Étiquette : Karel
Le jour où l’Église faillit interdire la polyphonie en musique

par Karel Vereycken
Durant l’Antiquité, l’art musical (et donc celui de l’Église primitive) ne connaissait apparemment que la monodie. La grande invention du Moyen Âge fut celle de la polyphonie où chaque voix contribue à un tout harmonique. Au XVIe siècle, lors du Concile de Trente, certains cardinaux ont cherché à l’interdire…
C’est au IXe siècle que l’art de la polyphonie commence à apparaître et à se développer, de manière encore discrète mais manifeste, à l’église tout d’abord.
Aux XIe et XIIe siècles, l’abbaye bénédictine Saint-Martial de Limoges ainsi que d’autres églises et abbayes jouent un rôle important dans le développement de la polyphonie. Celle-ci connaîtra un premier rayonnement national et international à Paris (alors qualifiée de « nouvelle Athènes »), aux XIIe et XIIIe siècles, grâce aux chantres-compositeurs de l’École de Notre-Dame de Paris, cathédrale nouvellement construite et centre culturel de premier plan (tout comme le sera l’université, créée à Paris au milieu du XIIIe siècle, par le théologien Robert de Sorbon).
À Notre-Dame, les chantres les plus connus furent Léonin et Pérotin. Ils représentent les premiers grands créateurs de ce que les musiciens du siècle suivant appelleront l’Ars antiqua, par opposition à l’Ars nova, dont les créateurs se lancèrent dans de nouvelles recherches, parfois très abstraites, comme chez Philippe de Vitry.
L’usage liturgique de la musique de l’ars nova fut déjà rejeté au XIVe siècle par le pape Jean XXII dans sa décrétale Docta Sanctorum Patrum (vers 1323), mais accepté par le pape Clément VI.
A cause de la polyphonie, le chant monophonique, déjà harmonisé pour un simple orgue, s’est vu altéré, fragmenté, et dissimulé derrière des mélodies profanes. Les paroles des poèmes d’amour courtois pouvaient être chantés en dessus de textes sacrés, ou des textes sacrés pouvaient être placés à l’intérieur d’une mélodie profane. Pour les autorités religieuses, ce n’était pas tant la polyphonie qui était une offense dans les âges médiévaux, mais la notion de musique profane qui se combine au sacré et prenant place dans la liturgie.
Le grand compositeur polyphonique né avec le XIVe siècle est le Rémois Guillaume de Machaut (v. 1300-1377), auteur, en particulier, de la première messe polyphonique entière (la Messe Nostre Dame). Comme les autres musiciens, il écrivit aussi bon nombre de pièces profanes, tant l’art de la polyphonie s’était répandu dans bien des domaines musicaux.
Pendant la guerre de Cent Ans, certains duchés situés à l’écart du conflit, comme les Pays-Bas bourguignons et la Bourgogne, connaissent la paix et la prospérité économique. Le développement des manufactures, notamment textiles, dans les Pays-Bas (comté de Hainaut, comté de Flandre, principauté de Liège, duché de Luxembourg et duché de Brabant) y contribue au développement des arts. Pendant près de deux siècles, ces régions feront figure de principal centre culturel de l’Europe.
Si plusieurs foyers de création musicale émergent en Europe, principalement en France et en Italie, c’est l’école franco-flamande qui s’impose. Elle se singularise dès 1420 par le développement fulgurant de la polyphonie et du contrepoint et pose ainsi les bases de l’harmonie moderne.

Bien que l’évolution du langage musical fût continue tout au long de la période, on distingue en général six générations de compositeurs franco-flamands, dont chacune dure une quarantaine d’années et se caractérise par l’influence de quelques compositeurs marquants :
- La première génération (1420-1450), appelée école bourguignonne du fait de la domination bourguignonne dans cette région à l’époque, est principalement représentée par Guillaume Dufay, Gilles Binchois, Johannes de Limburgia et Johannes Ciconia de Liège. Cette génération marque une évolution par rapport à la musique médiévale, car très progressivement s’élabore un début de considération verticale de la musique polyphonique.
- La deuxième génération (1450-1485), dont Johannes Ockeghem et Antoine Busnois furent les compositeurs les plus célèbres, est marquée par le perfectionnement du motet, forme musicale née au XIIIe siècle, et qui devient un lieu privilégié de l’expérimentation du contrepoint.
- La troisième (1480-1520), représentée en premier lieu par Josquin des Prés, souvent considéré comme le plus grand compositeur de l’école franco-flamande de l’époque, mais également Alexandre Agricola, Jacob Obrecht, Loyset Compère, Pierre de La Rue, Heinrich Isaac et Antoine Brumel qui, bien que français, se rattache à l’école franco-flamande par son style.
- Quatrième génération (1520-1560) : Adriaan Willaert, Cyprien de Rore.
- Cinquième génération (1560-1600) : Roland de Lassus, Jacques de Wert.
- Sixième génération (1600-1633) : Matheo Romero, dernier représentant de l’école franco-flamande, actif en Espagne à la Capilla flamenca fondée à Madrid par Charles Quint en 1515.
Dans la suite de Guillaume de Machaut, les compositeurs de l’école franco-flamande développent un nouveau genre musical, dans lequel sont mises en musique les cinq parties de l’ordinaire de la messe : kyrie, gloria, credo, sanctus et agnus Dei.
Voici, à titre d’exemple de cette musique polyphonique franco-flamande, Nymphes des bois, déploration sur la mort d’Ockegem, une oeuvre composée par Josquin des Prés en 1497.

par Léonard de Vinci, vers 1485-1490.

Texte:
Nimphes des bois, deesses des fontaines
Chantres expers de toutes nations
Changés vos voix tant cleres et haultaines
En cris tranchans et lamentations
Car d’Atropos les molestations
Vostr’ Ockeghem par sa rigueur attrappe
Vray tresoir de musicque et chief d’oeuvre
Qui de trépas désormais plus n’eschappe
Dont grant domaige est que la terre coeuvre.
Accoutrez vous d’habits de doeul,
Josquin, Brumel, Pierchon, Compere,
Et plourez grosses larmes d’œil
Perdu avez vostre bon pere,
Requiescat in pace.
Rayonnement international
Les compositeurs franco-flamands ne se contentent pas de rester dans leur patrie mais partent travailler dans d’autres pays d’Europe. Ils se rendent ainsi en Italie, en Espagne, en France et en Allemagne où ils font connaître leur style. Celui-ci se répand rapidement grâce aux nombreux manuscrits (qui subsistent dans plusieurs bibliothèques en Europe ou aux États-Unis) et à l’essor contemporain de l’imprimerie.
Le dôme de la cathédrale Florence, avec sa gigantesque coupole construite par Brunelleschi, fut consacré le 25 mars 1436 avec un motet à quatre voix, Nuper Rosarum Flores, composé pour l’occasion par le flamand Guillaume Dufay. Ce motet, qui décrit le dôme comme décoré par des guirlandes de roses, tire également profit des proportions choisies par l’architecte pour l’édifice.
Dans sa Description de tous les Pays Bas parue en italien à Anvers en 1567 puis traduite et rééditée à de nombreuses reprise, l’historien florentin Lodovico Guicciardini insiste, lui, sur la dimension collective de cette « restauration » de la musique, en soulignant le rôle déterminant de la région dont traite son livre pour l’histoire de la musique1 :

« Les Belges sont aussi les vrais maistres et restaurateurs de la musique : ce sont eux qui l’ont remise sus et réduite à sa perfection, l’ayans si propre et naturelle que hommes et femmes y chantent comme de leur instinct par mesure, et cecy avec grand grace et mélodie : tellement qu’ayans depuis conjoinct l’art à ce naturel, ils font telle preuve et par la voix et par les instrumentz de toutes sortes que chacun voit et scait : veu qu’il n’y a court de Prince Chrestien, en laquelle n’y aye quelcun de ses musiciens.
Et à fin que je parle de ceux de nostre temps : de ceste province sont sortis Jean Tainturier de Nivelle, duquel je fais mention en la ville dont il estoit natif, à cause de l’excellence et sûreté de sa vertu : Josquin de Prez, Obrecht, Ockegem, Richiafort, Adrian Willart, Jean Mouton, Verdelot, Gombert, Lupus Lupi, Courtois, Créquillon, Clément non Papa et Cornille Canis, tous lesquels sont décedez : mais les ensuivants vivent : Cyprian de Rore, Jean le Coich, Philippe de Monte, Orland de Lassus, Mancicourt, Josquin Baston, Chrestien Hollandois, Jacques de Waet, Bonmarché, Severin Cornet, Pierre du Hot, Gérard de Tornhout, Hubert Waelrant, Jacquet de Berchem, lieu voisin d’Anvers, et d’autres encor très renommez et fameux maistres en musique espars en honneur et honnestes degrez par le monde. »
Ce qui fait dire au musicologue belge Paul Van Nevel (directeur du Huelgas Ensemble) :
« La splendeur de la Flandre résidait dans le fait qu’elle exportait non pas des cyclistes, ni des footballeurs, mais des musiciens : des chanteurs et des compositeurs célèbres, à la réputation parfois sulfureuse, aptes à flatter les oreilles des puissants. Ils jouissaient d’une notoriété véritablement internationale, ce qui n’était pas insignifiant dans une Europe où les médias actuels n’existaient pas. »
Une chape de plomb
Au début du XVIe siècle, une « deuxième » Renaissance vient bousculer le monde. Avec la montée de l’humanisme chrétien (Erasme, Rabelais, Briçonnet, Lefèvre d’Etaples, Budé, etc.) et la diffusion des savoirs grâce à l’imprimerie, les courants les plus rétrogrades de l’Église craignent de perdre leur contrôle sur les peuples et les profits qu’ils en tirent.
Aux Pays-Bas bourguignons, c’est notamment le Landjuweel d’Anvers de 1561, grande fête culturelle réunissant des milliers d’habitants qui s’expriment avec grande liberté lors de pièces de théâtres, de farces, de satires et de récitations poétiques et musicales, qui fait craindre le pire aux puissants.
Le Concile de Trente

