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A Brief History of the Art of Enameling Part I

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A Brief History of the Art of Enameling Part I MISE_Vox52_end:MISE_Vox52_end 29-01-2011 17:48 Pagina 66 AA BriefBrief HistoryHistory ofof thethe AArtrt ofof EnamelingEnameling PartPart II By Osvaldo Patrizzi Plaque: The Tree of Jesse, attributed to Leonard Limosin. Painted polychrome enamel, Limoges, mid 16th century. he art of enameling co- The production of each period is typical and clearly TTvers a wide range of recognizable. That of the 14th century, for example, historical periods. It is dis- is fundamentally different from that of the 12th or tinct from other analogous the 16th century. The only constants are the ma- arts, such as ceramics and terials employed: enamel and a metal base. glasswork, in that it is au- There are two categories of enamel. The first to be tonomous as concerns the developed, decorative enamel, was known to the materials used, its forms, Touranians and later to the Scythians. They intro- its fabrication processes, duced it into China during the reign of the Thai- and in its progress, remai- wanti, who transmitted it to the ancient civilizations ning isolated, in a sense, of the Indus, Egypt, Phoenicia, Assyria, the Etrus- from all the other indus- Osvaldo Patrizzi cans and the Eduans. The pieces comprise jewelry Chariman and watch expert trial arts. and decorative objects, whose forms are enhanced For several centuries, ena- by the harmonies and brilliance of the colored meling was considered a mere form of decoration enamel. subordinated to the goldsmith’s art. However, The enamel is inlaid, the contours of the design around the 15th century, it came to be considered being fashioned from the metal base itself. When independent, with its own technique, its own covering metal into which prior engraving has been schools, and its masters, such as the Pénicauds in made, the enamel is translucent. When colors are Limoges, the Curteys, Cartier, Lellier, Jacques Toutin, meant to contrast sharply both with the other colors Petitot, later the Huauds, and more recently, Dupont, and with the surrounding metal, opaque enamel is Graf, Adam, Rosselet, and the last of the Genevan preferred. Incrusted enamel may be «à champs- enamelers, Poluzzi, who died in 1978. levés» or «à taille d’épargne». { 66 { MISE_Vox52_end:MISE_Vox52_end 29-01-2011 17:48 Pagina 67 The latter technique is the oldest, and consists of The second category is that of painted enamel. The filling with enamel a cavity in the metal into which a enamels of Limoges are of this type. Motifs which pattern or drawing has been etched. The technique are given shape and depth by means of varying called “cloisonné” or “d’applique” characterizes a thicknesses of enamel are painted on a black, brown pattern of colored enamel separated by metallic or dark blue enamel background on a copper laminae which form the outlines of the drawing. The plaque. This technique, invented in the 15th century, techniques of cloisonné and champlevé can also be was developed by artists of the Limousin region, and used together, generally on a copper base. This is attained levels of great mastery, leading to an artistic called «émaux mixtes» or “mixed enamel”. production of the highest quality. The decorative motifs can also be painted on a white enamel background, similar to the technique of painting on porcelain. This process, the most recent in the history of enameling, has reflected in the course of its brief existence all the discoveries made over the course of a thousand years. Enameling techniques paralleled those of painting, while con- serving their specificity. The soft colors of a face, the hazy light of a sunrise, the intensity of shadow, were all beautifully rendered by enamel, as artists such as Toutin the elder, who worked in Blois around 1625, demonstrated. Toutin, indeed, was the originator of the technique of painting on enamel. Enamel is a vitreous substance made up of sand, silica, and a mixture of potassium salt, lead, and soda, which melts at a fairly low temperature. The proportions of the mixture vary depending on the base to which it is to be applied. Without coloring, enamel is clear and transparent, and is called “flux” (“fondant” in French). Metallic oxides can be added to give it color while preserving its transparency. It can be made opaque by adding pewter oxide. Unlike paint, enamel is inal- terable and eternal. These enamels, transparent or opaque, can be applied to many materials, in- cluding earthenware, stoneware, porcelain, glass, lava, and metal (sil- ver, copper, iron, etc.). Two details of a mirror. Gold Vertumnus and Pomona. and translucent enamels over Pendant with mirror, painted baisse-taille. These enamels enamel by Henri Toutin. Paris, are described in the Inventory of the Treasure of Louis circa 1640. d’Anjou, 1379. Patek Philippe Museum. MISE_Vox52_end:MISE_Vox52_end 