| Corundum | 12 |
| Spinel | 17 |
| Chrysoberyl | 8 |
| Quartz (amethyst, tiger-eye, chrysoprase) | 3 |
| Peridot | 1 |
| Spodumene | 1 |
| Labradorite | 1 |
| Beryl | 4 |
| Andalusite | 1 |
| Tourmaline | 20 |
| Opal (precious, fire, black and milk) | 10 |
| Zircon | 45 |
| Phenacite | 5 |
| Enstalite | 1 |
| Moonstone | 2 |
| Garnet | 19 |
| Topaz | 8 |
| Cordierite | 2 |
| Sphene | 1 |
| Turquoise | 1 |
Only three of the rings are set with more than a single stone.
Several belonged to the collection of Sir Hans Sloane in 1753, five of them being archers’ thumb-rings, of agate, carnelian, mocha-stone, or jasper. A green jasper ring of this type is thus entered in the Sloane Manuscript catalogue: “A thumb piece for defending it from being hurt by the bowstring, from Turkey.”
A remarkable, though decidedly eccentric ring of the art nouveau style of René Lalique shows in the long, irregularly oval bezel, a full-length, nude female figure cut in very high relief out of a bluish rock-crystal; set at one side about the middle of the figure is a round pearl, apparently of immense proportions as compared with those of the human body.[142]
Not only are there the watch-bracelets which have been so extensively worn of late years, but minute ornamental watches have been set in finger-rings, where they can be consulted with even greater ease than when worn on the wrist. The watch-face is surrounded by a bordering of small jewels. Apart from their practical value, the “watch-rings” are pretty and dainty objects in themselves, and lend a new element of variety to the long list of ring forms.[143]
There is in the collection of the Imperial Kunstgewerbe Museum, Vienna, an exceptionally fine example of the watch-ring, made by Johann Putz, of Augsburg, in the seventeenth century. It has a detachable cover, cut from an emerald, on which the Austrian double-eagle has been engraved. In the same collection are two sun-dial rings; one, made in the seventeenth century, has a lid figuring a hedgehog, studded with black diamond lozenges; the other, a sixteenth century ring, bears a Greek inscription to the effect that “time removes all things and brings forgetfulness;” the sun-dial is on the inner side of this ring, which is of silver gilt. There is also a gold astrolabe ring, which when closed looks like an ordinary one; but when the connected circles are opened up, the ring constitutes a veritable astrolabe.[144]
A gold “sphere-ring” in the British Museum collection has an outer hoop in two parts, working like a gimmal, and three interior hoops which are almost concealed when the ring is closed. The exterior hoop is chased; on the inner surfaces, concealed from view when the ring is closed, appears in sections the following inscription in black enamel: Verbo Dei celi firmati sunt. Dixit et creata sunt, ipse mandavit et creata sunt. (The heavens are founded in the word of God. He spoke and they were created; he commanded and they were created.) After “firmati sunt,” is the date 1555. The three interior hoops bear, enameled in black, the signs of the zodiac, stars, and other astral figures. This ring is of German workmanship.[145]
In the collection of works of art bequeathed to the British Museum in 1898 by Baron Ferdinand Rothschild, and designated as the Waddesdon Bequest, there are several characteristic rings. Of these perhaps the most notable is a large finger ring of gold, enameled and set with jewels, a sixteenth century example of German workmanship. The bezel is in the form of a clasped book; on the cover is a skull, about which are four stones, sapphire, ruby, emerald, and diamond, and two toads and snakes in enamel. When the book cover is thrown back there appears a loose plate of gold, on which is enameled a recumbent figure with skull and hour-glass; on the under side of the cover is inscribed in black enamel (in capitals): SIVE VIVIMUS, SIVE MORIMUR, DOMINI SUMUS. COMMENDA DOMINO VIAM TUAM, ET SPERA IN EUM ET IPSE FACIET (Whether we live or whether we die we are the Lord’s. Commit thy way unto the Lord and trust in Him, and He shall bring it to pass). This combines the text, Romans xiv, 8 with Psalm xxxvii, 5. On the shoulders of the ring are two groups in enamel, the Fall and the Expulsion from Eden.[146]
Sixteenth century ring-making, so rich in its variety of eccentric types, evolved whistle-rings, one of which is in the British Museum. This is of bronze gilt; the large oval bezel is engraved with a shield of arms; the hoop is slender at the back. The shoulders are engraved with strap-work, one of them having a tubular whistle.[147]
An enameled gold ring of striking and original design is owned by Dr. Albert Figdor, Vienna. The bezel has a lid on which is enameled a head wearing a half-mask; the eyes are of small lozenge-shaped diamonds, and there is a bordering of seventeen rubies. On lifting the lid there appears beneath an oval surface, on which is enameled a heart with the motto: “Pour vous seule” (For you alone). The inner side of the lid is hollowed out so as to serve as a receptacle for hair. The hoop, of a ribbon-like form, bears the significant inscription: “Sous le masque la vérité” (Beneath the mask is truth). This ring, which belonged to the famous Viennese tragedienne, Charlotte Wolter, is of French workmanship and dates from about 1800. A whimsical gold ring in the collection has a plain hoop, to which the figure of a little mouse, wrought in gold, is looped by the tail so that it slips around the circlet. Another gold ring of singular design is one having a diamond in a silver setting about which are three rubies in gold settings; between the rubies are three playing cards in enamel. The hoop is of openwork with two playing cards and two ovals; a section of reddish gold that has been added to it, indicates that the ring was enlarged at some time from its original size.[148]