_The Decoration of Bells and their Inscriptions_
Most of us are probably aware that it is usual for bells to bear
inscriptions, be it only the date or name of the maker; but few who
have not actually examined bells for themselves may have discovered
that they are often richly or effectively decorated. We do not as a
rule find them as highly ornamented as foreign bells, which often
have every available space covered with inscriptions, figures and
devices, or borders of ornament; but to some the greater soberness
of the English method may seem preferable. Nor is this practice of
ornamenting bells confined to the more artistic age before the
Reformation. Some of our most richly decorated bells belong to the
seventeenth century or even later (see Plate 38); and it is only the
character of the ornamentation which is changed.
[Illustration: _Plate 26._
THE “BELL HOUSE” IN THE CHURCHYARD AT EAST BERGHOLT, SUFFOLK.
(See page 64.)]
In point of fact the earliest bells are usually the plainest, and
the mediaeval craftsman contented himself with devoting his skill to
producing elegant and artistic lettering, beautiful initial crosses,
or ingenious foundry marks (Plates 14, 36). The latter were introduced
about the end of the fourteenth century, when, as we have seen in an
earlier chapter, the guild of braziers or “belleyeteres” were more
regularly organized. Those used by Henry Jordan (see page 29) are good
examples; as are the shields of the Bury and Norwich foundries (page
30). In the West and North of England such devices are rarer; but
badges, such as the Bristol ship, or the Worcester “Royal Heads,” take
their place. One or two of the London founders use the symbols of the
four Evangelists (Plate 34). A favourite device is the merchant’s mark,
a kind of monogram, or the rebus, a pictorial pun on the founder’s
name. John Tonne, who worked in Sussex and Essex about 1520-1540,
decorated his bells in the French fashion, with large florid crosses,
busts and figures, and other devices (Plate 35).
Initial crosses are almost invariably found on mediaeval bells, and
their variety is endless, from the plainest form of Greek cross to the
elaborate specimen shown on Plate 36, which is found in the Midland
counties. The words were frequently divided by stops, varying from a
simple row of three dots ⠇ to such devices as a wheel, a rosette, or an
ornamented oblong panel. Impressions from coins pressed into the mould
are by no means uncommon.
But often the chief or sole beauty of a mediaeval bell is its
lettering. In the fourteenth century this is invariably composed of
capital letters throughout, of the ornamental form known as Gothic or
Lombardic (Plate 36). Towards the end of that century the black-letter
text used in manuscripts was introduced into other branches of art,
such as brasses, and thus also makes its appearance on bells. But
the initial letter of each word is still executed in the old Gothic
capitals, and such inscriptions are known as “Mixed Gothic” (Plate
37), later ones of the sixteenth century being more strictly styled
“black-letter,” where no capitals are used. The change, however, was
not universal, and many of the foundries in the West and North of
England preferred to adhere to the capitals down to the Reformation;
while even in London, as at Leicester, Reading, and elsewhere, there
was a distinct revival of inscriptions in capitals during the sixteenth
century.
[Illustration: _Plate 27._
Diagram showing method of hanging a bell for ringing (see page 68).
A. Wheel with rope attached.
B. Headstock.
CC. Straps or Keys.
D. Cannons (modern form).
E. Stay.
FF. Gudgeons.
G. Brasses (in which the gudgeons revolve).
H. Slider.
]
The reign of Queen Elizabeth is usually regarded as a period of
transition, and there was, before the general introduction of modern
Roman lettering, a time when no general rule was observed. Some
founders used Gothic capitals; others black-letter; others again,
nondescript ornate capitals difficult to classify; while the Roman
lettering, introduced about 1560-70, gradually ousted all the older
styles from favour, and with very few exceptions became general about
1620. The use of older lettering and stamps by many founders during
this “transition” period is noteworthy. The Leicester founders were
especially addicted to this practice, and among other old stamps
bought up the beautiful lettering and ornaments used by the Brasyers,
of Norwich, in the fifteenth century. Henry Oldfield of Nottingham
(1580-1620), and Robert Mot of London (1575-1608), may also be
mentioned under this head.
