THE FIRST USE OF PRECIOUS STONES

Latine · Mayhoff 1906

Ut nihil institute operi desit, gemmae supersunt et in artum coacta rerum naturae maiestas, multis nulla parte mirabilior. tantum tribuunt varietati, coloribus, materiae, decori, violare etiam signis, quae causa gemmarum est, quasdam nefas ducentes, aliquas vero extra pretia ulla taxationemque humanarum opum arbitrantes, ut plerisque ad summam absolutamque naturae rerum contemplationem satis sit una aliqua gemma.

Quae fuerit origo et a quibus initiis in tantum admiratio haec exarserit, diximus quadamtenus in mentione auri anulorumque. fabulae primordium a rupe Caucasi tradunt, Promethei vinculorum interpretatione fatali, primumque saxi eius fragmentum inclusum ferro ac digito circumdatum: hoc fuisse anulum et hoc gemmam.—

His initiis coepit auctoritas in tantum amorem elata, ut Polycrati Samio, insularum ac litorum tyranno, felicitatis suae, quam nimiam fatebatur etiam ipse qui felix erat, satis piamenti in unius gemmae voluntario damno videretur, si cum Fortunae volubilitate paria fecisset, planeque ab invidia eius abunde se redimi putaret, si hoc unum doluisset, adsiduo gaudio lassus. ergo provectus navigio in altum anulum mersit. at ilium piscis, eximia magnitudine regi natus, escae vice raptum, ut faceret ostentum, in culina domino rursus Fortunae insidiantis manu reddidit. sardonychem eam gemmam fuisse constat, ostenduntque Romae, si credimus, in Concordiae delubro cornu aureo Augustae dono inclusam et novissimum prope locum praelatis multis optinentem.— Post hunc anulum regis alterius in fama est gemma, Pyrrhi illius, qui adversus Romanos bellum gessit. namque habuisse dicitur achaten, in qua novem Musae et Apollo citharam tenens spectarentur, non arte, sed naturae sponte ita discurrentibus maculis, ut Musis quoque singulis sua redderentur insignia. nec deinde alia, quae tradatur magnopere, gemmarum claritas exstat apud auctores, praeterquam Ismenian choraulen multis fulgentibusque uti solitum, comitante fabula vanitatem eius: indicato in Cypro sex aureis smaragdo, ubi erat scalpta Amymone, iussisse numerari et, cum duo relati essent, male, Hercules, factum dixisse, multum enim detractum gemmae dignitati. hic videtur instituisse, ut omnes musicae artis hac quoque ostentatione censerentur, veluti Dionysodorus, aequalis eius et aemulus, ut sic quoque non par videretur qui tertius eodem tempore inter musicos fuit: Nicomachus enim multas tantum habuisse gemmas traditur, sed nulla peritia electas.

Et forte quadam his exemplis initio voluminis oblatis adversus istos, qui sibi hac ostentatione adrogant, ut palam sit eos tibicinum gloria tumere: Polycratis gemma, quae demonstratur, intacta inlibataque est; Ismeniae aetate multos post annos apparet scalpi etiam smaragdos solitos. confirmat hanc eandem opinionem edictum Alexandri Magni, quo vetuit in hac gemma ab alio se scalpi quam ab Pyrgotele, non dubie clarissimo artis eius. post eum Apollonides et Cronius in gloria fuere quique divi Augusti imaginem simillime expressit, qua postea principes signant, Dioscurides. Sulla dictator traditione lugurthae semper signavit. est apud auctores et Intercatiensem illum, cuius patrem Scipio Aemilianus ex provocatione interfecerat, pugnae effigie eius signasse, volgato Stilonis Praeconini sale, quidnam fuisse facturum, si Scipio a patre eius interemptus fuisset. divus Augustus inter initia sphinge signavit. duas in matris anulis eas indiscretae similitudinis invenerat. altera per bella civilia absente ipso signavere amici epistulas et edicta, quae ratio temporum nomine eius reddi postulabat, non inficeto lepore accipientium, aenigmata adferre eam sphingem. quippe etiam Maecenatis rana per collationes pecuniarum in magno terrore erat. Augustus postea ad devitanda convicia sphingis Alexandri Magni imagine signavit.

Gemmas plures primus omnium Romae habuit— quod peregrino appellant nomine dactyliothecam—privignus Sullae Scaurus, diuque nulla alia fuit, done Pompeius Magnus eam, quae Mithridatis regis fuerat, inter dona in Capitolio dicaret, ut Varro aliique aetatis eius auctores confirmant, multum praelata Scauri. hoc exemplo Caesar dictator sex dactyliothecas in aede Veneris Genetricis consecravit, Marcellus Octavia genitus unam in aede Palatini Apollinis.

Victoria tamen illa Pompei primum ad margaritas gemmasque mores inclinavit, sicut L. Scipionis et Cn. Manli ad caelatum argentum et vestes Attalicas et triclinia aerata, sicut L. Mummi ad Corinthia et tabulas pictas.

English · Bostock & Riley 1855–57

That nothing may be wanting to the work which I have undertaken, it still remains for me to speak of precious stones: a subject in which the majestic might of Nature presents itself to us, contracted within a very limited space, though, in the opinion of many, nowhere displayed in a more admirable form. So great is the value that men attach to the multiplied varieties of these gems, their numerous colours, their constituent parts, and their singular beauty, that, in the case of some of them, it is looked upon as no less than sacrilege to engrave them, for signets even, the very purpose for which, in reality, they were made. Others, again, are regarded as beyond all price, and could not be valued at any known amount of human wealth; so much so that, in the case of many, it is quite sufficient to have some single gem or other before the eyes, there to behold the supreme and absolute perfection of Nature’s work.

