There are various accounts of how Finiguerra, who was a worker in niello in Florence, discovered by its means the art of steel engraving. It is probably only a legendary narrative, but it is always told as one of the apocryphal stories when the origin of printing is discussed, and may not be out of place here. Maso Finiguerra, a Florentine, had just engraved the plate for his famous niello, a Pax which is now to be seen in the Bargello, and had filled it in with the fluid enamel, which was standing waiting until it should be dry. Then, according to some authorities, a piece of paper blew upon the damp surface, on which, after carefully removing it, Maso found his design was impressed; others state that it was through the servant's laying a damp cloth upon it, that the principle of printing from an incised plate was suggested. At any rate, Finiguerra took the hint, it is said, and made an impression on paper, rolling it, as one would do with an etching or engraving.
In the Silver Chamber in the Pitti Palace is a Pax, by Mantegna, made in the same way as that by Finiguerra, and bearing comparison with it. The engraving is most delicate, and it is difficult to imagine a better specimen of the art. The Madonna and Child, seated in an arbour, occupy the centre of the composition, which is framed with jewelled bands, the frame being divided into sixteen compartments, in each of which is seen a tiny and exquisite picture. The work on the arbour of roses in which the Virgin sits is of remarkable quality, as well as the small birds and animals introduced into the composition. In the background, St. Christopher is seen crossing the river with the Christ Child on his back, while in the water a fish and a swan are visible.
In Valencia in Spain may be seen a chalice which has been supposed to be the very cup in which Our Saviour instituted the Communion. The cup itself is of sardonyx, and of fine form. The base is made of the same stone, and handles and bands are of gold, adorned with black enamel. Pearls, rubies, sapphires, and emeralds are set in profusion about the stem and base. It is a work of the epoch of Imperial Rome.
In England, one of the most perfect specimens of fine, close work, is the Wilton Chalice, dating from the twelfth century. The Warwick Bowl, too, is of very delicate workmanship, and both are covered with minute scenes and figures. One of the most splendid treasures in this line is the crozier of William Wyckham, now in Oxford. It is strictly national in style.
The agreement entered into between Henry VII., and Abbot Islip, for the building of the chapel of that king in Westminster, is extant. It is bound in velvet and bossed with enamels. It is an interesting fact that some of the enamels are in the Italian style, while others are evidently English.
Limoges was the most famous centre of the art of enamelling in the twelfth century, the work being known as Opus de Limogia, or Labor Limogiae. Limoges was a Roman settlement, and enamels were made there as early as the time of Philostratus. Champlevé enamel, while it was not produced among the Greeks, nor even in Byzantine work, was almost invariable at Limoges in the earlier days: one can readily tell the difference between a Byzantine enamel and an early Limoges enamel by this test, when there is otherwise sufficient similarity of design to warrant the question.
Some of the most beautiful enamels of Limoges were executed in what was called basse-taille, or transparent enamel on gold grounds, which had been first prepared in bas-relief. Champlevé enamel was often used on copper, for such things as pastoral staves, reliquaries, and larger bits of church furniture. The enamel used on copper is usually opaque, and somewhat coarser in texture than that employed on gold or silver. Owing to their additional toughness, these specimens are usually in perfect preservation. In 1327, Guillaume de Harie, in his will, bequeathed 800 francs to make two high tombs, to be covered with Limoges enamel, one for himself, and the other for "Blanche d'Avange, my dear companion."
An interesting form of cloisonné enamel was that known as "plique à jour," which consists of a filigree
| ITALIAN ENAMELLED CROZIER, 14TH CENTURY |
setting with the enamel in transparent bits, without any metallic background. It is still made in many parts of the world. When held to the light it resembles minute arrangements of stained glass. Francis I. showed Benvenuto Cellini a wonderful bowl of this description, and asked Cellini if he could possibly imagine how the result was attained. "Sacred Majesty," replied Benvenuto, "I can tell you exactly how it is done," and he proceeded to explain to the astonished courtiers how the bowl was constructed, bit by bit, inside a bowl of thin iron lined with clay. The wires were fastened in place with glue until the design was complete, and then the enamel was put in place, the whole being fused together at the soldering. The clay form to which all this temporarily adhered was then removed, and the work, transparent and ephemeral, was ready to stand alone.