Enamel, Rose-col′oured. Prep. Purple enamel (or its elements), 3 parts; ‘flux,’ 90 parts; mix, and add silver leaf or oxide of silver, 1 part, or less.
Enamel, Transpa′′rent. The ‘frit’ or ‘flux’ described above.
Enamel, Vi′olet. Prop. 1. Purple enamel, 2 parts; red enamel (No. 2), 3 parts; ‘frit,’ 6 parts.
2. Saline or alkaline ‘frit’ or ‘flux,’ any quantity; peroxide of manganese, q. s. to colour. As the tint depends on the metal being at the maximum of oxidation, contact with oily or carbonaceous substances should be particularly avoided.
Enamel, White. Prep. 1. ‘Calcine’ (from 2
parts of tin and 1 part of lead), 1 part; fine crystal glass or ‘frit,’ 2 parts; manganese, a few grains; powder, mix, melt, and pour the fused mass into clean water; again powder, and fuse, and repeat the whole process 3 or 4 times, avoiding contamination with smoke, dirt, or oxide of iron. A fine dead white.
2. Washed diaphoretic antimony, 1 part; fine glass (free from lead), 3 parts; mix, and proceed as before. Very fine.
3. Lead, 30 parts; tin, 33 parts; calcine as before, then fuse 50 parts of this ‘calcine’ with an equal weight of flints, in powder, and 100 parts of salt of tartar. A fine dead white enamel.
Obs. For white enamel, the articles must be perfectly free from foreign admixture, as this would impart a colour. When well managed, either of the above forms will produce a paste that will rival the OPAL.
Enamel, Yellow. Superior yellow enamels are less easily produced than those of most other colours; they require very little flux, and that mostly of a metallic nature. The following come highly recommended by experienced artists:—