We have already stated, to some extent, when speaking on the subject of gold and rings, how the use of precious stones first originated, and from what beginnings this admiration of them has now increased to such an universal passion. According to fabulous lore, the first use of them was suggested by the rocks of Caucasus, in consequence of an unhappy interpretation which was given to the story of the chains of Prometheus: for we are told by tradition, that he enclosed a fragment of this stone in iron, and wore it upon his finger; such being the first ring and the first jewel known.

With a beginning such as this, the value set upon precious stones increased to such a boundless extent, that Polycrates, the tyrant of Samos, who ruled over the islands and the adjacent shores, when he admitted that his good fortune had been too great, deemed it a sufficient expiation for all this enjoyment of happiness, to make a voluntary sacrifice of a single precious stone; thinking thereby to balance accounts with the inconstancy of fortune, and, by this single cause for regret, abundantly to buy off every ill-will she might entertain. Weary, therefore, of his continued prosperity, he embarked on board a ship, and, putting out to sea, threw the ring which he wore into the waves. It so happened, however, that a fish of remarkable size, one destined for the table of a king, swallowed the jewel, as it would have done a bait; and then, to complete the portentous omen, restored it again to the owner in the royal kitchen, by the ruling hand of a treacherous fortune.

The stone in this ring, it is generally agreed, was a sardonyx, and they still show one at Rome, which, if we believe the story, was this identical stone. It is enclosed in a horn of gold, and was deposited, by the Emperor Augustus, in the Temple of Concord, where it holds pretty nearly the lowest rank among a multitude of other jewels that are preferable to it.

Next in note after this ring, is the jewel that belonged to another king, Pyrrhus, who was so long at war with the Romans. It is said that there was in his possession an agate, upon which were to be seen the Nine Muses and Apollo holding a lyre; not a work of art, but the spontaneous produce of Nature, the veins in it being so arranged that each of the Muses had her own peculiar attribute.

With the exception of these two jewels, authors make no mention of any others that have been rendered famous. We only find it recorded by them, that Ismenias the flute-player was in the habit of displaying great numbers of glittering stones, a piece of vanity, on his part, which gave occasion to the following story. An emerald, upon which was engraved a figure of Amymone, being offered for sale in the Isle of Cyprus at the price of six golden denarii, he gave orders to purchase it. The dealer however, reduced the price, and returned two denarii; upon which, Ismenias remarked—“By Hercules! he has done me but a bad turn in this, for the merit of the stone has been greatly impaired by this reduction in price.”

It seems to have been this Ismenias who introduced the universal practice among musicians of proclaiming their artistic merit by this kind of ostentation. Thus Dionysodorus, for instance, his contemporary and rival, imitated his example, in order that he might not appear to be his inferior in skill; whereas, in reality, he only held the third rank among the musicians of that day. Nicomachus, too, it is said, was the possessor of great numbers of precious stones, though selected with but little taste. In mentioning these illustrations, by way of prelude to this Book, it is by no means improbable that they may have the appearance of being addressed to those, who, piquing themselves upon a similar display, become puffed up with a vanity which is evidently much more appropriate to a performer on the flute.

The stone of the ring which is now shown as that of Polycrates, is untouched and without engraving. In the time of Ismenias, long after his day, it would appear to have become the practice to engrave smaragdi even; a fact which is established by an edict of Alexander the Great, forbidding his portrait to be cut upon this stone by any other engraver than Pyrgoteles, who, no doubt, was the most famous adept in this art. Since his time, Apollonides and Cronius have excelled in it; as also Dioscurides, who engraved a very excellent likeness of the late Emperor Augustus upon a signet, which, ever since, the Roman emperors have used. The Dictator Sylla, it is said, always made use of a seal which represented the surrender of Jugurtha. Authors inform us also, that the native of Intercatia, whose father challenged Scipio Æmilianus, and was slain by him, was in the habit of using a signet with a representation of this combat engraved upon it; a circumstance which gave rise to the well-known joke of Stilo Præconinus, who naively enquired, what he would have done if Scipio had been the person slain?

The late Emperor Augustus was in the habit, at first, of using the figure of a Sphinx for his signet; having found two of them, among the jewels of his mother, that were perfectly alike. During the Civil Wars, his friends used to employ one of these signets, in his absence, for sealing such letters and edicts as the circumstances of the times required to be issued in his name; it being far from an unmeaning pleasantry on the part of those who received these missives, that the Sphinx always brought its enigmas with it. The frog, too, on the seal of Mæcenas, was held in great terror, by reason of the monetary imposts which it announced. At a later period, with the view of avoiding the sarcasms relative to the Sphinx, Augustus made use of a signet with a figure upon it of Alexander the Great.

A collection of precious stones bears the foreign name of “dactyliotheca.” The first person who possessed one at Rome was Scaurus, the step-son of Sylla; and, for a long time, there was no other such collection there, until at length Pompeius Magnus consecrated in the Capitol, among other donations, one that had belonged to King Mithridates; and which, as M. Varro and other authors of that period assure us, was greatly superior to that of Scaurus. Following his example, the Dictator Cæsar consecrated six dactyliothecæ in the Temple of Venus Genetrix; and Marcellus, the son of Octavia, presented one to the Temple of the Palatine Apollo.

But it was this conquest by Pompeius Magnus that first introduced so general a taste for pearls and precious stones; just as the victories, gained by L. Scipio and Cneius Manlius, had first turned the public attention to chased silver, Attalic tissues, and banquetting-couches decorated with bronze; and the conquests of L. Mummius had brought Corinthian bronzes and pictures into notice.