Edburton, St Andrew
Bell |
Weight |
Diameter |
Nominal |
Note |
Founder |
Cast |
Canon |
Hanging |
1 |
6¾ cwt |
32.75" |
1061 Hz |
C |
c1440 |
Hung Dead |
||
2 |
7½ cwt |
34.25" |
926 Hz |
B♭ |
Bryan II Eldridge |
1639 |
Hung Dead |
|
3 |
8¾ cwt |
36.63" |
858 Hz |
Ab |
Thomas Bullisdon |
c1510 |
Hung Dead |
About the Bells
3 Bells, 8¾ cwt in A ( Tuning 1-3 of 5)
Edburton has a hung dead chime of three bells which are attached to wooden headstocks with 6 looped conventional canons that are all suspended on 2 timber beams.
The headstocks does not appear to be bolted down at all but instead, the headstock and beams have groves carved into them to accept the bells.
Being that they are a hung dead chime of three, the bells are operated using an Ellacombe Apparatus from the ground floor.
The Ellacombe is cased by a wooden hinged door. From here the ropes go up through the ceiling and into an intermediate room. This is where the staircase to the belfry ends. From the intermediate chamber the ropes then go up to a pulley system fixed onto the North West side of the tower by two iron brackets. The ropes are then tied to each of the flights of the clappers.
There is a clockwise spiral staircase which has no lighting fitted and the only light source within the staircase are small rectangular holes in the South side of the staircase so a torch is required. At the top of the staircase there are a few wooden steps to get into the chamber. There is evidence that there would have been a door here once but it has since been removed.
To access the bells there is a 12 rung metal ladder which goes through the trapdoor under the 2nd and onto a wooden platform.
At the bottom of the staircase there are three old style iron clappers which were most likely to be the former clappers for these bells.
George P Elphick visited in February of 1948 and says that the bells were previously in a an M.11.14.15 truss frame which had the inscription " E.H.HALL".
Previously, the bells were rung from a medieval ringing platform which is no longer present but some of it has been saved.
The treble was cast by William Chamberlain from around 1440. This can be identified due to the 3 bell founders shields inscribed on the bell. The octagonal shield has the phrase "ihu merci ladi help" going round it with a large cross in the center of it/ A few years later, Thomas Bullisdon added a tenor to the peal to augment them to a chime of 2. It bares the inscription, Sancta Anna Ora Pro Nobis with the trademark. It is fairly difficult to see but the shield has the letters T & B on either side of the bell. The lettering is in old blackletters and shows how each letter was made on a block of wax.
In 1639, the Horsham based bell foundry Bryan Eldridge augmented the peal to a ring of 3 and between each of the words is a stop which resembles a fleur de lis. (Fig. BEL,1). It also contains the very common GLORIA DEO IN EXCELSIS - Glory to God in the highest in the inscription. This can be found on many of their bells.
The canons are probably from the 17th century.
The bells were fixed and hung dead in 1950 by Mears & Stainbank. The tower is also 14th century
Visited by Kye L Leaver: 17/2/2022
Edburton has a hung dead chime of three bells which are attached to wooden headstocks with 6 looped conventional canons that are all suspended on 2 timber beams.
The headstocks does not appear to be bolted down at all but instead, the headstock and beams have groves carved into them to accept the bells.
Being that they are a hung dead chime of three, the bells are operated using an Ellacombe Apparatus from the ground floor.
The Ellacombe is cased by a wooden hinged door. From here the ropes go up through the ceiling and into an intermediate room. This is where the staircase to the belfry ends. From the intermediate chamber the ropes then go up to a pulley system fixed onto the North West side of the tower by two iron brackets. The ropes are then tied to each of the flights of the clappers.
There is a clockwise spiral staircase which has no lighting fitted and the only light source within the staircase are small rectangular holes in the South side of the staircase so a torch is required. At the top of the staircase there are a few wooden steps to get into the chamber. There is evidence that there would have been a door here once but it has since been removed.
To access the bells there is a 12 rung metal ladder which goes through the trapdoor under the 2nd and onto a wooden platform.
At the bottom of the staircase there are three old style iron clappers which were most likely to be the former clappers for these bells.
George P Elphick visited in February of 1948 and says that the bells were previously in a an M.11.14.15 truss frame which had the inscription " E.H.HALL".
Previously, the bells were rung from a medieval ringing platform which is no longer present but some of it has been saved.
The treble was cast by William Chamberlain from around 1440. This can be identified due to the 3 bell founders shields inscribed on the bell. The octagonal shield has the phrase "ihu merci ladi help" going round it with a large cross in the center of it/ A few years later, Thomas Bullisdon added a tenor to the peal to augment them to a chime of 2. It bares the inscription, Sancta Anna Ora Pro Nobis with the trademark. It is fairly difficult to see but the shield has the letters T & B on either side of the bell. The lettering is in old blackletters and shows how each letter was made on a block of wax.
