Une oeuvre de Germain Pilon retrouvée

496 Reviews L'Etude de la Renaissance nunc et cras: actes du colloque de la Federationlnternationale des Societes et Instituts d'Etude de la Renaissance (FISIER), Geneve, septembre 2001. Ed. by Max Engammare, Marie-Madeleine Fragonard, Augustin Redondo, and Saverio Ricci. (Travaux d'Humanisme et Renaissance, 381) Geneva: Droz. 2003. 395 pp. SwF 94.20; ?63.81. ISBN 2-600-00863-2. This set of conference papers, from what is surely a pre-eminent group of Renais? sance specialists, starts from the premiss that 'il etait necessaire de faire le point sur nos travaux et d'envisager l'avenir de nos recherches afin de leur donner une autre dimension et une nouvelle dynamique' (p. 7). The twenty-fivepapers turn around five major thematic areas. The firstpart, 'Faire des recherches sur la Renaissance apres l'an 2000' (pp. 9-53), is the most concretely based, offering Gerald Chaix's item on 'La formation des chercheurs' and Keith Cameron's on 'Relations with Institutions', but also the superb, though not always optimistic, perspective of Michel Jeanneret's 'La Renaissance et sa litterature: le probleme des marges', stressing the need for an interdisciplinary input into Renaissance literary studies. The second part, 'Fonds, instruments, savoirs' (pp. 55-128), is more nunc than cras: the literature specialist will findof especial interest the items by Frank Lestringant, 'Historiens de la litterature', a sometimes polemical overview of present-day critical practices but always highlighting the wealth of research activity,and by Anthony Grafton, 'Renaissance Research Today: Forms and Styles', pointing to a debunking tendency but noting that 'literary historians seem to lament the disappearance from the earth ofthe great bold intellec? tual dinosaurs that once stalked it' (p. 68). In Part m, 'Cultures et modeles culturels' (pp. 129-95), items include Ann Moss, 'New Ways of Looking at Texts', on reading methodologies, and Eva Kushner on 'Sociabilite et ecriture', focusing largely on the dialogue and dialogue studies. Jean Ceard introduces Part iv, 'Croyances: adhesions et dissensions' (pp. 197-323), with a rich and stimulating paper, concluding?and this is no small thing?on the 'otherness' of our period. Among other papers, Andre Seguenny and Nicola Panichi consider transference of ideas between religions, on the one hand, and philosophies, on the other. Fernand Hallyn, in his 'Conventions du discours ? modalites d'analyse ? filtres', looks at the name given to our period, proposes lines of research on its 'mentalite', and enters a caveat about present-day interpretations of the latter. The last part, 'Quels types d'histoire pour l'avenir?' (pp. 325-72), contains an almost lyrical essay by Giuseppe Galasso ('Geneve'), an examination by Olivier Christin of the complex relationship between developments in art and confessional identity ('Les modeles'), and Jean Dupebe's analysis of trends in the historiography of the Renaissance, with a particular emphasis on treatment of the occult sciences ('Les types d'analyse'). This is merely a glimpse of the riches contained in this volume. Let us note, finally,that each contribution concludes with its own full bibliography, and that the index rerum is itself a useful research tool. University of Wales, Lampeter Trevor Peach L'Exercice de Vdme vertueuse. By Marie Le Gendre. Ed. by Colette H. Winn. (Textes de la Renaissance, 38) Paris: Champion. 2001. 197 pp. ISBN 2-74530460 -7. Cabinet des saines affections. Attributed to Madeleine De L'Aubespine. Ed. by Co? lette H. Winn. (Textes de la Renaissance, 39) Paris: Champion. 2001. 133 pp. ISBN 2-7453-0461-5. These two editions of late sixteenth-century texts, forming part of Champion's ex? tremely useful Textes de la Renaissance series, are, like their companions, very wel? come and significant additions to the French Renaissance Studies corpus. It is fitting ...

