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C.D. Warner, et al., comp.  The Library of the World’s Best Literature.
An Anthology in Thirty Volumes.  1917.
The Portrait
By Louis de Rouvroy, duc de Saint-Simon (1675–1755)
From the ‘Memoirs’

I HAD, as I have already mentioned, 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.  1
  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 excuse I could, and hastened to turn the conversation.  2
  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, more than twenty-five thousand francs: and thus gave publicity to the affair.  3
  I was very much annoyed at this, and with the noise it made in the world; and I wrote to M. de La Trappe, relating the deception I had practiced upon him, and sued for pardon. He was pained to excess, hurt, and afflicted; nevertheless he showed no anger. He wrote in return to me, and said I was not ignorant that a Roman Emperor had said, “I love treason but not traitors;” but that as for himself, he felt on the contrary that he loved the traitor but could only hate his treason. I made presents of three copies of the picture to the monastery of La Trappe. On the back of the original I described the circumstance under which the portrait had been taken, in order to show that M. de La Trappe had not consented to it; and I pointed out that for some years he had been unable to use his right hand, to acknowledge thus the error which had been made in representing him as writing.  4

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