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French Decorative Bookbinding - Eighteenth Century

Luc-Antoine Boyet et la Comtesse de Verrue



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The reproduction the binding shown above is found at the website of the bibliothèque et les archives du château de Chantilly, in an article entitled Femmes bibliophiles, de Catherine de Médicis à la duchesse d'Aumale (click here to see it). They do not give many details about this binding however with our work on the palette in the Tomb labels on the previous page we can estimate the actual size of this binding fairly accurately



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Comparative Diagram 1 - Boyet palette XXIII




In Comparative Diagram 1, we get a clearer picture of the overlapping of this palette, guess that the actual palette looks a bit more like this second attempt to reconstruct this palette in Comparative Diagram 2 that ends more abruptly on the right side.



reconstruction



Comparative Diagram 2 - Boyet palette XXIII reconstruction 2




grotesque



Comparative Diagram 3 - Boyet tortillon pair 5




In Comparative Diagram 3 we discover yet another tortillion pair that Boyet has utilized to create a spine à la grotesque that we have discussed on page 25. This is a different design and you have to look closely to see what is happening with the pair. Each of the pair has three dots, 2 inside and one outside... side (a) turns in a clockwise fashion while side (b) turns in a counterclockwise direction, and has a larger dot outside than the closest dot inside, the reverse is true of tortillion (a).

Now we need to examine a bit of the history of la Comtess to whom this book belonged. We know from the previous page that the Duke of Savoy, Victor Amadeus II, fell madly in love with her, as she was married she resisted him for a time but finally yeilded "Soon the new mistress ruled all the Court of Savoie, whose sovereign was at her feet as before a goddess." Below I show the Palace, one of the worlds largest, in truth this was her Palace as the Duke worshed her.





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The Palace of Venaria (Italian: Reggia di Venaria Reale)



The Palace of Venaria (Italian: Reggia di Venaria Reale) is a former royal residence and gardens located in Venaria Reale, near Turin in the Metropolitan City of Turin of the Piedmont region in northern Italy. With 80,000m? in palace area and over 950.000m2 in premises, it is one the largest palaces in the world. It is one of the Residences of the Royal House of Savoy, included in the UNESCO Heritage List in 1997.The Palace was designed and built from 1675 by Amedeo di Castellamonte, commissioned by duke Charles Emmanuel II, who needed a base for his hunting expeditions in the heathy hill country north of Turin. The name itself derives from Latin, Venatio Regia meaning "Royal Hunt". It was enlarged to become a luxurious residence for the House of Savoy. The palace complex became a masterpiece of Baroque architecture, and was filled with decoration and artwork.

Charles Emmanuel was inspired by the example of the Castle of Mirafiori, built by Duke Charles Emmanuel I for his wife Catherine Michelle of Spain. Keen to leave a memorial of himself and his wife, Marie Jeanne of Savoy-Nemours, he bought the two small villages of Altessano Superiore and Altessano Inferiore from the Milanese-origin Birago family, who had created here a large complex of plants. The place was rechristened Venaria for his future function as hunting base (Venatio, in Latin). The construction of this residence fell in the larger plan of surrounding the city of Turin with a garland of delicacies (Corona di Delizie), which included the Palazzina di caccia of Stupinigi, Castle of Rivoli, Villa della Regina, and others.

The design was commissioned in 1658 to architects Amedeo di Castellamonte and Michelangelo Garove [it]. The project envisioned a grandiose ensemble of palace, gardens, hunting woods, and a new city, bearing a noteworthy scenographic impact. Tdjacent town's plan was circular to reflect the round shape of the collar of the Supreme Order of the Most Holy Annunciation, a dynastic order created by the House of Savoy. In 1675 the borough and the palace were nearly completed, including the so-called Reggia di Diana (Royal Residence of Diana, the heart of the complex. Works however continued until the next century, as in 1693 French invasion troops are known to have destroyed some buildings and Duke (future King) Victor Amadeus II had the residence modified according to French canons, with the intent of rivalling the Palace of Versailles. Starting in 1699, the new project director was Michelangelo Garove, who followed Victor Amadeus' intent of building an ever more grandiose palace.


