Among the patrons of the time, Gabriel Vandages de Malapeire played an exemplary role. For the decoration of his chapel, Notre-Dame du Mont-Carmel (1671-1692), he called on the services of François de Troy from Toulouse, and the Parisian artists Charles de la Fosse (The Presentation to the temple), Gabriel Blanchard (The Purification) and Houasse. Vandages de Malapeire confronted Toulouse artists with the prestigious decorators of the Versailles salons. This gave the artists from the south a chance to prove their artistic talent. Further examples of this kind can be found in the paintings of Nicolas Tournier for Saint-Étienne and for the Pénitents Noirs, where his dark, shadowy works are displayed next to two vast baroque compositions by Aubin Vouet. There is also the example of Guy François for the Chartreux order and Lucio Verrio for the Carmes Déchaussées. Likewise, the Pénitents Blancs called on Subleyras for the decoration of their ceiling. A remarkable Descent from the cross was commissioned for the Beaumont-de-Lomagne church from Jean Jouvenet. Claude Vignon's masterpiece - The Resurrection, formerly in the church of Pompignan, is today displayed in a chapel in the Minimes quarter of Toulouse. The figure of the Augustin monk, Ambroise Frédeau, in (Saint Nicolas of Tolentino lulled to sleep by a concert of Angels) who actually worked in this museum, is no less captivating. He was both a painter and a sculptor and the museum holds a beautiful collection of his works testifying that Toulouse was indeed at the centre of intense artistic dialogue in the 17th century. One of the essential painters of the period is Nicolas Tournier. Three of his works are presented in the church (The Virgin and child, Christ descended from the cross and Christ carried to the tomb). Nicolas Tournier trained in Rome after the death of Caravaggio then came to Toulouse in 1632 where he became a representative of the French Caravaggio school: his scant composition, simplified volumes, his game of contrasts and the cold quality of light in his paintings were derived from the great 17th century Italian painter.