(via PTI) Economic Times writes:
Diamonds and gemstones jewellery are set to grab a greater market share from plain gold and silver ornaments with prices likely to come down after import duty cuts proposed in this year's union budget, making them more affordable for Indians.
Studded jewellery has already been taking some market share from plain gold and silver jewellery over the recent years and the proposed duty cuts are likely to further scale up their demand in the Indian market, global metal consultancy firm GFMS says in its latest report.
"With the reductions in import duties on precious stones, the domestic studded jewellery would become more affordable for consumers," GFMS metal analyst Sanjiv Arole said.
India is already the world's third largest consumer of diamond jewellery after the US and Japan and a further drop in prices could precipitate some important changes in jewellery consumption patterns in the near future, GFMS said.
The production of laboratory-manufactured diamonds is also likely to increase dramatically in the coming years, it added. While lab-manufactured diamonds appear quite identical to the natural diamonds, they cost about 70 per cent less.
India, as the largest cutting and polishing centre, is likely to become one of the key regions for processing these stones and this business would ultimately find its place in the domestic jewellery markets like Surat and elsewhere in the country.
Finance Minister P Chidambaram proposed in this year's budget to reduce import duties on cut and polished diamonds, coloured stones and corals.
While coloured stones or gems are also gaining popularity among consumers, their gains are unlikely at the expense of diamonds which are showing robust growth across most of the global markets. India is one of the fastest growing diamond markets in the world yet branded diamonds segment accounts for a meagre 12 per cent. The size of the overall diamond market in India is supposed to be over 1 billion dollar. Diamonds are gradually becoming a fashion purchase with branded segment having an edge over unbranded jewellery.
Tuesday, March 20, 2007
Bonnie and Clyde
Memorable quote (s) from the movie:
Buck Barrow (Gene Hackman): Hey, you wanna hear a story 'bout this boy? He owned a dairy farm, see. And his ol' Ma, she was kinda sick, you know. And the doctor, he had called him come over, and said, uh, "Uhh listen, your Ma, she's lyin' there, she's just so sick and she's weakly, and uh, uh I want ya to try to persuade her to take a little brandy," you see. Just to pick her spirits up, ya know. And "Ma's a teetotaler," he says. "She wouldn't touch a drop." "Well, I'll tell ya whatcha do, uh," - the doc - "I'll tell ya whatcha do, you bring in a fresh quart of milk every day and you put some brandy in it, see. And see. You try that." So he did. And he doctored it all up with the brandy, fresh milk, and he gave it to his Mom. And she drank a little bit of it, you know. So next day, he brought it in again and she drank a little more, you know. And so they went on that way for the third day and just a little more, and the fourth day, she was, you know, took a little bit more - and then finally, one week later, he gave her the milk and she just drank it down. Boy, she swallowed the whole, whole, whole thing, you know. And she called him over and she said, "Son, whatever you do, don't sell that cow!"
Buck Barrow (Gene Hackman): Hey, you wanna hear a story 'bout this boy? He owned a dairy farm, see. And his ol' Ma, she was kinda sick, you know. And the doctor, he had called him come over, and said, uh, "Uhh listen, your Ma, she's lyin' there, she's just so sick and she's weakly, and uh, uh I want ya to try to persuade her to take a little brandy," you see. Just to pick her spirits up, ya know. And "Ma's a teetotaler," he says. "She wouldn't touch a drop." "Well, I'll tell ya whatcha do, uh," - the doc - "I'll tell ya whatcha do, you bring in a fresh quart of milk every day and you put some brandy in it, see. And see. You try that." So he did. And he doctored it all up with the brandy, fresh milk, and he gave it to his Mom. And she drank a little bit of it, you know. So next day, he brought it in again and she drank a little more, you know. And so they went on that way for the third day and just a little more, and the fourth day, she was, you know, took a little bit more - and then finally, one week later, he gave her the milk and she just drank it down. Boy, she swallowed the whole, whole, whole thing, you know. And she called him over and she said, "Son, whatever you do, don't sell that cow!"
A Perspective On Literacy
(via TJA 29, 62, 1979) I M Darveniza writes:
1. What is literacy?
What is literacy and why do we need a perspective on it? The term has been the subject of much debate in recent years but rarely is a definition attempted. First, literacy does not just mean reading. The Concise Oxford Dictionary defines literacy as ‘the ability to read and write’. If we add to this the ability to speak our native language concisely and fluently and to listen effectively to others speaking it, we come nearer to the broader meaning of literacy; the mastery of our native language in all its aspects, as a means of communication. The mastery of these four interrelated skills, reading, writing, speaking and listening, is a long term process and an extensive program of training at all ages is necessary.
2. How to read?
Reading a text chapter once is not enough. Most students retain less than 25% of a chapter’s contents after one reading. A better method is to spend a few minutes skimming through the chapter, noting topic headings, charts and italics and reading the summary. This will give an overview of the contents and prepare for a more thorough reading. Next, turn the topic headings into questions and read for the answers. Test by trying to recall the answers. Selectively review by re-reading these sections which are not clear. If underlining is to be done, it should be done at this stage and not during the first reading of the chapter. The final step is the brief outline of the chapter.
Reading Professional Journal
Students should have the foundations of continuing education fostered through the reading of professional journals. But professional journals are voluminous and many, and a word by word reading of the relevant seeming articles is tedious and time wasting. A suggested plan to attack for keeping abreast with current papers follows:
Suggestions For Reading Professional Journals
General
Editorials
1. Preview, title, introduction (paragraph 1). Summary (last paragraph)—quickly.
2. Read: if further interested, read first sentence of the second paragraph for topic, then skip-phrase through paragraph, if it appears worthwhile. Handle remaining paragraphs the same way.
3. Review: look away from the material, verbalize the points of concern to you. Check back if necessary.
Announcements
1. Skim: for topic, if interesting to you
2. Check: for date, place, personnel
Special Articles (Historical), Etc
1. Skim: titles, for each of possible interest.
2. Check: introduction and summary. If it’s any worth to you.
3. ….handle balance of selections as with editorials.
Reviews
1. Check: bibliographic note at beginning; if of possible interest.
2. Skim: concluding paragraphs or sentences for reviewer’s summary. If you wish to know more..
3. Read: rest of review of skim-phrasing.
‘Specific’ (Reports of studies and investigations)
General Approach
1. Evaluate titles: Decide which you wish to know more about; for each.
2. Skim introduction, illustration, summary.
3. If and to the extent necessary for you, read and review article.
Evaluating a study in detail
1. What is the problem? What actually was studied may be somewhat different than the title indicates……restate the problem in your own words, if possible,
2. What type of study is it?
a. Exploratory
b. Survey
c. Descriptive
d. Experimental
3. Developing Listening Skills
Listening is the first input skill of language. In this age of media and muzak in every public place, the adolescent is a very poor listener. He is used to bring bombarded with noise, color, and fast movement and has developed the ability to isolate himself from peripheral sounds. Many of these young people have developed bad listening habits, and can tune out whatever does not ‘grab’ them. They have to be taught listening habits. A suggestion follows.
Listening
Ten bad listening habits
Bad (how to tune out)
1. calling subject uninteresting and tuning out.
2. criticizing delivery (poor organization, etc.)
3. getting overstimulated and tuning out.
4. listening only for FACTS (utterly inefficient), WORST listeners do this and think its good.
5. outlining everything (rigid)
6. faking attention.
7. tolerating or creating distractions (can’t hear speaker, etc.).
8. avoiding difficult material.
9. letting ‘emotion words’ throw you off.
10. wasting ‘the differential between speech and though speed.’ Lecturer 100 wpm; average thinker 400 wpm; Mind wanders while speaker catches up; You are tuned ‘cut for 50 in for 10’.
Good (how to overcome)
1. Can I use it? Sift, screen, bear down on subject.
2. Dig out what’s needed. Responsibility on you, not lecturer.
3. ‘Withhold evaluation until comprehension is complete’, ie. hear him out before judging.
4. Listen for ideas and concepts. Facts then arrange themselves. Helps retention.
5. Mostly you can’t. Use flexible techniques. (list of ideas and facts a good technique)—precise, abstract, etc.
6. Concentrate (who are you kidding?)
7. Eliminate them. Be aggressive about it.
8. Try it.
9. Be aware some words throw you. Don’t be thrown. Tolerate.
10. Use the time—gap to concentrate.
Three ingredients of good concentration:
- Anticipate what he’s going to say and then compare what he said with what you thought was coming.
- Identify his evidence. (This is where facts come in)
4. Lecture Notes
Taking good lecture notes is an essential component of learning a subject. However, so often this important skill is thought to be learnt by osmosis and not be teaching. A suggested plan for lecture note taking follows.
Taking Lecture Notes
There are many reasons for taking lecture notes.
- Making yourself take notes forces you to listen carefully and test your understanding of the material.
- When you are reviewing, notes provide a gauge to what is important in the text.
- Personal notes are usually easier to remember than the text.
- The writing down of important points helps you to remember them even before you have studied the material formally.
Instructors usually give clues to what is important to take down. Some of the more common clues are:
- Material written on the blackboard
- Repetition
- Emphasis
1. Emphasis can be judged by tone of voice and gesture.
2. Emphasis can be judged by amount of time instructor spends on points and number of examples he uses.
- Work signals (eg. “There are two points of view on…. The third reason is…..In conclusion…)
- Summaries given at end of class.
- Reviews given at beginning of class.
Each student should develop his own method of taking notes, but most students find the following suggestions helpful:
- Make your notes brief.
1. Never use a sentence where you can use a phrase. Never use a phrase where you can a use a word.
2. Use abbreviations and symbols.
- Put most notes in your own words. However, the following should be noted exactly.
1. Formulas
2. Definitions
3. Specific facts
- Use outline form and/or a numbering system. Indentation helps you distinguish major from minor points.
- If you miss a statement, write key words, skip a few spaces, and get the information later.
- Don’t try to use every space on the page. Leave room for coordinating your notes with text after the lecture. (You may want to list key terms in the margin or to make a summary of the contents of the page).
- Date your notes. Perhaps number the pages.
4. Developing Competence In Writing And Speaking
Discussion is as basic to good writing as it is to good oral language activities. Speaking is one of the outputs of language, the other is writing. Through talk students can develop the easy use of technical words and the fluency of expression that supports fluent writing:
- Talk gets ideas flowing
- Talk familiarizes vocabulary
- Talk provides opportunity to set out sentence patterns of constructions
- Talk promotes organization for clarity
- Talk establishes cause—effect relationship
- Talk organizes sequence of events
Quality of expression is tied to quality of input. Just as children pattern their oral language on what they hear during oral exchanges so students will absorb from their listening and reading the pattern of technical language. Academics should draw students attention to clear well written technical language.
The conventions of writing develop as students write and are interested in others reading their product. The conventions of handwriting, spelling and punctuation help to facilitate communication with the reader. Proof-reading is an essential component of good writing. Spelling of technical jargon words has to be learned, always remembering that spelling is a visual skill not an oral one (unless to confound small children).
The look of a word and the practice of writing it is important. Reading and spelling are often confused and there is concern for the ‘good’ reader who is a ‘bad’ speller. Reading is recognition while spelling is selection, e.g., pain, to spell the sound could be ai, ae, a….e, ei or ay.
Some of the points to avoid in technical writing can be itemized as follows:
1. Ambiguity: make sure writing has one meaning only.
2. Monotony of sentences: vary the length and construction of sentences.
3. Pretentious writing: do not use exaggerated expressions when simpler words will do.
4. Cliches, colloquialism, slang: look for fresher turns of phrase.
5. Unfamiliar words: do not use words if you do not know their meaning.
6. Circumlocution: be concise and to the point.
7. Unnecessary repetition: do not repeat the same word or phrase too soon. Read each paragraph as it is finished and any repetition will be noticed immediately.
1. What is literacy?
What is literacy and why do we need a perspective on it? The term has been the subject of much debate in recent years but rarely is a definition attempted. First, literacy does not just mean reading. The Concise Oxford Dictionary defines literacy as ‘the ability to read and write’. If we add to this the ability to speak our native language concisely and fluently and to listen effectively to others speaking it, we come nearer to the broader meaning of literacy; the mastery of our native language in all its aspects, as a means of communication. The mastery of these four interrelated skills, reading, writing, speaking and listening, is a long term process and an extensive program of training at all ages is necessary.
2. How to read?
Reading a text chapter once is not enough. Most students retain less than 25% of a chapter’s contents after one reading. A better method is to spend a few minutes skimming through the chapter, noting topic headings, charts and italics and reading the summary. This will give an overview of the contents and prepare for a more thorough reading. Next, turn the topic headings into questions and read for the answers. Test by trying to recall the answers. Selectively review by re-reading these sections which are not clear. If underlining is to be done, it should be done at this stage and not during the first reading of the chapter. The final step is the brief outline of the chapter.
Reading Professional Journal
Students should have the foundations of continuing education fostered through the reading of professional journals. But professional journals are voluminous and many, and a word by word reading of the relevant seeming articles is tedious and time wasting. A suggested plan to attack for keeping abreast with current papers follows:
Suggestions For Reading Professional Journals
General
Editorials
1. Preview, title, introduction (paragraph 1). Summary (last paragraph)—quickly.
2. Read: if further interested, read first sentence of the second paragraph for topic, then skip-phrase through paragraph, if it appears worthwhile. Handle remaining paragraphs the same way.
3. Review: look away from the material, verbalize the points of concern to you. Check back if necessary.
Announcements
1. Skim: for topic, if interesting to you
2. Check: for date, place, personnel
Special Articles (Historical), Etc
1. Skim: titles, for each of possible interest.
2. Check: introduction and summary. If it’s any worth to you.
3. ….handle balance of selections as with editorials.
Reviews
1. Check: bibliographic note at beginning; if of possible interest.
2. Skim: concluding paragraphs or sentences for reviewer’s summary. If you wish to know more..
3. Read: rest of review of skim-phrasing.
‘Specific’ (Reports of studies and investigations)
General Approach
1. Evaluate titles: Decide which you wish to know more about; for each.
2. Skim introduction, illustration, summary.
3. If and to the extent necessary for you, read and review article.
Evaluating a study in detail
1. What is the problem? What actually was studied may be somewhat different than the title indicates……restate the problem in your own words, if possible,
2. What type of study is it?
a. Exploratory
b. Survey
c. Descriptive
d. Experimental
3. Developing Listening Skills
Listening is the first input skill of language. In this age of media and muzak in every public place, the adolescent is a very poor listener. He is used to bring bombarded with noise, color, and fast movement and has developed the ability to isolate himself from peripheral sounds. Many of these young people have developed bad listening habits, and can tune out whatever does not ‘grab’ them. They have to be taught listening habits. A suggestion follows.
Listening
Ten bad listening habits
Bad (how to tune out)
1. calling subject uninteresting and tuning out.
2. criticizing delivery (poor organization, etc.)
3. getting overstimulated and tuning out.
4. listening only for FACTS (utterly inefficient), WORST listeners do this and think its good.
5. outlining everything (rigid)
6. faking attention.
7. tolerating or creating distractions (can’t hear speaker, etc.).
8. avoiding difficult material.
9. letting ‘emotion words’ throw you off.
10. wasting ‘the differential between speech and though speed.’ Lecturer 100 wpm; average thinker 400 wpm; Mind wanders while speaker catches up; You are tuned ‘cut for 50 in for 10’.
Good (how to overcome)
1. Can I use it? Sift, screen, bear down on subject.
2. Dig out what’s needed. Responsibility on you, not lecturer.
3. ‘Withhold evaluation until comprehension is complete’, ie. hear him out before judging.
4. Listen for ideas and concepts. Facts then arrange themselves. Helps retention.
5. Mostly you can’t. Use flexible techniques. (list of ideas and facts a good technique)—precise, abstract, etc.
6. Concentrate (who are you kidding?)
7. Eliminate them. Be aggressive about it.
8. Try it.
9. Be aware some words throw you. Don’t be thrown. Tolerate.
10. Use the time—gap to concentrate.
Three ingredients of good concentration:
- Anticipate what he’s going to say and then compare what he said with what you thought was coming.
- Identify his evidence. (This is where facts come in)
4. Lecture Notes
Taking good lecture notes is an essential component of learning a subject. However, so often this important skill is thought to be learnt by osmosis and not be teaching. A suggested plan for lecture note taking follows.
Taking Lecture Notes
There are many reasons for taking lecture notes.
- Making yourself take notes forces you to listen carefully and test your understanding of the material.
- When you are reviewing, notes provide a gauge to what is important in the text.
- Personal notes are usually easier to remember than the text.
- The writing down of important points helps you to remember them even before you have studied the material formally.
Instructors usually give clues to what is important to take down. Some of the more common clues are:
- Material written on the blackboard
- Repetition
- Emphasis
1. Emphasis can be judged by tone of voice and gesture.
2. Emphasis can be judged by amount of time instructor spends on points and number of examples he uses.
- Work signals (eg. “There are two points of view on…. The third reason is…..In conclusion…)
- Summaries given at end of class.
- Reviews given at beginning of class.
Each student should develop his own method of taking notes, but most students find the following suggestions helpful:
- Make your notes brief.
1. Never use a sentence where you can use a phrase. Never use a phrase where you can a use a word.
2. Use abbreviations and symbols.
- Put most notes in your own words. However, the following should be noted exactly.
1. Formulas
2. Definitions
3. Specific facts
- Use outline form and/or a numbering system. Indentation helps you distinguish major from minor points.
- If you miss a statement, write key words, skip a few spaces, and get the information later.
- Don’t try to use every space on the page. Leave room for coordinating your notes with text after the lecture. (You may want to list key terms in the margin or to make a summary of the contents of the page).
- Date your notes. Perhaps number the pages.
4. Developing Competence In Writing And Speaking
Discussion is as basic to good writing as it is to good oral language activities. Speaking is one of the outputs of language, the other is writing. Through talk students can develop the easy use of technical words and the fluency of expression that supports fluent writing:
- Talk gets ideas flowing
- Talk familiarizes vocabulary
- Talk provides opportunity to set out sentence patterns of constructions
- Talk promotes organization for clarity
- Talk establishes cause—effect relationship
- Talk organizes sequence of events
Quality of expression is tied to quality of input. Just as children pattern their oral language on what they hear during oral exchanges so students will absorb from their listening and reading the pattern of technical language. Academics should draw students attention to clear well written technical language.
The conventions of writing develop as students write and are interested in others reading their product. The conventions of handwriting, spelling and punctuation help to facilitate communication with the reader. Proof-reading is an essential component of good writing. Spelling of technical jargon words has to be learned, always remembering that spelling is a visual skill not an oral one (unless to confound small children).
