A book-cover in the Kensington Museum, of very fine workmanship, with several small figure compositions enamelled on gold, is attributed to Cellini. Works by him in jewellery, vases, salt-cellars, &c., are preserved in various museums on the Continent. Cellini spent five years in France, ending the year 1540, where he executed some works for Francis I., notably the fine salt-cellar now at Vienna. The art of enamelling on reliefs was introduced to France by Italian artists during the early years of the fourteenth century, and about the same time to Flanders. We read of a manufactory of this kind of enamelling as having existed in 1317 at Montpellier, the seat of the royal Mint. “Painted enamels,” as we have seen, were suggested by the translucent enamels on relief. Painted enamels were first made at Limoges, and also brought to great perfection at the same place. Any painted enamels found in Italy are Limoges enamels or the work of Limousin artists. The fifteenth century was the period during which the painted enamels were brought to perfection. In the earlier part of the century the enamel was applied directly to the plate of metal and united to it by fusion; but later, towards the middle of the century, a ground of translucent enamel coating was laid on the metal, over the engraved outline of the design, and on this transparent flux the colours were applied. The outlines of the design, which appeared through the transparent coating, were then covered over with a dark-coloured enamel; the various parts, such as draperies, background, and sky, were then laid in with thick coatings of enamel; the spaces left for the flesh tints were filled in with black or violet enamel; and the modelling of the flesh was obtained by layers of white enamel in varying degrees of thickness, leaving the darker violet parts for shade or shadows, and thicker layers represented the highest lights. Thus, all the flesh tints in enamels of this period are slightly brownish or violet in hue. The other parts of the design were left without shadow, or sometimes the highest points in the hair or draperies would have little fine touches of gold pencillings, in order to bring out some kind of relief. Imitations of precious stones or jewellery on the dresses were brought out in translucent bits of enamel. An entire change in the process is seen in the Limoges painted enamels of the sixteenth century. The plate of metal was covered with a layer of black or some very dark-coloured enamel, and the design carefully outlined in white. The whole work was then modelled up with white, laid on in varying thicknesses, so as to produce an effect of light and shade called _grisaille_ (grey), the flesh tints being slightly higher in relief than the other parts, and a flesh-coloured enamel being always employed. Fine touchings of white and gold were added to finish off the work.