Take notice in all Lessons in which you do not first secure or bind your Adversaries Sword, that you are to Thrust close by the Feeble of his Sword, with the Fort of yours. But there is a difference when you first secure your Adversaries Sword, for after your securing or binding, you quit his Sword, and give a strait home Thrust, without touching it, after it is bound.

In these Rules there is great advantage, as in the Quarting of your Hand, when you Thrust within, the Sword, preserves them from your Adversaries Counter-Temps Thrusts in the Face; so likewise does your Thrusting close by the Feeble of the Sword, and keeping your Hilt lower than the Point, when you Thrust without the Sword, as also the holding of your Head to the contrary side your Adversaries Sword is on, preserve you from Counter-Temps, ever observing as a general Rule; to keep your Head on the contrary side of your Adversaries Sword, on what side soever you Thrust, for this will frequently preserve your Face from being hit.

Lesson 4. Of Caveating or Disengaging.

In this case, when your Sword is presented within your Adversaries Sword, and you would have it without (keeping your Nails in Quart) slope your Point so low that you may bring it up under the out-side of his. This must be done with the Wrist, and not any Motion of the Arm, because when you Disengage, if the Arm move, your body would be too much discovered; so that your Adversary would have an advantage to give in his Thrust, which he could not do if only your Wrist moved, and this must be done with a sudden Motion; and by this you may learn to slip your Adversaries Sword at pleasure.

Lesson 5. Feinting or Falsifying

Of these, there are several kinds, and the first retreat on is the Ordinary single Feint; When you are on your Guard, and within your Adversaries Sword, disengage and make your Feint without, which you must do with a beat of your Right-foot against the Ground, just as you disengage, and your Sword on the out-side of your Adversaries, and immediately after, if you perceive him answer your Feint, and offer to Parie, disengage again, and give him the Thrust within the Sword.

Lesson 6. The Double Feint.

There is a difference between this and the single Feint; for in the single one you must make two Motions, viz. With the first you make your Feint, and with the next you give in your Thrust, unless you make your Feint on that side your Sword lyeth, which may be done without disengaging, and is the simplest of all others in all single Feints, it must be given in upon the side your Sword was before you made your Feint; But in the double Feint you are to make three Motions, and the Thrust (unless when you make your first Motion on that side your Sword was presented) is given in on the other side, and not on the side the Sword was just before you began to make your Feint; and to play this, there are two ways, viz. When you are within Measure, you must play it one way, and without Measure another way.

As to the first, your Sword being presented within your Adversaries Sword, then disengage and make your first Motion without his Sword, to stand a Thought on it to try whether he will answer you, by offering to proceed to the Parade; if he do not answer, it is useless, but if he do, then presently make your second Motion within his Sword, and your third Motion without it, by giving the Thrust; both these Motions must be done with admirable quickness; at every Motion give a beat with your Foot, and disengage; turning your Nails in Quart.

If you are without distance, make a Motion to see if he will answer your Feint, and if he do begin again, make your first Motion, as within distance, approaching at the same time, and so your second and third.

There is a contrary to these, that is to be observed when your Adversary makes use of them against you, Then you must make use either of the Counter-caveating Parade, or keep your Sword Point immoveable towards his Face that opposes you, your Arm as much stretched out as possible; and when you do so you must recover your Body, by drawing your Right foot close to your Left, stand as it were on Tip-toe, and if for all this your Adversary give a home Thrust, then you must Counter-temps him in the Face, and Parie his Thrust with your Left-hand; or if you perceive him make variety of Feints, then upon every one of them make a half Thrust, which will oblige him to betake himself to the Parade, and so when you please you may take the pursuit, or when he makes variety of Feints, give a plain home Thrust, as smart as may be, and endeavour to defend your self from Counter-temps with your Left-hand, and to prevent them, it is always in this Case best when you give a Thrust, to use your Left-hand.

Lesson 7. The Single Feint at the Head.

Being within distance you may present your Sword within or without your Opponents Sword, making a Feint or Motion at his Face, if your Sword be presented without, by a little stretching out your Right-Arm, your Nails in Quart, and when you make the Motion, give a little beat with your Right-foot, and if the Feint be answered, then immediately give in your Thrust at his Arm-pit your Head under your Sword-arm, your Left-hand held before you, with the Palm of it looking towards your Right-side, and that part of your Arm, from the Points of your Fingers to your Elbow, must stand in a manner strait upwards, which posture you must ever observe when you give in this Thrust, because in doing it, it defends you from the Thrust of your Adversary, if it be above, and without your Sword; and you may at the same time make a Motion at his Face.

