See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century See also:

• LIFE

life of See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

Leo IV.)  , a See also:

• TERM

term, strictly speaking, given to the hard vitreous See also:

• COMPOUND
• COMPOUND (from Lat. componere, to combine or put together)

compound, which is " fused " upon the See also:

• SURFACE

surface of metallic See also:

• OBJECTS

objects either for the purpose of decoration or utility . This compound is a See also:

• FORM (Lat. forma)

form of See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass made of See also:

• SILICA

silica, minium and potash, which is stained by the chemical See also:

• COMBINATION (Lat. combinare, to combine)

combination of various metallic oxides whilst in a melted See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition in the crucible . This strict application of the term was widened to signify the See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal See also:

• OBJECT

object coated with See also:

• ENAMEL (formerly " amel," derived through the Fr. amail, emmll, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.)

enamel, so that to-See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day the term " an enamel " generally implies a See also:

• WORK

work of See also:

• ART

art in enamel upon metal . The See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of the substance enamel which is used upon metal does not vary to any See also:

• GREAT

great extent from the enamels employed upon pottery and See also:

• FAIENCE

faience . But they differ in this respect, that the pottery enamel is usually applied to the " See also:

• BISCUIT (pronounced according to the old spelling " bisket," a Fr. form from Lat. bis, twice, and coctum, cooked, in reference to the original method of preparation; cf. Ital. biscotto, Sp. bizcocho, &c.)

biscuit " surface of the See also:

• WARE

ware in a raw See also:

• STATE
• STATE, GREAT OFFICERS OF

state; that is, the compound has not been previously " run down " or vitrified in the crucible by See also:

• HEAT (0. E. haktu, which like " hot," Old Eng. hat, is from the Teutonic type haita, hit, to be hot; cf. Ger. hitze, heiss; Dutch, hitte, heet, &c.)

heat, as is the See also:

• CASE
• CASE, JOHN (d. 1600)

case with enamelling upon metal, although, in most of the enamelled See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

• ADVERTISEMENT, or ADVERTISING (Fr. avertissement, warning, or notice)

advertisement tablets, the enamel is in the raw state and is treated in a similar manner to that employed upon pottery . Examination of the enamels upon See also:

• BRICK (derived according to some etymologists from the Teutonic bricke, a disk or plate; but more authoritatively, through the French brique, originally a " broken piece," applied especially to bread, and so to clay, from the Teutonic brikan, to break)

brick of the Assyrians shows that they were applied unvitrified . It was upon pottery and brick that the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Egyptians and Assyrians achieved their greatest work in enamelling . For as yet no work of such magnificence as the great enamelled walls of the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace of See also:

• RAMESES, or RAMESSES (Gen. xlvii. r1; Exod. xii. 37; Num. xxxiii. 3)

Rameses III. at Tell el-Yehudia in the See also:

• DELTA (from the shape of the Gr. letter A, delta, originally used of the mouth of the Nile)

Delta of the See also:

• NILE
• NILE, BATTLE OF THE
• NILE, SOBAT

Nile, or the palace of See also:

• NIMROD (-`s??, -i=s; Septuagint, Nef3pc5£: various reading in Gen. x. 8, Nef3p6av: Vulg. Nemrod)

Nimrod in See also:

• BABYLON (mod. Hillah)

Babylon, has been discovered upon metal of any See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . But there were See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold ornaments and See also:

• JEWELRY (O. Fr. jouel, Fr. joyau, perhaps from joie, joy; Lat. gaudium; retranslated into Low Lat. jocale, a toy, from jocus, by misapprehension of the origin of the word)

jewelry enamelled of See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design in opaque See also:

• TURQUOISE

turquoise, See also:

• COBALT (symbol Co, atomic weight 59)

cobalt, See also:

• EMERALD

emerald See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green and See also:

• PURPLE

purple, some of which can be seen at the See also:

• BRITISH

British Museum and the Louvre . An example is shown in See also:

• PLATE

Plate I. fig . 3 . In the subsequent See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek and See also:

• ROMAN

Roman civilizations enamel was also applied to articles of See also:

• PERSONAL

personal adornment .

Many pieces of jewelry, exquisite in workmanship, have been found . But a greater application was made of it by the Greek sculptors in the 4th and 5th centuries B.C . For we find, in many instances, that not only were the eyes made of enamel—which (artistically speaking) is a somewhat doubtful manner of employing it,—as in the See also:

• FINE

fine See also:

• BRONZE

bronze See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head found at Anticythera (Cerigotto) in 1902, but in the See also:

• COLOSSAL

colossal figure of See also:

• ZEUS

Zeus for the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple at See also:

• OLYMPIA

Olympia made by See also:

• PHEIDIAS

Pheidias the gold drapery was gorgeously enamelled with figures and See also:

• FLOWERS, ARTIFICIAL

flowers . This wonderful work by the greatest sculptor the See also:

• WORLD

world has ever seen was destroyed, as so many priceless See also:

• WORKS

works of art in enamel have been: doubtless on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious metal upon which they were made . It was in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability the crowning See also:

• TRIUMPH (triumphus)

triumph of a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• SERIES (a Latin word from serere, to join)

series of essays in this material . The art of ancient See also:

• ROME
• ROME (Roma)

Rome lacked the See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration of See also:

• GREECE

Greece, being mainly confined to copying Greek forms and See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, and in the case of enamelling it did not depart from this attitude . But the Roman and See also:

• ETRUSCAN

Etruscan glass has many beautiful qualities of form and See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour that do not seem entirely borrowed, and the enamel work upon them so far as we can discern is of graceful design and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich colour . No doubt, were it not, as has been remarked, for the fact that enamelling was generally done upon gold and See also:

• SILVER

silver, there would still be many works to testify to the art of that See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . Such as there are, however, show a rare appreciation of enamel as a beautiful material . With the decline of this See also:

• CIVILIZATION

civilization the art of enamelling probably died out . For it has ever been one of those exquisite arts which exist only under the See also:

• SUNSHINE

sunshine of an opulent luxurious See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time or sheltered from the See also:

• RUDE, FRANCOIS (1784–1855)

rude winds of a poorer See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age by the affluence of patrons . The next time we hear of it is in an oft-quoted passage (c .

