While the cameos were mainly of the blue-and-white jasper, there were also those in other colors and white. The same is true of the larger cameo medallions and cameo plaquettes, though the color pieces, other than the blue-and-white, are of great rarity. The cameo medallions had great vogue for ornamental decorative purposes. Jewel-boxes, writing-cases, furniture, etc., were decorated with them. An example of the sort is a drawer-and-chest cabinet in the collections of the Metropolitan Museum of Art, New York. In this instance both small cameos and larger cameo medallions were employed in the decoration. The cameo medallions and the cameo plaquettes were also in great demand for architectural embellishments, for setting in mantels, over-mantels, door-casings, door furniture, etc. The small cameos ranged in size from one fourth to two and a half inches in diameter. Josiah Wedgwood’s genius produced many useful and ornamental wares, among them cream ware (1761) called Queen’s ware from 1765; white stoneware (1759); black basalt ware (1766); fine white ware (1773-1775); jasper ware (1775-1795); rosso-antico ware (1776); pearl-lustre ware (1776-1779), and cane-colored jasper ware (1787). In perfection and fineness the various colored jasper wares led them all, and the jasper cameos were hardly surpassed by other pieces in this clay. As the old firm founded by Josiah Wedgwood has continued in business uninterruptedly from the eighteenth century, the recently revived modern Wedgwood cameos which have appeared in some of the most attractive recent jewelry awaken even a greater interest on the part of the collector in the study of the old pieces. Beautiful as are the cameos of modern Wedgwood jasper, those of Josiah’s own period (1775-1795) can readily be distinguished, not only because of the somewhat less soft-to-the-feel surface but also because all foreign wares imported since 1891 are required by the tariff law to be plainly marked with the designation of the country of their manufacture. Josiah Wedgwood probably was inspired to experiment with his cameos and cameo medallions and plaquettes through having come in contact with James Tassie, celebrated for his copies of engraved gems in sulphur and in vitreous compositions, some of which Josiah had purchased in 1769. His fertile brain set to work on the problem of creating cameo productions from his own ceramic materials. After surmounting untold obstacles Wedgwood finally achieved complete success in his undertaking. Immediately there was a great demand for the cameos, by the manufacturing jewelers of Birmingham and Sheffield (who employed such artists to mount them as Boulton and Watt), and elsewhere. The mountings were of gold, of silver, and of cut steel. These last mountings were the most in demand. This jewelry also became much sought abroad and the demand in America was great.