But that our space forbids, the necklace worn by nuns might lead us to a dissertation on the religious uses of this ornament; but we must briefly glance at its secular history in modern times, when its most powerful spells have been those of fashion. Coming down to the seventeenth century, we find the necklace quite as much in vogue as in the reign of Elizabeth: in Massinger's "City Madam," after her husband's knighthood, we find her brother observing to the lady, "Your borrowed hair, Powdered and curled, was by your dresser's art Formed like a coronet--hang'd with diamonds, And richest orient pearls--your carkanet, That did adorn your neck, of equal value;" so that the love of gems and jewellery was by no means on the decline. In the picture of Charles and his queen, in "Heath's Chronicle," (1662), Catherine of Braganza wears two necklaces, one clasping the throat, and the other, to which a pendent is attached, falling low on the shoulders. Planché tells us that in Mary's reign, jewelled necklaces sparkled on the bosom, a fashion continued in that of her sister Anne of Denmark, who is usually drawn wearing one. With the accession of George III., the maudlin sentimentality of the belles and macaronies of the period gave the name of _esclavage_ to the necklace then in fashion, which consisted of several rows of gold chains, or beads, or jewels, arranged one under the other in successive festoons, so as to cover the entire neck. This was again displaced by the carcanet, or band of jewels set in gold, and we ourselves remember the _négligé_, with its tasselled ends falling gracefully beneath the throat; since then the necklace has gradually grown into disuse, so that our friend's information, that short golden ones were again in fashion, sounded pleasantly as news of an old acquaintance. GODEY'S COURSE OF LESSONS IN DRAWING. LESSON III. [Illustration: Fig. 23.]