INITIAL RESEARCH

See Wenrui's for further notes

Definition of basse-taille in relation to enameling in the late middle ages. (notes from lecture with Dr Christine Brennan, Cloisters)
Basse-taille literally means "low-cut" or "low-relief" as we had already discussed. What i found new is that this low-cut design is usually carved or engraved in low relief on gold or silver (thus the reference in the manuscript to a goldsmith technique) , and the enamel applied is translucent. this technique of basse-taille enamel work was developed in Italy during the 13 th century, and was especially popular in Europe during the gothic and renaissance periods.
IMPORTANT NOTE: basse taille enamel technique uses transparent enamels

Examples and information on painting with enamel on glass:

http://art.thewalters.org/detail/28957/reliquary-pendant/Done in the basse-taille enamel technique on glass. Besides, it was done at the time of our manuscript, late 16th century, in Spain, which makes a lot of sense since there is other evidence in the manuscript of my country's influence.

Also, there is this uniquely large piece, a reverse painted glass dish, which we saw at the Cloisters with Prof Pamela Smith, and there is some extra information in the following link:http://www.metmuseum.org/visit/visit-the-cloisters/in-season/2014/recent-acquisition-reverse-painted-dish
At the Corning Museum of Glass, again from the time period of our manuscript 1585: http://www.cmog.org/artwork/reverse-painted-glass-medallion
Check again some contemporary sources to our manuscript, using the following techniques:
REVERSE PAINTED GILT GLASS,
or BASSE-TAILLE ENAMEL ON GLASS.

E.g. Cennino Cennini explained the method of small panels of glass with designs formed by engraved gilding, as applied to reliquaries and portable altars.

Even if it is difficult to find details on the exact process of tracing the story, we want to see what other sources talk about reverse painting on glass.
NOTE: perhaps easier to find in gold smithing or print making manuals, relationship of engraving on the objects and the origins of print making

One more note on the other manuscripts about reverse painting on glass: It is mentioned in the new edition of the translation of Cennino Cennini's treaty (p.230) that reverse painting is practiced particularly in Bologna and Padua in the 14th and early 15th century. So 14-15th century Italian manuscripts might be a good place to look for recipes of similar techniquesThis object in the Met collection is typical from 15th century Padua
http://www.metmuseum.org/collection/the-collection-online/search/469922?rpp=30&pg=1&ft=diptych+padua&pos=2


14th century Italian painter Paolo di Giovanni Fei also practised this technique in some of his paintings. See the painting in Met, where a reverse painted glass medallion is inserted in a panel painting.http://www.metmuseum.org/collection/the-collection-online/search/437248
And in this case, he inserted the round glass along with gemstones on the frame:
http://www.christies.com/lotfinder/paintings/paolo-di-giovanni-fei-the-madonna-nursing-5766050-details.aspx

Also, some history on this technique in Italy1.png

Enamel research

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INITIAL RESEARCH
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ASPECTS TO KEEP IN MIND WHEN MAKING FIELD NOTES