  RINGS FROM THE EARLIEST PERIOD. The use of signet-rings as symbols of great respect and authority is mentioned in several parts of the Holy Scriptures, from which it would seem that they were then common among persons of rank. They were sometimes wholly of metal, but frequently the inscription was borne on a stone, set in gold or silver. The impression from the signet-ring of a monarch gave the force of a royal decree to any instrument to which it was attached. Hence the delivery or transfer of it gave the power of using the royal name, and created the highest office in the State. In Genesis (xli. 42) we find that Joseph had conferred upon him the royal signet as an insignia of authority.[1] Thus Ahasuerus transferred his Darius sealed with his ring the mouth of the den of lions (Daniel vi. 17). Queen Jezebel, to destroy Naboth, made use of the ring of Ahab, King of the Israelites, her husband, to seal the counterfeit letters ordering the death of that unfortunate man. The Scriptures tell us that, when Judith arrayed herself to meet Holofernes, among other rich decorations she wore bracelets, ear-rings, and rings. The earliest materials of which rings were made was of pure gold, and the metal usually very thin. The Israelitish people wore not only rings on their fingers, but also in their nostrils[2] and ears. Josephus, in the third book of his ‘Antiquities,’ states that they had the use of them after passing the Red Sea, because Moses, on his return from Sinai, found that the men had made the golden calf from their wives’ rings and other ornaments. Moses permitted the use of gold rings to the priests whom he had established. The nomad people called Midianites, who were conquered by Moses, and eventually overthrown The Jews wore the signet-ring on the right hand, as appears from a passage in Jeremiah (xxii. 24). The words of the Lord are uttered against Zedekiah: ‘though Coniah the son of Jehoiakim, King of Judah, were the signet on my right hand, yet would I pluck thee thence.’ We are not to assume, however, that all ancient seals, being signets, were rings intended to be worn on the hand. ‘One of the largest Egyptian signets I have seen,’ remarks Sir J. G. Wilkinson, ‘was in possession of a French gentleman of Cairo, which contained twenty pounds’ worth of gold. It consisted of a massive ring, half an inch in its largest diameter, bearing an oblong plinth, on which the devices were engraved, 1 inch long, 6/10ths in its greatest, and 4/10ths in its smallest, breadth. On one side was the name of a king, the successor of Amunoph III., who lived about fourteen hundred years before Christ; on the other a lion, with the legend “Lord of Strength,” referring to the monarch. On one side a scorpion, and on the other a crocodile.’ This ring passed into the Waterton Dactyliotheca, and is now the property of the South Kensington Museum. Egyptian Bronze Rings. Rings of inferior metal, engraved with the king’s name, may, probably, have been worn by officials of the court. In the Londesborough collection is a bronze ring, bearing on In the British Museum are some interesting specimens of Egyptian rings with representations of the scarabÆus,[3] or beetle. These rings generally bear the name of the wearer, Colonel Barnet possesses an Egyptian signet-ring formed by a scarabÆus set in gold. It was found on the little finger of a splendid gilded mummy at Thebes. In all probability the wearer of the ring had been a royal scribe, as by his side was found a writing-tablet of stone. On the breast was a large scarabÆus of green porphyry, set in gold. The Rev. Henry Mackenzie, of Yarmouth, possesses an Egyptian scarabÆus, a signet-ring, set with an intaglio, on cornelian, found in the bed of a deserted branch of the Euphrates, in the district of HamadÂn in Persia. The engraving is unfinished, the work is polished in the intaglio, and the date has therefore been supposed not later than the time of the Greeks in Persia, circa 325 B.C. Egyptian Signet-rings. The representations here given illustrate the large and massive Egyptian signet-ring, and also a lighter kind of hooped signet, ‘as generally worn at a somewhat more recent period in Egypt. The gold loop passes through a small figure of the sacred beetle, the flat under-side being engraved with the device of a crab.’ At a meeting of the Society of Biblical ArchÆology, in June 1873, Dr. H. F. Talbot, F.R.S., read an interesting paper on the legend of ‘Ishtar descending to Hades,’ in which he translated from the tablets the goddess’s voluntary descent into the Assyrian Inferno. In the cuneiform it is called ‘the land of no return.’ Ishtar passes successively through the seven gates, compelled to surrender her jewels, viz. her crown, ear-rings, head-jewels, frontlets, girdle, finger- and toe-rings, and necklace. A cup full of the Waters of Life is given to her, whereby she returns to the upper world, receiving at each gate of Hades the jewels she had been deprived of in her descent. Mr. Greene, F.S.A., has an Egyptian gold ring, formerly in the possession of the late Mr. Salt, belonging to the nineteenth dynasty, probably from the Lower Country, below Memphis. It is engraved with a representation of the goddess Nephthis, or Neith. Another gold ring of a later period, from the Upper Country, dates, probably, from the time of Psammitichus, B.C. 671 to 617. In the collection of Egyptian antiquities formed by the late R. Hay, Esq., of Limplum, N.B., were two GrÆco-Egyptian gold rings, found, it is conjectured, in the Aasa-seef, near Thebes. One of these is of the usual signet form, but without an inscription; the other is of an Etruscan pattern, and is composed of a spiral wire, whose extremities The Rev. C. W. King observes: ‘I have seen finger-rings of ivory of the Egyptian period, their heads engraved with sphinxes and figures of eyes cut in low relief as camei, and originally coloured.’ The porcelain finger-rings of ancient Egypt are extremely beautiful, the band of the ring being seldom above one eighth of an inch in thickness. Some have a plate in which in bas-relief is the god Baal, full-faced, playing on the tambourine, as the inventor of music; others have their plates in the shape of the right symbolical eye, the emblem of the sun, of a fish of the perch species, or of a scarabÆus. Some few represent flowers. Those which have elliptical plates with hieroglyphical inscriptions bear the names of Amen-Ra, and of other gods and monarchs, as Amenophis III., Amenophis IV., and Amenmest of the eighteenth and nineteenth dynasties. One of these rings has a little bugle on each side, as if it had been strung on the beaded work of a mummy, instead of being placed on the finger. At the Winchester meeting of the ArchÆological Institute in 1845 a curious swivel-ring of blue porcelain was exhibited, found at Abydus in Upper Egypt; setting modern. It has a double impression: on the one side is the king making an offering to the gods, with the emblems of life and purity; on the other side the name of the monarch in the usual ‘cartouche,’ one that is well known, being that of Thothmes III., whom Wilkinson supposes to have been the Pharaoh of Exodus. It is worthy of remark that this cartouche is ‘supported’ by asps, which are usually considered to be the attributes of royalty. Egyptian Porcelain Ring. The annexed engraving represents an Egyptian ring, en pÂte cÉramique, from M. Dieulafait’s ‘Diamants et Pierres PrÉcieuses.’ The signet of Sennacherib in the British Museum is made of Amazon stone, one of the hardest stones known to the lapidary, and bears an intaglio ‘which,’ observes the On a mummy-case in the British Museum is a representation of a woman with crossed hands, covered with rings; the left hand is most loaded. Upon the thumb is a signet with hieroglyphics on the surface, three rings on the forefinger, two on the second, one formed like a snail shell, the same number on the next, and one on the little finger. The right hand carries only a thumb ring, and two upon the third finger. Rings on the fingers of a Mummy. Sir J. G. Wilkinson observes: ‘The left was considered the hand peculiarly privileged to bear these ornaments; and it is remarkable that its third finger was decorated with a greater number than any other, and was considered by them, as by us, par excellence, the ring-finger, though there is no evidence of its having been so honoured at the marriage ceremony.’ The same author mentions that rings were a favourite decoration among the Egyptians; women wore sometimes Egyptian Gold Ring, from Ghizeh. One of the oldest, if not the most ancient ring known, is supposed to be that in the collection of Dr. Abbot, of Cairo, now preserved with his other Egyptian antiquities at New York. It is thus described by him:—‘This remarkable piece of antiquity is in the highest state of preservation, and was found at Ghizeh, in a tomb near the excavation of Colonel Vyse, called Campbell’s tomb. It is of fine gold, and weighs nearly three sovereigns. The style of the hieroglyphics within the oval make the name of that Pharaoh (Cheops, Shofo) of whom the pyramid was the tomb. The details are minutely accurate and beautifully executed. The heaven is engraved with stars; the fox or jackal has significant lines within its contour; the hatchets have their handles bound with thongs, as is usual in the sculptures; the volumes have the strings which bind them hanging below the roll—differing in this respect from any In a lecture to the deaf and dumb in St. Saviour’s Hall, Oxford Street, London (October 1875), on ‘Eastern Manners and Customs,’ amongst various relics exhibited was the hand of a female mummy, on one finger of which was a gold ring, with the signet of one of the Pharaohs. A gold ring exhibited at the exhibition of antiquities at the Ironmongers’ Hall, in 1861, had hieroglyphics meaning ‘protected by the living goddess Mu.’ Among some interesting specimens of Egyptian rings exhibited at the South Kensington Loan Exhibition of 1872 I may mention an antique ring of pale gold, with a long oval bezel chased in intaglio, with representation of a sistrum (timbrel, used by the Egyptians in their religious ceremonies), the property of Viscount Hawarden; an antique ring of pale gold (belonging to Lady Ashburton), formed of a slender wire, the ends twisted round the From the collection of R. H. Soden Smith, Esq. F.S.A., an ancient pale gold ring, with revolving cylinders of lapis-lazuli, engraved with hieroglyphics; the shoulders of the hoop wrapped round with wire ornament. The Waterton Collection contains Egyptian rings of various descriptions: one of silver, with revolving bezel of cornelian representing the symbolical right eye. Several rings of glazed earthenware; one of gold, very massive, with revolving scarab of glazed earthenware, partially encased in gold. A gold ring, the hoop of close-corded work, revolving bezel with blood-stone scarab, engraved with Hathor and child. The same engraving is on a gold signet-ring, with vesica-shaped bezel, and upon a white-metal ring, where the figures are surrounded by lotus-flowers. Another gold signet-ring is engraved with the figure of Amen-ra; a probably Egyptian white-metal ring, with narrow oblong bezel, engraved with a frieze of figures, and winged Genii, divided by candelabra. Several of the Egyptian rings in the Museum of the Louvre at Paris date from the reign of King Moeris. One of the oldest rings extant is that of Cheops, the founder of the Great Pyramid, which was found in a tomb there. It is of gold, with hieroglyphics. The Egyptian glass-workers produced small mosaics of the most minute and delicate finish, and sufficiently small to be worn on rings. Dr. Birch, in a very interesting paper communicated to the Society of Antiquaries, at the meeting of November 17, 1870, observes, with regard to the scarabÆi and signet-rings of the ancient Egyptians, that the use of these curious The principal purpose to which these scarabs were applied was to form the revolving bezel of a signet-ring, the substance in which the impression was taken being a soft clay, with which a letter was sealed. It is singular that some of these objects have been found in rings fixed with the plane engraved side inwards, rendering them unfit for the purposes of sealing. It is well known that the use of these scarabs was so extensive as to have prevailed beyond Egypt, being adopted by the Phoenicians and the Etruscans. On this subject the Rev. C. W. King remarks that gold rings, even of the Etruscan period, are very rare, the signets of that nation still retaining the form of scarabÆi. ‘The most magnificent Etruscan ring known, belonging once to the Prince de Canino, and now in the matchless collection of antique gems in the British Museum, is formed of the The Waterton Collection contains a gold ring of Etruscan workmanship, of singular beauty. It is described by Padre Geruchi, of the Sacred College, as a betrothal or nuptial ring. It has figures of Hercules and Juno placed back to back on the hoop, having their arms raised above their heads. Hercules is covered with the skin of a lion, Juno with that of a goat.
Fairholt, in ‘Rambles of an ArchÆologist,’ describes an ancient Etruscan ring in the British Museum, with chimerÆ on it opposing each other. The style and treatment partake largely of ancient Eastern art. There is also in the same collection a remarkable ring having the convolutions of a serpent, the head of Serapis at one extremity and of Isis at the other; by this arrangement one or other of them would always be correctly posited; it has, also, the further advantage of being flexible, owing to the great sweep of its curve. Silver rings are rarer than those of gold in All the Hindoo Mogul divinities of antiquity had rings; the statues of the gods at Elephanta, supposed to be of the highest antiquity, had finger-rings. The Rev. C. W. King describes a ring in the Waterton collection, of remarkable interest—apparently dating from the Lower Empire, for the head is much thrown up, and has the sides pierced into a pattern, the ‘interrasile opus, so much in fashion during those times. It is set with two diamonds of (probably) a carat each: one a perfect octahedron of considerable lustre, the other duller and irregularly crystallised. Another such example might be sought for in vain throughout the largest cabinets of Europe.’ After the conquest of Asia Alexander the Great used the signet-ring of Darius to seal his edicts to the Persians; his own signet he used for those addressed to the Greeks. Xerxes, King of Persia, was a great gem-fancier, but his chief signet was a portrait, either of himself, or of Cyrus, the founder of the monarchy. He also wore a ring with the figure of Anaitis, the Babylonian Venus, upon it. Thucydides says that the Persian kings honoured their subjects by giving them rings with the likenesses of Darius and Cyrus. The late Mr. Fairholt purchased in Cairo a ring worn by an Egyptian lady of the higher class. It is a simple hoop of twisted gold, to which hangs a series of pendant ornaments, consisting of small beads of coral, and thin plates of gold, cut to represent the leaves of a plant. As the hands move, these ornaments play about the finger, and a very brilliant effect might be produced if diamonds were used in the pendants. Modern Egyptian Rings. A curious ring with a double keeper is worn by Egyptian men. 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 passes at the back of the ring, and gives security to the whole. Modern Egyptian Ring, Tavernier states in his ‘Travels’ that the Persians did not make gold rings, their religion forbidding the wearing of any article of that metal during prayers, it would have been too troublesome to take them off every time they performed their devotions. The gems mounted in gold rings, sold by Tavernier to the King, were reset in silver by native workmen. The LacedÆmonians, according to the laws of Lycurgus, had only iron rings, despising those of gold; either that the King devised thereby to retrench luxury, or not to permit the use of them. The Etruscans and the Sabines wore rings at the period of the foundation of Rome, 753 B.C. The Etruscans made rings of great value. They have been found of every variety—with precious stones, of massive gold, very solid, with engraved stones of remarkable beauty. Among Etruscan rings in the MusÉe Nap. III. the table of one offers a representation, enlarged, of the story of Admetus, the King of PherÆ in Thessaly. He took part in the expedition of the Argonauts, and sued for the hand of Alcestis, the daughter of Pelias, who promised him to her on condition that he should come to her in a chariot drawn Etruscan (Admetus). Representation of Admetus. Etrusca. Among rings taken out of the tombs there are some in the form of a knot or of a serpent. They are frequently found with shields of gold, and of that form which we call Gothic, that is elliptical and pointed, called by foreigners ogive, with raised subjects chiselled on the gold, or with onyxs of the same form, but polished and surrounded with gold. Etruscan. Etruscan. Among the antique jewels at the BibliothÈque Nationale at Paris are two fine specimens of Etruscan rings. One is of gold, on which is a scarabÆus in cornelian; the stomach of the scarabÆus is engraved hollow and represents a naked man holding a vase. The other is a gold ring found in a tomb at Etruria, of which the bezel, sculptured in relief, could not serve as a seal. The subject is a divinity combating with two spirits, a representation of the eastern idea of the struggles between the two principles of good and evil, such as are found on numerous cylinders that come from the borders of the Euphrates and the Tigris. This analogy between the religious ideas of the Etruscans and those of the most ancient monuments of the East is not At a meeting of the ArchÆological Institute (May 3, 1850) the Dowager Duchess of Cleveland exhibited a curious Roman ring of pure gold (weight 182 grains), of which an illustration is given in the Journal of the Institute (vol. vii. p. 190). ‘It was found, with other remains, at Pierse Bridge (Ad Tisam), county of Durham, where the vestiges of a rectangular encampment may be distinctly traced. The hoop, wrought by the hammer, is joined by welding the extremities together; to this is attached an oval facet, the metal engraved in intaglio, the impress being two human heads respectant, probably male and female—the prototype of the numerous “love seals” of a later period. The device on the ring is somewhat effaced, but evidently represented two persons gazing at each other. This is not the first Roman example of the kind found in England. The device appears on a ring, apparently of that period, found on Stanmore Common in 1781. On the mediÆval seals alluded to, the heads are usually accompanied by the motto “Love me, and I thee,” to which, also, a counterpart is found among relics of a more remote age. Galeotti, in his curious illustrations of the “GemmÆ AntiquÆ LitteratÆ,” in the collection of Ficoroni, gives an intaglio engraved with the words “Amo te, ama me.”’ Etruscan.