A.D . 240) from the writings of the great sophist See also:

• PHILOSTRATUS

Philostratus, who says (Icones, i . 28):—" It is said that the barbarians in the ocean pour these See also:

• COLOURS, MILITARY

colours into bronze moulds, that the colours become as hard as See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone, preserving the designs,"—a more or less in-accurate description of the See also:

• PROCESS

process of champleve . This has been understood (from an See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation given to a passage in the commentary on it by Olearius) to refer to the Celts of the British Islands . It also goes to prove that enamelling was not practised at this day in Greece . We have no British enamels to show so See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as this, but belonging to a later period, from the 6th to the 9th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, a number of the finest gold and bronze ornaments, See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse trappings, See also:

• SHIELDS, JAMES (181b-1879)

shields, fibulae and ciboria have been discovered of See also:

• CELTIC

Celtic and Saxon make . The Saxon work has nothing to show so exquisitely wrought as that found in See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland, where one or two pieces are to be seen now in the See also:

• DUBLIN

Dublin Museum, notably the Ardagh See also:

• CHALICE (through a central O. Fr. form of the Lat. calix, calicis, cup)

chalice and some gold brooches . In the chalice the enamel is of a See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute inlaid See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and appears to have been made first in the form of a multi-colour See also:

• BEAD

bead, which was fused to the surface of its setting, and then polished down . Many of the pieces seem to have been made after this See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion, which does not speak very highly of the technical knowledge of enamelling, but it is none the less true enamelling of an elementary character . The See also:

• SHIELD (0. Eng. scild, cf. Du. and Ger. Schild, Dan. Skjold; the origin is doubtful, but may be referred to the root seen in " shell " or " scale "; another suggestion connects it with Icel. skjalla, to clash, rattle; it is not connected with the Indo-Ger
• SHIELD, WILLIAM (1748—1829)

shield at the British Museum has an inlay of red enamel which is remarkable in its quality.363 For centuries such a fine opaque red has not been discovered . An example of Irish work is shown in Plate II. fig. to . From Ireland the art was transferred to See also:

• BYZANTIUM

Byzantium, which is to be seen by the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close resemblance of method, style, design and colour .

The style and design changed in course of time, but the See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft remained . It was at Byzantium that it flourished for several centuries . The finest work we know of belonging to this period is the Pala d'Oro at St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark's, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, believed to have been brought from See also:

• CONSTANTINOPLE
• CONSTANTINOPLE, COUNCILS OF

Constantinople to Venice about 1105 . This magnificent See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece is in cloisonne enamel . A typical example is the See also:

• CIBORIUM

ciborium and chalice belonging to the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington See also:

• LOAN (adapted from the Scandinavian form of a word common to Teutonic languages, cf. Swed. Mn, Icel. lan, Dut. leen; the O.E. laen appears in " lend," the ultimate source is seen in the root of Gr. Xeiaecv and Lat. linquere, to leave)

loan collection . The design entirely covers the whole of the surface in one rich See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass composed of circular or vesica-shaped medallions filled with sacred subjects and foliated scrolls . These are engraved and enamelled, and the metal bands of the scrolls and figures are engraved and gilt . The characteristic quality of the colour See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme is that it is composed almost wholly of primaries . Red, See also:

• BLUE (common in different forms to most European languages)

blue and yellow predominate, with a little See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white and See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black . Occasionally the secondaries, green and purple, are used, but through the whole period of See also:

• BYZANTINE

Byzantine enamelling there is a See also:

• TOTAL

total See also:

• ABSENCE (Lat. absentia)

absence of what to-day is termed " subtle colouring." The arrangement of the enamels is also distinct, in that Kensington Museum) . the divisions of the colours are not always made by the cloison, but are frequently laid in See also:

• SIDE
• SIDE (mod. Eski Adalia)

side by side without the adjoining colours mingling or See also:

• RUNNING

running together whilst being melted .. For instance, in a See also:

• LEAF (O. Eng. leaf, cf. Dutch loof, Ger. Laub, Swed. lof, &c.; possibly to be referred to the root seen in Gr. Ma-eta, to peel, strip)

leaf See also:

• PATTERN

pattern or in the drapery, the See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress may be cobalt, heightened with turquoise or green .

Thus it is interesting to observe that the artist employed the metal dividing lines frequently for the See also:

• SAKE

sake of aesthetic result, and was not much hampered by technical difficulties . This was the See also:

• RULE

rule when opaque enamels were used . It is also worthy of remark that these opaque enamels differ from those in See also:

• COMMON

common use to-day, in that they are not nearly so opaque . This quality, together with a dull, instead of a highly polished surface, gives a much softer See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance to the enamels . Again, the whole t one of the enamels is darker and richer . Many examples of Byzantine work (see fig . I.) are to be seen in the public and private art collections throughout See also:

• EUROPE

Europe . They are principally upon ecclesiastical objects, See also:

• MISSAL

missal covers, croziers, chalices, ciboria, See also:

• PYX (Gr. iruVir, a box or chest)

pyx, candlesticks, crosses and See also:

• TABERNACLES, FEAST OF

tabernacles . In most instances the enamels are made in See also:

• SEPARATE

separate little plates rudely fastened with nails, screws or rivets to a metal or wooden See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation . See also:

• THEOPHILUS

Theophilus, a See also:

• MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
• MONK (or MONCK), GEORGE
• MONK, JAMES HENRY (1784-1856)
• MONK, MARIA (c. 1817—1850)

monk of the 13th century, describes the process of enamelling as it was understood by the Byzantines of his time, which probably differed but little from earlier methods . The design and See also:

• DRAWING

drawing of the figures in Byzantine enamels is similar to the See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic and See also:

• CARVING

carving . The figures are treated entirely as decorations, with scarcely ever the least semblance of expression, although here and there an intention of piety or sorrow is to be descried through the awkward postures in which they are placed .

