When light strikes a cut or polished stone, one or more of the following effects are observed:–it may be transmitted through the stone, diaphaneity, as it is called; it may produce single or double refraction, or polarisation; if reflected, it may produce lustre or colour; or it may produce phosphorescence; so that light may be (1) transmitted; (2) reflected; or produce (3) phosphorescence.

To the quality of refraction is due one of the chief charms of certain precious stones. It is not necessary to explain here what refraction is, for everyone will be familiar with the refractive property of a light-beam when passing through a medium denser than atmospheric air. It will be quite sufficient to say that all the rays are not equal in refractive power in all substances, so that the middle of the spectrum is generally selected as the mean for indexing purposes.

It will be seen that the stones in the 1st, or cubic system, show single refraction, whereas those of all other systems show double refraction; thus, light, in passing through their substance, is deviated, part of it going one way, the other portion going in another direction–that is, at a slightly different angle–so that this property alone will isolate readily all gems belonging to the 1st system.

A well-known simple experiment in physics shows this clearly. A mark on a card or paper is viewed through a piece of double-refracting spar (Iceland spar or clear calcite), when the mark is doubled and two appear. On rotating this rhomb of spar, one of these marks is seen to revolve round the other, which remains stationary, the moving mark passing further from the centre in places. When the spar is cut and used in a certain direction, we see but one mark, and such a position is called its optical axis.

Polarisation is when certain crystals possessing double refraction have the power of changing light, giving it the appearance of poles which have different properties, and the polariscope is an instrument in which are placed pieces of double-refracting (Iceland) spar, so that all light passing through will be polarised.

Since only crystals possessing the property of double refraction show polarisation, it follows that those of the 1st, or cubic system–in which the diamond stands a prominent example–fail to become polarised, so that when such a stone is placed in the polariscope and rotated, it fails _at every point_ to transmit light, which a double-refracting gem allows to pass except when its optical axis is placed in the axis of the polariscope, but this will be dealt with more fully when the methods of testing the stones come to be considered.

Diaphaneity or the power of transmitting light:–some rather fine trade distinctions are drawn between the stones in this class, technical distinctions made specially for purposes of classification, thus:–a “non-diaphanous” stone is one which is quite opaque, no light of any kind passing through its substance; a “diaphanous” stone is one which is altogether transparent; “semi-diaphanous” means one not altogether transparent, and sometimes called “sub-transparent.” A “translucent” stone is one in which, though light passes through its substance, sight is not possible through it; whilst in a “sub-translucent” stone, light passes through it, but only in a small degree.

The second physical property of light is seen in those stones which owe their beauty or value to REFLECTION: this again may be dependent on Lustre, or Colour.

Lustre This is an important characteristic due to reflection, and of which there are six varieties:–([alpha]) adamantine (which some authorities, experts and merchants subdivide as detailed below); ([beta]) pearly; ([gamma]) silky; ([delta]) resinous; ([epsilon]) vitreous; ([zeta]) metallic. These may be described:–

([alpha]) Adamantine, or the peculiar lustre of the diamond, so called from the lustre of adamantine spar, which is a form of corundum (as is emery) with a diamond-like lustre, the hard powder of which is used in polishing diamonds. It is almost pure anhydrous alumina (Al_{2}O_{3}) and is, roughly, four times as heavy as water. The lustre of this is the true “adamantine,” or diamond, brilliancy, and the other and impure divisions of this particular lustre are: _splendent_, when objects are reflected perfectly, but of a lower scale of perfection than the true “adamantine” standard, which is absolutely flawless. When still lower, and the reflection, though maybe fairly good, is somewhat “fuzzy,” or is confused or out of focus, it is then merely _shining_; when still less distinct, and no trace of actual reflection is possible (by which is meant that no object can be reproduced in any way to define it, as it could be defined in the reflection from still water or the surface of a mirror, even though imperfectly) the stone is then said to _glint_ or _glisten_. When too low in the scale even to glisten, merely showing a feeble lustre now and again as the light is reflected from its surface in points which vary with the angle of light, the stone is then said to be _glimmering_. Below this, the definitions of lustre do not go, as such stones are said to be _lustreless_.

