That nothing may be wanting to the work which I have undertaken, it still remains for me to speak of precious stones: a subject in which the majestic might of Nature presents itself to us, contracted within a very limited space, though, in the opinion of many, nowhere displayed in a more admirable form. So great is the value that men attach to the multiplied varieties of these gems, their numerous colours, their constituent parts, and their singular beauty, that, in the case of some of them, it is looked upon as no less than sacrilege to engrave them, for signets even, the very purpose for which, in reality, they were made. Others, again, are regarded as beyond all price, and could not be valued at any known amount of human wealth; so much so that, in the case of many, it is quite sufficient to have some single gem or other before the eyes, there to behold the supreme and absolute perfection of Nature’s work.
We have already[2889] stated, to some extent, when speaking on the subject of gold and rings, how the use of precious stones first originated, and from what beginnings this admiration of them has now increased to such an universal passion. According to fabulous lore, the first use of them was suggested by the rocks of Caucasus, in consequence of an unhappy interpretation which was given to the story of the chains of Prometheus: for we are told by tradition, that he enclosed a fragment of this stone in iron, and wore it upon his finger;[2890] such being the first ring and the first jewel known.
CHAP. 2.—THE JEWEL OF POLYCRATES.
With a beginning such as this, the value set upon precious stones increased to such a boundless extent, that Polycrates,[2891] the tyrant of Samos, who ruled over the islands and the adjacent shores, when he admitted that his good fortune had been too great, deemed it a sufficient expiation for all this enjoyment of happiness, to make a voluntary sacrifice of a single precious stone; thinking thereby to balance accounts with the inconstancy of fortune, and, by this single cause for regret, abundantly to buy off every ill-will she might entertain. Weary, therefore, of his continued prosperity, he embarked on board a ship, and, putting out to sea, threw the ring which he wore into the waves. It so happened, however, that a fish of remarkable size, one destined for the table of a king, swallowed the jewel, as it would have done a bait; and then, to complete the portentous omen, restored it again to the owner in the royal kitchen, by the ruling hand of a treacherous[2892] fortune.
The stone in this ring, it is generally agreed, was a sardonyx,[2893] and they still show one at Rome, which, if we believe the story, was this identical stone. It is enclosed in a horn of gold, and was deposited, by the Emperor Augustus, in the Temple of Concord, where it holds pretty nearly the lowest rank among a multitude of other jewels that are preferable to it.
CHAP. 3.—THE JEWEL OF PYRRHUS.
Next in note after this ring, is the jewel that belonged to another king, Pyrrhus, who was so long at war with the Romans. It is said that there was in his possession an agate,[2894] upon which were to be seen the Nine Muses and Apollo holding a lyre; not a work of art, but the spontaneous produce of Nature,[2895] the veins in it being so arranged that each of the Muses had her own peculiar attribute.
With the exception of these two jewels, authors make no mention of any others that have been rendered famous. We only find it recorded by them, that Ismenias the flute-player[2896] was in the habit of displaying great numbers of glittering stones, a piece of vanity, on his part, which gave occasion to the following story. An emerald,[2897] upon which was engraved a figure of Amymone,[2898] being offered for sale in the Isle of Cyprus at the price of six golden denarii, he gave orders to purchase it. The dealer however, reduced the price, and returned two denarii; upon which, Ismenias remarked—“By Hercules! he has done me but a bad turn in this, for the merit of the stone has been greatly impaired by this reduction in price.”
It seems to have been this Ismenias who introduced the universal practice among musicians of proclaiming their artistic merit by this kind of ostentation. Thus Dionysodorus, for instance, his contemporary and rival, imitated his example, in order that he might not appear to be his inferior in skill; whereas, in reality, he only held the third rank among the musicians of that day. Nicomachus, too, it is said, was the possessor of great numbers of precious stones, though selected with but little taste. In mentioning these illustrations, by way of prelude to this Book, it is by no means improbable that they may have the appearance of being addressed to those, who, piquing themselves upon a similar display, become puffed up with a vanity which is evidently much more appropriate to a performer on the flute.