Colectia Orologii
Colectia Orologii
Colectia Orologii
CĂLĂTORIE
ÎN UNIVERSUL CEASULUI
COLECŢIA DE OROLOGERIE
A JOURNEY
IN THE UNIVERSE OF THE CLOCK
THE HOROLOGICAL COLLECTION
VIOREL RUSU
LUCIA POP
Editura EUROTIP
BAIA MARE, 2016
Muzeul Judeţean de Istorie şi Arheologie Maramureş
SERIA „COLECŢII MUZEALE” V
Editor serie: Viorel RUSU
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CĂLĂTORIE ÎN UNIVERSUL CEASULUI
impunătoarele pendule de salon care, odinioară, constituiau una dintre cele mai importante
componente ale ambientului interior caracteristic îndeosebi secolului XIX. Mecanismele, cu
gong şi greutăţi, cu tragere la 8, 10 sau chiar 100 de zile, sunt adăpostite în impresionante cutii
(tip mobilă), construcţie manuală, cu frumoase elemente decorative.
Din aceeaşi mare categorie fac parte aşa numitele pendule populare care, la rândul lor,
cuprind mai multe feluri de ceasornice. Pendule mai modeste ca dimensiuni, cu arc şi
mecanisme sonore, atrag atenţia prin simplitatea cutiilor din lemn, câteva dintre acestea
având aplicaţii decorative din bronz pe coronament. Astfel de pendule erau întâlnite în casele
intelectualităţii româneşti rurale, respectiv ale preoţilor şi ale dascălilor, în secolul XIX. Multe
dintre ceasurile de acest fel sunt executate de binecunoscuta firmă Junghans (Germania),
producătoare de mecanisme care, din anii 1860, au fost fabricate după modelul american,
respectiv, în loc de greutăţi vor fi acţionate de arcuri. Tot pendule populare sunt ceasurile de
factură germană şi elveţiană (secolul XIX) cu execuţie semi-manuală. Ancadramentul este
realizat în tehnica „tablei ciocănite”, cu decor rustic sau animalier pictat pe tipar în relief iar
cadranele sunt emailate. Unele dintre acestea sunt personalizate cu chipuri de femei şi
bărbaţi.
Pendulele ţărăneşti formează un grupaj de ceasuri peste care trecerea timpului este
mult mai vizibilă decât în cazul altora. Cu execuţie manuală foarte simplă, prevăzute cu
clopot sau gong pentru marcarea sonoră a orelor, aceste ceasornice au cadranele din lemn,
pictate în manieră naivă, cu motive florale şi animaliere. Meşteri de renume din Elveţia,
Germania sau Austria au conceput astfel de pendule ieftine şi la îndemâna locuitorilor de la
sate într-o perioadă în care obiecte de acest fel erau rare, scumpe şi greu de procurat,
respectiv în secolele XVIII şi XIX. Ele erau prezente şi în interioarele caselor ţărăneşti
româneşti.
Din colecţie se detaşează cele câteva exemplare de ceasuri cu cuc, foarte populare
odinioară, preţuite şi preferate în lumea satelor. Pe la mijlocul secolului XVIII, în Munţii
Pădurea Neagră din Germania, din lemnul copacilor din această zonă împădurită a fost
fabricat primul orologiu de acest fel. Mecanismul era deosebit de simplu şi ingenios în acelaşi
timp, cu piese făcute tot din lemn în mici ateliere de familie. La un moment dat modelului
iniţial i-a fost adăugată căsuţa cucului poziţionată în partea superioară a coronamentului.
Aceste ceasuri s-au răspândit extrem de repede în Europa iar comercianţii ambulanţi
ajungeau cu ele până în China şi America unde erau mult îndrăgite. A fost ales cucul pentru
semnalarea sonoră a orelor şi jumătăţilor deoarece era singura pasăre care cânta pe două
tonuri. La scurt timp a fost urmat de pitpalac pentru marcarea sferturilor de oră. Mecanismul
este acţionat de contragreutăţi care la un moment dat capătă forma unui con de brad.
Registrul ceasornicelor decorative este foarte diversificat. Sunt piese în maniera
eclectismului din perioada 1850-1900, realizate în diferite ateliere europene. Ceasurile de
postament atrag în mod deosebit atenţia deoarece ancadramentele lor sunt monumentale, cu
o bogată ornamentaţie compozită realizată cel mai adesea din bronz. Astfel este impunătorul
orologiu de şemineu, unic în colecţie, cu o construcţie decorativă complexă în care domină
războinicul supradimensionat, în poziţie de luptă având în jurul său felurite accesorii militare
specific medievale. Mecanismul, probabil de factură elveţiană este, de asemenea, încadrat de
elemente decorative fastuoase iar în zona mediană sunt grupate încrucişat o arbaletă, o sabie
şi un topor de luptă. Alte ceasuri de postament sunt mai modeste din punct de vedere artistic
dar au elemente de natură documentară precum inscripţii în zona mecanismului.
Din vasta categorie a ceasurilor portative fac parte ceasurile de masă care, pe lângă un
aspect plăcut, au utilitatea trezirii, îndeosebi dimineaţa, este vorba de aşa numitele
„deşteptătoare”. După anul 1947, România a intrat în rândul ţărilor cu producţie în serie de
ceasornice prin înfiinţarea primei fabrici la Arad, numită iniţial Cooperativa Precizia, ulterior
Fabrica Victoria (din 1960), apoi Aradora. Aici se produceau, cu preponderenţă, ceasuri
deşteptătoare, dar şi ceasuri de mână sau pendule de perete, precum Precizia, Garanţia,
Aradora sau Victoria. Aceste ceasuri de masă sunt generos prezente în colecţia noastră alături
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CĂLĂTORIE ÎN UNIVERSUL CEASULUI
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CĂLĂTORIE ÎN UNIVERSUL CEASULUI
Un loc special, deşi sunt numai două, îl ocupă masivele orologii de turn. Importanţa lor
este justificată de faptul că valoarea tehnică este însoţită de valenţele documentare legate de
istoria oraşului Baia Mare. În perfectă stare de funcţionare este vechiul mecanism din Turnul
Sfântul Ştefan, monument istoric de arhitectură medievală.
Baia Mare a fost un important oraş medieval care a beneficiat, în timp, de numeroase
privilegii, în special economice, care asigurau locuitorilor o oarecare bunăstare şi o accentuată
autonomie urbană internă. Statutul deosebit al oraşului este ilustrat şi de vechiul ansamblu
edilitar urban (laic, militar, religios) din ale cărui componente unele se păstrează şi astăzi.
