The 18th Century, the Century of the Great Watchmakers (Part 5)
By: Sílvio Pereira
With this article we begin a series dedicated to the extraordinary French watchmakers of this century. We start in style, with one of the greatest families of watchmakers that France has given us: the Le Roy family. Julien, his sons Pierre and Jean Baptiste and his nephews all contributed with their inventions, mainly in the construction of repeaters, in the improvement of mechanisms and in the embellishment of watches, and many of these still endure today.
In the context of 18th-century France, known as the “Siècle des Lumières”, or “Century of Lights”, a transformation took place in the world of watches after the death of Louis XIV. With the beginning of the reign of Louis XV, we witness a reduction in the size of watches, accompanied by specific stylistic finishes.
Watches of this period saw unique changes, such as the edge of the back plate, frequently embellished with a wavy line, sometimes made of silver. The front winding system, characteristic of French watches, gradually gave way to the introduction of back winding and to the use of protective dust covers. Dials, faced in enamelled copper, also evolved, abandoning the cartouches and projections that had once decorated their surfaces. These alterations gave them a smooth touch and a substantially flatter appearance, which would definitively take shape towards the end of the century.
A notable feature of this period was the transformation of the balance cock, which played a vital role in reducing the dimensions of watch movements. Around 1720, “ears” appeared, projections located on the sides of the watch case that allowed straps or bracelets to be attached. Meanwhile, as time went on, the regulator dial and the balance cock became almost equal in size, while the “ears” gradually disappeared.
These changes bear witness to elegance and functionality converging in the design of 18th-century watches, reflecting the artistic sensibility and technical evolution that marked this historic moment in watchmaking.
The cylinder escapement created by George Graham was criticised by French watchmakers, who voiced concerns about its reliability. These craftsmen saw the cylinder escapement as less robust than the lever escapement. Nevertheless, despite the initial criticism, most French watchmakers came to incorporate the cylinder escapement into their own creations, showing a change of perspective and a recognition of its qualities.
Julien Le Roy and his son Pierre Le Roy carried out many experiments with small modifications to the cylinder escapement. Subsequently, watchmakers such as Jean Antoine Lépine and Abraham Louis Breguet introduced innovations such as the escape wheel and perfected the lever escapement, originally conceived around 1755 by the English watchmaker Thomas Mudge. Around 1760, a notable influence can be attributed to Pierre Le Roy's collaboration with English watchmakers, notably evidenced by Ferdinand Berthoud, while both were striving to develop highly accurate timepieces to compete for the prestigious Longitude Prize.
As for the aesthetics of watches, cases initially displayed an elegant simplicity, repeatedly featuring engravings with minimal decoration.
However, this trend evolved substantially from around 1740, when Julien Le Roy began to produce extremely luxurious watches. These pieces were adorned with precious stones set into cases, many of them made in three-colour gold. In addition, a striking transformation came with the incorporation of artistic enamels, regularly inspired by romantic themes. This evolution represented a significant change in both the style and the quality of the watches produced through Julien Le Roy's artistic skill.
The Rise of Romantic Scenes and the Evolution of Women's Watches
At the beginning of the 18th century, around 1720, the painter Jean Antoine Watteau played a fundamental role in popularising romantic scenes with his “fêtes galantes”, inspired by Italian comedy and ballet. These scenes, full of grace and charm, soon began to influence the aesthetics of the period. They were captured in enamel on the backs of gold cases, becoming objects of beauty and elegance.
Around 1760, in Geneva, smaller watches stood out, wrongly labelled “women's watches”. These watches were true works of art, frequently adorned with enamelled female portraits on the backs of their gold cases.
Around 1770, geometric “guilloché”[1] patterns began to appear on the cases of these watches; these were later covered with translucent coloured enamel, adding an artistic dimension to functionality.
Since we are speaking of innovative decorative techniques, and out of curiosity, at the end of the 19th century the Russian jeweller Karl Fabergé (1846-1920) left his mark on jewellery with the invention of a unique decorative technique, which soon spread to watches.
Jean Antoine Lépine, influenced by this innovation, improved not only the style but also the mechanics of watches, making them even more refined and smaller, with diameters of up to 25 mm.
Lépine also introduced the practice of using Arabic numerals on watch dials from the 1760s. Renowned watchmakers such as Lépine and Abraham Louis Breguet made significant contributions to the innovation and development of watchmaking. They introduced remarkably thin watches, revolutionising the fashion of the time. This was made possible by technical improvements such as the refinement of the cylinder escapement and the development of other types of escapement. The introduction of the Lépine calliper represented a crucial advance in watch production, allowing watchmakers to reduce the thickness of these pieces even further.
