,illustration3 ,a ,,primrose ,,shell1   
,by ,signor ,giovanni4                  
,,darton',s ,,manuals ,,for ,,home      
,,work4      ,,cameo ,,cutting      ,,by
      ,illustration3 ,john ,b4 ,marsh   
7signature7      ,,author ,,of    8,,the
 ,,reference ,,shakespeare10 8,,venice  
,,and ,,the ,,venetians10 ,,etc4        
,illustration3 ,page #ag4      ,with    
,original ,illustrations4      ,,london3
    ,,wells ,,gardner1 ,,darton1  ,,co4 
#b ,,paternoster ,,buildings1 ,e4,c4    
,,and #dd ,,victoria ,,street1          
,,westminster1 ,s4,w4    ,illustration3 
#ahij            ,dedicated      ,,by   
,,gracious ,,permission      ,,to       
,,her ,,royal ,,highness ,,the          
,,princess ,,louise1    ,,marchioness   
,,of ,,lorne1      ,,whose ,,interest   
,,in    ,,technical ,,education    ,,is 
,,gratefully ,,acknowledged4            
,,introduction4      ,the art of cutting
 ,cameos in shell is of so very recent  
birth1 compared  with that of working in
 precious stones1 that a claim to       

consideration  in setting forth the     
method and practice may justly be       
preferred4 ,yet  my little treatise1    
which is based upon practical           
experience1 has  been found1 even in    
more limited form1 a sufficient guide   
for the  practice of the art1 by a large
 number of amateurs in ,england1 ,wales1
  and ,switzerland1 to produce good     
work2 these were all of them skilled  in
 the use of the brush1 the pencil1 or   
the chisel4 ,to all similarly           
proficient in any department of art1    
,cameo-cutting will be found a  pleasant
 and interesting employment4            
,,contents4                             
,,page    ,,shell ,,cameo-,,cutting     
#aa      ,,shell ,,cameos ,,in ,,the    
,,museums                      #ai      
,,appearance ,,of ,,the ,,conch-,,shell 
#ai      ,,adaptability ,,of ,,the ,,art
                          #bb           
,,cost ,,of ,,pieces ,,of ,,shell       
#be      ,,carved ,,pumice-,,stone      
#bf      ,,mounting ,,pieces ,,of       

,,shell                         #bf     
,,drawing ,,the ,,design                
#bi      ,,the ,,tools                  
#cj      ,,the ,,use ,,of ,,the         
,,holdfast                          #cb 
,,process ,,of ,,working                
#cd      ,,working ,,by ,,night         
#da      ,,polishing                    
#da      ,,sharpening ,,the ,,tools     
#db      ,,cost ,,of ,,appliances       
#dc      ,,decline ,,in ,,the ,,fashion 
,,of ,,wearing ,,cameos         #dd     
,,cameo-,,cutting ,,highly ,,recommended
                 #dg      ,,derivation  
,,of ,,the ,,word 8,,cameo0             
#ea      ,a ,,teacher ,,at ,,work       
#ee      ,,lessons ,,by ,,correspondence
                        #eg      ,,is   
,,there ,a ,,market8                    
#eh      ,,designs                      
#fj          ,,handbook    ,,to         
,,cameo-,,cutting4          ,shell      
,cameo-,cutting4      ,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 ,queen4 ,the     
working of ,cameos in  precious stones1 
however1 goes back beyond the earliest  
historical  records2 history contains no
 reference to the beginning or progress 
of  the development4 ,tradition declares
 that the art was of ,asiatic origin1   
and that it was practised by the        
,babylonians1 from whom the ,phnicians  
carried it into ,egypt4 ,thence the     
progress of the work is clearly  traced 
to ,greece and ,italy1 and in our own   
time to ,france and ,england4  ,those   
who have practised ,cameo engraving in  
,england may be numbered on  the fingers
 of one hand4 ,but it is not with the   
carving of precious  stones this        
handbook deals1 but with the youngest of
 all the processes  discovered in       
connection with the production of the   
,cameo1 that of  working the beautiful  
,conch-shell4    ,the use of this shell 
for the purpose of ,cameo-cutting was   

first  practised in ,italy1 about the   
year #ahbj1 and it was then believed to 
be  of ,sicilian origin4 ,for many years
 all the shells used were exported  from
 ,england1 and the number averaged about
 three hundred per annum2  these were   
valued at #cjs4 each4 ,they soon became 
a favourite medium in  ,rome with the   
workmen1 and the art was taken thence to
 ,paris1 where it  flourished4 ,in #ahdg
 the sale of shells was reported to have
 reached  #ajj1ejj1 and their declared  
value was #hijj1 while the ,cameos which
  were produced were estimated to be    
worth at least #dj1jjj4    ,the prices  
of shells have since been very much     
reduced owing to an  increased          
importation1 so that shells of great    
beauty may now be  purchased for #ajs42 
while they may be had in quantities as  
low as #as4  #f;d4 each4 ,choice black  
shells1 however1 still command a higher 
price4    ,the colour of the ground in  
these shells varies from pink and orange
 to  an absolute black3 this is called  

the ,black ,helmet 7,cassis ,tuberosa71 
and comes from the ,west ,indian ,seas4 
,the shell with a pink ground is  called
 the ,queen ,conch 7,strombus ,gigas71  
and is also brought from the  ,west     
,indies4 ,a favourite variety is the    
,bull's ,mouth 7,cassis ,rufa71  found  
in the ,east ,indian ,seas1 which has a 
sard-like ground4 ,another  class is the
 ,horned ,helmet 7,cassis ,cornuta71    
which is brought from  ,madagascar2 in  
this the ground is dark claret in       
colour4 ,occasionally  shells are made  
use of having three layers1 the upper1  
always  dark-coloured1 serving for the  
hair1 or a wreath1 or for armour2 the   
second layer1 which is always white1 is 
used for carving the figure2  and the   
third layer is the ground4    ,messrs4  
,francati  ,santamaria1#a of ,hatton    
,garden1 were the largest  and almost   
the only dealers in shells for ,cameo   
work in the ,metropolis1  and they cut  
them up to the exact size required for  
engraving4 ,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  ,paris4 ,mr4 ,santamaria1    
upon one occasion1 showed me a          
magnificent ,black  ,helmet shell1 which
 he said was the only one that had been 
discovered  out of about ten thousand4  
,a shell of ordinary size only produces1
  on being cut up1 three or four large  
workable pieces1 and these are  worth   
from #cs4 to #es4 each2 but the ,bull   
,mouth1 of small size1 may  be purchased
 for a shilling4 ,a face or figure      
engraved upon a shell  looks well1      
particularly when the taste of the      
artist enables him to  cover every knob 
with figures1 and form an appropriate   
border of  leaves round the whole2 even 
the circles round the apex of the shell 
lend themselves to ornamentation1 and   
shells carved all over are much  sought 
after4 ,an experienced workman will     
often employ his leisure in  covering a 
large shell with work in this way4 ,in  

the centre he places  the principal     
design1 always a classic figure or group
 of figures1 and  around1 such          
ornamentation as his taste approves4    
,one of these1 cut in  ,hatton ,garden1 
was sold recently for a hundred guineas2
 and another1  almost entirely cut by   
,mr4 ,w4 ,king1 a young ,englishman then
 in the  employment of ,messrs4         
,francati  ,santamaria1 sold for #hj4   
#a ,partnership now dissolved4    ,the  
most celebrated ,cameo engraver of      
modern times was ,benedetto  ,pistrucci1
 who designed the 8,george and ,dragon0 
of our coinage1 which  is acknowledged  
to be the finest work that has ever     
appeared in modern  currency4 ,of       
himself he says that he was in a manner 
born to the work  he took up from       
choice1 and he mentions in proof of this
 that he had  square thumbs1 and the    
palm of his right hand was covered with 
horny  skin4 ,this had been a           
characteristic with certain of the males
 in  the family for several generations4

