The authors wish to dedicate this article to René Perche, cabinetmaker
(1913–89). They are especially grateful to Mme Y. Cantarel-Besson, in
charge of the Archives of the Louvre, who has contributed her outstand-
ing research.1 This expression (Fr. liberté surveillée) w as used by Bergeon (1976:22) in reference to the
Campana Collection.
2 An inscription over the entrance gives 1740 as the founding date.
3 Archives Nationales, O^11922 A(1779).
4 Nouvelles Archives de l’Art Français, 1880–81 (p. 44).
5 For information on the Hacquin-Mortemard dynasty, the authors are grateful to Mr. Guilloux
for the genealogical information conveyed to the authors on 26 March 1993.
6 Archives of the Louvre, P 16 ( July 1832).
7 Oral communication from Jacques Joyerot, reliner at the Musées Nationaux, for the entire
Leguay period.
8 We know Puget’s thin face and silhouette from four photos that appeared in an article in
Science et vie which reported on the techniques used at Leguay’s studio (cf. Routy
1924:149–52).
9 Apublicity label of 1914 that mentions cradling bears the name ofKiewert and the date 1841.
10 Apublicity label of 1914 that mentions cradling bears the names of the partners Chauffrey
and Govaert.
11 Before forming this important partnership, Muller had practiced from 1930 to 1931 on rue de
Seine and then formed a partnership with A. Pouget. The studio became R. Muller Successeur
(from 1932 to 1938 at 8, rue Christine, then, from 1938 to 1945, at 11, rue Jean Ferrandi)
(Archives of the Rostain studio, Paris). There are bills from this period for cradling pictures of
the Louvre (Archives of the Louvre, P 16 [1942–56], Muller, estimate of 10 October 1942).
12 Oral communication of E. Rostain regarding the entire Chauffrey period to the present.
13 Archives of the Louvre, P 16 (invoice of 2 April 1949).
14 Archives of the Louvre, P 16 (invoice of 1 August 1957).
15 Archives of the Louvre, P 16 (1968), Maridat.
16 Archives of the Louvre, P 16 (1957–74), Lepage.
17 Archives of the Louvre, P 16 (1957–74), Rostain.
18 Archives of the Louvre, P 16 (1957–74), Chauffre y-Muller, Gérant Rostain, 31 July 1965; and
personal communication from Emile Rostain, 13 April 1964.
19 Archives of the Louvre, P 16 (1968).
20 In the Archives of the Louvre, there is no Landry file in the biographical index; however, there
are many invoices for the period 1840–49 in the archives P 16 (1840–49).
21 Under Louis-Philippe there was a tendency to put a brown coat of oil on the backs of panel
paintings as a means of preventing rapid shrinkage of the wood. This coat resembles the
maroufle,the residue of the paint cup, oily and full of lead, often reddish, pigments, a composi-
tion with multiple benefits. As a nonaqueous adhesive, it is used to glue canvases to walls and
ceilings without shrinking the fabric; it also functions as a barrier against humidity. However,
there is the risk that any paint layer put on the reverse of a cradled panel could block a sliding
cradle, causing eventual stress and thus a split (Bergeon 1990:30–31).
22 Archives of the Louvre, O 30.
23 Archives of the Louvre, P 16 (1843).
24 Archives of the Louvre, P 16 (1843); a letter from Landry annotated by Granet.Notes
Acknowledgments
282 Bergeon, Emile-Mâle, Huot, and Baÿ