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    Plan détaillé Texte intégral The voice of bell in the Pontificale Romanum Mnemonic verses Inscriptions Notes de bas de page Auteur

    La voix au Moyen Âge

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    Vox caelestis

    The voice of bell and its “language” and effect in the Middle Ages

    Vox caelestis. La langue et les fonctions des cloches au Moyen Âge

    Nikolaus Henkel

    p. 141-149

    Résumés

    Parmi les nombreuses voix que connaît le Moyen Âge européen, celle des cloches occupe une place prépondérante. Par leur consécration liturgique, elles font partie, comme le calice de l’eucharistie, des vasa sacra de l’église. Le Pontificale Romanum décrit comment faire sonner pour annoncer l’Angelus, la messe et les heures, pour se souvenir de la passion du Christ ou encore pour avertir des tempêtes et des dangers. De nombreux vers mnémotechniques résument leurs fonctions. Les inscriptions portées sur les cloches sont particulièrement importantes : elles montrent que les cloches « parlent » (voco, plango, etc.). Dans un acte de communication triangulaire, elles adressent un message aux fidèles (communication horizontale) et servent, dans le même temps, de médiatrices entre, d’un côté, les fidèles et, de l’autre, Dieu, les saints et Marie (communication verticale).

    Bells have pride of place among the “voices” associated with the European Middle Ages. Through liturgical consecration, they, like the chalice of the Eucharist, are part of the vasa sacra of the Church. The Pontificale Romanum gives instructions on how to ring the bells to announce the Angelus, mass and the canonical hours as well as to commemorate the Passion of Christ and to warn of storms and impending dangers. A number of memotechniques in the form of verse sum up their functions. The inscriptions on the bells are of particular importance. They show that the bells can be said to “speak” (voco, plango, etc.). In a triangular act of communication, the bells address a message to the faithful (horizontal communication) while at the same time acting as mediator between the faithful on the one hand, and God, Mary and the saints on the other (vertical communication).

    Texte intégral The voice of bell in the Pontificale Romanum Mnemonic verses Inscriptions Notes de bas de page Auteur

    Texte intégral

    1Let us begin with a painting by Giovanni Segantini from 1886, showing a boat at dusk, loaded with sheep, crossing a calm lake1. Three people can be seen in the boat: the old shepherd and a young woman with her child. The old man and the woman have bowed their heads and are praying. But why are they praying in the middle of the lake, during the crossing? A tiny detail brings the solution: in the distance, on the other shore of the lake we see a church. It has just rung the bell for the Angelus Prayer in the evening. The tolling reminds the faithful of the Annunciation scene and the Incarnation of Christ and ends after two repetitions of the Ave Maria in a prayer for the grace of God.

    2The message of the bell is very clear: three times three single chimes are the sign for this prayer, which is prayed in the morning, at noon and in the evening. The voice of the bell calls the faithful to answer by praying. And this prayer has a spiritual content that refers directly to human existence:

    Angelus Domini nuntiavit Mariae et concepit de Spiritu Sancto:
    Ave, Maria, gratia plena, Dominus tecum; benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. […]
    Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostrae. Ecce ancilla Domini, fiat mihi secundum verbum tuum2.

    3Mary is the instrument with which God becomes man: Deus homo factus est. This man Jesus, in his passion, becomes the saviour of the world, the Salvator mundi. The conclusion of the prayer: ora pro nobis peccatoribus nunc et in hora mortis nostrae reminds man as a sinner of his need for redemption and the inevitability of his death. Thus the Angelus prayer offers the essence of the Christian faith.

    4Here the voice of the bell creates a kind of triangular communication scenario: the faithful man hears this voice and responds to it with his prayer. And this prayer is addressed to the Virgin Mary, Mother of the Redeemer. This may be a reason to call the voice of the bell a vox caelestis.

    5Among the many voices examined in this book, the one of the bells was part of the daily life during the Middle Ages and entered into direct interaction and communication with people through different spiritual, magical and profane messages. The mission of the bell as a vox caelestis will be studied in the following.

    The voice of bell in the Pontificale Romanum

    6The first basis is the Pontificale Romanum, which regulates, among other regulations, the consecration of the bell and its mission3. As with the liturgical vasa sacra of the altar, this consecration, the Benedictio campanae, is carried out by the bishop (or a representative).

