The design of a few of these pendants is based upon the prevailing custom of wearing initials of the name either in embroidery or in pure gold attached to the garments. Some curious instances of this fashion are recorded by Hall, particularly in his graphic account of what took place at a masque given by Henry VIII at his palace at Westminster. Upon the King's invitation to divide the rich garments of the maskers sewn with letters of "fine and massy gold in bullyon as thicke as they might be," which generally went as largess to the ladies, a rabble of citizens, who were allowed to look on, broke in, and "ranne to the Kyng and stripped hym into his hosen and dublet, and all his compaignions in like wyse. Syr Thomas Knevet stode on a stage, and for all his defence he lost his apparell. The ladies like wyse were spoyled, wherfore the Kynges garde came sodenly, and put the people backe, or els it was supposed more inconvenience had ensued." So pure was the gold of which these letters were composed that it is recorded subsequently that a "shipeman of London who caught certayn letters sould them to a goldsmyth for £3. 14. 8"--quite a considerable sum in those days. In the same way jewelled initials were also frequently worn in the form of pendants and a jewelled B can be seen hanging from the neck of Anne Boleyn in her portrait in the National Portrait Gallery. Holbein's drawings contain several beautiful instances of this type of design, generally completed with three pendent pearls. One of them has a monogram of the initials R and E in chased and engraved gold set at the four corners with two rubies, an emerald, and a diamond. Another has the letters H and I (probably for Henry and Jane Seymour) with an emerald in the centre; and a somewhat similar jewel, formed of the sacred monogram, is worn by Jane Seymour in her portrait by Holbein at Vienna. The designs for the larger pendants, mostly circular or lozenge-shaped, are set with sapphires, diamonds, rubies, and pearls, and terminate with large pear-shaped pearls. The spaces between the stones are filled with chased or enamelled arrangements of scroll or leaf work. The smaller jewels, which might also have been worn as enseignes or badges on the hat, or as brooches, are of open goldwork with leaf or ribbon ornament set with stones and pearls. They include a very beautiful design of a half-length figure of a lady in the costume of the period holding between her hands a large stone, upon which is the inscription WELL LAYDI WELL (Pl. XXVI, 9). The fifteenth-century traditions seem to have influenced Holbein in the design of this jewel, which at once calls to mind the Flemish-Burgundian brooches (an example of which, in the British Museum, has already been mentioned) ornamented with similar figures, full-faced, and holding a large stone before them.