France. - The French paintings continued along the left wall of the gallery to the back, where was the Chapelle des morts (3292), by M. Lehenaff, returning towards the other wall to the door which communicated with the end of the dark gallery, where a few good paintings had been relegated which unfortunately could not find a place elsewhere.
We had little to quote from this gallery, which contained the principal works of M. Courbet, the painter who had the privilege of realism, according to his own posters.
A View of London (3747), and a View of the Banks of the Rhine (3742), by M. Justin Ouvrié, opened this gallery. Then came six paintings by M. Courbet, most of them already known: the Demoiselles de village (2802), the Casseurs de pierre (2801), the Cribleuses de blé (2804), the Rencontre (2803): these two works were new: two Portraits of the author (2806-2807), and the Château d'Ornans ( 2811).
Then there was a Winter in Holland (3591), by M. le Poitevin, belonging to the State; the Capture of Jerusalem (4006), by M. Signol, belonging to the house of the Emperor; the Camp of Êquihem (3407), the Port (3409) and the Camp (3406) of Ambleteuse (Pas-de-Calais) by M. Jeanron; a View of Barbison, near Fontainebleau (3509), by M. Lavieille; a Youth (3736)
by Mrs. O'Connell; the End of Autumn, by Mr. Lafage; a View of the Seine, near Villequier (3318), by Mr. Edouard Hostein; and Jesus Christ in the Garden of Olives (3394), by Mr. Jalabert.
© Guide dans le Palais de l'Industrie et des Beaux-Arts 1855