    7The Benedictio campanae consists of a series of psalms and prayers into which is embedded the act of consecration. The bell is baptised with holy water and consecrated salt, crossed and blessed several times with consecrated oil (outside seven times, inside four times), and incensed with incense and myrrh (if available). By the act of consecration the profane object and its materiality is transformed into a spiritual tool. Through the action of the Holy Spirit, the bell acquires a spiritual and practical effect that goes far beyond the sound: it invites the faithful to prayer and worship services, it is able to repel all persecutions and temptations of evil, to appease hailstorms and tempests, to expel enemies and to lead man to eternal life. The Pontificale Romanum attributes these abilities to the bell. The rite of the consecration of the bell is concluded by a reading from the Gospel of Lucas: It is the story of Jesus’ visit to Mary and Martha (Lc 10, 38-42). In the end it says of Mary who anointed Jesus’ feet: Maria optimam partem elegit, quae non auferetur ab ea.

    8By the consecration the bell is included into the group of the vasa sacra and receives its liturgical rank. It fulfills its spiritual tasks as vox caelestis with its sound on a divine mission. Its addressee is the human being, whose life it accompanies from beginning to end.

    9The Pontificale Romanum emphasizes the following tasks and characteristics of the bell. Beside the sacral use of the bell there is a magical one, which the Pontificale Romanum also mentions and thus justifies: the voice of the bell expels evil, helps against the stalking of the devil. It also repels hail, lightning bolts and thunder. It helps as well when epidemics are threatening or enemies are approaching. These magical and, from today’s point of view, superstitious functions are thoroughly approved of by the church order of the Pontificale Romanum. Furthermore the sound of the bell strengthens the faith of the faithful, they hurry into the womb of the Mother Church, they sing the canticum novum (Ps 97,1) to the praise of the saints and ask God for forgiveness of their sins as the Pontificale:

    Postmodum sonuerit eius tinnitus, procul recedat virtus insidiantium, umbra fantasmatum, incursio turbinum, percussio fulminum, lesio tonitruorum, calamitas tempestatum omnisque spiritus procellarum et cum clangorem illius [i.e. campane] audierint filij christianorum crescat in eis deuotionis augmentum, ut festinantes ad pie matris ecclesie gremium, cantent ibi in ecclesia sanctorum canticum nouum in laudes eorum […] deprecantes dominum celi pro sceleribus et pro omnibus necessariis suis4.

    10After being consecrated, the voice of the bell in these spiritual and magical functions is an integral part of daily life not only in the Middle Ages, but also far beyond. I mentioned already the ringing for the Angelus Prayer. In the monasteries, the bell’s sound calls for the hourly prayer seven times a day and once in the night, as the Regula Benedicti requires, according to Ps 119, 645. It calls the faithful to Mass, often several times a day. During each Mass the Eucharistic act of transubstantiation is indicated by the call of the bell. On Friday every week the ringing of the bell recalls the hour of Jesus’ death (circa horam nonam) (Mt 20, 46).

    11In addition to the passages of the Pontificale Romanum I would like to briefly introduce two types of sources for the voice of the bell, its task and effectiveness: mnemonic verses and inscriptions.

    Mnemonic verses

    12Mnemonic verses about the tasks of the bell are in most cases transmitted in manuscripts from the medieval school. Sometimes they are also exercises to express a well known theme, here: the tasks of the bell, in the best possible verses. Here are a few examples, the first one from the so called Scolaris in rhymed verses, the so called Vagantenzeile:

    Dum hora scole vocat te cum pulsu campane Surge tunc velociter, ut assis satis mane6.

    13Very often the bell is “speaking” and presents itself as a “person” to the reader with its tasks and abilities:

    Vivos voco, mortuos plango, fulgura frango7.

    14Among the many mnemonic verses that speak of the voice of the bell, we also have these three verses, rhymed hexameters, on The seven virtues of the bell:

    Virtutes campanae septem
    Laudo deum verum, plebem voco, congrego clerum Defunctios ploro, pestem fugo, festa decoro,
    est mea cunctorum terror vox demoniorum8 .

