In this last article of the series, repairing your grandfather clock on your own, we're going to go over some more things you can do at home before taking your grandfather clock in for repair.

Another common problem with grandfather clocks is for the chimes to go out of sequence with the time that's displayed. This usually happens on the quarter hour chimes. If this happens there may not necessarily be anything wrong with the chimes mechanism. Most grandfather clocks that have been manufactured in the last 50 years have a chime correction device that should recycle the chimes back in sync with the minute hand when it reaches the hour. If your particular grandfather clock doesn't have an automatic chime correction device, the problem can be manually corrected by turning the minute hand back 15 minutes then forward past the quarter hour. Just keep doing this until the number of chimes match the quarter hour the hand is pointing to.

To give you an example, Westminster chimes play 4 notes on the first quarter hour, 8 notes on the half hour, 12 notes on the three quarter hour and 16 notes at the top of the hour. If the problem still continues it may mean that the minute hand has been installed on its arbor in the wrong direction. To fix this, remove the nut holding down the minute hand with a pair of pliers. Then, pull the minute hand off, rotate it to the quarter hour indicated by the number of chimes being played and then reinstall the nut. This should get the chimes back in sync with the timing mechanism.

One final problem is when the weights refuse to drop. Every quarter hour the time train causes the chimes to strike. That in turn causes the left strike weight to fall at the top of the hour. So if the time train center pendulum doesn't drop then the chime and the strike weights won't drop either. The first step in fixing this is to get the pendulum swinging again. We covered that in the first article.

If the right and left weights refuse to drop, meaning the pendulum is swinging and the clock hands are moving but the chime is not operating, then what will happen is the chime will not operate and in turn the strike will not operate either. What you do is check to see if the chime lever on the grandfather dial is properly centered over a chime and not in the off position. After doing that, you take the side panel off your grandfather clock and check to make sure that the steel chime retard bar has NOT been lowered onto the chime hammers causing the chimes not to operate.

If only the left weight will not drop that means only the hour strike is not operating. To fix this open the side panel and make sure that the steel retard bar has not been lowered onto the strike hammers causing them not to operate. Also make sure the hammers are operating freely. Finally, check and make sure that the trip lever from the chimes is releasing the strike train.

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I grew up in the muscle car era of the 1960's and early 1970's, where there was enough time to still influence me before the gas crisis of $1 per gallon gas. These teen years left a lasting impression from that point on where a car must have big V8, loud rumbling exhaust, and big tires, otherwise it did not get a second glance. It was the power hungry performance cars from Detroit's Big Three. The Mustang, the Camaro, the Firebird as well as the Chevelles, and Chargers to just name a few that you could hear coming a mile before they arrived. They got my attention! Over the years as I've traveled around to car shows my appreciation for the automobile expanded. The common thread that intrigued me about all of the car owners was, the pride they took in their vehicle, but what was I missing? Many of these cars did not meet my criteria of a big V8, loud rumbling exhaust, and big tires, so what's the big deal? The intent of this article is to open your mind and recognize the elegance, grace, and styling of cars before you were born, to the present.

It seems that many automotive enthusiasts have at one time encountered a similar dilemma. There are the Mustang specific clubs, the Ford Model A clubs, even the Orange Colored Car club. Everyone has they primary interests, but if you look beyond this, you can see the elegance, style, and beauty that was finely crafted by the automotive artists. Imagine looking through the viewfinder on a camera as you focus on composing the perfect image. With your naked eye, many of the details may not initially jump out. However, when you see the image as the camera does, you notice the shadows, the lighting, and the elements of the vehicle that appear to be magnified and stand out. This focusing forces you to not only look complete vehicle, but down to the individual details that make it up. These details are the core elements of that the artist creates. Like each stroke of the brush, each curve in the chrome makes up the masterpiece.

You do not have to look far to see what I am talking about. Look at a 1958 Chevrolet Belair with its massive grille, large amounts of chrome and the intricacy of the trim accent pieces all flowing together like a sculpture. Unless you pay attention to even the most minuet areas you will not see the entire masterpiece. A person once told me that when he didn't win people choice awards, his wife would say, "Did A Red Car Win?" This statement has some truth. I have seen that if there were two almost identical cars, the red or brightly colored one usually faired better even if it was not in as good of condition. The point I am trying to make is first impression is exactly that, first impression. Whereas, a seasoned judge, goes to the next level looking at the quality of the paint, and in concours judging down to the finish on the bolts. Within this spectrum is where the real artistic nature is.

I recently did some photography and show board work on a 1957 Ford Fairlane 500 that I initially seen at a local car show. When I first seen this car what stood out was its massive size, and the glistening shine of the perfect black paint. This was my first impression as it caught my attention. After talking with the owner, Joe, and learning more about his car, the real beauty of this classic vehicle was evident. You could almost see the air flowing along the sleek and graceful body lines as the 30 spokes of each wheel reflected like mirrors. It was obvious that he was focused on a perfect display, ensuring that there was a blinding shine on the chrome and paint, and every component, even the underside was perfect. One could only imagine the many hours and years spent getting to this level of perfection.

The next time you see one of these classics driving down the road, or at a car show try to vision what the automobile artists has in mind. To get a jump start on seeing these classics there is a nice selection of pictures showing exactly what I have talked about at www.PalmieriConcepts.com. The information and pictures on this site will give you many examples of these classics as well as alternative ways of composing your pictures into works of art. Palmieri Concepts focuses on transforming your everyday pictures into custom art, and as a result, attention to detail is key.

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