Open Back Cabochon Bezel Settings
I am fairly new to lapidary and am looking for someone who sells sterling silver open back cabochon bezel settings. I am looking for the type that a person would use glue to fasten the cabochon to the bezel.
Robert A. Hubbard, via e-mail
Saginaw, Michigan

We found open back bezels for cabochons at the Metalliferous catalog Web site, www.metalliferous.com/silcat4/bezels.pdf. They have round, oval, and rectangular shapes available. Metalliferous, 34 West 46th Street, New York, NY 10036, (888) 944-0909, www.metalliferous.com.

Mounting Money
I would like to find a company that sells coin mountings for the half dollar and one dollar sizes with a loop for a neck chain. I have another question: do you know of a company that manufactures variable-voltage transformers, about 0 to 135 volts? One brand is VARIAC..
Glenn E. Knox
Yelm, Washington

Rio Grande sells mountings for half-dollar and one dollar coin sizes in silver and gold. They have a wide variety of styles. Rio Grande, 7500 Bluewater Road NW, Albuquerque, NM 87121-1962, (800) 965-2329, www.riogrande.com. You may find them locally as coin shops often sell mountings. When we Googled "coin mountings," we found that many jewelers sell them online.
We found that VARIAC transformers may be purchased from ISE, Inc., 10100 Royalton Road, Cleveland, OH 44133, (440) 237-3200, www.variac.com.

Technique Trouble
I recently read about a goldsmith who creates her designs by first carving the design into teak wood, then hammering the gold into these recessed areas. I am curious to know more about this process. Since I don't know the official name of this technique, I thought I would ask if Lapidary Journal has ever done an article on this procedure.
Ellen Buie Niewyk, via e-mail
Dallas, TX

We're not sure we have enough information to assist you as we have no idea of the thickness of the gold being used; however, we do know that craftsmen carve designs into wood and then apply gold leaf to its sized surface, thus gilding the carved design. This process is used for mirror or picture frames as well as in building very ornate styles of furniture.
Ancient goldsmiths carved designs in hardwood to form a dye into which they pounded sheets of gold (thicker than gold leaf) to produce a replica of the shape. Many reproductions could be produced from the same carving until the wood broke down. This process was a precursor to bronze and steel dies used with presses.
It sounds like a really interesting article. Let us know if you track it down.

Torch Trouble
A few years ago, I started auditing a jewelry making class so I could basically "rent" the tools. But for the last two years I have been unable to take the class due to my work schedule. I am wondering if you could suggest a basic torch setup so I can solder at home. I already have the basics for manipulating the metal (handsaw, pliers, saw board, flux, solder, etc.) but what I really need help with is what type of gas and what type of torch.
Andrea Davis, via e-mail
Sandy Valley, NV

The answers to your questions about torches and gases are covered quite succinctly in Nina Graci's article "Hot Enough for You" in the July 2003 LJ. It tells you everything you've ever wanted to know about torches but were afraid to ask.
A recent article by Sara M. Sanford, "Playing with Fire," appeared in the May 2005 LJ. Also, an excellent in-depth compilation of soldering articles is Sara M. Sanford's book, The Complete Guide to Jewelry Soldering, available for $9.95 at www.lapidaryjournal.com/store/solderguide.cfm, in which Sara covers torches and basic tools in addition to soldering techniques.
The information offered by Nina and Sara in these articles is in far greater depth than any we could offer in the space we have available in our column.

Freezing Fractures
I'm interested in putting some gemstones and fossils into my garden as ornaments, but I know some of them can fade in sunlight or break in freezing/thawing weather changes. Can you recommend some that would be suitable in the Northeast and some that would be bad choices?
Ilene Sternberg, via e-mail
West Chester, PA

Interesting question! One with which we have no real experience as we keep our rocks and fossils indoors on display shelves or in boxes. Our biggest problem is keeping them dust free. As we all know, eventually all stones and fossils will fade and crumble over time when exposed to the elements. Bright sunlight, rain, freezing, thawing, and wind all accelerate this weathering process. In nature, the softer, more porous stones and those with cracks and fissures break down the fastest while the hard, less porous materials hold up longer. Granite weathers better than sandstone. Take your clues from nature.
Another important consideration is how the materials will be displayed in your garden. Colorful stones positioned in the shade will fade less than those placed in bright sunlight. Likewise, stones in a well-drained area will probably not suffer from freeze/thaw cycles as badly as those that are constantly wet or sitting in water. The fact is gemstones and fossils will last longer than our lifetime, so don't delay, put them out in your garden and enjoy them.

