
bell the cat
[Middle English belle, from Old English.]

[From Middle English bellen, to bellow, from Old English bellan.]
For more information on bell, visit Britannica.com.
Background
Since prehistoric times bells have been used to herald significant events. Bells call the faithful to worship and toll the time. The sound of a bell can express great joy, sound a warning, or signal mourning. Bells have also been rung to bring on or stop the rain, keep evil spirits at bay, invoke curses, and lift spells.
Bells hold an honored place in religious ceremonies. In both Buddhism and Christianity, bells are blessed before each ceremony. In Roman Catholicism, bells are symbols of paradise and the voice of God. The Russian Orthodox and the Chinese employ bells to speak to spirits or God.
Bells are also revered as patriotic symbols, and it was not unusual for invading conquerors to capture and silence the town bell. In the U.S., the great symbol of the American republic is the Liberty Bell.
The Chou Dynasty, which reigned in China from 1122 to 221 B.C., was particularly known for its superior bell founding. European bell founding occurred much later and originated in medieval monasteries. The first European bells resembled cow bells:iron plates that had been hammered square and then riveted together. By the 15th century, founders began to experiment with bell shape and tone. Secular bellmakers gained prestige in the Renaissance with the flourishing of Gothic architecture which featured grand bell towers.
In the 17th century, Belgium and the Netherlands emerged as the leaders in bell founding. Dutch brothers Francois and Pierre Hemony are generally credited with developing the bell into a sophisticated musical instrument. The Hemonys worked with a blind musician named Jacob Van Eyck on a tuning system for the five separate and distinct tones contained in each bell's ring. After the deaths of Francois and Pierre and that of their star pupil, Caes Noorder, in the 18th century, the art suffered a decline. It was not until the 20th century that tuning techniques once again gained excellence.
Bell shapes vary by country and culture. The sides can be straight, convex, concave, or hemispherical. East Asian bells tend to be barrel-shaped while Western bells are tulip-shaped with a bulge near the rim. Chinese bells often have lotus-shaped rims. Bells of Western cultures are generally struck by an interior metal striker as the bell swings back and forth. Asian bells are non-swinging and are usually struck manually on the outside with a wooden mallet.
Raw Materials
While decorative bells can be made of such materials as horn, wood, glass, and clay, bells that are designed to ring or to play music are cast in a bronze alloy of approximately 77% copper and 23% tin. This combination produces a tough, long-lasting material that resists rusting. Bell founders must be careful not to mix in more than 25% tin or the bell will be brittle and susceptible to cracking. It is not unusual for old bells to be melted down and the metal re-used to cast new bells.
The Manufacturing
Process
The craft of casting bells has remained essentially the same since the 12th century. The one singular innovation was the invention of the tuning machine in the 19th century. Prior to that time, the proper tone was achieved by chipping the sides of the bell with a hammer and chisel. This procedure carried a high risk of damaging the bell. The tuning machine, which is essentially a vertical lathe, has reduced that risk. Electronic tuning machines have increased the bell founder's ability to test the accuracy of the bell's tone. All in all, however, creating a bell is still very much a hands-on process.
Calculating the bell design
Making the bell pattern or template
Constructing the mold
The space between the false bell and the mantle is filled with cement. After the cement has hardened, the mantle is lifted off the cement mold. The false bell, under the mold, is chipped away. Any remaining scraps of the false bell are removed with a blow torch. The mold is then set over a coke fire to melt the remaining wax and to evaporate any water that has accumulated.
A model of the inner bell is constructed of stone and coated with fireproof cement. It is then smoothed to remove any irregularities.
Casting the bell
Ingots of bronze are melted in oil burners and heated to a temperature of approximately 1150°F (1100°C). The molten metal is skimmed to remove impurities and then poured into drums. The drums are carried to the pit and carefully tipped so that the hot metal flows into the space between the two molds. Holes in the top of the mantle allow gases to escape. If the gases remained in the metal, the bell would be too porous and easily cracked.
