ABSTRACT
Marot scholars have often neglected the images which were associated with his poetry, both in manuscript and in print. This is despite the evidence of work like that of Anne-Marie Lecoq on the importance of iconographic propaganda under François I er,1 or of Myra Orth on the wealth of manuscript illumination under this reign and the next.2 Is it correct to exclude a major poet of the fi rst half of the century from the paradise of images, and to view him defi nitively as a purely verbal poet? Much work has been done on Marot and music, both on settings of his lyrics and of his psalm paraphrases; but the visual dimension awaits investigation.
