SUN-DIALS.

Sun-dials are little regarded but as curiosities in these days; although the science of constructing Sun-dials, under the name of Gnomonics, was, up to a comparatively recent period, part of a mathematical course. As long as watches were scarce, and clocks not very common, the dial was an actual time-keeper. Of the mathematical works of the seventeenth century which are found on book-stalls, none are so common as those on Dialling.

Each of the old dials usually had its monitory inscription; and although the former have mostly disappeared, the mottoes have been preserved, so that all their good is not lost.

The stately city of Oxford, which Waagen declared it was worth a special journey from Germany to see, has, upon its churches and colleges, and in their lovely gardens, several dials. Christopher Wren, when a boy of fifteen at Wadham College, designed on the ceiling of a room a reflecting dial, embellished with various devices and two figures, Astronomy and Geometry, with accessories, tastefully drawn with a pen, and bearing a Latin inscription; but his more elaborate work is the large and costly dial which he erected at All Souls’ College, of which he was a Fellow.

The Rev. W. Lisle Bowles was a sincere respecter of dials. In the garden of his parsonage at Bremhill he placed a Sun-dial—a small antique twisted column, gray with age, and believed to have been the dial of the abbot of Malmesbury, and counted his hours at the adjoining lodge; for it was taken from the garden of the farmhouse, which had originally been the summer retirement of this mitred lord: it is of monastic character, but a more ornate capital has been added, which bears the date of 1688; it has the following inscription by the venerable Canon:

From beneath a venerable yew, which has seen the persecution of the loyal English clergy, you look into the adjoining churchyard of Bremhill, on an old Sun-dial, once a cross. Bowles tells us: “The cross was found broken at its foot, probably by the country iconoclasts of the day. I have brought the interesting fragment again into light, and placed it conspicuously opposite to an old Scotch fir in the churchyard, which I think it not unlikely was planted by Townson on his restoration. The accumulation of the soil of centuries had covered an ascent of four steps at the bottom of this record of silent hours. These steps have been worn in places, from the act of frequent prostration or kneeling by the forefathers of the hamlet, perhaps before the church existed.” Upon this old dial Bowles wrote one of his most touching poems, of which these are the opening verses:

Any thing that reminds us of the lapse of time should remind us also of the right employment of time in doing whatever business is required to be done.

A similar lesson is solemnly conveyed in the Scripture motto to a Sun-dial: “The night cometh, when no man can work.” Another solemn injunction is conveyed in the motto to a Sun-dial erected by Bishop Copleston in a village near which he resided: “Let not the sun go down upon your wrath” (Ephesians iv. 26).

A more subtle motto is, “Septem sine horis;” signifying that there are in the longest day seven hours (and a trifle over) during which the Sun-dial is useless.

Upon the public buildings and in the pleasure-grounds of Old London the Sun-dial was placed as a silent monitor to those who were sailing on the busy stream of time through its crowded haunts and thoroughfares, or seeking meditation in quiet nooks and plaisances of its river mansions and garden-houses. Upon churches the dial commonly preceded the clock: Wren especially introduced the dial in his churches.

Sovereigns and statesmen may have reflected beside the palace-dials upon the fleetingness of life, and thus have learned to take better note of time. Whitehall was famous for its Sun-dials. In Privy Garden was a dial set up by Edward Gunter, professor of astronomy at Gresham College (and of which he published a description), by command of James I., in 1624. A large stone pedestal bore four dials at the four corners, and “the great horizontal concave” in the centre; besides east, west, north, and south dials at the sides. In the reign of Charles II. this dial was defaced by an intoxicated nobleman of the Court; upon which Marvell wrote:

In the court-yard facing the Banqueting-house was another curious dial, set up in 1669 by order of Charles II. It was invented by one Francis Hall, alias Lyne, a Jesuit, and professor of mathematics at Liège. This dial consisted of five stages rising in a pyramidal form, and bearing several vertical and reclining dials, globes cut into planes, and glass bowls; showing, “besides the houres of all kinds,” “many things also belonging to geography, astrology, and astronomy, by the sun’s shadow made visible to the eye.” Among the pictures were portraits of the king, the two queens, the Duke of York, and Prince Rupert. Father Lyne published a description of this dial, which consists of seventy-three parts: it is illustrated with seventeen plates: the details are condensed in No. 400 of the Mirror. About 1710, William Allingham, a mathematician in Canon-row, asked 500l. to repair this dial: it was last seen by Vertue, the artist and antiquary, at Buckingham House.

