Chapter XXI: Section 6: of the Tariff Act, providing for a duty of 20 per cent. on (2)

The thread used is invariably of silk of the highest standard of purity, strength, and texture, undyed, and not containing any chemicals. Two or three of these threads are held together, then with a knife the edges are very carefully scraped till the combined material of the three threads is less than the thickness of one. Some use a needle to scrape or fray to a sharp point. Then this point is stiffened by means of “white glue,” the best material of this kind being pure gum arabic dissolved in water. A little of this is rubbed on the pointed threads. It stiffens in a moment, then the pearls are passed on, one after the other. If the pearls to be strung are already on a necklace, this process is simplified by the unknotting of the end of the necklace to be re-strung; two or three of the pearls are slid on to the new string, the ends or points of the new necklace thread are twisted together with the old ends and the pearls are simply transferred.

Frequently the holes have been drilled so as to leave the rims rather sharp; in this way the thread may be frayed out or even cut. This sharp edge can easily be removed by careful reaming. Silk of pure quality is the best material known for stringing pearls. A series of experiments were made with every available fiber of sufficient durability from every quarter of the globe, but silk alone was found to possess the strength, the flexibility, and the smoothness necessary to permit a very fine set of threads to pass through an opening as small as the drill hole of a pearl. In the case of a long chain or sautoire, more than three hundred pearls will be strung on a single row, one of over eighty inches in length containing over three hundred pearls, and it requires a degree of neatness and patience that few possess to do this in exactly the right way, so that the thread may not be cut, that the pearls may not be too tightly strung, and that the ends shall be carefully attached at the clasp, so that the necklace may hang well and there may be no danger of the ends breaking loose.

According to the frequency with which it is worn, a necklace should be re-strung every three, six, or twelve months. The proper time for re-stringing can generally be determined by the stretching of the thread so that it can be seen either between the pearls or at either end, giving the impression that one or more pearls are missing. A newly strung necklace is taut.

Where a collar is from thirteen to fourteen inches in length, there are frequently twenty-three rows of pearls, kept straight by four jeweled bars, and sometimes from ten to twenty-five pearls in a section between a bar. This would mean that there are more than two thousand pearls in a collar of small pearls. When one considers that at each bar and at the catch and clasp of the collar it is necessary to make a knotting, it is not surprising that it requires from three to four days’ time of a very expert pearl stringer to string or re-string such a pearl collar. A splendid example of such a twenty-three-row collar is that belonging to Señora Diaz, wife of the President of the Republic of Mexico.[420]

Frequent stringing may sometimes serve as a protection for pearls, as, if wax is used, the drill hole is likely to become coated with wax from the thread, and this prevents the absorption by the pearl of perspiration or moisture of any kind through the thread. Indeed, the thread itself, when waxed, does not readily absorb moisture, and as the interior of the pearl also becomes waxed, this serves to protect it from the absorption of humidity of any kind.

In making pearl necklets or muff-chains, a piece of gold wire of the proper strength and pliability is taken. This wire is passed through the hole of the pearl and then cleverly bent into a loop on each side and firmly soldered. It is important that the wire should be very slightly smaller than the dimension of the hole in the pearl so that it may fit closely. Sometimes, instead of this method, a ring is soldered to one end of the wire before this is passed through the pearl, the other end being then secured in the manner described above. Still another method is occasionally employed; in this a piece of the wire is bent into a ring, but not quite closed, the aperture being just large enough to admit the wire that has traversed the pearl; in this way the wire can be introduced into the opening in the ring, which grips it tightly, and is then soldered to it. In many cases two small rings are strung on the wire on each side of the pearl before the loops are made, so that they interpose between the latter and the pearl itself. This serves to protect the sides of the pearl, as there is otherwise some danger that the hole may become chipped or ragged; the same result can be obtained if small caps, closely fitting the pearl, are used instead of the rings. This is, however, only possible when the pearl is quite round, and in this case the effect produced is often very attractive.

NECKLACE OF SEED-PEARLS. UNITED STATES. CIVIL WAR PERIOD.
]

Many of the pearls set as rings and studs are no longer set in points, but are set upon a peg, or are “pegged,” as it is termed. Setting a pearl in claws generally hides more than one half of the entire sphere. But if the pearl is not properly secured upon the peg, it will occasionally fall off. However, this can be obviated to a great extent by attaching the pearl to a double peg which keeps it from turning and also prevents its falling off. Pearls have occasionally been damaged with the shellac used, or when the gold peg on which the pearl is placed was too hot.

In mounting very small pearls as link chains so as to form a continuous pearly rope without any break in the way of gold links, occasionally V-shaped cavities are drilled into each end of the pearl, and the setting itself is hidden in this V-shaped cavity. This is only done where the pearls are small and not of great value.

The jeweler, in setting pearls, must use the greatest possible care, first, in cutting away the settings, as they are fastened to the pearl, not to scratch or mar it; and then, when he files the settings, not to allow the file to touch the pearl, as both the steel tool and the file would injure it. He must particularly avoid placing the pearl too close to a diamond, ruby, or other precious stone; for, even if the pearl only slightly touches the gem against which it is set, a knock of the hand may mar the pearl’s surface. More especially, as pearls are set at present, “pegged” and without points, it is of the greatest importance that they be worn in such a way that they may not touch the unexposed edges of any precious stones, as this also would injure the pearls. For lack of this precaution fine pearls have frequently been harmed.

