 Before I begin, I would like to thank the organizers of this annual meeting and the organizers of the session, Ana Cristina Martins and Isabel Orrieres Diaz. It's a pleasure to be with you, a pleasure and also a real challenge for me to express myself in this language today. That's why I will read my text. I hope it won't be too painful for to listen and understand me. Well, except in the restricted circle of European Hispanists and in the even smaller circle of archaeologists of Iberian culture, the name of Pierre Paris may no longer evoke many things today. Therefore, before going into the subject that will be developed here, a reminder might be necessary of who is the man that has become the object of study of the PhD I haven't taken under the direction of Professor Cohen Bonnet at the University of Toulouse. Pierre Paris was born in 1859 and died in 1931. He's a very representative and possibly a very relevant figure of the French university world of the Third Republic. For more than 40 years, he was a professor of archaeology and art history at the University of Bordeaux in the southwest of France. He lived at a key moment in the history of European archaeology, a time of strong development, professionalization and institutionalization. First, between 1882 and 1895, he devoted himself to Greek archaeology and the study of ancient Greek arts, especially its culture. Then he decided to reorient his work towards the stillness and field of Iberian proto-history before becoming interested in the Spano-Roman period and later in modern Spanish painting. Therefore, there are two aspects of Pierre Paris's life and work, the Hellenists and the Hispanists. It was his performance in this last field what allowed him to achieve the fame and recognition from his peers. Nevertheless, his biographers have shown little interest in his work as a teacher. This presentation will seek to highlight his main achievements in this field. Yet, it can be said in advance that his project had one main objective, to adapt the German model in his own university. The first contact of Pierre Paris with German science was both early and indirect, early because it dates from its formative years, indirect because it is the result of the reforms undertaken in France immediately after the defeat of Sedan against Germany in 1870. Claude Dijon, in a book published in 1959, The German Crisis of French Thought, analyzed the consequences of the Franco-Prussian War on the French university. The idea that the German victory was due to the material superiority, which was due to their spiritual superiority, had taken root. To regenerate itself, France had to do like Germany, reform the school to educate the people, reform secondary education to educate the bourgeoisie, and reform the university to educate what Dijon calls the elites of the spirits. In short, the objective was to reach the reconstruction of the national spirit imposed by the memory of defeat. The expression also comes from Claude Dijon. In 1870, Pierre Paris was 11 years old. Therefore, his education took place in the framework mentioned above. Between 1873 and 1882, he was first a student at the Saint Barb School in Paris, and then at the prestigious Ecole Normale Supérieure. The classical formation he received allowed him to learn Greek and Latin, but also to learn foreign languages, as English and German, sufficiently to read them. On the other hand, he acquired a good knowledge about what was published in Germany. Then, as a member of the French school in Athens, he could learn the particular knowledge and technical competence required by the methodical archaeology that owed a lot to German scholarly philology. In short, Pierre Paris' education had nothing to do with that of the previous generation, that of the romanticism. He was trained in the sciences of antiquity following the model of the German Altherton's Wissenschaft. After leaving the French school in Athens in 1885, Pierre Paris immediately obtained a post at the University of Bordeaux. First, as a simple lecturer, the next year as an assistant lecturer, and finally as a professor since 1882 after defending his PhD. It meant he said that beyond the solid education he had received, he was entering in the working life at an opportune moment. After the reform of the university around 1880, teaching post multiplied, especially the one of Maître de Conférence, assistant lecturer, a statute inspired by the privato centen of the German University, which was created in 1877. In 1876, a chair of Greek and Latin antiquities was created in Bordeaux and given to Maxime Collignon. But in 1883, Collignon had to replace Georges Perrault at the Sorbonne University. Officially, the teaching of archaeology and art history didn't disappear, but the departure of Collignon supposed, in fact, its end. Therefore, when Pierre Paris was appointed assistant lecturer of Greek archaeology and institutions in 1886, his superiors expected him to organize the teaching of these subjects in a lasting way, as a letter from Dean Auguste