Emser next, in 1521, published an attack on Luther’s “Appeal to the German Nobility,” and eight works followed from his pen in the controversy, in which he defended the Roman doctrine of the Mass and the primacy of the pope. At Duke George’s instance he prepared, in 1523, a German translation of Henry VIII.’s “Assertio Septem Sacramentorum contra Lutherum,” and criticized Luther’s “New Testament.” He also entered into a controversy with Zwingli. He took an active part in organizing a reformed Roman Catholic Church in Germany, and in 1527 published a German version of the New Testament as a counterblast to Luther’s. He died on the 8th of November in that year and was buried at Dresden.
Emser was a vigorous controversialist, and next to Eck the most eminent of the German divines who stood by the old church. But he was hardly a great scholar; the errors he detected in Luther’s New Testament were for the most part legitimate variations from the Vulgate, and his own version is merely Luther’s adapted to Vulgate requirements.
Bibliography.—Waldau, Nachricht von Hieronymus Emsers Leben und Schriften (Anspach, 1783); Kawerau, Hieronymus Emser (Halle, 1898); Akten und Briefe zur Kirchenpolitik Herzog Georgs von Sachsen (Leipzig, 1905); Allgemeine deutsche Biographie, vi. 96-98 (1877). All histories of the Reformation in Germany contain notices of Emser; see especially Friedensburg, Beiträge zum Briefwechsel der katholischen Gelehrten Deutschlands im Reformationszeitalter.
(A. F. P.)
ENAMEL (formerly “amel,” derived through the Fr. amail, esmal, esmail, from a Latin word smaltum, first found in a 9th-century life of Leo IV.), a term, strictly speaking, given to the hard vitreous compound, which is “fused” upon the surface of metallic objects either for the purpose of decoration or utility. This compound is a form of glass made of silica, minium and potash, which is stained by the chemical combination of various metallic oxides whilst in a melted condition in the crucible. This strict application of the term was widened to signify the metal object coated with enamel, so that to-day the term “an enamel” generally implies a work of art in enamel upon metal. The composition of the substance enamel which is used upon metal does not vary to any great extent from the enamels employed upon pottery and faience. But they differ in this respect, that the pottery enamel is usually applied to the “biscuit” surface of the ware in a raw state; that is, the compound has not been previously “run down” or vitrified in the crucible by heat, as is the case with enamelling upon metal, although, in most of the enamelled iron advertisement tablets, the enamel is in the raw state and is treated in a similar manner to that employed upon pottery.
Examination of the enamels upon brick of the Assyrians shows that they were applied unvitrified. It was upon pottery and brick that the ancient Egyptians and Assyrians achieved their greatest work in enamelling. For as yet no work of such magnificence as the great enamelled walls of the palace of Rameses III. at Tell el-Yehudia in the Delta of the Nile, or the palace of Nimrod in Babylon, has been discovered upon metal of any kind. But there were gold ornaments and jewelry enamelled of noble design in opaque turquoise, cobalt, emerald green and purple, some of which can be seen at the British Museum and the Louvre. An example is shown in Plate I. fig. 3.
In the subsequent Greek and Roman civilizations enamel was also applied to articles of personal adornment. Many pieces of jewelry, exquisite in workmanship, have been found. But a greater application was made of it by the Greek sculptors in the 4th and 5th centuries B.C. For we find, in many instances, that not only were the eyes made of enamel—which (artistically speaking) is a somewhat doubtful manner of employing it,—as in the fine bronze head found at Anticythera (Cerigotto) in 1902, but in the colossal figure of Zeus for the temple at Olympia made by Pheidias the gold drapery was gorgeously enamelled with figures and flowers. This wonderful work by the greatest sculptor the world has ever seen was destroyed, as so many priceless works of art in enamel have been: doubtless on account of the precious metal upon which they were made. It was in all probability the crowning triumph of a long series of essays in this material. The art of ancient Rome lacked the inspiration of Greece, being mainly confined to copying Greek forms and style, and in the case of enamelling it did not depart from this attitude. But the Roman and Etruscan glass has many beautiful qualities of form and colour that do not seem entirely borrowed, and the enamel work upon them so far as we can discern is of graceful design and rich colour. No doubt, were it not, as has been remarked, for the fact that enamelling was generally done upon gold and silver, there would still be many works to testify to the art of that period. Such as there are, however, show a rare appreciation of enamel as a beautiful material. With the decline of this civilization the art of enamelling probably died out. For it has ever been one of those exquisite arts which exist only under the sunshine of an opulent luxurious time or sheltered from the rude winds of a poorer age by the affluence of patrons. The next time we hear of it is in an oft-quoted passage (c. A.D. 240) from the writings of the great sophist Philostratus, who says (Icones, i. 28):—“It is said that the barbarians in the ocean pour these colours into bronze moulds, that the colours become as hard as stone, preserving the designs,”—a more or less inaccurate description of the process of champlevé. This has been understood (from an interpretation given to a passage in the commentary on it by Olearius) to refer to the Celts of the British Islands. It also goes to prove that enamelling was not practised at this day in Greece. We have no British enamels to show so early as this, but belonging to a later period, from the 6th to the 9th century, a number of the finest gold and bronze ornaments, horse trappings, shields, fibulae and ciboria have been discovered of Celtic and Saxon make. The Saxon work has nothing to show so exquisitely wrought as that found in Ireland, where one or two pieces are to be seen now in the Dublin Museum, notably the Ardagh chalice and some gold brooches. In the chalice the enamel is of a minute inlaid character, and appears to have been made first in the form of a multi-colour bead, which was fused to the surface of its setting, and then polished down. Many of the pieces seem to have been made after this fashion, which does not speak very highly of the technical knowledge of enamelling, but it is none the less true enamelling of an elementary character. The shield at the British Museum has an inlay of red enamel which is remarkable in its quality. For centuries such a fine opaque red has not been discovered. An example of Irish work is shown in Plate II. fig. 10.
From Ireland the art was transferred to Byzantium, which is to be seen by the close resemblance of method, style, design and colour. The style and design changed in course of time, but the craft remained. It was at Byzantium that it flourished for several centuries.
| Fig. 1.—Byzantine Cloisonné Cross (c. 11th century) (South Kensington Museum). |