The bricky towers of St. James’s palace had their Sun-dials; and in the gardens of Kensington palace and Hampton Court palace are to this day superb dials.

Upon a house-front in the Terrace, New Palace Yard, Westminster, is a Sun-dial, having the motto from Virgil, “Discite justitiam, moniti,” which had probably been inscribed upon the old clock-tower of the palace, in reference to its having been built with a fine that had been levied on the Chief Justice of the King’s Bench for altering a record.

The Inns of Court, where time runs its golden sand, have retained a few of their Sun-dials. In Lincoln’s Inn, on two of the old gables, are: 1. A southern dial, restored in 1840, which shows the hours by its gnomon, from 6 A.M. to 4 P.M., and is inscribed, “Ex hoc monumento pendet æternitas.” 2. A western dial, restored in 1794 and 1848, from the different situation of its plane, only shows the hours from noon till night: inscription, “Quam redit nescitis horam.” And in Serle’s-court (now New-square), on the west side, was a dial inscribed, “Publica privatis secernite, sacra prophanis.”

Gray’s Inn has lost its Sun-dials: but in the gardens was a dial, opposite Verulam Buildings, not far from Bacon’s summer-house; and the turret of the great Hall had formerly a southern declining dial, with this motto, “Lux diei, lex Dei.”

Furnival’s Inn had its garden and dial, which disappeared when the old Inn buildings were taken down in 1818, and the Inn rebuilt.

Staple Inn had upon its Hall a well-kept dial, above a luxuriant fig-tree.

Clement’s Inn had, in its small garden, a kneeling figure supporting a dial,—one of the leaden garden embellishments common in the last century. In New Inn, adjoining, the Hall has a large vertical Sun-dial, motto: “Time and Tide tarry for no man.”

Lyon’s Inn, which had been an Inn “since 1420, or sooner,” had, in 1828, an old Sun-dial, which had lost its gnomon and most of its figures.

The Temple garden, Inner and Middle, has each a large pillar Sun-dial; the latter very handsome. There are vertical dials in various courts; but the old dial of Inner Temple terrace, with its “Begone about your business,”—in reality the reply of a testy bencher to the painter who teased him for an inscription,—disappeared in the year 1828. There remain three dials with mottoes: Temple-lane, “Pereunt et imputantur;” Essex-court, “Vestigia nulla retrorsum;” Brick-court, “Time and tide tarry for no man;” and in Pump-court and Garden-court are two dials without mottoes. Charles Lamb has this charmingly reflective passage, suggested by the Temple dials:

What an antique air had the now almost effaced sun-dials, with their moral inscriptions, seeming coevals with that Time which they measured, and to take their revelations of its flight immediately from heaven, holding correspondence with the fountain of light! How could the dark line steal imperceptibly on, watched by the eye of childhood, eager to detect its movement, never catched, nice as an evanescent cloud, or the first arrests of sleep!

What a dead thing is a clock, with its ponderous embowelments of lead and brass, its pert or solemn dulness of communication, compared with the simple altar-like structure and silent heart-language of the old dial! It stood as the garden god of Christian gardens. Why is it almost every where vanished? If its business be superseded by more elaborate inventions, its moral uses, its beauty, might have pleaded for its continuance. It spoke of moderate labours, of pleasures not protracted after sunset, of temperance and good hours. It was the primitive clock, the horologe of the first world. Adam could scarce have missed it in Paradise. It was the measure appropriate for sweet plants and flowers to spring by, for the birds to apportion their silver warblings by, for flocks to pasture and be led to fold by. The shepherd ‘carved it out quaintly in the sun,’ and, turning philosopher by the very occupation, provided it with mottoes more touching than tombstones. It was a pretty device of the gardener, recorded by Marvell, who, in the days of artificial gardening, made a dial out of herbs and flowers:

Another noted dial gave name to a locality of the metropolis, which has known many mutations, viz. Seven Dials, built in the time of Charles II. for wealthy tenants. Evelyn notes, 1694: “I went to see the building near St. Giles’s, where Seven Dials make a star from a Doric pillar placed in the middle of a circular area, said to be by Mr. Neale (the introducer of the late lotteries), in imitation of Venice, now set up here for himself twice, and once for the state.”

