employed in Chinese enamels (particularly the turquoise, the deep blue, and the . pale sea-green tints), andthose of the early Limoges champ-leve enamels, is scarcely less striking than is the identity of the processesemployed with those of Byzantium.
It appears that, in later periods, the art of enamelling in China underwent a series of transformations,agreeing in many respects with those which succeeded each other in Europe . Although of great rarity,specimens have been found which show that the art of covering engraved surfaces with translucid enamelswas practised in China with scarcely less success than in Italy . The Louvre contains a remarkable exampleof the proficiency of the Chinese in such a manufacture; and we may hope, either from M. Stanislaus Jullien,or from Mr. Wade, Her Majesty’s Vice-Consul at Shanghai , to be furnished ere long with some interestingparticulars as to its execution.
The latest enamels of China , and those which are manufactured in the present day, correspond to acertain extent with the ordinary painted enamels of the late Limoges school; with the difference, however, thatthe paste which forms the groundwork of the Chinese enamels is almost invariably left of its natural whitetint, and that it is applied to the surface of the copper in a much greater thickness. Whether its naturemay be that of a pure vitreous enamel, or whether a considerable portion at least may not be composed offine China clay, is a question which has not yet been decided by chemical investigation.
It is necessary to remark that specimens of filagree enamel, executed in a manner similar to that adoptedin the objects we engrave, are of extreme rarity in Europe . Occasionally only, cups or drinking vessels weremade, during the middle ages, in such a manner that, when held up to the light, the coloured enamels,separated from each other by threads of gold, present the effect of miniature stained-glass windows. Anexquisite object of this description, in the possession of Henry Bevan, Esq., of Twickenham, has been engravedby Mr. Shaw; by whom it is ascribed to the fourteenth century, although we should have been inclined torefer it to a somewhat later period. It was bought by Mr. Bevan, at Antwerp , many years ago, and isprobably the most perfect example in existence of that rare variety of the art, specimens of which were knownin the Middle Ages as “ esmaulx de plite a jour.” The earliest existing instance of such work is probablythe beautiful cup preserved in the Bibliotheque Royale at Paris , representing Chosroes, King of Persia(a.d. 531-579); and the peculiar nature of its manufacture affords a clue to the source from which theChinese derived their processes.
M. Labarte cites, from the inventory of Charles V. of France, some interesting descriptions of such objects;
as, for example, “ Une tres belle couppe d’or, et tres bien ouvree a esmaulx de plite a jour, et est le hanap
d’icelle a esmaulx a jour. Ung coutel a manche d’ivyre, et a en la lemelle dudit coutel une longe roye aesmaulx de plite ouvree a jour.”
Benvenuto Cellini* gives an interesting description of the esteem in which this art was held by Francis I. ?who, in the year 1451, showed him a beautiful specimen of it; and who was pleased to ask him many
questions as to the processes employed in its fabrication. Cellini explained in detail the method pursued,
which he has likewise recorded for the benefit of his readers. “ With this explanation,” he informs us, “ heentirely satisfied the desire of that generous sovereign to know such secrets; and spoke at length of suchminute details of his art, because that sovereign greatly delighted to hear him discourse, and of which, but forthat desire, he would have deemed it improper to fatigue such noble ears with so humble a discourse.”
* “ Trattato dell’ Oreficeria,” cap. iii.