Chats on Old Clocks

Jacob Lovelace, of Exeter, who died in 1766, was the maker of a remarkable clock of most elaborate nature, with organ that played, and a series of moving figures striking the hours, and bellringers and other intricate diversions. This clock was exhibited at the International Exhibition in 1851, and is now at the Liverpool Museum.

A fine long-case clock in Chippendale style by Cockey, of Warminster, is illustrated (p. 239), and exhibits provincial work both in case and movement of the highest character.

Strowbridge, of Dawlish, is the maker of a bracket clock, in date about 1805, showing pleasing work in the fine marquetry decoration introduced by Sheraton (illustrated p. 201). There is an instance on record of a clock being sent to "Mr. Strowbridge" for repair. "When it came back his name, 'H. Strowbridge, Dawlish,' was engraved upon the dial."

Miscellaneous Makers—East Anglia.—Several makers are connected with Yarmouth. There is Thomas Utting (Yarmouth), and we have seen a fine long-case clock signed thus, and there is Isaac Johnson (Yarmouth), who apparently made wall clocks. John Page, of Ipswich, is the maker of a very handsome bracket clock, in date about 1740 (illustrated p. 187). The name of Henry Terold, Ipswich, is found on a round silver watch with chased interlacing bands and silver dial, of seventeenth-century period. Joseph Chamberlain, of Norwich, is a name found on a late seventeenth-century watch. The names of Mann and Jon. Nevill, both of Norwich, are found on late eighteenth-century grandfather clocks.

Kent and Sussex.—The name of William Gill or Gilt, of Maidstone, is found on a fine long-case clock of the eighteenth century. William Gardner, of Sandwich, and Joseph Carswell, of Hastings, are other names found on grandfather clocks of the latter part of the eighteenth century. The dial of a clock by a Sussex maker, Beeching, of Ashburnham, from a thirty-hour clock with single hand and alarum (illustrated p. 243), is of mid-eighteenth century period, and shows in its decorations the various phases of the iron industry carried on at Ashburnham.

Welsh Clocks.—At the Amgueddfa Genedlaethol Cymru, at Cardiff, the National Museum of the Principality, there is a long-case clock by B. C. Vaughan, of Pontypool, and a brass block with movement by "Shenkyn Shon, Black Cock Inn, Pontnedd Fechan, 1714," and also there exhibited are the works of the old clock from St. David's Cathedral.

Illustrated on p. 245 is a unique long-case clock with brass plate on door, with date 1761, with dragon above. The particular feature of especial interest in this clock is its oval dial (which is separately illustrated, p. 249). This dial is enamelled white, and has a medallion at top representing the figure of Hope with an anchor. The other decoration is interesting as exhibiting the attempt of the provincial maker to simulate in pigment the marquetry work of the Sheraton school, the design being similar to that found on tea-caddies, no doubt well known to the painter of the dial. There are two subsidiary dials, one for seconds and the other showing the days of the month.

Although the maker's name is "Marston (Salop)" there is an especially Welsh interest attaching to this clock. It once was in the possession of Daniel Owen, the famous Welsh novelist, who is buried in Mold churchyard, and whose monument is in the County Hall Field at Mold. He introduced this clock into his novel, Rhys Lewis. The grandmother of the youthful hero of the story had gone to the fair; in her absence the boy took this clock to pieces, so the story goes. But as the hours wore on he found it was easier to take it to pieces than to put it together again. The scene on the return of his grandmother is piquantly described. The clock-work ran like a thing demented, and the tell-tale hands revealed the secret of the culprit, who uneasily fingered a missing wheel in his pocket, and he had forgotten to put on the pendulum.

The hood of the clock is of original decoration. The upper spandrels have a blue-and-gold floral design, covered with glass. The two lower spandrels are delicately carved. The frame around the oval dial is of beaded work cut in broad and effective style.

Altogether this clock possesses features appealing to collectors. The provincial maker followed his own lines, and has in so doing produced something unique.

In conclusion, some apology should be made for an attempt to sketch in makers of repute, scattered over so wide an area, which resulted in a mere outline. The meagre lists may in many cases be said to be noteworthy for their omissions. But want of space has precluded the writer from pursuing the subject further, and he may be permitted to express a hope that the perusal of these facts may stimulate local efforts to worthier records.

CHAPTER IX

SCOTTISH AND IRISH CLOCKS

David Ramsay, Clockmaker Extraordinary to James I—Some early "knokmakers"—List of eighteenth-century Scottish makers—Character of Scottish clocks—Irish clockmakers: Dublin, Belfast, Cork—List of Irish clockmakers.

Among the most notable of the early Scottish makers was David Ramsay, who was clockmaker to James VI of Scotland and followed that monarch to London. In Sir Walter Scott's Fortunes of Nigel, Ramsay is introduced as a character. "David Ramsay by name, who, whether recommended by his great skill in his profession, as the courtiers alleged, or, as was murmured among his neighbours, by his birthplace, in the good town of Dalkeith, near Edinburgh, held in James's household the post of maker of watches and horologes to his Majesty. He scorned not, however, to keep open shop within Temple Bar, a few yards to the eastward of St. Dunstan's Church."

