Question: Where did Dali find his idea to have clocks melting?
About the article "Salvador Dalí", section "Symbolism".

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Dali may refer to: 
It is not clear who built the first cuckoo clocks in the Black Forest but there is unanimity that the unusual clock with the bird call very quickly conquered the region.
Already by the middle of the 18th century, several small clockmaking shops produced cuckoo clocks with wooden gears.
So the first Black Forest examples were created between 1740 and 1750.
The earliest Black Forest examples had shields decorated with paper.
It is hard to judge how large the proportion of cuckoo clocks was among the total production of modern movement Black Forest clocks.
Based on the proportions of pieces surviving to the present, it must have been a small fraction of the total production.
Regarding its murky origins, there are two main fables from the first two chroniclers of Black Forest horology which tell contradicting stories about it:The first is from Father Franz Steyrer, written in his "Geschichte der Schwarzwälder Uhrmacherkunst" (History of Clockmaking in the Black Forest) in 1796.
He describes a meeting between two clock peddlers from Furtwangen (a town in the Black Forest) who met a travelling Bohemian merchant who sold wooden cuckoo clocks.
Both the Furtwangen traders were so excited that they bought one.
On bringing it home they copied it and showed their imitation to other Black Forest clock traders.
Its popularity grew in the region and more and more clockmakers started producing them.
With regard to this chronicle, the historian Adolf Kistner claimed in his book "Die Schwarzwälder Uhr" (The Black Forest Clock) published in 1927, that there is not any Bohemian cuckoo clock in existence to verify the thesis that this clock was used as a sample to copy and produce Black Forest cuckoo clocks.
Bohemia had no fundamental clockmaking industry during that period.
The second story is related by another priest, Markus Fidelis Jäck, in a passage extracted from his report "Darstellungen aus der Industrie und des Verkehrs aus dem Schwarzwald" (Description of Industry and Commerce of the Black Forest), (1810) said as follows: ""The cuckoo clock was invented" (in 1730) "by a clock-master" (Franz Anton Ketterer) "from Schönwald" (Black Forest).
"This craftsman adorned a clock with a moving bird that announced the hour with the cuckoo-call.
The clock-master got the idea of how to make the cuckoo-call from the bellows of a church organ"."
As time went on, the second version became the more popular, and is the one generally related today.
Unfortunately, neither Steyrer nor Jäck quote any sources for their claims, making them unverifiable.
On the other side, R. Dorer pointed out, in 1948, that Franz Anton Ketterer (1734–1806) could not have been the inventor of the cuckoo clock in 1730 because he hadn't then been born.
This statement was corroborated by Gerd Bender in the most recent edition of the first volume of his work "Die Uhrenmacher des hohen Schwarzwaldes und ihre Werke" (The Clockmakers of the High Black Forest and their Works) (1998) where he wrote that the cuckoo clock was not native to the Black Forest and also stated that: ""There are no traces of the first production line of cuckoo clocks made by Ketterer"".
However, Schaaf in "Schwarzwalduhren" (Black Forest Clocks) (1995), provides his own research which leads to the earliest cuckoos being in the "Franken-Niederbayern" area (East of Germany), in the direction of Bohemia (a region of the Czech Republic), which he notes, lends credence to the Steyrer version.
The legend that the cuckoo clock was invented by a clever Black Forest mechanic in 1730 (Franz Anton Ketterer) keeps being told over and over again.
But all of this is not true.
This type of clock is much older than clockmaking in the Black Forest.
As early as 1650 the bird with the distinctive call was part of the reference book knowledge recorded in handbooks.
It took nearly a century for the cuckoo clock to find its way to the Black Forest, where for many decades it remained a tiny niche product.
Although the idea of placing an automaton cuckoo bird in a clock to announce the passing of time did not originate in the Black Forest, it is necessary to emphasize that the cuckoo clock as we know it today, comes from this region located in southwest Germany whose tradition of clockmaking started in the late 17th century.
The Black Forest people who created the cuckoo clock industry developed it, and still come up with new designs and technical improvements which have made the cuckoo clock a valued work of art all over the world.
The cuckoo clock history is linked to the Black Forest.
Even though the functionality of the cuckoo mechanism has remained basically unchanged, the appearance has changed as case designs and clock movements evolved in the region.
In the beginning of the 19th century the now traditional Black Forest clock design, the "Schilduhr" (Shield-clock), was characterized by having a painted flat square wooden face behind which all the clockwork was attached.
On top of the square was usually a semicircle of highly decorated painted wood which contained the door for the cuckoo.
These usually depicted floral patterns (so-called “Rosenuhren”) and often had a painted column, on either side of the chapter ring, others were decorated with illustrations of fruit as well.
Some pieces also bore the names of the bride and bridegroom on the dial, which were normally painted by women.
There was no cabinet surrounding the clockwork in this model.