The look of a word and the practice of writing it is important. Reading and spelling are often confused and there is concern for the ‘good’ reader who is a ‘bad’ speller. Reading is recognition while spelling is selection, e.g., pain, to spell the sound could be ai, ae, a….e, ei or ay.
Some of the points to avoid in technical writing can be itemized as follows:
1. Ambiguity: make sure writing has one meaning only.
2. Monotony of sentences: vary the length and construction of sentences.
3. Pretentious writing: do not use exaggerated expressions when simpler words will do.
4. Cliches, colloquialism, slang: look for fresher turns of phrase.
5. Unfamiliar words: do not use words if you do not know their meaning.
6. Circumlocution: be concise and to the point.
7. Unnecessary repetition: do not repeat the same word or phrase too soon. Read each paragraph as it is finished and any repetition will be noticed immediately.
Cutting Cubic Zirconia
(via Gem Cutter, March 1982) Wahroongai News writes:
We have been asked to furnish information about cutting cubic zirconia. As is usual in the faceting field, various cutters develop their own techniques but a little research brought the following results:
The recommended proportions appear to be 1/3 crown and 2/3 pavilion with the table 55% of the width. For cutting round brilliants, one cutter suggest crown mains 35º and pavilion 41º whilst another quotes 34½º and 40¾º respectively. The critical angle is specified as 28º. Yet another experienced cutter stated that the Barion cut, originally developed for diamond cutting, is quite ‘spectacular’ in cubic zirconia.
‘Make haste slowly’ is the opinion of some facetors; it is necessary to proceed by degrees. First use 600 micron diamond on a copper lap with water; followed by 1200 micron on copper with oil; then 3000 micron on copper with oil. Don’t overdo the diamond—a little goes a long way with cubic zirconia.
A smooth lap is needed—a well worn one seems to work best. And—avoid contamination at all costs! Another opinion was that one needed to use only a medium diamond disc (260 grit) and then proceed to polish. All agreed that a fine satin finish at this stage meant less polishing and that the polishing should be done with Linde A on a tin lap, well scored, and at a moderately slow speed. The only alternatives suggested were ¼ micron diamond dust on a zinc or a ceramic lap.
Incidentally, it is interesting to note that cubic zirconia was originally produced for scientific and technological purposes and its use in the gem and jewelry trade was merely a side issue. Also, the colors in which is now produced are derived by purposely adding, usually a minute quantities, some impurity (called ‘dopant’) and that many of these additives are rare-earths.
Dopant used: Cerium; Color produced: Yellow-orange-red
Dopant used: Chromium; Color produced: Olive
Dopant used: Cobalt; Color produced: Lilac
Dopant used: Copper; Color produced: Yellow
Dopant used: Erbium; Color produced: Pink
Dopant used: Europium; Color produced: Pink
Dopant used: Holmium; Color produced: Pink
Dopant used: Iron; Color produced: Yellow
Dopant used: Manganese; Color produced: Brown-violet
Dopant used: Neodymium; Color produced: Lilac
Dopant used: Nickel; Color produced: Yellow-brown
Dopant used: Praseodymium; Color produced: Amber
Dopant used: Thulium; Color produced: Green
Dopant used: Titanium; Color produced: Yellow-brown
Dopant used: Vanadium; Color produced: Green
We have been asked to furnish information about cutting cubic zirconia. As is usual in the faceting field, various cutters develop their own techniques but a little research brought the following results:
The recommended proportions appear to be 1/3 crown and 2/3 pavilion with the table 55% of the width. For cutting round brilliants, one cutter suggest crown mains 35º and pavilion 41º whilst another quotes 34½º and 40¾º respectively. The critical angle is specified as 28º. Yet another experienced cutter stated that the Barion cut, originally developed for diamond cutting, is quite ‘spectacular’ in cubic zirconia.
‘Make haste slowly’ is the opinion of some facetors; it is necessary to proceed by degrees. First use 600 micron diamond on a copper lap with water; followed by 1200 micron on copper with oil; then 3000 micron on copper with oil. Don’t overdo the diamond—a little goes a long way with cubic zirconia.
A smooth lap is needed—a well worn one seems to work best. And—avoid contamination at all costs! Another opinion was that one needed to use only a medium diamond disc (260 grit) and then proceed to polish. All agreed that a fine satin finish at this stage meant less polishing and that the polishing should be done with Linde A on a tin lap, well scored, and at a moderately slow speed. The only alternatives suggested were ¼ micron diamond dust on a zinc or a ceramic lap.
Incidentally, it is interesting to note that cubic zirconia was originally produced for scientific and technological purposes and its use in the gem and jewelry trade was merely a side issue. Also, the colors in which is now produced are derived by purposely adding, usually a minute quantities, some impurity (called ‘dopant’) and that many of these additives are rare-earths.
Dopant used: Cerium; Color produced: Yellow-orange-red
Dopant used: Chromium; Color produced: Olive
Dopant used: Cobalt; Color produced: Lilac
Dopant used: Copper; Color produced: Yellow
Dopant used: Erbium; Color produced: Pink
Dopant used: Europium; Color produced: Pink
Dopant used: Holmium; Color produced: Pink
Dopant used: Iron; Color produced: Yellow
Dopant used: Manganese; Color produced: Brown-violet
Dopant used: Neodymium; Color produced: Lilac
Dopant used: Nickel; Color produced: Yellow-brown
Dopant used: Praseodymium; Color produced: Amber
Dopant used: Thulium; Color produced: Green
Dopant used: Titanium; Color produced: Yellow-brown
Dopant used: Vanadium; Color produced: Green
Old Chinese Snuff Bottles
By Henry C Hitt
Charles E Tuttle Company
1978 ISBN 0-8048-1220-9
Charles E Tuttle Company writes:
Among collectors of Chinese snuff bottles, the name of the late Henry C Hitt has long commanded respect, not only as that of an ardent fellow collector but also as that of the author of the first book on the subject in any language—a work that had the great value of arousing collectors everywhere, even in China. This book, which appeared in first and second editions and was followed by a supplement, has in itself become a collector’s item. Until now, however, it has been practically impossible to obtain, for it was a handmade book produced by lithographic methods, and it had little hope of ever being reprinted. The present edition remedies this lack by bringing together facsimile copies of the expanded second edition (1945) and the supplement and thereby making available to a much wider audience Mr Hitt’s invaluable contribution to the fascinating subject of snuff bottle collecting.
In this introduction to the second edition, Mr Hitt wrote: “There is an almost total lack of literature on Chinese snuff bottles. This is, as far as is known, the only book on the subject, and there have been only a few magazine articles.” To be sure, since the appearance of the book in 1945 there have been numerous other books and articles on the subject, but this by no means diminishes the value of his pioneering work or the honor he achieved by being one of the first to share his knowledge with other enthusiastic collectors. And it is exactly for the benefit of these enthusiastic collectors that this new facsimile edition is being offered.
Charles E Tuttle Company
1978 ISBN 0-8048-1220-9
Charles E Tuttle Company writes:
Among collectors of Chinese snuff bottles, the name of the late Henry C Hitt has long commanded respect, not only as that of an ardent fellow collector but also as that of the author of the first book on the subject in any language—a work that had the great value of arousing collectors everywhere, even in China. This book, which appeared in first and second editions and was followed by a supplement, has in itself become a collector’s item. Until now, however, it has been practically impossible to obtain, for it was a handmade book produced by lithographic methods, and it had little hope of ever being reprinted. The present edition remedies this lack by bringing together facsimile copies of the expanded second edition (1945) and the supplement and thereby making available to a much wider audience Mr Hitt’s invaluable contribution to the fascinating subject of snuff bottle collecting.
In this introduction to the second edition, Mr Hitt wrote: “There is an almost total lack of literature on Chinese snuff bottles. This is, as far as is known, the only book on the subject, and there have been only a few magazine articles.” To be sure, since the appearance of the book in 1945 there have been numerous other books and articles on the subject, but this by no means diminishes the value of his pioneering work or the honor he achieved by being one of the first to share his knowledge with other enthusiastic collectors. And it is exactly for the benefit of these enthusiastic collectors that this new facsimile edition is being offered.
Monday, March 19, 2007
Weakly Radioactive Spinel Triplets
(via ICA Early Warning Flash, No.23, November 1989) Kurt Nassau writes:
A New York gemstone merchant accidentally placed a parcel of spinel triplets near his Geiger counter and was surprised when radioactivity was detected. Some of the stones involved were examined by me. They are yellow green, apparently intended to imitate peridot, and are said to be manufactured in Europe. Analysis shows that they consist of two layers of colorless spinel cemented together with a green lead and uranium-containing glass. The uranium provides both the color and the radioactivity. A single stone counts only just double the background on a small ‘monitor 4’ Geiger counter; accordingly the amount of radiation produced from an individual stone is not easy to detect and probably harmless. Nevertheless, significant activity is given off by a parcel containing many such stones. Gemologists and dealers should be aware of this situation.
A New York gemstone merchant accidentally placed a parcel of spinel triplets near his Geiger counter and was surprised when radioactivity was detected. Some of the stones involved were examined by me. They are yellow green, apparently intended to imitate peridot, and are said to be manufactured in Europe. Analysis shows that they consist of two layers of colorless spinel cemented together with a green lead and uranium-containing glass. The uranium provides both the color and the radioactivity. A single stone counts only just double the background on a small ‘monitor 4’ Geiger counter; accordingly the amount of radiation produced from an individual stone is not easy to detect and probably harmless. Nevertheless, significant activity is given off by a parcel containing many such stones. Gemologists and dealers should be aware of this situation.
Sideways
Memorable quote (s) from the movie:
Maya (Virginia Madsen): You know, can I ask you a personal question, Miles?
Miles Raymond (Paul Giamatti): Sure.
Maya (Virginia Madsen: Why are you so in to Pinot? I mean, it's like a thing with you.
Miles Raymond (Paul Giamatti): Uh, I don't know, I don't know. Um, it's a hard grape to grow, as you know. Right? It's uh, it's thin-skinned, temperamental, ripens early. It's, you know, it's not a survivor like Cabernet, which can just grow anywhere and uh, thrive even when it's neglected. No, Pinot needs constant care and attention. You know? And in fact it can only grow in these really specific, little, tucked away corners of the world. And, and only the most patient and nurturing of growers can do it, really. Only somebody who really takes the time to understand Pinot's potential can then coax it into its fullest expression. Then, I mean, oh its flavors, they're just the most haunting and brilliant and thrilling and subtle and... ancient on the planet.
Maya (Virginia Madsen): You know, can I ask you a personal question, Miles?
Miles Raymond (Paul Giamatti): Sure.
Maya (Virginia Madsen: Why are you so in to Pinot? I mean, it's like a thing with you.
Miles Raymond (Paul Giamatti): Uh, I don't know, I don't know. Um, it's a hard grape to grow, as you know. Right? It's uh, it's thin-skinned, temperamental, ripens early. It's, you know, it's not a survivor like Cabernet, which can just grow anywhere and uh, thrive even when it's neglected. No, Pinot needs constant care and attention. You know? And in fact it can only grow in these really specific, little, tucked away corners of the world. And, and only the most patient and nurturing of growers can do it, really. Only somebody who really takes the time to understand Pinot's potential can then coax it into its fullest expression. Then, I mean, oh its flavors, they're just the most haunting and brilliant and thrilling and subtle and... ancient on the planet.
Absorption Spectrums
(via Wahroongai News, Volume 32, Number 7, July 1998)
Table of absorption lines for gems and minerals: This section deals with the absorption spectra of gemstones by using the spectroscope. The units are measured in Angstrom units (A), (One Angstrom = one ten millioneth of a millimeter), all figures are in Angstrom units. The gem spectroscope is used on transparent materials but thin slices of opaque materials can be used as long as light passes through it. Strong absorption lines are bracketed and weak lines have no brackets.
Color bands for the spectroscope
Red: 7800 – 6400
Orange: 6400 – 5950
Yellow: 5950 – 5700
Green: 5700 – 5000
Blue: 5000 – 4500
Purple: 4500 – 3800
Agate, dyed yellow: (7000), 6650, 6350
Actinolite: 5030, 4315
Alexandrite, green direction: (6805), 6785, 6650, (6550), 6490, 6450, (6400), (5550)
Alexandrite, red direction: 6805, (6785), 6550, 6450, 6050, 5400, (4720)
Almandine: 6170, (5760), (5270), (5050), 4620, 4380, 4280, 4040, 3930
Amethyst: 5500, 5200
Andalusite: 5535, (5505), 5475, 5250, 5180, 5060, 4950, (4550), 4475, (4360)
Apatite, yellow green: 6053, 6025, 5975, (5855), (5772), 5335, 5295, 5270
Aventurine: 6820, 6490
Axinite: 5320, (5120), (4920), (4660), 4400, 4150
Azurite: 5000
Beryl, dyed blue: 7050, 6850, 6450, 6250, 6050, 5870
Calcite: (5820)
Chalcedony, dyed blue: 6900, 6600, 6270
Chalcedony, dyed green: 7050, 6700, 6450
Chrysoberyl: 5040, 4950, 4850, (4450)
Chrysoprase, dyed: 6320, 4439
Chrysoprase: 4439
Danburite: 5900, 5860, (5845), 5840, 5830, 5820, 5805, 5780, 5760, 5730, 5710
Demantoid: (7100), 6930, (6400), (6220), 4850, 4640, 4430
Diamond, colorless to yellow: (4780), 4650, 4510, 4350, 4230, (4155), 4015, 3900
Diamond, brown to green: 537-, (5040), 4980
Diamond, yellow to brown: 5760, 5690, 5640, 5580, 5500, 5480, 5230, 4935, 4800, 4600
Diamond, artificial color yellow: (5940), 5040, (4980), 4780, 4650, 4510, 4350, 4230, 4155
Diamond, artificial color green: (7410), (5040), (4980), 4650, 4510, 4350, 4230, 4155
Diamond, artificial color brown: (7410), 5940, (5040), (4980), 4780, 4650, 4510, 4350, 4230, 4155
Diopside: (5470), 5080, (5050), (4930), 4560
Chrome diopside: 6700, 6550, 6350, 5080, 5050, 4900
Dioptase: 5700, 5600, 4650-4000
Ekanite: 6651, 6375
Emerald: (6835), (6806), 6620, 6460, (6370), 6060, 5940, (6300-5800)
Emerald, synthetic: 6830, 6805, 6620, 6460, (6375), 6300-5800, 6060, 5940, 4774
Enstatite: (5475), 5090, (5058), 5025, 4830, 4720, 4590, 4490, 4250
Chrome Enstatite: 6880, 6690, 5060
Epidote: 4750, (4550), 4350
Euclase: (7065), (7040), 6950, 6880, 6600, (6500), (6390), 4680, 4550
Fluorite, green: 6400, 6006, (5850), 5700, 5530, 5500, 4520, 4350
Fluorite, yellow: 5450, 5150, 4900, 4700, 4520
Gahnite: (6320), 5920, 5770, 5520, 5080, (4800), (4590), 4430, 4330
Grossular: 6300
Hematite: 7000, 6400, 5950, 5700, 4800, 4500, 4250, 4000
Hessonite: 5470, 4900, 4545, (4350)
Hiddenite: (6905), (6860), 6690, 6460, (6200), (4375), 4330
Hypersthene: 5510, (5475), (5058), 4820, 4485
Idocrase, green: 5300, 4870, (4610)
Iolite: 6450, 5930, 5850, 5350, (4920), (4560), 4360, 4260
Jadeite, green: (6915), 6550, 6300, 4950, 4500, (4375), 4330
Jadeite, artificial green: 6650, 6550, 6450
Kornerupine: 5400, (5080), 4630, (4460), 4300
Kyanite: 7060, 6890, 6710, (4460), 4330
Nephrite: 6890, (5090), 4900, 4600
Obsidian: 6800, 6700, 6600, 6500, 6350, 5950, 5550, 5000
Opal, fire: 7000-6400, 5900-4000
Orthoclase: 4480, 4200
Peridot: 6530, 5530, 5290, (4970), (4950), (4930), (4730), 4530
Petalite: 4540
Pyrope: (6870), (6850), 6710, 6500, (6200-5200), 5050
Quartz, synthetic blue: 6450. 5850, 5400, 5000-4900
Rhodochrosite: 5510, 4545, 4100, 3910, 3830, 3780, 3630
Rhodonite: 5480, 5030, 4550, 4120, 4080
Ruby: (6942), (6928), 6680, 6592, 6100-5000, (4750), (4685)
Sapphire, blue: (4710), (4600), 4550, (4500), 3790
Sapphire, yellow: (4710), (4600), (4500)
Sapphire, green: 4710, 4600-4500
Scheelite: (5840)
Serpentine: 4970, 4640
Sillimanite: 4620, 4410, 4100
Sinhalite: 5260, 4925, 4760, (4630), 4520, 4355
Scapolite, pink: 6630, 6520
Spessartite: 4950, (4845), 4810, 4750, (4620), 4570, 4550, 4400, 4350, 4320, 4240, 4120, 4060, 3940
Sphalerite: 6900, 6650, (6510)
Sphene: 5900, (5860), (5820), 5800, 5750, 5340, 5300, 5280
Spinel, red: (6855), 6840, (6750), (6650), 6560, 6500, 6420, 6320, (5950-4900), 4550
Spinel, blue: (6350), (5850), (5550), 5080, (4780), (4580), 4430, 4330
Spinel, synthetic blue: 6340, 5800, 5440, 4850, 4490
Spinel, synthetic green: 6200, 5800, 5700, 5500, 5400
Taaffeite: 5580, 5530, 4780
Tanzanite: 7100, 6910, (5950), 5280, 4550
Topaz, pink: (6828)
Tremolite: (6840), 6500, 6280
Turquoise: 4600, 4320, 4220
Tourmaline, red: 5550, 5370, 5250-4610, (4560), (4510), 4280
Tourmaline, green: (4970), (4610), 4150
Variscite: 6880, 6500
Willemite: 5830, 5400, 4900, 4425, 4315, (4210)
Zircon, normal: 6910, 6890, 6625, 6605, (6535), 6210, 6150, 5895, 5620, 5375, 5160, 4840, 4600, 4320
Zircon, low: (6530), 5200
Table of absorption lines for gems and minerals: This section deals with the absorption spectra of gemstones by using the spectroscope. The units are measured in Angstrom units (A), (One Angstrom = one ten millioneth of a millimeter), all figures are in Angstrom units. The gem spectroscope is used on transparent materials but thin slices of opaque materials can be used as long as light passes through it. Strong absorption lines are bracketed and weak lines have no brackets.
