Medieval Rings

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GOTHIC TART MOLD RING WITH A GREEN SAPPHIRE

England? 14th century

Gold and sapphire

sold
  • GOTHIC TART MOLD RING WITH A GREEN SAPPHIRE

    England? 14th century
    Gold and sapphire
    Weight 3 gr; circumference 57 mm; US size 8; UK size P½

    Along with the stirrup ring, the tart mold ring, so called because the underside of its bezel resembles a pie mold, was one of the most popular ring styles of the Gothic period. This style of ring has its origins in architectonic designs, probably large-scale stonework of later Romanesque architecture. Extant examples date from the twelfth through the fifteenth century and are found throughout Europe, although France and England are the most likely origins for these rings. Their modest forms are designed to emphasize the qualities of the stones- a belief consistent with the desire to maintain the stone’s original divine “uncut” or cabochon form. Sapphires such as this one were valued for their exotic origins and their color, which represented the heavens.  In Hebrew the word sippur is a synonym for “story,” and these stones were thought to bring wisdom and wealth to the wearer as well as protection against illness and poisons.

    Provenance:  Benjamin Zucker, New York; on deposit, Walters Art Museum, Baltimore 1985–2013.

    Reference number: 630

  • Sapphire

    Precious gemstone (a type of corundum like the ruby), the sapphire ranges in color from blue to pink to yellow to green to white to purple (mauve sapphire) to pink-orange. Along with Sri Lanka, during the Middle Ages, Burma started selling its sapphire to India.

    Birthstone

    January-Garnet: Safe travel and a speedy homecoming
    February-Amethyst: Power to overcome difficulties
    March-Jasper: Courage
    April-Diamond: Everlasting love
    May-Emerald: Love and fidelity
    June- Pearl: Purity, Celebrate a birth
    July- Ruby: Prosperity (if worn on the left hand); Everlasting love (if worn on the right)
    August-Peridot and Sardonyx: Strength and growth; Happiness in a relationship
    September-Sapphire: Sincerity and faithfulness
    October-Opal and Tourmaline: Confidence and hope
    November-Citrine and Yellow Topaz: Strength and friendship
    December-Turquoise: Protects against evil and ill health

  • Gothic

    With the rise of towns and the establishment of a money economy in western Europe, the fabrication of rings grew into an urban trade. In 1180, the Goldsmith's Company was founded in London, and in 1200, Jean de Garlande describes the craftsmen setting jewels into rings on the Grand Pont in Paris. Certain new types of rings evolved and were commercially made in large numbers for all levels of society. In France in 1283, then in London in 1337, 1363, and 1463, and elsewhere, sumptuary laws were passed forbidding townspeople from wearing precious stones, but it is unlikely these regulations were strictly observed.

    Medieval rings are typically set with uncut but polished stones (called cabochons) because the stone itself was considered God's creation, not to be altered artificially by man. For the same reason, there was a taboo about the mixing of colors in the workshops of painters and their assistants. Two types of rings abound in the Gothic era. The first is the stirrup ring, made in the shape of a horse's stirrup and nearly always set with a cabochon sapphire. Many of these have been discovered in the tombs of the bishops for whom they were made. The second is the tart mold ring, adorned with different precious stones in a box or circular setting the underside of which resembles a pie plate. Other types of rings also proliferate: for example, nominative rings with circular inscriptions used for sealing, black letter rings with amatory sayings on the bands, iconographic rings with standing figures of saints that served to protect the wearer, etc. Claw and box settings both occur in Gothic rings, but eventually the claw setting naturally evolves into the most popular late Gothic type of gemstone ring, the cusped ring, in which the collet consists of decorated lobes between the remnants of claws. It is this type of ring that continues into the early Renaissance and occurs in Gerard David's painting.

    An art history of medieval rings has yet to be written (see, however, Hindman et al., 2007), but a few preliminary observations can nevertheless be made. The streamlined form of the stirrup ring, arching upward to the bezel that forms an integral part of it, recalls the aesthetic of the unification of the wall in Gothic cathedrals with the ribs springing seamlessly to the arched vaults. Tart mould rings take inspiration from the architectonic forms of capitals and their bases. The ridged bezel of the iconographic ring adorned with standing saints in niello reiterates in miniature format the closed wings of a painted altarpiece, its figures painted in grisaille. Iconographic rings, as well as other devotional types of rings, find their parallels in the suffrages, or prayers of protection to special saints that accompany Books of Hours.

