in London in connection with the publication of another edition under the title of " Campanalogia" ? The dates coincide. " Campanalogia "is dated I677 ; Stedman was elected steward of the College Youths in the same year. Although we know of no publication to link him with London in I682, when he was elected Master, there is nothing inconsistent in the circumstances with his continued residence in Cambridge and his election as Master of the Society in that year.

Sifting the evidence and weighing the possibilities seems to eliminate the connection between Fabian Stedman the " father " of the art of change ringing and Fabian Stedman the Civil Servant of St. Andrew Undershaft, and it would seem that the document which was brought to light about a quarter of a century ago was not the last will and testament of the Fabian of the Exercise.

Shipway, in his" Art of Ringing" {I8I6), says:-

"According to Parnell, the earliest artist and promoter of change Ringing we have any account of, was Mr. Fabian Stedman, born in the town of Cambridge 1631. He introduced various peals on five and six bells, printing them on slips of paper (being by pro-

STEDMAN

fession a printer). These, being distributed about the country, were soon brought to London ; but what progress the art had made in the metropolis at this time does not appear. The Society of College Youths in the summer of 1657 on a visit to Cambridge, were presented by Mr. Stedman with his peculiar production on five bells, since called Stedman's Principle, which was rung for the first time, at St. Benet's, Cambridge, and afterwards at a church on College Hill, London, where the Society at that time usually practised, and from meeting at which place they obtained their name."

Shipway then goes on to say that change ringing must have been much earlier than 1657 ; as before those curious and cross-change peals were discovered single changes were universally practised, i.e., only changing two bells at a time ; whereas the improved plan of double and triple changes appears to have taken place long before x657, Mr. Stedman having produced such a complex method of ringing as his principle. In 1668 he published his" Campanalogia," which before x68o had gone through three editions.

Stedman's Principle In opening his book on "Stedman," the Rev. C. D. P.

Davies very truly says :-" Throughout the whole province of Change Ringing, there is no

more delightful method than Stedman. Ringers of methods of all degrees of intricacy find in it a continual freshness and charm. If we are to seek for the grounds of such a well-deserved popularity we shall probably be right in ascribing it chiefly to the varied nature of its work, while at the same time its music has a peculiar smooth and mellow cadence." 1

The principle on which the method is built is most simple. The three front bells ring the full extent (six changes), whilst the other bells behind perform a " double dodge." At the conclusion of the six changes one of the three bells in front changes places with one of the dodging bells, the rest of which are then moved on one place in their work.

Its author produced it first on five; it is not known to have been practised on higher numbers during his lifetime. Although the method runs in " sixes," termed alternately " slow" and " quick," Stedman, for some reason best known to himselfprobably in order to make the " go-off " similar to Grandsire Doubles-caused the start to be made at the fourth row of a

1 Rev. C. D.P. Davies, M.A., F.R.A.S.," Stedman," 1903, p. r.


" six." The great advantage of the method is that all do alike, including the treble, and the learner is therefore spared the trouble of looking for the treble as a guide to his own particular " work" or path among the other bells. We take the starting few " sixes " of Doubles thus :-

FIG . so.

45 54 45 15 5>1 15 51 1 5 51 21 12 21 12 21 lZ

The annexed diagram will explain the full work of the " slow," while the " quick-six" is simplicity itself, being a mere "hunt" straight from 5'4 to lead and out to 4'5 again. A learner, therefore, need only concentrate on knowing the "slow-work " fully, and the terms used therein (seep. 327) :-

This method is adapted to odd numbers of bells, and, like Grandsire, is termed a proper odd bell method. In Doubles (or changes on five bells) this method gives 6o changes in the plain course (all in course), therefore it is only necessary to use two " singles" to produce the complete 120 changes. These " Singles " are usually made on the two bells in 4-5 " lying together " and reversing their order ; the best place being at the third and fourth row of the six. The two singles must naturally be made in like places in each half six-score. In this method on higher numbers the" calls" (i.e., Bobs and Singles) are made on the three hindermost bells : thus in Triples on 5-6-7 ; in Caters on 7-8-9 ; in Cinques on 9-10-11. The effect is this : A bell dodging-in, say, Triples-4 X 5 up, makes fifth place at a call, and dodges 4 X 5 down. The two


Not until 1731 have we any reliable information concerning the practice of Stedman's principle on seven or any higher number of bells. At this time two rival Norwich companies were striving to be the first to compose and accomplish a true peal in the method, and the first of a series of amusing " challenges " and taunts in newspaper correspondence is the following from the Norwich Gazette of September II, 1731 :-

" Whereas that most Noted and harmonious Peal on 7 Bells called Stedmans Triples which has so long lain hid in Darkness from the knowledge of the World, and although so many ingenious Ringers have pricked so many Thousand Sheets of paper and could never bring it to truth, but have thought it impossible to be done. This is therefore to acquaint all Ringers and Lovers of that art that it is now brought to Light and truth with two Doubles, and is pricked at Length which contains 5040 Changes, by that ingenious and Compleat Ringer EDWARD CRANE.

" Note if any Ringers Doubt the Truth of the Peal, let them come to the sign of the 6 Ringers in St. Michaels of Coslany, and they may have any wager from 2 guineas to 10."

St. Peter's Mancroft band, under T. Melchior, were not long in replying to this, for in the same paper, dated October 31, 1731, we read:-

" NoTWITHSTANDING the Pretensions of several ingenious Ringers in this City and elsewhere, who would bear the World in Hand that they have composed that most intricate peal of STEDMAN'S TRIPLES ; this is therefore to satisfie all Lovers of that ingenious Art that Thomas Melchior has composed it to Truth with Two Doubles, being the First that ever was composed all perfect Stedman, consisting of 5040 changes : And was rung by him and 7 more on Monday the 25th of October, 1731 at St. Peter's of Mancroft in Norwich, in 3 Hours and 40 Minutes ; and never a Bell out of Course, nor changes alike: by us whose names are here subscribed viz.:

"Thomas Melchior treble; Thomas Blofield zd; Wm. Palmer 3rd ; Thomas Ather 4th; John Gardiner 5th; John Forster 6; Christopher Booty 7th ; William Porter tenor.

"NoTE.-If any of the Curious be desirous, they may see the Peal at John Forster's at the sign of the Eight Bells, in St . Peter's of Man croft aforesaid, and satisfie themselves without laying any Wager.''

The " several ingenious Ringers in this City " are of course Crane and the St. Michael's band, but unless it is merely a rhetorical touch the reference to " elsewhere " seems to show that Stedman had been composed and rung on higher numbers than five in other places than Norwich. There exists no record of any peal of Triples outside Norwich till 1799, when

STEDMAN

the Junior Cumberlands rang Noonan's peal at St. Giles-in-theFields, but it may be that other bands found out before ringing a 5000 that composition of Stedman Triples is not so easy a thing as Crane and Melchior imagined it to be. The tablet in St. Peter's belfry is a repetition of the advertisement, but the poetically inclined may enjoy the way in which Mr. William Scott did elegantly sing. The board is painted and lettered in a similar style to the two older ones, and reads as follows :-

"On the 25th of October, 1731 here was Rung that Misterious Peal called Stedman's Tripples; the Discovery thereof has been the Study of several Ingenious Ringers though to no effect, until this Intricate Peal, which differs from all other Methods of Tripples, as being every Bell a like course was perfectly Discovered by Tho. Melchior who first com pleated the Peal of Perfect Stedman Tripples with only two Doubles, and no Alteration the extent being 5040 changes, was compleatly rung by us in 3 hours & 40 minutes, on which Occation Willm. Scott in his remarks upon the ringing this Peal did Elegantly sing viz. : As for the sweet and Pleasant Treble she By Melchior well was Rung that Bell, and call'd the bobs so free; Blofield the znd; Palmer the 3rd did Ring, Ather Rung 4th, and was not Loath, but made her for to Sing; Gardener the 5th did sway, Forster the 6th did play. The 7th round Chris Booty bound, and made her to Obey ; The Tenor fine and neat, brave Porter so compleat Did ring her out and turn'd about that Cymbal loud & great."

The Coslany men did not at all intend to accept this defeat. They first tried to get a copy of the figures, and Thomas Crane and another were sent as a deputation to get them. Apparently Melchior was not very willing to let them have them, for they had to stay up all night and pay half a crown apiece before they got their way, and then it seems that it was not the peal actually rung, but another with fourteen doubles, possibly one of the earlier attempts of Melchior to get a true 5040. Thomas Crane and Rice Greene (another of the Coslany band) were deputed to listen to the peal, and, of course, they found fault with it. Crane apparently met some of the Mancroft men at the Eight Bells, and charged them with ringing only 486o changes, which brought forth the following from Melchior in the Gazette of November 20, 1731 :-

" WHEREAS Thomas Crane did assert on Saturday before last, that that Master of Art (as he pleased to call me) rung 486o changes,


and no more, on Monday, the 28th of October last, I will acquaint the World with his accurate Proceedings.

"First he placed himself in a Publick House, where People were often coming in and going out : by and by in a yard, and oftentimes walking backwards and forwards, telling the strokes of the Tenor; which is the method he took to prove the truth of our Performance, as he himself confessed before the justice. Now I appeal to the World whether or no this Man could be a proper judge of it? He also asserted that we rung but 3 Hours and a half, and likewise that we rung 180 changes too short : notwithstanding we rung 3 Hours and 40 Minutes, not only by Mr. William Riches's Watch, but by many others in St. Peter's of Mancroft in Norwich ; and that the Peal contained 5040 changes, John Webster (whom they supposed to be the prompter) will firmly assert. And for the satisfaction of the Publick, I, Thomas Melchior, who composed that most intricate peal of Stedman's Triples with two Doubles and no Alteration, and the rest of the company who compleatly rung it in the aforesaid Time, do offer a Wager, Two to One, as far as Ten Guineas go, that Edward Crane's Peal (if it be the same they oftentimes endeavoured to ring at St. Michael's of Coslany) is not proper Stedman's Triples. Proof as before, which we will prove before any reasonable Judge; but to challenge them to ring is beneath us : for we know that if we perform our parts to Truth, we may be sworn out of it. Therefore we leave them, as false malicious Brethren, not thinking it worth our while to answer their base, scurrilous and scandalous calumnies for the Future.

"We take leave to tell the Aylesham Ringers that we do not believe that they rung 5040 changes at once pulling down, any more than they believe that we have pricked or rung Stedman's Triples ; but for their further satisfaction, on the 28th December, 1719, we rung 5040 Triple changes (Two Doubles excepted) in 3 Hours and 6 Minutes, at Peter's of Mancroft. Thomas Barrett rung the 6th ; Thomas Melchior the 7th: John Webster the tenor, the other bells my Domestick Adversaries rung, who tho' now at Variance with me, yet I hope they have so much Honesty left, as to justifie me in what I here assert.

" THOMAS MELCHIOR."

Certainly this method of judging the truth of a peal is not one that we should rely much on, and it is of little value in showing whether the Mancroft peal was rung true or not. No record exists to show whether the Aylsham men took up the challenge, but the Coslany men returned to the newspaper war with eagerness, and a long letter appears on December 4 following, signed by "Edward Crane and Company," to which an equally long derisive reply followed by " Thomas Melchior by the consent of his Company " on December I I. Meanwhile

STEDMAN 33 1

the Coslany men tried hard to get their peal, and after several failures succeeded on December 6, 1731. This peal was not without incident, for the Mancroft band had another attempt to discredit it, and we read in the Gazette :-

"WHEREAS Mr. Melchior did advertise on the nth instant, by the consent of his company, a kind of Banter upon St. Michael's company; but not one Word of Truth, unless it was that honest Tom has ears as long as an ass. Truth indeed, but it is such asses as themselves ; but that is not all. Whereas on Monday the 6th of this instant December was rung at St. Michael's that ingenious Peal called Stedman's Triples, which contains 5040 changes (being the first time that ever it was rung), notwithstanding some of St. Peter's company did employ a Bell-Man to cry about the Streets the following scandalous Verses, just before we began to ring, viz.:-

This is to give Notice to all Sorts of People, That the Ringers that practice at St. Michael's Steeple Have craz'd their Brains, by setting forth false Pretences, That it is to be fear'd, they have quite lost their senses, Therefore let 'em repair to JoHN FosTER's, and 'tis plain, There's those that can help them to their senses again.

And a little before the peal was ended, they had the impudence to swear we should not ring it out ; and so did fling stones up the Church Leads, and against the Doors, and did cause the Boys in the Street to cry Huzzas; nay, one of them was so impertinent, as to open the Window of the church to get in ; but was prevented by the People that stood to hear the Peal come out, and were sent home to their Shame with bloody Noses ; all this some hundreds of People saw, who stood to hear the Peal: this is good Credit for St. Peter's Ringers. Mr. Melchior was pleased to say, that the peal we rung was not Stedman Triples. I will meet him before any gentleman who is a proper judge of the Art, and belongs to neither company, and I will lay down my Peal at Length, and he shall do the same and let us dispute it out which is the properest Peal according to Stedman's own Rule on Five Bells. Mr. Melchior: You are pleased to say that in Stedman every Bell has its Course alike ; but Stedman is mistaken, and so are you. These are the Names of the Men that rang the Peal on Monday the 6th instant aforesaid viz. :-

"Richard Barnham treble; Edward Crane znd; John Harvey 3rd ; Robert Nockold 4th ; William Pettingall 5th ; Thomas Crane 6th; Rice Greene 7th; Robert Crane tenor."

Melchior was properly offended that any one should think his band would do such things, and a long letter of contradiction followed, again answered in equal length by Crane, to which Melchior replied once more, giving figures and other means of exploding his opponent's views. However, the breach


was eventually healed, and as these very eminent ringers of this period had previously rang peals together in friendship, so again at St. Peter's Mancroft, on March 8, 1737, they rang " 12,6oo Grandsire Caters to the entire satisfaction, surprise and amazement of thousands of hearers," and no fewer than eight of the band had rung in one or other of the two peals of Stedman. Appropriately enough, the former enemies stood alternately-one from St. Michael's and one from St. Peter's. These worthy fellows of the exercise left successors equally worthy, and Norwich has never lacked men fit to take their place among the front rank of ringers of England.

Great efforts were made for a long time to obtain a composition of 5040, apparently without success; the" Clavis "(1788) writers think it practically impossible ! Then in the Sporting Gazette we read (in 1796) of Mr. Patrick, the celebrated bellringer, being buried on June 26 of that year, and in a short eulogy of his achievements, the statement occurs that " he composed the whole peal of 5040 Stedman Triples (till then deemed impracticable) for the discovery of which the Norwich citizens advertised a premium of fifty pounds," etc. Snowdon, Hubbard and even Osborne all regard this statement as an exaggeration, and no evidence of its truth can be found.

The first known performance of a peal of Stedman Triples after those at Norwich in 1731 was in 1799 :-

TABLET IN THE BELFRY OF ST. GILES-IN-THE-FIELDS, LONDON .

" Junior Cumberlands, Wednesday, May 22, 1799. This tablet is dedicated to the above society in commemoration of a performance not to be surpassed by any that profess this magnificent art, viz. :the whole peal of Tripples on Stedman's principle, containing 5040 changes, in 2 hours and 58 minutes. Performed by-Henry Symondson, I ; Charles Robinson, 2; Joseph Ladley, 3; William Beard, 4; John Hints, 5; William Troup, 6; William Tyler, 7; Samuel Garrett, 8. This intricate but truly admirable composition for a series of years being industriously pursued by all the composers of eminence in this noble science, and by all pronounced impracticable, was at length, with 732 bobs and 22 doubles, acquired by the celebrated John Noonan, who conducted the above unparalleled masterpiece of Campanistanean Fame."

The calling of this peal is given in Shipway's book, and it contains 710 bobs, 22 singles, and ro8 omits (not 732 bobs, as the board states). It was undivided into any parts, which obliged the composer to call the peal by the manuscript.

STEDMAN 333

Shipway adds : " As it is probable this peal will never be rung again I have inserted it merely to commemorate its performance. Noonan, it will be seen, did like Holt when he called his " original " from manuscript, and did not take part in the ringing.1 The description given of the composition by Shipway is so mixed as to be undecipherable.

In 1787 the College Youths rang the first peal of Stedman Caters ever accomplished, recorded on a tablet in the belfry of St. John's, Horsleydown :-

" HoRSLEYDOWN. In honour to a most noble performance by the Ancient Society of College Youths, who on Monday, May 28th, 1787, did ring, in an excellent manner, the first complete peal of Caters upon Stedman's Principle, 5076 changes, in 3 hours and 27 mins. May this panel transmit their names to posterity with that of the ingenious Mr. W. Jones, on whose abilities his inimitable commentaries so happily concludes with, ' Here the Cynic and the Panegyrist stop,' and join in eulogiums to such distinguished merits. fOHN REEVES I NATHANIEL WILLIAMSON 6 JoHN ANDERSON 2 ALLEN GRANT 7 DANIEL }ENKINS 3 CHRISTOPHER WELLS 8 JOHN lNVILLE . . 4 WILLIAM LOWNDES 9 THOMAS HEAP . . 5 PAUL WEBB 10

Composed and called by MR. JoHN REEVES."

