Celtic Symbol of the Arctic Star, 28 x 28 mm, 24 Carat Gold plated, two-faced design, 2 crystals

Celtic symbol of wedding, togetherness and love, 41 x 40 mm, 24 Carat Gold plated, two-faced design

Celtic wedding symbol. Married bearing signs of the eternal bond.

Celtic Wedding Jewelry, 42 x 42 mm, 24 Carat Gold plated, two-sided design.

The Claddagh's distinctive design features two hands clasping a heart, and usually surmounted by a crown. The elements of this symbol are often said to correspond to the qualities of love (the heart), friendship (the hands), and loyalty (the crown). The expression which was associated with these symbols in the giving of the ring was: "With my two hands I give you my heart, and crown it with my love." Yet, the expression, "Let love and friendship reign forever" can be found as another meaning for the symbols. The way that a Claddagh ring is worn on the hand is usually intended to convey the wearer's romantic availability, or lack thereof. The ring is worn on the right hand with the heart facing outward to show that the wearer is not romantically linked but is looking for love. When turned inwards, it is shown that the wearer is in a relationship, or their heart has been "captured". Noting that the heart is pointing down the hand and into the veins which lead to the wearer's heart. The ring worn on the left hand with the heart facing outward shows the wearer is engaged; turned inward indicates the wearer is married. The Claddagh belongs to a widespread group of finger rings called “Fede Rings”. The name "fede" comes from the Italian phrase mani in fede ("hands in trust" or "hands in faith"). These rings date from Roman times, when the gesture of clasped right hands (dextrarum iunctio) symbolized marriage. Fede rings are distinguished by having the bezel cut or cast in the form of two clasped hands, symbolizing faith, trust or “plighted troth.” They were popular in the Middle Ages throughout Europe, and there are examples from this time in the National Museum of Ireland, Kildare Street, Dublin. The Claddagh ring is a particularly distinctive type of Fede ring; two hands clasp a heart surmounted by a crown.[2] According to Jones, [3], the Claddugh (Jones' original spelling) was part of the fishing community's tradition; Jones says the natives of Claddugh are "particularly exclusive in their tastes and habits." Jones explains: The clasped hands [style ring]... are... in constant use in [the]... community [of] Claddugh [sic] at [County] Galway.... [They] rarely [intermarry] with others than their own people [sic]. The [Claddagh] wedding-ring [sic] is an heirloom in the family... transferred from the mother to the daughter who is first [to be] married, and so passes to her descendants. Many of these [rings]... are very old. Evidence aplenty shows the Claddagh to have been a marginal custom at best, until recently. Kunz [4], while showing a photo of a typical gold Claddagh ring which he also spells "Claddugh", merely references an old Irish tradition of the bridegroom renting a gold ring in the event he couldn't afford to buy one. Kunz makes no mention of the "Claddugh" ring in his text. While McCarthy [5] merely repeats Kuntz, making no reference at all to the Claddagh ring, or anything similar in the Irish tradition section of his "Betrothal Ring" chapter. The evidence proves that near the end of the 19th century, more was divulged about the Claddagh ring than was known just a few years later. McCarthy reminds us that men did not wear wedding rings commonly until World War II, though there was common tradition for men in Victorian times; this tradition for men vanished in Edwardian times, and the ring tradition of women was essentially ignored from Kunz well beyond McCarthy. So it is that, ancient as it may be, the Claddugh has always been a highly localized custom as a betrothal ring, and unique in that it was passed directly from mother to daughter, it is nonetheless a new fad among Americans. It is especially demonstrative of pride in Irish heritage, though none of the above ring experts makes any mention of Claddugh wearing-customs. However, there are many legends about the origins of the ring. One tale is about Margaret Joyce (Claddagh Ring), a woman of The Tribes of Galway. She married a Spanish merchant named Domingo de Rona. She went with him to Spain, but he died and left her a large sum of money. She returned to Ireland and, in 1596, married Oliver Óg French, the mayor of Galway. With the money she inherited from her first marriage, she funded the construction of bridges in Connacht. All this out of charity, so one day an eagle dropped the Claddagh ring into her lap, as a reward. Another story tells of a prince who fell in love with a common maid. To convince her father his feelings were genuine and he had no intentions of "using" the girl, he designed a ring with hands representing friendship, a crown representing loyalty, and a heart representing love. He proposed to the maid with this ring, and after the father heard the explanation of the symbolism of the ring, he gave his blessing. One legend that may be closer to historical truth is of a man named Richard Joyce (Goldsmith), another member of the Joyce clan and a native of Galway. He left his town to work in the West Indies, intending to marry his love when he returned. However, his ship was captured and he was sold as a slave to a Moorish goldsmith. In Algiers, with his new master, he was trained in his craft. When William III became king, he demanded the Moors release all British prisoners. As a result, Robert Joyce was set free. The goldsmith had such a great amount of respect for Robert Joyce that he offered Joyce his daughter and half his wealth if Joyce stayed, but he denied his offer and returned home to marry his love who awaited his return. During his time with the Moors, he forged a ring as a symbol of his love for her. Upon his return, he presented her with the ring and they were married.

