Professional Documents
Culture Documents
TO
GEMOLOGY
By Barbara Smigel, PhD, GG.
[Organic gems: coral and freshwater cultured pearl earrings, faceted amber
(enlargement showing fossilized insect within the gem]
**Gems such as "petrified dinosaur bone" and many other "stony" fossil
gems, are classified as mineral, rather than organic. Although its true that
bone is an organic material: the reasoning involved is that
the original organic molecules and structures of long ago have
beentotally replaced with mineral solutions such as silica. (This common
geological process is called petrifaction).**
[Not classed as organic gems: petrified dinosaur bone agate, cabochon cut
from a fossilized coral colony]
Although none of the molecules from the living organisms remain in certain
types of organic gems, such as the calcareous corals, the minerals they are
composed of were secreted, originally, by the living things as they
grew, not replaced later by petrifaction. Likewise, although substantial
geologic changes have altered the properties of jet and amber, the materials
still consist primarily of the original organic molecules.
[Classed as organic: calcareous "angel skin" coral carved beads, carved jet
earrings, circa 1925 amber and jet cigarette holder: Image courtesy of
www.fraleigh.ca]
A gem is beautiful. Beauty, of course, is a subjective concept that has many
aspects, and differs from viewer to viewer, but in general, the attributes of
gems which excite our sense of beauty include, color, transparency, luster,
brilliance, pattern, optical phenomena and, in some cases, distinctive
inclusions.
[Ruby: a gem with relative rarity, Benitoite: a gem with inherent rarity]
The mineral corundum (of which ruby is a gem example) is widespread and
abundant. So much so, that an enormous amount of low grade corundum is
used in industry for abrasives, due to its hardness (9 on a scale of
10). [Interestingly, very tiny, non-gem grade, corundum crystals have found
["Specimen" grade corundum $50 per pound (= @ 2 cents per carat): Image
courtesy of Las Vegas Jewerly and Mineral]
Benitoite, on the other hand, is found in gem quality in only one location on
Earth: the San Benito River Valley in California. Only a few ounces of cut
gems result from each year's mining efforts, almost all of which are quite
small in size. Ironically, this ultra-rare, nearly unobtainable stone has been
officially designated as the State Gemstone of California.
Pure gold, however, is worth well under $10 per carat! Down through the
centuries, gemstones have respresented the ultimate in portable wealth. (In
the next lesson, we'll go through the calculation that produced the cost of gold
figure).
A gem is durable. It must be strong enough to withstand the stresses and
forces involved in fashioning it, and its subsequent use as an ornamental
object, or in jewelry. Most everyone has heard of "hardness" and knows
that harder is better, in terms of using gems for jewelry--> but in reality,
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hardness is only the beginning of the story. There are two other aspects of
gem durability that are at least as important as hardness.
Three Aspects of Durability
1) Hardness is the ability to resist scratching. Commonly measured on the
"Mohs" Scale of 1 - 10. Talc lowest (1), diamond highest (10). Soft gems,
especially those below 7 will tend to become dull through abrasion with
harder materials in the environment, and lose their surface polish and their
crisp edges over time.
2) Toughness is the ability to resist breaking or chipping. This property is
measured in relative terms rather than on a numeric scale: sphalerite is
fragile, diamond is moderately tough and jade is exceptionally tough. The
lower the toughness of a gem the more susceptible it is to damage by the
kinds of blows and knocks that are inevitable with frequent wear and use.
3) Stabilty is resistance to changes caused by environmental factors such as
temperature, chemicals and light. Apatite is temperature sensitive, pearls
are chemically sensitive, and Kunzite's color is unstable in strong light.
Unstable gems exposed to common factors of the natural or man-made
environment are likely to break, change color, or lose their luster.
Food for thought: Taking into account each of the aspects of the definition of
a gem, explain why is each of these not a gem.(Answers to the question are
found at the end of the lesson.)
Question One: An exotic butterfly wing, an industrial grade natural diamond,
quartz beach sand, a laboratory grown ruby.
from very light to dark, and agates come in a nearly infinite array of colors
and patterns.
Corundum Gems:
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Who would rush out to buy that? But, what if you call this gem something
exotic and evocative of its foreign mine site, like "Tanzanite"--> now you
something more marketable!
[Kunzite, Tsavorite]
This strategy doesn't always work, and intended trade names sometimes fail.
There are numerous examples in which trade names were used for a period
of time, or by a specific seller, but then either died out, or never became
widespread. An aggressive campaign to present heated blue zircon as
"Starlite" failed, as did a similar effort to label high grade sugilite as "Royal
Azel".
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[Misnomers: "smoky topaz", for smoky quartz, "white turquoise" for howlite]
One of the few vintage misnomers that can still occasionally be heard, even
among modern day jewelers, and reputable gem dealers, is "smoky topaz".
For many years this name was used incorrectly for the gem smoky quartz.
Probably, it started out innocently enough, as many such names do, as a
language translation failure, or an inability to correctly identify the species.
Its use grew, however, even after the true identity was established, due
primarily to the profit motive. Topaz is a generally more valuable gem than
quartz, so by calling this variety of quartz by the topaz misnomer, it could
sometimes be sold at higher prices to the unwary.
In their defense, individuals from earlier centuries who searched for, and
traded in gems, did not have the gemological knowledge or instruments
necessary to make the exacting identifications of today. Usually the location,
color, and some simple physical characteristics like hardness, luster, crystal
habit, and cleavage were the only basis for naming, and many incorrect
identifications were made.
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[Green rough stones, collected circa 1900 from the now exhausted St. Johns
Island mine in Egypt, legendary home of Cleopatra's "emeralds": the gems
are, in fact, peridot: Image courtesy of www.irocks.com]
Additionally, the folk name of a gem in one language may not have
translated exactly, and may have innocently acquired new shades of
meaning as the goods changed hands in international commerce.
Lists of such misnomers and folknames fill databases with thousands of
items, many of which can still be found in use in various locations.
Hopefully, as the level of gemological education and sophistication among
both buyers and sellers grows, the majority of such terms will slowly drop
out of circulation.
Misnomer/Folk Name
Balas Ruby
Transvaal Jade
Mexican Onyx
Swiss Lapis
Black Hills Ruby
New Jade
Correct Name
Red Spinel
Translucent Green
Hydrogrossular Garnet
Banded Calcite Marble
Dyed Blue Chalcedony or
Jasper
Pyrope Garnet
Bowenite or Serpentine
You can see from this short list that when a gem name that consists of a
"modifier" in front of a recognized gem species or variety name, it is likely
to be a misnomer. The material is most probably something else, not the gem
(ruby, jade, lapis, etc.)-->usually something less valuable but with
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in place today developed bit by bit from mergers and splits amongst pre-existing
local systems. The, sometimes frustrating, result is pretty much of a
hodgepodge. Although some degree of uniformity has been introduced by the
use of the metric system, things still are far from predictable and totally logical.
Carat: The carat, pronounced like the vegetable, carrot, and abbreviated
"ct" is 0.2 grams. So, there are five carats per gram. The metric system is
the basic international standard used for gem commerce. Many of us who
live in the US or UK where English measure is more common, need to take
time, and do some practice, in order to get a "feel" for carats, grams, etc.
The ounce, a familiar English unit of weight, equals approximately 142 cts.
So, there really isn't an appropriately small unit in the English system which
could be easily applied to gem weights. [To illustrate: a 1 ct. gem weighs
0.007 oz.]
Another oddity of the US system is our use of the term "karat", also
pronounced like the vegetable carrot, but abbreviated "k" or "kt" to
indicate the fineness (purity) of gold. In most other countries, the purity of
gold is indicated by the number of parts of gold out of 1000, such as 585 or
750, so there is no chance of confusion with gem weights. The number 585
means that 585 out of 1000 parts of the alloy are gold or, in other words, that
the gold content is 58.5%.
In comparison, the karat system uses the number of parts out of 24 that are
gold. 24k means 24/24th, pure gold, also known as "fine" gold, 18k gold =
18/24th gold, and 14k = 14/24th gold. (14k and 18k and 24k translate then, in
the International system, to 585, 750 and 999 respectively).
**Check the text: See Lyman, pg. 41. The authors (who are Italian and can be
forgiven because as Europeans they don't use the karat system, mistakenly use
the word "carat" instead of "karat" in describing how gold is marked in the
US, and Lyman, the American editor, didn't catch it. So, don't you be
confused: For gems it's carat, for gold it's karat !!
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Below, you see the carat weights of three common objects: since you are
likely to be familiar with their approximate weights, this can perhaps help
you begin to get a "feel" for the weights represented in carats.
Common items weighed in carats:
[Small, (1.5" x 2.0") Post-it note = .75 ct., standard bobby pin = 2.8 ct., dime =
11 ct.]
Special Cases:
Pearls
Pearl Grain: The pearl grain, is .25 grams, so one gram is equal to 4 pearl
grains. Thankfully, the only remaining use of this once important measure,
is sometimes seen in the sale of natural pearls by weight. Because there is
very little commerce today in natural pearls (virtually all pearls on the
market are cultured), it is fast becoming obsolete.
Many cultured pearl wholesalers still sell bundles of pearls in larger units
called "momme" which, historically, weighed 75 pearl grains.
Cultured pearls are sold by diameter (millimeters) if they are round, or near
round, and by carat if they are oddly shaped (baroque).
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Check the web: The folks at pearl-guide.com have (among articles on just
about any aspect of pearls you'd like to learn about), a short and clear web
page explaining pearl weights: http://www.pearl-guide.com/pearl-weights.shtml
Melee & Total Weight
Melee: Gems weighing .20 ct. or less are referred to by the gem trade as
"melee". They are most often not sold by weight, but rather by girdle
diameter: 2 mm., 3.5 mm., etc. Such stones are generally used as accents, for
cluster settings, or in pave' work.
Total weight: When a jewelry piece has more than one stone, such as a
center stone and accents, the total carat weight, must be used: abbreviated as
"ct. tw."
[Ring with diamonds and Tsavorite pave' melee of .70 ct. tw., pendant with
rubellite tourmaline and diamonds: .66 ct. tw.]
Big Items
Gem rough, and in some cases, carvings and ornamental objects are sold by
the gram, (gr) or kilogram, (kg) as the carat is an inappropriately small unit
for such goods. Occasionally, you see such wares with simply a per
piece price without any weight measure listed at all.
Metals
Metals, like gold, platinum and silver, are not weighed in the metric system
of carats and grams, nor the English system of ounces and pounds, but in the
"Troy" system. Unfortunately, the Troy system also uses the terms "ounce"
and "pound" but these terms are not equivalent between systems.
When you hear that gold is selling at $900 per ounce, it is a Troy ounce
which is about 10% heavier than an "English" ounce. (An English ounce = ~
142 ct. whereas a Troy ounce = ~ 156 ct.) Troy ounces are subdivided into
smaller units called pennyweights, abbreviated "dwt.". There are 20 dwt./
troy oz. Jewelers generally buy their gold casting grain, by the pennyweight.
To further complicate matters, there are 12 Troy ounces in a Troy pound
rather than 16 oz/lb as in the English system!
Remember, in the last web lecture, gold was said to be worth substantially
less than $10.00/ct.? We can now see how that figure was calculated: gold at
$900 per ounce (Troy) = $900 per 156/ct., so dividing 156 into $900 gives us
$5.77/ct. Check the current price to get a more accurate figure.
Check the web: This website tracks gold prices minute to
minute: http://goldinfo.net/gold1.html
Food for thought: Presuming you want the most gold possible: (Answers to
the questions are found at the end of the lesson.)
Question One: Would you rather have a Troy ounce of gold or an English
ounce?
Question Two: Would you rather have a Troy pound of gold or an English
pound of gold?
Precision
In commerce, colored stones are generally weighed to 0.1 ct. and diamonds
are usually weighed to .01 ct. Each 1/100th of a carat is called a "point". So,
one could alternately describe a 0.50 ct. diamond as weighing 50
points. {Interestingly, in the world of diamond sales, 50 points is not precisely
the same as "1/2 carat".Fractional parts of carats actually refer to ranges! It is
legal and proper to advertize and sell to any diamond within the range of 0.45
ct to 0.55 ct. as a 1/2 carat stone.
Tools for Weighing
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Long ago, gems and precious metals were weighed for trade by using simple
hand held or platform mounted pan balances. The dealer placed the
requisite number of carob seeds or wheat grains (common items with very
standard weights) in one pan and added gems or gold in the other pan until
the two pans hung level. Although this sounds primitive, a practiced user
can get very accurate weights, and such tools are still in use in much of the
world, although carob seeds have been replaced by tiny, carefully calibrated
metal "weight standards" marked in carats or grams.
The common household ruler, generally has inches on one side and
millimeters on the other side. It's a good item to keep handy when first
attempting to get a feel for metric gem measurements. If you saw a
description of a gem that says it measures 8 x 10 millimeters, that might not
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bring up an immediate mental picture of its size. Using your ruler, it's pretty
easy to make a small sketch to represent the gem. Doing this a few times is
all that's necessary to begin to think more easily in millimeter sizes.
Such a ruler isn't precise enough for jewelers or gem dealers, who have a
variety of moderately to extremely accurate measuring devices at their
disposal. The simplest, least expensive, and most portable of these is the
engraved brass sliding pocket gauge, seen below. The gem is placed between
the jaws which are gently slid into contact with it. The lower scale generally
reads in millimeters and the upper scale in inches.
For greater precision there are several other options to choose from, such as
the screw micrometer and the digital sliding gauge.
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Having a good tool is necessary, but you also need to know the appropriate
place to take each measurement. Length and width are the two primary
dimensions of interest, although in the formal cut grading system for gems a
large group of other measurements are taken, such as table width, total
depth, crown height, etc.
Each of the regular shapes of gemstones has a preferred position for taking
length and width measures. Most are pretty obvious (the two longest
perpendicular dimensions), but the special situation of the heart shape bears
mentioning. The length of heart shaped gems is measured from a
hypothetical line joining the tops of the lobes, rather than from the cleft.
You have now completed the web lecture for the second lesson!
Go back the the course website to: 1) complete and submit the homework
assignment on the text readings and assigned web essays 2) take the non26
graded practice quiz on this web lecture 3) post a comment to the discussion
board for this lesson, and 4) when it is available, complete the graded quiz
based on this web lecture.
When you're ready, proceed on to Lesson Three: Physical Properties of Gems
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Obsidian ranges in color from light yellow through brown to black and can
be transparent, translucent, or opaque. Those of our ancestors, who lived in
areas of volcanic activity, made ready use of these natural glasses.
[Obsidian artifacts]
In some cases, due to the presence of other minerals with different
crystallization temperatures, when the molten material cools, crystal
inclusions may be formed. These can give the obsidian an interesting
pattern, or affect the structure in such as way as to cause an optical
phenomenon, like iridescence. Although most obsidian is drab, single-color
translucent material, two interesting and more showy forms of this volcanic
glass can be seen below:
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[Metamict zircon]
**Check the Text: If you look in the back of the Cally Hall book, you'll find a
"Table of Properties" section that lists the structure of many gem materials.
See if you can find a well known gem, not mentioned in this web lecture, that is
amorphous.
Crystalline Gems
The highly regular, and sometimes startlingly angular shape of some well
formed crystals can seem eerily out of place in the world of Nature, with its
more familiar curving and flowing lines. It's no wonder, then, that a rich
history of mystical and mythological lore pre-dates, and coexists with,
today's chemical and physical understanding of crystal structure.
Imagine the reaction of our ancestors, so used to the shapes and forms of
flowing water, curling fire, gnarled tree branches, curving shell, roseate
flowers and sinuous leaves, when they saw something that looks like the
images below, perhaps in a mass of rock on a hillside, or upon cracking open
an ordinary looking boulder:
[Natural pyrite cubic crystal in host rock, amethyst crystals inside a geode:
Image courtesy of: Treasure Mountain Mining]
The internal regularity that the outer features of such structures implies,
was as evident to our ancestors as it is to us, but it was not until the
beginnings of modern physics and chemistry (in the 17th - 18th centuries)
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hard, the aggregates are notablytougher. Recall this pair of photos from
Lesson 2 which also serve as good examples here:
[Tiny single crystals of uvarovite garnet on a matrix (drusy) with inset showing
them at 20x magnification]
Aggregate Gems: Micro- vs Crypto-crystalline
Microcrystalline aggregates: Aggregates with crystals that can be resolved
with a light microscope are called microcrystalline. The standard way to
view the crystals is with a very thin slice of the gem, and about 100 - 200x
magnification. The most commonly known gem material that falls in this
category is jade.
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mineral species (other than their minor inclusions), a few gem materials are
classed as rocks. A rock is a variable mixture of two or more minerals.
Perhaps the most familiar and valuable of the gem rocks is lapis lazuli, a
mixture of the minerals lazurite, sodalite, Hauyne, calcite and pyrite. Other
gem rocks include unakite (pink feldspar, green epidote, and quartz) and
Chinese writing stone (white feldspar crystals in shist).
[Unakite, lapis lazuli, and Chinese writing stone, popular gem rocks]
*********
Crystallograpy: It is beyond the scope of this introductory course (and
beyond your instructor's ability) to delve deeply into the complex and
rigorous field of scientific crystallography, however; it will be necessary for
us to have a passing acquaintance with a few basics. This is because the
majority of gems are crystalline, and the specific nature of their crystalline
structure has bearing on both their outward form, and their physical and
optical properties.
The Crystal Systems
Scientific analysis has determined that there are seven** basic plans upon
which all mineral crystals are built--> they are known as the "crystal
systems". Each of the systems has a unique architecture, based on the
lengths, and angles of intersection, of planes through the crystal called
"axes", about which there are degrees of symmetry. Huh?, I hear you say-->
perhaps a diagram would be helpful at this point:
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plan, and lump them together, but for our purposes in this class, as
described in our two texts, we'll use seven. )
Unit Cells
The innermost structure of each crystal is based upon atomic-scale building
blocks that exhibit the symmetries shown in the "axes" column in the
diagram above. These tiny building blocks are called "unit cells". The shape
of a unit cell is different in each of the crystal systems: a cube in the cubic
system, a "brick" for the tetragonal system, etc. These tiny structures
assemble themselves as the crystal grows, and build the crystal up to its
finished size and shape. It might seem, from the diagram above, that there
are only a few outward forms (or "habits") possible, given the seven types of
unit cells available--> but in the real world, we find that mineral crystals
come in nearly an infinite set of shapes and sizes. How can this be?
Because it is easiest to visualize, I'll use the cubic (also known as isometric)
system to illustrate. The unit cell in this system is a cube: picture a baby's
building block set, or (if you live here in Nevada), dice.
Is it possible to build a big cube out of little cubes?... Sure, just stack them
up 5 x 5 x 5 or in any other equal dimenisons, and your many little cubes
become one big one. Such is the mechanism by which the impressive pyrite
cube seen earlier in the lesson was built from the little, cube shaped, unit
cells of the mineral pyrite. It shouldn't surprise you, then, to learn that
diamond (which is also a member of the cubic crystal system) is sometimes
found in natural cubes.
[Natural diamond crystals, showing the "cube" crystal habit, natural cubic
diamond crystals drilled as beads for earrings]
But using those same blocks or dice, can you build a pyramid?... You bet!
Start with a square base, and decrease each square layer uniformly until to
get to the top single cube. (5 x 5, then 4 x 4, then 3 x 3, etc). Look at the
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second of the "typical forms" for the cubic system shown in the diagram
above. Can you see it as two pyramids attached to each other, base to base?
That shape is called an octahedron (meaning eight sides) and it's a common
form seen in the crystals of gems of the cubic system. (Why are the faces of
the octahedra so smooth?--> because the cubic unit cells are really, really
tiny, and there are enormous numbers of them!
[Fluorite and spinel octahedra--To which crystal system do fluorite and spinel
belong?]
Crystal "Habits"
Characteristic crystal forms such as those above, that are easily recognized,
and are typical of a particular mineral, are known as its crystal "habits",
but no gem species is limited to these ideal shapes. You can also see, I'm
sure, that it's quite possible to build a random looking structure out of your
blocks or dice, one that has no readily categorizable outer shape. This
frequently seen habit in crystalline gems is referred to simply as "massive".
Now, recognizing that each of the seven crystal systems has a different unit
cell, and that these unit cells can be put together in many, many ways, is
there any wonder that the diversity of crystal forms in Nature is staggering,
and such a challenge, and delight to mineral specimen collectors?
A few of the crystal habits, due to their similarity to common objects, are
especially recognizable and have acquired special names, as demonstrated
by the specimens below:
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[Dendritic (like tree branches): quartz with black manganese dioxide crystal
inclusions, sandstone matrix with iron oxide dendritic crystals on surface,
dendritic native copper crytals]
Polymorphs
When two materials have the same chemical formula but have crystallized
differently (due to each being subjected to different temperature/pressure
conditions at formation), they are called polymorphs. The most famous
examples are diamond and graphite. Both have the same chemical formula
(just C, pure carbon), but the "lead" in your pencil and the diamond on
your finger, obviously exhibit quite different properties. Graphite crystals
are formed of sheets of tightly bonded carbons atoms in layers which are
very loosely bound to each other, allowing lots of slipping and sliding.
Diamond crystals have each carbon atom bonded tightly to four others
surrounding it in all directions, so the whole structure is very strong and
durable.
[Quartz from Madagascar with fluorite crystal inclusions, inset picture at 10x]
Special Growth Phenomena:
Twinning
When growing crystals of the same mineral share one or more faces, the
result is a crystal "twin". Depending on the nature of the twinning, which
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[Ruby, spinel]
[Hematite, chrysoberyl]
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[Rhodocrosite, malachite]
[Calcite, azurite]
[Turquoise, apatite]
[Native gold from Nevada, gold in quartz necklace, platinum nugget: Image
courtesy of www.irocks.com]
[Crystals of pure sulfur from Mexico: beautiful to look at but too fragile to
touch, droplets of liquid native mercury in matrix rock from California:
Images courtesy of www.irocks.com]
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[Apatite: two, imperfect (note that cleaved surfaces are somewhat rounded and
irregular); spodumene: two, perfect (note extremely flat, smooth breaks),
fluorite: four, perfect]
Food for thought: Far from being a matter limited to academic interest,
knowledge of gem cleavage has practical value, both as a means of gem
identification, and in the appropriate fashioning and selection of gems for a
particular use. (Answers to the questions below are found at the end of the
lesson).
Question 1: Suppose you're a budding gem cutter or collector, and you happen
to be at a swapmeet where a vendor has some transparent pink gem rough to
sell. He knows that it is either Kunzite (pink spodumene) or pink tourmaline,
but just can't remember which one. You have been wanting some pink
tourmaline, so you look at the material closely and can't find any evidence of
cleavages, even using your 10 power magnifier. Of the two choices, which is it
most likely to be?
Question 2: A big decision is coming up in your life--> you are about to choose
an engagement ring. Not being a slave to tradition, you are considering a
colored stone for the piece, rather than a diamond. You want a blue stone, and
your top contenders are: blue topaz, and blue sapphire. Considering that
engagement rings are worn all day, every day, for many years, you do not want
a stone that is likely suffer a cleaveage that will crack or break it. Which is
your best choice? (Hint: look up topaz in the Lyman text pg. 128).
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Question 3: You've found a beautiful piece of apatite rough and want to have a
stone cut from it . You approach your friend who is a facetor, and ask him/her
to cut you a marquis shaped stone from the piece. The cutter declines and says
they will cut an oval or round but not a marquis. Why?
Miners have long used the cleavage properties of gems in trimming the
stones they find. "Cobbing" is the act of smacking a piece of rough sharply
and precisely with a hammer to break off any unstable (already partially
cleaved), or included areas. Knowledge of the cleavage planes in the material
being mined is essential to efficient use of this technique.
The use of cleavage is perhaps most well known in diamond cutting. We've
all seen photos or videos of that tense moment when the diamond cutter
inserts the wedge at a particular spot on the diamond and strikes it with a
mallet. If all goes well, the stone splits precisely where the cutter wanted,
and expected, it to. It is said that the expert that first cleaved the (up to that
time) largest rough diamond ever found (The Cullinan) had studied it for
months to determine its cleavage planes, and upon striking the first blow
fainted dead away from anxiety. All was well, however.
**Check the text: See page 7 in the Hall text to view the largest of the many cut
stones from the Cullinan, in its home in the Royal Scepter of the British Crown
Jewels).
Fracture: Whereas cleavages occur only in some gems, and within those,
only in certain directions, fractures can, and do, occur in all gems, and in
any direction. A fracture is a break which is not along a cleavage plane.
With sufficient force, any gem will fracture, although some do so more
readily than others. The edges of fractures are not smooth like those of
cleavages, but they do tend to have one of several basic appearances.
Playing on the resemblances of certain fracture types to well known surfaces
and objects, terms like conchoidal (shell-like), splintery, uneven, step-like,
and granular are used. Like cleavage, this is a species specific characteristic
which has value in the identification of gems.
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probes, and can give an absolute reading on the force necessary to penetrate
the surface of a material.
Check the text: (Pg. 16 of Hall's book, you can see in the "Knoop"Scale: the
results of such sclerometer tests using the Mohs' indicator minerals. A quick
study of the diagram makes it clear that the Mohs' scale is not linear. Note that
a mineral with a reading of 5 on the Mohs', is not penetrated by half the force
needed for a material ranked at 10. Corundum at 9 on the Mohs' is often
incorrectly spoken of as "almost" as hard as diamond (10). In reality it takes
many times as much force to penetrate a diamond surface as a corundum one!
Not many hikers, nature lovers, or rockhounds carry hardness points with
around with them on their treks, but the use of just a few ordinary materials
can allow such individuals to do pretty good hardness tests in the field.
The Practical or Field Mohs' Scale
1-2: easily scratched by fingernail
3-4: scratched by copper coin
5-6: easily, and not so easily, scratched with pocket knife
7: scratches window glass/scratched by steel file
8-10: scratches window glass, but not scratched by steel file:
Hardness can be directional. This is actually quite understandable, as it
depends on chemical bonds which can differ in strength, and in distance
from each other, depending on which axis of the crystal we are observing.
Generally such differences are relatively small and of litttle consequence,
but there are two notable cases where they are dramatic and important. 1)
Kyanite is notoriously difficult to cut because of its extreme directional
hardness differences. 2) Diamond cutting would scarcely be possible unless
the cutters could use the directional hardness of that gem to their
advantage (More about diamond cutting to come in Lesson 7).
Check the text: Page 133 in the Hall book gives more information on kyanite's
directional hardness properties.
SOFT GEMS:
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All other factors being equal, the harder the gem, the tougher it will
be, but all other factors are not always equal. Take the case of topaz, for
example. At hardness 8 it seems to be a pretty rugged gem, but if we
consider its strong tendency to cleave in one direction, in reality, it is rather
fragile.
Likewise, diamond, the "star" of the hardness game, is only ranked as
"good" when it comes to toughness because of its cleavage and fracture
potential. Diamonds are usually cut with a flat culet facet at the tip of their
pavilion, rather than coming to a sharp point as do colored stones. This is
due to the likelihood of a fracture (or cleavage) in the fragile culet zone.
When purchasing a diamond it is a good idea to check the girdle under
magnification to make sure that it is not excessively thin, as this is another
site of special vulnerability. Likewise, the corners and points of cuts like
baguettes, trillions and marquis are vulnerable, and should be protected by
the mounting when used in jewelry.
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Thermal Expansion: Another problem that heat creates for some gems is
caused by their inherent capacity for "thermal expansion". This is a yet
another physical characteristic by which gems differ. Diamond is notably
stable to temperature changes (with slow and even rates of thermal
expansion), so much so, that jewelers can pour molten metal into molds
containing wax models with the diamonds already in place, to cast pre-set
jewelry pieces.
Other gems, such as apatite, expand so rapidly with sharp rise in
temperature, that their crystal structure is damaged, and they crack or even
shatter. Heat sensitivity of that degree makes it very important for
lapidaries cutting such gems, and jewelers working on mountings containing
them, to keep the gem cool during these processes.
The Effect of Inclusions: Although a gem might be quite temperature stable
itself, inclusions of other minerals within it, could have different degrees of
thermal expansion from their host. This situation becomes quite important
in the heat treatment processes used to enhance gems. Internal inclusions
can literally explode or, less dramatically, expand, and in doing so, create
internal "stress cracks" in the gem being treated. (For this reason, it is
standard practice among Tanzanite heat treaters to heat only cut stones
which have had virtually all the inclusions removed, and to avoid heating
rough material.)
To an extent, heat treaters can ameliorate such effects by very, very, slowly
raising and lowering temperatures. Tanzanite heaters might take 12 to 24
hours to incrementally reach the desired temperature, hold the gems there
for several hours, and then take another 12 to 24 hours to gradually cool
them down. At the highest temperature levels, though, such as those
required to heat treat corundum, or those used for "color diffusion"
processes, nothing can prevent heat damage. This is good news in a sense,
though, because such internal and external cues to the heating, help the
jeweler or gemologist spot the gem as one which has been subjected to
extreme temperatures.
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[In the center of this picture of the interior of a gem under high magnification,
you see an included, heat shattered crystal, broken into four pieces, and a
series of stress fractures surrounding it--> positive evidence of high heat
treatment in this gem]
There are cases where thermal expansion characteristics of gems are used
to deliberately induce cracks or stress fractures. Pieces of amber which have
been heated, and then quickly cooled, develop disk-like stress fractures
called "sun spangles" which some consider to be attractive.
[Quench-crackled quartz pebble dyed pink, the closeup shows clearly that the
pink dye is confined just to the cracks]
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[Apatite and opal: heat sensitive, Mexican brown topaz: fades in light,
turquoise: porous and likely to discolor with exposure to various materials]
Specific Gravity
Specific gravity, also known as relative density, differs widely among
gemstones, and is one of their most important physical characteristics from
the viewpoint of gem identification. Specific gravity (SG) is the ratio of the
weight of one unit volume of the gem to the weight of the same unit of water.
For example, to say sapphire (corundum) has SG = 4.0, means precisely that
a cubic inch of sapphire weighs four times as much as a cubic inch of water.
In natural gems, SG values range from just over 1 (1.08 for amber) to just
short of 7 (6.95 for cassiterite).
LIGHT GEMS: SG < 3.O
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Looking at the list above and seeing that calcium's atomic weight is 40 and
that of zinc is 65 gives us our answer!
Question 5: Suppose we had a 6 mm round calcite, and a 6 mm round
Smithsonite, cut to the same proportions--> Which would be heavier? Or to
turn it around, if we had a one carat round calcite and a one carat round
Smithsonite, which would be bigger?
2) Now to examine the effect of structure, by holding the chemical makeup
constant... Remembering the concept of "polymorphs" from the first part of
this lesson, we'll compare calcite and aragonite. Both have the same
chemical formula, CaCO3:
Calcite: orthorhombic crystal system -vs- aragonite: trigonal crystal system
Both are made up of the same elements in the same proportions, but those
building blocks are put together differently so their SGs differ, with calcite =
2.71 and aragonite = 2.94
Question 6: Suppose we had a 6 mm round calcite, and a 6 mm round
aragonite, cut to the same proportions--> Which would be heavier? Or to turn
it around, if we had a one carat round calcite and a one round carat aragonite:
which would be bigger?
Question 7: Look up the SGs for gold and platinum in the back of the Hall text.
(Even if platinum sold for the same price as gold, which it doesn't) why would
it cost more to make a particular size and type of ring in platinum than in gold?
Measuring Specific Gravity:
Although SG measurements can be made on either rough or cut gems, the
gems must be unmounted, and composed of a single material. You cannotdo
a SG measurement on a gem that is set in a piece of jewelry, or on an
assembled stone, like a doublet. Porous gems cannot be measured with at
least two of the techniques, as the liquid they absorb affects the SG
measurement, and, in some cases, can harm the stone. Detailed reference
books meant for mineralogists or gemologists will list SGs for gems as a
range, rather than a single number, due to the fact that individual specimens
will differ slightly based on the number and type of their inclusions. (Your
texts, meant for non-professional use, however, use a single number average of
the SG range for the gem species). There are several ways in which SG is
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[Heavy Liquids Testing Set, SGs of liquids are printed on bottles, dropper
bottles are for calibration]
To give a simple example, consider an unknown gem that floats quickly in
the 3.05 bottle, sinks rapidly in th 2.57 bottle, and floats and sinks very
slowly in the 2.67 and 2.62 bottles, respectively. That would tell you that the
SG was between 2.67 and 2.62 and would allow you to rule out a great many
minerals and focus any further tests on a smaller group of "possibles".
Corundum (SG = 4.0) would behave quite differently from these
observations, and could be excluded, while quartz, whose SG is 2.65 would
behave precisely as described, and could not, therefore, be excluded.
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close to that SG: quartz (2.65), coral (2.68), aquamarine (2.69), and scapolite
(2.70). More importantly, than what it might be, a SG of 2.65 rules out a large
number of possibilities that it cannot be. The gemologist, like other scientists,
progresses most often by weeding out wrong hypotheses (as opposed to proving
right ones!).
Final Exam (just kidding!)
Scenario: We have obtained an unknown transparent green gem from a
jeweler, the label has fallen off the box, and he/she would like us to tell them
what it is. Since the gem was going to be used for jewelry, we can rule out
the obscure and very soft collector gems, and limit our scope to relatively
common jewelry gems that come in vivid, transparent green. This leaves
emerald, chrome diopside, Tsavorite garnet and tourmaline as the prime
suspects. We are just getting our gemology laboratory off the ground, so all
we have is some reference books, a hydrostatic weighing set up, and a set of
heavy liquids. First, we'll do our SG test hydrostatically, then with the heavy
liquids.
We look up the SG ranges in our reference guides:
[Is it?: emerald (SG = 2.72 +.18/-.05); tourmaline (SG = 3.06 +.20/-.06);
chrome diopside (SG = 3.29 +.11/-.07) or Tsavorite garnet (SG = 3.61 +.12/.04)]
HYDROSTATIC TEST
STEP ONE: WEIGH GEM IN AIR
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The beaker with water is actually suspended by an arm off to the side and
does not put weight on the balance pan, the plastic ring which holds a little
metal basket for the gem, does put weight on the balance, though. Once
everything is set up, we "tare" the balance (resetting it to zero) so that it
ignores the weight of the plastic ring and gem basket. Now we are ready to
place the gem in the basket where it will be weighed underwater.
STEP THREE: WEIGH THE GEM IN WATER
The weight of the gem in water is: 1.615 ct. The difference between the
weight in air and weight in water is: 2.420 ct - 1.615 ct = 0.805 ct
STEP FOUR: CALCULATE SG
SG = Wa/ Wa-Ww
SG = 2.420 ct /0.805 ct = 3.01
Can we eliminate any possibilites? Check the SG range of each of the four
possibilities. (Assume we have made accurate measurements and our
arithmetic is correct).
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Based on these results, the conclusion we must draw is that the SG is below
3.05, and above 2.67 (but closer to 3.05). If this were the only available
testing method, we would be able to eliminate the chrome diopside and the
Tsavorite garnet, but we'd have to do some other tests to discriminate
between emerald and tourmaline.
Most gemologists prefer to use the hydrostatic method, not only because of
its greater precision, but also because the heavy liquids smell very bad, and
have hazardous properties such that gloves and masks must be worn when
using them.
HOMEMADE HEAVY LIQUID TEST FOR AMBER
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smell like burning hair when touched with a "hot point" probe. Amber
smells like turpentine, and jet like burning coal. Their common imitations
may have odors, but not the right ones.
Although, technically destructive, this test can usually be done on a very
small, inconspicuous spot. Resin, lacquer and wax coatings on gems can
likewise be detected as they melt or char under the hot point. In this case,
the reaction is best observed under magnification, with the hot probe not
touching the surface, but just barely above it.
3) Thermal Conductivity: Gems differ quite dramatically in this property,
which is basically a measure of the rate at which they conduct applied heat.
For many years no savvy jeweler or pawn shop owner would be caught
without a thermal conductivity tester (otherwise known as a diamond
tester). By simply touching a small metal probe to the gem, it was instantly
determined to be "diamond" or "not diamond". Pretty useful, huh? Well, it
used to be....
A few years ago, two developments occured which have all but made these
devices obsolete. 1) A new diamond simulant, called Moissanite whose thermal
conductivity is close enough to diamond to pass the test, has come on the
market, and 2) synthetic diamonds are now becoming a common enough to be
concerned about. Man-made diamonds which have the same physical
properties as the natural gems, would, of course, pass the test as diamond.
4) Electrical Conductivity: Very quickly upon the heels of the introduction
of Moissanite, came the marketing of a new generation of testers which use a
different tactic to separate Moissanite from diamond. Diamonds (with the
vanishingly rare exception of natural blue ones) do not conduct electricity,
but Moissanite does. So, out with the old and in with the new generation of
diamond testers.
These machines have two systems, a thermal conductivity test, to first
separate diamond and Moissanite from all other gems, then an electrical
conductivity test to do the final separation should the thermal test indicate
diamond. (Again, synthetic diamonds cannot be separated from natural ones
with any basic physical tests).
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You have now completed the web lecture for the third lesson! Go back the the
course website to: 1) complete and submit the homework assignment on the
text readings and assigned web essays 2) take the non-graded practice quiz on
this web lecture 3) post a comment to the discussion board for this lesson, and
4) when it is available, complete the graded quiz based on this web
lecture.When you're ready, proceed on to Lesson Four: Optical Properties of
Gems
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[Three fates for light hitting a gem: it can reflect (be returned) from the
surface or interior of the gem, it can be absorbed by the gem, or it can be
transmitted through the gem]
Reflection: Light is reflected when it hits an exterior or interior surface of
the gem and is bounced back off, or out of, the gem, in the direction of the
observer.
Absorption: When light enters a gem and does not exit, we say it has been
absorbed. Light is a form of energy, and energy does not just disappear,
instead the visible light has been converted to a non-visible form of energy,
in most cases, heat.
Transmission: Light that travels through the gem and exits in a direction
other than that of the observer, is said to have been transmitted.
The issue of transparency (with the factors of reflection, absorption and
transmission) is actually more complex than it may seem at first, because it
is intimately linked with the color characteristics of a gem. For the time
being, however; we can be satisfied with the following descriptions:
Opaque: No light is transmitted.
Translucent: Some light is transmitted.
Transparent: A high proportion of the light is transmitted.
The term "semi" is sometimes added to describe intermediates, and gives
additional categories beyond the basic three.
