History of mediæval art . namel and niello than inrelief. It can, however, by nomeans be assumed that evenenamels were limited to im-portations from Greece or tothe works of native-bornGreeks. This is true espe-cially of the so-called emailchampleve, or enamel upondeepened ground, which moreand more supplanted the old-er imail cloisonne, or enamelwith inlaid metal lines, andcame to be the prevailing in-dustry of the North in thisbranch. The former differsfrom the latter in that thepanels for the pigments arecut or beaten into the sheetof gold or copper. It firstappears in Germany in thecrucifi
History of mediæval art . namel and niello than inrelief. It can, however, by nomeans be assumed that evenenamels were limited to im-portations from Greece or tothe works of native-bornGreeks. This is true espe-cially of the so-called emailchampleve, or enamel upondeepened ground, which moreand more supplanted the old-er imail cloisonne, or enamelwith inlaid metal lines, andcame to be the prevailing in-dustry of the North in thisbranch. The former differsfrom the latter in that thepanels for the pigments arecut or beaten into the sheetof gold or copper. It firstappears in Germany in thecrucifix of the abbess The-ophanu, between 1039 anc^1054, in the Collegiate Church of Essen. In the email cloisonne,on the other hand, the colored panels were separated by solderedgold threads. This method was chiefly practised in the provincesof Cologne, Treves, and Lorraine, and was afterwards introducedinto Limoges. In connection with a number of excellent produc-tions in this branch the names of German artists are mentioned,. Fig. 278.—Ambo in the Choir of the Minster ofAix-la-Chapelle. GERMANY. 457 among them Eilbert of Cologne, who executed the portable altar inthe private treasury of the House of Hanover; Nicolaus of Verdun,the designer of the antependium in Klosterneuburg, and of the reli-quary of Tournai; and Henricus Custos of Siegburg, the artist ofthe shrine of Anno in Siegburg near Bonn. Niello, an engraving oflines upon a combination of metals on a flat surface, bearing somerelation to the Small champleve, seems to have been first employedin the portable altar of the treasury of the Cathedral of Paderborn,probably consecrated by Bishop Henry II. The chief opportunities for magnificent work in gold decoratedwith enamel and jewels were offered by the reliquaries. These weregenerally treated after the manner of the early Christian sarcophagi,
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