Stone Setting Techniques

In jewelry stores, you will notice that the most typical mount for a stone is the so-called Tiffany setting which holds the stone with prongs. A common explanation for the prevalence of this style is that it lets light come into the stone. While light may come into the stone that way, the brilliance of a stone has more to do with light reflecting off of the cut surfaces and coming back out. .

There are at least three reasons why I personally do not like the Tiffany mount. One is that the stone is exposed to dirt and grime along with light, due to its unprotected surfaces. (Note that the stone continues to sparkle, albeit not as much, when it is dirty.) Another is that the prongs can wear out and/or get loose and begin to catch on things, which is at least annoying and at most dangerous both physically (damaged finger or clothing due to ring getting caught in something) and financially (losing the stone unawares). The third reason is again related to physical safety--because the stone sits up so high, it has a greater chance of getting caught on something and causing physical harm.

Riccardo prefers to use a bezel setting technique where the stone is set into metal that surrounds it on all sides. You will see this in many of the designs on these pages. If you take time to look at the designs in a fine jewelry store, you will notice that the more expensive pieces use a bezel setting similar to the ones that Ricco employs. The stone is better protected that way and the setting is more durable. It is also a lot safer.

The great advantage of the Tiffany setting is that it is an easier, faster and cheaper way to set stones, and that is the real reason why it is so commonly found.

 

Riccardo Accurso, Master Metalsmith

For those who appreciate and value the personal touch in the things that matter most in life, Riccardo awaits the opportunity to discuss your interests.

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Designs:

Wedding Bands

Engagement Rings

Other jewelry designs--earrings, bracelets, brooches, necklaces, neckpieces, etc.

 


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