A large jewelry firm has under consideration the following pearl order: Any workman who in any way mutilates a pearl by filing, imperfect drilling or shaping, or in any way affects the shape of a pearl, without the authority of the foreman, will be called upon to pay for the same.

As pearls are natural objects, any change of the same to fit the setting, or for attachment to any gold object, mutilates the gem and greatly affects its value. If belonging to a customer, this frequently means its replacement, often at a great cost to the jeweler.

Pearl “blisters” frequently have the appearance of being empty; they are generally filled with a fluid, either water or the product of animal and vegetable decomposition. These contents usually emit a peculiar and unpleasant odor. As the exterior of the inclosure gradually wears away and disappears, the contents of the blister are slowly absorbed by the shell itself, and any organic or insoluble substances are deposited on its inner surface.

Thus, when a shell shows any protuberance on this surface, the peeler will cut or scrape away a portion of the decaying shell behind the spot. Should he discover the hole of a borer, he lays the shell aside; but if he finds it to be perfect at this spot, it is evident that the inclusion came from within, and frequently it turns out to be an included pearl. This is removed by breaking the shell, or by cutting around the protuberance very near to its edge, and then breaking away the shell. The pearl is often visible, and layer after layer of the covering mass is removed with the greatest care by the peeler, who is rewarded by bringing to light pearls of various qualities, and frequently those of great value.

An instance in which, by opening a pearl blister, the speculator received a good reward is given by Streeter, who says: “The _Harriet_ had the good luck to find, in 1882, a pearl 103 grains in weight, which was inclosed in a huge blister. It was a fine _bouton_, of splendid color in the upper portion, but a trifle chalky below. This was attributed to the admission of salt water into the shell through a hole made by a borer which happened to pierce the shell just where the pearl lay, and had penetrated the latter for almost a quarter of an inch.”

Sometimes pearl masses are hollow. Barbot[421] mentions that a French merchant residing in Mexico, having bought one of these pieces from a fisherman at a low price, resolved to satisfy his curiosity by finding out what was inside. He split it in two parts and was agreeably surprised to find a pearl weighing 14¼ carats (57 grains), so round, of such good water, and such fine orient, that he sold it in Paris for nearly 5000 francs ($1000) in 1850.

Seed-pearl work was introduced into the United States, about seventy years ago, by Henry Dubosq, who had studied the methods employed in Europe and has been succeeded in this industry by his son, Augustus Dubosq. The father bought a large quantity of English seed-pearl jewelry, brought it to this country, and hired a number of girls to take it apart carefully and re-string it with white horsehair, to learn how it was made. With no more teaching, he established an industry that has already lasted for three score and ten years.

Seed-pearl jewelry was most in vogue from the year 1840 to 1860. It was generally sold in sets, in a case consisting of a collar, two bracelets, two earrings, a small brooch, and a large spray or corsage ornament. If the object was almost round, occasionally there was a larger central pearl, weighing from one to five grains, usually a button pearl; or, if the ornament was elongated, there were generally three larger pearls. These sometimes possessed a fairly good luster. Seed-pearl jewelry was at one time so popular, and the values were so small in this country, that a $1000 seed-pearl set formed a principal feature of the Tiffany exhibit at the International Exposition held at the Crystal Palace, New York, in 1855.

MOTHER-OF-PEARL SHELL FROM TAHITI

Illustration of a mother-of-pearl shell, showing where a blister has
been cut out. In this instance a large pear-shaped pearly blister
appeared almost in the center of the shell. A dealer removed this by
means of a saw, and was surprised to find that the mother-of-pearl,
instead of remaining intact, parted in two pieces. Between these two
pieces was a mass of green and white calcareous matter. The two
upper figures show the pearly side and the outside of the shell
whence the blister was cut. The figures below show the inside and
outside of each half of the blister and the earthy matter inclosed.

A is the pearl sawn from the shell.

B is the piece of pearl that parted from the back of this pearly mass.

C and F are two views of the included calcareous matter.

D is the reverse of A, showing the cavity.

E is the reverse of B; originally A rested on B.

There was no indication of any hollow space, or that the mass was not
perfect.
]

Seed-pearl tiaras sell for from $75 to $200 or $300 each. The work is almost entirely done by girls, either German or of German origin. As labor is higher and pearls have advanced in price, none of the old work could now be duplicated for the amount it cost twenty or thirty years ago. The stringing of the pearls on the English scroll means probably twelve hours of continuous work. An efficient pearl worker receives $3.50 a day, which consists of not more than eight hours, as, owing to the very trying character of the work, clear daylight is necessary to see the holes in the small pearls and in the mother-of-pearl shell.