The bell is allowed to cool for several days. Large bells can take as much as a week to cool completely. Small bells, usually classified as those under 500 pounds (227 kg), can be removed from the molding pit the next day.
Tuning the bell
Fitting the clapper into the bell
Holes are drilled into the top of the bell. Using mounting bolts and supports, the clapper is fastened to the bell.
Quality Control
Great care is taken to calculate the precise weight and size of the bell before it is cast. If the finished bell does not meet specifications, it is completely melted down and recast. Should a bell crack at a future date, it might be welded and patched, but that is rare. The bell is more likely to be retired, as in the case of the Liberty Bell, or it is melted down and recast.
Where To Learn More
Book
Yolen, Jane. Ring Out! A Book of Bells. The Seabury Press, 1974.
Brochure
Royal Eijsbouts. Schulmerch Carillons, Inc., Carillon Hill, Sellersville, PA 18960, (215)257-2771.
[Article by: Mary F. McNulty]
| Beige Book, Behavioral Finance (or investing) | |
| Bellwether, Belly Up |
Idioms beginning with bell:
bell the cat, who will
In addition to the idiom beginning with bell, also see clear as a bell; ring a bell; saved by the bell; sound as a bell; with bells on.
The primary purpose of church and monastery bells was, and is, to remind hearers of a duty of prayer; in medieval times they marked the ‘canonical hours’ for monks (6 a.m., 9 a.m., midday, 3 p.m., 6 p.m., 9 p.m.), rang before Mass and at certain points during Mass, rang the ‘passing bell’ when anyone in the parish was at death's door, and tolled for funerals and the anniversaries of deaths. They also sounded in celebrations and thanksgivings, to honour eminent visitors, at weddings, and to mark holy days. The choice of which bell or bells to ring, for how long, and in what rhythm, was a code indicating what had occurred. Bells were widely believed to frighten away the demons of the air that cause storms and thunder.
Much of this continued after the Reformation. Soon, the unique English skill of change ringing evolved, as set out by Fabian Stedman in his Tintinnalogia (1668) and Campanalogia (1677). The tolling of a single bell was used as a signal to request prayers for a dying person (the ‘passing bell’), and also just before a funeral. Parishes developed local codes for the latter—three strokes for a child, six for a woman, nine for a man was common; but Didsbury (Cheshire) did eight for a child, twelve for a woman, sixteen for a man; Marsham (Suffolk) did three for a girl, four for a boy, five for a spinster, seven for a wife or widow, eight for a bachelor, nine for a husband or widower; some places then gave as many strokes as the age of the deceased. Peals were rung for local celebrations, especially weddings, and for public festivals and national events.
Bell-ringing took on a secular role as the Morning Bell, rung in many places at 5 a.m. in summer and 6 a.m. in winter to summon labourers to work, and the curfew at 8 or 9 p.m. to mark the day's end. There are numerous records of benefactors leaving a piece of land to a church, for its rent to pay someone for ringing peals and curfews; at Kidderminster (Wiltshire), Twyford (Hampshire), and elsewhere, legend says the donor's life was saved when the sound of a bell guided him or her home when lost. Bells also signalled the opening of markets, the moment when gleaners could enter a harvested field, and the making of fritters and pancakes on Shrove Tuesday.
Many places have a legend telling how a church bell fell into deep water, and could never be recovered. In some cases it fell in accidentally; in others, it was carried off by looters, or demonic forces. Rescue attempts failed because some taboo was infringed, and the bell sank back. The tale usually concludes by saying that it can still sometimes be heard ringing underwater. Legends about churches or wicked villages submerged or swallowed up as a judgement also often include this final detail; so do some traditions about real medieval villages lost through coastal erosion, for example at Dunwich (Suffolk).
Bibliography
The full bibliography list is available here.
1. The body of a Corinthian capital or a Composite capital, with the foliage removed; also called a vase or basket.
2. The portion of a pipe which is enlarged to receive the end of another pipe of the same diameter for the purpose of making a joint; also called a hub.
