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ACKNOWLEDGMENTS xiii 1 THE HISTORY AND ROMANCE OF THE GLYPTIC ARTS THE EARLIEST ENGRAVINGS 3 CLASSICAL GREECE: FROM SCARABOID TO CAMEO 6 ROMAN CAMEOS 11 THE DARK AND MIDDLE AGES 19 THE RENAISSANCE AND LATER 23 2 THE SUBJECTS: MYTHS, LEGENDS, HISTORICAL EVENTS, AND STORIES BEHIND THE)EWELS MYTHS AND LEGENDS 33 SYMBOLS 42 vii PORTRAITS 44 HISTORICAL EVENTS AND STORIES BEHIND THE ]EWELS 45 3 CAMEO PRODUCTION TOOLS AND TECHNIQUES 50 MATERIALS 60 CARVING CENTERS AND RENOWNED CARVERS 80 4 DISTINGUISHING ueLD AND NEWCAMEOS CIRCA-DATING CAMEOS 92 DETECTING CAMEO FAKES, FRAUDS, AND FORGERIES 113 5 MODIFIED CAMEOS AND CAMEO IMITATORS GLASS CAMEOS 127 CAMEO GLASS 129 TASSIE GLASS 131 WEDGWOOD 132 SULPHIDES 135 CONTENTS viii PLASTIC CAMEOS 135 CAMEO W AX PORTRAITS 136 PLASTER OF PARIS AND SULPHUR CASTS 138 6 ApPRECIATING CAMEOS AS ART ELEMENTS OF V ALUE 149 7 BUILDINGA CAMEO COLLECTION BUYING AND SELLING CAMEOS 162 CAMEOS AS INVESTMENT GEMS 169 CARE AND CONSERVATION OF CAMEOS 170 8 GREAT AND HISTORIC COLLECTIONS 175 ApPENDIX 193 Auctions 193 Glyptic-Arts Booksellers 194 CONTENTS ix Appraisal Associations 194 Retail Sources for Cameos in the Uni ted States 194 CHRONOLOGY OF ENGRAVED STONES AND CAMEOS IN EUROPE 196 GLOSSARY OF GLypTIc-ART AND ]EWELRY TERMS 199 SUGGESTED READINGS AND BIBLIOGRAPHY 205 INDEX 210 CONTENTS x p r e a c e f In several years of studying the cameo and its development, I have interviewed connoisseurs and collectors throughout the United States,