THE BRACKET CLOCK

The term "bracket clock" a misnomer—The great series of English table or mantel clocks—The evolution of styles—Their competition with French elaboration.

Long-case clocks came into being when the long or "royal" pendulum required protection by having a wooden case. It was possible to have a short pendulum, and clocks intended for table use had a short pendulum. The long pendulum swings exactly in a second, and for it to do this it must be of a certain length, determined by physical laws followed according to mechanical formulÆ by the scientific clockmaker, too complex to be given here in detail. It may be interesting to record that the length of a seconds pendulum—that is, one requiring one second to move from extreme to extreme—is 39.1398 inches in the latitude of Greenwich and is of different lengths in differing latitudes.

The Term "Bracket Clock" a Misnomer.—In the old form of clock—the brass lantern type, weight-driven—it is obvious that when the weights and chains were suspended below the case the clock could not stand on a table. Such clocks had to hang on a wall, as so many old engravings show, or they were placed on a bracket against a wall, with the weights hanging beneath. With the advent of the pendulum new theories were in the air. At its first use as a short pendulum it was placed in front of the dial. When the seconds pendulum was recognized as a scientific regulator, the length precluded clocks in which it was employed being used as table clocks. It was a distinct departure from miniature timepieces as decorative domestic ornaments. Scientific it undoubtedly was, and as such it commenced a new development in the direction of astronomical clocks and scientific regulators of time. The table clock had to pursue another course. It belongs to another school of mechanism. The weight-driven clock strove to arrive at exactitude and scientific accuracy. The other clock, like the watch, attempted economy of space in conjunction with the maximum of exactitude such economy would allow. It essayed to fulfil certain conditions. It was easily portable, it could stand on a table, or more often on the mantelpiece, a place it can almost claim as its own in the English home by tradition. The watch with similar aims taxed the art of the maker to enable it to be easily carried on the person. These two classes of timepiece, the portable clock and more readily portable watch, were spring-driven. The development of this mechanical principle, running parallel with the evolution of the weight-driven clock, arrived at great scientific accuracy, as exemplified by the nautical chronometer and by the modern machine-made watch, whose timekeeping qualities are remarkable. In fact, it may be said that the table or portable clock and the watch together have dethroned the weight-driven clock as a domestic clock.

BRACKET CLOCKS. LATE SEVENTEENTH CENTURY.

BRACKET CLOCKS. EARLY EIGHTEENTH CENTURY.

The Great Series of English Table or Mantel Clocks.—To the beginner the appearance of an old table clock has not the same enticement as a brass lantern clock with its obvious claim to pre-modern form. It may even be said that the tyro clings reverently to his worship of the "grandfather" clock as something sacred. With their steady, uninterrupted progress from the middle seventeenth century for two hundred years, it is remarkable how conservative these table clocks have been to a comparatively fixed form. They stand in solidarity of workmanship and perfection of mechanical detail as exhibiting the superlative character of English clockmaking. During that period, in long procession, generation after generation, they have upheld the dignity of the science of horology as practised by English clockmakers, whose craftsmanship and perfection of exact detail deservedly won a reputation on the Continent and in America. An English clock of the finest period holds few superiors and very few equals in the world for reliability and exactitude. "Bajo la palabra de un InglÉs" (On the word of an Englishman) is a proverbial saying in the Spanish States of South America, and such an honourable appellation can equally be applied to the said Englishman's clock, upon which great clockmakers have proudly inscribed their names as guarantee of its fidelity and truth.

From Thomas Tompion in the days of Charles II to Benjamin Vulliamy in the days of George IV the series has been unbroken. We find table clocks by all the leading makers of long-case clocks, so that whatever competition lay between the principles of the one and the principles of the other was confined to the workshop of the clockmaker who set himself to master the intricacies of two styles. It was a friendly rivalry which is found to exist in other fields of human action. Disraeli the politician wrote novels; Macaulay the historian published verse; Seymour Haden laid down his lancet as a doctor to take up the etching-needle to become one of the greatest modern etchers.

