the King's chief of finance Nicolas Fouquet and completed in 1658. Louis XIV charged Fouquet with theft, put him prison, and took the building for himself. The design was strongly influenced by the classicism of François Mansart. It combined a facade dominated and rhymed by colossal classical columns, beneath a dome, imported from the Italian Baroque architecture, along with a number of original features, such as a semicircular salon which looked out on the vast French formal garden created by André Le Nôtre. Based on the success of Vaux le Vicomte, Louis XIV selected Le Vau to construct an immense new palace at Versailles, to augment a smaller palace transformed from a hunting lodge by Louis XIII. This gradually became, over the decades, the master work of the Louis XIV style. Following the death of Le Vau in 1680, Jules Hardouin-Mansart took over the Versailles project; he broke away from the picturesque projections and dome and made a more sober and uniform facade of columns, with a flat roof topped by a balustrade and row of columns (1681). He used the same style to harmonize the other new buildings he created at Versailles, including the Orangerie and the Stables. Hardouin-Mansart constructed the Grand Trianon (completed 1687), single-story royal retreat with arched windows alternating with pairs of columns, and a flat roof and balustrade. Another major new project undertaken by Louis was the construction of a new facade for the east side of the Louvre. In 1665 Louis invited the most famous sculptor architect of the Italian Baroque, Gian Lorenzo Bernini, to submit a design, but in 1667 rejected it in favor of a more sober and classical colonnade, designed by a committee of three, comprising Louis Le Vau, Charles Le Brun, and Claude Perrault. Religious architecture In the early period of his reign, Louis began building the church of Val-de-Grâce (1645–1710), the chapel of the Val-de-Grace hospital. The design was worked on successively by Mansart, Jacques Lemercier and Pierre Le Muet before being completed by Gabriel Leduc. Its picturesque tripartite facade, peristyle, detached columns, statues, and tondi, make it the most Italianate and Baroque of Paris churches. It served as the prototype for the later domes of Les Invalides and the Pantheon. The next major church built under Louis XIV was the church of (1680–1706). The nave of the church, by Libéral Bruant, was comparable to those of other churches