This is the first in a three-part series also covering types of gemstones with the letters J to R and types of gemstones with the letters S to Z.

What is a Gemstone? The definition of a gemstone isn’t quite as precise as the faceted beauties it describes. In general, when minerals, and sometimes organic materials such as amber, are cut and polished to create jewelry, we call them gemstones. There are nuances and outliers because some types of gemstones are too delicate to be worn, but most people in the gem world accept this general concept. To further clarify, types of gemstones are divided into “precious and semi-precious” stones with only diamonds, emeralds, sapphires and rubies encompassing the precious category. Everything else falls into the semi-precious zone, although this doesn’t necessarily imply inherent modern value or desirable characteristics. Regardless of the classification, there’s no question that when we can bring out the inherent beauty within these stones, it is something to be truly prized.

Agate

Agate is a silica-based mineral and is a popular semiprecious stone because of its attractive coloration and banding. Reportedly discovered by Greek philosopher Theophrastus roughly 2500 years ago, early people throughout the Middle East, Russia, and Greece used agates to create ornaments. According to research by the Bureau of American Ethnology, Indigenous People utilized them in much the same way.

Agate is a chalcedony, which is a type of cryptocrystalline quartz. Like many stones in this category, it’s created when groundwater seeps into the igneous rock where silica deposits form concentric layers within the rock cavities and crevices to create the telltale banded patterns.

The wide variety of colors, ranging from brown, black, white, red, gray, pink and yellow, are because of impurities in the groundwater. With a seven on the Mohs rating, agates are on the upper end of the hardness scale. This makes this translucent stone a favorite for rock tumbling. It’s often used for jewelry as well.

Bloodstone

An opaque, dark green type of gemstone, bloodstone features distinctive orange to scarlet red splatters that look like blood at first glance. This is the telltale signature of this traditional birthstone for March. The more modern birthstone choice is aquamarine.

Bloodstone is also called heliotrope, a name derived from the Greek helio meaning sun and tropos meaning toward the sun. If you garden, you’re familiar with heliotrope plants that turn toward the sun as they grow. This name indicates how the stone reflects the light. Along with legends of healing powers, bloodstone is also known as a protective stone. People will often wear or carry bloodstones to keep threats at bay.

The minerals chlorite and amphibole are responsible for the deep green coloration while iron oxide inclusions create the blood-red speckling.

Carnelian

Carnelian is one of the least expensive chalcedonies, the translucent yellow-orange to rich amber or even reddish-brown gems darken when heat treated. This includes the heat of the sun, so it’s best to keep your stone out of the sun to keep the color true. Iron is responsible for the red coloration and it’s what oxidizes and deepens when exposed to heat.

Carnelian is sometimes confused with jasper, although jasper is a type of gemstone that is typically a deep red and is opaque, rather than translucent. Plus, jasper often exhibits banding patterns on its surface appearance.

Carnelian is found throughout the world with some of the highest quality stones found in Scotland, Brazil and Washington State.

Even though it’s relatively inexpensive, many so-called carnelians are dyed and heat-treated agates. To determine if a carnelian is real, hold it up to the light. If it’s a natural carnelian, it looks cloudy. If it’s a heat-treated agate, it will most likely show striping.

Dumortierite

Although colors range from brown, green, and the rarer violet and pink, the eye-catching denim blue of this type of gemstone is probably the most popular with gemstone enthusiasts.

An aluminum boro-silicate mineral, dumortierite occurs in regions of high metamorphic activity that are also rich in aluminum and boron. Manganese, iron, and sometimes zinc inclusions, are responsible for the blue coloration.

Dumortierite was first described in 1881 after being found in the French Alps. It was named for the French paleontologist, Eugene Dumortier.

Dumortierite has a glassy (vitreous) luster. Its fibrous nature creates fine, almost hair-like radial crystals within the structure. The blue variation is sometimes mistaken for lapis lazuli, but dumortierite is typically a deeper blue or violet, plus lapis lazuli sports white or gold metallic flecks because of the pyrite within it.

Dumortierite quartz is quartz with inclusions of dumortierite.

Emerald

The birthstone for May, emeralds are a type of gemstone that earns their place as an adjective to describe a particularly intense green. The name is derived from the Greek word smaragdos, meaning green stone.

Created in metamorphic rocks when hot magma flowed over and through the crevices of limestone and shale, emeralds are a beryllium aluminum silicate. Although emeralds are a type of beryl, not all beryls are emeralds. While green beryl is still green, it’s distinctly lighter.

Chromium oxide is responsible for the emerald’s deep green. Other gems, such as peridot and tsavorite garnets, are also found in green hues but not with the same vibrancy. Registering 7-8.5 on the Mohs hardness scale and forming in hexagonal crystals, emeralds are long favorites for precious jewelry, but fakes abound. To determine authenticity, inspect the stone with a 10X loop. Flaws and inclusions, particularly a small crystal within the stone, indicate a natural emerald. Air bubbles or even a “too perfect” stone are tell-tale signs that it is not real.

Fluorite

Made of calcium fluoride, pure fluorite is colorless, yet samples are commonly found in shades of purple, golden-yellow, green, blue, pink and brown. These types of gemstones are translucent to nearly transparent with attractive banding. The term “fluorescence” became part of the terminology when physicist Sir George Gabriel Stokes was working with fluorite in 1852. Although fluorescence doesn’t consistently occur, fluorite is known to glow when there is the presence of uranium, yttrium and other rare earth elements. It often emits blue, although yellow, green, white and red shades are possible.

Also called fluorspar, it’s been produced in Illinois since the 1800s and is the state mineral. Often forming in cubic crystals, it is popular for jewelry but has a wide number of commercial applications ranging from an ingredient in ceramics to a flux used in refining metals.

Garnet

Many people picture garnets as red stones, but these types of gemstones are also found in shades of orange, pinkish-orange, green, reddish-purple, colorless and even blue and green, albeit these last two are rarer.

Garnets are formed when aluminum-laden sedimentary rock is metamorphosed. Garnets are one of the most widespread types of gemstones throughout the world. While the bulk of garnets is mined for industrial applications, it’s one of the oldest known gemstones and has been used for ornamental purposes for 5000 years. Historical evidence shows stones within the necklaces of pharaohs. Garnet signet rings were used by Roman leaders to seal documents.

Sometimes mistaken for a ruby, garnets are usually a darker red with brownish tones. When it’s held up to the light, yellow bands are often visible in a garnet while a ruby will be clear.