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portion of the electromagnetic energy spectrum which our eye and brain
interpret as light, extends from approximately 700 nm on the long (red) end
to about 400 nm on the short (violet) end.
Visible Light Spectrum (nm)
change the ionic state of their constituent atoms and ions, and thereby affect
their color.
Back to the main point, the presence of various chromophores, as well as
certain details of the three dimensional structure of the material itself, cause
the selective absorption, which, in turn, causes color. To put it another way,
both the presence of particular atoms and ions, as well as specific crytal
"defects" such as missing atoms or extra ones, areas of compression or
strain, can act as the agents of color in gems.
Idiochromatic vs Allochromatic Gems
With regard to the source of their color, gems fall into two
categories: idiochromatic and allochromatic. Idiochromatic gems derive their
color simply from the chemistry of their basic formula. Due to this fact, such
gems will always occur in various shades of the same basic color. The other
group (more common) are allochromatic, meaning that the chemistry of
their basic formula does not cause any selective absorption so in the pure
state, they are white or colorless. In gems of this sort it is tiny, trace amounts
of impurities that act as the chromophores. Such gems occur in colorless
forms as well as in a variety of other colors depending on the nature and
amount of the "contaminants" in them.
[I think you'd probably get an argument from someone who is admiring their
beautiful blue sapphire, if you called the tiny amounts of titanium and iron that
give it that color,"contaminants", though.]
Some examples of idiochromatic gems are: peridot containing iron, (Fe),
rhodochrosite with manganese (Mn) and cuprite and malachite containing
copper (Cu).
Idiochromatic Gems
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they are desirable, but far more commonly, gems of this type have
nondescript, patchy, or zoned coloration, and are considered inferior to
more evenly colored pieces.
Aggregates With Patterns
One well done, and widely used, system for color description is that
developed and taught by GIA (Gemological Institute of America). Although
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not universal, it is familiar world-wide, and the basis for most formal gem
description and evaluation in the US and Europe.
Since the wavelengths and light colors grade into one another in
infinitesimal changes, there are an essentially infinite number of hues which
could potentially be described. Most of these hues would be
indistinguishable from each other to our eyes, so GIA has settled on a group
of 31 which humans with normal color vision (and some training) can
discriminate. The set of plastic gem models below is a representation of
those 31. (It should be noted that GIA has taken some liberties with the
traditional "Roy G. Biv" spectral colors, deleting indigo, and adding purple
after violet. In the set below, then, you see: red, orange, yellow, green, blue,
violet and purple. The intermediates are described by terms like slightly,
moderately and strongly to indicate a spectral hue modified to various
degrees by those on either side of it on the spectrum. It also recognizes hues
which are exactly 50/50 mixes such as red-orange and blue-green.
HUE
primary hue, (red). The description strongly yellowish green: "st y G"
would be decoded using the same logic. Once you have been trained to see
nuances of color, you recognize that pure spectral colors in gems are quite
rare, and as a result, costly. For example: a hue of simply "B" would be
pure spectral blue and if other factors of color and clarity were good, the
piece would command a premium price.
If you are thinking that it looks like there are more gradations in the blues and
greens in the display above, than in the other colors, you are right. Human
vision has finer powers of color discrimination in that part of the spectrum,
which this system takes into account.
TONE
Each of the 31 hues exists in a range of tones from almost colorless to almost
black. GIA labels the tones as 0 - 10. {0 ( appears colorless), 1 (extremely
light,) 2 (very light), 3 (light), 4 (medium light), 5 (medium), 6 (medium
dark), 7 (dark), 8 (very dark), 9 (extremely dark), 10 (appears black).
The figure below represents the 2-8 part of that range, which is, in the great
majority of cases, the range for marketable colored gems. For most species
the most valuable tones are in the 5-6 range. The set below is shown without
hue, and it takes practice and patience for the would-be colored gem grader
to learn to superimpose hue onto these, and get a valid tone reading.
An additional complication comes from the fact that gem species differ in
their inherent tone ranges. For example, let's compare an aquamarine and a
pyrope garnet each of tone 6. Objectively, each is exactly the same, but that
depth of color is about the deepest that will ever be found for aquamarine
and the about lightest possible for any pyrope. One should not be surprised,
then, to find the aqua dealer calling her stone "very dark" and the garnet
seller raving about how beautifully light his stone is when they are both
"6"'s.
SATURATION
Finally, it's time to examine the most subtle aspect of gem color, saturation:
in a manner of speaking, this measure is the degree to which the other
spectral colors "muddy up" the main hue. Think of a can of pure red paint
and start adding in various amounts of all the other colors--> the more you
add of the other spectral hues, the "browner" the red will get. Now do the
same thing with a can of pure blue: the more you add the "greyer" the blue
will get. In general, desaturating "warm colors" makes them look brownish
while the same effect in "cool" colors looks more grey. Therefore, GIA's
system of describing saturation makes a distinction between cool and warm
hues.
Warm hues = green through red (desaturated to brown) Cool hues = purple
through blue (desaturated to grey)
Six degrees are recognized ranging from: 1 (brownish/greyish), 2 (slightly
brownish/greyish), 3 (very slightly brownish/greyish), 4 (moderately strong),
5 (strong), 6 (vivid)
**In the figures below, you can get a better idea of the saturation effect by
looking at the flat end of the plastic gem replica, rather than the "gem part".
When giving a gem's formal color description in words, then, the gem below
might be said to be: medium dark, slightly greyish, blue-violet. It sounds
more natural to put the tone, saturation and hue in that order. In a numeric
description as required in offical gem grading documents, however: the
order would be: hue, tone and saturation, thus: BV 6/2
specimens, with value bottoming out in the central ranges where there is just
a bit, to a moderate amount, of color.
Although most of the diamonds you might see on a day-to-day basis are
called "white" and appear so, a little study and comparison will verify that a
truly colorless diamond is a thing of great rarity, and the vast majority of
diamond gems are actually tinted with small but noticeable amounts of
yellow or brown.
I was taking some liberties, perhaps, by using the GIA system in the preceding
discussion of colored gem descriptions, but without doubt, the GIA system
is the one to learn if you are interested in diamond colors and value. It is
understood everywhere in the world, and used for formal grading in most
countries. Even competing gem grading laboratories either use the GIA system,
or provide a key to translate theirs to it. For example AGS, The American Gem
Society uses 0 - 10 for their color grading scale (0 = D, 0.5 = E, 9.5 = W, 10 = X
- Z, etc.), but gives the customer an exact conversion scale to the GIA system
with their reports.
Before the GIA system was developed (beginning in the 1930's), there were
as many diamond color descriptions as there were diamond sellers. Many of
them used A, B, C and A+, AA, AAA etc. while others used adjectives like
"river" and "cape". It is easy to see how difficult it would be to have a
reliable system for trade under those conditions. GIA's scale did away with
A, B and C because of their long histories and diverse useages, and
developed a system based on color grades from D-Z for "colorless" stones,
plus the term "fancy" to indicate those whose strong color made them more,
rather than less, valuable.
What the Letters Mean
D, E, F: gems in this range appear colorless even in larger sizes, only a
highly trained diamond grader can tell the differences between them.
G, H, I: these grades describe gems that look colorless to most viewers in
smaller sizes and if mounted.
J, K, L: small and mounted stones of these grades look near colorless, but
larger and unset gems begin to have noticeable color
M-Z: gems in this range are worth much less than higher color grades and
range from some color noticeable to distinctly light yellow (or brown).
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Z+: beyond Z is the range of the "fancy" diamonds whose value is based on
their hue tone and saturation, as in colored stones. In general browns are
least valuable with yellow, orange, and green worth considerably more. The
pinnacle of value for naturally colored diamonds is occupied by purple, blue,
pink, and at the very tip-top, red.
The images below may or may not be enlightening, based on the
characteristics of your vision, viewing circumstances, and monitor
calibration, but they will hopefully serve to illustrate at least some of the
aspects of our topic.
scale was much more limited, and as a result there were but a
few dozen known species and varieties of gems, and a
correspondingly small set of mine sites.
The tools of the trade were limited. A magnifier, a hardness
testers, some acid for detecting carbonates, and balances for
determining specific gravity were all that was in the
gemologists' kit. We might say that practicioners of earlier eras
were "optical gemologists". Most of the gems' measurable
properties were either physical (density, hardness, stability,
crystal habit) or those which could be seen with the naked eye,
such as, luster and color.
Relatively few enhancement processes existed. Heating, dyeing
and coating were long-familiar techniques which for the most
part were easy for a trained eye to detect.
Synthetics and simulants were few. Only a handful of gems had
been synthesized prior to 1950 and those had clear cut signs
indicating their "non-natural" origin. Simulants were common,
but they were mostly either assembled gems, or natural
substitutes, which, again, were relatively easy to detect with the
knowledge and equipment of the day.
To give an example, I'll relate a true story: Recently, a
client came to a gemologist I know, with an antique ring
that they had inherited. Along with the ring was a jeweler's
certificate, dated 1870, certifying that the gem was an
emerald. A variety of tests soon revealed that the stone was,
in fact, a green tourmaline. Had the client's ancestor been
duped by an unscrupulous jeweler? Most likely not. With
the tools and knowledge available in the 1870's, a green
stone of hardness greater than 7, and with a vitreous luster
that came from South America (as this one did) would have
been called an emerald. Thus it is, that a lot of the "rubies"
in museum collections are actually red spinels, and much of
the "jade" pieces among the displayed artifacts are
serpentine or hydrogrossular garnet.
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[Refraction includes the slowing and the (usually) consequent bending of light
as it enters a gem]
Behavior of Light 2: Dispersion
Dispersion (sometimes called "fire"), is the separation of white light into its
spectral colors. It may be observed as specks of red, blue or green which
flicker as the gem is turned.
The cause of this phenomenon is the differential refraction (bending) of the
various wavelengths of light as they travel through a gem. Red (long
wavelength) bends less, violet (shorter wavelength) bends more. This causes
the colors to become separated. Although dispersion, theoretically, occurs in
all gems, the degree depends on the RI of the gem material, and only those
gems with sufficiently high RIs, have dispersion which is pronounced
enough to be actually visible.
The exact figures for dispersion can be painstakingly measured in a
laboratory setting using special equipment, and then calculated as the
difference between the RIs of red light and violet light in a given species.
Potential dispersion in gems, thusly measured, ranges from .007 to .280.
Outside the lab, dispersion is generally judged visually, without instruments,
simply as: absent, slight, moderate, strong or very strong. The degree of
visible dispersion is affected by species (due to RI), but also by the body
color, and cut proportions of the gem.
In general, the denser the gem, the greater its potential dispersion. Light
body color, and steep crown angles enhance the display, whereas dark body
color and shallow crown angles diminish it.
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[Benitoite and sphalerite both with cuts and body colors which permit their
substantial dispersion to show]
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[Unconvincing simulants: YAG, (too little) sythetic rutile and strontium titanite
(too much)]
[Gems whose optic charcter is SR: diamond, garnet and spinel (cubic system),
opal (amorphous)]
DR stands for doubly refractive. In such gems, single beams of light upon
entering the gem, are split into two separate beams, which then travel
perpendicularly to each other. Each of the resultant beams takes a different
path through the crystal and, consequently, has its own speed. Such gems,
then, have two RIs, one for each half of the original beam. In this group are
all the gems of the non-cubic crystal systems.
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[Gems with high BR, showing facet doubling: calcite, synthetic Moissanite]
The pictures below demonstrate the effect very clearly. The material below
has been cut into a geometric form known as a "cuboctahedron" from
synthetic rutile (which has extreme birefringence = .287). It has been placed
above a single black ink dot on the surface. The left photo shows the view
through the central face which has been cut on an optic axis. Note that the
dot is clearly visible as "one" as are the reflections of its image in the other
faces. In the second photo the piece of rutile has been turned so that we view
the dot through another of its faces (one not on an optic axis). Now we see
two images of the dot.
[Synthetic rutile above a single black dot: viewed in the optic axis direction,
viewed in a non-optic axis direction: Images courtesy of Dr. Brad Amos]
Food for thought: The newest diamond simulant on the market is called
Moissanite. (That's the one that required the new generation of electrical
conductivity testers discussed in Lesson 3). Fact: Moissanite is markedly
birefringent; diamond, being SR, has no birefrigence.(Answers to the
questions will be found at the end of the lesson)
Question 1: When the sellers of Moissanite send their pieces of rough to be cut,
they are very careful to mark the optic axis direction on each piece. Why?
Question 2: Your friend shows you his new "diamond" ring. You look down
through the table and you see no doubled facets. You take out your loupe
(magnifier) and turn the gem at an angle so that you are not viewing straight
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through the table, and when you look at the stone, you see doubled images of
all the facets. Could this be a diamond? Could it be a Moissanite?
Behavior of Light 4: Pleochroism
As we know, DR gems split light into two perpendicular rays, each taking
different paths through the crystal: one ramification of this is birefringence,
another is pleochroism. Pleochroism is the property of DR gems which
results in their showing different colors, or different shades of the same
color, when viewed in different crystal axis directions.
How can this be? Think again of the crystal lattice of a DR gem, made of
carefully laid out atoms of the gem's component elements (and the trace
chromophore elements), with fixed distances and densities that
can vary depending on direction. If two beams of light take a different path
through this lattice, they may then be affected differently by selective
absorption and emerge with different colors.
This effect can be weak, moderate or strong, depending on the species of
gem, the colors involved, and also on the color tone of the particular piece. A
very light piece of a pleochroic species will show the effect less clearly than a
more richly colored one. Unless the effect is extreme (as it is in iolite and
Andalusite), we generally do not see it in a cut gem, because the bouncing
and mixing of the light caused by the internal reflections from facets and
edges blends the colors together and obscures it.
Dichroic gems (like corundum) show two different colors
while trichroic gems (like iolite) show three.
Pleochroism will not be observed in SR gems, nor in DR gems when looking
through an optic axis direction.
In most cases, pleochroism can best be observed using an instrument called
a dichroscope. This cleverly made little tool uses a piece of highly
birefringent colorless calcite to split the incoming light into two beams which
are bounced off tiny mirrors positioned inside so as to reflect each of the two
beams onto a pair of side-by-side viewing windows. This placement allows
the viewer to simultaneously see light that has traveled two different paths
through the gem or crystal being viewed. Simultaneous viewing isn't
absolutely necessary, but considering that these effects are often subtle and
color memory is poor, it is certainly easier that way. All that is necessary to
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from it is prevented from reflecting back into the gem. This leaves a gem
with proportions that do not fit into standard prong or bezel mounts.
Jewelers have had to devise a special "tourmaline mount" (as seen below) to
accomodate such gems.
[Pleochroic Gems: an iolite showing a lot of its undesirable grey axis, an iolite
oriented to show a near ideal blue-violet, a "tourmaline cut" gem mounted in a
"tourmaline mount"]
Tanzanite gems, which in the rough are trichroic, but after their standard
heating process become dichroic, have a blue and a purple axis. Blue stones
have a higher per carat value than purple ones, but, unfortunately, the
shape of this gem's crystals dictate that the greatest yield comes from cutting
a purple gem. The cutter, then, must balance these two factors and try to
orient the stone so as to give the largest, best colored, and most valuable
stone from an individual piece of rough.
In some gems, most notably Andalusite, all the colors are attractive
(brownish shades of green, red and yellow) and the mix of them in the
finished gem is considered desirable.
glass being amorphous, are SR and have no dichroism. You have no other
equipment.
Question 3: You have three blue transparent gems: an iolite, a spinel, and a
sapphire, but they have no labels on them. Can you find the spinel? Can you
separate the iolite from the sapphire? How?
Question 4: You have three red transparent gems, also without labels: a piece
of glass, a ruby and a garnet. Can you find the ruby? Can you separate the
glass from the garnet with your dichroscope?
Behavior of Light 5: Polarity of Light and the Optic Character of Gems
The rays of light from the environment or from standard man-made sources
are vibrating in all directions perpendicular to their individual directions of
propagation. They are said to be non-polarized. With respect to this
vibration, light is affected by the gem materials it enters in two possible
ways:
With DR materials, each of the two light rays that result from the splitting
of an original beam, now vibrates in only one plane: it is said to be "plane
polarized". Light goes into the gem non-polarized and comes out polarized.
(The exception is light that travels through such a gem in an optic axis
direction.) When we talk about such a pair of polarized rays, it is convenient
to call one the E/W ray (East/West) and the other the N/S ray (North/South).
SR materials have no such effect, the light remains non-polarized as it
travels through the gem. That is, light goes in and comes out of the gem nonpolarized. We can also picture this by saying that light comes into the gem
vibrating in all directions and exits the same way.
This property is one that is useful in gem identification and can be readily
detected with an instrument called a polariscope.
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enstatite? diopside? etc. etc. Easy: Are they diamond, garnet or spinel-->
No!, then they are DR.
Food for Thought:
Question 5: In the hint above, why did I stipulate "crystalline gems"?
Testing for Optic Character
[A polariscope]
The easiest way to test a gem for optic character is by using a polariscope. It
is composed of two polarizing lenses with a light source below them. Each
lens transmits only light that vibrates in single plane, either N/S or E/W.
When the light in the base is turned on, normal, unpolarized light is
produced, which becomes polarized, let's say N/S, as it passes through the
lower polarizer on the base of the unit. The upper lens can be rotated freely.
If the upper lens is parallel to the lower one (also N/S), then the light travels
through it, and we see a lighted field. The picture below is a photo taken
looking into the upper lens as just described.
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crossed filters position) and it looks dark. Turn it 90 degrees--> still dark.
No matter which direction you turn it, it is always dark. This type of
material does NOT act as a polarizing lens and therefore doesn't change the
polarity of the light that goes through it.
It is logical for you to expect that since a polariscope tells the optic character
of a gem, it should show either a reaction of either SR or DR when a gem is
tested. Both SR and DR readings are possible, as described above, but there
is a also a third possibility. Certain gems, when tested as described above,
neither blink dark and light, nor stay dark. They are light as intially viewed
and stay light no matter how they are turned!... What is going on? A gem
with this reaction is an aggregate. (Remember, an aggregate is a gem made up
of microscopic to sub-microscopic crystals all intermeshed together. Examples
are various chalcedonies and jade).
The AGG Reaction: All commonly used gem aggregates are DR, that is, the
teeny tiny little individual crystals making them up are DR. But these little
crystals are randomly oriented within the piece of material, so that on
average no matter which way you turn the piece, about half of them are in
their E/W position and half in their N/S orientation. Thus, turning the gem
has no effect, a good amount of light is passed through it in any position.
This reaction is called AGG.
All of the above is MUCH harder to put into words, or to read and
comprehend, than it is to observe and recognize. Let's do some tests. In the
picture below are three pieces of gem material. One is quartz, one is glass
and one is chalcedony. We'll observe their reactions under the polariscope
and see what we can conclude.
determine which of the three pieces it is, and that it has been rotated
approximately 90 degrees in the second picture.)
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though, because the degree of polish or lack of it, the number and types of
inclusions, and the color or condition of the gem may make even a ballpark
estimate difficult without some kind of equipment.
Using Liquids of Known RI: You will recall from Lesson 3 how it is possible
using liquids of known specific gravity to work out an approximate SG for a
gem by immersing it and observing the reaction. There is a similar
technique that can be used for RI. This technique called "Relative
Refraction" uses liquids whose RIs are known. When a transparent gem is
immersed in a (colorless) liquid, how clearly we can see details of the gem
depends on the RI of the gem compared to the RI of the liquid. A critical
concept here is "relief"; we say that a gem has high relief when it stands out
as sharply visible in the liquid, and low relief when it doesn't. The greater
the RI of the gem abovethat of the liquid in which it is immersed, the greater
its relief.
1) A gem that is immersed in a liquid whose RI is well below its own shows
high relief, the gem and its details are clearly visible
2) A gem that is immersed in a liquid whose RI is moderately to slightly
below its own shows moderate to slight relief, the interior details and outline
of the gem are harder to see.
3) A gem that is immersed in a liquid whose RI is the same as or higher
than its own shows no relief, no edge, or interior detail is visible. The gem, if
colored, looks simply like a hazy colored area in the liquid, and if it is
colorless, it virtually seems to disappear!
Using this basic idea we can compare the relief of two different gems in the
same liquid, or we can test the same gem in different liquids. Each technique
would give us information about the relative refractive index of the test
pieces.
Three common liquids used in this sort of testing are: water (RI = 1.33), a
commercial compound called "Refractol" (RI = 1.56) and methylene iodide
(RI = 1.74).
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relief, in methylene iodide: the piece disappears. Can you estimate the RI of
this gem? Is it consistent with phenakite? Do these results prove it to be
phenakite? Are there different possible results which would disprove it being
phenakite?
Another reason why gems are sometimes immersed in such liquids is that by
diminishing the relief and reflections, internal characteristics like color zoning,
fractures and inclusions sometimes stand out more clearly.
If you ever go to a store or show where gem rough is sold, you can see potential
purchasers dipping the rough into water the dealer has provided to get a better
interior view (or less appealingly, licking the piece when no water is available!)
Using a refractometer to test RI: The most commonly used type of
refractometer can measure the RI of gems whose values fall between 1.30
and 1.80. This does not cover the full range of gems, whose values range
between 1.20 and 2.60.
When no reading can be obtained (almost always because the RI of the gem
is above 1.80, the reading is said to be "OTL", or over the limits), which, in
itself, is often useful information for identification purposes.
[Standard refractometer]
This is a delicate and expensive piece of equipment which has numerous
limitations, and is difficult to learn to use properly, yet it remains the single
most useful tool for the gemologist doing gem identifications. Most models,
like the one seen above, require a separate light source. The most important
part of the device is a leaded glass "hemicylinder", seen as the slightly
yellowish rectangle above, upon which the gem whose RI is to be read, is
placed. A drop of very high RI "contact" fluid (methylene iodide saturated
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picture below shows what a such a reading might look like. The reading,
shown is between 1.56 and 1.57. With practice it is possible to be quite
accurate at estimating that third decimal place.
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You may recall from the topic of selective absorption, that gems may absorb
parts of the visible light spectrum and convert them to heat. It is also the
case that gems (due to the specifics of their chemical makeup or crystal
lattices) may absorb other types of electromagnetic radiation (UV, Xrays)
and convert them tovisible light. This phenomenon is known
as photoluminesence.
UV, or ultraviolet radiation is that part of the electromagnetic spectrum that
has wavelengths just shorter than those of visible light. We divide the UV
spectrum into two parts: longwave starting at 365 nm (LW), and shortwave
starting at 254 nm (SW). Remembering that wavelength and energy content
have an inverse relationship, this tells us that SW is the more energetic
type. Although there are several expressions of the photoluminescence
phenomenon that can be tested for in big gem labs, the type which is most
useful to the average gemologist is fluorescence testing.
Fluorescence: When a gem absorbs either SW or LW UV, or both, and
immediately emits visible light, the phenomenon is called fluorescence. In
order to test for fluorescence it is necessary to have a controlled source of
SW and/or LW and a darkened viewing chamber. (It is also prudent to have
UV protective eyewear as exposure to these rays can be damaging.) The
specifics of the color and intensity of fluorescence can sometimes be a useful
diagnostic test in identifying gems.
A typical UV test lamp, as seen below, usually consists of a light source
which produces the UV with a pair of filters covering it. On one side a filter
blocks SW and permits LW to pass, and on the other end LW is blocked
passing the SW. In the model below, a simple metal slider mechanism is
moved from one side to the other to block out the undesired wavelengths.
The test would be performed inside a viewing chamber that blocks out all
visible light. The gem to be tested must be very clean as skin oil and dust
particles often fluoresce brightly.
[Fluoresence tester: set up to test with SW, set up to test with LW]
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Fluoresence can be absent, in which case we say the gem is inert, or present
in weak, moderate or strong form. The light emitted by fluorescence can be
the same color or a different one from the color of the gem itself, and a gem
can have the same or different reactions to LW and SW.
[Burmese ruby ring in visible light, fluorescing red under UV (no visible light
is present)]
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1) They mark the optic axis direction so that the cutter can be sure to orient the
table of the stone in the proper direction. When a Moissanite is cut with the
table in the optic axis direction, its birefringence isn't noticeable, and it looks
more like a diamond.
2) The table view looks as if the stone is SR. When you tilt the stone you are
looking through it in a non-optic axis direction, and in this case you see
doubled facets indicating that has birefringence and therefore is DR. Since
diamond is SR, and the stone is DR, it cannot be a diamond. Moissanite, used
as a diamond simulant is DR, so the gem could be a Moissanite. Another
possibility would be a white zircon, a natural stone used as a diamond simulant
which is also DR.
3) Yes, by testing the three gems with the dichroscope you would find the one
which shows no pleochroism which would be the spinel which is SR. The other
two would have pleochroism. You could compare the other two to separate
them: iolite is trichoic so you'd see three colors, sapphire is dichroic showing
only two.
4) Yes, the ruby would be the one that was dichroic. The other two, being SR
gems wouldn't show pleochroism. No, using just the dichroscope and no other
test or information you could not separate the garnet and the glass. (testing for
RI or specific gravity would easily separate them, though.)
5) Because non-crystalline (amorphous gems) like opal, amber and glass are
SR.
6) Yes, the ruby would be the only one which would give a DR reaction in the
polariscope test. No, (as with the dichroscope in question # 4) both the garnet
and the glass would give SR reactions.
7) Yes, the diamond would test SR and the zircon would test DR.
8) Yes, chalcedony (as an aggregate) gives an AGG reaction (always light) to
the polariscope test, while moonstone (being a crystalline gem of the
monoclinic system) tests DR (blinks light and dark when turned).
9) Since the gem shows no relief (disappears) in methylene iodide whose RI is
1.74, the gem has a lower RI value than that. Since it does show relief in
Refractol whose RI is 1.56 you know that it has an RI higher than that. So its
RI lies between 1.56 and 1.74. Since phenakite's RI is 1.66, the gem could
be phenakite. These results do not prove it is phenakite, however, as there are
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other colorless gems with RI's between 1.56 and 1.74, like Danburite, for one.
Other results that could have disproven an identity of phenakite would have
been: if the gem disappeared in Refractol (its RI would be below 1.56) or if it
showed relief in methylene iodide (its RI would be above 1.74). Such results
would be incompatible with phenakite.
10) All the listed gems (except diamond and zircon) have RI's below 1.80 and
so could be ruled out as being diamond which has an "OTL" reading on the
refractometer. So you'd be left with the diamond and the zircon. There are
many correct ways to answer how can these two be separated but two of the
ways would be 1) Specific Gravity (zircon is much heavier than diamond),
since they aren't the same size and shape you couldn't do it by hefting or
comparing measurements, but you could do it by hydrostatic weighing and 2)
Optic Character (diamond is SR, zircon DR) you could do a polariscope test or
check with a loupe for doubled facets to find the zircon.
You have now completed the web lecture for the fourth lesson!
Go back the the course website to: 1) complete and submit the homework
assignment on the text readings and assigned web essays 2) take the nongraded practice quiz on this web lecture 3) post a comment to the discussion
board for this lesson, and 4) when it is available, complete the graded quiz
based on this web lecture.
When you're ready, proceed on to Lesson Five: Magnification and What it
Reveals
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[The characteristic growth tubes inside this gem narrow the most likely
identification possibilites to beryl and tourmaline (it's a tourmaline)]
[The doubled facet reflections seen under magnification in this sphene and
zircon, serve as clues to gem identity: few species have birefringence this high]
Is it natural or synthetic? Once the question of the species or variety has
been answered, then it is necessary to know whether the gem is natural or
synthetic. (Remember, synthetics are the gem, and, therefore, have all the
chemical, physical and optical properties of the natural version). One of the
best tools at a gemologist's disposal, in trying to make this call, is
magnification.
There are certain inclusions found only in natural stones, and others
found only in synthetics. In many cases, then, seeing a certain inclusion is
definitive. Unfortunately, there are also inclusions which can be found in
either type, and some gems that are so totally clean, there are no inclusions
to use.
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[The triangular platinum crystals which were eroded from the crucible in
which this synthetic Alexandrite was formed, give proof of its man-made
origin]
Has it been enhanced, and if so, how? Certain enhancements (and
imitations) can be most easily detected by a magnified view of the surface, or
the interior, of a gem.
[The intact "silk" (rutile needles) in this sapphire proves that it has not been
subjected to high heat, and is of natural color, whereas the stress fractures in
this heated sapphire give evidence of its treated state: Image courtesy of Martin
Fuller]
Where, specifically, did it come from? Though not a factor in most cases,
there are a few important instances where the geographic location of a gem's
origin is crucial in setting its value. In those situations, it is often possible by
seeing diagnostic inclusions or growth features to specify the location. Only
peridot from Arizona shows a characteristic stress fracture/included crystal
combination known as a "lily pad", and only demantoid garnet from Russia,
shows microscopic curving fibers of bryssolite asbestos known as a
"horsetail".
Check the web: This URL takes you to a news bulletin of the Gemmological
Association of Australia, documenting the characteristic inclusions of rubies
from a new source in Madagascar: http://www.gem.org.au/rubynews.htm
3) You can see very cool things! Looking into a gem can reveal a world of
beauty and complexity that just isn't apparent from a surface view.
Tools:
The two tools most often employed in gemstone magnification are the loupe
and the gem microscope.
The loupe: A loupe is a small magnifying device, which, most commonly,
magnifies the object to be viewed to ten times its size (10x). There are five
major types used by those observing gems: handheld, eye socket, headpiece,
eyeglass, and darkfield. Each has its advantages and particular best use. The
handheld version is the most versatile, and the darkfield type supplies a
source of specialized lighting important in some aspects of gem identification
and/or grading. The eyesocket, headpiece and eyeglass types have the
advantage in situations where leaving the hands free is important.
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The Tsavorite gem has no visible problems and looks great, completely
transparent and full of sparkle and color. The tourmaline, as is the case with
most cabochon gems, is of lower quality than a piece that would have been
faceted, and is translucent, but still very attractive.
The view using our loupe, is somewhat different:
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OK, now that I've properly warned you, let's look on the bright side and
view some of the "very cool" things mentioned above:
Just for fun!
Here's a nice dendritic chalcedony which at 10x really shows the three
dimensional nature of the dendrites and gives some insight into their growth
pattern as well.
Two interesting drusy gems, but at 10x we can actually tell that their
surfaces are lined with real crystals (albeit small).
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Check the web: This website gives a visual demonstration of how interesting
and different ordinary things can look when they are
magnified:http://www.theimage.com/closeup/
The Hand Loupe:
Triplet Loupes: The highest quality (and most expensive) loupes actually
consist of a set of three glass lenses fitted together, and are referred to as
"triplets". Together, the set of lenses corrects for the inevitable distortion
introduced when a single lens is used.
This distortion is of two types: chromatic and spherical, and both types are
caused by the curved shape of the lens, particularly at the edges where the
curvature is the greatest. In chromatic distortion, the unequal bending of the
different color wavelengths creates dispersive color fringes at the edges of
view. In spherical distortion, a similar mechanism causes the image itself to
curve and be out of focus in those areas.
Single lens loupes are available at very low cost, and are just fine for nonprofessional applications. If your loupe is not a triplet type, no need to worry-->
all you need to do to compensate, is to confine your observations to the central
area under view, and things will be fine.
Hand loupes can be found from 2x to 30x magnification. It might seem a
good choice to purchase the one with the highest power, but typically that
isnot the case. There are three reasons:
1) The higher the power of magnification, the shorter the "focal length" -->
the distance from the lens to the object so that it is in focus. For a 10x lens
that distance is one inch, (20x = 1/2 inch, and 30x = 1/3 inch). It is difficult
enough to work with a 1" clearance, let alone any of those shorter distances!
2) The shorter the focal length (higher power) the less light can enter the
gem. Again, getting proper lighting at a distance of 1" can be a challenge,
but it is very much more difficult at the shorter distances available at higher
magnifications.
3) The higher the power of magnification, the smaller the "focal area" -->
the size of the patch that you are magnifying. It can take quite a while to
throughly examine all areas of a gem while using 10x, the job becomes
harder, the smaller the "patches" you are looking at.
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It should not be surprising then, that the vast majority of loupes in use are
10x.
Most loupes come with a metal cover that doubles as a "finger hold" or
handle. The correct technique for using a loupe is pictured and described
below:
1) Put the index finger of your non-preferred hand (left hand for righties,
and vice versa) through the loupe cover and bring the loupe to rest against
your thumb which is resting on your cheekbone. (This gives you just about
the right eye-to-loupe distance.
2) In your other hand are your tweezers with the stone (either a girdle to
girdle, or a table to culet hold is fine). The tips of the tweezers are between
your middle and fourth finger. This allows you to easily and stably pivot the
stone forward and back (with the hand holding the tweezers) to adjust the
focal length to the 1" required.
3) Once you have mastered the basic "hold" you can actually focus on
different "depths" within the gem by slightly increasing or decreasing the
gem's distance from the loupe. First bringing the surface into focus, for
example, then moving the focal area into the interior and finally to the
bottom of the gem.
4) Unless you have severe astigmatism you do not need to wear your glasses.
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5) Keep both eyes open. If you haven't used magnifying devices before, this
takes some discipline to do, as your natural inclination is to close one eye.
You can view comfortably for a much longer period of time with the "two
eye" technique, and as a bonus, you usually don't end up with a headache.
The Darkfield Loupe:
The ideal lighting condition for revealing inclusions in a gem is known as:
"darkfield illumination". In this situation the gem is viewed against a black
background with the light coming through it only from the side. The effect is
to make any interior features stand out sharply in relief, and to be much
more noticeable than with ordinary lighting. Although gem microscopes
provide this lighting choice, most loupes do not. The exception is a device
known as a darkfield loupe. The housing into which the gem is placed for
viewing has a central, black baffle which prevents light from the source
(usually a small "maglite" type of flashlight) from shining straight into the
gem. Instead the light is reflected from the shiny sides of the housing to enter
the gem sideways.
The technique for using a darkfield loupe, couldn't be simpler: the gem, in
its tweezers, is simply rested in the opening and viewed at a comfortable
distance. These are much more expensive than hand loupes, but for those
who need to grade gem clarity on a regular basis, are well worth it.
Gem Microscope:
A gem microscope is similar to a biological or medical microscope in that it
is binocular, and uses compound lenses. A binocular magnifying device has
two eyepieces so that both eyes are used at once. This is ideal for getting a
good three dimensional view. In a compound scope, there is a set of lenses
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close to the object being magnified (objective lenses) and a set in the
eyepieces (ocular lenses). With this set-up, magnification is compounded,
meaning that, for example, if the objective lens is 5x and the ocular lens is
10x, the total magnification is 50x.
Gem scopes differ from biological scopes in that the total maximum
magnification is usually lower (about 70x as compared to as much as 1000x)
and there are more lighting options. For example, a good gem microscope
has: brightfield illumination, darkfield illumination, oblique lighting,
overhead lighting, a light diffusing system, a system for immersing the
object in liquid in a well for viewing, and a light polarizing set up. They also
generally come fitted with a pivoting stone holder.
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When the moveable baffle plate is put into place, darkfield illumination is
produced which enters the gem only from the side. The highlighted internal
features are then viewed against the black background of the baffle, and
stand out in high relief. This sort of lighting is best for examining and
identifying inclusions in a gem.
**Check the text: On page 52 of the Lyman text, is a good analogy of what you
are seeing via darkfield.
Also important is overhead lighting (sometimes called reflected or incident
lighting). In this case the light source in the well of the microscope is turned
off, and an overhead light used instead. Such illumination is excellent for
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examining the surface of the gem for blemishes, and for details of the finish,
such as polish and facet meets.
Compare the two pictures below taken of the same gem (at 10x
magnification) under reflected light and darkfield. Notice how the surface
features are so much more noticeable in the first instance, and the internal
features better displayed in the second.
Food for thought: (Answers will be found at the end of the lesson)
Question 1: You have been given a gem to examine microscopically. Which
type of lighting would be best suited to determine each of the following: The
likelihood that it is synthetic or enhanced with dye? The fine points of its cut
and polish, and the degree of wear and tear it has sustained? Its clarity?
What Can Be Seen?
The clarity characteristics of a gemstone are divided into those that are seen
on the surface (blemishes) and those in the interior (inclusions).
Blemishes and other surface features: In this category are chips, scratches,
knicks and abrasions, as well as attributes of the faceting or lapidary process
such as degree of polish, or shape and placement of facets. A survey of the
outside of the gem can yield several important results.
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1) Gems are graded for color, clarity and cut. Some of the surface features
are used in setting the gem's clarity and/or cut grades. Surface features, in
general, affect the clarity grade less than do inclusions, but there are some
important exceptions. A surface-reaching fracture, for example, is
considered a blemish, but it greatly diminishes a gem's clarity grade because
it decreases durability.
2) The surface view can yield important gem identification information.
Examples would be abraded facet junctions which give hardness clues, or
characteristic surface features like the "engine-turned" effect that is
diagnostic for elephantine ivories.
3) Telltale signs of imitation gems or gem enhancement are often observable
on a gem's surface. This would include concave facets or mold marks as seen
on glass and plastic, and dye concentrations in surface reaching fractures.
Below are some examples of important surface features:
Not only are the crystals likely to affect the clarity grade of the gem, they
also can be suggestive or diagnostic of its species, enhancement status, or
location of origin. Included crystals with rounded, rather than sharp edges,
can be indicative of high temperature heating for example which might
occur naturally or during certain types of treatments.
The majority of crystals are either formed at the same time as the gem, from
other minerals present in the melt, vapors or fluids, or pre-existing ones
which the growing gem captures. Less frequently, the crystals appear after
the gem is first formed.
A noteworthy process, in this regard, is "exsolution". It occurs after the
initial formation of the gem, and involves re-crystalization of materials
which may, initially, have been dissolved in the gem.
As you will recall from Lesson 3, gems may have several stable points of
temperature and pressure at which they can crystallize. Picture a gem
forming at one set of conditions and then later being partially, or wholly,
remelted and subjected to new conditions. Rutile, for example, can be
dissolved in corundum, or exsolved. When it exsolves it crystallizes as
discrete needles. This phenomenon is used by gem treaters to add or
subtract rutile needles from sapphire at will, respectively ehancing the
potential star in a gem, or clarifying a cloudy one.
Another "after the fact" way in which crystals get into a gem is by invasion
of cracks by fluids. This is the mechanism by which the dendrites in
chalcedony form, as well as that which is responsible for the seams of
precious opal in a matrix rock.
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Question 2: Why would bubbles have particularly high relief, and why would
they generally be distinguishable from rounded crystals by using polarized
light?
