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"Vivos voco, Defunctos ploro,
 Nimbum
fugo, Festa decoro" |
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The Bells
According to some traditions, bells communicate with the Eternal, lifting high the voice of man. And, according to others, a bell is “the voice of God.”
At any rate, in all cultures, this tool is the privileged means of communication between man and the divine.
Bells also have the much more "terrestrial" task of communicating important events to the entire community.
In times when the means of mass communication and newspapers did not yet exist, bells performed the role of the local "radio": using a language of musical codes, often specific to each community, one could announce births (the newborn's sex included) and deaths, marriages, catastrophic weather, wars and even the arrival of an important person in the town.
Bells also served as actual communication posts between nearby communities, passing the most important news from one to the other and, in this way, disseminating it through a vast area.
With the passage of time and the development of casting techniques, attempts were made to "strengthen" this voice, making larger and larger bells.
The largest bell in the world, the "Tsar Bell III" (Tsar Kolokol III) cast in 1737: weighs a good 190 tons! It used to be found in a tower of the Kremlin, but during the Napoleonic invasion, it collapsed to the earth and is still there. The second and third largest bells in the world are also found in Moscow, while the largest Italian bell, which weighs "only" 22.5 tons is, curiously, a "civilian" bell, the "Maria Dolens," cast in 1964.
The original "Maria Dolens" was actually made in 1924 using bronze cannons offered by countries that had fought the First World War, but various problems with its sound and structure forced this peace bell to be recast three times between 1925 and 1964.
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Definition
The term “campana” derives from Campania, the region where bells were first used for ritual purposes.
Bells are instruments made in the form of hollow vessels, generally of metal, but often also of wood, glass or terra cotta. They can be classified as idiophonic (instruments where the vibrating body is the same as the instrument) or, more simply, as percussion instruments.
Its vibrations are greatest at the edges and diminish towards the top of the cap.
There are two types of bells: those equipped with an internal striker (the common type in the West) and those that are struck from the outside with a “mallet” (the classic oriental bells). The shapes of bells vary depending on their cultural context, their use and the materials used to make them.
In general, large bells with strikers are cast in bronze (a copper-tin alloy) and are anchored to an iron structure called the castle; this type of bell is usually installed in the "belfry” of bell towers or civic towers.
Bells can have different diameters, from a few centimeters to several meters The Tsar Kolokol is the largest existing bell, and measuring almost seven meters in diameter (diameter 6.82 m, height 7.47 m, thickness 0.49 m) it is the largest bell of a concert of great bells, dating from 1817, installed in the Kremlin that now, being broken, is on display in Moscow's Red Square.
Their are, however, also small table bells, often made of silver and artistically decorated, equipped with handles, generally used to command attention, at the table to call servers or, sometimes, during mass, to indicate the moment of the elevation of the host and when the faithful should kneel and rise according to the liturgy.
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Shape, Dimensions, Inscriptions
Contrarily to what is commonly thought, the shapes of bells can be very different depending on their period, their materials and the purpose for which they were constructed.
The walls can be concave or convex, hemispheric, barrel or tulip shaped.
In section, they can round, square, rectangular, elliptical or polygonal. Chinese bells often have the profile of the mouth formed in such a way as to reproduce the stylized shape of the lotus flower.
In Europe, pre-Christian bells were all of small dimensions (“tintinnabula aurea”) and even the first Christian bells, made in monasteries, were rather small, made from slabs of wrought iron, squared and turned, similar to cow bells.
Bronze bells only began to be produced around the 8th century: in fact, although casting techniques were known during the pre-Christian era, they were lost during the period of the Barbarian invasions. Bronze casting allowed the construction of larger bells with thicker walls (in the 9th century, they reached 4 quintals (882 pounds)) and maintaining greater control over the shape of the bell, which began to be predominantly round.
In the 11th century, the extremely tall gothic towers forced the foundries to cast larger, more powerful bells and the result was the classic tulip shape, narrow and rounded at the top and with a long belly that widened at the bottom. By the 13th century, this became the most widespread shape, but it changed slightly around 1400, becoming shorter and more concave, with a wider upper part (called the "sky").
As for the custom of decorating bells with inscriptions or decorative motifs, it can be said that there was an illustrious precedent in the bells of the Chou dynasty (1122-221 BC) which wee adorned with symbolic motifs attached to the surface of the instrument using the lost wax technique.
Some bells dating from the beginning of the Seventeenth century (such as those of Villalago and San Gallo in Switzerland) bear an Arabic numeral date in the bronze, but with the passage of time, decorations and inscriptions became more and more refined.
There is a rather curious inscription that came to light on a bell cast in 1408 that reads:
SATOR AREPO TENET OPERA ROTAS
(The Creator, powerful in all places, supports his works and the celestial spheres)
The uniqueness of this inscription is that it is a palindrome, which is to say, a phrase that reads the same forwards and backwards.
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The Origin and History Sacred Bronzes
The origins of bells are mysterious. The Bible attributes their invention to Jubal, creator of all musical instruments, but the only thing we know for sure about the use of bells in Israel is that the High Priest wore a tunic decorated with many small gold bells.
As for Europe, the oldest examples are terra cotta bells discovered in Crete and datable to the second millennium BC. However, we are not able to say if they were bells, as we know them. On the other hand, examples that are more similar to current bells appeared during the Chou dynasty in China (1123-247 BC) and in India.
From the mosaics of Pompeii we know that the Romans used bells to call bathers to the hot spring baths, but the true forging of bells in Europe is linked to the spread of Christianity.
According to tradition, the first to use bells as a means of assembly was Saint Paulinus, Bishop of Nola, in the 5th century AD. The Italian word "campana" would seem, therefore, to derive from Campania, the region where bells were used for ritual purposes for the first time.
At any rate, the Church ritualized the use of bells only in the 11th century. During this period, we find documentation of itinerant bell founders, who replaced bell founding in monasteries, and tulip-shaped bells began to appear with the greater resonance required for the tall gothic bell towers.
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Casting and Founders
The bronze alloy used to make bells general consists of four parts copper and one part tin. The tin has the characteristic of sweetening the sound, even if it makes the alloy softer and, therefore, more "vulnerable" to the blows of the striker, which is made of soft iron. Normally, an alloy consisting of 22% tin and 78% bronze is used.
The tin could also be replaced with silver, which would certainly confer great sound quality to the bell, but an alloy containing about 20% silver would be exorbitantly expensive. Nevertheless, silver is present, in minimal percentages, in the alloys of ancient bells, due to the custom, linked to popular devotion, of tossing silver, and sometimes even gold, coins into the crucible for pouring the "sacred bronzes"; obviously, such minimum quantities would absolutely not produce any significant variation in the sound quality of the bells.
During the casting process, a very hard, compact form made of bricks and clay, called "the male" is used to reproduce the shape of the interior of the bell and a layer of clay mixed with natural fibers, that is more easily removed, is applied to the outside to reproduce the future exterior shape of the bell. On this shape, called the "false bell," which constitutes the total definitive shape of the emerging bell, models of the decorations and inscriptions are applied used a thin layer of wax. Everything is enclosed in another clay form, "the shirt," whose walls will be determined by the false bell completed by the inscriptions and decorations applied in wax that the false bell must adhere to perfectly.
The two superimposed clay forms are then fired; this firing causes the immediate melting of the think layer of wax used for the decorations, but whose imprint remains perfectly impressed in the inside wall of the shirt, in such a way that it comprises the exact outer shape (in negative) of the emerging bell.
After the firing is completed, the shirt is removed to allow cleaning the male through the removal of the soft layer that was applied, thus creating the volume and shape that will be occupied by the poured bronze. After this delicate operation, the shirt is once again perfectly reconnected with the male and arranged in the casting hole and the melted metal (casting temperature of 1100° C) is finally poured between the two forms. After cooling, which can last for quite a few days, the form is opened and the bell, cleaned and polished, appears complete and ready to be admired.
Casting bells is a difficult and very delicate art and is based, first of all, on a precise design, represented in extremely summarized form by the profile of the bell, on which its size, musical note, tone and pleasantness of the sound depend.
Bells were initially cast in monasteries, but around the 11th century, itinerant founders began to appear, often legendary figures, prepared to throw themselves into the crucible if the casting was not perfect. The greatest casters in the world were the Belgians and Dutch: the two greatest representatives of this category were François and Pierre Hémony, two Belgian founders from the 17th century.
In Italy, the most celebrated founders were the masters from Lucca, Pisa and Florence: Vennes, Pisanus, Dainensis and Aretinus, to cite the most famous names of the 14th century.
There are families that handed down this art from father to son for centuries (the Campanato family of Venice cast bells for three centuries) and that still continue to this day. In the long succession from father to son, it can naturally happen that the son is a daughter. There were many women who established themselves in this craft. We mention Camilla, Pantasilea and Barbara, a dynasty of foundry women from Sant'Angelo in Vado in the Marches.
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The Consecration
At the time the use of bells became widespread, they became worthy for divine worship. But why consecrate bells? A liturgist interpreted it this way, “So that you will know that, just like people, inanimate objects become suitable for use in divine worship by being blessed and consecrated."
