Processes of enamelling—Chinese and Japanese enamels—British enamels.

Copper has been used frequently as the most suitable metal to coat over with enamels, to be afterwards fired or fixed. Even the ancients discovered the art of colouring the metal-work they had wrought by the aid of different enamels more or less translucent. Such substances were used in varied forms, often as paste, filling up incised designs, the workmen in some cases rubbing them down smooth when fixed, in others firing them by heat or simply heating until they ran smoothly over the surface of the metal to which they adhered. The enamels which are to be obtained vary in substance, the beauty of their workmanship, and in their rarity and curio values. They cover the entire period of known art and although such enamels are widely distributed, the art of enamelling having been practised in almost all countries where art has flourished, some have won greater fame than others, many of these rare types being easily distinguished by characteristic forms, colours, or designs.

Among the earlier exponents of enamelling were the Egyptians, the early Greeks, and to some extent the Romans. It would appear that enamelling was understood, too, in England, and was early practised as a British art, but it soon died out, to be restored again in this country under more favourable circumstances in the greater renaissance of mediÆval art.

The enamels which have attained such great fame, and which are so keenly appreciated by connoisseurs, are those made at Limoges in Southern France, and again to a lesser extent in Italy and the Rhenish Provinces. Two beautiful examples of twelfth-century pricket candlesticks, now in the British Museum, are of that early form which, except for ecclesiastical purposes, soon gave way to the socket candlestick, a more convenient form for domestic use.

Processes of Enamelling.

The basis of most of the enamels on copper is a fusible silicate, or colourless glass mixed with metallic oxides, reduced to a fine powder, which is applied according to the skill of the artist. The metal, with the enamel powder upon it, is then fired until it is melted and adheres to the metal. The different treatments help the expert to distinguish the period when a specimen under investigation was made, and to some extent the place of its manufacture. There is the translucent enamel, which shows up the design through the vitreous matter, a method originally adopted in Italy. Another process was that of applying different colours over an incised pattern, the figures or pictures being usually engraved in low relief. Coarser lines of engraving were used on the copper basis of the early enamels made at Limoges. Those of somewhat later date may be distinguished by the surface-painted enamels adopted in the later style, which flourished until about 1630. In this process dark enamel for the shadows was placed over the metal plate, the picture being painted in white with some portions in colour; a thin enamel surface was then given and the whole fired. The later surface-painted enamels were for the most part copies of well-known paintings or engravings, the colour or enamel being afterwards fixed by firing. In the process of enamelling known as champlevÉ the design was cut into the metal, the pattern or incisions made filled with colours, the enamels being then fused; the basis was nearly always of copper. The cloisonnÉ enamel was generally on a brass basis, and as in the more recent examples from China and Japan, the cloisons or tiny cells of metal were filled with the right and appropriate colours; afterwards subjected to heat. In some cases the metal foundation is in the centre and cloisons or cells formed on either side of it. There is something about the old enamels of this type besides the wear and tear of centuries which distinguishes them from the more modern, which, generally speaking, are more brilliant in colouring, cruder and sharper in design, and without that beautiful tone which is so pleasing in the antique.

Chinese and Japanese Enamels.

The rarer examples of Chinese art date back to the beginning of the Ming period in 1368, continuing until its close in 1643. The charm of these early examples is at once recognizable when they are compared with others of a later date. Fig. 87 represents a large Ming bowl florally decorated in rich red, yellow, and white on a background of cobalt blue outside and turquoise blue within. Quite a different style of decoration is shown in Fig. 88; the design of butterflies and gourd-vine tracery being carried out in Pekin enamels in five colours. This remarkably fine box, so charmingly formed, contains a set of nine sweetmeat dishes, each one bordered with bats of cobalt blue on a lighter blue ground, on the cover of the outer box being the Shu monogram. Another splendid piece, represented in Fig. 89, is typical of a different style of decoration. This fine bowl, also of the Ming period, is florally enamelled, the inside showing the pattern outlined by wire cloisons upon a white ground, the flowers being worked in five colours. This bowl, which is four inches high, is represented in the illustration as standing on a beautifully carved stand of about equal height. These choice pieces are illustrated by the courtesy of Messrs. Glendining & Co., Ltd., at whose well-known London auction rooms they recently changed hands. The second great period of Chinese art is that of the Ching Dynasty, which commenced in 1644 and extended until more recent times. While to some extent the art and the decorative effect of that period was inferior to that of to-day, when judged from the present-day standard of modern art, there was a rare beauty about the old designs. The enamels of the Ching Dynasty were carefully prepared and placed, and the colouring soft and yet rich. The preparation of coloured matter by experts of that period when the best ceramics of China were made, has always been a subject of admiration and wonder to the potters and enamellers of more recent years. Examples of these charming wares are not exceptionally rare, among the collectable pieces being cups and bowls, exquisitely designed kettles, tiers of boxes, water vessels, round and oblong dishes, and incense burners. Some of the bowls with covers are of quaint forms, a favourite one being that of a peach. Vases of which the base is enamel are often further enriched by ornaments of copper-gilt. Among the rarer little curios seen in a representative collection may be mentioned small water droppers, mostly made in the eighteenth century.

