3. Kings and illustrious persons of Asia, Egypt, Greece, etc. 4. Busts of kings, emperors, popes, etc., down to modern times. 5. Heads of poets, painters, divines, etc. 6. Busts, statuettes, animals, etc. 7. Lamps and candelabra. 8. Ornamental vases and antique vases. 9. Painted Etruscan (Greek) vases, etc. So great was the production of the cameos and antique ornaments, and so greatly were they used as articles of jewelry, for settings in furniture, etc., that over two thousand different moulds and designs were made. We engrave here one of these small cameos, which, however, fails to convey a full sense of the delicate character of the work (Fig. 93). They reached almost the perfection of gems. [Illustration: FIG. 93.--_Wedgwood Cameo._] [Illustration: FIG. 94.--_Teapot._] Fig. 94, a teapot, which is not remarkable for beauty of form or execution, is given as an example of the work done by the English potters before Wedgwood's day, to meet the ordinary wants of common life. It should be kept in mind, in estimating Wedgwood's character, that he combined, in an eminent degree, the _artistic_ and the _commercial_ faculties, and thus was able to produce results of a striking kind. Like Shakespeare, he was omnivorous, and browsed wherever the pastures were sweet. All food was good which could be turned into delectable milk. Some of the most perfect of Wedgwood's work was made in the black _basalt_; which, however, lacks the brilliancy that colors gave to the jasper-ware. The example engraved (Fig. 95) is from Mr. Wales's collection. [Illustration: FIG. 95.--_Wedgwood Basalt._] In 1787 the most celebrated vase of antiquity, called the "Barberini Vase," and now the "Portland Vase," was to be sold by auction. Wedgwood was inspired with a desire to possess it; probably with the intention of making copies. He kept bidding upon it, but his competitor was the Duchess of Portland, who also was inspired with the desire of ownership. Finally, when the price had reached eighteen hundred guineas, she sent Wedgwood word that he should have the _loan_ of the vase, if he would withdraw his competition. It was so agreed; and Wedgwood set to work. He paid Webber five hundred guineas to make the model, for he was not allowed to make a mould. He then produced fifty copies (some say fewer) in his jasper-ware, the body being black, with a tinge of blue; the reliefs being in white. It was as nearly a perfect reproduction as could be made by the hand of man. As I have said, the cost of these was more than the price received. This remarkable piece of antiquity is now in the British Museum. It was once shown to a crazed man, who, with a blow of his stick, broke it into a dozen pieces. It is, however, thoroughly repaired.