International studio (16.1902)

The Art of True Enamelling



Bassetaille.—The word Bassetaille is derived from
the two old French words, “ basse ” meaning low,
and “ taille,” cut,—that is, “ low cut,” like an
Egyptian bas-relief. It consists of a subject carved
in low-relief below the general surface of the metal
object; so that when the enamel is placed over the
design the whole surface of enamel and metal is
one, and the relief is seen through the transparent
enamel. The tools employed for champleve may be
used also for bassetaille. That they should be more
numerous and with greater variety of shape of edge
will depend upon the kind of work and the artist’s
choice. The whole process is exactly similar in
other respects to that described under the head of
champleve, except that it is carving in relief and
not merely sinking a flat space for the enamel
inlay. The great example is the “Kings’ Cup”
at the British Musuem. There is another at King’s
Lynn, commonly known as the “ Lynn Cup,”
which was done by this bassetaille method. It is to
be observed that there is no metal division between
the different coloured enamels in bassetaille. This
is a great advantage: there is no necessity for a
metal division unless the enamels are very soft, in
which case they are bad for any kind of work.
The method of enamelling after the subject has
been carved is much the same in bassetaille as in
champleve, the only difference being that, owing

BY GILBERT BAYES

to the absence of a metal
division, much greater care
is required in keeping the
edges of the colour quite
clear and sharp and clean.
The best way to do this
is by adding a little gum
tragacanth and water to
each enamel, and by letting
this mixture partly A
after it has been laid upon
the metal; by this means a
sharp clear edge is formed
before the next colour is
put in juxtaposition to it.
Great care, again, must be
taken in handling the work
and in placing it into the
furnace, for if any par"
tides of enamel get moved
out of their place, the
edges of colour will be
blurred after the firing'
There are, indeed, many
pitfalls in this bassetaille
process, and you will find
it a most valuable thing to test a small part of each
enamel you intend to use. For this purpose 1
keep always by me some small pieces of metal
ready prepared. When the metal is being carved,
it is a great help to test the relief for enamel by
mixing a little water-colour of the same tone as
the enamel and floating it over the metal spaces

PLAQUE A JOUR BY FERNAND THESMAR
ENAMEL BOWL
( South Kensington Museum)

“ THE * LANGHAM 5 COLLAR ”
(See article on Gilbert Bayes)

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