Lesson 8. Of the double Feint at the Head.

Being within distance, make your first Motion or Feint, as before, at the Face, your second Motion low without your Adversaries Sword, towards his belly; and with the third, give a Thrust without, and above his Sword, your Nails in Quart, marking every motion with your Head, Hands and Feet; and when you make your second Motion, hold your Hand as in the single Feint, and when you give in your Thrust above Sword, you must Quart your Head well, because you must give it in with your Nails in Quart; and by this means your Body will be kept secure within your Sword, when in Terce it would ly open, especially to Counter-temps.

There is a Parying the contrary, either with the Counter-caveating Parade, or by answering every Motion, by what means you will fall to Parie your Adversaries with the first Parade in Terce.

Lesson 9. Containing the manner of the Feint at the Head on the True Parade.

The contrary to the second Parade is this, and to do it you must make your Motion at your Adversaries Face, and if you imagine he intends to Parie you with the second Counter-caveating Parade, make round his Sword, as it were going a circle about it, and so give a Thrust at his Arm-pit, and with your Left-hand avoid Counter-temps, and being within distance, approach with your first Motion, and in so doing you Caveat his Sword and shun his Parade, or if your Adversary follows your Sword, you may make two or three circles till you find a fit time to let in your Thrust.

Lesson 10. Of the Low Feint.

When you intend to proceed in this, you must have your Sword without your Adversaries and when it is so, make directly the Second Motion of the double Feint at the Head, and give in the Thrust above, and when you are without distance, make your approach with the Feint, or first Motion; and make in your Thrust with the second. And this may be Paryed, by answering every Motion, or using the Counter-caveating Parade.

The contrary to it, is, when your Adversary is making his low Feint, to take time, and give in the Thrust above his Sword, your Nails in Quart.

Lesson 11. Of Battery.

This is a kind of a Beat from whence it derives its name, and therefore when you play it you must present your Sword either without or within your Adversaries, if within, and he within your Measure, then keep your Sword half a Foot from his, and when you intend to play, Strike a small stroak on the Edg, and Feeble of your Sword on the Edg, and Feeble of his, and at the same Moment give a Beat with your Foot, which will surprize your Adversary, if not well skilled; if it does not, nor that he answers you by offering to Parie, give a strait home Thrust at his Right-Pap, as you give in a plain Thrust within the Sword, moving the Sword only with your Wrist, and thereby keeping your Body close. If your Adversary offers to answer your stroak, and go to the Parade, then your best way is to slip him, and give in a Thrust without, and above the Sword, or when you perceive him going to Parade, then suddenly slip and make a double Feint on the other side, and Thrust on that side you gave the Beat.

In the contrary of this Parie, with the Counter-caveating Parade, or meet his stroak, and make a half Thrust, which will force him to the Parade; and so you may pursue.

Lesson 12. Of Volt Coupe.

In this observe to present your Sword within your Adversaries, he being within your Measure; then make a Feint at the Face your Nails in Quart, and upon this give a Beat with your Foot, and carry your Hand well Quarted, and if by offering to Parie, he answers this, and that high, then Thrust at the Belly, your Nails in Terce, and keep your Left-hand as a Guard from Counter-temps; if by Parying low, you are disappointed of this advantage, then after you have made your Feint, instead of a Thrust in the Belly, slip his Parade, and give the Thrust without, and above the Sword; and when you are within distance approach with the first Motion: If your Sword be presented without your Adversaries, you must first then disengage.

The contrary to this is either to Parie his Sword with the second Parade in Quart, or to take time and give your Thrust the way he was to give it in upon you, at the instant he makes his Motion at your Face, or you may pass without his Thrust.

Lesson 13. Of Binding your Adversaries Sword.

This is the securest Play, and chiefest Mistery in the Art of Fencing, wherefore to do it after you have presented your Sword, either within or without your Adversaries, on a sudden over-lap six or seven Inches of his with eight or ten of yours; and this is sufficient to secure it; but this must be always done with the Edg of the Sword, whether you present it within or without, and immediately after you have bound it, give a Thrust strait home. In this case, always observing to keep a close Left-foot, also to give a Beat with your Foot, and to bind with a Spring, viz. Press your Sword almost to the Ground, but stay not with it, but immediately bring it up again and then give the Thrust; and this prevents Counter-temps, and the best Parade against it is, the Counter caveating Parade, and if your Adversary flips your Sword, you must endeavour to bind him within or without the Sword again. You may also put upon him the double or single Feint, or having bound your Sword without, you may give in your Thrust, as in playing the single Feint at the Head.

