DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0298
ENAMEL.
dew, let it dry and then repeat the operation twice more, if you think it has not been
sufficiently done at first. The purpose of this is merely to unite the several particles of the
crayons, and thus in some measure to prevent their being rubbed off by any accidental touch.
As crayons will not bear to be rubbed, it is an error to suppose that they can be varnished,
which would utterly confound and change the colours.
There are however many crayon-paintings which can not be fixed in this manner, owing to
the glue, pumice, or other substances that may have been introduced, or from the sketch having
been varnished : the application of this shower will still however be useful in giving a fresh
brilliancy to the various tints.
SECTION IX.
painting in enamel.
Enamelling, from the French en email, is the art of applying enamel on various metals*
sfcich as gold, silver, copper, &c. and of executing sundry works with it, by means of fire or
the lamp.
The enamel is composed generally of vitrified substances interspersed with others not vitrified;
so that it possesses the properties of glass, only is not transparent.
The basis of all enamels is a pure glass, ground up with a fine calx of lead or tin, prepared for
the purpose, with the addition commonly of white salt of tartar. These ingredients baked
together with powders of different colours afford enamels of all kinds.
Of all the modes of painting none is more solid and durable than enamelling: for time, which
consumes all things, has no sensible effect on the beauty or the brilliancy of this work: it may
be observed also, that no species of painting unites so many difficulties in the execution. The
process is performed on metal plates covered with a white coat of enamel. Gold is often used
for this purpose; but copper, when well managed, is almost as good. These plates are made
concave on one side, and convex on the other; and are usually round or oval : if they were flat
there would be a risk that the enamel might fly off in undergoing the action of the fire or lamp.
The convexity of the plates however must not be considerable; for this would injure the effect
of the painting, as the sight could not rest on the whole of the subject at once; the light
necessaril}- falling on the prominent parts, would have a brilliancy injurious to the effects of the
other parts on which it did not fall in the same manner.
The colours used in enamelling are all calxes of metals, mixed and melted with certain
proportions of a vitreous substance, which at the instant of their fusion discover their tints, and
fix them on the metallic plate. This melted glass or enamel, produces the same effect that oils,
gums, or glues produce in other processes of painting. It unites the.different particles of the
colouring materials, makes them adhere to the surface of the enamel, and incorporates them
with itself: when properly managed it gives the colours a degree of brilliancy and polish not to
be obtained in any other way.
Many
dew, let it dry and then repeat the operation twice more, if you think it has not been
sufficiently done at first. The purpose of this is merely to unite the several particles of the
crayons, and thus in some measure to prevent their being rubbed off by any accidental touch.
As crayons will not bear to be rubbed, it is an error to suppose that they can be varnished,
which would utterly confound and change the colours.
There are however many crayon-paintings which can not be fixed in this manner, owing to
the glue, pumice, or other substances that may have been introduced, or from the sketch having
been varnished : the application of this shower will still however be useful in giving a fresh
brilliancy to the various tints.
SECTION IX.
painting in enamel.
Enamelling, from the French en email, is the art of applying enamel on various metals*
sfcich as gold, silver, copper, &c. and of executing sundry works with it, by means of fire or
the lamp.
The enamel is composed generally of vitrified substances interspersed with others not vitrified;
so that it possesses the properties of glass, only is not transparent.
The basis of all enamels is a pure glass, ground up with a fine calx of lead or tin, prepared for
the purpose, with the addition commonly of white salt of tartar. These ingredients baked
together with powders of different colours afford enamels of all kinds.
Of all the modes of painting none is more solid and durable than enamelling: for time, which
consumes all things, has no sensible effect on the beauty or the brilliancy of this work: it may
be observed also, that no species of painting unites so many difficulties in the execution. The
process is performed on metal plates covered with a white coat of enamel. Gold is often used
for this purpose; but copper, when well managed, is almost as good. These plates are made
concave on one side, and convex on the other; and are usually round or oval : if they were flat
there would be a risk that the enamel might fly off in undergoing the action of the fire or lamp.
The convexity of the plates however must not be considerable; for this would injure the effect
of the painting, as the sight could not rest on the whole of the subject at once; the light
necessaril}- falling on the prominent parts, would have a brilliancy injurious to the effects of the
other parts on which it did not fall in the same manner.
The colours used in enamelling are all calxes of metals, mixed and melted with certain
proportions of a vitreous substance, which at the instant of their fusion discover their tints, and
fix them on the metallic plate. This melted glass or enamel, produces the same effect that oils,
gums, or glues produce in other processes of painting. It unites the.different particles of the
colouring materials, makes them adhere to the surface of the enamel, and incorporates them
with itself: when properly managed it gives the colours a degree of brilliancy and polish not to
be obtained in any other way.
Many