Leisure hours among the gems

by Augustus C. Hamlin

Janon de St. Laurent, in his work on engraving tools, maintains that the ancient instruments for the purpose of cutting gems were the same as the modern; and not only the wheel was used, but diamond dust was also employed in the process. There is no doubt that the wheel and other tools were in use in Asia for a long period before their adoption by the nations on the Mediterranean. So far as we know, Persia was the birthplace of gem engraving. Why are there not more examples of polished diamonds, if the process is so ancient? the reader may ask. We may in part answer this question by saying, that the process of cutting regular facets on the gems was not early known, or the custom adopted; and, the polishing being so difficult, that the lapidaries were content to polish the natural faces only. Polished crystals of diamonds of this character have descended to us from early times, and other examples are to be seen in ancient jewels. So little beauty was obtained by this polishing, that not much was gained in the vast labor required; and the native crystals were often used without any aid from the lapidary. We may see them in their rough crystalline forms in the crowns of the Gothic princes, the Iron Crown of Italy, and the ornaments of Charlemagne, besides other relics of ancient and even mediæval times.

This custom of using the rough gems prevailed to some extent in recent times; and De Laet states that as late as the middle of the seventeenth century rough spinels were preferred to the cut for ornamentation. However, we will briefly allude to one or two instances in history, which lead the reader to infer that the diamond received a definite polish at an early day. Chrysostom, an authentic writer of the fourth century, in describing the magnificence of the Greek emperors at Byzantium, mentions the dazzling splendor of the diamonds scintillating by agitation. If the historian does not use this description for the gems in general, we may infer that the diamonds had been polished; since the unpolished stones do not exhibit much, if any, play of the prismatic hues. The maxim, “diamond cut diamond,” is of ancient origin, and may perhaps be referred to the saying in vogue among the Greeks as early as the seventh century, “that for the purpose of cutting diamonds, a diamond was most effectual.”

The accounts of the Oriental historians concerning the fêtes of Timour in the fourteenth century, where diamonds were showered in profusion upon the guests, leave no doubts as to the art of polishing the gem as early as that period.

The inventory of the joyaux belonging to the Duc d’Anjou, in 1360, shows that diamonds were then cut, although rudely. It makes special mention of several diamonds, and one in particular set in a reliquary, and cut in escutcheon. Other polished diamonds are described in the account given of the splendid entertainment given at the Louvre, by the Duke of Burgundy, to the King and Court of France.

There is also evidence to prove that diamond lapidaries were at work in Paris, when Berquen came to reside there. However, it was not until 1475, after Berquen returned to his native city, Bruges, that the mode of polishing diamonds by direct abrasion became known in Europe. And when Charles the Bold intrusted the three famous gems to his skill, and rewarded him with 3,000 ducats for his labor, the name of Berquen became famous and widespread throughout Europe.

Nearly two centuries after this success, Cardinal Mazarin attempted to establish the business of diamond-cutting in Paris, and confided to the lapidaries he had invited to reside there, twelve of the finest diamonds belonging to the Crown to be recut. These gems, from their beauty, and the circumstance of cutting, were called the twelve Mazarins. History has neglected to record the fate of these magnificent gems save one. In the inventory of the French jewels in 1791, there is the solitary description, “the tenth Mazarin.” The others have disappeared.

The Cardinal made every attempt to establish the favorite project on a firm basis; but they were in vain; for the Dutch marine had complete control of most of the exports of India, and decided in favor of Amsterdam. Moreover, the establishment of the diamond trade in Holland was one of the indirect results of the revocation of the Edict of Nantes, and it was controlled by Israelite refugees from France. The business gradually languished at Paris, and of the seventy-five diamond-cutters of Mazarin’s industry, but five were left in 1775; and soon after this, in spite of individual efforts and influences, it ceased altogether. Even at the recent period of 1852, Paris did not possess a single diamond-cutter. At this time M. Philippe resolved to make the attempt to revive the good intentions of Mazarin, and has thus far succeeded well. But, in spite of all the English and French opposition, the diamond trade is still controlled by the Amsterdam Jews, several thousand of whom are engaged in the business of cutting the stones.

Diamond-cutting was also practised to some extent in London during the last century and the early part of this; but concerning it we have learned but few particulars. It was conducted on strict mathematical principles, however; and the gems cut during this time in London are eagerly sought for by amateurs, under the name of the “Old English Style.” The brilliants of Ralph Potter, cut at the commencement of this century, are by far the finest exponents of the art as well as of the natural powers of the gem. Since the discovery of the African mines the London establishments have been actively engaged, and we also learn that branches of the business have been located in other cities of England.

The process of diamond-cutting is a very simple matter to those acquainted with the nature of the gem. To cut the facets, two stones are cemented on two sticks and rubbed against each other until a facet is cut; then the position of one of the stones is changed, and another flat surface cut. The process is thus continued until the gem is faceted all over, at the expense, however, of the other stone, which does most of the cutting. After the facets are cut, and a definite form given to the stone, the gem is placed in the hands of the polisher, who fastens it in solder, and then places it upon a small steel disk which revolves horizontally with a rapidity of 1,500 to 3,000 times a minute. This disk is moistened with diamond powder mixed with oil, and one facet is polished at a time. The diamond-cutting proper is a rapid operation; but the polishing is slow and tedious. One cutter can generally furnish sufficient work for four or five polishers.

There are a number of forms adopted by the lapidaries for these gems, but the two principal ones are the brilliant and the rose. The first pattern, which was invented in Europe in the seventeenth century, is perhaps the best of all to call forth the powers of the gem. The second is of unknown age, and was practised by the Hindoos in ancient times. It affords the largest beams of light for the weight, but it lacks in colored reflections when compared with the brilliant.