Bell 11th–16th century West Mexico or Valley of Mexico Metalworkers in West Mexico or in the Valley of Mexico fabricated this pear-shaped bell between the 11th and 16th centuries. It is likely made of a copper alloy—that is, copper chemically mixed with another element—based on the analysis of similar bells (Hosler 2014; Schulze 2008). The bell was made by lost-wax casting, and most of it shows a cast filigree design. It features six motifs that could be interpreted as lightning rods or snakes. At top, the bell includes a circular loop that would have allowed it to be worn or suspended. The ma

Bell 11th–16th century West Mexico or Valley of Mexico Metalworkers in West Mexico or in the Valley of Mexico fabricated this pear-shaped bell between the 11th and 16th centuries. It is likely made of a copper alloy—that is, copper chemically mixed with another element—based on the analysis of similar bells (Hosler 2014; Schulze 2008). The bell was made by lost-wax casting, and most of it shows a cast filigree design. It features six motifs that could be interpreted as lightning rods or snakes. At top, the bell includes a circular loop that would have allowed it to be worn or suspended. The majority of the bell is constituted by a resonator, an open chamber that at one time may have contained a free-floating clapper made of metal, stone, or ceramic, but which has not preserved. The clapper would have helped produce sound by hitting the resonator’s walls. Of course, the bell is also capable of making sound by striking other bells or objects. Approximately two-thirds of the resonator has a ridged appearance, while the lower third is relatively plain. There are a few important design motifs. First, there are four curved, zigzag motifs evenly spaced and oriented vertically around the bell on the ridged part of the resonator. There is a similar curved, zigzag motif, oriented horizontally, on either face of the resonator’s plain lower third. A plain, horizontal band of metal divides the ridged part from the plain part on the obverse and reverse. Finally, the outer edges of the resonator’s opening also show plain bands of metal. The entire bell was originally designed in wax likely over a ceramic core. (For more on lost-wax casting, please see Metropolitan Museum of Art , b.) The artists designed the upper two-thirds of the resonator by carefully joining around 30 circular threads of wax, wrapping them around the core. The joins could be made by applying light pressure to the connecting areas. The overall appearance is wirework, or filigree, but thi

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