{"id":10193,"date":"2026-08-24T07:15:15","date_gmt":"2026-08-24T05:15:15","guid":{"rendered":"https:\/\/great-artmag.com\/?p=10193"},"modified":"2026-08-23T17:37:55","modified_gmt":"2026-08-23T15:37:55","slug":"ed-verdier-esquisse-un-pendu-michel-jullien","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/ed-verdier-esquisse-un-pendu-michel-jullien\/","title":{"rendered":"[\u00c9d. Verdier] \u00ab Esquisse d\u2019un pendu \u00bb de Michel Jullien"},"content":{"rendered":"<p class=\"\" align=\"justify\"><strong><span class=\"\">Etre copiste au Moyen-Age<\/span><span class=\"\"> fut, <\/span><span class=\"\">avant tout, <\/span><span class=\"\">une discipline du corps. Durant des si\u00e8cles, le silence des ateliers de scribes ne fut interrompu que par le <\/span><span class=\"\">crissement<\/span><span class=\"\"> de la plume sur le parchemin, les<\/span><span class=\"\"> soupirs <\/span><span class=\"\">de lassitude, les b\u00e2illements de fatigue <\/span><span class=\"\">et<\/span><span class=\"\"> le craquement des <\/span><span class=\"\">tabourets<\/span><span class=\"\">. Les copistes m\u00e9di\u00e9vaux, riv\u00e9s \u00e0 leur lectrin, <\/span><span class=\"\">ce pupitre d\u2019\u00e9criture, \u00e9taient soumis \u00e0 une m\u00eame contrainte<\/span><span class=\"\"> : l\u00e0 o\u00f9 le libraire <\/span><span class=\"\">pouvait aller et venir<\/span><span class=\"\">, <\/span><span class=\"\">tout \u00e0 son commerce des manuscrits <\/span><span class=\"\">pr\u00e9cieux<\/span><span class=\"\">, <\/span><span class=\"\">eux demeuraient immobiles, <\/span><span class=\"\"><i class=\"\">\u00abstationnaires \u00bb <\/i><\/span><span class=\"\">comme on disait alors. <\/span><span class=\"\">Ce <\/span><span class=\"\">qui relevait autant de l&#8217;asc\u00e8se que du supplice<\/span><span class=\"\">. <\/span><span class=\"\"><i class=\"\">\u00ab[<\/i><\/span><span class=\"\"><i class=\"\">C\u2019\u00e9tait un m\u00e9tier] d\u2019induration vou\u00e9 au strabisme, au torticolis du soir et \u00e0 l\u2019arthrose des ann\u00e9es, au tassement des lombaires, \u00e0 l\u2019\u00e9crasement des disques vert\u00e9braux\u00a0\u00bb<\/i><\/span><span class=\"\"> \u00e9crit l\u2019auteur. <\/span><span class=\"\">Deux ann\u00e9es <\/span><span class=\"\">de patient <\/span><span class=\"\">et douloureux <\/span><span class=\"\">labeur \u00e9taient<\/span><span class=\"\"> n\u00e9cessaires pour achever <\/span><span class=\"\">de recopier <\/span><span class=\"\">une Bible, davantage lorsque le manuscrit exigeait enluminures, lettrines et d\u00e9cors. C&#8217;est cette civilisation de la lenteur, o\u00f9 chaque mot engageait autant la main que <\/span><span class=\"\">l\u2019<\/span><span class=\"\">esprit et la pers\u00e9v\u00e9rance<\/span><span class=\"\">, que Michel Jullien ressuscite dans <\/span><em class=\"\"><span class=\"\">Esquisse d&#8217;un pendu<\/span><\/em><span class=\"\"> (\u00c9ditions Verdier Poche).