Selected and Popular

Surprise Methodsfor

Six and Eight BellsBY

Rev. Charles D. P. DaviesFile 01 – The entire book

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THE JASPER SNOWDON CHANGE RINGING SERIES

SELECTED AND POPULAR

SURPRISE METHODS FOR

SIX AND EIGHT BELLS

By THE REV.

CHARLES D. P. DAVlES, M.A., F.R.A.S. Member of the Ancient Society of College Youths of London, etc.

Including the

HISTORY OF CAMBRIDGE, SUPERLATIVE AND LONDON SURPRISE MAJOR,

by the late

jASPER WHITFIELD SNOWDON

and incorporating the chief points contained in a series of Papers on

THE SURPRISE METHODS

by the late

WILLIAM SNOWDON Sometime President of the Yorkshire Association of Change Ringers.

LEEDS:

WHITEHEAD & MILLER, LTD., PRINTERS, ELMWOOD LANE.

1927.

TABLE OF CONTENTS.

PREFACE

MINOR. CHAPTER I.

Choice of Methods Qualities of Methods

CHAPTER II. List of Methods .. Proving and Composing

CHAPTER III. Ringing the Methods London Surprise ..

CHAPTER IV. Bobs, Touches and 720's Explanation of Diagrams

CHAPTER V. History of Minor ..

CHAPTER VI. Tables of Course-Ends The Methods Superlative

Peals of d.i tto Cambridge

Peals of ditto Burton Variation .. Ipswich .. London

Peals of ditto Bristol

CHAPTER VII. Proof of Major

CHAPTER VIII. History of Major Cambridge Superlative London .. Addendum Review .. Bristol

TABULATED LISTS OF PEALS

DIAGRAMS

MAJOR.

PAGE

3

,7 8

16 20

23 25

27

31 34 34 36 41 43 49 52 54 56 61

Bs 86 91 95 97

100

100

102

118

PREFACE

THE pages that follow were undertaken close upon three years ago as the outcome of a correspondence with

Miss Snowdon, writing on behalf of her mother, Mrs. W. Snowdon, and asking if I could assist them in the co­ordination, arrangement and completion of certain articles, papers and notes, partly published and partly left unpublished by the late Mr. W. Snowdon, and written by him in con.tinua­tion and amplification of earlier writings and notes by his brother, Mr. Jasper W. Snowdon.

It will thus be seen that the aim and scope of the book were more or less closely defined from the first, and the design throughout has been to adhere as nearly as possible to the lines indicated by the circumstances of its inception.

This will explain the fact that, with the exception of certain Minor Methods, and that of Bristol Surprise Major, which has appeared and attained popularity since the time of Mr. J. W. Snowdon, the subject-matter of the following chapters is concerned only with the methods of Superlative, Cambridge and London Surprise ; and that, for the same reason, they deal only with changes on six and eight bells. The main object from the beginning has been that the volume shall take its natural place as one of the Snowdon Series.

In almost all quarters in which the subject of a treatise on the Surprise Methods has been mentioned there has been expressed a strong desire that the history of the methods should be continued at least to the time when they began

4 Surprise Methods

to be more generally practised. With this in view there is given at the end of the book a tabulated list of peals. It was at first intended that this list should include all peals rung in the three methods to the end of last century, but the number of peals of Superlative proved so great that in the case of this method the idea had to be abandoned, the numbers tabulated running to just over one hundred, and ending with the close of the year 1893· In the case of the other two methods the plan has been carried out, the list of peals of London running to the first peal in the present century, which being a non-conducted peal is worthy of special note.

It would be impossible to conclude without a brief word of warm thanks to the many friends who have helped me in various ways, their help frequently involving no little trouble on their part. For lists of peals, some of them of considerable length, necessitating the expenditure of much time and trouble in drawing them up, I am indebted to Messrs. J. Austin, W. Barton, F. Bennett, C. E. Borrett, C. T. Coles, J. S. Goldsmith, Rev. H. Law James, and Messrs. E. Morris and D. J. Nicholls. Mr. W. A. Cave has given invaluable help in the matter of Bristol Surprise. I have to thank Mr. A. Craven for sending his method of Ipswich Major, the merits of which I have endeavoured to point out. Items of histodcal interest have been com­municated by Messrs. C. E. Borrett, G. P. Burton, Rev. H. Law James, Rev. C. W. 0. Jenkyn, Rev. W. E. Mills, Messrs. J. R. Newman, S. Page, C. J. Sedgley, G. E. Symonds, J. A. Trollope and F. Warrington. For many letters of great utility I would particularly thank Rev. H. Law James, Rev. E. Banks James and Mr. J. A. Trollope. And lastly, I have reserved a special expression of gratitude to Miss

Preface 5

Edith K. Parker who relieved me of a heavy burden by her kindness in typing a copy of Mr. J. W. Snowdon's History of the Surprise Methods which forms the main bulk of the concluding chapter.

In a work of this sort mistakes inevitably intrude them­selves. I will only ask readers to believe that no effort has been spared to avoid them.

Deane Rectory,

August, 1926.

CHARLES D. P. DAVIES.

CHAPTER I.

MINOR INTRODUCTORY.

1 N writing for ringers on the subject of Surprise methods it will naturally be taken for granted that the reader, is

conversant with the various facts and items . of knowledge requisite for the understanding and practice of less complicated methods. It will be presumed that, if he sets himself to study the follm"ling pages as a composer or conductor, he is familiar with pricking by lead and course ends, and that he is capable of finding and noting for himself the proper instant for making any required call in the course of the ringing. Still more will it be presumed that the student is quite at horne in hunting, dodging and place-making, so . that, having mastered the duty of his bell by means of the vario.us instruc­tions and diagrams herein given, he will be able instinctively to carry them into practice. With this brief explanation and without any apology we accordingly plunge straight into our subject.

CHOICE OF METHODS.

In the matter of choice of Minor methods of which to speak we have confined ourselves to a selection from those specifically denominated " Surprise " in the " Collection of Legitimate Methods " (Section I) issued by the Central Council of Church Bell Ringers, 1907. In this collection Minor methods having the treble with a dodging or treble-bob hunt are divided into three classes termed respectively (a) Treble Bob, (b) Delight, (c) Surprise, the idea being, as we may suppose; that the three represent a scale of increasing complication in structure and of consequent increasing intricacy in actual performance. From a general point of view this is doubtless the case. But the dividing lines between them, more especially that between the Delights and Surprises, are in reality merely academic. A Surprise method is defined

8 Surprise Methods

as one in which places are made at all "cross sections," i.e., whenever the treble passes from one dodging position to the next. It may be doubted if one ringer in a hundred kf10ws in actual ringing when he is making a place whether it is or is not at a cross section. In any case, it makes not the least difference to him. But the plan is of some little use as a means of classification. In our choice of Minor methods we have accordingly followed its lead, and the methods here given will all be found between pp. 31 and 41 of the Collection.

QUALITIES OF METHODS.

In estimating the worth of a method there are at least three points of view from which it should be considered. These are.: Structure, Work, Music. We have named them in order of importance.

Structure. First with regard to Structure. By this we mean that

the method should be founded and built in obedience to certain principles-or rather " principle " in the singular­for there is but one essential principle, which is the order of succession of the rows.

In the case of changes on odd numbers of bells there is somewhere in every row one bell which is forced to lie still either in front or behind, or by making a place somewhere in the inside. With this it has always been the universal rule to be content. Though the choice of methods for odd-bell ringing is comparatively very small indeed, there has never been any serious attempt to kick over the traces, and method­builders have been willing to confine themselves to the use of orthodox materials. When we turn to even-bell ringing for which materials are a hundred-fold more profuse, and for which conditions are far more flexible, it seems as if the very luxuriance of opportunity had itself incited to what

Min or Methods 9

may not unfairly be called a veritable riot of unruliness. Let us explain. In the case of even numbers it is natural and proper that on going into changes all the pairs should change. This at once involves that in the ensuing back­stroke row two bells must lie still. Here is our one fundamental principle, universally obeyed by all the earlier even-bell methods. As usually stated, the rule is expressed by saying that all pairs change at hand, and two bells lie still at back­in other words all full leads in front, all whole pulls behind, and all places in the inside are, each of them, made at hand and back, and never at back and hand. i.e., they are always and invariably whole pulls" right." With materials quarried from this bed-rock principle any number of goodly-nay more-glorious methQds can be built, and it is on these lines that we have chosen the first seven Minor methods to present to our readers. The particular number, seven, has been chosen for the special purpose that as seven 720's are frequently rung to make up 5,040, those who may desire to ring that number in seven " Surprise " methods, may find so many really good and genuine ones here ready to hand. To these is added London Surprise for the reason that it appears to be somewhat of a favourite, the cause of which will be mentioned presently. But structurally it is lamentable, having no fewer. than sixteen " backhanders," i.e., back and hand places made, in every lead !

Besides the main principle of even-bell ringing just enunciated there is at least one other, which though of less importance, may be mentioned. When possible, it is best in method-building to avoid the making of contiguous places, such as lead and seconds, or thirds and fourths. But often this cannot be managed, especially in the case of Minor, 'where the number of bells is small, and all place-making is

IO Surprise Methods

consequently limited. The committee responsible for the collection of Minor methods resolved, as we think wisely, to rule out methods having "5th's place without the treble in sixths," i.e., while admitting sths while the treble is lying her whole pull behind, they reject similar contiguous places in the case of other bells. Otherwise not only would 5, 6 have fallen into this position, which would have sounded intolerable, but in every lead it would have sounded lumpy and as if a kind of back single were being made.

We trust that enough has now been said on the subject of structure to show its fundamental importance and that the old fathers of the exercise were indubitably right in assigning to it the first and foremost place.

Work.

Next in order of considerations influencing the choice of a method we place" Work," or duty of the bells in ringing it. The essence of the duty in any method is that it should be lively and interesting. With these features there is almost necessarily associated in Surprise methods the further feature of more or less intricacy-not that there is anything in the least alarming about it. With a little intelligent study and applica­tion all will come easily to the earnest learner. In elucidation of this we will say more a little later on. For the present we will only indicate briefly what we mean by "Work." This can perhaps be most easily done by an instance or two of methods in which the work is dull, or slow, or stagnant, and which we have therefore rejected. The method termed " Superlative" (No: 42, p. 41 in the Collection) contains work in I-2 extending to no less a length than that of forty consecutive blows! This is also a characteristic of "West­minster" (No. 26, p. 37). Compared with these the work

Minor Methods II

of the slow bell in Treble Bob is bliss ! Again, the method No. 28, p. 37, since named Netherscale, keeps a bell for thirty-two consecutive blows in 3, 4, not to mention that it also keeps one in r, 2 for twenty-eight blows. These instances of want of life and interest will sufficiently explain what is meant by their opposites, and will indicate the kin~ of qualities to be preferred.

Music. Last we come to "Music." The regular rhythm of

well-struck changes on odd bells with the tenor behind is unquestionable, and, as is universally agreed, is, except to those who dislike all bells bag and baggage, melodious and agreeable. We may thus quite justifiably talk of their "music." But with the tenor turned in, if we can bring our~ selves squarely, honestly, and impartially to face the question, it is difficult to see how we can fairly use the epithet " musical " in any true sense of the word. Certainly somt;! rows are less unmusical than others. But this is not saying much. The only salvation of even-bell ringing is an absolutely even beat with punctilious keeping of leads. Otherwise all rhythm is gone, and no one can tell where the rows begin or end. No. The writer at least is fain to confess that real " music " is conspicuous by its absence in ·even-bell ringing. As a matter of fact it hardly enters into the question at all !n the case of Minor, for the simple reason that all the possible permutations are required. But there is at least one considera­tion under this heading which by common consent is practically always observed. It is that 5, 6 must not dodge together

·the wrong way behind. This would bring the 5, 6's at hand and the 6, s's at backstroke, producing an impression of topsy-turvydom. It will accordingly be found that all the 6, s's and 5, 6's occur the right way in the methods chosen.

!2 Surprise Methods

Having briefly touched on the questions of Structure, Work and Music, we conclude this portion of our subject with a remark or two on their relative importance. There seems to be a tendency in the present day to favour the last, if not the two last, at the expense of the first. We hear a deal of talk about "music" and "interest of ringing," while structure seems scarcely to merit any attention, if it be not deliberately thrown overboard. It was not so with the great founders of the science. It has always been our opinion that the first point of importance in the erection of a house is that its foundations and walls should be good and sound, and that lack of these conditions is not atoned for by a lavish display of paint and coloured tiles. There is often a tendency in the present age to abandon first principles in favour of mere comfort or fancy. We should be on our guard against it. If we build our methods on the principles of good and sound structure, then, but not till then, may we proceed to consider questions of music and so forth.

CHAPTER II.

THE METHODS.

r. Cambridge (Collection, p. 40, No. 39).

THIS we place first as being one of the oldest, if not the oldest of all, and as being a general favourite. The

work is on the whole lively throughout in spite of the fact that part of it is confined to I, 2 for twenty-eight consecutive blows.

2. Annable's London (Collection, p. 37, No. 27). An excellent method full of interest and movement.

The longest period during which a bell is kept in any two places is for twenty-four blows in 3, 4·

3· Norwich (Collection, p. 38, No. 29). In this again no bell is kept for more than twenty-four

consecutive blows, viz., in I, 2 once in each course.

4· Norfolk (Collection, p. 39, No. 36). Full of life and movement. No work in any two places

of more than twelve blows' duration.

5· Ipswich (Collection, p. 40, No. 37). This contains work in I, 2 of twenty-four blows' duration,

but all the rest is full of good and rapid movement.

6. Primrose (Collection, p. 40, No. 38). This has work in 5, 6 of twenty blows' duration, all the

rest being lively and varied. An excellent method.

7· Hull* (Collection, p. 40, No. 40). In this there is work in 3, 4 for twenty-four consecutive

blows, but even with this we are still on a higher level than Cambridge with its twenty-eight blows in I, 2. The rest of the work is varied and interesting. A very good method.

* For this name see Ringing World. vol. xviii, p. 201 ad fin .

14 Surprise Methods

PROVING AND COMPOSING.

The proof of all the methods enumerated above is extremely simple. Owing to the regularity and orthodoxy of their construction, and the uninterrupted flow of their positive and negative rows, it will be found that if a lead o_f any of them be started, taking the hand stroke blow of the treble's full lead, and writing this row as a backstroke lead­head, then the whole lead will be reproduced backwards. For . instance, in Cambridge Surprise if a lead be started from the lead-head r 5 3 6 2 4 which is the handstroke blow of the treble's first full lead, then the whole of the first lead will be repeated retrograde. And so with them all. In other words there is one false lead-end, and one only, for every lead in each of the methods.

The false lead-ends are-for :-

Cambridge} Primrose Annable's London} Hull • • . . Norwich Norfolk} Ipswich · ·

•• i •.

.. 53624

.. 65432

2 4 3 6 5

.. 46253

This means that if in a touch or 720 of Annable's London or of Hull the lead-end 3 5 6 4 2 should occur, then the lead-end 2 4 6 5 3 must not be found. One or the other of them, but not both. And so forth.

Incidentally, there is in connection with this point a matter well deserving of study and elucidation by some one who has more time to devote to it than unfortunately has been at the disposal of the writer. Some students of ringing science seem bent on finding Q sets everywhere. Of course every row of every method on every number of bells is a

Min or Methods rs

member of some Q set or other. But there are Q sets and Q sets, some indispensable, some utterly unproductive and therefore valueless. But those which govern composition, especially the composition of "extents" always pay for investigation, and so far as we are aware there have never been published the results of any enquiry as to the behaviour and treatment of Q sets in Treble Bob Minor methods. Here then is a work which we should like to see undertaken by one or more of our Q set devotees. It might, and probably would result in the production of fresh and interesting forms of 720 in some, or even all, of the methods. As things are we have had to content ourselves with the presentation of only one 720 in each method on the old familiar three-part plan.

CHAPTER III.

RINGING THE METHODS.

THIS part of our subject falls naturally under· two headings, first the nature of the work, and then the way

to learn it. The nature of the work is clearly shown in the diagrams at the end of the volume. In Minor ringing we have to deal, as in Royal, with what may be called an odd and central pair of bells, a feature absent in Major and Maxim us. In Major the first two places (I, 2) are balanced by, and often repeated in reverse form in 7, 8; as is also the case between 3, 4 and 5, 6. But in Minor, while I, 2 and 5, 6 GOrrespond with each other, 3, 4 are left, we may almost say out in the cold, and have to look after themselves. This is also the lot of 5, 6 in Royal. Hence it comes to pass that Minor and Royal are more or less analogous to each other, standing in comparative contrast to Major and Maximus in this respect. Hence also in all probability comes the difficulty occasionally experienced in deciding what is the proper form of Royal to be developed from a given method of Major in extending the latter to ten bells.

But at present we are concerned only with Minor to which we accordingly return. We have our odd pair of places in 3, 4· A glance at the diagrams will show that with the occasional exception of second's place here and there, all the place-making is performed in 3, 4, the work in these two places being markedly differentiated from that in I, 2 and 5, 6. In the latter, except in Cambridge and Primrose, and in those only when the treble is lying her whole pull behind, there is no sths place making at all. In I, 2 in all the methods znds place, with perforce a simultaneous whole pull at lead, is made when the treble dodges in 3, 4 up and 3, 4 down. Beyond this there is no place-making in I, 2.

Ringing the Methods 17

Before going more fully into the description of the work it will be well to draw attention to a general feature characteristic of it as a whole in each and all of the methods. If a line be drawn across the fully pricked lead between the two blows of the treble's whole pull behind, it will be found that another bell is also lying still. If the work of that bell be traced both backwards and forwards it will be seen that the two paths exactly correspond, and that they meet at a distance of two and a half leads from their starting point, that is to say at a distance of half a course, and this time at a whole pull lead of the treble, where again the bell whose duty we have thus examined lies a whole pull simultaneously with the treble. We might have made our original start from the treble's whole pull lead, following the path of the bell (either the second or tenor) lying its whole pull there, but in that case the track above our line, i.e., backwards, would not have been so obvious as it is by making the start from the middle of the lead where we trace the figures both above and below the line before our eyes. In any case we find that in all the methods the work in one half of the course is the reverse · and counterpart of that in the other half, and that they meet at two points distant half a course from each other, the one at a full lead of the treble, the other at her whole pull behind. The first of these we call the Apex, the other the Antapex. All the diagrams start from the Apex of the work of each par­ticular method, the Antapex being consequently situate in the middle of the third lead. If the diagram be written in one long column, folded across at the apex or antapex, and placed against the window-pane, the two halves will be seen to coincide throughout.

Having, as we trust, made this general feature plain, we turn for a few moments to give some hints that may be

r8 Surprise Methods

found useful in helping towards a practical grasp of the work of the methods in actual ringing.

WoRK IN 3, 4· To begin with let us take the work in 3, 4· As was

mentioned just now, it is here that practically all the place­making is done. It will be found on careful inspection that one piece of work invariably forms the substance of the place­making. It is the making of two places, 3rds and 4ths, or 4ths and 3rds, a dodge with the treble, and the making of the same two places again in the same order. The furthest place is always made first, i.e., in hunting up 4ths, and in hunting down 3rds, is made first. It may, or it may not, be preceded or followed by a dodge in 3, 4· In Annable's London, Norwich, Norfolk and Hull it is neither preceded nor followed by a dodge in 3, 4· In Ipswich and Primrose it is either preceded or followed by a dodge in 3, 4, the dodge in Ipswich being between the place-making and the backwor\< and in Primrose between the place-making and the front work. In Cambridge there is a dodge both before and after the place­making. Annable's London . and Hull are marked by the in~eresting feature that the blow after the last of the two places falls on the first blow of the Antapex. This place is therefore made and the work has to be repeated in reverse order. The two place-making pieces of work are thus conjoined and all the place-making is performed in one and the same turn, there being even then only twenty-four consecutive blows in 3, 4·

WORK IN I, 2.

Speaking next of the work in I, 2, let us look at that in Cambridge. Here there are only two turns to be learnt, viz., two places, a snap, a whole pull and a snap; second, a whole pull and a snaiJ, and of course its reverse, a snap

Ringing the Methods

and a whole pull. The fact that the first of these and its reverse are conjoined, the last-named before, and the other after the full lead of the treble, constitute one of the blots on the method, inasmuch as a bell is thereby kept for no fewer than twenty-eight consecutive blows in I, 2. The front work in Annable's London and Primrose consists of the same turns as that in Cambridge, but as the work in front before the treble's full lead is separated from that after it, the objection­able feature is avoided, the maximum number of consecutive rows in I, 2 being reduced to fourteen. In this respect these two methods are a great improvement on Cambridge.

The front work in Norfolk and that in Ipswich are alike in their turns, the difference being that the turns are differently disposed. They are not very unlike the Cambridge pattern. But the front work in Ipswich is continuous from

-twelve rows before the treble's full lead to the like distance after it. This is rather a long stretch.

The front work in Norwich consists of one long turn, easily learnt, running from one lead of the treble to the next; and of two short turns, the reverse of each other, the one a whole pull and two snaps, the other two snaps and a whole pull. In Hull the whole front work is performed in two turns, viz., a whole pull, five snaps, seconds, a whole pull and a dodge with the treble ; and the reverse of this.

WoRK rN 5, 6.

It only remains to make a few observations on the work in the two places behind. First as regards work with the treble. This consists in five out of the seven methods, that is in all except Annable's London and Norwich, of a double dodge in 5, 6, a whole pull behind and a dodge with the treble, or the reverse of this. These two divisions com~

20 Surprise Methods ------·----- ---

separately except in Cambridge and Primrose, in each of which fifth 's place is made. This turns us into the reverse work at once. In Annable's London and in Norwich the only differ­ence is that the dodge is triple instead of double. Of the remaining back dodging there are in Cambridge and Ipswich two turns of a double and single or single and double dodge. In Annable and Norwich there is one turn of two triple dodges. In Norfolk, Primrose and Hull there are two turns each consisting of a double dodge. In conclusion there are "runs through," that is a plain hunting from lead to behind or from behind to lead. In Cambridge and Annable there are four single turns, that is two up and two down, all separate from each other ; in Norfolk two double ones, that is up and down or down and up, and four single ones; in Ipswich and Primrose there are four single and one double ; and in Hull there are two single and one double.

Having thus, as we trust, said enough to enable the learner to grapple successfully with, and soon to master, the task of learning the duty in any and all of the preceding regular methods of Surprise Minor we turn for a few moments to the subject of

LoNDON SuRPRISE.

With the exception of work with the treble in front in which a bell is kept in r, 2 for eighteen consecutive blows a glance at the diagram shows the movement throughout a course to be quick, and it is this feature, as we suppose, that has given to this method the popularity which it seems to enjoy. As the French say, Chacun a son gout, and so, we take it, some like rapid movement at whatever cost, but our own feeling is that, at least in this case, the price is too high, being no less than sixteen backhanders in every lead ! How-

Ringing the Methods 21

ever, the rule in these days is for each to please himself, and so at that we suppose we must leave it.

Though naturally the work or duty in London is in a general way similar to that in orthodox Surprise Minor methods there are distinct differences in detail.

The place-making in 3 and 4 throughout consists of only one place at a time and that one without a dodge either before or after it, except in the two instances in which there is a dodge with the treble. In hunting up the dodge with the treble is preceded by thirds and followed by fourths, and vice 'l!ersa in hunting down.

Of work in front there comes naturally first that with the treble. It is-lead a snapping blow wrong, a whole pull in seconds and a whole pull at lead, snap with the treble, and make seconds, after which the foregoing work is reversed, ending with a snapping lead right, that is, at hand. The rest of the front work is after the pattern of Stedman. Twice, i.e., before dodging with the treble in the middle on the way up, and after dodging with her in the middle on the way down there is a whole pull at lead, but unlike Stedman quick work they are both whole pulls wrong. Also between thirds just before passing the treble in 3, 2 down and thirds just after passing her in 2, 3 up there are two whole turns of Stedman; first, a last whole tum, and then a first whole turn with third's place betwen them. These three positions constitute the whole of the front work.

