Lower Beeding, Holy Trinity
1926 - Present
Bell |
Weight |
Diameter |
Nominal |
Note |
Founder |
Cast |
Canon |
Hanging |
1 (1712) |
2-1-6 cwt |
22.00" |
1560 Hz |
G |
1926 |
Full Circle |
||
2 (1713) |
2-1-17 cwt |
23.13" |
1468 Hz |
F# |
1926 |
Full Circle |
||
3 |
2-2-15 cwt |
23.75" |
1301.5 Hz |
E |
Severin Van Aerschodt |
1885 |
Removed |
Full Circle |
4 |
3-0-4 cwt |
26.13" |
1174 Hz |
D |
Severin Van Aerschodt |
1885 |
Removed |
Full Circle |
5 (1685) |
5-1-5 cwt |
30.25" |
1036.5 Hz |
C |
1926 |
Full Circle |
||
6 |
5-1-18 cwt |
31.63" |
973.5 Hz |
B |
Severin Van Aerschodt |
1885 |
Removed |
Full Circle |
7 |
6-3-18 cwt |
34.81" |
874 Hz |
A |
Severin Van Aerschodt |
1885 |
Removed |
Full Circle |
8 (1686) |
10-3-2 cwt |
39.00" |
781 Hz |
G |
1926 |
Full Circle |
||
5# |
3-3-10 cwt |
27.75" |
1100 Hz |
C# |
Severin Van Aerschodt |
1885 |
Removed |
Full Circle |
1885 - 1926
Bell |
Weight |
Diameter |
Note |
Founder |
Date |
Canon |
1 |
1-2-15 cwt |
20.25" |
G |
Severin Van Aerschodt |
1885 |
|
2 |
1-3-10 cwt |
20.75" |
F# |
Severin Van Aerschodt |
1885 |
Yes |
3 |
2-3-26 cwt |
23.75" |
E |
Severin Van Aerschodt |
1885 |
|
4 |
3-1-26 cwt |
26.13" |
D |
Severin Van Aerschodt |
1885 |
Yes |
5 |
5-0-8 cwt |
29.72" |
C |
Severin Van Aerschodt |
1885 |
|
6 |
5-3-8 cwt |
31.63" |
B |
Severin Van Aerschodt |
1885 |
Yes |
7 |
7-1-27 cwt |
34.81" |
A |
Severin Van Aerschodt |
1885 |
|
8 |
10-0-17 cwt |
38.25" |
G |
Severin Van Aerschodt |
1885 |
Yes |
5# |
4-1-24 cwt |
27.75" |
D# |
Severin Van Aerschodt |
1885 |
About the Bells
8 Bells +5#, 10-3-2 In G
Lower Beeding has a peal of 9 bells, hung in a west-facing tower.
The church was built in 1840 to the design of H J Underwood, and was built with an A frame instead of a tower.
Thomas II Mears supplied a single bell inscribed:
THOMAS MEARS FOUNDER LONDON 1840
but no record of where this bell went survived - likely scrapped.
Lower Beeding has a peal of 9 bells, hung in a west-facing tower.
The church was built in 1840 to the design of H J Underwood, and was built with an A frame instead of a tower.
Thomas II Mears supplied a single bell inscribed:
THOMAS MEARS FOUNDER LONDON 1840
but no record of where this bell went survived - likely scrapped.
The church was largely rebuilt in 1862 by W G Haberschon, and the tower was added in 1884 in memory of William Egerton Hubbard and his wife.
The Hubbard family of Leonardslee contributed an awful lot to Lower Beeding village, and providing a peal of bells for the new tower was one of them.
In the early 1880s, Louisa Maria Hubbard first thought of providing bells for her parish church. Her great wish was that the bells should be as good as possible! With this aim, she went to Belgium after taking advice from the vicar and fell in love with the tone of Belgium bells and carillons. Louisa visited Severin Van Aerschodt in the summer of 1884 to discuss casting a peal of bells.
She initially ordered a peal of 8, but after she found out that more tunes are possible with the addition of a 9th bell. She decided that a dominant 7th bell would be too heavy for the tower, so choose a sharp 5th instead.
An estimate dated July 10th, 1884 states that the bells are to be shipped to London docks, St Katherine's Wharf at the cost of £370 10s. This price also includes the clappers and inscriptions. She planned to have her parents portraits inscribed on the tenor, and send Severin a photo of them, but the portraits weren't big enough.
