11pc Disney Cinderella Princess Pendant Charms COLLECTIBLE Silver Bead Enamel NR

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11pc Disney Cinderella Princess Pendant Charms COLLECTIBLE Silver Bead Enamel NR:
$2.25

Hi there, I am selling everything in my world. I need desperately to raise money.
I thought it would be a good time to downsize my world, and hopefully make some money.
This is a lot of 11 total Cinderella Themed pendants or charms, perfect and ready for a charm bracelet if you like.They are all silver colored metal, and are really cute.
This kit includes the following: The totally FULL COLOR Silver and Enamel paint Cinderella herself, 4 princess crowns or tiaras, a magic fairy princess wand,
A princess castle, a pumpkin, and a pumpkin carriage, a glass slipper, and a dress, - these are all really gorgeous
and the only one that is made of enamel is the Cinderella one which is silver with blue, white and yellow enamel.
I bought these at an estate sale. I am not sure how old they are, or what they are worth really,
This estate sale was of a jewelry designer, and she had pearls, made jewelry, half made jewelry, and tons of beads and charms.
There was gold wire, and silver wire, and findings to make earrings, and necklaces, it was really cool!
I have been making plans to make something out of all these great finds that I got in her treasure trove, but I don\'t think I will ever get around to it.
I need to raise some money, so I will just sell a lot of the great things I got there for now, and I am sure they will come back around.
The sizes range from 11 mm to 38 mm and the total bag weighs 70.25 carats, which is 14.05 grams.
I love them , but I need to make money, so there you go - , cheap shipping, starting offer FOR ALL OF THEM under 5 bucks!! Can\'t beat it!
If you have anymore questions, just ask. I am sure I am leaving something out.Cinderella From Wikipedia, the free encyclopedia For other uses, see Cinderella (disambiguation).Cinderellaby Anne AndersonFolk taleNameCinderellaAKAFrench: Cendrillon, Italian: Cenerentola, German: AschenputtelDataAarne-Thompson groupingAT 510 A (\"the persecuted heroine\")RegionEurasia

Cinderella, or The Little Glass Slipper (French: Cendrillon, ou La petite Pantoufle de Verre, Italian: Cenerentola, German: Aschenputtel), is a European folk tale embodying a myth-element of unjust oppression in Histoires ou contes du temps passé published by Charles Perrault in 1697,[1] and by the Brothers Grimm in their folk tale collection Grimms\' Fairy Tales (1812).

Although both the story\'s title and the character\'s name change in different languages, in English-language folklore \"Cinderella\" is the archetypal name. The word \"Cinderella\" has, by analogy, come to mean one whose attributes were unrecognized, or one who unexpectedly achieves recognition or success after a period of obscurity and neglect. The still-popular story of \"Cinderella\" continues to influence popular culture internationally, lending plot elements, allusions, and tropes to a wide variety of media.

The Aarne–Thompson system classifies Cinderella as \"the persecuted heroine\". The story of Rhodopis about a Greek slave girl who marries the king of Egypt is considered the earliest known variant of the \"Cinderella\" story and many variants are known throughout the world.[2][3][4]

Contents

1 Plot
- 1.1 Cenerentola, by Basile
- 1.2 Cendrillon, by Perrault
- 1.3 Aschenputtel, by the Brothers Grimm
2 Folkloristics
3 Adaptations
- 3.1 Opera and ballet
- 3.2 Theatre
- 3.3 Films and television
- 3.4 Songs
4 Translations
5 Cinderella theme
6 See also
7 References
8 External links

PlotCenerentola, by Basile

Giambattista Basile, a Neapolitan soldier and government official, wrote Lo cunto de li cunti (The Story of Stories), or Pentamerone. It featured the tale of Cenerentola, which features a wicked and evil stepmother and two evil stepsisters, magical transformations, a missing slipper, and a hunt by a prince for the owner of the slipper. It was published posthumously in 1634.

Plot:

A widowed prince has a daughter, Zezolla (the Cinderella figure), who is tended by a beloved governess. The governess, with Zezolla\'s help, persuades the prince to marry her. The governess then brings forward six daughters of her own, who abuse Zezolla, and send her into the kitchen to work as a servant. The prince goes into the island of Sardinia, meets a fairy who gives presents to his daughter, and brings back for her, a golden spade, a golden bucket, a silken napkin, and a date seedling. The girl cultivates the tree, and when the king gives a ball, Zezolla appears dressed richly by a fairy living in the date tree. The king falls in love with her, but Zezolla runs away before he can find out who she is. Twice Zezolla escapes the king and his servants. The third time, the king\'s servant captures one of her slippers. The king invites all of the maidens in the land to a feast with a shoe-test, identifies Zezolla after the shoe jumps from his hand to her foot, and eventually marries her.[5]Cendrillon, by PerraultOliver Herford illustrated the fairy godmother inspired by the Perrault versionCindarella illustration by Charles Robinson, 1900. From \"Tales of Passed Times\" with stories by Charles Perrault.

One of the most popular versions of Cinderella was written in French by Charles Perrault in 1697, under the name Cendrillon. The popularity of his tale was due to his additions to the story, including the pumpkin, the fairy-godmother and the introduction of glass slippers.[6]

Plot:

Once upon a time, there was a widower who married a proud and haughty woman as his second wife. She had two daughters, who were equally vain and selfish. By his first wife, he\'d had a beautiful young daughter, a girl of unparalleled goodness and sweet temper. The stepmother and her daughters forced the first daughter into servitude, where she was made to work day and night doing menial chores. After the girl\'s chores were done for the day, she would retire to the barren and cold room given to her, and would curl up near the fireplace in an effort to stay warm. She would often arise covered in cinders, giving rise to the mocking nickname \"Cinderella\". Cinderella bore the abuse patiently and dared not tell her father, since his wife controlled him entirely.One day, the Prince invited all the young ladies in the land to a ball, planning to choose a wife from amongst them. The two stepsisters gleefully planned their wardrobes for the ball, and taunted Cinderella by telling her that maids were not invited to the ball.As the sisters departed to the ball, Cinderella cried in despair. Her Fairy Godmother magically appeared and immediately began to transform Cinderella from house servant to the young lady she was by birth, all in the effort to get Cinderella to the ball. She turned a pumpkin into a golden carriage, mice into horses, a rat into a coachman, and lizards into footmen. She then turned Cinderella\'s rags into a beautiful jewelled gown, complete with a delicate pair of glass slippers. The Godmother told her to enjoy the ball, but warned that she had to return before midnight, when the spells would be broken.At the ball, the entire court was entranced by Cinderella, especially the Prince. At this first ball, Cinderella remembers to leave before midnight. Back home, Cinderella graciously thanked her Godmother. She then greeted the stepsisters, who had not recognized her earlier and talked of nothing but the beautiful girl at the ball.Another ball was held the next evening, and Cinderella again attended with her Godmother\'s help. The Prince had become even more infatuated, and Cinderella in turn became so enchanted by him she lost track of time and left only at the final stroke of midnight, losing one of her glass slippers on the steps of the palace in her haste. The Prince chased her, but outside the palace, the guards saw only a simple country girl leave. The Prince pocketed the slipper and vows to find and marry the girl to whom it belonged. Meanwhile, Cinderella kept the other slipper, which did not disappear when the spell was broken.The Prince tried the slipper on all the women in the kingdom. When the Prince arrives at Cinderella\'s villa, the stepsisters tried in vain to win over the prince. Cinderella asked if she might try, while the stepsisters taunted her. Naturally, the slipper fitted perfectly, and Cinderella produced the other slipper for good measure. The stepsisters both pleaded for forgiveness, and Cinderella agreed to let bygones be bygones.Cinderella married the Prince, and the stepsisters also married two lords.

