Greek Orthodox Wedding Rings


Capture the Essence! of Greek Orthodox Tradition with this elegant 18k Gold Antique Wedding Band. Photo ©2014 EraGem Jewelry.

Capture the Essence! of Greek Orthodox Tradition with this elegant 18k Gold Antique Wedding Band. Photo ©2014 EraGem Jewelry.

During a Greek Orthodox wedding, the exchange of wedding rings is a significant part of the ceremony. The bride and groom wear their rings as they approach the altar. The bride wears her engagement ring on her left ring finger, and both wear their wedding rings on their right ring fingers.

In accord with one of the prayers in the Greek Orthodox Betrothal Service, the rings are placed on the right hand in observance of the rings of power, authority, and pledge worn by the Biblical figures Joseph, Daniel, and the prodigal son, who was given a ring to wear on his right hand as a symbol of compassion and celebration for his hoped-for return. The right hand symbolizes the establishment of truth and the source of strength, as well as the power and authority required to fulfill a pledge of commitment.

After the priest explains the sacrament of marriage, the profound mystery of two becoming one while yet remaining unique individuals, he begins the very important blessing of the rings. Using the rings to make the sign of the Cross on the groom’s forehead and then the bride’s forehead, he repeats the following declaration three times: “The servant of God…(groom) is betrothed to the servant of God … (bride) in the name of the Father, and of the Son, and of the Holy Spirit. Amen.” He then reverses the order, beginning now with the bride’s forehead and the bride’s name, blessing the union three more times. He then places the rings once again on the bride’s and groom’s right ring fingers.

Next, the couple’s koumbaro (sponsor), a role filled in modern times by the best man or maid of honor, then steps forward to perform the exchange of rings. Crossing his/her hands, the koumbaro takes hold of the groom’s ring in his/her right hand and the bride’s ring in the left. Then, s/he slips the rings off their fingers and transfers them to the hand of the other person, back and forth three times. This exchange is made to symbolize that both lives are now interwoven, that one person’s strengths will compensate for the weaknesses of the other, and that together their lives will be richer than if they were lived apart.

It has long been the custom of Greek couples to choose simple gold bands to serve as their wedding rings. Though some Greeks living abroad have been known to move the rings from their right hands to their left hands after the ceremony, others maintain the custom of wearing the wedding bands on the right hand. Princess Tatiana of Greece has been seen wearing on her left hand her sapphire and diamond halo engagement ring with an elegant diamond eternity band and a simple gold band, though on her wedding day she was wearing only her engagement ring on her left hand and a plain gold band on her right.


Beads of Gold: Technique in Granulation

Admire the Technique! in this Vintage Italian Bracelet Charm. Photo ©2014 EraGem Jewelry.

Admire the Technique! in this Vintage Italian Bracelet Charm. Photo ©2014 EraGem Jewelry.

This spectacular vintage Italian charm pendant features cultured pearls and five faceted oval-cut amethysts. Crafted of 18k yellow gold, this beautiful piece features exquisite metal work, including authentic filigree and granulation techniques.

Careful inspection reveals a multitude of tiny golden beads crowning the floral embellishments lining the central arches of this charming jewel. These tiny spheres represent countless hours of detailed labor on the part of a highly skilled goldsmith.

Called granulation, this technique of fashioning minuscule metal orbs and soldering them in place on another piece of metal hails from the Sumerians, the ancient civilization believed to be the first of all true civilizations. Revived and perfected in the 7th and 6th centuries BC by the illustrious Etruscans, this technique has been used off and on throughout jewelry history.

Metallurgists will tell you that when small pieces of metal are heated to their melting point they will refashion themselves into tiny spheres, much like individual dewdrops of water will do on the surface of a leaf.

Today, goldsmiths use a number of methods to create these golden wonders. The first involves cutting narrow fringes along the edge of a thin sheet of metal and then trimming them off to form tiny individual squares. Another involves the use of a mandrel, a cylindrical rod around which very thin wire is coiled. As the wire spools off the mandrel, the jeweler will cut it into very small jump rings.

Once these tiny pre-spheres are fashioned, they are coated in charcoal powder. Next, the bottom of a crucible is doused with more charcoal powder, and the small pieces of coated metal are sprinkled evenly across the powder, much like seeds are sown in the ground. Another layer of charcoal is added, followed by more bead seeds, until the crucible is filled three-quarters of the way up. The crucible is then placed in an oven, and as the container grows hotter, the metal pieces begin to melt and form into tiny spheres. Once cooled, they are cleaned with water or acid and prepared for soldering.

