the time of her death, l'Aubespine's library was inventoried, and found to contain over three thousand volumes many of which were richly illustrated and personalized. Susan Groag Bell, a women's history scholar, suggests that early women book owners were significant contributors to their community's culture, because these women's books would often be circulated internationally depending on dowries and trade. Additionally, many elite women's personalized editions of books influenced Christian and social iconography. Translation Among l'Aubespine's many literary contributions, she also translated famous works into the vernacular. It has only been through recent research that her translations –praised by many of her contemporaries—have been attributed to her. She translated the first two cantos of Ludovico Ariosto's Orlando furioso and four epistles from Ovid's Heroides from Italian and Latin respectively to French. Poetry Scholar, Ann Rosalind Jones writes that the women poets of the renaissance "wrote within but against the traditions that surrounded them." L'Aubespine is an exemplar of this tension of being both within and outside of the genre. In correspondence with Ronsard, l'Aubespine calls herself the Phaeton to his French Apollo—an audacious son to a noble father—and he replies back in continuation of the mythic metaphor with: If, flying, you fall, too willing to believe me, At least you will have earned this glory for your tomb That a woman surpassed the most learned French men. This piece is exceptional, as there is little documentation of Ronsard praising women for their writing, however in this exchange through the Phaeton and Apollo metaphor, he refers to L'Aubespine as his successor. Because of her high position and her husband's income, there was not a pressing need for L'Aubespine to publish, and thus most of her work remained and circulated in manuscript form. According to scholar, Anna Kłosowska, there are only two major sources for l'Aubespine's lyric poems: a florilegium from 1718 and a posthumous volume of l'Aubespines complete works, which was lost in 1904 in a fire, though a detailed description of the volume survived. Robert Sorg first published a portion of L'Aubespine's work in 1926. L'Aubespine is not just uncommon in the support she receives from her literary counterparts, but her poetic work as a woman is also exceptional. Anna Kłosowska, writes that, "While many of l'Aubespine's Petrarchist and pious sonnets are typical for her time, in some love poems she goes blatantly against the stereotype of female modesty."Veronica Franco, a