A Latin inscription, from Granada, Spain, mentions a ring, set with a jasper, that was placed by a son upon the statue of his mother. The value of the ring is given as 7000 sestertii, indicating that the stone was engraved; the design probably had a symbolic significance, as in the case of most of the votive rings.[57] Martial, in one of his epigrams (V.12) says that there was nothing surprising in the feats performed by certain athletes, when Stella could carry ten maidens upon one of his fingers. In a very interesting study on this subject, C. W. King endeavors to prove that the lines refer to a remarkable ring whereon ten precious stones must have been associated in some way with dedicated to Minerva and the Nine Muses. In another epigram (V.11) Martial writes of Stella turning sardonyxes, emeralds, diamonds, and jaspers around one of his finger-joints, and King conjectures that the Ten Maidens were represented by the opal, sapphire (hyacinth), spinel, Oriental topaz, almandine garnet, and pearl, in addition to the four stones enumerated above. Should this conjecture be well-founded these different stones were set at regular intervals, these stones being Minerva and the Muses, although we have no direct proof of this. This ring of the Ten Maidens suggests the decade or rosary rings, of which so many specimens exist. Usually there were ten bosses or knobs, as the name indicates, but occasionally there were eleven, for counting ten Aves and a Pater. The earliest date Mr. Waterton is inclined to assign to rings of this type is the fourteenth century.[58] A so-called decade ring with twelve bosses is described in the catalogue of the Londesborough Collection.[59] Here the central knob is a tooth, opposite this is a piece of labradorite, while on either side are set two amethysts, a chrysoprase and an emerald, two jacinths, two turquoises, and two pearls. The twelfth knob stood for the creed. Sometimes, where there are eleven projections, ten paternosters and the creed were to be recited. A good example of a decade ring is one of silver in the British Museum. The ten projections for the paternosters are very marked and the eleventh, for the creed, which forms the bezel, has the form of a crucifix, the cross resting on three steps. This rises to a considerable relative height above the hoop. Such a ring could scarcely be worn with comfort, its liturgical use evidently being the paramount idea of the maker.[60]