These neck-chains, or collars as they were termed, soon began to receive additional enrichment, and the inventories of the fifteenth century contain frequent descriptions of necklets adorned with enamels and precious stones. Eleanor, Countess of Arundel (1455), bequeathed to her daughter "a golden collar for the neck, with a jewel set with precious stones hanging thereat." The fashion for rich necklaces was especially in vogue at the luxurious Court of the Dukes of Burgundy; nor had the Court of Richard II been behindhand in the display of this species of ornament, for the magnificent wedding presents of his wife, Isabella of France, included a collar of gold set with precious stones of immense value. The word _carcanet_ seems to have come into use about this time for rich necklaces of precious stones, and to have been applied a little later to the bands of jewels commonly entwined in ladies' hair. Though never so generally worn as in the sixteenth century, a considerable number of these jewelled ornaments are represented in the exquisite paintings of the fifteenth century. One of the most elaborate of all is the superb gold necklet, brilliantly enamelled with small and many-coloured flowers, shown on the portrait of Maria, wife of Pierantonio Baroncelli, in the Uffizi Gallery at Florence, by an unknown Flemish painter of the latter part of the fifteenth century. Close by, in the same gallery, is Van der Goes' celebrated triptych, presented to the Spedale di Santa Maria Nuova by Tommaso Portinari, agent of the Medici in Bruges. Upon the right wing is Maria, wife of the donor, with her daughter. The former wears a magnificent necklace of exquisite design, its interlacing goldwork shaped into the form of roses enamelled red, white, and blue, each set respectively with a sapphire, a ruby, and a large pearl. The latter is adorned with a necklace composed of a double row of pearls connected by oval jewelled ornaments; beneath is hung a trefoil-shaped pendant set with rubies, to which is attached a large drop-pearl (p. 117). A precisely similar ornament is seen in another work by Van der Goes, painted about 1473--the well-known portrait of Margaret, queen of James III of Scotland, now at Holyrood.[57] This picture was probably executed in Flanders from material supplied by the donor, and the artist appears to have adorned Queen Margaret with the same beautiful necklace, probably of Florentine workmanship, which he had seen round the neck of Signorina Portinari. [57] Shaw (H.), _Dresses and decorations_, Pl. 60.