Lesson 14. Of the Flancanade.

To do this, when you have presented within your Adversaries Sword, over-lap it with 12 Inches of yours, within eight of his, and give in the Thrust on his Right-flank, on the other side of the Sword, and beneath it your Nails side-ways, throwing forward your Left-hand and turning the Palm from you to keep off Counter-temps in the Belly, and in Thrusting let your Hilt be lower than the Point, which secures his Sword; and note when you lap over to do it with the flat, and not with the Edg as when you bind.

And thus much may serve for an introduction to the learner in the Science of Defence, and therefore for other Lessons, not here set down, I refer him to a Master.

Of HAWKING.

The Faulcon-Gentle, for Partridge or Mallard. Gerfaulcon, will fly at the Herne. Saker, at the Crane or Bittern. Lanner, at the Partridge, Pheasant or Choofe Barbary Faulcon, at the Partridge only. Merlin and Hobby, at the Lark, or any small Bird. Goshawk and Tiercle, at the Partridge, or Hare. Sparrow-Hawk, at the Partridge or Black-Bird.

And the

Musket, at the Bush.

Your Hawk watch, and keep from Sleep, continually carrying him upon your Fist, familiarly stroak him with a Wing of some Dead Fowl, or the like, and play with him; Accustom to gaze, and look in his Face with a Loving, Smiling, Gentle Countenance; and that will make him acquainted, and familiar with Men.

Having made him familiar, the next thing is to Bring him to the Lure, (which the Faulconer makes of Feathers and Leather, much like a Fowl, which he casts into the Air, and calls the Hawk to) which is after this manner. Set your Hawk on the Perch, unhood him and shew him some Meat within your Fist, call him by Chirping, Whistling, or the like, till he comes, then Feed him with it; if he comes not, let him Fast, and be sharp set: Short-winged Hawks are properly said to be called, not Lured. Make him bold, and acquainted with Men, Dogs, and Horses, and let him be eager and sharp-set, before you shew him the Lure, knowing his Luring Hours; and let both sides of the Lure, be garnished with warm and bloody Meat; let him likewise know your Voice well; so that being well acquainted with Voice, and Lure, the Hearing of the one, or sight of the other, makes him Obedient; which you must reward by Feeding, or punish by Fasting. beingBut before Luring (or any Flight) it is requisite to Bathe your Hawk in some quiet and still shallow Brook, or for want of that in a Large Bason, shallow Tub, or the like, lest at liberty, you lose your Hawk, (whose Nature requires such Bathing) and make him range. Now to make him know his Lure, is thus: Give your Hawk to another, and having loosned in readiness his Hood-strings, and fastened a Pullet to the Lure, go a little distance, cast it half the length of the string about your Head, still Luring with your Voice, unhood your Hawk, and throw it a little way from him; if he stoop and seize, let his plum the Pullet, and feed on it upon the Lure: Then take him and Meat on your Fist, Hood him and give him the Tiring of the Wing, or Foot of the said Pullet.

Having Manned and Lured your Hawk before you bring him to his Flight, one thing is to be observed and done, called in the Faulconers Dialect, Enseaming, which is to cleanse him from Fat, Grease, and Glut, know by his round Thighs, and full Meutings; and thus you may do it: In the Morning when you feed him, give him a bit or two of Hot-meat, and at Night very little or nothing. Then feed him Morning and Evening with a Rook, wash't twice till the Pinions be tender; then give a Casting of Feathers as his Nature will bear; and once in two or three dayes give him a Hens-neck well joynted and washt: Then a quick Train Pigeon every Morning; and after by these and his own Exercise, he has broken and dissolved the Grease, give him three or four Pellets of the Root of Sallandine, as big as a Garden Pease, steept in the Sirup of Roses; and you have done this part of your Duty.

