Of exceptional interest is the fine clock by J. Windmills. The marquetry case of this clock has been untouched, and its condition, as shown by the illustration (p. 77), helps to prove a point. It is clear that the panel of marquetry was not intended by the craftsman who laid it to have a hole to show the pendulum. The design shows the disturbance caused by this unexpected innovation. The enlarged hood shows the broken frieze, an accident frequently attending old examples. But the frame in hood around glass has been laid in marquetry by a coarser hand in an attempt to be in keeping with the panel of the door in case below. The somewhat clumsy joinery of the door frame, shown clearer in the enlargement, indicates the amalgamation of the English case-maker and the more finished marquetry-panel worker. [Illustration: LONG-CASE CLOCK. Maker, Henry Harper (Cornhill). 1690-95. Height, 8 ft. 6 in. Width, 1 ft. 7-1/2 in. Depth, 10 in. (_In the possession of Mr. John Girdwood, Edinburgh._)] Frequently cases offer curious obstacles to preconceived ideas. Take, for example, the fine case with the movement by Henry Harper of the period from 1690 to 1695 illustrated (p. 81). As far as it is possible to determine, it would seem that this specimen of marquetry belongs to a later period, certainly more advanced than the panel period. With so fine a field of design to select from, no marquetry-worker would take this design from a Persian carpet at the beginning of the style. This case represents the highest Dutch feeling and technique as assimilated in this country, and the carved brackets have a distinctly Marot character. It stands as a superlative example of marquetry decoration. It sometimes happens that a clockmaker, as the differences in sizes of many of these clocks are not great, found an earlier case ready to his hand, or a client desired a particular style of decoration, and he accordingly put his new clock of 1710 into a case twenty or thirty years earlier. Or it may be that some marquetry-worker reproduced the former style. Whichever may have happened we cannot say--these are the conundrums left as a heritage to the collector, who now comes two hundred years later. The fine example of a clock by Martin, London (1710), illustrated (p. 85), is well balanced, and typifies the marquetry in an early period. The turned pillar has not yet disappeared, and is reminiscent of the fine Tompion cases with turned pillars. It exhibits the transitional stage before marquetry entirely supplanted the older style. In this specimen the marquetry is under fine artistic control.