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Knowledge
The Medieval Period, also known as the Middle Ages, spanned one thousand years, beginning in the 5th century with the collapse of the Roman Empire and ending in the late 15th century as the Renaissance dawned.The Medieval Period, also known as the Middle Ages, spanned one thousand years, beginning in the 5th century with the collapse of the Roman Empire and ending in the late 15th century as the Renaissance dawned.
Design Periods
Often mischaracterised as the ‘Dark Ages’, this period has long been depicted as a time of ignorance, superstition and irrationality. Yet, such a portrayal fails to recognise an age that was, in reality, a crucible of cultural, political and intellectual transformation. The Medieval period saw the forging of Europe as a distinct cultural unit, marked by burgeoning universities, architectural marvels, and a complex, evolving social fabric that laid the groundwork for the modern world.
Jewellery, like all aspects of material culture over this sweeping expanse of time, evolved and adapted, shaped by shifting tastes, technological advancements and the ebb and flow of prosperity. The expansion of trade routes ensured that precious materials and skilled craftsmen traversed the continent with unprecedented speed, facilitating an exchange of styles, techniques, and influences that rendered medieval adornment as dynamic and varied as the societies that fashioned it.
£38,000
£49,000
£8,700
£14,400
The Medieval Brooch
Jewellery was worn by men, women and children during the Middle Ages, with rings and brooches being the most popular. The brooch, often inscribed, served both decorative and functional purposes, fastening garments at the neck. Shapes varied, with lozenges and hearts particularly favoured—the latter emerging as a common love token.
Beyond their decorative function, brooches played symbolic roles. Wedding brooches, like rings, were traditional gifts from a groom, not only signifying love but also reinforcing a bride’s virtue. Pilgrim badges, among the most popular medieval souvenirs, were produced to generate revenue for shrines and discourage relic theft. Thought to retain the saint’s sacred properties, these badges were worn prominently on hats, hoods, or bags, often featuring Saint Katherine or the Virgin Mary for women. Cast in pewter or lead-tin alloy, their quality varied, yet their significance endured.
Gemstone Rings
Gemstone set rings were the preserve of the elite, worn exclusively by royalty, nobility and high-ranking clergymen as both a symbol of status and a conduit of power – earthly or divine. The sources of gemstones in the medieval period reflected the intricate networks of long-distance trade that connected Europe to the wider world. The East remained the principal supplier of precious gems, with rubies coming from the rich mines of India and Ceylon and sapphires from Persia, Ceylon and Arabia. Emeralds, prized for their vivid green hue, were obtained from Egypt and turquoise from Persia and Tibet. Amethysts, favoured for their regal purple tones, were imported from Germany or Russia. Diamonds, by contrast, were exceptionally rare before the 14th and 15th centuries, only becoming more widely available as trade routes expanded, with sources located primarily in India. Other exotic materials such as precious red coral and shark teeth were incorporated into jewellery too.
Unlike the precisely faceted gemstones that emerged in the later centuries, medieval gems were used in their natural, un-cut domed shape, ‘en cabochon’ and simply polished, resulting in smooth, pebble-like forms that pooled light rather than refracting it. Their settings were no less distinctive, with the so-called ‘pie-dish’ bezel being a hallmark of medieval gem-set rings. The shape of this unusual setting was dictated by the natural shape of the gemstone set within. These rings exude an organic, almost ethereal allure, where the gemstone’s innate beauty takes centre stage.
Medieval Magic
During the Middle Ages, belief in magic and sorcery was widespread and deeply woven into the fabric of daily life. To this end, gemstones were not merely ornamental but imbued with potent mystical properties, worn as talismans of protection against misfortune and malevolent forces. Diamonds, for instance, were thought to shield their wearer from the ravages of the plague, while sapphires were credited with an astonishing array of abilities - from curing snake bites and dispelling witchcraft to granting their owner an uncanny ability to detect deception. Amethysts, associated with clarity and temperance, were believed to ward off intoxication, making them a favoured choice among those wary of overindulgence. Meanwhile, turquoise, revered for its supposed healing properties, was thought capable of drawing illness from the body, absorbing disease into itself like a silent sentinel of health.
Iconographic Rings
The spread of Christianity across medieval Europe ushered in an era of monumental architectural and artistic achievement, with soaring cathedrals and grand monasteries being built. These religious institutions were not merely places of worship but also repositories of extraordinary craftsmanship, their treasuries brimming with exquisite reliquaries, chalices, and sacred vessels, each fashioned from precious metals and encrusted with gemstones. These monasteries served as important hubs for goldsmithing, where skilled artisans, often working under the patronage of the Church, refined their techniques in service of divine devotion. Yet, by the 11th century, the craft of the jeweller-goldsmith was no longer confined within monastic walls. An emerging class of independent, secular goldsmiths began to establish workshops in burgeoning urban centres, catering to an elite clientele that extended beyond the clergy, signalling the gradual shift of luxury craftsmanship from sacred to secular spheres.
