Ringing chambers, platforms and floors

click photo to enlarge

English church bell ringing of the most common variety, usually known as change ringing, began in the 1600s with one of the earliest ringing societies, the Lincoln Cathedral Guild, dating from 1612. English church bells usually number 6 or 8, though there may be be fewer or more, and are located in the bell chamber at the top of the tower. They are not struck by hammers, but have an internal clapper that strikes the bell when it is rotated by a rope attached to a wheel. Below the bell chamber there is sometimes a room known as the sound chamber. The bell ropes pass through this room, which often holds the church clock mechanism, to a ringing chamber below. Bell ringers stand in the ringing chamber to pull the ropes that sound the bells. A very long distance between the bell and the person ringing is usually avoided because the ropes stretch making control more difficult. Where the church has a west tower there are often floors dividing the chambers described above. Crossing towers, however, are frequently vaulted, though some west towers are too. Where this is the case then bells are often rung from ground level with long bell ropes, but another solution is to install a ringing platform.

Today's main photograph shows one of the most hair-raising locations for bell ringing anywhere in the country. In Pershore Abbey, Worcestershire, a platform has been constructed 72 feet above the floor of the tower. To get to their places the ringers have to climb two stone spiral staircases, pass along a walkway through the roof, then negotiate a narrow passage and finally descend an iron "cage staircase" above the void below. The latter can be seen to the right of the bottom arm of the cross in the photograph. The central square is the suspended timber ringing platform where the campanologists do their work.


The photograph of the bottom of the tower of All Saints church at Holbeach, Lincolnshire, shows a different approach to the construction of a ringing platform. Here a more substantial structure  has been constructed, supported from the floor, and doubling as the roof of a small café at the base of the tower. The fact that the tower is not too tall has made this solution possible. The etched glass doors and windows add interest to the conception. The loss of the view of the west window is regrettable but inevitable.

Today's third photograph shows what happens in a tall church tower when no ringing chamber or platform is available. The bell ropes (also called the "pull") of Croyland Abbey, Lincolnshire, are thought to be the longest in England. Apparently four sets of rope guides are necessary to keep them in the required places. Interestingly, Croyland Abbey had one of England's early tuned peals. In the early tenth century Abbot Turketyl had a great bell cast. It was named "Guthlac", after St Guthlac, the abbey's founder. Abbot Egelric (975-984) had six more made to complete the tuned peal. These were named Bartholomew, Beccelm, Turketyl, Tatwin, Pega and Bega. This YouTube video clip shows the bells of Croyland Abbey being rung.

photograph and text © Tony Boughen

Photo 1
Camera: Lumix LX3
Mode: Intelligent Auto
Focal Length: 5.1mm (24mm/35mm equiv.)
F No: f2
Shutter Speed: 1/30
ISO: 320
Exposure Compensation: -0.66 EV
Image Stabilisation: On

Pershore Abbey vaulting

click photo to enlarge
I think that Gothic vaulting is one of mankind's most inspired creations. Down the ages people have sought to produce objects that combine the twin virtues of beauty and function; in fact designers and architects strive daily to achieve it. Yet despite our greater knowledge, our computers, universities and professional organisations, the work of medieval masons, people who learned from their peers, is the equal of, and often surpasses, anything that we produce today.

The vaulting in today's photograph was erected about 1290-1300. It is in what is known as the Early English style, and is an interesting and unique example. The architectural historian, Nikolaus Pevsner describes it thus: "It consists of transverse arches, diagonal ribs, ridge-ribs, one pair of tiercerons to N(orth) and S(outh), but in addition lierne-ribs forming a kind of scissors movement: open-closed, open-closed, all along." Look at vaulting anywhere else, and you won't see anything quite like it. Pershore has, to quote Pevsner again, "pleasant confusion." The purposes of the vaulting arches is, of course, to transfer the weight of the roof outwards to the columns, piers and walls. Pointed Gothic arches of the thirteenth and subsequent centuries do this better than the earlier, rounded arches of the Romanesque period, and consequently allow wider spaces to be roofed.

