Chapter I: Rings From the Earliest Period (2)

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 plain gold ring weighing ½ dr. offered by Pletho of Ægina (a widow’s mite).

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.’

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 the ring was actually worn on the finger. The shank disappears, and the wards are at right angles to the ring, or in the direction of the length of the finger.

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 annularis_, the fourth finger, and upon the left hand, but this custom was not always observed. Clemens Alexandrinus remarks that men ought to wear the ring at the bottom of the little finger, that they might have their hand more at liberty. For Pliny’s account of this, and other ring customs, I refer the reader to the Appendix at the end of this volume.

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 some Berenice or Arsinoe side by side with that of Serapis; the ring itself, plain and very massive, is, as the Rev. C. W. King observes, ‘a truly royal signet.’

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.

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):--

Another, of the same description, is more elaborate:--

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.

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.

A specimen of this character is given by Montfaucon:--

The annexed represents a gold ring, probably of the fifth or sixth century, found at Constantinople (‘Arch. Journal,’ vol. xxvi. p. 146):--

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):--

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 design to those found in Roman places of sepulture in Rhenish Germany.

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.

Among the ‘votive’ rings in this collection, is one in the form of a shoe, inscribed FELIX, of bronze.

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.

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, on the other side, in Greek letters, ‘Hermai.’ A gold ring with nicoli onyx is inscribed ‘VIBAS LUXURI HOMO BONE.’

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.

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 mentioned, the Homeric writings make no mention. These were found among a marvellous assemblage of bronze, silver, and gold objects, which lay together in a heap within a small space. This seemed to indicate that they had originally been packed in a chest which had perished in a conflagration (most of the articles having been exposed to the action of fire), a bronze key being found near them. The period to which these objects belong is the subject of much controversy, but their origin must date from a very remote period.

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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.

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 reasonable ground can be alleged for doubting the authenticity of this ring.[11]

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 ἀρνὸς or ἀρνίον Φεοῦ. 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 letters, excepting the two last, are in double outline. The engraver seems to have miscalculated the space necessary, and has left out one letter towards the end and given the NA in single lines; or, perhaps, the I and the N are combined in a monogram.

‘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 “Proceedings of the Society”) moreover, scarcely looks like the work of a goldsmith. I would, therefore, suggest that the Queen had probably offered this ring at some shrine, and the priests connected with the shrine had engraved her name within the ring, to record the royal giver. It could scarcely have been deposited in her tomb, as she is recorded to have been buried at Pavia.’

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 ‘Dolȝbot,’ 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.

There are various nielloed rings of the Saxon period; notably a gold ring with an inscription, and partly in runes, meaning ‘Alhreds owns me, Eanred engraved (or wrought) me,’ now in the British Museum, which also has a gold ring with two facets, found in the river Nene, near Peterborough, engraved in the Archæological Institute Proceedings for 1856.

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 cemeteries in Germany. Mr. Fairholt says: ‘In the museum at Augsburg are several, which were found in cutting for the railway near that city. One of the plain wire rings’ (the first of our illustrations) ‘was exhumed from a tumulus on Chartham Downs, a few miles from Canterbury, in 1773, by the Rev. Bryan Faussett, who says: “The bones were those of a very young person. Upon the neck was a cross of silver, a few coloured earthen beads, and two silver rings with sliding knots.” The second illustration--a wire ring, twisted so as to resemble a seal ring--was discovered in a Saxon cemetery on Kingston Downs, Canterbury.’

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 localities. They are, for the most part, of a uniform construction, being so contrived that they could be expanded or contracted, and adapted to the size of the finger of the wearer.’

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 Garden. It is of gold, the hoop nearly half an inch wide, with a broad oval bezel, expanding to 1-3/16 inches; the gold pale, alloyed with silver. The whole is overlaid with funiform wire ornaments and granulated work; on the bezel are four curves of beaded filagree radiating from the centre ornament, and having smaller bosses of similar work between.[12]

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.

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 man, hearing of this discovery, carefully searched the spot whence they were taken, and found a denarius of Geta. The stone set in both rings is a cut agate.

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.

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, 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 ring to the Bishop of Sherborne of that name, because the dragon of Wessex, apparent in the first lozenge, was not only the device on the royal standard of Wessex, but the Bishop of Sherborne had often conducted armies under it, having been much engaged in affairs of war. The prelate died in 867, in the beginning of the reign of Ethelred I.