(Musée civil du Palais Farnèse, Rome.)
Les coupables, selon eux, seraient une élite culturelle urbaine ayant trop pris le goût de la liberté et des belles choses, considérée pêle-mêle comme des crypto-luthériens et autres partisans de la Réforme, capables d’entraîner dans leur sillage toute la population.
Il faut donc réagir, et vite, en particulier au niveau de l’art et de la culture. Pour ce faire, le pape Paul III convoque des cardinaux pour discuter des fondements du dogme catholique et répondre à la menace protestante. S’ensuivent vingt-cinq sessions qui se tiennent à Trente et à Bologne, durant lesquelles les cardinaux passent en revue les différents dogmes dénoncés par la Réforme. Ce cycle est connu sous le nom de Concile de Trente (1545-1563).
En premier lieu, rejetant les demandes explicites d’Erasme et du Cénacle de Meaux (Lefèvre d’Etaples, Briçonnet, etc.), les Pères du Concile de Trente réaffirment l’usage exclusif du latin aussi bien pour la Bible et la messe que pour la musique.
Selon quels arguments a-t-on imposé le latin au détriment des langues vernaculaires ? Tout d’abord, le latin était considéré comme la langue spirituelle. De plus, on craignait que les traductions engendrent des erreurs d’interprétation des textes, pouvant dans certains cas conduire à l’affirmation d’idées hérétiques. En affirmant la préséance du latin, les autorités religieuses font aussi passer le message suivant : la Bible est l’affaire des théologiens avant d’être celle du peuple. Toutefois, pour faciliter la compréhension des fidèles, le Concile acceptera l’ajout de commentaires en langue vernaculaire durant la messe.
Logos contre Melos
Au niveau pictural, le Concile met les peintres sous tutelle. Leurs œuvres, sans ambiguïté, doivent instruire le peuple par un art didactique illustrant la vie de Marie, celle des Saints, et les Évangiles.
« Le saint concile statue qu’il n’est permis à personne, dans aucun lieu ni église, même exempte, de placer ou faire placer une image inhabituelle, à moins que celle-ci n’ait été approuvée par l’évêque. »2
Les œuvres de Quinten Matsys ou Pieter Bruegel l’ancien n’étaient donc plus les bienvenues dans les églises catholiques. Par contre, Pierre-Paul Rubens, champion du baroque, y était chaudement accueilli.
Sur la plan musical, certains cardinaux partent de la distinction entre le logos (le verbe) et le melos (la mélodie), le premier ne s’adressant qu’à l’esprit, le second, selon eux, qu’aux sens. Ils en concluent en toute logique que le melos utilisé seul, sans être associé au logos, ne procure qu’un plaisir vil et ne permet pas l’élévation de l’âme. CQFD.
Du coup, toute musique qui ne serait pas le vecteur d’un texte religieux est qualifiée de musica troppo molle qu’il faut évidemment bannir. Le melos, grâce à des paroles prononcées, doit donc se joindre au logos pour être vertueux. La musique ne doit en aucun cas nuire à l’intelligibilité du texte. Pour cela, les Pères du Concile suggèrent une prononciation plus articulée des paroles. Toute polyphonie devient d’emblée suspecte car elle peut entraver l’intelligibilité des paroles et conduire l’auditeur à se concentrer davantage sur la musique en soi que sur le texte.
Qu’il existe, comme J.S. Bach et tant d’autres l’ont démontré par la suite, des « idées musicales » capables de transmettre, rien qu’avec des notes (sans paroles), les plus hautes conceptions glorifiant le Créateur et sa Création, ne semble pas leur avoir effleuré l’esprit.
Ainsi, « l’imitation »3 et toute autre technique contrapuntique occasionnant une déclamation différée du texte dans les différentes voix de la polyphonie offusquent fortement les Pères du Concile.
En fin de compte, cette menace de bannir la polyphonie ne déboucha pas sur un interdit, en particulier grâce aux interventions de cardinaux espagnols présents aux différentes sessions du Concile, qui encouragèrent les autres Pères à ne pas appliquer ce décret.
Cependant, intimidés, les compositeurs s’imposeront l’autocensure. Le cas le plus frappant est celui du compositeur italien Giovanni Pierluigi da Palestrina (1525-1594). En composant sa fameuse Missa Papae Marcelli (1562-1563), il s’efforce de démontrer que la polyphonie est tout à fait compatible avec la compréhension du texte… Mais dans cette œuvre, le compositeur favorise une déclamation syllabique du texte en revenant à une musique collective à une voix, chantée à l’unisson comme le grégorien d’avant la Renaissance. Afin d’éviter la monotonie, Palestrina substitue à l’imitation une autre technique de composition en faisant alterner différents groupes de voix. Les six voix de la polyphonie chantent rarement en même temps, ce qui permet d’éviter les dissonances et les frottements suspects. Une grande partie de la pièce n’est chantée au maximum que par quatre d’entre elles, l’ensemble des six voix étant réservé aux passages textuels particulièrement importants qui sont ainsi mis en valeur.
Palestrina renonce donc à l’essentiel en abandonnant « l’imitation », ce procédé de composition utilisé dans le canon, où un motif du morceau de musique se répète successivement plus ou moins littéralement dans différentes voix.
Plusieurs pays et villes acceptèrent les décrets du Concile de Trente, tels que l’Espagne, Rome, ou la totalité des Églises catholiques des îles britanniques. En revanche, la France refusa catégoriquement d’en appliquer les règles. De plus, les compositeurs accueillirent ces décrets de manière très variée. L’école milanaise, notamment, s’y conforma, les musiciens de l’école vénitienne beaucoup moins.
La triste ironie de l’histoire est que si le Concile de Trente ne parvint pas à imposer l’abandon de la polyphonie, en revanche, certains réformateurs, notamment Calvin à Genève, enfermés eux aussi dans un littéralisme absurde, choisirent de revenir à la monodie pour garantir une compréhension optimale du texte.
Comme le précise la musicologue Annie Sulzer :
« L’usage des instruments fut également discuté lors du Concile de Trente. De nouveau, le choix des autorités catholiques s’inscrit à l’opposé de ce que firent les Réformateurs : alors que les orgues furent détruites à Genève, par exemple, l’Eglise catholique quant à elle ne renonça pas à l’usage de cet instrument. En revanche, la longueur des pièces jouées à l’orgue fut considérablement diminuée. »
En cherchant à imposer la parole (la leur), ils ont failli arrêter la musique.
- Descrittione di M. Lodouico Guicciardini patritio fiorentino, di tutti i Paesi Bassi, Anvers, 1567 ; Amsterdam, 1624, pour cette traduction française; ↩︎
- Concile de Trente : Décret sur l’invocation, la vénération et les reliques des saints et sur les saintes images, XXVe session, 3-4 décembre 1563. ↩︎
- Une forme majeure de contrepoint consiste à imiter une partie dans une autre. C’est ce qui se passe dans le canon, où la même mélodie se reproduit dans les différentes voix avec un décalage plus ou moins important. Cette imitation de la mélodie peut être réalisée avec les mêmes notes ou à l’octave supérieur ou inférieur, ou même à un intervalle différent. Cet art de l’imitation a été poussé à l’extrême par Guillaume Dufay et surtout par Jean Ockeghem puisqu’on trouve jusqu’à 36 voix dans un de ses motets. C’est, à ce niveau, un exercice de style théorique qui n’a pas un grand intérêt musical puisqu’à partir d’un certain nombre de voix, celles-ci se neutralisent et ne sont plus perçues par l’auditeur. Cet art sera ensuite développé par Josquin des Prés d’une manière plus élaborée et surtout plus esthétique. ↩︎
ARTKAREL AUDIO COMMENT : Leonardo’s splendid copy of his Last Supper in Tongerlo, Belgium

To listen to the audio from the pdf you can click on this link :
https://artkarel.com/artkarel-audio-guide-leonardos-splendid-copy-of-his-last-supper-in-tongerloo-belgium/


Leonardo’s Last Supper,
the splendor of the copy of Tongerlo
by Karel Vereycken
In 1495, Leonardo da Vinci, tasked by Ludovico Sforza, the duke of Milan, started painting his fresco The Last Supper, in the refectory of the Dominican Cloister of Milan. It took him three years. Taking a huge risk, the master tested an experimental technique by using an oily tempera paint on a dry chalk wall, rather than using the traditional fresco technique.
While Leonardo’s composition is fantastic, his technical experiment failed. Rapidly the paint started to flake off from a wet wall, with the image increasingly fading away. Today, before restoration, only 20 % of the original paint has survived.
The Italian restorer, the now deceased professor Madame Penin Brambilla, who spent 20 years restoring the original in Milan, stated that “If you want to taste the full splendor of the Last Supper, you have to see the life size copy painted before 1508 by Leonardo himself and a team of pupils, hanging in the Church of the Norbertine Abbey of Tongerlo, Belgium.”
That is where I stand right now. Since people are praying, I taped this audio in the adjacent building, where visitors can see an excellent documentary about the history of this copy.
I have discussed the content of this painting in an article many years ago and for reasons of time, I will not list here the series of dramatic accidents (fires, accidents, thefts) that mark the history of this copy once it was finished.
I will only will try to answer one question : who made this copy ?
Recent research has discovered crucial historical documents. The first indicates that the French King Louis XII, once his army took Milan, fell in love with Leonardo’s fresco. Consequently, he asked his engineers to take the entire wall and ship it to France ! Once the kings engineers showed him this was impossible, the only remaining option was to ask Leonardo to make a copy on canvas.
In fact, as soon as Leonardo finished his fresco, copies were made of it. Making copies of your own artistic production was not unusual at that time since by far the best way to get visibility for your works, especially before the printing industry flourished. Hence, Leonardo made or had copies made of several of his own works, including the Mona Lisa, the Virgin on the Rocks and Saint Anne and the Virgin.
About the copies of the Last Supper, the following:
–One was made by Marco d’Oggiono (1470-1549), one of Leonardo’s pupils. It is a lot smaller and hangs in the Musée de la Renaissance in Ecouen in France.
–Another one was made by another pupil, Giampietrino. It hangs today in the Royal Academy of the Arts in London which acquired it in the 19th century.
–But the copy bought in Antwerp in 1545 by the Abbey of Tongerlo is considered the most exact and most delicious. It’s origin is known, since it is mentioned in the inventory of the castle of Gaillon, which was property of cardinal Georges d’Amboise, archbishop of Rouen and minister of king Louis XII.
Technical features indicate that the copy (on hemp and not on linen) was made in Italy before 1508 by three pupils working under Leonardo’s direct, active personal leadership: Andrea Solario (1465-1524), Giampietrino (1495-1549) and Marco d’Oggiono. Each would have painted a particular group of apostles. For example, Gianpietrino would have painted five of them starting from the left.
The American professor Jean-Paul Isbouts, who examined the work with the most advanced state of the art technology, noted that while under-drawings exists for nearly the entire painting, they lack for the head of Christ and that of John the apostle, whose face is very feminine and reminds viewers of Leonardo’s “Virgin on the Rocks.” (Louvre, Paris).
With still other investigative techniques, the Russian Professor Vadim Parfenov of the University of Saint Petersburg, came to the conclusion that those faces (Christ and Saint John) were painted by a left-handed artist, most likely Leonardo who we know was left-handed.