The carved stone bosses at the intersections of the vaulting ribs are ornamental (each is a different design), but also functional in that they cover the joins. What prompted me to take this shot (apart from the beauty of the vaulting) was the fact that the roof was lit whilst the lower part of the building wasn't. The orange warmth of the electric light contrasted with, but also complemented, the colder blue daylight shining through the windows, and added to the scene's attraction.

photograph and text (c) T. Boughen

Camera: Lumix LX3
Mode: Aperture Priority
Focal Length: 5.1mm (24mm/35mm equiv.)
F No: f2
Shutter Speed: 1/30
ISO: 250
Exposure Compensation: -0.66 EV
Image Stabilisation: On

The "Leafing Through History" sculpture

click photos to enlarge

I'm a fan of public sculpture. In fact, I am so in favour of it that I'd rather see mediocre public sculpture than none at all. At its best a good piece interests, challenges, excites and intrigues. It adds something positive to its location. At its worst it is an eyesore, a feature that degrades the place where it stands. This much I've said elsewhere in the blog. I've also added that street furniture - seating, railings, etc - that try to combine utility and the aesthetic qualities of sculpture rarely work. What I haven't articulated previously, however, is my general dislike of modern, public wood sculpture. This is often "environmentally" themed, featuring wild animals, birds, and plants, and frequently has a "rustic" finish. I've seen an example that combines the above with the function of a path-side seat; one that was uncomfortable at the best of times, and unusable when damp (i.e. for much of the year).

Consequently, when I come across a good example of the genre I often take a photograph of it. That happened during my recent visit to Pershore in Worcestershire. Today's photographs show the two sides of a sculpture of part of the trunk of a beech tree next to Pershore Abbey (enlarge the smaller of these two recent images to see the context). It is called, "Leafing Through History", and was carved in 2007 by Tom Harvey. This much I know from the accompanying plaque. It appears to represent the act of reading about the past, or is about the past itself, and has wildlife - a fox, butterflies, flowers - a tree, and the sun and moon as a backdrop to the figures. The piece is unusual, in my experience, by being carved from the upper part of a tree trunk that is still anchored in the ground. More than that though, the under-cutting is much deeper than is usually the case these days, and that gives much deeper shadows and better formed subjects. And the composition is more inventive: too often the sculpture retains the "lumpiness" of the original piece of wood and is more in the nature of a relief than a sculpture. That is certainly not the case here. Of the two faces I admire the complex composition, but prefer the single hooded figure. Is it meant to represent one of the monks of the adjacent abbey? Is it Robin Hood having a literary break from robbing the rich and giving to the poor? I don't know. But, I do like the way the figure seems to grow, organically, out of the tree, and that was what I aimed to capture in my photograph.

photographs and text (c) T. Boughen

Photo 1 (Photo 2)
Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 33mm (66mm/35mm equiv.) (25mm (50mm/35mm equiv.))
F No: f6.3
Shutter Speed: 1/00 (1/250)
ISO: 100
Exposure Compensation: -0.7 (-0.3) EV
Image Stabilisation: On

Pershore Abbey

click photos to enlarge

We've entered the time of year when photography can be somewhat restricted by the brightness of the middle of the day. From about mid-June to somewhere approaching the end of August the period between about 11.00am and 3.30pm often presents difficulties when photographing landscapes. If the sun is out it is high and bright, the shadows are short and deep, and vegetation reflects the light, resulting in de-saturated colours. As a rule good images are easier to acquire when they are taken before and after these times. But, in photography, as in life, rules are for the guidance of wise men and the obedience of fools, and you have to use your photographic judgement because it is certainly possible to find an image in this "dead" period of the day and year.

Today's main photograph was taken at 3.00pm on 20th June. I was shooting pretty much against the very bright sunlight, so that considerably more of the building than I would normally want was in shadow: consequently the modelling wasn't too good. However, the sky was great! Feathery wisps of cloud were scattered about the deep blue, and I knew that a red filter would emphasise them when converted to black and white.

The church is the former abbey at Pershore in Worcestershire. This building, originally an Anglo-Saxon foundation, rebuilt c.1100, and extended in the thirteenth and fourteenth centuries, was severely reduced in size at the Dissolution of the Monasteries in 1539. The monastic outbuildings were destroyed and the nave and Lady Chapel were taken down completely. The north transept subsequently collapsed and in 1686 the crossing tower had to have supports constructed on that side. An east apse (shown in the photograph) was built in 1847. There was a general restoration in 1862-5 and in the early twentieth century when two massive flying buttresses (dated 1913) were placed against the tower to help to hold it in position (see smaller photograph). The remaining building is, in the words of the church's website, "very much a broken building". However, it is not without interest and definitely has an "ugly duckling" charm.

photograph and text (c) T. Boughen

Main Image
Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 14mm (28mm/35mm equiv.)
F No: f5.6
Shutter Speed: 1/1000
ISO: 100
Exposure Compensation: -1.0 EV
Image Stabilisation: On