Part 3

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.

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.