([beta]) Pearly, as its name implies, is the lustre of a pearl.

([gamma]) Silky, possessing the sheen of silk, hence its name.

([delta]) Resinous, also explanatory in its name; amber and the like come in this variety.

([epsilon]) Vitreous. This also explains itself, being of the lustre of glass, quartz, etc.; some experts subdividing this for greater defining accuracy into the “sub-vitreous” or lower type, for all but perfect specimens.

([zeta]) Metallic or Sub-metallic. The former when the lustre is perfect as in gold; the latter when the stones possess the less true lustre of copper.

Colour. Colour is an effect entirely dependent upon light, for in the total absence of light, such as in black darkness, objects are altogether invisible to the normal human eye. In daylight, also, certain objects reflect so few vibrations of light, or none, that they appear grey, black, or jet-black; whilst those which reflect all the rays of which light is composed, and in the same number of vibrations, appear white. Between these two extremes of _none_ and _all_ we find a wonderful play and variety of colour, as some gems allow the red rays only to pass and therefore appear red; others allow the blue rays only and these appear blue, and so on, through all the shades, combinations and varieties of the colours of which light is composed, as revealed by the prism. But this is so important a matter that it demands a chapter to itself.

The third physical property of light, PHOSPHORESCENCE, is the property possessed by certain gems and minerals of becoming phosphorescent on being rubbed, or on having their temperature raised by this or other means.

It is difficult to say exactly whether this is due to the heat, the friction, or to electricity. Perhaps two or all of these may be the cause, for electricity is developed in some gems–such as the topaz–by heat, and heat by electricity, and phosphorescence developed by both.

For example, if we rub together some pulverised fluorspar in the dark, or raise its temperature by the direct application of heat, such as from a hot or warm iron, or a heated wire, we at once obtain excellent phosphorescence. Common quartz, rubbed against a second piece of the same quartz in the dark, becomes highly phosphorescent. Certain gems, also, when merely exposed to light–sunlight for preference–then taken into a darkened room, will glow for a short time. The diamond is one of the best examples of this kind of phosphorescence, for if exposed to sunlight for a while, then covered and rapidly taken into black darkness, it will emit a curious phosphorescent glow for from one to ten seconds; the purer the stone, the longer, clearer and brighter the result.

We have also seen that if an equal light-beam becomes obstructed in its passage by some substance which is denser than atmospheric air, it will become altered in its direction by refraction or reflection, and polarised, each side or pole having different properties.

Polarised light cannot be made again to pass in a certain direction through the crystal which has polarised it; nor can it again be reflected at a particular angle; so that in double-refracting crystals, these two poles, or polarised beams, are different in colour, some stones being opaque to one beam but not to the other, whilst some are opaque to both.

This curious phenomenon, with this brief, though somewhat technical explanation, shows the cause of many of the great charms in precious stones, for when viewed at one angle they appear of a definite colour, whilst at another angle they are just as decided in their colour, which is then entirely different; and as these angles change as the eye glances on various facets, the stone assumes a marvellous wealth of the most brilliant and intense colour of kaleidoscopic variety, even in a stone which may itself be absolutely clear or colourless to ordinary light.

Such an effect is called pleochroism, and crystals which show variations in their colour when viewed from different angles, or by transmitted light, are called pleochroic, or pleochromatic — from two Greek words signifying “to colour more.” To aid in the examination of this wonderfully beautiful property possessed by precious stones, a little instrument has been invented called the dichroscope, its name showing its Greek derivation, and meaning “to see colour twice” (twice, colour, to see). It is often a part of a polariscope; frequently a part also of the polarising attachment to the microscope, and is so simple and ingenious as to deserve detailed explanation.

