Evening star., 1928-11-18
BY Aida VREELAND.

While America has been busy groom
ing itself and its homes in modern
clothes and modern modes OF decora-
ton, Time always the most ancient and
most modern phase of existence, has
continued his eternal march in faces
and cases long familiar to US all.
When 1 began inquiring for modern
clock in New York some months ago
was amazed to find there we're none. II
hardly seemed possible that a factor as
important as Time In the American
home could have escaped the great
wave of modernism. At any moment
confidently expected to discover a
weird clock contraption counting the
old hours in a new way, and tnus De
in complete accord with its modern
surroundings.
Not until l reached Holland. however,
was my search for modern CLOCK re-
warded. Here In country whence IT.
tie has been heard in the cause OF mod
ernism you find modern architecture
flourishing in apartments and houses on
tremendous scale with interior fur
nishing following the same trend. A
vital feature of these interiors has been
the modern clock.
Their cases are of Dutch manufac-
tire housing works made in Germany
In HARLEM. which is only fifteen min
utes away from Amsterdam by electric
train l found q most comprehensive
array of clocks dating from antique sew
enteenth century alarm clocks to the
most modern product.
AS usual. one finds the geometrical
figures predominating in these modern
timepiece innovations. Few are left
with round faces. Most of them have
| developed octagonal or square faces
which are frequently placed in triangu-
| lar or diamond shaped blocks OF wood.
| Indeed, some have become so invested
with personality that they are frequent
ly given such romantic names as Zaza.
Numbers, too, have a modernized set
ting traced in lines of uncompromising
straightness and regularity. Sometimes
these are superimposed on separate 1T
tie blocks of wood. Others are modelled
out of metal faces divided into angular
leaves One clock dispensed with num-
bers entirely the IL places being indi-
Gated with odd modernistic forms.
Mahogany, oak and walnut are the
woods generally selected for the clock
cases. These, however. are found IN an
| infinite variety of shades. giving the
| cabinet maker many opportunities to
| carry out modernistic designs with inlay
work. Bronze and brass landings are
also successfully combined with woods,
| increasing the sense of massiveness and
| stability which many OF these clocks
| suggest.
One clock unquestionablv found its
| inspiration in the New York skyscraper.
An octagonal face with modern num-
| bers is set in a square block OF mahog-
any. On top is a small block while on
| either side other blocks lead down ike
| steps with two horizontal blocks sup
| Dortinq the entire piece
An oak clock in light and dark tones
not only squares every detail OF its race
| but makes even it's hands as square as
possible. Twelve of the Is squares
/ forming the border around the face are
used for numbers. the four corners re-
| naming blank. Beneath the face an
oblorg piece of glass Is ornamentally
| inserted, the whole resting on block
! like supports of dark oak on either end.
! Other novel designs show clocks set
| between wooden sides Stimulating binoc-
ulars and book ends.
Two right-angle triangles OF dark
wood and an equilateral triangle OF
| light wood inserted between them make
| an interesting square clock This has a
round face divided by six diameters.
Across the base four light wood inlayS
provide a simple decorative note. In
| deed the completed model IS far less
complex in appearance than the geo.
metrical names of the forms which
comprise it.
! Small novelty clocks of modernistic
conception imported from France make
a humorous appeal with gayly colored
birds zealously watching the moving
hands.
| They are formed of a brightly COL