ore, where the cutting was deepest, the enamel
ran thicker, and consequently darker in colour, giving the effect of
shading, while in reality only one tint had been used. The powdered
and moistened enamel was spread evenly with a spatula over the
whole surface, and allowed to stand in the kiln until it liquefied.
Another form of enamel was used to colour gold work in relief,
with a permanent coating of transparent colour. Sometimes this
colour was applied in several coats, one upon another, 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 place