CHAPTER IX

PHOTOGRAPHS ON ENAMEL 57

LIST OF ILLUSTRATIONS

FIG. PAGE

1 AGATE MORTAR AND PESTLE x

2 GRINDING WITH WEIGHTED PESTLE 2

3 ENAMELER’S SPATULA WITH WOODEN 10 HANDLE

4 CHARGING 14

5 METAL TRAY AND TILE 24

6 FIRING 30

7 CARBORUNDUM OR EMERY STONE 37

8 STONING 44

9 PICKLE PAN 51

10 POLISHING 58

11 PICKLE POT 65

PREFACE

The aim of this book is to explain practical enameling in such a way that one entirely unacquainted with the subject will, after a little study, not only understand the fundamental principles of the art, but with a little practice be able actually to achieve creditable results in this most fascinating branch of the jeweler’s craft.

INTRODUCTION

Enamel is really a glaze applied to metals just as other glazes are applied to porcelain, glass, and earthenware. We will confine our attention to what is known as hard enamel in contradistinction to japans, lacquers, and enamel paints, which are often called soft enamels. Hard enamels are compounds of glass with different metallic oxides which produce the different colors. These compounds are fused together at a very high temperature and on cooling become extremely hard. They fill the gap between glass and china, the transparent fondants being to the layman indistinguishable from glass, while the opaque whites may be easily mistaken for china, and the countless other varieties form a chain of scarcely perceptible gradations from one extreme to the other.

The use of enamels is both very ancient and very widespread, for we find the process known to the ancient Egyptians and to the Chinese, although the highest development in the art was reached in France in the sixteenth century. We would refer the historical student to Cunynghame’s “European Enamels” in English and Luthmer’s “Enamel” in German.

Jewelry enameling is usually divided into five different classes, viz: champlevé, cloisonné, incrusted, plique-à-jour, and enamel painting.

Champlevé enamel is that in which a part of the metal is cut away, leaving a depression which is filled with enamel to the level of the surface of the metal, thus giving a sort of inlaid effect. If the enamel surface is not filed off flat but allowed to have a concave or convex surface the piece is said to be “flushed.” Technically enamel is “flushed” if it is not “stoned.” When transparent enamels are used and the background under the enamel is cut in relief, it is called “Baisse-taille enamel.”

Cloisonné enamel is hardly distinguishable from champlevé when finished, but is made differently. Instead of cutting depressions in the metal to hold the enamel, metal wires are soldered on the smooth surface of the metal, thus forming partitions or fences between which the enamel is placed.

Incrusted enamel is that in which the enamel is charged directly on the metal surface without any raised metal edges to hold it. It is generally used in small daubs or beads to reproduce the effect of precious stones.

Plique-à-jour enamel is similar to cloisonné except that the wires are soldered to each other without any background, thus forming a sort of filigree, the spaces within which, when filled with enamel, somewhat resemble a stained-glass window.

In enamel painting a picture is painted on the enamel. Usually white opaque enamel is used for the background, and the painting is executed with finely ground enamel or china paints, after which it is covered with a layer of transparent enamel which serves as a protection for the painting.