 ,he was the son of a judge1 and  was   
born at ,rome in ,may #aghd4 ,his eldest
 brother was a painter1 and  every      
member of the family was endowed with   
artistic tastes4 ,italy1  in his youth1 
was overrun by the ,french1 which caused
 his parents to  make frequent changes  
of residence4 ,at fourteen years of age1
 being  then proficient in drawing1 he  
was first put to a master1 one ,signor  
,mango1 who1 perceiving his genius1     
employed him to make designs for  his   
,cameos4 ,this provoked much jealousy   
among the other workmen1 one  of whom   
stabbed ,benedetto with a dagger4       
,during his illness he amused  himself  
by modelling the figures he drew1 and so
 perfected himself in  the stages       
necessary for becoming a thorough       
artist2 less than this in  training will
 only make a workman4 ,upon his recovery
 he was sent to two  masters in         
succession1 the second of whom1 noticing
 the superiority  of his designs1       
exclaimed1 8,with one who has genius    

there is very  little for a master to   
teach40 ,at sixteen years of age he     
began work  on his own account2 and1    
after a brief courtship1 at eighteen    
years  of age1 married a girl of        
sixteen1 of gentle family4 ,there were  
born  to them two daughters1 ,victoria  
and ,eliza1 and one son1 ,vincenzio4    
,eliza and her brother were endowed with
 the paternal characteristic1 a  horny  
palm1 and became celebrated as workers  
in ,cameo4 ,at twenty-four  years of age
 ,benedetto had succeeded in            
establishing a reputation as  an        
engraver of precious stones1 having     
taught himself the process1  and        
constructed with his own hands the wheel
 with which he worked4  ,for several    
years he had sold ,cameos worked in     
stones to one ,angelo  ,bonelli1 a      
travelling dealer in gems2 and          
discovering one day that a  specimen of 
his work had been stained to represent  
an antique1 and  sold for a high price1 
he resolved for the future to place a   

secret  mark upon those he sold4 ,on one
 of these1 the head of ,flora1 he cut   
two  ,greek letters in the hair4 ,the   
condition of ,italy at that time induced
  him to consider the advantage of      
proceeding to ,england2 but before      
emigrating he executed several orders   
for one of ,napoleon's sisters1  one    
portrait being cut in stone1 much       
smaller than a fly4 ,pistrucci  brought 
to ,london a letter of introduction to  
,mr4 ,konig1 mineralogist  of the       
,british ,museum1 and by ,lord ,fife he 
was introduced to ,sir ,joseph  ,banks4 
,the latter afterwards introduced him to
 ,mr4 ,payne ,knight1 who  produced at  
their interview what he called the      
finest ,greek ,cameo in  existence1 a   
most choice gem1 a fragment of the head 
of ,flora1 for  which he had paid       
,bonelli #ejj guineas4 ,pistrucci did   
not even take the  stone from the       
extended palm of ,mr4 ,knight2 a glance 
disclosed the  fact that it was that    
head of ,flora in whose hair he had cut 

two ,greek  letters1 and for which      
,bonelli had paid him #e4 ,an unpleasant
 scene  resulted4 ,the letters were     
plainly visible2 but ,bonelli1 realising
 that  his trade was at an end1 boldly  
denounced ,pistrucci4 ,he pointed to the
  wreath of flowers about the head in   
proof of his conceit that it was  an    
antique1 asserting that no such flowers 
were then in existence2 but  ,sir       
,joseph ,banks1 examining them with a   
microscope1 exclaimed1 8,the  flowers   
are roses1 as ,i am a botanist60        
,pistrucci offered to carve  another    
,flora exactly similar without looking  
again at the 8antique40  ,this challenge
 was not accepted4 ,then it was agreed  
that he should cut  a head of ,flora in 
a different position1 and this was      
accepted as a  test of the truth of his 
representations4 ,the story soon spread 
through  ,london society2 noblemen1     
scientific men1 ladies of rank1 watched 
the  growth of the new ,flora under the 
hands of ,pistrucci1 and when it was    

completed the dispute raged with        
increased bitterness1 so that ,payne    
,knight's antique ,flora became the     
question of the day4 ,the controversy   
at length ended with universal          
expressions of sympathy for ,mr4 ,payne 
,knight4#b        #b ,see title-page4   
,this stone may be seen in the ,gold    
,ornament ,room at the ,british ,museum4
  ,it is placed in the case of 8,modern 
,engraved ,gems10 upon which stands  the
 ,alabaster vase engraved with the name 
of ,xerxes1 and is in the  bottom row of
 the case4 ,the face is exquisitely     
beautiful1 and the  roses which are cut 
in the upper coloured layer of the stone
 are  perfect4 ,an attendant will point 
out this ,flora to any one who asks for 
it4    ,pistrucci upon one occasion1    
while still residing in ,rome1 had an   
antique pale-brown sard given him to    
recut by ,domenico ,desalief4 ,the      
subject was a warrior crowned by a      
female1 but so clumsily executed as  to 
be of little value4 ,there was1 however1

 plenty of material to cut  away4 ,after
 taking an impression in wax1 he altered
 the whole2 then he  cut away the knees 
of the figures1 and recut them higher   
up1 and so  remodelled the design that  
not a trace was left of the original    
forms4  ,the dealer was delighted1 and  
sold the gem readily for the ,imperial  
,russian ,cabinet of ,st4 ,petersburg1  
where it still remains1 and is  regarded
 as of the highest value4    ,the       
dispute about the ,flora indirectly     
brought about ,pistrucci's  appointment 
to the ,mint as chief engraver1 and he  
designed and executed  the 8,george and 
,dragon0 among other works4 ,afterwards 
a considerable  amount of jealousy was  
created by his employment amongst the   
officers  of the ,mint1 and the members 
of the ,royal ,academy were divided     
about  his appointment1 one portion     
insisting that native talent should be  
encouraged1 the other division holding  
that he was the best living  engraver4  
,to restore peace1 his appointment was  

subsequently styled  that of 8chief     
medallist40 ,he cut two portraits of    
,her ,majesty in  onyx1 one as          
,princess1 and the other as ,queen      
wearing a diadem4 ,on  retiring from the
 ,mint he took a cottage at ,old        
,windsor1 where he died  in his         
seventy-first year1 in #ahee1 only      
thirty-five years ago1 and  recently    
enough for him to be well remembered by 
a few living men4 ,his  connection with 
our own day1 and the distinction to     
which one of his  pupils has risen1     
justify the introduction of his name    
into this book4  ,his daughters1 before 
their father's death1 returned to ,rome1
 where  they practised ,cameo-cutting   
with great success4          ,shell     
,cameos in the ,museums4      ,there are
 in the collections shown in the        
,medival ,room of the  ,british ,museum 
several fine specimens of shell ,cameos 
which date from  medival times1 but     
these shells were found in the          
,mediterranean2 and  at ,south          

,kensington there are a few specimens of
 shell ,cameos worked  in ,rome4 ,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        
,kensington1 where the portrait of      
,millais is shown in  the several stages
 of progress1 together with the shell   
from which  the piece worked was        
originally cut4 ,these interesting      
specimens were  presented by ,mr4 ,james
 ,ronca1 who was a pupil of ,pistrucci's
 brother4  ,there are1 of course1 many  
separate specimens of carved            
,conch-shells1  in whole and in pieces1 
at both the ,british and ,south         
,kensington  ,museums4                  
,appearance of the ,conch-shell4        
,the shell will be readily recognised   
without an illustration4 ,in form       
somewhat resembling the human ear1 the  
shell possesses properties  which can be
 found in no other specimen of the      
order4 ,for the purposes  of the        

engraver1 the several parts are called  
by totally different  names1 according  
as the workman came from ,naples or     
,rome2 but without  entering into a     
discussion of the origin of these1 ,i   
propose to give  a few plain names to   
the several parts1 in order to enable a 
worker  to order the particular piece or
 portion which is required4 ,thus1 the  
several parts are the back of the shell1
 the back of the ,lip1 the ,dome1  and  
the ,comb1 the ,mouth of the shell1 the 
,lip1 and the ,face or ,body4    ,the   
piece in the upper portion of the ,dome 
is the most valuable1  because in that  
there is no variation of colour4 ,pieces
 cut from all  other portions of the    
shell vary slightly in depth of colour1 
the  colour deepening in tone as the    
mouth is approached4 ,a piece suitable  
for a brooch cut out of a ,black ,helmet
 would be worth #es42 but with  regard  
to other shells the prices vary as set  
out in the following  list4 ,other      
portions of the ,dome are used for      

