Other paintings in the same style included Henry IV Playing with His Children (1817) and the Death of Leonardo. In 1816 Ingres produced his only etching, a portrait of the French ambassador to Rome, Monsignor Gabriel Cortois de Pressigny. The only other prints he is known to have executed are two lithographs: The Four Magistrates of Besançon, made as an illustration for Baron Taylor's Voyages pittoresques et romantiques dans l'ancienne France, and a copy of La Grande Odalisque, both in 1825. In 1817 the Count of Blacas, who was ambassador of France to the Holy See, provided Ingres with his first official commission since 1814, for a painting of Christ Giving the Keys to Peter. Completed in 1820, this imposing work was well received in Rome but to the artist's chagrin the ecclesiastical authorities there would not permit it to be sent to Paris for exhibition. A commission came in 1816 or 1817 from the descendants of the Fernando Álvarez de Toledo, Duke of Alva, for a painting of the Duke receiving papal honours for his repression of the Protestant Reformation. Ingres loathed the subject—he regarded the Duke as one of history's brutes—and struggled to satisfy both the commission and his conscience. After revisions which eventually reduced the Duke to a tiny figure in the background, Ingres left the work unfinished. He entered in his diary, "J'etais forcé par la necessité de peindre un pareil tableau; Dieu a voulu qu'il reste en ebauche." ("I was forced by need to paint such a painting; God wanted it to remain a sketch.") He continued to send works to the Salon in Paris, hoping to make his breakthrough there. In 1819 he sent his reclining nude, La Grande Odalisque, as well as a history painting, Philip V and the Marshal of Berwick, and Roger Freeing Angelica, based on an episode in the 16th-century epic poem Orlando Furioso by Ariosto but his work was once again condemned by critics as gothic and unnatural. The critic Kératy complained that the Grande Odalisque's back was three vertebrae too long. The critic Charles Landon wrote: "After a moment of attention, one sees that in this figure there are no bones, no muscles, no blood, no life, no relief, no anything which constitutes imitation....it is evident that the artist deliberately erred, that he wanted to do it badly, that he believed in bringing back to life the pure