It is worth noting that many “ébauches”[2] were produced in Switzerland and later sent to France to be completed, including those of famous watchmakers such as Lépine and Breguet. This international collaboration contributed to the excellence and sophistication of the watches of the period.
In the 18th century, leading French watchmakers such as Berthoud, Lépine and Breguet settled on the “Quai de l'Horloge”. This district was strategic, as it offered easy access to the gold needed for watch cases, which could be found nearby, on the “Quai des Orfèvres”. In addition, on the “Place Dauphine”, located between these two districts, these watchmakers also had access to the enamels used for watch dials.
Augustin Fortin, Paris, ca. 1720
This remarkable Augustin Fortin watch has an exquisite silver consular case, with a diameter of 50.9 mm. The case is meticulously made of gilt brass, with front winding that adds a unique sophistication. The movement is a masterpiece, based on the fuseemechanism, with a silver regulator dial and a delicate blued-steel regulator hand.
The distinctive feature of this piece is the small two-footed balance cock, adorned with sapphire jewels [3], a testament to excellence in goldsmithing. The back plate is enriched with a wavy silver inlay, a detail typical of the French Regency period, which dates back to the years 1720 – 1730. The structure of the watch is supported by square baluster pillars, while the enamelled copper dial features elegant “reliefs” [4]. A true work of art for connoisseurs of watchmaking.
Augustin Fortin was an illustrious master watchmaker. In 1726 he was appointed “visiting warden of the watchmakers' guild”, a position that involved the responsibility of ensuring that the members of this guild met the standards established for watchmaking. It was crucial to maintain the quality and integrity of the watchmaker's profession at the time.
Fortin's competence earned him an excellent list of clients, including the Maréchal de Cossé-Brissac, the Comte de Mailly and the Marquis de Crussol, which suggests that he was highly respected and valued by important figures in the society of the time.
Bichon, Moulins, circa 1730.
This watch is a remarkable piece of watchmaking with a silver consular case, with a diameter of 44.7 mm, in gilt brass. It has front winding with a brass protective cover, a fusee movement, and a silver regulator dial with a blued-steel regulator hand. A very small balance cock, with two silver feet, with sapphire jewels in the steel balance cock.
The back plate of this watch is surrounded by a wavy silver inlay, a feature typical of the French Regency period, which covers the years 1720 to 1730. Square baluster pillars and a dial made of plain enamelled copper.
This piece represents not only the technical mastery of the time, but also the artistic care and attention to detail that were distinctive features of that period. The use of high-quality materials, such as silver and sapphire, reflects the pursuit of excellence in the making of watches of the time.
Jean Imbard, Lyon, ca. 1735
A watch made of gilt brass, with a front winding mechanism and a fusee movement, with a 37.6 mm dial and 8.0 mm of space between the plates. The silver regulator dial is complemented by a steel regulator hand. The very small two-footed balance cock has jewels, in this case garnet, set in the steel cock. Square baluster pillars and an enamelled copper dial bearing the signature “Charmy à Lyon”.
It is interesting to observe that, although some features of the Regency period, such as the larger balance cocks and regulator dials, are still present, the wavy decoration of the back plate is no longer so common, indicating an evolution in style.
It is a matter of debate whether Pierre Charmy repaired the movement or merely replaced the dial shortly after it was made.
In addition, Charmy played a notable part in the complete reconstruction of the astronomical clock in the Cathedral of St. Jean in Lyon, in the year 1782.
The clock in question, originally made in 1596 by Nicolas Lippius, a mathematician from Basel, in Switzerland, attracted the attention of many watchmakers of the time.
It was common at that time for watchmakers who carried out repairs or sold watches to inscribe their own names on the dial. This habit was not exclusive to France; in England, for example, it was common practice to include the owner's name on the dial, sometimes even replacing the numerals.
In fact, this custom persisted in England from 1690 until the end of the 19th century, becoming a fascinating part of watchmaking history and an intriguing way of tracing the provenance and authorship of watches from this period.
Charles Le Roy, Paris, No. 1465, ca. 1740
This watch, made of gilt brass, is characterised by front winding and a fuseemovement. The top plate measures 37.3 mm, with a space of 6.2 mm between the plates. It has a silver regulator dial, complemented by a blued-steel regulator hand. It has a very small two-footed balance cock, notable for its jewels, in this case garnet, adorning the steel cock. It has small square baluster pillars.
Unfortunately, this example does not work, and it is also missing its dial and hands. There is an inscription on the plate, “Belleteste le 23/7/1778”, which reveals a record of repair.