    15There are numerous variations of this set of tasks; again the bell “speaks” in its own person, for example in these rhymed hexameters:

    Consolor en viva, fleo mortua, pello nociva; Cum mestis mesta, congaudens nuntio festa. Voce Deum placo, ventura pericula paco9.

    16Or, finally, these two badly made hexameters with identical rhyme, which give the impression of a school exercise:

    Sum vas ex aere, tria nuntio: funera flere Festa recensere solemnia, bella movere10

    17But it is nearly inevitable in school that the bell also appears in funny contexts, as in the following hexameter:

    Nux, asinus, campana, piger: sine verbere cessant11.

    18There are numerous such small poems of this design about the task and effectiveness of the bell and its voice. They are usually transmitted in the form of mnemonic verses in medieval manuscripts in the context of the Latin school or in collections of Carmina proverbialia and show the broad interest that the Vox campanae found in this time.

    Inscriptions

    19A remarkable repertoire of texts on the Vox campanae and its functions as vox caelestis is offered by the medieval bell inscriptions12. More than 1300 such bell inscriptions from the 12th century to the year 1650 are at this time (spring 2019) available in the database Deutsche Inschriften Online (DIO)13. These inscriptions are given to the bell when it is cast and have spiritual significance through the act of consecration; they are also testimonies of the effectiveness of the bell expected or hoped for by the parish. The bell is usually presented here as the speaker of the verse, to be imagined more or less physically. Here are a few examples.

    20The bell as vox vite, as voice of (eternal) life calls the faithful to prayer (1st half 13th century):

    vox EGo vox vite voco vos orate venite14.

    21It is one of the many really artistically constructed verses: a rhyming leonine hexameter with a sixfold V-alliteration. In an inscription from the end of the 13th century the bell reminds of Jesus’ death on the cross:

    + CHristvm DE ligno Clamantem Dvm sono signo15.

    22Introduced by the sign of the cross, this leonine verse offers an allusion to the Passion according to Matthew (27, 50): Iesus autem iterum clamans voce magna emisit spiritum. In many cases the bell inscriptions are formulated as prayers, often in the form of (rhymed) verses, sometimes addressed to saints as to St. Nicholas, the patron of seafarers:

    Beate Nicolae nos ad portum maris per tua suffragia trahe16.

    23Very often the prayers are adressed to the divine persons. The bell first “prays” the Ave Maria, and then “speaks” (now in leonine hexameters and introduced by the sign of the cross) to Christ:

    Ave maria Gracia plena Dominvs tecvm BEnedicta tv in mvlieribvs Et BEnedictvs Frvctvs ventris tvi
    + o rex Eterne popvlvm tv ledere sperne
    Fvlmine peste FAme /
    qvociens tinnit sonvs A me17.

    24Another example. On behalf of the people, the bell’s vox caelestis says a prayer to the Virgin Mary (we should observe here too the signs of the cross at the beginning and at the end of the inscription):

    + me resonante pia popvli memor Esto maria +18.

    25A variation is given in the following inscription, a prayer to Christ and Mary. Here, too, the bell itself “speaks”:

    o rex Glorie veni Cvm pace
    me resonante pia popvlo svccvrre maria19.

    26By speaking to the divine authorities through its sound, the bell also allows the hearing faithful to participate in a communication that we can describe as triangular. In Greifswald, St. Marien, we find a bell from the year 1418, which offers as an inscription a prayer to Mary, the patron saint of this parish church.

    ave regina celorvm
    mater regis angelorvm
    o maria flos virginvm
    velvd rosa vel lilivm /
    fvnde preces ad filivm
    pro salvte fidelivm20 

    27This invocation is to Mary, Mother of the King of Angels, the Virgin, Rose, Lily. She may ask her Son for the salvation of the faithful. The form of the inscription is remarkable: rhymed, rhythmic verses. Its origin could be identified. It is not a freely formulated prayer, but a Gregorian antiphon to the feasts of Mary in the liturgical year, to be sung especially at the feasts Annuntiatio and Purificatio21. Here the sound of a liturgical chant in the mass is combined with the mission of the bell and its sound.