To Enter your Hawks, for Partridge or Fowl, Lay an old Field Partridge in a Hole, covered with something, and fasten to it a small Creance (i.e. a Fine small long Line of strong and even-wound Packthread fastned to the Hawks Leash when first Lured,) and uncoupling your ranging Spaniels, pluck off the Covering of the Train Partridge and let it go, and the Hawk after it; and as soon as he has slain it, reward him well with it. And thus to make him fly at Fowl, feed him well with the Train of the Fowl you would have; doing afterwards as above.

The Fault of Hawks differ according to their Nature and Make. Long-Winged Hawks faults are thus helped. If he used to take stand, flying at the River, or in Champaign Fields, shun flying near Trees or Covert, or otherwise, let several Persons have Trains, and as he offers to stand, let him that's next cast out his Train, and he killing it reward him. And indeed you ought never to be without some live Bird or Fowl in your Bag, as Pigeon, Duck, Mallard, &c. If he be Froward and Coy; when he Kills, reward him not as usually, but slide some other Meat under him and let him take his pleasure on it; giving him some Feathers to make him scour and cast. If he be Wild, look not inward; but mind Check, (i.e. other Game, as Crows, &c. that fly cross him) then lure him back, and stooping to it, reward him presently.

The faults of Short-winged Hawks thus are helped. Sometimes the Goshawk and Sparrow-Hawks, will neither kill, nor fly the Game to Mark, but will turn Tail to it: Then encourage your Dogs to Hunt, cast a Train Partridge before your Hawk, make him seize it, and feed well upon it.

If a Hawk take a Tree, and will not fly at all, feed him then upon quick Birds, and make him foot them, and in the plain Champaign Fields unhood him, and rising up and down awhile let one cast out a Field Partridge before him, let him fly at it, and footing it, feed on it. If they be too fond of a Man, that after a stroke or two will not fly, be seldom familiar with him, and reward him not as he comes so improperly: Otherwise reward him well.

As for Mewing of Hawks, the best time for Long-winged Hawks is about the middle of April, and March for the Short-winged Hawks. There are two kinds of Mewings. 1. At the stock or stone; so called from its being low upon the Ground, free from Noise, Vermin or ill Air. 2. At large; so called from being in a high Room, with open Windows towards the North or North-East. The former is accounted the best Mewing. The Faulconer, before he Mews his Hawks, see if they have Lice, to Pepper and Scower them too. The best time to draw the Field Hawk from the Mew, is in June, and he will be ready to fly in August; the Hawks for the River in August, will be ready in September.

Cures for Hawks Diseases.

The Faulconer ought diligently to observe the Complexions of his Hawks Castings and Mewtings, to judge of their Maladies, an assured sign of knowing whether they are sick or distempered in this. Take your Hawk, turning up her Train, if you see her Tuel or Fundament swelleth, or looketh red; Or, if her Eyes or Ears be of a fiery Complexion, it is an infallible sign of her being not well and in good health; and then Scouring is necessary first; which is done by Aloes Cicatrine, about the quantity of a Pea wrapt up in her Meat; and this avoids Grease, and kills Worms too.

For the Cataract: Take one Scruple of washt Aloes finely beaten, and two Scruples of Sugar-candy, mix these together, and with a Quill blow it three or four times a day into your Hawks Eye.

Pantus or Asthma: Pour the Oyl of sweet Almonds into a Chickens Gut, well washt, and give it the Hawk: Or, scower him with Sallandine-Pellets, and Oyl of Roses, and then wash his meat in the Decoction of Coltsfoot.

Filanders or Worms: To prevent them, seeing your Hawk low and poor, give her once a month a Clove of Garlick. To cure or kill them; take half a dozen Cloves of Garlick, boil them very tender in Milk, dry the Milk out of them; put them into a Spoonful of the best Oyl of Olives, and having steept them all Night, give them both to your Hawk, when she has cast, in the morning: feed him not till two hours after, and then with warm meat, and keep him warm all that day.

Lice: Mail your Hawk in some Woollen Cloth, put between his Head and Hood a little Wool, and take a Pipe of Tobacco, put the little end in at the Tream, blow the smoak, and the Lice that escape killing, will creep into the Cloth: Probatum.

Formica: Take a little of the Gall of a Bull, and beating it with Aloes, anoint the Beak of the Hawk, Morning and Evening,

Frounce: Take the Powder of Allume, reduced to a Salve with strong Wine Vinegar, and wash her mouth with it; then take Juice of Lolium and Raddish, mixt with Salt, and anoint the Sore.

