Chariot clock

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. 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.

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.

In the 18th century France, during the Louis XV and Louis XVI reigns a small number of models, 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. Its revival was largely inspired by Napoleon Bonaparte’s conquers and victories in battles, though it continued to be in vogue after his definitive fall in 1815, specifically until the mid 1820s.

Its popularity in much of Europe 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. 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.

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Wikipedia