## The Project Gutenberg eBook of First Steps to Bell Ringing

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: First Steps to Bell Ringing

Author: Samuel B. Goslin

Release date: September 10, 2016 [eBook #53022]
Most recently updated: October 23, 2024

Language: English

Credits: E-text prepared by deaurider, Harry Lamé, and the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive (https://archive.org)

*** START OF THE PROJECT GUTENBERG EBOOK FIRST STEPS TO BELL RINGING ***

The Project Gutenberg eBook, First Steps to Bell Ringing, by Samuel B. Goslin

Note: | Images of the original pages are available through Internet Archive. See https://archive.org/details/cu31924022498012

Please see the Transcriber’s Note at the end of this text.

# First Steps to Bell Ringing:
BEING AN
INTRODUCTION TO THE HEALTHFUL AND PLEASANT
EXERCISE OF
BELL RINGING,
IN
ROUNDS AND CHANGES,
UPON
CHURCH BELLS.

By S. B. GOSLIN, F.M.S., etc.,

AUTHOR OF THE “A B C OF MUSICAL HAND BELL RINGING,” “THE
MUSICAL HAND BELL RINGER’S INSTRUCTOR,” ETC., ETC.

“Let me in outline sketch them all,
Perchance uncouthly.”

Longfellow’s “Wayside Inn.”

SECOND EDITION.

COPYRIGHT. ENTERED AT STATIONERS’ HALL.

LONDON:
JOHN WARNER & SONS, THE CRESCENT FOUNDRY, CRIPPLEGATE, E.C.,
AND M’CORQUODALE & CO., CARDINGTON STREET,
HAMPSTEAD ROAD, N.W.

1881.

“List! the merry bells are ringing,
And the choristers are singing.”

## INTRODUCTION.

When such works as those written by the Rev. Mr. Ellacombe, and when every local bell history, or encyclopædia of any note, give full information both as to the early use, construction, and form of bells, it is needless to add another word upon such topics in such a production as this; and when, as is the case at the present time, so many good books are to be so easily obtained, on Change Ringing and Bells, with examples of the various methods or interchanging of positions, by fixed rules or courses, they would at first sight and thought appear to be subjects, which have been literally exhausted, and in which no room remains for further attempts at description in letter-press. However, such is not the fact, for the young beginner now, especially if no experienced guide can be secured, to give advice in person, is in the position of a schoolboy who is called upon to work out a calculation in decimals, before he clearly understands the rule or the method of pointing, unless he has the good fortune to find and secure a copy of “Wigram’s Change Ringing Disentangled,” or, “Troyte’s Change Ringing to Six Bell Work,” which with some amount of study, he may in time get on and become proficient.

The want of something more, as the first steps to ringing, has been felt and acknowledged by many persons at many times; and to supply this want is all that is now attempted—not in any way to disparage the well-known works of others more skilled in the art of ringing, but to lead upwards and onwards to those works by short and easy words and lessons, is the wish of the Author in the following pages.

## NOTE TO THE SECOND EDITION.

The appreciation and successful issue of the first edition of this work is duly acknowledged by the Author, as well as the many expressions of approval from persons at home and in foreign parts. It is a source of satisfaction and gratification to know that the attempt has produced a large amount of interest, and has also been the means of producing some ringers in several of our Colonies, as well as working up a desire for and supply of other productions, such as the second edition of “Banister’s Change Ringing,” Wigram’s new, better, and enlarged “Change Ringing Disentangled,” and “Snowdon’s Rope Sight,” which are worthy of a place in every bell student’s and every ringer’s library.

The continued demand for the “First Steps” has prompted this second edition, which is somewhat altered and extended, the desire of the Author being to make all things as plain and as easy as possible.

“Sweet bells ring for ever,
’Tis your old familiar strain
That awakes the past again.”

BELL RINGING ON CHURCH BELLS.

## ON CHURCH BELLS.

England is frequently said to be known as the Ringing Isle, from the fact that wherever the stranger or foreigner turns, or stays, in this land, he is sure to meet with the well tuned bells, and well timed changes, pealing forth from our venerable church towers and steeples; whilst on the Continent of Europe, and in other parts of the world, the ear is accustomed only to the hodgepodge, jangle or clatter of several bells, either in or out of tune, no matter which, all striking as fast as possible, in utter disorder, seemingly in a race for the greatest number of blows per minute, for each or any one in particular. But whilst in England the townsman, citizen, or villager is accustomed to the order, and the sweet music from the steeple bells, it is strange to find that so few really care to understand by what means, method, or performance such results are produced. Happily, however, much has been done within the last fifty years to emulate enquiry, and foster interest in such matters by many gentlemen, who have spent a large share of their spare time to effect this purpose, both by essays, books, lectures, advice, and practice—foremost amongst them all being the venerable Rev. H. T. Ellacombe, of Clyst St. George, Devon, who from quite a young man has entered deeply and fully into all matters of interest relative to Church Bells and Ringing, and who now supervises that bell-ringing page in the interesting weekly paper called Church Bells, where from time to time much is given which is interesting to all who may wish to become ringers in practice or performance, with good and reliable information as the groundwork upon which they desire to ultimately place their edifice of knowledge of the subject in question.

(Illustration of a Ring of Eight Bells and Ringers in the act of starting to set the Bells from rest.)

But not only is there a general lack of knowledge upon ringing church bells on the part of the majority, even in this bell ringing isle—it can well be added that, as to change ringing, the really scientific, very useful, and interesting part of ringing is “dog Latin” or “double Dutch” to ninety-nine persons out of every hundred, or even more, the general impression being that it is all very easy, and only to pull—that anyone can do all that is to be done in a very short time; whereas it is in every particular an interesting study, proficiency gained by practice, thought, care, and application alone—a science as true, as useful, and as healthy to mind and body, as is possible to be found, practised, or studied.

