Erika Speel

In early basse taille enamelwork the engraving was left at different levels, contained by the surrounding metal ‘field’. The goldsmith-enamellers engraved figural designs into gold or silver plaques or articles. For these, the cut away areas were filled with thin layers of translucent enamels, with the different colours laid next to each other, to create multi-coloured pictures.

By the 18th century, small scale and miniature painting with enamels superseded the earlier pictorial style of basse taille. But a new form was introduced. Basse taille enamels now took the form of richly coloured inlays to embellish costly watch cases and snuff box lids. Many similar versions of each design were made. The engraver cut away silhouette-style designs, representing floral sprays or flower heads. A single, good translucent, usually royal blue or emerald green, was fused over the sunken areas, and polished to lie flush with the surrounding engraved gold surface. Each area of enamel was kept proportionately small, and placed well away from vulnerable edges, to give the best adhesion and protection against cracking. This style of basse taille scarcely comes under the heading of ‘pictorial enamels’.

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