A singular discovery of Roman relics was made in 1824 at Terling Place, near Witham, Essex, by some workmen forming a new road; the earth being soaked by heavy rains the cart-wheels sank up to their naves. The driver of the cart saw some white spots upon the mud adhering to the wheels, which proved to be coins. On further search a small vase was discovered in which had been deposited with some coins, two gold rings, which are interesting examples of late Roman work; and representations of these, by Lord Rayleigh’s permission, were given in the ‘Journal of the ArchÆological Institute’ (vol. iii. p. 163) and are here shown. One of the rings is set with a colourless crackly crystal, or pasta, uncut and en cabochon; the other with a paste formed of two layers, the upper being of a dull smalt colour, the Late Roman. The Hertz Collection contained a well-formed octahedral diamond, about a carat in weight, set open in a Roman ring of unquestionable authenticity. At the Loan Exhibition of Ancient and Modern Jewellery at the South Kensington Museum, in 1872, John Evans Esq., F.S.A., contributed a series of seven rings, gold and silver, Roman, set with antique stones; one very massive, of silver and gold, set with intaglio on nicolo onyx; one with an angular hoop, and another with beaded ornaments. ‘Though,’ remarks Mr. Fairholt, ‘a great variety of form and detail was adopted by Greek and Roman goldsmiths for the rings they so largely manufactured, the most general and lasting resembled a Roman ring, probably of the time of Hadrian, which is said to have been found in the Roman camp at Silchester, Berkshire. The gold of the ring is massive at the face, making a strong setting for the cornelian, which is engraved with the figure of a female bearing corn and fruit. By far the greater majority of Roman rings exhumed at home and abroad are of this fashion, which recommends itself by a dignified simplicity, telling by quantity and quality of metal and stone its true value,
‘The simplest and most useful form of rings, and that by consequence adopted by people of all early nations, was the plain elastic hoop. Cheap in construction and convenient in wear, it may be safely said to have been generally patronised from the most ancient to the most modern times.’ An engraving by Mr. Fairholt represents ‘the old form of a ring made in the shape of a coiled serpent, equally ancient, equally far-spread in the old world, and which has had a very large sale among ourselves as a decided novelty. In fact, it has been the most successful design our ring-makers have produced of late years.’ Ancient Plain Rings. The statues of Numa and Servius Tullius were represented with rings, while those of the other Kings had none; In Rome every freeman had the right to use the iron ring, which was worn to the last period of the Republic, by such men as loved the simplicity of the good old times. Among these was Marius, who, as Pliny tells us, wore an iron ring in his triumph after the subjugation of Jugurtha. In the early days of the Empire the jus annuli seems to have elevated the wearer to the equestrian order. Those who committed any crime forfeited the distinction, and this shows us the estimation in which the ring, as an emblem of honour, was regarded. Iron Ring of a We are told of CÆsar that when addressing his soldiers after the passage of the Rubicon he often held up the little finger of his left hand, protesting that he would pledge even to his ring to satisfy the claims of those who defended his cause. The soldiers of the furthest ranks, who could see but not hear him, mistaking the gesture, imagined that he was promising to each man the dignity of a Roman Knight. Gold rings appear to have been first worn by ambassadors In the course of time it became customary for all the senators, chief magistrates, and the equites to wear a gold seal-ring. This practice, which was subsequently termed the jus annuli aurei, or the jus annulorum, remained for several centuries at Rome their exclusive privilege, while others continued to wear the iron ring. In Plutarch’s Life of Caius Marius he mentions that the slaves of Cornutus concealed their master at home, and hanging up by the neck the body of some obscure person, and putting a gold ring on his finger, they showed him to the guards of Marius, and then wrapping up the body as if it were their master’s, they interred it. Magistrates and governors of provinces seem to have possessed the privilege of conferring upon inferior officers, or such persons as had distinguished themselves, the right of wearing a gold ring. Verres thus presented his secretary with a gold ring in the assembly at Syracuse. Roman. Montfaucon mentions in his ‘Antiquity Explained’ (English Edition, 1722, vol. iii. p. 146), a Greek seal-ring, which has the shape of a crescent. An illustration is here given of a similarly-formed Roman ring, with the letters Q. S. P. Q., Quintanus Senatus Populusque, from the ‘GemmÆ AntiquÆ LitteratÆ.’ Some wore rings of gold, covered with a plate of iron. Trimalchion wore two rings, one upon the little finger of his left hand, which was a large gilt one, and the other of gold, set with stars of iron upon the middle of the ring-finger. During the Empire the right of granting the privilege of a gold ring belonged to the emperors, and some were not very scrupulous in conferring this distinction. Severus and Aurelian granted this privilege to all Roman soldiers; Justinian allowed all citizens of the empire to wear such rings. But there always seems to have been a difficulty in restricting the use of the gold ring. Tiberius (A.D. 22) allowed its use to all whose fathers and grandfathers had property of the value of 400,000 sestertia (3,230l.). The restriction, however, was of little avail, and the ambition for the annulus aureus became greater than it had ever been before. Juvenal, in his eleventh ‘Satire,’ alludes to a spendthrift who, after consuming his estate, has nothing but his ring:— At length, when nought remains a meal to bring, Martial attacks a person under the name of Zoilus, who had been raised from a state of servitude to Knighthood, and was determined to make the ring, the badge of his new honour, sufficiently conspicuous:— Zoile, quid tota gemmam prÆcingere libra The keeping of the imperial ring (cura annuli) was confided to a state keeper, as the Great Seal with us is placed in custody of the Lord Chancellor. Roman. The following illustrates a supposed Gallo-Roman ring of outrageous proportions, similar to those complained of by Livy (xxxiii., see Appendix), for their extravagant size. It is of bronze, and supposed to represent a cow or bull seated, with a bell round the neck. Heavy rings of gold of a sharp triangular outline were worn on the little finger in the later time of the Empire. A thumb-ring Supposed Gallo-Roman. Roman Thumb-ring. Juvenal alludes to the ‘season’ rings:— Charged with light summer rings his fingers sweat, The custom of wearing numerous rings must have been at a comparatively early period: it is alluded to both by Plato and Aristophanes. According to Martial, one Clarinus wore daily no less than sixty rings: ‘Senos Clarinus omnibus digitis gerit,’ and, what is more remarkable, he loved to sleep wearing them, ‘nec nocte ponit annulos.’ Quintilian notices the custom of wearing numerous rings: ‘The hand must not be overloaded with rings, especially with such as do not pass over the middle joints of the finger.’ Demosthenes wore many rings and he was stigmatised as unbecomingly vain for doing so in the troubled times of the State. Seneca, describing the luxury and ostentation of the time, says: ‘We adorn our fingers with rings, and a jewel is displayed on every joint.’ As a proof of the universality of gold rings as ornaments in ancient times, we are told that three bushels of them were gathered out of the spoils after Hannibal’s victory at CannÆ. This was after the second Punic war. According to Mr. Waterton it is believed that gems were not mounted in rings prior to the LXII. Olympiad. Nero, we are informed, during his choral exhibitions in Rock crystal appears to have been much in use among the Romans for making solid finger-rings carved out of one single piece, the face engraved with some intaglio serving for a signet. ‘All those known to me,’ remarks the Rev. C. W. King in ‘Precious Stones,’ &c., ‘have the shank moulded into a twisted cable; one example bore for device the Christian monogram, which indicates the date of the fashion. It would seem that these rings superseded and answered the same purpose as the balls of crystal carried at an earlier period by ladies in their hands for the sake of the delicious coolness during the summer heat.’ Stone rings were in common use, formed chiefly of chalcedony. ‘It is most probable,’ remarks the Rev. C. W. King, ‘that the first ideas of these stone rings were borrowed by the Romans from the Persian conical and hemispherical seals in the same material. Some of these latter have their sides flattened, and ornamented with divers patterns, and thus assume the form of a finger-ring, with an enormously massy shank and very small opening, sufficient, however, to admit the little finger. And this theory of their origin is corroborated by the circumstance that all these Lower Roman examples belong to the times of the Empire, none being ever met with of an early date.’ Silver rings were common: Pliny relates that Arellius Fuscus, when expelled from the equestrian order, and thus deprived of the right of wearing a gold ring, appeared in public with silver rings on his fingers. Among the ancient jewels in the BibliothÈque Nationale Roman. Another Roman ring, also of gold, is attributed to the epoch of the Emperor Hadrian. The three golden figures represented on it are those of Egyptian deities, which have suffered under the hands of a Roman jeweller. It is, however, possible to distinguish them as one of the most important of the Egyptian Pantheon; that is to say, Horus, Isis, and Nephtys. Isis-Hathor is shown with cow’s ears; she has near her Horus-Harpocrates, her son, who is crowned with the schent; the mother and child rise from a lotus flower: on the left is Nephtys, crowned with a hieroglyphic emblem, accidentally incomplete, but the signification of which is the name even of this divinity, ‘the lady of this house.’ Roman. Montfaucon, in his ‘L’AntiquitÉ ExpliquÉe,’ describes a ring with a gem engraved representing Bellerophon, Pegasus, and the ChimÆra. The hero, riding on his famous horse, in the air, throws a dart at the monster below, whose first head is that of a lion, the goat’s head appears on her back, and her tail terminates in a large head of a serpent. This ring was found on the road to Tivoli, among some ashes of a dead body. Representation of a ring Montfaucon gives the contents of a Roman lady’s jewel box cut upon the pedestal supporting a statue of Isis, and amongst other rich articles for female decoration are, for her little finger, two rings with diamonds; on the next finger a ring with many gems (polypsephus), emeralds, and one pearl. On the top joint of the same finger, a ring with an emerald. The Roman ladies were prodigal in their display of rings: we read that Faustina spent 40,000l. of our money, and Domitia 60,000l. for single rings. Greek women wore chiefly ivory and amber rings, and these were less costly and numerous than those used by men. The Rev. C. W. King remarks of Roman rings that if of early date, and set with good intagli, they are almost invariably hollow and light, and consequently are easily crushed. Cicero relates of L. Piso, that ‘while prÆtor in Spain he was going through the military exercises, when the gold ring which he wore was, by some accident, broken and crushed. Wishing to have another ring made for himself, he ordered a goldsmith to be summoned to the forum at Cordova, in front of his own judgment-seat, and weighed out the gold to him in public. He ordered the man to set down his bench in the forum, and make the ring for him in the presence of all, to prove that he had not employed the gold of the public treasury, but had made use only of his broken ring.’ The signs engraved on rings were very various, including portraits of friends and ancestors, and subjects connected with mythology and religion. In the reign of Claudius no Head of Regulus, On the ring of Julius CÆsar was a representation of an armed Venus, as he claimed to be a descendant of the goddess. This device was adopted by his partisans; on that of Augustus, first a sphinx; afterwards the image of Alexander the Great, and at last, his own portrait, which succeeding emperors continued to use.[8] Among the ancients the figures engraved on rings were not hereditary, and each assumed that which pleased him. Numa had made a law prohibiting representations of the The Rev. C. W. King, in ‘Antique Gems,’ informs us that ‘the earliest mention of a ring-stone in relief occurs in Seneca, who, in a curious anecdote which he tells (“De Beneficiis,” iii. 26) concerning the informer Maro and a certain Paulus, speaks of the latter as having had on his finger on that occasion a portrait of Tiberius in relief upon a projecting gem, “Tiberii CÆsaris imaginem ectypam atque eminente gemma.” This periphrasis would seem to prove that such a representation was not very common at the time, or else a technical term would have been used to express that particular kind of gem-engraving.’ At a meeting of the ArchÆological Institute at Norwich in 1847 a fine gold Roman ring found at Caistor was exhibited, set with an intaglio on onyx, the subject being the Genius of Victory. The following illustrations of engraved Roman rings are taken from Montfaucon’s ‘L’AntiquitÉ ExpliquÉe’:—
The following engraving (from GorlÆus) refers to the story of Masinissa and Sophonisba, well known to classical readers. She was betrothed at a very early age to the Numidian prince, but was afterwards married to Syphax, B.C. 206. This warrior, in a battle with Masinissa, was conquered, and Sophonisba became a prisoner to the Numidian Ring with figures of The portraits of Caligula and Drusilla, in an iron ring, made to turn from one side to the other (GorlÆus):— Caligula and Drusilla. A representation of Victory, suspending a shield to a palm-tree (GorlÆus):— Roman ring of ‘Victory.’ With regard to the engraved representations on rings, Roman. The same distinguished writer mentions an antique gold ring now in the Florentine Cabinet, set with a cameo, which evidently shows that it belonged to some Roman sporting gentleman, who, as the poet says, ‘held his wife a In the possession of Captain Spratt is a remarkably fine specimen of early Greek work, a large ring of thin gold, set with an intaglio on very fine red sard, oval, of most unusual size, representing a figure of Abundantia beside an altar; the edge of the setting slightly bended; the stone held in its position by thin points of gold. This most important gem is in its original gold setting, and was purchased in June 1845 at Milo, where it had been found the previous year, within a short distance of the theatre, near the position in which the Venus of Milo had been discovered about thirty years previously. Such was the value attached by the Romans to the setting of gems in rings, that Nonius, a senator, is said to have been proscribed by Antony, for the sake of a precious opal, valued at 20,000l. of our money, which he would not relinquish. The taste for engraved gems, ‘grew,’ observes the Rev. C. W. King, ‘into an ungovernable passion, and was pushed by its noble votaries to the last degree of extravagance. Pliny seriously attributes to nothing else the ultimate downfall of the Republic; for it was in a quarrel about a ring at a certain auction that the feud originated between the famous demagogue Drusus, and the chief senator CÆpio, which led to the breaking out of the Social War, and to all its fatal consequences.’ Sometimes the decoration of a ring was not confined to a single gem. Valerian speaks of the annulus bigemmis, and GorlÆus gives specimens; one, the larger gem of which has cut upon it the figure of Mars, holding a spear and helmet, but wearing only the chlamys; the smaller gem is incised with a dove and myrtle-branch. Engraved are two examples of the emblematic devices and inscriptions adopted for classic rings when used as memorial gifts. The first is inscribed,—‘You have a love-pledge,’ the second,—‘Proteros (to) UgiÆ,’ between conjoined hands. Roman ‘memorial’ gift-rings. The annexed illustration represents a jewelled ring of gold, considered to be of Roman work. It is formed with Anglo-Roman. A similar ring, of gold, found in Barton, Oxfordshire, may, probably, be ascribed to the same period of the Roman rule in Britain. Weight 3 dwts. 16 grains. (‘ArchÆological Journal,’ vol. vi. p. 290.)
The Roman ring here given must have been inconvenient to the wearer from its form, but may have been used as a signet. Rings were chiefly used by the Romans for sealing letters and papers; also cellars, chests, casks, &c.[9] They were affixed to certain signs, or symbols, used for tokens, like what we call tallies, or tally-sticks, and given in contracts instead of a bill, or bond, or for any sign. Rings were also given by those who agreed to club for an entertainment, to the person commissioned to bespeak it, from symbola, a reckoning; hence, symbolam dare, to pay his reckoning. Rings were also given as votive offerings to the gods. In 1841 a curious discovery was made at Lyons of the Roman rings, found at Lyons. Boeckh’s Inscriptions (dating from the Peloponnesian War) enumerate in the Treasury of the Parthenon, among other sacred jewels, the following rings: an onyx set in a gold ring; ditto in a silver ring; a jasper set in a gold ring; a jasper seal, enclosed in gold, seemingly a mounted scarabÆus; a signet in a gold ring, dedicated by Dexilla (the two last were evidently cut in the gold itself); two gem signets set in one gold ring; two signets in silver rings, one plated with gold; seven signets of coloured glass plated with gold (i.e. their settings); eight silver rings, and one gold piece, fine (probably a Daric), a gold ring of 1½ drs. offered by Axiothea, wife of Socles; a gold ring with one gold piece, fine, tied to it, offered by Phryniscus, the Thessalian; a Fabia Fabiana, a Roman lady, offered in honour of her granddaughter Avita, amongst other costly gifts, two rings on her little finger with diamonds, on the next finger a ring with many gems, emeralds and one pearl; on the top joint of the same ring, a ring with an emerald. ‘The notice of the two diamond-rings and the emerald-ring on the top joint of the ring-finger are,’ remarks the Rev. C. W. King, ‘very curious. The pious old lady had evidently offered the entire set of jewels belonging to her deceased grandchild for the repose of her soul.’ Roman. The annexed engraving represents a remarkably fine Roman bronze ring of a curious shape. The parts nearest the collet are flat and resemble a triangle from which the summit has been cut. The peculiarity of the ring is an intaglio, here represented, cut out of the material itself, representing a youthful head. The two triangular portions which start from the table of the ring are filled with ornaments, also engraved hollow. Upon it is the word Vivas, or Mayest thou live; probably a gift of affection, or votive offering. In many of the Roman keys that have been discovered Roman ‘Key-rings.’ When a person, at the point of death, delivered his ring to anyone, it was esteemed a mark of particular affection. The Romans not only took off the rings from the fingers of the dead, but also from such as fell into a very deep sleep or lethargy. Pliny observes: ‘Gravatis somno aut morientibus religione quadam annuli detrahuntur.’ Some have conjectured that Spartian alludes to this custom where, taking notice in the Life of the Emperor Hadrian of the tokens of his approaching death, he says: ‘Signa mortis hÆc habuit: annulus in quo Imago ejus sculpta erat, sponte de digito lapsus est.’ The ring, with his own image on it, fell of itself from his finger. Morestellus thinks they took the rings from the fingers for fear the Pollinctores, or they who prepared the body for the funeral, should take them for themselves, because when the dead body was laid on the pile they put the rings on the fingers again, and burnt them with the corpse. The custom of burning the dead lasted to the time of Theodosius the Great, as Gothofredus states. Macrobius, who lived under Theodosius the Younger, says the custom of burning the dead had quite ceased in his time. The Romans commonly wore the rings on the digitus The clients of a Roman lawyer (remarks Fosbroke), usually presented him, as a birthday present, with a ring, which was only used on that occasion. Rings were given among the Romans on birthdays—generally the most solemn festival among them, when they dressed and ornamented themselves, with as much grandeur as they could afford, to receive their guests. Persius alludes to the natal ring in his first Satire, in which a ring, richly set with precious stones, figures as a part of the ceremonial. The gladiators often wore heavy rings, a blow from which was sometimes fatal. The ring of the first barbarian chief who entered and sacked Rome was a curious cornelian inscribed ‘Alaricus rex Gothorum.’ In the famous Castellani Collection of Antiques, now in the British Museum, are some splendid specimens of Roman rings: one with an uncut crystal of diamond, a stone of great rarity, and highly prized; also a minute votive ring set with a cameo, which probably adorned the finger of a statuette; a curious double ring for two fingers. The early Christian rings are very remarkable; one has a crossed ‘P’ in gold, formerly filled with stones or enamel; another has an anchor for device, and one a ship, emblematic of the Church. Amongst the Greek rings in this superb collection is the most splendid intaglio, on gold, ever discovered; the bust of A ring in the Londesborough Collection bears the Labarum, the oldest monogram of Christianity, derived from the vision in which Constantine believed he saw the sacred emblem, and placed it on his standard with the motto, ‘In hoc signo vinces.’ This ring came from the Roman sepulchre of an early Christian. An engraving of another ring in the same collection of massive silver is inscribed Sabbina, most probably a love-gift. Roman. The following represents a bronze ‘legionary’ ring, of oval form, with flattened bezel, supposed to be Early Christian; obtained from Rome (‘Arch. Journal,’ vol. xxvi. p. 146):— Roman ‘Legionary’ ring.
