[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 Château of Sablé, belonging to the Marquis of Rougé; 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 Rougé; the admirable engraving of Van Schupen may take its place.
[152] In the Museum.
[153] In the Museum, and engraved by Gérard Edelinck.
[154] La Gloire du Val-de-Grâce, in 4to, 1669, with a frontispiece and vignettes. Molière 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-grâce 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.