Don't Mix Shots
I would like to know what the difference is between steel shot and stainless steel when used in a tumbler for polishing silver jewelry. I recently used stainless for the first time and the article seemed to turn grey like the stainless. I was a little short on the amount of shot and thought that might be the reason. I would like to know before I order again. The steel shot has produced a mirror bright finish; do I need to use steel and not stainless?
Scott, via e-mail
Port Arthur, TX

The difference between using steel shot and stainless steel shot is that the steel shot will rust if not stored properly in an anti-rust solution, resulting in a real mess in your tumbler. You did not mention if you were dry-tumbling or using a tumbling solution. Although there are many excellent tumbling solutions available, we've had success with Super Sunsheen™ Burnishing Compound that we purchase from Rio Grande, www.riogrande.com, (800) 545-6566. We suggest you thoroughly clean your stainless steel shot with detergent, rinse it well several times, and dry with a towel. Return the shot to the tumbler with a fresh batch of burnishing compound and then tumble the shot for several hours. At this point, we usually dump that compound and replace it with fresh compound before tumbling a batch of silver jewelry. This procedure has worked for us for many years.
We cannot stress enough that you should never mix steel shot and stainless steel in your tumbler. One single piece of steel shot will cause your stainless steel shot to rust. An easy way to remove any steel shot is to pass a strong magnet through the stainless steel shot. The magnetic steel shot will attach itself to the magnet and the non-magnetic stainless steel shot will not.

Dummy Slap
Every once in a while a new product comes along that makes you slap your forehead and say, "Why didn't I think of that?" Well, here's one of those moments. Kate Wolfe, modelmaker, grew tired of showing her models carved from purple wax to her customers only to listen to their complaints of being unable to visualize the piece in gold or silver. So, she tried painting the wax models gold for easier visualization but found the paint difficult to remove. Finally, eureka! Why not make the wax in a gold color? Kate contacted The Kindt-Collins Company, Ferris Division, www.kindt-collins.com. Voila! Wolf Wax™ by Ferris in gold and silver colors is now available for model carvers. Kate is also marketing a new set of precision wax carving tools that she designed. These look really great and are available at www.wolftools.biz.

Brass Casting
I am interested in the best way to melt and mold brass to hold large stones for a pendant. I don't want to purchase findings, as they are so flimsy. I would like a bulky piece of brass with the center removed for the stone to sit in, and to encase the stone in a soldered length of brass band around the circumference. Would it be necessary to melt in a crucible/kiln and pour into a mold? Could a torch be used instead? Also, what type of brass would be best?
Carol Burkhart, via e-mail

Brass can be melted and cast using the same methods and equipment used for casting gold and silver. So, if you are already casting jewelry, the switch to brass casting should not be much of a problem; but if you aren't, then you need to learn the whole casting process. Tim McCreight's Practical Casting, ISBN 0-9615984-5-X, is a great place to get your feet wet. Two other resources are Centrifugal or Lost Wax Jewelry Casting for Schools, Tradesmen, Craftsmen by Murray Bovin, ISBN 0-910280-05-3; and The Metalcaster's Bible by C. W. Ammen, ISBN 0-8306-9970-8. Brass casting metal is sold by Rio Grande, 7500 Bluewater Road N.W., Albuquerque, NM 87121, (800) 545-6566, www.riogrande.com. If you don't already have casting equipment, an inexpensive way to produce brass castings is with the Delft™ Clay Casting System. It is sold in a kit that includes an instructional video, melting dish with handle, molds, and casting clay -- everything you need except the torch and brass casting metal for under $100. We've used this process and it produces very nice castings; not quite as smooth as the lost-wax process, but quite acceptable. One jewelry supplier who offers the Delft™ system is FDJ/On Time, 1180 Solana Avenue, Winter Park, FL 32789, (800) 323-6091, or via their online catalog at www.fdjtool.com. You should purchase a separate crucible or melting flask to use exclusively with brass, just as you have separate ones for silver and gold use.

Reader's Comment
I was reading the March 2004 Q&A column and noticed a question via telephone from Kevin Jones regarding a source for Mississippi pink mussel. I live in Davenport, Iowa, and have a very close friend who owns a lapidary store here in town who has a great deal of both pink and white mussel shell that he would dearly love to part with. Have anyone interested in this material contact me at (563) 324-0119 or jdesignco@aol.com.
Jill M. Bjerke , via e-mail

Editors: Thanks for your help, Jill!

International Gem & Jewelry Shows
Are there equivalents to the International Gem and Jewelry Shows in Europe, specifically in England?
Gayle Larson, via e-mail

Gayle, the Lapidary Journal show calendar, in the back of every issue of LJ lists gem, jewelry, and bead shows all over the world -- check the end of the list, under "International Shows." The Web site show calendar also lists shows and is more current than the one in print (the magazine is printed months ahead of publication date). One recent show, Jewellery London 2004, took place September 5-8, and another European show worth noting, Intergem 2004, happened on October 1-4, in Idar-Oberstein, Germany. Check their Web sites for detailed information. Enjoy the shows and let us hear all about them!