GOTHIC TART MOLD RING WITH A GREEN SAPPHIRE

England? 14th century
Gold and sapphire
Weight 3 gr; circumference 57 mm; US size 8; UK size P½

Along with the stirrup ring, the tart mold ring, so called because the underside of its bezel resembles a pie mold, was one of the most popular ring styles of the Gothic period. This style of ring has its origins in architectonic designs, probably large-scale stonework of later Romanesque architecture. Extant examples date from the twelfth through the fifteenth century and are found throughout Europe, although France and England are the most likely origins for these rings. Their modest forms are designed to emphasize the qualities of the stones- a belief consistent with the desire to maintain the stone’s original divine “uncut” or cabochon form. Sapphires such as this one were valued for their exotic origins and their color, which represented the heavens.  In Hebrew the word sippur is a synonym for “story,” and these stones were thought to bring wisdom and wealth to the wearer as well as protection against illness and poisons.

Provenance:  Benjamin Zucker, New York; on deposit, Walters Art Museum, Baltimore 1985–2013.

Reference number: 630

Sapphire

Precious gemstone (a type of corundum like the ruby), the sapphire ranges in color from blue to pink to yellow to green to white to purple (mauve sapphire) to pink-orange. Along with Sri Lanka, during the Middle Ages, Burma started selling its sapphire to India.

Birthstone

January-Garnet: Safe travel and a speedy homecoming
February-Amethyst: Power to overcome difficulties
March-Jasper: Courage
April-Diamond: Everlasting love
May-Emerald: Love and fidelity
June- Pearl: Purity, Celebrate a birth
July- Ruby: Prosperity (if worn on the left hand); Everlasting love (if worn on the right)
August-Peridot and Sardonyx: Strength and growth; Happiness in a relationship
September-Sapphire: Sincerity and faithfulness
October-Opal and Tourmaline: Confidence and hope
November-Citrine and Yellow Topaz: Strength and friendship
December-Turquoise: Protects against evil and ill health

Gothic

With the rise of towns and the establishment of a money economy in western Europe, the fabrication of rings grew into an urban trade. In 1180, the Goldsmith's Company was founded in London, and in 1200, Jean de Garlande describes the craftsmen setting jewels into rings on the Grand Pont in Paris. Certain new types of rings evolved and were commercially made in large numbers for all levels of society. In France in 1283, then in London in 1337, 1363, and 1463, and elsewhere, sumptuary laws were passed forbidding townspeople from wearing precious stones, but it is unlikely these regulations were strictly observed.

Medieval rings are typically set with uncut but polished stones (called cabochons) because the stone itself was considered God's creation, not to be altered artificially by man. For the same reason, there was a taboo about the mixing of colors in the workshops of painters and their assistants. Two types of rings abound in the Gothic era. The first is the stirrup ring, made in the shape of a horse's stirrup and nearly always set with a cabochon sapphire. Many of these have been discovered in the tombs of the bishops for whom they were made. The second is the tart mold ring, adorned with different precious stones in a box or circular setting the underside of which resembles a pie plate. Other types of rings also proliferate: for example, nominative rings with circular inscriptions used for sealing, black letter rings with amatory sayings on the bands, iconographic rings with standing figures of saints that served to protect the wearer, etc. Claw and box settings both occur in Gothic rings, but eventually the claw setting naturally evolves into the most popular late Gothic type of gemstone ring, the cusped ring, in which the collet consists of decorated lobes between the remnants of claws. It is this type of ring that continues into the early Renaissance and occurs in Gerard David's painting.

An art history of medieval rings has yet to be written (see, however, Hindman et al., 2007), but a few preliminary observations can nevertheless be made. The streamlined form of the stirrup ring, arching upward to the bezel that forms an integral part of it, recalls the aesthetic of the unification of the wall in Gothic cathedrals with the ribs springing seamlessly to the arched vaults. Tart mould rings take inspiration from the architectonic forms of capitals and their bases. The ridged bezel of the iconographic ring adorned with standing saints in niello reiterates in miniature format the closed wings of a painted altarpiece, its figures painted in grisaille. Iconographic rings, as well as other devotional types of rings, find their parallels in the suffrages, or prayers of protection to special saints that accompany Books of Hours.

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