2. History of Enamelling Enamelling is derived from Latin, French and German words. French ‘email’ is ‘smelzen’ in German which translates to ‘fuse or to smelt’ and originates from the Latin word ‘smaltum’. Enamelling is one of the oldest known techniques to man dating back 4000 years. Breast Jewels of Pharaoh Amenemhet II (1837- 1789 BC) is a good example. Charlemagne crowned king of Italy in 744 AD was wearing a golden circlet enamelled in green. Byzanite pieces reached the west after the 4th crusade in 1204. In the 12 century art schools in Germany and Italy started creating large master pieces and France produced tableware in enamel. Pharaoh Amenemhet II – Breast Jewels
3. Different Countries and Enamelling One of the earliest ever found enamelled piece was a cloisonné ring uncovered in a tomb at Koulia, Cyprus in 1952 as well as an 11th century scepter. The Celts in Britain were using red and blue enamels in champlevé around 43AD. The genre of excellence regarding enamelling happened in France around 1350AD. Enamelling only came to the east in the 15th century AD, Japan only developed around the 1800s. From the 15th century gold leaf and enamel paints fixed onto glass were found. From all of this art and design became more realistic.
4. Enamelling Enamelling is the process of fusing powdered coloured glass onto a metal surface or substrate. This is done by putting both the metal and the powdered glass under high heat, this melts the powdered glass and causes it to fuse with the metal creating a hard, durable coating . There are many different techniques. There are four different types of enamel: Transparent – these allow the underneath pattern or metal to show through. Opaque – these conceal whatever is underneath them. Translucent – this conceals whatever is underneath but allows some light to come through. Opalescent – these are semi opaque. All of them come in many different colours.
6. Firing The process of firing a piece of jewellery that is being enamelled is quite a delicate process. Pieces of jewellery are fired in a kiln or furnace. The piece is placed on either a wire mesh or trivets. Firing temperatures range between 1300°F and 1600°F, however most common firing temperatures are between 1450°F and 1500°F. Enamellists know how the read the colour of the temperature: Dark red is roughly 1300°F, Cherry red is between 1400°F-1500°F, Light orange/red is between 1550°F- 1600°F, orange yellow is over 1600°F. A piece of jewellery goes into the furnace for only roughly a minute or so, obviously bigger pieces may take a little bit longer to fire properly. There are various stages of firing. ‘Sugar’ More flow ‘Orange peel’ Smooth and glossy
7. Cloisonné French for ‘cloison’ or ‘cell’. In this technique metal wires which is generally silver are bent into different shapes to create a design . These thin wires are used to create raised barriers and thus filled with powdered enamel and then fired in the furnace . One of the most well known cloisonné eras was the Byzantine Empire (6th century AD). This was the setting for gold cloisonné pieces with religious themes. Cloisonné enamelled plaque – Byzantine Empire
9. BasseTaille French for ‘low cut’ This technique is when the metal background has a pattern created on it before enamelling. The patterns can be created using many different types of methods such as etching, roll pressing, creating hammer marks , or engraving. Transparent or translucent enamels are used over the pattern in order to show the pattern through the enamel.
11. Champlevé French for ‘raised field ‘ This technique is done by first etching or engraving the background and then inlaying the enamel in the depressions of the metal while still leaving some of the metal exposed. This technique is most often used as an economical alternative to cloisonné. It is therefore most often used on larger pieces.
13. Plique-a-Jour French for ‘membrane through which passes the light of day’ or ‘against the light’ The technique resembles a miniature stain glass window. This technique is much more delicate than other enamelling techniques as it has an open back in which the light flows through. This technique is done two ways: Surface tension enamelled – this has two different types of metal construction, first is pierced and second is filigree or skeletal framework. Etched enameled – this technique is done the same as cloisonné however once the piece has been finished the backing which is generally copper is then etched away.
15. En RondeBosse French for ‘in rounded relief’ Encrusted enamel This technique is done by covering 3D objects or high relief surfaces with enamel. There are technical difficulties using this technique such as roughing the surface enough in order to allow the enamel to hold on a curved surface properly.
17. Limoges This is the technique of ‘painting’ the enamel onto a surface. Different enamels are painted next to each other without the use of any seperations such as in cloisonne or in champleve. The object is covered in a layer of white opaque enamel, then fired. After this the piece is then gradually covered in coloured enamels which would require different firings.
19. Other Uses and Materials Enamelling can be used for many other uses aside from jewellery and decorations some examples include: Building facades Household appliances; washing machines Electrical isolators in heating elements Heat exchangers in heating devices and electricity plants Other materials that can be enamelled on: Stainless steel, steel, cast iron, aluminum, noble metals
20. Materials used for tessera Smalti, gold leaf, marble and stones, vitreous glass tiles, unglazed ceramic and terracota are all materials used to make tessera which are the small tiles used in mosaics. Smalti’s are hand made glass tesseras, they are available in up to roughly 2000 colours. 24 K Gold leaf is glued over the surface of the glass tiles in order to create a very expensicetessera. Marble tiles are the oldest tesseras, they are also the most durable and strong kind. Vitreous glass tiles are very colourful and very bright. Unglazed tiles have a matte finish which make them look like natural clay.