Cavities with both a liquid and a gas trapped inside are called "two phase"
inclusions, and those that also contain a solid crystal are termed "three
phase"inclusions. In the vast majority of cases, two and three phase
inclusions are indicative of natural origin.
Surface-reaching fractures not only impair durability, they also are portals
for fluids to enter which may cause stains or, in the case of enhancement,
accept and concentrate dyes.
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A notable exception to the way in which gems are clarity graded would be in
the case of those gems whose visible inclusions create its value, rarity, or
beauty. In that case, only the surrounding gem material is clarity graded. In
the photos below, we see two such cases: the "trapiche" emeralds with their
black "cog-wheel" inclusions are rare collectors items, and so the clarity
grading would be done in regards to the green areas only, the "confetti"
sunstone is desirable primarily due to its glittery hematite particles which
flash gold, red and blue, so the clarity grade speaks to only other,
extraneous, inclusions that might be present.
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Iridescence,
including:
o Orient
o Labradoresce
nce
o Play of color
Adularescence
Aventurescence
Chatoyancy,
including:
o Simple
chatoyancy
o Cat'seye
effect
o Asterism
Color change
**Check the web: Optical phenomena are not limited to gemstones, for a neat
overview of other interactions of matter with light (like rainbows and the
aurora effects: borealis and australis): go to this
URL:http://en.wikipedia.org/wiki/Optical_phenomenon (warning--> you could
get stuck here for hours, it's so interesting!)
These may then be seen on the surface, or in some cases in the interior, of
the material. Iridescence is responsible for the everyday observations of the
spectacular colors seen in the metallically shimmering neck plumage of male
Mallard ducks, peacocks and some hummingbirds, or as light catches the
surface of a soap bubble.
When combined with interference, where the slightly out of phase color
waves bouncing off different layers overlap as they reflect, a loss of some
colors and a reinforcement of others can take place giving rise to dramatic
color blocks, which may shift with viewing angle.
Iridescence is the most widespread of the optical phenomena, we see its
effects in: the "orient" of pearls, the displays of fire agate, "rainbow
calcite", certain obsidians, and iris agate. It also creates the rainbow display
of fractures, the beautiful colors of Labradorite, and, probably most well
known, the "color play" of precious opal.
Pearls: The "orient" of pearls, is a delicate, shifting, iridescent color layer
that is distinct from the basic body color of the pearl or from its luster. Both
luster and orient are a function of the thickness and perfection of the layer
of nacre on the pearl's surface. Nacre is composed of thin plate-like layers of
aragonite (CaCO3) crystals accounting for over 90% of its weight, along
with conchiolin protein, and water. Although most pearls have that
characteristic "pearly luster", only fine quality pearls have orient. It can
also be present in the "mother of pearl" lining of shells, and is especially
vivid in the shells of some species of abalone.
very striking, and will command some of the highest prices of any aggregate
form of quartz.
[Fire agate cabochon in a pendant, a close up view of some fire agate colors]
Ammolite: This gem is the result of the fossilization of extinct, shelled
mollusks, called ammonites. Although many ammonite fossils are found,
only a certain type from a restricted area in Canada shows the iridescent
effect, which has preserved, and enhanced, the thin, tablet-like aragonite
crystal layering of the shell. Although delicate, and not suitable for some
jewelry uses, the gem has many admirers and top quality pieces will fetch
high prices.
The thickness of the preserved layers controls the colors that will be seen.
Thicker layers produce red or orange colors, and thinner ones, the blues and
violets. Due to the fragility of the thinnest layers, specimens with blue or
violet color are especially rare and costly.
[A fine specimen with rare blue and violet colors, and one with the more
commonly seen red, a 10x view of green, blue and red iridescence on an
ammolite]
**Check the web: For a tour of one of the World's largest ammolite mines,
visit this URL:http://ammolitemine.com/mine_tour.htm
Phenomenal obsidian: Most obsidian is pretty plain looking, in mostly drab
shades of brown and black. Certain types, however, display iridescent
patterns due to dense congregations of minute suspended inclusions that act
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Corundum often contains rutile needles but frequently they are not
abundant or organized enough to produce a star gem, and instead show up
as a general silky glow, as seen in the ruby and sapphire carvings below.
[Parallel growth tubes in a rubellite, that gem displaying its cat'seye: Images
courtesy of GIA]
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[Cat'seye tricks: single eye, milk and honey effect, the beginning of the opening
and closing effect as the single eye is splitting into two]
The most commonly encountered cat'seyes are tourmalines, moonstones,
chrysoberyl and quartz. Below is a selection of some gems that are
extremely rare in cat'seye form:
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[Star stones: ruby, sapphire, white sapphire, rose quartz, (6 rayed), moonstone
(4 rayed)]
Food for thought: (The answer to this question will be found at the end of this
lecture).
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Question 1: Cat'seye and star stones are generally used in rings and bracelets,
rather than in brooches, tie pins, earrings or pendants. Why do you think this
is so?
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[Baroque American freshwater pearl set with prongs and adhesive in a custom
piece by jewelry designer Alex Horst]
The vast majority of gems, however, are fashioned before they are used. The
art and craft of fashioning gemstones is called lapidary (or diamond cutting),
and a practitioner is known as a lapidary, (sometimes lapidarist), or a
diamond cutter.
Here's another instance where we see evidence of the split in the gem world
between diamonds and colored stones; this time it's in theterminology used to
describe the fashioning process, and to name the craftsperson involved in it.
The History of Lapidary
The roots of lapidary go back to the earliest history of human culture. The
first of our ancestors that we can rightly say had "human" culture,
developed crucial skills of knapping (flaking rock edges to make tools and
weapons) and stone masonry. It was not very long after the fashioning and
use of stone and organic materials for survival needs, that we find evidence
of the beginnings of bead making, carving and engraving using those same
materials.
Not only do these artifacts tell archeologists that our remote ancestors had
an aesthetic sense, they also signify how remote are the beginnings of the
social and economic hierarchies so characteristic of humankind.
How long have personal computers been a part our life? Maybe 30 years at
most: my own first machine was acquired in 1980. In those thirty years most of
us living in the "modern" world have learned some rudimentary skills and are
using them to accomplish basic tasks. Some individuals among us, however,
have become expert users of the greatest talent and sophistication. In today's
world it might not be too much of a stretch to say computer savvy is a survival
skill. So....
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Imagine a world in which rocks, and certain organic materials like bone,
horn and shell, are not only ubiquitous but also necessary for survival. That
world lasted for many thousands of years and the consequences of not
mastering the technology were far greater than not getting a high paying job
or being unable to download a tune or write a blog.
During this huge period of time, humans developed highly sophisticated and
successful techniques for working with these minerals and organic materials.
Once the abilities were present, they were passed on, and improved as part
of a people's cultural heritage. But how did they get started? The most likely
answer is that our ancestors put to use what they saw happening in Nature
around them!
Simple observations like the smoothing effect of flowing waters and their
sediments on stones, the sharp edges formed when certain sorts of rocks
broke open, and the realization that some rocks could make marks or
grooves on others could be made every day. These observations contained
the information that led ultimately to the controlled use of abrasion,
cleavage, fracture and hardness differences to shape, drill and decorate
stones.
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[A small lapidary saw, a giant saw used in preparing jade boulders during the
mining process: Image courtesy of www.jademine.com]
Unlike the blades of more familiar wood saws, lapdiary saw blades do not
have teeth per se. In fact, what we call sawing, in lapidary, is really a
grinding process. The blades are generally thin round disks with an abrasive
grit such as silicon carbide, emery, or diamond embedded into the rim.
in two basic styles: flat "laps" which are used horizontally, and upright
"wheels" which are used vertically.
[A horizontal "flat lap" used primarily for slices and the bases of carvings and
cabochons, a combination grinding/polishing unit with vertical "wheels" used
primarily for producing cabochons]
The basic idea here is the same as in tumbling, in that the gem is subjected
to grits of increasing fineness as it is shaped and made smooth, then finally a
polishing compound is applied which produces the finished shiny surface.
The polishes are usually metal oxides or extremely fine grits of diamond.
Various abrasives and polishes must be used to achieve success with
different types of gem materials, based on their hardness and surface
characteristics.
Polished slices are sometimes used in jewelry, but more often are displayed
as specimens, or ornamental objects such as bookends, wind chimes, or with
translucent material, "sun catchers".
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[Polished slices of a bicolored tourmaline crystal will make lovely jewelry, like
this contemporary brooch: Image courtesy of www.Fraleigh.ca, specimens of
nodular variscite and chiastolite with cut and polished front surfaces used for
display]
Cabochons: Second only to faceted stones in familiarity as lapidary
products, are cabochons (cabs for short). Most commonly cabs have flat
bases and smoothly domed tops, and are fashioned from translucent to
opaque materials. The cabochon form is particularly good at emphasizing
the patterning of a gem, or for displaying most types of optical phenomena.
They are usually produced with a slightly beveled bottom edge which makes
for easier and more secure setting in jewelry. Sizes range from tiny accent
gems to large pieces appropriate for use as belt buckles or in bola ties.
Standard shapes such as ovals and rounds are commonly produced in
"calibrated" sizes that fit exactly into commercial mountings. In other cases,
particularly with rare or valuable material, or those intended for designer
jewelry, the sizes aren't standard, and the shapes may be freeform.
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[Covellite cab with an apex top, tablets of amethyst and dendritic chalcedony]
Beads: Beads are one of the most ancient types of fashioned gems, and are
enjoying an enormous resurgence in popularity today. There are beading
magazines and books galore, and most towns of any size have stores that sell
beads along with supplies for stringing them. The Lapidary Journal, the most
widely read, monthly general lapidary magazine, each year devotes it's
October issue to beads.
Beads are simply gems with holes in them. The fashioning of a round or
other symmetrically shaped bead can be done by hand with cabbing
equipment, but in commercial operations is usually done with a device called
a "bead mill". Sawn slabs are cut into cubes (for a round bead) and fed into
the mill which has grindstones that operate at angles to the cube removing
its edges until it is uniform. Most mass produced beads then go into a
tumbler to be polished and are drilled with a lapidary drill press, using
diamond tipped drill bits.
The hole can be completely through the gem, or only part way through, in
which case it is said to be "half drilled". Most commonly half drilled beads
are used for stud earrings, rings or dangles. Depending on which direction
they are drilled (side to side or top to bottom), and whether the drilling is
centered or not, full drilled beads find various uses such as in bead strands
and as dangles.
Beads can be virtually any shape: round, oblong, tubular, flattened circles
(rondells), briolettes, fancy or baroque.
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[Side to side drilled pearls, half drilled pearls, tubular turquoise beads with
pearls]
[Top to bottom drilled jet beads for dangles, non-centered side to side drilled
carnelian briolettes for dangles]
head that can be fitted with dozens of different cutting, drilling, carving,
sanding and polishing tools.
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[Gem carver, Alex Horst, using a fixed arbor for carving a citrine--note water
drip and the differently shaped diamond tools used in each picture]
A great master in the art of gem carving, Donn Salt, who specializes in New
Zealand nephrite jade and other local stone materials, provides, on his
website, a step by step journey through the process of creating this artwork,
"Uroboros" which is based on a Maori traditional form.
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[Circa 1st century BCE Roman chalcedony itaglio (set into a contemporary
ring), and the impression made by it in clay: Image courtesy
www.bcgalleries.com.au, Victorian Era man's hematite intaglio ring: Image
courtesy of Sunday and Sunday Antiques, a sard "cuvette" (a type of intaglio
or other carving which is cut into a concave depression in a gem)]
2) Cameo: Cameos are essentially the reverse of the intaglio idea, in which
by cutting away the material around it, the design is raised abovethe level of
the base. The most common subject matter was (and still is) beautiful ladies
or historical or religious figures in profile, and the materials used frequently
have differently colored layers which can be strategically revealed in
forming or embellishing the image. Historically, shell and agate were two of
the most commonly used cameo materials, although there have been bursts
of popularity of a great many other materials like jet, coral, and even lava!
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dimensional scenes which result require great skill to accomplish, and can be
stunningly beautiful.
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The brilliant cut which is especially suited for producing light return to the
eye (brilliance), has triangular and kite shaped facets. The step cut, which is
more suited for emphasizing color in a gem, has tiers of rectangular to
square facets. Mixed cuts usually have a brilliant style crown with a step cut
pavilion, but the opposite arrangement can be seen as well. Occasional
variants include faceted gems with an apex rather than a flat table, and
those whose crown is formed of rows of parallel facets (opposed bar cut) or a
field of intersecting squares or diamonds (checkerboard cut).
** Check the text: Pgs. 69 - 72 in the Lyman book, have top and side view
diagrams of a large variety of faceted styles.
[Oval brilliant cut amethyst, square step cut amethyst, oval mixed cut blue
zircon]
[Apex cut square Mexican opal, rectangular opposed bar cut citrine,
rectangular cushion checkerboard cut iolite]
Less frequently seen variations of the faceted gem are buff tops, briolettes,
concaved cuts and fantasy cuts. A buff top gem has a faceted pavilion with a
smoothly domed (cabbed) crown. An interesting magnifying effect of the
pavilion facets is achieved by doing this. The briolette (mentioned earlier as
a popular bead style) is a three dimensionally faceted gem, usually in a pear
or tear drop shape. Concave cuts have, logically, concaved or sunken in
facets on either the crown or pavilion or both. This technique increases
overall light return and creates unusual reflective patterns and/or face-up
outlines. The "laps" which are used for concave cutting are cylindrical.
Relatively few facetors have the equipment and expertise necessary to
produce stones of this sort. Extra time to attain a good polish, and more
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expensive equipment are two factors which tend to set a premium price for
such gems. Fantasy cuts have carved areas on the crown or pavillion, which
may be polished, or left unpolished to create special effects.
Food for thought:
Question 3: Why would it take longer to get a good polish on a concave facet
than on a flat one?
[Concave cut Swiss blue topaz, showing both the dramatic reflective pattern
and the"scalloped" outline which can be seen in concaved gems, fantasy cut
London blue topaz, fantasy cut citrine with unpolished carved channels on the
pavilion to create a "bullseye" effect]
The Faceting Process
Faceting is the newest of the major lapidary crafts. Historically, we don't
find the first faceted gems until the 14th century and faceted diamonds don't
make an appearance until the 16th century. The earliest cuts were done by
hand, and had just a few facets. An example of an early, but still
occasionally used cut, is the rose cut which was often chosen for early
diamond jewelry. The rose cut has a flat bottom like a cabochon, with a
series of facets rising to form a dome or apex.
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Several hundred years ago the jamb peg faceting machine came into use, and
faceting, as we recognize it today, began. In order to cut facets on a gem in
an organized manner that results in a precise arrangement, three factors
must be controlled: 1) the angle of the cut 2) the depth of the cut and 3)
theradial placement of the cut. Although modern highly engineered faceting
machines have replaced jamb pegs in much of the world, these older systems
are still widely used, and a substantial proportion of the gems in commerce
today have been cut by them.
Check the text: Pages 59 - 61 in the Lyman text show diagrams of some early
cutting styles
[Typical antique rose cut diamonds in a circa 1840 brooch (the diamonds in
this piece were probably already antique when it was made): Image courtesy of
The Fraleigh Collection, and a modern-day rose cut diamond in a
contemporary "antique style" ring: Image courtesy of
www.antiquediamond.com]
Background Information on Faceting
Pavilion and Crown: In the faceted gem, the pavilion and crown have
different functions. The crown acts as a window or lens to collect the light
which strikes it, and direct or focus it into the pavilion of the gem, whereas
the pavilion must act as a mirror to reflect that light around the pavilion,
and then back to our eyes through the crown. If the pavilion fails to do so, the
gem lacks brilliance and is lifeless. Crown angles are much less crucial to the
optical performance of a gem than are those of the pavilion, and can vary
substantially from stone to stone without severely affecting a gem's
brilliance. The crown and pavilion are cut in two separate sequences of
operations. The gem is initially adhered to the "dop stick" until one side is
finished, then removed, turned exactly 180 degrees, and attached to a new
dop, to go through corresponding operations for the other side.
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[Reflection when the pavilion angle is above the critical angle, lack of
reflection "windowing"when it is not: Graphic courtesy of Joe Mirsky]
In the first picture below you can see two similar looking gems (each is light
yellow and rectangular). The golden beryl gem on the left was cut with its
pavilion facets above its critical angle, and it appears brilliant, the yellow
spodumene on the right was cut with the pavilion facets below its critical
angle and has a "window". We call it a window because the light passes
right through it, like window glass, so that you can easily read the printing
underneath. The second set of pictures shows a top and bottom view of a
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badly windowed topaz. You can see how shallow (low angle) the pavilion is.
In order for this gem to be fully brilliant, the necessary recutting would
reduce it's face up diameter and carat weight substantially.
Given a moderately well shaped, clean piece of rough, which is cut to correct
pavilion angles, the average yield is about 20%. To put it another way: start
with gem rough = 5 ct, end up with finished gem = 1 ct.
Faceting Tools
In the figure below you can see the basic set up of a traditional jamb peg
faceter. The spinning lap provides the grinding and polishing surface, the
wooden "dop" sticks to which the rough is adhered, serve to hold the stone
in position as various cuts are made. The angle of the cut is controlled by
placing the dop stick in a particular hole, the depth of cut is controlled by
the amount of time the piece spends in contact with the lap and how hard
the facetor presses down on it, and the radial position is controlled by
removing, slightly rotating, and reinserting the dopstick in its hole as each
different cut is made. Most stones that are cut on such equipment are
referred to as "native cut".
nice looking gem with a jamb peg, whereas virtuallyanyone who can read the
lapidary equivalent of a cookbook can produce an acceptable stone with
modern machinery!
[A typical modern faceting machine: Image courtesy of Ultra Tec, the main
working parts of a faceting machine]
Native cut gems: These are generally cut by eye, usually in Asia, Africa or S.
America, on a lap, or more often a jamb peg or similar machine. The cuts
are typically oval to cushion shaped with windows, low crowns and bellied
pavilions. The "make" (proportions and finish) is "inferior" in that the table
sizes, crown heights, pavilion depths, facet meets and degree of polish are
not to custom standards.
Such cuts give high yield from gem rough, and due to the increased
volume/mass of the pavilion tend to deepen and emphasize color. For these
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reasons the majority of the high value colored gem rough (ruby, sapphire,
emerald, Imperial topaz, etc) is still cut this way-->even though the
cutters could make smaller, brighter stones with the equipment they have.
Frequently native cutters are paid by yield, another factor which
perpetuates the native style of cutting.
A few native cutters working in certain gem factories (such as the one pictured
below) pride themselves on producing custom-style gems, a feat all the more
impressive given the equipment available to them. Every angle and facet
placement is determined by eye alone!
[Native cutters in Vietnam, working on spinel and ruby, one of their customstyle gems, a pink spinel: Images courtesy of www.gemsfromearth.com]
Custom cut gems: These are usually produced on some type of precision
engineered faceting machine (there are many brands), usually in N. America
or Europe, using magnification. Cuts can be any shape, but are
characterized by "superior make". The gems are usually fully brilliant with
no windows and pleasing crown to pavilion proportions. The level of polish,
and the precision of facet meets is very fine.
Such cutting sacrifices yield, and may lighten the color tone of gem material.
On the other hand custom cut stones are generally easier to set in
commercial mountings, and extremely beautiful due to their brilliance and
symmetry.
Faceting Paraphernalia:
Various adhesives are used in faceting, such as epoxy resin, cyanoacrilate
"Super Glue", and faceting wax. Different gem cuts require different index
gears, the one below has 96 slots and can cut gems with 3, 4, 6, 8, 12 and 16190
fold symmetries (other indices would be used for gems with 5 or 7-fold
symmetries). The dops are commonly made of brass and come in a large
variety of sizes. Seen below are three: a flat, a cone, and a "vee". Each is
used for rough of certain shapes, or during different points in the faceting
process.
[Lapidary adhesives (epoxy, "super glue" and facetors' wax), a faceting index
gear, brass dops]
The laps used for cutting and polishing come in a variety of materials and
sizes. The first picture below shows two diamond-surfaced cutting laps: the
one on the left has a coarse diamond grit embedded into its metal surface, it
would be used to lay in the basic shapes of the facets, the other one has finer
grit and would be used to smooth the facets and prepare them for polishing.
The second picture shows a polishing lap which is made of a plastic resin
with fine metal particles embedded in it, very fine grit diamonds (in
solution) are sprayed onto the lap surface for polishing the gem. Metal oxide
slurries or sprays (such as cerium or aluminum oxides) can also be used for
some gem materials.
[Diamond cutting laps: coarse and fine; resin-metal gem polishing lap with
diamond sprays]
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[Like magic! From rough sapphire to custom faceted gem: Images courtesy of
www.customgemstones.com.]
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**Check the web: To see the full sequence of steps involved in cutting this
gem, go to: http://www.customgemstones.com/GEMCUT/GEMCUT.HTM
To emphasize my point that faceting should not be viewed as an especially
intimidating craft, here's a picture of a successful new facetor: the 10 year
old grandson of well respected cutter, Barry Bridgestock. The stone shown is
his second production, and he did have guidance from Grandpa but.....not
bad!
and computer assisted design (CAD), is often used to help cutters maximize
yields.
In order to get the highest yields, most diamonds are cut with slight to
moderate deviations from the "ideal" proportions, resulting in some loss of
brilliance and/or dispersion. There are diamond cutting firms, though,
which specialize in "ideal cut" diamonds. These stones are, on average, at
least 10% more expensive per carat than "run of the mill" diamonds. In
truth, only a well trained eye can detect these subtle differences in
proportions, dispersion and brilliance, but as with any product, there are
those who are eager to have the "very best", and quite are willing to pay
extra for it.
**Check the text: Page 64, Figure 26, in the Lyman text shows how exacting in
terms of angles and percentages is the "ideal" cut for a diamond.
The equipment used in diamond cutting is heavy duty, reflecting the
tremendous forces and long periods of time necessary to cut and polish this
hardest of all materials. The lap, called a "scaife", is made of cast iron, and
revolves at about 3000 rpm. Diamond "bort", in oil, is used for cutting and
polishing. The stone is held by a "tang" which is a claw-like mechanism (no
adhesive could withstand the intense heat generated by cutting).
The cutting and polishing process is really one of simple (but painstaking)
abrasion as the tiny diamond crystals in the oil, being forced against the
rough with great speed and pressure, successively wear away minute bits of
diamond from the surface, gradually making it more smooth and uniform.
Because the bort particles are randomly oriented, there are always at
least some whose exposed crytal faces are harder than the surface to be
polished (this is true as long as the diamond has been properly oriented for
cutting to begin with--> its own hardest crystallographic axis cannot
be directly parallel to any facet.)
The directions in which a diamond can be polished are called its "grain"
and there are three basic types of rough (and many variations on those) each
with a different pattern of grain directions. During the cutting process, as
the different grain areas are brought to the scaife, the direction of the
polishing must be altered. Twinning in diamonds can greatly complicate the
cutting process as there will be an overlapping of harder and softer axes.
Only a few firms specialize in cutting twinned crystals.
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Diamond cutting centers in New York, Bombay, Antwerp, and Tel Aviv
produce the large majority of the world's diamond gems.
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[A diamond in the cutting process, note the tang holder and the spinning
scaife: Image courtesy of GIA]
[Before and after: a rough diamond, a brilliant cut diamond: Image courtesy
of thaigem.com]
Answers to the thought questions for this lesson: (If you don't understand why
these are the answers, then it's a good time to email me and ask!)
1): If the gems being tumbled together are not all of approximately the same
hardness, the softer ones will not only be worn down by the abrasive grit in the
barrel, but also by contact with the harder stones in the mix. In my own first
tumbling effort many years ago, when I did not know this, I opened the barrel
after a couple of weeks, to find some of the gems (the harder ones) just barely
worn, and some of the softer ones almost gone!
2): Aggregate materials like jasper, agate, chalcedony and especially the jades:
nephrite and jadeite, are very tough, which means that they will not easily
break when the forces of the carvers' tools are used to make and/or separate
relatively thin areas. This is particularly true for interlinked forms which
require a lot of force on a small "thread"of material attaching one piece to
another. Single crystal materials, being less tough, break much more easily.
3: In order for a gem to have a good polish the surface must be made
absolutely uniform, and smooth to a microscopic degree. Polishing a curved
surface to this level, is much more difficult and time consuming than doing the
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same with a flat one. Picture as in woodworking, for example, trying to sand a
flat table top, versus sanding a curving table leg and trying to get each of
them perfectly, and uniformly, smooth.
You have now completed the web lecture for the seventh lesson!
Go back the the course website to: 1) complete and submit the homework
assignment on the text readings and assigned web essays 2) take the nongraded practice quiz on this web lecture 3) post a comment to the discussion
board for this lesson, and 4) when it is available, complete the graded quiz
based on this web lecture.
When you're ready, proceed on to Lesson Eight: Gem Enhancement
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On the one end are gems that we know, 100% for sure, are enhanced. This
might be because the treater has presented the material to us as enhanced,
for example: the invoice says "heat treated sapphire" or "dyed chalcedony".
It could also be because in examining the goods we find
incontrovertibleevidence of enhancement. For example: microscopic
examination of a diamond reveals the characteristic tunnels made by lasers
for purposes of clarity enhancement, or testing the surface of a gemstone
bead with a swab dipped in acetone removes some of the blue dye from it.
On the opposite end are gems that we know, 100% for sure, are unenhanced.
This category is pretty small actually, as unless you "dig it yourself", you
are taking the word of someone else as to the gem's treatment status. (Even
in this case, it is possible that the enhanced gem rough could have been
"salted" into the natural source!)
Not all enhancements can be revealed by current testing methods, so in some
cases a thorough (and costly) examination by a trained professional might
only give the equivocal result of: "no evidence of enhancement found",
which is not the precisely the same thing as "unenhanced". Many low
temperature heating processes, and some forms of irradiation are literally
undetectable with today's technology. They leave no tangible signs distinct
from those which might have been the result of natural environmental
factors.
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Assumed to be enhanced
Probably/Possibly enhanced
Assumed not to be enhanced
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Just as is true today, some of the motives of the gem treaters were
honorable, and some were not.
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Heating: (AGTA Code = H) The most versatile and widely used treatment
for gems is heating. Depending on the gem and the desired effect,
temperatures used vary from those provided by placing the gems in direct
intense sunlight, to near melting point temperatures of 2000 degrees C;
periods of heating range from minutes to several days, and oxygen may be
present or excluded from the heating atmosphere.
The atmosphere in which the gem is "baked" is important, as it will influence
whether its ions gain or lose electrons. That is, it will determine if a
chromophore ion will be changing from Fe3+ ---> Fe2+ or vice versa. A
"reducing" atmosphere (one without oxygen) which can either be supplied via
a high tech furnace, or simply by placing the gems to be treated in a closed
container with charcoal), causes the number to go down (+3 to +2 for
example). In an "oxidizing" atmosphere (oxygen present) the number goes up.
(**You will recall from the discussion of the causes of gem colors in Lesson 4,
the importance of the ionic state of the chromophore.)
Heating amber: Amber is heated for three main purposes: to darken it,
to clarify it, and to deliberately add stress fracture inclusions.
When heated at low temperatures the surface of amber gradually darkens
over time. Much of the clear amber found in nature is a light yellow to gold
color, but shades from tan to gold to orange to dark brown can be obtained
by heating. The color is usually confined to a surface layer and so is often
done after the gems have been fashioned. If desired, the surface layer can
then be partially polished or carved away to provide contrast or create a
design. (Similar low temperature heating of ivory has been used, by
unethical antique dealers, to darken its surface and create the illusion of
great age). Low temperatures must be used on these gems as due to their
organic nature, they will char, melt or burn!
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[Amber brooch with a variety of heated and unheated amber cabs, heat treated
amber carving, "sun spangle"stress fractures created by quenching heated
amber]
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[Diamonds that have been irradiated then heated to change their color, the
brown stones were deliberately changed, the yellow one was an accident]
A New Process to be Aware of:
A new high pressure/high temperature process for color enhancing
diamonds is beginning to impact the market. It uses the same equipment and
conditions that are have long been used to synthesize diamonds, but the
treatment time is far shorter than that used for synthesis. AGTA (Code =
HP).
Called HPHT for short, it can produce colorless, pink, and blue gems from
some types of off-color rough or cut stones. Due to the very high
temperatures used, only high clarity stones can be treated.
Not all diamonds react to this treatment, but when they do the results are
stunning and the value of the stone jumps significantly. About 5% of
diamonds can be made colorless, and a larger percentage can be made into
"fancies". The fancy colors, are more subdued and natural-looking than
those produced by irradiation, and unlike the case with irradiated stones,
there are no obvious signs to help identify them as enhanced, so laboratory
analysis is required.
[Unenhanced citrine]
[Heated quartzes: citrine from heated smokey quartz, enhanced red tiger'seye]
Heating topaz: Two types of topaz are routinely heated. 1) White topaz,
as a first step in its color enhancement, is irradiated to brown, and it must
then be heated to create a stable blue color. 2) Much natural ("precious")
topaz of a yellow or orange color, some with subtle pink overtones, is
unattractively muddied with brown, which can usually be removed or
reduced by heating, a process traditionally referred to as "pinking". As can
be seen in the photo of the four stones on the right below, the results are
variable.
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Both processes use relatively low temperatures, so there is little evidence left
behind. Once again, it is prudent to assume that any blue or precious topaz
has been heated unless it can be proven otherwise. Natural blue topaz
is very rare, and when found it is generally quite pale, and pinking of
precious topaz rough is standard practice virtually everywhere that it is
mined.
[Heated (sky, Swiss and London blue topazes): blues are heated postirradiation, "pinked" precious topaz]
** Check the text: Page 73 of the Hall text has a very nice picture of a step cut
rectangular unheated stone that shows the natural color very well.
The same stones are sometimes put through a series of heat/atmospheric
enhancement regimens in an attempt to induce a change to a more desirable
color such as blue, blue-green, red, yellow, orange, or red. Individual stones
(based on their own unique chemistry) react in various ways. The
description that follows applies to the majority of zircon gems:
In the first step of treatment, rough zircon is exposed to temperatures of
around 1000 degrees C, in a reducing atmosphere where many brown stones
turn blue, some turn white and others don't change.
[2nd Round: before: brown stones which didn't respond to initial heating,
after: yellow, white, or rarely, red]
Stones may sometimes go through several cycles of heating, and can get
rather brittle, which may make facet edges susceptible to abrasion.
Although shades of orange, red and yellow are occasionally found in Nature,
white and blue occur so rarely that heating must be assumed for these colors.
blue-violet color. As it turns out, heating was turning one of the color axes of
this naturally trichroic gem from yellow-green to colorless, and allowing the
less dominant blue and violet colors to be clearly seen. "Tanzanite" was
born. As is so commonly true of gem rough, some individual pieces have
atypical chemistry or crystallography, and react differently to treatment
than most. In the case of this type of zoisite a very small percentage of the
gems heat to an attractive green to blue green color. Dubbed "Green
Tanzanite" (a misnomer, but one that stuck), such specimens have high
value as collector stones, and are quite beautiful in their own right.
from untreated ones, as gems are often subject to similar, but natural,
irradiaton effects during, and after, their formation.
A variety of sources of, and processes for, irradiation have been tried, some,
proving unsatisfactory, have been abandoned, others are still in use. The
earliest experiments with irradiating gems used alpha particles (helium
nucleii) which worked as desired, but left the gems with strong and highly
persistent residual radiation. Today, beta particles (electrons) generated in
linear accelerators, neutrons from nuclear reactors, and gamma rays usually
from radioactive cobalt sources are used.
Although the bombardment with neutrons and, to a greater extent, with
electrons, can leave some residual radioactivity, its duration is relatively
short. Government agencies in the USA, and other gem irradiating nations,
have strict regulations for the holding and testing of irradiated gems to
assure that they are not released to the public until they are safe to handle
and wear.
As we saw to be the case with heating, different types and durations of
irradiation produce different results. Combining this fact with the idea of
individual variation in gem chemistry, and that irradiation may or may not
be followed by some sort of heating process, and we can begin to appreciate
the tremendous diversity of possible results.
were unstable in light, and reverted to their intially colorless state relatively
quickly under normal use conditions.
There would be little point in bringing up this unsavory memory, except that
in 2003 explorers in Canada unearthed a bright blue deposit of beryl
reminiscent of the Maxixe color. This material is colored by iron (not
irradiation), and the color is stable. As of yet, the mining efforts have not
yielded any facet quality rough, but exploration is proceeding. The only
known deposit is presently owned by "True North Gems" and their
material, already popular with collectors, has been christened "True-Blue
Beryl".
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You will recall that these irradiated stones can then be annealed (heated) to
brown, yellow or, less often, some of the rarer fancy colors like red. These
heated and/or irradiated colored diamonds tend to have more vivid (some
might even say "garish") colors than naturally colored fancies.
Unlike what is seen with the majority of species which are irradiated, the
process does tend to leave tell-tale signs in most diamonds. Patterns of color
zoning that show up microscopically, with certain lighting conditions, can
usually give the trained observer evidence of the treatment.
With enhanced blue colored diamonds, though, there is a definitive test-->
electroconductivity. Diamonds that come by their blue
color naturally contain boron impurities which allow them to conduct
electricity, irradiated blues get their color by the effect of irradiation on
their crystal structure, and like all other diamonds, don't conduct.
**Check the web: This GIA report was done shortly after the 9-11 incident. At
the time, some letters and parcels were being irradiated by the US Postal
Service as a counter bio-terrorism measure. The before and after pictures show
how sensitive pearls are, even to low levels of
radiation:http://www.gia.edu/newsroom/608/384/news_release_details.cfm
[Rock crystal quartz, smokey quartz (could be natural color or irradiated), "oro
verde" quartz (always irradiated)]
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[Typical "before and after" colors of some low grade tourmaline that is
susceptible to drastic improvement in color after irradiation ]
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[Unenhanced white topaz, sky blue, Swiss blue, and London blue
irradiated/heated topazes]
Unintended Consequences!
The introduction of huge amounts of blue topaz into the market place in the
last several decades has had some interesting side effects on other gemstones.
1) For a time, it depressed the prices of aquamarine, as sky blue topaz made a
pretty good aqua simulant at about 1/10th the price. With time, though, most
aquamarine lovers went back to their original gem choice, with the ironic twist
of a noticeable decrease in the traditional preference for heated "pure blue"
stones. More and more aqua fanciers are now seeking out the greenish blue
unheated stones--> possibly because these are less likely to be mistaken for the
ubiquitous and inexpensive blue topaz!
2) The other effect has been to literally wipe out the identification of the word
topaz with the color yellow. Yellow, or precious topaz, was, until the advent of
irradiated blue, the most common and familiar type, and is still the traditional
birthstone for the month of November.
[For centuries, these were the colors that the word "topaz"evoked!]
Food for thought: (Answers to the questions are found at the end of the lesson)
Question 1: Your friend wants an untreated gemstone and has found a dealer
with some beautiful golden beryls. The dealer assures him that they have not
been heated. He asks for your advice. What do you tell him?
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There are some cases where the absorption spectrum of a gem can identify
specimens which are dyed, but they are rare. The usual ways of detecting
dyed gems are:
1) By microscopic examination: looking at pores, bead drill holes, and
surface fractures for dye accumulations.
2) Testing with a solvent, a destructive test, yes, but one which can usually
be done in an inconspicuous area. Useful solvents are acetone and denatured
alcohol, but not all dyes are soluble in them, so a negative test in not
conclusive.
3) Comparison to the normal range of gem colors and evaluation of the
avialability and cost --> naturally colored chalcedony in unknown in hot
pink for example, and Nature doesn't yield neon green pearls. Saturated,
medium dark, lavender natural color jade is worth a King's ransom, so
pieces of that color seen on ebay for $10 are very likely to be dyed. (Compare
the color of the inexpensive jade beads below with the picture of the very
expensive natural color lavender jade ring above).
[Dyed "C" jadeite green earrings, and lavender beads: image courtesy of
www.mbbeads.com, a microscopic view of dye accumulations in jadeite: image
courtesy of Martin Fuller]
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[Howlite in its natural color: image courtesy of Bill Wise, dyed to imitate lapis
lazuli: image courtesy of www.earthstones.com, dyed to imitate a turquoise
nugget, the nugget sawn apart to reveal the undyed interior]
When single crystal gems are dyed, they must be fractured first. In order to
achieve this, the age old method is "quench crackling". Generally this is
done by heating the gem, and plunging it in cold water, but strong ultrasonic
vibrations have been used to accomplish the same thing. Dye can then be
absorbed into the fractures which, when numerous enough, give the piece an
overall color.
[Two pieces of quench crackled, dyed rock crystal quartz, the pink one has
been magnified and shows clearly that the dye is only in the fractures]
In the great majority of cases, the dye is a chemical or pigment of either
natural or synthetic origin. An example is the use of silver nitrate, a
chemical that darkens on exposure to light, which has been used on pearls
for many years.
There are a couple interesting cases, however, which involve
"carbonization". Chief among these is the production of "black onyx".
Here's one of those cases where a misnomer continues in use, just because of
familiarity and convenience. (Onyx by definition is has color bands, so a
solid black material just doesn't qualify). There are very small amounts of
black chalcedony found in Nature, but the virtually all of that in commerce
is carbonized chalcedony.
Colorless to light grey chalcedony is soaked in a sugar solution until its
internal pores are filled with it, then it is boiled in sulfuric acid which
"carbonizes" the sugar turning it black. There are now microscopic sized
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black specks throughout the piece, giving it a uniform and stable black
color. When I was first learning about gems, I just couldn't believe that this
primitive method, developed hundreds of years ago, was still the major
mode of production...but it is!
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[Large scale bleaching of pearls with chemicals and/or under lights: Images
courtesy of www.man-sang.com]
Golden coral is rare and valuable, so is black coral. Depending on the ups
and downs of the market, the vagaries of supply, and prevailing public
tastes, there are times when black coral is bleached to gold (peroxide is
used).
common market term for such gems is "stabilized". There is only one
imporant type of gem for which this treatment is essential--> without
impregnation, ammolite is too fragile to withstand fashioning or wear.
Unenhanced specimens, exist, but are suitable only for display.
Other gems like jade or turquoise are commonly treated in this manner.
Low grades of highly porous turquoise that may have nice color, but are
excessively fragile, or near impossible to polish, can be greatly improved by
resin impregnation. "B" and "C" jades, after being acid bleached have resin
infused into the resulting cavities (if the resin is colored, then the piece is
considered dyed, "C" jade).