Hematite

Consisting of 70 percent iron, hematite is one of the primary ores of iron. Fortunately, it is one of the most abundant minerals on Earth. According to NASA, it’s also the most abundant mineral on Mars. The iron-rich environment is why Mars is dubbed the “red planet.”

Named as far back as 300-325 BCE, hematite is derived from the Greek haima, meaning blood. These types of gemstones are found in colors ranging from rust-red, brown, steel-gray to black, it always leaves a red streak when scratched on a scratchpad.

The distinct reddish hue has been used in artwork from the earliest cave paintings. It was a key pigment for Renaissance artists creating paintings with canvas and oil in the Middle Ages. Besides its importance as an ore for iron and in art, it effectively stops radiation making it useful in shielding applications. Plus, it creates a beautiful tumbled stone for those who love to collect them.

Iolite

This beautiful violet-blue stone was the secret to the Vikings’ success in crossing the ocean as they looked through a thin iolite specimen to determine the position of the sun on cloudy days. The key to this unique quality is called pleochroism where different colors are visible at different angles. For example, a piece of iolite may have the classic violet-blue hue on one side, but when it’s turned over, it appears yellow or clear.

A silicate of aluminum, iron and magnesium, iolite (also known as the mineral cordierite) is created in metamorphic and igneous rock formations. Derived from the Greek word ios meaning violet, some iolite is blue enough to look like a sapphire. Some speculate this quality is because of the presence of titanium, although iolites are easily distinguishable because of pleochroism.

This story about types of gemstones appeared in Rock & Gem magazine. Click here to subscribe. Story by Amy Grisak.

The post Types of Gemstones By Letter (A-I) first appeared on Rock & Gem Magazine.

This iconic World Heritage Site encapsulates a central theme of “Paradise” with its harmonious blending of so many elements including the phrase “Enter Thou My Paradise” inscribed over one entrance.

The Taj Mahal, which translates as the “Crown of Palaces,” has been called the jewel of Muslim art in India. This “ultimate symbol of love and loss” perched above the Yamuna River in Agra in the state of Uttar Pradesh, began with Mughal emperor Shah Jahan, who reigned from 1628 to 1658.

Keeping a Memory Alive

Although he had many wives, Jahan had one great love, his wife Mumtaz Mahal, who died while giving birth to their fourteenth child in 1631. It is said Jahan’s hair turned gray overnight in his grief. To keep his wife’s memory alive forever, he immediately commissioned a great mausoleum to house her remains. Eventually, it would also serve as the tomb of Jahan himself, forever side-by-side with Mumtaz in what was meant to replicate paradise on earth.

Construction began in 1632, and the famous white marble mausoleum was completed in 1648. It took another five years (until 1653) to complete the entire 42-acre complex, which includes reflecting pools, courtyards, gardens, cloisters, crenelated walls, and associated majestic buildings (including a mosque and a guesthouse) constructed in red sandstone from Delhi. But the 115-foot high dome of the mausoleum stands out as the centerpiece. Its translucent white marble from Makrana quarries in Rajasthan (transported nearly 500 miles via bullock carts and elephants) contrasts with the red sandstone of the surrounding buildings and walls. The color of the marble shifts with the hours of the day : pink in the rising sun, white in strong daylight, golden-hued at sunset and under the moon. Some say this was intentional, to replicate the ever-shifting moods of Mumtaz.

Surprising Materials

A surprise for many is that the Taj Mahal is more brickwork than marble. The white marble forms just a thin veneer. Had it been crafted entirely of marble blocks, the tomb would not have been able to support its own weight.

Under the supervision of Ustad Ahmad Lahauri and a board of court architects, construction involved masons, stonecutters, sculptors, and inlay artisans along with the best calligraphers in the land. In all, more than 20,000 laborers formed a city-within-city surrounding the complex in a project that, in its day, was comparable to the Apollo moon shot of the 1960s. And its cost was similarly exorbitant.

How much would it cost to build the Taj Mahal today? Sources are conflicting. In U.S. dollars, numbers range from as low as $70 million to as high as $1 billion. No matter how you do the math and the exchange rate, that is a lot of rupees!

Symbolic Designs

Because the Islamic faith forbids the use of human faces or imagery in decoration, the surface of the mausoleum relies on symbolism to reflect both natural beauty and divinity. Per one source, it was designed to represent “an earthly replica of one of the houses of Paradise.”

Floral Symbols

Architects chose abstract geometric forms, including herringbone inlays here and there, but especially floral designs. Flowers were considered natural symbols of the divine realm.

The designs include realistic vases, flowers, and vines carved in three-dimensional relief and polished within the marble on some panels. Such carved relief works particularly grace the lower portions of the walls.

What really catches the eye are the inlays of stylized flowers. While commonly called peitra dura (“hard stone”) from Italian traditions, in India it is called parchin kari. Precious and semi-precious stones ranging from large slabs to tiny slivers were cut, shaped, polished, inlaid, and leveled to the enclosing marble. The floral patterns they represent include tulips, lilies, irises, poppies, and narcissus. To create shaded effects, a single flower might have a dozen or more carnelian pieces in colors of varied intensity.

Taj Mahal Pattern Books

To this day, Indian artisans hold “pattern books” to craft designs originating with the Taj Mahal into marble countertops, tables, and small jewelry boxes. While few of us will ever be in a position to create or purchase a monument on the scale of the Taj Mahal, parchin kari has long been a vibrant cottage industry in this region of India.

But buyer beware! Quality varies considerably, from the finest marble that is highly durable and takes a fine polish to soft, porous marble or even soapstone that may be inlaid with plastics. The real deal is stunning to behold.

While parchin kari in airport gift shops may go for cheap, Shah Jahan spared no expense in sourcing stones for inlay from all around India, the Middle East, and Asia to grace the mausoleum for his beloved Mumtaz. For instance, carnelian came from Arabia, jade from China, jasper from Punjab, turquoise from Tibet, lapis lazuli from Afghanistan, and sapphires from Sri Lanka. In all, some 28 types of gemstones were used as inlay.

