A fine and rare Louis XVI ormolu mounted blue glass and marble temple clock,
circa 1775
17 ½ in. [44.5 cm] H
7 in. [17.8 cm] Diam.
Aptly named a “temple d’amour”, this clock includes a biscuit figure of Eros standing within the four blue glass columns. These rise from a circular base to support a movement “à cercles tournants” visible inside an ormolu band of garlands and tasseled cords held by female terms. An ormolu mounted blue glass dome with pineapple finial completes the clock. Light passing through the columns and dome give this clock a particularly pleasing appearance. The polished brass movement has an anchor escapement with a thread suspended pendulum in the form of a mock gridiron with a gilt mask of Apollo for a bob. The clock strikes the hours and half hours on a bell beneath the movement.
Clocks were among the first decorative objects to adopt neoclassical forms. One of these, an ormolu urn clock mounted with Sèvres porcelain, was delivered by the marchand mercier Poirer to Madame duBarry in 1769. Together with the slightly later “temple d’amour”, these so called “pendules à cercles tournants” display the hours and minutes on enamel plaques fixed to revolving bands that form part of the body of the clock. This innovation, which was intended to harmonize with Neoclassical forms, forced clockmakers to redesign their movements. Although the first urn clocks used conventional movements adapted for the purpose, temple clocks are constructed around a purpose made movement specifically reoriented to turn the hour and minute rings. This versatile design was mechanically successful and contributed to the continued popularity of the pendule à cercles tournants. |
