This cartel was chased and gilt by Nicolas Lesueur, a Maître Fondeur à Paris, et Marchand Doreur, Damasquineur, du Roi suivant la Cour et les Conseils de Sa Majesté, who retired in 1770, after a drawing by Henry Camille de Beringhen, (1693-1770), Marquis of Châteauneuf, Premier Ecuyer du Roi. The movement was made by Julien Le Roy (1686-1759), the most celebrated French maker of the time, Maître Horloger à Paris and Directeur de la Société des Arts. The mainspring was made by William Blakey (1688-1748), a spring maker and Member of the Société des Arts, who came from England and settled in France around 1714. Blakey was a close friend of Julien Le Roy and of Henry Sully, who in fact met at his home. The enamel dial was made by Nicolas Julien, (d. in 1765), Master Painter of the Académie de Saint Luc, and Painter and Enameler of the Société et Académie des Arts. This type of pull-winding repeating movement was invented by Julien Le Roy in 1728. The repeating work was fitted on the back plate instead of between the dial and the front plate, in order to be adjusted at any moment by clockmakers with the greatest ease. It is described and illustrated for the first time in Gallon: ?Recueil de machines et inventions approuvées par l?Académie Royale des Sciences, 1666-1734?, 5th vol., pp. 61-62 and pl. 326, where it is indicated that ?the inventor of this also made another, which is presently in the King?s bedroom?. Julien Le Roy himself gave an extensive description of it in 1737, in his enlarged edition of ?Sully: Règle Artificielle du Temps? (pp. 370-381), with the title: ?Nouvelle manière de placer les Cadratures des Pendules à Répétition?, in which he explains the circumstances of its creation. ?In 1728, M. le premier asked me to make a repeating clock for the King?s bedside, or to be exact, to make the movement, the case would be of his own choice, according to his taste and following his instructions. This clock happens to be such an achievement that it has been admired and appreciated, not only by knowledgeable persons, but also by most art lovers. The honor of working for my sovereign was such an excitement and stimulation, that I conceived the idea of setting the repeating work on the back plate, instead of the front plate where it had always been fitted until then. One of the main advantages of such a construction is that the repeating mechanism is therefore visible when the clock is seen from the back. I had the honor of explaining the mechanism and the way it works to the King; and had the satisfaction, at the end of my demonstration, to feel that His Majesty had perfectly understood my explanation and even found by himself certain technical terms that were not forthcoming in my speech. Such was the emotion and awe, as can befall artists who have the honor of speaking to their Sovereign...? The very same year, Julien Le Roy presented his invention to the Academie des Sciences, which gave its agreement and ordered its publication. The eminent watchmaker also invented a new version, slightly simplified, which he preferred to that used for the King?s clock. He first used it in 1729, for the clock intended for Louis de Bourbon, Earl of Clermont (1709-1771), cousin to Louis XV, and protector of the Société des Arts. The version presented here corresponds to that latter clock. The circumstances surrounding the invention of this cartel, both for its movement as for its case, remain unique in the history of French horology. The ?Monsieur le premier? mentioned by Julien Le Roy indicated, in the 17th and 18th centuries, the Premier Ecuyer du Roi, an officer in charge of the Petite Ecurie. In 1728, the post of Premier Ecuyer was held by Henry-Camille de Beringhen (1673-1770), who kept it until his death. It is quite unusual that it should have been he who ordered the 1728 cartel from Julien Le Roy, since it was not part of his functions. It should be regarded as a particular sign of trust on the part of Louis XV, whom he was close to. He himself had a strong liking for horology. In 1770, at his death, a large number of timepieces were described in his inventory; these were timepieces by such makers as Julien le Roy, Pierre Millot, Jean Biesta, Jean-Baptiste Dutertre, Jean-Baptiste Thiout and Jean-Baptiste Baillon, to name only a few. Pierre Le Roy, the son of Julien, was in charge of their upkeeping. Julien Le Roy gives credit to Beringhen for the drawing of the cartel which represents the Point du Jour, here symbolized by a young woman holding a star, while a cherub holds a torch. This allegory was much favored in the 18th century. A few years later, in 1742, the painter, Jean-Baptiste Nattier, would portray the Duchess of Chateauroux, the King?s favorite, using this same allegory. The name of the author of the bronze was found in the sale catalogue of the property of the famous collector, Bonnier de la Mosson, in 1745, in which number 918 is described as ?a fine repeating clock made by M. Audinet...; its repeating work established on the principles of Mr. Le Roy, is on the back plate of the movement... The movement is fitted in a fine ormolu cartel; this cartel is of the same type as M. Le Sueur had executed for the King?s bedroom. ?It is Nicolas Lesueur, named Master bronze maker in Paris before 1718, who in 1730 purchased the patent for his craft, becoming Marchand doreur graveur damasquineur du Roi suivant la Cour. He died in 1770. Lesueur had often dealt with Beringhen, since he was in charge of the execution and the upkeep of the bronzes on the king?s coaches from the Petite Ecurie. The present piece features a spring made in 1734 and signed by William (I) Blakey (c. 1688-1748). Blakey, of English origin, settled in France towards 1714, and was a close friend of Julien Le Roy and Henry Sully. Finally, the dial is the work of Nicolas Jullien (d. 1765), whose activity was highly praised by Julien Le Roy in 1734, the same year the clock was made, at the Société des Arts of which they were both members. At least two other cartels of this type are known to exist with repeating work by Julien Le Roy. Both are now fitted with a later dial. Several other, similar ormolu cartels were also made, but they are 18th century copies by plagiarists of Le Sueur. These are generally fitted with movements by Thiout, Leplat, Mynuel, Etienne Le Noir or Clouzier. It is almost certain that the original cartel was exclusively made for Julien Le Roy.