29-01-2011 17:48 Pagina 68 The Pala d’oro, Constantinople, 12th century. Gold, silver gilt, cloisonné enamel on gold, pearls, precious stones. Venice, Procuratoria di San Marco. Few questions have led to as much controversy The technique of enameling was known around the among archeologists as the origin of enameling. It world, by the Greeks, Etruscans, Phoenicians, and seems clear that the process of enameling goes back the Egyptians, as is proven by pieces found in to Antiquity. This was the opinion of La Riatère and archeological excavations. It has been argued, it is confirmed by the archaeological finds conserved however, that the material used was not enamel but in several museums. The mentions of enameling in either a kind of putty colored by vegetal or mineral literature confirm this. In the “Odyssey”, Homer extracts, or glass paste. I am convinced, however, calls enamel «electron», a name which it retained that enamel was used during Antiquity to embellish until the 11th century and which the monk precious decorative objects. Theophile used in his «Diversum Artum Schedula» The discovery of enamel is attributed to the (Book of the diverse arts”), in which he described Touranians, who lived in the central and eastern the artisanry of the Middle Ages. Hesiod also parts of Asia. They in turn transmitted it to the mentions it in his «shield of Hercules», as does Egyptians, who developed and perfected the tech- Sophocles in his tragedies, and Aristophanes in his nique. The Egyptians, who excelled in all the arts, satirical comedies. There is also a mention in the proved to be skillful in enameling and glasswork. Septuagent. Indeed, it is difficult to believe that the Egyptians, It remains to be determined whether or not the knowledgeable in all the techniques employing fire, enamel used during these periods was of the same and whose glass amulets and statuettes, as well as composition as that used in Late Imperial Rome, numerous other everyday objects – flasks, vases, during the Middle Ages; or today. This question has utensils – did not know the fusion temperature of not yet been resolved with any certainty. oxides. { 68 { MISE_Vox52_end:MISE_Vox52_end 29-01-2011 17:48 Pagina 69 Among the many objects Common Era, it was practiced even before Julius which can be admired in the Cesar’s conquest, by a people in the center of what Egyptian department of the had been Gaul. Louvre is a particularly beau- The Eduans lived between the Doubs and the Sâone, tiful piece of jewelry repre- where they had founded the cities of Chalon-sur- senting a falcon with a ram’s Saône and Bibracte. The archeological digs carried head. Its wings are silver and out in 1868 on Mount Beuvray near Autun, on the it holds in its claws the seals site of what had been Bibracte, revealed many of eternity. It is decorated in bronze-founding workshops in which enameling cloisonné enamel, with sepa- was also practiced. The tools were found, as well as rations of fine lamellae sol- the coal-burning kilns and several objects, either dered to its base. Certain complete or in the process of being finished. The pieces in other museums are workshops had been destroyed by a terrible fire older by as much as 2000 to from which the artisans must have fled in haste, 3000 years, but they are in taking with them only their most precious poor condition and their belongings. enamel is slowly disintegra- ting. This piece, it seems to These finds, as well as the description of the me, proves that Egypt must methods used for enameling by the Eduans, are be considered a practitioner described by J. G. Bulliot and H. de Fontenay in «L’Art of the art of enameling. de l’émaillerie chez les Eduens» (“The Art of Among the magnificent ex- Enameling of the Eduans”). Pieces identical to those amples left to us by the Etrus- found in Bibracte have been found in Hungary, cans are pieces of jewelry, Denmark, Great Britain, and along the Rhine. They many of which show evi- show slight variations, but are basically of the same dence of a profound know- type of fabrication. It is thought that at the time a ledge of the technique of ena- people of nomad artisans, probably of Oriental mel, as well as great skill. origin, traveled with their tools and kilns from country to country, as did the ceramicists who One of the most important created the red pottery with raised decoration, and pieces that I have been lucky who probably came from Italy. This would explain enough to examine is a Gre- the similitude of these enameled objects found at co-Etruscan diadem in the great distances from one another. Vatican museum. A true mo- nument to the goldsmith’s The first renaissance of the art of enameling seems art, this masterpiece is com- to have taken place in the Orient, during the time of posed of an ensemble of gold the founding of the Byzantine Empire, when it lamellae of varying dimen- flourished in the form of cloisonné work.
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