Since they must be anointed with Holy Chrism, only a Bishop is suitable to bless the bells, nor can anyone else be delegated without a special indult. Pope John XIII (965-972) introduced the blessing of bells with a truly special ritual, when he blessed bells for the first time in 968, the bells of the St. John's Basilica in Rome. That benediction rite was codified and, since, then, thousands of bells have been consecrated and blessed.
Like baptism, the rite provides for the use of Holy Water, the Holy Oil for Anointing the Sick, the Holy Chrism and the granting of a name. It was a true liturgical innovation, because it was prohibited during the time of Charlemagne.
A huge controversy arose but, in the end, the pro-baptism party won, achieving permission for the rite to include godfathers and godmothers and the use of water, salt, the aspergillum, towels, the vase of oil for anointing the sick, the Holy Chrism, incense, myrrh and a censer with fire. The Bishop, carrying his staff and dressed in amice, surplice, cincture, white pluvial and simple miter performs the rite for which the bell must be placed in a suitable position.
During the rite, the Bishop will recite the psalms, Miserere, Deus in Nomine Tuo Salvum Me Fac, Miserere Mei, Deus Misereatur Nostri, Deus in Adiutorum Meum Intende, Inclina Domine Auream Tuam and the De Profundis. In the central part of the rite, the Bishop will recite the psalms, Lauda Anima Mea Dominum, Laudate Doiminum Quoniam Bonus Est, Lauda Jerusalem Dominum, Laudate Dominum de Coelis and Laudate Dominum in Sanctis Eius. It is then washed to signify that anything used for worship must be clean.
After the hymn, Gloria Patri, the officiant makes the sign of the cross on the bell with his right thumb, after dipping it in the oil of anointing the sick; he then removes the miter and pronounces a prayer in which he beseeches the Holy Spirit to sanctify this bell that must provide joy and hope to the faithful. He will then read another prayer, wipe the sign of the cross that was made, and sing an antiphon and Psalm 28. Then, once again with the oil of anointing, the celebrant will make seven crosses on the outside of the bell and four on the inside; then finally, it's time for the incense and myrrh, while after the antiphon, Deus in Sancto, Psalm 76 will be sung. The Bishop concludes by making the sign of the cross on the bell.
Why such an important ritual? Because bells are love, celebration, call and joy, and also grief and comfort for those who believe (…).
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"Croagh Patrick", Contea di Mayo, Irlanda
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The Legends
In all cultures, bells are musical instruments and, in some way, instruments of worship. Since they not only call men to assemble but supernatural beings as well, it is no surprise that they are surrounded with legends.
It is said that there sound prevents the devil from abducting children and drives away storms. It seems that some bells ring themselves to announce misfortune, while others speak the names of their founder or donor or of missing persons.
Here are Several Stories
The Holy Friday Pilgrimage (France, Holland)
According to this legend, on the night of Holy Friday, the bells of all the churches rise up and fly to Rome, where they are blessed by the Pope (and according to some versions, they fill themselves with chocolate eggs for the occasion). They then silently return to their belfries, where they will ring for the feast of Easter Sunday.
This legend is certainly linked to the custom of "tying" the bells in memory of the passion and death of Christ and then "releasing" them during the Easter mass.
A Bell for the Whole Empire (Japan)
A founder boasted to everyone that he could "cast" a bell whose sound would be heard throughout the whole of Japan. The Emperor, coming to know of his boasting, ordered him to cast such a bell. The founder performed incredible castings of precious alloys but achieved no results. Aware that his life was on the line if he were unsuccessful in satisfying the Imperial wish, he girded himself for his last attempt. When the crucible was about to be poured into the bell's huge mold, his favorite daughter threw herself in, convinced that the blood of a virgin was the missing ingredient for a perfect alloy. And so it was.
"Clog An Udachta" or the Bell of Testimony (Ireland)
Following the instructions of his guardian angel, Saint Patrick (389-461) retired to the Mountain of the Eagle (today known as Croagh Patrick, "Patrick's Mountain") and spent 40 days in prayer to obtain a special divine blessing for his work of evangelizing Ireland. Then all the demons that lived in Ireland combined forces to tempt the Saint and dissuade him from his intentions. They gathered around the mountain assuming the appearance of an enormous flock of predatory birds and there were so many birds that they covered the entire mountain like a cloud. Saint Patrick was unable to see either the sky or the valley and his prayers seemed to be in vain. Then the Saint rang his bell. The sound was heard throughout all the valleys and hills and the flock began to disperse. Then Patrick threw his bell at the birds and they went to throw themselves into the sea.
For seven years, there was not a single sign of evil in Ireland.
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