Leonard Forrer.

Biographical dictionary of medallists; online

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quarter of the nineteenh century. By him are several Portrait-
medallions, representing various members of the family of Baron
Bory de Saint-Vincent, 1837, and at the Salon of 1849 he exhibited
a Portrait-medallion in clay of M"*' P***.

Bibliography. — Chavignerie et Auvray, op. cU.

6ARDET, JOSEPH ANTOINE (French). Contemporary MedalHst of
themodern school of Chaplain and Roty, born at Paris in 1857 where
he died in 1891. Some of his medallic productions are exhibited at
the Luxemburg Museum, and the artist is held in great esteem.
Medal-engraving does not however seem to have been his favourite
branch, which no doubt accounts for the scarcity of his medals.
There is one at the Luxemburg Museum, a cast Portrait-medal of
the engraver, Jean Patricot, which exhibits beautiful work.

M. Roger Marx in Les Medailleurs frangais ^o/z/em/wm/n^ illustrates
a Portrait-plaque of the Comtesse J. de Chambrun, another of
M™* Ernest Hubert, and a medalet with a fine bust of M. de Krugh.

Bibliography. — R. Marx, Les McdaiUeurs franfaU depuis i/Sp, Paris, 1897. —
Id., Les Medailleurs frangais coiitentporains, Paris, 1898.

GARDET, GEORGES (French). Contemporary Sculptor and Medal-
list of considerable repute. One of his finest productions is the

G. Gardet. — The Fight (obv.).

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Plaquette illustrated here, representing Stags at fight on one side,
and at rest on the other; it was executed in commission for the

G. Gardet. — At Rest (^L.).

SocUti des Amis de la Medaille fraru^ise^ on the recommendation of
M. Roger Marx, the well-known Champion of modern French

GARDET, JEAN J>L (French). Mint-master at Morlaas, circa 1483.

GAREAU, JEAN (French). Coin-engraver at the Mint of Tours,
circa 1643.

GARIN, FRANCOIS (French). Private Master ot the Mint of Corna-
vin at Geneva from May, 1451, to January, 1453. In 1452 he was
elected Master of all the Mints north of the Alps (Savoy).

Bibliography. — D^ Lad^, Contribution d la Numismatique des Dues de Savoie,
Revue Suisse de numismatique, 1896.

GARLIEB, JOACHIM (Germ.). Mint-director of the city of Rostock,

GARMOISE, PIERRE DE LA (French). Mint-master and Coin-engrav-
er at Troyes, 1395-1417.

Bibliography. — Natalis Rondot, Les graveurs de la Monnaie de Troyes, Paris,

GARNEIRO (Bra:(il). Contemporary Medallist, whose name is
found on a masonic medal struck by the Masons of the Grand
Orient of Brazil on the occasion of the abolition of slavery in that
country and presented to their Grand Master, the Viscount of Rio
Branco, who was President of the Imperial Council at the time.
The medal is dated 1871.

Bibliography. — Marvin, Masonic Medals, Boston, 1880.

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GARNER, RICHARD (Brit,) Master of the Royal Mint, London,
anno 14 of Henry IV., 1413.

GARNIER, HENRI ADOLPflE (French), Sculptor and Medallist, of
the middle years of the nineteenth century. At the Salon of 1834
he exhibited, several Portrait-medallions, one of the finest being
that of M. Armand de Vaudricourt. Between 1830 and 1870, he
executed a large number of busts, and in 1835 a colossal statue
representing the Nymph Echo. After that date he does not seem to
have taken a very active part in the yearly art competitions, as
Chavignerie et Auvray do not mention any of his works posterior to

1835. His monument to General Marceaux, 1869, deserves recording.
This artist engraved at least two commemorative medals of the
French Revolution of 1848, one on the Republican Victory of
the 24*** of February (obv, illustrated), and the other to com-
memorate the creation of the Provisional government.

Bibliography. — Chavignerie et Auvray, op. cit. — F. de Saulcy, Souvenirs
numismatiques de la Rivolution de 1848,

GARNIER, JEAN (French), Designer and painter, 1632-1705. His
portraits of Remy, Figuel, Dantan, Balthazar, etc. served as proto-
types of medals, etc.

Bibliography. — Chavignerie et Auvray, op. cit,

GARNIER, JEAN (French). Contemporary Sculptor and Medallist.
Mr. Roger Marx, in Midailleurs modernes en France et h r^tranger,
1900, illustrates two very fine medals by this artist : Head of the
French Republic, and a St. George killing the Dragon.

