‘Formerly, bishops and priests blessed alike; latterly, bishops reserved to themselves the right of blessing with their fingers, the priest with the open hand; the bishops facing the congregation, the priests in profile, with the hand placed edgeways. The sign of the cross was formerly made with three fingers open, but now with the open hand, from the forehead to the breast, and from the left to the right shoulder by the Latins, but from the right to the left by the Greeks’ (Didron, ‘Iconographie Chrétienne’).
[53] The reader will be reminded of the anecdote of Queen Elizabeth, who, drawing from her finger the coronation ring, showed it to the Commons, and told them that when she received that ring she had solemnly bound herself in marriage to the realm, and it would be quite sufficient for the memorial of her name, and for her glory, if, when she died, an inscription were engraved on her marble tomb: ‘Here lyeth Elizabeth, which (sic) reigned a virgin, and died a woman.’ This coronation ring was filed off her finger shortly before her death, on account of the flesh having grown over it.
[54] In ‘A Relation, or rather True Account of the Islands of England,’ about the year 1500 (Camden Society), the author, after describing the shrine of St. Thomas, at Canterbury, adds: ‘Everything is left far behind by a ruby not larger than a man’s thumb-nail, which is set to the right of the altar. The church is rather dark, and particularly so where the shrine is placed, and when we went to see it the sun was nearly gone down, and the weather was cloudy, yet I saw the ruby as well as if it had been in my hand. They say it was a gift of the King of France.’
[55] See Appendix.
[56] The gilding and silvering of locks, rings (firmalx anelx), and other articles of a similar nature made of copper or latten (faitz de cupre ou laton) having been prohibited by the statute 5th Henry IV. c. 13, under what was then a heavy penalty, the ‘disloyal artificers,’ against whom this enactment was made, appear to have taken refuge in the sanctuary of St. Martin’s-le-Grand, where they were able to labour in their vocation unmolested by the marshal or the sheriff. This may be inferred from 3 Edw. IV. c. 4, by which it was declared unlawful to import various articles of foreign manufacture, including rings of gilded copper or laten, but with an express declaration that the Act was not to extend to or be prejudicial or hurtful to Robert Styllington, clerk, dean of the King’s Free Chapel of ‘St. Martin’s le Graunt, de Londres,’ nor to his successors.
[57] English ladies at one time wore the wedding-ring on the thumb. At Stanford Court, Worcestershire, may be seen the portraits of five ladies of the Salway family, in the days of Queen Elizabeth, all of whom have their wedding-rings on their thumbs. According to the ‘British Apollo,’ the brides of George the First’s time used to remove the ring from its proper abiding-place to the thumb as soon as the ceremony was over.
In Southerne’s ‘Maid’s Last Prayer’ (Act iv. vol. i. p. 67) we find:—‘Marry him I must, and wear my wedding-ring upon my thumb, too, that I’m resolved.’
An instance of several wedding-rings being used at the bridal ceremony is related by Burcard, master of the ceremonies to the Pope’s Chapel from Sixtus IV. to Julius II. At the marriage of a daughter of Pope Innocent VIII. to Lewis of Arragon, Marquis of Geracio (January 3, 1492), the pair approached the Pope, and, both being on their knees, the husband put the ring on the proper finger of the left hand of his spouse, then several rings on the other fingers of both hands.
[58] In the Waterton Collection, at the South Kensington Museum, a forefinger, from a bronze statue of late Roman work, wears a large ring upon the second joint. In Germany it is still customary to wear the ring in this fashion, a custom borrowed from their Roman subjugators.
[59] A correspondent to ‘Notes and Queries’ (vol. viii. series i. p. 575) observes, with regard to the ring being placed on the third finger of the right hand of the Blessed Virgin in Raffaelle’s ‘Sponsalizio,’ at Milan, and in Ghirlandais’s fresco of the same subject in the Santa Croce, at Florence, ‘that it has been customary among artists to represent the Virgin with the ring on the right hand, to signify her superiority over St. Joseph, from her surpassing dignity of Mother of God. Still, she is not always represented so.’