Understanding is a fundamental human trait that distinguishes us from other species. It is a cognitive process that involves the perception, interpretation, and comprehension of concepts, ideas, and experiences. Understanding is not merely the acquisition of knowledge, but the ability to assimilate this knowledge, to connect the dots, and to apply this knowledge effectively. It is a cornerstone of communication, empathy, decision-making, and problem-solving, playing a crucial role in our personal, professional, and societal lives.
Understanding is often perceived as a single concept, but it is more accurately described as a multi-dimensional construct. It involves cognitive understanding, emotional understanding, and empathetic understanding. Cognitive understanding pertains to the intellectual grasp of concepts and facts. Emotional understanding involves recognizing and interpreting others emotions and feelings. Empathetic understanding, on the other hand, is the ability to put oneself in another persons shoes, to understand their perspective and experiences.
At the individual level, understanding facilitates personal growth and development. It allows us to learn from our experiences, to adapt to new situations, and to make informed decisions. Understanding broadens our horizons, deepening our insight and perspective. It encourages curiosity and stimulates intellectual growth, fostering a lifelong love for learning.
In relationships, understanding is key to building strong, meaningful connections. It forms the basis of effective communication, allowing us to interpret not just the spoken word, but also non-verbal cues. Understanding promotes empathy, enabling us to relate to others experiences and emotions. It fosters tolerance and acceptance, helping us to appreciate diverse perspectives and cultures.
In the professional realm, understanding underpins critical thinking and problem-solving skills. It facilitates the interpretation and analysis of complex data, the generation of innovative solutions, and the effective implementation of strategies. In leadership roles, understanding is pivotal in managing team dynamics, motivating employees, and driving organizational success.
At the societal level, understanding is essential for social harmony and progress. It promotes dialogue and collaboration, helping to resolve conflicts and build consensus. Understanding fosters social cohesion, enabling us to navigate cultural differences and work towards common goals.
Understanding, however, is not always easy to achieve. It requires patience, open-mindedness, and a willingness to listen and learn. It demands humility, recognizing that our perspective is not the only one and that others may offer valuable insights. It involves critical thinking, questioning assumptions, and seeking evidence.
Yet, the pursuit of understanding is a rewarding journey. It enriches our lives, enhancing our relationships, our work, and our contribution to society. It equips us with the tools to navigate the complexities of the world, to appreciate the beauty of diversity, and to make a meaningful difference.
In conclusion, understanding is a multifaceted, dynamic process that is integral to human existence. It is more than a cognitive function; it is an emotional and social skill that defines our humanity. As we strive to deepen our understanding, we not only enrich our own lives, but also contribute to a more empathetic, tolerant, and enlightened world.
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About synthetic diamond
Diamond created by controlled processes
Lab-grown diamonds of various colors grown by the high-pressure-and-temperature technique
A synthetic diamond or laboratory-grown diamond (LGD), also called a lab-grown diamond,[1]laboratory-created, man-made, artisan-created, artificial, synthetic, or cultured diamond, is a diamond that is produced in a controlled technological process (in contrast to naturally formed diamond, which is created through geological processes and obtained by mining). Unlike diamond simulants (imitations of diamond made of superficially similar non-diamond materials), synthetic diamonds are composed of the same material as naturally formed diamonds—pure carbon crystallized in an isotropic 3D form—and have identical chemical and physical properties. As of 2023[update] the heaviest synthetic diamond ever made weighs 30.18 ct (6.0 g);[2] the heaviest natural diamond ever found weighs 3167 ct (633.4 g).
Numerous claims of diamond synthesis were reported between 1879 and 1928 after English chemist Smithson Tennant demonstrated that diamonds are a form of carbon in 1797;[3] most of these attempts were carefully analyzed but none was confirmed. In the 1940s, systematic research of diamond creation began in the United States, Sweden and the Soviet Union, which culminated in the first reproducible synthesis in 1953. Further research activity yielded the discoveries of the high pressure high temperature (HPHT) and chemical vapor deposition (CVD) methods of diamond production. These two processes still dominate synthetic diamond production. A third method in which nanometer-sized diamond grains are created in a detonation of carbon-containing explosives, known as detonation synthesis, entered the market in the late 1990s. A fourth method, treating graphite with high-power ultrasound, has been demonstrated in the laboratory, but as of 2008 had no commercial application.
Synthetic diamonds, which have a different shade due to the different content of nitrogen impurities. Yellow diamonds are obtained with a higher nitrogen content in the carbon lattice, and colourless diamonds come only from pure carbon. The smallest yellow diamond size is around 0.3 mm
The properties of synthetic diamonds depend on the manufacturing process. Some have properties such as hardness, thermal conductivity and electron mobility that are superior to those of most naturally formed diamonds. Synthetic diamond is widely used in abrasives, in cutting and polishing tools and in heat sinks. Electronic applications of synthetic diamond are being developed, including high-power switches at power stations, high-frequency field-effect transistors and light-emitting diodes. Synthetic diamond detectors of ultraviolet (UV) light and of high-energy particles are used at high-energy research facilities and are available commercially. Due to its unique combination of thermal and chemical stability, low thermal expansion and high optical transparency in a wide spectral range, synthetic diamond is becoming the most popular material for optical windows in high-power CO 2 lasers and gyrotrons. It is estimated that 98% of industrial-grade diamond demand is supplied with synthetic diamonds.[4]
Both CVD and HPHT diamonds can be cut into gems, and various colors can be produced: clear white, yellow, brown, blue, green and orange. The advent of synthetic gems on the market created major concerns in the diamond trading business, as a result of which special spectroscopic devices and techniques have been developed to distinguish synthetic from natural diamonds.
History
[edit]
Moissan trying to create synthetic diamonds using an electric arc furnace
In the early stages of diamond synthesis, the founding figure of modern chemistry, Antoine Lavoisier, played a significant role. His groundbreaking discovery that a diamond's crystal lattice is similar to carbon's crystal structure paved the way for initial attempts to produce diamonds.[5] After it was discovered that diamond was pure carbon in 1797,[6][7] many attempts were made to convert various cheap forms of carbon into diamond.[8][a] The earliest successes were reported by James Ballantyne Hannay in 1879[13] and by Ferdinand Frédéric Henri Moissan in 1893. Their method involved heating charcoal at up to 3,500 °C (6,330 °F) with iron inside a carbon crucible in a furnace. Whereas Hannay used a flame-heated tube, Moissan applied his newly developed electric arc furnace, in which an electric arc was struck between carbon rods inside blocks of lime.[14] The molten iron was then rapidly cooled by immersion in water. The contraction generated by the cooling supposedly produced the high pressure required to transform graphite into diamond. Moissan published his work in a series of articles in the 1890s.[8][15]
Many other scientists tried to replicate his experiments. Sir William Crookes claimed success in 1909.[16] Otto Ruff claimed in 1917 to have produced diamonds up to 7 mm (0.28 in) in diameter,[17] but later retracted his statement.[18] In 1926, Dr. J. Willard Hershey of McPherson College replicated Moissan's and Ruff's experiments,[19][20] producing a synthetic diamond.[21] Despite the claims of Moissan, Ruff, and Hershey, other experimenters were unable to reproduce their synthesis.[22][23]
The most definitive replication attempts were performed by Sir Charles Algernon Parsons. A prominent scientist and engineer known for his invention of the steam turbine, he spent about 40 years (1882–1922) and a considerable part of his fortune trying to reproduce the experiments of Moissan and Hannay, but also adapted processes of his own.[24] Parsons was known for his painstakingly accurate approach and methodical record keeping; all his resulting samples were preserved for further analysis by an independent party.[25] He wrote a number of articles—some of the earliest on HPHT diamond—in which he claimed to have produced small diamonds.[26] However, in 1928, he authorized Dr. C. H. Desch to publish an article[27] in which he stated his belief that no synthetic diamonds (including those of Moissan and others) had been produced up to that date. He suggested that most diamonds that had been produced up to that point were likely synthetic spinel.[22]
ASEA
[edit]
First synthetic diamonds by ASEA 1953
The first known (but initially not reported) diamond synthesis was achieved on February 16, 1953, in Stockholm by ASEA (Allmänna Svenska Elektriska Aktiebolaget), Sweden's major electrical equipment manufacturing company. Starting in 1942, ASEA employed a team of five scientists and engineers as part of a top-secret diamond-making project code-named QUINTUS. The team used a bulky split-sphere apparatus designed by Baltzar von Platen and Anders Kämpe.[28][29] Pressure was maintained within the device at an estimated 8.4 GPa (1,220,000 psi) and a temperature of 2,400 °C (4,350 °F) for an hour. A few small diamonds were produced, but not of gem quality or size.
Due to questions on the patent process and the reasonable belief that no other serious diamond synthesis research occurred globally, the board of ASEA opted against publicity and patent applications. Thus the announcement of the ASEA results occurred shortly after the GE press conference of February 15, 1955.[30]
GE diamond project
[edit]
A belt press produced in the 1980s by KOBELCO
In 1941, an agreement was made between the General Electric (GE), Norton and Carborundum companies to further develop diamond synthesis. They were able to heat carbon to about 3,000 °C (5,430 °F) under a pressure of 3.5 gigapascals (510,000 psi) for a few seconds. Soon thereafter, the Second World War interrupted the project. It was resumed in 1951 at the Schenectady Laboratories of GE, and a high-pressure diamond group was formed with Francis P. Bundy and H. M. Strong. Tracy Hall and others joined the project later.[28]
The Schenectady group improved on the anvils designed by Percy Bridgman, who received a Nobel Prize in Physics for his work in 1946. Bundy and Strong made the first improvements, then more were made by Hall. The GE team used tungsten carbide anvils within a hydraulic press to squeeze the carbonaceous sample held in a catlinite container, the finished grit being squeezed out of the container into a gasket. The team recorded diamond synthesis on one occasion, but the experiment could not be reproduced because of uncertain synthesis conditions,[31] and the diamond was later shown to have been a natural diamond used as a seed.[32]
Hall achieved the first commercially successful synthesis of diamond on December 16, 1954, and this was announced on February 15, 1955. His breakthrough came when he used a press with a hardened steel toroidal "belt" strained to its elastic limit wrapped around the sample, producing pressures above 10 GPa (1,500,000 psi) and temperatures above 2,000 °C (3,630 °F).[33] The press used a pyrophyllite container in which graphite was dissolved within molten nickel, cobalt or iron. Those metals acted as a "solvent-catalyst", which both dissolved carbon and accelerated its conversion into diamond. The largest diamond he produced was 0.15 mm (0.0059 in) across; it was too small and visually imperfect for jewelry, but usable in industrial abrasives. Hall's co-workers were able to replicate his work, and the discovery was published in the major journal Nature.[34][35] He was the first person to grow a synthetic diamond with a reproducible, verifiable and well-documented process. He left GE in 1955, and three years later developed a new apparatus for the synthesis of diamond—a tetrahedral press with four anvils—to avoid violating a U.S. Department of Commerce secrecy order on the GE patent applications.[32][36]
Further development
[edit]
A scalpel with single-crystal synthetic diamond blade
Synthetic gem-quality diamond crystals were first produced in 1970 by GE, then reported in 1971. The first successes used a pyrophyllite tube seeded at each end with thin pieces of diamond. The graphite feed material was placed in the center and the metal solvent (nickel) between the graphite and the seeds. The container was heated and the pressure was raised to about 5.5 GPa (800,000 psi). The crystals grow as they flow from the center to the ends of the tube, and extending the length of the process produces larger crystals. Initially, a week-long growth process produced gem-quality stones of around 5 mm (0.20 in) (1 carat or 0.2 g), and the process conditions had to be as stable as possible. The graphite feed was soon replaced by diamond grit because that allowed much better control of the shape of the final crystal.[35][37]
The first gem-quality stones were always yellow to brown in color because of contamination with nitrogen. Inclusions were common, especially "plate-like" ones from the nickel. Removing all nitrogen from the process by adding aluminum or titanium produced colorless "white" stones, and removing the nitrogen and adding boron produced blue ones.[38] Removing nitrogen also slowed the growth process and reduced the crystalline quality, so the process was normally run with nitrogen present.
Although the GE stones and natural diamonds were chemically identical, their physical properties were not the same. The colorless stones produced strong fluorescence and phosphorescence under short-wavelength ultraviolet light, but were inert under long-wave UV. Among natural diamonds, only the rarer blue gems exhibit these properties. Unlike natural diamonds, all the GE stones showed strong yellow fluorescence under X-rays.[39] The De Beers Diamond Research Laboratory has grown stones of up to 25 carats (5.0 g) for research purposes. Stable HPHT conditions were kept for six weeks to grow high-quality diamonds of this size. For economic reasons, the growth of most synthetic diamonds is terminated when they reach a mass of 1 carat (200 mg) to 1.5 carats (300 mg).[40]
In the 1950s, research started in the Soviet Union and the US on the growth of diamond by pyrolysis of hydrocarbon gases at the relatively low temperature of 800 °C (1,470 °F). This low-pressure process is known as chemical vapor deposition (CVD). William G. Eversole reportedly achieved vapor deposition of diamond over diamond substrate in 1953, but it was not reported until 1962.[41][42] Diamond film deposition was independently reproduced by Angus and coworkers in 1968[43] and by Deryagin and Fedoseev in 1970.[44][45] Whereas Eversole and Angus used large, expensive, single-crystal diamonds as substrates, Deryagin and Fedoseev succeeded in making diamond films on non-diamond materials (silicon and metals), which led to massive research on inexpensive diamond coatings in the 1980s.[46]
From 2013, reports emerged of a rise in undisclosed synthetic melee diamonds (small round diamonds typically used to frame a central diamond or embellish a band)[47] being found in set jewelry and within diamond parcels sold in the trade.[48] Due to the relatively low cost of diamond melee, as well as relative lack of universal knowledge for identifying large quantities of melee efficiently,[49] not all dealers have made an effort to test diamond melee to correctly identify whether it is of natural or synthetic origin. However, international laboratories are now beginning to tackle the issue head-on, with significant improvements in synthetic melee identification being made.[50]
Manufacturing technologies
[edit]
There are several methods used to produce synthetic diamonds. The original method uses high pressure and high temperature (HPHT) and is still widely used because of its relatively low cost. The process involves large presses that can weigh hundreds of tons to produce a pressure of 5 GPa (730,000 psi) at 1,500 °C (2,730 °F). The second method, using chemical vapor deposition (CVD), creates a carbon plasma over a substrate onto which the carbon atoms deposit to form diamond. Other methods include explosive formation (forming detonation nanodiamonds) and sonication of graphite solutions.[51][52][53]
High pressure, high temperature
[edit]
Schematic of a belt press
In the HPHT method, there are three main press designs used to supply the pressure and temperature necessary to produce synthetic diamond: the belt press, the cubic press and the split-sphere (BARS) press. Diamond seeds are placed at the bottom of the press. The internal part of the press is heated above 1,400 °C (2,550 °F) and melts the solvent metal. The molten metal dissolves the high purity carbon source, which is then transported to the small diamond seeds and precipitates, forming a large synthetic diamond.[54]
The original GE invention by Tracy Hall uses the belt press wherein the upper and lower anvils supply the pressure load to a cylindrical inner cell. This internal pressure is confined radially by a belt of pre-stressed steel bands. The anvils also serve as electrodes providing electric current to the compressed cell. A variation of the belt press uses hydraulic pressure, rather than steel belts, to confine the internal pressure.[54] Belt presses are still used today, but they are built on a much larger scale than those of the original design.[55]
The second type of press design is the cubic press. A cubic press has six anvils which provide pressure simultaneously onto all faces of a cube-shaped volume.[56] The first multi-anvil press design was a tetrahedral press, using four anvils to converge upon a tetrahedron-shaped volume.[57] The cubic press was created shortly thereafter to increase the volume to which pressure could be applied. A cubic press is typically smaller than a belt press and can more rapidly achieve the pressure and temperature necessary to create synthetic diamond. However, cubic presses cannot be easily scaled up to larger volumes: the pressurized volume can be increased by using larger anvils, but this also increases the amount of force needed on the anvils to achieve the same pressure. An alternative is to decrease the surface area to volume ratio of the pressurized volume, by using more anvils to converge upon a higher-order platonic solid, such as a dodecahedron. However, such a press would be complex and difficult to manufacture.[56]
Schematic of a BARS system
The BARS apparatus is claimed to be the most compact, efficient, and economical of all the diamond-producing presses. In the center of a BARS device, there is a ceramic cylindrical "synthesis capsule" of about 2 cm3 (0.12 cu in) in size. The cell is placed into a cube of pressure-transmitting material, such as pyrophyllite ceramics, which is pressed by inner anvils made from cemented carbide (e.g., tungsten carbide or VK10 hard alloy).[58] The outer octahedral cavity is pressed by 8 steel outer anvils. After mounting, the whole assembly is locked in a disc-type barrel with a diameter about 1 m (3 ft 3 in). The barrel is filled with oil, which pressurizes upon heating, and the oil pressure is transferred to the central cell. The synthesis capsule is heated up by a coaxial graphite heater, and the temperature is measured with a thermocouple.[59]
Chemical vapor deposition
[edit]
Further information: Chemical vapor deposition
Free-standing single-crystal CVD diamond disc
Chemical vapor deposition is a method by which diamond can be grown from a hydrocarbon gas mixture. Since the early 1980s, this method has been the subject of intensive worldwide research. Whereas the mass production of high-quality diamond crystals make the HPHT process the more suitable choice for industrial applications, the flexibility and simplicity of CVD setups explain the popularity of CVD growth in laboratory research. The advantages of CVD diamond growth include the ability to grow diamond over large areas and on various substrates, and the fine control over the chemical impurities and thus properties of the diamond produced. Unlike HPHT, CVD process does not require high pressures, as the growth typically occurs at pressures under 27 kPa (3.9 psi).[51][60]
The CVD growth involves substrate preparation, feeding varying amounts of gases into a chamber and energizing them. The substrate preparation includes choosing an appropriate material and its crystallographic orientation; cleaning it, often with a diamond powder to abrade a non-diamond substrate; and optimizing the substrate temperature (about 800 °C (1,470 °F)) during the growth through a series of test runs. Moreover, optimizing the gas mixture composition and flow rates is paramount to ensure uniform and high-quality diamond growth. The gases always include a carbon source, typically methane, and hydrogen with a typical ratio of 1:99. Hydrogen is essential because it selectively etches off non-diamond carbon. The gases are ionized into chemically active radicals in the growth chamber using microwave power, a hot filament, an arc discharge, a welding torch, a laser, an electron beam, or other means.