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 of being also twisted; these two have been twined together to form one ring.

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.

The other is a five-sided bar of gold, flat on the inside near the finger, and angular externally; weight 1 oz. 12 dwts. 6 grs. This might be denominated a torque ring.

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.

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.

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 discovered, and ‘they appear to offer some analogy with the torc of the Celtic age.’

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 rich people and persons of rank. Such rings are frequently found in barrows of pagan date, and from their nature and quality it is easy to determine that they were generally of very simple workmanship; the reason of which, undoubtedly, was that they were used instead of money in commercial transactions, and had, therefore, not unfrequently to be cut asunder. Still, rings of more artistic workmanship are sometimes found in pagan graves.

The preceding cuts are taken from examples in the Royal Museum, Copenhagen, of the curious twisted spiral rings alluded to, found in the graves of the old Northmen.

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 Souterraine’) to mean ‘Sigebertus Rex,’ but which of the three Sigeberts, Kings of Austrasia (the name given, under the Merovingians, to the eastern possessions of the Franks), cannot be conjectured.

To a similar period may, perhaps, be ascribed the ring found near Blois, represented in the following engraving:--

The annexed cuts represent a gold signet-ring, inscribed ‘Heva,’ and a seal-ring, both of the Merovingian period.

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, with a zigzag punched ornament round it. This ring was found in the neighbourhood of Bristol.

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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.

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 the curious portrait of this queen on the tapestry at Coventry.

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
Scho was als proud an ony papingo.

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.’

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 and the courtly costume of the lady. She wears a profusion of rings; every finger, except the little finger of the right hand, being furnished with one. They exhibit great variety of design. The two hands are lifted in prayer.

‘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?--

to which he replies:--

What dost thou not knowe that every pedler
In all kinde of trifles must be a medler?
Gloves, pinnes, combes, glasses unspotty’d,
Pomanders, hookes, and lases knottyed;
Broches, _rynges_, and all maner of bedes.

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)?
Who but Douk Morgan?

A loud thai sett that sleigh
With all his winning yare
With broche and riche beighe.

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,
Ringe, broche, ner precious stoune,
Let us see yf we have oughte to proffer.

And the ‘first boye’ adds:--

Nowe Lorde for to geve thee have I no thinge,
Neither goulde, silver, broche, ner ringe.

In the old ballad of Redisdale and Wise William the lady is enticed with rich presents:--

Come down, come down, my lady fair,
A sight of you i’ll see,
And bonny jewels, broaches, rings,
I will give unto thee.

to which she replies:--

If you have bonny broaches, rings,
Oh, mine are bonny tee,
Go from my yettes, now, Reedisdale,
For me ye shall not see.

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 turquoise in the centre, and surrounded by six raised garnets. This ring is said to have subsequently belonged to Frederick the Great, King of Prussia, whose cipher is upon it.

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 added: “If thy heart fail thee, do not rise at all”--an implied encouragement which led him on to fortune.’[13]

The annexed engraving represents a gold symbolical ring of the sixteenth century, enamelled, of various colours.

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, discovered in the ruins of one of the most ancient temples: to its centre are affixed bunches of pear-shaped, hollow drops of silver, which jingle with a soft, low note as the hand moves.[14]

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.

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 and elaborate. A Spanish ring, of the early part of the last century, has a heart, winged and crowned, in its centre: the heart is transfixed by an arrow, but surrounded by flowers. It may possibly be a religious emblem. Another Spanish ring, of more modern manufacture, has a very light and elegant design. The flowers are formed of rubies and diamonds, and the effect is extremely pleasing. Such work may have originated the ‘giardinetti’ rings, specimens of which are seen in the South Kensington Museum. Two are there described as English work of the seventeenth and eighteenth centuries. They appear to have been used as ‘guards,’ or ‘keepers,’ to the wedding-ring, and are of pleasing floriated design, and of very delicate execution.

Annexed are representations of some remarkably fine rings (French) dating from the close of the fourteenth century or the commencement of the fifteenth.

A handsome ring, of silver gilt, representing St. George and the Dragon, belongs to the end of the fifteenth century. There is a border of roses and fleurs-de-lys around the saint.

