Alloy: A mixture of two or more metals frequently used in jewellery (e.g. 9 Karat Gold).

Asterism: Asterism or the Star Effect is a reflection effect that appears as two or more intersecting bands of light across the surface of a gem. This phenomenon is commonly found in Ruby, Sapphire and Garnet.

Aventurescence: Aventurescent gems are those that have a colourful play of glittering reflections from small metallic inclusions. This phenomenon is commonly found in Sunstone, Aventurine Quartz and Gold Stone.

Bail: The attachment at the top of a pendant that enables it to hang from the chain.

Band: A ring which possesses the same width all the way round. Traditionally used for wedding rings.

Bangle: A rigid bracelet that either slips over the hand or is clasped on.

Bar Setting: These are short bars that run like a railway track across a ring. Gemstones are individually set between these bars leaving the sides of the stones exposed to light. This technique maximizes the amount of light entering the gemstones creating superior brilliance and sparkle.

Baroque: This term was originally used to describe a style of 17th Century European music, art and architecture that emphasize the extravagant. In gemology, it is aptly used to beautifully describe irregularly shaped Pearls.

Bezel: A component used to mount settings to ring shanks.

Bezel Setting: A "Bezel" setting is a crafted diskette of metal that holds the gemstone by its girdle to the ring, securely encircling the entire circumference of the gem. Variations of the "Bezel" setting are the "Flush" and "Gypsy" settings.

Bolt Ring: A circular catch used for the fastening of necklaces or bracelet chains.

Box Clasp: A box like hollow housing with a groove into which a tongue clicks into place to securely shut the clasp.

British Hallmarking: This protects the public against fraud and traders against unfair competition. It let's you know who made the jewellery, what is its guaranteed standard of purity and what Assay Office tested and marked the jewellery?

Brush Finish: Also known as "Satin" or "Matte" finish. This is a texturing technique used on jewellery metals where a series of tiny parallel lines are scratched on the surface with a wire brush.

Butterflies:A component used in earrings. The "Butterfly" attaches the earring to the ear by being slid down the post of the earring that pierces the ear. Also known as "Scroll" pieces.

Cameos: A gem carved in relief.

Carat: : A unit of weight measurement for precious stones (not to be confused with "Karat", a term used to denote gold purity).

Channel Setting: A setting technique whereby gemstones are held side-by-side by their girdles between two long tracks of precious metal.

Chatoyancy: Chatoyancy or the Cat's Eye Effect is a reflection effect that appears as a single bright band of light across the surface of a gemstone. This phenomenon is commonly found in Chrysoberyl, Tourmaline and Tigers Eye.

Clarity: A gem's clarity is determined by judging the amount and location of inclusions seen. Basically, the higher the clarity grade, the higher the value of the gem.

Clasp: Any type of attachment that joins two ends of a piece of jewellery.

Claw: A setting used to hold gemstones in place also known as a "Collet".

Claw Setting: This is the most frequently used method of setting gems into jewellery. Small metal claws with a vice-like grip are bent over the girdle of the gem to ensure its secure and enduring position in the ring.

Cocktail Ring: A large, slightly oversized ring set with precious and/or semiprecious gems.

Collet: A setting used to hold a gemstone in place on a ring, also known as a "Claw".

Colour Change: Colour change gems are those that distinctly change their colour when viewed under two different light sources. This phenomenon is commonly found in Alexandrite, Sapphire and Colour Change Garnet.

Commesso: Developed in Florence in the late 16th Century, Commesso is a technique of fashioning pictures with thin, cut-to-shape pieces of brightly coloured, semiprecious gems. Also called Florentine Mosaic, Chalcedony is one of gem types typically used.

Created Gemstones: These possess identical properties to their natural counterparts (i.e. optical, physical, and chemical etc.) but are created in a laboratory not in nature.

Curb: A style of chain in which the uniformly sized links are twisted to create a flat chain.

Cushion: This refers to a style of "Signet" ring, so called because of its shape which is square with rounded corners.

Double: Similar to rolled gold but instead of base metal the surface precious metal "Veneer" is bonded to another precious metal, usually silver or another Carat gold of a different colour. Also known as "Onlay".

Drop Earring: An earring that hangs below the earlobe. Also known as a "Dangle" earring.

Faceted Gems: Gems with geometrically shaped flat polished faces.

Figaro: Similar to the "Curb" chain, but possessing alternately sized links.

Filigree: A lace-like ornamental work created from intricately arranged and intertwined wires.

Findings: A general term used to cover a variety of semi-finished components used in jewellery manufacturing such as settings, joints and catches.

Fine Gold & Fine Silver: The term used to describe precious metals in their purest forms (i.e. unalloyed with no additions).

Florentine Finish: A cross-hatched decorative technique engraved into the surface of a precious metal. The lines are coarser and more deeply incised than the "Brushed", "Matte" or "Finish" methods.

Foldover Clasp: A clasp where the hinged part opens, passes through a ring and snaps shut holding the ring securely in place.

French Back: An earring system for non-pierced ears whereby the earring is attached to the earlobe by means of tightening a screw.

Gallery Strip: A length of precious metal which has been pierced to produce a continuous series of claws. Used for setting large semi-precious stones.

Gemstones: Gems are specimens of minerals or organic materials used for personal adornment that possess the attributes of beauty, rarity, and durability.

Half Hoop: An earring that is not fully circular.

Hoop Earring: A circular-shaped earring made from precious metal wire or tubing.

Hallmark: A stamped mark which is applied to items of jewellery and silverware as a guarantee of authenticity and acts as a safeguard to purchasers.

High Polish: High polish refers to the mirror-like surface of jewellery metal.

Illusions/Illusion Discs: A disc of patterned metal which is inserted into the top of a setting. The gem is then set into and surrounded by the disc in order to give the illusion of a larger gem.

Inclusions: Most gems contain tiny natural features called inclusions. Mostly microscopic in nature, they are most easily glimpsed under magnification. Inclusions that don't interfere with the brilliance, sparkle and fire of a gem don't affect the value.

Inlay: A decorative feature of an item of jewellery, such as a gemstone.

Intaglios: A gem carved in negative relief.

Iridescence: Iridescence is the rainbow like colour effects seen in some gems. This phenomenon is commonly found in Opal, Ammonite and Moonstone.

J Hoop: A hooped earring design where the shape is not circular, but elongated similar to the letter "j".

Jump Rings: A jump ring is an oval or round ring of metal wire used at the end of a chain to which a clasp or securing system is attached.

Karabiner: A clasping system similar to the bolt ring used for fastening chains.

Karat: A term used to denote gold purity. The designation for fine gold is 24K therefore 9K is 375 or 37.5% pure.

Ligne: A unit of measurement generally used to determine bangle widths. There are forty lignes to the inch.

Lobster Claw Clasp: A jewellery fastening or clasp shaped like a lobster claw. It possesses a spring-loaded arm to keep the clasp securely closed.

Matte: A frosted, non-shiny surface effect commonly used in precious metal jewellery.

Millgrain Edge: An edge that has small beads or ridges, giving the effect seen on the edge of a coin.

Multistripe: A Karat gold product made up of a combination of three different coloured alloys (red, yellow and white) which are bonded together and when rolled gives a stripy coloured effect.

Non-Faceted Gems: Those Gems that do not have geometrically shaped flat polished faces such as cabochons.

Omega Back: A hinged fastening clasp that closely resembles the Greek letter, Omega. Used to secure earring posts to the ear.

Onlay: A decorative feature of an item of jewellery, such as a gemstone.

Pave Setting: Pave settings produce a carpet of brilliance across the entire surface of a piece of jewellery. The surface is encrusted, or quite literally "paved" in diamonds and gems, and the body of the jewellery is brought vibrantly to life.

Pinwire: A round wire used for the manufacturing of brooch pins and earwires. The wire is supplied hard so that it maintains its shape and rigidity during use.

Pleochroic: Different colours are displayed when the gemstone is viewed from different angles. When cutting most pleochroic gemstones, such as Iolite and Tanzanite, cutters typically try to minimize the pleochroism and maximize the single most prominent colour.

Post: The pin-like component of an earring that passes through the pierced earlobe. Usually held in place by a fastening system behind the lobe, such as the "Butterfly" clasp.

Post & Omega: A hinged fastening clasp that closely resembles the Greek letter, Omega. Used to secure earring posts to the ear.

Rolled Gold: A base metal alloy bonded to a "Veneer" of precious metal.

Rope: A style of chain in which the links are intertwined to resemble a length of rope.

Safety Catch: A secondary fastening used for securing jewellery that guarantees the safety of the jewellery should the main fastening break. Usually seen as a hinged loop that snap closes one side of a clasp to the other.

Satin Finish: Also known as "Brushed" or "Matte" finish, this is a precious metal texturing technique used on jewellery where a series of very fine parallel lines are scratched on the surface to create a "Matte" texture.