Croix to rector Henri Ouvré, a test. How was he supposed to proceed? Well, by applying the guidelines set by the direction of higher education at that moment, managed by Louis Liard, who was fully willing to support the projects of his former colleagues. He himself had been a professor of philosophy in Bordeaux. French leaders considered that the university system was too open with its public classes attended by a very diverse bourgeois public and too oriented towards rhetoric and oratory. Without breaking with a deep-rooted literary tradition, it was necessary to draw inspiration from the German model in order to encourage scholarly work in small groups with real students. In the 1880s, precisely, Bordeaux appeared in this field as a significant university, if not pioneer at least dynamic and open to these changes. Several professors had participated in observation missions in Germany and had reported on them in papers published in the Revue Internationale de l'Enseignement, created in 1881, Maxime Collignon, Camille Juliant, or Émile Durkheim, for example. Pierre Paris, therefore, could rely on this theoretical basis to organize his teaching, not in order to adopt but to adapt the German system. He had also the chance of starting his work in a new and modern facility because in 1886, the city of Bordeaux had just inaugurated a new palace of faculties, which was the result, first the creation beside the public classes open to students and diverse lessons of lectures based on the model of the German seminary, lectures that were given to a small number of students, about 10, sometimes 20, depending on the year, and in which the professor approached works of irradiation in a more practical way. For this purpose, the classes were held in the archaeological museum of the faculty created by Pierre Paris, a museum that brought together a collection of gypsum castes that covered the history of sculpture from its origins to the Roman period. Here, the source of inspiration was the Museum of the Institute of Art Archaeology founded by Adolf Michalis at the University of Strasbourg, which had become a university model of the German Empire. The catalogue of the collection was written by the professor and his students as a practical seminary work and was published in 1892. Then, with 350 pieces, the collection came to a standstill mainly because of the lack of space, a problem that would never be solved. The museum was also enriched by a donation of Mirina's terracotta by the French school of Athens, by a set of objects from the excavation of Albert Gallet in Antinopolis, in Egypt, deposited by the Ministry of Public Education, and by a deposit of antique vases and fragments of vases from the Louvre, which was used for a class on ceramics. The classes were also based on a collection of photographs that could circulate among the students, especially for the art history classes. More than 3,000 of these pictures are still preserved today. Later, Pierre Paris also used images reproduced on transparent glasses that he projected with the device, the magic lantern, and more than 1,500 of these positives on glass, ancestors of the slides, have been preserved up to our days. Thus, his teaching was at once concrete, practical, and visual. It gave an essential role to objects as historical documents, and this conception had an extension in the field of research and its diffusion. Pierre Paris was always very attentive to the illustration of quality in his publications. Pierre Paris, therefore, is part of this generation that established a permanent dialogue with German science, both from a pedagogical and a scientific point of view. His approach always mixed true admiration and criticism, and he always hoped to be able to recall and overcome it. Moreover, the German reference was not limited to the pedagogical field. Although its wide influence cannot be developed in this presentation, a few points that deserve specific treatment shall be pointed out. Pierre Paris's correspondence with the professor Emil Hübner from Berlin shows that his respect for not only science, but also German culture as a whole, reached his own family's intimate environment. Furthermore, after 1896, the relationship established with Hübner opened the way for a possible Franco-German collaboration in Spain. Pierre Paris, in fact, published several works in German journals and became involved in an ambitious project born in Leipzig under the direction of Professor Friedrich von Dunn. He was supposed to write a history of the Iberian peninsula from its origins to Christianity. But it isn't less true that the Great War marked an evident rupture in Pierre Paris's relationship with German science. The reason for his change of position is a deep-rooted patriotism, but also the intimate wounds that reached him. Indeed, two of his sons died at the front, two others were wounded. The concept, the German concept of culture, which he admired and respected so much, suddenly became synonymous with barbarism, but then times had changed. Thank you very much.