Discover The Ultimate Flight of Beauty: A Memorable Journey

OUR PHILOSOPHY: From the moment it opened its stores in 1994, Sparkle N Dazzle Jewelers embarked on a never ending quest to fuse the essential timelessness of the diamond with contemporary design movement, flavoring it with iconoclastic verve and a dash of scintillating and sumptuous modern romance. Pushing talisman boundaries of artistry, design and craftsmanship, to honor the rich illustrious heritage of the gemstone and diamond and to celebrate its true natural beauty for the whole world to admire and adore loud, unqualified and long.

The Making of Talisman Miracle: Start out simple! Amulets and talismans are a fast and easy way to focus your magical intentions when worn or carried. An amulet or talisman is a form of symbolic magic meant to attract influences to (or repel them from) the carrier. Amulets can be man-made, as in the case of a pendant, or natural, such as a rabbit foot or four leaf clover. We carry over 100 amulet pendants & talismans for a wide variety of magical intentions including love, luck, prosperity, fertility, protection and more.

Craftsmanship Philosophy: “In bringing a design concept drawing to fruition as a finished product, the technicians have to pay close attention to a very wide range of issues.” Behind every such item is a history of technique preserved over time, in addition to the life experiences of the artisans who made it. It exists as a result of a long progression through many pairs of hands. The rock upon which Sparkle N Dazzle Jewelers ability to work through this concept-to-commercialization process stands is – as it has been since the company’s foundation – its solid core of superior technical staff. They are the ones who wrestle with the many problems and challenges that arise along the way to transforming the line drawings and concept images of the designers into the final, finished shape of the product. Tirelessly, often through repeated trial and error, they overcome the hurdles – no matter how high they are – and make the end result their own. It is their spirit of challenge and breakthrough that defines the success of Sparkle N Dazzle Jewelers craftsmanship.

The path that leads to a customer taking delivery of a superior product is a long one, that involves a large number of important steps – from meticulous planning, through rigorous verification and testing, and endless trial and error experimentation by absolute professionals. But the efforts of all of these craftsmen are supported and appreciated by athletes and all who truly love art. In all of this, the true spirit of Sparkle N Dazzle Jewelers can be found.

All coins which do not have the rim complete, are not to be accepted
as good; and to secure the perfection of their rim it is requisite
that, in the first place, all the coins should be a perfect circle;
and to do this a coin must before all be made perfect in weight, and
size, and thickness. Therefore have several plates of metal made of
the same size and thickness, all drawn through the same gauge so as
to come out in strips. And out of these strips you will stamp
the coins, quite round, as sieves are made for sorting chestnuts
; and these coins can then be stamped in the way indicated
above; &c.

The hollow of the die must be uniformly wider than the lower,
but imperceptibly.

This cuts the coins perfectly round and of the exact thickness, and
weight; and saves the man who cuts and weighs, and the man who makes
the coins round. Hence it passes only through the hands of the
gauger and of the stamper, and the coins are very superior.

POWDER FOR MEDALS.

The incombustible growth of soot on wicks reduced to powder, burnt
tin and all the metals, alum, isinglass, smoke from a brass forge,
each ingredient to be moistened, with aqua vitae or malmsey or
strong malt vinegar, white wine or distilled extract of turpentine,
or oil; but there should be little moisture, and cast in moulds.

The diameter is given in the lead enclosed; it is beaten with a
hammer and several times extended; the lead is folded and kept
wrapped up in parchment so that the powder may not be spilt; then
melt the lead, and the powder will be on the top of the melted lead,
which must then be rubbed between two plates of steel till it is
thoroughly pulverised; then wash it with aqua fortis, and the
blackness of the iron will be dissolved leaving the powder clean.

Emery in large grains may be broken by putting it on a cloth many
times doubled, and hit it sideways with the hammer, when it will
break up; then mix it little by little and it can be founded with
ease; but if you hold it on the anvil you will never break it, when
it is large.

