Bombay. Over this are laid porcupine quills split in half and placed side by side, or thin slices of ' bison,' buffalo, or stag horn, tortoise-shell, or ivory. The ivory is sometimes laid over the horn or shell, and is always either cut into geometrical patterns with a small keyhole saw, or etched with designs representing gods and flowers. The etching is done with a small V tool, and then black wax is melted into the design with a tool like a soldering iron, any excess being scraped off with a chisel, and the result is polished with a leaf of Ficus asperrima (the leaves of which are very rough, and used as a substitute for sand-paper). This gives a black design (sgraffito) on a white ground. The horn and porcupine quills are obtained from the Agency, and the tortoise-shell and ivory mainly from Bombay through the local Marvaris. The designs employed both in the etching and fret-work are stiff, and suited rather to work in metal than in ivory; and the chief merit of this Vizagapatam work perhaps lies in its careful finish — a rare quality in Indian objects of art. The ivory is rarely carved now, but, in the Calcutta Museum and elsewhere, may be seen samples of the older Vizagapatam work, which often contained ivory panels covered with scenes from holy writ, executed in considerable relief."*[1]
The caste title of the Kamsalas is usually Ayya, but, in recent times, a good many have taken the title Achāri.
The two begging castes Panasa and Runja are stated by Mr. Hemingway to be exclusively devoted to the Kamsalas. "The former," he writes, "are said to be out-castes from the Kōmati sub-division of that name. Formerly in the service of the Nizam, it is said they
- ↑ * Gazetteer of the Vizagapatam district.
