282 - PRELIMINARY DESIGN FOR THE MEDAL MINTED BY THE CITY OF PARIS TO MARK THE BIRTH OF THE IMPERIAL PRINCE

PRELIMINARY DESIGN FOR THE MEDAL MINTED BY THE CITY OF PARIS TO MARK THE BIRTH OF THE IMPERIAL PRINCE Pierre-Jules CAVELIER (1814–1894) The City of Paris presents the Emperor and Empress with the cradle of the Imperial Prince. Preliminary design for the medal commemorating the birth of the Imperial Prince. Pair of plaster medallions. 1856. Diameter: 50.5 cm. Exhibition The Purple and Exile: The Young Eagle (1811–1832) and the Imperial Prince (1856–1879), Compiègne, Musée National du Château, November 25, 2004–March 7, 2005, no. 153. History The birth of the son of Emperor Napoleon III and Empress Eugénie on March 16, 1856, gave rise to a series of events and artistic productions intended to celebrate the occasion. Thus, on August 1, 1856, the City of Paris decided, at the request of Prefect Haussmann, to strike a medal commemorating the birth of the Imperial Prince as well as the presentation of his cradle, a gift from the City and now housed at the Carnavalet Museum. By a decree dated September 25, Jules Cavelier, one of the most eminent sculptors of his time, was selected for this commission. The obverse features an allegorical composition in which the child lies on a cushion upon which rests the Grand Cordon of the Legion of Honor. The entire scene is supported by an eagle with outstretched wings, while the figures of Victory and Abundance watch over the infant. The reverse depicts the cradle, beneath which are reproduced the coat of arms and motto of the City of Paris. Our work is part of a series of pieces intended to pay homage to the heir to the Empire by highlighting his dynastic role. From the moment of his birth, an iconography designed to legitimize his future power was thus established. This iconography ranges from this allegorical medal celebrating his birth to his first official portrait—inspired by Winterhalter’s model—in which he appears in his mother’s arms. However, a version with a tighter frame focused on the child tends to make him appear as the true subject of the composition. As seen in this work, he is already wearing the Legion of Honor, thus underscoring his destiny to reign. He is therefore not merely the child of the imperial couple but already embodies the future of the dynasty and the nation. The son of painter and draftsman Adrien Louis Marie Cavelier, Pierre-Jules Cavelier trained at the École des Beaux-Arts in Paris, where he was admitted on April 2, 1831. He studied under sculptor David d’Angers and painter Paul Delaroche. In 1842, he won the Prix de Rome for sculpture with a plaster work depicting Diomedes carrying off the Palladium. He resided at the Villa Medici from 1843 to 1847 as a resident artist. Upon his return to France, the works he presented at the Salon were met with great success. There, he was awarded a first-class medal and later the Medal of Honor, confirming his place among the most important sculptors of his generation. He then received numerous public commissions and created, among other works, several sculptures intended to adorn the facades of the Louvre. While many of his works were acquired by the state during the Salons, a review of the exhibition catalogs also reveals the special affection held for him by members of the imperial family. Napoleon III was among his principal supporters: several works presented at the Salon, such as *La Vérité*, were accompanied by the notation “M. de l’Empereur,” indicating that they were intended for the imperial palaces. Other works were acquired by prominent members of the Bonaparte clan. This was notably the case with the marble statue *Napoleon I the Legislator*, exhibited at the 1861 Salon and then owned by Prince Napoleon. A plaster model of this work is now preserved in the collections of the Palace of Versailles. Appointed professor at the École des Beaux-Arts in Paris in 1864, Cavelier contributed to the training of numerous artists while pursuing a particularly prolific career. On July 29, 1865, he was elected a member of the Académie des Beaux-Arts, a major recognition of his contribution to 19th-century academic sculpture. Promoted to the rank of Officer of the Legion of Honor, he was also a member of the Society of French Artists, serving as its vice president toward the end of his life. Related Works - Jules Cavelier and André Vauthier-Galle, The City of Paris Presents the Emperor and Empress with the Cradle of the Imperial Prince, 1856, double-sided bronze medal, struck, Paris, Musée d’Orsay, inv. MEDOR 161 2 (ill. 1-2). - Victor Baltard, Cradle of the Imperial Prince Louis-Napoléon (1856–1879), rosewood, silver, vermeil, bronze