All this new research blew my mind, since I thought it was a late copy and didn’t suspect to see Leonardo at work in producing copies himself of his own works.
Reflect for a second. Imagine Leonardo’s Milan fresco of his Last Supper totally disappearing by the failure of his technical experiment, a highly predictable outcome in that time. Humanity would have lost the entire achievement. Only a good copy, such as that of Tongerlo, would have preserved Leonardo’s genius for the next generations, and in a sense, it did. For example, the landscape in the background, only survives visually thanks to the Tongerloo copy !
So if you are a brilliant painter, feel free to produce handmade copies or have your pupils make them! It is a joy for all of us and hopefully for a long time!
Karel Vereycken wins Curator’s List award in Book Cover Contest

On July 8, 2026, Painter engraver Karel Vereycken was informed by the Circle Foundation for the Arts (CFA) that he won an award, « presented in recognition of your artwork’s ‘The Coincidence of Opposites’ outstanding aesthetic and technical quality, having been selected for the Curator’s List of favorite submissions in the Art IDEAL Book Cover Contest, June/July 2026, hosted by Circle Arts.«

Karel Vereycken gets honorable mention in Portrait art contest



On July 8, 2026, painter engraver Karel Vereycken was informed, that with his engraving Fisherman 2, he obtained an Honorable Mention Award in Teravarna’s « 13th Portrait » 2026 International Juried Art Competition.
Pêcheur flamand 3


Karel Vereycken’s work presented in Contemporary Art Curator Magazine

On June 16, the leading Contemporary Art Curator Magazine presented the art work and vision of Franco-Belgian Painter Engraver Karel Vereycken.
https://www.contemporaryartcuratormagazine.com/home-2/karel-vereycken-artist-spotlight
Karel Vereycken’s engraving « Coincidence of Opposites » wins Honorable Mention

On June 15, 2026, the Circle Foundation for the Arts (CFA) informed Franco-Belgian painter engraver Karel Vereycken about the results of the Artist of the Month’s contest. Vereycken had filed participation with his latest engraving, « The Coincidence of the Opposites »:
« Your work did stand out to me, for it’s remarkable aesthetic and originality, and you have been selected for an Honorable Mention. »
Pécheur flamand 2


Karel Vereycken:以悖论式隐喻,显现无形之物


Posted on by Jonathan Hale
Also available in: EN ES FR DE IT
在一个充斥着浮光掠影与浅显直白的世界里,有这样一位艺术家,他致力于挖掘更深层的真理,将无形之物引入可见之境。Karel Vereycken 正是这样一位艺术家。他是一位版画家,其艺术之旅始于比利时的历史名城安特卫普,如今在法国的阿尔让特伊绽放光彩。他的作品超越了单纯的再现,通过精心构建的悖论式隐喻,深入探究人类经验的复杂织锦。Vereycken 的艺术不仅供人观赏,更是一场深刻对话的邀约,一场对塑造我们生活的无形力量的沉思。

Karel Vereycken 于1957年出生于安特卫普,他的艺术之路并非坦途,而是一场由际遇和内在驱动力共同塑造的丰富探索。他的父母在港口与船舶维修行业的背景下艰难谋生,但他们认识到文化熏陶对孩子成长的重要性。Vereycken 早年曾短暂学习音乐,后因刻板的教学方法而中断,转而进入一所社区绘画学校,正是这里为他未来的艺术生涯播下了种子。在雕塑家 Herman Cornelis 的指导下,他学会了观察与复制的力量,这位老师采用的是一种亲身实践、凭直觉教学的方式。十二岁时,他迎来了人生的一个关键时刻——赢得了他的第一个艺术奖项。这份认可,加上老师对他“宝贵天赋”的肯定,促使他接受更正规的训练。在母亲的鼓励下,他进入布鲁塞尔的圣卢克学院,沉浸在造型艺术的学习中。在这里,通过对解剖学以及达芬奇和阿尔布雷希特·丢勒等大师作品的严谨研究,他为理解形式与表达奠定了坚实的基础。随后,他在皇家美术学院继续深造,以“优异”的成绩获得了铜版画专业的结业证书,进一步巩固了他对技艺掌握的执着追求。
之后移居巴黎的时期,Vereycken 参与了多样的活动。他最初为一家非商业出版物从事新闻和编辑工作,但艺术的呼唤始终萦绕心头。他回归其艺术本源,起初探索古代绘画技术,使用手工制作的蛋彩和传统的油画技法重现古典大师的作品。这段时期虽然在技术探索上收获颇丰,但在展览方面却充满挑战,因为这些作品在他有机会展出之前就已被人收藏。这促使他重新将注意力转向水彩和精细的蚀刻版画工艺,这些媒介后来成为他创作实践的核心。
他持续参与法国的蚀刻版画社群,这体现了他对磨练技艺的不懈追求。作为法国国家版画联合会的成员,Vereycken 在 Atelier63 工作室提升了他的技术实力,并在丹麦版画家 Bo Halbirk 创立的蒙特勒伊印刷工作坊进一步完善了他的工艺。这段从安特卫普充满活力的街道到布鲁塞尔和巴黎艺术中心的旅程,彰显了他对卓越的终生追求,以及对艺术创作不朽力量的根深蒂固的热情。
“Sublimart”:悖论式隐喻的艺术

Vereycken 的艺术创作可以用他自创的术语“sublimart”来最好地描述——一个融合了“sublime”(崇高)与“art”(艺术)的词。这个新词概括了他独特的创作手法:运用悖论式隐喻,将灵魂提升至崇高境界的具象艺术。他的作品无关乎肤浅的美或直白的叙事,而是构建视觉上的悖论,以此作为通往更深层次理解的大门。正如他言简意赅地指出的,“让无形可见”是他创作背后的驱动力。他实现这一目标并非通过传统的象征主义或直接的描绘,而是将迥异的元素编织在一起,以此挑战观者的感知,激发深入的思考。
他主要运用的材料和技术——蚀刻、绘画、油画和水彩——都经过了审慎的选择。蚀刻版画,凭借其固有的精确性与错综复杂的线条表现力,尤其适合他探索层层递进的意义。蚀刻的过程需要耐心与审慎的行动,这与其观念性隐喻的深思熟虑的构建过程如出一辙。他对古典技术的执着,结合现代的感性,使其具象作品充满了深刻的情感与智识共鸣。每一件作品都是形式与观念之间精心编排的对话,邀请观者踏上一段个人的发现之旅。
Vereycken 作品的主题基础并非刻意为之,而是从他与世界的互动及艺术探索中自然生发。他希望“通过向人们展示,没有什么比‘古典’艺术更‘现代’、更‘革命’,从而震撼他们”。然而,他对古典艺术的定义远非僵化或学院派。对 Vereycken 而言,它代表着一种“基于非犬儒、具解放性、充满反讽与诗意隐喻的构图科学”。他相信,这些隐喻是所有艺术形式(无论是视觉艺术还是音乐)的根本关键。他的方法植根于这样一种理解:艺术是艺术家赠予观者的深刻“礼物”,是一种促进联结和共享体验的爱的行动。
艺术启迪的愿景

Karel Vereycken 的艺术事业充满了深刻的使命感,远不止于创作赏心悦目的物品。他将自己的工作视为一种“教学活动”,一场“人文主义思想游击战”,旨在唤醒观者,让他们感知到新的维度。虽然他承认销售对于推进其艺术事业的重要性,但他最终的动机并非迎合大众品味,而是促进与观者更深层次的联结。他努力使艺术成为一扇“窗户”,通往人们凭直觉认为重要却往往无法触及的领域。
他致力于分享自己的知识和热情,这充分体现了他对这一愿景的承诺。他曾在巴黎卢浮宫、安特卫普、布鲁塞尔或法兰克福的博物馆、米兰的布雷拉美术馆、柏林的画廊以及纽约大都会艺术博物馆等主要艺术机构举办过多次导览。这些沉浸式体验已被记录下来,部分录音可在他的网站上获取,让更广泛的受众能从他的见解中受益。他收到的由衷感谢,许多人表示惊讶于思想竟能通过绘画如此深刻地传达,这突显了他教学方法的影响力。
展望未来,Vereycken 的发展轨迹依然以积极参与和扩大其影响力的愿望为标志。他的作品曾在纽约的 ARTEXPO 和巴黎卢浮宫卡鲁塞尔厅的 ARTSHOPPING 以数字形式展出,他持续活跃于当代艺术平台。在赢得“蒙娜丽莎奖”并随后在巴黎的 Galerie Mona Lisa 举办展览之后,他的重心仍然是分享他那具有变革力量的艺术。即将在萨尔瓦多为 SUMARTE 2026 举办展览的计划,标志着他的国际抱负以及让全球观众接触到他独特视角的持续承诺。他正在进行的作品,如概念丰富的《天堂阶梯》,展示了他对融合多元视觉灵感——在此例中是中国黄山的风光与佛兰德的风景画传统——的持续探索,旨在为人类旅程打造强有力的隐喻。
Karel Vereycken 的艺术证明了求知欲、精湛技艺以及对艺术启迪人类精神能力的深刻信念所具有的持久力量。通过创造悖论式的隐喻,他邀请我们超越表象,去探寻塑造我们存在的无形意义之流。他的作品有力地提醒我们,真正的艺术性不仅在于所见之物,更在于所感、所悟,并最终被揭示的一切。
欲联系 Karel Vereycken 并探索其引人入胜的作品,请访问他的网站及社交媒体平台:
- 网站: https://artkarel.com/
- Instagram: https://www.instagram.com/karelvereycken/
- Facebook: https://www.facebook.com/karel.vereycken/
- Manifestampe 个人资料: https://www.manifestampe.org/utilisateur/karel-vereycken/profil
- 《当代艺术策展人杂志》访谈: https://www.contemporaryartcuratormagazine.com/home-2/karel-vereycken-interview
Karel Vereycken: Creare metafore paradossali per svelare l’invisibile


