CHAPTER IX Stone setting (continued) 
The coronet setting—The cut down—Millegriffe—Thread or thread and grain—Star, gothic or tulip—Pave. 

The coronet or claw setting, Fig. 69. Take a piece of silver aboutsize 14. Cutoffastriptheheightyouwishthesetting to be, and in length a little over three times the diameter of the stone. With a pair of round-nosed pliers bend the strip into a ring. It is difficult to bend the extreme ends of metal of this thickness, so with the piercing-saw cut the ring as marked, Fig. 70, to obtain a true circle. This is an easier Avay than that of hammering the ends of the strip into shape on a triblet, or in a swage or lead cake. The bending of the strip can, hoAvever, be done Avith a pair of pliers, one jaw of which is convex and the other concave. In goldAvork the metal used would be thinner, say, size 10, and therefore easier to bend. Squeeze the ends of the strip together. They should fit exactly and form a ring, the outside of which is about equal in diameter to that of the stone. Tie the ring together Avith binding wire and solder the join. Slide the ring on to a triblet and give it a few taps with the hammer to make it quite circular. Pass a file across the top and bottom to true them. When a number of settings have to be made it is quicker to take a piece of chenier, i. e. tube, of the right size, and cut the rings, or collets as they are called, from it. Next fasten the collet on to the cement stick, right in the centre of the cementend. About half the collet to be left projecting from the cement. It is a good plan to use a pointed stick thinly coated with cement and to drive the end firmly into the setting, then  to  melt the cement.  It will hold the collet  
firmly. 


When the cement has set firmly, take a bullsticker, and with the outer, more curved part of its cutting edge level off the inner edge of the collet, Fig. 72, holding the stick against the bench pin and turning it to meet the tool. Turn the bullsticker in your hand and with the point cut a little shelf all round on the inside of the ring, rather more than TV inch below the top edge. On this ledge or bearer the stone will eventually rest, though the ring is, at present, too small to allow it to drop in. Be careful to leave sufficient metal in the rim to make the claws strong enough. Only a small ledge is necessary to support the stone, but it must be cut low enough in the collet to allow the rim to stand a bare rV inch above the edge of the stone Avhen, later on, the stone is resting on the ledge. In Fig. 73 the stone is shown resting on its bearer, though there would not really be room for it until the claws were cut and bent out. The drawing, however, shows how the top of the bearer is to be sloped inAvards to correspond with the pointed underside of the stone. Should the stone be pointed underneath, the edge of the bearer must be bevelled off to match. Stones vary in the thickness of their edge, or waist, and in the angle to which the culet, or pointed underside, is cut. 

The next thing to do is to cut the claws. Their number will depend a good dealonthe size ofthesetting. You may make them any shape you like. Carve them into leaves or waves if you will, using saAv, drills, files and scorpers. But they must not be too wide and stiff to allow you to bend the tops of them over on to the stone when finished. Yet they must be strong enough to hold tho stone and to stand any reasonable usage : 1/16 inch or less is sufficient for their 
width. 


To make a coronet with straight claws remove the collet from the cement stick. Take the piercing-saw, or a slotting or gapping file. This file is roughened only on the narrow edges, not on the sides, so it is useful for cutting narrow slots. With saw or file remove the metal from between the first tAvo claAvs, commencing the cut just on the soldered 
seam. Cut right through the metal to about half-way down thecollet,and belowthatpointslopethecutoutwardsdown nearly to the bottom, Fig. 74. Consider how many claws there shall be. If an even number, cut next the opening which comes exactly opposite the one you commenced with. Aftenvards the two at right angles to these, and so on for an eight-clawed setting. Be careful to make each claw exactly the same size. Then with a fishbelly needle-file narrow the claws towards the top, and with a round scorper (the underside of the point of which is slightly curved, and rubbed bright on the blackstone), true up the spaces between the claws. The lower part of the setting will now appear tooheavyforthetop,so make aseriesofcutswithathree­square, i. e. three-cornered, needle-file round the bottom also, one in a line with each claw. Take away sufficient metal to leave only a row of rounded points or teeth round the bottom of the collet. Finish these also smoothly Avith a fine file. See that the setting will stand up truly,—not lean ing to one side. Next take a piece of silver, size 14, and cut from it a disc or " bezel," the size of the base of the collet. Take the collet and pass a fine file across all the points at once to make sure that they are of the same length. Tie the disc and collet together. Apply borax with a finelypointed brush, and with the same tool place a tiny paillon of solder by each point. After soldering, drill out the centre of the bezel, then take a three-square file and cut a grooveall round its edge. This will make it look lighter. In Fig. 76 it is shown complete, although the groove round its edge is not made till after it has been soldered to the collet. Lastly, choose a round-ended repousse tool which is a little larger in diameter than the top of the setting and press it gently straight down between the claws. It will force them all outwards and make them wide enough apart to receive the stone. The setting is now ready for polishing. Do this Avith threads and tripoli. It sometimes happens that several coronet settings have to be soldered together. To make sure that the tops of adjacent claAA's shall not be joined together in the process, it is well to bend them a little away from each other. They can be straightened up afterwards. 