In spite of this, the sense of decorative design, the simplicity of conception, the strength of the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general character, and the richness of the colour, places this period as one of the finest which the art of enamelling has seen, and it leads us to See also:

• LAY

lay stress upon the principle that the simplest methods in design and manipulation attain a higher end than those which are elaborate and intricate . It might be asserted with truth that this style never arrived at the degree of delicacy and refinement of later styles . But the refinement was often at the expense of higher qualities . The next great application of these kinds of enamelling was at See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne, for there we find not only the renowned work of See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas of See also:

• VERDUN

Verdun, the altar front at Klosterneuberg, which consists of fifty plates in champleve enamel, but in that Rhenish See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province there are many shrines of magnificent conception . From here the secrets of the craft were taken to See also:

• LIMOGES

Limoges, where the greatest activity was displayed, as numerous examples are found throughout See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and See also:

• SPAIN
• SPAIN (Espana)

Spain, which no doubt were made there (see Plate I. fig . 6.) But no new method or distinct advance is to be noticed, during these successive revivals at Byzantium, Cologne or Limoges, and it is to early 14th-century See also:

• ITALY
• ITALY (Italia)

Italy that we owe one of the most beautiful developments, that of the process subsequently called basse-See also:

• TAILLE (from Fr. tailler, to cut or divide; late Lat. taliare, said to come from talia, talea)

taille, which signifies a See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low-cut See also:

• RELIEF

relief upon which transparent enamel is fused . In this process enamelling passed from a decorative to a fine art . For it demanded the highest knowledge of an artist with the consummate skill of both sculptor and enameller . See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

Witness the superb gold See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup, called the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's Cup, now in the British Museum, and the silver cup at King's See also:

• LYNN

Lynn . The first is in an excellent state of preservation, as it is upon gold, but the latter, like most of the ancient enamelling upon silver, has lost most of its enamel . This' was due—as the See also:

• PRESENT

present writer believes after much experiment—to the impurity of the silver employed . The King's Cup is one of the finest works in enamelling extant .

It consists of a gold cup and See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover, hammered out of pure gold; and around the bowl, See also:

• BASE

base and cover there are bands of figure, illustrating the scenes from the See also:

• LIFE

life of St See also:

• AGNES, SAINT

Agnes . The hands and faces are of See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale See also:

• JASPER

jasper, which over the carved gold gives a beautiful flesh See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . The draperies are in most resplendent See also:

• RUBY (Lat. rubeus, red)

ruby, See also:

• SAPPHIRE

sapphire, emerald, See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory, black and See also:

• ORANGE
• ORANGE (Citrus Aurantium)
• ORANGE, HOUSE OF

orange . The See also:

• STEM (O. Eng. staefn, stemn, cf. Du. stain, Ger. Stamm, &c., probably related to " staff ")

stem was subsequently altered by an additional piece inserted and enamelled with Tudor See also:

• ROSES, WARS OF THE

roses . It is a work of the 13th century, and belonged to See also:

• JEAN

Jean, duc de See also:

• BERRY, CHARLES ALBERT (1852-1899)
• BERRY, CHARLES FERDINAND
• BERRY, JOHN, DUKE OF (1340-1416)
• BERRY, or BERRI

Berry, who gave it to his See also:

• NEPHEW

nephew, See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles VI. of France, in 1391 . It afterwards came into the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of the See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings of England, from See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry VI. to See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James I., who gave it to See also:

• DON
• DON (anc. Tanais)

Don Juan Velasco, See also:

• CONSTABLE (0. Fr. connestable, Fr. connetable, Med. Lat. comestabilis, conestabilis, constabularius, from the Lat. comes stabuli, count of the stable)
• CONSTABLE, ARCHIBALD (1774-1827)
• CONSTABLE, HENRY (1562-1613)
• CONSTABLE, JOHN (1776-1837)
• CONSTABLE, SIR MARMADUKE (c. 1455-1518)

constable of See also:

• CASTILE, or CASTILLE (Castilla)

Castile . It was See also:

• PURCHASED

purchased by subscription with the aid of the See also:

• TREASURY

treasury for the British Museum . Other well-known pieces are the silver See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn in the possession of the See also:

• MARQUESS (1760-1842)
• MARQUESS, or MARQUIS (Fr. marquis, Ital. marchese; from med. Lat. marchio, marchisus, i.e. comes marchiae, " count of the March ")

marquess of See also:

• AYLESBURY

Aylesbury, and the See also:

• CROZIER
• CROZIER, WILLIAM (1855– )

crozier of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William of Wykeham at New See also:

• COLLEGE (Collegium)

College, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford . The See also:

• DISCOVERY

discovery about the same time of the process called plique-d jour forms another most interesting and beautiful development . Owing to the difficulty of its manufacture and its extreme fragility there are very few examples See also:

• LEFT

left . One of the finest specimens is now at the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum, South Kensington . It is in the form of two bands of emerald green enamel which decorate a silver See also:

• BEAKER (Scottish bicker, Lat. bicarium, Ger. Becher, a drinking-bowl)

beaker .

