The first attempts to base the composition of the ornament exclusively upon the effect of stones arranged in definite forms, without granting the setting of the plastic metal any independent part, are found in some of the prints of Daniel Mignot, of the year 1590. Mignot, probably of French extraction, was a goldsmith of Augsburg, where between the years 1590 and 1616 he produced a number of highly important designs for jewellery, which form a link between the old and the newer styles. While following the artists of the late sixteenth century in the representation of figure designs in cartouche-shaped ornaments formed of flat strapwork curves characteristic of the older school, he presents engravings of pendants, earrings, and aigrettes, in which the stones are set in juxtaposition. [Illustration: _PLATE XXXIX_ ENGRAVED DESIGNS FOR JEWELLERY BY DANIEL MIGNOT] That the transition to the newer forms was slow, is shown in the works of the goldsmith-engraver of Amsterdam, whose models for pendants, signed with the initials P. R. K., and dated 1609 and 1617, are formed of elaborate open scrollwork of tendril design, almost destitute of stones. Exhibiting features more in keeping with those of Mignot are the designs of Paul Birckenhultz of Frankfort-on-the-Main (1617). They are of fine quality, and take the form of aigrettes and earrings set with precious stones and elaborate oval pendants terminating with pearls and ornamented with scroll ornaments intended for execution in enamel (Pl. XL, 4). Birckenhultz is the last of the German school of designers to model his work on the productions of the sixteenth-century masters.