BourgeoisGentilV1, Istex, Corpus, bibRecord, 000948

Poésie et calligraphie imprimée à Paris au XVIIe siècle: autour de ‘La Chartreuse’ de Pierre Perrin, poème imprimé par Pierre Moreau en 1647

Identifieur interne : 000948 ( Istex/Corpus ); précédent : 000947; suivant : 000949

Poésie et calligraphie imprimée à Paris au XVIIe siècle: autour de ‘La Chartreuse’ de Pierre Perrin, poème imprimé par Pierre Moreau en 1647

Auteurs : Laurence Grove

Source :

French Studies [ 0016-1128 ] ; 2005-07.

RBID : ISTEX:00FFA20478586FE7006606A6C510A03081A251C9

English descriptors

Teeft :
- Albert bailly, Case studies, Chartreuse, French enlightenment, Madame royale, Mazarine copy, Pierre moreau, Pierre perrin.

Url:

https://api.istex.fr/ark:/67375/HXZ-TM09Q55G-8/fulltext.pdf

DOI: 10.1093/fs/kni159

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ISTEX:00FFA20478586FE7006606A6C510A03081A251C9

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        <article-title>Poésie et calligraphie imprimée à Paris au XVII<sup>e</sup>
 siècle: autour de ‘La Chartreuse’ de Pierre Perrin, poème imprimé par Pierre Moreau en 1647</article-title>

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      <p>Volume publié sous la direction d'I<sc>sabelle</sc>
 <sc>de</sc>
 C<sc>onihout</sc>
 et F<sc>rédéric</sc>
 G<sc>abriel</sc>
. Préface d'H<sc>enri</sc>
-J<sc>ean</sc>
 M<sc>artin</sc>
. Paris, Bibliothèque Mazarine—Chambéry Éditions Comp'act, 2004. 224 pp. Pb €35.00.</p>

      <p>This richly-illustrated book and its accompanying Bibliothèque Mazarine exhibition bring together scholarship on musical poetry and on techniques of print, seemingly disparate subjects each worthy of further individual attention. The link is the rare printed work in question, <italic>La Chartreuse; ou, la Sainte Solitude</italic>
, a long poem in honour of the disciples of Saint Bruno and of the Grande Chartreuse by Pierre Perrin (<italic>c.</italic>
 1620–75), supposed inventor of French opera even before Lully and Quinault. The Mazarine copy of the poem was printed in Paris by Pierre Moreau (<italic>c.</italic>
 1600–48), whose typographic imitation of calligraphy was virtually unique in the seventeenth century and whose metal stamps (‘poinçons’) featured in the exhibition. As such, de Conihout and Gabriel bring together historical studies on both figures as well as on their wider context. De Conihout traces Moreau's career and provides a full bibliography of his works, many of his editions having been overlooked until now. Christian Paput briefly analyses Moreau's stamps, which had been languishing in the Imprimerie Nationale since at least the early nineteenth century, and Maxime Préaud contextualizes the art of letter engraving. On the musical side, Jean Duron presents and analyses the work of Perrin, paying particular attention to the way in which he created a form of poetry intended for musical adaptation. With specific regard to <italic>La Chartreuse</italic>
, Frédéric Gabriel investigates the background to the poem's Christian spirituality. Before these studies, much of the volume is taken up by a sumptuous facsimile reproduction of the poem taken from the Mazarine copy, whose gold-leaf fleur-de-lis binding and preliminary dedication suggest it was probably intended for Anne of Austria. It is hard to find fault with this current edition, unless one complains of the eclecticism of uniting studies on the poet and printer in one volume, but that might also be seen as the book's forte. It is not a monograph on either figure, but a thought-provoking series of related case studies that present clearly and with meticulous scholarship a variety of new or under-explored material. These case studies will doubtless provide the starting point of reference for much further divergent research on both Perrin and Moreau as their individual importance comes to be recognized.</p>

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Poésie et calligraphie imprimée à Paris au XVIIe siècle: autour de ‘La Chartreuse’ de Pierre Perrin, poème imprimé par Pierre Moreau en 1647

Poésie et calligraphie imprimée à Paris au XVIIe siècle: autour de ‘La Chartreuse’ de Pierre Perrin, poème imprimé par Pierre Moreau en 1647

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