Among the earliest traces of western civilisation the finger-ring appears. Fig. 84 is an Etruscan ring of gold, now in the British Museum; upon the face are chimerae opposing each other. The style and treatment of this subject partake largely of the ancient character of Eastern art, and, like that, is very decisive and conventional.

The Greeks and Romans literally revelled in rings of all styles and sizes. Nothing can be more beautiful in design and exquisite in finish than Greek jewellery, and the custom of decorating their dead with the most valued of these ornaments has furnished modern museums with an abundance of fine specimens. Figs. 85 and 86 are copied from originals found in the more modern Etruscan sepulchres, and are probably contemporary with the earliest days of the Roman empire. Fig. 85 is admirably adapted to the finger; being made of the purest gold, it is naturally slightly elastic; but the hoop is not perfected, each extremity ending in a broad leaf-shaped ornament, most delicately banded with threads of beaded and twisted wire, acting as a brace upon the finger. Fig. 86 is equally meritorious; the solid half-ring is completed by a small golden chain attached to it by a loop pa.s.sing over studs; the links of this chain are perfectly flexible, and of extreme delicacy; they resemble the modern guard-chain, or to speak more properly, the modern chain imitates the ancient one; and we shall meet in the course of our researches with very many other instances of the oft-repeated fact, that "there is nothing new under the sun."

This ring mania was not content with considering the ring as an ornament, or even as a talisman; a new science was revealed, the _Dactyliomancia_, so named from two Greek words, signifying _ring_ and _divination_. The performance of its mysteries was in itself so simple, that it was deemed expedient to add certain formulae, in order to make them more expressive. A ring was held, suspended by a fine thread, over a round table, on the edge of which were placed counters engraved with the letters of the alphabet. The thread was shaken until the ring, touching the letters, had united as many as formed an answer to a question previously put. This operation was preceded and accompanied by certain ceremonies. The ring was consecrated with divers mysterious forms. The person who held it was arrayed in linen only; a circle was shaved round his head, and in his hand he held a branch of vervain.

Before commencing the G.o.ds were appeased by prayer.[82-*] This practice long prevailed, and is mentioned by Gibbon as having given rise to the persecutions for the crime of magic, in the reign of the Emperor Valens, at Antioch.[83-*]

[Ill.u.s.tration: Fig. 87.]

[Ill.u.s.tration: Fig. 88.]

The simplest and most useful form of ring, and that, by consequence, adopted by the people of all early nations, was the plain elastic hoop, as shown in Fig. 87. Cheap in construction and convenient in wear, it may be safely said to have been generally patronised from the most ancient to the most modern times. Fig. 88 gives us the old form of a ring made in the shape of a coiled serpent, equally ancient, equally far-spread in the old world, and which has had a very large sale among ourselves revived as a "decided novelty." In fact it has been the most successful design our ring-makers have produced of late years. Yet this antique ring may add another "new idea" to the modern designer. It is "made on the principle of some of our steel rings which we use to hold household keys, widening their circle by pressure. In this finger-ring the part in the mouth is inserted loose, so as to draw out and increase to the size of the circle needed."[83-]

[Ill.u.s.tration: Fig. 89.]

[Ill.u.s.tration: Fig. 90.]

Though a great variety of form and detail was adopted by Greek and Roman goldsmiths for the rings they so largely manufactured, the most general and lasting resembled Fig. 89, a Roman ring, probably of the time of Hadrian, which is said to have been found in the Roman camp at Silchester, Berkshire. The gold of the ring is ma.s.sive at the face, making a strong setting for the carnelian, which is engraved with the figure of a female bearing corn and fruit. By far the greater majority of Roman rings exhumed at home and abroad are of this fashion, which recommends itself by a dignified simplicity, telling, by quant.i.ty and quality of metal and stone, its true value, without any obtrusive aid.

Sometimes a single ring was constructed to appear like a group of two or three upon the finger. Mr. Edwards has furnished us with the example, Fig. 90. "It has the appearance of three rings united, widened in the front and tapering within the hand. Upon the wide part of each are two letters, the whole forming ZHCAIC, 'Mayest thou live.' The Romans often preferred the Greek language in their most familiar customs."

Among the beautiful objects of antique art collected by B. Hertz, Esq., and sold by auction in 1859, by Messrs. Sotheby and Wilkinson, were many antique rings inscribed with sentences and mottoes of a remarkable kind.