Astfel, Turnul Sfântul Ştefan este martorul tăcut al evenimentelor tumultoase prin care a trecut
oraşul şi comunitatea sa, timp de peste 500 de ani. Trecutul îndepărtat al acestui turn este
legat de numele lui Ioan de Hunedoara, voievod al Transilvaniei şi guvernator al Ungariei
(1441-1453) şi al fiului său regele Ungariei Matia Corvin (1458-1490).
Turnul Sfântul Ştefan a avut o importanţă deosebită pentru comunitatea băimăreană. Pe
lângă atribuţiile sale de clopotniţă a vechii biserici gotice, „turnul mare” era un loc ideal
pentru observarea atentă a oraşului şi a împrejurimilor mai ales după construirea foişorului
cu arcade în anul 1770. Din primele decenii ale secolului XVII, funcţionalitatea, respectiv
utilitatea turnului a fost amplificată prin montarea primului mecanism de ceas. Conform
documentelor scrise păstrate în fondurile arhivistice locale, în anul 1628 (17 iunie), maistrul
lăcătuş Jákab Lakatos, originar din oraşul Eperjes (Presov-Slovacia), se angajează să execute şi
să monteze un ceas asemănător celui din oraşul său, în turnul mare din Baia Mare, în
schimbul sumei de 500 de forinţi. Din anul 1698, magistratul oraşului (singura instituţie a
administraţiei urbane care dezbătea şi lua hotărâri în plen) a angajat un meşter ceasornicar
(horologiarius), pentru întreţinerea şi supravegherea bunei funcţionări a mecanismului.
Vechiul orologiu era acţionat de mari greutăţi de piatră, singurele mărturii păstrate astăzi în
colecţiile muzeului şi prezentate publicului vizitator. Nu se ştie cât timp a funcţionat acest
mecanism. Oraşul a cunoscut noi perioade evolutive, de extindere şi modernizare, etape
reflectate şi în structura turnului devenit încet un simbol al oraşului. Un nou orologiu a fost
montat în turn la sfârşitul secolului XIX şi a funcţionat, probabil, până în jurul anilor 1960. Pe
angrenajul roţilor dinţate care acţionează mecanismul este inscripţionat în limba maghiară,
numele meşterului ceasornicar, DADAÝ JÓZSEF şi atelierul de orologerie din Oradea, unde a
fost confecţionat în anul 1895: „NAGY VÁRODONN 1895, APRIL., 7; KÉSZITETTE DADAÝ
JÓZSEF”. În perioada cuprinsă între anii 1996-1998, mecanismul dezafectat a fost recuperat
din turn, operaţiune complicată care a însemnat fotografierea în detaliu, dezmembrarea
părţilor componente după care acestea au fost supuse procedurilor specifice de restaurare-
conservare şi apoi reasamblate, mecanismul fiind acum în perfectă stare de funcţionare.
Orologiul, astăzi piesă de muzeu, are semnificaţii documentare care aparţin istoriei oraşului
Baia Mare şi memoriei comunităţii acestuia. În aceeaşi idee a salvării, conservării şi punerii în
valoare a intrat în custodia muzeului mecanismul orologiului din turnul Bisericii Reformate
din Baia Mare, cu acelaşi principiu de funcţionare, caracteristic secolului XIX.
Un loc aparte în această colecţie îl ocupă cadranul solar montat în balustrada de la etaj a
clădirii monument istoric de secol XVIII, astăzi sediul Muzeul Judeţean de Istorie şi
Arheologie Maramureş. Cadranul solar este unul dintre cele mai vechi mijloace (instrument)
de măsurare a timpului. Printre primii utilizatori ai acestui dispozitiv au fost egiptenii care, în
jurul anilor 5000 î.Hr., au conceput aşa numitul gnomon, un stâlp vertical a cărui umbră era
proiectată pe o suprafaţă gradată. Grecii beneficiind de avansate cunoştinţe matematice au
perfecţionat cadranul solar.
Cadranul, mai apoi ceasul solar a fost folosit vreme îndelungată cunoscând în evoluţia
sa europeană aşa numita epocă de aur, cuprinsă între anii 1500-1800, perioadă de maximă
utilitate şi popularitate. Ceasurile mecanice construite în secolele XIV-XV au funcţionat după
principiul cadranelor solare orizontale conform căruia deplasarea Soarelui de la est prin sud
către vest produce o mişcare a umbrei în direcţia opusă respectiv de la vest prin nord către
est. Cele două mijloace de măsurare a timpului au convieţuit până la sfârşitul secolului XVIII
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CĂLĂTORIE ÎN UNIVERSUL CEASULUI
- începutul secolului XIX când s-au impus ceasurile mecanice. Cadranul solar indică timpul
solar adevărat (timpul fiecărei localităţi în parte în funcţie de longitudine) şi nu coincide cu
ora indicată de ceasurile actuale, diferenţa fiind dată de raportul dintre timpul solar şi timpul
mediu şi care poate oscila de la câteva secunde la câteva minute.
Cadranul solar din incinta Muzeului Judeţean de Istorie şi Arheologie Maramureş are o
placă metalică orizontală cu segmente radiante ce descriu orele cu cifre arabe din intervalul
de timp cuprins între VI am-VI pm. Cadranul are o poziţie uşor rotită faţă de aliniamentul
parapetului pentru ca segmentul median aferent orei XII să se înscrie perfect axei N-S,
indicând astfel timpul solar adevărat. Unghiul format de muchia superioară a gnomonului cu
placa orizontală trebuie să fie cât mai apropiat de latitudinea locului, adică, mai precis, de
47,66º.
Acest cadran solar a fost construit la un moment dat între anii 1782-1913, perioadă în
care s-au desfăşurat lucrări edilitare de extindere a clădirii existente (ridicată între 1734-1739),
probabil spre sfârşitul perioadei amintite. Îi lipseşte în prezent gnomon-ul dar acesta este în
curs de reconstrucţie şi va intra în circuitul de vizitare a muzeului.
În cei peste 40 de ani de la constituirea ei colecţia de orologerie a fost mediatizată prin
expunere temporară în repetate rânduri (1984, 1986, 1992, 1995). Printre colaboratorii
muzeului la organizarea acestora au fost membrii Asociaţiei Naţionale a Nevăzătorilor, Filiala
Baia Mare, rezultatul colaborării fiind o expoziţie inedită în care alături de orologii au fost
expuse ceasuri pentru nevăzători şi alte mecanisme de fineţe apropiată folosite de aceştia. O
altă expoziţie-premieră a fost organizată în parteneriat cu Gheorghe şi Iudita Crăciun, artişti
plastici binecunoscuţi din Baia Mare, care au realizat în ceramică frumoase şi interesante
opere de artă inspirate de acest generos domeniu al orologeriei. În perioada 1997-2000 a fost
organizată o amplă expoziţie itinerantă de către muzeele din Târgu Mureş, Sighişoara, Cluj-
Napoca, Oradea şi Baia Mare. Deschisă rând pe rând în oraşele amintite, expoziţia „Ceasuri
de epocă” a fost un eveniment cultural unic şi deosebit. Spre mulţumirea publicului nostru, în
anul 2003, a fost deschisă expoziţia permanentă de ceasuri care se bucură de aprecierea
vizitatorilor, atât din ţară, cât şi din străinătate.
