Attributions no longer accepted, and probably regarded as dubious even then were 2 Michelangelos, and 3 Leonardos. There were few works from the 15th century, except for a Giovanni Bellini. The collection reflected the general contemporary confusion outside Spain as to what the works of the great Velázquez actually looked like; the works attributed to him were of high quality but by other artists such as Orazio Gentileschi. French works, of which the catalogued collection included relatively few, included a set of the "Seven Sacraments" and 5 other works by Poussin. There were paintings by Philippe de Champaigne now in the Wallace Collection and Metropolitan Museum, and a Eustache Le Sueur which turned up in 1997 over a door in the Naval & Military Club and is now in the National Gallery. The Flemish works were dominated by Rubens with 19 paintings, including a group of 12 studies now widely dispersed, van Dyck with 10 works and David Teniers with 9. The Dutch paintings included 6 Rembrandts, 7 works by Caspar Netscher (one now Wallace Collection) and 3 by Frans van Mieris (one now National Gallery) that were more highly regarded then than they are now. There were 3 Gerrit Dous and 4 Wouwermans. Philippe's son Louis d'Orléans, religious and somewhat neurotic, attacked with a knife one of the most famous works, Correggio's "Leda and the Swan", now in Berlin, and ordered the painter Charles-Antoine Coypel to cut up all three of the great Correggio mythological works in the presence of his chaplain, which Coypel did, but saving and repairing the pieces. The "Leda" went to Frederick the Great of Prussia, the "Danäe" to Venice, where it was stolen and eventually sold to the English consul at Leghorn, and "Jupiter and Io" went to the Imperial collection in Vienna. Some of the Flemish paintings were sold at auction in Paris, June 1727. Beginning in 1785, a series of 352 engravings of the paintings were published on a subscription basis, until the series was abandoned during the Terror, by which time the paintings themselves had been sold. It was finally published in book form in 1806. These prints have greatly reduced the uncertainty that accompanies the identity of works in most dispersed former collections. There had already been many prints of the collection; the "Seven Sacraments" were especially popular among the middle classes of Paris in the 1720s.