M Moire Pour La Ci Devant Compagnie De Marechauss E Sic De Bourgogne Et Bourgogne Et Bresse

In the mid-eighteenth century in France, the royal authorities launched a new campaign to sweep beggars from the streets, pinning their hopes on the creation of a uniform royal network of lock-ups in which anyone found begging might be detained. In this study, Adams probes the accomplishments and the failings of these so-called dépôts de mendicité, as seen by critics of the experiment (including learned judges and influential spokesmen of the provincial Estates) and as seen by those responsible for its success: the provincial intendants, the royal engineers, the doctors, the inspectors, the contractors, and various givers of advice. He shows how the debate--both internal and external--over the operation of the dépôts contributed to the intellectual ferment of the Enlightenment and the Revolution. The resulting web of reasoning and empirical data gave support to Montesquieu's principle that the state owes every one of its citizens "a secure subsistence, suitable food and clothing, and a manner of life that is not contrary to good health."

The suite of forty prints published in Geneva in 1570 depicting the wars, massacres and troubles of the French Wars of Religion may have been the first picture history made in woodcuts or etchings that promised a geenral public a true view of great events of the recent past. This richly illustrated study reconstructs the gradual elaboration of this experimental work, situating it within the previously untold story of the use of the graphic arts to report the news in the fist centuries of European printmaking. Successive chapters explore the pictorial traditions that inspired the printmakers, examine how they gathered their information, assess the reliability of the scenes, and analyze the historical vision informing the series. Part 2 reproduces the full suite with commentary in double page fold-outs. Through the study of a single print series, lost chapters in the history of jorunalism, of the graphic arts, and of Protestant historical consciousness re-emerge.

In Virgil's third Eclogue, Palaemon concludes the poetry competition between Menalcas and Damoetas by saying that he cannot choose between them, a judgment that is emblematic of the contest between Neo-Latin and vernacular poetry in Renaissance France. Both forms of poetry draw on similar roots, both are equally accomplished, and the contest between them is largely amicable. The Judgment of Palaement illustrates the almost symbiotic relationship between Renaissance Latin and French poetry, while exploring poets' motivation for choosing one language over another, the different challenges each form of writing involved, and the extent of the collaboration between different language communities. It focuses on some of the major writers of the period, as well as less known ones, and on genres specific to humanist poetry. It shows that composing in Latin was often considered more natural than writing in the vernacular, at a time when many Frenchmen's mother tongue was a non-standard French dialect or distinct language. Book jacket.