It appears that he was of a mystical turn of mind, and conceived the idea of treasure buried in the cloisters of Westminster Abbey. Dean Withnam gave permission to dig, and prudently stipulated as a condition that he came in for a share. One John Scott, pretending to the skilled use of the divining rod, Ramsay, and several others, according to the astrologer Lilly in his Life and Times, dug 6 feet deep with the aid of labourers and came to a coffin, but as it was not heavy they did not open it, "which we afterwards much repented." When at this impious task a terrific storm arose, and "we verily believed the west end of the church would have fallen upon us." Candles and torches, except one, were extinguished. "John Scott, my partner, was amazed, looked pale, knew not what to think or do until I gave directions and command to dismiss the demons; which when done, all was quiet again, and each man returned unto his lodging late, about twelve o'clock at night." The share of the Dean in the treasure therefore came to nought.

The Dictionary of National Biography supplements and corrects Sir Walter. "Clockmaker Extraordinary" was Ramsay's title, and his son says: "When James I succeeded to the crown of England, he sent into France for my father, who was there, and made him page of the bedchamber and keeper of his Majesty's clocks and watches."

He was of considerable reputation, as, when the charter of incorporation was granted by Charles I to the Clockmakers' Company of London, he was appointed as the first master in 1631. He apparently was not of a worldly disposition, and it is believed that when the destinies of the Stuarts were under a cloud he was in great poverty. His son writes of his father: "It's true your carelessness in laying up while the sun shone for the tempests of a stormy day, hath given occasion to some inferior spirited people not to value you for what you are by nature and in yourself, for such look not to a man longer than he is in prosperity, esteeming none but for their wealth, not wisdom, power, nor virtue."

The knowledge of what manner of man was this old Scottish clockmaker adds a pleasure to the contemplation of his work. At the Guelph Exhibition were shown a clock and alarum watch with single hand, dated 1636, signed D. Ramsay. This was on the eve of the Civil War, a year before Hampden refused to pay ship money in England and the introduction of a new Prayer Book in Scotland. But the Prayer Book was no sooner opened at St. Giles's, Edinburgh, than a murmur ran through the congregation, and the murmur soon grew into a formidable riot. The Covenant signed in the churchyard of the Greyfriars at Edinburgh set a flame alight throughout Scotland. "Such was the zeal of subscribers that for a while many subscribed with tears on their cheeks"—some were indeed reputed to have "drawn their own blood and used it in place of ink to underwrite their names."

In such times old David Ramsay, away in the South, saw Stuart magnificence come to a close. At the British Museum is a watch he signs "David Ramsay, Scotus me fecit." In signing thus, he shows he was proud of being a Scotsman, and as a great Scottish clockmaker his name and record are given the place of honour at the front of this sketch of Scottish work. His watches are richly decorated in the French style; doubtless he learned his craft in France. His last years were passed in the stormy period of the Revolution, and he lived to see Cromwell and the Roundheads defeat Leslie at Dunbar. He died in Holborn in 1654, the year of the union of England and Scotland under Cromwell by Ordinance.

Some Early "Knokmakers."—A clock in Scottish is a knok. It would appear that the early "knokmakers" were more conversant with the Kirk knok, the Tolbooth knok, and the College knok, than with the domestic clock or watch.

In the middle of the seventeenth century, as in England at a slightly previous date, clockmakers formed themselves into trade guilds. London was incorporated in 1631. Edinburgh followed in 1646, Glasgow, 1649, Haddington, 1753, and Aberdeen not till 1800. The metal-workers of Scotland have always been renowned, and at the above dates clockmakers were eligible to enter the Hammermen's Incorporations as affiliated with the craft of locksmith, which was of ancient lineage.

During the seventeenth century the Scottish clockmakers, in common with English, came under foreign inspiration. But the eighteenth century saw a complete school of makers springing up in various parts of the country, flowing to, and again flowing from, Edinburgh and the Canongate (including Leith), which were the earliest centres of Scottish clockmaking.

We mention a few of the early makers. There was Humphry Mills, who is referred to in the minutes of the Incorporation of Hammermen, Edinburgh, in 1661. There is an example of his work in the Antiquarian Museum, Edinburgh, and we illustrate another in the Corporation Museum at Glasgow (p. 259). This lantern clock, with brass dial and fine fretwork with floriated design, is inscribed Humphry Mills at Edinburgh fecit.

Richard Mills, or Milne, was apparently the nephew of Humphry, and was admitted a freeman clockmaker at Edinburgh in 1678. He died in 1710. Another early maker is John Alexander, of Edinburgh, made a freeman in 1671, his trial being to make "ane Knok and mounting and ane sun dyall," also a "Kist lock and key," this part of the locksmith's craft being one of the necessary proofs of craftsmanship for admission as a fully qualified Hammerman. He died in 1707. It is interesting to note that he had to construct a sundial. The art of dialling is intricate, and this indicates that the old clockmaker had a sound technical and scientific knowledge. He was evidently no maker of clocks as "bits o' mechanism," or an assembler of parts. He understood principles.

Thomas Gordon, apprentice to Andrew Brown, Edinburgh, 1688, was in business for forty years and died in 1743. His nephew, Patrick Gordon, was the son of Alexander Gordon, of Briggs, and seems to have been a man of wealth, apart from his trade as a clockmaker. A fine example of his work is illustrated (p. 263), a long-case clock having the door of lacquered work in the "Chinese taste." On the case without the panel is stencilled work, attempting to follow out the style of the imported panel. This example indicates what has already been advanced in the chapter on Lacquered Cases (pp. 110, 114), that such work was of foreign origin. This panelled door is of oak.

Other seventeenth-century makers include Paul Roumieu, 1677 to 1694, the first practical watchmaker who came to Edinburgh. Before that date only clocks were attempted.

Paul Roumieu, jun., son of the above, was admitted as a freeman of Edinburgh in 1692, and died in 1710.