The seven streets were Great and Little Earl, Great and Little White Lion, Great and Little St. Andrew’s, and Queen; though the dial-stone had but six faces, two of the streets opening into one angle. The column and dials were removed in June 1773, to search for a treasure said to be concealed beneath the base. They were never replaced; but in 1822 were purchased of a stone-mason, and the column was surmounted with a ducal coronet, and set up on Weybridge Green as a memorial to the late Duchess of York, who died at Oatlands in 1820. The dial-stone is now a stepping-stone at the adjoining Ship inn.^[8]

The Sun-dial was also formerly used with a compass. The Hon. Robert Boyle relates, “that a Boatman one day took out of his pocket a little Sun-dial, furnished with an excited needle to direct how to set it, such dials being used among mariners, not only to show them the hour of the day, but to inform them from what quarter the wind blows.”

A Cape Town Correspondent of Notes and Queries describes a Sun-dial and compass in his possession, made by “Johann Willebrand, in Augsburg, 1848:” it has a curious perpetual calendar attached, and is of highly finished work in silver, parcel-gilt. Another Sun-dial and compass is mentioned as made by Butterfield, at Paris: it is small, of silver, and horizontal; upon its face are engraved dials for several latitudes, and at the back a table of principal cities; it is set by a compass, and the gnomon adjusted by a divided arc. The N. point of the compass-box is fixed in a position to allow for variation, probably at Paris; and, judging from this, it would appear to have been made about 1716.^[9]

We should also notice the pocket ring-dial, such as that which gave occasion to the Fool in the Forest of Arden to “moral on the time:”

This is a ring of brass, much like a miniature dog-collar, and has, moving in a groove in its circumference, a narrower ring with a boss, pierced by a small hole to admit a ray of light. The latter ring is made movable, to allow for the varying declination of the sun in the several months of the year, and the initials of these are marked in the ascending and descending scale on the larger ring, which bears also the motto:

The hours are lined and numbered on the opposite concavity. When the boss of the sliding ring is set, and the ring is suspended by the ring directly towards the sun, a ray of light passing through the hole in the boss impinges on the concave surface, and the hour is told with fair accuracy. Mr. Thomas Q. Couch, of Bodmin, thus describes this Dial in Notes and Queries, 3d series, No. 36. Mr. Charles Knight, in his Pictorial Shakspeare, has engraved a dial of this kind, as an illustration of As you like it.

Mr. Redmond, of Liverpool, describes the old pocket ring-dial as common in the county of Wexford some twenty-five years ago: there was hardly a farm-house where one could not be had. The same Correspondent of Notes and Queries, 3d series, No. 39, describes a door-sill marked with the hour for every day in the year: the sill had a full southern aspect, so that when the sun shone, the time could be read as correctly as by any watch.

Another Correspondent of Notes and Queries, 2d series, No. 38, has an ingenious pocket-dial, sold by one T. Clarke: it is merely a card, with a small plummet hanging by a thread, and a gnomon, which lies flat on the card, but, when lifted up, casts the shadow to indicate the hour of the day, and also the hours of sunrise and sunset.

In the United Service Museum, Whitehall, is a Sun-dial, with a burning-glass arranged to fire a small gun at noon; also a large Universal Dial, with a circle showing minutes; and another large Universal Dial, with horizontal plate and spirit-level.

Suppose we collect a few of the monitory inscriptions on dials in various places. Hazlitt, in a graceful paper “On a Sun-dial,” tells us that

is the motto of a Sun-dial near Venice; and the same line is painted in huge letters over the Sun-dial in front of an old farmhouse near Farnworth, in Lancashire.

