IlERAMIC STUDIO 
A little manual of "AVood Carving," by Joseph Shillips, 
has a series of plates from photographs of panels showing 
progressive steps in the use of tools. Chapman & Hall, 
London, England. 
The illustrations are merely to suggest a few of the ways 
in which carving may be appropriately used. 
BOX TOP IN REPOUSSE ENAMEL. 
THE ART OF ENAMELING ON METAL 
Laurin H. Martin 
CLOISONNE PROCESS 
In the champleve process you engrave the design on a 
solid piece of metal, and in this way you leave divisions of 
metal between the different forms of the design. In the cloi- 
sonne process you build up your divisions by taking a small 
rectangular piece of wire and bending it to your design and 
fastening it with solder. Use as little solder as possible, then 
go ahead and use the enamel in just the same way as in the 
champleye process. 
PLIQUE A JOUR PROCESS 
The plique a jour process is the same as the cloisomie 
process, except that you do not solder the wires onto a piece of 
metal. You simply make a filigree design out of the wire 
and fill in these spaces with enamel. As it does not have a 
backing of metal it is quite transparent like small windows. 
In doing this kind of enamel a small piece of platinum is 
required. After you have made the filigree design out of the 
wire place it on a piece of platinum and fill in with enamel. 
Yovi then diy out the water and fire and when it has been 
taken out of the furnace the filigree design with the enamel 
will free itself from the platinum. The platinum simply makes 
a temporary backing. 
REPOUSSE ENAMEL 
Repousse enamel is very useful and a very decorative 
kind of enamel. It can be well applied to bowls, boxes and 
things that are made out of thin metal. 
In making a bowl number eighteen gauge metal is a good 
thickness, but this is rather thin to decorate in the champleve 
process. After the bowl has been shaped, it is filled with 
pitch, and then the design is drawn on the bowl. Then the 
spaces that are to be enameled are pressed in. The only dif- 
ference between this method and the champleve process is that 
in one case the design is engraved out and in the other case it 
is pressed in, making places for the enamel. 
But there are (jther wa\s of treating the metal in the 
repousse process. You can put a sheet of metal on pitch and 
after the design is drawn on it, go over the outline with a chasing 
tool. This line will be raised on the other side of the metal 
and these raised lines will make the dividing lines between the 
dift'erent colors. 
Very interesting effects can be obtained by shaping the 
design in metal and using enamel for a background. Another 
way to treat repousse enamel is to shape your design in metal 
and then cover the whole thing with transparent color. The 
design will show through and you can get a very beautiful 
effect. You can use as many different colors in this process 
as you wish. 
The enamelling of bowls, buckles, pins, etc., can be done 
over a blow pipe with just as good result as in a muffle fur- 
nace. The outside of a bowl cannot be done in this way 
because the flame would come in direct contact with the 
enamel and the sulphur in the gas would spoil the color. A 
bowl of at least seven inches in diameter can be lined with 
enamel in this way if a large blow pipe is used. A good way 
to hold the article you wish to enamel is to put it on a toaster, 
but small silver articles should be placed on a finer wire screen 
and great care must be taken not to melt them. If the flame 
is not played right under the enamel you will not get good 
color. (to be continued) 
J. W. WILKINSON 
Courtesy of "International Studio.'' 
A. LEROY 
(.Jourtesy of "Ecole des Arts Decoratits" 
BELLOWS IN METAL AND WOOD 
The carved bellows by A. Leroy, courtesy of "Ecole Des 
Arts Decoratifs," are attractive in shape and vigorous in 
treatment. If the leather part could be cut to the Une of the 
frame work it would keep the bellows simpler. The bronze 
bellows by J. W. Wilkinson are good in shape and suggestive 
for metal and wood. 
