André-Jacob Roubo (1739-1791)

Je ne pouvais pas, ne pas dédier une page uniquement pour lui. Il y a eu beaucoup de grands ébénistes, mais pour moi, André-Jacob Roubo est le plus remarquable car l’œuvre qu’il nous a laissée restera bien longtemps après celle des autres.
I could not, not consecrate a page only for him. There has been many great cabinetmakers. But for me André-Jacob Roubo is the most notable because the work he had left us will remain much longer than the other’s.

André-Jacob Roubo、彼が残した偉大な足跡は他の残したものに比べ多く、そして永く伝承されているのです。





few words about the lavender,

the photo below




the oil of the variety Lavandula spica, which is called spike lavender oil,  enters in the

composition of the varnish described by M. Roubo (on page 864-865).


Spike lavender oil

Spike lavender oil


Bonne journée

Laurent Philippe Cluet



The Secret






If once in a time you were interested in some crafts activities, or either if you have practiced some in some workshop, you may have heard the word “secret”.

Yes I am talking about these “workshop’s secrets”. And of course the person who knows the secret will not tell you.

It can be a secret preparation or a secret way for coloring wood. Or even an unknown technique for restoring furniture. So it can be anything.





I f one day, you ask me something and I tell you “I cannot tell you it is a secret”, then I should be downgraded to the bottom.

The secret way is a fully wrong and bad way to do.

Let me quote Roubo (page 792) to explain you why nobody should use the “secret way”

“The wood coloration is of a great importance for the cabinetmakers because it is the way that allow them to the give to the wood the colours they need to represent all kind of objects like fruits, flowers, animals etc. However the cabinetmakers always made a big secret about the composition of their dye to keep the benefit of it exclusively for themselves.


That’s why most of the composition that the old cabinetmakers used did not come to us, or were wrongly imitated. So the ones we are currently using are either defective, or if they are good, they cannot be improved as the ones who know their composition are hiding the making process to the other cabinetmakers and even to the person who have the knowledge to improve the composition of their dye”


As you can see, doing the “secret way” has absolutely no positive point, it only produces the know-how loss and may create defective techniques and method.


I have no secret. If you come and ask me something, I will tell you what I know and the way I do, it can help you not making mistake but it can also help me not making mistake as you may know better than me.

Laurent Philippe Cluet.






As you may have noticed, according to the era, the seats shapes are really different.




à la reineのいす

à la reineのいす by Roubo illustration no 226

一つの大きな変化が起きたのは17世紀から18世紀にかけて、背もたれの高さが低くなりました。Roubo(614ページ)によると、高さが3pieds(約90センチ)から18—19 pouces(45—48センチ)に変わりました。何故でしょう?


One of these notable changes is that between the 17th century and the 18th century, the height of the back of the seat decreased. According to Roubo (page 614), the height of the back came down from 3 pieds (about 90 cm) to 18/19 pouces (45/48 cm). So why ?

For Roubo, there are 2 main reasons to that:


The first one is that the women and men care about their haircuts, so the head has to be above the back of the seat to not unmake the hairststyle


The second reason is that, in order to not spoil the upholstery with the powder and the pomade that people were using at that time, they decreased the back height (that the powder and the cream does not come in contact with the fabrics).


(Thank you mister Roubo.)

 Laurent Philippe Cluet