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The science, physics and history of pendulums

A pendulum is a weight suspended from a pivot so that it can swing freely. When a pendulum is displaced sideways from its resting, equilibrium position, it is subject to a restoring force due to gravity that will accelerate it back toward the equilibrium position. When released, the restoring force combined with the pendulum’s mass causes it to oscillate about the equilibrium position, swinging back and forth. The time for one complete cycle, a left swing and a right swing, is called the period. The period depends on the length of the pendulum and also to a slight degree on the amplitude, the width of the pendulum’s swing.

From the first scientific investigations of the pendulum around 1602 by Galileo Galilei, the regular motion of pendulums was used for timekeeping, and was the world’s most accurate timekeeping technology until the 1930s. The pendulum clock invented by Christian Huygens in 1658 became the world’s standard timekeeper, used in homes and offices for 270 years, and achieved accuracy of about one second per year before it was superseded as a time standard by quartz clocks in the 1930s. Pendulums are also used in scientific instruments such as accelerometers and seismometers. Historically they were used as gravimeters to measure the acceleration of gravity in geophysical surveys, and even as a standard of length. The word “pendulum” is new Latin, from the Latin pendulus, meaning ‘hanging’.

The simple gravity pendulum is an idealized mathematical model of a pendulum. This is a weight  on the end of a massless cord suspended from a pivot, without friction. When given an initial push, it will swing back and forth at a constant amplitude. Real pendulums are subject to friction and air drag, so the amplitude of their swings declines.

Period of oscillation

The period of swing of a simple gravity pendulum depends on its length, the local strength of gravity, and to a small extent on the maximum angle that the pendulum swings away from vertical, θ0, called the amplitude. It is independent of the mass of the bob.  If the amplitude is limited to small swings, the period T of a simple pendulum, the time taken for a complete cycle, is:

 

where L is the length of the pendulum and g is the local acceleration of gravity.

For small swings the period of swing is approximately the same for different size swings: that is, the period is independent of amplitude. This property, called isochronism, is the reason pendulums are so useful for timekeeping. Successive swings of the pendulum, even if changing in amplitude, take the same amount of time.

For larger amplitudes, the period increases gradually with amplitude so it is longer than given by equation . For example, at an amplitude of θ0   23° it is 1% larger than given by . The period increases asymptotically  as θ0 approaches 180°, because the value θ0   180° is an unstable equilibrium point for the pendulum. The true period of an ideal simple gravity pendulum can be written in several different forms  ), one example being the infinite series:

 

T   2\pi \sqrt \left

The difference between this true period and the period for small swings  above is called the circular error. In the case of a typical grandfather clock whose pendulum has a swing of 6° and thus an amplitude of 3°, the difference between the true period and the small angle approximation  amounts to about 15 seconds per day.

For small swings the pendulum approximates a harmonic oscillator, and its motion as a function of time, t, is approximately simple harmonic motion:

Compound pendulum

The length L used to calculate the period of the ideal simple pendulum in eq.  above is the distance from the pivot point to the center of mass of the bob. Any swinging rigid body free to rotate about a fixed horizontal axis is called a compound pendulum or physical pendulum. The appropriate equivalent length L for calculating the period of any such pendulum is the distance

from the pivot to the center of oscillation. This point is located under the center of mass at a distance from the

pivot traditionally called the radius of oscillation, which depends on the mass distribution of the pendulum. If most of the mass is concentrated in a relatively small bob compared to the pendulum length, the center of oscillation is close to the center of mass.

The radius of oscillation or equivalent length L of any physical pendulum can be shown to be

 

where I is the moment of inertia of the pendulum about the pivot point,

m is the mass of the pendulum, and R is the distance between the pivot point and the center of mass.

Substituting this expression in  above, the period T of a compound pendulum is given by

 

for sufficiently small oscillations.

A rigid uniform rod of length L pivoted about either end has moment of inertia I   mL2.

The center of mass is located at the center of the rod, so R   L/2. Substituting these values into the above equation gives T   2π. This shows that a rigid rod pendulum has the same period as a simple pendulum of 2/3 its length.

