You are absolutely right “azure” is French and it means to bring to
day-light. It is spelled in French " a jour " Sigi Eurich
Thanks for clarifying the term “azure” or “a’ jour” David. What you
say regarding windowed gemstones makes so much more sense than those
saying that “azures” were cut to allow light in from the back of a
gemstone. As you say, with the modern brilliant cut, the light we see
enters and leaves via the top of the stone anyway, so there is no
longer the need to cut metal from the back. The thought had also
occurred to me that in many rings (say for example some eternity
rings or rings with flush set stones), light could not even get to
the stone from behind, as it is flush against the finger.
The idea of cutting azures to avoid seeing excessive metal behind
poorly cut stones is the only explanation that seems to make sense
to me. I suppose cleaning behind stones is the other consideration.
Helen
UK
When I see a nice custom ring without an opening behind a faceted gem, I do not think that the designer did not understand the principles of how light transmits through a gem, I think the designer did not know or did not care about what would happen when the gem needed to be cleaned or when repair needed to be done.
Good point, Richard! Nearly the same bad thing is going on with
hallmarks or engravings - sometimes they do them right in the middle
of the shank. Don’t they think about changing the size of the ring
after time?
Mario Sarto
Bad Salzuflen, GER
aurum-art.com
A ring with flush set diamonds can have openings underneath them and when worn, no light can get in from underneath. There is no reduction of reflection or refraction of light. Test it yourself.
By itself azure is meaningless, as to the controlling diamond
appearance. It has to be used in conjunction with setting method and
general construction. Recall that diamond appearance is comprised
from reflection and scintillation. Azure primarily affects
scintillation component, if jewellery properly constructed. For azure
to work, there has to be “upper cluster”, “gallery”, and
“under-bezel”. The idea is to redirect light rays falling on
under-bezel through gallery, upwards. Well executed azure
concentrates that light on diamond pavilions. That light will exit
through the crown component of diamond as scintillation.
If inner surface of upper cluster would not be azured, than light
falling on flats between diamonds will be reflected back and will be
wasted. Azure element is designed to become an optical trap. No
matter where light hits azured surface, it has to go upwards via
multiple bounces and invariably exit through the crown of diamond.
This idea must be very well understood, or azure will be a waste of
time. Azure pattern, angles, surface condition,- are all important
factors here.
Leonid Surpin
John D. is absolutely correct, “azure” is the Americanization of
“a’jour”, which in jewelry design and construction means an object
which is pierced or decorated with an open structure so as to let
light through.
The concept of doing something on the back of a piece of jewelry to allow light in or through or up or down or sideways is always confusing to me why anyone believes that.
In the context of etymology, the origin of the word “azure” being
“a’jour” - letting daylight through, as John was speaking of,
“a’jour” I think applies more to things like Plique a’jour, an
enameling technique in which the openings in a pierced or fabricated
piece are filled with translucent enamel, much like stained glass. I
have also heard the term a’jour used to describe a filigree or
pierced frame around a cameo or similar piece. It is also sometimes
used to describe the pierced backing of a translucent stone. You are
right of course Richard, about a ring on the finger not allowing
light to penetrate under the stones, azured or not, so I can see why
the concept leaves you confused. The term used in that context can be
a bit confusing to the uninitiated.
That inconsistency may have something to do with why the box-like
cutout under a diamond is termed an “azure” rather than an “a’jour”
as it really doesn’t allow light in, the sloping sides were
originally intended to make the metal underneath a windowed mine cut
diamond invisible through the diamond from all angles, not just
straight on, which of course is no longer really necessary with most
modern diamond cuts.
The concept of azuring is the same as was used in old European
buildings with very thick walls. The exterior windows were very small
(they didn’t have glass windowpanes yet), and the interior had sloped
sills and angled sides so as to allow direct sunlight to enter the
room. Without such angled sides and sloping sills, a small, tube-like
window in a thick wall would prevent sunlight from entering the room
at all. This may explain the very origin of the term and maybe even
tell us where the idea originated as this was the practice when those
old-time goldsmiths were doing their thing.
In any case, azures do add a touch of class and a professional
finish to a piece.
Dave Phelps
Allowing light access to the back of the stone in the case of a
diamond is not crucial but allowing access to the pavilion facets
for cleaning is important.
While the light that enters the top of a diamond exits the top the
reflective quality of the pavilion facets is affected by accumulated
smutz and, as any repair person knows, it is crucial to clean those
facets before heating the piece.
Since this is actually a useful topic. I can azure a 7-9 stone anniversary ring in about a half an hour - not so long.
Gee whiz John, you’re fast! I do them with a saw frame, sometimes
cleaning them up with a Krause bur, but it takes me at least ten or
fifteen minutes per hole. That adds about two and half or three hours
to a twelve stone ring, which on a bead set anniversary band
(considering the competition doesn’t waste their time with such
mundane details) makes them unaffordable for most people. How do you
do them?
Dave Phelps
Incidentally, "azure" is correct english term.