Those bearing Greek inscriptions were the wordiest; such as--"I love not lest I go astray; but I observe well, and I laugh."--"They say what they will; let them say, I care not." Many were evidently memorials of friendship; one represented a hand pulling the lobe of an ear, with the word "Remember;" another, with a similar device, with the motto "Remind me of the n.o.ble character." Others were inscribed--EYTYXI--"Good luck to you," and "I bring luck to him who wears this ring." Among the Latin inscriptions were simple good wishes expressed in the words "Vivas" and "Bene;" or sentiments expressed in few words, such as--"Love me, I will love thee;" "Come, I will not;" "Be greeted, Fabiana." Many were simply inscribed with the names of the persons to whom they were presented, such as VLP. PRISCELLae ("Ulpia Priscilla"); others with the names of the owners, as Valeria Cleopatra and Hermadion Caesaris. A ma.s.sive silver ring inscribed with the name "Sabbina" is engraved (Fig. 91) from the original in the Londesborough collection.

[Ill.u.s.tration: Fig. 91.]

[Ill.u.s.tration: Fig. 92.]

We place beside it a ring with a very different device, but one that cannot fail to be looked on with singular interest. It is marked with the _Labarum_, the oldest sacred monogram of Christianity, which Constantine believed he saw in a vision, and placed upon his victorious standard and his coins, with the motto--"In hoc signo vinces!" This ring came from the Roman sepulchre of an early Christian, and the hand for which it was originally fashioned may have aided in the conquering war of the first Christian emperor; or may have been convulsed in an agonising death, "thrown to the beasts" of the circus, but reposing after death with the first martyrs to the faith.

[Ill.u.s.tration: Fig. 93.]

Clement of Alexandria suggests to the Christians of his era, that they should have engraved devices of symbolic meaning allusive to their faith, in place of the heathen deities and other subjects cut by Roman lapidaries; such as a dove, which symbolises life eternal and the Holy Spirit; a palm-branch, peace; an anchor, hope; a ship in full sail, the church; and others of similar import.

Gorius has preserved a representation of a gold ring (Fig. 93) which he believes to have been presented by a Roman lady to the victorious charioteer in the horse-races; it is of peculiar form, but one that was a favourite with Roman wearers. The bust of the donor appears on the summit of the ring, and on each side are the heads of reined horses, as shown in our cut. Her name is engraved on the lower part of the hoop, and on each side AMOROSPIS. The latter properly being HOSPES, having the aspirate omitted and an I for an E, induces Gorius to consider it a late work of the Roman era.

[Ill.u.s.tration: Fig. 94.]

We have already spoken of the ring-hand and the ring-finger, but have not noted the origin of the custom of placing the wedding ring on that finger. It resulted from an inaccurate belief that a nerve went from thence to the heart. That the ancients were indiscriminate in the use of their fingers as recipients for rings we have already shown; Mr.

Waterton has placed in his curious _Dactyliotheca_ the forefinger from a bronze statue of late Roman workmanship, wearing a large ring upon the second joint. In Germany it is still customary to wear the ring in this fashion, a custom they evidently borrowed from their Roman subjugators, and have retained through every century of change since then.

As the luxury of Rome increased, the wearing of rings increased also, and the emperors relaxed the law of restraint. Thus Tiberias, in A.D.

22, gave permission for gold rings to be worn by all persons whose fathers and grandfathers possessed property to the value of 200,000 sesterciae. The Emperors Severus and Aurelian ultimately gave the right of wearing gold rings to all soldiers of the empire; and the Emperor Justinian at length gave a similar right to all who had legal claims to Roman citizenship. Distinction once broken through, and wealth increasing, ring-wearing became general. Seneca, describing the luxury and ostentation of his time, says, "We adorn our fingers with rings, and a jewel is displayed on every joint." The ridiculous excess to which the custom was carried may be understood from Martial's description of Charinus, who wore as many as sixty rings on his hands at one time, and so fond was he of his jewellery that he kept them upon his fingers when in bed. They were decorated with a vast variety of subjects, originally cut in the metal of which the ring was made, whether gold, silver, or bra.s.s; ultimately the devices were cut upon stones and gems, occasionally representing the tutelar deity of the wearer. Thus Julius Caesar wore one with Venus Victrix upon it, and his partisans did the same. Pompey's ring was engraved with three trophies, indicating his victories in Europe, Asia, and Africa. Many used merely fanciful or emblematic devices; thus Maecenas had a frog upon his ring. Others wore the portraits of their ancestors or friends. Publius Lentulus had that of his grandfather. Cornelius Scipio Africa.n.u.s, younger son of the great Africa.n.u.s, wore the portrait of his father; but, as he was a degenerate son of an ill.u.s.trious sire, the people gave expression to their disgust at his conduct by depriving him of his ring, saying he was unworthy to wear the portrait of so great a man.

