Horologium Sapientae: The Clock of Wisdom

Gothic art, as it is wont to do, neatly appropriated this technological breakthrough for its own – the depiction of time changed a great deal, and artists of the period also began to use the clock as a tool for religious allegory (Camille 99).

Throughout early Gothic architecture prior to this breakthrough, time was represented in a “multilayered” fashion, as in the portals of Chartres cathedral (Camille 72). The images are combined from numerous time periods, wherein different events are occurring for a variety of people who did not exist at the same time. While the use of Old and New Tes

As the time period, circa 1450, and the departure from early Gothic’s views of time suggest, this piece is done in late Gothic style. The machines, though modern, are still pictured amongst clearly Gothic architecture – a pointed arch, Gothic tracery and the like – as well as traditional religious metaphor in the form of the open book of scripture. The muse’s crown and dress are also notable, and help suggest her divinity as well as her superiority – much like the traditional Christ in Majesty crowned and enthroned. Her clothing is fine to the monk’s plain, and her bejeweled crown contrasts strongly with his tonsure.

The piece is organized in a particularly open, uncluttered fashion common to the Gothic period, and a strong sense of three-dimensionality is also present. The clocks, though large and dynamic, are spread apart with plenty of open space, allowing them each to be seen clearly. The open space is filled with a consistent background, and striking Gothic architecture. Three-dimensionality is evident everywhere in the piece, from the way the muse’s hand is set upon the large clock’s gear, the hang of fabrics, the tilted perspective of the table, and the wall behind – and visible through the workings of – the clocks. Though very open, the image is fairly well balanced. The two large clocks counter each other well, and the large array of timepieces on the right seems to make up for the lack of action on that flank.

A 15th century French translation of Suso’s manuscript contains this illuminated miniature (Fig 1, Brussels, Bibliotheque Royale, Ms. IV, iii folio 13 verso, Time) that epitomizes the drastic change in views of time in Gothic Art. The image, departing from the traditional Gothic layering, wherein past, present and future are mingled, shows an unfolding scene, wherein the writer dialogues with the muse Temperance, representing Wisdom (Camille 99). Note the postu

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