    28Often in the middle ages, the names of the four evangelists are used as inscriptions, for example on a small bell from the 3rd quarter of the 13th century:

    + matevs + lvcas + marcvs + iohannes22

    29The sign of the cross is placed before each name. What could be the meaning of this sequence of names only? The Gospels represent the centre of the Christian faith: God became man (deus homo factus est); through his incarnation, and his death on the cross all mankind is redeemed, and by the resurrection of Jesus the Church awaits his return on the Day of Judgment. The sound of the bell reminds us of the truth of salvation transmitted by the Gospels. This is the message of the inscription with the names of the four evangelists, which is proclaimed by the bell with every chime.

    30I will try to give a brief summary. Numerous testimonies give us evidence of the bell’s voice and its effectiveness. In the Middle Ages, as in modern times, bells are instruments of communication within human society that work in space, and they do so in the medium of sound, not language. Nevertheless, the bell “speaks” as a “person” and with a language that can be understood. For example, it laments the deceased (ploro/plango/ fleo), calls the faithful ( [con-] voco), praises God, the Creator (laudo), etc. The bell speaks by virtue of its consecration in divine mission and is also able to address prayers to the deity for the people of the faithful.

    31The “voice” of the bell creates communication, triggered and made possible by appointment, by convention. The church’s call to worship services uses a different sound register than the one that indicates the daily prayer times of the clergy. The three chimes of the Angelus Prayer in the evening and in the morning differ from the sound of the death knell (Totenglocke) or the Friday chime to commemorate the Passion, especially the hour of Christ’s death, the ringing of the bell in storms or other dangers, or the chime of the hour as an instrument of time measurement.

    32One question remains unanswered. The bell inscriptions are placed in the process of casting the bell, the bell then disappears to its place, usually in the church tower. There, however, the inscription can no longer be read. Is the message of the inscription still effective when no one can read it over the decades or centuries and it is forgotten? The inscriptions on bells are accompanied by an act of ecclesiastical consecration. This is the basis for the faithful trust that the message of the inscription as well as the message of the sound will retain their spiritual as well as magical effect, even if the words are no longer present in the consciousness of the faithful.

    33In all these cases, through bells and their sound, which spreads through space, a message is sent out to which the community of the faithful responds by acting. This kind of horizontal communication between the voice of the bell and people is complemented by a third dimension. The bell, as many inscriptions show, sends through its sound prayers to God, to Christ, to Mary, often also to the saints. Through its sound the voice of the bell creates a kind of triangular communication, it mediates between the faithful people and God and the supernatural powers: as a vox caelestis.

    Notes de bas de page

    1 Giovanni Segantini (1858-1899), Ave Maria a trasbordo, Oil on canvas, 120 × 93 cm, available by: https://upload.wikimedia.org/wikipedia/commons/5/5b/Ave_Maria_bei_der_%C3%9Cberfahrt_1886.jpg (consulted April, 28, 2019).

    2 Das vollständige Römische Meßbuch lateinisch und deutsch […] im Anschluß an das Meßbuch von Anselm Schott O.S.B., ed. by Erzabtei Beuron, Freiburg/Br., Herder 1949, p. 227 sq.

    3 Cited according to the incunabula edition Pontificale Romanum, ed. by Agostino Piccolomini, corr. by Johannes Burckardus, Rome, Stephan Plannck, 20/12/1485 (GW M35016). A digitized copy of the Herzog August Bibliothek, Wolfenbüttel is available: http://diglib.hab.de/inkunabeln/408-theol-2f/start.htm (consulted April, 28, 2019). The Benedictio Signi et Campane here, p. 455-469.

    4 Pontificale Romanum, op. cit., p. 460.

    5 Regula Benedicti. Die Benediktinerregel, lateinisch/deutsch, ed. by the Salzburger Äbtekonferenz, Beuron, Beuroner Kunstverlag, 1996, cap. 8-20, p. 116-137, esp. cap 16, p. 126 sq.

    6 When the lesson calls you with the chime of the bell, get up quickly so that you are there on time, see Hans Walther, Proverbia sententiaeque latinitatis medii aevi – Lateinische Sprichwörter und Sentenzen des Mittelalters, 6 vol., Göttingen, Vandenhoeck, 1963-1969, no 6549. For the text of Scolaris, Nikolaus Henkel, Deutsche Übersetzungen lateinischer Schultexte. Ihre Verbreitung und Funktion im Mittelalter und in der frühen Neuzeit (MTU 90), Munich, Artemis, 1988, p. 303-305.

