Silver, gilded silver and filigree, Holland, The Hague, 1665-70, made by H.C. Breghtel

The clock is in the form of a temple with a cupola surmounted by an allegorical figure representing Time. Beneath the pierced dome, twelve reliefs separated by pilasters represent the Signs of the Zodiac. The four sides are designed as triumphal arches flanked by Corinthian columns; the front and sides contain dials and the back has a door providing access to the movement. The spandrels to the arches are decorated in relief with mythological figures. Each corner is surmounted with standing figures of classical deities; Apollo; Venus and Cupid; Mercury, Janus, Saturn, Diana, Jupiter and Mars. The dial on the front of the clock has both an hour and a minute hand; the dials on the sides only show the hour. Under the front dial, an hour glass is decorated with enamelled foliage and supported by two gilded amorini in high relief, one carrying a sceptre; the other resting a knee on an upturned vase. Under the side dials and Breghtel's signature on the back are three enamels representing a young woman, turbanned man and older woman. The pedestal of the clock is embellished with a series of plaques representing the seasons in pastoral settings; the ages of man in domestic contexts and appropriate mythological scenes. The clock is mounted on four ball feet covered with acanthus foliage, each foot is on a shaped square moulded base.

The surface of the case is decorated with applied pierced embossed and filigree silver, partly gilt, representing scrolling foliage, swags of flowers, cornucopia and classical heads. The gilding is used to punctuate the overall decoration. The statuettes of Time and the Classical Deities are gilded as is the plinth on which Time stands, the half columns flanking each side of the case and the shaped moulded bases under the feet.

The Victoria and Albert Museum

Gemeentesmuseum Exhibition RF.2004/810
The clock was displayed by the maker in his workshop in The Hague, prior to his death; it was auctioned in Amsterdam in 1715.

Historical significance: This sumptuous clock epitomizes the arts and sciences. Its classically-inspired architectural design provides an appropriate setting for free-standing figures representing classical deities surmounted by a figure of Time. The reliefs of the Signs of the Zodiac around the base of the cupola, and scenes illustrating the Ages of Man and the Seasons around the plinth, are appropriate commentaries on the passage of time. The eight-day movement strikes the hours on a bell in the top of the cupola. Although the movement was not particularly significant, the elaborate decorative scheme and the clock's hourly bell would have proclaimed its significance as a showpiece to visitors to Breghtel's workshop .

This clock is important for the decoration of its case as the time-keeping aspect is incidental. It was probably made for display by Breghtel and inspired a number of copies.

Breghtel was born in Nuremburg in 1609. By 1640 he had established himself as a silversmith in The Hague and by 1645 he was supplying the Statholder's Court. His widow Maria Steenwegge continued to manage the workshop after Breghtel's death in 1675, with the help of her sons-in-law.

Breghtel's three daughters each married goldsmiths, two were based in The Hague, Adriaen van Hoecke and Otto van Hesselt and one in Berlin (Samuel Blesendorff). Adriaen van Hoecke was still using Breghtel's mark two years after his master's death. He married Johanna Breghtel in 1659 and took over Breghtel's workshop in 1682.

The clock is listed in the inventory of the contents of the workshop in 1682 as "het grote silver horlogie met drie wijzerplaten, omtrent waardig vijff ende twintigh hondert gulden". It was sold at auction in Amsterdam 28 May 1715 as '"een Koninglyk Horlogie, zeer zwaer met fyn zilv. fil de gryn omtrokken, en tuss. beiden versiert met uytmuntende konstige gedreeve plaeten, zynde alle Historien uit Ovidius, beneffens verscheide plaeten met heerlyke Lof en Bloemwerken, en rondom d. Coupel div. sware vergulde Beelden, zynde alle overkonstig en deftig uytgevoerd, en 't uurwerk gemaekt door H. Bregtel in 's Gravenhage, loopt een maend".

This elaborate clock was made in The Hague about 1665-1670. Inspired by classical architecture it provides an appropriate setting for the statuettes at cornice level which represent classical Roman deities and is surmounted by an allegorical statuette representing Old Father Time. The cupola is decorated with reliefs representing the signs of the zodiac; the plinth with scenes of the ages of man and of the seasons. On three of the sides are enamels representing a younger and older woman and a man in a turban. Beneath the front dial, two putti support an hour glass. The overall pierced, embossed and filigree silver decoration is enhanced by judicious use of gilding to emphasize the vertical element of the design; the half columns which frame each of the sides provide visual support for the gilded statuettes above.

The clock is signed by Hans Coenraet Breghtel, one of the leading goldsmiths working in The Hague in the mid 17th century. The signature on the movement 'Adriaen van den Bergh Fecit Hague' indicates that the clockmaker was from the same city. The Hague was the seat of the Statholders Court and the Republic's main decision-making body for the States General so its population was the wealthiest in the country. The clock was probably made as a showpiece to attract patronage from The Hague's wealthy citizens.

92-1870