The pin, intended to be worn by a jury member, was engraved by the gold medallist in the competition organized within the framework of the Exhibition, Louis-Alexandre Bottee, Rome Prize winner in 1878. It was created by the well-known French silversmiths set up in 1846 by Charles Christofle. This badge, like the decorative plate by silver medallist Heinrich Kautsch outside the competition, were a timid step towards the stylistic vocabulary of the new century, Art Nouveau. The lines are straightforward, with no exuberance or sensuality, neither forced, nor vegetal, simply flowing. We are far from the boldness of a Victor Horta or Henry van de Velde. Be that as it may, the 50 million visitors to the Exhibition certainly discovered and admired the ironwork created by Hector Guimard for the first entrances to the Métro.