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A hollow metal dome-shaped object that when struck makes a clear musical note. Two main types can be recognized in Europe. The first, and oldest type, is made from a sheet of metal cut to a pattern and then bent into an open-ended rectangular or oval form, riveted together, with a clapper suspended in the centre. The second type, of medieval and later date, is made by casting the whole form in a single mould with a clapper being added to a cast spigot inside the bell. In China bells very rarely have internal clappers but are instead struck on the outside with a mallet.
A portable set of bells, usually not more than 15 in number, tuned to the intervals of the major scale, is known as a chime and were first used by the ancient Chinese. A carillon is a larger stationary set with chromatic intervals and as many as 70 bells, which are played from a keyboard. Harmonies and effects of shading, not possible on a chime, are part of the art of carillon playing-an art for which there is a school in Belgium. The bells of a carillon must be tuned with more accuracy than those of a chime; the best modern craftsmen can tune the fundamental (known as the hum note), the octave (known as the strike note), the twelfth, and the fifteenth with perfect accuracy.
An interesting and unexplained illusion manifest in bells is their apparent pitch (strike note): the pitch the observer hears can often be scientifically proved to be different from any of the pitches produced by the bell. Bells have been known in all metal-using cultures and civilizations and have been used in connection with all major religions except Islam. Many legends and traditions are associated with bells, which have been used for signaling, in dancing, and as protective charms. Apparently originating in Asia, in early times bells were employed for religious purposes and were used in Christianity by the 6th cent. Early bells were blessed with holy water, in the belief that dedication to Christian service gave power to ward off lightning.
Sets of bells tuned to a musical scale and called cymbala were used in the Middle Ages for musical instruction and to accompany chant in churches. In the 13th cent., tower bells were attached to clocklike mechanisms to strike the hours. The carillon developed out of the Belgian voorslag of the 15th cent., a set of bells attached to a large tower clock that played a tune before striking the hour. In the Low Countries, where the making and playing of carillons centered, the principal cities vied over the size and complexity of their instruments. A peak in European carillon making was reached in the work of the brothers Frans (1609-67) and Pieter (1619-80) Hemony of Amsterdam. The carillonneur's art flourished until the 18th cent., declining during the French Revolution, when many carillons were melted to make armaments.
Toward the end of the 19th cent., English bellmakers rediscovered the secrets of tuning that had been used by the 17th-century Dutch and Flemish craftsmen. This, with improvements in methods of striking, in placement of the bells, and in action of the keyboard, has made 20th-century carillons the finest in existence. Active in a renaissance of carillon music was Jef Denijn (1862-1941), carillonneur of Mechlin. Since World War I many carillons have been installed in the United States; outstanding is that of the Riverside Church, New York (1930), whose 20.5-ton bourdon bell is the largest ever cast in England. The largest bell in the world was the Great Bell of Moscow; cast in 1733-35, it was broken in a fire in 1737.
Bibliography
See P. D. Peery, Chimes and Electric Carillons (1948); W. G. Wilson, Change Ringing (1965); S. N. Coleman, Bells (1928, repr. 1971); H. R. Jones, About Bells and Bell Ringing (1986); R. Johnston et al., An Atlas of Bells (1990).
The ring that marks the open and close of each trading day on many organized financial exchanges, most notably the NYSE.
Investopedia Says:
The bell usually starts ringing when there are five to ten seconds left in the trading day.
