ANTIQUE COLLECTING The Journal of the Antique Collectors' Club
Extract from the April 2008 Magazine - Horological Issue

	ALABASTER CLOCKS by Ian Beilby
The prime purpose of any clock is simply that of efficiently telling the time, and the proficient clockmaker gives considerable thought to this end when designing both the clock movement and the dial. The movement must be accurate and the dial clearly legible. There is another consideration, however, that has to be taken into account when marketing a domestic clock, that of the visual appeal of the case and the material from which the case is made. It is a practical necessity that the case must protect the movement from the ingress of dust and dirt and at the same time afford clear visual access to the dial in order to be able to tell the time at a glance. If the marketing of the clock is to be successful the clock-maker must give as much thought to the design of the case as he does to the reliability of the mechanism. Not only has the movement to be housed safely, but the style of the case must also be practical, aesthetically pleasing and appeal to the purchaser. Many clockmakers employed case designers and out-workers to make their cases for them and to advise on what was realistic and in vogue. Some clockmakers felt that case manufacture was a totally separate discipline from clockmaking, best left to others more experienced in case construction and the decorative arts. Over the years this has led to the use of many different styles of clock case and, in particular, various different materials both natural and man-made being adopted by casemakers around the world. Some natural materials are common to all countries; others, by the very nature of their geographic availability, are restricted to just a few. The combination of material and design can sometimes give a good indication of the manufacture, age and origin of a particular clock. This can be especially useful if the maker of the clock is not known or recorded. However, if a particular case design has been universally popular over a number of years, this may not help. Clockmakers in different countries would frequently replicate other successful designs in order to sell their clocks both in their own country and abroad. This practice became increasingly prevalent in the 19th century with the increase in manufacture, trade and economic competition between Europe and America. Of all the clockmaking nations of the 19th century the French clock designers were highly innovative and creative, utilising both natural and man-made materials to the full. Over the years they produced literally hundreds of different designs of clock cases in which to house the reliable movements produced by the many French clock manufacturers of the day. They were extremely resourceful artisans and craftsmen, capable of producing fine work in any medium or material. One such material almost exclusively used by French clock casemakers was alabaster. If you see or possess a 19th century clock housed in an alabaster case, the chances are that it is of French origin. The French were very experienced in working with marble and alabaster and both materials were readily accessible in Europe. Alabaster is a compact variety of soft gypsum or hydrated calcium sulphate, which is usually whitish in colour and semi-translucent. However, various mineral traces may produce other colours including yellow, brown or even black. It is also usually found to contain veins of colour varying from pink to reddish brown. It is a soft material, too soft for external use or building work, but ideal for internal decorative use and ornamental carving.