International studio (16.1902)

The Art of True Enamelling


ASES SHOWING DIFFERENT STAGES OF CLOISONNE ENAMELLING
THE PATTERN OUTLINED IN INDIAN INK ON THE COPPER VASE ; 2, THE
WIRE SOLDERED ON TO THE VASE ; 3, FIRST COAT OF ENAMEL, FIRED ; 4,
SECOND COAT OF ENAMEL, FIRED; 5, THIRD COAT OF ENAMEL, FIRED;
6, LAST COAT OF ENAMEL, POLISHED

polish. Each of these
processes will be found of
the greatest possible aid.
I have detailed the
manner in which the en-
graving and carving for
champleve and bassetaille
are done. But 1 must
note here that if it be
desired to make a small
cup, a tazza, plate or box,
it will be necessary to
have one or two other
tools besides those per-
taining to the art of
enamelling. A few ham-
mers are required, and
a sand-bag, some stakes
and mandrils, a vice,
a blowpipe, a planishing
hammer, and a bath for
pickling. Supposing the
article to be a bowl
of four inches diameter
and three in height,
the mode of procedure is
this. If we measure the
height plus the diameter

carved for the reception of
'•be enamel.
Although the enamelling
's difficult, the most difficult
as well as the most important
Part is the carving of the
’’aetal. It requires the most
accurate drawing and the
m°st perfect mastery of the
8raver and scorper. You will
See that there is a large
amount of metal work of
Afferent kinds to do in order
'° become an enameller, and
11 certainly of great assist-
a°ce to serve an apprentice-
sbip in engraving, in repousse
'v°rk, in hard silver and
§°ld soldering, and also,
of course, in hammering
and fitting. It is also ad-
vantageouS to know how to


ANCIENT CHINESE CLOISONNE ENAMEL bowl (Imperial Institute)