[Ill.u.s.tration: PLATE XLII.--Girandole in George Ropes House, 1800; Girandole, 1800; Const.i.tution Mirror, 1780.]

The earliest type of looking-gla.s.ses came into vogue in the first half of the eighteenth century, during the reign of Queen Anne of England.

The frames of simple wood gave little hint of the extravagant decorations that were to follow, the only ornamentation being gilded wooden figures and squat urns, which were occasionally used.

[Ill.u.s.tration: PLATE XLIII.--Picture Mirror showing Dawn, in Adams House, 1703; English Georgian Mirror, 1750; Two-piece Looking-gla.s.s, 1750.]

Owing to the extreme difficulty of making large pieces of gla.s.s, and also because it was not deemed prudent to waste the smaller pieces, many of the Queen Anne mirrors were made of two pieces of gla.s.s arranged so that one plate overlapped the other. Later, these parts were joined by strips of gilt molding. Several of these mirrors are still in existence, one of the earlier type being owned by Mrs. Walter L. Harris of Salem, showing a simple gla.s.s with gilt figure ornament.

One of the finest mirror designers was Chippendale, who wrought out Chinese patterns, his schemes showing a wonderful weaving of birds, flowers, animals, and even human beings. One design, typical of his work, shows a flat wooden frame cut in graceful arches, with a gilded eagle perched on top with outspread wings. Gilt rosettes and flowers, as well as ornaments strung on wire, were frequently used by him, and are considered characteristic of his type.

It was customary for the frames to rest on a pair of mirror k.n.o.bs, which were fitted to the lower edge of the frame and screwed firmly to the wall. These k.n.o.bs were often made of bra.s.s, but the most fashionable ones were of copper overlaid with Battersea enamel, and framed in rings of bra.s.s. Among the most quaint designs which were carried out on these mirror k.n.o.bs were heads of prominent persons such as Washington, Lafayette, and Lord Nelson. Bright-colored flowers and landscapes, the American eagle, and the thirteen stars, representing the original colonies, were also frequently used, as were the queer designs of the funeral urn and weeping willow, that seemed to especially appeal to our ancestors' taste.

By the year 1780 American mirror manufacturers had evolved a style peculiarly their own, and the gla.s.ses made at that time were known as Const.i.tution mirrors. The frames were not unusual in design, generally being made of wood, in more or less elaborate shapes, but they were original in their decoration, especially in their tops. These generally were graced by the American eagle, the newly chosen emblem of the Republic, executed either in plaster covered with gilt, or in wood. A good example of the Const.i.tution type is shown in the Lord house at Newton. The top shows the usual eagle decoration, though the cornice is overhanging, fixing the date of manufacture early in the nineteenth century. This mirror is especially historic, having belonged to the brilliant Revolutionary hero, Henry Knox, General Washington's most intimate friend.

Another handsome mirror of the same period is one that was originally in the Harrod mansion at Newburyport. It was one of the few things saved when the house was burned at the time of the great fire in 1812. This mirror now hangs in the home of a lineal descendant of the Harrod family in Salem. It is in perfect condition, and shows the eagle top and draped sides.

The overhanging cornice came into vogue early in the nineteenth century.

A mirror characteristic of this date is shown in the living room at "Highfield," the Byfield home of the Adams family, built by Abraham Adams in 1703. It has a gilt frame of the ordinary picture type, and on account of its a.s.sociation is most interesting.

A specimen of the same period is shown in the Lord house at Newton.

This is decorated with the figure of a G.o.ddess sitting in a chariot drawn by two rams. The frame is of fine mahogany, with handsomely carved columns, simply ornamented.

[Ill.u.s.tration: PLATE XLIV.--Oval Mirror, showing Acanthus leaves, once on Cleopatra's Barge, the first pleasure yacht built in America; Mirror, 1710, resting on ornamental k.n.o.bs; Mirror, 1810, in Dudley L. Pickman House.]