The first moral of the story is that beauty is a treasure, but graciousness is priceless. Without it, nothing is possible; with it, one can do anything.[7]

However, the second moral of the story mitigates the first one and reveals the criticism that Perrault is aiming at: \"Another moral: Without doubt it is a great advantage to have intelligence, courage, good breeding, and common sense. These, and similar talents come only from heaven, and it is good to have them. However, even these may fail to bring you success, without the blessing of a godfather or a godmother.\"[7]

Aschenputtel, by the Brothers GrimmAschenputtel with the doves

Another well-known version was recorded by the German brothers Jacob and Wilhelm Grimm in the 19th century. The tale is called \"Aschenputtel\" (\"Cinderella\" in English translations) and the help comes not from a fairy-godmother but the wishing tree that grows on her mother\'s grave.

Plot:

A wealthy gentleman\'s wife lay on her deathbed, and called her only daughter to her bedside. She asked her to remain good and kind, and told her that God would protect her. She then died and was buried. A year went by and the widower married another woman, who had two daughters of her own. They had beautiful faces and fair skin, but their hearts were cruel and wicked. The stepsisters stole the girl\'s fine clothes and jewels and forced her to wear rags. They banished her into the kitchen to do the worst chores, and gave her the nickname \"Aschenputtel\" (\"Ashfool\".) Despite all of this the girl remained good and kind, and would always go to her mother\'s grave to cry and pray to God that she would see her circumstances improve.One day, the gentleman visited a fair, promising his stepdaughters gifts of luxury. The eldest asked for beautiful dresses, while the younger for pearls and diamonds. His own daughter merely asked for the first twig to knock his hat off on the way. The gentleman went on his way, and acquires presents for his stepdaughters. While passing a forest he got a hazel twig, and gave it to his daughter. She planted the twig over her mother\'s grave, watered it with her tears and over the years, it grew into a glowing hazel tree. The girl would pray under it three times a day, and a white bird would always come to comfort her.The king decided to give a festival that would last for three whole days and nights, and invited all the beautiful maidens in the land to attend so that the prince could select one of them as his bride. The two sisters were also invited, but when Aschenputtel begged them to allow her to go with them into the celebration, the stepmother refused because she had no dress nor shoes to wear. When the girl insisted, the woman threw a dish of lentils into the ashes for her to pick up, guaranteeing her permission to attend the festival, and when the girl accomplished the task in less than an hour with the help of two white doves sent by her mother from Heaven, the stepmother only redoubled the task and threw down even a greater quantity of lentils. When Aschenputtel was able to accomplish it in a greater speed, not wanting to spoil her daughters\' chances, the stepmother hastened away with them to the ball and left the crying stepdaughter behind.The girl retreated to the graveyard to ask for help. The white bird dropped a white gown and silk shoes. She went to the ball, with the warning that she must leave before midnight. The prince danced with her, but she eluded him before midnight struck. The next evening, the girl appeared in a much grander gown of silver and glass shoes. The prince fell in love with her and danced with her for the whole evening, but when midnight came, she left again. The third evening, she appeared dressed in spun gold with slippers of gold. Now the prince was determined to keep her, and had the entire stairway smeared with pitch. Aschenputtel lost track of time, and when she ran away one of her golden slippers got stuck on that pitch. The prince proclaimed that he would marry the maiden whose foot would fit the golden slipper.The next morning, the prince went to Aschenputtel\'s house and tried the slipper on the eldest stepsister. The sister was advised by her mother to cut off her toes in order to fit the slipper. While riding with the stepsister, the two doves from Heaven told the Prince that blood dripped from her foot. Appalled by her treachery, he went back again and tried the slipper on the other stepsister. She cut off part of her heel in order to get her foot in the slipper, and again the prince was fooled. While riding with her to the king\'s castle, the doves alerted him again about the blood on her foot. He came back to inquire about another girl. The gentleman told him that they kept a kitchen-maid in the house– omitting to mention that she was his own daughter– and the prince asked him to let her try on the slipper. The girl appeared after washing herself, and when she put on the slipper, the prince recognized her as the stranger with whom he had danced at the ball.In the end, during Aschenputtel\'s wedding, as she was walking down the aisle with her stepsisters as her bridesmaids, (they had hoped to worm their way into her favour), the doves from Heaven flew down and struck the two stepsisters\' eyes, one in the left and the other in the right. When the wedding came to an end, and Aschenputtel and her prince marched out of the church, the doves flew again, striking the remaining eyes of the two evil sisters blind, a punishment they had to endure for the rest of their lives.[8]