To ring, and to ring changes, on either church or musical hand bells, are three very different subjects. In order to ring changes, however, it is absolutely necessary to have a good knowledge of ringing, or the means adopted to make the bells sound in their proper time and place, whether it be in the church tower, on the large swinging bells with ropes, or in the parlour or drawing-room, upon the musical bells, held in the hand or hands. But not to deal with too many subjects together, and to avoid confusion, it is well to start with

## HINTS ON CHURCH BELLS AND FITTINGS.

At all times when it may be desired to produce a good performer upon any musical instrument, it is well that he should understand the instrument itself; for just as the driver who understands his steam engine thoroughly in its parts and details, is the man who can work it best, so is it with the ringer with his bell in the steeple or tower. It is not at all difficult to picture the scene, surroundings, and thoughts of an intended ringer, upon his first visit to the bell-tower, or ringing chamber, unless it be as has been the experience of many, as well as that of the writer, to learn to pull the rope and catch the sally when a boy at school on the large school-bell, or that at the parish church. And even then, if not in the midst of an octave of ropes, the dancing of the rope upon which he had to start or practice was, at first sight, perplexing; graceful, however, if handled well, but yet a mystery.

(Illustration of a Ring of Eight Bells as they would appear in the Frame or Cage in the Belfry.)

Presuming that the reader desires to become a ringer, to understand his instrument, and for this purpose has ascended the tower—has passed the ringing room with a glance, and has made up his mind to know the why and wherefore of the bells and fittings, so that if anything goes wrong in the practice or performance he may be able to set it right if possible or remedy any defect—he will go at once to the bell cage, and learn (as was the writer’s first lesson) the names of the parts and fittings of the bell, where such an arrangement will be seen as is shown by the following illustration, to which is added the names of each part. Everyone may know what a church bell is like in form, and the purpose for which it is founded; but not so can it be said of its various parts and appurtenances. In order to help the reader in this direction, the following sketch will answer for reference. With the shadow it is easy to realize or imagine the fact, and to conceive that we are facing the bells in the tower, where each is fitted, as the sketch shows, separately, and by the numbers and references the names of the parts can be easily learnt.

(Illustration of a Bell with detached frame or sections for reference to parts.)

In giving a description of the bell and its fittings, for all ordinary purposes, it is not necessary to go into details as to the best proportion or shape, for that is so well understood by founders of any note or excellence, and as it is all so well treated in other writings, here it would be superfluous. The following, however, will always be found useful for reference:—

- No. 1 represents that part called the Head of the bell, which is varied in form under various circumstances, sometimes being what is known by the name of button or mushroom head, at others by canon head, or as is shown. The most frequently used are the crown head or with canons.
- No. 2. The shoulder.
- No. 3. The waist.
- No. 4. The sound bow.
- No. 5. The lip.
- No. 6. The clapper.
- No. 7. The stock (a wood beam to which the bell is hung).
- No. 8. The gudgeons or axles (of wrought iron turned, upon which the bell swings).
- No. 9. The bearings (of gun metal, in which gudgeons work).
- No. 10. The wheel (of wood, which acts as a lever to set the bell in motion).
- No. 11. The shrouding (the guard of the wheel to keep the rope in its place on the sole).
- No. 12. The slider (a piece of wood working on a centre to support the stay).
- No. 13. The stay (a piece of wood attached to the stock to support bell when set).
- No. 14. The rope.
- No. 15. The pulley or rope guide.
- No. 16. The wheel stay (an iron rod or rods fastened between the stock and wheel, to support or steady the wheel, not shown).
- No. 17. The sally (not shown, but a soft tufting near the bottom end of the rope. See cut of Bells at Hand Stroke, page 15).

The particular name of each part will also be found to be described very fully in “Banister’s Change Ringing,” and in the Rev. H. T. Ellacombe’s “Practical Remarks on Belfries and Ringers,” which should be perused on this subject.

Now having learnt this lesson, the next would be that which was taught by the older bell boys to the writer at school, viz., to grease the bearings; to take up or let out the rope, as occasion might require, for a taller or shorter person, taking notice of how it is, or should be fastened to the wheel, and passed through the pulley; then look to the slider and stay, to see if sound and in order, so to leave all tight and trim and ready for ringing, and then, as one of the tutors in the art was in the ringing room ringing, the scholar was so placed in the belfry as to see, and have it explained to him by another companion, how that the slider and stay were needed to set the bell at the hand or back strokes; how the rope danced, and needed catching below at the sally, to prevent the breakage of either the slider or stay, if not so caught. By this at once understanding, by optical demonstration and friendly counsel, the object and use of all that pertains to the bell, as well as the reason for setting it up.

With this fairly in the mind, it will be well at once to turn the attention to ringing, which, perhaps, will explain in part as we proceed, the use of the former remarks as to the application of the parts or fittings sufficiently, for cases where a tutor cannot be found in person.

“Hark the bonny Christchurch bells:
One, two, three, four, five, six. They sound
So mighty great,
So wondrous sweet,
So merrily.”

## THE PRACTICE OF RINGING.

It may be perplexing when consulting a variety of books, to determine what are the best plans for a beginner to adopt. And it may or should be known that bell ringing is a dangerous practice for a novice, should he commence it by himself without instruction, thought, or care. In such a case, he runs the risk of being hung by the neck, as was the case not long since, when, at a certain place in Essex, a man pulled the tenor of a ring of bells, left set for a company of ringers, without knowledge, the result being that he was confused, caught by the rope round the neck, pulled up and thrown with great force to the floor, but where fortunately there happened to be some thick cocoa-nut matting, which broke the fall and so saved him.

Now, although it may be dangerous to begin or to practise by oneself, yet a little help, such as we should seek in learning to skate or to swim, or in any other exercise or art, from an expert, will overcome and set aside all danger, as well as the mind at perfect rest on such thoughts. Therefore, as a precaution, wherever it is practicable and possible, the advice should be taken to obtain the assistance and counsel of a ringer at starting; and having secured the good offices and help of the teacher, the first lesson will be, as a matter of course, to see and take notice of the way in which he sets the bell, by repeated pulls, and catches at the sally or tufting of the rope, marking particularly, as is shown in the illustrations of the ringers in the ringing room, or that immediately following, the best plan to hold the rope, viz., with the rope near to its bottom or end, in the left hand permanently, and the right hand at liberty, to catch the sally or ease the bell on its slider and stay, and to pull at the hand or back strokes in their turn.[1]

[1] See also Banister (on Change Ringing) on this point.