During the growth, the chamber materials are etched off by the plasma and can incorporate into the growing diamond. In particular, CVD diamond is often contaminated by silicon originating from the silica windows of the growth chamber or from the silicon substrate.[61] Therefore, silica windows are either avoided or moved away from the substrate. Boron-containing species in the chamber, even at very low trace levels, also make it unsuitable for the growth of pure diamond.[51][60][62]
Detonation of explosives
[edit]
Main article: Detonation nanodiamond
Electron micrograph (TEM) of detonation nanodiamond
Diamond nanocrystals (5 nm (2.0×10−7 in) in diameter) can be formed by detonating certain carbon-containing explosives in a metal chamber. These are called "detonation nanodiamonds". During the explosion, the pressure and temperature in the chamber become high enough to convert the carbon of the explosives into diamond. Being immersed in water, the chamber cools rapidly after the explosion, suppressing conversion of newly produced diamond into more stable graphite.[63] In a variation of this technique, a metal tube filled with graphite powder is placed in the detonation chamber. The explosion heats and compresses the graphite to an extent sufficient for its conversion into diamond.[64] The product is always rich in graphite and other non-diamond carbon forms, and requires prolonged boiling in hot nitric acid (about 1 day at 250 °C (482 °F)) to dissolve them.[52] The recovered nanodiamond powder is used primarily in polishing applications. It is mainly produced in China, Russia and Belarus, and started reaching the market in bulk quantities by the early 2000s.[65]
Ultrasound cavitation
[edit]
Micron-sized diamond crystals can be synthesized from a suspension of graphite in organic liquid at atmospheric pressure and room temperature using ultrasonic cavitation. The diamond yield is about 10% of the initial graphite weight. The estimated cost of diamond produced by this method is comparable to that of the HPHT method but the crystalline perfection of the product is significantly worse for the ultrasonic synthesis. This technique requires relatively simple equipment and procedures, and has been reported by two research groups, but had no industrial use as of 2008. Numerous process parameters, such as preparation of the initial graphite powder, the choice of ultrasonic power, synthesis time and the solvent, were not optimized, leaving a window for potential improvement of the efficiency and reduction of the cost of the ultrasonic synthesis.[53][66]
Crystallization inside liquid metal
[edit]
In 2024, scientists announced a method that utilizes injecting methane and hydrogen gases onto a liquid metal alloy of gallium, iron, nickel and silicon (77.25/11.00/11.00/0.25 ratio) at approximately 1,025 °C to crystallize diamond at 1 atmosphere of pressure. The crystallization is a ‘seedless’ process, which further separates it from conventional high-pressure and high-temperature or chemical vapor deposition methods. Injection of methane and hydrogen results in a diamond nucleus after around 15 minutes and eventually a continuous diamond film after around 150 minutes.[67][68]
Properties
[edit]
Traditionally, the absence of crystal flaws is considered to be the most important quality of a diamond. Purity and high crystalline perfection make diamonds transparent and clear, whereas its hardness, optical dispersion (luster), and chemical stability (combined with marketing), make it a popular gemstone. High thermal conductivity is also important for technical applications. Whereas high optical dispersion is an intrinsic property of all diamonds, their other properties vary depending on how the diamond was created.[69]
Crystallinity
[edit]
Diamond can be one single, continuous crystal or it can be made up of many smaller crystals (polycrystal). Large, clear and transparent single-crystal diamonds are typically used as gemstones. Polycrystalline diamond (PCD) consists of numerous small grains, which are easily seen by the naked eye through strong light absorption and scattering; it is unsuitable for gems and is used for industrial applications such as mining and cutting tools. Polycrystalline diamond is often described by the average size (or grain size) of the crystals that make it up. Grain sizes range from nanometers to hundreds of micrometers, usually referred to as "nanocrystalline" and "microcrystalline" diamond, respectively.[70]
Hardness
[edit]
The hardness of diamond is 10 on the Mohs scale of mineral hardness, the hardest known material on this scale. Diamond is also the hardest known natural material for its resistance to indentation.[71] The hardness of synthetic diamond depends on its purity, crystalline perfection and orientation: hardness is higher for flawless, pure crystals oriented to the [111] direction (along the longest diagonal of the cubic diamond lattice).[72] Nanocrystalline diamond produced through CVD diamond growth can have a hardness ranging from 30% to 75% of that of single crystal diamond, and the hardness can be controlled for specific applications. Some synthetic single-crystal diamonds and HPHT nanocrystalline diamonds (see hyperdiamond) are harder than any known natural diamond.[71][73][74]
Impurities and inclusions
[edit]
Main article: Crystallographic defects in diamond
Every diamond contains atoms other than carbon in concentrations detectable by analytical techniques. Those atoms can aggregate into macroscopic phases called inclusions. Impurities are generally avoided, but can be introduced intentionally as a way to control certain properties of the diamond. Growth processes of synthetic diamond, using solvent-catalysts, generally lead to formation of a number of impurity-related complex centers, involving transition metal atoms (such as nickel, cobalt or iron), which affect the electronic properties of the material.[75][76]
For instance, pure diamond is an electrical insulator, but diamond with boron added is an electrical conductor (and, in some cases, a superconductor),[77] allowing it to be used in electronic applications. Nitrogen impurities hinder movement of lattice dislocations (defects within the crystal structure) and put the lattice under compressive stress, thereby increasing hardness and toughness.[78]
Thermal conductivity
[edit]
The thermal conductivity of CVD diamond ranges from tens of W/m2K to more than 2000 W/m2K, depending on the defects, grain boundary structures.[79] As the growth of diamond in CVD, the grains grow with the film thickness, leading to a gradient thermal conductivity along the film thickness direction.[79]
Unlike most electrical insulators, pure diamond is an excellent conductor of heat because of the strong covalent bonding within the crystal. The thermal conductivity of pure diamond is the highest of any known solid. Single crystals of synthetic diamond enriched in 12
C
(99.9%), isotopically pure diamond, have the highest thermal conductivity of any material, 30 W/cm·K at room temperature, 7.5 times higher than that of copper. Natural diamond's conductivity is reduced by 1.1% by the 13
C
naturally present, which acts as an inhomogeneity in the lattice.[80]
Diamond's thermal conductivity is made use of by jewelers and gemologists who may employ an electronic thermal probe to separate diamonds from their imitations. These probes consist of a pair of battery-powered thermistors mounted in a fine copper tip. One thermistor functions as a heating device while the other measures the temperature of the copper tip: if the stone being tested is a diamond, it will conduct the tip's thermal energy rapidly enough to produce a measurable temperature drop. This test takes about 2–3 seconds.[81]
Industrial applications
[edit]
Machining and cutting tools
[edit]
Diamonds in an angle grinder blade
Most industrial applications of synthetic diamond have long been associated with their hardness; this property makes diamond the ideal material for machine tools and cutting tools. As the hardest known naturally occurring material, diamond can be used to polish, cut, or wear away any material, including other diamonds. Common industrial applications of this ability include diamond-tipped drill bits and saws, and the use of diamond powder as an abrasive.[82] These are by far the largest industrial applications of synthetic diamond. While natural diamond is also used for these purposes, synthetic HPHT diamond is more popular, mostly because of better reproducibility of its mechanical properties. Diamond is not suitable for machining ferrous alloys at high speeds, as carbon is soluble in iron at the high temperatures created by high-speed machining, leading to greatly increased wear on diamond tools compared to alternatives.[83]
The usual form of diamond in cutting tools is micron-sized grains dispersed in a metal matrix (usually cobalt) sintered onto the tool. This is typically referred to in industry as polycrystalline diamond (PCD). PCD-tipped tools can be found in mining and cutting applications. For the past fifteen years, work has been done to coat metallic tools with CVD diamond, and though the work shows promise, it has not significantly replaced traditional PCD tools.[84]
Thermal conductor
[edit]
Most materials with high thermal conductivity are also electrically conductive, such as metals. In contrast, pure synthetic diamond has high thermal conductivity, but negligible electrical conductivity. This combination is invaluable for electronics where diamond is used as a heat spreader for high-power laser diodes, laser arrays and high-power transistors. Efficient heat dissipation prolongs the lifetime of those electronic devices, and the devices' high replacement costs justify the use of efficient, though relatively expensive, diamond heat sinks.[85] In semiconductor technology, synthetic diamond heat spreaders prevent silicon and other semiconducting devices from overheating.[86]
Optical material
[edit]
Diamond is hard, chemically inert, and has high thermal conductivity and a low coefficient of thermal expansion. These properties make diamond superior to any other existing window material used for transmitting infrared and microwave radiation. Therefore, synthetic diamond is starting to replace zinc selenide as the output window of high-power CO2 lasers[87] and gyrotrons. Those synthetic polycrystalline diamond windows are shaped as disks of large diameters (about 10 cm for gyrotrons) and small thicknesses (to reduce absorption) and can only be produced with the CVD technique.[88][89] Single crystal slabs of dimensions of length up to approximately 10 mm are becoming increasingly important in several areas of optics including heatspreaders inside laser cavities, diffractive optics and as the optical gain medium in Raman lasers.[90] Recent advances in the HPHT and CVD synthesis techniques have improved the purity and crystallographic structure perfection of single-crystalline diamond enough to replace silicon as a diffraction grating and window material in high-power radiation sources, such as synchrotrons.[91][92] Both the CVD and HPHT processes are also used to create designer optically transparent diamond anvils as a tool for measuring electric and magnetic properties of materials at ultra high pressures using a diamond anvil cell.[93]
Electronics
[edit]
Synthetic diamond has potential uses as a semiconductor,[94] because it can be doped with impurities like boron and phosphorus. Since these elements contain one more or one fewer valence electron than carbon, they turn synthetic diamond into p-type or n-type semiconductor. Making a p–n junction by sequential doping of synthetic diamond with boron and phosphorus produces light-emitting diodes (LEDs) producing UV light of 235 nm.[95] Another useful property of synthetic diamond for electronics is high carrier mobility, which reaches 4500 cm2/(V·s) for electrons in single-crystal CVD diamond.[96] High mobility is favorable for high-frequency operation and field-effect transistors made from diamond have already demonstrated promising high-frequency performance above 50 GHz.[97][98] The wide band gap of diamond (5.5 eV) gives it excellent dielectric properties. Combined with the high mechanical stability of diamond, those properties are being used in prototype high-power switches for power stations.[99]
Synthetic diamond transistors have been produced in the laboratory. They remain functional at much higher temperatures than silicon devices, and are resistant to chemical and radiation damage. While no diamond transistors have yet been successfully integrated into commercial electronics, they are promising for use in exceptionally high-power situations and hostile non-oxidizing environments.[100][101]
Synthetic diamond is already used as radiation detection device. It is radiation hard and has a wide bandgap of 5.5 eV (at room temperature). Diamond is also distinguished from most other semiconductors by the lack of a stable native oxide. This makes it difficult to fabricate surface MOS devices, but it does create the potential for UV radiation to gain access to the active semiconductor without absorption in a surface layer. Because of these properties, it is employed in applications such as the BaBar detector at the Stanford Linear Accelerator[102] and BOLD (Blind to the Optical Light Detectors for VUV solar observations).[103][104] A diamond VUV detector recently was used in the European LYRA program.