Apoplex: Gather the Herb Asterion, wash your Hawks meat with the Juice thereof when you feed him.

Wounds: Take the Juice of English Tobacco, or Mouse-ears, after you have sticht it up with a little Lint, bathe the place.

Of BOWLING.

Thus much for Bowling.

Of TENNIS.

Tennis and Baloon are sports which are play'd almost with the same Instruments; and therefore may be under one and the same Head: The first is a Pastime, used in close or open Courts, by striking a little Round Ball to and fro, either with the Palms of the hands (and then is called Pila palmaria in Latin) or else a Racket, made for the purpose, round with Net or Cat-gut, with a Handle: The other a strong and moving Sport in the open Fields with a great Ball of a double leather filled with Wind, and so driven to and fro with the strength of a Mans Arm, armed in a Brace of Wood. And thus much shall suffice to speak of the Baloon and Tennis; only let me desire you, let not this or any other Pastime disturb your Minds; divert you from the diligent and careful Prosecution of your lawful Business; or invite you to throw away your Time and Money too lavishly and idley; nor engage you in any Passion; that so you may not offend God, dislike your Neighbour, nor incomode your Self and Family in your Well-being and Felicity; and then you may recreate your self without Fear: And in this Recreation observe the ensuing Morality of

Of RINGING.

1. That as all Musick consists in these six plain Notes, La Sol Fa Mi Re Ut; so in Ringing, a Peal of Bells is Tuned according to these Principles of Musick: For as each Bell takes its Denomination from the Note it Sounds, by its being flatter or deeper, as, First, or Treble, second, third, fourth, &c. as they are in number to ten or twelve Bells, the last being called the Tenor; So must they successively strike one after another both Fore-stroke and Back-stroke, in a due Musical time or Equi-distance, to render their Harmony the more Pleasant, and to make the Young Practitioner the better informed to observe the Life of Musick, and indeed of true Ringing, Time; and therefore is called, Round-ringing.

2. As in Musick, so in Ringing there are three Concords, so called from their Melodious Harmony and Agreement, which Principally are these; Thirds, viz. 1 3, 2 4, &c. Fifths 1 5, 2 6, &c. Eights 1 8, 2 9, 3 10, &c. and these are the more pleasant according to the Number of Bells they are struck on, and as they are struck, whether separately or mutually. From hence Changes are made, which is only a Changing place of one Note with another, so variously, as Musick may be heard a thousand ways of Harmony; which being so obvious to common Observation, I shall not go about to demonstrate; for that if two may be varied two ways, surely by the Rule of Multiplication, a Man may easily learn how many times 6, 7, 8, 9, 10, or 12 Bells Notes may be varied; which will run almost ad infinitum.

3. For the better observing the Ringing of Changes or Rounds, these three things are to be noted.

1. The Raising true in Peal.
2. Ringing at a low Compass; and
3. Ceasing in true Peal; all which three are the most essential Parts to render a Practitioner Excellent.

1. For Raising a Peal of Bells true, the modern and best Practice recommends the swiftest and quickest possible, every one taking Assistance to raise his Bell, as its going requires: the lesser Bells as Treble, &c. being by main strength held down in their first Sway (or pull) to get time for the striking of the rest of larger Compass; and so continued to be strong pulled till Frame-high, and then may be slackned: The bigger, as Tenor, &c. must be pincht or checkt overhead, that the Notes may be hard to strike roundly and hansomely. Observe that all the Notes strike round at one Pull: I do not mean the first; but 'tis according to the Bigness and Weightiness of your Bells: However in raising a Peal, do not let one Bell strike before the rest, or miss when the rest do; this is contrary to the Strict Rules of true Ringing: And this is called Round-ringing. Now if you design to raise a Peal of Bells for Changes, you ought to raise them to a Set-pull, as the most proper for commanding the Notes, and he who is not well skilled to manage his Bell at a Set-pull, will be apt to drop or overturn it, be in a Wood, and fruitlessly toil and moil himself. Therefore in practising the Setting of a Bell, cast your Eye about the other Bell-Ropes, during your managing your own, that you may accustom your self to manage it according to the Change.

2. For Ringing at a low Compass, is thus observed: By keeping a due punctum or beat of time, in the successive striking one after another of every Bell; the best Ringer being set to the Treble, that may guide and direct the rest of the Notes in their due Measure.