Posted on by Jonathan Hale
Also available in: EN ES FR DE IT
In un mondo spesso saturo dell’immediato e dell’ovvio, esiste un artista dedito a scavare alla ricerca di verità più profonde, a traghettare l’intangibile nel regno del visibile. Karel Vereycken, incisore il cui percorso è iniziato nella storica città di Anversa, in Belgio, e che oggi fiorisce ad Argenteuil, in Francia, è uno di questi artisti. La sua opera trascende la mera rappresentazione, addentrandosi nella complessa trama dell’esperienza umana attraverso metafore paradossali meticolosamente elaborate. L’arte di Vereycken non è fatta semplicemente per essere osservata; è un invito a un dialogo profondo, una contemplazione delle forze invisibili che modellano le nostre vite.

Nato ad Anversa nel 1957, il percorso artistico di Karel Vereycken non è stato una linea retta, ma una ricca esplorazione modellata tanto dalle circostanze quanto da una spinta innata. I suoi genitori, che lavoravano nell’industria portuale e delle riparazioni navali, riconobbero l’importanza di un arricchimento culturale per i loro figli. Un primo approccio alla musica, interrotto da un metodo di insegnamento troppo rigido, lo portò a una scuola di disegno popolare, e fu qui che vennero gettati i semi del suo futuro artistico. Sotto la guida di Herman Cornelis, uno scultore dall’approccio pratico e intuitivo, Vereycken imparò il potere dell’osservazione e della riproduzione. Un momento cruciale arrivò all’età di dodici anni, quando vinse il suo primo premio d’arte. Questo riconoscimento, unito alla convinzione del suo insegnante che possedesse un “talento prezioso”, lo spinse verso una formazione più accademica. L’incoraggiamento della madre lo condusse all’Institut Saint-Luc di Bruxelles, dove si immerse nelle Arti Plastiche. Qui, lo studio rigoroso dell’anatomia e delle opere di maestri come Leonardo da Vinci e Albrecht Dürer gli fornì una comprensione fondamentale della forma e dell’espressione. La sua dedizione alla maestria si consolidò ulteriormente all’Académie Royale des Beaux-Arts, dove ottenne un certificato di passaggio in incisione su rame “con lode”.
Il successivo trasferimento a Parigi segnò un periodo di impegni diversificati. Inizialmente, Vereycken si dedicò al giornalismo e all’editing per una pubblicazione non-profit, ma il richiamo dell’arte rimase insistente. Tornò così alle sue radici artistiche, esplorando inizialmente le antiche tecniche pittoriche e ricreando le opere dei grandi maestri con la tempera all’uovo preparata a mano e i metodi tradizionali a olio. Questo periodo, sebbene arricchente per la scoperta tecnica, si rivelò difficile dal punto di vista espositivo, poiché le opere trovavano nuovi acquirenti prima che potesse presentarle al pubblico. Ciò lo portò a concentrarsi nuovamente sull’acquerello e sulla meticolosa arte dell’acquaforte, mezzi espressivi che sarebbero diventati centrali nella sua pratica.
Il suo costante impegno nel perfezionare le proprie abilità è evidente nel suo continuo dialogo con la comunità dell’incisione in Francia. Come membro della Fédération nationale de l’estampe, Vereycken ha affinato la sua abilità tecnica presso l’Atelier63 e ha ulteriormente perfezionato la sua arte nel laboratorio di stampa di Montreuil, fondato dall’incisore danese Bo Halbirk. Questo viaggio, dalle vibranti strade di Anversa ai poli artistici di Bruxelles e Parigi, sottolinea una ricerca dell’eccellenza durata tutta la vita e una passione radicata per il potere intramontabile della creazione artistica.
“Sublimart”: l’arte della metafora paradossale

La produzione artistica di Vereycken è descritta al meglio dal termine da lui coniato, “sublimart”, una fusione di “sublime” e “arte”. Questo neologismo racchiude il suo approccio unico: un’arte figurativa che impiega metafore paradossali per elevare l’anima a un livello sublime. La sua opera non riguarda la bellezza superficiale o la narrazione diretta, ma la costruzione di paradossi visivi che fungono da portali verso una comprensione più profonda. “Rendere visibile l’invisibile”, come lui stesso afferma sinteticamente, è la forza motrice delle sue creazioni. Raggiunge questo obiettivo non attraverso un simbolismo convenzionale o una rappresentazione diretta, ma intrecciando elementi disparati in un modo che sfida la percezione e stimola la contemplazione.
I materiali e le tecniche che utilizza principalmente – acquaforte, pittura, olio e acquerello – sono impiegati con mano sapiente. L’acquaforte, con la sua precisione intrinseca e le linee complesse che consente di tracciare, è particolarmente adatta alla sua esplorazione di significati stratificati. Il processo dell’acquaforte richiede pazienza e un’azione deliberata, rispecchiando la costruzione ponderata delle sue metafore concettuali. La sua dedizione alle tecniche classiche, unita a una sensibilità moderna, gli permette di infondere nelle sue opere figurative una profonda risonanza emotiva e intellettuale. Ogni opera è un dialogo accuratamente orchestrato tra forma e concetto, che invita lo spettatore a intraprendere un personale viaggio di scoperta.
I fondamenti tematici del lavoro di Vereycken non sono perseguiti consapevolmente, ma emergono piuttosto in modo organico dal suo confronto con il mondo e dalle sue esplorazioni artistiche. Cerca di “scioccare il pubblico mostrando che nulla è più ‘moderno’ e ‘rivoluzionario’ dell’arte ‘classica’”. Tuttavia, la sua definizione di arte classica è tutt’altro che rigida o accademica. Per Vereycken, essa rappresenta una “scienza della composizione basata su metafore non ciniche, liberatorie, ironiche e poetiche”. Queste metafore, a suo avviso, sono le chiavi fondamentali di ogni forma d’arte, sia essa visiva o musicale. Il suo approccio si fonda sulla comprensione che l’arte è un “dono” profondo dell’artista allo spettatore, un atto d’amore che promuove la connessione e l’esperienza condivisa.
Una visione di illuminazione artistica

Gli sforzi artistici di Karel Vereycken sono intrisi di un profondo senso di scopo, che va oltre la creazione di oggetti esteticamente piacevoli. Considera il suo lavoro come una forma di “attività didattica”, una “guerriglia intellettuale umanistica” volta a risvegliare negli spettatori nuove dimensioni della percezione. Pur riconoscendo l’importanza delle vendite per portare avanti la sua ricerca artistica, la sua motivazione ultima non risiede nell’assecondare il gusto popolare, ma nel facilitare una connessione più profonda con lo spettatore. Si sforza di rendere l’arte una “finestra” su mondi che le persone riconoscono intuitivamente come significativi, ma ai quali spesso è stato negato l’accesso.
Il suo impegno verso questa visione è esemplificato dai suoi sforzi per condividere la sua conoscenza e la sua passione. Ha condotto numerose visite guidate in importanti istituzioni artistiche come il Louvre di Parigi, i musei di Anversa, Bruxelles o Francoforte, la Pinacoteca di Brera a Milano, la Gemäldegalerie di Berlino e il Metropolitan Museum di New York. Queste esperienze immersive sono state documentate e alcune registrazioni audio sono disponibili sul suo sito web, permettendo a un pubblico più vasto di beneficiare delle sue intuizioni. La sincera gratitudine che ha ricevuto, con persone che hanno espresso il loro stupore per la profondità con cui le idee possono essere trasmesse attraverso la pittura, sottolinea l’impatto del suo approccio pedagogico.
Guardando al futuro, la traiettoria di Vereycken continua a essere segnata da una partecipazione attiva e dal desiderio di ampliare il proprio raggio d’azione. Dopo essere stato presentato in formato digitale ad ARTEXPO a New York e ad ARTSHOPPING al Carrousel du Louvre a Parigi, continua a essere attivo sulle piattaforme dell’arte contemporanea. Dopo la vittoria del “Premio Monna Lisa” e la successiva mostra alla Galerie Mona Lisa di Parigi, il suo obiettivo rimane quello di condividere la sua arte trasformativa. La prospettiva di una mostra in El Salvador per SUMARTE 2026 testimonia le sue aspirazioni internazionali e un impegno costante nel rendere la sua prospettiva unica accessibile a un pubblico globale. Il suo lavoro attuale, come l’opera concettualmente ricca “Stairway to Heaven”, dimostra la sua continua esplorazione nel coniugare diverse ispirazioni visive – in questo caso, i paesaggi delle Montagne Gialle cinesi con la tradizione paesaggistica fiamminga – per creare potenti metafore del viaggio umano.
L’arte di Karel Vereycken è una testimonianza del potere intramontabile della curiosità intellettuale, della maestria tecnica e di una profonda fiducia nella capacità dell’arte di illuminare lo spirito umano. Attraverso la creazione di metafore paradossali, ci invita a guardare oltre la superficie, a entrare in contatto con le correnti invisibili di significato che modellano la nostra esistenza. La sua opera è un promemoria essenziale del fatto che la vera maestria artistica non risiede solo in ciò che si vede, ma in ciò che si sente, si comprende e, infine, si svela.
Per entrare in contatto con Karel Vereycken ed esplorare il suo affascinante lavoro, visitate il suo sito web e i suoi canali social:
- Sito web: https://artkarel.com/
- Instagram: https://www.instagram.com/karelvereycken/
- Facebook: https://www.facebook.com/karel.vereycken/
- Profilo Manifestampe: https://www.manifestampe.org/utilisateur/karel-vereycken/profil
- Intervista su Contemporary Art Curator Magazine: https://www.contemporaryartcuratormagazine.com/home-2/karel-vereycken-interview
Karel Vereycken’s work at Budapest Art Show

