Research Progress (a.k.a. ‘Rabbit Holes’)

I started researching Byzantine and Georgian Enameling for a project, got briefly side tracked by the Limoges pieces at the MET, which I was fortunate enough to see in person, then I came across Late Anglo-Saxon enabled brooches and fell hard for them. This opened a new rabbit hole.

I wanted to know how they made their enamels and if they used the same glass as they used in their glass beads, which there a lot more extant examples of than their enameled items. I started researching glass and found that there wasn't much at all mentioned in Late period publications about it, I would later figure out that there is only a fraction written about Late Anglo-Saxon compared to Early or even Middle period.

I noticed it mentioned in several publications that Byzantine enamels, and those made in Britain after the fall of Rome, were made from scavenged Tesserae, glass tiles used in mosaics, found in many Roman buildings. So they weren't making their own glass or enamels from scratch, but scavenging used pieces to either remelt to make beads or crushed them to make their enamels. 

This led to researching Roman glass production, shipping, as well as glass made at the time outside of the Roman Empire and earlier, to glass chemistry and sources for the components. Also to the practice of recycling Roman glass after the fall of Rome.

I looked for modern makers of Roman glass that I could purchase to experiment with my making glass beads and my own enamels. I found a small handful that say it's Roman glass, but my concern is the source of the main component, the sand source. Every beach or area that sand is found is made from a different rock or combination or rocks. The type of rock makes a great difference in the characteristics and properties of the glass made. So I wanted to try and make my own especially if I couldn't purchase their Roman glass or if I found it wasn't chemically the same. So I looked into period methods of glass production and current Experimental Archaeology being done.

I asked my friends on Facebook if they lived near a beach or source of sand and where they were. It turns out a great number of them are near a source and it covers the continental US, minus Alaska. I even have a couple of friends in different parts of Canada then where live that could send/bring me sand. I researched current shipping laws about importing sand into Canada and fortunately I can bring in anything from the continental USA. Sadly not from my European friends which are in great locations. I need to look into anywhere here in Canada or the US that imports sand from Europe and if I can get sand from the same sources used by Rome.

If I can put together a kiln that could melt the ingredients to make my own glass then I can make a variety from all the sand my friends will give me and any I can purchase. 

I wanted to find out why there weren't any grave finds of these Late Anglo- Saxon enameled brooches and why they were all found with metal detectors. I found out that grave and burial practices changed (Christianity) about this time or earlier leading to not burying their prized possessions with them as they did for centuries before.

I'm still trying to find Late Anglo-Saxon research on their glass and enamel, but there's very little and it's not exactly what I need.

After I find enough about glass and enamel I will start in deeper on Anglo-Saxon metalwork, sources for their metals, and their production methods. I've found a bit so far, but not as much as I'd prefer.

I'm a Goldsmith and plan to make my own sheet metal from melting the metal (Red Brass CDA#230), pouring an ingot, and rolling it into sheet using my rolling mill. The joint issues that I have, especially those with my hands and arms, don't allow me to hammer the Copper Alloy out into sheets since it would be too harsh on them, so I will use a modern rolling mill which has replaced hammering out sheet. If I was using a high Karat Gold or even Fine Silver, both of which are far more malleable than Brasses, I might be able to hammer them into sheet without injuring or causing inflammation to my hand and arm joints. I would like to try to make my own Gold and Silver Leaf at some point.

I'm going to experiment with modern glass bead rods, which are uses in modern bead making, Flameworking, to make my own enamels from them to get the feel of making them myself from pieces of glass even though it's not Roman glass. If I manage to find Roman glass I'll experiment with it as well.

With the help of my Laurel I'll be making an amalgam of Mercury and Gold to try a period Gilding method used by the Anglo-Saxons and several other cultures. I won't be Gilding an entire brooch due to the costs and health concerns, I just want to try making and using a small quantity for the experience.

After this research and project is complete I plan to research and make cast Roman enameled brooches.

Experiment: Champlevé, Vitreous Enameled Copper Alloy Medallions

EK, Order of the Golden Rapier (OGR)
Etched, Champlevé Enamel, High Polish

Last year I etched these Copper Alloy designs and used them in an experiment by enameling them with Thompson Enamel's opaque vitreous enamels to see if they interacted well enough to use in future projects. Since I wasn't sure what the results would be, I didn't want to risk a good piece, so I used several failed etches.

Last week I set up my new polishing station with my 3M Radial Bristle Disks and polished them up. Here are the results which I feel are a success.

I did wet pack the pieces with enamel by adding a bit of distilled water. Since I was in a bit of time crunch I didn't add a bit more water and pull the solution into the corners to try and take advantage of Capillary Action. My Laurel brought his kiln to an event and we only had the space for a short while for our tests. In future I will definitely play with capillary action to get into every tiny area.

A quick way to remove a bit of water from a wet packed area is to gently touch a corner of a paper towel or tissue to soak up a bit of water. The piece must be completely dry before placing it in the kiln otherwise there's a risk of the water boiling off and popping/shaking the enamel off the piece.

Above, Right: Pieces sawed out
Above, Far Left: After they've been filed and sanded, but before polishing.

Bottom: The 2" × 6" plaque with both resists still on and after being removed 

from the etchant and neutralized with a solution of baking soda and water.

The Black areas are the TTP resist once it's reacted with the etchant, you can 
remove it either with Acetone or sanding it off.

Metals Etched: Red Brass (CDA#230) and Nickle Silver (CDA#752)
Plaques: 16 Gauge, 2" × 6" plaque
Etchant: Ferric Chloride, at room temperature
Resist: Toner Transfer Paper (TTP) and nail polish

Polishing Tools: 3M Radial Bristle Disks
Disk diameter: 1" and 3", both using 6 disks on a spindle
Grits: 80, 120, 220, 400, 6 micron, and 1 micron

Please Note: I found that the 80 and 120 grits damaged the surface of the enamel. I suggest using 220 and finer.

Artwork: Except for the Order of the Laurel medallion everything else that is within a circle is an award of the East Kingdom. The small rectangles are Populace Badges for the Principality of the Mists, Kingdom of the West.

This is how it came out of the kiln after it was enameled, you can see
the oxidation that needs to be removed using a mild acid referred
to as pickle in the jewelry industry.

East Kingdom, Order of the Silver Crescent
The same enameled piece after it's been pickled and neutralized. It requires to be polished before it is complete.

East Kingdom, Order of the Silver Brooch
After polishing. I have already tweaked the artwork after it was etched.

Order of the Laurel, After polishing.
I will tweak the artwork to reduce the number of leaves and spread them
out a bit. This should increase the recessed areas and allow for easier
wet packing which will also let the design pop more.

Links
My Copper Alloy Table on my A&S website with information on the last row about which Copper Alloys work best for Vitreous Enameling.

MY Class Handouts on my A&S website with a handout for my etching class.

Metals Suitable for Enameling by Woodrow Carpenter © Glass On Metal, Vol. 5, No. 6, June 1986