In the “Recueil des Ouvrages d’Orfeverie,” by Gilles l’Egaré, published in the early part of the reign of Louis XIV., is an unusually good design for one of these rings, which we copy, [Fig. 182]. It is entirely composed of mortuary emblems, on a ground of black enamel. [Fig. 183] is an English memorial ring set with stones; on the circlet is engraved an elongated skeleton, with crossbones above the skull, and a spade and pick-axe at the feet; the ground is black enamel. It has been converted into a memorial by its original purchaser, who caused to be engraved withinside the hoop, “C.R., Jan. 30, 1649, Martyr.” It is now in the Londesborough collection, from whence we obtain [Fig. 184], a very good specimen of a mourning ring of the early part of the last century, with which we take leave of this branch of the subject.
Fig. 185. | Fig. 186. |
The jewellers of the last century do not seem to have bestowed the same attention on design as their predecessors did. Rings appear to have reached their highest excellence in design and execution in the ateliers of Venice. We meet with little originality of conception, and certainly great inferiority of execution, in the works then issued. In southern Europe, where jewellery is deemed almost a necessary of life, and the poorest will wear it in profusion, though only made of copper, greater scope was given to invention. [Fig. 185] is a Spanish silver ring of the early part of the century. In its centre it has a heart, winged and crowned; the heart is transfixed by an arrow, but surrounded by flowers. It is possibly a religious emblem. [Fig. 186] is another Spanish ring of more modern manufacture, but of very light and elegant design. The flowers are formed of rubies and diamonds, and the effect is extremely pleasing.
Fig. 187. | Fig. 188. |
Such works may have originated the “giardinetti” rings, of which a good collection of specimens may be seen in the South Kensington Museum, two being here copied in Figs. [187] and [188]. They are there described as English works of the seventeenth and eighteenth centuries, and appear to have been used as guards, or “keepers,” to the wedding-ring. They are of pleasing floriated design, and of very delicate execution. Much taste may be exhibited in the selection of coloured stones for the flowers of such rings, which are certainly a great ornament to the hand.
Fig. 189. | Figs. 190 and 191. |
Recurring to the Eastern nations, in whose eyes jewellery has always found great favour, we find that the Indians prefer rings with large floriated faces, spreading over three fingers like a shield. When made for the wealthy in 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 engraved, [Fig. 189], from an original in the British Museum, from whence we also obtain the two specimens of rings beside it, being such as are worn by the humblest classes. [Fig. 190] is of brass, [Fig. 191] of silver, the latter boasting a sort of apology for a jewelled centre.
Fig. 192. | Figs. 193 and 194. |
A triplicate of Moorish rings will enable us to understand their peculiarities. [Fig. 192] has a large circular face, composed of a cluster of small bosses, set with five circular turquoise, and four rubies; the centre being a turquoise, with a ruby and turquoise alternating round it. The ring is of silver. It is in the Londesborough collection, as also is [Fig. 193], another silver ring set with an octangular bloodstone, with a circular turquoise on each side. [Fig. 194] is a signet ring, bearing the name of its original owner engraved on a carnelian. This also is of silver.
The modern Egyptians indulge greatly in finger-rings. The wife of the poorest peasant will cover her hands with them, though they be only cast in pewter, decorated with gems of coloured glass, and not worth a penny each. For ladies of the higher class very pretty rings are designed. One of them is here engraved ([Fig. 195]), from an original purchased by the author in Cairo. It is a simple hoop of twisted gold, to which is appended a series of pendent ornaments, consisting of small beads of coral, and thin plates of gold, cut to represent the leaves of a plant. As the hand moves, these ornaments play about the finger, and a very brilliant effect might be produced if diamonds were used in the pendants. [Fig. 196] is the ring commonly worn by the middle class Egyptian men. They are usually of silver, set with mineral stones, and are valued as the manufacture of the silversmiths of Mecca, that sacred city being supposed to exert a holy influence on all the works it originates.