Henceforth one must look for designs chiefly to France, where an entirely new type of ornament for jewellery, such as is found in no other art production of the time, was brought into existence by endeavours to associate leaf patterns with a number of stones. Its characteristic is the use of a sort of pea-pod or husk ornament, termed _Schotenornamentik_ in German, and known generally by the French name of _genre cosse de pois_ (pea-pod style). In the designs of the time this formal ornament is largely employed for elaborate aigrettes; but owing to the jewels executed from such designs having been set with stones, the result has been that change of fashion has suffered scarcely a jewelled example to survive. As a consequence, the objects existing at the present day chiefly represent enamelled miniature-cases and pendants. The number and variety of engraved designs for this kind of ornament in the form of jewelled bouquets or palmettes, chiefly for aigrettes, dating from the first half of the seventeenth century is surprising, considering that it remained a comparatively short time in use. One of the chief advocates of this style is Pierre Marchant, who worked in Paris about 1623. His rare designs for aigrettes, and wreaths for the borders of pendants, are most graceful, and show a form of leaf ornament which is extremely happily adapted for materials in which the precious stone had to play a prominent part (p. 306). Another Frenchman who employed it is Pierre Labarre (1630), goldsmith to Louis XIV, who, together with a well-known jeweller, Julien Defontaine, had apartments in the Louvre. Amongst other French designers were Jacques Caillard (1627), Baltasar Lemersier (1626-1630), Claude Rivard (1592-1650), François Lefebure (1635-1661), and Gédéon Légaré (1615-1676), to whom as "orfévre-esmailleur," together with Pierre Bain, Louis XIV in 1671, on the suggestion of Colbert, granted quarters in the Louvre. Designs of the same nature were executed in Strasburg by P. Symony (1621) and Hans Mosbach (1626), and in Holland by Jacques Honervogt (1625). The foregrounds or bases of nearly all these engravings are remarkable for the landscapes and for the quaint and vigorous genre figures in the style of the painter-engraver, Jacques Callot, that enliven them.