_No. 3_ is a Cromwellian silver watch, plum-shaped. As coats of arms were not so sinful as painted cherubs and stained-glass windows, this bauble with elaborately engraved crest survived the wreckers' despoiling hand. Cromwell himself boasted of a crest, and in some respects it resembled that used by royalty. _No. 4_ is a Restoration watch made by Snow, of Lavington, near Bath. It exhibits fine ornamentation and is a beautiful specimen of Late Stuart style when sumptuousness, under the guiding influence of the French Louis Quatorze grandeur, made itself felt in this country. _No. 5_ is worthy of respect and admiration as being the work of that great maker, Thomas Tompion. It is of the William and Mary period. The craftsman had arrived at the period of a scientific endeavour to create a perfect timekeeper. The case indicates utility; ornament is in due subjection. The Arabic figures showing the seconds on the dial should be observed. _No. 6_, of which the back is shown, is a watch by Peter Garon. It is in black piqué case, finely decorated in a subdued and reticent manner. Peter Garon flourished between 1694 and 1706. But in that year, when Marlborough's campaigns were at their full height, poor Garon felt the stress of commercial depression and became bankrupt. _No. 7_, showing the front and open case, is a fine watch by Duhamel, about 1740, bringing us to the days of George I and Walpole. _No. 8_, with its fine broad repoussé case, is by Haydon, and the case is signed "V. Haut." _No. 9_ shows an illustration of the back, where the movement is visible. The maker of this is Daniels, of Leighton, 1760. _No. 10_ is by Kemp, London, and is decorated in Battersea enamel and shagreen. This brings us to the age of Pinchbeck, "the toyman in the Strand," and suggests the gewgaws and trifles, the enamelled heads for malacca canes, the snuff-boxes, and all the fashionable paraphernalia of a man about town. The watch in some respects had begun to lose its old character and was again a toy. [Illustration: CALENDAR WATCH. SEVENTEENTH CENTURY. Maker, "Thomas Chamberlaine de Chelmisforde" (signature shown on right-hand illustration). The outer circle shows days of month. The indicator is pointing to 22nd. (_By courtesy of Messrs. Mallett & Son, Bath._)] Among interesting work is that of Thomas Chamberlaine de Chelmisforde. He worked in the brightest days of Charles I, when the arts were receiving stimulation from the Court. A new era seemed as though it might be about to dawn. The picture gallery of Charles I at Hampton Court showed his catholic taste, and his Queen, Henrietta Maria, was a patron of the arts. Vandyck and other great artists flocked to this country, and highly trained craftsmen commenced to build a reputation which later iconoclasts swept aside as of Baal.