Vitreography (art form) fine art rendition of the Ken Burns effect, giving new dimension and life to still images. Both the particular art form and the application of the term "vitreography" were pioneered by the French-American artist Jean-Pierre Weill, Weill having trademarked the word in 1992. Painting on successive glass panes to add real-world dimension to a depiction is seen by some as the natural bridge between the arts of sculpting and painting. What distinguishes vitreography from other stacked glass pane paintings is that each level of a vitreography largely maintains its independence, creating scenes within a larger scene rather than a singular
Cameo (carving) of the cameo trend, to the extent that they would become mass-produced by the second half of the 19th century. The visual art form of the cameo has even inspired at least one writer of more recent times, the 19th-century Russian poet Lev Mei, who composed a cycle of six poems entitled "" ("Cameos", 1861), as reflections on each of the Roman rulers from Julius Caesar to Nero. In 1852 Théophile Gautier titled a collection of his highly polished, lapidary poems "Emaux et Camées" ("Enamels and Cameos"). During the Roman period the cameo technique was used on glass blanks, in