The other parts of the design were left without shadow, or sometimes the highest points in the hair or draperies would have little fine touches of gold pencillings, in order to bring out some kind of relief. Imitations of precious stones or jewellery on the dresses were brought out in translucent bits of enamel.

An entire change in the process is seen in the Limoges painted enamels of the sixteenth century. The plate of metal was covered with a layer of black or some very dark-coloured enamel, and the design carefully outlined in white. The whole work was then modelled up with white, laid on in varying thicknesses, so as to produce an effect of light and shade called grisaille (grey), the flesh tints being slightly higher in relief than the other parts, and a flesh-coloured enamel being always employed. Fine touchings of white and gold were added to finish off the work.

To make a coloured enamel of the grisaille work it was only necessary to add a thin transparent coating of coloured enamel.

Fig. 103. Cup of Translucent Enamel. (S. K. M).

Some splendid effects of a translucent character were obtained in the enamels of this period by the use of gold and silver leaf (paillon) fixed on the enamel ground behind the draperies and other accessories, and sometimes on the backgrounds. Over this leaf of shining metal transparent enamels were painted. Armour, imitation jewellery, and other accessories were rendered by this means of a rich and dazzling brilliancy. In the Kensington Collection many examples of this kind of enamelling may be seen.

One work amongst others is an oval plaque of the sixteenth-century Limoges enamel, which has a representation of a warrior on horseback, and has portions of the armour in translucent enamel. The horse is white, and the groundwork dark. It is one of the best works of the Courtois family.

The enamel painters of Limoges had many methods and secrets in the exercise of their art, and, as a rule, kept them in their families. Generally speaking, we find many enamellers of the same name and family, and their works bear also a strong family likeness, both in subject, colour, and methods.

The greatest name amongst these Limoges artists is L*šonard Limousin. This surname was bestowed on him by Francis I. to distinguish him from Leonardo da Vinci. Leonard Limousin was the chief enameller to this monarch, and worked at his art between, the years of 1532-74. L*šonard in his early works copied his subjects from engravings of the German school of artists, but at a later period, owing to the influence of the Italian artists that were brought to the Court of Francis I., he adopted the subjects of Raphael and the Italian masters. He also improved at this period in his colour and drawing. Some of his best works are those that he painted in the year 1553 for the Sainte-Chapelle by order of Henry II., which consist of two magnificent frames of pictures in enamel, now in the Louvre, and which are acknowledged as his masterpieces. He also excelled in portraits, among which from his hand are those of the Duke de Guise, the Constable de Montmorenci, and that of Catherine de' Medici in her mourning robes, taken after the death of Henry II. A full-length portrait of Henry II. is preserved in the Louvre, executed by L*šonard. The monarch is represented in the character of St. Thomas, and is painted on a white enamel ground, as several other works by this artist are similarly executed. This style of work looks, however, too much like majolica painting, and was not persevered in to any great extent. L*šonard was noted for some good original work, both in oils and enamel; but, generally speaking, the Limoges enamellers were fond of copying subjects from German, Italian, and French engravers, who engraved many works after the great painters of these countries. The German engravers were known under the name of the "Petits-Maitres," many of whom were pupils or imitators of Albert DÂ�rer. Some of the more important were Heinrich Alde-grever, Hans Sebald Behan, Virgilis Solis, Theodore de Bry, Jean Collaert, Albrecht Altdorfen, and Georg Pens. Two celebrated French engravers who supplied many designs for the Limoges enamellers were Â�tienne de Laulne, known also as Stephanus, and Pierre Woeiriot, the former a copper-plate and the latter a wood engraver. The Courtois and Raymond enamels have many subjects from the designs of Â�tienne de Laulne. Another engraver, Marc Antonio Raimondi, of the Italian school (1500-1540), supplied copies of the works of Raphael to the Limousin enamellers, and also to the Italian majolica painters. This engraver was the most celebrated of his time. He was a pupil at first of "Francia the Goldsmith," learnt much from Albert DÂ�rer and Lucas van Leyden, and was the engraver of many of the works of Raphael, which he executed in what is known as his Roman method.

In the British Museum there is the enamel of the twelve Sibyls of L*šonard Limousin, painted about 1550.

Another well-known name is that of Pierre Raymond. He painted chiefly in grisaille, or in cama*¹eu, and not often in colour. His works date from 1534 to 1572 (Figs. 104 and 105).

The P'Nicaud Family

The P'Nicaud Family (circa 1540) consists of four enamel painters of this name - Jean P*šnicaud, the elder, Jean P*šnicaud, junior, Pierre P*šnicaud, and N. P*šnicaud.

The elder P*šnicaud was a good draughtsman, and often employed "paillon" to get the rich colouring in which he excelled. He executed portraits of Luther and Erasmus, which are signed with his initials.

Fig. 104. Portion of a Salt-cellar, by Pierre Raymond.

The Courtois Or Courteys Family

The Courtois Or Courteys Family was another celebrated family of painters on enamel. Pierre Courtois was the eldest (circa 1550). He painted some of the largest enamels ever executed. These were large oval panels measuring 66 inches in height by 40 inches in width, on which were painted the subjects of the cardinal virtues and heathen divinities, and which formerly decorated the fa*¡ade of the ChÆ'teau de Madrid, built by Francis I. and Henry II. They are signed and dated 1559. In his larger works Pierre Courtois does not show himself so good in his draughtsmanship as in his smaller enamels.