Welcome to In the Footsteps of My Ultranet, I'm Katrina Seth Marshall, Frosch, professor of French literature at the University of Oxford.
This is a torch supported project looking at the presence of objects relating to Marie Ultranet in public collections.
Our first stop is the Wallace Collection in London, where we'll be meeting Dr. Helen Jacobsen, curator of French 18th Century Decorative Arts.
We're standing in the study of the Wallace collection,
the study at Hartford House used to be the townhouse of Sir Richard and Lady Wallace and was turned into a national museum in nineteen hundred.
We opened to great acclaim. Such was the interest in the collection of Sir Richard and his wife.
And in French 18th century art at the time, both paintings and decorative art, the bulk of the French 18th century decorative art collection,
particularly the furniture and porcelain relating to Marie Antoinette, was bought by the Fourth Marquis of Hartford.
He was one of the greatest European collectors. He lived from eighteen hundred to 1870 and he spent most of his life in Paris.
So in fact, this collection is rather more French in flavour than British.
The fourth marquis was a great connoisseur in his own right.
He was very, very interested in furniture, in gilt, bronze, in porcelain.
He loved a good royal provenance dating back to the 18th century, being a British aristocrat.
Perhaps he related to the RCA regime and the royal family and the aristocracy.
But I think it's fair to say also that he was swayed a little bit by taste because after the revolution, so many things were sold.
Huge sales from their side, from the French royal palaces and the art market in the first two decades of the 19th
century was flooded with RCR regime decorative art from these great royal provenances.
The fourth marquis started buying seriously in the eighteen forties, eighteen fifties.
He had a huge amount of money, which meant that he was really able to buy what he wanted.
And this, combined with his great.
I meant that he did end up buying some of the most fabulous pieces of 18th century decorative art ever made at the time.
He probably didn't know the provenance of many of these pieces. Furniture history,
porcelain history has come on so much that we are now able to put these things back
into the spaces they were commissioned for and give them their first royal owners.
Some of these pieces he might have known about. They have royal stamps on them.
But I think on the whole, much of this was collected because of its sheer quality and beauty.
Will he hit her? Sadly, large scale miniature of the Austrian royal family.
We've got Maria Teresa. Miriam, its mother on the throne, on the right and opposite her husband, the emperor.
And in the background are the gates of the Shonn Roon Palace, the Vienna Summer Palace for the royal family.
And they're accompanied by 13 of their children.
We see the young Marie Antoinette, a small child of perhaps four or five in the centre foreground.
It's a painting off to Van Matron's.
It's known in various different forms. And sometimes there are different children in it because they had quite a large family.
And from time to time, the artist added another child. Maria Teresa was known to like having portraits of her children.
She commissioned Matson's to paint family scenes with all the children born alive.
And the youngest one is generally in a cradle up the front and then gets promoted in the next iteration because another baby has come along.
Maria Teresa's love for portraits of her family extended to miniatures.
She had some very beautiful pastels of the children, which are painted when he was staying in Vienna.
And she's known, even though parcels of fragile occasion, to have taken those with her when she went away.
She also very much enjoyed any state portrait which gave dynastic impact.
We all know that Maria Teresa's ambition was to make Austria as strong as possible.
And one of the way she did that was through marrying her children to heirs of other families.
Her great triumph, of course, was marrying my Ultranet, her youngest daughter, to the heir to the throne of France, the future.
And we 16th when my Ultranet arrived at court in VSI, she would receive regular missives from her mother.
Our mother was concerned. On the one hand about the fact that my Ultranet had produced no children.
But Maria Teresa also spent an awful lot of time in her letters asking for a grand portrait of making Antoinette.
She absolutely wants to be able to show off in her state rooms a picture of my Ultranet looking every inch, the future queen of France.
It's a way of saying to her visitors, as soon as they walk in, look,
not only am I the empress of Austria, but my daughter is going to be the queen of France.
And we know that when my Ultranet finally got round to having majestic portraits of herself painted in particular a visitor, Bahah,
in which she's in a white dress and looking very regal, Maria Teresa was satisfied,
having earlier on said it's all very well sending me miniatures, but I want something large scale.
Maria Teresa is an extraordinary hands on mother for someone as important.
She's dealing with the affairs of state on a daily basis,
but she's also dashing off letter after letter to her children in faraway places, worrying about what they're up to.
I'm standing in front of two decorative plaques which show profiles of a very young and possibly embellished.
Moving to Annette and Louise says, looking, I have to say, rather dapper.