496 Reviews L'Etude de la Renaissance nunc et cras: actes du colloque de la Federationlnternationale des Societes et Instituts d'Etude de la Renaissance (FISIER), Geneve, septembre 2001. Ed. by Max Engammare, Marie-Madeleine Fragonard, Augustin Redondo, and Saverio Ricci. (Travaux d'Humanisme et Renaissance, 381) Geneva: Droz. 2003. 395 pp. SwF 94.20; ?63.81. ISBN 2-600-00863-2. This set of conference papers, from what is surely a pre-eminent group of Renais? sance specialists, starts from the premiss that 'il etait necessaire de faire le point sur nos travaux et d'envisager l'avenir de nos recherches afin de leur donner une autre dimension et une nouvelle dynamique' (p. 7). The twenty-fivepapers turn around five major thematic areas. The firstpart, 'Faire des recherches sur la Renaissance apres l'an 2000' (pp. 9-53), is the most concretely based, offering Gerald Chaix's item on 'La formation des chercheurs' and Keith Cameron's on 'Relations with Institutions', but also the superb, though not always optimistic, perspective of Michel Jeanneret's 'La Renaissance et sa litterature: le probleme des marges', stressing the need for an interdisciplinary input into Renaissance literary studies. The second part, 'Fonds, instruments, savoirs' (pp. 55-128), is more nunc than cras: the literature specialist will findof especial interest the items by Frank Lestringant, 'Historiens de la litterature', a sometimes polemical overview of present-day critical practices but always highlighting the wealth of research activity,and by Anthony Grafton, 'Renaissance Research Today: Forms and Styles', pointing to a debunking tendency but noting that 'literary historians seem to lament the disappearance from the earth ofthe great bold intellec? tual dinosaurs that once stalked it' (p. 68). In Part m, 'Cultures et modeles culturels' (pp. 129-95), items include Ann Moss, 'New Ways of Looking at Texts', on reading methodologies, and Eva Kushner on 'Sociabilite et ecriture', focusing largely on the dialogue and dialogue studies. Jean Ceard introduces Part iv, 'Croyances: adhesions et dissensions' (pp. 197-323), with a rich and stimulating paper, concluding?and this is no small thing?on the 'otherness' of our period. Among other papers, Andre Seguenny and Nicola Panichi consider transference of ideas between religions, on the one hand, and philosophies, on the other. Fernand Hallyn, in his 'Conventions du discours ? modalites d'analyse ? filtres', looks at the name given to our period, proposes lines of research on its 'mentalite', and enters a caveat about present-day interpretations of the latter. The last part, 'Quels types d'histoire pour l'avenir?' (pp. 325-72), contains an almost lyrical essay by Giuseppe Galasso ('Geneve'), an examination by Olivier Christin of the complex relationship between developments in art and confessional identity ('Les modeles'), and Jean Dupebe's analysis of trends in the historiography of the Renaissance, with a particular emphasis on treatment of the occult sciences ('Les types d'analyse'). This is merely a glimpse of the riches contained in this volume. Let us note, finally,that each contribution concludes with its own full bibliography, and that the index rerum is itself a useful research tool. University of Wales, Lampeter Trevor Peach L'Exercice de Vdme vertueuse. By Marie Le Gendre. Ed. by Colette H. Winn. (Textes de la Renaissance, 38) Paris: Champion. 2001. 197 pp. ISBN 2-74530460 -7. Cabinet des saines affections. Attributed to Madeleine De L'Aubespine. Ed. by Co? lette H. Winn. (Textes de la Renaissance, 39) Paris: Champion. 2001. 133 pp. ISBN 2-7453-0461-5. These two editions of late sixteenth-century texts, forming part of Champion's ex? tremely useful Textes de la Renaissance series, are, like their companions, very wel? come and significant additions to the French Renaissance Studies corpus. It is fitting MLRy 100.2, 2005 497 that these two works should be published in sequence for they share a long partnership . As Colette Winn details in her introductions, the text of L'Exercice de Vame vertueuse (which did not then carry this title) is appended to that of the Cabinet in a 1595 edition produced by Anthoine Du Brueil, and the authorship of both texts is there attributed to Marie Le Gendre. The Cabinet had seen three previous edi? tions, all anonymous...

