Acquis auprès de l'artiste à Bologne par Francesco I d'Este, duc de Modène et de Reggio (1610-1658), par l'intermédiaire de Cornelio Malvasia, en janvier 1633 ;

Collection du prince Eugène, duc de Savoie (1663-1736), dans sa résidence du Belvédère Supérieur à Vienne, répertoriée dans l'inventaire de cette collection en 1736 (la collection est ensuite achetée en bloc par Charles-Emmanuel III de Savoie en 1741 et transférée à Turin) ;

Collection Charles-Emmanuel III de Savoie duc de Savoie et prince de Piémont, au Palazzo Reale à Turin ;

Rapporté d’Italie par le général Pierre-Antoine Dupont de l’Etang (1765-1840), nommé " ministre extraordinaire provisoire du gouvernement français en Piémont" de juin à la mi-août 1800 ;

Collection du général Pierre-Antoine Dupont de l'Etang, probablement placé dans l’hôtel de Beauvau à Paris jusqu’en 1850, date de la vente de l’hôtel Beauvau;

Puis conservé par la famille de ce dernier jusqu'à ce jour ;

Collection particulière, France

Charles-Nicolas Cochin, Voyage d'Italie, ou Recueil de Notes Sur les Ouvrages de Peinture & de Sculpture, qu'on voit dans les principales villes d'Italie, Paris, 1758, vol. I, p. 9 : « Un David du Guide, fort beau »

Jérôme de La Lande, Voyage en Italie..., Genève 1786, vol. I, p. 81 (éd. 1790, vol. I, p. 138) : « Un David du Guide, semblable à celui que possède le roi de France. Il faudroit les comparer ensemble pour juger lequel est le plus beau »

Adolfo Venturi, La R. Galleria Estense à Modène, Modène, 1882, p. 185 

Stephen Pepper, Guido Reni. A complete catalogue of his works with an introductory text, Oxford, 1984, version Louvre p. 23, 216-217, mentionné sous le n° 19 B (tableau perdu)

Corentin Dury (sous la dir.), Dans l’atelier de Guido Reni, Orléans, Musée des Beaux-Arts d’Orléans, 2024-2025, p. 148 et 162 (tableau perdu)

Well documented during the artist's lifetime, this version of Guido Reni's famous composition, one of which is in the Louvre Museum (fig. 1), has finally reappeared after being hidden from view for close to 220 years. Acquired directly from the artist by Francesco d'Este, then entering the prestigious collections of Prince Eugene of Savoy and the Dukes of Savoy before being transferred to the Royal Palace of Turin (Palazzo Reale di Torino) in the 18th century, our painting was brought to France in 1800 and has remained in the family home of the heirs of General Pierre-Antoine Dupont de l'Etang until today.

Our painting illustrates the encounter between the two major trends of the Italian Seicento: Caravaggesque naturalism and the classical ideal. As with the version in the Louvre, our canvas can be considered a masterpiece of Italian painting, an essential cornerstone in the birth of classicism and the baroque.

A famous image

With this work, Guido Reni redefined the tenets of Roman painting in around 1605–1606. At the time, the late Mannerism of Girolamo Muziano's and Cavalier d'Arpino's pupils was still the norm, even though two realist currents were emerging as the avant-garde: the Bolognese artists Annibale and Agostino Carracci had just decorated the vault of the Palazzo Farnese with frescoes, reinventing the iconography of mythological subjects in a style that was both luminous and harmonious, inspired by various major Renaissance examples; Caravaggio had painted the paintings for the Cappella Contarelli between 1599 and 1602, and between 1601 and 1604 had completed the two large-format paintings in the Cappella Cerasi in Santa Maria del Popolo. On three occasions, Caravaggio treated the subject of David with the head of Goliath and at the time of Guido Reni's painting, he produced the version now in the Galleria Borghese, in which he depicts his self-portrait in the severed head of the Philistine.

