NATTER, JOHANN LORENZ (Germ.). A renowned Gem-engraver, Medallist, and Coin-engraver, born at Biberach, in Swabia (Würtemberg) in 1705, died at St. Petersburg, 27. December 1763. He was first apprenticed to a goldsmith of his native town, with whom he remained for six years; he then went to Switzerland, learned die-sinking with the Seal-engraver, Bernard Ochs, at Berne, and worked there for several years, making also a prolonged stay at Neuchâtel, as a skilled workman in the employ of the jeweller and gemengraver, Hug, who had been previously Mint-engraver at Berne. From there, he visited Italy, studied gem-engraving at Venice, practised the art with success at Florence, 1732-1735, and first obtained notoriety at Rome, by his portrait of Cardinal Albani. In 1740 he came to England, and three years after he left for Denmark, where he was much patronized by King Christian VI., for whom he not only engraved gems but also medals. From Copenhagen he went to Sweden and St. Petersburg, in company with the Nuremberg painter, Mark Tuscher. In 1751, the artist had again settled in London (Vine Street, Piccadilly) which is the address he gives in the work he published in 1754, Traité de la méthode antique de graver en pierres fines, comparée avec la méthode moderne, el expliquée en diverses planches. Three years later, Natter was appointed Chief-engraver at the Mint of Utrecht, and worked there for the Princess-Regent, widow of William IV. of Orange- Nassau, and daughter of George II. of England. I possess a letter of Natter, dated from Utrecht, 23rd July 1757, and addressed to a minister at the Dutch court, in which he complains of his emoluments being too small, and of having too little leisure to devote to gem-engraving. " M. Allamand m'écrivait que j'aurais 1000 fl. de traitement (comme on l'appelle), ce que j'avais regardé comme une esp?ce de pension, suivant la coutume d'autres Cours. A Londres, ? Copenhague, ? Stockholm, en France, etc., il y a ordinairement trois graveurs; le premier Médailleur a le titre de Esquire; sa pension monte jusqu'? 300 ?. st., maison, charbon, chandeles, tout franc ; chaque coin pour des médailles est payé ? part. Le second Médailleur copie le Portrait pour la monoye; le troisi?me graveur fait le revers, etc. " He goes on to say that in six months he has already spent 800 florins, and offers to leave his collection of gems to the Prince, providing he agrees to pay him a pension of three hundred pounds sterling for life, in which case he would also undertake to look after the Prince's cabinet. "En cette facon, " says he, "je pourrois vivre tranquillement ? La Haye, graver ? mon aise, et dessiner peu ? peu la collection enti?re. " Evidently, the artist's proposal was not taken into consideration, as within three years of that date, he was again in London, where in 1761, he received an appointment of Assistant-engraver to the Royal Mint, but in the following year he left again for Copenhagen, and thence went to St. Petersburg, dying in that city in 1763. Natter, as a Gem-engraver, surpassed most artists of his time, and perhaps even his contemporary, Jacques Guay, for whose talent he did not express great admiration. In Natter's book, Traité de la méthode antique de graver en pierres fines, we gather, says Babelon, many valuable hints on the sentiements which animated gem-engravers of the eighteenth century towards the works of the Greek and Roman glyptists. Many of these artists indulged in the deplorable pratice of inscribing famous engravers' names on ancient gems, or on their own productions. Natter, whom Mariette accused of this mischievous custom, excuses himself by saying that there is no blame attached to it as long as the modern gems are not sold for antique. " Quand bien m?me ", observes Babelon, " on admettrait la sincérité et la bonne foi de Natter et de tous les artistes, il n'en est pas moins vrai que les gemmes fausses, — car nous ne pouvons les appeler autrement au point de vue archéologique, — se sont répandues ? profusion dans le monde des amateurs et ont donné lieu, apr?s eux, ? des duperies sans fin. Les noms de Phrygillos, de Pergamos, d'Olympios, d'Onatas, de Pyrgot?le, d'Athénion, de Cronios, de Dioscoride, de Solon, d'Aspasios, d'Agathopus, dePamphile, d'Eutyches, d'Hyllus, d'Aulus, d Epitynchanus, d'Evodus, de Tryphon et de tous les autres graveurs grecs et romains connus dans les trois derniers si?cles, ont ainsi été profanés et prodigués sur des gemmes, les unes antiques, les autres modernes, qui s'étalent aujourd'hui dans toutes les collections publiques. Il faut lire dans les écrits