Commode Mazarine by André-Charles Boulle - 1708 - 87.6 × 128.3 × 62.9 cm Metropolitan Museum of Art Commode Mazarine by André-Charles Boulle - 1708 - 87.6 × 128.3 × 62.9 cm Metropolitan Museum of Art

Commode Mazarine

Walnut veneered with ebony, marquetry of engraved brass and tortoiseshell, gilt-bronze mounts, marble • 87.6 × 128.3 × 62.9 cm
  • André-Charles Boulle - 11 November 1642 - 28 February 1732 André-Charles Boulle 1708

When in 1708 the prototypes for this commode arrived at the Grand Trianon, the duc d'Antin, director of the king's buildings, wrote to Louis XIV: “I was at the Trianon inspecting the second writing desk by Boulle; it is as beautiful as the other and suits the room perfectly.”

This magnificent piece of furniture was made by André-Charles Boulle for Louis XIV's bed-chamber at the Palais de Trianon. The artist is believed to be the most remarkable of all French cabinetmakers. He worked for the King and led an important workshop at the Louvre. Despite the brilliance of his artwork and the high prices people were willing to pay for it, he was constantly moneyless because of his obsession for collecting works of art.

The details of this commode are astonishing. The three-dimensional acanthus-leaf scroll mount on the upper drawer was Boulle’s signature ornament that he placed on many of his pieces. It harmonizes with the marquetry on both drawer fronts. The bronze female figures with paw-and-acanthus feet supporting the body are very precisely finished. Boulle achieved the matted, feathery look of the wings by chiselling, but for them to appear more authentic he burnished some areas making them sheen. However, this masterpiece was criticized by some for an “awkward treatment of forms”, referring to the four extra spiral legs required to support the weight of the bronze mounts and marble top. Nevertheless the Trianon commodes instantly became popular and, based upon descriptions in eighteenth century Paris auction catalogues, we know that the Boulle workshop made at least five other examples of this model.

- Ania Jeznach