APA 6th Edition Pavičić, S. (1998). Prilog poznavanju crkvenih zvona Hrvatske. Peristil, 41 (1), 43-49. Preuzeto s https://hrcak.srce.hr/153847
MLA 8th Edition Pavičić, Snježana. "Prilog poznavanju crkvenih zvona Hrvatske." Peristil, vol. 41, br. 1, 1998, str. 43-49. https://hrcak.srce.hr/153847. Citirano 03.08.2020.
Chicago 17th Edition Pavičić, Snježana. "Prilog poznavanju crkvenih zvona Hrvatske." Peristil 41, br. 1 (1998): 43-49. https://hrcak.srce.hr/153847
Harvard Pavičić, S. (1998). 'Prilog poznavanju crkvenih zvona Hrvatske', Peristil, 41(1), str. 43-49. Preuzeto s: https://hrcak.srce.hr/153847 (Datum pristupa: 03.08.2020.)
Vancouver Pavičić S. Prilog poznavanju crkvenih zvona Hrvatske. Peristil [Internet]. 1998 [pristupljeno 03.08.2020.];41(1):43-49. Dostupno na: https://hrcak.srce.hr/153847
IEEE S. Pavičić, "Prilog poznavanju crkvenih zvona Hrvatske", Peristil, vol.41, br. 1, str. 43-49, 1998. [Online]. Dostupno na: https://hrcak.srce.hr/153847. [Citirano: 03.08.2020.]
Sažetak Analysing eight church bells, the collection in the Croatian Historical Museum in Zagreb, the author defines their typological, iconographical and stylistic features. The oldest is the Gothic bell, probably manufactured in Croatia in the late 14th and early 15th century (41x43,5 cm). Instead of the original crown, the hook with a coil was installed subsequently. (tab.1)
The bell from the parish church in Vinica near Varaždin (34x30 cm) dates from 1545; harmonious Rennaissance features are present in its proportions and expressive shape. The upper part, between two lines, bears the inscription:" AVE-MARIA-M-D-XXXX-V-IAR-+" (tab. 2)
The bell from the St. Vitus chapel of Samobor (48x35 cm). On the top end between two lines there is the inscription "S. D. P. R. V. PA V L S H AT M I C H G 0 S E N", with the date 1564 underneath. Master "Pavls" (Paulus) is obviously the caster of the bell, but it is impossible to establish accurately the place of manufacture (tab.3).
Petter Zwelffer is the master caster of one bell (36x32 cm) east in Graz in 1669. The inscription "PETTER* ZWELFFER* IN GRAZ* HAT MICH GOSSEN ANNO* 1669", is between two parallel lines on the upper part of the bell. The relationship of proportions is close to the Rennaissance principles of regularity, but the multiplication of plastic elements (gradual addition of circles in the upper and lower parts) and a certain "warping" of shape presage the early-Baroque play and articulation of surfaces (tab.4)
The bell by Pavlo de Polis from 1725 (42x36). The central space between rows of parallel lines is taken up by four reliefs arranged in even intervals: The Crucifixion, Our Lady of the Seven Sorrows, a figure of a saint kneeling on clouds, and St. Joseph with the baby Jesus in his right hand and a twig in his left. Above that, and between parallel horizontal lines, there is the inscription: "ANNO DOMINI MDCCXXV", decorated on top by a band with a tendril — and heart-shaped pattern. The full signature of the caster is under the representation of the crucified Christ, as follows: "OPVS/ PAVLI DE/ POLIS" (tab.5)
A bigger bell (44x40 cm) dating from the middle of the 18th century, with the inscription "S.DONATUS . ORA . PRO . NOBIS" and "FUSA . ZAGRABIAE . 1742" on the rim is decorated with four relief figures. Above the word "FUSA" there is the representation of Christ on the cross; it is followed by St. Donatus dressed in bishop's vestments, with the mitre on his head, the pastoral staff in his left hand and a book in his right; a crowned Madonna with the baby Jesus and a sceptre, and the fourth, a figure of a kneeling bearded man in left profile, hands clasped in prayer, which is typical for a donor. The bell is of additional interest because the original mechanism with the wooden construction circled by metal brackets has been preserved (tab.6).
The bell by Johannes Schulz (32 /without the bracket welded later/ x24 cm) is in the worst condition. It is cracked and scratched in many parts, and on the upper half a new bracket has been applied. There are no documents about the reason for and the date of that later, rather badly executed intervention. Under the cap of the bell, between two horizontal lines, there is the inscription: "JOHANNES SCHUI Z FUDIT ME ZAGRABIAE 1755", with a horizontal decorative band underneath. On the surface of the rim there is the representation of Christ on the Cross, and opposite the figure of a saint with a twig in her lowered right hand (tab.7).
Only one bell in the museum collection dates from the 19th century (40x42 cm), east by master Anton Fiel and marked by the inscription: "MICH GOSS ANTON FIEL IN WARASDIN AN 1839". It is decorated on the rim with two representations facing each other, the Crucifixion with the Virgin Mary and Mary Magdalene, and the image of Archangel Michael (tab.8).