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diff --git a/old/64054-0.txt b/old/64054-0.txt deleted file mode 100644 index def5875..0000000 --- a/old/64054-0.txt +++ /dev/null @@ -1,1651 +0,0 @@ -The Project Gutenberg EBook of Cameo Cutting, by John B. Marsh - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this ebook. - -Title: Cameo Cutting - -Author: John B. Marsh - -Release Date: December 15, 2020 [EBook #64054] - -Language: English - -Character set encoding: UTF-8 - -Image source(s): https://archive.org/details/CameoCutting - -Produced by: deaurider, Charlie Howard, and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK CAMEO CUTTING *** - - - - -[Illustration: A PRIMROSE SHELL, - -_By Signor Giovanni_.] - - - - - _DARTON’S MANUALS FOR HOME WORK._ - - CAMEO CUTTING - - BY - - [Illustration: John B. Marsh (signature)] - - AUTHOR OF - “THE REFERENCE SHAKESPEARE,” “VENICE AND THE VENETIANS,” ETC. - - - [Illustration: [_Page 17._]] - - With Original Illustrations. - - LONDON: - WELLS GARDNER, DARTON, & CO. - 2 PATERNOSTER BUILDINGS, E.C. - AND 44 VICTORIA STREET, WESTMINSTER, S.W. - -[Illustration: 1890] - - - - - Dedicated - - [_BY GRACIOUS PERMISSION_] - - TO - - HER ROYAL HIGHNESS THE - _PRINCESS LOUISE, - MARCHIONESS OF LORNE_, - - WHOSE INTEREST IN - TECHNICAL EDUCATION - IS - GRATEFULLY ACKNOWLEDGED. - - - - -INTRODUCTION. - - -The art of cutting Cameos in shell is of so very recent birth, compared -with that of working in precious stones, that a claim to consideration -in setting forth the method and practice may justly be preferred. Yet -my little treatise, which is based upon practical experience, has -been found, even in more limited form, a sufficient guide for the -practice of the art, by a large number of amateurs in England, Wales, -and Switzerland, to produce good work; these were all of them skilled -in the use of the brush, the pencil, or the chisel. To all similarly -proficient in any department of art, Cameo-cutting will be found a -pleasant and interesting employment. - - - - -CONTENTS. - - - PAGE - SHELL CAMEO-CUTTING 11 - - SHELL CAMEOS IN THE MUSEUMS 19 - - APPEARANCE OF THE CONCH-SHELL 19 - - ADAPTABILITY OF THE ART 22 - - COST OF PIECES OF SHELL 25 - - CARVED PUMICE-STONE 26 - - MOUNTING PIECES OF SHELL 26 - - DRAWING THE DESIGN 29 - - THE TOOLS 30 - - THE USE OF THE HOLDFAST 32 - - PROCESS OF WORKING 34 - - WORKING BY NIGHT 41 - - POLISHING 41 - - SHARPENING THE TOOLS 42 - - COST OF APPLIANCES 43 - - DECLINE IN THE FASHION OF WEARING CAMEOS 44 - - CAMEO-CUTTING HIGHLY RECOMMENDED 47 - - DERIVATION OF THE WORD “CAMEO” 51 - - A TEACHER AT WORK 55 - - LESSONS BY CORRESPONDENCE 57 - - IS THERE A MARKET? 58 - - DESIGNS 60 - - - - -HANDBOOK - -TO - -CAMEO-CUTTING. - - - - -Shell Cameo-Cutting. - - -The discovery of the adaptation of the Conch-shell to the art of the -Cameo engraver is traceable no farther back than the beginning of the -reign of Her Gracious Majesty the Queen. The working of Cameos in -precious stones, however, goes back beyond the earliest historical -records; history contains no reference to the beginning or progress of -the development. Tradition declares that the art was of Asiatic origin, -and that it was practised by the Babylonians, from whom the Phœnicians -carried it into Egypt. Thence the progress of the work is clearly -traced to Greece and Italy, and in our own time to France and England. -Those who have practised Cameo engraving in England may be numbered on -the fingers of one hand. But it is not with the carving of precious -stones this handbook deals, but with the youngest of all the processes -discovered in connection with the production of the Cameo, that of -working the beautiful Conch-shell. - -The use of this shell for the purpose of Cameo-cutting was first -practised in Italy, about the year 1820, and it was then believed to be -of Sicilian origin. For many years all the shells used were exported -from England, and the number averaged about three hundred per annum; -these were valued at 30s. each. They soon became a favourite medium in -Rome with the workmen, and the art was taken thence to Paris, where it -flourished. In 1847 the sale of shells was reported to have reached -100,500, and their declared value was £8900, while the Cameos which -were produced were estimated to be worth at least £40,000. - -The prices of shells have since been very much reduced owing to an -increased importation, so that shells of great beauty may now be -purchased for 10s.; while they may be had in quantities as low as 1s. -6d. each. Choice black shells, however, still command a higher price. - -The colour of the ground in these shells varies from pink and orange to -an absolute black: this is called the Black Helmet (_Cassis Tuberosa_), -and comes from the West Indian Seas. The shell with a pink ground is -called the Queen Conch (_Strombus Gigas_), and is also brought from the -West Indies. A favourite variety is the Bull’s Mouth (_Cassis Rufa_), -found in the East Indian Seas, which has a sard-like ground. Another -class is the Horned Helmet (_Cassis Cornuta_), which is brought from -Madagascar; in this the ground is dark claret in colour. Occasionally -shells are made use of having three layers, the upper, always -dark-coloured, serving for the hair, or a wreath, or for armour; the -second layer, which is always white, is used for carving the figure; -and the third layer is the ground. - -Messrs. Francati & Santamaria,[1] of Hatton Garden, were the largest -and almost the only dealers in shells for Cameo work in the Metropolis, -and they cut them up to the exact size required for engraving. I have -seen in their cellars many thousands of Conch-shells brought from -foreign seas for the purpose of being cut up for export to Italy or -Paris. Mr. Santamaria, upon one occasion, showed me a magnificent Black -Helmet shell, which he said was the only one that had been discovered -out of about ten thousand. A shell of ordinary size only produces, -on being cut up, three or four large workable pieces, and these are -worth from 3s. to 5s. each; but the Bull Mouth, of small size, may -be purchased for a shilling. A face or figure engraved upon a shell -looks well, particularly when the taste of the artist enables him to -cover every knob with figures, and form an appropriate border of -leaves round the whole; even the circles round the apex of the shell -lend themselves to ornamentation, and shells carved all over are much -sought after. An experienced workman will often employ his leisure in -covering a large shell with work in this way. In the centre he places -the principal design, always a classic figure or group of figures, and -around, such ornamentation as his taste approves. One of these, cut in -Hatton Garden, was sold recently for a hundred guineas; and another, -almost entirely cut by Mr. W. King, a young Englishman then in the -employment of Messrs. Francati & Santamaria, sold for £80. - - [1] Partnership now dissolved. - -The most celebrated Cameo engraver of modern times was Benedetto -Pistrucci, who designed the “George and Dragon” of our coinage, which -is acknowledged to be the finest work that has ever appeared in modern -currency. Of himself he says that he was in a manner born to the work -he took up from choice, and he mentions in proof of this that he had -square thumbs, and the palm of his right hand was covered with horny -skin. This had been a characteristic with certain of the males in -the family for several generations. He was the son of a judge, and -was born at Rome in May 1784. His eldest brother was a painter, and -every member of the family was endowed with artistic tastes. Italy, -in his youth, was overrun by the French, which caused his parents to -make frequent changes of residence. At fourteen years of age, being -then proficient in drawing, he was first put to a master, one Signor -Mango, who, perceiving his genius, employed him to make designs for -his Cameos. This provoked much jealousy among the other workmen, one -of whom stabbed Benedetto with a dagger. During his illness he amused -himself by modelling the figures he drew, and so perfected himself in -the stages necessary for becoming a thorough artist; less than this in -training will only make a workman. Upon his recovery he was sent to two -masters in succession, the second of whom, noticing the superiority -of his designs, exclaimed, “With one who has genius there is very -little for a master to teach.” At sixteen years of age he began work -on his own account; and, after a brief courtship, at eighteen years -of age, married a girl of sixteen, of gentle family. There were born -to them two daughters, Victoria and Eliza, and one son, Vincenzio. -Eliza and her brother were endowed with the paternal characteristic, a -horny palm, and became celebrated as workers in Cameo. At twenty-four -years of age Benedetto had succeeded in establishing a reputation as -an engraver of precious stones, having taught himself the process, -and constructed with his own hands the wheel with which he worked. -For several years he had sold Cameos worked in stones to one Angelo -Bonelli, a travelling dealer in gems; and discovering one day that a -specimen of his work had been stained to represent an antique, and -sold for a high price, he resolved for the future to place a secret -mark upon those he sold. On one of these, the head of Flora, he cut two -Greek letters in the hair. The condition of Italy at that time induced -him to consider the advantage of proceeding to England; but before -emigrating he executed several orders for one of Napoleon’s sisters, -one portrait being cut in stone, much smaller than a fly. Pistrucci -brought to London a letter of introduction to Mr. Konig, mineralogist -of the British Museum, and by Lord Fife he was introduced to Sir Joseph -Banks. The latter afterwards introduced him to Mr. Payne Knight, who -produced at their interview what he called the finest Greek Cameo in -existence, a most choice gem, a fragment of the head of Flora, for -which he had paid Bonelli 500 guineas. Pistrucci did not even take the -stone from the extended palm of Mr. Knight; a glance disclosed the -fact that it was that head of Flora in whose hair he had cut two Greek -letters, and for which Bonelli had paid him £5. An unpleasant scene -resulted. The letters were plainly visible; but Bonelli, realising that -his trade was at an end, boldly denounced Pistrucci. He pointed to the -wreath of flowers about the head in proof of his conceit that it was -an antique, asserting that no such flowers were then in existence; but -Sir Joseph Banks, examining them with a microscope, exclaimed, “The -flowers are roses, as I am a botanist!” Pistrucci offered to carve -another Flora exactly similar without looking again at the “antique.” -This challenge was not accepted. Then it was agreed that he should cut -a head of Flora in a different position, and this was accepted as a -test of the truth of his representations. The story soon spread through -London society; noblemen, scientific men, ladies of rank, watched the -growth of the new Flora under the hands of Pistrucci, and when it was -completed the dispute raged with increased bitterness, so that Payne -Knight’s antique Flora became the question of the day. The controversy -at length ended with universal expressions of sympathy for Mr. Payne -Knight.[2] - - [2] See title-page. - -This stone may be seen in the Gold Ornament Room at the British Museum. -It is placed in the case of “Modern Engraved Gems,” upon which stands -the Alabaster vase engraved with the name of Xerxes, and is in the -bottom row of the case. The face is exquisitely beautiful, and the -roses which are cut in the upper coloured layer of the stone are -perfect. An attendant will point out this Flora to any one who asks for -it. - -Pistrucci upon one occasion, while still residing in Rome, had an -antique pale-brown sard given him to recut by Domenico Desalief. The -subject was a warrior crowned by a female, but so clumsily executed as -to be of little value. There was, however, plenty of material to cut -away. After taking an impression in wax, he altered the whole; then he -cut away the knees of the figures, and recut them higher up, and so -remodelled the design that not a trace was left of the original forms. -The dealer was delighted, and sold the gem readily for the Imperial -Russian Cabinet of St. Petersburg, where it still remains, and is -regarded as of the highest value. - -The dispute about the Flora indirectly brought about Pistrucci’s -appointment to the Mint as chief engraver, and he designed and executed -the “George and Dragon” among other works. Afterwards a considerable -amount of jealousy was created by his employment amongst the officers -of the Mint, and the members of the Royal Academy were divided about -his appointment, one portion insisting that native talent should be -encouraged, the other division holding that he was the best living -engraver. To restore peace, his appointment was subsequently styled -that of “chief medallist.” He cut two portraits of Her Majesty in -onyx, one as Princess, and the other as Queen wearing a diadem. On -retiring from the Mint he took a cottage at Old Windsor, where he died -in his seventy-first year, in 1855, only thirty-five years ago, and -recently enough for him to be well remembered by a few living men. His -connection with our own day, and the distinction to which one of his -pupils has risen, justify the introduction of his name into this book. -His daughters, before their father’s death, returned to Rome, where -they practised Cameo-cutting with great success. - - - - -Shell Cameos in the Museums. - - -There are in the collections shown in the Mediæval Room of the -British Museum several fine specimens of shell Cameos which date from -mediæval times, but these shells were found in the Mediterranean; and -at South Kensington there are a few specimens of shell Cameos worked -in Rome. The only illustrations of the art of progressive working in -the Conch-shell in any museum in London are to be seen in the South -Court of South Kensington, where the portrait of Millais is shown in -the several stages of progress, together with the shell from which -the piece worked was originally cut. These interesting specimens were -presented by Mr. James Ronca, who was a pupil of Pistrucci’s brother. -There are, of course, many separate specimens of carved Conch-shells, -in whole and in pieces, at both the British and South Kensington -Museums. - - - - -Appearance of the Conch-shell. - - -The shell will be readily recognised without an illustration. In form -somewhat resembling the human ear, the shell possesses properties -which can be found in no other specimen of the order. For the purposes -of the engraver, the several parts are called by totally different -names, according as the workman came from Naples or Rome; but without -entering into a discussion of the origin of these, I propose to give -a few plain names to the several parts, in order to enable a worker -to order the particular piece or portion which is required. Thus, the -several parts are the back of the shell, the back of the Lip, the Dome, -and the Comb, the Mouth of the shell, the Lip, and the Face or Body. - -The piece in the upper portion of the Dome is the most valuable, -because in that there is no variation of colour. Pieces cut from all -other portions of the shell vary slightly in depth of colour, the -colour deepening in tone as the mouth is approached. A piece suitable -for a brooch cut out of a Black Helmet would be worth 5s.; but with -regard to other shells the prices vary as set out in the following -list. Other portions of the Dome are used for brooches; but the -choicest piece is the one named. The Comb, having been cut off, is -cut up into separate knobs, and these are worked into heads which are -required to stand out in bold relief. The back edge is rarely worked, -and may be regarded as waste. The Lip is the next important portion, -and this is suitable for the carved handles of paper-knives, for -umbrella-handles, or for paper-weights. A full length figure of classic -form may be carved in the Lip, with admirable results, so as to command -a high price. The Lip is perhaps more frequently cut into pieces -between the raised edges which run at right angles to the course of the -mouth, and are used for carving fish or birds, or any form requiring a -portion in high relief. When the Dome has been cut through, a second -shell appears immediately below, and this is remarkable for having -three distinct layers, brown or red forming the surface, white the -centre, and brown or red the ground. Such a piece is necessary where -the design involves ornaments in the hair or a helmet on the head of a -warrior. - -The shell is cut open by means of a tin wheel revolving on a spindle in -the ordinary way by means of a treadle. Above the wheel is a sloping -dish coming to a point on which emery powder lies, and above the tray -is a small keg of water regulated by a stop-cock, in such a way that as -the water trickles down the pan it carries particles of the powder on -to the wheel. The workman first cuts off the Lip, then he cuts across, -above and below the Comb, and finally cuts down from the point of the -Dome to the Comb again. This triangular piece is cut up into as many -portions as are required, care being taken first of all to cut out the -choicest piece from the upper portion. - - - - -Adaptability of the Art. - - -The practice of the art of Cameo-cutting solves to a certain extent one -aspect of the great problem now puzzling the most astute minds--how to -find remunerative work for skilled hands. Here is a field at present -quite