. According to the fact that a quarter of the collections of motets printed in France in the 17th and 18th centuries are addressed to religious people or mention them as users, this corpus is reviewed as a whole. After highlighting the musical characteristics of these publications intended for conveyor use, followed by the aspects of the resulting practice, it is then envisaged to identify in other printed collections of small numbers the resonance of this female model, which appears as a watermark, in particular through indications of possible transpositions and arrangements suggested by composers or their publishers. The confrontation of these practical, co-positional and editorial challenges thus leads to a complete reassessment of the kind of small motet and its evolution.