The same fervent faith that inspired the construction of the medieval cathedrals found expression in the rings of the period too, particularly in the deeply symbolic iconographic rings worn by the devout. These rings, predominantly crafted in gold, served not only as personal adornments but as miniature conduits of spiritual protection and devotion. Their engraved surfaces bore intricate religious imagery, often depicting saints, the Virgin Mary, or Christ, transforming them into tangible affirmations of faith. Some of the most exceptional surviving examples feature delicate inscriptions of prayers or devotional phrases, further reinforcing their role as intimate objects of piety.
Bishop’s Stirrup Rings
Another important type of ring to emerge in this period was the Bishop’s stirrup ring. They were popular between the 12th and 14th centuries and often worn by bishops on the middle finger of the right hand. Its characteristic form—rising to an apex or dome—bears an unmistakable resemblance to a horse’s stirrup, lending the ring its evocative name. Yet, beyond its equestrian associations, some scholars suggest that its shape mirrors the soaring Gothic vaults of medieval cathedrals, an architectural echo that feels entirely appropriate for an object so closely tied to the Church.
Courtly Love
The romantic ideas of chivalry and courtly love were largely formed during the medieval period and resulted in no shortage of love jewellery, none more so than the posy ring. Emerging in the late Middle Ages, these gold bands were inscribed with sentiments of affection, made all the more poignant when worn against the skin. The posies (short love poems) were often written in Old French, Latin or Old English and the style of lettering evolved over time. Until around 1350, the inscriptions were rendered in the rounded Lombardic script, before later transitioning to the more angular and intricate Gothic script.
The fede ring (from the Italian fede, meaning ‘faith’) was one of the most enduring symbols of love and fidelity in medieval Europe. Borrowed from an ancient Roman motif, its design featured two clasped hands, sometimes flanking a heart or a pair of hearts, a potent visual shorthand for trust and devotion. First appearing in England in the 12th century, these rings remained popular for the next six centuries, adapting gracefully to evolving artistic styles.
Alongside the fede ring, the gimmel ring - its name derived from the Latin gemellus, meaning ‘twin’ - offered another striking expression of unity. Crafted from two interlocking hoops that joined to form a single band, it likely originated from the fusion of the engagement and wedding rings, or perhaps as an emblem of two lovers becoming one. Often set with a ruby on one side and a diamond or emerald on the other, gimmel rings sometimes even bore hidden inscriptions within their overlapping shanks, whispering sentiments of enduring love and Christian marriage. Rare examples even bore the names of the betrothed, ensuring that their union was not only spoken but quite literally engraved in gold.
Rings and Identity / Heraldry
Signet and Seal rings held a position of particular significance in medieval society, functioning not only as symbols of power and prestige but also as practical tools of authentication and identity. One of the major innovations of the Middle Ages was the use of heraldry as a theme for signet rings. Engraved with the coats of arms, crests, and badges of medieval society’s elite, these rings were typically worn on the index finger or thumb and played a crucial role in the sealing of documents, securing the identity and authority of the bearer. By the late Middle Ages, as heraldic designs became increasingly intricate, signet rings evolved in both form and decoration, with bezels often supported by shoulders engraved with delicate floral motifs and enamelled in vivid hues. The finest medieval signet and seal rings were crafted in gold, however the most commonly found examples are in bronze, making these rings accessible yet still signifying a certain status.
The sheer number and variety of surviving medieval rings speak to their widespread use, not only in official and business transactions but also in the burgeoning culture of private correspondence, where personal letters and messages required secure seals. Thus, these rings represent a dual purpose - functioning as tools of communication and identity, while simultaneously reflecting the growing complexity of medieval social and political life.
Sumptuary Laws
As Europe grew more prosperous in the second half of the 13th century, the appetite for luxury goods, including jewellery, expanded well beyond the confines of the court. Wealthy merchants began adorning themselves with gold, gemstones, and elaborate ornaments once reserved for the nobility and this creeping sartorial ambition did not go unnoticed. In response, sumptuary laws were introduced to curb ostentatious displays and prevent individuals from dressing above their social station - an attempt, however futile, to enforce the rigid hierarchies of medieval society.
Medieval Jewellery at Berganza
Here at Berganza, we are proud to present to you our exquisite collection of Medieval rings. These pieces are more than mere adornments; they are tangible fragments of history, imbued with love, faith, and no small amount of intrigue. Explore our collection to acquire your own Medieval treasure today.
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1940
Art Deco
Victorian
