Page:St. Nicholas, vol. 40.1 (1912-1913).djvu/404

258 burg in 1425, in Padua in 1430, in Dantzic in 1470, in Prague in 1490, in Venice in 1495, and in Lyons in 1508.

Not all, of course, were as artistic as that of Nuremberg; but no town now contented itself with a simple clockwork to tell the hours. Some had a stroke for the hours, and some had chimes; the one showed single characteristic moving figures, while others were provided with great astronomical works, showing the day of the week, month, and year, the phases of the moon, the course of the planets, and the signs of the zodiac.

On the town clock of Compiègne, which was built in 1405, three figures of soldiers, or “jaquemarts,” so-called (in England they are called “Jacks”), struck the hour upon three bells under their feet; and they are doing it still. The great clock of Dijon has a man and a woman sitting upon an iron framework which supports the bell upon which they strike the hours. In 1714 the figure of a child was added, to strike the quarters. The most popular of the mechanical figures was the cock, flapping his wings and crowing.

The clock on the shows, besides the phases of the moon, two pugnacious goats, which butt each other at each stroke of the hour; also the wretched Tantalus, who at each stroke opens his mouth and tries to seize a golden apple which floats down; but in the same moment it is carried away again. On the Rathaus clock in Jena is also a representation of Tantalus, opening his mouth as in Aschersleben; but here the apple is not present, and the convulsive efforts of the figure to open the jaws wide become ludicrous.

One of the first clocks with which important astronomical works were connected is that of