Related Links:
Learn some of the important differences in the way they operate and the securities that trade on them. The NYSE And Nasdaq: How They Work
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Something calling for attention. Perhaps a warning bell or an alarm. Bells are also sounded at beginnings and endings. In Western culture, bells are associated with weddings (wedding bells) and freedom (the liberty bell). Also, bellwethers influence or presage the future.
| bejesus, bejabers, behind | |
| bell end, bells and whistles, belly button |

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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2007) |
Parts of a typical bell: 1. yoke, 2. crown, 3. head, 4. shoulder, 5. waist, 6. sound rim, 7. lip, 8. mouth, 9. clapper, 10. bead line |
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| Percussion instrument | |
|---|---|
| Classification | hand percussion |
| Hornbostel–Sachs classification | 111.242 (Percussion idiophone) |
| Playing range | |
| From very high to very low | |
| Related instruments | |
| Chimes, Cowbell, Gong | |
A bell (old Saxon: bellan, to bawl or bellow[1]) is a simple sound-making device. The bell is a percussion instrument and an idiophone. Its form is usually a hollow, cup-shaped acoustic resonator, which vibrates upon being struck. The striking implement can be a tongue suspended within the bell, known as a clapper, a separate mallet or hammer, or in small bells a small loose sphere enclosed within the body of the bell.
Bells are usually made of cast metal, but small bells can also be made from ceramic or glass. Bells range in size from tiny dress accessories to church bells 5 meters tall, weighing many tons. Historically, bells were associated with religious rituals, and before mass communication were widely used to call communities together for both religious and secular events.[2] Later bells were made to commemorate important events or people and have been associated with the concepts of peace and freedom. The study of bells is called campanology.
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In the Western world, its most classical form is a church bell or town bell, which is hung within a tower and sounded by having the entire bell swung by ropes, whereupon an internal hinged clapper strikes the body of the bell (called a free-swinging bell). A set of bells, hung in a circle for change ringing, is known as a ring of bells or peal of bells. Occasionally the clappers would have leather pads (called muffles) strapped around them to quieten the bells when praticise ringing to avoid annoying the neighbourhood. Also at funerals, half-muffles are often used to give a full open sound on one round, and a muffled sound on the alternate round - a distinctive, mournful effect.
In the Eastern world, the traditional forms of bells are temple and palace bells, small ones being rung by a sharp rap with a stick, and very large ones rung by a blow from the outside by a large swinging beam. (See images of the great bell of Mii-dera below.)
The striking technique is employed worldwide for some of the largest tower-borne bells, because swinging the bells themselves could damage their towers.
In the Roman Catholic Church and among some High Lutherans and Anglicans, small hand-held bells, called Sanctus or sacring bells[3], are often rung by a server at Mass when the priest holds high up first the host, and then the chalice immediately after he has said the words of consecration over them (the moment known as the Elevation). This serves to indicate to the congregation that the bread and wine have just been transformed into the Body and Blood of Christ (see transubstantiation), or, in the alternative Reformation teaching, that Christ is now bodily present in the elements, and that what the priest is holding up for them to look at is Christ himself (see consubstantiation).
In the Russian Orthodox bell ringing the entire bell is never moving, only the clapper. A special complex system of ropes is developed and used individually for every belltower. Some ropes (the smaller ones) are played by hand, the bigger ropes are played by foot.
Japanese Shintoist and Buddhist bells are used in religious ceremonies. Suzu, a homophone meaning both "cool" and "refreshing", are spherical bells which contain metal pellets that produce sound from the inside. The hemispherical bell is the Kane bell, which is struck on the outside. See also Kane (musical instrument) (ja:鈴, ja:梵鐘).