The David marks a decisive moment in Guido Reni's artistic development. It belongs to the very brief stylistic phase in which he assimilated the innovations of Caravaggio's works, as illustrated by The Crucifixion of Saint Peter (Rome, Pinacoteca Vaticana, 1604-1605) and the Apostles Peter and Paul (Milan, Pinacoteca di Brera, 1605-1606). With his delicate features and almost androgynous elegance, this David is depicted in a contemplative posture, far from any triumphalism. This is one of the first times that the biblical hero is shown at rest, life-size, not in combat (1) and contemplating the head of his victim. The contrast between his pensive gaze and Goliath's bloody head highlights the hero's ambiguity, oscillating between gentleness and violence. The artist drew inspiration for the stance of the adolescent from several antique sculptures (fig. 2)(2) or Renaissance engravings, and is said to have used a lesser-known fellow artist - the ‘cavalier Bellini’ (3) as a model. If one is to believe the writings of Malvasia, he used the distinctive face of a local shopkeeper, Righettone Speziale, as a model for Goliath’s head.

It is a truly Caravaggesque approach to seek out specific physiognomies in one's own entourage or in the streets. The influence of this trend is evident in the raw realism of the severed head, the attention paid to the rendering of the paint, and the dramatic chiaroscuro that sets the figure apart from the dark background with its absence of any landscape or sky. The elegant red felt beret with a feather also belongs to the repertoire of Caravaggesque genre scenes (4). However, Reni differs from Caravaggio in his desire for idealism and harmony. Whereas the Lombard painter favoured dramatic intensity, a sombre and introspective character, the portraying of ordinary people and contrasting light, Reni sought Apollonian beauty, balanced composition and a diffused light that gently surrounds the forms.

Queste perfette idee , che vogliono mi siano   rivelate da una sognata visione beatifica, non le palasano a chi che sia,e non le scuoprono ad ogn’ altro le belle teste delle statue antiche, studiandovi sopra, come per otto anni continui ho fatto io, per ogni veduta, fortificandomi nella loro stupenda armonia, ch’è quella sola, che fa questi miracoli ?

“Some say that this idea perfetta was revealed to me during a beatific vision. But how is it that such visions only come to those who study the beautiful figures of ancient statues, as I did for eight consecutive years from every angle, strengthening my soul with their stupendous harmony, which is the only way to make such miracles?”

With this formula, given to Malvasia (5) after the artist’s return to Bologna, Guido Reni proclaimed himself the heir to the idea of ideal beauty, defined by Greco-Roman antiquity and renewed by the Renaissance. This classical lineage shared with Michelangelo and Raphael is evident in the resolutely sculptural treatment of the figure, whose pose is broken only by the crossing of the legs, the left foot on point, not unlike the beginnings of a dance. Bolognese classicism followed the tradition of the principles set out by the Accademia dei Carracci at the end of the 16th century in order to ennoble religious and historical subjects through formal restraint and moral elevation, while never losing touch with the real.

The David and Goliath became famous very quickly; the poet Giambattista Marino dedicated a passage to it in his Galleria in 1619. The work inspired other artists, whether they allied themselves to the Caravaggesque or the classical. Among the first, there is Artemisia Gentileschi's composition of the same subject that dates from the early 1610s (Museum of Fine Arts in Antwerp, fig. 3)(6) as well as works by Valentin de Boulogne (Madrid, Museo Thyssen-Bornemisza) Giovanni Antonio Galli, known as Spadarino, circa 1640-1650 (Bergamo, Accademia Carrara) or the anonymous painting in the Motais de Narbonne collection (7). Most of them seek to amplify the contrast in the light and borrow motifs from Reni's original composition. We should also mention the David by Elisabetta Sirani (private collection), that of Giovanni Battista Caracciolo (Galleria Borghese) and Niccolò Tornioli (private collection) (8).

The success of David continued well into the 18th century (9). One example of this is the interpretation given by Jean-Jacques Lagrenée (Caen, Musée des Beaux-Arts) in his work of 1780.

The different versions

Although our composition and that of the Louvre are almost identical, they differ in a few specific details. In the Louvre version (10), the end of the bands of the slingshot stands out against the hero's thigh. In ours, it disappears behind him. The V-shaped frame of the slingshot rests on the blue loincloth in the Parisian painting, while in our painting, it forms a ‘U’ shape and passes over the thigh, evidence of a very subtle reinterpretation. The trail of blood under Goliath's head is also different. Separated into two pools in the Parisian painting, one fairly short on the side of the support and the other under the beard, ours shows only a single vertical flow of two large droplets.