6AR0F0LINI, C. A. (JtaL) Coin-engraver at the Papal Mint ot
Viterbo, circa 1800. There is a very rare Half-Scudo of the Sede
Vacante, 1799, bearing his initials C. A. G. : obv. FEDELTA —
RELIGIONE. Bust ot the Virgin, nimbed. ^L. UINCENDIO DI

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RONCIGLIONE ANNO 1799. View of the burning town; below
C. A. 6.

6ARSIDE, HENRT {Brit.^, Contemporary Numismatist and Expert
on the British Imperial and Colonial Coinage of the nineteenth
century. He resides at Accrington (Lancashire). He is the origina-
tor of a medal, engraved by Mr. John Pinches, illustrated below.

The obv. bears a portrait of Mr. Robert Trotter Hermon-Hodge,
who represented the Accrington division of Lancashire from July 1886
till July 1892.

The design of the ^ is symbolical of the Parliamentary Union
of Great Britain and Ireland.

6ARTENBER6, VON (Austr.). Mint-director at Krakau, 1765-1772.
He signed his productions V. G. or v. G.

GARZONI, ZUANO (//a/.). Rector at Cattaro, 1596-1598. His ini-
tials Z. G. appears on the coins issued during his term of office.

GAS. CA... (liaLY Signature of a Medallist, who worked at the
end of the sixteentn century. He is the author of a medal of Pope
Clement VIII. (1592-1605), with bare bust on obv. and on 1^6.
DNE.IVBE.xME. AD. TE. VENIRE. Christ walking on the sea.
Perhaps this artist is the same as Gasparo Cambi.

Bibliography. — J. B. Supino, // Medagliere Mediceo, Firenze, 1899.

6ASPARI, C0RNA6LIA (^ItaL). Mint-master at Chamb^ry, 1594-

6ASPARINI (Jial.), Gem-engraver ot the middle years of the
seventeenth century. None of his productions are of great impor-

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6ASQ, PAUL {French). Contemporary Sculptor and Medallist, born
at Dijon (C6te-d'Or) 3 1 . March i860; pupil of JoufFroy, Falgui^re,
Mercie and Hiolle, of whom a Portrait-medallion of M. Joliet is
mentioned in Art et Decoration, 1899. ^^ began in 1881 to exhibit
at the Paris Salons, and is, since 1896, a Knight of the Legion of

6ASS, JOHANN BALTHASAR or BAPTIST {Russ). Medallist and
Coin -engraver of S* Petersburg, second half of the eighteenth cen-
tury, circa 1768-1793. He entered the S* Petersburg Mint as assis-
tant-engraver in 1768, and was raised to the post of Chief-engraver
in 1772 with a salary of 1200 roubles per annum. In 1797, his bad
state of health obliged him to resign his post and he was granted a
pension from the government. J. B. Gass worked principally for
Catherine the Great for whom hewut a number of medals commem-
orating important events of her reign, and also for the Grand Duke
Paul. I have met with the following pieces : Foundation of the
Agricultural Society of S' Petersburg, 1768; — J. W. von Schlatter
ofZurich. 1768 (I^. only); — The Peter the Great Memorial of
S* Petersburg, 1770; — Count Alexis Gregorewitch Orlow, 1770;
— Conquest of Georgia ; — Lanskoy, the celebrated favourite of
Catherine II. ; — Apraxin ; — Bensman ; — Peace with Turkey ; —
Peace between Sweden and Russia, 1790 ; — Portrait-medal of
Baron G. von Asch ^L. Hygiaea, MDCCLXX.

The Hermitage, and the University of S* Petersburg collections
contain thirty-two medals by this artist.

J. B. Gass signed his works IBG.

Bibliography. — Bolzenthal, op. cit, — Ad. Hess l^aichL, Reininianii Sale Cata-
logtte, no 8016. — lOniH hbepceiia, ciOBAPb MEaA.ibEPOBT> II APynixi*
.iHU'b, St Petersburg, 1874. — H3o6p. Bi, Co6p. PyccK. Me^., Bua- —
Schlickeysen-Pallmann, op. cit. — Iversen, MedailUii auf die Thaten Peters des
Grossen, S* Petersburg, 1872. — Nagler, Monogrammisten,

GASS, P. W. (Russ.). Son of the preceding, and also a Medallist.
He resided at S' Petersburg and was employed at the Mint there in
the capacity of Coin-engraver and Meaallist from 1 787 ; pupil of
his father and of the Mineralogical College of S* Petersburg. In 1794
he entered upon the definite service of the Government, but died three
years after, in October 1797. By him are a number of historical
medals and portrait-pieces of Russian celebrities, including several
types of Peter the Great and Catherine II. Most of these medals are
found in the Imperial Hermitage and in the Collection of the
S* Petersburg University.

