These individual jewelled ornaments, which it was the practice to sew on the dress at regular intervals by way of trimming, may be treated as distinct from ornamentation which formed part of the actual costume, such as masses of pearls and precious stones, with which dresses were literally loaded. Individual jewels often took the form of the monogram, crest, or device of the owner, in pure gold richly decorated. A curious instance of this custom has already been alluded to in connection with what occurred during the masque given by Henry VIII at Westminster. The fashion for wearing ornaments in the form of jewelled initials was still in vogue on the quilted dresses of the time of James I. Anne of Denmark is represented in her portraits wearing them both on her ruff and in her hair, and a "jewel, in form of an A and two CC, sett with diamonds" and others of similar kind are to be found in the lists of jewels supplied to the Queen by George Heriot. Except occasionally for buttons, the chief means employed for fastening the garments was by _aigulets_ or _aglets_. These ornamental loops or eyelets, formed of cords terminating with goldsmith's work, were movable and were changed from one dress to another according to pleasure. They are seen in pictures hanging not only from slashes and various parts of the garments, but also from the cap; and Henry VIII is described as wearing a cap ornamented with gold enamelled tags. His daughter, the Princess Mary, was supplied in 1542 by her jeweller, Mabell, with two dozen pairs of _aglets_. Mary Stuart had a number, such as: "Soixante cinq esguillettes dor facon de cheuilles sans esmail," "Soixante une esguillettes dor et de perle esmaillez de rouge," and "Quatre vingtz dixhuict esguillette dor esmaillez de blanc et noir." Queen Elizabeth possessed several sets, of different colours and patterns--some gold enamelled white, some blue, others purple, and some enriched with pearls and precious stones. These jewelled aglets are now extremely rare, and are not represented in any public collection. [Illustration: Design of a bracelet by Jacques Androuet Ducerceau.] CHAPTER XXIX RENAISSANCE GIRDLES AND GIRDLE PENDANTS (MIRRORS, BOOKS, WATCHES, SCENT-CASES, AND POMANDERS) The girdle is an important ornament in the dress of the Renaissance. From the beginning of the sixteenth century it differs considerably from the mediæval pattern already discussed. In place of the stiff hoop about the hips, it was worn loosely across the body from above the right hip down towards the left thigh, where the upper garment was passed over it in a light fold. At this point was the clasp, from which hung numerous small articles necessary to the active housewife. Another style of wearing it, which appears to have been adopted for more sumptuous dress, was one where it more firmly encircled the body, and from a clasp in front, hung down in a long end, terminating in a special ornamental appendage--a scent-case or pomander.