“biscuit” surface of the ware in a raw state; that is, the compound has not been previously “run down” or vitrified in the crucible by heat, as is the case with enamelling upon metal, although, in most of the enamelled iron advertisement tablets, the enamel is in the raw state and is treated in a similar manner to that employed upon pottery.
Examination of the enamels upon brick of the Assyrians shows that they were applied unvitrified. It was upon pottery and brick that the ancient Egyptians and Assyrians achieved their greatest work in enamelling. For as yet no work of such magnificence as the great enamelled walls of the palace of Rameses III. at Tell el-Yehudia in the Delta of the Nile, or the palace of Nimrod in Babylon, has been discovered upon metal of any kind. But there were gold ornaments and jewelry enamelled of noble design in opaque turquoise, cobalt, emerald green and purple, some of which can be seen at the British Museum and the Louvre. An example is shown in Plate I. fig. 3.
In the subsequent Greek and Roman civilizations enamel was also applied to articles of personal adornment. Many pieces of jewelry, exquisite in workmanship, have been found. But a greater application was made of it by the Greek sculptors in the 4th and 5th centuries B.C. For we find, in many instances, that not only were the eyes made of enamel—which (artistically speaking) is a somewhat doubtful manner of employing it,—as in the fine bronze head found at Anticythera (Cerigotto) in 1902, but in the colossal figure of Zeus for the temple at Olympia made by Pheidias the gold drapery was gorgeously enamelled with figures and flowers. This wonderful work by the greatest sculptor the world has ever seen was destroyed, as so many priceless works of art in enamel have been: doubtless on account of the precious metal upon which they were made. It was in all probability the crowning triumph of a long series of essays in this material. The art of ancient Rome lacked the inspiration of Greece, being mainly confined to copying Greek forms and style, and in the case of enamelling it did not depart from this attitude. But the Roman and Etruscan glass has many beautiful qualities of form and colour that do not seem entirely borrowed, and the enamel work upon them so far as we can discern is of graceful design and rich colour. No doubt, were it not, as has been remarked, for the fact that enamelling was generally done upon gold and silver, there would still be many works to testify to the art of that period. Such as there are, however, show a rare appreciation of enamel as a beautiful material. With the decline of this civilization the art of enamelling probably died out. For it has ever been one of those exquisite arts which exist only under the sunshine of an opulent luxurious time or sheltered from the rude winds of a poorer age by the affluence of patrons. The next time we hear of it is in an oft-quoted passage (c. A.D. 240) from the writings of the great sophist Philostratus, who says (Icones, i. 28):—“It is said that the barbarians in the ocean pour these colours into bronze moulds, that the colours become as hard as stone, preserving the designs,”—a more or less inaccurate description of the process of champlevé. This has been understood (from an interpretation given to a passage in the commentary on it by Olearius) to refer to the Celts of the British Islands. It also goes to prove that enamelling was not practised at this day in Greece. We have no British enamels to show so early as this, but belonging to a later period, from the 6th to the 9th century, a number of the finest gold and bronze ornaments, horse trappings, shields, fibulae and ciboria have been discovered of Celtic and Saxon make. The Saxon work has nothing to show so exquisitely wrought as that found in Ireland, where one or two pieces are to be seen now in the Dublin Museum, notably the Ardagh chalice and some gold brooches. In the chalice the enamel is of a minute inlaid character, and appears to have been made first in the form of a multi-colour bead, which was fused to the surface of its setting, and then polished down. Many of the pieces seem to have been made after this fashion, which does not speak very highly of the technical knowledge of enamelling, but it is none the less true enamelling of an elementary character. The shield at the British Museum has an inlay of red enamel which is remarkable in its quality. For centuries such a fine opaque red has not been discovered. An example of Irish work is shown in Plate II. fig. 10.
From Ireland the art was transferred to Byzantium, which is to be seen by the close resemblance of method, style, design and colour. The style and design changed in course of time, but the craft remained. It was at Byzantium that it flourished for several centuries.
The finest work we know of belonging to this period is the Pala d’Oro at St Mark’s, Venice, believed to have been brought from Constantinople to Venice about 1105. This magnificent altar-piece is in cloisonné enamel. A typical example is the ciborium and chalice belonging to the South Kensington loan collection. The design entirely covers the whole of the surface in one rich mass composed of circular or vesica-shaped medallions filled with sacred subjects and foliated scrolls. These are engraved and enamelled, and the metal bands of the scrolls and figures are engraved and gilt. The characteristic quality of the colour scheme is that it is composed almost wholly of primaries. Red, blue and yellow predominate, with a little white and black. Occasionally the secondaries, green and purple, are used, but through the whole period of Byzantine enamelling there is a total absence of what to-day is termed “subtle colouring.”
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| Fig. 1.—Byzantine Cloisonné Cross (c. 11th century) (South Kensington Museum). |
The arrangement of the enamels is also distinct, in that the divisions of the colours are not always made by the cloison, but are frequently laid in side by side without the adjoining colours mingling or running together whilst being melted. For instance, in a leaf pattern or in the drapery, the dress may be cobalt, heightened with turquoise or green. Thus it is interesting to observe that the artist employed the metal dividing lines frequently for the sake of aesthetic result, and was not much hampered by technical difficulties. This was the rule when opaque enamels were used. It is also worthy of remark that these opaque enamels differ from those in common use to-day, in that they are not nearly so opaque. This quality, together with a dull, instead of a highly polished surface, gives a much softer appearance to the enamels. Again, the whole tone of the enamels is darker and richer. Many examples of Byzantine work (see fig. 1.) are to be seen in the public and private art collections throughout Europe. They are principally upon ecclesiastical objects, missal covers, croziers, chalices, ciboria, pyx, candlesticks, crosses and tabernacles. In most instances the enamels are made in separate little plates rudely fastened with nails, screws or rivets to a metal or wooden foundation. Theophilus, a monk of the 13th century, describes the process of enamelling as it was understood by the Byzantines of his time, which probably differed but little from earlier methods. The design and drawing of the figures in Byzantine enamels is similar to the mosaic and carving. The figures are treated entirely as decorations, with scarcely ever the least semblance of expression, although here and there an intention of piety or sorrow is to be descried through the awkward postures in which they