I have said that seventeenth century bells were often very richly
decorated; and the ornamental running borders or elaborate arabesque
patterns which separate the words of the inscriptions or surround the
upper and lower edges of the bells, surpass in that respect anything
attempted in mediaeval times (Plate 38). Thomas Hancox of Walsall
(1620-1640) adorned his bells with reproductions of mediaeval seals;
and as late as the beginning of the eighteenth century the Cors of
Aldbourne, in Wiltshire, bought up a lot of pieces of old brass
ornaments from which they used to decorate their bells. At Malmesbury
and Tisbury in that county they have left bells covered with figures of
cherubs, coats of arms and monograms, a medallion of the Adoration of
the Wise Men, and other curious ornaments. Most of these founders, such
as John Martin of Worcester, Oldfield of Nottingham, and Clibury of
Wellington, used trade-marks with their initials, and a bell or other
device.
[Illustration: _Plate 28._
PEAL OF EIGHT BELLS (TENOR 16 CWT.) FOR ABERAVON CHURCH, GLAMORGANSHIRE.
This is an example of an ordinary English peal constructed for
change-ringing and shows some of the bells “up,” ready for ringing. In
this case the frame and stocks are of iron and the bells are without
cannons.]
Seventeenth-century Roman lettering, although plain, is often most
effective and artistic; capitals are almost always used throughout,
and small Roman letters are very rare. It is not until the middle of
the next century that it was replaced by the dull mechanical printing
types which are characteristic of the present day. But since the Gothic
revival several modern founders have re-introduced capital letters of
the old style with good effect; notably the Taylors of Loughborough.
Nowadays, however, there is little attempt at ornamenting bells;
not only the usual inscription-band on the shoulder, but the whole
surface of the bell is utilized for immortalizing local officials and
celebrities. On a bell recently cast for a church on the outskirts
of London are given the names, not only of the Vicar, Bishop, and
Archbishop, but of the Prime Minister, Member of Parliament, and
Chairman of the District Council!
So far little has been said about the inscriptions placed on bells; but
as these form one of the most interesting features of the subject,
they demand some little attention.
The earliest inscriptions, those of the fourteenth century, were
usually in Latin, and very simple in form. We find merely a name such
as IESVS or IOHANNES, or such phrases as CAMPANA BEATI PAVLI, “the bell
of blessed Paul,” or IN HONORE SANCTI LAURENCII, “in honour of Saint
Lawrence.” More rarely, the founder’s name, as--
~MICHAEL DE VVYMBIS ME
FECIT~
“Michael de Wymbis made me.”
~ION ME YEYT~
“John cast me.”
Other forms of inscription soon became common, especially the simple
invocation to a saint--
“Sancte Petre (or ‘Sancta Katerina’) ora pro nobis.”
“Saint Peter,” or “Saint Katherine, pray for us.”
By one founder, whose theology was somewhat confused, the Holy Trinity
itself was similarly invoked--
“Sancta Trinitas ora pro nobis.”
He should have said “miserere nobis,” “have mercy upon us,” as in our
Litany.
What are known as “leonines,” or rhyming hexameter verses, are also
very popular, such as--
~IN MULTIS ANNIS RESONET CAMPANA IOHANNIS~
“For many years let the bell of John resound.”
~VIRGINIS EGREGIE VOCOR CAMPANA MARIE~
“I am called the bell of Mary the excellent Virgin.”
~MISSI DE CELIS HABEO NOMEN GABRIELIS~
“I have the name of heaven-sent Gabriel.”
~VIRGO CORONATA DUC NOS AD REGNA BEATA~
“Crowned Virgin, lead us to realms of bliss.”
~SUM ROSA PULSATA MUNDI KATERINA VOCATA~
“I am the rose of the world, when struck, called Katherine.”
Most frequent of all is the Angelic salutation (_S. Luke_ i. 28):
~AVE MARIA GRACIA PLENA DOMINUS TECUM~
sometimes found in an English form as--
“~HAIL MARY FUL OF GRAS~”
(“Full of grace”).
There are said to be altogether seventy different forms of dedication
to the Blessed Virgin. She is by far the favourite saint with
bell-founders, though S. Katherine (possibly on account of her emblem
the wheel) was their special patron. On the whole the dedications
correspond fairly to those favoured for churches; but we note that
S. Andrew, S. James, and S. Paul, are rarely found, whereas S. Anne
and S. Gabriel are more common. We must not expect to find bells
necessarily dedicated to the patron saints of their churches; it is
in fact exceptional, and possibly the name was determined by that of
some guild or chantry. Where they are the same it is usually the tenor;
but the old ring of five at S. Bartholomew, Smithfield, has the treble
dedicated to that saint.
