Documenting the hidden world of the bell ringers: making a peal board

 

What is a peal board?

Well, before this commission in 2022 I'd never heard of one either. Making it gave a chance to see a tiny glimpse of something that most people outside of bell ringing never see. In this post we go up the stairs in the church tower, through a small door and into the bell loft to have a glimpse at the hidden world of the bell ringers.

Bells are traditionally rung to call people to worship in Christian churches in Britain. Ringing developed from the use of a single bell to several, which are rung in complicated patterns that require a lot of skill from all participants to play accurately. Each ringer in the tower will play a single bell by pulling on a rope to make it swing, so that the sound fits in with the pattern being played.

A peal board is a wooden panel made to record special sessions of bell ringing. These sessions may last for two or more hours and are done very occasionally to commemorate particular events or people, usually having a close connection to that church or bell ringing group. The board shows information such as who rang the peal, what pattern was rung and who or what was being commemorated amongst other things.

The commissioned board was made from a solid oak panel fitted into an oak frame and will be hung alongside others in the bell loft, where the ropes used in ringing hang down from the bells above. You can see some other boards and bell ropes in the picture above, along with images of previous bell ringers and Tower Captains (head bell ringers) associated with the church of St James, in Mangotsfield on the edge of Bristol.

I was commissioned by Jon, the Tower Captain at St James, to make this peal board. He also very kindly showed me around the bell tower there. 

The tower dates back to the fourteenth century, the spire was added in the nineteenth century but the bells are more recent. They were first cast in 1922 but were taken down and recast in 1992 at John Taylor and Co in Loughborough. 

To have a look at them, we climbed up a ladder from the bell loft and then through a hatch. Next came a clamber up and through the steel frame that houses the eight bells. This frame is unusual in that it sits at an angle in the tower in order to fit.

After going out through another small door, we had a fine view from the tower over the surrounding houses to the Gloucestershire countryside beyond.

The oldest peal board in St James goes back to 1922, when the bells were first installed, although some in other churches are apparently much older. The one I made will be there for as long as bells are rung in the tower and I'm sure that, given its particular interest to certain people, would be a collector's item after that. It occurred to me that these peal boards are important documents of the history of ringing in that bell tower. 

I wanted to carve and paint part of the design to record this so, after discussions with Jon, the frame now features an image of the actual tenor bell which hangs above it, along with bell ropes and sallies (the wider, colourful grips on the ropes) in the colours of the ones presently in the church. There is text painted on the reverse of the frame recording who made the board and where it was originally hung.

 

I wonder who will be surprised, after taking down the panel perhaps hundreds of years from now, to see this text. What will the world around them look like by then?

Green men and a bowing crow - 'In the Downbelow'

I went into the crypt under the church of St John on the Wall in Bristol today, to see 'In the Downbelow', the latest exhibition by the sculptor and model maker Tom Astley. 

The crypt dates back to the early 14th century and one of the highlights of the place, for me, was the collection of carved green man faces on the roof bosses. They are quite low down compared to most churches and cathedrals, so can be easily studied from floor level.

This one has a fine set on teeth on show!

The crypt is very atmospheric and had inspired Tom to create some artworks especially to display in this space. It was interesting to see his new pieces, showing the distinctive style that he's developed.

This sculpture is entitled 'Plague doctor' and was based on the physicians, with their strange beaked masks, who tended to victims of the Black Death.

The sculpture 'Lady of Letters' came about because a tomb effigy of a wealthy noblewoman in the crypt shows her writing kit tied to her waist.

This 'Lord of Misrule' has a paper crown and would take over his duties during the Festival of St Stephen. The tradition lasted in Britain until the sixteenth century. Other images based on the idea can be seen amongst the misericords in Bristol Cathedral.

The final sculpture in the exhibition was inspired by the green men carved overhead.

You might agree that the darkly atmospheric artworks fit perfectly in the vaulted stone space of the crypt. 

'In the Downbelow' runs from the 17th to the 30th November and is open Tuesday to Saturday, 11am until 6pm.

