he observed that the in the Rozée signature on the end-paper of ms. 23295 main’. Also ‘z’ was conspicuously similar in shape to the in the marginal addition on page 407 (ms. ‘z’ 23296) of the phrase he noted that the author, ‘un Parisien nommé Rozée, advocat’. Then anonymous and aucune signature, mais point de discreet (‘Non seulement préface’), risked allusions fugitives à sa which allowed a calculation of when the work was ‘quelques vie’ composed: the 1620s, a decade coïncide singulièrement avec le début de la carrière ‘qui de Jean Rosée’. In the 1980s Robert Descimon took the quest further. It was through the publication of the results of his scientific approach to identifying the that a truly reliable corpus of these Seize Paris became available. Within the ranks of the was Pierre Rozée, Ligueurs Seize avocat. Descimon offered the view toute that Rozée would prove to be the – ‘sous réserve’ – Later, and on the basis of his studies of Descimon was historien anonyme. actes notariés, able to construct a family-tree showing Pierre to be the uncle of Jean, de ‘prêtre l’Oratoire’. The circle was almost complete. of will only be definitively established if it can be shown that ‘Proof’ Pierre’s authorship the handwriting in ms.10270 matches any examples of Pierre which Rozée’s signature might be located in the notarial records of the or in other records of the minutier central, municipality of Paris. Relevant features of the letter-formation in ms. 10270 are historian’s shown in Figure 3 (p. 64). At the time of writing a match has not been achieved, but the balance of probability currently seems sufficiently strong for us to be able in this thesis to regard the as indeed the work of Pierre Rozée. Histoire
main’. Also he observed that the ‘z’ in the Rozée signature on the end-paper of ms. 23295 was conspicuously similar in shape to the ‘z’ in the marginal addition on page 407 (ms. 23296) of the phrase ‘un Parisien nommé Rozée, advocat’. Then he noted that the author, anonymous and discreet (‘Non seulement aucune signature, mais point de préface’), risked ‘quelques allusions fugitives à sa vie’ which allowed a calculation of when the work was composed: the 1620s, a decade ‘qui coïncide singulièrement avec le début de la carrière de Jean Rosée’. In the 1980s Robert Descimon took the quest further. It was through the publication of the results of his scientific approach to identifying the Seize that a truly reliable corpus of these Paris Ligueurs became available. Within the ranks of the Seize was Pierre Rozée, avocat. Descimon offered the view – ‘sous toute réserve’ – that Rozée would prove to be the historien anonyme. Later, and on the basis of his studies of actes notariés, Descimon was able to construct a family-tree showing Pierre to be the uncle of Jean, ‘prêtre de l’Oratoire’. The circle was almost complete. ‘Proof’ of Pierre’s authorship will only be definitively established if it can be shown that the handwriting in ms.10270 matches any examples of Pierre Rozée’s signature which might be located in the notarial records of the minutier central, or in other records of the municipality of Paris. Relevant features of the historian’s letter-formation in ms. 10270 are shown in Figure 3 (p. 64). At the time of writing a match has not been achieved, but the balance of probability currently seems sufficiently strong for us to be able in this thesis to regard the Histoire as indeed the work of Pierre Rozée.