3. For Ceasing a Peal of Bells; let them fall gradually from a set Peal, checking them only at Sally, till the low Compass renders it useless; and when so low, that for want of Compass, they can scarce strike at Back-stroak; then let the Treble-Ringer stamp, as a Signal, to notify, that the next time they come to strike at the Fore-stroke, to check them down, to hinder their striking the Back-stroke; yet Fore-stroke continued, till brought to a neat and graceful Chime, which may be the Finis to that Peal.

Thus much in short, for Raising, Round-ringing, and Ceasing a Peal of Bells; I come next to lead you forth into that spacious Field of Variety of Changes, and present you with Instructions that may be meerly necessary, for the right Understanding the several kinds of them.

Now in Ringing Changes, two of our best Senses, are to be employed, viz. The Ear, and the Eye: The Ear, hearing when to make a Change; and the Eye directing the Bell in making it: The Bells being the Object of the Former, and the Bell-ropes the Object of the Latter: And to render both the Eye and Ear Useful in Ringing Changes, these Five things are throughly to be Understood.

First, Endeavour to distinguish the Notes of a Peal of Bells, one from another while Ringing.

Secondly, Learn to apprehend the places of the Notes.

Thirdly, Understand the Precedency of Notes.

Fourthly, How to make a Change in Ringing.

Fifthly, and Lastly, How to Practice the four fore-going Notions, in General.

1. To know the Notes of a Peal of Bells asunder (which is easy in Round-Ringing) in Changes is thus: Get the skill of Tuning them with your Voice, by imitating their Notes while Ringing. Or if you are acquainted, either by your self or Friend, with some Singing-Master, or one who has skill in Singing, get him to instruct you in the true Pitch of any Note, and aid your distinguishing them; otherwise you may be puzzled in this, to know which is Treble, which Second, &c. as in 532641, &c.

2. To know the places of the Notes, is no way better to be apprehended than thus: The Practitioner ought to form an Idea in his Head of the place of each Note, whether in a direct Line, or Obliquely; and representing them by a Figure in his Mind, see (as it were) by the Eye of the Understanding, each stroke of the Bell, as the Treble, 1. Second 2. Third 3. &c. so that as the Ear is to direct him, when to make the Change, so a right Apprehension of the Motion and Places of the Notes, ought to be a means to guide his Ear.

3. The Precedency of Notes, is of a very obvious Demonstration; thus: In Ringing Changes the Fore and Back-stroke, successively following one another, are properly said to Lye behind one another, according to their places of striking. Or in short, in 12345, the Note that leads either at Fore or Back-stroke, is said to Lye before the rest, and the last to be behind, As the 2 is said to lye behind the 1, so it lyeth before the 3, as the 3 lyeth behind 2, so it lyeth before the 4. And so of as many as are Rung.

4. The manner of making a Change, is very common, and needs no particular, but general Rule; That it is made by moving one Note into anothers place, Up and Down, as Occasion requires; but usually made by two Notes standing one next the other, as hereafter may be observed.

Lastly, In your Ringing Changes, these two things (in which consists the practick part of this Art) are to be rightly considered, First, Readily to know which two Bells are to make the succeeding Change. And Secondly, to consider (if you are concerned in it) what Bell you are to follow in making it. To understand which the more perfectly, you must imprint in your Memory, the Method of the Changes prick'd in Figures, and to be expert likewise in setting them down divers ways, and making any Figure a Hunt at Pleasure; and thus without pausing or hesitating to consider the Course, you may throughly understand the Methods; the Four preceding Observations being first perfectly understood.

There are two ways of Ringing Changes, viz. By Walking them, as the Artists stile it; or by Whole Pulls or Half-pulls: Walking is, when in one Change the Bells go round, Four, Six, or Eight times; which is a most incomparable way to improve a Young Practitioner, by giving him time to consider, which two Bells do make the next succeeding Change, and in making it, what Bell each is to follow; so that by this means (by his Industry) he may be capable of Ringing at Whole pulls; which is, when the Bells go round in a Change at Fore and Back-stroke; and a New Change is made every time they are pulled down at Sally: This was an Ancient Practice, but is now laid aside, since we have learnt a more advantageous way of hanging our Bells, that we can manage a Bell with more ease at a Set-pull than formerly: So that Ringing at Half-Pulls is now the modern general Practice; that is, when one Change is made at Fore-stroke, another at Back-stroke, &c.

