Though Ghirlandaio does not fill his pictures with dainty details like the intricate settings which Botticelli devised for the neck-pendants of the Graces in his "Primavera," yet he invariably pays careful regard to the representation of jewelled accessories. Such may be seen in the well-known portrait of Giovanna Tornabuoni (1488), belonging to Mr. Pierpont Morgan (formerly in the Kann Collection). She has two jewels: one, worn on her breast, is formed of a ruby in claw setting with a small beryl above, and hung with three pendent pearls; the other, specially introduced into the picture and lying beside her in a recess, is composed of a cluster of stones--a ruby surrounded by two pearls and three beryls--beautifully set, and surmounted by a winged dragon with a sapphire over its head. Resting upon a table in the foreground of another picture--a curious panel in the possession of Mr. George Salting--representing Costanza de' Medici, are several pins, three rings on a roll of parchment, and a pendant hung with three pearls and set with a large and a small sapphire. In the Pitti Gallery is a portrait, not by Domenico, but by his son Ridolfo Ghirlandaio, which may be here alluded to owing to the special interest of its subject. The portrait is that of a jeweller holding in his hand and gazing intently at what is presumably one of his own creations--a richly enamelled jewel fashioned in the form of a "pelican in its piety." [Illustration: Jewel, in Ghirlandaio's portrait of Giovanna Tornabuoni.] Concerning the jewellery of the great goldsmith of Bologna, Francesco Raibolini, called Francia, a considerable amount of information has been preserved. Born in 1450, he passed the best part of his life as a goldsmith, and not till he was upwards of forty did he abandon the goldsmith's art for that of the painter.[118] One of Francia's finest paintings is the "Felicini" altar-piece in the Bologna Gallery, executed in 1484 by commission of Messer Bartolomeo Felicini for the church of S. Maria della Misericordia in that city. Among the many splendid gifts this famous church had received was a jewel which the records say was set by Francia himself. Its beauty was held in such esteem, that by desire of the chapter the artist introduced it into his picture, where it can be seen hanging over the head of the Madonna. Its centre is occupied by a fine amethyst, and is bordered by deep blood-crimson enamel, with pearls at the angles. So carefully is every detail of this jewel painted, that a modern goldsmith has found no difficulty in copying it with absolute exactness[119] (Pl. XXV, 1). [118] Williamson (G. C.), _Francia_, pp. 2, 3, 21, 38. [119] For a photograph of this jewel, and for the information respecting it and the other works of this artist, I am indebted to the kindness of Dr. Williamson. [Illustration: _PLATE XXV_ FIFTEENTH-CENTURY PENDANTS, ETC. (ITALIAN AND FLEMISH)]