ioned, conceived a strong attachment and
admiration for M. de La Trappe. I wished to secure a portrait of him,
but such was his modesty and humility that I feared to ask him to allow
himself to be painted. I went therefore to Rigault, then the first
portrait-painter in Europe. In consideration of a sum of a thousand
crowns, and all his expenses paid, he agreed to accompany me to La
Trappe, and to make a portrait of him from memory. The whole affair was
to be kept a profound secret, and only one copy of the picture was to be
made, and that for the artist himself.

My plan being fully arranged, I and Rigault set out. As soon as we
arrived at our journey's end, I sought M. de La Trappe, and begged to be
allowed to introduce to him a friend of mine, an officer, who much wished
to see him: I added, that my friend was a stammerer, and that therefore
he would be importuned merely with looks and not words. M. de La Trappe
smiled with goodness, thought the officer curious about little, and
consented to see him. The interview took place. Rigault excusing
himself on the ground of his infirmity, did little during three-quarters
of an hour but keep his eyes upon M. de La Trappe, and at the end went
into a room where materials were already provided for him, and covered
his canvas with the images and the ideas he had filled himself with.
On the morrow the same thing was repeated, although M. de La Trappe,
thinking that a man whom he knew not, and who could take no part in
conversation, had sufficiently seen him, agreed to the interview only out
of complaisance to me. Another sitting was needed in order to finish the
work; but it was with great difficulty M. de La Trappe could be persuaded
to consent to it. When the third and last interview was at an end, M. de
La Trappe testified to me his surprise at having been so much and so long
looked at by a species of mute. I made the best excuses I could, and
hastened to turn the conversation.

The portrait was at length finished, and was a most perfect likeness of
my venerable friend. Rigault admitted to me that he had worked so hard
to produce it from memory, that for several months afterwards he had been
unable to do anything to his other portraits. Notwithstanding the
thousand crowns I had paid him, he broke the engagement he had made by
showing the portrait before giving it up to me. Then, solicited for
copies, he made several, gaining thereby, according to his own admission