HUGIJENOT ARTISTS DESIGNERS AND CRAYPSNEN IN GREAT ...

132.
Other pieces of furniture which have been related to designs
by Daniel Marot include a series of oak benches at Dunham Massey (Plate 119)
and twelve chairs at Dyrham, although it has not been possible in either
case to trace the names of the craftsmen responsible, it is probable
that they were executed by French craftsmen in England. °It is, however,
interesting to note that Daniel Marot married Catherine Gole in 169k,
the niece of Pierre Gole, the famous French ebeniste1 9Marot's father-in-
law, Adrian Gole was also an ebeniste, and a third brotho, Gerrit,
was described as 'Menuisier en ebene'. So apart from his architectural
training, Marot's closest ties were with cabintt-makers.
Although the Gole family originated from Bergen in Holland, three
of four brothers settled in France, and the family was not exempted
from persecutionIn 1685, Pierre Gole's son Corneille, was compelled
to settle first in the Hague and later in London, where the baptisms
of his sons Abraham, 1696 and Corneille Francois, 1701, are recorded
in the registers of the Huguenot Church of Leicester Fields. It is
significant that Madame Catherine Gole stood godmother to Corneille's
son Abraham; and judging from the Huguenot habit of retaining the
maiden name in marriage, this may well refer to Daniel Marot's wife,
as they were known to be in England at this dateThus Daniel Marot's
first cousin was practising as a cabinet-maker in England during Daniel
Marot's visit to this country, and whilst Marot's designs were in
circulation.
Corneille Gole,following his father's example, gained the
patronage of the King, William III. Pierre Gole's work was well known
in this country. A table and gueridona representi.i summer and autumn,
were probably presented by Louis XIV to Charles Scckville, ambassador
in Paris 1669 and 1670, and have been confidently attributed to Pierre
Gole and the sculptor Mathieu Lespagnandelle (a protestant who became
a nouveau converti in 1686) and can still be seen at Knole today (Plate 120
and 121 ). The table top is decorated with marquetry of engraved brass
on pewter, in the form of acanthus scrolls and floral motifs, an elaborate
process, which probably explains why craftsmen known to have practised
as cabinet-makers are recorded in the Huguenot parish records as
which one would normally translate as engraver.
One such crafWman is RenPelletier, who is described as 'graveur'
in the registers of La Patente, Soho, for 1690. t Boughton, the accounts