They are in the form of little stained glass windows, the cloisons forming (as it were) the leads . These fine cloisons and shapes are most correct in form, and the whole piece shows a perfection of craftsmanship rarely equalled . The end of the 15th century saw a development in enamelling which was not only remarkable, but revolutionary in its method . For until then the whole theory of enamelling had been that it relied upon the enclosing edges of the metal or the cloison to hold it to the metal ground and in See also:

• PART

part to preserve it in.the shape of the pattern, much in the same way as a setting holds a stone or a See also:

• JEWEL, JOHN (1522-1571)

jewel . All the enamel before this date had been sunk into cells or cloisons . Two discoveries were made; first, that enamels could be made which require no enclosing ribbon of metal, but that merely the enamel should be fused on both sides of the metal object; secondly, that after an enamel had been fusedto a surface of metal, another could be superimposed and fused to:the first layer without any danger of separation from each or from the metal ground . It is true that such processes had been employed upon glass on which enamel had been applied, as well as upon pottery; and it is probably due to the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of a knowledge of both enamelling upon metal and upon glass or pottery that the discovery was made . In most of these enamel paintings the subject was laid on with a white enamel upon a dark ground . The white was modulated; so that possessing a slight degree of translucency, it was See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey in the thin parts and white in the thick . Thus was obtained a certain amount of See also:

• LIGHT

light and shade . This gave the process called See also:

• GRISAILLE

grisaille . But See also:

• STRANGE, SIR ROBERT (1721-1792)

strange to say, it was not until a later period that this was practised alone, and then the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model-See also:

• LING, PER HENRIK (1776-1839)

ling of the figures and draperies became very elaborate .

At first it was only done in a slight degree, just sufficiently to give expression and to add to the richness of the form . For the enamellers were thinking of a plate upon which to put their wonderful colours, and not only of form . The See also:

• PAINTING

painting in white was therefore invariably coloured with enamels . Probably the earliest painter in enamel was Nardon Penicaud, many of whose works (one of them, dated 1503, is in the See also:

• CLUNY, or CLUGNY

Cluny Museum) have been preserved with great care . He had many followers, the most distinguished of whom was Leonard Limosin (i.e. of Limoges) . He excelled in See also:

• PORTRAITURE

portraiture . Examples of his work (between 1532 and 1574) are to be found in most of the larger public and private collections . Leonard Limosin and his Limoges contemporaries were very largely addicted to the employment of See also:

• FOIL

foil, which became too largely used, thus spoiling their otherwise fine serious work . The See also:

• FAMILY

family of Jean Penicaud, Jean See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court de Vigier, See also:

• PIERRE

Pierre See also:

• RAYMOND, HENRY JARVIS (1820-1869)

Raymond and Pierre Courteys were all great names of artists who excelled in the grisaille process . Grisaille is similar to pate-sur-pate in pottery, and depends for its attractive quality. entirely upon form and composition . No comparison should be made with enamels in colour, for they occupy a different See also:

• CATEGORY (Gr. Karrlyopia, " accusation ")

category—similar to See also:

• CAMEO

cameo . The See also:

• CASKET

casket shown in Plate II. fig .

9 is by Jean Penicaud . It is a fine example of the enamelling in this style, very beautiful in colour . The hands and faces are in opaque white enamel; the draperies, garlands and flowers are in transparent green, turquoise blue, purple and cobalt over foil . The background is in transparent See also:

• VIOLET

violet over white enamel ground, which is See also:

• SEINE
• SEINE (Lat. Sequana)
• SEINE, or SEAN (O. Fr. seigne, mod. seine, Lat. sagena, Gr. vaytivrl, a draw-net)

seine with gold stars . The draperies are also heightened with gold . One of the most marvellous pieces of brilliant craft is the missal cover (Plate I. fig . 5) at the South Kensington Museum, said to have belonged to Henrietta Maria, See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen of Charles I . The subjects are the " Creation of See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve " and the " See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

Fountain of Youth." It is about 4 in. by q when opened out . The enamel is encrusted upon the figures, See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament and flowers which are beaten up in pure gold into high relief . The extraordinary minuteness and skill of handling, and the extreme brilliancy of the enamels, which are as brilliant to-day as on the day they were made, together form one of the unique specimens of art craftsmanship of the world . To the subdued See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of to-day, however, the effect is See also:

• TAWDRY

tawdry . The conception and design are also alike unworthy of the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution .

Since the See also:

• ASSYRIAN

Assyrian and See also:

• EGYPTIAN

Egyptian civilizations, there has been a See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of luxurious developments followed by lapses into the decline and See also:

• DEATH

death of the art of enamelling upon metals . In each revival there has been something added to that which was known and practised before . The last revival took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place five See also:

• HUNDRED

hundred years ago, accompanying the rebirth of learning and the arts; but after flourishing for over a century, the art gradually See also:

• FELL
• FELL, JOHN (1625-1686)

fell into disuse, and remained so until the See also:

• RECENT

recent revival and further development . The development consists, first, in the more See also:

• COMPLETE

complete knowledge of the technical processes, following upon the great advances which See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science has made; and secondly, in a finer and more subtly See also:

• ARTISTIC

artistic treatment of them . The advance in technical knowledge comprises greater facility and perfection in the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the substance enamel, and its subsequent application to metal surfaces; more intimate knowledge of metals and their See also:

• ALLOYS (through the Fr. aloyer, from Lat. alligare, to combine)

alloys to which it is applied, and • greater ease in obtaining them from the metalliferous ores and reducing them to suitable dimensions and surfaces . For instance, it is now a See also:

• SIMPLE

simple See also:

• MATTER

matter to obtain perfectly pure See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper by means of See also:

• ELECTRICITY

electricity . Again, formerly a See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat See also:

• SHEET

sheet of metal was obtained by hammering, which involved an See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite amount of hard labour, whereas it is accomplished to-day with ease by means of flatting and See also:

• ROLLING

rolling See also:

• MILLS, JOHN (d. 1736)
• MILLS, ROGER QUARLES (1832– )

mills: i.e. after the metal has been obtained from the ore in the form of an See also:

• INGOT

ingot, it is stretched equally to any degree of thinness by See also:

• STEEL, FLORA ANNIE (1847– )

steel rollers . Further, the furnaces have been greatly improved by the introduction of See also:

• GAS

gas and electricity as the See also:

• HEATING

heating See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, instead of the See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood or See also:

• CHARCOAL

charcoal employed . In the manufacture of the substance enamel a much greater advance has been made, for whereas the colours, and consequently the schemes of colour, were extremely limited, we now possess an infinite gradation in the colours, as well as the transparency and opacity, the hardness and softness of enamels . There are only two colours which cannot yet be obtained; these are opaque See also:

• VERMILION

vermilion and See also:

• LEMON
• LEMON, MARK (1809-1870)

lemon yellow in a vitrified state . Many of the colours we now employ were not known by enamellers such as Leonard Limosin . Our enamels are also perfect in purity, brilliancy and durability, qualities which are largely due to the perfect knowledge of the proportion of parts composing an-enamel and their complete combination .

It is this complete combination, together with the absence of any destructible matter, which gives the enamel its lasting quality . The base of enamel is a clear, colourless, transparent vitreous compound called See also:

• FLUX (Lat. fluxus, a flowing; this being also the meaning of the English term in medicine, &c.)

flux, which is composed of silica, minium and potash . This flux or base—termed fondant in France—is coloured by the addition of oxides of metals while in a state of See also:

• FUSION

fusion, which stain the flux throughout its mass . Enamels are either hard or soft, according to the proportion of the silica to the other parts in its composition . They are termed hard when the temperature required to fuse them is very high . The harder the enamel the less liable is it to be affected by atmospheric agencies, which in soft enamels produce a decomposition of the surface first and ultimately of the whole enamel . It is therefore advisable to use hard enamels in all cases . This involves the employment of pure—or almost pure—metals for the plates, which are in most respects the best to receive and retain the enamel . For if there is an excess of alloy, either the metal will possibly melt before the enamel is fused or afterwards they will part See also:

• COMPANY

company . To the inferior quality of old silver may be attributed the fact that in all cases the enamel has flown off it; if it has not yet wholly disappeared it will See also:

• SCALE
• SCALE (1) A

scale off in time . It is therefore essential that metals should be pure and the enamels hard . It is also noteworthy that enamels composed of a great amount of soda or potash, as compared with those wherein red See also:

• LEAD
• LEAD (pronounced iced)

lead is in greater proportion, are more liable to crack and have less cohesion to the metals .

It is better not to use silver as a base, although it is capable of reflecting a higher and more brilliant white light than any other metal . Fine gold and pure copper as thin as possible are the best metals upon which to enamel . If silver is to be used, it should be fine silver, treated in the methods called champleve and cloisonne . The brilliancy of the substance enamel depends upon the perfect combination and proportion of its component parts . The intimacy of the combination depends upon an equal temperature being maintained throughout its fusion in the crucible . For this purpose it is better to obtain a flux which has been already fused and most carefully prepared, and afterwards to add the colouring oxides, which stain it dark or light according to the amount of See also:

• OXIDE

oxide introduced . Many of the enamels are changed in colour by the difference of the proportion of the parts composing the flux, rather than by the See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of the oxides . For instance, turquoise blue is obtained from the black oxide of copper by using a comparatively large proportion of carbonate of soda, and a yellow green from the same oxide by increasing the proportionate amount of the red lead . All transparent enamels are made opaque by the addition of calx, which is amixture of See also:

• TIN (Lat.- stannum, whence the chemical symbol " Sn "; atomic weight =117.6, 0=16)

tin and lead calcined . White enamel is made by the addition of stannic and arsenious acids to the flux . The amount of See also:

• ACID (from the Lat. root ac-, sharp; acere, to be sour)

acid regulates the See also:

• DENSITY (Lat. densus, thick)

density or opacity of the enamel . To elucidate the development which has occurred, it will be necessary to describe some of the processes .

After the enamel has been procured in the lump, the next See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage in the process, common to all methods of enamelling, is to pulverize it . To do this properly the enamel must first be placed in an See also:

• AGATE

agate See also:

• MORTAR

mortar and covered with See also:

• WATER

water; next, with a wooden See also:

• MALLET (or MALLOCH), DAVID (?17o5–1765)
• MALLET, PAUL HENRI (173o–18o7)

mallet a number of See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp blows must be given to a pestle held vertically over the enamel, to break it; then holding the mortar firmly in the left See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the pestle must be rotated with the right, with as much pressure as possible on the enamel, grinding it until the particles are reduced to a fine See also:

• GRAIN (derived through the French from Lat. granum, seed, from an Aryan root meaning " to wear down," which also appears in the common Teutonic word " corn ")

grain . The See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

powder is then subjected to a series of washings in distilled water, until all the floury particles are removed . After this the metal is cleaned by See also:

• IMMERSION (Lat. immersio, dipping),

immersion in acid and water . For copper, nitric acid is used; for silver, sulphuric, and for gold hydrochloric acid . All trace of acid is then removed, first by scratching with a See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush and water, and finally by drying in warm See also:

• OAK (O. Eng., (lc)

oak sawdust . After this the pulverized enamel is carefully and evenly spread over those parts of the metal designed to receive it, in sufficient thickness just to cover them and no more . The piece is then dried in front of the See also:

• FURNACE

furnace, and when dry is placed gently on a See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire-See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay or iron See also:

• PLANCHE, JEAN BAPTISTE GUSTAVE (1808–1857)

planche, and introduced carefully into the muffle of the furnace, which is heated to a See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright pale red . It is now attentively watched until the enamel shines all over, when it is withdrawn from the furnace . The firing of enamel, unlike that of glass or pottery, takes only a few minutes, and in nearly all processes no See also:

• ANNEALING, HARDENING AND

annealing is required . The following are the different modes of enamelling: champleve, cloisonne, basse-taille, plique-¢jour, painted enamel, encrusted, and See also:

• MINIATURE

miniature-painted . These processes were known at successive periods of ancient art in the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order in which they are named .