Christiaan Huygens proved in 1673 that the pivot point and the center of oscillation are interchangeable. This means if any pendulum is turned upside down and swung from a pivot located at its previous center of oscillation, it will have the same period as before and the new center of oscillation will be at the old pivot point. In 1817 Henry Kater used this idea to produce a type of reversible pendulum, now known as a Kater pendulum, for improved measurements of the acceleration due to gravity.

History

One of the earliest known uses of a pendulum was a 1st-century seismometer device of Han Dynasty Chinese scientist Zhang Heng. Its function was to sway and activate one of a series of levers after being disturbed by the tremor of an earthquake far away. Released by a lever, a small ball would fall out of the urn-shaped device into one of eight metal toad’s mouths below, at the eight points of the compass, signifying the direction the earthquake was located. claim that the 10th-century Egyptian astronomer Ibn Yunus used a pendulum for time measurement, but this was an error that originated in 1684 with the British historian Edward Bernard.

During the Renaissance, large pendulums were used as sources of power for manual reciprocating machines such as saws, bellows, and pumps. Leonardo da Vinci made many drawings of the motion of pendulums, though without realizing its value for timekeeping.

1602: Galileo’s research

Italian scientist Galileo Galilei was the first to study the properties of pendulums, beginning around 1602. The earliest extant report of his research is contained in a letter to Guido Ubaldo dal Monte, from Padua, dated November 29, 1602. His biographer and student, Vincenzo Viviani, claimed his interest had been sparked around 1582 by the swinging motion of a chandelier in the Pisa cathedral. Galileo discovered the crucial property that makes pendulums useful as timekeepers, called isochronism; the period of the pendulum is approximately independent of the amplitude or width of the swing. He also found that the period is independent of the mass of the bob, and proportional to the square root of the length of the pendulum. He first employed freeswinging pendulums in simple timing applications. His physician friend, Santorio Santorii, invented a device which measured a patient’s pulse by the length of a pendulum; the pulsilogium. The pendulum was the first harmonic oscillator used by man. This was a great improvement over existing mechanical clocks; their best accuracy was increased from around 15 minutes deviation a day to around 15 seconds a day. Pendulums spread over Europe as existing clocks were retrofitted with them.

The English scientist Robert Hooke studied the conical pendulum around 1666, consisting of a pendulum that is free to swing in two dimensions, with the bob rotating in a circle or ellipse. He used the motions of this device as a model to analyze the orbital motions of the planets. Hooke suggested to Isaac Newton in 1679 that the components of orbital motion consisted of inertial motion along a tangent direction plus an attractive motion in the radial direction. This played a part in Newton’s formulation of the law of universal gravitation. Robert Hooke was also responsible for suggesting as early as 1666 that the pendulum could be used to measure the force of gravity. In 1687, Isaac Newton in Principia Mathematica showed that this was because the Earth was not a true sphere but slightly oblate  from the effect of centrifugal force due to its rotation, causing gravity to increase with latitude. Portable pendulums began to be taken on voyages to distant lands, as precision gravimeters to measure the acceleration of gravity at different points on Earth, eventually resulting in accurate models of the shape of the Earth.

1673: Huygens’ Horologium Oscillatorium

In 1673, Christiaan Huygens published his theory of the pendulum, Horologium Oscillatorium sive de motu pendulorum. Marin Mersenne and René Descartes had discovered around 1636 that the pendulum was not quite isochronous; its period increased somewhat with its amplitude. Huygens analyzed this problem by determining what curve an object must follow to descend by gravity to the same point in the same time interval, regardless of starting point; the so-called tautochrone curve. By a complicated method that was an early use of calculus, he showed this curve was a cycloid, rather than the circular arc of a pendulum, confirming that the pendulum was not isochronous and Galileo’s observation of isochronism was accurate only for small swings. Huygens also solved the problem of how to calculate the period of an arbitrarily shaped pendulum, discovering the center of oscillation, and its interchangeability with the pivot point.