brooches2 but the  choicest piece is the
 one named4 ,the ,comb1 having been cut 
off1 is  cut up into separate knobs1 and
 these are worked into heads which are  
required to stand out in bold relief4   
,the back edge is rarely worked1  and   
may be regarded as waste4 ,the ,lip is  
the next important portion1  and this is
 suitable for the carved handles of     
paper-knives1 for  umbrella-handles1 or 
for paper-weights4 ,a full length figure
 of classic  form may be carved in the  
,lip1 with admirable results1 so as to  
command  a high price4 ,the ,lip is     
perhaps more frequently cut into pieces 
between the raised edges which run at   
right angles to the course of the       
mouth1 and are used for carving fish or 
birds1 or any form requiring a  portion 
in high relief4 ,when the ,dome has been
 cut through1 a second  shell appears   
immediately below1 and this is          
remarkable for having  three distinct   
layers1 brown or red forming the        
surface1 white the  centre1 and brown or

 red the ground4 ,such a piece is       
necessary where  the design involves    
ornaments in the hair or a helmet on the
 head of a  warrior4    ,the shell is   
cut open by means of a tin wheel        
revolving on a spindle in  the ordinary 
way by means of a treadle4 ,above the   
wheel is a sloping  dish coming to a    
point on which emery powder lies1 and   
above the tray  is a small keg of water 
regulated by a stop-cock1 in such a way 
that as  the water trickles down the pan
 it carries particles of the powder on  
to the wheel4 ,the workman first cuts   
off the ,lip1 then he cuts across1      
above and below the ,comb1 and finally  
cuts down from the point of the  ,dome  
to the ,comb again4 ,this triangular    
piece is cut up into as many  portions  
as are required1 care being taken first 
of all to cut out the  choicest piece   
from the upper portion4                 
,adaptability of the ,art4      ,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 hands4    
,here is a field at present  quite      
unoccupied--an industry admirably       
adapted to thousands already  trained in
 the requirements of art1 and only      
needing the suggestion to  enable them  
to realise the fruit of years of        
industrious and patient  study4 ,in     
this1 as in all other artistic          
occupations1 there must be  a groundwork
 on which to ensure success4 ,any one   
ignorant alike of  the principles of    
drawing or modelling or carving can     
never become  proficient in the art of  
,cameo-cutting1 though by patient labour
  success may be obtained as a copyist1 
and the worker be able to cut  geometric
 patterns1 flowers1 and coats-of-arms1  
which would command a  ready market4    
,for the higher successes attainable by 
a ,cameo engraver1  the position of a   
true artist1 whose work would be        
recognised by the  form of a hand or the

 modelling of an eye or an ear1 there   
must be a  previous knowledge of        
drawing1 with skill in modelling and    
ability to  carve4    ,nothing less than
 a first place should content the       
,cameo-worker4  ,the age is one which is
 eminently suitable for the growth of   
the  profession4 ,drawing has for many  
years been taught in ,schools of ,art   
on scientific principles1 and pupils    
have proceeded from drawing to          
modelling1 to carving in wood1 or to    
painting in water and oils in  these    
schools1 until a point of excellence has
 been reached thought  impossible before
 they were established4 ,even in the    
rate-sustained  ,board ,schools children
 of tender years are taught to draw with
  surprising accuracy1 and such of them 
as take pleasure in their work  might   
very easily learn how to cut simple     
forms suitable for buttons or           
bracelets4 ,the only thing they would   
have to acquire would be the use  of the
 graver1 following upon the work of the 

pencil4 ,nor is this an  exaggeration1  
because two little girls of eight and   
ten1 from watching  their father at     
work1 actually fashioned little vases   
and hearts in  pieces of shell by using 
fine files4 ,from children as           
inexperienced as  these1 and from such  
an elementary knowledge of drawing as   
the ,school  ,board imparts to the      
young1 up to the most experienced       
artist1--the  gold medallist1 the born  
genius with pencil or chisel1--there is 
enough  in ,cameo-work to supply scope  
for all--enough to gratify the child's  
wish1 and the larger ambition2 and1     
beyond the choicest specimen of art  in 
existence1 enough to leave still greater
 triumphs to be realised  by future     
workers4 ,by the practice of this art no
 industry at present  in existence in   
,england would be injured2 but1 on the  
contrary1 many  industries1 such as     
those of the workers in silver and gold1
 the  wood-carver1 and the              
cabinet-maker1 would receive fresh      

development4  ,the present generation   
has never been in a position to consider
 this  industry as one attainable by the
 people until the present time2 nor     
would the ,cameo supplant any artistic  
article at present enjoying  public     
favour4 ,cameos may be carved small     
enough to adorn a lady's  ring1 a       
gentleman's shirt-stud1 or a pin4 ,they 
may be mounted for  bracelets1 or act as
 pendants1 or brooches1 or be used for  
hairpins1  for buttons to fasten back   
the vest1 or for jackets2 as solitaires 
for the shirt1 or for sleeve-links4 ,in 
the style of ladies' dress  now worn    
there would be an unfailing demand4     
,they may be fixed in  articles of      
ornament for the desk and table1 inlaid 
in vases1 caskets1  or dressing-cases2  
framed in the carved overmantel1        
inserted in the  backs of chairs1 inset 
in curtain bands2 or mounted on altar   
crosses1  set around ,communion-cups or 
in alms-dishes1 or worked into marble   
memorials of the dead2 or they might be 

inlet in the bindings of books4  ,from  
the variety of their ground--ranging    
from pink1 through every  shade of      
brown1 to an imperial purple1 and a     
magnificent black--there  is no marble1 
metal1 or wood with which the ,cameo    
would not harmonise4  ,in the course of 
a conversation recently with one of our 
,princesses1  who is a patron of art1   
this point was dwelt upon1 and the      
suggestion  was made that an anchor     
carved in shell would make an           
appropriate  button for a lady's        
yachting costume4          ,cost of     
,pieces of ,shell4      ,the cost of    
ordinary pieces of shell per dozen may  
be ascertained by  reference to the     
following diagrams3--    ,illustration3 
,,fig4 #a4--;,different ,sizes of       
,pieces4    ,nos4 #a and #b1 suitable   
for small and large ear-rings1 #cs4 per 
dozen2  ,no4 #c1 bracelet size1 #ds42   
,no4 #d1 larger bracelet or small       
brooch1 #fs42  ,no4 #e1 large brooch1   
#hs42 ,no4 #f1 #ajs42 ,no4 #g1 #aes4 to 

#ahs41 according  to the colour2 ,no4   
#h1 #bs4 #f;d4 to #cs4 #f;d4 each4      
,the importers of these shells would    
make up a dozen of various sizes  if    
required4 ,great care is necessary in   
selecting pieces suitable for  working  
in order to avoid 7#a7 the mark of a    
worm left in the early  growth of the   
shell2 7#b7 patches of decayed shell2   
7#c7 a tendency to  chip1 termed        
8flaking40          ,carved             
,pumice-stone4      ,an experienced     
,cameo engraver recommends a beginner to
 procure  pieces of ,pumice-stone1 which
 may be readily obtained1 and begin by  
carving in this substance4 ,the stone is
 much softer than the shell1  and can be
 very easily shaped2 and the colour     
lends itself to very  beautiful effects1
 but the surface being very soft1 the   
fine work soon  disappears4 ,as an      
intermediate step to the carving on the 
,conch-shell1  the ,pumice-stone may be 
strongly recommended4          ,mounting
 ,pieces of ,shell4      ,when it has   