Color bands for the spectroscope
Red: 7800 – 6400
Orange: 6400 – 5950
Yellow: 5950 – 5700
Green: 5700 – 5000
Blue: 5000 – 4500
Purple: 4500 – 3800
Agate, dyed yellow: (7000), 6650, 6350
Actinolite: 5030, 4315
Alexandrite, green direction: (6805), 6785, 6650, (6550), 6490, 6450, (6400), (5550)
Alexandrite, red direction: 6805, (6785), 6550, 6450, 6050, 5400, (4720)
Almandine: 6170, (5760), (5270), (5050), 4620, 4380, 4280, 4040, 3930
Amethyst: 5500, 5200
Andalusite: 5535, (5505), 5475, 5250, 5180, 5060, 4950, (4550), 4475, (4360)
Apatite, yellow green: 6053, 6025, 5975, (5855), (5772), 5335, 5295, 5270
Aventurine: 6820, 6490
Axinite: 5320, (5120), (4920), (4660), 4400, 4150
Azurite: 5000
Beryl, dyed blue: 7050, 6850, 6450, 6250, 6050, 5870
Calcite: (5820)
Chalcedony, dyed blue: 6900, 6600, 6270
Chalcedony, dyed green: 7050, 6700, 6450
Chrysoberyl: 5040, 4950, 4850, (4450)
Chrysoprase, dyed: 6320, 4439
Chrysoprase: 4439
Danburite: 5900, 5860, (5845), 5840, 5830, 5820, 5805, 5780, 5760, 5730, 5710
Demantoid: (7100), 6930, (6400), (6220), 4850, 4640, 4430
Diamond, colorless to yellow: (4780), 4650, 4510, 4350, 4230, (4155), 4015, 3900
Diamond, brown to green: 537-, (5040), 4980
Diamond, yellow to brown: 5760, 5690, 5640, 5580, 5500, 5480, 5230, 4935, 4800, 4600
Diamond, artificial color yellow: (5940), 5040, (4980), 4780, 4650, 4510, 4350, 4230, 4155
Diamond, artificial color green: (7410), (5040), (4980), 4650, 4510, 4350, 4230, 4155
Diamond, artificial color brown: (7410), 5940, (5040), (4980), 4780, 4650, 4510, 4350, 4230, 4155
Diopside: (5470), 5080, (5050), (4930), 4560
Chrome diopside: 6700, 6550, 6350, 5080, 5050, 4900
Dioptase: 5700, 5600, 4650-4000
Ekanite: 6651, 6375
Emerald: (6835), (6806), 6620, 6460, (6370), 6060, 5940, (6300-5800)
Emerald, synthetic: 6830, 6805, 6620, 6460, (6375), 6300-5800, 6060, 5940, 4774
Enstatite: (5475), 5090, (5058), 5025, 4830, 4720, 4590, 4490, 4250
Chrome Enstatite: 6880, 6690, 5060
Epidote: 4750, (4550), 4350
Euclase: (7065), (7040), 6950, 6880, 6600, (6500), (6390), 4680, 4550
Fluorite, green: 6400, 6006, (5850), 5700, 5530, 5500, 4520, 4350
Fluorite, yellow: 5450, 5150, 4900, 4700, 4520
Gahnite: (6320), 5920, 5770, 5520, 5080, (4800), (4590), 4430, 4330
Grossular: 6300
Hematite: 7000, 6400, 5950, 5700, 4800, 4500, 4250, 4000
Hessonite: 5470, 4900, 4545, (4350)
Hiddenite: (6905), (6860), 6690, 6460, (6200), (4375), 4330
Hypersthene: 5510, (5475), (5058), 4820, 4485
Idocrase, green: 5300, 4870, (4610)
Iolite: 6450, 5930, 5850, 5350, (4920), (4560), 4360, 4260
Jadeite, green: (6915), 6550, 6300, 4950, 4500, (4375), 4330
Jadeite, artificial green: 6650, 6550, 6450
Kornerupine: 5400, (5080), 4630, (4460), 4300
Kyanite: 7060, 6890, 6710, (4460), 4330
Nephrite: 6890, (5090), 4900, 4600
Obsidian: 6800, 6700, 6600, 6500, 6350, 5950, 5550, 5000
Opal, fire: 7000-6400, 5900-4000
Orthoclase: 4480, 4200
Peridot: 6530, 5530, 5290, (4970), (4950), (4930), (4730), 4530
Petalite: 4540
Pyrope: (6870), (6850), 6710, 6500, (6200-5200), 5050
Quartz, synthetic blue: 6450. 5850, 5400, 5000-4900
Rhodochrosite: 5510, 4545, 4100, 3910, 3830, 3780, 3630
Rhodonite: 5480, 5030, 4550, 4120, 4080
Ruby: (6942), (6928), 6680, 6592, 6100-5000, (4750), (4685)
Sapphire, blue: (4710), (4600), 4550, (4500), 3790
Sapphire, yellow: (4710), (4600), (4500)
Sapphire, green: 4710, 4600-4500
Scheelite: (5840)
Serpentine: 4970, 4640
Sillimanite: 4620, 4410, 4100
Sinhalite: 5260, 4925, 4760, (4630), 4520, 4355
Scapolite, pink: 6630, 6520
Spessartite: 4950, (4845), 4810, 4750, (4620), 4570, 4550, 4400, 4350, 4320, 4240, 4120, 4060, 3940
Sphalerite: 6900, 6650, (6510)
Sphene: 5900, (5860), (5820), 5800, 5750, 5340, 5300, 5280
Spinel, red: (6855), 6840, (6750), (6650), 6560, 6500, 6420, 6320, (5950-4900), 4550
Spinel, blue: (6350), (5850), (5550), 5080, (4780), (4580), 4430, 4330
Spinel, synthetic blue: 6340, 5800, 5440, 4850, 4490
Spinel, synthetic green: 6200, 5800, 5700, 5500, 5400
Taaffeite: 5580, 5530, 4780
Tanzanite: 7100, 6910, (5950), 5280, 4550
Topaz, pink: (6828)
Tremolite: (6840), 6500, 6280
Turquoise: 4600, 4320, 4220
Tourmaline, red: 5550, 5370, 5250-4610, (4560), (4510), 4280
Tourmaline, green: (4970), (4610), 4150
Variscite: 6880, 6500
Willemite: 5830, 5400, 4900, 4425, 4315, (4210)
Zircon, normal: 6910, 6890, 6625, 6605, (6535), 6210, 6150, 5895, 5620, 5375, 5160, 4840, 4600, 4320
Zircon, low: (6530), 5200
What Is An Antique
(via Wahroongai News, Volume 32, Number 5, May 1998)
The following definition of an antique was discovered in the first newsletter of 1998 from the Queensland Antique Collector’s Society Inc.
Definition of Antiques
One of the strengths of the Society is the very wide range of subjects that can be covered under the definition of antiques, e.g. porcelain, silver, furniture, art. What is clear is that definition (of what is an antique) has suffered changes.
Until quite recently, the accepted opinion in England was that antique applied to articles made before about 1830, i.e. not including Victorian items. In view of the factors of supply and demand, English dealers have accepted the international convention that antique means more than 100 years old. This includes basically all Victorian pieces, but excludes Edwardian and most Art Nouveau.
American dealers have taken the view that antique refers to pieces made more than 30 years ago, and so would include original material of the Beatles and Elvis Presley. While this concept may appear startling to traditional conventions, the definition can change depending on personal perspective.
In other cultures, goods may be described as a little bit old referring to wares that were in use by grandparents. There are collectors who seek items because their grandma had one of those. The differing age of collectors, from 20 to 70 plus means that the time-frame for defining the previous two generations becomes flexible.
Most antique dealers take pragmatic view that antique refers to articles no longer made, for which there is demand. If pushed, they may limit the scope of the definition to items made before the Second World War, thus including Art Deco.
The following definition of an antique was discovered in the first newsletter of 1998 from the Queensland Antique Collector’s Society Inc.
Definition of Antiques
One of the strengths of the Society is the very wide range of subjects that can be covered under the definition of antiques, e.g. porcelain, silver, furniture, art. What is clear is that definition (of what is an antique) has suffered changes.
Until quite recently, the accepted opinion in England was that antique applied to articles made before about 1830, i.e. not including Victorian items. In view of the factors of supply and demand, English dealers have accepted the international convention that antique means more than 100 years old. This includes basically all Victorian pieces, but excludes Edwardian and most Art Nouveau.
American dealers have taken the view that antique refers to pieces made more than 30 years ago, and so would include original material of the Beatles and Elvis Presley. While this concept may appear startling to traditional conventions, the definition can change depending on personal perspective.
In other cultures, goods may be described as a little bit old referring to wares that were in use by grandparents. There are collectors who seek items because their grandma had one of those. The differing age of collectors, from 20 to 70 plus means that the time-frame for defining the previous two generations becomes flexible.
Most antique dealers take pragmatic view that antique refers to articles no longer made, for which there is demand. If pushed, they may limit the scope of the definition to items made before the Second World War, thus including Art Deco.
Bewitching Jewelry
By Carl H Giles & Barbara Ann Williams
A.S.Barnes and Co, Inc
1976 ISBN 0-498-01654-4
A S Barnes and Co writes:
Bewitching Jewelry opens the occult showcase of amulets and talismans. It examines the glittering and mystic trappings of the supernatural. Lean what the well-dressed witches are wearing—and why! Rip away the ritual robe and peek at the pendants, bracelets, rings, and necklaces of witchcraft.
Amulets and talismans are among the most powerful of all psychic baubles. Mysticism is universal, and amulets are common to all people. Talismans act more as lures to make things happen; amulets are usually used as shields, to safeguard the wearer from misfortunes.
Psychics claim that an amulet possesses supernatural powers, while a talisman may be a piece of jewelry or any object that has been endowed with special powers through occult ceremonies. Almost any object may become a talisman. Choosing the right amulet and talismans for your black arts jewelry box may help you become happier, healthier, and wealthier.
This witch’s jewel case exhibits the ornamental wonders that may help you achieve goals and fulfill ambitions. Learn how to recognize the pieces of bewitching jewelry that many men and women are wearing. You will know what people are trying to accomplish just by observing their occult jewelry.
Is your closest friend trying to revitalize her mate by wearing that special medallion? Should you wear a certain item to stop gossip? Will the piece of jewelry and the right ritual words really get rid of a headache? Is it possible for some occult jewelry to increase your confidence? Amulets and talismans may do all these things.
Some occult stones and metals may be used for solving romantic problems. Regardless of what one wants to obtain or accomplish, there seems to be some jewelry appropriate to the situation. Would you wear a voodoo doll for love or hate? You can take one for whatever scheme you need after reading the chapter on how to choose talismans.
Should you wear a witch’s belt? You may make one with the directions outlines in this volume. Find out how you can fashion some special creations. Inventory your wishes and wants, and select psychic designs that will complement your wardrobe.
Bewitching Jewelry may improve your life by giving you a detailed look at all the occult ornaments needed for an occult jewelry box. The supernatural charms and jewelry will radiate a great, new betwitching you on the outside and may generate a beautiful new mental you on the inside. Start doing your betwitching best.
A.S.Barnes and Co, Inc
1976 ISBN 0-498-01654-4
A S Barnes and Co writes:
Bewitching Jewelry opens the occult showcase of amulets and talismans. It examines the glittering and mystic trappings of the supernatural. Lean what the well-dressed witches are wearing—and why! Rip away the ritual robe and peek at the pendants, bracelets, rings, and necklaces of witchcraft.
Amulets and talismans are among the most powerful of all psychic baubles. Mysticism is universal, and amulets are common to all people. Talismans act more as lures to make things happen; amulets are usually used as shields, to safeguard the wearer from misfortunes.
Psychics claim that an amulet possesses supernatural powers, while a talisman may be a piece of jewelry or any object that has been endowed with special powers through occult ceremonies. Almost any object may become a talisman. Choosing the right amulet and talismans for your black arts jewelry box may help you become happier, healthier, and wealthier.
This witch’s jewel case exhibits the ornamental wonders that may help you achieve goals and fulfill ambitions. Learn how to recognize the pieces of bewitching jewelry that many men and women are wearing. You will know what people are trying to accomplish just by observing their occult jewelry.
Is your closest friend trying to revitalize her mate by wearing that special medallion? Should you wear a certain item to stop gossip? Will the piece of jewelry and the right ritual words really get rid of a headache? Is it possible for some occult jewelry to increase your confidence? Amulets and talismans may do all these things.
Some occult stones and metals may be used for solving romantic problems. Regardless of what one wants to obtain or accomplish, there seems to be some jewelry appropriate to the situation. Would you wear a voodoo doll for love or hate? You can take one for whatever scheme you need after reading the chapter on how to choose talismans.
Should you wear a witch’s belt? You may make one with the directions outlines in this volume. Find out how you can fashion some special creations. Inventory your wishes and wants, and select psychic designs that will complement your wardrobe.
Bewitching Jewelry may improve your life by giving you a detailed look at all the occult ornaments needed for an occult jewelry box. The supernatural charms and jewelry will radiate a great, new betwitching you on the outside and may generate a beautiful new mental you on the inside. Start doing your betwitching best.
Sunday, March 18, 2007
If We Learn To Appreciate What Mines Produce, There Will Be Enough Rough
(via ICA Gazette, April 1990) E Julius Petsch writes:
“We have no rough stones available.”
“There is no more rough.”
“This is the last lot from this mine.”
How many times have I heard these arguments? And in almost every case the people using them were wrong.
There have always been rough gemstones available. I can look back on thirty years of experience in the rough colored gemstone business and during each buying trip those years I found that were more rough stones available than money to pay for them.
During these years I have also collected a great deal of experience in mining and it is very rare to hear about a mine that is actually depleted. What most often disturbs the steady flow of rough is the lack of long term planning and lack of capital to finance proper mining. In fact, even today, only a very few mines are being exploited with the expertise and knowledge of experienced mining engineers and geologists. Many mining enterprises are also handicapped by lengthy quarrels about mining rights or legal possession of the claims. Mines are invaded by prospectors who only dig holes in the ground instead of carrying out a proper mining plan. There are also unrealistic or exaggerated price demands from inexperienced mine owners or prospectors which discourage buyers from trying to create a market for a product.
It also must not be forgotten that in some gemstone producing countries the existence of very rigid laws concerning the export of rough constrains the market. In other producing countries, the uncertain political situation impedes the production of rough gemstones or the government interferes with free trade and mining, often imposing unsupportable conditions on those who would be willing to work in this industry.
Most of the mines and mining areas which are producing today are not recent discoveries. Many mines have been producing for decades without interruption, some even for a century. The number of genuinely new discoveries of gemstone deposits is very small.
If research and prospecting for gemstone deposits were carried out more systematically, we would find that there are still vast reserves available. Most of the mining areas I know are rich with gemstone deposits. The Carnaiba emerald mine in Brazil, for example, has been proven to extend for 12 kilometers. The tourmaline bearing pegmatite of the Cruzeiro area, also in Brazil, in the State of Minas Gerais, measures many square kilometers in area. This deposit has been exploited steadily for more than fifty years. I could give very many more examples of the richness of existing deposits, not only in Brazil, but also in Australia, Africa, and the United States.
No gemstone mine produces only the best and finest qualities. The majority of the production is always the lower qualities. But this does not mean that this material is not beautiful or useful to the jewelry industry: this is a matter of taste and fashion. Cabochons, beads and tumbled stones are very often cut from the lower qualities. Although they are not clean and show inclusions instead of being transparent, they are often of beautiful color and show interesting layers, veins, and patterns. These stones are not as valued primarily because they are found in large quantities. Very often, jewelry set with a cabochon cut stone can be as fashionable, attractive, and impressive as jewelry set with its faceted counterpart.
If we could adjust the demand from the designers and manufacturers of jewelry to fit the availability of the various qualities of rough gemstones, we would always have sufficient material at our disposal to cover the demand for cut gemstones. Demand determines the price for each quality.
If however, we insist on only selling clean gemstones with intense pure colors, the availability of suitable rough is artificially decreased. I am convinced that the concentration of demand in narrow range of material has been created unnecessarily. The consumer always appreciates the natural beauty of a gemstone, be it transparent or translucent, faceted or cabochon cut, bead or tumbled. It is the gemstone itself with its natural beauty that the buyer loves, even more when that beauty is complemented by a fine gold or silver setting.
I am sure that colored gemstone rough—and therefore cut colored gemstones—will always be available, provided we can finally accept the wide range of qualities naturally produced by the world’s gemstone mines.
“We have no rough stones available.”
“There is no more rough.”
“This is the last lot from this mine.”
How many times have I heard these arguments? And in almost every case the people using them were wrong.
There have always been rough gemstones available. I can look back on thirty years of experience in the rough colored gemstone business and during each buying trip those years I found that were more rough stones available than money to pay for them.
During these years I have also collected a great deal of experience in mining and it is very rare to hear about a mine that is actually depleted. What most often disturbs the steady flow of rough is the lack of long term planning and lack of capital to finance proper mining. In fact, even today, only a very few mines are being exploited with the expertise and knowledge of experienced mining engineers and geologists. Many mining enterprises are also handicapped by lengthy quarrels about mining rights or legal possession of the claims. Mines are invaded by prospectors who only dig holes in the ground instead of carrying out a proper mining plan. There are also unrealistic or exaggerated price demands from inexperienced mine owners or prospectors which discourage buyers from trying to create a market for a product.
It also must not be forgotten that in some gemstone producing countries the existence of very rigid laws concerning the export of rough constrains the market. In other producing countries, the uncertain political situation impedes the production of rough gemstones or the government interferes with free trade and mining, often imposing unsupportable conditions on those who would be willing to work in this industry.
Most of the mines and mining areas which are producing today are not recent discoveries. Many mines have been producing for decades without interruption, some even for a century. The number of genuinely new discoveries of gemstone deposits is very small.
If research and prospecting for gemstone deposits were carried out more systematically, we would find that there are still vast reserves available. Most of the mining areas I know are rich with gemstone deposits. The Carnaiba emerald mine in Brazil, for example, has been proven to extend for 12 kilometers. The tourmaline bearing pegmatite of the Cruzeiro area, also in Brazil, in the State of Minas Gerais, measures many square kilometers in area. This deposit has been exploited steadily for more than fifty years. I could give very many more examples of the richness of existing deposits, not only in Brazil, but also in Australia, Africa, and the United States.
No gemstone mine produces only the best and finest qualities. The majority of the production is always the lower qualities. But this does not mean that this material is not beautiful or useful to the jewelry industry: this is a matter of taste and fashion. Cabochons, beads and tumbled stones are very often cut from the lower qualities. Although they are not clean and show inclusions instead of being transparent, they are often of beautiful color and show interesting layers, veins, and patterns. These stones are not as valued primarily because they are found in large quantities. Very often, jewelry set with a cabochon cut stone can be as fashionable, attractive, and impressive as jewelry set with its faceted counterpart.