The comtesse was in control for perhaps a decade but finally tired of it and returned to France in 1700 according to most historians, so we might assume that her bindings by Boyet would have been made somewhat after 1700. Victor Amadeus II went on to build some amazing Palaces and was crowned King of Sardinia in 1720.


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"The new palace was designed by the architect Filippo Juvarra to be used as a palazzina di caccia
("hunting lodge") for Victor Amadeus II, King of Sardinia.
"



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see below links to previous work






Atelier I B 31/10/2014





Icons of the Renaissance 06/02/2014





Atelier au trefle 22/12/2014




Atelier Royal 1518 - 1524 09/11/2014





Unraveling G. D. Hobson's book on fanfares 27/11/2014





16c fanfare on eBay 23/11/2014




another Padeloup binding on eBay 07/12/2014


the last Padeloup fanfare?


Rare Padeloup binding on eBay 15/11/2014



Pierre-Paul Dubuisson's work attributed to Derone le jeune 23/10/2014 (unfinished work now finished)


Pierre-Paul Dubuisson's work attributed to Douceur 22/10/2014 (an under contruction page finished at last)


Louis-Marie Michon - the 1956 Disaster 19/10/2014 (an unfinished page finished at last)


Louis XII Dolphins motif 03/02/2014


Aristophanes Binder 1543 02/02/2014


Atelier des reliures LOUIS XII - Atlas Catalan 12/01/2014


Atelier des reliures LOUIS XII - FRANÇOIS Ier - Linacre bindings 05/01/2014


Atelier des reliures LOUIS XII - FRANÇOIS Ier c. 1500-1520


Atelier des reliures LOUIS XII - FRANÇOIS Ier - Chronology 16/01/2014


Atelier des reliures LOUIS XII - FRANÇOIS Ier - Inventory - binding No. 29 19/01/2014


Atelier des reliures LOUIS XII - FRANÇOIS Ier - Inventory - binding No. 39 19/01/2014


Atelier des reliures LOUIS XII - FRANÇOIS Ier - The mysterious disappearance of François Tissard d'Amboise 23/01/2014


Atelier des reliures LOUIS XII - FRANÇOIS Ier - The Simon Vostre fiasco 18/01/2014


L'Atelier Simon Vostre 1486-1521 01/01/2014


L'Atelier de Pierre Roffet 1511-1533 - TOOL CATALOGUE 26/01/2014


L'Atelier de Pierre Roffet 1511-1533 27/12/2013


Pierre Roffet - fleur-de-lis binder 28/12/2013


Fleur-de-lis Binder 1525-1540 27/11/2013


Du Saix Master 02/12/2013


Atelier Étienne Roffet 1538-1549 12/12/2013


Atelier Jean Picard 1538-1547


Imitative Binder c.1540 15/12/2013


Salel Binder 1540 17/11/2013


Atelier Ruette 1606-1669 INVENTORY


Atelier Macé Ruette 1606-1644


Atelier du Maitre Doreur 1622-1638


Atelier Antoine Ruette 1638-1669


Atelier des Caumartin 1652-1715


Atelier de Charenton 1670-1685


Atelier Luc-Antoine Boyet 1685-1733


Atelier Antoine-Michel Padeloup. dit Le Jeune 1685-1758


Atelier Louis Douceur 1721-1769


Atelier Pierre-Paul Dubuisson 1746-1762


Atelier Nicolas-Denis Derome, dit Derome le Jeune 1761-1788


Atelier Jean-Pierre Jubert, 1771-1793?


Atelier MM binder, 1770-179-?





A word of Caution

Even experts are sometimes wrong, before you spend thousands on a book, please do your own research! Just because I say a certain binding can be attributed to le Maitre isn't any kind of guarantee, don't take my word for it, go a step further and get your own proof. In these pages I have provided you with a way of doing just that.

Virtual Bookings, created by L. A. Miller return to the Home page of VIRTUAL BOOKBINDINGS

l.a.miller@mail.pf