The foundation of all seed-pearl work is mother-of-pearl. The shell is brought in thin plates, measuring from one and one half to two and one half inches square. One of the most popular and attractive patterns is the English scroll. If a design is to be repeated, a brass figure is made. For the fabrication of a brooch, for instance, a design is first made by drawing on a paper or cardboard; then a brass plate or pattern is cut out, leaving spaces wherever there are to be no pearls. After this a slab of stock mother-of-pearl, nearest the size of the brass plate, is selected, and is sawn out, using the brass plate as a guide for the outlines. The mother-of-pearl is then pierced wherever a pearl is to be secured, and the pearls for its embellishment are chosen, and are strung onto the mother-of-pearl outlines with a special horsehair thread. All the work that remains for the jeweler is the addition of a pin or catch on the back. A representation is given of the designs, the brass plate, the mother-of-pearl, the horsehair, the pearls, and the completed brooch made by this model.

Fine horsehair is used for stringing seed-pearls, because the holes drilled in them are usually too small to admit of the use of silk, and it is very important that what is known as pulled hair, taken from a living horse, should be used, as otherwise the hair is too brittle. This hair, in bunches of from eight to fourteen inches in length, is sold at an average price of $1.50 a pound, and frequently only one ounce is selected for use from the entire pound.

All the pearls used by the seed-pearl workers are purchased in strings and bunches; the finest are those known as the Chinese seed-pearls; they are drilled and strung in bunches, weighing three ounces, and are worth $40 an ounce. They are drilled with so fine an aperture that silk will not pass through the pearl, and only horsehair can be used. The Indian Madras pearls, however, have a larger drill hole and can be strung with silk; they are at present worth from eight to fifteen cents a grain, that is, $48 to $90 per ounce.

Immense quantities of these very minute pearls are also used in bunches or strings, sometimes as many as twenty or thirty strings being grouped together and either bound straight or else twisted into veritable ropes of pearls.

Seed-pearls are sold by the ounce, a single ounce frequently containing as many as 9000,—that is, fifteen pearls to the pearl grain or sixty to the carat,—selling for from $48 to $60 an ounce. Naturally, some of these pearls are even smaller than this, but the average is maintained by those that are a little larger.

Pearls as small as 100 to a diamond carat are drilled and used in seed-pearl work. Diamonds, rubies, and even sapphires, however, are cut in brilliant form when they are as small as 250 to 300 to the carat, or 45,000 to the ounce. The price of these small pearls, however, is only from eight to fifteen cents per carat, whereas diamonds of this size are worth from $200 to $300, their value being three times that of those weighing one sixteenth to one eighth carat each. This is due to the fact that the labor expended in cutting the smaller diamonds is much greater than that bestowed upon the pearls, which simply require drilling and not cutting.

“Half-pearl,” as we have mentioned, is the name given to such pearls as are round and spherically domed and are either somewhat flat or almost the shape of one half of a whole pearl of the same diameter. They are produced in two ways: some are cut away as hemispheres from the inner surface of the shell of the pearl-mussel, but more usually they are the better portions of defective whole pearls which are sawn or split by hand into two “halves” with a minute saw, the defective part being rejected altogether or classified as inferior half-pearl, while the better half is classified as a I or II quality half-pearl. Frequently a fine specimen is obtained from an elongated pearl, and sometimes two, three, or even four half-pearls are secured from the various bright parts of a round pearl. In splitting half-pearls, the pearl to be operated upon is held by hand in a kind of grooved vice or pincers and sawn through with a very fine saw; this process is at once simple, rapid, and of insignificant cost.

Only pearls which cannot be cut are filed. In this process the poorer side of the pearl in question is laid upon the file, and the operator takes a piece of ordinary hard wood, so formed that he can grasp it firmly in his hand, presses it down upon the pearl, and rubs the latter on the file, removing all but the good side. In this way a half-pearl is produced.

The smaller half-pearls are from .5 to .75 millimeters in diameter, and an ordinary ounce of half-pearl material will number 18,000. Of the manufactured half-pearls there are, on an average, 20,528 to an ounce.

The half-pearl industry is largely carried on in Idar, on the Nahe River, and in Oberstein, in the Duchy of Oldenburg, Germany. The pearls are usually purchased from London or Paris houses in lots valued up to $12,000 or more, although some of the firms buy directly from India. In Idar about one hundred people are employed in this industry. Frequently it is pursued m the home of the manufacturer, who may employ from one to a dozen or more workers. These generally include a sorter or arranger, and a marker to indicate the part of the pearl which should be sawn off. There is also a trimmer or one who finally adjusts the pearls.

An unusually clever bit of deception was practised by an American pearl fisher who had found two pearl blisters of almost identical size. Both of these blisters were hollow, and were alike in form. The pearl dealer very cleverly polished down both sides, rounded off the edges, cemented the two backs together, and except for a tiny edge they had all the appearance of a drop pearl that was fairly perfect on both sides. It required but a little heating to separate the parts and show the deception.

In setting half-pearls, they are generally selected from large lots with great care as to their being of uniform size. A circular place for the setting is often drilled with a steel drill, either for several or for a single one. The half-pearl is frequently placed on one or more tiny disks of paper, to give it the exact height in the setting, and the edge of gold is rubbed up against the pearl, which is thus secured in its place; or else tiny edges of gold are left projecting between each pearl. These are pressed down after the pearl is in place. This process requires great delicacy and skill and is frequently employed in the decoration of pearl lockets and watches. In some of the cheaper work, the half-pearls are cemented into the shallow disks that were drilled for them, but frequently they are secured by metal points skilfully raised out of the disks in which the pearls are set, and then pressed down to hold the latter in place. Although apparently frailly set, it is surprising that half-pearl ornaments have been owned for more than a century, scarcely a pearl dropping out; and even if one or two pearls should be lost from the piece of jewelry, the expense of replacing them is not very great. They are often not as safely set when they are mounted with diamonds, rubies, or other stones, more especially in rounded rings or bracelets.