(Illustration of a Ring of Eight Bells and Ringers, with Bells set at Hand Stroke ready to start either for Round or Peal Ringing.)

Note.—Being Set means standing mouth upwards.

(Illustration of a Bell at rest and best plan to hold the rope.)

Whilst watching, it will be noticed that after starting to pull the bell from the position of rest, as is shown in the sketch, to get the “bell up,” or “set the bell,” as it is termed, that the rope will begin in a very short time to dance, which is caused by the bell, and the wheel reversing sides, for the rope on the wheel, in swinging; and then it will be seen how that, as the bell approaches nearer the set point or balance, there is much to be gained by catching the sally or tufting, giving a slight pull as the rope reverses, until the point be reached, when the balance or set is obtained, and the bell is held or caught and eased to the hand stroke, in the position as is shown by the following sketch (fig. 1), where the stay rests against the slider on the one side, in which case it will be seen that the rope comes much in the position as when at rest, and is pulled off the set by the sally; then, when pulled, it will be noticed that the bell will swing to the reverse side, and set at the position called the back stroke, being eased to its proper place or point by the hands, in the position as is shown by the sketch (fig. 2), where the stay rests against the slider on the reverse side, in which case it will be seen that the rope is all round the wheel, and the end only is in the hands, and is so pulled off its set to the hand stroke.

Note.—The sally must be caught in the hands before the stay reaches the slider at hand stroke, and eased to its position, and the rope held in check as the bell goes to back stroke, or the slider or stay may be broken and the bell turn a somersault.

Note.—In some cases the rope is not held in the one hand, as shewn in the wood-cut, but is pulled off at hand stroke, and caught when approaching at back stroke, and vice versa.

It will thus be seen how the rope is held, and pulled, and caught. It will also be seen, by watching, how easy it is to keep pulling in time, on either side, to hand or back strokes, with any interval, at pleasure, and with precision. And at this point it would be well to join the teacher, standing face to face, taking the rope in the hand as described, pulling when he pulls, catching when he catches, and easing as he eases, so as to get the knack without excitement, without hard labour, and without bending the knees.

Both pull and catch easy at first, with eyes and ears well open, or as is said:—

“The ears open,
Eyes wide,
Feet steady,
Tongue tied.”

By such means, and by such practice, it will very soon result in being able to pull by oneself, and then remains only the practice, so as to learn to keep time at both strokes, to get the bell up, and to let it down without help: always remembering that the weight of the body, thrown on to the rope, is far more effective and less tiring than using great muscular force, or bending and twisting the body which causes much needless exertion, loss of power and breath; a rule being:—

“Stand upright,
Pull down straight,
You’ll ring right.”

When this is accomplished, there need be no delay in proceeding to ring rounds with your friends in company.

“Hark! the merry bells ring round.”

## RINGING ROUNDS.

To ring-in rounds, it matters little which bell is taken to perform upon, as each takes its place in proper turn, whether it be first, middle, last, or any other position, which will be very well understood if the new ringer has practised, as he should do, rounds upon hand bells.

Musical hand bells are the most handy for the practice of time, place, and position, and should accompany every ring of church bells anywhere and everywhere for this purpose, so much may be practised upon them in the quiet and comfort of a home fireside. But in ringing rounds on the bells of the church in the tower, every bell must be set at the start, and should be brought round to the hand stroke, as shown in the cut on page 15. When all the company are ready—whether four, five, six, eight, or more in number—the leader or conductor will say “Ready”—”Go,” upon which every one will start off in proper order and time, looking at the ringer preceding as to when to pull off, by turning his eyes or head, not his body, and keeping the ears open, so as to be in time and order in striking. The treble (or highest note) bell, in all church bell ringing, is understood as being No. 1, whether there be a ring of three, four, six, eight, ten, or twelve bells; and so, presuming a ring of eight, the bells will be rung in rounds in the order of 1, 2, 3, 4, 5, 6, 7, 8, at the hand stroke; then 1, 2, 3, 4, 5, 6, 7, 8, on the back stroke, and repeated in the same way or method to any length, at will or pleasure.

Should there be only six bells in the ring, they will be rung to the call of the leader as 1, 2, 3, 4, 5, 6, at the hand stroke; then 1, 2, 3, 4, 5, 6, at the back stroke, and so for any number of bells.

Note.—Any number of bells from 3 to 12 in a tower is called a “Ring of Bells.”

Thus it will be seen the usual practice in ringing rounds, is to ring down the scale, as it is termed in the art of music; or, in other words, from the highest to the lowest note, or down to the bell with the deepest tone. There is no reason, however, but custom to prevent the reverse order (or ringing backwards, as it is put in “Bonnie Dundee”) being adopted, used, or tried, either in practice or purpose;[2] and to make a change in the following of place or position in ringing, it is not at all a bad move to reverse the order of custom, and so ring in the order of 8, 7, 6, 5, 4, 3, 2, 1, hand stroke; 8, 7, 6, 5, 4, 3, 2, 1, back stroke; and after say twelve to twenty rounds resume the first order or exercise down the scale, viz., 1, 2, 3, 4, &c. (of course, this is quite a matter of taste, and if not approved can be passed over). Then it may be well for all to pull or strike together, so as to fire a volley, at both hand and back strokes, and in such practice the whole company should be as much together as when the captain’s call of “Fire!” is responded to by a company of soldiers, with their rifles, shot, and powder.

[2] Mr. North, in “Bells of Leicester,” which the writer has now before him, tells us the bells at Barrow-on-Soar are rung backwards to give notice of fire—a hint for country and colonial friends, when, if adopted, the motto of the seventh bell of St. Ives would carry a good intimation into practice—

“When backward rung we tell of fire:
Think how the world shall thus expire.”

Now, so much for ringing and ringing rounds; much more might be said, but the writer does not consider it just to repeat that which is so well put in “Bannister’s Change Ringing,” “Rope Sight,” “Wigram’s Change Ringing Disentangled,” and in “Troyte’s Introduction to Change Ringing,” and to which at this point he recommends the reader or learner to take in hand and study. When that has been well digested and understood, then, and not till then, the next or following portion can or should be attempted either as for study or practice, viz.:—

“The bells ring out a merry peal,
Their music on our ear doth steal.”

