chains, etc., not owned by the sitters, was not uncommonly practised
thirty or forty years ago, when colored tintypes were popular. These
were painted on the photographs, much to the gratification of those
who ordered them for distribution among their friends.

The court-jewellers of France in Shakespeare's day rivalled, though
they did not excel, those of England. Among them a prominent place
belongs to Francois Dujardin (or Desjardin), goldsmith of Charles IX
(1560-1574) and Henri III (1574-1589). When a verification and an
inventory of the French Crown Jewels were made on August 1, 1574,
after the death of Charles IX, the expert examination was entrusted to
François Dujardin, who is termed "orfebvre et lapidaire du Roy". The
goldsmith's art was passed down from father to son in this family: a
second F. Dujardin (b. ca. 1565) mounted the parures made for
Elizabeth of Austria, daughter of Henri IV and Maria de' Medici. In
the reign of Henri IV and the succeeding regency of Maria de' Medici,
Josse de Langerac, received as master goldsmith in 1594, and the
brothers Rogier, are noted as leading goldsmiths who, besides
executing many fine jewels, frequently made loans of money to the
Queen Regent, and seem to have experienced great difficulty in
securing full payment. Corneille Rogier set the jewels worn at her
marriage by Anne d'Autriche, wife of Louis XIII. Two brothers, each
bearing the name Pierre Courtois, are also noted in old records. One
of them, at the time of his death, in 1611, occupied two apartments
with two shops in the Louvre; the shop of the other had the sign "Aux
Trois Roys", probably referring to the "Three Kings of the East", the
Magi of the Gospel, very appropriate patrons for goldsmiths.[24]

[Footnote 24: Germain Bapst, "Histoire des Joyaux de la Couronne de
France", Paris, 1889, pp. 175, 176, 300, 304.]