List of Eighteenth-century Scottish Makers.—In regard to the activities of Scottish clockmakers in comparison with their fellow-craftsmen across the border, it is interesting to note that there are very few examples of the early crown and verge escapement by Scotch makers, but there are a great number of the anchor escapement. Although invented by Hooke in 1675, this was not taken up readily. This unwillingness to adopt new styles is a feature in clockmaking in the provinces and in Scotland. The works of a clock are not unfrequently put by the maker into a case belonging to a period of cabinet work of some forty years previous. The clockmaker was an autocrat, and compelled the case-maker to follow old traditions in making cases.

• Richard Alcorn (Edinburgh), 1703-39 (died).
• Thomas Ancrum (Edinburgh).
• Apprenticed 1703 to Andrew Brown.
• Andrew Brown (Edinburgh), 1665-1711 (died).
• Apprenticed to Humphry Milne.
• Alexander Brownlie (Edinburgh), 1710-39 (died).
• Hugh Campbell (Edinburgh).
• Apprenticed to Humphry Milne 1692.
• James Cowan (Edinburgh), 1744-81 (died).
• John Dalgleish (Edinburgh), 1742-70 (died).
• Alexander Ferguson (Dundee), 1777.
• Jos. Gibson (Ecclefechan), about 1750 (see illustration, p. 267).
• Patrick Gordon (Edinburgh), 1699-1749 (died).
• Thomas Gordon (Edinburgh), 1688-1743 (died).
• James Greig (Perth), 1773-76.
• Thomas Hogg (Edinburgh).
• Apprenticed to Andrew Brown 1698.
• { Anthony Hopton (Edinburgh).
• { Matthew Hopton (Edinburgh).
• {  Makers of wooden clocks 1799-1817.
• { John Hopton.
• {  Carried on business to 1850.
• John Kerr (Glasgow), 1783.
• Andrew Lyon (Port Glasgow), 1783.
• Geo. Munro (Canongate), 1750-99.
• Thomas Reid (Edinburgh), 1762-1831 (died).
• Author of Treatise on Clock and Watchmaking, 1826.
• John Russell (Falkirk), 1797-1818 (died).
• Geo. Skelton (Edinburgh), 1773-1834 (died).
• John Smith (Pittenweem, Fife).
• Self-taught. Came to Edinburgh in 1774. Maker of musical clocks, etc. Disposed of his clocks by lottery in 1809 at Edinburgh.
• Archibald Straiton (Edinburgh), 1739-84 (died).
• Wm. Sutor (Edinburgh), 1712-15.
• William Veitch (Haddington), 1758.
• James Young (Edinburgh), 1756.

The writer desires to record his indebtedness to the useful Handbook and Directory of Old Scottish Clockmakers from 1540 to 1850, by John Smith, Esq., published by William J. Hay, Esq., John Knox's House, Edinburgh, 1903. This volume is now out of print, and a new and enlarged edition containing no less than 2,700 names is shortly appearing. No student or collector of Scottish clocks can afford to be without this volume, as it is the only one dealing with its subject.

In regard to districts in England and Wales, there is an opportunity for local antiquarian societies to gather and tabulate county lists on the lines of this Scottish volume. The records of provincial makers are still exasperatingly incomplete.

There is the authoritative volume by the late F. J. Britten, Old Clocks and Watches and their Makers, with a list of over 10,000 names. But in the main these are of London makers.

Character of Scottish Clocks.—It is seldom that a clock by a Scottish maker is found to be cased in old oak. Most of the long-case clocks are of mahogany, which was not in general use till about 1740. It is true that there are exceptions, some few being found in lacquered or Dutch marquetry cases, but the majority are in mahogany.

In regard to clockmaking on a lower plane, there are the interesting clocks, with the works entirely constructed of wood, usually beech, as being the best wood adapted to cutting the teeth for the wheels; other woods used were holly and boxwood. Very few old examples now remain.

There seems, too, to have been a strong proclivity towards the musical clock. Several great makers produced fine examples of this class of clock which played popular airs. No doubt in the days of musical boxes, prior to the age of the gramophone, the great folk at Edinburgh, when the "Wizard of the North" enchanted society, had a penchant for these musical sweet-chiming clocks. Daniel Brown, of Mauchline, made the modest clock that stood in the cottage of Robert Burns; and James Gray, or John Smith, or Patrick Toshach, or one of the other clockmakers who made the hours "fading in music," may have constructed some musical marvel for the master of Abbotsford.

An interesting clock with the maker's name, Jos. Gibson, Ecclefechan, is illustrated (p. 267). It has a long pendulum and single weight for striking and going trains. The spandrels are finely cut and chased and represent the four seasons. This is a feature found on Dutch dials. In date this is about 1750. The enlargement of the dial (p. 267) shows that the engraver went wrong in his spacing. He had to put the last letter above the others. Indeed, it suggests that another hand than that which engraved the decoration and the name of the maker contributed the place. It is somewhat puzzling, and leads to conjecture as to its history. It is just such examples, out of the main stream of leading makers, which so often provide exceptional interest to the collector.

Irish Clockmakers.—The art of the clockmaker in Ireland, although having by no means lagged behind that of Scotland, has not received the attention of collectors and connoisseurs which it deserves.

Researches are being made, and new data are coming to hand which will assist the student to determine the period of Irish clockmakers' work. There are some 1,100 names already known of makers, and those interested await the results of close and painstaking investigation which will enable the record to be published.