Bibliography. — As above.

GASTALDO, ROLANDO (Ital.). Mint-master at Dezana, 1 580-1586,
and before, circa 1578, atS* Beninge de Fruttuaria, and Frinco. His

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initials R.G. appear at the end of the legends on coins of the
Counts of Dezana.
BiBUOGRAPHY. — Schlickeysen-Pallmann, op. cit. — Nagler, MoiK^rammisten,

GA8TAUDI, GIAN PIETRO (JtaL), Mint-master at Turin, 15 17-

of the second half of the nineteenth century ; pupil of Rude, Sarto-
ris and Menard. At the Salon of 1874 he exhibited a Portrait-
medallion of a young lady, which is not the only work of the
kind executed by this artist.

Bibliography. — Chavignerie et Auvray, op. cit.

GATET., ANDR£ (^French), Die-sinker at Lyons, . . 1693-1713, was
employed at the Mint there as Engraver, and cut the dies for a
coinage in 1709. He also executed medals, jetons, and seals.

Bibliography. — N. Rondot, Lts Graveurs de Lyon, Mflcon, 1897.

GATTEAUX, JACQUES fiDOUARD {French). Sculptor and Medallist,
son of N. M. Gatteaux, was born at Paris on the 4*^ November

• j»* km.*

1788, where he died on the 9*** February, 188 1. He learned medal-
engraving with his father, and sculpture under Moitte. In 1809, he

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obtained the Frix de RouUy and as a jpujpil of the French Academy
at Rome, greatly distinguished himseli. On his return tc France he
was called to the office of Medallist to Louis XVIII. and executed a
number of fine medals on the Peace of 1814, the Holy Alliance and
Portrait-medallions of contemporaneous celebrities.

Edouard Gatteaux's first medal commemorates the capitulation
of Mantua, 1797 {illustrated) y of which there are two vatieties ;
it was executed in 1807.

Capitulation ot Mantua, by E. Gatteaux.

In 1809, his medal representing *^Mars followed by Victory"
won for him the Prix de Rome. In 182^, he received a medal, and
again in 183 1 ; knighted in 1833, and elected a Member of the
Institute in 1845 ; in 1855 he was granted a medal of the first class
and in 1861 was created an officer of the Legion of Honour.

Between 1807 ^^^ ^^47, when he appears to have engraved his
last portrait-piece, Gatteaux has executed no less than 289 medals,
amongst which are the following : Reestablishment of the French
School at Rome; — Peace of Paris, 1814, and Restoration of the
Bourbons; — Peace ofi8i5; — The Holy Alliance; — 1817, H.R.H.
Monsieur, the King's brother ; — Pierre Corneille ; — Montaigne ; —
La Fontaine ; — Malherbe ; — Richelieu ; — Buffon ; — J. F. Ducis ;

— Jean Philippe Rameau ; — Pierre Puget ; — Inauguration of the
Louis XIII. Statue onthe Place royale, 1829; — 1819, Puget; —
Rabelais ; — Haydn ; — M™' de Stael ; — Philibert de TOrme ; —
Jean Varin ; — Cassini, 1825 ; — Various jetons ; — 1824, Zamois-
ky, Polish chancellor in 1704; — Gaspard Monge, one of the
founders of the Ecole polytechnique ; — Massena, Marshal of France ;

— G. Edelinck, copper-plate engraver; — Barthelemy ; — Mirabeau ;

— Coronation of QiarlesX.; — 1827. Journey of CharlesX. through
the provinces; — 1833, Coronation of Louis-Philippe; — Portrait
of Louis-Philippe; — Lafayette ; — P. A. Delanneau, Director
of S** Barbe College; — Beethoven; — Nicolas Gatteaux; —
Taking of Antwerp Citadel ; — Prize Medal of the Ecole royale

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des Beaux- Arts; — 1835, Surrender of Antwerp Citadel ; — Por-
trait of N. Gatteaux ; — Charles Mercier-Dupaty, French Sculptor,
1825; — Duke of En^hien, 1804; — Royal Academy of Music,
1 8 16; — The Deputies of La Vendue, 1820; — Jeton of the
Chamber ot Notaries of Evreux ; — The Comte d'Artois visits the
Paris Mint, 1818; — Jean Pierre Cortot ; — Modeste Gritry, French
musician, 18 14; — Jeton of Bordeaux; — Marriage of the Prince
Royal, 1837; — 1847, Sully.

