For example, during the reigns of Clement V, and John XXII, in Avignon (1307–1334), the papal registers for 1317 note, in one case, “seven gold rings with various stones for new cardinals, 68 gold florins.” This, however, is followed by another entry recording “four gold rings with Oriental sapphires for the consecration of prelates, 26 gold florins,” and again “a gold ring with an Oriental sapphire for Cardinal A, 23 florins.” Three years later, in 1320, we have “seven rings for the seven new cardinals, three set with Oriental sapphires, three others with Oriental emeralds, and one with a balas-ruby, the total cost being 106 gold florins.”[448]
That the topaz at one time shared with the sapphire the honor of being especially fitted for use in ecclesiastical rings is shown by a passage in a rare fourteenth-century manuscript written in Italy. Here we are informed that the topaz was the most honorable of stones “above all other stones,” and that for this reason the great prelates wore it on their fingers.[449]
The green variety of tourmaline found in Brazil, and often called “Brazilian emerald,” was for a long time and is now used quite freely in Brazil as a setting of episcopal rings.[450] While this is a departure from the general usage of selecting a blue stone, preferably sapphire, for this purpose, it nevertheless finds a parallel in the employment of emeralds for bishops’ rings in quite ancient times, as is the case with one of the earliest of these rings, that described, or we should rather say proposed, in the letter of St. Avitus, Bishop of Vienne in France.
When a prelate has been raised to the rank of cardinal, he has to resign any ring he may have been entitled to wear previously, and awaits the bestowal of the special cardinal’s ring by the pope. It is conferred by the pope personally at the consistory wherein he assigns a title to the newly-chosen cardinal. This ring is made by a pontifical jeweller; it is of gold, with a sapphire in the bezel and, on the inside, the arms of the Sovereign Pontiff. Withal it is rather inexpensive, the average cost having been put at about $32, although each cardinal is obliged to pay into the Congregation of the Propaganda the sum of $642 (3,210 francs) as a “ring tax.” This payment, however, gives him the valuable right of bequeathing his property as he pleases by testament; otherwise everything would go to the Church.[451]
As in many portraits of cardinals and high church dignitaries they are depicted as wearing two or more rings, it has been erroneously conjectured that each ring represented a separate benefice, there being thus as many rings as benefices. The ceremonial regulations, however, clearly indicate that the wearing of many rings is simply a matter of taste, all except that on the annular finger of the right hand being purely ornamental.[452]
A ring on the fourth finger of the right hand is shown in Carlo Maratta’s portrait of Pope Clement IX (1667–1670), given to the Metropolitan Museum of Art, New York, by Archer M. Huntington, Esq., in 1891. The ring bears no design, the setting being a large, square, beveled stone. The beard and mustache of the pontiff are of the type familiar to us in portraits of Cardinal Richelieu, who died in 1642.
A splendid example of the cardinal’s ring was recently made for Cardinal Farley. It is set with an exceptionally large and fine sapphire, of rounded oval form and an inch in length; the color is rich and deep; the stone weighs 18½ carats and is a Cinghalese sapphire. A bordering consisting of twenty-eight diamonds surrounds the central stone and serves to render more strikingly beautiful the rich blue of the sapphire, often called the “cardinal’s stone” because it is the one used for cardinal’s rings. This is noteworthy, as red is pre-eminently the cardinal’s color, as is shown in his robes, hat, etc.; hence we might rather expect that the ruddy ruby would have the preference. However, the fact that the sapphire denotes chastity and celestial purity has caused this stone to be chosen for the adornment of the rings worn by those who, from their exalted ecclesiastical rank, are more especially called upon to set a high example to the priesthood. The shank of Cardinal Farley’s ring is one of the most beautiful examples of American goldsmithing in existence. The chasing of the circlet shows on one side the ample facade and the lofty spires of St. Patrick’s Cathedral in New York, and on the other side emblems of the cardinalate. It was the gift of a priest who has known the Cardinal for many years.[453]
When the Right Rev. David H. Greer was consecrated Bishop of New York, some of his friends presented him with a very handsome amethyst signet, but unfortunately this tribute was stolen from his home by burglars, two or three years ago. When necessity arises of making an official signature he uses a steel impression stamp of the seal of the diocese. He has a facsimile impression stamp of the seal which was stolen, but he seldom or never uses this.[454]
The amethyst seal of Bishop Greer bore for its motto, “Crux Mihi Grata Quies” (The Cross is for me a grateful rest). This is the motto of Mrs. Greer’s family. On the shield is the monogram of the bishop’s initials, D. H. G.; above are two keys in saltire; on the lower part of the shield just beneath the monogram, is the coat-of-arms of New Amsterdam; as crest is an episcopal mitre. This was not, however, a seal ring.
The so-called “mitred abbots”, those who governed the larger monasteries, or whose notable services in the cause of the Church were thought to merit some special mark of honor, were sometimes given the right of wearing the episcopal ring at solemn ceremonies. We are told that at the deposition of Abbot Rainaldus, head of the great Benedictine Abbey of Monte Casino, not far from Naples, he publicly laid his staff and his ring upon the shrine containing the body of St. Benedict.[455]