been determined to carve a piece of     
shell1 the first thing  to be done is to
 mount it upon what is technically known
 as a ,stick4  ,get the handle of a     
broom1 cut off five inches1 and cover   
each end  with cement made of a mixture 
of tar and resin4 ,this may be procured 
at any oil-shop4 ,ask for a cake of     
cement1 and you get a square for a      
#a;d4 which would suffice for twenty or 
thirty pieces of shell1 or you  may buy 
a pound for #f;d4 or #h;d4 ,melt the    
cement as you would a piece of          
sealing-wax1 cover each end of the      
,stick with the melted stuff1 so  as to 
form a bed2 wet the under part of the   
shell1 and press it into  the cement4   
,this will hold the piece firmly while  
it is being worked4  ,by mounting a     
piece of shell on each end of the       
,stick1 there is the  advantage of      
working upon two patterns at the same   
time1 or of cutting  the same pattern   
twice1 improving upon one by the        
experience obtained  in cutting the     

other4    ,in selecting an oval piece   
for working1 care should be taken to get
 one  without flaw4 ,this is a difficult
 matter1 and requires a great deal  of  
experience4 ,beginners should select    
pieces tolerably smooth2 but  practised 
workers prefer those which are irregular
 in their surface1  because they furnish
 more scope for the exercise of their   
skill4 ,in  cutting these1 the design   
follows the convolution of the shell4   
,it is  dangerous to lower any one      
portion1 because the white surface does 
not  preserve the same relative         
thickness all over the piece2 and unless
  care is taken the ground will show    
through4 ,this is not a disadvantage  in
 the ear or the neck1 but would be      
serious if it was apparent on  the      
forehead or in the cheek4 ,a skilful    
,cameo-cutter will1 however1  so arrange
 his design as to produce the blush of  
the ground in such  portions as to      
enhance the value of his work4 ,in      
drawing the face1  avoid1 if possible1  

the rough1 rotten-looking patches4      
,these are signs  of decay which may    
only be superficial1 and disappear at   
the first  cut2 but1 on the contrary1   
they are more likely to penetrate       
deeply1  and may necessitate the        
lowering of the whole face before they  
can be  got rid of altogether4          
,sometimes1 when the face has been      
modelled1 and nothing remains but  the  
finishing1 a crooked line appears1 which
 ,cameo-cutters believe is  caused by   
the presence of a worm in the early     
development of the shell4  ,this is very
 difficult to get rid of2 hence extreme 
care is necessary  in selecting the     
piece for working4    ,a third fault is 
8flaking10 when1 by a single cut1 the   
whole of the  forehead chips off1 or    
half the nose disappears4 ,there is no  
remedy  then2 the whole face must be cut
 in low relief1 or the piece be thrown  
aside altogether2 the latter is often   
the more preferable course4 ,but  all   
these risks are minimised by experience4

 ,having got a satisfactory  piece      
mounted1 the ,stick is held in the left 
hand1 and the face drawn  upon it in    
lead-pencil1 a little larger than the   
size actually required4    ,if a whole  
shell is to be carved1 care must be     
taken in the first  instance to cleanse 
it4 ,to do this1 get a small quantity of
 muriatic  acid and wash with a brush2  
this will bring away all the dirt2 then 
add  to some fresh muriatic acid hot    
water1 immerse the shell for one or two 
minutes2 then rinse the shell in cold   
water4    ,holtzaffpel1 referring to the
 outlining of the design1 recommends    
that  every portion be left rather in   
excess1 so that there may be ample room 
for improving the outline in finishing  
off4 ,be very careful not to  injure the
 ground1 as the natural surface is      
superior to any that can  be given      
artificially4          ,drawing the     
,design4      ,beginners should draw the
 design or figure first upon a piece of 
paper1  or model it in clay or wax1 and 

then draw the pattern upon the shell4   
,illustration3 ,,fig4 #b4--,transferring
 ,head to ,shell4    ,if the surface of 
the shell is irregular1 do not attempt  
to make it  level1 but follow the       
irregularities1 remembering that the    
white  stratum is of the same thickness 
all through the piece1 and that if the  
surface is filed down the ground will   
show through1 disfiguring the           
appearance of the design1 and preventing
 the pattern being modelled in  proper  
proportions4 ,when the design is settled
 upon1 copy it on the  shell with the   
help1 if necessary1 of a star1 as in the
 head 7,fig4 #b74  ,draw the outline    
slightly larger than the design1 so as  
to allow of the  proper proportions     
being secured on cutting4 ,skilful      
,cameo engravers  never use a pencil1   
but sketch the desired outline with one 
or other  of the cutting-tools2 and many
 of them could not draw the figure on a 
piece of paper which they readily cut   
with their tools4          ,the ,tools4 

,there are at present none specially    
made for the use of the ,cameo  engraver
 in ,england1 but all that are required 
may be selected from  those kept in     
stock for the use of engravers4    ,mr4 
,g4 ,buck1 #bdb ,tottenham ,court ,road1
 ,london1 ,w41 keeps the tools  most    
suitable for ,cameo-work separate1 and  
can supply them on request4  ,they are  
of two kinds1 round and flat ,scawpers  
and ,spit-stickers1 and  cost1 handled1 
#c;d4 each4 ,to these may be added a    
,fine ,file1 and the  stock is complete1
 exhibiting in this respect a striking  
contrast to  the price of tools         
necessary for practising many other     
useful arts4 ,the  ,round ,scawpers are 
used for first cutting the figure and   
developing  the several parts1 the ,flat
 ,scawpers for smoothing the work1 and  
the  ,spit-sticker for putting in the   
finishing touches4    ,the following    
diagrams show the exact size of the     
several tools3--    ,illustration3      
,figs4 a to h1 ,tools for ,cameo-work4  

,the following diagrams show the ,flat  
and ,round ,scawper1 handled1 and       
sections of each 7,figs4 #d and #d;a1 #e
 and #e;a74    ,illustration3 ,,fig4 #d4
    ,,fig4 #d;a4    ,,fig4 #e4    ,,fig4
 #e;a4    ,handled ,tools and ,sections 
of them4          ,the ,use of the      
,holdfast4      ,the piece of shell     
having been mounted on a ,stick1 a grip 
is wanted in  which to hold the ,stick  
with the left hand1 while work is       
carried on  with the right hand4 ,this  
may be obtained by using a piece of     
wood1  like that in the illustration    
7,fig4 #f71 and screwing it to the top  
of  a wooden table1 so that the notch is
 projected a couple of inches in        
advance of the edge of the table2 or1 if
 no special table is available1  a      
,holdfast should be purchased1 such as  
is shown in ,fig4 #f4 ,this is  screwed 
to the edge of a table from below1 and  
fits any kind of table1  leaving no mark
 whatever4 ,the price of a ,holdfast    
varies from #as4 to  #bs4 #f;d41 and the

 article may be purchased at any        
tool-shop4 ,a simpler  form of ,holdfast
 may be obtained by purchasing an iron  
screw-clip1  which may be had from any  
ironmonger1 and getting a notched piece 
of  wood1 as shown in the above cut1 and
 this is considered preferable by  many 
as furnishing a steadier grip while work
 is going on4    ,illustration3 ,,fig4  
#f4--;,holdfast4          ,process of   
,working4      ,whatever may be the     
figure or pattern to be cut1 the process
 is the  same with respect to the       
handling of the tools4 ,the wooden      
handle lies  in the palm of the right   
hand1 and all the power is imparted by  
the  palm4 ,as the material operated    
upon is almost as hard as marble1 power 
is required to make a cut2 but if the   
tools are well-tempered and very  sharp1
 a little experience will soon teach the
 cutter how to work4 ,the  thumb of the 
right hand should be protected by a     
finger-stall from  injury by the edge of
 the tool4 ,in the illustration 7,fig4  