To set the stone ; pick it up with the waxstick and try it inthe setting. Bendtheclawsinoroutasmaybenecessary. See that the stone goes fairly down on to the ledge provided forit. Holditinplacewiththeleftthumb-nail,andpushthe tops of the claws over it with the square, roughened, brass setting tool. ClaAvs on opposite sides of the stone should be attended to in succession. See that the stone is level in the setting. Press the claAvs well down, into close contact with the stone. Then Avith a sharp scorper cut the point of the claws into a V-shape, cutting each side and the top of the turned-down part of the claws. With the pointed end of a mandrel smooth the metal right down on to the stone that there shall be no possibility of anything catching inthe claw. 

Some jewellers, however, go about the work in a different manner. They make the setting to taper narrower under neath from the first. They make a rough sketch of the coronet, making it large enough at the top, in this case, for thestone togoin,anddeep enoughtocutthe bezel from the same piece of metal. They produce the sides of the sketch downwards till they meet as shown in Fig. 77. Then with Aas centre they make the two arcs B and C. They measure alongB3} times the diameter of the top of the coronet DE. This measurement comes from D to F. Join F and A, cuttingCin G. ThenDFGH istheshaperequired. The jeweller cuts this out in the metal he is to use, bends it up for the coronet and solders it. It forms part of a cone, of the exact proportions of the coronet. But only if he is to finish and polish the work himself does he cut the bearer for the stone at this time, for some of the scraping and pohshing which they receive might injure the claws if they were left thin at the top. So he leaves the bearer till the stone is ready for setting. With a file he levels the top of the collet, and then makes a mark with the dividers parallel to it, to mark the piece he is to cut off to form the bezel, Fig. 76. With a very fine saw, 0000, he cuts off the bezel from the lower part of the coronet. He then cuts the points below the claws, Kin Fig. 75, files these level and the top of the bezel true. He does this that the upper part of the coronet shall stand truly, without leaning. He then ties them together, solders them and puts the groove round the bezel as described above. He then cuts the claAvs them selves. After the polishing, the setter holds each claAV in turn in a little nick filed in the side of the bench pin, and with a scorper cuts the bearer for the stone. Then with a pair of fine pliers he bends the top of each claw, above the stone, straight up, vertically. Some stones are so shaped underneath that it is not necessary to cut a bearer at all, their undersides being sufficiently supported on the tapering inner side of the claws. The setter noAv removes the stone andfiles the sides of the claAvs to a point. He then replaces the stone and with the pliers bends the top of the claws towards the stone, attending to tAvo on opposite sides first, then to tAvo at right angles to the first pair. He takes great care to keep the stone level on top. "When the point of the claw is bent nearly into contact with the stone he files the end to a nice shape. Then Avith the setting tool he presses it right home.


 Setters do not, however, all go about the work in the same manner. Another way of closing doAvn a coronet setting is that of usinga closing tool. It is used for rather thin coronets—those made from gallery, for example. The tool is shaped almost like a graining tool. It has a deep conical hole at the end, and is large enough to fit over all the claAvs at once. The tool is pressed firmly doAvn on to the settingandrockedfromsidetoside. Itforcesthetop ofall the claws inwards at once. It can only be used when the claAvs are of fairly thin metal. Coronet settings can be bought ready-made, as also can gallery—the material from which such settings are made. It is in the form of longstrips, variously ornamented, with claws along one edge. A sufficient length is cut from the strip to fit round the stone and, when soldered, the coronet is complete. 