In a small, brass tube is fixed a double-image prism of calcite or Iceland spar, which has been achromatised (that is, clear, devoid of colour) and is therefore capable of transmitting light without showing any prismatic effect, or allowing the least trace of any except the clear light-beam to pass through. At one end of this tube there is a tiny square hole, the opposite end carrying a small convex lens, of such a strength or focus as to show the square hole in true focus, that is, with perfectly sharp definition, even up to the corners of the square. On looking through the tube, the square hole is duplicated, two squares being seen.

The colors of a gem are tested by the stone being put in front of this square, when the two colours are seen quite distinctly. Not only is this a simple means of judging colour, but it enables a stone to be classified readily. For if the dichroscope shows two images of _the same_ colour, then it may possibly be a carbuncle, or a diamond, as the case may be –for single-refracting stones, of the first or cubic system, show two images of the same color. But if these two colours are different, then it must be a double-refracting stone, and according to the particular colours seen, so is the stone classified, for each stone has its own identical colour or colours when viewed through this small but useful instrument.

How clear and distinct are these changes may be viewed without it in substances strongly dichroic; for instance, if common mica is viewed in one direction, it is transparent as polished plate-glass, whilst at another angle, it is totally opaque. Chloride of palladium also is blood-red when viewed parallel to its axis, and transversely, it is a remarkably bright green. The beryl also, is sea-green one way and a beautiful blue another; the yellow chrysoberyl is brown one way and yellow with a greenish cast when viewed another way. The pink topaz shows rose-colour in one direction and yellow in another. These are perhaps the most striking examples, and are mostly self-evident to the naked eye, whilst in other cases, the changes are so delicate that the instrument must be used to give certainty; some again show changes of colour as the stone is revolved in the dichroscope, or the instrument revolved round the stone.

Some stones, such as the opal, split up the light-beams as does a prism, and show a wonderful exhibition of prismatic colour, which is technically known as a “play of colour.” The descriptive term “opalescence” is self-suggesting as to its origin, which is the “noble” or “precious” opal; this radiates brilliant and rapidly changing iridescent reflections of blue, green, yellow and red, all blending with, and coming out of, a curious silky and milky whiteness, which is altogether characteristic.

The moonstone is another example of this peculiar feature which is possessed in a more or less degree by all the stones in the class of pellucid jewels, but no stone or gem can in any way even rival the curious mixture of opaqueness, translucency, silkiness, milkiness, fire, and the steadfast changeable and prismatic brilliance of colour of the precious opal.

The other six varieties of opal are much inferior in their strange mixture of these anomalies of light and colour.

Given in order of value, we have as the second, the “fire” opal with a red reflection, and, as a rule, that only.

The third in value is the “common” opal, with the colours of green, red, white and yellow, but this is easily distinguishable from the “noble” or “precious” variety in that the common opal does not possess that wonderful “play” of colour.

The fourth variety is called the “semi-opal,” which is really like the third variety, the “common,” but of a poorer quality and more opaque.

The fifth variety in order of value, is that known as the “hydrophane,” which has an interesting characteristic in becoming transparent when immersed in water, and only then.

The sixth is the “hyalite,” which has but a glassy or vitreous lustre, and is found almost exclusively in the form of globules, or clusters of globules, somewhat after the form and size of bunches of grapes; hence the name “botryoidal” is often applied to this variety.

The last and commonest of all the seven varieties of opal is somewhat after the shape of a kidney (reniform), or other irregular shape, occasionally almost transparent, but more often somewhat translucent, and very often opaque. This seventh class is called “menilite,” being really an opaline form of quartz, originally found at Menilmontant, hence its name (Menil, and Greek lithos, stone). It is a curious blue on the exterior of the stone, brown inside.

History records many magnificent and valuable opals, not the least of which was that of Nonius, who declined to give it to Mark Antony, choosing exile rather than part with so rare a jewel, which Pliny describes as being existent in his day, and of a value which, in present English computation, would exceed one hundred thousand pounds.

