[Fig. 129], a plaque forming the cover of an evangelium, is a characteristic example of this class of enamel. It dates from the early thirteenth century, and is a production of the ateliers founded at Limoges by the monks of Solignac.
129. ENAMEL OF THE THIRTEENTH CENTURY. PLAQUE COVER OF AN EVANGELIUM. HEIGHT 72/16 IN., WIDTH 611/16 IN.
The reliquary figured [No. 130] is also a work of the Limousin enamellers. The methods employed are identical, but the carving of the figures is less delicate, indeed almost rudimentary, the modelling being replaced by hasty strokes of the graver. The lower panel of this reliquary represents the martyrdom of Thomas à Becket, Archbishop of Canterbury, the upper part his apotheosis. It is crowned by a ridge roof of two sides.
130. ENAMEL OF THE TWELFTH CENTURY. RELIQUARY SHRINE OF ST. THOMAS À BECKET
As is well known, Thomas à Becket was canonised two years after his tragic death, which had aroused general reprobation throughout Christendom. The universal feeling expressed itself at Limoges by the manufacture of a great number of reliquaries destined to receive relics of the sainted martyr.
In the details of the draperies and hands of those portions of [Fig. 129] which are carved in low relief, we may trace the germs of those low-relief enamels known as translucent, or to be more exact, transparent enamels. This process originated in Italy, and was commonly employed in France, and
even in Germany throughout the fourteenth and fifteenth centuries, more especially the latter. These enamels could only be executed on gold and silver. The method consisted in modelling the design in very low relief on the face of the plate, which was then covered with a transparent enamel of few colours. The process was a slow and difficult one; the pieces were consequently very costly, and the demand for them proportionately restricted.
131. ENAMEL OF THE SIXTEENTH CENTURY. OUR LADY OF SORROWS