Conductive CVD diamond is a useful electrode under many circumstances.[105] Photochemical methods have been developed for covalently linking DNA to the surface of polycrystalline diamond films produced through CVD. Such DNA-modified films can be used for detecting various biomolecules, which would interact with DNA thereby changing electrical conductivity of the diamond film.[106] In addition, diamonds can be used to detect redox reactions that cannot ordinarily be studied and in some cases degrade redox-reactive organic contaminants in water supplies. Because diamond is mechanically and chemically stable, it can be used as an electrode under conditions that would destroy traditional materials. As an electrode, synthetic diamond can be used in waste water treatment of organic effluents[107] and the production of strong oxidants.[108]
Gemstones
[edit]
Main article: Diamond (gemstone)
Colorless gem cut from diamond grown by chemical vapor deposition
Synthetic diamonds for use as gemstones are grown by HPHT[40] or CVD[109] methods, with the market share of synthetic jewelry-quality diamonds growing as advances in technology allow for larger higher-quality synthetic production on a more economical scale.[110] According to a Gem & Jewellery Export Promotional Council report, synthetic diamonds accounted for 0.28% of rough diamonds produced for use as gemstones in 2013,[111] and synthetic diamonds represented approximately 2% of the gem-quality diamond market in the same year.[112] By 2020, this had increased to just 3%, before climbing to 7% of the diamond jewelery market in 2022.[113] As of 2023, synthetic diamonds' share had jumped to 17% of the overall diamond market.[114] They are available in yellow, pink, green, orange, blue and, to a lesser extent, colorless (or white). The yellow comes from nitrogen impurities in the manufacturing process, while the blue comes from boron.[38] Other colors, such as pink or green, are achievable after synthesis using irradiation.[115][116] Several companies also offer memorial diamonds grown using cremated remains.[117]
In May 2015, a record was set for an HPHT colorless diamond at 10.02 carats. The faceted jewel was cut from a 32.2-carat stone that was grown in about 300 hours.[118] By 2022, gem-quality diamonds of 16–20 carats were being produced.[119]
Price
[edit]
Around 2016, the price of synthetic diamond gemstones (e.g., 1-carat stones) began dropping "precipitously", by roughly 30% in one year, becoming clearly lower than that of mined diamond gems.[120] As of 2017, synthetic diamonds sold as jewelry were typically selling for 15–20% less than natural equivalents; the relative price was expected to decline further as production economics improved.[121] In April 2022, CNN Business reported that a synthetic one-carat round diamond commonly used in engagement rings was up to 73% cheaper than a natural diamond with the same features, and that the number of engagement rings featuring a synthetic or a lab grown diamond had increased 63% compared to the previous year, while the those sold with a natural diamond declined 25% in the same period.[113] By the beginning of 2025 laboratory-grown diamonds had dropped in price by 74% since 2020, and prices were expected to continue decreasing. The drop was attributed largely to improvement in speed of laboratory growing of diamonds from weeks (and billions of years for natural stones) to hours.[122]
Marketing and classification
[edit]
Gem-quality diamonds grown in a lab can be chemically, physically, and optically identical to naturally occurring ones. The mined diamond industry has undertaken legal, marketing, and distribution countermeasures to try to protect its market from the emerging presence of synthetic diamonds, including price fixing.[123][124] Synthetic diamonds can be distinguished by spectroscopy in the infrared, ultraviolet, or X-ray wavelengths. The DiamondView tester from De Beers uses UV fluorescence to detect trace impurities of nitrogen, nickel, or other metals in HPHT or CVD diamonds.[125][126] Many other test instruments are available.[127]
Diamond certification laboratories, equipped with instruments that can reliably distinguish laboratory-grown from natural diamonds, certify diamonds. Several laboratories, including GIA, IGI and GSI, inscribe every lab-grown diamond they certify with a laser inscription invisible to the naked eye that can be seen at ten times magnification. The report number is inscribed, with an indication that the stone is lab-grown.[128]
In May 2018, De Beers announced that it would introduce a new jewelry brand called "Lightbox" that features synthetic diamonds, which was notable as the company was the world's largest diamond miner and had previously been an outspoken critic of synthetic diamonds.[129] In July 2018, the U.S. Federal Trade Commission approved a substantial revision to its Jewelry Guides, with changes that impose new rules on how the trade can describe diamonds and diamond simulants.[130] The revised guides were substantially contrary to what had been advocated in 2016 by De Beers.[129][131][132] The new guidelines remove the word "natural" from the definition of "diamond", thus including lab-grown diamonds within the scope of the definition of "diamond". The revised guide further states that "If a marketer uses 'synthetic' to imply that a competitor's lab-grown diamond is not an actual diamond, ... this would be deceptive."[133][131] In July 2019, the third party diamond certification lab GIA (Gemological Institute of America) dropped the word 'synthetic' from its certification process and report for lab-grown diamonds, according to the FTC revision.[134]
Ethical and environmental considerations
[edit]
Traditional diamond mining has led to human rights abuses in several countries in Africa and other diamond mining countries. The 2006 Hollywood movie Blood Diamond helped to publicize the problem. Consumer demand for synthetic diamonds has been increasing, albeit from a small base, as customers look for ethically sound and cheaper stones.[135]
Apart from the ethical aspect, three key environmental factors play a central role in the ecological comparison of laboratory diamonds and mine diamonds:
Water Usage: Excavating one carat of rough-mined diamond requires approximately 96 liters of water per carat. In contrast, producing a one-carat lab-grown diamond requires only about 0 to 2 liters of water per carat.[136][137]
Mineral Waste Disposal and Land Disruption: Diamond mining generates significantly more mineral waste than other forms of mining, with up to 2 million tons of waste for every ton of diamonds produced, whereas other metals such as iron or gold typically produce less than 10 tons of waste per ton mined.[138] Further, mining one carat of diamond disturbs approximately 9 m² of land and generates around 2600 kg of mineral waste, including highly toxic trace metals.[139][140][141] In contrast, producing one carat of lab-grown diamond involves significantly less environmental impact, with only 0.0065 m² of land disruption and 0.5 kg of mineral waste.[141][137]
Energy Usage and Greenhouse Gas (GHG) Emissions: Lab-grown diamonds have been criticised for their energy consumption, however a 2021 journal article found that lab-grown diamonds produced via the HPHT method require between 28 and 36 kWh per carat, while the CVD method requires between 77 and 215 kWh per carat.[136] For comparison, mined diamonds consume between 96 and 150 kWh per carat, based on reports from industry leaders ALROSA and DeBeers,[136] which together represent over 50% of global diamond production.[142][143] Thus, lab-grown HPHT diamonds use at least half the energy per carat than mined diamonds, while CVD produced diamonds can use less or more energy per carat than mined diamonds depending on the specific equipment and laboratory setup. Additionally, energy consumption alone does not fully determine the environmental impact. A critical factor to consider is the energy source. GHG emissions from electricity production (measured in grams of CO₂ equivalent per kWh, or g CO₂ e/kWh) are essential for evaluating the environmental footprint. On average, about 73% of the energy used by DeBeers for diamond mining comes directly from fossil fuels.[136] Fossil fuels result in CO₂ emissions between 200 and 800 g CO₂e/kWh.[144] The remaining 27% of their energy consumption relies on electricity. However, it can be generated from fossil fuels or renewable sources. Mining one ton of rough diamonds generates approximately 57000 tons of GHG emissions, which is twice the amount produced by gold mining and 30000 times greater than that of iron ore mining.[138][137] In contrast, the energy required to create lab-grown diamonds can be sourced entirely from renewable energy, yielding zero g CO₂e/kWh emissions. This process positions lab-grown diamonds as an exceptionally sustainable option, as they can be produced with no greenhouse gas impact when renewable sources are used.[137]
See also
[edit]
The Diamond Maker (1895): a short story by H. G. Wells inspired by Hannay and Moissan
Synthetic alexandrite
List of diamonds
Notes
[edit]
^As early as 1828, investigators claimed to have synthesized diamonds:
Procès-verbaux des séances de l'Académie (Académie des sciences), November 3, 1828:[9] "There was given a reading of a letter from Mr. Gannal, who communicated some investigations into the action of phosphorus placed in contact with pure carbon disulfide, and into the product of his experiments, which have presented properties similar to those of particles of diamond."
"Artificial production of real diamonds", Mechanics' Magazine, 10 (278): 300–301 (December 6, 1828)[10]
Procès-verbaux des séances de l'Académie (Académie des sciences), November 10, 1828:[11] "Mr. Arago communicated a note from Mr. Cagniard de Latour, in which this physicist states that he has, on his part, succeeded in making carbon crystallize by methods different from those of Mr. Gannal, and that a sealed packet which he deposited with the Secretary in 1824 contains the details of his initial procedures. Mr. Arago announced that he knew another person who had arrived at similar results, and Mr. Gay-Lussac announced that Mr. Gannal had spoken to him eight years ago about his attempts."
Procès-verbaux des séances de l'Académie (Académie des sciences), December 1, 1828:[12] "Mr. Thenard gave a reading of the minutes of experiments made on November 26, 1828 on the powder presented as artificial diamond by Mr. Cagniard de Latour."
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O'Donoghue, Michael (2006). Gems: their sources, descriptions and identification. Butterworth-Heinemann. ISBN 978-0-7506-5856-0.
Spear, K. E. & Dismukes, J. P. (1994). Synthetic diamond. Wiley-IEEE. ISBN 978-0-471-53589-8.
Lundblad, Erik (1988). Om konsten att göra diamanter. In Daedalus 1988. ISBN 9176160181
External links
[edit]
Wikimedia Commons has media related to Synthetic diamonds.
Wikisource has original text related to this article:
a letter refuting an early attempt to create a synthetic diamond.
Schulz, William. "First Diamond Synthesis: 50 Years Later, A Murky Picture Of Who Deserves Credit". Chemical & Engineering News. 82 (5). ISSN 0009-2347.
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About jewelry
Form of personal adornment
For other uses, see Jewellery (disambiguation).
Various examples of jewellery throughout history
Jewellery (or jewelry in American English) consists of decorative items worn for personal adornment such as brooches, rings, necklaces, earrings, pendants, bracelets, and cufflinks. Jewellery may be attached to the body or the clothes. From a western perspective, the term is restricted to durable ornaments, excluding flowers for example. For many centuries metal such as gold often combined with gemstones, has been the normal material for jewellery, but other materials such as glass, shells and other plant materials may be used.
Jewellery is one of the oldest types of archaeological artefact – with 100,000-year-old beads made from Nassarius shells thought to be the oldest known jewellery.[1] The basic forms of jewellery vary between cultures but are often extremely long-lived; in European cultures the most common forms of jewellery listed above have persisted since ancient times, while other forms such as adornments for the nose or ankle, important in other cultures, are much less common.
Jewellery may be made from a wide range of materials. Gemstones and similar materials such as amber and coral, precious metals, beads, and shells have been widely used, and enamel has often been important. In most cultures jewellery can be understood as a status symbol, for its material properties, its patterns, or for meaningful symbols. Jewellery has been made to adorn nearly every body part, from hairpins to toe rings, and even genital jewellery. In modern European culture the amount worn by adult males is relatively low compared with other cultures and other periods in European culture.
Etymology
[edit]
The word jewellery itself is derived from the word jewel, which was anglicised from the Old French "jouel",[2] and beyond that, to the Latin word "jocale", meaning plaything. In British English, Indian English, New Zealand English, Hiberno-English, Australian English, and South African English it is spelled jewellery. At the same time, the spelling is jewelry in American English.[3] Both are used in Canadian English. However, jewellery prevails by a two-to-one margin. In French and a few other European languages the equivalent term, joaillerie, may also cover decorated metalwork in precious metal such as objets d'art and church items, not just objects worn on the person.
Form and function
[edit]
A gold, diamonds and sapphires red guilloché enamel "Boule de Genève", a type of pendant watch used as an accessory for women. An example of an object which is functional, artistic/decorative, marker of social status or a symbol of personal meaning.
Humans have used jewellery for a number of different reasons:
functional, generally to fix clothing or hair in place.
as a marker of social status and personal status, as with a wedding ring
as a signifier of some form of affiliation, whether ethnic, religious or social
to provide talismanic protection (in the form of amulets)[4]
as an artistic display
as a carrier or symbol of personal meaning – such as love, mourning, a personal milestone or even luck
generally considered as a good investment
superstition[5]
Most[quantify] cultures at some point have had a practice of keeping large amounts of wealth stored in the form of jewellery. Numerous cultures store wedding dowries in the form of jewellery or make jewellery as a means to store or display coins. Alternatively, jewellery has been used as a currency or trade good to buy and sell.[6] an example being the use of slave beads.[7]
Many items of jewellery, such as brooches and buckles, originated as purely functional items, but evolved into decorative items as their functional requirement diminished.[8] Similarly, Tiffany & Co. produced inkwells in the late 19th and early 20th centuries, skillfully combining materials like enamel and fine metals, reflecting the same craftsmanship seen in their jewellery collections. These inkwells were not only practical but also artistic in design.[9][10]
Jewellery can symbolise group membership (as in the case, of the Christian crucifix or the Jewish Star of David) or status (as in the case of chains of office, or the Western practice of married people wearing wedding rings).
Wearing of amulets and devotional medals to provide protection or to ward off evil is common in some cultures. These may take the form of symbols (such as the ankh), stones, plants, animals, body parts (such as the Khamsa), or glyphs (such as stylised versions of the Throne Verse in Islamic art).[11]
Materials and methods
[edit]
Hair ornament, an Art Nouveau masterpiece; by René Lalique; c. 1902; gold, emeralds and diamonds; Musée d'Orsay (Paris)
In creating jewellery, gemstones, coins, or other precious items are often used, and they are typically set into precious metals. Platinum alloys range from 900 (90% pure) to 950 (95% pure). The silver used in jewellery is usually sterling silver, or 92.5% fine silver. In costume jewellery, stainless steel findings are sometimes used.
Other commonly used materials include glass, such as fused-glass or enamel; wood, often carved or turned; shells and other natural animal substances such as bone and ivory; natural clay; polymer clay; Hemp and other twines have been used as well to create jewellery that has more of a natural feel. However, any inclusion of lead or lead solder will give a British Assay office (the body which gives U.K. jewellery its stamp of approval, the Hallmark) the right to destroy the piece, however, it is very rare for the assay office to do so.
Beads are frequently used in jewellery. These may be made of glass, gemstones, metal, wood, shells, clay and polymer clay. Beaded jewellery commonly encompasses necklaces, bracelets, earrings, belts and rings. Beads may be large or small; the smallest type of beads used are known as seed beads, these are the beads used for the "woven" style of beaded jewellery. Seed beads are also used in an embroidery technique where they are sewn onto fabric backings to create broad collar neck pieces and beaded bracelets. Bead embroidery, a popular type of handwork during the Victorian era, is enjoying a renaissance in modern jewellery making. Beading, or beadwork, is also very popular in many African and indigenous North American cultures.
Silversmiths, goldsmiths, and lapidaries use methods including forging, casting, soldering or welding, cutting, carving and "cold-joining" (using adhesives, staples and rivets to assemble parts).[12]
Diamonds
[edit]
Main article: Diamond
Diamonds
Diamonds were first mined in India.[13] Pliny may have mentioned them, although there is some debate as to the exact nature of the stone he referred to as Adamas.[14] In 2005, Australia, Botswana, Russia and Canada ranked among the primary sources of gemstone diamond production.[15] There are negative consequences of the diamond trade in certain areas. Diamonds mined during the recent civil wars in Angola, Ivory Coast, Sierra Leone, and other nations have been labeled as blood diamonds when they are mined in a war zone and sold to finance an insurgency.[16]
The British crown jewels contain the Cullinan Diamond, part of the largest gem-quality rough diamond ever found (1905), at 3,106.75 carats (621.35 g).
A diamond solitaire engagement ring
Now popular in engagement rings, this usage dates back to the marriage of Maximilian I to Mary of Burgundy in 1477.[17]
A popular style is the diamond solitaire, which features a single large diamond mounted prominently.[18] Within solitaire, there are three categories in which a ring can be classified: prong, bezel and tension setting.[19]
Synthetic diamonds
[edit]
Main article: Synthetic diamond
Synthetic diamonds, also referred to as lab-grown diamonds, are created using advanced technological processes such as High-Pressure High-Temperature (HPHT) and Chemical Vapor Deposition (CVD). These methods result in diamonds that are chemically and physically identical to natural diamonds, offering the same brilliance and durability.[20][21]
The popularity of synthetic diamonds in the jewellery market has increased significantly due to several factors. Their typically lower price compared to natural diamonds makes them an appealing choice for many consumers. Additionally, the ethical implications of synthetic diamonds have garnered attention, particularly their potential to eliminate the risks associated with conflict diamonds, which are mined in war zones and often used to finance armed conflict.[22][23]
From an environmental perspective, the production of synthetic diamonds generally has a smaller ecological footprint than traditional diamond mining, which can result in extensive land degradation and habitat destruction. While lab-grown diamonds do require energy for their production, many companies are actively adopting renewable energy sources to mitigate their environmental impact.[24][25]
As consumer preferences evolve, particularly among younger generations who prioritize sustainability, synthetic diamonds are increasingly seen as a responsible and modern alternative to mined diamonds. Retailers are responding to this trend by expanding their offerings of lab-grown diamond jewellery, further solidifying their place in the market.
