wrought in lacquer, horn, gold lac on wood, wood with ivory appliqués, and stained ivory.
Then the Netsukes! Had any one in the world such lovely things! With the ivory and its colour richly toned with age, the metal ones showing a glorious patina. The sword guards—made of various metals and alloys and gold and silver, the metal so beautifully finished that it had the rich texture of old lace.
There was then the Renaissance jewelry, pieces lying like fragments of sky, of peach tree in bloom, of cherry and apple, a lovely pendant parrot enamelled in natural colours, a beautiful ship pendant of Venetian workmanship, an Italian earring formed of a large irregular pear-shaped pearl, in a gold setting a Cinquecento jewel—an emerald lizard set with a baroque pearl holding an emerald in its mouth.
Eighteenth-century glory. Gold studs with little skeletons on silk, covered with glass and set in gold. Initials of fine gold with a ground of plaited hair, this edged with blue and covered with faceted glass on crystal and the border of garnets. A pair of earrings, paintings in gouache mounted in gold. A brooch set with garnets. A French vinaigrette enamelled in panels of green on a gold and white ground.
Loveliest of anything yet seen, a sixteenth-century cameo portrait of Lucius Verius cut in a dark onyx. The enamel was green with little white