One presumes that these are clerks which were made early in the reign of Louis says, and that they had a market value.
Would that be right? Yes. People liked to have images of the king and the queen.
And as you say, these are a fairly young couple at this stage in a very, very decorative frame.
Which one would have seen hanging on a wall? Presumably these particular plaques have a white marble background and the rest is gilt bronze,
something for which the French were very famous in the 18th century.
There are ribbons on the top and then there's a garland. Are the laurel leaves or something like that underneath?
Yes, this is a very popular way of displaying medallions in this oval frame with a ribbon at the top.
And as you say, the laurel leaves tied with ribbon below. One mustn't assume that these were purely decorative.
However, as with many things, the French were very proud of their decorative arts excellence.
And in fact, they were often centres diplomatic presence abroad.
The plaque shows Marie Antoinette, with her hair, brushed back from her four head slightly puffed up and corkscrew curls down the back.
But what for her would have been a relatively simple hairstyle at the time.
We're used to seeing pictures of marking Ultranet with feathers and pompoms and lace.
At one stage, a small model frigate in her hair.
This looks rather like an idealised hairstyle rather than something which would necessarily have been taken from real life.
We can see the shoulder line. Michael, it appears to have a very slightly off the shoulder dress with ruffle.
And it does suggest there might be a difficulty at the front.
There's no jewellery, which is surprising if we think about the general vision of my Ultranet as a young woman.
Since we associate her with lots of diamonds and very large items of jewellery, these candlesticks are perhaps 20 centimetres high.
They are very, very delicate, exquisitely modelled and chaste gilt bronze.
They look actually like gold work rather than gilt bronze work, the detail of the scales on the dolphins.
The base has got trellis work. And if you look in the centre of the trellis, there is the fleur de lis.
They would have stood, as they do here on a piece of furniture, perhaps on a chest of drawers, on a full front desk,
or even on the chimney piece in the room of the dolphins there because they were made for the Dauphin, the wife of the duffer.
No, it's a good guess, though. They are there because they represent the Dufka.
These candlesticks were delivered to Marie Antoinette, her private room in Marseilles, after the birth of the diphones 1781.
They represent the Dufay of France, the dolphin. They are the most exquisite pieces of gilt Brunswick.
If you look closely, you can see the teeth on the dolphin Apsey, charming little animals.
French furniture in the 18th century was celebrated and the number of the artisans, or maybe we should say artists names have come down to us.
People like Urban or Duncan. But the one we associate most closely with Mung Ultranet is a German called Louisana.
Can you tell us a little bit about his owner, Helen,
and about the furniture which you have by his owner in the Wali's collection, which was actually made for muffing Ultranet?
As you say, Reasoner was a German. He came to Paris probably in the late 1750 is certainly by the early 1716.
He was working with Urban, a fellow German. And in fact, one has to say that he owes much of his success to those early training years with urban.
Urban had a workshop in the arsenal, which was a privileged area of Paris, where he was able to produce furniture for the royal family.
Urban died in 1763, at which point Reasoner was left in the workshop and over a period of a couple of years really asserted himself as the new urban.
He married Urban's widow, which gave him control of the workshop.
Urban had started to make a very important piece of furniture for the king, known as the Bureau Du Bois.
He started it in 1760, but it was unfinished when he died,
and it was only towards the end of the 17th 60s when Reasoner was in control of the workshop that Reasoner finished it.
We now know that much of it actually was designed by Urban, even probably made while he was still alive.
But Reasoner had no qualms in signing his name on this desk and when it was delivered in 1769.
Indeed, Reasoner took the credit for it. He had come to the notice of the official guard mirzakhani the furniture administration,
and from 1774 he was created Ebony e Johore and spent 11 years making superb pieces of furniture for the royal family and for the court.
We know that Miyata Annette was interested in the decorative programme of the rooms in which he liked to spend time,
and there are traces of her very own choice and taste in some of the furniture which has come down to us.
That's true. And in fact, one of the lovely things about this room where we're standing is that we have more pieces
of furniture made for Marie Antoinette than I think in any other room in the world.
And we have gilt bronze and we have served porcelain. All of which gives us a really interesting overview of Marie Antoinette's taste.
When we look at the furniture, one of the things which is striking about it is a lot of it is quite small
compared with number of the other items which will be made around the same time.
Is that a demonstration of McCalpin, its taste, or is that because of the places she was intending to have the furniture put
into the furniture here was made for Marie Antoinette's private apartment.
