The article examines the religious temporalities in the medieval city of Middelburg. Time in the city was shaped by various rhythms, including Christian liturgy and the ritual calendar. The city had its own religious institutions, including monasteries, convents, and the Teutonic Knights, which maintained the liturgical life of the city. Time was regulated and measured by liturgical dates and holidays. Festivals and fasting periods shaped religious life and were celebrated through processions and other ritual practices. The city's time was closely connected to its surroundings and ecological conditions. In Middelburg, the shooting guilds dedicated to St. George held yearly competitions on significant liturgical dates. The guilds were connected to the city and participated in various events, such as the Corpus Christi procession and the Ommegang. The city also supported the guilds by paying for masses for both living and deceased members. The city's administration of justice was tied to religious time, with altars and paintings of the Last Judgment in the council chamber. The city's time was also marked by the sounds of bells, which signaled dangerous weather events and important occasions such as royal births and deaths. Clocks played a significant role in the city's communal time, with the first mechanical clock appearing in 1371. The city also developed the voorslag, a pattern struck on bells before the hour chimes. The melodies played on the bells were often religious in nature, invoking divine protection and praying for peace. The timing of the installation of a new clock in 1515 coincided with Charles V taking over the government, suggesting a symbolic allegiance to the new ruler. The melodies played by the clock, "Da pacem domine" and "Regina celi laetare," carried religious and symbolic meanings, invoking divine protection and celebrating the Virgin Mary. The melodies "Da pacem Domine" and "Regina caeli" were well-known and simple. They suited the capabilities of bell music: a small range of tones and memorable opening phrases. In addition to their function as representatives of the city's prayers and as a means of enveloping the entire city's time in a veil of divine protection, they could also be heard as an inspiration for individual piety. The bells could serve as triggers for complete prayer and thus promote urban piety. The bells also played a role in timed prayers such as the Angelus. The city of Middelburg continued to have business relations with the Wagheven family, despite problems with the 1515 clock. The city paid for other bells in 1522/3 and 1525/6, which were to be hung in the town hall. One of these bells, the uurwerkklok (the hourly working bell), was named Karolus and weighed 8263 pounds. The bell was cast in 1527 and had an inscription referring to Emperor Charles V's victory in the Battle of Pavia. Another bell with named melodies was commissioned in 's-Hertogenbosch in 1525. This clock was to be installed in the tower of the city hall and had faces pointing to the four cardinal directions. The clock was to play a melody before the half and full hour. Two melodies were specified - the versicle "Ave maris stella" at the full hour and "Da pacem domine" at the half hour. However, the agreement also allowed for other versicles with the same notes. The work was to be completed between Easter and Pentecost in 1527. The melody "Ave maris stella" had a direct connection to Middelburg's role as an important port city. The city depended on the sea for both food and livelihood. But the sea was also a threat. In this climate, the sounds of bells invoking the protection of the Virgin Mary for sailors and seafarers were a [Extracted from the article]