Exploring Bristol with Hazen Audel: craftsman and presenter of 'Primal Survivor' on the National Geographic channel

Hazen Audel was in Bristol doing some work connected to the show that he presents, called 'Primal Survivor'.  As well as his television work, he is also a very keen craftsman, working particularly with metal and wood. 

A few weeks previously, I'd been running a woodcarving tutorial for Alex, who has worked with him on the series for Icon Films. He knew that Hazen would love finding out more about the handmade objects and historic buildings to be seen in the city and thought that it would be great if I could show him around.

I always enjoy meeting other makers, particularly those with an interest in woodworking, so was very happy to do it. In fact, the prospect of exploring the city that I know pretty well with someone who was seeing a lot of it for the first time (and who is also interested in making stuff) was really exciting!

First of all, we visited the Cathedral. The very first thing was an Anglo-Saxon sculpture that is around a thousand years old. We also got to see the misericords, including one which I believe shows one of the first turkeys ever brought back to Britain. Straightaway, Hazen noticed the beautiful, elaborate hand-forged iron gates and door hinges around the Cathedral; pointing out stunning constructions that I would almost certainly have just walked past if there on my own.

Next was a visit to the Central library to see the Grinling Gibbons overmantle. This had to be included on the itinerary. 

One of the librarians very kindly took time to show us the room in which the overmantle is kept and to point out some of the other treasures in there, such as this beautifully designed Arts and Crafts chair which neatly converts into steps to access high shelves.

Next, we walked over to St Mary Redcliffe church to see the stone carvings and a whale rib that is reputed to be one of the first things ever brought back from the New World to Europe on John Cabot's ship. A bone seems a curious object to have been chosen but in those days such an object must have been like bringing back a chest full of gold: 
"There are huge whales there and no one is hunting them!"

I also pointed out the roof bosses under the tower. One shows a very rare image of a green man-like dog or cow. Nearby is another carving showing a man defecating! Medieval Christian attitudes to religious buildings were certainly very different to modern ones - see if you can spot both of them in the picture below:

After a walk along King Street (which contains many 17th century buildings) and dropping in at Icon Film's offices, we stopped off at the Hatchet Inn for lunch.

The Hatchet is reputed to have first got a license to sell alcohol in 1606, making it the oldest pub in Bristol. Before that it was Frogmore farm and monastery. Legend has it that the pub door has a layer of human skin from an executed felon, hidden under layers of paint and tar. If you are wondering about ghosts; well, I've had strange experiences in there before - but that's another story!

After finishing lunch, we headed up to Bristol Design. This second-hand tool shop is a must-see for anyone who loves working with tools and Hazen had been there before, so we had a chat about them and then headed on, stopping occasionally to look more closely at things of interest on the way, such as the Cafe Wall illusion.

After walking down Jacobs Wells Road, we headed over to my studio at Bower Ashton. This route gave a chance to look at the Hotwells area of Bristol, the Harbour and to see the Suspension Bridge spanning the Avon Gorge. 

Several of the members of the Forest of Avon Products cooperative who have workshops at the Bower Ashton Woodyard were about and chatted to Hazen about the wide variety of projects that they were working on.

After visiting my own workshop, the weather had taken a turn for the worse and it had been a long day so he got a taxi back to where he was staying in town.

All in all, it had been a very enjoyable day. It was great to spend time with Hazen and it also made me realise how, even though we packed in a lot of things, there was still so much we hadn't had the chance to see in Bristol in one day. When given the opportunity to explore the place that you live with fresh eyes, it quickly becomes apparent how much is taken for granted or passed by in ignorance each day. 

The fascinating and sometimes very rude sixteenth-century misericords in Bristol Cathedral

The collection of misericords in Bristol Cathedral date from 1515-1526 and were installed by order of Abbot Robert Elyot. The stalls around them date to the nineteenth century but the misericords are the original ones. 

In 'Church Woodcarvings: A West Country Study', JCD Smith says that the Bristol misericords are 'the newest set of medieval misericords of any size in the West Country' and that they are 'not renowned for the superlative quality of their carving but they are outstandingly interesting in their subject matter.'

Misericords are small ledges revealed when the seats in the choir stalls are tipped up. They were used by clergy to rest against whilst standing for long periods of time during Masses. The odd name comes

from the Latin words for 'pity' and 'heart'.

