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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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