All this occurring above and under ground has given them an appearance altogether different to that which follows cutting and polishing. Further, the shape of the stone becomes altered by the same means, and just as Michael Angelo’s figure was already in the marble, as he facetiously said, and all he had to do was to chip off what he did not require till he came to it, so is the same process of cutting and polishing necessary to give to the precious stones their full value, and it is the manner in which these delicate and difficult operations are performed that is now under consideration.

Just as experience and skill are essential to the obtaining of a perfect figure from the block of marble, so must the cutting and polishing of a precious stone call for the greatest dexterity of which a workman is capable, experience and skill so great as to be found only in the expert, for in stones of great value even a slight mistake in the shaping and cutting would probably not only be wasteful of the precious material, but would utterly spoil its beauty, causing incalculable loss, and destroying altogether the refrangibility, lustre and colour of the stone, thus rendering it liable to easy fracture: in every sense converting what would have been a rare and magnificent jewel to a comparatively valueless specimen.

One of the chief services rendered by precious stones is that they may be employed as objects of adornment, therefore, the stone must be cut of such a shape as will allow of its being set without falling out of its fastening -not too shallow or thin, to make it unserviceable and liable to fracture, and in the case of a transparent stone, not too deep for the light to penetrate, or much colour and beauty will be lost.

Again, very few stones are flawless, and the position in which the flaw or flaws appear will, to a great extent, regulate the shape of the stones, for there are some positions in which a slight flaw would be of small detriment, because they would take little or no reflection, whilst in others, where the reflections go back and forth from facet to facet throughout the stone, a flaw would be magnified times without number, and the value of the stone greatly reduced.

It is therefore essential that a flaw should be removed whenever possible, but, when this is not practicable, the expert will cut the stone into such a shape as will bring the defect into the least important part of the finished gem, or probably sacrifice the size and weight of the original stone by cutting it in two or more pieces of such a shape that the cutting and polishing will obliterate the defective portions. Such a method was adopted with the great Cullinan diamond. From this remarkable diamond a great number of magnificent stones were obtained, the two chief being the largest and heaviest at present known. Some idea of the size of the original stone may be gathered from the fact that the traditional Indian diamond, the “Great Mogul,” is said to have weighed 280 carats.

This stone, however, is lost, and some experts believe that it was divided, part of it forming the present famous Koh-i-nur; at any rate, all trace of the Great Mogul ceased with the looting of Delhi in 1739. The Koh-i-nur weighs a little over 106 carats; before cutting it weighed a shade over 186; the Cullinan, in the same state, weighed nearly 3254 carats.

This massive diamond was cut into about 200 stones, the largest, now placed in “The Royal Sceptre with the Cross,” weighing 516-1/2 carats, the second, now placed under the historic ruby in “The Imperial State Crown,” weighing 309-3/16ths carats. These two diamonds are now called “The Stars of Africa.”

Both these stones, but especially the larger, completely overshadow the notorious Koh-i-nur, and notwithstanding the flaw which appeared in the original stone, every one of the resulting pieces, irrespective of weight, is without the slightest blemish and of the finest colour ever known, for the great South African diamond is of a quality never even approached by any existing stone, being ideally perfect.

It requires a somewhat elaborate explanation to make clear the various styles of cut without illustrations. They are usually divided into two groups, with curved, and with flat or plane surfaces. Of the first, the curved surfaces, opaque and translucent stones, such as the moonstone, cat’s-eye, etc., are mostly cut en cabochon, that is, dome-shaped or semi-circular at the top, flat on the underside, and when the garnet is so cut it is called a carbuncle.

In strongly coloured stones, while the upper surface is semi-circular like the cabochon, the under surface is more or less deeply concave, sometimes following the curve of the upper surface, the thickness of the stone being in that case almost parallel throughout.

This is called the “hollow” cabochon. Other stones are cut so that the upper surface is dome-shaped like the last two, but the lower is more or less convex, though not so deep as to make the stone spherical. This is called the “double” cabochon.

A further variety of cutting is known as the goutte de suif, or the “tallow-drop,” which takes the form of a somewhat flattened or long-focus double-convex lens. The more complicated varieties of cut are those appearing in the second group, or those with plane surfaces.

A very old form is the “rose” or “rosette”; in this the extreme upper centre, called the “crown,” or “star,” is usually composed of six triangles, the apexes of which are elevated and joined together, forming one point in the centre. From their bases descend a further series of triangles, the bases and apexes of which are formed by the bases and lower angles of the upper series. This lower belt is called the “teeth,” under which the surface or base of the stone is usually flat, but sometimes partakes of a similar shape to the upper surface, though somewhat modified in form.