By the kindness of Mr. Dudley Westropp, of the National Museum, Dublin, the following names are here given, tabulating a few of the leading Irish makers of the eighteenth century:—

• George Aicken (Cork), 1770-95.
• A clock by this maker is illustrated (p. 273).
• Michael Archdekin (Dublin), 1769-1800.
• Joseph Blundell (Dublin), 1703-32 (died).
• Thomas Blundell (Dublin), 1733-75 (died).
• Timothy Conway (Cork), 1783-1804 (died).
• Thomas Coote (Dublin), 1733-47.
• Hugh Cunningham (Dublin), 1755-77 (died).
• George Furnace (Dublin), 1751-73.
• Charles Gillespy (Dublin), 1747-71 (died).
• Alexander Gordon (Dublin), 1756-87 (died).
• There was an Alexander Gordon at Dundee, 1729. Maker of the first clock at Brechin Town Hall.
• George Graydon (Dublin), 1764-1805 (died).
• A clock by this maker is illustrated (p. 269).
• Martin Kirkpatrick (Dublin), 1720-69 (died).
• John Knox (Belfast), 1729-83.
• Frederick May (Dublin), 1770-96.
• Thomas Meeking (Dublin), 1682-1709 (died).
• John Nelson (Dublin), 1786-1813.
• James Pickering (Dublin), 1737-71 (died).
• William Ross (Cork), 1764-1817.
• Samuel Slocomb (Cork), 1735-50.
• Edward Tounley (Dundalk), 1820-24.
• Richard Wyatt (Dublin), 1731-55 (died).

These dates do not represent the makers' complete history. Some may have worked prior to the first date and after the last date, except when stated as having died then.

In regard to Belfast, the late Isaac W. Ward contributed some notes to the Belfast Evening Telegraph in 1909 on "Early Belfast Clock and Watchmakers," which enable some interesting particulars to be given. In 1791 one Job Rider announced that he had commenced business in Belfast, "where he makes clocks and watches of all kinds in the common manner with Harrison's and other modern improvements." It would appear that he had been to London, where possibly he was apprenticed, and had visited Dublin and Hillsborough. From 1805 to 1807 he was in partnership with R. L. Gardner. After 1807 he seems to have been associated with William Boyd.

The wall clock by George Graydon, of Dublin (illustrated p. 269), shows some interesting features. The circle round the dial is carved wood gilt; the dial itself is painted and very much cracked. The lower part is harewood inlaid. In date this example is about 1796, as it will be seen the volunteer in uniform on panel has G.R. on his cartouche-box.

The bracket clock by George Aicken, of Cork (illustrated p. 273), is of fine proportions and sound design. It has striking and chiming movements, and plays six tunes marked on lunette, "Minuet, March, Jigg, Air, Minuet, Gavot."

An early nineteenth century clock by Sharp, of Dublin, is illustrated (p. 275). It is a miniature long-case clock, being only 3 feet 5½ inches high. It is made to hang on the wall, as there are two rings at the back of the case for this purpose. Its glass door, showing the pendulum, indicates the French influence, which in the early nineteenth century made itself felt in Ireland as elsewhere.

In 1783 a company of Swiss watchmakers came to Ireland, and establishing themselves near Waterford, termed their settlement New Geneva. By 23 & 24 George III, 1784, they were granted power to assay gold and silver. An earlier Act of George II provided for only one standard of gold—22 carats. This new Act admitted three—22, 20, and 18 carats. These facilities were granted to encourage the manufacture of watches and watch-cases in Ireland. This Assay Office at New Geneva did not continue in operation more than six years.

The office at New Geneva had equal powers with the Dublin Assay Office. "The Assayer or Wardens are hereby required to make, on a plate of pewter or copper, impressions of such marks or punches, with the names and places of abode of the owner thereof, in a book or books to be carefully kept for that purpose, if such owners be resident at Dublin or New Geneva." Watches or other articles of gold and silver having the stamp "New Geneva" are in date 1784 to 1790.

CHAPTER X

A FEW NOTES ON WATCHES

The age of Elizabeth—Early Stuart watches—Cromwellian period—Watches of the Restoration—The William and Mary watch—Eighteenth-century watches—Pinchbeck and the toy period—Battersea enamel and shagreen.

Early makers of English watches do not crowd the stage. On the Continent pocket clocks had had a long life before they made their appearance in this country. Queen Elizabeth had only one pair of silk stockings—she had been used to "cloth hose"—before her lady-in-waiting presented her with a pair straight from the Continent. Italian and French ideas were fast acclimatizing themselves here. Shakespeare laid many of his plays in Italy; the modern Elizabethan Englishman became quite Italian; the Queen read Tasso and Ariosto in the originals. In Germany the watch had taken various forms. The watchmakers of Nuremberg were renowned throughout Europe. "Nuremberg eggs," as they were styled, set the fashion for watches of all shapes suited to the conceits of the owner. Some were in the form of a skull, with appropriate mottoes concerning Time and Death; others were in the form of a cross, of a book, or shaped like a tulip or other flowers, or simulating butterflies and insects. The earliest styles had closed cases, these cases being subjected to various forms of ornament. The dial was not visible till the outer case was opened.

Collectors of watches are collecting something that is dead. The wheels are silent for ever. The interest lies in the remoteness of the conception of a pocket clock. Possibly there is no one alive who could now set the wheels into motion, as there are no designers who could originate the exquisite tracery and filigree work, the perfect enamelling and the delicacy of metal work these old watches exhibit.