If we could adjust the demand from the designers and manufacturers of jewelry to fit the availability of the various qualities of rough gemstones, we would always have sufficient material at our disposal to cover the demand for cut gemstones. Demand determines the price for each quality.
If however, we insist on only selling clean gemstones with intense pure colors, the availability of suitable rough is artificially decreased. I am convinced that the concentration of demand in narrow range of material has been created unnecessarily. The consumer always appreciates the natural beauty of a gemstone, be it transparent or translucent, faceted or cabochon cut, bead or tumbled. It is the gemstone itself with its natural beauty that the buyer loves, even more when that beauty is complemented by a fine gold or silver setting.
I am sure that colored gemstone rough—and therefore cut colored gemstones—will always be available, provided we can finally accept the wide range of qualities naturally produced by the world’s gemstone mines.
Magnolia
Memorable quote (s) from the movie:
Jim Kurring (John C Reilly): Let me tell you something, this is not an easy job. I get a call on the radio, dispatch, it's bad news. And it stinks. But this is my job and I love it. Because I want to do well - in this life and in this world, I want to do well. And I want to help people. And I might get twenty bad calls a day. But one time I can help someone and make a save - correct a wrong or right a situation - then I'm a happy cop. And as we move through this life we should try and do good. Do good... And if we can do that, and not hurt anyone else, well... then...
Jim Kurring (John C Reilly): Let me tell you something, this is not an easy job. I get a call on the radio, dispatch, it's bad news. And it stinks. But this is my job and I love it. Because I want to do well - in this life and in this world, I want to do well. And I want to help people. And I might get twenty bad calls a day. But one time I can help someone and make a save - correct a wrong or right a situation - then I'm a happy cop. And as we move through this life we should try and do good. Do good... And if we can do that, and not hurt anyone else, well... then...
Five Different Types Of Synthetic Diamond
(via The Canadian Gemmologist, Volume XIV, Number 1, Spring, 1993) Kurt Nassau writes:
Essentially all the apprehension felt in the diamond trade about the threat of synthetic diamonds is unjustified. It is largely the result of confusion about five groups of synthetic diamond that have quite different growth characteristics. Even scientists themselves often make statements which may be true of one of the five groups of synthetic diamond, but seem to apply to all synthetic diamonds.
As one example, it is true that yellow synthetic diamond can be grown in large, good quality crystals at a relatively low cost by the high pressure technique. Yet this statement does not generally apply to colorless or blue synthetic diamond made by the same process.
As another example, it is true that polycrystalline diamond films can be grown by the low pressure techniques to be a millimeter or more in thickness. Yet it is important to realize that these films are usually neither colorless nor transparent by diamond grading standards when approaching a millimeter in thickness. In addition, millimeter thickness is not achievable at present for single crystal synthetic diamond films even when grown on an existing diamond.
And lastly, there are a whole series of synthetic ‘diamond-like films’ which are too frequently labeled ‘synthetic diamond’, a totally incorrect and misleading usage. These films are usually neither clear nor transparent when of significant thickness. Moreover, they are definitely not diamond, any more than graphite or charcoal could properly be designated ‘diamond’ even though all are forms of carbon.
Confusion also arises from three additional points, which may need clarification. When a crystal grower claims that his crystals have ‘excellent’ quality or are ‘flawless’, he does not mean that they are flawless by gemological standard; usually it means that he can see through the layers or perhaps even read print with the crystal set on the paper, which may not be difficult when the layer is only a fraction of a millimeter in thickness.
The second point involves the definition of ‘diamond’ which is strictly defined as the cubic form of carbon. There is also a hard hexagonal form of carbon, properly designated lonsdaleite ‘hexagonal diamond’ which is erroneous because it means ‘hexagonal cubic caron’. So in the diamond thin-film business ‘diamond’ may not always mean diamond, but may also mean lonsdaleite or amorphous carbon.
Finally, a statement such as ‘a growth rate of one inch per week has been achieved’ does not mean that one inch has been grown; it may mean only that one thousandth of one inch was grown in one-thousandth of a week, that is in ten minutes. But growth rates do not always scale up.
The best way to understand the present rather confusing situation is to consider briefly the high-and low-pressure techniques and the five groups of synthetic diamond products.
Synthetic High Pressure Diamond
The high pressure technique for growth of synthetic diamond was discovered by H Tracy Hall at General Electric in 1955, using temperatures about 2000°C (3623°F) and pressure over one million pounds per square inch. At first, only grit could be made; GE announced gem size crystals in 1970.
Group 1: Synthetic High Pressure Yellow Diamond
Yellow synthetic diamond, colored by traces of nitrogen absorbed from the air during the growth, is readily grown by using a variety of metal solvents; crystals over 12mm across and over 14 carats in weight have been reported. By growing several layers with several small crystals per layer at one time, synthetic diamond slices used as heat sinks for transistors and integrated circuits can be produced economically. Several companies have the capability of doing this, including De Beers, GE and Sumitomo. The gemological properties of such synthetic high pressure yellow diamond have been described for example by Shigley et.al (1987). Identification should present no serious problems.
Group II: Synthetic High Pressure Colorless and Blue Diamond
For the colorless product, nitrogen must be excluded, and boron is additionally used to obtain a blue color. In both instances, special conditions must be used, such as aluminum in the solvent to remove nitrogen. This makes it more difficult to grow many crystals at one time. The characteristics of the products have been discussed by Koivula and Fryer (1984), and Shigley et.al (19860, and identification would probably present no serious problems if and when routine production, and therefore, a standardized product should happen.
Colorless and blue synthetic diamonds suitable for faceting have, indeed, been grown only on an experimental basis so far, and one can estimate that cost of production is not very different from that of natural diamond. To put this statement into perspective, synthetic colored gemstones, such as flux grown emerald, ruby, and so on, appear to be viable at a cost of less than one-tenth that of the equivalent quality natural material, but experience has shown that the market is very restricted except at even lower prices.
Thin Film Carbon Deposition
Various low pressure techniques using carbon-containing gases such as methane or acetylene and temperatures of 1200°C (2192°F) or below are used to grow a variety of types of diamond and other carbon-containing films under non-equilibrium conditions. Even acetylene torches have been used. For reviews of thin film work, see DeVries (1987), Angus and Hayman (1988), and Bachman and Messier (1989).
Group III: Synthetic Polycrystalline Diamond Films
When conditions are carefully controlled, polycrystalline diamond film s can be grown quite rapidly to become a millimeter or more in thickness. When very thin, these would not be readily detected, even by a thermal probe, and would probably not serve any useful purpose in gemology. Weight gain would be negligible and the surface hardness would not be changed significantly.
This last statement may be surprising, but a scratch test applied to a very thin diamond film covering a soft material would merely result in distortion of the substrate, and tearing and detaching of the film. If the film is thick, so that it could give a diamond reaction on a thermal probe ad provide a hard surface for a soft material, it would be visible during a gemological investigation. Moreover, adhesion of such polycrystalline diamond film is extremely poor to substances other than silicon, silcon carbide (moissanite), or diamond itself.
Group IV: Synthetic Single Crystal Diamond Films
This type of film appears to be great concern to some, because it seems to provide the threat of increasing the size of a natural diamond. Single crystal diamond films can indeed be grown on diamond surface by suitable adjustments of the low pressure techniques. Yet, a curious phenomenon occurs: the film only seems to reach a certain thickness, depending on the techniques used. If one tries to force it to continue to grow, then it either stops, turn polycrystalline (when the remarks under Group III apply), or something else happens.
Such films often contain stacking faults and may then be not diamond but lonsdaleite. It is of course possible that someone may discover someday how to keep the films growing, but work on this topic has been underway for over 30 years; a solution just does not seem easy to find. Adhesion is a problem on materials other than those listed above.
One interesting possibility is that a very thin synthetic crystal blue diamond film coating could enhance the appearance of yellow cape-series diamonds. This has been done experimentally (see Fritisch, 1991). Such a film should be as easily detected as a thin blue lacquer layer, by standard gemological testing: the concentration of color in the surface layer can be seen by immersion even in water. The acceptability of such an overgrowth would depend on the nomenclature; it might well be decided that this must be called a ‘natural-synthetic composite diamond.’
Group V: Diamond-like Films
A wide variety of different films which are not diamond but are often so labelled can be deposited quite rapidly and to millimeter thickness by various modifications of the low pressure technique. Some of these are non-crystalline amorphous or glassy films. Some contain significant amounts of hydrogen, up to one hydrogen per carbon, and should then be called hydrocarbon films. Some are partly crystalline but, instead of containing only sp-3 bonding as does diamond, also contain some sp-2 bondings as does graphite. Some have stacking sequences leading to hexagonal lonsdaleite. The materials considered in this group do not have the cube symmetry of diamond.
Additional names that have been used include amorphous carbon, amorphous hydrocarbon, dense (hydro) carbon, hard or superhard carbon, and non-diamond carbon films. All of these names may be appropriate for some such films, but the name ‘diamond’ is definitely incorrect. The hardness may vary from less than 8 to over 9, the color may be black, grey, or near colorless (particularly if very thin), and adhesion is a problem on most materials. It is difficult to visualize any application of such films in the gem field.
The Lessons From Other Synthetics
It is worth examining briefly what happens when usable synthetic gemstones first arrived in the trade. The result was the same each time, whether the product was synthetic ruby in 1905, synthetic sapphire in 1910, synthetic star corundum in 1947, synthetic emerald in 1950, synthetic alexandrite in 1972, and so on. At first there was considerable apprehension, both with respect to the effect on the trade, and also with respect to the ability to distinguish the new synthetic from natural. Each time, this stage was followed by the realization that synthetic could be distinguished from the natural with little trouble, and that synthetic filled a different niche from the natural.
In each instance there was essentially no long term effect on the market for the natural material. It is perhaps worth repeating that synthetics have only been successful in their own niches at a price less than one tenth that of the natural material. Overgrowth of a synthetic over the surface of a natural gemstone has been possible since about 1960, when Lechleitner grew a thin layer of very dark green synthetic emerald over pale natural beryl performs. This has not been a successful product in the market place to date.
In conclusion, there is no significant impact to be expected from synthetic diamond, whether produced in bulk form by the high pressure technique or in the thin film form by the low pressure technique. As always, a steady improvement of growth technology must certainly be anticipated. Significant future breakthroughs are always a possibility and would then change the present status. But they should be of concern only when they happen.
For example, there is little likelihood of D flawless synthetic diamond in carat and larger sizes and at a production cost to make it viable as a synthetic as discussed above for many years to come. After all, someone might just discover next week a new diamond mine containing huge quantities of large flawless stones; while such a discovery is not impossible, it is merely highly improbable.
Essentially all the apprehension felt in the diamond trade about the threat of synthetic diamonds is unjustified. It is largely the result of confusion about five groups of synthetic diamond that have quite different growth characteristics. Even scientists themselves often make statements which may be true of one of the five groups of synthetic diamond, but seem to apply to all synthetic diamonds.
As one example, it is true that yellow synthetic diamond can be grown in large, good quality crystals at a relatively low cost by the high pressure technique. Yet this statement does not generally apply to colorless or blue synthetic diamond made by the same process.
As another example, it is true that polycrystalline diamond films can be grown by the low pressure techniques to be a millimeter or more in thickness. Yet it is important to realize that these films are usually neither colorless nor transparent by diamond grading standards when approaching a millimeter in thickness. In addition, millimeter thickness is not achievable at present for single crystal synthetic diamond films even when grown on an existing diamond.
And lastly, there are a whole series of synthetic ‘diamond-like films’ which are too frequently labeled ‘synthetic diamond’, a totally incorrect and misleading usage. These films are usually neither clear nor transparent when of significant thickness. Moreover, they are definitely not diamond, any more than graphite or charcoal could properly be designated ‘diamond’ even though all are forms of carbon.
Confusion also arises from three additional points, which may need clarification. When a crystal grower claims that his crystals have ‘excellent’ quality or are ‘flawless’, he does not mean that they are flawless by gemological standard; usually it means that he can see through the layers or perhaps even read print with the crystal set on the paper, which may not be difficult when the layer is only a fraction of a millimeter in thickness.
The second point involves the definition of ‘diamond’ which is strictly defined as the cubic form of carbon. There is also a hard hexagonal form of carbon, properly designated lonsdaleite ‘hexagonal diamond’ which is erroneous because it means ‘hexagonal cubic caron’. So in the diamond thin-film business ‘diamond’ may not always mean diamond, but may also mean lonsdaleite or amorphous carbon.
Finally, a statement such as ‘a growth rate of one inch per week has been achieved’ does not mean that one inch has been grown; it may mean only that one thousandth of one inch was grown in one-thousandth of a week, that is in ten minutes. But growth rates do not always scale up.
The best way to understand the present rather confusing situation is to consider briefly the high-and low-pressure techniques and the five groups of synthetic diamond products.
Synthetic High Pressure Diamond
The high pressure technique for growth of synthetic diamond was discovered by H Tracy Hall at General Electric in 1955, using temperatures about 2000°C (3623°F) and pressure over one million pounds per square inch. At first, only grit could be made; GE announced gem size crystals in 1970.
Group 1: Synthetic High Pressure Yellow Diamond
Yellow synthetic diamond, colored by traces of nitrogen absorbed from the air during the growth, is readily grown by using a variety of metal solvents; crystals over 12mm across and over 14 carats in weight have been reported. By growing several layers with several small crystals per layer at one time, synthetic diamond slices used as heat sinks for transistors and integrated circuits can be produced economically. Several companies have the capability of doing this, including De Beers, GE and Sumitomo. The gemological properties of such synthetic high pressure yellow diamond have been described for example by Shigley et.al (1987). Identification should present no serious problems.
Group II: Synthetic High Pressure Colorless and Blue Diamond
For the colorless product, nitrogen must be excluded, and boron is additionally used to obtain a blue color. In both instances, special conditions must be used, such as aluminum in the solvent to remove nitrogen. This makes it more difficult to grow many crystals at one time. The characteristics of the products have been discussed by Koivula and Fryer (1984), and Shigley et.al (19860, and identification would probably present no serious problems if and when routine production, and therefore, a standardized product should happen.
Colorless and blue synthetic diamonds suitable for faceting have, indeed, been grown only on an experimental basis so far, and one can estimate that cost of production is not very different from that of natural diamond. To put this statement into perspective, synthetic colored gemstones, such as flux grown emerald, ruby, and so on, appear to be viable at a cost of less than one-tenth that of the equivalent quality natural material, but experience has shown that the market is very restricted except at even lower prices.
Thin Film Carbon Deposition
Various low pressure techniques using carbon-containing gases such as methane or acetylene and temperatures of 1200°C (2192°F) or below are used to grow a variety of types of diamond and other carbon-containing films under non-equilibrium conditions. Even acetylene torches have been used. For reviews of thin film work, see DeVries (1987), Angus and Hayman (1988), and Bachman and Messier (1989).
Group III: Synthetic Polycrystalline Diamond Films
When conditions are carefully controlled, polycrystalline diamond film s can be grown quite rapidly to become a millimeter or more in thickness. When very thin, these would not be readily detected, even by a thermal probe, and would probably not serve any useful purpose in gemology. Weight gain would be negligible and the surface hardness would not be changed significantly.
This last statement may be surprising, but a scratch test applied to a very thin diamond film covering a soft material would merely result in distortion of the substrate, and tearing and detaching of the film. If the film is thick, so that it could give a diamond reaction on a thermal probe ad provide a hard surface for a soft material, it would be visible during a gemological investigation. Moreover, adhesion of such polycrystalline diamond film is extremely poor to substances other than silicon, silcon carbide (moissanite), or diamond itself.
Group IV: Synthetic Single Crystal Diamond Films
This type of film appears to be great concern to some, because it seems to provide the threat of increasing the size of a natural diamond. Single crystal diamond films can indeed be grown on diamond surface by suitable adjustments of the low pressure techniques. Yet, a curious phenomenon occurs: the film only seems to reach a certain thickness, depending on the techniques used. If one tries to force it to continue to grow, then it either stops, turn polycrystalline (when the remarks under Group III apply), or something else happens.
Such films often contain stacking faults and may then be not diamond but lonsdaleite. It is of course possible that someone may discover someday how to keep the films growing, but work on this topic has been underway for over 30 years; a solution just does not seem easy to find. Adhesion is a problem on materials other than those listed above.
One interesting possibility is that a very thin synthetic crystal blue diamond film coating could enhance the appearance of yellow cape-series diamonds. This has been done experimentally (see Fritisch, 1991). Such a film should be as easily detected as a thin blue lacquer layer, by standard gemological testing: the concentration of color in the surface layer can be seen by immersion even in water. The acceptability of such an overgrowth would depend on the nomenclature; it might well be decided that this must be called a ‘natural-synthetic composite diamond.’
Group V: Diamond-like Films
A wide variety of different films which are not diamond but are often so labelled can be deposited quite rapidly and to millimeter thickness by various modifications of the low pressure technique. Some of these are non-crystalline amorphous or glassy films. Some contain significant amounts of hydrogen, up to one hydrogen per carbon, and should then be called hydrocarbon films. Some are partly crystalline but, instead of containing only sp-3 bonding as does diamond, also contain some sp-2 bondings as does graphite. Some have stacking sequences leading to hexagonal lonsdaleite. The materials considered in this group do not have the cube symmetry of diamond.
Additional names that have been used include amorphous carbon, amorphous hydrocarbon, dense (hydro) carbon, hard or superhard carbon, and non-diamond carbon films. All of these names may be appropriate for some such films, but the name ‘diamond’ is definitely incorrect. The hardness may vary from less than 8 to over 9, the color may be black, grey, or near colorless (particularly if very thin), and adhesion is a problem on most materials. It is difficult to visualize any application of such films in the gem field.
The Lessons From Other Synthetics
It is worth examining briefly what happens when usable synthetic gemstones first arrived in the trade. The result was the same each time, whether the product was synthetic ruby in 1905, synthetic sapphire in 1910, synthetic star corundum in 1947, synthetic emerald in 1950, synthetic alexandrite in 1972, and so on. At first there was considerable apprehension, both with respect to the effect on the trade, and also with respect to the ability to distinguish the new synthetic from natural. Each time, this stage was followed by the realization that synthetic could be distinguished from the natural with little trouble, and that synthetic filled a different niche from the natural.
