RENAISSANCE RINGS, BRACELETS, AND BROOCHES THE splendour-loving sixteenth century far surpassed the Middle Ages in the use of the finger ring. No other ornament of the Renaissance attained such richness and profusion. In sixteenth and seventeenth century portraits rings are represented in such quantities that the hands appear overburdened with them; while the number entered in the old inventories is astounding. Yet it is well to remember that the word bague, which we translate a ring, was a general term for all pendent jewels—though not infrequently a distinction in the lists is drawn between bague À mettre aux oreilles (an earring), bague À pendre (a pendant), and bague À mettre au doigt. The extraordinary abundance of finger rings in use at the time may best be judged by a list in the inventory of Henry VIII of the year 1530, which contains no less than 234. Of the large number of Renaissance rings that have survived to the present day most are of a purely ornamental character; and though many others are of interest on account of their emblematic or historical associations, those which display artistic work require the chief consideration. Out of all the rings that simply served the purpose of decoration, there are very few whose nationality can be easily determined. If it is difficult in the case of pendants and similar ornaments to come to a Pictures of the period, as has been said, represent persons with their hands heavily loaded with rings, which are worn upon all the fingers, the thumb included. Every finger-joint up to the very nail is covered with them, and they are worn, as by the ancient Romans, even upon the knuckles. The great projection of the rings' bezels would have rendered the use of gloves impossible, were it not, as we know from pictures, for the custom of placing the rings outside the gloves, and also for the somewhat ugly fashion of slitting the fingers of the gloves, in order that they might be worn with greater comfort, and allow the rings themselves to be displayed. In a portrait of a lady by Lucas Cranach in the National Gallery, rings are worn both over and beneath the gloves, every finger and the thumbs having two or three. The rings under the gloves appear on the top of the second knuckle of every finger, and are visible through the crevÉs made in the gloves at these points. In other pictures by this artist, such as that entitled "Judith" at Vienna, and in the works of his contemporaries in Germany, the same slashed gloves are to be seen. Men's gloves, too, like their doublets, were slashed, as is clear from the engraved portrait of Duke William of Juliers, by Aldegrever. Bishop Hall (Satires, III, iv) refers thus to the current fashion:— Nor can good Myson wear on his left hond, A signet ring of Bristol diamond, But he must cut his glove to show his pride, That his trim jewel might be better spy'd. The tendency of placing the stone in a very high bezel was a tradition from the Middle Ages, where a preference had always been shown for the stone being so set. The ornamental rings of the Renaissance image One peculiar variety of ring, known from the early part of the fifteenth century, is deserving of note. Its design was founded upon the natural octahedrite shape of the diamond, and was distinguished by a very high bezel, which received one half of the octahedron and allowed the other to project upwards. Rings set thus with pointed diamonds were in high favour until the middle of the seventeenth century, and were employed for writing upon glass—a practice which appears to have been much in vogue. The most characteristic examples of the diamante in punta were those adopted by the Medici as their device. Three diamond rings interlaced were employed by Cosimo (d. 1464); Piero took one diamond ring held in the claw of a falcon; Lorenzo continued the device of the ring, in which he placed three feathers. The best-known representations of these three devices are figured in Paolo Giovio's Dialogo dell' imprese. In addition to the case for the stone, the sides or "shoulders" of the ring which held it were the subject of special artistic development. They took the form of small figures, winged creature, masks, and other ornaments Several old portraits exhibit rings strung upon men's necklaces, or hung from a thin cord round the neck. A portrait by Mabuse, in the Berlin Gallery, shows a ring worn thus, and in two portraits by Lucas Cranach—one at Weimar, representing Johann Friedrich of Saxony attired as a bridegroom, and the other at Dresden, of the Elector Johann the Constant of Saxony (1526)—rings are hung similarly round the neck. Rings were also worn in the hat. A particularly striking example of this fashion is seen in the portrait of Bernhard III, Margrave of Baden, 1515, by Hans Baldung Grien, in the Pinakothek, Munich. Around his cap is fixed a thick wire-shaped band of gold, with a strip of cloth wound spirally round it. The latter serves to fix at regular intervals four gold rings, three of them set with cabochon stones and the fourth with a pointed diamond. A similar kind of decoration is alluded to in Gabriel Harvey's Letter Book, 1574 (Camden Society, 1884, p. 145), where a servant is mentioned carrying to a maiden an enamelled posy ring which his master had worn sewn upon his hat. The rings worn thus were in many cases betrothal or engagement rings; but those that served this purpose generally assumed special forms, and were among the most ingenious productions of the time. They were composed of twin or double hoops, and known as gimmel rings. The outer side of the two hoops was convex and elaborately ornamented, while the inner side was flat and often bore some inscription. The two hoops were wrought so exactly alike, that, together with the stones, they appeared to be one ring, PLATE XXXVI image It was the custom to arrange finger rings upon a rod when not in use or when exposed for exhibition in the jeweller's shop, and in paintings it is no uncommon thing to see a line of rings of various patterns run on image In Henry VIII's inventory of 1527 we find: "Upon a finger-stall, seven rings, one a ruby, another an emerald, and a turquoise, another a table diamond, another a triangular diamond, another a rocky diamond"; also in 1530: "A roll with thirty-nine Paris rings, with small stones." In the Duke of Newcastle's comedy The Country Captain (1649) mention is made of an extravagant person "who makes his fingers like jewellers' cards to set rings upon." In