A French Louis XVI lyre mantel clock with oscillating movement, Barancourt, circa 1770.
Description
Louis XVI
During the reign of Louis XVI, there was a renewed interest in the art and architecture of Classical Antiquity. The art of the Greeks and Romans was nowhere near as accessible as it is today. Much had yet to be excavated and Greece was still part of the Ottoman Empire, making it difficult to visit. In applied arts and crafts, ornaments from architecture were often a source of inspiration. However, because knowledge was fragmentary, the Classics were not just imitated but an own interpretation was created using these classical elements. This clock is a fine example of this. The lyre, the stringed instrument of Apollo, among others, was of course a classical form which in this case is decorated with garlands and acanthus leaves. The combination of elements is decorative in a restrained way which resulted in a balanced design. In the Louis XVI period, there is another innovation in clockmaking. With some clocks the movement is left uncovered and visible, something rarely seen before this time. The visibility of the wheels and gears adds fascination and turns this clock even more into a ‘conversation piece. But that is not all. Mounting the movement in the pendulum causing it to swing back and forth while running completes the wonderment. A beautiful design, intriguing technique and fascinating motion, a beautiful object and clock in one.
oscillating movement
The knife-edge suspended pendulum carries the movement as pendulum bob. As a result, the assembly of movement and chapter ring swings back and forth while running. This is referred to as an oscillating movement. The movement has beautifully skeletonized plates, allowing one to see through the whole. It is driven by two spring barrels and is of at least eight day duration. It is regulated by a pinwheel escapement. The clock has half-hour striking on a bell by means of a countwheel.
Ormolu
The lyre-shaped frame is made of ormolu and is surmounted by a sunburst mask with trailing garlands. It is further decorated with ‘pearl borders’ above and acanthus leaves below. The moulded base is made of white marble and bleu de turquin and is raised on four turned flat feet.