The estimate suggested that the bells are to be fixed and not swung.
When S. V. A cast the bells, they sent Louisa the weights and diameters on April 10th 1886.
Gillett & Co, Croydon, supplied a carillon, clock, and ringing fittings for eight bells - all of which came to £87.
The sharp 5th was hung stationary above the rest.
Louisa made a mistake as the tones produced were painfully discordant and sounded nothing like the pleasing bells of their predecessor's from centuries ago. Sadly, Severin passed away before the bells were dispatched, and therefore weren't tuned properly - came to England almost as cast.
It was then suggested that the Gillett & Co tune the bells in the tower with Canon Simpson present. They were tuned to the key of G, although Severin intended for the bells to be in the key of G#.
Gillett & Co key didn't tune the tenor, but the 5th was brought in tune with the rest of the ring.
The Hemony brothers were the best bell founders of the Lowlands in the 17th century, and were the first founders to succeed in harmonic tuning. Sadly, all the information of how to achieve this was lost though time. Founders knew what profile to cast the bells to, but had no idea what to do with it.
In addition, these bells were cast as carillon bells and not for a peal, therefore the 2 trebles were impossible to ring due to their size. They were very oddstruck, and went up wrong all the time.
7 peals on all 8 were rung on them, presumably with experienced ringers around the front.
The bells are incredibly ornate, canons and all!
On bells 4,5,6,7,8, there is a ornamental band, similar to Fig. GIC,1 around the crown. All the bells have an ornamental strip around the inscription band, and a much heavier one below it.
There is a combination of different figures on the bells: The foundry name was inscribed in block roman capitals, whereas the Hubbard's family and lines from the bible are in gothic blackletters capitals and smalls. The old tenor was inscribed using block roman capitals only.
The bells were given in memory of Louisa's parents William Egerton and Louisa Ellen Hubbard, whose names and portraits are inscribed on the tenor. The front 8 bells are dedicated to their 8 grandchildren.
The Hubbard family of Leonardslee contributed an awful lot to Lower Beeding village, and providing a peal of bells for the new tower was one of them.
In the early 1880s, Louisa Maria Hubbard first thought of providing bells for her parish church. Her great wish was that the bells should be as good as possible! With this aim, she went to Belgium after taking advice from the vicar and fell in love with the tone of Belgium bells and carillons. Louisa visited Severin Van Aerschodt in the summer of 1884 to discuss casting a peal of bells.
She initially ordered a peal of 8, but after she found out that more tunes are possible with the addition of a 9th bell. She decided that a dominant 7th bell would be too heavy for the tower, so choose a sharp 5th instead.
An estimate dated July 10th, 1884 states that the bells are to be shipped to London docks, St Katherine's Wharf at the cost of £370 10s. This price also includes the clappers and inscriptions. She planned to have her parents portraits inscribed on the tenor, and send Severin a photo of them, but the portraits weren't big enough.
The estimate suggested that the bells are to be fixed and not swung.
When S. V. A cast the bells, they sent Louisa the weights and diameters on April 10th 1886.
Gillett & Co, Croydon, supplied a carillon, clock, and ringing fittings for eight bells - all of which came to £87.
The sharp 5th was hung stationary above the rest.
Louisa made a mistake as the tones produced were painfully discordant and sounded nothing like the pleasing bells of their predecessor's from centuries ago. Sadly, Severin passed away before the bells were dispatched, and therefore weren't tuned properly - came to England almost as cast.
It was then suggested that the Gillett & Co tune the bells in the tower with Canon Simpson present. They were tuned to the key of G, although Severin intended for the bells to be in the key of G#.
Gillett & Co key didn't tune the tenor, but the 5th was brought in tune with the rest of the ring.
The Hemony brothers were the best bell founders of the Lowlands in the 17th century, and were the first founders to succeed in harmonic tuning. Sadly, all the information of how to achieve this was lost though time. Founders knew what profile to cast the bells to, but had no idea what to do with it.
In addition, these bells were cast as carillon bells and not for a peal, therefore the 2 trebles were impossible to ring due to their size. They were very oddstruck, and went up wrong all the time.
7 peals on all 8 were rung on them, presumably with experienced ringers around the front.
The bells are incredibly ornate, canons and all!
