Basse-taille (bahss-tah-ee) is an enamelling technique in which the artist creates a low-relief pattern in metal, usually silver or gold, by engraving or chasing. The entire pattern is created in such a way that its highest point is lower than the surrounding metal. A translucent enamel is then applied to the metal, allowing light to reflect from the relief and creating an artistic effect. It was used in the late Middle Ages, and then again in the 17th century.
The technique had been known to the Ancient Romans, but was lost at the end of the Middle Ages until the 17th century. [1] Translucent enamel is more fragile than opaque enamel, and medieval survivals in good condition are very rare. Medieval examples begin in Italy in the 13th century, with the earliest dated work being a chalice by the Sienese goldsmith Guccio di Mannaia, made for Pope Nicholas IV about 1290, which is part of the collection of the Treasure Museum of the basilica of Saint Francis in Assisi. [2]
The technique then spread to other centres for high-quality courtly work, at a time when the champlevé enamels associated above all with Limoges had become almost mass-produced and relatively cheap. It is generally agreed that the late 14th century Royal Gold Cup, now in the British Museum, is the outstanding surviving example of basse taille enamel. [3] It is one of only four known survivals done on gold, including both secular or religious pieces; another is the small Salting Reliquary, also in the British Museum. [4] The "King John Cup" in King's Lynn, of ca. 1340, silver-gilt with transparent enamel, is the best example of basse-taille work probably made in England; the metalwork expert Herbert Maryon describes this and the Royal Gold Cup as the "two examples of outstanding merit, unsurpassed in any collection". [5] However it is unclear if most of the enamel at King's Lynn is original. [6]
The technique was rediscovered in the 17th century, but was not much practiced thereafter. In a variant of the technique, translucent enamel was applied over a guilloché machine-turned metal backing by Peter Carl Fabergé on the Faberge eggs and other pieces from the 1880s until the Russian Revolution, and this technique is still used, usually in a single colour. [7]
The revived technique was used in the 17th century for the covers and faces of pocket watches, gold boxes and similar items, but mostly with opaque enamel, achieving a rather different effect from medieval examples using translucent enamel. The French watchmaker Josias Jolly made frequent use of it.
The process for creating basse-taille enamel began by marking the outline of the design and the main internal outlines on the gold with a tool called a "tracer". Then the interior area was worked, either with chasing tools, hammering and punching rather than cutting, or with chisels, to form a shallow recess to hold the enamel. The more important parts of the design were modelled by varying the depth of the surface to produce different intensities of colour when the translucent enamel was added; for example in the Royal Gold Cup the gold under folds of drapery often rises near the surface to create a paler highlight. In the example illustrated with Luke's ox the lowest lobe shows tufts of grass formed by cutting deeper into the background. In many of the recessed areas further decoration was added by either engraving or punching which would show through the translucent enamel, or to facet the background so the reflections change as the viewing angle changes slightly. Most background areas to the enamelled scenes were decorated in the same way. Finally the surfaces were cleaned up, made good and polished, perhaps including scraping off any bumps showing through on the reverse of the metal. [8]
The enamel lies flush with the gold surfaces; it was a preparation of finely ground glass paste applied with great care to the prepared recessed areas, and then fired. When different colours of enamel meet each other with a neat boundary, this was achieved by firing one colour with a retaining border of gum tragacanth before adding the next. The difficulty was often increased by the application of tints of a different colour to a base shade of enamel before firing, so that the added colour blends gradually into the background colour around the edges of the tinted area. This is especially used on "flux", or colourless enamel, as in the ground areas, rocks and trees. In the Royal Gold Cup, flux was also used for flesh areas as on a gold background it darkens slightly when hard to a suitable colour for skin. The rouge clair or "ruby glass" red, used so effectively here, was made by adding tiny particles of copper, silver and gold to the glass; here scientific tests have shown that copper was used. After firing, the enamel was polished flush with the surrounding metal, which was presumably decorated last.
Jewellery consists of decorative items worn for personal adornment such as brooches, rings, necklaces, earrings, pendants, bracelets, and cufflinks. Jewellery may be attached to the body or the clothes. From a western perspective, the term is restricted to durable ornaments, excluding flowers for example. For many centuries metal such as gold often combined with gemstones, has been the normal material for jewellery, but other materials such as glass, shells and other plant materials may be used.
Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C. The powder melts, flows, and then hardens to a smooth, durable vitreous coating. The word vitreous comes from the Latin vitreus, meaning "glassy".
Repoussé or repoussage ( ) is a metalworking technique in which a malleable metal is shaped by hammering from the reverse side to create a design in low relief. Chasing or embossing is a similar technique in which the piece is hammered on the front side, sinking the metal. The two techniques are often used in conjunction.
Guilloché, or guilloche, is a decorative technique in which a very precise, intricate and repetitive pattern is mechanically engraved into an underlying material via engine turning, which uses a machine of the same name. Engine turning machines may include the rose engine lathe and also the straight-line engine. This mechanical technique improved on more time-consuming designs achieved by hand and allowed for greater delicacy, precision, and closeness of line, as well as greater speed.
Cloisonné is an ancient technique for decorating metalwork objects with colored material held in place or separated by metal strips or wire, normally of gold. In recent centuries, vitreous enamel has been used, but inlays of cut gemstones, glass and other materials were also used during older periods; indeed cloisonné enamel very probably began as an easier imitation of cloisonné work using gems. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments to the metal object by soldering or affixing silver or gold as wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln. If gemstones or colored glass are used, the pieces need to be cut or ground into the shape of each cloison.
Niello is a black mixture, usually of sulphur, copper, silver, and lead, used as an inlay on engraved or etched metal, especially silver. It is added as a powder or paste, then fired until it melts or at least softens, and flows or is pushed into the engraved lines in the metal. It hardens and blackens when cool, and the niello on the flat surface is polished off to show the filled lines in black, contrasting with the polished metal around it. It may also be used with other metalworking techniques to cover larger areas, as seen in the sky in the diptych illustrated here. The metal where niello is to be placed is often roughened to provide a key. In many cases, especially in objects that have been buried underground, where the niello is now lost, the roughened surface indicates that it was once there.
Champlevé is an enamelling technique in the decorative arts, or an object made by that process, in which troughs or cells are carved, etched, die struck, or cast into the surface of a metal object, and filled with vitreous enamel. The piece is then fired until the enamel fuses, and when cooled the surface of the object is polished. The uncarved portions of the original surface remain visible as a frame for the enamel designs; typically they are gilded in medieval work. The name comes from the French for "raised field", "field" meaning background, though the technique in practice lowers the area to be enamelled rather than raising the rest of the surface.
Ronde-bosse, en ronde bosse or encrusted enamel is an enamelling technique developed in France in the late 14th century that produces small three-dimensional figures, or reliefs, largely or entirely covered in enamel. The new method involved the partial concealment of the underlying gold, or sometimes silver, from which the figure was formed. It differs from older techniques which all produced only enamel on a flat or curved surface, and mostly, like champlevé, normally used non-precious metals, such as copper, which were gilded to look like gold. In the technique of enamel en ronde-bosse small figures are created in gold or silver and their surfaces lightly roughened to provide a key for the enamel, which is applied as a paste and fired. In places the framework may only be wire.
The Becket Casket is a reliquary made in about 1180–90 in Limoges, France, and depicts one of the most infamous events in English history, the murder of Archbishop Thomas Becket. Following the assassination, relics of St Thomas were placed in similar reliquaries and dispersed across the world. This 'chasse' shaped reliquary is made of gilt-copper round a wooden core, intricately decorated with champlevé enamel to tell the story of Thomas Becket through literal and symbolic imagery. An exemplary showcasing of the Limoges enamel technique, this reliquary is now located in the Victoria and Albert Museum in London, England.
The Mérode Cup is a medieval silver-gilt cup decorated with finely engraved birds, fruit and vine leaves made in France in Burgundy in about 1400 and named for the ancient Belgian family of Mérode, to whom it once belonged.
The Dunstable Swan Jewel is a gold and enamel brooch in the form of a swan made in England or France in about 1400 and now in the British Museum, where it is on display in Room 40. The jewel was excavated in 1965 on the site of Dunstable Friary in Bedfordshire, and is presumed to have been intended as a livery badge given by an important figure to his supporters; the most likely candidate was probably the future Henry V of England, who was Prince of Wales from 1399.
The Holy Thorn Reliquary was probably created in the 1390s in Paris for John, Duke of Berry, to house a relic of the Crown of Thorns. The reliquary was bequeathed to the British Museum in 1898 by Ferdinand de Rothschild as part of the Waddesdon Bequest. It is one of a small number of major goldsmiths' works or joyaux that survive from the extravagant world of the courts of the Valois royal family around 1400. It is made of gold, lavishly decorated with jewels and pearls, and uses the technique of enamelling en ronde bosse, or "in the round", which had been recently developed when the reliquary was made, to create a total of 28 three-dimensional figures, mostly in white enamel.
Limoges enamel has been produced at Limoges, in south-western France, over several centuries up to the present. There are two periods when it was of European importance. From the 12th century to 1370 there was a large industry producing metal objects decorated in enamel using the champlevé technique, of which most of the survivals, and probably most of the original production, are religious objects such as reliquaries.
The Royal Gold Cup or Saint Agnes Cup is a solid gold covered cup lavishly decorated with enamel and pearls. It was made for the French royal family at the end of the 14th century, and later belonged to several English monarchs before spending nearly 300 years in Spain. It has been in the British Museum since 1892, where it is normally on display in Room 40, and is generally agreed to be the outstanding surviving example of late medieval French plate. It has been described as "the one surviving royal magnificence of the International Gothic age". According to Thomas Hoving, former director of the Metropolitan Museum of Art in New York, "of all the princely jewels and gold that have come down to us, this is the most spectacular—and that includes the great royal treasures."
A chasse, châsse or box reliquary is a shape commonly used in medieval metalwork for reliquaries and other containers. To the modern eye the form resembles a house, though a tomb or church was more the intention, with an oblong base, straight sides and two sloping top faces meeting at a central ridge, often marked by a raised strip and decoration. From the sides there are therefore triangular "gable" areas.
Plique-à-jour is a vitreous enamelling technique where the enamel is applied in cells, similar to cloisonné, but with no backing in the final product, so light can shine through the transparent or translucent enamel. It is in effect a miniature version of stained-glass and is considered very challenging technically: high time consumption, with a high failure rate. The technique is similar to that of cloisonné, but using a temporary backing that after firing is dissolved by acid or rubbed away. A different technique relies solely on surface tension, for smaller areas. In Japan the technique is known as shotai-jippo, and is found from the 19th century on.
The Bute Mazer, also known as the Bannatyne Mazer is a medieval communal feasting cup of a type known as a mazer. The wood bowl and the elaborate silver-gilt "boss" in the centre are dated "fairly firmly" to between 1314 and 1327 from the heraldry, with the rim and cover about 1500. It is the oldest Scottish mazer still surviving, and one of the oldest and most elaborate British ones. The cup has long been associated with the Isle of Bute, on the west coast of Scotland. Its alternative name derives from Ninian Bannatyne, Laird of Kames, who owned the cup in the 16th century and had his name engraved on the rim. The mazer is now on loan from the Bannatyne family to the National Museum of Scotland in Edinburgh.
The craft of cloisonné enameling is a metal and glass-working tradition practiced in the Byzantine Empire from the 6th to the 12th century AD. The Byzantines perfected an intricate form of vitreous enameling, allowing the illustration of small, detailed, iconographic portraits.
Guccio di Mannaia was an Italian goldsmith from Siena, Italy active from 1288 to 1322. He is best known for a 13th-century decorated gold-plated chalice which contains the first documented use of translucent enamels using the technique known as basse-taille.
Enamelled glass or painted glass is glass which has been decorated with vitreous enamel and then fired to fuse the glasses. It can produce brilliant and long-lasting colours, and be translucent or opaque. Unlike most methods of decorating glass, it allows painting using several colours, and along with glass engraving, has historically been the main technique used to create the full range of image types on glass.
