The dials were brass, and the hour numerals appeared on a circle of brass plated with silver. Iron dials were used later, in the decadent period, and both numerals and floral designs were painted on the enamelled surface in lieu of engraved and ornamental metal-work, and often a landscape or figure subject occupied the lunette. The lunette form followed the square face, and sometimes the maker put his name in this lunette, and later below the centre of the clock, and later again not at all on the dial. The lunette form no doubt determined the shape of the panel of the door in the case below, to which we have previously alluded. The illustration (p. 159) shows these forms. The dial, by Henry Massy (1680), has the name between the numerals VI and VII. The lunette form in a dial by John Draper (1703) has the name of the maker in a circular disc above the hour circle. [Illustration: BRASS DIAL BY HENRY MASSY, LONDON. ABOUT 1680. Clock with usual eight-day movement. (An enlargement of this dial is illustrated p. 163). (_By courtesy of Edward Campbell, Esq., Glasgow._)] [Illustration: BRASS DIAL BY JOHN DRAPER, LONDON. ABOUT 1703. Spandrels exhibiting later floral style of decoration. (_At the Metropolitan Museum of Art, New York._)] Enlargements of the Henry Massy dial and of another by John Bushman show the character of engraving and the position of the maker's name (illustrated p. 163). In regard to the engraving put on the dials of these old clocks, it is not impossible that William Hogarth, when he was an apprentice at Master Ellis Gamble's shop, at the sign of the "Golden Angel" in Cranbourn Street, Leicester Fields, did some of this work. We know that Thomas Bewick engraved clock dials when an apprentice at Newcastle-upon-Tyne (see p. 215). The last form of the long-case dial is circular, an unusual type in vogue during the closing decades of the eighteenth century, belonging to the classic and French styles and in no way diverting the fashion of the main stream of case-makers. Concerning the use of glass for the protection of the dial in the long-case clock, it was in use in coaches for the first time in 1667. According to Pepys' _Diary_ we learn: "Another pretty thing was my Lady Ashly's speaking of the bad qualities of the glass coaches, among others the flying open of the doors upon any great shake; but another, my Lady Peterborough, being in her glass coach with the glass up, and seeing a lady pass by in a coach whom she would salute, the glass was so clear that she thought it had been open, and so ran her head through the glass." At first the hood of the clock lifted off and the glass was fixed; later the glass was framed in a door, and subsequently the hood slid off, which fashion is found in all but the earliest examples.