Mastery of Design: The Medusa Ring, 1580

Ring
German, 1580
The Victoria & Albert Museum

This somewhat scary ring of enameled gold contains a layered agate cameo representing the head of Medusa in an oval bezel setting. The shoulders of the ring and the bezel are chased with cartouches, masks and foliage.


The elaborate and colorful setting is typical of South German jewelry made around 1580. The carving of the cameo is quite detailed and fine. This forms part of a collection of similarly disturbing German cameo rings that is housed at the Victoria & Albert Museum.

Gifts of Grandeur: An Art Deco Diamond, Sapphire and Emerald Ring, 1920-1930

Ring
The Victoria & Albert Museum

Since we’re looking at rings and things with rings today, let’s study this handsome Art Deco creation which may have been made in the U.S. between 1920 and 1930. This ring features a central band of baguette cut diamonds with pointed ends. Above and below the central band is a line of sapphires and emeralds, cut to fit the peaked edge of the diamonds and arranged in blocks of color. This is further outlined by an outer band of brilliant-cut diamonds.


This shows the Art Deco love of the concentration of densely-packed gemstones in a precise geometric arrangement. The color of the stones is allowed to speak for itself, mounted in a discreet platinum setting. Art Deco jewelers loved platinum because its strength allowed minimal quantities of metal to be used, and allowed the diamonds and colored gemstones to have the greatest possible prominence.

Unusual Artifacts: A Belgian Silver Reliquary, 1250-1300

Reliquary
Parcel Gilt Silver Sheeting
1250-1300, Belgium
The Victoria & Albert Museum

This falls into the category of beautifully creepy—a category into which a lot of religious artifacts fall. Here, we see a sheet silver, parcel-gilt reliquary in the shape of a man’s hand wearing a ring, set with mica and a gemstone. It rests on a modern wooden base.

A reliquary is a container for displaying precious relics. Such relics are usually bones, hair or possessions associated with Christ and the saints. Museums and churches are filled with reliquaries which are, in turn, filled with stuff which is purported to have belonged to a notable theological figure. My father and I often joke that there are enough wrist bones of St. Anne in reliquaries around the world that she must have had hundreds of arms and that there are enough pieces of the true cross floating around to construct a bridge across the ocean. Nevertheless, these little fragments are assigned particular value by the faithful and, for that reason alone, are worth preserving and appreciating.

In the Middle Ages, such relics were thought to have miraculous powers and were greatly venerated. The faithful truly believed that by praying near, and, especially, by touching a reliquary that contained something special, they would receive protection against sickness and ill fortune. Sadly, most reliquaries have been stripped of their relics, but the containers themselves, regardless of their religious value, have a great deal of artistic and historical appeal.

Most reliquaries were crafted of precious materials – gold or silver, with enamel or gems – and were made in a variety of forms. Some of them were modeled to represent the saint, or a portion of the saint such as a body part: an arm, leg, head, foot or finger. Others were designed in the form of a temple, shrine or monstrance (from the Latin meaning “to show”), with the relic on view inside a glass compartment.

This particular reliquary comes from Belgium and dates to the mid-to-late Thirteenth Century. It is in the shape of a hand and may have been part of a larger collection of reliquaries which also included an arm. The relics (now lost) would have been visible through the windows in the fingers. You’ll notice that the ring is worn almost at the fingertip. This was a common practice throughout the Middle ages which lasted well into the 16th century.

Punch’s Cousin, Chapter 360

“Well?” Edward Cage barked as his man, Ty Odo, returned from upstairs.


“She ain’t good, Sir.” Odo said with mock concern.

“I know that!” Edward snapped. “What’s wrong with her?”

“Zettie thinks she got the Yellow Jack,” Odo said, biting his cheeks to keep from smiling.

“Damn.” Edward grunted, shaking his head. “Of all the times for her…” He paused. “What do we do about it?”

“Ain’t a lot of doctors gonna come and see her. Most o’ them’s scared o’ the Yellow Jack.” Odo continued.

“Surely there’s got to be one.”

“Only one I can think of is that Doctor Halifax. See, he got that nurse that helps folk that got the fever--Marjani.”

“I can’t have either of those two people in this house!” Edward growled. “You know that!”

“I know, Sir, what with the baby back and all. You don’t want them knowin’ you got their boy.”

“Quiet!” Edward shouted. “Don’t say another word about it.”

“Yes, Sir.” Odo smirked.

“Well, then, what do we do?”

“I reckon, then, we just wait for Mrs. Cage to die, Sir.” Odo’s eyes flashed with glee as he said those words.

“I can’t very well do that.” Edward grumbled. “Can’t Zettie or one of the girls look after her?”

“Zettie’ll stay. She ain’t scared o’ nothin’. But, them other girls, Sir. They don’t want nothin’ for to do with no Yellow Jack. Can’t say as I blame ‘em. But, don’t worry, Sir. A lady as fragile as Mrs. Cage—she ain’t gonna hang on long.”

Edward scowled at his man. “And, you say there’s no one except that Halifax and his nurse who will tend to Mrs. Cage?”

“That’s right, Sir.” Odo nodded.