In each instance there was essentially no long term effect on the market for the natural material. It is perhaps worth repeating that synthetics have only been successful in their own niches at a price less than one tenth that of the natural material. Overgrowth of a synthetic over the surface of a natural gemstone has been possible since about 1960, when Lechleitner grew a thin layer of very dark green synthetic emerald over pale natural beryl performs. This has not been a successful product in the market place to date.
In conclusion, there is no significant impact to be expected from synthetic diamond, whether produced in bulk form by the high pressure technique or in the thin film form by the low pressure technique. As always, a steady improvement of growth technology must certainly be anticipated. Significant future breakthroughs are always a possibility and would then change the present status. But they should be of concern only when they happen.
For example, there is little likelihood of D flawless synthetic diamond in carat and larger sizes and at a production cost to make it viable as a synthetic as discussed above for many years to come. After all, someone might just discover next week a new diamond mine containing huge quantities of large flawless stones; while such a discovery is not impossible, it is merely highly improbable.
Jewelry
History & Technique from the Egyptians to the Present
By Guido Gregorietti
Chartwell Books, Inc
1979 ISBN 089009-231-1
Chartwell Books writes:
A jewel has many meanings. It is a work of art, an ornament denoting rank, a statement of dress, a treasure, a sign of power, an investment, an ethnic clue, an ostentation.
One of the most famous and dependable Parisian jewelers, whose base is in Place Vendome, makes it a professional rule never to reveal the identity of his customers. One exception was made, however, when the firm was put in charge of preparing the ceremonial crown for the Empress of Iran. It would have been difficult to keep it anonymous: 1469 diamonds, 36 rubies, as many emeralds and 105 pearls were mounted on the crown in Teheran, after a year’s work.
Why jewels are never enough to satisfy is a problem for anthropologists and psychologists to explain. A bouquet of 6000 diamonds was shown at the Great Exhibition of 1851 in London; perhaps satisfying enough? Between 1884 and 1917 the Tsar of Russia presented members of his family with fifty Easter eggs with surprises in them, created by the famous Faberge in enamel and precious stones.
If we pause to think of the quantity of jewels worked into gold dug up at Troy, in Mesopotamia, in Egypt and Peru, we see the ancients could compete favorably with modern craftsmen. Also—and a curious thing to have to admit with today’s technology—the ancients had techniques which no one since has known how to repeat.
The history of jewelry, too, has a certain amount of unknown meaning. It even sometimes has a superstitious aura of occult magic.
Guido Gregorietti’s narrative of the fabulous history of jewelry places it in context in the history of art, while interweaving many aspects of the evolution of culture.
About the author
Guido Gregorietti is the author of the Jewelry entry in the Encyclopedia Britannica, and was called upon to take part in judging the 1977 Diamond Award in New York.
By Guido Gregorietti
Chartwell Books, Inc
1979 ISBN 089009-231-1
Chartwell Books writes:
A jewel has many meanings. It is a work of art, an ornament denoting rank, a statement of dress, a treasure, a sign of power, an investment, an ethnic clue, an ostentation.
One of the most famous and dependable Parisian jewelers, whose base is in Place Vendome, makes it a professional rule never to reveal the identity of his customers. One exception was made, however, when the firm was put in charge of preparing the ceremonial crown for the Empress of Iran. It would have been difficult to keep it anonymous: 1469 diamonds, 36 rubies, as many emeralds and 105 pearls were mounted on the crown in Teheran, after a year’s work.
Why jewels are never enough to satisfy is a problem for anthropologists and psychologists to explain. A bouquet of 6000 diamonds was shown at the Great Exhibition of 1851 in London; perhaps satisfying enough? Between 1884 and 1917 the Tsar of Russia presented members of his family with fifty Easter eggs with surprises in them, created by the famous Faberge in enamel and precious stones.
If we pause to think of the quantity of jewels worked into gold dug up at Troy, in Mesopotamia, in Egypt and Peru, we see the ancients could compete favorably with modern craftsmen. Also—and a curious thing to have to admit with today’s technology—the ancients had techniques which no one since has known how to repeat.
The history of jewelry, too, has a certain amount of unknown meaning. It even sometimes has a superstitious aura of occult magic.
Guido Gregorietti’s narrative of the fabulous history of jewelry places it in context in the history of art, while interweaving many aspects of the evolution of culture.
About the author
Guido Gregorietti is the author of the Jewelry entry in the Encyclopedia Britannica, and was called upon to take part in judging the 1977 Diamond Award in New York.
Saturday, March 17, 2007
(How to) Heating Zircon
(via Wahroongai News, Volume 33, Number 7, July 1999) Mark Liccini writes:
Here is how to heat zircon. You place them flawless……must be real clean or they will crack, and even then some may crack….in a (fire-clay) crucible with activated charcoal. This can be bought from any chemical supply company for about US$30 for a small container. Activated charcoal is the best to use, but there is another way to avoid using of reductive gas. Importantly, activated charcoal will work without creating any smoke. The other way is to put sugar in the crucible, but it starts to put out a lot of smoke when you get up to temperatures of 600°C or more. Although the smoking of sugar stops around 800°C, lots and lots of smoke will be generated. Boy! I mean a lot of smoke!
Then, you then must fill the crucible with zircon and seal the crucible. A good way is window screen and just a layer of plaster (plaster-of-Paris) over the top of the screen. Let it dry; then fill in any cracks after the plaster has dried. You then take the temperature of the crucible up slowly. The slower you go, less breakage will occur….all the way to 1000°C. Hold the temperature there for 2 hours or so. The controlled rise in temperature, depending on your furnace could take all day or longer. Following heating it can take 5-6 hours to cool the crucible down to cold (room temperature). Don’t open the door while the crucible and its contents are hot, or all will crack.
Now here are some tricks of the trade.
You will observe precisely in the bottom of a sealed crucible the best blues will be found. Near the top the heat treated zircons may be white. If you rotate the zircon rough imposition and repeat the heating and cooling cycle again, the white zircons will turn blue. If you overheat the zircons (and bleach them), you can do them again and they will come back blue. Even light blues done again will change to dark blues.
Now there is a trick to produce orange and red colors. You might obtain some oranges and red on the top of a sealed crucible. Indeed, when you first open a sealed crucible you will go crazy. The whole top will be covered with red and oranges. However, beware, for after a few minutes in the air all oranges and reds will revert to white and/or light blue—except a stone or two. These are stable reds and oranges. Now to ensure a high percentage of reds and oranges do the same heat treatment without sugar (or activated charcoal) and in an open crucible.
Note: With both heat treatment methods, you will get better results with a full crucible of zircon rough. Although I have never heat treated Cambodian zircons, I have run tonnage of Nigerian and some from Tanzania and Australia.
Here is how to heat zircon. You place them flawless……must be real clean or they will crack, and even then some may crack….in a (fire-clay) crucible with activated charcoal. This can be bought from any chemical supply company for about US$30 for a small container. Activated charcoal is the best to use, but there is another way to avoid using of reductive gas. Importantly, activated charcoal will work without creating any smoke. The other way is to put sugar in the crucible, but it starts to put out a lot of smoke when you get up to temperatures of 600°C or more. Although the smoking of sugar stops around 800°C, lots and lots of smoke will be generated. Boy! I mean a lot of smoke!
Then, you then must fill the crucible with zircon and seal the crucible. A good way is window screen and just a layer of plaster (plaster-of-Paris) over the top of the screen. Let it dry; then fill in any cracks after the plaster has dried. You then take the temperature of the crucible up slowly. The slower you go, less breakage will occur….all the way to 1000°C. Hold the temperature there for 2 hours or so. The controlled rise in temperature, depending on your furnace could take all day or longer. Following heating it can take 5-6 hours to cool the crucible down to cold (room temperature). Don’t open the door while the crucible and its contents are hot, or all will crack.
Now here are some tricks of the trade.
You will observe precisely in the bottom of a sealed crucible the best blues will be found. Near the top the heat treated zircons may be white. If you rotate the zircon rough imposition and repeat the heating and cooling cycle again, the white zircons will turn blue. If you overheat the zircons (and bleach them), you can do them again and they will come back blue. Even light blues done again will change to dark blues.
Now there is a trick to produce orange and red colors. You might obtain some oranges and red on the top of a sealed crucible. Indeed, when you first open a sealed crucible you will go crazy. The whole top will be covered with red and oranges. However, beware, for after a few minutes in the air all oranges and reds will revert to white and/or light blue—except a stone or two. These are stable reds and oranges. Now to ensure a high percentage of reds and oranges do the same heat treatment without sugar (or activated charcoal) and in an open crucible.
Note: With both heat treatment methods, you will get better results with a full crucible of zircon rough. Although I have never heat treated Cambodian zircons, I have run tonnage of Nigerian and some from Tanzania and Australia.
Gigi
Memorable quote (s) from the movie:
Gigi (Leslie Caron): I don't know what you want. You told Grandmama...
Gaston (Louis Jourdan): I know what I told your grandmother. We don't have to repeat it. Just tell me simply what you don't want... and tell me what you do want.
Gigi (Leslie Caron): Do you mean that?
Gaston (Louis Jourdan): Of course.
Gigi (Leslie Caron): You told Grandmama that you wanted to take care of me.
Gaston (Louis Jourdan): To take care of you beautifully.
Gigi (Leslie Caron): Beautifully. That is, if I like it. They've pounded into my head I'm backward for my age... but I know what all this means. To take care of me beautifully means I shall go away with you... and that I shall sleep in your bed.
Gaston (Louis Jourdan): Please, Gigi. I beg of you, you embarrass me.
Gigi (Leslie Caron): You weren't embarrassed to talk to Grandmama about it. And Grandmama wasn't embarrassed to talk to me about it. But I know more than she told me. To take care of me means that I shall have my photograph in the papers. That I shall go to the Riviera. To the races at Deauville. And when we fight, it will be in all the columns the next day. And then you'd give me up, as you did with InÈs des CÈvennes.
Gaston (Louis Jourdan): Who's been filling your head with all these old stories? How do you know about that?
Gigi (Leslie Caron): Why shouldn't I know? You're world famous. I know about the woman who stole from you; the Contessa who wanted to shoot you; the American who wanted to marry you. I know what everybody knows.
Gaston (Louis Jourdan): These aren't the things we have to talk about together. That's all in the past, over and done with.
Gigi (Leslie Caron): Yes, Gaston. Until it begins again.
Gigi (Leslie Caron): I don't know what you want. You told Grandmama...
Gaston (Louis Jourdan): I know what I told your grandmother. We don't have to repeat it. Just tell me simply what you don't want... and tell me what you do want.
Gigi (Leslie Caron): Do you mean that?
Gaston (Louis Jourdan): Of course.
Gigi (Leslie Caron): You told Grandmama that you wanted to take care of me.
Gaston (Louis Jourdan): To take care of you beautifully.
Gigi (Leslie Caron): Beautifully. That is, if I like it. They've pounded into my head I'm backward for my age... but I know what all this means. To take care of me beautifully means I shall go away with you... and that I shall sleep in your bed.
Gaston (Louis Jourdan): Please, Gigi. I beg of you, you embarrass me.
Gigi (Leslie Caron): You weren't embarrassed to talk to Grandmama about it. And Grandmama wasn't embarrassed to talk to me about it. But I know more than she told me. To take care of me means that I shall have my photograph in the papers. That I shall go to the Riviera. To the races at Deauville. And when we fight, it will be in all the columns the next day. And then you'd give me up, as you did with InÈs des CÈvennes.
Gaston (Louis Jourdan): Who's been filling your head with all these old stories? How do you know about that?
Gigi (Leslie Caron): Why shouldn't I know? You're world famous. I know about the woman who stole from you; the Contessa who wanted to shoot you; the American who wanted to marry you. I know what everybody knows.
Gaston (Louis Jourdan): These aren't the things we have to talk about together. That's all in the past, over and done with.
Gigi (Leslie Caron): Yes, Gaston. Until it begins again.
A Timely Warning: Pakistani Fakes
(Via Wahroongai News, Volume 33, Number 6, June 1999)
The letter reproduced below was first published in the January – February 1999 issue of The Mineralogical Record.
“I have recently returned from Northern Areas, Pakistan, where I encountered several sophisticated fake specimens. In fact, I am now the proud owner of several, having not recognized them at the time of the purchase. All of the fakes were apparently made of material from Chumar Bakhoor Nagar (the source of the specimens of aquamarine crystals on muscovite crystals). One such specimen consisting of a fairly nice green fluorite octahedron with aquamarine was obtained in the bazaar of Karimabad, Hunza. The fluorite and aquamarine is surrounded by a band of iron stained fine-grained material. This became obvious when the specimen was cleaned. Another consisted of a tabular beryl with an aquamarine crystal which, on examination, could have not grown where it was sited. This specimen fell apart, allowing me to salvage the nice tabular beryl. Another was a specimen of a pink apatite crystal in a matrix of quartz and muscovite. These last two were obtained from the site on the Karakoram Highway known as Rakaposhi Main Point. Get only photos of Rakaposhi here—the summit is 19000 feet above and seven miles horizontally from you. At last fake is really good, consisting of a fine aquamarine crystals on muscovite obtained from the hotel shop at the Riveria Hotel, Gilgit. It should be noted that some of the dealers volunteered the information that certain specimens were fake. It is likely that the dealers from whom I got some of the fakes were also conned by their sources. So all material allegedly from Chumar Bhakoor Nagar should be examined with care.”
This letter clearly reveals that even the experts get conned by the locals of the Hunza Valley. So beware.
The letter reproduced below was first published in the January – February 1999 issue of The Mineralogical Record.
“I have recently returned from Northern Areas, Pakistan, where I encountered several sophisticated fake specimens. In fact, I am now the proud owner of several, having not recognized them at the time of the purchase. All of the fakes were apparently made of material from Chumar Bakhoor Nagar (the source of the specimens of aquamarine crystals on muscovite crystals). One such specimen consisting of a fairly nice green fluorite octahedron with aquamarine was obtained in the bazaar of Karimabad, Hunza. The fluorite and aquamarine is surrounded by a band of iron stained fine-grained material. This became obvious when the specimen was cleaned. Another consisted of a tabular beryl with an aquamarine crystal which, on examination, could have not grown where it was sited. This specimen fell apart, allowing me to salvage the nice tabular beryl. Another was a specimen of a pink apatite crystal in a matrix of quartz and muscovite. These last two were obtained from the site on the Karakoram Highway known as Rakaposhi Main Point. Get only photos of Rakaposhi here—the summit is 19000 feet above and seven miles horizontally from you. At last fake is really good, consisting of a fine aquamarine crystals on muscovite obtained from the hotel shop at the Riveria Hotel, Gilgit. It should be noted that some of the dealers volunteered the information that certain specimens were fake. It is likely that the dealers from whom I got some of the fakes were also conned by their sources. So all material allegedly from Chumar Bhakoor Nagar should be examined with care.”
This letter clearly reveals that even the experts get conned by the locals of the Hunza Valley. So beware.
A Rare Biological Gem Material: Aromatic Resin (Myrrh) Necklace
(via Wahroongai News, Volume 30, May 1996) Grahame Brown writes:
Myrrh, one of the three gifts to the baby Jesus by the three wise men of the Bible, is an aromatic resin produced by the desert tree Commiphora myrrha. In Western Africa the hardened resin from this tree has been hand shaped into beads to be worn for decorative or other purposes.
As determined by Robert Kammerling, and described in the Fall 95 issue of Gems & Gemology (p.210), this very rare biological gem material has the following properties.
Hardness: scratched with fingernail (<2½)
Fracture: granular
Color: yellowish brown to brown
Diaphenity: translucent
Specific gravity: 1.27
Spot refractive index: 1.40
Fluorescence: LW UV (moderate, even, chalky yellow); SW UV (weak, even, chalky yellow)
Absorption spectrum (visible): cut off at 430nm
Absorption spectrum (infrared): broad peaks at 5180, 4778, 4000 cm ¯¹, sharp peaks at 4339 and 4252 cm ¯¹
Thermal stability: readily melts
Characteristic odor: sweet and spicy odor following abrasion and / or rubbing.
Myrrh, one of the three gifts to the baby Jesus by the three wise men of the Bible, is an aromatic resin produced by the desert tree Commiphora myrrha. In Western Africa the hardened resin from this tree has been hand shaped into beads to be worn for decorative or other purposes.
As determined by Robert Kammerling, and described in the Fall 95 issue of Gems & Gemology (p.210), this very rare biological gem material has the following properties.
Hardness: scratched with fingernail (<2½)
Fracture: granular
Color: yellowish brown to brown
Diaphenity: translucent
Specific gravity: 1.27
Spot refractive index: 1.40
Fluorescence: LW UV (moderate, even, chalky yellow); SW UV (weak, even, chalky yellow)
Absorption spectrum (visible): cut off at 430nm
Absorption spectrum (infrared): broad peaks at 5180, 4778, 4000 cm ¯¹, sharp peaks at 4339 and 4252 cm ¯¹
Thermal stability: readily melts
Characteristic odor: sweet and spicy odor following abrasion and / or rubbing.
Rocks, Minerals & Gemstones
By I.O.Evans
The Hamlyn Publishing Group Ltd
1972 ISBN 0-600-37537-4
The Hamlyn Publishing Group writes:
Everybody, at one time or another, has stopped in their tracks, bent down and picked up a beautifully colored or curiously shaped fragment of stone and marveled at the artistry of nature. Prehistoric man was no exception and it was not long before he realized too, the many uses to which he could put the rocks, their minerals and the gemstones. Since then man has become more and more dependent on the minerals he extracts from the Earth’s crust and today these and their derivatives make up a bewildering variety of familiar everyday objects—from out nuts and bolts and diamond rings to our computers and supersonic jet aircraft. In fact civilization as we known it is completely reliant on rocks and minerals and so their importance in our lives, and the effect that the depletion of mineral resources could have on our future, is considerable.
This book presents a broad illustrated survey of the rocks, their constituent minerals and the gemstones. The nature of the rocks, their composition and the way in which they affect the build of the countryside is discussed first (including a consideration of rocks from outer space), and then the extraction techniques of the more important mineral ores are explained, together with a summary of mineral characteristics and the various crystal systems in which minerals form. A selection of the most important and most interesting minerals then follows and details are given for each of its properties, mode of occurrence, characteristics and uses. Gemstones are discussed at length and interesting aspects range from fascinating details of diamond extraction and cutting to descriptions of gemstones of organic origin. A final very useful section deals with the practical possibilities for the rock and mineral enthusiast and includes much advice on how to collect, identify and enjoy mineral specimens.
A very readable, non-technical text is supplemented by a fine collection of over one hundred excellent photographs, thirty of which are in full color.