[Ill.u.s.tration: Fig. 95.]

This ring-wearing became one of the troubles of the wealthy, and as the Sybarite complained of the folded rose-leaf inconveniencing his bed, the rich Roman was fatigued with his rings. Hence came the custom of wearing light or heavy rings, or as they termed them, summer or winter rings, according to the season. That there really was some reason in the complaint, will be granted by the reader who looks on Fig. 95, copied from Montfaucon.[89-*] It is a thumb-ring of unusual magnitude, and of costly material; it has upon it a bust in high relief of the Empress Plotina, the consort of Trajan; she wears the imperial diadem, which is here composed of precious stones cut into facets. This bust would of course come outside the hand, the narrower part of the wreathed ring pa.s.sing between the thumb and first finger. The gorgeous inconvenience of the whole thing is at once apparent. It probably decorated the hand of some member of the imperial family.

[Ill.u.s.tration: Fig. 96.]

[Ill.u.s.tration: Fig. 97.]

The enormous sums expended by the wealthy on rings may be best understood by an allusion to the recorded value of two belonging to empresses of Rome. Thus, the ring of Faustina, we are told, cost 40,000, and that of Domitia 60,000, reckoning the Roman sestertia at its modern value.

Sometimes the decoration of a ring was not confined to a single gem, though such rings were comparatively rare. Valerian speaks of the _annulus bigemmis_, and Gorleus furnishes us with the specimen engraved in Fig. 96; the larger gem has cut upon it a figure of Mars, holding spear and helmet, but wearing only the chlamys; the smaller gem is incised with a dove and myrtle branch. Beside it are placed two examples of the emblematic devices and inscriptions adopted for cla.s.sic rings, when used as memorial gifts. The first is inscribed, "You have a love pledge;" the second, "Proteros (to) Ugiae," between conjoined hands--a type of concord still familiar to us.

Though the ancients seem scarcely to have thought of decorating the circlet of the ring, they occasionally varied its form, producing novelty at the expense of convenience. Fig. 98 is a whimsical example; it may, however, have been princ.i.p.ally used as a signet. The same may be said of Fig. 99, which has a very broad face, set with an incised stone bearing a figure of Hygeia.

[Ill.u.s.tration: Fig. 98.]

[Ill.u.s.tration: Fig. 99.]

The ancients tell us of charmed rings; such was the ring of Gyges, which was reported to have rendered him invisible when he turned the stone inwardly, and closed it in his palm. Execetus, tyrant of the Phocians, carried two rings, which he was accustomed to strike together, to divine by the sound emitted what he had to do, or what was to happen to him.

The most curious adaptation of the finger-ring to a double use was made by the Romans. It was a combination of a ring and a key, as represented in Figs. 100 and 101, from originals engraved by Montfaucon in his great work on Roman antiquities. He has published many varieties, for they are very commonly discovered in all places where the Romans located themselves. Many have been found in London, York, Lincoln, and other old cities, as well as in the neighbourhood of Roman camps. The use of these rings is apparent: they opened the small cabinets or boxes in which the most precious articles were preserved, and they were less likely to be lost, mislaid, or improperly used by others, when thus worn night and day on the finger.

[Ill.u.s.tration: Fig. 100.]

[Ill.u.s.tration: Fig. 101.]

It is recorded of the poisoning Pope Alexander VI. (Borgia), that he caused a somewhat similar key to be used in opening a cabinet; but the Pope's key was poisoned in the handle, and provided with a small sharp pin, which gave a slight puncture sufficient to allow the poison to pa.s.s below the skin. When the Holy Father wished to rid himself of an objectionable friend, he would request him to unlock his cabinet; as the lock turned rather stiffly, a little pressure was necessary on the key-handle, sufficient to give the trifling wound that ultimately proved mortal. Poisoned rings were known to the ancients; when Hannibal, the Carthaginian general, was overcome by Scipio Africa.n.u.s, it is recorded that he fled to Bithynia, and ended his life by poison, which for that purpose he had reserved in a ring.

