International studio (16.1902)

French Medals

de son epoque—up-to-date, in a word; to pass
over works which were not conceived with a view
to ornament, and in their stead to model specially
medals appropriate in character to the part they
were to play in setting off the modern toilette.
M. Roty was the first to understand their legiti
mate conditions, the first to realise them full) •
His native delicacy, his sentiment at once subtle
and strong, did much to support' his ambition.
Again and again, to the delight of womankind,
he has revived the smiling graces of the
eighteenth century. His success, as was only
natural, produced imitators ; and to-day, even
■n the small towns in France, one may see in
the jewellers’ windows these medal-brooches,
some the work of M. Roty himself, others by
M. Vernon, M. Prouve, or M. Yencesse—all most
attractive and appropriate articles of ornament,
and at the same time genuine works of art.
Among the articles of pure jewellery designed )
Al. Rene Lalique many are based in like manner
on the glyptic art. In addition to makers o
jewellery proper, the Universal Exhibition of 1900
revealed medallists placing their talents at the
service of clockmakers, goldsmiths, gunsmiths,

and even locksmiths. M. 1 iitisheim, of La Chaux
de Fonds, had the happy idea of applying the
medal to the ornamentation of watchcases. The
firm of Christofle was wise enough to ask M. Roty
for models of spoons, bookmarkers, and knives, also


PLAQUE 1!Y YENCESSE


BY YENCESSE

to go to M. Vernon for a commemorative goblet *
(page 27), and to M. Levillam for an ash-tray.
From M. Vernon also came a die with a frieze
of the most ingenious and charming description,
showing women working at their trades. The
breech-part of a sporting gun was quaintly and
admirably ornamented by M. Bottee, the skill
shown by the artist in the restricted and eccentri-
cally-shaped space at his disposal being quite
remarkable. Lastly, M. Alexandre Charpentier
renovated the metal-work of an apartment by
modelling, at the request of MM. Fontaine, a num-
ber of locks, door-knobs, and plates—the work
being so absolutely original that every gallery of
decorative art at once wanted copies of them.
M. Charpentier’s masterly gifts have never
perhaps been more thoroughly recognised than
on this occasion. The International Jury on

* This gablet, which represents “ The City of Paris presiding over the
great Congress of Labour at the Universal Exhibition of 1900,” is thus
described in the catalogue :—“ In the four panels, divided by festal masts,
encircled by leafy garlands, are represented—(1) The City 0/ Paris
seated on a dais beside the Seine ; the Genius of Progress is by her
side, olive-braneh in hand. The description on the pedestal—‘ Orbis
in urbe ’—alludes to the presence of the whole world, which hastened to
Paris in 1900. (2) An Artist meditating, with a book in his hand.
The inscription on the base—* Studio fama ’ (Renown by means of study)
—reminds one that man obtains distinction and fame by the cultivation
of Letters and Science and Art. (3) A Grorip of Workmen. The
inscription—‘ Lahore opes ’ (Riches from work)—suggests that from
labour alone can prosperity proceed. (4) A Labourer resting on his
plough. The inscription—‘ Aratro vita ’ (Life by the plough) recalls the
fact that agriculture, by providing for our existence, increases the pros-
perity of nations and individuals alike.”

MEDAL

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