ground, stage by stage, in white, leaving the chiaroscuro to be determined by the effect of the ground showing through. Shading was often further emphasized by black lines or hatchings. The resulting gray tone gives the style its name. Later, relief from the monotony of gray was found by the addition of one or two tints, such as flesh tint, as may be seen in the work of Jean Pénicaud, Pierre Raymond, and Léonard Limousin. Perhaps Pierre Raymond distinguishes himself as exhibiting the finest color sense, though he may not have possessed Léonard Limousin’s qualities of bold and direct handling. This latter artist, who worked from 1532 to 1574 and advertised himself in a little panel introduced into one of his works as “Enameller and Painter to the Chamber of the King,” was a consummate portraitist, and executed some splendid portraits in enamel. Any one who is acquainted with Italian faience will be struck by the relationships in effect between maiolica ware and Limoges enamels.