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84-524: The population is about 14,000, but has been declining since its traditional industrial base, enamel -working, has declined. An administrative sub-centre of its district, it has several Protestant churches, a former Franciscan church , a number of schools of higher learning and a recently refurbished historic marketplace with an old town hall. Located in the game -filled forests of the Uckermark , with its many lakes , it now relies heavily on tourism and

168-675: A champlevé piece. This occurs in several different regions, from ancient Egypt to Anglo-Saxon England. Once enamel becomes more common, as in medieval Europe after about 1000, the assumption that enamel was originally used becomes safer. In European art history, enamel was at its most important in the Middle Ages , beginning with the Late Romans and then the Byzantine , who began to use cloisonné enamel in imitation of cloisonné inlays of precious stones. The Byzantine enamel style

252-548: A brief appearance in ancient Egypt, it was first made in any quantity in various Greco-Roman centres under the Roman Empire, then medieval Egypt and Syria, followed by medieval Venice , from where it spread across Europe, but especially to the Holy Roman Empire . After a decline from the mid-18th century, in the late 19th century it was revived in newer styles, led by French glassmakers. Enamel on metal remained

336-600: A brush or reed pen, and the physical properties of the medium encouraged inscriptions, which are useful for determining dates and authorship. According to Carl Johan Lamm, whose two-volume book on Islamic glass ( Mittelalterliche Glaser und Steinschnittarbeiten aus dem Nahen Osten , Berlin, 1929/30) has long been the standard work, the main centres, each with its own style, were in turn Raqqa (1170–1270), Aleppo (13th century), Damascus (1250–1310) and Fustat (Cairo, 1270–1340). However this chronology has been disputed in recent years, tending to push dates later, and rearranging

420-513: A cheaper alternative to materials such as jade . A distinct style that originated with the glassmaker Johann Schaper of Nuremberg in Germany around 1650 was the schwarzlot style, using only black enamel on clear or sometimes white milk glass. This was a relatively linear style, with images often drawing on contemporary printmaking . Schaper himself was the best artist to use it, specializing in landscapes and architectural subjects. The style

504-596: A cheaper method of achieving similar results. The earliest undisputed objects known to use enamel are a group of Mycenaean rings from Cyprus , dated to the 13th century BC. Although Egyptian pieces, including jewellery from the Tomb of Tutankhamun of c. 1325 BC, are frequently described as using "enamel", many scholars doubt the glass paste was sufficiently melted to be properly so described, and use terms such as "glass-paste". It seems possible that in Egyptian conditions

588-412: A constant in goldsmithing and jewellery, and though enamelled glass seems to virtually disappear at some points, this perhaps helped the technique to revive quickly when a suitable environment arrived. It has also been a technique used in stained glass windows, in most periods supplementary to other techniques, and has sometimes been used for portrait miniatures and other paintings on flat glass. Glass

672-492: A curtain walling. Qualities of this structural material include: Enamelled glass Enamelled glass or painted glass is glass which has been decorated with vitreous enamel (powdered glass, usually mixed with a binder) 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

756-412: A ground coat layer is applied to create adhesion. The only surface preparation required for modern ground coats is degreasing of the steel with a mildly alkaline solution. White and coloured second "cover" coats of enamel are applied over the fired ground coat. For electrostatic enamels, the coloured enamel powder can be applied directly over a thin unfired ground coat "base coat" layer that is co-fired with

840-417: A layer of glass projecting very slightly over the original surface, the edges of which can be felt by running a finger over the surface. Enamelled glass is often used in combination with gilding, but lustreware , which often produces a "gold" metallic coating is a different process. Sometimes elements of the "blank", such as handles, may only be added after the enamel paints, during the second firing. Glass

924-455: A liquid glass that is directed out of the furnace and thermal shocked with either water or steel rollers into frit. Colour in enamel is obtained by the addition of various minerals, often metal oxides cobalt , praseodymium , iron , or neodymium . The latter creates delicate shades ranging from pure violet through wine-red and warm grey. Enamel can be transparent, opaque or opalescent (translucent). Different enamel colours can be mixed to make

