In England, one of the most perfect specimens of fine, close work, is the Wilton Chalice, dating from the twelfth century.  The Warwick Bowl, too, is of very delicate workmanship, and both are covered with minute scenes and figures.  One of the most splendid treasures in this line is the crozier of William Wyckham, now in Oxford.  It is strictly national in style.

The agreement entered into between Henry VII., and Abbot Islip, for the building of the chapel of that king in Westminster, is extant.  It is bound in velvet and bossed with enamels.  It is an interesting fact that some of the enamels are in the Italian style, while others are evidently English.

Limoges was the most famous centre of the art of enamelling in the twelfth century, the work being known as Opus de Limogia, or Labor Limogiae.  Limoges was a Roman settlement, and enamels were made there as early as the time of Philostratus.  Champleve enamel, while it was not produced among the Greeks, nor even in Byzantine work, was almost invariable at Limoges in the earlier days:  one can readily tell the difference between a Byzantine enamel and an early Limoges enamel by this test, when there is otherwise sufficient similarity of design to warrant the question.

Some of the most beautiful enamels of Limoges were executed in what was called basse-taille, or transparent enamel on gold grounds, which had been first prepared in bas-relief.  Champleve enamel was often used on copper, for such things as pastoral staves, reliquaries, and larger bits of church furniture.  The enamel used on copper is usually opaque, and somewhat coarser in texture than that employed on gold or silver.  Owing to their additional toughness, these specimens are usually in perfect preservation.  In 1327, Guillaume de Harie, in his will, bequeathed 800 francs to make two high tombs, to be covered with Limoges enamel, one for himself, and the other for “Blanche d’Avange, my dear companion.”

[Illustration:  ITALIAN ENAMELLED CROZIER, 14TH CENTURY]

An interesting form of cloisonne enamel was that known as “plique a jour,” which consists of a filigree setting with the enamel in transparent bits, without any metallic background.  It is still made in many parts of the world.  When held to the light it resembles minute arrangements of stained glass.  Francis I. showed Benvenuto Cellini a wonderful bowl of this description, and asked Cellini if he could possibly imagine how the result was attained.  “Sacred Majesty,” replied Benvenuto, “I can tell you exactly how it is done,” and he proceeded to explain to the astonished courtiers how the bowl was constructed, bit by bit, inside a bowl of thin iron lined with clay.  The wires were fastened in place with glue until the design was complete, and then the enamel was put in place, the whole being fused together at the soldering.  The clay form to which all this temporarily adhered was then removed, and the work, transparent and ephemeral, was ready to stand alone.