In India, where fine colour is a splendid tradition, Champlevé enamel soon attained a remarkable perfection of technic and purity and brilliance of colour almost unknown to the Western nations. The Champlevé enamels of JAIPUR have most beautiful lustrous and transparent blues, greens and reds laid on a pure gold ground. PERTUBGHUR is renowned for the fine green or turquoise enamel fired upon a plate of gold; while the enamel was still soft a plate of pierced gold was pressed into the enamel. This pierced plate was afterwards engraved with incidents of history or hunting. In RATAIN, in Central India, a similar enamel is made having a fine blue in place of the Pertubghur green. The fine monumental brasses, of which many still remain in our English cathedrals and churches, are a survival of the Champlevé process, the cloisons, being usually filled with a black NIELLO, but occasionally the heraldic shields are enriched with coloured enamels. During the 11th and 12th centuries, LIMOGES was renowned for its fine Champlevé enamels, but early in the 15th century PAINTED ENAMELS were introduced and Limoges became the centre of this art, called late Limoges or GRISAILLE ENAMEL. The enamel colours were now used as a pigment, and were painted and fired upon a copper plate. The enrichments in grisaille, or grey and white, were used upon a black, violet or dark blue ground, the grisaille afterwards being enriched with details of fine gold lines. These Limoges enamels have a splendid technic, but they lack the charms of the luminous colour and judicious use of enamels of the early Champlevé period. The most renowned masters of the painted enamels of Limoges were Penicand, 1503, Courtois, 1510, Pierre Raymond, 1530-1570, and Leonard Limousin, 1532-1574. About 1600-1650, Jean Toutin and his pupil Petitot produced some fine painted miniatures in opaque enamels upon gold, remarkable for delicacy and perfection of enamelling. In 1750, painted enamel was introduced into England and produced for about 30 years at Battersea by Janssen. The enrichment consisted of flowers painted in natural colours on a white ground. A similar enamel was also produced at Bilston in Staffordshire. [Illustration] The finest enamels undoubtedly are those in which the enamel is used in small quantities, such as in the Celtic jewellery, the bookcovers, and the Church and Corporation plate of the Gothic and early Renascence period, and the early Byzantine cloisonné, such as the Hamilton brooch in the British Museum, and the Pala d’Oro of St. Mark’s, Venice, which was made at Constantinople for the Doge Orseolo in 976 A.D., and has 83 panels of fine cloisonné enamel set in a framework of gold. [Illustration] The “_Plique à jour_,” the “_Baisse taille_” and the Pertubghur enamels are fine examples of appropriateness of treatment with translucency or opalescence and richness of colour.