By far the most extensive collection of mounted cameos is preserved in the Bibliothèque Nationale at Paris. The majority of these jewels which follow the cartouche form are presumably of French fabrique, though a decision as to their precise provenance is here, as ever, a matter of considerable difficulty. Among brooches or medallions for the hat, whose purpose is clearly indicated by the presence of a pin or holes for attachment, the most noticeable are four, numbered respectively 595, 465, 513, and 1002. The first, bearing the head of a negro in agate, encircled with a band of rubies, has an outer border of open scrollwork, of white, heightened with red enamel. On each side and below is a table diamond; and above, a crown set with triangular faceted diamonds (Pl. XXIX, 4). Lack of space precludes detailed reference to the other three _enseignes de chaperon_. They are equally attractive, both on account of their design and the high quality of their workmanship. Those unable to afford such costly ornaments wore hat-brooches or medallions in cheaper materials, either bronze or copper. These were cast or stamped, and not, like the more magnificent enseignes of gold, executed by the repoussé process. The work of the earlier medallists was produced by means of casting, the medallions being afterwards delicately chased. From the beginning of the sixteenth century, medallists, who, it may be remembered, were mostly jewellers and gem-engravers as well, executed engraved dies, from which their medallions were struck instead of cast. The majority of smaller medallions so generally worn as hat-badges were multiplied by the newer process of stamping, and pierced with holes for attachment to the head-dress. They were afterwards gilded and occasionally enriched with enamel. Further information about the cheaper class of enseignes is met with in Bernard Palissy's _Art de la terre_, according to which the enamellers of Limoges, owing to competition, had to supply figured hat-badges at _trois sols la douzaine_. "Which badges were so well worked and their enamels so well melted over the copper that no picture could be prettier." Brooches of even cheaper materials are alluded to by Shakespeare in _Love's Labour's Lost_, when Biron and Dumain, ridiculing Holofernes, who acts as Judas in the pageant of the Nine Worthies, exclaim:-- _Biron._ Saint George's half-cheek in a brooch. _Dumain._ Ay, and in a brooch of lead. _Biron._ Ay, and worn in the cap of a tooth-drawer.