Dr. Raven, in his fascinating book, _The Bells of England_, tells us that the machinery of the carillon was a recognized thing in the middle of the fifteenth century, and quotes from the will of John Baret of Bury St. Edmunds, who died in 1463, and gave directions for the playing of a _Requiem aeternum_ for his dirge at noon for thirty days after his death, and on each “mind-day,” or anniversary, to be continued during the octave. The sexton was also to “take heed to the chimes and wind up the pegs and the plummets” as required. The music of this _Requiem_, we are told, only compassed five notes, and must have been somewhat wearisome to the good people of Bury. In old churchwardens’ accounts, as at Ludlow or Warwick, we find frequent references to the repair or upkeep of the chimes. [Illustration: _Plate 15._ BELL BY ROBERT MOT OF LONDON (1575-1600), The first owner of the Whitechapel Foundry, where it had been for some years preserved, but is now broken up. (See page 40).] The principle of the carillon is similar to that of a barrel-organ or musical-box, implying a barrel or drum, set with pegs, and set in motion by being connected with the mechanism of the clock. The pegs, as they turn, raise levers which pull wires in connection with the hammers which strike on the bells. With the ordinary eight bells of an English belfry it is obvious that only a limited choice of tunes within the compass of an octave is possible, and that they can only be played in one key on single notes. The Belgian carillons have sometimes forty or fifty bells in communication with a key-board like that of an organ, and tunes can therefore be played on them in harmony. There are a few carillons of this type in England, the best known being at Boston, in Lincolnshire, and at Cattistock, in Dorset, but usually the ordinary bells are employed, as at Worcester Cathedral and in many towns. At the Reformation chimes largely died out, but with the Restoration they revived, and we hear of them at Cambridge, Grantham, and elsewhere. Another kind of chime which may here be mentioned is that employed for striking the quarters for the clock. Here, of course, no mechanism is required beyond the connecting-wire which raises the hammer and drops it on the bell. Of such chimes the best known are the Cambridge Quarters, put up in Great S. Mary’s Church in 1793. They were composed by Dr. Jowett, the Regius Professor of Laws, assisted by the composer Crotch, who was then only eighteen. The latter is said to have adapted a movement in the opening symphony of Handel’s “I know that my Redeemer liveth,” for the purpose.