Grants
I am interested in grants, specifically anything for visual design, jewelry making, natural gemstones and anything related.
Beckie Cliver, via e-mail

Beckie, we found an excellent, in-depth article, "Granting a Wish," by Rachel V. Katz first published in the August 2000 Lapidary Journal and available in the archives on the Web site. It is a great place to begin your search. Next, we searched Google (www.google.com) for "visual arts grants" and "jewelry arts grants" and were directed to long listings (several thousand hits for each search). That was the easy part; now you just have to read through them to find the ones that fit your situation and location. Receiving a grant is not an easy task; it takes a lot of effort, time, and energy on your part as many grants are targeted for very specific recipients. The best place to begin is to check with your local and state arts councils. Although funds are currently in short supply, many grants go unclaimed for lack of applicants. Good luck in your quest. Let us know how you fare.

Transparent Glass
I have been looking online trying to find transparent glass (or some similar material) cabs such as are used for the tops of doublets or triplets. Any help would be greatly appreciated.
Jerry Roop, via e-mail

We recommend using quartz caps rather than glass, Jerry, as quartz is a tougher and more durable material. We found a source of quartz caps in a variety of sizes at reasonable prices on-line from The Opalsmith, www.opalsmith.com, (760) 242-8770.

Agate Abundance
We live in central Minnesota and have hundreds of agates including some big ones. My husband found a 14+ pound agate that we have identified as plume. It is beautiful. We would like some expert feedback and have photos.
Donna Nelson of Minnesota, via e-mail

We have fond memories of the years we lived in Minnesota in the '70s (well, the kids and I have fond memories; Tom just grumbles about shoveling tons of snow), and we still have our agate collection. One can't live in Minnesota and not have an agate collection, as they pop up into your lawn after each spring thaw. You must pick them up so the lawn mower doesn't turn them into hazardous projectiles. Besides, they are too eye-catching to throw away. We didn't receive a photo with your e-mail, so it is difficult to identify your agate. However, we do have three favorite references on agates to recommend to you: The Beauty of Banded Agates by Michael R. Carlson, ISBN 0-9721891-1-4; a small booklet we picked up in Tucson in February, Is This an Agate? by Susan Robinson, ISBN 0-9707342-0-4; and June Culp Zeitner's Gem and Lapidary Materials, ISBN 0-945005-24-5. June's book includes excellent descriptions of the various types of agates. You might also check with your local gem and mineral club as they may have a resident expert on agates. We are sure they'd enjoy seeing your big plume agate, regardless.

Finding Advice
I appreciate Tammy Honaman's editorial on findings and head pins in Step by Step, March 2004. I've tried making head pins out of sterling silver but the ball always ended up being pitted and looking banged up, not at all round or attractive. Do you have any suggestions? I cannot figure out what I am doing wrong. I use flux and make sure the wire is clean by pickling it first and then washing with detergent. I use a very gentle flame. Can you offer any suggestions?

I will certainly try to make them out of fine silver wire as the article suggests; however, my supplier only has 14-gauge fine silver wire, no smaller. Can you suggest another supplier? I am a long-time glass bead maker and use my beads to create finished jewelry with silver elements.
Sandy Osborn of Novelty, Ohio
via e-mail

We checked with Tammy. She responded:

"I gave up on sterling a long time ago but did use it when I first started. I didn't go through any of what you're describing -- no pickle, no cleaning, and I didn' t really regulate my flame very well. Very amateur, I know, but it worked. After I balled up the ends, I would scrub with fine steel wool and then eventually move into using pickle. When I found fine silver eliminated all that extra time and work, and yielded a nice, shiny silver finish with very little effort, I stopped using sterling altogether. I buy my fine silver from Rio Grande, (800) 545-6566, www.riogrande.com. They offer any gauge you would need."

We've also experienced similar results when using sterling silver to make our own head pins, so for the most part we generally use fine silver. We believe the problem results from the boiling of the copper in the sterling alloy during melting. In checking our commercial catalogs we find that most of the head pins listed are fabricated of sterling silver; however, upon close examination under magnification, we think that these commercial head pins were not formed by melting, but by a process called "cold heading."

Cold heading is similar to when you pound the end of a wire into a rivet head. No heat is used; just mechanical force. The wire is held in a tight clamp with a short section of the wire protruding. The head is then formed by the pressure of a shaped die that forces the protruding wire into a new shape. Since no heat is used, there is no distortion or fire scale to clean up. Therefore, if you are not happy with your results using sterling silver, you must decide between using commercial sterling head pins or creating your own out of fine silver, unless any of our readers have better solutions.