Hindu and Buddhist bells, called "Ghanta" in Sanskrit, are used in religious ceremonies. See also singing bowls. A bell hangs at the gate of many Hindu temples, which is rung at the moment one enters the temple.[citation needed]
On January 15, 1602 (Keichō 7), a fire broke out at Hōkō-ji, Buddhist temple complex in Kyoto. The great image of the Buddha and the structure housing the statue, the Daibutsu-den, were both consumed by the flames.[4][5]
In 1610, Toyotomi Hideyori decided to sponsor rebuilding the Hōkō-ji and he also decided to order a great bell cast in bronze.[6][5]
On August 24, 1614 (Keichō 19), the huge new bronze bell was cast successfully.[7] Dedication ceremonies were scheduled, but at the last minute, Tokugawa Ieyasu forbade the ceremonies to take place because he construed inscriptions on the bell to have been a personal affront:
[T]he tablet over the Daibatsu-den and the bell bore the inscription "Kokka ankō" (meaning "the country and the house, peace and tranquility"), and at this Tokugawa Ieyasu affected to take umbrage, alleging that it was intended as a curse on him for the character 安 (an, "peace") was placed between the two characters composing his own name 家康 ("ka-kō", "house tranquility") [suggesting subtly perhaps that peace could only be attained by Ieyasu's dismemberment?]... This incident of the inscription was, of course, a mere pretext, but Ieyasu realized that he could not enjoy the power he had usurped as long as Hideyori lived, and consequently, although the latter more than once dispatched his kerei Katagiri Kastumoto to Sunpu Castle with profuse apologies, Ieyasu refused to be placated."[6][8]
This contrived dispute led to the Siege of Osaka (大坂の役 Ōsaka no Eki, or, more commonly, 大坂の陣 Ōsaka no Jin), which was a series of battles between armies of the Tokugawa shogunate and the samurai of the Toyotomi clan. The siege lasted through 1615. It is conventionally divided into two stages—the Winter Campaign and the Summer Campaign. In the end, the total destruction of the Toyotomi eliminated the last major opposition to the shogunate which would come to dominate Japan for the next 250 years.[9]
The process of casting bells is called bellfounding or bellmaking, and in Europe dates to the 4th or 5th century.[10] The traditional metal for these bells is a bronze of about 23% tin.[11] Known as bell metal, this alloy is also the traditional alloy for the finest Turkish and Chinese cymbals. Other materials sometimes used for large bells include brass and iron. Steel was tried during the busy church-building period of mid-19th-century England, for its economy over bronze, but was found not to be durable and manufacture ceased in the 1870s.[12]
Small bells were originally made with the lost wax process but large bells are cast mouth down, in a two-part mould clamped to a base-plate.[13] The core is built on the base-plate using porous materials such as coke or brick and then covered in loam well mixed with straw and horse manure. This is given a profile corresponding to the inside shape of the finished bell, and dried with gentle heat. Graphite and whiting are applied to form the final, smooth surface. The outside of the mould is made within a perforated cast iron case, larger than the finished bell, containing the loam mixture which is shaped, dried and smoothed in the same way as the core. The case is inverted (mouth down), lowered over the core and clamped to the base plate. The clamped mould is supported, usually by being buried in a casting pit to bear the weight of metal and to allow even cooling.[14] In earlier times, before road transport of large bells was possible, a pit may have been dug in the grounds of the building where the bell was to be installed. Molten bell metal is poured into the mould through a box lined with foundry sand.
Bells are made to exact formulas, so that given the diameter it is possible to calculate every dimension, and its musical note, or tone. The frequency of a bell's note varies with the square of its thickness, and inversely with its diameter. Much experimentation has been devoted to determining the exact shape that will give the best tone. The thickness of a church bell at its thickest part, called the "sound bow", is usually one thirteenth its diameter. If the bell is mounted as cast, it is called a "maiden bell". "Tuned bells" are worked after casting to produce a precise note. The elements of the sound of a bell are split up into hum (see subharmonic), second partial, tierce, quint and nominal/naming note. The bell's strongest overtones are tuned to be at octave intervals below the nominal note, but other notes also need to be brought into their proper relationship.[17] Bells are usually tuned via tuning forks and electronic stroboscopic tuning devices commonly called a Strobe tuner.
Bells are also associated with clocks, indicating the hour by ringing. Indeed, the word clock comes from the Latin word cloca, meaning bell. Clock towers or bell towers can be heard over long distances which was especially important in the time when clocks were too expensive for widespread use. In many languages the same word can mean both "clock" and "bell".
In the case of clock towers and grandfather clocks, a particular sequence of tones may be played to represent the hour. One common pattern is called the "Westminster Quarters," a sixteen-note pattern named after the Palace of Westminster which popularized it as the measure used by Big Ben.