The goal is to produce fairly evenly-sized beads measuring between .14 mm and 3.5 mm in diameter. The smaller the beads, the harder they are to fashion, which is why the Etruscan designs inspire so much intrigue. These remarkable relics feature the tiniest of beads, fashioned several centuries before the dies for super fine wires were invented. One historian, Jochem Walters, proposes that the Etruscans achieved such minute results by melting coarse gold filings in layers of powdered charcoal.

On this beautiful piece, the beads are on the large side, probably fashioned from larger-gauge wire which was cut and fired in the fashion described above. The overall effect is crown-like, with the tiny beads mirroring the rounded pearls and the orb-style top-piece. This piece represents a stunning example of vintage Italian craftsmanship.

Spotlight on Milgrain Technique in Engagement Rings

Admire the Technique! in this IGI-Certified Princess Cut Diamond Engagement Ring with Milgrain Details. Photo ©2014 EraGem Jewelry.

Admire the Technique! in this IGI-Certified Princess Cut Diamond Engagement Ring with Milgrain Details. Photo ©2014 EraGem Jewelry.

This delectable engagement ring is crafted of solid 18k white gold with accents in solid 14k gold. The central stone is an exquisite D-color, Princess Cut diamond weighing in at 0.97 carats. Mounted cathedral style in a four-prong setting, this magnificent diamond is flanked on either side by four round brilliant cut diamonds totaling another 1.37 carats.

The top of the ring’s tapering shank is crisply etched in a scalloped design, and the edges are finished in the milgrain technique, giving the ring an antique look and feel. Milgrain, derived from the French word millegrain (meaning ‘thousand grains’), is most often seen on the edges of rings and can take the form of teeny-tiny beads or a series of serrated grooves resembling the edges of coins.

Special tools are used to imprint the desired edging pattern into the rings. One such tool, called a knurling tool, consists of small rolling wheel attached to the end of a handle which, when rolled along the edges of the shank, produces a beaded appearance. Another such tool features a chuck-holding handle with several different attachments which, when rolled along the edge, produce different effects, including decorative beads or fine rows of cuts.

These hand techniques were the only ones available to early-century jewelers. Today, however, jewelers can make use of 3D-CAD programs to execute the milgrain effect. These programs include a milgrain decoration which is added as a decorative feature. The finished design is then sent to a special printer which fashions a 3D wax model of the ring which can be cast in metal die form. Goldsmiths pour molten alloys into these dies to form casts of the ring parts which when dried and cooled are assembled prior to setting the stones.

No matter how the milgrain technique is executed, the results are similar to applying a frame around a finished painting. This framework adds another dimension to the piece, highlighting certain design elements such as the gemstones or, in this case, the hand engraving on the shank of the ring.

Gold on Gold: Techniques in Granulation

Capture the Essence! with these Estate Citrine Drop Earrings with Granulation. Photo ©2014 EraGem Jewelry.

Admire the Technique! with these Estate Citrine Drop Earrings with Granulation. Photo ©2014 EraGem Jewelry.

These inspired earrings are evocative of the Etruscan period of jewelry, with their exquisite square-cut natural citrine center stones, their brushed gold finish, and especially with their decorative granulation in 18k gold. Artisans working between 700-500 BC resurrected many of the ancient techniques in jewelry and art, including filigree, milgrain, and granulation.

Granulation is a beautiful technique which is used to create mosaic-like patterns out of tiny spheres (granules) of gold. Granulation takes a tremendous amount of time and effort, especially when an entire surface is covered. Each tiny bead of gold is individually formed and individually placed and affixed to the surface of the jewel.

In this case, the pattern is fairly simple, an edging of the raised bezel surrounding the stone with equally spaced flourishes along the center and corners of the sides. However, many of the most popular antique pieces featuring granulation are completely covered in tiny beads, representing hours of intense labor. This work is done by hand using a number of adhesion techniques.

One such technique is hard soldering, where a hand-soldering tool is used to warm the point of contact between each granule and the surface of the jewel. This is the most laborious and least often used method in fashioning granulated jewelry.