I am in a lapidary club here in Green Valley, AZ, and we are attempting to get more people interested in lapidary by giving lessons. I am involved in the cabochon-making lesson and would like to know if I could obtain a copy of Grinding a Cabochon written by Betty and Otis Witworth, published in Lapidary Journal. I feel that this would be helpful in preparing a lesson plan for beginners.
Eugene L. Palusky
via e-mail

The article you are in search of was a Jewelry Journal project in LJ, September 1996. Reprints can be ordered from Lapidary Journal online at www.lapidaryjournal.com/projects/search/articles; just look for Betty and Otis Witworth in the pull down menu. You can also order reprints by calling (610) 964-6300, extension 6300, and leaving a voice mail there.

I would like to work with some moonstone but I don't know anything about it. I received some moonstone recently but it doesn't show any flashes of color. Does it have to be oriented? Do you have any information or articles on cutting moonstone?
Wesley F. Tomaske
via e-mail

Moonstone, orthoclase feldspar (potassium aluminum silicate) or albite plagioclase feldspar (sodium aluminum silicate) is relatively hard, 6 on the Mohs scale, and is usually white but can be found in a variety of colors and can be opaque or translucent. Moonstone's floating light effect and sheen referred to as "adularescence" is compared to the look of moonlight, thus its name.

You must properly orient or collimate moonstone to optimize its adularescence. Place the moonstone on a table with a light source, such as a small halogen reading lamp, suspended directly above. Position your head to look down on the moonstone taking care not to create a shadow, then rotate it in various directions until you see a bright silver yellowish color on the surface, then mark that spot with a pencil. Turn the moonstone over and repeat the previous step until you locate the second bright silver yellowish flash on the this side, then mark it with a pencil. Without moving the moonstone, mark a line around the perimeter using a small block of wood and a pencil. Saw parallel to the marked line and use the cut surface as the base of each cabochon. You should be able to get two moonstone cabochons each with a large bright flash on the top.

How does one hide fracture flaws in rubellite tourmaline? They are similar to the flaws found in emeralds. What type of oil or other substance should one use?
Tod O'Connor
via e-mail

We prefer not to hide these "defects." If we want a perfect, unflawed stone we will spend the extra money required to purchase one. These so-called defects are a part of the charm and natural beauty that attract us to particular gemstones. Being captivated by a gemstone is comparable to falling in love -- you love and accept that person, flaws and all. Recently, we noted an ad that appeared in several trade magazines that features a beautiful rubellite tourmaline cabochon set in gold and surrounded by diamonds. Its fractures were quite visible and a part of the natural charm and beauty of the stone. The treatment of flaws in gemstones is an extremely sensitive subject in the gem industry. Some people treat inferior stones and sell them as perfect without disclosing that they have been altered -- a practice considered unethical by many. Even if the treatment is disclosed, the disclosure is quite often lost or forgotten after the stone has changed hands several times.

Editors' note: In the July/August 2003 issue of Rocks and Minerals we read an interesting article by John S. White on diaphaneity, which is a word used in the field of mineral identification to describe the degree to which a material transmits light. The three terms generally used to describe light transmission are transparent, translucent, and opaque. White goes on to say that while using these seemingly simple terms should be enough to avoid confusion, the fly in the ointment is that a thick mineral sample may appear opaque, whereas a thin slice of this same mineral may actually be translucent or even transparent. The whole exercise is arbitrary and meaningless without a uniform procedure. A valid scientific measurement requires a standard sample thickness, standard light source, standard distance, and standard light-measuring device. The equipment needed to measure opacity is readily available in industry and could be easily be adapted. The standard needs only to be set in place.

Other aspects of mineral identification such as specific gravity, hardness, and refractive index have well defined standards and equipment for taking precise measurements. When we were young, we were taught that unless we had precise measurements and numbers it wasn't a scientific measurement; just an empirical observation.

In conclusion, we agree with White's opinion that perhaps it would be better to exclude diaphaneity altogether rather than use it without a scientific standard.

I read in some publication (that I cannot now locate) about someone having trouble with his cabs dropping off the dop stick. The answer was to put "something" in the warm wax in the dop heater, as the wax had most likely become contaminated to some degree and would not make a good seal on the stones. This "something" would solve the problem making the wax adhere properly to the cab. What is that "something?"
Charlie Pitts
via e-mail

We don't know what that "something" is; however, we feel a common mistake made by many lapidaries is to use and reuse the same wax forever. Dop wax breaks down and becomes contaminated and more brittle over time; therefore, we suggest cleaning out your dop wax pot on a regular basis and using fresh dop wax. Dop wax is about $7.00 per pound these days, which is a lot less than a slab of expensive stone. It is definitely worth the price, especially when you hear that dreaded "ping" as your nearly completed, precious opal cabochon goes flying across the shop, shattering on impact. Trying to be too frugal can be more expensive in the long run.

