form and separation of the toes in the other is suited to the uneven surface of rocky heights. The head is long, without any horns or antlers, the lips extended and mobile, the neck of unusual length; the blood-corpuscles are oval instead of circular, as in all other mammals, and the digestive organs are characterized by a remarkable peculiarity in the structure of the stomach. "Though these animals ruminate," to inquote Flower and Lydekker, "the ... terior of the rumen or paunch (see RUMINANT) has no villi on its surface, and there is no disBoth the first tinct psalterium or manyplies. and second compartments are remarkable for the presence of a number of pouches or cells in their walls, with muscular septa, and a sphincter-like arrangement of their orifices, by which they can be shut off from the rest of the cavity, and into which the fluid portion only of the contents of the stomach is allowed to enter." Such is the celebrated arrangement by which the camel stores in its stomach more water than it can immediately use, and by gradually using it is able to make far longer journeys across arid regions than otherwise would be possible. This has customarily been regarded as a very striking special provision for the needs of the camel of the desert; but it is equally characteristic of the llamas, which inhabit well-watered regions, and has evidently descended to both from & remote common ancestry, regardless of present environments. See ALIMENTARY SYSTEM.

The structural evolution of the camel recalls In the oldthat of the horse. (See EQUIDE.) est Tertiary rocks of the ancient lake region of the Rocky Mountains, at the dawn of the Eocene, have been found diminutive remains suggesting this type, and in the Upper Eocene fossil skeletons undoubtedly cameloid. These belong to an animal (Prototylops) hardly larger than a jackrabbit, yet camel-like in many particulars. It had four distinct toes, of which the third and fourth were most useful, while the lateral second and fifth were smaller; the metapodial bones were disconnected, and there was no space between the bunodont molars and the front teeth, where the canines and incisors were alike. By changes that went on analogous to those in other ungulates, there is found in subsequent cameloid forms increase in size, and a constant tendency toward acquiring the dentition and pedal anatomy characterizing modern forms.

The next

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advanced form is greater in size, and the lateral toes, no longer useful, hang to the side of the foot above the ground like a deer's. A steady increase of size goes through the ascending formations of the Miocene, until we reach Procamelus, at the top of the Miocene (Loup Fork as big as beds of Wyoming), which was sheep and very llama-like, with teeth nearly of modern type and the metapodial bones firmly united when fully adult. During the Miocene the western American plateau seems to have been an arid desert, and under such conditions were developed the large, splayed feet, bereft of the useless side toes, the great sole-pads, and the pouched stomach that characterize the race. At the close of the Miocene, however, there came about a steady change toward a warmer, moister climate, inducing forest growth, which put an end to camel life in North America. Meanwhile they had migrated into South America, where fossil remains of great size are

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CAMEL'LIA (Neo-Lat., named after Joseph Kamel, a Moravian traveler of the Seventeenth Century, who first described the Camellia japonica). A genus of plants of the natural order Ternstræmiacex, nearly hardy evergreen shrubs or trees, and natives of China, Japan, and the north of India. Camellias are now extensively cultivated as greenhouse shrubs in Europe and in the United States. Many varieties are in cultivation. The best known and most esteemed is Camellia japonica, a greenhouse shrub. leaves are ovate-elliptical, almost acuminate and serrate shining; the flowers are without stalks, mostly solitary, large, and rose-like. It is a native of Japan, and there and in China it has been carefully cultivated from time immemorial. In its wild state it has red flowers, and the red single camellia is much used by gardeners as a stock on which to graft the fine varieties, the The flowers of which are generally double. colors of the cultivated forms are various, including red, white, and yellow, and the varieties also differ much in the form and position of the petals. The flowering time is in autumn, winter, and spring. Camellias grow best in cool houses. Free access of air is of great importance, and water must be given very liberally, yet with such caution that the soil may never

remain soaked after the immediate wants of the plant are supplied. The proper soil for camellias is a loose black mold; a little sand and peat are often advantageously mixed with loam to Camellias are often propagated by form it. cuttings, or layers, but generally by grafting or inarching. The single camellia is also propagated by seed, and in this way the best stocks for grafting are procured. Of the other species of camellia, the most hardy, and one of the most beautiful, is Camellia reticulata. The seeds of certain varieties, as Camellia oleifera and drupifera, are used in China for the production of an olive-like oil. The true tea-plant is a close ally of the camellia. See TEA.

