from the pen of Turgot became the well-known legend of this medal: "_Eripuit coelo fulmen, sceptrumque tyrannis._" The four pieces executed by Duvivier are no less remarkable for beauty and excellence of workmanship. They all figured at the exhibitions of the members of the Royal Academy of Paris, that of the Chevalier de Fleury, as mentioned before, in the exhibition of 1781, and those of of General and of Lieutenant-Colonel Washington, and Lieutenant-Colonel Howard, in that of 1789.[11] [Footnote 11: See G, page xlv.] In those by Gatteaux, the personification of America as an Indian queen with an alligator at her feet is noteworthy. With the exception of the Treaty of Commerce medal (1822), and perhaps of that of Captain Truxtun, our medals after the War of Independence were engraved and struck at home. Before that time, indeed, the one voted in 1779 to Major Henry Lee had been made by John Wright, of Philadelphia. From the close of the eighteenth century down to (p. xxiv) 1840 John Reich and subsequently Moritz Fürst were the engravers of the national medals. Reich's works are valued; unfortunately they are few in number. They consist of the medal voted in 1805 to Captain Edward Preble for his naval operations against Tripoli, of another voted in 1813 to Captain Isaac Hull for the capture of the British frigate Guerrière, and of those of Presidents Jefferson and Madison. That of President Jefferson especially deserves attention for its beauty. But little can be said in commendation of the works of Fürst, whose numerous medals are very inferior to Reich's, and still less worthy of being compared with those of the French engravers. While wishing to avoid undue severity, I cannot but endorse the opinion of General Scott, given in a communication addressed to the Honorable William L. Marcy, Secretary of War, in regard to the medal voted to General Zachary Taylor, for victories on the Rio Grande: To the Honourable HEADQUARTERS OF THE ARMY, William L. MARCY, Washington, July 25, 1846. Secretary of War. As medals are among the surest monuments of history, as well as muniments of individual distinction, there should be given to them, besides intrinsic value and durability of material, the utmost grace of design, with the highest finish in mechanical execution. All this is necessary to give the greater or adventitious value; as in the present instance, the medal is to be, at once, an historical record and a reward of distinguished merit. The credit of the donor thus becomes even more than that of the receiver interested in obtaining a perfect specimen in the fine arts.