iinvisible setting type cut- in groups of four, with no metal between
the sstones. The proceedure is time consuming -the first one, I went
through a whole morning; now I can spend an hour an a half or so for
each group of four stones, with better results. The key question is
that the table of the stones must appear, once the work is finished,
on the same plane, reflecting light at the same time, to resemble the
tabe of a larger princess. Each of the four stones must have their own
bearings, which are cut both at the walls of the square bezel and on
the inner cross the bezel must have for this type of setting, cross
that will support the culets of the stones, just beneath the girdles.
I find it really difficult to try to explain it without a drawing or
sketch -english is not my language. If you successfuly cut the
bearings, the stones must appear flush to each other with the tables
in the same plane, and with no space between the girdles. Of course,
the stones should be of the same size and of the same crown height to
achieve the best result. Cut the bearings to a depth so that the
tables are slightly below the walls of the bezel. Now it comes the most
delicate part: to tap the metal over the stones without them losing
the equeal plane or their tables. To do this, I drop a bit of melted
shellac or sealing wax in the center of the cross formed by the
girdles of the stones. When the shellac is hard, I press on it with
the fingernail or a small rod when tapping with the hammer handpiece.
Pressing at that point keeps the stones from tilting or rising at the
center when hammering the metal on the sides. You must hammer at the
center of the walls, grasping two stones at a time, little by little,
on the four walls, stopping to check that the tables keep on the same
plane. Once the stones are fixed -only by hammering at the center of
the walls- keep on hammering from the center towars the corners, but
just in order to close the gap between the metal and the stones.
Remember that the stones are already fixed, and if you apply
unnecessary pressure over the stones at the corners or near them, the
opposite corners of the stones -at the center of the setting- might
rise a bit, breaking the level of the tables. Or course, keep on
pressing -not too much- on the bit of shellac at the center through
all the hammering. That drop of shellac, when melted, fits perfectly
to the stones at the center point, so, pressing a bit on the shellac,
you press equally on the center corners of the stones, not allowing
them to rise. When all the tapping is finished, file the bezel, and
clean and bright cut the metal over the stones with a graver. I use a
flat one. This is, more or less, the method I follow. There might be
others, even better and faster. I hope this may help you, William. For
anyone else, I would like to recieve as mamy critics as possible in
order to improve my technique. Thanks to All.
Fernando F. Escudero, Spain.