Such is the extraordinary quality and extreme rarity of jewels of this type that attention must be drawn to yet two more examples: one in the Imperial Collections at Vienna, and the other in the Carrand Collection in the Bargello at Florence. The former is a jewel of quite remarkable character. Within the usual circle of gold wire is a pair of lovers standing side by side each holding the end of a wreath. The figures, dressed in Burgundian costume of the fifteenth century and enamelled with various colours, breathe the spirit of the mediæval _amourette_ as represented upon ivory mirror-cases and jewel-caskets and in miniatures of the twelfth to the sixteenth century. Between them is a triangular diamond set like the example in the British Museum, and below it a pale cabochon ruby. Around are five pearls (Pl. XX, 8).[99] The jewel at Florence (2 inches in diameter) has a border of green enamelled leaves set with pearls, and in the centre a finely modelled figure of a dromedary in white enamel. This brooch, which is in splendid condition, was perhaps intended to be worn, as were some other of these pieces, as an _enseigne_ on the hat or cap (Pl. XVII, 12). [99] This jewel once formed part of the treasure of the House of Burgundy, and came into the Imperial Collections through the marriage of Mary of Burgundy with the Emperor Maximilian I. Whatever may have been their nationality, a glance at each, from those in the British Museum to the one last described, is sufficient to determine the identity of their source of inspiration. All bear the stamp of the Flemish-Burgundian art, which throughout the fifteenth century dominated the creations of the goldsmiths, as well as the sculptors, miniaturists, and tapestry workers, of the entire west of Europe. Every one of these brooches is worthy of the most careful examination, particularly by the craftsman of the present day, for unlike the ornaments of more ancient times, they possess qualities which render them peculiarly appropriate to the circumstances of our later civilisation. In the refinement and simplicity of their arrangement and design these mediæval examples of the jeweller's art transcend many of the greatly admired and more famous jewels of the Renaissance. CHAPTER XVIII MEDIÆVAL RINGS AND BRACELETS Of all classes of mediæval jewellery finger rings have been preserved in the greatest number. Among the various causes that have contributed to this result must be reckoned their very general use in former times, their comparatively small value, which often saved them from the melting-pot and the fact that they were almost the only articles of value usually buried with the dead.