Any one who grinds smalt should do it on plates of tempered steel
with a cone shaped grinder; then put it in aqua fortis, which melts
away the steel that may have been worked up and mixed with the
smalt, and which makes it black; it then remains purified and clean;
and if you grind it on porphyry the porphyry will work up and mix
with the smalt and spoil it, and aqua fortis will never remove it
because it cannot dissolve the porphyry.

If you want a fine blue colour dissolve the smalt made with tartar,
and then remove the salt.

Vitrified brass makes a fine red.

GLUE.

Take mastic, distilled turpentine and white lead.

On bronze casting generally (731-740).

TO CAST.

Tartar burnt and powdered with plaster and cast cause the plaster to
hold together when it is mixed up again; and then it will dissolve
in water.

HOW CASTS OUGHT TO BE POLISHED.

Make a bunch of iron wire as thick as thread, and scrub them with
[this and] water; hold a bowl underneath that it may not make a mud
below.

HOW TO REMOVE THE ROUGH EDGES FROM BRONZE.

Make an iron rod, after the manner of a large chisel, and with this
rub over those seams on the bronze which remain on the casts of the
guns, and which are caused by the joins in the mould; but make the
tool heavy enough, and let the strokes be long and broad.

TO FACILITATE MELTING.

First alloy part of the metal in the crucible, then put it in the
furnace, and this being in a molten state will assist in beginning
to melt the copper.

TO PREVENT THE COPPER COOLING IN THE FURNACE.

When the copper cools in the furnace, be ready, as soon as you
perceive it, to cut it with a long stick while it is still in a
paste; or if it is quite cold cut it as lead is cut with broad and
large chisels.

IF YOU HAVE TO MAKE A LARGE CAST.

If you have to make a cast of a hundred thousand pounds do it with
two furnaces and with 2000 pounds in each, or as much as 3000 pounds
at most.

738.

HOW TO PROCEED TO BREAK A LARGE MASS OF BRONZE.

If you want to break up a large mass of bronze, first suspend it,
and then make round it a wall on the four sides, like a trough of
bricks, and make a great fire therein. When it is quite red hot give
it a blow with a heavy weight raised above it, and with great force.

739.

TO COMBINE LEAD WITH OTHER METAL.

If you wish for economy in combining lead with the metal in order to
lessen the amount of tin which is necessary in the metal, first
alloy the lead with the tin and then add the molten copper.

How TO MELT [METAL] IN A FURNACE.

The furnace should be between four well founded pillars.

OF THE THICKNESS OF THE COATING.

The coating should not be more than two fingers thick, it should be
laid on in four thicknesses over fine clay and then well fixed, and
it should be fired only on the inside and then carefully covered
with ashes and cow's dung.

OF RESTORING THE METAL WHEN IT IS BECOMING COOL.

When you see that the bronze is congealing take some willow-wood cut
in small chips and make up the fire with it.

THE CAUSE OF ITS CURDLING.

I say that the cause of this congealing often proceeds from too much
fire, or from ill-dried wood.

TO KNOW THE CONDITION OF THE FIRE.

You may know when the fire is good and fit for your purpose by a
clear flame, and if you see the tips of the flames dull and ending
in much smoke do not trust it, and particularly when the flux metal
is almost fluid.

OF ALLOYING THE METAL.

Metal for guns must invariably be made with 6 or even 8 per cent,
that is 6 of tin to one hundred of copper, for the less you put in,
the stronger will the gun be.

WHEN THE TIN SHOULD BE ADDED TO THE COPPER.

The tin should be put in with the copper when the copper is reduced
to a fluid.

HOW TO HASTEN THE MELTING.

You can hasten the melting when 2/3ds of the copper is fluid; you
can then, with a stick of chestnut-wood, repeatedly stir what of
copper remains entire amidst what is melted.

Nature Collections:

Sunset Sun-Tossed Collection

Moon-Lit Collection

Waterfall Collection

Starlight Collection

Landscape Collection

Great Lakes Collection

Amazing Birds Colors & Flight Collection

Nature Nurturing Blooming Flower Collection