In drilling gold for the setting of half-pearls, where the hole must not be carried right through the metal, a so-called “pearl drill” is used. This is designed to cut a hole with a flat base in comparatively thin layers of metal without disfiguring the opposite side, a task that can easily be accomplished if care be taken not to drill deeper than is strictly necessary for the safe adjustment of the pearl. For the construction of this drill a piece of round steel wire of suitable size is chosen; this is hammered flat at one end and then filed away at each side, leaving a small spike standing in the center, which projects a little beyond the cutting edges and acts as a pivot on which the drill revolves. The steel on both sides of this spike is filed down to a fine edge, care being taken to preserve the horizontal line, so that when the spike is embedded in the metal both cutting edges come into play simultaneously. If the drill is in good condition, it does its work very rapidly, since it is used in an upright drill-stock, whose weight gives a uniform and constant pressure. A good range of sizes of this drill should be kept ready for use, so that one may be found to suit the dimensions of any given pearl. This is essential in order to make an opening just large enough to hold the gem, so that it may fit tightly, without the necessity of reaming out the hole.

Half-pearls were frequently used with the most pleasing effect in the decoration of antique watches. A number of remarkable examples of this type are among the collection of antique watches of Henry Walters of Baltimore. This collection had been acquired by Tiffany & Co. after the sale of the San Donato Palace, the watches having been withdrawn from the prince’s collection by his sister sometime before the sale.

In mounting pearls on gold, a white paste is sometimes employed in half-pearl mounting, which is called by the French jewelers _gouache_. This substance contains white lead, and its use is liable to be injurious to the workmen, cases of lead colic having been recently recognized as thus produced. This subject has lately (1907) been brought forward at the Société Médicale des Hôpitaux in Paris. The cases were at first mistaken for appendicitis, but proved to be well-marked cases of lead poisoning. They had not been reported previously, and are evidently not frequent, those noted being confined to instances in which the employees had carelessly been in the habit of removing an excess of the paste with the tongue.

Pearls that are constantly worn with judicious care do not seem to deteriorate in any way. By judicious care we mean that pearls should not be dropped or thrown down violently or placed on any substance which is likely to act injuriously on the surface of the pearl itself.

Strings of pearls should never be dipped into water or solutions of any kind, because the string which passes through them is likely to absorb and to draw the liquid into the pearl, and as the pearl is made up of many concentric layers, it is quite possible that, through capillary action, some liquid, either pure, or stained with a foreign substance, might be brought into the pearl, which would in this way eventually become discolored. Rings and brooches containing half-pearls frequently change color from this cause; but contact with the skin, or with lace, or with fabrics which are not stained with certain chemical solutions, seems to have no injurious effect upon pearls.

Ladies’ sewing case and scissors inlaid with half-pearls

Eighteenth Century
]

Watch incrusted with half-pearls

Paris Exposition, 1900
]

Snuff-box, ivory inlaid with fresh-water pearls

Eighteenth Century. Collection, Metropolitan Museum of Art
]

Watch incrusted with half-pearls

Paris Exposition, 1900
]

Miniature of Catherine Emilie Peake, by Richard Cosway. Gold frame,
surrounded by half-pearls. Eighteenth Century
]

Watch incrusted with half-pearls

Paris Exposition, 1900
]

It is quite possible that in some instances where pearls which have been inherited are thought to have changed and lost their beauty, this belief has been owing to an exaggerated opinion of their quality on the part of those who expected to inherit them and who never had the opportunity to examine them carefully. In other words, in many cases where pearls are believed to have lost their luster, to have died, or partly died, there seems, from the personal observation of the writer, to be little doubt that they never were really fine pearls, and that no change had actually taken place in them. That pearls change but slightly is evidenced by the fact that a splendid necklace belonging to the Empress Eugenie, which was purchased about the year 1860, is in as good condition to-day as when it first passed into the hands of the unfortunate empress of the Second Empire. Many of the pearls in the royal treasury in Vienna that belonged to Maria Theresa, and those that were disposed of at the sale of the French crown jewels in 1886, as well as the pearls that are in the imperial collection at St. Petersburg, do not seem to show any appreciable evidence of age.

The pearl is of a lower hardness than any of the precious or semiprecious stones, and almost as soft as malachite, though not so friable or liable to break as is that mineral; nevertheless, it is in many ways one of the most indestructible of natural objects of the low hardness. Still, pearls, and especially fine pearls, require some care; but, if the same attention is accorded them as would be given to a fine piece of lace, velvet, or other fabric, or to a fine jewel, they will last for a number of generations. If, however, pearls are worn at all times without removal, if they are worn in the bath, if they are thrown on a dressing-table, dropped on the floor, or otherwise ill-treated, if they are worn on dusty automobile rides, in bicycle riding, or during other gymnastic or violent exercise, it is inevitable that their sides will rub together and wear one another away. If they are worn in the bath or in swimming, the silk string which holds them, should it become soaked, may draw some of the water, accompanied perhaps with dust and perspiration, through the drill hole into the center of the pearl, and this is likely to be absorbed in turn by the various layers of the pearl, in some instances undoubtedly affecting the color, changing it to a yellow or a gray. It would be well not to wear pearls under the exceptional conditions above mentioned; and, if they are carefully wiped at times, so as to remove any perspiration or dust, their color is not likely to be affected for a long period of time.

