stituted the Communion.
The cup itself is of sardonyx, and of fine form. The base is made
of the same stone, and handles and bands are of gold, adorned with
black enamel. Pearls, rubies, sapphires, and emeralds are set in
profusion about the stem and base. It is a work of the epoch of
Imperial Rome.

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, wit