Last month, Mr. Alexander Fisher brought to a close in our columns his valuable series of articles-on "The Processes of Enamelling," and to those

The Plique a jour Enamel Process.

The "Plique-a-jour" Enamel Process.

From " Silverwork and Jewellery." By H. Wilson. (By courtesy of Mr. John Hogg, Publisher.) of our readers who would learn more on the subject we can hardly do a more friendly service than commend to them Mr. Wilson's fascinating handbook. The volume, which is perfectly printed, abounds with practical designs and diagrams by the author. We gladly avail ourselves of the kind permission to reproduce some of these for the present notice, and select for our purpose the accompanying illustrations as not only characteristic of the author's bold and free style of drawing, but as supplementing in an interesting manner Mr. Fisher's illustrations on the same subject.

As an example of Mr. Wilson's terse and lucid (Unctions, let us quote a paragraph from his instructions. "How to make a Brooch in Cloisonne-Enamel" - such is is illustrated herewith: "Take a piece of 22-carat gold, size 4, the size of a shilling, and with a good-sized burnisher rub it into a very Hat dome. Draw a piece of gold wire through an oblong-holed draw-plate until it is about size 10. Bend it into a ring a little smaller than the disc. Solder the ends of the wire together in the flame with 18-carat solder. Make both disc and ring clean, and solder the ring so that it makes a rim to the plate. Have ready some flattened gold wire, drawn several sizes smaller than the first, and having decided on your design, bend the wire edgewise into the shape required; dip it into borax water, and place it in position. Get a section of the design done in this way, then charge the work with the snippets of 18-carat solder and tack the wires in their places. It is not necessary to flush the joints fully. Boil the work out and proceed until the panel is complete." And so on, each of the incidental operations, such as wire drawing and soldering, having been previously minutely described and illustrated. We need not follow him in his directions for the preparation of the enamel, the filling of the cells, the fusing, and so forth; with all of this the reader is familiar. About his directions for making "plique-a-jour" (network) enamels, however, we may venture a remark. In artistic handicraft there are often many ways of doing the same thing, and each master has his favourite method of working. In his article, in our columns, on the "plique a jour" process, Mr. Fisher expressed his preference for, and illustrated, the fret-saw method, which does away with the need of solder. Mr. Wilson prefers the method (clearly illustrated herewith) which calls for the employment of a temporary ground; the pierced method, he says, "is more laborious, and the result lacks the freedom and life" of the other. Here we must leave this admirable volume, having touched in detail upon but a single phase of its contents. We would only add that the chapters on goldsmith's and silversmith's work proper - repousse work, chasing, the making of cups and candlesticks and spoons; rings, necklaces, and brooches; hair ornaments and combs; bracelets

Example of combining Tools to form Patterns. (From Bookbinding.)

Example of combining Tools to form Patterns. (From "Bookbinding.") and lockets; carving in metal and casting; methods of polishing, oxidising, and gilding; setting, shaping, and cutting precious stones - are treated and illustrated with a degree of thoroughness really marvellous considering the restricted

Design for the Centre of a Book Cover, and the way to construct it.

Design for the Centre of a Book Cover, and the way to construct it.

From " Bookbinding." The Artistic Crafts Series. (John Hogg, Publisher.) space at the author's command. A series of collotype plates of beautiful old jewellery and an excellent glossary complete the volume. Once more, we recommend it unreservedly as an ideal work of its kind. (London: John Hogg, 13, Paternoster Row. 5s. net.)