Dr. George Harley writes in the “Proceedings of the Royal Society,” March 1, 1888, p. 463:

On one occasion being desirous to crush into powder a split-pea
sized pearl, we folded it between two plies of note-paper, turned up
the corner of the carpet, and placing it on the hard, bare floor,
stood upon it with all our weight. Yet, notwithstanding that we
weigh over twelve stone, we failed to make any impression whatever
upon the pearl, and even stamping upon it with the heel of our boot
did not suffice so much as to fracture it. It was accordingly given
to the servant to break with a hammer, and on his return he informed
us that on attempting to break it with the hammer against the pantry
table, all he succeeded in doing was to make the pearl pierce
through the paper and sink into the wooden table, just as if it had
been the top part of an iron nail, and that it was not until he had
given it a hard blow with the hammer against the bottom of a
flat-iron that he succeeded in breaking it.

As the foregoing and other notes had appeared on this subject, the author was led to observe that pearls are possessed of greater durability than is generally supposed. In order to demonstrate this satisfactorily, he took a number of American pearls and placed them upon different kinds of woods, such as white and yellow pine, white oak, teak, ash, cherry, chestnut, and rosewood. He then stood upon them, thus bringing a weight of more than two hundred pounds to bear upon them by means of his heel. The pearls were driven into the different woods, with the single exception of the rosewood, which offered greater resistance so that the pearl only entered partly. In but one instance did a pearl suffer by a slight scaling off. This shows the strength of the many concentric layers, both mineral and vegetable.

This does not signify that pearls should be stepped upon, trodden upon, or thrown about, as it is not unlikely that a pearl would crack if it should fall from some height upon a hardwood or stone floor.

It is believed by many that wrapping pearls in dyed velvets or in fatty woolen materials, and locking them up in safe-deposit vaults, may slightly change them. On the other hand, there is no doubt that sunlight will bleach a pearl, and hence it is that wearing them in the light and air cannot injuriously affect them.

For cleaning pearls, first rub them with a cloth dipped in alcohol diluted with warm (not hot) water, or in a weak solution of soap and water, then dip another cloth in clean water and rub the pearls until they are dry. Be careful not to leave them wet. Either salt, rice, pearl-powder, or some exceedingly soft substance may aid in cleaning them, but no abrasive such as ground pumice, electro-silicon, or any powder that is sold as a polishing powder, should be used.

EVOLUTION OF A SEED-PEARL BROOCH

Mother-of-pearl plate Brass model Pearl brooch completed Design of brooch Mother-of-pearl sawn out ]

Seed-pearls, Indian strings White horsehair for stringing
]

There are many things that will cause injury to pearls. Occasionally they are affected by the wearer having exudations from the skin induced by some disease or else by acids which pass out through the pores with the perspiration. A smoky atmosphere in which a sulphuric acid is present owing to sulphur in the coal, violent usage such as knocking severely, or dropping—all of these will in time cause more or less injury to a pearl, more especially to one of the whiter varieties; but it is believed that those of a yellowish cast are not so susceptible. Diderot mentioned this as early as 1765.

The “life” of a pearl is said to be fifty, one hundred, and perhaps even one hundred and fifty years; they certainly last for several generations. It has been asserted, without any particular authority, that pearls from the Pacific Ocean and those from Mexico do not last as long as those from the Orient, but this statement is questionable.

If there be any foundation for the belief that it is not well to lock pearls in a safe-deposit box, this is probably owing to the fact that the absolute exclusion from the air may cause the drying out of the organic constituent of the pearl. This may be obviated by putting the pearls in a piece of linen absolutely free from any chemical, at the same time placing with them a bit of blotting-paper or fiber-paper saturated with water; the whole should then be wrapped up in paraffin paper, which will prevent the evaporation of the moisture.

Many sentimental recitals have appeared in the press during the last ten years in regard to the dying of pearls. In connection with this there is a beautiful though mythical story to the effect that Carlotta, wife of the ill-fated Maximilian, Emperor of Mexico, was the possessor of a large collection of pearls which had died, and that these pearls had been placed in a casket and sunk in the depths of the Adriatic, opposite the beautiful but unhappy palace home, Miramar, in the hope that the salt water would revive and restore their original luster. When, however, the time came to bring up the pearls from the sea, it was found that the casket had, in some way, broken loose from the chains, and all trace of it was lost. It is needless to state that there was absolutely no foundation for this romantic tale; indeed, these very pearls were afterward sold. Furthermore, pearls have never lived, and hence they can never die. They do, however, decay, if exposed to influences which destroy either the calcareous or the animal layer of the pearl itself. This is due to many causes: first, overheating, sometimes through the inexperience of a pearl driller; secondly, undue exposure to heat in the washing of a pearl necklace; thirdly, exposure to acids or acid fumes. Apparently there seems to be some foundation for the belief that if they are confined in safe-deposit boxes, probably in contact with wool or with the colored velvets of jewel-cases, the skin of the pearl may be more or less affected. There is no question that in the oriental fisheries so-called dead pearls have been found in the shell itself, probably owing to some disease of the pearl-oyster; and they have also appeared in the fresh-water pearl fisheries of the United States, where the pearls have been too long boiled in the opening of the shell, or where they have been swallowed and have passed through the body of some ruminant, such as a hog, etc.