The following year the Cumberland Youths obtained their first peal :-

FRoM THE CuMBERLAND's PEAL BooK.-" St. Leonard's, Shoreditch. Sat. Aug. 23rd, 1788. The Society rang a true peal of 5184 GRANDSIRE CATERS on Stedman's principle in 3 hours 47 mins., being the second peal ever performed in that method. Composed and called by JoHN REEVES .. Treble ANTHONY CAVALIER 6 ]NO. FRAZIER 2 THOS. MORRISS 7 GEo. GRoss 3 ]As. PuRsER 8 WILL. SHIPWAY 4 WM. STEPHENS 9 WILL. GIBSON . . 5 RoBT. MANN Tenor."

The same year the College Youths rang the first peal of 1 Snowdon, referring to Noonan, says : "He was originally a Birmingham

shoemaker. On one occasion he made a pair of boots for J. Short, of Witton (the man who rang Aston tenor to 15,360 Bob Major), and on payment for these, went to London. He was a great friend of Wm. Eversfield, the composer. Noonan, it is said, was once caught drinking with a gang of smugglers by revenue officers, and being in such company would have had a heavy sentence passed upon him, but through Eversfield, who was a revenue officer, his sentence was commuted to 12 months' imprisonment. Noonan was so broken down, that he was n"ver any good afterwards, and died in 1814 at Bromley, in Kent."


Cinques in this method, recorded on a tablet at St. Martin'sin-the-Fields, see footnote p. 79·

In I790 the first peal of Stedman Caters rung out of London was accomplished at Birmingham, since which time that city has been considered the headquarters of Stedman ringers and composers. Although from this period many peals of varying length of both Caters and Cinques were rung, especially by the College and Cumberland Youths, no peal of Triples is recorded until the I799 peal given above. In I 803 the College Youths secured their first of Stedman Triples, the second in 1824, the third, 1845, and it was not until ringing their fourth, in 1847, that peals of Triples were more frequently accomplished. This was due to the lack of suitable compositions. Shipway writes :-

" A true and complete peal of Triples on this principle has for many years been the constant research of the most eminent professors of the Art. The author has paid great attention to the subject, but hitherto without effect ; he has therefore chosen to relinquish it for the present, rather than delay the publication of the work. The authors of the Clavis have published no more than 1260, deeming that nearly the extent, except by using a multiplicity of bobs, which would keep two bells dodging together behind, at various times, during fifty-four changes ; a practice justly reprobated, as being both tedious and unmusical, although peals on that plan have been obtained and rung for want of better."

It will be noticed that Shipway uses the plural number, and says that peals have been rung on this plan, and he must therefore have alluded to the peals rung in I 799 and I 803, as these are the only peals known to have been rung since the Norwich ones at the time, namely, in I8I6, when Shipway wrote the above remarks.

Indeed, it was not until three years later, viz., in 1819, that another peal is known to have been rung ; this was rung at Shifnal, Shropshire, on June IS in that year by the Birmingham St. Martin's Society. The Shifnal peal was the composition of Henry Cooper, a well-known Birmingham composer, who conducted it from a written copy while seated in the steeple.

From this time eminent composers endeavoured to obtain the extent of 5040, and these early efforts were all more or less very elaborate and intricate in the multiplicity of the calls ; " bobs," " singles " and "doubles " being used in profusion, making it a most difficult matter for a conductor to memorise. The earliest composers of such peals included Thos. Edwards,

STEDMAN 335

of Stourbridge; Wm. Hudson, of Sheffield, Joseph Tebbs, of Leeds, J.P. Powell, Esq., of Quex Park, J. J. B. Lates, Thos. Day, Henry Cooper and Thos. Thurstans, of Birmingham. All these made various improvements in their time,l but the masterpiece of all remains even to-day the " stock-peal " of every conductor of note, viz., Thurstans' Four-Part.

Here are the figures :-

231456 3·4 5·6 7·8 12·13

f246351 X X A l432561 X X X

342516 X

twice A 514236

[526134 X X B 1215364 X X X

435216 X X

Four A 541326

B 125346

136245 X X 321465 X X X 254316 X (S 14) 17 X 18 (26 sixes)

twice A 315426

f 216435 X c l 142365 X X X

412356 X

Four A 245136

c 143256

A 421536

456231 X X 524361 X X X 231456 (S 2) = 2 sixes only

By THOMAS THURSTANS First rung May 18-1846.

1 These compositions are all to be found in "Stedman," pp. II9-134, under J. W. Snowdon's history of the method


Many variations of the above have been produced, such as those by Brooks, Lates, Pitstow, Haley, Heywood, Washbrook, Davies and Dexter.

Later, other compositions of Stedman Triples began to appear, and the most practised are those by J. J. Parker, J. W. Washbrook, John Carter, Sir A. P. Heywood, etc. More classical compositions are those by the Rev. H. E. Bulwer, John 0. Lancashire, J. W. Parker, A. J. Pitman, Rev. H. Law James, all of which are to be found in various modern Association reports. Among the most difficult compositions to call are John Carter's Odd-bob One-part; A. J. Pitman's Odd-bob peal ; Rev. H. L. James's seven-part.

In Caters and Cinques, the " field " being much wider, compositions are much easier to obtain, therefore large numbers are to be found under the various Association performances. Indeed, it is difficult to obtain anything new in the well-worn " tittums " and " home-at-hand " positions, unless one leaves the beaten track.

It can be truly said of " Stedman " that more peals have been rung in this than in any other method, and, incidentally, more lost!

The College Youths scored the first peal of Stedman Caters in 1787, and of Cinques in 1788, while the Cumberlands followed soon after. Many great achievements resulted as the years went by, various companies in London, Norwich, Painswick, Birmingham and Cheltenham adding a few extra changes, until in 1909, came the greatest feat of all-that of ringing (single-handed) the " clock round " at Loughborough. This great peal, however, did not stand supreme in the matter of number of changes, for in 1922 a band met at Appleton, Berks, and achieved an even greater length. There being such a difference in weight of metal, and so little in the time, opinions necessarily vary as to which is the greater performance. We give the two records side by side, and leave others to judge which 1s supreme :-

FIG. $I.-STEDMAN CATERS (!8,02? CH ANGES) PEAL B AND .

Geo. R. P ye (1), I. G. Shade (2), W. H. Inglesant (3),]. H. Cheesman (4), B. Prewett (5), B . A. Knights (6), W. J. Nudds (8), G. Lindoff (9), W. Pye (10), W. Willson (7).

[To face p. 336 .

FIG. 52.- BELL-METAL TABLET COMMEMORATI'\:G RECORD P EAL, LouGHBOROUGH.

[To face p. 337.

STEDMAN

LOUGHBOROUGH. (All Saints).

THE MIDLAND CouNTIEs AssociATION.

On Easter Monday, April 12th 1909 in 12 hours x8 minutes

a peal of STEDMAN CATERS, x8,027 changes Tenor 30! cwt.

337

GEORGE R. PYE .. Treble BENJAMIN KNIGHTS 6 ISAAC G. SHADE 2 WILLIAM WILLSON 7 WM. H. lNGLESANT 3 WILLIAM J. Nunns 8 JoHN H. CHEESMAN 4 GABRIEL LINDOFF 9 BERTRAM PREWETT 5 WILLIAM PYE .. Tenor

Composed by GABRIEL LINDOFF, and conducted by WILLIAM PYE.

--THE COMPOSITION--

213456789 5 I6 362514978

(I )261435978 165432 564132

(2)463251 361254 164253 462153 263154 263451 s 463152

365142 B

(3)562431 264531 461532 461235 s

261534 A

163524 B

362514 B

C .R .

3 2

A

2

3

B

(4) 416253879

516342 612345

4'5•16 5

(1) = I, 21 7, II, 13, 14, 15, 16, (z) = 4, 5s, r6, (3) = 4• x6. (4) First 21 Courses

of B, calling the first 2, 6, 9, 15, 16,


S. LAWRENCE, APPLETON, BERKS. On Saturday, April 22nd 1922, in 12 Hours 25 Minutes,

a peal of STEDMAN CATERS, 21,363 changes. Tenor 14· cwt. 2 qr. 19 lbs.

CHALLIS F. WINNEY .. Treble HENRY R. NEWTON 6 GEORGE HOLIFIELD, JUN. 2 ALFRED B. PECK 7 WILLIAM HIBBERT . . 3 RICHARDT. HIBBERT 8 HERBERT LANGDON . . 4 RICHARD WHITE 9 GEORGE HoLIFIELD, SEN. 5 FRED WHITE .. Tenor

Composed by H. G. MILES, Conducted by H. LANGDON. -~ THE COMPOSITION --

231456789 5 16 615234879

(1) 561423978 (b) 564321 2

461325 3 163425 2 365421 3 Repeat 4 times calling first course in each part 4, 5, 16, produces 261354978

(2) 315462879

(3) 165423978 Followed by calling from (b) as in first part produces 265314978

(4) 312654879 followed by calling as from (b) in first part until round. [33 courses in this

part.) followed by calling from (b) as in first part produces.

(I)= Singles at I, 3, 8, I2: bobs 6, 9, I3.

(2) = 2, 7. 8, 9. I3S, I6. (3) = 2, s. 6, 9. I6. (4) = 2, s. 9. liS, IS, I6.

As with the Cater records, the Cinques peals gradually developed to 6204, 7126, 8448, 9238, II,III, until the College Youths gained the present record of 12,675 changes on May 21, 1923, at Southwark Cathedral, with a tenor bell of 50 cwt.; this was truly a feat of strength and stamina, the peal occupying nine hours forty-seven minutes. The names of the ringers are:-

"CHALLIS F. WINNEY .. Treble RICHARD F. DEAL CHARLES W. ROBERTS 2 THOMAS LANGDON

7 8

WILLIAMS. LANGDON 3 THOMAS GROOMBRIDGE. 9 WILSON RusHTON 4 RicHARDT. HIBBERT HERBERT LANGDON . . 5 HENRY R. NEWTON WILLIAM HIBBERT 6 ALFRED B. PECK

Composed by HENRY G. MILES ---- conducted by HERBERT LANGDON."

10

II

.. Tenor

·THE·OXFORD·DIOCESAN·GUILD· ·AND·THE·ANCIENTSOCIETY·

· OF-COLLEGE·YOUTHS· ON SATURDAY APRIL 22H_D 1922.

IN 12 HOURS&25 MINUTES.A PEAL Of

~trbnrun Q[at Ptt?i 21.363 CHANGES .

CHALLIS F. WINNEY-TR£BL£ HENRYR.NEWTDN VI eEORCE HOLIFIELD,JU..N II ALFRED B. PECK VII WILLIAM HIBBERT /II RICHARD T.HIBBERT VIII HERBERT LANCDON IV RICHARD WHITE IX GEORCE HOLIFIELD, SN_R V FRED WHITE - TENOR

COMPOSED BY HENRY G. MILES. CUNDLICTED BY HERBEI<T LANGDON .

F.C.R JOUf<OAJN. RECTO!-/..

). C. f<rc:JARDS.} CH Ll RC H. J.D.PEEL. WARDENS .

IHJ'J JS THE LONGEST ?tAl. fWNG

BY ONE SET OF MEN.

B y Courtesy of Mr. C. H . Webb, Croft , Leics. (engraver).

FIG. 53.-TABLET COMMEMORATING RECORD PEAL, APPLETON, BERKS.

[To face p. 338.

CHAPTER VIII

METHODS OF CHANGE RINGING. CONSTRU9-TION, DIAGRAMS, ETC.

"The triplex, Sir, is a good tripping measure; Or the bells of St. Brunet, Sir, may put you in mind

one, two, three."

SHAKESPEARE-Twelfth Night, Act V., Sc. 1.

IN many country parishes, even in this "enlightened age," we find ringers content to ring what is known as " set changes," i.e., they ring the bells in one particular position

a great many times, only changing the order at some accustomed signal, to a variation called by the leader or chalked on the belfry walls. It is common to notice on entering the belfry of a country parish, chalked up on boards or suitable cards, rows of figures, the first of which the ringers probably ring for two or three minutes, then the second for a time, then the third, and so on. There is no science in this, as it requires nothing beyond the mere manual dexterity, and barely that; indeed, it would not be considered ringing by a company of experts. Hence it is in ridicule called " church-yard-bob," " stoney," etc.

In one Leicestershire village, where the author conducted the first peal of 5040 changes on the bells, 1 the locals wanted to see our " cards," and were amazed when told that we never rung by " cards," but memorised the changes-or method of producing them. Many of the ringers and villagers stood watching us for over an hour ; others came in and saw the finishremaining very quiet and somewhat awed by the spectacle ! A.t the conclusion the locals " did a peal," and lowered the bells, striking them accurately.

1 Theddingworth (5 bells), February 4, 1928, being the 107th tower in this county where the author had rung complete peals. Here is a very long draught of rope without guides, consequently the ringing was slow to be well struck.

339 Z2


At another tower,1 on a ring of five bells dated 1684, the locals rang several 12o's at the conclusion of our peal in their style, i.e., the treble ringer shouting at each lead "3-4 dodge," "2-5 bob," etc., meaning that 3-4 would "dodge" together the first lead, and 2-5 would " bob or double-dodge " at the second, and so on. They knew this 120 by heart, but each man had to have his own bell or be lost !

·True change ringing must not be confounded with such wearisome repetitions, for here a " change " is made at every stroke, the bells being never sounded in the same order, " or row," twice-and this is continued to the end of the " touch " or " peal," when the bells are brought home in their regular places in " rounds." If such a " touch " or " peal " contains any repetition, it is said to be false, and is not tolerated. When the bells are struck in their natural order beginning with the smallest, or highest note----called the treble-and ending with the largest, or deepest note-called the tenor-they are said to be ringing in " rounds." To produce the changes each bell follows a certain course, changing places with the others by the evolution of certain rules or " methods." To manage a bell properly in this respect, and guide it up and down the maze, not only requires much practice and study, but a cool head and close attention, and this necessity justifies the remark that ringing demands mental as well as bodily effort. Whosoever thinks it would be easy, let him try it, and he will find it requires quickness of the eye and ear ; collectedness ; presence of mind ; perseverance ; ability to meet repeated failures and disappointments without being disheartened or disgusted ; good temper and an acquired faculty known as " rope-sight." Such being the nature of change ringing, its popularity in England is not to be wondered at.

Even to-day, after three centuries of continued application, our change-ringing composers are still finding fresh fields for scientific and mathematical study in the evolution of new " methods " ; in " splicing " old methods in a new and fascinating way ; in producing compositions of varying intricacy ; and generally "juggling " with figures (which comprise the art of change ringing) in a truly amazing and mystifying way.

1 Easton Magna, September <14, 19<17, being the xooth Leicestershire tower where the author rang complete peals of sooo changes and over.

METHODS OF CHANGE RINGING 341

Before attempting change ringing a ringer, having become proficient in handling a bell, must learn to ring in " rounds," which, to be correctly done, must be rung in this manner :-

1234567812345678 X 1234567812345678 etc. -----.----- -------·-,-------' ...__,..._.... ._.____., _ _...

HAND BACK HAND BACK

i.e., the " Hand " and " Back" strokes to be rung evenly and consecutively after each other, then a pause or interval of one blow, "X," before the next" whole-pull," or thus:-

When this can be done correctly, the tyro must learn the "method," usually beginning with the treble or " hunt " bell, and later taking an " inside " or " working " bell. Having given Grandsire on five, we briefly show this on seven bells-the tenor (or eighth) being the cover bell, striking last in each "row," is omitted in the "pricking" of the " rows."

According to the rule of this method, at the first change the 3rd bell, and at the fifteenth the sth bell, strikes two blows in 3rd's place and so on ; the rule being that the bell the treble takes from the lead does this in every case of a "plain " or " bob " lead, but 2nd's at a "single " lead. This stops the work of the bells previously in 4th, sth, 6th, 7th places, causing them to take a step backward, or technically to " dodge." It is by such " place making " and " dodging " that FIG. 54·

changes are produced, and in order to prevent the bells falling into place too soon further modifications of " Bobs " and " Singles " are introduced, altering the work in various ways.


It is usual for the" inside "men to learn this method by this rule:-" If you pass treble in 6 X 7 you are in the hunt, if a call is made you

dodge 4 X 5 down. ,, ,

" " , ,

" ,

" ,

" ,

, in 5 X 6 you dodge 4 X 5 down, if a call is made dodge 6 X 7 down.

, in 4 X 5 you dodge 6 X 7 down, if a call 6 X 7 up. , in 3 X 4 you dodge 6 X 7 up, if a call4 X 5 up. , in 2 X 3 you dodge 4 X 5 up, if a "Bob " is

called make 3rds and in to lead again-taking up the hunt. If a" single " make four blows in 3rds and in to lead.

If treble takes you from lead, make 3rds and back to lead, " bob '' or not, but if " single " make znds and lead again, taking the " hunt " work.

An easy way to remember the " work " is by using the " circle " method :-

.3r!}s. fix7up

"' / 4x5up FIG. 55·

following the circle in the " plain " course order, and at calls you are thrown forward one place, i.e., if due for 4 X 5 down and a call occurs you dodge 6 X 7 down. Always remember to " double dodge " at a call, and single dodge at a plain lead.1

A conductor must learn all the " terms " set for the various places into which each bell falls, and know where they should appear if ordered to be called in such places, thus :-

2 3 4 5 6 7 .... 1:: ~

.E .E 0 ~

..c: !Ll .!::: .£ ~ .: .... - 0 "tl .... s ] ~ 8 ~ ~ ~

1 A full exposition of thi~ method is to be found in " Grandsire "-the method, its peals, and history, by the late Jasper W . Snowdon.

