The pendent miniature-cases or lockets of the seventeenth century are of great interest. The best example of those enriched with champlevé enamel is the Lyte Jewel (p. 303). The "pea-pod" style is well shown on the back of a miniature-case containing a female portrait by Peter Oliver (1601-1647) in the Dyce Collection at South Kensington (Pl. XLIII, 2). It is enamelled _en plein_ with translucent green on a ground of matted gold, with the pea-pod pattern in white, after an engraved design by the French ornamentist Pierre Firens (1605-1625). This same style of ornament is seen on a miniature-case _émaillé en résille sur verre_[178] belonging to Mr. Pierpont Morgan. Enamel-work after the silhouette engravings of the same period is represented by one of its principal exponents, Jean Toutin of Châteaudun (1618), on the front and back of a miniature-case (Plate XLIII, 1) in the possession of Mr. Pierpont Morgan, ornamented with designs _en genre cosse de pois_ reserved in gold on a ground of black enamel. Small plaques of "Louis Treize" enamel painted in natural colours on a monochrome ground were frequently employed for miniature-cases. A considerable number of these, of both French and German (Augsburg) work, exist. English work is rarer: an example, upon the cover of a miniature of Oliver Cromwell, painted with roses and leaves in natural colours on a white ground, is preserved in the University Galleries, Oxford. Enamelled flower designs modelled in relief, sometimes on open-work ground, in the manner of Vauquer and Légaré, are also found on lockets. An exquisite little example, inscribed "O.C. 1653," belongs to Mr. Max Rosenheim. It contains an enamelled miniature of Oliver Cromwell. [178] See pp. 273 and 297.