The question of the pursuit of Cameo-cutting as an industrial occupation for ladies was probably first suggested by Mrs. Henry Mackarness, the well-known authoress of “A Trap to Catch a Sunbeam,” who strongly recommended the art of Cameo-cutting in shell to the notice of ladies. In an admirable work entitled “The Young Lady’s Book,” published in 1876, she thus speaks of the work:—

“It is sufficiently simple to be within the scope of many who possess taste, patience, and deft fingers.... It cannot be acquired without some instruction, and considerable perseverance; but the instruction is within reach, and the perseverance will be amply repaid by the results.” This Cameo-cutting will “give young ladies a new and elegant pursuit.” It will “raise their thoughts from knitting and netting, and cultivate a taste for higher pursuits.... It can be practised with half-a-dozen small tools that take up scarcely any room; and, with a little care and instruction, the art can be readily acquired. Some knowledge of figure-drawing is necessary, and a correct eye; and it is needless to say that the more skilful the artist in this respect, the better her Cameo-work is likely to be.” The Queen was the first paper to devote a special illustrated supplement to the question.

The Lady, the Jewish World, the Housewife, the Manchester Courier, and other papers as widely separated in their pursuits and politics, have urged the consideration of this work upon public attention.

“In the Society of Arts Journal, eighteen months ago”—we quote from the Jewish World—“a paper read by Mr. Marsh before that Society was published at length, and copied into journals far and near. Almost at once the work was tried by ladies who had a knowledge of modelling and of wood-carving, and the results obtained furnish the highest possible expectation that in the near future this fascinating art will find a home amongst the ladies of England. There is no machinery required; no dust or dirt is created; there is no risk of soiling dress or carpet; and it is not at all trying to the sight; while the prospects of remuneration are of the brightest possible character. There are an enormous number of Cameos worn as pins, brooches, ear-rings, finger-rings; and the uses to which the Cameo could be put are infinite—as, for instance, for buttons, or for insetting into book-covers, or for wall ornaments. The old fashion was to wear vulgarly large brooches, with heads of abnormal size, so as to show as much ornamentation as possible; but the new fashion is to make them small, and to cut modern figures, rejecting those classic heads associated at times with most questionable stories. Why ever should ladies run after the face of Venus or Juno? Is there not as much beauty and infinitely more poetry to be got out of the faces of Rebekah or Ruth? Why should men wear Jupiter or Apollo in preference to Moses or David? Surely all that art can ever impart would fail to exhaust the tenderness or the grandeur that could be embodied in one of these faces.”

Mrs. Macfarlane, writing in the Housewife, September 1888, said:—“It is now suggested that the industry be taken up in England, as a remunerative employment for women whose artistic knowledge already embraces some idea of drawing and modelling, and who do not feel inclined to enter the ranks of those who paint well or indifferently, those little knicknackeries which it is felt have almost had their day, at least as far as substantial commercial value is concerned. Cameo-cutting, in this country, bears the charm of novelty, is easy to learn, is adaptable to many uses, and in no way encroaches upon existing national labour. Cameos representing scenes from the classics have before now been introduced into cabinets or boxes, to beautify and make them more valuable; they may, moreover, be used in embellishing books and albums. One exquisitely carved Cameo was shown to me the other day which represented the face of Christ, and was to be set in the cover of a devotional book, where I am sure it would look most beautiful. Then Cameos may be set in frames to hold photographs on the table, or be inserted in the backs of chairs, instead of the painted scenes or sprays of flowers which were so fashionable a year or two ago. Ladies’ and gentlemen’s trinkets and apparel open out a wide field for Cameo-work; brooches, ear-rings, breast-pins, studs, links, and finger-rings, are very commonly carved in Italy, but are often made too large for use. Executed finely on small pieces of shell, they might be rendered more acceptable and pretty. A special idea which has been proposed is, that sets of buttons be made of Cameos for coats, yachting, boating, or other garments. Designers who could hit upon some new idea, and carry it out for themselves, might do a good deal in these and divers other ways connected with dress. Cloak-clasps, umbrella and sunshade knobs, fan handles, dressing-cases, hand-glasses, brush-backs, glove and handkerchief boxes can be made uncommon and beautiful by its application.

“Another range in which the art would flourish is church decoration, for which Cameos are peculiarly appropriate. There is a purity and, at the same time, a durability about them, which commends their use in this direction. How beautiful, for instance, a frieze of palm-leaves would look upon a reredos, or a carved lily upon a memorial stone, or how appropriately a pulpit might be decorated in Cameo! As I write, ideas for church adornment crowed into my mind, but as I have not yet exhausted the resources of Cameo-cutting in another direction, I must leave my readers to imagine these for themselves.”