So that is why we can actually make the extrapolation to her taste.
It is Marie Antoinette who lives with these pieces. This is not something for a grand reception room.
These are pieces that were in her cabinet and to hear a private study in her boudoir in the party trigonal.
These are places for her. They're private spaces. So let's imagine that my Ultranet wants a new piece of furniture for her private apartments.
What happens? Presumably she doesn't go down to see the Ebenezer's.
Does he come along with a series of sketches? Is there an intermediary?
How do we end up with a piece of furniture like the one in front of us with its amazing gilt, bronze and marquetry?
I suspect that the queen did not meet the Ebony's directly.
That seems quite unlikely, although we have comments from some of the other members of the royal family that they have approved designs by Reasoner.
The queen had her own private wardrobe. The guard, Merv Dilan, and she commissioned furniture through that.
She had a man overseeing that guard member who indeed would have been the intermediary.
There was also the guard, Mervat Lac Cohon, which served the greater royal species and the royal palaces.
And it's confusing. And Marie Antoinette, because sometimes things are ordered through the guard, Merv Dulac,
Cohon, and sometimes through her own private guard, Mahbod private wardrobe.
And in this room, we have examples of both those. So if we look at the ones which were ordered through Mutty onto Annetts private.
What do we have here? This is a full front desk, a secretary,
a battle made for Marie Antoinette through the auspices of the Goutman Dullahan and delivered for the Putih Triennial.
It was actually placed in her boudoir, which was this rather wonderful corner room opening on to the bedroom and one side and the salon the other.
Looking the gardens about which she was mad.
And you can see from the gilt bronze immediately that she's trying to bring the garden inside these beautiful poses of Convolvulus of roses.
And this wonderful wheat grass type freeze along the front, the gilt bronze embellishes what was once a very colourful marquetry.
I'm afraid now it looks rather brown. But furniture was not brown in the late 18th century.
It was, in fact, much more coloured than we could imagine. So the dark trellis work that you can see would have been a much deeper purple.
The flower heads and the background to the flower heads would have been in contrasting colours.
All of that set off with the guilt Rohn's you can imagine it looked completely stunning.
So this would have been a riot of colours. What sort of wood was used to make furniture like this?
The furniture is actually made on Oak Carcas. Very, very good quality oak.
And then the cabinet maker has veneered the surfaces. So we have veneered amaranth or purple wood, a tropical hardwood.
These woods were expensive. They were not readily available in Paris. They would have been shipped in the marquetry designs on the front,
use some more tropical hardwoods, but also some local woods which could have been stained.
So the battle comes down and we have a writing surface.
And it's so eminently practical because if you've finished with your little Belayed,
do you put the papers back in the cart on a close up the desk and you just have a very beautiful piece of furniture.
And can we open this extraordinary piece of furniture? We can have French double lock.
And here we have the beautifully untouched interior. This full front desk.
So many of these pieces are in such great condition.
But one has to remember that even if Marie Antoinette did use it, she didn't use it for very long.
Because after 1789, she wouldn't have been the putty travel.
And this would have only been in the Trion or for maybe six years by that stage.
It's beautifully fitted with spaces for a silver inkwell sandbox.
So all your accoutrements for writing would have been close to hand.
We know that my ultraright occasionally dashed off very quick messages.
For instance, if she wanted to get the Austrian ambassador to come and see her or if she had information which she wanted to convey to someone,
she'd scribble something on a very small piece of paper and then hand it to one of her domestic servants sitting at a desk like this.
Absolutely. This piece of furniture does not look as though you could sit in rated 250 page screed.
This is for a little quick note to be dashed off.
Seven to come and take it away and close up the desk. And they were back with a beautiful piece of furniture.
The inside shows a series of pigeon holes. There are six of them and then six very small drawers.
What I'm struck by is how very simple and elegant the interior is compared with a rather overstated exterior.
Inside everything is plain wood marquetry, but very regular, very geometric.
And we have rather wonderful laurel wreath shaped draw pulls in gilt bronze.
And that's it is for us. The gilt bronze goes. Yes, it's very much about the effect of the plain veneer surfaces.
So you have these wonderful satiny it's called satin, a veneer and purple wood.
Then these strings, we call them of black and white.
You see around the front of each drawer and on the surfaces of the cartoon here, wonderful little black and white strings all the way around.
It just brings it all together. It gives it a certain quality of sophistication.
And as you say, these lovely little gilt Rons handles very much in the Reasoners style.
