Postmount steel bells from this source cannot be dated more precisely than that. Larger steel bells those supported by a pair of side frames can sometimes be dated by looking at the inside of the bell. For some years, foundry crews were in the habit of stamping a date code on the inside mold of a bell before casting it. Who made my bell? If it has any of the variants of “C. Bell” shown above, then it was almost certainly made by Charles Singleton Bell or the company which he began in Hillsboro, Ohio. However, if the bell shows no significant signs of use, then it could be a modern reproduction from some other source. Note that not all bells manufactured by this company bore one of these names, because some were sold through catalog houses or other retail channels; those bells either were unlabelled or bore the name of the retailer. The framed text below is a slightly revised version of the principal content of a page which formerly appeared on the Website of the City of Hillsboro, Ohio.
The Oldcopper Website
As you can tell I had very little to go on: Clear as mud huh? This face seems to show a figure with a diagonal bar or beam running from left to right. Precious other detail remains. On the reverse — whilst a shield is visible, again there is very little to go on:
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The presence of round eyes on a Dan mask only symbolizes that its gender is male. Remember, they failed to recognize that Poro still exists among the Dan, and were thus greatly handicapped in their analyses and conclusions Advice to Auction Houses and Dealers: Nothing else can be said about it. It might have been a simple village dance mask, or it might have once been a powerful Bush Spirit mask of the Poro. As it is, it is just a generic template of a male Dan mask. Wood with fiber and cloth.
Lot 29 is the same, although with a hint of retained materials around the eyes, and a less well-rendered carving. Lot 30 is, on the other hand, quite fascinating. It seems to be in fairly good condition for a well-used mask, and retains much of its important attachments. We know it is a Poro mask because of the red fabric strips. Wood, fiber, power material, teeth, aluminum, poison, blood, chewed kola nuts. It is used within the Bush as a war mask and executioner Carey The glass beads appear authentic and original.
Agent – a person or body acting on behalf of another. Auction – a sale event whether taking place live in real-time or of extended duration Timed Auction. Bid – a sum offered by a Bidder to purchase the Lot. Bidder – the person offering a Bid.
Therein key to dating crotal bells getting stuck in a sexless marriage. Most significant books giving an accurate account of having attained the age of sixteen years of .
That said, I am posting this on his behalf as he brought an item out today and said “i’ve never been able to figure out what this is” and I said “we’ll figure it out dad” but I have no idea how. I wish I’d gotten a little better description but here are the pics. It is a heavy object, he claims it is brass. It is about 6 inches in length, being maybe inches wide. It has some sort of a post coming out of the bottom that I have to assume was originally used to insert into something or other.
It has two flat-tish sides that look like they were originally meant to house string or something. Pics below – thanks in advance for any pointers. Found along the old Erie canal at the forks of the Wabash river, near Huntington, Indiana. Thank You Wendy Greetings from England! This appears to be part of a Centrifugal Governor, a device engineers used to use to keep steam engines working efficiently, in the 18th th century.
Obviously you don’t see them nowadays because of modern technology, sensors and things. But what you have there is a treasure from a bygone age! Hi I have found this cleaning a attic will love to know some info about this item.
Jump to navigation Jump to search Crotal bell from Panama , gold, 6th th century Crotal bells Greek ‘crotalon’ – castanet or rattle are various types of small bells or rattles. They were produced in various Pre-Columbian cultures. In Europe they were made from probably before the early Middle Ages and though many founders cast bells of this type, the Robert Wells bell foundry of Aldbourne, Wiltshire produced the largest range.
The first medieval designs came in two separate halves into which a metal pea was introduced and the two halves were then soldered or crimped together. Somewhere around they were cast in a single piece with a ball of metal inside.
Bells of this type were produced only until about the end of the 13th century. (Cf. MoL, Dress Accessories, ; Mitchiner, Medieval & Secular Badges, ) The earliest crotal bells found in England date to the beginning of the 13th century.