CAMEL'OPARD. See GIRAFFE.

CAMELΌΡARDALIS (Gk. καμηλοπάρδαλις, kamelopardalis, giraffe, literally camel-pard, from

1. CAPER PLANT (Capparis spinosa), showing edible

buds.

2. CANARY SEED GRASS (Phalaris Canariensis).

3. BLUEBELLS (Campanula rotundifolia). 4. CARAWAY SEED (Carum caria).

5. CAMELLIAS (Camellia Japonica), single and double.

káμŋλos, kamēlos, camel + rápdalis, pardalis, pard). A constellation defined by Hevelius, between the pole-star, Auriga, Cassiopeia, and the head of Ursa Major, which consists of stars of moderate magnitudes, forming, in imagination, the shape of a giraffe.

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CAM'ELOT, or CALBURY, kalbĕr-i. steep hill in the parish of Queen's Camel, Somersetshire, England, 5 miles from Ilchester (Map: 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 mediæval romances to the city which grew up out of the permanent quarters of the second Augustan legion at Caerleon-upon-Usk.

CAMELOT. The legendary site of King Arthur'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 Glastonbury were chiefly responsible for the 'Somerset' theory, which they maintained, especially in the Fourteenth Century, for the purpose of attracting pilgrims and thus enriching their abbey. It is often mentioned in English literature, notably in King Lear and The Lady of Shalott.

CAMEL'S HAIR. A fabric woven from the In hair of the camel, by Persians and Arabs. early ages garments of this stuff were worn by monks for penance. It is now imported into Europe and used extensively in the manufacture of dress materials and rugs. Cow's hair is sometimes used as a substitute in the cheaper A fine grades of so-called camel's-hair goods. grade of camel's hair is used for artists' brushes. Camel's hair proper is longer than some sheep's wool, and varies considerably in color, being chiefly red, white, or gray.

CAMEN, kä'men, or KAMEN. A town in the Province of Westphalia, Germany, on the Seeseke, 10 miles southwest of Hamm. It is a thriving industrial centre, with coal-mines, papermills, and iron-foundries. Population, in 1900, 9888; in 1905, 10,429.

CAME NÆ (Lat., Old Lat. casmenæ, muses, prophetesses, connected with carmen, song). In 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 EGERIA.) The Roman poets often apply the name Camence to the nine Muses of Grecian myth.

CAMENZ, käʼments. See KAMENZ.

CAMEO (It. cammeo, Fr. camée, Med. Lat. cammæus). Gems cut in relief are called cameos, in opposition to those that are hollowed out so as to yield a raised impression, 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 background, the object to be represented being cut in the upper one. The stone generally used for this purpose 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

figures in relief, so especially in the scarabæi, 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 purposes, 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 reliefs. At this period cameos were very extensively used, not only as personal ornaments, but in cups, vases, candelabra, and other objects of domestic luxury. Patera and other vessels were frequently worked out of a single stone, upon which were exhibited a whole series of figures of the most exquisite workmanship. Many of the antique cameos which have been preserved are 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 commonly said to be portraits of Ptolemy II. and his Queen, Arsinoë, but are quite as probably Alexander the Great and Olympias (so Furtwängler). 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 Boston, Museum of Fine Arts, by Tryphon, who is supposed to have lived in the time of Augustus. The stones on which many of these cameos are cut are of surprising, and, in modern times, unequaled size and perfection. Cameos do not seem to have been made in medieval times; but the art revived in Italy, under the auspices of the Medici, and the production of cameos, both in pietra dura and in shell, has there become a branch of art manufacture of considerable importance. 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 imitation 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 Bacchanalian sacrifice. Many fragments of the same kind of manufacture exist in other cabinets, and from it the modern Wedgwood ware (q.v.) was imitated.