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[Laser drilled diamond, surface view and magnified view: Images courtesy of
Joe Mirsky, laser drilled diamond, note flash effect being shown by filled
fracture at the base of the laser tunnel: Image courtesy of Martin Fuller]
Diffusion: (AGTA Code = U) When gems are diffused, they are heated to
very high temperatures, just to the verge of their melting points. This
heating is done in the presence of a material which contains chromophores
such as titanium, chromium or other atoms, which are then able to diffuse
into the stone's surface or interior to change color or create phenomena.
Two such processes are currently in use: 1) surface diffusion, and 2) bulk or
"lattice" diffusion.
Surface diffusion has been around for decades and, until recently, was
pretty much confined to use on blue sapphires and the occasional ruby. By
packing already faceted, light colored stones into a container with powdered
titanium and iron, and heating to very high temperatures, a thin surface
layer rich in these chromophore elements is formed, which through selective
absorption, greatly darkened the apparent blue color.
Such stones must always be repolished afterward as the high heat tends to
mar the surface. In the repolishing process it is inevitable that some of the
thin layer is unevenly removed, so that when viewed under immersion
and/or in diffused light, an uneven pattern of color--> paler on some facets
than others and darkest at the edges of the facets, can be seen.
If the diffused stone has inclusions at all, these will also show the typical
signs of high heat, such as partially resorption of silk, partial melting of
crystals, or stress fractures. With such obvious signs of treatment, only the
unschooled or unwary buyer is likely to be duped.
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Making Stars
When titanium dioxide (rutile) is surface diffused into a sapphire, and the
heating and cooling is controlled so that it exsolves into needles, asterism is
created in the stone. Again, you are looking, in the photo below, at
a natural sapphire, but one that has been surface diffused with rutile. Such
gems are very inexpensive compared to unenhanced, natural star sapphires.
In comparison to an unenhanced star stone, the star figure is stronger, more
even, and seems less mobile as the light source shifts direction.
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confusion, the stones did not fit the profile of diffused gems as the color
penetrated well into the interior--> in many causes completely throughout
the stone.
Suffice it to say that they were finally demonstrated to be the result of
a new diffusion process using the light element beryllium (Atomic number =
4) as colorant. With its small atoms, the beryllium chromophore was able to
diffuse much further into the heated stones than titanium or chromium with
their much larger atoms. The source stones were primarily light pink
African sapphires which were then being were treated in Thailand.
Coating: (AGTA Code = C) Coated gems are those that have been treated
with surface enhancements such as laquering, inking, painting, foiling, or
sputtering of a film to enhance color, improve appearance or add
phenomena.
Coating has a long history: from use of gold foils in antiquity, to the painted
back Rhinestones of the 19th century, to today's iridescent metallic coatings.
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Coatings are usually fairly easy to detect, but can escape notice if they are
applied only to back of the gem (as in a "foilback") and the gem's setting is
fully closed. The coatings of foilbacks range from crude and obvious, to
sophisticated and well hidden, as seen below.
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Synthetics
Synthetics are man-made gem products. The Federal Trade Commission is
quite specific in forbidding the use of the term "gem" or "gemstone" (or any
recognized species or variety thereof), unless that product is solely and
exclusively the work of Nature. All other products offered for sale must be
clearly identified with a readily understood adjective that indicates their
synthetic status. Acceptable terminology for synthetics is variable, but would
include product labels similar to the following: "synthetic gemstone",
"laboratory-grown ruby", "cultured pearl", "created emerald", "manmade sapphire", "reconstituted turquoise".
Synthetics can be exact copies of natural gems, or they can be unique
materials which are not found in Nature.
1) Examples of the former include the synthetic rubies and emeralds. Such
creations have virtually the same optical, chemical and physical properties
as their natural counterparts.
[Synthetic blue quartz: quartz, yes, but in a color not found in Nature]
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[YAG, a popular synthetic widely used in industry and as a gem, can be made
in a variety of colors from white to pink to green, and has no analog in Nature]
Check the text: See page 354 in the Lyman book for a picture and description
of another artificial garnet GGG (Gadolinium Gallium Garnet)
History
Unlike enhancements and fakes, synthetic gems are a relatively modern
development. Although there were some successful laboratory experiments
earlier, the economically viable commercial production of a synthetic
gemstone began with synthetic ruby produced in France in 1902 by Auguste
Verneuil. By 1907 production was 5 million carats per year.
The fact that synthetic gems were produced so early often comes as an
unpleasant surprise to those who inherit or purchase a vintage jewelry item.
The heir, or buyer, is expecting that the age of the piece, alone, guarantees
natural origin. Although in more recent years synthetics are, at best, found
in "entry level" jewelry, in the first two or three decades of the 20th century,
synthetics were sometimes used by noted designers, and high end jewelers,
who appreciated them as signs of "scientific progress" or "modernity".
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At present over 90% of the diamond abrasives ("bort") for industry, used in
everything from the saws that cut through pavement, to dentists' drills, are
synthetics produced in a laboratory. Laser and electronic technologies
depend strongly on the properties of laboratory created crystals. Even a
cheapie "quartz" watch has, at its heart, a synthetic quartz crystal. Lasers
based on synthetic crystals are used in medicine in a wide variety of ways
from surgery to removing tattoos to improving vision.
Melt Processes:
1) Flame Fusion
2) Czochralski "Pulling"
3) "Skull" Melting
Solution Processes:
1) Hydrothermal
2) Flux
Vapor Process:
1) CVD
Melt Processes:
In each of the melt processes the powdered solid ingredients necessary to
make the gem are brought to their melting point and then allowed to cool in
such a way that a single large crystal or cluster of large crystals is formed.
The three processes, each suitable for making different materials, differ
primarily in the temperatures used, the type of container, the heat source
and the nature of the surface on which crystallization occurs.
1) Flame Fusion: The process commercialized so successfully by Verneuil, is
termed "flame fusion". It is simple in theory and in practice. Corundum is
Al2O3, crystallized in the trigonal system. All that is necessary is to melt the
raw material, aluminum oxide powder, and allow it to crystallize. If you
want ruby, you just need to add a small amount of chromium oxide to the
mix (Cr is the chromophore that creates red in ruby). Although the process
has been scaled up for today's large factories, it is, in essence. unchanged
since Verneuil's time. Synthetics produced in this manner are the least
expensive, and most commonly used types. So much so, that over one billion
carats per year of flame fusion synthetic corundum, synthetic star
corundum, and synthetic spinel are made.
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stones in order to force the rutile to exsolve into needles, rather than
remaining dissolved.
[Curved striae seen in a cut synthetic ruby at 25X, under diffused lighting]
Wouldn't you know it?
It is sad but true that, as consumers and marketplace watchdogs become
more knowledgeable and sophisticated about gems, the deceivers get
trickier. This is the case with flame fusion synthetics which are being passed
off as natural--> by reheating the cut gems to near their melting point the
growth layers can be partially fused with the result that the appearance of
the curved striae is diminished, making these pieces harder to identify.
2) Czochralski "Pulling": It was the needs of science and industry, rather
than those of the jewelry trade, which prompted the development of the
Czochralski "pulling" melt process. Emerging laser technology demanded
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[Green YAG: a simulant for emerald and Tsavorite garnet, and a durable,
brilliant material in its own right]
Pulled synthetics are very difficult to identify microscopically as the crystal
that forms on the seed is usually flawless, and the large diameter of the boule
makes observing the curved striae difficult. On occasion, they may contain
triangular or hexagonal platinum crystals eroded from the walls of the
crucible, which will conclusively identify the piece as synthetic.
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[The very subtly curved striae seen on a magnified photo (25X) of the pear
shaped green YAG shown above, would be easy to mis-identify as straight, the
triangular platinum crystals in this magnified synthetic Alexandrite are a dead
giveaway, though: Image courtesy of Martin Fuller]
Food for thought:
Question 2: Why should larger diameter boules make for less obviously curved
striae?
Question 3: If you were an honest seller of synthetic ruby jewelry why might
you pick flame fusion material, and if you in the same business dishonestly,
why might your choice be pulled synthetics instead?
3) "Skull" Melting: The commercial production of cubic zirconia, first
accomplished by Russian scientists in the 1970s, required some ingenuity.
The melting point of CZ is well over 2300 degrees C, which rules out the use
of metal or ceramic crucibles. The problem was solved by using an
externally cooled crucible filled with the powdered ingredients and then
heating it with focused radio energy that melted only the center. The
unmelted material formed its own insulation, or "skull". As the melt slowly
cooled, large, usually flawless, crystals were formed.
**Check the text: see page 327 in the Lyman book for a figure representing the
basics of the skull melting set up.
At present, CZ is the only material produced in this way, and costs are kept
down by the large yields from each batch (currently the retailprice of CZ
rough is about $.05 per carat). Various colors are produced, but for the great
majority of CZ is sold in its colorless form as a diamond simulant.
Although it is easy to identify by its optical and physical properties like
density, thermal conductivity, and dispersion, microscopically, there are few
signs of CZ's synthetic origin. Rarely, tell-tale bubbles can be seen. (I had to
examine quite a few CZ pieces before finding this one lone bubble to
photograph).
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This old fashioned treat is simply very large crystals of table sugar (sucrose) on
a string. It is made by dissolving sugar in hot water until the solution is
supersaturated (more sugar than will dissolve at room temperature). A wet,
rough surfaced string, is rolled in dry table sugar, then hung in the solution,
which cools and from which the water slowly evaporates. The dissolved sugar
then crystallizes on the string. (If no string is present, the sugar will simply
crystallize as a mass on the bottom and sides of the container.)
**Check the web: Here is a web site with a step-by-step recipe and directions
for making rock candy--> this might be a fun family
project: http://www.michigan.gov/hal/0,1607,7-160-15481_19268_2077852395--,00.html
Food for thought:
Question 4: What is the purpose of rolling the string in the dry table sugar,
wouldn't the string itself provide a surface for crystallization?
1) Hydrothermal: As the name indicates, this type of process uses water as
the solvent. The vessel in which the gems form is lined with silver and
referred to as a "bomb". (One can only speculate as to how it got this
nickname, however, if you've ever misused a pressure cooker in your kitchen,
you might have an idea!).
Hydrothermal synthetics are relatively expensive, as the equipment used is
pricey, and the yields are small and slow to form (weeks to months). Because
this process so closely mimics what occurs naturally in the Earth's crust, the
majority of inclusions in such gems are natural looking, making them hard
to identify. Occasionally, cut gems will show part of the seed plate or a
distinctive non-natural looking inclusion called a "nailhead spicule". The
primary gems produced by this method are emeralds, corundum (especially
ruby) and quartzes in a variety of colors including blue.
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S
[Flux rubies, magnified "wispy veil" inclusions in a flux grown synthetic ruby
Images courtesy of www.thaigem.com ]
Vapor Method:
The third possible way to make gems synthetically is by vapor deposition. At
present only diamonds (see below) have been made this way.
"Synthetic" Cabochon Gems*
*(In discussing the following types of man-made materials, I will be putting the
term, synthetic, in quotes. Although these gem substitutes are chemically and
physically as close to the real thing as it is currently possible to make them,
they still lack some of the crucial attributes of their natural counterparts. To
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[The first batch of cut "gem" synthetic diamonds produced by CVD: Image
courtesy of Apollo Corporation]
**Check the web: Apollo's novel approach, and good looking results have
gotten several rounds of media coverage since the first gem diamonds were
submitted in August, 2003 to GIA for analysis: Here's an early example
from USA
Today:http://www.usatoday.com/money/industries/technology/2005-10-06man-made-diamonds_x.htm
What does the diamond world think of all this??
One of the hottest topics of discussion in gemological and jewelry marketing
circles these days, is synthetic diamonds and their potential impact on the
natural diamond market. Although some analysts have been quick to cry
doomsday, and predict the fall of the natural diamond industry, the
majority opinion is that created diamonds were inevitable, and having
arrived, should be viewed as a positive development. Enhanced and manmade diamonds are expected to share the market with natural
origin/natural color stones, as have synthetic and enhanced rubies, sapphires
and emeralds with their natural counterparts.
The major concerns within the industry have been those of 1) disclosure 2)
identification and 3) cost.
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2) Identification: The conclusion that the market is large enough for both
synthetics and natural stones is based on the assumption that the two can be
reliably discriminated. Although HTHP gems have tell-tale features that
enable a well trained and well equipped gemologist or jeweler to identify
them, CVD diamond recognition currently is possible only for major
laboratories. The statement below was issued as part of official press release
by GIA.
"The major laboratories can conclusively identify gem synthetic diamonds"
William Boyagian, President of GIA, 9/19/03
3) Costs: Unlike diamond simulants which can be detected with a simple,
inexpensive electrical conductivity tester, synthetic diamonds, are diamonds
and therefore pass all the standard physical and optical tests, as diamond.
DeBeers Corporation (the company that controls the majority of worldwide
diamond rough sales) has been in the forefront of synthetics detection, and
offers two table model devices (costing over $20,000) that can identify HTHP
stones. TheDiamondSureTM which tests for a specific 415 nm absorption line,
and gives a reading of either: "natural" or "refer", and
theDiamondViewTM which detects characteristic strain patterns and can
conclusively identify the HTHP synthetics amongst the "referrals".
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Here are some examples of natural pearls and how they were used. As the
vast majority of pearls that were collected were tiny, those who could afford
pearls, but didn't have the budget of Cleopatra or a Roman Emperor, often
used seed pearls (2 mm or under). Matched strands of larger round pearls,
though quite expensive, were very small by today's standards, and not
perfectly uniform in either size or color.
[1870's seed pearl necklace, the tiny pearls are sown onto a mother-of-pearl
backing with horsehair to make the pendant, and strands of them were twisted
for the chain: this was a popular style among elite brides in Victorian England,
a 16" Art Deco Era natural pearl strand, the pearls grade from 3 mm to 4.5
mm]
**Check the text: The picture on page 278 of the Lyman book will give you a
good idea of the color and size variability of natural pearls and the pictures on
page 281 will show their typical baroque shapes.
Then along came Mr. Mikimoto!
At the turn of the 20th century, there were several individuals
experimenting with culturing pearls, and in 1906 the first batch was grown.
It remained, however; for Kokichi Mikimoto to both scale up the process to
mass production, and market the products successfully to an initially
skeptical world. By the end of the 1920's cultured pearls were an accepted
part of the pearl marketplace, and today they are the marketplace. Except
for those found in some antique and vintage jewelry items, and a few natural
pearls sold to collectors, all the pearls in commerce are cultured. "Cultured"
was a term that was hotly debated initially, with many feeling that the term
"synthetic" should be used to clearly specify their non-natural origin, but
Mr. Mikimoto won that fight. (Regardless of terminology, though, cultured
pearls are not natural gems, their origin is the result of human intervention.).
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Larger pearls, such as Tahitian blacks and Indonesian golds, are cultured in
oyster species from the tropics, and can attain sizes of 20 mm or greater.
Saltwater cultured pearls can be rather expensive depending on size and
quality.
[10 mm cultured Tahitian black pearl ring, 10mm is considered small for a
Tahitian and this piece can be had for under $200]
In the picture below an oyster is being nucleated with a shell bead. You can
see the animal in the holder, and the dish of beads. Expert nucleators
command respect within the industry as skilled professionals, and
are very highly paid.
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Identification:
Many saltwater cultured pearls can be identified by microscopically viewing
the drill hole and observing the demarcation between the shell nucleus, and
the nacre layer on top of it. In difficult cases, and with freshwater cultured
pearls, Xrays will do the job. The bead nucleus shows up clearly in the
radiographs, as does the smaller area where the mantle tissue was placed in
a freshwater cultured pearl. There is actually little chance, though, that
today's fresh or saltwater cultured pearls would be mistaken for natural
pearls. To anyone who has studied natural pearls, today's creations are so
large, so round, and so well-matched in color, that the difference is obvious.
Making the call between enhanced and unenhanced is another matter
though. As you recall from Lesson 8, most cultured pearls are enhanced in
one way or another.
Simulants
Also known as imitation or faux gems, simulants look like what they imitate,
but they don't have the chemical, physical and optical properties of the gem
they mimic. (**Just a reminder from Lesson 1, simulants are only fakes if they
are not properly disclosed.) Some are man-made, and some are natural gems
in their own right.
Early Simulants
The history of gem simulation goes back every bit as far as that of gem
enhancement. Since before 3000 years ago Egyptians have been making
faience, a beautiful blue to green non-clay ceramic material. The colors are
derived from copper or other metals and, although used and admired for its
own sake, it has also commonly been used to imitate turquoise and lapis
lazuli.
[Faience "mummy" beads, circa 300 BCE (newly re-strung to wear), 1880's
Victorian "Egyptian Revival" brooch featuring "plique a jour" enamel and an
ancient faience scarab]
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[A fragment of circa 500 CE Roman glass made by blowing molten glass into a
mold (the iridescent surface patina was not a glaze or paint put on by the
Romans, but has been slowly created by chemical reactions, between the glass
and soil, occuring over centuries of burial, these reactions creates a thin layer
of metal oxides)]
Simple glass beads and cabochons were in used in jewelry--> in fact they
were enjoyed only by the wealthy, as these technological marvels of the day
were more valuable than most natural gems!
[Circa 1000 CE Chinese glass bead (on modern chain), Roman bronze and
glass cabochon ring circa 100 CE]
Natural Gems as Simulants:
It is very common for one natural gem to be used to imitate another of
similar appearance. For example serpentine, aventurine quartz and
hydrogrossular garnet, all have long histories as jade simulants. Likewise,
bone is a common substitute for ivory, and white zircon has long been
enjoyed as a natural diamond simulant. Red spinel commonly is substituted
for ruby, sodalite for lapis lazuli, and copal for amber.
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[Natural Simulants: bone carving (ivory), red spinel (ruby), sodalite (lapis
lazuli), copal, a natural, geologically younger, partially fossilized tree resin
(amber)]
Man-made Simulants: Glass and Plastic
Glass: Although its historical roots go way back, glass is still one of the most
popular gem simulants today. Glass, itself, is an amorphous material, but its
main raw material, silica sand (quartz), is crystalline. In glass-making sand
is mixed with certain other materials and melted; then it is cooled so quickly
that crystallization doesn't occur. Some scientists describe glass as a liquid
that is so stiff that it behaves, superficially, like a solid. This assertion is
supported by the observation that very old glass windowpanes are thicker at
the bottom than at the top, and the older they are, the more this effect is
seen.
Two quite different forms of glass are used to simulate gems: crown glass
and flint glass.
Crown Glass: is used for ordinary windows and bottles, and is also known as
common, or silica glass. When gems are made from it, it is often called
"paste". This sort of glass is relatively soft, has a low refractive index, a low
specific gravity, and virtually no dispersion. Due to its lack of brilliance (a
consequence of the low refractive index), a metallic foil or paint was often
applied to the back facets of such gems (called "foilbacks") to increase
reflectivity.
Flint Glass: is also known as "crystal", "strass" (named after the 18th
century inventor), or "leaded glass". This very soft, easily scratched glass
has a high refractive index, high specific gravity, and high dispersion.
** Check the web: Just about the most famous producer of gem "crystal"
(highly dispersive leaded glass) is the Swarovski company, visit their site
at: http://www.swarovski.com/
The natural color of glass is a light green (perhaps you have seen or
remember the color of the original "Coke" bottles), but it can be de261
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Plastics are quite soft, with hardnesses ranging from 1.5 to 3, and both the
refractive index and specific gravity are low. Even more so than with glass,
the low thermal conductivity of plastics makes them warm to the touch.
When touched to the surface of plastic, a "hot point" tester will release an
acrid chemical smell that is quite distinctive.
(Here's a method of identification that I wouldn't recommend with a prize
antique: drop the piece from about 5 inches onto a hard surface like a desk top.
Plastic makes a hollow sound compared to the higher pitched, sharper sound
made by either glass or crystalline gems.)
Glass is a more convincing simulant of transparent gems, but plastic does a
good job imitating translucent and opaque stones like amber, turquoise and
coral. (A sizable percentage of the least expensive Southwestern sytle
"turquoise" jewelry is actually plastic.) Certain optical properties of some
types of plastic can be utilized do a good job of simulating phenomenal gems
like opal and moonstone.
[Contemporary plastic gem simulants: imitation opal, faux pearl (note mold
mark), molded plastic "cameo", simulated plastic moonstone drops on a
glass"crystal" bead bracelet]
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[Antique and vintage plastic simulants: circa 1870's vulcanite brooch (jet),
1890's celluloid brooch (ivory), 1940's plastic "moonstone" dress clip]
Diamond Simulants
The bad news in regards to diamond simulants is that there are a multitude
of them, no other gem has been so often imitated. The good news is that allof
these mimics can be discriminated by either simple observation, or by basic
gemological testing-->no big labs needed!
The oldest diamond simulants were glass, and colorless natural gems. With
glass, first came the older crown type (usually with a foiled back to increase
reflectivity), and later the more brilliant and dispersive flint glass. The
natural gems white topaz, sapphire, zircon and quartz were also used, but at
a higher cost than glass.
(If you are skeptical that glass or quartz could make a reasonable
approximation of a diamond, consider that with the simple early diamond
cutting styles, and the polishing technologies available prior to the 20th
century, diamonds were not the blindingly brilliant gems of today.)
Synthetic diamond simulants enter the picture around 1910 when colorless
sapphire was first produced by the flame fusion process. This was followed
by the introduction of colorless synthetic spinel (1920), synthetic rutile
(1948), strontium titanate (1955), YAG (1960), CZ (1976), and Moissanite
(1996).
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Glass: Crown glass is notably softer, less dense, less brilliant, and less
dispersive than diamond. Flint glass though dispersive, is more dense, and
much softer. Both types have a vitreous luster, as opposed to the adamantine
luster of diamond.
Natural Gems: Depending on the species, the RI, the density, or the
dispersion would be the give away, and all the commonly used colorless
natural gems are DR, so a polariscope test would easily separate them from
the SR diamond. Zircon, the closest to diamond in appearance is not only
DR, but so strongly birefringent that it shows doubled rear facet images
when viewed with a loupe.
Synthetic Sapphire/Synthetic Spinel: Although hard, corundum is a DR gem
and its RI of 1.76 (diamond's is OTL), and lack of dispersion is telling. As
spinel is an SR gem a polariscope test wouldn't help, but its RI of 1.72,
hardness (8), and low dispersion would be the best indicators.
Synthetic Rutile/Strontium Titanate: These gems enjoyed a period of brief
popularity after their introductions, and are sometimes seen in vintage
pieces. Indentification is a simple matter though, as their extremely high
dispersion makes them very easy to spot, and their softness makes them
noticeably fragile compared to diamond.
YAG: Although hard (8.5) and SR, YAG is so lacking in dispersion that it,
too, can be easily separated from diamond.
CZ: The remarkable popularity of CZ is, in my opinion, well deserved: hard
(9), SR, and not too noticeably more dispersive than diamond, it passes most
visual tests well, but testing for density will reveal it every time, as it is much
heavier than diamond.
(In addition, all of the simulants above will "fail" a thermal conductivity test.)
Moissanite: This is the latest contender, and like CZ, it is hard (9.5), and not
so overly dispersive as to be obvious. It will pass a thermal conductivity test
as diamond, but its electrical conductivity will invariably identify it. In light
of this, a new generation of "diamond testers" is being highly promoted as
indispensable to those concerned with guarding against bogus "diamonds".
Such equipment not really necessary though, as Moissanite is DR, and will
flash "on and off" with the polariscope test described in Lesson 4. Even
without fancy gemological equipment, all that is needed is a loupe, and a
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Assembled Gems
Also known as composite gems, assembled gems are made of two or more
pieces of gem material joined together. They can be used as to simulate (or
fake) another gem, or just for their own sake, for example to make an
artistic gem creation, or to make a particular gem material more durable or
useable.
Assembled Gem Art
Intarsias, insets, inlays, pietra dura and micro-mosaics fall into the category
of making something beautiful out of what would otherwise have been waste
products. These lovely works of gem art are often made of the small bits and
pieces left over from, or too small for, other lapidary activities.
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[Antique pieces: 18th century "pietra dura" (hard stone) style intarsia locket:
Image courtesy of www.fraleigh.com, and micro-mosiac (glass) brooch, 10X
close up of micro-mosaic: Images courtesy of Acanthus Antiques]
Increasing Durability
Doublets and triplets are generally made either to increase the durability of
a fragile gem or to support and protect a thin slice of gem material. Usually
a doublet consists of a thin layer of some valuable, fragile, or rare gem
material backed with a thicker layer of something sturdy, and less
expensive. If the piece is unmounted, or set in prongs, it is usually very easy
to see the demarcation line between the top and the bottom. Sometimes the
backing is simply used to provide contrast or create an artistic effect. A
triplet is a doublet with a third, top, layer made of a tough transparent
material like colorless quartz.
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[Black opal doublet, the same piece viewed from the side at 10X, opal triplets
(note black bottom layer and colorless top layer): Image courtesy of Gary
Lowe, rutilated quartz doublet with a green Gaspeite bottom layer]
Assembled Gems as Simulants and Fakes
Historically, assembled gems were more important as gem simulants and
fakes in the days before synthetics became widely and inexpensively
available. You are more likely to see them in vintage and antique jewelry
pieces., but there are still a few cases, where assembled stones are used as
gem stand-ins, and some unscrupulous folks are still trying to pass some
types off as something they aren't.
Not for Deception
Mabe pearls, as described in the cultured pearl section above, are examples
of assembled gems which are produced with no intent to deceive. They
always have flat backs and mother of pearl bases which easily distinguish
them from regular cultured pearls.
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** Check the text: The Hall book has pictures and information on classic G&G
doublets on both page 37 and page 61. (She calls them "garnet-topped
doublets")
In today's marketplace there are still a few doublets and triplets being
manufactured to fool the unwary, but due to the low cost and easy
availability of synthetics, they are not as common as they once were. Some
examples that jewelers and auction houses occasionally still see are
YAG/strontium titanate doublets (as diamonds), synthetic ruby/ruby
doublets (as ruby), and beryl triplets (as emerald).
Food for Thought:
Question 5: Why would a YAG and strontium titanate doublet be a better
diamond simulant than either material by itself?
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1): A cylindrical boule that is split down the center will have a depth of 10
mm, so theoretically the maximize sized round stone you could get would be
10 mm. In practice it would have to be even less than that in order to insure
there was no window.
2): Think of cutting a cherry in half and compare the rate of curvature of
the outer edge with an orange cut in half. The larger the circumference the
more gradual is the curve. When you are looking at a faceted gem you are
looking at a tiny little sector of a boule--> the larger the boule it was cut
from, the less curvature you will see.
3): An honest synthetic ruby seller will go for the lower priced flame fusion
material whereas the dishonest one might opt for the more expensive, but
harder to identify, pulled material.
4): The tiny sugar crystals not only provide a surface, they also provide a
pattern to follow so that as the sugar in solution crystallizes, the ones that
are already present get larger. Without this pattern to follow the sugar
crystallizes in a more disorganized manner that is not so attractive.
5): A doublet made with YAG on top and strontium titanate on the bottom
would be relatively hard (YAG is 8.5) and have less dispersion than
strontium titanate alone (which has too much) and more dispersion than
YAG (which has too little).
You have now completed the web lecture for the ninth lesson!
Go back the the course web site to: 1) complete and submit the homework
assignment on the text readings and assigned web essays 2) take the nongraded practice quiz on this web lecture 3) post a comment to the discussion
board for this lesson, and 4) when it is available, complete the graded quiz
based on this web lecture.
When you're ready, proceed on to Lesson Ten: Gem Formation
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[Three types of rocks: Igneous: basalt from lava flow, Hawaii, Sedimentary:
sandstone hills, Utah, Metamorphic: rocks in Switzerland: Image courtesy of
Dr. Barb Dutrow]
**Check the web: This site, although meant for kids, is well done and worth
seeing. It has animations of the conditions under which the three types of rocks
form: http://www.fi.edu/fellows/fellow1/oct98/create/index.html
The Rock Cycle
The rocks that we find on, and under, the Earth's surface are involved in an
age-old, and continuing, recycling program of Nature called the "Rock
Cycle".
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moved by wind and water. As time proceeds, layers of these sediments build
up (on land or under water). The pressure from upper layers causes
compaction in the lower layers along with various chemical and physical
changes (lithification), which lead to the creation of sedimentary rock.
Evaporation is an alternate factor which also produces sedimentary rocks,
as when dripping mineral-laden waters leave behind stalactites or
stalagmites. Likewise, surface or subterranean waters carrying dissolved
minerals may evaporate or precipitate those minerals within the cracks in
other rocks, or between rock layers. Sandstone and limestone are familiar
sedimentary rocks formed by lithification. Opal and turquoise illustrate the
evaporative mode of formation.
The presence of intrusive magma in a local region (contact metamorphism),
or of tectonic plate interactions on a larger scale (regional metamorphism)
puts the igneous and sedimentary rocks and minerals under heat and/or
pressure which may cause changes in their chemistry and crystal structure.
The result is the creation of metamorphic rocks. Thus is limestone turned
into marble, sandstone into quartzite, and serpentine into nephrite jade.
As with most cycles in Nature there are sub-cycles and cross interactions. So,
for example, sedimentary rocks which are subducted through tectonic action
may melt and form magma which produces igneous rocks. Or metamorphic
rocks, which have been uplifted and exposed at the surface, will erode to
form sedimentary deposits.
How and Where Gems Form
A specific, and unlikely, combination of five factors: temperature, pressure,
space, chemical elements, and time, are required for the formation of each
kind of gem. This is why gems are, in general, rare-->but some are rarer
than others. Silicon and oxygen are the two most abundant elements of the
Earth's crust, and the conditions for the formation of quartz (SiO2) are
relatively common, so it is understandable that quartz is found widely.
Axinite on the other hand, which is also a silicate gem, requires (in addition
to silicon and oxygen) calcium, iron, magnesium, boron and aluminum for
its formation, and is much rarer.
Percentage of Earth's Crust Composed of Various Elements:
Oxygen: 46.60%
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Silicon: 27.72%
Aluminum: 8.13%
Iron: 5.00%
Calcium: 3.63%
Magnesium: 2.09%
Boron: 0.0010%
Beryllium: 0.00026%
Gems, in Nature form: 1) from solutions by precipitation, 2) from melts by
crystallization, or 3) from vapors by condensation. (You may recall from
Lesson Eight that when Man synthesizes gems, these are also the three possible
modes of production.)
Solution/Precipitation Gem Formation
Both near-surface, cooler waters, and warmer waters from lower depths in
the Earth, can dissolve certain minerals from rocks or sediments, and carry,
mix, and concentrate them until conditions change, ultimately precipitating
them as solids (crystals or amorphous materials).
Near surface environments: Near surface waters, like rainwater, move down
or up, through soil or rock, as the local cycles of precipitation and
evaporation dictate. Such water has carbon dioxide from the air dissolved in
it, which creates a weak acid solution (carbonic acid) in which many
minerals are soluble. If the environment contains sandy soils or sandstone
rock, then silica will be dissolved, and certain silicate gems such as aggregate
quartzes, like agates, or amorphous opals may form as the water evaporates.
Commonly, layered or banded patterns are seen in the agates indicating
cycles of formation from waters of slightly different chemistries. The
botryoidal habit is also frequently seen in gems formed under near surface
conditions. Likewise ocean water or other brines can evaporate as climate
changes leaving behind dissolved minerals, like halite (the mineral name for
sodium chloride, table salt). Other waters containing sulfur may evaporate,
and leave behind sulfate minerals like gypsum.
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If the rocks or soils contain aluminum and copper in addition to silica, then
copper containing minerals like azurite, malachite and turquoise may form.
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[Minerals from briny evaporates: "cranberry halite" from Nevada, green halite
from Australia (color is due to pigments from crustaceans and microorganisms
that lived in the salty water), gypsum "roses": Images courtesy of Las Vegas
Jewelry and Mineral]
[Turquoise bearing rock, from Nevada: Image courtesy of Las Vegas Jewelry
and Mineral, rare occurence of single turquoise crystals from Virginia 50x,
malachite, turquoise and chrysocolla veins in an Arizona rock: Image courtesy
of Dr. Barb Dutrow, slice of a malachite and chrysocolla stalactite: Image
courtesy of www.barlowsrocks.com, azurite crystals from Utah]
Think about where you imagine miners finding agates, opals, and copper
minerals--> you probably already know that the best deposits occur in rocky,
sandy areas with an arid or semiarid climate. (Most of the world's precious
opal, for example, comes from the Australian desert, and the Western USA and
Mexico, are well known sites of turquoise and agate deposits).
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[Map of some of the major turquoise mines in the Southwest (photo taken at
the Las Vegas Natural History Museum)]
Petrifaction: Sometimes the hard, organic remains of plants such as wood or
cones, or the bones or shells of animals are buried in lava or sediments
before they can decay. Such burial restricts oxygen supply, and
decomposition processes slow to a snail's pace. Silica laden waters can, ever
so slowly, fill and replace any cavities or structures that are present with
agate or opal, preserving a replica of the original form in solid rock. Many
fossils are the result of this process, known as petrifaction.
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Vugs: When magma (a fluid with dissolved liquids and gases) is suddenly
released from the pressures containing it (as when it erupts or spreads into
surface fissures), gases are freed and liquids quickly vaporize to gas, which
creates gas-filled bubbles and pockets in the lava called "vugs". (We
experience a similar phenomenon every time we open a carbonated
beveridge).
Gems cans crystallize from these vapors which are trapped and
concentrated inside the openings. Often they form singly, without
attachment to the surrounding surface. When we see a doubly terminated
crystal, or one that is perfectly formed with no attachment point (called a
"floater"), often it has formed in just a such a gas pocket. One of the most
famous deposits of these doubly terminated crystals is the rock crystal
quartzes formed in Herkimer, NY, and known as "Herkimer Diamonds".
Other pockets which do not produce crystals from gases, may later be
invaded by surface water, or hydrothermal fluids, and become filled or lined
with small or large crystals forming geodes or other similar formations.
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created a space in the surrounding rock which later became home to the
beautifully formed calcite crystals in this prize specimen.
[Fossil clam shell with calcite crystals, from Okeechobee County, Florida]
Changes after Formation (Metamorphosis)
As mentioned previously, heat and pressure from contact or regional
sources can cause one mineral to metamorphose into another. This
frequently occurs with gem minerals. Marble and lapis lazuli are gem rocks
formed metamorphically, and rubies, spinels and garnets are gem minerals
are often crystallized within rocks that are undergoing metamorphic
changes, due to heat and pressure.
[Ruby in metamorphic quartzite rock, lapis lazuli mosaic bust: Images courtesy
of Las Vegas Jewelry and Mineral, polished marble "egg" from
metamorphosed limestone from Arizona: Image courtesy of
www.barlowsrocks.com]
** Check the text: See Lyman, page 38, for a picture of metamorphically
created almandine garnets, and page 12 in the Hall book to for kyanite and
staurolite in metamorphic schist
Just a Few Words About Organics
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Thus far only those originally organic gems that have become fully
mineralized through petrifaction, have been referred to in this lesson.
Another lesson of equal length could be written about the precise
mechanisms by which the various true organic gems come to be. Such
coverage is beyond the scope of this course, however; so the following
inadequate summary must suffice. (Review the definition of mineral vs
organic gems from Lesson One, if necessary).
Organic gems are derived from either:
1) The secretory activities of organisms that were living (or recently dead) at
the time of the harvest of the gem material.
Examples would include pearl, bone, horn, ivory, tortoiseshell and coral. Such
secretions might be entirely mineral, as with the calcareous corals, for
example, or entirely organic as with tortoise shell, or a combination of both
mineral and organic components as with pearl, proteinaceous corals, and
ivories.
[Warthog tusk (ivory), Victorian Ivory brooch, 1930's natural tortoise shell
brooch, raw black coral branches (proteinaceous type): Image courtesy of Las
Vegas Jewelry and Mineral, polished black coral branch pin with Tahitian
pearl]
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2) The secretions and structures of organisms long dead which have, over time,
undergone geological and/or chemical changes from their original state.
Examples include amber, copal, jet, and bog oak. Chemical oxidation or
reduction, compression, dehydration, or polymerization, have changed their
original properties, but these materials still consist, at least partially, of
organic molecules.
[Circa 1880 "bog oak" brooch (a semi-fossilized wood from ancient peat bogs,
similar to, and used as a simulant for, jet), amber rough: "Burmite" very rare
Burmese variety, noted for its cherry red color, typical Baltic amber]
Where Gems are Found and How they are Mined
An important distinction must be made between the place where a
gem forms, and where it is mined or collected (these two, most often,
are not the same). The places where we mine or collect gems are known
as gem deposits, and these are classified as either primary or secondary.
Primary Deposits:
A primary deposit is one in which the sought-after material is still held
within the original site of its formation. These "lode" deposits are often
located deep underground, and encased in solid rock (pegmatites, veins,
pipes, etc.) They are, in general, likely to require substantial monetary
outlay in personnel and equipment for recovery.
Although metal ores (does the famous Comstock Lode come to mind?), are
frequently mined from primary deposits, it is rarer with gemstones. In
certain locations, though, diamonds, and colored gemstones can be
profitably mined from such sites. Techniques involve either tunneling deep
into the Earth, or using open pit technology necessitating removal of massive
amounts of "overburden" to get to the deeper gem bearing layer.
**Check the web: Get a moving panoramic view of the famous, "Lavender Pit"
copper mine in Bisbee, Arizona at this site. This, now abandoned strip mine,
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[Yogo sapphires: before and after faceting. Yogos are among the most
beautiful and expensive in the world: Images courtesy of
www.foxfinejewelers.com]
** Check the web: Here's a site with pictures and text showing one of the
newest of De Beers' South African diamond mines. It explains some of the
steps involved in extracting and processing diamonds, at a recovery rate of
approximately one carat of diamond per ton of ore.http://www.miningtechnology.com/projects/de_beers/
Secondary Deposits:
Although a primary deposit may have been formed deep in the Earth, uplift,
crust folding, or other geologic events can bring it to, or very near, the
surface. All exposed surface features are subject to erosion and weathering,
and this is true of gem deposits as well. The agents of erosion will then act to
release the gems from their primary sites, and they collect in
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[Arizona peridot eluvial rough, note fractured area and angularity of pieces]
Alluvial: More common, and in most cases, more desirable, are alluvial (also
known as "placer") deposits. The gems in these have been transported from
the original site of their release, usually by water, but also possibly by wind
or ice. As most gems are both denser and harder than most rocks, they
accumulate on the bottom along with gravel, sand and mud, in eddies and
pools in streams, rivers and along coastlines. (They can also be found in sites
that had flowing water in the past, but have long since dried up).
