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Updated: May 2, 2025
And as the situation chanced to be vacant, I went back to my old master. I took my old seat and den as managing clerk between the outer office and Counsellor Boule's glass cage. I correct the drafts of the inferior clerks; I see the clients and instruct them how to proceed. They often take me for the counsellor himself.
We have seen in the notice of French furniture that armoires by Boule have, during the past few years, brought from £4,000 to £6,000 each under the hammer, and the want of appreciation of this work, probably the most artistic ever produced by designer and craftsman, is sufficiently exemplified by the statement that at the Stowe sale two of Boule's famous armoires, of similar proportions to those in the Hamilton Palace and Jones Collections, were sold for £21 and £19 8s. 6d. respectively.
One of these is a corner cupboard of rosewood, inlaid with engraved silver, part of the design being a shield with the arms of an Elector of Cologne; there is also a pair of somewhat similar cabinets from the Bishop's Palace at Salzburg. These are of German work, early eighteenth century, and have evidently been designed after Boule's productions.
The Venetian State chair, illustrated on p. 57, was amongst the examples lent by the Queen on that occasion. Specimens of Boule's work and some good pieces of Italian Renaissance were also exhibited.
To Pons' exclamations of admiration, he was wont to reply with a "Yes, it is ver' bretty," as a mother answers baby-gestures with meaningless baby-talk. Seven times since the friends had lived together, Pons had exchanged a good clock for a better one, till at last he possessed a timepiece in Boule's first and best manner, for Boule had two manners, as Raphael had three.
In the first he combined ebony and copper; in the second contrary to his convictions he sacrificed to tortoise-shell inlaid work. In spite of Pons' learned dissertations, Schmucke never could see the slightest difference between the magnificent clock in Boule's first manner and its six predecessors; but, for Pons' sake, Schmucke was even more careful among the "chimcracks" than Pons himself.
"Quite a lot of the people here are really enjoying the music and quite a lot are simply marking time till the tables are open and they can go and play boule." Tony nodded. "The sheep and the goats," he replied. "Count me among the latter. But boule's a rotten poor game," discontentedly. "Give me roulette every time. One has the chance to win something worth while at that."
To Pons' exclamations of admiration, he was wont to reply with a "Yes, it is ver' bretty," as a mother answers baby-gestures with meaningless baby-talk. Seven times since the friends had lived together, Pons had exchanged a good clock for a better one, till at last he possessed a timepiece in Boule's first and best manner, for Boule had two manners, as Raphael had three.
The Museé du Louvre is rich in examples of Boule's work; and there are some very good pieces in the Jones Collection, at Hertford House, and at Windsor Castle. The illustration on p. 144 is the representation of an armoire, which was, undoubtedly, executed by Boule from a design by Lebrun: it is one of a pair which was sold in 1882, at the Hamilton Palace sale, by Messrs. Christie, for £12,075.
The brass, or the white metal in the design, was then carefully and most artistically engraved; and the beauty of the engraving of Boule's finest productions is a great point of excellence, giving, as it does, a character to the design, and emphasizing its details. The mounting of the furniture in ormolu of a rich and highly-finished character, completed the design.
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