Another sort of publicity has been given the Forest of Fontainebleau by its association with the painters of the thirties. Theodore Rousseau, in 1836, lived at Barbison, which at that time was but a hamlet of a few houses, with no encumbering hotels, garages and merry-go-rounds as to-day. A certain Pere Ganne kept a sort of a lodging house where artists were made welcome at an exceedingly modest price. Not only the really famous and much exploited painters of the time gained fortunes here, but those of a more conservative school, who never rose to really great distinction, also drew much of their inspiration from the neighbourhood, among them Hamon, Boulanger and Celestin Nanteuil. Without having to go far to hunt up their subjects, the Forest of Fontainebleau lying near Barbison offered to painters much that was not available within so small a radius elsewhere. Diaz was here already when, in 1849, Jacque and Millet arrived upon the scene, and at more or less frequent intervals, and for more or less lengthy stays, there came Corot, Dupre and Daubigny. Just what the Barbison school produced in the way of painting all the world knows to-day, but these men were originally the target of every prejudiced critic of the Boulevards and the Faubourgs. The present day has brought its reward and appreciation, though it is the dealers who have profited--the men are dead. [Illustration: _Monument to Rousseau and Millet at Barbison_] In memory of the fame brought to this little corner of the forest in general, and to Barbison in particular, there was placed (in 1894), at the entrance to the village, a bronze medallion showing the heads of Millet and Rousseau. It was a delicate way of showing appreciation for the talents of those two great men who actually founded a new school of painting. At the other end of the forest is the little village of Marlotte, also a haven for many painters of a former day, and no less so for those of to-day. The old forest in three quarters of a century has seen itself reproduced on canvas in all its moods. No painter ever lived, nor could all the painters that ever lived, exhaust its infinite variety. Hebert in his "_Dictionnaire de la Foret de Fontainebleau_" says, rightly enough, that, with the coming of the men of Fontainebleau and its "_artist-villages_" the classic type of "Paysage d'Italie" has disappeared from the Salon Catalogues.