Three pectoral ornaments made in successive reigns are each formed of an open-work gold plate, engraved on one side and inlaid with coloured stones on the other. The engraved sides of two are here given (figs. 97, 98), as they are better suited for illustration. The earlier pectoral, bearing the names of Senusert II, is by far the better in design. The scheme of the whole is grasped at once, and rests the eye; there is repose and dignity in it. Although clear open spaces are left, the parts are sufficiently connected for strength. The second pectoral, of Senusert III, is too complex for a single piece of jewellery for the breast. The heavy mass of the vulture at the top over-weights the design; the head-dress of the royal sphinxes is too tall; and the combination of four captives between the eight legs of the sphinxes, or twenty-four limbs in action, is far too complex and distracting. But in the detail we must admire the expression of the captives; and also the skill with which the parts are united, especially where the frail length of the tails is held in by the extra lotus flowers. The third pectoral, of Amenemhat III, is the least successful in design. It is made too large in order to take in whole figures of the king fighting; the action is violent; and, not content with four figures, the outlines are lost in a maze of emblems which fill all the space around, so that nothing is clear or restful to the eye. The earliest pectoral was evidently designed to be seen at a respectful distance on royalty in movement. To see the last design the queen would need to be closely stared at, in order to make out the cumbrous historical document on her breast. [Illustration: JEWELLERY 97, 98. Chased gold pectoral ornaments (XIIth dynasty)] Two crowns of gold and inlaid stones belonged also to the princesses. The floret crown (fig. 100) is perhaps the most charmingly graceful head-dress ever seen; the fine wavy threads of gold harmonised with the hair, and the delicate little flowers and berries seem scattered with the wild grace of Nature. Each floret is held by two wires crossing in an eye behind it, and each pair of berries has likewise an eye in which the wires cross. The florets are not stamped, but each gold socket is made by hand for the four inserted stones. The berries are of lazuli. In no instance, however small, was the polishing of the stone done in its cloison; it was always finished before setting. The upper crown (fig. 99) is less unusual. The motive is the old one seen on the head-dress of Nofert (fig. 24); but the flowers have become conventionalised. The band form is broken by the upright flowers rising from each rosette; and in front there was an aigrette of gold with flowers formed of coloured stones.