Of the work in the two back places it will be best to speak first of that immediately before and after the treble's whole pull behind. The first of these is as follows : Coming up from third's lie a whole pull (wrong) behind, dodge in 5, 6

22 Surprise Methods

and lie a whole pull (right) behind. Then dodge with the treble and make fourths. The work behind after the treble's whole pull is exactly the reverse of the foregoing, viz., dodge with the treble, lie a whole pull right behind, etc. The learner should bear in mind that as there is no fifth's place in this method these two portions of work do not immediately follow the one after the other, but are separated by an interval. The rest of the back work consists of a single dodge on two occasions unaccompanied by any whole pull behind, and on two other occasions of a whole pull behind unaccompanied by any dodge.

CHAPTER IV.

BOBS, TOUCHES AND 720'5 WITH EXPLANATION

OF THE DIAGRAMS.

1 N all the methods described above a bob is caused by the making of fourth's place at the treble's full lead. The

effect of the bob on the bells whose duty is altered by it is shown at the appropriate place at the foot of the lead in the diagram, of which more presently.

For calling two, three or six courses, the last being o.f course the whole 720, the rules are as follow, each rule being applicable to all the methods.

For two courses. Call a bob every time that the tenor (or any other bell) is not affected by the bob.

For three courses. Call a bob every time that both the tenor and the fifth are not affected by the bob.

For six courses. Call a bob every time that the tenor is not affected by the bob, except when the fifth is also not affected.

The following table of touches and 720's is constructed on these directions. At the head of the column of each method is given the formula for a plain lead (P) and that for a bob (B). Each of these is also to be found in the figure column in the diagrams.

ANNABLE's CAMBRIDGE AND HULL NORWICH P56342 P56342 P42635 B35642 s56423 B42356

240 240 240 56 3 4 2 -56423 4 2 6 3 5 4 2 6 3 5 2 3 6 4 5 -64235

-2 3 5 6 4 4 53 6 2 -2 6 4 3 5 6 4 3 52 ~6 2 3 4 5 4 2 56 3

-4 5 2 3 6 4 52 3 6 54 3 2 6 Repeated Repeated Repeated

24 Surprise Methods

360 360 360 5 6 3 4 2 -5 6 4 2 3 4 2 6 3 5 4 2 6 3 5 2 3 6 4 5 6 4 5 2 3 3 52 6 4 4 53 6 2 -5 6 4 2 3 6 4 5 2 3 6 2 53 4 4 53 6 2

-4 2 3 5 6 3 4 2 56 3 4 2 5 6 Twice Twice Twice

Repeated Repeated Repeated

720 720 720 56 3 4 2 56 3 4 2 4 2 6 3 5 4 2 6 3 5 4 2 6 3 5 -6 4 2 3 5

-2 3 5 6 4 3 5 2 6 4 -2 6 4 3 5 6 4 3 5 2 -6 4 2 3 5 4 2 5 6 3

-4 5 2 3 6 3 54 2 6 54 3 2 6 3 6 5 2 4 -2 6 4 3 5 3 5 6 4 2 2 4 6 5 3 3 5 6 4 2 -6 3 5 4 2

--45362 4 2 5 6 3 5 6 2 3 4 6 2 5 3 4 -6 3 5 4 2 2 5 4 6 3 3 4 2 56 4 2 3 5 6 4 2 3 5 6

Twice Twice Twice Repeated Repeate!l Repeated

NoRFOLK IPSWICH AND LONDON PRIMROSE P64523 p 4 2 6 3 5 P35264 B64235 B64235 B35642

240 240 240 -64235 4 2 6 3 5 3 52 6 4

5 2 3 6 4 6 4 ·5 2 3 -5 6 4 2 3 4 3 6 5 2 5 6 3 4 2 -6 2 3 4 5

-2 6 4 3 5 -2 3 5 6 4 2 4 6 53 54 3 2 6 -4 5 2 3 6 4 5 2 3 6 Repeated Repeated Repeated

360 360 360 6 4 5 2 3 4 2 6 3 5 3 5 2 6 4 3 5 2 6 4 6 4 5 2 3 -5 6 4 2 3 4 2 6 3 5 56 3 4 2 6 2 5 3 4

-5 6 4 2 3 3 5 2 6 4 2 3 6 4 5 3 4 2 56 -4 2 3 5 6 3 4 2 5 6

Twice Twice Twice Repeated Repeated Repeated

Bobs, Touches and 72o's 25

720 720 720 -6 4 2 3 5 4 2 6 3 5 3 5 2 6 4

5 2 3 6 4 6 4 52 3 5 6 3 4 2 4 3 6 52 56 3 ..( 2 -6 4 2 3 5

-2 6 4 3 5 -2 3 5 6 4 4 3 6 5 2 54 3 2 6 -45236 3 54 2 6

- 6 3 5 4 2 2 4 6 53 5 2 3 6 4 2 54 6 3 6 2 3 4 5 -2 6 4 3 5 3 4 6 2 5 3 6 5 2 4 -6 3 5·4 2 56 2 3 4 -4 5 3 6 2 3 4 6 2 5 4 2 3 56 3 4 2 5 6 4 2 3 5 6

Twice Twice Twice Repeated Repeated Repeated

A few remarks in explanation of the diagrams at the end of this work will conclude the first part-that which con.cems Surprise methods on six bells. At the foot of the figure column under the heading " Bob " is shown the way in which the bob is made. The first of the two rows is identical with the last row but one in the lead just above. The last row in the lead and the last of the two rows in " Bob " show how each is derived from the row above them, and at the same time supply the "plain lead-end " and the "bob lead-end " in the Method in question.

The next five columns, numbered I to 5, show the complete duty of a working bell. The thin line throughout indicates the path of the treble, the darker line that of the working bell. As was stated some little way back, the work in each method starts from the apex, the antapex being found in the middle of the third lead. It will be seen that in all the methods the working bell is either in second's place or behind at its apex. In Cambridge, Ipswich and London it is in seconds, while in Annable's Norwich, Norfolk, Primrose and Hull it is behind.

26 Surprise Methods

Take Annable's. Starting from sixth's place the line follows a track similar to that pursued by 6 in the figure column, landing at third's place in the "lead-end." In the second lead it copies the track of 3 in the figure column. And so on throughout this and ali the other methods. Note that after the antapex the work is the reverse of that which led up to that point.

A word or two as to the bobs. The effect of a bob on the path of a bell affected by it is shown in the diagramatic form below the diagram of the lead, and on the same two horizontal lines as the bob figures. Take Norfolk as an example. The bell in fourths in the last row but one of the lead (the second lead), instead of going into fifths at the next blow, as in the plain lead, makes fourths, and takes up the work of the fourth lead. At the third lead-end the bell in fifths in the penultimate row is turned by a bob into sixths, and then takes up the work of the first lead. The remaining bell affected by the bob is that in sixths which, instead of lying behind, is turned into fifths, and follows on with the work of the third lead. The bells in seconds and thirds at the lead-end are immune to the bob. And similarly in all the other methods.

CHAPTER v.

HISTORY.

MATERIALS for any history of the Surprise methods, as applied to six or to any higher number of bells,

are scanty and sporadic. The chief facts, so far as known, with regard to Superlative, London and Cambridge Surprise Major were collected and put before the Exercise by the late Mr. Jasper Snowdon in a series of articles given in Church Bells in February and March, I875, much of the substance of which was repeated in vol. IV oi the Bell News in the year 1885. These last articles have a pathetic interest of their own, as they · were the last contributions to ringing literature published by their gifted author in his life time. The end of the series appeared in the issue of 17th October, r885, and a month later (r6th November), to the intense regret of all who knew him and the unspeakable loss of the Exercise, he was cut off by typhoid fever.

As regards the history of Surprise Minor the few particulars known are included in a set of papers contributed to the Bell News by the late Mr. William Snowdon, commencing in the end of 1912 and extending through the greater part of 1913. The brief sketch given in this chapter is almost wholly dtawn from the source just mentioned, and sets forth all the leading facts contained in the articles.

The earliest reference to Surprise ringing on six bells seems to occur in an account of the doings of the" Rambling

28 Surprise Methods

Ringers" in or about the years 1733-34 preserved in the Guildhall Library. This society appears to have been the first to ring Cambridge Surprise Minor, the record of their achievements being celebrated in doggerel verse.

" And in the Steeple we rang out Seven hundred Cambridge without doubt Peals of Triple and College Double, Oxford and Court gave us no trouble And add to these Cambridge Surprise."

" Of Spittlefields again I write, We met there on Christmas Eve at night, To ring seven hundred Cambridge on The six biggest bells, which none had done."

Worthless as their "poetry " may be, the historical value of the lines is unquestionable. They clearly tell us that Cambridge Surprise Minor was rung in London as far back as the year 1733. The authorship of the lines is to be attributed to the leader of the Company, one Laughton, a friend of Benjamin Annable. A year or two later (1737) we find another mention of the ringing of Cambridge Surprise in the record of the performance of a peal in seven Treble Bob Minor methods at St. Mary's, Whitechapel. We may therefore safely conclude that it was definitely known and practised in the fourth decade of the eighteenth century.

The third edition of Campanalogia (1733) by the authors J.D., C.M. (the first couple of initials being appare.atly those of John Doleman, the other two (C.M.) being still unknown) contains no allusion to Cambridge Surprise, but in Annable's MS. book, preserved in the British Museum, we gain the important information that the

History 29 - - ----- - ·· --·--·- - ------

Cambridge Minor practised in those days was, figure for figure, identical with that known by that name down to .the present time. From the fact of the occurrence of the date 1735 a page or two further on in the MS. we are tolerably safe in assuming that the note in question was contemporaneous with the achievements of the" Rambling Ringers" mentioned above.

Coming to the next issue of Campanalogi'a (1753) we find another valuable link in the chain of evidence bearing on the identity of the method. Here, their first appearance in print as distinct from MS., are given the figures exactly as found in Annable's MS., and not only so, but, to avoid any possibility of mistake arising from compositor's error in the figures, there is added in complete verbal detail a full description of the places made throughout the treble's lead.

The foregoing few and meagre items appear to be all that have so far been discovered in connection with the origin and early history of Cambridge Surprise Minor. Be it noted that they fail to throw any light on the name or identity of its inventor.

Turning for a moment to one of the other Minor methods considered in the following pages, namely London, we get a momentary gleam from Annable's MS. Under a lead of it is found the letter "A" indicating, as Mr. W. Snowdon supposes, and as we also think extremely likely, that Annable was himself its author. In any case the date of its origin is hereby clearly fixed as far back at least as the year 1735 or thereabouts.

In further connection with London Mr. W. Snowdon calls attention to the fact that in it appears for the first

B

30 Surprise Methods

time the phenomenon of what he calls " back-handed " places, i.e., places made at back and hand, and not as all places in even-bell ringing should be, at hand and back. Thus early do we find the first mark of decadence, that is, the abandon­ment of principle for the sake of some comparatively trifling, if not actually questionable, advantage. Signs, too, are not wanting that from the very first moment of taking this licence there were distinct pricks of conscience on the point.

Here ends the little that has come down to us in the way of historical information with regard to Surprise Minor methods. It were to be wished that fuller light could be thrown on the subject; and of course it is not impossible that some day such may be the case. Let us hope for the best, but in the meanwhile we must be content with that which has come within our reach. Mr. Snowdon's account will be found in Belt News, vol. xxxi, pp. 512, 525.

CHAPTER VI.

MAJOR METHODS. TABLES OF CoURSE-ENDS.

SUPERLATIVE, CAMBRIDGE, BURTON AND

LoNDON. MWH

4 3_6 _5.2

5243) -42356

5 4 6'"'312

A ' - 6 4 3 ' 5 2 -- 4.5 2.3.6

---65432

LONDON, with bobs at B- six leads.

MBWH 3 52 6 4 3 5 4 2 6 6 3 2 5 4

-23564 2 3 4 56

-43526 ---26354

----42356

IPSWICH. LONDON, SUPERLATIVE, CAMBRIDGE AND

BURTON with bobs at 13--four leads, also IPSWICH­

two leads.

WMH 52 4 3 6 4 3 6 5 2

-42356 4 2 6 3 5

-45236 --64352

---64235

B

with bobs at 2 and 4-six leads.

M2+4WH

X 34256 - X 36452

X - 53246 X -23456

- X - 53462 - X -43652

X --25346 -X --45362

B H

3 52 6 4 --23564

e OHM OWH M\\ Mow E F j)

B B

Above are given the Tables of Course-ends in their usual form, except that the courses produced with bobs B are classed separately. The figures C, D, E, F, are graphical representations of a course showing the action of bobs B.

32 Sztrprise Methods

Note that they are symmetrical. C=Superlative, Cambridge and Burton. D=Ipswich. E=London and F=Bristol.

Start from H in all of them and go round clockwise. The seven divisions in each mark the positions of the lead­ends. The arrow indicates the point to which we are thrown by a bob at B.

From this we can see at a glance how it comes to pass that with bobs B in the methods illustrated by C there are four leads in the course, while with D there are only two, and with E six. We see also why inC and D theW and M positions are cut out, and why such is not the case with E .

F stands alone. To make a call in any position run to the end of the lead beyond, the call throwing us back to the previous lead-end. See next table.

NoTE.-The following table is identical with the table of Course-ends of Treble Bob given on p. xv of Part I of the Treatise on that method, but it is repeated here for the sake of convenience. As may be seen, the main central column contains the course-ends. Immediately on its left are the calls, without bobs at B, which produce the course-end. Each and every course-end is also produced by calls with a bob at B. These are given in the column immediately to the right. The column headed D shows the number of courses that are produced by repetitions of the calling, and is the same whether the calling with or without a bob at B is employed. But, while a bob at B leaves the length of the course unaltered, it is not so with bobs at the other three positions, where every bob adds a lead to the course. As each normal or plain course contains seven leads, it follows that a course with one bob in it consists of eight leads, with two bobs of nine leads, and so on. Consequently the length of the touches produced by the full repetition of the calling is dependent on the

Tables of Major Course-Ends 33

number of bobs employed. The length in question is given in the outside columns A and C.

Take for example the course-end 4 6 53 z. Calling it without a bob at B, it is produced by bobs at M, Wand 2H> i.e., the course consists of 7 + 4 leads, and as it runs to five courses we have 32 X II X 5= 1760 rowsi as shown in the left­hand column. But if we employ the alternative calling, i.e., with a bob at B, and with thirteen leads in the course, we have 32 XI3 X5=Z,o8o as given in the right hand column.

A

7 6 8 8 6 4 7 6 8 8 6 4

9 6 I 4 4 0 I 6 0 0 I 6 0 0 I 7 6 0

57 6 9 6 0 9 6 0 7 0 4 57 6 9 6 0 9 6 0 7 0 4 6 4 0 7 0 4 7 0 4

I 7 6 0 I I 52 I 9 2 0 I 0 2 0 2 0 8 0

MWH

2 I 2

I

2 I I 2 2 2

I

2 · I 2

2 2 I I 2 I I 2 2 2

I I I 2 I I I 2 I I I 2 2 2 I 2 1 2 I 2 2 2 2 2

BRISTOL SURPRISE. TABLE oF CouRsE-ENos.

4 3 6 52 6 3 2 54 5 2 4 3 6 . 3 54 2 6 4 2 3 56 54 6 3 2 5 6 2 3 4 3 56 4 2 3 52 6 4 6 4 3 5 2 2 6 3 5 4 3 6 4 5 2 3 2 6 5 4 4 52 3 6 4 3 52 6 2 4 53 6 5 4 3 2 6 6 5 4 3 2 2 5 6 3 4 6 3 54 2 4 6 53 2 2 3 56 4 6 2 5 3 4 56 3 4 2 5 2 3 6 4

MBWH

2- I - I

I- 2 I -

2- 2 - 2

2-

2 - I - I

2 - I 2 - I 2

I - 2 I I -I - 2 2 I - 2 2 - 2 I

- 2 I 2-2- 2 2

I - 2 2

2- 2 2

D

3 3 3 3 3 5 5 5 5 2 3 3 2 2 3 3 2 2 2 2 5 3 5 5· 5

c 9 6 0 7 6 8 960 7 6 8

7 6 0 4 4 0

I 4 4 0 I l 2 0

7 0 4 8 6 4 :

I 5 2 6 4 0 7 0 4 8 6 4 I 5 2 6 4 0 7 6 8 6 4 0 6 4 0

2 0 8 0 7 6 8

I 7 6 0 I 7 6 0 I 4 4 0

34 Surprise Methods

DESCRIPTION OF THE METHODS.

J N the sphere of Minor we have given seven Surprise methods of true, pure Minor, thus making the way plain for the

accomplishment of a peal of 5,040 in seven different methods that shall be above reproach. To them we have added London Surprise as being a general favourite.

Coming now to Major we present the four methods most widely practised, viz., Superlative, Cambridge (including a notice of two of its modifications), London and Bristol. We make no excuse for not adding to the list, for the simple reason that those who can master these four can master any other or any number of others for themselves.

SUPERLATIVE.

Of the four we naturally take, first, Superlative, that prince of Surprise Major methods. In the matter of con­struction it is perfect from any point of view. It is true and pure Major, that is to say, it contains no backhanders. It is free from contiguous place-making, except when the treble lies in front and behind, in which cases seconds and sevenths are made respectively. It is also perfectly symmetrical, that is, the work from before is the same as that from behind, and the work in hunting up is the same as that in hunting down. If a plan or diagram of the method be held up one way and then turned upside down, or be reversed and held against the window pane (or reflected after the manner of " Alice in the looking-glass ") it appears all the same. In Treble-bob methods it occupies the position of primacy held in plain methods by Double Norwich.

M ajar Methods

An investigation was made with a view to see if there were any other methods prooucible with similar qualities. Though there are several, many of these being doubtless excellent methods, they have, with one exception, lead-heads other than those of Plain Bob. There is but one which

35

1 2 3 4 5 6 7 8 2 1 4 3 6 5 8 7 I 2 4 6 3 5 7 8 2 1 6 4 5 3 8 7 2 6 I 5 4 3 7 8 62513487 2 6 1 5 3 8 4 7 62518374 2 6 5 8 1 7 3 4

conforms in this particular to Central 6 2 8 5 7 1 4 3 Council requirements, and at the same 6 8 2 5 1 7 3 4

time . fulfils the further requirement of 8 6 5 2 7 1 4 3

having places made at every cross section 6 8 5 7 2 4 1 3

in order to enable it to qualify as a 8 6 7 5 4 2 3 1 6 8 7 4 5 2 1 3

"Surprise" method. We annex its figures, 8 6 4 7 2 5 3 1 but shall have no further need of it, as 6 8 7 4 5 2 3 1

from a brief examination of its proof scale 8 6 4 7 2 5 1 3

it would be more difficult to compose a peal 6 8 4 2 7 5 3 1

of it than is the case in Cambridge Surprise, 8 6 2 4 5 7 1 3 6 8 2 5 4 1 7 3

if not altogether impossible. 8 6 5 2 1 4 3 7 That the value of Superlative is fully 8 5 6 2 4 1 7 3

recognised by the Exercise is shown by 5 8 2 6 1 4 3 7

the large number of peals of it which are 8 5 2 I 6 3 4 7

rung, being roughly equal to those in 5 8 1 2 3 6 7 4 8 5 2 1 3 7 6 4

Cambridge and London together. It will 5 8 1 2 7 3 4 6 not be necessary here to describe the work 5 1 8 7 2 3 6 4

of a bell in ringing the method nor to give a 1 5 7 8 3 2 4 6

diagram of the plain course, as the reader 5 I 7 3 8 2 6 4

will find both in Standard Methods, pp. I 5 7 3 8 2 6 4

76-So of the letterpress, and pp. 34-5 of the Diagrams, seventh edition.

I 5 3 7 2 8 4 6

Bob I 5 3 7 2 8 4 6

From the Tables of Course-ends 1 3 5 7 8 2 6 4

prefixed to this chapter the reader will be able to compose touches of any required length for himself.

Surprise Methods

It only remains therefore to give a few specimens of peals. As the present work is intended to reflect, except in so far as later developments have rendered new matter· necessary, j:he writings of the late Mr. Jasper W. Snowdon, the peals here given are wholly taken from the valuable collection of peals of Superlative Surprise Major published by him in the fourth volume of Bell News in the months of September and October, r885. Since those days there has accrued, as may be supposed, a multitude of peals by more modern composers to be found up and down in the ringing papers and in reports of various associations, so that the conductor of to-day need have no difficulty in providing himself with peals of any desired length or quality.

5120 BWH23456

- 2 3 5 6 4 -52364

- - 3 6 5 2 4 -53624 - 6 5 3 2 4

4 times repeated. H. JoHNSON.

First rung at St. Paul's, Burton-on-Trent on 5th May, 1884. Conducted by W. Wakley.

5120 6720 BMH23456 MWH23456

----3 52 6 4 ---65432 2 54 6 3 -46532

- - 3 4 5 6 2 -54632 -53462 --63542 -45362 -56342

-35642 4 tim~s repeated. 4 times repeated. N. J. PITSTOW. W. SHIPWAY, 1816.

Major Methods 37

Shipway's peal comprises the extent with the tenors together, and as such was first rung at St. Paul's, Burton-on­Trent on 24th January, r885, conducted by W. Wakley. If the first three or last three bobs at H be omitted in any three parts the peal is reduced to 5,376, in which form it was first rung by the Norwich Scholars at St. Giles' in that city on 6th February, 1835, conducted by S. Thurston. Or, the first three courses may be called as follows :-

Mw23456

4 3 6 52 --56234

2 6 4 3 5

thus bringing up the third course-end of the second part~ from which, by continuing the regular calling of the peal, the number is again reduced to 5,376. In this form it was first rung by the College Youths on roth February, 1847, at St. Mary's, Woolwich, conducted by W. Banister.

Having given the figures of the foregoing five-part peals we give next two or three in three-parts.

5088 BWH23456

--45236 -24536 -52436

--43526 -54326 -35426 -35264 -23564

Twice repeated. N. J. PITSTOW.

In the above neither the second nor third are ever in sixth's place.

Surprise Methods

5376 MWH23456

---65432 - 2 4 5 3 6 - 5 2 4 3 6

- - - 6 3 4 2 5 - 4 6 3 2 5

---52364 -35264 -23564

Twice repeated. J. REEVES, 1788.

This is the reverse, in a much more musical form, of the peal given by bob leads in the end of chapter xi of the Clavis.

5376 MWH23456

- 6 4 3 5 2 - 3 6 4 5 2 -43652

---25634 - 6 2 5 3 4

---43526 - 5 4 3 2 6 - 3 5 4 2 6

5056 liMWH23456

-23564 --56234

-25634 -62534

---43526 -54326 - 3 5 4 2 6

N. J. PITSTOW.

The first of these is produced by the twofold repetition of the part given. By substituting the calling of the second set of seven courses for any one part of the 5,376 the peal is reduced to s.os6. These two peals are in reality grounded on Reeves' peal.

First rung (as s ,o56) on 4th February, 1885, at St. Paul's, Burton-on-Trent, conducted by W. Wakley.

M ajar Methods 39

In concluding the figures of three-part peals we give one of 6,048 which is the greatest number that can be obtained in a three-part peal with the tenors together. The first of the two forms in which we give it appears to be that in which its author originally published it, the second being a transposition of its reverse in which second and third are never in sixth's place.