Reviewed by: Un prélat français de la Renaissance: Le Cardinal de Lorraine entre Reims et l’Europe ed. by Jean Balsamo, Thomas Nicklas, Bruno Restif Brian Sandberg Un prélat français de la Renaissance: Le Cardinal de Lorraine entre Reims et l’Europe. Edited by Jean Balsamo, Thomas Nicklas, and Bruno Restif. [Travaux d’humanisme et Renaissance, No DXLVI.] (Geneva: Librairie Droz. 2015. Pp. 472. $66.00 paperback. ISBN 978-2-600-01889-0.) Charles de Lorraine, cardinal de Lorraine and archbishop of Reims, became one of the principal leaders of the Catholic reform in France during the mid-sixteenth century. A member of the Guise branch of the Lorraine dynasty, Charles de Lorraine (1524–1574) personified a Renaissance prince and a reforming prelate during a tumultuous period of religious change and confessional division. His religious and political engagement in the first two decades of the French Wars of Religion (1559–1629) made him a controversial and polarizing figure. Un prélat français de la Renaissance. Le Cardinal de Lorraine entre Reims et l’Europe offers a historical portrait of the cardinal de Lorraine from various perspectives. This collective volume publishes twenty-five essays by historians, art historians, literary scholars, and other specialists on the cardinal de Lorraine and his historical context. The volume produces a nuanced view of the cardinal as a religio-political leader and a literary and artistic patron (Jean Balsamo, Bruno Restif). Several essays treat the documentary record and historiographical literature on the cardinal de Lorraine (Vladimir Chichkine, Isabelle de Conihout, Antoine Pietrobelli, Claude Langlois, Jean-Marie Le Gall). Charles de Lorraine served as archbishop of Reims and also played numerous other clerical roles. He embodied a reforming bishop, transforming his diocese of Reims into a major center of Catholic reform (Bruno Restif). Isabelle Balsamo assesses the archbishop’s artistic patronage in the cathedral of Reims, while Patrick Demouy focuses on the devotional activities and penitential processions that he encouraged. The cardinal promoted Catholic reform throughout the kingdom by sponsoring Jesuit missions in France and supporting other religious orders (Madeleine Molin). Joseph Bergin analyzes the “ecclesiastical empire of the Guises,” focusing particularly on the cardinal de Lorraine’s role as abbot of the royal abbey of Saint-Denis, where royal family members were interred. As archbishop of Reims, Lorraine crowned three French kings and engaged in religious politics in order to promote Catholic reform in the kingdom. The cardinal and his brother—François de Lorraine, duc de Guise—advised the young François II during his short reign (1559–1560). Charles de Lorraine maintained a broad clientele in the province of Champagne and beyond through his benefices and urban associations (Mark Konnert and Mark Greengrass). Charles de Lorraine’s attitudes toward heresy gradually shifted between the 1540s and 1570s. Theologian Claude d’Espence provided the young cardinal with spiritual guidance, but the he later fell under suspicion of heresy (Peter Walter). The cardinal promoted a religious reform program based on religious harmony and Christian unity in the mid-sixteenth century (Alain Tallon). Lorraine later organized a major theological discussion between Catholic and Calvinist theologians at the Colloquy of Poissy (1561), but the meeting utterly failed to produce any theological [End Page 352] compromise between the increasingly divided confessions (Max Engam-mare). The cardinal de Lorraine seems to have gradually embraced strict anti-heresy policies, pressing for executions of Huguenots who had participated in the Conspiracy of Amboise and justifying massacres of Protestants. Calvinist writers such as François Hotman demonized the cardinal as a “tiger” and a “viper” for his “cruelty and avarice” toward Protestants. Hugues Daussy traces the crystallization of this negative image of the cardinal. Lorraine engaged in European politics through relationships in Germany, Italy, Scotland, and the Netherlands (Eric Durot, Matteo Provasi, Federica Veratelli, Jules Versele, and François Pernot). The cardinal de Lorraine conducted several diplomatic missions and acted as one of the main negotiators for the peace of Cateau-Cambrésis in 1559 (Thomas Nicklas). He participated in the papal conclave for the election of Julius III, and his brother, the cardinal de Guise, took part in two additional conclaves (Alain Cullière). Yet, electoral...