METHODS OF CHANGE RINGING 34-3

Naturally, different methods have different working positions, so that before attempting to call, a conductor must be thoroughly conversant with the " coursing " or " work " of the particular method under review. In the Appendix will be found a " Glossary of Terms," but a thorough study of the" in and out of course " of various methods must be acquired by a conductor before essaying to conduct a peal. There is a vast difference between the mere " bob-caller " and the " conductor," the former simply calling a " touch " or " peal " in a mechanical way, making his " bobs " or " singles " at set places ; whereas a conductor knows, in addition to the mere bob-calling, the position, the work, and coursing of all the bells involved.

In giving " touches " or " peals " in any method, it is usual to quote only the bob changes, or the course ends. In the latter case the positions of the observation bell at the lead ends, where the calls have to be made, are noted at the right of the course end. This is generally the most concise way of expressing a touch or peal. Different conductors have differing ways of memorising the calling positions, as, indeed, ringers have of memorising methods. A selection of short " touches " here given shows the method of giving lead-ends or bob-leads or calling positions :-

by lead ends by bob leads by calling position 234567 234567

23456 253746 752634 I

762453 s 237546 3 26543 In, out at 3 746325 462753 2 52643 In and out 357246 s 374562 I 62345 w

32546 w 325674 623457 2 24536 Before & W 643725 s 356274 3 45236 H 674532 743625 2 52436 H 526374 s 567243 I Twice Repeated

532467 435726 2 contains twelve 74's 475632 s 524367 3 and twelve 67's 467253 675432 2 - rz6o-234567 s 246375 I

Round at I - I68- -336-


From the first it was known that 5040 changes could be produced on seven bells; and in the early days of change ringing it was the endeavour of many aspirants to compose this extent, and much thought and labour were expended uselessly in this endeavour. In " Clavis Campanalogia " we read:-

" Ever fince Grandfire Tripples hath been difcovered or practifed, 5040 changes manifeftly appeared to view ; but to reach the lofty fummit of this grand climax was a difficulty that many had encountered, though none fucceeded, and thofe great names (viz) Hardham, Condell, Anable, &c, who are now recorded on the ancient rolls of fame, had each exhaufted all their fkill and patience in this grand purfuit to no other purpofe than that of being convinced, that either the tafk itfelf was an utter impoffibility, or (otherwife) that all their united efforts were unequal to it, and it is poffible that had it not been for the author (of whom we are about to fpeak) that this valuable piece of treafure, would at this day been faft locked up in the barren womb of fterile obfcurity ! not but they had a peal to be fure which they rung, but what credit or fatisfaction can arife from repeatedly practifing a falfe peal, when so many true ones prefent themselves in other methods ? "

It then goes on to give John Holt's famous original one-part peal (seep. 519), and follows with the equally known ten- and six-part peals. Regarding variations of these the writer says :-

" Indeed, it may be no difficult tafk for fome, to produce variations of Mr. Holt's peal and broach them for their own. But the difcerning part of the exercife are not to be fo blinded, and we will be bold to fay, that if any one will produce a peal of Grandfire Tripples with two fingles, and will fay he hath not borrowed his plan from Mr. Holt, is a braggart, and an impoftor, and will be branded as fuch by every judicious proffeffor of the art."

So much for those who wish to palm off variations as originals ! As we have already given the details and figures of this and the earlier peal of John Garthon, of Norwich, there is no need to enlarge further on this ancient method. All the old and modern compositions of 5040 can be seen in the Central Council Collection of PEALS, Section I. One must not, however, omit to mention the wonderful researches and diagrams relating to this method by W. H. Thompson, Esq., M.A., of


the Bengal Civil Service.1 By mathematical deduction, and by the most abstruse systems he has proved it to be impossible to construct a peal of Grandsire Triples by ordinary plain leads and common bobs only ; also by means of curious charts and diagrams shown how to produce hundreds of peals and variations. Only the most learned mathematicians and composers who have studied the subject can read and understand thoroughly these papers. Expressed principally in terms of algebra and advanced arithmetic, this work is a great advance on any previously issued treatise on this absorbing subject. Mr. Thompson also wrote a similar book on Union Triples,2 giving a system in imitation of Shipway's peal, with directions for obtaining from a diagram no fewer than 1 6oo peals.

In the Appendix is a tabulated list of first and progressive peals in all the known methods. To show their diversity and complexity, however, a selection of these by " rows " and by " skeleton " courses will be acceptable.

Original

The simplest form of all ringing is that known as " hunting " ; this consists of each bell following a simple path from and to the lead (or vice versa), striking once only in each place, but making a " whole-pull " or two blows at the " lead " and behind. Thus a " plain course " consists of twice as many " rows " or " changes " as there are bells. This is technically called " ORIGINAL," and, to extend it, " bobs " and " singles " are made by the last three bells, i.e., in Triples ; the one hunting up and arriving in sth at a call, makes two blows there and returns to lead. In Major this place is in 6th ; in Caters 7th's, and so on. The two bells behind" dodge "once at each " bob," and for a " single " lie still, exactly as in the Stedman method.

Calls may be made every two changes, therefore the "course" is so divided. As an illustration we give Triples so:-

1 "A Note on Grandsire Triples," by W . H. Thompson, M.A. Published, 1886, by Macmillan and Bowes; also the "Thompson Papers" in " Grandsire," 1905 edition.

2 Published, 1893 , by Macmillan and Bowes, Cambridge.


1234567-1

2143657 2416375-2

4261735 4627153-3

6472513

The only 5040 Original Triples ever rung was at Bushey, Herts, on October x6, 1926, in 2 hrs. so mins., by:-w. SEELEY .. I

P. PARSLOW .. 2 S. H. HOARE .• 3 E. P. AsHBY .. 4

H. w. KIRTON 5 F. A. SMITH .. 6 M.F.R.HIBBERT 7 W.J.S!MONS 8

6745231-4 123456 3 4 5 6 • Composed by Ernest Morris.

7654321 7563412-5

5736142 5371624-6

3517264 3152746-7

1325476 1234567-8

Bob. 2416375-2

426!357 4623175

Single. 2416375-2

4261375 4623157

465312 425613 4352!6 26!543 231645 251346 364125 354621 314526 561234 541632 521436 462153 432651 412356

X- -

s- -

Conducted by M. F. R. HIBBERT.

Repeat 23 times, omitting S at 4 in all except 13th part, and adding a Bob at same place in 2-5-8-10-14-!7-20 and 22 parts.

Has the 7th undisturbed throughout ; the 6th alternately in 2-4-<i place at course ends ; the 5th follows a set sequence in each part.

Only one peal of Original Major was ever rung, viz. : 5000 changes at St. John's, Ranmoor, Sheffield, August 26, 1908, composed and conducted by the late Sam Thomas.

Plain Bob

This is one of the earliest, if not the earliest, invented systems of change ringing, and is similar to the " Original," in which all " hunt," until the treble returns to lead, when, instead of allowing the " course " to run round, seconds place is made by the one the treble takes from lead, thereby causing each pair immediately behind them to " dodge." The method is properly adapted to even numbers, although it has in the past been practised on odd numbers, the odd, however, now being discouraged by the ruling of the Central Council. It is now usually designated as " Bob Major," " Bob Royal" or " Bob Maximus," and is the simplest of all methods. The first peal of which we have authentic record is that of " GRANDSIR. BoB


TRIPLES" on May 2, 1715, at Norwich, and in the old days the method was known as" Grandsire Bob," to distinguish it from ordinary " Grandsire." Coming to Major (or 8 in), the earliest record of a peal is that at St. Bride's, Fleet Street, on Apri126, 1725, by the Ancient Society of College Youths, and since that date in many an ancient tower, in all parts of the country, may be seen some very interesting tablets recording local peals in this method. They vary much in length, and it is not unusual to see records of 1o,o8o (which is usually a simple 5040 doubled by" singles"), and 13,440 (which is the extent possible with 7 X 8 together).1 The record lengths, however, were rung at Oldham, Lancs-14,480 changes on January 4, 1784, in eight hours twenty-four minutes, and 15,120 changes on October 24, 1809, in eight hours forty-six minutes, details of which we have given under that Society's records. Of course, one remembers the great achievements at Leeds, Kent, where 20,16o and 40,320 changes were rung, the latter being the extent on eight bells ; but having been rung by relays of men (on April 7 and 8, 1761), and the former in a similar manner, these are not credited as " individual records," although they form remarkable examples of endurance.

Coming to Royal (10 in), the first peal of this was at St. Bride's, Fleet Street, on November 22, 1725 ; as was also the first of Maximus (12 in), February 26, 1726, both being composed and conducted by the famous Benjamin Annable, noted under the record of the College Youths.

Peals have been also rung in the PLAIN BoB method reversed, i.e., with the work and calls made when the treble is" behind " ; also double, i.e., with the work made both at" back and front," and calls made as usual; Real Double, i.e., when work and calls come both at " back " and " front." A few peals of Bob Caters and Cinques were rung in the old days, but these are now discouraged.2

1 The author once called such an extent at Loughborough Bell-foundry in the quick time of 6 hrs. 48 mins. (April 8, 19zz), actually quicker than the same length rung on hand-bells at Pudsey, Yorks, June 5, 19I1, which occupied 7 hrs. 7 mins.

9 An exhaustive number of peal compositions in the Plain Bob Method is given in the Central Council Collection, II.


Canterbury Pleasure This method is, in its original form, a simple variation of

Plain Bob, the only difference being that in 3-4 places are made in lieu of the dodge. Calls are made like " Grandsire." The sole objection to this method is that it does not produce Bob Major lead ends, therefore the Central Council recommends its reverse variation, which does !

Court Bob From the original Court Bob on six bells, two variations of

Major were produced, which, from the towers where they were first practised, received the names of Norwich and London Court Bob. These variations are found in the" Clavis " ( 1788), although from the Mason MSS. at Downing College, Cambridge, it is evident that it was known about the middle of the eighteenth century. When Shipway wrote his " Art of Ringing" (r8r4), he gave much attention to the Court method, and from the original on six bells-which was Double Courthe deduced a single 3ystem ; and, reducing the others also to the single method, classed them as Norwich and London Court Bob. Whether he was right in his deduction of the single from the double method is still a matter of opinion, as subsequent writers all gave a different Single Court Minor method. Owing to the indefinite nomenclature of Court ringing until after Shipway's time, it is uncertain whether peals of which records exist were of London or Norwich variations. Even in r8or, two peals of Double Norwich are described as Court Bob only, and had we not the authority of Shipway (who also gives the compositions) that they were rung in the double method, some question as to their identity might arise.

In his " History of Double Norwich Court Bob," the late J. W. Snowdon wrote in regard to Royal that the first mention of a peal is one said to have been rung on the old ten at St. Peter's, Norwich, although nothing further was known about this beyond the date, stated in the " Clavis " to be 1769 ; he hoped the full information would later become known. Shipway mentions two peals thus :-

" This and the following peal of Royal were rung in r8o1. The 5,040 at Christ Church, Spitalfields, by a band selected from the principal societies of ringers in the Metropolis, and on a tablet in

1\lETHODS OF CHANGE RINGING 349

that steeple it is stated to be the first peal ever rung in that intricate method. The 5,200 was rung at St. Leonard's, Shoreditch, by a band of the Society of Cumberlands ; consequently by that Statement, they are the first and only Society that has accomplished so arduous an undertaking."

The tablet recording the peal at Spitalfields was destroyed in the fire of 1836, but a copy is preserved in the Osborne MSS. It runs as follows:-

" Christ Church, Spitalfields. This drawing is in commemoration of an excellent peal rung in this church by a friendly society, on Saturday, Feb. 28th, r8oi, consisting of 5,040 changes of Court Bob Royal in 3 hrs. and 37 mins. This great performance (being the first in this intricate method) is highly esteemed for the correct striking and harmony it produced, and cannot be equalled but by the same exertion and perseverance, which must ever reflect honour and credit to the performers: Thomas Smith I, James Purser 2,

Joseph Ladley 3, William Beard 4, John Reeves 5, Anthony Cavalier 6, William Troup 7, Charles Barber 8, John Noonan 9, Edward Bartell IO. The above peal was composed and conducted by Mr. Noonan."

The board was surmounted by a drawing of the church. The second peal Shipway referred to was recorded on a tablet in Shoreditch belfry :-

" Cumberland Youths. This inscription will hand to posterity the unparalleled abilities displayed in the performance of a peal that was rung in this steeple, on Tuesday, 7th April, r8or, of 5,220 changes of Court Bob Royal in 3 hours 37 minutes, being the first ever rung by any society in that intricate method. Composed and called by Mr. George Gross, senior, Mr. George Lassigned, junr., Master; Mr. William Thompson, Mr. John Baker, Churchwardens; Geo. Gross I, Geo. Gross, junr., 2, James Nash 3, W. Shipway 4, J. Poulden 5, John Hints 6, M. Channon 7, T. Reeves 8, Samuel Bowling 9, W. Stephens, Io." ·

Mr. T. E. Slater, of Glemsford, Suffolk, has succeeded in tracing an extract from the Norwich Gazette, which recorded so many of the important doings of the Norwich ringers. It reads:-

" St. Peter Mancroft.-On Monday, April 17th, 1769, 5,040 changes of Porter's Peal of Court Bob upon Ten Bells was rung at St. Peter of Mancroft by the Ringers of that Parish, which they compleated in 3 hours and 29 minutes."

Unfortunately no names are given with the record. In the year r8r6, the year in which Shipway published his " Art of Ringing," in which appeared the extract given above, another


notice of the Norwich peal was inserted in the Norwich Mercury, the Norwich Scholars, apparently, being annoyed when they found that Shipway had omitted all reference to their peal.

"Notice.-Norwich, November, r8r6 .-In a recent publication on the intricate science and ingenious art of change ringing it states that Court Bob Royal a peal of 5,040 was rung at Christ Church, Spitalfields, London, by a band chosen from three of the London Societies in the year r8or. This musical and intricate peal was composed in this city by Mr. William Porter in the year 1751, and rung by the Norwich company on the old ring of ten bells at St. Peter Mancroft Church, a compleat peal, 5,040 changes, on Monday, April 17th, 1769, and called Norwich Court Bob Royal, which performance continued 3 hours and 29 minutes."

This evidence will fully establish the peal of 1769 at Norwich as the first in the method, and provides the corroboration which Jasper Snowdon hoped might be forthcoming.

The College Youths rang " 5040 Court Bob, being the first ever done," at St. Lawrence Jewry, London, on May 17, 1735, and from the original name-book of the Union Scholars we note that John Holt called 5040 Court Bob at St. Margaret's, Westminster, February 16, 1752. The Cumberland Youths rang 5152 Court Bob at Whitechapel on October 12, 1766, but there was nothing to show whether these were in the London or Norwich Variation till J. W. Snowdon 1 discovered in the London Youths' peal-book a record of 5200 Court Bob rung at St. Mary, Whitechapel, December 16, 1764, which has its course ends given on the reverse of the page, from which it can be judged that although hardly the regular London Court, it was probably a slight variation, but evidently not the Norwich variation. He, Snowdon, therefore considers all peals rung in London to be some such variation, and this is supported by the first reliable record of a peal of Norwich Court Bob, a peal of 5040 changes at St. Matthew's, Bethnal Green, January 7, 1788, stated to be " the first true peal ever rung in London in this method " ; therefore it would appear that if any other peal had been previously rung it was false. This peal was rung by :

JouN REEVES (Cond .) .. Treble M. CHANNON 5 w. STEVENS 2 FR. NAY . . 6 W. WEST 3 An. IzARD 7 A. CAVALIER 4 J. PURSER .. Tenor

1 Church Bells, July 1, 1876, p. 366.

FIG. 56.- TABLET RECORDIN G FIRST PEAL D .N.C .B. MAXIMUS

(January zo, 1817 .)

[To face p. 35 I.


Following this come peals of the same length at St. Michael Coslany, Norwich, 1815, called by R. Chesnutt; Saffron Walden, February 4, 1817, composed and conducted by R. Miller. In 1818 a 6ooo was rung by the Union Youths at Gravesend, conducted by Geo. Kibble; and in 1831 a 6160 at Coslany, composed and conducted by S. Thurston; 504o's were also rung at No~th Elmham, 1832 ; Bennington, 1838 ; and Clerkenwell, 1840. In 1844 the Christleton (Cheshire) ringers rang 5376, and in 1848 three were rung, viz., St. Matthew's, Bethnal Green, conducted by H. W. Haley; Holy Trinity, Newington, conducted by J. Cox; and at Woolwich, conducted by W. Banister, the latter being termed REAL, as it had certain bobs at" back " as well as " front." 1

Double Norwich Court Bob Major is a highly esteemed method, called by many the " queen of plain methods " ; its work is interesting, and its symmetry of composition perfect, while from a musical point of view it leaves nothing to be desired. It is, therefore, widely practised, and many historic peals have been accomplished in the method.

It is interesting to note that in addition to the first peal of Royal, the first of Norwich Court Bob Maximus was rung at S. Peter's, Mancroft; this was on January 20, 1817, and a tablet records the same (Fig. 56).

Erin A musical yet little practised method is that of Erin, which

is much akin to Stedman. It is, however, greatly marred on seven bells by the number of" singles " necessary to obtain the extent. On higher numbers this objection disappears, and grand music is produced, the big bells coming home in Caters in 54 changes. This is a division of Triples :-

1234567

2143657 1246375 1423657 4126375 4213657 2416375

Stedman Bob and Single. 1 For a complete history of the method, with numerous peal compositions,

etc., see J .. W. Snowdon's" Double Norwich Court Bob Major," Leeds, 1884.


