The limits of the present book enable me only to mention a few instances of remarkable rings, in addition to those which have been already alluded to in the previous chapters. Rings of the earliest ages naturally attract our observation more than those of later times, and are invaluable studies to the historian and the antiquarian, throwing light upon many subjects, of which they are in some cases the only reflex, and enabling us to judge of the progress of art in distant eras, to assist chronological researches, and to explain by inscriptions and figures many dubious points which would otherwise remain obscure.
No doubt there are many instances in which we have to depend on tradition alone for circumstances in connection with ring incidents, but even in these cases romance and poetry lend their aid in rendering them full of charm and interest, as an acquaintance with the mediæval writers more especially will prove, and to which I have frequently alluded in the preceding chapters.
Among the most remarkable collections of cameos, intaglios, and finger-rings, are those known as the ‘Devonshire Gems,’ formed in the last century by William Cavendish, third Duke of Devonshire. Eighty-eight, including some of the finest cameos, were withdrawn from it, and mounted in enamelled gold as a parure, unsurpassed for beauty and rarity.
These precious gems were exhibited at the South Kensington Museum in 1872. Amongst the finger-rings were a scarabæus in grey and white onyx of three strata, in its antique ring of massive gold, thickened and expanded at the shoulders; a splendid specimen of a large gold ring of the best Italo-Greek work, the hoop formed of delicately woven corded pattern, the large deep bezel enriched with exquisite applied ornament in minute threaded work, perhaps the finest ring of its type known; a ring with intaglio of female head chased on the gold of the bezel is of antique Greek type; an intaglio of beautiful antique work on banded onyx, set in a massive gold ring; a most remarkable Roman ring, the bezel representing a Cupid’s head, chased in full relief on the solid; a small gold ring, the square bezel engraved with a dolphin, and the hoop formed of triple beaded pattern; eight antique Roman rings, for the most part of the second and third centuries, one of which has the open-work hoop; a very interesting mediæval ring of rude workmanship, formed of electron, or gold much alloyed with silver; on the circular bezel is a head in intaglio, and in rather rude lettering ‘VIVAT,’ the shoulders have pellets at the side of the hoop—the date would appear to be of the seventh or eighth century; a good example of the iconographic type of English ring engraved on the bezel with figures of saints, fifteenth century; a massive gold ring, shoulders and hoop chased, Gothic inscriptions within the hoop; a fine English fifteenth century signet; a massive signet of the sixteenth century; a signet with shield of arms engraved on the under side of a thin piece of rock crystal and coloured, sixteenth or seventeenth century.
Among the classical antiquities in the British Museum is a rich collection of gems retaining their antique settings, a treasure not to be surpassed by any in Europe. Among these is a magnificent intaglio of Hercules slaying the Hydra, very deeply cut on a rich sard, and set in a massive gold ring of the form fashionable during the Lower Empire. The wonderful lion-ring from the Prince of Canino’s collection I have already described in the first chapter of this work. An account of the Museum gems will be found in the works of the Rev. C. W. King, on ‘Precious Stones’ and ‘Antique Gems.’
In the same magnificent collection are some curious rings, amongst other objects from Switzerland, of the people who built their habitations on piles in the lakes.
In the British Museum is also preserved the gold signet-ring of Mary, Queen of Scots. On the face is engraved the royal arms and supporters of the kingdom of Scotland, with the motto ‘IN DEFENS’ and her initials ‘M. R.’ In the inner side of the seal a crowned monogram is engraved, ‘which might have been an unsolved enigma, but for the existence, in the State Paper Office, of a letter written by Mary to Queen Elizabeth, in which she has drawn the identical monogram after signing her name. Sir Henry Ellis, who first traced out this curious history, says, “It is clearly formed of the letters M. and A. (for Mary and Albany), and gives countenance to the opinion that the written monogram was intended for Elizabeth and Burghley to study, the subsequent creation of the title of Duke of Albany in Lord Darnley ultimately opening their eyes to the enigma.”’
A similarly interesting ring is that of Henry, Lord Darnley, husband to Mary, Queen of Scots, now in the Waterton Collection at the South Kensington Museum. On the bezel it bears the two initials ‘M. H.’ united by a lover’s knot. In the hoop is the name engraved ‘Henri L. Darnley,’ and the year of the marriage, 1565.
Signet-ring of Mary, Queen of Scots, and the Darnley ring.