The abrasive and frictional forces that occur as the gems are moved
downstream cause the weakest parts to break off, and the edges to become
more smooth and rounded. Alluvial rough, though usually relatively small,
is often of high clarity, and superior faceting quality. The longer the distance
the rough has traveled, the smaller and more rounded it becomes. Alluvial
diamonds are an exception to this rule, in that they are harder than the
surrounding rocks, and unless fractured or cleaved retain their original
structure and size.
Question 1: Dealers who supply facetors with gem rough may sometimes
tumble it first. Why?
Question 2: What type of terrain do you think is most likely to yield eluvial
deposits? alluvial ones?
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[Tan Huong, Vietnam, ruby and spinel mine. Back hoes remove about six feet
of soil then high pressure water is used to loosen the old buried stream bed so
the miners can use screens and sluices: Image courtesy of
www.gemsfromearth.com]
Within alluvial "gem gravels" several different types of gems may be found
together, reflecting the various eroding primary sites within the local
drainage area. Tracking back to the primary source of a particular gem
("Mother Lode") is usually very difficult, if not impossible.
Answers to the thought exercises for this lesson. (If you don't understand
something in these answers it's time to email me and ask!)
1): Gem rough that comes from primary sources or eluvial sources may have
internal fractures, partial cleavages, or ungainly shapes. Tumbling the
rough simulates what happens as weathered-out gems travel down
streambeds, breaking off weak areas and wearing away protrusions. The
tumbled rough is more desirable to the facetor as it is cleaner, and better
shaped for good recovery; so they will pay more for it.
2): Flat terrain, especially that which is in an area that is arid, is most likely
to yield eluvial gems. It is not surprising, then, that we find eluvial peridot at
a place named "Peridot Mesa" (mesa = table top). Alluvial gems however,
are most likely to be found in the foot hills and valleys of mountain ranges.
(Where did the '49ers look for gold nuggets?).
You have now completed the web lecture for the tenth lesson!
Go back the the course web site to: 1) complete and submit the homework
assignment on the text readings and assigned web essays 2) take the nongraded practice quiz on this web lecture 3) post a comment to the discussion
board for this lesson, and 4) when it is available, complete the graded quiz
based on this web lecture.
Now Get Ready for the Final Exam!!
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Chrome Diopside
I was prompted to write these comments on chrome diopside after seeing a
television shopping network's recent promotion of this gem as "Russian
diopside" and their featuring it extensively in rings. Chrome diopside is a
rich, emerald green variety of the mineral diopside which derives its color
from chromium. A recent Russian find in 1988 is the source of the Tsavoritelike stones that are gaining in popularity and recognition today.
As beautiful as the material is, its use in rings is risky at best. A hardness of
(5.5-6), moderate brittleness, and cleavability limit its use to pendants,
brooches and earrings unless placed in highly protective settings and given
gentle treatment. For these other uses, though, the stone is beautiful and
under-appreciated. Good cutting is important as this variety, especially in
larger sizes, can be very dark. A good cut with fairly shallow angles can
improve brilliance. Cabochons can be distinctive and attractive, and
collectors eagerly look for the rare cat'seye form.
A well cut piece of chrome diopside is a beautiful sight to behold, and a
reasonably priced alternative to Tsavorite or chrome tourmaline.
[Chrome diopside gems: emerald step cut, pear shaped cabochons, cat'seye set,
pair of heart shaped brilliant cuts]
Value
The prime value factor for this gem is color, with medium dark green stones
at the top. Such a stone in a larger size (2 cts or more) is especially rare since
so many larger pieces suffer from light extinction and are too dark. Cat'seye
stones bring a premium price. Fine cutting enhances value considerably by
adding scintillation and brilliance.
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Gemological Data
Makeup: a calcium, magnesium silicate
Luster: Vitreous
Hardness: 5.5-6
Crystal structure: Monoclinic
Fracture: conchoidal to uneven
Cleavage: perfect in two directions
Density: 3.29
RI: 1.66 - 1.72
Birefringence: .029
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Jet
If you were to visit some of the many English websites devoted to this gem
you would begin to realize, first, what a long history of use the gem has in
the British Isles, and in the World, and second, how passionately some
individuals feel about this lesser known gemstone.
Jet, an opaque black, organic gem is usually described as a form of fossilized
wood, but not in the sense of "petrified" wood, where the orginal cellular
structure has been replaced by minerals and preserved. Jet is essentially a
form of lignite coal, having its origin in buried wood from ancient forests,
but much modified over millions of years by compression and heating deep
underground. Occasionally you find the term "black amber" applied to jet,
but that name is neither geologically nor gemologically accurate and must be
considered a misnomer. Perhaps the name arose due to the fact that, like
amber, jet will develop a static electrical charge when rubbed.
One of the earliest of mankind's ornaments, jet beads have been unearthed
from burial sites dating to the Bronze Age. The extension of the Roman
Empire into the British Isles resulted in this black gem's use in the jewelry
and art objects of rich Romans. Besides ornamental use, there are written
records showing that powdered jet was used as a medication by the
physicians of the 17th Century.
The height of jet popularity was during the Victorian era. Upon her
widowhood, Queen Victoria began wearing "mourning jewelry", primarily
of jet, and continued to do so throughout her long life. The public emulated
their Monarch, so that earrings, brooches and pendants were produced in
large quantities and varying qualities and worn by everyone who could
afford them. By the 1870s the gem had reached its peak of use and, until
quite recently, has been in a consistent decline in its popularity ever since.
Some speculate that the gem's association with death, mourning and sadness
is responsible.
Recently, signs of renewed popularity have been seen, perhaps as part of the
general revival of interest in Victorian jewelry, or maybe due to its
credentials as a gem with "metaphysical" attritubes and uses.
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Simulants such as bog oak, "French Jet" glass, ebony wood, dyed horn,
early and modern plastics and a rubber-like material called "vulcanite" are
seen in the marketplace. One sure way to verify natural jet is to touch an
inconpicuous part of the piece with a red hot needle and smell the results -only jet will smell like burning coal.
Value Factors
Even the best quality jet is modestly priced as a raw material. Most of the
value of jet is associated with the artistry of carving or the historical context
of the jewelry or ornamental piece. The finest pieces have a smooth, well
polished surface that is free of cracks and blemishes.
Gemological Properties:
Chemical Composition: a mix of hydrocarbons
Crystal System: Amorphous
RI: 1.64 - 1.68
Density: 1.32
Fluorescence: none
Luster: resinous to vitreous
Hardness: 2.5 - 4
Fracture: conchoidal
Toughness: poor
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Benitoite
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Value
This gem is quite expensive, especially for rich blue, clean stones at carat
and above sizes. Clarity enhances value, especially in stones eyeclean or
better. Very light and very dark stones are on the lower end of the value
spectrum with medium dark stones at the pinnacle. Perfection of cut is
sometimes sacrified, even by the custom cutter, to achieve the largest
possible gem so windows and less than optimal proportions are fairly
common.
Gemological Data
Makeup: a barium, titanium silicate
Luster: Vitreous
Hardness: 6.5
Crystal structure: Hexagonal
Fracture: conchoidal
Density: 3.67
RI: 1.76-1.80
Birefringence: .047
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Aquamarine
Blue to blue-green beryl, known as aquamarine, is quite a familiar stone, a
staple in jewelry stores, catalogs and on home shopping programs, and
rightly so. It is a magnificent gem which can be stunningly beautiful when
well cut and polished and of good size and color. Unfortunately, huge
amounts of material have been sold which either lack enough color to truly
be called aquamarine or which are inferior in their fashioning. The most
common natural color for this gem is a light to medium light slightly to
moderately greenish blue. The name, aquamarine, then, indicates its
resemblance to the color of sea water.
Virtually all rough is heated to convert some of the green tones to blue. The
treatment is undetectable and stable and therefore the consumer should
assume all pieces to be heated unless otherwise specified. Recently a growing
number of consumers have begun to appreciate the natural greenish gems.
At hardness 7.5 it makes an acceptable ring stone and requires no special
care or precautions in cleaning. The most common types of inclusions found
in this variety are liquid filled fingerprints and hollow growth tubes. Major
sources of stones include Brazil, Nigeria, Zambia and Madagascar. A
common simulant for this gem is light blue synthetic spinel which can easily
be distinguished from aqua by its optic character and refractive index.
Aquamarine is the birthstone for March.
Value
The deepest blue large stones have the highest value with medium and light
blue stones of the same size fetching less. In smaller sizes, price still depends
on color which is harder to obtain in small pieces. Blue-green stones of any
size have traditionally had only about 50 -75% of the value of true blues, but
this is changing as consumers are beginning to favor and seek out
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Gemological Data:
Makeup: a beryllium aluminum silicate
Luster: vitreous
Hardness: 7.5
Crystal structure: hexagonal
Fracture: conchoidal
Cleavage: none
Density: 2.69
RI: 1.57-1.58
Dispersion: .014
Birefringence: 0.006
Pleiochroism: weak to moderate: blue and greenish blue in lighter or darker
tones
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"Quartz Sceptre"
The Greeks were not the first appreciators of this gem, however.
Babylonians circa 2000 BCE were advised that owning amulets or seals of
rock crystal would increase a man's wealth and possessions. Making
collections of rock crystal specimens with what were viewed as
metaphysically important inclusions was a pasttime of the wealthy in ancient
China. These items, purchased for purposes of contemplation and spiritual
enlightenment, were sometimes gained at great price -- as there are records
of rich men spending themselves into ruin to obtain the best pieces.
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Included quartzes also have a small share of today's commerce: with over 40
minerals known to occur as inclusions in quartz there are still plenty of
specimens for the interested collector.
For the last several decades colorless quartz has been made in laboratories
for use in communications and electronic equipment. Although colored
synthetic quartzes are something to worry about when purchasing
amethysts or citrines, natural rock crystal still reigns for gem use, as it is
cheaper and more abundant than the man made version.
Value Factors
As huge crystals are available, the value of gems or carvings from this
material is almost entirely due to the beauty, interest or artistry of the piece.
Gemological Properties:
Chemical Composition: SiO2
Crystal System: Trigonal
RI: 1.54 - 1.55
Density: 2.65
Fluorescence: none
Luster: vitreous
Hardness: 7
Fracture: conchoidal
Fluorescence: none
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Red Beryl
Discovered in the late 1970's and still found in gem quality at only one site in
the world, the Wah-Wah Mountains of Utah, red beryl, or Bixbite, is one of
the world's rarest and most desirable gemstones. Typically as included as its
fellow-beryl, emerald, few crystals approach gem quality. Most specimens of
fine crystals are zealously guarded by mineral collectors and are never
faceted.
Found in white volcanic rhyolite; its color is contributed by cesium and
manganese. Fewer than 10,000 stones are cut per year with more 95% of
those being melee, mostly in lower grades. Various commercial mining
ventures, in the past, have had sporadic success in producing stones, but a
new enterprise, using more modern methods, is doing better. Red beryl
remains, though, one of the most expensive of all colored gems. In recent
years Russian synthetic red beryl has come on the market.
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Luster: Vitreous
Hardness: 7.5 - 8
Cleavage: Indistinct.
Fracture: conchoidal to uneven
Density: 2.66 - 2.70
RI: 1.58 - 1.59
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Coral
Other than shells and animal teeth, coral was one of the earliest jewelry
materials enjoyed by our species. Neolithic amulets in red coral found in
digs in Switzerland date back to 8000 BCE. Virtually every cilivization since
then, which either lived in proximity to warm shallow seas, or had developed
trade routes to such, has made enthusiastic use of this material.
Living corals are tiny, colonial, filter-feeding invertebrates which
manufacture solid living quarters out of calcium carbonate or protein. It is
the collective, vacated homes of previous generations upon which the living
coral film grows, and which we harvest and make use of in jewelry and
carving.
Historically the important gem corals have been divided into "calcareous"
(stony) and "proteinaceous" (horny) types. At present, with these two
traditional sources becoming scarce and demand, especially for inexpensive
bead material driving the market, two other types ("sponge", and
"bamboo" corals) are commonly seen.
When someone describes a lipstick or a flower as "coral" colored, what
comes to mind is a slightly orangey medium red. Traditionally this color,
which occurs naturally in the calcareous corals, was the standard by which
the group was judged. The globally wide-spread calcareous group is made
up of species whose colors range from white, pink, and peach to "coral" red.
The highly desired, hot, vivid reds come primarily from the Mediterranean
and the seas around Japan, and for these specimens the competition is
vigorous.
They grow as branching structures which look something like a leafless tree,
and in the rough, show minute parallel striations on their surface. Although
rather soft by gem standards, they are reasonably tough and take a high
polish. Natural colors are due to organic carotenoid pigments, but pieces of
inferior color are sometimes dyed.
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[Calcareous corals: polished branch, 10x photo showing striations, top color
red cabochon]
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[Enhanced red "sponge" coral bead, bead at 10x showing porous structure, at
40x showing resin in openings]
are quite close). Less convincing simulants, such as glass and plastic, abound
in inexpensive costume jewelry.
Coral gems with their hardness of 3 - 4 should be worn and cleaned gently.
Warm water and mild detergent are best for cleaning needs, and daily wear
rings or bracelets are risky. The calcareous types can be damaged by
exposure to acids and the proteinaceous types should be protected from high
heat and long exposure to water.
Value Factors
By far, the most valuable corals are the natural reds, blacks and golds.
Fashions change in this regard, though, as the white and baby pinks were
preferred in Victorian times. A good polish and freedom from blemishes is
important and, of course, the artistry of the fashioning must be taken into
account.
Some locales from which corals are obtained have been over-fished or
environmentally degraded, leading to protective management of the stocks
and scarcity of supply. Happily, in the future it may be possible to "farm"
some types of corals to supplement our needs. There are pilot programs
attempting this in Japan and Hawaii.
Gemological Data:
Varies by species
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Ivory
Ivory, as defined by most gemologists, is derived from the teeth or tusks of
mammals, although some other materials with similar characteristics and
appearance have traditionally been given this name. Examples of tooth ivory
are less common, and generally limited to: hippo and sperm whale teeth
(teeth are defined as dentition which is not visible when the mouth is closed,
whereas a tusk protrudes from the closed mouth). Tusks from African and
Asian elephants, wild boars, walruses and narwhals as well as extinct
mammoths and mastodons have been used throughout history (and prehistory) to produce a range of ornamental and useful objects. Simple ivory
amulets and tools have been found in archeological sites dating 7000 years
before present. The Chinese penchant for ivory goes far back in their history
(5000 BCE) as does their supremacy in the art of carving it into intricate
designs and inlays. By 500 BCE India was engaged in a vigorous ivory
export trade.
The properties of ivory vary somewhat by species in terms of hardness,
uniformity and the basic shape of the raw material. Some sources, like
elephant tusk, provide large, mostly solid pieces, whereas other types (like
narwhal tusks) are mostly hollow, and others like hippo teeth are smaller,
which can limit useage to certain sizes or shapes. The hardest and whitest
ivory is derived from hippo teeth which makes them more difficult to carve,
but less likely to stain and crack.
ELEPHANT IVORY
The majority of very old ivory carvings and ornaments are probably from
Asian elephants whose tusks are relatively smaller and found only on male
animals. Within the last several hundred years, however, the African
elephant has been the ivory provider of choice, due to its historically greater
population numbers, larger tusks, and the fact that both sexes are tusked.
The once thriving commerce in African elephant ivory would stagger today's
conservation minded individual -- before plastics were invented in the late
19th century, ivory was the source for such diverse and universal items as
buttons, hair combs, jewelry, furniture inlay, billiard balls and veneer for
piano keys. (The finest billiard ball makers produced only three balls per
tusk).
By the 1970's when the environmental movement swept the Western world,
the consequences of this carnage were obvious. In 1989 a world-wide ban on
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[19th century Chinese dice cup and Victorian needle case, Victorian Era
brooch, Contemporary legal elephant ivory scrimshaw pendant]
"FOSSIL" ELEPHANT IVORY
Until about 7-10,000 years ago, mammoths ranged over Eurasia and
mastodons over the Americas. Throughout their long reign as species,
innumerable individuals died and were buried in mud, ice or peat. These
artifacts, although not mineralized in the true sense of fossilization, have
been preserved, and due to erosion, geological events or mining have been,
and are being, unearthed and used as ivory sources.
Like all elephant ivories these show distinct structural properties which
result in a layered structure in longitudinal section and a cross hatched
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pattern in cross section. This characteristic called the "engine turned" effect
is diagnostic of elephantine ivories and absent in all other forms. These
ancient ivories sometimes have acquired unusual colors through long
contact with minerals and mineral solutions.
Such materials are not covered by CITES, indeed the species
are already extinct, and are becoming very popular. In the US, digging for
anything on public lands is restricted by Federal land management agencies,
but in Alaska, Canada, Greenland and Siberia, Inuits and other native
peoples have been greatly benefited by the ability to harvest, fashion, and
trade these items to an eager world market.
318
[Antique whole hippo tusk carving: Image courtesty of Dr. Terrill Smith,
contemporary Japanese hippo ivory netsuke]
319
During the Victorian Era many gems of organic origin were in favor,
including obscure ivories such as seen in this circa 1870 brooch fashioned of
two animal (pig?) teeth.
321
will pay dearly are large elephant ivory pieces, narwhal tusk work, and most
precious of all, hornbill "ivory" carvings.
In the arena of legally traded ivories and ivory simulants, most items are
modestly priced with rarer and larger items and those with greater antiquity
or higher artistic merit at the top, and vegetable ivory, bone, and plastic
simulants in the lower brackets. "Fossil" ivories which have been stained
attractive colors through natural mineral processes do bring a premium
price. In any ivory piece, translucence and freedom from cracks is valued.
Yellowish, orangey and brownish hues (unless they are deliberately applied
to simulate age) add value as a patina.
Gemological Properties
(These vary somewhat with species, the ones below are for elephant ivory)
Makeup: 65-70% hydroxyapatite Ca5(Po4)3OH, plus collagen and elastin
protiens
Crystal system: none, amorphous
Refractive Index: 1.54
Hardness: 2.5 - 2.75
Toughness: fair
Specific Gravity: 1.70 - 2.0
Cleavage: none
Fracture: splintery
UV Reaction: fluoresces weakly to strongly bluish white to LW, less to SW
Luster: greasy
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Danburite
First discovered in Danbury, Connecticut, in 1839, this gem has been found
and mined in Japan, Russia, Mexico, Burma, and Madagascar. It ranges
from milky translucent white, to transparent pieces of colorless, light yellow,
tan, and rarely, very pale pink.
The type locality of the US deposit which was named for the town nearby,
has long since been covered over, and made inaccessible by the growth of
this now rather large community. Pieces that actually originated from this
location are now prized by collectors.
Danburite is found in metamorphosed limestones and low temperature
hydrothermal veins, but few its numerous locales yield either impressive
crystals for the mineral collector, or transparent pieces of sufficient size to
facet. Joel Arem in his "Color Encyclopedia of Gemstones" states that
although the mineral itself is relatively common, large, facetable pieces are
rare. The crystals often have a distinctive wedge-shaped habit and nicely
terminated ones are beautiful to see. The best crystals, mostly translucent or
milky white have historically come from mines in Central Mexico. Although
similar in shape and color to topaz crystals, Danburite can be distinguished
by its lack of cleavage compared to the strong cleavage seen in topaz.
323
[Sawn pieces of Danburite rough from Mexico, some of the crystal faces can be
seen]
Although it is not common enough to become a major commercial jewelry
stone, there is enough material for gem collectors, and adventurous jewelry
lovers to bring this lovely and under appreciated gem into their collections.
Danburite is also sought out by those who are interested in the metaphysical
properties ascribed to gems and crystals.
[Faceted Danburites from various locales, showing the brilliance and luster
typical of well cut stones]
With no cleavage, good toughness and a hardness of 7; Danburite makes an
excellent jewelry stone, that surpasses quartz and beryl in brilliance. Its
modest dispersion means that although very brilliant, cut gems lack
"fire"(spectral color flecks). Due to some heat sensitivity (the heat from a
jewelers torch will fuse it), it is best not to subject this gem to steam
cleaning, but otherwise, it requires no special care, and can be used in all
applications, including rings and bracelets. There are no known
enhancements, synthetics or imitations on the market.
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Value Factors
The tried and true value factors for gems in general apply to this species
very well. All other things being equal, larger, cleaner, and better cut stones
are worth more per carat. The only caveat here, might be that a noticeably
pink stone (most as so pale as to be essentially colorless) would surpass the
colorless, yellows, and browns in value. In my opinion, for a relatively rare,
brilliant, and quite wearable gem, prices are low enough to represent a real
gem bargain.
Gemological Properties:
Makeup: Calcium Borosilicate: CaB2(SiO4)2
Hardness: 7
Birefringence: .006
Dispersion: .016
Toughness: good
Crystal System: Orthorhombic
Luster: vitreous
Density: 3.00
Pleochroism: none
RI: 1.63-1.64
Cleavage: none
Fluorescence: Frequently shows a strong light blue to
blue green to LW UV and a weaker reaction to SW UV
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Labradorite Feldspar
The Feldspar Group
Feldspar is a ubiquitous mineral that, usually in the form of small grains,
makes up 50-60% of the content of the rocks of the Earth's crust. More
precisely, it's agroup of related mineral species, which, in larger deposits of
single crystal forms, are known as several familiar gemstones: amazonite,
moonstone, sunstone, orthoclase and labradorite.
The entire feldspar group is divided into two main branches, the potassium
feldspars: microcline and orthoclase, and the sodium/calcium feldspars
known as the plagioclase "series". A solid solution series, in mineralogical
terms, is a set of mineral species which grade in composition, within the
same basic chemical formula, through mixtures, from one pure end material
to the other. In the case of the plagioclase feldspars the series runs from
100% albite (NaAlSi3O8) to 100% anorthite (CaAl2Si2O8) with labradorite in
the near 50/50 range.
Labradorite
Labradorite is translucent to opaque with light to dark grey body color,
often with needle-like inclusions of black magnetite or ilmenite and usually
showing some fracturing.
This gem is the only species that can claim sole possession of an entire
optical phenomenon, in this case "Labradorescence". Only Labradorite
gems show this distinctive directionally-oriented surface display of one or
more metallic looking spectral colors. The structural cause is the repeated
thin layer (lamellar) twinning of its crystals which creates both diffraction
and interference as light passes through and reflects from the parallel
surfaces.
One of the most singular aspects of this iridescence is its distinct
directionality. Notice in the photo below, how certain faces show a silvery or
blue "shiller" and the others do not. Any gem fashioned from this material
must be carefully oriented so that this display shows to best advantage, and
even then, it will be visible only at certain angles. The thickness and
uniformity of the layers determines the color(s) to be seen.
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[Labradorite rough]
The name derives from the original mine site along the coast of Labrador,
found at the beginning of the 19th Century and which is still productive, but
India, Scandinavia, Madagascar and the US now provide additional
supplies. The majority of specimens of this gem show a silvery blue to bright
blue sheen. The three specimens below show the range from semitransparency, through translucence to opacity seen in the species. Lapidary
artists have long exploited the beauty of the material in cabochons and gem
carvings. Faceted specimens, though rarely seen, have a distinctive and
unusual beauty.
[Labradorite gems]
Truth in Marketing
There are no synthetics or simulants to worry about with this gem group
and enhancements are rarely encounted. One related issue does bear
mentioning however--> large quantities of a translucent white Labradorite
which originates in India is widely sold under the misnomer "rainbow
moonstone" at very modest prices. (True moonstone is a different, rarer and
considerably more expensive, species of feldspar that has its own distinctive
optical phenomenon.) As you can see, the material in question is no less
attractive for bearing its improper name.
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[Spectrolite jewelry]
Care and Use
Due to its modest hardness (6 - 6.5), heat sensitivity, and cleavability this
gem is relatively fragile and must be set, worn, and cleaned with care. That
care will reward the owner many times over, however, as a high quality, well
cut piece of labradorite or spectrolite is a joy to behold. Every movement
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creates a shifting pattern of surface colors, the brightest of which can rival
those on the wings of tropical butterflies. Ultrasonic or steam cleaning is too
risky and gems to be used in rings or bracelets should be given protective
settings and worn infrequently. The best use for this gem is earrings,
brooches and pendants which are worry free.
Value
Labradorite is a gem bargain, as even the highest quality specimens are a
fraction of the cost of comparably colored ammolites, precious opals or fire
agates. The most valuable pieces of both labradorite and spectrolite are
those with the brightest and most uniform color flashes, showing no "dead"
areas. In premium gems the fracturing and inclusions are minimal and nonintrusive. Beyond that, the value of a piece lies in its size and in the artistry
of the cutting or carving.
Gemological Properties
Makeup: An aluminum silicate: 30-50% Albite (NaAlSi3O8) and 70 - 50 %
Anorthite (CaAl2Si2O8)
Crystal system: Triclinic
Refractive Index: 1.55 - 1.57
Birefringence: .009
Hardness: 6 - 6.5
Toughness: Poor
Specific Gravity: 2.70 - 2.75
Cleavage: Perfect in one direction, good in another (at right angles to each
other)
Fracture: Uneven to splintery
UV Reaction: Usually inert
Luster: Vitreous
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Mexican Opal
There are so many different names in use for this type of opal: fire opal, jelly
opal, crystal opal, cherry opal, girasol, etc. In my opinion, therefore, the best
general term for this sort of transparent opal with body color ranging from
colorless through yellow to orange to deep red and usually without play of
color, is Mexican opal. Even though some pieces originate from other locales
such as the USA and Brazil. This terminology helps prevent confusion from
the term "fire" which is often used to mean "play of color". Mexican opal
that does have play of color is in its own small sub-category, and is properly
referred to as "precious Mexican opal".
All opals are hydrated silicates usually containing from 3 - 10% water; but
stones from a few sources (notably Virgin Valley, Nevada) can be as high as
20% in water content. If play of color is present, its source is the same in
Mexican opal as for the precious white and black opals. Namely, diffraction
and interference of light rays which travel through the spaces between the
tightly packed silica spheres of which it is made. Some pieces show their
color play in reflected light (more common) and some, only in transmitted
light. These latter stones, called "contra-luz" are quite rare and desirable.
Facetors appreciate Mexican opal's ready availability in nice sized pieces, its
reasonable price, and its wonderful range of highly saturated colors. Only
the most transparent pieces lack the phenomenon of "opalescence", which is
a slightly to moderately strong milky haze within the stone's interior, similar
to that seen in rose quartz. Much has been said about this gem's tendency to
craze, that is, to develop fine cracks due to dehydration, but the vast
majority of the pieces on the market are stable. Reputable rough dealers
screen out the unstable pieces, before sale, by subjecting them to prolonged
high temperature and low humidity conditions.
Naturally, as with all types of opal, stones are somewhat fragile, and not well
suited for use in rings meant for hard everyday wear or in bracelets or
cufflinks. Likewise, strong chemicals, ultrasonic vibrations, and abrupt
dramatic temperature changes can cause damage. In earrings, pendants, tie
pins, brooches and special occasion rings and with reasonable care, it does
very well.
Cleaning with a soft brush and warm soapy water is safe and effective. It is
not advisable, in fact, it is likely to be harmful, to store opals in mineral oil
or or glycerin and this practice will not prevent crazing. Storage in water,
although safe, has no protective benefit. It is wise, however, to store the
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Value
The most desirable pieces are nearly completely transparent and, when
colored, show a strong, highly saturated hue. Most reds in this variety are
tinged with various degrees of orange, so pure, spectral red pieces are
exceedingly rare and therefore higher priced. Play of color enhances the
value of any stone dramatically. Cat'seyes and bi-colored stones also sell at a
premium.
Mexican opal commands its highest prices in Germany and in Japan where
many of the Mexican stones are exported. Here in the US, it remains an
excellent bargain, even in larger, custom cut pieces of finest color.
Enhancements such as heating, filling or irradiation are at present unknown
in this variety.
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Gemological Data
Makeup: hydrated silicon dioxide
Luster: vitreous to resinous
Hardness: 5.5 - 6
Crystal structure: none, it is amorphous
Fracture: conchoidal to uneven
Cleavage: none
Density: 2.15
RI: 1.42 - 1.43
Birefringence: none
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Chrysocolla Chalcedony
The common mineral quartz, occurs both in the familiar single crystal
varieties of amethyst, citrine, rose quartz, etc, and also in a number of
aggregate forms. These aggregates, such as agate, jasper, and chalcedony,
are made up of submicroscopic quartz crystals intermeshed together. When
the quartz aggregates are translucent, and of a single color, they are known
as chalcedonies. Examples of well known types of chalcedony are brown to
orange carnelian, and apple green chrysoprase.
Less common, and more valuable, is a type of chalcedony with vivid greenish
blue color, frequently referred to as "gem silica" in the trade. More
correctly it would be called chrysocolla chalcedony. Structurally it is
composed of near colorless chalcedony that has been stained, on a
microscopic level, by infiltration of solutions carrying the same copper salts
which give color to the mineral chrysocolla.
If it is evenly stained throughout, it has an intense, uniform, slightly to
moderately greenish blue color. Chrysocolla itself, though beautifully
colored, is far too soft and fragile (H = 2 - 4) to be useable for jewelry
purposes. Additionally, pieces of pure chrysocolla generally have a chalky,
crumbly texture, or occur as thin powdery crusts on the surface of a rock.
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Value
The most valuable specimens of this kind of material are those that are
highly translucent, evenly colored, free from inclusions, and strongly
saturated in color. People who may not realize the rarity of such stones, are,
sometimes, taken aback by the relatively high price for what is afterall, a
form of quartz, and a cabochon stone to boot. Highly translucent cabochons
of the most vivid color may retail for as much as $100/ct.
Increased demand and familiarity with this gem has been occasioned by top
gem carvers and goldsmiths recently making this stone a "gem of choice".
There has also been intense interest by Oriental collectors which has driven
prices up as well. Those specimens which tend to greenish hues and which
are opaque, included, or uneven in color are much less costly.
Gemological Data:
Makeup: microcrystalline or cryptocrystalline quartz, Si02, colored by
copper
Luster: vitreous
Hardness: 7
Crystal structure: hexagonal
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335
Morganite
Morganite is beryl colored by manganese impurities. Although violet and
peach are possible colors, the most common and preferred color is pink.
Heat and light will remove the yellow component from peach beryl so it is
often heated to get "pinker" stones. It entered the American market in 1911
when Tiffany & Co. introduced it and named it in honor of J.P. Morgan.
Original deposits from Madagascar are now worked out, but Brazil,
Namibia and other locations produce rough. Growth tubes are a typical
inclusion in beryl and often seen in Morganite. Very often near colorless
specimens are offered as Morganite when they more properly should be
labeled Goshenite (colorless beryl). Although it takes a larger stone to
develop really good body color, smaller stones can be very brilliant. Like
most beryls, Morganite makes an excellent jewelry stone requiring no
special care.
[Morganite gems]
Value
Medium light to medium pink, clean stones with custom cuts are the most
valuable. Very light and included stones are on the lower end of the value
spectrum. As Morganite frequently occurs in larger crystals, there is not the
exponential increase in price with size we see in so many gems.
Paradoxically, smaller Morganites (if they show good color) can be more
336
valuable than larger ones which often, in order show good color must be so
large as to limit their reasonable use in jewelry. As is the case with
aquamarine, there is a small but growing segment of collectors who prefer
the unheated peachy color and are willing to pay a premium to get an
untreated piece.
Gemological Data
Makeup: a beryllium, aluminum silcate
Luster: Vitreous
Hardness: 7.5
Crystal structure: Hexagonal
Fracture: conchoidal
Density: 2.80
RI: 1.58 - 1.59
Birefringence: .008
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CHAROITE
Named for the only locale in which it is found, the Charo River Valley in the
former Soviet Union, Charoite is one of the few gems that is so distinctive in
its color and patterns that a gemologist can feel justified in making a "sight"
identification. There's really no other material likely to be mistaken for it -at least this is true until a synthetic or man-made simulant comes along some
day.
Like lapis lazuli, the gemstone that we call "Charoite" is actually a rock
composed of several minerals including Charoite! Unlike lapis, though, it is
usually nearly pure Charoite mineral, with only slight amounts of microcline
feldspar, aergirine-augite and tinaksite. It is the mineral Charoite that gives
this gem its unmistakable purple color which, often in the same piece, ranges
from very light to medium dark purple and from translucent to opaque. The
other distinctive aspect of its appearance is the swirling patterns that form
due to its fibrous crystals being arrayed in complex interlocking patterns.
First found, 325 miles North of the tip of Lake Baikal, in the 1940's and
locally called "lilac stone", this gem was introduced to the Western
gemstone marketplace as Charoite in the 1970's. It immediately made a
large impact, both with traditional lapidaries and marketers who used it for
decorative objects, carvings and cabochons, and, soon after, with
metaphysical gem enthusiasts for whom it embodies a long list of healing
and spiritual attributes.
Charoite is formed from limestone by the process of contact metamorphism.
Since this is a relatively common geologic phenomenon it is not completely
clear why its distribution is so limited. Apparently the particular limestone
in that area had unique chemical properties as did the intrusive rocks. So
far, gemologists have not been able to ascertain the exact chemical or
structural reason for its purple color. To say that the mineral Charoite is a
silicate of complex compostion an understatement: one mineralogical source
describes it as a hydrated potassium, sodium, calcium, barium, strontium,
silicate hydroxyfluoride!
As a gem it is reasonably tough with a hardness between 5 and 6 and no
cleavage. Use in rings or bracelets is probably unwise, but most other
jewelry uses are safe. It is somewhat heat sensitive, so steam cleaning should
be avoided, as should ultrasonic processes. As with the majority of gems, the
best cleaning tool is a soft brush, a mild detergent and warm water.
338
One of the loveliest aspects of the best Charoite gems is a slight to moderate
chatoyance which gives it a silky or pearly luster. This attribute, as well as
the swirling patterns and distinctive purple color, is well demonstrated by
the pieces below:
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Tsavorite Garnet
[Tsavorite gems: brilliant cut trillion, cabochon, step cut emerald cut, marquis
brilliants in a ring]
Value
340
Given the rarity, popularity, and sporadic supply of these stones, the overall
trend in value since their introduction has been up, up, up. The best
specimens are those that are pure spectral green in a medium dark to
medium tone. Those that are darker or lighter than this are much less
desirable. Price exponentially increases with size and a custom cut adds
considerable value as the majority of specimens are native cut.
Gemological Data
Makeup: a calcium aluminum silicate
Crystal system: Cubic
Luster: Vitreous
Cleavage: none
Hardness: 7
Fracture: conchcoidal to uneven
Density: 3.61
RI: 1.74
Dispersion: .028
341
Moldavite
Moldavite is a transparent to translucent olive to bottle green variety of
tektite, first found in 1787 at the Moldau River in Czechoslovakia. In
general, tektites are natural glasses which are thought to have been created
by melting of silica sand or rock by meteoric impact. A popular idea is that
the melted material then was flung into the air and cooled into glass as it
landed over the area of the impact site. It has also been suggested that they
may be of extra-terrestrial origin and that they melted into their glassy state
due to high temperatures generated during travel through the Earth's
atmosphere.
342
Value
Moldavite is cut primarily as a curiosity, and for collectors, although the
recent interest in metaphysical properties of stones has substantially boosted
its popularity and availability. Poorly cut and polished stones look very dull
next to custom cut and polished specimens which are well worth their higher
prices which are still quite modest as collector gems go.
Gemological Data:
Makeup: Mostly Silicon Dioxide
Luster: Vitreous
Hardness: 5
Crystal structure: Amorphous
Fracture: conchoidal
Cleavage: none
Density: 2.40
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RI: 1.48-1.51
Birefringence: none
Pleochroism: none
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Drusy Gems
The word "druse" refers to a rock surface (usually a cavity) covered with
tiny individual crystals, such as are found inside geodes or in larger pockets
of mineral deposits. Gem minerals which exhibit this feature are said to have
a drusy crystal "habit". Until about 10 years ago, drusy minerals were little
more than a curiosity, of interest to serious mineralogists, but unnoticed by
jewelry designers, gem collectors, and the general public. Times have
changed! Drusy materials, at first slowly, then with increasing frequency
appeared in the work of noted gem carvers and jewelry designers and, as a
result, gained space in gem and jewelry publications.
Most non-quartz species of drusy gems, even those with vivid colors like hot
pink (cobalto-calcite), day glow green (uvarovite), or multi-color (rainbow
pyrite ) are natural.
Value Factors
346
In drusy gemstones, the size and evenness of crystal coverage are important
determinants of quality. It could even be said that in addition to the usual 4
C's (color, cut, clarity and carat weight) of gem quality there is a 5th C:
"coverage". The evenness with which the matrix is covered is a strong value
point. Good drusies are relatively rare, especially in non-quartz species.
Gemological Properties:
Depends on the species: the information below is for quartz
Makeup: Silicon Dioxide
Hardness: 7
Dispersion: .013
Toughness: Good (less so for drusy, than single crystals)
Crystal System: Trigonal
Luster: Vitreous
Density: 2.65
RI: 1.54 - 1.55
Cleavage: none
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Fire Agate
My appreciation for fire agate has taken time to reach its current very high
level. Most of the pieces I saw early-on were poorly fashioned and of low
quality, and frankly, I wasn't impressed. Since beginning my serious study
of gems, however; I've had the opportunity to see some outstanding
specimens and as a result, my enthusiasm has increased dramatically.
Fire agate is a brown, microcrystalline quartz (chalcedony) which has a
botryoidal (grape-like) growth form, and which contains layers of plate-like
crystals of iron oxide (limonite) in various planes within it. The iridescent
colors of red, gold, green and rarely, blue-violet, result from interference
between diffracted light rays traveling through and reflecting off of these
thin layers. (We see the same effect when looking at the rainbow colors at
the surface of an oily puddle of water; or in the "orient" created by the
layers of nacre on the surface of pearl.) Usually, fire agate pockets occur
within specimens of colorless, white or light grey chalcedony.
Fire agate is found only in the US Southwest and Mexico and wasn't brought
into commerce until after World War II. This, combined with the fact that
it's one of the most difficult opaque materials to cut properly, keeps it scarce
and mostly unknown to the general public.