<\/span><\/strong><\/p>\n<p class=\"\" align=\"justify\"><span class=\"\"><img decoding=\"async\" class=\" wp-image-10196 alignleft\" src=\"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/08\/esquisse_d_un_pendu.jpg\" alt=\"\" width=\"292\" height=\"449\" srcset=\"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/08\/esquisse_d_un_pendu.jpg 667w, https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/08\/esquisse_d_un_pendu-195x300.jpg 195w, https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/08\/esquisse_d_un_pendu-274x420.jpg 274w\" sizes=\"(max-width: 292px) 100vw, 292px\" \/>Le roman de Michel Julien prend pour personnage principal Raoulet d&#8217;Orl\u00e9ans <\/span><span class=\"\">dont l\u2019existence est <\/span><span class=\"\">attest\u00e9e<\/span><span class=\"\"> dans les archives, <\/span><span class=\"\">et qui fut l\u2019un des rares <\/span><span class=\"\">copiste<\/span><span class=\"\">s<\/span><span class=\"\"> officiel<\/span><span class=\"\">s<\/span><span class=\"\"> d<\/span><span class=\"\">u roi<\/span><span class=\"\"> Charles V au XIV\u1d49 si\u00e8cle. Install\u00e9 rue de la Bouterie, dans un Quartier latin encore organis\u00e9 <\/span><span class=\"\">en<\/span> <span class=\"\">confr\u00e9rie<\/span><span class=\"\">s, son atelier se t<\/span><span class=\"\">enait<\/span><span class=\"\"> \u00e0 l&#8217;\u00e9cart du vacarme des forgerons, de la puanteur des \u00e9<\/span><span class=\"\">tals de<\/span><span class=\"\">s<\/span> <span class=\"\">bouchers ou des effluves <\/span><span class=\"\">naus\u00e9abondes <\/span><span class=\"\">des tanneurs. Mais <\/span><span class=\"\">lorsque l\u2019intrigue romanesque commence, <\/span><span class=\"\">ce refuge <\/span><span class=\"\">inond\u00e9 de lumi\u00e8re, <\/span><span class=\"\">o\u00f9 l\u2019on entend<\/span><span class=\"\"> voler<\/span><span class=\"\"> les mouches, <\/span><span class=\"\">est d\u00e9j\u00e0 condamn\u00e9. Michel Jullien choisit en effet le moment pr\u00e9cis o\u00f9, \u00e0 Mayence, <\/span><span class=\"\">dans le <\/span><span class=\"\">lointain <\/span><span class=\"\">Saint Empire Romain Germanique<\/span><span class=\"\">, <\/span><span class=\"\">un certain <\/span><span class=\"\">Johannes Gensfleisch zur Laden zum Gutenberg met au point l&#8217;imprimerie. L&#8217;auteur s&#8217;amuse de ce patronyme \u00e0 <\/span><span class=\"\">rallonge<\/span><span class=\"\">, <\/span><span class=\"\"><i class=\"\">\u00ab \u00e0 croire [qu&#8217;il] fut forg\u00e9 par l&#8217;addition al\u00e9atoire d&#8217;une suite de caract\u00e8res mobiles \u00bb<\/i><\/span><span class=\"\">, comme si l&#8217;inventeur portait en lui <\/span><span class=\"\">l\u2019empreinte<\/span><span class=\"\"> de <\/span><span class=\"\">sa propre<\/span><span class=\"\"> invention. Cette ironie laisse pourtant place \u00e0 une m\u00e9lancolie plus profonde : ce que raconte <\/span><em class=\"\"><span class=\"\">Esquisse d&#8217;un pendu<\/span><\/em><span class=\"\">, <\/span><span class=\"\">ce sont <\/span><span class=\"\">les derniers <\/span><span class=\"\">soubresauts<\/span><span class=\"\"> \u00e9<\/span><span class=\"\">clatants <\/span><span class=\"\">d&#8217;un <\/span><span class=\"\">monde<\/span> <span class=\"\">qu<\/span><span class=\"\">e l\u2019arriv\u00e9e prochaine de cette technique<\/span> <span class=\"\">r\u00e9volutionnaire <\/span><span class=\"\">va engloutir<\/span><span class=\"\">.