Common Gems in the Taj Mahal

It’s said the lapidary artists decorating the Taj Mahal chose stones “whose luster and color never fades.” Here are just a few:

• White, yellow, and black marble
• Blue lapis lazuli
• Red and orange carnelian
• Green jade
• Blue turquoise
• Jasper in varied colors
• Green malachite
• Green-and-red bloodstone
• Multi-colored banded agates and chalcedonies
• Garnet
• Sapphire

In addition to flowers, inlaid calligraphy composed of jasper and black marble graces several parts of the Taj Mahal, particularly recessed arches. The calligraphy highlights passages from the Qur’an that were chosen by the Persian Abdul Haq, who was greatly admired for his skill as a calligrapher. He used an elegant cursive style known as “thuluth script.” Shah Jahan graced him with the title “Amanat Khan Shirazi” for his work. Such was the attention to detail that calligraphy in higher parts of the building is slightly larger to reduce “skewing effects” when viewed from the ground. Everything about the Taj Mahal had to be pleasing to the eye with balance, symmetry, and harmony.

Taj Mahal Through the Years

Shah Jahan was a rich man with a rich kingdom and as such could afford inlay using the best of precious and semi-precious stones. However, if you were a ruler in a province lacking in resources but you at least wanted to look rich, you had plaster painted to look like inlaid marble or plaster inlaid with colored glass and mirrors simulating gemstones and silver. But, try as they may, none came close to replicating the real deal at the Taj Mahal.

Decorative elements in the Taj also once included gold and silver, including a gold spire atop the main dome. But Agra was invaded in the 18th century by armies of the Jat rulers of Bharatpur. They took away all gold and silver elements, as well as an agate chandelier. At some sites, all precious stones had been pried from walls and it is said that invading armies would pile wood in halls and set it ablaze to capture silver as it melted and dripped to the floors. In light of such carnage elsewhere, we are lucky the Taj Mahal escaped further vandalism over the many centuries.

By the end of the 19th century, the Taj Mahal complex had fallen into a state of disrepair. Recognizing the significance and beauty of even a tarnished Taj Mahal after India had been colonized by the British, viceroy Lord Curzon embarked on a restoration project that was completed in 1908. Despite ups and downs, India and the world continue to recognize and appreciate the beauty, symmetry, and significance of this incomparable gem of love, loss, and paradise. In the words of the poet Rabindranath Tagore, it will forever stand as “a teardrop on the face of eternity.”

Explore More

• Official website of the Taj Mahal: www. tajmahal.gov.in/

• UNESCO Taj Mahal profile: whc.unesco.org/en/list/252

• Explore the Taj Mahal: www.taj-mahal.net/newtaj/textMM/Inlay.html

This story about Taj Mahal gems previously appeared in Rock & Gem magazine. Click here to subscribe. Story and Photos by Jim Brace-Thompson.

The post Exploring Taj Mahal Gemstones first appeared on Rock & Gem Magazine.

1. What is Carnelian?

Carnelian is a cryptocrystalline variety of quartz known as chalcedony, or agate. It ranges in color from yellow to orange to red and reddish-brown. Most prized are warm oranges and vivid reds. It forms as low-temperature deposits that fill seams, cracks or cavities and is often found as nodules. At Mohs hardness 6.5 to 7, with nice translucency and luster, it’s a fine lapidary stone.

2. Why is Carnelian Red?

The reddish-brown color of an old nail comes from iron rusting or oxidizing. Similarly, chalcedony is colored red if infiltrated by solutions bearing iron oxides during formation.

A caution! You may think you’ve found a beautiful red carnelian, but often a red exterior is only skin deep. When cut, the interior may be yellow. This reflects different concentrations of iron oxides that were in the solution as the nodule formed.

3. How Was Carnelian Named?

Per one source, “carnelian” comes from the Latin word carnis, or “flesh” because of its red color. Another source claims it comes from the Latin word cornum, referring to the glossy red cornelian cherry.

4. Is it Carnelian? Or is it Sard?

In ancient times, carnelian was referred to as sard. It is a gemstone mentioned in the Bible. The Roman naturalist Pliny the Elder said this referred to the Lydian city of Sardis in present-day Turkey. Others say it came from the Persian word sered meaning “yellowish-red.” Then there’s the Greek word sarx, meaning “flesh.”

Sard is russet-colored, or deep dark brown with a reddish-orange tinge. Remove the brown and you have carnelian. The difference between carnelian and sard is a matter of degrees, and the two names are sometimes used interchangeably. The amount of iron oxide influences the color range.

5. How Does Sardonyx Differ from Sard & Carnelian?

Forget carnelian versus sard. We also have sardonyx. This is a striped version of carnelian or sard with bands of white chalcedony alternating with red/brown stripes. Onyx is a Greek word meaning “nail or claw,” and sardonyx was said to resemble a fingernail with a white tip above a pink base. The stone has long been valued for the color contrast between layers.

6. I Bought a Red Stone. Is it Carnelian?

Dull light-colored chalcedony can be stained and dyed with iron salts. One source claims many stones sold on the market as carnelian are actually artificially stained chalcedony. Buyer beware!

7. Where Can I Find Carnelian?

It’s said the finest carnelian is from India, and the face of the Taj Mahal bears red flowers crafted from inlaid carnelian. But carnelian has been sourced from many nations including Brazil, Mexico, Saudi Arabia, Sri Lanka, Thailand, Australia and Germany. Material from Madagascar is currently prominent on the market. In the U.S., Oregon is notable, with nodules found on coastal beaches and in river gravels.

8. Did the Ancients Use Carnelian?

Because of its lush colors and ease in crafting, carnelian has been used in jewelry since at least the 4th millennium B.C. Carnelian beads have been found in Bulgarian grave sites from the Early Neolithic 8,000 years ago. In 2000 B.C., Egyptians used it for beads and cabochons, often set in gold alongside lapis. Ancient Greeks and Romans used it for intaglios (engraved stones) and set in gold as signet rings for sealing letters with wax.

9. What Lore & Legend Surrounds Carnelian?

The traditional birthstone for July is ruby, but one alternative stone is carnelian. The Zodiac birthstone for Virgo is peridot, but also carnelian. And carnelian shows up in Judeo-Christian religious traditions. For instance, high priests wore a gold filigree breastplate adorned with 12 stones, including sard, to represent the 12 tribes of Israel.

Because they were the color of blood, in ancient and medieval times red stones were considered talismans associated with life and were believed to attract the attention of good spirits while warding off evil. Carnelian was believed to calm tempers and to “still the blood” from rage. On the other hand, while stilling the blood, carnelian was also believed to promote courage in battle and to stir eloquence within shy speakers. Today’s New Age practitioners of healing stones say it purifies the blood, provides strength and soothes emotions.

10. Is Carnelian Still Used Today?

Just like the ancients, lapidary artists today value carnelian, whether slabbed and domed as cabs to set into earrings and pendants or to craft beads. It’s also carved and incorporated into intarsia. Colorfully translucent, hard and durable, and taking a glossy polish, carnelian has stood the test of time.

