In the Silver Chamber in the Pitti Palace is a Pax, by Mantegna, made in the same way as that by Finiguerra, and bearing comparison with it. The engraving is most delicate, and it is difficult to imagine a better specimen of the art. The Madonna and Child, seated in an arbour, occupy the centre of the composition, which is framed with jewelled bands, the frame being divided into sixteen compartments, in each of which is seen a tiny and exquisite picture. The work on the arbour of roses in which the Virgin sits is of remarkable quality, as well as the small birds and animals introduced into the composition. In the background, St. Christopher is seen crossing the river with the Christ Child on his back, while in the water a fish and a swan are visible. In Valencia in Spain may be seen a chalice which has been supposed to be the very cup in which Our Saviour instituted 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.