The creation of a bell requires the use of simple materials - such as soil, water, beeswax, hemp and bronze; it is then the artisan, with his mastery and the secrets that are handed down from generation to generation, that will transform this artifact - the bell - into an extraordinary musical and sacred art object, which will accompany the life of the communities that host it, marking their times and celebrating their most significant moments. Making a bell requires a long work that varies, depending on the features and size of a bell, from a few weeks to several months.
The phase preceding the actual casting takes a long time because it is necessary to prepare a model consisting of three overlapping clay molds.

• To start with, the drawing of the first wooden silhouette with the profile of the bell is made. This, used as a compass, will serve to create the clay molds.
• The first of the three molds to be created is called 'anima' (soul): it consists of a hollow brick pyramid on which several layers of clay are applied, until the mold is completed, sanded, and takes the inside shape of a bell.
• On the anima - after having applied a mixture of milk and ash that will later serve to separate the molds - several layers of clay are overlapped so as to to form the second mould, the so called 'false bell'. The false bell is made of clay, but it already has the size and thickness of what will be the final bronze bell. After a perfect smoothing of the false bell, friezes, crests, wax figures and inscriptions are applied.
• Finally, the 'mantello' (cloak), namely the third and final mould, is created. Always overlapping layers of clay - first with a brush and then manually - a mold of adequate thickness is created to accommodate the cast bronze and withstand the pressure of the metal. Internally heated by burning coals, the cloak of clay gradually dries, and the wax images and inscriptions previously applied in positive on the false bell melt, thus remaining imprinted in negative directly on the inner surface of the cloak. This process is called 'lost-wax casting'.
• Once the drying has occurred, the three molds are separated and the false bell is discarded; the cloak is repositioned on the core, so that the empty space between the two can accommodate the cast bronze.
• The shape obtained in this way is buried in a pit in the ground, which is then completely covered with soil. In this way, possible subsidence or movements of the cloak during the melting phase are avoided. This modality also helps to contain the pressure exerted by the bronze.
• At this point, the melting can eventually take place: when the oven is hot and the metal melted at the right temperature, the founder opens the oven door and releases the molten bronze which, by flowing through specially created channels, reaches the form and the cavity between the cloak and the core.
• If at any step of the process something went wrong, the fusion will fail, and the work done up to that moment will have to be started again from the very beginning.
• After the cooling phase, which takes several days, the bell is removed from the pit and cleaned. Freed from the cloak and the core, the bell is finished with care with hammers, files, chisels and burins.
• At the end of the work, the sound is tested, tonalities verified with special instruments and a clapper adequate to the size and shape of the bell is added.