<\/span><\/p>\n<p class=\"\" align=\"justify\"><span class=\"\">Chez Michel Jullien, le lexique est chirurgical pour mieux rendre compte de cet artisanat minutieux des copistes o\u00f9 chaque trait de calame devait \u00eatre pens\u00e9 avant d\u2019\u00eatre ex\u00e9cut\u00e9. Le texte s&#8217;attarde sur les peaux gratt\u00e9es, la rigidit\u00e9 ou la souplesse des v\u00e9lins selon l\u2019\u0153uvre \u00e0 r\u00e9aliser, le tra\u00e7age millim\u00e9tr\u00e9 des lignes pr\u00e9paratoires, la collecte et la taille scrupuleuse des plumes. Cette pr\u00e9cision du vocabulaire dit aussi le degr\u00e9 d&#8217;excellence auquel parvenaient ces artisans, dont la ma\u00eetrise technique confinait \u00e0 l&#8217;art. Chaque geste relevait d&#8217;un tr\u00e8s long apprentissage, souvent celui d\u2019une vie, et d&#8217;une intelligence des mati\u00e8res. La moindre faute d\u2019inattention, la moindre rature, se payaient au prix fort, annihilant des mois de travail. Ainsi, on d\u00e9couvre avec \u00e9merveillement le choix et le dosage pr\u00e9cis des encres : <i class=\"\">\u00abMaroise faisait les encres [\u2026]. Elle broyait les noix dans un mortier de terre cuite, noyait le substrat dans un peu d\u2019eau, ajoutait un quart de d\u00e9 d\u2019huile, laissait mac\u00e9rer le m\u00e9lange durant six jours au cours desquels elle devait le fouetter de demi en demi-journ\u00e9e [\u2026] Le septi\u00e8me jour, pas avant, elle ajoutait au filtrat la dose utile de sulfate de cuivre r\u00e9duit en poudre, le plus ou le moins donnant la couleur selon que l\u2019encre devait servir \u00e0 la calligraphie de principe &#8211; la plus usuelle, celle des lettres, relev\u00e9e d\u2019un peu de noir de fum\u00e9e -, selon qu\u2019elle \u00e9tait destin\u00e9e aux fioritures, aux palmettes \u00e0 teinte brune, aux frises zoomorphes et v\u00e9g\u00e9tales, ocre, mises en marge. \u00bb <\/i>Cisel\u00e9 parfois jusqu\u2019\u00e0 la pr\u00e9ciosit\u00e9, le style de Jullien restitue un univers o\u00f9 le copiste appara\u00eet comme un <i class=\"\">\u00aburgentiste de la lenteur \u00bb<\/i>. <\/span><\/p>\n<p class=\"\" align=\"justify\"><span class=\"\">Au-dessus de cet univers d&#8217;encre et de <\/span><span class=\"\">patience<\/span><span class=\"\"> se dresse <\/span><span class=\"\">cependant<\/span><span class=\"\"> l\u2019ombre <\/span><span class=\"\">port\u00e9e<\/span><span class=\"\"> du <\/span><span class=\"\">terrifiant <\/span><span class=\"\">gibet de Montfaucon, <\/span><span class=\"\">situ\u00e9 <\/span><span class=\"\">aux marges de la cit\u00e9<\/span><span class=\"\">. La description qu\u2019en fait Michel Jullien dans un saisissant premier chapitre rel\u00e8ve <\/span><span class=\"\">autant du manuel d\u2019architecture <\/span><span class=\"\">que du <\/span><span class=\"\">gothique<\/span><span class=\"\">. Tout y est d\u00e9peint dans le <\/span><span class=\"\">moindre <\/span><span class=\"\">d\u00e9tail, jusqu&#8217;\u00e0 l&#8217;\u00e9c\u0153urement de la chair supplici\u00e9e. <\/span><span class=\"\">C<\/span><span class=\"\">e colosse de pierres, de poutres, <\/span><span class=\"\">de poulies et d\u2019\u00e9chelles <\/span><span class=\"\">savamment agenc\u00e9s <\/span><span class=\"\">&#8211;<\/span><span class=\"\"> qualifi\u00e9 <\/span><span class=\"\"><i class=\"\">d&#8217;\u00ab IKEA du Haut Moyen \u00c2ge \u00bb &#8211; <\/i><\/span><span class=\"\">terrifia<\/span><span class=\"\"> Paris pendant plus de cinq cents ans. <\/span><span class=\"\">L\u00e0 \u00e9taient pendus tous les condamn\u00e9s, <\/span><span class=\"\">selon un agencement strict, <\/span><span class=\"\">de la racaille de bas \u00e9tage aux nobles accus\u00e9s de trahison. Dans le roman<\/span><span class=\"\">, <\/span><span class=\"\">ce gibet de triste m\u00e9moire<\/span><span class=\"\"> devient le symbole tragique d&#8217;un basculement d&#8217;\u00e8re : \u00e0 la silhouette d<\/span><span class=\"\">e <\/span><span class=\"\">ce<\/span><span class=\"\">s<\/span><span class=\"\"> pendu<\/span><span class=\"\">s <\/span><span class=\"\">livr\u00e9s aux corneilles<\/span><span class=\"\">, oscillant au vent, r\u00e9pond la figure d<\/span><span class=\"\">es<\/span><span class=\"\"> scripteur<\/span><span class=\"\">s<\/span> <span class=\"\">qui seront <\/span><span class=\"\">bient\u00f4t <\/span><span class=\"\">balay\u00e9<\/span><span class=\"\">s<\/span><span class=\"\"> par l&#8217;histoire. <\/span><span class=\"\">Ce vertige<\/span><span class=\"\"> l&#8217;emporte <\/span><span class=\"\">d\u2019ailleurs<\/span><span class=\"\"> sur l&#8217;intrigue elle-m\u00eame, construite autour d\u2019un myst\u00e9rieux trafic de commandes royales. Car l\u00e0 n\u2019est pas <\/span><span class=\"\">l\u2019essentiel<\/span><span class=\"\">. Seule compte en effet, en filigrane de ce tableau \u00e9<\/span><span class=\"\">rudit<\/span><span class=\"\">, cette intuition que <\/span><span class=\"\">le philosophe allemand <\/span><span class=\"\">Walter Benjamin <\/span><span class=\"\">a formalis\u00e9 <\/span><span class=\"\">des si\u00e8cles plus tard <\/span><span class=\"\">dans <\/span><span class=\"\">son trait\u00e9<\/span><span class=\"\"> \u00ab\u00a0L\u2019oeuvre d\u2019art \u00e0 l\u2019\u00e9poque de sa reproductibilit\u00e9 technique\u00a0\u00bb (1935)<\/span><span class=\"\"> : la perte de l&#8217;unicit\u00e9 <\/span><span class=\"\">de l\u2019oeuvre <\/span><span class=\"\">et de <\/span><span class=\"\">son \u00ab\u00a0<\/span><span class=\"\">aura\u00a0\u00bb <\/span><span class=\"\">par la <\/span><span class=\"\">multiplicit\u00e9<\/span><span class=\"\">. <\/span><span class=\"\">L\u2019av\u00e8nement de l<\/span><span class=\"\">&#8216;imprimerie <\/span><span class=\"\">n\u2019a pas tu\u00e9<\/span><span class=\"\"> le <\/span><span class=\"\">pr\u00e9cieux manuscrit<\/span><span class=\"\">\u00a0: elle l\u2019<\/span><span class=\"\">a<\/span> <span class=\"\">multipli<\/span><span class=\"\">\u00e9<\/span><span class=\"\"> \u00e0 l\u2019infini<\/span><span class=\"\">, <\/span><span class=\"\">et<\/span><span class=\"\">, ce faisant, elle <\/span><span class=\"\">a \u00e9teint<\/span><span class=\"\"> la voix singuli\u00e8re de son cr\u00e9ateur.<\/span><\/p>\n<p class=\"\" align=\"justify\"><span class=\"\">T<\/span><span class=\"\">oute innovation ouvre un monde autant qu&#8217;elle en referme un autre. <\/span><span class=\"\">Mais e<\/span><span class=\"\">n redonnant v<\/span><span class=\"\">ie<\/span><span class=\"\"> \u00e0 ces artisans du silence, <\/span><span class=\"\">Michel Jullien<\/span><span class=\"\"> rappelle que certaines formes d&#8217;intelligence ne se transmettent qu&#8217;\u00e0 la vitesse d&#8217;une main. <\/span><span class=\"\"><i class=\"\">\u00ab\u00a0<\/i><\/span><span class=\"\"><i class=\"\">Le prix du temps\u00a0\u00bb<\/i><\/span><span class=\"\">, \u00e9crit-il.