Six prongs rise from the band, holding a diamond where light can reach it. The arrangement looks so familiar that it is easy to forget someone had to decide to make it this way. I find that a persuasive kind of design success: an object becomes a reference point, and we have to look harder to see the choices inside it.
Tiffany & Co. dates the Tiffany Setting to 1886. The particular mounting deserves attention alongside the stone. Height, proportions and the way it sits beside another ring all affect the experience on the hand. Elsa Peretti’s Bone cuff gives the same house a very different relationship between metal and body.
The story leads naturally to New York, but a jewelry advisor has a more immediate task: to explain one actual ring clearly. A setting is not a diamond grade, and a familiar silhouette does not replace that explanation. The Alhambra offers an equally recognizable identity through a quite different use of shape.