Emaux en A French style of enameling in the 16th century termed thus was done in enamel work. A piece of gold plate with stamped pattern was fitted into a cavity in the glass; the cavity was filled in with trans lucent enamel which was then fused. The process, whose origin is unknown, was known as Email en risille, or Email en resille sur verre. Few specimens are extant. One (a crystal bowl with the cipher of Diana of Poitiers) is in the Uffici Palace, Florence; a small oval crystal mirror-back in this style is in the Louvre.
Asiatic From Russia in the 17th century came vessels of cloisonné ware built up of rather heavy wire and with insuffi cient enamel to reach the upper surface of the wire. Designs are in Byzantine style. Chinese old enamels are greatly prized by collectors; pieces of the Ming dynasty (1368-1644) show perfection of workmanship, harmony of color and beauty of design. They are all charn pleve. The Japanese are past-masters in the art of enamel work. Their artists are often representatives of enamel workers of successive generations of the same family for hundreds of years. They do cloisonné work on iron as well as copper and gold. The East Indian is unrivaled in the delicate class of gorgeous champleve work in arabesque designs of elab orate elegance. The workers of Jeypore, Delhi, Lahore, Benarcs, Lucknow, are in a class by themselves, and their expert knowledge of the art dates back very far, as pieces extant show.
Modern While most of our modern enamel wares are derived from the sources above mentioned, France has its La lique and Thesmar; England its Thomas Fish er, whose work is considered fit for exhibition in the Victoria and Albert Museum. George Frampton, R.A., and Mrs. Traquair (Edin burgh) are talented Enamel work is done on glass for windows of churches, also on show pieces of crystal ware, such as goblets, etc., and on modern table
glass de luxe. See GLASS.
Bibliography.— Brinkley, Capt. F., 'Japan: Its Arts, Etc.' (Boston and Tokio 1902); Brongniart, A., 'Traite des Arts ceramiques et des Poteries" (Paris 1845); Bucher, B., ‘Ge schichte der technischen Kunst& (Vol. I, Stuttgart 1875); Cunynghame, H. H. S., 'Euro pean Enamels' (London 1906); Dawson, E. B., 'Enamels' (Chicago 1908); Dnssieux, L. E., 'Recherches sur l'Histoire de la Peinture sur Email . . . specialement en France' (Paris 1841); Gamier, E. de la Verrerie et de l'Emaillerie> (Tours 1886); Hampel, 'Das mittelalterliche Drain-Email> (Buda-Pest I ) ; Hermann, F., 'Glass, Porzellan, und (Vienna 1894); Jacob, S. S., and Hendley, T. H., 'Jeypore Enamels' (London 1886); Kondokow, Treschichte und Denlaniler des byzantinischen Emails' (Frankfort 1892); La borde, M. de, 'Notice des Emaux exposees dans le Louvre' (Paris 1852); Labarte, J., 'Histoire des Arts industriels) (Paris 1864) ; Labarte, J., 'Recherches sur la Peinture en Email dans l'Antiquite et du Moyen Age' (Paris 1856); Linas, C. de, 'Ivoires et Emaux' (Bruges 1886); Lippmann, F., 'Eine Studie fiber chinesische Emailvasen' (Vienna 1870); Luthmer, 'Das Email' (Leipzig 1892) ; Moli nier, E., 'Dictionnaire des Emailleurs' (Paris 1884); Palustre, L., and Barbier de Montault, X., (Orfevrerie et Emaillerie limousines' (Paris 1886) ; Popelin, Ducarre, 'Les Emaux peints) (description by E. Molinier, Paris 1890 92) ; Rupin, E., 'L'Oeuvre de Limoges' (Paris 1890) ; Schulz, J., 'Der byzantinische Zellen schmelz' (Frankfort 1890) ; Way, A, 'Enamels' (lectures in London Archeological Institute, London 1846) ; Xvenigorodskoi, A. V., '13yzan tinische Zellen-Emails' (Frankfort 1892).