The Italians did not make Champlevé enamels; but they worked in the Cloisonné process from the eleventh to the fifteenth centuries, as we know from examples, and from the work, “Diversarum Artium Schedula,” written by the learned monk Theophilus, in the twelfth century, wherein he describes very minutely the whole process of making Cloisonné enamels, according to the methods of the Tuscan enamellers of his time. [Illustration: Fig. 99.—Châsse in Champlevé Enamel; Twelfth Century. (B.M.)] As regards the antiquity of the art of enamelling on metal, it is generally agreed by learned authorities in the matter that before the art was known at Constantinople or in the workshops of Greece, it was practised by the “barbarians” of Western Europe in the Gallo-Roman period. We apologize for quoting here the oft-repeated passage from Philostratus, the Greek who established himself at Rome in the early part of the third century at the request of the Empress Julia, wife of Septimus Severus. In his “Treatise upon Images” he says: “It is said that the barbarians living near the ocean pour colours upon heated brass, so that these adhere and become like stone, and preserve the design represented.” [Illustration: Fig. 100.—Champlevé Enamel; French, Fourteenth Century.] This passage proves at any rate in Greece and in Italy enamelling on metal was an unknown art in the third century, the time in which this Greek writer lived, and sufficient examples exactly answering his description have been found in Gaul and in Britain, in Roman burial-places and in caves, all bearing evidences of belonging to this period. The Celtic objects in vitreous enamel are on bronze or copper, and prove that enamelling was an art carried on in the Roman Provinces of Gaul and Britain, which was unknown in Italy at that time. [Illustration: Fig. 101.—Enamelled Vase, found in Essex in 1834, since partially destroyed by fire. Diameter, 4¾ inches.]