In the Louvre painting, the giant's hair is thicker and his beard fuller. The splatter of blood where the projectile struck his forehead differs, and there are slight changes in the placement of the strands of David's hair, which, in our painting, is fuller with the locks positioned differently on his right temple. There are tiny variations in the pattern on the fur of the pelt and the way the end of it falls on the blue loincloth. The feathers, the beret, the position of the feet, the sword and the right-hand side with the column and its drapery are similar. It should be noted that in the Louvre painting the stone on the ground is cut off along the bottom edge whereas in our version it is fully visible. This narrative detail is an essential one given that it is the very projectile that killed the Philistine. We can see blades of grass at the base of the column, which are absent from the Louvre version. Similarly, the quillons of the sword are fully visible here but cut off in that of the Louvre

A visual comparison of the two works, along with X-ray and infrared analyses, suggests that the two canvases, which feature the same herringbone weave, may have been painted simultaneously or in close succession. They differ in a few specific details, illustrating the freedom the artist allowed himself in producing several autograph versions. As proof of the refinement of our version, we can see that the artist used lapis lazuli blue - a very expensive material at the time - for the right-hand side of the loincloth, on either side of the fur pelt. A cleaning of the aged and yellowed varnish will reveal a brighter colour: the loincloth will regain its deep purple hue, which differs from the azurite blue of the cloak draped over the column. In the David in the Louvre, these two elements are the same colour.

The reappearance of our work comes in the wake of two recent exhibitions that have redefined the status of autograph replicas and the practices of the master's workshop: One at the 'Städel Museum in Frankfurt and the Museo del Prado in Madrid in 2022-2023, and the second at the Musée des Beaux-Arts in Orléans in 2024. Critics now accept both versions of Atalanta and Hippomenes (Naples, Museo Nazionale di Capodimonte and Madrid, Museo del Prado) as entirely original, whereas previously it was considered that the originality of one could only be accepted at the expense of the other. The same applies for the replicas of Saint Sebastian, Saint Luke and The Rape of Europa, for which several originals are accepted.

Corentin Dury, in the catalogue of the exhibition at the Musée d'Orléans published in 2024, classifies the different versions of David and variants into “typologies”. The composition of the Louvre painting determines the typology known as “Créquy” (11) to which our canvas also belongs. The copy formerly in the Liechtenstein collection in Vienna (12) is a reproduction of our painting and not of the one in the Louvre, as had been assumed until now. A replica of our composition, sold by Sotheby's in London in 1985 and again in 2012 (13) as an original work, has since been attributed to one of the master's collaborators, possibly Simone Cantarini (fig. 4). The Dupont de l'Etang provenance stated in the sale catalogue was incorrect, and the Sotheby’s painting had, in fact, no historical provenance prior to its discovery in a castle in Scotland in around 1900 (14).

The typology known as “La Vrillière” takes its name from the collector who owned another version of Reni's David, now in the Musée des Beaux-Arts in Orléans (15). (fig. 5). The most significant variation concerns the position of the severed head, which faces inwards rather than outwards. It should be noted that the lower portion (the grass, the guard of the sword) is rendered with greater precision, as has the crack that has been added to the column. This version gave rise to several workshop copies that can be found in Florence (‘Galleria degli Uffizi’, inv. 1890 no. 3830), Dresden (‘Gemäldegalerie Alte Meister’, no. 332) and Osnabrück (‘Kulturgeschichtliches Museum’, inv. JMO 1603).

The details mentioned above are exaggerated in the later Dresden painting attributed to Giovanni Francesco Gessi, where the vegetation has grown, the cracks have deepened and the bloodstains are more abundant. It should also be noted that the engraving by Giacomo Piccino (fig. 6) is not faithful to any of these versions (16).

The Orléans exhibition refers to yet another different composition as the “Volponi” type, as seen in the paintings in Urbino (Galleria Nazionale delle Marche) and Sarasota (John and Mable Ringling Museum of Art)(17).

In regards to Guido Reni’s elaboration of the subject of David and Goliath, there exists only one known preparatory drawing, kept at the Preston, Harris Museum & Art Gallery, (fig. 7).

David, a liberator and hero

In the three religions of the book, King David is regarded as the ideal monarch, pious and just, a young shepherd from the tribe of Judah who became a poet and musician king, representing the triumph of intelligence over brute force. He is described as wearing the pelt of wild beasts, a lion and a bear, that he had killed in his youth spent guarding the flock. Judaism celebrates the hero who liberated the Jewish people through his victory over Goliath. For Christian princes and sovereigns, he foreshadows the coming of Christ on Earth. Mentioned several times in the Qur'an, Islam considers Dawud to be a major prophet and an exemplary king.

