Horloge van zilver c. 1700

Curator: This object is a silver clock from around 1700, crafted by Thuret. Editor: The thing that immediately strikes me is the sheer patina, the history embedded in that tarnished silver. There's a gravity to it. Curator: Yes, time itself seems etched onto its surface. The Baroque period valued ornamentation; consider the intricate engraving around the clock's face. It suggests more than just telling time—it's a statement. A personal treasure and a display of wealth. Editor: And a manifestation of burgeoning capitalism, perhaps? Timekeeping becoming increasingly personal, portable, something to possess and measure the self against. You know, how does this little beauty fit into Thuret’s production? Curator: Clockmakers like Thuret would have been highly skilled artisans, not just assembling parts but also designing them. They catered to an emerging bourgeoisie who valued precision and order, even flaunted it, which you can see reflected in this ornate silver casing. Note also how its Baroque design speaks of vanitas – the transience of beauty. Editor: Exactly. While aesthetically beautiful, the silver isn't simply adornment. It embodies labour, extraction, trade routes— a material footprint that spans continents. To hold it is to grasp early capitalism itself! It’s heavy! Curator: Well, time literally carries weight. Perhaps holding this gives a new meaning to owning time. A constant awareness, presented to the individual as they see the minutes ticking away? Editor: An intimate and urgent object in a very loud historical process. Curator: Indeed. Its beauty and function encapsulate a complex relationship with temporality itself. Editor: A beautiful relic with very complicated origins. Curator: Exactly. The allure and impact is what brings us here to speak on this wonderful horloge, this beautiful photograph that gives it continued existence.