6048 MWH23456 MWH23456

---65432 --45236 -46532 - 2 4 5 3 6 -54632 -52436 - 2 6 4 3 5 ---63425 - 4 2 6 3 5 -46325 -64235 - 3 4 6 2 5 - 5 2 4 3 6 --62345 - 4 5 2 3 6 - 36245 - 2 4 5 3 6 -23645

]. Cox, 1854.

The reverse variation, the calling commencing with the fourth course of the transposition above given, was rung at St. Michael's, Benington, on gth June, 1855, con­ducted by ]. Kitchener.

MWH23456

5 4 6 3 2 6 4 2 3 5

- 5 2 4 3 6 -45236 - 2 4 5 3 6

The original form, reduced to 5,152 by calling the first part as shown in the above five courses was rung at St. Mary's, Redenhall, on 6th November, 1877, by the Norwich Associa­tion, conducted by B. Smith.

Surprise Methods

We close our selection with an excellent one-part composition by the late Mr. J. Thorp, of Ashton-under-Lyne. This peal contains the fifth its extent in fifth's place and the sixth its extent in sixth's. It will be seen that in the last twelve courses of the peal the sixth is at home throughout. As Mr. Thorp was the first to obtain them, Mr. Snowdon generally spoke of them as "Thorp's Twelve Courses,'·' and as subsequent composers have often availed themselves of them it is well to bear this in mind.

5056 BMWH23456

54 6 3 2 3 5 6 4 2

--64352 -36452 -24653 - 6 2 4 5 3 -46253 -32654 -63254 -26354 -43652

- 4 3 5 2 6 - 5 4 3 2 6 -35426

- - 4 2 3 5 6 - 3 4 2 5 6

- - 2 5 3 4 6 - 3 2 5 4 6 - 5 3 2 4 6

- - 2 4 5 3 6 -52436 -45236

.;..-2'3456 J. THORP.

Mr. Pitstow produced an alternative scheme for the first eleven courses with the same qualities as follows :-

5056 MWH23456

- 6 4352 - 36452 -24653

52 6 4 3 4 5 6 2 3

--62453 - 46253 -32654 -63254 -26354 -43652

followed by Thorp's twelve courses.

N. J. PITSTOW .

M ajar Methods 41

CA.tvtBRIDGE.

This method was first •published in its present form in ·the Clavis of 1788. Nowadays it is strongly advocated by one particular school of thought, and is correspondingly more widely practised than in former years. The special ground on which its claims are set forward appears to be that in comparison with other Surprise methods it is more easily extended to the sphere of ten and twelve bells. It thus comes to pass that a peal of Cambridge Royal is by no means an uncommon event, and that we occasionally hear of even one of Maxim us. This feature is of indubitable advantage. Being anxious, as we are, to give the method the benefit of all that can be said on its behalf, we would further draw special attention to the fact that all its places are made at hand and back, that is to say, it has no "backhanders." But when due emphasis has been laid on these two features it is not easy to say anything further in its praise. It is characterised by at least one glaring fault. We refer to the fact that when the treble is in 3, 4 up, and again when she is in 3, 4 down, i.e., in the sixth and twenty-sixth rows of every lead no less than four places are simultaneously made. To say that this forms a blotch on its escutcheon is far too mild a term-it is, or should be regarded, as a bar sinister of an extreme type. It may be fairly said that twice in every lead the even flow of the changes has to struggle for its life against a strangling grip that almost suffocates it.

Added to this is the very serious fact that the method is so liable to falseness in composition that it admits of but one true peal with the tenors together. This is of course the well-known peal of s,6oo in five parts composed about the year 1844 by Charles Middleton, of Norwich. That the com­poser has embodied in this peal the whole number (twenty-

42 Surprise Methods

five) of possible true courses out of the sixty courses with the tenors together was shown by the present writer in Nos. 562-563 of the Ringing World-the last two issues of the year 1921. By the adoption of bobs " Before " by the late Henry Johnson, J. W. Washbrook and Sir Arthur Heywood, the peal has been shortened to 5,056 and 5,184, but these are all variations or adaptations of Middleton's original peal, by the elimination of a certain number of its leads. We are accordingly quite justified in stating that there is and can be but one peal of Cambridge Surprise Major with the tenors together.

In the days of its genesis had there been the choice of methods that we have at the present time we can scarcely doubt that it would have passed unnoticed, but, coming as and when it did, it obtained a certain hold on the Exercise.

That we are not alone in our strictures is shown by two quotations. The first is from the late Mr. Jasper Snowdon (Bell News, vol. IV, p. 137) who says that since he first intro­duced the method into his book Standard Methods he had somewhat modified the high opinion that he then had of it, adding a few lines further on that it is a serious question whether it is worth while spending much time in learning a method in which practically only one peal is obtainable. The opinion of the late Sir Arthur Heywood is much the same, or rather, is still stronger. In introducing his variation of the method (of which anon) he observes (Bell News, V, 417) "as the eccentric inventor of Cambridge has elected to · introduce two singles into every lead of his method" so there could be no valid objection to the alteration adopted in the new variation. In a sentence or two lower down he adds that in whatever way the rows containing the singles are arranged" their music is abominable." And once

Major Methods 43

more, "the frequency of the 678's in Cambridge is the sole redeeming feature of a hopelessly unmusical method," ending with mentioning "the dismal fact of its having only one essentially original peal to ring."

For instructions for ringing the method the reader is referred to pp. 80-83 in Standard Methods, the diagram being given on pp. 36-37 of its accompanying Diagrams.

From what has been already said more than once the reader is by this time well aware that there is only one original peal in this method. This we now give in two forms.

5600 5600 MWH23456

4 3 6 5 2 5 6 2 3 4

- - 2 3 5 6 4 -52364 - 3 5 2 6 4

MWH23456

- 4 2 3 5 6 - 3 4 2 5 6

2 4 6 5 3 5 6 3 4 2

--34562 C. Middleton.

Either of the above to be four times repeated. It was first rung (in the second or transposed form

given above) at St. Peter's, Benington, by the Bellington Company, on uth February, 1873, conducted byT. Page, and was the first true peal of Cambridge Surprise Major ever rung. In its original form (the first given above) it was first rung at St. Paul's, Burton-on-Trent, by the Midland Counties Association on 14th February, 1887, conducted by W.Wakley.

The length of this peal, being much over s,ooo and yet not 6,ooo, is not a very favourite one. Consequently it was not long before there appeared a variation-by Mr. H. Johnson-of s.os6 changes, which soon became popular. Some years later Mr. J. W. Washbrook published a variation of 5,184, and not long after this Sir Arthur Heywood gave us another variation of the same length. These three variations, Johnson's,Washbrook'sandHeywood'shavesinceheldthefield.

44 Surprise Methods

It will be seen that the part-ends assume the cyclical form. First rung at All Saints', Duffield, · by the Midland

M B w H 2 3 4 5 6 Counties Association on rgth February.

JOHNSON'S VARIATION.

5056

-43256 r887, conducted by W. Wakley.

The next two variations, those by the late Mr. ]. W. Washbrook and the late

____ Sir Arthur Heywood, will be seen to be

-34256 -34562

- 5 3 4 6 2 closely akin to each other. They are of - 4 5 3 6 2 the same length, 5,I84, and they each

~ ; ! ~ ~ leave intact three out of the five parts of __ 4 5 6 2 3 Middleton's original peal. In Washbrook's

The last five courses variation the second and fourth parts to be three times are altered, and in Heywood's variation

repeated. the second and third.

In the following figures the letter A denotes a part, whole and entire, of the original peal.

WASHBROOK'S HEYWOOD'S VARIATION. VARIATION.

5184 5184 MBWH23456

A3 5 2 6 4

2 5 4 6 3 6 4 3 5 2

- - 3 5 6 4 2 5 4 3 2 6 2 3 6 4 5

- 5 6 3 4 2

A6 4 5 2 3

-64235 - 26435 -42635

A23456

MBWH23456

A3 5 2 6 4

- 3 5 6 4 2 - 6 3 5 4 2 - 5 6 3 4 2

3 6 2 4 5 4 2 56 3

--56423 2 5 4 6 3 6 4 3 5 2

-64523

2A23456

Major Methods 45

The reader should study the two fu11 and interesting articles on the foregoing variations by Sir Arthur Heywood in vol. v of the Bell News, pp. 397-8 and 405-7. They con­clude with an alternative form of his variation which he regards as being more musically arranged, and of which we append the figures.

In this the second and third are never two courses consecutively in 5-6. The second is only three consecutive courses in sixth's place, in two of which the sixth is in the fifth's.

First rung at St. Paul's, Burton-on­Trent by the Midland Counties Associa­tion on 7th February, 1887, conducted

-by W. Wakley. In addition to these variations

there is a simple manner of reducing the original peal of 5,6oo to one of 5,152 by the omission of 3H in any one part.

Not content, as we may suppose, with ringing Middleton's peal or one of its three variations month after month and year after year, Mr. J. W. Parker and others have thrown over the traces and launched forth into composition with the tenors parted.

For this it is of course necessary to utilize calls at the three positions of the

5184 MBWH23456

-42356

A2 5 4 6 3

-25634 -62534 -56234

2 6 4 3 5 3 4 5 6 2

- -56342 4 5 3 6 2 6 3 2 5 4

-63542

A3.4 6 2 5

6 4 5 2 3 2 53 4 6

--34256 -23456

tenor which heretofore have been passed over. These three positions are those in which the tenor at the lead-head is found either in seconds or fourths or fifths. For the last two the designation " fourths " or " fifths " seems quite

Surprise Methods

natural and unobjectionable. For the position in which the tenor is called into seconds the name "In" seems to have been chosen.. This, too, seems quite appropriate, as after a dodge in 5-6 down she is called to run in to a snap with the treble in front followed by work in the two front places. It is, we suppose, for an analogous reason that when she is called into thirds the term "Out" has been applied. This we strongly deprecate, as it is the position which hitherto has always borne the title "Before," and we think it confusing and in every way inconvenient to alter it. '

The course-ends produced by the three new calls are as follows:-

Fifths produces Fourths I "

- 2 7 4 3 6 5 in 7 leads. -647253" 6 " - 35'1764, II ..

As these calls are more frequently used in combination with each other or with the old-established calls to produce the course-end as given, the reader is advised to make. his own table of course-ends resulting from such combinations, carefully adding jn each case a note indicating the number of leads involved .. For instance, in the first of the following peals, the coursr-~d produced by W and 4·, for which the formula is 6 4 7 5 3 2, is the sixth lead from the course-end preceding it ; but the next succeeding one, produced by I and 3H, comes after an interval of no less than twenty-five leads behind its predecessor in print, that is, six leads to the I, five more to the first course-end (5 4 2 6 3), and two more full courses with an H in each to the 4 2 56 3· Similar examination and treatment will enable the student to draw up his own table of what may be called these "compound," course-ends.

\ .

SURPRISE METHODS.

Page 46.

line 15-for 3 5 1 7 6 4 read 3 5 2 7 6 4

liues 21-28 - ln place of "For insLance .. . .. 4 2 56 3" read as follows :

"For instance, in the second of tbe following peals the course-end 5 2 7 3 4 6, produced hy W and 4, is tho sixth lead­end from the course-end preceding it, but the next succeeding one, 2 3 5 6 4, occurs eleven leads after 5 2 7 3 4 6, and 3 6 2 4 5 produced by B 3 H follows at a distance of no less than eighteen leads after 2 3 5 6 4. Similar " etc.

M ajar Methods

5024 5024 IBMW4H23456 IBMW4H23456

3 5 2 6 4 2 56234

363542 3 4 6 2 5

2 54326 342563 326435

547236 52 3 6 4 6 3 4 2 5 3 2 6 54 56 4 2 3 6 2 5 3 4

- 2 3 2 3 4 5 6

]. W ; PARKER.

First rung at St. Paul's, Whitley Bay, by the Durham and Newcastle Association on 25th Jan., 1923, conducted by J . A.

GOFTON .

5056 M A H234567

X 647532 - X 632547

x -742536 X 326547

•2 6 3 5 4 7 X 437562 X 672534

3 5 2 6 4 427365 4 3 6 52 5 6 2 3 4 6 3 54 2 4 52 3 6 53 4 6 2 6 4 2 3 5 527346 2 3 5 6 4

336245 2 45362

356423 - 2 42635

323456

A. ]. PITMAN.

x -432576 X 726534

- X 7 3 4 5 2 6 X 246537 X -736542 X 462537

R epeat. A= bobs at Wand 4. • Bobs 5, B, I, M, A.

C. J. SEDGLEY.

47

Surprise Methods

5760 or 5312

5BlMAR234567

X

X

---- X

---- X

352647 623745 356742 563742 6 3 5 7 4 2

-623457

Four times repeated.

A = bobs at W and 4.

For 5312 call H in third course of any one part, thus cutting out the two next courses.

A. J. PITMAN.

Rung for the first time as 5312 by the Midland Counties Association at All Saints', Thurcaston, on 23rd June, 1923, con­ducted by H. J. Poole.

7008 AMCH2345 6 7

X

x -764532 X 427536

x x -476532 X X 624537 x - x 246537 X X 672534 x - x 726534

Repeated produces

473526

X 236574 x - x 362574

X X X - X X X X - X

2 4 3 5 7 6 4 3 2 5 7 6 26457 3 6 4 2 5 7 3

The last six courses to to be twice repeated.

E . H IMS.

A = bobs at 5, B, I. C = bobs at W, 4. First rung by the Mid­land Counties Associa­tion at Stoney Stanton on 13th January, 1923, conduct ed by F. H.

Dexter.

Major Methods 49 -- --- - - --···- -

12,896 -----A M CH234567 - X 734526

---- - X X 467523 - X -764532 X - X 6 7 4 5 2 3

X X 427536 X X 4 3 6 5 2 7 X - X 476532 X - X 3 6 4 5 2 7 X X 6 2 4 5 3 7 X - X 6 4 3 5 2 7 X - X 2 4 6 5 3 7 X X 376524 X - X 4 6.2 5 3 7 X - X 763524

X X 347526 X 3 2 7 5 6 4 X - X 4 7 3 5 2 6

X X 7 4 3 5 6 2 Repeat the last t en X 632547 courses three t imes.

X X 2 7 6 5 4 3 E. HIMS.

X 4 6 3 5 7 2 X - X 3 2 4 5 7 6 A = bobs at 5, B, I.

X 7 4 6 5 2 3 C =bobs at w. 4. X X 6 3 7 5 2 4 First rung at St.

--- - - Michael's, Stoney Stan-X 274536 ton by the Midland

X - X 742536 Counties Association on X X 2 6 7 5 3 4 28th April, 1923, con-X - X 6 7 2 5 3 4 ducted by H. J. Poole. X - X 726534 A record peal.

THE BURTON VARIATION.

Reference was made a few lines above to a variation of Cambridge Surprise introduced by the late Sir Arthur Heywood. This was at first known as the" New" Variation, and is still sometimes so called, but from the fact that for a considerable period it was very popular with the company of St. Paul's, Burton-on-Trent, who rang many peals of it, it soon got to be named the" Burton" Variation, and generally is known as such to the present day. The main purpose of its inception was to avoid the persistent tendency to falsity entailed by the particular form of the rows with the treble in 3-4 up and 3-4 down. In this it is eminently successful,

so Surprise Methods

cutting out, as it does, no less than eight out of fourteen false lead-heads in the course, and reducing the false course­ends from five to three, the three left being those with s-6 reversed, so that any peal whose course-ends do not contain the bells in s-6 in positions reversed to each other is true­provided always, it is needless to say, that the course-ends themselves do not repeat. •

The figures of the two alterations are as follows:-

Treble in 3-4 UP

ORIGINAL. BURTON.

6 2 4 I 8 3 7 5+ ...... ... . 6 2 4 I 8 3 7 5+

6 2 I 4 8 7 3 5+ 2 6 4 1 7 8 53+

2 6 I 4 8 7 3 ·5--6 2 4 1 7 8 5 3--

6 2 4 7 I 8 3 5-- . . . . . .. . .. 6 2 4 7 I 8 3 5--etc. etc.

Treble in 5 8 7 1 4 6 2 3-- 8 5 7 I 4 6 2 3+

(

8 5 7 4 I 6 3 2+ . ... .. .. . . 8 5 7 4 I 6 3 2+

3-4 DOWN 8 5 1 7 6 4 3 2-- 5 8 1 7 6 4 3 2+

8 57 I 6 3 4 2-- . .... . . .. . 8 57 I 6 3 4 2--

It will be seen that both when the treble is in 3-4 up, and when she is in 3-4 down, the rows above the top line and below the lower one are the same in the Original and in the Burton Variation; in other words it is only the two rows between the lines that differ. A moment's further scrutiny will reveal the fact that the sole difference between the two consists in the lying still in 1-2. With the treble in 3-4 up this occurs in the Burton Variation two blows later, and with the treble in 3-4 down it takes place two blows earlier than in the original Cambridge, . all other place-making

remaining affected.

un­This

being so it follows that the devi­ation of the diagram for the Variation, as compared with that of the origin­al, is almost neg­ligible, as may be seen by the annexed two sections of the diagram, in which the dotted line shows the path of the treble, the con­tinuous line that of the working bell in the origin­al, and the inter­mittent line that of the last-named bell in the Burton

.Variation :-

Major Methods

TREBLE IN

3-4 UP.

sr

TREBLE IN

3-4 DOWN.

From the foregoing it may be seen in a moment that immediately following the whole pull lead after work in front with the treble, there ensues a snapping lead and the ·making of second's instead of second's and a snap, that is to

52 Surprise Methods

say, the order of the two is reversed. And similarly, after dodging in 3-4 down preparatory to doing " full work in front" (see Standard Methods, p. 8r), and having led a snap and then a whole pull, instead of another snap and making second's, the order is to be reversed, i.e., make seconds and then snap. It should be borne in mind that whereas these alterations are in the diagram (Diagrams, pp. 36, 37) separated by the whole length of the course, they in reality follow immediately the one on the heels of the other, for the work in front with the treble in 3-4 down is part and parcel of the same work in front performed while the treble is getting into 3-4 up again. In fact, for any one bell the whole business is over within the space of sixteen blows, the first two blows and the last two of which are the only ones differing from those in ordinary Cambridge. This is quite clear when it is realised that the first of the pair of little diagrams actually follows the second immediately.

In introducing this variation Sir Arthur Heywood was careful to state plainly that he did not bring it forward as any structural iq1provement on the original form of the method (Bell News, vol. v, p. 417), the blot of four places made in one row twice over in every lead still remaining ; but solely with a view to avoiding the intolerable liability to falsehood in the original. In this he was eminently successful, since, with the aid of his trifling alteration, in place of the one and only peal by Middleton :\litherto avail­able, we have almost an endless assortment within our reach.

We must not quit the subject of Cambridge without a brief description of another heroic attempt to evade its enormities. Mr. Arthur Craven has elaborated a variation providing us with what is really a most excellent method.

Major Methods

He attains his result by three alterations of the original. First, he boldly cuts out the two cancerous spots of the two front places . when the treble is in 3-4 up and down, thus removing at one fell swoop the ugliest feature in Cambridge. Then, for the whole pull at lead when the treble is in s-6 up and down he substitutes a third's place; and lastly he substitutes another third's place for seventh's when the treble is lying behind. By this means he gives us a method of true and pure Major, and one which, moreover, possesses the conspicuous advantage of having one, and only one, course (2 4 3 6 5) false against the plain course. But, inasmuch as these alterations produce a method which at first sight appears to have little, if any, likeness to original Cambridge, the leads of the plain course coming in a different order, and the Table of Course-ends being quite different, he con­siders it wiser to call it by another name. If the reader will refer to Ipswich Minor (see pp. 18 seq.) he will see that the Major now in question is a natural development of it, or at least has close affinities with it, and Mr. Craven therefore considers that " Ipswich Surprise Major" is its most fitting name. Annexed is a lead and bob.

A diagram of the method is given at the conclusion of this work. An examina­tion of it will prove interesting, as by its means the student will be able to trace the

53

IPSWICH

SURPRISE MAJOR

12345678

21436587 12463857 2 I 6 4 8 3 7 5 2 6 I 4 3 8 5 7 6 2 4 I 8 3 7 5 2 6 I 4 8 7 3 5 6 2 4 I 7 8 5 3 2 6 4 7 I 8 3 5 · 6 2 7 4 8 I 5 3 2 6 7 4 I 8 3 5 6 2 4 7 8 I 5 3 2 6 7 4 8 5 I 3 62475831 6 4 2 5 7 8 I 3 46528731 6 4 5 8 2 3 7 I 4 6 8 5 3 2 I 7 4 8 6 3 5 2 7 1 8 4 3 6 2 5 I 7 4 8 6 3 2 1 5 7 8 4 3 6 1 2 7 5 4 8 3 6 2 I 5 7 8 4 6 3 I 2 7 5 48613257 8 4 I 6 2 3 7 5 4 8 6 I 2 7 3 5 8 4 I 6 7 2 5 3 8 I 4 6 2 7 .3 5 I 8 6 4 7 2 5 3 8 I 6 7 4 5 2 3 18765432 I 8 6 7 4 5 2 3

Bob 8765432

17864523

54 Surprise Methods

different sections of the work of original Cambridge as they enter on the stage, and the order in which they appear, noting at the same time the pieces of new work that connect them.

The method is one of the very best-musical, quick and regular in its movement, and one which offers wide scope in the way of composition. We recommend it most heartily.

The Table of Course-ends will be found incorporated with those of the others on p. 3r.

LONDON.

Having reviewed London Surprise Minor (see p. 20)

our remarks on the Major form of the method need be but few and short. As in Minor there were sixteen backhand places in every lead, so again in Major we find the same objectionable features, there being no less than twenty-four. In other words out of sixteen possible opportunities of making them the author of the method was able to resist only four. This means that in the matter of structure the method is hopeless, and that consequently we must look in other directions for any charms that it may possess. These seem to be mainly three. First, the work of a bell in the course is throughout rapid and varied. With the exception of full work in front which occupies eighteen blows, a bell is never more than about ten consecutive blows in any pair of places, and seldom for even that length of time. The next feature which seems to prove attractive to some is that, like Cambridge, the bells dodging together behind are always a pair, one of which is coursing the other. For instance, in the plain course 4 dodges with 2 which it is coursing or with 6 which is coursing it. Similarly, 5 dodges either with 3 or with 7· This feature renders it somewhat easier for

Major Methods 55

the composer to avoid the dodging together behind of any two bells whose collocation in this position his fancy may consider "unmusical." Some composers, for example, have a repugnance to the dodging of the second and tenor together behind. If we grant that there is any music at all in " tenor in" there may be something in it, but to the present writer a row ending in 8, 2 is no worse than a row ending in 8 followed by any other bell, and in the row before and after it, if we have 2, 8, the tenor is last, the row is a musical one, and it matters not which bell is in 7ths. But as remarked above, this feature seems to prove an attraction to some ringers.

There remains the third attractive feature to be mentioned, and it is a very real one. It is that, as there are only three false course-ends against any given course, com­position in the method is fairly open, and there is a large number of peals of various qualities and lengths available. For directions for ringing it and for the diagrams see Standard Methods, pp. 84, 85 and Diagrams, pp. 38-g.

Since the time of the late Mr. Jasper Snowdon, and of course, still more since the days of the old composers, whose peals contained only the four usual bob situations of M, B, W and H, there has arisen another mould in which peals of London Surprise Major are frequently cast. In this pattern by the use of bobs at the second and fourth leads, the tenors are first separated and then brought together again, the separation lasting, it need scarcely be said, for the period of the two leads between the two bobs, while at the same time the course is reduced by one lead, that is to say, instead of containing seven it now contains only six leads, the number of rows being perforce curtailed by 32, the course containing only 192 rows.