unoccupied--an industry admirably adapted to thousands already -trained in the requirements of art, and only needing the suggestion to -enable them to realise the fruit of years of industrious and patient -study. In this, as in all other artistic occupations, there must be -a groundwork on which to ensure success. Any one ignorant alike of -the principles of drawing or modelling or carving can never become -proficient in the art of Cameo-cutting, though by patient labour -success may be obtained as a copyist, and the worker be able to cut -geometric patterns, flowers, and coats-of-arms, which would command a -ready market. For the higher successes attainable by a Cameo engraver, -the position of a true artist, whose work would be recognised by the -form of a hand or the modelling of an eye or an ear, there must be a -previous knowledge of drawing, with skill in modelling and ability to -carve. - -Nothing less than a first place should content the Cameo-worker. -The age is one which is eminently suitable for the growth of the -profession. Drawing has for many years been taught in Schools of Art -on scientific principles, and pupils have proceeded from drawing to -modelling, to carving in wood, or to painting in water and oils in -these schools, until a point of excellence has been reached thought -impossible before they were established. Even in the rate-sustained -Board Schools children of tender years are taught to draw with -surprising accuracy, and such of them as take pleasure in their work -might very easily learn how to cut simple forms suitable for buttons or -bracelets. The only thing they would have to acquire would be the use -of the graver, following upon the work of the pencil. Nor is this an -exaggeration, because two little girls of eight and ten, from watching -their father at work, actually fashioned little vases and hearts in -pieces of shell by using fine files. From children as inexperienced as -these, and from such an elementary knowledge of drawing as the School -Board imparts to the young, up to the most experienced artist,--the -gold medallist, the born genius with pencil or chisel,--there is enough -in Cameo-work to supply scope for all--enough to gratify the child’s -wish, and the larger ambition; and, beyond the choicest specimen of art -in existence, enough to leave still greater triumphs to be realised -by future workers. By the practice of this art no industry at present -in existence in England would be injured; but, on the contrary, many -industries, such as those of the workers in silver and gold, the -wood-carver, and the cabinet-maker, would receive fresh development. -The present generation has never been in a position to consider this -industry as one attainable by the people until the present time; nor -would the Cameo supplant any artistic article at present enjoying -public favour. Cameos may be carved small enough to adorn a lady’s -ring, a gentleman’s shirt-stud, or a pin. They may be mounted for -bracelets, or act as pendants, or brooches, or be used for hairpins, -for buttons to fasten back the vest, or for jackets; as solitaires -for the shirt, or for sleeve-links. In the style of ladies’ dress -now worn there would be an unfailing demand. They may be fixed in -articles of ornament for the desk and table, inlaid in vases, caskets, -or dressing-cases; framed in the carved overmantel, inserted in the -backs of chairs, inset in curtain bands; or mounted on altar crosses, -set around Communion-cups or in alms-dishes, or worked into marble -memorials of the dead; or they might be inlet in the bindings of books. -From the variety of their ground--ranging from pink, through every -shade of brown, to an imperial purple, and a magnificent black--there -is no marble, metal, or wood with which the Cameo would not harmonise. -In the course of a conversation recently with one of our Princesses, -who is a patron of art, this point was dwelt upon, and the suggestion -was made that an anchor carved in shell would make an appropriate -button for a lady’s yachting costume. - - - - -Cost of Pieces of Shell. - - -The cost of ordinary pieces of shell per dozen may be ascertained by -reference to the following diagrams:-- - -[Illustration: FIG. 1.--Different Sizes of Pieces.] - -Nos. 1 and 2, suitable for small and large ear-rings, 3s. per dozen; -No. 3, bracelet size, 4s.; No. 4, larger bracelet or small brooch, 6s.; -No. 5, large brooch, 8s.; No. 6, 10s.; No. 7, 15s. to 18s., according -to the colour; No. 8, 2s. 6d. to 3s. 6d. each. - -The importers of these shells would make up a dozen of various sizes -if required. Great care is necessary in selecting pieces suitable for -working in order to avoid (1) the mark of a worm left in the early -growth of the shell; (2) patches of decayed shell; (3) a tendency to -chip, termed “flaking.” - - - - -Carved Pumice-stone. - - -An experienced Cameo engraver recommends a beginner to procure -pieces of Pumice-stone, which may be readily obtained, and begin by -carving in this substance. The stone is much softer than the shell, -and can be very easily shaped; and the colour lends itself to very -beautiful effects, but the surface being very soft, the fine work soon -disappears. As an intermediate step to the carving on the Conch-shell, -the Pumice-stone may be strongly recommended. - - - - -Mounting Pieces of Shell. - - -When it has been determined to carve a piece of shell, the first thing -to be done is to mount it upon what is technically known as a Stick. -Get the handle of a broom, cut off five inches, and cover each end -with cement made of a mixture of tar and resin. This may be procured -at any oil-shop. Ask for a cake of cement, and you get a square for a -1d. which would suffice for twenty or thirty pieces of shell, or you -may buy a pound for 6d. or 8d. Melt the cement as you would a piece of -sealing-wax, cover each end of the Stick with the melted stuff, so -as to form a bed; wet the under part of the shell, and press it into -the cement. This will hold the piece firmly while it is being worked. -By mounting a piece of shell on each end of the Stick, there is the -advantage of working upon two patterns at the same time, or of cutting -the same pattern twice, improving upon one by the experience obtained -in cutting the other. - -In selecting an oval piece for working, care should be taken to get one -without flaw. This is a difficult matter, and requires a great deal -of experience. Beginners should select pieces tolerably smooth; but -practised workers prefer those which are irregular in their surface, -because they furnish more scope for the exercise of their skill. In -cutting these, the design follows the convolution of the shell. It is -dangerous to lower any one portion, because the white surface does not -preserve the same relative thickness all over the piece; and unless -care is taken the ground will show through. This is not a disadvantage -in the ear or the neck, but would be serious if it was apparent on -the forehead or in the cheek. A skilful Cameo-cutter will, however, -so arrange his design as to produce the blush of the ground in such -portions as to enhance the value of his work. In drawing the face, -avoid, if possible, the rough, rotten-looking patches. These are signs -of decay which may only be superficial, and disappear at the first -cut; but, on the contrary, they are more likely to penetrate deeply, -and may necessitate the lowering of the whole face before they can be -got rid of altogether. - -Sometimes, when the face has been modelled, and nothing remains but -the finishing, a crooked line appears, which Cameo-cutters believe is -caused by the presence of a worm in the early development of the shell. -This is very difficult to get rid of; hence extreme care is necessary -in selecting the piece for working. - -A third fault is “flaking,” when, by a single cut, the whole of the -forehead chips off, or half the nose disappears. There is no remedy -then; the whole face must be cut in low relief, or the piece be thrown -aside altogether; the latter is often the more preferable course. But -all these risks are minimised by experience. Having got a satisfactory -piece mounted, the Stick is held in the left hand, and the face drawn -upon it in lead-pencil, a little larger than the size actually required. - -If a whole shell is to be carved, care must be taken in the first -instance to cleanse it. To do this, get a small quantity of muriatic -acid and wash with a brush; this will bring away all the dirt; then add -to some fresh muriatic acid hot water, immerse the shell for one or two -minutes; then rinse the shell in cold water. - -Holtzaffpel, referring to the outlining of the design, recommends that -every portion be left rather in excess, so that there may be ample room -for improving the outline in finishing off. Be very careful not to -injure the ground, as the natural surface is superior to any that can -be given artificially. - - - - -Drawing the Design. - - -Beginners should draw the design or figure first upon a piece of paper, -or model it in clay or wax, and then draw the pattern upon the shell. - -[Illustration: FIG. 2.--Transferring Head to Shell.] - -If the surface of the shell is irregular, do not attempt to make it -level, but follow the irregularities, remembering that the white -stratum is of the same thickness all through the piece, and that if the -surface is filed down the ground will show through, disfiguring the -appearance of the design, and preventing the pattern being modelled in -proper proportions. When the design is settled upon, copy it on the -shell with the help, if necessary, of a star, as in the head (Fig. 2). -Draw the outline slightly larger than the design, so as to allow of the -proper proportions being secured on cutting. Skilful Cameo engravers -never use a pencil, but sketch the desired outline with one or other -of the cutting-tools; and many of them could not draw the figure on a -piece of paper which they readily cut with their tools. - - - - -The Tools. - - -There are at present none specially made for the use of the Cameo -engraver in England, but all that are required may be selected from -those kept in stock for the use of engravers. - -Mr. G. Buck, 242 Tottenham Court Road, London, W., keeps the tools -most suitable for Cameo-work separate, and can supply them on request. -They are of two kinds, round and flat Scawpers and Spit-stickers, and -cost, handled, 3d. each. To these may be added a Fine File, and the -stock is complete, exhibiting in this respect a striking contrast to -the price of tools necessary for practising many other useful arts. The -Round Scawpers are used for first cutting the figure and developing -the several parts, the Flat Scawpers for smoothing the work, and the -Spit-sticker for putting in the finishing touches. - -The following diagrams show the exact size of the several tools:-- - -[Illustration: Figs. a to h, Tools for Cameo-work.] - -The following diagrams show the Flat and Round Scawper, handled, and -sections of each (Figs. 4 and 4a, 5 and 5a). - -[Illustration: FIG. 4. - -FIG. 4a. - -FIG. 5. - -FIG. 5a. - -Handled Tools and Sections of them.] - - - - -The Use of the Holdfast. - - -The piece of shell having been mounted on a Stick, a grip is wanted in -which to hold the Stick with the left hand, while work is carried on -with the right hand. This may be obtained by using a piece of wood, -like that in the illustration (Fig. 6), and screwing it to the top of -a wooden table, so that the notch is projected a couple of inches in -advance of the edge of the table; or, if no special table is available, -a Holdfast should be purchased, such as is shown in Fig. 6. This is -screwed to the edge of a table from below, and fits any kind of table, -leaving no mark whatever. The price of a Holdfast varies from 1s. to -2s. 6d., and the article may be purchased at any tool-shop. A simpler -form of Holdfast may be obtained by purchasing an iron screw-clip, -which may be had from any ironmonger, and getting a notched piece of -wood, as shown in the above cut, and this is considered preferable by -many as furnishing a steadier grip while work is going on. - -[Illustration: FIG. 6.--Holdfast.] - - - - -Process of Working. - - -Whatever may be the figure or pattern to be cut, the process is the -same with respect to the handling of the tools. The wooden handle lies -in the palm of the right hand, and all the power is imparted by the -palm. As the material operated upon is almost as hard as marble, power -is required to make a cut; but if the tools are well-tempered and very -sharp, a little experience will soon teach the cutter how to work. The -thumb of the right hand should be protected by a finger-stall from -injury by the edge of the tool. In the illustration (Fig. 7) the method -of holding the stick is shown in conjunction with the method of holding -the tool. The thumb of the left hand rises the height of the nail above -the top of the Stick; against this the thumb of the right hand is -placed, which furnishes the necessary resistance to the power created -by the palm of the right hand; the finger and thumb then direct the cut -which is to be made by the Scawper. - -[Illustration: FIG. 7.] - -Supposing the figure drawn to be a face, cut outline with tool Fig. A; -block out and model features roughly with D; form ornaments on head -and outline hair with C; develop more clearly with A and B. The face -can next be prepared with C, by one cut from brow to nose, and another -from nose to chin. With B separate the hair from the forehead, outline -the ear, divide the mouth and nose from the cheek by an upward cut to -the eyebrow; from the corner of the nose cut a triangle--this will -form the eye. Make two cuts for nostril and chin; midway between these -another cut will mark the mouth; sink the neck, outline the collar and -dress; the face is then “roughed.” The eye, nostrils, and mouth are cut -with B, and further developed with A. The hair is divided into masses -with B, separated into tresses with A, the whole sharply cut with the -Spit-sticker G, and finally smoothed with E and F. - -When the whole face has been roughed, it is interesting to watch a -Cameo engraver at work. With a Scawper in his hand, he makes cuts -all over the face, indents the cheek, smooths the ear, fashions the -nostrils, lowers the nose, works at the mouth, forms the lips, cuts -the chin, rounds the little triangle which contains the eye, marks -the arrangement of the hair with a cut here and there, trims the -beard, and so passes over the whole face again and again, bringing -every portion into harmony before finishing any one feature. After -the triangle has been duly rounded, and the eyebrow formed, a single -cut separates the two lids of the eye, and lowers the eyeball at the -same moment. When the eye is open the likeness is complete; a portrait -becomes apparent when the nose and mouth are cut, but the fashioning -of the eye is necessary to make it perfect. The ear and hair play -important parts in completing the face. To fashion the hair requires a -great amount of skill, and the beginner is timid in making cuts, but -is aided in forming the curved tresses by turning the Stick with the -left hand to meet the Scawper used in the right hand. A fine Scawper is -necessary to cut the whiskers and beard, and the cuts should be short -and curved. When the whole face has been modelled to the satisfaction -of the worker, the third process begins--that of Finishing. In this -operation the Spit-sticker plays a very important part. The upper -eyelid is under-cut, which adds very much to the appearance of the eye; -the hair is also traversed by the Spit-sticker, as well as the beard, -and the tool smooths while it cuts. Finally, a Flat Graver is used -to smooth forehead, cheeks, nose, and chin, taking out all marks of -cuts, and softening the appearance of the whole. The hand soon becomes -accustomed to the use of the tools, and the timid cut of the learner -is exchanged for the graceful and vigorous stroke of the artist. - -Holtzaffpel impresses upon all Cameo engravers the importance of -cutting all the edges of the figure quite square from the ground, and -not gradually rounding them down to the surface. This is effected by -under-cutting the edge where it rests upon the ground. - -[Illustration: FIG. A. - -FIG. B. - -FIG. C.] - -Let the beginner try a few floral outlines such as shown in Figs. A, B, -and C. - -When sufficient progress has been made to justify attempting to cut a -face, the learner should begin with separate features--the ear, the -mouth, the nose, or the eye, as in the following sketches:-- - -[Illustration] - -Or the features alone, as below:-- - -[Illustration] - -The next stage would be to form a head complete; and the following -would be suitable for trial. The hair will require a considerable -amount of care at first, but by perseverance all difficulties vanish; -and when the features can be cut to the satisfaction of the engraver, -then a whole face should be tried where no likeness is necessary. - -[Illustration] - -Before attempting any portion of a face, one who is learning should -first cut a few simple patterns, such as the following, which would -serve as buttons for the mantle which is worn. The tools should be -used in the order given for the several processes already mentioned. - -[Illustration] - -The faces below will give an idea of the effect produced by the process -of “roughing;” and the same face when finished off. - -[Illustration: Roughed. - -Finished.] - -The depth of white upon a piece of shell is insufficient to cut a face -in relief, except for very small heads, which would be quite beyond -the skill of a beginner. There is a beauty as well as character in the -profile completely lost in the full face; yet photographers are greatly -disinclined to make a _carte-de-visite_ of the profile. - - - - -Working by Night. - - -If the work is done at night, an Engraver’s glass is requisite in order -to concentrate the light without glare upon the shell. There are two -kinds of these glasses; one is filled with water in which sulphate of -copper is dissolved, and clarified with oil of vitriol; the other, -which costs 10s., consists of a large green glass eye, which moves up -and down a brass rod, and is screwed to the required height. This is -the better glass to use, as the oil of vitriol, however much diluted, -would, by the accidental breakage of the globe, cause the destruction -of any carpet over which the liquid ran. But no glass is required -during the day-time, and no artificial light is equal to the natural -light of day; work should therefore be confined to hours before dark. - - - - -Polishing. - - -When the face or figure has been finished, the ground must be cleared -for polishing. Great care must be taken during the work not to cut -down into the natural ground, marks being very difficult to efface. -Use the Round Scawper to remove the white, and then the Flat tool to -remove all traces of the white. Next cut up a bit of firewood into -small lengths, point each length, and rub the surface of the Cameo -with powdered pumice-stone and water, then wash with warm water and -soap, with the aid of a nail-brush. With a fresh piece of wood, rub the -ground with pumice-powder and oil until the surface is perfectly smooth -and without a trace of cut or mark of any kind; wash once more, then -apply the final polish. Take a fresh bit of wood, and mix on a plate as -much dust of Rotten-Stone as will lie on a shilling, with a few drops -of Sulphuric Acid, forming a yellow paste. Rub a small portion of the -ground at a time, and remove the paste while still wet; if the paste is -allowed to dry, it destroys the texture of the ground. After the ground -has been gone over, rinse the Cameo in cold water. To remove the shell -from the Stick, cut away the cement from the edge, then hold the Stick -upright against the edge of a table, and give it a smart rap with a -small hammer; the Cameo will slip off the top unhurt. - - - - -Sharpening the Tools. - - -The Cameo-worker should always have a small oilstone at hand, and a -few rapid strokes will restore the fine cutting edge of his tool, -but the tool must be held the reverse way of working when applied to -the oilstone. Hold the tool with the cutting edge downwards on the -oilstone, at the same angle as a pen is held for writing, and move -rapidly to and fro five or six times; this will restore the edge -immediately. - - - - -Cost of Appliances. - - -Holdfast or Clip, from 6d. to 2s. 6d.; four Rounded and two Flat -Scawpers, 1s. 6d.; one Spit-sticker, 3d.; one File, 3d.; Cake of -Cement, 1d.; Broom-handle, 2d.; one dozen pieces of Shell, various -sizes, 5s.; Oilstone, 1s. to 2s. - -If the cost of the tools is compared with the expenditure necessary -on many occupations to which thousands devote their talents in spare -hours, it will be admitted that Cameo-cutting carries the palm for -cheapness. When it is further considered that this may be resorted -to for an hour at any time, and does not involve the use of any -machinery for its pursuit, nor the exclusive possession of any special -table; while it is absolutely free from any dirt or dust injurious to -furniture, to the carpet, or to the dress; that it is not trying to the -sight, and not attended with risk to the hands, it must be apparent -that in Cameo-cutting an occupation is presented which has undoubted -claims to consideration. All who engage in the art become fascinated -by the results which are obtained. Children of tender years quickly -become absorbed in the work, which not only trains the eye and the -hand, but elevates and corrects the taste. To what more pleasant use -could a child put the knowledge it has gained at school? But it is not -principally as an occupation for children that Cameo-cutting should -be considered. Between the simple forms which a child may cut and the -classic groups, such as abound, there is scope for the exercise of -every degree of talent. There are artists in Cameo now in Rome and -Paris whose touches are readily identified whatever they treat, in the -same way that the strokes of a famous sculptor are recognised. - - - - -Decline in the Fashion of Wearing Cameos. - - -There were two principal causes for the decline of fashion in the -wearing of Cameos in England. The first arose from paucity of designs; -and the second from the bad workmanship engendered by overwhelming -orders being thrust upon a market in which only a limited number -of operatives were engaged. With regard to the first cause, modern -Cameo-cutters found no other models than those which had been handed -down from the times of the ancient workers in gems. The cutters were -copyists merely, not true artists, and modern taste was not satisfied -with the representation of classic deities, however daintily wrought. -There was no variety in the pose of figure, and the minutest detail was -settled one or two thousand years before. Thus Apollo, Diana, Jupiter, -Mercury, Sappho, and Venus were represented in precisely the same -manner they had been a thousand times before, and the Cameo worn by a -noble lady only differed in the quality of execution from that worn by -a greengrocer’s daughter. - -How the sudden demand for Cameos arose it is difficult to say, but -orders were poured into Paris houses, and the little colony of Italian -and French workers found themselves unexpectedly flooded with wealth. -They were men possessed of most skilful hands, but very ignorant and -untutored economists, and they worked hard for a portion of the week -only, and too often shut themselves up in low wine-houses, and with -cards and dominoes whiled away their time. Their wages were soon -exhausted by drink and gambling; and when masters wanted workmen, they -had first to settle the scores they had run up, for the payment of -which the landlords detained them. The natural result followed, the -quality of work deteriorated, and prices fell considerably; then houses -undersold each other, and Cameos were cut at per dozen instead of per -piece. When the Franco-German war commenced the Cameo trade was at -its lowest point, and the outbreak of hostilities dispersed the major -number of the workers. - -Now that the Cameo is again coming into favour, there has been produced -an imitation in some hard vitreous substance, which is constantly -palmed off as the genuine article to careless purchasers. I bought two -of these imitation Cameos in a jeweller’s shop for a few pence one -day; they were both mounted and pinned for brooches. One, which was -an imitation stone Cameo, bore Raphael’s angels--those lovely little -figures which appear at the foot of the “Madonna and Infant Christ” -now in Dresden. This measures one by one and a half inches. The other -was an oval, measuring one and a half by one and three-quarter inches, -bearing the head of Ceres, and was an imitation shell Cameo. In this -piece the ground was coloured yellow, and in exact imitation of a real -piece of shell, the colour increased in depth of shading from the face -to the back of the head. The face only was white, and the ornaments -about the hair, three ears of corn, five roses, five forget-me-nots, -tress on the neck, and necklet of pearls were in exact imitation of -the well-known face. I have seen cards on which half-a-dozen “Real -Roman Cameos” were mounted exhibited in shop windows, and the price -asked was 2s. 6d. each. These scandalous imitations of lovely ornaments -will only be superseded when English workers send into the market the -genuine articles. - - - - -Cameo-Cutting Highly Recommended. - - -The question of the pursuit of Cameo-cutting as an industrial -occupation for ladies was probably first suggested by Mrs. Henry -Mackarness, the well-known authoress of “A Trap to Catch a Sunbeam,” -who strongly recommended the art of Cameo-cutting in shell to the -notice of ladies. In an admirable work entitled “The Young Lady’s -Book,” published in 1876, she thus speaks of the work:-- - -“It is sufficiently simple to be within the scope of many who possess -taste, patience, and deft fingers.... It cannot be acquired without -some instruction, and considerable perseverance; but the instruction -is within reach, and the perseverance will be amply repaid by the -results.” This Cameo-cutting will “give young ladies a new and elegant -pursuit.” It will “raise their thoughts from knitting and netting, and -cultivate a taste for higher pursuits.... It can be practised with -half-a-dozen small tools that take up scarcely any room; and, with a -little care and instruction, the art can be readily acquired. Some -knowledge of figure-drawing is necessary, and a correct eye; and it is -needless to say that the more skilful the artist in this respect, the -better her Cameo-work is likely to be.” The _Queen_ was the first paper -to devote a special illustrated supplement to the question. - -The _Lady_, the _Jewish World_, the _Housewife_, the _Manchester -Courier_, and other papers as widely separated in their pursuits -and politics, have urged the consideration of this work upon public -attention. - -“In the _Society of Arts Journal_, eighteen months ago”--we quote from -the _Jewish World_--“a paper read by Mr. Marsh before that Society was -published at length, and copied into journals far and near. Almost at -once the work was tried by ladies who had a knowledge of modelling -and of wood-carving, and the results obtained furnish the highest -possible expectation that in the near future this fascinating art -will find a home amongst the ladies of England. There is no machinery -required; no dust or dirt is created; there is no risk of soiling -dress or carpet; and it is not at all trying to the sight; while the -prospects of remuneration are of the brightest possible character. -There are an enormous number of Cameos worn as pins, brooches, -ear-rings, finger-rings; and the uses to which the Cameo could be -put are infinite--as, for instance, for buttons, or for insetting -into book-covers, or for wall ornaments. The old fashion was to wear -vulgarly large brooches, with heads of abnormal size, so as to show -as much ornamentation as possible; but the new fashion is to make -them small, and to cut modern figures, rejecting those classic heads -associated at times with most questionable stories. Why ever should -ladies run after the face of Venus or Juno? Is there not as much beauty -and infinitely more poetry to be got out of the faces of Rebekah or -Ruth? Why should men wear Jupiter or Apollo in preference to Moses -or David? Surely all that art can ever impart would fail to exhaust -the tenderness or the grandeur that could be embodied in one of these -faces.” - -Mrs. Macfarlane, writing in the _Housewife_, September 1888, said:--“It -is now suggested that the industry be taken up in England, as a -remunerative employment for women whose artistic knowledge already -embraces some idea of drawing and modelling, and who do not feel -inclined to enter the ranks of those who paint well or indifferently, -those little knicknackeries which it is felt have almost had their -day, at least as far as substantial commercial value is concerned. -Cameo-cutting, in this country, bears the charm of novelty, is easy -to learn, is adaptable to many uses, and in no way encroaches upon -existing national labour. Cameos representing scenes from the classics -have before now been introduced into cabinets or boxes, to beautify and -make them more valuable; they may, moreover, be used in embellishing -books and albums. One exquisitely carved Cameo was shown to me the -other day which represented the face of Christ, and was to be set in -the cover of a devotional book, where I am sure it would look most -beautiful. Then Cameos may be set in frames to hold photographs on the -table, or be inserted in the backs of chairs, instead of the painted -scenes or sprays of flowers which were so fashionable a year or two -ago. Ladies’ and gentlemen’s trinkets and apparel open out a wide -field for Cameo-work; brooches, ear-rings, breast-pins, studs, links, -and finger-rings, are very commonly carved in Italy, but are often -made too large for use. Executed finely on small pieces of shell, they -might be rendered more acceptable and pretty. A special idea which has -been proposed is, that sets of buttons be made of Cameos for coats, -yachting, boating, or other garments. Designers who could hit upon -some new idea, and carry it out for themselves, might do a good deal -in these and divers other ways connected with dress. Cloak-clasps, -umbrella and sunshade knobs, fan handles, dressing-cases, hand-glasses, -brush-backs, glove and handkerchief boxes can be made uncommon and -beautiful by its application. - -“Another range in which the art would flourish is church decoration, -for which Cameos are peculiarly appropriate. There is a purity and, at -the same time, a durability about them, which commends their use in -this direction. How beautiful, for instance, a frieze of palm-leaves -would look upon a reredos, or a carved lily upon a memorial stone, or -how appropriately a pulpit might be decorated in Cameo! As I write, -ideas for church adornment crowed into my mind, but as I have not yet -exhausted the resources of Cameo-cutting in another direction, I must -leave my readers to imagine these for themselves.” - - - - -Derivation of the Word “Cameo.” - - -Much curious interest has been excited with respect to the derivation -of the word Cameo, and the fact is curious that in that splendid -repertory of all things rare, curious, and of interest, “Notes and -Queries,” the only references to the Cameo are two in number. One is -a question propounded in vol. viii., series iv., page 528, in which a -correspondent puts the query, which was never answered, “What is the -earliest known example of a shell Cameo?” The second reference occurs -in vol. iii., series v., in which the derivation of Cameos is inquired -for, and the answer appears in vol. iii., on page 31. Here Mr. F. -Chance, Sydenham Hall, after learnedly discussing derivations from the -Greek, Italian, Latin, German, and Spanish, winds up by saying with -Dundreary, that Cameo is one of those words which “no fellow can make -out.” - -“The meaning of the word Cameo,” says a writer in the _Housewife_, -“is literally a picture of one colour. In an ancient dictionary of -arts and sciences, more than a hundred years old, which I have before -me, the word is thus spelt and explained:--‘Camaieu or Camehuia, in -Natural History, the same with camæa.’ I look up ‘camæa,’ and find -the word descanted upon as follows:--‘In Natural History, a genus -of the semi-pellucid gems, approaching to the onyx structure, being -composed of zones, and formed on a crystalline basis; but having their -zones very broad and thick, and laid alternately on one another, with -no common matter between; usually less transparent and more debased -with earth than the onyxes.’ Species are then described which I need -not detail. Returning next to the camaieu, I find:--‘This word is -also used to express a stone, on which are found various figures -and representations of “landskips,” &c., formed by a kind of _lusus -naturæ_, so as to exhibit pictures without painting. It is likewise -applied to any kind of gem on which figures are engraven, either -indentedly or in relievo.’” - -The _Queen_ newspaper referred also to the derivation of the term, and -added the following bit of historical research:-- - -“The term Cameo, in the language of art, is usually applied to -gems or stones that are worked in relievo, that is, in which the -object represented is raised above the plane of the ground, in -contradistinction to intaglio, in which the subject is engraved -or indented. The art of ornamenting precious stones with heads and -figures is of high antiquity, but it was for the most part confined to -intaglio or indenting, an easier process than relieving the work from -a ground. Such stones were used for signets or seals in very remote -ages by the Etruscans and the Greeks. One of the first names of great -note that occurs in this branch of art is that of Pyrgoteles, who lived -in the time of Alexander the Great, and who alone was permitted to -engrave seal rings for the King. Tryphon, who lived under the immediate -successors of Alexander, also deserves mention here, being the author -of a beautiful and well-known Cameo in the Marlborough collection, -representing the marriage of Cupid and Psyche. - -“In ancient Rome the age of Augustus was remarkable for the excellence -of the gem-engravers who were then living, amongst them Dioscorides, -some of whose beautiful works have reached our times. Engravers in -gems, both in cameo and intaglio, continued to flourish down to Marcus -Aurelius. With the decline of the Roman Empire, gem-engraving was -neglected, like the other arts, and it was not till the fifteenth -century that the taste and munificence of the Medici caused a revival -in Italy, and tempted artists to devote themselves to its practice. -Cameos at that time were in great request for personal ornaments, and -for inlaying or embossing vases and similar articles. Cameo collecting -became a passion in Italy, and the gem-engravers of that period found -special historians in Vasari and Marietti. In the succeeding century -there was a considerable falling off, but in the eighteenth century -the art again rose, and the names of some who exercised it will bear -comparison with those of almost any age. The greater part of these -were Italians; but two of the most celebrated, John Pichler and -Laurence Natter, were natives of Germany, and their works challenge -competition with the finest antiques. In England it was Josiah Wedgwood -who revived the taste for Cameo-work by his admirable reproduction -of the Barberini Vase, his unsurpassed portrait medallions, and his -classical bas-reliefs on plaques, vases, and tea-sets, placed in -beautifully tinted jasper, basalt, and other bodies. James Tassie of -Glasgow, by his paste imitations of antique gems, 15,000 in number, -also contributed to the popularity of Cameo-work; while W. Brown and -Nathanael Marchand were famous as gem-engravers at the beginning of -the present century. Marchand died in 1812 as a member of the Royal -Academy, and principal gem-engraver to the King. The practice of -working Cameo on shells is of comparatively modern introduction in -Italy, and is carried on particularly in Rome.” - - - - -A Teacher at Work. - - -A very widespread interest arose in consequence of the article -published in the Journal of the Society of Arts; correspondents in -all parts of the United Kingdom wrote asking questions, and several -came from far-distant parts to take a lesson. In the neighbourhood of -London, heads of technical colleges took up the question in a practical -form, and at several teaching is now imparted to such pupils as exhibit -an aptitude for drawing and modelling. The results already achieved -are highly satisfactory, and the work done by pupils has been publicly -exhibited on several occasions. A few practical lessons are, of course, -of greater value than learning by correspondence or from a book; yet, -notwithstanding the difficulty of beginning to cut without a teacher, -many are now producing admirable work, though they have had no other -instruction than that contained in the Journal of the Society of Arts. - -At first, and for a long time after my paper was read at the Society -of Arts, I was placed in a great difficulty by correspondents -writing for tools, for shells, and for a teacher. Special tools are -now manufactured by Mr. Buck, and a teacher was at length strongly -recommended by Mr. John Ford, himself an accomplished Cameo engraver, -of the firm of Ford & Wright, diamond polishers, Clerkenwell Green. -The gentleman in question was Signor Giovanni,[3] now of London, who -obtained great celebrity in Naples and Rome as an engraver of Cameos, -and who, while still at the head of his profession, has laboured to -restore the almost lost art of engraving on glass. After the work of -six years, he completed the ornamentation of a drinking-cup of pure -flint crystal, the subject being the training of young Bacchus. For -his triumph in this department of art King Humbert I. bestowed upon -him the dignity of a Cavaliere of the Crown of Italy. His designs -are full of grace and originality; and the future Cameo engravers of -England will be greatly indebted to him for the skill with which he has -facilitated their acquiring the art. In the course of interviews with -Signor Giovanni, I represented to him how very difficult it was for any -to perfect themselves in the work without models, and at my entreaty -he was good enough to model, mould, and cast a series of examples in -plaster of Paris, with the aid of which, though the teacher may not be -near, the chief difficulties a learner has to encounter may be easily -overcome. These models embrace the anatomical head and neck, the eye, -nose and mouth, and chin; fancy heads, portraits, Cupids, classic -heads, plants, flowers, fish, and animals. There are twenty-four in -the whole series, and they can be had in sets of six, the dozen, or the -whole. - - [3] Signor Giovanni has taught with great success at the - High School, Cecile House, Crouch End, London; and the - principal, Miss E. Rowland, kindly permits references to - her, by those desirous of taking lessons, or obtaining - materials for the work. - -Signor Giovanni’s method of teaching is first of all to get his -pupils to carve an ornament upon a piece of Lava. Selected pieces may -be purchased at 4d. per lb., and they make an admirable medium for -learning to carve. Then afterwards a piece of shell is taken and the -figure is cut in Cameo. - -The only English workman who is at present engaged in the work of -Cameo engraving is Mr. William King, who learned the art in his -apprenticeship to Messrs. Francati & Santamaria. He is spoken of by the -members of that firm as being equal to any Roman workman. - - - - -Lessons by Correspondence. - - -If the distance from London is too great for a pupil to come to town, -the “roughed” Cameo can be sent to Signor Giovanni by post. He then -makes a mould, and produces a cast; this he corrects and returns, so -that the pupil can alter and improve the Cameo without the intervention -of a foreign hand. - -In order to produce a Mould from which to take casts, first lightly oil -the surface of the Cameo, place around a cardboard funnel, which can be -held in place by an indiarubber band. The plaster of Paris used must -be “extra fine;” that most suitable is called “Scagliola,” and may -be purchased at any oil-shop at 6d. a bag containing a few lbs. Mix a -small quantity with water, and pour upon the face of the Cameo. When -dry, paint the Mould with French polish until a gloss appears upon the -surface. When the Mould is perfectly dry, apply oil to the surface, -then pour in plaster of Paris. As many impressions may be taken in this -way as are desired without injury to the Mould. - - - - -Is there a Market? - - -I have been frequently asked, “Can I find a market for my Cameos -if I learn to cut them?” No one ever put such a question to the -drawing-master or to the music-teacher when beginning lessons. But of -this new profession the answer is undoubted. As soon as Cameos may be -had of better designs than those in the market, purchasers will be -found for them. If there is a doubt in the mind of any one on this -point, look at the ornaments worn by those one meets in the course of -a brief walk through the principal streets of London. I venture to say -that difficulty would be found in counting the ear-rings, brooches, -pins, and bracelets of Cameo which one sees; nor would any one, if -trained in art, approve, in the majority of instances, of the size or -design of the Cameos worn. - -The taste was formerly to get the largest possible piece of shell, -and cut a head about three times the normal size, in order to -provide for the greatest amount of ornamentation, with ears of corn -or bunches of grapes. A Greek face was often conjoined with Roman or -Egyptian ornaments. What, to modern England, is the story of Venus or -Cupid, or the beauty of Cleopatra? Are there not a thousand stories -in the history of our own land of reputable queens more worthy of -illustration? Are the faces of our poets, dramatists, and men of -science, letters, and art of less account than the faces of Apollo, -Bacchus, or Pericles? Putting aside the historical gallery, are there -not amongst the circle of our relatives and friends, faces dear beyond -all comparison with those of Hebe or of Neptune? - -Take another field of labour, that of flowers. We have all studied -their language, and know what is meant by the gift of a rose, a lily, -or a forget-me-not. But the flower fades all too quickly for the -expression of the feeling which love conveys; how much more beautiful, -then, is the gift of a flower wrought by the hand of a loved one--a -flower that will never fade! - -Fashion is ever introducing new adaptations of ornament to dress. -Note the two or three buttons with which a lady’s loose jacket is now -fastened on the left. Why not carve these in Cameo, a dainty design in -white on a purple or red or brown background, glowing like a precious -stone? These would look beautiful! - -The uses to which the Cameo may be put are innumerable, and in what I -have said I have confined myself to those of personal adornment only, -leaving out altogether the hundred and one purposes of ornamentation -about the house, the table, or the drawing-room. - - - - -Designs. - - -The following pages contain a miscellaneous collection of designs -suitable for a great variety of uses, more suggestive than exhaustive -in their character and scope. They will be found useful for practice, -but the artist will soon find subjects better adapted to the degree of -skill attained. A large number are from the plaster casts modelled by -Signor Giovanni. - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - -[Illustration] - - - - -Transcriber’s Notes - - -Punctuation, hyphenation, and spelling were made consistent when a -predominant preference was found in the original book; otherwise they -were not changed. - -Simple typographical errors were corrected. - -Illustrations in this eBook have been positioned between paragraphs -and outside quotations. - -*** END OF THE PROJECT GUTENBERG EBOOK CAMEO CUTTING *** - -***** This file should be named 64054-0.txt or 64054-0.zip ***** -This and all associated files of various formats will be found in: - https://www.gutenberg.org/6/4/0/5/64054/ - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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Marsh—A Project Gutenberg eBook - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 2.5em; - margin-right: 2.5em; -} - -h2 { - text-align: center; - clear: both; - margin-top: 2em; - margin-bottom: 1em; - page-break-after: avoid; -} - -h1 { - font-size: 4em; - font-weight: normal; - letter-spacing: .1em; - margin: .75em -.1em 0 auto; -} - -h2+p {margin-top: 1.5em; page-break-before: avoid;} - -.transnote h2 { - margin-top: .5em; - margin-bottom: 1em; -} - -p { - text-indent: 1.75em; - margin-top: .51em; - margin-bottom: .24em; - text-align: justify; -} -.caption p, .center p, p.center {text-align: center; text-indent: 0;} - -.p0 {margin-top: 0em;} -.p1 {margin-top: 1em;} -.p2 {margin-top: 2em;} -.p4 {margin-top: 4em;} -.b0 {margin-bottom: 0;} -.vspace {line-height: 1.75;} - -.in0 {text-indent: 0;} -.in8 {padding-left: 8em;} -.l8 {padding-right: 8em;} - -.small {font-size: 70%;} -.smaller {font-size: 85%;} -.larger {font-size: 125%;} -.large {font-size: 150%;} - -.center {text-align: center;} - -.smcap {font-variant: small-caps;} -.firstword {font-variant: small-caps;} - -.bold {font-weight: bold;} -.notbold {font-weight: normal;} - -hr { - width: 67%; - margin: 4em auto 4em auto; - clear: both; -} - -table { - margin-left: auto; - margin-right: auto; - max-width: 80%; - border-collapse: collapse; -} - -td {padding-bottom: .5em;} - -.tdl { - text-align: left; - vertical-align: top; - padding-right: 1em; - padding-left: 1.5em; - text-indent: -1.5em; -} - -.tdr { - text-align: right; - vertical-align: bottom; - padding-left: .3em; - white-space: nowrap; -} - -.pagenum { - position: absolute; - right: .25em; - text-indent: 0; - text-align: right; - font-size: 70%; - font-weight: normal; - font-variant: normal; - font-style: normal; - letter-spacing: normal; - line-height: normal; - color: #acacac; - border: .0625em solid #acacac; - background: #ffffff; - padding: .0625em .125em; -} - -.figcenter { - margin: 2em auto 2em auto; - text-align: center; - page-break-inside: avoid; - max-width: 40em; -} - -img { - padding: 1em 0 .5em 0; - max-width: 50%; - height: auto; -} -img.smaller {max-width: 25%;} -img.larger {max-width: 66.67%;} - -a.ref {text-decoration: none;} - -.caption {text-align: center; margin-top: 0;} - -.footnote { - border: thin dashed black; - margin: 1.5em 10%; - padding: .5em 1em .5em 1.5em; -} - -.footnote {font-size: .95em;} -.footnote p {text-indent: 1em;} - -.fnanchor { - vertical-align: 60%; - line-height: .7; - font-size: smaller; - text-decoration: none; -} -.footnote .fnanchor {font-size: .8em;} - -.transnote { - background-color: #999999; - border: thin dotted; - font-family: sans-serif, serif; - margin-left: 5%; - margin-right: 5%; - margin-top: 4em; - margin-bottom: 2em; - padding: 1em; -} - -.gesperrt { - letter-spacing: 0.2em; - margin-right: -0.2em; -} - -span.locked {white-space:nowrap;} - -.pagenum br {display: none; visibility: hidden;} -.bb {border-bottom: thin solid black; padding-bottom: .2em;} -.drop {vertical-align: -9%; font-size: 1.25em;} -cite.upright {font-style: normal;} -.hide {display: none; visibility: hidden;} - -@media print, handheld -{ - body {margin: 0;} - - h1, h2 {page-break-before: avoid;} - h2.newpage, .newpage, .chapter {page-break-before: always;} - h2.nobreak {page-break-before: avoid;} - h2+p {page-break-before: avoid;} - - p { - margin-top: .5em; - text-align: justify; - margin-bottom: .25em; - } - - table {width: auto; max-width: 100%; margin: 1em auto 1em auto;} - - .tdl { - padding-left: 1em; - text-indent: -1em; - padding-right: 0; - } - - .figcenter {max-width: 100%; margin: 0 auto 0 auto;} - img {max-height: 80%;} - - hr { - margin-top: .1em; - margin-bottom: .1em; - visibility: hidden; - color: white; - width: .01em; - display: none; - } - - .transnote { - page-break-inside: avoid; - margin-left: 2%; - margin-right: 2%; - margin-top: 1em; - margin-bottom: 1em; - padding: .5em; - } -} - </style> - </head> - -<body> -<pre style='margin-bottom:6em;'>The Project Gutenberg EBook of Cameo Cutting, by John B. Marsh - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this ebook. - -Title: Cameo Cutting - -Author: John B. Marsh - -Release Date: December 15, 2020 [EBook #64054] - -Language: English - -Character set encoding: UTF-8 - -Produced by: deaurider, Charlie Howard, and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK CAMEO CUTTING *** -</pre><div class="transnote"> -<p class="center larger">Transcriber’s Note</p> - -<p>Larger versions of most illustrations may be seen by right-clicking them -and selecting an option to view them separately, or by double-tapping and/or -stretching them.</p> -</div> - -<div id="if_i_p02" class="figcenter"> - <img src="images/i_p02.jpg" width="2091" height="2621" alt="" /> - <div class="caption"><p><span class="smcap">A Primrose Shell</span>,</p> - -<p><i>By Signor Giovanni</i>.</p></div></div> - -<div id="titlepage" class="newpage p4 center vspace"> -<p> -<i class="bb larger">DARTON’S MANUALS FOR HOME WORK.</i></p> - -<h1><span class="smcap"><span class="drop">C</span>ameo <span class="drop">C</span>utting</span></h1> - -<p><span class="smaller">BY</span></p> - -<div id="if_i_p03" class="figcenter"> - <img src="images/i_p03.png" width="1214" height="630" alt="" /> - <div class="caption">John B. Marsh (signature)</div></div> - -<p class="smaller">AUTHOR OF<br /> -“<span class="smcap">The Reference Shakespeare</span>,”<br /> -“<span class="smcap">Venice and the Venetians</span>,”<br /> -ETC.</p> - -<div id="if_i_p03a" class="figcenter"> - <img class="smaller" src="images/i_p03a.png" width="527" height="594" alt="" /> - <div class="caption">[<a href="#Page_17"><i>Page 17.</i></a>]</div></div> - -<p class="p1 bold">With Original Illustrations.</p> - -<p class="p2"><span class="larger">LONDON:<br /> -WELLS GARDNER, DARTON, & CO.</span><br /> -<span class="smaller">2 PATERNOSTER BUILDINGS, E.C.<br /> -AND 44 VICTORIA STREET, WESTMINSTER, S.W.</span> -</p> - -<hr /> -<div id="if_i_p05" class="newpage figcenter"> - <img src="images/i_p05.png" width="117" height="130" alt="" /> - <div class="caption">1890</div></div> - -<hr /> -<p class="newpage p4"> -<span class="bold gesperrt">Dedicated</span><br /> - -<span class="gesperrt">[<i>BY GRACIOUS PERMISSION</i>]</span><br /> - -TO<br /> - -HER ROYAL HIGHNESS THE<br /> -<i><span class="large gesperrt">PRINCESS LOUISE</span>,<br /> -MARCHIONESS OF LORNE</i>,</p> - -<p class="p1">WHOSE INTEREST IN<br /> - -<span class="larger">TECHNICAL EDUCATION</span><br /> - -IS<br /> - -GRATEFULLY ACKNOWLEDGED. -</p> -</div> - -<hr /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_7">7</span></p> - -<h2 class="nobreak" id="INTRODUCTION">INTRODUCTION.</h2> -</div> - -<p class="in0"><span class="firstword">The</span> art of cutting Cameos in shell is of so very -recent birth, compared with that of working in -precious stones, that a claim to consideration in -setting forth the method and practice may justly -be preferred. Yet my little treatise, which is -based upon practical experience, has been found, -even in more limited form, a sufficient guide for -the practice of the art, by a large number of -amateurs in England, Wales, and Switzerland, to -produce good work; these were all of them skilled -in the use of the brush, the pencil, or the chisel. -To all similarly proficient in any department of -art, Cameo-cutting will be found a pleasant and -interesting employment.</p> - -<hr /> - -<div class="chapter"> -<h2 class="nobreak" id="CONTENTS">CONTENTS.</h2> -</div> - -<table id="toc" summary="Contents"> -<tr> - <td> </td> - <td class="tdr small">PAGE</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Shell Cameo-Cutting</span></td> - <td class="tdr"><a href="#chap_1">11</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Shell Cameos in the Museums</span></td> - <td class="tdr"><a href="#chap_2">19</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Appearance of the Conch-shell</span></td> - <td class="tdr"><a href="#chap_3">19</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Adaptability of the Art</span></td> - <td class="tdr"><a href="#chap_4">22</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Cost of Pieces of Shell</span></td> - <td class="tdr"><a href="#chap_5">25</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Carved Pumice-stone</span></td> - <td class="tdr"><a href="#chap_6">26</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Mounting Pieces of Shell</span></td> - <td class="tdr"><a href="#chap_7">26</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Drawing the Design</span></td> - <td class="tdr"><a href="#chap_8">29</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Tools</span></td> - <td class="tdr"><a href="#chap_9">30</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">The Use of the Holdfast</span></td> - <td class="tdr"><a href="#chap_10">32</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Process of Working</span></td> - <td class="tdr"><a href="#chap_11">34</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Working by Night</span></td> - <td class="tdr"><a href="#chap_12">41</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Polishing</span></td> - <td class="tdr"><a href="#chap_13">41</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Sharpening the Tools</span></td> - <td class="tdr"><a href="#chap_14">42</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Cost of Appliances</span></td> - <td class="tdr"><a href="#chap_15">43</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Decline in the Fashion of Wearing Cameos</span></td> - <td class="tdr"><a href="#chap_16">44</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Cameo-Cutting Highly Recommended</span></td> - <td class="tdr"><a href="#chap_17">47</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Derivation of the Word “Cameo”</span></td> - <td class="tdr"><a href="#chap_18">51</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">A Teacher at Work</span></td> - <td class="tdr"><a href="#chap_19">55</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Lessons by Correspondence</span></td> - <td class="tdr"><a href="#chap_20">57</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Is there a Market?</span></td> - <td class="tdr"><a href="#chap_21">58</a></td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Designs</span></td> - <td class="tdr"><a href="#chap_22">60</a></td> -</tr> -</table> - -<hr /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_11">11</span></p> - -<h2 class="nobreak vspace gesperrt" id="HANDBOOK"><span class="larger notbold">HANDBOOK<br /> -<span class="small">TO</span><br /> -CAMEO-CUTTING.</span></h2> -</div> - -<div id="chap_1"> -<h2 class="nobreak" id="Shell_Cameo-Cutting">Shell Cameo-Cutting.</h2> -</div> - -<p class="in0"><span class="firstword">The</span> discovery of the adaptation of the Conch-shell -to the art of the Cameo engraver is traceable -no farther back than the beginning of the reign -of Her Gracious Majesty the Queen. The working -of Cameos in precious stones, however, goes -back beyond the earliest historical records; history -contains no reference to the beginning or progress -of the development. Tradition declares that the -art was of Asiatic origin, and that it was practised -by the Babylonians, from whom the Phœnicians -carried it into Egypt. Thence the progress -of the work is clearly traced to Greece and Italy, -and in our own time to France and England. -Those who have practised Cameo engraving in -England may be numbered on the fingers of one -hand. But it is not with the carving of precious -stones this handbook deals, but with the youngest<span class="pagenum" id="Page_12">12</span> -of all the processes discovered in connection with -the production of the Cameo, that of working the -beautiful Conch-shell.</p> - -<p>The use of this shell for the purpose of Cameo-cutting -was first practised in Italy, about the -year 1820, and it was then believed to be of -Sicilian origin. For many years all the shells -used were exported from England, and the number -averaged about three hundred per annum; these -were valued at 30s. each. They soon became a favourite -medium in Rome with the workmen, and -the art was taken thence to Paris, where it flourished. -In 1847 the sale of shells was reported to -have reached 100,500, and their declared value was -£8900, while the Cameos which were produced -were estimated to be worth at least £40,000.</p> - -<p>The prices of shells have since been very much -reduced owing to an increased importation, so -that shells of great beauty may now be purchased -for 10s.; while they may be had in quantities as -low as 1s. 6d. each. Choice black shells, however, -still command a higher price.</p> - -<p>The colour of the ground in these shells varies -from pink and orange to an absolute black: -this is called the Black Helmet (<i xml:lang="la" lang="la">Cassis Tuberosa</i>), -and comes from the West Indian Seas. The shell -with a pink ground is called the Queen Conch -(<i xml:lang="la" lang="la">Strombus Gigas</i>), and is also brought from the -West Indies. A favourite variety is the Bull’s -Mouth (<i xml:lang="la" lang="la">Cassis Rufa</i>), found in the East Indian<span class="pagenum" id="Page_13">13</span> -Seas, which has a sard-like ground. Another -class is the Horned Helmet (<i xml:lang="la" lang="la">Cassis Cornuta</i>), which -is brought from Madagascar; in this the ground -is dark claret in colour. Occasionally shells are -made use of having three layers, the upper, always -dark-coloured, serving for the hair, or a wreath, -or for armour; the second layer, which is always -white, is used for carving the figure; and the -third layer is the ground.</p> - -<p>Messrs. Francati & Santamaria,<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">1</a> of Hatton -Garden, were the largest and almost the only -dealers in shells for Cameo work in the Metropolis, -and they cut them up to the exact size -required for engraving. I have seen in their -cellars many thousands of Conch-shells brought -from foreign seas for the purpose of being cut up -for export to Italy or Paris. Mr. Santamaria, -upon one occasion, showed me a magnificent -Black Helmet shell, which he said was the only -one that had been discovered out of about ten -thousand. A shell of ordinary size only produces, -on being cut up, three or four large workable -pieces, and these are worth from 3s. to 5s. each; -but the Bull Mouth, of small size, may be purchased -for a shilling. A face or figure engraved -upon a shell looks well, particularly when the -taste of the artist enables him to cover every -knob with figures, and form an appropriate border<span class="pagenum" id="Page_14">14</span> -of leaves round the whole; even the circles round -the apex of the shell lend themselves to ornamentation, -and shells carved all over are much -sought after. An experienced workman will -often employ his leisure in covering a large shell -with work in this way. In the centre he places -the principal design, always a classic figure or -group of figures, and around, such ornamentation -as his taste approves. One of these, cut in Hatton -Garden, was sold recently for a hundred guineas; -and another, almost entirely cut by Mr. W. King, -a young Englishman then in the employment of -Messrs. Francati & Santamaria, sold for £80.</p> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="fnanchor">1</a> Partnership now dissolved.</p> - -</div> - -<p>The most celebrated Cameo engraver of modern -times was Benedetto Pistrucci, who designed the -“George and Dragon” of our coinage, which is -acknowledged to be the finest work that has ever -appeared in modern currency. Of himself he -says that he was in a manner born to the work he -took up from choice, and he mentions in proof of -this that he had square thumbs, and the palm -of his right hand was covered with horny skin. -This had been a characteristic with certain of the -males in the family for several generations. He -was the son of a judge, and was born at Rome in -May 1784. His eldest brother was a painter, -and every member of the family was endowed -with artistic tastes. Italy, in his youth, was -overrun by the French, which caused his parents -to make frequent changes of residence. At fourteen<span class="pagenum" id="Page_15">15</span> -years of age, being then proficient in drawing, -he was first put to a master, one Signor Mango, -who, perceiving his genius, employed him to make -designs for his Cameos. This provoked much -jealousy among the other workmen, one of whom -stabbed Benedetto with a dagger. During his -illness he amused himself by modelling the figures -he drew, and so perfected himself in the stages -necessary for becoming a thorough artist; less -than this in training will only make a workman. -Upon his recovery he was sent to two masters -in succession, the second of whom, noticing the -superiority of his designs, exclaimed, “With one -who has genius there is very little for a master to -teach.” At sixteen years of age he began work -on his own account; and, after a brief courtship, -at eighteen years of age, married a girl of sixteen, -of gentle family. There were born to them two -daughters, Victoria and Eliza, and one son, Vincenzio. -Eliza and her brother were endowed -with the paternal characteristic, a horny palm, -and became celebrated as workers in Cameo. At -twenty-four years of age Benedetto had succeeded -in establishing a reputation as an engraver of -precious stones, having taught himself the process, -and constructed with his own hands the -wheel with which he worked. For several years -he had sold Cameos worked in stones to one -Angelo Bonelli, a travelling dealer in gems; and -discovering one day that a specimen of his work<span class="pagenum" id="Page_16">16</span> -had been stained to represent an antique, and -sold for a high price, he resolved for the future to -place a secret mark upon those he sold. On one -of these, the head of Flora, he cut two Greek -letters in the hair. The condition of Italy at -that time induced him to consider the advantage -of proceeding to England; but before emigrating -he executed several orders for one of Napoleon’s -sisters, one portrait being cut in stone, much -smaller than a fly. Pistrucci brought to London -a letter of introduction to Mr. Konig, mineralogist -of the British Museum, and by Lord Fife he -was introduced to Sir Joseph Banks. The latter -afterwards introduced him to Mr. Payne Knight, -who produced at their interview what he called -the finest Greek Cameo in existence, a most choice -gem, a fragment of the head of Flora, for which -he had paid Bonelli 500 guineas. Pistrucci did -not even take the stone from the extended palm -of Mr. Knight; a glance disclosed the fact that it -was that head of Flora in whose hair he had cut -two Greek letters, and for which Bonelli had -paid him £5. An unpleasant scene resulted. -The letters were plainly visible; but Bonelli, -realising that his trade was at an end, boldly -denounced Pistrucci. He pointed to the wreath -of flowers about the head in proof of his conceit -that it was an antique, asserting that no such -flowers were then in existence; but Sir Joseph -Banks, examining them with a microscope, exclaimed,<span class="pagenum" id="Page_17">17</span> -“The flowers are roses, as I am a -botanist!” Pistrucci offered to carve another -Flora exactly similar without looking again at -the “antique.” This challenge was not accepted. -Then it was agreed that he should cut a head of -Flora in a different position, and this was accepted -as a test of the truth of his representations. The -story soon spread through London society; noblemen, -scientific men, ladies of rank, watched the -growth of the new Flora under the hands of -Pistrucci, and when it was completed the dispute -raged with increased bitterness, so that Payne -Knight’s antique Flora became the question of -the day. The controversy at length ended with -universal expressions of sympathy for Mr. Payne -Knight.<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">2</a></p> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="fnanchor">2</a> See <a href="#titlepage">title-page</a>.</p> - -</div> - -<p>This stone may be seen in the Gold Ornament -Room at the British Museum. It is placed in -the case of “Modern Engraved Gems,” upon -which stands the Alabaster vase engraved with -the name of Xerxes, and is in the bottom row -of the case. The face is exquisitely beautiful, -and the roses which are cut in the upper -coloured layer of the stone are perfect. An -attendant will point out this Flora to any one -who asks for it.</p> - -<p>Pistrucci upon one occasion, while still residing -in Rome, had an antique pale-brown sard given -him to recut by Domenico Desalief. The subject<span class="pagenum" id="Page_18">18</span> -was a warrior crowned by a female, but so clumsily -executed as to be of little value. There was, -however, plenty of material to cut away. After -taking an impression in wax, he altered the whole; -then he cut away the knees of the figures, and -recut them higher up, and so remodelled the -design that not a trace was left of the original -forms. The dealer was delighted, and sold the -gem readily for the Imperial Russian Cabinet -of St. Petersburg, where it still remains, and is -regarded as of the highest value.</p> - -<p>The dispute about the Flora indirectly brought -about Pistrucci’s appointment to the Mint as -chief engraver, and he designed and executed the -“George and Dragon” among other works. Afterwards -a considerable amount of jealousy was -created by his employment amongst the officers -of the Mint, and the members of the Royal -Academy were divided about his appointment, -one portion insisting that native talent should -be encouraged, the other division holding that he -was the best living engraver. To restore peace, -his appointment was subsequently styled that of -“chief medallist.” He cut two portraits of Her -Majesty in onyx, one as Princess, and the other -as Queen wearing a diadem. On retiring from -the Mint he took a cottage at Old Windsor, -where he died in his seventy-first year, in 1855, -only thirty-five years ago, and recently enough -for him to be well remembered by a few living<span class="pagenum" id="Page_19">19</span> -men. His connection with our own day, and the -distinction to which one of his pupils has risen, -justify the introduction of his name into this -book. His daughters, before their father’s death, -returned to Rome, where they practised Cameo-cutting -with great success.</p> - -<div class="chapter" id="chap_2"> -<h2 class="nobreak" id="Shell_Cameos_in_the_Museums">Shell Cameos in the Museums.</h2> -</div> - -<p>There are in the collections shown in the -Mediæval Room of the British Museum several -fine specimens of shell Cameos which date from -mediæval times, but these shells were found in -the Mediterranean; and at South Kensington -there are a few specimens of shell Cameos worked -in Rome. The only illustrations of the art of -progressive working in the Conch-shell in any -museum in London are to be seen in the South -Court of South Kensington, where the portrait of -Millais is shown in the several stages of progress, -together with the shell from which the piece -worked was originally cut. These interesting -specimens were presented by Mr. James Ronca, -who was a pupil of Pistrucci’s brother. There -are, of course, many separate specimens of carved -Conch-shells, in whole and in pieces, at both the -British and South Kensington Museums.</p> - -<div class="chapter" id="chap_3"> -<h2 class="nobreak" id="Appearance_of_the_Conch-shell">Appearance of the Conch-shell.</h2> -</div> - -<p>The shell will be readily recognised without -an illustration. In form somewhat resembling<span class="pagenum" id="Page_20">20</span> -the human ear, the shell possesses properties -which can be found in no other specimen of the -order. For the purposes of the engraver, the -several parts are called by totally different names, -according as the workman came from Naples or -Rome; but without entering into a discussion of -the origin of these, I propose to give a few plain -names to the several parts, in order to enable a -worker to order the particular piece or portion -which is required. Thus, the several parts are -the back of the shell, the back of the Lip, the -Dome, and the Comb, the Mouth of the shell, the -Lip, and the Face or Body.</p> - -<p>The piece in the upper portion of the Dome -is the most valuable, because in that there is no -variation of colour. Pieces cut from all other -portions of the shell vary slightly in depth of -colour, the colour deepening in tone as the mouth -is approached. A piece suitable for a brooch cut -out of a Black Helmet would be worth 5s.; but -with regard to other shells the prices vary as set -out in the following list. Other portions of the -Dome are used for brooches; but the choicest -piece is the one named. The Comb, having been -cut off, is cut up into separate knobs, and these -are worked into heads which are required to -stand out in bold relief. The back edge is rarely -worked, and may be regarded as waste. The Lip -is the next important portion, and this is suitable -for the carved handles of paper-knives, for<span class="pagenum" id="Page_21">21</span> -umbrella-handles, or for paper-weights. A full -length figure of classic form may be carved in the -Lip, with admirable results, so as to command a -high price. The Lip is perhaps more frequently -cut into pieces between the raised edges which -run at right angles to the course of the mouth, -and are used for carving fish or birds, or any form -requiring a portion in high relief. When the -Dome has been cut through, a second shell appears -immediately below, and this is remarkable for -having three distinct layers, brown or red forming -the surface, white the centre, and brown or red -the ground. Such a piece is necessary where the -design involves ornaments in the hair or a helmet -on the head of a warrior.</p> - -<p>The shell is cut open by means of a tin wheel -revolving on a spindle in the ordinary way by -means of a treadle. Above the wheel is a sloping -dish coming to a point on which emery powder -lies, and above the tray is a small keg of water -regulated by a stop-cock, in such a way that -as the water trickles down the pan it carries -particles of the powder on to the wheel. The -workman first cuts off the Lip, then he cuts -across, above and below the Comb, and finally -cuts down from the point of the Dome to the -Comb again. This triangular piece is cut up into -as many portions as are required, care being taken -first of all to cut out the choicest piece from the -upper portion.</p> - -<div class="chapter" id="chap_4"> -<p><span class="pagenum" id="Page_22">22</span></p> - -<h2 class="nobreak" id="Adaptability_of_the_Art">Adaptability of the Art.</h2> -</div> - -<p>The practice of the art of Cameo-cutting solves -to a certain extent one aspect of the great problem -now puzzling the most astute minds—how to -find remunerative work for skilled hands. Here -is a field at present quite unoccupied—an industry -admirably adapted to thousands already trained -in the requirements of art, and only needing the -suggestion to enable them to realise the fruit of -years of industrious and patient study. In this, -as in all other artistic occupations, there must be -a groundwork on which to ensure success. Any -one ignorant alike of the principles of drawing -or modelling or carving can never become proficient -in the art of Cameo-cutting, though by -patient labour success may be obtained as a -copyist, and the worker be able to cut geometric -patterns, flowers, and coats-of-arms, which would -command a ready market. For the higher successes -attainable by a Cameo engraver, the position -of a true artist, whose work would be -recognised by the form of a hand or the modelling -of an eye or an ear, there must be a previous -knowledge of drawing, with skill in modelling -and ability to carve.</p> - -<p>Nothing less than a first place should content -the Cameo-worker. The age is one which is -eminently suitable for the growth of the profession. -Drawing has for many years been taught<span class="pagenum" id="Page_23">23</span> -in Schools of Art on scientific principles, and -pupils have proceeded from drawing to modelling, -to carving in wood, or to painting in water and -oils in these schools, until a point of excellence -has been reached thought impossible before they -were established. Even in the rate-sustained -Board Schools children of tender years are taught -to draw with surprising accuracy, and such of -them as take pleasure in their work might very -easily learn how to cut simple forms suitable for -buttons or bracelets. The only thing they would -have to acquire would be the use of the graver, -following upon the work of the pencil. Nor is -this an exaggeration, because two little girls of -eight and ten, from watching their father at -work, actually fashioned little vases and hearts in -pieces of shell by using fine files. From children -as inexperienced as these, and from such an -elementary knowledge of drawing as the School -Board imparts to the young, up to the most -experienced artist,—the gold medallist, the born -genius with pencil or chisel,—there is enough in -Cameo-work to supply scope for all—enough to -gratify the child’s wish, and the larger ambition; -and, beyond the choicest specimen of art in -existence, enough to leave still greater triumphs -to be realised by future workers. By the practice -of this art no industry at present in existence in -England would be injured; but, on the contrary, -many industries, such as those of the workers in<span class="pagenum" id="Page_24">24</span> -silver and gold, the wood-carver, and the cabinet-maker, -would receive fresh development. The -present generation has never been in a position to -consider this industry as one attainable by the -people until the present time; nor would the -Cameo supplant any artistic article at present -enjoying public favour. Cameos may be carved -small enough to adorn a lady’s ring, a gentleman’s -shirt-stud, or a pin. They may be mounted for -bracelets, or act as pendants, or brooches, or be -used for hairpins, for buttons to fasten back the -vest, or for jackets; as solitaires for the shirt, or -for sleeve-links. In the style of ladies’ dress now -worn there would be an unfailing demand. They -may be fixed in articles of ornament for the desk -and table, inlaid in vases, caskets, or dressing-cases; -framed in the carved overmantel, inserted -in the backs of chairs, inset in curtain bands; or -mounted on altar crosses, set around Communion-cups -or in alms-dishes, or worked into marble -memorials of the dead; or they might be inlet in -the bindings of books. From the variety of their -ground—ranging from pink, through every shade -of brown, to an imperial purple, and a magnificent -black—there is no marble, metal, or wood -with which the Cameo would not harmonise. In -the course of a conversation recently with one -of our Princesses, who is a patron of art, -this point was dwelt upon, and the suggestion -was made that an anchor carved in shell would<span class="pagenum" id="Page_25">25</span> -make an appropriate button for a lady’s yachting -costume.</p> - -<div class="chapter" id="chap_5"> -<h2 class="nobreak" id="Cost_of_Pieces_of_Shell">Cost of Pieces of Shell.</h2> -</div> - -<p>The cost of ordinary pieces of shell per dozen -may be ascertained by reference to the following -<span class="locked">diagrams:—</span></p> - -<div id="ip_25" class="figcenter"> - <img src="images/i_p25.png" width="925" height="1154" alt="logo" /> - <div class="caption"><span class="smcap">Fig. 1.</span>—Different Sizes of Pieces.</div></div> - -<p class="in0">Nos. 1 and 2, suitable for small and large ear-rings, -3s. per dozen; No. 3, bracelet size, 4s.; No. 4, -larger bracelet or small brooch, 6s.; No. 5, large -brooch, 8s.; No. 6, 10s.; No. 7, 15s. to 18s., -according to the colour; No. 8, 2s. 6d. to 3s. 6d. -each.</p> - -<p>The importers of these shells would make up a -dozen of various sizes if required. Great care is -necessary in selecting pieces suitable for working<span class="pagenum" id="Page_26">26</span> -in order to avoid (1) the mark of a worm left in -the early growth of the shell; (2) patches of -decayed shell; (3) a tendency to chip, termed -“flaking.”</p> - -<div class="chapter" id="chap_6"> -<h2 class="nobreak" id="Carved_Pumice-stone">Carved Pumice-stone.</h2> -</div> - -<p>An experienced Cameo engraver recommends a -beginner to procure pieces of Pumice-stone, which -may be readily obtained, and begin by carving -in this substance. The stone is much softer than -the shell, and can be very easily shaped; and the -colour lends itself to very beautiful effects, but -the surface being very soft, the fine work soon -disappears. As an intermediate step to the -carving on the Conch-shell, the Pumice-stone -may be strongly recommended.</p> - -<div class="chapter" id="chap_7"> -<h2 class="nobreak" id="Mounting_Pieces_of_Shell">Mounting Pieces of Shell.</h2> -</div> - -<p>When it has been determined to carve a piece -of shell, the first thing to be done is to mount it -upon what is technically known as a Stick. Get -the handle of a broom, cut off five inches, and -cover each end with cement made of a mixture of -tar and resin. This may be procured at any oil-shop. -Ask for a cake of cement, and you get a -square for a 1d. which would suffice for twenty or -thirty pieces of shell, or you may buy a pound -for 6d. or 8d. Melt the cement as you would a -piece of sealing-wax, cover each end of the Stick<span class="pagenum" id="Page_27">27</span> -with the melted stuff, so as to form a bed; wet -the under part of the shell, and press it into the -cement. This will hold the piece firmly while it -is being worked. By mounting a piece of shell -on each end of the Stick, there is the advantage -of working upon two patterns at the same time, -or of cutting the same pattern twice, improving -upon one by the experience obtained in cutting -the other.</p> - -<p>In selecting an oval piece for working, care -should be taken to get one without flaw. This -is a difficult matter, and requires a great deal of -experience. Beginners should select pieces tolerably -smooth; but practised workers prefer those -which are irregular in their surface, because they -furnish more scope for the exercise of their skill. -In cutting these, the design follows the convolution -of the shell. It is dangerous to lower any -one portion, because the white surface does not preserve -the same relative thickness all over the piece; -and unless care is taken the ground will show -through. This is not a disadvantage in the ear -or the neck, but would be serious if it was apparent -on the forehead or in the cheek. A skilful -Cameo-cutter will, however, so arrange his design -as to produce the blush of the ground in such -portions as to enhance the value of his work. In -drawing the face, avoid, if possible, the rough, -rotten-looking patches. These are signs of decay -which may only be superficial, and disappear at<span class="pagenum" id="Page_28">28</span> -the first cut; but, on the contrary, they are more -likely to penetrate deeply, and may necessitate -the lowering of the whole face before they can be -got rid of altogether.</p> - -<p>Sometimes, when the face has been modelled, -and nothing remains but the finishing, a crooked -line appears, which Cameo-cutters believe is caused -by the presence of a worm in the early development -of the shell. This is very difficult to get -rid of; hence extreme care is necessary in selecting -the piece for working.</p> - -<p>A third fault is “flaking,” when, by a single -cut, the whole of the forehead chips off, or half -the nose disappears. There is no remedy then; -the whole face must be cut in low relief, or the -piece be thrown aside altogether; the latter is -often the more preferable course. But all these -risks are minimised by experience. Having got -a satisfactory piece mounted, the Stick is held -in the left hand, and the face drawn upon it in -lead-pencil, a little larger than the size actually -required.</p> - -<p>If a whole shell is to be carved, care must be -taken in the first instance to cleanse it. To do -this, get a small quantity of muriatic acid and -wash with a brush; this will bring away all the -dirt; then add to some fresh muriatic acid hot -water, immerse the shell for one or two minutes; -then rinse the shell in cold water.</p> - -<p>Holtzaffpel, referring to the outlining of the<span class="pagenum" id="Page_29">29</span> -design, recommends that every portion be left -rather in excess, so that there may be ample room -for improving the outline in finishing off. Be -very careful not to injure the ground, as the -natural surface is superior to any that can be -given artificially.</p> - -<div class="chapter" id="chap_8"> -<h2 class="nobreak" id="Drawing_the_Design">Drawing the Design.</h2> -</div> - -<p>Beginners should draw the design or figure first -upon a piece of paper, or model it in clay or wax, -and then draw the pattern upon the shell.</p> - -<div id="ip_29" class="figcenter"> - <img src="images/i_p29.png" width="785" height="790" alt="" /> - <div class="caption"><span class="smcap">Fig. 2.</span>—Transferring Head to Shell.</div></div> - -<p>If the surface of the shell is irregular, do not -attempt to make it level, but follow the irregularities, -remembering that the white stratum is -of the same thickness all through the piece, and -that if the surface is filed down the ground will -show through, disfiguring the appearance of the -design, and preventing the pattern being modelled -in proper proportions. When the design is settled<span class="pagenum" id="Page_30">30</span> -upon, copy it on the shell with the help, if necessary, -of a star, as in the head (<a href="#ip_29">Fig. 2</a>). Draw the -outline slightly larger than the design, so as to -allow of the proper proportions being secured on -cutting. Skilful Cameo engravers never use a -pencil, but sketch the desired outline with one or -other of the cutting-tools; and many of them -could not draw the figure on a piece of paper -which they readily cut with their tools.</p> - -<div class="chapter" id="chap_9"> -<h2 class="nobreak" id="The_Tools">The Tools.</h2> -</div> - -<p>There are at present none specially made for -the use of the Cameo engraver in England, but -all that are required may be selected from those -kept in stock for the use of engravers.</p> - -<p>Mr. G. Buck, 242 Tottenham Court Road, -London, W., keeps the tools most suitable for -Cameo-work separate, and can supply them on -request. They are of two kinds, round and flat -Scawpers and Spit-stickers, and cost, handled, -3d. each. To these may be added a Fine File, and -the stock is complete, exhibiting in this respect -a striking contrast to the price of tools necessary -for practising many other useful arts. The Round -Scawpers are used for first cutting the figure and -developing the several parts, the Flat Scawpers -for smoothing the work, and the Spit-sticker for -putting in the finishing touches.</p> - -<p><span class="pagenum" id="Page_31">31</span></p> - -<p>The following diagrams show the exact size of -the several <span class="locked">tools:—</span></p> - -<div id="ip_31" class="figcenter"> - <img src="images/i_p31.png" width="1190" height="2552" alt="Figs. a-h" /> - <div class="caption">Figs. a to h, Tools for Cameo-work.</div></div> - -<p>The following diagrams show the Flat and<span class="pagenum" id="Page_32">32</span> -Round Scawper, handled, and sections of each -(<a href="#ip_32">Figs. 4 and 4a, 5 and 5a</a>).</p> - -<div id="ip_32" class="figcenter"> - <img class="larger" src="images/i_p32.png" width="1769" height="1374" alt="Figs. 4, 4a, 5, 5a" /> - <div class="caption"> - -<div class="hide"> -<p class="l8 b0"> <span class="smcap">Fig. 4.</span></p> -<p class="in8 p0 b0"><span class="smcap">Fig.</span> 4a.</p> -<p class="l8 p0 b0"><span class="smcap">Fig. 5.</span></p> -<p class="in8 p0"><span class="smcap">Fig.</span> 5a.</p> -</div> - -<p>Handled Tools and Sections of them.</p></div></div> - -<div class="chapter" id="chap_10"> -<h2 class="nobreak" id="The_Use_of_the_Holdfast">The Use of the Holdfast.</h2> -</div> - -<p>The piece of shell having been mounted on a -Stick, a grip is wanted in which to hold the Stick -with the left hand, while work is carried on with -the right hand. This may be obtained by using -a piece of wood, like that in the illustration (<a href="#ip_33">Fig. 6</a>), -and screwing it to the top of a wooden table, -so that the notch is projected a couple of inches -in advance of the edge of the table; or, if no -special table is available, a Holdfast should be<span class="pagenum" id="Page_33">33</span> -purchased, such as is shown in <a href="#ip_33">Fig. 6</a>. This is -screwed to the edge of a table from below, and -fits any kind of table, leaving no mark whatever. -The price of a Holdfast varies from 1s. to 2s. 6d., -and the article may be purchased at any tool-shop. -A simpler form of Holdfast may be obtained -by purchasing an iron screw-clip, which -may be had from any ironmonger, and getting a -notched piece of wood, as shown in the above cut, -and this is considered preferable by many as furnishing -a steadier grip while work is going on.</p> - -<div id="ip_33" class="figcenter"> - <img src="images/i_p33.jpg" width="1804" height="1763" alt="" /> - <div class="caption"><span class="smcap">Fig. 6.</span>—Holdfast.</div></div> - -<div class="chapter" id="chap_11"> -<p><span class="pagenum" id="Page_34">34</span></p> - -<h2 class="nobreak" id="Process_of_Working">Process of Working.</h2> -</div> - -<p>Whatever may be the figure or pattern to be -cut, the process is the same with respect to the -handling of the tools. The wooden handle lies in -the palm of the right hand, and all the power is -imparted by the palm. As the material operated -upon is almost as hard as marble, power is required -to make a cut; but if the tools are well-tempered -and very sharp, a little experience will soon -teach the cutter how to work. The thumb of the -right hand should be protected by a finger-stall -from injury by the edge of the tool. In the illustration -(<a href="#ip_35">Fig. 7</a>) the method of holding the stick -is shown in conjunction with the method of holding -the tool. The thumb of the left hand rises -the height of the nail above the top of the Stick; -against this the thumb of the right hand is placed, -which furnishes the necessary resistance to the<span class="pagenum" id="Page_35">35</span> -power created by the palm of the right hand; the -finger and thumb then direct the cut which is to -be made by the Scawper.</p> - -<div id="ip_35" class="figcenter"> - <img src="images/i_p34.png" width="1747" height="918" alt="" /> - <div class="caption"><span class="smcap">Fig. 7.</span></div></div> - -<p>Supposing the figure drawn to be a face, cut -outline with tool <a href="#ip_37">Fig. A</a>; block out and model -features roughly with D; form ornaments on -head and outline hair with C; develop more -clearly with A and B. The face can next be prepared -with C, by one cut from brow to nose, and -another from nose to chin. With B separate the -hair from the forehead, outline the ear, divide the -mouth and nose from the cheek by an upward -cut to the eyebrow; from the corner of the nose -cut a triangle—this will form the eye. Make -two cuts for nostril and chin; midway between -these another cut will mark the mouth; sink the -neck, outline the collar and dress; the face is then -“roughed.” The eye, nostrils, and mouth are cut -with B, and further developed with A. The hair -is divided into masses with B, separated into -tresses with A, the whole sharply cut with the -Spit-sticker G, and finally smoothed with E and F.