The Franco-Belgian painter engraver Karel Vereycken was informed today by the International Art Gallery Teravarna that his engraving (Garden of Argenteuil, image below),
was « selected for the Digital Showcase at artBIAS IV 2026 — the 4th Budapest International Art Show. … We received many compelling entries, and we are pleased to present your artwork as part of this special international showcase.
Your selected artwork will be digitally displayed at Golden Duck Gallery in Budapest from June 8 to July 14, 2026. This digital showcase offers meaningful exposure to collectors, art professionals, and visitors attending artBIAS IV. »

Karel Vereycken’s mastery of classical techniques

On May 24, 2026, art historian Lode Goukens wrote the following in an article published on the Belgian Flemish website ‘t Pallieterke.
The article was titled « Karel Vereycken’s mastery of classical techniques »
‘The Flemish painter and etcher Karel Vereycken lives and works in France. On May 1, he exhibited his latest etchings. One particularly large one depicted the interior of a monastery with a monk. This exceptional work—of which he produced four versions—illustrates his special interest in the classical masters.’
The etching measures 35 x 50 cm and costs 500 euros. A “state” is a version that is lost if further adjustments are made to the etching plate by the artist or the printer. Rembrandt is known to have sometimes produced dozens of states. Each state is therefore a limited edition, sometimes consisting of only a few copies.
Ideas and Emotions
Karel Vereycken was born in 1957 in Antwerp and grew up in a family with ties to the Port of Antwerp and the shipbuilding industry. Vereycken is primarily active as a painter and engraver, but also writes as an art historian. He studied fine arts at the Institut Saint-Luc in Brussels and subsequently studied engraving at the Académie Royale des Beaux-Arts in Brussels, where he graduated with honors.
For decades, Vereycken has focused on watercolor and printmaking, particularly etchings on zinc and copper, often using techniques such as aquatint, sugar lift, and mousse lift. His work combines classical technical mastery with a strong emphasis on symbolism, allegory, and metaphor, through which he seeks to make ideas and emotions “visible” that are not immediately present in the visible world. Vereycken is working on a book about Quinten Matsys and Da Vinci. It is scheduled to be published at the end of this year.
I spoke with Vereycken about this masterful etching. “When I was recently in Milan to receive an art award, I visited the Pinacoteca Ambrosiana. There are beautiful paintings there, and the library is a leading repository for Da Vinci’s codices. But I also knew there was a crypt. I was deeply impressed by this almost Paleo-Christian monument. I discovered that dreadful cage reminiscent of Piranesi’s depictions of torture and prisons. In the center of that cage stands a painted plaster statue of the praying Charles Borromeo (well-known in Antwerp), bishop of Milan who was made a cardinal in 1560. Borromeo went to pray in that cage every week before a tombstone that is a replica of Christ’s in Jerusalem. What impressed me is how that man (whom I do not hold dear in my heart), as a clergyman, praying in a sort of double prison (cage + crypt), apparently felt spiritually completely free in God. A divine paradox,” Vereycken said.
“So that was my starting point. Hence the Cusian title ‘Coincidence of Opposites.’ I raised the vaults and made them more monumental. I also used varnish to imprint plant motifs, to enhance a spatial effect that is both open and yet enclosed. A bit of sleight of hand, but the magic was definitely there!”
The article was translated by Karel Vereycken from Dutch into English.
Here is a link to the original Flemish version:
https://pal.be/2026/05/de-klassieke-technische-beheersing-van-karel-vereycken/
De klassieke technische beheersing van Karel Vereycken
Op 24 maart 2026 heeft Lode Goukens hetvolgende geschreven in een artikel op de website van ‘t Pallieterke:
‘De Vlaamse kunstschilder en etser Karel Vereycken leeft en werkt in Frankrijk. Op 1 mei toonde hij zijn nieuwste etsen. Eén heel grote in het bijzonder van het interieur van een klooster met een monnik. Dit uitzonderlijke werkstuk – waar hij vier staten van maakte – illustreert zijn bijzondere interesse voor klassieke meesters.’
Lees verder in het pdf hieronder.

Argenteuil, le parc des Impressionistes



Karel Vereycken awarded by FineArtsNews

On May 25, 2026, Franco-Belgian painter engraver and arthistorian Karel Vereycken was awarded a certificate by FineArtsNews, « in recognition of being featured as a spotlight artist on FineArtsNews. This distinction celebrates your exceptional talent, artistic vision, and significant contribution to the contemporary art community. »
Karel Vereycken wins Honorable Mention in Realism contest

On May 16, 2026, Franco-Belgian painter engraver Karel Vereycken was informed by Art&Color365 Magazine:
« Congratulations — you have won an Honorable Mention award in our 2026 Realism competition. »
The Cenacle of Meaux and Christian Humanism in the Renaissance

“Everything that happens daily in this country stems from a government that calls itself ‘Christian.’ For weeks, not only Jews but also thousands of faithful Catholics in Germany—and I think throughout the world—have been waiting and hoping that the Church of Christ [the Roman Catholic Church] will raise its voice to put an end to this abuse of Christ’s name. Is not this idolatry of race and state power, hammered into the masses daily by radio, a blatant heresy? Is not all of this in total contradiction with the attitude of our Lord and Savior, who, even on the cross, prayed for those who persecuted him?” 1
This quote is similar in many ways to what many Christians feel today in the face of the abuse of « religion » to justify rapacious and bloody wars presented as « just wars, » especially by prominent members of the Trump Administration, notably its Secretary of War, Pete Hegseth.
History tragically repeats itself, for this quote is not new. It comes from a letter sent to the Pope in 1933 by Edith Stein, a philosopher of Jewish origin who became a Carmelite nun, when German Catholics, a minority in this Protestant country, signed a Concordat with Hitler. The common enemy to be fought was now Bolshevism. In exchange for their silence in the face of Nazi barbarity, Hitler offered them his gracious protection.
In France, at the same time, big business, Europeanists before their time, were proclaiming: « Better Hitler than the Popular Front! »
Our good fortune today is to have a pope who raises his voice for peace and justice for all. And one can hope that his voice can give everyone the courage to stop the mad march towards war.
On Palm Sunday, Leo XIV forcefully reiterated that no one can justify war in the name of the Lord:
God « does not listen to the prayers of those who wage war. » « On the contrary, he who has turned his back on the living God, making himself and his own power a mute, blind, and deaf idol, is enslaved to death. »
In addition to the thirst for power, there is also the thirst for money, which was denounced during his trip to the Principality of Monaco.
During his first year as Pope, he repeatedly called for a reconciliation that was « disarmed and disarming. » To the « warlords » who make their power « a mute, blind, and deaf idol, » he contrasted listening to a « melody greater than ourselves » —a harmony to which we can dance when the world seems to forget even « the light. »
The arrival of Pope Leo XIV in France
In a statement published on May 6, the president of the Conference of Bishops of France confirmed what many had been hoping for for a year: although it remains to be confirmed, Leo XIV could come to France at the end of September 2026, stopping in Paris and Lourdes.
This is an opportunity for us to evoke one of the most luminous upsurges of our country, which reached its peak in 1521, with the creation of the Cenacle of Meaux by the philosopher-theologian Jacques Lefèvre d’Etaples (1450-1537) , at the request of his student Bishop Guillaume Briçonnet (1472-1534) .
It was not a philosophical or prayer circle. Its primary purpose was to read, study, translate, and print the Gospel in French and to train clergymen in preaching. The approach was so simple, honest, and innovative that it deeply disturbed the established political and religious powers. The Cenacle was closed after only four years, its leaders were persecuted, and forced into exile. It was only thanks to the protection of Marguerite of Navarre (1492–1549) (also known as Marguerite of Angoulême or Marguerite of Valois-Angoulême), sister of king Francis I, who embraced this movement, that its leading figures were able to escape the flames of the stake.
Renaissance Evangelicalism
For Guillaume d’Alonge, Jacques Lefèvre d’Etaples is
« The intellectual leader and founder of French evangelicalism, a reform movement that developed in the early decades of the 16th century, in parallel with the Protestant Reformation, with which it had important points of contact. » 2
What some call « Renaissance evangelicalism » (not to be confused with American messianic evangelicalism, a current that animates today’s warmongers) corresponds to a movement of ideas characterized by the valorization of biblical exegesis.
Unlike evangelicalism in the most common sense of the term, it does not necessarily relate to the Protestant Reformation. On the contrary, many humanists who did not wish to break with the papacy but nevertheless declared themselves hostile to ecclesiastical abuses, such as Erasmus of Rotterdam and François Rabelais, were driven by a desire for reform without schism.
While Catholics sought to eradicate them by ignoring them, Protestants have always claimed that they were one of their own.
Like Erasmus, Jacques Lefèvre d’Étaples was certainly a reformer, but he never considered breaking with the Roman Catholic Church, as demanded by Luther, Calvin, and other figures of the Protestant Reformation. The Christian humanists of the Renaissance believed, perhaps naively, that by appealing to reason, the Roman Curia would eventually yield to their demands and agree to eradicate the corruption and abuses that severely plagued the institution.
Humanism
It was in Italy, with Petrarch (1304-1374) , that humanism was born. The poet began by collecting inscriptions on the old stones of Rome and continued his quest for the Ancients in manuscripts.
With his friend Boccaccio , he brought Byzantine scholars to Italy to revive the study of Greek and Latin. While the term humanist then referred to someone who, through the study of Greek and Latin , « cultivated the humanities » ( studia humanitatis ), Renaissance humanist thinkers did not renounce their Christian faith but rather sought to reconcile the two.
A very clear break with scholastic pessimism then took place. Conceiving of himself as « created in the living image of the Creator, » the Renaissance man, uomo universale, endowed with reason and free will, no longer blamed the devil. It was he who had to strive to overcome his evil inclinations. And if he fully developed his creative potential, it was above all to please the Creator by placing his life at the service of the public good rather than his personal glory.
In Northern Europe, the movement of the Brethren and Sisters of the Common Life and that of the Beguines stemmed from the conviction that the contemplative life and the active life should complement each other and not oppose each other. Each person should live « in imitation of Christ. » It was in Deventer, among the Brethren of the Common Life , that Erasmus, inspired by teachers like Rudolph Agricola , discovered Christian humanism and the « good literature . «
Greek and the Greeks