Mr. J. W. Parker, of Sunderland, first produced a 5040 as follows:-

5040. 123456 3 4 5 6

B~ 532416

A f 413652 s l231645 s

3A 635124

( 123465 s 452613 325641 s

3B 621534

312564 2A 615342

341265 s 254631 145623 s 624315 s 352164 425136 s

4B 624351

542361 3A 341256

514236 A 413625

621543 s 532461 123456 s

This was the first peal composed in the method and was rung for the first time at the church of St. Mary, Gateshead, June 5, 1909, conducted by William H. Barber.

The first peal of Caters in this method was also conducted by W. H. Barber, being rung at Christ Church, North Shields, on July 12, 1909. The composition was 5076 changes by J. W. Parker:-

463152978 136452 423516

4 5 6 7


512346 324156 142356 362154 246351 614253 234651 643251 213654 341256 261354 316254 645132 354162 425361 512463 432561 523461 413562 321465

Three times repeated, omitting bob at I, with a single instead of the last bob at 5 in the second and fourth parts produces 123456978

432156897 123456789

The St. Martin's Society, Birmingham, rang the first peals of ERIN CINQUES (5063) on both tower and hand-bells. The former at Wolverhampton, September 23, 19II, the latter in Birmingham, March 20, 1920, both composed by J. Carter and conducted by J. E. Groves.

Treble Bob A method that has found much favour is that of Treble Bob,

and its countless variations. As its name implies, it is a " Treble Dominated " method, and throughout the treble " dodges" in all places on its upward and downward" hunt " i.e. (in Major), 1-2, 3-4, 5-6, 7-8, 8-7, 6-5, 4-3, 2-1. Probably there is no system in which so great a variety of musical compositions has been produced. Since the issue of the " Clavis Campanalogia" by Jones, Reeves and Blakemore in 1788, in

C.R. A A

354 HISTORY AND ART OF CI-lANGE RINGING

which the first published peals of Treble Bob are to be found, other works-Shipway, Hubbard and Sottanstall-have appeared giving various peals in this system, and the Central Council have in hand at the present time a huge collection, proved and selected with a view to publication. The two most practised systems of this method are now known as " Oxford " and "Kent" variations, although formerly known as " Union Treble Bob " and " New Treble Bob " respectively. The " New " or " Kent" variation is usually preferred, as it keeps the tenors (i.e., 7-8) together much more.

OXFORD. This tends to add a I 2 3 4 5 6 7 8 m greater musical effect,

and the labour in actual m out ringing is a good deal

2I436587 I2435678 2I346587 23I64857 32618475 32I64857 23618475 2638I745 m 62837154 62381745 26837I54 28673514 m 82765341 826735I4 2876534I

out less than in the Oxford m variation, where the in upward or downward out course of the bell has out

m out out

m out out

2 7 8 56 4 3 I in 725846I3 7285643I 275846I3 25748I63 m 5247I836 52748I63 2547I836 24517386 m 42I53768 42517386 24I53768 21435678 m 12346587 21345678 I2436587 14263857 m

m out out

in out out

m out out

m out out

to be reverse a f t e r " place-making." The method is extremely treacherous in composition, and most of the early peals were found to be " false." Mr. Christopher Wells, of the London Youths, in 1768, drew attention to the liability of" internal falseness," and we read in the " Clavis " :-

" The rumour of this discovery soon spread a general alarm throughout the whole art, scarcely a peal being rung but its truth was now suspected ; and, indeed, many of their fears were but too well founded,

KENT. I2345678 m

2 I 3 4 6 5 8 7 out I 2 4 3 5 6 7 8 out 2I436587 m 2 4 I 6 3 8 5 7 out 4 2 6 I 8 3 7 5 out 42I63857 m 2 4 6 I 8 3 7 5 in 2 6 4 8 I 7 3 5 out 6 2 8 4 7 1 5 3 out 62481735 m 26847I53 in 2 8 6 7 4 5 I 3 out 8 2 7 6 5 4 3 I out 826745I3 in 28765431 m 2 7 8 5 6 3 4 1 out 7 2 5 8 3 6 I 4 out 72856341 m 27583614 m 2 5 7 3 8 1 6 4 out 5 2 3 7 I 8 4 6 out 52738I64 m 2537I846 m 2 3 5 I 7 4 8 6 out 3 2 I 5 4 7 6 8 out 32517486 m 23I54768 m 2 I 3 4 5 6 7 8 out I2346587 m 21435678 in I 2 4 3 6 5 8 7 out 14263857 in


OXFORD. LEAD ENDS OF A PLAIN COURSE.

2345678 m

for on a strict investigation of the peals then rung, the old peal above mentioned excepted,1

two out of three were absolutely false." 4263857 m

6482735 in 8 6 7 4 5 2 3 m T h i s difficulty o f 7 8 5 6 3 4 2 m avoiding falseness in proS 7 3 8 2 6 4 in ducing peals, generally 3 5 2 7 4 8 6 m kept the limit of com-2 3 4 5 6 7 8 in position only slightly

KENT. A Bob at the

various leads gives 2 3 4 56 7 8 in

4235678 m 6423857 in 8642735 m 7864523 in 5786342 in 3578264 m 2357486 in

in advance of the power of ordinary ringers, and, therefore, as the different greater lengths were produced, a set of men was generally found ready to attempt to accomplish them.

There is much pleasure to be found in exceeding the greatest attainment of others, in all kinds of sport ; and it is so with ringing. Whether it be the composing of a longer length, or ringing a greater number of changes, there will always exist some desire to overthrow the best recorded result. In Treble Bob this kind of thing has been more evident, and we would advise all students of the art to follow this advance as shown in Mr. J. W. Snowdon's "Treatise on Treble Bob," also schedules given in the Appendix at the end of this volume.

Besides the Oxford and Kent variations, there are hundreds of others, more or less intricate in their construction, and in this class come the " Surprise" methods and " Delights." These are merely academic rulings, and defined by the" places " made at" cross-sections " of the treble on her path upward and downward in the course. Thus a Surprise method must have internal places made at all such " cross-sections." It is doubtful if, in actual ringing, one ringer in a hundred knows when he is making such a place in a cross-section or not, but the plan is used solely as a means of classification. Some " Surprise" methods are thus, from a ringing point of view, actually simpler than some of the more complicated " Delight "

1 The first peal ever rung in the method, December 27, 1718, at S. Dunstan's-in-the-East, 5120 Union Bob, by the Union Scholars (which see).

A A 2


or " Treble Bob" variations, and certainly sometimes inferior in " musical cadence."

Superlative Surprise Major is, in the matter of construction, perfect. It is symmetrical, i.e., the work from the front is identical with that from behind, and the work in hunting up the same as that in hunting down. If the plan or diagram of the method-here given in half-is held up one way, then turned upside down, or reversed and held before a mirror, it

FIG. 57·

appears the same. In " Treble Bob " methods, it occupies the position of primacy held in " plain" methods by Double Norwich, although, trom a musical point of view, opinions differ. The method first appeared in the" Clavis "of 1788 as " original composition of our own," but no peal appears to have been rung until 1821, when 5152 is mentioned in Thackrah's work as rung at Huddersfield. Subsequent peals were rung at Norwich, Woolwich and Bennington. That the value of Superlative is fully recognised by the Exercise is shown by


the large number of peals of it which are rung. A full description of the method can be found in " Standard Methods," pp. 76-8o of the letterpress and pp. 34-35 of diagrams.

Other favourite " Surprise " methods are the Cambridge, London and Bristol variations, and of late years others have come to the fore. Here is a selection of the most popular:-Cambridge Surprise Major.

12345678

21436587 12463857 21648375 26143857 62418375 62148735 26417853 62471835 26748153 27641835 72468153 27648513 72465831 74256813 47528631 74256831 47528613 45782631 54876213 45786123 54871632 58476123 85741632 58714623 85176432 85716342 58173624 51876342 15783624 51738264 15372846 15738264

Bob. 15372846 13578264

London Surprise

Major.

12345678

21354768 12537486 21573846 25178364 52713846 52178364 25713846 52731486 57234168 75321486 73524168 37254618 32745681 23476518 24367581 42637851 46273815 64728351 67482315 76842135 78641253 87462135 84761253 48716523 84175632 84716523 48175632 41876523 14867253 41682735 14628375 14263857

Bob. 14628375 16423857

Belgrave Surprise Major.

12345678 21436587 12463857 21648375

26143857 62418375 26148735 62417853

64271835 46728153 46271835 64728153

46782513 64875231 68472513 86745231

87654321 78563412 75864321 57683412

75638142 57361824 57638142 75361824

73516842 37158624 73518264 37152846

31758264 13572846 31527486 13254768

Pudsey Surprise Major.

12345678 21436587 12346857 21438675

24183657 42816375 42183657 24816375

42861735 24687153 26481735 62847153

26487513 62845731 68254713 86527431

68254731 86527413 85672431 58764213

85674123 58761432 57864123 75681432

57618342 75163824 75618342 57163824

51736842 15378624 51738264 15372846

Rochester Surprise Major.

12345678 21436587 12346857 21438675

24183657 42816375 42183657 24816375

42861735 48267153 84621735 86427153

68472513 86745231 87654213 78562431

87652341 78563214 75836241 57382614

75328164 73521846 37258164 32751846

23715486 32174568 32715486 23174568

21347586 12435768 21345678 12436587

Lincoln Surprise Major.

12345678 21354768 12537486 21357846

23158764 32517846 32158764 23517846

32571864 25278146 53721864 57328146

75238416 57324861 53728416 35274861

32547681 23456718 24357681 42536718

24356178 23451687 32546178 35241687

53214678 35126487 35214678 53126487

51324678 15234768 51327486 15372846

13527486 15738264 14263857 15738264

Cambridge Surprise is one of the most difficult methods in which composition has been attempted, and was first published


in the "Clavis" of 1788. It is an especial favourite on the grounds (a) of being easily and correctly extended to ten and twelve bells, and (b) of its delightful forward movement in the work of the " inside " bells.

The Major is so liable to falseness in composition that it admits of but one true peal with the tenors together, this being the well-known five-part of s6oo composed by Charles Middleton, of Norwich, in 1844. By the adoption, however, of bobs" before," the late Henry Johnson, J. W. Washbrook and Sir A. P. Heywood, Bart., obtained peals of 5056 and 5184, but these are, of course, mere variations of the original. Other variations have since been obtained by T. B. Worsley and J. S. Wilde, with the introduction of a part or parts, with the tenors parted. The original 56oo by Middleton is as follows:-

43652 56234 23564 52 364 35264

23456 M W H

42356 34256

or 24653 56342 34562

Either to be four times repeated.

It was first rung at St. Peter, Bennington, on February II,

1873, conducted by T. Page, and was thus the first true peal in the method ever rung. Earlier peals were rung at St. Giles'-inthe-Fields, January 30, 1780, by the London Scholars, who, finding their peal false, rang it again (as College Youths) on February 23, 1783, once more, unfortunately, false. On November 5, 1787, at Sheffield, a 6o48 was rung, and on August x8, x8u, at Keighley, still another peal, each of which was utterly false in construction. Middleton's peal, being in length much over sooo and not 6ooo, is not a favourite one. Consequently, when H. Johnson shortened this to 5056, it soon became popular. This variation is very simple, merely

B H being X 3, in lieu of one part of the original, or, if rung to the

B H

second variation given above, 2 gives the part end. X I


J. W. Washbrook's and Sir A. P. Heywood's variations are thus:-

23456 M B W H

A 35264

35642 2 2 54326 X 23645 I

56342 I I

A64523

42635

A 23456

X 3

56342 X 3

56423 2 2 I

25463 I

64352 I

64523 X

A42635

A 23456

Each is 5184 changes, and parts marked A represent Middleton's five courses.

In 1923, Mr. J. W. Parker, of Sunderland, composed a peal of 5024 on a new plan having one course with the tenors parted, and this was a great acquisition to the method, and has been rung many times in its original and inverted forms. Here is the original, with a variation by Mr. A. J. Pitman, of Port Talbot, Glam. :-

5024 J. W. Parker.l 5024 A. J. Pitman.2

23456 I B M w 4 H 23456 I B M w 4H

35264 35264 56234 2 427365 63542 3 43652 -34625 56234 54326 2 63542 42563 3 45236 26435 3 53462 547236 64235 52364 527346 63425 23564 -32654 36245 3 56423 - 45362 2 62534 56423 3 23456 2 3 42635 2

23456 3 1 First rung January 25, 1923, at Whitley Bay. ~ First rung May 14, 1925, at Loughborough Bell-foundry.

36o HISTORY AND ART OF CHANGE RINGING

12345678 21436587 12346857 21438675 2 4 I 3 6 8 5 7 42316587 24135678 42315768 24351786 2 3 4 5 7 I 6 8 32541786 3 5 2 4 7 I 6 8 5 3 4 2 7 6 I 8 35246781 :.32547618 2 3 4 5 9 7 8 I 2 4 3 6 5 8 7 1 4 2 6 3 8 5 I 7 46235871 64328517 4 6 2 3 8 1 5 7 4 2 6 3 I 8 7 5 24368157 2 3 4 6 I 8 7 5 32416857 23146587 32415678 2 3 I 4 5 7 6 8 21347586 12435768 2 1 3 4. 5 6 7 8 12436587 I 4 2 6 3 8 5 7

Bob I 2 4 3 6 5 8 7 14235678

BRISTOL )2345678

.:~ ..

\ ........ ..

<\

.. :-

<.\'· ...

\ Fw. ss.

.,16482735 '•

<~.

<.·;

> .. ·· ... ....

A number of other compositions with the tenors parted have been produced by F. Dench,J. W. Washbrook, G. Lindoff, C. J. Sedgley, A. J. Pitman, T. B. Worsley and J. S. Wilde.

A slight variation in the construction of the method is sometimes rung as" New Cambridge," which cuts out certain false changes and allows greater scope for composition. It will be


6 7 4 5 2 3

BRISTOL .J. 7 8 5 6 3 4 .2 · .. .· <-...... .

<.·:

· .. : ~··~

Fw. s8.

'·

I

' ,

.J. 3 5 2 7 4 8 6

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' .•

I

found described in" Surprise Methods," by the Rev. C. D.P. Davies, pp. 49-53.

London Surprise is considered one of the most intricate methods yet produced, and because it does not entirely conform to certain rules laid down by the Central Council, it was "dubbed" London Marvel! This name, however, did not appeal to ringers generally, so the original one still holds good.


It engaged the attention of the College Youths at an early period, but was dropped probably on account of its complexity, or because a true sooo could not be obtained. So s'ays Shipway, who eventually obtained a 5280, which, in course of time, November 17, 1835, was rung by the Norwich Scholars at St. Andrew's, Norwich. This length was exceeded by the Woolwich Company on October II, 1849· when they rang s6oo changes ; and this was eclipsed by the Bennington Company, who on December z6, 1870, accomplished a peal of 6o48 changes. From 1887 onwards, the Burton-on-Trent Society rang a large number of peals in this intricate method-as they also did in Cambridge, Superlative, and other methods-and probably they did more than any other band at that period to popularise the " Surprise " method. Later on came the famous Oxford band under the late J. W. Washbrook and the Brighton band mider Geo. Williams, each doing wonderful performances. Other bands, of course, in various parts of the country took up Surprise ringing, but none came to the fore like those mentioned.

It is still the height of every true ringer's ambition to accomplish a peal of London Surprise, although few, comparatively speaking, achieve it, unless situate within or near a centre of extreme interest in the art, for the method requires constant practice.1

It is often found easier by some ringers to learn the various methods by use of the " diagram or skeleton " course than by the figures, and the accompanying Fig. 58 (pp. 360 and 361) illustrates a " lead " and a diagram of " Bristol."

1 It is out of place to give here a selection of compositions. These are to be found in the many Association Reports, also in" Surprise Methods," by the Rev. C. D. P. Davies.

CHAPTER IX

FIVE AND SIX BELL RINGING, SPLICING, ETC.

"Because there's peals of twelve in town Shall five or six bells ne'er be rung ? I think 'tis a very stupid thing Of men that take delight to ring,

To rail at variety." From LAUGHTON'S MS. (No. 254),

Guildhall Library, London.

T O give a detailed history of early peals of Doubles and Minor (on five and six bells) is a difficult matter, as doubtless the ringers of this number of bells were in

the old days content with ringing so many six-scores, or 72o's, and did not trouble to record their doings. 1 One of the earliest peals we can trace is given by the inscription (shown on p. 364) at Brandeston, Suffolk, written on a board quite flat, without mouldings round the edges, and each side terminating in a row of bells, one above the other.

This manner of recording the figures is unique. Another early record is from Walsham-le-Willows, Suffolk :-

"On Wednesday ye znd Day of April 1760 The Seven under-mentioned Peals each a Seven hundred and Twenty in 3 hours, without any bell being out of course. Cambridge Surprise, Double Plain Bob, Oxford Treble Bob, Court Bob, London New Bob, London Single, and Plain Bob.

William Morley, Treble; Francis Langley 2nd; James Morley (and bob caller) 3rd ; Richard Clarke 4th ; Thomas Goldsmith 5th ; Thomas Gowsell, Tenor."