A variation of this technique is more often used, in which a portion of gold is filed into powder and mixed with a flux agent (tragacanth gum). By itself, the flux agent is also used to paint the surface of the piece, leaving a thin layer into which the jeweler can embed the tiny beads of gold. After the beads are set in place, the flux-solder mixture is then sprinkled over the entire surface and heated to its melting point. This process does leave a residual puddling of metal around each bead, which is unavoidable.

A second method is called fusing. In this technique, metals of the same alloy are fused together by heat alone. A thin sheet of metal the approximate thickness of the granules is painted with a thin layer of diluted flux. The granules are carefully placed in the intended pattern, and then the whole segment is placed in a reducing oven (little or no oxygen present).

Once the metal reaches its melting point, the granules and the sheet metal fuse together at their points of contact. The reductive atmosphere eliminates all excess flux and solder, preventing the puddle effect seen in hard soldering. Once the piece has cooled, it can be formed into the desired shape for the finished jewel.

Some believe this is the method the Etruscans used to perfect their practice; however, others believe the Etruscans used another method, colloidal (eutectic) soldering. With colloidal soldering, a carefully prepared mixture of tracaganth gum (or possibly fish paste or cowhide glue in the case of antiquity) and copper salts is applied to the sheet of metal in order to reduce the required temperature for melting the base and the granules.

The thin metal sheet is painted with the colloidal solder, and a fine paint brush is used to position the granules. After the surface dries completely, the piece is fired in a reducing oven until the flux agent burns off completely. As it burns, it releases the copper salts into the points of contact. Once the oven reaches 890 degrees Celsius, the copper diffuses into the granule and the base, forging a powerful metallic bond between the two.

Regardless of which method is used, granulation requires a tremendous amount of skill, precision, and patience. It’s no wonder that the results are dazzling.

Was the Virgin Mary’s Wedding Ring Amethyst and Onyx?

Santo Anello, the Blessed Virgin's Wedding Ring, Perugia, Italy.

Santo Anello, the Blessed Virgin’s Wedding Ring, Perugia, Italy.

Rumor has it that Joseph gave the mother of Jesus Christ a wedding ring on the day of their betrothal. Such was the widespread belief among Catholic communities in the mid-to-late 1800s. This rumor appears to have two separate sources. The first source comes from the visions of Anne Catherine Emmerich, a mystic seer and Augustinian nun who was beatified by Pope John Paul II in 2004.

Between 1813 and 1819, the sickly nun began experiencing the sainted sign of stigmata. A series of investigations took place, and her piety and sanctity were confirmed by a number of inquirers. Soon after, she was visited by several figures prominent in the emerging Church renewal movement. One such visitor, the poet Clemens Brentano, made it his mission to record their discussions about her visions.

It is within a series of these visions, dated between July 29 and August 3, 1821, that Sister Catherine saw the wedding ring of the Blessed Virgin Mary. She is said to have reported that the ring was “neither of silver nor gold, nor of any other metal; it is dark in color and iridescent; it is not a thin narrow ring, but rather thick and at least a finger broad. I saw it smooth and yet as if covered with little regular triangles in which were letters. On the inside was a flat surface. The ring is engraved with something. I saw it kept behind many locks in a beautiful church. Devout people about to be married take their wedding-rings to touch it.”

Nearly simultaneously, in 1823, William Hone wrote a book titled Ancient Mysteries Described. In it, he also describes the Virgin Mary’s wedding ring, though he reported that it was said to be of onyx and amethyst, representing the budded rod of Joseph.

So, did Mary have a wedding ring? Was it amethyst and onyx, or was it the larger quartz version eluded to in Sister Catherine’s visions?

Even Mr. Hone holds his tongue in his cheek as he comments on the ring’s miraculous powers. Not only was the ring capable of healing the sick and bringing fortune to those whose wedding rings touched it on St. Joseph’s Day, but the ring also held “miraculous powers of multiplying itself” {1}. Apparently, there were several churches claiming to possess the precious relic during the mid-1400s.

Legend has it that the ring was acquired by a traveling jeweler and lapidary, Ranerius. In 966 AD, Judith, wife of Hugo, Marquess of Etruria, hired Ranerius to travel to Rome in search of beautiful jewels for her. While in Rome, Ranerius met a jeweler from Jerusalem who offered him an onyx and amethyst ring as a token of their friendship.