In order to best reveal the colors, the overlying layers of chalcedony must be
very carefully removed from the botryoidal surface creating a freeform
shape with a carved upper surface. Just a tiny bit too much material
removed kills the iridescence and too much left on dulls it. Such painstaking
treatment requires substantially more time per piece by the lapidary, and
tends to elevate cost. This type of fashioning also leads to a lack of calibrated
pieces and has prevented the use of this gem in mass produced jewelry items.
Good fire agates are as impressive in their color display as fine black opal,
but far less expensive. Additionally, fire agate is as hard and durable as any
aggregate quartz making it wonderful for jewelry uses, including rings. The
colors and form are rich and dramatic and generally appeal strongly to men
(although I can personally attest to its appeal to women!)
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Value
The most desirable pieces show color over the entire surface with no "dead"
spots. Red color is generally the most highly valued, but the few pieces with
some lavender-blue are also highly sought after. The pattern of colors can be
a value factor too. Similar to what is seen in opal, the colors can be tiny dots
"pin fire", large blotches "harlequin" or, rarely, have a distinctive pattern
such as circles or stripes. Well cut, carved and polished pieces with an
attractive freeform outline are more valuable than those produced with a
smooth crown and a standard cabochon shape.
Gemological Data
Makeup: silicon dioxide
Luster: vitreous
Hardness: 7
Crystal structure: trigonal
Fracture: conchoidal to granular
Cleavage: none
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Density: 2.61
RI: 1.53-54
Birefringence: 0.004
350
Nephrite Jade
Although "jade" has been in use for a variety of utilitarian and artistic
purposes for over 7000 years, it was only in 1863 that a gemological
distinction was made between the two different species commonly given this
name. Jadeite, an aggregate of granular pyroxenes, actually is not related to
nephrite, an aggregate of fibrous amphiboles. The fact that they occur in the
same color and translucency range, are both incredibly tough, and were
traditionally used for the same purposes, along with their superficially
similar appearance has led to the odd consequence of having two quite
different gems with the same name.
Even though marketers, jewelers and the public continue to refer to both
gems as jade, more properly the species should be used as, or at least
included in, the name: so either nephrite (or nephrite jade) or jadeite (or
jadeite jade) is the preferred terminology.
Nephrite is, then, a calcium-magnesium silicate that varies from translucent
to opaque, and from shades of green, through browns and yellows to greys
and near whites as it varies in the proportion of the amphibole minerals in
its makeup. The darker pieces are mostly made up of iron rich (up to 5%
iron content) actinolites, the lighter pieces contain more of the magnesium
rich tremolites. Pieces may be mottled or banded in color, and black
inclusions are common. Typically the iron induced green colors of nephrite
are dulled somewhat by brown tones in comparison to the more highly
saturated chromium derived hues of green jadeite.
351
[Cat'seye actinolite]
Nephrite is mined in many locales, ranging from New Zealand, Siberia and
South Korea, to the USA (Wyoming and California primarily), but the
largest deposits, by far, come from British Columbia. These Canadian sites
often yield huge boulders, frequently covered with a brown rind of oxidized
iron. The finest of this material is trademarked as "Polar Jade" and is of a
translucent and rich green color seen in very few other specimens of
nephrite. Large scale mining began there in 1995.
[Polar Jade earrings and a Polar Jade cabochon set into a pendant with
Tsavorite and white zircon]
352
[Jade boulders at the British Colombia site being cut into sizes that can be
trucked out of the remote mine area: Image courtesy of Kirk Makepeace at
www.jadewest.com]
The wide distribution and useful properties of nephrite account for the
world-wide useage of this stone by ancient cultures. Archeologists have
retrieved tools and artworks made of nephrite in locations from Switzerland
to New Zealand, the Americas, and Asia.
This stone was valued highly by these people as it it could be used for tough
knives, spears, hammers and axes, yet could be carved into exquisitely
delicate bowls, figurines, masks and jewelry items. Its legendary toughness is
a consequence of the interlocking "felted" nature of the tiny fibrous crystals
within. Until the advent of steel, nephrite was the strongest available
material for tools and weapons, less brittle and better able to keep a sharp
edge than any other stone, or than copper, bronze or iron.
Although nephrite artifacts date as far back as 3500 BCE in Europe, there is
evidence documenting its use in China for more than 7000 years. The
nephrite around which the Chinese built many aspects of their culture was
obtained, technically, from Turkestan, a region not incorporated into China
politically until after World War II. Known from legend as "The Stone of
Heaven", nephrite attained a position in the religious and cultural life of
these people that has not been seen with any other natural substance in any
other time or culture.
The two pieces shown below are contemporary Chinese nephrite carvings.
The curled "dragon" is cut from "tomb jade" which has long been buried
underground, and is stained and somewhat corroded with iron minerals, it is
done in a faithful copy of a style from the Han Dynasty period, circa 200
BCE. The pure white citrus blossom carving is from Xinjiang Province (the
traditional collection site of rare white nephrite) and shows the purity of
color, translucence and desirable "greasy" luster of the best ancient
materials.
353
354
["Vonsen Blue" nephrite jade from California: cut cabochon set, rough slab]
The name "nephrite" derives from the early belief that carrying talismans
of certain green stones would cure or ward off ailments of the kidneys,
although ironically, scholars have found that jadeite was actually the stone
so used.
One of the most widely available of gems, nonetheless nephrite has been
extensively imitated. Natural simulants often presented (knowingly or not)
as nephrite include bowenite, Vesuvianite, serpentine, aventurine,
amazonite, verd antique and massive grossular garnet.
355
VALUE CONSIDERATIONS
In general, per carat values for nephrite gems are modest. The highest prices
in jewelry pieces go to those with the greatest translucence and most
pleasing colors or patterns or those that have been artistically carved. In
some cases collectors pay higher prices for gems mined in specific locations,
or those cut by certain artists. In art objects, the delicacy of the carving and
antiquity of the piece are the prime determiners of value.
Gemological Properties:
Makeup: Calcium magnesium iron silicate
Hardness: 6 - 6.5
Toughness: Exceptional
RI: 1.61 -1.63
Density: 2.96
Polish Luster: greasy to vitreous
Fluorescence: none
Fracture: rarely seen
356
Botryoidal Gems
When certain minerals occur in aggregates of tiny crystals rather than single
large ones, one of the habits they can adopt is named "botryoidal". The
word is derived from the Greek word for grapes, and means tiny crystals
occurring in closely interlocking spherical masses or "bubbles" which can
sometimes look like bunches of grapes. Those in which the masses tend to be
less distinct and grade into one another are termed "sub-botryoidal".
[Fire Agate]
Botryoidal gems are fashioned into cabochons, carvings or ornamental
objects and can be very interesting and lovely. There's a wide variation in
appearance, based on whether the bubbles are large or small, uniform or
different sizes, if the botryoidal surface is confined to recesses or not, and
whether or not the surface is covered with drusy crystals. Furthermore, the
lapidary can treat the material in various ways: sometimes the botryoidal
surface is left in its natural state, sometimes it is polished and occasionally
some or all the the bubbles are flattened to reveal the inner layering.
357
Value Considerations
Rarity and beauty would be the major value determiners in this group of
gems. Malachite which commonly takes this form and is widely available is
less valuable, say, than Smithsonite, which is a much rarer material, or than
botryoidal prehnite which comprises only a tiny fraction of all prehnite. The
beauty of the material itself, how intense or unique the display of bubbles
and the artistry of fashioning are all important factors in determining value
of a specific piece.
358
Gemological Properties:
(Vary by Species, those below are for quartzes)
Chemical Composition: Silicon Dioxide (SiO2)
Crystal System: Hexagonal
RI: 1.54 - 1.55
Density: 2.65
DR: .009
Cleavage: none
Luster: Vitreous
Fracture: Conchoidal
Hardness: 7
Toughness: Good
359
Hardness
Hardness is a gem's ability to resist scratching of its surface. This property
derives from the crystal structure of the gem in virtue of how densely the
atoms are packed, and how strong the binding forces between them are. It
not only affects durability, but also has implications for the potential luster
of the polished gem, and dictates what sort of tools, abrasives and polishes
the lapidary requires to work with it.
Most everyone has run across the Mohs' Scale of hardness which ranks
materials in a kind of pecking order from 1 at the low end (can't scratch
anything other than itself) to 10 at the high end (scratches all other gems,
including itself). This scale was set up by the Austrian mineralogist,
Friedrich Mohs, in 1827. He chose talc, gypsum, calcite, fluorite, apatite,
orthoclase, quartz, topaz, corundum and diamond as the representatives of
hardnesses 1-10, respectively.
Mineralogists and geologists can determine the approximate hardness of
their specimens by using a set of "hardness points" which are metal pens set
with pointed tips made of these minerals. The unknown specimen's hardness
is determined by sequentially using the points until the one which will not
scratch the specimen is found. So, if hardness point #8 will scratch the item,
but #7 will not, then its hardness lies between 7 and 8.
A kind of field, or practical, version of this test is often used by rockhounds
and amateur geologists:
1, 2 (VERY EASILY AND EASILY SCRATCHED BY FINGERNAIL)
3,4 (VERY EASILY AND EASILY SCRATCHED BY COPPER COIN)
5,6 (VERY EASILY AND EASILY SCRATCHED POCKET KNIFE BLADE)
7 (SCRATCHES WINDOW GLASS, SCRATCHED BY STEEL FILE)
8 - 10 (SCRATCHES WINDOW GLASS, NOT SCRATCHED BY STEEL
FILE)
The numbers on this simple and useful scale are sometimes misunderstood
to be linear or proportional in their meaning, which is not true. In order to
get precise determinations of hardness a device called a sclerometer is used.
It pushes a diamond point into a surface and measures the exact force
360
needed for penetration. This type of test belies our feeling that apatite (4 on
the Mohs' Scale), must be about half as hard as topaz (8 on the Mohs' Scale).
Sclerometer readings show that a topaz gem requires 8.5 times the force to
scratch as does an apatite. For corundum (9) and diamond (10) the
difference is even more striking--> with diamond testing as 140x harder than
sapphire.
Soft Gems
362
[Kyanite: H = 5 & 7]
Interestingly, if diamond crystals did not vary in hardness with direction,
they couldn't be cut and polished with diamond abrasives. The diamond
cutting process uses a slurry of tiny crystals of natural or synthetic "bort"
(industrial grade diamond) on a spinning cast iron surface (lap). As the
various facets of the diamond are cut and polished, they are subjected to
these randomly oriented crystals, at least some of which have harder
surfaces exposed than the facet being cut. The hardest crystal direction of a
diamond is the "octahedral" face which, literally, cannot be polished. Part of
the job of the diamond cutter, then, is to orient the rough to avoid this plane
in any of the facets.
Even with the variable hardness factor, diamond cutting is time consuming.
It requires specialized equipment, capable of greater rotational speed of the
cutting wheel and greater pressure on the gem than does equipment used to
cut colored stones. Although there are a few cutters who have the skill and
equipment necessary to work both with diamonds and colored stones, the
vast majority specialize in one or the other.
Although hardness is an important characteristic in a gem, it is by no
means the final measure of a gem's wearability or suitability for a particular
use. All other factors being equal, the harder the gem, the better it will
wear. But, there are two other factors which can make all the difference in
the world: a gem's toughness and its stability.
Each of these attributes will be treated in subsequent essays, but for now, a
brief synopsis. Toughness is the ability to resist breaking or chipping, and is
an extremely important consideration when selecting a gem for, say, an
engagement ring.
A hard gem will retain its polish, but if it is not tough, it may chip or break.
A notable example is topaz. With hardness 8, it might seem ideal for an
everyday ring or bracelet, but it is, in fact, a rather fragile gem due to its
363
364
Jadeite Jade
Not recognized until 1863 as two separate minerals, jadeite and nephrite:
aggregate minerals that overlap in color and transparency and have been
used for tools and art objects throughout history, are both called "jade". In
most instances, jadeite is the more valuable member of the pair, especially in
its highest quality where the price per carat can rival fine emeralds and
diamonds. The granular, interlocking pattern taken by the tiny crystals in
the aggregate accounts for its exceptional toughness enabling it to have been
used both for tools with strength greater than most metals, and at the same
time for the most delicate of carved artworks.
[Highly translucent, white and light green Burmese jadeite forms the delicate
flower petals and leaves of this 1920's vintage Chinese artwork.]
We usually associate jadeite with China, but that connection (which is
undoubtedly major) is fairly recent. Throughout the several thousand year
history of Chinese use and veneration of jade, it was nephrite which was the
focus. Jadeite has supplanted nephrite in the "hearts and minds" of the
Chinese in only in the last 200 years or so, since the time it first began to be
imported there from Burma. Burma is still the major world source,
especially for the finest material, but Guatemala, Russia, Kazakstan, Turkey
and the USA (California) also contribute.
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[Jadeite from around the World: yellow Burmese fish carving, purple Turkish
cabochon, vivid green Kazakstani cabochon, California jadeite tablet]
Jadeite can be semi-transparent to opaque and covers the spectrum from
colorless through white, green, yellow, brown, red, orange, violet, to grey
and black in color. In general, the color range and saturation values are
greater than with nephrite, as is the maximum possible degree of
translucency. Some of the colors are given variety, folk or trade names such
as Imperial, apple green, moss-in-snow or chloromelanite. Imperial is the
variety with the most highly saturated green color, apple green has some
yellow, spinach green is darker and less vivid than Imperial or apple green,
moss in snow has patterns in white and green, and chloromelanite is such a
dark green as to appear black. Various combinations of chromium and iron
are responsible for the different colors.
kind, "B" jade, which has been bleached or acid treated to remove dark
spots and resin impregnated to fill the resulting voids, and "C" jade, which
has been bleached, resin impregnated and dyed. It is relatively common for
jadeite, even in top grades, to get a simple surface polish with a layer of
colorless paraffin or beeswax.
Jadeite of inferior color is usually dyed, while that of decent color but with
unattractive inclusions is subjected just to the bleaching/resin process. All
the specimens of jadeite pictured in this essay are A jade. If you look around
most of the mass market venues: trade shows, catalogs, home shopping
channels, online auctions, etc., you will see B and C jade in abundance-->
but, in fact, you will rarely, if ever, see A jade.
The ubiquitous presence of these brightly dyed and othewise enhanced jades
has in some eyes diminished the beauty of the more subtle colors of natural
jades, and leads some to question the much higher costs associated with the
"real deal".
367
Value Considerations
By far, the most valuable variety of jadeite is that termed "Imperial". The
finest of these gems are nearly transparent and have the most highly
saturated, even, green color, rivaling (some would say surpassing) the finest
emeralds. Such pieces are extremely scarce and astronomically expensive-->
the name derives from the time when only the Imperial household was
permitted, and could afford to own it. Among the other green colors, the
next most valuable shade is termed "apple green". Fine, translucent,
lavender pieces can rival good greens in price, whereas highly mottled or
opaque gems are worth considerably less. Cholormelanite has some value as
a scarce collector material. As with nephrite, much of the value in jadeite
works of art comes from the skill with which they were carved or the
antiquity of the pieces. Enhanced material is very modestly priced.
Gemological Properties:
Makeup: Pyroxene: NaAlSi2O6
Hardness: 6.5 - 7
Toughness: exceptional
RI: 1.66 - 1.68
Density: 3.25 - 3.36
Polish Luster: greasy to vitreous
Birefringence: .012 - .020
368
Specific Gravity
Specific Gravity (SG), or the relative density of a gem material, is important
to gemologists in identifying an unknown specimen, and to jewelers and
jewelry lovers in matching the setting size to the gem weight.
SG is calculated as the ratio of the density of a given volume of the gem to
the same volume of water. Amethyst has a SG = 2.65 which means that a
cubic inch of amethyst weighs 2.65 times as much as a cubic inch of water.
The range in SGs for gemstones extends from slightly above 1 to nearly 7.
What Determines SG?
One might ask, why so much variation? Basically the density of any material
will be determined by the weight of the parts of which it is made (in this case
various chemical elements) and how those parts are put together (are they
closely or loosely packed in their crystal lattice?).
In general, gems which have heavy elements in their chemical formulas, like
lead or iron, and those whose crystal structures pack the atoms tightly, have
high SGs while those made of lighter elements or those with loosely packed
crystals have low SGs.
An example of the atomic weight factor would be the difference between
corundum (sapphire or ruby) Al2O3 and hematite Fe2O3. Aluminum = atomic
weight 27, Iron = atomic weight 56. (Imagine the weight of a one inch cube of
aluminum in your hand versus a one inch cube of iron)
369
[Diamond, graphite]
For purposes of this essay I will somewhat artificially group gems in terms
of their density as light (SG less than 3), medium (SG between 3 and 4), and
heavy (SG greater than 4).
Light Gemstones
Savvy jewelers can often discriminate cubic zirconia from diamond by the
simple hefting technique, as they are quite familiar with the weight of
various sized diamonds. If a stone is too heavy for a diamond of its size,
suspicion is aroused.
Along the same line, but more precise, would be the use tables of sizes and
weights such as found in appraiser's and jeweler's manuals. Measuring the
size of a gem and checking the expected weight for the species it is supposed
to be, can often weed out simulants, although it is of no use
with synthetics whose SGs are the same as their natural counterparts!
Such a table would tell you that a 6.5 mm round diamond should weigh 1.0
ct (if cut according to standard proportions) whereas a 6.5 mm round CZ is
expected to weigh about 1.65 ct. For this reason, when the home shopping
networks sell their CZ diamond simulants, they do so in "diamond
equivalents". So a "1 ct" CZ from those sources is the size of a 1 ct
diamond not the weight of one!
Here is a quote from the FAQ page of the HSN.com website:
What is Absolute?
Absolute is HSN's exclusive brand of high-quality simulated diamonds.
Absolute is often combined with precious metals and genuine gemstones to
create dramatic designs. Absolute stones are listed with diamond equivalency
weights - to help you compare Absolute to genuine diamonds and gemstones.
SG in Gem ID
There are two commonly used ways to determine the specific gravity of an
unknown: heavy liquids and hydrostatic weighing.
Heavy liquids use the bouyancy principle that says a solid will sink in a
liquid whose SG is lower, float in one whose SG is higher, and remain
suspended in a liquid whose SG is equal to its own.
Sets of heavy liquids with known SGs are used to determine (within a range)
the SG of unknown gems. Besides being imprecise, this method uses smelly
and potentially hazardous chemicals and can damage porous gems.
371
to get a 1 ct. round amethyst to take the place, in an old setting, of a 1 ct.
round diamond that had been lost.
Since quartz has a significantly lower SG than diamond, a 1 ct. amethyst
would be about 7.1 mm in diameter, too large for the 6.5 mm setting that
held the diamond--> but a .80 ct. amethyst would fit perfectly!
373
PYRITE
If I asked you whether you had, or knew any one who had, any pyrite
jewelry, you'd probably say no. But most of us have at least one piece set
with "Marcasites", usually with an oxidized silver setting and perhaps with
black onyx accents. Although many years ago there was some use of true
Marcasite as a gem, it has long since been replaced by its close relative,
pyrite, which looks nearly identical, but is much more plentiful, stable and
wearable. Along the way nobody ever bothered to change the name, so we
keep on using the Marcasite misnomer. The glittery points of flashing light
which make this type of jewelry sparkle come from bead set "rose cut"
pyrites (flat bottom, with the crown faceted to a point).
No matter what we call it, this brassy yellow, iron sulfide mineral with its
glowing metallic luster is a lovely gemstone. Its worth and prestige have
been unduly "tarnished", to my mind, by the unkind epithet of "fool's gold"
with which it has often been burdened. The name pyrite ("mineral of fire")
is a reference to the fact that it will emit sparks when struck by a metal
hammer.
Of the two metallic minerals commonly used as gemstones (hematite and
pyrite) pyrite is by far, the more common and versatile. Pyrite is, in fact, the
most common sulfide mineral on Earth--> it can be found in sedimentary,
metamorphic and volcanic rocks and although the crystal habit is affected, it
will crystallize at a variety of temperatures and pressures. Each
temperature/pressure/host rock combination seems to produce a different
crystal habit so that pyrite is one of the most variable minerals in that
regard. Within the hobby of mineral specimen collecting, there is a healthy
sized group who specialize just in the various forms of pyrite. Probably the
most common of these you might have seen in rock shops are the cubes,
octahedrons and "suns" (flattened disks), some of which also show
themselves as lovely inclusions in transparent jewelry stones. Another place
pyrite surfaces, so to speak, is as the "gold" streaks which give certain
cabochon gems, such as "Apache Gold" and "Oro Verde Serpentine" an
appealing glimmer.
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375
[Pyrite as "marcasite" in jewelry, 10x closeup of round and square cut pyrites
in brooch , pyritized ammonite fossil]
VALUE FACTORS:
Pyrite reaches its greatest value in its various crystal forms as mineral
specimens. Its value when used as a gem has generally been rather modest.
Well pyritized fossils are admired, and may be even more valued when
naturally oxidized to an iridescent finish. As an inclusion, it is the crystal
habit which is on display, so look for specimens with distinctive and clearly
visible pyrites. In jewelry, the brassy yellow color and strong metallic luster
recommend this gem, so well polished specimens, with no matrix or
inclusions, are the most sought after.
GEMOLOGICAL DATA:
Makeup: FeS2 Iron sulfide
Crystal System: isometric (cubic)
RI: > 1.81 (over the limits of the standard refractometer)
Hardness: 6 - 6.5
Density: 5.0
Luster: Metallic
376
Andalusite
Andalusite is a strongly pleochroic gem which is largely unknown by the
general public. It ranges in color from pale yellowish brown to dark green to
dark brown. It's trichroic nature, which shows shades of brown, green and
reddish brown depending on the path of light through the crystal, can be
enhanced by specific orientation and cut. This stone has sometimes been
marketed as "poor man's Alexandrite", but it is not a color change stone.
The distinction being that pleochroism is seeing different colors at different
viewing angles regardless of light source, whereas the color change
phenomenon is seeing a change in hue due to change in light source,
regardless of crystal direction.
377
[Andalusite oval in pendant and long marquis have cuts which tend to create
color separation, green in the middle and orangey brown on the ends]
Value
Andalusite is a real gem bargain, due to its lack of recognition in the
marketplace. Fine specimens can be had for less than stones of equivalent
quality in many other groups. Color itself is less important in this species
than the attractiveness of the pleochroic effect. Fine cutting adds value by
increasing brilliance and enhancing either the color separation or mixing
(both styles have their fans). As is true with ametrine, today's gem lover
generally favors the blended mosaic appearance. Large stones are especially
rare, any clean well cut specimen over 3 carats is a real find and will be
relatively expensive.
Gemological Data
Makeup: an Aluminum silicate
Luster: vitreous
Hardness: 7.5
Crystal structure: orthorhombic
Fracture: distinct, one direction
Cleavage: uneven to conchoidal
Density: 3.16
RI: 1.63-64
Dispersion: .016
Birefringence: 0.01
Pleiochroism: Strong: brown, green, reddish brown
378
Peridot
To my mind, peridot is an under-appreciated gemstone. Perhaps this has
become the case due to the public's familiarity with low quality, olivey
material which is inadequately cut and polished. Admittedly it can look
pretty awful, but the lime and apple green stones given custom cuts and
polishes are something else again.
Value
The vast majority of peridot rough produces sub-carat sized stones which
are ubiquitous in commercial quality jewelry and are quite inexpensive.
Stones in the 1-4 carat range that have custom cuts and lack olive tones are
much more highly valued and stones over 4 carats with good clarity, cut and
color bring the highest prices of all.
Gemological Data
Makeup: an iron, magnesium, silicate
Luster: Sub-Vitreous to Vitreous
Hardness: 6.5 - 7
Crystal structure: Orthorhombic
Fracture: conchoidal
Density: 3.34
RI: 1.65 - 1.69
Birefringence: .036
380
RUBY
Ruby is corundum whose red coloring derives from chromium impurities,
all other color varieties of this mineral species being referred to as sapphire.
The ruby color range includes pinkish, purplish, orangey and brownish red
gems depending on the chromium and iron content. The trace mineral
content tends to vary with the geologic formation which produced the ruby,
so that original place adjectives, such as Burmese and Thai, have come, in
later years, to be sometimes used in describing color.
To qualify as ruby, authorities expect a medium to medium dark color tone
in a corundum gem, naming stones lighter than this, pink sapphire--> but
there is no general agreement as to exactly where the line is to be drawn. The
stone below is an example of a corundum gem that some would call a ruby
and for which some, more conservatively. would use the term pink sapphire.
The old saying about questionable stones goes: "Whether it's a ruby or a
pink sapphire depends on whether you're the buyer or the seller"!
[Synthetic flame fusion ruby rough (boule), cut synthetic flame fusion ruby]
382
383
"rubies" such as the famed Black Prince's Ruby of the British Crown
Jewels, were actually other red gems, most often red spinels. Ruby is the
traditional birthstone for the month of July.
Value:
Rubies are the most valuable members of the corundum family. Large, gem
quality rubies can be more valuable than comparably sized diamonds and
are certainly rarer. Small gem quality rubies are rarer than comparable
blue or other color sapphires, making even the littlest fine rubies relatively
high in value. Many gems increase exponentially in value with increase in
carat size, and this is particularly true of fine ruby gems. Of course there is a
tremendous amount of lower quality ruby available in the market for
reasonable to lower prices.
Stones of Burmese origin generally command the highest prices. Strong
color saturation, eyeclean or better clarity, and strong fluorescence elevate
prices sharply. The vast majority of rubies are "native cut" in the country of
origin. Many native cut stones have windows and poor proportions which
mar the stones' brilliance and overall appearance. (Such cuts are not
generally a sign of lack of skill by the lapidaries, though, but of the need to
retain weight in the cut gem which is usually their highest priority). High
value ruby rough is tightly controlled and rarely makes its way to custom
cutters outside the country of origin. Occasionally, such native cut stones are
recut to custom proportions, albeit at a loss of weight and diameter. Custom
cut and recut stones are usually more per carat than native cuts, and my
own bias is that they are "darn well worth it".
Gemological Data:
Makeup: Aluminum oxide
Crystal Structure: Trigonal
Hardness: 9
Luster: Vitreous
Density: 4.00
RI: 1.76 - 1.77
DR: 0.008
Disperion: 0.018
Cleavage: none
385
386
Rhodocrosite
This gem is known to the public primarily from the opaque to translucent
aggregate form, generally seen in pleasant looking pink and white patterned
cabochons. Good quality stones have high contrast between pink and white
sections making the so-called "bacon strip" pattern. Pieces cut from
stalactite formations often have concentric rings or "eyes".
One of the "idiochromatic" gems (those which get their color from the
constituent atoms of their basic formula rather than from trace impurities),
it is colored by manganese. Named from the Greek word, rhodokhros, "of
rosy color", rhodocrosite occurs in hydrothermal veins associated with
manganese, copper, silver and lead, and sometimes as stalactites in caves.
Major sources are Argentina, Mexico, South Africa and the USA.
387
They are so beautiful that some succumb to the temptation to put such
pieces in jewelry. This can be done, especially with the tougher aggregate
form, but as the gem is sensitive to heat, acid and shock, extreme care in
setting and extreme gentleness in wearing are necessary.
["Gel" cabochon, stalactite slice and crystalline rhombs set into jewelry]
The pink color, lovely patterns and ready availability make this gem a
favorite of intarsia artists and carvers.
The number of specimens of facet quality are very few to begin with, and,
those same crystals are coveted by mineral collectors, further diminishing
the supply. This high grade crystalline material is not only extremely rare,
but very difficult to facet, due to its softness (3.5 - 4.5) and the perfect
cleavages.
389
In cabochons, the gel pieces or those with some translucent areas, are valued
more highly than fully opaque stones. Those with particularly attractive
markings, such as stalactite "bull'seyes" are preferred as well.
Gemological Data:
Makeup: Manganese Carbonate (MnCO3)
Luster: Vitreous to Pearly
Hardness: 3.5 - 4.5
Crystal structure: Trigonal
Fracture: uneven to granular
Cleavage: perfect, in three directions
Density: 3.60
RI: 1.60-1.80
Birefringence: .220
390
Dispersion
Dispersion, refers to an optical property of gemstones whereby flashes and
pinpoints of spectral colors are displayed as the stone is turned in the light.
The dispersive colors we see are not really there in the gem, instead, they
are created by the behavior of white light in the stone. Dispersion results
when light passes through a transparent material with inclined surfaces (like
a prism, or a faceted gemstone). Although the term "fire" is gemologically
equivalent to dispersion, "fire" is so frequently misused to mean either
brilliance (total light return) or scintillation (twinkling), that I prefer to use
"dispersion" in all my descriptions for the sake of clarity.
tend to have fairly dark body color which usually masks the effect to a great
degree. Fans of dispersion and fans of rich color often part company over
which is more beautiful--> a saturated medium dark blue Benitoite which
shows little of its potential dispersion, or a substantially lighter one with
spectral colors flashing at every turn. (As a card carrying Benitoite fancier, I
am definitely in the latter category!) The 2.0 ct. Benitoite stone in this
pendant has, to my eye, an optimal balance between color and dispersion.
392
until a few decades ago, the diamond simulant of choice was white zircon,
whose dispersion and high luster make it a good visual replica for diamond.
[YAG]
Cubic zirconia now has the lion's share of the simulant market, among other
reasons, because its dispersion, though higher than diamond is close enough
to look right, especially in sizes most commonly used in jewelry.
393
Fluorite: .007
Silica Glass: .010
Quartz: .013
Apatite: .013
Beryl: .014
Chrysoberyl: .015
Crown Glass .016
Moderate
Iolite: .017
Danburite: .017
Tourmaline: .017
Kunzite: .017
Corundum: .018
Spinel: .020
Peridot: .020
Spessartite Garnet: .027
YAG: .028
High
394
Zircon: .038
Lead or Flint Glass: .041
Diamond: .044
Benitoite: .044
Sphene: .051
Very High
Sphalerite: .156
Strontium Titanite: .190
Natural and Synthetic Rutile:
.280
**********
395
Tanzanite
Truly a modern gemstone, transparent zoisite of a naturally yellowish
brown color which can be heated to a stable blue to violet, was discovered in
the shadow of Mt. Kilamanjaro in 1969. Although other varieties of opaque
zoisite were well known, they made no impact on the gem market.
Tanzanite's rise to prominence among retail jewelers and the general public
has been rapid and dramatic. Naturally trichroic, the species shows different
colors when viewed through each of its three crystal axes: blue, red-violet
and yellow-green.
Although the occasional blue-violet stone is found in the rough state (Mother
Nature in this case has already provided the heating); the vast majority of
them must be heated to create this color. Usually stones are cut and polished
prior to heating to about 700 degrees Fahrenheit, as abrasions, fractures and
inclusions in the rough can cause cracking. This means that the cutter has to
attempt to orient the stone for best color prior to the color change. It is the
yellow-green color which is altered to colorless by this treatment leaving just
the other two more attractive color axes.
Another important decision which must be made by the cutter is the choice
to go for size (usually the more violet orientation yields the largest stone) or
blueness (blue orientation yields smaller gems). A very small fraction of
Tanzanite rough heat treats to a green or blue green color and such stones
are valued by collectors. (Technically they should be called heated green
zoisite, but everyone calls them "green Tanzanite" anyway.)
In the trade, all Tanzanites are assumed to be heat treated and the color is
stable. Initially, blue stones were valued as a substitute for sapphire, but
gradually an appreciation for the more violetish tones has built up.
Tanzanite is used frequently as a ring stone, but with its hardness of 6.5
daily wear will dull the finish and its brittleness is a hazard. It is better
suited to earrings, pendants, tie pins and occasional wear rings or those with
protective settings. Recent disastrous weather conditions, mining accidents,
government embargos and continuing political tensions have restricted the
supply, especially of larger finely colored stones.
Tanzanite simulants range from less convincing glass and synthetic
corundum stones whose lack of dichroism is a give away, to more convincing
synthetic Fosterite pieces which must be detected by refractive index or
specific gravity measurements. Recently, coated natural origin stones with
micro-thin layers of rich color over pale cores have entered the market,
396
Value
In general, stones showing more blue are valued higher than those showing
more violet and medium dark colors are the ideal. Custom cuts add value.
As always, size and clarity have a strong effect on prices--> large clean
rough is extremely scare, and now in addition has been limited for export, so
larger, fine gems are rapidly rising in price and decreasing in availability.
Collector types such as greens or the ultra-rare cat'seye stones are highly
sought after and quite valuable.
Density: 3.35
RI: 1.69
Pleiochroism: Trichroic, blue, red-violet, yellow-green
Birefringence: .010
398
Fluorite
Fluorite (calcium fluoride), historically called Fluorspar, has been used in
carvings and decorative objects for hundreds of years, but the availability of
faceted pieces is a relatively new development. Not readily useable in jewelry
due to its softness, and perfect cleavage in four directions, it is primarily a
collector's gem. Faceting this material presents considerable challenges, but
well cut and polished gems can be very bright and appealing. The first
picture below shows a close-up of a typical piece of fluorite rough showing
natural cleavages, note the steep 90 degree breaks. Although fluorite
sometimes forms octahedral crystals naturally, most of the fluorite
octahedrons sold to collectors are actually those which have been
deliberately cleaved into that shape. (If the cleaver knows exactly where to
hit the crystal, these form readily and need no polishing!).
399
[Banded and vivid green faceted stones, more delicately colored fluorite
carvings]
One of the most famous of all gem fluorite mines, located in Castleton,
Derbyshire in the UK, and now, sadly, virtually exhausted, produced the
famous "blue john". This banded, translucent, cream and blue-purple
fluorite was extensively used throughout Europe over at least fifteen
centuries to produce stunning vases, sculptures, and ornamental items. The
very small production remaining today goes almost exclusively to custom
jewelry. Quite recently a deposit of colorful and durable, highly silicated,
massive fluorite was discovered in Utah, and has been given a number of
fanciful names: Picasso Stone & Bertandite, to name two. More properly
called "opalized fluorite" it makes attractive cabochon gems.
400
Value Factors
As large crystals are common, size in a finished piece is a minor value
consideration. Most banded fluorites or those in common colors are quite
inexpensive and readily available as native cuts. Premium prices are
obtained only for those pieces with fine faceting and polish, or those with
unusual colors.
Gemological Properties
Makeup: Calcium fluoride
Hardness: 4
Refractive Index: 1.43
Dispersion: .007
Density: 3.18
Crystal System: Cubic
Luster: Vitreous
UV Fluorescence/Phosphorescence: Strong, variable
Toughness: Fragile due to brittleness
Cleavage: Easy in 4 directions
401
Chrysoprase
Chrysoprase is chalcedony (microcrystalline quartz) whose rich green color
is derived from the presence of minute particles of a nickel containing
mineral, willemseite. The derivation of its beautiful color is, then, analogous
to chrysocolla chalcedony's coloration by particles of the copper mineral
chrysocolla. Chrysoprase, with nickel as a chromophore, is notable among
green stones as the majority are colored by iron (like peridot), or chromium
(like emerald and chrome tourmaline), or vanadium (like Tsavorite garnet).
Geologically it forms as a precipitate from solutions containing silica and
nickel compounds, generally derived from the weathering of serpentines.
These solutions crystallize in fissures, cracks and cavities in various types of
rocks. Historically deposits have been found in Eastern Europe, the US,
Russia and Brazil, but by far the lion's share of today's World chrysoprase
production comes from Australia.
The name, derived from Greek for "golden + leek" belies the green color,
but may have reflected either yellowish local deposits, or as so often happens
in gemological antiquity, the transfer of names from one gem material to
another as time passed. Colors range from near emerald, to apple, to leek
green, with or without matrix, and diaphaniety ranges from nearly
transparent to opaque.
[Chrysoprase extremes: from nearly transparent in these carved leaves to opaque with black matrix in the
cabochons]
At one time the duller, leek green stones were called prase, and the more
vivid apple greens ones chrysoprase, but this distinction is given little
attention today.
402
[Roughs of apple and leek green material which may sometimes be distinguished as chrysoprase and
prase]
The appearance of the best colored pieces is similar to that of fine jade, and
explains the high regard this stone inspires in the Orient. In fact,
unscrupulous sellers of both contemporary and vintage jewelry have been
known to sell chrysoprase as the more valuable jadeite. Looking at the two
rings below, it is not immediately obvious which is chrysoprase and which is
jadeite.
403
Like other forms of chalcedony, chrysoprase makes a good, tough, gem for
all jewelry applications. The only concern is that some specimens may lose a
bit of their color if they are exposured to prolonged high heat or intense
light. Chrysoprase, itself, is not known to be treated or enhanced; however
dyed green agate, and green glass have been commonly used as simulants.
Value
With the exception of the finest grades of chrysocolla chalcedony,
chrysoprase is the most valuable variety among the chaledonies. The most
desirable gems in this material feature an even, highly saturated color with
substantial translucency and no visible inclusions. Custom cut specimens are
more valuable than calibrated cuts and larger pieces of high quality are
rare.
Gemological Data:
Makeup: Silicon Dioxide
Luster: Vitreous to waxy
Hardness: 7
Crystal structure: Trigonal
Fracture: conchoidal
Cleavage: none
Density: 2.61
RI: 1.53-1.54
404
Birefringence: .004
Pleiochroism: none
405
406
[Rutilated Quartzes]
What might be considered the "Holy Grail" for quartz inclusion collectors is
the rutile/hematite starburst. In these pieces a six sided, shiny black
hematite crystal serves as an alignment point for the rutiles which, in the
best examples, line up in parallel bundles along each face forming a six
rayed star with a hematite center. Such pieces are sought after and highly
valued even when the stars overlap or are incomplete.
tourmaline needle captured in it--> if it runs from the center of the table to
the culet it will reflect in all the pavilion facets and form a perfect
"pinwheel".
[Quartzes with pyrite "suns", perfect pyrite cubes, strawberry quartz with
hematite platelets, dendritic quartz with manganese oxide dendrites]
408
Growth Phenomena
Growth phenomena such as starts and stops during crystal formation
sometimes provide interior interest. "Phantoms" which show the outline of a
host crystal face with deposited material of a different color or
transparency, and "negative crystals" which are voids bounded by the
growing host crystal walls are examples.