Some bells are used as musical instruments, such as carillons, (clock) chimes, or ensembles of bell-players, called bell choirs, using hand-held bells of varying tones. A "ring of bells" is a set of 4 to twelve bells or more used in change ringing, a particular method of ringing bells in patterns. A peal in changing ringing may have bells playing for several hours, playing 5,000 or more patterns without a break or repetition. They have also been used in many kinds of popular music, such as in AC/DC's "Hells Bells."
The ancient Chinese bronze chime bells called bianzhong or zhong / zeng (鐘) were used as polyphonic musical instruments and some have been dated at between 2000 to 3600 years old. Tuned bells have been created and used for musical performance in many cultures but zhong are unique among all other types of cast bells in several respects and they rank among the highest achievements of Chinese bronze casting technology. However, the remarkable secret of their design and the method of casting—known only to the Chinese in antiquity—was lost in later generations and was not fully rediscovered and understood until the 20th century.
In 1978 a complete ceremonial set of 65 zhong bells was found in a near-perfect state of preservation during the excavation of the tomb of Marquis Yi, ruler of Zeng, one of the Warring States. Their special shape gives them the ability to produce two different musical tones, depending on where they are struck. The interval between these notes on each bell is either a major or minor third, equivalent to a distance of four or five notes on a piano.[19]
The bells of Marquis Yi—which were still fully playable after almost 2500 years—cover a range of slightly less than five octaves but thanks to their dual-tone capability, the set can sound a complete 12-tone scale—predating the development of the European 12-tone system by some 2000 years—and can play melodies in diatonic and pentatonic scales[20]
Another related ancient Chinese musical instrument is called qing (磬 pinyin qìng) but it was made of stone instead of metal.
In more recent times, the top of bells in China was usually decorated with a small dragon, known as pulao; the figure of the dragon served as a hook for hanging the bell.
Konguro'o is a small bell which, like the Djalaajyn, was first used for utilitarian purposes and only later for artistic ones. Konguro'o rang when moving to new places. They were fastened to the horse harnesses and created a very specific "smart" sound background. Konguro'o also hung on the neck of the leader goat, which the sheep herd followed. This led to the association in folk memory between the distinctive sound of konguro'o and the nomadic way of life.
To make this instrument, Kyrgyz foremen used copper, bronze, iron and brass. They also decorated it with artistic carving and covered it with silver. Sizes of the instruments might vary within certain limits, what depended on its function. Every bell had its own timbre.
A variant on the bell is the tubular bell. Several of these metal tubes which are struck manually with hammers, form an instrument named tubular bells or chimes. In the case of wind or aeolian chimes, the tubes are blown against one another by the wind.
The skrabalai is a traditional folk instrument in Lithuania which consists of wooden bells of various sizes hanging in several vertical rows with one or two wooden or metal small clappers hanging inside them. It is played with two wooden sticks. When the skrabalai is moved a clapper knocks at the wall of the trough. The pitch of the sound depends on the size of the wooden trough. The instrument developed from wooden cowbells that shepherds would tie to cows' necks.
Whereas the church and temple bells called to mass or religious service, bells were used on farms for more secular signaling. The greater farms in Scandinavia usually had a small bell-tower resting on the top of the barn. The bell was used to call the workers from the field at the end of the day's work.
In folk tradition, it is recorded that each church and possibly several farms had their specific rhymes connected to the sound of the specific bells. An example is the Pete Seeger and Idris Davies song "The Bells of Rhymney".
In Scotland up until the 19th century it was the tradition to ring a Dead bell, a form of hand bell, at the death of an individual and at the funeral.
The bell within the Clock Tower colloquially known as Big Ben.
Mingun Bell weighs 55,555 viss, or 90 tonnes.
The World Peace Bell in Kentucky.
St. Petersglocke (with person for scale).
Bronze jingyun bell cast in the year 711 AD, Xi'an.