Many other stones possess one or more properties of the opal, and are therefore considered more or less opalescent. This “play of colour” and “opalescence,” must not be confused with “change of colour.”

The two first appear mostly in spots and in brilliant points or flashes of coloured light, or “fire” as it is termed. This fire is constantly on the move, or “playing,” whereas “change of colour,” though not greatly dissimilar, is when the fire merely travels over broader surfaces, each colour remaining constant, such as when directly moving the stone, or turning it, when the broad mass of coloured light slowly changes, usually to its complementary. Thus in this class of stone, subject to “change of colour,” a green light is usually followed by its complementary, red, yellow by purple, blue by orange, green by brown, orange by grey, purple by broken green, with all the intermediary shades of each.

Thus when the line of sight is altered, or the stone moved, never otherwise, the colours chase one another over the surface of the gem, and mostly in broad splashes; but in those gems possessing “play of colour,” strictly speaking, whilst the stone itself remains perfectly still, and the sight is fixed unwaveringly upon it, the pulsations of the blood in the eyes, with the natural movements of the eyes and eyelids, even in a fixed, steady glance, are quite sufficient to create in the stone a display of sparks and splashes of beautiful fiery light and colour at every tremor.

The term “iridescence” is used when the display of colour is seen on the surface, rather than coming out of the stone itself. The cause of this is a natural, or in some cases an accidental, breaking of the surface of the stone into numerous cobweb-like cracks; these are often of microscopic fineness, only perceptible under moderately high powers.

Nevertheless they are quite sufficient to interfere with and refract the light rays and to split them up prismatically. In some inferior stones this same effect is caused or obtained by the application of a gentle heat, immersion in chemicals, subjection to “X rays” and other strong electric influence, and in many other ways.

As a result, the stone is very slightly expanded, and as the molecules separate, there appear on the surface thousands, perhaps millions, of microscopic fissures running at all angles, so that no matter from what position the stone may be viewed, a great number of these fissures are certain to split up the light into prismatic colours causing brilliant iridescence. Similar fissures may often be seen with the naked eye on glass, especially if scorched or cooled too rapidly (chilled), and on the surface of clear spar and mica, their effects being of extreme interest, from a colour point of view, at least.

The garnet is usually in the form of a rhombic dodecahedron, or as a trisoctahedron (called also sometimes an icosatetrahedron), or a mixture of the two, though the stones appear in other cubic forms.

In hardness they vary from 6-1/2 to 8-1/2. They average from 40 to about 42 per cent. of silica, the other ingredients being in fairly constant and definite proportions. They are vitreous and resinous in their lustre and of great variety of colour, chiefly amongst reds, purples, violets, greens, yellows and blacks, according to the colouring matter present in their mass.

There are many varieties which are named in accordance with one or more of their constituents, the best known being:

(A) The iron-alumina garnet, having the formula 6FeO, 3SiO2 + 2Al2O3, 3SiO2. This is the “precious” garnet, or almandine, sometimes called the “Oriental” garnet; these stones are found in Great Britain, India, and South America, and are deep red and transparent, of vitreous lustre. They get up well, but certain varieties are so subject to defects in their substance, brought about by pressure, volcanic action, and other causes, some of which are not yet known, that their quality often becomes much depreciated in consequence. This inferior variety of the iron-alumina garnet is called the “common” garnet, and has little lustre, being sometimes opaque. The perfect qualities, or almandine, as described above, are favourite stones with jewellers, who mount great quantities of them.

The second variety is the (B) lime-iron garnet, formula, 6CaO,3SiO2 + 2Fe2O3,3SiO2. The chief of this class is the melanite, sometimes dull, yet often vitreous; it is mostly found in volcanic rocks, such as tuff; this variety is very popular with jewellers for mourning ornaments, for as it is a beautiful velvet-black in colour and quite opaque, it is pre-eminent for this purpose, being considerably less brittle than jet, though heavier. Another variety is the “topazolite,” both yellow and green. The “aplome” is greenish-yellow, yellowish-green, brown, and usually opaque. A further form of lime-iron garnet is the “pyreneite,” first found in the Pyrenees Mountains, hence its name.