56 Surprise Methods

The plan has one or two considerable advantages. In the first place, as the courses are shorter, there are more course-ends in a peal. Secondly, owing to the fact that the new-fashioned course has a proof scale which is clean within itself, combined with the further fact that the course-end is not rounds but 3 4 2 56, composition is rendered comparatively easy, provided that this form of course be employed exclusively throughout the peal. In cases where the original form is introduced among its new-fashioned confreres caution must be exercised as the new course has two course-ends (3 2 5 4 6 and 2 6 . 3 5 4) false against the old one, while the old one on its part has likewise two (4 6 2 5 3 and 3 2 5 4 6) false against the new one. The heading hitherto adopted for the calls in this form of course has usually been " In and 5th's " but this seems somewhat cumbersome. In its stead we propose to write " 2 and 4 " with a cross (X) signifying that there is a pair of bobs concerned, as is done with the pairs of bobs in Stedman Triples. In courses of this kind the B position is cut out.

We give a small selection of peals. ·The three first are from old sources.

5600 MWH23456 MWH23456

---65432 ---65432 -46532 - 4 6 5 3 2

---23564 -54632 -52364 ---23645 -35264 -62345

Clavis, p. 178

Either of the above to be four times repeated.

Major Methods 57

The second form is a simple transposition of the first, erroneously ascribed by Banister (ed. 1874. p. II7) and also by Hubbard (ed. r876, p. roo) to the late Mr. J. Cox. Its advantage consists in the cyclical form of its part-ends.

5600 6720 {/)

MWH23456 MWH23456 ... 0 = - --- ---- "' ....

54 6 3 2 ---65432 "' 3 6 2 4 5 - 4 6 5 3 2 ..<:l .... ,.; 4 2 56 3 - 5 4 6 3 2 ..<:l "' .-:: ~

---36524 6 4 2 3 5 ~ ~ -45623 ---53246 .... 0 = ....

To be four times -62345 "' .... repeated. To be four times

X

"' W . BANISTER. repeated. "' ..<:l

W. HARRISON. !-<

Having given the three foregoing five-part peals, we conclude our selection from the old masters with a couple of three-part peals.

5376 6048 MWH23456 MW 2 3 4 5 6

- ---54 6 3 2 54 6 3 2 6 4 2 3 5 3 6 2 4 5 2 4 53 6 4 2 5 6 3 3 5 6 4 2 52 3 6 4 4 6 2 53 6 3 4 2 5 5 2 3 6 4 2 4 53 6 6 53 2 4 3 5 6 4 2

---42356 6 5 2 4 3 To be twice re- 4 2 3 56

pea ted. To be twice re-W. HARRISON. pea t ed.

j. MILLER.

Surprise Methods

The three following peals on the old plan are by two composers who are well remembered by many.

5088 5088 MBWH23456 MBWH23456

52 4 3 6 3 4 6 2 5 6 4,5 2 3 4 2 5 6 3 2 6 4 3 5

-26354

52 4 3 6 3 54 2 6

- '24653 4 52 3 6 5 3 4 6 2

- - - 5 2 3 6 4 --45362 -35264

-23564 -23564 To be twice

repeated. To be twice

repeated. H. DAINS. J. W. W ASHBROOK.

5024 MBH23456

--23564 -45362

5 6 4 2 3 6 2 53 4 2 3 6 4 5 3 4 2 56

--34562 4 6 53 2 6 3 4 2 5 3 2 6 5 4 2 5 3 4 6

--25463 56 2 3 4 6 3 54 2 3 4 6 2 5 4 2 3 56

Repeat the last ten courses.

H . DAINS.

Major Methods 59

With the following peal by one of our living composers we take our leave of peals of the old style and proceed to give a few examples of those of the later pattern.

5024 4 5 3 6 2 MBWH23456 - 3 5 6 4 2

- 6 3 5 4 2 4 3 6 52 - 5 6 3 4 2 5 6 2 3 4 The second part to

--23564 be thrice repeated, -52364 omitting 3H in any -35264 one part. ----

2 54 6 3 H . LAW }AMES.

First rung at St. Michael's, Gloucester, on 8th November, 1894, by the Gloucester and Bristol District Association, conducted by the composer.

5184

M 2-4 W 2 3 4 5 6

X 3 4 2 5 6 X 4 2 3 5 6 X -52436 X 2 4 5 3 6 X 4 5 2 3 6 X -35426 X 54326 X 43526

-X -23564 Twice repeated.

C. H. HATTERSLEY.

5184

M 2-4 w 2 3 4 5 6

X -53246 X 3 2 5 4 6 X 2 53 4 6 X -45236 X 52 4 3 6

- X 2 6 4 3 5 X -36245 X 6 2 3 4 5 X 2 3 6 4 5

Twice repeated. J. W. WASHBROOK.

It will be seen that the two peals are closely similar, and that neither the second nor third are ever in sixth's place in either of them.

6o Surprise Methods

We conclude with three one-part peals.

5024 5024 5024

M 2-4 W 2 3 4 5 6 M 2-4 W 2 3 4 5 6 M 2-4 W 11 2 3 4 5 6

----X -53246 X 3 4 2 5 6 X - 53 2 4 6 X - 4 3 5 2 6 X - 5 4 3 2 6 X 3 2 5 4 6

X 4 3 5 2 6 X 2 53 4 6 - X 3 6 52 4 X ---- X - 4 52 3 6

X -26354 - X -23564 X 52 4 3 6 X 6 3 2 54 X 3 52 6 4 X 3 2 6 5 4 X -65324 - X --43265 X -52364 -26354 X - 6 3 4 2 5 X 2 3 5 6 4 X 6 3 2 5 4 X 3 52 6 4 X 3 2 6 54 - X 3 5 4 2 6 X -65324 X -52364 X 54 3 2 6 X 5 3 6 2 4 X -62534 X 4 3 5 2 6

- --- --- - -- X - 2 3 6 4 5 - X 2 4 5 3 6 - X -53624

X -43265 X 4 52 3 6 - - - - -X 3 2 4 6 5 X 5 2 4 3 6 2 6 4 3 5 X 2 4 3 6 5 ---- X 6 4 2 3 5 X -64235 - X - 3 2 4 6 5 X - 3 4 6 2 5

-36245 X -62345 X --32465 X 6 2 3 4 5 X 2 3 6 4 5 X - 6 2 3 4 5

X 3 6 2 4 5 X - 4 2 6 3 5 - X 2 53 4 6 X -46325 - - - -

X - 4 5 2 3 6 X 6 3 4 2 5 - X 2 5 6 3 4 X - 35426 X --23564 X 5 4 3 2 6 - X 3 5 4 2 6 X --26354 X -24536 X -25346 X - 5 6 2 3 4 X -34256 X 53 2 4 6 X 6 2 5 3 4 X 4 2 3 56 X 3 2 5 4 6 - - - - -X 2 3 4 5 6 X -42356 - X 2 4 5 3 6 F. BENNETT. X 2 3 4 5 6 X - 3 4 2 5 6

F . BENNETT. X 4 2 3 5 6 X 2 3 4 5 6

G. LINDOFF.

Major Methods 6r

BRISTOL.

Hitherto we have been dealing with old and thoroughly established methods which have been known for nearly a century and a half. We turn now to Bristol Surprise given to the Exercise in r897 by Rev. E. Bankes James. This method is well worthy of the popularity to which it has attained. Its structure is simple and at the same time instruc­tive. Though not characterised by the perfection of Superlative, having backhanders in eight rows in the lead, it exhibits a remarkable symmetry in its formation. If horizontal lines be drawn after the treble has finished her work in 3-4 up, 7-8 up, 5-6 down and I-2 down, thus dividing the lead into four blocks of eight rows each, and if then a perpendicular line be drawn down through the whole lead between the four front bells and the four back ones, it will be seen that the lead is divided into eight pieces which we may call" pockets," and that the four bells in a pocket keep snugly to themselves throughout the pocket, ringing eight little changes all of their own.*

This fact, added to the further fact that, like Super­lative, Bristol Surprise is a perfectly symmetrical method, its work from behind being the exact replica of that from the front, as is also the case with the work on the way up compared with that on the way down, reduces the burden of learning the duty of a bell throughout the course to a mrmmum. Another advantageous result of this feature is that, while the work as a whole is characterised by constant

* In this copnection the reader is referred to the description of the method by Mr. W. Snowdon in Bell News, val. xxxi, p. 656 and to an interesting letter by the same writer in B.N., xxxii, p. 202

showing that the principle of Bristol is as old as 1677, Stedman's Campanalogia giving a Major Method with similar pockets.

c

62 Surprise Methods

mobility, there is a remarkable absence of scuffling from one end to the other, large sections of the duty being per­formed either in the first four or the last four places continuously.

Unlike the other three methods the apex does not coincide with the position of the second, but with that of the tenor at the commencement of the course.

It may be well here to state parenthetically that · the bell that is lying still while the treble is leading her whole pull is at the apex of its work, and that the bell lying still while the treble lies her whole pull behind is at its anti-apex.

For the sketch of the duty of a working bell we are indebted to the kindness of an exceptionally able and experienced practitioner in the method, and practically all the technical terms in the following explanation are taken .from his description.

Starting at the apex we find ourselves in the middle of "work with the treble behind." To obtain a good view of our point of departure we glance back for a moment to the beginning of the work with the treble behind. This com­mences as will be seen in the last half of the last lead in the diagram, with a dodge in 7-8 up with the treble, followed by what we may term "full work behind," i.e., 8ths, a snap in 8ths and 8ths again. Then comes a run down to a snap in sths, and up again to a whole pull behind.

Now we are at the apex, whence the diagram starts, and may conceive ourselves as just having heard "go "

·called. First run down to a snap in sths then up again to full work behind once more, and a dodge in 7-8 down with the treble. This completes work with the treble behind. As

Major Methods

the apex comes in the middle of it, its second half is naturally the reverse of its first.

The next piece of work is termed "places in 5-6," and is quite an old familiar friend, consisting, as it does, of a dodge in 5-6, 5ths, dodge with the treble, and 6ths. Then comes "double 8ths" followed by "double 5ths." Double 8ths is the reverse of the evolution which when it occurs in the front is known as "Stedman," being then exactly a "whole turn," that is, two whole-pull leads with a blow in seconds between them. When it occurs behind it becomes two whole-pulls behind with a blow in sevenths between them. Similarly, double 5ths is 5th's place twice over with an intermediate blow in 6ths. After double 5ths comes a little piece called " 8, 7, 8," which is really a dodge and a half in 7-8 up, being the counterpart of the piece in. front known as "double snap," that is, two snapping leads. Following 8, 7, 8, comes a track of comparatively rapid motion called " intermediate work" which, being in this case intermediate between work in the upper four and work in the front four places we may specify as "intermediate work down." It consists of a dodge in5-6 down, a rush to a snapping lead, 3rds and 4ths, a further rush to a single blow behind, and a dodge in 3-4 down.

Then comes a long stretch of work in the first four places, lasting for no less than approximately two leads and a half. As the anti-apex falls in the middle of it, its first and second halves are reverse to each other. Each of them may be conveniently divided into two sections. The first section starts with three "doubles," to wit, "double snap" (the reverse of 8, 7, 8-see above), "double 4ths" (the reverse of double 5ths), and "Stedman" (the reverse of double 8ths). It concludes with "places in 3-4," i.e., 3rds, dodge

Surprise Methods

with the treble, 4ths and dodge in 3-4. The second and third sections which, having the anti-apex between them, are the reverse of each other, arc known together as "work with the treble on the front." This name arises from the fact that the second section begins and the third section e1;1ds with work with the treble in the front two places. The work in the second section is, snap with the treble, full work in front (see full work behind above), snap in 4ths and "middle whole pull." This is the anti-apex and the end of the second section. The third section now commences and is the reverse of the second. It is, snap in 4ths, full work in front, and snap with the treble. The fourth and 1ast section of the front work is the reverse of its first section, and may be briefly described as being, places in 3-4, Stedman, double 4ths, and double snap. This leads to " intermediate work up " (see intermediate work down) consisting of a dodge in 3-4, rush to a snap behind, sths and 4ths, a snap in front, and a dodge in s-6 up. This done we are ushered into the long work in the last four places, which, it is needless to say, is the complement and reverse of the long work in front, and may be, like it, con­sidered in four sections. Of these the first and fourth are complementary to each other, the like being the case with the two middle ones. The first (the reverse of the fourth section of the long front work-which see) consists of 8, 7, 8, double 5ths, double 8ths, and places in 5-6. Then comes work with the treble behind, which is the point from which we started this description. For the sake of clearness we repeat it in brief so far as the apex. It is, 7-8 up with the treble, full work behind, snap in sths, and run up to the apex.

Taking a final bird's-eye view of the work as a whole it consists of the work in front and behind, of each of which

Major Methods

the one is the reverse of the other throughout, each of them being subdivided into four sections. Between the two, that is, between the front work as a whole and the back as a whole comes the brief interlude of the intermediate work.

The work at a bob demands a word in conclusion. A bob alters the path of all the bells but two, the two exceptions being, first, the bell completing the first section of its front work, i.e., the bell which has rung its" three doubles "followed by places in 3-4, the second being the one which has just completed its work with the.treble in front and is proceeding to places in 3-4.

The remaining bells arc affeCted as follows. The bell that has made places in s-6 followed by double 8ths, and would be going to double sths, now dodges in 7-8 down, and is thereby thrown back to the apex.

The one which in its intermediate work down has struck its snapping blow behind and would be just about to dodge in 3-4 down, dodges in s-6 down, makes double sths followed by 8, J, 8, and once more starts on its intermediate work.

The one which has just commenced its intermediate work up, and has just dodged in 3-4 up, makes 4ths and dodges in 3-4 down , finding itself in so doing just at the conclusion of intermediate work down, after which it goes normally through front work. Note carefully that this is the bell which" makes the bob," the 4th's place constituting a kind of supplementary apex from which, as from the usual apex, the work reverses itself.

The remaining two bells affected by the· bob are :­

The one which, after intermediate work up, has rung 8, 7, 8, and double sths, and was to make double 8ths,

66 Surprise Methods

now dodges in s-6 up, and snaps behind, from which point it makes 3rds and 4ths and finishes the upward inter­mediate work once more.

Last comes the bell just about to lie its whole pull behind at the apex. Its apex has been stolen from it by the bell which made the bob, and it has to dodge in 7-8 up, make double 8ths, then places in s-6, and complete the first half of the back work once more. Here, unless another bob is called, it attains the apex, but as bobs at two successive leads may occur in this method, it is not quite certain of so doing until the possibility of the second bob is past, otherwise its attainment of the apex would be deferred for yet one more lead.

CHAPTER VII.

PROOF.

so far as the present writer is aware there is no description of the proof of any of the methods of Surprise Major

given in any treatise in the Snowdon series. An explanation of the proof of Kent Treble Bob Major is given on pp. 54-68 of Part I of the treatise on that method, but this appears to be the only exposition of its kind in the series. Under these circumstances an explanation of the system of proof of the four methods given in this volume, i.e., Superlative, Cambridge, and its variations, London and Bristol Surprise Major is presented in as brief and compact a form as possible.

For a full explanation of the whole subject, as concerns Superlative, the reader is referred to Bell News, xxxii, pp. 76, 95, 146, I6I, by J. W. Snowdon, incorporated by W. Snowdon in his papers, and supplemented by Sir A. 1Ieywood on pp. 170,184,209,225,245, 254,268; followed by J. W. Snowdon on Cambridge, pp. 280, 302, 314, 328.

The whole question of liability to falsity in Treble Bob methods, of which Surprise methods form a part, lies in the fact that rows with the treble in any given position on the

68 Surprise Methods

way up and rows with that bell in that same position on the way down are liable to repeat with €ach other. Were it not for this, proof would consist in a mere comparison of lead­heads, as is the case in Plain Bob Major, etc.

Accordingly, the first requisite is the thorough analysis of a lead of the method. Herein the fundamental and primary point of importance is the distinction of the rows as regards their positive or negative nature. It will always be found that of the four rows with the treble in any given place, two occur in the course of its hunting up, and two on its way down, and of these four, except in Cambridge which always seems to break every rule possible, one is positive and one is negative on the way up, and the same on the way down. In Cambridge, owing to the fatuous making of four places at the treble's dodge in 3-4 up, and again at the corresponding place on her way down all the four rows with the treble in 3-4 up are positive, and the four on her way down are negative. This is corrected in the Burton variation. In London, and also in Bristol, though the normal succession of positive and negative rows is frequently intercepted, it so happens that by the skin of its teeth the nature of the rows with the treble in any given place follows the regular rule, i.e., one positive and one negative on the way both up and down.

We tum now to the first table, which gives the heads of the leads that are false against the first lead of each method.

Proof

TABLE I.

SUPERLATIVE. FALSE LEAD HEADS.

A 1 2 3 4 5 6 7 8+ 6 5 7 2 8 3 4 2 I 4 3 6 5 8 7+

B I 2 4 6 3 5 7 8- 3472865 2 1 6 4 5 3 8 7--

C 2 6 I 4 3 5 7 8+ 3782546 6 2 4 1 5 3 8 7+

D 2 6 I 4 5 8 3 7-- 8 5 3 2 7 4 6 6 2 4 I 8 5 7 3--

E 2 6 4 8 I 53 7+ 5374682 6 2 8 4 5 I 7 3+

F 6 8 2 4 I 5 3 7-- 5 3 7 6 4 2 8 8 6 4 2 5 I 7 3--

G 6 8 2 4 5 7 1 3+ 7 3 4 5 8 2 6 8 6 4 2 7 53 I+

H6 8 4 7 2 5 1 3-- 2 3 5 4 8 7 6 8 6 7 4 5 2 3 1--

g 6 8 4 7 2 53 1+ 7 3 4 5 8 2 6 8 6 7 4 5 2 I 3+

h 6 8 7 5 4 2 3 1-- 2 3 5 4 8 7 6 8 6 5 7 2 4 I 3-

e 6 8 7 5 2 I 4 3+ 8 3 5 2 6 4 7 8 6 5 7 I 2 3 4+

f 8 5 6 7 2 1 4 3- 7362548 5 8 7 6 1 2 3 4-

c 8 5 7 1 6 2 4 3+ 5 2 7 6 8 3 4 5 8 I 7 2 6 3 4+

d 8 5 7 I 2 3 6 4-- 5 4 7 3 8 6 2 5 8 1 7 3 2 4 6-

a 5 I 8 7 2 3 6 4+ 5783246 I 5 7 8 3 2 4 6+

b 5 1 7 3 8 2 6 4-- 5238746 I 5 3 7 2 8 4 6--

70 Surprise Methods

CAMBRIDGE. FALSE LEAD HEADS.

A I 2 3 4 5 6 7 8+ 7 5 8 2 6 3 4 2 I 4 3 6 5 8 7+

B I 2 4 6 3 8 57- 3452768 2 I 6 4 8 3 7 5--

C 2 6 I 4 3 8 57+ 6 5 4 7 2 8 3 6 2 4 1 8 3 7 5+ [7 5 8 2 3 4 6]

C 6 2 I 4 8 7 3 5+ 6 8 4 3 2 5 7 2 6 4 I 7 8 53+ [3 8 5 2 7 4 6]

D6 2 4 7 I 8 3 5- 5326874 2 6 7 4 8 I 5 3-

E 2 7 6 4 I 8 3 5+ 5 3 4 7 8 6 2 7 2 4 6 8 I 53+

F 2 7 6 4 8 5 I 3- 4326578 7 2 4 6 5 8 3 1-

G 7 4 2 5 6 8 I 3+ 8 3 4 7 6 5 2 4 7 52 8 6 3 I+

f 7 4 2 5 6 8 3 1- 4 3 2 6 5 7 8 4 7 5 2 8 6 I 3-

g 4 57 8 2 6 3 I+ 8 3 4 7 6 5 2 5 4 8 7 6 2 I 3+

d 4 5 7 8 6 I 2 3- 4 3 8 2 5 7 6 5 4 8 7 I 6 3 2-

e 5 8 4 7 6 I 2 3+ 8342756 8 5 7 4 I 6 3 2+

H5 8 7 I 4 6 2 3- 3 6 2 8 4 7 5 8 5 I 7 6 4 3 2- [5 6 7 3 8 2 4]

h 8 5 7 I 6 3 4 2- 4 2 6 8 3 7 5 5 8 I 7 3 6 2 4- [5 2 7 4 8 6 3]

a 5 I 8 7 6 3 4 2+ 5783624 I 5 7 8 3 6 2 4+

b 5 I 7 3 8 2 6 4- 5234768 I 5 3 7 2 8 4 6--

Proof 7I

LONDON, FALSE LEAD HEADS.

A 1 2 3 4 56 7 8+ 6827453 2 1 3 5 4 7 6 8--

B12537486- 3426587 2 1 5 7 3 8 4 6+

c 2 5 1 7 8 3 6·4-- 4658372 5 2 7 1 3 8 4 6-52 1 7 8 3 6 4+ 2 5 7 1 3 8 4 6+

D52731486- 4638752 5 7 2 3 4 1 6 8+

E 7 53 2 1 4 8 6+ 4 6 5 8 2 3 7 7 3 5 2 4 1 6 8--

F 3 7 2 54 6 1 8+ 2438756 3 2 7 4 5 6 8 1--

G23476518-- 6548237 2 4 3 6 7 5 8 1+

f 4 2 6 3 7 8 5 1-- 2437865 4 6 2 7 3 8 1 5+

g 6 4 7 2 8 3 5 1+ 6743285 6 7 4 8 2 3 1 5--

d 7 6 8 4 2 1 3 5+ 8427365 7 8 6 4 1 2 5 3--

e 8 7 4 6 2 1 3 5-- 6724385 8 4 7 6 1 2 5 3+

c 4 8 7 1 6 5 2 3-- 8 6 2 4 3 7 5 8 4 1 7 5 6 3 2--8 4 7 1 6 5 2 3+ 4 8 1 7 56 3 2+

a 4 1 8 7 6 5 2 3-- 4867253 1 4 8 6 7 2 5 3+

b 4 1 6 8 2 7 3 5+ 4 2 3 6 5 8 7 1 4 6 2 8 3 7 5--

72 Surprise Methods

BRISTOL. FALSE LEAD HEADS. A I 2 3 4 5 6 7 8+ 2 4 3 5 7 6 8

2 I 4 3 6 58 7+ Bl I 2 3 4 6 8 5 7- 2 4 3 8 6 7 5

2 1 4 3 8 6 7 5--B2 2 4 I 3 6 8 5 7+

4 2 3 I 6 5 8 7-c 2 4 I 3 5 6 7 8-- 2 4 3 5 7 6 8

4 2 3 I .5 7 6 8+ D 2 4 3 5 I 7 8 6-- 4 5 2 6 3 8 7

2 3 4 5 7 I 6 8+ El 3 2 5 4 I 7 8 6+ 3 2 5 6 4 8 7

3 5 2 4 7 I 6 8--E2 5 3 4 2 7 6 I 8+

3 52 4 6 7 8 I+ F32547618-- 4 5 2 6 3 8 7

2 3 4 5 6 7 8 1-e2 2 4 3 6 5 8 7 1+ 3264587

4 2 6 3 8 5 1 7+ 4 6 2 3 5 8 7 1- 4 6 2 3 5 8 7 6 4 3 2 8 5 I 7-

d 4 6 2 3 8 1 57+ 4 2 6 3 I 8 7 5--

el 2 4 3 6 8 1 5 7- 3 2 6 4 5 8 7 2 3 4 6 1 8 7 5+

b2 3 2 4 I 6 8 5 7- 2 4 3 8 6 7 5 2 3 1 4 6 5 8 7+

c 3 2 4 I 5 6 7 8+ 2 4 3 5 7 6 8 2 3 1 4 5 7 6 8--

a 2 1 3 4 7 58 6+ 1 2 4 3 57 6 8+

b1 2 1 3 4 5 6 7 8-- 2 4 3 8 6 7 5 1 2 4 3 6 5 8 7-

Before explaining the manner in which this table has been prepared, we would draw attention to the fact that it gives in the case of each method the true scientific lead. When the handstroke of the whole-pull lead of. the treble has· been rung, the next blow may be one of two, according as we elect to pass by the mode termed " plain-lead " or by

Proof 73

that called "bob," but when once this has been settled, we have entered on a new lead, and nothing can infringe its integrity, that is to say, there is no possibility of any alteration or choice until the next similar position is reached. In other words the lead as here given is an unalterable block, and the row generally called the lead-end is in reality no such thing. On the contrary it is the lead-head. Rounds is the lead-head of the lead given in each method.

