"out of two bottles and a turret," in 1380.

Mediæval rosaries were generally composed of beads of coral or
carnelian, and often of gold and pearls as well. Marco Polo tells
of a unique rosary worn by the King of Malabar; one hundred and
four large pearls, with occasional rubies of great price, composed
the string. Marco Polo adds: "He has to say one hundred and four
prayers to his idols every morning and evening."

In the possession of the Shah of Persia is a gold casket studded
with emeralds, which is said to have the magic power of rendering
the owner invisible as long as he remains celibate. I fancy that
this is a safe claim, for the tradition is not likely to be put
to the proof in the case of a Shah! Probably there has never been
an opportunity of testing the miraculous powers of the stones.

The inventory of Lord Lisle contains many interesting side lights
on the jewelry of the period: "a hawthorne of gold, with twenty
diamonds;" "a little tower of gold," and "a pair of beads of gold,
with tassels." Filigree or chain work was termed "perry." In old
papers such as inventories, registers, and the like, there are
frequent mentions of buttons of "gold and perry;" in 1372 Aline
Gerbuge received "one little circle of gold and perry, emeralds
and balasses." Clasps and brooches were used much in the fourteenth
century. They were often called "ouches," and were usually of jewelled
gold. One, an image of St. George, was given by the Black Prince to
John of Gaunt. The Duchess of Bretagne had among other brooches one
with a white griffin, a balas ruby on its shoulder, six sapphires
around it, and then six balasses, and twelve groups of pearls with
diamonds.