At the far end of the room was an easel on which lay a painting, not quite finished, depicting the Empire of Flora, the original of which was by Poussin. The painter’s palette and brushes were left beside the painting. Above it, on a piece of paper, was a red chalk drawing of the painting. … I examined all of this, both from afar and up close, without finding anything worth dwelling on; but my surprise was unparalleled when, upon trying to take the drawing, I discovered that it was all a fabrication, and that the whole thing was a single painting entirely in oil. … If I were in a position to possess this painting, I would gladly give ten thousand francs for it.

From Charles de Brosses, L’Italie il y a cent ans., 1836. The painting was Antoine Fort-Bras’ 1686 Le Chevalet du peintre, now at the Calvet Museum in Avignon. Flemish painter Cornelius Gijsbrechts had pulled the same trick a decade earlier.