This head-ornament is known as the _ferronnière_; and the origin of its title is somewhat peculiar. There is in the Louvre an attractive and greatly admired portrait of a lady, with her hair held in place by black cord supporting a diamond in the middle of the forehead. For many years the portrait was entitled "La Belle Ferronnière," having been erroneously considered to be that of the blacksmith's wife (ferronnière) whose beauty enthralled Francis I in his declining years. It is now generally held to be a portrait of Lucrezia Crivelli, mistress of Ludovico Moro, Duke of Milan. The name of the painter is a matter of dispute, though the work is still ascribed, as it has long been, to Leonardo da Vinci. At the beginning of the nineteenth century, when the Romantic movement was at its height, a similar ornament was revived, and received its present name under a misconception of the subject of the picture. In the sixteenth century this simple ornament is abandoned, and it was the painter's task to depict magnificent coiffures like those of Veronese's ladies, sprinkled with jewels and entwined with ropes of pearls. As regards the ornaments for the neck, the changes of fashion in the two periods and the artistic mode of expressing the fashion demanded a different style of jewellery. The slender neck which is displayed in the portraits of the earlier period required lighter ornaments than did the massive forms of the later. "The artist no longer trifled with single gems, hanging on a thread, but painted a solid chain, and the light, close-fitting necklace becomes pendent and heavy."[120] The distinct refinement exhibited in Italy in the fifteenth and early sixteenth centuries did not demand a great profusion or variety of jewellery. As the pendent ornament for the neck-chain, a simple jewel formed by one stone in the centre and smaller stones or four pearls around seems in most cases to have been sufficient. Circular pendants of niello-work surrounded by silver-gilt bands of corded ornament were much in use, and a small number, dating from about 1460 to 1530, have survived. They sometimes bear a religious subject (Pl. XIX, 4). But not infrequently the head of a lady is represented in profile, generally with a flower under her nose; and it is possible that these were worn by men as a pledge of affection from their lady-love. Finger rings with somewhat similar designs were also worn (Pl. XXIII, 16). [120] Wölfflin (H.), _The art of the Italian Renaissance_, p. 234.