Simultaneously, two painters, Schaffhousois too, and friends of the Habrecht, the Tobie brothers and Josias Stimmer, took on the decoration of the work. The same desire for meticulous perfection guided them and perhaps - it is a hypothesis, but it seems admissible if we consider the remarkable allegorical set that constitutes the clock - a same faith in which we detect the influence of occult sciences including alchemy. The traditional symbolism of the paintings reveals, at the very least, an inspiration drawn from perfectly defined knowledge and not from a fantasy that was unthinkable at the time in a cathedral.

By the end of spring 1574, the clock was completely finished. We did some tests and, on June 24, Saint John's Day, the solemn start took place ... The marvelous machinery, which gave a complete overview of chronometric watch concepts, worked perfectly until 1789. It did not take not so long ago to make it one of the jewels of liturgical art. We came to see the clock everywhere, we praised it as a masterpiece, as a new wonder of the world. It is therefore easy to see that the reputation of the Habrecht did not take long to develop. Their glory was such, in any case, that the Corporation of locksmiths-watchmakers of Strasbourg took umbrage and sought them out.

He replied with an astronomical table clock which confused even the most malicious of examiners. Having thus satisfied the corporate requirements, Master Habrecht was able to establish himself definitively in Strasbourg. His "contract" of 1571 with the city authorities required him to instruct some craftsmen to maintain his masterpiece, but it is more than likely that he did not consider it very wise to abandon the government of it to hands which, at least at the beginning, could have allowed themselves to sneakily exert on their clock a jealousy and hostility that they had hardly hidden from them. However, other cities were quick to claim his talents, notably Heilbronn on the Neckar where he completed another astronomical clock in 1580, and Ulm on the Danube the following year.

He also executed numerous clocks on behalf of "private individuals". In 1583, for example, he delivered to the banker Fugger of Augsburg an astronomical clock which, while not having the monumental proportions of that of Strasbourg, is none the less - on the contrary - a masterpiece. Thus for forty years, while his sons Abram and Isaac II were preparing to take over his succession, he confirmed a brilliant mastery which made him the greatest of the Habrecht.

The pieces kept in the collections, remarkable from the watchmaking ingenuity point of view as well as from the artistic point of view, attest that his work represents an extraordinary attempt at complete chronometry where the minute had always to be located in relation to the infinite course of the stars, time measurable in relation to the eternal, the profane in relation to the sacred and - perhaps the rhythm of human existence in relation to the pulsations of the divine.