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<p>[QUOTE=&quot;Bronwen, post: 13304973, member: 5833&quot;]Looking at your Sistine cameo, I&#039;m trying to figure out what is different, besides pert noses, between cameos from the Victorian era &amp; earlier and cameos that are done in what I think of as the modern style.&nbsp; I&#039;m no artist or art historian, I&#039;m more of an &quot;I know what I like&quot; kind of girl, so my analytical tools and vocabulary for this are poor, but I think the older cameos were more sculptural while the new style achieves effects that are more like print.&nbsp; On older cameos the figure and ground are usually clearly delineated.&nbsp; Where there is a sheer billowing cloak the cameist might try to pare down the white layer nearly to the brown, but generally even background features are crisp.</p><p><br /></p><p>On the other hand,</p><p><br /></p><p>[ATTACH=full]562469[/ATTACH]</p><p><br /></p><p>the way the figure of Adam is outlined by cutting into a gauzy white layer down to the brown is characteristic of modern work.&nbsp; It&#039;s seen in Giovanni Noto&#039;s work; it&#039;s possible he was first to employ this technique regularly.</p><p><br /></p><p>Luigi Michelini, active in the first half of the 19th century,&nbsp; occasionally did something similar, as with the neck &amp; collar here:</p><p><br /></p><p>[ATTACH=full]562477[/ATTACH]</p><p><br /></p><p>taking his cue from the way Gnaios, a famed gem engraver of antiquity, handled it:</p><p><br /></p><p>[ATTACH=full]562478[/ATTACH]</p><p><a href="https://www.metmuseum.org/art/collection/search/248206" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://www.metmuseum.org/art/collection/search/248206" rel="nofollow">https://www.metmuseum.org/art/collection/search/248206</a></p><p><br /></p><p>However, it&#039;s really not something you see in the work of his contemporaries or immediate successors.[/QUOTE]</p><p><br /></p>

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