## CHANGE RINGING.

Ringing the Changes is a phrase often used by the general public in every-day life, and especially by some who wish to appear witty or clever, but to whom, as a rule, if a question be put as to its meaning, or proper application, it is seen in a moment that such knowledge is either too great or too small for them—in fact, that they know nothing at all about it. The lack of this special knowledge is easily traced to its origin; for how many schoolboys ever have a sum or exercise in the rule of permutation? Many, if not most, boys on leaving their studies and school would, it is believed (or as has been tested to some extent), be found utterly ignorant both of its use or practice. They may have learnt that it is the changing or varying the order of things; and that to multiply all the given terms or numbers the one into the other the last product will be the number of changes required—as 1, 2, 3, 4, 5, 6:—

1
2
2
3
6
4
24
5
120
6
720

Note.—Any changes of a complete number or course through a series of permutations is called a “Peal.”

Thus 2 bells (they may learn) produce 2 changes, 3=6, 4=24, 5=120, 6=720, and so on. They may have had the old tale told, and the old and often single, as well as singular, question put to them in this rule:—A young scholar, coming into town for the convenience of a good library, demands of a gentleman with whom he lodged what his diet would cost for a year, who told him £10; but the scholar, not being certain what time he should stay, asked him what he must give him for so long as he should place his family (consisting of six persons beside himself) in different positions every day at dinner? The gentleman, thinking it would not be long, told him £5, to which the scholar agreed. What time did the scholar stay with the gentleman? Which, as a matter of simple multiplication, is very easy to answer—5,040 days. And even the other, and most likely last question, may have been put, viz.:—How many changes may be rung upon 12 bells, and in what time would they be rung once over, supposing 10 changes may be rung in a minute, and the year to contain 365 days 6 hours?—Answer: 479,001,600 changes in 47,900,160 minutes, or 91 years 3 weeks 5 days 6 hours.

Either of these examples may be very easy so far, but as to the practical part of working them out in any performance in every-day life is quite another matter, and it is left for the schoolboy to wait or to forget all about both the rule and the figures, unless he comes to see its workings in the steeple or the fireside, upon the church or the musical hand bells, he would, perhaps, never see it necessary to prove by practice, attention, thought, and care that which is multiplied and multiplied, and left on the slate with astonishment, without any good or lasting effect either upon the mind or the senses. The Rev. Mr. Wigram very well shows a supposed case of persons changing positions upon steps, ascending and descending in method or order, as an example of permutation. But the positions or places may be made or taken, and the rule worked out for amusement and practice at the breakfast or dinner table, where there may be several persons meeting repeatedly. And in this it is not more astonishing than it is amusing to see the zest and interest given and taken by a boy of only eight years of age in its practice, when once fairly explained and started, cultivating both memory, thought, and interest in a fixed plan until it is accomplished, by no means an unimportant trait in character (for how many begin a task with zest, and falter or never finish, is abundantly seen). Such, in a higher sense, is the effect of change ringing on bells, where, beyond the changing places at a table, the sense of hearing and the practice of time or order are added to those of sight and touch.

Three questions naturally suggest themselves to the student at the very outset of the art of change ringing upon church bells, viz.:—

1st. How many changes can be rung on various rings of bells of various numbers numbers from 2 to 12?

2nd. How long would it take to ring them?

And 3rd. How is it to be done?

Now the first two of these questions are so well answered at a glance by the tabulated form prepared by Mr. Troyte, in his work on change ringing, and by other books, and are so easily computed by the method of calculation as is shown a few lines back, and reckoning either 20, 24, or 28 changes per minute, as may be deemed most convenient to the performer; so that all that is left for such a work as this is to answer in a very simple way, the third question—How to do it?

Change ringing on bells, then, is to be accomplished just as all other arts or studies, not by seeking to take the monitor’s place at first, but by taking the lowest place on the lowest form, and by giving attention to every lesson or hint that can be gathered from others, commencing as with the alphabet, and then proceeding to spell or to compose. And for this there can be no better plan than to note upon paper the changes which may be made with from 2 to 4 bells, assuming that one, which may be represented by a cross, star, or other mark, is the bell which the student takes to move, vary, or change. Whether he takes the position of 1, 2, or any other number, No. 1, in a ring of church bells, is always that with the highest note, and in this way it will be plain, first, to presume that there are 2 bells, and the reader takes the second, upon which there are, as he knows already as shown, but two changes; he will write thus—

Hand stroke | 1 | . | × | —H. S. | × | . | 1
Back stroke | × | . | 1 | —B. S. | 1 | . | ×

and then, when in the tower, try it on the actual bells. On no account, however, run out of time, and jangle or clatter them, as some are endeavouring purposely to do, à la Rome, in the present day. Then sit down, write out and commit to memory the changes on 3 bells, still assuming that No. 2 bell is in hand, thus:—

Exercise 2.
H. S. | 1 | . | × | . | 3 | H. S. | 3 | . | × | . | 1
B. S. | 1 | . | × | . | 3 | B. S. | 3 | . | 1 | . | ×
H. S. | × | . | 1 | . | 3 | H. S. | 1 | . | 3 | . | ×
B. S. | × | . | 3 | . | 1 | B. S. | 1 | . | × | . | 3

This will be seen is easy to write and easy to remember, as Mr. Troyte shows the method or order to be to always change places at every move, variation, or round after starting with the one who struck after you in the previous move. Thus No. 1 was first followed by X, then 1 takes X’s place, 1 is then followed by 3, consequently 1 immediately changes place with 3 and goes to the bottom or behind, X being at that time in the original place of 1, or at the lead, she changes in with 3, and is followed by 1; X now being the changing bell, takes the place of 1, and comes to the bottom or behind, 3 being at the lead; 3 then begins to change as the others did, and so the peal comes round. The moving bells are said in this to be hunting, which holds good in whichever order the moves are made, either up or down. Then the six changes might be written, learnt, and tried in the other form, thus:—

Exercise 3.
H. S. | 1 | . | × | . | 3 | H. S. | 3 | . | × | . | 1
B. S. | 1 | . | × | . | 3 | B. S. | × | . | 3 | . | 1
H. S. | 1 | . | 3 | . | × | H. S. | × | . | 1 | . | 3
B. S. | 3 | . | 1 | . | × | B. S. | 1 | . | × | . | 3

