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Object Overview
This Caryatid Mounts Barometer, dating to approximately 1910, was produced by the renowned French manufacturer Leon Maxant. It is a theatrically ornate Baroque ensemble cast in polished brass, richly adorned with stylized elements in the manner of Neo-Baroque or Rococo design. The foundry mark on the reverse side of the frame, bearing the initials “L” and “C”, unfortunately could not be identified.
At the top of the case is a blank heraldic shield, flanked on both sides by decorative laurel branches — traditional symbols of victory, honor, or valor. These branches are curved in a stylized ornamental fashion and appear to embrace the shield. The base of the shield is accentuated with acanthus-like scrollwork.
On either side of the case are female figures with bare shoulders, their hair gathered up, and their bodies merging seamlessly into the surrounding scrollwork. The torsos transition gradually into ornamental curves, volutes, and vegetal motifs. These classical allegorical figures resemble muses and are typical decorative motifs found on barometers, mirrors, and mantel clocks of the period.
At the bottom is a complex scroll element, shaped like a stylized acanthus drop or an inverted shell. It is flanked by symmetrical volutes, which sprout into leaf-like lobes — a classic Rocaille motif.
n/a
rack and pinion
brass, cardboard, glass, nickel silver
At the center of the composition is the barometer itself, encased under a protective glass held by a narrow brass bezel. The exposed dial is made of thick pasteboard and internally framed by a brass ring. The barometric scale is calibrated in centimeters of mercury, ranging from 69 to 80. The dial is marked with standard weather indications in Dutch, as the instrument was intended for the Dutch market.
Through the open dial, the barometer’s rack-and-pinion movement is visible. This movement type is characteristic of the well-known French maker Antoine Redier, whose business was acquired by Leon Maxant in 1905. Maxant’s version features slight modifications, but the core construction and mechanical elements remain faithfully preserved.
This barometer exemplifies the transition from artisanal ornamentation to early industrial serial production, combining sculptural richness with technical refinement. It stands as a representative work of French decorative instrument making at the turn of the 20th century.
On the dial of this aneroid barometer, the inscription “VERANDERLIYK” (CHANGEABLE) immediately catches the eye — and within this seemingly minor orthographic oddity lies a small story of its own. The use of both “i” and “y” in the word does not conform to either modern or historical Dutch spelling norms. It is neither an accepted variant nor a dialect form, nor is it an example of archaic orthography — rather, it appears to be a simple mistake, or perhaps an inaccurate imitation.
The correct modern Dutch spelling of the word is “veranderlijk” (“changeable”), while in the 19th century and earlier, the form “veranderlyk” — with a “y” replacing the digraph “ij” — was widely used and is often seen on antique barometers. That historical form is entirely appropriate for the period.
But “veranderliyk” is a hybrid form in which both the “i” and “y” appear side by side — as if the engraver, unsure of the correct spelling, decided to include both just to be safe. One gets the impression that he attempted to reproduce the “ij” digraph, perhaps misreading it as two separate letters, especially if he was working from a handwritten note or a foreign-language draft.
Such orthographic curiosities are extremely rare, and in this case, they do not detract from the object but rather add a layer of historical intrigue — a living trace of a time when culture was multilingual and the market, truly international.