[Illustration: John B. Marsh (signature)]
AUTHOR OF “THE REFERENCE SHAKESPEARE,” “VENICE AND THE VENETIANS,” ETC.
LONDON: WELLS GARDNER, DARTON, & CO. 2 PATERNOSTER BUILDINGS, E.C. AND 44 VICTORIA STREET, WESTMINSTER, S.W.
HER ROYAL HIGHNESS THE _PRINCESS LOUISE, MARCHIONESS OF LORNE_,
WHOSE INTEREST IN TECHNICAL EDUCATION IS GRATEFULLY ACKNOWLEDGED.
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.
DECLINE IN THE FASHION OF WEARING CAMEOS 44
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.