One of the torch heads of my Prest-o-lite torch quit putting out a good flame. I removed a small piece from the bottom inside of the torch with my Allen wrench. This piece could possibly be a filter or a flame retardant in case of a flashback. I contacted the local welding supply business and asked them the purpose of this piece and whether or not it should be replaced. They informed me that they didn't know its purpose, but if the torch worked all right without it, it wasn't needed. What is it? Do I need a new one? Where can I get it if necessary?
Archie Scott
via e-mail

According to the instructions that came with our recently purchased Prest-o-lite torch tip, "Each torch tip is equipped with a filter-screw, which holds a mixer disk in place. If flow of gas through the tip appears to be restricted, remove the filter-screw with a 1/8" socket key ('Allen wrench') and replace both filter-screw and mixer disk." Yes, these parts are necessary, and we recommend that you do not operate your torch without them as doing so could result in a backflash into the hose and regulator, resulting in an explosion that could severely injure you, not to mention burning your studio down. Order replacement torch parts from your local dealer and install them immediately. If a local dealer cannot supply them, contact ESAB Welding & Cutting Products, P.O. Box 100545, Florence, SC 29501-0545, www.esabna.com/prest-o-lite/main.html.

Ernie Herrick of Emporia, Kansas shares this tip for cutting wire rings for chainmaking. He suggests wrapping your wire around a steel roll pin. The roll pin has a groove down the length that allows enough space for your jeweler's saw blade to cut the wire rings free. You may cut from the outside in or the inside out.
For those of you unfamiliar with roll pins, they are similar to a steel dowel pin but are fabricated from sheet steel, rolled into an almost closed C-shape and then hardened. They are used to pin metal parts together and are generally available at most hardware stores or home building centers. They are inexpensive as well as being available in many different diameters. Thanks for sharing, Ernie.

I am making 925 silver spoons that require soldering various parts together, and I always get "fire stain" where the copper comes to the surface. When I polish, I see areas of dark and silver. At the moment, I spend ages sanding the surface down to get the silver back to the surface. Is there any way that really works in preventing the fire stain in the first place? Are there other ways of removing the stain other than sanding? Is the answer to silverplate the piece once it's finished? Is that acceptable?
Heidi Streiberger
via e-mail

Yes, Heidi, anytime you solder sterling silver, fire stain (also know as the dreaded firescale) is a by-product. It is the copper content of the sterling oxidizing. You can't escape it, but you can learn to minimize and remove it with some sanding and elbow grease. Developing a proper soldering technique is the best way to reduce firescale. Use enough flux on the piece, the largest tip available for your torch, and a soft bushy flame. Do not overheat. Practice, practice, practice.

Traditionally, Prips Flux is used to reduce firescale. The entire piece is dipped into the Prips, then warmed until dry. Several applications of Prips are recommended. The resulting glassy skin should shield the sterling silver and prevent most of the oxidation. In The Complete Metalsmith (ISBN 0-87192-240-1), Tim McCreight lists the formula for making your own Prips Flux.

Several commercial anti-firescale coatings are also available from jeweler's supply companies. One of the brands that many jewelers swear by is Cupronil -- an anti-firescale coating/flux combination. Another, Stop-Ox II™, a Rio Grande product, is sprayed over the entire surface prior to applying your regular flux.

You do not mention pickling after soldering your sterling. We are unsure whether you are aware that much of ordinary firescale is removed through the use of a heated pickling solution. One of the most universally used is Sparex No. 2 powder mixed with water and warmed in a crockpot. This will remove much of light firescale.

Many jewelers now polish sterling silver using a tumbler and stainless steel shot in conjunction with an anti-firescale tumbling solution to remove fire stain. This is another process that could help reduce the handwork required for polishing your spoons. There is an excellent article on mass finishing in June 2003 called "Taking A Shine" by Nina Graci (page 41).

If, after all the above precautions have been taken, you still see a dark area in your polished silver, you must sand it out. Silver plating is a possibility for items that only receive minimal wear -- spoons most likely wouldn't be a candidate.

I am trying to melt down old gold (14K) and do not know (and cannot find) any reference as to what kind of flux to use for this. Also do you remember what issue of Lapidary Journal had an article on gold?
Harry Bailey
via e-mail

When recycling old gold, make sure there are no solder joints present in the gold, as solder will contaminate the melt. Cut out any solder joints using a snips or jeweler's hand saw and set aside to be sent off to a gold refinery for reprocessing. Carefully clean the remaining gold pieces using a scrub and then pickle.