En mars 1841, Al-Sadiq Ben Mukhnach, cheikh des Oulad Abd-el-Nour, est arrêté par le général Négrier à Constantine, et interné sans procès pour « rébellion ». Son arrestation par le général commandant la province de Constantine est approuvée par le gouverneur général de l’Algérie, le général Bugeaud, qui autorise sa « translation » dans une place fortifiée en France. Dirigé vers le fort Lamalgue à Toulon en avril, il est transféré au fort de l’île Sainte-Marguerite en juillet, conformément à l’arrêté ministériel du 30 avril 1841, rédigé pour l’occasion par le maréchal Soult, ministre de la Guerre, un mois après l’arrestation. Depuis la cellule collective où il est désormais détenu, le cheikh, en qualité de chef et de prisonnier de guerre « de première classe », a accès à la correspondance, et envoie des lettres de réclamation aux autorités militaires et politiques à Paris. L’une d’entre elles retient l’attention du maréchal Soult en novembre 1841. Elle est conservée aux Archives nationales d’Outre-mer (ANOM) à Aix-en-Provence, dans les fonds de la direction des Affaires d’Algérie du ministère de la Guerre, et constitue le cœur de cet article. Dans le contexte de la guerre de conquête de l’Algérie (1830-1847), Constantine, l’ancienne capitale du beylik ottoman, est prise au bey Ahmad en 1837, puis organisée en commandement général de province l’année suivante. Après le traité de la Tafna signé avec l’émir Abdelkader en 1837, des zones d’influence sont réparties à l’échelle de l’ancienne régence ottomane d’Algérie entre l’émir et la France, sans mention du territoire des Oulad Abd-el-Nour à l’ouest de Constantine. Dans le but de soumettre cette confédération tribale à la domination française, le général Négrier accuse l’un de ses chefs d’être un complice de l’émir et l’éloigne en le faisant déporter en France. Notre enquête sur l’internement du cheikh des Oulad Abd-el-Nour (mars 1841-octobre 1842) se fonde sur les nombreuses lettres qu’il a écrites pendant sa détention, à sa famille ou à aux autorités. C’est le premier d’une série de près de 4 000 prisonniers algériens déportés sur l’île Sainte-Marguerite de 1841 à 1884, et le traitement de la correspondance par le ministère de la Guerre n’est pas encore strictement codifié en 1841. Il maîtrise parfaitement l’art de l’adresse aux plus hautes autorités de l’État, et ses lettres mettent en action l’administration militaire qu’il met en cause.La lettre de réclamation d’Al-Sadiq Ben Mukhnach adressée à Soult en octobre 1841 montre que l’adresse à l’autorité est un moyen de communication politique efficace. Elle est l’expression singulière d’un cheikh interné dans le sud de la France, familier des codes de l’adresse aux hautes autorités politiques et prompt à maintenir des contacts avec l’extérieur. Elle révèle à la fois les pratiques répressives à l’égard des sociétés locales dans le Constantinois, au temps de la conquête, et les codes de la réclamation écrite. Éclairant un épisode méconnu de la conquête de l’Algérie, les réclamations du cheikh nous offrent un pan d’histoire sociale de l’enfermement et des interactions en situation coloniale.Les tensions et angoisses que provoque la lettre de réclamation du cheikh au sein du ministère de la Guerre reflètent les désaccords et débats sur l’utilité et la légitimité de la colonisation de l’Algérie depuis 1830. Pris entre le devoir d’appliquer les nouvelles doctrines juridiques et les nécessités de la répression, certains généraux s’adossent sur la légalité de leurs pratiques en temps de guerre. C’est probablement pourquoi le maréchal Soult a rédigé l’arrêté ministériel autorisant l’internement administratif et la déportation, quelques semaines après l’arrestation du cheikh. En 1841, le respect du statut prime, et c’est en qualité de prisonnier de guerre étranger que le cheikh correspond depuis sa cellule via des dépêches acheminées aux frais du ministère de la Guerre. La circulation des lettres de réclamation des prisonniers, de l’île Sainte-Marguerite à Constantine en passant par Marseille et Paris, dessine une géographie épistolaire impériale qui témoigne de l’importance accordée à leur traitement. Au cœur de cet article est la circulation d’une lettre expédiée de l’île Sainte-Marguerite par un prisonnier constantinois, acheminée à Paris pour être traduite en français au ministère de la Guerre, puis envoyée à Alger au Gouvernement général de l’Algérie, discutée ensuite à Constantine au siège de la province avant son retour à Paris. Les interactions épistolaires asymétriques entre le cheikh Al-Sadiq Ben Mukhnach, le maréchal Soult, les généraux Bugeaud et Négrier sont analysées dans les différentes sections de cet article.