To-day they are known in their entirety . Each has been largely See also:

• DEVELOPED

developed and improved . No new method has been discovered, although See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations have been introduced into all . The most important are those connected with painted enamels, encrusted enamels and plique-¢jour . Champleve enamelling is done by cutting away troughs or cells in the plate, leaving a metal See also:

• LINE

line raised between them, which forms the outline of the design . In these cells the pulverized enamel is laid and then fused; afterwards it is filed with a See also:

• CORUNDUM

corundum See also:

• FILE

file, then smoothed with a See also:

• PUMICE (Lat. purnex, spumex, spuma, froth)

pumice stone and polished by means of See also:

• CROCUS

crocus powder and See also:

• ROUGE (" red," from Lat. rubeus)

rouge . An example is shown in Plate II. fig . 8 . In cloisonne enamel, upon a metal plate or shape, thin metal strips are See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent to the outline of the pattern, then fixed by silver See also:

• SOLDER (derived through the French from Lat. soldare, to make solidus, firm)

solder or by the enamel itself . These strips form a raised outline, giving cells as in the case of champleve . The See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of the process is identical with that of champleve enamelling . An example is shown in Plate I. fig .

4 . The basse-taille process is also a combination of metal work in the form of See also:

• ENGRAVING

engraving, carving and enamelling . The metal, either silver or gold, is engraved with a design, and then carved into a bas-relief (below the general surface of the metal like an Egyptian bas-relief) so that when the enamel is fused it is level with the uncarved parts of the design enamel, and the design shows through the transparent enamel . Painted enamels are different from any of these processes both in method and in result . The metal in this case is either copper, silver or gold, but usually copper . It is cut with See also:

• SHEARS

shears into a plate of the See also:

• SIZE

size required, and slightly domed with a burnisher or See also:

• HAMMER, FRIEDRICH JULIUS (1810-1862)

hammer, after which it is cleaned by acid and water . Then the enamel is laid equally over the whole surface both back and front, and afterwards " fired." The first coat of enamel being fixed, the design is carried out, first by laying it in white enamel or any other which is opaque and most advantageous for subsequent coloration . In the case of a grisaille painted enamel the white is mixed with water or See also:

• TURPENTINE (in M. Eng. turbentine, adapted through the O. Fr. turbentine or terebentine from Lat. terebinthina, sc. resina, resin of the terebinth, Gr. eepiOtvOos or eippavOos)

turpentine, or spike oil of See also:

• LAVENDER

lavender, or essential oil of See also:

• PETROLEUM (Lat. Petra, rock, and oleuin, oil)

petroleum (according to the taste of the artist) and the white is painted thickly in the light parts and thinly in the grey ones, whereby a slight sense of relief is obtained and a great degree of light and shade . In coloured painted enamels the white is coloured by transparent enamels spread over the grisaille treatment, parts of which when fired are heightened by touches of gold, usually painted in lines . Other parts can be made more brilliant by the use of foil, over which the transparent enamels are placed and then fired . An example is shown in Plate I. fig . 7 .

Enamels by the plique-d-jour method might be best described as translucent cloisonne enamels; for they are similar to cloisonne, except that the ground upon which they are fired is removed, thus making them transparent like stained glass . Two new processes have been the subject of the present writer's study and experiment for several years, which he has lately brought to fruition . The first is an inlay of transparent enamels similar to plique-¢jour without cloisons to See also:

• DIVIDE

divide the colours . For if enamels do not run together whilst in a melted state, as is seen in the case of painted and basse-taille enamels, there should be no See also:

• NECESSITY (Lat. necessitas)

necessity for it in this process . The result is a clear transparent subject in colour . The other process consists of a coloured enamel relief . It resembles the della Robbia relief, with this important difference, that the colour of the enamel by its nature permeates the whole See also:

• DEPTH

depth of the relief, whereas in the della Robbia ware it is only on the surface . It also has a See also:

• FRESCO (Ital. for cool, " fresh ")

fresco surface, instead of one highly glazed . The quality of the enamel is as rare and unlike anything else as it is beautiful . It is in point of fact the only coloured See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture in which the whole of its parts are one solid homogeneous mass, and through which the colour is one with the substance and is not applied . The process consists of the shapes of the various parts of the relief being selected for the different enamels, and. these enamels melted together, in the See also:

• MOULD

mould of the relief, which is finished with See also:

• LAPIDARY

lapidary's tools . Miniature enamel painting is not true enamelling, for after the white enamel is fired upon the gold plate, the colours used are not vitreous compounds—not enamels in fact—as is the case in any other form of metal enamelling; but they are either raw oxides or other forms of metal, with a little flux added, not combined .

These colours are painted on the white enamel, and afterwards made to adhere to the surface by partially fusing the enamel, which when in a state of partial fusion becomes viscous . There are many of these so-called enamels to-day, which are much easier of accomplishment than the true enamel, but they possess none of the beautiful quality of the latter . It is most apparent when parts of a work are true enamels and parts are done in the manner described above . These enamel paintings on enamel are afterwards coated over with a transparent flux, which gives them a surface of enamel . Many are done in this way for the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market . All these methods were used formerly, before the present revival; but they were not so completely understood or carried so far as they are to-day . Nor were the whole methods practised by any artist as they are now . The greatest advance has been in painted enamels . This process requires that both sides of the metal plate shall be covered with enamel; for this See also:

• REASON (Lat. ratio, through French raison)

reason the plate is made See also:

• CONVEX

convex on the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top, so that the See also:

• CONCAVE

concave side does not See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch the planche on which it is supported for firing, but rests on its edges throughout . There are several reasons why these plates are bombe, the See also:

• PRINCIPAL

principal one being that in the firing they resist the tendency to warp and curl up at the edges as a flat thin plate would do . Further, the enamel having been fused to both sides is not so liable to crack or to splint in subsequent firings . This is most important, for otherwise the white which is placed on afterwards would be a network of cracks .