Most suppliers of casting equipment sell proprietary casting fluxes designed to prevent oxidation of the gold during melting. So check your favorite supplier's catalog.

Most commercial flux preparations use borax as the basic ingredient. According to Tim McCreight in Practical Casting, A Studio Reference (ISBN 0-9615984-5-X), "Plain powdered borax can be used as a flux all by itself: it is available through jewelry suppliers, chemical companies, drugstores, and some supermarkets. Ammonium chloride (also called sal ammoniac) is an effective flux for gold. It leaves the metal clean and contributes to its working properties because it provides for a better recrystallization as the metal cools. Ammonium chloride produces poisonous fumes and should only be used in small quantities and where active ventilation is in use. Wear a respirator."

While Sharr Choate's Creative Casting (out of print and without an ISBN) states, "A good reducing flux contains equal parts of ground boric acid powder and fused borax powder, which is available in supermarkets as 99.5% pure borax. The boric acid powder retains the flux on the surface of the metal and is added when the metal is in the molten stage. It can be used on either new or used metal."

Jean Reist Stark in her Classical Loop-in-Loop Chains & Their Derivatives (ISBN 0-615984-8-4) says to create a depression in a clean charcoal block for the gold, then use a reducing flame to melt the gold. The carbon from the block as well as the reducing flame should remove any oxidation from the gold and allow the gold to flow.

Most jewelry metalworking catalogs offer graphite crucibles at fairly low prices, which can be used to melt the gold without using any flux. If you are melting gold in large quantities, you may want to consider a Kerr Electro-Melt(TM) Furnace, which has a graphite crucible (used without flux), providing a reducing atmosphere to prevent oxides during melting. We have used this product for many years and are highly satisfied with its performance.

In response to your request for the issue of Lapidary Journal that had an article on gold, they are too numerous to list here. If you go to the archives at www.lapidaryjournal.com/projects/search/articles.com, you will find a listing of projects dating from 1994. Good luck.

Tip for Highland Park equipment owners: We also visited Quartzsite in February where we met up with John Scofield, a representative of Covington Engineering. While speaking with Mr. Scofield, he mentioned that he provides parts and repair services on Highland Park saws and machines. You can reach him at either (909) 780-4771 or (909) 314-8486, or at www.lapidaryonline.com.

A Will to Give.
In February we attended opening day of the TGMS (Tucson Gem & Mineral Show), where we were perusing the display cases and marveling at the beautiful gems and minerals of the Andes. While we were stopped at one case, a woman asked our opinion of the display. We pointed out the features that we admired, which led to an interesting conversation with Rosemary Janes, the Trustee of the Matilda and Karl Pfeiffer Foundation.

She explained that this case contained just a small sampling of the more than 1,400 mineral specimens and geodes that will be on permanent display in a new museum scheduled to open in September, 2003 in Piggot, Arkansas. Matilda Pfeiffer was an avid collector from 1960 to 1988, who, with the guidance of Steven Sinotte (author of The Fabulous Keokuk Geodes), selected a wide variety of specimens from around the world with little duplication. Prior to her death in 2002, she left directions and provisions for a private foundation to be developed to showcase this collection. For further information you can visit the Web site at www.PfeifferFoundation.org.

We wanted to share the information about this new museum and, as we wrote it up, it also got us to thinking about how important it is to make provisions for our own treasures. Without specific instructions, bereaved family members are often at a loss of how to dispose of these items which are all too often simply sold off at garage and yard sales. Just as we leave wills to deal with our finances and heirlooms, we should also leave directions for the disposition of our prized gem and mineral collections, lapidary equipment, books, metalsmithing tools, and gemological instruments so as to give back and perpetuate this avocation that has brought us so much pleasure.

I've operated a jewelry and lapidary workshop in Sri Lanka for years. Recently I began to make larger objects. I now need larger, well-polished flats (3-20cm diameter and 2-5mm thick). This has proven difficult; I have unsuccessfully tried to polish agate, rose quartz, and aventurine using conventional sanding and polishing laps for faceting. It's easy for me to make cabs but not flats. I would be very grateful for advice.
Jakob Hofvstad
via e-mail

You are correct -- it is difficult to grind and polish a flat surface using faceting machine laps as the center hole of the laps. It limits the size of the material and the outside surface of the lap travels at a much higher velocity than the inner surface, resulting in uneven grinding and polishing rates. From the brief description provided, it is difficult to determine the exact problems you are experiencing, but we think that most of your difficulties can be resolved by using a flat, vibratory lap. These units are relatively inexpensive and do not require constant attention. By using various grades of grit, from coarse to fine, you will find it relatively easy to produce large, flat, and well-polished surfaces on the materials mentioned. You should be able to locate a local source for this equipment via the Internet.

