(A) Those works which have vitreous colors added here and there to subdue, to correct, or to outline and decorate enamel surfaces, such as the pale yellows added to soften glaring whites, red to restore a color unsuccessful in the firing, outlines of plants and other forms and inscriptions. Used in combination with both cloisonné and champlevé, and later to add further decorations to basse taille surfaces. (B) Those works painted with successive firings of translucent or transparent colored enamels over a primary enamel ground that first has been fused to its metal field of gold, silver, or copper. Limoges enamels of this sort, whether in color or in grisaille (gray), as also are the much-neglected enamels known as Venetian enamels. * * * * * So much for the general broad divisions of enamels, though it must be borne in mind that there was often employed in the working out of a single object more than a single process. As color plays so important a part in the evolution of the history of enamels, the following table may prove useful to the collector as determining the more important colors of the enameler’s palette at different periods in the history of the art: COLORS AND PERIODS _Greek Work._ The colors used by the Greeks were opaque white, blue, and green. _Barbaric Work._ British, Gallic, Celtic, and Roman-Provincial enamelers used scarlet, cobalt blue, dark green, yellows through light shades to orange and to ochre; white, black, and possibly turquoise. _Early Byzantine Work_ employed opaque scarlet, coral, white, black, and translucent sapphire blue, emerald, green, ruby red, and manganese violet. _Later Byzantine Work._ Added to the above colors, toward the eleventh century, cobalt blue and turquoise, pale yellow, and a flesh tint. _Early Limoges Work_ relied upon blue, green, red, with purple and iron gray, and the lighter half-tones known before the twelfth century. _Later Limoges Work._ Its full palette is composed of deep blue to lapis blue and light blue; scarlet, a red approaching chocolate, green, greenish yellow, white, and a semi-translucent manganese purple. In thirteenth-century work blue is the dominating color. The twelfth-century translucent colors give way to the consistent use of opaque ones in the years following. _Germanic Work._ This contains less cobalt blue, but employes the colors of the Limoges workers, introducing, however, a great deal of turquoise and much more green and pale yellow than the French enamelers used. The German enamelers were fond of black, also.