This design was the most prevalent between the end of the 18th century and the first half of the 19th century.
These timekeepers were typically sold from door to door by "Uhrenträger" (Clock-peddlers) who would carry the dials and movements on their backs displayed on huge backpacks.
Towards the middle of the nineteenth century till the 1870s, cuckoo clocks were also manufactured in the Black Forest type of clock known as "Rahmenuhr" (Framed-clock).
As the name suggests, these scarce wall cuckoo clocks consisted of a picture frame, usually with a typical Black Forest scene painted on a wooden background or a sheet metal, lithography and screen-printing were other techniques used.
Other common themes depicted were; hunting, love, family, death, birth, mythology, military and Christian religious scenes.
Works by painters such as Johann Baptist Laule (1817–1895) and Carl Heine (1842–1882) were used to decorate the fronts of this and other types of clocks.
The painting was almost always protected by a glass and some models displayed a person or an animal with blinking or flirty eyes as well, being operated by a simple mechanism worked by means of the pendulum swinging.
The cuckoo normally took part in the scene painted, and would pop out in 3D, as usual, to announce the hour.
From the 1860s until the twenties, and according to the decorative tastes prevailing in each moment, cuckoo clock cases were manufactured following different styles then in vogue such as; Biedermier (some models also included a painting of a person or animal with moving eyes), Neoclassical or Georgian (certain pieces also displayed a painting), Gothic, Renaissance, Baroque, Art Nouveau, etc., becoming a suitable complementary piece for the bourgeois living room.
These timepieces, based both on architectural and home decorative styles, are rarer than the popular ones looking like gatekeeper-houses (Bahnhäusle style clocks) and they could be mantel, wall or bracket clocks.
But the popular house-shaped Bahnhäusleuhr (Railroad house clock) virtually forced the discontinuation of other designs within a few years. 
The clockmaker introduced the following innovations into the construction of cuckoo clocks:   He was the first to equip a Bahnhäusle style clock case with a cuckoo mechanism in 1854.
A milestone in the Black Forest clock history, after this cuckoo clocks became popular and marketed worldwide.
Indeed, although the Bahnhäusle style creator, Friedrich Eisenlohr, had proposed a cuckoo clock in his 1850 original design, however it was not until 1854 when J.
B. Beha became the first clockmaker who take it from drawing to reality.
He was also the first to make Black Forest wall and shelf cuckoo clocks with spring-wound movements.
Between 1845 and 1850 the first 8-day cuckoos with fusee movements were built.
At that time, without exception, the clocks had wooden plate movements.
By adopting the English fusse system in his clocks he expanded the export market of cuckoo clocks to the U.K.
The main importers of his clocks were Camerer, Kuss & Co., London; Morath Brothers, Liverpool; and Bohringer, Belfast.
Camerer Kuss was also the main exporters of Beha clocks to India.
About 1850 Beha made the first oil painted picture frame cuckoo clocks, where the cuckoo was not integrated in the picture.
Also about that time, the first cuckoo clocks with moving eyes came into use.
The first one who made cuckoo clocks fitted with musical movements.
The cases for Beha clocks came from case/woodcarvers shops located in different towns of the Black Forest such as Waldkirch, Furtwangen, Villingen, Vöhrenbach and Dittishausen.
When signed, the Beha clocks bore two types of identifications; either a stick-on label which would be on the case back-board on the inside of the case or the name "Beha" engraved on one of the two brass fuseé drum ends.
However, it is necessary to emphasize that most of the Beha timepieces were not signed and it is almost impossible to identify a Beha based on the case alone.
The case makers that supplied Beha with their cases, sold identical cases to other manufacturers too.
So today we can find identical cases, but in fact they were not made by the Beha enterprise.
For example Aaron Ketterer and Theodor Ketterer frequently used the Beha designed and their cases are nearly identical.
That is why the mechanism is the crucial part to give a positive attribution.
After the Philadelphia Centennial Exhibition of 1876, Johann B. Beha took his two sons, Lorenz and Engelbert, into his firm as partners and the company was refounded as "Johann Baptist Beha und Söhne".
While the big factories - "Junghans, Kienzle, Philipp Haas und Söhne and Werner, and the smaller firms like Dold, Hilser, Gordian Hettich Sohn, Rombach and Maier"- developed their cuckoo clock production in response to the growing demand of the new middle-class for a cheaper clock, especially cheaper carvings, the Behas followed a contrary strategy.
They did not believe in the success of the mass-produced cuckoo clock.
A similar strategy was followed by other Black Forest clock manufacturers such as Emilian Wehrle, Winterhalder & Hofmeier, Maurer und Höfler, etc.
When Johann Baptist Beha died in 1898, his sons Lorenz (1865 - 1941) and Engelbert (1866 - 1949) continued with the company in Eisenbach.
