and the features painted with a later touch.  Much enamelled jewelry was made in this way, figures, dragons, and animal forms, being among the most familiar.  But an actual enamel painting—­on the principle of a picture, was rendered in still another way.  In preparing the ground for enamel painting, there are two things which have been essentially considered in all times and countries.  The enamel ground must be more fusible than the metal on which it is placed, or else both would melt together.  Also the enamel with which the final decoration is executed must be more easily made fluid than the harder enamel on which it is laid.  In fact, each coat must of necessity be a trifle more fusible than the preceding one.  A very accurate knowledge is necessary to execute such a work, as will be readily understood.

[Illustration:  ENAMELLED GOLD BOOK COVER, SIENA]

In examining historic examples of enamel, the curious oval set in gold, known as the Alfred Jewel, is among the first which come within our province.  It was found in Somersetshire, and probably dates from about the year 878.  It consists of an enamelled figure covered by a thick crystal, set in filigree, around the edge of which runs the inscription, “AELFRED MEC REHT GAVUR CAN” (Alfred ordered me to be wrought).  King Alfred was a great patron of the arts.  Of such Anglo-Saxon work, an ancient poem in the Exeter Book testifies: 

“For one a wondrous skill in goldsmith’s art is provided Full oft he decorates and well adorns A powerful king’s nobles.”

Celtic enamels are interesting, being usually set in the spaces among the rambling interlaces of this school of goldsmithing.  The Cross of Cong is among the most famous specimens of this work, and also the bosses on the Ardagh Chalice.

The monk Theophilus describes the process of enamelling in a graphic manner.  He directs his workmen to “adapt their pieces of gold in all the settings in which the glass gems are to be placed” (by which we see that he teaches the cloisonne method).  “Cut small bands of exceedingly thin gold,” he continues, “in which you will bend and fashion whatever work you wish to make in enamel, whether circles, knots, or small flowers, or birds, or animals, or figures.”  He then admonishes one to solder it with greatest care, two or three times, until all the pieces adhere firmly to the plate.  To prepare the powdered glass, Theophilus advises placing a piece of glass in the fire, and, when it has become glowing, “throw it into a copper vessel in which there is water, and it instantly flies into small fragments which you break with a round pestle until quite fine.  The next step is to put the powder in its destined cloison, and to place the whole jewel upon a thin piece of iron, over which fits a cover to protect the enamel from the coals, and put it in the most intensely hot part of the fire.”  Theophilus recommends that this little iron cover be “perforated finely