Journal Article REVIEWS Get access Facétie et littéerature facétieuse à l'époque de la Renaissance. Actes du colloque de Goutelas, septembre 1977.(Bulletin de l'Association d'Étude sur l'Humanisme, la Réforme et la Renaissance. Numéro spécial. 4éme année, n° 7, mai 1978). 150 pp. Le Parangon de Nouvelles. Édition critique par le Centre Lyonnais d'Étude de l'Humanisme. Universite Lyon II. Co-ordination GABRIEL A. par PÉROUSE. (Textes littéraires français, 268). Genève: Droz. 1979. cx + 222 pp. 48 Sw.F. KATHLEEN M. HALL KATHLEEN M. HALL SOUTHAMPTON Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume XXXV, Issue 3, July 1981, Pages 321–323, https://doi.org/10.1093/fs/XXXV.3.321 Published: 01 July 1981

Pierre de Lancre’s Tableau de l’inconstance des mauvais anges et démons (1612) deservedly ranks, as its editor Jean Céard observes, among the ‘grands textes de la démonologie de la Renaissance’. In fact, it was probably the last of the great demonologies. In the wake of the Louis Gaufridi affair, France, as even de Lancre himself realized, was becoming obsessed with demonic possession instead. The Tableau was more, however, than just one judge’s account of a bout of Basque witch-hunting. As the title suggests, the text had clear philosophical aspirations. A preoccupation with inconstancy was the one constant thread throughout the author’s literary career. Indeed, the literary merits of de Lancre’s output should not be underestimated. Rich in metaphors and allusions, de Lancre’s language was ‘toujours souple et aisée’. The text is also a cornucopia of examples and stories. Céard is certainly right that de Lancre ‘visiblement prend plaisir à conter’—a fact that usually goes unnoticed by witchcraft historians on the look-out for expressions of horror and fear, but that is entirely in keeping with the milieu of the Bordeaux Parlement from which he hailed. The Tableau is a display of erudition and good manners. It is perhaps not surprising that in France, de Lancre, a relative of Michel de Montaigne, is principally studied in literature departments.

Bien que le mouvement des idées et la diffusion des formes nouvelles soient au coeur des grands principes de la Renaissance, le Quattrocento qu'il soit florentin ou vénitien laisse d'abord les cours européennes indifférentes. Il faut attendre les guerres d'Italie pour que les modèles napolitains ou lombards soient diffusés en France ou en Espagne. Puis, sous le pontificat de Jules II, Rome s'impose indéniablement comme le foyer artistique le plus foisonnant de l'Europe du Cinquecento. Dès lors, la Ville éternelle devient le modèle à suivre dans toute l'Europe. Cet ouvrage est l'occasion de rappeler le rôle essentiel joué par les cardinaux et par leur important réseau d'influence dans la diffusion des idées et des formes de la Renaissance.

MLR, 97.4, 2002 959 La 'Varietas'd la Renaissance: Actes de lajournee d'etude organiseepar I'Ecole nationale des Chartes (Paris, 27 avril 2000). Ed. by Dominique de Courcelles. (Etudes et rencontres de I'Ecole des Chartes, 9) Paris: Ecole des Chartes. 2001. 267 pp. 124.50 F; ?19. Of the ten essays in this volume, four are specifically concerned with texts in Latin (Raphaele Mouren on 'La varietas des philologues au xvie siecle: Entre varia lecta et variae lectiones', Jean-Marc Mandosio on Poliziano, Isabelle Diu and Alexandre Vanautgaerden on Erasmus's Adagia, Marie-Dominique Couzinet on Cardano and Bodin), three with Italian and/or Spanish writings (Giuseppe Grilli on Poggio and the Lazarillo, Paola Vassali on Equicola and Villalon, Dominique de Courcelles on John ofthe Cross's Cdntico espiritual), just one with French literature (Ulrich Langer on the (Euvres morales of Jean des Caurres, 1575), the other two being devoted to matters architectural (Yves Pauwels on ' Varietas et ordo en architecture: Lecture de l'antique et rhetorique de la creation') or musical (Frank Dobbins on 'La variete dans la musique de la Renaissance'). Although the collection suffers from defects common in this type of volume (no bibliography and no index), it manifestly reflects, by its very disparate nature, the theme that it develops: 'la notion de varietas apparait comme un principe majeur des formes de pensee, d'ecriture et de vie qui prevaudront jusqu'a l'age classique, comme l'ordonnateur de toute la culture humaniste' (p. 3). The concept is especially familiar to us through its relationship with the notions oivariatio, imitatio, and copia and other forms of creative transformation (as recently described, forexample, by Michel Jeanneret in his Perpetuum mobile: Metamorphoses des corps et des oeuvresde Vinci a Montaigne (Paris: Macula, 1997; see MLR, 94 (1999), 529-30), and carries within itsimilar tensions. The pursuit of'variety' is certainly an attempt to imitate nature and successful imitation therefore reflectsan overarching (but hidden) order, but this is achieved through processes of disorder at work both in formal expression and in the individualpursuing it('et lejugeant et le juge sont en continuelle mutation et branle', as Montaigne tells us). One ofthe most stimulating and suggestive items is that of Mouren (pp. 5-31) on the philologists' varietas as variant reading and their collections of variae lectiones (called thus by Muret, for example, but also annotationes, miscellanea, and later adversaria) which in themselves lead nowhere, but can ultimately serve as repositories to be exploited by others. For his part, Langer signals the prevalence of the notion of variety in later sixteenth-century moral works (Horace's famous bee image crops up most appositely here) before discussing the 'banquet de savoir heterogene' (p. 129) to which we are invited by Des Caurres. Specialists in the differentdisciplines we associate with 'Renaissance studies', 'qui ca, qui la, voletans a leur aise', will all find something of interest in this volume. University of Wales, Lampeter T. Peach Poetique de la Renaissance: Le Modele italien, le monde franco-bourguignon et leur heritage enFrance au XVle siecle. Ed. by Perrine Galand-Hallyn and Fernand Hallyn. Preface by Terence Cave. (Travaux d'Humanisme et Renaissance, 348) Geneve: Droz. 2001. xvii +786 pp. 120 SwF. This is a work conceived on the grand scale, with the aim of throwing light on the evolution over two centuries of French Renaissance poetic theory from its classical, ltalian, and medieval French origins. It proceeds by studyingprimarily the successive formulations of theorists with differingperspectives, and secondarily ideas on poet? ics expressed in poetry itself. The editors have assembled an international team of fifteenscholars, from America as well as Europe, whose combined expertise enables ...