Rough or tumble-polished pieces make great display specimens.

This story about carnelian previously appeared in Rock & Gem magazine. Click here to subscribe. Story and photos by Jim Brace-Thompson.

The post Carnelian: Top 10 Facts first appeared on Rock & Gem Magazine.

1. AMETHYST

Known for helping to develop a person’s spiritual connection and abilities, amethyst is often used in meditation. Purple is the color associated with the seventh or Crown Chakra. It is the February birthstone.

2. APACHE TEAR

These are small round pebble-like pieces of obsidian, each containing flecks of white. Apache Tears are often used to help release grief.

3. BLACK TOURMALINE

Tourmaline comes in several different colors. The black is used for protection against negative energy.

4. CITRINE

Citrine restores warmth and energy. Like the tiger’s eye, citrine can be used to increase your personal power and is associated with the third or Solar Plexus Chakra. It is the November birthstone.

5. HEMATITE

Hematite helps improve focus and provides clarity when your mind begins to spin out of control. Some associate it with the first or Root Chakra.

6. MALACHITE

Malachite helps in attaining goals and has a strong financial connection. Often associated with the fourth or Heart Chakra.

7. RED CARNELIAN

Red Carnelian helps to increase creativity, passion and self-confidence. Can also be used to clean other stones and crystals. Both the ruby and red carnelian are seen as birthstones for July.

8. SHUNGITE

Similar in chemical composition to coal, shungite also contains the carbon molecule, Fullerene. Shungite has a wide range of uses from improving the health of bees to water purification to protection from the harmful effects of electric and magnetic fields (EMFs).

9. TIGER’S EYE

Tiger’s eye is often used in jewelry. It helps to ground the wearer and to remind them of their personal power. Tiger’s Eye is often associated with the third or Solar Plexus Chakra.

10. TURQUOISE

Turquoise is believed to be a powerful stone, it too is often used in jewelry. It aids in repelling negativity and restoring harmony and joy. It is associated with the Heart, Throat and Third Eye Chakra. Some view it as the birthstone for Sagittarius.

This story about a top 10 metaphysical rocks list previously appeared in Rock & Gem magazine. Click here to subscribe! Story by Kris McElhinney.

Disclaimer: The metaphysical properties discussed in this story are not intended as a substitute for traditional medical treatment. If you have a health issue, please seek a licensed medical professional. The crystals and stones discussed are not intended to diagnose, treat or cure any conditions.

The post Top 10 List of Metaphysical Rocks first appeared on Rock & Gem Magazine.

All good things take time. Right? Well, sort of. If one were to wait for nature to run its course in tumbling rocks, in some instances, we’d need a time machine to appreciate the process fully. This truth is why rock tumblers are nature’s handy helpers and lapidary artists’ time savers.

In this new bi-monthly column, sponsored by Kingsley North, a long-time Rock & Gem advertising partner and a prolific ambassador to the lapidary community, we’ll discuss various aspects related to rock tumbling. Let the Tumbling Talk begin!

Ancient Tumbling Practices

Although modern rock tumblers and the hobby are relatively young, the practice of seeking smooth stones for various uses dates back to ancient times. While early civilization didn’t have today’s tumblers’ slick operation, nature’s process did the job. Furthermore, it seemingly inspired early humans to put to practice what they observed in nature. As author Steve Hart explained in his must-have reference Modern Rock Tumbling, in different locations of the world, a similar goal of “achieving smooth stones” was the focus of people’s efforts in Egypt and India but the approaches were different. Different stones for different folks?

Early Egyptians, often slaves, would select certain stones, slowly chip the stones into specific shapes, and then place the stones in troughs filled with water and sand. At this

point in the process, they would move the rocks in a back-and-forth manner allowing the combination of water and sand to tumble the stones. Meanwhile, in India, people would also select and chip at stones for a specific shape, but instead of a trough, they created what is known as a polishing bag. Made of goat skin, the bag would contain water, the chipped rocks, and fine rock that was ground. With the “ingredients” in the bag, they’d roll the bag on the ground, creating a manual polish process. In both instances, the outcome would most often be a polished stone, but it would likely take months to accomplish a single polish.

Ah, suddenly the picture becomes clear, but, even so, it would take until the mid-20th century before the modern tumbler would make its debut. We’ll discuss more of that in the next installment of Tumbling Talk. Plus, we want to take a few minutes to discuss the featured rough — carnelian tumbling rough — courtesy of our sponsor, Kingsley North.

Captivated by Carnelian

We selected this as the featured rough because carnelian, a variety of chalcedony, was a wildly popular stone in ancient times. It’s not surprising that early lapidaries had good taste, now is it? Interestingly, carnelian is a bit of a multi-personality, as it can be classified as both agate and carnelian, according to minerals.net.

Among the most abundant sources of carnelian are India, Brazil, Uruguay, and in the United States, New Jersey and Oregon host carnelian deposits. Just think, if you have the opportunity to visit a carnelian-plentiful destination, you’ll be sharing an interest and practice of ancient peoples, as you dig for rough you can transform into gemstone joy.

About Kingsley North: Kingsley North has provided equipment and supplies to lapidary artists and jewelry makers since 1977. The family-owned business, headquartered in the stunningly picturesque western corner of Michigan’s Upper Peninsula, is the product of dreams, hard work, and dedication of founder John Paupore Sr. and family members.

See What Kingsley North is up to…

Facebook • Instagram • Twitter

The post Tumbling Talk: Ancient Lapidaries and Captivating Carnelian first appeared on Rock & Gem Magazine.

Origins of the Sacred Breastplate

The Bible’s most celebrated – and debated – reference to gemstones regards the sacred breastplate of the high priest of the Israelites, also known as “Aaron’s breastplate” and the “breastplate of judgment.” Described in detail in the Old Testament’s Book of Exodus, this golden breastplate was set with 12 different gemstones arranged in four rows of three gemstones each. Each gemstone was identified in ancient Hebrew, the original language of the Old Testament.

But the text of the original Hebrew Bible and the meanings of many ancient Hebrew words are now largely lost. Our knowledge of the Old Testament as presented in the Bible’s many English versions is based on 2,500 years of scholarly interpretation of Greek, Aramaic, and Latin translations

What Gemstones are in the Bible? – Debating Identities

Not surprisingly, the identities of the breastplate gemstones have become confused. Modern English versions of the Bible collectively offer more than 40 different identities for the 12 breastplate gemstones. Most are modern names of gemstones, minerals, and mineral varieties, along with some archaic English names and several untranslated Greek and Latin names.