des meilleurs juges en cette mati?re, tels que : Raoul Rochette, Panofka, Koehler, H. Brunn, Chabouillet, King, Furtwängler, Murray et vingt autres savants contemporains, les embarras et les hésitations qu'on éprouve ? se prononcer pour ou contre l'authenticité de la plupart des signatures qu'on rel?ve sur les pierres fines. Nous ne saurions songer ? entrer ici dans cet examen délicat, mais nous ne ferons aucune difficulté d'avouer que l'habileté diabolique avec laquelle ces ?uvres ou ces signatures sont gravées nous jette dans une perplexité d'autant plus grande que les pierres gravées, ? l'inverse des monnaies ou des autres monuments, n'ont jamais de patine, et qu'ainsi aucun caract?re extérieur ne rév?le, le cas échéant, leur modernité ; observez, d'autre part, que les sujets gravés sont souvent des copies d'oeuvres antiques, copies qui peuvent avoir été exécutées ? n'importe quelle époque. Pourtant, les caract?res paléographiques de l'inscription trahissent parfois la main du faussaire, comme sur la Méduse Strozzi, aujourd'hui au Musée britannique; la gemme, trouvée ? Rome au commencement du XVIIIe si?cle, est antique ; mais Natter ou l'un de ses émules y a gravé la signature ?O?ONOC, dont la modernité est révélée par la forme donnée aux caract?res. Parfois, le procédé du faussaire se trouve démasqué d'une mani?re assez inattendue. C'est ainsi qu'il existe au Musée britannique une cornaline représentant un sphinx que son style remarquable permet de classer au IVc si?cle avant notre ?re; mais, dans le champ, on a inscrit ? l'époque de la Renaissance, la signature ?AM?PO?, dans le but d'attribuer l'?uvre ? un artiste grec du nom de Thamyras. Un tel graveur n'a jamais existé. Le nom a été emprunté ? une autre gemme antique qui se trouve aujourd'hui également au Musée britannique, seulement ici, étant données la grandeur et la grossi?reté des lettres, nous sommes visiblement en présence du nom du possesseur de la gemme. C'est ce nom qui, pris pour une signature d'artiste au xXVIe si?cle, a été reproduit sur une autre gemme... Si Natter a pu écrire que l'art de graver les pierres fines est le plus pénible de tous les arts, nous pouvons, ? notre tour, sans crainte d'?tre contredit, affirmer que de toutes les branches de l'archéologie, l'étude des pierres gravées est, pour l'authenticité des monuments, la plus difficile et la plus délicate " (Babelon, La Gravure en pierres fines , 1894, p. 293). “ Although his works deceived so many of his contemporaries, they will be found on examination to differ materially from the antique, particularly in the treatment of the hair. Indeed he fell far short of the success already attained by Sirletti in the revival of the ancient style " (King, op. cit., 1872, p. 436). Natter was well versed in history and mythology, but he preferred to imitate the contemporary French painters rather than the Ancients, says Nagler. Koehler thinks he might have become one of the most celebrated artists of modern times, had he remained longer in Italy. Few Gem-engravers have shown themselves so free from what is usually termed mannerism, and he worked with a true feeling of the exigencies of the glyptic art. Baron Stosch, the famous collector, patronized Natter, who executed intagli in imitation of the antique for him ; later, the Duke of Devonshire and the Duke of Marlborough, Earl Bentinck, Lord Cavendish, and others also liberally supported him. Natter, says Marvin, was a Freemason ; he is said to have taken the rite of Strict Observance at Stockholm and St. Petersburg, and by some Zinnendorf is thought to have obtained some of his teachings from Natter; but this is doubtful ". Bibliography. — Natter, Traité de la méthode antique it graver en pierres fines comparée avec la méthode moderne, London, 1751; Suppl. 1764. — Murray and Smith, Catalogue of Engraved Gems in the British Museum, London, 1890. — Mariette, op. cit. — Brunn, op. cit. — King, op. cit. — Koehler, Abhandlung über die geschnittenen Steine mit den Namen der Künstler, St. Petersburg, 1851. — Raspe, Tassie Gems, 1791. — Furtwängler, Studien über die Gemmen mit Künstlerinschriften, Jahrbuch des kais. deutsch. archaeol. Instituts, 1888-1889. — Nagler, Allgemeines Künstler -Lexikon. — Bolzenthal, op. cit. — Franks and Grueber, op. cit. — Babelon, op. cit. — Ruding, op. cit. — Gray, op. cit. — Grueber, Guide to English Medals, 1891. — Marvin, op. cit. — Ammon, op. cit. — De Historiepenningen en Munten betrekking hebbende op het Stamhuis van Oranje-Nassau , S' Gravenhaag. — Van Loon, Beschrijving van Nederlandsche Historie-Penningen, Suppl. IV-V, 1848.