Several years ago I packed away all my jewelry-making tools and moved. I'm ready to unpack them and set myself up a studio but have a concern about some of the chemicals I have used in the past. I now live with a septic system and am concerned about washing polishing compounds down my sink, or rinsing pieces fresh from the pickle pot. I don't know where to look for help on this subject. I'd like to set up a studio as environmentally friendly as possible. My new home is quite small and I may end up in a shed/studio out in my yard. Any suggestions on how I can put this all together? I'm mainly a maker of single-piece silver jewelry, using prefabricated cabochons and gemstones. Any help would be appreciated!
Maureen O. Betita
via email

Dealing with chemicals in the studio is certainly much more complex in today's world than in the past. First of all, make sure that all chemicals are properly labeled. Do not use any chemicals without knowing what they are or their source. We recommend that you never dispose of any chemicals in your septic tank as chemicals can destroy the bacteria action of the system; nor should you ever dump chemicals onto the ground as they can leech into the water table (besides, the EPA frowns on such actions). Instead, we suggest that you check with the manufacturer of your chemicals for their disposal recommendation. We also urge you to contact your local waste management company to find out if they offer periodic amnesty days when they accept hazardous chemicals for disposal.

Maybe our readers are willing to share their methods for safe disposal of hazardous chemicals. Let us hear from you.

In response to Ms. Betita's problem with jewelry shop waste disposal (Lapidary Journal, December 2002, Jewelry Journal, page 20):

Jewelry arts are problematic for those who are environmentally conscious, because so much of the jewelry arts involve processes that are very unecological. But if she wishes to nonetheless do jewelry arts, may I suggest on-site waste management:

EVALUATE:
She should go through her studio and determine just what all substances she uses, taking note of any which are especially toxic or polluting. For example, solders and metals containing especially nasty elements such as lead, cadmium, mercury, and arsenic, all of which are non-biodegradable pollutants. Get rid of these. She probably does not need them for silver work, since there are a number of alternative solders that will satisfy most needs. Patination chemicals likewise -- those based on sulfur are undoubtedly less polluting than those based upon selenium or tellurium. Fluxes present a problem, for many of the best contain fluoride. More about this later. Buffing compounds, I imagine, are mostly not an ecological problem, being composed of largely inert mineral dusts in an organic binder. Petrochemicals: in a silver shop, I would imagine these would be minimal, except binders in polishing compounds, so are not discussed further here.

ACCUMULATE:
Having rid the shop of as many highly-polluting elements as possible, she should now establish a chemical waste collection receptacle, into which the chemical wastes of her shop will go. Or possibly two such receptacles: one for polishing wastes and anything else of a gunky organic texture (which could interfere with the chemical processes to be carried out), and the other for inorganic wastes from soldering and silver work. Again, petrochemicals are ignored here. Metal wastes from grinding and sawing etc. could be considered separately although they might be able to be combined with the polishing wastes. Most of the volume of the inorganic chemical wastes will be water, which will simply evaporate away. After the receptacle(s) have accumulated a significant volume of wastes other than water, they may be processed as follows:

RECLAIM METALS:
Metal scraps, along with polishing wastes, can simply be sent to a refiner. It may be more economically efficient to handle them separately, sending only high-grade scrap; but refiners do accept metal wastes mixed with other stuff, and submitting them that way would eliminate any further concern over the disposal of these wastes.

PRECIPITATE:
The inorganic wastes other than metal scraps and polishing residues can now be treated. If these are not already aqueous, add some water to make them so and allowing them to dissolve. The main pollutant to be controlled at this point is fluoride, which may be a problem later. We want to take it out now, so that it does not enter the vaporization process and be spewed into the atmosphere, being more toxic than other halogens, and may contribute to localized non-degradable pollution. This can most likely be accomplished by adding calcium chloride, which, by reacting with the fluoride, forms fluorite, most of which should precipitate out. Alternatively, calcium hydroxide (lime) could be considered, which might actually be preferable since the original liquid is likely to be acidic, which would impair precipitation of the fluoride. In plain water, calcium hydroxide is significantly less soluble than calcium chloride but if the solution is acidic, the acid will take care of that problem automatically. The calcium compound is best added in the form of a dissolved solution rather than a powder, and there must be enough so that the number of calcium ions equals or exceeds half the number of fluoride ions. (In rough terms: use substantially more (dry weight) calcium compound than the amount of fluoride salts thought to be present.) Allow these solids to settle out (may take several days) and then carefully decant the remaining liquid into another container. The fluoride solids can be accumulated over time, dried, and then disposed of with other insolubles as discussed later. (The use of a filter paper and a funnel will make this process much more efficient. You may be able to simply use a paper towel. Use a separate paper for each chemical substance.) Then, from the decanted liquid, we wish to remove the nastiest metals. Most of these tend to be insoluble as the hydroxide, hence we will now raise the pH by adding substantial quantities of a good base: non-detergent ammonia or dissolved sodium hydroxide are good choices. Solids will precipitate out, and these should be allowed to settle to the bottom, and the remaining liquid carefully decanted off into another container. You now have three chemical mixes: the fluoride solids, the other basic solids, and the clear remaining solubles. Allow them all to completely dry.

