Jean Courtois

Jean Courtois (circa 1560) was a prolific enameller. His work is characterized by a profusion of arabesque orna-ment of the period of Henry II. His flesh tints and other parts of his compositions are generally highly coloured, the flesh having a salmon-coloured tint.

Another member of this family signs his work I. D. C. His principal figures are usually hammered out in relief, and his work is of a high finish.

Jean Court

Jean Court (circa 1555) was also known under his other surname of "Vigier." He was formerly confounded with Jean Courtois, but his work is different from the latter's. His drawing is better, and his colouring not so strong but more natural than that of Jean Courtois.

Suzaune Court

Suzaune Court, as she signed herself, was an enameller of the school of Jean Courtois.

Martial Raymond

Martial Raymond (circa 1590) was an artist of considerable power, and a goldsmith, who worked at the end of the sixteenth century. His work is usually heightened with gold, and he used "paillon" very much.

Jean Limousin

Jean Limousin (circa 1625), and Fran*ˇis Limousin (1633), were enamellers who carried out the traditions of the Limoges school in a worthy manner during the early part of the seventeenth century.

The former passes for the son of L*šonard Limousin, and was supposed, from the fleur-de-lis that always appears between his initials on his works, to have been the director of the royal manufactory at Limoges, as his predecessor L*šonard was in the reign of Francis I. Jean Limousin executed some beautiful enamels, in which the translucent birds, arabesques, and small figures were treated with rare delicacy.

In the reign of Louis XIV. (1643-1715) Jaques Nouailher introduced a new kind of enamel, which consisted of modelling in relief on copper with a white enamel paste, and afterwards covering it with a transparent coloured enamel.

Pierre Nouailher

Pierre Nouailher was another enameller of this family who was noted for his correctness of drawing.

The school of Limoges of this date exhibits a greater correctness of drawing, accompanied with a marked diminution of good colouring; the enamels of the seventeenth century show a decline of that splendour of colouring which characterized the former century. This was owing to the abandonment of the silver and gold "paillon" backgrounds, and to the exclusive use of the brush alone in the enamels of this period.

The process of painting with a preparation of opaque enamel colours on a gold ground direct, without previously using the heretofore black ground for the purposes of getting the shadows, is ascribed to Toutin (1632). This was the first step to the decadence of enamelling, as the system of Toutin was restricted to the production of portraits in miniature, and in course of time nothing else was done but miniatures. Many artists in the period of this decadence executed good work, amongst which may be mentioned the names of Gribelin, a fellow-worker with Toutin, Dubi*š, MorltĹ re of Orleans, and Vacquer of Blois. The latter were pupils of Toutin.

Chartier, Petitot, And Bordier

Chartier, Petitot, And Bordier were three other noted miniature painters on enamel. The latter two worked in conjunction, and lived for some years in England, until the death of Charles L, when they returned to the Court of Louis XIV., and there painted the portraits in miniature of the principal people of the time.

The art of enamelling was carried on in Spain, in Italy, and in some parts of Germany during the sixteenth and seventeenth centuries, but not to the same extent as in France. Such articles as crosses, crucifixes, rosaries, pendants, ewers, medallions, perfume bottles, rings, badges, small panels with figure subjects, and numerous small objects, particularly in jewellery, were made in enamels in these centuries throughout Europe.

In the seventeenth century, in England, a good deal of enamelling was done at Battersea, and at Bilston in Staffordshire. A kind of coarse enamel was made in England at that time on cast iron and on brass. The cavities were cast to receive the enamel. There are some candlesticks and fire-dogs in existence that are made in this way.

Stephen T. Janssen

Stephen T. Janssen had his enamel works at York House, Battersea, in the years 1750-5. After this time the English practice of enamel-making died out. Kensington and the British Museums contain many specimens of Battersea enamel (Fig. 106). Snuff and tobacco boxes, scent-bottles, candlesticks, small dishes, crests, labels of wine-bottles, and miniatures are the principal articles of Battersea enamel. The decorations are chiefly small flowers and ornament on light-coloured or white grounds enclosing pastoral subjects. Some have prints of calendars, and other black and white subjects, printed by transferring. In the British Museum there are two large oval medallions with the portraits of George III. and Queen Charlotte, painted by the English enameller W. H. Craft.

Fig. 105. Vase; Painted Enamel, by Pierre Raymond.

Fig. 106. Battersea Enamel. (S. K. M).