An early and handsome specimen of such a clock is seen in [Figure 94]. This clock was made in the latter part of the seventeenth century by Daniel Quare, the successor of Thomas Tompion. It is a one-year clock and is at Hampton Court Palace. The dial face is square, and the top lifts off. The case is very handsomely carved and has some very handsome figures on the top. The second clock shown in [Figure 94] is in a black and gold lacquered case, and was made by J. Harrison in 1715. It is at the Guildhall Museum, London. This shows the carved top of the dial face which became universally adopted. The most important part of one of these clocks is the pendulum, for the long case was brought into use solely for the pendulum, as mechanism had not been invented to permit it to swing in a confined space. The first long-case clocks were comparatively small in size, and during the reign of William III., when everything Dutch was in fashion, the cases were ornamented with marquetry in beautiful patterns and variously coloured woods. Sometimes this was made even richer by inlay of mother-of-pearl, and there were cases also of splendid lacquer-work, gold on black grounds, like that in [Figure 94], some of which found their way to America and are either museum specimens or treasured in private collections. There are many clocks with English works housed in Dutch cases, but this is understandable from the fact that so many Dutch cabinet-makers were settled in London.
Besides the square face to the dial of these early clocks there were peculiarities of the case as well. On either side of the upper part of the case there were carved spiral pillars, like those we find in old chairs of the same period. These were occasionally finished off by carved or gilt pilasters, and on some choice specimens, notably of Tompion's clocks, there are pillars at the back also. This style of pillar was used also in Queen Anne's time. The clocks might stand flat on the floor or be raised an inch or two on a short foot. The long doors had mouldings, corresponding to the period of their manufacture, and many had a piece of glass or a bull's-eye let into the wood, so that the motion of the pendulum could be seen.
Some of the most distinguishing marks on these clocks are the hour circles. Before the minute hand came into use the double circles seen in the mantle clocks were in use. Between them the hour is divided into quarters, the half hour being shown by a longer stroke, or an ornament like a fleur-de-lys. When the minute hand came into use, besides the double circle containing the numerals denoting the hours, and the smaller figures showing the minutes, there were on the outer edge marks or divisions to denote the quarter hours, the device being a cross or a dagger. The dial faces were beautifully embellished with engraving, those of the William III. and Queen Anne periods being very rich. Not only were the faces brass, but there were to be found silvered faces also, ornamented with ormolu mounts of figures and scrolls in brass. All the space on the dial was utilized; on the extreme edge a border of leaves, or herring-bone pattern was placed, and the whole interior of the hour-ring was engraved or etched with flowers, scrolls, or set patterns, and even the winding-holes had their set of circles around each.
Of the seventeenth-century clocks the earliest had their makers' names put into Latin and engraved straight across the bottom of the dial, and quite concealed when the wooden hood of the case was in place. Later it was engraved on the lower half of the circle between the figures seven and five. These two styles were only in use very early, for about 1750 name-plates were first used, and then makers used their own taste in the matter, sometimes omitting the name entirely and substituting some motto like "Tempus Fugit" "Tempus edax rerum", and even such lengthy mottoes as the following;
"Slow comes the hour; its passing speed how great;
Waiting to seize it,—vigilantly wait!"
Edward East was another well-known early English maker, and some clocks in splendid cases came from his hand by 1690 and earlier.
Joseph Knibb and James Clowes were other popular makers about 1700. James Lownes made handsome clocks by 1705 and usually inserted glass in their doors. The corners of the dials bear devices which also point to the age of the clock. On the dials which came from the best makers till just before the close of the seventeenth century, the ornaments were cherubs' heads. Then the patterns of the spandrels, as these ornaments were called, altered, and a head set in more or less elaborate scroll-work, generally of brass, handsomely chased and often gilded, was used. After this, in the early eighteenth century, came two Cupids holding up a crown with a surrounding of scroll-work. The clock on the left in [Figure 96] has this fret, two cherubs holding a crown, at the four corners of the brass face. They do not show very plainly in the illustration, which also does not do justice to the splendid marquetry with which the mahogany case is inlaid. Across the dial face is Monks, Prescot and the clock is in perfect order. The second clock is quite as interesting. It has a fine mahogany inlaid case, the face is painted on wood, the works are wooden also, and it is wound by pulling up the weights by hand. The ornaments which originally decorated the top are missing, but otherwise it is perfect and is in admirable condition. Its period is about 1800. This clock belongs to Dr. George W. Goler, of Rochester, N. Y., and the one previously described to Mr. William M. Hoyt, also of Rochester.
Figure 96. TALL-CASE CLOCKS.