While the study of Greek penetrated Italy and the Netherlands from the beginning of the 15th century, in France, young elites jostled to attend, from 1476 onwards, the courses of a Greek exile, Georges Hermonyme of Sparta, a poor pedagogue, rapacious and with little mastery of his own language.
But, as Jacqueline de Romilly points out:
“Hermonymus had only one merit: that of being the first. The fact is that he had as students, (…) or simply through his advice, all those who were to become the glory of nascent humanism: Reuchlin was his student, Lefèvre d’Étaples said he benefited from his advice, Erasmus asked him for lessons, as did Beatus Rhenanus – and above all our patron saint, Guillaume Budé.” 4
Two other Greeks played a major role in the revival of Hellenic studies.

And first of all , Constantin Lascaris (1434-1501). A student of Jean Argyropoulos between 1444 and 1553, he arrived in the West around 1460, after being taken prisoner during the Turkish occupation of Constantinople in 1453.
After a few short stays between the Greek islands, he became tutor to Francesco Sforza’s daughter in Milan, where he began writing his grammar, the Erotemata .

An essential tool for learning Greek, the work was first printed in Milan, then published twice by Aldus Manutius in Venice.
Constantin Lascaris then went to Rome where he met the greatest protector of Greek scholars in the West and of Byzantine humanism within the clergy, Cardinal Jean Bessarion (1403-1472), Latin Patriarch of Constantinople from 1463.
Bessarion was a friend of Cardinal Nicholas of Cusa (1401-1464), with whom he collaborated in particular during the Ecumenical Council of Ferrara/Florence, convened to end the schism between the Eastern and Western Churches.
Jean Lascaris

The other Greek scholar (unrelated to the first) is Jean (Janus) Lascaris (1445-1535) , also a protégé of Cardinal Jean Bessarion who entrusted him with numerous missions, notably bringing back precious manuscripts from Mount Athos in 1492.
Although born in Asia Minor and frequenting the great figures of Italy, Lascaris entered the service of France as Louis XII ‘s ambassador to Venice between 1503 and 1508. There he joined the academy of the printer Alde Manutius (1449-1515) where scholars from the East and West met to discuss and edit the classics.
When Erasmus went to Venice to the printer Alde Manutius to publish his Adages, a masterful work aimed at popularizing all ancient wisdom, Lascaris not only offered to welcome him into his home, but also contributed to the work himself.
Erasmus, writes the Belgian historian Yvonne Charlier, feverishly composed his Adages there.
« with the help of a host of distinguished scholars, including Jean-Baptiste Egnazio, a member of the Aldine Academy, and Jean Lascaris, a Greek refugee, passionate about manuscripts and ambassador of Louis XII to Venice. »
He also worked with Lascaris, the young French student Germain de Brie.
A few years later, when Erasmus and Thomas More published Utopia in 1516, a fictional account of a people (the Utopians) who attempt to create an ideal society based on the principles defined by Plato in his Republic, they argue that they must be of Greek origin, since Lascaris « was their only grammarian ».
It was in Venice that Jean Lascaris and Erasmus together conceived the idea of a College of Languages. Being able to compare the translations of the Gospel into Hebrew and Greek was the essential condition for achieving a proper understanding of its content.
Lascaris ended his life in Rome with Pope Leo X , who in 1514 commissioned him to found the « Greek College of the Quirinal. » Erasmus, against all odds, and especially against the theologians of the Brabant university town of Leuven, opened the Trilingual College there in 1517.
Lascaris also took care of the Royal Library, which was established in Blois in 1501 by Louis XII, then moved to Fontainebleau with Guillaume Budé under Francis I.

Subsequently, at Budé’s insistence, François I created in 1530, under royal patronage, the « Collège des Lecteurs royaux, » allowing the study of Greek and all subjects rejected by the Sorbonne.
Lascaris’s close relationship with Lefèvre d’Étaples may have led to the writing that the work of the great French scholars, Budé, Scaliger, Casaubon, Lambin, Cujas, Estienne, appeared
« To be a continuation of the schools of Byzantium and Alexandria, rather than an emanation of currents coming from Italy. » 5
Hidden from Europeans for centuries, this immense heritage – one could say a vast civilization that was being rediscovered – thus made its way to the kingdom of France thanks to men such as Lascaris, whose disciples like Lefèvre took over.
Jacques Lefèvre d’Etaples

Philosopher, mathematician, musicologist and theologian, Jacques Lefèvre was born around 1450 in Étaples, Picardy, and died in 1536 in Nérac (Lot-et-Garonne). He Latinized his name to Jacobus Faber Stupulensis, hence the nickname « Fabritists » given to those who adhere to his doctrine.
He studied in Paris, where he earned a bachelor’s degree and a master’s degree in arts. He then entered the clergy and became a priest, though it is unknown whether he actually served in this capacity. Gentle and timid by nature, of delicate constitution, and possessing a selflessness that led him to bequeath his inheritance to his brothers and nephews in order to devote himself more freely to his studies, Jacques Lefèvre primarily studied literature and philosophy.
After completing his studies and teaching literature for a time, he developed a taste for travel. He explored parts of Europe, and it is even said that his desire to broaden his knowledge led him to Asia and Africa. Drawn by the winds of renewal that the Renaissance was sweeping across Europe, Lefèvre traveled to Italy at least twice, spending extended periods in Pavia, Padua, Venice, Rome, and Florence.
With his translation of Plato and Aristotle, Leonardo Bruni (1370-1444) provided Italy, and with it the scholarly world, with a philosophical framework. Italian humanism sided with Plato.
Aristotle was attacked for « his metaphysics which puts the particular before the general, his theology which substitutes an inactive god for Plato’s creator God, his psychology which does not dare to resolutely affirm the immortality of the soul, his morality which locates virtue not in goodness, but in the golden mean between good and evil. » 6
In 1492, Lefèvre met and discussed with Florentine Platonists and Neo-Platonists, grouped around Marsilio Ficino, his student Giovanni Pico della Mirandola, Poliziano and Ermolao Barbaro.
Starting with Hermes Trismegistus, Plotinus, Iamblichus, and Cicero, this school of thought emphasized the supposed complementarity between Plato and Aristotle rather than their opposition, hoping to reconcile the doctrines of the two philosophers. Positioning himself above both camps, Giovanni Pico della Mirandola was preparing a major work, which death prevented him from completing: the Concordia Platonis et Aristoteles , which aimed to reduce all philosophies and religions to a single wisdom, naturally under the tutelage of the Vatican. Florentine Neoplatonism then exerted a significant influence on an entire generation of prelates and clergymen.
Later, in 1509, under the warrior Pope Julius II, his Neoplatonists advisors dictated to Raphael the content of the frescoes in the Stanza della Segnatura, where Pico della Mirandola features prominently. In his treatise The Ciceronians, Erasmus denounced these Neoplatonists who, instead of Christianizing Plato, used ancient philosophy to reduce Christianity to pagan barbarity.
Returning to Paris in 1495, Lefèvre became a professor at the Cardinal Lemoine college where he taught, until 1507, according to the fashion of the time, philosophy, geometry, arithmetic, grammar, geography, cosmography and music.
His first works were commentaries on Aristotle, a Greek philosopher who was often quoted but rarely read. Somewhat surprisingly, it was only after his encounter with the Florentine Neoplatonists that he decided to publish Aristotle’s writings, in the versions of the Quattrocento humanists, accompanied by commentaries aimed at restoring the philosopher’s sound understanding . Ambitious, Lefèvre conceived his Aristotelian corpus as a reaction against scholastic teaching, against which he had no words harsh enough in his prefaces.
Using the partial or incomplete translations provided by Boethius and Bessarion, he attempts to rid them of what François Rabelais called « the so filthy glosses. » At the time, he still hoped to reconcile Aristotle’s thought with the message of the Gospel.
But Lefèvre did not forget Plato . In 1499, he published the works of Pseudo-Dionysius the Areopagite, a 6th-century Neoplatonist thinker who was mistakenly considered one of Christ’s disciples. He then turned his attention to John of Damascus, Nicholas of Cusa, and the Spanish mystic Raymond Lull : authors who nourished the spiritual reflection of French Christians throughout the century. Lefèvre, the mathematician, found himself aligned with the approach of Nicholas of Cusa, for whom, as for Pythagoras, mathematics was simply the science of divine proportions.
Paradoxically, it was after reading Pseudo-Dionysius that he rejected what he had once adored, and his subsequent commentaries reveal a profound distrust of Platonism. In 1506, following his Politics, he published a summary of the Republic and the Laws , entitled Hecatonomies , the margins of which are frequently annotated with « stultitia » (foolishness) or « semistultitia » (half-foolishness). In this treatise, he grouped together the Platonic principles he approved of and those he condemned.
Briçonnet

At one point, Jacques Lefèvre d’Etaples got the attention of the powerful Briçonnet family.
It was a true dynasty of diplomats, builders and great servants of the Kingdom.
Guillaume Briçonnet (1445-1514) was a French royal officer and later a clergyman, known as the Cardinal of Saint-Malo. Initially a financier, he served as the general of finances for Languedoc under Louis XI.
After his wife’s death, he entered the clergy. Recommended by Louis XI to his successor, he was appointed Secretary of the Treasury. He served as Minister of State under Charles VIII and was created a cardinal by the Pope in 1495. On May 27, 1498, he crowned Louis XII in Reims.

