Gothic Iron Wall Clock The Gothic clock type predates the pendulum and is one of the earliest examples of a domestic clock. Such clocks are shown in a number of interior scenes in paintings by Renaissance painters Fra Angelico (b. 1395, d. 1455) and Sandro Botticelli (b. 1445, d. 1510), indicating that these timepieces existed as early as the 1500s.[1] Made in Germany, this clock is a miniature version of the large iron tower clocks (also known as turret or great clocks) that were typically found on cathedrals and towers at the time. It has been expertly crafted and pieced together by a master blacksmith.[2] This Gothic clock has a dial and, unusually for the period, strikes the quarters as well as each hour. Its wrought-iron frame is a major feat in skilled precision blacksmithing. The four corner buttress frames set side by side are identical to within 0.25mm. The top and bottom plates of the frames lock into place, and the entire structure is held securely together by a single-tapered pin. No screws are used, except those that secure the upper part of the arch dial to the frame – and these are modern adaptations. The dial was originally secured by a strip of iron ending in lugs. The elegant cross-flower finials atop the frames are forged from red-hot steel on an anvil. Painted below the dial to the left are the Arms of the Dukes of Teck, and on the right are the Arms of the Dukes of Württemberg. In the 15th century, the Württembergs became the designated heirs of the Tecks. This clock is unusual, because it has two hands: an hour hand and a quarter hand. At the time, the use of hands to indicate the time was new and innovative, because the contemporaneous tower and cathedral clocks of the day did not have hands; they only sounded out the time with the ringing of bells. Gothic clocks normally only had an hour hand. Minute or, in this case, quarter hands were not a feature of this technology because the verge escapement with foliate balance was an inexact time regulator. This clock also was not capable of running for very long. Its going period was no more than 10 hours with a six-foot drop of the weight. There are three trains: one with verge escapement and foliot (both original) for going, one for the hour, and one for the quarter striking mechanisms. The motion-work gears between the quarter hand and the hour hand appear to be original. There is also evidence of an original alarm mechanism. The clock is regulated by moving the little weights in or out radially and then adding or removing some of the pieces on the weight. The hour hand was missing when the clock was purchased in 1946 by Mr P. Gwynn from Mr G. Bennett. The hour hand that is on the clock today is a replacement. Explore the development of tower and domestic clocks, such as this Gothic clock, in the Clocktime article 'The first timekeepers: telling time before the pendulum clock.' End Notes [1] Pavlac 2019, 87–88; Plassmeyer 2019, 113–120. [2] Garnier and Hollis 2018, 122, Catalogue No. 1; Lloyd 1962, figs 8, 9, 20 and 21. References Garnier, R. and L. Hollis. 2018. Innovation & Collaboration: The early development of the pendulum clock in London. Isle of Man: Fromanteel Ltd. Lloyd, H. Alan. 1962. Gothic Clocks – Antique Collector. Pavlac, B. A. and E. S. Lott. 2019. The Holy Roman Empire: A historical encyclopaedia (2 volumes). Santa Barbara, CA: ABC-CLIO. Plassmeyer, P. 2019. ‘Scientific instruments as courtly objects’ in Making Marvels: Science and splendour at the courts of Europe. New York, NY: Metropolitan Museum of Art.
