Of the forty-eight British and twenty-one French ambassadors to the Ottoman Porte in Constantinople during the early modern period, almost no exact content of the libraries they left in the foreign capital has survived: Most did not die in Constantinople but traveled to and from Paris and London, taking their libraries with them. There is little evidence of an institutional ambassadorial library in Pera. The library of one French ambassador, however, remained there when he died on the spot in 1727, and the small or medium-sized travel library provides good insight into the selection of royal French and international law, notarial manuals, travel accounts, history, descriptions of the Ottoman Empire and its ceremonies, and works on diplomacy and exemplary letters of diplomats, which represent the professional core of it. Quite a number of items also dealt with literature, painting, and theater—Andrezel personally sponsored painters such as Jean-Baptiste Vanmour. This is not only an indication of his own preferences for leisure and pleasure but also of his importance as a representative of French proto-national culture abroad. The selection of all books is in line with the reforms strategically planned by Torcy in the Ministry of Foreign Affairs around 1710/1720.

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An Ambassador’s Library

  • Cornel Zwierlein

摘要

Of the forty-eight British and twenty-one French ambassadors to the Ottoman Porte in Constantinople during the early modern period, almost no exact content of the libraries they left in the foreign capital has survived: Most did not die in Constantinople but traveled to and from Paris and London, taking their libraries with them. There is little evidence of an institutional ambassadorial library in Pera. The library of one French ambassador, however, remained there when he died on the spot in 1727, and the small or medium-sized travel library provides good insight into the selection of royal French and international law, notarial manuals, travel accounts, history, descriptions of the Ottoman Empire and its ceremonies, and works on diplomacy and exemplary letters of diplomats, which represent the professional core of it. Quite a number of items also dealt with literature, painting, and theater—Andrezel personally sponsored painters such as Jean-Baptiste Vanmour. This is not only an indication of his own preferences for leisure and pleasure but also of his importance as a representative of French proto-national culture abroad. The selection of all books is in line with the reforms strategically planned by Torcy in the Ministry of Foreign Affairs around 1710/1720.