They belong to a world apart. Clocks of old masters still carry on their functions: the hand still revolves in unison with the slow swing of the "royal pendulum." As timekeepers they equal most of the modern, and excel the cheap clock, hardly worth designating as a timekeeper. But the Swiss and the American factory-made watch, claiming no equality of artistic embellishment, have dethroned the antique watch in regard to accuracy. Curious and rare examples of the latter crowd the shelves of museums as being representative of that mysterious past when Time was of less moment than it is now. They belong to the age of the missal and the illuminated manuscript, and of the advent of printing with Caxton's well-balanced page. They are at variance with modernity. They were machines before the age of machinery—their very mechanism protests against being regarded as scientifically accurate. One lingers over their ornament with loving regard and forgets their purport. As timekeepers they fell short of the abbey clock, or of the sundial—a perennial stickler for truth when the sun shone. When the long pendulum, under the auspices of Christopher Huygens, commenced swinging, a timekeeper ready to hand eclipsed their gold and enamelled triumphs. But as fashionable baubles they had their continuous evolution, from Thomas Chamberlaine de Chelmisforde to Pinchbeck, and from Tompion to Eardley Norton. A considerable amount of ingenuity was given to producing examples of diminutive size which should perform adequately the correct functions of a timekeeper. But accuracy and scientific exactitude came late in the story of evolution. At length man's ingenuity triumphed. There are watches no larger than filberts which keep exact time, but there are thousands which do not.

I. Early watches, prior to the invention and general adoption of the fusee, that is, from about 1500 to 1540. This period would be further subdivided into (a) those with movements entirely of steel; (b) the next stage, with plates and pinions of brass and the wheels and pinions of steel; and the latest stage, (c), in which the plates and wheels were brass and the pinions of steel, as at the present day.

II. Watches from about 1540 to 1640, all having fusees, and being made of every conceivable shape and size: octagonal, oval, cruciform, in the shape of a book, and so on. The cases were sometimes of crystal or bloodstone, and enamelled designs and chased gold work were predominant features.

III. Watches of the seventeenth century, from 1610 to 1675, at which date the pendulum spring was invented. These are mainly round in shape, according to the fashion about 1620, which superseded the ancient quaint forms. The cases, both of silver and gold, were richly enamelled, and moving calendars and astronomical details were frequently made.

IV. Late seventeenth and early eighteenth century watches. These would embrace the period from 1675 to 1720, after the invention of the pendulum spring.

V. The eighteenth century watch. This should include all the improvements, changes in decorative style, and other details bringing the watch up to the threshold of the nineteenth century and modernity.

We can only indicate the type of watch as falling under the various periods, and specimens of the leading types are illustrated (pp. 283, 287).

The watches are numbered in the illustrations from one to ten, and can thus be easily identified by the reader.

No. 1 shows the character of an Elizabethan watch. The fine case shows the quality of the chased and repoussé open-work design.

No. 2 is a James I oval watch, and the maker is Yate, of London. This watch is dated 1620, in the reign of James I, the year when the Mayflower sailed to America and New England was founded by those wise Puritans who foresaw the oncoming civil war of the next reign. The Earl of Ashburnham exhibited at the Stuart Exhibition in 1889 a gold watch which formerly belonged to Charles I, inscribed "Henricus Jones, Londini." Another maker of watches of this period is Edward East. The silver alarum clock given by Charles I on his way to execution to Thomas Herbert was made by Edward East. "Through the garden the King passed into the park, where making a stand, he asked Mr. Herbert the hour of the day: and taking the clock into his hand, gave it him, and bade him keep it in memory of him." This silver alarum watch is still treasured in the Mitford family.

No. 3 is a Cromwellian silver watch, plum-shaped. As coats of arms were not so sinful as painted cherubs and stained-glass windows, this bauble with elaborately engraved crest survived the wreckers' despoiling hand. Cromwell himself boasted of a crest, and in some respects it resembled that used by royalty.

No. 4 is a Restoration watch made by Snow, of Lavington, near Bath. It exhibits fine ornamentation and is a beautiful specimen of Late Stuart style when sumptuousness, under the guiding influence of the French Louis Quatorze grandeur, made itself felt in this country.

No. 5 is worthy of respect and admiration as being the work of that great maker, Thomas Tompion. It is of the William and Mary period. The craftsman had arrived at the period of a scientific endeavour to create a perfect timekeeper. The case indicates utility; ornament is in due subjection. The Arabic figures showing the seconds on the dial should be observed.

No. 6, of which the back is shown, is a watch by Peter Garon. It is in black piqué case, finely decorated in a subdued and reticent manner. Peter Garon flourished between 1694 and 1706. But in that year, when Marlborough's campaigns were at their full height, poor Garon felt the stress of commercial depression and became bankrupt.

No. 7, showing the front and open case, is a fine watch by Duhamel, about 1740, bringing us to the days of George I and Walpole.

No. 8, with its fine broad repoussé case, is by Haydon, and the case is signed "V. Haut."

No. 9 shows an illustration of the back, where the movement is visible. The maker of this is Daniels, of Leighton, 1760.

No. 10 is by Kemp, London, and is decorated in Battersea enamel and shagreen. This brings us to the age of Pinchbeck, "the toyman in the Strand," and suggests the gewgaws and trifles, the enamelled heads for malacca canes, the snuff-boxes, and all the fashionable paraphernalia of a man about town. The watch in some respects had begun to lose its old character and was again a toy.

