Comparatively deeply cut geometrical decorations embellish the sides of three snuffboxes. 
On the one hand, we find a combination of rhombic and circular motifs, some arranged verti- 
cally, others horizontally (cat. no. 7, Figs. 226, 229), and on the other circular motifs and Seg 
ments of circles with parallel lines (cat. nos. 18, 3, Figs. 227, 228). The latter, in particular, 
were probably produced on a bench lathe. 
EMBOSSING WITH PUNCHES: PUNCHING AND CHASING 
A wide ränge of motifs - from very simple shapes to very detailed motifs - can be produced 
by working with punches. A continuous decoration can be achieved by moving the punch 
whilst it is hit with the hammer. This process is known as chasing. 
Narrow chased zig-zag surrounds can be seen in some of the detail illustrations (cat. nos. 18, 
3, Figs. 227, 228), and in another detail (cat. no. 2, Fig. 230) where the surface decoration 
looks almost like guilloche work. Chasing often has the function of concealing edges where 
several parts are joined together, and of tidying up seams and edges. 
However, chasing can also serve a different purpose: not merely as edge decoration, but also 
in zig-zag circular and diamond shapes dividing up areas (cat. no. 4, Fig. 231). Chasing is fre- 
quently combined with punching as the predominant decoration of sides, making up a de- 
lightful surface pattem consisting of zig-zag lines forming leaf tendrils (cat. no. 40, Figs. 232, 
233). The zig-zag pattern of chased borders and surrounds is found on many objects, many 
details of which are reproduced here (Figs. 234 ff.). It is more unusual to find more compli- 
cated shapes, like the zig-zag spiral wavy line (cat. no. 40, Fig. 309). 
RELIEF WORK 
Snuffbox decorations with a relieved surface can be produced either manually or by mechani- 
cal methods (punching, pressing, turning, rolling, embossing, edging). It is hardly possible to 
teil any more whether this was done using a stamp, swager or rollers, beading machine, 
screw press, lathe, bench lathe or edging wheel. The machines and tools required for this 
purpose were certainly available much earlier than is generally assumed. 
In view of the fact that mechanically produced reliefs were often finished with graving tools 
and punches, one should not make the mistake of considering such surface decoration as 
entirely manual work. 
Traditional classicistic motifs and motifs from the Biedermeier repertoire can be found on nu- 
merous snuffboxes until well into the 19th Century. Details of several of these are reproduced 
here (Figs. 234-252). Looking at the greatly enlarged details, it is interesting to note the oc- 
currence of identical (or almost identical) ornamental borders on objects from different Work 
shops. For example, there is a very characteristic edging consisting of a series of triangulär, 
leaf-like motifs which can best be seen in the detail of the top and bottom (cat. no. 11, 
Fig. 237). The same border can be found on other snuffboxes (cat. nos. 6, 14, 11, 10, 13, 
Figs. 234- 247). Populär patterns were certainly in widespread use, since at the time there 
was no such thing as a protection of patterns and designs in the modern sense. Another 
point to be borne in mind is that the punches, rollers and simiiar aids to mechanical produc- 
tion were themselves produced by specialised factories - and probably not always on an ex 
clusive basis. The subcontraction of labour at the time is yet another factor that has previ- 
ously received far too little consideration. A maker’s mark is no indication that the object 
concerned was in fact produced by the maker in question. The objects were probably pro 
duced in a workshop, in same cases using a certain amount of subcontracted labour. The 
production of snuffboxes, on the other hand, sometimes exceeded the bounds of the work 
shop, entering the realms of mass production, with the use of machines, many of which can 
be traced back to the 18th Century. 
NIELLO WORK, GRINDING, ETCHING 
Two names emerge from Contemporary address books and reports on trade exhibitions in 
connection with this special decorative technique: Georg Wostry and Stephan Eduard 
Starckloff. 
Stephan Eduard Starckloff was particularly well known in Vienna for niello work. He was 
awarded Privileges for this and other skills, and the nature of his work is known to us thanks 
to the snuffboxes marked with his initials SES. 
227