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1008-559: A medium for portrait miniatures , spreading to England and other countries. This continued until the early 19th century. A Russian school developed, which used the technique on other objects, as in the Renaissance, and for relatively cheap religious pieces such as crosses and small icons. From either Byzantium or the Islamic world, the cloisonné technique reached China in the 13–14th centuries. The first written reference to cloisonné

1092-561: A new colour, in the manner of paint. There are various types of frit, which may be applied in sequence. A ground coat is applied first; it usually contains smelted-in transition metal oxides such as cobalt, nickel, copper, manganese, and iron that facilitate adhesion to the metal. Next, clear and semi-opaque frits that contain material for producing colours are applied. The three main historical techniques for enamelling metal are: Variants, and less common techniques are: Other types: See also Japanese shipōyaki techniques . On sheet steel,

1176-399: A pattern of birds and animals on a floral background in light blue, green, yellow and red. Gold has been used traditionally for Meenakari jewellery as it holds the enamel better, lasts longer and its lustre brings out the colours of the enamels. Silver , a later introduction, is used for artifacts like boxes, bowls, spoons, and art pieces. Copper began to be used for handicraft products after

1260-519: A rainbow-coloured glaze and uchidashi ( repoussé ) technique, in which the metal foundation is hammered outwards to create a relief effect. Together with Hattori Tadasaburō he developed the moriage ("piling up") technique which places layers of enamel upon each other to create a three-dimensional effect. Namikawa Sōsuke developed a pictorial style that imitated paintings. He is known for shosen (minimised wires) and musen (wireless cloisonné): techniques developed with Wagener in which

1344-470: A smooth, durable vitreous coating. The word vitreous comes from the Latin vitreus , meaning "glassy". Enamel can be used on metal , glass , ceramics , stone, or any material that will withstand the fusing temperature. In technical terms fired enamelware is an integrated layered composite of glass and another material (or more glass). The term "enamel" is most often restricted to work on metal, which

1428-419: A transparent black enamel which was used for backgrounds. Translucent enamels in various other colours followed during this period. Along with Tsukamoto Kaisuke , Wagener transformed the firing processes used by Japanese workshops, improving the quality of finishes and extending the variety of colours. Kawade Shibatarō introduced a variety of techniques, including nagare-gusuri (drip-glaze) which produces

1512-489: Is applied to steel in which the carbon content is controlled to prevent unwanted reactions at the firing temperatures. Enamel can also be applied to gold, silver, copper, aluminium , stainless steel, and cast iron . Vitreous enamel has many useful properties: it is smooth, hard, chemically resistant, durable, scratch resistant (5–6 on the Mohs scale ), has long-lasting colour fastness, is easy to clean, and cannot burn. Enamel

1596-416: Is desired, as it may be). The binding and demarcating substances burn away. Until recent centuries the enamel firing was done holding the vessel in a furnace on a pontil (long iron rod), with the glassmaker paying careful attention to any changes in the shape. Many pieces show two pontil marks on the base, where the pontil intruded on the glass, showing it had been on the furnace twice, before and after

1680-413: Is enamelled by mixing powdered glass, either already coloured (more usual) or clear glass mixed with the pigments, with a binder such as gum arabic that gives a thick liquid texture allowing it to be painted with brushes. Generally the desired colours only appear when the piece is fired, adding to the artist's difficulties. As with enamel on metal, gum tragacanth may be used to make sharp boundaries to

1764-1080: Is glass, not paint, so it does not fade under ultraviolet light . A disadvantage of enamel is a tendency to crack or shatter when the substrate is stressed or bent, but modern enamels are relatively chip- and impact-resistant because of good thickness control and coefficients of thermal expansion well-matched to the metal. The Buick automobile company was founded by David Dunbar Buick with wealth earned by his development of improved enamelling processes, c. 1887, for sheet steel and cast iron. Such enameled ferrous material had, and still has, many applications: early 20th century and some modern advertising signs, interior oven walls, cooking pots , housing and interior walls of major kitchen appliances , housing and drums of clothes washers and dryers, sinks and cast iron bathtubs , farm storage silos , and processing equipment such as chemical reactors and pharmaceutical process tanks. Structures such as filling stations , bus stations and Lustron Houses had walls, ceilings and structural elements made of enamelled steel. One of

