For the counterpart of the artistic style of de Bry one must look to the Low Countries and particularly to the work of the engraver Hans Collaert (1540-1622), of Antwerp, who developed remarkable fertility in the production of patterns for jewellery. Collaert's designs require special attention, because of the tendency, elaborated largely by him and other engravers of the school of Antwerp, towards exuberant cartouche ornaments with a mixture of extravagant and loosely arranged strap-work, and stud -or boss-work. This style, full of grotesques and arabesques, pervaded the work of every craftsman of the day, and dealt a final blow to any further development of pure Renaissance ornament. Collaert's chief series of pendants, eleven in number, published in 1581 under the title _Monilium bullarum inauriumque artificiosissimæ icones_, are probably the best known of all designs for jewellery of this epoch. One of these engravings, in particular, has been several times reproduced. It is a large pendant hung from a cartouche and surmounted by a figure of Orpheus with a lyre, with two seated female figures. The rest of the jewel is made up of scroll ornaments and bracket-shaped terminal figures, and is hung with three drop pearls. This pendant is of peculiar interest in connection with its bearing on what has already been said with regard to the attributions given to Cinquecento jewellery. Two striking instances of misapplied attributions of this kind may be quoted. In one[127] work the engraving in question is described as: "Pendant par Benvenuto Cellini (Musée de Florence)"; and in another[128] as: "Gehänge in der Bibliothèque nationale zu Paris nach seinem [Cellini's] Model gearbeitet!" [127] Jannettaz, _Diamant et pierres précieuses_, p. 423. [128] Bucher, _Geschichte der technischen Künste_, II, p. 307.