SHELL CAMEOS 217 



for enlarged composition. In the Seba collection a cameo representing the 

 "Rape of Europa," cut by C. Bellekin, was formed over the surface of the 

 pearly nautilus whereon the broad band (keel of the shell) separating the 

 side subjects " consisted of an arabesque of flowers and leaves, ending on the 

 narrowing convex curve as it turns under into the cuplike lip of the shell, 

 in a bold heraldic design, all of which was carved in relief." An example 

 of the cowrie cameo may be seen in the Mediaeval room of the British 

 Museum showing a winged centaur galloping and armed with club and 

 shield. 



The helmet shell practically monopolized attention in the shell cameo 

 industry however ; and selection played an important part in the first steps. 

 But a small number in any lot of shells are fit to use. Dullness, weakness, 

 turbidity, a speckled condition of the under layer, imperfect solidity of the 

 upper layer which may be too porous or even worm-eaten, disqualify a shell 

 for the artist's acceptance. Sometimes the back-color layer is too thin and 

 fragile to guarantee the integrity of the finished carving. In such cases, 

 when the color is good, the artist cuts out his design on the shell intact, 

 trusting to the arched rigidity of the shell to maintain its continuity. 



The rich coloring of the inner zone in the helmets naturally attains its 

 depth and desirable tone near the mouth of the shell and from this portion 

 selections are made for the plate. Undulating ridges (as in Cassis cameo) 

 on the last whorl are thickened, and into this strengthened deposit deeper 

 lines can be cut and a high relief obtained. Yellow or orange backgrounds 

 are unusual, but present very inspiriting contrasts. 



The shell selected, the formal stages of executing the work begin. If a 

 design as a tour deforce, or too large for ornamental personal use is proposed, 

 the shell frequently is treated as a whole. For most purposes, at least those 

 connected with commerce, the shell is cut into pieces, by means of a tin 

 wheel, running water and emery powder, a selection of the better-colored 

 and textually perfect pieces made, and the various sections assigned to the 

 subjects, as these subjects are best suited in size or treatment for the size 

 or boldness of the physical features in the parts of the shell at hand. 



In beginning his work, the artist prepares his surface much as the painter 

 coats and smooths his canvas; discolorations, asperities of surface, minute 

 imperfections are removed. The subject selected, the outline of the 

 cameo — usually square, oval, or oblong with rounded angles — is shaped 

 by means of a small grindstone turned over a trough of water, the process 

 or action of grinding being safer than sawing, as the shell, freed from the 

 reinforcement of its original position, may now easily split or scale. Next, 

 the design itself is roughly outlined. Then a handle is attached to the shell 

 by means of a cement made of tar, resin and brickdust, the precaution being 

 observed that the back of the shell-pattern is covered by a piece of paper 

 of its exact size, soaked in water, and the cement pressed around the edges 



