The name cameo was first applied by Wedgwood in 1772. Nearly four hundred and fifty objects were catalogued by 1777. Their best period was from 1780 to 1795, 1787 being the year when Wedgwood had completely mastered the art of the jasper cameos and cameo medallions. There were then one thousand and thirty-two subjects listed--subjects drawn from Egyptian mythology, Roman and Greek mythology; sacrifices; ancient philosophers, poets, and orators; sovereigns of Macedonia, the fabulous age of Greece; the Trojan War; Roman history; masks, Chimaeras; illustrious moderns, and so on. Even originally the small cameos were not cheap in price. In wholesale lots of ten some five shillings apiece was asked for them by Wedgwood. Unfortunately, all the cameo subjects are not now to be identified completely, even where given in the old catalogue, as no descriptions were placed on the subjects sold to the general public to identify them with the catalogue entries. Cameos and cameo medallions and plaquettes were made both in solid jasper and in dip jasper. The former ceramic paste was colored clear through, while the latter was surface-colored only. Wedgwood employed some of the most famous designers of his day, among them John Flaxman, William Hackwood, Roubillac, James Tassie, John Bacon, Thomas Stothard, Webber, Pacetti, George Stubbs, William Greatback, Davaere, Angelini, and Dalmazzoni; and such gifted amateurs as Lady Templeton and Lady Diana Beauclerk drew for him. The small cameos were fired but once; the large cameo medallions and the plaquettes were given a second firing. Fine old Wedgwood is as soft as satin to the touch, and most of it was left with a dull _matt_ surface, although jasper is capable of receiving a high polish on the lapidary’s wheel. While some few pieces of Wedgwood were not marked, nearly all of it was. The collector should be told that many imitated pieces have borne the name spelled with an _e_ after the _g_, thus: _Wedgewood_. No genuine Wedgwood, old or modern, bears other spelling of the name than “Wedgwood.” CHAPTER XVIII SAVING THE PIECES Old porcelain and earthenware, and even old glass, may be skilfully mended so as almost to pass as whole; and lost parts may be “restored” to a condition that will leave an object not to be a reproach to one’s collection. Of course, the collection should entrust such mending and restoring to the hand of an expert, at least where broken or damaged pieces are of particular rarity. Probably the famous Portland Vase, now in the British Museum, is the most remarkable example of mending and restoring we know of.