Crystals
Intrigue
The dihexagonal pyramid (left) and the
rhombic dodecahedron are among the crystal shapes that have
inspired successful Aromajewel designs |
When Kendra
Cook told us that she bases some of the designs for her Aromajewels®
on crystal forms, we were struck by how often we've heard something
to that effect in recent years. Gem and jewelry artisans alike are
drawn to these intriguing mineral displays and have incorporated
at least the idea of a crystal in a wide assortment of styles.
For more than
a decade, natural and polished crystals have become a common sight
in jewelry for both men and women, especially in pendants and earrings
but also occasionally in rings. Since completely natural crystals
suitable for mounting in jewelry are extremely scarce - possibly
more so than the benchmark one-carat, D-flawless diamond - a substance
industry has developed to produce what Nature holds back. In Brazil
particularly, lapidaries polish natural, less-than-pristine crystal
faces into glowing ones, and grind faceless polycrystalline material,
such as rose quartz, into the shapes of crystals. The immense popularity
of these shapes is easily borne out by visiting any gem and mineral
show or thumbing through the ads in an issue of this magazine.
Just
last month (in “Cut Like Crystals"), we described how
gem cutter Klaus Schafer uses the basic principle of the unit cell
- the basic concept of crystallography, originally formulated in
the 18th century by Abbé Haüy - to design gems and a style
of jewelry for them. So when Kendra Cook started talking about her
studies of crystallography and the influence this has had on her
gem and jewelry designs, we had a distinct sense of déjà
vu.
In
her designs, Cook uses the basic shapes of the seven crystal systems,
an idea based on symmetry that scientists use to classify crystals.
She taught the Brazilian lapidaries who cut for her how to cut these
forms to the correct angles using modern American faceting machines,
which she imported to Brazil.
Some
of these forms were more successful than others, however. The triclinic
crystal, for instance, was difficult to cut, and showing only a
type of symmetry called a center of symmetry, was harder to understand.
This didn't surprise us, since the triclinic is always difficult
to understand. Other forms, such as double hexagonal pyramid or
a rhombic dodecahedron, are highly symmetric shapes that are much
easier to cut, understand, and appreciate. We found these basic
forms executed in sparkly rock crystal, then mounted on 18K gold,
to be stunningly beautiful.
Of
course, cutting models in rock crystal is hardly a new concept.
LJ once ran a pair of detailed descriptions of how to facet an extensive
array of fine crystal models that is as useful today as it was the
day it was published (see “How to Make Your Own Models of Gem
and Mineral Crystals,“ Parts 1 and 2, February and March 1963).
Today these models would be considered not only wearable but quite
in style. A few quartz crystal models are usually available in Idar-Oberstein,
Germany, as well, but all those that we've seen have been too large
for jewelry and a bit pricey - but what luscious decorative objects!
We
find it quite remarkable that two talented lapidary and jewelry
artists working independently half a world apart from each other
both reached back to the most basic principles of what we know about
the structure of crystals for inspiration. Then again, perhaps that's
not so surprising: humans have been fascinated for millennia by
the beauty, perfection, and mystique of crystals - and evidently,
we still are. -S&A F
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