Aschenputtel\'s relationship with her father in this version is ambiguous; Perrault\'s version states that the absent father is dominated by his second wife, explaining why he does not prevent the abuse of his daughter. However, the father in this tale plays an active role in several scenes, and it is not explained why he tolerates the mistreatment of his child. He also describes Aschenputtel as his \"first wife\'s child\" and not his own.

FolkloristicsCinderella or Cendrillon in French. Detail from Gustave Doré\'s illustration for Cendrillon

Folklorists have long studied variants on this tale across cultures.[9] In 1893, Marian Roalfe Cox, commissioned by the Folklore Society of Britain, produced Cinderella: Three Hundred and Forty-Five Variants of Cinderella, Catskin and, Cap o\'Rushes, Abstracted and Tabulated with a Discussion of Medieval Analogues and Notes.[9]

Further morphology studies have continued on this seminal work.[9]

The Aarne–Thompson system classifies Cinderella as type 510A, \"the persecuted heroine\". Others of this type include The Sharp Grey Sheep, The Golden Slipper, The Story of Tam and Cam, Rushen Coatie, The Wonderful Birch, Fair, Brown and Trembling and Katie Woodencloak.[10]

Vitreous enamel, also called porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850°C (1,380 and 1,560°F). The powder melts, flows, and then hardens to a smooth, durable vitreous coating on metal, or on glass or ceramics.

The term \"enamel\" is most often restricted to work on metal, which is the subject of this article. Enameled glass is also called \"painted\". Fired enamelware is an integrated layered composite of glass and metal.

The word enamel comes from the Old High German word smelzan (to smelt) via the Old French esmail.[1] Used as a noun, \"an enamel\" is a usually small decorative object, coated with enamel coating.

Enameling is an old and widely adopted technology, for most of its history mainly used in jewelry and decorative art.

Since the 19th century the term applies also to industrial materials and many metal consumer objects, such as some cooking vessels, dishwashers, laundry machines, sinks, and tubs. (\"Enamelled\" and \"enamelling\" are the preferred spellings in British English, while \"enameled\" and \"enameling\" are preferred in American English.)

Contents

1 History
2 Properties
3 Techniques of artistic enameling
4 Industrial enamel application
5 Building cladding
6 Gallery
7 See also
8 Notes
9 References
10 Further reading
11 External links

History

Ancient Persians used this method for coloring and ornamenting the surface of metals by fusing over it brilliant colors that are decorated in an intricate design and called it Meenakari.

Mina is the feminine form of Minoo in Persian, meaning heaven. Mina refers to the Azure color of heaven. The Iranian craftsmen of Sasanian Empire era invented this art and Mongols spread it to India and other countries.[2] The ancient Egyptians applied enamels to stone objects, pottery, and sometimes jewelry, though to the last less often than in other ancient Middle Eastern cultures.

The ancient Greeks, Celts, Georgians, and Chinese also used enamel on metal objects.[3]

Enamel was also used to decorate glass vessels during the Roman period, and there is evidence of this as early as the late Republican and early Imperial periods in the Levant, Egypt, Britain and around the Black Sea.[4] Enamel powder could be produced in two ways, either by powdering colored glass, or by mixing colorless glass powder with pigments such as a metallic oxide.[5]

Designs were either painted freehand or over the top of outline incisions, and the technique probably originated in metalworking.[4] Once painted, enameled glass vessels needed to be fired at a temperature high enough to melt the applied powder, but low enough that the vessel itself was not melted.

