CHAPTER EIGHT
	Staring at Stones I've been reading Benvenuto Cellini. It seems that when he designed his masterpieces of jewelry he didn't start with a plan and a blueprint and then acquire the gems with which to work them out. A patron would produce an unset treasure, and then Cellini got to work and built up a bauble around it. I under­stand that Fabergé worked on much the same system: the wealthy nobles of Russia evidently kept a lot of loose jewels, and now and then they merely handed one over to the master for proper setting. It's different nowadays. Most jewelers, whether or not they consider themselves worthy to be classed with Cellini and Fabergé, don't wait around until a patron comes along with a new diamond he wants placed in suitable surroundings. They don't have to depend on commissions, not with such a large public buying their wares ready-made. They find their own material, and when the diamond supply is run­ning low they usually go to London to replenish it. Working on this basis they mostly do well, and you will find few success­ful craftsmen longing for the old days. Cellini's clients were few in number. But some jewelers do feel cabined, cribbed,