Facsimile letter of M. Gaston Mogeaud, Director of the Louvre, Paris,
stating that the Madame Thiers’ pearls are in perfect condition, and
have never been in better health.
]

MADAME THIERS’S PEARL NECKLACE, BEQUEATHED TO THE LOUVRE MUSEUM, PARIS
]

Probably about no necklace has more been printed than about the famous necklace of Madame Thiers, now in the Louvre Museum of Paris. Article after article has gone over the face of the earth, stating that the pearls in this necklace were dying, and that a record was being kept of the slow death that was overtaking them. Through the courtesy of the director of the museum, M. Gaston Mogeaud, we are permitted to reproduce the following statement from a letter, showing very clearly that there is absolutely no truth in the assertion, and that this necklace has in no way suffered, or is likely to suffer, for many years to come.

“The necklace of Madame Thiers has caused much ink to flow, to such an extent that, a few months ago, the minister ordered an examination to be made by three expert jewelers, who have found that the pearls are in perfect condition, and have never been in better health.”

For assuring the safety of jewels there are the primitive methods such as are used in the East Indies, of hiding pearls in out-of-the-way places, where they often escape detection; or else they may be protected by means of an armored room, like the gem-room that contained the wonderful collection of the Duke of Brunswick when he resided in Paris. Decoy necklaces have even been made to represent the original, and so placed that they were taken away by the highwayman or stolen by the burglar under the belief that he was stealing the jewels; while in other cases the pearls have been carried in receptacles that would not be taken for jewel-caskets, a device resorted to by some travelers.

A word in regard to the former system of strong boxes or small safes for the home. These protect from fire and from the ordinary thief, but they have sometimes not proved so invulnerable to the expert cracksman. Quite recently a jewel chest has been devised which can be placed in a trunk and carried from city to city by the owner. It is provided with an exceedingly sensitive electrical apparatus, by means of which a loud burglar alarm is set off should the chest be lifted even one thirty-second of an inch or jarred ever so slightly. This alarm is set automatically when the owner turns the key, and if once started, it will ring for a couple of hours, stopping only when the box is unlocked, thus preventing the carrying away of what is otherwise a portable box.

Lastly, there are the more advanced methods, in use during the past two centuries, such as taking the jewels to a banker and allowing him to place them in his vault, where they are guarded as well as are his own belongings, but not always with the security of the modern safe-deposit vaults, where the gems are absolutely under the control of the owner, and can frequently be obtained at any hour of the day; or as safely kept as they are when deposited in the safe deposit of the jeweler, in whose establishment they can be cleaned, repaired, added to, or changed without risking their removal to another building.

XV

PEARLS AS USED IN ORNAMENTS AND DECORATION

XV
PEARLS AS USED IN ORNAMENTS AND DECORATION

And the necklace,
An India in itself, yet dazzling not.

BYRON, _Marino Faliero_.

The brilliant diamond and the love of its possession has captivated many to such a degree that it has often been the cause of intrigue and bloodshed; and national history has been influenced by its acquisition or retention. The pearl, however, though the most quiet of gems, has, in its own way, found favor in the sight of emperors and empresses, kings and queens, generals, nobles, and priests; and even savages have admired its quiet, stately dignity.

The following pages are devoted to a description of the various ornamental uses of the pearl in different times and countries. Naturally, many of the famous pearls in the following chapter, if considered purely as ornaments, might have found a place here.

The Egyptians of olden times do not appear to have used fine pearls, although they probably knew of them on account of the proximity of the Red Sea. M. J. de Morgan, the explorer, says: “In the tombs of Dashour I have never seen any; the only ones that I know of in Egyptian jewelry belong to the Ptolemaic period and are mounted in Greek style.”[422]

This statement is confirmed by Dr. William F. Petrie, the well-known Egyptologist, who writes under date of July 26, 1907: “The pearl was often used in Roman jewelry in Egypt, but I do not know of any instance of it in pure Egyptian work. The Romans pierced it and hung it by gold wire on earrings. They also made glass, pearl-like beads, called _luli_ by the modern natives. These beads are made by silvering glass beads and then flashing over them another coat of glass.”

Among specimens of the late Egyptian work we may note here some objects in the Louvre:

A pleasing decoration on gold wire is a necklace in the collection of the Egyptian Gallery. In this very small pearls are used as a connective decoration for the points of leaves, and to hold the leaves and ornaments is a gold wire which is secured by bending. This piece comprises 104 pearls, a greater number than is contained in any other object of antiquity found in Egypt.

