In the settlement of ancient Olynthus in Chalkidiki, four small bronze bells were discovered during the excavation campaigns of 1928 and 1931 (clockwise: Ol 31.306, Ol 31.93, Ol 28.28, Ol 31.320). They date back to the early decades of the 4th century BC and constitute rare examples of bells found within domestic contexts.
On average, they do not exceed 3.4 cm in height or maximum diameter. Like most metal bells, they were produced by casting, employing the lost-wax technique. They share common functional features, such as a handle with a perforation (hole), from which the bell could either be held or suspended. At the base of each handle there are holes through which a wire passes (preserved only on Ol 31.306) for the attachment of a movable stem — the clapper (not preserved on any of the four bells). The body — sound chamber is semi-ellipsoidal in shape and, apart from the undecorated Ol 28.28, features either incised (Ol 31.306, Ol 31.320) or plastic rings (Ol 31.93).
Metal bells of various sizes are known as early as prehistoric times in China and the Near East. From these regions, they appear to have been introduced into Greece via Samos and Cyprus around 700 BC, or slightly earlier, and have remained in continuous use ever since. They are most commonly encountered in sanctuaries and burials and only rarely in domestic contexts, as in the case of Olynthus.
Over the centuries, the fundamental principles governing their design — irrespective of size — as well as their primary function, namely the production of sound through the striking of the movable clapper against the walls of the resonating body, have remained unchanged.
In the Near East, bells are known to have functioned as sound signals for animals, particularly horses, worn around their necks. During the Classical period, they are mentioned by Aristophanes and Thucydides as signaling devices for guards in cities and military camps, and later by the Byzantine lexicographer Photius. During military conflicts, when hung from the harnesses of animals and warriors, they produced a deafening noise intended to instill fear and awe in the enemy. In Roman times, bells were used, among other purposes, to signal the opening of markets and baths in cities, as a wake-up call for slaves in households, or as sound signals for livestock in pastoral contexts.
Their protective and apotropaic character remains strong throughout all periods, closely associated with the belief that the sharp metallic sound they produce wards off the dark forces threatening human life and protects the deceased after death. Characteristic is the indignation of John Chrysostom, who condemned their use as amulets for young children. The bells from Olynthus likely served to protect the household, while apotropaic properties were also attributed to the so-called Roman tintinnabula, phallic-shaped objects with suspended bells.
Inscriptions on bells found in sanctuaries attest to their dedicatory character. Their use is also well known in the rites of the Mother Goddess and Dionysian cults, rituals closely connected with the awakening of nature and the arrival of Spring. Their resonance continues into modern times through the Carnival customs of bell-bearers in various regions of Greece, where the sound of bells calls nature back to life, leaving behind the withering of Winter. Spring is likewise invoked by children during the March “swallow songs” (chelidonismata), when they carry floral wreaths bearing a model swallow with a small bell hung around its neck.
You can see the Olynthus bells in the Museum's permanent exhibition “In Macedonia from the 7th century BC to Late Antiquity,” display case 21, and welcome Spring.