The existing clock movement, the verge escapement, made pendulums swing in very wide arcs of about 100°. Huygens showed this was a source of inaccuracy, causing the period to vary with amplitude changes caused by small unavoidable variations in the clock’s drive force. To make its period isochronous, Huygens mounted cycloidal-shaped metal ‘chops’ next to the pivots in his clocks, that constrained the suspension cord and forced the pendulum to follow a cycloid arc. This solution didn’t prove as practical as simply limiting the pendulum’s swing to small angles of a few degrees. The realization that only small swings were isochronous motivated the development of the anchor escapement around 1670, which reduced the pendulum swing in clocks to 4°–6°.

1721: Temperature compensated pendulums

During the 18th and 19th century, the pendulum clock’s role as the most accurate timekeeper motivated much practical research into improving pendulums. It was found that a major source of error was that the pendulum rod expanded and contracted with changes in ambient temperature, changing the period of swing. This was solved with the invention of temperature compensated pendulums, the mercury pendulum in 1721 and the gridiron pendulum in 1726, reducing errors in precision pendulum clocks to a few seconds per week. which used this principle, making possible very accurate measurements of gravity. For the next century the reversible pendulum was the standard method of measuring absolute gravitational acceleration.

1851: Foucault pendulum

In 1851, Jean Bernard Léon Foucault showed that the plane of oscillation of a pendulum, like a gyroscope, tends to stay constant regardless of the motion of the pivot, and that this could be used to demonstrate the rotation of the Earth. He suspended a pendulum free to swing in two dimensions  from the dome of the Panthéon in Paris. The length of the cord was . Once the pendulum was set in motion, the plane of swing was observed to precess or rotate 360° clockwise in about 32 hours.

This was the first demonstration of the Earth’s rotation that didn’t depend on celestial observations, and a “pendulum mania” broke out, as Foucault pendulums were displayed in many cities and attracted large crowds.

1930: Decline in use

Around 1900 low-thermal-expansion materials began to be used for pendulum rods in the highest precision clocks and other instruments, first invar, a nickel steel alloy, and later fused quartz, which made temperature compensation trivial. Precision pendulums were housed in low pressure tanks, which kept the air pressure constant to prevent changes in the period due to changes in buoyancy of the pendulum due to changing atmospheric pressure.

The timekeeping accuracy of the pendulum was exceeded by the quartz crystal oscillator, invented in 1921, and quartz clocks, invented in 1927, replaced pendulum clocks as the world’s best timekeepers. Pendulum gravimeters were superseded by “free fall” gravimeters in the 1950s, but pendulum instruments continued to be used into the 1970s.

Use for time measurement

For 300 years, from its discovery around 1581 until development of the quartz clock in the 1930s, the pendulum was the world’s standard for accurate timekeeping. In addition to clock pendulums, freeswinging seconds pendulums were widely used as precision timers in scientific experiments in the 17th and 18th centuries. Pendulums require great mechanical stability: a length change of only 0.02%, 0.2 mm in a grandfather clock pendulum, will cause an error of a minute per week.

Clock pendulums

Pendulums in clocks  are usually made of a weight or bob  suspended by a rod of wood or metal . To reduce air resistance  the bob is traditionally a smooth disk with a lens-shaped cross section, although in antique clocks it often had carvings or decorations specific to the type of clock. In quality clocks the bob is made as heavy as the suspension can support and the movement can drive, since this improves the regulation of the clock . A common weight for seconds pendulum bobs is . Instead of hanging from a pivot, clock pendulums are usually supported by a short straight spring  of flexible metal ribbon. This avoids the friction and ‘play’ caused by a pivot, and the slight bending force of the spring merely adds to the pendulum’s restoring force. A few precision clocks have pivots of ‘knife’ blades resting on agate plates. The impulses to keep the pendulum swinging are provided by an arm hanging behind the pendulum called the crutch,, which ends in a fork,  whose prongs embrace the pendulum rod. The crutch is pushed back and forth by the clock’s escapement, .

