Voltaire is sending proof corrections to Michel Lambert, having received the first sheet of his printing of La Henriade, which was eventually to be published as part of Lambert’s 1757 edition of Voltaire’s works. He advises on how the collaboration should proceed and hopes to see the Siècle de Louis XIV soon. The letter is wholly in Villaume’s hand with the exception of the date, which was added by Voltaire.

Bolaffi asks that the booksellers, Dey and Gravier, be kind enough to give to Mr. Daninos (the deliverer of the letter) the fifty copies of La Henriade that Bolaffi had translated into Italian. He notes that these copies were sent to Dey and Gravier by Mr. Fayolle, another bookseller.

According to an unknown editor, the foliation is 321-330.

This epic poem explores the mythological founding figures of Friesland, drawing inspiration from Voltaire’s Henriade. It stands as Jonkheer Willem van Haren’s most celebrated work.

The inscription is a quote from Voltaire and reads: ‘Qui depuis…! Mais alors il etait vertueux. Voltaire.’ The quotation is taken from La Henriade (Chant 8).

The manuscript is an autograph letter beginning with a poem composed of two stanzas. The main body of the letter reflects on the writer’s stay at the château de Maulevrier and their engagement with Voltaire’s literary works, notably Tancrède and La Henriade. The author also mentions the sujet de poésie proposed by the Académie française and his unsuccessful efforts to acquire the Dictionnaire encyclopédique.

Voltaire begins by telling Gravelot that he is entitled to his esteem and gratitude because La Henriade would be much better off if he had painted paintings as striking as Gravelot’s. He adds that he was charmed with the two designs that Mr. Crammer had shown him and then questios the depiction of St. Barthelémy, shown holding a torch in one hand and a sword in the other, asking if it wouldn’t be more fitting for his face to be seen so that he seemed inflamed with fury. Voltaire also proposes that he is drawn with a helmet on his head rather than a hat but leaves the decisions up to Gravelot. He then discusses the fourth canot, saying that he would not hate a few monks and a few armed priests, with grief-stricken religion looking at them with indignation. He suggests that they could be depicted with discord at their head and the Duc de Mayeune and a few leaguers on a balcony laughing at the monastic milicia. Voltaire then writes that the assassination of Henry III has been engraved for the fifth canto, and discusses the depiction of Henry IV, suggesting that he could be drawn on a chariot crossing the air to the astonishment of the priests. He adds that he has nothing to say about the other designs and leaves all decisions up to Gravelot. Voltaire then states that he regards Gravelot’s attentions as ‘the most flattering rewards for my old labours which have been almost forgotten.’ He adds that he never thought he could be remembered in posterity by that Gravelot teaches him otherwise. He concludes by claiming that he has been told that Gravelot is the brother-in-law of Mr. D’anville. He writes that D’anville had been kind enough to warn him of some errors that appeared in an essay on general history and begs Gravelot to remind D’anville of the esteem in which Voltaire holds him.

This manuscript differs slightly to the published text. Guibert opens his letter by saying that no-one dares to say ‘I too am a poet’ after reading the verses of Voltaire and so he is writing in prose because it is a language that belongs to all men. He notes that Voltaire’s masterpieces will become monuments. He implores Voltaire to continue to abhor war and claims to have just travelled 2000 leagues, on which journey he saw almost everywhere the traces of taxes and very few vestiges of war. He notes that it is said that in his tireless research Voltaire had discovered a nation that lives on the Ganges that has never experienced war, and Guibert remarks that he needs to read the story of these ‘strange people’ to believe this is true, asking Voltaire to write such a story. He notes that even if the traveller who told the tale to Voltaire mistook a moment’s peace for an immemorial situation, Voltaire should embellish the fable because it would give lessons to sovereigns, pleasure to his readers, and a sweet moment of illusion to all honest people. Guibert then writes that if ever some vapour of vanity could rise to his head, it would be when Voltaire praises him. He adds that he wishes fate would taken him back to the Alps again, but it is in Paris, in the middle of Voltaire’s glory, that he hopes to see him again because Voltaire’s days would be extended by well wishes and he would be able to ‘complete a century that would rightly be called yours.’ He notes that he would collect Voltaire’s last words and that his grave would become an altar.

Walpole writes to introduce Voltaire, whom he describes as ‘a Poet, and an ingenious one, who is lately gone for England to print by subscription an excellent Poem called Henry ye 4th’.