Gavroche’s posterity transformed the Parisian "gamin" into a metonymy for insurrection as well as for cheek and insolence. This constancy regarding the youth of the barricades, transformed into myth by its iconography, is both inseparable from and foreign to the Romantic generations of artists and students. The period saw the development of an entire iconography devoted to picturing children whose rebelliousness, street savviness, or autonomy illustrate social inequality as much as lack of understanding on the part of the adult world. As does the abandoned child of the instalment novels, the "Paris gamin" remains eternally invested with positive values, at the intersection of the rogues and the people. It is this profusion of motifs that this paper focuses on, first invoking the heirs of Gavroche as represented in humorous drawings, then the satirical vision of childhood as depicted in the world of printed periodicals.