At Limoges towards the end of the twelfth century Champlevé enamels were made in great numbers. Two specimens of this date are in the Cluny Museum in Paris: one has the subject of the adoration of the Magi, and the other St. Stephen with St. Nicholas, both having Limousin legends. In the same museum are Champlevé enamels as book-covers of the Gospels, croziers, plaques, and “gemellions.” The latter is the name given to certain hand-basins used for religious purposes. In the Louvre is an example of Champlevé enamel—a ciborium of the fourteenth century. This is a vessel in which the Host is kept. Another vessel used for similar purposes is the _pyx_. Both are small round boxes in which the sacred wafers were kept, and were used for carrying the sacrament to the sick. Ciboria were also in the forms of doves or little towers suspended over the altar. They were kept in little cupboards on either side of the altar, and at later periods the name “ciborium” was applied to the tabernacles having architectural pretensions erected over the altar, and which had a canopy or curtain used as a covering. These tabernacles became shrines of great size and beauty in the fifteenth and sixteenth centuries, and were carved in wood as that in Nuremberg by Adam Kraft, or were stone erections of great dimensions with sculptured figures as decorations, the doors of which were often made in gold and enamelled. Fig. 423 (previous volume) is an example of a fifteenth-century tabernacle with a gilt metal door. [Illustration: Fig. 98.—Portable Altar; German, Thirteenth Century. (S.K.M.) ] When Justinian rebuilt Sta. Sophia he placed in it a ciborium or tabernacle of great splendour. Ciboria are now changed into what are known as _baldacchinos_. In the Kensington and British Museums are many examples of Champlevé enamels, both German and Limoges, such as book-covers, croziers, pricket candlesticks, châsses, chefs, reliquaries, paxes, crosses, and nuptial caskets, &c. Most of them have blue grounds, with light bluish-grey and dark blue or green ornaments, and are usually enamelled on copper. Some of the reliquaries or châsses have gilt figures in high relief. From the eleventh to the fourteenth centuries is the date of these enamels. In the latter end of the thirteenth and in the fourteenth centuries enamels became simplified in execution; the figures were mostly incised and gilt, and the background a level coating of enamel—generally of a blue colour. (Fig. 100.) Fig. 99 is a Limoges enamelled châsse or shrine of the twelfth century, and is in the British Museum.