Ranerius appears to have been somewhat callous about the gesture, considering the ring to be of little value despite the Jewish man’s insistence that the jewel was the betrothal gift given to the Virgin Mary on her wedding day. The Italian tossed the ring in a chest, clearly unconvinced by the Jewish lore surrounding the ring. Ten years later, the man’s son lay in a coffin, borne upon a hearse toward a cemetery.

In a moment of mystical mayhem, the young boy suddenly rose up and called for his father, claiming a visitation from the Blessed Virgin. The story goes that the boy described the ring and its location in the forsaken chest and insisted that Mary desired her wedding band to receive its full due. When the chest was brought to the boy, he pulled out the ring and kissed it, just as the bells began to peal spontaneously. The onlookers were moved to worship as the scene unfolded, and the boy delivered the ring to church officials. Satisfied with his task, the boy lay back down in his coffin and breathed (again) his last. He was buried that day.

The ring remained in church custody for the next 500 years, rumored to bring relief to women in labor, to heal sciatica and diseases of the eye, to bring about reconciliation between married couples, and to exorcise demons. In 1473, it was handed over to the Franciscans in Clusium, where it was shown by appointment to visitors. On one such occasion, some say in 1488, a visiting priest, described by Mr. Hone as “a crafty German” named Wintherus, faked the ring’s return to its cherished box, hiding it instead beneath his sleeves. He fled to the countryside, where he encountered trouble in the form of a mysteriously deep darkness supposedly created by the disgruntled relic {2}.

Failing in his efforts to smuggle the ring out of the country, he made his way to Perugia where he convinced the resident church leadership that he had rescued the relic from the Clusiums. Realizing he would not make it out of the country under the thick veil of darkness, he willingly exchanged the ring for a modest fortune and a position in the governance of the city of Perugia.

When Sister Catherine saw the ring in her vision, it was housed in a medieval lock box gilt in silver and gold in Perugia’s San Lorenzo Cathedral. The box required seven keys to open, and the ring is neither onyx nor gold. Today, a wide band of pure quartz with a flattened bottom hangs from a golden crown at the apex of an elaborate statue.


  1. Hone, William. Ancient Mysteries Described. London: J. M’Creery, Tooks Court, 1823, p. 119.
  2. Ibid.

Love & Luxury Unite with Van Cleef & Arpels

Capture the Romance! with this Vintage Van Cleef & Arpels Diamond and Ruby Ring. Photo ©2014 EraGem Jewelry.

Capture the Romance! with this Vintage Van Cleef & Arpels Diamond and Ruby Ring. Photo ©2014 EraGem Jewelry.

by Angela Magnotti Andrews

The passion of red ruby surrounded by the purity of white diamonds constitutes the perfect blend of love and luxury. A pristine oval-cut red ruby stands front and center, a beautiful declaration of love’s ardent passions. Surrounding the red stone are eight round brilliant diamonds, a halo symbolizing pure devotion. Two large pear-cut diamonds are set en pointe in a north-south orientation, with two marquise-cut diamonds set vertically in an east-west position. Between them lie four smaller pear-cut diamonds. The effect is pure, exquisite luxury, a characteristic long associated with every Van Cleef & Arpels piece.

This natural pairing of Luxury and Love have long been united in the hallowed halls of one of the world’s most notable jewelry houses. Some of the most extravagant gestures of love have been signed VC/A*. Among them, a stunning diamond and ruby bracelet commissioned by the former King of England, Edward VIII, for his mistress, later his bride.

Set with four clusters of rubies surrounded by white diamonds, this token of affection was inscribed with the couple’s enduring motto: ‘Hold Tight’. Jackie Onassis, Elizabeth Taylor, and Princess Grace of Monaco were also showered with jewels created by the iconic Parisian jewelers.

It should come as no surprise, then, that a love story forms the very foundation of the famed house. According to their website, the impressive jewelry dynasty was “inspired by the unique creative energy of love” {4}.

While the details of this legendary love story continue to elude the public eye, the broad strokes paint a story in which Estelle Arpels and Alfred Van Cleef enjoyed a “love story like no other, a great adventure beyond expectation” {4}.

