founder, and furnished not only models, but also skilful workmen, to all the monastic ateliers of Christendom which exclusively manufactured for the churches jewelled and enamelled plate. [Illustration: Fig. 110.--Ewer in Enamel, of Limoges, by Pierre Raymond.] However, the goldsmiths of Paris engaged in secular works continued to maintain themselves as a corporation; and their privileges, which they ascribed to the special regard of Dagobert for St. Eloi, were recognised, it is said, in 768 by a royal charter, and confirmed in 846 in a capitulary of Charles the Bald. These goldsmiths worked in gold and silver only for kings and nobles, whom the strictness of the sumptuary laws did not reach. The Dictionary of Jean de Garlande informs us that, in the eleventh century, there were in Paris four classes of workmen in the goldsmith’s trade--those who coined money (_nummularii_), the clasp-makers (_firmacularii_), the manufacturers of drinking-goblets (_cipharii_), and the goldsmiths, properly so called (_aurifabri_). The ateliers and the shop-windows of these last were on the Pont-au-Change (Fig. 111), in competition with the money-changers, who for the most part were Lombards or Italians. From that epoch a rivalry commenced between these two trade guilds, which only ceased on the complete downfall of the money-changers. [Illustration: Fig. 111.--Interior of the Atelier of Etienne Delaulne, a celebrated goldsmith of Paris, in the Sixteenth Century. Designed and engraved by himself.]