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1848-600: Is in a book from 1388, where it is called "Dashi ('Muslim') ware". No Chinese pieces that are clearly from the 14th century are known; the earliest datable pieces are from the reign of the Xuande Emperor (1425–1435), which, since they show a full use of Chinese styles, suggest considerable experience in the technique. Cloisonné remained very popular in China until the 19th century and is still produced today. The most elaborate and most highly valued Chinese pieces are from

1932-560: Is large and "has considerable visual “gravity.” When it is held, however, it is shockingly lightweight" with in most parts, the glass sides "scarcely more than a millimeter thick". Angelo Barovier 's workshop was the most important in Venice in the mid-15th century – in the past his family was credited with introducing the technique. Much Venetian glass was exported, especially to the Holy Roman Empire , and copied increasingly expertly by local makers, especially in Germany and Bohemia . By

2016-509: Is made up of the Inner City (German: Kernstadt ), and 23 adjacent districts. The districts are: Altkünkendorf, Biesenbrow, Bölkendorf, Bruchhagen, Crussow, Dobberzin, Frauenhagen, Gellmersdorf, Görlsdorf, Greiffenberg, Günterberg, Herzsprung, Kerkow, Mürow, Neukünkendorf, Schmargendorf, Schmiedeberg, Steinhöfel, Stolpe, Welsow, Wilmersdorf, Wolletz, and Zuchenberg. In addition, there are 40 registered neighborhoods (German: Wohnplätze ) within

2100-579: Is sometimes "cold painted" with enamel paints that are not fired; often this was done on the underside of a bowl, to minimize wear on the painted surface. This was used for some elaborate Venetian pieces in the early 16th century, but the technique is "famously impermanent", and pieces have usually suffered badly from the paint falling off the glass. Some modern techniques are much simpler than historic ones. For instance, there now exist glass enamel pens. Mica may also be added for sparkle. The history of enamelled glass begins in ancient Egypt not long after

2184-606: Is the only known enamelled glass piece from before (about) the first century AD. Enamel was used to decorate glass vessels during the Roman period, and there is evidence of this as early as the late Republican and early Imperial periods in the Levant, Egypt, Britain and around the Black Sea. Designs were either painted freehand or over the top of outline incisions, and the technique probably originated in metalworking. Production

2268-503: Is the subject of this article. Essentially the same technique used with other bases is known by different terms: on glass as enamelled glass , or "painted glass", and on pottery it is called overglaze decoration , "overglaze enamels" or "enamelling". The craft is called " enamelling ", the artists "enamellers" and the objects produced can be called "enamels". Enamelling is an old and widely adopted technology, for most of its history mainly used in jewellery and decorative art . Since

2352-540: Is thought these pieces were made in a Roman centre around the Mediterranean, perhaps Alexandria . After about the 3rd century Greco-Roman enamelled glass disappears, and there is another long gap in the history of the technique. This is ended in spectacular fashion by a 10th or 11th-century Byzantine bowl in the Treasury of Saint Mark's, Venice . This is of very high quality and shows great confidence in using

2436-614: Is thought to have come to a peak in the Claudian period and persisted for some three hundred years, though archaeological evidence for this technique is limited to some forty vessels or vessel fragments. Among a variety of pieces, many perhaps fall into two broad groups: tall, clear drinking glasses painted with scenes of sex (from mythology) or violence (hunting, gladiators), and then low bowls, some of coloured glass, painted with birds and flowers. This latter group appear to date to about 20–70 AD, and findspots are widely distributed across

2520-648: The Art Nouveau jewellers, for designers of bibelots such as the eggs of Peter Carl Fabergé and the enameled copper boxes of the Battersea enamellers, and for artists such as George Stubbs and other painters of portrait miniatures . Enamel was first applied commercially to sheet iron and steel in Austria and Germany in about 1850. Industrialization increased as the purity of raw materials increased and costs decreased. The wet application process started with