Alfred Van Cleef made his start in jewelry at the bench of David et Grosgeat, where he learned to create and market beautiful jewelry. After his marriage to Estelle, Alfred joined forces with his bride’s father, Léon Salomon Arpels. Together they opened a small jewelry shop specializing in precious stones {3}.

After the senior Mr. Arpels passed away in 1906, his sons, Charles-Salomon, Julien, and Louis Arpels, threw their lot in with Alfred and Estelle, and the family opened a shop on the prestigious place de Vendome. The family dedicated their life to perform “the ultimate act of creativity” by combining exceptional stones in uncommon settings to transform precious metals and gemstones into phenomenal jewels {1}.

During World War II, the Van Cleef & Arpels families fled the hostile environs of Paris and settled in New York. Well established as principal players upon the international jewelry stage, Van Cleef & Arpels remained a family-owned and operated business until 1999, when it was purchased by a Swiss luxury group {3}.

*The company’s hallmark substitutes the / with a stylized imprint of their company’s flagship store.


  1. Macklowe Gallery. “Van Cleef & Arpels.” Accessed April 4, 2014.
  2. Primavera Gallery. “Van Cleef and Arpels.” Accessed April 4, 2014.
  3. Serafin, Amy. “Van Cleef & Arpels: The Family, The Jewels, The Legend,” France MagazineFall 2012.
  4. Van Cleef & Arpels. “Estelle & Alfred: The Founding Love Story.” Accessed April 4, 2014.
  5. Van Cleef & Arpels. “The Maison’s Enchanting Love Stories.” Accessed April 4, 2014.

Spotlight on Design: Jean Schlumberger Engagement Rings

'Bee Ring' by Jean Schlumberger. Photo courtesy of Sotheby's, 2011.

‘Bee Ring’ by Jean Schlumberger. Photo courtesy of Sotheby’s, 2011.

According to Tiffany & Co., Jean Schlumberger (pronounced ‘zhahn shlumberjay’) was the most important jewelry designer of the 20th century. His designs continue to be employed by Tiffany & Co., and his engagement rings are among the most sumptuous on the market today.

The pictured ring features a stunning fancy vivid yellow diamond (11.13 carats) surrounded by a colony of bees fashioned out of yellow gold and white diamonds. From the top, the bees appear to be drinking the honey nectar of a yellow flower bud. This particular ring was purchased for $1.08 million at a Sotheby’s auction in 2011.

Mssr. Schlumberger designed several ring styles using this bee motif, many of which would make lovely as engagement rings. In addition, he designed several engagement rings which have become Tiffany classics.

The most iconic are his flower bud designs. The first, called simply the Jean Schlumberger Engagement Ring, features a diamond-encrusted band in fluid formation which rises to meet a central stone of 1.5 carats. This ‘bud’ stone is wrapped in crisscrossing diamond-studded bands. The sparkling brilliance of white diamonds against platinum set in a natural floral form evokes heady romance and stately charm.

In another variation of flower bud ring, called the Buds ring, Mssr. Schlumberger incorporates tightly formed sepals rising up to meet a crowning diamond bud. The platinum band is encrusted with inlaid round diamonds. Another of Mssr. Schlumberger’s famous engagement rings, the Rope ring,  incorporates a large-carat round brilliant diamond ensconced within a web of twisted ropes of yellow gold.

Nothing says quality like a Tiffany engagement ring, and Jean Schlumberger raises the bar even further for those interested in the finest quality and most innovative designs of the 20th century.

A History of Transitional Diamonds

Look Right Here! at this Vintage 1-carat Transitional Diamond Engagement Ring. Photo ©2014 EraGem Jewelry.

Look Right Here! at this Vintage 1-carat Transitional Diamond Engagement Ring. Photo ©2014 EraGem Jewelry.

The story of diamond cuts is a fascinating look at the evolution of industry. In previous posts, we’ve explored a history of early cuts, as well as the primary characteristics of a number of these early cuts.

At this point in the timeline, it’s time to take a look at the history of transitional cut diamonds. These diamonds are unique in that they fall outside the parameters of the Old Mine and Old European cuts of the 1800s. Similarly, they do not quite measure up to today’s standard Modern Round Brilliant.

Transitional-cut diamonds typically bridge the gap between antique and vintage. Direct descendants of the Old European Cut, these progressive cuts saw an evolution toward a larger table, a lower crown, and a smaller culet than previous cuts. However, unlike later brilliants, the girdles of these stones remained unfaceted.