1 At S. Mary's, Whitechapel, April 16, 1737, 5040 Minor was rung consisting of "seven compleat Surprise six-bell peals, viz., 720 of Oxford Tripple Bob, Cambridge Surprise, Morning Exercise, Bristol Surprise, Worcester Surprise and York Surprise, containing 5,040 changes in 3 hours 15 minutes. By a Society of Compileers."

The' performers' were James Tichbourne, James Stuart, James Forsee, Edward Newton, Thomas Smallshaw and William Barrett (who called the bobs). The treble and second men were Eastern Scholars ; third, fourth and Fifth London Youths, and tenor a College Youth.

Snowdon, in giving this extract in Bell Ntws, r88z, p. r6z, states he may have made an error in copying only six methods I

363


" On February znd, 1749, The Seven Peals

underwritten were rung here (without intermission) in

2 hours and 55 minutes, and not a Bell out of course.

Francis' Genius 123456

Francis' Goodwill 123456

214365 Performed by us : The Peals: 214365 124635 124356 216453 }AMES KING London Surprise 213465 261543 231645 625134 THOMAS BRADLAUGH, Cambridge Surprise 326154 621543 SNR. 2 321645 265134 Francis' Genius 236154 625314 SAMUEL FRANCIS 3 326514 263541 Francis' Goodwill 235641 236514 THOMAS BRADLAUGH, 253614 325641 JNR. 4 Oxford Treble Bob 526341 352461 562431 534216 }AMES GALL 5 Court Bob and 654213 543261 645231 452316 }OHN GARRARD 6 Grandsire Bob 462513 542136 642153 451263 Number of changes, 461235 452136 5040. 462153 541263 641235 514623 614325 156432 N .B.-Francis' Genius and 163452 516342 613425 153624 Francis' Goodwill were 164352 156342 146532

composed by this Society. 146253 125634 Bob Bob

164235 152643"

One of the earliest peals of Doubles is the following :

"At Haughley, On Whitsun Monday the 19th of May 1766 was rang Forty two Five bell peals containing 5040 Changes by the Haughley Company all liven in and Belonging to the Said parish, and performed in 3 hours and 48 minutes (Raising and Ceasing included in the time) By the following persons :-

John Burrows the Treble, and called the peals; Joseph Frost znd; Daniel Frost 3rd; John Wright 4th; Robert Wright, Tenor. N.B. The Weight of the Tenor is a ton."

A curious entry in a MS. book, originally belonging to John Marven, of Copdock, Suffolk, states :-

Grandsire Ye Dream

" Sunday ye 4th of June 1781. We Rang the following peals, namely:

--?-Doubles Blunderbuss Grandsire 2 & 5 Fortune

FIVE AND SIX BELL RINGING, ETC. 365

Duns tans Cambridge I & 4 Old Doubles New Doubles

Cambridge 2 & 4 Cambridge 1·5 By 2'4 rule Stedman Church Doubles London Doubles Cambridge Hudibrass Cambridge 2'4 By 1·4 do

Cambridge 2·5 By 1·4 do 2·5 By 2·4 do

Cambridge 2·3 By 1·3 do -20 Peals- ''

Here is a copy of an old peal-board in the tower of Costessey Church, Norfolk:-

" June 4, 1766. Twenty two peals rung of this Company Many a time without setting up the Bells.

The names of the Peals as under. Old Doubles, Church doubles, Grandsir, The Dream, Fortune, The Nonesuch, Hudibras, Interlope, Gog, London doubles, St. Simons doubles, Jack of both sides, Cambridge delight, New doubles, Reading doubles, Stedmon, Dunstan Do., The mare-maid, St. Clements Do., The Exodus, Westminster Do., and Success.

THOMAS SMITH JoHN SMITH ROBERT FRENCH JoHN CARR SAML. WATSON

RINGERS NAMES

.. Treble znd

.. 3rd

.. 4th

.. Tenor

These are the ringers those Peals they did ring : Success to old England, and God save the King."

There is a tablet at Whaplode, Lines, inscribed :-

" Feby 27th 1775 Was rung xo,o8o changes of 84 Peals by Wm. Jackson, Richd. Harwood, Wm. Money, Stepn. Davis & Richd. Pottenger. Raised & settled the Bells in 7 hours & 25 minutes."

No mention is made as to the method or methods rung!


An old tablet at St. Paul's, Hammersmith, is thus inscribed:" On Sunday,

April 24th, 1774, The Hammersmith Youths,

did ring in this steeple, a Peal of 5040 PLAIN BOB in 3 Hours and 25 Minutes,

in Seven Different Seven Hundreds and Twentys

By WM. LEWIS .. Treble. THOS. HARRIS 2. WM. HALLETT 3. FRANS. BEALE 4·

Call'd by }AS. WORSTER 5· WM. PARRIS .. Tenor.

MR. JoHN SWAFFORD, Churchwarden."

Another early peal of Doubles is recorded at Market Weston:-

" Sunday January 13th 1799 5040 changes were rung in this Steeple in 3 hours and 5 minutes by the undermentioned :-William Gawould, Treble; John Boyce 2nd William Simper 3rd; Geoffrey Faux 4th ; John Payne Tenor.

Geoffrey Faux called the peal."

A still earlier one comes from Halstow-at-Hoo, Kent:-

" November 19th 1788 was rung in this steeple by 5 men only 42 different 5 bell peals without setting their bells or ringing rounds between each peal except the last change of each Peal ! The treble was rung by Robt. Baker, the Second by Joseph Goodly, the third (and the Peals called) by Jas. Cockrill, the fourth by James Munn, the fifth by Daniel Jackson.

This work was completed in three hours and eighteen minutes."

A tablet at Hopton, Suffolk, records :-

"February znd 18u Was rang in this Steeple 5520 changes in 2 hours and 44 minutes by us, George Doo, Treble ; James Booty 2nd, John Parhus Sen 3rd and called the peal: Zach Parhus 4th Jno Payne 5th John Pathus, Jun Tenor."

At Loddon, Norfolk, on January 29, 1818, seven different peals of Plain Bob were rung in three and a quarter hours, "and principally conducted by Samuel Thurston, of Norwich."

It is not surprising to find that in Norfolk and Suffolk,


where good rings of bells abound, and where so many early performances in the art were achieved, records of five- and sixbell peals are still in existence. Many of these were in a number of methods, as at Bramford, Suffolk :-

"On January Ist I8I7 the following peals were rung in this steeple making a total of 5040 changes : Grandsire Bob ; Double Bob ; Oxford Treble ; London Court ; New Treble ; New London ; and Cambridge Surprise, which were rung without intermission (the end of each peal) in 3 hours IS mins. by the following ringers of the Bramford Society:-

T. C. CHAMBERLAIN I

1

G. Woon w. PEARCE 2 s. ALLEN W. WATSON 3 J. LEWES

The peals were conducted by S. ALLEN."

4 5

.. Tenor

At Gislingham, Suffolk, on Christmas Day, 1821, 5040 changes in seven methods were rung :-

"Cambridge Surprise: Oxford T.B.; New T.B.; Court Bob; College Single ; London Single ; Grandsire Bob ; by

WILLIAM SELSBY .. Treble I THOMAS GoLSON . . 4 }AMES MUNN . . 2 WILLIAM MUNN. . 5 }AMES WARNER . . . . 3 THOMAS SELSBY .. Tenor

The following year at this church (April 6) T. Golson conducted 1o,o8o changes in six hours thirty-five minutes, being fourteen 72o's Grandsire Bob.

A long peal of Doubles, 7080 changes, was rung in four hours at Wrentham, Suffolk, on January 3, 1824, by:- .

ROBERT GOULDER WILLIAM READ ..

.. Treble I WILLIAM DADE ..

. . 2 }OHN HAWSEDGE ROBERT GouLDER Sen. Tenor.

3 4

It is recorded that at Garboldisham, Norfolk, on Sunday morning, April25, 1822 :-

" was rung on the mellow bells, 5040 changes in 2 hours 54 mins. the peals were 720 each Cambridge Surprise ; Grandsire Double Bob ; Oxford Treble Bob ; New Treble Bob ; Norwich Court Bob; London Court Bob; Grandsire Bob, by:-

John Payne Treble, George Peck 4 : Thomas Turner 2. William Harris s,James Brooks 3· James Mallows. Tenor, and conducted the peals. This is the greatest performance ever done on 6 bells in Norfolk."


A previous peal of 5040 Grandsire Bob, was rung here Dec 6-1773 called by L. TrLLOTT.

At Coltishall, Norfolk, on May 2, 1824, and again November 13, 1825, seven peals of Grandsire Bob were " called different ways" by Charles Payne, of Norwich. At Badingham, Norfolk, August 5th, 1843, fifty peals of 120 in three methods, making 6ooo changes, were rung in three hours forty-eight minutes, conducted by Richard Cullingford. The same C. Payne called nine peals Bob Minor (6480 changes) at Burgh Apton on May 20, 1826, and we read that at Marsham " 11 peals of Bob Minor and a double course of 120, totalling 8040 changes," were rung by Coltishall ringers in four and a half hours, viz. :-

WM. KNAPP THos. GoocH THOS. EDRIDGE

.. Treble 1 THos. CLAYTON 2 I ROBT. KERRISON 3 SAML. RICE (Cond.)

.. 4 5

.. Tenor

At this church, also on December 14, 1837, seven methods were rung:-

"London Surprise, Cambridge Surprise, Oxford and Kent T.B.; Double Oxford Bob, Stedman Slow Course, Double Court,"

Conducted by Thos. Edridge, and the noted Charles Middleton rang the fourth bell. Marsham bells were increased to eight m 1842, and from that date many first-class peals were rung, among them being 1o,o8o Oxford T.B. Major composed by Mr. Eversfield (London), conducted by T. Greenwood.

At Nayland, Suffolk, July 12, 1828, seven 72o's Bob Minor were rung in three hours twenty-four minutes by :-

ALFRED DuPANT .. Treble I WILLIAM WINNY . . 4 HENRY DEATH . . . . 2 }OHN WINNY . . . . 5 }AMES NORMAN . . 3 JosEPH HuME . . . . Tenor

The two Winnys belonged to Nayland, others to Bures. John Winny was father of William. This William had a son George, who was father of the present well-known Challis F. Winny, of the College Youths.1 All these were first-class sixbell ringers and fine musicians. William was married at Nayland, and William Corder (son of John Corder, Churchwarden of Palstead in 1825), who murdered Maria Martin at the Red Barn at Palstead on May 18, 1827, at this time being a

1 Also spelt Winney.


ringer, assisted in ringing for the wedding, and was present at the breakfast afterwards . He had committed the murder at the time, but it was not found out. This Wm. Winny knew all the parties and stated that Maria's stepmother was a bad woman, and knew of her stepdaughter's death, but kept it quiet because Corder paid her to do so. When he got into difficulties and stopped paying, she dreamed three times. This, Mr. Winny said, was all nonsense. At length, Corder was found guilty and sentenced to death. He was hanged on August 11, 18z8, and his skeleton was afterwards on show at Bury Hospital, having been dissected by John Dalton, M.D., who, strange to say, was one of the Bury ringers.

John, William and George Winny were all good doublehanded hand-bell ringers, and often rang 72o's together. William died April 30, 1883, aged 83. George was organist and choirmaster at Nay land, and died (after a fall) December 20, 1869, aged 40.

Challis F. Winny, his son, is justly famous both in the tower and on hand-bells; he has taken part in many notable peals, including several long lengths.

At Hartest, on April 24, 1829, 5280 Doubles, including Grandsire, Old and Dream, were rung, conducted by Wm. Brett, who afterwards went to London, and with the Royal Cumber lands rang many peals. The same year (on December 14) 42 peals of Doubles were rung at St. Matthew's, Ipswich, called by John Baterman.

A tablet at Dullington, Cambs, testifies that 50 peals (6ooo changes) were rung on January 6, 1830, and on Christmas Day in the same year 5040 Doubles were rung at Sandhurst, Glos., called by Joseph Daniell.

An undated record at Fyfield, Essex, states that the local Society-A.D. 1834-rang :-

" Ist Old Grandsire. 2nd Gog and Magog. 3rd New Gog. 4th Dunstan's Doubles.

5th Dream. 6th Dream Singles. 7th Old Doubles. 8th Hudibras."

Many other such records might be quoted. The Yorkshire men were (and still are) great six-bell ringers,

and records of their multi-method peals are to be seen in many C.R. B D

37o HISTORY AND ART OF CHANGE RINGING

belfries. 1 We give records of a few which go to show their prowess in the art on six bells :-

DARFIELD.

" The following peals were rung at this church by Darfield ringers Jan xst 1812.

Cheapside I Rodneys Victory 1 College Treble I Violet Navigation Morning Star 1 Oxford Treble Crown Bob

The whole containing 5,400 changes brought round in good style in 3 hrs. 26 mins. by George Heptinstall 1 ; George Kemp 2 ; Joseph Latham 3; Joseph Leigh 4; George Collier 5; James Lister 6 : The peals were conducted by Joseph Latham and James Lister. Weight of Tenor 19 cwt. 3 qrs.

Jan 8th x8x5 was rung at this church by Darfield ringers a peal of 5280 changes containing a twelve score of twenty-two different peals viz :-Morning Exercise ; Primrose ; Tulip ; Violet ; College Treble; Oxford Treble; Navigation; Morning Star; Cheapside; Rodneys Victory ; Duke of York ; Morning Pleasure ; College Pleasure; New London Delight; London Scholars Delight; New Treble Bob ; Darfield Delight ; Nelsons Victory ; Ringers Delight; St Anne's Delight ; Dewsbury Delight ; Cambridge Surprise."

This was a fine performance, and although it would not be recognised to-day as a " true and complete " peal by the Central Council rulings, having part 72o's, also methods not now considered" regular," yet it would require great skill and dexterity.

Wath-upon-Dearne, Yorkshire. "The Wath Company of Ringers ascended the tower of Wath

Church on the 2nd day of April x8x5, and rang fourteen peals viz:Symphony ; Cambridge Surprise ; Cheapside ; City Delight ; Duke of York; St Ann's Delight; Oxford Treble; London Scholars, Primrose, Tulip, Violet, College Treble, College Pleasure, and Rodney's Victory, making xo,o8o changes which were brought round in 5 hours & 25 minutes by five ringers of Wath & one from Darton viz :-Christopher Taylor; Joseph Blackburn; William Fox (Darton) ; Joseph Jackson ; Matthew Blackburn ; and William Blackburn, the whole being conducted by William Blackburn. This was the greatest number of changes rung up to that day ; but the old tower of Darton was ascended in the same year by the

1 At Felkirk, Yorks, during 1929 no less than 253 different Minor methods were rung in 72o's. Other notable records were accomplished at Wath, Yorks, Fryerning, Essex, and at Little Munden, Herts.


ringers of that place, and they rang fifteen peals in a grand and masterly style. The men being named as follows, they being now dead. Benjamin Howcroft, Samuel Howcroft, Robert Fox, John Senior, William Fox (Tenor) and George Fox: The most extraordinary feat however, was by the Wath ringers. They ascended the old tower on Shrove Tuesday February 27th 1816, and rung twenty-one peals, viz. :-Evening Delight ; Evening Star ; Cheapside ; Cambridge ; Symphony ; Bob Royal ; Morning Exercise ; Morning Star ; Morning Pleasure ; Primrose ; Tulip ; College Treble; College Pleasure; London Scholars; Oxford; StAnn's Delight; Navigation Bob; Violet, Duke of York; City Delight; and Rodney's Victory, making 15,I20 changes which were brought round in a masterly style in 8 hours & 27 minutes, without a man quitting his rope. The following persons were the performers :Christopher Taylor; Joseph Blackburn; Joseph Myers; Edward Myers; Matthew Blackburn; William Blackburn (tenor)."

As will be noted by this inscription, the Wath ringers of those days were indeed experts; and present-day Wath ringers are upholding the old standard ; their peal performances are well known, and of a high level of efficiency.

The next record is from Bingley, where a good changeringing band has been maintained.

In the year 1793, on the occasion of a local bigwig, William Busfeild, Esq., attaining his majority, they " rang seven whole peals of 720 changes each, in all 5040 changes, on the most difficult of known methods, all ' Snappers,' namely, Chester, London, Carlisle, Chelsea, Lincoln, Lichfield, Wells. This will be acknowledged to be a most remarkable and uncommon feat, all the performers being members of the Bingley Company." This company continued to maintain a high standard, and two of them, Isaac Rhodes and Hezekiah Briggs, took part thirty-three years later, and thus recorded:-

" On Shrove Tuesday, February 7th 1826 the Society of Change Ringers, Bingley, Yorkshire, met in the tower of the Parish Church, and rang, without a single break-down, or a false change, the extraordinary number of 36 twelve-scores, in all 8640 changes on the following various methods viz :-Oxford, Violet, New London Pleasure, Duke of York, Kent, College Pleasure, College Treble, City Delight, Tulip, Primrose, Oxford Reverse, London Scholar's Pleasure, Morning Exercise, Cambridge, Morning Star, Evening Star, Coventry, Ely, Rochester, Treble Bob Reverse, Morning Pleasure, Symphony, Cheapside, College Delight, Royal Bob, Worcester, Chichester, Durham, York, Bristol, Lichfield, London,

B B 2


Wells, College Exercise, London Delight, Evening Exercise. The ringers were stationed as follows, viz :-

]OHN BRIGGS • • Treble I HEZEKIAH BRIGGS Third I HENRY DICKINSON Fifth DAVID BAILEY . . Second ]AMES LILLRY • • Fourth I sAAC RHODES . . . . Tenor

Weight of Tenor, II cwt. 3 qr.

