In medieval Western Europe "cloisonné" enamel technique was gradually overtaken by the rise of champlevé enamel, where the spaces for the enamel to fill are created by making recesses (using various methods) into the base object, rather than building up compartments from it, as in "cloisonné". This happened during the 11th century in most centres in Western Europe, though not in Byzantium; the Stavelot Triptych, Mosan art of around 1156, contains both types, but the inner cloisonné sections were probably gifts from Constantinople. Champlevé allowed increased expressiveness, especially in human fugures, and was also cheaper, as the metal base was usually just copper and if gold was used, it was generally to gild surrounding bare metal. In turn champlevé was replaced by the 14th or 15th century by painted enamels, once techniques were evolved that allowed the enamel to be painted onto a flat background without running. Limoges enamel was a great centre for both types.