Guest post by Sam Mee – Georgian rings explained

I am delighted to welcome Sam Mee, director of  Antique Ring Boutique, to All Things Georgian. Sam is going to explain more about rings from the Georgian era.

Rings from the Georgian era remain popular because of their exquisite details and fascinating choice of gemstones. Georgian jewellery is so far removed from anything you see today – it’s romantic and eccentric. You can imagine a powdered woman wearing a ring set with a large, foil-backed, pink topaz newly sourced from Brazil, surrounded by seed pearls or perhaps rose-cut diamonds, an oversized decadent wig decorated with ostrich feathers, exotic flowers and ribbons and, of course, an outlandish outfit to match.

 

The Georgian period was long, however – spanning the reign of five kings (four Georges and a William) from 1714 to 1837 – and techniques and fashion evolved over that time. Distinguishing genuine Georgians can be tricky – given the number of replicas produced, especially those made in the following Victorian era. Here’s an in-depth guide to help you.

Diamond cuts

In the early Georgian period up to the middle of the 18th century, diamonds dominated and were often set in silver to enhance their brilliance. Foiling was used to add a metallic coating to the gem’s back (usually a closed-back setting, where the back of the gemstone was enclosed in metal) to increase the stone’s brilliance under candlelight.

Ring makers usually used rose, table or old-mine cuts for diamonds:

• Rose cut: dates back to the 16th century and remained popular throughout the Georgian era. It has a flat base with no pavilion (the lower part of the diamond), and a domed top covered in triangular facets that resemble a rosebud, with 12 to 24 facets. It was designed to maximise the sparkle in candlelight, the primary source of illumination before electric lighting.
• Table Cut: one of the earliest diamond cuts, originating in the late mediaeval period and continuing into the Renaissance and Georgian eras. It is a simple cut, created by cutting off the top of a natural octahedral diamond to form a flat, square or rectangular face known as the “table.” Other facets are generally simple, with fewer and larger surfaces compared to later cuts. While not as brilliant as more modern cuts, the table cut was prized for its ability to show off the diamond’s clarity and size..
• Old Mine Cut: A precursor to more modern cuts, this 58-facet cut emerged in the 18th century and became the dominant diamond cut during the Georgian and Victorian eras. It has a high crown (the upper part of the diamond), a small table, a deep pavilion, and a large, open culet (the bottom facet). The facets are more rounded and irregular compared to modern cuts, giving the diamond a slightly cushion-shaped outline. This cut maximises carat weight and retains much of the rough diamond’s original shape so it’s a favourite in antique and heirloom jewellery.

These cuts are different to the modern Round Brilliant Cut, which has 57 or 58 facets (including the culet), precisely arranged to maximise the diamond’s brilliance (white light reflection), fire (dispersion of light into colours), and scintillation (sparkle due to light and dark patterns).

Styles and influences

In the latter half of the century, improved cutting techniques improved diamonds’ sparkle but paste (lead glass) also became more widespread as a cheaper alternative.

Various gems were popular – garnets were favoured and citrine and peridot became more popular as did opals. Rubies and pearls were often paired.

At the start of the era jewellery was often large and ostentatious, with a focus on diamonds and high-karat gold. Designs were influenced by Baroque aesthetics with heavy and intricate detailing.

Jewellers used tools such as hammers and anvils to shape gold and silver by hand into the desired ring form. The parts of a ring were joined together using soldering techniques, which involved heating the metal and applying a filler metal to bond the pieces.

Techniques included repoussé, where thin sheets of gold or silver were hammered to create complex designs, and cannetille, similar to filigree, where gold or silver was twisted into intricate scrolls. Cloisonné involved fine metal wires soldered onto the surface to create compartments (cloisons), which were then filled with enamel and fired.

Complementing repoussé, chasing then involved working the front side of the metal to refine the details and add intricate patterns. This technique created depth and texture in the design. Jewellers would also use burins or gravers to incise fine lines and patterns into the metal surface. This technique added decorative elements such as floral motifs, initials, and inscriptions.

For rings featuring gemstones like cameos (raised relief images) and intaglios (engravings on the surface), jewellers would carve designs directly into the stone.

Emerging in the early 18th century, Rococo brought a lighter, more playful aesthetic. Designs became more asymmetrical, featuring scrolls and curves. The middle period also saw a shift to lighter and more delicate designs, which became even more sophisticated in the 1800s. The influence of Romanticism led to more personal and sentimental jewellery, often featuring a mix of gemstones and metals. There was also an increase in the use of semi-precious stones and a broader range of materials.

In the early period, nature-Inspired designs included floral and botanical motifs as well as scrolls and shells. The late 18th century shifted towards neoclassicism, inspired by the art and architecture of ancient Greece and Rome. On the one hand we saw urns, columns, mythological scenes, and gods set in rings. But giardinetti (little gardens) were also popular – intricate arrangements of gemstones to resemble small flower gardens, reflecting the continued influence of nature.

Finally, the late Georgian period saw the rise of Romanticism, with a focus on emotion, nature, and individual expression. Sentimental and mourning jewellery became popular. So, we saw more hearts, eyes and lover’s knots but also rings featuring skulls, coffins, and skeletons and even compartments for locks of hair (Jane Austen’s ring being one of the most well-known examples).

Georgian society

These changes were reflective of wider Georgian society. Industrialisation and urbanisation saw the rise of the middle classes, but in a structured way with balls, tea parties, and other social gatherings becoming common and giving more opportunity to showcase jewels. The expansion of the British Empire meant more access to gems and metals, with techniques evolving alongside wider scientific invention and innovation.

All this explains why Georgian rings are popular today. Technology had advanced enough to allow fine detailing and new materials. But rings were still made by hand, a far cry from today’s mass production. And the focus on nature speaks to today’s environmental concerns. Georgian rings are also rare today – not just because they are 200+ years old but because they were often recycled into newer pieces.