Indeed, his earliest authenticated work, signed L. L. and dated 1532, is a series of eighteen plaques of the Passion of the Lord, after Albrecht Dürer, but this influence was counterbalanced by that of the Italian masters of the school of Fontainebleau, Primaticcio, Rosso, Giulio Romano and Andrea Solari, from whom he acquired his taste for arabesque ornament and for mythological subjects.

Nevertheless, the French tradition was sufficiently ingrained in him to save him from becoming an imitator and from losing his personal style.

[1] In 1530 he entered the service of Francis I as painter and varlet de chambre, a position which he retained under Henry II.

For both these monarchs he executed many portraits in enamel—among them quite a number of plaques depicting Diane de Poitiers in various characters, plates, vases, ewers, and cups, besides decorative works for the royal palaces, for, though he is best known as an enameller distinguished for rich color, and for graceful designs in grisaille on black or bright blue backgrounds, he also enjoyed a great reputation as an oil-painter.

In the collection of Signor Rocchi, in Rome, is an exceptionally interesting plaque representing Frances I consulting a fortuneteller.