Like the aigrette, an important jewel worn at this time was a breast ornament, termed a _Sévigné_, after the celebrated lady of that name. This ornament took the form of a bow or rosette of open-work, of foliated design, generally of silver, set with small diamond splinters. As the century advanced the work set with small stones and diamond sparks in substantial mounts was replaced by open-work jewels, known as "lazos" jewels, set with large flat stones, and ornaments formed of several pieces--an upper part of tied bow or knot shape and hung with pendants--all set with rose-cut stones. Much of this work, intended for the display of diamonds and various coloured stones in imitation of flowers, hails from Spain. It is admirably shown in Spanish portraits--those, for example, by Velasquez, Coello, etc; in the large series of Habsburg portraits preserved in the castle of Schönbrunn, in Austria; and in portraits of the Medici family by the painter Sustermans (1597-1681) in the Uffizi and Pitti galleries. It is here worthy of note that still in the seventeenth century we find elaborate ornamentation applied to the back of jewels--a notable feature in almost all jewellery of the finest craftsmanship. A plain surface on this part of the jewel was generally avoided by a charming use of the graver, or by means of small panels of painted enamel. Bracelets set with precious stones are generally of open-work of the same style as the necklaces. Of those executed in enamel there is a good French example at South Kensington (Plate XXXVII, 2). It is formed of six medallions, each containing a crowned cypher alternating with true-lover's knots. It may usefully be compared with Gilles Légaré's designs for bracelets and chains on Plate 8 of his _Livre des Ouvrages d'Orfévrerie_. [Illustration: _PLATE XLIV_ RINGS, SLIDES AND PENDANTS SEVENTEENTH AND EARLY EIGHTEENTH CENTURIES]