This will be seen to be what is referred to, and known as hunting down and up; the last bell here takes the position of the one before it, until it comes to the top or lead, and then returns to its original position, striking in after the one who struck next following in the preceding move. Now, this hunting up and down is the basis of all change ringing, and should be practised in just the same way upon 4, 5, 6, or 8 bells before any other method be tried; in fact it would be well for any young ringers to thoroughly master the method of hunting, upon either musical hand bells or church bells, beginning with the 6 changes on 3 bells, and become proficient in these before 4 be attempted, and when hunting on 4 be mastered, try 5, and so on, progressing to 8 in hunting alone. Of course, when the musical hand bells are used, it will be well to take but one in the right hand and strike either at hand or back stroke, as would be done upon the larger bells in the belfry in ringing; the hand stroke on the musical hand bells being up and the back stroke being down. It would be also well to change places from time to time, not always taking No. 1 or No. 2 position, but changing positions and bells with your friends, at times taking No. 4, 6, 8, or otherwise, but in the tower take the one or other most suited to the strength of the student. This method of changing or hunting is supposed to be that which was first discovered, and, without doubt, is the easiest for any beginner, as also it is the safe and sure road to the other methods of changing. Our advice is, go slowly but surely, and so progress and succeed.

Such being the case, and such advice being followed, in order to introduce another bell for practice, the easiest plan to adopt is to work out the same changes as has been previously given for three bells, and to place the fourth bell to strike last in each move, thus:—

Exercise 4. | Exercise 5.
--- | ---
1 | . | 2 | . | 3 | . | 4 | 1 | . | 2 | . | 3 | . | 4
1 | . | 2 | . | 3 | . | 4 | 1 | . | 2 | . | 3 | . | 4
2 | . | 1 | . | 3 | . | 4 | 1 | . | 3 | . | 2 | . | 4
2 | . | 3 | . | 1 | . | 4 | 3 | . | 1 | . | 2 | . | 4
3 | . | 2 | . | 1 | . | 4 | 3 | . | 2 | . | 1 | . | 4
3 | . | 1 | . | 2 | . | 4 | 2 | . | 3 | . | 1 | . | 4
1 | . | 3 | . | 2 | . | 4 | 2 | . | 1 | . | 3 | . | 4
1 | . | 2 | . | 3 | . | 4 | 1 | . | 2 | . | 3 | . | 4

In this it will be very convenient to place the latest or dullest scholar, if there be one, to the fourth bell, who will simply strike in at the close of each move or change of those before him, and will count the time of his pulling to himself, as 1. 2. 3. 4—1. 2. 3. 4, so as to strike his bell in time or order in the fourth place as long as may be mutually agreed upon. Then it would be well to try a simple plan for every bell to make a change, following the rule, viz., to strike from the lead or first position after the one which previously followed, thus:—

Exercise 6.
1 | at lead | 1 . 2 . 3 . 4 |
2 . 1 . 3 . 4 | so | 1 | takes place of | 2 |
2 | „ | 2 . 3 . 1 . 4 | „ | 1 | „„ | 3
3 . 2 . 4 . 1 | „ | 1 | „„ | 4 | , and 2 at lead of 3
3 | „ | 3 . 4 . 2 . 1 | „ | 2 | „„ | 4
Then 1 returns to lead, after 2 strokes at behind.
4 . 3 . 1 . 2 | so | 3 | takes place of | 4 | and 2 of 1
4 | „ | 4 . 1 . 3 . 2 | „ | 3 | „„ | 1
1 . 4 . 2 . 3 | „ | 4 | „„ | 1
1 | „ | 1 . 2 . 4 . 3 | „ | 4 | „„ | 2
brought round | 1 . 2 . 3 . 4 |

And after this being practised and mastered, the usual method of plain hunting on four bells will come easy, in which the lead and last bells each begin to change after the first move, the one up and the other down, at the hand stroke, and the two middle bells cross at the back stroke, thus:—

Exercise 7.
1 | . | 2 | . | 3 | . | 4 | 4 | . | 3 | . | 2 | . | 1
1 | . | 2 | . | 3 | . | 4 | 3 | . | 4 | . | 1 | . | 2
2 | . | 1 | . | 4 | . | 3 | 3 | . | 1 | . | 4 | . | 2
2 | . | 4 | . | 1 | . | 3 | 1 | . | 3 | . | 2 | . | 4
4 | . | 2 | . | 3 | . | 1 | 1 | . | 2 | . | 3 | . | 4

Then it would be well to confine the attention to 4 bell ringing, or singles, as it is termed, in the other and more advanced method known as dodging, which is a move of positions, as Banister says, in which a bell is made to stop in its hunting course, return back one place, and then proceed as before. This should be thoroughly understood and mastered before 5, 6, or 8 bells be even tried. The number of changes which may be produced—

Upon | 2 | bells are | 2, | and are called | ——
„ | 3 | „ | 6, | „ | ——
„ | 4 | „ | 24, | „ | Singles.
„ | 5 | „ | 120, | „ | Doubles.
„ | 6 | „ | 720, | „ | Minor.
„ | 7 | „ | 5,040, | „ | Triples.
„ | 8 | „ | 40,320, | „ | Major.
„ | 9 | „ | 362,880, | „ | Caters.
„ | 10 | „ | 3,628,800, | „ | Royal.
„ | 11 | „ | 39,916,800, | „ | Cinques.
„ | 12 | „ | 479,001,600, | „ | Maximus.

With this wide field, it is easy to realize the scope for the pleasure, the exercise, and the skill there may be to those who are disposed to give the time, the study, the attention, and the practice the art deserves.

The student, taking the syllabus, and proceeding in the following order:—

- 1. Learn the names and the uses of the parts of the bell and fittings.
- 2. Learn to handle the rope and to ring, with clapper tied fast to prevent nuisance.
- 3. Learn to ring in rounds.
- 4. Learn to hunt or plain course work or singles.
- 5. Learn to dodge.
- 6. Learn place making.
- 7. For 5 bells learn bob double, grandsire doubles, and Stedman’s doubles or methods in order as given.
- 8. For 6 bells learn bob minor, grandsire minor, treble bob minor.
- 9. For 7 bells learn bob triples, Stedman’s triples.
- 10. For 8 bells learn bob major; treble bob major.
- 11. For 10 bells learn grandsire caters.
- 12. For 11 bells learn grandsire cinques.
- 13. For 12 bells learn treble bob maximus.