BIBLIOGAFIE SELECTIVĂ
Cronos 2000, Revista colecţionarilor şi iubitorilor de ceasuri, Anul I, nr. 1, ianuarie 2000,
Ploieşti, 2000.
Muzeul Ceasului „Nicolae I. Simache”, Muzeul de Istorie şi Arheologie judeţul Prahova,
Ploieşti, 2002.
Nedelea, D., Pelerinaj printre orologii, vol. 1, Ploieşti, 2001.
Nedelea, D., Pelerinaj printre orologii, vol. 2, Ploieşti, 2007.
Raţiu (Ratz), I., Tehnica şi arta ceasornicarilor, giuvaergiilor, ţintuitorilor, gravorilor şi
opticienilor, Cluj, 1938.
Uza, D., Cadrane solare din Transilvania, Banat, Crişana şi Maramureş, CLVSII NAPOCE,
MMXIV
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A JOURNEY IN THE UNIVERSE OF THE CLOCK
For technical, scientific, documentary, historical, memorial and artistic reasons, the
clock is the object of certain specialised institutions’ initiation and development of a very
complex and spectacular patrimonial sector. Its very interesting history, from sundials to
mechanical clocks and watches, from antiquity up to nowadays, unfolds and discloses the rise
and evolution in time of a new craft: clock making. The clock, an equally useful and
spectacular technical novelty, has gradually conquered the entire world becoming
indispensable in the universe of the two elements: Time and Destiny. Around this ingenious
object, which indicates the irreversible passing of time, doubtlessly gather, in perfect
communion, sciences such as astronomy, mathematics, physics, arts and, of course, history.
The evolution of these fields, the great discoveries, have influenced in time the history of
these delicate mechanisms and of the artistic construction that surrounds them.
The County Museum of History and Archaeology Maramureş is one of the few cultural
institutions of regional importance in Romania which treasures and enhances by exhibitions
the value of a consistent horological collection. The development of this collection began back
in 1974 when the first dozens of clocks were scientifically catalogued. These were purchased
from Benedek Mihai (1914-?), a well-known and skilled clock maker from Baia Mare. His
passion for clocks began in 1931, when, at the age of 17, he abandoned the hard work of a
miner and learned this new skill from a local craftsman, soon becoming a very skilled clock
maker and later a passionate and determined collector. For years on end the clock maker has
been one of the close collaborators of the museum, offering useful information about this craft
and also about the approximately 150 clocks that came from his collection. The moment of the
first purchases was perfect for the establishment and subsequent development by acquisitions
and donations of a new and original collection within the patrimonial structure of the
museum. Between 2002 and 2004 a specialist was hired who, according to the specific
methods of restoration and preservation of these delicate objects, contributed to the healthy
maintenance of many pieces from the patrimony.
The shape, diversity, the technical and artistic ingenuity offer the horological collection
a complexity which is specific to an exceptional patrimony, highly appreciated and sought
after by the visitors of the museum. The collection of clocks administered by The County
Museum of History and Archaeology Maramureş comprises an approximate number of 300
pieces belonging to the period of time between the 18th and the 20th century, with
mechanisms made in different European workshops, namely in Austria, Switzerland, France,
Germany, Italy, Romania but also in Japan, South America, The United States of America and
Canada. The collection is structured into several categories of clocks. Wall clocks are the
highest in number, with weights or springs, with enamelled dials on which the time is written
in Roman or Arabic figures, adorned with decorative frameworks. Sometimes, on the
framework or behind the mechanism, the name of the clock maker is inscribed, such as Ignaz
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A JOURNEY IN THE UNIVERSE OF THE CLOCK
Herlinger (Austria, Vienna) or the famous Gustav Becker (Germany, Freiburg). Within this
category are remarkable due to their sumptuousness and technical details, the magnificent
drawing room timepieces which used to be amongst the main features of the interior
especially during the 19th century. The mechanisms with gongs and weights that need to be
wound once in 8, 10, or even 100 days, are housed in impressive, manufactured, furniture-like
boxes, with beautiful decorative elements.
In the same great category can be included the so-called popular timepieces which, in
their turn, can be sub-divided into several types of clocks. Timepieces of more modest sizes,
with springs and resounding mechanisms draw one’s attention due to the simplicity of their
wooden boxes, some of them having bronze decorations on their crests. Such timepieces
could be seen in the houses of the rural Romanian intellectuals, namely priests and teachers,
during the 19th century. Many of these clocks were made by the well-known company
Junghans (Germany), maker of mechanisms which have been made after the American model
since the 1860s, meaning that they were functioning on springs instead of weights. Other
popular clocks are those half-manually made in Germany and Switzerland (19th century).
The enamel frameworks are made in the technique of „hammered sheets”, with rustic or
animal-like ornamentations painted three-dimensionally. Some of them are personalised with
faces of men and women.
The more rustic farmer’s timepieces make up a group of clocks that have been more
severely marked by the passage of time. With a very simple manual work, having a bell or
gong to mark the passage of time, these clocks have wooden frameworks, naively painted
with flower and animal patterns. Famous clock makers from Switzerland, Germany, or
Austria have made such inexpensive clocks which were affordable to village inhabitants in a
time when such objects were rare, expensive and difficult to find, namely during the 18th and
19th centuries. They were to be found in the houses of Romanian peasants as well.
A few cuckoo clocks from this collection are memorable; they were once very popular,
highly valued and cherished in villages. Towards the middle of the 18th century, from the
wood of the trees in the Black Forest Mountains from Germany, the first such clock was
made. Its mechanism was quite simple and ingenious at the same time, with parts made
entirely of wood in small family workshops. At a certain point in time, to the initial model
was added the small cuckoo house at the top of the crowning. These clocks spread rapidly
throughout Europe and the itinerant merchants reached China and America with them,
places where the clocks were cherished. The cuckoo was chosen in order to signal the hours
and the half-hours because it is the only bird which sings in two notes. It was shortly
followed by the common quail to notify quarters. The mechanism is operated by counter-
weights which, at a certain point, began to be designed as fir tree cones.
