mounting was essential as the enamel work would never cover the very edge of the piece. If the edges of enamel were exposed it would be more likely to chip.
Two of the main centres for enamelwork in Europe were Geneva and Vienna. These two centres offered subtly different designs. For scenic pictures, the Viennese painters and enamellers introduced the use of a tinted background of light pink or very pale yellow. This contrasted the stark white background preferred by the Genevans. These techniques reflected the style of Rococo artists such as Francois Boucher. The chosen colours would complement the pastoral designs depicted in the enamelwork.
Enamel crafted within the UK was often referred to as ‘Battersea enamel’ after the London factory in which items were made. Upon further research however, this name proves misleading; enamel was also made in many other places including Birmingham and Liverpool. Within the UK, popular enamel motifs included flowers, pastoral scenes and mottoes. In addition, famous European art works were frequently copied in enamel form. This was a possibility as copyright laws were not yet rigidly established.
The decline of intricate enamel work began around the end of the 18th century. It was at this point when mass manufacturing was on the rise and quantity was often chosen for over quality.