    7 I call the living, weep for the dead and shatter the lightning bolts, see Karl Walter, Glockenkunde, Ratisbonne/Rome, Pustet, 1913, p. 186 and 266. Not mentioned in Walther, Proverbia, op. cit.

    8 Walter, Glockenkunde, op. cit., p. 186 and 307: I praise the true God, call the people and gather together the clergy; I weep over the dead, drive out the plague and adorn the feasts. My voice is terror to all demons spirits. As Walther mentions, these verses were used for the bell of the Church of the Holy Sepulcre in Jerusalem from the year 1875 (Walther, Proverbia, op. cit., p. 488).

    9 Ibid., no 3193b: I comfort which liveth, lament which is dead, and drive out all that bringeth harm. I am sad with the sad, full of joy I announce the holy feasts. With my voice I make reconciliation with God and alleviate forthcoming dangers.

    10 Ibid., no 30638c: I am a vessel of ore and proclaim three things: I mourn funerals, announce feasts and drive wars away.

    11 Ibid., no 19406: A nut, a donkey, a bell and a lazybones don’t do anything if you don’t beat them.

    12 In print there are now available 104 volumes of the series Die deutschen Inschriften. The first volume appeared in 1942. Nikolaus Henkel offers an overview, but only until 2012: Nikolaus Henkel (dir.), Inschriften als Zeugnisse kulturellen Gedächtnisses. 40 Jahre Deutsceh Inschriften in Göttingen, Wiesbaden, Reichert, 2012, p. 141-145. See also Nikolaus Henkel, “Das Akademievorhaben ‘Die Deutschen Inschriften’”, ibid., p. 11-22 with a short overview of the material of the inscriptions (about 80 % Latin), the intentions and the progress in the documentation of inscriptions in the German-speaking area (Germany, Austria, South Tyrol).

    13 http://www.inschriften.net/ (consulted April, 28, 2019).

    14 I am the voice of (eternal) life, I call you to come and pray, see Halle/S., Marktkirche, 1st half of 13th cent. (DI 85, Halle/Saale, no 4), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/nr/di085-0004.html#content (consulted April, 28, 2019). See another example: Selbach/Gaggenau, Pfarrkirche St. Nicolaus, 2nd half of 13th cent.; here: orare venite (DI 78, Stadt Baden-Baden, no 5). DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/nr/di078-0005.html#content(consulted April, 28, 2019).

    15 When I ring, I am a sign for Christ who cries down from the cross, see Essen, Dom, end of 13th cent. (DI 81, Stadt Essen, no 47). http://www.inschriften.net/zeige/suchergebnis/treffer/set/0/nr/di081-0047.html#content (consulted April, 28, 2019).

    16 Oberwesel, Pfarrkirche St. Martin, from 1460 (DI 79, Rhein Hunsrück-Kreis II, no 206). DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/300/nr/di079-0206.html#content(consulted April, 28, 2019).

    17 + O eternal king, spare your people from lightning, plague and famine as often as the sound of my chime can be heard, see Göttingen, St. Marien, from 1359 (DI 19, Göttingen, no 7), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/100/nr/di019-0007.html#content (consulted April, 28, 2019).

    18 When I sound, remember your people, Mary, see Kaisersbach, Pfarrkirche, 2nd half of 13th cent. (DI 37, Rems-Murr-Kreis, no 8), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/100/nr/di019-0007.html#content (consulted April, 28, 2019).

    19 O King of Honour, come with peace. When I ring with pious intent, come to the help of your people, Mary, see Freiburg/Br., Münster, before 1258, not in DIO, see for the text Walter, Glockenkunde, op. cit., p. 181f.

    20 Greifswald, St. Marien, from 1418 (DI 77, Greifswald, no 109), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/200/nr/di077-0109.html#content (consulted April, 28, 2019).

    21 Recorded by Ulysse Chevalier, Repertorium hymnologicum, vol. 1, Louvain, Lefever, 1892, no 2072. Edition of the text: Franz Joseph Mone, Lateinische Hymnen des Mittelalters. Aus Handschriften herausgegeben und erklärt. vol. 2, Marienlieder, Freiburg, Herder, 1854, p. 202, http://opus.ub.hu-berlin.de/repertorium/browse/hymn/11260?_bc=11260/ (consulted April, 28, 2019). By the way, this antiphon was in liturgical use until the 1950s.

    22 St. Martin, Mannebach 3rd quarter of 13th cent. (DI 79, Rhein-Hunsrück-Kreis II, no 4), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/0/nr/di079-0004.html#content (consulted April, 28, 2019).

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    1 Giovanni Segantini (1858-1899), Ave Maria a trasbordo, Oil on canvas, 120 × 93 cm, available by: https://upload.wikimedia.org/wikipedia/commons/5/5b/Ave_Maria_bei_der_%C3%9Cberfahrt_1886.jpg (consulted April, 28, 2019).

    2 Das vollständige Römische Meßbuch lateinisch und deutsch […] im Anschluß an das Meßbuch von Anselm Schott O.S.B., ed. by Erzabtei Beuron, Freiburg/Br., Herder 1949, p. 227 sq.

    3 Cited according to the incunabula edition Pontificale Romanum, ed. by Agostino Piccolomini, corr. by Johannes Burckardus, Rome, Stephan Plannck, 20/12/1485 (GW M35016). A digitized copy of the Herzog August Bibliothek, Wolfenbüttel is available: http://diglib.hab.de/inkunabeln/408-theol-2f/start.htm (consulted April, 28, 2019). The Benedictio Signi et Campane here, p. 455-469.

    4 Pontificale Romanum, op. cit., p. 460.

    5 Regula Benedicti. Die Benediktinerregel, lateinisch/deutsch, ed. by the Salzburger Äbtekonferenz, Beuron, Beuroner Kunstverlag, 1996, cap. 8-20, p. 116-137, esp. cap 16, p. 126 sq.

    6 When the lesson calls you with the chime of the bell, get up quickly so that you are there on time, see Hans Walther, Proverbia sententiaeque latinitatis medii aevi – Lateinische Sprichwörter und Sentenzen des Mittelalters, 6 vol., Göttingen, Vandenhoeck, 1963-1969, no 6549. For the text of Scolaris, Nikolaus Henkel, Deutsche Übersetzungen lateinischer Schultexte. Ihre Verbreitung und Funktion im Mittelalter und in der frühen Neuzeit (MTU 90), Munich, Artemis, 1988, p. 303-305.

    7 I call the living, weep for the dead and shatter the lightning bolts, see Karl Walter, Glockenkunde, Ratisbonne/Rome, Pustet, 1913, p. 186 and 266. Not mentioned in Walther, Proverbia, op. cit.

    8 Walter, Glockenkunde, op. cit., p. 186 and 307: I praise the true God, call the people and gather together the clergy; I weep over the dead, drive out the plague and adorn the feasts. My voice is terror to all demons spirits. As Walther mentions, these verses were used for the bell of the Church of the Holy Sepulcre in Jerusalem from the year 1875 (Walther, Proverbia, op. cit., p. 488).

    9 Ibid., no 3193b: I comfort which liveth, lament which is dead, and drive out all that bringeth harm. I am sad with the sad, full of joy I announce the holy feasts. With my voice I make reconciliation with God and alleviate forthcoming dangers.

    10 Ibid., no 30638c: I am a vessel of ore and proclaim three things: I mourn funerals, announce feasts and drive wars away.

    11 Ibid., no 19406: A nut, a donkey, a bell and a lazybones don’t do anything if you don’t beat them.

    12 In print there are now available 104 volumes of the series Die deutschen Inschriften. The first volume appeared in 1942. Nikolaus Henkel offers an overview, but only until 2012: Nikolaus Henkel (dir.), Inschriften als Zeugnisse kulturellen Gedächtnisses. 40 Jahre Deutsceh Inschriften in Göttingen, Wiesbaden, Reichert, 2012, p. 141-145. See also Nikolaus Henkel, “Das Akademievorhaben ‘Die Deutschen Inschriften’”, ibid., p. 11-22 with a short overview of the material of the inscriptions (about 80 % Latin), the intentions and the progress in the documentation of inscriptions in the German-speaking area (Germany, Austria, South Tyrol).

    13 http://www.inschriften.net/ (consulted April, 28, 2019).