The Ch'ien Lung period which followed extended from 1736 to 1796, and included many candlesticks and altar pieces as well as braziers, some of the copper vessels being practically encrusted with enamels, some of the finer ornamentation being attached to the ground-work as additional or supplementary decorative effects. As in the earlier periods much labour was expended on the production of the many fine temple sets which were presented to such uses. The exceptionally fine altar set wrought in cloisonnÉ enamels, illustrated in Fig. 90, is of the Ch'ien Lung period, and consists of a beautifully designed koro, supported on legs in the form of tigers' heads, two candlesticks 18 in. high, and a pair of vases. The style of decoration is very rich, being turquoise blue ground on which are floral designs in red, green, dark blue, yellow, and other bright colours. The pieces stand on brass-gilt foundations, which rest on carved wooden stands, the set forming an extremely interesting group, typical of the highest art of the Ch'ien Lung period. There are many richly ornamented and extremely valuable specimens of more recent date admired by connoisseurs of art in the galleries and curio-shops; but however beautiful they are the collector of the older curios appraises their values from a modern commercial standpoint, and does not view them as he would antiques.

British Enamels.

It was not until the art of enamelling had been perfected at LillÈ and other places on the Continent of Europe, that an attempt was made to produce similar trinkets and a few more important pieces, such as candlesticks and inkstands, in this country. The works established at Battersea by Mr. S. T. Janssen about the middle of the eighteenth century soon gained notoriety, and it was not long before the enamels made there were eagerly sought after. In addition to those articles mentioned, they consisted chiefly of tea-canisters, snuff-boxes, spirit labels, and patchboxes, the copper being coated over with an opaque white enamel, which was coloured over and then decorated with floral and other designs. Rose tint afterwards became one of the favourite ground colours at Battersea. Among the rarer examples may be classed inkstands and writing-table appointments. The inkstands usually include an ink-container, a pen-box, and a sand or pounce pot, for Battersea enamel inkstands were made before blotting-paper was invented, and the wet ink, chiefly applied with a quill pen, was dusted over with pounce to prevent blotting, and when dry the surplus was dusted off. The collector finds much to interest in the little patchboxes of enamel, of which there were many varieties. They remained useful when the fashion of wearing patches declined, for then they came in handy for cosmetics, salves, and pomades. These curious little boxes were frequently given by admirers and friends, as may be imagined from the mottoes and sentimental inscriptions upon them. Among the commoner varieties seen in a collection are little oval boxes on which are pictured two love-birds, sometimes accompanied by a bird's nest. Others will have imitations of needlework pictures, such as the fair ones worked in those days. Sometimes a little church is seen in the distance, and in the foreground a boy and girl exchanging love-tokens. "This gift is small, but love is all," is a favourite motto. "Virtue fair, manners sweet, Together in my fair one meet," are two oft-quoted lines, and another favourite verse is:

Some boxes, however, have evidently been the gifts of those who could only claim "friendship" or acquaintance with the recipient, for they bear such sentiments as "A token of my respect," "Accept this as a token of my esteem," and "Esteem the giver." Some appear to have been made for sale as place souvenirs, for they are inscribed "A trifle from Bath," or other town where they had been procured. Battersea portrait placques were made between 1750 and 1760, among the favourite subjects being the then Prince of Wales (afterwards George IV), the Duke of Cumberland, and statesmen, among whom Horace Walpole was evidently one of the most popular.

English enamellers in other places, such as Bilston, attained some fame, but the Battersea works held their own, and not only produced the trinket boxes and other toilet-table appointments referred to, but many useful sundries, such as spirit and wine labels, little trays, and the like. None of these, although beautiful indeed, equalled the French enamels in the delicate miniature paintings and scenes such as those produced by the celebrated French painter, Petitot, who gave much attention to the decoration of exquisite toilet boxes and trinket trays.

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MISCELLANEOUS
METAL
CURIOS