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CAMELOPAEDAilS. (td^TjXos. kamclos, cauiel + jrdpSoXis, pai'dalis, pardl. A constellation detinod by Hevelius, be- tween the pole-star, Auriga, Cassiopeia, and the head of I'rsa Major, which consists of stars of moderate magnitudes, forming, in imagination, the shape of a giratt'e. CAM'ELOT, or CALBtJRY, kjil'ber-I. A steep hill in the parish of (Queen's Camel, Somer- setshire, England, 5 miles from Ilehester (Jlap: England. D 5), identified by tradition with Camelot. one of the capitals of the legendary King Arthur (q.v.). Others state that Camelot was the name given in the mediseval romances to the city which grew up out of the permanent <tnarters of the second Augustan legion at Caer- leon-upon-l'sk. CAMELOT. The legendary site of King Ar- thur's castle and court. It has been variously located in Somersetshire, at or near Winchester. Hampshire, and in Wales. Shakespeare favored the first. Tennyson and Capell the second, and Caxton the third site. The monks of Glaston- bury were chiefly responsible for the 'Somerset' theory, which they maintained, especially in the Fourteenth Century, for the purpose of attract- ing pilgrims and thus enriching their abbej". It is often mentioned in English literature, not- ably in Kiiiri Lear and The Lady of Hhalott. CAMEL'S HAIR. A fabric woven from the hair or wool of tlie camel, by Persians and Arabs, for tents and clothing. In early ages rough garments of this stufi' were worn by monks and priests by way of penance. It is now im- ported into Europe and used extensively in the manufacture of dress materials, whose chief characteristic is a I'ough and hairy surface. Cow's hair is sometimes used as a substitute in the cheaper grades of so-called camel's-hair goods. A fine grade of camel's hair is used for artists' brushes. CAMEN, kii'men, or KAMEN. A town in the Province of Westphalia, Germany, on the Seeseke, 10 miles southwest of Hanun. It is a thriving industrial centre, with coal-mines, paper- mills, and iron-foundries. Population, in 1900, osss. CAME'NJE (Lat., Old Lat. casmenw, muses, prophetesses, connected with carmen, song). lu Roman mythology, nymphs possessing the power of prophecy, as Carmenta and Egeria. They had a sacred grove in Rome, just outside the Porta Capena. (See Egeri..) "The Roman poets often apply the name Camenw to the nine Muses of Grecian myth. CAMENZ, ka'ments. See Kamexz. CAMEO lit. cammeo. Fr. camee. ^Med. Lat. eaiiim(riis) . (Jems cut in relief are called cameos. in opposition to those that are hollowed out so as to yield a raised imi)ression, which are called intaglios. The term cameo, however, is applied more especially to those diminutive pieces of sculpture which are prepared from precious stones having two strata or layers of different colors, the undermost of which is left to form the backgroimd, the object to be represented being cut in the upper one. The stone generally used for this pur|)ose by the ancients was the variegated sardonyx. True cameos were probably not made before the Third Century B.C.. though in very early times we find the backs of seals decorated with 81 CAMEO. figures in relief, so especially in the scaraba;i, seals decorated on the back with the sacred beetle of Egypt. As precious stones were used in the Orient and among the Greeks after the conquests of Alexander for many decorative pur- poses, the Greek artistic sense" sought to raise this decoration to a higher plane, and this seems to have led to the carving of the gems into re- liefs. At this period cameos were very exten- sively used, not only as personal ornaments, but in cups, vases, candelabra, and other objects of domestic luxury. Patera; and other vessels were freiiuently worked out of a single stone, upon which were exhibited a whole series of figures of the most exquisite workmanship. Many of tlie antique cameos which have been preserved arc wonderfully beautiful, both in design and execution. Of the Alexandrian cameos, probably the finest is the "Tazza Farnese," a shallow dish cut from a single sardonyx, and now in Naples. Other very fine specimens of the early period are the Gonzaga cameo in Saint Petersburg and a companion in Vienna, containing the portraits in profile of a man and a woman. They are com- monly said to be portraits of Ptolemy II. and his (jueen. Arsinoe, but are quite as' probably Alexander the Great and Olympias (so Furt- w: gler). Of cameos of the Roman time, many fine specimens are to be found in the Continental museums. Especially noteworthy are the Gemma Augustea in Vienna, and the large sardonyx in Paris : both show Roman emperors, Augustus and Tiberius, triumphing over barbarians. Very celebrated is the "Cupid and Psyche" formerly in the Marlborough collection, now in the Bos- ton ^luseum of Fine Arts, by Tryphon, who is supposed to liave lived in the time of Augustus. The stones on which man}' of these cameos axe cut are of surprising, and, in modern times, un- equaled size and perfection. Cameos do not seem to have been made in mediaeval times; but the art revived in Italy, under the auspices of the Medici, and the production of cameos, both in pietra rlai-a and in shell, has there become a branch of art manufacture of considerable im- portance. Impressions from antique cameos in glass, sulphur, porcelain, and other materials are produced in many places, and. for artistic purposes, possess all the value of the originals. The manufacture of cameos from artificial substances was not unknown to the ancients. One of the most beautiful specimens of an imita- tion of cameo in glass is the famous Barberini or Portland vase, now in the British Museum. The ground is blue, the figures, which are in low relief, being of a delicate, half-transparent white. (See Portland Vase.) Another example is a beautiful vase, similar in color, in the Naples Museum, the figures of which represent a Bacch- analian sacrifice. Many fragments of the same ' kind of manufacture exist in other cabinets, and fiom it the modern Wedgwood ware (q.v.) was imitated. A shell cameo is a cutting in relief on a precious stone or a shell. It is opposed in meaning to intaglio, which signifies a cutting into the stone or shell. In intaglio work, fur- thermore, only gems of a uniform color are used, while in cameo engraving or cutting it is desir- able to choose such stones or shells as possess layers of varying colors, such as onyx, agate, or tropical sea-shells. These differing tints are