DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0299
ENAMEL.
285
Many colours are not requisite in this kind of painting ; the following are sufficient to produce
all sorts of tints. It was formerly thought necessary to have colours of different degrees
of hardness: the hardest to be used in the beginning of the work, and the softer colours
in finishing, as requiring a moderate heat: these precautions are now however disre-
garded.
Without entering at present into any detail of the manner of procuring the various colours
we shall only notice that from gold are formed the scarlets, purples, pinks, and violets: from
silver and antimony the yellows ; from copper the greens; from cobalt the blues; from iron the
deep reds, black, and browns ; from tin the whites. These colours are the basis, or rather the
materials of which those used in enamel painting are composed, viz. the following:
Blue.
Green.
Black.
Dark brown; and
White, for the last touches.
Deep purple.
Rose purple.
Violet purple.
Deep and warm yellow.
Brilliant and light yellow.
Straw-coloured yellow.
Three different purples are mentioned, because the deepest is used for the strong touches, and
consequently with a thick body of colour, producing a warm tone; but if on the contrary it be
used thin and faint, the tint will be too much of a violet hue, and not sufficiently near to a pink.
The second or rose purple has a contrary effect.; that is to say, if it be used too thick it loses
its force; but when laid on faintly, it produces a most brilliant rose colour. It is therefore
proper, on procuring these colours, to try the deep purple by strong touches, and the rose purple
by a light wash, to discover whether they correspond to the tints you wish to produce. The
violet purple, if it may be so called, is more brilliant when you buy it ready prepared, than when
you make it up with a mixture of blue and purple. The same thing happens with the yellows
which, when used in a faint state, do not give a tint so strong and brilliant as when applied
thick ; at least this is rarely the case. The blue is a very cold colour, and becomes deeper every
time it passes through the fire ; it is therefore to be used with caution, and only on the carnations :
it may be made warmer by mixing it with a little yellow. The greens, most of which are
procured from copper, are extremely brilliant, but do not stand: they are used in the draperies,
back-grounds, &c. ; and are only to be applied when the picture is to pass the last time through
the fire. Such greens as are necessary in the carnations are composed of blue and yellow. As
it is difficult to procure blacks that will stand, it is best to sketch such parts as require it with
mixtures of dark yellow, blue, deep or violet purple ; in the Jast touches you may use black
alone. If browns that will stand are not to be obtained, they may be composed of those
colours just mentioned to form a black, only adding a greater proportion of deep yellow and deep
purple.
In order to ascertain the quality of the colours, it is proper to have by you an enamelled plate
called an inventory, on which you try tl^em, and observing the number of strokes, or coats of
colour on the several places, to pass the plate through the fire, and take notice of the effects
produced. These strokes or coats of colour being more or less strong, and of different thicknessess
will, on coming out of the furnace, indicate the faintness or force, the shades and solidity of the
4 i> colours
285
Many colours are not requisite in this kind of painting ; the following are sufficient to produce
all sorts of tints. It was formerly thought necessary to have colours of different degrees
of hardness: the hardest to be used in the beginning of the work, and the softer colours
in finishing, as requiring a moderate heat: these precautions are now however disre-
garded.
Without entering at present into any detail of the manner of procuring the various colours
we shall only notice that from gold are formed the scarlets, purples, pinks, and violets: from
silver and antimony the yellows ; from copper the greens; from cobalt the blues; from iron the
deep reds, black, and browns ; from tin the whites. These colours are the basis, or rather the
materials of which those used in enamel painting are composed, viz. the following:
Blue.
Green.
Black.
Dark brown; and
White, for the last touches.
Deep purple.
Rose purple.
Violet purple.
Deep and warm yellow.
Brilliant and light yellow.
Straw-coloured yellow.
Three different purples are mentioned, because the deepest is used for the strong touches, and
consequently with a thick body of colour, producing a warm tone; but if on the contrary it be
used thin and faint, the tint will be too much of a violet hue, and not sufficiently near to a pink.
The second or rose purple has a contrary effect.; that is to say, if it be used too thick it loses
its force; but when laid on faintly, it produces a most brilliant rose colour. It is therefore
proper, on procuring these colours, to try the deep purple by strong touches, and the rose purple
by a light wash, to discover whether they correspond to the tints you wish to produce. The
violet purple, if it may be so called, is more brilliant when you buy it ready prepared, than when
you make it up with a mixture of blue and purple. The same thing happens with the yellows
which, when used in a faint state, do not give a tint so strong and brilliant as when applied
thick ; at least this is rarely the case. The blue is a very cold colour, and becomes deeper every
time it passes through the fire ; it is therefore to be used with caution, and only on the carnations :
it may be made warmer by mixing it with a little yellow. The greens, most of which are
procured from copper, are extremely brilliant, but do not stand: they are used in the draperies,
back-grounds, &c. ; and are only to be applied when the picture is to pass the last time through
the fire. Such greens as are necessary in the carnations are composed of blue and yellow. As
it is difficult to procure blacks that will stand, it is best to sketch such parts as require it with
mixtures of dark yellow, blue, deep or violet purple ; in the Jast touches you may use black
alone. If browns that will stand are not to be obtained, they may be composed of those
colours just mentioned to form a black, only adding a greater proportion of deep yellow and deep
purple.
In order to ascertain the quality of the colours, it is proper to have by you an enamelled plate
called an inventory, on which you try tl^em, and observing the number of strokes, or coats of
colour on the several places, to pass the plate through the fire, and take notice of the effects
produced. These strokes or coats of colour being more or less strong, and of different thicknessess
will, on coming out of the furnace, indicate the faintness or force, the shades and solidity of the
4 i> colours