* * * * * And now to gather up the results of this chapter. We have found more than one reason to think that our Enamel was an insular, and not a continental product. This conclusion was reached by two different paths, first when we were tracing the technical history of the fabrication, and again when we were seeking the spiritual meaning of the design; by these two widely different lines of evidence we were led severally and independently to infer a British rather than a foreign origin for the Figure[29]. This inference was further confirmed by a third evidential process, arising out of the sympathy of meaning which appears to unite the enamelled Figure with the engraved device upon its back-plate. This led us to question the long-established doctrine of duality of origin which rested upon the authority of Sir Francis Palgrave, and to infer that the whole composition of the Jewel had been projected and devised by a single mind. Finally, we found reason to think that all these features harmonized well with the mind and character of a person with whose name the Jewel is already connected by the Epigraph; and if anything was yet wanting to complete the identification of that person, it seems to be supplied by certain traces of inward affinity between the symbolism of the Jewel and that of the epilogue to the translation of the _Pastoral Care_, one of the surest monuments of the mind of king ALFRED. [16] For the etymology: _enamel_ is a compound of the simple _amel_, which is now obsolete. This was an anglicized form of French _émail_, which in Old French was _esmal_, whose cognates were Provençal _esmalt_, Spanish and Portuguese _esmalte_, Italian _smalto_ (used by Dante), which, in medieval Latin, was _smaltum_. The source is Old High German *_smaltjan_, our verb _to smelt_, i.e. to fuse by heat (New English Dictionary, v. AMEL). [17] It is figured in the _Dictionary of Christian Antiquities_, v. Crown. [18] These eight plates have been reproduced by M. de Linas in his _Histoire du Travail à l’Exposition universelle de 1867_, p. 125. [19] _Notice des Émaux, &c., du Musée du Louvre_, par M. de Laborde, 1857, p. 99. [20] Philostratus, _Icones_, i. 28:—the horsemen are described as—ἀργυροχάλινοι καὶ στικτοὶ καὶ χρυσοῖ τὰ φάλαρα. Ταῦτά φασι τὰ χρώματα τοὺς ἐν ὠκεανῷ βαρβάρους ἐγχεῖν τῷ χαλκῷ διαπύρῳ, τὰ δὲ συνίστασθαι καὶ λιθοῦσθαι, καὶ σώζειν ἃ ἐγράφη. [21] Augustus W. Franks, ‘Vitreous Art,’ p. 14 in _Art Treasures of the United Kingdom_, a book which was brought out in connexion with the Manchester Exhibition of 1857. [22] Mr. Arthur Evans recognizes a Keltic physiognomy in the eyes of the _icuncula_; but for me the eyes are as if they were not, being so much sunk out of their place, that through infirmity of sight I am unable to verify them. [23] Appendix B. [24] Appendix C.