The Evolution of Styles.—In the examples illustrated, the slow progression of types slightly differing from each other is readily seen. The late seventeenth century exhibits types of reticent form, with ebonized case, and having a brass basket-top decoration surmounted by a handle showing its use as a portable clock. This handle is retained in the carriage clock of to-day—a clock which finds a prototype in the carriage clock of Marie Antoinette. In height these clocks were about 12 inches and in width about 9 inches. At this period brass oblong ornaments were affixed to the case, a detail which disappeared with the next later type.

BRACKET CLOCKS. MID-EIGHTEENTH CENTURY.

BRACKET CLOCKS. EIGHTEENTH CENTURY (ABOUT 1760).

The clock on the left (illustrated p. 181) is by Sam Watson, of Coventry, and is dated 1687. It has the basket top, reminiscent in decorative treatment of the metal fret found in lantern brass clocks of contemporary date. It will be observed that these clocks have two hands. The spandrels of this and the adjacent clock have the single cherub's-head brass ornament. The latter clock, on the right, is by Joseph Knibb, of Oxford, and is in date 1690. The basket decoration is absent and the top is of simpler form. These two examples indicate that fine work was done in the provinces. By the end of the reign of William III the table clock had grown taller. The example illustrated (p. 183), by Thomas Loomes, is 15½ inches high and 11½ inches wide. It will be noticed that the basket top was still being made, and from now onwards the four turned brass terminals at the top became a feature and lasted for a century. By the first quarter of the eighteenth century a lunette had been added, as shown in the clock on the same page by Thomas Johnson, in date 1730. From this date feet were almost always employed. Similar feet embellished the long clock-case from a slightly later period throughout the century, and are still in evidence in examples made as late as the first half of the nineteenth century. In the 1730 clock by Thomas Johnson, the only brass ornament on the case is the escutcheon to the lock, a feature which, as time went on, lost its prominence and became more reticent.

In the reign of George II the clock again grew in stature. Its portability was evidently not a necessity. It cannot be now said to resemble a carriage clock. Chamber clocks became definite objects of decorative utility as part of the domestic fitments of a room. The architectural ornament becomes pronounced, and there is a massive grandeur about the cases which suited the early Georgian mansions and Hogarthian furniture of the period. These eight-day striking and alarum clocks had become a feature of the English home. The fine provincial example by John Page, of Ipswich, is 24 inches high and 12¼ inches wide. In addition to the four terminals there is a fifth at the apex on a column with supporting metal ornament. The adjacent clock by Godfrey Poy, in date 1745, has at the apex a small figure of Ajax. In both these examples there are rings at the side as ornaments, or possibly for use to lift the clock in lieu of the older style of the handle at the top (p. 187).

In the reign of George III (1760-1820) the table clock shows greater variety. It was a restless time, filled with wars and political struggles—a reign notable for the American Declaration of Independence on 4th July 1776, for the beginning of the French Revolution in 1789, for the "darkest hour in English history," the planned invasion of England by French and Spanish fleets, and contemplated invasion of Ireland by the Dutch fleet. In this reign, too, there came what may be termed the industrial revolution due to the introduction of machinery and steam-power. The growing wealth of the middle classes demanded more luxurious furniture. Merchants and manufacturers, shipowners and traders with India and the East, Lancashire cotton-spinners and mill-owners founded a new plutocracy. Bristol and Liverpool traders in "blackbirds," as the iniquitous slave trade was impiously termed, amassed fortunes. Although Pitt advocated the emancipation of slaves, under his rule "the English slave trade more than doubled."

BRACKET CLOCKS. EIGHTEENTH CENTURY (ABOUT 1760).

With decoration in Chinese style, blue and white, and painted clock dial with no works. Early nineteenth century. The cottager's desire to possess a mantel clock satisfied.
(In collection of author.)

Two George III clocks, in date 1760, by Johnson and by Thomas Hill, are illustrated (p. 189). One shows the recurrence of an old form with the handle at the top of the case, having only as a new feature delicate brackets—a female bust, suggesting in miniature the figure-head of some Indiaman. It is a pleasant ornament one would like to have seen more often adopted. The adjacent clock, by Thomas Hill, evidently derives its design from France, and is a forerunner, in its departure from the square case, of the style which Sheraton, in his adaptation from the French, made at a later date.