#g7 the method  of holding the stick is 
shown in conjunction with the method of 
holding  the tool4 ,the thumb of the    
left hand rises the height of the nail  
above  the top of the ,stick2 against   
this the thumb of the right hand is     
placed1 which furnishes the necessary   
resistance to the power created  by the 
palm of the right hand2 the finger and  
thumb then direct the cut  which is to  
be made by the ,scawper4                
,illustration3 ,,fig4 #g4    ,supposing 
the figure drawn to be a face1 cut      
outline with tool ,fig4 ,a2  block out  
and model features roughly with ,d2 form
 ornaments on head  and outline hair    
with ,c2 develop more clearly with ,a   
and ,b4 ,the face  can next be prepared 
with ,c1 by one cut from brow to nose1  
and another  from nose to chin4 ,with ,b
 separate the hair from the forehead1   
outline  the ear1 divide the mouth and  
nose from the cheek by an upward cut to 
the eyebrow2 from the corner of the nose
 cut a triangle--this will  form the    

eye4 ,make two cuts for nostril and     
chin2 midway between these  another cut 
will mark the mouth2 sink the neck1     
outline the collar and  dress2 the face 
is then 8roughed40 ,the eye1 nostrils1  
and mouth are cut  with ,b1 and further 
developed with ,a4 ,the hair is divided 
into masses  with ,b1 separated into    
tresses with ,a1 the whole sharply cut  
with the  ,spit-sticker ,g1 and finally 
smoothed with ,e and ,f4    ,when the   
whole face has been roughed1 it is      
interesting to watch a  ,cameo engraver 
at work4 ,with a ,scawper in his hand1  
he makes cuts  all over the face1       
indents the cheek1 smooths the ear1     
fashions the  nostrils1 lowers the nose1
 works at the mouth1 forms the lips1    
cuts  the chin1 rounds the little       
triangle which contains the eye1 marks  
the arrangement of the hair with a cut  
here and there1 trims the  beard1 and so
 passes over the whole face again and   
again1 bringing  every portion into     
harmony before finishing any one        

feature4 ,after  the triangle has been  
duly rounded1 and the eyebrow formed1 a 
single  cut separates the two lids of   
the eye1 and lowers the eyeball at the  
same moment4 ,when the eye is open the  
likeness is complete2 a portrait        
becomes apparent when the nose and mouth
 are cut1 but the fashioning  of the eye
 is necessary to make it perfect4 ,the  
ear and hair play  important parts in   
completing the face4 ,to fashion the    
hair requires a  great amount of skill1 
and the beginner is timid in making     
cuts1 but  is aided in forming the      
curved tresses by turning the ,stick    
with the  left hand to meet the ,scawper
 used in the right hand4 ,a fine        
,scawper is  necessary to cut the       
whiskers and beard1 and the cuts should 
be short  and curved4 ,when the whole   
face has been modelled to the           
satisfaction  of the worker1 the third  
process begins--that of ,finishing4 ,in 
this  operation the ,spit-sticker plays 
a very important part4 ,the upper       

eyelid is under-cut1 which adds very    
much to the appearance of the eye2  the 
hair is also traversed by the           
,spit-sticker1 as well as the beard1    
and the tool smooths while it cuts4     
,finally1 a ,flat ,graver is used  to   
smooth forehead1 cheeks1 nose1 and chin1
 taking out all marks of  cuts1 and     
softening the appearance of the whole4  
,the hand soon becomes  accustomed to   
the use of the tools1 and the timid cut 
of the learner  is exchanged for the    
graceful and vigorous stroke of the     
artist4    ,holtzaffpel impresses upon  
all ,cameo engravers the importance of  
cutting all the edges of the figure     
quite square from the ground1 and  not  
gradually rounding them down to the     
surface4 ,this is effected by           
under-cutting the edge where it rests   
upon the ground4    ,illustration3      
,,fig4 ,a4    ,,fig4 ,b4    ,,fig4 ,c4  
,let the beginner try a few floral      
outlines such as shown in ,figs4 ,a1 ,b1
  and ,c4    ,when sufficient progress  

has been made to justify attempting to  
cut a  face1 the learner should begin   
with separate features--the ear1 the    
mouth1 the nose1 or the eye1 as in the  
following sketches3--    ,illustration  
,or the features alone1 as below3--     
,illustration    ,the next stage would  
be to form a head complete2 and the     
following  would be suitable for trial4 
,the hair will require a considerable   
amount of care at first1 but by         
perseverance all difficulties vanish2   
and when the features can be cut to the 
satisfaction of the engraver1  then a   
whole face should be tried where no     
likeness is necessary4    ,illustration 
,before attempting any portion of a     
face1 one who is learning should  first 
cut a few simple patterns1 such as the  
following1 which would  serve as buttons
 for the mantle which is worn4 ,the     
tools should be  used in the order given
 for the several processes already      
mentioned4    ,illustration    ,the     
faces below will give an idea of the    

effect produced by the process  of      
8roughing20 and the same face when      
finished off4    ,illustration3         
,roughed4    ,finished4    ,the depth of
 white upon a piece of shell is         
insufficient to cut a face  in relief1  
except for very small heads1 which would
 be quite beyond  the skill of a        
beginner4 ,there is a beauty as well as 
character in the  profile completely    
lost in the full face2 yet photographers
 are greatly  disinclined to make a     
carte-de-visite of the profile4         
,working by ,night4      ,if the work is
 done at night1 an ,engraver's glass is 
requisite in order  to concentrate the  
light without glare upon the shell4     
,there are two  kinds of these glasses2 
one is filled with water in which       
sulphate of  copper is dissolved1 and   
clarified with oil of vitriol2 the      
other1  which costs #ajs41 consists of a
 large green glass eye1 which moves up  
and down a brass rod1 and is screwed to 
the required height4 ,this is  the      

better glass to use1 as the oil of      
vitriol1 however much diluted1  would1  
by the accidental breakage of the globe1
 cause the destruction  of any carpet   
over which the liquid ran4 ,but no glass
 is required  during the day-time1 and  
no artificial light is equal to the     
natural  light of day2 work should      
therefore be confined to hours before   
dark4          ,polishing4      ,when   
the face or figure has been finished1   
the ground must be cleared  for         
polishing4 ,great care must be taken    
during the work not to cut  down into   
the natural ground1 marks being very    
difficult to efface4  ,use the ,round   
,scawper to remove the white1 and then  
the ,flat tool to  remove all traces of 
the white4 ,next cut up a bit of        
firewood into  small lengths1 point each
 length1 and rub the surface of the     
,cameo  with powdered pumice-stone and  
water1 then wash with warm water and    
soap1 with the aid of a nail-brush4     
,with a fresh piece of wood1 rub the    

ground with pumice-powder and oil until 
the surface is perfectly smooth  and    
without a trace of cut or mark of any   
kind2 wash once more1 then  apply the   
final polish4 ,take a fresh bit of wood1
 and mix on a plate as  much dust of    
,rotten-,stone as will lie on a         
shilling1 with a few drops  of          
,sulphuric ,acid1 forming a yellow      
paste4 ,rub a small portion of the      
ground at a time1 and remove the paste  
while still wet2 if the paste is        
allowed to dry1 it destroys the texture 
of the ground4 ,after the ground  has   
been gone over1 rinse the ,cameo in cold
 water4 ,to remove the shell  from the  
,stick1 cut away the cement from the    
edge1 then hold the ,stick  upright     
against the edge of a table1 and give it
 a smart rap with a  small hammer2 the  
,cameo will slip off the top unhurt4    
,sharpening the ,tools4      ,the       
,cameo-worker should always have a small
 oilstone at hand1 and a  few rapid     
strokes will restore the fine cutting   

edge of his tool1  but the tool must be 
held the reverse way of working when    
applied to  the oilstone4 ,hold the tool
 with the cutting edge downwards on the 
oilstone1 at the same angle as a pen is 
held for writing1 and move  rapidly to  
and fro five or six times2 this will    
restore the edge  immediately4          
,cost of ,appliances4      ,holdfast or 
,clip1 from #f;d4 to #bs4 #f;d42 four   
,rounded and two ,flat  ,scawpers1 #as4 
#f;d42 one ,spit-sticker1 #c;d42 one    
,file1 #c;d42 ,cake of  ,cement1 #a;d42 
,broom-handle1 #b;d42 one dozen pieces  
of ,shell1 various  sizes1 #es42        
,oilstone1 #as4 to #bs4    ,if the cost 
of the tools is compared with the       
expenditure necessary  on many          
occupations to which thousands devote   
their talents in spare  hours1 it will  
be admitted that ,cameo-cutting carries 
the palm for  cheapness4 ,when it is    
further considered that this may be     
resorted  to for an hour at any time1   
and does not involve the use of any     