2604-468: The British Museum is now regarded as a work of about 1330, having once been thought to be much later. It is an armorial beaker that is, unusually, inscribed with the name of its maker: "“magister aldrevandin me feci(t)” – probably the decorator. It is "the iconic head of a group of more or less similar objects" and arguably "the most widely known and published medieval European glass vessel". It

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2688-599: The Cleveland School of Art wrote three books on the topic including Enamel Art on Metals . In Australia , abstract artist Bernard Hesling brought the style into prominence with his variously sized steel plates, starting in 1957. A resurgence in enamel-based art took place near the end of the 20th century in the Soviet Union , led by artists like Alexei Maximov and Leonid Efros . Vitreous enamel can be applied to most metals. Most modern industrial enamel

2772-587: The Electors of the Holy Roman Emperor , often in procession on horseback, in two registers, or alternatively seated around the emperor. Drinking glasses with royal arms are often called hofkellereihumpen (court cellar beaker). Other subjects are seen, including religious ones such as the Apostelhumpen , with the twelve apostles , hunting scenes, standard groups of personifications such as

2856-513: The Four Seasons , Ages of Man and the like, and pairs of lovers. In Renaissance Venice, "betrothal" pieces were made to celebrate engagements or weddings, with the coats of arms or idealized portraits of the couple. Enamelled glass ceased to be fashionable in Italy by around 1550, but the broadly Venetian style remained popular in Germany and Bohemia until the mid-18th century, after which

2940-526: The Mughal Empire by around 1600 for decorating gold and silver objects, and became a distinctive feature of Mughal jewellery. The Mughal court was known to employ mīnākār (enamelers). These craftsmen reached a peak of during the reign of Shah Jahan in the mid-17th century. Transparent enamels were popular during this time. Both cloissoné and champlevé were produced in Mughal, with champlevé used for

3024-511: The Quranic verse of light written on them, and very frequently record the name and title of the donor, an important thing as far as he was concerned, as well as the name of the reigning sultan; they are thus easy to date reasonably precisely. As Muslim rulers came to have quasi-heraldic blazons, these are often painted. Enamelled glass became more rare, and of rather poorer quality, in the 15th century. This decline may have been partly due to

3108-636: The Romanesque period. In Gothic art the finest work is in basse-taille and ronde-bosse techniques, but cheaper champlevé works continued to be produced in large numbers for a wider market. Painted enamel remained in fashion for over a century, and in France developed into a sophisticated Renaissance and the Mannerist style, seen on objects such as large display dishes, ewers, inkwells and in small portraits. After it fell from fashion it continued as

3192-495: The 13th century onwards, used for mosque lamps in particular, but also various types of bowls and drinking glasses. Gilding is often combined with enamels. The painted decoration was generally abstract, or inscriptions, but sometimes included figures. The places of manufacture are generally assumed to have been in Egypt or Syria, with any more precise locating tentative and somewhat controversial. Enamels used oil-based medium and

3276-423: The 16th century the place of manufacture of pieces described as " facon de Venise " ("Venetian style") is often hard to discern. Armorial glass, with a painted coat of arms or other heraldic insignia, was extremely popular with the wealthy. The painting was often not done at the same time or place as the main vessel was made; it might even be in a different country. This remains an aspect of enamelled glass; by

3360-427: The 18th century, enamels have also been applied to many metal consumer objects, such as some cooking vessels , steel sinks, and cast-iron bathtubs. It has also been used on some appliances , such as dishwashers , laundry machines , and refrigerators , and on marker boards and signage . The term "enamel" has also sometimes been applied to industrial materials other than vitreous enamel, such as enamel paint and

3444-408: The 19th century some British-made glass was even being sent to India to be painted. The Reichsadlerhumpen or "Imperial Eagle beaker" was a large beaker, holding as much as three litres, presumably for beer, showing the double-headed eagle of the Holy Roman Empire , with the arms of the imperial various territories on its wings. This was a popular showpiece that did not need customised designs. It

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3528-579: The Gold Control Act, was enforced in India which compelled the Meenakars to look for an alternative material. Initially, the work of Meenakari often went unnoticed as this art was traditionally used on the back of pieces of kundan or gem-studded jewellery, allowing pieces to be reversible. More recently, the bright, jewel-like colours have made enamel popular with jewellery designers, including