Then, why can’t I find it in any English dictionary? Even a Google
search for “azure jewelry” finds only jewelry with azure coloring.
Al Balmer
Pine City, NY
Sometimes it is true, but not always. Incidentally, "azure" is correct english term. If you use "ajoure", you running risk of not been understood.
Hate to tell you, Leonid, but “azure” is pretty confusing, too, as
it’s a fairly common name for a particular shade of blue (think
Azurite). At least with ajoure, people would know they’re clueless &
ask what it is. Up until someone explained it, I was wondering why on
Earth people would want to have a blue background behind a stone. 
Sharon,
Artist, Activist, Chaos Magnet
Then, why can't I find it in any English dictionary? Even a Google search for "azure jewelry" finds only jewelry with azure coloring.
Right on! I must say, I had not earlier thought much about it, but
now that you, Al, mention you can’t find it using Google, I had to
try - yep, no mention, no matter how you spell it, even using the
french spelling. Lots of references to the color blue.
Then took to my jewelry reference books (and I have a heap - over
100 of them) and didn’t even find any mention of it anywhere in Oppi
Untracht, Charles Codina’s books, you name it, I couldn’t find it
anywhere - looked up setting, stones, etc… and couldn’t find a
reference to it in any of the books I own. Now that, being said, I
don’t own a lot of books on stone setting since that’s not my area
of expertise.
Is it possible that this is a much “later” approach to setting
techniques? Interesting thought. Where does it appear in writing? In
what book? just curious. Surely there’s a reference to it somewhere
and I just don’t know where.
Kay
Then, why can't I find it in any English dictionary? Even a Google search for "azure jewelry" finds only jewelry with azure coloring.
Lots of jewelry terms aren’t in the dictionary, they’re obscure
trade terms.
I’ll check the OED for azure.
Elaine
CreativeTextureTools.com
Gee whiz John, you’re fast!
Yep, David. Time’s a wastin’… I think the whole non-issue of
azure/a’jour is simply Americanization. It’s not Florence, it’s
Firenze. It’s not Munich, it’s Munchen. Americans just need to mangle
other people’s words. So, yes, everybody I know pronounces the word
azure, like blue. But I think they are actually saying a’ jour,
they’re just pronouncing it badly. Which is why it’s not in the
dictionary or online. That’s what I think, not that I really know
this for a fact.
To azure fast: Drill. If it’s deep metal, then a ball bur of a bit
smaller diameter than the finished box, on the azure center, which
may be different from the drill center. If it’s too thin for that,
then on to a cone-square layed on it’s side with an iron fist. Then
flat graver and probably a point to sharpen the corners. And
production methods - do all the rights, then go back and do the
lefts, etc. It never occured to me to use a saw. I suspect that’s a
hold over from pre-electricity days.
OK Guy’s, every industry and craft has words they use that might not
be in the dictionary. Does that make them wrong? Several months ago
there was a discussion about beading tools, everyone in the fine
jewelry world knows what a beading tool is, in the craft world they
don’t. It is not in the dictionary, does that mean I have never used
a beading tool?. I have known what an azure is since I was 16-- a
long time ago. It is an azure and that is the way it is. Deal with it
and get over it.
Bil Wismar
Then, why can't I find it in any English dictionary? Even a Google search for "azure jewelry" finds only jewelry with azure coloring.
A lot of jewellery terminology is an adaptation from other languages,
so it is not surprising. If one is not trained in french
pronunciation, english “azure” is much closer to the real sound than
english “ajoure”.
Leonid Surpin
I have been watching some cooking shows on TV, and am horrified to
see some of the chefs wearing diamond rings on both hands, playing
around with bread dough and other things. Can you imagine how much
gunk is in the rings. Worse yet, it is spread around the dough as it
is being kneaded. Ugh.
The concept of doing something on the back of a piece of jewelry to allow light in or through or up or down or sideways is always confusing to me why anyone believes that.
In the days before modern cut stones and an understanding of diamond
or gem optics, the issue of light transmission through the stone (in
either direction) affected both potential light coming up in some
cases, or often, simply control over what you saw looking down into
the stone, where the surfaces underneath would be visible. Rose cuts
in particular, were affected by this, and it’s the same reason there
was, from ancient times, a tradition of using colored foils behind
gems to affect the apparent color. Even now, this is not entirely
lost. I recently was asked to remove a bunch of lower quality
emeralds from a bracelet (perhaps from India, though not sure) that
was being scrapped for it’s gold content. When set, the emeralds
appeared to be well matched in color. But removing the stones showed
that there was much variation in what was underneath them. Some had
green colored foils, some had none, some had silver or gold colored
foils. Unset, the stones didn’t match well in color at all. The
foils behind, altered the apparent colors to make the stones seem to
match.
