Several old portraits exhibit rings strung upon men's necklaces, or hung from a thin cord round the neck. A portrait by Mabuse, in the Berlin Gallery, shows a ring worn thus, and in two portraits by Lucas Cranach--one at Weimar, representing Johann Friedrich of Saxony attired as a bridegroom, and the other at Dresden, of the Elector Johann the Constant of Saxony (1526)--rings are hung similarly round the neck. Rings were also worn in the hat. A particularly striking example of this fashion is seen in the portrait of Bernhard III, Margrave of Baden, 1515, by Hans Baldung Grien, in the Pinakothek, Munich. Around his cap is fixed a thick wire-shaped band of gold, with a strip of cloth wound spirally round it. The latter serves to fix at regular intervals four gold rings, three of them set with cabochon stones and the fourth with a pointed diamond. A similar kind of decoration is alluded to in Gabriel Harvey's _Letter Book_, 1574 (Camden Society, 1884, p. 145), where a servant is mentioned carrying to a maiden an enamelled posy ring which his master had worn sewn upon his hat. The rings worn thus were in many cases betrothal or engagement rings; but those that served this purpose generally assumed special forms, and were among the most ingenious productions of the time. They were composed of twin or double hoops, and known as gimmel rings. The outer side of the two hoops was convex and elaborately ornamented, while the inner side was flat and often bore some inscription. The two hoops were wrought so exactly alike, that, together with the stones, they appeared to be one ring, yet could be separated, and the one hung from the other. Their bezels were occasionally formed of clasped hands. Ordinary one-hoop rings also bore the same design and were known as "fede" rings. Another kind of betrothal or engagement ring was the "posy" or "poesie" ring, generally of simple form, with a verse, a name, or a motto engraved inside it. The posy ring, suitably inscribed, was also used as a wedding-ring. The simple posy ring belongs, however, chiefly to the seventeenth century. The elaborate betrothal ring seems to have been employed at this time as a wedding-ring as well. It was reserved for modern times to give the wedding-ring its smooth, convenient, but artistically unimportant form. Widely distributed among the North German peasantry are certain peculiar wedding-rings, which, as a rule, contain a couple of the heart-shaped milk-teeth of the young roe-buck, with a small lock from which hang two keys--a symbol which perhaps not inaptly indicates the union of two pure hearts. Dating from the sixteenth and seventeenth centuries, but wholly different from the Renaissance form of ring, and very large and elaborate, are the Jewish wedding-rings, which were used only at the ceremony and then preserved by the family. They are composed of a broad band adorned with filigree (probably in keeping with some ancient Oriental tradition) arranged in bosses and rosettes