In the same collection is a ring, doubtless a _gage d’amour_, the hoop of which is richly decorated with quaint floriated ornaments, cut upon its surface, and filled in with the black composition termed _niello_, once extensively used by goldsmiths in enriching their works. This beautiful ring is inscribed within the hoop, ‘=Mon Cor Plesor=,’--‘my heart’s delight.’ There are two very beautiful examples of sixteenth century rings, one in the Londesborough Collection, which has a ruby in a very tall setting, enriched by enamel. The sides of the hoop are highly decorated with flowers and scroll ornament, also richly enamelled. The other ring is in the Waterton Collection, gold, enamelled, set with a large turquoise in the centre, and surrounded by six raised garnets. This ring is said to have subsequently belonged to Frederick the Great, King of Prussia, whose cipher is upon it. [Illustration: Ring: Sixteenth Century.] [Illustration: Ring of Frederick the Great.] Rings of Italian workmanship of a late period are remarkably beautiful. Venice particularly excelled in this art. In the Londesborough Collection is a fine specimen. The four claws of the other ring in open-work, support the setting of a sharply-pointed pyramidal diamond, such as was then coveted for writing on glass. The shank bears a fanciful resemblance to a serpent swallowing a bird, of which only the claws connecting the face remain on view. [Illustration: Venetian.] [Illustration: Italian diamond ring.] ‘It was,’ remarks Mr. Fairholt, ‘with a similar ring Raleigh wrote the words on a window-pane: “Fain would I rise, but that I fear to fall,” to which Queen Elizabeth added: “If thy heart fail thee, do not rise at all”--an implied encouragement which led him on to fortune.’[13] The annexed engraving represents a gold symbolical ring of the sixteenth century, enamelled, of various colours. [Illustration: Italian.] Two rings are described by Mr. Fairholt of a peculiar construction. One, of Venice work, is set with three stones in raised bezels; to their bases are affixed, by a swivel, gold pendant ornaments, each set with a garnet. As the hand moves, these pendants fall about the finger, the stones glittering in the movement. This fashion was evidently borrowed from the East, where people delight in pendant ornaments, and even affix them to articles of utility. The other ring, of silver, is of East Indian workmanship, discovered in the ruins of one of the most ancient temples: to its centre are affixed bunches of pear-shaped, hollow drops of silver, which jingle with a soft, low note as the hand moves.[14] [Illustration: Venetian.] [Illustration: East Indian.] The Indians prefer rings with large floriated faces spreading over three fingers like a shield. When made for the wealthy, in massive gold, the flower leaves are of cut jewels, but the humbler classes are content with them in cast silver. Representations are here given of these rings. [Illustration: Indian.]