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!