Down the right hand of the rows of the lead is given the usual indication of the nature of the row, positive ( + ), or negative (-).

The column of false lead-heads contains a list of the heads of leads all of which if written out in full will be found to contain some rows (two at least) of those in the lead given.

The column of false lead-heads may be made out in two ways, the result in either case being quite the same. Take as an instance the two positive rows in Superlative with the treble in 3-4 on her way up. These are designated (big) C. There is another lead which will produce the same rows in the position (little) c when the treble is in 3-4 on her way dowri, Now, opposite big C we may put either the head of the lead that will produce the two rows of little c in the position of big C, or we may put the head of the lead that will produce the two big C rows in the position of little c. Provided always that we work the false lead-heads on the same plan throughout in treating any one method, it matters not a jot or tittle which plan we pursue. In one plan we shall get the false lead-head 3 7 8 2 5 4 6 opposite big C and 5 2 7 6 8 3 4 opposite little c. Pursuing the other plan the only difference will be that the . two false lead-heads will be interchanged. In this way our list of false lead.­heads will in the end be the same whichever plan we adopt.

The list of false lead-heads is easily found, and the

74 Surprise Methods

simplest way in which to explain it will be to give an example. Take the first of the two rows in big C, viz., 2 6 I 4 3 5 7 8. In some other lead this row will occur in the position of the row 5 8 I 7 2 6 3 4· It is required to find what is the head of that lead. Its head will be related to 2 6 I 4 3 5 7 8 as 5 8 I 7 2 6 3 4 is to rounds, that is :-

Its first bell 2 will be in fifths. .. second ,. 6 ,. .. eighths. .. third I .. .. lead . ., fourth ,, 4 .. .. .. sevenths. .. fifth .. 3 ,. .. .. seconds. ,. sixth .. 5 ,. .. ,. sixths . ., seventh,. 7 ,. ,. ,. thirds. .. eighth ,. 8 .. ,. fourths.

whence we write down 3 7 8 2 5 4 6. Or we may pursue the alternative plan of finding out

from what lead-head we shall get the row 5 8 I 7 2 6 3 4 in the position of 2 6 I 4 3 5 7 8. In this case the lead-head required will stand to 5 8 I 7 2 6 3 4 as 2 6 I 4 3 57 8 does to rounds, that is to say:-

Its first bell 5 will be in seconds • ., second .. 8 . , , , sixths. .. third I .. ,. lead. ,. fourth .. 7 .. .. ,. fourths.

fifth 2 ,. ,. thirds. sixth 6 ,. .. fifths.

,. seventh,. 3 ,. .. ,. sevenths. .. eighth ,. 4 ,. ,. .. eighths.

whence we write down 5 2 7 6 8 3 4 which in the table is the false lead-head against the pair of rows labelled little c. As stated above we may adopt either plan, provided always .that we carry the same plan throughout the investigation of the whole lead. Either produces the same list of false

Proof 75

lead-heads, the only difference, being that there is an inter­change of the false lead-heads all through between the big and little letters. It will be seen that the first of the two plans has been adopted in the preparation of this first table iQ. the case of all four methods, and that we have used that of· Superlative for explanation and example. The other three call for but little special comment.

The meaning of the bracketted false lead-heads in Cam~ . bridge will be explained almost immediately.

In London it will be noted that the portions big C and little c consist of parcels of four rows ; but that in Bristol the parcels big B and big E, though consisting of four rows each have had to be subdivided into two little parcels, Br and Bz, and Er and Ez. This is occasioned by the fact that in the latter half of the lead they are balanced in four pieces . of two rows each, as indicated by the letters.*

We proceed now to our second table. Our first has shown us which leads are false against the first lead of the plain course. We must now · discover which leads are false against its other six leads. For this purpose we will take Cambridge as an example.

* In connection with the lead-heads false against the first lead of the three old methods of Cambridge, London, and Superlative it is interesting and instructive to note that, apparently through some oversight in his way of treating the question, Shipway, usually so careful and correct in his statements, has introduced into his list an ~xtraand gratuitous lead-head which should not have been ip,cluded~ As the mistake occurs in each instance in the leads false with . the treble in 1-2 we are driven to the conclusion that there must have· been some pitfall, probably concerned with the beginning and end of the lead, which he failed to see. The erroneous lead-heads are--i.n , Cambridge 6 8 4 5 2 7 3, in London s· 7 4 5 6 3·2, and in Super-· lative 2 8 6 5 4 7 3 (Shipway ed., 1816,. part iii, p .. 149. Reprint 1~86 part iii, pp. 240 and 242). In the Reprint th!l Proof Scale q~ Cambridge is directed to be four times repeated, *hlch certainly ought to secure absolute truth. A glance at the original edition will at olicj'l show how this amusing mistake arose. Hubbard (ed. 1876, p. ror) gives the list quite correctly.

Surprise Methods

Rule seven columns, heading each with its lead-head of the plain course, and numbering them for future convenience. In the column under the first lead-head (rounds) write the false lead-heads given in Table I-of course omitting dupli­cates, of which, in this method, there are two, viz., 4 3 2 6 5 7 8 and 8 3 4 7 6 5 2, reducing the number to fourteen. With these as so many transposing formulre prick the fourteen lead-heads false against each of the other leads of the plain course. To make the meaning clear let us take two or three examples. Take, to begin with, the first of all, 6 8 4 5 2 7 3 immediately under the second lead-head. This is produced from 57 3 8 2 6 4 as 7 5 8 2 6 3 4 is from rounds. Therefore we write the bell in 7ths, i.e., 6, then the bell in sths, i.e., 8, then the bell in 8ths, i.e. 4-and so on.

Take next the false lead-head 7 6 3 8 4 2 5 in the third column. This is related to 8 6 7 4 5 2 3 as 4 3 8 2 5 7 6 (on the same horizontal line in the first column) is to rounds. Therefore taking 8 6 7 4 5 2 3, we write its 4th bell, then its 3rd, then its 8th, and so on, which gives us 7 6 3 8 4 2 5· Once more. In Column I we have 5 3 2 6 8 7 4· What must we write for it in Column VII ? We work it from 6 4 8 2 7 3 5 by taking first its 5th, then its 3rd, then its 2nd bells, and so on, and we get in this way the false lead-head 2 4 6 7 5 3 8. Always bear in mind that all transpositions are worked in each column direct from the plain course lead-head at the top of the column ; that is to say, for instance, that 2 8 57 4 6 3 in Column VI is worked (by the formula 8 3 4 2 7 5 6 in Column I) direct from 7 8 5 6 3 4 2 at the top of the column, and not from 5 8 2 7 6 4 3 immediately above it. And so throughout.

TABLE II.

CAMBRIDGE AND BURTON SURPRISE. TABLE OF FALSE CoURSE-ENDS . .

I. II. III. IV. v. VI. VII. 2345678 5738264 8674523 4263857 3527486 7856342 6482735 7582634 6845273 2438567 5374826 8763452 4627385 3256748 3452768 7385624 6748253 26345 8 7 5273846 8567432 4826375

{6547283 2836547 5472836 83654 7 2 4728365 3654728 7283654} 6843257 2437586 5376842 8762435 4625378 3258764 7584623 5326874 8752463 4685327 3248756 7534682 6873245 ·2467538 5347862 8736425 4672358 3265784 7528643 6854237 2483576 4326578 3752864 7685423 6248357 25347 8 6 5873642 8467235 8347652 4736285 3672548 7265834 6528473 2854367 5483726 4382576 3745862 7638425 6274358 2563784 5827 6 43 8456237 8342756 4735682 3 678245 7264538 6523874 2 8 57463 5486327

{3628475 7254368 6583724 2847653 5436287 8372546 4 7 6 58 3 2} 4268375 3524768 7853624 6487253 2346587 5732846 8675432 5783624 8647253 4236587 3572846 7865432 6428375 2354768 5234768 8573624 4867253 3426587 7352846 6 785432 2648375 7582346 6845732 2438675 5374268 8763524 4627853 3256487 3852746 7485632 6348275 2734568 5673824 8267453 4526387 5673824 8267453 4526387 3852746 74 8 5632 6348275 2734568 5274863 8563427 4827356 3456782 7382645 6745238 2638574

• 4 6 2 5 3-v * 3 2 54 6-v 2 4 3 6 5-n • 3 2 54 6-ll 2 4 3 6 5-v 3 2 4 6 5-Vll 4 3 2 6 5-I 2 4 365-m * 3 2 54 6-VII * 4 6 2 5 3-1 * 4 6 2 5 3-lll * 3 2 5 4 6-III

* 4 6 2 53-VI 2 4 3 6 5-VI

Surprise Methods

The table shows all the leads that are false against the leads of the plain course ; and, using the lead-heads in Column I as formulre, we can by their means obtain at a moment's notice the heads of all the leads that are false against any lead whatsoever.

But as peals with the tenors parted are very rarely rung, we confine our attention from this point forward to the case. of peals with the tenors together, i.e., those in which 7-8 hold throughout to the relative positions which they occupy in the plain course. This being so it follows at once that by far the greater majority of the leads in the table will never occur, and that the only possibility of falseness will arise in those in which the tenors are found in their plain-course positions. These we have printed in slightly heavier type. There are fourteen of them. If their position be examined it will be found that they group themselves symmetrically on either side of the central lead (IV) which itself is free from them. ·

As proof of peals, at least of those with the tenors together, is most conveniently and usually conducted by course-ends, we give below each column the end of the course containing the false lead together with its number in its course. Take as instances the two false lead-heads in the first column. These are 6 5 4 7 2 8 3 and 4 3 2 6 5 7 8. Of the two the last is the course-end itself, and we write 4 3 2 6 5-r below. The other is the head of lead V of the course whose end is 4 6 2 5 3, and we therefore write 4 6 2 5 3-V.

We must now complete our description of the table with an explanation of the four rows of false lead-heads beneath the long horizontal Hne. Looking back for a moment to Table I it will be seen that there are four lead-heads given in brackets. These are the false lead-heads produced

Proof 79

in the B1trton Variation, and are to be substituted for those immediately above them, that is, 7 5 8 2 3 4 6 takes the place of 6 5 4 7 2 8 3 ; while 3 8 5 2 7 4 6 replaces 6 8 4 3 2 5 7, and similarly with the two others. These are the four beneath the long horizontal line in Table II. The first two of the four replace the upper pair of bracketted lines in the upper part of the table, and the two last rows replace the lower bracketted pair. As the four Burton rows give no false lead-head with the tenors together it is at once evident that by its means there is an elimination at one swoop of no less than eight false lead heads. In short, from being one of the worst, if not quite the worst, method as regards composition, Cambridge is suddenly transformed into one of high respectability. In place of five false course-ends we now have only three, the two thrown out being the very two most liable to entail falseness ; and, as in Superlative, our only precaution in composition, in addition of course to the truth of the lead-heads among themselves, is to avoid reversals of bells in 5-6 at the course-ends. The false course­ends thrown out are marked with an asterisk.

Having worked out this table in detail we leave our readers to work out for themselves the corresponding tables for the other methods, contenting ourselves with recording in the next table (III) the false course-ends which they will find so produced.

For Bristol it will be found that no false lead-heads having the tenors together appear anywhere, and that there­fore there are no false course-ends. In other words Bristol has what is usually known as a "clean proof-scale," its only further requirement being the obvious one that the lead-heads themselves do not repeat.

It only remains to give an example of the proof of a peal, and for this purpose we take the five-part peal of 6720 London Surprise by W. Harrison on p. 57· (See Table IV).

TABLE III.

GENERAL TABLE OF FALSE COURSE-ENDS.

Method . I. II. III. IV. v. VI. VII.

Superlative 4 3 2 6 5-JI 3 2 4 6 5-n 4 3 2 6 5-VI 4 3 265-v 3 2 4 6 5-m 3 2 4 6 5-VI

Cambridge *4 6 2 5 3-v *3 2 54 6-v 2 4 3 6 5-u 2 4 3 6 5-vr 2 4 3 6 5-v *3 2 54 6-m 4 3 2 6 5-I 2 4 3 6 5-m *3 2 5 4 6-vu *3 2 54 6-n *4 6 253-m 3 2 4 6 5-vn

*4 6 2 53-VI *4 6 2 5 3-1 Ipswich 2 4 3 6 5-II 2 4 3 6 5-1 2 4 3 6 5-VII 2 4 3 6 5-VI

London 3 2 54 6-v 24365-rv 2 4 365-m 2 4 J 6 5-IV 4 6 2 53-III t4 6 2 5 3-vr 2 4 3 6 5-v t3 2 54 6-n

Burton is as Cambridge omitting the eight marked with an asterisk.

London with bobs at 2 and 4.-This has a clean proof-scale provided always that only this form of course is employed, but if an ordinary course of seven leads be introduced, there are two false course-ends in each against the other. These are- marked with a cross (t) above; and those false in the new form against the old ate 3 2 5 4 6-v and 2 6 3 5 4-m.

Proof 8r ------- --· ------- - ·· ·· ·- ··

TABLE IV. A B c D

MWH M-H W-H H-W 2 4 3 6 5 ---- ---- ----

4 3 6 52 5 4 6 3 2 6 5 4 3 2 4 6 3 2 5 6 5 4 3 2 6 54 3 2 4 6 5 3 2 6 4 52 3 4 6 5 3 2 4 6 5 3 2 54 6 3 2 4 5 6 2 3 6 4 2 3 5 6 4 2 3 5 6 4 2 3 5 6 2 4 53 2 4 53 6 3 2 5 4 6 53 2 4 6 2 54 6 3 2 3 6 4 5 2 3 6 4 5 6 2 3 4 5 2 6 3 54

3 2 54 6 4 3 5 2 6 4 53 2 6 3 52 6 4 5 4 3 2 6 54 3 2 6 3 5 4 2 6 53 4 6 2 3 5 4 2 6 3 5 4 2 6 4 3 52 6 3 4 5 6 2 53 6 2 4 53 6 2 4 5 3 6 2 4 56 3 4 2 6 3 4 2 5 2 6 4 3 5 4 2 6 3 5 6 4 3 52 6 2 53 4 6 2 5 3 4 5 6 2 3 4 6 5 2 4 3

2 6 4 3 5 3 2 4 6 5 4 3 2 6 5 2 4 6 5 3 4 3 2 6 5 4 3 2 6 5 2 4 3 6 5 4 2 3 5 6 2 4 3 6 5 2 4 3 6 5 3 2 4 6 5 2 3 4 5 6 4 2 5 6 3 4 2 5 6 3 4 2 5 6 3 4 52 3 6 52 3 6 4 6 53 2 4 3 6 5 2 4 5 3 2 4 6 5 6 4 2 3 5 6 4 2 3 4 5 6 2 3 54 6 3 2

6 53 2 4 2 6 3 54 3 2 6 54 6 3 54 2 3 2 6 54 3 2 6 5 4 6 3 2 54 3 6 2 4 5 6 3 2 54 6 3 2 5 4 2 6 3 54 6 .2345 3 6 4 5 2 3 6 4 52 3 6 4 52 3 4 6 2 5 4 6 2 53 5 4 2 6 3 2 54 6 3 4 2 6 3 5 -. 4 5 3 6 2 4 53 6 2 3 4 5 6 2 4 3 5 2 6

5 4 2 6 3 6 52 4 3 2 6 5 4 3 52 4 3 6 2 6 5 4 3 2 6 54 3 52 6 4 3 2 5 6 3 4 5 2 6 4 3 52 6 4 3 6 5 2 4 3 56 2 3 4 2 53 4 6 2 53 4 6 2 5 3 4 6 2 3 5 6 4 3 5 6 4 2 4 3 6 5 2 6 4 3 52 3 6 52 4 3 4 2 56 3 4 2 5 6 2 3 4 5 6 3 2 4 6 5

82 Surprise Methods

Here the first column gives the calling, the horizontal lines indicating the part-ends. There being three calling places, M. W and H, it is evident that a course may be broken into three portions, the first portion consisting of lead I, i.e., the lead whose lead-head has the two tenors in their home position. If a bob at M be called we are ushered into another course for no less a period than five leads, i.e., until the occurrence of the W position. Here there may be another break introducing us into lead VII of yet a third course. Hence the three columns A, B, C, of which A contains the list of course-ends whose leads II to VI inclusive occur in the peal, that is of the leads whose heads are of the form o o o o 8 o 7 to o 7 o 8 o o o inclusive. B gives the course­ends of leads No. VII, that is, of those whose heads are of of the form o o o 7 o 8 o, in other words, of the lead lying between the calling positions W and H ; while Column C contains those of leads No. I, whose head is of the form o o o o o 7 8, the lead in question lying between the H and M positions.

It may be useful at this point to give an example of the manner in which Columns A, B, Care pricked. Column C contains the course-ends of the peal. Take the fifth course­end 53 2 4 6. In the next course there is a bob at M. Therefore transpose 5 3 2 4 6 by the formula 4 3 6 5 2 for M in the table of course-ends, and write 2 3 6 4 5 on the next line in Column A. Then, there being no bob M W, repeat z 3 6 4 5 in Column B. Last, as there is a bob at H transpose the 2 3 6 4 5 in Column B by the formula 4 2 3 5 6 for H, and in Column C write 6 2 3 4 5· And so on.

A glance at Table III shows that leads I and VII, or, better, VII and I (thus showing that they are in reality

Proof

immediately consecutive) have a clean proof scale. There­fore all that is required· with regard to Columns B and C is to run the eye down each to make sure that each is true to itself. When this has been done B and C have served their purpose.

Now for Column A. First of course, as with B and C, see that it is true to itself, and then set out its false course­ends. These are three in number, viz., 2 4 3 6 5, 3 2 5 4 6, and 4 6 2 5 3 as shown in Table III. Enter them in columns D, E, F.

As it so happens in this particular instance Columns E and F, containing the false course-ends on the model of 3 2 5 4 6 and 4 6 2 5 3, are not required, since if the student cares to work them out for himself, it will be found that in this instance, which must not be taken as necessarily valid in other cases, the list in Columns E and F will be found identical with that in Column D, though naturally they emerge in a different order in each column.

On examination of Column D it will be found that none of its members appear in column A, and, Columns B and C having been previously proved, the proof is now complete, and the peal is true.

It should be added that this is the only peal given in this treati~e which the present writer has proved, all the peals presented having been taken on the reputation of their composers.

If a peal containing bobs at B is to be proved, then the block of five leads (II to VI) from M to W is broken, and there must be as many columns as calling places ; for instance four in the case of the three-part peals of 5088 by Messrs.

Surprise Methods

Dains and Washbrook (see p. 58) ; but only three (M;B.H.) in that of the 5024 by H. Dains (ibid.). As a bob at B cuts out lead IV it may conceivably happen that a peal might thus be true, which otherwise would be false, as in this case the only lead oi the false course-end 2 4 3 6 5 which applies is its lead IV. See Table III.

CHAPTER VIII.

HISTORY. THE following admirable account of the History of

Cambridge, Superlative and London Surprise Major was communicated in the early part of the year r875 to the columns of Bell's Life by the late Mr. Jasper W. Snowdon, and was almost immediately reprinted in Church Bells, from which the present transcript has been taken, the reference being to Vol. V, pp. IJ8, rsr. I63 and rgg.

It is interesting to observe that according to the frequent usage of the period in which it was written the words " peal " or " peals " are often employed in the sense of " method " or " methods."

Mr. Snowdon's article is as follows :-

Although in several of the works which have been written on the art and science of change-ringing, the date and place of performance of some of the most interesting or complicated peals inserted therein are noticed in an appended footnote, yet in none of these books has any attempt been made to give a complete list of the highest class of performances. On account of the remote period at which some of these achieve­ments took place, every year will render this more difficult, and knowing that such a table will be of great interest to those who have made this fascinating art their study, we have been induced to attempt it, and will therefore, without further preface, proceed to the consideration of the " Surprise Peals."

Under this title the Cambridge, London and Superlative Surprise Variations of Treble Bob are classed. As these are the most intricate peals that have yet been practised by change-ringers, a short account of the limited number of peals that have been rung will be especially interesting, as, should they attain a more extensive practice, a full list of

86 Surprise Methods

these performances for reference will then enable any peal that may subsequently be rung at once to take its proper numerical place in such records. As, on account of their intricacy, these peals have only been practised by the very best companies of ringers, the attention of composers has probably not been generally directed towards obtaining great lengths in them; and this fact, coupled with the extreme precariousness of their composition, may account for no greater length than 6720 true changes in London and Super­lative, and s6oo in Cambridge Surprise having yet been recorded as accomplished.

CAMBRIDGE SURPRISE.

As we purpose to deal with each variety in detail, and according to the order of the earliest performance in each, our attention will first be directed to Cambridge Surprise. Although next to London Surprise this is the most complicated of the three to ring, it is without doubt the most difficult system in which composition has yet been attempted, and consequently it is not surprising to find that of the peals rung only one has its truth undoubtedly established.

With regard to a well-known law among change-ringers, no false peal can claim to be recorded, and therefore, while noticing such performances, we shall only place on our list those of undoubted truth. At the same time it should be remembered, that as only the composer can be held responsible for the falseness of his work, and it is at any time just as hard to ring correctly a false peal as a true one, as a performance, the one is as much entitled to merit as the other, especially if the composer of the true peal is not one of its ringers, as in that case the band is but practically performing the work of another person, the merits or demerits of whose composition can hardly be said to affect the actual ringing.

History

While making these remarks we would not, however, wish to be understood in any way to detract from the general recognition oi this law, because its enforcement must always tend to improve and encourage the science of composition, while its relaxation rnit{ht retard it.

The first notices of Cambridge Surprise are to be found · in Clavis Campanalogia where, after a peal of 5152 is stated "It was rung by the Ancient Society of College Youths (there were two societies of College Youths at that time) at St. Giles' s­in-the-Fields, on Sunday, February 23rd, 1783, being deemed the greatest performance ever achieved in the Campanistanean Art, as so intricate a method was never practised by any other set of men whatever; indeed the same people (except one) did ring a peal in this same method, and at the same place, on Sunday, January 30th, 1780, they being then " London Youths"; but as this was rung with the tenors together, it proved false on the new discoveries, which happened about this time, and was the cause of their ringing another peal.''

Meeting with a statement in Shipway's writings that no peal of Cambridge Surprise which had been rung up to the time of his making the assertion had been proved true in its composition, we looked over this peal of 5152 given in theClavis, and found that it was very false, as at the commence­ment of our investigation we found similar changes in s-6 down in the second lead of the second course, and in 5-6 up in the fifth lead in the third course.

The next notice is one existing on a tablet in the belfry of St. Peter's Church, Sheffield, which commemorates a peal of 6048 changes, rung on November sth, I787, stating it to be "the first peal of this method rung in the country." This date, however, is more than four years after the peal mentioned above had been rung in London, and may be

88 Surprise Methods --·----- --- ··-- . --- - - - -- ····· -· ·- - - - -- --- ·-----

accounted for by the fact that such news travelled but slowly in those days, and therefore the London peal had not been heard of in Sheffield at that time. As regards this peal there is nothing known of its composition, and most probably it would not bear investigation. The only similar length we know of is one given in the Art of Ringing, by Thackrah, published in r852 : this peal is obtained without parting the tenors, by the use of fourth and sixth-place bobs at the course-ends. As this peal is from the collection of a Yorkshire­man-Thrackrah lived at Dewsbury, near Leeds-there is some possibility that it is the one rung at Sheffield. This peal, however, is a very false one, and as we have no record of any such length ever having been composed true, we cannot but admit that there is no probability of the Sheffield peal being a true one.