Adding to the confusion, modern artistic depictions of the breastplate often disregard the probable color and transparency of its gemstones. Many depict the gemstones as faceted, transparent gems, even though faceting as we know it today was not developed until about 1400 C.E. Prior to the first century B.C.E., most gemstones were opaque or translucent and were fashioned as cabochons.

For centuries, historians, theologians, and scholars have debated the identities of the breastplate gemstones and agree only on the general historical background of the breastplate itself. According to biblical scholars, the Old Testament was written over a period of 1,000 years, roughly from 1400 to 400 B.C.E. The breastplate was created about 1450 B.C.E. during the time of Moses. The Book of Exodus, which contains the breastplate description, is based almost entirely on oral tradition and was written in stages between 600 and 400 B.C.E.

What Gemstones are in the Bible? – Tricky Translations

Most interpretations and translations of the names of the breastplate gemstones were provided by scholars with little, if any, geological, gemological, mineralogical, or sometimes even historical, awareness. Their translations are based largely on tradition, limited gemstone knowledge, personal whim, or simple phonetics – sapphieros must mean “sapphire,” and topazos must means “topaz.”

But Dr. James A. Harrell, Professor Emeritus of Geology at the University of Toledo, has taken a different approach to identify breastplate gemstones. A specialist in the archaeological geology of Egypt and the Middle East, Harrell presents his ideas in a paper published in the Bulletin for Biblical Research and titled “Old Testament Gemstones: A Philological, Geological, and Archaeological Assessment of the Septuagint.”

The Septuagint is a third through first-century B.C.E. Greek translation of the original Hebrew Bible. The name “Septuagint” stems from the Latin septu gint, meaning “seventy” and refers to the number of Jewish scholars who worked on the translation. As a first-generation translation, the Septuagint is the most direct linguistic link to the identities of the breastplate gemstones.

Research Reveals Gemstone Order

In his research, Harrell considered all Septuagint passages that mention gemstones and not just those related to the breastplate. He also consulted numerous other contemporaneous ancient texts that describe gemstones that are likely the same as those in the breastplate.

Historically, Harrell considered the gemstones that were known to be in use in the greater biblical region (southwestern Asia, Egypt, and the eastern Mediterranean) during the first millennium B.C.E. He also applied geological criteria to gemstone identification and drew upon his own field research and personal examination of ancient gemstones in museum collections.

As described in Exodus, the order of the breastplate gemstones progresses from right to left, as does ancient Hebrew writing. The first stone in each row, therefore, appears at the right and the third stone in each row at the left. In the following discussion, the stones are identified by the transliteration of their Septuagint Greek names that have so confused translators.

What Gemstones are in the Bible? – Sardion

Sardion is the first stone in row one of the breastplate. It has been translated as “carnelian,” “sard,” “sardonyx,” and “red jasper.” Archaeological recoveries indicate that carnelian and sard, both translucent forms of microcrystalline quartz, were the most common gemstones throughout the biblical region during the first millennium B.C.E. Carnelian is reddish; sard is brownish. Sardonyx is a brown-and-white-banded type of sard. Red jasper, an opaque form of microcrystalline quartz, also served as a gemstone, but not nearly to the extent of carnelian.

In his Naturalis Historia, the Roman scholar Pliny the Elder (Gaius Plinius Secundus, 23-79 C.E.) describes sardion as a widely used, “fiery, red gemstone.” As a gemstone for the breastplate, Harrell concludes that bright-red carnelian would certainly have been chosen over sard, sardonyx, or red jasper.

What Gemstones are in the Bible? – Topazos

Topazos is the second stone in row one of the breastplate. Topazos has been translated as “topaz,” “chrysolite,” “emerald,” and “peridot.”

Its earliest reference, written in the second century B.C.E., describes “a delightful, transparent stone similar to glass and with a wonderful golden appearance.” Another calls it “topazion Ethiopias,” meaning “topazos from Ethiopia.” During the biblical period, “Ethiopia” referred to Egypt’s Eastern Desert and nearby Red Sea islands.

Pliny writes that this stone came from the Red Sea island of Topazum (now Zabargad Island). He calls it the largest of the precious gemstones and the only one that is affected by an iron file – a description that indicates topazos is peridot, the gem variety of the olivine-group mineral forsterite (magnesium silicate). At Mohs 6.5, peridot is just soft enough to be scratched with an iron file, unlike the harder emerald and quartz gemstones. And the basalt formations of Zabargad Island, a classic peridot locality, have yielded very large peridot crystals.

Topaz, or basic aluminum fluorosilicate, is much harder than peridot and does not occur in basalt. Topaz was given its modern name in the 18th century when it was confused with the ancient topazos. Harrell is confident that the breastplate’s topazos is definitely peridot.

What Gemstones are in the Bible? – Smaragdos

Smaragdos is the third stone in row one of the breastplate. Smaragdos has been translated as “beryl,” “carbuncle,” “emerald,” “malachite,” and “turquoise.” In his On Stones, the Greek scholar Theophrastus (ca. 371 – ca. 287 B.C.E.) writes that smaragdos refers to a group of bluish and greenish stones and that it is “good for the eyes,” implying a cool, soothing color. He also mentions that blocks of smaragdos large enough to fashion into obelisks were common.

Emerald was not readily available until mines in Egypt’s Eastern Desert opened in the late first century B.C.E. At that time, smaragdos was also referred to as emerald, probably because of its similar green color. But the size of the smaragdos that Theophrastus describes certainly does not indicate emerald.

Some early descriptions of smaragdos would fit malachite. During the first millennium B.C.E., malachite was mined as the primary ore of copper on Cyprus and the Sinai Peninsula, and in Israel’s Timna Valley. Malachite was associated with such colorful, oxidized copper minerals as turquoise, azurite, and chrysocolla, which sometimes occurred in large, intermixed blocks.

What Gemstones are in the Bible? – Anthrax

Anthrax is the first stone in row two of the breastplate. Anthrax has been translated as “carbuncle,” “emerald,” “ruby,” “turquoise,” and “red garnet.” The Greek word anthrax refers both to hot embers and to a gemstone with a similar, glowing red color. Theophrastus describes it as “very rare and small, and carved into signets,” and compares its color when held against the sun to that of a glowing, red coal. He notes anthrax being “angular and containing hexagons.” Garnet group minerals, which crystallize in the cubic system, often occur as spheroids with hexagonal faces.

