CHAPTER VI
_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.
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.
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.
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).
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.
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.”
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.
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.
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.
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.