Screw Back: A highly secure earring fastening system whereby a nut screws onto a threaded earring post.

Scrolls: Also known as "Butterfly" clasps, they are a component used in earrings. They attach the earring to the ear by being slid down the post that pierces the ear.

Seal Set: A "Signet" ring, which is set with a semi-precious gem. A seal set ring differs from a gem set ring in that the stone protrudes out of the ring surface and is surrounded by an open rim rather than solid metal.

Setting: This refers to the style in which a gemstone is held in place in the jewellery. Commonly seen settings include; bezel, pave, channel and claw.

Shank: The round encircling body of the ring.

Shoulders: The upper part of the ring positioned between the upper shank and the setting.

Simulated Gemstones: These don't have the same properties (i.e. optical, physical, and chemical etc.) as natural gemstones but resemble the natural gemstone they imitate.

Snap Bar Closure: A hinged, straight bar that lifts up and down to secure or release earrings.

Solitaire: A single gem or diamond featured in a simple setting style.

Split Shoulders: A V-like split in the ring's shoulders that joins the setting.

Spring Ring Clasp: A rounded fastening consisting of a circular wire inside a hollow, circular tube. Usually kept shut by a coiled spring and frequently used in necklaces.

Sterling Silver: A high quality silver alloy with a minimum quality of 92.5% pure silver.

Tennis Bracelet: A flexible, chain-like bracelet made up of evenly matched gems or diamonds. There are many variations of this popular bracelet style.

Tiffany Setting: A round, six-pronged setting. Popularized by Tiffany & Co., New York, the "Tiffany" setting has long, slender claws flaring out from the base.

Toggle Clasp: A fastening consisting of a ring at one end of a bracelet or necklace and a short bar on the other. The bar passes through the ring to sit across it, securely fastening the two ends together.

Trapichism: These are star-shaped rays that emanate from the center of gem in a hexagonal pattern. These rays appear much like Asterism, but unlike Asterism, they are not caused by light reflection from tiny parallel inclusions, but by black carbon impurities that happen to form in the same pattern.

