cuckoo clock

A cuckoo clock is, typically, a pendulum clock that strikes the hours with a sound like a common cuckoo call and has an automated cuckoo bird that moves with each note. Some move their wings and open and close their beaks while leaning forwards, whereas others have only the bird's body leaning forward. The mechanism to produce the cuckoo call has been in use since the middle of the 18th century and has remained almost without variation.

It is unknown who invented the cuckoo clock and where the first one was made. It is thought that much of its development and evolution was made in the Black Forest area in southwestern Germany (in the modern state of Baden-Württemberg), the region where the cuckoo clock was popularized and from where it was exported to the rest of the world, becoming world-famous from the mid-1850s on. Today, the cuckoo clock is one of the favourite souvenirs of travellers in Germany, Switzerland and Austria. It has become a cultural icon of Germany.

Characteristics

The design of a cuckoo clock is now conventional. Many are made in the "traditional style", which are made to hang on a wall. The classical or traditional type includes two subgroups; the carved ones, whose wooden cases are decorated with leaves, animals, etc., and a second one with cases in the shape of a chalet. They have an automaton of a bird that appears through a small trap door when the clock strikes. The cuckoo bird is activated by the clock movement as the clock strikes by means of an arm that is triggered on the hour and half hour.

There are two kinds of movements: one-day (30-hour) and eight-day clockworks. Some have musical devices, and play a tune on a Swiss music box after striking the hours and half-hours. Usually the melody sounds only at full hours in eight-day clocks and both at full and half hours in the one-day timepieces. Musical cuckoo clocks frequently have other automata which move when the music box plays. Today's cuckoo clocks are almost always weight driven. The weights are made of cast iron usually in a pine cone shape and the "cuckoo" sound is created by two tiny gedackt pipes in the clock, with bellows attached to their tops. The clock's movement activates the bellows to send a puff of air into each pipe alternately when the timekeeper strikes.

Since the 1970s, quartz battery-powered cuckoo clocks have become available. As with their mechanical counterparts, the cuckoo bird emerges from its enclosure and moves up and down, but often on the quartz timepieces it also flaps its wings and open its beak while it sings. Just before the call, and in case it has a door, the single or double door opens and the bird emerges as usual, but only on the full hour, and they do not have a gong wire chime. The movement of the cuckoo in such clocks is regulated by an electromagnet that pulses on and off, attracting a weight, that acts as a fulcrum, connected to the tail of the plastic cuckoo, thus moving the bird up and down in its enclosure.

In quartz cuckoos, different systems have been used to produce the bird's call; the usual bellows, a digital recording of a real cuckoo in the wild (with a corresponding echo accompanied by the sound of a waterfall and other birds in the background) or a recording of the bird's call only. In musical versions, the hourly chime is followed by the replay of one of twelve popular melodies (one for each hour). Some musical quartz clocks in the chalet style also reproduce many of the popular automata found on mechanical musical clocks, such as beer drinkers, wood-choppers, and jumping deer.

Uniquely, quartz cuckoo clocks often include a sensor, so that when the lights are turned off at night they automatically silence the hourly chime. Others are pre-programmed not to strike between a set of pre-determined hours. Whether this is controlled by a light sensor or pre-programmed, the function is referred to as a "night silence" feature. On quartz wall clocks in the traditional style, the weights are conventionally cast in the shape of pine cones made of plastic rather than iron. The pendulum bob is often another carved leaf. Here, the weights and pendulum are purely ornamental as the clock is driven by battery power.

History

First modern cuckoo clocks

In 1629, many decades before clockmaking was established in the Black Forest, an Augsburg merchant by the name of Philipp Hainhofer (1578–1647) penned one of the first known descriptions of a modern cuckoo clock.Johannes Graf, ''The Black Forest Cuckoo Clock. A Success Story''. NAWCC Bulletin, December 2006: p. 646. In Dresden, he visited the Kunstkammer ( Cabinet of curiosities) of Prince Elector August von Sachsen. One of the rooms contained a chiming clock with a moving bird, a cuckoo announcing every quarter of an hour, which he briefly described as: "A beautiful chiming clock, inside a cuckoo, indicating the quarter hours with its beak and call, the hours with its flapping wings and pour sugar from its tail" (translated from the German). Hainhofer does not describe what this clock may have looked like and who built it. This piece is no longer part of the Dresden Green Vault collection, but appears in a 1619 inventory book as: "In addition, there is also a new entry. 1 Clock with a cuckoo that yells. It stands on a black pedestal made of ebony on the barber's chest" (translated from the German).

The Dresden timepiece should not have been unique, because the mechanical cuckoo was considered part of the known mechanical arts in the 17th century. In a widely known handbook on music, '' Musurgia Universalis'' (1650), the scholar Athanasius Kircher describes a mechanical organ with several automated figures, including a mechanical cuckoo. This book contains the first documented description—in words and pictures—of how a mechanical cuckoo works. Kircher did not invent the cuckoo mechanism, because this book, like his other works, is a compilation of known facts into a handbook for reference purposes. The engraving clearly shows all the elements of a mechanical cuckoo. The bird automatically opens its beak and moves both its wings and tail. Simultaneously, there is heard the whistle—call of the cuckoo, created by two organ pipes, tuned to a minor or major third. There is only one fundamental difference from the Black Forest-type cuckoo mechanism: The functions of Kircher's bird are not governed by a count wheel in a strike train, but a pinned program barrel synchronizes the movements and sounds of the bird.

On the other hand, in 1669 Domenico Martinelli, in his handbook on elementary clocks ''Horologi Elementari'', suggests using the call of the cuckoo to indicate the hours. Starting at that time the mechanism of the cuckoo clock was known. Any mechanic or clockmaker, who could read Latin or Italian, knew after reading the books that it was feasible to have the cuckoo announce the hours.

Subsequently, cuckoo clocks appeared in regions that had not been known for their clockmaking. For instance, the ''Historische Nachrichten'' (1713), an anonymous publication generally attributed to Court Preacher Bartholomäus Holzfuss, mentions a musical clock in the Oranienburg palace in Berlin. This clock, originating in West Prussia, played eight church hymns and had a cuckoo that announced the quarter hours. Unfortunately this clock, like the one mentioned by Hainhofer in 1629, can no longer be traced today.

In the 18th century, people in the Black Forest started to build cuckoo clocks.

First cuckoo clocks made in the Black Forest

It is not clear who built the first cuckoo clocks in the Black Forest, but there is unanimity that the unusual clock with the bird call very quickly conquered the region. By the middle of the 18th century, several small clockmaking shops between Neustadt and Sankt Georgen were making cuckoo clocks out of wood and shields decorated with paper. After a journey through south-west Germany in 1762, Count Giuseppe Garampi, Prefect of the Vatican Archives, remarked: "In this region large quantities of wooden movement clocks are made, and even if they were not completely unknown earlier, they have now been perfected, and one has started to equip them with the cuckoo's call."

It is hard to judge how large the proportion of cuckoo clocks was among the total production of early days Black Forest clocks. Based on the proportion of pieces surviving to the present, it must have been a small fraction of the total production. Especially 18th century cuckoo clocks, in which all the parts of the movement, including gears, were made of wood. They are extremely rare, Wilhelm Schneider was only able to list a dozen of pieces with wooden movements in his book ''Frühe Kuckucksuhren (Early Cuckoo Clocks)'' (2008). The cuckoo clock remained a niche product until the middle of the 19th century, made by a few specialized workshops.

Regarding its murky origins, there are two main fables from the first two chroniclers of Black Forest horology which tell contradicting stories about it: The first is from Father Franz Steyrer, written in his ''Geschichte der Schwarzwälder Uhrmacherkunst (History of the Art of Clockmaking in the Black Forest)'' in 1796. He describes a meeting, happened around 1742, between two clock peddlers (''Uhrenträger'', literally "clock carriers", who carried the dials and movements on their backs displayed on huge backpacks), Joseph Ganther from Neukirch (Furtwangen) and Joseph Kammerer from Furtwangen, who met a travelling Bohemian merchant who sold wooden cuckoo clocks. When they returned home, they brought with them this novelty, since it had caught their eyes, and show it to Michael Dilger from Neukirch and Matthäus Hummel from Glashütte, who were very pleased with it and began to copy it. Its popularity grew in the region and more and more clockmakers started making them. With regard to this chronicle, the historian Adolf Kistner claimed in his book ''Die Schwarzwälder Uhr (The Black Forest Clock)'', published in 1927, that there is not any Bohemian cuckoo clock in existence to verify the thesis that such a clock was used as a sample to copy and produce Black Forest cuckoo clocks. Bohemia had no fundamental clockmaking industry during that period.

The second story is related by another priest, Markus Fidelis Jäck, in a passage extracted from his report ''Darstellungen aus der Industrie und des Verkehrs aus dem Schwarzwald (Descriptions of the Industry and Transport of the Black Forest)'', (1810) said as follows: "The cuckoo clock was invented (in the early 1730s) by a clock-master ranz Anton Kettererfrom Schönwald. This craftsman adorned a clock with a moving bird that announced the hour with the cuckoo-call. The clock-master got the idea of how to make the cuckoo-call from the bellows of a church organ". Unfortunately, neither Steyrer nor Jäck quote any sources for their claims, making them unverifiable.



As time went on, the second version became the more popular, and is the one generally related today, though evidence suggests its inaccuracy.Johannes Graf, ''The Black Forest Cuckoo Clock: A Success Story''. In: NAWCC Bulletin, December 2006: p. 651. This type of clock is much older than clockmaking in the Black Forest. As early as 1650, the mechanical cuckoo was part of the reference book knowledge recorded in handbooks. It took nearly a century for the cuckoo clock to find its way to the Black Forest, where for many decades it remained a tiny niche product.

In addition, R. Dorer pointed out in 1948 that Franz Anton Ketterer (1734–1806) could not have been the inventor of the cuckoo clock in 1730, because he had not yet been born. This statement was corroborated by Gerd Bender in the most recent edition of the first volume of his work ''Die Uhrenmacher des hohen Schwarzwaldes und ihre Werke (The Clockmakers of the High Black Forest and their Works)'' (1998) in which he wrote that the cuckoo clock was not native to the Black Forest and also stated that: "There are no traces of the first production line of cuckoo clocks made by Ketterer". Schaaf, in ''Schwarzwalduhren (Black Forest Clocks)'' (1995), provides his own research which leads to the earliest cuckoos having been built in the Franconia and Lower Bavaria area, in the southeast of Germany, (forming nowadays the northern two-thirds of the Free State of Bavaria), in the direction of Bohemia (nowadays the main region of the Czech Republic), which he notes, lends credence to the Steyrer version.

Although the idea of placing an automaton cuckoo bird in a clock to announce the passing of time did not originate in the Black Forest, the cuckoo clock as it is known today (in its traditional form decorated with wood carvings) comes from this region located in southwest Germany. The Black Forest people who created the cuckoo clock industry developed it, and still come up with new designs and technical improvements.

Even though the functionality of the cuckoo mechanism has remained basically unchanged, the appearance has changed as case designs and clock movements evolved in the region. Around 1800, the first lacquered shield clocks appeared, the so-called ''Lackschilduhr'' ("lacquered shield clock"), characterized by having a painted flat square wooden face behind which all the clockwork was attached. On top of the square was usually a semicircle of highly decorated painted wood which contained the door for the cuckoo. These usually depicted floral motifs, like roses, and often had a painted column, on either side of the chapter ring, others were decorated with fruits as well. Some pieces also bore the names of the bride and bridegroom on the dial, which were normally painted by women. There was no cabinet surrounding the clockwork in this model. This design was the most prevalent during the first half of the 19th century.

By the middle of the 19th century, Black Foresters began to experiment with a variety of forms. In the 1840s, the Beha company had already been selling ''Biedermeier'' style table cuckoo clocks. Up until now, clocks had mainly been manufactured with a large shield hiding the movement behind, without a case surrounding it. Now, for the first time, timepieces with a real case were produced in large numbers. These clocks with their simple geometric shapes, some with small columns on both sides of the dial for decoration, are reminiscent of the art of the '' Biedermeier'' period. Such pieces were built between 1840 and the 1890s - and sometimes a cuckoo was included in these simple "''Biedermeier'' clocks". Some models had also a painting of a person or animal with moving eyes.

Towards the middle of the 19th century until the 1880s, picture frame cuckoo clocks also became available. As the name suggests, these wall timepieces consisted of a picture frame, usually with a typical Black Forest scene painted on a wooden background or a sheet metal, lithography and screen-printing were other techniques used. Other common themes depicted were; hunting, love, family, death, birth, mythology, military and Christian religious scenes. Works by painters such as Johann Baptist Laule (1817–1895) and Carl Heine (1842–1882) were used to decorate the fronts of this and other types of clocks. The painting was almost always protected by a glass and some models displayed a person or an animal with blinking or flirty eyes as well, being operated by a simple mechanism worked by means of the pendulum swinging. The cuckoo normally took part in the scene painted, and would pop out in 3D, as usual, to announce the hour.

Another type of picture frame clock (''Rahmenuhr'') produced in the region from the middle of the 19th century, was based on a Viennese model from around 1830. The front of these timepieces was decorated with a serially stamped brass plate. The brass was given a gold-coloured surface by polishing it or treating it with nitric acid. Some of these pieces, which were produced in large numbers up until the 1880s, were also available with a cuckoo mechanism.

As for house-shaped cases, in the 1870s the Beha company marketed table and wall models of considerable size, so-called ''Herrenhäusle'' ("House of Lords", a manor house or mansion), whose detailed wooden cases replicated attic windows from where the cuckoo pop out, a shingle roof with chimney, rain gutters and downpipes, etc.

On the other hand, from the 1860s until the early 20th century, cases were manufactured in a wide variety of styles such as; Neoclassical or Georgian (certain pieces also displayed a painting), neo-Gothic, neo-Renaissance, neo-Baroque, Art Nouveau, etc., becoming a suitable decorative object for the bourgeois home. These timepieces are less common than the popular ones looking like gatekeeper-houses (''Bahnhäusle'' style clocks) and they could be mantel, wall or bracket clocks.

However, the popular house-shaped ''Bahnhäusleuhr'' ("railway-house clock") virtually forced the discontinuation of other styles within a few decades.

File:KM - Kuckucksuhr 1790.jpg, Lacquered shield cuckoo clock painted with roses, 19th century
File:Picture frame cuckoo clock, ca. 1870.jpg, Picture frame timepiece, ca. 1870. Enamel dial in a rectangular painting on a sheet metal: a hunter lies in wait for a hovering bird of prey, while two boys look at the tree stump in which the camouflage cuckoo's door is located (Deutsches Uhrenmuseum, Inv. 05–0962)
File:Picture frame cuckoo clock, 2nd half 19th century.jpg, Picture frame clock with a serially stamped brass plate at the front, ca. 1850-1880 (Deutsches Uhrenmuseum, Inv. 05–3775)
File:Biedermeier style cuckoo clock.jpeg, '' Biedermeier'' syle piece without the two columns at the front, second half 19th century
File:Cuckoo clock, ca. 1885.jpg, A neo-Baroque spring driven, mantel clock, attributed to Johann Baptist Beha, ca. 1885. Original door missing (Deutsches Uhrenmuseum, Inv. 15–3833)
File:Cuckoo clock, Black Forest, ca. 1890.jpeg, A neo-Renaissance example, dial with cartouches of Roman numerals, ca. 1890 (Deutsches Uhrenmuseum, Inv. 09–3936)
File:Cuckoo clock with echo, ca. 1890.jpg, Castle-like ruins clock case with echo. There is a second smaller cuckoo partially visible in the sentry box at left, ca. 1890 (Deutsches Uhrenmuseum, Inv. 1995–638)
File:Cuckoo clock, ca. 1880.jpg, An eclectic style piece, combining Gothic and oriental decorative motifs, like the two dragons on its curved roof. Fürderer, Jaegler und Cie, Neustadt, ca. 1880 (Deutsches Uhrenmuseum, Inv. 07–3772)
File:Cuckoo clock, 1885.jpg, Another eclectic style example, case designed by Robert Bichweiler and crafted by Johann Winterhalder in Urach. The movement comes from Beha und Söhne in Eisenbach, 1885 (Deutsches Uhrenmuseum, Inv. 07–0325)

''Bahnhäusle'' style, a successful design from Furtwangen

In September 1850, the first director of the Grand Duchy of Baden Clockmakers School in Furtwangen, Robert Gerwig, launched a public competition to submit designs for modern clockcases, which would allow homemade products to attain a professional appearance.

Friedrich Eisenlohr (1805–1854), who as an architect had been responsible for creating the buildings along the then new and first Badenese Rhine valley railway, submitted the most far-reaching design. Eisenlohr enhanced the facade of a standard railroad-guard's residence, as he had built many of them, with a clock dial. His "Wallclock with shield decorated by ivy vines", (in reality the ornament were grapevines and not ivy) as it is referred to in a surviving, handwritten report from the Clockmakers School from 1851 or 1852, became the prototype of today's popular souvenir cuckoo clocks.

Eisenlohr was also up-to-date stylistically. He was inspired by local images; rather than copying them slavishly, he modified them. Contrary to most present-day cuckoo clocks, his case features light, unstained wood and were decorated with symmetrical, flat fretwork ornaments. His idea became an instant hit, because the modern design of the ''Bahnhäusle'' clock appealed to the decorating tastes of the growing bourgeoisie and thereby tapped into new and growing markets.

While the Clockmakers School was satisfied to have Eisenlohr's clock case sketches, they were not fully realized in their original form. Eisenlohr had proposed a wooden facade; Gerwig preferred a painted metal front combined with an enamel dial. But despite intensive campaigns by the Clockmakers School, sheet metal fronts decorated with oil paintings (or coloured lithographs) never became a major market segment because of the high cost and labour-intensive process,Johannes Graf, ''The Black Forest Cuckoo Clock. A Success Story''. In: NAWCC Bulletin, December 2006: p. 649. hence they were only produced (from the 1850s until around 1880), whether wall or mantel versions.

Characteristically, the makers of the first ''Bahnhäusle'' clocks deviated from Eisenlohr's sketch in only one way: they left out the cuckoo mechanism. Unlike today, the design with the little house was not synonymous with a cuckoo clock in the first years after 1850. This is another indication that at that time cuckoo clocks could not have been an important market segment.

Only in December 1854, Johann Baptist Beha, the best known maker of cuckoo clocks of his time, sold two of them, with oil paintings on their fronts, to the Furtwangen clock dealer Gordian Hettich, which were described as ''Bahnhöfle Uhren'' ("railway station clocks"). More than a year later, on 20 January 1856, another respected Furtwangen-based cuckoo clockmaker, Theodor Ketterer, sold one to Joseph Ruff in Glasgow.

Concurrently with Beha and Ketterer, other Black Forest clockmakers must have started to equip ''Bahnhäusle'' clocks with cuckoo mechanisms to satisfy the rapidly growing demand for this type of clock. Starting in the mid-1850s there was a real boom in this market. For example, numerous exhibitors at the trade exhibition in Villingen in 1858 offered cuckoo clocks in the ''Bahnhäuschenkasten'' or ''Bahnwartshaus''.
And in the annual report of the Furtwangen Clockmakers School of 1857/58 is stated: "The cuckoo clock therefore found a very special market again as soon as the ''Bahnhäuschen'', which was so very suitable for it, was used as a clock case."

By 1862, Johann Baptist Beha started to enhance his richly decorated ''Bahnhäusle'' clocks with hands carved from bone and weights cast in the shape of fir cones. Even today this combination of elements is characteristic for cuckoo clocks, although the hands are usually made of wood or plastic, white celluloid was employed in the past too. As for the weights, there was during this second half of the 19th century, a few models which featured weights cast in the shape of a Gnome and other curious forms.

Thanks to Eisenlohr's design, the cuckoo clock became one of the most successful Black Forest products within a few years. In a report on the exhibition of local products at the 1873 Vienna World's Fair, Karl Schott, the then head of the ''Furtwanger Landesgewerbehalle'' (Furtwangen State Trade Hall), wrote "that today the cuckoo clock is one of the most sought-after clocks in the Black Forest".