pupils or imitators of Albert Dürer. Some of the more important were Heinrich Aldegrever, Hans Sebald Behan, Virgilis Solis, Theodore de Bry, Jean Collaert, Albrecht Altdorfen, and Georg Pens. Two celebrated French engravers who supplied many designs for the Limoges enamellers were Étienne de Laulne, known also as Stephanus, and Pierre Woeiriot, the former a copper-plate and the latter a wood engraver. The Courtois and Raymond enamels have many subjects from the designs of Étienne de Laulne. Another engraver, Marc Antonio Raimondi, of the Italian school (1500-1540), supplied copies of the works of Raphael to the Limousin enamellers, and also to the Italian majolica painters. This engraver was the most celebrated of his time. He was a pupil at first of “Francia the Goldsmith,” learnt much from Albert Dürer and Lucas van Leyden, and was the engraver of many of the works of Raphael, which he executed in what is known as his Roman method. In the British Museum there is the enamel of the twelve Sibyls of Léonard Limousin, painted about 1550. Another well-known name is that of Pierre Raymond. He painted chiefly in grisaille, or in camaïeu, and not often in colour. His works date from 1534 to 1572 (Figs. 104 and 105). The Pénicaud family (_circa_ 1540) consists of four enamel painters of this name—Jean Pénicaud, the elder, Jean Pénicaud, junior, Pierre Pénicaud, and N. Pénicaud. The elder Pénicaud was a good draughtsman, and often employed “paillon” to get the rich colouring in which he excelled. He executed portraits of Luther and Erasmus, which are signed with his initials. [Illustration: Fig. 104.—Portion of a Salt-cellar, by Pierre Raymond.] The Courtois or Courteys family was another celebrated family of painters on enamel. Pierre Courtois was the eldest (_circa_ 1550). He painted some of the largest enamels ever executed. These were large oval panels measuring 66 inches in height by 40 inches in width, on which were painted the subjects of the cardinal virtues and heathen divinities, and which formerly decorated the façade of the Château de Madrid, built by Francis I. and Henry II. They are signed and dated 1559. In his larger works Pierre Courtois does not show himself so good in his draughtsmanship as in his smaller enamels. Jean Courtois (_circa_ 1560) was a prolific enameller. His work is characterized by a profusion of arabesque ornament of the period of Henry II. His flesh tints and other parts of his compositions are generally highly coloured, the flesh having a salmon-coloured tint. [Illustration: Fig. 105.—Vase; Painted Enamel, by Pierre Raymond.] Another member of this family signs his work I. D. C. His principal figures are usually hammered out in relief, and his work is of a high finish.