3612-466: The Roman military market, which has swirling enamel decoration in a Celtic style. In Britain, probably through preserved Celtic craft skills, enamel survived until the hanging bowls of early Anglo-Saxon art . A problem that adds to the uncertainty over early enamel is artefacts (typically excavated) that appear to have been prepared for enamel, but have now lost whatever filled the cloisons or backing to

3696-693: The ancient Celts. Red enamel is used in 26 places on the Battersea Shield (c.350–50 BC), probably as an imitation of the red Mediterranean coral , which is used on the Witham Shield (400–300 BC). Pliny the Elder mentions the Celts' use of the technique on metal, which the Romans in his day hardly knew. The Staffordshire Moorlands Pan is a 2nd-century AD souvenir of Hadrian's Wall , made for

3780-469: The anode in an electrogalvanic reaction in which the iron is again oxidised, dissolved by the glass, and oxidised again with the available cobalt and nickel limiting the reaction. Finally, the surface becomes roughened with the glass anchored into the holes. Enamel coatings applied to steel panels offer protection to the core material whether cladding road tunnels, underground stations, building superstructures or other applications. It can also be specified as

3864-454: The cover coat in a very efficient two-coat/one-fire process. The frit in the ground coat contains smelted-in cobalt and/or nickel oxide as well as other transition metal oxides to catalyse the enamel-steel bonding reactions. During firing of the enamel at between 760 and 895 °C (1,400 and 1,643 °F), iron oxide scale first forms on the steel. The molten enamel dissolves the iron oxide and precipitates cobalt and nickel . The iron acts as

3948-512: The decades around 1200. Two beakers in Baltimore (one illustrated below), have Christian scenes. It is now known that the technique was being used in Venetian glass from the late 13th century, mostly to make beakers. Until about 1970 it was thought it did not appear in Venice until around 1460, and surviving early Venetian pieces were attributed elsewhere. The Aldrevandin(i) Beaker in

4032-535: The discovery of the use of clay to suspend frit in water. Developments that followed during the 20th century include enamelling-grade steel, cleaned-only surface preparation, automation, and ongoing improvements in efficiency, performance, and quality. Between the World Wars, Cleveland in the United States became a center for enamel art, led by Kenneth F. Bates ; H. Edward Winter who had taught at

4116-760: The districts. The registered neighborhood are: Altenhof, Augustenfelde, Ausbau, Ausbau Mürower Straße, Ausbau Pinnower Weg, Ausbau Welsower Weg, Bauernsee, Blumberger Mühle, Breitenteicher Mühle, Friedrichsfelde, Gehegemühle, Glambecker Mühle, Greiffenberg Siedlung, Grumsin, Henriettenhof, Klein Frauenhagen, Leistenhof, Leopoldsthal, Linde, Lindenhof, Louisenhof, Luisenthal, Mürow-Oberdorf, Neu-Günterberg, Neuhaus, Neuhof, Peetzig, Rosinthal, Schäferei, Sonnenhof, Sternfelde, Stolper Mühle, Thekenberg, Waldfried, Waldfrieden, Wilhelmsfelde, Wilhelmshof, Ziethenmühle, und Zollende. With an area of around 324 km, Angermünde was, as of 2020, Germany's 17th largest municipality. The town

4200-637: The early Ming dynasty , especially the reigns of the Xuande Emperor and Jingtai Emperor (1450–1457), although 19th century or modern pieces are far more common. Japanese artists did not make three-dimensional enamelled objects until the 1830s but, once the technique took hold based on analysis of Chinese objects, it developed very rapidly, reaching a peak in the Meiji and Taishō eras (late 19th/early 20th century). Enamel had been used as decoration for metalwork since about 1600, and Japanese cloisonné

4284-400: The election for a new abbot at a Syrian monastery. Other pieces show the courtly scenes of princes, riders hawking or fighting, that is found in other media in contemporary Islamic art , and sometimes inscriptions make it clear these were intended for Muslim patrons. After mosque lamps, the most common shape is a tall beaker, flaring towards the top. This was made somewhat differently from