Maybe we better put the beautiful piece of furniture back, close up the back door and lock it up.
It's an extraordinary functional key for such a beautiful piece of furniture, we know that some keys were made for my yacht when it was a famous one,
for instance, with a dolphin on it, which is in the museum, dissected to mail in Cool.
The Art Works Museum was made for her when she was the dolphin.
This one's quite surprised that more was not made of the beautiful aspect, that there's no sort of bronze gilt head to the key or anything,
which would suggest some link with the decorative programme of a piece of furniture.
Yes, I suspect that many of the keys that were originally made were subsequently lost or even changed because of the royal attributes.
Maybe this did have an M.A. cipher on it, but it no longer does.
So this full front desk was made for Marie Antoinette by John Henry Reasoner and delivered in February 1783.
It was actually made for the chateau of Mali. But in fact, it was delivered instead to VLSI, to her cabinet, a. to her private study.
It seemed that she'd ordered some other furniture which was not ready from Reasoner.
And so this was diverted for the best part of a year at her VLSI study.
You can see that this desk has similar construction with six drawers and six pigeonholes.
This time it's more an elaborate interior with just a little bit of delicate gilt bronze banding.
And the characteristic laurel wreath handles. I suspect it had more interior decoration because this was for Mali.
This was not for the pity tree and on the tea tree. And all was meant to be a simpler place where Mario Internet could get away from the
pomp and circumstance and the grandeur of what she was surrounded with at VLSI.
And indeed, even at Mali, the piano desk has a profusion of flowers, would have been very brightly coloured, so would have been extremely fashionable.
This is, in a sense, a more serious desk, or at least that's the appearance it gives.
That's interesting. We're looking at a piece which has been affected in the late 18th or early 19th century when the trellis marquetry
that was so loved by the royal family and by Marie Antoinette was no longer seemed to be so fashionable.
And several pieces of Royal Furniture have actually been riven aired since they came out of the Royal Collection.
In this case, we have BRX. You would. It looks absolutely stunning.
And in fact, it looks as if it was meant for the piece, particularly contrasting well with the gilt bronze.
But in fact, it was not how Reasoner finished this piece of furniture, which did originally have marquetry on it.
The top of this desk is a slab of white veined marble.
Do we know where the marble would have come from? This is Carrara marble and it's very much in keeping with the neoclassical fashion.
So most of the pieces of furniture that we are looking at would have had white Carrara marble surfaces, which again,
would have contrasted strongly with the colour of the marquetry and the gilt rooms would have looked quite exquisite.
One has to remember, too, that Marie Antoinette was very keen on white or white ish walls, muslin, curtains.
The whole space would have been very light and airy. We often forget that the word circuit there contains saké or secret.
And in the 18th century, quite often circuit there were used for locking up things which you didn't necessarily want everybody to discover.
And some of them had their own secret bits. So can you tell us about what there is in this piece of furniture, Helen?
Well, as with many of reasoners full front desks, the Central Space here actually reveals a door.
And if you press down on it, it will then open up and you find another.
Well, you could easily store pieces of paper there, little Billy do.
But there are also more secretly drawers on either side.
And if we open one of those, you can see very hidden from anybody who casually glanced at this desk.
You wouldn't see the drawers. However, this model with these secret drawers and the central well is quite common.
And so I'm not so sure they were actually secret, more than private to get into these drawers.
You really have to have access to the full front desk. You have to have time to open the hidden door and then pull out the drawers.
So I think it's a privacy thing, perhaps more than a secrecy thing.
So, Helen, you're showing me a rather splendid key, which is in two parts.
There's the sort of mechanism, bit of the key and then the top it.
What we would use to attach it to a keyring looks rather beautiful.
This would have opened still does open the strong box below.
So the secretary above it has the six drawers and the pigeonholes and below it has spaces, four shelves and indeed a strong box.
And there's been a smaller key.
Open the strong box, so the full front desk would have all your writing paraphernalia, your pieces of paper, your wax and so on.
And then the strong box would be where you would hide the letters you got, which maybe contains secrets which you didn't want people to stumble on.
Would that be right? Maybe that's the case. Perhaps they included precious objects.
One doesn't know. After the revolution in 1793, the revolutionaries wanted to look inside Louis the sixteenth desk.
They didn't have the key. So they pulled the back off the desk to find the secrets that the former king had in his desk.
Much to their disappointment. There was simply a rooming list for VLSI.
Rooming lists were very important to VSI.
It was a question of knowing how close to the king or queen you could be, whether or not there was a window or a fireplace.
