_Repoussé._ This term is applied to the base of those objects wherein the ornament is beaten out, in silhouette as it were, in the metal and the details marked by cloisons let in. Much of this work is easily mistaken for champlevé, but where the pattern is scooped out in champlevé, it is beaten out in repoussé. One who has visited the treasury of St. Mark’s in Venice will recall that the plaquettes from a Gospel cover to be found there were executed in repoussé--the pattern simply hammered in the silver, which afterward was filled with translucent enamel. In Oriental repoussé work the metal divisions between the fields of enamel are beaten up, the reverse of the process just described. In modern Chinese enamel-work the repoussé process has superseded champlevé for effects of the sort. _Basse Taille._ This is the process of engraving the ground, which is to receive translucent enamel, so that the lines made by the graver will show up through the translucent vitrified coating and produce a greater play of light, or define patterns, the veining of leaves, the marking of petals, the lines of draperies, etc. The French enamelers of the eighteenth century habitually employed the process, and Indian enamelers preceded them by at least a century, while its invention is ascribed to an Italian, John of Pisa, in 1286. This chasing or engraving upon gold or silver for the purpose of showing graduation in the vitreous color to be applied is akin to champlevé. _Plique à Jour._ Enamels of this sort consist of certain screen-like objects in filigree with their unbacked cloison divisions filled up with translucent enamel. _Plique à Jour_ enamel may be compared to stained-glass windows, the principle being the same, only carried out on a miniature scale. An excellent example of this is a fifteenth-century cup in the Victoria and Albert Museum, while the Crown of St. Stephen, dating from 1072 A.D., would appear to be the earliest known work of the sort that has survived. The Russians of the nineteenth century so perfected the process that _plique à jour_ enamel is often called Russian enamel. Doubtless the forming of cups, caskets, and other precious objects of gems in unbacked mosaic suggested the style, and the jeweled cup of Chosroes to be seen in the Bibliothéque Nationale, Paris, may well be considered a forerunner of it. _Encrusted Enamel._ This may be defined as enamel used to enrich raised and modeled gold-work where this vitreous color is neither entrenched, as in cloisonné or in champlevé, nor painted, like Limoges work, on a flat field. The craftsmen of the Renaissance, both in Italy and in France, produced exquisite jewels of encrusted enamel, imitated by the Florentine jewelers of to-day who display their wares along the shops of the Ponte Vecchio. Painted enamels in this group may be sub-divided as follows: