Fashion endeavoured to fill a corresponding part in gentlemen's attire by adorning coat and waistcoat with buttons of artistic workmanship. To match the beautiful embroidered garments of the time, buttons were sewn with bugles, steel beads, or spangles; and many have survived which may be reckoned as real articles of jewellery. Every material and mode of decoration was applied to them. Occasionally we find buttons set with diamonds and other precious stones, but more often paste, or with odd natural stones such as agates, carnelians, marcasite, blood-stones, lapis-lazuli, or buttons of tortoise-shell, or of compositions such as Wedgwood ware, in frames of cut steel. Translucent blue glass or enamel, mounted or set with pearls, diamonds or pastes, and chased and coloured gold, were all fashionable. On the whole, cut steel was the most popular. A Birmingham craftsman by name of Heeley, who worked for Wedgwood about 1780, is recorded is being especially skilful at this class of work; while in France a certain Dauffe had almost a monopoly in the production of steel objects. Certainly some of the open-work steel buttons of the time--English as well as French--are jewels of a very high order. Bracelets were mostly formed of bands of velvet with oval clasps. The clasp was decorated in a variety of ways, and was very frequently fitted with a painted or enamelled miniature. The practice of wearing miniatures in this way seems to have been a common one, judging by the numerous advertisements inserted in the London _Public Advertiser_ about the middle of the century by "ingenious artists," willing on "reasonable terms to paint elegant portraits in miniature for bracelets, rings, etc." Madame de Chamillart had amongst other jewels "Un petit portrait en mignature en forme de bracelet garny de quatre diamants, monté en or." In fact, according to Fontenay, the terms _bracelet_ and _boîte à portrait_ had for a time practically the same meaning.[187] Cameos were sometimes employed as bracelet clasps, but not to the same extent as they were subsequently under the Empire. In the Bibliothèque Nationale at Paris are two portrait cameos in sardonyx (Nos. 788 and 927) which served as the clasps of the bracelets of Madame de Pompadour, and were bequeathed by her to Louis XV in 1764. The work of the celebrated gem-engraver Jacques Guay, the one represents Henri IV, and the other, which is signed, Louis XV. The mounting of each, an admirable example of French jewel-work of the time, is formed of a circlet of emeralds arranged in the manner of a laurel wreath, and tied at intervals by cords of rose diamonds terminating above and below in knots. Among other decorations for bracelets, mention may be made of the celebrated enamels produced at Battersea between 1750 and 1775, very many of which, oval in shape, were set in gold frames so as to be easily mounted in bracelets. The productions of the rival establishment at Bilston, in Staffordshire,