beauty. A necklace was the article fixed upon, and the best experience and most delicate taste that Europe could boast were expended on the design. Each and every diamond was specially set and faced in such manner as to reveal its excellence to the utmost advantage, and all were arranged together in the style best calculated to harmonize their united effect. Form, shape, and the minutest shades of color were studied, and the result, after many attempts and many failures, and the anxious labor of many months, was the most exquisite triumph that the genius of the lapidary and the goldsmith could conceive.
The whole necklace consisted of three triple rows of diamonds, or nine rows in all, containing eight hundred faultless gems. The triple rows fell away from each in the most graceful and flexible curves over each side of the breast and each shoulder of the wearer, the curves starting from the throat, whence a magnificent pendant, depending from a single knot of diamonds, each as large as a hazel-nut, hung down half way upon the bosom in the design of a cross and crown, surrounded by the lilies of the royal house—the lilies themselves dangling on stems which were strung with smaller jewels. Rich clusters and festoons spread from the loop over each shoulder, and the central loop on the back of the neck was joined in a pattern of emblematic magnificence corresponding with that in front.
It was in 1782 that this grand work was finally completed, and the happy owners gloated with delight over a monument of skill as matchless in its way as the Pyramids themselves. But, alas! the necklace might as
