After earlier painting small-figured history subjects  in a style akin to the Pre-Rembrandt painters in Amsterdam, Vignon painted several superior large  figure portrayals of Biblical figures including David, Melchezedek, and the Unforgiving Servant.  In these, Vignon modulated Caravaggesque chiaroscuro with the clear colors favored by his fellow French artists working in Rome and Venice.  Equally cosmopolitan in his resources, Vignon frequently introduced decorously exotic para-historical costumes that now aligned his earlier interest in the Pre-Rembrandt school  to the work of Rembrandt himself to whose immediate circle paintings like the King Solomon were once attributed.