The peal was Conducted by HEZEKIAH BRIGGS and IsAAc RHODES. Time occupied in ringing, 5 hours and II minutes."

The following is recorded at Masham, Yorks :-

" 5040 Changes were Rung on the 23rd of April 1827 in 3 hours & 6 minutes in seven different Peals viz :-

New London Pleasure .. 1st Violet Treble 2nd Kent Treble 3rd Oxford Treble 4th Oxford Single 5th College Single 6th Grandsire Bob . . 7th

NAMES OF RINGERS :The Peals were conducted and bobs called by RoBERT HEATH .. Treble THOMAS Munn, JUNR. Second THOMAS MuDD .. Third WILLIAM METCALFE .. Fourth CHRISTOPHER WELFORD Fifth LEONARD MuDD Tenor ( 14 cwt)

5040 Changes were Rung on the 5th Day of November 1853 m 3 Hours & 5 Minutes in seven different peals viz :-

Violet Treble Oxford Treble Kent Treble Grandsire Bob .. Court Bob Oxford Single College Single

ISt 2nd 3rd 4th 5th 6th 7th

NAMES OF RINGERS :The Peals were conducted and bobs called by JoHN ATKINSON .. Treble WILLIAM WELFORD .. Second THOMAS MALLABY .. Third THOMAS WILSON . . Fourth LEONARD MUDD .. Fifth CHRISTOPHER WELFORD

Tenor (14 cwt)"

Numbers of such performances might be quoted, but all would simply show the enormous interest taken in the art and the variety of methods practised. Before leaving the subject of six-bell ringing as practised in Yorkshire and other northcountry places, it is worth recording how they almost invariably use the" cart-wheel "system, i.e., without open leads at handstroke, as is usual in all southern ringing on all numbers of bells. The author had an experience of this " closed lead " ringing at Kildwick (Lang kirk i' Craven), and found it difficult until settled. One must not omit the great activities of the late George Bolland, of Tong, near Bradford, for forty-one years


Vice-President of theY orks Association, and an active member for fifty-four years. He rang well over 100 peals, many of Minor in a variety of methods, perhaps the most noted being 6ooo changes in twenty-five different methods ; and 10,440 in fifteen methods, the latter in five hours fifty-one minutes. He died in 1925. Many other six-bell bands were also prominent in various parts of the country, and the extraordinary number of methods composed and rung testify to the interest and activities.

LINES

Upon a Six-bell Performance rung in the North of England.

The merry bells of All Saints' tower, Pealed forth their tuneful lay,

Long did their mellow echoes swell, Through woodland vale and flowery dell, Their splendid music sounded well,

One bright September day.

As evening's shades began to show, Each man unto his post did go, Just as the sun, in sinking low,

Shone forth its silvery ray ; Six ringers stripped, with rope in hand

Stood on the belfry floor ; Each mind was bent on the hard feat, That night resolved it to complete, And ring the merry bells so sweet,

For three long hours and more.

On, on, they ring, with wondrous skill Their echoes sound from hill to hill, O'er the small village of Moon's Mill,

The merry peals did pour ; O'er landscape wide, far o'er the plain, The list'ners paused to catch the strain, And hear the well-struck peals that came

From All Saints' lofty tower.

None weary seemed, though all the while They dripped with sweat. None felt the toil, But with each other changed a smile,

As peal after peal they rung. Until they heard the well-known sound, The single called-that brought them round !

Then knew their task was done.


A tablet is erected there, To be seen by any one who may,

With all their names and peals they rung, In memory of that day.

And such will be the record there, Of peals that were to us so dear, When merry bells we've ceased to hear,

And have returned to clay. ROBERT DEWHURST, Walton-le-dale .1

It is an extraordinary thing, but quite true, that although full of interest and offering a wide scope of methods, the fiveand six-bell towers of England are often sadly neglected. It may be because these are situated in some out-of-the-way place, or perhaps the " go " may not be of the best ; still, wherever a ring of the higher number of eight is found, there are generally ringers anxious to visit them for peals. Usually five- and sixbell ringing is much harder physically to accomplish, as the compass is so much less, and the " hunt " from back to front, or vice versa, is so much shorter. Consequently the bells have to be rung quicker, although the actual compass is slower. The " work of the method " is also quick, and requires constant attention, especially so when a multiple of methods are rung. This is very different from ringing one method on, say, eight bells or more throughout a peal of sooo changes. To show just a few of these " methods" will be of interest, exhibiting, as they do, the variety possible even on a restricted number of bells.

On five bells, the Committee of the Central Council, who in 1907 published a pamphlet on " Legitimate Methods," say:-

" There are at least So six scores of Original Doubles ; 10 each of Stedman, Reverse Stedman ; Carter's Principle ; Reverse Carter's Principle ; Grandsire ; Reverse Grandsire ; S of Double Grandsire; 4 New Doubles, and Reverse New Doubles. In addition to these 156, So more exist of reverse Original, and others of Grandsire and reverse Grandsire by the use of the theoretical single given in the Council's Report on Calls 1894 . . .. It is hoped that five bell ringers will find sufficient variety without recourse to " Dreams " and other such productions "

1 Quoted in the Bell News, x882.


The " legitimate " methods given are as follows :-

Original. 12345

21435 24153 42513 45231 54321 53412 35142 31524 13254

Stedman. !2345 21354 23145

32415 23451 24315 42 351

43215 34251

12345 43521 Bob:-- 45312

3rds place instead of 5th 54321 Single:-- 53412

3rd, 4th, 5th places. 35421

Reverse Bob :--3rd instead of Ist

Single:--Ist, 2nd, 3rds

Double . use Both.

Carter's Principle. 12345 Reverse.

12345

34512

21435 21354 21354}s 12453 12453}s 12534 21534 14235 14253 21543 41253

25134 14523 52314 15432 25341 51423 23514 15243 32541 51234 35214 15324 53241 51342 35421 53124

34512

Reverse Stedman. 12345

24315} s 42315

54321 } s 53421

New Doubles. 12345

21354 23145 32415 23451 32541 23514 32154 31245 13254 13524

Bob. 13254} 12354

21354 12534 12534} s 21543 12543 12453 21435

24153 42513 24531 42351 24315 42135

24531 } s 24351

Reverse New Doubles.

12345

21354 23145 32415 23451 24351 42315 24135 21453 12435 14253

Bob. 21453} 12543 15234


Reverse Grandsire. 12345

Double Grandsire. 12345

21435 24153 42513 4523 1 54321 45312 54132 51423 15243 12534

21354 23145 32415 34251 43521 34512 43152 41325 14235 12453

Bob & Single Bob as Grandsire. Single as as Grandsire. alternative Grandsire.

A six-score of Double Grandsire Doubles : the single must be made as follows :-

32154 or reverse 23145 31245 32415 13245 32451 12354. 2354 I

One or two of the methods seen in ancient records, but seldom now practised, are of antiquarian interest :-

SHIPWAY's PLACE. CHASE. DREAM.

12345 (or Reverse Sted- 12345

21354 23154 32514 35241 53421 54312 45132 41532 14523 14253

Bob. 14523 15423

Single 14523 14532

four 12o's can be got with bob every 4th lead

four with single every 4th lead

man) slow Course

12345

21354 23145 32415 34251 43521 45312 54132 51423 15432 14532

21435 Next is Extreme 24153 24135 42513 21453 45231 12435 54321 E J 2453 53412 21543 35142 31524 13542

B I5324 Next lead end 14235

s 14253 Next

41523 13524 45132 B 15342

Bob at 4th lead as Grandsire Extreme I


ANTELOPE.

IZ345 Zl354 Z3I45 3Z4I5 34Z51 435ZI 453IZ 54I3Z 5I4Z3 15Z43 IZ543

Bob & Single as Grandsire, but called S.S.B. in lieu of B.B.S.

SuccESs.*

IZ345

ZI354 IZ534 Zl543 IZ453 Zl435 z4153 4Z513 Z4531 4Z351 24315 42135 42315 24351 23415 32451 34215 43251 34521 3541Z 534ZI 5431Z 45321 4351Z 435ZI

4 times Repeat.

MERMAID.* IZJ45

13254 31245 32154 Z3145 21354 12534 15243 51234 52143 25134 21543 Z1453 12435 21345 12354 21534 12543 15234 51243 154z3 5143z 1534z 513Z4 531Z4

4 times Repeat.

April Day is like Bob Doubles, with a Grandsire Single in place of the usual Bob. Old Doubles is also similar, with an extreme call in same places. St. Simon's is sometimes rung with Canterbury places in 3-4 in lieu of the dodge ; and again with 1-2 instead of double-dodge before, after lead 2nds lead, which produces 120 with no dodging at all. Oxford Bob Doubles is Single Oxford on 4, and a bell moves up to the treble and has eight blows behind. The reverse of this is sometimes called Morning Star. In some of the old books on ringing we get such trifling variations as to make them confusing, also names so diverse and irregular as to make the reader not quite sure of the original. Many local names overlap others ; thus we have Reading, Winwick, London, Cam-

• See" A Key to the Art of Ringing," by Jones, Reeves and Blakemore, p. 25.


bridge Delight, Checker, Westminster, Gog Magog, Cambridge Journey, Calendar, and other variations. Stedman, in his "Tintannalogia" (1668), has many" irregular" variations on five bells with peculiar names like Paradox, Phrenix, What You Please, etc.

Thus the variety is great, and even such a small ring as five bells can assuredly be interesting. For the benefit of those unfortunate towers where only" Grandsire "is rung, Mr. A. J. Pitman devised a method of splicing two 120's into one whole 240 changes, also Mr. L. W. G. Morris evolved a similar variation. These, with the Rev. E. B. James's spliced 72o's of Cambridge Surprise Minor, caused a big controversy 1 as to the " truth " of such peals. For historic reasons, we give the two variations of Spliced 24o's of Grandsire Doubles :-

(a) By A.}.PITMAN. B, S,B,P; S,B, S,P; S, B, S,P. : S, S, S,P; S, B, S, P ; S, B, S, P: By starting at the various leads, 24 variations can be obtained, or 5760 changes.

(b) By L. W. G. MoRRIS. S, S, S, B, S, S. S, P. twice repeated. By starting at the various leads, 8 variations can be obtained, or 1920 changes.

Minor Methods When we come to stx bells the methods that have been

" evolved " are enormous ; their number is legion ; and, as may be imagined, they are made up of good, bad, and indifferent compositions. The Central Council of Bell Ringers, in the work above referred to (" Legitimate Methods"), gave an extensive list of those methods which are now considered regular. In the compilation of this work the Committee comment:-

" All methods are omitted that either (I) have sth place without the treble in 6th, or (2) are reverse variations of others. The latter are of little practical value, and anyone can produce them by reversing the originals. Of the former, nearly all bring up the Tenors the wrong way behind in a 720, and if by any chance they avoid this being marred by this defect, the sth place is in any case objectionable, even with the Treble behind, and much more so with any other bell there."

1 See Ringing World for 1928-9. On March 29, 1918, the author called 42 sixscore Grandsire Doubles all spliced into one 120, at Escrick, near York.


Thus it may be said this collection gives all the best methods on six bells ever produced. These received further enlargement with the advent of " Splicing," shown in a subsequent chapter. Briefly to explain the evolution of methods from the Single to reverse, and double, the following example will suffice:-

PLAIN BoB. REVERSE. DouBLE.

123456 123456 123456

214365 214365 214365 241635 241635 241635 426153 426153 426153 462513 462513 462513 645231 645231 l * 645231}* 654321 462531 r 462531 563412 645213 645213 536142 654123 654123 351624 561432 561432 315264 516342 516342

• { 132546 153624 * ( 153624 135264 135264 1 156342

312546 312546 513624 321456 321456 531264

• 2nd place front • 5th place behind • 5th place behind dodge behind. dodge front . dodge front.

2nd place front dodge behind.

In the above the Treble (or No. I bell) is in the plain hunt, i.e., at each successive row works one place forward till "behind," there strikes twice (or a whole-pull) and returns to the front. In " Treble Bob " methods, this is elaborated by the Treble (No. I) doing a "dodging-hunt," or moving two places forward and one place back on its path both ways, as shown on p. 380.

In learning different methods it is often found easier to use a " skeleton-course," i.e., to trace out the path of any particular bell through the course, without using figures, which are apt to be confusing. By this system, one can see at a glance the " work," and by the asterisk ("") show where the treble dodges ; and, further, by the use of the lines across each " lead," show where any individual bell starts the course. These


FIG. 59· FIG. 6o. FIG. 6r.

examples show exactly how this " skeleton " should be traced (see Figs. 62-65).

Method '' Splicing '' The system of ringing more than one Minor method in a true

720 was advocated by the Rev. H. L. James about 19II, but it is not correct to say he" discovered "it.1 In an old book-the " Campanalogia" of 1702-which belonged to one Henry Dennis (and is inscribed with his name and the date 1732), is the following note on Splicing three Minor methods. It is given in the late Mr. S. Slater's MSS. on Suffolk history:-

" CROWN BoB

Being a Composition of Three peals, viz. Oxford Treble Bob ; College Pleasure; and College Treble Bob. The first Treble leading of this Peal must be rung by the same course as Oxford

l See " .Method Splicing-Practical Hints," by John P. Fidler, 1925, p. 3· (Published by Ringing World.)


Treble Bob ; and the second Treble leading by the course of College Pleasure ; and the third leading by the course of Oxford Treble

Bob ; which course must be continued throughout the peal ; and the Five leadings of each peal compleats an Eighteenscore as in the following example may be seen :- ·


The Treble Leadings. 123456

ox 124365 142356

CT 163254 136245

CP 134625 143652

CP 162534 126543

ox 132654 123645

CT 156342 165324

CT 145623 154632

CP 153462 135426

ox 146253 164235

ox 156423 165432

CT 124536 142563

CP 163542 136524

CP 125346 152364

ox 145236 154263

CT 132465 123456,1

Among the MSS. of David E. Davy in the British Museum we find the following copy of a parchment from the belfry of Wilby Church, Suffolk :-

"We, whose names are here undermentioned did ring an XXXVII score of CROWN BOB March xxvm. MDCCXXXIV SAMUEL SELFE . . . . Treble I RoBERT CocKEL JOHN RICHARDS .. Second I JOHN RuMSEY .. EzRA CRANE . . Third JosEPH CRANE ..

To praise the Lord on Loud Cymbals King David his musician calls And make a merry noise. But could King David hear this noise Merrily made by Wilby boys Lord ! how he would rejoice.

Something to every age is given To expidate the way to heaven Jubal of Old did sound Of harp and Organ temples filled No sound of bells timed by skill Of Wilby boys fills all the town.

GLORIA DEo."

.. Fourth

. .Fifth . . Tenor

The late Mr. S. Slater, in giving a copy of the above, believed it to have been 36 and not 37 score, as in the MSS.

1 An old book possessed by Mr. J. Perry, of Breewood, Staffs, has a reference to Crown Bob. It is entitled" Elements of Mufick made Easy," and published by William Tans'ur, Senior, Mufico Theories, &c.


We also read of Crown Bob being rung at Leatherhead, Surrey, on July 30, 1792, at the same time of ringing 720 each of the three methods comprising it, in one hour twenty-eight minutes by :WM. CHILMAN . . BENJ. SIMMONDS ]AS. BROWN

1 I ]NO. BROWN 2 RoBT. BROWN 3 }AS. HARRISON

Called by B. SIMMONDS. being the last ever rung on the old 6 bells.

4 5 6

After giving the full treble leads of the methods he notes :" Now the Practitioner being Perfect in these three peals he may

proceed to the next following (meaning Crown Bob as above) which is rung to an eighteen score without a bob .... "

That this means of " Splicing " was generally used is proved in many instances where records are given of the ringing of Crown Bob at an early date. Especially do we notice this in Suffolk and Norfolk, and even as far afield as the Isl'e of Wight, where the Union Youths rang this (doubled to make 720 by the use of" singles") on January 22, 1793 :-

" At Newport :-W. ExTON .. Treble I J. WooDS (Call'd) 4 J. OSBORN . . 2 W. RAYNER . . 5 W. GALPIN . . 3 J. STEPHENS . . . . Tenor Note. This peal was rung without a Bobb being made and by making of 2 singles only it will go 720 changes."

This company rang it seven other times in that year. In 1812 we find a record of this" spliced method" in a peal

at Darfield, Yorks, and other instances might be mentioned. We see that it is no new idea,1 although through the efforts of the Rev. H. L. James it was brought to perfection, and thus began a new era in six-bell extents. Hitherto, peals had been rung in many methods, made up of 36o's, or even a lower number of changes, but under the Central Council rulings the limit for a Minor peal was that seven true and complete 72o's must be rung-no change repeating between rounds and rounds in each 720. This naturally cuts out multi-method peals unless rung in complete 72o's, so that this arrangement of " splicing " filled up a long felt want, and ringers of six bells

1 James Platt, of Saddleworth, Yorks, an eminent ringer and composer of Treble Bob, composed a 720 in 9 methods. He died September 21, r8s8, aged 72 years.


can now adapt many methods into one " true and complete 720." The great variety of" splices " is due to the fact that many methods have the same changes in a lead, and/ or in a whole course. To such an extent is this so, that on December 4, 1923, at Norbury, a peal in seven true 72o's was actually rung in thirty-five methods.1 To accomplish such a wonderful performance it is essential that each ringer must have intimate knowledge of the best way of memorising and retaining the multiplicity of methods, and to this end Mr. John P. Fidler wrote up a most comprehensive treatise on the subject in the

NORBURY (HAZEL GROVE), CHESHIRE. THE CHESTER DIOCESAN GUILD.