The manner of firing has also to do with this, but not nearly so much as the preliminary care and See also:

• MECHANICAL

mechanical perfection with which a plate is prepared . Nearly all the old enamels are seen to be cracked in the white if minutely examined . To obviate this the following points must be observed: The plate must be of an excellent quality of metal, equal in thickness throughout, and perfectly See also:

• REGULAR

regular in shape . It must be arched equally from endto end . The first coat of enamel must be of a perfectly regular equal thickness on both sides, entirely covering the plate . What-ever the See also:

• MEDIUM

medium employed in painting the white on to the enamel, it must be completely evaporated before the plate is placed in the furnace . The furnace must be heated to a bright red heat, and the planche must be red-hot before being taken out for the enamel to be placed upon it, and then quickly returned to the furnace and the muffle See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door shut tight so as to allow no See also:

• DRAUGHT (from the common Teutonic word " to draw "; cf. Ger. 7'racht, load; the pronunciation led to the variant form " draft," now confined to certain specific meanings)

draught of cool See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air to enter it . Then as soon as it has begun to fuse, which if a small piece, it would do in a minute or so, the muffle door is slightly opened to afford a view of it . As soon as it shines all over its surface, it is withdrawn from the muffle . The method of laying a white upon the enamel ground is a matter of individual taste, so far as the medium is concerned . By some, pure distilled water is preferred to any other liquid for mixing the enamel . Otherwise, turpentine and the See also:

• FAT (O.E. fdett; the word is common to Teutonic languages, cf. Dutch vet, Ger. Fett, &c., and may be ultimately related to Greek Irian, and =apos, and Sanskrit pivan)

fat oil of turpentine, as well as spike oil of lavender .

The oil mixture takes longer to dry, and thus gives a greater See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance for model-ling into fine shades than the water . But it has several draw-backs . Firstly, there is the difficulty of drying the oil out—a process which takes some time and increases the See also:

• RISK

risk of cracking in the drying process; and secondly, the enamel is not so fresh and clear after it is fired as when pure water has been employed . Besides there is a great difference in the result; the water involves a See also:

• QUICK

quick, decided, See also:

• DIRECT

direct touch and method, which carries with it its own See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm . The oil medium, besides giving an effect of laborious rounded stippled surfaces, is See also:

• APT

apt partly to reduce the enamel, thus giving it a dull surface . The coloration of the white is comparatively simple and is done by trans-See also:

• PARENT, SIMON NAPOLEON (1855– )

parent enamels finely ground and evenly spread over the white after the latter has been fused . The only danger to be avoided is that of over-firing, which is produced by too great heat of a prolonged duration of firing, which causes the stannic and arsenious acids in the white to volatilize . Plique-d jour enamelling is done in the same way as cloisonne enamelling, except that the wires or strips of metal which enclose the enamel are not soldered to the metal base, but are soldered to each other only . Then these are simply placed upon a sheet of See also:

• PLATINUM [symbol Pt, atomic weight 145.0 (0=16)]

platinum, copper, silver, gold or hard See also:

• BRASS
• BRASS (O. Eng. braes)

brass, which, after the enamel is fused and sufficiently annealed and cooled, is easily removed . For small pieces of plique-d jour there is no necessity to apply any metallic base, as the particles of enamel quickly fuse, become viscous, and when See also:

• DRAWN

drawn out set quite hard . Neither is there any need for annealing, as would be the case in larger work . For an example, see fig .

2 . Commercially there has lately been an activity in enamels such as has never before occurred . This has been the case throughout Europe, See also:

• JAPAN

Japan and the See also:

• UNITED

United States of See also:

• AMERICA

America . In See also:

• LONDON

London there has been a demand for a cheap form of See also:

• GAUDY

gaudy coloured enamel, fused into sunk spaces of metal obtained by stamping with a steel See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die; this has been applied to small objects of cheap jewelry, in the form of brooches, bracelets and the like . There has also been a great demand for enamel See also:

• WATCH (in O. Eng. wcecce, a keeping guard or watching, from wacian, to guard, watch, wacan, to wake)

watch-cases and small pendants, done mainly by hand, of a better class of work . Many of these have been produced in See also:

• BIRMINGHAM

Birmingham, See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris and London . In Paris copies of pictures in black and white enamel, with a little gold paint in the draperies and background, have been manufactured in very large quantities and sometimes of great dimensions . Another curious demand, followed by as astonishing a production, is that of the imitations (a harder name for which is " forgeries ") of old enamels, made with much skill, giving all the technical excellence of the originals, even to the cracks and scratches incidental to age . These are duly signed, and will deceive the most See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert . They are copies of enamels by Nardon and Jean Penicaud, Leonard Limosin, Pierre Raymond, See also:

• COURTOIS, JACQUES (1621–1676)

Courtois and others . The same artificers also produce copies of old See also:

• CHINESE, JAPANESE AND

Chinese cloisonne and champleve enamels, as well as old See also:

• BATTERSEA

Battersea enamel See also:

• SNUFF (from " to snuff, " i.e. to inhale, to draw in through the nose; cf. Dutch snuf, scent, Ger. Schnupfen, a cold, catarrh, and Eng. " snuffle, " " sniff, " &c.)

snuff-boxes, patch-boxes, and indeed every kind of enamelling formerly practised . It is advisable for the See also:

• COLLECTOR

collector never to See also:

• PURCHASE

purchase any piece of enamelling as the work of an old See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master without having a See also:

• PEDIGREE

pedigree extending at least over See also:

• FORTY

forty years .

