Isaac Habrecht's Curious Clock.

This ingenious piece of workmanship was for more than two centuries in the possession of the Court of the Popes of Rome; and was subsequently the property of William the First, King of the Netherlands. It was sent to England for sale in 1847, at the fixed price of 5,000 guineas. It was exhibited at the Marquis of Northampton's soiree, in March 1848, to the members of the Royal Society, and many other distinguished savans. It was first engraved for the "Illustrated London News," and a correct exterior representation of this ancient curiosity is now presented to the subscribers of the Engineer's and Mechanic's Encyclopaedia, and forms a suitable Frontispiece to our article Horology, page 683.

Its construction is very interesting, as showing the state of clock-making towards the close of the sixteenth century. It bears decided proof of having been produced by manual labour, without any other assistance than the bench of the turner and the tile.

It is obvious this clock had the ancient motive power; the pendulum being a later invention of the celebrated Christian Huygens, in 1657.

The design consists of a tower, divided into three stories, with doors of strongly gilt copper, tastefully chased and ornamented, and supported by twelve columns of strongly gilt copper. In front of the lower story, within a square chamber, is a large dial plate, which moves round its whole circuit only once a year: it shows also the date of the month, and all the Catholic feasts and holy days throughout the year. In the centre is a small plate, very curiously chased, representing the twelve signs of the zodiac, with the sun and moon pursuing their course, so that at one glance it may be ascertained in what sign of the zodiac they are at the time. Within this circle is a small globe, pointing out the proper phases and aspects of the moon; and within all this are the fixed stars. The four corners of this chamber are emblematically engraved with the names of those nations who have conquered kingdoms at an early period.

In front of the second story are the minutes and minute-hand, and on each side are two silver figures, one hand of these figures pointing to the minutes, the other hand being set in motion by mechanism: during the striking of the clock, the one figure turns the hour-glass, as an emblem of time, the other wields the sickle of death. Above each of the silver figures is a Latin verse; and in the middle of the plate is a simple yet correctly mathematical representation of how the globular form of the earth is perceptible to the eye. Above, the minute-hand describes a circuit of 24 hours, each half of the dial-plate containing 12 hours; the day hours being marked with the image of the sun, and the hours of the night with the image of the moon. On the tour corners of the dial-plate are engraved the four seasons of the year.

The third story also consists of four divisions, which project in the manner of a balcony. Round the centre of the lower division move the seven silver figures of heathen gods, in chariots: every deity makes its appearance once in seven days, exactly in front, where it remains for 24 hours, when it is relieved by the next; these godheads represent the seven days of the week.

In the centre of the second division is an image of the Virgin, holding her son Jesus in her arms; two angels placing crowns and garlands on her head; and during the performance of the bells several angels make their appearance, making their obeisance before the image of Mary and the Saviour.

Within the centre of the third division is a metal bell pending on a gilt plate of copper, on which is represented the judgment day. Round this plate move four silver figures, set in motion by mechanism, representing the four states of social life. These images point out the quarters of the hour by striking the bell: the first quarter is represented by a youth, the second by a grave citizen, the third by a Roman soldier, and the fourth by a priest.

In the fourth division is a metal bell, on the sides of which there are chambers; on the left side is the representation of Death, proclaiming the hours of day and night by striking the bell; above it is seen a Latin inscription, from Romans, chapter vii. verse 23d. To the right side is the image of the Saviour, stepping forward, with the globe in his hand, and above it the cross, This figure proceeds, every two minutes, in a slow manner, and then, for a moment hides itself from view: above it is a Latin verse from the prophet Hosea, chapter 13th.

These two figures are of massive silver: behind the bell is inscribed the name of the artist, and the date 1589.

The whole is covered with copper, beautifully worked in filagree; on the top is a cock, which, at the close of the chiming, spreads its wings, and crows.

On the side doors are exquisite gilt figures of the Virtues, with flowers and other ornaments; and within are figures of the Fates.