The three illustrations we give ([Figs. 71], [72], and [73]) represent fine examples of marquetry-decorated clocks at the Victoria and Albert Museum. The simple naturalesque style of marquetry, showing direct Dutch influence, is shown in [Fig. 71]. The carnations are exceedingly lifelike. The dial-plate of this clock, which is still in good going order, bears the inscription "Mansell Bennett at Charing Cross." It was probably made about 1690. [Figs. 72] and [73] represent the more typically English style of delicate geometrical marquetry work, dating from about 1700. In both of these clocks the fretted bands of wood beneath the cornices, as well as the nature of the marquetry, would point to a later period than that of the Mansell Bennett clock. They belong to the Queen Anne period. Fig. 72 was made by Henry Poisson, who worked in London from 1695 to 1720. [Fig. 73], unfortunately a clock-case only, has the original green bull's-eye glass in the door.
A word of warning may be in place in regard to grandfather clocks with carved oak cases. Such things purporting to be "200 years old" are often advertised for sale, but are scarcely likely to be genuine. Speaking for ourselves, we have never seen one which bore the impress of genuineness. We must bear in mind that at the date of the introduction of the long case—say 1660-1670—the practice of carving furniture was rapidly on the wane, and by the end of the century had practically ceased. In this connection we quote that great authority on old clocks, Mr. F. J. Britten, who says: "Dark oak cases carved in high relief do not seem to have been the fashion of any particular period, but the result rather of occasional efforts by enthusiastic artists in wood, and then in most instances they appear to have been made to enclose existing clocks in substitution of inferior or worn-out coverings."
In regard to the wonderful time-keeping qualities of old grandfather clocks, Mr. H. H. Cunyngham, in his useful little book, "Time and Clocks," expresses the opinion that the secret lies in the length of the pendulum. "This," he writes, "renders it possible to have but a small arc of oscillation, and therefore the motion is kept very nearly harmonious. For practical purposes nothing will even now beat these old clocks, of which one should be in every house. At present the tendency is to abolish them and substitute American clocks with very short pendulums, which never can keep good time. They are made of stamped metal and, when they get out of order, no one thinks of having them mended. They are thrown into the ashpit and a new one bought. In reality this is not economy."
Mr. Cunyngham's remarks point the moral as to the economy of the long clock. But we should say, more strictly speaking, that German and Austrian wall and bracket clocks have to a large extent taken the place of the old English long-cased clocks. The shortness of the pendulum is not of necessity the weak point. The bracket clocks of the best English makers since the seventeenth century, with short pendulums, have been noted for their reliability as timekeepers. Efficiency from a badly constructed clock, be it American, German or English, can scarcely be expected.
As we have already suggested, fine clocks by the great masters are now beyond the means of the modest collector; but serviceable and decorative grandfather clocks of the late seventeenth and early eighteenth centuries are still obtainable at moderate prices. In many cases the dials show great taste in the art of engraving. We must bear in mind that the majority of these clocks—particularly those with the painted dials and plain oak cases—were the joint productions of the country clock-maker and the country joiner, and numbers of them have the very smallest pretentions to correctness of design. We find clock-cases which have the appearance of being "all plinth"; others are too long or too short or too wide in the body; others are overweighted in the head; and, again, others are too shallow and have an unhappy appearance of being flattened out against the wall. The old oak clock-case of perfect proportions is comparatively rare. The collector must studiously avoid any clock-case which is "obviously out of drawing," and in the main his eye will guide him in the selection. We are indebted to Mr. Stuart Parker, an experienced amateur collector of clocks, for a carefully thought-out opinion as to the ideal dimensions of a clock-case.
Supposing a full-sized clock-case 7 ft. 6 in. high: the three main sections should measure as follows:
The plinth: 2 ft. high and 1 ft. 10 in. wide.
The body: 3 ft. high and 1 ft. 4½ in. wide.
The head: 2 ft. 6 in. high and 1 ft. 10 in. wide.