as amulets. The Orphic poem Λιθικά, reputed to be of very early
though unknown date, is rich in allusions to the virtues of many
of the gem-stones. Many of the medical and other virtues of
precious stones were evidently attributed to them on the well-known
doctrine of signatures. Thus, the blood-red colour of a
fine jasper suggested that the stone would be useful in haemorrhage;
a green jasper would bring fertility to the soil; and the
purple wine-colour of amethyst pointed to its value as a preventive
of intoxication. Many of the superstitions came down
to modern times, and even at the present day the belief in “lucky
stones” is by no means extinct.
Bibliography.—The most comprehensive work on gem-stones is Professor Max Bauer’s Edelsteinkunde (1896), translated, with additions, by L. J. Spencer under the title Precious Stones (1904). Less detailed are Professor P. Groth’s Grundriss der Edelsteinkunde (1887) and Professor C. Doelter’s Edelsteinkunde (1893). Sir A. H. Church’s Precious Stones (1905), intended as a guide to the collections in the Victoria and Albert Museum, is a convenient introduction: and Professor H. A. Miers’s Cantor Lectures at the Society of Arts on Precious Stones (1896) may be studied with advantage. For American stones, the valuable work of Dr G. F. Kunz, The Gems and Precious Stones of N. America, is a standard authority; and the Annual Reports of this writer and others, published by the Geological Survey of the United States in the Mineral Resources, form a repertory of valuable information on precious stones in general. The articles in The Mineral Industry (founded by R.P. Rothwell) should also be consulted. See likewise O.C. Farrington, Gems and Gem Minerals (Chicago, 1903). For optical characters reference should be made to G. F. H. Smith, The Herbert Smith Refractometer (London, 1907); L. Claremont, The Gem-Cutter’s Craft (London, 1906); W. Goodchild, Precious Stones (London, 1908). (F. W. R.*)
2. Gems in Art
In art, the word Gem is the general term for precious stones when engraved with designs, whether adapted for sealing (σφραγίς, sigillum, intaglio), or mainly for artistic effect (imagines ectypae, cameo). They exist in a very large number of undoubtedly genuine old examples, extending from the mists of Babylonian antiquity to the decline of Roman civilization, and again starting with a new, but less original impulse on the revival of art. Apart from workmanship they possess the charms of colour deep, rich, and varied, of material unequalled for its endurance, and of scarcity, which in many instances has been enhanced by the remoteness of the lands whence they came or the fortuity of their occurrence. These qualities united within the small compass of a gem were precisely such as were required in a seal as a thing of constant use, so inalienable in its possession as to become naturally a personal ornament and an attractive medium of artistic skill, no less than the centre of traditions or of religious and legendary associations. As regards the nations of classical antiquity, all seals are classed as gems, though in many cases the material is not such as would strictly come under that heading, and precious stones in the modern sense are hardly known to occur. On the other hand it must not be supposed that gems engraved in intaglio were necessarily employed as seals. At all periods many intaglios are found which could not have been so employed without great difficulty. In Greece and Rome, within historic times, gems were worn engraved with designs to show that the bearer was an adherent of a particular worship, the follower of a certain philosopher, or the attached subject of an emperor. However, speaking generally, the intaglio engraving is a means to an end, namely, a seal-impression, while an engraving in relief is complete in itself.
Methods of Engraving (see also under Lapidary).—In gem-engraving the principal modern implement is a wheel or minute copper disk, driven in the manner of a lathe, and moistened with olive oil mixed with emery or diamond dust. There is no clear proof of the use among the ancients of a wheel mounted lathewise, but we have abundant indications of drilling with a revolving tool, which might be either a tubular drill making a ring-like depression, a pointed tool making a cup-like sinking, or a small wheel with a cutting edge, making a boat-shaped depression.
We have one sepulchral monument from Philadelphia showing the tool of an intaglio engraver (δακτυλοκοιλογύφος; see Athenische Mitteilungen des Arch. Inst. xv. p. 333). Unfortunately the relief is incomplete, and the published illustration inadequate. It would seem, however, that a revolving tool was supported by a kind of mandrel, and actuated in primitive fashion by a bow. An alternative plan of working was to use a splinter of diamond set in a handle and applied like a graver. Both systems are clearly indicated by Pliny, who in one passage (H.N. xxxvii. 60) states that diamond splinters are sought out by gem engravers and set in iron, and so easily hollow out stones of any degree of hardness; while elsewhere (H.N. xxxvii. 200) he speaks of the special efficacy of the fervor terebrarum, the vehement action of drills. A third method is also indicated by Pliny (ibid.) when he speaks of the use of a blunted tool, which must have been moistened and supplied with emery of Naxos.
A four-sided pendant of the Hellenistic period published by Furtwängler (Antike Gemmen, Gesch. p. 400) shows clearly the successive stages of the operation. On side a the subject is slightly sketched in with the diamond point. On side b the deepest parts of the figure have also been roughly scooped out with the wheel. On sides c and d the wheel work is fairly complete, but the finer internal work has not been begun.
After the design had been completed the stone must have received a final polish on its surface, to obliterate any erroneous strokes of the first sketch; but this process was not carried as far as in modern work. It is a popular error to suppose that a high degree of internal polish is a proof of antiquity. If the interior of the design has a high degree of polish it may be either ancient or modern, or it may be an ancient stone repolished in modern times. If it has a matt surface uniformly produced by intention, it is probably modern. If the design is slightly dimmed and worn or scratched the stone may be antique, but is not necessarily so, since modern engravers have observed this peculiarity, and have imitated it with a success which, were there no other grounds of suspicion, might escape detection.
History.—It has been a subject of controversy whether the first infancy of the art was passed in Egypt or in Babylonia, but it seems highly probable that it was developed in Babylonia, whence at any rate the oldest examples of engraved gems at present known are obtained. It does not necessarily follow, however, that Egypt was therefore a pupil. It may well be that the art was developed independently in the two countries, although certain points of possible contact in respect of the forms employed will be described below in the section dealing with primitive Egypt.
Babylonia.—At a very remote period the cylindrical form of stone was introduced and became the approved shape, while the technical skill of the artist was still slight, and the traces of the tools employed (drill and pencil point) were still unconcealed.
The cylinder was suspended by a string and used as a seal. Impressions of cylinders are frequent on contract tablets. If one of the parties cannot use a seal he makes a nail-mark in lieu thereof, as is recorded in the document.
But from a time that was still comparatively early the engravers could work with considerable skill in the hard stone. In particular a cylinder may be quoted in the de Clercq Collection bearing the name of Sargon I. of Agade, who is placed about 3500 B.C. The cylinder is engraved with the king’s name and titles and two symmetrically disposed renderings of Izdubar, with a vase of flowing water giving drink to a bull. The whole is treated in a conventionalized style that indicates long traditions. An important early cylinder in the British Museum is inscribed with the name of a viceroy of Ur-Gur, king of Ur (about 2500 B.C.). The engraving shows Ur-Gur being led into the presence of Sin, the moon-god.
The cylinder seal was adopted by the Assyrians, and so was carried on continuously till the time of the Persian conquest of Babylon (538 B.C.). Meanwhile, as an alternative form the conoidal seal, rounded at the top and having a flat base for the intaglio, came into use beside the cylinder.
In style the Assyrians carried on the Babylonian tradition, but with no freedom of design. Subjects and treatment became rigidly conventional.