Other gemstones
[edit]
Main article: Gemstone
Jade
Jasper
Ruby
Sapphire
Turquoise
Many precious and semiprecious stones are used for jewellery. Among them are:
Amber
Amber, an ancient organic gemstone, is composed of tree resin that has hardened over time. The stone must be at least one million years old to be classified as amber, and some amber can be up to 120 million years old.
Amethyst
Amethyst has historically been the most prized gemstone in the quartz family. It is treasured for its purple hue, which can range in tone from light to dark.
Emerald
Emeralds are one of the three main precious gemstones (along with rubies and sapphires) and are known for their fine green to bluish-green colour. They have been treasured throughout history, and some historians report that the Egyptians mined emeralds as early as 3500 BC.
Jade
Jade is most commonly associated with the colour green but can come in several other colours as well. Jade is closely linked to Asian culture, history, and tradition, and is sometimes referred to as the stone of heaven.
Jasper
Jasper is a gemstone of the chalcedony family that comes in a variety of colours. Often, jasper will feature unique and interesting patterns within the coloured stone. Picture jasper is a type of jasper known for the colours (often beiges and browns) and swirls in the stone's pattern.
Quartz
Quartz refers to a family of crystalline gemstones of various colours and sizes. Among the well-known types of quartz are rose quartz (which has a delicate pink colour), and smoky quartz (which comes in a variety of shades of translucent brown). Some other gemstones, such as Amethyst and Citrine, are also part of the quartz family. Rutilated quartz is a popular type of quartz containing needle-like inclusions.
Ruby
Rubies are known for their intense red colour and are among the most highly valued precious gemstones. Rubies have been treasured for millennia. In Sanskrit, the word for ruby is ratnaraj, meaning king of precious stones.
Sapphire
The most popular form of sapphire is blue sapphire, which is known for its medium to deep blue colour and strong saturation. Fancy sapphires of various colours are also available. In the United States, blue sapphire tends to be the most popular and most affordable of the three major precious gemstones (emerald, ruby, and sapphire).
Turquoise
Turquoise is found in only a few places on Earth, and the world's largest turquoise-producing region is the southwest United States. Turquoise is prized for its attractive colour, most often an intense medium blue or a greenish blue, and its ancient heritage. Turquoise is used in a great variety of jewellery styles. It is perhaps most closely associated with Southwest and Native American jewellery, but it is also used in many sleek, modern styles. Some turquoise contains a matrix of dark brown markings, which provides an interesting contrast to the gemstone's bright blue colour.
Some gemstones (like pearls, coral, and amber) are classified as organic, meaning that they are produced by living organisms. Others are inorganic, meaning that they are generally composed of and arise from minerals.
Some gems, for example, amethyst, have become less valued as methods of extracting and importing them have progressed. Some man-made gems can serve in place of natural gems, such as cubic zirconia, which can be used in place of diamonds.[26]
Metal finishes
[edit]
An example of gold-plated jewellery.
For platinum, gold, and silver jewellery, there are many techniques to create finishes. The most common are high-polish, satin/matte, brushed, and hammered. High-polished jewellery is the most common and gives the metal a highly reflective, shiny look. Satin, or matte finish reduces the shine and reflection of the jewellery, and this is commonly used to accentuate gemstones such as diamonds. Brushed finishes give the jewellery a textured look and are created by brushing a material (similar to sandpaper) against the metal, leaving "brush strokes". Hammered finishes are typically created using a rounded steel hammer and hammering the jewellery to give it a wavy texture.
Some jewellery is plated to give it a shiny, reflective look or to achieve a desired colour. Sterling silver jewellery may be plated with a thin layer of 0.999 fine silver (a process known as flashing) or plated with rhodium or gold. Base metal costume jewellery may also be plated with silver, gold, or rhodium for a more attractive finish.
Impact on society
[edit]
Jewellery has been used to denote status. In ancient Rome, only certain ranks could wear rings and[27] later, sumptuary laws dictated who could wear what type of jewellery. This was also based on the rank of the citizens of that time.
Cultural dictates have also played a significant role. For example, the wearing of earrings by Western men was considered effeminate in the 19th century and early 20th century. More recently, the display of body jewellery, such as piercings, has become a mark of acceptance or seen as a badge of courage within some groups but is completely rejected in others. Likewise, hip hop culture has popularised the slang term bling-bling, which refers to the ostentatious display of jewellery by men or women.
Conversely, the jewellery industry in the early 20th century launched a campaign to popularise wedding rings for men, which caught on, as well as engagement rings for men, which did not, go so far as to create a false history and claim that the practice had medieval roots. By the mid-1940s, 85% of weddings in the U.S. featured a double-ring ceremony, up from 15% in the 1920s.[28]
Some religions have specific rules or traditions surrounding jewellery (or even prohibiting it) and many religions have edicts against excessive display. Islam, for instance, considers the wearing of gold by men as Haraam.[29] The majority of Islamic jewellery was in the form of bridal dowries, and traditionally was not handed down from generation to generation; instead, on a woman's death it was sold at the souk and recycled or sold to passers-by. Islamic jewellery from before the 19th century is thus exceedingly rare.[30]
History
[edit]
The history of jewellery is long and goes back many years, with many different uses among different cultures. It has endured for thousands of years and has provided various insights into how ancient cultures worked.
Prehistory
[edit]
The earliest known Jewellery was actually created not by modern humans (Homo sapiens) but by Neanderthal living in Europe. Specifically, perforated beads made from small seashells have been found dating to 115,000 years ago in the Cueva de los Aviones, a cave along the southeast coast of Spain. Later in Kenya, at Enkapune Ya Muto, beads made from perforated ostrich eggshells have been dated to more than 40,000 years ago. In Russia, a stone bracelet and marble ring are attributed to a similar age.[31]
Later, the European early modern humans had crude necklaces and bracelets of bone, teeth, berries, and stone hung on pieces of string or animal sinew, or pieces of carved bone used to secure clothing together. In some cases, jewellery had shell or mother-of-pearl pieces. A decorated engraved pendant (the Star Carr Pendant) dating to around 11,000 BC, and thought to be the oldest Mesolithic art in Britain, was found at the site of Star Carr in North Yorkshire in 2015.[32] In southern Russia, carved bracelets made of mammoth tusk have been found. The Venus of Hohle Fels features a perforation at the top, showing that it was intended to be worn as a pendant.
Around seven thousand years ago, the first sign of copper jewellery was seen.[8] In October 2012, the Museum of Ancient History in Lower Austria revealed that they had found a grave of a female jewellery worker – forcing archaeologists to take a fresh look at prehistoric gender roles after it appeared to be that of a female fine metal worker – a profession that was previously thought to have been carried out exclusively by men.[33]
String of beads; 3650–3100 BC; lapis lazuli (the blue beads) and travertine (the white beads) (Egyptian alabaster); length: 4.5 centimetres (1.8 in); by Naqada II or Naqada III cultures; Metropolitan Museum of Art (New York City)
String of beads; 3300–3100 BC; carnelian, garnet, quartz and glazed steatite; length: 20.5 centimetres (8.1 in); by Naqada III culture Metropolitan Museum of Art
Armlet with sun symbol; 16th–13th century BC (late Bronze Age); bronze; German National Museum (Nürnberg)
Necklace; probably 2600–1300 BC; carnelian, bone and stone; from Saruq Al Hadid (the United Arab Emirates)
Africa
[edit]
Egypt
[edit]
Main article: Art of ancient Egypt § Jewelry
The first signs of established jewellery making in Ancient Egypt was around 3,000–5,000 years ago.[34] The Egyptians preferred the luxury, rarity, and workability of gold over other metals. In Predynastic Egypt jewellery soon began to symbolise political and religious power in the community. Although it was worn by wealthy Egyptians in life, it was also worn by them in death, with jewellery commonly placed among grave goods.
In conjunction with gold jewellery, Egyptians used coloured glass, along with semi-precious gems. The colour of the jewellery had significance. Green, for example, symbolised fertility. Lapis lazuli and silver had to be imported from beyond the country's borders.
Egyptian designs were most common in Phoenician jewellery. Also, ancient Turkish designs found in Persian jewellery suggest that trade between the Middle East and Europe was not uncommon. Women wore elaborate gold and silver pieces that were used in ceremonies.[34]
Pectoral (chest jewellery) of Tutankhamun; 1336–1327 BC (Reign of Tutankhamun); gold, silver and meteoric glass; height: 14.9 cm (5.9 in); Egyptian Museum (Cairo)
Pendant; c. 1069 BC; gold and turquoise; overall: 5.1 by 2.3 centimetres (2.01 in × 0.91 in); Cleveland Museum of Art (Cleveland)
Signet ring; 664–525 BC; gold; diameter: 3 by 3.4 centimetres (1.2 in × 1.3 in); British Museum (London)
Pectoral and necklace of Princess Sithathoriunet; 1887–1813 BC; gold, carnelian, lapis lazuli, turquoise, garnet and feldspar; height of the pectoral: 4.5 centimetres (1.8 in); Metropolitan Museum of Art (New York City)
Khmissa amulet in silver
Maghreb countries in North Africa
[edit]
Main article: Jewellery of the Berber cultures
Jewellery of the Berber cultures is a style of traditional jewellery worn by women and girls in the rural areas of the Maghreb region in North Africa inhabited by indigenous Berber people (in Berber language: Amazigh, Imazighen, pl). Following long social and cultural traditions, the silversmiths of different ethnic Berber groups of Morocco, Algeria and neighbouring countries created intricate jewellery to adorn their women and that formed part of their ethnic identity. Traditional Berber jewellery was usually made of silver and includes elaborate brooches made of triangular plates and pins (fibula), originally used as clasps for garments, but also necklaces, bracelets, earrings and similar items.
Another major type is the so-called khmissa (local pronunciation of the Arabic word "khamsa" for the number "five"), which is called afus in the Berber language (Tamazight). This form represents the five fingers of the hand and is traditionally believed both by Muslims as well as Jewish people to protect against the evil eye.[35]
Europe and the Middle East
[edit]
The first gold jewellery from Bulgaria
[edit]
Main article: Varna Necropolis
Oldest golden artifacts in the world from Varna necropolis – grave offerings on exposition in Varna Museum
The oldest gold jewellery in the world is dating from 4,600 BC to 4,200 BC and was discovered in Europe, at the site of Varna Necropolis, near the Black Sea coast in Bulgaria.[36][37][38]
Mesopotamia
[edit]
Headdress decorated with golden leaves; 2600–2400 BC; gold, lapis lazuli and carnelian; length: 38.5 centimetres (15.2 in); from the Royal Cemetery at Ur; Metropolitan Museum of Art (New York City)
By approximately 5,000 years ago, jewellery-making had become a significant craft in the cities of Mesopotamia. The most significant archaeological evidence comes from the Royal Cemetery of Ur, where hundreds of burials dating 2900–2300 BC were unearthed; tombs such as that of Puabi contained a multitude of artefacts in gold, silver, and semi-precious stones, such as lapis lazuli crowns embellished with gold figurines, close-fitting collar necklaces, and jewel-headed pins. In Assyria, men and women both wore extensive amounts of jewellery, including amulets, ankle bracelets, heavy multi-strand necklaces, and cylinder seals.[39]
Jewellery in Mesopotamia tended to be manufactured from thin metal leaf and was set with large numbers of brightly coloured stones (chiefly agate, lapis, carnelian, and jasper). Favoured shapes included leaves, spirals, cones, and bunches of grapes. Jewellers created works both for human use and for adorning statues and idols. They employed a wide variety of sophisticated metalworking techniques, such as cloisonné, engraving, fine granulation, and filigree.[40]
Extensive and meticulously maintained records pertaining to the trade and manufacture of jewellery have also been unearthed throughout Mesopotamian archaeological sites. One record in the Mari royal archives, for example, gives the composition of various items of jewellery:
1 necklace of flat speckled chalcedony beads including: 34 flat speckled chalcedony bead, [and] 35 gold fluted beads, in groups of five.
1 necklace of flat speckled chalcedony beads including: 39 flat speckled chalcedony beads, [with] 41 fluted beads in a group that make up the hanging device.
1 necklace with rounded lapis lazuli beads including: 28 rounded lapis lazuli beads, [and] 29 fluted beads for its clasp.[41]
Sumerian necklace beads; 2600–2500 BC; gold and lapis lazuli; length: 54 centimetres (21 in); Metropolitan Museum of Art
Necklace; 2600–2500 BC; gold and lapis lazuli; length: 22.5 centimetres (8.9 in); Royal Cemetery at Ur (Iraq); Metropolitan Museum of Art
Pair of earrings with cuneiform inscriptions, 2093–2046 BC; gold; Sulaymaniyah Museum (Sulaymaniyah, Iraq)
Sumerian necklaces and headgear discovered in the royal (and individual) graves of the Royal Cemetery at Ur, showing the way they may have been worn, in British Museum (London)
Greece
[edit]
Openwork hairnet; 300–200 BC; gold; diameter: 23 centimetres (9.1 in), diameter of the medallion: 11.4 centimetres (4.5 in); unknown provenance (said to be from Karpenissi (Greece)); National Archaeological Museum (Athens)[42]
The Greeks started using gold and gems in jewellery in 1600 BC, although beads shaped as shells and animals were produced widely in earlier times. Around 1500 BC, the main techniques of working gold in Greece included casting, twisting bars, and making wire.[43] Many of these sophisticated techniques were popular in the Mycenaean period, but unfortunately this skill was lost at the end of the Bronze Age. The forms and shapes of jewellery in ancient Greece such as the armring (13th century BC), brooch (10th century BC) and pins (7th century BC), have varied widely since the Bronze Age as well. Other forms of jewellery include wreaths, earrings, necklace and bracelets. A good example of the high quality that gold working techniques could achieve in Greece is the 'Gold Olive Wreath' (4th century BC), which is modeled on the type of wreath given as a prize for winners in athletic competitions like the Olympic Games. Jewellery dating from 600 to 475 BC is not well represented in the archaeological record, but after the Persian wars the quantity of jewellery again became more plentiful.[44] One particularly popular type of design at this time was a bracelet decorated with snake and animal-heads Because these bracelets used considerably more metal, many examples were made from bronze. By 300 BC, the Greeks had mastered making coloured jewellery and using amethysts, pearl, and emeralds. Also, the first signs of cameos appeared, with the Greeks creating them from Indian Sardonyx, a striped brown pink and cream agate stone. Greek jewellery was often simpler than in other cultures, with simple designs and workmanship. However, as time progressed, the designs grew in complexity and different materials were soon used.
Jewellery in Greece was hardly worn and was mostly used for public appearances or on special occasions. It was frequently given as a gift and was predominantly worn by women to show their wealth, social status, and beauty. The jewellery was often supposed to give the wearer protection from the "evil eye" or endowed the owner with supernatural powers, while others had a religious symbolism. Older pieces of jewellery that have been found were dedicated to the Gods.