The range of decorative clocks is a much diversified one. There are eclectic pieces
emblematic for the period of time from1850 to1900, manufactured in different European
workshops. Pedestal clocks are especially noticeable due to their monumental frameworks,
abundantly adorned mostly with bronze composite decorations. Such is the impressive
fireplace clock, unique in our collection, with a complex decorative construction in which the
oversized warrior in fighting stance dominates, surrounded by different kinds of medieval
military accessories. The mechanism, which is probably Swiss, is also framed by exquisite
decorative elements whereas in the middle, there are a crossbow, a sword, and a fighting axe
crossed. Other pedestal clocks are artistically more modest but they have documentary
elements such as different inscriptions in the area of the mechanism.
In the vast category of portable clocks are classified table clocks, also called alarm
clocks which, besides a pleasant aspect, are also used for waking up, especially in the
morning. After 1947 Romania joined the ranks of the countries that had their own series
production of clocks by establishing the first factory in Arad, called at first Cooperativa Precizia
(The Precision Cooperative), later on Fabrica Victoria (The Victoria Factory, since 1960), and then
Aradora. There were produced mainly alarm clocks but also wrist watches and wall
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A JOURNEY IN THE UNIVERSE OF THE CLOCK
pendulums, such as Precizia (Precison), Garanţia (Guarantee), Aradora or Victoria. These table
clocks are generously present in our collection alongside German, Italian, Swiss, Japanese or
American mechanisms, with some of the most varied decorative frameworks.
Loyal companions of men have been, ever since their invention in the 16th century, the
pocket watches which are doubtlessly the expression of the way in which science, technique,
and art have contributed in perfect communion to the creation of one of the finest and tiniest
useful objects. Their delicate mechanisms, most of them functioning on the ANKER principle,
are fit in frameworks which are often adorned with precious metals, enamelled dials,
sonorous fixtures and the protection lids are inscribed and beautifully embellished with
different scenes inspired from daily life. Some of them have more complicated mechanisms
with a tubular little key attached, which was used for re-adjustments and setting time
through the axis of the hands of the watch. Others are more complex from an artistic point of
view, being decorated with floral, geometrical, or mixed patterns. In this category can be
placed, for example, the most famous watch from Romania from the end of the 19th –
beginning of the 20th century, namely the Roskoph Patent wrist watch. Romanians, receptive
to European novelties, shortly after the invention of this inexpensive and robust pocket watch
by Georges Rosskoph (1813-1889), would place consistent orders in Switzerland, including
orders made to equip officers from the Romanian army with these watches. Impressive in
size, plated frameworks adorned with different thematic scenes, some of which are limited
productions, are the well-known pocket watches which have made history Doxa and Omega,
belonging to the 19th and 20th centuries. The year 1894 is relevant thanks to the Swiss
watches Omega which revolutionized the world of horology with their pioneering spirit,
obtaining the most world records for precision. Since in Romania there were representations
of these great clock making companies, different parts could be ordered such as, for example,
mechanisms with a special timer which were used to equip the railway workers, clocks that
were easily recognised due to the image of a locomotive on the face of the clock.
We cannot overlook the clocks that have inscriptions in Romanian and memorial value.
Such an item is a Swiss Tellus pocket watch, with a special inscription made upon request on
its back: „The Association of Border Guards, 1931. This belongs to border guard Hotea
Mihail”. Such watches were purchased between 1930 and 1941 for the Romanian frontier
guards. Inside the wooden box which houses a German Mauthe division watch, the following
words are written in pencil: „ Mădăras-1939. Left for war - 1941”. The person may have got
hold of the watch in 1939. A very special item, due mainly to its memorial value, is the wall
clock which used to contribute to the cosy atmosphere of the drawing room in which one of
the most popular Romanian political leaders from the period of national movements, George
Pop de Băseşti (1835-1919), spent a lot of time including the last moments of his life. This
clock was recovered from Someş Odorhei in 1974, being esteemed today in the eponymous
Memorial museum from the village Băseşti.
In the context of the development of our modern society which has compelled us to be
much quicker in measuring time, the pocket watches have been gradually replaced by wrist
watches. The former were made around the 1880s and became crucial during the first decades
of the 20th century thus ending the almost 400 year-long supremacy of the wonderful pocket
watches. With a relatively modest presence in the collection, the Swiss wrist watches with an
ETA mechanism are to be noted, as well as the robust Soviet mechanisms Sputnik and Pobeda.
In this collection of clocks there are some items that stand out through the others due to
different characteristics that grant them added value. Thus, the oldest is a wall clock that is
contemporary to the French Revolution (1789-1799). In October 1793, a revolutionary calendar
in metric system was introduced and used up to January 1806 when it was removed by
Napoleon Bonaparte. According to it, the day was divided into 10 hours with 100.000
seconds. As far as we know, this clock is unique in Romania. The most imposing clock as size
is a wall clock with a ringing mechanism and winding once in 8 days. Its wooden box, with
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A JOURNEY IN THE UNIVERSE OF THE CLOCK
beautifully-fashioned ornaments, is 135 cm long whereas the smallest wall clock measures
10/6.5 cm.
A special place in the collection is occupied by the two massive tower clocks. Their
importance is justified by the fact that their technical value is accompanied by the
documentary value, closely linked to the history of Baia Mare. The old mechanism from the
Sfântul Ştefan Tower, a historic monument of medieval architecture, is in perfect functioning
condition.
Baia Mare was an important medieval town which has benefited over the years of
numerous privileges, especially economic ones providing its inhabitants a certain degree of
prosperity and significant urban autonomy. The special status of the town is also illustrated
by the old urban ensemble (lay, military, religious). Some of its components have been
preserved until today. Thus, the Sfântul Ştefan Tower has been the silent witness of the
tempestuous events that the town and its community have been through during the past 500
years. The distant past of this tower is related to the name of Ioan de Hunedoara, voivode of
Transilvania and governor of Hungary (1441-1453) and to that of his son, King Matia Corvin
of Hungary (1458-1490).
The Sfântul Ştefan Tower has had a special significance for the community of Baia Mare.
