European enamels . was themost active centre, and which, commencing aboutthe eleventh century, lasted till the finally we shall have briefly to mention thework done in Italy during the same period. The reign of Charlemagne was the first dawn ofa revived civilization for the west of Europe, andamong the arts that were then recreated, enamellingtook an important place. The movement existedin Germany, France, and Italy, but the character-istics of the art in all those places were verysimilar. The most distinct Byzantine influence istraceable, both in design and in methods of execu-
European enamels . was themost active centre, and which, commencing aboutthe eleventh century, lasted till the finally we shall have briefly to mention thework done in Italy during the same period. The reign of Charlemagne was the first dawn ofa revived civilization for the west of Europe, andamong the arts that were then recreated, enamellingtook an important place. The movement existedin Germany, France, and Italy, but the character-istics of the art in all those places were verysimilar. The most distinct Byzantine influence istraceable, both in design and in methods of execu-tion, leaving little doubt that the practice of the artwas derived from Byzantium. Many instances might be adduced of the actualcopying, by German twelfth-century artists, ofByzantine work. Thus at Mettlach in the CatholicChurch there is a large engraved metal plate copiedin the twelfth century from a reliquary of the HolyCross brought from Constantinople by Henry vonUlmen. The original is in the treasury of the58. PALIOTTO IN THE CHURCH OF ST. AMBROSE AT MILAN MEDIEVAL ENAMELS cathedral at Limburg and another copy is in thechurch of St. Matthias at Treves. The plate formsthe back of a reliquary containing a collection ofreliques arranged in rows like specimens in acabinet of natural history. The most interesting of the enamels of thisperiod is the Paliotto, in the Church of St. Ambrose,at Milan. This beautiful work is partly repoussesilver and partly enamel, and displays very clearlythe mixture of Byzantine and Italian consists of a four-sided altar covering, dividedinto compartments. In these are figures in reliefof our Lord and the twelve apostles, and scenesfrom the New Testament and from the life of thefamous prelate St. Ambrose of Milan. It is signedWolvinus, and dates from the early part of theninth century. The enamels are cloisonne on gold with white,blue, and green. There is some transparent red,but this is probably garnets let into the is no
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectenamelandenameling
