. Enamels . peciallypleasing. Much enamel work was made in Russia duringthe seventeenth and eighteenth centuries andlater; the work, which is generally in cloisonne,can be studied in the British ^vluseum and also atSouth Kensington, where is shown a large chan-delier of the second half of the seventeenthcentury, of coarse work and of no great interest,though it would possibly look better in the churchit was intended for than among the more delicatehistorical work among which it is now colours—blue, black, and yellow, raw andcold—are on a white ground. There are alsoRussian enamels i
. Enamels . peciallypleasing. Much enamel work was made in Russia duringthe seventeenth and eighteenth centuries andlater; the work, which is generally in cloisonne,can be studied in the British ^vluseum and also atSouth Kensington, where is shown a large chan-delier of the second half of the seventeenthcentury, of coarse work and of no great interest,though it would possibly look better in the churchit was intended for than among the more delicatehistorical work among which it is now colours—blue, black, and yellow, raw andcold—are on a white ground. There are alsoRussian enamels in silver filigree, and at thepresent day many spoons are made by them inplique a jour enamel. A really beautiful exampleof Russian enamelling is the large tea-urn givenby the late Czar to Sir Colin Scott Moncrieff, anelaborate piece of work covered with very finecloisonne enamelling, on both gilded metalbody and dainty cups attached. Speaking frommemory, this has some very fine blue enamel, and PLATE VII. l-RNDANT JEWEL OF , ) AND ORNAMENTEDWITH IKECIOUS STONES. ITALIAN. SIXTEENTH CENTUKY INTRODUCTION 41 resembles Chinese cloisonne more than other Russian work in this country. ^ There are a number of jewels at South Kensing- oft^^^^^^^ton from Spain which are enamelled, many of thesefrom the Treasury of the Church of the Virgindel Pilar at Saragossa, several showing the littleenamelled figure of the Virgin with the were made in Spain in the sixteenth,seventeenth, and eighteenth centuries. Thereare also bowls, ewers, and basins of copper inthe Imperial Institute. These are Turkish, andhave applied medallions of champleve and tracesof a coarse kind of enamel. Here also are Albanian, Algerian, Syrian, andmany other cloisonne enamels of the eighteenthcentury. Indeed, nowhere more than here wouldone feel that enamelling is truly an art whichbelongs to all people the world over. We will proceed in the following chapters todescribe some of the differ
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