Pliny, who refers to anthrax as carbunculus, notes its “exceptional brilliance.” The substantial density of garnet-group minerals produces a high index of refraction and thus greater “brilliance” than many other red gemstones. Pliny also observes an amethyst-violet tone in the basic red color of anthrax. The almandine-pyrope garnet series, which has purplish-red colors, were the garnets mainly used in antiquity. Although garnet was occasionally found in the biblical region, most came from India after the third century B.C.E. Harrell concludes that the breastplate’s anthrax is red garnet, most likely a member of the almandine-pyrope garnet series.

What Gemstones are in the Bible? – Sappheiros

Sappheirosis the second stone in row two of the breastplate.

Sappheiros, the origin of our modern word “sapphire,” has been almost universally translated in the Bible as “sapphire.” Yet sappheiros is actually lapis lazuli, a prized gemstone and a major trading commodity throughout the biblical period.

Lapis lazuli is a metamorphic rock consisting of lazurite, calcite, pyrite, and other minerals. Lazurite, a basic sodium calcium aluminum sulfate chlorosilicate, is the primary mineral in lapis lazuli and the cause of its striking blue color. In top-quality lapis lazuli, pyrite appears as glittering, disseminated specks. Many ancient writers have compared the dark-blue color and glittering pyrite specks of sappheiros to a star-filled night sky.

Since 4000 B.C.E., the Sar-e-Sang mines in northeastern Afghanistan have produced the world’s finest lapis. The corundum gemstone we now know as sapphire was not available in the first millennium B.C.E. Had it been available, its extreme hardness would have made it very difficult to work.

There is no doubt that the breastplate’s sappheiros is not sapphire, but lapis lazuli.

What Gemstones are in the Bible? – Iaspis

Iaspis is the third stone in row two of the breastplate.

The Bible’s long list of iaspis translations include “beryl,” “diamond,” “rock crystal,” “emerald,” “jasper,” “onyx,” “moonstone,” “chrysoprase,” and “amazonite.” Theophrastus writes that iaspis was carved into seals, and groups it with smaragdos, implying that it has a bluish or greenish color.

Pliny describes it as “a highly prized stone,” translucent and with blue and green varieties. Although these descriptions are general, iaspis could be greenish microcrystalline quartz, perhaps a color variation of jasper. Iaspis is also the origin of the modern word “jasper.”

But another possibility is amazonite, the green-to-blue variety of microcline feldspar, which was mined in Egypt during the first millennium B.C.E. and saw limited use as a gemstone. However, Harrell believes that iaspis is more likely a greenish microcrystalline quartz, perhaps a form similar to chrysoprase.

What Gemstones are in the Bible? – Ligyrion

Ligyrion is the first stone in row three of the breastplate.

Although ancient literature consistently indicates that ligyrion is amber, a fossilized tree resin, it has also been translated as “zircon,” “tourmaline,” and “opal.” The ancient Greeks knew ligyrion as elektron and were aware of its electrostatic properties. Rubbing ligyrion with wool cloth produces a strong negative electrostatic charge that attracts feathers and other light, positively charged materials.

Theophrastus writes that elektron is found in Liguria, an area of northwestern Italy and southeastern France, where it is “dug from the earth” and “has the power of attraction.” Other writers use the words elektron and ligyrion interchangeably.

In his Naturalis Historia, Pliny notes the sources of ligyrion, which he calls sucinum, as Liguria and the “northern sea” – the latter referring to the Baltic Sea coast. The Baltic coast supplied the Roman Empire with large quantities of amber and remains the world’s most prolific amber source.

Some biblical historians have translated ligyrion as yellowish or brownish zircon; others as tourmaline, likely because of tourmaline’s electrostatic properties. But neither zircon nor the tourmaline-group minerals were used as gemstones during the first millennium B.C.E., whereas amber was common. Harrell believes that ligyrion is definitely amber.

What Gemstones are in the Bible? – Achates

Achates is the second stone in row three of the breastplate.

Achates has usually been translated as “agate,” which is almost certainly correct. In On Stones, Theophrastus discusses achates as “a handsome stone from the river Achetes in Sicily that fetches a high price.” The Achetes River (now the Drillo River) is the root of the English word “agate” and a classic agate locality.

Pliny describes different colors and patterns of achates, all of which fit agate. He also writes that achates “was once held in high esteem, but now enjoys none,” apparently indicating that formerly valuable translucent and opaque gemstones had fallen out of favor in Rome by the first century C.E. and had been replaced by transparent stones from India.

What Gemstones are in the Bible? – Amethystos

Amethystos is the third stone in row three of the breastplate. (row three, third stone)

The Greek word amethystos, the root of the English word “amethyst,” has been translated only as amethyst and has no conflicting identifications. Amethystos means “without drunkenness;” the stone was believed to prevent drunkenness or to alleviate its unpleasant aftereffects.

Theophrastus discusses amethystos as “transparent … with the color of red wine … and found by splitting certain rock.” This description fits amethyst, because red wine is actually purplish-red, and amethyst often occurs in geodes that must be “split.” Pliny describes the stone as “violet” and notes that it comes from Egypt, where the Abu Diyeiba mine produced amethyst throughout the first millennium B.C.E. The ancient descriptions of amethystos can only fit amethyst.

This story about what gemstones are in the Bible previously appeared in Rock & Gem magazine. Click here to subscribe! Story and photos by Steve Voynick.

The post What Gemstones are in the Bible? first appeared on Rock & Gem Magazine.

Those of us with artistic inclinations appreciate the natural sculptures of Mother Nature. As a jeweler and a lapidary artist, I have been using rock-tumbling techniques for several years in an effort to produce gemstones that preserve the natural features of chalcedony agate specimens.

It all started when I realized that it would take endless hours in front of my grinding wheels to remove weathered surfaces that had accumulated over eons of Earth’s history. The mechanical similarity of active rock tumbling to the slow cycles of water erosion made it clear that I could save myself a lot of effort, while duplicating nature’s work at an accelerated rate.

Exploring Tumble-Finishing Techniques

I soon found it helpful to take advantage of the benefits of rock tumbling to open windows into a concealed universe of nature’s agate master forms. Tumble-finishing techniques allowed me to determine the worthiness of my rough material for cabochons cutting. I have used this procedure to determine the best cross-sectional views for my cab-making projects. While involved in this process, I discovered the intricacy of these gemstones and wanted to conserve much more of the natural sculpture that was produced by the processes of gem and mineral formation. I also wanted to reveal the characteristics that made each specimen unique.

