The stock of rings described in the same author"s play, _The Varietie_, as the treasure of an old country lady, is amusingly indicative of past legacies or memorials, as well as of the tastes of the yeomanry: "A toad-stone, two Turkies (Turquoise), six thumb-rings, three alderman"s seals, five gemels, and foure death"s head." The enumeration concludes with the uncomplimentary observation, "these are alehouse ornaments."
These death"s-head rings were very commonly worn by the middle cla.s.ses in the latter part of the sixteenth and the early part of the seventeenth centuries; particularly by such as affected a respectable gravity. Luther used to wear a gold ring, with a small death"s head in enamel, and these words, "Mori saepe cogita" (Think oft on death); round the setting was engraved "O mors, ero mors tua" (Death, I will be thy death). This ring is preserved at Dresden. Shakspere, in his Love"s _Labour"s Lost_ (Act V. scene 2), makes his jesting courtier, Biron, compare the countenance of Holophernes to "a death"s face in a ring." We have already adverted to a similar ring worn by one of Shakspere"s fellow townsmen.
[Ill.u.s.tration: Fig. 182.]
[Ill.u.s.tration: Figs. 183 and 184.]
In the "Recueil des Ouvrages d"Orfeverie," by Gilles l"Egare, published in the early part of the reign of Louis XIV., is an unusually good design for one of these rings, which we copy, Fig. 182. It is entirely composed of mortuary emblems, on a ground of black enamel. Fig. 183 is an English memorial ring set with stones; on the circlet is engraved an elongated skeleton, with crossbones above the skull, and a spade and pick-axe at the feet; the ground is black enamel. It has been converted into a memorial by its original purchaser, who caused to be engraved withinside the hoop, "C.R., Jan. 30, 1649, Martyr." It is now in the Londesborough collection, from whence we obtain Fig. 184, a very good specimen of a mourning ring of the early part of the last century, with which we take leave of this branch of the subject.
[Ill.u.s.tration: Fig. 185.]
[Ill.u.s.tration: Fig. 186.]
The jewellers of the last century do not seem to have bestowed the same attention on design as their predecessors did. Rings appear to have reached their highest excellence in design and execution in the _ateliers_ of Venice. We meet with little originality of conception, and certainly great inferiority of execution, in the works then issued. In southern Europe, where jewellery is deemed almost a necessary of life, and the poorest will wear it in profusion, though only made of copper, greater scope was given to invention. Fig. 185 is a Spanish silver ring of the early part of the century. In its centre it has a heart, winged and crowned; the heart is transfixed by an arrow, but surrounded by flowers. It is possibly a religious emblem. Fig. 186 is another Spanish ring of more modern manufacture, but of very light and elegant design.
The flowers are formed of rubies and diamonds, and the effect is extremely pleasing.
[Ill.u.s.tration: Fig. 187.]
[Ill.u.s.tration: Fig. 188.]
Such works may have originated the "giardinetti" rings, of which a good collection of specimens may be seen in the South Kensington Museum, two being here copied in Figs. 187 and 188. They are there described as English works of the seventeenth and eighteenth centuries, and appear to have been used as guards, or "keepers," to the wedding-ring. They are of pleasing floriated design, and of very delicate execution. Much taste may be exhibited in the selection of coloured stones for the flowers of such rings, which are certainly a great ornament to the hand.
[Ill.u.s.tration: Fig. 189.]
[Ill.u.s.tration: Figs. 190 and 191.]
Recurring to the Eastern nations, in whose eyes jewellery has always found great favour, we find that the Indians prefer rings with large floriated faces, spreading over three fingers like a shield. When made for the wealthy in ma.s.sive gold, the flower leaves are of cut jewels, but the humbler cla.s.ses, who equally love display, are content with them in cast silver. Such a ring is engraved, Fig. 189, from an original in the British Museum, from whence we also obtain the two specimens of rings beside it, being such as are worn by the humblest cla.s.ses. Fig.
190 is of bra.s.s, Fig. 191 of silver, the latter boasting a sort of apology for a jewelled centre.
[Ill.u.s.tration: Fig. 192.]
[Ill.u.s.tration: Figs. 193 and 194.]
A triplicate of Moorish rings will enable us to understand their peculiarities. Fig. 192 has a large circular face, composed of a cl.u.s.ter of small bosses, set with five circular turquoise, and four rubies; the centre being a turquoise, with a ruby and turquoise alternating round it. The ring is of silver. It is in the Londesborough collection, as also is Fig. 193, another silver ring set with an octangular bloodstone, with a circular turquoise on each side. Fig. 194 is a signet ring, bearing the name of its original owner engraved on a carnelian. This also is of silver.
The modern Egyptians indulge greatly in finger-rings. The wife of the poorest peasant will cover her hands with them, though they be only cast in pewter, decorated with gems of coloured gla.s.s, and not worth a penny each. For ladies of the higher cla.s.s very pretty rings are designed. One of them is here engraved (Fig. 195), from an original purchased by the author in Cairo. It is a simple hoop of twisted gold, to which is appended a series of pendent ornaments, consisting of small beads of coral, and thin plates of gold, cut to represent the leaves of a plant.
