that combined clock and bracket in one unified design, to be mounted on a wall. A detailed inventory of the Caffieri workshop made in 1747 enables scholars to identify some unsigned clockcases from the workshop: a fully Rococo cartel clock with a movement by Julien Le Roy is at the Getty Museum: it is inscribed fait par Caffiery in a cartouche below the dial. In 1740, Caffieri's wife purchased a royal privilege, which allowed the Caffieri workshop to gild bronze as well as cast it within the same workshop; ordinarily the processes were divided between two Parisian corporations, jealous of their jurisdictions, the fondeurs-ciseleurs and the ciseleurs-doreurs. His signature incised in gilt-bronze kept his name alive in the nineteenth century and gained him an entry in Encyclopædia Britannica 1911, though the extreme Rococo style of which he was a consummate master laid his work open to disapproving commentary. Two monumental gilt-bronze chandeliers in the Wallace Collection, London, bear his signature; one of them was a wedding present from Louis XV to Louise-Elisabeth of France in 1739; the other is signed and dated 1751. The famous astronomical clock made by C.-S. Passement and Dauthiau for Louis XV, 1749–1753, is housed in a Rococo case signed by Caffieri. Another clock, with a movement by Balthasar Martinot in an extreme Rococo style gilt-bronze case, belongs to the Duke of Buccleuch, at Boughton House A pair of fire-dogs signed and dated 1752 is in the Cleveland Museum of Art Two large gilt-bronze mirror-frames by Caffieri, to a design by Ange-Jacques Gabriel, were intended as a gift to the Sultan of Turkey; the price was an astonishing 24,982 livres. He made a great cross and six candlesticks for the high altar of Notre Dame, which disappeared in the French Revolution, but similar work for Bayeux Cathedral still exists. A wonderful enamelled toilet set which he executed for the Princess of Asturias has also disappeared. A few portrait busts by Jacques Caffieri exist, notably of the baron de Besenval (1737) and his son (1735) (Watson 1966). Sons Jacques Caffiéri was joined in the workshop by his son, the younger Philippe Caffiéri (1714–1774), who also was received as a maître fondeur-ciseleur and who sometimes signed his independent works, especially after the death of his father in 1755, P.CAFFIERI. The younger Philippe's style was gradually modified by the new taste for Neoclassicism. Like his father, he drew large