The signet-ring made for Charles II., when Prince of Wales, has the ostrich plumes between the letters ‘C. P.’--‘Carolus Princeps’--neatly and deeply cut upon a table _diamond_ (½ × ⅜ inch in size) formed into a heater-shaped, seven-sided shield. The stone is slightly tinged with yellow, but of fine lustre, and such that of its nature no doubt whatever can be entertained. The ring, holding this in every respect interesting relic, has the back enamelled with a bow and quiver _en saltire_. A marvellous specimen of metal-work is the signet of his unfortunate father, having the royal arms most minutely engraved upon a shield of steel, and the lion and unicorn (modelled with matchless skill in the same metal in full relief) reclining upon the shoulders of a gold ring, and that of a size by no means inconvenient for wear upon the little finger. The Marlborough gems[75] constitute a famous collection, as it now stands, formed by the union of the Arundel and the Bessborough, together with certain additions made at the close of the last century by the grandfather of the present Duke of Marlborough. This collection includes many masterpieces of art set in rings of fine gold in a plain solid imitation of the ancient ring worn by the later Romans, having a slight round shank, gradually thickening towards the shoulders. The Bessborough Collection deservedly ranks as one of the first in Europe for the interest and value of the works of art it contains (as viewed exclusively in that light) and the gems themselves, are pre-eminently distinguished by the unusual taste and elegance of the rings in which they are for the most part set. In this point of view alone they will furnish a rich treat to every amateur in that elegant branch of the jeweller’s craft. Some are choice examples of the Rénaissance goldsmiths’ skill; the majority, however, plainly show that they were made to the commission of the noble possessor, exhibiting as they do the most varied designs in the Louis XV. style, in which one is at a loss what most to admire, the fertility of invention displayed in the great variety of the forms, or the perfection of workmanship with which these designs have been carried out in the finest gold. The Rev. C. W. King mentions a ring in this collection, with a representation of a dancing fawn upon sard, as the most elegant design ever invented by Italian taste. Appropriately to the subject, the shank consists of two thyrsi, whilst around the head of the ring runs an ivy garland, the leaves enamelled green. The execution of this charming idea equals the design. Another exquisite old Italian ring is described as being adorned with two masks of Pan upon the shoulders, the very masterpieces of chasings in gold, so vigorous, so full of life, are these minute full-faced heads in half relief.