Trade brings luxury, comfort, and the love of art in its train. The same happened in London as in Venice, Florence, and Bruges; these merchants and nobles were fond of beautiful things. It is an era of prosperity for imagers, miniaturists, painters, and sculptors.[431] The wealthy order to be chiselled for themselves ivory Virgins whose tender, half-mundane smile, is not less charming for the doubt it leaves whether it is of earth or of heaven; devotional tablets in painted ivory, in gold, or translucid enamels; golden goblets with figures, silver cups "enamelled with children's games," salt-cellars in the shape of lions or dogs, "golden images of St. John the Baptist, in the wilderness,"[432] all those precious articles with which our museums are filled. Edward II. sends to the Pope in 1317, among other gifts, a golden ewer and basin, studded with translucid enamels, supplied by Roger de Frowyk, a London goldsmith, for the price of one hundred and forty-seven pounds, Humphrey de Bohun, who died in 1361, said his prayers to beads of gold; Edward III. played chess on a board of jasper and crystal, silver mounted. The miniaturists represent Paradise on the margin of missals, or set forth in colours some graceful legend or fantastic tale, with knights, flowers, and butterflies.[433] In spite of foreign wars, local insurrections, the plague that returns periodically, 1349, 1362, 1369, 1375, the great uprising of the peasantry, 1381, the troubles and massacres which followed, art prospers in the fourteenth century, and what chiefly characterises it is that it is all a-smile.