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The new technique produced pieces painted with highly detailed figurative scenes or decorative schemes. As with Italian maiolica, to which in some ways Limoges painted enamel was a belated French riposte, the imagery tended to be drawn from classical mythology or allegory, though it includes religious scenes, often from the Old Testament.
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 a cheaper method of achieving similar ...
The enamel design therefore covers the whole plate. In the Senkschmelz ("sunk" enamel, literally "sunk melt") technique the parts of the base plate to hold the design are hammered down, leaving a surrounding gold background, as also seen in contemporary Byzantine icons and mosaics with gold glass backgrounds, and the saint illustrated here. The ...
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The enamel workshops within the Byzantine Empire likely perfected their techniques through their connections with Classical Greek examples. [8] The Greeks were already experts in enameling, soldering a filagree onto a flat base and later adding a paste of glass, or a liquid flux, to the base piece. [ 9 ]
The technique was developed in the Byzantine Empire in 6th century AD. [4] [5] Some examples of Byzantine plique-à-jour survived in Georgian icons.The technique of plique-à-jour was adopted by Kievan Rus' (a strong trading partner of Constantinople) with other enamel techniques.