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Basse-taille
Basse-taille (bahss-tah-ee) is an enamelling technique in which the artist creates a low-relief pattern in metal, usually silver or gold, by engraving or chasing. The entire pattern is created in such a way that its highest point is lower than the surrounding metal. A translucent enamel is then applied to the metal, allowing light to reflect from the relief and creating an artistic effect. It was used in the late Middle Ages, and then again in the 17th century.
==Medieval examples==
The technique had been known to the Ancient Romans, but was lost at the end of the Middle Ages until the 17th century.〔"British Museum Investigation"; Lightbown; Maryon (1971), 188; Osbourne, 333〕 Translucent enamel is more fragile than opaque, and medieval survivals in good condition are very rare. Medieval examples begin in Italy in the 13th century, and spread to other centres for high-quality courtly work, at a time when the champlevé enamels associated above all with Limoges had become almost mass-produced and relatively cheap. It is generally agreed that the late 14th century Royal Gold Cup, now in the British Museum, is the outstanding surviving example of ''basse taille'' enamel.〔Osbourne, 333〕 It is one of only four known survivals done on gold, including both secular or religious pieces; another is the small Salting Reliquary, also in the British Museum.〔Dalton, 11. The ("Salting Reliquary" ), British Museum Highlights, accessed, June 16, 2010.〕 The "King John Cup" in King's Lynn, of ca. 1340, silver-gilt with transparent enamel, is the best example of ''basse-taille'' work probably made in England; the metalwork expert Herbert Maryon describes this and the Royal Gold Cup as the "two examples of outstanding merit, unsurpassed in any collection".〔"Maryon (1971)";Alexander & Binski, #541〕 However it is unclear if most of the enamel at King's Lynn is original.〔"Maryon (1971)", 187; ((Poor image of King John Cup from West Norfolk Council )). See Campbell, 435-436, with good photo and full catalogue entry; Osbourne, 333. Four restorations and re-enamellings between 1692 and 1782 are recorded in inscriptions under the base - see Campbell.〕 The technique was rediscovered in the 17th century, but was not much practiced thereafter. In a variant of the technique, translucent enamel was applied over a guilloché machine-turned metal backing by Peter Carl Fabergé on the Faberge eggs and other pieces from the 1880s until the Russian Revolution, and this technique is still used, usually in a single colour.〔Marit Guinness Aschan and Rika Smith McNally. "Enamel." In Grove Art Online. Oxford Art Online, (Subscription required ) (accessed July 28, 2010).〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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