As the hand moves, these ornaments play about the finger, and a very brilliant effect might be produced if diamonds were used in the pendants. Fig. 196 is the ring commonly worn by the middle cla.s.s Egyptian men. They are usually of silver, set with mineral stones, and are valued as the manufacture of the silversmiths of Mecca, that sacred city being supposed to exert a holy influence on all the works it originates.
There is also a curious ring, with a double "keeper," worn by Egyptian men, as shown in Fig. 197. It is composed entirely of common cast silver, set with mineral stone. The lowermost keeper of twisted wire is first put on the finger, then follows the ring, the second keeper is then brought down upon it; the two being held by a brace which pa.s.ses at the back of the ring, and gives security to the whole.
[Ill.u.s.tration: Fig. 195.]
[Ill.u.s.tration: Fig. 196.]
[Ill.u.s.tration: Fig. 197.]
At the commencement of the present century, "harlequin-rings" were fashionable in England. They were so called because set round with variously-coloured stones, in some way resembling the motley costume of harlequin. To these succeeded "regard-rings," the stones selected so that the initial of the name of each spelt altogether the word _regard_, thus:--
R--Ruby.
E--Emerald.
G--Garnet.
A--Amethyst.
R--Ruby.
D--Diamond.
These pleasing and agreeable _gages d"amitie_ originated with the French jewellers, and were soon made to spell proper names. Where precious stones could not be obtained with the necessary initial, mineral stones, such as _lapis-lazuli_, and _verde antique_, were pressed into the service. These rings are now occasionally made. Her Royal Highness the Princess of Wales is said to possess one having the familiar name of the Prince, "Bertie," spelt thus upon it.
[Ill.u.s.tration: Fig. 198.]
[Ill.u.s.tration: Fig. 199.]
With two specimens of modern French work we close our selection of designs. Fig. 198 is a signet ring, the face engraved with a coat-of-arms. At the sides two _cupidons_ repose amid scroll-work partaking of the taste of the Renaissance. The same peculiarity influences the design of Fig. 199. Here a central arch of five stones, in separate settings, is held by the heads and outstretched wings of _Chimeras_, whose b.r.e.a.s.t.s are also jewelled. Both are excellent designs.
[Ill.u.s.tration: Fig. 200.]
The last ring we shall bring before the reader"s notice (Fig. 200) is the famous "Fisherman"s ring" of the Pope. It is a signet ring of steel used for the briefs issued from the Romish Court. "When a brief is written to any distinguished personage, or has relation to religious or general important matter, the impression from the Fisherman"s ring is said to be made upon a gold surface; in some other cases it appears upon lead; and these seals are generally attached by strings of silk.
Impressions of this seal are also made in ink direct upon the substance on which the brief is written." Mr. Edwards calls attention to the cla.s.sic form of the boat and oar, showing direct derivation from an antique original. The seal is also made in the fashion of a Roman signet. A new one is made for every pope, and Mr. Edwards thus narrates the ceremonies connected therewith:--"When a pope dies, the Cardinal Chamberlain, or Chancellor, accompanied by a large number of the high dignitaries of the papal court, comes into the room where the body lies, and the princ.i.p.al or great notary makes an attestation of the circ.u.mstance. Then the Cardinal Chamberlain calls out the name of the deceased pope three times, striking the body each time with a gold hammer, and as no response comes, the chief notary makes another attestation. After this the Cardinal Chancellor demands the Fisherman"s ring, and certain ceremonies are performed over it; and then he strikes the ring with a golden hammer, and an officer destroys the figure of Peter by the use of a file. From this moment all the authority and acts of the late pope pa.s.s to the College or Conclave of Cardinals. When a new pope is consecrated, it is always the Cardinal Chancellor, or Chamberlain, who presents the renewed Fisherman"s ring, and this presentation is accompanied by imposing ceremonies."
The facts we have gathered about finger-rings are scattered over the history of many ages and nations; and in the selection of ill.u.s.trations we have been guided by their historic value as well as their artistic merits, so that they may be referred to as authorities to test the age and country of other works of their cla.s.s, if brought to them for comparison.
[Ill.u.s.tration]
FOOTNOTES:
[74-*] "History and Poetry of Finger-rings."
[74-] Genesis, chap. x.x.xviii.
[75-*] "Manners and Customs of the Ancient Egyptians," vol. iii. p. 373.
[82-*] Barrera, "History of Gems and Jewels."
[83-*] "Decline and Fall of the Roman Empire," chap. xxv.
[83-] "The History and Poetry of Finger-rings," by Charles Edwards.
[89-*] "Antiquite Expliquee et Representee en Figures."
[96-*] "Account of Excavations at Harnham Hill." _Archaeologia_, vol.
x.x.xv.
[96-] "Remains of Pagan Saxondom," p. 71.
[97-*] In the museum at Augsburg are several which were found in cutting for the railway near that city. A large series of personal ornaments is also preserved there, which are so exactly similar to others found near Richborough, in Kent, that they would appear to have come from the same manufactory. As the Romans introduced their arts wherever they went, so the Saxons seem to have continued theirs in all their colonies.
[98-*] See the "Inventorium Sepulchrale: an Account of some Antiquities dug up by the Rev. Bryan Faussett, of Heppington, Kent." Edited by C.
Roach Smith.