The Centre National de la Recherche Scientifique (abbreviated as CNRS) has so far published four books on the Renaissance, namely, Musique et Poésie au XVIe siècle, La Musique Instrumentale de la Renaissance, Les Fêtes de la Renaissance, and La Renaissance dans les Provinces du Nord (cf. RN ix, 211 f., and xi, 19 f. and 141 f). The editoris now preparing a fifth volume, dedicated to lute music of the sixteenth and seventeenth centuries. As in the case of the earlier publications the symposium on lute music will, in part, present to a wider public the papers read before a congress of scholars convened at Paris in September 1957. A list of these papers will be found at the end of this report, but it would be a mistake to file away the lute volume as another Kongressbericht, for it represents an effort to co-ordinate the work of individual scholars in a field of research where teamwork is sadly needed.

Notes on Contributors

Qu’elles soient monographiques, typologiques ou thématiques, les expositions d’architecture soulèvent des questions complexes de mise en scène, plus ardues peut-être pour les époques antérieures à 1800 que dans le cas de l’architecture contemporaine. Une longue expérience tirée de plusieurs commissariats a amené l’auteur à réfléchir à la mise en exposition de l’architecture, à destination d’un public le plus large possible, sans renoncer à une approche scientifique exigeante. Fondée sur la réunion d’une grande variété d’œuvres en deux et trois dimensions, sur leur juxtaposition au long du parcours et sur une scénographie qui cherche à être spectaculaire, cette « recette » empirique a ainsi permis de mettre en valeur de grands architectes, tels Jules Hardouin-Mansart (2009) ou Soufflot (2013), mais également des expositions thématiques, par exemple sur l’urbanisme des Lumières (2005), l’hôtel particulier parisien (2011) ou encore le métier d’architecte au XVIIe siècle (2017).Ces expériences et ces questionnements ont été essentiels dans la réflexion et la conception d’un nouveau musée, dédié au Grand Siècle, créé en 2019. L’architecture a pu y être intégrée dès l’origine, à différentes échelles : du site patrimonial au monument accueillant l’institution, des salles recréant des espaces du XVIIe siècle aux maquettes monumentales d’édifices-clefs, enfin au moyen des artefacts attendus (tableaux, dessins, livres, médailles, instruments, etc.).

Article Kushner, Eva (ed.).L’époque de la Renaissance. Tome III. Maturations et mutations (1520–1560). Amsterdam: Benjamins, 2011. 636 pp. (A Comparative History of Literatures in European Languages XXVI) was published on June 1, 2015 in the journal arcadia (volume 50, issue 1).

