The receuil contains letters to and/or from the following individuals:

• Catherine II of Russia
• Claire-Joseph-Hippolyte Legris de Latude, Mlle. Clairon
• Frederick II of Prussia
• Marie-Thérèse Geoffrin
• Frédéric-Melchior, baron de Grimm
• Adrienne Couvreur
• Voltaire.

‘Brevet de calotte au public’ is a satirical poem by Alexis Piron that critiques the public’s poor taste in art and literature. The poem presents the public as a foolish and inconsistent judge of artistic merit, favouring trivial and mediocre works while neglecting the classics and mocks the public’s ability to be swayed by superficial trends.

The writer expresses profound gratitude and honour for the promise of receiving a complete and annotated edition of Ariosto’s works from the recipient. They acknowledge the significant contribution this will make to French literature, particularly in elucidating the lesser-known final canto of Ariosto’s epic, which even scholars in Florence are unfamiliar with. The writer conveys their deep appreciation and respect for the recipient’s efforts and contributions.

The letter opens with a discussion of Voltaire and mentions several other French writers. The sender admits to not having read Charles Morice’s book yet, then discusses cathedrals and religion. The letter was removed from Petit Journal xii.

Feutry opens the letter with a discussion of literature and literary matters, before proceeding to recount Voltaire’s recent visit to Lille. He quotes from Voltaire’s seven-line poem dedicatre to Ulrika of Sweden, and concludes by discussing mutual acquaintances.

Algarotti begins by stating that it has been two months since he last heard from Vannucchi, adding that he is waiting for more sonnets from this great philosopher and poet. He then notes that he will be going to Potsdam the following day to meet with Frederick II of Prussia and present him with some of his verses as Frederick had stated that Vannucchi’s muse was ‘quasi celeste’. Algarotti then turns to Voltaire and Samuel Formey, remarking that the both share his enthusiasm for th translations of the Iliad produced by Paolo Brazzolo, before going on to discuss Frederick’s moods and literary interests. He ends with a mention of his friend, Scipione Maffei. In a postscript appended to the letter, Algarotti sends greetings from Voltaire and thanks Vannucchi for his learned essay on dreams and appatitions.

Matthew Arnold discusses literature and expresses happiness at his brother knowin about Merope. He praises Maffei’s version of Merope before commenting on Voltaire’s, comparing both versions with Alfieri’s and concluding that Maffei’s was ‘poetically the best tragedy of the three’. He then goes on to discuss Wordsworth, Shelley, and Coleridge and their popularity within England, remarking that the contemporary period is intellectually richer than Pope’s time but that modern poetry is inadequate. He moves on to discuss Ancient Greek literature, comparing it to Shakespeare, and offering his opinions on the works of Voltaire and Goethe. He adds that these thoughts will form the basis of his inaugural lecture.

The manuscript is a lettre en vers consisting of a poem in four stanzas. Voltaire begins by expressing his gratitude for the fine china previously gifted to him and for the compliments regarding his age. The letter continues with a poem that challenges the correspondent’s negative assessment of Parisian cultural and literary life, highlighting current literary ambitions, achievements in scholarship and criticism, and the fine arts. In the latter part of the letter, Voltaire discusses Pugachev’s Rebellion, his tragedy Les Lois de Minos—which he will send to his correspondent—and the marriage of Marie Thérèse Louise of Savoy.

The author expresses profound gratitude for the king’s generous favours, which have brought joy to his final days. He admires the king’s literary talent and his protection of the oppressed Morival, while expressing disapproval of Morival’s pursuit of a pardon, deeming it demeaning. Instead, he emphasises Morival’s talents and loyalty as worthy of royal service. The author also reflects on his own commitment to remain in the Alps rather than returning to Versailles, expressing deep respect and regret at not having spent his final years in closer proximity to the king, whom he greatly admires. Furthermore, the day and month are in Voltaire’s hand, the year in Wagnière’s. According to T. D. N. Besterman, the letter is written in March 1775.

The author expresses deep gratitude for the letter received from the Royal Highness, noting the continued support for the arts and the appreciation of the French despite past conflicts. He acknowledges the talents of a young writer, M. Mainieux, brought to his attention by a Scottish general, but notes his inability to engage deeply with Mainieux’s work due to his failing health. While recognising the challenges of writing on moral and political issues at a young age, the author expresses hope for Mainieux’s success, especially if he can think and express himself as admirably as the Royal Highness.