They worked two styles of pieces: cast pieces and pieces hammered out of sheet metal. Fewer pieces of cast jewellery have been recovered. It was made by casting the metal onto two stone or clay moulds. The two-halves were then joined, and wax, followed by molten metal, was placed in the centre. This technique had been practised since the late Bronze Age. The more common form of jewellery was the hammered sheet type. Sheets of metal would be hammered to thickness and then soldered together. The inside of the two sheets would be filled with wax or another liquid to preserve the metal work. Different techniques, such as using a stamp or engraving, were then used to create motifs on the jewellery. Jewels may then be added to hollows or glass poured into special cavities on the surface.
The Greeks took much of their designs from outer origins, such as Asia, when Alexander the Great conquered part of it. In earlier designs, other European influences can also be detected. When Roman rule came to Greece, no change in jewellery designs was detected. However, by 27 BC, Greek designs were heavily influenced by the Roman culture. That is not to say that indigenous design did not thrive. Numerous polychrome butterfly pendants on silver foxtail chains, dating from the 1st century, have been found near Olbia, with only one example ever found anywhere else.[45]
The Bee Pendant, an iconic Minoan jewel; 1700–1600 BC; gold; width: 4.6 centimetres (1.8 in); from Chrysolakkos (gold pit) complex at Malia; Archaeological Museum of Heraklion (Heraklion, Greece)[46][47]
Mycenaean necklace; 1400–1050 BC; gilded terracotta; diameter of the rosettes: 2.7 centimetres (1.1 in), with variations of circa 0.1 centimetres (0.039 in), length of the pendant 3.7 centimetres (1.5 in); Metropolitan Museum of Art (New York City)
The Ganymede Jewellery; circa 300 BC; gold; various dimensions; provenance unknown (said to have been found near Thessaloniki, Greece); Metropolitan Museum of Art
Necklace; circa 200 BC; gold, moonstone, garnet, emerald, cornelian, baroque pearl and banded agate; overall: 39.4 centimetres (15.5 in); Cleveland Museum of Art (Cleveland)
Etruscan
[edit]
Main article: Etruscan jewelry
Gorgons, pomegranates, acorns, lotus flowers and palms were a clear indicator of Greek influence in Etruscan jewellery. The modelling of heads, which was a typical practice from the Greek severe period, was a technique that spread throughout the Etruscan territory. An even clearer evidence of new influences is the shape introduced in the Orientalizing era: The Bullae. A pear-shaped vessel used to hold perfume. Its surface was usually decorated with repoussé and engraved symbolic figures.
Much of the jewellery found was not worn by Etruscans, but were made to accompany them in the after world. Most, if not all, techniques of Etruscan goldsmiths were not invented by them as they are dated to the third millennium BC.
The Vulci set of jewelry; early 5th century; gold, glass, rock crystal, agate and carnelian; various dimensions; Metropolitan Museum of Art (New York City)
Earring in the form of a dolphin; 5th century BC; gold; 2.1 by 1.4 by 4.9 centimetres (0.83 in × 0.55 in × 1.93 in); Metropolitan Museum of Art
Bulla with Daedalus and Icarus; 5th century BC; gold; 1.6 by 1 by 1 centimetre (0.63 in × 0.39 in × 0.39 in); Walters Art Museum (Baltimore)
Earring; gold and silver; 1.5 by 0.4 by 1.4 centimetres (0.59 in × 0.16 in × 0.55 in); Metropolitan Museum of Art
Rome
[edit]
The Great Cameo of France; second quarter of the 1st century AD; five-layered sardonyx; 31 by 26.5 centimetres (12.2 in × 10.4 in); Cabinet des médailles (Paris)
Although jewellery work was abundantly diverse in earlier times, especially among the tribes such as the Celts, when the Romans conquered most of Europe, jewellery was changed as smaller factions developed the Roman designs. The most common artefact of early Rome was the brooch, which was used to secure clothing together. The Romans used a diverse range of materials for their jewellery from their extensive resources across the continent. Although they used gold, they sometimes used bronze or bone, and in earlier times, glass beads and pearl. As early as 2,000 years ago, they imported Sri Lankan sapphires and Indian diamonds and used emeralds and amber in their jewellery. In Roman-ruled England, fossilised wood called jet from Northern England was often carved into pieces of jewellery. The early Italians worked in crude gold and created clasps, necklaces, earrings, and bracelets. They also produced larger pendants that could be filled with perfume.
Like the Greeks, often the purpose of Roman jewellery was to ward off the "evil eye" given by other people. Although women wore a vast array of jewellery, men often only wore a finger ring. Although they were expected to wear at least one ring, some Roman men wore a ring on every finger, while others wore none. Roman men and women wore rings with an engraved gem on it that was used with wax to seal documents, a practice that continued into medieval times when kings and noblemen used the same method. After the fall of the Roman Empire, the jewellery designs were absorbed by neighbouring countries and tribes.[34]
Cameo portrait of the Emperor Augustus; 41–54 AD; sardonyx; 3.7 by 2.9 by 0.8 centimetres (1.46 in × 1.14 in × 0.31 in); Metropolitan Museum of Art (New York City)
Bracelet; 1st–2nd century AD; gold-mounted crystal and sardonyx; length: 19.69 centimetres (7.75 in); Los Angeles County Museum of Art (Los Angeles)
Necklace with a medallion depicting a goddess; 30–300 AD; green glass (the green beads) and gold; length: 43.82 centimetres (17.25 in); Los Angeles County Museum of Art
Openwork hairnet with the head of Medusa; 200–300 AD; gold; Archaeological Museum of Agrigento (Agrigento, Italy)
Middle Ages
[edit]
Byzantine collier; late 6th–7th century; gold, emeralds, sapphires, amethysts and pearls; diameter: 23 centimetres (9.1 in); from a Constantinopolitan workshop; Antikensammlung Berlin (Berlin, Germany)
Post-Roman Europe continued to develop jewellery making skills. The Celts and Merovingians in particular are noted for their jewellery, which in terms of quality matched or exceeded that of the Byzantine Empire. Clothing fasteners, amulets, and, to a lesser extent, signet rings, are the most common artefacts known to us. A particularly striking Celtic example is the Tara Brooch.[48] The Torc was common throughout Europe as a symbol of status and power. By the 8th century, jewelled weaponry was common for men, while other jewellery (with the exception of signet rings) seemed to become the domain of women. Grave goods found in a 6th–7th century burial near Chalon-sur-Saône are illustrative. A young girl was buried with: 2 silver fibulae, a necklace (with coins), bracelet, gold earrings, a pair of hair-pins, comb, and buckle.[49] The Celts specialised in continuous patterns and designs, while Merovingian designs are best known for stylised animal figures.[50] They were not the only groups known for high quality work. Note the Visigoth work shown here, and the numerous decorative objects found at the Anglo-Saxon Ship burial at Sutton Hoo Suffolk, England are a particularly well-known example.[34] On the continent, cloisonné and garnet were perhaps the quintessential method and gemstone of the period. In the 15th century, characteristic English jewellery types, such as golden signets and niello rings, became prominent. These pieces were often adorned with tiny figures of saints and intricate floral patterns, rivaling continental designs in craftsmanship.[51]
The Eastern successor of the Roman Empire, the Byzantine Empire, continued many of the methods of the Romans, though religious themes came to predominate. Unlike the Romans, the Franks, and the Celts, however, Byzantium used light-weight gold leaf rather than solid gold, and more emphasis was placed on stones and gems. As in the West, Byzantine jewellery was worn by wealthier females, with male jewellery apparently restricted to signet rings. Woman's jewellery had some peculiarities like kolts that decorated headband. Like other contemporary cultures, jewellery was commonly buried with its owner.[52]
The Eagle-shaped fibulae of Alovera; 5th century; gold, bronze and glass (imitation of garnet); height: 11.8 centimetres (4.6 in), width: 5.9 centimetres (2.3 in); from Guadalajara (Spain); National Archaeological Museum (Madrid, Spain)
Shoulder-clasps from Sutton Hoo; early 7th century; gold, glass and garnet; length: 12.7 centimetres (5.0 in); British Museum (London)
Pair of Byzantine earrings; 7th century; gold, pearls, glass and emeralds; 10.2 by 4.5 centimetres (4.0 in × 1.8 in); Cleveland Museum of Art (Cleveland)
Front of a temple pendant with two birds flanking a tree of life; 11th–12th century; cloisonné enamel and gold; overall: 5.4 by 4.8 by 1.5 centimetres (2.13 in × 1.89 in × 0.59 in); made in Kyiv (Ukraine); Metropolitan Museum of Art (New York City)
Renaissance
[edit]
Cameo; 16th century; sardonyx; Cabinet des Médailles (Paris)
The Renaissance and exploration both had significant impacts on the development of jewellery in Europe. By the 17th century, increasing exploration and trade led to increased availability of a wide variety of gemstones as well as exposure to the art of other cultures. Whereas prior to this the working of gold and precious metal had been at the forefront of jewellery, this period saw increasing dominance of gemstones and their settings. An example of this is the Cheapside Hoard, the stock of a jeweller hidden in London during the Commonwealth period and not found again until 1912. It contained Colombian emerald, topaz, amazonite from Brazil, spinel, iolite, and chrysoberyl from Sri Lanka, ruby from India, Afghan lapis lazuli, Persian turquoise, Red Sea peridot, as well as Bohemian and Hungarian opal, garnet, and amethyst. Large stones were frequently set in box-bezels on enamelled rings.[53] Notable among merchants of the period was Jean-Baptiste Tavernier, who brought the precursor stone of the Hope Diamond to France in the 1660s.
When Napoleon Bonaparte was crowned as Emperor of the French in 1804, he revived the style and grandeur of jewellery and fashion in France. Under Napoleon's rule, jewellers introduced parures, suites of matching jewellery, such as a diamond tiara, diamond earrings, diamond rings, a diamond brooch, and a diamond necklace. Both of Napoleon's wives had beautiful sets such as these and wore them regularly. Another fashion trend resurrected by Napoleon was the cameo. Soon after his cameo decorated crown was seen, cameos were highly sought. The period also saw the early stages of costume jewellery, with fish scale covered glass beads in place of pearls or conch shell cameos instead of stone cameos. New terms were coined to differentiate the arts: jewellers who worked in cheaper materials were called bijoutiers, while jewellers who worked with expensive materials were called joailliers, a practice which continues to this day.
Romanticism
[edit]
Russian earring; 19th century; silver, enamel and red glass beads; overall: 6.4 by 2.6 centimetres (2.5 in × 1.0 in); Cleveland Museum of Art (Cleveland)
Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the public's fascination with the treasures being discovered through the birth of modern archaeology and a fascination with Medieval and Renaissance art. Changing social conditions and the onset of the Industrial Revolution also led to growth of a middle class that wanted and could afford jewellery. As a result, the use of industrial processes, cheaper alloys, and stone substitutes led to the development of paste or costume jewellery. Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewellery of the masses, not only through use of precious metals and stones but also though superior artistic and technical work. One such artist was the French goldsmith François-Désiré Froment-Meurice. A category unique to this period and quite appropriate to the philosophy of romanticism was mourning jewellery. It originated in England, where Queen Victoria was often seen wearing jet jewellery after the death of Prince Albert, and it allowed the wearer to continue wearing jewellery while expressing a state of mourning at the death of a loved one.[54]
In the United States, this period saw the founding in 1837 of Tiffany & Co. by Charles Lewis Tiffany. Tiffany's put the United States on the world map in terms of jewellery and gained fame creating dazzling commissions for people such as the wife of Abraham Lincoln. Later, it would gain popular notoriety as the setting of the film Breakfast at Tiffany's. In France, Pierre Cartier founded Cartier SA in 1847, while 1884 saw the founding of Bulgari in Italy. The modern production studio had been born and was a step away from the former dominance of individual craftsmen and patronage.
This period also saw the first major collaboration between East and West. Collaboration in Pforzheim between German and Japanese artists led to Shakudō plaques set into Filigree frames being created by the Stoeffler firm in 1885.[55] Perhaps the grand finalé – and an appropriate transition to the following period – were the masterful creations of the Russian artist Peter Carl Fabergé, working for the Imperial Russian court, whose Fabergé eggs and jewellery pieces are still considered as the epitome of the goldsmith's art.
18th century/Romanticism/Renaissance
[edit]
Many whimsical fashions were introduced in the extravagant eighteenth century. Cameos that were used in connection with jewellery were the attractive trinkets along with many of the small objects such as brooches, ear-rings and scarf-pins. Some of the necklets were made of several pieces joined with the gold chains were in and bracelets were also made sometimes to match the necklet and the brooch. At the end of the Century the jewellery with cut steel intermixed with large crystals was introduced by an Englishman, Matthew Boulton of Birmingham.[56]
Art Nouveau
[edit]
Breastplate with a peacocks; René Lalique; c. 1898–1900; gold, enamels, opals and diamonds; Calouste Gulbenkian Museum (Lisbon, Portugal)
In the 1890s, jewellers began to explore the potential of the growing Art Nouveau style and the closely related German Jugendstil, British (and to some extent American) Arts and Crafts Movement, Catalan Modernisme, Austro-Hungarian Sezession, Italian "Liberty", etc.
Art Nouveau jewellery encompassed many distinct features including a focus on the female form and an emphasis on colour, most commonly rendered through the use of enamelling techniques including basse-taille, champleve, cloisonné, and plique-à-jour. Motifs included orchids, irises, pansies, vines, swans, peacocks, snakes, dragonflies, mythological creatures, and the female silhouette.
René Lalique, working for the Paris shop of Samuel Bing, was recognised by contemporaries as a leading figure in this trend. The Darmstadt Artists' Colony and Wiener Werkstätte provided perhaps the most significant input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co., (notably through the Cymric designs of Archibald Knox) and the British arts and crafts movement of Charles Robert Ashbee contributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller's art from the setting of stones to the artistic design of the piece itself. Lalique's dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognisable design feature.
The end of World War I once again changed public attitudes, and a more sober style developed.[57]
The Dragonfly brooch; by René Lalique; c. 1897–1898; gold, vitreous enamel, chrysoprase, chalcedony, moonstone and diamond; height: 23 centimetres (9.1 in), width: 26.5 centimetres (10.4 in); Calouste Gulbenkian Museum (Lisbon, Portugal)
Necklace; by René Lalique; 1897–1899; gold, enamel, opals and amethysts; overall diameter: 24.1 centimetres (9.5 in); Metropolitan Museum of Art (New York City)
The Snakes brooch; by René Lalique; gold and enamel; Calouste Gulbenkian Museum
Hair ornament, an Art Nouveau masterpiece; by René Lalique; c. 1902; gold, emeralds and diamonds; Musée d'Orsay (Paris)
Art Deco
[edit]
Bracelet in platinum, white gold, silver, diamonds, lapislazuli, turquoise, by Cartier Paris, 1937
Growing political tensions, the after-effects of the war, and a reaction against the perceived decadence of the turn of the 20th century led to simpler forms, combined with more effective manufacturing for mass production of high-quality jewellery. Covering the period of the 1920s and 1930s, the style has become popularly known as Art Deco. Walter Gropius and the German Bauhaus movement, with their philosophy of "no barriers between artists and craftsmen" led to some interesting and stylistically simplified forms. Modern materials were also introduced: plastics and aluminium were first used in jewellery, and of note are the chromed pendants of Russian-born Bauhaus master Naum Slutzky. Technical mastery became as valued as the material itself. In the West, this period saw the reinvention of granulation by the German Elizabeth Treskow, although development of the re-invention has continued into the 1990s. It is based on the basic shapes.