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A shell cameo is a cutting in relief on a shell. It is opposed in precious stone or meaning to intaglio, which signifies a cutting In intaglio work, furinto the stone or shell. thermore, only gems of a uniform color are used, while in cameo engraving or cutting it is desirable to choose such stones or shells as possess layers of varying colors, such as onyx, agate, or tropical sea-shells. These differing tints are

skillfully utilized by intelligent engravers, so that at different depths of the cutting very beautiful and effective gradations of color are obtained. Shell, perhaps, gives the most delicate results, owing to the nearness of the color to that of flesh, and the general use made of the human figure and head as subjects for cameo engraving. The art is one of great antiquity, and the engraving of precious stones and of shells in distinct bands of color has been prac ticed since about B.C. 150. Probably stone and shell, more or less engraved as ornament, talisman, and seal, are of still more remote times.

Inasmuch as Egypt was the birthplace, as it were, of belief in amulets, charms, and phylacterics of all kinds, it naturally came to pass that it was the earliest country to develop and to encourage the production of these emblems which, for the individual, possessed a magical and religious significance. From the time of the dynasties of the first Pharaohs to the period of the domination of the Romans, the inhabitants of the valley of the Nile, men and women, all wore about the neck, on the finger, or hung somewhere on their garments, cut or engraved gems of a talismanic character, which also served, in some sort, as a personal seal. It is safe to say that no country of ancient times has produced in such profusion precious stones in relief and in intaglio. It was in the Greek and Roman period that the cameo reached its perfection. The century of Scopas, Praxiteles, Lysippus, and Apelles produced an artist in gems whom all antiquity praises, but from whom there has not come down to us a single signed work. artist is Pyrgoteles. Pliny and many others speak of him as the ablest engraver of all time, and place him in the same rank as the above mentioned sculptors and painters. Pyrgoteles probably engraved several portraits of Alexander in cameo and intaglio, though none can be authenticated. Although cameo is sculpture in miniature, we see by this that it engaged the talents of really great artists. Among the largest examples of ancient cameo work is the Sainte Chapelle agate in Paris (13 x 11 inches), representing the apotheosis of Augustus, and the Vienna onyx, an allegorical representation of the coronation of Augustus. These surpass, in size and beauty of execution, the best of modern productions in this art.

This

BIBLIOGRAPHY. Agostini, Gemma et Sculptura Antique Depictæ ab L. Augustino (Paris, 1685); Zanetti, Le gemme antiche (Venice, 1750); Marsh, Cameo Cutting (London. 1891); Thompson, "On the Working of Shell Cameos," in Art Journal (ib. 1898): Davenport, Cameos (ib. 1900); and especially Furtwängler, Die Antiken Gemmen (Leipzig and Berlin, 1900).

CAMERA LU'CIDA (Lat., light chamber). A device fitted to the eyepiece of a compound microscope to enable the observer to trace upon a sheet of paper the magnified image of the object as seen. It is constructed in various forms, the simplest of which is a small plate of glass attached to the eyepiece at an angle of 45 degrees, as shown in Fig. 1. A portion of a slide or cover glass fixed to the eyepiece with wax can be employed for this purpose. In using the is camera lucida, the tube of the microscope placed in a nearly horizontal position, and a sheet of paper laid on the table beneath the eyepiece.

The

line of the image can readily be traced with a pencil, and in this way an accurate representation of the object can be quickly made. Instead of the simple mirror of glass, Sommering employed a flat, circular piece of polished steel or speculum metal, whose diameter was somewhat smaller than that of the pupil of the eye. rays are reflected vertically, and enter the eye, as do also those from the paper which come to the eye, after passing by the edges of the mirror. A prism, so constructed that total reflection occurs one or more times, is often employed, and the arrangement of Wollaston, which is frequently used, is illustrated in the figures and described below. It consists of a small quadrilateral prism of glass, which Fig. 2 shows in

FIG. 2. WOLLASTON'S CAMERA LUCIDA.

perpendicular section, held in a brass frame, which is fitted in front of the eyepiece by a suitable mounting, or attached to an upright rod, having at its lower end a screw-clamp, to fix it to the edge of a table. The prism, being at the height of about a foot from the table, has its upper face horizontal. Two of its faces, as in