In the same work is noticed a peal of 6720 changes, composed by Thackrah, who rang and conducted it, assisted by seven of the ringers of St. Peter's, Huddersfield, on the bells of that church, on the r8th February, r8zz. In this peal, which had the tenors together, singles were introduced when the treble was in 3-4, to remove the liability of false changes in these places : this, however, was a perfectly unallowable alteration of the method of the peal. Therefore we cannot see that this performance has any claim to be classed as a peal in the acknowledged Cambridge Surprise Method.

Still another · peal, which adds one more to this long list of false ones, was rung, viz., at Keighley, in Yorkshire, on August r8th, r8rr. That this peal was a false one can scarcely be doubted, when we mention that it was composed by J. Tebbs, of Leeds, Yorkshire. Tebbs was after that time in communication with Shipway, many of the compositions

History

of the Yorkshireman appearing in the works of the latter ; and there can be no doubt that Tebbs would naturally be desirous that Shipway should introduce it in his book, especially as no true peal had then been placed before the public. Therefore if Tebbs had not already found it false, we may conclude that he would submit it to Shipway, and that after proof it would be rejected by the latter, who probably alluded to it amongst the false ones he mentions as having been rung.

The most recent peal, and the only further record on eight bells, known to us, is the one lately rung by the band of Leonard Proctor, Esq., of Benington, Hertfordshire, on Tuesday, February rrth, 1873. This peal, which is to the best of our belief the only true one yet accomplished contained s6oo changes, and is the greatest extent which has been composed in this method.

To sum up all this, we have two false peals, two so doubtful that they cannot be numbered in a list of true ones~ one mutilated in the system, whilst there is but one well­known true performance. We give a list of these below, distinguishing the false and doubtful ones by letters, and placing as number one on the list of true performances the Benington peal.

(a) A false peal rung by the London Youths on Sunday, January 30th, 1780, at St. Giles's-in-the-Fields, London. -Clavis Campanalogia.

(b) 5152 changes (false) rung by the Ancient Society of College Youths, on Sunday, February 23rd, 1783, at St. Giles's-in-the-Fields, London.-Clavis Campanalogia.

(c) Tablet in Belfry of St. Peter's Church, Sheffield: "On Monday, the 5th of November, 1787, was rung on eight

Surprise Methods

bells at this church, a peal of 6048 changes, of that intricate method called Cambridge Surprise, in four hours and eighteen minutes, by the following persons, viz., R. Owen, treble; G. E. 0. Wilde 2, Samuel Willey 3, W. Lee 4, Charles Fletcher 5, John Hill6, Samuel Dutton J, Thomas Babb 8. The weight of the tenor, 33 cwt. The above is the first peal of this method ever rung in the country."

(d) Thackrah's Art of Ringing: "Seven of St. Peter's Company, Hudderstield, and myself, rang at their parish church, on the 13th of February, 1822, 6720 changes of Cambridge Surprise, with the tenors together, in three hours, fifty-one minutes. I composed and conducted the peal, and introduced singles when the treble was dodging in 3-4, to take away the false changes when liable."

(e) Tablet in Belfry of Keighley Church, Yorkshire: " In this steeple was rung on the r8th August, r8rr, by eight ringers of this town, 5376 changes of that most intricate peal, Cambridge Surprise, eight in (composed by Mr. Joseph Tebbs, of Leeds), being the first true peal in that method ever rung in the North of England. It was performed with great correctness in three hours and eight minutes, by Jeremiah Foulds treble, George Hattersley 2, James Baldwin 3, David Smith 4, Joshua Cawood 5, Thomas Iveson 6, Thomas Midgeley 7, James Inman tenor. The peal was conducted by Mr. David Smith. Weight of tenor, 14 cwt."

(r) From "Bell's Life," February 22nd, 1873: "On Tuesday evening, February rrth, eight members of the Change-Ringing Society, resident in the small village of Benington, Herts., succeeded, in admirable style, in accom­plishing a feat not equalled by any known society of ringers in England. They rang the greatest extent of changes that

History 9I ------------- --- ---·-----

can be produced upon the musical and intricate method, Cambridge Surprise Major, consisting of s6oo changes, in three hours, twenty-five minutes. Only three peals of this method have ever been rung in England. The band was stationed as under: N. Warner treble, J. Kitchrner 2,

L. Proctor 3, L. Chapman 4, S. Page 5, C. Hollingsworth 6, C. Shambrook 7, T. Page tenor. The peal was conducted by Mr. T. Page. Tenor, 14 cwt .• key F#. This peal is the original composition of Mr. T. Miller,* Cumberland Society of Change Ringers, London.

The statement made in the above paragraph which was forwarded to us and we published, to the effect that only three peals had been rung in this method, caused us to look into the matter, and has resulted in the list we now bring forward. As regards s6oo being the greatest number of true changes that can be produced in this method-with the tenors together is meant, we suppose-while we admit that no greater length has been obtained, it has yet to be shown that it is impossible that a greater number may not sometime be composed. t

SUPERLATIVE SURPRISE.

This variation, of which several performances have been recorded, is, in point of time, the next on the list for consideration. This system is first given in Clavis Campanalogia, followed by these remarks : " The above is an original composition of our own on purpose for this work.

* It need scarcely be said that this is an error. It should of course be C. Middleton.

t The present writer has proved that this is so. and that, there being only twenty-five courses true out of the sixty with the tenors together, 56oo is the greatest length obtainable under these- con­ditions. See Ringing World, vol. xvi, pp. 785 and Sox, also p. 43 of the present work.

92 Surprise Methods

and has never yet been rung. The principle upon which it is founded will, we doubt not, give it credit with the amateurs of the art, for on inspection it will plainly appear the most even treble bob peal that has hitherto been ·dis­covered, and, if practised, will produce most excellent music." Now, as the date of publication of the first edition of the Clavis is 1788, the time this variation has been belore the public is at once arrived at. We would remark that practice has proved the truth of the eulogy of the originators on their system. Not only is the work particularly even, and therefore easily acquired, but those who; like ourselves, have heard this most musical of treble bob variations actually performed in the steeple, will also most readily assent to its producing " most excellent music."

Although, as we have shown, this method was brought out in 1788, no notice of any l'erformance can be found until r8zr, when 5152 is mentioned in Thackrah's work as having been rung at Huddersfield in that year. A tablet was not erected to commemorate this performance, and although we have made several inquiries we have been unable to gain any more information beyond that given in this article, which we shall presently place before the reader.

The next record of Superlative Surprise is to be found on a tablet erected in the belfry of St. Giles's, Norwich, which gives particulars of the perfo1mance of 5376 changes in this variation by the" crack" Norwich Company, which was then in its prime. The same board also enumerates the peal of London Surprise rung by the Norwich Scholars, and alludes to them both as " the first peals ever rung in the above variations." As in the case of Cambridge Surprise, the claim is made subsequent to the ringing of the first peal, and as our inquiries anent the Huddeisfield peal did not lead us in

History 93

any way to doubt the completion of the performance recorded by Thackrah, we must award the honour of priority to the Yorkshiremen.

Following this performance comes that of 5376 at St. Mary's, Woolwich, in the year 1849, by the clever company of ringers then gathered together under the leadership of Mr. Wm. Banister, and three years later 56oo by the Society of St. James' Youths, rung at St. Matthew's, Bethnal Green, this latter peal taking its rank as the greatest number then recorded as rung in this variation. A few years after, however, this length was superseded by one rung at Benington, Herts, as the able band of Mr. Ptoctor first rang 5376, on May 29th, r855, and then, only ten days later, achieved 6048, which performance is not only the longest length yet rung of Super­lative Surprise, but also the last recorded peal in this variation. Appended we give particulars of each of these peals in chronological order :-

r. Thackrah's "Art of Ringing": "Treble bob triples: this peal was composed by the author in the year r82r, and was first rung by him and seven of the St. Peter's Company of Change Ringers at the Parish Church, Huddersfield, on the 5th of November the same year. Likewise, 5152 changes of Superlative Surprise, at the first attempt, making a total of ro,192 changes in five hours and fifty-six minutes. Ringers: r, W. Haigh ; 2, J. Clay ; 3, J. Thorpe ; 4, J. Womersley; 5, J. Womersley; 6, J. Hanson; J, B. Thackrah; 8, S. Gooder. Weight of tenor, r8 cwt.

2. Tablet in Belfry of St. Giles's, Norwich: "On February 6th, r835, was rung in this steeple S376 of that intricate method, Superlative Surprise. This great achieve_. ment was perfectly completed (at the first attempt) in three

D

94 Surprise Methods

hour:s and .sixteen minutes, and WitS rung by the. following persons: Joshua· Hurry treble, Elijah · Mason 2, Fredk. Watering 3, Henry Hubbard 4, Robert Burrell 5, ·James

. Truman 6, Chas. P~yne J, Samuel Thurston tenor. Weight of tenor, I4 cw:t.,' iT! F.

. . :. \'l

3· Tablet in ' $elf<Y,y of ·St. Mary's, Woolwich: "On Monday, February roth, 1849, the following members of .the Ancient Society orColkge Youths rang on these bells. a tn,Je and complete peal of . Superlative Surprise Major, containing 5376 changes, in thr~e hours and fifteen minutes, as follows : Henry Banister, se~ .. treble, Wm. Banister 2, Francis H. ~anister 3, Samuel Teasel 4, John Banister s. George Cleve­land 6, Gcorge .Banister 7. Edward West, tenor. Com,posed and conducted by . Mr. Wm. Banister. Weight of tenor, I4 cwt.

4· Approxim(!.te .Copy of Tablet erected in the Belfry of St. Matthew's, Bethnal Green: "This. tablet was destroyed by the fire which consumed the whole of the interior of the church, and alSo 'the tablets and bells then in the steeple, in December, t869. On Saturday, February gth, r8so, the St. James' Seciety rang in three hours and twenty-three minutes a peal of Superlative Surprise, containing s6oo changes: George Woolf treble, Henry W. Haley 2, Charles Evennett 3, George E. Ferris 4, William Cooter s. Robert Janieson 6, James Dwight ' 7>Matthew A. Wood tenor. Composed and conducted by H . . W. Haley. ·

s. 6. Tablet in · Benington Church, Herts: " On the zgth day of May, r85S. was rung a peal of Superlative Sur­prise · Major, .. ~ontairting 5376 changes;, in three hours and fifteen minutes,· James Flott treble, Luke Carter 2, Leonard Proctor 3, Thomas Page 4, John Aylott s. Charles Hollings­worth 6, Joseph Kitc}lener 7, GeorgeWamer tenor. On the

History 95 ----- - ---- ---···- - ---- - - --·- --··-

gth day of June, 1855, was rung a peal of Superlative Surprise Major, containing 6o48 changes, in three hours and forty-four minutes. James Flott treble, Thomas Page 2, Jeremiah Miller 3, James Collins 4, John Aylett 5, Charles Hollings­worth 6, Joseph Kitchener 7, George Warner tenor. The above peals were most ably conducted by Mr; Joseph Kitchener. Weight of tenor, 14 cwt. Key, F:lf.

LoNDON SuRPRISE.

We now come to London Surprise, the last and the most intricate of the three peals towards which we are directing our observations. This peal seems to have engaged the atten­tion of the College Youths at an early period, as Shipway says: "It seems to have received some partial practice by the Ancient Society of College Youths, and -was dropped probably in consequence of its complexity, or because a true peal of 5000 chould not be obtained." Eventualiy, however, 5280 was composed by Shipway, and in course of time rung by the Norwich Scholars at St. Andrew's, Norwich, on November 17th, 1835. This length was exceeded on October nth, 1849, by Mr. · Banister's Company, who accomplished 56oo at St. Mary's, Woolwich. The Benington company, however, again came to the fore, and when they rang a peal in this intricate method on December 26th,_ 1870, the per­formance comprised 6048 changes, and, as in the case of Superlative Surprise, is the last record and also the greatest length yet accomplished. The followi11g is a list of these peals, the belfry boards being selected fortheir notification.

I. Tablet in the Belfry at St. Giles's, Norwich: This tablet commemorates the Superlative · Surprise peal given above and then proceeds as follows: "Also, at St. Andrew's" in this town, on November 17th, 1835, wasrllng s28o of London Surprise, the most difficult system in the art of Campanologia.

Surprise Methods

This almost* insurmountable task was accomplished in three hours and twenty-four minutes. The . bold and regular striking of both · peals must ever reflect great credit on the company; they·were conducted by S. Thurston, and are the first peals ever rung in the above variations. Geo. Watering treble, Elijah Mason 2, Fredk. Watering 3, Henry Hubbard 4, James Truman 5, Robert Burrell 6, Charles Payne 7, Samuel Thurston tenor. Thomas King, Wm. Storey, Churchwardens. Weight of tenor, r8 cwt. Key E."

2. Tablet in the Belfry of St. Mary's, Woolwich.­Curiously, this tablet, like the Norwich one, also commemorates the Superlative Surprise peal given above, and then proceeds thus: "The same band, after diligent practice and steady perseverance, accomplished on October nth, in the same year (1849) 56oo changes of London Surprise Major, which arduous task was completed in three hours and twenty-seven minutes. Composed and conducted by Mr. Wm. Banister. Weight of tenor 14 cwt."

3· Tablet in Benington Church, Herts: "Benington Society of Change Ringers. This tablet is erected to record two of the greatest performances ever achieved by' any society of change-ringers in England, by members all resident in this parish, and who rang in admirable style th,e greatest number of changes ever accomplished in the two under­mentioned peals, of the most intricate and melodious methods known in the science of change-ringing. On Monday, Decem­ber 26th, r87o, was rung on these bells a grand peal of London

• it seems abundantly evident, and we have it on the t estimony of two independent witnesses, that the word "almost " does not occur on the tablet. It appears, therefore, that it was introduced into an early copy of it by some kindly-disposed friend to " save the face " of the author of the tablet, which in reality makes the quaint statement that the performers surmounted an insurmountable task.

History 97

Surprise Major, consisting of 6048 changes, containing twenty-seven courses and forty-eight bobs, in three hours, thirty-seven minutes. Nathan Warner treble, John Kitchener 2, Leonard Proctor 3, Joseph Kitchener 4, Samuel Page 5, Charles Hollingsworth 6, Charles Shambrook 7, Thomas Page tenor." The tablet then commemorates the peal of Cambridge Surprise we have mentioned above, and then proceeds : " The above peals were most ably conducted by Mr. T. Page, and are the composition of Mr. Jeremiah Miller, member of the Cumberland Society of Change Ringers, London. The Rev. John Ede Pryor, Rector; Leonard Proctor and Frederick All wood, Churchwardens." t

A little later Mr. Snowdon added the following :-

A few weeks ago we published an article in which we gave particulars of all peals known to us which had been rung in the Cambridge, Superlative and London Surprise variations of Treble Bob. The interest this paper has excited in ringing circles has been a source of much pleasure to us, since a desire to search into the existing proofs of all the great performances of past days will probably be the means of ensuring a permanent place for all noteworthy achievements, by placing them in such a record. Although our article was as exhaustive as our information enabled us to make it, and we have but little doubt that every true peal that has been rung in these variations was recorded therein, yet there may be facts of interest connected therewith which have

t The reader will have noticed that Mr. Snowdon in his record of the Benington peal of Cambridge (p. 90) quotes it from B ell's Life, of 22nd February, 1873. making no mention there of any tablet whatsoever; and it is only when we come to the statement above that we infer that the record of the peal of Cambridge on 1 rth February, 1873, follows the record on the same tablet of the peal of London on 26th December, 1870.

g8 Surprise Methods

escaped us. Any fresh information, however, if communicated to us, we shall be glad to bring before our readers.

An example of this has within the last few days come under our notice. In our article we stated, and quite correctly it seems, that the first true peal of Superlative Surprise, consisting of 5152 changes, was rung at Huddersfield on November 5th, r8zr. The only information regarding this peal was to be gleaned from Thackrah's Art of Ringing, but with a desire to give us further particulars on the subject we have been kindly favoured with the loan of a printed notice of a peal of Superlative Surprise rung at Huddersfield in r8zr, a copy of which we annex:-

"Superior and unparalleled change-ringing, August, 1821. On Monday, the 6th instant, was rung at Huddersfield, by the Society of St. Peter's Youths, of that place, a complete peal' of melodious changes on that grand peal called Superlative Surprise, consisting of 56oo changes, which was performed in

I .

three hours and twenty minutes, with the fifth bell at home ten times, and the sixth twelve times, being the greatest performance ever achieved in the campanian art in so intricate a method. The bob ·changes were composed by Mr. Benjamin Thackrah, who dexterously conducted the same, and was performed by the following persons: William Haigh treble, William Clay 2, John Thorp 3, Jonathan Womersley 4, John Womersley 5, John Hanson 6, Benjamin Thackrah 7, Samuel Goodier tenor. Weight of the tenor, r8 cwt." (After this the course-ends of the peal are given).

We were surprised to find that this was quite a different peal to the one with which we were · already acquainted, and it was several hundred changes longer than any one which had been rung until some time after that date.

History , ... 99

Besides this, no mention is made of it in Thackrah's work; we were therefore suspicious that the composition wol,Jld not stand the test of proof, and at once investigated its truth, when we soon found that . it was a false peal-a very false peal----'-as several of the treble lead ends at the " middle.:'·'·· . repeat. It is to be wondered at that Mr. Thackrah ever allowed such a false peal to be published as his composition, as its falsity could so easily be proved, even if suspected by the veriest tyro in the science of proving peals ; and the reason why this performance had almost sunk into oblivion, and no mention is made of it in Thackrah's· work, Is at once accounted for by the fact that its falsity must, at some later time, have been proved, either by himself or some one skilled in such investigations. Therefore, ·whilst bringing this performance before our readers, it will be seen that our remarks iJ.nd our list of true performances in Superlative Surprise ringing are in no wise altered. .

We would remark that the recording . the " calling " ·of any intricate peal on any printed notice of its accomplish­ment is very much .to be commended, as then, in years to come, the voice of any cavi~lers at its truth may at once be stopped, by calling on them to show where its falsity is apparent, while in the case of a true peal, .the old maxim, Magna est veritas, et prevalebit is verified.

On the reverse of the printed notice of this peal is the rough draft, barely decipherable, of a reply to a challenge of the Middleton (Lancashire) ringers to ring any whole set; or a picked set, of ringers in the county of Yorkshire, for twenty guineas, three treble peals-Oxford, College Pleasure, College Treble, and a fourth peal from .the three, with " Crown Bobs." The reply goes on to state that they will not consider .the matter, as if they (the Middleton ringers) do not know

roo Surprise Methods

" that such a peal with Crown Bobs will be false, they had better further study the art of ringing, as it shall never be said of them (the writers) that they ring false peals." This being written on the back of a false peal is a most appropriate

. realisation of the fable concerning the pot calling the kettle black.

Here ends Mr. Snowdon's writing. A comparison ot the dates of accomplishment of peals of Surpris~ shows that in those days they were like angels' visits. P1ior to the Benington peal of Cambridge in r873 there had been a lapse of fifty-one years since the last peal in that method, a period of twenty years since the last peal of Superlative, and one of five years since the last of London. After the publication of the article there was still to elapse a further lull of two years more before the silence was broken by the Redenhail peal of Superlative in 1877, to be succeeded in its tum by another period of seven years' slumber until the next peal of Super­lative, by the Burton Company in r884. This truly epoch­making peal ushers us into another and very different era. It was the first ripple of a tide that from that day forth has never ceased to flow with steady and continuous stream. The company which inaugurated this happy state of affairs was that of St. Paul's Church, Burton-on-Trent, who for some years splendidly maintained the lead, and took a pro­minent share in the full establishment of that age of enter­prise and enthusiasm in which we fortunately still find ourselves.

A word in conclusion must be added on the subject of Bristol Surprise. This method, which has proved so attractive, was first published by Rev. E. Bankes James in a letter to Bell News, on p. 394, of vol. xvi of that publication, in the issue of nth December, 1897· We might almost say that its

History 101

appearance was quite casual. No name for it is given, or even suggested. Indeed, it is rathei: as an example of certain principles, and as one among others of the same class composed by the same author, that its figures are printed. There is a complete absence of any advocacy of its qualities, and the thought does not seem to have crossed Mr. James' mind that it was in the least likely to be adopted for general practice.

There it was, and there, so far as we can trace, it lay dormant for over three years, until in the early part of 1901

it was taken up by the Bnghton Parish Church Company of the Sussex County Association, who rang the first peal of it. Since then it has become deservedly popular, arid the course of its growth in the estimation of leading bands of ringers may be traced by anyone who cares to do so in the pages of the ringing papers for the last quarter of a century. We give the full record of the first peal from Bell News, vol. xix, p. 571, and would also refer our readers to a letter by Mr. G. Baker, one of the performers in the peal, on pp. 580, 581, of the same volume.

Brighton, Sussex ; The Sussex County Association ; The Brighton Parish Church Branch.

On Friday, March 22nd, 1901, in three hours, nine minutes, at the Church of St. Peter, a peal of Bristol Surprise Major, 5088 changes. Tenor rot cwt. Arthur Fuller treble, George F. Attree 2, George Baker 3, George Smart 4, Frank Bennett 5, Robert ]. Dawe 6, George A. King J, George Williams tenor. Composed by Henry Dains and conducted by G. Williams.

In the following Tabulated lists of Peals, the reference, except where otherwise stated, is to the volume and page of the BELL NEWS. In the .list of Peals of Cambridge Surprise an asterisk indicates the Burton Variation.

Place. I Parish Church, Huddersfield

S. Giles', Norwich .. .. S. Mary's, Woolwich .. S. Matthew's, Bethnal Green

S. Peter's, Benington ... .. S. Peter's, Benington ..

S. Mary, Redenhall .. .. S. Paul's, Burton . .. . .

S. Paul's, Burton .. .. .. S. Paul's, Burton . . .. S. Anckew's, D~~by

.. ..

.. ·· . S. Paul'>, Burton .. .. S. Chad's, Pattingham .. .. S. Peter's, Drayton .. .. S. Paul's, Burton .. ..

SUPERLATIVE SURPRISE MAJOR.

TABULATED LIST OF PEALS TO THE END OF 1893·

S.,Pety. Date. Time. I,'gth. T'r.~ Composer. H. M . Cwt.

1821 Local Comp ... Nov. 5 3-II 5152 18

1835 I,.ocal Comp. ? Feb. 6 3-16 ·5376 14

1849 Coli. Youths Feb. 10 3-15 5376 14

1850 S, James' Soc·. Feb. 9 3-23 56oo 14

1855 Local Comp . .. May 29 3-15 5376 14

" " .. June 9 3-44 ' 6048 14

i877 Nor. Dio. Ass . Nov. 6 3-:37 5152

1884 Mid~ Counties May 5 3.20 5120 26

1885

" " Jan. 16 3-23 5088 26

" " Jan. -24 4·34 6720 26

" " Feb. 4 3·25 5056 26

" " Feb. ·12 3-21 5056 20

" " Aug . . 20 3-2915088 ' 26

o~. Dio. 'cd . Sept. 19 3· o 5088 14 Oct. 2 3-13 5120 9

Mid. Counties Oct. 14 3-22 5056 . 26 J p

Conductor.

B. Thackrah

S. Thurston

W. Banister

H . W. Haley .•

J. Kitchener J. Kitchener

B. Smith

W. Wakley

W. Wakley W. Wakley W. Wakley W. Wakley J. Griffin J. Griffin Rev. F . E. Robinson J. Griffin .

Reference.

