in 1142/1144. The Order also obtained numerous privileges and exemptions from the papacy, providing it with the financial resources necessary for its independence and giving it freedom from the diocesan authorities, much to their displeasure. Raymond du Puy gave the Hospitaller its first statutes, bearing his name. It is very likely that there was a rule, or what served as a rule, before him, but there is no such record. What is certain is that it predates 1153. Indeed, it was approved by pope Eugene III after 1145 and before 7 July 1153, the date of his death. It is possible to say that then, and only then, did the Hospitaller become an order. Raymond also introduced the Order's Great Seal, or leaden bulla, that remained in use, with some modifications, from the 12th century until 1798. Until 1278, when Nicholas de Lorgne introduced a separate conventual bulla, there was no distinction between the seal of the Grand Master and that of the Order. The general design of the seal featured, on the obverse, the Grand Master kneeling in prayer before the patriarchal cross. This image was usually accompanied with the sacred letters alpha and omega, which referenced the Second Coming of Christ. The central image was surrounded by a legend with the Master's name followed by the official designation CVSTOS. Final years The last mention of Raymond du Puy dates from 25 October 1158 in Verona and the first mention of his successor is from 29 November 1160. According to the Cartulaire général de l'Ordre des Hospitaliers, Numbers 70, 136 and 527: History has left us with nothing on his end, whether he died during his journey or on his return to the Holy Land, we know nothing about it. He was succeeded by Auger de Balben. Representations In the rooms of the Salles des Croisades (Hall of Crusades) at the Château de Versailles, there is a full-length portrait of Raymond du Puy painted in 1842 by Alexandre Laemlein in the Third Room of the hall. In the Second Room, there are two battle scenes: Defense of Celesyria by Raymond Dupuy painted by Édouard Cibot in 1844; and Raymond of Puy takes body of Turks as prisoners by an unknown artist. Both scenes represent military action in Syria around 1130. All the representations of Raymond du Puy are works of the imagination, which are naturally not based on any