Competition with French Elaboration.—During the latter decades of the eighteenth and the opening years of the nineteenth centuries, the influx of French fashions had a considerable influence on the furniture designers of this country. What Chippendale had commenced, Sheraton continued, each according to his point of view. So great was the effect that there is actually an English Empire period entirely dependent on the classic interpretation of the French school. To treat of French clocks would occupy a space that is denied in this outline study of English work. But that they are of paramount importance cannot be denied. The French craftsman, as he always did, realized the possibilities of his subject. His cases are elaborate and imaginative in conception. His fertility of invention is remarkable. On the whole it must be admitted that the case is the weakest part of the English clock. The case-maker never quite realized his opportunities. He might have done so much better. There is a stability and solid, almost stolid, soberness that might have been lightened, so one thinks at times. But on the other hand, when the Frenchman is bad in design, his exuberance of ornament and headstrong imagination seem too lurid for a sober clock which only records ordinary time.

This French influence was world-wide. By the courtesy of the authorities of the Metropolitan Museum of Art, New York, an American clock is illustrated (p. 193), the makers being Savin and Dyer, of Boston. This is in date 1780 to 1800. It is of fine proportions, and the lyre ornament is kept in due reticence.

As exemplifying the far-reaching effect that French design had on this country, we reproduce an interesting illustration of a cottager's clock of the early nineteenth century (p. 195). It is really a vase of earthenware made in Staffordshire. On one side is painted in blue a Chinese scene, on the other is a clock-face in imitation of a French dial. But the hands perpetually mark seventeen minutes past eight. In copper lustre-ware this vase with its sham dial served the cottager as something ornamental, although not useful. It is a replica in homely English earthenware of French finesse, a cottage echo of the vase-clocks of SÈvres in the apartments at Versailles. The cottager's desire to have a clock was satisfied by the Staffordshire potter.

BRACKET CLOCKS. LATE EIGHTEENTH CENTURY.

BRACKET CLOCKS. EARLY NINETEENTH CENTURY. DATE, ABOUT 1805.

Many clocks of the last quarter of the eighteenth century show the lingering styles of the earlier decades. It is impossible to lay down any definite rule in furniture, in silver, or in old clocks, that in such a year a certain style ends. Approximately, one may determine periods and by close application discover slight indications of new styles beginning to take the town. Now and again one comes across examples a great many years behind the time, especially in provincial makers, where fashions in cases were not so frequently changed.

Illustrated on p. 199 are two clocks; one, in date 1770, by Alexander Cumming, is only 14 inches in height; the other, 1800, having no maker's name, is 15¾ inches high. A new and very pleasing form is introduced. We see the dial in process of losing its lunette. It makes its ascent on the case to take its place as in later styles. This raising of the dial affected the top of the case, which became of circular form. The transitional period is shown by the ornament remaining in the right-hand clock in the lower spandrels. The case-maker had not quite assimilated the changing form. It is interesting to note that in both these clocks the handles of the early portable clock are reintroduced.

At the beginning of the nineteenth century the circular dial had become established. An interesting transitional clock by Barraud (p. 201), in date 1805, shows that the case-maker was averse to parting with the lunette. He accordingly places the dial in the centre of the case and has a crescent-shaped ornament, with a design adapted by the metal-worker from the Chinese potter. Of the same date is a provincial clock by Strowbridge, of Dawlish. Here the maker has boldly adopted the circular top, and the result is a case of pleasing proportions.

Restlessness of design characterized this period. The old square dial was rarely if ever used. The arched-top case is another form, as illustrated (p. 205), where the maker, Biddell, refrained from following the line of the circular dial in his case. The adjacent example, in date 1800 to 1815, shows the circular dial surmounting the pediment of the case. After its vicissitudes it has at length triumphed in becoming the dominant note in the design.

As illustrating the varied attempts to make the table clock an imposing ornament and deal with its decoration in an elaborate manner, the fine clock in ebony case inlaid with blue and white Wedgwood medallions is a remarkable example (illustrated p. 207). An especially noteworthy feature in this clock is the beaded ornamentation around the dial and the medallions and the other portions of the case of cut steel.

The series of table clocks illustrated should indicate to the reader the salient features of such clocks, which are sought after by collectors and carefully prized by those who love the fine work of the old English clockmakers.

BRACKET CLOCKS.