But anyway. Nowadays, the use of the technique of cutting azures has
less to do with the appearance of the stones from the front. But it
has much to do with the appearance of the work from behind. Done
well, it contributes a look of greater elegance and care in the
making of the piece, even if only the owner sees this when it’s not
being worn. It also affects the overall weight of the piece (given
current metals prices, this can be a non-trivial consideration), and
it considerably affects the ease of cleaning the jewelry and gems, as
well as the rate at which the gems accumulate dirt and grime. Opening
up the spaces behind the pavilions can be the difference between
jewelry that it’s owner finds easy to keep clean, and jewelry that
only looks clean after spending some time in the jewelers ultrasonic
cleaner.
And finally, as a jeweler, when you’re putting time and effort into
building a nice piece of jewelry of which you feel you wish to be
proud, then tending to the details, even ones not obvious to the
viewers, can make the difference between something you really feel
proud to have made, and which other jewelers, should they see it,
also may know they’re looking at competent skilled work, versus just
another piece of ordinary, even if reasonably well made, jewelry.
And when working on a piece, if you’re doing your best work, and
tending to those invisible details out of pride in your skills and
the desire to do right by the piece, then it’s likely you’ll also be
putting a bit more care and skill into the details on the front, and
the details that the owner and viewers WILL see. It’s a win/win
thing, if you can spend the time and effort to do it. Sometimes,
unfortunately, one may be asked to do a job where the economics of
price points or what one is being paid for a job, may prohibit any
extra time. Those are the cases when you have to simply accept that
those customers are getting exactly, and only, what they’ve paid for.
No more. For me, somehow I find those to be the pieces that somehow,
I never quite take the time to keep photos of either. Funny how that
works…
Peter
Gee whiz John, you're fast! I do them with a saw frame, sometimes cleaning them up with a Krause bur, but it takes me at least ten or fifteen minutes per hole.
Practice… I’ll go with John’s timing though. 3-5 minutes per hole
is not all that unreasonable or undoable. You shouldn’t, if your
sawing is good, need to go over the cuts, or clean up with a krause.
I find that good light, and an optivisor or scope that gives enough
working room for the saw (it doesn’t help if you keep hitting the
optivisor with the sawframe from being too close) helps speed things
up a lot by improving control. As well, high quality sawblades that
cut uniformly and straight, are crucial. I also find that it helps a
lot to not use too fine a blade. This may be delicate cutting, but
it’s basically straight lines and corners. You don’t need an 8/0
blade to navigate those contours. I find a 3/0 or sometimes even a
2/0 is often good, somewhat coarser than I use for general sawing.
For smaller pieces or harder to reach areas, I might use a 4/0 blade,
but not usually any finer for azure cutting. Now, if you’re doing
especially fine work, and feel the need to polish those azures, THAT
can add time quickly. Thrumming with fine cord works, but you have to
take care not to polish grooves into the surfaces. Sometimes,
especially when azuring thinner plates, so the angles are more
accessable, you can clean up the cuts and brighten them very quickly
by using a polished flat graver. And while I don’t usually do it
this way, I know a couple setters who do much of their azuring work
with only gravers. A diamond shaped graver, cutting one cut at each
corner, can with practice, give you a pretty clean and even squared
hole that looks great. Takes some skill with the graver…
And another note, if you wish to cut down on the time, yet get most
of the appeal of azure cutting, consider not cutting squares. If your
cuts are more diagonally oriented diamond shapes, or almost
“marquise” shapes, you’re essentially cutting only two sharp corners,
and the directions of the cuts can sometimes be easier to reach
inside of a ring. I see this done successfully too, on a certain
percentage of antique pieces, often of French origin (I think. Not
sure…) I’ve even seen some where the azures are almost little S
shaped swirls, interlocked almost like the pattern of a flat S
chain’s links. Kinda cool, though I suspect they don’t offer quite
the optical advantages, if any, that the more common, and more open,
patterns provide.
Peter
Al, mention you can't find it using Google
according to the jewelry dictionary at
azure in french also means snailed finish. snailed finish -
Decorated with spiral lines similar to guilloche.
EXAMPLES: 1. Snailed finish of the barrel.
2. Hand-decorated and snailed finishing.
NOTE: Grand Colima=E7on is the French equivalent sometimes found in
English descriptions. EXAMPLE: “Hand-wound, Maurice Lacroix ML 156
calibre, 18,000 vib/h, 34 jewels, rhodium, “Grand Colimacon”
(snailed) decoration.” MAURICE LACROIX Masterpiece Roue Carree
Seconde
SYN: snailed finishing
Lots of jewelry terms aren't in the dictionary, they're obscure trade terms.
But ajour is in the dictionary as a jewelry term, and is an even
more obscure, at least on this forum
Al Balmer
Pine City, NY
Practice... I'll go with John's timing though. 3-5 minutes per hole is not all that unreasonable or undoable.
I don’t know about that. 3-5 minutes per hole is extremely slow.
Simple wheat pattern is 6 to 7 strokes per corner. The key to
cutting azure is not to waste motion. Every stroke counts. Time per
hole is in seconds, not minutes. Once again I recommend my DVD
“Eternity Ring”. http://www.ganoksin.com/gnkurl/1f0
Leonid Surpin