INCINERATE:
Place the heavy-metal precipitates (from second container) into a fireproof receptacle and fire them in a kiln. If a kiln is not at hand, one might be improvised with fire bricks and a large torch. Arrange, to the extent possible, for an oxygen-rich atmosphere. If filter paper was used in the separation of this fraction, incinerate it with the material. Given the smoke that may occur, very good ventilation is suggested. This should render the metallic content into a highly insoluble form while driving off into the atmosphere a number of potential pollutants, namely nitrates, ammonium (if present), halogens (which is why you don't want fluoride in the mix at this point), sulfur, and probably selenium if present (which is why it is best not to use selenium based compounds), and carbon/carbonates. This will generate several pollutants, particularly sulfur dioxide, oxides of nitrogen, and HCl. But this is a type of pollution that tends to be biodegradable and which is therefore a concern only in large volumes. It is also highly mobile in the atmosphere and will tend to disperse widely. Since the quantity of this type of pollution generated per year from a silver shop would be infinitesimal, I assume it would not be of regulatory concern. After this is done, the remaining solid residue will be mainly insoluble salts and oxides of metals. If desired, polishing-compound residues could be combined with and incinerated with the insolubles mix, since they are mostly of that chemical nature anyway, except the organic fraction which would be burned off as CO and CO2, neither of which is an enduring pollutant. Some fresh metal might appear as a result, which could be picked out and sent to a refiner. Repeat the process with the dried soluble residues (light metal oxides and salts) from the third container. This will yield mainly oxides of sodium, calcium, aluminum, and potassium. Keep these separate.

SEPARATE AGAIN:
To further eliminate any solubility in the insolubles mix (making it more environmental inert for disposal of in soil), place the ashes of the insoluble (heavy metal) compounds into water, to dissolve out any remaining soluble elements. Decant most of the liquid back into the intake vessel to be processed next time around. Let the insolubles dry again. A filter paper need not be used here since you don't need to get every last drop of liquid out of the solids this time around, and not having the filter paper will eliminate having to worry about disposing of it. Do the same with the fluoride precipitates, which had been extracted earlier.

IMMOBILIZE INSOLUBLES:
The insolubles contain most of the elements of environmental concern, and that concern has mainly to do with the possibility that they could contaminate groundwater. Hence, although they have been already rendered largely harmless by their insolubility, we wish to take further steps to make them even more so, and less accessible to biological organisms. So, combine the fluoride residues and the heavy-metal insolubles. There are now two options: vitrify (preferably), or cement. To vitrify, mix these residues with crushed glass, melt, mix well, and form blobs. These may now be disposed of in the regular trash collection. To cement: mix the residues with Portland cement and sand, cast into a block, and cure well by keeping moist for about a week. It may then be useful to dip the block, when fully dry, in a tough exterior-grade oil-based paint to seal it; however will doing so will add organic chemicals which may themselves be polluting? Good question. In any case, when finished, this can now be discarded in the regular trash.

DISCARD SOLUBLES:
The residues from the third vessel (oxides, chlorides, etc. of sodium, calcium, aluminum, and potassium), although having high solubility, are of a low toxicity and are low environmental threats. They should be discardable in the trash without further processing. If you want to vitrify them, go ahead; but do not vitrify them along with the other materials because the combination of high solubility along with the more toxic elements may facilitate aqueous permeation into the more toxic elements, to an unacceptable degree.

ADDITIONAL COMMENTS:
If you have access to a centrifuge, these procedures can be carried out more rapidly. Do not use metallic containers; they will corrode in these chemicals. Clear plastic tubs are suggested. Although the foregoing procedure greatly reduces the environmental toxicity of the wastes, the chemistry is relatively unsophisticated, and absolute environmental inertness may not be achieved. Hence, the final products should go only in a formally operated disposal site such as a municipal landfill, never into your own land or anywhere else.

Stephen C. Allen
Sca-of-az@juno.com