The following examples of French art of the sixteenth century are in the Museum of the Louvre:--

The annexed illustration represents an escutcheon ring (from Viollet le Duc) of the Middle Ages, and is thus described by M. Chabouillet in his ‘Catalogue Général.’ The Cabinet of Medals at Paris possesses a ring dating from the commencement of the fifteenth century, if one may judge from the form of the letters, and that of the helmet engraved on the seal. The ring is of massive gold; the arms, engraved hollow on the seal, represent a shield, charged with a dragon, carrying (perhaps) some prey in his jaws. On the two sides of the intaglio are two names--MARIN, PIXIAN. On the sides of the ring are two inscriptions in relief, one only of which is legible, and this is taken from St. Luke--‘Jesus autem transiens per medium illorum ibat.’

The accompanying are from Chabouillet’s ‘Orfévrerie de la Rénaissance,’ in the Fould Collection (dispersed by auction in 1860).

These engravings are from Labarte’s ‘Orfévrerie du XV. et XVI. Siècles’:--

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.

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.

Mr. Fairholt mentions two characteristic specimens of modern French ring-work; one a signet ring, the face engraved with a coat of arms. At the sides two _Cupidons_ repose amidst scroll-work partaking of the taste of the _Rénaissance_. The same peculiarity influences the design of the second ring; here a central arch of five stones, in separate settings, are held by the heads and outstretched wings of _Chimæras_, whose breasts are also jewelled. Both are excellent designs.

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. Another, of the same material, is set with an octangular bloodstone, with a circular turquoise on each side. There is, also, a silver signet ring, bearing the name of its original owner, engraved on a cornelian.

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.

A brass signet-ring found in the Cathedral Close at Hereford, bears for impress a kind of merchant’s mark, a cross, with the lower extremity barbed like an arrow, between the initials G. M.--now in the possession of the Dean of Hereford.

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 sign, believed to represent the sails of a ship. The marks were placed upon the bales of merchandise, and were constantly used where the coat armour, or badge of a nobleman or gentleman entitled to bear arms would be placed. The authority vested in such merchants’ rings is curiously illustrated in one of the historical plays on the life and reign of Queen Elizabeth, written by Thomas Heywood, and to which he gave the quaint title: “If you know not me, you know nobody.” Sir Thomas Gresham, the great London merchant, is one of the principal characters, and in a scene where he is absent from home, and in sudden need of cash, he exclaims: “Here, John, take this seal-ring, bid Timothy send me presently a hundred pound.” John takes the ring to the trusty Timothy, saying: “Here’s his seal-ring; I hope a sufficient warrant.” To which Timothy replies: “Upon so good security, John, I’ll fit me to deliver it.” Another merchant in the same play is made to obtain his wants by similar means:--

------receive thou my seal-ring:
Bear it to my factor; bid him by that token
Sort thee out forty pounds’ worth of such wares
As thou shalt think most beneficial.

The custom must have been common to be thus used in dramatic scenes of real life. These plays were produced in 1606.’[15]

‘Merchants’ marks, which appear to have been imitated from the Flemings during the reign of Edward the Third, and became very common during the fifteenth and early part of the sixteenth century, both on seals and signet-rings, offer a somewhat curious field for research, and are often very useful in identifying the persons by whom domestic and parts of ecclesiastical edifices on which they occur were built. They were more generally used in the great seaports of England than in the south--a fact which is readily accounted for by the frequent intercourse between those ports and Flanders. It may be observed also that such marks belonged chiefly to wool-factors, or merchants of the staple.’--_Archæological Journal_ for March 1848.

* * * * *

In the collections of our English antiquaries are numerous specimens of _thumb-rings_, and in the chapter on ‘Ecclesiastical Usages in Connection with Rings’ I have mentioned several of particular interest, notably an effigy with a signet-ring of remarkable size represented as worn over both the thumbs. Dr. Bruce found some thumb-rings along the line of the Roman wall.

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 Ages’ is a representation of a fine thumb-ring, of Hindoo workmanship, cut out of a single piece of jade, decorated with gold filagree, and incrusted with rubies.

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.

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 Countess of Pembroke, she wears a ring upon the thumb of her right hand.

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.’

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.