It is important to point out that Charles Le Roy, the watchmaker associated with this watch, should not be confused with the famous Julien Le Roy (1686-1759). In fact, Charles Le Roy, whose full name was Basile Charles Le Roy, who lived between 1765 and 1839, was another watchmaker with the same surname, who also left his mark on the history of watchmaking.
Julien Le Roy 1686 – 1759
Julien Le Roy was an important Parisian watchmaker of the 18th century, born in Tours in 1686. His passion for watchmaking led him to make his first watch at the age of 13. Seeking to improve his skills still further, he moved to Paris in 1699, where he had the opportunity to deepen his knowledge and experience.
His dedication and talent quickly made him stand out in the profession. In 1713 he won the prestigious title of master watchmaker, an important milestone in his life. Moreover, his excellence in watchmaking also led him to take on the role of juror of his guild.
As his reputation grew, Julien Le Roy reached new heights of success, such as the direction of the Société des Arts. However, it was in 1739 that he reached the peak of his career, when he was appointed official watchmaker to King Louis XV. This royal recognition not only confirmed his exceptional talent but also placed him at the centre of attention at the French court.
The life and work of Julien Le Roy bear witness to the commitment and competence of a master watchmaker who left a lasting mark on the history of watchmaking, not only French but European. His watches are highly valued for their exceptional quality and refined craftsmanship, and continue to be appreciated by collectors and watchmaking enthusiasts to this day.
In 1732, Julien Le Roy achieved a notable feat by inventing the “Repeating Strike”. In this innovative system, the hammer of the repeating mechanism struck the watch case to indicate the hours and minutes. This revolutionary invention allowed people to know the time even in the dark.
In 1740, Le Roy went even further by reorganising the repeating mechanism, improving its efficiency and reliability. These improvements were carefully recorded, with the inscription “Inventé par Julien LeRoy 1740” marked on top of the dial plates, a lasting testament to his talent and contributions to watchmaking.
One of the notable innovations, frequently attributed to him by specialists, was the development of the chain-driven repeating mechanism “all or nothing”. This mechanism operated in a binary way, always being in one of two positions: activated (all) or deactivated (nothing), providing notable precision in the repetition of the time.
In addition, around 1730, he introduced an important invention: the adjustable support for the escape wheel, known as the “potence”. This innovation played a fundamental role in improving the accuracy and reliability of French watches.
Until his death in 1759, Julien Le Roy maintained his activities on the Rue du Harlay.
Although the House of Julien produced around 5000 watches during its existence, it is regrettable that only a small percentage, between 1 and 2%, has survived the test of time and still exists today as precious examples. His notable contributions and innovative legacy continue to be celebrated in modern watchmaking.
Pierre Le Roy
Pierre Le Roy, son of Julien Le Roy, was a brilliant watchmaker who distinguished himself on his own merit. After taking over his father's business, he devoted himself intensely to watchmaking, producing experimental and unique pieces.
One of his notable inventions was the pivoted detent escapement, also known as the detached escapement[5], created in 1748.
He was also a talented maker of chronometers. It is interesting to mention that Pierre Le Roy was a rival of Ferdinand Berthoud, another important watchmaker of the time. Owing to special circumstances, Pierre lost the affiliation “Horloger du Roi et de la Marine” to Berthoud. Le Roy held a great resentment against Berthoud, who only recognised Pierre's true genius after his death in 1785.
To honour his father, Julien Le Roy, Pierre signed his watches with the name “Julien Le Roy” and used the numbering system his father had started, numbering his own watches from 3500 to 5000. Julien Le Roy's watches were numbered from 1 to around 3500.
Some of the rare watches made by Pierre feature an inverted fusee, an invention of his brother Jean Baptiste Le Roy around 1760. This mechanism, known as the “inverted fusee”, was developed to prevent the watch's mainspring from being overstretched, which could damage the movement. This fusee distributes the forces on the fusee chain more evenly, contributing to the durability of watches.
Pierre Le Roy introduced a new type of escapement, the “dead-beat escapement”[6], which was a modified version of the “Debaufre” escapement. In addition, he made other important contributions to watchmaking.
To distinguish the work of Pierre Le Roy, son of Julien Le Roy, from that of his nephew, also called Pierre Le Roy, he signed his watches “P(ie)re Le Roy”.
The Le Roy family left a significant legacy in watchmaking, contributing innovations that shaped the industry over the years.
Julien Le Roy, Paris, No. 303, 1727
A remarkable watch in gilt brass, with front winding and a fusee movement. With a majestic diameter of 39.62 mm, it radiates an imposing presence. The silvered regulator dial is complemented by a blued-steel regulator hand, creating a sublime contrast. The rather large two-footed steel balance cock reveals the mastery of watchmaking. The square baluster pillars offer support and balance to this masterpiece.