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4368-536: The empire, indeed many are found beyond its borders; they may have been made in north Italy or Syria. The largest group of survivals comes from the Begram Hoard , found in Afghanistan , a deposit of various luxury items in storerooms, probably dating to the 1st century AD, or perhaps later. In the past they have been dated to the 3rd century. The group has several goblets and other pieces with figures. It

4452-446: The enamels were applied. Modern techniques, in use since the 19th century, use enamels with a lower melting point, enabling the second firing to be done more conveniently in a kiln. In fact some glassmakers allowed for a deforming effect in the second firing, which lowered and widened the shape of the vessel, sometimes very greatly, by making blanks that were taller and more narrow than the shape they actually wanted. The enamels leave

4536-406: The few makers from this era still active. Distinctively Japanese designs, in which flowers, birds and insects were used as themes, became popular. Designs also increasingly used areas of blank space. With the greater subtlety these techniques allowed, Japanese enamels were regarded as unequalled in the world and won many awards at national and international exhibitions. Enamel was established in

4620-682: The finest pieces. Modern industrial production began in Calcutta in 1921, with the Bengal Enamel Works Limited. Enamel was used in Iran for colouring and ornamenting the surface of metals by fusing over it brilliant colours that are decorated in an intricate design called Meenakari . The French traveller Jean Chardin , who toured Iran during the Safavid period, made a reference to an enamel work of Isfahan , which comprised

4704-485: The last ten years include enamel/non-stick hybrid coatings, sol-gel functional top-coats for enamels, enamels with a metallic appearance, and easy-to-clean enamels. The key ingredient of vitreous enamel is finely ground glass called frit . Frit for enamelling steel is typically an alkali borosilicate glass with a thermal expansion and glass temperature suitable for coating steel. Raw materials are smelted together between 2,100 and 2,650 °F (1,150 and 1,450 °C) into

4788-542: The locations. In particular there is disagreement as to whether elaborate pieces with figural decoration are early or late, effectively 13th or 14th century, with Rachel Ward arguing for the later dates. The shape of mosque lamps in this period is very standard; despite being suspended in the air through their lugs when in use, they have a broad foot, a rounded central body, and a wide flaring mouth. Filled with oil, they lit not only mosques, but also similar spaces such as madrassas and mausoleums. Mosque lamps typically have

4872-427: The main technique used to create the full range of image types on glass. All proper uses of the term "enamel" refer to glass made into some flexible form, put into place on an object in another material, and then melted by heat to fuse them with the object. It is called vitreous enamel or just "enamel" when used on metal surfaces, and "enamelled" overglaze decoration when on pottery, especially on porcelain . Here

4956-604: The melting point of the glass and gold were too close to make enamel a viable technique. Nonetheless, there appear to be a few actual examples of enamel, perhaps from the Third Intermediate Period of Egypt (beginning 1070 BC) on. But it remained rare in both Egypt and Greece. The technique appears in the Koban culture of the northern and central Caucasus , and was perhaps carried by the Sarmatians to

5040-586: The mosque lamps, the flaring apparently done in the course of the second firing. These often have figural decoration, although the Luck of Edenhall , perhaps the finest of the group, does not. Some have decoration of fishes or birds, and other humans, often on horseback. The Palmer Cup in the Waddesdon Bequest ( British Museum ) shows an enthroned ruler flanked by attendants, a scene often found in overglaze enamels on Persian pottery mina'i ware in

5124-496: The most famous centre of vitreous enamel production in Western Europe, though Spain also made a good deal. Limoges became famous for champlevé enamels from the 12th century onwards, producing on a large scale, and then (after a period of reduced production) from the 15th century retained its lead by switching to painted enamel on flat metal plaques. The champlevé technique was considerably easier and very widely practiced in

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5208-423: The most widespread modern uses of enamel is in the production of quality chalk-boards and marker-boards (typically called 'blackboards' or 'whiteboards') where the resistance of enamel to wear and chemicals ensures that 'ghosting', or unerasable marks, do not occur, as happens with polymer boards. Since standard enamelling steel is magnetically attractive, it may also be used for magnet boards. Some new developments in

5292-534: The output of many small workshops and help them improve their work. In 1874, the government created the Kiriu kosho kaisha company to sponsor the creation of a wide range of decorative arts at international exhibitions. This was part of a programme to promote Japan as a modern, industrial nation. Gottfried Wagener was a German scientist brought in by the government to advise Japanese industry and improve production processes. Along with Namikawa Yasuyuki he developed

5376-416: The painted areas. The paint is applied to the vessel, which has already been fully formed; this is called the "blank" . Once painted, the enamelled glass vessel needs to be fired at a temperature high enough to melt the applied powder, but low enough that the vessel itself is only "softened" sufficiently to fuse the enamel with the glass surface, but not enough to deform or melt the original shape (unless this

5460-545: The polymers coating enameled wire ; these actually are very different in materials science terms. The word enamel comes from the Old High German word smelzan (to smelt ) via the Old French esmail , or from a Latin word smaltum , first found in a 9th-century Life of Leo IV . Used as a noun, "an enamel" is usually a small decorative object coated with enamel. "Enamelled" and "enamelling" are

5544-617: The preferred spellings in British English , while "enameled" and "enameling" are preferred in American English . The earliest enamel all used the cloisonné technique, placing the enamel within small cells with gold walls. This had been used as a technique to hold pieces of stone and gems tightly in place since the 3rd millennium BC, for example in Mesopotamia , and then Egypt. Enamel seems likely to have developed as

5628-449: The remaining production was of much lower quality, though often bright and cheerful in a folk art way. It is sometimes called "peasant glass", though neither the makers nor customers fitted that description. Enamelled glass was now relatively cheap, and the more basic styles were no longer a luxury preserve of the rich. By this time a new style using opaque white milk glass had become popular in Italy, England and elsewhere. The glass

5712-407: The sack of Damascus by Tamerlane in 1401, as has often been claimed, though by then Cairo was the main centre. Some secular vessels have painted decoration including figures; some of this may have been intended for non-Islamic export markets, or Christian customers, which is clearly the case with a few pieces, including a bottle elaborately painted with clearly Christian scenes that may commemorate

5796-408: The same technique has often been used on flat glass. It has often been used as a supplementary technique in stained glass windows, to provide black linear detail, and colours for areas where great detail and a number of colours are required, such as the coats of arms of donors. Some windows were also painted in grisaille . The black material is usually called "glass paint" or "grisaille paint". It

5880-490: The sources of revenue linked to it. Since 2010, Angermünde is a federally declared resort town . The name Angermünde is an abbreviation of the older town of Tangermünde , for a while the town was named New-Tangermünde ( Neu-Tangermünde ), until it was changed to "Angermünde", with Anger being German for a central square in a town. Angermünde is located in the Uckermarck region, roughly 69 km north of Berlin. It

5964-446: The start of making glass vessels (as opposed to objects such as beads) around 1500 BC, and some 1400 years before the invention of glassblowing . A vase or jug, probably for perfumed oil, found in the tomb of the pharaoh Tutmose III and now in the British Museum dates to about 1425 BC. The base glass is blue, and it has geometrical decoration in yellow and white enamels; it is 8.7 cm high. However, and rather "incredibly", this

6048-526: The supporting surface is glass. All three versions of the technique have been used to make brush-painted images, which on glass and pottery are the normal use of the technique. Enamelled glass is only one of the techniques used in luxury glass, and at least until the Early Modern period it appears in each of the leading centres of this extravagant branch of the decorative arts , although it has tended to fall from fashion after two centuries or so. After

6132-469: The technique, which had no doubt been reborrowed from enamel on metal, although Byzantine enamel uses brush painting very little. Some other, technically similar works, one possibly from the same workshop, are also extant. There is little surviving Byzantine enamelled glass, but enamel was much used for jewellery and religious objects, and appears again on Islamic glass of the Mamluk Empire from

6216-460: The wire cloisons are minimised or burned away completely with acid. This contrasts with the Chinese style which used thick metal cloisons . Ando Jubei introduced the shōtai-jippō ( plique-à-jour ) technique which burns away the metal substrate to leave translucent enamel, producing an effect resembling stained glass . The Ando Cloisonné Company which he co-founded is one of