On Tuesday, December 4, 1923, in Two Hours and Forty-Two Minutes, AT THE CHURCH OF ST. THOMAS,

A PEAL OF TREBLE BOB MINOR, 5040 CHANGES; Being seven Spliced Extents, viz.:

1. Bogedone, Ely, Knutsford , Wilmslow and Rostherne. 2. Fotheringay Castle, Dover Castle, Skipton Castle, Queen Victoria

and Chepstow Castle. 3· Crowland, Abbeville, Combermere, Vale Royal and St. Werburgh. 4· Trowell, Morning Star, Duke of Norfolk, Islington and Norbury. 5· Grove Delight, Braintree, Neasden, College Bob IV. and Wragby. 6. Poynton, Marple, Old Oxford Modernised, Hocking and Willesden. 7· Overton, Oxford, Sandal, London Scholars' Pleasure and Kingston.

Tenor 9 cwt.

]AMES FERNLEY, JUN. . . Treble I W. W. WOLSTENCROFT ]OHN P. FIDLER 2 jAMES FERNLEY, SEN WILLIAM FERNLEY . . 3 }OHN W. HARTLEY ..

Conducted by }AMES FERNLEY, SEN.

4 5

. . Tenor

This peal contains the greatest number of methods yet rung in seven true extents.

CHIGWELL ROW, ESSEX. THE ESSEX ASSOCIATION.

On Saturday, March 24, 1928, in Two Hours and Fifty-Three Minutes, Ar THE CHURCH OF ALL SAINTS,

A PEAL OF SPLICED SURPRISE MINOR, 5040 CHANGES; Being seven extents in twenty-two methods, viz. :

1. Immanuel, Lightfoot, Stamford and Wearmouth. 2. Norfolk, Ipswich, Ringers' and Cambridge. 3· Hexham, Surfleet, Berwick and Beverley. 4· York and Durham. s. Alnwick and Newcastle. 6. Munden, Chester and Carlisle. 7· London, Wells and Cunecastre.

PARKER'S. GEORGE L. JoYCE .. Treble I JoHN MoULE ERNEST J. BUTLER . . . . 2 WILLIAM MILLER ALFRED PRIOR . . 3 EDWARD D . SMITH

Tenor I 5 cwt. 4 s

. . Tenor Arranged and Conducted by GEORGE L. JoYCE.

It contains the largest number of Surprise methods, and comprises all of the known methods of splicing, viz. : By the leads, courses, three-leads, six-leads, and by the "lead-end places," and is the first so rung.


Ringing World, since published in book form. Those desirous of understanding fully the various methods of " splicing " should obtain and carefully study this treatise, for, as in all classes of composition, there are many pitfalls, and at least one false peal has been rung by the Chester Guild as the result of insufficient knowledge of linking up various methods.

Edwin H. Lewis, Esq., M.A., a well-known authority on the subject, gives briefly the joining up of methods :-

" Two or more methods which are to be spliced into a true and complete 720 of Minor, must have the same place made at a plain lead-end. That is to say, methods with 2nd's place made at a plain lead-end can only be spliced to methods with 2nd's place at a plain lead-end ; and methods with 6th's place to methods with 6th's place. Subject always to this condition there are three ways of splicing methods, as follows :-

(I} In the case of plain methods only, if the in and out-of-course of the changes correspond row for row in a lead of two methods, those methods can be singled together. The in-course lead-ends are rung in one method ; and the out-of-course lead-ends, in the other method, may be singled in either in a single block of 360 changes, or in a number of smaller blocks.

(2) If two or more methods contain the same changes in the plain course, one of the methods may be substituted for another, wherever a complete course occurs between two consecutive bobs.

(3) Certain groups of Treble Bob methods contain the same changes in a plain lead. In this case a lead of any method of the group may be substituted for any other method at any lead-end of the 720, be it plain or bobbed.

By combining two of these ways of splicing it is possible to get as many as four plain methods or five Treble Bob methods into a 720. There are 40 Treble Bob and Delight methods which will go into eight 72o's.

It is possible to single together by method I, two 36o's, which have been built up, each of two methods, by method 2. Here is an interesting example of what may be done by splicing methods together:-

23456 Plain Bob

23564 I Double Bob s 63452 I Hereward s 64352 5 Double Bob

45236 I

45362 3 Plain Bob s 32456 4 Double Oxford s 34256 5 Plain Bob

Twice repeated." C.R, c c


It is possible by splicing methods in this way, and in the other most intricate ways shown by Mr. J. W. Parker and Mr. John P. Fidler, to produce peals of almost any desired number of methods, all within the limit of 5040 changes, and rung in complete and true 72o's. This has been accomplished many times by the famous Norbury band, who have rung peals of 5040 changes spliced in 18 methods on February 3, 1921 ; August 13, 1921 ; 23 methods, November 24, 1921; 30 methods, January 1, 1923 ; and then 35 methods, December 4, 1923, as already shown.

The Rev. H. L. James conducted 14 and 16 spliced methods at Edenham and Surfleet in 1911, and similar peals have been rung by other Lincolnshire bands, especially those at Market Deeping and district, called by Horace M. Day. The famous Leytonstone band have also rung a number of multi-method peals, and other similar performances have been accomplished elsewhere. 1

The following is an example-by Mr. E. H . Lewis~£ the splicing of Minor methods, and these formed part of a peal rung at Norbury, July 12, 1913, called by the Rev. A. T. Beeston:-

Duke of Norfolk. Islington. Norbury. Trowell. 23456 D. of N.

23564 2 I. 45236 3 N. 45362 2 T. 34562 5 D. of N. 25346 3 I. 25463 2 N. 42563 5 T. 35426 3D. of N. 35264 2 I.

P.L. 23456

Wragby. Grove. Neasden. College Bob IV. 23456 w.

64235 I G. 26435 3 N. 63542 2 C.B. 63425 5 w. 46325 3 G. 62534 2 N. 62345 5 C.B. 36245 3 w. 64523 2 G.

P.L.23456

1 On March 24, 1930, at Leytonstone, Essex, a peal of Minor was rung (5040 changes) in 23 " Surprise" Methods. Conducted by E. D. Smith.


Hocking. Willesden. Poynton. Old Oxford. 23456 B.

23564 4 W. 45236 I P. 45362 4 O.Ox. 34562 5 B. 25346 I W. 25463 4 P. 42563 5 O.Ox. 35426 I B. 35264 4 w.

P.L. 23456

Overton. Sandal. London Scholars. Kingston. 23456 0.

64235 4 s. 26435 2 L.S. 63542 3 K. 63425 50. 46325 2 s. 62534 3 L.S. 62345 5 K. 36245 2 0. 64523 3 s.

P.L.23456

Since the publication of " Method Splicing," several other ingenious examples of multiple method splicing have been evolved, the latest being by Mr. A. G. Driver, of Belvedere, Kent, who arranged a number together hitherto thought impossible to splice. Some of these intricate 72o's were rung by the Leytonstone Company, and the results appeared in the Ringing World of October I I, I929, p. 6so.

This splicing of methods has been extended to seven, eight, nine, ten and twelve bells, and very many peals have been rung on these numbers, wherein two or more methods have been employed. Like the Minor, this idea is not new, although in the old days the splicing was not scientifically done, and under to-day's ruling would be considered irregular. At North Elmham, Norfolk, is a tablet recording a five method "peal":-

" February 2nd 1834 was rung in this Steeple, 5152 changes, consisting of five different methods, viz. :-1008 of Norwich Court Bob ; 1120 of Oxford Treble Bob Major ; 1008 of plain Bob Major; 1008 of Grandsire Triples ; 1008 of plain Bob Triples ; in 3 hours 15 minutes by the following persons of this parish viz.:-

YouNGS BAILEY ••

}OHN FARROW . .

FRANCIS CusHING

THOMAS FENN •.

. . Treble 2

3 4

THoMAs CooPER 5 CHRIS. CooK 6 THOMAS TucK . . 7 RoBERT FARROW. • . • Tenor

who conducted the peal." c c 2


The famous Bennington band many times rang long " touches " and " peals " in various methods continuously ; on January 21, 1872, they rang 2016 changes made up of three Surprise methods-Superlative, London and Cambridge. On May 10, 1873, at Braughing, Herts (being the anniversary of the Braughing Ringing Society), the Bennington ringers rang:-

" . . . a selection of ringing consisting of touches in the following methods-not a single break occurred, and the precision with which the changes were struck was the admiration of the numerous and scientific company who were assembled to hear this surprising performance. Mr. Cox and Mr. Miller from London Cumberland Society; and Mr. Haworth and Mr. Lobb, College Youths Society were present, and fully testified the excellence of the undermentioned selection :-

Double Norwich Court Bob Major Cambridge Surprise Major .. Superlative Surprise Major .. London Surprise Major Double London Court Bob Major .. Kent Treble Bob Major Stedman Triples

I008

448 448 448 336 576 684

On September 29, 1873, this company rang at Galleywood, Essex, 5o6o changes in ten different methods :-

Grandsire Triples Stedman Triples Bob Major Double London C.B. Major Double Norwich C.B. Major Oxford T.B. Major .. Kent T.B. Major Superlative Surprise .. Cambridge Surprise . . London Surprise

336 420

336 336

1008

576 704-448 448 448

506o

This grand performance was a delight to a large assemblage of excellent ringers present.


An earlier example of this kind is the following :-

1857 RINGING

ON THURSDAY THE 31sT OF DEeR THE SociETY OF CHANGE RINGERS OF SHE FFIELD, RANG IN THIS TOWER, A TRUE & COMPLETE PEAL OF 5024 CHA NGES, CoNSISTING OF THE FoLLow lNG INTRICATE SYSTEM VIZ

1008 OF STEDMAN TRIPPLES. 960 OF GRANDSIRE MAJOR.

IO s6 OF BoB MAJOR. 992 OF TREBLE BoB MAJOR.

I008 OF GRANDSIRE TRIPPLES. WHICH THEY AccoMPLISHED AT THE

FIRST ATTEMPT' IN THE SHORT SPACE OF, 3 HOURS, & 12 MINUTES BEING THE ONLY PEAL OF THis DEs CRIPTION EVER RANG BY ANY SET OF MEN AT ONE TIME, AND WAS PER FORMED BY THE FoLLOWING PERSONs.

JoNN SANDFORD. TREBLE CHAs G. BATEMAN. 5TH TH05 WHALEY. z No GEoE WILSON •• 6TH ]N° LOMAS. • • 3ao ]As WALKER •• 7TH CHA5 WALKER 4TH RoaT HEALD, TENOR.

THIS TABLET' wAS PLACED HERE BY CONSENT OF

THE REV0 A. BROOK. VICAR

H. B. w. MILNER. ! CHURCHWARDENS. & F. WHITE. f

FIG. 66.

The above is a copy of a peal board in St. Swithun's Church, East Retford.

Now that splicing has become a general practice, composers have joined up all sorts of methods in many ingenious and


devious ways, some quite simple, some very intricate. The simplest way is that of joining a peal up in " blocks " of changes, half one method and half another, like this:-

BOB MAJOR AND DOUBLE OXFORD SPLICED s,o88 BY JosEPH w. PARKER. · Start Bob Major.

23456 W B M H

54326 3 54263 32546 52643 62345 53246 25346

Repeat twice with a single at the end produces 32456, from which ring Double Oxford.

32456 M B W H

25364 25643 42653 65423 45326 35246 23546 52346

Repeat twice with single at the end. Contains 2 544 of each method. CRAYFORD, KENT.

THE KENT CouNTY AssociATION. On Thursday, July 8, 1926, in Two Hours and Fifty-Five Minutes,

AT THE CHURCH OF ST. PAULINUS, A PEAL OF BOB MAJOR AND DOUBLE OXFORD

(SPLICED), 5088 CHANGES ; Tenor I2f cwt.

EDWIN BARNETT, SEN. . . Treble JOHN BURLES 5 jOHN H. CHEESMAN 2 WILLIAM MARTIN 6 EDWIN BARNETT, JUN. 3 FREDERICK J. CULLUM, JUN. 7 IsAAC G. SHADE 4 HERBERT E. AunsLEY .. Tenor

Composed by J. W. PARKER. Conducted by E. BARNETT, SEN. This is the first time these two methods have been rung spliced.

In this way compositions of Plain Bob and Little Bob, Double Norwich and Plain Bob, Double Norwich and Double Oxford, Canterbury and Little Canterbury, and many other " half-and-half" peals have been composed and rung.


All being modern, they need not be given, the compositions having been published from time to time in the Ringing World. Similar spliced peals of Caters have been rung in two and three methods:-

"SPLICED " STEDMAN AND GRANDSIRE CATERS. By ALBERT J. PITMAN. 5075·

Stedman. Grandsire. 2 3 I 4 5 6 7 8 9 2 4 5 3 7 6 8 9

3 6 2 I 5 4 9 7 8 = I, 6, I6. 5 3 4 2 9 in 3S 2 6 5 I 3 4 4 3 2 4 5 9 in 3 5 6 3 I 2 4 4 2 5 4 3 9 in 3 2 6 4 I 5 3 4 5 4 3 5 2 9 in 3S

4 6 5 I 2 3 4 5 2 3 4 9 in 3S 2 6 3 I 4 5 4 5 2 4 3 5 9 in 3 3 6 4 I 2 5 4 4 5 3 2 9 in 3 4 6 2 I 3 5 4 3 2 5 4 9 in 3S 3 6 5 I 4 2 4 5 564I32 4 5 4 2 3 9 in 3S 4 6 3 I 5 2 4 4 3 2 5 9 in 3 5 6 2 I 4 3 4 5 2 5 3 4 9 in 3S

3 4 5 2 9 in 3S Repeat above, calling first

Course 4-5'S, adding 9'S, II'S, in last Course, gives

Repeat above calling, omitting the last Course gives

2 4 I 5 3 7 6 8 9

I 2 4 5 3 7 6 8 9 is the fourth change of the last six, from which go Grandsire.

3 5 2 4 7 6 8 9

4 5 2 3 7 6 9 8 5 3 2 4 2 4 3 5 4 5 3 2 3 2 5 4

2-4-5 8 in 3 8 in 3S 8 in 3 8 in 3S

This Peal has 2556 changes Stedman, and 25I9 Grandsire.

ST. MARY, NOTTINGHAM. On Saturday, October 3ISt, 1925.

5075 "SPLICED " STEDMAN AND GRANDSmE CATERS. In 3 hours r8 minutes. Tenor 32 cwt.

NEVILLE WIDDOWSON .. Treble EDWARD C. GOBEY 6 G. STEDMAN MORRIS 2 J. FREDERICK MILNER 7 ALBERT CoPPOCK . . 3 ERNEST MoRRIS . . 8 FRED S. PRICE . . . . 4 FREDERICK w. BAILEY 9 J. CHARLES DICKEN 5 PERCIVAL PRICE . . . . Tenor

The first peal yet rung with these two methods " Spliced." Composed by ALBERT J. PITMAN. Conducted by ERNEST MoRRIS.


In a similar way Erin, Stedman and Grandsire Caters were rung spliced at St. Mary, Walthamstow, December II, 1926, conducted by C. T. Coles.

This method of splicing in " blocks " is far the simplest form, and the following example in six methods will suffice to explain it :-

SPLICED MAJOR IN SIX METHODS CANTERBURY, PLAIN BOB, LITTLE BOB, KENT AND

OXFORD TREBLE, BOB, AND LITTLE BOB. 5·256 BY A. J. PITMAN.

CANTERBURY. KENT AND OXFORD 23456 w H (Kent from 7832465).

A 4357682 in two leads. 54326 I I 2 4 45236 2 2 B 5437682 Ox. Ox. 24536 3 I c 3547682 Ox. Ox. 7826345 I Single Thirds. 2347685 Ox. Ox.

PLAIN BOB from 7826345, 5247683 Ox. Ox. calling bobs at B. M. H. for 4527683 Ox. Ox.

45263 I I I 2457683 Ox. Ox. 24563 3 I 3257684 Ox. Ox. 52463 3 I 5327684 Ox. Ox. 3452867 I 2537684 Ox. Ox.

LITTLE BOB from 3452867 for 4237685 Ox. Ox. 4236578 in three plain leads. 3427685 Ox. Ox.

M. H. 6234578 Bob home 53264 s s 3652847 (next lead-end) 52364 3 s LITTLE CANTERBURY from 43265 I I 3652847· 45362 2 I 5324678 in three leads. 34562 3 I w. H. 53462 I 42356 I I

32465 I 2 43256 s 54263 I I 52346 I I

7832465 w B 35246 3 I

23546 3 I

24356 2 I

23456 3 s Changes in each method: Canterbury 832, Plain Bob 848, Little

Bob 848, Kent and Oxford I,920, Little Canterbury 8o8. For 5,128 call one bob Wrong at A, which will bring up B. For

s,ooo, call two bobs Wrong at A, which will bring up C. (Makes number of changes in Kent and Oxford 1,664.)

First rung at Loughborough Bell Foundry, April 28th, 1928, conducted by ERNEST MoRRIS.


