Studio: international art (23.1901)

Enamelling

with the process of painting—the facture, brush- —well, perhaps, after all I had better not pursue
work, or whatever you like to call it, of painting. this subject any farther. Mrs. Stanhope Forbes's

Newlyn was the next phase of Mr. Forbes's life, work does not ask you for any of that chivalrous
and will probably—though, as George Eliot says, gentleness which is in itself so derogatory to the
it is always not only foolish but gratuitous to powers of women. As an artist she stands shoulder
prophesy—be the scene of his most characteristic to shoulder with the very best; she has taste and
work. This colony has been written about so fancy, without which she could not be an artist,
much by outside pens that I do not feel inclined But what strikes one about her most is summed up
to touch it further than to say that friendship and in the word "ability"—she is essentially able,
the camaraderie of the ateliers of Paris and Antwerp, The work which that wonderful left hand of hers
a sympathy with each other's intentions, a mild finds to do, it does with a certainty that makes
climate suitable for out-of-door work, a gray-roofed most other work look tentative beside hers. The
village overhanging a lovely bay—these were the gestures and poses that she chooses in her models
determining causes that led to the young artists show how little she fears drawing, while the gistness
setting up their easels hard by the Cornish sea, and of her criticism has a most solvent effect in dissolv-
the same causes, aided by that cumulative sedative ing the doubts that hover round the making of
called habit, have held many of them there ever pictures. These things show, Daudet notwith-
since. standing, that it may be a valuable thing to have

One circumstance connected with his coming to such a critic on the hearth.
Newlyn has certainly had the most vital influence

upon Mr. Forbes's life. Here it was that he first HpHE ART OF TRUE ENAMEL-

met Miss Elizabeth Armstrong. Alphonse Daudet I LING UPON METAL._PART IL

has written a book called "Les Femmes d'Artistes" I BY ALEXANDER FISHER,
which goes to prove by exhaustive illustration that *

artists ought not to marry ; but, on the other hand Thfre are two ways of interpreting the words

"an enamel." They may
^_ -—------------signify the substance en-
amel, or may be applied to
the completed work. The
substance enamel is a
vitreous compound that
adheres to the surface of
the metal upon which it
is fused. Enamels are
divided into three kinds,
the transparent, the trans-
lucent, and the opaque.
The transparent are those
through which it is possible
to see quite clearly the
metal and its quality of
surface—as, for example, in
bassetaille, where the whole
effect of the process is due
to the transparency of the
enamel. The translucent
are those which are not
transparent, but which ad-
mit the light through them;
the opaque are those which
do not.

These enamels are com-
posed of a simple flux,

CHAMPLEVE ENAMEL ON SILVER BY ALEXANDER FISHER and also of a flux COm-

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