The back plate, skilfully marked with the signature “J(ulie)n Le Roy A Paris” and the number “303”, adds a historical dimension to this extraordinary piece. The enamelled copper dial bears the inscription “I(ulie)N LE ROY A Paris”, revealing the origin and renown of this horological treasure.
Additional details, such as the winding hole, in copper, and the movement stop guard, demonstrate the meticulous attention to detail and the unrivalled sophistication of this watch.
This is one of the earliest examples of numbered pieces, conceived by Julien Le Roy. The movement includes a pioneering innovation, the “sink holes”, developed in the 1720s. These holes were designed to retain oil at the tips of the wheel arbors, improving the efficiency and durability of the movement.
However, this movement predates the invention of the adjustable support for the crown wheel, introduced by Julien Le Roy in 1730. This revolutionary innovation, adopted by all French watchmakers in 1735, made it easy to adjust the play between the crown wheel and the escapement without having to dismantle the entire movement. It is interesting to point out that this important invention was not common in English pieces of the time.
The precise dating of this movement is possible thanks to comparison with the production numbers collected and listed by specialists such as Brusa, Allix, Sabrier and Chapiro, which provide valuable context for this notable piece of watchmaking history.
Julien Le Roy, Paris, No. 2102, ca. 1744
A refined watch in gilt brass with front winding and a fusee movement. A delicate silvered dial, 38.6 mm in diameter and with a distance of 6.6 mm between the plates, stands out for its blued-steel regulator hand, which adds a touch of elegance to the whole.
It has a two-footed steel balance cock, notable for its reduced dimensions, as well as small square pillars that complement the exquisite aesthetics of this example.
The enamelled copper dial, skilfully engraved with the signature “Julien Le Roy”, gives a final touch of authenticity and sophistication to this piece of watchmaking.
Julien Le Roy, Paris, No. 2818, ca. 1750
An exquisite watch in gilt brass, it has front winding and a remarkable fusee movement, which features a repeating function with two hammers “à toc”. With a dial plate 41.0 mm in diameter and a distance of 6.4 mm between the plates, this example displays an elegant aesthetic.
The silvered regulator dial is accentuated by the blued-steel regulator hand, giving a touch of sophistication to the design. The two-footed steel balance cock adds further distinction. Round, delicate baluster pillars complete the composition.
The enamelled copper dial is a work of art in itself, with the signature “Julien Le Roy” prominently engraved. The dial bezel, richly adorned with scrolls and leaves, bears the inscription: “Inventé par Jul le Roy en 1740”, recalling the timeless innovation introduced by Julien Le Roy.
Pierre Le Roy (fils), Paris, No. 3788, 1760
A watch in gilt brass with a verge movement and inverted fusee, later housed in a silver consular case.
A three-arm balance and a steel hairspring. A small gilt-brass balance cock with the initials of Julien Le Roy, “JLR”, skilfully interwoven in the elaborate engraved work of the cock and the back plate. The watch is signed “Julien Le Roy” and numbered “3788”, in tribute to Pierre's father.
The production number, which dates the movement after the death of Julien Le Roy, can be approximately associated with 3500. It represents one of the first known movements produced by Pierre Le Roy (son) in homage to his father, and features the use of the inverted fusee.
The inverted fusee used by Pierre Le Roy (son)
The inverted fusee, characterised by the orientation of the tip of the fusee cone towards the dial, is a special feature found in some rare examples of Pierre Le Roy's work.
This configuration distributes the force on the chain more evenly than the normal configuration, in which the tip of the fusee cone faces the back plate of the watch.
The construction of an inverted fusee is more complex and delicate, resulting in a movement that differs from the type of Lépine movement introduced around 1770.
In fact, after the introduction of that type of movement, this improvement was not widely adopted.
Pierre Le Roy (fils), Paris, No. 3840, 1761
A watch in gilt brass with a fusee movement. It has a three-arm balance with a steel hairspring and a rare small gilt-brass balance cock. It displays the initials of Julien Le Roy, “JLR”, artistically interwoven in the scrollwork of the cock and the back plate. The watch is signed “Julien Le Roy” and numbered “3840” in homage to Pierre Le Roy's father (the production number, 3500, suggests that this movement was created shortly after the death of Julien Le Roy, as mentioned above). The small square baluster pillars are a distinctive feature.
In addition, the initials “C B” can be clearly identified on the top plate, and they probably belong to the craftsman who finished this movement. One theory suggests that these initials may correspond to Charles Buzot, known for his work making springs and pendulums. It is interesting to note that Buzot's son, Jean Buzot, was apprenticed to Berthoud from 1754, working under his guidance for eight years.
