Several of the mineralogical cabinets of Europe possess fine suites of the emerald and beryl in a great variety of forms and degrees of perfection. Those of the École des Mines at St. Petersburg, the Jardin des Plantes at Paris, and the British Museum, are of very great commercial value and mineralogical interest.
At the French Exposition in 1867, the celebrated jeweller, Froment Meurice, exhibited a beautiful specimen of modern glyptic art cut in beryl. It comprised the bust of the Emperor Napoleon III. carved in pure aqua-marine. The image was placed upon a miniature pedestal of blood-red jasper, before which the imperial eagle spread his wings and perched upon a base of red jasper, which was studded with stars of topazes, bosses of pearls, and bordered with roses formed of minute amethysts.
A beautiful blue stone adorns the summit of the crown of England, and has been described as a sapphire of unusual purity. But mineralogists affirm, that the gem is a blue beryl, and it is surmised by others that it is the identical and famous stone which Edward the Confessor wore in a ring. It is of a lovely color, oval in form, and measures 2¹⁄₁₀ inches in length by 1¹⁄₂ in width, and 1¹⁄₅ in depth.
A superb aqua-marine formerly adorned the tiara of Pope Julius II. and was considered as one of the most celebrated in the world, notwithstanding it exhibited a slight flaw. This gem, which was of an exquisite sea-green color, was 2¹⁄₁₀ inches in length and 2²⁄₅ in depth. After having been kept in the Museum of Natural History in Paris for more than three hundred years, Napoleon presented it to Pope Pius VII.
The Asiatics, and especially the Turkish officers, prize the prisms of beryl as handles to their scimetars and daggers. This fondness for decoration of sword-blades and arms is by no means confined to the soldiers of the East. The officers of Napoleon’s armies exhibited the same taste. Murat adorned the hilt of his sword with one of the finest beryls ever seen in Europe. Another famous aqua-marine formed the handle of the sword of the poet Moncrif, who, like another celebrated swordsman, the painter Caravaggio, compelled admiration of his works at the point of his sword. This blood-stained gem bore as inscription the epitomized history of the author, a quotation from the poet Theophile, “Tous mes jours sont des Mardis-gras.”
One of the most beautiful beryls known is that purchased by the English banker, Mr. Hope, and placed in his collection of gems. It weighs six and one half ounces, and cost its princely owner nearly twenty-five hundred dollars. It is reported to have come from the mine of Cangazum, in the district of Coimbatoor in India, a locality which has been long famous for its fine beryls.
The most magnificent aqua-marine described in history is that belonging to Dom Pedro. It was found in the diamond districts of Minas Geraes, in Brazil. In form and size it resembles the head of a calf. Only on one side does it preserve any trace of a crystalline form; the rest is water-worn. It is said to be of a fine color, without a flaw, and perfectly transparent.
For many ages the shrine of the Abbey of St. Denys, at Paris, received rare and valuable gems as offerings; and at the time of the French Revolution the collection had become very valuable. The iconoclasts ordered it to be separated and sold. It brought 80,000 francs, and was scattered along the commercial highways of the world, never again to be reunited. One of the finest aqua-marines, mounted in sapphires and pearls, and engraved with the portrait of Julia, the daughter of Titus, was fortunately rescued, and may now be seen in the collection of the National Library of France. This splendid gem is of the unusual magnitude of 2¹⁄₂ inches by 2¹⁄₈. For quite a thousand years it formed a part of a golden reliquary celebrated as “l’escrain de Charlemagne.” History relates that it was presented by the great Emperor before his death to the Abbey of St. Denys. This is one of the finest specimens of an ancient intaglio carved upon beryl that has survived the destructive pillage of armies and the wreck of time since the early days of the Roman Empire. It is said that specimens of antique engraving upon this gem are about as rare as those carved upon the emerald, and their rarity is believed to be due to their great value, as well as to their scarcity in the gem markets in ancient times.
Several royal relics of the lower Empire containing emeralds are still preserved, to attest the use of the gem in those days as well as the esteem in which it was held. The famous Iron Crown of Lombardy, made perhaps before the sixth century, contains several emeralds. This renowned relic is simply a circlet of gold, covering an iron nail of the cross, beaten out thin. The crown of the queen of one of the Gothic kings of Spain, of the seventh century, was recently exhumed at Toledo, and also exhibits emeralds among other gems. And there are other examples to prove the use of the emerald in mediæval times for ornamental purposes.
No other gem has been counterfeited with such perfection as the emerald; and in fact it is utterly impossible to distinguish the artificial from the real gems by the aid of the eye alone; even the little flaws, which lull the suspicions of the inexperienced, are easily produced by a dexterous blow from the mallet of the skilled artisan. Not only emeralds, but most of the gems and precious stones, are now imitated with such consummate skill as to deceive the eye; and none but experts are aware of the extent to which these fictitious gems are worn in fashionable society, for oftentimes the wearers themselves imagine that they possess the real stones. There is not one in a hundred jewellers who is acquainted with the physical properties of the gems; and very few can distinguish the diamond from the white zircon or the white topaz, the emerald from the tourmaline of similar hue, the sapphire from iolite, or the topaz from the Bohemian yellow quartz. Jewellers are governed generally by sight, which they believe to be infallible, whilst hardness and specific gravity are the only sure tests.