Reviewed by: Le livre technique avant le XXe siècle: À l'échelle du monde [Technical books before the 1900s: On a global scale] ed. by Liliane Hilaire-Pérez et al. Emmanuelle Chapron (bio) Le livre technique avant le XXe siècle: À l'échelle du monde [Technical books before the 1900s: On a global scale] Edited by Liliane Hilaire-Pérez, Valérie Nègre, Delphine Spicq, and Koen Vermeir, with the collaboration of Konstantinos Chatzis. Paris: CNRS Éditions, 2017. Pp. 502. This collective volume tackles what is undeniably a blind spot in the history of books: the history of the technical book, which is studied much less than scientific books. The thirty-two contributions do not offer a synthesis but a set of insights into a long-term and global history (including the Chinese and Japanese perspectives as a counterpoint to Europe). If we already have studies on certain types of works, such as dance treatises, language manuals, and marine books, interestingly, this volume takes an inclusive approach, embracing a production heterogeneous in its forms, aims, and audiences. The absence of a rigid structure—thematic, chronological, or spatial—within the five broadly titled sections allows comparisons between the subjects, often from different historiographic fields, and reveals three compelling themes. The first is the importance of political factors in the development of the technical book, such as territorial control and the stimulation of technological innovation (by the Dutch government in the seventeenth century and the French Conservatoire des Arts et Métiers in the nineteenth century). Many contributions highlight the links between the print output and [End Page 904] technical schools founded around the same time. Other authors show how the formalization of technical knowledge through books contributed to the visibility and professionalization of trading communities. This process is evidenced in both institutionalized (Académie Royale de Danse in Paris, founded in 1661) and noninstitutionalized (dance and language teachers in Italy and Northern Europe) contexts. The second theme is the "reductive art" issue. Writing an account of bodily movements, for example those of a dancer, presupposed the existence of appropriate discursive and visual technologies, whether these were invented for the purpose or borrowed from other fields of knowledge. The three contributions on dance exemplify this quest for technicality via vocabulary, symbol, image, and viewpoint. The different forms of image insertion in technical books will be of interest to all book historians. Many contributions underline the constant tension between the temptation to elevate technical activity to the same ranking as the arts and sciences through the abstraction and formalization of knowledge (ornamental arts, archaeology), and the affirmation of a dimension that cannot be reduced to codification, such as experience in the field (artillery) and creative genius (choreography). The third theme concerns technical books' uses and readers. The authors show how public authorities encouraged the production and use of widely accessible textbooks in the nineteenth century, for example to promote sericulture in Japan and modernize agriculture in Spain. Publishers created and expanded the technical books market to a broader nonspecialist audience through "product innovations." For example, in eighteenthcentury Paris, Jombert published books on artillery that could easily be carried around in the field; and a century later, Cramer published guides and almanacs for colonists settling in the Pittsburgh area. Reissues are an indicator of a successful publishing strategy, which sometimes involved transforming a text's status over a long period, as in the case of the Bâtiment des recettes (Palace of recipes) between the 1500s and 1700s. "Technology entrepreneurs," as they were aptly called by editors, converted secrets into commercial inventions and the accompanying written documentation familiarized a wider public with technical expressions. The gap between the texts' intellectual claims and the sometimes barely literate target audience raises the question of transmission modes, which were not necessarily direct. Some authors have taken up the challenge of identifying individual readers, for instance through the ex libris on the Vignole books used by journeymen in the building trade from the Renaissance onward. Beyond the material traces, stains, and wear and tear, which prove their "operationalization," the specific uses of these technical works remain complicated to grasp. Future research should focus on this point...