Each time the pendulum swings through its centre position, it releases one tooth of the escape wheel . The force of the clock’s mainspring or a driving weight hanging from a pulley, transmitted through the clock’s gear train, causes the wheel to turn, and a tooth presses against one of the pallets, giving the pendulum a short push. The clock’s wheels, geared to the escape wheel, move forward a fixed amount with each pendulum swing, advancing the clock’s hands at a steady rate.

The pendulum always has a means of adjusting the period, usually by an adjustment nut  under the bob which moves it up or down on the rod. Moving the bob up decreases the pendulum’s length, causing the pendulum to swing faster and the clock to gain time. Some precision clocks have a small auxiliary adjustment weight on a threaded shaft on the bob, to allow finer adjustment. Some tower clocks and precision clocks use a tray attached near to the midpoint of the pendulum rod, to which small weights can be added or removed. This effectively shifts the centre of oscillation and allows the rate to be adjusted without stopping the clock.

The pendulum must be suspended from a rigid support. During operation, any elasticity will allow tiny imperceptible swaying motions of the support, which disturbs the clock’s period, resulting in error. Pendulum clocks should be attached firmly to a sturdy wall.

The most common pendulum length in quality clocks, which is always used in grandfather clocks, is the seconds pendulum, about long.  In mantel clocks, half-second pendulums, long, or shorter, are used. Only a few large tower clocks use longer pendulums, the 1.5 second pendulum, long, or occasionally the two-second pendulum,  which is used in Big Ben.

Temperature compensation

The largest source of error in early pendulums was slight changes in length due to thermal expansion and contraction of the pendulum rod with changes in ambient temperature. This was discovered when people noticed that pendulum clocks ran slower in summer, by as much as a minute per week . Thermal expansion of pendulum rods was first studied by Jean Picard in 1669. A pendulum with a steel rod will expand by about 11.3 parts per million  with each degree Celsius increase, causing it to lose about 0.27 seconds per day for every degree Celsius increase in temperature, or 9 seconds per day for a change. Wood rods expand less, losing only about 6 seconds per day for a change, which is why quality clocks often had wooden pendulum rods. The wood had to be varnished to prevent water vapor from getting in, because changes in humidity also affected the length.

Mercury pendulum

The first device to compensate for this error was the mercury pendulum, invented by George Graham To improve thermal accommodation several thin containers were often used, made of metal. Mercury pendulums were the standard used in precision regulator clocks into the 20th century.

Gridiron pendulum

The most widely used compensated pendulum was the gridiron pendulum, invented in 1726 by John Harrison. which achieved accuracy of 15 milliseconds per day. Suspension springs of Elinvar were used to eliminate temperature variation of the spring’s restoring force on the pendulum. Later fused quartz was used which had even lower CTE. These materials are the choice for modern high accuracy pendulums.

Atmospheric pressure

The effect of the surrounding air on a moving pendulum is complex and requires fluid mechanics to calculate precisely, but for most purposes its influence on the period can be accounted for by three effects:

By Archimedes’ principle the effective weight of the bob is reduced by the buoyancy of the air it displaces, while the mass  remains the same, reducing the pendulum’s acceleration during its swing and increasing the period. This depends on the air pressure and the density of the pendulum, but not its shape.

The pendulum carries an amount of air with it as it swings, and the mass of this air increases the inertia of the pendulum, again reducing the acceleration and increasing the period. This depends on both its density and shape.

Viscous air resistance slows the pendulum’s velocity. This has a negligible effect on the period, but dissipates energy, reducing the amplitude. This reduces the pendulum’s Q factor, requiring a stronger drive force from the clock’s mechanism to keep it moving, which causes increased disturbance to the period.

Increases in barometric pressure increase a pendulum’s period slightly due to the first two effects, by about 0.11 seconds per day per kilopascal . and by 1900 the highest precision clocks were mounted in tanks that were kept at a constant pressure to eliminate changes in atmospheric pressure. Alternatively, in some a small aneroid barometer mechanism attached to the pendulum compensated for this effect.