Among texts of scripture are also found
SIT NOMEN DOMINI BENEDICTUM
“Blessed be the Name of the Lord” (_Job_ i. 21).
IESVS NAZARENVS REX IVDEORVM
“Jesus of Nazareth the King of the Jews”
(_S. John_ xix. 19).
BEATVS VENTER QVI TE PORTAVIT
“Blessed is the womb that bare thee” (_S. Luke_ xi. 27).
But such texts become commoner in the seventeenth century. An early
post-Reformation example is at Hannington, Northants:
LOVE HORTETH NOT (_Rom._ xiii. 10).
[Illustration: _Plate 29._
RINGERS AT S. PAUL’S CATHEDRAL RINGING A PEAL ON NEW YEAR’S EVE ON THE
TWELVE BELLS. (See page 75).]
Sometimes a bell bears a prayer for its donor, or for his soul, as at
Goring, Oxfordshire--
~ORATE PRO PETRO EXONIENSE EPISCOPO,~
“Pray for Peter, Bishop of Exeter.”
This was Peter Quivil, Bishop about 1290. Or at Bolton-in-Craven,
Yorkshire--
~Sc’e Paule, ora pro a’i’abus Henrici Pudsey et Margarete consorte
sue~
“St. Paul, pray for the souls of Henry Pudsey and Margaret his
wife.”
In these cases we are enabled to gain a clue to the date of the bell,
a piece of information rarely found given in mediaeval times. Henry
Pudsey, for instance, died about 1510. There is an interesting bell at
Aldbourne, in Wiltshire, dated 1516, with a prayer for the souls of
Richard Goddard of Upham, his two wives and his children. It is said
that this is the only known record of his double marriage, though the
family is an old one, well known in those parts.
English inscriptions are very rare, but when found are often very
quaint, as at Snowshill, in Gloucestershire--
“~IN NAME OF TRINITE; GILLIS~ [Giles’] ~BELLE MEN CALLE ME~”;
or at Alkborough, in Lincolnshire--
“~JESU FOR YI MODIR~ [the Mother’s] ~SAKE SAVE AL YE SAULS THAT ME
GART MAKE~ [had made] ~AMEN~.”
The Reformation brought about a great, though not an immediate but
gradual, change in the character of bell inscriptions. We often find
about this time the whole or a portion of the alphabet; and it has been
supposed that the founder wished to use his old stamps, but was afraid
of giving offence by adhering to the old style of inscription, and so
arranged the letters in a fashion to which none could object! But
right through the Reformation period, the reign of Elizabeth, and the
ensuing Stuart period, it is by no means rare to find the old formulae
repeated. It is possible that ignorant founders reproduced them when
recasting bells, without realizing their meaning, or that they trusted
to the inaccessibility of belfries, not to be found out! Still the fact
remains, not only that more “Popish” inscriptions were left intact by
Reformer and Puritan on bells than on any other part of the fabric of
churches, but also that prejudice and fanaticism here seems to have
played a smaller part. Yet there are indications of Protestant zeal on
the part of some seventeenth-century founders. Tobie Norris of Stamford
(1603-1626) is fond of proclaiming--
NON SONO ANIMABVS MORTVORVM SED AVRIBVS VIVENTIVM
“I sound not for the souls of the dead but for the ears of the
living”;
and William Purdue of Bristol, in 1678, perhaps with the fear of James
II’s advent to the throne before his eyes, gives vent to the prayer:
LORD BY THY MIGHT KEEP US FROM POOPE AND HYPOCRITE,
at Stanley S. Leonard, Gloucestershire.
[Illustration: _Plate 30._
THE RINGING OF THE SACRING BELL BY A CLERK IN MINOR ORDERS.
From a Manuscript in the British Museum. (See pages 68, 88).]
For the most part the inscriptions of this period are, when not merely
churchwardens’ names, coloured with a piety which finds vent in quaint
and homely expressions, such as “FEARE GOD,” “IESVS BEE OVR SPEED,” “IN
GOD IS MY HOPE.” They remind us of the bells of Rylstone, in Yorkshire,
of which Wordsworth says:
“When the bells of Rylstone played
Their Sabbath music--_God us ayde_--
Inscriptive legend, which I ween,
May on those holy bells be seen.”
