A fine German gilt brass quarter striking table clock with annual calendar...

A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.