[146] Well appreciated by Richelieu, he preferred his esteem to his benefits. One day when an envoy of Richelieu said to him that he had only to ask freely what he wished for the advancement of his fortune, Champagne responded that if M. the Cardinal could make him a more skilful painter than he was, it was the only thing that he asked of his Eminence; but that being impossible, he only desired the honor of his good graces. Felibien, _Entretiens_, 1st edition, 4to., part v., p. 171; and de Piles, _Abrege de la Vie des Peintres_, 2d edition, p. 500.--"As he had much love for justice and truth, provided he satisfied what they both demanded, he easily passed over all the rest."--_Necrologe de Port-Royal_, p. 336. [147] See the APPENDIX. [148] The original is in the Museum of Grenoble; but see the engraving of Morin; see also that of Daret, after the beautiful design of Demonstier. [149] In the Museum of the Louvre; see also the engraving of Morin. [150] The original is now in the Chateau of Sable, belonging to the Marquis of Rouge; see the engraving of Simonneau in Perrault. The beautiful engraving of Edelinck was made after a different original, attributed to a nephew of Champagne. [151] The original is also in the possession of the Marquis of Rouge; the admirable engraving of Van Schupen may take its place. [152] In the Museum. [153] In the Museum, and engraved by Gerard Edelinck. [154] _La Gloire du Val-de-Grace_, in 4to, 1669, with a frontispiece and vignettes. Moliere there enters into infinite details on all the parts of the art of painting and the genius of Mignard. He pushes eulogy perhaps to the extent of hyperbole; afterwards, hyperbole gave place to the most shameful indifference. The fresco of the dome of Val-de-grace is composed of four rows of figures, which rise in a circle from the base to the vertex of the arch. In the upper part is the Trinity, above which is raised a resplendent sky. Below the Trinity are the celestial powers. Descending a degree, we see the Virgin and the holy personages of the Old and New Testament. Finally, at the lower extremity is Anne of Austria, introduced into paradise by St. Anne and St. Louis, and these three figures are accompanied by a multitude of personages pertaining to the history of France, among whom are distinguished Joan of Arc, Charlemagne, etc. [155] Engraved by Gerard Audran under the name of the _Plague of David_ (_la Peste de David_). What has become of the original? [156] See his _Landscape at Sunset_, and the _Bathers_ (_les Baigneuses_), an agreeable scene somewhat blemished by careless drawing. [157] It would be necessary to cite all his compositions. In his _Holy Family_ the figure of the Virgin, without being celestial, admirably expresses meditation and reflection. We lost some time ago the most important work of S. Bourdon, the _Sept Oeuvres de Misericorde_. See the APPENDIX. [158] See especially his _Extreme Unction_.