Guillaume Briçonnet (the elder) had a son of the same name, born in 1470. In 1489, while a student in Paris at the Collège de Navarre (he was only 19 years old at the time), Guillaume Briçonnet (the younger) was appointed Bishop of Lodève in Southern France. He also became Abbot of Saint-Guilhem-le-Désert in 1493, a monastry built by one of the lieutenants of Charlemagne. .
He continued to reside in Paris for a time to complete his education, under the tutelage of flemish theologian Josse Clichtove, through whom he met Lefèvre d’Étaples and his circle. In 1495, succeeding his uncle Robert, Archbishop of Reims, Guillaume Briçonnet became one of the two presidents of the Chamber of Accounts in Paris, a position he held until 1507. Having been made a canon of the Church of Paris in 1503, he had a magnificent residence built for himself in the cloister of Notre-Dame.
Appointed abbot of Saint-Germain-des-Prés in 1507, he summoned Lefebvre to his side to promote a reform of the monks’ morals. For Lefebvre, this was a moment of truth. What becomes strikingly clear is that he never practiced philosophy to distance himself from religion; on the contrary, his quest for truth was merely a step in his journey toward God. Prudent in examining the doctrines of others, he avoided taking sides while pursuing his own reflections. Far more than from Aristotle or Plato, it was from the Gospels that Lefebvre drew his inspiration. For him, the study of Holy Scripture was to be the culmination of his work, its natural endpoint.
“In the distance,” he wrote, “such a brilliant light struck my eyes that human doctrines seemed like darkness compared to divine studies, while the latter appeared to exhale a fragrance whose sweetness is unmatched on Earth.” 8
Lefèvre wanted to draw closer to the light he saw in the distance. It could be said that he was going through a « mystical crisis. » The list of « mystical » authors whose works Lefèvre published is long. From the one he considered the most ancient of all, Dionysius the Areopagite, it extends to the most recent, Nicholas of Cusa, passing through Heraclitus, Hermes Trismegistus, John Damascene, Raymond Lull, Richard of Saint Victor, and Ruysbroeck the Admirable .
In 1509, Lefèvre published a Psalter in five languages. The choice to focus first on the Psalter was primarily pastoral in nature: he wanted to offer monks an effective tool to fully understand the content of their prayers, but also to emphasize the centrality of the direct relationship between the faithful and God.
In 1511, while passing through Paris, Erasmus met Lefèvre. Although they may have criticized each other, they deeply respected one another and shared a common commitment throughout their lives.
Lefèvre continued his offensive by publishing the Epistles of Paul (1512), which we know constituted one of the battlegrounds for the Reformation in general and for Luther in particular (« faith and works » or « faith alone » as the path to salvation).
One important point clearly aligns Lefèvre with Erasmus and distinctly separates him from Luther: his interpretation of free will. For the Picard theologian, despite the state of misery and powerlessness into which original sin has plunged humanity, we retain the capacity, however diminished, to receive the gift of grace, to open ourselves to salvation, to reject evil, and to choose good. From this stems a more optimistic and serene vision of the salvation process, truly open and accessible to all, in contrast to the somber and anguished interpretation of salvation that the Reformers reserved for a select few.
Lefèvre, publisher of Nicholas of Cusa

in the 1514 edition by Jacques Lefèvre d’Etaples at Josse Bade in Paris.

Lefèvre shared his « mystical » passion with the Briçonnet family, and later with Marguerite de Navarre.
And when, in 1514, Lefèvre had the complete works of Nicholas of Cusa printed in Paris, until then only published twice in Germany, he addressed his dedicatory epistle to William’s brother, Denys Briçonnet, bishop of Toulon.
According to Noëlle Balley ,
« The most remarkable example of this cooperation between scholars is the edition of the works of Nicholas of Cusa, directed by Lefèvre, for which he had manuscripts searched for and copied by all his correspondents, thus creating a truly international collective edition. » 9
His printer was Josse Bade, a passionate Fleming from Ghent, trained by printers in Lyon. Not always rigorous, he published many humanists, including Sebastian Brant (The Ship of Fools), Erasmus (In Praise of Folly), Guillaume Budé, etc.

His son-in-law was the humanist and scholarly printer Robert Estienne (1503-1559), son of the great printer Henri Estienne (1460-1520) (the elder). Francis I appointed him, before 1539, royal printer for Hebrew and Latin, as well as for Greek from 1544.
Cenacle of Meaux

From 1518 onwards, Lefèvre’s patron, Guillaume Briçonnet, decided to take up residence in his new diocese, Meaux, 41 km from Paris. There he intended to implement a pastoral reform inspired by the theological approach outlined by the Picard humanist. At the heart of this project lay the desire, shared by humanists, to bring the essential message of the Gospel to all people, even the simplest and least educated, and thus facilitate access to the mysteries of faith, with the conviction that the intervention of the Holy Spirit could inspire the minds and hearts of the faithful.
A friend and disciple of Lefèvre, Guillaume Briçonnet resolved to promote his moral ideas in his diocese. And, unusually for that time, he abandoned court life to live there.
At Briçonnet’s request, Lefèvre then founded in 1521 the Cenacle of Meaux, a center for reflection and reform of the Church of Meaux. The aim was to return to the sources of Christianity, to the original teachings of Christ, by spreading the New Testament in French: the Gospel texts were « de-Latinized. »

Oil on canvas, attributed to Jean Clouet.
Appointed in 1520 as vicar to Guillaume Briçonnet, who had become Bishop of Meaux, Lefèvre settled in that city. In 1521, Briçonnet became the spiritual director of the sister of the King of France, Marguerite de Navarre, who was committed to the cause.
That same year, Briçonnet and Lefèvre attracted several theologians and preachers to their circle, including the future Reformed philosopher Guillaume Farel, the tireless Gérard Roussel , the Flemish theologian Josse Clichtove, the Hebraist François Vatable, the eloquent Martial Mazurier, the intrepid Michel d’Arande, the renowned preacher Pierre Caroli , and Jean Lecomte de Lacroix.
Then others joined, expanding their circle: Pierre de Sébiville, Aimé Mégret , the Franciscan friar and friend of Rabelais, Pierre Amy, and Jacques Groslot , bailiff of Orléans. Their simple motto was also that of Marguerite de Navarre:
« To know the Gospel, to follow the Gospel, and to make the Gospel known everywhere. »
Marguerite of Navarre was close to Leonardo da Vinci during the last three years of his life (1516-1519) at the Château du Clos Lucé in Amboise. Marguerite had lived there with her husband, Charles IV of Alençon, in 1509. Subsequently, she stayed there regularly with her mother, Louise of Savoy, and her brother, Francis I, in the immediate vicinity of Leonardo da Vinci.

She was an influential patron of the arts, while Leonardo was the king’s « first painter. » In 1546, Rabelais paid tribute to her by dedicating his Third Book to her.
A recent thesis by Jonathan Reid has shown that Marguerite was already at the heart of a vast network including more than two hundred members of the court, diplomats, prelates, and men of letters. Extending well beyond Paris and Meaux, this network also encompassed Alençon, Lyon, Grenoble, Bourges, Poitiers, and Mâcon.
Printers, including Augereau and Du Bois, but also Simon de Colines, who was operating clandestinely in Lyon, were among them. In total, according to Reid, 450 editions of 200 « evangelical » works were printed in France thanks to Marguerite’s protection. 10
On the ground
After visiting his entire diocese, Briçonnet observed that most priests did not reside in their parishes and that the assistant priests had little to no theological training. Furthermore, they lacked the time to teach their parishioners because they had to work, as all parish income went to the priests. The only educated preachers were the Franciscan friars (aka Cordeliers), who often limited themselves to promising hell to wicked Christians.
As early as 1518, Briçonnet undertook to combat moral depravity and the laxity of ecclesiastical discipline by thoroughly reforming his diocese. He simplified worship, abolished the veneration of images and relics, and encouraged preaching to revive the faith. He considered his diocese a mission field and divided it into 26 stations of nine parishes each. But, year after year, he observed the inadequacy of these measures: more than half of the priests were incapable of properly carrying out their assigned duties. He decided to expel the 53 most unfit priests and to train new ones. The Cordeliers were forbidden from preaching.

In Meaux, the Cenacle ran a printing press to publish, among others, the works of Lefèvre d’Étaples: Commentary on the four gospels (in Latin) in 1522, Old Testament (in French), Homilies, Epistles, Gospels, Acts of the Apostles (1523) and Psalms (1524).
The main instruments of religious renewal were greater attention to the selection and education of the priestly body, the restoration of the bishop’s authority over competing religious orders, the control of pulpits entrusted to preachers faithful to Christocentric doctrine and firmly convinced of the principle of justification by faith alone, on which Lefèvre had insisted for years in his writings, as well as the printing and distribution of numerous writings and works intended for clerics and laity: these were devotional texts focused mainly on mental prayer and on the invitation to simplify and purify traditional rituals, as well as Latin and especially French versions of the Holy Scriptures.
Stripped of unnecessary glosses, the texts were read aloud to small groups of people with some education. Prayers in simple language were printed for the common people, as well as popular works beginning in 1525.
The sermons, which changed (no more threats of hell, no more collections at the end), were successful. Neighboring Picardy, the Thiérache region, and the monastery of Livry-en-Aulnoy followed the Fabrist approach.
Meaux served as a laboratory for other dioceses in the kingdom, where bishops close to the evangelical network attempted to implement the model of pastoral renewal developed by Lefèvre and his followers. But if evangelicalism did indeed become an influential and respected movement during the reign of Francis I, it was thanks to the support of a segment of the court which, as we have mentioned, referred to Marguerite. The political, economic, and diplomatic support of the king’s sister and her network allowed the Fabrists to have direct access to the court and to influence the crown’s decisions regarding the policy of tolerance toward « heresy » and the appointment of bishops and abbots.
The reaction