He was, however, unfortunately misinformed, as the true inscription (on
one bell) was, “In GOD is all.” Other attempts are more ambitious,
such as--
I AM A CRIER IN THE HOUSE OF GOD COME AND KIP [keep] HOLI,
at Witcomb, Gloucestershire (1630), or--
BE MECKE AND LOLY TO HEARE THE WORD OF GOD,
at Chichester Cathedral (1587). Some of these inscriptions are on bells
by John Wallis of Salisbury, of whom it has been said, “If we estimate
him by his works he was a great man; and if we take his laconic
epigraphs as an index of his heart, he was a trustful, thankful,
religious character.” They are, at all events, characteristic of the
sober and straightforward piety of the days of George Herbert and
Bishop Andrewes. Three more characteristic expressions of the period
are largely used by the Nottingham founders:
“I sweetly toling men do call to taste on meate that feeds the
soule.”
“All you who hear my roaring sound repent before you lie in ground.”
“My roaring sound doth warning give that men may not here always
live.”
[Illustration: _Plate 31._
SACRING BELL HUNG ON ROOD-SCREEN, SCARNING CHURCH, NORFOLK. (See page
88).]
Other founders, like Tobie Norris, already quoted, preferred to use
Latin. Another favourite of his is--
NON CLAMOR SED AMOR CANTAT IN AVRE DEI
“The sound that reacheth GOD above
Is not a clang but voice of love.”
A very beautiful Latin inscription, and most remarkable for the time
when it was composed (1651), is on the tenor at Stockton, Salop; it
runs in English--
“Glory in the highest to GOD the FATHER, SON, and HOLY GHOST;
William Whitmore, Knight, patron and restorer of this church, now
called to the Church triumphant, vowed and designed me for the use
of the Church militant.”
More quaint than edifying are the following, found at Thatcham in
Berkshire--
1. I AS TREBIL BEGIN
2. I AS SECOND WIL SING
3. I AS THIRD WIL RING
4. I AS FORTH IN MY PLACE
5. I AS FIFT WILL SOVND
6. I AS TENNAR HVM ALL ROVND.
We pass from these to others of the same period, which show a sad
falling-off in poetry and sentiment. Early in the seventeenth century
the deplorable habit of self-advertisement was begun by the Newcombes
of Leicester, who invented the distich--
BE YT KNOWNE TO ALL THAT DOTH ME SEE
THAT NEWCOMBE OF LEICESTER MADE ME.
This is adopted, but not improved, by later founders, as by Henry
Farmer of Gloucester, who, on a bell of 1623, at Throckmorton, in
Worcestershire, proclaims--
BE IT KNOWNE TO ALL THAT SHALL VS SEE
THAT HENRIE FARMER MADE WE 4 OF 3.
[Illustration: _Plate 32._
ANCIENT SANCTUS BELL (FOURTEENTH CENTURY).
In its Original Cot over the Chancel Arch of Idbury Church,
Oxfordshire. (See page 88).]
Worse depths are reached by Richard Keene of Woodstock on two bells at
Brailes, Warwickshire. On one is--
IME NOT THE BELL I WAS BUT QUITE ANOTHER
IME NOW AS RIGHT AND TRUE AS GEORGE MY BROTHER.
On the other--
I’LL CRACK NO MORE NOW RING YOUR FILL
MERRY GEORGE I WAS AND WILL BE STILL.
This style of inscription is even more characteristic of the early
eighteenth century; and we find at Meriden, in Warwickshire--
WHEN MY FIRST AND THIRD BEGIN TO RING
MY THIRD WAS BROKE BEFORE WE ALL DID SING.
There is a pun here on the name of the founder, William Brooke. An even
worse punster is Henry Pleasant of Sudbury, who at All Saints’, Maldon,
placed on four of the bells the following effusions--
(1) WHEN THREE THIS STEEPLE FIRST DID HOLD
(2) WE WERE THREE EMBLEMS OF A SCOLD
(3) NO MUSICK THEN BUT NOW [YOU] SHALL SEE
(4) WHAT _PLEASANT_ MUSICK SIX WILL BE.
Joseph Smith of Edgbaston, another would-be poet, has several
inscriptions of this class, as at Alvechurch, Worcestershire--
IF YOU WOULD KNOW WHEN WE WARE RUNN
IT WAS MARCH THE 22, 1711 [i.e., “seventeen-one-one”].
Yet another type of vulgarity is to be found at Bakewell, Somerset--
BILBIE AND BOOSH MAY COME AND SEE
WHAT EVANS AND NOTT HAVE DONE FOR ME.