Another variety is called the “table cut,” and is used for coloured stones. It has a flat top or “table” of a square or other shape, the edges of which slope outwards and form the “bezils” or that extended portion by which the stone is held in its setting. It will thus be seen that the outside of the stone is of the same shape as that of the “table,” but larger, so that from every portion of the “table” the surface extends downwards, sloping outwards to the extreme size of the stone, the underside sloping downwards and inwards to a small and flat base, the whole, in section, being not unlike the section of a “pegtop.”

A modification of this is known as the “step” cut, sometimes also called the “trap.” Briefly, the difference between this and the last is that whereas the table has usually one bevel on the upper and lower surfaces, the trap has one or more steps in the sloping parts, hence its name.

The most common of all, and usually applied only to the diamond, is the “brilliant” cut. This is somewhat complicated, and requires detailed description. In section, the shape is substantially that of a pegtop with a flat “table” top and a small flat base. The widest portion is that on which the claws, or other form of setting, hold it securely in position. This portion is called the “girdle,” and if we take this as a defining line, that portion which appears above the setting of this girdle, is called the “crown”; the portion below the girdle is called the “culasse,” or less commonly the “pavilion.”

Commencing with the girdle upwards, we have eight “cross facets” in four pairs, a pair on each side; each pair having their apexes together, meeting on the four extremities of two lines drawn laterally at right angles through the stone. It will, therefore, be seen that one side of each triangle coincides with the girdle, and as their bases do not meet, these spaces are occupied by eight small triangles, called “skill facets,” each of which has, as its base, the girdle, and the outer of its sides coincides with the base of the adjoining “cross facet.”

The two inner sides of each pair of skill facets form the half of a diamond or lozenge-shaped facet, called a “quoin,” of which there are four. The inner or upper half of each of these four quoins forms the bases of two triangles, one at each side, making eight in all, which are called “star facets,” and the inner lines of these eight star facets form the boundary of the top of the stone, called the “table.” The inner lines also of the star facets immediately below the table and those of the cross facets immediately above the girdle form four “templets,” or “bezils.” We thus have above the girdle, thirty-three facets: 8 cross, 8 skill, 4 quoin, 8 star, 1 table, and 4 templets.

Reversing the stone and again commencing at the girdle, we have eight “skill facets,” sometimes called the lower skill facets, the bases of which are on the girdle, their outer sides forming the bases of eight cross facets, the apexes of which meet on the extremities of the horizontal line, as in those above the girdle. If the basal lines of these cross facets, where they join the sides of the skill facets, are extended to the peak, or narrow end of the stone, these lines, together with the sides of the cross facets, will form four five-sided facets, called the “pavilions”; the spaces between these four pavilions have their ends nearest the girdle formed by the inner sides of the skill facets, and of these spaces, there will, of course, be four, which also are five-sided figures, and are called “quoins,” so that there are eight five-sided facets -four large and four narrow -their bases forming a square, with a small portion of each corner cut away; the bases of the broader pavilions form the four sides, whilst the bases of the four narrower quoins cut off the corners of the square, and this flat portion, bounded by the eight bases, is called the “culet,” but more commonly “collet.” So that below the girdle, we find twenty-five facets: 8 cross, 8 skill, 4 pavilion, 4 quoin, and 1 collet.

These, with the 33 of the crown, make 58, which is the usual number of facets in a brilliant, though this varies with the character, quality, and size of the diamond. For instance, though this number is considered the best for normal stones, specially large ones often have more, otherwise there is danger of their appearing dull, and it requires a vast amount of skill and experience to decide upon the particular number and size of the facets that will best display the fire and brilliance of a large stone, for it is obvious that if, after months of cutting and polishing, it is found that a greater or smaller number of facets ought to have been allowed, the error cannot be retrieved without considerable loss, and probable ruin to the stone.

In the case of the Cullinan diamonds, the two largest of which are called the Stars of Africa, 74 facets were cut in the largest portion, while in the next largest the experts decided to make 66, and, as already pointed out, these stones are, up to the present time, the most magnificent in fire, beauty and purity ever discovered.

The positions and angles of the facets, as well as the number, are of supreme importance, and diamond cutters -even though they have rules regulating these matters, according to the weight and size of the stone -must exercise the greatest care and exactitude, for their decision once made is practically unalterable.

Several of such stones have been discussed already in the last chapter, and in addition to these star-like rays, some of the stones have, running through their substance, one or more streaks, perhaps of asbestos or calcite, some being perfectly clear, whilst others are opalescent.