There is a lot of lobbying to get the room you want. So here you can see we open the doors.
Double doors, and we have one shelf to pigeonholes and what looks like a drawer, but actually is not a drawer.
It is a drop front. Another drop front. And this will open the strongbox.
It's missing its interior metal lining or sometimes the lead box.
But you can see the space where it could have been positioned. And one of the things we can also see is the colour of the wood.
Isn't that magnificent? It's absolutely extraordinary because it looks almost as if it's striped.
That's the effect. We've lost so much over the years.
The entire piece of furniture would have sung in a way that we don't see it now.
Along with the fall front desk delivered to Mario, Internet was also a chest of drawers.
This was a very common combination to have a chest of drawers and a full front desk and sometimes a corner cupboard.
And this chest of drawers, when it was delivered by John Henry Reasoner, came with the note that it was a new model.
And I think what he was referring to in his note is the bronzes, because the guilt wrong's is on this.
Chest drawers are completely different from earlier pieces delivered to the royal family.
They are much lighter in style. They're much freer.
They're wonderful floral wreaths. It's a model that Reasoner went on to deliver again and again.
And what's particularly lovely is that in the centre of the freeze, we have the initials M a for Marie Antoinette.
And that, of course, is the queen cipher denoting a very special piece of furniture made specifically for the queen in her private study.
This medallion is of marquetry would marquetry. The colours have indeed faded.
You can still see a delicate bit of blue over cornflowers were, but it would have been much, much brighter before, although I think restrained.
I don't think they would have been livid colours. We know that the background, for example, to the trophy was a light blue.
So very delicate colour, like a watercolour. I suspect the trophy was not random.
It matched. Absolutely.
One of the embroidered trophies on the silk on her walls, the walls of this room were covered in white silk, which had a plea kaid onto it.
Medallions of pastoral or musical attributes to the whole room would have come together with his most incredible unified way.
Your furniture reflecting your wool silks was.
Ross. This is a very strange object, Helen.
What you are looking at is a piece of neo classical, decorative art par excellence.
It is in the shape of a tripod with these three long, thin legs going down to the hooves at the bottom.
And then at the top of the legs are these three satyrs masks linked together by these garlands of very luscious grapes hanging on vines.
And this very beautiful red and grey Jasper Ball with a guilt Ron's liner.
It was for burning pastilles to scent the room.
Behold PAFA. I think, in fact, its function is totally secondary to its use for display.
Its owner, the man who commissioned it, was the Duke. Do more. Who is the Premier?
Jonte on to the king. Dumont was renowned as a great collector of decorative art, but particularly of hard stones.
There was a real passion for the hard stones of antiquity.
Porphyry is Jaspers the stones with which Rome was so full in the 17th 70s.
1780 is a number of architects and agents brought back these hard stones from
Rome and they were cut into beautiful objects and mounted in gilt bronze,
often as very much French 18th century decorative art.
But alluding to classical antiquity, the gilt bronze is by pure Gutierrez,
who was without doubt the most exceptional gilt bronzy of the late 18th century.
If you look closely at the satta heads, you can see the life that he has managed to get into their faces.
And the bunches of grapes look, as ever, just about to fall off the branch.
It's the most amazing piece of bronze work. It was so amazing that when it was sold after the Duke Dumond's death in 1782, Marie Antoinette bought it.
She paid 12000 thousand leave for this object, which was the most expensive item in his sale, and she kept it in her cabin, a dilemma.
Yen had VSI, which was another of her, very, very private and totally beautiful little spaces.
One of the things which strikes me about this object and about a lot of 18th century furniture is the fact that different skills are used.
We have hard stone here as well as the gilt bronze.
We've seen furniture with wood veneer and then bronze plaques, for instance.
Some of them have served her porcelain plaques. So is this notion of having composite objects or composite pieces of furniture?
One of the characteristics of the style which my opponent appreciated, she certainly appreciated very precious objects and very precious finishes.
So that would include gold. It would include lacquer, hard stones, mother of pearl.
These wonderful different objects.
And because of the gill system in France, it was very difficult for one maker to produce things with all these different materials.
And so very often they would have been assembled really by a maker.
And sometimes that maker gets the credit. So with this perfume burner, we say it's by pure Goodyear.
Well, in fact, the hard stone, the Jasper was incredibly difficult to cut.
Manuel Antonio Boccardi probably did it and he gets no credit at all.
This is the clock you just heard striking a beautiful gilt, bronze and enamel clock, which is very similar to one that Louis the 16th had.