Many of the Bristol misericords illustrate tales of Reynard the Fox, a trickster peasant-hero figure. Stories about him were popular all over Europe, especially in Britain after William Caxton published a printed version in 1481. Some images are harder to decipher and may illustrate morality tales or sayings that have been lost over time.

Sadly, not all of the misericords can be easily seen by a visitor, due to some badly-placed brass rings holding the ends of ropes that stop anyone sitting on the seats. However, the designs have been replicated on embroidered cushion covers that rest on the seats, although some of the cushions have been moved around from their original places. Here are a few misericords that can be seen:

In this tale from Reynard the fox, Tybalt the cat has been sent to bring him to justice. He is tricked along the way into being trapped in the house of the priest's mistress. The priest's son has Tybalt on a leash whilst she belabours him with a broom, but Tybalt has the priest's testicles in his mouth. Checkmate.

Tybalt and the priest have another fight. Dame Dulok tries to pull the cat off the naked priest's back as Reynard the fox watches from a bush on the right. Some of the faces carved on the supporters to each side are so well executed that they make me wonder if they represent actual people - perhaps other builders or apprentices used as models, or clergy of the time? In 'The Hidden World of Misericords', Dorothy and Henry Kraus say that these side carvings are also sometimes called 'wing carvings' and that they are 'the most distinguishing stylistic feature of British misericords.'

In 'Church Misericords  and Bench Ends', Hayman notes that the carvings of Reynard's tales in Bristol  draw heavily on the first illustrated edition published in 1501, or perhaps a Netherlandish or German equivalent.

A monster with two heads drives three naked men. Richard Hayman, in his book 'Church Misericords and Bench Ends', says that this design was 'copied from a book of hours printed in about 1500 in Paris by Thielmann Kerver.'

While all this is going on, a man touches his nose with his tongue and a monkey plays a lute. Maybe having fun on the Sabbath got these unfortunate men in trouble.

Someone is in trouble for having a look in the cooking pot. Maybe this was to remind the clergy that married life has it's ups and downs?

In this strange and beautifully-carved tableau, a mermaid is held by a wyvern and an odd winged man who may be the Devil. The mermaid in church carvings usually represents the perils of lust. There is a clown on the supporter to the left and an ape holding a flask (of wine or urine?) on the right.

Two men holding a pig. The man on the right is holding what is often interpreted as intestines with a knife nearby, showing the hog is being slaughtered. This subject can also be seen on a misericord at the Church de La Trinité in Vendôme in France. 

I'd suggest that there is another possible interpretation, that the pig (which is obviously a sow and looks very alive) is in difficulties giving birth and the men are trying to assist. Two rabbits run in and out of holes under the bench that the sow is on.

The geese come to see the fox hanged, as two sorrowful human faces also look on.

Varty, in '"Reynard the Fox: Cultural Metamorphoses and social engagement in the Beast' says that although this scene is inspired by the Tales of Reynard, in the actual tales the fox is never executed. He points out that this scene was only depicted in England and this is one of two surviving images of it, the other being in Beverley Minster.

Hayman, In his book on 'Church Misericords and bench ends' says that the stories about Reynard inspired a separate tale of the fox bishop. In a satire on corrupt clergy, the fox bishop and his friends the apes dupe the local pigs and birds. However he eventually gets his comeuppance and the geese, in an act that turns the normal order on its head, hang the trickster. The whole story is illustrated on bench ends in the church at Brent Knoll in Somerset.

A tale from the Old Testament of the Bible. Samson is empowered by God to wrestle a lion and tear it apart with his bare hands. He carries the jawbone of an ass in his belt, with which he defeats an army single handed.
In George Jack's textbook 'Wood Carving: Design and Workmanship', first published in 1903, he shows illustrations of the two side figures of this misericord. Jack writes;

"The little jester just emerging from  flower..., is undoubtedly a true portrait, carved without the slightest attempt at exaggeration. The quiet humour which it evinces required only sympathy to perceive and skill to portray on the part of its carver. He had nothing to invent in the common acceptation of the word. The carving of the mendicant, which comes on the other side, is equally vivid in its truth to nature. It is so lifelike that we do not notice the humorous enjoyment of the artist in depicting the whining lips and closed eyes of the professional beggar. Observe the good manners of it all - the natural refinement of the artist who leaves his characters to make all the fun, without intrusion from himself other than to give the aid of his skill in representation."

