1. For more on Marot and Huguenot court artisans, see Museum of London, The Quiet Conquest: The Huguenots 1685–1985 (London: by the museum, 1985); and Reinier Baarsen, Gervase Jackson-Stops, Phillip M. Johnston, and Elaine Evans Dee, Courts and Colonies; The William and Mary style in Holland, England and America (Seattle: University of Washington Press for the Cooper-Hewitt Museum and Carnegie Museum of Art, 1988). Thomas Savage and I discovered the design book while researching a group of objects associated with Charleston merchant Nathaniel Russell (1738–1820). The book descended for eight generations in the family of Russell’s son-in-law, Bishop Theodore Dehon (1776–1817). Berger was Dehon’s great grandfather. The book and other Dehon family artifacts are on loan to Nathaniel Russell House, Historic Charleston Foundation. 2. For more on the Berger family, see Charles W. Baird, History of the Huguenot Emigration to America, 2 vols. (Baltimore: Regional Publishing, 1966), 1:143–45 2:210. Massachusetts State Archives, Boston, Commercial Series 1685–1714, vol. 7, pp. 79, 104–5. A Report of the Record Commissioners Containing Boston Births, Baptisms, Marriages, and Deaths, 1630–1699 (Boston: Rockwell and Churchill City Printers, 1883), pp. 167, 178, 189. 3. Many of the names mentioned in this section are easily identifiable as members of Boston’s Huguenot community. “Mr. mersiee,” who baptized Berger’s first child, almost certainly is the Reverend Andrew Le Mercier (d. 1764), rector of Boston’s Huguenot church from 1715 until 1748. “Madame dupe,” named as the child’s godmother, probably is the wife of Jean Dupuis, or Dupee (d. 1734), an elder of the French church. “Mr. fransoy masc” probably refers to a member of the Mascarene family (Baird, Huguenot Emigration, 2:233, 239–45, 250–51). Berger’s daughter Margaret married David Dickson on September 31, 1736, and the couple had three children: Frances, David, and Joseph. In 1759, Frances Dickson (1743–1804) married Huguenot perukemaker Theodore Dehon (d. 1796) (Christopher E. Gadsden, An Essay on the Life of the Right Reverend Theodore Dehon, D.D. [Charleston, S. C., 1833], pp. 41–44). Elizabeth Given vs. Rachel Berger, August 5, 1732, Suffolk County Supreme Judicial Court (hereinafter scsjc), Index to Suffolk Files, 1629–1795, no. 32696, Massachusetts State Archives, Boston. Rachel Berger, March 26, 1736, scsjc, no. 166715. Mary White vs. Jean Berger, November 24, 1726, scsjc, no. 18926. Jean Berger vs. Joseph Wheeler, January 24, 1728, scsjc, no. Z1296. 4. Jean Berger vs. John Harristy, undated, Suffolk County Court of Common Pleas (hereinafter scccp), Records Book, 1715–1721, p. 11, Massachusetts State Archives, Boston. 5. The witnesses are listed in Jean Berger vs. John Harristy, January 7, 1719/20, scsjc, no. 163519. Powell’s deposition is in Jean Berger vs. John Harristy, undated, scsjc, no. 26989. 6. Jean Berger vs. John Harristy, March 15, 1720, scsjc, no. 14839. Jean Berger vs. John Harristy, January 5, 1719/20, scsjc, no. 13803. 7. Examples of J. Cooper’s work are at the Yale University Art Gallery, the Winterthur Museum, the Peabody Essex Museum, the New York Historical Society, the Connecticut Historical Society, and the Wadsworth Athenaeum. For more on Cooper, see George C. Groce, “Who Was J(ohn?) Cooper (b. ca. 1695 – living 1754),” The Art Quarterly 18, no. 1 (Spring 1955): 73–82; James Thomas Flexner, First Flowers of Our Wilderness (New York: Dover, 1947), pp. 45–46; and Waldron Phoenix Belknap, American Colonial Painting (Cambridge, Mass.: Harvard University Press, 1959), pp. 223–25, 319–20. 8. Jean Berger vs. John Cooper and Thomas Creese, Jr., undated, scccp, p. 13. Jean Berger vs. John Cooper and Thomas Creese, Jr., March 3 and 7, 1721, scsjc, no. 15234. John Cooper vs. Jean Berger, September 15, 1721, scccp, p. 110. Groce, “Who Was Cooper,” pp. 78, 79. Painter Samuel Haley (fl. 1716–1724) sued Berger on September 19, 1722 (scccp, p. 422). 9. Sinclair Hitchings, “The Musical Pursuits of William Price and Thomas Johnston,” in Music in Colonial Massachusetts, 1630–1820 (Boston: Colonial Society of Massachusetts, 1985), pp. 84–87, 107. Boston Gazette, August 14–21, 1721; May 14–21, 1722; August 27–September 3, 1722; April 4–11, 1726. Sinclair Hitchings, “Thomas Johnston,” in Boston Prints and Printmakers (Boston: Colonial Society of Massachusetts, 1973), pp. 87, 102, 107. Although there is no documentary evidence conclusively linking Berger with Price and Johnston, his involvement with Cooper and Creese suggests that Berger was part of an interactive circle of painters, japanners, engravers, print sellers and art dealers associated with early Boston. For example, a portrait of Cooper’s father, London art dealer Edward Cooper, was engraved by Peter Pelham (ca. 1697–1751), the mezzotint artist who emigrated to Boston in 1727 (Groce, “Who Was Cooper,” p. 78). 10. For more on Boston japanning, see Sinclair Hitchings, “Boston’s Colonial Japanners: The Documentary Record”; and Dean A. Fales, Jr., “Boston Japanned Furniture,” in Walter Muir Whitehill, Brock Jobe, and Jonathan Fairbanks, eds., Boston Furniture of the Eighteenth Century (Boston: Colonial Society of Massachusetts, 1974), pp. 49–75. The two early schools of japanning are discussed in Elizabeth Rhodes and Brock Jobe, “Recent Discoveries in Boston Japanned Furniture,” Antiques 105, no. 5 (May 1974): 1082–91; and Morrison H. Heckscher, Frances Grubber Stafford, and Peter Lawrence Fodera, “Boston Japanned Furniture in the Metropolitan Museum of Art,” Antiques 129, no. 5 (May 1986): 1046–61. 11. For more on Nieuhoff, see Leslie B. Grigsby, “Johan Nieuhoff’s Embassy,”Antiques 143, no. 1 (January 1993): 136–43. Baarsen, Jackson-Stops, Johnston, and Dee, Courts and Colonies, pp. 15–18, 200–229. 12. Baarsen, Jackson-Stops, Johnston, and Dee, Courts and Colonies, pp. 62, 80–85, 95. 13. Baarsen, Jackson-Stops, Johnston, and Dee, Courts and Colonies, pp. 62, 175. As quoted in Abbot Lowell Cummings, “Decorative Painting and House Painting in Massachusetts Bay, 1630–1725,” in Ian M. G. Quimby, ed., American Painting to 1776: A Reappraisal, (Charlottesville, Va.: University Press of Virginia, 1973), pp. 107–8. The surviving panels from the Clark-Frankland house are in the collection of the Society for the Preservation of New England Antiquities, Boston. For more on the Vernon house, see Allen Freeman, “Model of Restraint: Conservationists of Newport’s Eighteenth-Century Vernon House,” Historic Preservation 45, no. 1 (January/February 1993): 26–32.