Abstract Sébastien Leclerc’s engraving “L’Académie des sciences et des beaux-arts” of 1698 depicted an ideal academy that joined science and art in a single set of endeavors. Art historian Maxime Préaud argued that the engraving constituted Leclerc’s “testament” toward the end of his career, summarizing his work as an artist and his ambitions as a natural philosopher. This article closely examines this “testament” in the context of the intertwining roles of artists and men of science at the pre-1699 Paris Academy of Sciences. Leclerc’s engraving, and the changes it underwent in its eight different versions, reveals both his frustration with the Academy and his achievements within its constraints of originality, imagination, and patronage. Looking particularly at Leclerc’s illustrations for the Academy’s Mémoires pour servir à l’histoire naturelle des animaux (1671–76), it is argued that the Academy’s notion of illustration as an exact copy of a singular animal clashed with Leclerc’s desire to demonstrate the central role of images in creating knowledge and not simply representing it. Leclerc’s “L’Académie des sciences et des beaux-arts” takes on new significance as a regretful look at what might have been, as well as a sly commentary on what had come to be.

中文翻译：

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仿冒尸体：塞巴斯蒂安·勒克莱尔（SébastienLeclerc），解剖学以及巴黎科学院的复制艺术

摘要塞巴斯蒂安·勒克莱尔（SébastienLeclerc）于1698年创作的版画《科学与艺术的美术学院》刻画了一个理想的学院，将科学与艺术融为一体。艺术史学家马克西姆·普劳（MaximePréaud）认为，版画构成了勒克莱尔职业生涯结束时的“遗嘱”，总结了他作为艺术家的作品以及他作为自然哲学家的抱负。本文在1699年之前的巴黎科学院艺术家与科学人相互交织的角色的背景下，仔细研究了这一“遗嘱”。Leclerc的版画及其在八个不同版本中进行的更改，既显示了他对学院的挫败感，也展示了其在原创性，想象力和光顾的约束下所取得的成就。特别是看莱克莱尔为学院的《大自然纪念》（1671–76）所作的插图时，有人认为，莱昂斯学院的插图概念是奇异动物的精确复制品，与莱克莱尔渴望展示中心角色的冲突相冲突。创造知识而不是简单地代表知识的过程。勒克莱尔的《科学与艺术美术学院》具有新的意义，它遗憾地审视了可能发生的事，并对事态进行了狡猾的评论。