<\/span> <em class=\"\"><span class=\"\">Esquisse d&#8217;un pendu<\/span><\/em><span class=\"\"> est une m\u00e9ditation sur la fragilit\u00e9 des civilisations techniques. \u00c0 l&#8217;heure o\u00f9 d&#8217;autres r\u00e9volutions bouleversent \u00e0 nouveau notre rapport \u00e0 l&#8217;\u00e9criture, cette <\/span><span class=\"\">ode aux<\/span><span class=\"\"> derniers copistes acquiert une r\u00e9sonance <\/span><span class=\"\">particuli\u00e8re<\/span><span class=\"\">.<\/span><\/p>\n<p class=\"\" align=\"justify\"><span class=\"\">Aude Seyssel<\/span><\/p>\n<p align=\"justify\">&gt; <a href=\"https:\/\/editions-verdier.fr\/livre\/esquisse-dun-pendu\/\">https:\/\/editions-verdier.fr<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Etre copiste au Moyen-Age fut, avant tout, une discipline du corps. Durant des si\u00e8cles, le silence des ateliers de scribes ne fut interrompu que par le crissement de la plume sur le parchemin, les soupirs de lassitude, les b\u00e2illements de fatigue et le craquement des tabourets. Les copistes m\u00e9di\u00e9vaux, riv\u00e9s \u00e0 leur lectrin, ce pupitre [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":10194,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1167],"tags":[1494],"class_list":["post-10193","post","type-post","status-publish","format-standard","has-post-thumbnail","category-livre","tag-roman"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>[\u00c9d. Verdier] \u00ab Esquisse d\u2019un pendu \u00bb de Michel Jullien - GREAT-ARTMAG<\/title>\n<meta name=\"description\" content=\"C&#039;est une civilisation de la lenteur o\u00f9 chaque mot engageait autant la main que l\u2019esprit, que Michel Jullien ressuscite.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/ed-verdier-esquisse-un-pendu-michel-jullien\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[\u00c9d. Verdier] \u00ab Esquisse d\u2019un pendu \u00bb de Michel Jullien - GREAT-ARTMAG\" \/>\n<meta property=\"og:description\" content=\"C&#039;est une civilisation de la lenteur o\u00f9 chaque mot engageait autant la main que l\u2019esprit, que Michel Jullien ressuscite.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/great-artmag.com\/en\/ed-verdier-esquisse-un-pendu-michel-jullien\/\" \/>\n<meta property=\"og:site_name\" content=\"GREAT-ARTMAG\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-24T05:15:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/great-artmag.com\/wp-content\/uploads\/2026\/08\/esquisse-pendu.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1125\" \/>\n\t<meta property=\"og:image:height\" content=\"629\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Aude Seyssel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Aude Seyssel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/ed-verdier-esquisse-un-pendu-michel-jullien\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/ed-verdier-esquisse-un-pendu-michel-jullien\\\/\"},\"author\":{\"name\":\"Aude Seyssel\",\"@id\":\"https:\\\/\\\/great-artmag.com\\\/en\\\/#\\\/schema\\\/person\\\/631ff5587ce3a0b7471fab3e51138f54\"},\"headline\":\"[\u00c9d. 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