Abstract

One of the more difficult tasks that Clerselier faced in bringing out his 1664 edition of the Traité de l'homme was securing the illustrations, eventually composed by La Forge and Gutschoven. After considering the chronology of this frustrating process, which is interesting in its own right, I will examine the illustrations themselves, comparing them with Schuyl’s illustrations for his 1662 Latin edition, and especially in the light of what Clerselier says were the intended purpose of such illustrations.