The manufacturing program consisted of; cuckoo/quail clocks, cuckoo clocks with echo, weight operated clocks, spring powered clocks, trumpeter clocks, monk ringing a monastery bell, calendar clocks, etc.
The largest export market of Beha clocks was to the United Kingdom and Russia.
In Saint Petersburg Beha even operated their own warehouse, from there the clocks were marketed to different countries, but with the outbreak of World War I, the St. Petersburg warehouse was closed.
The Beha enterprise struggled during the 1920s to recover the lost export market facing extremely difficult economic times and during the 1930s, with the onset of the economic dictatorship of the "Hitler Regime" in the year 1933, the use of brass and copper was strictly rationed, although the production continued on a very limited scale until 1938.
But finally after the World War II the production was stopped forever in 1956. 
Zangwill supported the feminist and pacifist movements, but his greatest impact may have been as a writer who popularized the idea of the melting of the races into a single, American nation.
The hero of his widely-produced play, "The Melting Pot", proclaims: ""America is God's Crucible, the great Melting-Pot where all the races of Europe are melting and reforming... Germans and Frenchmen, Irishmen and Englishmen, Jews and Russians - into the Crucible with you all!
God is making the American."'"
In 863, a major Dali attack against Tang's Annan District (安南, headquartered in modern Hanoi, Vietnam) captured Annan, and the Tang protector general for Annan, Cai Xi (蔡襲), died while fighting the Dali forces.
They then approached Yong Prefecture (邕州, in modern Nanning, Guangxi), the capital for Lingnan West Circuit (嶺南西道).
The military governor of Lingnan West Circuit, Zheng Yu (鄭愚), who was a career civilian, was fearful of Dali forces and submitted a petition requesting to be replaced by a general.
Then-reigning Emperor Yizong (Emperor Xuānzong's son) recalled Kang to the capital Chang'an, intending to have him replace Zheng, and allowed him to bring several hundred officers and soldiers from Yiwu Circuit.
Upon Kang's arrival in Chang'an, Emperor Yizong commissioned him the military governor of Lingnan West, and also mobilized about 10,000 soldiers from Jingnan (荊南, headquartered in modern Jingzhou, Hubei), Shannan East (山南東道, headquartered in modern Xiangfan, Hubei), Eyue (鄂岳, headquartered in modern Wuhan, Hubei), and Jiangxi (江西, headquartered in modern Nanchang, Jiangxi) Circuits to accompany him to Lingnan West.
After Kang arrived at Yong Prefecture, the Dali attack was intensifying, so Emperor Yizong further mobilized troops from eight other circuits — Zhongwu (忠武, headquartered in modern Xuchang, Henan), Yicheng (義成, headquartered in modern Anyang, Henan), Pinglu (平盧, headquartered in modern Weifang, Shandong), Xuanwu (宣武, headquartered in modern Kaifeng, Henan), Yanhai (兗海, headquartered in modern Jining, Shandong), Tianping (天平, headquartered in modern Tai'an, Shandong), Xuanshe (宣歙, headquartered in modern Xuancheng, Anhui), and Zhenhai (鎮海, headquartered in modern Zhenjiang, Jiangsu) — to reinforce him.
Kang, however, did not set up a proper scouting system.
As Dali forces approached Yong Prefecture, Kang sent the troops from six circuits to engage them, using the local Liao (獠) tribesmen as guides; the Liao led the Tang forces into an ambush by Dali forces, and the troops of five circuits were annihilated, with only the Tianping forces, because they were late by one day, escaping the ambush.
In the aftermaths, Kang was gripped by fear, and the defenses for Yong Prefecture were actually built by his deputy Li Xingsu (李行素).
As soon as Li completed the defenses, Dali forces arrived and put Yong Prefecture after siege.
For four days, Yong Prefecture was under attack, and it almost fell.
A number of officers suggested counterattacking, but Kang initially refused, relenting only after repeated pleas by a low-level officer from Tianping.
At night, that Tianping officer took 300 volunteers and made a surprise attack on the Dali camp, setting it on fire and killing some 500 Dali soldiers.
In shock, the Dali forces withdrew.
Only then did Kang launch his main forces to try to chase down the Dali forces, but was unable to; they killed only some 300 Liao who were forced to cooperate with the Dali forces.
Kang nevertheless submitted a report claiming a great victory.
Emperor Yizong, in response, bestowed on Kang the honorific title of acting "You Pushe" (右僕射).
However, all of the soldiers who received rewards based on Kang's report were Kang's relatives or soldiers close to him, and the soldiers who participated in the surprise raid were not awarded.
This brought much resentment.
Subsequently, the military governor of neighboring Lingnan East Circuit (嶺南東道, headquartered in modern Guangzhou, Guangdong), found out what happened, and reported this to the chancellors.
Kang himself was fearful as well that his deception would be discovered, so he claimed to be ill and offered to resign.
He was recalled to serve as a general of the imperial guards, but with his office at the eastern capital Luoyang.