George Frederick Kunz

George Frederick Kunz

Summary

Portrait of George Frederick Kunz George Frederick Kunz,  Rings for the finger (1917)

“ Real equality consists in the untrammeled development of the characteristic excellences, not in any arbitrary reduction of all to some preconceived standard.
Of all the marriage-medals that have been struck none can be said to equal in beauty of design and tenderness of sentiment that designed in 1895 by the great French medallist Oscar Roty (1846–1911) . The obverse shows the bridegroom about to place the wedding-ring on the bride’s hand, but in the very act of doing so, he is impelled to look upward, as though calling for Heaven’s blessing upon his marriage.
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Source: Gutenberg

Portrait of George Frederick Kunz George Frederick Kunz,  Rings for the finger (1917)

“ What was her terror, however, when she saw that it was a mourning-ring that had been placed upon her hand, one bearing the sinister design of a skull and cross-bones. This she felt to be an omen that death would soon overtake her, and she brooded so much over the happening that she sank into a decline, and died before a year had passed. The effect of the mind upon the body is so great, especially in highly nervous organisms, that such a tragic result of a mere piece of carelessness is far from being impossible. ”
Source: Gutenberg

Portrait of George Frederick Kunz George Frederick Kunz,  Rings for the finger (1917)

“ The verdant hue of the emerald signified how we should believe, the celestial purity of the sapphire, how we should hope, the warm color of the garnet, how we should love, and the clear transparency of the topaz, how we should act. Moreover, the ring-form also possessed a symbolical meaning, roundness denoting eternity, which has neither beginning nor end. Hence the royal conscience had in the ring a monition to pass from terrestrial to celestial matters, from temporal to eternal things. ”
Source: Gutenberg

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