Celtic Wedding Symbol, 31 x 31, 24 Carat Gold plated, two-faced design

The Claddagh's distinctive design features two hands clasping a heart, and usually surmounted by a crown. The elements of this symbol are often said to correspond to the qualities of love (the heart), friendship (the hands), and loyalty (the crown). The expression which was associated with these symbols in the giving of the ring was: "With my two hands I give you my heart, and crown it with my love." Yet, the expression, "Let love and friendship reign forever" can be found as another meaning for the symbols. The way that a Claddagh ring is worn on the hand is usually intended to convey the wearer's romantic availability, or lack thereof. The ring is worn on the right hand with the heart facing outward to show that the wearer is not romantically linked but is looking for love. When turned inwards, it is shown that the wearer is in a relationship, or their heart has been "captured". Noting that the heart is pointing down the hand and into the veins which lead to the wearer's heart. The ring worn on the left hand with the heart facing outward shows the wearer is engaged; turned inward indicates the wearer is married.

Collier of Egyptian Sun-god, 48 x 48 mm, including curb-chain, 24 Carat Gold plated, 3 crystals.

Ra (alternatively spelled Ré), Egyptian *ri:ʕu, is the ancient Egyptian sun god. By the Fifth Dynasty he had become a major deity in ancient Egyptian religion, identified primarily with the mid-day sun. The meaning of the name is uncertain, but it is thought that if not a word for 'sun' it may be a variant of or linked to words meaning 'creative power' and 'creator'. The chief cult centre of Ra was Heliopolis (called Iunu, "Place of Pillars", in Egyptian), where he was identified with the local sun-god Atum. Through Atum, or as Atum-Ra he was also seen as the first being and the originator of the Ennead, consisting of Shu and Tefnut, Geb and Nut, Osiris, Set, Isis and Nephthys. In later Egyptian dynastic times, Ra was merged with the god Horus, as Re-Horakhty ("Ra, who is Horus of the Two Horizons"). He was believed to rule in all parts of the created world the sky, the earth, and the underworld.[2] He was associated with the falcon or hawk. When in the New Kingdom the god Amun rose to prominence he was fused with Ra as Amun-Ra. During the Amarna Period, Akhenaten suppressed the cult of Ra in favour of another solar deity, the Aten, the deified solar disc, but after the death of Akhenaten the cult of Ra was restored. The cult of the Mnevis bull, an embodiment of Ra, had its centre in Heliopolis and there was a formal burial ground for the sacrificed bulls north of the city. All forms of life were believed to have been created by Ra, who called each of them into existence by speaking their secret names. Alternatively humans were created from Ra's tears and sweat, hence the Egyptians call themselves the "Cattle of Ra." In the myth of the Celestial Cow it is recounted how mankind plotted against Ra and how he sent his eye as the goddess Sekhmet to punish them. When she became blood thirsty she was pacified by mixing beer with red dye.