Asia
[edit]
In Asia, the Indian subcontinent has the longest continuous legacy of jewellery making anywhere, Asia was the first place where these jewellery were made in large numbers for the royals[58] with a history of over 5,000 years.[59] One of the first to start jewellery making were the peoples of the Indus Valley civilization, in what is now predominately modern-day Pakistan and part of northern and western India. Early jewellery making in China started around the same period, but it became widespread with the spread of Buddhism around 2,000 years ago.
China
[edit]
The Chinese used silver in their jewellery more than gold. Blue kingfisher feathers were tied onto early Chinese jewellery and later, blue gems and glass were incorporated into designs. However, jade was preferred over any other stone. The Chinese revered jade because of the human-like qualities they assigned to it, such as its hardness, durability, and beauty.[8] The first jade pieces were very simple, but as time progressed, more complex designs evolved. Jade rings from between the 4th and 7th centuries BC show evidence of having been worked with a compound milling machine, hundreds of years before the first mention of such equipment in the west.[60]
In China, the most uncommon piece of jewellery is the earring, which was worn neither by men nor women.[61] In modern times, earrings are still considered culturally taboo for men in China—in fact, in 2019, the Chinese video streaming service iQiyi began blurring the ears of male actors wearing earrings. Amulets were common, often with a Chinese symbol or dragon. Dragons, Chinese symbols, and phoenixes were frequently depicted on jewellery designs.
The Chinese often placed their jewellery in their graves. Most Chinese graves found by archaeologists contain decorative jewellery.[62]
Fluted ring with a dragon head (huan); circa 475 BC; jade (nephrite); overall: 9.1 centimetres (3.6 in); Cleveland Museum of Art (Cleveland)
Ornament with flowers and grapes design; 1115–1234; jade; Shanghai Museum (China)
Xin 心 shaped jewellery; 1368–1644; gold, ruby, pearl and other gemstones; about the size of an adult human's palm; Dingling (Beijing, China)
Hat ornament; 18th–19th century; gold, gilded metal, kingfisher feathers, glass and semiprecious stones; various dimensions; Metropolitan Museum of Art (New York City)
Indian subcontinent
[edit]
Necklace with Shiva's family; late 19th century; gold inlaid with rubies, a diamond Rudraksha beads (elaeo carpus seeds) and silver back plate on clasp; overall: 38.1 centimetres (15.0 in); Los Angeles County Museum of Art (Los Angeles, US)
The Indian subcontinent has a long jewellery history, which has gone through various changes via cultural influence and politics for more than 5,000–8,000 years.[citation needed] Because India had an abundant supply of precious metals and gems, it prospered financially through export and exchange with other countries. While European traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5,000 years.[59] One of the first to start jewellery making were the peoples of the Indus Valley civilization. By 1500 BC, the peoples of the Indus Valley were creating gold earrings and necklaces, bead necklaces, and metallic bangles.[citation needed] Before 2100 BC, prior to the period when metals were widely used, the largest jewellery trade in the Indus Valley region was the bead trade. Beads in the Indus Valley were made using simple techniques. First, a bead maker would need a rough stone, which would be bought from an eastern stone trader. The stone would then be placed into a hot oven where it would be heated until it turned deep red, a colour highly prized by people of the Indus Valley. The red stone would then be chipped to the right size and a hole bored through it with primitive drills. The beads were then polished. Some beads were also painted with designs. This art form was often passed down through the family. Children of bead makers often learned how to work beads from a young age. Each stone had its own characteristics related to Hinduism.[citation needed]
Jewellery in the Indus Valley Civilization was worn predominantly by females, who wore numerous clay or shell bracelets on their wrists. They were often shaped like doughnuts and painted black. Over time, clay bangles were discarded for more durable ones. In present-day India, bangles are made out of metal or glass.[63] Other pieces that women frequently wore were thin bands of gold that would be worn on the forehead, earrings, primitive brooches, chokers, and gold rings. Although women wore jewellery the most, some men in the Indus Valley wore beads. Small beads were often crafted to be placed in men and women's hair. The beads were about one millimetre long.[citation needed]
A female skeleton (presently on display at the National Museum, New Delhi, India) wears a carlinean bangle (bracelet) on her left hand. Kada is a special kind of bracelet and is widely popular in Indian culture. They symbolize animals such as peacock, elephant, etc.[64]
According to Hindu belief, gold and silver are considered as sacred metals.[65] Gold is symbolic of the warm sun, while silver suggests the cool moon. Both are the quintessential metals of Indian jewellery. Pure gold does not oxidise or corrode with time, which is why Hindu tradition associates gold with immortality. Gold imagery occurs frequently in ancient Indian literature. In the Vedic Hindu belief of cosmological creation, the source of physical and spiritual human life originated in and evolved from a golden womb (hiranyagarbha) or egg (hiranyanda), a metaphor of the sun, whose light rises from the primordial waters.[66]
Jewellery had great status with India's royalty; it was so powerful that they established laws, limiting wearing of jewellery to royalty. Only royalty and a few others to whom they granted permission could wear gold ornaments on their feet. This would normally be considered breaking the appreciation of the sacred metals. Even though the majority of the Indian population wore jewellery, Maharajas and people related to royalty had a deeper connection with jewellery.[citation needed] The Maharaja's role was so important that the Hindu philosophers identified him as central to the smooth working of the world. He was considered as a divine being, a deity in human form, whose duty was to uphold and protect dharma, the moral order of the universe.[67] The largest ever single order to Cartier was made in 1925 by the Indian royalty, the Maharaja of Patiala, for the Patiala Necklace and other jewellery worth ₹1,000 million (equivalent to ₹210 billion, US$2.5 billion or €2.4 billion in 2023).[68]
Navaratna (nine gems) is a powerful jewel frequently worn by a Maharaja (Emperor). It is an amulet, which comprises diamond, pearl, ruby, sapphire, emerald, topaz, cat's eye, coral, and hyacinth (red zircon). Each of these stones is associated with a celestial deity, representing the totality of the Hindu universe when all nine gems are together. The diamond is the most powerful gem among the nine stones.[citation needed] There were various cuts for the gemstone. Indian Kings bought gemstones privately from the sellers. Maharaja and other royal family members value gem as Hindu God.[clarification needed] They exchanged gems with people to whom they were very close, especially the royal family members and other intimate allies.
India was the first country to mine diamonds, with some mines dating back to 296 BC.[citation needed] India traded the diamonds, realising their valuable qualities. Historically, diamonds have been given to retain or regain a lover's or ruler's lost favour, as symbols of tribute, or as an expression of fidelity in exchange for concessions and protection.[citation needed] Mughal emperors and Kings used the diamonds as a means of assuring their immortality by having their names and worldly titles inscribed upon them. Moreover, it has played and continues to play a pivotal role in Indian social, political, economic, and religious event, as it often has done elsewhere.[citation needed] In Indian history, diamonds have been used to acquire military equipment, finance wars, foment revolutions, and tempt defections. They have contributed to the abdication or the decapitation of potentates. They have been used to murder a representative of the dominating power by lacing his food with crushed diamond.[citation needed] Indian diamonds have been used as security to finance large loans needed to buttress politically or economically tottering regimes. Victorious military heroes have been honoured by rewards of diamonds and also have been used as ransom payment for release from imprisonment or abduction.[69]
Today, many jewellery designs and traditions are used, and jewellery is commonplace in Indian ceremonies and weddings.[62] For many Indians, especially those who follow the Hindu or Jain faiths, bridal jewellery is known as streedhan and functions as personal wealth for the bride only, as a sort of financial security. For this reason, this jewellery, especially in the sacred metals of gold and silver, has large cultural significance for Indian brides. Jewellery is worn on the arms and hands, ears, neck, hair, head, feet, toes and waist to bless the bride with prosperity.[70]
Pendant probably with Siddha; 8th–9th century; copper alloy; 8.89 by 7.93 by 0.31 centimetres (3.50 in × 3.12 in × 0.12 in); Los Angeles County Museum of Art (Los Angeles)
Earring with Vishnu riding Garuda; c. 1600; gold set with jewels and semi-precious stones; overall: 2.6 centimetres (1.0 in); from Nepal; Cleveland Museum of Art (Cleveland)
Earring with four-armed Vishnu riding Garuda with Nagas (serpent divinities); c. 1600; repousse gold with pearls; overall: 3.6 cm; from Nepal; Cleveland Museum of Art
Comb with Vishnu adored by serpents; 1750–1800; ivory with traces of paint; 6.99 by 7.94 centimetres (2.75 in × 3.13 in); from Nepal; Los Angeles County Museum of Art
North and South America
[edit]
Main article: Native American jewelry
Moche ear ornaments depicting winged runners; 3rd–7th century; gold, turquoise, sodalite and shell; diameter: 8 cm; Metropolitan Museum of Art (New York City)
Jewellery making started in the Americas with the arrival of Paleo-Indians more than 15,000 years ago. This jewellery would have been made from stone, shell, bone and other perishable materials. The American continent is home to 2 cradles of civilization: in the Andes and Mesoamerica. Cultures in these regions developed more complex methods of jewellery creation. The Andes is the origin of hot working metallurgy in the Americas and consequently the region has the longest history of work in materials such as silver, platinum and gold. Metallurgy began in Mesoamerica during the Termainal Classic era, likely arriving from direct maritime trade with the Andean cultures. As a result, western Mesoamerican cultures, such as the Tarascans and Mixtecs, had more complex use of the technology.
With the Moche culture, goldwork flourished. The pieces are no longer simple metalwork, but are now masterful examples of jewellery making. Pieces are sophisticated in their design, and feature inlays of turquoise, mother of pearl, spondylus shell, and amethyst. The nose and ear ornaments, chest plates, small containers and whistles are considered masterpieces of ancient Peruvian culture.[71] A notable example of Andean metallurgy is the Northern Andean cultures' work with platinum, which has a much higher melting point than other precious metals. There are only a few known examples of cold worked platinum in the Old World and no known intentionally hot worked examples (platinum was not identified as a separate element and small inclusions appeared in some goldwork). In the New World however, certain Andean cultures recognized platinum as a separate metal and were able to incorporate it into jewellery, such as through sintering it with gold.[72]
Jadeite funerary jewellery from Tomb 1 of Structure VII of Calakmul, thought to belong to Yuknoom Tookʼ Kʼawiil. Late Classic (660 to 750 AD).
Among the Late Post-Classic Aztecs, only nobility wore gold jewellery, as it showed their rank, power, and wealth. A large portion of "Aztec gold" jewellery was created by Mixtec artisans. The Mixtecs were particularly known for their goldwork and gold jewellery was part of the tribute paid by Mixtec polities to the Aztecs. In general, the more jewellery an Aztec noble wore, the higher his status or prestige. The Emperor and his High Priests, for example, would be nearly completely covered in jewellery when making public appearances. Although gold was the most common and a popular material used in Aztec jewellery, jade, turquoise, and certain feathers were considered more valuable.[73] In addition to adornment and status, the Aztecs also used jewellery in sacrifices to appease the gods.[34][54]
Another ancient American civilization with expertise in jewellery making were the Maya. During the Pre-Classic and Classic era of Maya civilization, the Maya were making jewellery from local materials such as jade, pearls, and seashell while also incorporating imported materials such as obsidian and turquoise. In the Terminal Classic and Post-Classic, importation of gold, silver, bronze, and copper lead to the use of these materials in jewellery. Merchants and nobility were the only few that wore expensive jewellery in the Maya region, much the same as with the Aztecs.[62] Jade in particular had an important role across Mesoamerica.
In Northern America, Native Americans used shells, wood, turquoise, and soapstone The turquoise was used in necklaces and to be placed in earrings. The turquoise incorporated into Mesoamerican jewellery was primarily obtained through trade with Oasisamerica. Native Americans with access to oyster shells, often located in only one location in America, traded the shells with other tribes, showing the great importance of the body adornment trade in Northern America.[74]
Jewellery played a major role in the fate of the Americas when the Spanish colonizers were spurred to search for gold on the American mainland after coming into contact with Caribbean natives that had gold jewellery obtained through trade with the mainland. Continued contact with Native Americans wearing gold jewellery eventually lead to Spanish expeditions of the mythological El Dorado.
Pendant made from a spondylus shell, Western Mexico shaft tomb tradition, 200 BC to 200 AD, now at the Art Institute of Chicago, United States.
Muisca gold jewellery, including a headband, nose ornament and pectoral, on display at the Gold Museum in Bogota, Colombia.
Moche nose ornament made from silver and gold-silver alloy, inlaid with malachite, now at the Cleveland Museum of Art, United States.
Mixtec-Puebla style labret made from obsidian in the shape of an eagle, now at the Walters Art Museum in Baltimore, United States.
Native American
[edit]
Main article: Native American jewelry
Bai-De-Schluch-A-Ichin or Be-Ich-Schluck-Ich-In-Et-Tzuzzigi (Slender Silversmith) "Metal Beater," Navajo silversmith, photo by George Ben Wittick, 1883
Native American jewellery is the personal adornment, often in the forms of necklaces, earrings, bracelets, rings, pins, brooches, labrets, and more, made by the Indigenous peoples of the United States. Native American jewellery reflects the cultural diversity and history of its makers. Native American tribes continue to develop distinct aesthetics rooted in their personal artistic visions and cultural traditions. Artists create jewellery for adornment, ceremonies, and trade. Lois Sherr Dubin writes, "[i]n the absence of written languages, adornment became an important element of Indian [Native American] communication, conveying many levels of information." Later, jewellery and personal adornment "...signaled resistance to assimilation. It remains a major statement of tribal and individual identity."[75]
Within the Haida Nation of the Pacific Northwest, copper was used as a form of jewellery for creating bracelets.[76]
Metalsmiths, beaders, carvers, and lapidaries combine a variety of metals, hardwoods, precious and semi-precious gemstones, beadwork, quillwork, teeth, bones, hide, vegetal fibres, and other materials to create jewellery. Contemporary Native American jewellery ranges from hand-quarried and processed stones and shells to computer-fabricated steel and titanium jewellery.
Pacific
[edit]
Main article: Jewellery in the Pacific
Jewellery making in the Pacific started later than in other areas because of recent human settlement. Early Pacific jewellery was made of bone, wood, and other natural materials, and thus has not survived. Most Pacific jewellery is worn above the waist, with headdresses, necklaces, hair pins, and arm and waist belts being the most common pieces.
Jewellery in the Pacific, with the exception of Australia, is worn to be a symbol of either fertility or power. Elaborate headdresses are worn by many Pacific cultures and some, such as the inhabitants of Papua New Guinea, wear certain headdresses once they have killed an enemy. Tribesman may wear boar bones through their noses.
Island jewellery is still very much primal because of the lack of communication with outside cultures. Some areas of Borneo and Papua New Guinea are yet to be explored by Western nations. However, the island nations that were flooded with Western missionaries have had drastic changes made to their jewellery designs. Missionaries saw any type of tribal jewellery as a sign of the wearer's devotion to paganism. Thus, many tribal designs were lost forever in the mass conversion to Christianity.[77]
Australia is now the number one supplier of opals in the world. Opals had already been mined in Europe and South America for many years prior, but in the late 19th century, the Australian opal market became predominant. Australian opals are only mined in a few select places around the country, making it one of the most profitable stones in the Pacific.[78]
The New Zealand Māori traditionally had a strong culture of personal adornment,[79] most famously the hei-tiki. Hei-tikis are traditionally carved by hand from bone, nephrite, or bowenite.
