From a design by Girardet (1795)
]
[Illustration:
Signature of Pierre Jaquet-Droz
]
The King of Spain having died soon afterwards, he returned to La Chaux
de Fonds in 1759. In 1767 he sent his son Henri Louis Jaquet-Droz to
France, where he studied mathematics in the University of Nancy
(Lorraine) and on his return, three years later, he took him into
partnership with him.—
The productions of the father and the son then attained the utmost of
perfection. In collaboration with his father and of the very best
workmen of that time, Leschot, Maillardet, and Jean Pierre Droz (who
became Director of the Paris Mint) Henry Louis Jaquet-Droz, made the
most marvellous pieces that have ever been produced;—the Designer, the
Clavecin Player, the Young Writer, wonderful specimens which still can
be seen in perfect condition and still working in the Museum of
Neuchâtel.
In 1774, Henry Louis Jaquet-Droz came to Paris and was received with the
greatest favor by King Louis XVI^{th} and especially by the young Queen
Marie Antoinette, who had ascended to the Throne the same year, who was
particularly and deeply interested in his Works after she had seen the
“Designer” by pressing a button, making her own portrait and that of the
King’s on a blank sheet of paper placed before the instrument.—(This can
still be seen in Neuchâtel every month, and also at any time by payment
of a fee.)
Jaquet-Droz afterwards went to England, where he was received by King
George III.
It is in England that he made most of the singing bird boxes known of
his construction.
He started a workshop in London where the most important and interesting
pieces in complicated watches and boxes were made,—which after were to
be found in almost every part of the world, even in China, as in 1860 on
the occasion of the pillage of the Summer Palace of the Emperor of
China, many pieces signed by Jaquet-Droz were discovered and brought
back to Europe.
[Illustration:
Gold, enamel and diamond Bird Box by “Bruguier—the Father”
Collection Tiffany & C^o., New York
]
Every one is aware how much works of this nature are appreciated by the
Chinese in general, and the fact that several of Jaquet-Droz’s
productions were in possession of the Emperor of China is a sufficient
proof of the genius of this artisan.—