In addition to its function as a bell tower for the old Gothic church, „the great tower” used to
be the ideal place for a careful observation of the town and its surroundings, especially after
the balcony with arcades was built in 1770. From the first decades of the 17th century, the
functionality, namely, the practicality of the tower has been amplified due to the installing of
the first clock mechanism. According to the written documents kept in the local archives, in
1628 (June 17th), foreman locksmith Jákab Lakatos, born in Eperjes (Presov-Slovakia), was
hired for 500 florins in order to make and install a clock in the great tower from Baia Mare,
clock that would be similar to the one in his town. Beginning with the year 1698, the
magistrate of the town (the only institution of the urban administration that deliberated and
gave verdicts) hired a clock maker (horologiarius), for the maintenance and supervision of the
proper running of the mechanism. The old clock was operated by huge stone weights, the
only witnesses that are kept today in the collections of the museum and presented to the
visitors of the museum. We don’t know for how long this mechanism has worked. The town
has been through new periods of evolution, extension and modernization, stages reflected in
the structure of the tower which, in time, has become a symbol of the town. A new clock was
installed in the tower at the end of the 19th century and this probably ran until 1960. On the
gearing of the cogged wheels that operate the mechanism, the name of the clock maker is
inscribed in Hungarian: DADAÝ JÓZSEF as well as the horological workshop from Oradea
where it was made in 1895: „NAGY VÁRODONN 1895, APRIL., 7; KÉSZITETTE DADAÝ
JÓZSEF”. From 1996 to 1998, the mechanism that had not been in use was recovered from the
tower, a complicated operation which meant taking detailed photos, dismembering the
component parts which would undergo the specific procedures of restoration-conservation
and then re-installed, the mechanism functioning now perfectly. The clock, nowadays a
museum item, has a great documentary value that belongs to the history of Baia Mare and to
the memory of its community. To the same end, of saving, preserving and highlighting value,
the mechanism of the clock from the tower of the Reformed Church from Baia Mare, which
functions according to the same principles which were characteristic to the 19th century, has
entered the custody of the museum.
A unique place in this collection is occupied by the sundial placed in the handrail from
the first floor of the building which is a historic monument from the 18th century, today the
headquarters of the County Museum of History and Archaeology Maramureş. The sundial is
one of the oldest instruments for measuring time. Among the first people who benefitted
from the usage of this device were the Egyptians who, around 5000 B.C., conceived the so
called gnomon, a vertical post whose shadow was projected onto a graded surface. The
Greeks, who had advanced knowledge in mathematics, perfected the sundial. The dial and
11
A JOURNEY IN THE UNIVERSE OF THE CLOCK
then the sundial were used for a long time and experienced in its European evolution a so-
called golden age, between 1500 and 1800, a period of maximum usefulness and popularity.
The mechanic clocks built between the 14th and the 15th century worked according to the
principle of the horizontal sundials according to which the Sun’s movement from East to
West through South produces a movement of the shadow in the opposite direction, namely
from West to East through North. The two means of measuring time have lived together up
to the end of the 18th, beginning of the 19th century when the mechanical clocks asserted
themselves. The sundial indicates the true solar time (the time of each place according to its
longitude) and is not the same with the time indicated by current clocks, the difference being
given by the link between the solar time and the general average time and which may vary
from a few seconds to a few minutes.
The sundial housed in the County Museum of History and Archaeology Maramureş has
a horizontal metallic plate with radiant segments which describe the hours from 6am to 6pm
in Arabic figures. The dial is slightly rotated from the alignment of the parapet so that the 12
o’clock line would perfectly fit the North-South axis, thus indicating the true solar time. The
angle formed by the superior edge of the gnomon with the horizontal slate has to be as close
as possible to the latitude of the place, namely of 47,66º.
This sundial was built sometime between 1782 and 1913, during which period the
existing building (that had been erected between 1734 and 1739) was being enlarged. The
gnomon is presently missing but it is being reconstructed and will soon enter the visiting
circuit of the museum.
During the over 40 years since its conception, the horological collection has been
promoted by repeated temporary exhibitions (1984, 1986, 1992, 1995). Among the museum’s
associates who have contributed to the organizing of these exhibitions we mention members
of the National Association of the Blind, the Baia Mare branch, the result of this collaboration
being an unusual exhibition in which next to clocks there were exhibited watches for the
blind and other fine mechanisms used by them. Another first-time exhibition was organized
in partnership with Gheorghe and Iudita Crăciun, well-known artists from Baia Mare who
made exquisite pottery inspired by this generous domain of horology. Between 1997 and 2000
an ample itinerant exhibition was organized by the Museums in Târgu Mureş, Sighişoara,
Cluj-Napoca, Oradea and Baia Mare. Open consecutively in the above mentioned towns, the
exhibition entitled „Vintage clocks” was a unique and noteworthy cultural event in Baia
Mare. To the delight of our visiting public, in 2003, the permanent clock exhibition was
opened and it is highly appreciated by both Romanian and foreign visitors.
BIBLIOGRAPHY
Cronos 2000, Revista colecţionarilor şi iubitorilor de ceasuri, Anul I, nr. 1, ianuarie 2000,
Ploieşti, 2000.
Muzeul Ceasului „Nicolae I. Simache”, Muzeul de Istorie şi Arheologie judeţul Prahova,
Ploieşti, 2002.
Nedelea, D., Pelerinaj printre orologii, vol. 1, Ploieşti, 2001.
Nedelea, D., Pelerinaj printre orologii, vol. 2, Ploieşti, 2007.
Raţiu (Ratz), I., Tehnica şi arta ceasornicarilor, giuvaergiilor, ţintuitorilor, gravorilor şi
opticienilor, Cluj, 1938.
Uza, D., Cadrane solare din Transilvania, Banat, Crişana şi Maramureş, CLVSII NAPOCE,
MMXIV
12
P endule
de P erete
P endulum
W all
C loCks
Planşa / Plate I
Planşa / Plate II
1
Planşa / Plate IV
1 2
Planşa / Plate V
1 2
Planşa / Plate VI
1 2
Planşa / Plate IX
2
Planşa / Plate X
1 2 3
4 5
Planşa / Plate XI
P endule
P oPulare
P oPular
2
T imePieces
1
3
1
2
Planşa / Plate XV
C easuri de P erete
W all C loCks
Planşa / Plate XX
2
3 4
2 3
F armer ’ s
t imePieCes
2
Planşa / Plate XXV
2
C uCkoo
C loCks
1
2 3
C easuri
P ortative
P ortable
C loCks
3
4 5
3 4
2 3
4 5
2 3
4 5
C easuri de
M asă şi de
P ostaMent
t able and
P edestal
C loCks 2
Planşa / Plate L
Planşa / Plate LI
Planşa / Plate LII
Planşa / Plate LIII
1
2 3
C easuri de B uzunar
P oCket W atChes
Planşa / Plate LX
2
2 3
3 4
2 3
3 4
5 6
5
4
C easuri de 3
M ână
W rist
W atChes 4
2 3
4 5
t oWer
C loCks
PENDULE DE PERETE
PLANŞA I. 1, 2. Pendulă de perete contemporană Revoluţiei Franceze (1789-1799).