But unfortunately, we can't trace a particular royal provenance to this clock.
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It gets colder. Hottovy Israel's Shiva. And then there's a list, a list of all the things which you could buy.
They include some very mundane things, kitchen equipment, but also footway.
You cannot be possibly some of the finer pieces of furniture in public collections like this one.
And where was the sale to take place or see devotion to the Web site?
This is the sale of martinets effects.
The pretty clear effects on the 25th of August 1793, the 25th of August was a very important day in RCR, his home terms.
The 25th of August is the fifth day of sun. So the first day of the king of France.
It was the former National Day, in a sense, a day of rejoicing.
And what of the revolutionary is done on the 25th of August? Well, obviously, it's no longer a feast day.
They've organised a sale of Mong Antoinette's private furniture and effects.
There's obviously more than a coincidence, a desire to mark the fact that this is a new era.
There will be no more kings and queens, no more saints, as a very important note for the Wallace collection.
It says NDB Limburg, little acid of on Mr. Seville Tosspot.
There's a little hongzhi on Knigge Zombies. The two are inviting international bidders to take part in the sale.
Do we know how we go from the announcement of the sale to this room in the Wallace collection in which some of the objects from the party,
yanno, have actually arrived? Well, we go via several intermediaries.
It did not happen straight away. I think the point you made about the tax is so interesting on exempt Zoolander two DWA,
they positively wanted foreigners to buy this furniture and other effects.
And that's because there was so much of it coming onto the market.
The Putih travell is a very small palace. If you like a small chateau, just think of what was coming out of the palaces of VLSI, of sand cloo of Mali.
And so they wanted foreigners to come.
We find actually that much of this furniture is being sold to dealers in Germany or in Holland and also in Britain.
But it's really in the early eighteen hundreds that the market in Britain opens up fully French decorative art,
second hand French decorative art, because don't forget, that's what we're talking about, becomes something desirable.
It's what people want. For example, we do not know that any British buyer commissioned anything from Reasoner during his lifetime.
But by 1820, Reasoners name was synonymous with all that was wonderful about French furniture in Britain.
This advertisement for the sale signed by the Commissaire after a colossal mess your.
So they're doing this on state business and they're called Dulac Dellacqua and Rousay de la Quark, which of course is a hugely important name in art.
Absolutely. Eugen Dellacqua, the famous artist to whom I think you're referring, was Shiell de la Quas son.
But less well-known than that is that Charlotte Eloqua was Reasoners son in law.
So there's this wonderful connexion in the artistic world of Paris of the late 18th century,
early 19th century, in ways that we have sometimes forgotten.
Reasoner participated in some of these sales and bought back some of the furniture that he had originally sold to the royal wardrobe,
paying sometimes quite high prices. But he obviously thought that the market would go up and he would be able to sell them on.
But in fact, evidence would suggest that he had trouble selling things on.
He finally said his off season.
Miniatures are much appreciated in 18th century France.
And you have here a miniature by Jimal, one of my Ultranet proteges, and it shows a small child.
It's the portrait of the duffer Marie Antoinette encouraged do more.
And he painted several versions of the dofor and of other members of Maranto and its family before the revolution.
This is interesting as it is a posthumous portrait of the dofor who then in royalist circles was of course known as Louis the 17th,
although he had died in the Tomcat when the restoration happened.
These little miniatures became very popular again,
miniatures of Marie Antoinette and her family and Domhnall carried on until he died in the early 1830, is producing such miniatures.
This appears to have been an earlier date, perhaps the late 17 nineties, but it is in a frame which very much celebrates the restoration.
You can see the circular gilt bronze frame is studded with the fleur de lis and with two lily branches at the top representing the lilies of France.
But wood is rather tragic, is on the reverse. As you can see, we have a broken lily branch in gilt bronze.
It's such a sad reminder of the fate of this poor boy in the Tom.
It's also something which illustrates the way in which the symbol of the lily in particular was used during the Assad regime.
And then subsequently as an illustration of the French royal family, the lilies of the royal family were on the French flag and the Assad regime.
It was a white flag with gilt lilies on it and the Flodden.
This is very much for the French, even nowadays immediately associated with the monarchy.
You've been listening to In the footsteps of My Ultranet with me,
Katrina Seth Marshall Foss, professor of French literature at the University of Oxford.
I hope you enjoyed our visit to the Wallace collection. And you will join us next time when we'll be going to Western Manor in Buckinghamshire.