INDEX

• "Act of Parliament" clocks, so-called, 124
• Adam style, its employment in the clock-case, 147
• Robert, clock-case by, illustrated, 139
• Aicken, George (Cork), clock by, 277
• Alarum clocks, 54
• and striking clocks, early, 32
• Ale-house clocks, Oliver Goldsmith quoted, 127
• American clocks—
• "Banjo clocks," 124
• Bracket clock, by Savin and Dyer (Boston), 198
• Lantern clock, with pendulum, 59
• Anchor pendulum, the, 59
• Arnold, John (Bodmin), 37, 212
• Astronomical clock-dial, the, 28
• Babylonian measurement of time, 28, 29, 30
• Bacon, quoted, 53
• Balance and weights prior to pendulum, 33
• Barraud, clock by (1805), 203
• Battersea enamel employed for watch-cases, 290
• Beginners, hints for, 41
• Belfast clocks and clockmakers, 272
• Bewick, Thomas, engraver of clock-dials (1763-74), 215, 217
• Biddell, clock by, 204
• "Birdcage" clocks, 54
• Böttger, his porcelain at Meissen, 109
• Boulle, André Charles, and his marquetry, 72, 73, 111
• Bracket clock, the, 179-204
• or wall clock, the, early use of, 46, 49
• Brass lantern clock, the, 45-63
• Bristol clock illustrated, 149
• Britten, F. J., Old Clocks and Clockmakers, full lists of
• makers in, 37
• Brownhill, Henry (Leeds), copper token of, 218
• Cabrier, name falsely put on Dutch clocks, 36
• Calendar watch illustrated, 291
• Case, the, evolution of, 155
• Catherine of Braganza, dowry of, 107
• Centres of clock and watch making in 1797, 214
• Chamber clocks an established feature in furniture, 192
• Chamberlaine, Thomas, de Chelmisforde, watch by, 291
• Charles I, watch belonging to, 289
• Charles II, death-bed scene of, 50, 53
• Watch by Robert Hooke presented to, 36
• Cherub head, the, a favourite ornament, 166
• Its use on clock-dial, 169
• Its use on Stuart furniture, 170
• Cheshire clock-case, peculiarities of, 230
• Chester, Bishop of (John Wilkins), quoted, 30
• Chinese style of Chippendale, 91, 108
• Designs at Worcester, Bow, and Bristol porcelain factories, 108
• Taste, the furore in France and Holland, 108
• Chintzes, the early character of, 111
• Chippendale, his Chinese style, 91, 108
• His indebtedness to Marot, 155
• Style in clock cases, 136
• Clockmakers' Company, 1704, transactions of, quoted, 36
• On fabrications of English work, 36
• Clockmakers, the great English, 35
• English, full list of, 37
• Clockmaking, decadence of, 38
• Personality in, 38, 39
• Collecting period, the, 38
• Collectors, hints for, foibles of, 39, 41
• Colour versus form, 110
• Cookworthy, William, his true porcelain at Plymouth, 109
• Copper tokens of clockmakers illustrated, 218, 236
• Cork, clocks and clockmakers at, 289
• Cornwall clockmakers, list of, 241
• Country marquetry, 60
• Cromwellian "plum" watch illustrated, 283
• Cumming, Alexander, clock by (1770), 203
• Day and night, 27, 29
• Day, the, its division into hours, 28
• Lunar, 29
• Mean solar, 28
• Delft, Dutch, ornamentation of, used in marquetry, 98
• Devon and Cornwall clockmakers, list of, 241
• Dial, the—
• Brass, with silvered hour circle and engraved figures, 158
• Character of, 157
• Correct proportions of the, 165
• Early form of, 30
• Evolution of, 162, 165
• Iron painted ornament and figures, 158
• Position of maker's name on, 158, 161
• Dickens, Dombey and Son quoted, 31
• Domestic clock, the, 33
• Draper, John (1703), dial of clock by, 158
• Dublin clocks and clockmakers, 272
• National Museum, examples at, illustrated, 269, 273
• Dutch clock panels imported, 97
• Delft ware, its imitation of porcelain, 111
• Fabrications of noted English makers, 36
• Influence on cabinet-maker, 67
• Influence on clockmaker, 217, 271
• Origin of long-case clock, 154
• Ornament found on clocks—
• Cupids and crown, 170
• Marquetry panels, 92
• Phases of moon, 217
• Spandrel with Seasons, 271
• Dutton, Matthew, 37
• Thomas, 37
• William, 37
• Earnshaw, Thomas (1750), 37, 212
• East Anglian clockmakers, list of, 247
• East, Edward, 37
• East India Company, the Dutch, 107
• The English, 109
• Ebsworth, John, 37
• Edict of Nantes and its effect, 68, 90, 120
• Edinburgh clocks and clockmakers, 261-265
• Eighteenth century, best period of clockmaking in, 40
• Elizabethan watch illustrated, 289
• Ellicott, John (Bodmin), 212
• English masters of clockmaking, the great, 35
• School of lacquered work, 114
• Equation of time, 29
• Evelyn, Diary of, quoted (1681), 107
• Evolution of the English mantel clock, 186
• Evolution of long-case clock, 153
• Base, its changing form, 155
• Dial, its character, 157
• Hands, their differing types, 174
• Spandrel, its ornamentation, 166
• Waist, its varying proportion, 155
• Exeter clockmakers, list of, 241
• Fleur-de-lis ornament on dial, 174
• Foreign craftsmen working in England—
• Dutch marquetry workers, 83, 92
• French Huguenot cabinet-makers, 69, 90
• Italian glassworkers, 69
• Form, changing, of hood, waist, and base, 155
