Perhaps the most famous example of this class is the _Coppa Nuziale_ in the Museo Civico at Venice (Plate XXIX.). This cup, in outline somewhat like a Greek _crater_, with simple massive foot and stem, is of deep blue glass; it is some eight or nine inches in height. On one side we have a procession of knights and ladies on horseback; on the other side the company are seen bathing in an open fountain. Between are medallions with male and female heads—presumably the bride and bridegroom. The costume would point rather to the first than to the second half of the fifteenth century. There is not much prominent colour apart from the green of the grass and the trees; the horses and the flesh-tints are rendered by white enamels, and gilding, of course, is freely used; here and there we see a little pale blue enamel. This _coppa_ is traditionally assigned to Angelo Berovieri, the greatest name among the Venetian glass-workers of the fifteenth century. To him indeed the introduction, or at least the perfection, of the process of enamelling on glass is generally attributed. [Illustration: _PLATE XXIX_ MARRIAGE CUP BY BEROVIERI VENETIAN, FIFTEENTH CENTURY] In the British Museum (Slade, 363) is another _Coppa Nuziale_, on which the style of the decoration closely follows that of the Berovieri cup. We have the same deep blue ground and the same treatment of the solid opaque enamels; the bowl, however, in this case is cylindrical. On one side we see a Cupid seated on a two-headed swan, conducting a triumphal car; on the other, Venus enthroned in another car is preceded by a figure—presumably Hymen—bearing a torch; in front a centaur is grasping the hand of a man in full armour.[146] The bright green enamel by which on these cups the grass and the conventional trees are rendered, is perhaps the most characteristic colour of this _quattro-cento_ ware. Note also on the wide-spreading foot the manner in which the gold is applied: in the use of this metal, if in nothing else, the Venetians surpassed their Saracenic predecessors. Here we have an early instance of gilding _semé_ or broken up into minute irregular fragments. The gold appears to be incorporated with the glass; it must have been laid on at an early stage, for it lies scattered in detached fragments, and this is undoubtedly caused by the dragging of the glass, while still soft, during the process of manufacture. This manner of applying gold was used with great effect by the Venetians during the finest period—before and after 1500. Notice especially a little cup of thin white glass in the British Museum, on which the decoration is confined to a delicate powdering of gold of this nature.