PLANŞELE II, III. Pendulă de salon, 157/56 cm, Cehia (Karlsbad, azi Karlovy Vary), secolele XIX-XX;
1, 2. Detalii cadran şi pendulă.
PLANŞA IV. 1, 2. Pendule de salon, secolul XIX.
PLANŞA V. 1, 2. Pendule de salon, secolul XIX.
PLANŞA VI. 1. Pendulă de salon, secolele XIX-XX; 2. Pendulă de salon, tragere la 100 de zile, începutul
secolului XX.
PLANŞA VII. 1. Pendulă de perete, secolul XX; 2. Pendulă de perete, Germania (Bavaria), secolul XX.
PLANŞA VIII. 1, 2. Pendule de perete, secolele XIX-XX.
PLANŞA IX. 1, 2. Pendule de perete, secolele XIX- XX.
PLANŞA X. 1, 2. Pendulă de salon, secolul XIX. A aparţinut lui George Pop de Băseşti (1835-1919), lider
politic al românilor din Transilvania.
PLANŞA XI. 1. Mecanism de ceas, personalizat: „Jakobovics Géza, Nagy Bánya” (Jakobovics Géza,
Baia Mare), secolul XIX; 2. Mecanism de ceas, personalizat (inscripţie ştearsă parţial), secolul XIX;
3. Mecanism de ceas, secolul XIX; 4-6. Mecanism de ceas, Gustav Becker, Germania (Freiburg),
secolul XIX; 7. Mecanism de ceas, secolul XIX.
PENDULE POPULARE
PLANŞA XII. 1, 2. Pendule de perete, secolul XIX.
PLANŞA XIII. 1-3. Pendule de perete, secolul XIX.
PLANŞA XIV. 1. Pendulă de perete, Junghans, Germania, sfârşitul secolului XIX; 2. Pendulă de perete,
secolul XIX.
PLANŞA XV. 1, 2. Pendulă de perete, secolul XIX; 3. Ceas de perete, cadran pictat, 10/6,5 cm, secolul
XIX.
CEASURI DE PERETE
PLANŞA XVI. Ceas de perete, cadran metalic, secolele XVIII-XIX.
PLANŞA XVII. 1-3. Ceas de perete, meşter ceasornicar Ignaz Herlinger, Austria (Viena), secolul XIX.
PLANŞA XVIII. 1, 2. Ceas de perete, tip tablou, Austria, secolul XIX.
PLANŞA XIX. 1, 2. Ceasuri de perete, secolele XIX-XX.
PLANŞA XX. 1. Ceas de perete, secolul XIX; 2. Ceas de perete, tip tablou, secolele XIX-XX; 3. Ceas de
perete, cadran pictat, secolul XIX.
PLANŞA XXI. 1. Ceas de perete, porţelan pictat, secolul XIX; 2. Ceas de perete, tip farfurie, începutul
secolului XX; 3. Ceas de perete, secolul XX.
PLANŞA XXII. 1-4. Ceasuri de perete, secolele XIX-XX.
PLANŞA XXIII. 1. Ceas de perete, începutul secolului XX; 2. Ceas de perete, personalizat, B. Bercovits,
Beclean (România), începutul secolului XX; 3. Ceas de perete, secolele XIX-XX.
PLANŞA XXIV. 1. Ceas de Poştă, secolele XIX-XX; 2. Ceas de perete, secolele XIX-XX.
CEASURI ŢĂRĂNEŞTI
PLANŞA XXV. 1-3. Ceasuri de perete, ancadrament în tehnica „tablei ciocănite”, secolul XIX.
PLANŞA XXVI. 1-3. Ceasuri de perete, ancadrament în tehnica „tablei ciocănite”, secolul XIX.
PLANŞA XXVII. 1-3. Ceasuri de perete, tip tablou, secolul XIX.
PLANŞA XXVIII. 1. Ceas de perete, ancadrament în tehnica „tablei ciocănite”, secolul XIX; 2, 3. Ceas
de perete, ancadrament decorativ cu sticlă pictată, secolul XIX.
PLANŞA XXIX. 1-3. Ceasuri de perete, cadran lemn pictat, secolele XVIII-XIX.
PLANŞA XXX. 1-4. Ceasuri de perete, cadran lemn pictat, secolele XVIII-XIX.
PLANŞA XXXI. 1-4. Ceasuri de perete, cadran lemn pictat, secolele XVIII-XIX.
PLANŞA XXXII. 1-3. Ceasuri de perete, cadran lemn pictat, secolele XVIII-XIX.
96
CEASURI CU CUC
PLANŞA XXXIII. 1, 2. Ceasuri cu cuc, lucrate manual, Germania, secolul XIX.
PLANŞA XXXIV. 1, 2. Ceas cu cuc, Elveţia, secolul XIX.
PLANŞA XXXV. 1, 2. Ceas cu cuc, secolul XX.
CEASURI DE POSTAMENT
PLANŞA XXXVI. Ceas monumental de şemineu, secolul XIX.
PLANŞA XXXVII. Ceas de postament, secolul XIX.
PLANŞA XXXVIII. 1-3. Ceas de postament, personalizat „Joseph Csádech”, Austria, secolul XIX.
PLANŞA XXXIX. Ceas de postament, secolul XIX.
PLANŞA XL. Ceas de cabinet, secolul XIX.
PLANŞA XLI. 1-3. Ceas de postament, Ansonia, S. U. A. (New York), patentat în anul 1892.
CEASURI PORTATIVE
PLANŞA XLII. 1-5. Ceasuri de masă, secolele XIX-XX.
PLANŞA XLIII. 1. Ceas de masă, Junghans, Germania, secolele XIX-XX; 2-4. Ceasuri de masă, secolele
XIX-XX.
PLANŞA XLIV. 1, 2. Ceas de masă, cu sonerie, Ansonia, S. U. A., secolul XX; 3. Ceas de masă, cu
sonerie, din dotarea Căilor Ferate Române (C.F.R.), secolul XX; 4. Ceas de masă, cu sonerie,
secolul XX.
PLANŞA XLV. 1, 2. Ceas de masă, cu sonerie, din dotarea Căilor Ferate Române (C.F.R.), secolul XX.
PLANŞA XLVI. 1. Ceasuri de masă, cu sonerie, Garanţia, din dotarea Căilor Ferate Române (C.F.R.),
România (Arad), secolul XX; 2. Ceas de masă, Tam-Tam, România (Arad), secolul XX; 3. Ceas de
masă, secolul XX; 4. Ceas de masă, Aradora, România (Arad), secolul XX; 5. Ceas de masă,
secolul XX.
