520 Mr. H. Hardinge Cunyngliame [March 1, 



off. To prevent this, the enamel is put on both sides, being made 

 to adhere to the under side with a little very weak gum. In this 

 condition the enamel will stand. 



The plate is rarely perfect the first time, it usually wants 

 patching. 



The next process is to put on paillons. The idea of putting on 

 pieces of gold-leaf, and covering them with a coating of glass, was 

 very old, and the process had long been used by the makers of glass 

 goblets, and in the manufacture of mosaics. It is very simple ; pure 

 gold-leaf is taken, about 25 times as thick as that used for gilding 

 picture frames. It is stuck down upon the enamelled surface with 

 gum, having previously been pricked all over with very fine needles, 

 to allow the gases, formed by the burning of the gum, to escape. 

 This is fused well down upon the surface. Then over it a drawing 

 may be made with a paint composed of black enamel. Some glass, 

 finely ground up with black oxide of iridium, is the best. This also 

 is fired. 



Then, over all, a coating of coloured transparent enamel is put, 

 so that the gold paillons shine through it. 



Next, the grisaille must be painted. Grisaille consists of glass, 

 made of an opaque white with oxide of tin. It is ground up very 

 fine, with paraffin oil, and applied like a paint. Being semitrans- 

 parent, the high lights are thickest. Four or five paintings are 

 necessary to get proper gradations. Then over the grisaille are put 

 tints of enamel. 



In this stage the work is apt to appear dull and confused. It is 

 lifficult to lay the colours on with precision, and therefore, to give 

 point and emphasis, it is desirable to touch up the work on the 

 surface with gold. Common shell-gold, as sold for miniature painting, 

 does very well, if pure. Unfortunately, it is rarely to be obtained. 

 When fired the gold may be burnished. 



The process I have described is in its essence the same for all 

 sorts of enamelling, but I may fitly conclude with a few remarks 

 upon the making of jewellery. 



The origin of the wearing of jewellery is very probably to be 

 sought in savage countries, where it was used as a method of indicating 

 rank and displaying wealth. Precious stones originally seem to have 

 been worn as amulets, or as antidotes to poison. 



Jewellery is still chiefly employed as a mark of social distinction 

 and wealth, and hence is only made of the precious metals. 



Unfortunately, the feeling which dominates our minds, in purchas- 

 ing jewellery, is too often a desire to get something that will make a 

 good show for the money, and impress our friends. When a wedding 

 present has to be bought people say, " Let us give them something 

 that looks as if it had cost a good deal." It has always been so, and 

 always will be so to the end of time. But this general desire fbr 

 showy work is very destructive of art. It is the cause why jewellery 

 is stamped out by the thousand at Birmingham. 



