REPOUSSE, re-p455'sa.'. A term taken from the French, meaning 'beaten back.° It is used to designate the formation of raised (re lief) ornament in metal on flat or hollow ware. In its stricter interpretation the term refers to that division of beaten relief work which is performed by hammering or punching on the reverse (negative) side of the metal. This is therefore, embossing as contradistinguished from chasing, which latter process is the ham mering or driving of the metal into recesses (depressing). Inasmuch as the relief ornament is, almost invariably, followed by a finishing process of chasing, the entire performance (of relief and intaglio work on a single piece) is, by extension, frequently termed repousse work. The great esteem in which repousse work of fine character is held by connoisseurs is en hanced by the knowledge that the quality of the production depends solely on the skill of the craftsman. The art dates back to very early history, and the ancients did very re fined, delicate work in this process, as is proven by such examples as the Bernay Treasure (see SILVERWARE) and other finds of silver, gold and bronze art metal work (see BRONZES). To the Greeks the was known as sphyre laton. Repousse work is about the most dif ficult the craftsman in metal can undertake, re quiring great skill and patience to obtain fine execution, and for this very reason the great gold and silversmiths of all times have loved to display their skill in this medium; Greeks, Romans, Italians, Dutch. French and Germans have all left us grand examples. The golden altar in Cluny Museum, Paris (see ALTAR) , is a beautiful 11th century example of re pousse work.
Technique.— As above stated, this process consists of hammering or punching embossed work from the reverse side. In efficient work the whole surface, both the relief and the back ground, should remain of equal thickness as near as possible. This involves hammering up the metal sheet (termed blank) to thicken, or reinforce, the parts which are to be in relief, so that, while covering a larger surface than the flat, the thickness of the "walls" may be main tained. Another chief difficulty to overcome is the fact that hammering on the metal tends to harden and cause 'temper° or brittleness. A frequent "annealing) is, therefore, necessary. Annealing is the softening process brought about by bringing the metal to red heat, then "quenching° in "pickle) or water. In the case of copper the quenching can be done at red heat, but with brass or silver the metal should cool down somewhat. The first process in produc ing repousse work is to get a copy of the re quired design on to the metal; for which there are several processes, but the simple methods of pasting the drawing on the metal or tracing it on to the surface with carbon paper and stylus, or a needle point, are commonly used for flat work. For hollow ware surfaces the work has to be done by freehand generally, using "dividers* for tracing the measurements. In
the case of flat work, the blank is placed face downward, the design being on the reverse side, on a board which is faced with a composition which will yield to the blows of the tool yet maintain the surrounding surface to support the remainder of the metal. Usually a composi tion is used containing pitch (Stockholm or Swedish preferred) mixed with tallow or some other substance to soften it and overcome its tendency to brittleness; brickdust, plaster of Paris or resin are often used for this purpose. In high relief work the pitch must be kept warm so as to be sufficiently soft to take on deep impressions. But, in order to avoid the inconveniences of working on such a soft, sticky substance, lead, tin or zinc are frequently used to support the metal that is to be ham mered into high relief. For surfaces which are not in the flat a "pitch bowl and ring* are used as support. A hemispherical bowl filled with the pitch is rested on a thick ring of leather, rope or other substance. This contriv ance permits the worker to tilt the surface in any desired direction.
Tools.— At least two hammers are needed, one with flat face, the other a "chasing* hammer with handle ending bulb-shape; a wooden mal let can take the place of the latter. Punches and several kinds of chasing tools should be numerous if it is desired to avoid monotonous effects; a "tracer) and a "back grounding* tool are needed, and, to ease operations, at least 50 different punches are required (which are best shaped by the individual worker). Bossing and "cushion* tools vary in form (but the edges must be eliminated) and are used to produce bosses or ridges. 'Modelling) and 'chasing' tools have a flatter working end; "lining,* "freezing* and "matting) tools are used to produce "texture* on the surface and contain working surfaces in lines, grooves, hatchings, etc. "Ringo tools produce a de pressed circular mark; gbackgroundingi tools, of course, are for giving bacicground texture. 'Snarling irons) are for working in the in terior of hollow ware (such as ewers, vases, etc.) and are made in elongated Z shape; they are fastened at one end in a vice the other end (which is provided with a knob or button) is inserted in the orifice of the hollow piece, press ing against the surface to be operated on. A blow of the hammer on the tool near the vice sets the free end in vibration whose percussion produces on the inside of the vessel a depres sion, therefore a corresponding embossing effect on the outer (positive) surface. Consult Gaw thorp, 'A Manual of Practical Instruction in the Art of Brass Repousse Work for Amateurs' (London 1899) ; Horth, A. C., 'Repousse Metal work: a Scheme of Sheet Metal Work for Schools and Amateurs' (London 1905) ; Maryon, H., 'Metal Work and Enamelling' (London 1912).