I'm assuming that Jack (whose expression of personal opinions throughout seems unusually free for someone writing a textbook) had either not seen or chose to ignore the side figure shown four photos on from this one, for whom the expressions 'good manners' and 'natural refinement' don't necessarily seem to apply!

Two men wrestle naked with a thong or scarves wrapped around their necks, perhaps binding them together, while another man looks on and points towards the ground. In the original Greek Olympics, men wrestled naked.

An ape riding a horse (?) with a sack for a saddle, encounters a naked man wielding a stick who holds the mount's tail. Two rabbits in burrows below.

A man hunting a stag with his dog shoots it in it's flank. Perhaps refers to one of the Christian saints of hunting, Saint Hubertus or Saint Eustace?

A naked man fights off two beasts (demons?) with a sword. Look carefully at the figure on the supporter to the left. Medieval Christian carvings were a lot bawdier than later ones!! This isn't the only example of such a figure on a misericord. The is similar one one in the Cathedral of St Tugdual in Tréguier in France.

In 'Church Woodcarvings: A West Country Study', JCD Smith records that;
'After 1841, when restorations were carried out in the cathedral, there remained thirty misericords but, according to the records, several were removed at about this date. In a paper given to the Clifton Antiquarian Club in 1888, Robert Hall Warren listing the misericords which were in the cathedral before the restorations, stated that three of them were too indecent to be exposed to view or even mentioned. Presumably the dean and chapter at that time shared Mr Warren's opinion, which would explain their absence today. Tradition has it that they were burned.'

Satan comes out of the jaws of Hell to greet a woman who is leading in four apes on leashes. Apes obviously mean human sinners in these carvings. I wonder how the Theory of Evolution would have been received in those days!

This carving illustrates a tradition of the time, which said that maids who die unmarried would lead the souls of bachelors, like apes, into Hell. In 'Misericords: Medieval Life in English Woodcarving', Anderson mentions that this saying is alluded to in Shakespeare's plays 'The Taming of the Shrew' and 'Much Ado about Nothing' and points out that it became popular in the late sixteenth century. This is interesting, as the carvings were produced at an earlier date than that.

This is one of the most complex and beautifully-carved sets. JCD Smith says that the man is riding a muzzled bear and that the scene is a parody of the game of quintain. The book also points out that the simplified, 'crude' representations of trees are characteristic of these Bristol misericords.

In 'The Hidden World of Misericords', the Krauses talk about how many misericords show parodies of courtly pursuits as 'the posturings of the waning knight class were satirised in sham contests'.

A man riding a sow and a woman riding a goose or turkey look like they are having a mock joust. Although the bird is often referred to as a goose, some of the first turkeys seen in Britain were brought to Bristol by William Strickland and sold in the market there in 1526. That was the year in which the last of the misericords was carved and the turkeys must have caused quite a stir, so I think that the novel bird has been recorded by this carver. It certainly looks a lot more like a turkey than a goose!

Mike Harding has pointed out that many misericords celebrate the 'The world turned upside down'. On St Stephen's day, Lords of Misrule would be elected and the normal rules would be abandoned, which probably gave a welcome and necessary release to a society bound by so many legal and moral conventions. Although the 'Feast of Fools'  was not formally abolished in England until a Royal Proclamation in 1542, this celebration can still be seen today in the tradition of 'Carnival'.

The two green men on the supporters are also worth noting.

A snail, with its house on its back in a tied bundle, is encouraged to speed up by a man with a double-thonged whip as another man looks on. Knights and others in battle with snails are a surprisingly common theme in medieval art and there is a video by Vox Almanac on Youtube that considers some possible reasons, including that the snail is an allegorical depiction of the Lombards.

Visiting Pennant Melangell, an ancient Welsh church in what is an even older sacred site

'It's difficult to know what it is about this shrine and this valley that appeals so much. Is it the simple story of a good woman? Is it the fact that people feel that praying to her can bring about results? Is it simply the glorious, unspoilt setting that instantly transports us back, almost, to her time here because it is relatively unchanged?