GOLD	SILVER	STONES	HALLMARKING	HISTORY OF GOLD	HISTORY OF SILVER

The History of Wedding Rings

The wedding ring, that most famous and instantly recognizable symbol of the (hopefully perpetual) joining of a man and a woman as husband and wife in the institution of marriage, has a long, wide spread and mysterious history.
Its beginnings lie in the deserts of North Africa, some 4,800 years ago, where the ancient Egyptian civilization sprang up along the fertile flood plains of the river Nile. This river was bringer of all fortune and life to the Pharaoh's people and from plants growing on its' banks were the first wedding rings fashioned. Sedges, rushes and reeds, growing alongside the well-known papyrus were twisted and braided into rings for fingers and larger bracelets for wrists.
The ring is of course a circle and this was the symbol of eternity for the Egyptians as well as many other ancient cultures. It had no beginning and no end, like time. It returned to itself, like life; and the shape was worshipped in the form of the Sun and the Moon. The hole in the center of the ring is not just space either; it is important in its own right as the symbol of the gateway, or door; leading to things and events both known and unknown.
It is therefore not difficult to see how the ring and the gift of a ring began to be associated with love, in the hope that this most worthy of emotions could take on the characteristics of the circle and capture eternity.
They wore it like we do today, on the third finger of the left hand, because of a belief that the vein of that finger directly traveled from the heart. This legend was later taken up by the Greeks, when they conquered Egypt under the generalship of Alexander the Great in 332 B.C. and from them passed onto the Romans, who called this the "Vena Amoris", which is Latin for "The Vein Of Love".
These early rings usually lasted about a single year before wear and tear took their inevitable toll. Hemp was probably the first choice, but some decided that they wanted a longer lasting material, and opted for leather, bone or ivory to craft their token of love.
When in later years, the arts of metallurgy became known this naturally took over, but surprisingly only very gradually. These early metal rings were often quite clumsily made and uneven in the extreme. For wedding gifts they often had precious and semi-precious gems set into them and these can be seen represented by hieroglyphs in Egyptian tombs. At this time jewellery was usually more for show than sentiment and used to express wealth. Before coinage, gold rings were also used for currency and often hidden away until the owners were actively trading.
In early Rome, it was iron that was adopted as the metal of choice rather than copper or brass that was used almost everywhere else. This symbolized the strength of love a man felt for his chosen woman, though rust was a problem.
In Rome, the act of giving and acceptance of the ring was now also considered to be legally binding and therefore enforceable. In the view of some this tied the woman as the property of the man but in truth it also protected her rights as bride-to-be, and was summoned upon to prevent her from having her primary position usurped by rivals.
Gold or silver rings were given on occasions in Ancient Rome, to show all that the bridegroom trusted his betrothed with his valuable property, and to symbolize this further, the ring was sometimes shaped as a key rather than a normal circular band. This was not presented at the wedding ceremony as the custom nowadays, but when he carried her in his arms across the threshold of her new home.
Later in medieval Europe, as in Ancient Egypt, gemstones were again a common addition. With rubies chosen for their colour of red like a heart, sapphires, blue like the sky above, or most valued and sought after of all; the indestructible diamond.
In renaissance Italy silver made a comeback, and was now selected for the new idea of the engagement, or betrothal ring. These were often highly ornate and usually inlaid with niello, (which is a very decorative form of enamel engraving, coloured in black to stand in contrast to the bright metal) on a round or oval bezel. And rather than traditional simple bands, they had clasping hands emerging from the hoop at the front.
Silver became more pre-eminent briefly in the seventeenth century in England and France when they were widely used for wedding rings at the height of the fashion for poesy, or posy rings; this comes from the word "Poesy" meaning a "Love Poem". They were sentimentally inscribed with such, around the wedding rings, either within or without, and often faith and hope were included in the verse as well. These were highly popular indeed, as frequent referrals to them in the works of Shakespeare prove. Gold however, began to take over again later, and pushed back silver to the Italian idea of engagement again, with a golden duplicate of the original replacing it on the wedding day.
Indeed, it was thought in Irish folklore to be bad luck or even illegal to be married with a ring made of anything but gold. But this was never so in actuality and, like elsewhere many different metals were used. A gold ring though, was often provided for weddings throughout Europe for those who could not afford one, (and immediately reclaimed afterwards).
Other world superstitions include the absolutely essential point of making sure the ring is a perfect fit, for woe betides the future of the marriage if it isn't. A too-tight ring might point to painful jealousy or the stifling of one party by the other. Too loose, and a parting of the ways through careless acts or forgetfulness is indicated as a future danger to watch for.
The Church of England holds no brook with this however, and does not concern itself with the size or material of the ring so long as it is there. This was an ironic change of heart for sure, as the early Protestant puritans claimed that wedding rings were pagan and not to be used by the Godly. They were further enraged on the subject by a Catholic legend that Joseph and Mary had used one constructed either of onyx or amethyst; and that various churches in Europe had throughout history claimed to hold the ring (which was capable of performing miracles) to attract pilgrims to their vicinity to increase the wealth of the competing abbeys.
Today, almost all Christians accept the wedding ring, (a notable exception to this being the Quakers), doubtlessly helped by the Christianization of the old "Vena Amoris" tale. In England during the middle ages, the bridegroom would slip the ring part way up and then down his bride's thumb, then first and middle finger, reciting: "In the name of the Father, the Son, and the Holy Ghost" as he touched each one before fixing it in place on the next finger in line; the third finger of the left hand.
But why the left hand? In some parts of continental Europe it has always been the right hand. There doesn't seem to be any particular reason that the Christians should have mostly kept this the same as the original. But one thought is; as the man, facing his bride, reaches straight out with his right hand (most people are right handed) he naturally touches her left.
The modern practice of both the bride and groom both exchanging rings begun during the second world war, a consequence of increased numbers of men being separated from their loved ones and seeking a cheering reminder. This almost happened earlier in history, with the advent of the "Gemmal" ring, alternatively spelled gimmal or gimmel. This was two or three decidedly ornamental links, usually with hands and hearts or knots, fastened together by a hinge, or interlocking like the Olympic rings, and being capable of joining into one. At betrothal, they would be separated, with one given to the woman, one kept by her lover, and if present, the third held by a witness until the wedding day when all would be reunited and henceforth kept by the bride.
Interestingly, the thumb briefly challenged the accepted norm in Elizabethan days as fashionable ladies deemed to wear their wedding rings there, but this did not last and so today the practice has reverted to the same as when the first wedding rings were exchanged.

Disclaimer
Opinions and interpretation of law expressed here are my own. If you stand to lose as a result of any decision based on information here you should seek appropriate legal advice. I give this information freely, and cannot accept any responsibilities for losses you may incur. Nor can I accept responsibility in the unlikely event of inaccurate or misleading information. You alone are responsible for your actions.
Also while much of the information is relevant throughout the EU, I have written with particular regard for accepted practices in the UK.

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