The various methods for making the changes or varying the positions are described, and are worked out in the Books by Messrs. Troyte, Hubbard, Banister, and others.

With such writings on these, more intricate and advanced methods, so well compiled, so much appreciated, and so easily obtained, giving all the technical words, and names, in the change ringing art, showing so plainly the rules for bringing round the peal to its starting position, through the many variations and changes, it is needless in such a production as this to say more than to refer the student at once to those Works, and to wish him every success. Desiring only to lead such onward, to the further study and practice of this healthy and fascinating art, with many apologies for humble efforts, and, doubtless, many mistakes, at the same time craving the forbearance of the masters of the art, the Writer desires to stand and to subscribe himself as

The Students’ Well Wisher.

“Ring out, ye bells, and waft the sound
Till heathen lands your notes rebound;
Till every soul o’er all the earth
Shall sing the great Redeemer’s birth.”

The thanks of the Writer are tendered to T. North, Esq., for permission to use extracts from his “Bells of Leicestershire;” to Messrs. Warner & Sons for the use of their several woodcuts; to the Rev. H. T. Ellacombe and Mr. H. W. Haley for several hints of interest which are embodied by permission in the foregoing pages.

BOOKS PUBLISHED ON
BELLS AND BELL RINGING,
WHICH CAN BE OBTAINED OF
J. WARNER & SONS, LONDON.

| s. | d.
--- | --- | ---
The A B C OF MUSICAL HAND-BELL RINGING. By S. B. Goslin | 1 | 0
THE MUSICAL HAND BELL RINGER’S INSTRUCTOR | 2 | 0
TROYTE ON CHANGE RINGING. Abridged, as far as Six Bell Work | 1 | 0
Do., to Eight Bell Work | 3 | 6
CHANGE RINGING. By William Banister, Member of Ancient Society of College Youths | 2 | 6
WIGRAM’S CHANGE RINGING DISENTANGLED | 2 | 0
HUBBARD’S CAMPANALOGIA; or, ELEMENTS OF CAMPANOLOGY | 3 | 0
“PRACTICAL REMARKS ON BELLS AND BELFRIES,” with an Appendix on Chiming. Written by the Rev. H. T. Ellacombe, of Topsham, Devon | 3 | 0
MAUNSELL ON CHURCH BELLS AND RINGING | 1 | 0
PLAIN HINTS TO BELL RINGERS | 0 | 1
THE BELL: ITS ORIGIN, HISTORY, AND USES. By Rev. A. Gatty, D.D. | 3 | 0
ROPE SIGHT. By Jasper Snowdon | 1 | 6
TREBLE BOB, in 2 parts. By Jasper Snowdon | 1s. and | 2 | 0

OPINIONS OF THE PRESS, &c.,
UPON THE “A B C OF MUSICAL HAND BELL RINGING.”

From the Ironmonger, August, 1874.

The ABC of Hand-Bell Ringing. By Alpha Beta. London: M’Corquodale & Co., and J. Warner & Sons.

This little work is of considerable interest, as it comprises short notes for young beginners, and a collection of easy tunes, arranged in an easy form for the use of persons not possessing a knowledge of musical notation; and also a short insight into the principles of change ringing. Those of our readers who supply bells, and are occasionally asked for information on ringing, could not do better than secure a copy of this little pamphlet.

From the Record, August 3rd, 1874.

Hand-Bell Music.—Few of the novel performances of the present day have given more pleasure than those of the band called the “Royal Hand-Bell Ringers.” This department of music has been systematised in a manual entitled The A B C of Musical Hand-Bell Ringing, published by M’Corquodale & Co., Cardington Street, N.W. This manual, and several other books on bells and bell ringing, may also be obtained at the bell-founding firm of Warner & Sons, Crescent, Cripplegate, London, E.C.

From Church Bells, July 25th, 1874.

Hand-Bell Music.—We have been favoured with a copy of a tractate just issued by M’Corquodale & Co., for 1s., entitled The A B C of Musical Hand-Bell Ringing. It is just the thing which was wanted for young beginners. We have much pleasure in recommending it. It is also to be obtained of John Warner & Sons, of the Crescent Foundry, who offer to send post free their New Bell Catalogue, which they say every clergyman ought to have.

From Church Review, August 8th, 1874.

A great many of our readers will be much interested by a tract on the A B C of musical hand-bell ringing, etc. It seems to be a complete manual upon the subject, with exercises and rules for beginners, and no doubt before long a set of hand bells will be as familiar in a drawing-room as the indispensable pianoforte. To all who take an interest in the science of campanology this little book will be very acceptable.

From Church Bells, September 19th, 1874.

Chimes at Hampstead.—A correspondent writes that “an awful bungle” is produced by the chimer who attempts tunes. He would learn a better way if he would purchase for 1s. (which we would advise him to do for the good of trade), the clever “A B C” elementary brochure lately issued by Messrs. Warner of Cripplegate. As for ourselves, we don’t like chiming tunes for services; plain chiming in regular succession is the correct way.—Ed.

5, Crown Street, Chorley, Lancashire, October 11th, 1874.

Messrs. J. Warner & Sons, London.

Dear Sirs,—I received your book on Wednesday, with thanks. As a hand-bell ringer I have already found it to be the most simple and useful book a young or experienced ringer can obtain for commencing practice.

Peter Bundle

JOHN WARNER & SONS,

Bell and Brass Founders

By Special

To Her Majesty,

Appointment.

The CRESCENT FOUNDRY, CRIPPLEGATE, LONDON, E.C.

International Exhibition,
HYDE PARK, 1851.
A Prize Medal awarded for
Bells.

International Exhibition,
SOUTH KENSINGTON, 1862.

Prize Medal awarded “For
Excellent Workmanship and
Ingenuity applied in Chiming
Bells by Machinery.”—See
Jurors’ Report.

