oulle's _atelier_ are nearly
always of the greatest excellence. They were cast in the rough--the
tools of the chaser gave them their sharpness, their minute finish,
their jewel-like smoothness.

Unhappily it is by no means easy, even for the expert, to declare the
authenticity of a commode, a bureau, or a table in the manner of Boulle
and to all appearance from his workshops. His sons unquestionably
carried on the traditions for some years after his death, and his
imitators were many and capable. A few of the more magnificent
pedigree-pieces are among the world's mobiliary treasures. There are,
for instance, the two famous _armoires_, which fetched L12,075 at the
Hamilton Palace sale; the marqueterie commodes, enriched with bronze
mounts, in the Bibliotheque Mazarine; various cabinets and commodes and
tables in the Louvre, the Musee Cluny and the Mobilier National; the
marriage coffers of the dauphin which were in the San Donato collection.
There are several fine authenticated pieces in the Wallace collection at
Hertford House, together with others consummately imitated, probably in
the Louis Seize period. On the rare occasions when a pedigree example
comes into the auction-room, it invariably commands a high price; but
there can be little doubt that the most splendid and sumptuous specimens
of Boulle are diminishing in number, while the second and third classes
of his work are perhaps becoming more numerous. The truth is that this
wonderful work, with its engraved or inlaid designs of Berain, its
myriads of tiny pieces of ivory and copper, ebony and tortoise-shell,
all kept together with glue and tiny chased nails, and applied very
often to a rather soft, white wood, is not meet to withstand the ravages
of time and the variations of the atmosphere. Alternate heat and
humidity are even greater enemies of inlaid furniture than time and
wear--such delicate things are rarely much used, and are protected from
ordinary chances of deterioration. There is consequently reason to
rejoice when a piece of real artistry in furniture finds its final home
in a museum, where a degree of warmth is maintained which, however
distressing it may be to the visitor, at least preserves the contents
from one of the worst enemies of the collector. (J. P.-B.)

BOULOGNE, or BOULLONGNE, the name of a family of French painters. Louis
(1609-1674), who was one of the original members of the Academy of
Painting and Sculpture (1648), became