At Hebden Bridge, in Yorkshire, is this quaint motto:

Canon Bowles, in his love of the solemn subject, prescribed the following, with paraphrastic translations:

Over the Sun-dial on an old house in Rye:

Underneath it:

In Brading churchyard, Isle of Wight, on a Sun-dial fixed to what appears originally to have been part of a churchyard cross, is the motto:

Near the porch of Milton church, Berks, is:

Butler has this couplet:

Upon this Dr. Nash notes: “As the dial is invariable, and always open to the sun whenever its rays can show the time of day, though the weather is often cloudy, and obscures its lustre: so true loyalty is always ready to serve its king and country, though it often suffers great afflictions and distresses.”

There cannot be a more faithful indicator, according to Barton Booth’s song:

After all, the sun-dial is but an occasional timekeeper; a defect which the pious Bishop Hall ingeniously illustrates in the following beautiful Meditation “On the Sight of a Dial:” “If the sun did not shine upon this dial, nobody would look at it: in a cloudy day it stands like an useless post, unheeded, unregarded; but, when once those beams break forth, every passenger runs to it, and gazes on it.

“O God, while thou hidest thy countenance from me, methinks all thy creatures pass by me with a willing neglect. Indeed, what am I without thee? And if thou have drawn in me some lines and notes of able endowments; yet, if I be not actuated by thy grace, all is, in respect of use, no better than nothing; but when thou renewest the light of thy loving countenance upon me, I find a sensible and happy change of condition: methinks all things look upon me with such cheer and observance, as if they meant to make good that word of thine, Those that honour me, I will honour: now, every line and figure, which it hath pleased thee to work in me, serve for useful and profitable direction. O Lord, all the glory is thine. Give thou me light: I will give others information: both of us shall give thee praise.”

The Pyramids of Egypt, the most ancient and the most colossal structures on the earth,—the purpose and appropriation of which has been much controverted by antiquaries and men of science,—have been considered by some to have served as Sun-dials. Sir Gardner Wilkinson does not pretend to explain the real object for which these stupendous monuments were constructed, but feels persuaded that they have served for tombs, and have also been intended for astronomical purposes. “The form of the exterior might lead to many useful calculations. They stand exactly due north and south; and while the direction of the faces to the east and west might serve to fix the return of a certain period of the year, the shadow cast by the sun, or the time of its coinciding with their slope, might be observed for a similar purpose.”

There is an interesting association of the Great Pyramid with the ambitious dream of one of the world’s celebrities, which may be noticed here. When Napoleon I. was in Egypt, in 1799, he rode on a camel to the Great Pyramid and the Sphinx, that relic of mystic grandeur. Karl Girardet has painted this impressive visit; and the picture has been engraved by Gautier, and inscribed, “Forty Centuries look down upon him.”

Charles Mackay has written a graceful poem as a pendent to this print; in which the poet makes the young Napoleon thus invoke the colossal monuments:

The dreamer of empire proceeds, bespeaking:

But hear the reply of the decaying oracle:

It will be remembered how Napoleon’s disastrous Egyptian campaign ended; and how he secretly embarked for France, and read during his passage both the Bible and the Koran with great assiduity.

Among the interesting memorials of Mary Queen of Scots at Holyrood Palace, Edinburgh, there remains the Sun-dial placed in the centre of the palace-garden, and usually denominated “Queen Mary’s Dial.”

It is the apex of a richly-ornamented pedestal, which rests upon a hexagonal base, consisting of three steps. The form of the ‘horologe’ is multangular; for though its principal sections are pentagonal, yet from their terminating in pyramidal points, and being diametrically opposed to each other, again connected by triangular interspaces, it presents no fewer than twenty sides, on which are placed twenty-two dials, inserted into circular, semicircular, and triangular cavities. Between the dials are the royal arms of Scotland, with the initials M. R., St. Andrew, St. George, fleurs-de-lis, and other emblems. This memorial carries us back nearly three centuries, when Holyrood was a palace

THE HOUR-GLASS.

The use of the Hour-glass can be traced to ancient Greece. In Christie’s Greek Vases, one is engraved from a scarabæus of sardonyx, in the Towneley collection: it is exactly like the modern hour-glass. The first mention of it occurs in a Greek tragedian named Bato. On a bas-relief of the Mattei Palace, of the marriage of Thetis and Peleus, Morpheus holds an hour-glass; and from Athenæus it appears that persons, when going out, carried it about with them, as we do a watch. In a woodcut in Hawkins’s History of Music, the frame is more solid, and the glass probably slipped in and out. There is another cut of one in Boissard, held by Death, precisely of the modern form.

