The great potentate Charlemagne, we are told by old French writers, was, in his youth, desperately in love with a young and beautiful woman, and gave himself up to pleasure in her society, neglecting the affairs of State. She died, and Charles was inconsolable at her loss. The Archbishop of Cologne endeavoured to withdraw him from her dead body, and at length, approaching the corpse, took from its mouth a ring in which was set a precious stone of remarkable beauty. It was the talisman which had charmed the monarch, whose passionate grief became now immediately subdued. The body was buried, and the Archbishop, fearing lest Charles might experience a similar magical effect in another seducer, threw it into a lake near Aix-la-Chapelle. The virtue of this marvellous ring was not, however, lost by this incident, for the legend relates that the monarch became so enamoured of the lake that his chief delight was in walking by its margin, and he became so much attached to the spot that he had a palace erected there, and made it the seat of his empire. In the Persian Tales a king strikes off the hand of a sorceress (who had assumed the appearance of his queen), which had a ring upon it, when she immediately appears as a frightful hag. The charmed ring of Aladdin plays a wonderful part in the ‘Arabian Nights’ Entertainments.’ One of the earliest ring superstitions in our own country, is that connected with the life of Edward the Confessor. In the mortuary chapel of this saintly monarch in Westminster Abbey are fourteen subjects in _relievi_, represented on the frieze of the screen on the western side, of incidents in the King’s life, in which the legend of the ‘Pilgrim’ (derived from a chronicle written by Ælred--a monk, and, later, abbot of Rievaulx, who died in 1166--but taken almost entirely from the life of St. Edward, by Osbert or Osbern, of Clare, prior of Westminster). is curiously displayed. The whole length of this sculpture is thirty-eight feet six inches by three feet in height. The relief is very bold, the irregular concave ground being much hollowed out behind. The compartment relating to the ring represents St. John, in the garb of a pilgrim, asking alms of the King. The figures are much injured. The monarch occupies the centre of the compartment, and a pilgrim or beggar is before him on the spectator’s right hand. Behind the King is a figure holding a pastoral staff--probably an ecclesiastic--and in front of whom, between the King and himself,--is an object not easily defined, but which appears like a basket. This design is interesting, from the back-ground being entirely filled in by a large and handsome church. This refers to the subject mentioned by Ælred, of the King being engaged in the construction of a church in honour of St. John, when the pilgrim appeared and asked alms.