The cut down setting, Fig. 78. This setting is often used for a fine stone, in a tie pin, for example. Cut a strip of silver, size 14, the height you wish the setting to be, and long enough to form a ring a little larger in diameter outside than the stone. Join it up and cut the shelf or bearer for the stone as described above. In this case, hoAvever, the setting must be large enough for the stone to fit right down on to its bearer as in Fig. 73. Test the fit of the stone from time to time Avhile cutting. It should fit very accurately. With a pair of dividers make a light scratch round the setting at M, and beloAV this scratch bevel off the lower outside corner of the setting, as marked in draAving Fig. 79. Fix the pin socket or ring, if one is required. All the soldering must be completed now, before the stone is set. If the setting is an open one, polish the inside of it. Put the stone in the setting, and press the edge over AArith the rough-ended brass setting tool, then rub the rim of the setting down as closely as possible to the stone, using a rough pointed mandrel for the purpose, Fig. 80. Next take a flat scorper and cut away sections of the rim, leaving narroAv ridges standing out at intervals round the setting. The cuts to commence near the stone at the top, and to slope outAvards to the loAver angle of the collet, Fig. 81, M in the section, where the cut ends and no metal is removed. The ridges or " points " thus die away to nothing at M, but are the original thickness of the rim at the top; and they are separated from each other by a plain surface Avhich slopes outAvard from the edge of the stone to the corner M. At first leave the ridges the same Avidth all the Avay doAvn. It is easier to get them equal and straight thus. But when they are all spaced out equally, taper each one so that it is quite narrow at the bottom. Round off the outer surface also. Then with a 
pointed mandrel and Avith a grain tool work round the upper part of the points, where they overhang the stone, rubbing the metal right down on to it. The setting may now be stoned, polished with threads and crocus, and finished with 

A variation from the cut down setting is known as " mille-griffe," Fig. 82. In this setting proceed as described for the cut down setting to the point when the edge of the setting is to be rubbed doAvn on to the stone. A toav of little grains separated by minute cuts has now to be formed close round the edge of the gem. Remove the stone and bevel off the top inner corner of the setting with a bright scorper. The cut must not extend far dowmvards towards the stone. Indeed, it must only just bevel off the inner edge of the rim B, Fig. 83. With the dividers scratch a line parallel to the top edge of the setting to mark the lower limit of the graver cuts, unless you like to take them doAvn to the corner Avhich correspondsAvithM,Fig.79. Withthesettingtoolpressthe rim in over the stone so that the angle below the bright cut surface, B, keeps the stone in place, Fig. 84. Then take the graining tool, Fig. 64, which has the r©AV of hollows in its point and press it on the top edge of the setting with a slight rocking motion. It will mark out and partly form several ofthegrains. Shiftit alongandmark somemore. Goright round the rim with it. Then Avith the spitsticker make the cut between each grain, down to the scratched line. True up thetopsofallthe grainswiththegrainingtool. Theyshould be small and very even, for the slightest irregularity shows. To smooth up the outer sides of the grains take a brightly polished spitsticker and drag it sideways across the ridges. It will bumpdownintothe holloAArs between themandscrape off anyirregularities,leavingbothridgesandholloAVSwitha burnished surface. The effect of this setting is very light and dainty. 