Nowadays a wide range of such traditionally inspired items such as bone carved pendants based on traditional fishhooks hei matau and other greenstone jewellery are popular with young New Zealanders of all backgrounds – for whom they relate to a generalized sense of New Zealand identity. These trends have contributed towards a worldwide interest in traditional Māori culture and arts.
Other than jewellery created through Māori influence, modern jewellery in New Zealand is multicultural and varied.[77]
Māori hei-tiki; 1500–1800; jade (nephrite), abalone shell and pigments; from the New Zealand; Musée du quai Branly – Jacques Chirac (Paris)
Hei-tiki; 18th century; nephrite and haliotis shell; 10.9 centimetres (4.3 in); from the New Zealand; Los Angeles County Museum of Art (Los Angeles)
Hawaiian pendant; 18th–19th century; whalebone; height: 6 centimetres (2.4 in), width, 3.8 centimetres (1.5 in); Metropolitan Museum of Art (New York City)
Breast Ornament (civa vonovono); c. 1850; whale ivory, pearl shell and fiber; height: 12.7 centimetres (5.0 in), diameter: 17.78 centimetres (7.00 in); from Fiji; Los Angeles County Museum of Art
Modern
[edit]
Gold and gemstone contemporary jewellery designMale hand with modern silver rings, one with a tribal motif.
Most modern commercial jewellery continues traditional forms and styles, but designers such as Georg Jensen have widened the concept of wearable art. The advent of new materials, such as plastics, Precious Metal Clay (PMC), and colouring techniques, has led to increased variety in styles. Other advances, such as the development of improved pearl harvesting by people such as Mikimoto Kōkichi and the development of improved quality synthetic gemstones such as moissanite, has placed jewellery within the economic grasp of a much larger segment of the population.
The "jewellery as art" movement was spearheaded by artisans such as Robert Lee Morris and continued by designers such as Gill Forsbrook in the UK. Influence from other cultural forms is also evident. One example of this is bling-bling style jewellery, popularised by hip-hop and rap artists in the early 21st century, e.g. grills, a type of jewellery worn over the teeth.
Indian actress Shraddha Kapoor showcasing modern Indian-style jewellery
The late 20th century saw the blending of European design with oriental techniques such as Mokume-gane. The following are innovations in the decades straddling the year 2000: "Mokume-gane, hydraulic die forming, anti-clastic raising, fold-forming, reactive metal anodising, shell forms, PMC, photoetching, and [use of] CAD/CAM."[80]
Also, 3D printing as a production technique gains more and more importance.[citation needed] With a great variety of services offering this production method, jewellery design becomes accessible to a growing number of creatives. An important advantage of using 3d printing are the relatively low costs for prototypes, small batch series or unique and personalized designs. Shapes that are hard or impossible to create by hand can often be realized by 3D printing. Popular materials to print include polyamide, steel and wax (latter for further processing). Every printable material has its very own constraints that have to be considered while designing the piece of jewellery using 3D modelling software.
Artisan jewellery continues to grow as both a hobby and a profession.[citation needed] With more than 17 United States periodicals about beading alone, resources, accessibility, and a low initial cost of entry continues to expand production of hand-made adornments.[citation needed] Some fine examples of artisan jewellery can be seen at The Metropolitan Museum of Art in New York City.[81] The increase in numbers of students choosing to study jewellery design and production in Australia has grown in the past 20 years, and Australia now has a thriving contemporary jewellery community.[citation needed] Many of these jewellers have embraced modern materials and techniques, as well as incorporating traditional workmanship.
More expansive use of metal to adorn the wearer, where the piece is larger and more elaborate than what would normally be considered jewellery, has come to be referred to by designers and fashion writers as metal couture.[82][83]
Masonic
[edit]
Types of masonic collar jewels
Freemasons attach jewels to their detachable collars when in Lodge to signify a Brothers Office held with the Lodge.[citation needed] For example, the square represents the Master of the Lodge and the dove represents the Deacon.
Body modification
[edit]
A Padaung girl in Northern Thailand
Jewellery used in body modification can be simple and plain or dramatic and extreme. The use of simple silver studs, rings, and earrings predominates. Common jewellery pieces such as earrings are a form of body modification, as they are accommodated by creating a small hole in the ear.
Padaung women in Myanmar place large golden rings around their necks. From as early as five years old, girls are introduced to their first neck ring. Over the years, more rings are added. In addition to the twenty-plus pounds of rings on her neck, a woman will also wear just as many rings on her calves. At their extent, some necks modified like this can reach 10–15 in (25–38 cm) long. The practice has health impacts and has in recent years declined from cultural norm to tourist curiosity.[84] Tribes related to the Padaung, as well as other cultures throughout the world, use jewellery to stretch their earlobes or enlarge ear piercings. In the Americas, labrets have been worn since before first contact by Innu and First Nations peoples of the northwest coast.[85] Lip plates have been worn by the African Mursi and Sara people, as well as some South American peoples.
In the late twentieth century, the influence of modern primitivism led to many of these practices being incorporated into western subcultures. Many of these practices rely on a combination of body modification and decorative objects, thus keeping the distinction between these two types of decoration blurred.
In many cultures, jewellery is used as a temporary body modifier; in some cases, with hooks or other objects being placed into the recipient's skin. Although this procedure is often carried out by tribal or semi-tribal groups, often acting under a trance during religious ceremonies, this practice has seeped into western culture. Many extreme-jewellery shops now cater to people wanting large hooks or spikes set into their skin. Most often, these hooks are used in conjunction with pulleys to hoist the recipient into the air. This practice is said to give an erotic feeling to the person and some couples have even performed their marriage ceremony whilst being suspended by hooks.[84]
Jewellery market
[edit]
The Oulun Koru jewellery shop at the Kirkkokatu street in Oulu, Finland
The Asia Pacific region dominated the jewelry market with a market share of 39.28% in 2024.[86] The global jewelry market size was valued at USD 353.26 billion in 2023 and is expected to grow at a compound annual growth rate (CAGR) of 4.7% from 2024 to 2030.[87]
As of 2022, the global jewelry market was valued at approximately $270 billion and is projected to grow to over $330 billion by 2026. In 2022, the leading countries in the jewelry and watch market revenue were China, India, and the United States.[88]
The global jewellery market was valued at USD 278.5 billion in 2018. India remains the largest consumer of gold globally, with gold demand rising by 11% year-on-year to 760.40 tonnes in 2018.[89]
See also
[edit]
Art jewelry
Bronze and brass ornamental work
Heirloom
Gemology
Jewellery cleaning
Jewellery of the Berber cultures
Jewellery Quarter
Jewelry Television
List of jewellery types
List of topics characterized as pseudoscience (healing jewelry)
List of names derived from gemstones
Live insect jewelry
Suffrage jewellery
Wire sculpture
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^Miller, Mary Ellen; Taube, Karl A. (1993). The Gods and Symbols of Ancient Mexico and the Maya: An Illustrated Dictionary of Mesoamerican Religion. Thames and Hudson. ISBN 978-0-500-05068-2.
^Josephy Jr, A.M. (1994). 500 Nations: The Illustrated History of North American Indians. Alfred A. Knopf. Inc.
^Dubin, 17
^"Haida Jewelry". Archived from the original on 16 March 2020. Retrieved 22 January 2020.
^ abNeich, R., Pereira, F. 2004. Pacific Jewellery and Adornment. David Bateman & Auckland Museum. ISBN 1869535359.
^Dorling Kindersley Ltd. 1989. Facts and Fallacies: Stories of the Strange and Unusual. Reader's Digest. 11–13.
^"Maori customary adornment". Te Papa. 2010-06-02. Archived from the original on 2010-06-02. Maori made and wore items of jewellery..."
^McCrieght, Tim. "What's New?" Metalsmith Spring 2006, Vol. 26 Issue 1, pp. 42–45
^"Nineteenth-Century American Jewelry". metmuseum.org. Archived from the original on 2006-12-14. Retrieved 2006-09-25.
^Mohemad, Dena. "Manuel Albarran Metal Couture" Archived 2016-04-11 at the Wayback Machine. Pushit Journal – News
^Ilbarra, Sabina (May 5, 2014) "Q & A with Manuel Albarran" Archived 2016-04-13 at the Wayback Machine. Living Out Loud
^ abPackard, M. (2002). Ripley's Believe It or Not Special Edition. Scholastic Inc. p. 22.
^Treister, Mikhail (2004). "George Catlin among the Nayas: Understanding the Practice of Labret Wearing on the Northwest Coast". Ancient Civilizations from Scythia to Siberia. 10 (3): 199–257. doi:10.1163/1570057042596388. JSTOR 483428.
Borel, F. 1994. The Splendor of Ethnic Jewelry: from the Colette and Jean-Pierre Ghysels Collection. New York: H.N. Abrams (ISBN 0810929937).
Evans, J. 1989. A History of Jewellery 1100–1870 (ISBN 0486261220).
LaGamma, Alisa (1991). Metropolitan jewelry. New York: The Metropolitan Museum of Art. ISBN 978-0-87099-616-0.
Nemet-Nejat, Karen Rhea 1998. Daily Life in Ancient Mesopotamia. Westport, CT: Greenwood Press (ISBN 0313294976).
Tait, H. 1986. Seven Thousand Years of Jewellery. London: British Museum Publications (ISBN 0714120340).
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About engagement ring
Ring indicating that the person wearing it is engaged to be married
For the 1950 film, see Wedding Ring (film). For the 1951 film, see Engagement Ring (film).
Two engagement rings, as traditionally worn on the ring finger of the left hand
An engagement ring, also known as a betrothal ring, is a ring indicating that the person wearing it is engaged to be married, especially in Western cultures. A ring is presented as an engagement gift by a partner to their prospective spouse when they propose marriage to represent a formal agreement to future marriage. In most Western countries, engagement rings are usually worn only by women, and they are typically adorned with diamonds[citation needed]. In some countries, partners wear matching rings, and engagement rings may also be used as wedding rings. In the Anglosphere, the ring is customarily worn on the left hand ring finger, but customs vary across the world.[citation needed]
Engagement rings have been common in Western countries since at least the time of the Roman Empire. They began to feature diamonds during the Renaissance, although most commoners could not afford diamond rings prior to the discovery of the South African diamond mines in the 19th century. Historically, engagement rings were blessed and then worn during the betrothal ceremony of a couple,[1][2] but neither the engagement ring nor any other ring is worn at the time when the wedding ring is put by the groom on the finger of the bride as part of the marriage ceremony, and sometimes by the bride onto the groom's finger.[3] After the wedding, the engagement ring is usually put back on and is usually worn on the outside of the wedding ring.[3] In the present-day, the giving of the engagement ring "constitutes the subarration".[4]
History
[edit]
Ancient times
[edit]
Although the ancient Egyptians are sometimes credited with inventing the engagement ring, and the ancient Greeks with adopting the tradition, the history of the engagement ring can only be reliably traced as far back as ancient Rome.[5][6][7][8][9]
In many countries, engagement rings are placed on the ring finger of the left hand. At one time it was believed that this finger contained a vein (the vena amoris) that led to the heart. This idea was popularized by Henry Swinburne in A treatise of Spousals, or Matrimonial Contracts (1686).[10] The story seems to have its origin in the ancient Roman book Attic Nights by Aulus Gellius quoting Apion's Aegyptiacorum, where the alleged vein was originally a nervus (a word that can be translated either as "nerve" or "sinew").[11]
The popular belief that an engagement ring was originally part of the bride price which represented purchase and ownership of the bride, has been called into question by contemporary scholarship.[12][8]: 42 note 105
In the second century BC, the Roman bride-to-be was given two rings, a gold one which she wore in public, and one made of iron which she wore at home while attending to household duties. At one time Roman citizens wore rings made of iron. In later years senators who served as ambassadors were given gold seal rings for official use when abroad. Later the privilege of wearing gold rings was extended to other public officials, then to the knights, later to all freeborn, and finally under Justinian, to freedmen. For several centuries it was the custom for Romans to wear iron rings at home, gold rings in public. During this period a girl or woman might receive two engagement rings, one of iron and one of gold.[13][14]
An engagement ring
Middle Ages
[edit]
The mid-7th century Visigothic Code required "that when the ceremony of betrothal has been performed ... and the ring shall have been given or accepted as a pledge, although nothing may have been committed to writing, the promise shall, under no circumstances, be broken."[15][16]
In 860 AD, Pope Nicholas I wrote a letter to Boris I of Bulgaria in reply to questions regarding differences between Roman Catholic and Eastern Orthodox practices. Pope Nicholas describes how in the Western church the man gives his betrothed an engagement ring.[17][18][19] At the Fourth Council of the Lateran in 1215, convoked by Pope Innocent III, the banns of marriage was instituted, prohibiting clandestine marriages and requiring that marriages be made public in advance.[20] Some[who?] legal scholars have seen in this a parallel with the engagement-ring tradition described by Pope Nicholas I.[citation needed]
Renaissance
[edit]
Maximilian offers an engagement ring to Mary of Burgundy. Miniature in a medieval manuscript copy of the Excellent Chronicle of Flanders by Anthonis de Roovere. Ca. 1485-1515. (Bruges Public Library Ms. 437)[21]
The first well-documented use of a diamond ring to signify engagement was by the Archduke Maximilian of Austria in the imperial court of Vienna in 1477, upon his betrothal to Mary of Burgundy. This then influenced those of higher social class and of significant wealth to give diamond rings to their loved ones.[22]
Reformation
[edit]
During the Protestant Reformation the wedding ring replaced the betrothal ring as the primary ring associated with marriage.[23] In Catholic countries the transition took place somewhat later.[24]
Enlightenment
[edit]
During the Age of Enlightenment both the gimmal rings and posie rings were popular, although the latter was more often used as an expression of sentiment than to indicate a formal engagement.[25]
Victorian era
[edit]
In South Africa, diamonds were first found in 1866, although they were not identified as such until 1867.[26][27] By 1872, the output of the diamond mines exceeded one million carats per year.[28] As production increased, those of lesser means were able to join in on this movement. However, diamond engagement rings were for a long time seen as the domain of the nobility and aristocracy, and tradition often favoured simpler engagement bands.[citation needed]
In 1852, the Koh-i-Noor diamond was re-cut and embellished in Queen Victoria's crown. This triggered a diamond rush throughout the world.[citation needed]
20th century
[edit]
In the United States, the popularity of diamond engagement rings declined after World War I, even more so than after the onset of the Great Depression.[29]
In 1938, the diamond cartel De Beers began a marketing campaign that would have a major impact on engagement rings. During the Great Depression of the 1930s, the price of diamonds collapsed.[30] At the same time, market research indicated that engagement rings were going out of style with the younger generation. Before World War II, only 10% of American engagement rings contained a diamond.[31] While the first phase of the marketing campaign consisted of market research, the advertising phase began in 1939. One of the first elements of this campaign was to educate the public about the 4 Cs (cut, carats, color, and clarity). In 1947 the slogan "a diamond is forever" was introduced.[32] Ultimately, the De Beers campaign sought to persuade the consumer that an engagement ring is indispensable, and that a diamond is the only acceptable stone for an engagement ring.[33] The sales of diamonds in the United States rose from $23 million to $2.1 billion between 1939 and 1979.[34]
Law professor Margaret F. Brining links the surge in engagement ring sales in the USA after 1945 to the abolishment of the "breach of promise", that had entitled a woman whose fiancé had broken off their engagement to sue him for damages.[35] This rule of law was especially important for many women who had been sexually intimate with the fiancé, but were socially expected to be virgins in a new marriage, therefore lost "market value". After the gradual abolishment of that law action in all states the expensive engagement ring rose to popularity as a new financial security in case of a break-up, since it was custom for the women to keep the ring (partly only under the condition that the break-up was not seen as her fault).