Chinese bells from the ancient Warring States, Hubei Provincial Museum, Wuhan, China.
St. Ulrich, Memmingen
Japanese temple bell of the Ryōanji Temple, Kyoto
| Wikimedia Commons has media related to: Bells |
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| Look up bell in Wiktionary, the free dictionary. |
| Wikisource has the text of the 1913 Catholic Encyclopedia article Bells. |
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Dansk (Danish)
1.
n. - klokke, bjælde
v. tr. - forsyne med klokke, forsyne med bjælde
v. intr. - danne klokkeform
idioms:
2.
n. - ringeapparat, ringklokke
v. intr. - ringe på, kime med klokke
Nederlands (Dutch)
bel, klok, torenklok, schel, brul van hitsig dier, halfuur (scheepstijd), (mv) buisklokken, belvormig iets, klokken, een klokvorm geven, brullen, de bel aanbinden
Français (French)
1.
n. - cloche, clochette, clarine, sonnette, sonnerie, timbre (d'une machine à écrire), calice, pavillon (d'une trompette)
v. tr. - attacher une clochette autour du cou de (une vache)
v. intr. - faire cloche (en parlant d'une jupe), ballonner
idioms:
2.
n. - bramement (du cerf)
v. intr. - bramer
Deutsch (German)
1.
n. - Klingel, Glocke, (naut.) Glas
v. - eine Glocke anhängen, mit einer Glocke versehen, Glockenform annehmen
idioms:
2.
n. - Röhren
v. - röhren
Ελληνική (Greek)
n. - καμπάνα, κουδούνι, κουδούνα
v. - βάζω κουδούνι ή καμπάνα, δίνω σχήμα χοάνης ή καμπάνας, μουγκρίζω
idioms:
Italiano (Italian)
campana, campanello
idioms:
Português (Portuguese)
n. - sino (m), campainha (f), som (m) de sino ou campainha
v. - por sino em, tomar a forma de sino
idioms:
Русский (Russian)
колокол, колокольчик, надеть колокол
idioms:
Español (Spanish)
1.
n. - timbre, campana, campanilla, cencerro, cascabel
v. tr. - poner un cascabel en
v. intr. - tomar forma de campana, acampanar
idioms:
2.
n. - tañido de campanas, campanada
v. intr. - desarrollarse en forma de campana, bramar (el ciervo)
Svenska (Swedish)
n. - klocka, bjällra, glas (naut.)
v. - ringa med klockan, sätta fast en klocka, forma som en klocka
中文(简体)(Chinese (Simplified))
1. 铃, 打击乐器, 钟, 装钟于, 系铃于, 鸣钟, 成钟状鼓起
idioms:
2. 钟声, 鸣钟, 成钟状鼓起
中文(繁體)(Chinese (Traditional))
1.
n. - 鈴, 打擊樂器, 鍾
v. tr. - 裝鍾於, 系鈴於
v. intr. - 鳴鍾, 成鍾狀鼓起
idioms:
2.
n. - 鐘聲
v. intr. - 鳴鍾, 成鍾狀鼓起
한국어 (Korean)
1.
n. - 종[모양의 것], 나팔바지
v. tr. - 종을 달다, 벌어지게 하다
v. intr. - 종 모양으로 되다
2.
n. - 수사슴의 울음 소리
v. intr. - 울다
日本語 (Japanese)
n. - ベル, 鈴, 呼び鈴, 鐘, 鐘状のもの
v. - 鈴を付ける, 鐘状に広げる
idioms:
العربيه (Arabic)
(الاسم) جرس, , ناقوس, (فعل) علق جرسا ( في رقبه بقرة مثلا), اتخذ شكل ناقوس,
עברית (Hebrew)
n. - פעמון, צלצול פעמון, צורת פעמון
v. tr. - התקין פעמון
v. intr. - היה בצורת פעמון
n. - געייה של צבי בעת ייחום
v. intr. - צלצול פעמון, צורת פעמון, ענבל, געה בעת ייחום (צבי)
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