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Sardius, Sard

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SARDIUS.                                  285
of the Empire, inasmuch as fine engravings upon this imitative medium are not to be met with, though mediocre works in it abound. As might bo expected, it was a favourite material with the Italian artists of the Re-naissance, to whom it was recommended by the lively contrast of colours it afforded when engraved. By first producing a white stratum of extreme thinness, and cutting the design out of this, as it were, in the lowest relief, the result had the appearance of a picture in opaque white upon a ruby ground, strikingly effective. The finest example of this ingenious method known to me is a Sard medallion (Marlborough), representing Christ's entry into Jerusalem. Carnelians of this date also are to be seen with mottoes and devices written upon their surface in opaque white characters very neatly done, and apparently involving incredible labour and dexterity in their performance. The recipe for this really facile operation given by Barbot, is first to obtain the white ground by the above-named process ; then stopping out the parts not wished opaque with a cement containing oxide of iron, the stone on a second application of heat recovers its lost colour in those parts, whilst the letters continue opaque and white as before. The Sard has a great affinity for iron-oxide, from which its native colour is derived. Jt has been observed that such as have lain for centuries in their oxidised iron settings have imbibed a singular depth of tint from the contact.
Epiphanius records the prevailing belief that the Sard was of virtue for the cure of tumours, and of all wounds made by iron. Marbodus, in the 1lth century (translating Evax), declares that the Carnelian drives away evil spirits, and preserves concord ; whilst that of the colour of raw flesh will stanch hemorrhages, whether natural or from wounds. As usual, this list of virtues was marvellously
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