The collections of our English antiquaries contain numerous specimens of Roman rings. At Uriconium several have been found of very varied materials. Rings formed of bone, amber,[10] and glass were provided for the poorer people, as was the case in ancient Egypt. Roman amber and glass rings. In the later period of the Roman empire a more ostentatious decoration of rings, derived from Byzantium, became common. In Montfaucon we find illustrations of this change from the classical simplicity of earlier times. Byzantine. The annexed represents a gold ring, probably of the fifth or sixth century, found at Constantinople (‘Arch. Journal,’ vol. xxvi. p. 146):— Byzantine. In the Museum at Naples are two fine specimens of rings discovered at Herculaneum and Pompeii, illustrations of which are here given from the work of M. Louis BarrÉ, ‘Herculaneum et Pompeii’ (Paris, 1839-40):— Rings from Herculaneum and Pompeii. A bronze ring is curious from having similar ornaments to those of the horse-furniture discovered some years ago at Stanwick, on the estates of the Duke of Northumberland in Yorkshire, and which are analogous in the character of their Roman. Representation of a ‘trophy’ ring in the Museum of the Hermitage, St. Petersburg; the figure of a lion on the convex; on the reverse a trophy:—
In the Waterton Collection are some valuable and curious specimens of Greek and Roman art in ring-manufacture. These are composed of gold, silver, bronze, iron, lead, earthenware, amber, vitreous paste, jet, white cornelian, lapis-lazuli, chrysoprase, &c. Amongst these will be seen some interesting Roman rings for children; one engraved with a rude figure of Victory, found at Rietri, in 1856, diam. 9/16 in. In the same collection are bronze ‘legionary’ rings—perhaps the number of a ‘centuria,’ some corps employed about Rome, where all the rings of this character connected with the collection have been found. There are also specimens of rings with the key on the hoop, to which I have alluded in the chapter on ‘Betrothal and Wedding Rings.’ One has a fluted pipe; another has a key with two wards; in another the key is riveted on the hoop. Roman Key-rings. The earthenware rings are of brown or red. The amber rings are of mottled deep red, set with green paste. Those in vitreous paste are of pale blue, transparent yellowish and transparent brown. A ‘jet’ ring belongs to the late Roman period. A white cornelian ring has a smaller part of the hoop cut down, so as to form an oval bezel, on which is engraved a standing figure of Æsculapius. A gold ring, Roman, set with oval intaglio, on cornelian, of a trophy consisting of a horse’s head bridled, and two Gallic shields crossed, with the name of Q. Cornel Lupi, is the seal of Quintus Cornelius Lupus, commemorating a victory over the Gauls: the setting is modern. Another gold ring, with oval bezel, set with an intaglio on yellow sard, has a youthful bust, full-faced; on one side a spear, Some of the ‘Early Christian’ rings in the same collection are very interesting. These are of silver, bronze, and lead. One of silver has an octagonal bezel engraved with the Agnus Dei; another, of bronze, has a square bezel inscribed ‘Vivas in Deo’; a bronze ring with oval bezel is chased with a lamb, the shoulders and hoop chased so as to represent a wreath of palms; another, of bronze, has a projecting octagonal bezel, engraved with a dove and a star, the hoop formed so as to resemble a wreath. A massive bronze ring has the bezel engraved with the figure of an orante; on the hoop is also a sigillum engraved with a cross. One ring, of lead, has a flattened bezel rudely incised with a cross. The following engraving represents the fore-finger, from a bronze statue, of late Roman workmanship, on which a large ring is seen on the second joint. A similar custom prevails in Germany. Late Roman (from the Waterton Collection). The latest ‘surprise’ in regard to rings is that in connection with Dr. Schliemann’s discovery of antiquities upon the presumed site of Troy. The Doctor, in June 1873, after indefatigable exertions in excavating, came upon a trouvaille consisting of ancient relics of great rarity, value, and importance, including finger-rings, of which, as I have Among our British, Saxon, and MediÆval ancestors, rings were in common use. Pliny (‘Hist. Nat.’ lib. xxxiii. c. 6) mentions, that the Britons wore the ring on the middle finger. In the account of the gold, silver, and jewellery belonging to Edward the First is mentioned ‘a gold ring with a sapphire, the workmanship of St. Dunstan.’ Aldhelm, ‘De Laud. Virg.’, describes a lady with bracelets, necklaces, and rings set with gems on her fingers. Rings are frequently mentioned in the Anglo-Saxon annals. They appear to have been worn then on the finger next to the little finger, and on the right hand—for a Saxon bard calls that the golden finger—and we find recorded that a right hand was once cut off on account of this ornament. Anglo-Saxon. Early British (?) ring, found at Malton. It was not uncommon for Saxon gold rings to have the name of the owner for a legend. Some of the rings of the Anglo-Saxon period which have been discovered would not discredit the workmanship of a modern artificer. One of the most interesting relics of enamelled art which is exhibited in the medal room of the British Museum is the gold ring of Ethelwulf, King of Wessex (A.D. 837-857), the father of Alfred the Great. It was found in the parish of Laverstock, Hampshire, in a cart-rut, where it had become much crushed and defaced. Its weight is 11 dwts. 14 grains. This ring was presented to the British Museum by Lord Radnor, in 1829. Ethelwulf became later in life a monk at Winchester, where he had been educated, and he died there. No Ring of Ethelwulf. M. de Laborde, in his ‘Notice des Émaux, &c., du Louvre,’ considers the character of the design and ornament to be Saxon; and there is every reason to suppose it was the work of a Saxon artist. In connexion with this valuable relic is the gold ring of Æthelswith, Queen of Mercia, the property of the Rev. W. Greenwell, F.S.A., by whom it was exhibited at a meeting of the Society of Antiquaries in January 1875. On this occasion, A. W. Franks, Esq., Director of the Society, made the following observations:—‘This ring is one of the most remarkable relics of antiquity that has appeared in our rooms for many years past. ‘It was ploughed up in Yorkshire, between Aberford and Sherburn in the West Riding, and it is said that the fortunate finder attached it to the collar of his dog as an ornament. It is of gold, weighing 312 grains; the outer surface is engraved, and partly filled up with niello. In the centre of the bezel is the Agnus Dei, accompanied by the letters A.D. The second letter has a stroke passing through it, so as to resemble the Saxon th. If this stroke is not to be considered a simple contraction, it may be intended for ????? or ?????? Fe??. In the half circle on each side are conventional animals or monsters; the whole is surrounded by a border of dots, much worn in places. The most remarkable part of the ring, however, is the inscription within, which is in letters large in proportion to the surface they occupy, and which read Eathelsvith Regna. These ‘The inscription is perfectly genuine, and we have, therefore, before us the ring of Queen Æthelswith. The only person to whom, with any probability, this inscription can be applied is Æthelswith, daughter of Ethelwulf, and wife of Burgred or Burhred, King of Mercia. She was thus sister to Alfred the Great. According to the Anglo-Saxon Chronicle, under the year 853 (854), Burhred, King of the Mercians, prayed in that year King Ethelwulf to aid him in reducing the North Welsh to obedience, which he did; the Easter after which King Ethelwulf gave his daughter in marriage to Burhred. She appears as witness to the charter of Burhred in 855 and 857, and 866 and 869 (Kemble’s Codex, cclxxvii., cclxxviii., cclxxx., ccxci., ccxii., ccxcix.). In 868 we have a charter giving to her faithful servant Cuthwulf land in Lacinge. About 872-4 she is witness to a charter of Æthelred, Duke of Mercia. In 888 (889) we learn from the “Anglo-Saxon Chronicle” that she died:—“And Queen Æthelswith, who was King Alfred’s sister, died on the way to Rome, and her body lies at Pavia.” ‘She was daughter of Ethelwulf by Osburh, daughter of Oslac, the King’s cup-bearer, and must have been many years older than her brother Alfred, as he was only five years old at the time of her marriage. ‘With regard to the inscription within the ring, it may be noticed that it exhibits scarcely any traces of wear, while