Gravity

Pendulums are affected by changes in gravitational acceleration, which varies by as much as 0.5% at different locations on Earth, so pendulum clocks have to be recalibrated after a move. Even moving a pendulum clock to the top of a tall building can cause it to lose measurable time from the reduction in gravity.

Accuracy of pendulums as timekeepers

The timekeeping elements in all clocks, which include pendulums, balance wheels, the quartz crystals used in quartz watches, and even the vibrating atoms in atomic clocks, are in physics called harmonic oscillators. The reason harmonic oscillators are used in clocks is that they vibrate or oscillate at a specific resonant frequency or period and resist oscillating at other rates. However, the resonant frequency is not infinitely ‘sharp’.  Around the resonant frequency there is a narrow natural band of frequencies, called the resonance width or bandwidth, where the harmonic oscillator will oscillate. In a clock, the actual frequency of the pendulum may vary randomly within this resonance width in response to disturbances, but at frequencies outside this band, the clock will not function at all.

Q factor

The measure of a harmonic oscillator’s resistance to disturbances to its oscillation period is a dimensionless parameter called the Q factor equal to the resonant frequency divided by the resonance width. The higher the Q, the smaller the resonance width, and the more constant the frequency or period of the oscillator for a given disturbance. The reciprocal of the Q is roughly proportional to the limiting accuracy achievable by a harmonic oscillator as a time standard.

The Q is related to how long it takes for the oscillations of an oscillator to die out. The Q of a pendulum can be measured by counting the number of oscillations it takes for the amplitude of the pendulum’s swing to decay to 1/e   36.8% of its initial swing, and multiplying by 2π.

In a clock, the pendulum must receive pushes from the clock’s movement to keep it swinging, to replace the energy the pendulum loses to friction. These pushes, applied by a mechanism called the escapement, are the main source of disturbance to the pendulum’s motion. The Q is equal to 2π times the energy stored in the pendulum, divided by the energy lost to friction during each oscillation period, which is the same as the energy added by the escapement each period. It can be seen that the smaller the fraction of the pendulum’s energy that is lost to friction, the less energy needs to be added, the less the disturbance from the escapement, the more ‘independent’ the pendulum is of the clock’s mechanism, and the more constant its period is. The Q of a pendulum is given by:

 

where M is the mass of the bob, ω   2π/T is the pendulum’s radian frequency of oscillation, and Γ is the frictional damping force on the pendulum per unit velocity.

ω is fixed by the pendulum’s period, and M is limited by the load capacity and rigidity of the suspension. So the Q of clock pendulums is increased by minimizing frictional losses . Precision pendulums are suspended on low friction pivots consisting of triangular shaped ‘knife’ edges resting on agate plates. Around 99% of the energy loss in a freeswinging pendulum is due to air friction, so mounting a pendulum in a vacuum tank can increase the Q, and thus the accuracy, by a factor of 100.

The Q of pendulums ranges from several thousand in an ordinary clock to several hundred thousand for precision regulator pendulums swinging in vacuum. A quality home pendulum clock might have a Q of 10,000 and an accuracy of 10 seconds per month. The most accurate commercially produced pendulum clock was the Shortt-Synchronome free pendulum clock, invented in 1921. Its Invar master pendulum swinging in a vacuum tank had a Q of 110,000 The most accurate escapements, such as the deadbeat, approximately satisfy this condition.

Gravity measurement

The presence of the acceleration of gravity g in the periodicity equation  for a pendulum means that the local gravitational acceleration of the Earth can be calculated from the period of a pendulum.  A pendulum can therefore be used as a gravimeter to measure the local gravity, which varies by over 0.5% across the surface of the Earth. The pendulum in a clock is disturbed by the pushes it receives from the clock movement, so freeswinging pendulums were used, and were the standard instruments of gravimetry up to the 1930s.

