Finger-ring lore: historical, legendary, anecdotal

I had intended to confine my observations exclusively to the subject of ‘ring superstitions,’ but in going through a wide field of olden literature I found so much of interest in connection with rings generally, that I have ventured to give the present work a more varied, and, I trust, a more attractive character. The importance of this branch of archæology cannot be too highly appreciated, embracing incidents, historic and social, from the earliest times, brought to our notice by invaluable specimens of glyptic art, many of them of the purest taste, beauty, and excellency; elucidating obscure points in the creeds and general usages of the past, types for artistic imitation, besides supplying links to fix particular times and events. In thus contributing to the extension of knowledge, the subject of ring-lore has a close affinity to that of numismatics, but it possesses the supreme advantage of appealing to our sympathies and affections. So Herrick sings of the wedding-ring: And as this round Is nowhere found To flaw, or else to sever, So let our love As endless prove, And pure as gold for ever! It must be admitted that in many cases of particular rings it is sometimes difficult to arrive at concurrent conclusions respecting their date and authenticity: much has to be left to conjecture, but the pursuit of enquiry into the past is always pleasant and instructive, however unsuccessful in its results. One of our most eminent antiquarians writes to me thus: ‘We must not take for granted that everything in print is correct, for fresh information is from time to time obtained which shows to be incorrect that which was previously written.’ My acknowledgments are due to friends at home and abroad, whose collections of rings have been opened for my inspection with true masonic cordiality. I have also to thank the publishers of this work for the liberal manner in which they have illustrated the text. Many of the engravings are from drawings taken from the gem-room of the British, and from other museums, and from rare and costly works on the Fine Arts, not easily accessible to the general reader. Descriptions of rings without pictorial representations would (as in the case of coins) materially lessen their attraction, and would render the book what might be termed ‘a garden without flowers.’ In conclusion I will adopt the valedictory lines of an old author, who