Yvan Loskoutoff, the author of a previous study on the symbolism of Pope Sixtus V and the Peretti-Montalto family, brings us back to the fascinating world of papal symbolism and heraldry in the age of Pope Gregory XIII in this second volume, Un art de la Réforme catholique. This book investigates the propagandistic aspects of heraldry that intertwine with the traditions of sacred scripture, hagiography, history, and mythology, in a perfect balance between humanistic tradition and Christian interpretation. Emblematic of this complex process of cultural assimilation is that most ubiquitous symbol of the pontificate of Gregory XIII, the dragon. Loskoutoff starts with monumental decorations, engravings, and manuscripts, especially from lesser-known sources, such as those created in the circles of the Roman College. He then goes on to systematically analyze all those symbols of the Boncompagni pontificate that were also transmitted by members of the pontiff's family, including his son and cardinal nephews. The first of the three parts of this book, “Discours et Décors,” is dedicated entirely to the symbolism of the dragon, to the mottos of the pontiff connected with this mythological figure, and to the mythological and religious literary sources that justified the use of such an animal usually associated with the devil as a symbol with a positive connotation.

The second section of the book, “Les livres,” deals first with interior engraved decoration and then with the exterior appearance of printed books created during the pontificate of Gregory XIII. This section is an inventory of coats of arms, vignettes, and capitals with the attributes of the pontiff present both inside the books and in the bindings. Accurate research into even the most varied versions of the Gregorian coat of arms certainly makes this study a point of reference for anyone interested in the history of heraldry and printed books at the time of Gregory XIII and beyond. A final chapter in this section is dedicated to the creation of an “alphabet des saints” during the Gregorian pontificate. As defined by the author, the “alphabet des saints” involved creating historiated capitals with figures of saints whose name had the initial letter of the paragraph, which replaced the increasingly problematic mythological and pagan themes during the Counter-Reformation. At the same time, the author emphasizes how the legacy of the Renaissance regarding mythology influenced Gregorian symbolism.

The author's investigation is not limited only to the pontificate of Gregory XIII but also encompasses the inheritance of his relatives, to which the third part of this study, “Le Népotisme,” is dedicated. Ample space is given to the figure of the pope's natural son, Giacomo Boncompagni, the secular prince who distinguished himself for his patronage and who was certainly the most brilliant among the pope's descendants. The author portrays Giacomo, with his vast literary interests and lively character as a party organizer, as a real Renaissance prince. His intellectual stature and patronage certainly overshadowed the two less-brilliant cardinal nephews, Filippo Boncompagni and Filippo Guastavillani, to whom the second chapter of this section is devoted. The final chapter is dedicated to Teseo Aldovrandi, the pope's cousin, who commissioned the decoration of the large hall of Santo Spirito in Sassia as director of the same order.

In conclusion, though the field of papal symbolism and heraldry has not yet been addressed in its entirety, Loskoutoff's book represents a step forward. The main contribution of this work is to emphasize for the Counter-Reformation the value of Gregorian symbolism, which was important enough to influence the collective imagination of papal symbolism even in the years following the pontificate and not only within the pope's family. The author has opened up new research perspectives that frame the importance of Gregorian symbolism in a wider context.