Of the year 1770 is another mahogany clock with handsomely carved frieze and elaborate terminals. The love for architectural ornament is seen in the hood, and in the pillars on the waist below on each side of the panelled door. The base is decorated with a panel, in mahogany of fine figure. The feet are beginning to become more pronounced. The movement of this is by Henderson, of London, and its height is 9 feet (illustrated p. 133). Another clock, by Thomas Wagstaff, in date about 1780, exhibits a less grandiose appearance. The height is less, being only 8 feet 2 inches. The pediment of the hood reverts to types which are often found decorated with lacquer work, and the brass terminals are of similar character to those of an earlier period. It is noticeable that the base continues to show increased ornament in the feet, with an added scroll (illustrated p. 137). As showing another type of clock with magnificent decoration we illustrate (p. 143) the hood of a long-case musical clock, attributed to Rimbault, who was especially noteworthy for his musical movements, and his cases were decorated by Zoffany. An examination of this shows the detailed character of the painted work. It is Italian in conception, and quite in keeping with other work of Zoffany. [Illustration: TOP PORTION OF MUSICAL LONG-CASE CLOCK. Richly decorated with painting attributed to Zoffany. Maker, no signature, but suggestive of the work of Rimbault. (_By courtesy of Messrs. Harris & Sinclair, Dublin._)] [Illustration: LONG-CASE CLOCK. Eight-day movement. Mahogany case inlaid with satinwood shell designs and banding. Maker, James Hatton, London (1800-12). Brick design in base in Chippendale manner. (_By courtesy of Messrs. D. Sherratt & Co., Chester._)] Another illustration (p. 139) shows the typical classical style. The case was designed by Robert Adam, and is in date about 1775. The dial becomes circular, and owes certain of its decoration to French form, although it is surmounted by a Greek urn, but the flying garlands betray it. The waist becomes tapered, terminating in a base of graceful proportions and reticent ornament. The fluted work and the scroll indicate the design of the architect. One can imagine such a chaste clock finding itself in the cold, un-English environment of Ken Wood, or on the staircase of some learned society, with candelabra of bronze of classic design, with hoofs as feet and with the Roman lamp throwing out its modern flame. The movement of this clock is by Stephen Rimbault, of Great St. Andrew Street, about 1775.