Seep.

Seep.

Seep.

Seep.

IV, 169

III, 67

III, 513 Ill, 527 Ill, 539 Ill, 563 IV, 172 IV, 205 IV, 221

IV, 229

SUPERLATIVE (continued).

Place. Society.

I Date. I Time. I L'gth. T'r. Composer. Conductor. Reference.

H. M. Cwt.

•BBs All Saints', Duffield .. .. Mid. Counties Oct. •9 3.10 soBS I7 H. Dains .. .. IV, 244 S. Paul's, Burton .. ..

" " Oct. 29 3·27 50 56 26 N.J. Pitstow .. IV, 252

- , . " .. .. " "

Nov. 9 3·24 5056 26 H. Dains .. .. IV, 262

All Saints', Duffield .. .. " .. Dec. 28 3· 3 sos6 I7 N. H. Pitstow .. IV, 325

S. Aflc4e.w's, Derby .. .. " "

Dec. 29 3.!6 soBS 20 N.J. Pitstow· · .. IV, 325 S. Paul's Burton .. .. .. ,.

" Dec. 30 3·23 sos6 26 N.J. Pitstow . . IV, 325

r886

" " .. .. ..

" " April29 3·40 sos6 26 A. P. Heywood .. v, 44

" ,. .. .. ..

" " Sept. 2 3.28 sos6 26 A. P. Heywood .. v, 188

11 !J .. .. .. " "

Sept. 14 3.20 sos6 26 H. Dains .. .. v, 204 All Saints', Duffield .. ..

" " Sept. 17 3.20 sos6 17 N.J. Pitstow .. v, 205

S . Chad's, Pattingham .. " "

Sept. r8 3· 0 sos6 14 N. J. Pits tow .. v, 205 S. Paul's, Burton .. .. ..

" " Oct. 21 3·24 5088 26 N. ]. Pitstow .. v, 248

- ,_, "

.. .. .. " "

Oct. 26 3.20 5088 26 N. ]. Pitstow .. v, 249 , , .. .. .. ,, " Nov. 9 3·27 soBS 26 A. Heywood .. .. v, 284

S. Peter, Benington .. .. Herts Co. Ass. Nov. 12 3· 8 soBS 14 N.J. Pitstow .. v, 277 S. Paul'~, Burton .. .. .. Mid. Counties Dec. 3 3·32 soBS 26 A. P. Heywood .. v, 300 S. Peter, Benington .. .. Herts Co. Ass. N't giv'n 4· 2 6720 I.j. T. Miller .. .. .. v, 392

r887 S. Peter, Drayton . .. .. .. Ox. Dio. Gd. Feb. 16 3· 0 so88 9 A. P. Heywood .. v, 392 S . . Lawrence, Appleton .. ..

" " " Mar. 29 3· 5 ' soBS 14 N. J. Pitstow .. VI, 20

S. Peter's, Drayton .. .. " , , July 30 3·52 6o48 9 ] . W . Washbrook .. VI, 234 S. Paul's, Burton . . .. . . Mid. Counties Nov. 14 3·32 soBS 26 H. Dains .. . . VI, 414

1888 S. ·Paul's, Burton .. .. .. , ., jan. 26 3·19 5024 26 N.J. Pitstow .. VI, 547 S. Mary's, Braughing .. .. Herts Co. Ass. Feb. 8 2.57 5056 18 N. ] . Pitstow .. VI, 572 S. Lawrence, Appleton .. .. Ox. Dio. Gd. Mar. 6 2.58 sos6 IS N. ]. Pitstow .. VI, 607

A II S;htts'. Duffi~Id .. .. " " "

Mar. 20 3.10 5376 IS J. W. Washbrook .. VII, 7 .. .. Mid. Counties April 3 3- 6 sos6 17 N .' J . Pits tow .. VII, 31 J

SUPERLATIVE (continued).

Place. Society. Dale. Composer. Conductor. Reference. Time. L'gth., T'r., H . M. CWt.

-------------------l---------l---18_8_8-! -~------------1 i----s. Paul's, Burton . . • • Mid. Counties April 19 3.27 5056 26 A. P. Heywood ! W. Wakley .. ! vii, 66 S. Paul's, Burton . . . . , ,. May 31 3.27 sos6 26 N. ]. Pitstow .. I J . Griffin S. Peter's, Drayton Ox. Dio. Gd. July 23 2.s8 sos6 9 J. W. Wash brook .. f J. W. Wash brook . .

VII, 151 VII, 236 VII, 344

S. M~'s, Bra~ghing S. Paul's, Burton ..

" " ., . .

1

Herts. Co. Ass. . . Mid. Counties

S. Helen, Ashby de Ia Zouch S. Lawrence, Appleton

Mid. Counties Ox. Dio. Gd.

S. Peter's, Drayton S. Lawrence, Appleton .. S. Paul'~. Burton ..

S. A~drew's, Hertford All Saints', Duffield

S. Paul's; Burton .. All Saints', Duffield S. Paul's, Burton .. All Saints', Duffield S. Peter's, Brighton S. Mary's, Redenhall S. Peter's, Drayton S. Paul's, Burton . .

. ::1

!

" " " Mid. Counties , '' ..

Herts Co. Ass. Mid. Counties

..1 "

::!' :: :: •• " 11

.. , Sus. Co. Ass.

.. 1 Nor. Dio. Ass. . ·I Ox. Dio. Gd.

. . Mid. Counties

S. M~ry Magd~Iene: .Boin:ey : :1 S;;s. Co. Asso. S. Botolph, Heene . . . . . . , , , S. Paul's. Burton . . . . . . ! Mid. Countie~

Sept. 21 2.48 so88 9 N. ]. Pitstow ' J. W . Washbrook . . Nov. 15 3.10 soBS 19 J . W. Washbrook . . J . W. Washbrook .. VII, 440 Nov. 22 3.30 S056 26 C. H . Hattersley .' . W . Wakley .·. VII, 4S2

t889 Feb. 6 3.12 so24 17 H . Dains W. Wakley VII, S84 Apri126 3· 3 so88 IS J. w. Washbrook . ]. w. Washbrook .. VIII, 51 June 3 2-S3 so88 9 J. W. Washbrook . J. W. Washbrook . . VIII, III Sept. I7 3· 0 soBS IS J. w. Washbrook . J. w. Washbrook . . VJII, 29S Oct. 24 3-2S 5088 26 N.J. Pitstow J. Griffin . . vm, 367 Nov. 14 3.22 5088 26 N.J. Pitstow W. Wakley VIII, 403 Nov. 21 3- 9 soBS r6 J. W. Wash brook . . ' J. w .. Wash brook . . , VIII, 4IS Nov. 22 3· 4 soBS 17 N. J . Pitstow A. P. Heywood . . vm, 416

1890 · Jan. 9 3-24 so88 26 N.J. Pitstow W. Wakley . vm, 495 Jan. II 3-15 so88 I7 A. P . Heywood A. P. Heywood VIII, 495 Jan. r6 3.29 so88 26 N.J. Pitstow • • J. Griffin vm, 507 Feb. 12 3· 3 5088 r7 N.J. Pitstow Rev.C.D. P . Davies VIII, 544 July I7 3· 7 so88 IO N.J. Pits tow G. F. Attree . . . . : IX, 215 Oct. II 3-20 so88 24 N.J. Pitstow J. W. Washbrook . 'I IX, 3S9 Oct. r8 3.10 SS36 9 J. W. Washbrook . . J. W. Washbrook .. IX, 372 Dec. II 3-29 soBS 26 N. J. Pits tow J. Griffin . . . . IX, 467

r8gr Jan. IS May 13 May IS Oct. 21

3.30 lso88126 3· I so88 IS 2.57 so88 ro 3.23 soBS 26

N . ] . Pitstow .. W. Wakley J . W. Washbrook .. , J. W. Washbrook .. J. W. Washbrook .. J. W. Washbrook . . N.J. Pitstow .. W. Wakley

rx, 527 x, 105 x, 105

x, 379

SUPERLATIVE (continued). - -

Place. I society. Date. I Time. ~~ T'r.l H. M . Cwt. Composer. I Conductor.

-

I Reference.

1891 S. Peter's, Brighton Sus. Co. Asso. Dec. 19 3-I3 sos6 IO H . Dains G. Williams X, 476

1892 S. Mary's, Kiddenninster Wor. and Dis. Feb. 10 3-17 5056 30 H. Dains .. R. E. Grove x, 571 All Saints', Duffield Mid. Counties Mar. I 3- 7 so88 17 N. J. Pitstow .. W. Wakley x, 596 S. Mary's , Kiddenninster .. Wor. and Dis. Aug. 3 3- 5 so88 30 H. Dains R. E. Grove XI, 239 S. Peter in the East, Oxford Ox. Die. Gd. Oct. 7 2.58 so88 9 J. W. Wasb.brook .. J. W. Washbrook . . XI, 347 S. David's, Exeter .. .. Devon Guild Oct. IO 3-I2 5088 12 J. W. Washbrook .. J. W. Washbrook .. XI, 359 S. Paul's, Burtoo .. Mid. Counties Oct. 27 3-14 5088 26 A. P. Heywood W. Wakley XI , 383 S. Mary'~, Braughing Nov. 17 2-59 so88 19 J. W. Washbrook . . J. W . Washbrook .. XI, 4I9 S. Peter's, Sheffield Yorks. Asso ... Nov. I9 3-II 5056 14 C. H . Hattersley .. C. H . Hattersley . . Xl 1 420

Christ Church, Southgate Ox. Dio. Gd. Dec. 3 4-58 7072 25 J . W . Washbrook .. J . W. Washbrook .. XI, 443 1893

S. Chad's (R.C.), Birmingh'm Wor. and Dis. Jan. I8 3-15 5056 IS C. H. Hattersley .. R. E. Grove . . XI, 576 S. Mary's, Saffron Walden Ess. Co. Asso. Feb. 27 3-14 5024 24 N.J. Pitstow F. Pitstow XI, 589 S. Peter, Drayton . . Ox. Dio. Gd. April 3 2.51 5152 9 J. W. Washbrook .. J. W. Washbrook . . XI, 6JI S- John Baptist, Newcastle Dur. & New. April 10 2-59 50 56 12 C. H. Hattersley .. C. L. Routledge XI, 661 S. Peter, Brighton .. Sus. Co. Asso. April II 3· 5 5o88 IO N.J. Pitstow H. Weston XI, 660 S. Peter, Caversham Ox. Dio. Gd. April 15 3· 0 5088 14 N. J. Pitstow T. Newman XI, 671 Christ Church, Oxford " " "

April x8 3-36 so88 30 J. W. Washbrook .. J. W . Washbrook .. XI, 672 S. James', Quedgeley Glo. and Bris . April28 3- 0 so88 9 N. J. Pitstow J . Austin XI, 6g6 S. Peter, Brighton .. .. Sus. Co. Asso. May I 3· 2 5o88 10 N. ]. Pitstow G. Williams XII, 7 · S. Mary Magdalene, Gilli'g'm Kent Co. Ass . May 27 3· 8 5056 16 G. Lindoff G. Lindo!I XII, 43 S. Michael's, Gloucester Glo. and Bris . June I 3-28 5o 56 20 J. Thorp E . B. James XII, 55 S. John Baptist, Newcastle .. Dur. & New. June 19 2.51 5056 12 C. H . Hattersley C. L. Routledge XII, So Hexham Abbey , " June 22 3.18 5152 21 G. Green C. L. Routledge XII, 91 S. Peter in the East, Oxford Ox. Dio. Gd. Aug. 3 2-55 5088 9 J. W. Washbrook .. ]. W. Washbrook .. XII, 175 S. John Baptist, Crawley Sus. Co. Asso. Sept. 14 3- 2 5024 14 H. Dains J . Parker .. .. XII, 236 s: joii.D. Baptist, Newcastle · Dur. & New; Oct. 2 2-53 5056 12 C. H. Hattersley W. Holmes .. XII, 259· S. Paul's, Burton .. .. .. Mid. Countieli Oct •. 5 3-28 so88 26 N.J. Pitstow .. N.J. Pitstow .. XII, 271

SUPERLATIVE (continued).

. Place. Society.

I Date . Time I L'glh. T'r. Composer.

I Conductor. I R~ference.

H.M. Cwl.

1893 H. Tilnfty, C.uckfield . . . . Roy. Cumb. · ~. Oct·. I4 2.S7 S056 . IS H. Dains .. . . G. Williams .. . . xu; 283 s. biary _Ma~dalene; Bolney .. Roy. Cumb ... Oct . . IS 2.59 so88 .. IS N . J. Pitstow . . G. Williams .. .. XII, 284 S. P¢ter; Caversbam . . . . Ox. Dio. Gd: Nov .. II 2.52 5088 14 N. J. Pit stow . . T . Newman .. .. XII, 332 s. Mar);•s; Handsworth .. Ate b. Staffs ... Nov. 25 2.5s 5056 13 C. H. Hattersley .. R. E. Grove .. .. XII, 356 S.- ~1arv; Kidderi:nhi.ster .. Wor. and Dis. Dec: 6 3.10 so88 30 H. Dains .. .. .. R. E. Grove . . .. XII, 379 s. John Baptisi,:·crawley .. Sus. Co. Asso. Dec:· 6 2;S6 so88 14 N. ], Pitstow .. ]. Parker .. .. xu, 379 s. Mary's, Horshain .. ..

" " " Dec. · 9 3·1S 5656 24 H. Dains .. . . ]. Parker .. . . xu, 380

Cbri_st Church, Epsom .. .. " " "

Dec; ·26 3· s sos6 12 H. Dains .. .. ]. Parker . . .. XII, 404 S. Mary, Kiddermins~ Wor. and Dis. Dec: 30 3.I2 S0 56 30 C. H. Hattersley . . R. E. Grove .. .. xn, 416

CAMBRIDGE SURPRISE MAJOR. TABULATED LIST OF PEALS TO THE END OF rgoo.

Place. I Society. I Date. I :ii~~·.l L'gth.~J~rt.l Composer. Conductor. I Reference.

I ' ,.-----

S. Giles'F in the Fields ..

S .. Peter's, Sheffield

Keighley, YorkEhire

5 .. Peter's, Huddersfield

·s. Peter's, Benington

S. Paul's, Burton •.. 5". :Pauts, Burton All Saints', Duffield S. LP.wrence, Appleton ..

•s. :Paiu•s, Budon . . . . . " '·

• • * . ~,.,----------- .~,..,.._..-,.,, ___ .............. . S. Peter's, Drayton S. Helen's, Abingdon

. . , Lon. Youths ..

. .. Coli. Youths ..

.. , Local Camp ...

178o Jan- 30

1783 Feb. 23

1787 Nov. 5

I8II Aug. 18

1822 . . , Feb. 13

3·30 5I52

4.18 6048

3· 8 5378

3-51 6720

r8 Seep .

18 Seep .

33 Seep.

14 I JoEeph TebbE ... David Smith .. . ., Seep.

18 I B. Thackrah .. .. , B. Thackrah .. .. , Seep.

Thel foregoing! early I peals !were! false. Seep. 86 seq.

.. , Lo.cal Comp ...

. .

1

Mid .. Co.unties . . Mid. Counties

" " . .1

Ox. Dio. Gd. . . Mid. Counties

··-·1-~--------,,. .... . . Ox. Dio. Gd.

1873 Feb. II

1887 Feb. 7 Feb. 14· !'eb. 19 Mar. I

Apri12o Sept. 29 Dec .. 29

1888 Jan. I9 April 5 June 4 June 16

3-25

3·34 3·43 3· 7 j. 8 3-25 3.28 3-26

3-24 ···3-19

2-54 3.10"

56oo

5I84 5600 5056 5056 5o88 5088 5956

14- 1 C. Midd)eton

26 Heywood's Var. 26 C. Middleton x8. Johnson's Var. 15 Johnson's Var. 26 A. P. Heywood 26 A. P. Heywood 26 N. J. Pitstow

i .. , T. Page .. .. I Seep;

W. Wakley . . . . v, 37~ W. Wakley . . . . v, 392 · W. Wakley . . . . v, 419 Rev. F. E. Robinson v, 401 W. Wakley .. · .. VI, 56 W. Wakley . . • . vi, 343 J. Griffin . . . . . VI, 500

.so$i . .26 H. Dains . . . ·1 J. Griffin . . . . 50241 z6 H. Dains . . . .I J. Griffin . . . .

Sl..i!.4 . 9. Washbrook's Var. J. W. Washbrook .. 5b56 · "21 Johnson's Var. . ·i J. W. Washbrook ..

VI, 535 VII, 43 VII, 152 vrr, 175

. , CAMBRIDG!_ (confinued).

Place. I Society, ~~ lJ.m~~ 1 L'gth.'l ~.I Composer. I Conductor. I Rdereuce,

- ----------- I I ' I I r888

June 26 July ·7 Aug. 4 Aug. 6 Nov. 13

S. Ann's, Highgate. Dorchester .Abbey : .

. , , S. Peter's, Drayton S. Peter's, Beni.rigton

•s. Paul's, Burton .. *

*All Saints', Duffield

S. Peter's, Brighton *S. Paul's, Burton . . Christ Church, Southgate

S. Giles's in the Fields . . •s. Paul's;, Burt<-n ..

. .

1

Roy. Cumb .• . . . Ox. Dio. Gd.

" " " . , , Herts Co. Ass.

. , , Mid. Counties • • I ,

. 'j Sus. Co. Asso.

..

1

Mid. Counties . . Roy. Cumb ...

.. 1 , , ..

. . Mid. Counties

S. Peter in the East, Oxford I Ox. Dio. Gd. *S. Paul's, Burton . . . . . . Mid. Counties

S. Peter's, Brighton . . . . 1 Sus. Co. Asso.

S. M~~ Magdai~ne, Gilli'g'n; ·1 K~nt Co. A~s­•s. John Baptist, Crawley . . Su~. Co. Asso.

S. Botolph, Heene . . . .

1

, , , S. Mary's, Kidderminster . . Wor. and Di~ . S. james', Quedgley .. Glo. and Bris. Christ Church, Eastbourne . . Sus. Co. Asso.

r889 Nov. 7 Nov. 28

r89o June ro

r89r Jan. 22 April 9 Nov. 28

1892 Jan. 30 April29

1893 Mar. 23 Oct. 12 Nov, 14 Nov. 28 Dec. 9 Dec. 21

r894 Apri1 24 May 9 May 9 May ro

2.55 3· 9 3· 5 . 2.40 3· I

3·29 3.26

3· 2

3· 5 3·31 3·33

3· 3 3·3°

2.51 3·25 3·14 3·34 3.10 2.59 1

2.55 3·15 3· 7 2.58

5056 14 5056 1.9 5152 19 5056 9 5056 14

5o88 1 26 5056 26

5o88 I 17

5152 , 10 5088 26 5152 25

5152 I 18 so88 26

5056 9 5088 26 5056 ro 5600 ro 5056 · r6 5056 r4

50561 10 5056 30 5056 9 so56 8

Johnson's Var, johnson's Var. C. Middleton Johnson's Var . johnson's Var.

G. New~on . . vn, 186 ]. W. Washbrook . . vn, 2II

J- w. Washbrook . . vii, 258 ] . W. Wash brook . . VII, 258 ]. W. Washbrook .. vn, 440

A. P. Heywood .. i ] . Griffin C. H. Hattersley .. , ] . Griffin

. 'I VIII, 391

. . VIII, 427

N. ]. Pitstow

C. Middleton H . Dains C. Middleton

C. Middleton N. ]. Pitstow

Johnson's Var. N. ]. Pitstow Johnson's Var. C. Middleton Johnson's Var. H . Dains

Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var.

.. , A. P. Heywood

..

1

G. F. Attree .. W. Wakley .. G. Newson

. . , G. Newson

..

1

W. Wakley

.. , 1x, 143 i

. 'I IX, 539

. . x, 55

.. x, 438

· ·1 x, 547 .. · XI, 70

.. II ] . W. Washbrook ..

.. W, Wakley .... x1, 635 XII, 283 xn, 332 XII, 357 XII, 381 xn, 403

H. Weston ..

1

G. Williams , . . . G. Lindoff .. I J. Parker ..I ..

1

G. Williams . . . . .. R. E. Grove . . . . , . . ]. Austin . . . . . . T. W. Washbrook . .

XII, 608 XII, 643 XII, 643 XIII. 7

CAMBRIDGE (continued).

Place. Socidy.

I Date; Time. L'gth. l T'r. Composer. Conductor. Rderen~.

H. M . Cwt.

Sus. Co. Asso. 3· I 5056 I2 J. W. Wa!'hbrook .. XIII, 7

. ! Wor. and Dis. 3.I7 5056 30 R . E. Grove .. .. XIII, 43

·1 Ess. Co. Asso. 3.16 5056 24 F. Pitstow .. . . XIII, 67

. Sus. Co. Asso. 3.26 5056 r8 G. Williams .. . . XIII, 333

.! .. ,, .. 3· 9 5056 15 G. Williams .. .. XIII, 333

i .. .. ,. J.I8 5I84 I7 G. Williams . . .. XIII, 333

,. " "

3· 6 5056 I6 G. Williams . . .. XIV, 333

I 3.16 5056 I8 G. Williams XV, 466 ' I .. .. .. .. ..

. Mid. Counties 3-34 so88 26 W. Wakley .. .. xv, 623

. j Col!. Youths 3-20 5056 24 ]. N. Oxborrow .. XVI, liS

. : Sus. Co. Asso. 3· 4 sos6 I5 G. Williams .. . . XVI, I75

.I CoiL Youths 3-23 5056 24 C. T . P. Brice .. XVI, 25I

. 1 Col!. Youths 3· 0 5056 I5 H. R . Newton .. XVI, 299

.I .. .. 3-22 5056 24 ]. N. Oxborrow . . XVI, 349

1 7 , 3· 7 so 56 20 H . R. Newton .. XVI, 364 . Wor. and Dis. 3· 0 5056 I2 W. H. Barber .. XVI, 364 .

1

sus. co. Asso. 3· 7 5056 I8 G. Williams .. ... XVI, 400 . Wor. and Dis. 3· 8 5152 30 R. E . Grove . . .. XVI, 400

· , , " " 3· 3 5056 9 A. E . Parsons .. XVI, 399 . ' Col!. Youths 3· 0 5056 I6 C. T. P. Brice .. XVI, 4II

Ox. Dio. Gd. 2-54 5056 14 T. Newman .. .. XVI, 424

Glo. and Bris. 3-IS 5056 ::10 ]. Austin .. .. XVI, 459 Wor. and Dis. 3-34 56oo _30 R. E . Grove .. .. XVI, 524 Coli. Youths 3.12 5056 24 C. T. P. Brice .. XVI, 57I Wor. and Dis. !2 R. E . Grove .. .. XVI, 621 .p p 59 I 505 J

Place.

S. Michael, Gloucester . . . . . S. ·Andiew, Netherton . . . . S. 'john Baptist, Southover .. Cliichester Cathedral . . . . S. Peter, Caversham .. S. Leonard, Bridgnorth .. S. Peter, Soberton . . . . . . Holy Trmity, Privett . . . . . S. Mary, Kiddenninster .. s ·. Peter, Petersfield . . . . s ·. Peter, Caversham . . . . Christ Church, Oldbll.ry .. S. Mary, Prest bury . . . . . S. Mary Magdalene, Bolney .. S. Mary de Crypt, Gloucester S. Michael, Gloucester . . . . S. Nicholas', King's Norton .. s. John Baptist, Hagley .. S. Mary, Saws ton · .. . · . . . .

S. John Baptist, Erith .. S. Peter, Caversham . . . .· S. Mary de Crypt, Gloucester S. Paul, Drighlington . . . . s: Jcilin,'SmethwfCk . . . . S. Peter, Drayton . . . . . . S. Peter, Croydon . . . . . . s. Peter, Caversham . . . . S. Stephen's, Westminster ..