The difference between clock pendulums and gravimeter pendulums is that to measure gravity, the pendulum’s length as well as its period has to be measured. The period of freeswinging pendulums could be found to great precision by comparing their swing with a precision clock that had been adjusted to keep correct time by the passage of stars overhead. In the early measurements, a weight on a cord was suspended in front of the clock pendulum, and its length adjusted until the two pendulums swung in exact synchronism. Then the length of the cord was measured. From the length and the period, g could be calculated from equation .

The seconds pendulum

The seconds pendulum, a pendulum with a period of two seconds so each swing takes one second, was widely used to measure gravity, because most precision clocks had seconds pendulums.  By the late 17th century, the length of the seconds pendulum became the standard measure of the strength of gravitational acceleration at a location. By 1700 its length had been measured with submillimeter accuracy at several cities in Europe. For a seconds pendulum, g is proportional to its length:

 

Early observations

1620: British scientist Francis Bacon was one of the first to propose using a pendulum to measure gravity, suggesting taking one up a mountain to see if gravity varies with altitude.

1644: Even before the pendulum clock, French priest Marin Mersenne first determined the length of the seconds pendulum was, by comparing the swing of a pendulum to the time it took a weight to fall a measured distance.

1669: Jean Picard determined the length of the seconds pendulum at Paris, using a copper ball suspended by an aloe fiber, obtaining .

1672: The first observation that gravity varied at different points on Earth was made in 1672 by Jean Richer, who took a pendulum clock to Cayenne, French Guiana and found that it lost minutes per day; its seconds pendulum had to be shortened by lignes  shorter than at Paris, to keep correct time. In 1687 Isaac Newton in Principia Mathematica showed this was because the Earth had a slightly oblate shape  caused by the centrifugal force of its rotation, so gravity increased with latitude. He used a copper pendulum bob in the shape of a double pointed cone suspended by a thread; the bob could be reversed to eliminate the effects of nonuniform density. He calculated the length to the center of oscillation of thread and bob combined, instead of using the center of the bob. He corrected for thermal expansion of the measuring rod and barometric pressure, giving his results for a pendulum swinging in vacuum. Bouguer swung the same pendulum at three different elevations, from sea level to the top of the high Peruvian altiplano. Gravity should fall with the inverse square of the distance from the center of the Earth. Bouguer found that it fell off slower, and correctly attributed the ‘extra’ gravity to the gravitational field of the huge Peruvian plateau. From the density of rock samples he calculated an estimate of the effect of the altiplano on the pendulum, and comparing this with the gravity of the Earth was able to make the first rough estimate of the density of the Earth.

1747: Daniel Bernoulli showed how to correct for the lengthening of the period due to a finite angle of swing θ0 by using the first order correction θ02/16, giving the period of a pendulum with an extremely small swing. He compared his measurements to an estimate of the gravity at his location assuming the mountain wasn’t there, calculated from previous nearby pendulum measurements at sea level. His measurements showed ‘excess’ gravity, which he allocated to the effect of the mountain. Modeling the mountain as a segment of a sphere in diameter and high, from rock samples he calculated its gravitational field, and estimated the density of the Earth at 4.39 times that of water. Later recalculations by others gave values of 4.77 and 4.95, illustrating the uncertainties in these geographical methods.

Kater’s pendulum

The precision of the early gravity measurements above was limited by the difficulty of measuring the length of the pendulum, L . L was the length of an idealized simple gravity pendulum, which has all its mass concentrated in a point at the end of the cord. In 1673 Huygens had shown that the period of a real pendulum  was equal to the period of a simple pendulum with a length equal to the distance between the pivot point and a point called the center of oscillation, located under the center of gravity, that depends on the mass distribution along the pendulum. But there was no accurate way of determining the center of oscillation in a real pendulum.

To get around this problem, the early researchers above approximated an ideal simple pendulum as closely as possible by using a metal sphere suspended by a light wire or cord. If the wire was light enough, the center of oscillation was close to the center of gravity of the ball, at its geometric center. This “ball and wire” type of pendulum wasn’t very accurate, because it didn’t swing as a rigid body, and the elasticity of the wire caused its length to change slightly as the pendulum swung.