The (C) lime-chrome garnets -6CaO,3SiO2 + 2Cr2O3, 3SiO2 – the chief of which is “uwarowite.” This is of a magnificent emerald green colour, translucent at edges and of a vitreous lustre. When heated on the borax bead it gives an equally beautiful green, which is, however, rather more inclined to chrome than emerald. This is an extremely rare stone in fine colour, though cloudy and imperfect specimens are often met with, but seldom are large stones found without flaws and of the pure colour, which rivals that of the emerald in beauty.

The fourth variety (D) is the lime-alumina garnet, its formula being -6CaO,3SiO2 + 2Al2O3,3SiO2. Like the others, it has a number of sub-varieties, the chief being the “cinnamon stone,” which is one of great beauty and value when perfect. This stone is almost always transparent when pure, which property is usually taken as one of the tests of its value, for the slightest admixture or presence of other substances cloud it, probably to opacity, in accordance with the quantity of impurity existent. This variety is composed of the oxides of aluminium and silicon with lime. In colour it ranges from a beautiful yellowish-orange deepening towards the red to a pure and beautiful red.

“Romanzovite” is another beautiful variety, the colour of which ranges through browns to black. Another important variety is the “succinite,” which gets up well and is a favourite with jewellers because of its beautiful, amber-like colour, without possessing any of the drawbacks of amber.

(E) The magnesia-alumina garnet -6MgO,3SiO2 + 2Al2O3,3SiO2 – is somewhat rare, the most frequently found being of a strong crimson colour and transparent. This variety is called “pyrope,” the deeper and richer tints being designated “carbuncle,” from the Latin carbunculus, a little coal, because when this beautiful variety of the “noble” garnet is held up between the eyes and the sun, it is no longer a deep, blood-red, but has exactly the appearance of a small piece of live or glowing coal, the scarlet portion of its colour-mixture being particularly evident.

The ancient Greeks called it anthrax, which name is sometimes used in medicine to-day with reference to the severe boil-like inflammation which, from its burning and redness, is called a carbuncle, though it is more usual to apply the word “anthrax” to the malignant cattle-disease which is occasionally passed on to man by means of wool, hair, blood-clots, etc., etc., and almost always ends fatally. A great deal of mystery and superstition has always existed in connexion with this stone – the invisibility of the bearer of the egg-carbuncle laid by a goldfinch, for instance.

(F) The manganese-alumina garnet -6MnO,3SiO2 + 2Al{2}O3,3SiO2 – is usually found in a crystalline or granular form, and mostly in granite and in the interstices of the plates, or laminæ, of rocks called schist. One variety of this, which is a deep hyacinth in colour, though often of a brown-tinted red, is called “spessartine,” or “spessartite,” from the district in which it is chiefly found, though its distribution is a fairly wide one.

It has a vitreous lustre, crystallises in the 1st, or cubic system, and is a complex substance, varying considerably in its ingredients in accordance with the locality in which it is found, its matrix, and the general geological formation of the surrounding substances, which may, by the penetration of moisture, be brought to bear upon the stone, thus influencing to a great extent its chemical composition.

So that we find the stone composed of about a quarter of its substance of alumina, or oxide of aluminium, silica to the extent of almost half, the remainder being lime, soda, sulphur, and occasionally traces of copper and iron. It is mostly found in granite and certain crystalline limestone rocks, in fairly large masses. It is of great antiquity, figuring extensively in ancient Egyptian history, both in its form as a stone and ground up into a pigment for the decoration of sacred and royal vessels and appointments.

When so ground, it forms the stable and magnificent colour, genuine ultramarine, which is the finest and purest blue on the artist’s palette, but owing to its extremely high price its use is not in very great demand, especially as many excellent chemical substitutes of equal permanence are obtainable at little cost.