Production is thought to have come to a peak in the Claudian period and persisted for some three hundred years,[4] though archaeological evidence for this technique is limited to some forty vessels or vessel fragments.[4] French tourist, Jean Chardin, who toured Iran during the Safavid rule, made a reference to an enamel work of Isfahan, which comprised a pattern of birds and animals on a floral background in light blue, green, yellow and red. Gold has been used traditionally for Meenakari Jewellery as it holds the enamel better, lasts longer and its luster brings out the colors of the enamels.

Silver, a later introduction, is used for artifacts like boxes, bowls, spoons, and art pieces while Copper which is used for handicraft products were introduced only after the Gold Control Act, which compelled the Meenakars to look for a material other than gold, was enforced in India.[2]

Initially, the work of Meenakari often went unnoticed as this art was traditionally used as a backing for the famous kundan or stone-studded jewellery. This also allowed the wearer to reverse the jewelry as also promised a special joy in the secret of the hidden design.[6]

In European art history, enamel was at its most important in the Middle Ages, beginning with the Late Romans and then the Byzantines, who began to use cloisonné enamel in imitation of cloisonné inlays of precious stones. This style was widely adopted by the \"barbarian\" peoples of Migration Period northern Europe. The Byzantines then began to use cloisonné more freely to create images; this was also copied in Western Europe. The champlevé technique was considerably easier and very widely practiced in the Romanesque period. In Gothic art the finest work is in basse-taille and ronde-bosse techniques, but cheaper champlevé works continued to be produced in large numbers for a wider market.

From either Byzantium or the Islamic world, the cloisonné technique reached China in the 13-14th centuries. The first written reference to cloisonné is in a book from 1388, where it is called \"Dashi (\'Muslim\') ware\".[7] No Chinese pieces that are clearly from the 14th century are known; the earliest datable pieces are from the reign of the Xuande Emperor (1425–35), which, since they show a full use of Chinese styles, suggest considerable experience in the technique.

Cloisonné remained very popular in China until the 19th century and is still produced today. The most elaborate and most highly valued Chinese pieces are from the early Ming Dynasty, especially the reigns of the Xuande Emperor and Jingtai Emperor (1450–57), although 19th century or modern pieces are far more common.[8] Starting from the mid-19th century, the Japanese also produced large quantities of very high technical quality.[9]

Grey clouds, typical enamel cooking gear from the Dutch DRU factory, popular in the 1950s

More recently, the bright, jewel-like colors have made enamel a favored choice for jewelry designers, including the Art Nouveau jewelers, for designers of bibelots such as the eggs of Peter Carl Fabergé and the enameled copper boxes of the Battersea enamellers, and for artists such as George Stubbs and other painters of portrait miniatures.

A resurgence in enamel-based art took place near the end of the 20th century in the Soviet Union, led by artists like Alexei Maximov and Leonid Efros. In Australia, abstract artist Bernard Hesling brought the style into prominence with his variously sized steel plates.[10]

Enamel was first applied commercially to sheet iron and steel in Austria and Germany in about 1850.[11] Industrialization increased as the purity of raw materials increased and costs decreased. The wet application process started with the discovery of the use of clay to suspend frit in water. Developments that followed during the 20th century include enameling-grade steel, cleaned-only surface preparation, automation, and ongoing improvements in efficiency, performance, and quality.[12]

Properties

Vitreous enamel can be applied to most metals. Most modern industrial enamel is applied to steel in which the carbon content is controlled to prevent unwanted reactions at the firing temperatures. Enamel can also be applied to copper, aluminium,[13] stainless steel,[14] cast iron or hot rolled steel,[15] as well as to gold and silver.