The Hamlyn Publishing Group Ltd
1972 ISBN 0-600-37537-4
The Hamlyn Publishing Group writes:
Everybody, at one time or another, has stopped in their tracks, bent down and picked up a beautifully colored or curiously shaped fragment of stone and marveled at the artistry of nature. Prehistoric man was no exception and it was not long before he realized too, the many uses to which he could put the rocks, their minerals and the gemstones. Since then man has become more and more dependent on the minerals he extracts from the Earth’s crust and today these and their derivatives make up a bewildering variety of familiar everyday objects—from out nuts and bolts and diamond rings to our computers and supersonic jet aircraft. In fact civilization as we known it is completely reliant on rocks and minerals and so their importance in our lives, and the effect that the depletion of mineral resources could have on our future, is considerable.
This book presents a broad illustrated survey of the rocks, their constituent minerals and the gemstones. The nature of the rocks, their composition and the way in which they affect the build of the countryside is discussed first (including a consideration of rocks from outer space), and then the extraction techniques of the more important mineral ores are explained, together with a summary of mineral characteristics and the various crystal systems in which minerals form. A selection of the most important and most interesting minerals then follows and details are given for each of its properties, mode of occurrence, characteristics and uses. Gemstones are discussed at length and interesting aspects range from fascinating details of diamond extraction and cutting to descriptions of gemstones of organic origin. A final very useful section deals with the practical possibilities for the rock and mineral enthusiast and includes much advice on how to collect, identify and enjoy mineral specimens.
A very readable, non-technical text is supplemented by a fine collection of over one hundred excellent photographs, thirty of which are in full color.
Friday, March 16, 2007
An Alternative African Source Of Vegetable Ivory
(Wahroongai News, Volume 30, No.7, July 1996) Grahame Brown writes:
Vegetable ivory, a long used effective imitation for elephant ivory, is derived from the dried nuts of several species of palm tree. The common commercial source of vegetable ivory is the Corozo or Tagua palm (Phytelephas macrocarpa) from Central America and northern South America. This ivory colored vegetable material (nut) has a hardness of 2½, a specific gravity of 1.40 – 1.43, a spot refractive index of 1.54, and in hand specimen displays the polygonal outlines of its component plant cells.
Another source of African vegetable ivory was suggested by Webster to be the Doum or Gingerbread palm (Hyphaene thebaica) of north and central Africa. According to the 5th edition of Webster’s Gems, the rounded nuts of this palm have a reddish brown skin, and edible underlying spongy layer which is commonly converted into an alcoholic beverage, and a hard inner seed (the source of vegetable ivory).
A recent purchased guide, The Shell Field Guide to the Common Trees of the Okavango Delta and the Moremi Game Reserve, by Veronica Roodt, has provided some additional details about the African source of vegetable ivory.
According to Dr Roodt, the source of vegetable ivory in the Okavango Delta—a wildlife and vegetation-rich area of 18000 km² that is the terminus of the Cubango River in Botswana—is the Real Fan Palm (Hyphanae petersania). This majestic tree grows to a height of 20m, and has a bare stem crowned by arched fan-shaped green leaves.
The tennis ball sized fruits of this palm take 2 years to mature, and up to 2 years to fall. Consequently, this palm is decorated with fruit throughout the year. The nuts of the Real Fan Palm yield a whitish milk, that resembles and tastes like coconut milk, once the hard exocarp of the nut has been fractured. The external pulp of the nut is edible, and tastes like gingerbread. It may be fermented into a very potent palm wine. The hard, hollow internal endosperm of the nut is the source of vegetable ivory.
Elephants play a major role in the dispersion of the seeds of this palm, for elephants love the taste of these nuts. The endosperm (vegetable ivory) passes through the elephant’s digestive tract unscathed and may be collected from the animal’s faeces (as large brownish furry tennis balls). If the nuts are not harvested, the faeces act as a natural fertilizer to hasten the germination of seeds.
So, there you have it; an African source of vegetable ivory confirmed, and correctly assigned to source.
Vegetable ivory, a long used effective imitation for elephant ivory, is derived from the dried nuts of several species of palm tree. The common commercial source of vegetable ivory is the Corozo or Tagua palm (Phytelephas macrocarpa) from Central America and northern South America. This ivory colored vegetable material (nut) has a hardness of 2½, a specific gravity of 1.40 – 1.43, a spot refractive index of 1.54, and in hand specimen displays the polygonal outlines of its component plant cells.
Another source of African vegetable ivory was suggested by Webster to be the Doum or Gingerbread palm (Hyphaene thebaica) of north and central Africa. According to the 5th edition of Webster’s Gems, the rounded nuts of this palm have a reddish brown skin, and edible underlying spongy layer which is commonly converted into an alcoholic beverage, and a hard inner seed (the source of vegetable ivory).
A recent purchased guide, The Shell Field Guide to the Common Trees of the Okavango Delta and the Moremi Game Reserve, by Veronica Roodt, has provided some additional details about the African source of vegetable ivory.
According to Dr Roodt, the source of vegetable ivory in the Okavango Delta—a wildlife and vegetation-rich area of 18000 km² that is the terminus of the Cubango River in Botswana—is the Real Fan Palm (Hyphanae petersania). This majestic tree grows to a height of 20m, and has a bare stem crowned by arched fan-shaped green leaves.
The tennis ball sized fruits of this palm take 2 years to mature, and up to 2 years to fall. Consequently, this palm is decorated with fruit throughout the year. The nuts of the Real Fan Palm yield a whitish milk, that resembles and tastes like coconut milk, once the hard exocarp of the nut has been fractured. The external pulp of the nut is edible, and tastes like gingerbread. It may be fermented into a very potent palm wine. The hard, hollow internal endosperm of the nut is the source of vegetable ivory.
Elephants play a major role in the dispersion of the seeds of this palm, for elephants love the taste of these nuts. The endosperm (vegetable ivory) passes through the elephant’s digestive tract unscathed and may be collected from the animal’s faeces (as large brownish furry tennis balls). If the nuts are not harvested, the faeces act as a natural fertilizer to hasten the germination of seeds.
So, there you have it; an African source of vegetable ivory confirmed, and correctly assigned to source.
The Thomas Crown Affair
Memorable quote (s) from the movie:
The Psychiatrist (Faye Dunaway): I want you to talk about women. Mr. Crown?
Thomas Crown (Pierce Brosnan): I'm sorry?
The Psychiatrist (Faye Dunaway) : Women. You get to talk about women.
Thomas Crown (Pierce Brosnan): Oh, I enjoy women.
The Psychiatrist (Faye Dunaway): Enjoyment isn't intimacy.
Thomas Crown (Pierce Brosnan): And intimacy isn't necessarily enjoyment.
The Psychiatrist (Faye Dunaway): How would you know? Has it occurred to you that you have a problem with trust?
Thomas Crown (Pierce Brosnan): I trust myself implicitly.
The Psychiatrist (Faye Dunaway): But can other people trust you?
Thomas Crown (Pierce Brosnan): Oh, you mean society at large?
The Psychiatrist (Faye Dunaway): I mean women, Mr.Crown.
Thomas Crown (Pierce Brosnan) : Yes, a woman could trust me.
The Psychiatrist (Faye Dunaway): Good. Under what extraordinary circumstances would you allow that to happen?
Thomas Crown (Pierce Brosnan): A woman could trust me as long as her interests didn't run too contrary to my own.
The Psychiatrist (Faye Dunaway): And society? If its interests should run counter to your own?
The Psychiatrist (Faye Dunaway): I want you to talk about women. Mr. Crown?
Thomas Crown (Pierce Brosnan): I'm sorry?
The Psychiatrist (Faye Dunaway) : Women. You get to talk about women.
Thomas Crown (Pierce Brosnan): Oh, I enjoy women.
The Psychiatrist (Faye Dunaway): Enjoyment isn't intimacy.
Thomas Crown (Pierce Brosnan): And intimacy isn't necessarily enjoyment.
The Psychiatrist (Faye Dunaway): How would you know? Has it occurred to you that you have a problem with trust?
Thomas Crown (Pierce Brosnan): I trust myself implicitly.
The Psychiatrist (Faye Dunaway): But can other people trust you?
Thomas Crown (Pierce Brosnan): Oh, you mean society at large?
The Psychiatrist (Faye Dunaway): I mean women, Mr.Crown.
Thomas Crown (Pierce Brosnan) : Yes, a woman could trust me.
The Psychiatrist (Faye Dunaway): Good. Under what extraordinary circumstances would you allow that to happen?
Thomas Crown (Pierce Brosnan): A woman could trust me as long as her interests didn't run too contrary to my own.
The Psychiatrist (Faye Dunaway): And society? If its interests should run counter to your own?
How Can You Take Good Care Of Your Pearl
(Wahroongai News, Volume 28, No.6, June 1994) H Komatsu writes:
How to take good care of pearl can be summarized into the following 4 points:
1. After wearing your pearl, you make it a custom to clean and dry it with a soft cloth, and keep it in a jewelry box. This is to prevent from the dullness of pearl luster from perspiration or cosmetic.
2. Your pearl should not touch with other jewelries such as diamonds, precious stones, gold jewelry, etc otherwise, some flaws might occur on the surface of your pearl.
3. Your pearl should not be exposed to light while it is kept, because light might make it yellowish after many years.
4. Your pearl should avoid extreme dryness and humidity; otherwise, cracks might occur after many years.
What is most important among the above 4 points is (1), that is, to clean and dry your pearl with a cloth after you wear it.
A pearl is far stronger than a marble.
The principle ingredient of a pearl and a marble consist of calcium carbonate, or a sort of calcium crystallization. It is reported that a marble is damaged by acid rain in Europe. Grand edifices and sculptures made of marbles are exposed to weather in ancient European cities, such as Paris, Rome, etc. And those historical structures are deformed, being melted by acid rain caused by waste gas from automobiles. Calcium carbonate is strong and solid crystallization, but it is melted by chemical reaction when influenced by acidity. On the other hand, the principal ingredient of a pearl is calcium carbonate, but the structure of its principal ingredient is greatly different from a marble. A marble is simply a mass of crystallization, but a pearl appears to be tiny bricks which are visible only with an electron microscope. Pearl nacre composes of many, many brick-looking materials. As a matter of fact, a pearl of 7mm composes of 220, 000, 000, 000 bricks. To our further surprise, every brick is covered up with a protein film. Generally speaking, protein is strong against acidity, and a pearl covered with a protein film is much stronger than a marble.
The surface of a pearl will become clouded with perspiration.
Since a brick near the surface of a pearl is exposed to the air and touches with your skin, its protein film may be damaged and it may become melted with acidity, such as perspiration and cosmetic. When a brick becomes melted, the surfaces of a pearl become uneven, though it is a micron in size, and loses its luster, which is called ‘cloudy phenomenon’. The same principle applies for a frosted glass which becomes clouded when a flaw or unevenness is found on the surface of a transparent glass.
It is easy to make clouded surface clean by cutting and polishing its surface.
Cloudy surface appears to be very serious when you notice it one day. You will be shocked to find powdery materials or white cloud on the surface of your pearl. However, it is easy to solve the above problem. By principle, we can remove one brick with flaws on the surface, and take out a new brick below the old one. You can restore pearl luster by polishing its surface with a cloth containing an ordinary abrasive. Since the thickness of a brick is 0.5 micron, you can feel relieved that cutting off such thickness does not reduce the size of your pearl.
To clean and dry your pearl with a cloth is the fundamental rule regarding how to take good care of your pearl.
We advise you not to have your pearl clouded, though you will be able to restore it. There will be two methods:
- To stay away from acidity. In case of a pearl jewelry, it is impossible to do so unless it is coated with special chemical, because you wear it on your skin.
- To remove acidity. The only method will be to remove perspiration and cosmetic on the surface of a pearl. Any soft cloth will do, but strictly speaking, the cloth which is suitable for soaking up the chief ingredient of perspiration, that is, water and oil, will be the best.
A pearl is one of the softest gems.
According to Mohs hardness index, a pearl is harder than a marble, but it is softer than any other gems. It is true that the hardness index of a pearl, which is 4.5, creates its unique luster, but we advise you not to mix it with other gems in a jewelry box.
Let’s not get your pearl sunburnt.
As we told you, pearl brick is covered up with a protein in film. This protein film will become yellowish and get sunburnt. This is the same principle with human beings becoming sunburnt in the sun. However, in case of a pearl, it takes many decades before it becomes discolored. You need not worry much about it so far as your pearl is carefully kept in a jewelry box.
A pearl is breathing.
Furthermore, water inside a pearl is actively moving around. When water inside becomes dry, it will get outside. Then, a pearl will become dry up, and lose its transparency, and may get cracked. On the other hand, when water becomes wet, it will get inside. Then, the protein film will get melted. Therefore, your pearl should be kept at a certain moderate state, not in too high nor too low humidity.
In conclusion, we would like to advise you to keep your pearl in a jewelry box which is designed to function, adjusting humidity naturally.
How to take good care of pearl can be summarized into the following 4 points:
1. After wearing your pearl, you make it a custom to clean and dry it with a soft cloth, and keep it in a jewelry box. This is to prevent from the dullness of pearl luster from perspiration or cosmetic.
2. Your pearl should not touch with other jewelries such as diamonds, precious stones, gold jewelry, etc otherwise, some flaws might occur on the surface of your pearl.
3. Your pearl should not be exposed to light while it is kept, because light might make it yellowish after many years.
4. Your pearl should avoid extreme dryness and humidity; otherwise, cracks might occur after many years.
What is most important among the above 4 points is (1), that is, to clean and dry your pearl with a cloth after you wear it.
A pearl is far stronger than a marble.
The principle ingredient of a pearl and a marble consist of calcium carbonate, or a sort of calcium crystallization. It is reported that a marble is damaged by acid rain in Europe. Grand edifices and sculptures made of marbles are exposed to weather in ancient European cities, such as Paris, Rome, etc. And those historical structures are deformed, being melted by acid rain caused by waste gas from automobiles. Calcium carbonate is strong and solid crystallization, but it is melted by chemical reaction when influenced by acidity. On the other hand, the principal ingredient of a pearl is calcium carbonate, but the structure of its principal ingredient is greatly different from a marble. A marble is simply a mass of crystallization, but a pearl appears to be tiny bricks which are visible only with an electron microscope. Pearl nacre composes of many, many brick-looking materials. As a matter of fact, a pearl of 7mm composes of 220, 000, 000, 000 bricks. To our further surprise, every brick is covered up with a protein film. Generally speaking, protein is strong against acidity, and a pearl covered with a protein film is much stronger than a marble.
The surface of a pearl will become clouded with perspiration.
Since a brick near the surface of a pearl is exposed to the air and touches with your skin, its protein film may be damaged and it may become melted with acidity, such as perspiration and cosmetic. When a brick becomes melted, the surfaces of a pearl become uneven, though it is a micron in size, and loses its luster, which is called ‘cloudy phenomenon’. The same principle applies for a frosted glass which becomes clouded when a flaw or unevenness is found on the surface of a transparent glass.
It is easy to make clouded surface clean by cutting and polishing its surface.
Cloudy surface appears to be very serious when you notice it one day. You will be shocked to find powdery materials or white cloud on the surface of your pearl. However, it is easy to solve the above problem. By principle, we can remove one brick with flaws on the surface, and take out a new brick below the old one. You can restore pearl luster by polishing its surface with a cloth containing an ordinary abrasive. Since the thickness of a brick is 0.5 micron, you can feel relieved that cutting off such thickness does not reduce the size of your pearl.
To clean and dry your pearl with a cloth is the fundamental rule regarding how to take good care of your pearl.
We advise you not to have your pearl clouded, though you will be able to restore it. There will be two methods:
- To stay away from acidity. In case of a pearl jewelry, it is impossible to do so unless it is coated with special chemical, because you wear it on your skin.
- To remove acidity. The only method will be to remove perspiration and cosmetic on the surface of a pearl. Any soft cloth will do, but strictly speaking, the cloth which is suitable for soaking up the chief ingredient of perspiration, that is, water and oil, will be the best.
A pearl is one of the softest gems.
According to Mohs hardness index, a pearl is harder than a marble, but it is softer than any other gems. It is true that the hardness index of a pearl, which is 4.5, creates its unique luster, but we advise you not to mix it with other gems in a jewelry box.
Let’s not get your pearl sunburnt.
As we told you, pearl brick is covered up with a protein in film. This protein film will become yellowish and get sunburnt. This is the same principle with human beings becoming sunburnt in the sun. However, in case of a pearl, it takes many decades before it becomes discolored. You need not worry much about it so far as your pearl is carefully kept in a jewelry box.
A pearl is breathing.
Furthermore, water inside a pearl is actively moving around. When water inside becomes dry, it will get outside. Then, a pearl will become dry up, and lose its transparency, and may get cracked. On the other hand, when water becomes wet, it will get inside. Then, the protein film will get melted. Therefore, your pearl should be kept at a certain moderate state, not in too high nor too low humidity.
In conclusion, we would like to advise you to keep your pearl in a jewelry box which is designed to function, adjusting humidity naturally.
Mtorolite
(via Wahroongai News, Vol 30, No.4, April, 1996) Grahame Brown writes:
Mtorolite is a rare green chrome chalcedony that occurs in one location in the world: Zimbabwe. Here it occurs as horizontally pitched veins that intrude decomposed serpentine bordering the Great Dyke. Although commercially mined out, it is considered that significant reserves remain to challenge the diligent fossicker. Better quality mtorolite can be faceted; but mostly this attractive chrome chalcedony is cabochoned or carved.
According to Ian Campbel (pp 19-23) in the October 95 issue of The South African Gemmologist, mtorolite was named for the Mtoroshanga of Zimbabwe, the district that hosts the only known occurrence of this gem material in the world. The greenish hues possible in this chalcedony depend on its Cr:Ni content, while the saturation of its green color depends of its Cr content. For example, dark green good quality evenly colored mtorolite has 0.04% Cr and 0.02% Ni, while pale green variegated mtorolite has 0.205 Cr and <0.01% Ni.
Mtorolite has colors that vary from a saturated chrome green to pale grayish green hue; a specific gravity of 2.57 – 2.60; a spot RI of 1.54. It has a pinkish to reddish Chelsea Filter reaction and is inert to both LW and SW UV.
Mtorolite is a rare green chrome chalcedony that occurs in one location in the world: Zimbabwe. Here it occurs as horizontally pitched veins that intrude decomposed serpentine bordering the Great Dyke. Although commercially mined out, it is considered that significant reserves remain to challenge the diligent fossicker. Better quality mtorolite can be faceted; but mostly this attractive chrome chalcedony is cabochoned or carved.