PLANŞA XLVII. 1-3. Ceasuri de masă, cu muzică mecanică, Junghans, Germania, secolul XX.
PLANŞA XLVIII 1. Ceas de masă, secolul XX; 2. Ceas de masă, Japonia (Tokyo), secolul XX; 3. Ceas
de masă, Kienzle, Germania, secolul XX.
PLANŞA XLIX. 1. Ceas de masă, Braun, Germania, secolul XX; 2. Ceas de masă, Mauthe, Germania,
secolul XX; 3. Ceas de masă, Kienzle, Germania, secolul XX; 4. Ceas de masă, Austria (St. Pölten),
secolul XX; 5. Ceas de masă, secolul XX.
CEASURI DE BUZUNAR
PLANŞA LIX. 1-3. Ceasuri de buzunar, Doxa, Elveţia, secolele XIX-XX.
PLANŞA LX. 1-3. Ceas de buzunar, Doxa, Elveţia, secolele XIX-XX.
PLANŞA LXI. 1-3. Ceasuri de buzunar, Omega, Elveţia, secolele XIX-XX.
PLANŞA LXII. 1. Ceas de buzunar, Omega, Elveţia, secolele XIX-XX; 2, 3. Ceas de buzunar, secolele
XIX-XX.
PLANŞA LXIII. 1, 2. Ceas de buzunar, Roskoph, Elveţia, secolele XIX-XX.
PLANŞA LXIV. 1-5. Ceasuri de buzunar, Roskoph, Elveţia, secolele XIX-XX.
PLANŞA LXV. 1, 2. Ceas de buzunar, Doxa, Elveţia, secolele XIX-XX; 3. Ceas de buzunar, secolele
XIX-XX.
PLANŞA LXVI. 1, 2. Ceas de buzunar, secolele XIX-XX; 3, 4. Ceas de buzunar, Fidelitas, secolele XIX-XX.
97
PLANŞA LXVII. 1, 2. Ceas de buzunar, Tellus Grănicer, Elveţia, achiziţionat de români în anul 1931.
PLANŞA LXVIII. 1. Carcasă de ceas, Splendit, Elveţia, secolele XIX-XX; 2, 3. Ceas de buzunar,
Standard, S.U.A., secolele XIX-XX.
PLANŞA LXIX. 1, 2. Ceas de buzunar, Chronomètre, Elveţia, secolele XIX-XX; 3, 4. Ceas de buzunar,
Companion, secolele XIX-XX; 5, 6. Ceas de buzunar, Elveţia, secolele XIX-XX.
PLANŞA LXX. 1. Ceas de buzunar, Tegra, secolele XIX-XX; 2, 3. Ceas buzunar, personalizat „Karl
Saurin, 1911”, secolele XIX-XX.
PLANŞA LXXI. 1-3. Ceas de buzunar, Intact, secolele XIX-XX; 4, 5. Ceas de buzunar, Urania, secolele
XIX-XX.
PLANŞA LXXII. 1-3. Ceas de buzunar, Elveţia, secolele XIX-XX.
PLANŞA LXXIII. 1, 2. Ceas de buzunar, Nancy, Japonia, secolul XX.
PLANŞA LXXIV. 1, 2. Ceasuri de verificare a paznicilor, secolul XIX.
PLANŞA LXXV. 1, 2. Ceas de campanie, Mauthe, Germania, secolul XX. A aparţinut unui român plecat
pe front în anul 1941.
CEASURI DE MÂNĂ
PLANŞA LXXVI. 1. Ceas de mână cu brăţară de argint, secolul XX; 2. Ceas de mână, secolul XX; 3.
3. Ceas de mână, Murag, Elveţia, secolul XX; 4. Ceas de mână, secolul XX.
PLANŞA LXXVII. 1. Ceas de mână, Sputnik, U.R.S.S., secolul XX; 2. Ceas de mână, Saturn, U.R.S.S.,
secolul XX; 3. Ceas de mână cu brăţară, secolul XX; 4, 5. Ceasuri de mână, secolul XX.
OROLOGII DE TURN
PLANŞA LXXVIII. Turnul Sfântul Ştefan, Baia Mare, fotografie de la sfârşitul secolului XIX.
PLANŞA LXXIX. 1-3. Orologiul din Turnul Sfântul Ştefan, fabricat la Oradea, 1895.
PLANŞA LXXX. Biserica Reformată din Baia Mare, fotografie din secolul XIX.
PLANŞA LXXXI. 1, 2. Orologiul din turnul Bisericii Reformate, secolul XIX.
PLANŞA LXXXII. Muzeul Judeţean de Istorie şi Arheologie Maramureş, curtea interioară.
PLANŞA LXXXIII. 1. Cadran solar construit în intervalul de timp 1782-1913 în incinta Direcţiei Minelor
Baia Mare, în prezent sediul Muzeului Judeţean de Istorie şi Arheologie Maramureş; 2. Propunere
de restaurare a cadranului solar (Dan-George Uza).
98
POPULAR TIMEPIECES
PLATE XII. 1, 2. Popular timepieces, 19th c.
PLATE XIII. 1-3. Popular timepieces, 19th c.
PLATE XIV. 1. Popular timepiece, Junghans, Germany, end of 19th c.; 2. Popular timepiece, 19th c.
PLATE XV. 1, 2. Popular timepiece 19th c.; 3. Popular timepiece, painted dial, 10/6.5 cm, 19th c.
WALL CLOCKS
PLATE XVI. Wall clock, metallic dial, 18th-19th c.
PLATE XVII. 1-3. Wall clock, clock maker Ignaz Herlinger, Austria (Vienna), 19th c.
PLATE XVIII. 1, 2. Wall clock, painting like, Austria, 19th c.
PLATE XIX. 1, 2. Wall clocks, 19th-20th c.
PLATE XX. 1. Wall clock, 19th c.; 2. Wall clock, painting like, 19th-20th c.; 3. Wall clock, painted dial,
19th c.
PLATE XXI. 1. Wall clock, painted porcelain, 19th c.; 2. Wall clock, plate like, early 20th c.; 3. Wall
clock, 20th c.
PLATE XXII. 1-4. Wall clocks, 19th-20th c.
PLATE XXIII. 1. Wall clock, early 20th c.; 2. Personalized wall clock, B. Bercovits, Beclean (Romania),
early 20th c.; 3. Wall clock, 19th-20th c.
PLATE XXIV. 1. Post office wall clock, 19th-20th c.; 2. Wall clock, 19th-20th c.
FARMER’S TIMEPIECES
PLATE XXV. 1-3. Wall clocks with the framework made in the technique of „hammered sheets”, 19th c.
