To make a coloured enamel of the grisaille work it was only necessary to add a thin transparent coating of coloured enamel. Some splendid effects of a translucent character were obtained in the enamels of this period by the use of gold and silver leaf (_paillon_) fixed on the enamel ground behind the draperies and other accessories, and sometimes on the backgrounds. Over this leaf of shining metal transparent enamels were painted. Armour, imitation jewellery, and other accessories were rendered by this means of a rich and dazzling brilliancy. In the Kensington Collection many examples of this kind of enamelling may be seen. One work amongst others is an oval plaque of the sixteenth-century Limoges enamel, which has a representation of a warrior on horseback, and has portions of the armour in translucent enamel. The horse is white, and the groundwork dark. It is one of the best works of the Courtois family. The enamel painters of Limoges had many methods and secrets in the exercise of their art, and, as a rule, kept them in their families. Generally speaking, we find many enamellers of the same name and family, and their works bear also a strong family likeness, both in subject, colour, and methods. The greatest name amongst these Limoges artists is Léonard Limousin. This surname was bestowed on him by Francis I. to distinguish him from Leonardo da Vinci. Léonard Limousin was the chief enameller to this monarch, and worked at his art between the years of 1532-74. Léonard in his early works copied his subjects from engravings of the German school of artists, but at a later period, owing to the influence of the Italian artists that were brought to the Court of Francis I., he adopted the subjects of Raphael and the Italian masters. He also improved at this period in his colour and drawing. Some of his best works are those that he painted in the year 1553 for the Sainte-Chapelle by order of Henry II., which consist of two magnificent frames of pictures in enamel, now in the Louvre, and which are acknowledged as his masterpieces. He also excelled in portraits, among which from his hand are those of the Duke de Guise, the Constable de Montmorenci, and that of Catherine de’ Medici in her mourning robes, taken after the death of Henry II. A full-length portrait of Henry II. is preserved in the Louvre, executed by Léonard. The monarch is represented in the character of St. Thomas, and is painted on a white enamel ground, as several other works by this artist are similarly executed. This style of work looks, however, too much like majolica painting, and was not persevered in to any great extent. Léonard was noted for some good original work, both in oils and enamel; but, generally speaking, the Limoges enamellers were fond of copying subjects from German, Italian, and French engravers, who engraved many works after the great painters of these countries. The German engravers were known under the name of the “Petits-Maîtres,” many of whom were