_Observation 1._ The Learner must be able to distinguish the notes of a peal of bells one from another, and to know them asunder; as the Treble-note from the Second, the Second from the Third, _&c._ which, tis true, may readily be done in round ringing, because each note may be known by the place wherein it constantly strikes; but in ringing of changes it is more difficult. For admitting that six bells should strike in this order, 5.3.6.1.4.2. it might puzzle an unskilful ear to judg which is the Treble, or which the Second note, especially whilst any other note strikes betwixt them: and the like difficulty might happen in distinguishing the rest of the notes, as the _2d_ from the _3d_, _&c._ To remove this difficulty, he must endeavour to acquire some skill in tuning the notes of a peal of bells, with his voice, which he may do by imitating the notes of the bells when he hears them ring: or else any person that has skill in singing, will presently direct him therein, and also how to take the true pitch of any notes with his voice, which will be the only means to distinguish them asunder. ┌──┬──┐ │ 1│2 │ ├─┬┴┬─┤ │3│4│5│ └─┴─┴─┘ _Observ. 2d._ The Learner must rightly apprehend the places of the notes, which I think cannot better be done than by this means. Considering that the notes of a peal of bells do all strike one after another at the fore-stroke, and the like at back-stroke; it might be requisite for him to imagine, that the notes in their striking do lie in a direct line, that is, in a row at the fore-stroke, and the like again at back-stroke; for then the places of the notes will much resemble the places of the figures wherewith the changes are prickt: for as the figures of every change do all stand in a row; so likewise the notes of the bells, being imagined to strike in the like row, he may the more readily apprehend the places of the notes, and consequently of changing them. For the practick part of this Art, is performed by means of imaginary, not real notions; which will thus manifestly appear. This is the platform of a Frame, wherein five bells may be supposed to hang in a Steeple, the figures therein representing the places wherein the five bells hang. Now in the sixscore changes on five bells, we will suppose the Treble to be the whole Hunt, and to hunt up first over the Second, then over the Third, _&c._ Now the Treble cannot really move out of the place wherein it hangs; but by delaying its striking untill the Second Bell has struck, it may by that means strike next after it; and again, by delaying its striking until the Third has struck; it may also strike next after that, this being the true manner of the changes; by which ’tis evident, that the bells have neither really such places nor motion as is pretended, but is meerly imaginary, and was at first feigned only