An Egyptian pendant of unknown origin is also shown in this collection. At the lower end is a bull’s head, caparisoned, and the tip of each horn is fitted with a ball like the _embolados toros_ of the Spanish bull-fights. The rein is double, and above this there are two rondelles of an unidentified material; then comes a rondelle of lapis lazuli, and after this a rondelle of gold. The whole is strung with twisted gold wire. The center stone is an hexagonal amethyst, evidently a crystal, the two faces of which had been polished and incised. One of these faces represents a priest with a staff of office, and the other a priest holding an incense-burner with the hieroglyph of the altar. With one hand he is offering the two sacrifices, the mineral and the vegetable; in the other he holds a garland of flowers or leaves. Above this is an Oriental pearl somewhat worn and abraded. All these are secured by a twisted gold wire, to which four tiny gold beads of graduated size are affixed at the top of the pendant.

There are six other pendants and earrings in the Egyptian Gallery, all of which contain pearls, and in most instances these pearls have been drilled and suspended by metal wires, unless they are used as an ornament facing outward. In four instances they are secured by a peg of gold.

The Assyrian and Persian bas-reliefs show that the sovereigns and great personages of those countries adorned themselves profusely with pearls. They wore them not only in their jewelry, but also on their garments and even in their beards![423] The coins of the Persian kings also bear testimony to the use of the gem in ancient Persia, since the sovereigns are represented wearing tiaras ornamented with triple rows of pearls.[424] The same may be said of the imperial Roman diadem from the time of Caracalla (188–217 A.D.).

One of the most interesting of all ancient pearl necklaces,[425] containing more pearls than any other that has been found, and in a better state of preservation, is the Susa necklace now in the Persian Gallery of the Louvre Museum. It consists of three rows, each containing 72 pearls, so that there are 216 in all. Ten gold bars, formed of three small disks, each about five millimeters in diameter, divide the necklace into nine equal sections; at each end there is a disk, ten millimeters in diameter, to which the three strands are secured. If there was any other setting, it has evidently disappeared, although it is quite possible that there may only have been a string at each end, as in the East Indian necklaces.

ANTIQUE ORNAMENTS OF PEARLS

No. 1. Gold pin from Paphos, Island of Cyprus, mounted with large
marine and small fresh-water pearl, now in British Museum.

Nos. 2, 3, 4, 5, 6, 7, 8. Gold earrings and pins set with pearls, now
in the Egyptian Gallery of the Louvre, Paris.

No. 9. Pearl and gold necklace found at Susa, Persia, now in the
Louvre, Paris.
]

This ornament was found on the site of the ancient Susa or Shushan by M. J. de Morgan, February 10, 1901, in a bronze sarcophagus, which contained the skeleton of a woman, adorned with a great number of gold ornaments set and incrusted with precious stones. M. de Morgan gives _circa_ 350 B.C. as the probable date of these objects. The pearls were much deteriorated. About 238 were found, but many of them crumbled away when they were touched. M. de Morgan considers that the necklace was of the type of the “dog-collar” of to-day, and he believes that it originally comprised from 400 to 500 pearls.

According to a personal communication from M. P. Cavvadias, of the Société Archéologique d’Athènes, there are no pearls on the ancient ornaments preserved in the National Museum at Athens. This is hardly surprising in view of the fact that the greater part of these ornaments belong to the archaic period of Greek art; that is to say, to a time when the pearl was evidently unknown to the Greeks.

The fact that we do not find more evidence of the use of pearls in Greece at a later period need cause no surprise, when we consider how many of the treasures of Greek art have disappeared in the course of more than twenty centuries. There can be no question that they were known and used as ornaments at an early time, as we can infer from the description of them by Theophrastus and later Greek authors.

Dr. Edward Robinson of the Metropolitan Museum of Art, and other authorities on Greek art and archæology, maintain that the Arethusa necklace, and other ornaments of that time, depicted on coins, etc., were meant to represent gold ornaments, as it is believed by many that pearls were unknown in Greece at that period.

One of the most interesting specimens showing the use of a pearl in ancient times is a very beautiful pearl pin from Paphos, on the Island of Cyprus, which is mounted with a large marine pearl, probably the largest antique pearl ever found, measuring fourteen millimeters in diameter, and weighing about 70 grains. This, unfortunately, has been very much abraded and worn away, although more than half of the pearl is still present. It is surmounted by a small fresh-water pearl, four millimeters in diameter, weighing about two grains and in a much better state of preservation. This unusually interesting example of prehistoric pearl is in the Greek and Roman department of the British Museum, and we are able to show it by the courtesy of the keeper of that department, Dr. Charles Hercules Read.

In excavations made last spring (1907), in the Hauran district in Syria, Azeez Khayat found a number of loose pearls which had formed a necklace. The tomb in which they were discovered was cut in the rock, and appeared to be of Roman origin. The pearls were still attached to the old bronze wire with which they had been strung. Mr. Khayat also mentions the finding of a pearl pin, and a single earring bearing a pearl, in a rock-tomb at Cæsarea, in Syria. Rock-cut tombs from ten to twelve feet in depth are frequently discovered, and they probably date from the beginning of the Christian era.

The habit was so common of using pearls as a base to throw up the brilliance of other gems, that we may, perhaps, believe even in Caligula’s slippers of pearls, with rubies and emeralds set upon them like flowers.

The Roman ladies had a special favor for pearls as earrings, and it was one of their consuming ambitions to possess exceptionally fine specimens for this purpose. They preferred pear-shaped pearls, and often wore two or three of them strung together. They jingled gently as they moved about—a fitting accompaniment, it may be said, to their graceful movements—and from this jingling the name _crotalia_, or “rattles,” was applied to them.

