8. The enamels upon eight gold plates which were found at Nyitra, in Hungary. Seven of them are in the Museum at Pesth. These eight plates unite to form a crown, one in front and one at back, and three on either side. Each has its enamelled picture. The front piece has a portrait of Constantinus Monomachus (1042). The pieces to right and left of this represent the Empresses Theodora and Zoe; the next two on either side represent actresses; the third on either side contains an allegorical figure of a woman, the one being Humility, with hands crossed in front, the other Truth, bearing a cross. The eighth, which is the hindmost, is circular, and represents St. Andrew[18]. 9. The enamels which decorate the royal crown of Hungary, which was sent as a present to Geysa I, king of Hungary, who died in 1077. In this list the famous ‘iron’ crown of Monza holds the first place, being, in fact, an ample golden fillet richly decorated with enamels, and containing within it a narrow hoop of iron, which is reputed to have been made of a nail from the Cross. The fourth place in this catalogue is assigned by M. Labarte to the Alfred Jewel, and by this classification it is referred to a Byzantine source. But as it is plain from the matter as well as the manner of his description that his acquaintance with the Jewel is second-hand, we pass over this local element, while we accept his classification so far as it refers to structural affinities. In the spring of 1839, during some excavations in Thames Street, was discovered a fibula which happily passed straightway into the hands of Mr. Roach Smith, and he wrote a memoir upon it which may be seen in the _Archæologia_ for 1840, accompanied with a splendid illustration in colour and gold. It contains a bust in cloison-work enamel, and invites comparison with our Jewel more than any of those in the above list, probably more than any other extant specimen. It is now in the British Museum. Both the figure and the filigree are of superior workmanship to the Alfred Jewel, as if it were a later and more refined product of the same school. A French critic calls it Byzantine, and assigns it to the eleventh century[19]. So far about other extant specimens of enamel _cloisonnée_. This species of enamel rises like an island out of the broad level of the enamel _champlevée_, in which the plate was prepared for the vitreous deposit by scooping the pattern upon it. To this common method belong the older and more rudimentary enamels of the British horse-gear, correctly described by Philostratus, who will be quoted below. To this belong also the late enamels, for which during the thirteenth century Limoges was famous.