Editing Daniel Marot (section)

==Life==
Born in [[Paris]], he was a pupil of [[Jean Le Pautre]] and the son of [[Jean Marot (architect)|Jean Marot]], who was also an architect and engraver. Marot was working independently as an engraver from an early age, making engravings of designs by [[Jean Bérain the Elder|Jean Bérain]], one of Louis XIV's official designers at the [[Manufacture des Gobelins]], where far more than [[tapestry]] was being produced. The family were [[Huguenot]]s and were part of the wave of émigrés who left France in the year of the [[Edict of Fontainebleau]] and [[Edict of Fontainebleau|Revocation of the Edict of Nantes]] (1685) to settle in Holland.<ref name=EB1911/> Daniel Marot brought the fully developed court style of Louis XIV to Holland, and later to London. In the end, the English style which is loosely called "William and Mary" owed much to his manner.

In the [[Dutch Republic]], Marot was employed by the Stadthouder, who later became [[William III of England]]; in particular, he is associated with designing interiors in the palace of [[Het Loo Palace|Het Loo]], from 1684 on. Though his name cannot be attached to any English building (and he does not have an entry in [[Howard Colvin]]'s exhaustive ''Dictionary of British Architects'') we know from his own engraving that he designed the great hall of audience for the States-General at the Hague.<ref name=EB1911/> He also decorated many Dutch country-houses,<ref name=EB1911/> introducing the “salon” and popularizing ornamented ceilings in The United Provinces/ Netherlands. 

In 1694, he traveled with William to [[London]], where he was appointed one of his architects and Master of Works. In England his activities appear to have been concentrated at [[Hampton Court Palace]], where he designed the [[History of gardening|garden]] [[parterre]]s, which were swept away in the following generation and have been restored at the end of the 20th century.  His designs for the Great Fountain Garden survive.<ref>{{cite book|author1=Stefan van Raaij|author2=Paul Spies|title=The Royal Progress of William and Mary|publisher=D’Arts/De Bataafsche Leeuw|year=1988|ISBN=9067071919|page=63}}</ref>  Much of the furniture, especially the mirrors, [[guéridon]]s and state beds, in the new State Rooms readied for William at Hampton Court bears unmistakable traces of his authorship; the tall and monumental embroidered state beds, with their plumes of ostrich feathers, their elaborate valances and cantonnieres agree very closely with his later published designs<ref name=EB1911/> (''illustration, right'').   

After William's death Marot returned to Holland where he lived at the Noordeinde 164 in The Hague from 1720 until his death in 1752. The house with his salon, kitchen, hallway and possibly some of his ceilings still exists.

We owe much of our knowledge of his work to the folio volume of his furniture designs published at Amsterdam in 1712.  Not surprisingly the designs show strong French and Dutch influences; what reads as their "English" look is more probably the result of Marot's court style on other London designers.

Marot was a nephew of [[Pierre Gole]]<ref name="BroomhallGent2016">{{cite book|author1=Susan Broomhall|authorlink1=Susan Broomhall|author2=Jacqueline Van Gent|title=Dynastic Colonialism: Gender, Materiality and the Early Modern House of Orange-Nassau|url=https://books.google.com/books?id=Swm4CwAAQBAJ&pg=PA186|date=10 March 2016|publisher=Routledge|isbn=978-1-317-26637-2|page=186}}</ref> as he was the son of Gole's sister-in-law. He married Gole's niece.