He that Rings the slowest Hunt, ought to notify the extream Changes; which is, when the Leading Bell is pulling down, that he might make the Change next before the extreme, he ought to say, Extreme. By this means, betwixt the Warning and the Extreme there will be one compleat Change.

Of Changes, &c.

There are two kinds of Changes, viz. Plain Changes, and Cross-peals; which Terms do denote the Nature of them; for as the first is stiled Plain, so are its methods easy; and as the second is called Cross, so are its Methods cross and intricate: The First have a general Method, in which all the Notes (except Three) have a direct Hunting-Course, moving gradually under each other, plainly and uniformly: Plain are likewise termed single Changes, because there is but one single Change made in the striking all the Notes round, either at Fore or Back-stroke. But the Second is various, each Peal differing in its Course from all others; and in Cross-peals as many changes may be made as the Notes will permit. In short, as to Plain-changes, I shall not dilate on them here, it being so plainly understood by every one that lately have rung a Bell in peal; all therefore I shall add is this, that any two Notes that strike next together may make a Change, which may be done either single or double, as you list. The single, by changing two Notes; and the double, by changing Four, i.e. Two to make one Change and two another; which is however called One double Change, and not two Changes; because tis made in striking the Notes of the Bells once round.

Of Cross-peals.

Or in these Cross-peals we must Observe the prime Movement, which sets the whole Frame a going, and that is called the Hunt, which hath one constant Uniform Motion throughout the Peal, and different from that of the other Notes; and indeed by this the whole Course of the Peal is Steered. This keeps a continual motion through the other Notes, i.e. from leading, to strike behind, and from thence again to Lead; which is called one compleat Course.

Some Peals upon five Bells consist of single Courses, wherein are ten Changes, and twelve Courses make the Peal. Others upon five consist of double Courses, wherein are twenty Changes to every Course, and six Courses in the Peal.

Upon six Bells there are likewise single and double Courses, viz. Twelve Changes in every single Course, as in Grandsire-bob, &c. and Twenty-four Changes in every double Course, as in College Bobs, that being the first Change of every Course, wherein the Hunt leaves Leading: In short, judiciously observe the first Course of any Cross-peal, and you will soon see the general Method of the whole Peal: All Courses in Cross-Peals agreeing in these following three Respects. First, In the Motion of the Hunt. Secondly In the motion of the rest of the Notes: And Thirdly, In making the Changes. Which three things being well (to omit Instance of Demonstration) and narrowly observed, will be very helpful both in pricking and ringing Courses; the first and third for directing you in Pricking them, and the first and second in Ringing them.

There is one Difficulty to be removed e're I can come to prick down those Peals I design to be the Subject of the Discourse of this Epitome, and that is, How to make the first Changes at the beginning of each Peal; I mean to make the Second, Third, Fourth, &c. whole Hunts; and this In short is thus directed: In any Cross-peal the whole Hunt may move either up or down at the beginning; and the Motion of the whole Hunt, in the first Course of each of the following Peals will direct the first Motion of any Cross-Hunt, and by Consequence of making the first Changes in that Peal. Taking along with you this Observation.

That whensoever the first Change of any Peal happens to be single, it must be made at the back-stroke, to prevent cutting Compass, and the like when a double Change happens first in a Peal of Triples and doubles: But when it happens, that the first Change is made at the Back-stroke, then Consequently the Bells at the end of the Peal will come round at a Fore-stroke Change.

I shall omit speaking to any of the several Peals on four or five Bells; for that in my opinion little Musick is heard, though much Practical Observation is made, from them; and therefore shall begin with Grandsire-bob, as having mentioned it but just before in my general View I made of Cross-peals.

Grandsire Bob.

Bob Changes take their Name from this; viz. When the Treble leads in the Second and Third, and the Fifth and Sixth's places, then they are called Bob-changes. In Ringing which you are to observe these Rules, viz.

Whatsoever Bells you follow when you Hunt up, the same Bells in the same order you must follow in Hunting down; as in the Changes here prickt, where the Treble hunting up First follows Second, then Fourth, and then Sixth; when it comes behind, First follows Second, in hunting down Fourth; and when hunting up follows Sixth in the same Order: The like may be observed in Ringing any other Bell, with this Difference betwixt the whole Hunt and the rest, viz. Every time the Whole hunt leaves the Treble's place, and hunts up, it followeth different Bells, from what it did at its first hunting up.

