Chariot clock

Car of History by Carlo Franzoni, 1819. With a life size statue is perhaps the largest chariot clock ever made. National Statuary Hall, US Capitol.

A chariot clock is a type of mantel/table figural clock in the form of a chariot whose dial is set into the wheel or elsewhere, its origins date back to the second half of the 16th century southern Germany.^[1] Normally of classical mythology subject matter, it has been made in different periods and styles such as Renaissance, Louis XV, Louis XVI, Empire, Napoleon III, Art Deco, etc.

History

Renaissance

The chariot of Gambrinus, late 16th century. Southern Germany.

In the historical context of the Renaissance, the so-called chariot clocks born in South Germany, a centre for clockmaking in Europe that flourished between 1550-1650, the leading cities being Augsburg, Nuremberg and Munich. They were selfmoving wheeled tabletop clocks that included automata figurines and some a musical movement too. The German examples have not the dial inserted in the wheel, but in the seat or some other place.

Most of them were fabricated in Augsburg, although several existing clocks cannot be located due to the lack of inscriptions or hallmarks and are therefore ascribed only to South German workshops. These rare and at those days very costly pieces were only afforded by the nobility and royal courts.

The Golden Age: Empire style

The chariot of Phaeton by Pierre-Philippe Thomire. One of several variations, France, c. 1805.

Featuring the goddess Ceres, an unusual example with an automaton elephant. Unlike the German ones, French chariot clocks were not selfmoving and did not include automata figurines. France, c. 1805.

A rare Austrian chariot clock, which had cases made out of wood, not bronze, c. 1810. National Watch and Clock Museum.

In the 18th century France, during the Louis XV and Louis XVI reigns a small number of models,^[2] following their respective styles, were made, but it was not until the late 1790s and particularly during the first quarter of the 19th century that this type of clock found true popularity.^[1]^[2] Its revival was largely inspired by Napoleon Bonaparte’s conquers and victories in battles,^[2] though it continued to be in vogue after his definitive fall in 1815, specifically until the mid 1820s.

Its popularity in much of Europe^[3] gave rise to a wide diversity of models (and variations within each model), allowing the fullest opportunity for the sculptor and bronzier to express their creativity and the brilliance of their craft. The freedom of trade initiated by the French Revolution allowed many casters, who during the ancien régime worked in workshops strictly limited to making bronze, to develop large factories. They took advantage of this opportunity to execute all stages of bronze making within one factory and drew, cast, gilded, assembled and sold objects of their own workshops.^[4] Artisans still benefited from pre-Revolution training and worked according to the standards of a luxury art from the ancien régime, but they had better means of production and organization. Once freed from the technical constraints, the artists were able to give free rein to their imagination and their fantasy to create a multitude of models.

This coincided in time with the golden age of the decorative bronze using the ormolu technique, with a whole series of celebrated bronziers creating masterpieces of design, craftsmanship and good taste, one of the most famous being Pierre-Philippe Thomire. All followed the same basic design, featuring an ancient chariot (two or four wheeled) on top of a rectangular or oblong base made out of bronze or marble, carrying figures of classical mythology deities, with the majority of them having the dial set into the wheel.

In common with the rest of the French Empire style mantel clocks of the period, the allegorical pendules au char (chariot clocks) also had a meaning, served a political ideology and often exalted moral values:^[5] Heroism, bravery, military virtues, love and fidelity, study and encouragement of arts and sciences, etc. They also have an educational power^[5] with evocative themes and narrative scenes in relief at the base.

Apart from France, in the first quarter of the 19th century, although to a much lesser extent, Empire style chariot clocks were also fabricated in Austria, England and Italy.

Variety of styles (second half of the 19th century until the present)

Left: An example in the Napoleon III style. France, c. 1870. Right: Art Deco model signed ODYV. France, 1930s.

During the second half of the 19th century and early 20th, this type of clock was produced again in France, some were replicas/versions of Empire and Louis XVI style preexisting models, while others were new designs crafted in the style of the day, like Napoleon III, or inspired in styles of the past, such as Louis XV or Rococo.

In the United States, the New Haven clock company produced a model in the early 20th century.

Among the range of models of the French company Berlot-Mussier (they used the trade name ODYV between 1927-1940) there were one in the Art Deco style with the case made out of faience they sold in the 1930s.

Gallery

Renaissance

Engraving showing the present given to the Queen of France Marie de' Medici when the Kings visited Metz in 1603.
Chariot clock depicting Diana. South Germany, c. 1610.
Also depicting Diana. South Germany, c. 1610.
With the goddess Minerva. Achilles Langenbucher. Augsburg, c. 1620.

Empire style

The chariot of Diana. Directoire period, France, c. 1796.
Allegorical clock of the harvest featuring a Bacchante. Consulate period, France, c. 1800.
This example portraying Aurora has a chariot pulled by two sinuous dragons. France, between 1800-1810.
Love led by Filedity. First empire period, France, between 1805-10.
Driven by a putto, the rear ends in a dragon. First Empire period, France, c. 1810
The chariot of Telemachus, after a design by Jean-André Reiche (1807). First Empire period, France, c. 1810.
Ganymede in a chariot drawn by two eagles. First Empire peiod, France, between 1810-1815.
A biga ridden by a charioteer. First Empire period, France, between 1810-15.
Depicting the god Apollo. First Empire/Restoration period, France, c. 1815.
Allegorical piece of the four seasons. Restoration period, France, c. 1822.
Portraying the god Eros. Restoration period, France, c. 1823.
With the goddess Cybele. Restoration period, France, c. 1825.