The description given by Pliny of the pearl ornaments of Lollia Paulina is the principal claim which the wife of Caligula has on our interest.

I myselfe have seen Lollia Paulina when she was dressed ... so beset
and bedeckt all over with hemeraulds and pearles, disposed in rewes,
ranks, and courses one by another; round about the attire of her
head, her cawle, her borders, her perruke of hair, her bongrace and
chaplet; at her ears pendant, about her neck in a carcanet, upon her
wrest in bracelets, & on her fingers in rings; that she glittered
and shone againe like the sun as she went. The value of these
ornaments she esteemed and rated at forty million Sestertij[426] and
offered openly to prove it out of hand by her bookes of accounts and
reckonings. Yet were not these jewels the gifts and presents of the
prodigall prince her husband, but the goods and ornaments from her
owne house, fallen to her by way of inheritance from her
grandfather, which he had gotten together even by the robbing and
spoiling of whole provinces. See what the issue and end was of those
extortions and outrageous exactions of his: this was it. That M.
Lollius, slandered and defamed for receiving bribes and presents of
the kings in the East; and being out of favor with C. Cæsar, sonne
of Augustus, and having lost his amitie, dranke a cup of poison, and
prevented his judiciall triall: that forsooth his neece Lollia, all
to be hanged with jewels of 400 hundred thousand Sestertij, should
be seene glittering, and looked at of every man by candle-light all
a supper time.[427]

TYSZKIEWICZ BRONZE STATUETTE OF APHRODITE, SHOWING EARRINGS OF PEARL
AND GOLD OF EARLY GREEK PERIOD

Now in Museum of Fine Arts, Boston, Mass.
]

And the taste of the Roman ladies for pearls has perpetuated itself in Italy, though other of the luxurious habits which in their case accompanied it, have long since died out. The women of Florence even now are not content if they do not possess a necklet of pearls, and this generally forms the marriage portion of the middle-class women. It is thought, just as it was in ancient Rome, that this gives an air of respectability, and forms a sure protection from insult in the street or elsewhere.

One of the earliest illustrations showing a pearl earring is the one in the ear of Julia, the daughter of Titus, incised on a splendid aquamarine in the Bibliothèque Nationale. This gem was formerly in the Treasury of St. Denis, and is considered to belong to the Carlovingian period.[428]

So large and heavy were the earrings worn in Rome that there were women known as _auriculæ ornatrices_, special doctresses whose sole occupation was the healing of ear tumors and of injured or infected ears. In a similar way, at the present day, we have the ear piercer, whose vocation, however, is rapidly becoming useless because of the ingenious modern devices for holding the pearls to unpierced ears; and we must consider this eminently desirable when we think of the ear-piercing outfits of the former jeweler, who never disinfected his apparatus, and when we recall the fact that it was always expected that the ear would swell, first, from the crude awl that was used, and, secondly, from the unsterilized instruments.

That the Romans believed in decorating the statues of their goddesses with pearls and dedicating them as offerings, is evidenced by the gift of Cleopatra’s pearl, which was cut in halves to make earrings for the Venus of the Pantheon; and by the buckler of British pearls for the statue of Venus Genetrix, given by Julius Cæsar. Quite a number of statues and busts of the Roman period, and some of an earlier time, have the ears pierced for the reception of earrings, and it is highly probable that pearls were used for this decoration. Among these are the busts of Pallas and Juno Lanuvina in the Vatican; that of Eirene, a marble copy of a work of Cephisdotus, in the Glyptothek, Munich, and the Venus de Medici in the Uffizi, Florence.

Pottier[429] mentions several other Greek statues which show that earrings were used for their adornment; as, for example, the winged Victory of Archernos, in Delos; the head of one of the caryatids found at Delphi, a cast of which is in the Louvre; the archaic Aphrodite of the Villa Ludovisi; the Athena from the frieze of the temple at Ægina; the Venus of Milo, etc. In other instances the ornament was simply painted on the ear as is shown in the Aphrodite in white marble which has been found in Marseilles. This may also have been the case in the frieze at Olympia. The earrings used in these statues were usually metal disks entirely covering the lobe of the ear. We have, however, many representations of pearl earrings in the paintings at Pompeii, and on cameos and coins. These show us several of the types mentioned by Pliny and other authors; still, they are smaller and more unpretentious than we might expect in view of the well-known luxury of the Roman ladies in this respect. The greater part of the earrings represented show a pearl suspended from a single wire; there are some, however, with three pearls, one above the other,[430] and a few bearing several pearls loosely hung together, answering to the description of the _crotalia_. Others, again, bear pear-shaped pearls or _elenchi_.[431] It is a singular fact that scarcely any of the busts of Roman women are ornamented with earrings, but it is quite possible that the cause for this must be sought in the desire of the artist to dispense with unimportant details which might detract from the general effect he wished to produce. We may note, however, four female figures in the Gallerie des Empereurs in the Louvre Museum, with the ears pierced for the reception of earrings (Nos. 1195, 1202, 1230, and 1269).

Pearl earrings from Herculaneum and Pompeii
]