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    "source_title": "Encyclopaedia Britannica (1911)",
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    "chunk_id": "1911:boulle:98b2a03411a7",
    "title": "BOULLE",
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    "verified_text": "boulle, andre charles (1642-1732), french cabinet-maker, who gave his name to a fashion of inlaying known as boulle or buhl work. the son of jean boulle, a member of a family of _ebenistes_ who had already achieved distinction--pierre boulle, who died c. 1636, was for many years _tourneur et menuisier du roy des cabinets d'ebene_,--he became the most famous of his name and was, indeed, the second cabinet-maker--the first was jean mace--who has acquired individual renown. that must have begun at a comparatively early age, for at thirty he had already been granted one of those lodgings in the galleries of the louvre which had been set apart by henry iv. for the use of the most talented of the artists employed by the crown. to be admitted to these galleries was not only to receive a signal mark of royal favour, but to enjoy the important privilege of freedom from the trammels of the trade gilds. boulle was given the deceased jean mace's own lodging in 1672 by louis xiv. upon the recommendation, of colbert, who described him as \"_le plus habile ebeniste de paris_,\" but in the patent conferring this privilege he is described also as \"chaser, gilder and maker of marqueterie.\" boulle appears to have been originally a painter, since the first payment to him by the crown of which there is any record (1669) specifies \"ouvrages de peinture.\" he was employed for many years at versailles, where the mirrored walls, the floors of \"wood mosaic,\" the inlaid panelling and the pieces in marqueterie in the cabinet du dauphin were regarded as his most remarkable work. these rooms were long since dismantled and their contents dispersed, but boulle's drawings for the work are in the musee des arts decoratifs. his royal commissions were, indeed, innumerable, as we learn both from the _comptes des batiments_ and from the correspondence of louvois. not only the most magnificent of french monarchs, but foreign princes and the great nobles and financiers of his own country crowded him with commissions, and the _mot_ of the abbe de marolles, \"_boulle y tourne en ovale_,\" has become a stock quotation in the literature of french cabinet-making. yet despite his distinction, the facility with which he worked, the high prices he obtained, and his workshops full of clever craftsmen, boulle appears to have been constantly short of money. he did not always pay his workmen, clients who had made considerable advances failed to obtain the fine things they had ordered, more than one application was made for permission to arrest him for debt under orders of the courts within the asylum of the louvre, and in 1704 we find the king giving him six months' protection from his creditors on condition that he used the time to regulate his affairs or \"ce scra la derniere grace que sa majeste lui fera la-dessus.\" twenty years later one of his sons was arrested at fontainebleau and kept in prison for debt until the king had him released. in 1720 his finances were still further embarrassed by a fire which, beginning in another atelier, extended to his twenty workshops and destroyed most of the seasoned materials, appliances, models and finished work of which they were full. the salvage was sold and a petition for pecuniary help was sent to the regent, the result of which does not appear. it would seem that boulle was never a good man of business, but, according to his friend mariette, many of his pecuniary difficulties were caused by his passion for collecting pictures, engravings and other objects of art--the inventory of his losses in the fire, which exceeded l40,000 in amount, enumerates many old masters, including forty-eight drawings by raphael and the manuscript journal kept by rubens in italy. he attended every sale of drawings and engravings, borrowed at high interest to pay for his purchases, and when the next sale took place, fresh expedients were devised for obtaining more money. collecting was to boulle a mania of which, says his friend, it was impossible to cure him. thus he died in 1732, full of fame, years and debts. he left four sons who followed in his footsteps in more senses than one--jean philippe (born before 1690, dead before 1745), pierre benoit (d. 1741), charles andre (1685-1749) and charles joseph (1688-1754). their affairs were embarrassed throughout their lives, and the three last are known to have died in debt. all greatness is the product of its opportunities, and the elder boulle was made by the happy circumstances of his time. he was born into a france which was just entering upon the most brilliant period of sumptuary magnificence which any nation has known in modern times. louis",
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