Other types of mirrors popular in the days of our forefathers were the mantel mirrors that came into favor early in the eighteenth century, first in England and later in America. Their greatest period of popularity was from 1760 until the commencement of the nineteenth century. Many of these gla.s.ses were oval in shape, though the majority consisted of three panels of gla.s.s separated only by narrow moldings of wood. This style was probably originated by some economical cabinet-maker who, in order to avoid the heavy expense which the purchase of large plates involved, designed these. They were most favorably received upon their introduction, and many of the old gla.s.ses to be found at the present day are of this style.

One of the most valuable of these three-piece mantel gla.s.ses is that in the drawing-room of the Pierce-Nichols house on Federal Street at Salem, the frame of which has attracted the attention of antiquarians all over the country. It was made for a bride, who in 1783 came to be mistress of this old home, and it shows a finish of gold and white harmonizing admirably with the surrounding white woodwork, exquisitely carved by Samuel McIntyre, the noted wood-carver. Its princ.i.p.al features are slender, fluted columns twined with garlands, which fancy is repeated in the decorations of the capitals. Above the gla.s.s are two narrow panels, one of white ornamented with gilt, and the other of latticework over white. Just beneath the overhang of the cornice is a row of gilt b.a.l.l.s, a form of decoration that came into style during the latter part of the eighteenth century, and which continued to characterize a certain cla.s.s of mirrors for several decades.

Late in the nineteenth century mirrors known as bull's-eyes and girandoles came into vogue. These were circular in form, the gla.s.s usually convex, and they were made by Chippendale, the Adam Brothers, and others. The fact of their being convex rendered them impractical for common use, though it allowed for elaborate framing, and they were employed rather for ornament than for use. Looking up the old definition, we find these gla.s.ses alone have the right to be called mirrors, and that all else save "circular convex" should, properly speaking, be termed looking-gla.s.ses.

One good example of this type was in the George house at Rowley, Ma.s.sachusetts, now demolished. It showed a heavy gilt frame, surmounted by an eagle.

Originally, there were shown in Hamilton Hall, at Salem, two fine examples of girandoles, with gla.s.s pendants, which in the midst of lighted candles reflected myriad sparkles. Interesting, indeed, would be the tales they could tell of fair ladies in powder and patches, and courtly gallants who in the long ago gathered in this famous hall to tread the measures of the minuet! These girandoles were the gift of Mr.

Cabot, and they are now replaced by simpler examples, the originals having been given to the Saltonstall family, in whose possession they still are.

Of the late colonial looking-gla.s.ses, there are two general types, the earlier dating back to about 1810 and characterized by an overhanging cornice, beneath which pendant b.a.l.l.s or acorns are frequently found, with frames of wood carved and gilded, or painted. Further decoration is found in a panel beneath the cornice ornamented with various designs, such as a horn of plenty, floral subjects, or cla.s.sical scenes.

In the later type, the cornice has disappeared, and the frame as a rule is more simply ornamented. The upper panel, however, has been retained, and almost invariably it shows a painting of some sort. Until within a comparatively few years, it was not a difficult matter to secure mirrors of this type, but the recent fad for collecting old furniture has caused many of the best specimens to be purchased, and, in consequence, really good colonial mirrors are rapidly becoming scarce, and one is a treasured possession.

The Kittredge house at North Andover, Ma.s.sachusetts, shows several fine examples of this later type, and other examples are to be found in the Lord house at Newton, and in several Salem residences. These show a great variety of panels, ranging from pastoral scenes to horns of plenty, and from ships to simple baskets of flowers.

It is interesting to note, in connection with these old-time mirrors, the influence of the period reflected in the framing, and also how graphically the frame depicts the social life of its date of manufacture, and the country in which it was designed. There is a marked flamboyancy in the Venetian designs of the early eighteenth century, changed in the middle of the same century to a heavy splendor and inartistic grandeur. England, slightly earlier, gave examples of fruit which many think were designed by Gibbon, but which materially lack the freedom of his work.

Scrolls and angles, arabesques and medallions, belong to the second half of the eighteenth century. Many such came to New England, and one of these mirrors is still seen in a Salem home. Its decorations hint of the influence of the Renaissance, and it shows medallions decorated with grotesque figures on either side of the upper panel.