“The child is in the nursery?”

“Yes, Sir, with Master Orman.”

“Make sure he stays there. Don’t let either of the children into Mrs. Cage’s room. Keep them as far from her as possible. And, send for that Halifax man and his nurse.”

“Is that wise, Sir?”

“Do we have another choice?” Edward shouted. “Just don’t let them see the child. Make no mention of the child and tell the others not to say a word about him!”

“What about Mrs. Cage?” Odo asked. “She’s sure to say somethin’.”

“You leave Mrs. Cage to me.” Edward grumbled. “Now, go! Do as you’re told!”

“Yes, Mr. Cage.” Odo nodded as he backed out of the room.

“One more thing!” Edward shouted.

“Yes, Sir.” Odo bowed.

“If you come back without Halifax and that woman, Mrs. Cage isn’t the only one in this house who will die! Do you understand?”

“I do.” Odo nodded before running from the room.

“Damn it!” Edward hollered, throwing a glass across the room. “Damn you, Corliss! You’ve always ruined everything. I ought to let you die. But, as it is, I need you to live.” He shook his head as he thought about his situation. Should his wife die, he’d be free of her simpering ways and her delicate cooing. But, if she died before her father, he’d have no hope of getting his hands on her inheritance. He counted on that money. The profits from the wax museum hadn’t been what he’d expected, and the plantation was hemorrhaging the coins from his pockets. He needed his wife’s money, and to get it, he needed his wife. “How I loathe you,” he growled.

Lumbering toward the window, Edward thrust open the curtains and watched as Odo ran up Royal Street to fetch Robert Halifax. “I just have to keep them away from the child. I won’t lose him again!”

Marjani answered the kitchen door as Odo knocked on it wildly.

“What you want?” Marjani shook her head at Odo.

“You and the doctor gotta come to Mr. Cage’s. Mrs. Cage done got the Yellow Jack. She needs your nursin’.”

“Can’t.” Marjani said, pushing Odo out of her kitchen.

“Why not?” Odo belched.

“We got troubles of our own here.” Marjani said.

“Like what?”

“None of your business, Odo.” Marjani said firmly. She didn’t see any point in telling him that Cecil and Adrienne were out in the cold looking for their son or that little Colin had also been taken. She didn’t know that the child was back at the Cage’s again. She also didn’t see any reason to share with Odo the fact that Meridian was ailing after being attacked by Agnes Rittenhouse or that the Duke was still lying unconscious on the parlor floor after being struck by Marie Laveau.

“Mr. Cage ain’t gonna like this.” Odo snarled.

“I don’t care what Mr. Cage likes.” Marjani answered.

“That woman’s gonna die!” Odo argued.

“She’s gonna die whether I help her or not.” Marjani shook her head.

“What’s this?” Robert asked as he came into the kitchen.

“Doctor!” Odo shouted past Marjani. “Mrs. Cage, she got the Yellow Jack!”

“I’m sorry to hear that,” Robert nodded absent-mindedly. “Marjani, I need you in the parlor.”

“You gotta come to her!” Odo continued.

“I’m sorry, but I cannot.” Robert shook his head, thinking only of Julian/Mr. Punch and how—when or if the man regained consciousness—he would explain that Agnes had taken both Colin and Fuller.

“You gotta!”

“You heard the man, and you heard me!” Marjani said, pushing Odo again. “We can’t!”

“He’ll kill me if I don’t come back with ya!”

“That’s not our problem.” Marjani replied sternly.

Robert sighed. “Listen, man. There’s not much we can do for her. We just nursed a man with the fever and he didn’t survive. Just try to keep her comfortable and…” He paused and shook his head. “I’m sorry, but I just can’t leave this house right now.”

“Is it cuz the child is gone? The Duke’s nephew? The one that Iolanthe Evangeline sold to Mr. Cage all them week’s ago?” Odo asked desperately, knowing he shouldn’t.

“How did you know about that?” Robert asked.

“People talk.” Odo said quickly. “Ain’t nothing that goes on with these folks that I don’t know ‘bout. I know that baby has been taken from this house.”

Robert narrowed his eyes.

“What else do you know?” He asked.

“I know that Mr. Cage’’ll kill me if I don’t come back with ya.”

“What do you know about the child? Two children were taken from here tonight! What else do you know?” Robert stepped forward.

“I don’t know nothin’ ‘bout the other one. But, I can tell you where the Duke’s nephew is.”

“Do it!” Marjani howled.

“Only if the two of you come with me right now.” Odo smiled.



Did you miss Chapters 1-359? If so, you can read them here.

Card of the Day: The Legend of the Coronation Ring

The fortieth card in the 1935 Silver Jubilee Series by the Churchman Cigarette Company depicts the "Legend of the Coronation Ring" which is also known as the "Legend of St. Edward’s Ring" or the "Legend of the Confessor’s Ring."


The story of Saint Edward's ring was first printed in England by William Caxton, in the "Golden Legende.” As the legend goes, King Edward the Confessor was approached by a beggar, "a fayre old man." Since Edward was unattended and had neither money nor purse, the saintly King removed a ring from his own finger and gave it to the beggar.

