André-Charles Boulle as being “the most skilled craftsman in his profession”. Over the centuries since his death, his name and that of his family has been given to the art he perfected, the inlay of tortoiseshell, brass and pewter into ebony. It is known as Boulle Work and the École Boulle, a college of fine arts and crafts and applied arts in Paris, today bears testimony to his enduring art, the Art of inlay.
in 1677, on his marriage certificate, André-Charles Boulle gave his birth date, for posterity, as being 11 November 1642. No other document corroborates this birth in Paris. The historians M. Charles Read, H.-L. Lacordaire and Paulin Richard have determined that his father was the Protestant Jan (or Jean/Johann) Bolt (or Bolte/Boul/ Bolle ) but at his own (Catholic) marriage, André-Charles Boulle named his father as "Jean Boulle". André-Charles Boulle's marriage at Saint Sulpice and burial in 1732 at Saint-Germain-l'Auxerrois are but two of many lifetime inconsistencies with his Protestant 'provenance', most easily explained by the ongoing persecution of Protestants. His parentage with the Protestant Boulles from Marseille, the Sun King's Historian needs clarification and Coliès, in his Bibliotheque Choisies confirms a Marseillais relative as being the author of a History of Protestantism, called Essay de l'histoire des Protestants Distingués Par Nation (1646).
In the absence of a birth document, three factors play a critical part in the mystery surrounding Boulle's parentage.
The first is that foreign artists flocking to the Sun King's Court were keen to be naturalised French subjects to 'fit in' and would, like Jean-Baptiste Lully the Royal Musician (28 November 1632 – 22 March 1687), have changed their names. Jean-Baptiste Lully, c.1670]]For Lully, it was from "Giovanni Battista Lulli" to "Jean-Baptiste Lully") but at his marriage, he falsely declared his father's name to be Laurent de Lully, gentilhomme Florentin ]For Lully, it was from "Giovanni Battista Lulli" to "Jean-Baptiste Lully") but at his marriage, he falsely declared his father's name to be Laurent de Lully, gentilhomme Florentin [Florentine gentleman]". This historical background makes it difficult for the historian to identify which of the many Jean Boulles, Jean Bolles, Johann Bolts or even 'Jean Boulds' on record was André-Charles Boulle's true father. Some of these are of Catholic French origin, some are French Protestants and some are from Gelderland in Holland
The second factor is that André-Charles Boulle's birth date is almost certainly inacurrate. Despite his genius (or perhaps because of it) André-Charles Boulle was a demonstrably poor administrator and poor with dates and specifically in respect of his age. His children were no different, declaring him to be 90 Years old when he died. This is highly unlikely.
The third and perhaps most telling factor adding to the overall confusion about Boulle's parentage was that in October 1685 (a mere 8 years after his marriage), Louis XIV renounced the Edict of Nantes and declared Protestantism illegal with the Edict of Fontainebleau. All Protestant ministers were given two weeks to leave the country unless they converted to Catholicism.Louis XIV ordered the destruction of Huguenot churches, as well as the closure of Protestant schools. This made official the persecution of Protestants already enforced since 1681 and it led to around 400,000 fleeing the country.
Jean-Baptiste Lully demonstrates, by his documented actions, that marriage was a propitious time to tidy up provenance. Within the context of the times, it is natural to expect that as well as ensuring his father's Catholic name was recorded for posterity, André-Charles Boulle 'tidied' up his own place and date of birth. This made him older, for motives we do not yet comprehend. There is also the definite possibility, as yet unexplored by historians, that André-Charles Boulle was born in Holland. It would explain a lot of the confusion around his parentage. The salient fact is that we only have André-Charles Boulle's word that he was born in Paris in 1642.
André-Charles Boulle's Protestant family environment was a rich and artistic milieu totally consistent with the genius of the Art he was to produce in later years. His father, Jean Boulle (ca 1616-?), was cabinetmaker to the King, had been naturalised French in 1676 and lived in the Louvre, by Royal Decree. His grandfather, Pierre Boulle (ca 1595-1649), was naturalised French in 1675, had been cabinetmaker to Louis XIII and had also lived in the Louvre. André-Charles was thus exposed to two generations of illustrious artists, master craftsmen, engravers, cabinetmakers and, indeed, family all directly contracted by the King. As pointed out by the historians M. De Montaiglon and Charles Asselineau, this entourage included his aunt Marguerite Bahusche (on his mother's side) who was a famous painter in her own right, married to another very famous artist, Jacques Bunel de Blois, Henri IV's favourite painter. Others who were appointed by the King and worked with the two preceding generations of Boulles from their ateliers in the Louvre included the painter Louis Du Guernier (1614-1659), the embroiderers Nicolas Boulle and Caillard and the goldsmith Pierre de la Barre.

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