[Ill.u.s.tration: PLATE XLV.--Mirror, 1770; Lafayette Courting Mirror, Osgood Collection; Empire Mirror, 1810.]

Perhaps as interesting as any of the old mirrors is the Lafayette mirror, one excellent example of which is seen in the Osgood house at Salem. This is small in size, surmounted with a painting of Lafayette, and is one of a great number designed in compliment to the beloved Frenchman's visit to Salem in 1784. It is known as the Courtney Mirror.

Many of the fine old specimens to be seen in Salem were brought to New England at the time of the old seaport town's commercial glory, about the period of the Revolution, and previous to the restrictions following the War of 1812. These were halcyon days in Salem, "before the great tide of East India trade had ebbed away, leaving Derby Street stranded, its great wharves given over to rats and the slow lap of the water among the dull green piles."

Probably there are few of these old-time mirrors but have been connected with interesting traditions and events, and it seems a pity that their histories have never been compiled, but have been allowed to pa.s.s unrecorded, leaving the imagination to conjure up scenes of joy and sorrow that have been reflected in their depths. Still, for all their unwritten stories each and every one possesses a glamor of mystery that makes the work of collecting them most fascinating. The personal note so prevalent in nearly all workmanship of past centuries is particularly noticeable in the looking-gla.s.s, and perhaps it is this very attribute more than anything else that lends so great a degree of charm and attractiveness to them.

CHAPTER XII

OLD-TIME CLOCKS

There is something quaintly pathetic about an old colonial clock. Its sociability appeals to all home lovers, as it cheerily ticks the hours away, with a regularity that is almost human.

The first clocks, if so they might be called, were composed of two bowls connected by an opening through which water trickled, drop by drop, from one to the other. Next came a simple contrivance consisting of a greased wick tied into knots. The smoldering of the lighted wick determined the flight of time.

The first clock, which was made in 807, was given as a present to the Emperor Claudius. It was a small clock of bronze inlaid with gold, and was fitted with twelve small doors. Each one of these opened at a given time, and allowed tiny b.a.l.l.s to roll out, differing in number according to the hour represented. Promptly at the strike of twelve, toy hors.e.m.e.n came prancing out, and closed every open door. This was a marvel of clock-making that attracted a great deal of attention.

In 1335, a monk, Peter Lightfoot by name, constructed a wonderful clock, which he presented to Glas...o...b..ry Abbey. During the fifteenth and sixteenth centuries, many and varied kinds of clocks were made, and we are a.s.sured that this was a successful venture, even in the early ages, from the fact that in 1500 a clock-makers' union was formed.

To one who is interested in the history of clocks, there is no better place to view them than in Europe, where the most skilled clock-makers lived during the seventeenth and eighteenth centuries. Ma.r.s.eilles, Exeter, and Westminster Abbey are the homes of some of the most wonderful clocks in the world.

Some of the most beautiful of these were made by Chippendale and Sheraton, the former manufacturing specimens that stood nine feet high and measured twenty-five inches across. On the door, was placed a reliable thermometer, while on the inner circle, the signs of the Zodiac were marked, the outer circle showing the movable features by means of a sliding ring.

The manufacture of clocks in America began early in the eighteenth century. Among the earliest clock-makers was one Benjamin Bagnall, who learned his trade in England and settled in Boston in 1712. A record of a meeting of the selectmen of the town on August 13, 1717, reads: "that Mr. Joseph Wadsworth, William Welstead, Esq., and Habijah Savage, Esq., be desired to treat with Mr. Benjamin Bagnall about making a Town Clock," and according to the record in September of that year he was paid for it.

The earliest Bagnall clock on record is of the Pendulum type, in a tall case of pine; on the inside of the lower door was written: "This clock put up January 10, 1722." Another, very similar to this type, belongs to the New England Historical Genealogical Society of Boston. The case, though plain, is handsome and unusual, being made of solid black walnut.

Most of the cases, however, were made of pine, veneered. The use of this wood was characteristic of old American-made cases, while those of old English make were veneered on oak.

