Fig. 87. | Fig. 88. |
The simplest and most useful form of ring, and that, by consequence, adopted by the people of all early nations, was the plain elastic hoop, as shown in [Fig. 87]. 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. [Fig. 88] gives us 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 revived as a “decided novelty.” In fact it has been the most successful design our ring-makers have produced of late years. Yet this antique ring may add another “new idea” to the modern designer. It is “made on the principle of some of our steel rings which we use to hold household keys, widening their circle by pressure. In this finger-ring the part in the mouth is inserted loose, so as to draw out and increase to the size of the circle needed.”[83-†]
Fig. 89. | Fig. 90. |
Though 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 [Fig. 89], 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 carnelian, 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, without any obtrusive aid.
Sometimes a single ring was constructed to appear like a group of two or three upon the finger. Mr. Edwards has furnished us with the example, [Fig. 90]. “It has the appearance of three rings united, widened in the front and tapering within the hand. Upon the wide part of each are two letters, the whole forming ZHCAIC, ‘Mayest thou live.’ The Romans often preferred the Greek language in their most familiar customs.”
Among the beautiful objects of antique art collected by B. Hertz, Esq., and sold by auction in 1859, by Messrs. Sotheby and Wilkinson, were many antique rings inscribed with sentences and mottoes of a remarkable kind. Those bearing Greek inscriptions were the wordiest; such as—“I love not lest I go astray; but I observe well, and I laugh.”—“They say what they will; let them say, I care not.” Many were evidently memorials of friendship; one represented a hand pulling the lobe of an ear, with the word “Remember;” another, with a similar device, with the motto “Remind me of the noble character.” Others were inscribed—EYTYXI—“Good luck to you,” and “I bring luck to him who wears this ring.” Among the Latin inscriptions were simple good wishes expressed in the words “Vivas” and “Bene;” or sentiments expressed in few words, such as—“Love me, I will love thee;” “Come, I will not;” “Be greeted, Fabiana.” Many were simply inscribed with the names of the persons to whom they were presented, such as VLP. PRISCELLÆ (“Ulpia Priscilla”); others with the names of the owners, as Valeria Cleopatra and Hermadion Cæsaris. A massive silver ring inscribed with the name “Sabbina” is engraved ([Fig. 91]) from the original in the Londesborough collection.
Fig. 91. | Fig. 92. |
We place beside it a ring with a very different device, but one that cannot fail to be looked on with singular interest. It is marked with the Labarum, the oldest sacred monogram of Christianity, which Constantine believed he saw in a vision, and placed upon his victorious standard and his coins, with the motto—“In hoc signo vinces!” This ring came from the Roman sepulchre of an early Christian, and the hand for which it was originally fashioned may have aided in the conquering war of the first Christian emperor; or may have been convulsed in an agonising death, “thrown to the beasts” of the circus, but reposing after death with the first martyrs to the faith.