Amongst his most important works of sculpture, it may be worth
mentioning : Bust of Napoleon ; — Bust of Marie-Louise; — Stat-
ue of Chevalier d'Assas ; — Triptolemus ; — Statue of Hippolyte
Bisson, erected at Lorient, 1833 ; — Anne de Beaujeu, Duchess of
Bourbon nnd Auvergne (Luxemburg Gardens); — Miner\'a after
the Judgment of Paris, 1839 ; — Michael Angelo ; — Grand Prize
Medal for Engraving ; — &c.

In his Notice of Gatteaux, read before the *' Acad^mie des
Beaux-Arts*', M. Chaplain, makes the following remarks : *' L'acti-
viti de la gravure en m^dailles, au debut du siecle, fut longtemps
assez limit^e. Tiolier et Michaux, k qui Ion doit les monnaies de
TEmpire, celles de Louis XVIII et de Charles X, n'ont gndre fait
autre chose. Andrieux, Brenet, Caunois, Petit, ont montrd plus de
soin que d'invention originale; plus tard seulement, k T^poque oil
Domard nous a donn6 la monnaie de Louis-Philippe, on vit s'ap-
pliquer k cet art un plus grand nombre de talents. Barrep^re, Bovy,
Depaulis, Desboeufs, Gayrard. C'est dans ce milieu et i sa date

3u'il faut replacer M. Gatteaux, qui dhs le premier quart du siecle,
onnaTexempled^unesingulidreapplication. II agrav^ 289 m^dailles.
Celle de Tficole des Beaux-Arts est faite d*aprte un dessin de
M. Ingres. Toutes les autres sont exclusivement de lui, depuis la
mddaille commemorative de la capitulation de Mantoue, en 1808,
jusqu'i celle de Sully, en 1847, la dernifere qu'il ait grav6e, croyons-

*^I1 avait iondi la serie des illustrations frangaises ou galerie
mitallique ; il lui a donne un tr^s grand nombre de portraits de

f [rands homines- : Malherbe, Richelieu, Varin, Gerard Edelinck,
*abbe Barthdemy, Cassini, P. Corneille, La Fontaine, Montaigne,
Buffon, P. Puget, Rabelais, M*"*^ de Stael, Philibert de TOrme,
Mirabeau, Monge, Mass^na.

" Le critique et Tartiste itaient assez diflF^rents chez M. Gatteaux.
Le critique comprenait toutes les perfections de la Renaissance, sa
variety si vivante, el, plus tard, il s'^prit de Tart grec, alors qu'on
commenga 4 le bien connaitre, L'artiste, plus r6serv6et plus timide,
s'en tint i Tid^al que repr^sentait surtout Tart romain. Cest
dans cet esprit que sont con^ues la plupart de ses oeuvres. On
s'itonne de la riserv^e qu'il s'impose, de la prudence avec laquelle il

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imite la Renaissance. II adore I'antiquit^; mais, quand il s'en ins-
pire, il nous fait penser malgr6 nous aux podtes classiques et aux
tragedies du premier Empire. Ce qu'ii recherche avant tout, c'est
une dignit6 un peu froide, une simplicity qui pourrait ^tre plus 61i-
gante, si la vie y 6uit plus naturelle et plus sensible. "

Ot the medal struck in commemoration of the establishment of
the Architectural School of Paris, Larousse expresses the following
opinion : '* Cette m^daille, d'un module 6norme, ^tait moins un
travail de numismatique qu'un excellent morceau de sculpture. La
tfite de Philibert Delorme, representee sur la face, est, en effet, des-
sin6e et model^e avec une ampleur magistrale, qu'on rencontre
rarement dans la gravure en medailles. "

In 1835, Gatteaux obtained a medal for his exhibits at the Salon.
After that date, he seems to have taken a well-deserved rest. Better
gifted than his father, he did not, however, surpass him very much
as a medallist. His numerous works of statuary and sculpture have
bestowed upon him greater notoriety, and as a critic remarked,
" his name will ever remain amongst the most distinguished
names of French Art. "

Gatteaux was for a long period of years a member of the Consul-
tative Committee on Coinage.

He was a collector of taste, but had the sorrow to see a portion
of his art treasures destroyed during the conflagration that followed
the insurrection of 1871. At his death, he made an important
bequest to the Ecole des Beaux-Arts.

