At the Exhibition of 1829, Leon de Lora, Schinner, and Bridau, who all three occupied a great position and were, in fact, at the head of the art movement, were filled with pity for the perseverance and the poverty of their old friend; and they caused to be admitted into the grand salon of the Exhibition, a picture by Fougeres. This picture, powerful in interest but derived from Vigneron as to sentiment and from Dubufe's first manner as to execution, represented a young man in prison, whose hair was being cut around the nape of the neck. On one side was a priest, on the other two women, one old, one young, in tears. A sheriff's clerk was reading aloud a document. On a wretched table was a meal, untouched. The light came in through the bars of a window near the ceiling. It was a picture fit to make the bourgeois shudder, and the bourgeois shuddered. Fougeres had simply been inspired by the masterpiece of Gerard Douw; he had turned the group of the "Dropsical Woman" toward the window, instead of presenting it full front. The condemned man was substituted for the dying woman--same pallor, same glance, same appeal to God. Instead of the Dutch doctor, he had painted the cold, official figure of the sheriff's clerk attired in black; but he had added an old woman to the young one of Gerard Douw. The cruelly simple and good-humored face of the executioner completed and dominated the group. This plagiarism, very cleverly disguised, was not discovered. The catalogue contained the following:-- 510. Grassou de Fougeres (Pierre), rue de Navarin, 2. Death-toilet of a Chouan, condemned to execution in 1809. Though wholly second-rate, the picture had immense success, for it recalled the affair of the "chauffeurs," of Mortagne. A crowd collected every day before the now fashionable canvas; even Charles X. paused to look at it. "Madame," being told of the patient life of the poor Breton, became enthusiastic over him. The Duc d'Orleans asked the price of the picture. The clergy told Madame la Dauphine that the subject was suggestive of good thoughts; and there was, in truth, a most satisfying religious tone about it. Monseigneur the Dauphin admired the dust on the stone-floor,--a huge blunder, by the way, for Fougeres had painted greenish tones suggestive of mildew along the base of the walls. "Madame" finally bought the picture for a thousand francs, and the Dauphin ordered another like it. Charles X. gave the cross of the Legion of honor to this son of a peasant who had fought for the royal cause in 1799. (Joseph Bridau, the great painter, was not yet decorated.) The minister of the Interior ordered two church pictures of Fougeres.