Vitreous enamel has many excellent properties: it is smooth, hard, chemically resistant, durable, scratch resistant (5-6 on the Mohs scale), has long-lasting color fastness, is easy to clean, and cannot burn. Enamel is glass, not paint, so it does not fade under ultraviolet light.[16] A disadvantage of enamel is a tendency to crack or shatter when the substrate is stressed or bent, but modern enamels are relatively chip- and impact-resistant because of good thickness control and thermal expansions well-matched to the metal. The Buick automobile company was founded by David Dunbar Buick with wealth earned by his development of improved enameling processes, circa 1887, for sheet steel and cast iron. Such enameled ferrous material had, and still has, many applications: early 20th century and some modern advertising signs, interior oven walls, cooking pots, housing and interior walls of major kitchen appliances, housing and drums of clothes washers and dryers, sinks and cast iron bathtubs, farm storage silos, and processing equipment such as chemical reactors and pharmaceutical process tanks. Structures such as filling stations, bus stations and Lustron Houses had walls, ceilings and structural elements made of enameled steel. One of the most widespread modern uses of enamel is in the production of quality chalk-boards and marker-boards (typically called \'blackboards\' or \'whiteboards\') where the resistance of enamel to wear and chemicals ensures that \'ghosting\', or unerasable marks, do not occur, as happens with polymer boards. Since standard enameling steel is magnetically attractive, it may also be used for magnet boards. Some new developments in the last ten years include enamel/non-stick hybrid coatings, sol-gel functional top-coats for enamels, enamels with a metallic appearance, and new easy-to-clean enamels.[17]

The key ingredient of vitreous enamel is a highly friable form of glass called frit. Frit is typically an alkali borosilicate chemical with a thermal expansion and glass temperature suitable for coating steel. Raw materials are smelted together between 2,100 and 2,650°F (1,150 and 1,450°C) into a liquid glass that is directed out of the furnace and thermal shocked with either water or steel rollers into frit.[18]

Color in enamel is obtained by the addition of various minerals, often metal oxides cobalt, praseodymium, iron, or neodymium. The latter creates delicate shades ranging from pure violet through wine-red and warm gray. Enamel can be transparent, opaque or opalescent (translucent), which is a variety that gains a milky opacity with longer firing. Different enamel colors cannot be mixed to make a new color, in the manner of paint. This produces tiny specks of both colors, although the eye can be tricked by grinding colors together to an extremely fine, flour-like powder.

There are three main types of frit, usually applied in sequence. A ground coat is applied first; it usually contains smelted-in transition metal oxides such as cobalt, nickel, copper, manganese, and iron that facilitate adhesion to steel. Next, clear and semi-opaque frits that contain material for producing colors are applied. Finally, a titanium white cover coat frit, supersaturated with titanium dioxide, creating a bright white color during firing, is applied as the exterior coat.[citation needed]

After smelting, the frit needs to be processed into one of the three main forms of enamel coating material. First, wet process enamel slip (or slurry) is a high solids loading product achieved by grinding the frit with clay and other viscosity-controlling electrolytes. Second, ready-to-use (RTU) is a cake-mix form of the wet process slurry that is ground dry and can be reconstituted by mixing with water at high shear. Finally, electrostatic powder that can be applied as a powder coating is produced by milling frit with a trace level of proprietary additives. The frit may also be ground as a powder or into a paste for jewelry or silk-screening applications.

View into a glass-lined chemical reactor
Turb-mixer in a glass-lined chemical reactor