• Innovations of, in clock-cases, 141
• versus colour, 111
• French clocks and their influence, 147, 197, 278
• Influence on mantel clocks, 197
• Fromanteel, Ahasuerus, pendulum introduced into England by, 37
• The family of, great clockmakers, 37
• Furniture, influence of, on clock case, 141
• Georgian clocks (1720-1830), 131
• German school of marquetry, 72
• Gibbons, Grinling, 121
• Glasgow, example at Corporation Art Gallery illustrated, 259
• Glass windows, when first used in coaches, 161
• Workers in London, seventeenth-century, 69
• Goldsmith, Oliver, Deserted Village quoted, 127
• Gordon, Patrick (Edinburgh), clock by, 261
• Thomas (Edinburgh), 1668-1743, 261
• Graham, George (1673-1751), 212
• His evidence as to Robert Hooke's invention, 36
• Grandfather clock, the, its Dutch origin, 74
• Its long survival, 135
• Its popularity, 135
• Grant, John, 37
• Inn clock by, illustrated, 125
• Graydon, George (Dublin), clock by (1796), 277
• Greek measurement of time, 28, 29
• Halifax and district, list of clockmakers, 217
• "Halifax" grandfather clocks, 217
• Hampton Court, Dutch character of, 91
• Protestant style of decoration at, 170
• The work of Daniel Marot at, 91
• The work of Sir Christopher Wren at, 91
• Hands, the, evolution of, 174
• Hour hand, at first employed, 30, 157
• Minute hand first added, 30, 158
• Harris, Richard, clock by, at St. Paul's, Covent Garden, 35
• Harrison, John, 37
• His chronometer, 212
• Hill, Thomas, clock by (1760), 197
• Hogarth, William, the possibility of engraved clock-dials by, 161
• Home Counties, the, list of clockmakers, 236
• Hood, changing forms of the, 155
• Hooke, Dr. Robert, his claim for invention of balance-spring for
• watches, 36
• His inventions, 212
• Watch by, presented to Charles II, 36
• Hour, the, its division into minutes, 30, 158
• Hours, division of day into, 30
• Huguenot refugees settle in England, 68, 120
• Huygens, Christopher, Dutch astronomer, his work, 33
• His quarrel with Dr. Hooke, 36
• Huygens, Dutch cabinet-maker, his imitations of Japanese lacquered
• panels, 111
• Inlaid furniture, 70, 71
• Inn clock, the, 124
• Innovations of form in clock-cases, 141
• Irish clockmakers, list of, 271, 272
• Italian school of marquetry, 71
• James I appoints Ramsay as "Clockmaker Extraordinary," 256
• Japanese lacquer, specimens of, 106
• Johnson, Thomas, clock by (1730), 191
• Jones, Henry, Charles I watch made by, 289
• Charles II clock by, 212
• Kent and Sussex, clockmakers of, 247
• Kew Gardens Botanical Museum, Japanese lacquer at, 106
• Knibb, Joseph, father and son, 37
• Joseph (1670), 211
• Clocks by (1690), 191, 236, 241
• Copper token of (1677), 236
• Knokmakers, the, of Scotland, 258
• Labarte, Arts of the Middle Ages quoted, 33
• Lac and its properties, 105
• Its introduction into England, 107
• Lacquer—
• Chinese and Japanese origin of, 105, 106
• Dutch imitations, 110, 111
• English school of lacquer work, 118, 121
• French masters, 112
• Its use in the clock-case, 105
• Work—
• English school of, 114
• Foreign craftsmen in London, 120
• School of English amateurs, 121
• Lacquered clock-case, its peculiarities, 112
• Panels imported from the East, 109
• Lamb, Charles, quoted on sundials, 162
• Name falsely put on Dutch clocks, 36
• Lancashire clock-case, peculiarities of, 230
• Clockmakers, list of, 230
• Lantern clock—
• Early form, 45
• Its similarity to ship's lantern, 46
• Lilly, Life and Times quoted, 256
• Liverpool and district, list of clockmakers, 224
• Long-case clock—
• Dutch origin of, 154
• Evolution of the, 153
• Georgian period, the, 131
• Lacquer period, the, 105
• Stability of the, 132
• Veneer and marquetry period, the, 67
• Loomes, Thomas, clock by, 191
• Lovelace, Jacob (Exeter), 212, 242
• Lowestoft china, so-called, with Dutch inscription, 173
• Lunar day, the, 29
• Lunette, the use of the, in dial and case, 158
• Lustre ware clock vase, Staffordshire, 198
• Macaulay, his account of death of Charles II, 50, 53
• Mahogany long cases, the period of, 136
• Makers, old, their personality given to clocks, 38
• Mantel clocks, the English character of, 185
• Marot, Daniel, his work at Hampton Court, 90, 91
• Designs of long-case clocks, 155
• Marquetry—
• Country cabinet-makers' use of, 84
• Decadence of, 100
• Definition of, 71
• Dutch school of, 79
• Early English attempt at, 84
• Finest period, 40, 79, 83
• Foreign influence on English art, 79
• German school of, 72
• Imported sheets, frequent use of, 84, 97
• Italian school of, 71
• Provincial, 60
• Revival of, Sheraton period, 123, 147
• Veneer, the use of, with, 74
• Martin, Sieur Simon Etienne, his varnish, 112
• Mary, Queen, and Hampton Court, 98, 170
• Massy, Henry (1680), dial of clock by, 158
• Mean time, 29
• Mechanism of clocks, early, 32
• Midlands, list of clockmakers in the, 230
• Mills, Humphry, Edinburgh (1661), 261
• Richard, Edinburgh (1678-1710), 261