S.ociety.

Glo. and 'Bris. Wor. and Dis. Sus. Co. A~so.

" , , Ox. Dio. Gd. Wor. and Dis. Win.Dio. Gd.

W~r. ~d Dis. Win. Dio. Gd. Ox. Dio. Gd. Wor. and Dis. Glo. and Bris. Sus. Co. Asso. Glo. and Bris. Glo. and Bris. Wor. ~dDis.

" , , Ess. Co. As~o.

Kent Co. Ass. Ox. Dio. Gd. Glo: and Bds. Yorks. Asso ... SfaHs. Aicft. Ox. Dio. Gd. Sus. Co. Ass. Ox. Dio. Gd. Coli. Youths

CAMBRIDGE (continue([}.

Date. I Titne. l L'gth., T'r., Composer. I Conductor. . r Reference, H. M. Cwt.

---- -----------------1---------------------1898

May . 5 May 14 Aug. 3 Aug, 8 Sept. 5 Sept.24 Oct. 3 Oct. 4 Oct. 5 Oct. 5 Oct. 8 Oct. 22 Nov. 19 Nov. 26 Nov. 29 Dec. 8 Dec. w Dec. _17 Dec. 27

1899 Jan. 22 Jan. 23 Jan. 31 Mar. 4 Mar. II April 3 May 6 May 8 May 20

3·14 3·13 3· 6 3.22 2.53 3·13 3· 6 3·15 3· 8 3.10 2.50 3· 2 2.52 2.58 2.48 3.10 3· 7 2.52 3.18

3.12 2.54 2.52 3·14 2.58 2.42 3.26 2.52 3.21

5056 20 5056 12 5056 18 5056 21 5056 14 5056 22 5056 14 5056 12 5056 30 5056 16 5056 14 5152 10 5056 14 5056 xs 5056 14 5056 20 5056 14 5056 9 5056 14

5056 18 5056 14 5184 14 5056 r6 5ci56 10 5o56 9 5056 27 5056 14 5056 24

Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. C. Middleton Johnson's V ar. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var. Johnson's Var.

.. J. Austin .. ..

. . R. E. Grove . . . .

. . K. Hart . . . .

. . G. Williams . . . .

. . Rev. F. E. Robinson

. . R . E. Grove . . . .

. . G. Williams . . . .

.. G. Williams . . . .

. . T. J. Salter . . . .

. . G. Williams . . . .

. . T. l;'rewman ....

. . R . E. Grove . . . .

. . J. Austin . . . .

. . G. Williams . . . .

. . J . Austin ..

. . J . Austin .. R . E. Grove ..

.. 1

W . Short . . . . . . F. Pitstow . . . .

XVI, 667 XVI, 680 XVII, liS XVII, II6 XVII, 164 XVII,_ 200 XVII, 225 XVII, 225 XVII, 223 XVII, 225 XVI{, 224 XVII, 247 XVII, 296 XVII, 315 XVII, 309 XVII, jji XVII, 332 xvu, 345 XVII, 358

Johnson's Var. . . W . Pye . . . . . XVII, 404 Johnson'.s Var. . . Rev. F. E. Robinson XVII, 4o4 Washbrook'·s Var. Rev. H . L. James xvii, 439 Johnson's Var. J. Cordingley XVII, 476 Johnson"s Var. W. H. ·smith . . . . xv1i; 488 Johnson's Var. Rev. F. E. Robinson XVII, 523 Johnson's Var. K . Hart . . . . XVII, 584 Johnson's Var. T. Newman . . . . XVII, 584 Johnson's Var. . . J. N. Oxborrow .. xvm, 7

Place.

S. Margaret, Barking .. 1

AllHallqws', Barking . -1

•s. Paul, Burton . . . .I S. Margaret, Barking . ·I · S. Edward, Netley . . . . . S .. Peter, E .. Tytherley .. ! S. Thomas', Pendleton

. SS. Peter and Paul, Headcom S. Nicholas', I<ing's Norton .•

" , , .. S. Peter, Caversharn S. Mary's, Woolwich . . . . S. Mary Magdalene, Wool\\'ich

•_s. Mary, De benham .. Gloucester Cathedral

•s .. Margaret , Ipswich . . . . S. Stephen; Bristol .. S. Stephen, Westminster . . S. Peter, Brighton . . . . . . All Saints', Bristol, . . . .

Society.

Es5 . Co. Asso . Mid. Co. Asso. Mid. Counties Mid. Co. Ass. Win. Dio. Gd.

JJ ,,. "

Lanes. Asso. Kent Co. Ass . Wor. and Dis .

S. M'tin's Gd. Coli. Youths Kent Co. Ass.

, , , Nor. Dio. Ass . Glo. and Bris. Nor. Dio. Ass. Glo . and Bris. Coli. Youths Sus. Co. Asso. Glo . and Bris .

CAMBRIDGE (continueil) .

Dale. ~~m~·- 1 L'gth. ~~-. L Composer. ~- Conductor. I Reference.

r899 May 27

Sept. 9 Sept. 2I

Sept. 23 Sept. 25

Sept. 26 Oct. 9 Nov. 5 Dec. 9

1900

Feb. 7 Mar. 5 April 5 July 5 Aug. 6 Aug. 4 Sept. I4 Nov. 3 Dec. I

Dec. 6 Dec. 6

3· 8 3.i6 3-32 3: I4 3· 2

3· 5 2-51 3 -II 3· I

3· 2 2-49

3- 0

3· 2

3: 2

3·15 3.15 3- 8 3· 8 3-13 2.55

5056 sos6 so88 sos6 5056 5056 sos6 5056 sos6

5056 5056 sos6 5056 sos6 sos6 5248 5056 sos6 sos6 sos6

22 Johnson's Var. 20 Johnson's Var. 26 N . J . Pitstow 22 Johnson's Var.

8 Johnson's Var. r4 Johnson's Var. I4 johns<>n's Var. 26 I johnson's Var. rs johnson's Var.

IS I4 I2

13 20

26 16

2I

24 IO

19

Johnson's Var. Johnson's Var. Johnson's Var. johnson's Var. G. Lindoff .. johnson's Var. G. Lindoff .. Johnson's Var. Johnson's Var. Johnson's Var. Johnson'f Var.

.. A. C. Hardy

.. W. Pye

.. W. Wakley

.. J. H. Cheesman G. Williams .. G. Williams H. Chapman W. Pye ..

. . J. S. Pritchett

.. W . Short

.. T. Newman

. . J. Cheesman ..

.. W. Pye

.. C. Mee

.. J. Austin

.. C. Mee ..

.. W . A. Cave

. . J. N . Oxborrow

.. G. Williams ..

.. W . A. Cave

•• XVIII, 18

XVIII, 199

XVIII, 223

XVIII, 225

·xvin, 237

XVIII, 237

XVIII, 259

XVIII 296 XVIII, 357

XVIII, 463 • . XVIII, 501 . . XVIII, 559

XIX, 127

XIX, I75

XIX, 186

XIX, 247

XIX, 332 XIX, 379

• • XIX, 391

XIX, 392

PJ.ac:e.

S. Andrew's, Norwich

S. Mary's, Woolwich

S. Peter's, Benington

S. Paul's, Burton

" " All Saints', Fulham S. Paul's, Burton ..

All Saints', Duffield

S. Paul's, Burton . .

All Saints', Duffield

S Paul's, Burton S Peter's, Brighton S. Michael's, Hughenden

S. Peter in the E., Oxford S. Paul's, Burton ..

LONDON SURPRISE MAJOR.

TABULATED LIST OF PEALS UP TO THE END OF 1900.

Society. Date, I ii~~·- 1 L'gth.\J.:t I 1-----1------, I I .

3-24- I 5280 IS Local Comp . . . I835

Nov. I7 I849

Oct . II Coli. Youths ..

Local Comp ...

Mid. Counties

•• t , 111

i

::1 " ,

Sus. Co. Asso. Ox. Dio. Gd.

, " " Mid. Counties

I870 Dec. 26

I887 Sept. I

I888 Nov. I

Nov. 8 Dec. 8 Dec. 20

J889 Jan. 21

1890 Apri124

I89I July I4 July 31

1892 Feb. 25 Nov. 22 Dec. ro

1893 Jan. 5 Sept. I4

3.27 I 56oo I I4

3-37 I 6o48 I I4

3.30 I 5024 I 26

3-31 4-39 3-19 3·30

3-I7

3-36

3.21 3· 9

3-22 3.18 2.52

2.58 3-32

so88126 6720 26 soBS 20 so88 26

.50241 I7

.5I841 26

.5024

1

I7 5I84 I7

.5024 1 26 so88 IO 5024 I2

so88 1 9 5024 26

Composer.

W. Banister

J. Miller ..

A. P. Heywood

N. J. Pitstow W. Harrison . . N. J. Pits tow N. J. Pitstow

W. Sottanstall

W. Sottanstall

A. P. Hey\\·ood W. Sottanstall

W. Sottanstall N . J. Pitstow A. P. Heywood .. .

J. w. wa~hbrook. ·I A. P. Heywood ..

Conductor.

S. Thurston

W. Banister

T . Page ..

W. Wakley

J. Griffin J. Griffin W. Wakley W. Wakley

.I Reference.

.. I I

Seep. · .> .~

1 vr, 294

vn, 414 VII, 427

1 vn, 475

. . I VII, 500 j

I . . . .

1

vu, 548

J. Gnffm .. ; IX, 7I

W. Wakley

A. P. Heywood . . I x, 200 A. P. Heywood I x, 236

I W. Wakley G. F. Attree ]. Evans

. ·I X, 595 . . . . xr, 420

.. I xr, 456

I J. w. Washbrook ..

1

• xr, .503 W. Wakley . . . .. xu, 235

LONDON (continued).

Place. Society I Date I Time. I L'gth.l T'r. l H . M . Cwt.

---------------+---- ----~

Composer.

S. Michael, Hughenden . . Ox. Dio. Gd. Sus. Co. Asso. Roy. Cumb .. . Ox. Dio. Gd . Glo. and Bris. Sus. Co. Asso.

S. Peter's, Brighton Holy Trinity, Cuckfield S. Michael, Hughenden . . • S. Michael, Gloucester . . . ·I S. Mary Magdalene, Bolney .. S. Peter. Brighton ..

S. James', Quedgeley S. Michael, Hughenden S. John Baptist, Crawley S. Paul's, Burton .. S. Mary Magdalene, Bolney

. .

1

Glo. and Bris. ..

1

Ox. Dio. Gd. . . Sus. Co. Asso. . . Mid. Counties

Sus. Co. Asso. S. John Baptist, Southover ..

1

, , ,

S. Michael, Hughenden . . Ox. Dio. Gd. S. Paul's, Burton . . . . Mid. Counties

All Saints', Boyne Hill .. S. Paul's, Burton . . S. John Baptist, Crawley S. Peter, Drayton .. S . Peter in the E ., Oxford Christ Church, Oxford S. Peter's, Drayton S. Paul's, Burton . . . .

. . 1

Ox. Dio. Gd. ••

1 Mid. Counties

.. ' Sus . Co. Asso.

. . I Ox. Dio. Gd.

, " " . . , Mid .- Counties

, , •• •• 1 , ,

S. Mary Magdalene, Bolney . . 1

Sus. Co. Asso. S. John Baptist. Lindfield , .

I894 . Jan. 26 June I2 Oct. 6 Nov. 2

Nov. 8 Nov. I7 Nov. I9

I895 Jan. 25 Feb. 22 Sept. 30 Oct. 31 Nov. 23 Nov. 25 Nov. 30 Dec. I2

I896 Feb. 8 Feb. 13 May Io May 25 Aug . I8 Aug. 28 Sept. I7 Oct. 8 Oct. I6 Nov. I9 Dec. 5 Dec. I9

2.S6 3.II 3·I5 3· 0

3·II 3·I3 3.IO

3· 7 3· 3 3· 0

3·25 3· 6 3.II 2.56 3·31

3.II 3·31 3· 0

2.43 2.54 3·37 6. 6 3,36 3·36 3·37 3· 2

3·I7

Sl84 5024 5024 5184 S024 soBS S024

so88 5184 5024 5024 5088 5088 5I84 5024

5088 5088 5o88 5088 5184 Sl84

,, II328

5I84 5184 5I84 5088 5024

12 W. Sottanstall Io H. Dains .. IS H. Dains .. 12 C. Price . . . . 20 Rev. H. L. James .. IS J. W. Wasbbrook .. IO Rev. H. L. James ..

9 Rev. H. L. James:. I2 H. Price .. 14 H. Dains 26 W. Sottanstall I5 H. Dains .. IB Rev. H . E. Bulwer I 2 W . Sottanstalt . . 26 W. Sottanstall

I7 J. W. Washbrook .. z6 Rev. H. E. Bulwer I4 H. Dains .. 9 J. W. Wasbbrook .. 9 J. W. Washbrook ..

3I J . W. Washbrook .. 9 J. W. Washbrook ..

26 G. Lindoff . . . . 26 G. Lin doff .. 26 I•J. W. Washbrook ..

1

.

I4 J. W. Washbrook .. 21 I F . Deneb . . . .

Conductor. I Reforence.

Rev. F. E. Robinson G. Williams . . .·. G. Williams Rev. F . E . Robinson Rev. H. L. James .. G. Williams . . . . G. Williams ..

Rev. H. L. James .. J. Evans . ·1 J . Parker .. ,

H . Wakley . ·1 G. Williams . . . . G. Williams .. J . Evans ..

1 H. Wakley . . . .

J . Evans W . Wakley . . G. Williams J. W. Washbrook .. J. W. Wasbbrook . . ! J. W. Washbrook ..

1

1

J. W. Wa£hbrook . . W. Wakley . . . . W. Wakley . . . . W. Wakley . . . ·I G. Williams . . . . G. Williams . . . . 1

XII, 463 XIII, 55 XIII. 248 XIII, 294 XIII, 307 XTII, 333 XIII, 333

XIII, 440 XIII, 495 XIV, 224 XIV, 284 XIV, 332 XIV, 333 XIV, 33I XIV, 356

XIV, 452 XIV, 463 XV,27

XV, 63 xv, 198 XV, 223 xv, 269 xv, 3I7

XV, 336 XV, 411 XV, 466 XV, 467

Place. Society.

Merton College, Oxford .. , Ox. Dio. Gd.

S. Mary, Kidderrninster .. S . Peter, Drayton . ~ . . . . :S. Peter's in the East, Oxford s, Peter's, Caversham . . . .

'' '' .. S. Peter's, Brighton .. S. Mary Magdalene, Bolney ..

·S Mary, Eastboume . . . .

S John Baptist, Si>uthover .. S Mary's, Putney . . . . S. Matthew, Bethnal Green .. S . Michael, Hughenden .• S. Stephen, Westminster S. Aocfrew; Steyniri.g . . . . S. John Baptist, Crawley •. S .. Paul, Burton . . • . . .

S. N'icholas ·, Brigbt;n : :

Wor. and Dis. Ox. Dio. Gdc

" " " Sus. Co. Asso.

, , " Coli. Youths ..

, '' .. Ox. Dio. Gd. Coil. Youths Sus. Co. Asso.

u . , " Mid. Couotie~

" , Sus. Co. Asso. Coli. Youths S. Barnabas', Pimlico ..

S. ·Mary's, Kiddenninster S. Paul's, Burton . . . .

-s; Matthew, Clapton ..

. . Wor. and Dis.

. . Mid. Counties . . ·Coli. Youths

S. Peter, Caversham ..

S. Mary, Saffron Walden S. Stephen, Coleman St.

. . Ox. Dio. Gd.

•. 1

Essex Asso. • • . . Sus. Co. Asso.

LoNDON (continued).

Dale.

1896 Dec. 28

1897 Jan . 6 Jan. 7 jan. r2 April IO May 23 July 26 Nov. 27 Dec. r8

1898 jan. r7 jan, 24 Feb. 12 May 20 June II july 3o July 31 Nov, ro Nov. 24 Nov. 28 Dec. 6

·Dec. 7 Dec. 8 Dec. 17 Dec. 20

1899 jan. 10 Jan. 14

Time. I. L'gth. l T'r. r Composer. I Conductor. I Reference. H.M. ~~-

3·40 1-::-· 3-16 2 .4-f. 2.41 2-55 2.52 3.16 3-10 3· 0

3· 5 3· 8 3.10 3· 0

3-20 3-17 3· 3 3-32 3-33 3-12 3.18 3-16 3-30 2-54 3· 2

3-15 3· 9

soBS soBS 5056 5184 sos6 soBS soBS sos6

soBS SI84 so88 so88 so88 so 56 so88 S024 5024 5024 so88 5024 5024 soBS 5184

sos6 5024

]. W. Washbrook .. 1 ] . W. Washbrook .. 1 xv, 482

30 N. ] . Pitstow . . R. E . Grove . . . . xv, S07 9 ]. W. Washbrook .. Rev. F. E . Robinson xv, so7 9 ] . W. Washbrook .. ]. W. Washbrook .. xv, soB

IJ G. Lindoff . . T. Newman . . . . xv, 684 13 G. Lindoff . . T. Newman . . . . xvr, 56 ro ]: W . Washbrook . . G. Williams . . . . XVI, 164 14 H . Dains . . . . G. Williams . . . . XVI, 400 IS F. Bennett . . . . G. Williams . . . . xvr, 424

18 16 14 12 24 12 14 26 26 I7 20 30 z6 15 14

24 14

H . Dains . . . . F. Dench .. . . ] . W. Washbrook .. ] . W. Wa~hbrook •• ]. W . Washhrook . . F. Bennett . . . . Rev. H. E . Bulwer A. P. Heywood .. A P Heywood .. H. Dains . . . . ]. W. WaEhbrook .. H. Dains . . . . A. P. Heywood .. J. W. Washbrook .. ] . W. Washbrook ..

G. Williams .. ]. N. Oxborrow W. T. Cockerill ]. Evans .. C. T. P. Brice G. Williams .. G. Williams .. W. Wakley .. ] Griffin .. G. Williams . . H. R. Newton R . E. Grove .. W. Wakley .. ]. N . Oxborrow T. Newman ..

N. ]. Pitstow H. Dains

.. , F. Pitstow •. I G. Williams ..

•• XVI, 472 • • XVI, 483 • • XVI, 523 • . XVI, 691 , . XVII, 19 •• XVII, i03 •. ·xvn; 103 •. XVII, 29S , . XVII, 307 • • XVII, 315 • . XVII, 319 • • XVII, 331 • . XVII, 331 • • XVII, 343· • • XVII, 346

. 'J xvu, 38o • • XVII, 391

Place. Society.

-S. Michael, Hughenden .. Ox. Dio. Gd. S. John-at-Hackney 00 .. Coil. Youths H. Trinity, Hurstpierpoint .. Sus. Co. Asso. H. Trinity, Arundel .. 0 0 "

, , S. John Baptist, Erith . . 0 0 Kent Co. Ass. S . Peter, Caversham 00 .. Ox. Dio. Gd. S . Matthew, Clapton 00 .. Coli. Youths S. Mary, Ringmer 00 .. Sus . Co. Asso. S. Peter, Brighton .. 00 00 " " " S. Mary, Portsea .. 00 ..

" " " S. Botolph, Heene .. 00 .. " " " S. Peter, Brighton .. 00 00 " " ,

S. Paul, Burton 00 .. .. Mid. Counties S. Peter, Brighton .. 00 .. Sus. Co. Asso. S. Andrew, Netherton .. 00 Wor. and Dis. S. John Baptist, Hagley 00 " " " S. Peter, Brighton .. .. .. Sus. Co . Asso. S. Paul, Burton . .. 00 . .. Mid. Counttes S. Mary, Kidderminster .. Wor: and DIS.

JJ ••• .. " 00 " " "

S, Paul, Burton .• ... ., Mid. CoUilties S. Peter; Caversham 00 .. Coil. Youths $, Pau1'?, Burton . .. 00 00 Mid. CoUilties SS. Peter and Paul, Mitcham cou: Youths S. Peter, Brighton .. 00 .. Sus. Co. Asso. S. Mary, Staines 00 ..

- 0 Coli. Youths.

S. Peter, Caversham 00 00 , , 00

H. Trinity, Hurstpierp·oint .. Sus. Co. Asso.

LoNDON (continued).

Date. Time. I;gth. T'r.l H. M. Cwt.

1899 Jan. 27 3· 4 5184 I2 Feb. r8 3-14 so88 20 Feb. r8 3· 6 , so88 I3 Mar. 4 2-57 5024 14 April 9 3·15 5088 18 May I 2.56 5184 14 May 13 2-54 5088 14 June 10 3-14 5088 14 July 3 3-22 5o88 10 July 8 3-20 5088 17 Oct. 4 2.51 5088 10 Oct. 5 3-16 5024 10 Oct. 5 3·35 5024 26 Oct. 23 3-12 5o88 10 Nov. rr 3· 5 5024 12 Nov. 25 · z.s7 ·so&S · 9 . Nov. 27 3-13 5024 10 Dec. 14 3·35 5o88 26 Dec. 16 3.i8 so88 30 Dec. 30 3-18 5056 30

1900 Jan. 20 3-30 5088 26 Feb. 14 2:58 5184 14 feb. I5. . 3·38 so88 26 Feb. I7 2.58 5088 I6 Mar. I 3-14 5024 10 Mar. 10 2.58 5088 19. April 25 2.58 5184 14 May 5 3· 7 5184 13

Composer.

ook . .

ok .. ok ..

ook ..

ok ..

ok:: ok ..

ook .. ok ..

·Conductor.

J. Evans C. T. P. Brice G. Williams G. Williams W. Pye T. Newman C. T. P. Brice K. Hart .. G. Williams G. Williams G. Williams G. Williams W. Wakley G. Williams R. E. Grove R-. E. Grove -· . . G. Williams W. Wakley T. J. Salter R . . E. Grove

W. Wakley T. Newman W. Wakley .J. N. Oxborrow G. Williams •• C. T. P. Brice T. Newman G. Williams ..

Reference.

XVII, 416 XVII, 450 XVII, 452 XVII, 475 XVII, 536 XVII, 573 XVII, 595 XVIII, 44 XVIII, 79 XVIII, 91 XVIII, 247 XVIII, 247 XVIII, 259 XVIII, 283 XVIII, 308

· XVIII,332

XVIII, 333 XVIII, 379 xviii, 367 XVIII, 392

XVIII, {39 XVIII, 475 XVIII, 475 :X"-virr: 4}f XVIII, 499 XVIII, 5 II XVIII, 583. XIX, 2.:1

\

Place. I Society.

S. Mary, Putney . ..

S. J~hn Baptlst, E;ith • . H. Trinity, Hurstpierpoint S . Mary, Kidderminster

•. , Coli. Youths , ,

. .

1

Kent Co. Ass. . . Sus. Co: Asso. • . Wor. and Dis.

LONDON (continued)•

Date I Time. L 'gth T'.r.l Composer. I Conductor. I Reference; H . M . Cwt.

---------19<>0

l.901

May 21 2.52 5088 r6 J. w. Washbrook .. ]. N. Oxborrow .. XIX, 43, Oct. 17 3· 5 5088 I6 ]. w. Washbrook .. c. T. P. Brice .. XIX, 307 Nov. r8 3· 5 5024 18 F. Bennett . . . . W. Pye . . . . XIX, 356 Dec. 1 3· 4 5088 13 Rev. H. E. Bulwer G. Williams . . . ., XIX, 381 Dec. 8 3.20 5056 30 G. Lindoff . . . . R. E. Grove . . . . xrx, 392

s. Stephen, Westminster . ·I Coli. Youths I Jan. 5 3.10 so88 24 J. w. Washbrook . . Non-conducted . . XIX, 439

123456

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