TABLE CLOCK IN THE FORM OF A TOWER
Southern Germany, circa 1600
Iron, steel, copper alloys;
casting, carving, painting, gilding
Iron, steel, copper alloys;
casting, carving, painting, gilding
One of the pearls of the Kremlin collection, this large table clock is made in Southern Germany.
The decoration of the clock, which has two dials, one on the front and one on the back, is a true synthesis of the arts: there are both paintings and small statuary - the figures of two putti, the sovereign on the throne and a rooster crowning the tower.
The clock is curiously described in the Inventory of the Workshop and Armoury Chamber of 1808, where the figure of the sovereign on the throne is interpreted as "the Pope sitting in a chair" blessing "the cardinals passing by".
According to the Inventory of 1885, which also mentions the Pope with the cardinals coming towards him, there were seven figures of the cardinals, but by the end of the 19th century they had disappeared.
The walls of the case are decorated with blossoming flowers – tulips, which were very popular in Europe at the time, as well as light coastal landscapes with city walls, trees on the shore and shuttles on the water, and figures in the foreground.
The large main dial of the clock is divided into twenty-four hours, unlike the small dial on the back, which also shows the minutes, days of the week, signs of the zodiac, months and phases of the moon. There are not only strokes and numbers – divisions for certain periods of time – but also inscriptions with the German names of the days of the week and the Latin names of the seven planets – their patrons, known from ancient times and depicted in the images of ancient deities. All are presented in bright red cartouches in a semi-reclining position. The names of the day and the planet are inscribed at the top of the cartouches.
The personalisations of the planets are interpreted both according to the ancient tradition dating back to antiquity and according to the artistic style prevailing at the time of its creation. These images echo the cycles of miniatures and engravings of the
16th century, in which the planetary deities are depicted reclining in chariots and travelling across the sky. The moon goddess Diana, patron of Monday, holds a crescent moon;
Mars (Tuesday) raises a sabre above his head; Mercury (Wednesday) holds a recognisable caduceus; Jupiter (Thursday) holds a large sceptre; Venus (Friday) reclines languorously on a bed; sombre Saturn (Saturday) raises a large sickle; and Apollo (Sunday), associated with the Sun, raises a radiant solar disc on a handle.
16th century, in which the planetary deities are depicted reclining in chariots and travelling across the sky. The moon goddess Diana, patron of Monday, holds a crescent moon;
Mars (Tuesday) raises a sabre above his head; Mercury (Wednesday) holds a recognisable caduceus; Jupiter (Thursday) holds a large sceptre; Venus (Friday) reclines languorously on a bed; sombre Saturn (Saturday) raises a large sickle; and Apollo (Sunday), associated with the Sun, raises a radiant solar disc on a handle.
The complex decorative system of the painted clock also includes images of the signs of the Zodiac above picturesque images of the planets.
Like the images of the planets, the twelve signs of the zodiac on the painted clock are dynamic and easily identifiable, and are presented in a landscape background that pleasantly enlivens the composition. Above each zodiac are the Latin names of the months, around them is the annual calendar, surrounded by a ring of Arabic numerals from 1 to 24 (the full diurnal cycle), and finally the outer ring is made up of Roman numerals, twice from I to XII, representing the hours of day and night.
These motifs are in keeping with the tradition of placing landscapes in relief cartouches on works of decorative and applied art, including clock cases (as seen on the Bacchus and Turk on Horseback clocks, for example).