These cuts were the invention of those cutters under the watchful eye of Henry D. Morse. Mr. Morse owned the first American diamond cutting operation. His passion for diamonds led to the first cuts specifically designed to unlock the beauty of these stones. For this reason, many refer to Transition Cuts as Early American Cuts.

These cuts, also sometimes called Early Modern Cuts, are considered precursors to both the Modern Round Brilliant and the Ideal cuts. Using the newly-invented steam-powered diamond lathe, Mr. Morse and his team sought to standardize proportions for cutting diamonds. Mr. Morse was a true pioneer, and as such these transition diamonds feature a wide range of proportions, angles, and facet numbers. Since they were hand faceted without uniform parameters, these stones are truly one-of-a-kind.

One could call this transition the trial-and-error phase, for that is essentially what these diamonds represent. While symmetry and consistency were the goals, it would take some time for the cutters to work out all the angles. Ultimately, it would be another 30 or 40 years before the work represented by Mr. Morse and his men would be adopted into mainstream use, thanks in large part to the mathematical analysis of Marcel Tolkowsky.

As is often the case, these practice cuts are now a significant piece of diamond-cutting history. Transitional diamonds are special, and we celebrate whenever we find a fine specimen from such an important time in jewelry history. Currently, we have a number of gorgeous engagement rings featuring transitional diamonds. We invite you to browse our selection. Don’t forget to make an appointment to view these remarkable pieces in person.

A Brief Look at Early Diamond Cuts

Look Right Here! at this Heirloom Old Mine Cut Diamond Engagement Ring. Photo ©2014 EraGem Jewelry.

Look Right Here! at this Heirloom Old Mine Cut Diamond Engagement Ring. Photo ©2014 EraGem Jewelry.

It was George Frederick Stras, a Parisian jeweler, who perhaps deserves a fair portion of the credit for launching the greatest period of innovation for diamond cutting in the world. In the late 1700s, a time during which candlelight prevailed, Mr. Stras discovered a method for applying metal backings to fake glass gems. The flash of light sparkling off these imitation gemstones sparked a craving among society’s ladies for more sparkle. For the first time in history, diamonds had a rival.

As the glittering light of thousands of tiny glass stones tantalized the eyes of beholding women, diamond merchants scrambled for a way to maintain their competitive edge. Cutters began to experiment beyond the Rose and Table cuts so prominent in that day. These cuts suddenly appeared dull and drab in comparison with the sparkling faceted glass being sold for a fraction of the price of diamond jewels.

The Table Cut was developed during the 14th century. This cut featured one facet, a slice right across the top. This octahedronal cut emphasized a diamond’s clarity and luster, but failed to release any of the stone’s brilliance.

The Rose Cut was developed in the 16th century. A Rose-cut diamond might have between 3 and 24 facets, with a flat bottom and a dome-shaped crown. Named for its resemblance to a budding rose, the Rose Cut was the first diamond cut which allowed light to pass into the stone and refract in a flash of brilliance.

Amid the flurry of activity following Mr. Stras’s invention, diamond cutters soon developed the Old Mine Cut. This cutting style features a high crown, a small table, and a fairly large culet. This style was developed in the early 1800s and maintained its popularity until the late 1870s, when the steam-powered diamond lathe was introduced by Henry D. Morse’s company.

The lathe made bruting possible, a precise method for creating a thin, round girdle on a diamond. The precision of this machine made symmetrical faceting possible. The resulting new cut, named the Old European Cut, maintained the small table, high crown, and larger culet characteristic of the Old Mine Cut, while at the same time presenting a symmetrically round outline.

These beautiful diamonds remained popular through the 1930s, tapering out in favor of the modern Transitional Cuts which soon gave way to the Modern Round Brilliant Cuts which remain the most popular cuts today.

These early diamond cuts represent the majority of diamonds found in antique engagement rings. If your gal loves romance by candlelight, any one of these dazzling antique cuts will thrill her to bits. We invite you to make an appointment with us soon to view our selection in person.

Easter Proposal Ideas

Easter Eggs

Spring is here, and love is in the air. Perhaps you’ve had a ring box sitting in your sock drawer for the past three months. Having bypassed a standard Christmas-New Year’s proposal and the compelling pull of a Valentine’s Day proposal, you may be wondering if you’ve missed the holiday proposal boat. Have no fear, Easter is right around the corner.