Although early music may seem to be somewhat embattled in certain academic quarters, continued and increasing interest among the scholarly community at large is evident from the splendid turnout to the 2005 Medieval and Renaissance Music Conference (hereafter, ‘Med-Ren’). Over 150 participants congregated at the Centre d'Études Supérieures de la Renaissance in Tours, where the event was hosted by Philippe Vendrix. The large size of the conference necessitated three parallel sessions for much of the event: two were held in the Centre itself (the air-conditioned Salle Rapin and the charming, but swelteringly hot, Salle Saint-Martin), use being made additionally of the municipal Salle des Halles nearby, where plenary papers and other sessions of wide interest were given. With so much material from which to choose, I inevitably missed much of great interest. The first morning was a case in point, since in Salle Rapin Tallis and Byrd were under discussion, and in the Salle des Halles recent trends in Isaac scholarship. In the Tallis and Byrd session, several different analytical perspectives were explored: David Trendell examined Byrd's use of homophony, William Mahrt melodic traits in the 1589 and 1591 Cantiones sacrae, and Jeremy Summerly the difficulties of reconstructing Tallis's incomplete Missa Salve intemerata. Kerry McCarthy brought the two composers together in a reading of the 1575 Cantiones sacrae, touching on context and prefatory material, as well as the musical content of the collection.

From 1807 to 1864, Parisian music drama was governed by a system of licences that controlled the repertory of its three main lyric theatres: the Opéra (variously Académie Royale, Nationale and Impériale de Musique), the Théâtre-Italien and the Opéra-Comique. Between 1838 and 1840, the Théâtre de la Renaissance gained a licence to put on stage music, and quickly succeeded in establishing a reputation for energetic management, imaginative programming together with artistically and financially successful performances. It could do this only by exploiting what were effectively newly invented types of music drama: vaudeville avec airs nouveaux and opéra de genre. The invented genres however brought the theatre into legal conflict with the Opéra-Comique and Opéra respectively, and opened up a domain of jurisprudence –associated with repertory rather than copyright – hitherto unsuspected.

This is a fine edition of a monumental work from the early French emblem canon. It contains an Introduction, notes on the current edition including explanation of some textual choices, a facsimile copy of Georgette de Montenay’s work, an annotated transcription of the facsimile, an extensive bibliography, an index of motifs and main ideas, a table of mottoes, and a table of contents. Alison Adams guides the reader between the book’s constituent parts, as well as through the dense forest of references and allusions found in the original work. Every page of the facsimile indicates the corresponding page in the annotated transcription, and vice versa. The table of mottoes is cross-referenced for both the facsimile and the transcription. Image reproduction quality is high, although the greyscale print will not make it seem that way to anyone accustomed to using Glasgow’s digitized copy online, from which these page reproductions are taken. This is an inevitable aspect of medium, however, rather than a failing of the volume in question. In the transcription, Adams’s explanatory notes on the motto, pictura, and eight-syllable verse subscriptio of each emblem are highly detailed, indicating where elements of an image appeared in other emblem books, what they symbolized there, then what they symbolize in Montenay; the ways the texts of each emblem interplay with the image and how that alters our understanding of the emblem overall; the specifically Protestant reading of motto, image, and verse, with their biblical allusions; and other secondary scholarship discussing the emblem. Montenay’s other poems, a part of this work that generally receives little critical attention, are extensively footnoted. Adams’s Introduction is an excellent account of the genesis of Montenay’s work and its subsequent publishing history. She discusses the dating of the first known edition (the 1567 ‘Copenhagen’ copy), making sense of the 1566 privilege and putting to rest any speculation over what was previously presumed to be a five-year delay between privilege and first edition, between 1566 and 1571. Adams also explores how this first printing alters any presumption of the date of composition of the texts themselves, and shows the implications for interpreting the work, especially when comparing it with contemporaneous events linked to the Wars of Religion. Of interest too are questions concerning how far Montenay was involved in the development of the emblem images, her known and possible travel, her marriage date, and her conversion to Calvinism as they relate to the writing of the verses. Adams elaborates on reprints and later editions, including the multilingual versions printed in Protestant strongholds. Where she excels is in her careful treatment of the data available, making clear what is established fact, what is the most likely scenario given what can be known, and what is currently unknowable. She avoids unfounded speculation that could serve any wished-for historical narrative, and as such provides a template for any scholar faced with historical records that are patchy at best. Adams has given us a model for how to produce a critical edition, accessible for both the new student and the established scholar.