On bells 4,5,6,7,8, there is a ornamental band, similar to Fig. GIC,1 around the crown. All the bells have an ornamental strip around the inscription band, and a much heavier one below it.
There is a combination of different figures on the bells: The foundry name was inscribed in block roman capitals, whereas the Hubbard's family and lines from the bible are in gothic blackletters capitals and smalls. The old tenor was inscribed using block roman capitals only.
The bells were given in memory of Louisa's parents William Egerton and Louisa Ellen Hubbard, whose names and portraits are inscribed on the tenor. The front 8 bells are dedicated to their 8 grandchildren.
Canon Simpson inspected the bells on arrival and mentions their tuning in his book. He states that the Nominal, Prime, and Hum are typical of those found in most English bells, except for the fact that the 7th prime was exactly an octave below the Nominal. He also states that "it was evident that this bell has been greatly altered" and therefore had a flatter prime before.
Canon Simpson's report on all the bells
Treble: In perfect tune to 5 which is the only Bell that had received no tuning in Belgium
2nd: A good deal sharpened in Belgium but still flat to the 8th
3rd: Inferior in quality & true to the rest of the Ring & Almost a third from 7th
4th: A beautiful Bell, the most perfect of the Ring but a rather sharp 5th from the tenor
5th: In tune with the tenor but needs much flattening to go with the 3rd.
6th: Is perfectly in tune with the second, but is nearly 4/5 instead of 1/2 true from 4.
7th: Was cast a good Bell but has been tuned as much (almost) as it will bear.
Tenor: Very fine Bell in itself but for Carillon use needs flattening because it can bear no more sharpening.
2nd: A good deal sharpened in Belgium but still flat to the 8th
3rd: Inferior in quality & true to the rest of the Ring & Almost a third from 7th
4th: A beautiful Bell, the most perfect of the Ring but a rather sharp 5th from the tenor
5th: In tune with the tenor but needs much flattening to go with the 3rd.
6th: Is perfectly in tune with the second, but is nearly 4/5 instead of 1/2 true from 4.
7th: Was cast a good Bell but has been tuned as much (almost) as it will bear.
Tenor: Very fine Bell in itself but for Carillon use needs flattening because it can bear no more sharpening.
Most of the bells had near major thirds, owing to the fact their soundbows don't flare out that much. Unfortunately, we have lost what the old 1,2,5, and tenor sounded like, but we're lucky to have the tuning figures for the remaining Belgium bells in the Gillett & Johnston tuning books.
By changing the bells partials, I have been able to create a rough idea on what they sounded like before.
Below is a recording of bells 3,4,5#,6,7 ringing rounds.
By changing the bells partials, I have been able to create a rough idea on what they sounded like before.
Below is a recording of bells 3,4,5#,6,7 ringing rounds.
| lowerbeedingoldbelgiumfive.wav |
At ground level, there is a large commemorative plaque towards the bells on the east wall.
Cyril Johnston, master founder of Gillett & Johnston did a lot of ringing in Sussex and was called to take a look at the Lower Beeding bells. He then sent the church 2 estimates. At a meeting held June 27th 1926, the church and the ringers decided that the 2nd one would be best. This includes recasting bells 1,2,5, and 8; retuning the rest; and putting the carillon in working order.
The bells were rededicated on Nov 7th, and the opening was 4 days later.
The inscriptions were repeated in facsimile, and the new bells have
RECAST BY GILLETT & JOHNSTON, CROYDON, 1926
followed by the monogram Fig. CFJ,4 around the inscription band, and Fig. CFJ,1 beneath.
Tuning the remaining Belgium bells got the Hums and Primes in tune, but some of the Tierces are slightly sharp, and the Quints are fairly flat. These are mainly due to the profile.
Sadly, the canons were removed. The 7ths canon weighed 0-1-8cwt.
The cast-in crown staples were removed and replaced with independent ones.
A new set of ropes for the front 7 were ordered from John Prichard in 1952. All except the treble were given red, white, and blue sallies, but the treble was given a red, white, and green one.
The following year, the steeple keeper noticed that the gudgeon and its bearings were faulty on the 3rd. It was then decided that Mears & Stainbank should inspect the bells and provide an estimate. There was no regular ringing until the bells were in a fit state.
