d" (by which we
see that he teaches the cloisonne method). "Cut small bands of
exceedingly thin gold," he continues, "in which you will bend and
fashion whatever work you wish to make in enamel, whether circles,
knots, or small flowers, or birds, or animals, or figures." He then
admonishes one to solder it with greatest care, two or three times,
until all the pieces adhere firmly to the plate. To prepare the
powdered glass, Theophilus advises placing a piece of glass in the
fire, and, when it has become glowing, "throw it into a copper vessel
in which there is water, and it instantly flies into small fragments
which you break with a round pestle until quite fine. The next step
is to put the powder in its destined cloison, and to place the whole
jewel upon a thin piece of iron, over which fits a cover to protect
the enamel from the coals, and put it in the most intensely hot part
of the fire." Theophilus recommends that this little iron cover be
"perforated finely all over so that the holes may be inside flat and
wide, and outside finer and rough, in order to stop the cinders if by
chance they should fall upon it." This process of firing may have
to be repeated several times, until the enamel fills every space
evenly. Then follows the tedious task of burnishing; setting the
jewel in a strong bit of wax, you are told to rub it on a "smooth
hard bone," until it is polished well and evenly.

Benvenuto Cellini recommends a little paper sponge
to be used in smoothing the face of enamels. "Take a clean nice piece
of paper," he writes, "and chew it well between your teeth,--that
is, if you have got any--I could not do it, because I've none left!"

A celebrated piece of goldsmith's work of the tenth century is
the Pala d'Oro at St. Mark's in Venice. This is a gold altar piece
or reredos, about eleven feet long and seven feet high, richly
wrought in the Byzantine style, and set with enamels and precious
stones. The peculiar quality of the surface of the gold still lingers
in the memory; it looks almost liquid, and suggests the appearance
of metal in a fluid state. On its wonderful divisions and arched
compartments are no less than twelve hundred pearls, and twelve
hundred other precious gems. These stones surround the openings
in which are placed the very beautiful enamel figures of saints
and sacred personages. St. Michael occupies a prominent position;
the figure is partly in relief. The largest medallion contains
the figure