6300-836: Was already exported to Europe before the start of the Meiji era in 1868. Cloisonné is known in Japan as shippo , literally "seven treasures". This refers to richly coloured substances mentioned in Buddhist texts. The term was initially used for colourful objects imported from China. According to legend, in the 1830s Kaji Tsunekichi broke open a Chinese enamel object to examine it, then trained many artists, starting off Japan's own enamel industry. Early Japanese enamels were cloudy and opaque, with relatively clumsy shapes. This changed rapidly from 1870 onwards. The Nagoya cloisonné company ( Nagoya shippo kaisha existed from 1871 to 1884, to sell

6384-453: Was for the first time possible to kiln-fire pieces, greatly simplifying the process and making it more reliable, reducing the risk of having to reject pieces and so allowing more investment in elaborate decorative work. Most pieces were now relatively large vases or bowls for display; the style related to design movements in other media such as art pottery , the Arts and Crafts movement, but

6468-515: Was hard to distinguish visually from porcelain , but much cheaper to make, and the enamel painting technique was very similar to the overglaze enamel painting by then the standard for expensive porcelain. The English makers specialized in small vases, typically up to seven inches tall, usually with a couple of chinoiserie figures; London, Bristol and south Staffordshire were centres. Even smaller perfume or snuff bottles with stoppers were also being made in China itself, where they represented

6552-420: Was often especially well suited to glass. This style, culminating in Art Nouveau glass , was normally extremely well made, and often used a variety of techniques, including enamel. The best known American firm, making Tiffany glass , was not especially associated with the use of enamel, but it frequently appears, often as a minor element in designs. Enamelled glass is mostly associated with glass vessels, but

6636-655: Was part of the State of Brandenburg , from 1952 to 1990 of the Bezirk Frankfurt of East Germany and since 1990 again of Brandenburg. Frederik Bewer was elected in May 2016 with 95.3% of the vote, for an eight-year term. Vitreous enamel 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 (1,380 and 1,560 °F). The powder melts, flows, and then hardens to

6720-400: Was powdered glass mixed with iron filings for colour and binders, which was applied to glass pieces before the window was made up, and then fired. It therefore is essentially a form of enamel, but is not usually so called when talking about stained glass, where "enamel" refers to other colours, often applied over the whole surface of one of the many pieces making up a design . Enamel on metal

6804-554: Was practiced in Germany and Bohemia until about 1750, and indeed is sometimes used on a large scale on German windows much later. In the 19th century there was increasing technical quality in many parts of Europe, initially with revivalist or over-elaborate Victorian styles; the Prague firm of Moser was a leading producer. In the later part of the century fresher and more innovative designs, often anticipating Art Nouveau , were led by French makers such as Daum and Émile Gallé . It

6888-507: Was probably first made in Venice, but was soon mainly made in Germany and Bohemia. By the 17th century, "German enamelling became stereotyped within a limited range of subjects", most often using the humpen beaker shape. The earliest dated enamelled humpen is from 1571, in the British Museum ; a late example, dated 1743, is illustrated above. Another standard design was the Kurfürstenhumpen or "Elector's beaker", showing

6972-743: Was the site of a 1420 victory of Frederick I of Brandenburg over the Pomeranians . From 1815 to 1947, Angermünde was part of the Prussian Province of Brandenburg . In the 19th century, the town was the seat of a Prussian circle in the Province of Brandenburg and linked to Berlin by the Berlin – Stettin (now Szczecin, Poland ) railway. Angermünde station then served as the junction for branch lines servicing Prenzlau , Bad Freienwalde , and Schwedt . From 1947 to 1952, Angermünde

7056-481: Was widely adopted by the peoples of Migration Period northern Europe. The Byzantines then began to use cloisonné more freely to create images; this was also copied in Western Europe. In Kievan Rus a finift enamel technique was developed. Mosan metalwork often included enamel plaques of the highest quality in reliquaries and other large works of goldsmithing . Limoges enamel was made in Limoges , France,

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