21st century
[edit]
In the early 21st century, the jewellery industry started marketing engagement rings for men under the name "mangagement rings".[36][37]
Industry
[edit]
In the 20th century, if he could afford it, the typical Western groom privately selected and purchased an engagement ring, which he then presented to his desired bride when he proposed marriage. In countries where both partners wear engagement rings, matching rings may be selected and purchased together.[38] In the United States and Canada, where only women traditionally wear engagement rings, women also occasionally present their partners with an engagement gift.[39]
Like all jewellery, the price for an engagement ring varies considerably depending on the materials used: the design of the ring, whether it includes a gemstone, the value of any gemstone, and the seller. The price of the gemstones, if any, in the ring depends on the type and quality of the gem. Diamonds have a standardized description that values them according to their carat weight, color, clarity, and cut. Other gemstones, such as sapphires, rubies, and emeralds have different systems. The jewellery may be chosen to honor a family tradition, to use family heirlooms, to have an unusual style, to have socially responsible characteristics (e.g., a style that is not associated with blood diamond controversy or the pollution caused by gold mining and cyanide process), to fit the individual's stylistic preferences, or to manage cost. Synthetic diamonds and diamond substitutes such as cubic zirconias and moissanites are also popular choices that are socially responsible and reduce cost while maintaining the desired appearance.[citation needed]
The idea that a man should spend a significant fraction of his annual income for an engagement ring originated from De Beers marketing materials in the mid-20th century in an effort to increase the sale of diamonds. In the 1930s, they suggested that a man should spend the equivalent of one month's income in the engagement ring.[40] In the 1980s, they suggested that he should spend two months' income on it (three months in Japan).[31][34] In 2012, the average cost of an engagement ring in the US as reported by the industry was US$4,000.[41] In a 2015 scholarly study, almost a quarter of couples said that they did not buy a ring, and another third spent less than US$2000 on it.[31] Less than 15% of couples spent $4,000 or more.[31] In the UK, estimates of the average cost of an engagement ring range from £1200 to £2000. Scholarly research indicates that expensive engagement rings are associated with early divorces, possibly because spending more than US$2,000 on an engagement ring is strongly associated with debt-related stress.[31] Couples that spend less money on engagement rings and the wedding ceremony tend to have longer marriages and a lower risk of divorce.[31]
One reason for the increased popularity of expensive engagement rings is its relationship to human sexuality and the woman's marriage prospects.[42] In the United States, until the Great Depression, a man who broke off a marriage engagement could be sued for breach of promise. Monetary damages included actual expenses incurred in preparing for the wedding, plus damages for emotional distress and loss of other marriage prospects. Damages were greatly increased if the woman had engaged in sexual intercourse with her fiancé.[42] Beginning in 1935, these laws were repealed or limited. However, the social and financial cost of a broken engagement was no less: marriage was the only financially sound option for most women, and if she was no longer a virgin, her prospects for a suitable future marriage were greatly decreased. The diamond engagement ring thus became a source of financial security for the woman.[42]
The online purchase of engagement rings is growing, disrupting the market for the diamonds by bringing greater transparency to an industry that has traditionally relied on opacity. Online diamond retailers and e-commerce platforms include Blue Nile, Brilliant Earth, and Costco.[43]
Styles
[edit]
This wedding set contains two separate rings, either of which could be worn separately.
This wedding set contains two separate rings that look incomplete separately.
Engagement rings, like any other kind of jewellery, come in many different styles.
Gold (Available in Yellow Gold, White Gold and Rose Gold) and platinum are preferred for engagement rings, but common metal types such as titanium, silver, and stainless steel are also used for engagement rings.[44] This allows for the bride-to-be to exert her own individual style into the ring in a simple manner.[citation needed]
In the United States, where engagement rings are worn by women, diamonds have been widely featured in engagement rings since the middle of the 20th century.[45] Solitaire rings have one diamond. The most common setting for engagement rings is the solitaire prong setting, which was popularized by Tiffany & Co. in 1886 and its six-claw prong setting design sold under the "Tiffany setting" trademark. The modern favorite cut for an engagement ring is the brilliant cut, which provides the maximum amount of sparkle to the gemstone.[46] The traditional engagement rings may have different prong settings and bands. Another major category is engagement rings with side stones. Rings with a larger diamond set in the middle and smaller diamonds on the side fit under this category. Three-stone diamond engagement rings, sometimes called trinity rings or trilogy rings, are rings with three matching diamonds set horizontally in a row with the bigger stone placed in the center. The three diamonds on the ring are typically said to represent the couple's past, present, and future, but other people give religious significance to the arrangement.[citation needed]
A wedding set, or bridal set, includes an engagement ring and a wedding band that matches and can be bought as a set. In some cases, the wedding ring looks incomplete; it is only when the two halves, engagement and wedding, are assembled that the ring looks whole.[citation needed] In other cases, a wedding set consists of two rings that match stylistically and are worn stacked, although either piece would look appropriate as a separate ring.[citation needed] Although the wedding band is not to be worn until the wedding day, the two rings are usually sold together as a wedding set.[citation needed] After the wedding, the bride may choose to have the two pieces welded together, to increase convenience and reduce the likelihood of losing one of the rings.[citation needed] A trio ring set includes a women's engagement ring, a women's wedding band, and a men's wedding band. These sets often have matching rings and are lower in price.[citation needed]
In Nordic countries, engagement rings are worn by both men and women. Traditionally they are plain gold bands, although more ornate designs and other materials are gaining popularity. The engagement rings resemble the wedding bands sold in the United States, whereas women's wedding rings may resemble US engagement rings.[citation needed]
In North America and the United Kingdom, it is customarily worn on the left hand ring finger. Similar traditions purportedly date to classical times, dating back from an early usage reportedly referring to the fourth finger of the left hand as containing the vena amoris or "vein of love".[citation needed] This custom may have its origins in an ancient Egyptian myth that the finger contained a vein leading directly to the heart, or it may simply be because the heart lies slightly to the left side of the body. In Germany the ring is worn on the left hand while engaged, but moved to the right hand when married.[citation needed] In Poland and Turkey, the engagement ring and wedding band are traditionally worn on the right hand but modern practice varies considerably.[citation needed]
Legal ownership
[edit]
Tradition generally holds that if the betrothal fails because the man himself breaks off the engagement, the woman is not obliged to return the ring. This reflects the ring's role as a form of compensation for the woman's damaged reputation.[42] Legally, this condition can be subject to either a modified or a strict fault rule. Under the former, the fiancé can demand the return of the ring unless he breaks the engagement. Under the latter, the fiancé is entitled to the return unless his actions caused the breakup of the relationship, the same as the traditional approach. However, a no-fault rule is being advanced in some jurisdictions, under which the fiancé is always entitled to the return of the ring. The ring only becomes the property of the woman when marriage occurs. An unconditional gift approach is another possibility, wherein the ring is always treated as a gift, to be kept by the fiancée whether or not the relationship progresses to marriage. Recent court rulings have determined that the date in which the ring was offered can determine the condition of the gift. E.g. Valentine's Day and Christmas are widely recognized as gift-giving holidays in the United States and some other countries. A ring offered in the form of a Christmas present is likely to remain the personal property of the recipient in the event of a breakup.[47]
In most states of the United States, engagement rings are considered "conditional gifts" under the legal rules of property. This is an exception to the general rule that gifts cannot be revoked once properly given. See, for example, the case of Meyer v. Mitnick, 625 N.W.2d 136 (Michigan, 2001), whose ruling found the following reasoning persuasive: "the so-called 'modern trend' holds that because an engagement ring is an inherently conditional gift, once the engagement has been broken, the ring should be returned to the donor. Thus, the question of who broke the engagement and why, or who was 'at fault,' is irrelevant. This is the no-fault line of cases." Though in certain states, whether a judicial action can be maintained at all to require return of an engagement ring is blocked by statute, as many states have statutes which state that no civil action shall be maintained for breach of promise to marry.[48] A 2024 Massachusetts ruling adopting no-fault return (overturning a 1959 ruling) cited the adoption of no-fault divorce by the state legislature as a sign that this was the modern expectation.[49]
One case in New South Wales, Australia ended in the man suing his former fiancée because she threw the ring away, after he told her she could keep it even though the marriage plans had fallen through. The Supreme Court of New South Wales held that, despite what the man said, the ring remained a conditional gift (partly because his saying that she could keep it reflected his desire to salvage the relationship) and she was ordered to pay him its A$15,250 cost.[50]
In England and Wales, the gift of an engagement ring is presumed to be an absolute gift to the fiancée. This presumption may be rebutted however by proving that the ring was given on condition (express or implied) that it must be returned if the marriage did not take place, for whatever reason. This was decided in the case Jacobs v Davis (1917).[51]
Cultural variations
[edit]
In the historic Christian traditions of Catholicism, Lutheranism and Anglicanism, engagement rings are blessed by a priest or pastor and then worn by the couple during the betrothal rite (also known as 'blessing an engaged couple' or 'declaration of intention').[1][52][2]
In some countries it is common for both men and women to wear engagement rings. The rings are often in the form of a plain band of a precious metal. Sometimes, the engagement ring eventually serves as the wedding ring for the man. In Brazil, for example, the groom and bride-to-be usually wear a plain wedding band on the right hand during the course of their engagement.[53] After the wedding, the band is moved to the left hand.[citation needed] In Argentina, it is also known for the groom and bride-to-be to wear a plain silver band on the left hand while engaged. Then, after the wedding the silver band is either replaced with the wedding ring or moved to the right hand.[citation needed]
Traditionally, women in the British Isles may propose marriage to men during a leap year.[citation needed] Women proposing has become more common in recent years, to the point that some jewellery companies have started manufacturing men's engagement rings.[citation needed] They resemble typical men's rings, often with a diamond centrepiece.[citation needed] In the countries where both sexes have traditionally worn engagement rings, the rings tend to be plainer bands, and there is no real difference between men's and women's engagement ring designs.[citation needed]
In Ireland, the Claddagh ring is a popular choice for engagements. It features a heart, crown, and hands, which symbolizes love, loyalty, and friendship. The way the ring is worn also holds significance; for instance, when worn on the left hand with the heart pointing inward, it indicates that the wearer is engaged.[54][55]
In Kenya, traditional beaded jewelry often accompanies engagement rings. The vibrant beads symbolize cultural identity and heritage, and they celebrate the couple's union in a way that honors the nation's rich artistic traditions.[56]
Engagement rings in India are often part of elaborate jewelry sets exchanged during traditional ceremonies. These rings, typically crafted from gold, align with cultural preferences for ornate and symbolic designs.[57]
In Japan, engagement rings are known for their minimalist and high-quality designs. This reflects Japan's cultural preference for simplicity and craftsmanship, with couples often choosing rings that prioritize subtlety and elegance.
See also
[edit]
Claddagh ring, a traditional Irish ring, often given or worn as a wedding ring
Dearest ring, a ring with stones creating the acronym D E A R E S T
Regards ring, a ring with stones creating the acronym R E G A R D S
Gimmal ring, a multi-part engagement ring fashionable in Europe during the 16th and 17th centuries
Pre-engagement ring
Puzzle ring, sometimes called a "Turkish wedding ring"
Ring enhancers, a ring that combines with a solitaire diamond ring to add gemstones
Tension ring, a modern mount
References
[edit]
^ ab
"Rites Relating to Marriage: A Statement and Resources from The International Anglican Liturgical Consultation" (PDF). The International Anglican Liturgical Consultation. 2011. pp. 4, 14–15. Archived (PDF) from the original on March 17, 2015. Retrieved September 19, 2021.
^ abAabram, Virginia (August 29, 2021). "What Is the Rite of Betrothal?". National Catholic Register. Retrieved September 19, 2021.
^ abWhite, Annie Randall (1901). Twentieth Century Etiquette. p. 275. The engagement ring is removed at the altar by the bridegroom, who passes the wedding-ring (a plain gold band, with the date and the initials engraved inside) to the clergyman, to be used by him in the ceremony. On the way home from church, or as soon thereafter as convenient, the bridegroom may put the engagement ring back on the bride's finger, to stand guard over its precious fellow.
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^ abHersch, Karen K. (May 24, 2010). The Roman Wedding: Ritual and Meaning in Antiquity. Cambridge University Press. pp. 41–42. ISBN 978-0-521-12427-0. Retrieved November 6, 2013.
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^ abcdefFrancis-Tan, Andrew; Mialon, Hugo M. (September 15, 2014). "'A Diamond is Forever' and Other Fairy Tales: The Relationship between Wedding Expenses and Marriage Duration". Rochester, NY. doi:10.2139/ssrn.2501480. S2CID 44741655. SSRN 2501480. cite journal: Cite journal requires |journal= (help)
^Sullivan, J. Courtney (May 3, 2013). "How Americans Learned to Love Diamonds". The New York Times. ISSN 0362-4331. Retrieved March 6, 2016.
^Otnes, Cele C.; Pleck, Elizabeth (2003). Cinderella Dreams: The Allure of the Lavish Wedding. University of California Press. p. 64. ISBN 9780520236615. Ayer promoted diamonds as indispensable luxury items that all "proper" engaged women should acquire.
^ abShotton, Richard (February 12, 2018). The Choice Factory: 25 behavioural biases that influence what we buy. Harriman House Limited. ISBN 978-0-85719-610-1.
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^Zabell, Samantha (February 14, 2014). "The Rise of the Man-gagement Ring". The Atlantic. Retrieved January 13, 2019.
^Dolan, Jenny (February 12, 2007). "Shopping for your own engagement ring: Many local women say 'I do'". La Crosse Tribune. Wisconsin.
^"Put a ring on it". RedEye. Columbia News Service. April 4, 2009. Archived from the original on April 5, 2009. Retrieved June 2, 2013.
^Lee, Laura (October 2010). Broke Is Beautiful: Living and Loving the Cash-Strapped Life. ReadHowYouWant.com. p. 280. ISBN 978-1-4587-5882-8. Retrieved November 6, 2013.
^"With Engagement Rings, Love Meets Budget". New York Times. January 31, 2014.
^ abcdBrinig, Margaret F. (Spring 1990). "Rings and Promises" (PDF). The Journal of Law, Economics, and Organization. 6 (1): 203–215.
^"This Diamond Startup Wants To Change the Way You Buy An Engagement Ring". Forbes. October 4, 2016.
^GIA (July 27, 2015). "The History of the Engagement Ring". GIA 4Cs. Retrieved September 16, 2022.
^Epstein, Edward Jay (February 1, 1982). "Have You Ever Tried to Sell a Diamond?". The Atlantic. Archived from the original on July 24, 2008. Retrieved June 2, 2013.
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^John R. Ellement (November 8, 2024). "When it comes to costly engagement rings, Mass. is a no-fault state, state's highest court rules". The Boston Globe.
^Kirby, Simon (May 18, 2007). "Men own the engagement ring". news.com.au. Archived from the original on June 27, 2013. Retrieved June 2, 2013.
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^Yazdinian, Nouriel Gino. "A Symbol Of Forever: Engagement Rings Through Time And Cultures". NY Elizabeth.
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^"Indian Weddings and the Tradition of Giving Gold". Royal Mint. Retrieved November 21, 2024.
External links
[edit]
Wikimedia Commons has media related to Engagement rings.
Diamond engagement ring ad, Loftis Brothers & Co., Popular Mechanics, November 1909, p. 113
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