Calligraphy commenced what was to be a lengthy nadir in the late 17thCentury. Calligraphy continued to decline in profile and importance, and although Jean-Baptiste Colbert, the French chief minister from 1665 to 1683, was a great enthusiast of calligraphy, he often bypassed the corporation, soliciting the services of external écrivains. While the écrivains continued to perform their role, and their corporate charter was regularly renewed, their status suffered under proliferation of prng, poor pay, neglect and rivalry from the grammar schools. Moreover, their activities were to be supervised closely by the Parliament of Paris, especially to guard against the possibility of forgery of official documents. The corporation was added to the roster of medieval guilds, it members were to meet regularly, and the technical standards of their work were to be regulated by the University of Paris. Its members were permitted to bear the title secretaries ordinaires du Roi. In 1570, the king chartered the corporation of the Experts écrivains, formally the Communaté des Experts écrivains Jurez. From that point, it was felt that the court calligraphers should be united into a formal body under strict royal supervision. It generally thohat Hamon was innocent, the victim of an elaborate frame-job by his political enemies however, but the long list of charges against him included accusations of forgery of official documents. In 1569, Pierre Hamon, the chief calligrapher and former tutor to Charles IX, was executed for high treason. A major court scandal was responsible for the organization of maitres écrivains into a formal organization for the first time. While senior court officials oversaw calligraphers, for centuries they were never organized into a guild or group of any formal nature. This gave the calligraphers a key, yet uncelebrated role, in the royal bureaucracy. That being said, calligraphy remained integral to creating legally codified court documents, and during the 16th Century, the primary role of the maitres écrivains was to draft originals of important official documents, as opposed to creating works of scriptorial art. Calligraphy was highly valued at the French Royal court during the Medieval and Renaissance eras, although its importance was challenged during the early age of print.
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A Brief History of the Maitres Écrivains - The anonymous artist who drafted the present composition, was almost certainly associated with the Bureau académique d é royed society, founded in 1779, that functioned as a professional organization for the maitres écrivains. As the work of the maitres écrivains is not especially well researched, many of the calligraphers working in Paris during the 1780s have not been identified, let alone properly studied. During the period in question there were very few artists who were capable of drafting such an elaborate work of penmanship, and virtually all of these individuals were either members of the Bureau, or independent practitioners who operated within the Bureau s orbit. The ink and paper used is also consistent with the period. The subject matter, showing the common people being corrupted and turning upon themselves, also reflects the mood as expressed in literature and art in immediate pre-Revolutionary France, imagery that was not common before or after that period. The clothing, hairstyles and wigs are all consistent with the period in question. This style was practiced for only brief period, during which the 1780s markedgee. First, the piece is composed in the mature artistic style consistent with the French maitres écrivains in the circle of the Bureau académique d'écriture. The Dating & Attribution of the Work - While the work is undated, extensive evidence indicates that it dates from the 1780s, the period in the immediate lead-up to the French Revolution. Only in the beginning of the 18th century did spectacles as we would understand them start to appear. The man on the right-hand side, dancing with dogs, is wearing spectacles, what is one of the earliest images of the eyewear, as we know it today.
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This highly deatiled calligraphy drawing depicts the careless joie de vivre at the end of the 18th century, just before the French Revolution, with people in ridiculous costumes and wigs overeating, playing music, dancing with dogs and enjoying themselves, as the ominous political creatures and angry crowds with poles are approaching from the sides. Ink on paper (Very Good, slightly age-toned and stained, originally mounted on old paper) 34 x 45 cm (13.4 x 17.7 inches).