machinery for its pursuit1 nor the      
exclusive possession of any special     
table2 while it is absolutely free from 
any dirt or dust injurious to           
furniture1 to the carpet1 or to the     
dress2 that it is not trying to the     
sight1 and not attended with risk to the
 hands1 it must be apparent  that in    
,cameo-cutting an occupation is         
presented which has undoubted  claims to
 consideration4 ,all who engage in the  
art become fascinated  by the results   
which are obtained4 ,children of tender 
years quickly  become absorbed in the   
work1 which not only trains the eye and 
the  hand1 but elevates and corrects the
 taste4 ,to what more pleasant use      
could a child put the knowledge it has  
gained at school8 ,but it is not        
principally as an occupation for        
children that ,cameo-cutting should  be 
considered4 ,between the simple forms   
which a child may cut and the  classic  
groups1 such as abound1 there is scope  
for the exercise of  every degree of    

talent4 ,there are artists in ,cameo now
 in ,rome and  ,paris whose touches are 
readily identified whatever they treat1 
in the  same way that the strokes of a  
famous sculptor are recognised4         
,decline in the ,fashion of ,wearing    
,cameos4      ,there were two principal 
causes for the decline of fashion in the
  wearing of ,cameos in ,england4 ,the  
first arose from paucity of designs2    
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      
engaged4 ,with regard to the first      
cause1 modern  ,cameo-cutters found no  
other models than those which had been  
handed  down from the times of the      
ancient workers in gems4 ,the cutters   
were  copyists merely1 not true artists1
 and modern taste was not satisfied     
with the representation of classic      
deities1 however daintily wrought4      
,there was no variety in the pose of    
figure1 and the minutest detail was     

settled one or two thousand years       
before4 ,thus ,apollo1 ,diana1 ,jupiter1
  ,mercury1 ,sappho1 and ,venus were    
represented in precisely the same       
manner they had been a thousand times   
before1 and the ,cameo worn by a  noble 
lady only differed in the quality of    
execution from that worn by  a          
greengrocer's daughter4    ,how the     
sudden demand for ,cameos arose it is   
difficult to say1 but  orders were      
poured into ,paris houses1 and the      
little colony of ,italian  and ,french  
workers found themselves unexpectedly   
flooded with wealth4  ,they were men    
possessed of most skilful hands1 but    
very ignorant and  untutored economists1
 and they worked hard for a portion of  
the week  only1 and too often shut      
themselves up in low wine-houses1 and   
with  cards and dominoes whiled away    
their time4 ,their wages were soon      
exhausted by drink and gambling2 and    
when masters wanted workmen1 they  had  
first to settle the scores they had run 

up1 for the payment of  which the       
landlords detained them4 ,the natural   
result followed1 the  quality of work   
deteriorated1 and prices fell           
considerably2 then houses  undersold    
each other1 and ,cameos were cut at per 
dozen instead of per  piece4 ,when the  
,franco-,german war commenced the ,cameo
 trade was at  its lowest point1 and the
 outbreak of hostilities dispersed the  
major  number of the workers4    ,now   
that the ,cameo is again coming into    
favour1 there has been produced  an     
imitation in some hard vitreous         
substance1 which is constantly  palmed  
off as the genuine article to careless  
purchasers4 ,i bought two  of these     
imitation ,cameos in a jeweller's shop  
for a few pence one  day2 they were both
 mounted and pinned for brooches4 ,one1 
which was  an imitation stone ,cameo1   
bore ,raphael's angels--those lovely    
little  figures which appear at the foot
 of the 8,madonna and ,infant ,christ0  
now in ,dresden4 ,this measures one by  

one and a half inches4 ,the other  was  
an oval1 measuring one and a half by one
 and three-quarter inches1  bearing the 
head of ,ceres1 and was an imitation    
shell ,cameo4 ,in this  piece the ground
 was coloured yellow1 and in exact      
imitation of a real  piece of shell1 the
 colour increased in depth of shading   
from the face  to the back of the head4 
,the face only was white1 and the       
ornaments  about the hair1 three ears of
 corn1 five roses1 five forget-me-nots1 
tress on the neck1 and necklet of pearls
 were in exact imitation of  the        
well-known face4 ,i have seen cards on  
which half-a-dozen 8,real  ,roman       
,cameos0 were mounted exhibited in shop 
windows1 and the price  asked was #bs4  
#f;d4 each4 ,these scandalous imitations
 of lovely ornaments  will only be      
superseded when ,english workers send   
into the market the  genuine articles4  
,cameo-,cutting ,highly ,recommended4   
,the question of the pursuit of         
,cameo-cutting as an industrial         

occupation for ladies was probably first
 suggested by ,mrs4 ,henry  ,mackarness1
 the well-known authoress of 8,a ,trap  
to ,catch a ,sunbeam10  who strongly    
recommended the art of ,cameo-cutting in
 shell to the  notice of ladies4 ,in an 
admirable work entitled 8,the ,young    
,lady's  ,book10 published in #ahgf1 she
 thus speaks of the work3--    8,it is  
sufficiently simple to be within the    
scope of many who possess  taste1       
patience1 and deft fingers4444 ,it      
cannot be acquired without  some        
instruction1 and considerable           
perseverance2 but the instruction  is   
within reach1 and the perseverance will 
be amply repaid by the  results40 ,this 
,cameo-cutting will 8give young ladies a
 new and elegant  pursuit40 ,it will    
8raise their thoughts from knitting and 
netting1 and  cultivate a taste for     
higher pursuits4444 ,it can be practised
 with  half-a-dozen small tools that    
take up scarcely any room2 and1 with a  
little care and instruction1 the art can

 be readily acquired4 ,some  knowledge  
of figure-drawing is necessary1 and a   
correct eye2 and it is  needless to say 
that the more skilful the artist in this
 respect1 the  better her ,cameo-work is
 likely to be40 ,the ,queen was the     
first paper  to devote a special        
illustrated supplement to the question4 
,the ,lady1 the ,jewish ,world1 the     
,housewife1 the ,manchester  ,courier1  
and other papers as widely separated in 
their pursuits  and politics1 have urged
 the consideration of this work upon    
public  attention4    8,in the ,society 
of ,arts ,journal1 eighteen months      
ago0--we quote from  the ,jewish        
,world--8a paper read by ,mr4 ,marsh    
before that ,society was  published at  
length1 and copied into journals far and
 near4 ,almost at  once the work was    
tried by ladies who had a knowledge of  
modelling  and of wood-carving1 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 ,england4   
,there is no machinery  required2 no    
dust or dirt is created2 there is no    
risk of soiling  dress or carpet2 and it
 is not at all trying to the sight2     
while the  prospects of remuneration are
 of the brightest possible character4   
,there are an enormous number of ,cameos
 worn as pins1 brooches1  ear-rings1    
finger-rings2 and the uses to which the 
,cameo could be  put are infinite--as1  
for instance1 for buttons1 or for       
insetting  into book-covers1 or for wall
 ornaments4 ,the old fashion was to wear
  vulgarly large brooches1 with heads of
 abnormal size1 so as to show  as much  
ornamentation as possible2 but the new  
fashion is to make  them small1 and to  
cut modern figures1 rejecting those     
classic heads  associated at times with 
most questionable stories4 ,why ever    
should  ladies run after the face of    
,venus or ,juno8 ,is there not as much  
beauty  and infinitely more poetry to be
 got out of the faces of ,rebekah or    