International Exhibition,
VIENNA, 1873.
Two Grand Medals of Merit
and Honourable Mention.

International Exhibition,
HYDE PARK, 1851.
A Prize Medal awarded for
Bells.

International Exhibition,
SOUTH KENSINGTON, 1862.
Prize Medal awarded “For
Excellent Workmanship and
Ingenuity applied in Chiming
Bells by Machinery.”—See
Jurors’ Report.

International Exhibition,
VIENNA, 1873.
Two Grand Medals of Merit
and Honourable Mention.

VIENNA EXHIBITION, 1873.

The Largest Number of Awards in The Metal Industry were awarded to J. W. & Sons.

ESTABLISHED A.D. 1763.

BELLS SINGLY OR IN RINGS.
John Warner & Sons have always a Large Stock of New Bells on hand, which can be seen
at their Foundry.

OLD BELLS RE-CAST OR RE-HUNG.

J. W. & Sons are prepared to send an experienced Bellhanger to report or advise upon Repairs, Alterations, or New Rings of Bells.

Every Clergyman should have J. W. & Sons’ New Bell Catalogue, which can be obtained upon application, post free, giving a large amount of information; also other parts as enumerated below.

BELLS FOR ALL
PURPOSES.

Illustrated Priced Catalogues Post Free.

1. HYDRAULIC—Pumps, &c., of all kinds.
2. PLUMBERS—Cocks, Valves, Steam Work, &c.
3. SANITARY—Closets, Baths, Lavatories, &c.
4. Bells—Church, School, and Plantation Bells.
5. BRAZIERY—Copper work of every description.
6. WIND MILLS.

BELLS OF EVERY
DESCRIPTION.

BELLS FOR ALL
PURPOSES.

BELLS OF EVERY
DESCRIPTION.

Illustrated Priced Catalogues Post Free.

1. HYDRAULIC—Pumps, &c., of all kinds.
2. PLUMBERS—Cocks, Valves, Steam Work, &c.
3. SANITARY—Closets, Baths, Lavatories, &c.
4. Bells—Church, School, and Plantation Bells.
5. BRAZIERY—Copper work of every description.
6. WIND MILLS.

WARNER’S MUSICAL HAND BELLS,

Tuned to the Diatonic or Chromatic Scales, with improved Clappers, and pegged on a new system, which gives a superior tone and facility for ringing. The bells by J. W. & Sons are warranted of the best description both in accuracy of note and finish.

Prices of Sets in Diatonic or Chromatic Scales.

| A Set of 8. |  | A Set of 10. |  | A Set of 12. |  | A Set of 15. |  | A Set of 19.
--- | --- | --- | --- | --- | --- | --- | --- | --- | ---
| £ | s. | d. | £ | s. | d. | £ | s. | d. | £ | s. | d. | £ | s. | d.
No. | 22 | size, in | C | 6 | 7 | 0 | 7 | 0 | 0 | 7 | 14 | 0 | 8 | 10 | 0 | 10 | 10 | 0
„ | 21 | „ | D | 5 | 16 | 0 | 6 | 7 | 0 | 7 | 0 | 0 | 7 | 9 | 0 | 10 | 0 | 0
„ | 20 | „ | E | 5 | 5 | 0 | 5 | 16 | 0 | 6 | 2 | 0 | 7 | 0 | 0 | 9 | 10 | 0
„ | 19 | „ | F | 4 | 16 | 0 | 5 | 5 | 0 | 5 | 15 | 0 | 6 | 7 | 0 | 8 | 15 | 0
„ | 18 | „ | G | 4 | 9 | 0 | 4 | 14 | 0 | 5 | 6 | 0 | 5 | 16 | 0 | 7 | 0 | 0
„ | 17 | „ | A | 4 | 4 | 0 | 4 | 11 | 0 | 4 | 19 | 0 | 5 | 12 | 0 | 6 | 10 | 0
„ | 16 | „ | B | 3 | 19 | 0 | 4 | 7 | 0 | 4 | 14 | 0 | 5 | 6 | 0 | 6 | 0 | 0
„ | 15 | „ | C | 3 | 15 | 0 | 4 | 4 | 0 | 4 | 10 | 0 | 5 | 0 | 0 | 5 | 15 | 0
A Set of | 26 | Bells, | No. 15 size, in C, 2 Octaves in Chromatic Scale | 8 | 16 | 0
„ | 37 | „ | No. 2 size, in C, 3 Octaves in Chromatic Scale | 14 | 14 | 0
„ | 44 | „ | in F, 31⁄2 Octaves in Chromatic Scale | 17 | 0 | 0
„ | 50 | „ | in F, 4 Octaves in Chromatic Scale | 20 | 0 | 0

Sets of any other numbers and sizes made to order.

Sets of 8, 10, and 12 are adapted for Change Ringing.

Old Sets Repaired, Re-leathered, Re-pegged, or Re-clappered.

New Bells added or replaced in sets in lieu of those cracked or old.

WARNER’S MUSICAL CLOCK BELLS,

Tuned either to the Diatonic or Chromatic Scales, in Sets.

A Set of | 8 | Bells, | tenor 31⁄2 inches | in | diameter | £0 | 15 | 0
„ | 13 | „ | „ | „ | „ | 1 | 5 | 0
„ | 19 | „ | „ | „ | „ | 1 | 13 | 0
„ | 32 | „ | „ | „ | „ | 2 | 5 | 0

Sets of any other numbers and sizes made to order.

Large Sizes for Turret Clocks and Cemeteries.

UNSOLICITED TESTIMONIALS.

Cheddar, October 11th, 1875.
Weston-super-mare, Somersetshire.

To Messrs. J. Warner & Sons,

Dear Sirs,—Our present set of Hand Bells were purchased from your establishment, and have given every satisfaction. Yours sincerely, ELI BROOKS,
Captain of the Cheddar Bell-ringing Society.

Office Citizens’ Insurance Co., No. 105, Broadway,

John Warner & Sons, Brooklyn, N.Y., E.D., Oct. 11th, 1875.

