1699 Satyre menippée de la Vertu, du Catholicon d'Espagne.

Reprint, presumably copied from that of 1664, of this famous political pamphlet (Original edition: 1593) reporting on the political and religious tensions at the time of Henry IV's abjuration of Protestantism. Composed in favour of the latter, this burlesque parody of the Estates-General (then meeting in Spanish-occupied Paris to designate the king of France) was written by P. Pithou, Jean Passerai, Gilles Durand, Nicolas Rupin, Florent Chrestien, Jacques Gillot and P. Le Roy. Complete with 2 portraits and folding plate ("Procession de la Ligue").

Satyre Ménippée, the most famous libel of the end of the century; this severe attack on the Estates General which the League convened in 1593 to provide for the election of a Catholic king of France, has been considered, more or less rightly, as one of the major events which served the accession of Henry of Navarre to the throne. The genre was new, and the moral project of the work, unheard of to that day, surprised contemporaries: the "satyres ménippées", a "second advisor to the printer" had to specify at the time, are "full of brocards salez and gausseries saulprées de bons mots, pour rire et pour mettre aux champs les hommes vitieux de son temps". A year later, the English translation subtitled, in the same spirit A Satyre Menippized, that is to say, a Poesie, sharplie, yet Philosophicallie and wisely rebuking vices without regard of persons. After the manuscript had been circulated under the cloak, numerous editions followed in the years 1594-1595. The choice of the free form of the satire allowed for an ever richer material that was organised around the original framework, finally offering the features that we recognise today in the work. The attribution of such a composite work is risky: at first, the libellus seeks above all to adopt a neutral voice, free of all authority, and thus able to blend into the common wisdom, to echo reason and common sense. Subsequently, awareness of the aesthetic qualities of the work led to a clarification of the role of each of the contributors: Pierre Leroy for the general framework, Gillot for the legate's harangue, Rapin for those of Lyon and Rose, Florent Chrestien for that of Pelvé, Pierre Pithou for that of d'Aubray, Passerat and Rapin sharing the verse pieces. They all belong, more or less, to the same society, bourgeois, close to the bar, learned and militant, attached to the preservation of society, to peace, to reason, which the legitimate king embodied. The Satyre Ménippée is one of the most significant manifestations of this Gallican spirit, for which scholarship and action are intrinsically linked.