PLATE XXVI. 1-3. Wall clocks with the framework made in the technique of „hammered sheets”, 19th c.
PLATE XXVII. 1-3. Wall clocks, painting like, 19th c.
PLATE XXVIII. 1. Wall clock with the framework made in the technique of „hammered sheets”, 19th c.;
2, 3. Wall clock, painted glass framework, 19th c.
PLATE XXIX. 1-3. Wall clocks, painted wooden framework, 18th-19th c.
PLATE XXX. 1-4. Wall clocks, painted wooden framework, 18th-19th c.
PLATE XXXI. 1-4. Wall clocks, painted wooden framework, 18th-19th c.
PLATE XXXII. 1-3. Wall clocks, painted wooden framework, 18th-19th c.
CUCKOO CLOCKS
PLATE XXXIII. 1, 2. Cuckoo clocks, handmade, Germany, 19th c.
PLATE XXXIV. 1, 2. Cuckoo clock, Switzerland, 19th c.
PLATE XXXV. 1, 2. Cuckoo clock, 20th c.
PEDESTAL CLOCKS
PLATE XXXVI. Impressive fireplace clock, 19th c.
PLATE XXXVII. Pedestal clock, 19th c.
PLATE XXXVIII. 1-3. Personalized pedestal clock, „Joseph Csádech”, Austria, 19th c.
PLATE XXXIX. Pedestal clock, 19th c.
PLATE XL. Pedestal bureau clock, 19th c.
PLATE XLI. 1-3. Pedestal clock, Ansonia, U.S.A. (New York), patented in 1892.
PORTABLE CLOCKS
PLATE XLII. 1-5. Table clocks, 19th-20th c.
PLATE XLIII. 1. Table clock, Junghans, Germany, 19th-20th c.; 2-4. Table clocks, 19th-20th c.
PLATE XLIV. 1, 2. Alarm clock, Ansonia, U.S.A., 20th c.; 3. Alarm clock used to equip the Romanian
Railway workers, 20th c.; 4. Alarm clock, 20th c.
PLATE XLV. 1, 2. Alarm clock used to equip the Romanian Railways workers, 20th c.
PLATE XLVI. 1. Alarm clocks, Garanţia, used to equip the Romanian Railways workers, Romania
(Arad), 20th c.; 2. Table clock, Tam-Tam, Romania (Arad), 20th c.; 3. Table clock, 20th c.; 4. Table
clock, Aradora, Romania (Arad), 20th c.; 5. Table clock, 20th c.
PLATE XLVII. 1-3. Table clocks with mechanical music, Junghans, Germany, 20th c.
PLATE XLVIII 1. Table clock, 20th c.; 2. Table clock, Japan (Tokyo), 20th c.; 3. Table clock, Kienzle,
Germany, 20th c.
99
PLATE XLIX. 1. Table clock, Braun, Germany, 20th c.; 2. Table clock, Mauthe, Germany, 20th c.; 3. Table
clock, Kienzle, Germany, 20th c.; 4. Table clock, Austria (St. Pölten), 20th c.; 5. Table clock, 20th c.
POCKET WATCHES
PLATE LIX. 1-3. Pocket watches, Doxa, Switzerland, 19th-20th c.
PLATE LX. 1-3. Pocket watch, Doxa, Switzerland, 19th-20th c.
PLATE LXI. 1-3. Pocket watches, Omega, Switzerland, 19th-20th c.
PLATE LXII. 1. Pocket watch, Omega, Switzerland, 19th-20th c.; 2, 3. Pocket watch, 19th-20th c.
PLATE LXIII. 1, 2. Pocket watch, Roskoph, Switzerland, 19th-20th c.
PLATE LXIV. 1-5. Pocket watches, Roskoph, Switzerland, 19th-20th c.
PLATE LXV. 1, 2. Pocket watch, Doxa, Switzerland, 19th-20th c.; 3. Pocket watch, 19th-20th c.
PLATE LXVI. 1, 2. Pocket watch, 19th-20th c.; 3, 4. Pocket watch, Fidelitas, 19th-20th c.
PLATE LXVII. 1, 2. Pocket watch, Tellus Grănicer, Switzerland, purchased for the Romanian frontier
guards in 1931.
PLATE LXVIII. 1. Framework of Splendit pocket watch, Switzerland, 19th-20th c.; 2, 3. Pocket watch,
Standard, U.S.A., 19th-20th c.
PLATE LXIX. 1, 2. Pocket watch, Chronomètre, Switzerland, 19th-20th c.; 3, 4. Pocket watch,
Companion, 19th-20th c.; 5, 6. Pocket watch, Switzerland, 19th-20th c.
PLATE LXX. 1. Pocket watch, Tegra, 19th-20th c.; 2, 3. Personalized pocket watch, „Karl Saurin, 1911”,
19th-20th c.
PLATE LXXI. 1-3. Pocket watch, Intact, 19th-20th c.; 4, 5. Pocket watch, Urania, 19th-20th c.
PLATE LXXII. 1-3. Pocket watch, Switzerland, 19th-20th c.
PLATE LXXIII. 1, 2. Pocket watch, Nancy, Japan, 20th c.
PLATE LXXIV. 1, 2. Watches used to check upon guardians, 19th c.
PLATE LXXV. 1, 2. Division watch, Mauthe, Germany, 20th c. It belonged to a romanian soldier left for
war in 1941.
WRIST WATCHES
PLATE LXXVI. 1. Silver strap wrist watch, 20th c.; 2. Wrist watch, 20th c.; 3. Wrist watch, Murag,
Switzerland, 20th c.; 4. Wrist watch, 20th c.
PLATE LXXVII. 1. Wrist watch, Sputnik, U.S.S.R., 20th c.; 2. Wrist watch, Saturn, U.S.S.R., 20th c.; 3.
3. Wrist watch with strap, 20th c.; 4, 5. Wrist watches, 20th c.
TOWER CLOCKS
PLATE LXXVIII. The Sfântul Ştefan Tower, Baia Mare, photo, end of 19th c.
PLATE LXXIX. 1-3. The clock from Sfântul Ştefan Tower, made in Oradea in 1895.
PLATE LXXX. The Reformed Chruch form Baia Mare, photo, 19th c.
PLATE LXXXI. The clock from the tower of the Reformed Church from Baia Mare, 19th c.
PLATE LXXXII. The County Museum of History and Archaeology Maramureş, courtyard.
PLATE LXXXIII. 1. The sundial built between 1782-1913 in former Mining Office from Baia Mare,
today The County Museum of History and Archaeology Maramureş; 2. Sundial restoration proposal
(Dan-George Uza).
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