Christus Symbol, 31 x 53 mm, 24 Carat Gold plated, two-faced design

A crucifix (from Latin cruci fixus meaning "(one) fixed to a cross") is a usually three-dimensional cross with a representation of Jesus' body, referred to in English as the corpus (Latin for "body"), as distinct from a cross with no body. It is a principal symbol for many groups of Christians, and one of the most common forms of the Crucifixion in the arts. It is especially important in the Catholic Church, but is also used in Orthodox and Eastern Catholic, as well as Anglican, and Lutheran churches, (though less often in other Protestant churches), and it emphasizes Jesus' sacrifice — his death by crucifixion, which Christians believe brought about the redemption of mankind. Large crucifixes high across the central axis of a church, by the late Middle Ages a near-universal feature of Western churches, but now very rare, are known by the Old English term rood. Modern Roman Catholic churches often have a crucifix above the altar on the wall; for the celebration of Mass, the Roman Rite of the Catholic Church requires that, "on or close to the altar there is to be a cross with a figure of Christ crucified". Strictly speaking, to be a crucifix the cross must be three-dimensional, and a painting of the Crucifixion of Jesus is not a crucifix. However this distinction is not always observed. While the cross must be three-dimensional, the "corpus" need not be, and in the Orthodox Church it is normally either painted on a flat surface or worked in low relief (no more than three-quarters relief).

Celtic Main Symbol, 40 x 40 mm, two-faced design, 29 grams, 24 Carat Gold plated.

In Celtic history, a distinction between isosceles and traditional crosses. This was seen as equilateral arch-symbol of the Celtic and highest good faith, and it was only the nobles right to have this sign of strength produced by a blacksmith. The common people were satisfied with Emitaten of wood or stone.

Viking Warrior Cross, 50 x 50 mm, 24 Carat Gold plated, two-faced design

Stands for unity and strength of the berserker from the north country. The wild hordes raged on their conquests to the south with incredible brutality. This gruesome myths arose about the North Country, which spread like wildfire throughout the world average. They sealed the Scandinavian plunderers divine strength and invincibility. On the part of the Berserker you took on this myth, and spared his forces for future conquests. As a sign of belonging was a madman Cross, known as the Northern Cross man.

Ancient Germanic Dragon Symbol, 35 x 35 mm, 24 Carat Gold plated, two-faced design.

Dragons are legendary creatures, typically with serpentine or otherwise reptilian traits, that feature in the myths of worldwide cultures. The two most familiar interpretations of dragons are European dragons, derived from various European folk traditions, and the unrelated Oriental dragons, such as the Chinese dragon (lóng 龍 or 龙). The English word "dragon" derives from Greek δράκων (drákōn), "dragon, serpent of huge size, water-snake", which probably comes from the verb δρακεῖν (drakeîn) "to see clearly"

Symbol of Germanic Nibelungen Saga, 29 x 45 mm, 24 Carat Gold plated, two-faced design

According to German saga, was the bravest champions roof / kill the amulet of heroism - the dragon amulet, the shape of the amulet is different on several occasions. Many carried about a kilo a tooth of the dragon on his chain, others a scale. The time of Medallion then gave the hero a showpiece of precious metal in negotiable form.

Ancient Germanic Dragon Amulet, 35 x 35 mm, 24 Carat Gold plated, two-faced design.

Already in the Germanic mythology fought king's son and apprentice blacksmith Siegfried the dragon Fafnir. Numerous Celtic myths describe similar feats. The conqueror of the unique mythical creatures have been rewarded by the kings of heavy. They paid tribute to those with amulets, which remind them of their deeds, a kind of document their skills.

Ancient Germanic Phantasy-Symbol, 30 x 30 mm, 24 Carat Gold plated, two-faced design

The eye of the dragon, in many tales spoke of diamonds of priceless value. Dragon Hunters made to pile on the way to hang around to get rid of their precious.