Since retiring to the awesome state of Arizona nine years ago, I’ve fulfilled my dream of joining a rock and gem club. The experience of rock collecting with a knowledgeable group reinforced my passion for preserving agates in their myriad natural forms. I purchased Riker display trays to organize my collection and carry specimens to meetings for show-and-tell discussions.

After participating in a number of club-sponsored field trips, I developed an interest in collecting chalcedony roses and rosettes and became increasingly fascinated with the complexity of their colors and formations. I started a specialty collection to showcase my finds. On frequent occasions, weathering had eroded intricate specimens out of their volcanic host rocks. Despite the quantity of collectible specimens, I did not hesitate to look for broken pieces that had their own potential use in small, cameo-size designs.

Trading for Chalcedony

A few years ago, I participated in a gem and mineral show and traded an Ajo, Arizona, copper mine specimen for a collection of chalcedony roses. Three years later, two retired club members gave me their chalcedony collections because they knew I had a passionate interest in studying the specimens. The translucent quality of many of the white, orange, pink and blue specimens and inclusions appealed to my cab-carving and gemstone-making mania. I keep my own collection of cabs for jewelry settings, but I continue to experiment with rock-tumbling procedures for my agate specimens, whose shapes and subtleties dictate special scrutiny and consideration.

Chalcedony is a semiprecious silica (aka silicon dioxide, SiO2) gem material in which the mineral occurs in several different crystal forms. These crystals are tightly intergrown and so small they cannot be seen without a microscope, a structure that is called “microcrystalline” or “cryptocrystalline”. The various colors in chalcedony are caused by mineral impurities.

Chalcedony’s surface appearance can be botryoidal or mammillary. It can occur in massive, stalactitic and nodular forms, fill amygdules, or form an outer layer around the crystalline centers of geodes.

Varieties of chalcedony include aventurine, carnelian, chrysoprase, heliotrope (bloodstone), and onyx. The term “agate” is reserved for chalcedony that exhibits distinct, multicolor banding. The fine distinctions among these varieties can be explored in detail in a mineral reference book.

New Horizons Inspire New Interests

Over these past few years of retirement in the rockhound haven of Arizona, my collection has more than quadrupled in size and now includes some self-collected specimens of colorful varieties of chalcedony agate. This exposure to new horizons led to my interest in fire agate. Its formation in cracks and openings caused by gas bubbles in solidifying lava gives the rough pieces a bubbly or botryoidal surface. These agates exhibit rainbow patterns of iridescent color that is caused by light diffraction. I studied the color effects of polished pieces with a hand-held microscope and saw what appeared to be tiny panoramas that expanded into canyon vistas.

Other botryoidal, dendritic and druzy curiosities caught my attention at a local agate prospecting site, all of which were too tempting to resist! I was glad that I took advantage of the opportunity, even though I had to hike uphill on steep rocky slopes for over a mile.

The work of collecting and inspecting field rocks, while hard, is often rewarding. Sorting is

an essential procedure of the often time-consuming activities of rock prospecting and processing, but if done correctly, it can save time and money, while going a long way toward ensuring successful mineral collecting results. Acquiring the good habit of carefully selecting worthy specimens in productive geological formations will save work and aggravation in the long run. Over collecting is a common habit among zealous rockhounds, and can lead to an accumulated pile that is too easily relegated to the yard as landscape décor.

When I’m focused on getting to the bottom of my mystery mounds, I routinely sort my specimens into one group to be tumble processed and another group to be preserved “as found”. Then I clean them all with a toothbrush and water gun to reveal hidden details. This step requires a considerable amount of patient work, repeated power washing, and close inspection to clean out the deepest whorls, crevices and cavities. It’s extremely important to eliminate undeserving specimens that should have been abandoned in situ as “leaverites”. So, of course, careful on-site inspection is a must to avoid overloading myself, the car, and the yard! And I try to avoid critical overtures from my spouse who knows “what’s best for me”!

Transforming Stones

There are always plenty of interesting rocks to analyze for special treatment. I discovered that I could transform intriguing specimens into viewing stones simply by grinding rough edges flat to form stable bases for unique tabletop displays. Using my imagination, I’ve created some interesting shaggy-dog sculptures using this procedure. My collection of naturally occurring stalactitic and stalagmitic minerals inspired these ideas and gave me more reasons to enjoy my rock-collecting obsession.

Above all, rock tumbling is especially useful for processing rock fragments that would otherwise be discarded or considered unattractive for other lapidary treatments. Tumble polishing can unveil the unseen drama of undulating gem colors and patterns. But one of the most important attributes to be preserved when tumbling chalcedony agates is the agate’s highly varied sculptural qualities, a complex and mysterious gem construction of great antiquity.

My lifelong interest in capturing the sculptural features of agates with a rotary-tumbling process was a result of another profound realization: that my efforts at rock carving, however painstaking, could never equal Mother Nature’s intricate formwork. My firm opinion is that the elegantly contoured convolutions of countless chalcedony remnants of past volcanic eras represent geochemical and weathering processes. For example, the exquisite contact points in the lava cavity’s matrix are artifacts of unparalleled beauty, above and beyond mere geofacts! The sculptural quality of every interior and exterior surface of these chalcedony artifacts is a feat of mineral formation and habit construction.

There are so many delicate details to admire and contemplate.

I consider myself to be a skillful lapidary artist and cab-making craftswoman, and regard this category of the lapidary arts to be a form of gem carving; however, I came to realize that brute strength is often needed for intricate and precise hard rock reduction. Even with the assistance of my Dremel diamond tools, such work loses its appeal when it involves physical tasks that are just too formidable and challenging for a practical, health-conscious woman like myself.

Refining Rotary Tumbling Processes

By comparison, my rotary tumbling procedures involve a highly engineered “perpetual motion” process that includes buffing, cleaning and polishing methods of my own derivation, using three barrel loads running simultaneously. The cardinal rule is that rocks of the same hardness should be run together in the same batch. I’ve discovered that the distinctive shapes of the respective chalcedony igneous materials maintain their integrity as long as the agates and other chalcedony minerals of the same hardness (approximately 7 on the Mohs Scale of Hardness).

Rocks that develop cracks should be set aside to be evaluated for possible work at the grinding wheel. If these rocks are intended for coarse tumbling in another starting batch, make sure that the damage is not extensive and that the agate is worth salvaging.