the Pinakothek, Munich, is a most interesting picture by Paris Bordone representing a jeweller with a quantity of his treasures lying on a table before him. Every item is painted with extreme care. Twelve massive finger rings, arranged in three rows of four, are displayed in an oblong ring-box, just in the same manner as one might expect to find them in a jeweller's shop of the present day. A somewhat similar picture by Lorenzo Lotto, in the Kaufmann Collection in Berlin, represents a jeweller holding in his left hand a box full of rings and in his right a single specimen. By far the most attractive of the fine engravings of jewellery by Pierre Woeiriot of Lorraine is his beautiful set of rings published in 1561 under the title of Livre d'aneaux d'orfÉvrerie. M. Foulc, of Paris, is generally credited with the possession of the only BRACELETS The bracelet during this period plays a scarcely more prominent part than it did in the Middle Ages, and probably owing to the same reason; for in Renaissance times the fashion of leaving the arms bare was not in favour, and the long sleeves that fell over the hand were retained. A few examples presented by pictures lead to the supposition that bracelets consisted of beads of amber or jet separated by balls of gold, or of rows of cameos. Catarina Cornaro in her portrait by Titian in the Uffizi wears a bracelet upon her wrist over the sleeve, while the portrait of a lady by Cranach in the National Gallery shows that the sleeves were Inventories supply a certain amount of information concerning bracelets. Henry VIII in 1530 possessed seventeen, including one of "Paris work, with jacynths; and one with eight diamonds, eight rubies, fourteen pearls, and a diamond rose." Elizabeth received a large number of bracelets amongst her New Year's gifts. In the inventory of Mary Stuart's jewels are "Une paire de brasseletz garniz de cornaline lappines et agate et entredeux de doubles—Une aultre paire de brasseletz damatiste—Ung bracelet fait a facon de serpent." Others are formed, as were necklaces, of beads of filigree enclosing perfumes: "Deux braceletz dor percez a jour pleins de parfum—Une aultre paire dor a jour empliz de parfum." References to bracelets by writers of the period show that they were not infrequently worn as love tokens. Thus in Beaumont and Fletcher's Cupid's Revenge:— Given ear-rings we will wear Bracelets of our lovers' hair, Which they on our arms shall twist With our names carv'd on our wrist. Also in Barnfield's Affectionate Shepherd (1594):— I would put amber bracelets on thy wrist, Crownlets of pearls about thy naked arms. Contemporary designs prove that bracelets followed the same elaborate forms as other articles of jewellery, as may be seen from the engraved designs of Ducerceau, and the Livre de Bijouterie of RenÉ Boyvin of Angers (1530-1598). One of the most interesting bracelets—as far as actual specimens are concerned—is preserved at Berkeley Castle amongst the heirlooms bequeathed by George Carey, Lord Hunsdon, who died in 1603. It is Bracelets formed of cameos are met with sometimes on portraits. The BibliothÈque Nationale at Paris preserves a pair of bracelets (Nos. 624 and 625) formed each of seven oval shell cameos representing figures of animals, enclosed in gold mounting enriched with blue enamel, and hinged together by a double chain ornamented with rosettes enamelled green. On the under side of the larger cameos which form the clasps are two interlacing C's within a wreath of palm and olive, enamelled green, and a barred S in blue enamel at each angle. These bracelets, of which the cameos as well as the mountings are of fine sixteenth-century work, have been traditionally associated with Diana of Poitiers. But the interlaced C's, according to M. Babelon, are in all probability the initials of some lady of the family of Harlay, from whom the bracelets were acquired by Louis XIV (Pl. XXXVII, 3, 4). PLATE XXXVII image Bracelets, like necklaces, were not infrequently composed entirely of gold, with interwoven links, like mail-chains. A chain bracelet of this style, formed of circular BROOCHES One of the most important of ornaments throughout the Middle Ages was the brooch; but towards the end of the fifteenth century the mode of wearing garments changed, and the cÔtehardi having replaced the mantle, brooches disappeared little by little, till in Renaissance times they were rarely employed, except as ornaments for the hat. It is true that sixteenth-century inventories contain an immense number of owches and brooches—Henry VIII had no less than 324—but nearly all these, the larger ones especially, were worn as enseignes upon the hat; while the smaller were employed not as dress fasteners, but simply as ornaments sewn or pinned at regular intervals upon the front of the dress or the borders of the sleeves. A single elaborate jewelled brooch is sometimes seen in pictures attached to the upper part of the sleeve. We see it thus on the figure of Arithmetic in Pinturicchio's famous fresco in the Appartamento Borgia of the Vatican, and later in English pictures, notably the well-known painting in Sherborne Castle, Dorset, representing Queen Elizabeth's procession in litter to Blackfriars in 1600, where the ladies of her retinue have jewels fastened to the sleeves of their right arms. The garments of this period were not fastened by means of brooches, but were closed with buttons or These individual jewelled ornaments, which it was the practice to sew on the dress at regular intervals by way of trimming, may be treated as distinct from ornamentation which formed part of the actual costume, such as masses of pearls and precious stones, with which dresses were literally loaded. Individual jewels often took the form of the monogram, crest, or device of the owner, in pure gold richly decorated. A curious instance of this custom has already been alluded to in connection with what occurred during the masque given by Henry VIII at Westminster. The fashion for wearing ornaments in the form of jewelled initials was still in vogue on the quilted dresses of the time of James I. Anne of Denmark is represented in her portraits wearing them both on her ruff and in her hair, and a "jewel, in form of an A and two CC, sett with diamonds" and others of similar kind are to be found in the lists of jewels supplied to the Queen by George Heriot. Except occasionally for buttons, the chief means employed for fastening the garments was by aigulets image |