,ruth8 ,why should men wear ,jupiter or 
,apollo in preference to ,moses  or     
,david8 ,surely all that art can ever   
impart would fail to exhaust  the       
tenderness or the grandeur that could be
 embodied in one of these  faces40      
,mrs4 ,macfarlane1 writing in the       
,housewife1 ,september #ahhh1           
said3--8,it  is now suggested that the  
industry be taken up in ,england1 as a  
remunerative employment for women whose 
artistic knowledge already  embraces    
some idea of drawing and modelling1 and 
who do not feel  inclined to enter the  
ranks of those who paint well or        
indifferently1  those little            
knicknackeries which it is felt have    
almost had their  day1 at least as far  
as substantial commercial value is      
concerned4  ,cameo-cutting1 in this     
country1 bears the charm of novelty1 is 
easy  to learn1 is adaptable to many    
uses1 and in no way encroaches upon     
existing national labour4 ,cameos       
representing scenes from the classics   

have before now been introduced into    
cabinets or boxes1 to beautify and  make
 them more valuable2 they may1 moreover1
 be used in embellishing  books and     
albums4 ,one exquisitely carved ,cameo  
was shown to me the  other day which    
represented the face of ,christ1 and was
 to be set in  the cover of a devotional
 book1 where ,i am sure it would look   
most  beautiful4 ,then ,cameos may be   
set in frames to hold photographs on the
  table1 or be inserted in the backs of 
chairs1 instead of the painted  scenes  
or sprays of flowers which were so      
fashionable a year or two  ago4 ,ladies'
 and gentlemen's trinkets and apparel   
open out a wide  field for ,cameo-work2 
brooches1 ear-rings1 breast-pins1 studs1
 links1  and finger-rings1 are very     
commonly carved in ,italy1 but are often
  made too large for use4 ,executed     
finely on small pieces of shell1 they   
might be rendered more acceptable and   
pretty4 ,a special idea which has  been 
proposed is1 that sets of buttons be    

made of ,cameos for coats1  yachting1   
boating1 or other garments4 ,designers  
who could hit upon  some new idea1 and  
carry it out for themselves1 might do a 
good deal  in these and divers other    
ways connected with dress4              
,cloak-clasps1  umbrella and sunshade   
knobs1 fan handles1 dressing-cases1     
hand-glasses1  brush-backs1 glove and   
handkerchief boxes can be made uncommon 
and  beautiful by its application4      
8,another range in which the art would  
flourish is church decoration1  for     
which ,cameos are peculiarly            
appropriate4 ,there is a purity and1 at 
the same time1 a durability about them1 
which commends their use in  this       
direction4 ,how beautiful1 for instance1
 a frieze of palm-leaves  would look    
upon a reredos1 or a carved lily upon a 
memorial stone1 or  how appropriately a 
pulpit might be decorated in ,cameo6 ,as
 ,i write1  ideas for church adornment  
crowed into my mind1 but as ,i have not 
yet  exhausted the resources of         

,cameo-cutting in another direction1 ,i 
must  leave my readers to imagine these 
for themselves40          ,derivation of
 the ,word 8,cameo40      ,much curious 
interest has been excited with respect  
to the derivation  of the word ,cameo1  
and the fact is curious that in that    
splendid  repertory of all things rare1 
curious1 and of interest1 8,notes and   
,queries10 the only references to the   
,cameo are two in number4 ,one is  a    
question propounded in vol4 viii41      
series iv41 page #ebh1 in which a       
correspondent puts the query1 which was 
never answered1 8,what is the  earliest 
known example of a shell ,cameo80 ,the  
second reference occurs  in vol4 iii41  
series v41 in which the derivation of   
,cameos is inquired  for1 and the answer
 appears in vol4 iii41 on page #ca4     
,here ,mr4 ,f4  ,chance1 ,sydenham      
,hall1 after learnedly discussing       
derivations from the  ,greek1 ,italian1 
,latin1 ,german1 and ,spanish1 winds up 
by saying with  ,dundreary1 that ,cameo 

is one of those words which 8no fellow  
can make  out40    8,the meaning of the 
word ,cameo10 says a writer in the      
,housewife1  8is literally a picture of 
one colour4 ,in an ancient dictionary of
  arts and sciences1 more than a hundred
 years old1 which ,i have before  me1   
the word is thus spelt and              
explained3--#8,camaieu or ,camehuia1 in 
,natural ,history1 the same with cama4' 
,i look up #8cama1' and find  the word  
descanted upon as follows3--#8,in       
,natural ,history1 a genus  of the      
semi-pellucid gems1 approaching to the  
onyx structure1 being  composed of      
zones1 and formed on a crystalline      
basis2 but having their  zones very     
broad and thick1 and laid alternately on
 one another1 with  no common matter    
between2 usually less transparent and   
more debased  with earth than the       
onyxes4' ,species are then described    
which ,i need  not detail4 ,returning   
next to the camaieu1 ,i find3--#8,this  
word is  also used to express a stone1  

on which are found various figures  and 
representations of 8landskips10 c41     
formed by a kind of lusus  natur1 so as 
to exhibit pictures without painting4   
,it is likewise  applied to any kind of 
gem on which figures are engraven1      
either  indentedly or in relievo4'0     
,the ,queen newspaper referred also to  
the derivation of the term1 and  added  
the following bit of historical         
research3--    8,the term ,cameo1 in the
 language of art1 is usually applied to 
gems or stones that are worked in       
relievo1 that is1 in which the  object  
represented is raised above the plane of
 the ground1 in  contradistinction to   
intaglio1 in which the subject is       
engraved  or indented4 ,the art of      
ornamenting precious stones with heads  
and  figures is of high antiquity1 but  
it was for the most part confined to    
intaglio or indenting1 an easier process
 than relieving the work from  a ground4
 ,such stones were used for signets or  
seals in very remote  ages by the       

,etruscans and the ,greeks4 ,one of the 
first names of great  note that occurs  
in this branch of art is that of        
,pyrgoteles1 who lived  in the time of  
,alexander the ,great1 and who alone was
 permitted to  engrave seal rings for   
the ,king4 ,tryphon1 who lived under the
 immediate  successors of ,alexander1   
also deserves mention here1 being the   
author  of a beautiful and well-known   
,cameo in the ,marlborough collection1  
representing the marriage of ,cupid and 
,psyche4    8,in ancient ,rome the age  
of ,augustus was remarkable for the     
excellence  of the gem-engravers who    
were then living1 amongst them          
,dioscorides1  some of whose beautiful  
works have reached our times4 ,engravers
 in  gems1 both in cameo and intaglio1  
continued to flourish down to ,marcus   
,aurelius4 ,with the decline of the     
,roman ,empire1 gem-engraving was       
neglected1 like the other arts1 and it  
was not till the fifteenth  century that
 the taste and munificence of the       

,medici caused a revival  in ,italy1 and
 tempted artists to devote themselves to
 its practice4  ,cameos at that time    
were in great request for personal      
ornaments1 and  for inlaying or         
embossing vases and similar articles4   
,cameo collecting  became a passion in  
,italy1 and the gem-engravers of that   
period found  special historians in     
,vasari and ,marietti4 ,in the          
succeeding century  there was a         
considerable falling off1 but in the    
eighteenth century  the art again rose1 
and the names of some who exercised it  
will bear  comparison with those of     
almost any age4 ,the greater part of    
these  were ,italians2 but two of the   
most celebrated1 ,john ,pichler and     
,laurence ,natter1 were natives of      
,germany1 and their works challenge     
competition with the finest antiques4   
,in ,england it was ,josiah ,wedgwood   
who revived the taste for ,cameo-work by
 his admirable reproduction  of the     
,barberini ,vase1 his unsurpassed       

portrait medallions1 and his  classical 
bas-reliefs on plaques1 vases1 and      
tea-sets1 placed in  beautifully tinted 
jasper1 basalt1 and other bodies4 ,james
 ,tassie of  ,glasgow1 by his paste     
imitations of antique gems1 #ae1jjj in  
number1  also contributed to the        
popularity of ,cameo-work2 while ,w4    
,brown and  ,nathanael ,marchand were   
famous as gem-engravers at the beginning
 of  the present century4 ,marchand died
 in #ahab as a member of the ,royal     
,academy1 and principal gem-engraver to 
the ,king4 ,the practice of  working    
,cameo on shells is of comparatively    
modern introduction in  ,italy1 and is  
carried on particularly in ,rome40      
,a ,teacher at ,work4      ,a very      
widespread interest arose in consequence
 of the article  published in the       
,journal of the ,society of ,arts2      
correspondents in  all parts of the     
,united ,kingdom wrote asking questions1
 and several  came from far-distant     
parts to take a lesson4 ,in the         

