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In Morocco, devotional literature devoted to the Prophet was very prolific, particularly from the first half of the 8th/14th century and prefigured the success of the prayer book on the Prophet, Dalā’il al-Khayrāt created in the following century by Muḥammad b. Sulaymān al-Jazūlī (d. 869/1465). This Moroccan mystic, founder of the Jazūlite Sufi order played a crucial role in the religious life of Morocco by placing the prayer on the Prophet at the heart of Muslim spirituality. This article questions the practical manifestations of pre-modern Moroccan Sufism through the codicological study of the manuscripts of the Dalā’il produced in Morocco from the 12th/18th to the end of the 13th/19th centuries. How did the book come to mediate the Jazūliyya doctrine, from its circulation within the zāwiyas’ circles to its diffusion among the different layers of Moroccan society? What are the graphic and ornamental devices used by the actors of this transmission, i.e., the manuscripts’ makers, that ensure the reading, the memorization, and the interpretation of the text by its users? The paper also explores how the latter appropriated and personalized the text, beyond the doctrine.

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La peinture de paysage joue un rôle central dans la réception de l’art anglais par les critiques allemands du XIXe siècle. L’époque voit le genre se renouveler différemment selon les pays et leurs traditions. Les nouveaux rapports que les paysagistes anglais entretiennent à la nature et à sa mise en scène picturale provoquent ainsi des réactions contrastées de la part des commentateurs allemands ; nous tenterons ici de les mettre en lumière et de définir plus précisément leur spécificité, notamment en les comparant aux réactions françaises face aux nouveaux courants venus d’outre-Manche.

The ancient Egyptian Book of the Dead is a collection of magic-religious formulas, whose aim was to aid the deceased on his way to a happy life in the hereafter. Beginning mainly in the New Empire, this funerary composition is attested to on the shrouds, coffins, papyri, the walls of the tombs, funerary statuettes (shabtis), amulets and mummy bandages. The Pasenedjemibnakht papyrus (Louvre E 11078) contains a Book of the Dead that has been preserved in its entirety, give or take a few lacunae. The roll (19.44 metres) contains 153 formulas. It comes from the town of Akhmīm and most likely date from the second half of the fourth century BC (end of the Late period – beginning of the Ptolemaic period).

Created in around 1670 by Louis XIV, the Cabinet of Paintings held exclusive reproduction rights to portraits of the king and the royal family and was managed by the superintendence of the Bâtiments du Roi. For both constitutional bodies and individuals, obtaining an original or a copy of a royal portrait was a real challenge: there were many demands, and at the height of Louis XVI’s reign, just seven copyists were employed to meet these requests. Overlooked – and poorly paid – the copyists of the Cabinet of Paintings could demonstrate, however, great skill. They also created originals for the royal apartments, and some are distinguished by their talent, including Jean-Martial Frédou, who acquired a certain notoriety with his portraits of the Duke of Burgundy.

“Finished! Old friend! Yes, this book of mine is finished … I have been at my table since yesterday, eight o’clock in the morning. My head’s about to burst. No matter, it's a real weight off my shoulders.” This is the famous note where Flaubert announces to Jules Duplan the completion of his novel that has taken him almost five years to write. But in fact, on May 16, 1869, Flaubert has not quite finished with his “bouquin”, as provesthe intense work of rereading and corrections that he will accomplish during the following months. After having spent a week “adjusting” his manuscript (from May 16th to the 24th), he hands it over to be copied. It is this carefully handwritten fair copy of the manuscript which the printer will use for his proofs. It is this same copy that Flaubert will send to a few close friends, in particular Maxime Du Camp who will write twelve pages of comments… Finally, it is also with this copy that Flaubert intends to correct “each phrase” of his text with Louis Bouilhet. But Bouilhet died prematurely at the end of July so it is on his own that Flaubert entered the final corrections to the Éducation Sentimentale. He spent about takes two weeks rereading and revising his manuscript which he then handed over to his publisher (August 14, 1869). The copyists’ copy – we have noted four different handwritings – has until today never been studied. Why? Probably because the act itself of “copying” has always been considered negligible, quite insignificant. It is thought that the copyist’s manuscript is incapable of revealing anything of interest since it is only the slavish reproduction of the definitive autograph Manuscript… In fact this is not the case at all. This manuscript constitutes an irreplaceable genetic document, all the more essential that we do not have access to the corrected proofs of the novel. Aside from the last minute changes decided by Flaubert himself, this copy contains numerous mistakes due to the copyists’ negligence. These alterations of the text escaped Flaubert’s notice and were subsequently reproduced in two editions of the Éducation sentimentale published during his lifetime (1869 and 1879). We will try to show with precise examples how these errors – of all kinds (additions, omissions, substitutions, displacements…) – have in many ways modified the very reading of the text of the Éducation sentimentale. What repercussions have these modifications, not willed by the author himself, on the meaning or the interpretation of the novel? What are the networks of meaning not desired by the author that have been abusively induced by these “misreadings”? Vice versa, what are the significant logics built by the author that we are deprived of because of these slips of the pen?

This article deals primarily with the figuration of dialogue in La Tentation de saint Antoine and in Bouvard et Pécuchet, two novels in which it cannot be reduced to the textually related exchange of words. These are two works whose aesthetic and meaning rest on the idea of dialogue. While Antoine addresses himself to God, Bouvard and Pécuchet speak with one another. While the two copyists sustain a long dialogue with the authors that fill their library, until finally returning to their original profession, the saint conjures an entire catalogue of pagan gods and heretical voices before finally returning to his unequivocal prayers. That is to say that Antoine’s prayers are fundamentally reflexive, despite their apparent variety — they do not transcend the logic of the monologue. Bouvard and Pécuchet’s experience, on the other hand, proceed from a spirit of dialogue. At the end of their encyclopaedic wandering, they do not take up the same copying from which they have retired, but rather a sort of quoting that permits them to conserve their social bond — and a dialogue with the world free of cynicism.

Copyright of Gazette des Beaux Arts is the property of Societe Les Beaux Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)