Value Factors
410
Gemological Properties
Makeup: Silcon Dioxide (plus make up of inclusions)
Hardness: 7
Toughness: good
Crystal System: Trigonal
Luster: Vitreous
Density: 2.61 (inclusions generally increase this)
RI: 1.53 -1.54
411
Rubellite Tourmaline
Rubellite is the name given to dark pink to red tourmalines, especially those
with reasonably saturated colors and medium to dark tones. Ruby red
stones with little orange or brown overtones are the most highly sought
after. GIA has traditionally classified rubellite (along with Emerald) as a
Class III gem, meaning that it is almost always included. This is somewhat
less true in recent years as deposits from certain regions of Africa yield
much cleaner rough. Alas, these stones, so often tinged with brown, almost
never approach the ruby like color of the best of those from older, more
included, Brazilian deposits. Russia, Brazil, Madagascar, Nigeria and the US
are productive sites for this gem.
412
Value
Due to scarcity and beauty, the most valuable pieces are untreated, clean
(eyeclean or better) deep pinkish red to slightly purplish red stones. Those
with light pink color are sometimes offered as rubellite, but more properly
should be labelled pink tourmaline. Brownish tones decrease value
considerably. A custom cut adds value, although the majority of Brazilian
pieces are native cut.
Gemological Data
Makeup: a complex borosilicate
Luster: Vitreous
Hardness: 7.5
Crystal structure: Trigonal
Fracture: conchoidal
Density: 3.06
RI: 1.62 - 1.64
Birefringence: .018
413
Aventurescent Gems
When a gemstone contains large numbers of disk-like or platy inclusions
that have a metallic or highly reflective surface, aventuresence is the result.
In good light, the visual effect is reflective speckles and sparkles, from
subltle to dramatic, depending on the type of inclusions and the color and
transparency of the host mineral. The little mirrors responsible for this
effect can be green fuchsite mica, reddish hematite or Goethite, or metallic
copper.
Glass
The name of this phenomenon derives from an Italian word meaning
"chance" or "accident" and is said to have first been used to describe manmade goldstone glass. The (probably apocryphal) story, is that a worker in a
glass factory accidently spilled a bucket of copper filings into a batch of
molten glass. The resulting "aventurine" glass, was so pretty that the factory
began making it deliberately. Only later, as the story goes, did gemologists
borrow the term to label Nature's own glittery handiwork.
Fine grades of aventurine quartz have been used as jade simulants in high
quality carvings, and can be visually convincing.
415
416
Gemological Data:
Varies with species
417
Chatoyant Stones
The most commonly appreciated expression of the chatoyance phenomenon
is in the formation of cat'seyes and stars. When fibers, needles or channellike inclusions within a gem align themselves parallel to one or more crystal
faces and the gem is cut in the proper orientation with a moderate to high
dome, a cat'seye or star figure appears. I've covered both of these in other
essays, so in this writing I want to focus on those cases where the
phenomenon is less organized.
When the parallel inclusions are oriented in patches, or not aligned with a
crystal face, or when the gem is not cut so as to orient them, the result is a
silky surface sheen simply called chatoyance. You can visualize the effect by
comparing the reflections you'd see in silky thread wound on a spool versus
that same thread wound around a flat card. The dome created by the spool
concentrates the reflections into a band ( cat'seye) whereas the effect on the
card is merely a generalized silky glow.
The most well known and available gem with this effect is tiger'seye and its
bluish relative hawk'seye. Until just recently, tiger's eye was thought to be a
"pseudomorph" meaning a mineral in which crystals of one material take
on the form of another. Tiger'seye, in virtually all current gem books is
called a chalcedony pseuodomorph of crocidolite (a form of asbestos).
I was quite surprised a while back to find the lead article in one of my
science magazines devoted to new information on the structure of this
popular gem. It seems that rather than chalcedony replacing crocidolite, this
gem is actually a combination of crocidolite and layers of crystalline quartz
(Science News, 4/26/2003). Of course it still looks the same, but I find it
intriguing that after 130 years of authors writing about this gem in popular
articles and gem reference books, new information can still be derived.
418
419
Value Considerations
Aside from the overall rarity and quality of the gem in question, the degree
of the chatoyance phenomenon would be the most important value setting
aspect, with those displaying it more fully are considered more valuable.
Gemological Properties:
Vary Depending on the Species
420
[Star ruby, white star sapphire ring, rare bi-colored star sapphire]
421
The only other gem which commonly forms stars is quartz, where the
phenomenon tends to be more visible in transmitted than n reflected light, in
this species, rose quartz is the most frequently asterated variety. Most
citrine in commerce has been heated which tends to dissolve the fine rutile
inclusions necessary for star formation, so it is rather rare. In fine, near
transparent quartzes which have been cut to near spherical shape, multiple
stars can form an intersecting pattern over the surface.
422
Other much less commonly found star stones include diopside, enstatite,
moonstone and garnet which show four rayed stars and beryl and spinel
which usually show six rayed stars.
[Star diopside, star moonstone, star garnet: Image courtesy of GIA, star spinel]
In some cases natural patterning, color zones due to twinning, or inclusions
can form a four or six sided figure in the a stone, but as these are not
dependent on light for their existence, and are a permanent part of the gem,
they are not considered star stones.
423
Value Factors
Several factors influence the value of star stones. First would be the rarity of
the material itself. For example, star beryl or star spinel have inherent rarity
value not possessed by star quartz or corundum, since these species so
infrequently form stars. Secondly, within any gem category value rises with
the same three basic parameters that control most of any gem's value: color,
clarity and carat weight.
In general, the more saturated the color, the more translucent, the fewer
distracting, visible inclusions, and the larger the size, the more valuable a
star stone is. Added to these basics are the characteristics of the star itself.
The best pieces have strong stars which show themselves in less than ideal
lighting conditions. These stars have straight, evenly bright legs which reach
all the way to the girdle of the stone and are well centered in the gem.
Gemological Properties:
(Values are for sapphire -- will vary with gem species)
424
425
Daylight
Incandescent
Alexandrite Cat'seye
Daylight
Incandescent
CC Garnet, Daylight
CC Garnet,
Incandescent
427
Value
Fine Russian Alexandrite is at the apex of all color change stones in terms of
both quality and value. Alexandrite from other sources such as Brazil, India
and Sri Lanka varies in price depending primarily on the saturation of the
colors, and the strength of the change.
Other color change species are available at more modest prices, which for
fine sapphires might reach into the same range as non-Russian Alexandrite,
with the best grades of color change garnet somewhat lower. No established
price ranges for most species are found as specimens are few and generally
go to collectors.
As in all gems, size, clarity and color affect value, but with this group there
are two additional factors: completeness of the color change and the
attractiveness/saturation of each color. A stone with a modest color change
having two saturated and attractive colors may be as valuable or more
valuable than one whose change is more dramatic but whose colors are
greyed or browned.
Gemological Data
This varies with the species but does not vary, from the non color change
forms of the same gemstone.
428
Iridescent Gems
Due to their internal structure, a number of gem varieties show a surface or
interior display of colors which are not part of the gems themselves, but
rather created by the behavior of the light that enters them. This optical
phenomenon, called iridescence, is familiar from everyday situations like the
colored layer that oil or gasoline make on a puddle of water, or the rainbow
effect we might see on the surface of a CD. Both diffraction and interference
play a part in the effects we see.
In the case of color play in opals for example, the gem's ultrastructure based
on uniformly packed spheres of cristobalite silica acts like a diffraction
grating which breaks light into the various wavelengths of color. As they
reflect from the various inner layers, the now, slightly out of phase waves
combine and subtract by interference, and we see blocks of spectral colors.
The size of the internal spheres determines the color: with mostly smaller
spheres: we see blue, with mostly larger ones: we see red. Beyond a certain
sphere size, as in common opal, light doesn't have to bend to travel through
the openings, so no color play is seen.
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[Baroque freshwater pearl, South Seas black pearl, abalone blister pearl]
Labradorite is a form of feldspar that is noted for its iridescent optical
phenomenon. In this gem in general, and in its more colorful variety,
spectrolite, the iridescent effect is usually confined to a single direction, and
is created by repeated thin laryer internal crystal twinning.
[Fire Agate]
VALUE CONSIDERATIONS
All else held constant, the stronger the phenomenon of iridescence the more
valuable the gem. In opals, larger patches of color, greater saturation of
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color and more individual colors are more desirable than tiny points or
single colors. In pearls, a thicker nacre coating creates a more visible and
even display of orient which increases their value. Ammolites increase in
value with the amount of blue and violet, in their displays, as red, green and
gold are more common and the situation is very similar with fire agates.
The degree to which the phenomenon covers the entire surface is a strong
value factor, with "dead" spots detracting substantially from value. Another
factor is the degree of directionality of the phenomenon. All Labradorites
and some fire agates and ammolites, for example have a single plane or a
limited few angles at which strong colors show and at other angles this effect
fades. As with any gem, body color, clarity, size and beauty of the fashioning
are additional factors which influence price.
Gemological Properties:
Varies with species
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Cat'seye Stones
Chatoyance is the term for shimmering or silky reflections seen on the
surface of a gem. This effect is created by light reflecting from fibrous
inclusions. When these inclusions are parallel to each other and occur in
sufficient quality and quantity, and when the gem is cut so as to align them
properly, then a single reflection centered on the cabochon dome is formed
which is referred to as a cat'seye. Many gem species have cat'seye varieties,
including (but not limited to ) apatite, actinolite, beryl, chrysoberyl,
Kornerupine, tourmaline, quartz, sillimanite, moonstone, opal and zircon.
A related phenomenon, asterism, or star effect, is created when the parallel
fibers lie in different crystal planes relative to each other and is really just a
case of 2 or 3 centered cat'seyes visible at the same time. The finer and more
completely aligned the fibers, the stronger the cat'seye effect will be. The
shape of cat'seye stones is nearly always round or oval and the cabs are
generally cut with a high dome. All other factors being equal, the higher the
dome of the cab, the stronger the eye.
As the cat'seyes of antiquity, only chrysoberyl cat'seyes are properly
referred to as "cat'seye" with no modifier. Especially popular in the Orient,
both the darker "honey" and lighter "lemon" colors are popular.
Traditionally men have favored honey and women, lemon. All other species
of cat'seyes should be given varietal designations like cat'seye tourmaline,
cat'seye scapolite, etc.
Sunlight or a single overhead light source produces the best effect, and new
owners are sometimes disappointed that the eye that they saw so clearly in
the photo or in the showroom can't be seen clearly in dimly lit rooms or in
those with multiple, diffuse light sources, like overhead fluorescents. Savvy
buyers of these stones often carry a penlight to check out the sharpness of
the eye of stones they are considering.
Some pieces show a highly desirable effect referred to as "milk and honey"
where cat'seye gems lighted from the side split into a light and dark half.
Also occasionally seen is the "opening and closing" effect where pinpoint
light sources held above and then pulled apart to light both sides, causes the
eye to split into two lines which follow the light sources.
The vast majority of cat'seye gems have been native cut with uneven
bottoms, but this is not necessarily a sign of haphazard work or poor
lapidary skills. Specialists in cutting these gems are great masters at
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Value
The value of a cat'seye gem is, related to both the inherent value of the gem
species, and the fineness of the cat'seye display. The most highly valued
species is chrysoberyl, with large transparent, top quality gems commanding
several thousand dollars per carat; while even the finest quality cat'seye
quartz can be had relatively inexpensively. In general terms, rich color, high
transparency and distinctness of the eye enhance the value. Milk and honey
effect and opening and closing of the eye also raise the value of a cat'seye
stone.
Gemological Data:
Properties will be within the same ranges as the non-chatoyant varieties of
that species
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CONSIDERING FACETING?
435
passed through your newbie stage. If you've read these books, or others, and
STILL are interested, now's the time to buy your equipment.
Getting The Equipment to Begin Faceting
Here's the scoop on machines--> they're all good! That being said, it's still
true that non-biased assessments are very hard to find as all facetors tend to
think their own machine is superior to other brands.
You may be lucky enough to run into a deal on some used equipment, but
let's say you are going to buy new. Where do you start? It would be useful to
write or call the major manufacturers (most have websites and all advertise
in lapidary magazines) and have them send you their information packages.
The old joke about faceting is that the most important piece of equipment in
faceting, is the big thing sitting in front of the machine! It's kind of like with
autos, either a Chevy or a Lexus can get you from point A to point B,
especially if you are a good driver (and of course a bad driver can wreck
either one). Differences in bells and whistles, and ability to keep in
adjustment reliably without numerous trips to the repair shop, equate to
differences in price, but all machines on the market will do the job.
437
438
[Vintage elk tooth ring set in gold with diamonds, polished and scrimshawed
slice of narwhal tusk ivory]
Claws, Horn, Hair and Related Materials
Structurally, this grouping has in common the presence of at least some
keratin protein. Hair and claws are virtually all keratin while, horn, tortoise
shell and antler vary in the degree to which the protein component has been
"mineralized".
Claws
Certainly our remote ancestors made use of animal claws in their jewelry,
but not too many examples have been prominent in Western culture in the
last couple of centuries -- particularly not in settings of high karat gold. A
notable exception to this is "tiger claw" jewelry seen sometimes in the
antique market and hotly pursued by collectors. During the British colonial
period in India, the wild tigers which are, so rightly, strictly protected in
today's world, were seen as vermin of a particularly threatening kind. The
"Sahibs'" tiger hunts were, at least to read British-authored historical
accounts, much encouraged and appreciated by the native population.
Taxidermists mounted heads, furriers made pelts, and jewelers set the claws
in brooches and pendants.
[Tiger claw brooch in high carat gold, Victorian era: Image courtesy of
www.fraleigh.ca]
Horn
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Horns from various species have been well known from both historical and
current times as the source of useful objects such as cups and storage
containers and handles for implements. In the jewelry world, horn is most
often encountered in either the least expensive of tourist trinkets, or as an
imitation of rarer materials, like jet or tortoise shell.
[Antler, a renewable resource!, bolo tie with jasper, an antler "button" and
antler tips]
Hair
Human hair has in various times and cultures been used for jewelry
purposes, but never as artistically and enthusiastically as in the US and
Great Britain during the Victorian period. Perhaps you'd feel a bit
squeamish about touching or wearing a vintage jewelry piece made from a
dead person's hair. This was my initial reaction, but with time I've done a
complete turnaround, and become an avid collector. Pieces range from
simple locks of hair behind glass, or in a locket compartment, to elaborately
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woven works, and even "paintings" using strands of hair as the medium.
Books of instructions and patterns for "hair work" were popular with
young women of the time, and looms and other implements were sold to aid
them. Such jewelry items were given as gifts between young lovers, or worn
as remembrances of loved ones who had passed away. It was indeed a more
sentimental age than ours.
[Hair work jewelry: all items circa 1850 -1900, intricately woven hair brooch in
14k, gold, enamel and hair brooch (and close-up showing that two kinds
individuals contributed (the dark hair makes a woven background, for the
knotted blonde hair), a multi-strand hair work bracelet showing several
different patterns of weaving and closeup]
Human hair is not the only type found in jewelry. Those same British
colonials who were sending home tiger claws in jewelry, also valued elephant
hair (yes, that is a single hair!) in bracelets, necklaces, and rings.
and structurally most similar to horn. The term tortoise shell has come, in
modern times, to stand more for a color pattern than a gem, and is seen
almost exclusively in plastic imitations.
As they should be, the hawksbill sea turtles which are the source of gem
tortoise shell are a protected species in today's world, but down through
history their shell was used for furniture veneer, household implements, and
hair ornaments as well as for jewelry.
[Tortoise shell 14k and sterling pique brooch, circa 1850, pique earrings, circa
early 1800's: Image courtesy of Arlene Nobel Antiques]
Baleen
Whales are divided into two basic groups depending on their feeding
mechanism, called the toothed and the baleen whales. Baleen whales feed by
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[Small baleen plate in its natural state, circa 1900 scrimshawed raw baleen
plate, contemporary scrimshawed baleen brooch]
Hornbill "Ivory"
One of the rarest of all organic gem materials is known as "hornbill ivory"
or golden jade, but it is neither ivory nor jade. It is a proteinaceous horn-like
material obtained from the "casque" or secondary bill, of the Kenyalang or
Helmeted Hornbill bird from Borneo, now rigorously protected. Only
certified antiques such as those below can legally be traded. In earlier
centuries this material which ranges from a creamy white to translucent
golden yellow was used for ornamental and jewelry purposes particularly
throughout the Orient. Most valued was the outer "rind" of the bill which
was stained a bright red-orange from glandular secretions rubbed into it by
the bird's preening activities.
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[Non-nacreous "pearls": conch pearl, scallop pearl, melo melo pearls: Image
courtesy of www.gemsfromearth.com]
Opercula
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[Egyptian Revival Period natural scarab brooch (and back view), 1930's
butterfly wing pendant]
Shagreen
Shagreen is the tanned hide of sharks and certain rays. It has a long history
as an ornamental material from Japanese Shogun era sword hilts, to French
Revolution era furniture veneers, to Art Deco jewelry. It is beautiful,
relatively durable, and has a unique, bumpy texture that inspires devotion in
many collectors.
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[Circa 1900 crystal and sterling shagreen jar with closeup to show texture,
1920's chrome, dyed shagreen cuff bracelet]
Beauty is in the eye......
Of the friends and acquaintances who have been invited to view my
collection of odd organics, the object below is the one most often singled out
as supremely hideous! Personally, I find it has a sort of Charles Bronsonesque loveable ugliness. This early 20th century item is a grouse foot brooch
(yes, it is a real foot), and was lovingly made with sterling silver and foilback
paste "topaz" gems in Scotland. To each his own, but I always smile
picturing some kilt-clad kinsman of mine (my maiden name is Walker)
wearing this good luck token during his grouse hunt through the heathered
hills.
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Zircon
The beautiful, historically important gemstone, zircon, has unfortunately, in
recent years been tarnished by its name-only similarity to cheap, ubiquitous,
synthetic cubic zirconia. The two are totally distinct in their chemistry,
optical properties and origins, though.
A natural gemstone, which occurs in various colors; zircon is found in many
Asian countries, notably Cambodia and Sri Lanka as well as in Brazil,
Australia and East Africa. Colorless when pure, zirconium silicate takes on
various shades due to impurities. The most common color in the natural
rough is yellowish brown.
The original diamond simulants, colorless or "white" zircons, if well cut, can
be visually convincing, but are easily distinguished from diamond by their
double refraction and the tendency to wear along facet edges. Brownish
stones are often heated either with or without oxygen to achieve a colorless
state or shades of blue, red and golden yellow. The rich, slightly greenish
blue heated zircons had at one time been marketed as "starlite", but the
term never caught on.
Some zircon crystals contain naturally radioactive thorium and uranium.
Over time, this radioactivity breaks down the crystal structure so that such
stones (always green) tend to an amorphous, glass-like state, with a lower
refractive index and luster than the crystalline type. These unenhanced gems
are referred to as "metamict" and are sought after collector's items.
The high birefringence of zircon makes it necessary for the cutter to orient
the table of the stone to the optic axis; otherwise the interior may look fuzzy,
due to facet image doubling. Round stones are often given a "zircon" cut
which is similar to a standard round brilliant cut with an extra tier of facets
at the culet.
Although use in rings should be limited to protective settings or occasional
wear jewelry, in general, zircon is a magnificent jewelry stone. With a luster
just short of diamond and a very high refractive index, exceptional brilliance
is possible when a piece is well cut and polished. That stones with light body
color may show strong dispersion is a bonus. Collectors appreciate the many
color forms but especially seek out reds and greens.
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[Heat treated zircons: golden, blue, white zircon used as a diamond simulant]
Value
Medium dark, pure blue stones have the highest value, followed closely by
those with a saturated greenish blue color. Red stones (always with some
orangey hue) in larger sizes also command relatively high prices. Cut is an
important factor in value as the vast majority of zircons in the market,
especially blues, have been native cut. A custom cut, therefore, enhances
value. Sizes of zircon rough is not as limited as in some species, so although
there is some premium per carat for larger stones it is not exponential.
Cat'seye stones are quite rare in this species and especially valued.
Gemological Data
Makeup: ZrSiO4
Luster: subadamantine
Hardness: 7.5
Crystal structure: tetragonal
Fracture: concoidal
Cleavage: none
Density: 4.69
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Blue Topaz
Blue topaz begins "life" as colorless or very lightly tinted natural topaz
crystals which are then irradiated to change the color to blue, and heated to
stabilize the change. Neutron bombardment in a nuclear reactor produces
the deep slightly greenish or greyish London Blue, while electron
bombardment in a linear accelerator results in the light aqua-like blue,
known as sky blue. Combinations of both treatments produce the highly
saturated Swiss and electric blues. If neutron bombardment has been used,
there is residual radioactivity, and the gems must be held, up to a year,
before they have "cooled" enough to be worn.
The modest value of most blue topaz creates little incentive in the market for
a synthetic version, although it is sometimes simulated by blue synthetic
spinel. (More lucrative and popular are the various vapor deposition or
diffusion coatings that create "mystic topaz" and teal and sea green colors.
Such stones are attractive but the treatment is not permanent, with their
extremely thin coating they must be handled very gently as any scratch or
abrasion can remove the surface layer.)
Whatever the color, topaz has some wonderful gem qualities due to its high
refractive index and its ability to take a fabulous polish. The fact that the
rough is available at moderate prices in rather large, clean pieces means that
many cutters and carvers choose this gem for their projects. At hardness 8
topaz makes a good gem for occasional wear rings, pendants, earrings or
brooches, but, alas, the ready cleavage of this gem makes its use in daily
wear rings very risky.
[The family of irradiated blue topaz: London blue, Swiss blue (with opal), sky
blue]
Value
In general, blue topaz is modestly priced, although, due to recent shortages,
the London blue color has outstripped the others in value. The shortage is
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due to poor economics: reactor time is expensive and there are more
profitable gems which can be treated without the need for such an extensive
holding period. There is no special premium for larger stones in this variety
and excellent clarity is routinely expected, so included pieces should be
extremely inexpensive. Cut often adds as much or more value to the piece
than the material itself. Spectacular cuts and carvings are available at
generally reasonable prices.
Gemological Data:
Makeup: Aluminum fluorohydroxysilicate
Luster: Vitreous
Hardness: 8
Crystal structure: Orthorhombic
Fracture: conchoidal
Cleavage: Perfect, one direction
Density: 3.54
RI: 1.62 - 1.63
Birefringence: 0.014
Pleochroism: generally weak
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Iolite
This gem, which represents one of the few relatively available and affordable
blue stone options, is rapidly gaining in popularity. Arguably, the gain is due
more to exposure in mail order catalogs and on cable shopping channels
than to promotion by traditional jewelry stores. Run of the mill stones often
have a steely, inky or washed out blue color, but the best specimens can rival
AAA Tanzanite in the saturation of their blue-violet hue at some viewing
angles.
Iolite is a prime example of a pleochroic gemstone, that is, one whose color
depends of the angle of view relative to its crystal axes. As a stone with this
property is slowly rotated, a blend of colors appears, then the "true" color
for that crytal axis, then another blend, then the other "true" color, etc. The
majority of pleochroic stones show two colors, iolite has three. The cutter,
then, must orient the rough carefully, taking iolite's trichroism of blueviolet, grey and near colorless into account in order to achieve an attractive
"face up" color. Depending on the color of the rough material a stone might
be step cut to deepen or enhance color, or windowed and/or shallow cut to
lighten the tone.
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Value
Color is foremost in setting value in this gem, as with most colored
gemstones. A saturated, medium dark blue-violet is the ideal for the face up
color, but it must be accepted that such stones will always lighten and
darken, and show greyish tones as they are turned. Cutting cannot be
ignored as poorly oriented, cut and polished stones may have muddy,
washed out or inky color.
Cabochons are available and reasonably priced. Occasionally, iolite is used
as a carving material. Small faceted stones are relatively common and
modestly priced. Faceted stones over about 6 carats, that are eyeclean, or
better are quite rare and highly valued.
Gemological Data
Makeup: a magnesium, aluminum silicate
Luster: Vitreous
Hardness: 7 - 7.5
Crystal structure: Orthorhombic
Fracture: conchoidal to uneven
Cleavage: distinct, in one direction
Density: 2.61
RI: 1.54-1.55
Birefringence: .01
Pleiochroism: blue-violet, grey, light yellow to colorless
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OREGON SUNSTONE
Prior to the finds of substantial amounts of facetable plagioclase feldspar
crystals in Oregon, most sunstone, much of which came from India, was
opaque and used for cabbing, bead, or carving material. Such is the case no
longer. An incredible variety of high value sunstone rough is now being
extracted by several mining companies as well as on public collecting sites in
Oregon. Although most of the rough is pale yellow in color, a substantial
amount of more interesting material is being found. Two main features are
notable in high value rough collected from this location: 1) strong body
colors ranging from pinks and tans to oranges, greens and reds as well as biand tri-colors, and 2) fine grained coppery shiller which allows for
transparency in the stone yet still produces the phenomenon of
aventurescence or "glitter". Every combination of shiller or lack of it, and
color is found.
Collectors and jewelry lovers from all over the world are fast becoming
aware of this uniquely American gemstone and appreciate it as one of the
shrinking number of materials that can be correctly assumed to be
completely untreated and unenhanced.
As with other feldspar gems, gentle treatment and protective settings are
called for, and use in everyday rings is not advisable. To date there are no
synthetics in the market.
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[Oregon sunstones: red, green (slight bi-color), shiller, bi-colored carving, pale
yellow fantasy cut stone]
Value
Because there are so many different kinds of sunstone, the values range
widely. The least valuable form is the pale yellow to colorless non-shiller
type which in commerical cut, or calibrated stones may go for a few dollars
per carat, and for custom cut stones somewhat more. The pinks and tans
with and without shiller have additional value, depending on the color and
effect. Some greens, strong pinks and reds as well as the bicolored and
tricolored stones with and without shiller are much more valuable. The most
desirable color is red with large (over 3 carat) stones of prime color retailing
at prices rivaling fine sapphires and emeralds. The best greens are very rare
and can cost more than the best reds. Oregon sunstone, especially shiller or
bi-color pieces are often used for fine art carving material; and the carvings
are valued as much for their artistic merit (and the fame of the artist) as for
the value of the material itself.
Gemological Data
Makeup: a calcium rich species of plagioclase feldspar,
sometimes with copper or hematite inclusions and traces of iron; 32%
Albite, 68% Anorthite
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Luster: Vitreous
Hardness: 6 - 6.5
Cleavage: 2, Perfect
Fracture: splintery to uneven
Density: 2.70
RI: 1.56 - 1.57
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Spinel
Spinel, especially in its red and blue color varieties, is a historically
important gem. Because it was often found with corundum in gem deposits
and has a similar color range, luster and hardness, it was, until modern
times, used unknowingly as sapphire, and especially ruby. The famous
"Black Prince's Ruby" which forms part of the Crown Jewels of England, is,
in fact, a red spinel. The advent of modern gemological identification and
separation techniques in the later 19th century established spinel as a
distinct species.
[Prior to the 20th century these spinel gems would have been called ruby and
sapphire]
In another essay I referred to malachite as the "Rodney Dangerfield" of
gemstones, but perhaps that description is even more apt for spinel. Early in
the 20th century soon after Auguste Verneuil invented the flame fusion
process for making synthetic sapphire, synthetic spinel was made by the
same method. For many years, if the public was aware of spinel at all, it was
as an imitation found in birthstone jewelry and high school class rings. It's
true that the synthetic stuff is as common as dirt, and almost as cheap, but
fine natural spinel is, and has always been, a rare gem. Only recently, as the
level of gemological awareness of consumers has begun to rise has spinel
finally been "getting some respect". This increased appreciation stems not
only from the gem's inherent rarity and beauty, but also from the fact that
virtually all spinels in today's market are unenhanced. As more information
comes to light about the extensive and invasive treatments given to lower
grade ruby and sapphire to "pump up" their color or clarity, spinel's
natural beauty, and still relatively modest prices, become ever more inviting.
Found traditionally in Burma (Myanmar) and Sri Lanka (Ceylon), and
more recently from various sites in Vietnam, Africa, Russia, and Australia,
spinel is usually mined not from the hard rock primary deposits in which it
forms, but from alluvial or placer deposits where eroded material has been
washed down stream. These "gem gravels" may consist of several different
459
species in addition to spinel, but have in common that the rolling and
tumbling action has smoothed the rough crystals into rounded shapes, and
in the process removed much of the included and fractured parts of the gem
rough. Such alluvial rough makes good faceting material -- well shaped for
recovery and relatively clean. Mining methods range from primitive to low
technology (from one or more miners and with their straw baskets sluicing
the stream gravel, to the use of backhoes and hydraulic hoses for removing
overburden from long buried streambeds, and supplying larger amounts of
water for gem separation by a small crew).
[Alluvial spinel pebbles, a joy to facet, "state of the art" alluvial spinel and
ruby mine in Vietnam: Image courtesy of www.gemsfromearth.com]
When spinel is found at the site of formation (often in metamorphic rock
deposits) one of its most beautiful crystal "habits" is that of the octahedron.
You may know that diamonds also naturally occur in this form, which is one
shown only by gems belonging to the cubic crystal system. In my eyes a
blazing red spinel octahedron is one of Nature's most beautiful productions.
[The many colors of spinel: a suite of African spinels in purple, blue and pink,
a top red Burmese spinel, an African lavender stone, a pink specimen from
Russia , a "padparashah" colored African piece, and an opaque black spinel]
Color and Value in Spinel
By far the most common colors, and therefore those lowest in value, are pale
to medium mauve-pink and greyish light purples. (I have a gardener friend
461
who once described this pink-mauve color as "Garden of Eden" because left to
their own devices, most of her fancy colored hybrid flowers would self-sew and
grow into "wild types" of precisely this color.) The color (and therefore value)
difference between the two spinel ring stones below is mainly that of
"saturation". This term doesn't, as is often thought, mean deepness or
darkness, but refers instead to absense of grey and brown tones, that is, the
spectral purity of a color. In the world of gem pricing, saturation is the main
player. You could easily expect to pay 5 to 10 times as much per carat for
the true red one on the right as for the less saturated pink one on the left.
[Pink spinel, pretty, but somewhat desaturated and relatively common, spectral
red spinel, pretty, close to top-level saturation, and super-rare!]
In the purple and blue hues, spinel is most often a relatively steely or greyish
color or quite dark in tone, either of which depresses the price. At present,
even though popularity is beginning to rise, spinel is still a great gem
bargain. I hope this happy situation continues, but quite honestly, my advice
is to buy spinel now, before the rest of the gem consuming public really
catches on, and prices go through the roof.
[Subtle perhaps, especially on a computer monitor, but the stone on the left is
greyer and therefore worth considerably less per carat than the stone in the
middle, while those on the right are a shade too dark for top value]
Jewelry Use
Regardless of color, spinel's high refractive index insures excellent brilliance
in a well cut and polished stone, and its hardness of 8 makes it a good choice
for almost all jewelry applications -- rings included. I still wouldn't
recommend it for a high "Tiffany-type" setting in a engagement or
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signature ring that will be worn 24/7 for years, but for any less demanding
use, it is a wonderful gem. No special cleaning or care instructions apply.
The majority of the spinel jewelry for sale today is in the pink and red color
range. I expect this to change as the variously colored African spinels make
more of an impact on the market. Black spinel, by the way, makes a less
expensive substitute for black diamond and a more durable, if more
expensive, alternate for black onyx. Spinel beads are relatively rare in the
marketplace, but sometimes sold by vendors who specialize in higher grade
goods.
[Red spinel in an engraved custom gold mounting, faceted black spinels with
Mawsitsit in earrings]
Value in General
The most highly valued spinels are the reds with purplish red (ruby spinels)
and orangey red (known as flame spinels) colors, commanding the premium
prices. Top quality red spinels are actually rarer than top quality rubies,
although they are not as expensive. Burmese provenance in fine stones
always adds value.
As with all stones, values are highest for rich, saturated colors in clean
stones and large sizes. Pink spinels in hues from bubblegum color to hot
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pinks are sought after. The blues and violets, unless the color is highly
saturated are, in general, more modestly priced. Among the blue stones,
those colored by cobalt are especially valued for their pure, rich color. Star
stones and color change varieties are rare in this species and highly valued.
Spinels can generally be assumed, at present, to be unenhanced, although
gemologists are keeping close watch for new developments along this line.
Gemological Data:
Makeup: Magnesium aluminum oxide
Luster: Vitreous
Hardness: 8
Crystal structure: Cubic
Fracture: Conchoidal
Cleavage: None
Density: 3.60
RI: 1.71-1.73
Birefringence: None
Pleiochroism: None
Dispersion: .020
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Uvarovite Garnet
Few people, other than gem collectors, are familiar with Uvarovite garnets,
and fewer still have seen a transparent faceted gem of this variety. The main
reason is that although crystals of reasonable size do occur on occasion in
chromite and serpentine deposits, they are generally opaque. Very rarely, a
tiny portion of a crystal will have transparency and a small gem can be cut.
This type of garnet, therefore, would usually not be included in lists of gem
garnets if it weren't for one major source area in the Ural Mts. of Russia
that yields lovely Uvarovite drusy. Uvarovite, one of the calcium rich
members of the garnet group, is formed through metamorphism of certain
silica rich limestones and is often found in association with chromite and
serpentine. Those "parent" rocks contain chromium, the source of
Uvarovite's rich and distinctive medium dark to dark emerald green color.
Finland, South Africa and California provide secondary sources, but little of
the material from those locales rivals the beauty of the Russian gems,
although some of the Finnish deposits produce large individual or crystal
clusters that are cherished by mineral collectors.
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[An impressively large cabochon, and a 20x magnification of its drusy surface]
Although a member of the cubic crystal system, individual Uvarovite
crystals can form more rounded shapes, with 12 - 24 rhomboid or
trapezoidal faces, in rare cases achieving almost a perfect soccer-ball shape.
dislodging the tiny crystals adhering to the matrix. Ultrasonics and steam
cleaners would probably be too harsh, but the old standby of a soft brush,
warm water and mild detergent would be fine. Use in pendants, brooches
and earrings would be safe, but use in bracelets, belt buckles or rings would
be ill advised unless the settings were extremely protective and the pieces
infrequently worn.
Value Considerations
Uvarovite is is too rarely used to have a "standard" price range.
Nonetheless, certain guidelines can help the buyer in choosing a good piece
of material and getting good value for their money. As with all drusy
materials, highest value is accorded to pieces that show even coverage of the
matrix by the crystals. With this particular gem whose refractive index is
quite high, having crystals which are larger than the powdery form seen in
most deposits creates an attractively sparkly surface and are preferred. Like
most gems, the brighter the color and more attractive the cut, the higher the
value. All else being equal, larger pieces sell for more per carat than the
smaller ones as most useable roughs are small.
Gemological Properties:
Chemical Composition: Calcium Chromium Silicate (Ca3Cr2(Si04)3
Crystal System: Cubic
RI: 1.86 - 1.87
Density: 3.77
Fracture: Conchoidal
Cleavage: None
Florescence: None
Luster: Vitreous
Hardness: 7.5
Toughness: Fair
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[1910 14k gold, diamond and synthetic ruby ring: Image courtesy of Acanthus
Antiques, Art Deco (circa 1920's) Platinum, diamond, natural pearl necklace,
set with synthetic sapphires on the clasp]
The process Verneuil developed, called "flame fusion" is still the main one
being used to produce synthetic corundum and synthetic spinel. A powdered
source material, like aluminum oxide for corundum with, a metallic oxide
such as chromium oxide to provide the red color, is melted. As it drops
through an oxy-hydrogen torch flame the molten material crystalizes as it
hits a ceramic platform at the, cooler, base of the furnace. As the crystal
grows the platform is turned and lowered, creating a carrot-shaped "boule".
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Because synthetics have the same optical, chemical and physical properties
as the natural materials they mimic, standard gemological tests are not very
useful in identifying them. In these cases the microscope becomes a
gemologist's most valuable tool in separating the synthetics from gems of
natural origin. There are microscopic inclusions which occur only in natural
gems, and those which occur only in synthetics. Unfortunately, there are also
many inclusions which can occur in either type, and flawless stones with no
inclusions to see.
The flame fusion materials are usually the easiest type of synthetics to
discriminate from their natural counterparts. The most definitive sign is
known as "curved striae" which under magnification, in diffused light, look
a bit like the grooves on an old vinyl recording.
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Foil back glass "gems", the metallic gold coating which increases brilliance is
almost completely hidden by the mounting in this circa 1950 brooch.
One of the most important roles of GIA (Gemological Institute of America),
AGTA (American Gem Trade Association), IGS (International Gem
Society) and other gem organizations has been in developing testing
procedures and instruments, and in educating honest dealers and intelligent
buyers in an ongoing effort to keep one step ahead of those who would
deceive.
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Assembled Stones
An assembled stone is one that is constructed out of two or more materials.
This category includes, for example, such creations as: doublets and triplets,
intarsias and inlays, foilbacks and Mabe pearls. There are four common
reasons why such pieces are made:
#1) To make use of otherwise unsuitable or fragile gem material.
#2) To create an entirely new category of gem product.
#3) To provide an inexpensive simulant for an expensive natural gem.
#4) To deceive a buyer into thinking the piece is something more valuable.
Doublets and Triplets
Most gem lovers are familiar with doublets and triplets, especially the opal
variety. Opal frequently occurs as thin seams of material within a host or
matrix rock. Although beautifully colored, such deposits are so thin and
fragile as to be useless for jewelry. By cementing one of these thin layers to a
strong backing (almost always black onyx or something similar) two goals
can be acheived. The strong backing provides the thickness and strength
needed for setting, and the dark color makes the usually translucent opal
layer look like black or dark grey opal. The color play in the gem material is
then displayed in high contrast against this dark background. An opal
doublet must still be set and worn with care, as the exposed opal surface is
relatively soft. Well done pieces look wonderful, and make affordable,
reasonably durable, opal jewelry.
[Opal doublets]
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[Intarsias, inlays]
Mabe Pearls
Another example of a beautiful man-made creation is the Mabe pearl. These
constructions are made from a usually hollow, blister "pearl" harvested
from the shell of the Mabe, or butterfly shell mollusc. Not technically a pearl,
since it is formed from the shell of the animal, rather than within its body,
this mother-of-pearl blister is cut from the shell, filled with a special cement
and a mother-of-pearl bead, then cemented to a mother-of-pearl back. These
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products come in a variety of sizes and styles, and with their flat backs are
easily settable. Compared to cultured pearls of the same size, Mabes are
quite inexpensive.
[Mabe pearl]
Rhinestones
Since the advent of reasonably priced synthetics, the number and variety of
assembled stones produced for reasons #3 & #4 have diminished.