The Florentine Republic made David its emblem, embodied by Michelangelo's sculpture that stands in front of the Palazzo Vecchio, alongside Donatello's Judith Beheading Holofernes. As heroes who liberated their people, David and Judith are often depicted together as pendants. Some have suggested that the painting in the Louvre was paired, in the home of its presumed first owner Ottavio Costa, with a Judith, also by Guido Reni, which has been lost and is known only from an engraving.

In the 17th century, the Counter-Reformation appropriated the biblical narrative and the moral grandeur conferred upon David to use him as the standard-bearer of the militant and triumphant Church, attributing to him a political and religious mission. Through the biblical king's struggle against the Philistine giant, the visual propaganda of the Counter-Reformation drew parallels with contemporary theological and political conflicts: King David thus came to embody the triumph of the Catholic faith over Protestantism.

The prestigious provenance

The first owner of this painting, Francesco I d'Este (1610–1658), was one of the most important patrons of the arts of his time, supporting artists and writers. He rebuilt the Este ducal collection - sold off by the Borghese family in Ferrara at the time of his birth - enriching it with Renaissance paintings, most of which were from Emilia-Romagna (18), and commissioning contemporary works (19). Two effigies of the Duke are still housed in the Galleria Estense in Modena: his portrait by Velázquez (fig. 8) and a marble bust by Bernini (fig. 9). One of his experts for works of art, Cornelio Malvasia, negotiated the purchase of the David (20) directly with the artist. Malvasia was a senator in Bologna, a general in the Papal army, then military advisor to Alfonso IV d'Este, and subsequently appointed Maréchal of the French troops in Italy. Reni was asking for 300 silver ducats, a considerable sum at the time (21) and ultimately let the painting go for 275 ducats in January 1633. Cornelio was the cousin of the more famous Carlo Cesare Malvasia (1616–1693), an Italian writer and art historian who had written a biography of Guido Reni, an artist he regarded as being at the pinnacle of Bolognese painting. Both men knew the artist well, and Cornelio was able to provide Cesare with some information about Reni's youth for his biography.

The collection of Francesco I was in a large part dispersed in the first half of the 18th century. One hundred masterpieces from the gallery of the ducal palace were sold by Francesco III d'Este in 1746 to Augustus III of Saxony and are today to be found in Dresden. Guido Reni's David had already left Modena more than forty years earlier, taken to safety at the castle of Novellara, one of the Este family's estates, where it is recorded in an inventory from the early 18th century (22).

Although born in Paris, Prince Eugene Francis of Savoy-Carignano (1663–1736, fig. 10) distinguished himself on behalf of the Habsburgs of Austria in the great battles of his time, notably against the Turks. Famous throughout Europe for his military and diplomatic successes, he was also a great patron of the arts, particularly in the field of architecture. In 1697, he commissioned Johann Fischer von Erlach to build his winter palace in Vienna and, from 1714 to 1723, he called upon von Hilderbrandt to construct the two Belvedere palaces (fig. 11), where he placed an exceptional collection of paintings.

If today we look at the remarkable collection of Flemish and Dutch paintings in the Galleria Sabauda in Turin, with works by Van Dyck and Brueghel, the collection also included major Italian and French works, including several by Guido Reni. Our painting is listed in the 1736 inventory of the collection and can be identified on the upper right-hand side of the engraving of 1734 by Salomon Kleiner that shows the imposing picture gallery of the Upper Belvedere palace (fig. 12). The display has it hanging alongside Venetian and Bolognese paintings, including Reni's Adam and Eve (Musée des Beaux-Arts, Dijon).

The exceptional collection of Prince Eugene of Savoy was purchased by his cousin Charles Emmanuel III (1701–1773) and repatriated to Turin, where it was added to the collections that he had already inherited. In the Piedmont capital, it was seen and described by Cochin and Lalande (see the select bibliography). During the occupation of the Kingdom of Piedmont-Sardinia, several works from the collection then housed in the Royal Palace of Turin were transferred to Paris(23). The most famous of these was Gerrit Dou's The Dropsical Woman (La Femme hydropique), donated by General Bertrand Clauzel to the recently opened Museum central (today the Musée du Louvre).

General Pierre-Antoine, Comte Dupont de l'Etang (1765-1840), fig. 13), was also a great military leader. He joined the revolutionary army and led a brilliant career marked by successes in the second Italian campaign, including the Battle of Marengo. On 23 June 1800, he was appointed “Ministre Extraordinaire” of the French government in Piedmont. On 15 August, he was replaced by General Jean-Baptiste Jourdan and left to fight in Tuscany. He made his way to Florence where he established a provisional government. The grateful city presented him with two large alabaster vases, which, like Reni’s David and Goliath, have remained in the Dupont de l'Etang family ever since. During the Empire, he commanded the Grande Armée and fought in Eastern Europe. He was awarded the title of “grand aigle” of the Légion d'Honneur on 11 July 1807, the year in which he purchased the Hôtel de Beauvau (fig. 14), which he would not inhabit until 1815. In early 1808, by imperial decree, he receives the title of Comte before leaving to join the Spanish campaign where he is defeated at Bailén in July. In 1814, during the First Restoration, he was appointed to the rank of minister. He was elected deputy in 1815, holding office until 1830. Our painting has remained in the direct line of descent of his daughter until today.

18th century experts and connaisseurs

If the historian Carlo Cesare Malvasia did not include the David in his history of Bolognese painting, since only works that he had seen in person were mentioned, other famous experts commented on our painting having seen it in either Vienna or Turin.

Heir to a dynasty of engravers and print publishers, Pierre-Jean Mariette (1694–1774) was one of the greatest experts of the 18th century. One of his first tasks was to catalogue the engravings in Prince Eugene's collection, on site in Vienna in 1717–1718. Having become an important advisor to the prince, he may have recommended the purchase of our painting (24). In his dictionary of artists, his Abecedario, written several decades later, he mentions the existence of two original versions of David and Goliath, one in Paris and the other in Vienna .(25)

In the accounts of their travels to Italy, when describing the collections in Turin, two French “connoisseurs” take notice. Charles-Nicolas Cochin (see the select bibliography) simply described it as “Un David du Guide, fort beau”. Joseph Jérôme Le Français de Lalande, scholar and astronomer, having seen it during his Grand Tour, mentions it in his Voyage d'un François en Italie, fait dans les années 1765 & 1766, published three years later: « Un David du Guide, semblable à celui que possède le roi de France. Il faudroit les comparer ensemble pour juger lequel est le plus beau ».

We would like to thank Professor Daniele Benati for confirming the attribution of this painting to Guido Reni, from a digital photograph, in his email of 23 April 2025.

This lot is being sold in collaboration with the Millon auction house.

This lot comes with its cultural property certificate dated July 15, 2025.

1 For example, Orazio Gentileschi's painting in the National Gallery of Ireland in Dublin dated circa 1605–1607. His famous David Contemplating the Head of Goliath in the Galleria Spada in Rome is a later work, dating from around 1615–1620.

2 Dans L’Atelier de Guido Reni, exh. cat., Musée des Beaux-Arts Orléans, France 2024, pp. 151-157. For example, le Resting Satyr after Praxiteles, that Reni would have seen at Mattei’s.

3 Ibid p. 156 and Lorenzo Pericolo, Felsina Pittrice: Volume IX: Life of Guido Reni Carlo Cesare Malvasia, London, Turnhout, 2019, p. 407, n° 573.

4 Caravaggio's pupils reproduced the hats from both of the versions of The Fortune Teller. For an analysis of this subject in relation to the painting in the Louvre, see the exhibition catalogue Corps et ombres: Caravage et le caravagisme en Europe, essay by Michel Hilaire, Montpellier, Musée Fabre; Toulouse, Musée des Augustins, 23 June to 14 October 2012; Los Angeles County Museum of Art, 11 November 2012 to 10 February 2013; Hartford, Wadsworth Atheneum Museum, 8 March to 16 June 2013, pp. 296-298.

5 Carlo Cesare Malvasia, Felsina pittrice vite de' pittori bolognesi, Tipografia Guidi all'Ancora, Bologna, 1841, parte quarta, p. 22.

6 Patrizia Cavazzini, Maria Cristina Terzaghi and Pierre Curie in Artemisia, Héroïne de l'art, exh. cat., Paris, Musée Jacquemart-André, 2025, p. 118-121.

7 Viviane Mesqui, De Vouet à Boucher. Au cœur de la collection Motais de Narbonne. Peintures françaises et italiennes des XVIIe et XVIIIe siècles, exh. cat., Orléans, Musée des Beaux-Arts 15 September to 13 January 2018, Toulouse, Fondation Bemberg, 22 February to 2 June 2019.