[Ill.u.s.tration: Fig. 102.]

[Ill.u.s.tration: Fig. 103.]

Rings formed of bone, amber, and gla.s.s, were provided for the poorer cla.s.ses, as was the case in ancient Egypt. They were also used as mortuary rings, and are found on the hands of the dead in Italian sepulchres. The Waterton collection supplies us with two specimens. Fig.

102 is of amber, cut to appear as if set with a stone. Fig. 103 is of gla.s.s, also made as if set with a jewel. The body of this ring is dark brown with bands of white crossing it; the jewel is yellow.

[Ill.u.s.tration: Fig. 104.]

[Ill.u.s.tration: Fig. 105.]

In the later days of the Roman empire the simplicity and purity in decorative design that the Romans obtained from the Greeks, gave way to the ostentatious love of gaudy decoration taught at Byzantium. Jewellery became complicated in design; enrichment was considered before elegance.

The old simple form of finger-ring varied much. Fig. 104 is given by Montfaucon. Fig. 105 is in the Londesborough collection, and was found upon the hand of a lady's skeleton, buried with her child in a sarcophagus discovered in 1846, in a field near Amiens, called "Le Camp de Caesar;" on two of her fingers were rings, one of which was set with ten round pearls, the other (here engraved) is of gold, in which is set a red carnelian, engraved with a rude representation of Jupiter riding on the goat Amalthea. The child also wore a ring with an engraved stone.

The whole of the decorations for the person found in this tomb proclaim themselves late Roman work, probably of the time of Diocletian.

[Ill.u.s.tration: Fig. 106.]

[Ill.u.s.tration: Fig. 107.]

In 1841 a curious discovery was made at Lyons of the jewel case of a Roman lady, containing a complete _trousseau_, including the rings here engraved. Fig. 106 is of gold; the hoop is slightly ovular, and curves upward to a double leaf, supporting three cup-shaped settings, one still retaining its stone, an African emerald. Fig. 107 is also remarkable for its general form, and still more so for its inscription, VENERI ET TVTELE VOTVM, explained by M. Comarmond as a dedication to Venus and the local Tutela, the guardian of the navigators of the Rhine; hence he infers these jewels to have belonged to the wife of one of these rich traders in the reign of Severus.

Carrying back our researches to the pre-historic era of our own island, and searching in the tumuli of the early British chieftain and his family, we shall discover the utmost simplicity of adornment; not probably the result of indifference to personal decoration, but simply to the rudeness of his position. The wild Gaelic hunter, located in the gloomy fastnesses of wood and mora.s.s, had little or no communication with the southern sea-margin of our isle: and when we find the south Cymry of Britain much advanced in civilisation, owing to connection with Belgic Gaul, and Phnician colonists of Spain, and the Greek colonists of the Mediterranean, we find the tribes inhabiting the midland and northern counties still barbaric, and little advanced in the arts that make life pleasant. Such decoration as they adopted seems to have originated in the basket-weaving, for which the British Islands were famous even at Rome, where n.o.ble dames coveted these works from the far-off and mysterious _Ca.s.siteridae_. Plaited or interlaced-work, resembling the convolutions of wicker and rush, was imitated in threads of metal; thus circlets for the neck, bracelets for the arms, or rings for the fingers, were but twisted strands of gold.

The simplest form of finger-ring worn by these Gaelic ancestors consisted of a band of metal, merely twisted round to embrace the finger, and open at either end. Fig. 108 shows one of these rings, found in excavating at Harnham Hill, near Salisbury, a locality celebrated from the very earliest recorded time as the true centre of ancient Britain. This ring was found on the middle finger of the right hand of a person of advanced age. Sometimes several rings were found on one hand.

"Among the bones of the fingers of the left hand of an adult skeleton was found a silver ring of solid form, another of spiral form, and a plain gold ring."[96-*] Mr. Akerman, who superintended these researches, says, "Similar rings have been found at Little Wilbraham, at Linton Heath, at Fairford, and other localities. They are for the most part of an uniform construction, being so contrived that they could be expanded or contracted, and adapted to the size of the finger of the wearer."[96-]

[Ill.u.s.tration: Fig. 108.]