neighbourhood of  ,london1 heads of     
technical colleges took up the question 
in a practical  form1 and at several    
teaching is now imparted to such pupils 
as exhibit  an aptitude for drawing and 
modelling4 ,the results already achieved
  are highly satisfactory1 and the work 
done by pupils has been publicly        
exhibited on several occasions4 ,a few  
practical lessons are1 of course1  of   
greater value than learning by          
correspondence or from a book2 yet1     
notwithstanding the difficulty of       
beginning to cut without a teacher1     
many are now producing admirable work1  
though they have had no other           
instruction than that contained in the  
,journal of the ,society of ,arts4      
,at first1 and for a long time after my 
paper was read at the ,society  of      
,arts1 ,i was placed in a great         
difficulty by correspondents  writing   
for tools1 for shells1 and for a        
teacher4 ,special tools are  now        
manufactured by ,mr4 ,buck1 and a       

teacher was at length strongly          
recommended by ,mr4 ,john ,ford1 himself
 an accomplished ,cameo engraver1  of   
the firm of ,ford  ,wright1 diamond     
polishers1 ,clerkenwell ,green4  ,the   
gentleman in question was ,signor       
,giovanni1#c now of ,london1 who        
obtained great celebrity in ,naples and 
,rome as an engraver of ,cameos1  and   
who1 while still at the head of his     
profession1 has laboured to  restore the
 almost lost art of engraving on glass4 
,after the work of  six years1 he       
completed the ornamentation of a        
drinking-cup of pure  flint crystal1 the
 subject being the training of young    
,bacchus4 ,for  his triumph in this     
department of art ,king ,humbert ,i4    
bestowed upon  him the dignity of a     
,cavaliere of the ,crown of ,italy4 ,his
 designs  are full of grace and         
originality2 and the future ,cameo      
engravers of  ,england will be greatly  
indebted to him for the skill with which
 he has  facilitated their acquiring the

 art4 ,in the course of interviews with 
,signor ,giovanni1 ,i represented to him
 how very difficult it was for any  to  
perfect themselves in the work without  
models1 and at my entreaty  he was good 
enough to model1 mould1 and cast a      
series of examples in  plaster of       
,paris1 with the aid of which1 though   
the teacher may not be  near1 the chief 
difficulties a learner has to encounter 
may be easily  overcome4 ,these models  
embrace the anatomical head and neck1   
the eye1  nose and mouth1 and chin2     
fancy heads1 portraits1 ,cupids1 classic
  heads1 plants1 flowers1 fish1 and     
animals4 ,there are twenty-four in  the 
whole series1 and they can be had in    
sets of six1 the dozen1 or the  whole4  
#c ,signor ,giovanni has taught with    
great success at the          ,high     
,school1 ,cecile ,house1 ,crouch ,end1  
,london2 and the          principal1    
,miss ,e4 ,rowland1 kindly permits      
references to          her1 by those    
desirous of taking lessons1 or obtaining

          materials for the work4       
,signor ,giovanni's method of teaching  
is first of all to get his  pupils to   
carve an ornament upon a piece of ,lava4
 ,selected pieces may  be purchased at  
#d;d4 per lb41 and they make an         
admirable medium for  learning to carve4
 ,then afterwards a piece of shell is   
taken and the  figure is cut in ,cameo4 
,the only ,english workman who is at    
present engaged in the work of  ,cameo  
engraving is ,mr4 ,william ,king1 who   
learned the art in his  apprenticeship  
to ,messrs4 ,francati  ,santamaria4 ,he 
is spoken of by the  members of that    
firm as being equal to any ,roman       
workman4          ,lessons by           
,correspondence4      ,if the distance  
from ,london is too great for a pupil to
 come to town1  the 8roughed0 ,cameo can
 be sent to ,signor ,giovanni by post4  
,he then  makes a mould1 and produces a 
cast2 this he corrects and returns1 so  
that the pupil can alter and improve the
 ,cameo without the intervention  of a  

foreign hand4    ,in order to produce a 
,mould from which to take casts1 first  
lightly oil  the surface of the ,cameo1 
place around a cardboard funnel1 which  
can be  held in place by an indiarubber 
band4 ,the plaster of ,paris used must  
be 8extra fine20 that most suitable is  
called 8,scagliola10 and may  be        
purchased at any oil-shop at #f;d4 a bag
 containing a few lbs4 ,mix a  small    
quantity with water1 and pour upon the  
face of the ,cameo4 ,when  dry1 paint   
the ,mould with ,french polish until a  
gloss appears upon the  surface4 ,when  
the ,mould is perfectly dry1 apply oil  
to the surface1  then pour in plaster of
 ,paris4 ,as many impressions may be    
taken in this  way as are desired       
without injury to the ,mould4           
,is there a ,market8      ,i have been  
frequently asked1 8,can ,i find a market
 for my ,cameos  if ,i learn to cut     
them80 ,no one ever put such a question 
to the  drawing-master or to the        
music-teacher when beginning lessons4   

,but of  this new profession the answer 
is undoubted4 ,as soon as ,cameos may be
  had of better designs than those in   
the market1 purchasers will be  found   
for them4 ,if there is a doubt in the   
mind of any one on this  point1 look at 
the ornaments worn by those one meets in
 the course of  a brief walk through the
 principal streets of ,london4 ,i       
venture to say  that difficulty would be
 found in counting the ear-rings1       
brooches1  pins1 and bracelets of ,cameo
 which one sees2 nor would any one1 if  
trained in art1 approve1 in the majority
 of instances1 of the size or  design of
 the ,cameos worn4    ,the taste was    
formerly to get the largest possible    
piece of shell1  and cut a head about   
three times the normal size1 in order to
  provide for the greatest amount of    
ornamentation1 with ears of corn  or    
bunches of grapes4 ,a ,greek face was   
often conjoined with ,roman or          
,egyptian ornaments4 ,what1 to modern   
,england1 is the story of ,venus or     

,cupid1 or the beauty of ,cleopatra8    
,are there not a thousand stories  in   
the history of our own land of reputable
 queens more worthy of  illustration8   
,are the faces of our poets1 dramatists1
 and men of  science1 letters1 and art  
of less account than the faces of       
,apollo1  ,bacchus1 or ,pericles8       
,putting aside the historical gallery1  
are there  not amongst the circle of our
 relatives and friends1 faces dear      
beyond  all comparison with those of    
,hebe or of ,neptune8    ,take another  
field of labour1 that of flowers4 ,we   
have all studied  their language1 and   
know what is meant by the gift of a     
rose1 a lily1  or a forget-me-not4 ,but 
the flower fades all too quickly for the
  expression of the feeling which love  
conveys2 how much more beautiful1  then1
 is the gift of a flower wrought by the 
hand of a loved one--a  flower that will
 never fade6    ,fashion is ever        
introducing new adaptations of ornament 
to dress4  ,note the two or three       

buttons with which a lady's loose jacket
 is now  fastened on the left4 ,why not 
carve these in ,cameo1 a dainty design  
in  white on a purple or red or brown   
background1 glowing like a precious     
stone8 ,these would look beautiful6     
,the uses to which the ,cameo may be put
 are innumerable1 and in what ,i  have  
said ,i have confined myself to those of
 personal adornment only1  leaving out  
altogether the hundred and one purposes 
of ornamentation  about the house1 the  
table1 or the drawing-room4             
,designs4      ,the following pages     
contain a miscellaneous collection of   
designs  suitable for a great variety of
 uses1 more suggestive than exhaustive  
in their character and scope4 ,they will
 be found useful for practice1  but the 
artist will soon find subjects better   
adapted to the degree of  skill         
attained4 ,a large number are from the  
plaster casts modelled by  ,signor      
,giovanni4    ,illustration             
,illustration    ,illustration          

,illustration    ,illustration          
,transcriber's ,notes      ,punctuation1
 hyphenation1 and spelling were made    
consistent when a  predominant          
preference was found in the original    
book2 otherwise they  were not changed4 
,simple typographical errors were       
corrected4    ,illustrations in this    
e,book have been positioned between     
paragraphs  and outside quotations4