8 Dans L’Atelier de Guido Reni, exh. cat., Musée de Beaux-Arts, Orléans, France 2023, p.185, cat. 60.

9 Ibid pp. 183-187. See Erich Schlier, Guido Reni e l'Europa. Fama e fortuna, exh. cat., Frankfurt, 1 December 1988-26 February 1989.

10 For a summary of the Louvre painting and a list of copies see Stéphane Loire, Musée du Louvre. Département des peintures, Ecole italienne. XVIIe siècle. I. Bologne, Paris, 1996, p. 267-272.

11 Dans L’Atelier de Guido Reni, exh. cat., Musée des Beaux-Arts Orléans, France p.159-163.

12 Ibid p. 162.

13 Anonymous sale, London, Sotheby’s, 4 July 2012, n°32.

14 Dans L’Atelier de Guido Reni, exh. cat., Musée des Beaux-Arts Orléans, France p. 159-161.

15 Ibid p. 165-173.

16 Ibid p. 162-163.

17 Ibid p. 175-177.

18 Correggio, Parmigianino, Andrea del Sarto, Titian, Veronese, l’Albane, Guercino, Salvator Rosa, Holbein …

19 Giusto Sustermans, his nephew Jan van Gelder, Pierre Mignard, Jean Boulanger …

20 Cf. Cornelio Malvasia's letter of 20 January to the Duke, Arch. sudd. Lettera di Cornelio Malvasia al Duca Francesco I. Bologna, 20 Gennaio 1663, in Adolfo Venturi, La R. Galleria Estense in Modena, edited by P. Toschi, Modena, 1882, pp. 186-187: the painting is mentioned in a letter dated 20 January 1633 from Cornelio Malvasia to Francesco I d'Este, Duke of Modena, indicating that the painting of David is still for sale (implying that it is with Reni) but at the high price of 300 ducats; its value having increased by 100 ducats, or a third of its initial asking price, between Cardinal Bernardino Spada – the originator of the Spada Palace collection in Rome – seeking to purchase it a year and a half earlier and that of Malvasia. Malvasia also indicated that a copy of the painting had just been commissioned by the cardinal after he refused to pay the price for the original.

21 The high price is what the artist asked for works done entirely by his hand, without any participation of the studio. This is the same amount that Finson and Vinck demanded from the Duke of Mantua for the Judith and Holofernes by Caravaggio in 1607, and 400 ducats for The Madonna of the Rosary also in 1607. Ultimately, the Duke purchased Caravaggio’s The Death of the Virgin for 280 ducats.

22 Marchese Giuseppe Campori, Raccolta di cataloghi ed inventarii inediti di quadri, statue, disegni, bronzi, dorerie, smalti, medaglie, avorii, ecc., dal secolo XV al secolo XIX, Modena, 1870, p. 643: « Un David, alto br. 3., largo 2. On. 6., di Guido Reni », which corresponds to the dimensions of our painting (fig.12).

23 Nicole Gotteri, « Enlèvements et restitutions des tableaux de la galerie des rois de Sardaigne (1798-1816) », in the Bibliothèque de l'école des chartes, 1995, tome 153, n° 2. pp. 459-481. Regarding the David by Guido Reni, see pp.471-473.

24 Dans L’Atelier de Guido Reni, exh. cat., Musée des Beaux-Arts Orléans, France p. 162; the letter regarding the transaction of 1719 does not clearly mention the subject of the painting by Reni recommended by Mariette to Prince Eugene.

 25 Charles Philippe de Chennevières-Pointel, Anatole de Montaiglon, Abecedario de J. P. Mariette et autres 24 notes inédites de cet amateur sur les arts et les artistes, Paris, 1853-1860, p. 361: « Le jeune David debout, ayant le bras gauche appuyé sur un fust de colonne et soutenant de l'autre la teste de Goliath sur un piedestal ; gravé au burin par J. Piccino, - D'après le tableau qui étoit resté à Bologne, le Guide en ayant peint deux ; celuy-cy est présentement à Vienne, chez le prince Eugène de Savoie. - Une autre estampe en plus grand, gravé au burin par G Rousselet - d'après le tableau qui est en France et qui appartenoit au duc de Liancourt ; il est présentement au roy, - et est sur la cheminée d'une des chambres du palais du Luxembourg.- On l'a transporté à Versailles en 1743 ».