the edges of the ring show marks of having been long worn. The engraving (which illustrates this explanation in the In the rings of King Ethelwulf and his daughter, certain symmetrically-placed portions of the design are not filled with niello. These may (observes Mr. Franks) have been enriched with some coloured mastic now perished. It has been habitual to describe the inlaying of Ethelwulf’s ring as blue enamel, which is certainly an error. Enamel was very seldom employed by the Anglo-Saxon jeweller, and enamel and niello could with difficulty be applied to the same object, on account of the different heat at which these two substances melt. An illustration of the remarkable ring of the Queen of Mercia is displayed on the cover of this work. Rings were given in Anglo-Saxon times to propitiate royal favours. Thus, towards the end of the tenth century, Beorhtric, a wealthy noble in Kent, left in his will a ring worth thirty mancuses of gold that the queen might be his advocate that the will should stand. In the Braybrooke Collection is a plain silver ring, inscribed on the top of the exterior of the hoop, with the Anglo-Saxon word ‘Dol?bot,’ the meaning of which is, compensation made for giving a man a wound, either by a stab or blow. This ring is ornamented by a simple wavy line, and dots, as if to represent a branch, and was found in Essex. From its size, probably a woman’s ring—perhaps for injury, or the death of her husband. Anglo-Saxon. Plain wire rings were used by the South Saxons; specimens have been obtained in Anglo-Saxon grave-mounds in England, and others, identical in form, in the old Saxon Early Saxon rings, found near Salisbury. The simplest form of finger-ring worn by our ancestors, consisted of a band of metal, merely twisted round to embrace the finger, and open at either end. One of these rings found upon the finger-bone of an early Saxon, in excavating at Harnham Hill, near Salisbury, was found on the middle finger of the right hand of a person of advanced age. Sometimes several rings were found on one hand. Among the bones of the fingers of the left hand of an adult skeleton was found a silver ring of solid form, another of spiral form, and a plain gold ring. Mr. Akerman, who superintended these researches, says: ‘Similar rings have been found at Little Wilbraham, at Linton Heath, at Fairford, and other South Saxon ring, In the Waterton Collection is a very curious South Saxon ring, described as ‘an elongated oval with a circular centre; within the circle is the conventional figure of a dragon, surrounded by four convoluted ornaments, reminding one of the prevailing enrichments so lavishly bestowed on old Runic ornaments, at home and abroad. Four quaintly-formed heads of dragons occupy the triangular spaces above and below this centre. The ground between the ornaments has been cut down, probably for the insertion of niello or enamel colour.’ It was found in the Thames at Chelsea in 1856. At a meeting of the Royal ArchÆological Institute in June 1873 Mr. J. J. Rogers exhibited some Anglo-Saxon bronze rings which were found in a cave, in the parish of St. Keverne, Cornwall. The Duke of Northumberland possesses a beautiful ring of pale-coloured gold (weight 157 grains), set with a ruby-coloured gem, surrounded with filagree work, the hoop beaded with small circles, punched, as on work of the Saxon age. It was discovered, about 1812, by a boy who was ploughing, near Watershaugh, Northumberland, and found the ring fixed on the point of his ploughshare. In the collection of R. H. Soden Smith, Esq., F.S.A., is a curious Anglo-Saxon ring, found about ten feet below the surface of the ground, in making Garrick Street, Covent Spiral elastic band rings of Anglo-Saxon work have been found in considerable numbers in excavations. Douglas, in his ‘Nenia Britannica,’ describes many specimens under this term, found by him in the graves of Anglo-Saxon tribes. Ancient Irish rings, found near Drogheda. In the earlier history of Ireland we find instances of a wonderful development of artistic skill in goldsmith work. The Royal Irish Academy possesses some beautiful specimens of rings. The Londesborough Collection includes two remarkable rings which were found with other gold ornaments near the remarkable tumulus, known as ‘New Grange,’ a few miles from Drogheda. They were accidentally discovered in 1842 by a labouring man, within a few yards to the entrance of the tumulus, at the depth of two feet from the surface of the ground, and without any covering or protection from the earth about them. Another labouring Aildergoidhe, son of Muinheamhoin, monarch of Ireland, who reigned 3070 A.M., is traditionally said to have been the first prince who introduced the wearing of gold rings into Ireland, which he bestowed on persons of merit who excelled in knowledge of the arts and sciences. Early Irish gold ring. The engraving (from the ‘ArchÆological Journal,’ June 1848), represents a gold ring twisted, or plaited, of early Irish work, in the fine collection of antiquities of Edwin Hoare, Esq., of Cork. The ‘Alhstan’ ring. The Alhstan ring, engraved and described in the ‘ArchÆologia’ (vol. iv. p. 47), is in the Waterton Collection. Some observations on this very remarkable ring are given by that learned antiquary, the Rev. Mr. Pegge. It was found by a labourer on the surface of the ground at Llysfaen in Caernarvonshire. It is of good workmanship, and weighs about an ounce. It bears the inscription of Alhstan, which was a common Saxon name. Mr. Pegge appropriates the Anglo-Saxon ring, found near Bosington. In the Journal of the British ArchÆological Association (vol. i.) is a cut of an Anglo-Saxon gold-ring, discovered at Bosington, near Stockbridge; it is of considerable thickness, ornamented with rich chain-work, and has in its centre a male head, round which is inscribed ‘Nomen Ehlla Fid in xpo,’—my name is Ella; my faith is in Christ. It is now in the Ashmolean Museum at Oxford. In 1840 at Cuerdale, near Preston, some curious discoveries of coins and treasure were made, considered to have been deposited about the year 910, and the ornaments such as were worn about the time of Alfred, or somewhat earlier. These included several rings, representations of which are given in the ‘ArchÆological Journal’ (vol. iv. p. 127). One is merely a piece of metal hammered flat, thinner and narrower at the ends, and formed into a circle; the ends lapping over, but without any fastening. It is entirely without ornament. In some specimens the metal is hammered and bent into the form of a ring, in the same manner as the flat one. Two rings are formed exactly like some armlets, found at the same time; the punch has had a triangular point, and triangles conjoined at their bases having been struck side by side, parallel rows of sunk lozenges have been produced. Another ring has been hammered into a small four-sided bar, then twisted, and ultimately formed into a ring, the ends of which meet, but have not been united. In another ring two wires have been hammered into a roundish form, tapering towards the ends, which have been tied together. Each wire has been ornamented by transverse blows of a blunt chisel, and has the appearance In a communication from Mr. Worsaae, of Copenhagen, to the ‘ArchÆological Journal,’ he observes that the triangular pattern with three or four points on the Cuerdale rings differs totally from the designs on Celtic, Roman, or Saxon remains, and which never seems to occur on any objects found in the interior or southern parts of Europe. ‘To the instances which Mr. Hawkins has already cited of similar patterns on silver objects found in Denmark and in Finland, I can only add that I have seen precisely similar objects with the same pattern in Ireland, Prussia, and Sweden, and that in the interior of Russia, in tumuli in the neighbourhood of Moscow, the same patterns have been found on rings. In nearly every instance these ornaments have been found along with oriental or Cufic coins, as in the case at Cuerdale.’ Mr. Worsaae is of opinion that they are of eastern origin, and were brought to the north in the same way as the oriental coins. In the collection of antiquities of the Royal Irish Academy there are two curious specimens of rings; one, like a ferule, fluted both externally and internally, so as to resemble seven plain rings, attached to one another; and their weight is 9 dwts. Rings in the Royal Irish Academy. The following illustration represents a spiral silver ring, found at Largo, weighing 120 grs. It is shaped, apparently, by the hammer. The edges are serrated. A spiral ring found with Saxon remains in Kent, engraved by Douglas in his ‘Nenia,’ and another found in the Isle of Wight, represented in the ‘Winchester’ volume of the ArchÆological Association, may be compared with the present example. Spiral silver ring. Dr. Mantell has a massive gold ring, supposed to have been worn on the finger, formed of two square bars rudely twisted together, and gradually diminishing in size towards the extremities, where they are united together. It was ploughed up at Bormer, in Sussex, and was presented to Dr. Mantell by the Earl of Chichester. It is represented in Horsfield’s ‘History of Lewes,’ plate iv. Similar rings of this description, but differing in the fashion of the twist, have been noticed as found in Britain. The resemblance between these ornaments and the gold ‘ring-money’ of the interior of Africa is exceedingly curious. Ring: Flodden Field. The annexed engraving (from the ‘ArchÆological Journal,’ vol. iii. p. 269) represents a gold ring, belonging to Sir Noel Paton, F.S.A., Scotland, reported to have been found on the field of Flodden: weight 8 dwts. 17 grs. Other rings of a similar form have been The annexed illustration represents a remarkably fine ring engraved in Chifflet’s ‘Anastasis Childerici’ (1655), on the same page as that of the Childeric ring (described in the chapter on ‘Memorial and Mortuary Rings’), for purposes of comparison, in carrying out his original theory, that the supposed bees of Childeric were, by gradual transition, converted into the figure known as the fleur de lys of a later monarchy, as he endeavours to illustrate by numerous diagrams, but he omits to say where this ring marked ‘sapphirus’ was originally found. It is a mere supposition that the figure represents St. Louis, but in Montfaucon’s ‘Monuments de la Monarchie FranÇaise’ (Paris, 1729), in a long disquisition on the origin, &c., of the fleur de lys, on referring to plate xxiii. tom. ii. p. 158, where St. Louis ‘instruit ses enfans,’ his shield is noticed as bearing for the first time three fleurs de lys. Sandford, in his ‘Genealogical History’ (pp. 270, 289), says that Henry the Fifth, being Prince of Wales, ‘did bear azure, 3 flowers de lys or, for the Kingdom of France, reducing them from semÉe to the number 3, as did Charles VI., the present King.’ Among the old Northmen rings were generally worn by
Charlemagne sealed all his acts with his ring. That of his son Louis le DÉbonnaire had for inscription XPE. PROTÈGE HELLDOVICUNI. IMPERATOREM. From the reign of Hugh Capet each King had his particular seal-ring. St. Louis had for device a ring interlaced with a garland of lilies and daisies, in allusion to his name and that of his queen. Two curious rings of early date are here represented: one a seal-ring of the Frankish period, found near Allonnes (Sarthe) bearing the monogram Lanoberga; the other, of gold, Merovingian, found in Vitry-le-FranÇais, supposed to be a conjugal ring, with inscription.
The annexed illustration represents a gold ring, in the BibliothÈque Nationale at Paris, with the initials S. R., and supposed by the AbbÉ Cochet (‘La Normandie Merovingian. To a similar period may, perhaps, be ascribed the ring found near Blois, represented in the following engraving:— Merovingian. The annexed cuts represent a gold signet-ring, inscribed ‘Heva,’ and a seal-ring, both of the Merovingian period. Merovingian. A remarkable ring of the Merovingian period, now in the collection of R. H. Soden Smith, Esq., F.S.A., was exhibited at the ArchÆological Institute in 1874. It is a massive gold ring, with oval bezel 1¼ inches long, by 1 inch in width, set with an antique polished chalcedony of two layers, the edges bevelled. The setting is rather more than a quarter of an inch deep, and is formed of a band of gold, supported by perpendicular ridges, made by folding another thick band, or ribbon, of gold; a double row of pellets of gold, and others on the shoulder of the hoop, add to the rich effect of the whole. The hoop is a somewhat rude angular band, It was in the Middle Ages, however, after a period of comparative mediocrity, that the greatest degree of perfection in goldsmiths’ work, and especially in rings, began to display itself. In the reign of Edward III. (1363), so great was the extravagance in dress and decoration that an Act was passed to repress the evil. All persons under the rank of Knighthood, or of less property than two hundred pounds in land and tenements, were forbidden to wear rings, and other articles of jewellery. Gold ‘Middle Age’ ring, In the ‘Vision of Pierce Ploughman,’ written, it is supposed, about this date, the poet speaks of a richly-adorned lady, whose fingers were all embellished with rings of gold, set with diamonds, rubies, and sapphires. In a parchment roll of Prayers to the Virgin in the Library of Jesus College, Oxford, which formerly belonged to Margaret of Anjou, there is a portrait of that queen who is represented wearing two rings on each finger except the least, placed on the middle as well as the third joint of the fingers—a fashion probably introduced by her, and shown In later ages we find the same practice of ornamenting the fingers with several rings. In the description of a Scottish woman of the middle of the sixteenth century, attributed to Dunbar, we find:— On ilkune fyngar scho weirit ringis tuo Queen Elizabeth had an immoderate love for jewellery; and the description given of her dresses covered with gems of the greatest rarity and beauty reads like a romance. For finger-rings she had a remarkable fondness. Paul Hentzner, in his ‘Journey into England,’ 1598, relates that a Bohemian baron having letters to present to her at the palace of Greenwich, the queen, after pulling off her glove, ‘gave him her right hand to kiss, sparkling with rings and jewels—a mark of particular favour.’ Rings on the effigy of Lady Stafford. In Bromsgrove Church, Staffordshire, are the fine monumental effigies of Sir Humphrey Stafford and his lady (1450)—remarkable alike for the rich armour of the knight ‘In the Duke of Newcastle’s comedy,’ observes Mr. Fairholt, ‘the “Country Captain” (1649), a lady of title is told that when she resides in the country a great show of finger rings will not be necessary: “Show your white hand, with but one diamond, when you carve, and be not ashamed to wear your own ringe with the old posie.” That many rings were worn by persons of both sexes is clear from another passage in the same play, where a fop is described, ‘who makes his fingers like jewellers’ cards to set rings upon.’ The same custom prevailed in France. Mercier, in his ‘Tableau de France,’ mentions that at the close of the eighteenth century enormous rings were worn. The hand of a woman presented a collection of rings, ‘et si ces bagues Étaient des antiques, elles offriraient un Échantillon d’un cabinet des pierres gravÉes.’ He adds that ‘the nuptial ring is now unnoticed on the fingers of women; wide and profane rings altogether conceal this warrant of their faith.’ So important a business was the making of rings that it was separated from the ordinary work of the goldsmith, and became a distinct trade. In the sixteenth century, among the various articles carried by the pedlar rings were reckoned. In Heywood’s ‘Four PP (A Newe and a very mery Enterlude of a Palmer, a Pardoner, a Potycary, and a Pedler),’ the Potycary addresses the Pedler:— What the devyll hast thou there at thy backe?— What dost thou not knowe that every pedler The instances in which brooches and rings are mentioned together are numerous. In Scott’s edition of Sir Tristrem (pages 23, 28) we find:— Who gaf broche and beighe (ring)? In the Chester Mystery Plays the shepherds do not know what to present to the Babe of Bethlehem, and Secundus Pastor says:— Goe we nere anon, with such as we have broughte, And the ‘first boye’ adds:— Nowe Lorde for to geve thee have I no thinge, In the old ballad of Redisdale and Wise William the lady is enticed with rich presents:— Come down, come down, my lady fair, to which she replies:— If you have bonny broaches, rings, Of the later period of ring decoration there are some splendid specimens in various collections. Mr. Fairholt, in his ‘Facts about Finger-rings,’ has given illustrations and descriptions of two rings of this character in the Londesborough Collection. One is decorated with floral ornament, engraved and filled with green and red enamel colours. The effect on the gold is extremely pleasing, having a certain quaint sumptuousness peculiarly its own. The other specimen, a signet-ring, bears a ‘merchants’ mark’ (see notice of ‘Merchants’ marks’ at the end of this chapter) upon its face.
