The types of these rings varied considerably in the course of centuries. Those of the sixteenth century were made of plain gold, or of gold enamelled with representations of a skeleton, spade and pick, hour-glass, or similar emblems of death; the inscription was engraved, usually on the inside of the ring; occasionally the bezel was rounded into the form of a skull. In the period succeeding the death of Queen Anne (1714), and extending to about 1774, the fashion gradually changed, and the inscriptions, instead of being engraved, were in raised letters, thrown into greater relief by the application of white and black enamel. This style is said to have been brought from France, and the earliest specimens are presumed to have been executed by French workmen; an example of this type of ring, dating from 1717, is in the Crisp Collection. In one such ring the inscription is enamelled _within_ the hoop. An exceptionally fine specimen of the rings of this period is that in memory of Richard Pett, who died February 23, 1765, aged 76 years.[74] This bears an amethyst and four rose diamonds in an openwork setting. Another innovation during this period is the employment of white enamel in the case of rings in memory of young maidens; the earliest example dates from 1726 and was given as a memento of the death, at fifteen years, of Dorothy Tenison, daughter of the Bishop of Ossory. In their search for novelty the goldsmiths sometimes had resort to rather grewsome decorations, and the bezel of some rings has the form of a coffin, within which lies a skeleton, carefully done in enamel. The last quarter of the eighteenth century supplies us with some of the most elaborately designed memorial rings. In many of these the bezel shows various emblematic figures formed of gold wire, seed pearls, ivory and enamel; one ring of this type has the inscription: “Heaven has in store what thou hast lost.” However, hair soon became the favorite material. At first, a lock of hair from the head of the deceased person was enclosed in the bezel, no attempt being made to form any pattern; but soon the hair was spread out over the surface and arranged in the form of a tree; later on, these rings show us an urn placed beneath the tree, and still later we have in addition a male or female figure in an attitude of grief, all these being formed entirely of hair. A unique ring in the Crisp Collection[75] is a memento of the death of seven children, the eldest not over nine years, who perished in a fire in Leadenhall Street, London. This gold and ivory ring bears a design showing seven cherubs’ heads surrounding the words: “To eternal bliss.” At the back of the bezel is inscribed: “Translated 18 January 1782.”