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.