When these streaks pass across the star-like radiations they give the stone the appearance of an eye, the rays forming the iris, the clear, opalescent, or black streak closely resembling the slit in a cat’s eye, and when these stones are cut en cabochon, that is, dome-shaped, there is nothing to deflect the light beams back and forth from facet to facet, as in a diamond, so that the light, acting directly on these radiations or masses of globular cavities and on the streak, causes the former to glow like living fire, and the streak appears to vibrate, palpitate, expand, and contract, exactly like the slit in the eye of a cat.

There are a considerable number of superstitions in connection with these cat’s-eye stones, many people regarding them as mascots, or with disfavour, according to their colour. When possessing the favourite hue or “fire” of the wearer, such as the fire of the opal for those born in October, of the ruby for those born in July, etc., these stones are considered to bring nothing but good luck; to ward off accident, danger, and sudden death; to be a charm against being bitten by animals, and to be a protection from poison, the “evil eye,” etc.

They figured largely, along with other valuable jewels, in the worship of the ancient Egyptians, and have been found in some of the tombs in Egypt. They also appeared on the “systrum,” which was a sacred instrument used by the ancient Egyptians in the performance of their religious rites, particularly in their sacrifices to the goddess Isis.

This, therefore, may be considered one of their sacred stones, whilst there is some analogy between the cat’s-eye stones and the sacred cat of the Egyptians which recurs so often in their hieroglyphics; it is well known that our domestic cat is not descended from the wild cat, but from the celebrated cat of Egypt, where history records its being “domesticated” at least thirteen centuries B.C. From there it was taken throughout Europe, where it appeared at least a century B.C., and was kept as a pet in the homes of the wealthy, though certain writers, speaking of the “mouse-hunters” of the old Romans and Greeks, state that these creatures were not the Egyptian cat, but a carniverous, long-bodied animal, after the shape of a weasel, called “marten,” of the species the “beech” or “common” marten (mustela foina), found also in Britain to-day.

It is also interesting to note that the various superstitions existing with regard to the different varieties and colours of cats also exist in an identical manner with the corresponding colours of the minerals known as “cat’s eye.”

Several varieties of cat’s-eye have already been described. Another important variety is that of the chrysoberyl called “cymophane.” This is composed of glucina, which is glucinum oxide, or beryllia, BeO, of which there is 19.8 per cent., and alumina, or aluminium oxide, Al2O3, of which there is 80.2 per cent. It has, therefore, the chemical formula, BeO,Al2O3. This stone shows positive electricity when rubbed, and, unlike the sapphires described in the last chapter, which lose their colour when heated, this variety of chrysoberyl shows no change in colour, and any electricity given to it, either by friction or heat, is retained for a long time.

When heated in the blowpipe alone it remains unaltered, that is, it is not fusible, and even with microcosmic salt it requires a considerably long and fierce heat before it yields and fuses, and acids do not act upon it. It crystallises in the 4th (rhombic) system, and its lustre is vitreous.

The cymophane shows a number of varieties, quite as many as the chrysoberyl, of which it is itself a variety, and these go through the gamut of greens, from a pale white green to the stronger green of asparagus, and through both the grey and yellow greens to dark. It is found in Ceylon, Moravia, the Ural Mountains, Brazil, North America, and elsewhere. The cat’s-eye of this is very similar to the quartz cat’s-eye, but a comparison will make the difference so clear that they could never be mistaken, apart from the fact that the quartz has a specific gravity considerably lower than the chrysoberyl cat’s-eye, which latter is the true cat’s-eye, and the one usually understood when allusion is made to the stone without any distinguishing prefix, such as the ruby, sapphire, quartz, etc., cat’s eye. It should, however, be mentioned that this stone is referred to when the names Ceylonese and Oriental cat’s-eye are given, which names are used in the trade as well as the simple appellation, “cat’s eye.”

One peculiarity of some of these stones is that the “fire” or “glow” is usually altered in colour by the colour of the light under which it is seen, the change of colour being generally the complementary. Thus, a stone which in one light shows red, in another will be green; the “eye” showing blue in one light will become orange in another; whilst the yellow of another stone may show a decided purple or amethyst in a different light.

A good test for this, and indeed most precious stones, is that they conduct heat more quickly than does glass, and with such rapidity that on breathing upon a stone the warmth is conducted instantly, so that, though the stone is dimmed the dimness vanishes at once, whereas with glass the film of moisture fades but slowly in comparison.