The forms of the necklaces and jewelled neck-chains differ so much that the reader must be referred to the various collections of this country and the Continent. Occasionally necklaces of chain formation or of plaited wire are set with stones, but of more frequent occurrence are those where every single link shows a special development of a bijou kind. In the Renaissance necklace every link is for the most part treated as a symmetrical composition, either cartouche-shaped or of pendent form. Hence it happens that in collections, as Herr Luthmer suggests,[159] single links of this kind may occasionally be found incorrectly classified under the title of "pendants." Those in existence display a variety of very remarkable formations, for seldom are the links exactly alike: generally a large and a small motive are arranged alternately--a larger and more richly decorated central link being inserted into the middle of the chain for the purpose of supporting or introducing the rich pendent jewel. To this type belongs one of the most noteworthy necklaces in existence, which now forms part of the Adolphe Rothschild Bequest in the Louvre. It is of gold set with pearls and precious stones, and is composed of twenty-two open-work links and a pendant, all enamelled in relief, the eleven larger links and the pendant containing each in separate compositions a story from the history of the Passion. The groups of figures are of wonderful execution, and in spite of their minute proportions are singularly expressive, being worked in a delicate and at the same time most resolute manner. When exhibited by the Countess of Mount Charles at the Jewellery Exhibition at South Kensington in 1872, the jewel was thus referred to: "This superb specimen of Italian Cinquecento work has been attributed to Benvenuto Cellini, and is at least as good as anything extant known to be by his hand." This cautious observation need not disconcert one; for the jewel is too closely allied in style and workmanship to the jewellery of South Germany of the second half of the sixteenth century to permit of such attribution. Nevertheless it must certainly be reckoned among the most elaborate examples of Cinquecento jewellery that have come down to us. [159] Luthmer, _Gold und Silber_, p. 100. The great display of necklaces and long neck-chains ceased about the middle of the seventeenth century. In common with other similar objects they entirely disappeared in England during the Protectorate; nor were they ever worn again in any greater profusion than they are at the present day. [Illustration: Design for a pendant by Jacques Androuet Ducerceau.] CHAPTER XXVII RENAISSANCE NECK-PENDANTS