GUILLOUET, J.-M.: FLAMBOYANT ARCHITECTURE AND MEDIEVAL TECHNICALITY. THE RISE OF ARTISTIC CONSCIOUSNESS AT THE END OF MIDDLE AGES (C. 1400-1530) Introduction 1. Technical Savoir-Faire as Historical Topic Observations on a well-known Illumination Nantes, Tours and the Master of the Munich Boccaccio Representation of a technical Gesture and Jean Fouquet’s Heritage A French 15th-Century sculptural savoir-faire Late Medieval Gothic Building Sites and Technical Innovations First Conclusions 2. Slate Inlay: A Technical History Functional Constraints Hollowed out blocks for Inlay The Practice of Preparatory Tracing Installation in the Archivolts An Operational Change at the Beginning of the 15th Century An Interruption in the History of Technique: Auxerre The Consequences of a new stereotomic System Choices of Stone Types Conclusions on Implementation 3. Social History of a Skill Traces and Remains of a Valued Procedure The Practical Geometry of a Building Site at the End of the Middle Ages and its Tools The Tools and their Uses The Prevalence of the Square The insignological Uses of the Compass The Incisions at Tours and Rouen as Illustrations of Construction Practices Workers with Stone: social History of a Technique Masons and Sculptors Stone-cutters and Carvers of Images The Socio-Professional Distinction of the Creators of the Canopies – the Case of Bourges Technical One-upmanship and Informal Hierarchies at a Building Site 4. Microarchitecture and Represented Space Architecture and Represented Space Towards 1400 in Central/Middle France: a Rupture Microarchitecture as a Locus Slate Inlay and the Depth of Fictive Space Baldachins, Canopies and Late-Medieval Sacral Regimes Monumental Syntax toward “Architectural Wit” 5. Virtuosity, Varietas and Captatio benevolentiae Slate or Glass Insertion, Admiratio and Varietas Material and Colour Contrasts during the Late Middle Ages An Incunabula of c. 1400 Slate Inlay as a “Technology of Enchantment” Late Gothic Art: A Hyper-Technical Cultural Regime 6. Conclusion Bibliography.