Later, two English pilgrims, lost in the Holy Land, met "a fayre ancient man, wyth whyte heer for age,” who asked them who they were and where they were from. When he heard that they were lost English pilgrims, the old man offered assistance and led them to a majestic city where he offered them food and lodging.

The next morning, the old man traveled with the two pilgrims and led them to the right road. As they journeyed he took delight in the pilgrims’ talk of their saintly King, Edward. After awhile, the old man bid them farewell and said, " I am Johan, the Evangelist, and saye ye unto Edward, your kynge, that I greet him well." With that, he removed from his finger a gold ring which they were to give to their monarch on their return to their own country. The old man then vanished.

When the pilgrims returned to England, they took the ring to Edward, who at once recognized it as the one he had given to the venerable, old beggar.

Okely dokely.

This ring is thought to have been buried with Edward in his shrine in Westminster Abbey. Whether or not that’s true or if the ring survives is a matter of debate. Still, the legend of St. Edward's ring is commemorated in three places in the Abbey: over a gate leading into Dean's Yard, in the glass of one of the eastern windows, and on the screen which divides the Confessor's shrine from the Choir.

At some point, a new ring was fashioned which was used for the Coronation of Charles II. " The Wedding-Ring of England, pledge of the Marriage that is made between the King and his people," is placed on the third finger of the Sovereign's right hand during the Coronation.  A different ring with a violet-colored ruby was used for King James II.

A ring has been used in all English coronations since the Tenth Century. The Sovereign’s ring is meant as a symbol is faith which represents the new monarch’s marriage to the nation. During the coronation ceremony, the ring is blessed with two prayers by the Archbishop before being given to the sovereign who is meant to wear it on the right hand. Legend states that the tighter the ring fits, the longer and more successful the monarch’s reign will be. That was a good omen for Queen Victoria who, as we’ve discussed, had the ring jammed on the wrong finger during her coronation. It seems to have worked since her reign was—for now—the longest of any monarch.

Today, the Sovereign’s Ring used at the coronations was made for King William IV in 1831. This is the ring that has been used at the coronation of every succeeding monarch, with the exception of Queen Victoria whose tiny fingers couldn’t handle her uncle’s large ring. The current ring weighs 84.45 carats and is set with a large sapphire surrounded by diamonds. Five rubies are set on the sapphire in the form of a cross. The design represents the red cross of St. George and the blue flag of St. Andrew.

Queen Victoria’s ring was a smaller version of William IV’s coronation ring. Hers weighed 42.74 carats and was of a similar design--set with a large sapphire surrounded by 20 diamonds. Five rubies form a cross on top of the sapphire and 31 diamonds decorate the shank of the ring.

Object of the Day, Museum Edition: A Green Diamond Ring, 1840

Green Diamond Ring
With Rose-cut Accents
Setting, 1840
The Victoria & Albert Museum

Crafted in England in 1840, this gold ring is set with a rectangular, cushion-shaped, light green diamond, surrounded by six rose-cut diamonds. This is another ring from the collection of the Reverend Chauncy Hare Townshend who bequeathed his unparalleled assortment of gemstones to the Victoria & Albert Museum.

Most notable in the Reverend’s collection are the colored diamonds. These had previously been part of the famous Hope collection of gemstones and were later acquired by Townsend. The collection entered the V&A in 1869 and, since then, have attracted the attention of many gemologists because of the fact that their brilliant colors have not been enhanced by any artificial means.

Some of Townsend's Colored Diamonds

As we know, Diamonds occur naturally in a variety of colors: colorless, yellow, brown, black, blue, green, pink, violet and the extremely rarely red. Variations of these colors exist, but are rare. For example, yellow-green or blue-violet stones are quite unusual. This ring has a light green stone with a slight yellow cast to it. Green color in diamonds is caused by prolonged exposure to natural radiation. This radiation, however, often does not penetrate evenly through the stone. Therefore, such evenness in color (especially without artificial enhancement) makes the stone all the more valuable.

Mastery of Design: A Gold, Diamond and Enamel Memorial Slide, 1775-1800

Memorial Slide
French, 1775-1800
The Victoria & Albert Musem

This gold brooch with silver-set rose cut diamonds, adorned with a basket of flowers in seed pearls, mother of pearl and gold--mounted on blue enamel—represents the sort of memorial jewelry which was prevalent in France in the Late Eighteenth Century.


Memorial jewelry was designed to honor a lost loved one. Given the mortality rate, memorial jewelry is one of the largest categories of jewels from this era to survive since it was the most prevalent.

Memorial medallions, brooches or lockets was quite the fashion during this era both in France and Britain. Some of them, like this brooch, could be worn in a variety of ways. For example, this brooch is considered a “slide” since it was, most frequently, worn on a ribbon around the throat. These pieces often incorporated the hair of the deceased either displayed behind glass or Stuart crystal or woven and braided into a design amongst the jewels.

Nei-classical motifs of funerary urns, plinths and obelisks were common themes along with the more traditional cherubs, angels and weeping willows. We should note, however, that not all of these pieces were meant as memorial jewelry. Some of it was meant to express love, friendship and devotion for the living and to act as a keepsake.