BELL BY AN EARLY FOURTEENTH-CENTURY FOUNDER 47 BLESSING THE DONOR OF THE BELL 51 STAMPS USED BY LONDON FOUNDERS 54 BELL BY ROBERT MOT OF LONDON 59 A RING OF EIGHT BELLS 63 THE 9TH BELL OF LOUGHBOROUGH CHURCH 66 TENOR BELL OF EXETER CATHEDRAL 73 “GREAT JOHN OF BEVERLEY” 77 THE GREAT BELL OF TONG 83 “GREAT PAUL” 87 THE OLD “GREAT TOM” OF WESTMINSTER 91 THE BELFRY OF BRUGES 94 THE CAMPANILE, CHICHESTER CATHEDRAL 99 THE OLD CAMPANILE OF KING’S COLLEGE, CAMBRIDGE 102 THE “BELL HOUSE” AT EAST BERGHOLT 107 DIAGRAM SHOWING METHOD OF HANGING A BELL 110 PEAL OF EIGHT BELLS, ABERAVON CHURCH 113 RINGERS AT S. PAUL’S CATHEDRAL 119 RINGING THE SACRING BELL 123 SACRING BELL HUNG ON ROOD-SCREEN 126 ANCIENT SANCTUS BELL 129 TOWER OF WALTHAM ABBEY CHURCH 133 SYMBOLS OF THE FOUR EVANGELISTS 137 BELL BY JOHN TONNE 141 GOTHIC INITIAL LETTERS, ETC. 145 „ „ „ 149 PART OF A SEVENTEENTH-CENTURY BELL 153 ~The Arts of the Church~ CHURCH BELLS [Illustration] CHAPTER I _Early History and Methods of Casting._ The origin of the bell as an instrument of music is, one may almost say, lost in antiquity. Its use is, moreover, widely spread over the whole world. But I do not propose to enlarge on its early history here, or on its employment by all nations, Christian or heathen. Space will not permit me to do more than trace its history and uses in the Christian Church, and more particularly in the Church of England. The word “bell” is said to be connected with “bellow” and “bleat” and to refer to its sound; the later Latin writers call it, among other names, _campana_, a word with which we are familiar, not only as frequently occurring in old bell inscriptions, but as forming part of the word “Campanalogy,” or the science of bell-ringing. The French and Germans, again, call it _cloche_ and _glocke_ respectively, the words being the same as our “clock”; but that is a later use, and they really mean “cloak,” with reference to the shape of the bell, or rather of the mould in which it is cast. Modern bell-founders, it is interesting to note, speak of the mould as the _cope_, which again suggests a connection with the form of a garment.