In 1639, the Horsham based bell foundry Bryan Eldridge augmented the peal to a ring of 3 and between each of the words is a stop which resembles a fleur de lis. (Fig. BEL,1). It also contains the very common GLORIA DEO IN EXCELSIS - Glory to God in the highest in the inscription. This can be found on many of their bells.
The canons are probably from the 17th century.
The bells were fixed and hung dead in 1950 by Mears & Stainbank. The tower is also 14th century
Visited by Kye L Leaver: 17/2/2022
What the old frame used to look like:
Recordings of the bells:
How the bells are tuned in relation to their nominal, using Simpson's theory.
Key [measured in cents]:
-99 ~ -90 -89 ~ -80 -79 ~ -70 -69 ~ -60 -59 ~ -50 -49 ~ -40 -39 ~ -30 -29 ~ -20 -19 ~ -10 -9 ~ -0
0 ~ 9 10 ~ 19 20 ~ 29 30 ~ 39 40 ~ 49 50 ~ 59 60 ~ 69 70 ~ 79 80 ~ 89 90 ~ 99+
-99 ~ -90 -89 ~ -80 -79 ~ -70 -69 ~ -60 -59 ~ -50 -49 ~ -40 -39 ~ -30 -29 ~ -20 -19 ~ -10 -9 ~ -0
0 ~ 9 10 ~ 19 20 ~ 29 30 ~ 39 40 ~ 49 50 ~ 59 60 ~ 69 70 ~ 79 80 ~ 89 90 ~ 99+
Bell 1
Hum - 283.5Hz - Db+39
Prime - 509Hz - C-47
Tierce - 643Hz - E-42 (minor 3rd)
Quint - 839.5Hz - Ab+18
Nominal - 1058.5Hz - C+20
Prime - 509Hz - C-47
Tierce - 643Hz - E-42 (minor 3rd)
Quint - 839.5Hz - Ab+18
Nominal - 1058.5Hz - C+20
| edburton1.mp3 |
Bell 2
Hum - 237Hz - Bb+29
Prime - 470Hz - Bb+14
Tierce - 565.5Hz - Db+34 (minor 3rd)
Quint - 686Hz - F-30
Nominal - 924Hz - Bb-15
Prime - 470Hz - Bb+14
Tierce - 565.5Hz - Db+34 (minor 3rd)
Quint - 686Hz - F-30
Nominal - 924Hz - Bb-15
| edburton2.mp3 |
Bell 3
Hum - 219.5Hz - A-3
Prime - 416Hz - Ab+3
Tierce - 515.5Hz - C-25 (minor 3rd)
Quint - 636Hz - Eb+38
Nominal - 858.5Hz - Ab+47
Prime - 416Hz - Ab+3
Tierce - 515.5Hz - C-25 (minor 3rd)
Quint - 636Hz - Eb+38
Nominal - 858.5Hz - Ab+47
| edburton3.mp3 |
Altogether
| edburtontogether.mp3 |
Inscriptions:
*Underlined text is inscriptions within the inscription band*
1 |
𝕾𝖆𝖓𝖈𝖙𝖆 𝕶𝖆𝖙𝖊𝖗𝖎𝖓𝖆 𝕺𝖗𝖆 𝕻𝖗𝖔 𝕹𝖔𝖇𝖎𝖘 ▼◉▩ |
2 |
GLORIA † DEO † IN † EXCELSIS 1639 † B † E |
3 |
𝕾𝖆𝖓𝖈𝖙𝖆 𝕬𝖓𝖓𝖆 𝕺𝖗𝖆 𝕻𝖗𝖔 𝕹𝖔𝖇𝖎𝖘 ▽ |
Latin Translation:
1: Sancta Katerina Ora Pro Nobis - Saint Katerina pray for us
2: GLORIA DEO IN EXELSIS - Glory to God in the highest
3: Sancta Anna Ora Pro Nobis - Saint Anna pray for us
1: Sancta Katerina Ora Pro Nobis - Saint Katerina pray for us
2: GLORIA DEO IN EXELSIS - Glory to God in the highest
3: Sancta Anna Ora Pro Nobis - Saint Anna pray for us
▼ = Fig. WIC, 1 (Bell 1)
◉ = Fig. WIC, 2 (Bell 1)
▩ = Fig. WIC, 3 (Bell 1)
† = Fig. BEL,1 (Bell 2)
▽ = Fig. TBU,1 (Bell 3)
*Click on images to enlarge them*
◉ = Fig. WIC, 2 (Bell 1)
▩ = Fig. WIC, 3 (Bell 1)
† = Fig. BEL,1 (Bell 2)
▽ = Fig. TBU,1 (Bell 3)
*Click on images to enlarge them*
Photographs:
