The Latter Years When the Chapelle des Nobles project ended in 1649, Lubin Baugin was at the height of his reputation. There are about thirty works that can be dated towards the end of his career, including rare mythological subjects still extant. We know that in 1650 he produced an Enlèvement d'Hélène for the Superintendent of Finances, Particelli d'Émery, for 650 livres. Same theme, same customer and same price indicate an established master. Unfortunately, what must have been a great picture has disappeared. It must have rivalled the original of the famous Bacchus and Ariadne by Guido Reni, also owned by M. d'Emery. We do know of another Ravissement d'Hélène, a tondo that possibly repeats part of the composition. Only one great (and large) mythological picture remains to reveal Baugin for the admirable painter of nudes that he was: L'Enfance de Jupiter, owned by the Musée des Beaux-Arts in Troyes. It makes one bitterly regret the disappearance of the other pictures of this type. We should also note another secular canvas, Olinde et Sophronie, recently sold by auction at Belfort. Baugin entered the newly-established Royal Academy of Painting and Sculpture in 1650, but was expelled from it in 1655 for repeated absences and differences. In this period, he seems to have simplifed his colouring, his forms became more sculptural and without his works losing their charm, his early refined grace was cast aside in favour of a more Classicist style. Works showing the great skill of which he was capable: La Vierge de Pitié, L'Allégorie des Vertus thélogales and Le Christ au tombeau, the canvas considered to be his masterpiece. We only know from texts of his involvement in the field of tapestry. Referring to L'Adoration des bergers, Jacques Thuillier explains that "it only needed this picture to show that Baugin was in fact capable of ‘great designs' for tapestry". The grisaille Moïse sauvé des eaux provides further evidence. The painter's death, in 1663, in the premises located at "rue de la Chaise in the Flemish quarter" which he occupied at the end of his career appears to confirm this tradition, as the area was close to the workshops of Raphaël de La Planche.