According to Ian Campbel (pp 19-23) in the October 95 issue of The South African Gemmologist, mtorolite was named for the Mtoroshanga of Zimbabwe, the district that hosts the only known occurrence of this gem material in the world. The greenish hues possible in this chalcedony depend on its Cr:Ni content, while the saturation of its green color depends of its Cr content. For example, dark green good quality evenly colored mtorolite has 0.04% Cr and 0.02% Ni, while pale green variegated mtorolite has 0.205 Cr and <0.01% Ni.
Mtorolite has colors that vary from a saturated chrome green to pale grayish green hue; a specific gravity of 2.57 – 2.60; a spot RI of 1.54. It has a pinkish to reddish Chelsea Filter reaction and is inert to both LW and SW UV.
The World’s Finest Minerals And Crystals
By Peter Bancroft
The Viking Press, Inc
1973 SBN 670-79022-2
The Viking Press writes:
The collecting, cutting and polishing of minerals is one of the largest and fastest growing hobbies in the world. In spite of the wide popularity of this activity and the generations of scientific study devoted to mineralogy, there is no known formula for determining the best example of a particular mineral species. Rare and valuable specimens of legendary beauty are scattered n collections around the world. Some are in museums where they may be enjoyed by those people lucky enough to be able to travel to see them; others are in private hands and are seldom seen by the public.
In The World’s Finest Minerals and Crystals, Dr Peter Bancroft has brought together a series of magnificent photographs of outstanding minerals nominated for acclaim by enthusiasts all over the world. A distinguished international panel of judges has participated in choosing the very finest examples for inclusions in the Gallery of plates. In his text, Dr Bancroft tells just how this gallery was selected. He explains how minerals are formed and where they are found, and how some of the world’s finest collections were begun. Modern methods of collecting and conservation are also discussed. Fine minerals are growing increasingly rare, and Dr Bancroft reviews the dangers that threaten both natural sources and specimens already housed in important collections. The notes that accompany each plate describe the history and characteristics of the pictured specimen, tell where other fine examples may be seen, and describe the locations around the globe in which these minerals originate.
The book provides a unique opportunity to view the world’s greatest mineral treasures brought together in a superb gallery of photographs that bring out all the rich glow and sparkle of the originals, and the text takes the reader adventuring abroad to exotic locations in the fascinating realm of mineral collection.
About the author
Dr Peter Bancroft is a collector of minerals, and has lectured in mineralogy in the United States, Bolivia, Brazil, and Australia and has contributed articles to Lapidary Journal and other magazines in this field.
The Viking Press, Inc
1973 SBN 670-79022-2
The Viking Press writes:
The collecting, cutting and polishing of minerals is one of the largest and fastest growing hobbies in the world. In spite of the wide popularity of this activity and the generations of scientific study devoted to mineralogy, there is no known formula for determining the best example of a particular mineral species. Rare and valuable specimens of legendary beauty are scattered n collections around the world. Some are in museums where they may be enjoyed by those people lucky enough to be able to travel to see them; others are in private hands and are seldom seen by the public.
In The World’s Finest Minerals and Crystals, Dr Peter Bancroft has brought together a series of magnificent photographs of outstanding minerals nominated for acclaim by enthusiasts all over the world. A distinguished international panel of judges has participated in choosing the very finest examples for inclusions in the Gallery of plates. In his text, Dr Bancroft tells just how this gallery was selected. He explains how minerals are formed and where they are found, and how some of the world’s finest collections were begun. Modern methods of collecting and conservation are also discussed. Fine minerals are growing increasingly rare, and Dr Bancroft reviews the dangers that threaten both natural sources and specimens already housed in important collections. The notes that accompany each plate describe the history and characteristics of the pictured specimen, tell where other fine examples may be seen, and describe the locations around the globe in which these minerals originate.
The book provides a unique opportunity to view the world’s greatest mineral treasures brought together in a superb gallery of photographs that bring out all the rich glow and sparkle of the originals, and the text takes the reader adventuring abroad to exotic locations in the fascinating realm of mineral collection.
About the author
Dr Peter Bancroft is a collector of minerals, and has lectured in mineralogy in the United States, Bolivia, Brazil, and Australia and has contributed articles to Lapidary Journal and other magazines in this field.
Thursday, March 15, 2007
How Do You Value A "Free" Customer?
Sometimes a valuable customer may be the person who never buys a thing, but in a networked setting a free customer may have considerable influence.
Read on to learn more @ http://hbswk.hbs.edu/item/5595.html
Read on to learn more @ http://hbswk.hbs.edu/item/5595.html
The Aviator
Memorable quote (s) from the movie:
Professor Fitz (Ian Holm): Well, the cumulonimbus formations about which you speak that look like...
Howard Hughes (Leonardo DiCaprio): Giant breasts full of milk. I want clouds, damn it.
Professor Fitz (Ian Holm): Yes, clouds that look like giant breasts full of milk, cannot exactly be guaranteed for any particular occasion. So you might have to... to wait.
Howard Hughes (Leonardo DiCaprio): Then we'll wait. Look, whatever they pay you at UCLA I'm doubling it, all right? You work for me now. Find some clouds. Find some clouds! Find me some clouds!
Hell's Angels Pilot (Justin Shilton): Welcome to Hell's Angels.
Professor Fitz (Ian Holm): Well, the cumulonimbus formations about which you speak that look like...
Howard Hughes (Leonardo DiCaprio): Giant breasts full of milk. I want clouds, damn it.
Professor Fitz (Ian Holm): Yes, clouds that look like giant breasts full of milk, cannot exactly be guaranteed for any particular occasion. So you might have to... to wait.
Howard Hughes (Leonardo DiCaprio): Then we'll wait. Look, whatever they pay you at UCLA I'm doubling it, all right? You work for me now. Find some clouds. Find some clouds! Find me some clouds!
Hell's Angels Pilot (Justin Shilton): Welcome to Hell's Angels.
Pocket LED Light Sources For Gemologists
(via The Canadian Gemmologist)
Significant strides have been made in the quality and availability of pocket sized LED applications for gemological applications. Conventional lighting is by no means obsolete in the study of gemology. But now with so many models from which to choose, pocket LED light sources certainly have their place.
Read on to learn more @
www.equipped.com/led_lights.htm
http://www.howstuffworks.com
http://www.led-lenser.com
http://www.leevalley.com
http://www.nichia.co.jp
http://www.photonlight.com
www.physics.ubc.ca/~outreach/phys420/p420_95/mark/htheory.html
http://www.scotgem.demon.co.uk
Contact Sources In Canada
Active Surplus, 347 Queen St. W., Toronto. 416-593-0909
-Electronic components, including diodes; Pocket laser pointers; Scientific glassware such as Petri dishes, beakers, etc.
Canadian Gemmological Association, 1767 Avenue Rd, Toronto. 416-785-0962
-Nebula LW UV pocket LED
Efstonscience, 3350 Dufferin St., Toronto. 1-800-777-5255 for mail order
-Electronic components, including colored diodes by special request; Laser pocket LEDs; LW UV pocket LED
Marathon Sports Ltd., 367 King St. W., Toronto. 416-593-5850
-A good selection of Photon®Microlights (LW UV by request)
Mountain Equipment Co-op, 400 King St. W., Toronto. 416-340-2667
-Photon®I Microlight only (white, blue, yellow, red)
Lee Valley Tools, various locations. 1-800-267-8767 for mail order in Canada.
-Photonpump®VI Moonlenser in white, blue and red; Flexible Neck Lamps in white, large and small models
Vistek, 496 Queens St. E., Toronto. 416-365-1777
- Lee Filters Series of photographic gels
Significant strides have been made in the quality and availability of pocket sized LED applications for gemological applications. Conventional lighting is by no means obsolete in the study of gemology. But now with so many models from which to choose, pocket LED light sources certainly have their place.
Read on to learn more @
www.equipped.com/led_lights.htm
http://www.howstuffworks.com
http://www.led-lenser.com
http://www.leevalley.com
http://www.nichia.co.jp
http://www.photonlight.com
www.physics.ubc.ca/~outreach/phys420/p420_95/mark/htheory.html
http://www.scotgem.demon.co.uk
Contact Sources In Canada
Active Surplus, 347 Queen St. W., Toronto. 416-593-0909
-Electronic components, including diodes; Pocket laser pointers; Scientific glassware such as Petri dishes, beakers, etc.
Canadian Gemmological Association, 1767 Avenue Rd, Toronto. 416-785-0962
-Nebula LW UV pocket LED
Efstonscience, 3350 Dufferin St., Toronto. 1-800-777-5255 for mail order
-Electronic components, including colored diodes by special request; Laser pocket LEDs; LW UV pocket LED
Marathon Sports Ltd., 367 King St. W., Toronto. 416-593-5850
-A good selection of Photon®Microlights (LW UV by request)
Mountain Equipment Co-op, 400 King St. W., Toronto. 416-340-2667
-Photon®I Microlight only (white, blue, yellow, red)
Lee Valley Tools, various locations. 1-800-267-8767 for mail order in Canada.
-Photonpump®VI Moonlenser in white, blue and red; Flexible Neck Lamps in white, large and small models
Vistek, 496 Queens St. E., Toronto. 416-365-1777
- Lee Filters Series of photographic gels
Contemporary Costume Jewelry
By Elyse Sommer
George Allen & Unwin Ltd
1974 ISBN 0-04730026-4
George Allen & Unwin writes:
For anyone who wants to create stunning and imaginative jewelry with a minimum of skill and expense, Elyse Sommer’s new book provides a wealth of inspiring ideas. Here, in a new look at an ancient craft, the author explores the infinite potential of jewelry making, revealing how a combination of unusual methods and materials can work for the artist to give fullest expression to his ideas. The beginner is launched into creative designing with some eye-opening suggestions for recycling antique store and flea market items such as ivory piano keys, crystal chandelier parts and brass stampings into charming and sophisticated jewelry worthy of the most elegant boutique.
The budding jeweler is told where to find and how to use the proper stringing materials and findings; drilling, sawing, bending, and finishing tools. A discussion of solderless methods, including a multimedia adhesive chart, completes this definitive chapter on tools and supplies. The author then goes on to introduce some of the most popular materials with which to create multimedia jewelry. She describes with the help of invaluable step-by-step photographs, the most common wire-working techniques, such as bending, twisting, looping, hammering, and wire crocheting. Demonstration projects range from a simple wire choker to beautiful necklaces and earrings of twisted wire and beads.
Metal jewelry examples include objects of copper, brass and silver being cut, pierced, shaped, filed, and inlaid to produce gorgeous body ornaments. The author shows why wood is such a versatile medium, lending itself to the creating of alluring pendants, brilliantly dyed beads, even combs and miniature sculptures to wear. Other media extensively discussed are glass, plastics, clay (firing and non-firing), fabrics, fibers, leather, paper, and natural materials.
Contemporary Costume Jewelry is the ideal book for all artists and craftsmen, experienced or not, who would like to fashion one-of-a-kind jewelry from simple materials. Whether it is a silver ring accented with a touch of tooled copper; a necklace made of felt patchwork, embroidered burlap or wrapped yarn; a watchcase made from a real eggshell; a bold and daring papier-mache necklace; or a pendant made from an old ivory mah-jongg tile, a host of exquisite creations await the follower of Elyse Sommer’s clear and easy-to-follow instructions.
George Allen & Unwin Ltd
1974 ISBN 0-04730026-4
George Allen & Unwin writes:
For anyone who wants to create stunning and imaginative jewelry with a minimum of skill and expense, Elyse Sommer’s new book provides a wealth of inspiring ideas. Here, in a new look at an ancient craft, the author explores the infinite potential of jewelry making, revealing how a combination of unusual methods and materials can work for the artist to give fullest expression to his ideas. The beginner is launched into creative designing with some eye-opening suggestions for recycling antique store and flea market items such as ivory piano keys, crystal chandelier parts and brass stampings into charming and sophisticated jewelry worthy of the most elegant boutique.
The budding jeweler is told where to find and how to use the proper stringing materials and findings; drilling, sawing, bending, and finishing tools. A discussion of solderless methods, including a multimedia adhesive chart, completes this definitive chapter on tools and supplies. The author then goes on to introduce some of the most popular materials with which to create multimedia jewelry. She describes with the help of invaluable step-by-step photographs, the most common wire-working techniques, such as bending, twisting, looping, hammering, and wire crocheting. Demonstration projects range from a simple wire choker to beautiful necklaces and earrings of twisted wire and beads.
Metal jewelry examples include objects of copper, brass and silver being cut, pierced, shaped, filed, and inlaid to produce gorgeous body ornaments. The author shows why wood is such a versatile medium, lending itself to the creating of alluring pendants, brilliantly dyed beads, even combs and miniature sculptures to wear. Other media extensively discussed are glass, plastics, clay (firing and non-firing), fabrics, fibers, leather, paper, and natural materials.
Contemporary Costume Jewelry is the ideal book for all artists and craftsmen, experienced or not, who would like to fashion one-of-a-kind jewelry from simple materials. Whether it is a silver ring accented with a touch of tooled copper; a necklace made of felt patchwork, embroidered burlap or wrapped yarn; a watchcase made from a real eggshell; a bold and daring papier-mache necklace; or a pendant made from an old ivory mah-jongg tile, a host of exquisite creations await the follower of Elyse Sommer’s clear and easy-to-follow instructions.
Wednesday, March 14, 2007
A History Told In Beads
Two Pakistani artisans explain and demonstrate the time and energy involved in their bead making. They can make copies of ancient beads with the same quality of the originals. This is good news, because this helps collectors get very good replicas without having to loot archaeological sites.
Read on to learn more @ http://www.lapidaryjournal.com/feature/299str.cfm
Read on to learn more @ http://www.lapidaryjournal.com/feature/299str.cfm
L.A. Confidential
Memorable quote (s) from the movie:
Sid Hudgens (Danny DeVito): Off the record, on the QT, and very hush-hush. Come to Los Angeles! The sun shines bright, the beaches are wide and inviting, and the orange groves stretch as far as the eye can see. There are jobs aplenty, and land is cheap. Every working man can have his own house, and inside every house, a happy, all-American family. You can have all this, and who knows... you could even be discovered, become a movie star... or at least see one. Life is good in Los Angeles... it's paradise on Earth." Ha ha ha ha. That's what they tell you, anyway.
Sid Hudgens (Danny DeVito): Off the record, on the QT, and very hush-hush. Come to Los Angeles! The sun shines bright, the beaches are wide and inviting, and the orange groves stretch as far as the eye can see. There are jobs aplenty, and land is cheap. Every working man can have his own house, and inside every house, a happy, all-American family. You can have all this, and who knows... you could even be discovered, become a movie star... or at least see one. Life is good in Los Angeles... it's paradise on Earth." Ha ha ha ha. That's what they tell you, anyway.
Race To The Bottom
A veteran Australian prospector and onetime dotcom entrepreneur is planning to scoop precious metals from the bottom of the ocean. He believes that it’s also the solution to all the ills that land-based mining has caused.
Read on to learn more @ http://www.wired.com/wired/archive/15.03/undersea.html
Read on to learn more @ http://www.wired.com/wired/archive/15.03/undersea.html
Jewelry By Architects
By Barbara Radice
Rizzoli International Publications, Inc
1987 ISBN 0-8478-0798-3
Barbara Radice writes:
The pieces of jewelry presented in this book have been designed from Cleto Munari by sixteen architects from all over the world during a span of four years. Munari has been promoting works of design for more than ten years. His curriculum vitae, from his debut with the gold and silver cutlery designed by Carlo Scarpa to the present day, has maintained his reputation as an adventurous entrepreneur.
The jewelry project began almost by chance in 1982 when Munari asked Michele De Lucchi to design a ring for his wife Valentina, and soon after made a similar request of Sottsass. Enchanted with the first designs and prototypes, Munari became more and more enthusiastically involved in assembling an increasingly international collection, to the point of setting up a small company to employ goldsmiths with the exclusive task of producing the pieces by hand as they were designed by various architects. Today the collection comprises over one hundred fifty pieces and, quite apart from its worth in gold, gems, and craftsmanship, it cost in patience, dedication, and astuteness, indispensable skills when it came not only to dealing with extremely busy architects but also to convincing them to divert their talents from their customary obsession and devote them to secondary activities.
When talking of very famous architects, no more than about thirty names are likely to be raised. They are the same names that come up again and again on the panels of international shows and competitions, the same who exchange polite criticisms and views in the pages of newspapers. They are the beloved protagonists of the great architectural telenovela incessantly fueled by corporate and society gossip broadcast by magazines and reviews and echoed by students, intellectuals, and pursuers of celebrities.
There is no cultural event of significance that can do without their very special presence, support, or advice. Their success as a category is perhaps due to the fact that they are forced by circumstances to be at the same time artists, intellectuals, businessmen, and managers. They are not always able to pull this off but it does make them into the most complex, protean Renaissance figures in the whole professional scene.
Big architects are often progressive intellectuals; even those regarded as more conservative always manage to cultivate some fad or snobbism that sets them apart. In general, they are better dressed than artists, travel a great deal and are always calling each other on the phone. When they are not talking about the financial problems which eternally afflict them or about work, they know how to have a good time and are open to adventure. They can be recognized by a special quality in their gaze, conveying an amused, cynical detachment, and by the sly smile of those who possess secret information.
The fifteen architects (Peter Shire is a designer) who have designed jewelry for Cleto Munari are all renowned; many of them are real superstars. It is no coincidence that the collection is a rather extraordinary event. It represents the debut of postmodernism in the jeweler’s craft, or, if you like, the first true figurative modernization of jewelry design as an applied art since the twenties and thirties. The creative exploits of artists like Calder or Picasso, Man Ray, De Chirico, Braque, Dali, Fontana or Stella in this field have never succeeded in creating a new trend in the design of jewelry or to alter its figurative canons in the way that the historical avante-garde movements did at the beginning of the century.
Like all postmodern phenomena, the collection, made up of figurative and abstract pieces that are architectonic, symbolic, or ritual to varying degrees, is figuratively heterogeneous but homogeneous in its intellectual approach to the theme, in the eclecticism of the solutions and in the curious uniformity of the materials used: almost exclusively yellow gold and semi-precious stones, apart from the odd ironical touch provided by some synthetic gemstone or slab of small brilliants used as a luminous plane in the combination with other volumes.
The spurning of precious stones, already given a clear thumbs down by the masters of Art Deco, is a rejection of the status symbol based on cost and a reaffirmation of the superior power and value of the design over that of gems, as was the case during the Renaissance.