    14 I am the voice of (eternal) life, I call you to come and pray, see Halle/S., Marktkirche, 1st half of 13th cent. (DI 85, Halle/Saale, no 4), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/nr/di085-0004.html#content (consulted April, 28, 2019). See another example: Selbach/Gaggenau, Pfarrkirche St. Nicolaus, 2nd half of 13th cent.; here: orare venite (DI 78, Stadt Baden-Baden, no 5). DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/nr/di078-0005.html#content(consulted April, 28, 2019).

    15 When I ring, I am a sign for Christ who cries down from the cross, see Essen, Dom, end of 13th cent. (DI 81, Stadt Essen, no 47). http://www.inschriften.net/zeige/suchergebnis/treffer/set/0/nr/di081-0047.html#content (consulted April, 28, 2019).

    16 Oberwesel, Pfarrkirche St. Martin, from 1460 (DI 79, Rhein Hunsrück-Kreis II, no 206). DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/300/nr/di079-0206.html#content(consulted April, 28, 2019).

    17 + O eternal king, spare your people from lightning, plague and famine as often as the sound of my chime can be heard, see Göttingen, St. Marien, from 1359 (DI 19, Göttingen, no 7), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/100/nr/di019-0007.html#content (consulted April, 28, 2019).

    18 When I sound, remember your people, Mary, see Kaisersbach, Pfarrkirche, 2nd half of 13th cent. (DI 37, Rems-Murr-Kreis, no 8), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/100/nr/di019-0007.html#content (consulted April, 28, 2019).

    19 O King of Honour, come with peace. When I ring with pious intent, come to the help of your people, Mary, see Freiburg/Br., Münster, before 1258, not in DIO, see for the text Walter, Glockenkunde, op. cit., p. 181f.

    20 Greifswald, St. Marien, from 1418 (DI 77, Greifswald, no 109), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/200/nr/di077-0109.html#content (consulted April, 28, 2019).

    21 Recorded by Ulysse Chevalier, Repertorium hymnologicum, vol. 1, Louvain, Lefever, 1892, no 2072. Edition of the text: Franz Joseph Mone, Lateinische Hymnen des Mittelalters. Aus Handschriften herausgegeben und erklärt. vol. 2, Marienlieder, Freiburg, Herder, 1854, p. 202, http://opus.ub.hu-berlin.de/repertorium/browse/hymn/11260?_bc=11260/ (consulted April, 28, 2019). By the way, this antiphon was in liturgical use until the 1950s.

    22 St. Martin, Mannebach 3rd quarter of 13th cent. (DI 79, Rhein-Hunsrück-Kreis II, no 4), DIO: http://www.inschriften.net/zeige/suchergebnis/treffer/set/0/nr/di079-0004.html#content (consulted April, 28, 2019).

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    Henkel, N. (2020). Vox caelestis . In Société des historiens médiévistes de l’Enseignement supérieur public (éd.), La voix au Moyen Âge (1‑). Éditions de la Sorbonne. https://doi.org/10.4000/books.psorbonne.88732
    Henkel, Nikolaus. «  Vox Caelestis  ». In La Voix Au Moyen Âge, édité par Société des historiens médiévistes de l’Enseignement supérieur public. Paris: Éditions de la Sorbonne, 2020. https://doi.org/10.4000/books.psorbonne.88732.
    Henkel, Nikolaus. «  Vox Caelestis  ». La Voix Au Moyen Âge, édité par Société des historiens médiévistes de l’Enseignement supérieur public, Éditions de la Sorbonne, 2020, https://doi.org/10.4000/books.psorbonne.88732.

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    Société des historiens médiévistes de l’Enseignement supérieur public (éd.). (2020). La voix au Moyen Âge (1‑). Éditions de la Sorbonne. https://doi.org/10.4000/books.psorbonne.88637
    Société des historiens médiévistes de l’Enseignement supérieur public, éd. La voix au Moyen Âge. Paris: Éditions de la Sorbonne, 2020. https://doi.org/10.4000/books.psorbonne.88637.
    Société des historiens médiévistes de l’Enseignement supérieur public, éditeur. La voix au Moyen Âge. Éditions de la Sorbonne, 2020, https://doi.org/10.4000/books.psorbonne.88637.
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