Augsburg Masterpiece Clocks

The beginnings of Augsburg's craft guild system go back to the fourteenth century when clockmakers were included in a guild of general smiths sanctioned in 1368. The clockmakers gained autonomy in 1564, giving them control over their affairs. To become an independent clockmaker with the Augsburg guild, an aspiring clockmaker was required to follow carefully prescribed steps.

The first step was an apprenticeship. An apprentice worked under a guild master for three years, learning the basic skills of the clockmaker. He then left to work as a journeyman for a further three or four years, honing his new-found skills. He could then apply to the guild for permission to make a masterpiece that demonstrated his understanding of the mechanical aspects of the trade. The guild assigned the journeyman a master and he was given six months to complete his clock. If his masterpiece was passed and certain social obligations met, the new master was entitled to open his own workshop. The regulations governing Augsburg masterpiece clocks were strictly enforced and technical specifications changed little during the hundred years prior to the invention of the pendulum. By this time, the process had become so ossified that working drawings of the required clock movement were readily available to aspiring masters. It was no longer necessary to design the movement, only to make it. Consequently, many master clockmakers were incapable of calculating and designing the movement of a complex clock.

Masterpiece clocks were required to use balance-wheel verge escapement with hog bristle regulation. The regulation dial is shown on the upper right subsidiary dial in Figure 1. The dial indicates speeds of 1-9. Another of the Augsburg masterpiece specifications stipulated that the clock must be able to strike either 1-12 twice or 1- 24. The upper left subsidiary dial controls the setting of the strike convention also in Figure 1. The choice of strike count is indicated by either the 12-24. In addition, the clock must strike the quarters on either the 12 or 24 strike convention. The masterpiece clock also required an alarm which is controlled by the lower right subsidiary dial displayed, also in Figure 1. The final subsidiary dial in Figure 1 is in the bottom left hand corner dial that displays the Dominical Letter and Epact Number allowing the user to determine the date for Easter.

Further to the features described on the subsidiary dials, the clock will also have astronomical functionality showing planetary aspects such as the zodiac and the age and phase of the moon, the day of the month and week. The last quarter and last hour struck will also be shown on another dial or aperture (Figure 2)

Figure 1: Unsigned masterpiece clock in Met Museum

The case for a masterpiece clock was not subject to rigid constraints and several forms were popular. Here the clockmaker could demonstrate his individuality, although he often chose the tower form (Turmcheuhr).

The tower-like case of the clock in Figure 3 was a form developed in the sixteenth century when Augsburg clockmakers collaborated with metalworkers to make miniature gilded turrets. The architectural structure provided the ideal surface for displaying the required dials and features for the masterpiece clock. In an inventive example of the marriage between form and function the obelisk at the top is removable and doubles as a winding key. The clock is large and measures 63.5 × 25.4 × 25.4 cm. I could imagine it is an amazing sight and it seems a shame it isn’t currently on display in the Met Museum.

Figure 2: Dial showing hours and small window displaying last quarter struck. Unsigned c. early 1600’s

By 1658 the Augsburg masterpiece was an obsolete horological tour-de-force, but updating the specifications was not undertaken until 1703. The clocks, which were required to use the balance-wheel verge escapement, were outdated even as they were being made. In 1657 at The Hague, Salomon Coster’s simple timepiece had made its appearance. This little clock incorporated Christian Huygen’s most radical idea for the improvement of timekeeping accuracy: the use of a pendulum as a regulator. The pendulum’s superiority over any other form of regulation then known was immediately apparent, with daily timekeeping variation of fifteen to twenty minutes being instantly reduced to only one or two minutes.

The complexity of these clocks is difficult if not impossible to comprehend, especially when one considers they were made in the 16th and 17th centuries - over 400 years ago! If you get the opportunity to visit an overseas museum, such as the British Museum, make sure you take the time to see there display of Renaissance clocks (especially the masterpiece clocks) as I’m sure you won’t be disappointed.

Sotheby’s Description of the clock in Figure 4 and Figure 3: The case of the unsigned masterpiece Clock in Met Museum 5: A gilt-metal quarter striking astronomical table clock, Augsburg, circa 1600. A 4¼-inch principal dial with silvered chapter ring numbered I-XII twice and enclosing an astrolabe with named stars and zodiac ring, engraved reversible tympanum for latitudes 45 and 48 degrees, a dragon hand, and two small subsidiary dials above for twelve/twenty four hour striking and regulation. The lower corners with larger dials for Dominical letter and Epact number and alarm setting and indication. The opposite side with 4¾-inch reversible calendar ring engraved with saints for every day of the year and enclosing a minute ring, hour dial engraved I-IIX twice and, at the centre, shutters indicating day length hand-set subsidiary dials to the upper corners. On the lower corners: dials for day of the week and position of the sun within the zodiac, the sides with dials recording the hour and quarter striking. All subsidiary dials silvered and with polychrome enamel decoration. The gilt-brass posted three train fusee movement with re-instated verge and balance wheel escapement, striking on two bells and with alarm acting on the larger bell, a further later striking train mounted within the base. The case surmounted by an eagle, obelisk and turned finials above a pierced gallery containing the bells, the front and sides with foliate decoration above hunting scenes, the interior with the Augsburg pineapple mark to both sides and the moulded flared base with later turned feet 50cm. 19¾in. high.

Figure 4: A gilt-metal quarter striking astronomical table clock, Augsburg, circa.1600. Sold at Sotheby's 158,500GBP in 2013 Figure 5: The reverse side of clock in figure 4