In the ensuing Peal here prickt are Eighteen-score Changes, wanting one. It may be Rung with any Hunts, and begin the Changes Triple and Double: You may make your extream at the first, second, or third single Bob; or the first, second, or third time, that the half and Quarter-hunts dodge behind; the single must be made behind in either of these.

Thus much for the Grandsire-bob; I shall next collect what London Peals I think most Harmonious, and agreeable, without troubling my self to go to Oxford, or Nottingham, or Redding, to enquire after their different Methods of Peals, as indeed needless; and my reason is this: Because I think the same Rules for Peals that are suitable to our London Genius, may challenge likewise an Acceptance amongst other Cities; provided their Steeples are furnished with as many, and as good Bells, and their Belfree's with as ingenious and elaborate Ringers as here in London.

I shall begin then with Peals upon six Bells, and herein in order, measure out the Delights on Peals from Six to Eight Bells, and setting out early, present you with

The Morning Exercise.

Doubles and singles. The whole Hunt is the Treble, which Hunteth up into the Second, Third, and Fourth places, lying twice in each; and then lyeth still in the Sixth place, having dodged behind, and makes another, and then Hunts down as it Hunted up, and then leads four times. Observing the manner of its Pricking, and its Practice, may excuse any further defining it.

This will go a 120 Changes, and by making Bobs, 240, 360, 270.

A Cure for Melancholy.

Doubles and Singles.

I should think it needless to explain the method of prick'd Peals, and give a large Definition of them, when their plain Demonstration might be sufficient; However, as the Old Phrase is, Because 'tis usual, something shall be said of this too.

The Treble is the whole Hunt, as in the former, and leads four times, and lyeth behind as many, and twice in every other place; the two Bells in the 3d. and 4th. places continue dodging, when the Treble moves out of the 4th. place, until it comes down there again, and then the two hindmost dodge, till the Treble displaceth them; who maketh every double Change, except when it lieth behind, and then the double is on the four first, and on the four last when it leads. Every single (except when the Treble lies there) is in the 5th. and 6th. places; or if possessed by the Treble, then in the 3d. and 4th. places: Every Bell (except the Treble) lies four times in the Second place: But enough; a word is enough to the Wise. See it here Deciphered.

This will go Six-score Changes, but by making bobs, it will go 240, 360, or 720. The Bob is a double Change at the leading of the Treble, in which the Bell in the 4th. place lyeth still.

London Nightingale.

Doubles and Singles.

The Whole-hunt is the Treble, who lyeth four times before, and as many behind, and twice in every other place: The two hind Bells continue dodging, when the Treble moves down out of the Fifth place, till he comes there again, the Bell in the Fourth place lying still all the while: When the two hind Bells aforesaid leave dodging, then the two First Bells take their dodging places, till dispossessed again, by the return of the said Hind Bells to their dodging; and then they Cease.

This will go 120, and by making Bobs, 240, 360, or 720.

College Bobs.

In this Bob, when the Treble leaves the two Hind Bells, they dodge till it comes there again, and till the Treble gives way for the dodging again of the said two Hind Bell, the two First Bells dodge, but after Cease dodging, when the two Hind Bells dodge.

Another.

Here, every Bell, when it comes to lead, makes a dodge before, then after one Change, it lyeth still; after it has made another dodge, it moves up into the 4th. place, where twice it lyeth still; and down again; except the Treble happens to dodge with it in the 4th. place, then it hunts up behind. When the Treble moves down out of the 3d. place, the two Bells in the 3d. and 4th. place continue there, till the Treble comes up thither again, the two hind Bells dodging in the mean time.

Both these bobs will go One Hundred and Twenty Changes, and by making of bobs, they will go, 240, 360, or 720. And thus with little Variation, there are other bobs may be made after the same manner, and afford as Admirable Musick, as possibly can be made on Bells. I shall therefore hasten to finish this days Work, only first present you with this one more called,

The City Delight:

Doubles and Singles.

The whole Hunt is the Treble, and lieth as before in the Nightingale: When the Treble moves out of the 3d. place, the Singles are made in the 2d. and 3d. place, till the Treble repossesses his 3d. place, and then behind, till it moves up again out of the 3d. place. The two hind Bells dodge, when the Treble moves out of the 4th. place, till he returns again; the Bell in the 4th. place lying still all the while.