Biographical dictionary of medallists: coin, gem, and seal-engravers, mint-masters, &c., ancient and modern, with references to their works B. C. 500-A. D. 1900; compiled by L. Forrer ...

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BUYSSENS, JEAN BAPTISTE MELCHIOR (Flem.). Mint-master at
Antwerp, I749-I752.
BUZZARD, MARY C. (Brit.). Contemporary Sculptor, who exhibited at the Royal Academy in I906, a medallion representing
Ormonde and Grace, children of the Rev. R.M. Butler.
CABOTTRE, GEORGES LE (Flem.). Mint-master at Louvain, I468 -I474.
CACCIA, SANTIAGO (B.D.M., Vol. I, I904, p. 325). By this
Engraver are also a Medal on the Rosario to Cordoba Railway,
1863 and various Mexican and Argentinian Exhibition medals, etc.
CADES, ALESSANDRO (B.D.M., Vol. I, I904, p. 325). An Italian
Gem-engraver, born in I734 at Rome, died on 22. July I809. His
brother, TOMMASO CADES, also practised the art and had still in
I85o a shop in the Corso where he sold cameos, mosaics, and
similar articles. Alessandro Cades worked in the style of Joh. Pichler,
and was very much appreciated in his time. Goethe in his biography
of Hackert mentions that he owned gems by Cades. Cf. F. Noack,
in Dr Thieme's Allgem. Kinstler-Lexikon. With Rega and Odelli,
he is said to have been concerned in the production of the Poniatowski gems. A specimen of his work is in the British Museum:
N~ Ioo. Onyx: Cupid and Psyche: signed CADES.
Duffield Osborne, Engraved Gents, P1. xxxII, 20, illustrates a
stone, signed KAAEI, representing Venus, nude and holding out a
mantle over a Cupid riding on a dolphin.
Messrs Spink own a very fine portrait of Mozart, sard intaglio,
signed CADES.
Osborne, p. I91, after mentioning the names of Ginganelli,
Dies, Odelli and Tomaso Cades, who were the principal perpetrators
of the Poniatowski gems, adds some interesting notes concerning
these. " Prince Poniatowski's part in this remarkable performance has
never been satisfactorily explained. He had inherited from his uncle,
Stanislaus, the last king of Poland, a collection of one hundred
and fifty-four gems, most of them of undoubted antiquity and
including many of the most important examples, like the female
head by Dioskourides, then held to be an Io. To these he added
nearly three thousand more which were made at his order by the
Roman gem-cutters, the subjects being their own or the Prince's
conceptions of pictures from classic history and mythology, done
on oriental sards, amethysts and crystals of fine quality and, for the
most part, considerable size. There is absolutely no suggestion of
antiquity in the melodramatic flamboyancy of these compositions,
many of them involving a number of figures, and the supposition
that the Prince was himself deceived by the artists is inconceivable.