The best and most costly hand-made jewelry produced in England, whether as regards gold work, gems, enamelling or engraving, is made in London, and chiefly at Clerkenwell. A design is first made with pencil, sepia or water colour, and when needful with separate enlargement of details, everything in short to make the drawing thoroughly intelligible to the working jeweller. According to the nature and purpose of the design, he cuts out, hammers, files and brings into shape the constructive portions of the work as a basis. Upon this, as each detail is wrought out, he solders, or (more rarely) fixes by rivets, &c., the ornamentation necessary to the effect. The human figure, representations of animal life, leaves, fruit, &c., are modelled in wax, moulded and cast in gold, to be chased up and finished. As the hammering goes on the metal becomes brittle and hard, and then it is passed though the fire to anneal or soften it. In the case of elaborate examples of repoussé, after the general forms are beaten up, the interior is filled with a resinous compound, pitch mixed with fire-brick dust; and this, forming a solid but pliable body underneath the metal, allows of the finished details being wrought out on the front of the design, and being finally completed by chasing. When stones are to be set, or when they form the principal portions of the design, the gold or other metal has to be wrought by hand so as to receive them in little cup-like orifices, these walls of gold enclosing the stone and allowing the edges to be bent over to secure it. Setting is never effected by cement in well-made jewelry. Machine-made settings have in recent years been made, but these are simply cheap imitations of the true hand-made setting. Even strips of gold have been used, serrated at the edges to allow of being easily bent over, for the retention of the stones, true or false. Great skill and experience are necessary in the proper setting of stones and gems of high value, in order to bring out the greatest amount of brilliancy and colour, and the angle at which a diamond (say) shall be set, in order that the light shall penetrate at the proper point to bring out the "spark" or "flash," is a subject of grave consideration to the setter. Stones set in a haphazard, slovenly manner, however brilliant in themselves, will look commonplace by the side of skilfully set gems of much less fine quality and water. Enamelling (see ENAMEL) has of late years largely taken the place of "paste" or false stones.