Walker opens by noting that he has passed on Caldwell’s enquiry concerning Voltaire to Mr Hayley. He then goes on to discuss a passage from the ‘Life of Milton’ that puzzled him, before thanking Caldwell for his letter of introduction to Mr Malone which has since been forwarded to Mr Irwin. Walker next discusses several artists, before turning to an accident involving Lord Meath and his hopes that the ‘ball’ can be safely removed.

The manuscript is a poem comprised of fifteen lines, with a rhyme scheme ABBA CDDC EEC FGFG. Alluding to an archetypical tension between nature and nurture, the lyrical subject suggests that nature claims victory over its rival. For more contextual information on the content of the manuscript, see Voltaire’s friendly letter to Marquise d’Ussé in December 1734 (D810). The poem is also known by its alternative title ‘L’Art et la nature’.

The letter concerns illustrations for an edition of Zadig published by the Société des Amis des Livres (1893).

The writer thanks his correspondent, a fellow philosopher and supporter, for his powerful gesture against fanaticism, praising a statue commissioned as a tribute to reason and resistance to tyranny. He speaks highly of the sculptor Pigalle and the Duc de Choiseul, who, despite past associations, now supports Enlightenment ideals and has helped Genevan refugees by promoting their watchmaking trade. Voltaire praises Pigalle’s talent and simplicity, and admires the design of the Marshal de Saxe’s mausoleum. He also applauds the decision to replace the traditional image of enslaved figures at monarchs’ feet with depictions of free, happy citizens — an artistic shift towards honouring human dignity.

In this letter, the writer humorously reflects on the honour of having their statue created by Phidias Pigal, despite the amusement it may provoke among locals and the broader public. He acknowledges the vanity inherent in such spectacles but emphasises that his genuine gratitude towards his friends, especially the addressee, transcends this vanity. The writer contrasts the superficial entertainment value of such public displays with their sincere appreciation for the support and recognition they have received.

The writter expresses gratitude for being recognised as a representative of the philosophers and agrees to sign the documents despite his trembling hand. He praises Monsieur le Duc de Choiseul for his support and literary talent, and for aiding the development of a watchmaking industry founded by Geneva émigrés. He is pleased to see Huguenot artisans successfully integrated into their parish, noting that peaceful religious coexistence is far preferable to past conflict. He closes by reflecting on his own contentment and sending thanks to Monsieur d’Alembert, a firm advocate of tolerance and virtue.

Pyat suggests parallels between art and politics, and he references several of his own works (Une révolution d’autrefois, Ango, Le brigand et le philosophe, Les deux serruriers, Mathilde, Diogène, Le chiffonnier de Paris). Mentions the 1848 revolution and the Paris Commune. Includes references to Goethe, Shakespeare, Molière, Voltaire, and others. Harshly criticizes the vicomte de Chateaubriand and Victor Hugo.

Richard Owen Cambridge begins by offering James Harris advice on how to deal with varnish on a picture befor telling a story involving Voltaire and Sir William Hamilton. He ends with reference to verse published by Jonas Hanway on the death of Lord Lyttelton.

Pigalle requests that he be excempt from payment of his annual dues. He reminds the council of his previous gift of the bust of Louis-Philippe, and his restoration work on the busts of Corneille, Voltaire, Lavoisier, and Buddon.