Pierre Le Roy (fils), Paris, No. 4389, 1765
A watch in gilt brass with an inverted fusee movement. It has a three-arm balance with a steel hairspring, as well as a small gilt-brass balance cock. The back plate is signed “Julien Le Roy” and numbered “4389” in homage to Pierre Le Roy's father (the production number confirms that this movement was created after the death of Julien Le Roy, as described above). The small square baluster pillars are a distinctive feature, as is the enamelled copper dial, also signed “Julien Le Roy”.
Jean Romilly, Paris, No. 2108, ca. 1760
A watch in gilt brass, with front winding and a fusee movement, with a dial 33.4 mm in diameter and a space of 4.1 mm between the plates. The regulator dial is silver and the regulator hand is a later replacement in copper. It has a two-footed steel balance cock. A brass balance with a blued-steel hairspring. The back plate is engraved “Romilly A PARIS” and numbered “2108”. The pillars are round and very small, and the enamelled copper dial is also signed “Romilly A PARIS”. It is important to note that the hands are missing.
Jean Romilly (1714-1796) was born in Geneva to French parents. In 1752 he obtained the title of master watchmaker in Paris and began working on the Quai Pelletier. Between 1772 and 1781 he lived on the Place Dauphine, where many of the most important French watchmakers worked. Romilly was a talented inventor and was invited, together with Julien Le Roy, Pierre Le Roy and Ferdinand Berthoud, to contribute to the great Encyclopédie of Diderot and d'Alembert.
Jean Romilly was a prominent inventor of timepieces, responsible for several significant innovations in the field. His creations include a marine chronometer, improvements to Caron's double-virgule escapement, watches with an eight-day power reserve, a watch that ran for a year on one winding, watches with an equation of time and watches with “jumping seconds”. An example of the latter was built in 1754, featuring a cylinder escapement with thirty teeth.
Although his creations involved more advanced technologies, Romilly was known for producing watches of simple appearance, such as the piece shown above, which were often housed in richly decorated gold cases.
Romilly justified the production of these “simple watches” in an article he published in Diderot's Encyclopédie:
“Watches are instruments for marking time, but they are also worn as ornaments. I have placed watch movements in rings, snuffboxes and bracelets. (…) I have built a repeating watch only 6.8 mm thick. (…) Watchmakers who build watches like this must have special skills. (…) It is certain that if a watchmaker can build very small movements, he will build even better movements of normal size”.
Jean Arthur, Paris, c. 1760
A watch in gilt brass with front winding and a fusee movement, with a 34.1 mm dial and 3.8 mm of space between the plates. The regulator dial is silvered and the hand is in blued steel. It has a small two-footed steel balance cock. The pillars are round and rather small. An enamelled copper dial, which bears no specific signature.
Jean Arthur, a master watchmaker who earned the title in 1757, is an intriguing figure in the history of watchmaking. Although details of his life are scarce, some of the watches he made are still preserved.
What makes Jean Arthur notable is his talent for creating skeletonised watches, following the style of Jean-Antoine Lépine. He is often regarded as a successor to Ferdinand Berthoud, both in terms of technical competence and of his reputation in the watchmaking community of the time.
Notes:
[1] The guilloché patterns are characterised by interlaced lines, waves, spirals or other geometric designs. These patterns are produced using a specialised machine called a “rose engine”, invented during the 18th century. This machine was used to create guilloché patterns on decorative pieces such as watch dials and cases, music boxes and other luxury items. The technique of guillochage, which involves the use of this machine, allowed the creation of intricate geometric and wavy patterns that added a touch of elegance and sophistication to the pieces.
[2] Unfinished movements in the rough.
[3] Refers to sapphire stones placed strategically in the most critical parts of the watch movement to improve its performance and longevity.
[4] This is a technique involving the use of enamelled copper or brass with small protrusions to create a pattern or texture on the surface of the watch case; it is a rare feature, typical of the beginning of the Regency period.
[5] So called because the lever and the escape wheel are physically detached from the watch's movement plate. Instead of being mounted directly on the movement plate, the detached escapement is fixed to a separate part, known as the escapement platform or escapement bridge. This part is in turn fixed to the watch's movement plate. The main advantage is that it reduces the friction and wear of the moving parts of the escapement, such as the pallets and the teeth of the escape wheel.
[6] The dead-beat escapement is a mechanism used in mechanical clocks and watches to control the release of energy from the mainspring mechanism. This type of escapement is considered one of the oldest and simplest, and it consists of two main parts: the escape wheel and the lever.
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