On April 20, 1954, Mears & Stainbank began dismantling the bells. They were all rehung on ball bearing in time for Trinity Sunday. In addition, the verger and steeple keeper refurbished the carillon.
Before we move on, let's discuss the old frame. The bells were hung in a wooden Z frame arranged in the standard 8.3 layout. George Elphick gives the arrangement of the bells, showing that they were arranged in the same configuration as Crawley. The frame was treated for woodworm in 1958.
The headstock on the 3rd was taken to Whitechapel to be repaired in 1976. While the bells were out of action, practices were held at Cowfold.
In 1998, the old wooden frame was coming towards the end of its useful life, and was decided that the bells would benefit from an overhaul. The Sussex Bell Restoration Fund awarded a grant of £5,000 to the project. The old frame and bell fittings were dismantled and scraped, and the bells were taken away. The contractors for the job were Hayward Mills Associates. The foundation girders for the new frame were fitted in Nov 1999 by local helpers. They returned in 2000 in a new steel frame. The hung dead 5th was rehung for full circle, and the carillon was put in working order again. New headstocks and fittings were given, and a commemorate certificate.
Access to the belfry is by steps in the NW corner. This take you to an intermediate chamber with the clock and carillon mechanism. A vertical ladder takes you up into the belfry.
9 bells in great condition on inspection.
Visited: 15/06/2023 with Catherine Bleach and Tom Sutton. With great thanks to Graham Burling.
The bells were rededicated on Nov 7th, and the opening was 4 days later.
The inscriptions were repeated in facsimile, and the new bells have
RECAST BY GILLETT & JOHNSTON, CROYDON, 1926
followed by the monogram Fig. CFJ,4 around the inscription band, and Fig. CFJ,1 beneath.
Tuning the remaining Belgium bells got the Hums and Primes in tune, but some of the Tierces are slightly sharp, and the Quints are fairly flat. These are mainly due to the profile.
Sadly, the canons were removed. The 7ths canon weighed 0-1-8cwt.
The cast-in crown staples were removed and replaced with independent ones.
A new set of ropes for the front 7 were ordered from John Prichard in 1952. All except the treble were given red, white, and blue sallies, but the treble was given a red, white, and green one.
The following year, the steeple keeper noticed that the gudgeon and its bearings were faulty on the 3rd. It was then decided that Mears & Stainbank should inspect the bells and provide an estimate. There was no regular ringing until the bells were in a fit state.
On April 20, 1954, Mears & Stainbank began dismantling the bells. They were all rehung on ball bearing in time for Trinity Sunday. In addition, the verger and steeple keeper refurbished the carillon.
Before we move on, let's discuss the old frame. The bells were hung in a wooden Z frame arranged in the standard 8.3 layout. George Elphick gives the arrangement of the bells, showing that they were arranged in the same configuration as Crawley. The frame was treated for woodworm in 1958.
The headstock on the 3rd was taken to Whitechapel to be repaired in 1976. While the bells were out of action, practices were held at Cowfold.
In 1998, the old wooden frame was coming towards the end of its useful life, and was decided that the bells would benefit from an overhaul. The Sussex Bell Restoration Fund awarded a grant of £5,000 to the project. The old frame and bell fittings were dismantled and scraped, and the bells were taken away. The contractors for the job were Hayward Mills Associates. The foundation girders for the new frame were fitted in Nov 1999 by local helpers. They returned in 2000 in a new steel frame. The hung dead 5th was rehung for full circle, and the carillon was put in working order again. New headstocks and fittings were given, and a commemorate certificate.
Access to the belfry is by steps in the NW corner. This take you to an intermediate chamber with the clock and carillon mechanism. A vertical ladder takes you up into the belfry.
9 bells in great condition on inspection.
Visited: 15/06/2023 with Catherine Bleach and Tom Sutton. With great thanks to Graham Burling.
Invoices
Recordings of the bells:
How the bells are tuned in relation to their nominal, using Simpson's theory.