Techniques of artistic enamelingOld German enamel street sign

Basse-taille, from the French word meaning \"low-cut\". The surface of the metal is decorated with a low relief design which can be seen through translucent and transparent enamels. The 14th century Royal Gold Cup is an outstanding example.[19]
Champlevé, French for \"raised field\", where the surface is carved out to form pits in which enamel is fired, leaving the original metal exposed; the Romanesque Stavelot Triptych is an example.[20]
Cloisonné, French for \"cell\", where thin wires are applied to form raised barriers, which contain different areas of (subsequently applied) enamel. Widely practiced in Europe, the Middle East and East Asia.[21]
En résille (Émail en résille sur verre, French for \'enamel in a network on glass,\') where enameled metal is suspended in glass. The technique was briefly popular in seventeenth-century France and was re-discovered by Margret Craver in 1953. Craver spent 13 years re-creating the technique.[22]
Grisaille, French term meaning \"in grey\", where a dark, often blue or black background is applied, then a palescent (translucent) enamel is painted on top, building up designs in a monochrome gradient, paler as the thickness of the layer of light color increases.
Limoges enamel, made at Limoges, France, a famous center of vitreous enamel production. Limoges became famous for champlevé enamels from the 12th century onwards, producing on a large scale, and then from the 15th century retained its lead by switching to painted enamel on flat metal plaques.
Painted enamel, a design in enamel is painted onto a smooth metal surface. Grisaille and later Limoges enamel are types of painted enamel.[23] Most traditional painting on glass, and some on ceramics, uses what is technically enamel, but is often described by terms such as \"painted in enamels\", reserving \"painted enamel\" and \"enamel\" as a term for the whole object for works with a metal base.[24]
Plique-à-jour, French for \"open to daylight\" where the enamel is applied in cells, similar to cloisonné, but with no backing, so light can shine through the transparent or translucent enamel. It has a stained-glass like appearance; the Mérode Cup is the surviving medieval example.[25]
Ronde bosse, French for \"in the round\", also known as \"encrusted enamel\". A 3D type of enameling where a sculptural form or wire framework is completely or partly enameled, as in the 15th century Holy Thorn Reliquary.[26]
Stenciling, where a stencil is placed over the work and the powdered enamel is sifted over the top. The stencil is removed before firing, the enamel staying in a pattern, slightly raised.
Sgrafitto, where an unfired layer of enamel is applied over a previously fired layer of enamel of a contrasting color, and then partly removed with a tool to create the design.
Serigraph, where a silkscreen is used with 60-70in grade mesh.
Counter enameling, not strictly a technique, but a necessary step in many techniques, is to apply enamel to the back of a piece as well - sandwiching the metal - to create less tension on the glass so it does not crack.

Industrial enamel applicationMain article: Industrial porcelain enamel

On sheet steel, a ground coat layer is applied to create adhesion. The only surface preparation required for modern ground coats is degreasing of the steel with a mildly alkaline solution. White and colored second \"cover\" coats of enamel are applied over the fired ground coat. For electrostatic enamels, the colored enamel powder can be applied directly over a thin unfired ground coat \"base coat\" layer that is co-fired with the cover coat in a very efficient two-coat/one-fire process.

The frit in the ground coat contains smelted-in cobalt and/or nickel oxide as well as other transition metal oxides to catalyze the enamel-steel bonding reactions. During firing of the enamel at between 760 to 895°C (1,400 to 1,643°F), iron oxide scale first forms on the steel. The molten enamel dissolves the iron oxide and precipitates cobalt and nickel. The iron acts as the anode in an electrogalvanic reaction in which the iron is again oxidized, dissolved by the glass, and oxidized again with the available cobalt and nickel limiting the reaction. Finally, the surface becomes roughened with the glass anchored into the holes.[27]

Building cladding

Enamel coatings applied to steel panels offer the most stringent protection to the core material whether cladding road tunnels, underground stations, building superstructures or other applications. It can also be specified as a curtain walling. Qualities of this structural material include:

Extremely durable
Withstands extreme temperatures and is non-flammable
Long lasting UV, climate and corrosion resistant
Dirt-repellent and graffiti-proof
Highly abrasive and chemical resistant
Easy cleaning and class=\"gallery mw-gallery-traditional\">
Silver, silver gilt and painted enamel beaker, Burgundian Netherlands, c. 1425-1450, The Cloisters
The Royal Gold Cup with basse-taille enamels; weight 1.935kg, British Museum. Saint Agnes appears to her friends in a vision.
A freehand enameled painting by Einar Hakonarson In the forest. 1989

St. Gregory the Great in painted Limoges enamel on a copper plaque, by Jacques I Laudin
Early 13th century Limoges chasse used to hold holy oils; most were reliquaries.
Medallion of the Death of the Virgin, with basse-taille enamel

The Dunstable Swan Jewel, a livery badge in ronde bosse enamel, about 1400. British Museum
Louis George enamel watch dial
Iranian enamel
Limoges? grisaille Stations of the Cross, Notre-Dame-des-Champs, Avranches