Other peals with " even " and " odd " methods have been composed and rung, such as Bob Major and Grandsire Triples, Bob Major and Stedman Triples, Bob Royal and Grandsire Caters ; but this class is hardly worth recommendation.

A much more intricate system of splicing is that of continually changing from one method to another, and in this way some very interesting and complicated compositions have appeared, in which only the most experienced of ringers could hope for success. One of the earliest of these productions was by J. W. Parker, of Sunderland, who joined up Cambridge and Superlative Surprise Major in the following ingenious way:-

The leads in each course 5056 to be rung as 23456 M w H Cambridge. Superlative.

-----42356 123 4567 65324 123 7 456 43526 123 4567 54326 123 4567 35426 123 4567 45621 1234 7 56 36524 1234 567 53624 12.34 567 62534 1234 7 56 45236 123 4567 24536 123 4567 52436 123 4567 42635 12345 7 6 56234 1234 567 25634 1234 567 63254 1234 67 5 26354 12 34567 32654 I 234567 32546 Before 12 67(come3&4) 53246 123 4567 25346 123 4567 34256 123 4567 23456 23 I 4567

The leads as shown give 2528 of each method. The 4th leads may be rung in either method, but all the others must be strictly adhered to, or falseness will occur.

The composition also runs true to Superlative only, but not Cambridge.


WHITLEY BAY, NORTHUMBERLAND. THE DURHAM AND NEWCASTLE DIOCESAN ASSOCIA

TION.

On Wednesday, May 14, 1924, in Three Hours and Three Minutes,

AT THE CHURCH OF ST. PAUL, A PEAL OF CAMBRIDGE AND SUPERLATIVE SURPRISE

MAJOR (SPLICED), 5056 CHANGES;

WILLIAM L. GOFTON }AMES E. GOFTON GEORGE R. HoLMES R. ALDER GOFTON

Tenor I7f cwt .

. . Treble RICHARD A. GOFTON 5 2 JosEPH A. GoFTON 6 3 STEPHEN W. STRATFORD 7 4 THOMAS T. GoFTON .. Tenor

Composed by J. W. PARKER. Conducted by JosEPH A. GOFTON. This is the first peal of Spliced Surprise Major ever rung, and

there were 2,528 changes in each method.

Since this peal, other productions-more or less intricatehave been produced by A. J. Pitman. A most ingenious composition in jour Surprise methods was published by the Rev. H. Law James, as follows :-

5,408 OF LONDON, SUPERLATIVE, CAMBRIDGE AND BRISTOL.

The plain course : 2345678

4263857 London. 3527486 Cambridge or Superlative. 2345678 London. 23456 M W H

63542 24536

2 - The second W and

26435 2 46532 56234

Four times repeated. Also five more parts starting from 54326.

the second M are produced by inserting a lead of Bristol.

Join the two five parts together by omitting the 2 W in the first course of any one of the first five parts (omitting the lead of Bristol), which comes to the W in one of the second five parts. Ring these five parts and omit the W to get back into the first five parts.

Reduce to 5,024 by omitting the last two M in a part and the first Min the next part, and do this a second time.


It was first rung as below :WARNHAM, SUSSEX.

THE SUSSEX COUNTY ASSOCIATION. On Saturday, June u, 1927, in Three Hours and Twenty 1Vfinutes,

AT' THE CHURCH OF ST. MARGARET. A PEAL OF SPLICED LONDON, SUPERLATIVE, BRISTOL

AND CAMBRIDGE SURPRISE MAJOR, 5,408 CHANGES; Tenor 14 cwt.

GEORGE W. STEERE .. Treble OLIVER SIPPETTS jOHNs. GOLDSMITH 2 WILLIAM T. BEESON joHN A. CoLE . . 3 CLARENCE H. DoBBIE WILLIAM J. ROBINSON 4 ALFRED H. PULLING

Composed by REV. H. LAw }AMES. Conducted by ALFRED H. PULLING.

5 6 7

.. Tenor

It contained 100 leads of London, 25 each of Superlative and Cambridge, and 19 of Bristol.

This composition-reduced to 5024 changes-was also rung at Willesden, October II, 1927; Acton, May 2, 1928; St. Botolph, Bishopsgate, May 19, 1928; and elsewhere, conducted by Wm. Pye, and his brother, Geo. R. Pye. It was also rung at St. Matthew, Bethnal Green, on January 28, 1928, by members of the Ancient Society of College Youths, conducted by Harry R. Pasmore, and previously by the same Society at All Saints, Wandsworth, January 2. It has been rung elsewhere.

Later the Rev. H. L. James added Lincolnshire Surprise to the composition, and the first " five " method peal was rung as follows:-

WILLESDEN, MIDDLESEX. On Tuesday, December 18th, 1928, in 2 hours and 47 minutes,

AT THE CHURCH OF ST. MARY, A PEAL OF SPLICED LONDON, BRISTOL, CAMBRIDGE,

SUPERLATIVE, AND LINCOLNSHmE SURPRISE MAJOR, 5,184 CHANGES ;

Tenor, 10 cwt.

J. ARMIGER TROLLOPE .. Treble GEORGE R. PYE .. CHARLES T. COLES 2 JAMES BENNETT .. GEORGE M. KILBY . . 3 HARRY KILBY ALBERT W. CoLES . . 4 WILLIAM PvE

Composed by the REv. H. LAW }AMES. Conducted by WILLIAM PYE.

5 6 7

.. Tenor


This composition contains 3,072 London, 576 Bristol, 6o8 Cambridge, 6o8 Superlative, and 320 Lincolnshire. The Cambridge and Superlative were rung, as far as possible, in alternate courses.

Mr. G. R. Pye ingeniously rearranged the Rev. H. L. James's composition to include six methods, viz., London, Rutland, Bristol, Superlative, Cambridge and Pudsey. This was of 5184 changes, and, as such, was rung at Willesden on March 19, 1929, conducted by Wm. Pye.

The same week Mr. A. J. Pitman published the following most remarkable composition, introducing no less than ten different Surprise Major methods in a single peal of 5760 changes. This was attempted several times by the Willesden Company, and at last successfully accomplished as follows:-

WILLESDEN, MIDDLESEX. THE MIDDLESEX COUNTY ASSOCIATION AND

LONDON DIOCESAN GUILD.

On Tuesday, August 13, 1929, in Two Hours and Forty-Four Minutes,

AT THE CHURCH OF ST. MARY' A PEAL OF SPLICED LONDON, RUTLAND, CAMBRIDGE,

SUPERLATIVE, LINCOLNSHIRE, PUDSEY, YORKSHIRE, BRISTOL, NORFOLK AND NEW GLOUCESTER SURPRISE MAJOR, 5,120 CHANGES ;

Tenor, 10 cwt.

HARRY KILBY . . . . Treble CHARLES T. CoLES . . 5 J. ARMIGER TROLLOPE . . 2 ALBERT W. CoLES . . 6 GEORGE M. KILBY 3 }AMES BENNETT . . . . 7 GEORGE R. PYE 4 WILLIAM PYE .. Tenor

Composed by A. J. PITMAN (No. 1). Conducted by WILLIAM PYE.

This composition contains changes in each method as follows : London 1440, Rutland u84, Cambridge 416, Superlative 384, Lincolnshire 320, Pudsey 320, Yorkshire 160, Bristol 320, Norfolk 288, New Gloucester 288. This is the first peal rung in ten Major methods.

THE COMPOSITION, 5,120 CHANGES.

The methods are indicated as follows: London, L.; Rutland, R.; Cambridge, C.; Superlative, S.; Lincolnshire, Lin.; Pudsey, P.; Yorkshire, Y.; Bristol, B.; Norfolk, N. ; and New Gloucester, N.G.


First part. 23456 M. W. H. Methods.

64352 - R. C. L. (34256)- L. P. 62453 - N. S. R. 64523 2 R. C. R. B. 56423 R. Lin. L.

(46325)- L. P. The above four times repeated,

substituting N. for R. in first course of each repetition, and calling Rutland at W. in last course, adding a bob H., bringing 42356.

Second part. 42356 M. W. H. Methods.

43526 2 R. Y. R. B. 65324 L. C. L. 36524 L. S. L. 25463 3 L. Lin. R. N.G.

The above four times repeated, omitting one bob H. and one lead of New Gloucester in last course.

Cambridge and Superlative are interchangeable, and as rung at Willesden were called alternately throughout the peal. The courseends bracketed are not actually rung, the change from Pudsey to Norfolk cutting out the H. lead. Norfolk is rung with a 4th's place Bob. 1

Other ingenious arrangements in " splicing " include the following compositions by Mr. A. J. Pitman, of Port Talbot, both produced from original courses, and the first to contain long blocks of Erin and Stedman :-

5,133 STEDMAN AND ERIN CATERS SPLICED. 231456789

Stedman 34516978 I S2 6 7 8 9 16 " 423561 6 16 , 214365 6 16

Erin 341265 5 6 , 154362 5 7 , 425163 5 7 , 532461 5 7 , 213564 5 7 , 531264 5 6

1 Interesting compositions of 15 and 21 Plain Major methods were published in the Ringing World, April II, 1930, by Stephen H. Wood.


Repeat seven times with first course called 2-8-9-16, and a single for bob at 5 in last course of fourth part producing rounds the first change of last course. The courses are full courses of Stedman and Erin throughout. This composition has over half-peal of each method, having 36 978 and 35 879 course ends, with the 6th in fifth's. First peal of Caters on this plan.

5,040 ERIN AND STEDMAN TRIPLES SPLICED. 1234567 2 3 4 5 6 7 8 9

Erin

" Stedman

" (a)

" (3 a)

" " Erin

" " " " " "

6734512 -6724153 -

1324657 -6174523 s 7264315 6123547 s 3754162 s 2654173 s 1534762 7324651 6124537 5274316 6532741 3674125 s

(S)

s

s

s

s s s s s s

s

s s s s

s s

s

s

s Repeat three times as from 3754162 with the first two calls

omitted, also omitting bracketed Single in second and fourth parts producing,

3764215 2 3 4 5 6 7 8 9

Stedman 1524736

" (5 a) 5634172

" 3761245 s s " 2357641 s s s s s

---Erin 2174635 S S

" 2154367 -" 6754321 -" 5374621 - s , 5324167 s " 5374612 -, 5314267 s " 6714253 -" 1274653 - s , 1254367 s

Repeat the whole. From 6724153 commence Slow, Quick, etc., to 3754162, which is Quick. From 3764215 commence Quick, Slow,


and so on, to 235764I, which is Quick. The rest of the composition is Erin. In this peal there are four blocks of 504 Stedman Triples.

It is the first on this plan, and is produced from original sets of courses which can be arranged in many ways. As shown, Io8 of the I20 6-7's are at back stroke.

The above Cater peal was rung at Newcastle Cathedral, January 27, I925, conducted by Wm. H. Barber.

In March, I924, Mr. Joseph W. Parker produced some remarkable " methods " of Triples, Caters and Cinques by the splicing of Stedman, Erin, and variations of quick sixes, etc., and the results appeared in the Ringing World of March 28 of that year. The first peal of Triples, however, rung in this method was the following :-

BRIDGEND, GLAMORGANSHIRE. THE LLANDAFF AND MONMOUTH DIOCESAN

ASSOCIATION. On Saturday, May I6, I925, in Three Hours and Four Minutes,

AT THE CHURCH OF ST. ILLTYD, A PEAL OF SPLICED UNION & GRANDSffiE TRIPLES,

5,040 CHANGES; Tenor I6 cwt.

ALLEN C. }ONES .. Trtble CHARLES H. PERRY RicHARD EvANS. . . . 2 DAviD R. }AMES }OHN w. }ONES 3 ALBERT J. PITMAN JoHN EvANS . . 4 ALFRED W. WRIGHT

Composed and Conducted by ALBERT J. PITMAN.

5 6 7

.. Tenor

First peal of Triples ever rung in two methods. Rung intermixed throughout the whole peal, without notification of method by the conductor.

The composition is as follows :-234567 Continued

472356 2 573246 3 264735 2 735246 4 572364 I 467523 2 375426 5 s 534267 I 563742 2 725634 I 275463 I 467325 I 762354 4 s 354267 I 437562 I 473526 2 674523 3 364752 2 576342 5 273564 I 765342 4 762435 4 367254 5 357246 2

PL 324657 I


Repeat five times, omitting first call in parts 2, 4, 6. With 2, 3 or 4 in the hunt, Union is rung. With 5, 6 or 7 in the hunt, Grandsire is rung. Grandsire Singles are used.

The same Company also rang, on January 27, 1926, a spliced peal of Oxford Bob and Grandsire Triples.

On April I, 1929, at Chelmsford Cathedral Church, a peal of Spliced Superlative and Cambridge Surprise Maximus was rung, being the first accomplished in such a manner on twelve bells. The methods were changed continually in each course, and the peal was conducted by Wm. Pye.

Before leaving the various methods of splicing, it will be acceptable to give the various ways in which Oxford and Kent Treble Bob have been joined up. Although until recent years this had not been extensively rung, yet the idea is old. We read that such a " mixture " occurred at Sheffield on March 7, I843· when 5600 changes of what is termed " Hudson's New Light " was accomplished in three hours forty-six minutes. This consists of Kent and Oxford leads with sundry " bobs." In Sottanstall's" Elements of Campanalogia" (1867) are given various compositions by D. Scholefield, in which Kent is the method and Oxford leads are inserted to keep 7 X 8 out of slow; afterwards called "Worcester" variation. In 1844, the then famous Shifnal Company rang 5040 Triples, with Kent and Oxford intermixed. Later, we have Mr. E. C. Gobey introducing ordinary Kent Treble Bob, with ordinary " bobs " atM. W. H., but an Oxford lead inserted when the tenors are due for" slow," which keeps them out, turning both 8th and 7th back by making 3rd's place; now called the " Ilkeston Variation .. " Another version, " Liversedge Variation," is Kent with ordinary Kent " Bobs" at M.W.H., but with two " Oxford Bobs " at 5th and 4th, which also keeps the tenors from slow. The latter variation, however, gives a full " 7 lead " course, whereas Ilkeston only gives a " 5 lead " course.

The following compositions show how the different variations are made up :-


"WoRCESTER VARIATION."

A SPLICED PEAL OF 5280.

BY HENRY w. WILDE.

23456

32456 53246 46325 25634 32654

53624 24365 62345 45236 36524 23564

3 5

Twice repeated. In this peal there are no Bobs,

Oxford places being made instead of Kent places at the lead ends marked under the head, I, 3, 5· The call at 3 shortens the course by two leads, cutting out the leads in which the tenor and 7th would have been in the slow.

The first four courses repeated give a quarter-peal, I ,280 changes.

"ILKESTON VARIATION."

BY E. c. GOBEY.

5088.

2 3 4 5 6 M ... Ox. W. H.

5 2 3 6 4 I X 4 2 6 3 5 X 3 5 2 6 4 X 2 3 5 6 2 X 2 3 6 5 2 2 X 5 6 2 3 2 X 2 6'3 5 2 X

Twice repeated.

"LIVERSEDGE VARIATION." By ERNEST MORRIS.

5280.

2

I 2 2

2 3 4 5 6 M. 4th 5th W. H.

53246 2 X 46325 X 25634 X 34562 X

X I 2

X X X

Repeat 4 times.

In both Worcester and Ilkeston variations the extent with tenors together have been rung, viz.:-

BELL FOUNDRY, LOUGHBOROUGH.

On Saturday, February I6th, I924.

9120 SPLICED TREBLE BOB MAJOR (llkeston Variation).

In 4 hours 37 minutes. Tenor, 6! cwt.

ERNEST MoRRIS. . . . Treble GEO. STEDMAN MORRIS 2 EDWARD c. GOBEY . . 3 J. LESLIE WILLARS . . 4

Composed by ALBERT J. PITMAN. C.R.

ERNEST J. ]ELLEY HENRY HARRISON JOSIAH MORRIS . , ]AMES F. CLARKE

5 6 7

.. Tenor

Conducted by ERNEST MoRRIS. D D


9120. 2 3 4 5 6 M. Ox. W. H.

6 3 2 5 4 3 54263 4 42356 2 63542 4 25346 5

Twice repeat. Has the 6o course-ends, the

extent of this variation.

BELL FOUNDRY, LOUGHBOROUGH. On Saturday, December 24th, 1927,

9600 SPLICED TREBLE BOB MAJOR (Worcester Variation). In 4 hours so minutes. Tenor 6 cwt. 2 qrs. 13 lb.

ERNEST MORRIS.. . . Treble EDWARD R. WHITEHEAD 5 E. HARRY STONELEY 2 PERCIVAL A. ALDHAM 6 WALTER P. WHITEHEAD 3 EDWARD c. GOBEY 7 J. FREDERICK MILNER 4 PERCIVAL PRICE . . . . Tenor

Longest peal yet rung without" bobs," and longest" spliced" peal yet rung.

Composed and conducted by EDWARD C. GOBEY. 9600.

Kent. 2 3 4 5 6

4 2 3 5 6

Oxford. '---,--'

2 3 4

63542 4 5 6 3 4 2

9 Times repeat, calling Oxford at 2-4 in third course of 1st & 6th parts in lieu of one at 3.

By the introduction of various " shunts," the Rev. H. L. James introduced other variations of Treble Bob, called the Gonville, Cam and Granta variations. These also have the effect of keeping the tenors out of " slow," which to many ringers is considered a very unmusical position.

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