Alexander Fisher

“ Many of the enamels are changed in colour by the difference of the proportion of the parts composing the flux, rather than by the 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 a mixture of tin and lead calcined. White enamel is made by the addition of stannic and arsenious acids to the flux. ”

“ 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 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 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-à-jour enamelling is done in the same way as cloisonné 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 platinum, copper, silver, gold or hard brass, which, after the enamel is fused and sufficiently annealed and cooled, is easily removed. ”

“ The Saxon work has nothing to show so exquisitely wrought as that found in Ireland, where one or two pieces are to be seen now in the Dublin Museum, notably the Ardagh chalice and some gold brooches. In the chalice the enamel is of a minute inlaid character, and appears to have been made first in the form of a multi-colour bead, which was fused to the surface of its setting, and then polished down. ”

“ 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 vermilion and lemon yellow in a vitrified state. Many of the colours we now employ were not known by enamellers such as Léonard Limosin. ”

“ The base of enamel is a clear, colourless, transparent vitreous compound called 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 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 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 door shut tight so as to allow no draught of cool 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. ”

“ This magnificent altar-piece is in cloisonné enamel. A typical example is the ciborium and chalice belonging to the South Kensington loan collection. The design entirely covers the whole of the surface in one rich 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 scheme is that it is composed almost wholly of primaries. Red, blue and yellow predominate, with a little white and black. ”

“ They are copies of enamels by Nardon and Jean Pénicaud, Léonard Limosin, Pierre Raymond, Courtois and others. The same artificers also produce copies of old Chinese cloisonné and champlevé enamels, as well as old Battersea enamel snuff-boxes, patch-boxes, and indeed every kind of enamelling formerly practised. It is advisable for the collector never to purchase any piece of enamelling as the work of an old master without having a pedigree extending at least over forty years. ”

“ In the case of a grisaille painted enamel the white is mixed with water or turpentine, or spike oil of lavender, or essential oil of 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. ”

“ 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. ”

“ 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. ”

“ His work may be seen in the Victoria and Albert Museum, and Brussels Museum. Others who have been enamelling with success in various branches, and who have shown individuality in their work, are Mr John Eyre, Mrs Nelson Dawson, Miss Hart. ”