Whatever the reason - and I guess it must be a combination of all those factors - there's no denying this place has an incredible appeal. It's one of the places that's moved me most. I didn't expect shrines to really get under my skin at all but this place has been described as one of Britain's holiest places and I, for one, am inclined to agree'

Ifor ap Glyn, presenting 'Shrines', an episode of the BBC documentary 'Pagans and Pilgrims; Britain's Holiest Places'

Pennant Melangell is a small church located at the top of the Tanat valley near Llangynog in Wales, on the edge of the Snowdonia National Park. Parts of the current building are 800 years old, although there has apparently been a church here for 1200 years and the circular wall around the graveyard hints that it was built on a Bronze Age site that is far, far older. Excavations in the last ten years have found evidence of these earlier burials.

Many early churches were built on sacred pagan sites. If people attached special sacred significance to a place, it was easier to put a church there and change its focus than to stop them visiting it, a fact that was officially recognised by Pope Gregory in 601AD.

Perhaps there are still-living witnesses to the pre-Christian site at Pennant Melangell - huge, ancient yew trees that grow around the edge of the churchyard. It's almost impossible to accurately age very old yew trees because of the way that they grow, but it isn't hard to imagine that these could well have been here from the time that the earliest church was built, if not before.

This is the only church dedicated to Saint Melangell. She was a princess in the 7th century, who escaped from an unwanted marriage proposal in Ireland to live as a hermit in the valley. One day, a prince named Brochwel Ysgithrog was hunting hares when one ran under the skirt of Melangell. The pursuing hounds ran away howling. The prince was so impressed that he gave Melangell the valley, to keep as a place of sanctuary. This story is portrayed in woodcarvings on a screen in the church, which were carved in 1450.

The church was recently in such disrepair that there were plans to take off the roof and let it go to ruin. Luckily, the local diocese and people didn't support that, so it has been restored and is now a very beautiful sanctuary space.

People have come here for centuries to pray at Melangell's shrine for help with their problems. As Ifor ap Glyn points out, ' There's no denying the emotional energy that you can feel channeling through the place. There's the pain but also hope. It's very moving'.

Even if (like me) it isn't a Christian faith that brings you there, there is definitely something special about Pennant Melangell.

Pilgrims have left offerings around the building; including the ancient, faded marks of shoes carved onto gravestones outside and more recent carvings of hares in stone, by Meical Watts, which are displayed around the walls.

The shrine was destroyed during the Reformation, but was rebuilt when the church was restored in 1958 using original pieces that were found in the walls of the church buildings. During the more recent restoration begun in 1988, the shrine was moved from the small room known as Cell-y-Bedd to its current location. Some bits are missing and are marked by plain concrete ('honest repair'), but the shrine is pretty much the same as it was before, raised up on columns so that people can pray and leave offerings beneath the remains of the saint. It is thought to be the oldest example of a Romanesque shrine in Northern Europe and is the only one to survive in Britain.

Next to it is a fragment of a very old wall painting that has been preserved. It was probably painted before the thirteenth century.

During the restoration twenty-five years ago, the bones of a woman from about the time that Melangell lived were discovered beneath a large stone in the floor of a small, semi circular room on the Eastern end of the church, along with a second grave.

This room, known as Cell-y-Bedd, was built in the 18th century and rebuilt in 12th century style during the restoration begun in 1988. ap Glyn notes that it was built on semi-circular footings of an apse that were much older. Early Christian churches also used this semi-circular area in their layout, so the room could have been the rebuilding of an original, much older feature. The bones have now been placed in the rebuilt shrine.

There are many other curiosities at Pennant Melangell, including a wooden candelabra from 1733, a 12th century font and the 'Giant's Rib', a huge bone displayed against on one wall. It looks like a whale rib, but one story relates that it was found in Melangell's tomb, another (probably more reliably) says that it was found 'on the mountain between Bala and Pennant Melangell'. What would a huge rib bone be doing on a Welsh mountainside with no rocks there that could possibly hold such remains as fossils? You can make up your own tales about that one...