276 The Commercial Products oj the Sea. 



whole surface a process very tedious, and much more 

 difficult than separating the white from the black. In 

 order that the finished cameo may possess a distinct out- 

 line at all points of view, it is desirable to adopt the system 

 followed in antique cameos ; namely, to leave all the edges 

 of the figure quite square from the ground, and not 

 gradually rounded down to the dark surface. Should 

 this latter method be followed, it will be found that the 

 outline is in many places undefined, owing to the colour of 

 the white raised figure of the cameo gradually emerging 

 into that of the dark ground ; this evil is entirely avoided 

 by leaving the edge of the figure quite square for the thick- 

 ness of one-fiftieth of an inch. 



The surface of the cameo should be finished as nearly 

 as possible with the cutting tools, as all polishing with 

 abrasive powders is liable to remove the sharp edges of the 

 figures and deteriorate the cameo by leaving the form 

 undefined. When, however, the work has been finished as 

 smooth as possible with cutting tools, the final polish may 

 be given by a little putty-powder used dry, upon a mode- 

 rately stiff brush, applied with care, and rather to the dark 

 ground than to the carved surface ; this is the concluding 

 process, after which the cameo is ready for removing from 

 the block prior to mounting. 



The various styles in which they are mounted depends 

 a great deal upon the country where they are to be worn. 



At the various international exhibitions which have 

 been held, some very fine examples of Roman shell-cameo 

 cutting have been shown. At the Dublin Exhibition in 

 1865, Giuseppe Saulicini, of Naples, exhibited excellent 

 samples of artistic workmanship, priced at from 2 to 4 

 each, representing, among others, Night and Day, the 

 Virgin and Child, after Carlo Dolce ; Flora, from the 



