The giltwood furniture associated with James Moore the Elder, the English-born cabinet-maker, is more varied in form and exhibits a wider range of influences than that produced by the influential Pelletier workshop established in London in the decades either side of 1700. As George I's cabinet-maker, Moore supplied walnut and mahogany furniture for the royal household, the royal yacht, for the use of royal servants and the king's mistresses (see the Appendix below, document I). Although his name is most commonly linked with the production of giltwood furmiture, in fact this represents only a small proportion of his total output.

Jean Barbet is one of the best-known French designers of ornament and interior decoration in the first half of the seventeenth century. His reputation is based on the Livre d'Architecture, d'Autels et de Cheminees, a set of prints of decorative elements for altars and chimney-pieces published in Paris in 1633. The publication went through several editions, and copies of the set made in Holland, Germany and England testify to the contemporary and later interest in Barbet's work (see the Appendix below). Later, dated chimney-pieces demonstrate the influence and popularity of his designs, made available in the prints as ready models for execution. Apart from the Livre and Barbet's apparent participation in the design and construction of the clock tower of the cathedral at Orleans, we still know very little about his training, career and oeuvre. His date of birth is also unknown, although the year 159I has been suggested, implying that Barbet was forty-two years old when his designs were published. As we shall see, he was in fact much younger, and this article presents new information on his life and work.

Dominique Daguerre was the most successftul marchand- mercier in late eighteenth-century Paris.' By about 1772 he had established his famous shop in the rue Saint-Honore, called A la Couronne d'or, which supplied the courts of Europe and much of the aristocracy with sumptuous and expensive wares. It had originally belonged to a relation of Daguerre's, Simon Poirier, who treated Daguerre as a son and soon made him his business partner. In 1777 Poirier retired, and, ten years later, Daguerre, sensing perhaps the impending doom of his great patron, Queen Marie Antoinette, expanded his trade in luxury goods by opening a shop in London. There he chiefly sold Sevres porcelain with the authorisation of the comte d'Angeviller who was the superintendent of the French Royal Manufactories. It was then that Daguerre was invited by the Prince of Wales to oversee the interior decoration of the latter's new residence at Carlton House which necessitated a lengthy stay in London. In Paris in May 1789, Daguerre entered into part- nership with Martin-Eloy Lignereux with whom he had worked since April 1787.2 Lignereux was in London by January 1790, while Daguerre remained in revolutionary Paris, and is recorded as still being there in October 1791. He finally left the French capital for London on 6th October 1792. In the following year he was living in the parish of St James's, and, on March 25th of that year, many of his and Lignereux's possessions were auctioned in Paris. In 1794, he had a shop in Sloane Street where he remained until his death two years later.

The details of the professional and personal life of John Rowell (1689-1756), plumber, glazier, painter and glass-stainer, have been gradually gathered together in the last seventy years. The designer and scholar Sir Ambrose Heal published an important article in 1932,' which was followed in 1965 by Sidney M. Gold's monograph. In a review of the latter, H.T. Kirby wrote of Rowell: 'Even if his birth was humble (and his main occupation plumbing), he was thought enough of as an artist to receive mention by Sir Horace Walpole in his own day and by Sir Ambrose Heal in ours.' Gold's book is an invaluable reference point, with a catalogue of Rowell's work, but his conclusions do not always seem to be justified by the evidence. What follows is an attempt to disentangle the known facts - such as they are - relevant to Rowell's stained glass at The Vyne, Hampshire, where his principal surviving work, the Adoration of the Shepherds, after Van Dyck, forms an integral element of the remarkable Tomb Chamber, adjacent to the Tudor Chapel (Fig.51). John Chute (1701-76) constructed the Tomb Chamber in honour of his ancestor, Speaker Chaloner Chute (c.1595-1659), whose recumbent statue and cenotaph (1775-81) are by Thomas Carter (d.1795). It is argued here that John Chute's designs for the Tomb Chamber, which incorporated Rowell's window, could well be ten to fifteen years later than previously thought, that is of c. 1770, like most of his other designs for The Vyne. With Michael Archer's help, some questions of attribution have also been addressed. In particular, the second Adoration of the Shepherds window in the Tomb Chamber is here reattributed from Rowell to William Price the Younger (1703/07-65). A roundel depicting a Market seller, recently discovered in store and reinstalled in the Oak Gallery, is given to Price, while a St Luke and a group of fragments in the chapel by Rowell are published here for the first time.