Liternture: Described and illustrated in Antonio Simoni3Orologi Italiani, Milan,1964, p.54. François Baronneau, Paris. Apparently two makers of this name were working in Paris contemporaneously. One was established in the Rue Saint-Jacques la Boucherie in 1620 and died in 1649. The other was at the Pont au Change and then the Rue Saint-Jacques la Boucherie from 1635 - 1649. In view of the common address, it seems probable that they are one and the same, although apparently the latter assisted at a marnage in 1653. In any case, it is clear that a François Barroneau was involved with the making of watches with early Blois cases, as another watch of very similar style and the sanie signature is preserved in the Musée d'horlogerie in Chaux-de- Fonds. to ire continned 32 Literature: Described and illustrated in Antonio Simoni, Orologi Italiani, Milan,1964, p.54. François Baroneau,Paris. Apparently two makers of this naine were working in Paris contemporaneously. One was established in the Rue Saint-Jacques la Boucherie in 1620 and died in 1649.The other Kvas at the Pont au Change and then the Rue Saint-Jacques la Boucherie from 1635 - 1649. In view of the common address, it seems probable that they are one and the same, although apparently the latter assisted at a marriage in 1653. In any case, it is clear that a François Baroneau was involved with the making of watches with early Blois cases, as another watch of very similar style and the same signature is preserved in the Musée d'horlogerie in Chaux- de Fonds. The subjects depicted on the major surfaces of the case are all taken from events in the life of the Virgin Mary. They are as follows: Cover (exterior): Presentation of Mary at the temple. Cover (interior): The meeting of Mary and Elizabeth. Back (interior): The marriage of Mary and Joseph. Back (exterior): The Holy Family with the infant John Dial : The Virgin Mary The scene on the back of the case is taken from an engraving by Aegidius Rousselet after a painting by G. Stella. It is now generally accepted that the technique of painting in enamel was invented perhaps ten years before the date of 1628 cited by Félibien in his Principes de l'Architecture, de la sculpture, de la peinture et des autres arts qui en dépendent , published in 1676. He ascribes the invention to Jean Toutin, a goldsmith originally from Châteaudun, but settled in Blois by 1604. Again, it seems unlikely that he was solely responsible for the invention, as the oasis of the technique had already been in use in Limoges for approaching 100 years. However it is to the craftsmen of Blois that ove owe the discovery of the rich palette of colours that are so characteristic of their work. Initially, the colours were somewhat limited and the technique less well developed; hardly surprising in view of the need to fire the case numerous times and the inexperience of the first craftsmen. It is to this first period that the Baronneau belongs, and in common with the other surviving examples, the watch is of very large diameter. It may be that the size helped in the delicate process of repeated firings, but it seems likely that such watches were considered as priceless works of art when they first appeared, not so much to be worn, but more to be admired. It is known that Mazarin and Richelieu occassionally gave such watches as handsome presents to people they wished to influence. That the enamellers had a ready market for everything they could produce is supported by the fact that they seemed to have to hand the very latest engravings, and on occasions paintings, as material to copy. Certain cases would appear to date to little more than a year after the original work from which they are taken. Several watches of similar size, and perhaps attributable to the same enameller, are preserved in Museum collections, although few still remain in private hands. One, by Coulions A Paris, also with a version of the Holy Family is in the Musée de l'horlogerie, Chaux-de-Fonds, inv.no.54.and in the same collection is an example signed by F. Baronneau with scenes inspired by the myth of Venus, inv.no. 400. The sanie subject, on a watch signed Bouquet, is on a watch in the Musée Poldi Pezzoli, Milan, inv.3446.( for excellent illustrations and discussion of all the above, see Catherine Cardinal, La Montre, Office du Livre, Fribourg,1985, p. 143 ff. A discussion of the sources will be found in Hans Boeckh, Ernailerie Au f Gerlfer Taschenuhrerr Von! 17. Bis Zuni Biggenden 19. Jahrhlnldert, Freiburg, 1982.).