Twelve of the set are historic bells from St Martin-in-the-Fields church in Trafalgar Square in London ; six others, cast in recent times by the Whitechapel Bell Foundry , round off the set. The St Martin-in-the-Fields bells were donated to the State of Western Australia as part of the Australian bicentenary celebrations; the additional bells were cast with a subsequent donation of metals mined in Western Australia.
The six newer bells include five that were presented to the University of Western Australia , the City of Perth and to the people of Western Australia by the City of London , the City of Westminster and a consortium of British and Australian mining companies, and one bell commissioned by the Western Australian Government. An inlaid path made of ceramic tiles surrounds the tower. These come from nearly every school in Western Australia and are arranged alphabetically by school name.
Each school’s tile lists the youngest and oldest cohorts of students in As of March [update] , the tiles were being removed as part of the Elizabeth Quay project, but have been reinstalled in a new artwork to the east of the tower.
ANCTUS BELLS SANCTUS BELLS – EWTN Global Catholic
It remains unclear if the objects are limited to those from exhibitions, or if these include those that may be in storage, on loan, in teaching collections, etc. The objects range temporally from an Olduvai stone-chopping tool from the Lower Palaeolithic, dating to approximately 1. The latter are geared less so towards modern art, most are examples of ‘indigenous’ cultural items, or a mix of the two such as the ‘ Man’s Cloth ‘ by the artist El Anatsui Figure 7.
The object description is quite brief. Note the statement regarding contemporary cultural rights and perspectives.
Guide to Detector Finds: Guide to Dating and Identifying Buckles, Buttons, Crotal Bells, Brooches, Spurs, Pipe Tampers, Lead Weights, Book Clasps, Lead Tokens and Hook Fasteners Oct by Gordon Bailey. Currently unavailable.
Catholic House Blessing – St. Many wonder about them. Some long to hear their joyful sounds. Still others erroneously believe their use during the Mass is now either no longer needed or is prohibited altogether by the Church. This work focuses on elements of Church history and protocol, thus precluding the grant of either declaration. Herrera All Rights Reserved u Additonal copies may be procured by contacting: Is the Consecration Gradual?
Ratzinger, Joseph Cardinal and John Salward trans. The Spirit of the Liturgy. The Story of California Mission Music. State of California, The Eastern Christian Churches. Mission Music of California: The Bible and the Mass:
The Sun and the Erie County Independent from Hamburg, New York · Page 14
Copper-alloy crotal bell, 13th th century Fig. On the very earliest of this type, the loop was made of circular-section wire, which was inserted through a small hole in the top of the bell and its ends splayed in the manner of a modern split-pin. Slightly later, a narrow strip of sheeting was used instead of wire, and was either fitted in the same way, or formed into a ring and soldered to the top of the bell as on the example illustrated.
A horse-drawn vehicle is a mechanized piece of equipment pulled by one horse or by a team of horses. These vehicles typically had two or four wheels and were used to carry passengers and/or a load. They were once common worldwide, but they have mostly been replaced by automobiles and other forms of self-propelled transport.
Sheet-metal crotal bell 13th th century Alongside the early cast crotals, copper and copper-alloy bells of sheet metal were produced. On the very earliest of this type, the loop was made of circular-section wire, which was inserted through a small hole in the top of the bell and its ends splayed in the manner of a modern split-pin. Slightly later, a narrow strip of sheeting was used instead of wire, and was either fitted in the same way, or formed into a ring and soldered to the top of the bell as on the example illustrated.
Bells of this type have been recovered from secure contexts that span the date range circa mid th to mid th century. They are also found in a wide range of sizes, at least from 13mm to 34mm diameter, suggesting a variety of different uses. Around the end of the 13th century, a new type of white-metal pewter and tin crotal bell, cast in one piece, appears. The form is approximately spherical, but, as cast, the bottom half of the bell chamber is splayed.