• Minute, the, its division into seconds, 30
• Mudge, Thomas, Exeter (1715), 37, 212
• Musical clock attributed to Rimbault, 142
• by George Aicken, Cork, 277
• Name of maker, position on dial, 161
• Names found on dials, origin of, 213
• Nantes, Edict of, and its effect, 68, 120
• Newcastle-upon-Tyne, list of makers, 215
• New Geneva (near Waterford), Irish watchmaking centre at, 278
• Silver assayed at, 278
• New York Metropolitan Art Museum, clocks illustrated, 57, 193
• Nineteenth century, best period of clockmaking in, 40
• Long-case clock of the, 147
• North of England, list of clockmakers, 215
• Nottingham clockmakers, list of, 235
• Numerals on dial, note on, 158, 165
• Painted furniture simulating lacquer work, 123
• Panels, lacquered, imported from the East, 109
• Marquetry, their use in clock-case, 97
• "Parliament" clocks, so-called, 124
• Pendulum, the—
• Advent of, 50
• Early studies relating to, 154
• First introduction of, 33
• Introduced into England by Fromanteel, 37
• Length of, determined by longitude, 179
• Types of—
• the anchor, 59;
• the "royal" or long, 33;
• the short, its position at front of dial, 33
• Pepys' Diary quoted (1667), 161
• Personal clock, the, 34
• Personality in clockmaking, 38
• Pinchbeck, Christopher, 37
• Period of watches, 290
• Pitt, his tax on clocks (1797), 124
• Pope, Essay on Criticism quoted, 31
• Porcelain, true, its introduction into Europe, 109
• Poy, Godfrey, clock by (1745), 192
• Pre-pendulum clocks, 33
• Provincial clocks and makers, 211
• Makers, some great, 211
• Quare, name falsely put on Dutch clocks, 36
• Queen Mary, her influence in rebuilding Hampton Court, 98
• Ramsay, David, 255;
• watch signed by, 257
• Réfugié, le style, its introduction into England, 90
• Regulator clock, the, 148
• Repairs, ignorant restoration to be avoided, 42
• Riesener, the marquetry of, 111
• Rimbault, Stephen, 37
• Noteworthy for musical clocks, 142, 147
• Roentgen, David, the marquetry of, 111
• Science, the dawn of, 35
• Scott, Sir Walter, Fortunes of Nigel quoted, 255
• Scottish clocks, 255
• Character of, 266
• Makers, eighteenth century, list of, 261, 262
• Second, the, the second division of the hour, 30
• Hand, the, 30
• Seventeenth century, dawn of science in the, 35
• Types of lantern clock, 53
• Watches, 286, 287
• Shagreen cases to watches, 290
• Shakespeare, As you like it quoted, 162
• King John quoted, 32
• Sheraton style in clock-cases, 147
• Spandrel ornament on clock-dial—
• Artistic difficulty of, 166
• Cherub head style, 166, 169
• Cupids and crown style, 170
• Spanish proverb quoted, 185
• Specialization of clockmaking, 37
• Spring, the, its early use as a motive power, 32
• Staffordshire earthenware clock vase, 198
• Stalker and Parker, treatise on "japanning" (1688), 122
• Striking and alarum clocks, early, 32
• Strowbridge (Dawlish), clock by, 204
• Clock repaired by, 247
• Stuart and Tudor ages compared, 35
• Sundial, the, and its tradition, 162
• Time, 29
• Sussex, clockmakers of, 247
• Clock (Ashburnham) illustrated, 243
• Swiss watchmakers settled in Ireland (1784-90), 278
• Table clocks, great variety of, 185
• Time, apparent and mean, equation of, 29
• and its measurement, 27
• Babylonian method of reckoning, 28, 29, 30
• Tokens, copper, of clockmakers illustrated, 218, 236
• Tombstones, ornament on, indicative of contemporary styles, 157
• Tomlinson, William, 37
• Tompion, Thomas (1671-1713), 212, 236
• Name of, falsely put on Dutch clocks, 36
• Tudor and Stuart ages compared, 35
• Veneer and marquetry, the use of, 74
• Definition of, 69
• Modern delicacy of, 69
• Verge escapement of old clocks, 33
• Vulliamy, Benjamin, 37
• Benjamin Lewis, 37
• Justin, 37
• Wales, clocks made in, 248
• Wall clock, early use of, 46, 49
• Inn clock illustrated, 125
• Irish wall clock illustrated, 277
• Wall-paper—
• Early use of in England, 99
• Period in marquetry, 99
• Repeat design of, on marquetry, 100
• Walnut period of long case, 135, 136
• Watches, Old English—
• Battersea enamel, 290
• Cromwellian, 289
• Early Stuart, 289
• Eighteenth-century, 290
• Elizabethan, 289
• Pinchbeck period, 290
• Typical English described, 285, 286
• William and Mary, 290
• Watches, Liverpool and district famous for, 224
• Waterford, Swiss watchmakers at, 278
• Watson, Sam (Coventry), clock by (1687), 186
• Webster's New International Dictionary quoted, 30
• Wedgwood medallions as ornaments to clock-case, 204
• Welsh clocks and makers, 248
• West Country clockmakers, list of, 241
• Wilkins, John, Bishop of Chester, quoted, 30
• William and Mary period of decoration, 92, 97, 98
• Windmills, name falsely put on Dutch clocks, 36
• Woodcarvers at Hampton Court, 170
• Wooden works of clocks, 266
• Wren, Sir Christopher, his work at, Hampton Court, 91
• Yorkshire clock-case, peculiarities of, 223, 229
• Clockmakers, 217
• Zoffany, clock-cases decorated by, 142