Giulio Pippi, known as Giulio Romano (1499-1556). Italian painter and architect, born in Rome, Giulio Romano was pupil to Raphael. He was the architect and decorator of the Palazzo del T6, in Mantua, where he died. The painting in the Louvre which inspired the enameller of the watch was for a long ti me attributed to Raphael. Johann Martin, Augsburg. Born in Frankfurt in 1642, married the daughter of the watchmaker Elias Weckerlin in May 1669. Master in June 1669. Died in Augsburg in 1721. Johann Martin is well known for his production of exceptionally fine pocket sundials, and other instr uments, notably universal equatorial dials and the so-called `scimitar dials' (1) . I-Iis instruments were beautifully engraved, gilded and frequently employed silver in their construction. Various table clocks signed by him are known, but virtually no watches. A silver verge watch with alarm was sold iii the Dennison collection (2), which may be the only other recorded example along with the watch now offered for sale. It is the case that many of the finest enamel watches made in the 17th century, although signed by makers from every countr y with a watchmaking industry, had their cases made in France (Blois or Paris) or Switzerland, or at least by artists trained at the respective schools. The latter, dominated by the 1-Luaud family was more prolific towards the end of the century and it has been the usual practise in the past to ascr ibe all such cases as 'in the manner of Huaud'. Recent work by Hans Boeckh has established the existence of an independent school of enamelling based in Augsburg(3) which could produce gold enamelled watch cases of the very highest quality (not to be confused with the prolific but average standard copper enamel plaques produced in South Germany and used to decorate tables, cabinets etc.). Examples of such watch cases are however exceptionally rare, with no more than a handful of examples known to have survived. Boeckh further explains that the iconography of these watches is of a totally different character to the majority of the Geneva work of the same period; the scenes are largely taken from important pictures by old masters which can be identified. By contrast many of the Geneva pieces are only loosely based on mythological or Biblical stories. The watch now offered for sale is after a painting by Guilio Romano (1499-1556) entitled The Holy Family, and now preserved in the Louvre, Paris. Bearing this in mind it is therefore interesting to speculate on the school of enamelling that most influenced the craftsmen of Augsburg. The mastering of painting in enamel on enamel certainly originated with the craftsmen from the area of Blois in the 2nd quarter of the 17th century, and it was also usual practise for their work to be based on real paintings or prints taken directly from such masterpieces. On the other hand, the palette of colours used by the German enamellers is perhaps closer to the Geneva school. However, this may be a consequence of the comparatively later date. as the pastel shades and almost muted character of Blois enamel work can be associated with the period up to 1660, after which the French school began to decline, largely clue to political and religious pressures on the craftsmen. A few French artists continued working until the end of the century, and their palette of colours is not dissimilar to that of the tiny German School. The watch now offered for sale not only equals the finest work of the period from any country but also appears to be unique on account of its heart shape, further enhanced by the use of precious stones. It was clearly intended for a client of i mportance, but in view of Martin's production being almost exclusively in the area of clocks and notably instr uments, it is tempting to believe that it may have been made as a gift, possibly even for his wife on the occasion of their marriage or perhaps the birth of a child. Hans Boeckh dates the watch to circa 1680, and Martin married in 1669, but if further research can confirm that the Augsburg school drew its influence from France, then an earlier date is possible. (1) Jurgen Abeler, Meister de UIumacherliunsi, Dusseldorf 1977. M.Bobinger, Alb-Augsbu'get- hompass mat her; Augsburg 1966. (2) Christie's, The Dennison Watch Collection, October 10, 1961, Lot 227. (3) Hans Boeckh, Les Arts 1)u Feu a Augsbourg Et A Geneve /680- /710, Extrait de Geneva, t.XLLV, 1996, pp. 91-92.