When we reach the middle of the century a change comes over the
inscriptions, though hardly one for the better. The frivolous doggerel
rhymes are replaced by prim, though not always decorous, couplets
which seem to be thoroughly characteristic of that period. In fact, so
greatly was Methodism feared by the correct and worldly churchmen of
Georgian days that we actually find on a bell at Welwyn, Herts.--
PROSPERITY TO THE CHURCH OF ENGLAND
AND NO ENCOURAGEMENT TO ENTHUSIASM.
The most typical specimens, however, are on the bells of the London
founders at this period--
AT PROPER TIMES OUR VOICES WE WILL RAISE
IN SOUNDING TO OUR BENEFACTORS’ PRAISE.
WHEN FEMALE VIRTUE WEDS WITH MANLY WORTH
WE CATCH THE RAPTURE AND WE SPREAD IT FORTH
MAY ALL WHOM I SHALL SUMMON TO THE GRAVE
THE BLESSINGS OF A WELL-SPENT LIFE RECEIVE.
[Illustration: _Plate 33._
TOWER OF WALTHAM ABBEY CHURCH, ESSEX.
The Bells of which inspired Tennyson’s well-known lines. (See page 90).]
The last-named was composed by a Shropshire schoolmaster, who also
devised verses of the same type for bells in his own church of High
Ercall. One example may be given--
WHERE MEANDRING RODEN GENTLY GLIDES
OR TURNE’S PROUD CURRENT FILLS ITS AMPLE SIDES
HENCE MEDITATION VIEWS OUR CALM ABODE,
HEALS THE SICK MIND, AND YIELDS IT PURE TO GOD.
The Rudhalls of Gloucester, who were typical “Church and State” men,
usually place on their tenor bells the familiar couplet--
I TO THE CHURCH THE LIVING CALL
AND TO THE GRAVE DO SUMMON ALL.
Perhaps the worst specimen of the taste of this period is to be found
at Hornsey, in Middlesex--
THE RINGER’S ART OUR GRACEFUL NOTES PROLONG;
APOLLO LISTENS AND APPROVES THE SONG.
Doubtless this seemed appropriate enough to an age which adorned its
tombs and churchyards with cupids, urns, and such-like pagan emblems.
Other examples of this kind from the provinces are--
THE PUBLIC RAISED ME WITH A LIBERAL HAND;
WE COME WITH HARMONY TO CHEER THE LAND [Stroud].
ALL YOU OF BATH THAT HEARE ME SOUND
THANK LADY HOPTON’S HUNDRED POUND [Bath Abbey].
Some inscriptions again are of historical interest, such as at Child
Okeford, Dorset, where, in 1648,
GOD BLESS KING CHARLES
was actually placed on a bell by a founder who must have had the
courage of his convictions! It need hardly be pointed out that the
royal cause was just then at the depth of unpopularity. The eight bells
of S. Helen’s, Worcester, bear the names of Marlborough’s victories in
Queen Anne’s reign, with an appropriate couplet in each case. Other
bells, such as the great bell of Glasgow Cathedral, and the tenor of
Stepney, London, record their own history from mediaeval times down to
their latest re-casting.
A curious form of inscription found on seventeenth-century bells, and
sometimes revived at the present day, is the chronogram, where the
date is given by Roman letters of a larger size than the rest of the
inscription, as at Clifton-on-Teme, Worcestershire--
HENRICVS IEFFREYS KENELMO DEVOVIT,
where the letters MDCLVVVIII in numerical order read as the date 1668.
[Illustration: _Plate 34._
SYMBOLS OF THE FOUR EVANGELISTS.
Used as stamps by London bell-founders of the fifteenth century. (See
pages 106, 108.)]
It is one of the many debts that we owe to the Church Revival of the
last century that such desecrations of our bells as quoted above are
now a thing of the past. If our modern bells are often very dull
affairs as regards their decoration or inscriptions, we can at least
be thankful that profanity and frivolity have disappeared. Though as
I have already noted, a tendency to self-advertisement is still too
apparent, there has been a great change in the last fifty years, and
the improvement in the choice of inscriptions is most marked. Those
to whom such things are a concern have begun to realize that a bell
is a vehicle of history, and that, therefore, its history should be
duly recorded and preserved. But what is of far more importance, they
have also learned to look upon it as an instrument destined for GOD’S
service--as one of the “Ornaments of the Church”--and therefore just as
deserving of honour as any other furniture of GOD’S house.