The Tiffany

(via Diamond Cuts in Historic Jewelry:1381-1910) Herbert Tillander writes:

The golden-yellow Tiffany is not only a typical Stellar Cut Brilliant with a star-like arrangement of small facets round the culet, but the crown is stepped, which consequently involves splitting the main facets. This was a standard procedure. The pavilion, however, received three steps: between the regular two steps a third shallow step was applied, which was probably unique. This involved the splitting of the lower main facets into two triangular and one flat keystone-shaped facet. Consequently the Tiffany diamond received forty actual facets on the crown and forty eight facets on the pavilion, plus the compulsory table and culet—in all, ninety facets compared with the fifty-six plus two facets of the standard Brilliant Cut.

No one has ever explained why such a bulky step cut was applied to this diamond. It seems that priority was given to weight retention, since the prestige of a diamond dependend at that time primarily on its weight. Dr Kunz stated ‘that this unprecedented number of facets was given the stone not to make it more brilliant, but less brilliant. The stone was of yellow color, and it was thought better to give it the effect of a smothered. Smouldering fire than one of flashing radiance.’ The stone has the unusual feature, in a yellow diamond, of retaining its color by artificial light. The designers decided to ignore the modern rules of proportioning (such as those introduced to America by Morse) since these would have produced a Brilliant of well below the magic figure of 100ct, which entitles a diamond to the name ‘Paragon’. Here, even the classic proportions would not have done—a Brilliant with the width and length of this stone (27mm and 28.25mm) with 45° angles would have barely weighed 100ct.

In the end, a number of solutions were found. Obviously, the diameter of the finished gem was weighed against a symmetrical outline. But the height of the crown, the thickness of the girdle and the depth of the pavilion could all be substantially increased. In fact they managed to retain a vertical measurement of 81.5 per cent (22.2mm) as compared with Jeffries 68 per cent and the modern 60 per cent.

The convex silhouette shows not only the weight saved through stepping but also an exceptionally high crown and deep pavilion. Other measures were taken in order to produce desired light effects. An exact calculation was made of the angles of reflection and refraction of light and the culet was given a size which made it act as a reflector. Until the Tiffany diamond is professionally examined two queries remain unsolved: the four extra facets on the pavilion, adjacent to the girdle, and the often mentioned seventeen polished spots on the girdle which, according to a check-up at the premises of Tiffany in 1945, are ‘no true facets’.

We know that the rough, a fine octahedron weighing 287.42 ct, was found in about 1878 in what appears to have been the French-owned part of the De Beers mines. It was shipped to Paris where it was shown to the Tiffany representatives. The firm’s eminent gemologist, George F Kunz, was commissioned to help plan the fashioning of it into the most magnificent gem possible. The result was extraordinary, as we have seen. The finished gem has the amazing weight of 128.51ct. It was, until recently, the largest golden-yellow diamond in the world. According to the official invoice from a Paris office, the Tiffany diamond was shipped to New York on the City of Chester on 15 June 1880, and was listed with a number of other gems ‘on consignment’ at 100,000 French francs.