A particularly fine Bagnall clock is in the Hosmer collection at Hartford, Connecticut. It is a black walnut veneer on pine. A peculiarity of the Bagnall make is the small dial, only twelve inches square. Above the dial is an arched extension, silvered and engraved with the name of the maker. Samuel Bagnall, son of Benjamin, has left a few good clocks, thought to be equal to the work of his father.

The clocks of Enos Doolittle, another colonial maker, are not numerous enough to give him a prominent place among the great manufacturers.

Nevertheless, he deserves much praise for the few good clocks which he has left behind. One of them is at Hartford, Doolittle's native town.

The case is of beautifully carved cherry, ornamented with pilasters on the sides of the case and face; the top of the case is richly ornamented with scrolls and carvings. A circular plate above the dial has the legend "Enos Doolittle, Hartford."

[Ill.u.s.tration: PLATE XLVI.--Willard Banjo Clock, 1802; Banjo Clock, 1804; Willard Banjo Clock, 1802.]

There were many small clock-makers in colonial days, one, we might say, in every town, who left a few examples of their work; but none of them left the number or quality produced by the great clock-makers, the Willards. Benjamin Willard, who had shops in Boston, Roxbury, and Grafton, made a specialty of the musical clock, which he advertised as playing a tune a day and a psalm tune on Sundays. Aaron Willard, a brother, made tall, striking clocks. One of his productions, owned by Dr. G. Faulkner of Boston, has run for over one hundred and twenty years. On the inside of the case is written: "The first short timepiece made in America, 1784." It is a departure from the ordinary Aaron Willard clock, because it is so short. The case of mahogany stands only twenty-six inches high; and there are scroll feet, turning back. A separate upper part, with ogre feet, which can be lifted off, contains the movements. Simon Willard, another brother, in 1802 patented the "Improved timepiece" which later was known as the "banjo" because of its resemblance in shape to that instrument. The "banjo" which Willard manufactured had a convex gla.s.s door over the face, a slim waist with bra.s.s ornaments running parallel to the curve of the box, and a rectangular base, which was sometimes built with legs for a shelf, sometimes with an ornamental bracket on the bottom, in which case the clock was intended for the wall. The construction of these clocks was simple; the works were of bra.s.s, and capable of running eight or nine days. There was no strike, but this clock was a favorite, because of its accuracy.

Hardly less famous than the Willards was Eli Terry, born April, 1773, in East Windsor, Connecticut. Before he was twenty-one, he was recognized as having unusual ingenuity at clock-making. He had learned the trade from Thomas Harland, a well-known clock-maker of the times, had constructed a few old-fashioned hanging clocks and sold them in his own town. He moved to Plymouth and continued to make clocks, working alone till 1800, when he hired a few a.s.sistants. He would start about a dozen movements at a time, cutting the wheels and teeth with saw and jack-knife. Each year he made a few trips through the surrounding country, carrying three or four clock movements which he sold for about twenty-five dollars apiece.

Felt tells in his annals that "in 1770, Joseph Hiller moved from Boston to Salem and took a shop opposite the courthouse on the exchange." Later on, in 1789, we learn that Samuel Mullikin made an agreement to barter clocks for both English and West Indies goods, and also in exchange for country produce. So popular did they become that we learn that in 1844 there were in Salem ten clock-makers and eleven jewelers all working at this trade.

While the colonists still imported many of their clocks, yet in 1800 clock-making had become such a thriving industry that wooden cases were constantly being made, the manufacture of the works being a separate field.

[Ill.u.s.tration: PLATE XLVII.--English Grandfather's Clock, William Dean Howells; Collection of Old Clocks, property of Mr. Mills, Saugus, Ma.s.s.; Grandfather's Clock, formerly owned by President Franklin Pierce.

Property of Mrs. Charles Stark.]

One of the most interesting is a tall grandfather's clock, showing the moon above the face, at the Stark house in Dunbarton. This clock formerly stood in the old Governor Pierce mansion at Hillsboro. It is very handsome, showing fine inlaid work on the case.