Rings for the finger

by George Frederick Kunz

SIGNET RING OF CHARLES I

The richly ornamented gold hoop has on its shoulders a lion and a unicorn of chiseled steel. On the bezel is a steel plate engraved with the Royal arms, those of France and England in the first and fourth quarters; in the second, the arms of Scotland; and in the third, the Irish harp. On the sides of the gold base of the bezel is the inscription: “Dieu et mon droit,” inserted in steel letters

One of the most interesting engraved diamonds is the signet of Charles I of England, when Prince of Wales.[271] This is a large shield-shaped diamond engraved in intaglio with the Prince of Wales’ feathers between the letters C.P. and issuing from a coronet; on a ribbon beneath appears the motto ICH DIEN. The stone is set in a ring of enamelled gold. The engraving is finely executed and deeply cut. This signet has often been regarded as that of Charles II, but all doubt as to the original owner is set at rest by the existence of an autograph letter of Charles I, in the possession of M. Labouchère of Paris, bearing its impress.

The Royal Collection at Windsor Castle also contains the signet used by Charles I, as King. It has a richly ornamented hoop, to which are attached, at the shoulders, chiseled steel figures of a lion and a unicorn. The gold bezel has a steel facing constituting the seal. This is engraved with the royal arms; in the first and fourth quarters, the arms of England and of France; in the second quarter, those of Scotland; in the fourth quarter, the Irish harp. On the gold base of the bezel is the motto: Dieu et mon Droit, inserted in letters of steel. This constitutes an exceptionally fine example of composite metal-work. The archæologist, Rev. C. W. King, suggests that it may be the work of the “Inimitable Simon,” as he was called, who later engraved dies for the coinage of the Lord Protector, Oliver Cromwell, although he admits that it may have been executed by Vanderdoort, who was commanded in 1625 to make pattern pieces for the coinage of Charles I, at the beginning of the King’s reign.[272]

A signet ring used by Kaiser William II is set with a reddish-white onyx, on which has been engraved a shield bearing the German eagle, and surmounted by a crown and the letters, W. II. I. R., Wilhelm der Zweite, Imperator Rex. This signet belonged to the present Kaiser’s grandfather William I, and has been adapted to the present monarch’s use.

Signet rings were very popular in the latter part of the eighteenth century and into the nineteenth century. Then, later on, they were revived in the latter part of the nineteenth century, this revival continuing into the twentieth century. In the earlier period it was customary to engrave the crest and motto, or the full arms and motto, on the ring stone, which was generally bloodstone or carnelian, occasionally white chalcedony, more rarely lapis lazuli, in contradistinction to the large seal fobs, in which the favorite stones were amethyst, rock crystal, smoky topaz (quartz variety), pale chalcedony or some lighter colored material. Many signet rings were engraved upon gold, the sides of the rings being also engraved, as a general rule.

Since the year 1900, great interest has been aroused in seal rings, many of the designs of which are incised in gold or in platinum, the entire ring being of gold or platinum, or having a platinum disk set in a gold hoop. The entire variety of fancy stones is used: pale amethyst, ruby, beryl, aquamarine, zircon, garnet, sard which has been stained brown, carnelian (rarely), bloodstone, and jade—both the nephrite variety from New Zealand and Russia and the jadeite variety found at Bahmo, Burma. Occasionally the seals of rings are made of fine sapphires, emeralds, or rubies, and sell for from $1,000 to $10,000, or even more.

Seal rings were extensively worn in the period from about 1865 to 1885. Frequently these had absolutely nothing engraved upon them. The setting was often an oblong, rectangular onyx, sometimes one inch or one and a quarter inches long. Occasionally upon this was inset a rose diamond initial; or else the initial was cut upon the stone—when the onyx was black on top—rarely a crest. In many cases the stone was white above and pink below, a sardonyx, and the initial was cut through the light layer. Or else it was white or pale gray on a black ground. The general effect was thus gray, the gem being of the type known as nicolo.

Then came the cameo rings, with designs either black on white or brown on white, sardonyx; or white on green, chrysonyx. Later again taste developed for intaglio rings. In this instance, instead of stones of a brownish or whitish gray,—chalcedony,—those of a pale brown or a dark brown were chosen and these were called sard. Because of the brown hue, the term onyx was also applied to them. This must not be confused with the antique sard which resulted from burning a stone of a different hue, as in the case of the antique carnelian also. The translucent or opaque varieties, with rich red or dark brown top, were called sard, whereas the paler translucent and almost transparent varieties,—when pale red, yellowish red or almost yellow,—were called carnelian.

While the natal gem in a simple but effective setting is the most appropriate ring for a girl or boy, a small seal ring for the boy, when he is about 12 years old is not unfitting, the seal being so well-executed that it may serve him when he has reached manhood. For very young children, no stone can be given the preference over the turquoise, which in its delicacy and beauty of color cannot be excelled. Small pearls are also used, or tiny brilliant rubies.[273]