This cartel was chased and gilt by Nicolas Lesueur, Maitre Jondeur a Paris, et Marchand Doreut; Damcccgrn:. m; (lit Roi suivant la Cour et les Conseils de Sa Mayeste, (retired in 1770), after a drawing by Henry Camille de Beringhen, (1693-1770), Marquis of Chateauneuf, PremierEcnyer-du Roi. The movement was made by Julien Le Roy (1686-1759), the most celebrated French maker of the time, Maitre Horloger a Pans and Directeur de la Societe des Arts. The mainspring was made by William Blakey (1688-1748), Fabricant des ressorts, Membre de la Societe des Arts, who came from England and settled in France, circa 1714. He was a close friend of Julien Le Roy and Henry Sully, who first met each other at his home. The enamel dial was made by Nicolas Julien, (dead in 1765), Maitre Peintre de /Academia de Saint Luc, et Peintre emailieur de la SocCil el Academie des Arts, whose work Julien Le Roy praised at the Societe des Ails in 1734- the same year the cartel was made. This type of pull winding repeating movement was invented by Julien Le Roi 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 illustr ated for the first time in Gallon: Recited de mat trues el invenlions appronvees par/Academe Royale des Sciences, 1666-1734, 5th vol. pp. 61-62 and pl. 326, where it is indicate that: l'Invenleur de celle-ci en n one qui est ( co: actuellenaent clans la chant/ me du Roi (the inventor of this one, has 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: Regle Artint Mlle du Temps (pp. 370-381), with the title: Nouvelle Inuit/ere de placer les Guth alines des Pendules a Repetition, 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 at least, 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 happen to he such an achievement that it has been admired and appreciated, not only by knowledgeable persons, but also by most art lovers. The honour 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 they 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 honour of explaining the mechanism to the King and the way it works; and had the satisfaction at the end of my demonstr ation 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 happen to artists who have the honour 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 produced it for the first time in 1729, for the clock intended for Louis de Bourbon, Earl of Clermont (1709-1771), cousin to Louis XV, and protector of the Societe des Ails. The version presented here corresponds to the latter. 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 name Monsieur le Premier, mentioned by Julien Le Roy was used in the 17th and 18th century for the Memo Ecuyer du Roi, an officer in charge of the Petite Emilie, as opposed to the Grande Ecurie directed by the Grand Renter. In 1728, the post of Premier Rent r was held by Henry-Camille de Beringhen (1673- 1770), who kept it until his death. It is quite unusual that it should have been him 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 t r ust on the part of Louis XV, to whom he was close. He had himself a strong liking for horology. In 1770, at his death, a large number of timepieces were described in his inventory; they were timepieces by such makers as Julien le Roy, Pierre Millot, Jean Bicsta, Jean-Baptiste Dutertre, Jean-Baptiste 7'hiout, Jean-Baptiste Baillon, only to name a few, and Pierre Le Roy, son of Julien, was in charge of their upkeeping. Julien Le Roy gives cr edit to Beringhen for the drawing of the cartel which represents the Point du Jour, here symbolised by a young lady upholding a star which lights the base of the piece, while a cherub holds a torch. This allegory was much favoured in the 18th century since a few years later, in 1742, the painter, Jean-Baptiste Nattier, would portray the Duchess of Chateauroux, official mistress of the king, 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 Mr. Audinet...; its repeating work established on the principles of Mr. I.e Roy, is on the back plate of the movement... The movement is fitted in a fine ormolu cartel; this cartel is made from the same type as Mr. Le Sueur had executed for the King's bedroom." It is Nicolas Lesucur, named master bronze maker in Paris before 1718, who bought in 1730 the patent for his craft, Marchand doreur graveur dantasquineur du Roi suivant la Coin; and who died in 1770. He had regularly dealt with Beringhen since he was in charge of the execution and upkeeping of the bronzes on the king's coaches from the Petite Ecurie. The present piece features a spring of 1734 and signed by William (I) Blakey (c. 1688-1748). Spring-maker Blakey, of English origin, who settled in France towards 1714, was a very close friend of Julien Le Roy and Henry Sully. It is at his house that the latters first met. Finally, the dial is the work of Nicolas Jullien (who died in 1765) whose activity was highly praised by Julien i.e Roy in 1734, the same year as the making of the clock, at the Societe 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, and both are now fitted with a later dial. Several other and similar ormolu cartels were also made, but they are 18th century copies by Le Sueur plagiarists, who however introduced in their decoration some minor differences. They are generally fitted with movements by Thioul, Leplat, Mynuel, Etienne Le Noir and Clouzier. It is almost certain that the original one was exclusively made for Julien Le Roy, who only sold very few. We gratefully acknowledge the assistance provided by Mr. Jean Dominique Augarde, in the preparation of this catalogue entry. Mr. Augarde is the author or co-author of several important publications on gilt bronzes and works of art, including Vetgoldeten Bronzen, Munich 1986, Les Ouvners du Temps, Antiquorum Editions, 1995 and Antide Janvier; Alecanicien- Astronome, Horloger oct10 nire du Roi, Paris 1998.