The hour or sand-glass is liable to the objection, that it requires a horary attendant, as is intimated in the glee:

But the Hour-glass is a better measurer of time than is generally imagined. The flow of the sand from one bulb to another is perfectly equable, whatever may be the quantity of sand above the aperture. The stream flows no faster when the upper bulb is almost full than when it is almost empty; the lower heap not being influenced by the pressure of the heap above.^[11] Bloomfield, in one of his rural tales, “The Widow to her Hour-glass,” sings:

Ford, contemporary with Massinger, has this impressive picture of the primitive time-keeper:

How cleverly the old dramatist, Shirley, illustrates this philosopher in glass:

The Hour-glass has almost entirely given place to the more useful, because to a greater extent self-acting, instrument; and it is now seldom seen except upon the table of the lecturer or private teacher, in the study of the philosopher, in the cottage of the peasant, or in the hand of the old emblematic figure of Time.^[12] We still sometimes see it in the workshop of the cork-cutter. The half-minute glass is still employed on board ship; and the two and a half or three minute glass for boiling an egg with exactness.

Preaching by the Hour-glass was formerly common; and public speakers are timed, in the present day, by the same means. In the church-wardens’ books of St. Helen’s, Abingdon, date 1599, is a charge of fourpence for an hour-glass for the pulpit; in 1564, we find in the books of St. Katherine’s, Christ Church, Aldgate, “paid for an hour-glass that hangeth by the pulpit when the preacher doth make a sermon, that he may know how the hour passeth away—one shilling;” and in the books of St. Mary’s, Lambeth, 1579 and 1615, are similar entries. Butler, in Hudibras, alludes to pulpit hour-glasses having been used by the Puritans: the preacher having named the text, turned up the glass; and if the sermon did not last till the sand was out, it was said by the congregation that the preacher was lazy; but if, on the other hand, he continued much longer, they would yawn and stretch till the discourse was finished. At the old church of St. Dunstan-in-the-West, Fleet-street, was a large hour-glass in a silver frame, of which latter, when the instrument was taken down, in 1723, two heads were made for the parish staves. Hogarth, in his “Sleepy Congregation,” has introduced an hour-glass on the west side of the pulpit. A very perfect hour-glass is preserved in the church of St. Alban, Wood-street, Cheapside; it is placed on the right of the reading-desk within a frame of twisted columns and arches, supported on a spiral column: the four sides have angels sounding trumpets; and each end has a line of crosses patées and fleurs-de-lis, somewhat resembling the imperial crown.

CLOCKS AND WATCHES.

The clock was also the horologe of our old poets, from the Latin horologium:

Drayton calls the cock the country horologe.

Rabelais thus capriciously ridicules the use of the clock: “The greatest loss of time that I know, is to count the hours. What good comes of it? Nor can there be any greater dotage in the world, than for one to guide and direct his course by the sound of a bell, and not by his own judgment and discretion.” In similar exuberance has this gay satirist said: “There is only one quarter of an hour in human life passed ill, and that is between the calling for the reckoning and paying it.”

With more serious purpose has Sir Walter Scott, in his “Lay of the Imprisoned Huntsman,” thus anathematised the clock and the dial:

Richard II., in the dungeon of Pomfret Castle, soliloquises more solemnly:

Lucian, who died A.D. 180, refers to an instrument, mechanically constructed with water, which reported the hours by a bell. “Before the time of Jerome” (born A.D. 332), says Browne, “there were horologies that measured the hours, not only by drops of water in glasses, called clepsydra, but also by sand in glasses, called clepsummia.” It was the clepsydra to which Lucian alludes. When the water, which was constantly dripping out of the vessel, reached a certain level, it drew away, by means of a rope connected with the piston in the water-vessel, the ledge on which a weight rested; and the falling of this weight, which was attached to a bell, caused it to strike. This, perhaps, was the earliest kind of striking clock.

A public striking clock may well be termed the regulator of society: it reminds us of our engagements, and announces the hours for exertion or repose; and in the silence of night it tells us of the hours that are past, and how many remain before day.