This enables the pellet to be placed inside the bell, and the splayed half to be squeezed together to retain it. It also makes support of the core within the mould relatively easy. The earliest bells of this type have several moulded parallel ribs around the circumference, both vertically and horizontally.
העמוד לא נמצא
Some long to hear their joyful sounds. Still others erroneously believe their use during the Mass is now either no longer needed or prohibited altogether by the Church. This short monograph explores the history both fact and fiction and use of Sanctus bells in the Catholic Church.
This practice of ringing bells to create a joyful noise for the Lord during the Mass is based to some degree on the use of tintinnabula (Latin for tiny bells) or crotal bells that .
The author has kindly given permission for me to reproduce it here. Please go to the original website and contact the author for further information or if you wish to copy any of the information. Author and owner of all Copyright: Fekke de Jager Introduction What are tiger bells? Jingle bells are globularly shaped, hollow and have a pellet made of metal or stone inside which produces the sound when the bell is shaken. Tiger bells stand apart from other bells because of the peculiar design on the surface: Very often the hoop is rectangular.
Detailed information is on the page Various types. Side view of a tiger bell from S. I noticed these bells for the first time in , in Mindanao, Southern Philippines. They were in use by several ethnic groups, as dance bells and amulets.
But, it’s true–many of the knives found at bazaars or even in your local stores could be fake. If it’s too cheap to be true, it may not be real. Chances are that if you’re looking for a Swiss Army product, whether it’s a knife or a watch, you want it not just for the name or the prestige, but for the quality that that name implies.
So what do we do? Here’s the guide to the real thing: But, not all products bearing the Swiss cross adhere to this important law.
I hadn’t really thought about how old these bells are; dating from the Kuang Hsu period Harald Lux reports a site presenting a small crotal bell with similarities to the A type. The bell was found in Wales, using a metal detector.
A guide to weight types This section is intended as an overview and quick guide to identifying the main types and designs of gold-weights. Timothy Garrard is the only scholar to date to have published a phased gold-weight chronology based on stylistic analysis, historical accounts and ethnographic fieldwork see comments on the drawbacks and limitations of this approach in part II. The chronology that he devised has been broadly followed in this catalogue, which is divided into three sections.
The first section includes all types of geometric gold-weights, the second examines figurative gold-weights and the third considers appropriated weights objects that originally functioned in other contexts but which came to be used as weights. Each section is arranged chronologically and is subdivided into a number of smaller sections on the basis of physical form and subject matter e. Irrespective of their age, dimensions, shape and mass, all gold-weights reflect Akan beliefs, ideas and cultural practices.
The users and makers of gold-weights do not appear to have made any distinctions between figurative and geometric weights of different sizes and mass, but Western collectors and scholars have divided them into two categories on the basis of their physical forms. Geometric weights in the form of squares, cubes, pyramids, discs and rectangles decorated with linear and cursive decoration on one surface are easily identified. The appearance of innovative designs in the gold-weight corpus points to the fact that Akan culture was open to the creation, adoption and appropriation of new iconography that produced short-lived trends or fashions and reflects the personal preferences of individual patrons.
Geometric gold-weights The decoration and symbolism found on some geometric gold-weights share stylistic similarities with designs found on other media such as stamped cloth adinkra , on the central columns of stools , the leather coverings of amulets and on the low relief or pierced wall murals that traditionally adorned the exterior walls of shrines and the houses of the elite. These designs are characterized by the use of symmetry and asymmetry, borders and framing devices and the subdivision of grounds into distinct halves and quarters.
This is an important point as the same concerns for imposing control, regularity and order are practised in other areas of Akan culture such as the spatial organization within settlements see discussion in part I. As such, the patterning on gold-weights and other decorative arts reflect underlying structuring principles that govern artistic, economic, political and social conventions. The use of the same patterns and motifs on different types of media is not random; a closer examination of their contexts of use reveals relationships between form, ornamentation and function.