A considerable proportion of Byzantine ornaments, as shown by the mosaics, consisted of gems sewn upon the dress. Actual specimens of jewellery are naturally of considerable rarity. The British Museum contains a small but representative collection.[4] They show a difference from the jewels of classical times chiefly in the substitution of coarse repoussé and open-work--the _opus interrasile_ of later Roman work--for fine filigree and granulation; yet filigree was employed with skill, and exercised a considerable influence on the work of European craftsmen. In general form the ornaments of the Lower Empire retained the character of ancient work, but added to it fresh designs to suit the change of religion with its accompanying symbolism. Enamel and coloured stones, employed with a reserve in antique ornaments, now formed the chief artistic aspect of jewellery. Cloisonné inlay, that is to say the incrustation of glass or garnet in cells, was made use of, but cloisonné enamel was preferred. In the majority of ornaments, however, precious stones appear to have predominated.[5] [4] Dalton (O. M.), _Catalogue of early Christian antiquities in the British Museum_. 1901. [5] Cunynghame (H. H.), _European enamels,_ p. 40. As ornaments for the head, wreaths were worn, especially upon festal occasions. From the earliest Christian times the bride and bridegroom at their wedding wore, as in some countries at the present day, crowns of gold, silver, green leaves, or flowers, which were afterwards returned to the church. Early Byzantine earrings naturally follow the Roman patterns. Some take the form of a penannular wire loop holding a thimble-shaped cage of filigree, the flat end of which is closed, and has in the centre a setting for a precious stone. The majority of Byzantine earrings are, however, of a peculiar design. The most usual type, from the sixth century onwards, is crescent-shaped, formed of gold repoussé and open-worked in the form of a cross patée within a circle, supported on either side by peacocks confronted. Dating from the finest period, i.e. about the twelfth century, is a pair of earrings in the British Museum, in the shape of a segment of a circle, ornamented on both sides with figures of birds in blue, green, and white cloisonné enamel. Upon the outer border of each segment are pearls fixed upon radiating pins, alternating with pyramids of pellets; on the inner is a disc decorated with similar enamels.