The earliest public clock set up in England was that with three bells, which was placed in the clochard or bell-tower of the Palace at Westminster, built by Edward III. in 1365-6: the palace was then the most frequent residence of the king and his family; and the three bells were “usually rung at Coronations, Triumphs, Funeralls of Princes, and their Obits.”^[13] This bell-tower stood very near to the site of the great clock-tower of the new palace; the gilding of the exterior of which cost no less than 1500l.

A public clock is a public monitor; and the dimensions of its dial, and works, and striking-bell add much to the solemnity of its proclaiming the march of time. The great clocks in the International Exhibition of 1862 were among its colossal marvels.

The clocks of St. Paul’s Cathedral, Westminster Palace, and the Royal Exchange, are three of the largest clocks in London. The St. Paul’s hour-hands are the height of a tall man; the hour struck by this clock has been heard at midnight on the terrace of Windsor Castle; and from the telegraph station on Putney-heath the hour has been read by the St. Paul’s clock-face without the aid of a telescope: the hour-numerals are 2 feet 2½ inches in height. This clock once struck thirteen, which being heard by a sentinel, accused of being asleep at his post at that hour, was the means of saving his life; this striking thirteen was caused by the lifting-piece holding on too long.

The former church of St. Paul, Covent Garden, built by Inigo Jones, contained within the pediment a pendulum-clock, made by Richard Harris in 1641, and stated by an inscription in the vestry to be the first pendulum-clock made.^[14]

The Horse Guards Clock is properly described by Mr. Denison as “a superstitiously venerated and bad clock;” it is minutely described by Mr. B. L. Vulliamy in the Curiosities of London, pp. 378-380.

St. James’s Palace Clock, made by Clay, clockmaker to George II., strikes the hours and quarters upon three bells; it requires to be wound up every day, and originally had but one hand. We were told by the late Mr. B. L. Vulliamy, that when the gatehouse was repaired in 1831, the clock was removed, and not put up again, on account of the roof being reported unsafe to carry the weight. The inhabitants of the neighbourhood then memorialised William IV. for the replacement of the timekeeper: the King, having ascertained its weight, shrewdly inquired how, if the tower-roof was not strong enough to carry the clock, it was safe for the number of persons occasionally seen upon it to witness processions, &c. The clock was forthwith replaced, and a minute-hand was added, with new dials: the original dials were of wainscot, in a great number of very small pieces curiously dovetailed together.

Trinity College, Cambridge, has a double-striking clock, put up by the famous Dr. Bentley; striking, as it used to be said, once for Trinity and once for his former college, St. John’s, which had no clock.

The clock of St. Clement’s Danes, in the Strand, strikes twice; the hour being first struck on a larger bell, and then repeated on a smaller one; so that if the first has been miscounted, the second may be more correctly observed.

Wren has introduced the gilt projecting dial in several of the City churches: that at St. Magnus, London Bridge, was the gift of Sir Charles Duncomb, who, it is related, when a poor boy, had once to wait upon London Bridge a considerable time for his master, whom he missed through not knowing the hour; he then vowed that if ever he became successful in the world, he would give to St. Magnus a public clock, that passengers might see the time; and this dial proves the fulfilment of his vow. It was originally ornamented with several richly gilded figures: upon a small metal shield inside the clock are engraven the donor’s arms, with this inscription: “The gift of Sir Charles Duncomb, Knight, Lord Major, and Alderman of this ward; Langley Bradley fecit, 1709.”

The former church of St. Dunstan-in-the-West, Fleet-street, within memory possessed one of London’s wonders: it had a large gilt dial overhanging the street, and above it two figures of savages, life-size, carved in wood, and standing beneath a pediment, each having in his right hand a club, with which he struck the quarters upon a suspended bell, moving his head at the same time. To see the men strike was considered very attractive; and opposite St. Dunstan’s was a famous field for pickpockets, who took advantage of the gaping crowd. So it had long been; for Ned Ward, in his London Spy, says: “We added to the number of fools, and stood a little, making our ears do penance to please our eyes, with the conceited notion of their (the puppets’) heads and hands, which moved to and fro with as much deliberate stiffness as the two wooden horologists at St. Dunstan’s when they strike the quarters.” Cowper thus describes them in his Table-Talk: