A preface should be personal. An author who writes on such subjects as Old Furniture and Old China, with a view to educating public taste and attempting to show why certain objects should be regarded more lovingly than others, meets with a volume of correspondence from collectors. Threaded through such correspondence, extended over a long period, I find the constant demand for a volume dealing with old clocks in a popular manner. There is no house without its clock or clocks, and few collectors of old furniture have excluded clocks from their hobby. I have been therefore blamed that I did not include some more detailed treatment of clocks in my volumes on "Old Furniture" and "Cottage and Farmhouse Furniture," my readers very justly advancing the argument that clocks form part of the study of domestic furniture as a whole. This may be admitted. But in the endeavour to satisfy such a want on the part of my clients, I plead that the subject of clockmaking is one to which years of study must be devoted. Since the first appearance of my _Chats on Old Furniture_ in 1905, I have not been unmindful of the co-related subject of old clocks. Over ten years of study, running parallel with my other work on the evolution of ornament and decoration of the English home, has enabled me to gather a mass of material and to attempt to satisfy the request for a complementary volume to my _Chats on Old Furniture_ and _Chats on Cottage and Farmhouse Furniture_. To this end I have embodied in this present volume many facts relating to provincial styles as well as Scottish and Irish types, with lists of local makers not before published. To the critics to whom I have hitherto been indebted for realizing the niche I desire to fill with my volumes, I preface this volume by stating that as far as possible the technicalities of clockmaking have been eliminated. The average reader and the average collector would be bored by such details, although some of us might like to see them included. I have not referred to foreign clockmaking, nor to famous church and turret clocks, nor to marvels of horology; I have advisedly limited my field to the English domestic clock. That such a treatment would appeal more to the collector is my personal opinion, and I trust my critics may incline to my view. The illustrations in the volume have been chosen to illustrate the letterpress and to illuminate points I endeavour to make in regard to the evolution of the various types coming under my observation. I have to express my indebtedness to the authorities of the British Museum for permission to include illustrations of examples in that collection, and I am similarly indebted to the authorities of the National Museum, Dublin.