The " Thread " or thread and grain setting, Fig. 85. This type of setting is frequently used when a number of stones are to come close together. Put the work on a cement stick, wet the stones on the tongue and arrange them in their places. The stones must be placed as closely together as you can put them. They should just touch. When all are in order make a mark with a spitsticker between each stone. A hole must noAV be drilled for each. Make a slight peck in the centre with a narrow, round scorper to make a start for the drill. It is safer to use a drill rather smaller in diameter than the stone, though quicker to use one the exact size, if you are quite sure of it. But it must on no account be too large. For pearls, turquoises and other stones which are flat underneath it is not necessary to drill right through the metal. The rule being that for cullet stones, i. e. stones which are cut to a point underneath, the settings are always drilled right through. The recess for the stone should be made just a little deeper than the shoulder or " girdle " of the stone. If, however, a pearl or a turquoise is so thick at the edge that it would require a hole deeper than the metal would allow, file the back of the stone. To do this make a small dent or hole in the board pin and turn the stone face doAvnwards into it. Use a fine file and wet it slightly before you begin. If the metal for the setting is thin it is well to use a drill Avhich is nearly flat across at the bottom, with a point in the centre to keep it true, Fig. 59, You can drill with this until the centre point begins to push out the underside of the metal, if necessary. It is well to clear the Avay for this centre point by first drilling a fine hole for it a little AA'ay into the metal. 'While drilling turn the work to see that you keep the same depth all round. When you have gone deep enough, open out the hole with the bullsticker, turning the work round and round as you pro ceed. With the waxstick pick up the stone from time to time and try it in the hole, pressing it in with the thumb nail or against the pin. When the stone fits exactly go on to the next, and so on until all the holes have been opened out. Then if the holes are pierced right through the metal, open out each one underneath to a square shape, using pierc ing-saw and three-square files. When the work is backed, that is to say, made of tAvo plates of metal of different qualities, one soldered behind the other, you may drill the holes right through the front plate before the back plate is soldered to it. This method saves time. 

To set the stones. With the waxstick put the first in its hole, press it well home either against the pin, or with a brass hollow-ended pushing tool. With a pointed mandrel or the tang of a file, pointed but not very sharp at the end, make a few snicks at intervals round the stone. Each snick on the metal to be made directly towards the edge of the stone. The effect of these snicks will be that a tiny scraping of metal is driven up against the stone, holding it in its setting. Go on till you can no longer lift the stone out with the waxstick. Then run the tool once or twice right round the stone, the side of the tool rubbing against it. This will drive up a line of metal all round the stone which will grip it firmly. 

The grains are to be put in the corners wherever two or more stones meet. A series of grains, varying in size can also be put to fill up any tapering spaces where there is not enough room for additional stones. To make the grains. Take a spitsticker, and make a deepish cut, about j\ inch long, toAvards the spot on which you wish to form the grain. At the end of the cut, when the tool has nearly reached the corner, and while its point is still deeply embedded in the metal, lift the handle of the scorper until the tool stands nearly at right angles to the metal. It is necessary to hold the point of the tool firmly into the cut during this move ment. The little curl of metal thrown up by the tool just beyond the end of the cut will be forced against the stones. This is the material from which the grain is formed. Now take a grain tool of suitable size. Hold it between the thumb and second finger, with forefinger on the top of the handle. Put the hollow point on the curl of metal and gently rock the tool from side to side. The cup-shaped holloAV in the tool will form a round-topped grain, which should slightly overlap the adjacent stones. Do not press the grain down very flat. Keep it high, and smooth, and bright. When all the grains have been finished, true up all the metal near by, cutting doAvnwards to the edge of the stones with a spit sticker. The grains will hold the stones firmly. Finish with a spitsticker which has been rubbed bright on the black-stone. The thread of metal which gives its name to this 
83 
setting is left as a sort of outline to the group of stones and grains, preserving the shape of the leaf or scroll, as the case may be. It is just a narrow edge of metal, cut smooth on top with a flat scorper. Keep it as close to the stones as possible. Make the scorper bright underneath before cutting. Settings are cut brightly in this way for pearls or soft stones, so it is not necessary to polish them. There would be some danger of ruining the pearls if that were done. A little dry plaster of Paris is generally put into the bottom of the setting for a pearl. It makes the Avhite backing which a pearl requires. A small piece of suitably coloured foil may be put at the bottom of the setting to brighten up, or tint a 
stone. 

" Star " setting is a variation from the thread and grain setting. It is used for single stones set in plain surfaces. The grains hold thestoneinsecurely, andtheraysofthestar radiating from it enhance its importance. In the case of a pearl or other soft stone the rays would be bright cut, but for diamond, or other Avork which will be polished afterwards, bright cutting is not necessary. 

Yet another variety is the " Gothic " or " Tulip " setting. Instead of the straight rays of the star a series of scallops is cut round the stone with a round, bright scorper. The stone is kept in place by grains, like the last. In " Pave " setting, Fig. 86, the stones are arranged as closely together as possible, the grains which keep the stones in place being the only metal left in sight. The Avork is done in the way described above for thread and grain work.