LONG-CASE CLOCK.
Movement by Stephen Rimbault, case by Robert Adam.
Date, about 1775.
(By courtesy of Messrs. A. B. Daniell & Sons.)

Accordingly, the student must bear in mind these great movements taking place during the second half of our Georgian period, viz. from about 1740 to the year 1791, at which date appeared the first edition of Sheraton's Cabinet Maker and Upholsterers Drawing Book, to herald another style, blended with the Adam, but departing from it at important points. In examining clock-cases of this prolific and restless period, it should be of exceptional interest to the connoisseur to show how unnamed cabinet-makers in London and in the provinces attempted to employ, with varying degrees of skill, the designs promulgated broadcast by these great teachers of design and construction in cabinet work.

Innovations of Form.—As exemplifying the variations of the mahogany period clock-case, we illustrate several types showing reflections of the great impulses that were in the air. The clock, illustrated (p. [239]), has a case of Spanish mahogany with fine figure. The hood is enriched with fretwork, and with elegantly moulded door, and the superstructure as a pediment exhibits the Chinese style. The terminals are mahogany. The dial shows phases of the moon, and the movement is by a provincial maker, E. Cockey, Warminster.

Of the year 1770 is another mahogany clock with handsomely carved frieze and elaborate terminals. The love for architectural ornament is seen in the hood, and in the pillars on the waist below on each side of the panelled door. The base is decorated with a panel, in mahogany of fine figure. The feet are beginning to become more pronounced. The movement of this is by Henderson, of London, and its height is 9 feet (illustrated p. [133]).

Another clock, by Thomas Wagstaff, in date about 1780, exhibits a less grandiose appearance. The height is less, being only 8 feet 2 inches. The pediment of the hood reverts to types which are often found decorated with lacquer work, and the brass terminals are of similar character to those of an earlier period. It is noticeable that the base continues to show increased ornament in the feet, with an added scroll (illustrated p. [137]).

As showing another type of clock with magnificent decoration we illustrate (p. [143]) the hood of a long-case musical clock, attributed to Rimbault, who was especially noteworthy for his musical movements, and his cases were decorated by Zoffany. An examination of this shows the detailed character of the painted work. It is Italian in conception, and quite in keeping with other work of Zoffany.

TOP PORTION OF MUSICAL LONG-CASE CLOCK.
Richly decorated with painting attributed to Zoffany.
Maker, no signature, but suggestive of the work of Rimbault.
(By courtesy of Messrs. Harris & Sinclair, Dublin.)