Abstract: Performance designs dating from first modernity often are anonymous and without caption. Usually, beyond the graphic and plastic analysis of such documents, only their close context and the extension of this “off-field” towards other iconographical and textual sets allow to envisage their identification and dating. –This article looks into one of these problematical cases and suggests, notably through two particularly near sets kept at the Louvre and Condé Museums, the hypothesis of a former prestige collection of Lorraine dating from the beginning of the seventeenth century, broken up and scattered at a later date.