A holiday filled with hopeful symbolism, Easter brings to mind new beginnings and renewed hope. Expressions of romantic love are perfectly in step with these.

Perhaps you already have an Easter tradition: A day spent with family, at church, eating chocolate bunnies and jelly beans, hiding Easter eggs, or a visit to the Easter Bunny. If so, weaving your proposal into any one of these traditions is simple and filled with memorable possibilities.

In case you don’t have Easter traditions of your own to spur your imagination, we’ve compiled a number of possible proposal options to make this Easter the most memorable of all:

  1. Jelly Bean Eggs. Purchase a set of plastic hiding eggs and fill five or six of them with jelly beans, nestling the ring into one of them. If she grows at all suspicious, shaking the eggs will offer her no clues. Place the eggs in a basket (she will be inclined to keep the basket as a memorial, so make sure it’s a beauty), with the ring egg firmly at the bottom. Since she’s not likely to eat all the jelly beans at once, hide love notes in each one, as well. She will be compelled to keep opening them to read the sweet notes. You can include a Will You Marry Me? note in with the ring, or you can just let the ring speak for itself. Note of caution: If your girlfriend likes to savor her gifts or her candy, you may want to hide the ring egg closer to the top. Urging her to open more will feel like suspicious pressure and will add a tension to the moment that she may not enjoy.
  2. Golden Easter Egg Hunt. Purchase a set of gold-colored plastic hiding eggs from a local party goods store. In addition, purchase one hollow egg made of real gold in which you can hide her engagement ring. Fill the plastic eggs with treats and clues that will lead her along to find all the eggs, ending, of course, with the ring egg. Note of Caution: Hiding the ring egg outside may be an exciting and wonderful opportunity to really surprise your lady love; however, it also presents some danger to the ring. We suggest that you do so only if you’re certain she will find it without too much “egging” on. If you feel ill at ease about hiding the ring outside, send her inside with the final plastic clue egg and meet her in the doorway on your knees holding the golden ring egg, or hide the ring egg somewhere safe inside.
  3. Easter Basket Surprise. Purchase a beautiful Easter Egg basket–make this one count, as she will likely want to save it for life. Fill it with her favorite spring things. If she loves gardening, get her a set of feminine garden tools and some pretty gloves (make sure you know her size). If she loves candy, get her lots of chocolate and jelly beans (don’t forget the Peeps). Whatever she loves, fill her basket with it and make it as beautiful as possible (get your sister to help you, or better yet ask her sister to help you). Whatever you fill it with, find a way to incorporate the ring/ring box into the mix.
  4. Chocolate Bunny Surprise. Chocolate bunnies are a staple of almost every Easter celebration. Ranging in size from colossal to minuscule, there are a number of ways you can incorporate these delicious goodies into your proposal plans. If she likes grand, purchase a colossal chocolate bunny in her favorite flavor (white, dark, or milk). Tie a ribbon around its ear, its paw, or its neck, and string the ring on it. Place it in her favorite spot in her house (or yours), and wait in the wings until she finds it. As she begins to untie the ribbon, bend on one knee beside her and say those magic words. If your sweetheart is more subtle, choose a more diminutive chocolate rabbit. Again, you can tie the ring around the bunny with a ribbon, or you might be able to slip it onto the rabbit’s ears or one of its paws. It’s really hard to go wrong with the chocolate bunny; there’s nothing quite like diamonds and chocolate to make her swoon.
  5. Easter Picnic. Pack a basket filled with her favorite delicacies, hiding the ring box in and among the picnic supplies. Choose a favorite outdoor location, or find a special natural hideaway she’s never been to before. Make sure you’ll have privacy and cooperative weather. After you lay out the blanket for her (chivalry is not dead), you can ask her to help you unpack the picnic basket. Turn the basket so that the ring box will be within her reach. If your girl is hard to surprise, consider packing extra presents in the upper layer of the basket. One man threw his lady off the scent after he gave her a set of pearl earrings and a matching necklace toward the beginning of their time together.

If you haven’t found the perfect engagement ring to finalize your Easter proposal, it’s not too late. Give us a call to schedule a visit to our Seattle Area Showroom. If you browse our selection first and send us a list of your top choices, we can have them waiting for you when you arrive.