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
MORRIS, WILLIAM
MORRIS, WILLIAM (Brit.). Poet and artistic Decorator, born near London in 1834, died, 3. October 1896. He was educated at Marlborough College and Oxford, where he became intimately acquainted with Burne-Jones. In 1863 he established the business in stained glass and decorations which bears his name. Morris has been the great English exponent of the revival of artistic taste throughout Europe within the last twenty-five years, and as such his name cannot be omitted here. " He it was", says one of...
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MORRIS, WILLIAM (Brit.). Poet and artistic Decorator, born near London in 1834, died, 3. October 1896. He was educated at Marlborough College and Oxford, where he became intimately acquainted with Burne-Jones. In 1863 he established the business in stained glass and decorations which bears his name. Morris has been the great English exponent of the revival of artistic taste throughout Europe within the last twenty-five years, and as such his name cannot be omitted here. " He it was", says one of...
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MOSCA
MOSCA or (MUSCA), GIOVAN MARIA, surnamed PADOVANO (Ital.). Architect, Sculptor, and Medallist, born at Padua towards the end of the fifteenth century. He was a pupil of the sculptor Agostino Zoppo. Many of his works, executed in Italy before his settlement in Poland in 1530, may be seen at Padua and Venice. He took part in the decoration of the Chapel del Santo in St. Anthony's church at Padua; in the church of St. Agn?s is a Bas-relief : " The Judgment of Solomon " by him, and above the gate of...
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MOSCA or (MUSCA), GIOVAN MARIA, surnamed PADOVANO (Ital.). Architect, Sculptor, and Medallist, born at Padua towards the end of the fifteenth century. He was a pupil of the sculptor Agostino Zoppo. Many of his works, executed in Italy before his settlement in Poland in 1530, may be seen at Padua and Venice. He took part in the decoration of the Chapel del Santo in St. Anthony's church at Padua; in the church of St. Agn?s is a Bas-relief : " The Judgment of Solomon " by him, and above the gate of...
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MOSCETTI, CARLO
MOSCETTI, CARLO (Ital.). Medallist of the third quarter of the nineteenth century, residing at Rome. By him I have seen the following medals : Prof. Luigi Maria Rezzi, of Piacenza; — Liberation of Rome, 1870; — Medal of Merit (Roma revendicata ai suoi liberatori); — Fifth Century of the German Hospital at Rome, under Papal patronage and Austrian Imperial Presidency, 1885; — Vaccination Medal, with bust of king Umberto, 1878; — Garibaldi, 1875; — Cholera Epidemics, 1885-86; — Attempt on the life ...
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MOSCETTI, CARLO (Ital.). Medallist of the third quarter of the nineteenth century, residing at Rome. By him I have seen the following medals : Prof. Luigi Maria Rezzi, of Piacenza; — Liberation of Rome, 1870; — Medal of Merit (Roma revendicata ai suoi liberatori); — Fifth Century of the German Hospital at Rome, under Papal patronage and Austrian Imperial Presidency, 1885; — Vaccination Medal, with bust of king Umberto, 1878; — Garibaldi, 1875; — Cholera Epidemics, 1885-86; — Attempt on the life ...
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MOSER, GEORG MICHAEL
MOSER, GEORG MICHAEL (Swiss). 1706-1783. Goldsmith, Chaser, and Enameller, Gem -engraver, and Medallist, born at Schaffhausen on 17. January, 1706. His father, Michael M., was a Coppersmith of some note. With him, young Moser learned drawing and chasing. At the age of 18 he went to Geneva and applied himself there to the goldsmith's art. After a year and a half he left for Paris and London, practically without means. In England, he was first employed by a cabinet-maker, named Trotter, as a chase...
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MOSER, GEORG MICHAEL (Swiss). 1706-1783. Goldsmith, Chaser, and Enameller, Gem -engraver, and Medallist, born at Schaffhausen on 17. January, 1706. His father, Michael M., was a Coppersmith of some note. With him, young Moser learned drawing and chasing. At the age of 18 he went to Geneva and applied himself there to the goldsmith's art. After a year and a half he left for Paris and London, practically without means. In England, he was first employed by a cabinet-maker, named Trotter, as a chase...
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