The dispute about the Flora indirectly brought about Pistrucci’s appointment to the Mint as chief engraver, and he designed and executed the “George and Dragon” among other works. Afterwards a considerable amount of jealousy was created by his employment amongst the officers of the Mint, and the members of the Royal Academy were divided about his appointment, one portion insisting that native talent should be encouraged, the other division holding that he was the best living engraver. To restore peace, his appointment was subsequently styled that of “chief medallist.” He cut two portraits of Her Majesty in onyx, one as Princess, and the other as Queen wearing a diadem. On retiring from the Mint he took a cottage at Old Windsor, where he died in his seventy-first year, in 1855, only thirty-five years ago, and recently enough for him to be well remembered by a few living men. His connection with our own day, and the distinction to which one of his pupils has risen, justify the introduction of his name into this book. His daughters, before their father’s death, returned to Rome, where they practised Cameo-cutting with great success.
Shell Cameos in the Museums.
There are in the collections shown in the Mediæval Room of the British Museum several fine specimens of shell Cameos which date from mediæval times, but these shells were found in the Mediterranean; and at South Kensington there are a few specimens of shell Cameos worked in Rome. 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 Kensington, where the portrait of Millais is shown in the several stages of progress, together with the shell from which the piece worked was originally cut. These interesting specimens were presented by Mr. James Ronca, who was a pupil of Pistrucci’s brother. There are, of course, many separate specimens of carved Conch-shells, in whole and in pieces, at both the British and South Kensington Museums.
Appearance of the Conch-shell.
The shell will be readily recognised without an illustration. In form somewhat resembling the human ear, the shell possesses properties which can be found in no other specimen of the order. For the purposes of the engraver, the several parts are called by totally different names, according as the workman came from Naples or Rome; but without entering into a discussion of the origin of these, I propose to give a few plain names to the several parts, in order to enable a worker to order the particular piece or portion which is required. Thus, the several parts are the back of the shell, the back of the Lip, the Dome, and the Comb, the Mouth of the shell, the Lip, and the Face or Body.
The piece in the upper portion of the Dome is the most valuable, because in that there is no variation of colour. Pieces cut from all other portions of the shell vary slightly in depth of colour, the colour deepening in tone as the mouth is approached. A piece suitable for a brooch cut out of a Black Helmet would be worth 5s.; but with regard to other shells the prices vary as set out in the following list. Other portions of the Dome are used for brooches; but the choicest piece is the one named. The Comb, having been cut off, is cut up into separate knobs, and these are worked into heads which are required to stand out in bold relief. The back edge is rarely worked, and may be regarded as waste. The Lip is the next important portion, and this is suitable for the carved handles of paper-knives, for umbrella-handles, or for paper-weights. A full length figure of classic form may be carved in the Lip, with admirable results, so as to command a high price. The Lip is perhaps more frequently cut into pieces between the raised edges which run at right angles to the course of the mouth, and are used for carving fish or birds, or any form requiring a portion in high relief. When the Dome has been cut through, a second shell appears immediately below, and this is remarkable for having three distinct layers, brown or red forming the surface, white the centre, and brown or red the ground. Such a piece is necessary where the design involves ornaments in the hair or a helmet on the head of a warrior.
The shell is cut open by means of a tin wheel revolving on a spindle in the ordinary way by means of a treadle. Above the wheel is a sloping dish coming to a point on which emery powder lies, and above the tray is a small keg of water regulated by a stop-cock, in such a way that as the water trickles down the pan it carries particles of the powder on to the wheel. The workman first cuts off the Lip, then he cuts across, above and below the Comb, and finally cuts down from the point of the Dome to the Comb again. This triangular piece is cut up into as many portions as are required, care being taken first of all to cut out the choicest piece from the upper portion.
Adaptability of the Art.
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 hands. Here is a field at present quite unoccupied—an industry admirably adapted to thousands already trained in the requirements of art, and only needing the suggestion to enable them to realise the fruit of years of industrious and patient study. In this, as in all other artistic occupations, there must be a groundwork on which to ensure success. Any one ignorant alike of the principles of drawing or modelling or carving can never become proficient in the art of Cameo-cutting, though by patient labour success may be obtained as a copyist, and the worker be able to cut geometric patterns, flowers, and coats-of-arms, which would command a ready market. For the higher successes attainable by a Cameo engraver, the position of a true artist, whose work would be recognised by the form of a hand or the modelling of an eye or an ear, there must be a previous knowledge of drawing, with skill in modelling and ability to carve.
Nothing less than a first place should content the Cameo-worker. The age is one which is eminently suitable for the growth of the profession. Drawing has for many years been taught in Schools of Art on scientific principles, and pupils have proceeded from drawing to modelling, to carving in wood, or to painting in water and oils in these schools, until a point of excellence has been reached thought impossible before they were established. Even in the rate-sustained Board Schools children of tender years are taught to draw with surprising accuracy, and such of them as take pleasure in their work might very easily learn how to cut simple forms suitable for buttons or bracelets. The only thing they would have to acquire would be the use of the graver, following upon the work of the pencil. Nor is this an exaggeration, because two little girls of eight and ten, from watching their father at work, actually fashioned little vases and hearts in pieces of shell by using fine files. From children as inexperienced as these, and from such an elementary knowledge of drawing as the School Board imparts to the young, up to the most experienced artist,—the gold medallist, the born genius with pencil or chisel,—there is enough in Cameo-work to supply scope for all—enough to gratify the child’s wish, and the larger ambition; and, beyond the choicest specimen of art in existence, enough to leave still greater triumphs to be realised by future workers. By the practice of this art no industry at present in existence in England would be injured; but, on the contrary, many industries, such as those of the workers in silver and gold, the wood-carver, and the cabinet-maker, would receive fresh development. The present generation has never been in a position to consider this industry as one attainable by the people until the present time; nor would the Cameo supplant any artistic article at present enjoying public favour. Cameos may be carved small enough to adorn a lady’s ring, a gentleman’s shirt-stud, or a pin. They may be mounted for bracelets, or act as pendants, or brooches, or be used for hairpins, for buttons to fasten back the vest, or for jackets; as solitaires for the shirt, or for sleeve-links. In the style of ladies’ dress now worn there would be an unfailing demand. They may be fixed in articles of ornament for the desk and table, inlaid in vases, caskets, or dressing-cases; framed in the carved overmantel, inserted in the backs of chairs, inset in curtain bands; or mounted on altar crosses, set around Communion-cups or in alms-dishes, or worked into marble memorials of the dead; or they might be inlet in the bindings of books. From the variety of their ground—ranging from pink, through every shade of brown, to an imperial purple, and a magnificent black—there is no marble, metal, or wood with which the Cameo would not harmonise. In the course of a conversation recently with one of our Princesses, who is a patron of art, this point was dwelt upon, and the suggestion was made that an anchor carved in shell would make an appropriate button for a lady’s yachting costume.