In Southern Europe, where jewellery is deemed almost an essential of life and the poorest will wear it in profusion, though only made of copper, the rings are curious and elaborate. A Spanish ring, of the early part of the last century, has a heart, winged and crowned, in its centre: the heart is transfixed by an arrow, but surrounded by flowers. It may possibly be a religious emblem. Another Spanish ring, of more modern manufacture, has a very light and elegant design. The flowers are formed of rubies and diamonds, and the effect is extremely pleasing. Such work may have originated the ‘giardinetti’ rings, specimens of which are seen in the South Kensington Museum. Two are there described as English work of the seventeenth and eighteenth centuries. They appear to have been used as ‘guards,’ or ‘keepers,’ to the wedding-ring, and are of pleasing floriated design, and of very delicate execution. [Illustration: Spanish.] [Illustration: ‘Giardinetti’ rings.] Annexed are representations of some remarkably fine rings (French) dating from the close of the fourteenth century or the commencement of the fifteenth. [Illustration: French.] A handsome ring, of silver gilt, representing St. George and the Dragon, belongs to the end of the fifteenth century. There is a border of roses and fleurs-de-lys around the saint. [Illustration: French.] [Illustration: French.] The following examples of French art of the sixteenth century are in the Museum of the Louvre:-- [Illustration: French.] The annexed illustration represents an escutcheon ring (from Viollet le Duc) of the Middle Ages, and is thus described by M. Chabouillet in his ‘Catalogue Général.’ The Cabinet of Medals at Paris possesses a ring dating from the commencement of the fifteenth century, if one may judge from the form of the letters, and that of the helmet engraved on the seal. The ring is of massive gold; the arms, engraved hollow on the seal, represent a shield, charged with a dragon, carrying (perhaps) some prey in his jaws. On the two sides of the intaglio are two names--MARIN, PIXIAN. On the sides of the ring are two inscriptions in relief, one only of which is legible, and this is taken from St. Luke--‘Jesus autem transiens per medium illorum ibat.’ [Illustration: ‘Escutcheon’ ring. French.] The accompanying are from Chabouillet’s ‘Orfévrerie de la Rénaissance,’ in the Fould Collection (dispersed by auction in 1860). [Illustration: French.] These engravings are from Labarte’s ‘Orfévrerie du XV. et XVI. Siècles’:-- [Illustration: French.] [Illustration: French.] The following represent rings in the Musée Sauvageot, of the sixteenth and seventeenth centuries; one is elaborately wrought of chiselled iron, of French manufacture--date, 16th century. [Illustration: French.] The annexed are two fine specimens of comparatively modern date; one ending in volutes near the bezel, the other enamelled white, red, green, and blue--a turquoise, with diamonds and rubies in settings.