Mantel clock with musical movement ca. 1784 Clockmaker: Jean-Baptiste-André Furet One of the most remarkable clocks in the Museum is this one shaped like the bust of an African princess. The unusual model had already attracted attention during the late eighteenth century, according to a description in the anonymous chronicle Mémoires secrets, for July 4, 1784: “The curious are going to M. Furet’s shop in the rue Saint-Honoré to see three extraordinary clocks of his creation. The first represents the bust of a negress exceptionally Upon pulling one ear-ring the hour is described in the r

Mantel clock with musical movement ca. 1784 Clockmaker: Jean-Baptiste-André Furet One of the most remarkable clocks in the Museum is this one shaped like the bust of an African princess. The unusual model had already attracted attention during the late eighteenth century, according to a description in the anonymous chronicle Mémoires secrets, for July 4, 1784: “The curious are going to M. Furet’s shop in the rue Saint-Honoré to see three extraordinary clocks of his creation. The first represents the bust of a negress exceptionally Upon pulling one ear-ring the hour is described in the right eye and the minutes in the left. Upon pulling the other a musical movement plays a succession of airs.”[1] This particular clock was not long afterward acquired for the royal collection, but the model was repeated several times with small variations. One of them, signed by Furet, clockmaker to the king, is the Museum’s version. The dark, enameled surface of the bust contrasts beautifully with the clothing and accoutrements of gilt bronze, such as the turban with its tuft of plumes and the fur-trimmed robe, as well as the openwork earrings, the string of graduated beads, the floral garland, and the bow and quiver. Whereas the head and chest contain the clock movement, the marble plinth below serves as a case for the musical movement, a tiny pipe organ, which could once be activated by pulling the earring on the figure’s right ear but no longer functions. That such musical movements were delicate is illustrated by the fact that the example at the French court was already in need of repair three times during the late eighteenth century. The passage of time is not usually visible in this highly decorative clock. On the hour, the music would play and the eyes would open, showing the hour in roman numerals (i–xii) in the woman’s right eye and the minutes in arabic numerals (2–60) in the left. However, by pulling the earring on her left ear the eyes could be op

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