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Naxium, Emery
Page
of 384
Text size:
196
NATURAL HISTORY OF GEMS.
the engravers ascertained that the same principle applied by means of blunt points varying in thickness would enable them to sink almost the whole of their design with extreme accuracy, only requiring a slight finish from the cutting medium. This is why many of the archaic Babylonian class exhibit in their mode of execution as extensive, or rather exclusive, employment of the drill, as marks the largest proportion of the Etruscan scarabsei, which still retain, the stamp of their Asiatic origin in their
technique,
though not in their subjects.
It must be here explained, that the metal point takes no part in cutting the intaglio, but merely serves as a medium in which the acuter particles of the pounded Corundum embed themselves, and bring an infinite number of cutting surfaces, continually renewed, to bear upon the gem. The softer the metal the larger proportion of these cutting particles does it take up and carry ; hence a bronze drill will work faster than one of steel. The modern gem-engraver sets all his drills and cutting tools, however differently shaped, to work, by making them revolve horizontally by means of a lathe driven by the foot, whilst he presses the gem cemented into a handle against the cutting edge. These cutters are, as they are wanted, fixed in a spindle driven by the
wheel,
which last gives the name to the entire contrivance. On the contrary, the ancient engraver, reversing the operation, brought his drills to bear upon a fixed surface, and turned them merely by means of the bow moved by his right hand, whilst he directed the drill with the left. Thus only is it possible to understand how the ancients were enabled to operate upon those enormous camei, the extent of which presents to the practical eye difficulties almost insuperable by the modern process. More than one artist could thus have laboured simultaneously upon the same slab of Sardonyx, the simple drill and bow requiring
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Table Of Contents
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King. Gems Or Decorative Stones.
Contents & Preface
Achates, Agate
Aetites, Eagle-Stone
Alabandicus, Almandine
Alabastrites
Amethystus, Amethyst
Asteria Girasol Sapphire
Basanites Basalt
Batrachites, Toadstone
Beryllus, Beryl
Callais, Turquois
Camahutum, Cameo
Ceraunia, Thunder-bolt
Chalcedonius, Calcedony
Chrysocolla, Carbonate of Copper
Chrysoprasius, Chrysoprase
Chrysolithus, Oriental Topaz
Ch. 1
: Corallium, Coral**
Crystallus, Rock-crystal
Cyanus, Lazulite
Amazon Stone Labrador
Agates, Jet
Heliotropium, Heliotrope
Jaspis, Jasper, Quartz-gems
Lapis Lydius, Touchstone, Assaying
Lyncurium, Jacinth
Magnes, Loadstone
Molochites, Malachite
Murrhina, China-Agate
Naxium, Emery
Lapis Nephriticus Jade
Obsidianum, Obsidian
Onyx, Nicolo
Opalus, Opal
Ostracias, Marcasite
Ovum Anguinum, Druid's Bead
Pantarbes
Porphyrites, Porphyry
Prasius, Plasma
Sandaster, Aventurine
Sapphirus, Lapis-lazuli
Sardius, Sard
Sardonyx
Solis Gemma, Moon-stone
Sucoinum, Amber
Topazius, Peridot
Zmilampis, Cat's-eye
Vitrum Annulare, Pastes
Description Woodcuts
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