The architects have designed their jewelry as a formal exercise, as an extension of their work with architecture. They have conceived them as purely decorative objects or as talismans charged with symbolic meaning. Perhaps the most fascinating thing about these one hundred and fifty odd pieces of jewelry is that they have nothing to do with any other set of jewelry designed over the last two thousand years. On the other hand they have an affinity with, if not a real resemblance to, other much more ancient examples of jewelry, such as Sumerian or Minoan, or primitive ornaments from Africa or Melanesia. They draw on the most distant past, a past that is mysterious because it is forgotten. They do not repeat styles but seek out ritual cadences, concealed fragilities, tenuous figurative suggestions, or powerful and solemn forms.
They are very moving objects, serious, intense, even nostalgic. Whatever their origin or inspiration, they translate into gold the most advanced figurative research of the last twenty years.
About the author
Barbara Radice is the author of Memphis, published by Rizzoli in 1984.
Rizzoli International Publications, Inc
1987 ISBN 0-8478-0798-3
Barbara Radice writes:
The pieces of jewelry presented in this book have been designed from Cleto Munari by sixteen architects from all over the world during a span of four years. Munari has been promoting works of design for more than ten years. His curriculum vitae, from his debut with the gold and silver cutlery designed by Carlo Scarpa to the present day, has maintained his reputation as an adventurous entrepreneur.
The jewelry project began almost by chance in 1982 when Munari asked Michele De Lucchi to design a ring for his wife Valentina, and soon after made a similar request of Sottsass. Enchanted with the first designs and prototypes, Munari became more and more enthusiastically involved in assembling an increasingly international collection, to the point of setting up a small company to employ goldsmiths with the exclusive task of producing the pieces by hand as they were designed by various architects. Today the collection comprises over one hundred fifty pieces and, quite apart from its worth in gold, gems, and craftsmanship, it cost in patience, dedication, and astuteness, indispensable skills when it came not only to dealing with extremely busy architects but also to convincing them to divert their talents from their customary obsession and devote them to secondary activities.
When talking of very famous architects, no more than about thirty names are likely to be raised. They are the same names that come up again and again on the panels of international shows and competitions, the same who exchange polite criticisms and views in the pages of newspapers. They are the beloved protagonists of the great architectural telenovela incessantly fueled by corporate and society gossip broadcast by magazines and reviews and echoed by students, intellectuals, and pursuers of celebrities.
There is no cultural event of significance that can do without their very special presence, support, or advice. Their success as a category is perhaps due to the fact that they are forced by circumstances to be at the same time artists, intellectuals, businessmen, and managers. They are not always able to pull this off but it does make them into the most complex, protean Renaissance figures in the whole professional scene.
Big architects are often progressive intellectuals; even those regarded as more conservative always manage to cultivate some fad or snobbism that sets them apart. In general, they are better dressed than artists, travel a great deal and are always calling each other on the phone. When they are not talking about the financial problems which eternally afflict them or about work, they know how to have a good time and are open to adventure. They can be recognized by a special quality in their gaze, conveying an amused, cynical detachment, and by the sly smile of those who possess secret information.
The fifteen architects (Peter Shire is a designer) who have designed jewelry for Cleto Munari are all renowned; many of them are real superstars. It is no coincidence that the collection is a rather extraordinary event. It represents the debut of postmodernism in the jeweler’s craft, or, if you like, the first true figurative modernization of jewelry design as an applied art since the twenties and thirties. The creative exploits of artists like Calder or Picasso, Man Ray, De Chirico, Braque, Dali, Fontana or Stella in this field have never succeeded in creating a new trend in the design of jewelry or to alter its figurative canons in the way that the historical avante-garde movements did at the beginning of the century.
Like all postmodern phenomena, the collection, made up of figurative and abstract pieces that are architectonic, symbolic, or ritual to varying degrees, is figuratively heterogeneous but homogeneous in its intellectual approach to the theme, in the eclecticism of the solutions and in the curious uniformity of the materials used: almost exclusively yellow gold and semi-precious stones, apart from the odd ironical touch provided by some synthetic gemstone or slab of small brilliants used as a luminous plane in the combination with other volumes.
The spurning of precious stones, already given a clear thumbs down by the masters of Art Deco, is a rejection of the status symbol based on cost and a reaffirmation of the superior power and value of the design over that of gems, as was the case during the Renaissance.
The architects have designed their jewelry as a formal exercise, as an extension of their work with architecture. They have conceived them as purely decorative objects or as talismans charged with symbolic meaning. Perhaps the most fascinating thing about these one hundred and fifty odd pieces of jewelry is that they have nothing to do with any other set of jewelry designed over the last two thousand years. On the other hand they have an affinity with, if not a real resemblance to, other much more ancient examples of jewelry, such as Sumerian or Minoan, or primitive ornaments from Africa or Melanesia. They draw on the most distant past, a past that is mysterious because it is forgotten. They do not repeat styles but seek out ritual cadences, concealed fragilities, tenuous figurative suggestions, or powerful and solemn forms.
They are very moving objects, serious, intense, even nostalgic. Whatever their origin or inspiration, they translate into gold the most advanced figurative research of the last twenty years.
About the author
Barbara Radice is the author of Memphis, published by Rizzoli in 1984.
Tuesday, March 13, 2007
Reinventing The Wheel: The OMF Concave Factor
(via Lapidary Journal, November 1997) Andy Oriel writes:
The story of the concave faceting machine is a revolutionary one—which could be said about any machine that revolves on several axes. But in the case of the OMF faceters, which stands for optically magnified facets, the description is justified.
Developed about 10 (20) years ago by Dough Hoffman of Polymetric Instruments, the machine is capable of cutting both concave and convex facets. Instead of grinding a stone against a flat lap as in conventional faceting, concave facets are ground against rotating copper and plastic cylinders of varying diameters, which are charged with abrasive compounds and move forward and back to prevent grooving.
“There are two main benefits to concave faceting,” says gem artists Mark Gronlund, slipping into teaching mode. “The first is the ability to cut new and unusual shapes. With flat facets you’re limited to shapes like rounds, ovals, marquise, and emeralds. But with the combination of flat and concave faceting, there are almost no limitations to shapes or girdle outlines.
“The second benefit,” he explains, “is an increase in the brilliance of a stone.” In a conventional stone, when light enters through the table and hit a pavilion facet, it is reflected in only one direction. By contrast, with a concave pavilion, which from the top of the stone appears as a convex surface, the light is scattered in many directions.
“Basically what we are doing is putting a bunch of magnifiers and diffusers into a stone, like little eyeglass lenses,” he says. “The convex surfaces focus light and the concave surfaces diffuse it.”
“Flat faceting is a three-step process with a rough cut, a final cut, and then polishing. With concave faceting, you still have to lay in all the flat faces first—the same first two steps. But then you transfer the interchangeable mast from the faceting machine to the OMF for an additional three to sometimes six more steps.”
If it sounds complex, it is. Suffice it to say that concave cut stones are several magnitudes brighter than normal, as if fire works were going off inside them; they appear to have many more facets than they actually have; and they tend to look slightly darker than otherwise, all of which have thrown the traditional colored stone industry a curve ball.
Less valuable stones, such as citrines and light aquamarines, are transformed from bridesmaid into blushing brides. A happy side effect of the phenomenon is that a cutter’s budget for rough is considerably stretched. And from the buyer’s point of view, large, precision-cut stones can be purchased for the price of mediocre, more traditionally precious ones.
There are imitations, however. Already dark stones, such as garnets and sapphires, tend not to benefit from the treatment. And small stones tend to become overly busy-looking like gliding a lily.
The story of the concave faceting machine is a revolutionary one—which could be said about any machine that revolves on several axes. But in the case of the OMF faceters, which stands for optically magnified facets, the description is justified.
Developed about 10 (20) years ago by Dough Hoffman of Polymetric Instruments, the machine is capable of cutting both concave and convex facets. Instead of grinding a stone against a flat lap as in conventional faceting, concave facets are ground against rotating copper and plastic cylinders of varying diameters, which are charged with abrasive compounds and move forward and back to prevent grooving.
“There are two main benefits to concave faceting,” says gem artists Mark Gronlund, slipping into teaching mode. “The first is the ability to cut new and unusual shapes. With flat facets you’re limited to shapes like rounds, ovals, marquise, and emeralds. But with the combination of flat and concave faceting, there are almost no limitations to shapes or girdle outlines.
“The second benefit,” he explains, “is an increase in the brilliance of a stone.” In a conventional stone, when light enters through the table and hit a pavilion facet, it is reflected in only one direction. By contrast, with a concave pavilion, which from the top of the stone appears as a convex surface, the light is scattered in many directions.
“Basically what we are doing is putting a bunch of magnifiers and diffusers into a stone, like little eyeglass lenses,” he says. “The convex surfaces focus light and the concave surfaces diffuse it.”
“Flat faceting is a three-step process with a rough cut, a final cut, and then polishing. With concave faceting, you still have to lay in all the flat faces first—the same first two steps. But then you transfer the interchangeable mast from the faceting machine to the OMF for an additional three to sometimes six more steps.”
If it sounds complex, it is. Suffice it to say that concave cut stones are several magnitudes brighter than normal, as if fire works were going off inside them; they appear to have many more facets than they actually have; and they tend to look slightly darker than otherwise, all of which have thrown the traditional colored stone industry a curve ball.
Less valuable stones, such as citrines and light aquamarines, are transformed from bridesmaid into blushing brides. A happy side effect of the phenomenon is that a cutter’s budget for rough is considerably stretched. And from the buyer’s point of view, large, precision-cut stones can be purchased for the price of mediocre, more traditionally precious ones.
There are imitations, however. Already dark stones, such as garnets and sapphires, tend not to benefit from the treatment. And small stones tend to become overly busy-looking like gliding a lily.
Gigi
Memorable quote (s) from the movie:
Gigi (Leslie Caron): Who gave it to you, Aunt?
Aunt Alicia (Isabel Jeans): A King
Gigi (Leslie Caron): A great king?
Aunt Alicia (Isabel Jeans): No, a little one. Great kings do not give very large stones.
Gigi (Leslie Caron): Why not?
Aunt Alicia (Isabel Jeans): In my opinion it's because they don't feel they have to.
Gigi (Leslie Caron): Well, who does give the valuable jewels?
Aunt Alicia (Isabel Jeans): Who? Oh the shy, the proud, and the social climbers because they think it's a sign of culture; But it doesn't matter who gives them, as long as you never wear anything second rate. Wait for the first class jewels Gigi. Hold on to your ideals.
Gigi (Leslie Caron): Who gave it to you, Aunt?
Aunt Alicia (Isabel Jeans): A King
Gigi (Leslie Caron): A great king?
Aunt Alicia (Isabel Jeans): No, a little one. Great kings do not give very large stones.
Gigi (Leslie Caron): Why not?
Aunt Alicia (Isabel Jeans): In my opinion it's because they don't feel they have to.
Gigi (Leslie Caron): Well, who does give the valuable jewels?
Aunt Alicia (Isabel Jeans): Who? Oh the shy, the proud, and the social climbers because they think it's a sign of culture; But it doesn't matter who gives them, as long as you never wear anything second rate. Wait for the first class jewels Gigi. Hold on to your ideals.
The Truth About Gemstone Smuggling
Gem smuggling requires patience, knowledge of local and international customs and traditions, special skills to locate the source and find local and international buyers, the ability to collect money on time so that you are able to continue your ‘creative’ trading practices for a living. Some may do it for fun, but most transactions are serious businesses. Law enforcement agencies around the world may care about gem smuggling when it is linked to terrorism, money laundering, drug smuggling or organized crime. Smuggled gems are sometimes discovered in connection to one of these activities, but gem smuggling by itself is a relatively low priority. The situation is compounded because of the inability to ascertain the origin of stones.
Read on to learn more @ http://www.colored-stone.com/stories/jul04/smuggling.cfm
Read on to learn more @ http://www.colored-stone.com/stories/jul04/smuggling.cfm
Turquoise: The Gem Of The Centuries
By Oscar T Branson
Treasure Chest Publications, Inc
1975
Oscar T Branson writes:
There is a haunting fascination to turquoise, a feeling that takes hold of a person who comes in contact with it for a time. This fascination has been the same down through the centuries and its popularity has spread through many countries of the world. The Egyptians some 70 centuries ago were captivated by it. The evidence is a bracelet of carved turquoise and gold found on the mummified arm of an Egyptian queen. This is the oldest known example of jewelry and was made over seven thousand years ago. For the next several thousand years the Pharaohs sent expeditions of hundreds of men into the Sinai Desert to mine this coveted stone. It was used in almost every decorative way imaginable from beads in jewelry to the lavish decoration of sarcophagi. The Egyptian tombs with their hoards of gold were too great a temptation to looters and thieves and consequently there is pitifully little left for us to see.
In Persia the earliest mention of turquoise is in a story about the mine of Isaac, the father of Israel, who lived about 2100 B.C. Turquoise has been mined in Persia since before that time. It was used as lavishly in Persia as it was in Egypt. Persian writings tell of large vases carved from huge pieces of turquoise. One of the largest had the capacity of six gallons.
The origin of the use of turquoise in Tibet is thought to be very early as the Tibetan word for it is original and not borrowed from another language, as it has been in most languages. Practically everyone in Tibet has a love for turquoise; in fact this fascination almost amounts to a mania.
In China turquoise was used in very early times and much has always been worn in jewelry. Large quantities were made into beads and traded into Mongolia, Tibet and other countries. This is also done today. Due to the occurrence in China of large pieces of turquoise of carving quality, the stone gained an ornamental status. Many carvings of large size are known and some are still being made. The Chinese are greatly fascinated by turquoise, and to them it is second only to jade.
In our own Southwest, turquoise mines were worked by Indians before the time of Christ. In fact many of the mines that are producing today were worked in prehistoric times. Here in America today thousands of people are becoming aware of it and the old fascination is taking hold. Down through the ages and especially now, fine gems and jewelry have been a commodity more stable than money. In other words it is and always has been a good investment. Turquoise and silver jewelry is a pleasure to wear and enjoy. While one is enjoying it, they are aware that is something of value, both intrinsic and esthetic.
Some people think turquoise is a fad. If this is so, it has been a fad for over 7000 years.
Treasure Chest Publications, Inc
1975
Oscar T Branson writes:
There is a haunting fascination to turquoise, a feeling that takes hold of a person who comes in contact with it for a time. This fascination has been the same down through the centuries and its popularity has spread through many countries of the world. The Egyptians some 70 centuries ago were captivated by it. The evidence is a bracelet of carved turquoise and gold found on the mummified arm of an Egyptian queen. This is the oldest known example of jewelry and was made over seven thousand years ago. For the next several thousand years the Pharaohs sent expeditions of hundreds of men into the Sinai Desert to mine this coveted stone. It was used in almost every decorative way imaginable from beads in jewelry to the lavish decoration of sarcophagi. The Egyptian tombs with their hoards of gold were too great a temptation to looters and thieves and consequently there is pitifully little left for us to see.
In Persia the earliest mention of turquoise is in a story about the mine of Isaac, the father of Israel, who lived about 2100 B.C. Turquoise has been mined in Persia since before that time. It was used as lavishly in Persia as it was in Egypt. Persian writings tell of large vases carved from huge pieces of turquoise. One of the largest had the capacity of six gallons.
The origin of the use of turquoise in Tibet is thought to be very early as the Tibetan word for it is original and not borrowed from another language, as it has been in most languages. Practically everyone in Tibet has a love for turquoise; in fact this fascination almost amounts to a mania.
In China turquoise was used in very early times and much has always been worn in jewelry. Large quantities were made into beads and traded into Mongolia, Tibet and other countries. This is also done today. Due to the occurrence in China of large pieces of turquoise of carving quality, the stone gained an ornamental status. Many carvings of large size are known and some are still being made. The Chinese are greatly fascinated by turquoise, and to them it is second only to jade.
In our own Southwest, turquoise mines were worked by Indians before the time of Christ. In fact many of the mines that are producing today were worked in prehistoric times. Here in America today thousands of people are becoming aware of it and the old fascination is taking hold. Down through the ages and especially now, fine gems and jewelry have been a commodity more stable than money. In other words it is and always has been a good investment. Turquoise and silver jewelry is a pleasure to wear and enjoy. While one is enjoying it, they are aware that is something of value, both intrinsic and esthetic.
Some people think turquoise is a fad. If this is so, it has been a fad for over 7000 years.
The Truth About Gemstone Smuggling
Gem smuggling requires patience, knowledge of local and international customs and traditions, special skills to locate the source and find local and international buyers, the ability to collect money on time so that you are able to continue your ‘creative’ trading practices for a living. Some may do it for fun, but most transactions are serious businesses. Law enforcement agencies around the world may care about gem smuggling when it is linked to terrorism, money laundering, drug smuggling or organized crime. Smuggled gems are sometimes discovered in connection to one of these activities, but gem smuggling by itself is a relatively low priority. The situation is compounded because of the inability to ascertain the origin of stones.
Read on to learn more @ http://www.colored-stone.com/stories/jul04/smuggling.cfm
Read on to learn more @ http://www.colored-stone.com/stories/jul04/smuggling.cfm
Monday, March 12, 2007
Looking One Use For Those Old CDs?
(via November 2001 Colorado Springs’ “Pick & Pack”, volume 41, number 9) Lapidary Journal writes:
Try using them for the final polish on your faceting machine. Rinse with water and a little detergent, then place it on top of the last cutting wheel. Center it reasonably well, as the hole is slightly larger than the shaft; then clamp it down. Spray the surface with 14000-grit diamond polishing compound; the charged CD should polish several stones.
Try using them for the final polish on your faceting machine. Rinse with water and a little detergent, then place it on top of the last cutting wheel. Center it reasonably well, as the hole is slightly larger than the shaft; then clamp it down. Spray the surface with 14000-grit diamond polishing compound; the charged CD should polish several stones.
Magnolia
Memorable quote (s) from the movie:
Narrator (Ricky Jay): And there is the account of the hanging of three men, and a scuba diver, and a suicide. There are stories of coincidence and chance, and intersections and strange things told, and which is which and who only knows? And we generally say, "Well, if that was in a movie, I wouldn't believe it." Someone's so-and-so met someone else's so-and-so and so on. And it is in the humble opinion of this narrator that strange things happen all the time. And so it goes, and so it goes. And the book says, "We may be through with the past, but the past ain't through with us."
Narrator (Ricky Jay): And there is the account of the hanging of three men, and a scuba diver, and a suicide. There are stories of coincidence and chance, and intersections and strange things told, and which is which and who only knows? And we generally say, "Well, if that was in a movie, I wouldn't believe it." Someone's so-and-so met someone else's so-and-so and so on. And it is in the humble opinion of this narrator that strange things happen all the time. And so it goes, and so it goes. And the book says, "We may be through with the past, but the past ain't through with us."
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