While cleaning rocks between grit changes, continue doing thorough inspections and removing the least desirable specimens. Periodic inspections at the halfway point of each grinding cycle help to ensure that rocks are not left in each grit size too long, altering their original sculptural characteristics.

Multiple cycles using my Lortone rotary rock tumblers have helped me develop consistent results for a uniform polish across the undulating topography that one encounters on many agate rock surfaces. The application of Arm & HammerTM 2X Concentrated Liquid Laundry Detergent, Clean Burst, is an essential step in my rock-tumbling operation. The discovery of this product was, in fact, a Eureka! moment. I’d found a solution to the problems involved in accomplishing effective rinsing, cleaning and burnishing/prepolishing phases after completing at least three grinding cycles at each silicon carbide grit size. (I’m using the term “burnishing” to mean a prepolishing phase.)

Drawing on Experimentation to Elevate Techniques

Years of experimentation with polishing compounds had proved much less reliable than the results achieved from the concentrated power of this detergent! I later learned that other liquid laundry detergents have proved effective for colleagues, who say that the chosen product just needs consistent application.

Many of Nature’s byproducts can be found relatively intact and undamaged, so I always collect well-preserved specimens. With the accumulated experience of over eight years of participating in field trips to agate-collecting areas, I look for sparkling crystal drusies, intricate, flowerlike surface features, nodular ovoids, tube-infused shapes, and bubble-embossed surfaces of botryoidal silica. Identifying the best collectible specimens is always the first step. Less interesting fragments can be set aside for tumble processing with a piecemeal batch as a second step at home.

I have experimented with other chalcedony specimens whose geometries are too complex to submit them to any more than a single fine-grit tumbling cycle. In these cases, I have used additional rinse cycles with my liquid detergent to polish near-perfect pieces for up to five days, sometimes running the same stones through successive iterations for optimal results. Using this procedure, I discovered that I could create some interesting etched-surface effects on my gemstones.

I could not succeed at this arduous and ambitious task without the assistance of my husband, Tom, in the painstaking work of cleaning out barrel loads of heavy rock sludge, which must be collected into plastic containers for safe disposal in trash bins. The process of draining the messy, mud-soaked stones into large colanders balanced atop 5-gallon buckets is a task he is accustomed to doing with good-natured generosity of his time. He has developed a keen eye for sorting promising specimens into graded batches.

Changing Fragments Into Usable Material

Lackluster fragments can be tumble ground to a smooth surface and evaluated for quality and continuing product improvement. There is hope here if you believe in reincarnation! If “junk” specimens are given the full treatment, and if periodic inspection indicates that these efforts will likely lead to praiseworthy results, these rocks may eventually be given a new life as gemstones.

In this article, I’ve chosen to discuss the sculptural potential of all specimens, whether they

are processed for 3-D polishing or preserved as field treasures. Although it’s true that the latter category represents an important portion of my mineral collection, I am equally proud of my tumbled gemstone collection. I’ve always recognized the value of transforming less-than-ideal field specimens into gemstones as a 3-D art form. Doing so achieves mineralogical preservation and can sometimes result in highly prized collectibles.

Thorough and exhaustive sorting of agate material is required while still working in the field, but the experience of collecting field specimens is just one of many adventures of discovery that extend to evaluating each agate for its intrinsic gemstone value. Because of the experience of viewing previously hidden features of specimens, I feel that I learn even more about mineralogy when I’ve completed a number of tumble-polished gemstones.

The challenge in my lapidary and jewelry work has been to utilize the best results of my tumble-polished stones for several types of jewelry elements: 1) stunning one-of-a-kind beads that I’ve created by drilling polished chalcedony roses and other field trip and beachcombing finds; 2) individual focal pendant pieces that can be framed in wire work, sheet metal, beads, or other media and worn as natural semipolished or highly polished agate sculptures; 3) multiple freeform pendant elements that are designed to be detachable interchangeable components using precious metal findings arranged in a combination of mirror-finished agate varieties that exhibit a range of colors; and 4) special, intact field specimens that include thin, druzy sprays and encrustations that may just need minimal refinement with my Dremel flexible shaft diamond bits or my Barranca diamond combination unit.

As a specialty category of mineral field finds, these collectibles make a separate “jewelry-grade” source of focal pieces for any number of settings and ingenious applications of metallic coating and electroplating technology, as seen on the internet, in jewelry supply catalogs, and in gem and mineral shows. This specific technology will not be discussed in this article.

Unique Views of Agate Offerings

A fifth category of my agate sculptures that can be enjoyed as miniature collectible showpieces and exhibits encompasses the viewing stones that I’ve enjoyed producing at smaller scales than those typically found on the internet. These curiosities have given me another outlet for enhancing complex agate formations, as previously discussed with regard to crafting chalcedony “carvings”. I like to think that my work on shaggy-dog displays can earn positive reactions.

My overall objective is to capture the gemstone concept by mastering the best possible tumble-finishing procedures and then enhancing the various features of these stones in my jewelry projects. My challenge is to find the best jewelry-making techniques that take advantage of the natural-looking sculptures produced by tumble polishing. I also strive to make settings for intact specimens that I want to preserve and display as wearable exhibits of nature’s creations.

Prior to retirement, I completed small, custom jewelry projects that entailed special cab work for colleagues and for my own use. Now, as a retiree with time to pursue my passions, I’ve combined my interests in metallurgy, mineralogy, and jewelry design to carve out a new career that is as fun as it is an educational adventure. Attending jewelry-making classes at a nearby college, I’m learning as much as possible about the techniques available to me as a metal worker. I’ve made jewelry pieces using sheet metal and wire in various gauges, and made use of my many handmade cabs.

I have also applied these new and improved skills to colorful geode nodules, chalcedony-infused fossil wood, petrified sponge, and agatized coral. I have a growing hoard of specimens that I like to combine with botryioidal chalcedony and other intriguing desert stones in my designs. Whether enjoyed as wearable or viewable sculptural art, these products of a lifelong hobby appeal to me because I appreciate the mysterious attributes of their genesis and evolution.

For several years now, I have been striving to combine my passion for showcasing the best products of my rock cutting, processing and polishing efforts. My experience affirms that chalcedony agates are best appreciated for their natural formations and attributes, which heighten my awareness of our planet’s natural history. Above all, the study of chalcedony agate mineralogy, an interest that is shared the world over by millions of hobbyists, has reinforced my desire for academic and artistic fulfillment.

The post Nature’s Agate Sculptures first appeared on Rock & Gem Magazine.