During the 17th century, jewellery underwent a complete transformation--the proceedings and _renaissance_ forms of the Italian school were abandoned, with all their richness of sculptures, enamels, and variety of stones. Instead of this, jewels were formed of emeralds, diamonds or rubies in gold setting, _percés à jour_, producing an excellent effect. The exceptions to this rule are the objects in which enamelled work still predominates, a reminiscence of the former century. Among the finest and best examples may be mentioned the gold crown of the Virgen de los Desamparados of Toledo, made in Mexico in the 17th century. It is formed like a basket of flowers, of delicate tracery, and richly studded with fine emeralds. Several most interesting specimens exist at Kensington of Spanish jewellery of this kind, bought at the sale which took place in 1870 of the jewels belonging to the Virgen del Pilar at Zaragoza. No. 325-70 is a breast ornament of gold scroll open work, with enamelled flowers, set with emeralds. [See woodcut on p. 37.] No. 320-70, a gold breast ornament with five bosses and seven pendants, set with rose diamonds. No. 406-73. Breast ornament, gold open strap work and floral filigree, the lower part an oval pendant, set with table diamonds. [See woodcut on p. 39.] The following fine Spanish jewels of the 17th century in the Kensington Museum are also worthy of attention: No. 330-64. A pectoral cross, with medallions containing relics. No. 298-66. Gold filigree cross, within which is an ivory crucifix. No. 344-70. Enamelled gold pectoral cross set with amethysts. No. 417, 417A.-69. A pair of earrings of gold open work, branches set with white crystals. No. 323, 323A.-70. Silver open work earrings set with rose diamonds. No. 330 to 330C.-70. Four miniature ewers of silver filigree open work, the bodies of Chinese enamelled copper. No. 1224-71. Silver frame _repoussé_, with the Holy Dove, and a bleeding heart encircled with thorns. Models of the baroque or, as it is called in Spain, _Churrigueresque_ styles continued to be copied during the beginning of the 18th century, in the same manner as in the 17th century. At this time, as in the rest of Europe, a reaction begins in every branch of art, due in Spain to the influence of French and Italian artists who accompanied the family of Bourbon. The Academy of Fine Arts of St. Fernando was founded by a king of that House towards the middle of the century, the teaching was reduced to copying Greco-Roman models, such as they were understood at that time. [Illustration: BREAST ORNAMENT SET WITH DIAMONDS. SPANISH, LATE 17TH CENTURY. SOUTH KENSINGTON MUSEUM.]