Left - Severin Van Aerschodt
Right - Gillett & Johnston
Bell 1
Hum - 390Hz - G-8
Prime - 781.5Hz - G-5
Tierce - 930.5Hz - Bb-2 (minor 3rd)
Quint - 1174.5Hz - D+0
Nominal - 1560Hz - G-8
Prime - 781.5Hz - G-5
Tierce - 930.5Hz - Bb-2 (minor 3rd)
Quint - 1174.5Hz - D+0
Nominal - 1560Hz - G-8
| lowerbeedingone.wav |
Bell 2
Hum - 367Hz - F# -13
Prime - 731.5Hz - F# -18
Tierce - 891.5Hz - A+22 (minor 3rd)
Quint - 1101.5Hz - C# -10
Nominal - 1468Hz - F# -13
Prime - 731.5Hz - F# -18
Tierce - 891.5Hz - A+22 (minor 3rd)
Quint - 1101.5Hz - C# -10
Nominal - 1468Hz - F# -13
| lowerbeedingtwo.wav |
Bell 3
Hum - 326.5Hz - E-16
Prime - 649Hz - E-26
Tierce - 775.5Hz - G-18 (minor 3rd)
Quint - 999.5Hz - B+20
Nominal - 1301.5Hz - E-20
Prime - 649Hz - E-26
Tierce - 775.5Hz - G-18 (minor 3rd)
Quint - 999.5Hz - B+20
Nominal - 1301.5Hz - E-20
| lowerbeedingthree.wav |
Bell 4
Hum - 293.5Hz - D+0
Prime - 585Hz - D-6
Tierce - 708.5Hz - F+25 (minor 3rd)
Quint - 846Hz - Ab+32
Nominal - 1174Hz - D+0
Prime - 585Hz - D-6
Tierce - 708.5Hz - F+25 (minor 3rd)
Quint - 846Hz - Ab+32
Nominal - 1174Hz - D+0
| lowerbeedingfour.wav |
Bell 5#
Hum - 275Hz - Db-13
Prime - 549Hz - Db-16
Tierce - 662Hz - E+7 (minor 3rd)
Quint - 806Hz - G+48
Nominal - 1100Hz - Db -13
Prime - 549Hz - Db-16
Tierce - 662Hz - E+7 (minor 3rd)
Quint - 806Hz - G+48
Nominal - 1100Hz - Db -13
| lowerbeedingsharpfifth.wav |
Bell 5
Hum - 261Hz - C-3
Prime - 519Hz - C-13
Tierce - 627.5Hz - Eb+15 (minor 3rd)
Quint - 779.5Hz - G-9
Nominal - 1036.5Hz - C-16
Prime - 519Hz - C-13
Tierce - 627.5Hz - Eb+15 (minor 3rd)
Quint - 779.5Hz - G-9
Nominal - 1036.5Hz - C-16
| lowerbeedingfive.wav |
Bell 6
Hum - 251Hz - B+28
Prime - 486Hz - B-27
Tierce - 591Hz - D+11 (minor 3rd)
Quint - 713Hz - F+36
Nominal - 973.5Hz - B-24
Prime - 486Hz - B-27
Tierce - 591Hz - D+11 (minor 3rd)
Quint - 713Hz - F+36
Nominal - 973.5Hz - B-24
| lowerbeedingsix.wav |
Bell 7
Hum - 220Hz - A+0
Prime - 436.5Hz - A-13
Tierce - 533.5Hz - C+43 (minor 3rd)
Quint - 608.5Hz - Eb-38
Nominal - 874Hz - A-11
Prime - 436.5Hz - A-13
Tierce - 533.5Hz - C+43 (minor 3rd)
Quint - 608.5Hz - Eb-38
Nominal - 874Hz - A-11
| lowerbeedingsevem.wav |
Bell 8
Hum - 195.5Hz - G-3
Prime - 389Hz - G-12
Tierce - 469.5Hz - Bb+12 (minor 3rd)
Quint - 586.5Hz - D-1
Nominal - 781Hz - G-6
Prime - 389Hz - G-12
