Искусства и ремесла Средневековья

Enaшel

107

prevent warping in tl1e fuгnace when the shrinkage took place. After each layer of colour tl1e whole plate was fired. In the fifteenth century these enaшels were popular and retained sоше sешЫаnсе of respect for the limitation of material; lateг, greateг facility led, as it does in most of tЬе arts, to а decadence in taste, апd florid pictures, with as many colours and shadows as would арреаг in an oil painting, resulted. Неге ашl there, wheгc special шetallic bгilliancy ,vas desiгed, а leaf of gold ,vas laid undeг tl1e соlош of sоше tгanspaг­ eпt епашеl, giving а decorative lustre. These Ьits of b1·illiant шetal were kno,vn as paillons. \Vhen Limoges had finally Ьесоше tl1e гоуаl шaпu­ factory of enamels, under Francis I., the head of the works was Leonard Liшousin, created " Valet de Chambre du Roi," to sho,v Ьis soveгeign's appreciation. Remarkable examples of the work of Leonai·d Liшousin, executed in 1547, аге the large figures of the Apostles to Ье seen in the church of St. Pierгe, at Chartгes, where they are ranged about the apsidal chapel. They are painted enaшels on copper sl1eets twenty-fонr Ьу eleveп inches, and аге in а ,vondeгful state of pгeseгvation. They were the gift of Henri II. to Diane de Poictieгs and were brought to Chartгes from the Chateau d'Anet. These enamels, beiпg on а white ground, have soшething the effect of paintings in Faience; the coloпring is deli­ cate, and they have occasional gold touches. А treatise Ьу William of Essex directs the artist how to prepare а plate fог а painted enamel,' such as wеге