The Cenacle of Meaux immediately attracted the wrath of the Cordeliers (whom it deprived of the proceeds of their collections) and the theologians of the Sorbonne.
In April 1521, Luther’s theses, initially well received and studied, were condemned by the University of Paris.
Clichtove defected (he wrote a work on the cult of saints, proclaiming that « the intelligence of laymen will never be able to understand the sublime meaning contained in the divine books » which even the most learned struggle to understand).
Although Lefèvre’s translation of the New Testament is based on the Vulgate text, he makes about sixty corrections based on the Greek originals. The doctors of Paris are particularly irritated by the « Exhortatory Epistle » that he places at the beginning of the second part, where he recommends that all the faithful read Holy Scripture in the vernacular, that is, in French.
Eleven proposals were submitted to the faculty. The courts ordered that Lefèvre d’Étaples’s French New Testament be burned. But the king, informed of this affair, which he saw as nothing more than harassment by the dean of the Sorbonne, Noël Béda, intervened, and Lefèvre, having defended himself before the prelates and doctors whom the court had appointed as judges, emerged from this attack with his honor intact.
In October 1523, under pressure, Briçonnet banned Luther’s books in his diocese, and in 1524, he dismissed Farel, whose sermons were too provocative, in order to continue his work of spreading the Gospel. At his own expense, he organized public readings of the Bible and distributed translations, which reached Normandy, Champagne, and the Loire Valley.
This first phase of expansion of the Fabrist movement ended around 1525, when, under the regency, the conservative party imposed a repressive policy towards Lutherans and Evangelicals, without distinction.
The hour of persecutions

In 1525, geopolitical upheavals changed the situation in France. First, the trap set by the Italian Wars closed on Francis I. On February 24, 1525, the king was taken prisoner at Pavia by the troops of Charles V.
Consequently, he was no longer in a position to protect the Bishop of Meaux. Furthermore, in May, a papal bull authorized a group composed of three theologians from the Sorbonne and a priest to hunt down heresy.
While Lefèvre was publishing the Epistles and Gospels for the 52 Sundays of the coming year , his enemies were more successful with a new attack, taking advantage of the unrest stirred up in the diocese of Meaux by indiscreet preachers and turbulent monks. A trial opened before the Sorbonne at the instigation of the Cordeliers, who accused him of allowing « heresy » to spread.

That same year, the Parliament of Paris brought a case against Briçonnet. As a conciliatory measure, he again authorized the Cordeliers to preach, asked his parish priests to restore the veneration of saints and the Virgin Mary, forbade preaching to the most extreme elements, and took the statues and images of saints under his personal protection. Jean Leclerc, a wool carder converted to the new ideas, was flogged for putting up posters hostile to the Pope.
After barely four years of existence, the Meaux circle was dissolved in 1525.
For several months, in order to avoid arrest and conviction, Lefèvre and his family were forced to leave the kingdom and take refuge in Strasbourg. There, he strengthened his ties with moderate Protestants such as Capiton and Butzer, and associated with Otto Brunfels, to whom he was linked by a Nicodemite attitude, recognizing the legitimacy of religious concealment in a context of persecution.
In 1526, with the return of Francis I, negotiated with Spain by Margaret of Navarre, and thanks to her protection, they were back in France and managed to maintain some influence for a few more years at court and throughout the rest of the kingdom, through intense activity in printing and disseminating written works, as well as through systematic preaching in the heart of the capital. The king granted Lefèvre the position of personal librarian at Blois and entrusted him with the education of his two children.
Guillaume Briçonnet, for his part, was acquitted. In 1528, he participated in the Synod of Paris that condemned Lutheranism. A year later, Francis I and Marguerite failed to save the life of preacher Louis de Berquin (1490-1529), a friend of Erasmus and also a translator of Lutheran treatises. He was burned alive in the Place de Grève in Paris.
Exile

In 1530, Lefèvre chose to leave the court to go to Nérac to be with his patroness, Marguerite de Navarre. He remained there until his death in 1536, preferring not to take sides in the disputes between Protestants and Catholics.
He cannot be accused of Protestantism, although his comments on priestly celibacy, fasting, and the sacraments are extremely harsh and pave the way for the Reformed movement. The term « evangelicalism, » recently proposed, seems, on the other hand, to be appropriate for this attitude of absolute fidelity to the spirit and the letter of Scripture.

Marguerite de Navarre , it must be emphasized, was a learned woman.
While she knew Latin and even Greek, she was far from mastering these ancient languages like Lefèvre, whose lessons she was able to attend.
For religious reasons, she even received Hebrew lessons from Paul Paradis, nicknamed Canosse, who would later become a lecturer at the Collège Royal. She was greatly influenced by the inspiration and ideas of the Cenacle of Meaux, examples of which she provides particularly in her secular comedies and poems.
And according to one historian,
« She was also familiar with Nicholas of Cusa, author of ‘De Docte Ignorance’, also edited by Lefèvre, with Saint Bonaventure, and with Pseudo-Dionysius, actually a 5th-century Syrian monk. » 11
In 1531, the Venetian scholar Jerome Aleander, former papal nuncio who had become Erasmus’s chief persecutor for the Roman Curia, proved to be very well informed about the situation. He regretted that Lefèvre remained under the influence of his former disciple Gerard Roussel, Bishop of Oloron.
The ambition of the Roman and French conservatives at that time was to convince Lefèvre to write a retraction of his errors and to go to Rome to obtain his full reintegration into the Roman Church.
This was not the case. Although Lefèvre could no longer publicly display his spiritual beliefs, he remained close to the positions of his disciples Roussel and Marguerite, who, throughout the reign of Francis I, even after the Affair of the Placards, continued to advocate a third way between Rome and Geneva. In 1534, Briçonnet died at the Château d’Esmans, near Montereau-Fault-Yonne.
Conclusion

Lefèvre’s translation of the Holy Bible , based on the Vulgate text, was printed not in France, but in Antwerp in 1530.
This was the first Bible in the vernacular language, which served as the basis for all French translations, including modern ones.
A center of preaching, this epicenter of Christian humanism, the Cenacle of Meaux , a precursor of « reformism » , had a great influence on the humanists and writers of this generation.
Marguerite protected François Rabelais (1483-1553) and encouraged him to write Gargantua and Pantagruel.
A friend of Rabelais, the famous poet Clément Marot, entered Marguerite’s service. He was soon accused of heresy and took refuge in Nérac in 1535.

Nicknamed the « mother of the Renaissance, » Marguerite de Navarre was the mother of Jeanne d’Albret and therefore the grandmother of Henri IV, the good King Henri who, knowing this intellectual and spiritual lineage, would embody this ideal in action.
It was certainly with the work of the Cenacle of Meaux in mind that he succeeded, at least in part, in putting an end to the Wars of Religion ravaging France.
The inclusive peace he organized in France, based on the coincidence of opposites theorized by Nicholas of Cusa, would be the model for the Peace of Westphalia which ended the Thirty Years’ War in 1648.
Selected Bibliography
- ALONGE, Guillaume Jacques Lefèvre d’Étaples in the religious crisis of the 16th century , nord’ 2022/2 No. 80, pages 15 to 21, Éditions Société de Littérature du Nord.
- BARNAUD, Jean
— Jacques Lefèvre d’Etaples: the preparation , Theological and religious studies, 11th year, No. 1, 1936.
— Jacques Lefèvre d’Etaples, Master of Philosophy , Theological and Religious Studies, 11th year, No. 2, 1936.
— Jacques Lefèvre d’Etaples (continued) , Theological and Religious Studies, 11th year, No. 3, 1936.
— Jacques Lefèvre d’Etaples (continued and concluded) , Theological and Religious Studies, 11th year, No. 4-5, 1936. - CHARLIER, Yvonne , Erasmus and friendship, based on his correspondence , Editions Les Belles Lettres, Paris, 1977.
- DE ROMILLY, Jacqueline, Five centuries of Hellenism in France , Bulletin of the Association Guillaume Budé, March 1977.
- EICHEL-LOJKINE, Patricia, Marguerite de Navarre, pearl of the Renaissance , Perrin, Paris, 2021.
- PERNOT, Jean-François, Jacques Lefèvre d’Etaples (1450? – 1536), Proceedings of the Etaples colloquium on November 7 and 8, 1992, Classiques Garnier, Paris, 1995.
NOTES:
- https://www.facinghistory.org/resource-library/agreement-catholic-church ↩︎
- file:///C:/Users/User/Desktop/alonge-2022-jacques-lefevre-detaples-dans-la-crise-religieuse-du-xvie-siecle.pdf ↩︎
- Christian humanism differs from « secular humanism » (anti-religious) and supposedly « scientific. » Once the spiritual dimension was eliminated, the humanist dimension also fell by the wayside. Julian Huxley, one of the great promoters of « secular humanism, » ended up inventing the term « transhumanist, » an ideology he saw as capable of replacing all religions. Millionaire Jeffrey Epstein, as well as billionaires Elon Musk, Larry Ellison, and Peter Thiel, are adherents of this ideology .
- file:///C:/Users/User/Desktop/Jacques%20LEtap/Romilly_Helle%CC%81isme-France.pdf ↩︎
- Börje Knös , An Ambassador of Hellenism: Janus Lascaris and the Greco-Byzantine Tradition in French Humanism , Uppsala, Almqvist & Wiksells, 1945 .
- Philip. Monnier , The Quattrocento . Volume II, p. 82. ↩︎
- https://www.etudesheraultaises.fr/publi/evocation-de-guillaume-briconnet-eveque-de-lodeve-de-1489-a-1519/ ↩︎
- Heminjard , Correspondence of the Reformers, vol. I, p. 4, note. ↩︎
- https://theses.chartes.psl.eu/document/ENCPOS_1991_01 ↩︎
- Jonathan Reid , King’s Sister, Queen of Dissent: Marguerite de Navarre (1492-1549) and her Evangelical Network . Leyden, Brill, 2009; 2 vol. ↩︎
- Jean-Pierre Duteil . Marguerite de Navarre . Ellipses, 2021. hal-04186835.