BiBuoGRAPHY. — Bolzeiithal, op. cit, — Chavignerie et Auvray, op, cil, —
D*" F. P. Weber, op, cit. — Thomsen Catalogue, — Hennin, Numismatique de la
Revolution franfaise^ Paris, 1826. — J. C. Chaplain, Notice sur M, Gatteaux, 1881 .
— Grande Encyclopedic. — Grand Dictionnaire Larousse. — Nouveau Larousse illus'

GATTEAUX, NICOLAS MARIE {French.). Medallist, born at Paris
on the 2"** of August, 1751, died there on the 24''* of June, 1832 ;
pupil of Delorme and Gros ; elected Medallist to the King in 178 1.
His father was a locksmith in poor circumstances, so that the
young artist had to work his way up by perseverance and deter-
mination of character. At the age of 17, he was left the sole
support of his family, but thanks to his happy disposition and
uncommon abilities, he soon obtained a remunerative situation as
engraver, and some years after, in 1773, he was introduced to
Decotte, Director of the Paris Medal-Mint, and engaged by him.
His first medallic work is a portrait of Louis XV., for the Series of
Kings of France.

To Gatteaux was entrusted the engraving of the Lottery tickets,
of the principal Assignats and of the Stamps of the Rigie. He is the
inventor of an ingenious machine of great service to sculptors.

L. FoBinu — Biographical Nolicts of MtdalUstt. — II. 14

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Gatteaux exhibited only once at the Salon, in 1791. His best
known medals are : Death of Louis XV. ; — Coronation of
Louis XVL ; — Foundation of a College of Surgeons; — Birth of
the Dauphin; — Invention of Balloons by Montgolfier; — Estab-

Port rail-Medal of N. M. Gatteaux, by his son E. Gatteaux.

lishment of a Lazzaretto at Marseilles; — Travels of Lape)'-
rouse ; — Opening of the Canal of Burgundy; — Federation of the
Departments of France ; — Abolition of Privileges; — Passage of
the Rhine and Danube by iMoreau, in an VIII; — Prize Medal of
the French Academy; — Medals for the United States; — Prize
Medal of the French School of Medicine, with busts of Ambroise
Pare and Andre Fernel, i -j^^Qillustrated); — Portrait-medal of Haydn,
struck to commemorate the production of his celebrated Oratorio,
The Creation ; — Comte de Maurepas ; — d'Alembert ; — Lalande;

— The Three Consuls ; — Seals of the National Assembly, of the
Conseil des Anciens, of the Conseil des Cinq-Cents; (var. of various
dates) ; — Independence of the United States of America; — FSte
des bonnes gens; — Elie de Beaumont; — Conquest of Bavaria;

— Horace Gates, 1777; — Anthony Weyne; — John Stewart,
1779; — Reestablishment of the British Roman Catholic College in
Paris, 1804(2 var.); — Aerostatic Experiments, 1783 ; — Jetons of
Languedoc, 1785; — Jeton of S* Jean, 1786; — Generality of
Orleans, 1787; — Jetons with bust of Lou is XVL, 1789 ; — French
Republic, 1797; — Ecu of the Republic or Royal Academy of
Music, 1799; — Jeton for Normandy; — Appeal Tribunal of Paris;

— Jeton of Bordeaux, with bust of Louis XVL; — Louis XVL,
Assembly of Nobles at Paris, 30'^ May, 1789; — Louis XVL

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and Necker, 1789; — Life-saving Medal to the brave Picard,
1789; — Louis XVL abandons his Privileges, 1789; —
Freedom of the Press, 1789 ; — The Raynal Agricultural Prize,
1789; — Medals of the Forts du Port aux bleds of Paris, 1789;

Medal of ihe French School of Medicine, by N. M. Gatteaux.

— Do, ofSoissons, 1790; — Confederation of the French, 1790
(4 var.); — Ticket for Civil Commissioners, 1790; — Caisse
patriotique of Paris, 179 1; — Pattern Six Livre piece of 179 1

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(2 var., one illustrated) ; — To Immortalitv, 1792 ; ~ Prize Medal
tor Virtue, LA BONNE M^RE (^ var.) ; — Tribunal de cassation of
Paris, 1794; — Jetons for the Conseil des Cinq-Cents, 1797; —

Pattern Six Livre Piece ot 1791, by N. M. Gatieaux.

