hey join, we must for ever part."

A complete illustration of this passage of the poet is afforded in Fig.
170, from the same collection. It also illustrates Dr. Nares's remark
that "Gimmal rings, though originally double, were by a further
refinement made triple, or even more complicated; yet the name remained
unchanged." So Herrick:--

"Thou sent'st to me a true love knot; but I
Return a ring of jimmals, to imply
Thy love had one knot, mine a triple tye."

[Illustration: Fig. 169.]

[Illustration: Fig. 170.]

This ring (Fig. 170) is shown (_a_) as it appears when closed. It parts
into three hoops, secured on a small pivot, as seen (_b_); the toothed
edge of the central hoop forming an ornamental centre to the hoop of the
ring, and having two hearts in the middle; a hand is affixed to the side
of the upper and lower hoop; the fingers slightly raised, so that when
the hoops are brought together, they link in each other, and close over
the hearts, securing all firmly.

A mechanical ring of still greater mystic significance is shown, Fig.
171, and is one of the most curious of the Londesborough series. The
outside of the hoop is perfectly plain, and is set with a ruby and
amethyst. Upon pressing these stones, a spring opens, and discovers the
surface covered with magical signs and names of spirits; among them
Asmodiel, Nachiel, and Zamiel occur, a similar series occupying the
interior of the hoop. Such a ring might be worn without suspicion of its
true import, looking simplicity itself, but fraught with unholy meaning.
It was probably constructed for some mystic philosopher, or student of
the occult sciences, searching for the philosopher's stone, the elixir
of life, and the power given to man to control the unseen world of
spirits.

[Illustration: Fig. 171.]

[Illustration: Fig. 172.]

[Illustration: Fig. 173.]

We close our review of the art of ring-making in the sixteenth century
with two very beautiful examples. Fig. 172, from the Londesborough
collection, has a ruby in a very tall setting, enriched by enamel. The
sides of the hoop are highly decorated with flowers and scroll ornament,
also richly enamelled. The Waterton collection gives us Fig. 173, a gold
enamelled ring, set with a large turquoise in the centre, and surrounded
by six raised garnets. This ring is stated to have subsequently belonged
to Frederick the Great, King of Prussia, whose cipher is upon it.

[Illustration: Fig. 174.]