</p> - -<p>When the whole face has been roughed, it is -interesting to watch a Cameo engraver at work. -With a Scawper in his hand, he makes cuts all -over the face, indents the cheek, smooths the ear, -fashions the nostrils, lowers the nose, works at -the mouth, forms the lips, cuts the chin, rounds -the little triangle which contains the eye, marks -the arrangement of the hair with a cut here and<span class="pagenum" id="Page_36">36</span> -there, trims the beard, and so passes over the -whole face again and again, bringing every portion -into harmony before finishing any one feature. -After the triangle has been duly rounded, and the -eyebrow formed, a single cut separates the two -lids of the eye, and lowers the eyeball at the -same moment. When the eye is open the likeness -is complete; a portrait becomes apparent -when the nose and mouth are cut, but the fashioning -of the eye is necessary to make it perfect. -The ear and hair play important parts in completing -the face. To fashion the hair requires a -great amount of skill, and the beginner is timid -in making cuts, but is aided in forming the curved -tresses by turning the Stick with the left hand to -meet the Scawper used in the right hand. A fine -Scawper is necessary to cut the whiskers and -beard, and the cuts should be short and curved. -When the whole face has been modelled to -the satisfaction of the worker, the third process -begins—that of Finishing. In this operation the -Spit-sticker plays a very important part. The -upper eyelid is under-cut, which adds very much -to the appearance of the eye; the hair is also -traversed by the Spit-sticker, as well as the beard, -and the tool smooths while it cuts. Finally, a -Flat Graver is used to smooth forehead, cheeks, -nose, and chin, taking out all marks of cuts, and -softening the appearance of the whole. The hand -soon becomes accustomed to the use of the tools,<span class="pagenum" id="Page_37">37</span> -and the timid cut of the learner is exchanged for -the graceful and vigorous stroke of the artist.</p> - -<p>Holtzaffpel impresses upon all Cameo engravers -the importance of cutting all the edges of the -figure quite square from the ground, and not -gradually rounding them down to the surface. -This is effected by under-cutting the edge where -it rests upon the ground.</p> - -<div id="ip_37" class="figcenter"> - <img src="images/i_p37.jpg" width="1826" height="1851" alt="" /> - <div class="caption"><p><span class="smcap">Fig. A.</span></p> - -<p><span class="smcap">Fig. B.</span> - -<span class="in8"><span class="smcap">Fig. C.</span></span></p></div></div> - -<p>Let the beginner try a few floral outlines such -as shown in <a href="#ip_37">Figs. A, B, and C</a>.</p> - -<p><span class="pagenum" id="Page_38">38</span></p> - -<p>When sufficient progress has been made to -justify attempting to cut a face, the learner -should begin with separate features—the ear, the -mouth, the nose, or the eye, as in the following -<span class="locked">sketches:—</span></p> - -<div id="ip_38" class="figcenter"> - <img src="images/i_p38.png" width="1560" height="955" alt="" /></div> - -<p class="in0">Or the features alone, as <span class="locked">below:—</span></p> - -<div id="ip_38b" class="figcenter"> - <img class="smaller" src="images/i_p38b.png" width="761" height="752" alt="" /></div> - -<p>The next stage would be to form a head complete; -and the following would be suitable for -trial. The hair will require a considerable amount -of care at first, but by perseverance all difficulties<span class="pagenum" id="Page_39">39</span> -vanish; and when the features can be cut to the -satisfaction of the engraver, then a whole face -should be tried where no likeness is necessary.</p> - -<div id="ip_39" class="figcenter"> - <img src="images/i_p39.jpg" width="1858" height="2195" alt="" /></div> - -<p>Before attempting any portion of a face, one -who is learning should first cut a few simple -patterns, such as the following, which would serve -as buttons for the mantle which is worn. The<span class="pagenum" id="Page_40">40</span> -tools should be used in the order given for the -several processes already mentioned.</p> - -<div id="ip_40" class="figcenter"> - <img src="images/i_p40.jpg" width="1892" height="1469" alt="" /></div> - -<p>The faces below will give an idea of the effect -produced by the process of “roughing;” and the -same face when finished off.</p> - -<div id="ip_40b" class="figcenter"> - <img src="images/i_p40b.png" width="1892" height="995" alt="" /> - <div class="caption"><p>Roughed. - <span class="in8">Finished.</span></p></div></div> - -<p><span class="pagenum" id="Page_41">41</span></p> - -<p>The depth of white upon a piece of shell is -insufficient to cut a face in relief, except for very -small heads, which would be quite beyond the -skill of a beginner. There is a beauty as well as -character in the profile completely lost in the full -face; yet photographers are greatly disinclined to -make a <i xml:lang="fr" lang="fr">carte-de-visite</i> of the profile.</p> - -<div class="chapter" id="chap_12"> -<h2 class="nobreak" id="Working_by_Night">Working by Night.</h2> -</div> - -<p>If the work is done at night, an Engraver’s -glass is requisite in order to concentrate the -light without glare upon the shell. There are two -kinds of these glasses; one is filled with water -in which sulphate of copper is dissolved, and -clarified with oil of vitriol; the other, which costs -10s., consists of a large green glass eye, which -moves up and down a brass rod, and is screwed to -the required height. This is the better glass to use, -as the oil of vitriol, however much diluted, would, -by the accidental breakage of the globe, cause the -destruction of any carpet over which the liquid -ran. But no glass is required during the day-time, -and no artificial light is equal to the -natural light of day; work should therefore be -confined to hours before dark.</p> - -<div class="chapter" id="chap_13"> -<h2 class="nobreak" id="Polishing">Polishing.</h2> -</div> - -<p>When the face or figure has been finished, the -ground must be cleared for polishing. Great care<span class="pagenum" id="Page_42">42</span> -must be taken during the work not to cut down into -the natural ground, marks being very difficult to -efface. Use the Round Scawper to remove the -white, and then the Flat tool to remove all traces -of the white. Next cut up a bit of firewood into -small lengths, point each length, and rub the -surface of the Cameo with powdered pumice-stone -and water, then wash with warm water and soap, -with the aid of a nail-brush. With a fresh piece -of wood, rub the ground with pumice-powder and -oil until the surface is perfectly smooth and without -a trace of cut or mark of any kind; wash once -more, then apply the final polish. Take a fresh -bit of wood, and mix on a plate as much dust of -Rotten-Stone as will lie on a shilling, with a few -drops of Sulphuric Acid, forming a yellow paste. -Rub a small portion of the ground at a time, and -remove the paste while still wet; if the paste is -allowed to dry, it destroys the texture of the -ground. After the ground has been gone over, -rinse the Cameo in cold water. To remove the -shell from the Stick, cut away the cement from -the edge, then hold the Stick upright against the -edge of a table, and give it a smart rap with a -small hammer; the Cameo will slip off the top -unhurt.</p> - -<div class="chapter" id="chap_14"> -<h2 class="nobreak" id="Sharpening_the_Tools">Sharpening the Tools.</h2> -</div> - -<p>The Cameo-worker should always have a small -oilstone at hand, and a few rapid strokes will<span class="pagenum" id="Page_43">43</span> -restore the fine cutting edge of his tool, but the -tool must be held the reverse way of working -when applied to the oilstone. Hold the tool with -the cutting edge downwards on the oilstone, at -the same angle as a pen is held for writing, and -move rapidly to and fro five or six times; this -will restore the edge immediately.</p> - -<div class="chapter" id="chap_15"> -<h2 class="nobreak" id="Cost_of_Appliances">Cost of Appliances.</h2> -</div> - -<p>Holdfast or Clip, from 6d. to 2s. 6d.; four -Rounded and two Flat Scawpers, 1s. 6d.; one Spit-sticker, -3d.; one File, 3d.; Cake of Cement, 1d.; -Broom-handle, 2d.; one dozen pieces of Shell, -various sizes, 5s.; Oilstone, 1s. to 2s.</p> - -<p>If the cost of the tools is compared with the -expenditure necessary on many occupations to -which thousands devote their talents in spare -hours, it will be admitted that Cameo-cutting -carries the palm for cheapness. When it is -further considered that this may be resorted to -for an hour at any time, and does not involve -the use of any machinery for its pursuit, nor the -exclusive possession of any special table; while -it is absolutely free from any dirt or dust injurious -to furniture, to the carpet, or to the dress; -that it is not trying to the sight, and not attended -with risk to the hands, it must be apparent that -in Cameo-cutting an occupation is presented -which has undoubted claims to consideration.<span class="pagenum" id="Page_44">44</span> -All who engage in the art become fascinated -by the results which are obtained. Children of -tender years quickly become absorbed in the work, -which not only trains the eye and the hand, but -elevates and corrects the taste. To what more -pleasant use could a child put the knowledge it -has gained at school? But it is not principally -as an occupation for children that Cameo-cutting -should be considered. Between the simple forms -which a child may cut and the classic groups, -such as abound, there is scope for the exercise of -every degree of talent. There are artists in Cameo -now in Rome and Paris whose touches are readily -identified whatever they treat, in the same way -that the strokes of a famous sculptor are recognised.</p> - -<div class="chapter" id="chap_16"> -<h2 class="nobreak" id="Decline_in_the_Fashion_of_Wearing_Cameos">Decline in the Fashion of Wearing Cameos.</h2> -</div> - -<p>There were two principal causes for the decline -of fashion in the wearing of Cameos in England. -The first arose from paucity of designs; and the -second from the bad workmanship engendered by -overwhelming orders being thrust upon a market -in which only a limited number of operatives -were engaged. With regard to the first cause, -modern Cameo-cutters found no other models -than those which had been handed down from -the times of the ancient workers in gems. The -cutters were copyists merely, not true artists, and<span class="pagenum" id="Page_45">45</span> -modern taste was not satisfied with the representation -of classic deities, however daintily wrought. -There was no variety in the pose of figure, and -the minutest detail was settled one or two -thousand years before. Thus Apollo, Diana, -Jupiter, Mercury, Sappho, and Venus were represented -in precisely the same manner they had -been a thousand times before, and the Cameo -worn by a noble lady only differed in the quality -of execution from that worn by a greengrocer’s -daughter.</p> - -<p>How the sudden demand for Cameos arose it -is difficult to say, but orders were poured into -Paris houses, and the little colony of Italian and -French workers found themselves unexpectedly -flooded with wealth. They were men possessed -of most skilful hands, but very ignorant and -untutored economists, and they worked hard for -a portion of the week only, and too often shut -themselves up in low wine-houses, and with cards -and dominoes whiled away their time. Their -wages were soon exhausted by drink and gambling; -and when masters wanted workmen, they had first -to settle the scores they had run up, for -the payment of which the landlords detained -them. The natural result followed, the quality -of work deteriorated, and prices fell considerably; -then houses undersold each other, and Cameos -were cut at per dozen instead of per piece. When -the Franco-German war commenced the Cameo<span class="pagenum" id="Page_46">46</span> -trade was at its lowest point, and the outbreak -of hostilities dispersed the major number of the -workers.</p> - -<p>Now that the Cameo is again coming into -favour, there has been produced an imitation in -some hard vitreous substance, which is constantly -palmed off as the genuine article to careless -purchasers. I bought two of these imitation -Cameos in a jeweller’s shop for a few pence one -day; they were both mounted and pinned for -brooches. One, which was an imitation stone -Cameo, bore Raphael’s angels—those lovely little -figures which appear at the foot of the “Madonna -and Infant Christ” now in Dresden. This measures -one by one and a half inches. The other -was an oval, measuring one and a half by one -and three-quarter inches, bearing the head of -Ceres, and was an imitation shell Cameo. In -this piece the ground was coloured yellow, and -in exact imitation of a real piece of shell, the -colour increased in depth of shading from the -face to the back of the head. The face only was -white, and the ornaments about the hair, three -ears of corn, five roses, five forget-me-nots, tress -on the neck, and necklet of pearls were in -exact imitation of the well-known face. I have -seen cards on which half-a-dozen “Real Roman -Cameos” were mounted exhibited in shop windows, -and the price asked was 2s. 6d. each. These -scandalous imitations of lovely ornaments will<span class="pagenum" id="Page_47">47</span> -only be superseded when English workers send -into the market the genuine articles.</p> - -<div class="chapter" id="chap_17"> -<h2 class="nobreak" id="Cameo-Cutting_Highly_Recommended">Cameo-Cutting Highly Recommended.</h2> -</div> - -<p>The question of the pursuit of Cameo-cutting -as an industrial occupation for ladies was probably -first suggested by Mrs. Henry Mackarness, -the well-known authoress of “A Trap to Catch a -Sunbeam,” who strongly recommended the art of -Cameo-cutting in shell to the notice of ladies. -In an admirable work entitled “<cite class="upright">The Young -Lady’s Book</cite>,” published in 1876, she thus speaks -of the <span class="locked">work:—</span></p> - -<p>“It is sufficiently simple to be within the -scope of many who possess taste, patience, and -deft fingers.... It cannot be acquired without -some instruction, and considerable perseverance; -but the instruction is within reach, and -the perseverance will be amply repaid by the -results.” This Cameo-cutting will “give young -ladies a new and elegant pursuit.” It will “raise -their thoughts from knitting and netting, and -cultivate a taste for higher pursuits.... It -can be practised with half-a-dozen small tools -that take up scarcely any room; and, with a little -care and instruction, the art can be readily -acquired. Some knowledge of figure-drawing is -necessary, and a correct eye; and it is needless to -say that the more skilful the artist in this respect,<span class="pagenum" id="Page_48">48</span> -the better her Cameo-work is likely to be.” The -<i>Queen</i> was the first paper to devote a special -illustrated supplement to the question.</p> - -<p>The <i>Lady</i>, the <i>Jewish World</i>, the <i>Housewife</i>, -the <i>Manchester Courier</i>, and other papers as widely -separated in their pursuits and politics, have -urged the consideration of this work upon public -attention.</p> - -<p>“In the <i>Society of Arts Journal</i>, eighteen -months ago”—we quote from the <cite>Jewish World</cite>—“a -paper read by Mr. Marsh before that Society -was published at length, and copied into journals -far and near. Almost at once the work was tried -by ladies who had a knowledge of modelling and -of wood-carving, and the results obtained furnish -the highest possible expectation that in the near -future this fascinating art will find a home -amongst the ladies of England. There is no -machinery required; no dust or dirt is created; there -is no risk of soiling dress or carpet; and it -is not at all trying to the sight; while the prospects -of remuneration are of the brightest possible -character. There are an enormous number of -Cameos worn as pins, brooches, ear-rings, finger-rings; -and the uses to which the Cameo could -be put are infinite—as, for instance, for buttons, -or for insetting into book-covers, or for wall ornaments. -The old fashion was to wear vulgarly -large brooches, with heads of abnormal size, so as -to show as much ornamentation as possible; but<span class="pagenum" id="Page_49">49</span> -the new fashion is to make them small, and to cut -modern figures, rejecting those classic heads associated -at times with most questionable stories. -Why ever should ladies run after the face of -Venus or Juno? Is there not as much beauty -and infinitely more poetry to be got out of the -faces of Rebekah or Ruth? Why should men -wear Jupiter or Apollo in preference to Moses -or David? Surely all that art can ever impart -would fail to exhaust the tenderness or the grandeur -that could be embodied in one of these faces.”