The French Republic to its Defenders, 1797; — The National
Lottery, 1797; — Sciences and Arts, 1798; — The School of
Medicine of Paris, 1798 ; — Agricultural Medals of Bordeaux, Dijon
and Paris, 1798, and 1799 ; — Concert of Amateurs in Paris, 1799 >
— Burgoyne's Surrender at Saratoga, 1777; — Storming of Story
Point, N. Y., 1779; — French National Academy of Music, 1804
(2 var.). ; — Munificence of the Commerce of Bordeaux, 1807 ; —
The Grand Master of the Imperial University, 1808 (2 var.); —
J. Fernel, 1808.

This artist usually signed his name in full; but his signature
appears also in very few instances as N.GA.

Miel (^Notice sur N, M, Gatteauxy Paris, 1832) informs us that
Gatteaux engraved no less than 289 medals between 1773 and
1802, and adds: « Les ouvrages de Gatteaux d^notent une imagi-
nation vive et brillante, une grande facility de composition. L'alf^-
gorie dont on a tant abus^, tut toujours employee par lui avec
discernement, et s'il y eut souvent recours, ce fut toujours en vue
de rendre avec nettetiet precision une idte vraie et forte. Ce qu'il
y a de remarquable, c'est que sa main ferme et soigneuse ne fut
jamais entrain^e par la vivaciti de son esprit. Prompt k concevoir,
prompt k exicuter, il n'en imprima pas moins k ses ouvrages le
caract6re de la reflexion. Tons sont rendus avec maturity ; tous
sont finis avec la plus minutieuse attention. Adroit et entrepre-
nant, il ne recula jamais devant les difficult^ quelles qu'elles
fussent; mais son courage, ainsi que son g^nie, se.iiblait croitre
avec elles. Aussi a-t-il 6tendu le domaine de son art. Tout ce qu'il
a imaging de nouveau pour perfectionner le micanisme de la gra-
vure en mddailles, a 6te gtoiralement adopts, et ce qui, avant lui.

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paraissait presque impossible, est aujourd'hui d'un usage coiirant; »
Miel mentions also Gacteaux's invention of a special type of
copying machine, which served as a prototype to our present
reducing machine. This is his description : « La gravure en
m^dailles n'itant aue la sculpture en miniature. Tart du sculpteur
ne pouvait fetre ouoli^dans les combinaisonsdueraveur-micanicien.
Personne n'ignore combien T^bauche d'un marbre est imparfaite et
p^rilleuse par le procddi de la mise h point. Gatteaux fit une
machine qui remplace avantageusement ce d^lectueux appareil, et
qui transporte sur le marbre, avec une precision math^matique, les
points correspondants du module, tout en laissant k I'auteur de la
statue la tJche vraiment cr^atrice de la terminer. Ce m^canisme a
obtenu le suffrage de la commission de sculpture de I'Acad^mie des
Beaux- Arts; plusieurs de nos plus habiles statuaires s'en servent
pour ibaucher leurs ouvrages; il a valu a son auteur, en 1819, une
midaille d'argent k Texposition des produits de Tindustrie nationale. »
Larousse, in his Grand Dictionnairty expresses his opinion of
the artist in the following manner : « Le burin de Gatteaux
est gracieux et ddicat. Ses m^dailles rappellent toutes, ou des faits
historiques, ou les traits des personnages illustres. Dans ses grandes
mddailles il a d^ploye toutes les qualites d'un statuaire de premier
ordre, et jusque dans les plus petites, son style est reste grand,
liger et simple. »

Commenting on the medallists of the latter end of the eighteenth
century, amongst whom N. M. Gatteaux and the Duviviers stand
foremost, M. Roger Marx writes : « Tout ^ Theure, ils s'attar-
daient avec d'exquises caresses de burin, i c^librer les rosifercs, la
vertu, ii conter par le menu I'existence de Louis XVI, les dicou-
vertes, les entreprises, le premier or trouv6 dans les mines d'AlIe-
mont, la construction du canal du Centre, I'invention des aerostats

[)ar MM. de Montgolfier. . . Maintenant, plus d'oeuvrcs miiries ^
oisir, plus de tranquilles images de Toisiveti royale, plus de sujets
i la Greuze, — La bonne viirey Le bon chef de famille, Le cultivateur
laborieiiXy — chers i la vieillesse sentimentale d'un si^cle corrompu.
On exigeait d'eux le souvenir h^tif des Episodes multiples de I'agi-
tation contemporaine, la figuration des rues, des places avec la
houle des foules en mouvement ; on leur demandait de revenir i
I'antique, d'abandonoer le style qui avait marqui par Tentente de

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