In the same collection is a ring, doubtless a gage d’amour, the hoop of which is richly decorated with quaint floriated ornaments, cut upon its surface, and filled in with the black composition termed niello, once extensively used by goldsmiths in enriching their works. This beautiful ring is inscribed within the hoop, ‘Mon Cor Plesor,’—‘my heart’s delight.’ There are two very beautiful examples of sixteenth century rings, one in the Londesborough Collection, which has a ruby in a very tall setting, enriched by enamel. The sides of the hoop are highly decorated with flowers and scroll ornament, also richly enamelled. The other ring is in the Waterton Collection, gold, enamelled, set with a large
Rings of Italian workmanship of a late period are remarkably beautiful. Venice particularly excelled in this art. In the Londesborough Collection is a fine specimen. The four claws of the other ring in open-work, support the setting of a sharply-pointed pyramidal diamond, such as was then coveted for writing on glass. The shank bears a fanciful resemblance to a serpent swallowing a bird, of which only the claws connecting the face remain on view.
‘It was,’ remarks Mr. Fairholt, ‘with a similar ring Raleigh wrote the words on a window-pane: “Fain would I rise, but that I fear to fall,” to which Queen Elizabeth The annexed engraving represents a gold symbolical ring of the sixteenth century, enamelled, of various colours. Italian. Two rings are described by Mr. Fairholt of a peculiar construction. One, of Venice work, is set with three stones in raised bezels; to their bases are affixed, by a swivel, gold pendant ornaments, each set with a garnet. As the hand moves, these pendants fall about the finger, the stones glittering in the movement. This fashion was evidently borrowed from the East, where people delight in pendant ornaments, and even affix them to articles of utility. The other ring, of silver, is of East Indian workmanship,
The Indians prefer rings with large floriated faces spreading over three fingers like a shield. When made for the wealthy, in massive gold, the flower leaves are of cut jewels, but the humbler classes are content with them in cast silver. Representations are here given of these rings. Indian. In Southern Europe, where jewellery is deemed almost an essential of life and the poorest will wear it in profusion, though only made of copper, the rings are curious Spanish. ‘Giardinetti’ rings. Annexed are representations of some remarkably fine rings (French) dating from the close of the fourteenth century or the commencement of the fifteenth. French.
The following examples of French art of the sixteenth century are in the Museum of the Louvre:— French. ‘Escutcheon’ ring. French. The accompanying are from Chabouillet’s ‘OrfÉvrerie de la RÉnaissance,’ in the Fould Collection (dispersed by auction in 1860). French.
The following represent rings in the MusÉe Sauvageot, of the sixteenth and seventeenth centuries; one is elaborately wrought of chiselled iron, of French manufacture—date, 16th century. French. The annexed are two fine specimens of comparatively modern date; one ending in volutes near the bezel, the other enamelled white, red, green, and blue—a turquoise, with diamonds and rubies in settings. French. Modern French. Moorish. In the Londesborough Collection is a triplicate of Moorish rings, which will enable us to understand their peculiarities. One has a large circular face composed of a cluster of small bosses, set with five circular turquoises and four rubies; the centre being a turquoise, with a ruby and turquoise alternating round it. This ring is of silver. Bavarian. In the South Kensington Museum is a massive and heavy brass ring, with octagonal bezel armed with five projecting points, used as a weapon by peasants in Upper Bavaria from about the year 1700 to the present time. The Indians prefer rings with large floriated faces, spreading over three fingers like a shield. When made for the wealthy in massive gold, the flower leaves are of cut jewels, but the humbler classes, who equally love display, are content with them in cast silver. Such a ring is in the British Museum, where there are also two specimens of rings beside it such as are worn by the humbler classes. A curious gold ring, bearing the impress a ‘merchant’s mark,’ was exhibited by Mr. Sully at a meeting of the ArchÆological Institute of November 1851. It was found at St. Anne’s Well, near Nottingham, and the date is about the time of Henry VI. From a representation in the ‘Journal’ the impress appears to be composed of the orb of sovereignty, surmounted by a cross, having two transverse bars, like a patriarchal cross. The extremities of the lower limbs terminate with the Arabic numerals, 2—0, the cipher being transversed by a diagonal stroke, as frequently written in early times. On one side of the hoop is seen the Virgin and Child, on the other the Crucifix; these were originally enamelled. Within is inscribed—Mon Cur avez. Weight 7 dwts. 21 grs. In the Braybrooke Collection is a bronze signet-ring with a merchant’s mark within a cable border: the mark may be intended to represent a buoy, which would accord well with the border, supposing it to be a trader’s cipher; the hoop is likewise twisted to imitate the strands of a rope. This ring was found in the Thames. In the same collection is a massive gold thumb-ring engraved as a signet, with a merchant’s mark within a rude shield. The shoulders of the hoop are chased with Marguerite flowers, which were commonly adopted in the reign of Henry VI., in honour of the queen-mother, and may indicate the date of the ring. It was found at Littlebury, Essex, in 1848. In the same collection is a large gold thumb-ring, with a round hoop and signet, on which is engraved the letter E of Longobardic form, within delicately-cusped tracery, surmounted by a coronet. The hoop is inscribed externally with the words in. on. is. al. (in one is all): probably intended for a charm, of which so many forms are found upon rings of the fourteenth and fifteenth centuries. In the Londesborough Collection is the fine specimen (to which I have alluded in a previous page) of a signet-ring bearing a ‘merchant’s mark.’ ‘The marks,’ observes Mr. Fairholt, ‘varied with every owner, and was as peculiar to himself as the modern autograph; they were a combination of initials, or letter-like devices, frequently surmounted by a cross, or a conventional ———receive thou my seal-ring: The custom must have been common to be thus used in dramatic scenes of real life. These plays were produced in 1606.’[15] Merchants’ rings. In the collections of our English antiquaries are numerous specimens of thumb-rings, and in the chapter on The custom of wearing thumb-rings is alluded to by Chaucer, in the ‘Squire’s Tale,’ where it is said of the rider of the brazen horse who advanced into the hall, Cambuscan, that ‘upon his thumb he had of gold a ring.’ Brome, in the ‘Antipodes,’ 1638, and also in the ‘Northern Lass:’ ‘A good man in the city wears nothing rich about him but the gout, or a thumb-ring.’ In the ‘ArchÆological Journal’ (vol. iii. page 268) is a representation of a curious thumb-ring, which supplies a good example of the signet thumb-ring of the fifteenth century. It is of silver, alloyed, or plated with baser metal and strongly gilt. The hoop is grooved spirally, and the initial H is engraved upon it; weight 17 dwts. 18 grs. It was found in 1846, in dredging in the bed of the river Severn, at a place called Saxon’s or Saxton’s Lode. Signet rings of this kind were worn by rich citizens, or persons of substance not entitled to bear arms. Falstaff bragged that in his earlier years he had been so slender in figure that he could readily have crept through an ‘alderman’s thumb-ring,’ and a ring thus worn—probably, as more conspicuous—appears to have been considered as appropriate to the customary attire of a civic dignitary at a much later period. A character in the Lord Mayor’s show in 1664 is described as ‘habited like a grave citizen—gold girdle and gloves hung thereon, rings on his fingers, and a seal-ring on his thumb.’ In Labartes ‘Hand-book of the Fine Arts in the Middle A magical thumb-ring of gilt, bearing the figure of a toad, and of German workmanship of the fourteenth century is in the Londesborough Collection, and is described in the chapter on ‘Ring Superstitions.’ The annexed representation is from a ring in the same collection. Thumb-ring. The figure of a morse ivory thumb-ring of an Earl of Shrewsbury, belonging to Dr. Iliff, is given in the ‘Proceedings of the Society of Antiquaries’ (December, 1859), in which it is fully described. On this is engraved various coats of arms, surrounded by the Garter, and ensigned with an earl’s coronet. A list of the quarterings is also given.[16] In the Braybrooke Collection is a massive latten thumb-ring, with a signet engraved with I.H.S. and three tears below; the words, ‘in Deo Salus’ are inside the hoop. They are from the Penitential Psalms, and in union with the tears. Date from the thirteenth century. In a portrait of Lady Anne Clifford, the celebrated To the practice of English ladies wearing, formerly, the wedding-ring on the thumb I have alluded in the chapter on ‘Betrothal and Wedding-rings.’ Dr. Thomas Chalmers wore the ring of his great-great-great-grandfather, John Alexander, on his thumb. ‘Oriental rings,’ remarks the Rev. C. W. King, ‘exactly like the ancient in shape, and made of cornelian, chalcedony, and agate, with legends in Arabic on the face, for the use of signets, are by no means uncommon in collections. They are of large size, being designed to be worn on the thumb of the right hand, in order to be used in drawing the bow-string, which the Orientals pull with the bent thumb, catching it against the shank of the ring, and not with the two first fingers, as is the practice of English archers.’ Brass Thumb-ring. A brass seal-ring large enough for a man’s thumb was found in Hampshire some years ago, and is noticed in the ‘Gentleman’s Magazine’ vol. liv. |
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