</p> - -<p>Mrs. Macfarlane, writing in the <cite>Housewife</cite>, -September 1888, said:—“It is now suggested -that the industry be taken up in England, as a -remunerative employment for women whose artistic -knowledge already embraces some idea of -drawing and modelling, and who do not feel inclined -to enter the ranks of those who paint well -or indifferently, those little knicknackeries which -it is felt have almost had their day, at least as -far as substantial commercial value is concerned. -Cameo-cutting, in this country, bears the charm -of novelty, is easy to learn, is adaptable to many -uses, and in no way encroaches upon existing -national labour. Cameos representing scenes -from the classics have before now been introduced -into cabinets or boxes, to beautify and make them -more valuable; they may, moreover, be used in -embellishing books and albums. One exquisitely -carved Cameo was shown to me the other day which<span class="pagenum" id="Page_50">50</span> -represented the face of Christ, and was to be set in -the cover of a devotional book, where I am sure it -would look most beautiful. Then Cameos may be -set in frames to hold photographs on the table, or be -inserted in the backs of chairs, instead of -the painted scenes or sprays of flowers which -were so fashionable a year or two ago. Ladies’ -and gentlemen’s trinkets and apparel open out a -wide field for Cameo-work; brooches, ear-rings, -breast-pins, studs, links, and finger-rings, are -very commonly carved in Italy, but are often -made too large for use. Executed finely on small -pieces of shell, they might be rendered more -acceptable and pretty. A special idea which has -been proposed is, that sets of buttons be made -of Cameos for coats, yachting, boating, or other -garments. Designers who could hit upon some -new idea, and carry it out for themselves, might -do a good deal in these and divers other ways -connected with dress. Cloak-clasps, umbrella and -sunshade knobs, fan handles, dressing-cases, hand-glasses, -brush-backs, glove and handkerchief -boxes can be made uncommon and beautiful by -its application.</p> - -<p>“Another range in which the art would flourish -is church decoration, for which Cameos are peculiarly -appropriate. There is a purity and, at the -same time, a durability about them, which commends -their use in this direction. How beautiful, -for instance, a frieze of palm-leaves would look<span class="pagenum" id="Page_51">51</span> -upon a reredos, or a carved lily upon a memorial -stone, or how appropriately a pulpit might be -decorated in Cameo! As I write, ideas for church -adornment crowed into my mind, but as I have -not yet exhausted the resources of Cameo-cutting -in another direction, I must leave my readers to -imagine these for themselves.”</p> - -<div class="chapter" id="chap_18"> -<h2 class="nobreak" id="Derivation_of_the_Word_Cameo">Derivation of the Word “Cameo.”</h2> -</div> - -<p>Much curious interest has been excited with -respect to the derivation of the word Cameo, and -the fact is curious that in that splendid repertory -of all things rare, curious, and of interest, “Notes -and Queries,” the only references to the Cameo -are two in number. One is a question propounded -in vol. viii., series iv., page 528, in which a -correspondent puts the query, which was never -answered, “What is the earliest known example -of a shell Cameo?” The second reference occurs -in vol. iii., series v., in which the derivation of -Cameos is inquired for, and the answer appears in -vol. iii., on page 31. Here Mr. F. Chance, Sydenham -Hall, after learnedly discussing derivations -from the Greek, Italian, Latin, German, and -Spanish, winds up by saying with Dundreary, -that Cameo is one of those words which “no fellow -can make out.”</p> - -<p>“The meaning of the word Cameo,” says a -writer in the <cite>Housewife</cite>, “is literally a picture of<span class="pagenum" id="Page_52">52</span> -one colour. In an ancient dictionary of arts and -sciences, more than a hundred years old, which -I have before me, the word is thus spelt and -explained:—‘Camaieu or Camehuia, in Natural -History, the same with camæa.’ I look up -‘camæa,’ and find the word descanted upon as -follows:—‘In Natural History, a genus of the -semi-pellucid gems, approaching to the onyx -structure, being composed of zones, and formed on -a crystalline basis; but having their zones very -broad and thick, and laid alternately on one -another, with no common matter between; usually -less transparent and more debased with -earth than the onyxes.’ Species are then described -which I need not detail. Returning next -to the camaieu, I find:—‘This word is also used -to express a stone, on which are found various -figures and representations of “landskips,” &c., -formed by a kind of <i xml:lang="la" lang="la">lusus naturæ</i>, so as to -exhibit pictures without painting. It is likewise -applied to any kind of gem on which figures are -engraven, either indentedly or in relievo.’”</p> - -<p>The <cite>Queen</cite> newspaper referred also to the -derivation of the term, and added the following -bit of historical <span class="locked">research:—</span></p> - -<p>“The term Cameo, in the language of art, is -usually applied to gems or stones that are worked -in relievo, that is, in which the object represented -is raised above the plane of the ground, in contradistinction -to intaglio, in which the subject is<span class="pagenum" id="Page_53">53</span> -engraved or indented. The art of ornamenting -precious stones with heads and figures is of high -antiquity, but it was for the most part confined -to intaglio or indenting, an easier process than -relieving the work from a ground. Such stones -were used for signets or seals in very remote -ages by the Etruscans and the Greeks. One of -the first names of great note that occurs in this -branch of art is that of Pyrgoteles, who lived -in the time of Alexander the Great, and who -alone was permitted to engrave seal rings for the -King. Tryphon, who lived under the immediate -successors of Alexander, also deserves mention -here, being the author of a beautiful and well-known -Cameo in the Marlborough collection, -representing the marriage of Cupid and Psyche.</p> - -<p>“In ancient Rome the age of Augustus was remarkable -for the excellence of the gem-engravers -who were then living, amongst them Dioscorides, -some of whose beautiful works have reached our -times. Engravers in gems, both in cameo and -intaglio, continued to flourish down to Marcus -Aurelius. With the decline of the Roman Empire, -gem-engraving was neglected, like the other arts, -and it was not till the fifteenth century that the -taste and munificence of the Medici caused a -revival in Italy, and tempted artists to devote -themselves to its practice. Cameos at that time -were in great request for personal ornaments, -and for inlaying or embossing vases and similar<span class="pagenum" id="Page_54">54</span> -articles. Cameo collecting became a passion in -Italy, and the gem-engravers of that period found -special historians in Vasari and Marietti. In the -succeeding century there was a considerable falling -off, but in the eighteenth century the art again -rose, and the names of some who exercised it -will bear comparison with those of almost any -age. The greater part of these were Italians; -but two of the most celebrated, John Pichler -and Laurence Natter, were natives of Germany, -and their works challenge competition with the -finest antiques. In England it was Josiah Wedgwood -who revived the taste for Cameo-work by -his admirable reproduction of the Barberini Vase, -his unsurpassed portrait medallions, and his classical -bas-reliefs on plaques, vases, and tea-sets, -placed in beautifully tinted jasper, basalt, and -other bodies. James Tassie of Glasgow, by his -paste imitations of antique gems, 15,000 in number, -also contributed to the popularity of Cameo-work; -while W. Brown and Nathanael Marchand were -famous as gem-engravers at the beginning of the -present century. Marchand died in 1812 as a -member of the Royal Academy, and principal gem-engraver -to the King. The practice of working -Cameo on shells is of comparatively modern introduction -in Italy, and is carried on particularly in -Rome.”</p> - -<div class="chapter" id="chap_19"> -<p><span class="pagenum" id="Page_55">55</span></p> - -<h2 class="nobreak" id="A_Teacher_at_Work">A Teacher at Work.</h2> -</div> - -<p>A very widespread interest arose in consequence -of the article published in the Journal of the -Society of Arts; correspondents in all parts of -the United Kingdom wrote asking questions, and -several came from far-distant parts to take a -lesson. In the neighbourhood of London, heads -of technical colleges took up the question in a -practical form, and at several teaching is now -imparted to such pupils as exhibit an aptitude -for drawing and modelling. The results already -achieved are highly satisfactory, and the work -done by pupils has been publicly exhibited on -several occasions. A few practical lessons are, -of course, of greater value than learning by correspondence -or from a book; yet, notwithstanding -the difficulty of beginning to cut without a teacher, -many are now producing admirable work, though -they have had no other instruction than that contained -in the Journal of the Society of Arts.</p> - -<p>At first, and for a long time after my paper -was read at the Society of Arts, I was placed in -a great difficulty by correspondents writing for -tools, for shells, and for a teacher. Special tools -are now manufactured by Mr. Buck, and a teacher -was at length strongly recommended by Mr. John -Ford, himself an accomplished Cameo engraver, -of the firm of Ford & Wright, diamond polishers, -Clerkenwell Green. The gentleman in question<span class="pagenum" id="Page_56">56</span> -was Signor Giovanni,<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">3</a> now of London, who obtained -great celebrity in Naples and Rome as an engraver -of Cameos, and who, while still at the head of his -profession, has laboured to restore the almost lost -art of engraving on glass. After the work of six -years, he completed the ornamentation of a drinking-cup -of pure flint crystal, the subject being -the training of young Bacchus. For his triumph -in this department of art King Humbert I. bestowed -upon him the dignity of a Cavaliere of the -Crown of Italy. His designs are full of grace -and originality; and the future Cameo engravers -of England will be greatly indebted to him for -the skill with which he has facilitated their -acquiring the art. In the course of interviews -with Signor Giovanni, I represented to him how -very difficult it was for any to perfect themselves -in the work without models, and at my entreaty -he was good enough to model, mould, and cast a -series of examples in plaster of Paris, with the -aid of which, though the teacher may not be near, -the chief difficulties a learner has to encounter -may be easily overcome. These models embrace -the anatomical head and neck, the eye, nose and -mouth, and chin; fancy heads, portraits, Cupids, -classic heads, plants, flowers, fish, and animals.<span class="pagenum" id="Page_57">57</span> -There are twenty-four in the whole series, and they -can be had in sets of six, the dozen, or the whole.</p> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="fnanchor">3</a> Signor Giovanni has taught with great success at the High -School, Cecile House, Crouch End, London; and the principal, -Miss E. Rowland, kindly permits references to her, by those -desirous of taking lessons, or obtaining materials for the work.</p> - -</div> - -<p>Signor Giovanni’s method of teaching is first of -all to get his pupils to carve an ornament upon a -piece of Lava. Selected pieces may be purchased -at 4d. per lb., and they make an admirable medium -for learning to carve. Then afterwards a piece -of shell is taken and the figure is cut in Cameo.</p> - -<p>The only English workman who is at present -engaged in the work of Cameo engraving is Mr. -William King, who learned the art in his apprenticeship -to Messrs. Francati & Santamaria. He -is spoken of by the members of that firm as being -equal to any Roman workman.</p> - -<div class="chapter" id="chap_20"> -<h2 class="nobreak" id="Lessons_by_Correspondence">Lessons by Correspondence.</h2> -</div> - -<p>If the distance from London is too great for a -pupil to come to town, the “roughed” Cameo can -be sent to Signor Giovanni by post. He then -makes a mould, and produces a cast; this he -corrects and returns, so that the pupil can alter -and improve the Cameo without the intervention -of a foreign hand.</p> - -<p>In order to produce a Mould from which to -take casts, first lightly oil the surface of the -Cameo, place around a cardboard funnel, which -can be held in place by an indiarubber band. -The plaster of Paris used must be “extra fine;” -that most suitable is called “Scagliola,” and may<span class="pagenum" id="Page_58">58</span> -be purchased at any oil-shop at 6d. a bag containing -a few lbs. Mix a small quantity with -water, and pour upon the face of the Cameo. -When dry, paint the Mould with French polish -until a gloss appears upon the surface. When -the Mould is perfectly dry, apply oil to the -surface, then pour in plaster of Paris. As many -impressions may be taken in this way as are -desired without injury to the Mould.</p> - -<div class="chapter" id="chap_21"> -<h2 class="nobreak" id="Is_there_a_Market">Is there a Market?</h2> -</div> - -<p>I have been frequently asked, “Can I find a -market for my Cameos if I learn to cut them?” -No one ever put such a question to the drawing-master -or to the music-teacher when beginning -lessons. But of this new profession the answer -is undoubted. As soon as Cameos may be had of -better designs than those in the market, purchasers -will be found for them. If there is a -doubt in the mind of any one on this point, look -at the ornaments worn by those one meets in the -course of a brief walk through the principal streets -of London. I venture to say that difficulty would -be found in counting the ear-rings, brooches, pins, -and bracelets of Cameo which one sees; nor would -any one, if trained in art, approve, in the majority of -instances, of the size or design of the Cameos worn.</p> - -<p>The taste was formerly to get the largest possible -piece of shell, and cut a head about three<span class="pagenum" id="Page_59">59</span> -times the normal size, in order to provide for the -greatest amount of ornamentation, with ears of -corn or bunches of grapes. A Greek face was often -conjoined with Roman or Egyptian ornaments. -What, to modern England, is the story of Venus -or Cupid, or the beauty of Cleopatra? Are there -not a thousand stories in the history of our own -land of reputable queens more worthy of illustration? -Are the faces of our poets, dramatists, and -men of science, letters, and art of less account -than the faces of Apollo, Bacchus, or Pericles? -Putting aside the historical gallery, are there not -amongst the circle of our relatives and friends, -faces dear beyond all comparison with those of -Hebe or of Neptune?</p> - -<p>Take another field of labour, that of flowers. -We have all studied their language, and know -what is meant by the gift of a rose, a lily, or a -forget-me-not. But the flower fades all too quickly -for the expression of the feeling which love conveys; -how much more beautiful, then, is the gift -of a flower wrought by the hand of a loved one—a -flower that will never fade!</p> - -<p>Fashion is ever introducing new adaptations of -ornament to dress. Note the two or three buttons -with which a lady’s loose jacket is now fastened -on the left. Why not carve these in Cameo, a -dainty design in white on a purple or red or -brown background, glowing like a precious stone? -These would look beautiful!</p> - -<p><span class="pagenum" id="Page_60">60</span></p> - -<p>The uses to which the Cameo may be put are -innumerable, and in what I have said I have confined -myself to those of personal adornment only, -leaving out altogether the hundred and one purposes -of ornamentation about the house, the table, -or the drawing-room.</p> - -<div class="chapter" id="chap_22"> -<h2 class="nobreak" id="Designs">Designs.</h2> -</div> - -<p>The following pages contain a miscellaneous -collection of designs suitable for a great variety -of uses, more suggestive than exhaustive in their -character and scope. They will be found useful -for practice, but the artist will soon find subjects -better adapted to the degree of skill attained. A -large number are from the plaster casts modelled -by Signor Giovanni.</p> - -<div id="ip_60" class="figcenter"> - <img src="images/i_p60.png" width="769" height="1052" alt="" /></div> - -<hr /> -<p><span class="pagenum" id="Page_61">61</span></p> - -<div id="ip_61" class="figcenter"> - <img src="images/i_p61.jpg" width="1943" height="2639" alt="" /></div> - -<hr /> -<p><span class="pagenum" id="Page_62">62</span></p> - -<div id="ip_62" class="figcenter"> - <img src="images/i_p62.jpg" width="1940" height="3192" alt="" /></div> - -<hr /> -<p><span class="pagenum" id="Page_63">63</span></p> - -<div id="ip_63" class="figcenter"> - <img src="images/i_p63.jpg" width="1716" height="2900" alt="" /></div> - -<hr /> -<p><span class="pagenum" id="Page_64">64</span></p> - -<div id="ip_64" class="figcenter"> - <img src="images/i_p64.jpg" width="1440" height="3239" alt="" /></div> - -<div class="chapter"><div class="transnote"> -<h2 class="nobreak p1" id="Transcribers_Notes">Transcriber’s Notes</h2> - -<p>Punctuation, hyphenation, and spelling were made -consistent when a predominant preference was found -in the original book; otherwise they were not changed.</p> - -<p>Simple typographical errors were corrected.</p> - -<p>Illustrations in this eBook have been positioned -between paragraphs and outside quotations.</p> -</div></div> - -<pre style='margin-top:6em'> -*** END OF THE PROJECT GUTENBERG EBOOK CAMEO CUTTING *** - -This file should be named 64054-h.htm or 64054-h.zip - -This and all associated files of various formats will be found in: -https://www.gutenberg.org/6/4/0/5/64054/ - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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