Dear Sirs,—About a year ago my brother (Mr. W. Grim) ordered a set of Swiss Musical Hand Bells from your firm for me (you will find them on page 11 of your Bell Catalogue), viz.: “A peal of 50 Bells in F, 4 octaves, Chromatic Scale, £20.” I have used them ever since, and am well pleased with them. Now let me know what you will charge me for another peal like them, to be nickel-plated. Yours truly, C. L. GRIM,
151, Seventh Street, Williamsburgh, New York, United States.

Bells of every description and size supplied complete for use by
JOHN WARNER & SONS, Bell and Brass Founders to Her Majesty,
THE CRESCENT FOUNDRY, CRIPPLEGATE, LONDON, E.C.,
AND THE FOUNDRY WORKS, WALTON-ON-THE-NAZE, ESSEX.

PRICE TWO SHILLINGS.

THE
MUSICAL HAND-BELL RINGER’S INSTRUCTOR;
Being a short historical account of SMALL BELLS,
A DESCRIPTION OF
HAND-BELLS, THEIR USES AND PURPOSES,
THE RUDIMENTS OF HAND-BELL MUSIC,
WITH EASY EXERCISES AND TUNES.

By SAMUEL B. GOSLIN,
Author of “The First Steps to Bell Ringing upon Church Bells;” “The A B C of Musical
Hand-Bell Ringing;” &c., &c., &c.

PART II.

LONDON:
PUBLISHED BY JOHN WARNER & SONS, THE CRESCENT FOUNDRY, CRIPPLEGATE, E.C., AND M’CORQUODALE & CO., LIMITED, CARDINGTON STREET, HAMPSTEAD ROAD, N.W.

OPINIONS OF THE PRESS.

The Churchman, March, 1880.

“The Musical Hand-Bell Ringer’s Instructor,” by Mr. S. B. Goslin (Warner & Sons), will prove, to a certain class, an interesting pamphlet. Many of the illustrations are curious.

The Bazaar, February 23rd, 1880.

We have from Messrs. Warner & Sons, of the Crescent Foundry, Cripplegate, E.C., two pamphlets on the art of hand-bell ringing, both written by Mr. S. B. Goslin, who is, practically and theoretically, an authority on the subject. The first of these, “The A B C of Musical Hand-Bell Ringing,” comprises short notes for young beginners, a collection of easy tunes, arranged, by means of numerals, for those without any knowledge of music, and a general guide to the principles of change ringing. The second, “The Musical Hand-Bell Ringer’s Instructor,” contains a short historical account of small bells, a practical description of hand-bells, and the rudiments of the music played on them. Messrs. Warner are eminent as bell founders, and their two publications may be relied on as trustworthy guides.

The Bookseller, February 3rd, 1880.

“The Musical Hand-Bell Ringer’s Instructor;” being a short historical account of small bells, a description of hand-bells, their uses and purposes, the rudiments of hand-bell music, with easy exercises in tune. By Samuel B. Goslin. A curious and interesting contribution to the literature of campanology.

The Church Review, April 16th, 1880.

“The Musical Hand-Bell Ringer’s Instructor,” By S. B. Goslin. Warner & Co., Crescent Foundry, Cripplegate.—Very interesting to general readers, but more valuable to ringers, giving a sketch of the history of bells in all countries and ages, and enriched with many curious illustrations. To assist beginners in the art of ringing, the latter part consists of elementary musical instruction, but the real value of the work is in the early portion, containing a deal of information in a very small compass. Published in a cheap form (costing two shillings only), it should have a large circulation among students of bells, to whom we heartily commend it.

City Press, January 7th, 1880.

In the “Musical Hand-Bell Ringer’s Instructor, Part II.” (Warner & Sons, Cripplegate), Mr. S. B. Goslin has produced a work which will be found to be of great practical utility. It contains, too, a good deal of curious matter connected with the history and uses of bells, and is illustrated.

Church Bells, January 17th, 1880.

“Musical Hand-Bell Ringer’s Instructor.”—This is a very clear and valuable addition to bell literature, and we advise all who are desirous of making progress with hand-bells to get it from the author, Mr. Goslin. The brochure is historically most interesting.

Ironmonger, January 24th, 1880.

“The Musical Hand-Bell Ringer’s Instructor.” (London: John Warner & Sons, Cripplegate.)—This is a comprehensive little treatise on the subject of which the author, Mr. Samuel B. Goslin, is evidently a master. The interest of the work is much enhanced by the exceedingly quaint engravings given of old cymbals and other matters. All who are in any way concerned in bell founding or hand-bell ringing should not fail to procure and peruse this work.

Rock, January 30th, 1880.

A very interesting sketch of the history of small bells is given by Mr. S. B. Goslin in his “Musical Hand-Bell Ringer’s Instructor” (J. Warner & Sons), in which a great deal of information is condensed into a small compass. The illustrations, which are chiefly taken from old manuscripts, are of themselves worthy of attention.

The Literary Churchman and Church Fortnightly, March 5th, 1880.

“The Musical Hand-Bell Ringer’s Instructor.”—Messrs. Warner are famous for bells; and we are led therefore to entertain somewhat high expectations from a treatise on the subject with which their name is connected. Nor are we disappointed. The essay before us is particularly interesting, as well because of the mass of curious and recondite learning which the author has gathered together to illustrate the history of his subject, as from the clear directions given for hand-bell ringers, and the exercises here provided for their use.

It appears to us quite worth the consideration of the clergy whether the practice of hand-bell ringing would not do much to keep their corps of church ringers together and provide an antidote to the public-house. We find that a medium set of eight hand-bells, forming an octave, can be obtained for from four to five pounds; and the steps of the art present no considerable difficulty, even to rustic intellects. Many a young country curate would find it a pleasant thing to take the post of leader, and call his choir together for hebdomadal practices.

## Transcriber’s Note

Footnotes have been moved to directly underneath the paragraph they refer to. Illustrations and Notes have been moved to between paragraphs.
“... and to which ... he points the reader ... to take in hand ...” as printed in the source document.

Some minor obvious typographical and punctuation errors have been corrected silently.
Table “The number of changes which may be produced”, last line: 22 changed to 12.
“Bannister” and “Banister” standardised to “Banister”.

*** END OF THE PROJECT GUTENBERG EBOOK FIRST STEPS TO BELL RINGING ***
Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE

## THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works
1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

> This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.
Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.