From Japan there has been a continuous flow of cloisonne enamelled vases, boxes and plates, either entirely covered with enamel or applied in parts . Compared with this enormous output, only a few small pieces of jewelry have come from See also:

• JAIPUR, or JEYPORE

Jaipur and other towns in See also:

• INDIA
• INDIA, FRENCH

India . There has also been a great quantity of plique-d jour enamelling manufactured in See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia, See also:

• NORWAY
• NORWAY (Norge)

Norway and See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden . And finally, it has been used in an unprecedented manner in large pieces upon iron and copper for purposes of advertisement . Amongst the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief workers in the See also:

• MODERN

modern revival of this art are See also:

• CLAUDIUS
• CLAUDIUS [TIBERIUS CLAUDIUS DRUSUS NERO GERMANICUS]
• CLAUDIUS, MARCUS AURELIUS
• CLAUDIUS, MATTHIAS (174o-1815)

Claudius Popelin, See also:

• ALFRED

Alfred See also:

• MEYER, CHRISTIAN ERICH HERMANN VON (18or-1869)
• MEYER, HEINRICH AUGUST WILHELM (1800-1873)
• MEYER, JULIUS LOTHAR (183o-1895)
• MEYER, KONRAD FERDINAND (1825-1898)
• MEYER, VICTOR (1848-1897)
• MEYER, [MARIE] PAUL HYACINTHE (184o- )

Meyer, See also:

• PAUL
• PAUL (PAULUS)

Paul Grandhomme, Fernand Thesmar, See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert von Herkomer and See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander See also:

• FISHER
• FISHER, ALVAN (1792–1863)
• FISHER, GEORGE PARK (1827-1909)
• FISHER, JOHN (c. 1469-1535)
• FISHER, JOHN ARBUTHNOT FISHER, 1ST BARON

Fisher . The work of Claudius Popelin is characterized by See also:

• GOOD, JOHN MASON (1764-1827)

good technical skill, correctness, and a careful copying of the work of the old masters . Consequently it suffers from a lack of invention and individuality . His work was devoted to the rendering of mythological subjects and fanciful portraits of See also:

• HISTORICAL

historical See also:

• PEOPLE

people . Alfred Meyer and Grandhomme are both accomplished and careful enamellers; the former is a painter enameller and the author of a See also:

• BOOK

book dealing technically with enamelling . Grandhomme paints mythological subjects and portraits in a very See also:

• TENDER

tender manner, with considerably more artistic feeling than either Meyer or Popelin . There is a specimen of his work in the See also:

• LUXEMBURG
• LUXEMBURG, FRANCOIS HENRI DE MONTMORENCYBOUTEVILLE, DUKE

Luxemburg Museum . Fernand Thesmar is the great reviver of plique-d-jour enamelling in France .

Specimens of his work are possessed by the art museums throughout Europe, and one is to be seen in the Victoria and Albert Museum, London . They are principally valued on account of their perfect technical achievement . Lucien Falize was an employer of artists and craftsmen, and to him we are indebted for the production of specimens of basse-taille enamel upon silver and gold, as well as for a book reviewing the revival of the art in France, bearing particularly on the work of Claudius Popelin . Until within recent years there was a clear See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division between the art and the crafts in the See also:

• SYSTEM

system of producing art objects . The artist was one See also:

• PERSON, OFFENCES AGAINST THE

person and the workman another . It is now acknowledged that the artist must also be the craftsman, especially in the higher branches of enamelling . M . Falize initiated the production of a gold cup which was enamelled in the basse-taille manner . The See also:

• BAND

band of figures was designed by See also:

• OLIVIER, JUSTE DANIEL (1807-1876)

Olivier Merson, the painter, and carved by a metal See also:

• CARVER, JOHN (x575?-1621)
• CARVER, JONATHAN (c. 1725-1780)

carver and enamelled by an enameller, both able craftsmen employed by M . Falize . Other pieces of enamelling in champleve and cloisonne were also produced under his supervision and on this system; therefore lacking the one quality which would make them complete as an expression of artistic emotion by the artist's own hands . M .

Rene Lalique is among the jewellers who have applied enamelling to their work in a peculiarly technically perfect manner . In England, See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor Hubert von Herkomer has produced painted enamels of considerable dimensions, aiming at the execution of pictures in enamel, such as have been generally regarded as See also:

• PECULIAR

peculiar to the province of oil or water-colour painting . Among numerousworks is a large shield, into which plaques of enamel are inserted, as well as several portraits, one of which, made in several pieces, is 6 ft. high—a portrait of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor William II. of See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany . The present writer rediscovered the making of many enamels, the secrets of which had been jealously guarded . He has worked in all these processes, developing them from the art side, and helping to make enamelling not only a decorative See also:

• ADJUNCT (from Lat. ad, to, and jungere, to join)

adjunct to metal-work, but raising it to a fine art . His work may be seen in the Victoria and Albert Museum, and See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels Museum . Others who have been enamelling with success in various branches, and who have shown individuality in their work, are Mr See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• EYRE, EDWARD JOHN (1815-1901)
• EYRE, SIR JAMES (1734-1799)

Eyre, Mrs See also:

• NELSON
• NELSON, HORATIO NELSON, VISCOUNT (1758-1805)
• NELSON, ROBERT (s656-1715)

Nelson See also:

• DAWSON, GEORGE (1821-1876)
• DAWSON, SIR JOHN WILLIAM (1820-1899)

Dawson, See also:

• MISS

Miss See also:

• HART, ALBERT BUSHNELL (1854– )
• HART, CHARLES (d. 1683)
• HART, ERNEST ABRAHAM (1835–1898)
• HART, SIR ROBERT
• HART, WILLIAM (1823–1894)

Hart .