Necklaces of light open-work design are set with diamonds or coloured stones. These seldom have a special pendant; they were, in fact, fast disappearing to make room for rows of pearls. Jewelled pendants, often consisting of two or more mobile parts, were frequently attached to a velvet band that closely encircled the throat. More important pendants of this period are those which take the forms of mounted engraved gems or enamelled portraits, or else of miniature cases or lockets beautifully enamelled. The finest series of mounted gems is that in the Bibliothèque Nationale at Paris. Some of the mounts are executed in the "pea pod" style in open-work; others are ornamented with champlevé enamel, after the niello designs in the silhouette manner; others again are of natural flower designs in painted enamel. There is a noteworthy example at Paris of the pea-pod style--a cameo (No. 791) of Louis XIII as an infant. It is in an open-work frame of opaque enamel--black, dark green, and white--of about 1605, which bears a very close resemblance to one of the published designs of Pierre Marchant. In the Gem Room of the British Museum is a still finer example, and one of the most splendid jewels from the famous Marlborough Collection. It is of open-work, enamelled white and green: the husks or pods, set each with a small diamond, are in green, and the little pea ornaments issuing therefrom are in white enamel (Pl. XLIV, 17). The work dates from the first years of the seventeenth century. The gem it serves to enrich, a fine onyx cameo of Lucius Verus, is slightly earlier. The choicest example of painted enamel of flower design in open relief is certainly the mounting or frame of a magnificent pendant (No. 961) in the Bibliothèque Nationale, set with a cameo of Lucrezia de' Medici, wife of Alfonso II, Duke of Ferrara. This frame, quite unmatched for its taste and skill, is formed of a garland of flowers, open-worked, and enamelled in the utmost delicacy with white, pale yellow, and light green enamel, heightened with reddish touches (Pl. XLIII, 6). Among other jewels of the same style, of which there are quite a number, one may mention the setting of an antique Roman cameo (Pl. XLIV, 15), and the reverse of the onyx "George" of Charles II (Pl. XXVIII, 1) both English work, at Windsor Castle[177]. Besides the two beautiful examples of his work already noticed (p. 288), it is usual to associate with Gilles Légaré the frame of birds and flowers, enamelled black and white, that surrounds Petitot's portrait of Louis XIV in the Jones Collection at South Kensington. The designs of Vauquer, also, seem to have been followed in many similar kinds of enamelled jewels. [177] These are described in the _Connoiseur_, V, p. 243. [Illustration: _PLATE XLIII_ SEVENTEENTH CENTURY ENAMELLED MINIATURE CASES, LOCKETS, ETC.]