Of all these rich ornaments scarcely any examples have survived save a number of rings recovered from the graves of ecclesiastics. All the more precious, therefore, are the jewelled ornaments bequeathed in 1404 by William of Wykeham, Bishop of Winchester, to New College, Oxford, where they are still preserved as relics of its munificent founder. These unique examples of mediæval jewellery date from the closing years of the fourteenth century--the period of transition from Decorated to Perpendicular architecture: a time when Gothic art had reached its climax; and not only the architect, but the painter and the goldsmith were still devoting their utmost efforts on behalf of the Church, the centre of the whole mediæval system. [Illustration: _PLATE XV_ WILLIAM OF WYKEHAM'S JEWELS NEW COLLEGE, OXFORD] The New College jewels originally decorated William of Wykeham's precious mitre (_mitra pretiosa_). Portions of the groundwork of the mitre sewn with seed pearls, and its original case of _cuir bouilli_ or boiled leather, stamped with fleurs-de-lis and bound with iron straps, are still preserved in the College. Among the jewelled fragments are hinged bands of silver gilt, formed of plates of basse-taille enamel representing animals and grotesques, which alternate with settings of dark blue pastes and white crystals surrounded by radiating pearls. These bands probably went round the lower part of the mitre, and also perhaps ran up the middle of it, before and behind. The crests of the mitre were edged with strips of exquisitely chased crocketing in gold. The other fragments include two rosettes of beautifully executed Gothic foliation set with white crystals, together with two quatrefoils in silver gilt and a cruciform gold ornament set with turquoises. The chief treasure of the New College collection is an exquisite gold jewel, a monogram of the Blessed Virgin, the patron saint of the "College of St. Mary of Winton in Oxford." It is a crowned Lombardic M; and might be the rich capital of some mediæval manuscript, with its gorgeous colouring faithfully translated into gold, enamel, pearls, and precious stones. In the open parts of the letter are figures of the Virgin and the Angel of the Annunciation in full relief, the angel's wings being covered with enamel of translucent green. The space above the head of each figure is occupied with delicate architectural work of open cuspings. In the centre of the jewel is a large ruby in the form of a vase, from which spring three lilies with white enamelled blossoms. On each side of the vase are three small emeralds. Remarkable taste is shown in the arrangement of the precious stones: fine emeralds and rubies, _en cabochon_, mounted alternately in raised settings round the jewel. Two stones, a ruby on the left and an emerald on the right, are missing. The rest of the mountings are Oriental pearls somewhat discoloured by age (Pl. XV, 1).