We will now continue our talk & consider the way of setting a ruby,
and the box of gold in which it has to be fitted. This box, whether
in a pendant, a ring, or what not, is always called the bezel. What
you have first of all to observe in the setting of the stone in this
bezel, is that the former must not be set too deep, so as to deprive
it of its full value, nor too high, so as to isolate it from its
surrounding detail. I mention this because I have seen mistakes made
in both ways, and I am certain that practising jewellers who have a
right knowledge of drawing and design would not go wrong in either
the one direction or the other.
So let us place our fine ruby into its bezel. In order to what is
technically called ‘set’[28] it, we must provide ourselves with four
or five ruby foils[29] of which some should be of so deep a glow
that they seem quite dark, and others differing in intensity till
they have scarce any red in them at all. With all these different
specimens of foils before us, we take hold of the ruby with a piece
of hard black wax well pointed, pressing the wax upon one of the
projections of the stone. Then your good jeweller tries his ruby now
upon this foil, now upon that, till his own good taste determines him
which foil will give most value to his stone. Sometimes the jeweller
will find it may help him to move the stone to and from the foil, but
he has to recollect that the air between the foil & the stone will
always give an effect different to that afterwards given when the
stone is set in the bezel where no air passes behind. Therefore your
capable man places the cut foil in the setting, at one time bringing
it close, at another interposing a space. Thereupon let him set his
jewel with all the care, taste & delicacy of which an able man is
master.
FOOTNOTES:
[28] _Legare._
[29] _Literally leaves that are of themselves red._
[Illustration: Another page of reputed Cellini Jewellery]