Tierce - 469.5Hz - Bb+12 (minor 3rd)
Quint - 586.5Hz - D-1
Nominal - 781Hz - G-6
| lowerbeedingeight.wav |
Present Severin Van Aerschodt bells before tuning
Bell 3
Hum - 340Hz - F-45
Prime - 674Hz - E+38
Tierce - 796Hz - G+26
Quint - 1052Hz - C+9
Nominal - 1332Hz - E+18
Prime - 674Hz - E+38
Tierce - 796Hz - G+26
Quint - 1052Hz - C+9
Nominal - 1332Hz - E+18
| lowerbeedingoldthree.mp3 |
Bell 4
Hum - 306Hz - Eb-28
Prime - 600Hz - D+37
Tierce - 720Hz - F# -46
Quint - 912Hz - Bb-37
Nominal - 1176Hz - D+2
Prime - 600Hz - D+37
Tierce - 720Hz - F# -46
Quint - 912Hz - Bb-37
Nominal - 1176Hz - D+2
| lowerbeedingoldfour.mp3 |
Bell 5#
Hum - 300Hz - D+37
Prime - 576Hz - D-33
Tierce - 688Hz - F-25
Quint - 908Hz - Bb-45
Nominal - 1128Hz - Db+30
Prime - 576Hz - D-33
Tierce - 688Hz - F-25
Quint - 908Hz - Bb-45
Nominal - 1128Hz - Db+30
| lowerbeedingoldsharpfifth2.mp3 |
Bell 6
Hum - 257Hz - C-30
Prime - 489Hz - B-16
Tierce - 604Hz - D+48
Quint - 740Hz - F#+0
Nominal - 1000Hz - B+21
Prime - 489Hz - B-16
Tierce - 604Hz - D+48
Quint - 740Hz - F#+0
Nominal - 1000Hz - B+21
| lowerbeedingoldsix.mp3 |
Bell 7
Hum - 226Hz - A+47
Prime - 440.5Hz - A+2
Tierce - 540.5Hz - Db-43
Quint - 631.5Hz - Eb+26
Nominal - 884Hz - A+8
Prime - 440.5Hz - A+2
Tierce - 540.5Hz - Db-43
Quint - 631.5Hz - Eb+26
Nominal - 884Hz - A+8
| lowerbeedingoldsevem.mp3 |
Inscriptions:
*Underlined text is within the inscription band*
*Text in blue is on the opposite side of the bell*
*Text in blue is on the opposite side of the bell*
1926 - Present
1 |
RECAST BY GILLETT & JOHNSTON, CROYDON. 1926 ◉ ###################################### LEONARD EGERTON HUBBARD : GILBERT EGERTON HUBBARD BE NOT WEARY IN WELL DOING SEVERIN VAN AERSCHODT, BELGIUM, 1885. 1 |
2 |
RECAST BY GILLETT & JOHNSTON, CROYDON, 1926. ◉ ###################################### PATIENCE MARION LODER BE YE DOERS OF THE WORD AND NOT HEARERS ONLY SEVERIN VAN AERSCHODT, BELGIUM, 1885 2 |
3 |
<><><><><><><><><><><><> [][][][][][][][][][][][][][][][][][][][] 𝔐𝔞𝔯𝔦𝔬𝔫 𝔈𝔩𝔦𝔷𝔞𝔟𝔢𝔱𝔥 ℌ𝔲𝔟𝔟𝔞𝔯𝔡 SEVERIN VAN AERSCHODT BELGIUM 1885 𝔖𝔢𝔱 𝔶𝔬𝔲𝔯 𝔞𝔣𝔣𝔢𝔠𝔱𝔦𝔬𝔫𝔰 𝔬𝔫 𝔱𝔥𝔦𝔫𝔤𝔰 𝔞𝔟𝔬𝔳𝔢 |
4 |
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ <><><><><><><><><><><><> [][][][][][][][][][][][][][][][][][][][] 𝔑𝔦𝔫𝔞 𝔏𝔬𝔲𝔢𝔩𝔩𝔢𝔫 ℌ𝔲𝔟𝔟𝔞𝔯𝔡 ℑ𝔫 𝔞𝔩𝔩 𝔱𝔥𝔶 𝔴𝔞𝔶𝔰 𝔞𝔠𝔨𝔫𝔬𝔴𝔩𝔢𝔡𝔤𝔢 𝔞𝔱 𝔓𝔢𝔞𝔠𝔢 CAST BY SEVERIN VAN AERSCHODT LOUVAIN BELGIUM 1885 |
5# |
