Studio: international art (15.1899)

The Renaissance of the Medal in France

MEDAL (OBVERSE AND REVERSE) BY A. PATEY

productions displayed for the admiration of visi-
tors at the Musee du Luxembourg. The example
set by foreign galleries bad not sufficed to break
down .the opposition ; indeed, even this simple act
of justice at the Luxembourg would possibly have
been delayed but for the Universal Exhibition of
1889, which afforded an opportunity of proving the
decline of the glyptic art since 1789, as illustrated
by the work displayed in the retrospective section,
and also—as displayed in the contemporary section
—the revival which had taken place from 1878 to
1889. It would seem that, by dint of examining
at one and the same time the productions of the
entire century, and by contrasting the glories of

the present with the poorness of the past, the public
vision gradually became clearer. Then at last the
evidence of one's eyes was not to be resisted, and
the medallists began to arouse some interest and to
receive something like justice.

The period which witnessed this change of
opinion was precisely identical with that in which
French criticism, after an interminable struggle,
succeeded in obtaining recognition of the principle
of the unity of art. Naturally the glyptic branch
of it was bound to benefit by this advance in in-
telligence ; no one hesitated to devote himself to
this work, now that its old-time credit was restored.
Moreover, what other art was there capable of
satisfying more completely the new aspirations of
the modern movement ? The glyptic art has a

MEDAL (OBVERSE AND REVERSE) BY OSCAR ROTY

is