Historically, a foilback, called the "Rhinestone" was an important product
of this type. Applying a metal foil or metallic paint backing to a gem, allows
it to simulate a much more brilliant material. Rock crystal quartz stones
from the Rhine Valley were the first widely used product to receive this
treatment, and were once a common choice as diamond simulants. Later the
quartz was replaced by glass, but the name stuck. One of my most cherished
mementos from my mother is her circa 1940 Rhinestone necklace and
earring set. Cubic zirconia is presently the most common diamond simulant
on the market, but to my mind lacks the charm of those Rhinestones.
Assembled Birthstones
Even though synthetic emerald is widely available, as synthetics go, it is
quite expensive. This creates a need for a good looking, less expensive
substitute. As it turns out, the inexpensive flame fusion process which is used
to make synthetic corundum and synthetic spinel in a great variety of colors,
cannot yet create a convincing emerald green color. That job is most often
filled, at present, by the synthetic spinel triplet. This creation is sold by the
thousands, if not millions, as the imitiation May birthstone and in high
school and college class rings. This clever, and actually, pretty decent
looking, assemblage, consists of a colorless synthetic spinel crown cemeted to
a colorless synthetic spinel pavilion with a central layer of green glue or
green glass.
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The care and wearing recommendations for assembled stones, vary with the
materials involved and method of assembly, but certainly ultrasonic and
steam cleaning should be avoided. It would also be prudent to have such
stones removed, when jewelry containing them is repaired or sized. In
general, erring on the side of caution would be a good idea.
Overall
For the most part, even though they have been used to deceive, assembled
stones have brought increased variety, beauty, practicality and affordability
to the gem marketplace.
**********
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Natural Pearls
Prior to the 19th century, when they were superseded in price by diamonds,
natural pearls had, throughout history, been valued above all other gems.
Although their beauty, and the fact that they come out of the mollusk ready
to use, were important factors, it was sheer rarity that drove their value to
the highest levels. The formation of a large, beautiful and perfect natural
pearl is an event so unlikely in Nature that only those at the pinnacle of
wealth and power in a society were able to own them. Depending on the
species between 1/1000 to 1/500,000 mollusks will form pearls during their
lifespan, and the vast majority of those formed will be small, off-color or
flawed.
Nacreous Pearls
True pearls are referred to as "nacreous pearls" due to their composition.
Such a pearl is formed when a small foreign object makes its way into the
soft body of a filter-feeding or grazing mollusk, and cannot be expelled. The
irritant is sometimes a stray bit of shell or bone, but more often a parasite.
Layers of calcium carbonate crystals and protein are secreted to slowly
cover all parts of the object which, then, becomes a pearl. If it grows entirely
within the body of the animal it will be three-dimensional "cyst pearl", if it
grows attached to the shell, it will be a "blister pearl".
We can perhaps imagine the awe and mystery that these objects held for the
early peoples who found and cherished them, and it is no wonder that
mythic and mystical explanations for their formation abounded. Picture
harvesting the creature shown below (not all pristine and clean, as shown),
but covered with mud and sea weed and inside its greyish, lumpy and slimy
interior, finding the iridescent object in the adjacent photo.
force by the early 1920's pearl culturing has made this gem one that is
obtainable by virtually anyone in a variety of qualities and prices.
How the pearl marketplace has changed, then:
[Circa 1890 2-3.5 mm, natural, saltwater pearl brooch, circa 1920 2.5 - 4 mm,
natural saltwater 16" pearl necklace]
Natural Pearls: Expensive then, expensive now!
And now:
[Circa 1960 4 mm, cultured saltwater pearl brooch (fairly expensive when
new), 2005, 18" 7.5 mm, freshwater cultured pearl necklace (very inexpensive)]
Cultured Pearls: Size is increasing and prices are dropping!
In looking at the photos above we can begin to see why cultured pearls have
taken over the world. Natural pearls are generally small, and vary in shape
and color, cultured pearls, especially in today's market, are uniform in size,
shape, and color and can be huge! It might take an oyster in Nature six or
seven years to make a 4 mm pearl, and only 1-2 out of a hundred of them
would be round. Furthermore, colors are not uniform.
In today's market natural pearls are available through current small scale
(legal) harvesting, and also as vintage and antique specimens or jewelry.
Examples of natural, nacreous pearls:
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Conch pearls are products of a large marine snail, the queen conch, It is
native to the Caribbean and, until it was fished to near extinction, was found
abundantly in the waters of the Florida Keys. Ranging in color from white to
vibrant pink, the pearls are usually small (8 mm is large) and ovoid. you can
see in the picture below and to the right, the highly desirable "flame
structure" chatoyance that the best specimens have. (Conch pearl lovers are
not to blame for the decimation of the Florida population, as they are
basically just a rare by-product of the hunt for this mollusk: the meat of the
conch is a delicacy, its pink shell lining is used in jewelry, especially cameos
and the shell itself is a tourist object.)
[Strombus gigas, the Queen conch, with typical pearls: Image courtesy of
www.sunlion.com, three top quality conch pearls showing "flame structure":
Image courtesy of Aires Jewelers]
Scallop pearls
The newest type of natural pearl available to collectors is the scallop pearl. It
is found in a marine bivalve scallop that is native to the coast of Baja
California, and is just beginning to be harvested. Highly variable in size and
shape, they have mosaic-like patterns and cream to salmon or mauve colors
with a semi-metallic to chatoyant sheen.
large, I recently held one in my hand that was the size of a large gumball
and nearly dropped it when the price of $50,000 was quoted to me. The
colors and flame structure are similar to those of the conch pearl.
[Melo melo pearl showing ideal color: Image courtesy of the Latendresse
family, Large 30 mm, 150 ct. Melo melo pearl: Image courtesy of
Gemopolitan.Ltd]
To this date, none of the non-nacreous pearls have been successfully
cultured, and each has a unique structure which makes its difficult to fake,
so that there is little worry about synthetics and simulants.
Value
It is difficut to talk, except in generalities, about value for gemstones as rare
and variable as natural pearls. The nacreous ones increase exponentially in
value with size but luster, color and shape are important as well. With the
non-nacreous pearls, color and quality of the any surface pattern or
chatoyance are probably more important than size.
Care
All pearls need gentle care. They are soft, fragile, and are sensitive to
chemicals, especially acids. All the cleaning they ever need, is wiping with a
damp cloth after each wearing, and they should be stored away from other
gems, preferably in a cloth bag or their own case. Non-nacreous pearls
should not be exposed to bright light for extended periods as the organic
pigments which give them their colors can fade. Pearl strands that are worn
frequently should be restrung every few years.
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[Variety in color and shape in FWCP, note the visible orient in the baroque
shapes]
As tissue nucleation techniques were improved, larger and more uniform
pearls resulted, and symmetry improved so that pear, oval and egg shapes
became available. Today some types are very close to round and getting
larger, so that their appearance is rivaling their far more costly saltwater
cousins.
[Symmetrical oval FWCP, Near round 7.5 mm FWCP, note depth of luster]
A small scale new development in Chinese pearl production is the use of
bead nucleation. For the present, this is mostly done under wraps and hushhush, but there is strong evidence that some of the largest, and roundest of
the pearls have been nucleated with either shell beads, as in saltwater pearl
production, or with a nucleus made from another FWCP. If you think about
this for a second, though: what better material to use? The resulting pearl is
large, very round, and almost pure nacre. I for one, would not be averse to
owning such a pearl (as long as it's nature was properly disclosed and I paid
an appropriate price for it).
489
American FWCP
The rivers of the East Central US, especially the Tennessee River, have long
held a special place in pearl culturing. The shell beads used in such quantity
in saltwater production come from the mussels living in these rivers.
Although many other species' shells, and indeed, many other materials have
been tried, these are still the standard.
The US commands a substantial and growing share of the market with the
FWCP produced from these waters, especially, again, the Tennessee River.
Unlike the Japanese and Chinese FWCP, the American ones are bead
nucleated. The producers take special care and allow the nacre layers to
grow for up to five years, producing a superior pearl. They specialize in
fancy and fanciful shapes such as sticks, crosses and wildly shaped baroques.
Jewelry designers love the artistic possibilities presented by the unique
shapes, and pearl connoisseurs love the depth of nacre, especially in the
nooks and crannies of the baroques where it pools and creates intense orient.
Added to this is the fact that of all the world's cultured pearls, the American
FWCP is the only type that is routinely unenhanced, so you can understand
why they have a devoted following even with their somewhat higher prices.
[American FWCP]
Economics
Culturing pearls is a delicate process, not assured of success. Only 25 - 30%
of the altered mollusks survive and produce pearls and generally only a
small percentage of the pearls harvested are of fine quality. Several factors
determine what a particular pearl farmer will do: the longer the pearl
grows, the thicker the nacre and the more durable and potentially beautiful
it will be, but at the same time, longer cultivation increases the death rate of
the animals and the percentage of damaged and misshapen pearls. Different
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[Dyed Pearls]
Imitations
Faux pearls have been around for a long time and can consist of a variety of
materials such as glass, plastic or shell with various surface treatments
meant to simulate the pearl's luster. The time honored standard material is
a lacquer containing an ingredient from ground fish scales called "pearl
essence" or "essence d'orient".
With FWCP prices at historic lows, there is little incentive to buy or wear
imitations. A rule of thumb when testing a suspect pearl, is to rub it across
the surface of your teeth. Pearls with a nacre surface (natural or cultured)
will feel slightly gritty, most imitations will feel smooth.
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Gemological Properties:
Makeup: Calcium carbonate, conchiolin and water
Hardness: 3
Toughness: Good
Crystal System: Orthorhombic
Luster: Pearly
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Density: 2.71
RI: 1.53 -1.68
Cleavage: None
Optical Phenomenon: Orient, in fine specimens
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[Above water views of Akoya and Tahitian pearl farms: Images courtesy of
www.pearl-guide.com]
Mortality from the nucleation process, and from subsequent disease, water
pollution, and weather disasters makes the success rate relatively low,
especially in comparison to freshwater culturing where conditions can be
more closely controlled.
3) The pearls are harvested, cleaned, sorted and graded by size, quality and
color. Color depends on the species of oyster, size is controlled by the size of
the bead the animal can accept, and quality is primarily related to the
495
closely related to the edible oyster, so enjoy those for their taste or
nutritional value, but don't expect the bonus of a "pearl" reward.
Akoya Pearls
The Japanese pearl oyster, native to the cool to temperate seas surrounding
Japan, with which Mikimoto began today's multibillion dollar industry, is
also known as the "Akoya" oyster, and all pearls produced from this species,
whether in Japan or elsewhere, are called Akoya pearls. The animal is small
in size, grows slowly, and has a little gonad which will accept only a small
bead nucleus. The upper size limit of Akoyas is about 8 mm, and most are
smaller. Their natural color range is white, cream, and very subtle pastel
shades of silver, tan and pink. Although the nacre layer is generally
relatively thin, ( .5 mm - .8 mm) the highly uniform mineral crystals which
form in the cool waters give this pearl exquisite luster. Orient, that shifting
iridescence sometimes seen on the surface of pearls is usually subtle if
present at all. Due to the wide variation in finished size, luster and color,
matched strands of high quality Akoyas can be very expensive, especially in
larger sizes. The Mikimoto Company continues to retain its reputation for
quality (and its top level prices), but many other companies offer Akoyas in
a range of qualities and prices.
[This 18 inch, 8 mm strand of Mikimoto brand pearls would retail for well over
$3000, Lesser quality, 16 inch non-Mikimoto Akoya strand with pearls grading
from 6 mm to 3 mm would be considerably less expensive]
The motivation to enhance Akoyas is great, as most have uneven color or
dark nucleus spots that can be eliminated by bleaching or slight surface
imperfections that can be made less noticeable by polishing. Many Akoya
producers use at least these minimal treatments, and some use dyes or
irradiation to change color. Those who wish to purchase unenhanced, or
minimally enhanced, Akoyas are going to pay a premium for the enormous
grading effort and time it takes to produce carefully matched strands.
"It's deja vu all over again"
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At least two decades ago, the freshwater cultured pearl industry which
began in Japan at Lake Biwa, and due to pollution, disease, over harvesting,
and other problems lost the biggest share of the market to "newcomers"
from China. The same nightmare is again playing itself out for Japanese
Akoya pearl growers. High labor costs, bad weather, pollution and disease
have made the Japanese Akoya noticeably higher priced than the newer
crops produced in Chinese waters. Initially the quality difference helped
maintain Japanese dominance, but as the Chinese product improved in
quality, the inevitable happened. Today the majority of Akoyas sold come
from China, and within single strands from even top level brands contain
pearls produced from both Japanese and Chinese waters.
Tahitian Pearls
The products of the black lipped oyster, which grows in a wide area of ocean
in the Pacific including French Polynesia and Micronesia, are generally
larger than Akoyas (10 mm is common), and range in color from very dark
grey to lighter grey and silver, although they are often generically referred
to a "black pearls". Their body colors can show overtones of green, pink,
lavender, bronze or olive, and they commonly show a strong iridescent
display of orient. The reason for their larger size is due to the fact the the
oyster itself is larger, and has a bigger gonad which will accept a larger shell
bead than the Akoya. The warm, clean waters, help the oysters to grow
relatively quickly and be harvested with a relatively high success rate.
The nacre layer is generally a lot thicker than in the Akoya, and recent
vigilant efforts of the Tahitian pearl industry to enforce growing time and
grading standards has reversed the inevitable drive to produce large
quantities of thin layered pearls. Many Tahitians are baroque in shape (as
seen below), and can be relatively inexpensive but rounds, especially large
ones in matched strands are extremely expensive.
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There are two subspecies or varieties of the South Sea pearl oyster: the
silver lipped and the gold lipped. It is the largest in size of all the pearl
oysters and produces pearls of 13 mm on average, some much larger. The
range is from the waters North of Australia to those South of China,
including Indonesia. The site of the richest yellow/gold pearls centers around
Indonesia so these are often referred to as "Indonesian" golden pearls.
Clean water with rich supplies of plankton encourages fast growth: after 2
years, 2 - 6 mm of nacre may be deposited. Orient is not usually a strong
feature, but the warm colors and satiny luster give these large beauties a
special appeal. The color range is wide, including creamy white, tan, grey,
yellow and gold. Rare colors like a green/gold sometimes called "pistachio"
bring a premium.
[Natural color South Sea pearls: golden pearl in custom 18k gold and iolite
necklace, "small" 11 mm, yellow gold round, "pistachio" pearl on custom
tektite stickpin]
Detecting Enhancements in Pearls
As with Akoyas, both Tahitian and South Sea pearls can be enhanced by dye
or with an irradiation process which darkens the shell nucleus, although
such treatments not yet the norm, as are bleaching and light polishing. Dyed
or irradiated pearls can sometimes be detected by observing the pearl, and
especially the drill hole, at high magnification. Dyes, which affect only the
nacre layer, might be seen as concentrations of color near the drill hole or in
surface imperfections. Irradiation darkens the inner shell nucleus, not the
nacre, so in this case an abrupt difference in color between the nacre and the
bead seen at the drill hole will be definitive. A natural colored strand of
Tahitians or South Sea pearls can be expected to show slight color variations
from pearl to pearl, whereas a strand of dyed pearls will be quite uniform.
This observation is less likely to be helpful with Akoyas, where bleaching is
more commonly used as an aid to color matching.
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[Gumball machine quality plastic "pearl": note mold mark, 24 inch strand of
7mm Majorca brand "pearls", as facsimiles go, top notch!, magnified view of
natural or cultured pearl surface with overlapping layers of nacreous plates:
Image courtesy of Joe Mirsky]
Care
It is true that pearls are delicate, but they are tougher than their statistics
might indicate. Hardness of 3 and sensitivity to heat and chemicals on the
downside, is partially compensated for by surprisingly good toughness. A
pearl's ability to resist chipping and breaking is due to the "bricks and
mortar" nature of the nacreous coating. So, with a saltwater cultured pearl,
nacre thickness is the key not only to beauty, but also to durability.
Inexpensive pearls (especially Akoyas), may have extremely thin nacre
layers (less than .5 mm), due to very short growth times. Although these
bargain pearls may look pretty good when new, they will rapidly degrade as
the fragile nacre layer chips or flakes off, and the dull bead underneath is
revealed. Large size in pearls is a tempting quality, but given the same
amount of money to spend, a smaller pearl with a thicker nacre layer will be
the better investment in lasting beauty.
Pearls should be wiped with a damp cloth after wearing, and rare cleaning
in mild soapy water is all that's required. Under no circumstances should
they be placed in an ultrasonic or steam cleaner. Pearls should be given their
own, cloth lined compartments in a jewelry case, not thrown in a jumble
with diamond and colored gemstone jewelry. Jewelry settings in rings and
bracelets should be protective, or if not (as in many pearl rings) the piece
should be considered for occasional use only, rather than daily wear.
Pearl strands of substantial monetary or sentimental value, if worn
frequently, should be restrung every year or two. This caution
is not primarily due to the string weakening and being likely to break.
Rather the worry is that as pearls loosen on the strand due to stretching of
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the string (which is inevitable with wear), the knots become free twist and to
abrade the nacre/bead junction, and damage the pearl.
Value
I am speculating, but I think it's pretty safe to say that although many more
freshwater than saltwater cultured pearls are sold, the dollar value of the
latter far exceeds the former. From the earliest days of pearl culturing at the
turn of the 20th century, into the 60's when cultured freshwater pearls first
began to enter the market, and still, today, saltwater pearls have been
considered to be finer in quality, and are the most expensive type. So many
factors go into the valuation of saltwater cultured pearls that it is difficult to
make any generalizations. Suffice it to say that the more lustrous, beautifully
colored, large and if in strands, the more well matched pearls are, no matter
what the species of oyster that produced them, the more they will cost. Rare
colors, thick nacre, iridescent orient, lack of enhancements, and exceptional
size will bring premium prices.
Gemological Properties:
Makeup: Calcium carbonate (aragonite), conchiolin and water
Hardness: 3
Toughness: Good
Crystal System: Orthorhombic
Luster: Pearly
Density: 2.71
RI: 1.53 -1.68
Cleavage: None
Optical Phenomenon: Orient, in fine specimens
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Sugilite
Named for Professor Ken-ichi Sugi, who discovered the mineral in a nongem form in Japan in 1944, the first gem grade, commercially exploitable
deposits were not found until 1979 in the Wessels' Mine area of the South
African Kuruman manganese fields.
Although pure Sugilite, a complex silicate which gets its purple color from
manganese, is a mineral species, much of the more variously colored
material commonly cut into cabochons, and called Sugilite is technically a
rock composed of both Sugilite and chalcedony. Sugilite was formed in deep
beds of manganese-containing metamorpic rocks that were later invaded by
silica rich hydrothermal fluids.
[Probably pure Sugilite: translucent "gel" pair, opaque solid purple piece]
503
Care
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Athough reasonable care should be taken in setting and wearing this gem, it
is relatively durable compared to some other popular cabochon gems.
Sugilite is, for example, less susceptible to chemical attack than turquoise,
and less sensitive to heat and drying than opal. It will need a repolishing
from time to time if worn daily in a ring, and it should be protected from
sharp knocks, but otherwise it is highly suitable for most jewelry uses.
Value
The major value points are the depth and purity of the purple color and the
degree of translucence. Within the opaque type, those which are the richest
and purest purple color (without appearing black) and least mottled are the
most valuable. It is the translucent "gel" form that commands the highest
prices -- the very best pieces of which are generally set in gold and
surrounded by diamonds . When pieces are mottled, particularly attractive
patterns can rise above the norm in value, as is the case, for example, with
the spotted "leopardskin" Sugilite.
Gemological Data:
Makeup: a complex silicate colored by manganese, often mixed with
chalcedony (quartz)
Hardness: 5 1/2 - 6 if pure, 6-6 1/2 if mixed with chalcedony
Crystal structure: hexagonal
Cleavage: none
Density: 2.74
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Malachite
Gems like malachite, which are stunningly beautiful, yet common and
inexpensive, always bring to my mind the "No respect" phrase made
familiar by Rodney Dangerfield. Pretend for a moment that there were just
a handful of specimens to be had, think how we would sing its praises, and
long to own one. Despite ready availability, though, malachite has a great
deal to recommend it to the gem lover, or to anyone simply interested in
Nature's wonders.
Our forebears valued the dramatic colors of this mineral not only for use as
an ornamental material and a gemstone, but also in ground form as a
cosmetic (eye shadow). Unfortunately, although the results may have been
beautiful, they were also hazardous to health: the copper content of the dust
released from grinding this stone makes it toxic to breathe. (Today those
workers involved in the mining and fashioning of malachite are advised to
wear protective respiratory gear, and to keep dust to a minimum by keeping
the rough wet.)
There is evidence that malachite was mined in Egypt as early as 4000 BCE.
Early on it was ground and used as a pigment for paints. Not until the
industrial revolution were synthetic pigments created that could rival the
green hues achieved this way. Those who restore and conserve old paintings
still use the old malachite based formula for authenticity.
There is disagreement in the mineralogical literature as to the derivation of
the name. Most writers agree that the word comes from the Greek, but there
is a split between those favoring malakos meaning soft, and those who
propose malakhe meaning the green herb, mallow, a reference to the color.
Invariably associated with deposits of copper ores (and itself considered to
be one of the minor copper ores at 58% copper content), malachite recovery
is generally done, at least on the large scale, as a sidelight of copper mining.
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[Victorian gold and malachite brooch, Victorian gold, malachite and natural
pearl necklace: Image courtesy of www.fraleigh.ca, Native American style
silvertone and malachite bolo, contemporary bead strand, malachite carving]
The lovely colors and patterns, easy workability, and the ready supply of
fine material also endear it to today's lapidary artists for use in intarsias and
inlays.
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carvings and ornamental objects will hinge primarily on their size, and
artistry of the work.
Care
Malachite is soft and somewhat brittle, and is sensitive to both heat and
acids. It requires gentle care, so no ultrasonic or steam cleaning should be
done. Use in rings, bracelets, belt buckles, or other jewelry that gets rough
and/or constant wear is not advisable. On the other hand it is an appropriate
and delightful gem for earrings, brooches, pendants, tie pins, and occasional
wear rings or bracelets.
Gemological Data
Makeup: Cu2CO3(OH)2 (a copperhydroxycarbonate)
Crystal system: monoclinic
Crystal habits: massive, botryoidal, rarely, small acicular (needle-like)
crystals
Refractive Index: 1.85 (average)
Birefringence: 0.025
Hardness: 4
Toughness: poor
Specific Gravity: 3.80
Polish luster: vitreous to silky
Fracture: uneven to splintery
Optical phenomena: rarely, chatoyance
Fracture luster: dull
UV Reaction: inert
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Turquoise
As early as 4000 - 5000 BCE humans, first in the Sinai region of Egypt, and
a millennium later in Mesoamerica and China, were mining and working
turquoise into jewelry and ceremonial objects. It was so highly valued in
Eqypt, that when high quality deposits were exhausted, artisans developed a
copper glazed ceramic simulant called faience, rather than abandon use of
that sky blue color in their artwork.
[Typical turquoise deposits: crust and veins in rocks from Nevada, portion of a
larger turquoise nodule from Globe, Arizona]
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[Color variation in turquoise is due to trace impurities and the nature and
amount of the matrix]
Such matrix can affect the color and toughness of the stone and its
workability for the lapidary or jeweler. Relatively pure specimens of
turquoise might have a hardness of around 5 and be moderately porous. In
general, a high proportion of silicate minerals increases hardness and
decreases porosity while a high content of clay minerals (like kaolinite) has
the opposite effect. On one end of this spectrum, then, we find pieces of
hardness 5.5 to 6 that take a bright polish and are minimally porous, and on
the other end are pieces of a soft and chalky nature with so much porosity as
to be unusable without stabilization.
Turquoise occurs, usually in arid regions, where ground water percolates
through aluminous rock in the vicinity of copper deposits. Like malachite,
then, it is a secondary mineral which forms through the interaction of preexisting minerals and their solutions. Historically the finest material was
obtained from mines in Persia (Iran), and there is still considerable
production from that area, but the majority of today's commerce in
turquoise is supported primarily by sites in North America, and China. Its
name, from French, means "Turkish stone", a reference to the long history
of imports of Persian material, through Turkey, to the West.
The US deposits are almost exclusively limited to the Southwest with Nevada
home to a larger number of mines than Arizona, New Mexico and Colorado
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put together. This is a source of pride for Nevada and turquoise is, in fact, its
official State Mineral.
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[Fine Iranian source (true Persian) turquoise, "Persian grade" turquoise from
the Sleeping Beauty Mine]
In the Middle East it has been traditional to set turquoise in gold, sometimes
with diamonds. The Victorians also greatly admired turquoise, and
generally set it in gold as well. In the US, though, turquoise has had a long
historical association with silver jewelry.
Long before the arrival of Europeans in North American, the native
inhabitants had an appreciation for turquoise, which is still strong today.
The significance of this gem for some tribal groups rivals the importance
that the ancient Chinese gave to nephrite jade. Such was also true in South
America, and the early Spanish invaders recorded their surprise in finding
turquoise to be more highly valued by the native people than was gold.
[Spiderweb turquoise]
Simulants and Enhancements
There are numerous enhancements and simulants in the marketplace. All
but the highest grades of turquoise may be "stabilized" by a pressure
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[A nugget of dyed Howlite sawn open to reveal its true nature, Howlite posing
as the fictional "white turquoise"]
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[Variscite, "variquoise"]
Care and Use
As a gem material, turquoise has its limitations: it is relatively fragile,
porous, and susceptible to heat and/or chemical damage. Turquoise averages
18 - 20% water content, and as the gem is heated (perhaps from an unwary
jeweler's torch) that water is progressively lost until at 400 degrees C, the
structural integrity of the mineral is destroyed.
Few deposits of material are of such a fine grained and compact nature that
they take a good polish and have low porosity. For these reasons, the
majority of turquoise found in commerce today has been enhanced in one
way or another. Even top grade, otherwise natural, stones are often given a
surface coat of paraffin wax to seal them and enhance the polish. (Skin oils
and cosmetic residues are prime culprits in changing and darkening the
color of turquoise gems.)
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Due to this stone's properties, it is best to make turquoise rings and bracelets
occasional wear items, and to protect all turquoise jewelry from heat,
chemicals and shocks. So, no ultrasonic or steam cleaning, and wash only
with mild, lukewarm soapy water and a soft brush, and wipe pieces with a
damp cloth after wearing.
There is an avid collector market for turquoise, with sibling rivalry amongst
the various enthusiasts who see virtue in different colors, matrix variations
and mine sites. Just as no gem collection would be complete without several
representatives of this species, so no jewelry collection should be without at
least one piece featuring this well beloved December birthstone gem.
Value Considerations
Evenness and saturation of color, would be the most important
consideration in terms of value, followed closely by the degree to which the
material is compact and capable of taking a good polish without
stabilization. Among those who appreciate matrix patterns, the beauty of
that pattern would be crucial in setting value. In my opinion, turquoise is a
real gem bargain, for even the very highest grades of material are modestly
priced compared to many other gems.
Gemological Properties:
Chemical Composition: hydrated copper/aluminum phosphate (with varying
amounts of iron, and other trace elements)
Crystal System: triclinic
RI: 1.61 - 1.65
Hardness: 5 - 6 depending on compactness and presence of other minerals
Density: 2.60 - 2.90 (affected by matrix)
DR: .040
Luster: waxy to vitreous
Toughness: poor to fair
519
Copal and amber have a similar relationship in that they both originated as
resin secreted from trees, but copal being much younger is less compact,
hard, and stable than is the far older amber. The really interesting situation
with amber and copal as plant fossils, is that they can have other plant
fossils inside them! Pollen grains, bits of bark and leaf debris are very
common, and mostly go unnoticed and unidentified in fossil resins, but the
occasional intact leaf or flower makes a notable find.
521
[Slices of petrified wood from Oregon: Image courtesy of Las Vegas Jewelry
and Mineral]
Huge deposits of brightly colored pieces have been found in Northern
Arizona with black, red or yellow silica colored by iron or other trace
minerals. Depending on the orientation of the slice and the conditions of
petrifaction, there may or may not be clear annular rings or other woody
structures visible. Most of this material is used for specimens or ornamental
objects such as bookends, and in comparison, relatively few pieces are used
for jewelry.
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RI: 1.53-1.54
Birefringence: .004
Pleochroism: none
526
Birthstones
The custom of wearing birthstone jewelry started in 18th
century Poland and has spread all over the world. For
some months there is but a single choice, other months
have one or more traditional or modern alternates.
Traditional Birthstones for English Speaking Countries
with Alternates.
January: Garnet
Once available primarily as dark, reddish brown stones, the gem
marketplace now offers beautiful garnets in every color, except blue. From
bright green drusy uvarovite, to neon orange mandarin Spessartites, to pure
spectral green Tsavorites and raspberry pink rhodolites, garnets are
available in a wide price range and many cutting styles. With hardnesses
ranging from 6.5 to 7.5, depending on the species, garnets are reasonably
durable gemstones for most jewelry uses. Main sources include India,
Madagascar, Russia, Australia, Sri Lanka and the USA. As there no gem
treatments commonly used on garnet to enhance its color or other
properties, it generally is safe to assume the stones are natural.
February: Amethyst
Long a favorite, purple quartz, or amethyst, is available in sizes from small
to huge, and in colors from pale lilac "Rose d' France" to strongly saturated
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"Siberian" purple with glints of red and/or blue. As well as faceted stones, it
is possible to find lovely amethyst cabochons, carvings and beads. It is a
durable gem (hardness = 7) for most jewelry uses. Brazil, Uruguay and
Zambia are major sources in today's market. Most amethyst is heated to
enhance its color, unless stated otherwise, you should assume stones have
been treated. The heat induced color change is stable.
[Amethyst gems]
[Aquamarine gems]
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Bloodstone is an opaque dark green jasper with red spots. The main source
is India. Like all jaspers, bloodstone is a durable, hardness = 7, gem for most
jewelry uses.
[Bloodstone jasper]
April: Diamond
With hardness of 10 and the brightest luster of all tranparent gemstones,
diamonds have a unique place in the gem world. Diamonds occur in
colorless and near colorless forms as well as rare fancy colors. Both color
enhanced and synthetic diamonds are available as well as many diamond
simulants, chief among them being cubic zirconia. Major sources include
South Africa and Australia.
[Brilliant cut diamonds, diamond earrings, white and black diamond pendant]
529
May: Emerald
Beryl with medium to medium dark green color, contributed by chromium
or vanadium content, is called emerald. Although frequently visibly
included, traditional oiling treatments enhance the clarity of most pieces.
With hardness of 7.5 they make reasonably durable gemstones, oiled stones,
however, require gentle cleaning with no solvents, steam or ultrasonics. The
world's highest quality gems come from Colombia but Brazil, Zambia and
Russia also contribute stones to the marketplace.
530
[Emerald gemstones]
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pieces are sometimes faceted. The most valuable type is colorless with strong
blue shiller. Some moonstones show a cat'seye or, rarely, a four rayed star.
About as fragile as opal (hardness = 6), they should be treated somewhat
gently. Virtually all moonstones are unenhanced.
July: Ruby
Red corundum is known as ruby (while all other colors of that mineral are
called sapphire). Chromium is the coloring agent. Large fine rubies are the
most expensive gems sold in today's marketplace bringing prices
considerably above that for diamonds of the same size and quality. The
world's highest quality rubies come from Burma (Myanmar), although
Kenya, Pakistan, Vietnam, Thailand and Madagascar are important sources
as well. Ruby is a very durable jewelry gem (hardness = 9), that has
generally been at least heat treated. Some specimens show a "star" effect
(asterism).
[Rubies: faceted heart shaped brilliant cut, ruby earrings, star ruby, ruby in
zoisite carving, ruby cabochon]
533
August: Peridot
Peridot occurs in shades of limey to olivey yellowish green that are unique in
the gem world. Major sources include the USA (Arizona), Pakistan, Burma
and China. One of the minority of idiochromatic gem species, whose color is
derived from its inherent chemical compostion rather than from impurities,
(allochromatic) like most. It is a reasonably durable jewelry gem for most
applications with a hardness of 6.5. There are no treatments commonly used
to enhance peridot.
[Peridot gems: pear shape, trilliant cut in a pendant, concave cut trillion,
peridot cabochon]
guaranteed otherwise you should assume any sapphire you purchase has
been enhanced.
[Sapphires: blue pear shape, fancy yellow heart, fancy oval pink, sapphire
earrings, sapphire cabochon pair, white star sapphire, slightly chatoyant
sapphire carving]
Lapis Lazuli is a blue rock made of several different minerals with an
average hardness of about 5.5. One of the world's most historically
important gems, it's royal blue color often with specks of golden pyrite is
highly prized. An opaque stone, it is most often used for cabochons, beads
and carvings. Sources include Afghanistan and Chile. Most true lapis is
unenhanced, but synthetic lapis and various simulants do exist in the
marketplace.
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[Opal gemstones: precious opal, blue opal, yellow opal, opal doublets in
earrings, boulder opal, Mexican opal, crystal opal, black opal doublet]
Pink tourmaline has gained popularity recently, and is available from many
sources world-wide and in many shades from pale baby pink to darker pinks
tinged with reddish, brownish and orangey hues. Tourmaline makes a
durable jewelry gem (hardness = 7.5). Many tourmalines are heat treated,
and a few types are irradiated, but the colors obtained are stable.
537
[Precious topaz gems, the color at the tip of the large stone is Imperial color]
Citrine is yellow quartz, and although it does occur in Nature, the majority
of the richly colored pieces in today's marketplace have been heated. Large,
clean pieces are available, so this stone is popular with custom cutters and
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[Citrine gems]
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Within recent years blue topaz (irradiated and heated white topaz) and
Tanzanite (blue-violet heated zoisite) have been promoted as alternatives to
the traditional choices. Topaz is a durable jewelry gem (hardness = 8), but
Tanzanite is rather fragile (hardness = 6.5) and requires gentler care. Most
blue topaz originates from Brazil, and all Tanzanite comes from Tanzania.
[Blue topaz]
[Tanzanite]
**(If you don't especially care for the stone(s) assigned on this list to your birth
month -- never fear. By doing some internet searching on "Mystical
Birthstones" [Tibetan], "Ayurvedic Birthstones [Indian] ", traditional gems for
the days of the week , or gems associated with the various astrological signs,
you have many, many additional choices!)
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Meteorites as Gemstones
Although most of us are familiar with meteorites as interesting collector
items, far fewer realize that they, along with some related specimens, can be
beautiful additions to a gem or jewlery collection. The majority of the essay
that follows was written by one of my colleagues at CSN, Dr. David Batchelor,
a specialist in planetary geology. In Astronomy 103: The Solar System, one of
the courses David teaches (in person and online through CSN's Distance
Education Department), the topic is developed in greater detail.
Irons, Pallasites, Tektites and Impactites in Jewelry
Most meteorites are pieces of asteroids, which are leftover building blocks of
the planets. The more common meteorite types are chemically and
geologically primitive, and while their chemistry may offer a fascinating
glimpse into the planet-forming process, they are both too fragile and too
drab to be of gemological interest (most look like ordinary dull grey rocks).
Nevertheless, there are some meteorites and related materials suitable for
jewelry.
Irons: A handful of asteroids grew large enough to differentiate; they had
enough gravity to pull theiriron content away from the rock and down into a
core. Iron meteorites, which are really alloys of iron, nickel, and other
metals, are fragments of these cores.
[An iron meteorite in a freeform natural shape which might find a good home
in a pendant]
Their fascination as jewelry comes primarily from their Widmansttten
patterns, which are seen only after a piece is cut, polished, and etched with
2% nitric acid in alcohol. At the concentrations found in these meteorites,
iron and nickel do not mix, but separate into two types of crystals; plates of
the low-nickel alloy kamacite grow in octahedral shapes, with the highnickel taenite alloy filling in the spaces. Specimens from deeper within the
parent asteroid have cooled more slowly, and their crystals grew larger.
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Much of the gemological skill in fashioning these pieces comes from selecting
a piece with appropriate crystal size, cutting it to display the pattern to
advantage, polishing and etching it to bring out the pattern, and somehow
protecting it from rust.
[This pair of earrings features both sliced and etched, as well as simple tumble
polished nuggets of iron meteorites]
[This group has been plated with 24k gold, another attractive way to protect the
metal from rusting and corrosion while preserving the crystal patterning]
Pallasites: The most beautiful of all the meteorites, the 50 or so Pallasites are
iron meteorites with silicate rock inclusions, often of amber to pale-green
olivine crystals, gemologically known as peridots. The Pallasites all come
from the core/mantle boundaries of three different parent asteroids, and are
543
collectively named after Peter Simon Pallas, who described the first known
example, found near Krasnoyarsk in Siberia. They can have intact olivine
crystals large enough for jewelry use.These specimens are often sliced to give
a stained-glass effect, or individual peridots are faceted.
[This magnificent (and really valuable) slice from the Esquierl Pallasite has
large "phenocrysts" of peridot interspersed within the metallic matrix. Image
courtesy of www.gemfrance.com]
four particular areas on Earth, three of which are centered around known
impact craters.
(The number of named tektite strewnfields has actually shrunk over the years,
as what were previously believed to be separate field were found to be parts of
larger fields spreading across multiple continents. The Bediasites from Texas
and the Georgiaites from Georgia are now recognized as part of the North
American strewnfield from the 34 million year old Chesapeake Bay crater. The
Australites, Chinites, and Indochinites are now part of the Australasian
strewnfield, for which no crater has been found despite a relatively young age
of 600,000 years. And 1 MY old tektites from Africa and Australia are part of
the Ivory Coast strewnfield associated with a crater at Lake Boumtwi in
Ghana.)
Although there is significant evidence they formed from craters on Earth, a
handful of prominent researchers cite contradictory evidence and argue for
an origin from craters on the Moon. Some of the prettiest tektites are from
the strewnfield along Europe's Moldau river, associated with the 15 million
year old Ries Crater in Germany. These "Moldavites" are a striking green,
with surfaces apparently shaped by wind as they descended through Earth's
atmosphere.
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Value Factors
As huge crystals are available, the value of gems or carvings from this
material is almost entirely due to the beauty, interest or artistry of the piece.
Gemological Properties:
Chemical Composition: SiO2
Crystal System: Trigonal
RI: 1.54 - 1.55
Density: 2.65
Fluorescence: none
Luster: vitreous
Hardness: 7
Fracture: conchoidal
Fluorescence: none
547