<><><><><><><><><><><><> [][][][][][][][][][][][][][][][][][][][] ℭ𝔩𝔞𝔯𝔦𝔠𝔢 𝔐𝔞𝔯𝔤𝔞𝔯𝔢𝔱 ℜ𝔢𝔫𝔡𝔢𝔩 SEVERIN VAN AERSCHODT BELGIUM 1885 𝔄𝔠𝔮𝔲𝔞𝔦𝔫𝔱 𝔱𝔥𝔶𝔰𝔢𝔩𝔣 𝔴𝔦𝔱𝔥 ℌ𝔦𝔪 𝔞𝔫𝔡 𝔟𝔢 𝔞𝔱 𝔓𝔢𝔞𝔠𝔢 |
5 |
RECAST BY GILLETT & JOHNSTON, CROYDON, 1926. ◉ ################################ GRACE DAPHNE RENDEL DRAW NIGH TO GOD AND HE WILL DRAW NIGH CAST BY SEVERIN VAN AERSCHODT, LOUVAIN, BELGIUM 5 |
6 |
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ <><><><><><><><><><><><> [][][][][][][][][][][][][][][][][][][][] 𝕸𝖆𝖚𝖉 𝕰𝖗𝖓𝖊𝖗𝖘𝖙𝖎𝖓𝖊 𝕽𝖊𝖓𝖉𝖊𝖑 𝕳𝖊𝖆𝖗 𝖆𝖑𝖑 𝖞𝖊 𝖕𝖊𝖔𝖕𝖑𝖊 𝕳𝖊𝖆𝖗𝖐𝖊𝖓 𝕺 𝕰𝖆𝖗𝖙𝖍 CAST BY SEVERIN VANAERSCHODT LOUVAIN BELGIUM 1885 |
7 |
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ <><><><><><><><><><><><> [][][][][][][][][][][][][][][][][][][][] 𝕽𝖔𝖘𝖊 𝕰𝖑𝖑𝖊𝖓 𝕽𝖊𝖓𝖉𝖊𝖑 𝕾𝖎𝖓𝖌 𝖜𝖊 𝖒𝖊𝖗𝖗𝖎𝖑𝖞 𝖚𝖓𝖙𝖔 𝕲𝖔𝖉 𝖔𝖚𝖗 𝕾𝖙𝖗𝖊𝖓𝖌𝖙𝖍 CAST BY SEVERIN VAN AERSCHODT LOUVAIN BELGIUM 1885 |
8 |
RECAST BY GILLETT & JOHNSTON, CROYDON, 1926. ◉ ###################################### O COME LET US SING UNTO THE LORD : LET US HEARTILY REJOICE IN THE STRENGTH OF OUR SALVATION CAST BY SEVERIN VAN AERSCHODT, LOUVAIN, BELGIUM. TO THE GLORY OF GOD AND TO THE CHURCH OF THE HOLY TRINITY IN THE PARISH OF LOWER BEEDING, SUSSEX, 1885 [Portrait] I PRESENT THIS PEAL OF BELLS NAMED AFTER THEIR EIGHT [Portrait] GRANDCHILDREN IN MEMORY OF MY BELOVED PARENTS WILLIAM EGERTON AND LOUISA ELLEN HUBBARD WHO WERE MARRIED AT THE CHURCH OF ST. MARY ABBEY KENSINGTON LONDON, 19 MAY 1885. 8 |
1840 - 1885
1 |
THOMAS MEARS FOUNDER LONDON 1840 |
# = Fig. CFJ,1
◉= Fig. CFJ,4
/\ = Fig. SVA,1
<> = Fig. SVA,2
[] = Fig. SVA,3
◉= Fig. CFJ,4
/\ = Fig. SVA,1
<> = Fig. SVA,2
[] = Fig. SVA,3
Photographs:
The former tenor
Sources:
.https://sussexparishchurches.org/church/lower-beeding-holy-trinity/
.https://www.youtube.com/watch?v=JEJkMalMVv4&t=560s
.Holy Trinity Lower Beeding Belfry note book 1884 - 1989
.Gillett & Johnston Tuning Books
.Sussex Bells & Belfries by George P. Elphick
.The Church Bells of Sussex by Amhurst D. Tyssen
.SCACR Annual Reports 1997 - 2001
.https://sussexparishchurches.org/church/lower-beeding-holy-trinity/
.https://www.youtube.com/watch?v=JEJkMalMVv4&t=560s
.Holy Trinity Lower Beeding Belfry note book 1884 - 1989
.Gillett & Johnston Tuning Books
.Sussex Bells & Belfries by George P. Elphick
.The Church Bells of Sussex by Amhurst D. Tyssen
.SCACR Annual Reports 1997 - 2001
