"A gentleman of the neighbourhood, who is called Villevessin, told the Queen that he was lately at Vaux, and that in the workshop he counted nine hundred men. In order to avoid this as far as may be, you must carry out my design of putting up screens, and keeping the doors shut. I should be glad if you would advance all the work as far as possible before the season when everybody goes into the country, and I want you to avoid, as far as possible, having a large number of workpeople together."[7]
If we compare the statement made by M. de Villevessin with a note written by Foucquet on the 21st November, 1660, we may conclude that at one time there were eighteen thousand workmen occupied on the buildings and the gardens.[8]
Such works could not be kept secret. Colbert, jealous for his King and perhaps for himself, came to visit them in secret. Watel, Foucquet's steward--he who later entered the King's service, the story of whose death is well known--Watel, faithful servant, surprised Colbert making his inspection, and told his master. Foucquet took some precautions, but none the less the matter created a bad impression at Court. One day when the King, with Monsieur, was inspecting the building operations at the Louvre, he complained to his brother that he had no money to complete this great building. Whereupon Monsieur replied jokingly: "Sire, Your Majesty need only become Superintendent of Finance for a single year, and then you will have plenty of money for building."[9]
These immense works necessitated great institutions. Foucquet founded at Maincy a hospital called La Charité, where the workmen were received when they were ill.[10]
Tapestry rooms were also established at Maincy. There, according to Le Brun's designs, were executed _Les Chasses de Méléagre_ and _l'Histoire de Constantin._[11]
Le Brun himself settled at Maincy, with his wife Suzanne, in the autumn of 1658.
This great artist did not merely provide cartoons for tapestry; he decorated the ceilings of the halls of the château with allegorical paintings. Several pieces of sculpture also were executed from his drawings. Thus the four lions which are still seen at the foot of the staircase leading to the great Terrace des Grottes were designed by the painter; or, at least, so Mlle, de Scudéry says. These lions have almost human countenances. We know that the art of the eighteenth century was very free in its treatment of wild animals. The face expresses pride as well as gentleness. Lying in its innocent claws is a squirrel, pursued by a viper. Colbert again!