in order to give consistency to the marvelous and to incite, by training, the reader to adhere to its purpose. This narrative strategy, which consists in bringing the reader to wonder about the consequences of the scientific progress through what he calls "the imminent threat of the possible", corresponds moreover completely to his literary project that he announces in his manifesto of 1909 "Of the marvelous-scientific novel and its action on the intelligence of progress". This balance between the comic, fantastic, detective and marvelous-scientific aspects that the author seeks to establish, aims to make the speculative assumptions of the story acceptable to the reader. A representation of scientific marvel: the illustrations of L'Homme truqué In the first editions of the novel, the text is accompanied by illustrations through which the artists wonder how to represent a "blind man who sees". The fusion of man and technological apparatus is confusing for these artists, who struggle to represent the mysterious electroscopes other than through the empty eyes of the hero. Thus, in March 1921, Alexandre Rzewuski, a worldly painter of the Roaring Twenties, illustrates the novel in the magazine Je sais tout while bringing a real artistic added value to the story. The artist represents the empty eye sockets of Jean Lebris in which a white enamel device is lodged. The expression of the face and the depth of the features nevertheless suggest a clairvoyance in the young man. His eyelids being ineffective to protect him from his electromagnetic visions, Prosope makes him a pair of glasses to allow his eyes to rest. His representation is also the subject of reflection by the designers. Thus, while Alexander Rzewuski was inspired by the gas masks and goggles used by soldiers on the front to give him an avant-garde look, the Milanese designer of the Italian version of 1924, Riccardo Salvadori, opted for glasses without arms that are fixed directly on his eyes. When the collection was released in bookstores, Louis Bailly illustrated the cover. It represents Jean Lebris holding a blind man's cane in the middle of luminous orbs floating around him. These circles could be inspired both by the photographs of Dr. Hippolyte Baraduc, who seeks to reveal through images the alleged odic force released by living beings, and by the research of physiologists in the 1880s on subjective vision, that is to say, on the ability of individuals to perceive luminous