However Huygens had also proved that in any pendulum, the pivot point and the center of oscillation were interchangeable. representing a precision of gravity measurement of 7×10−6 . Kater’s measurement was used as Britain’s official standard of length  from 1824 to 1855.

Reversible pendulums  employing Kater’s principle were used for absolute gravity measurements into the 1930s.

Later pendulum gravimeters

The increased accuracy made possible by Kater’s pendulum helped make gravimetry a standard part of geodesy. Since the exact location  of the ‘station’ where the gravity measurement was made was necessary, gravity measurements became part of surveying, and pendulums were taken on the great geodetic surveys of the 18th century, particularly the Great Trigonometric Survey of India.

Invariable pendulums: Kater introduced the idea of relative gravity measurements, to supplement the absolute measurements made by a Kater’s pendulum. Comparing the gravity at two different points was an easier process than measuring it absolutely by the Kater method. All that was necessary was to time the period of an ordinary  pendulum at the first point, then transport the pendulum to the other point and time its period there. Since the pendulum’s length was constant, from  the ratio of the gravitational accelerations was equal to the inverse of the ratio of the periods squared, and no precision length measurements were necessary. So once the gravity had been measured absolutely at some central station, by the Kater or other accurate method, the gravity at other points could be found by swinging pendulums at the central station and then taking them to the nearby point. Kater made up a set of “invariable” pendulums, with only one knife edge pivot, which were taken to many countries after first being swung at a central station at Kew Observatory, UK.

Airy’s coal pit experiments: Starting in 1826, using methods similar to Bouguer, British astronomer George Airy attempted to determine the density of the Earth by pendulum gravity measurements at the top and bottom of a coal mine. The gravitational force below the surface of the Earth decreases rather than increasing with depth, because by Gauss’s law the mass of the spherical shell of crust above the subsurface point does not contribute to the gravity. The 1826 experiment was aborted by the flooding of the mine, but in 1854 he conducted an improved experiment at the Harton coal mine, using seconds pendulums swinging on agate plates, timed by precision chronometers synchronized by an electrical circuit. He found the lower pendulum was slower by 2.24 seconds per day. This meant that the gravitational acceleration at the bottom of the mine, 1250 ft below the surface, was 1/14,000 less than it should have been from the inverse square law; that is the attraction of the spherical shell was 1/14,000 of the attraction of the Earth. From samples of surface rock he estimated the mass of the spherical shell of crust, and from this estimated that the density of the Earth was 6.565 times that of water. Von Sterneck attempted to repeat the experiment in 1882 but found inconsistent results.

Repsold-Bessel pendulum: It was time-consuming and error-prone to repeatedly swing the Kater’s pendulum and adjust the weights until the periods were equal. Friedrich Bessel showed in 1835 that this was unnecessary. As long as the periods were close together, the gravity could be calculated from the two periods and the center of gravity of the pendulum. So the reversible pendulum didn’t need to be adjustable, it could just be a bar with two pivots. Bessel also showed that if the pendulum was made symmetrical in form about its center, but was weighted internally at one end, the errors due to air drag would cancel out. Further, another error due to the finite diameter of the knife edges could be made to cancel out if they were interchanged between measurements. Bessel didn’t construct such a pendulum, but in 1864 Adolf Repsold, under contract by the Swiss Geodetic Commission made a pendulum along these lines.  The Repsold pendulum was about 56 cm long and had a period of about second. It was used extensively by European geodetic agencies, and with the Kater pendulum in the Survey of India. Similar pendulums of this type were designed by Charles Pierce and C. Defforges.

Von Sterneck and Mendenhall gravimeters: In 1887 Austro-Hungarian scientist Robert von Sterneck developed a small gravimeter pendulum mounted in a temperature-controlled vacuum tank to eliminate the effects of temperature and air pressure. It used a “half-second pendulum,” having a period close to one second, about 25 cm long. The pendulum was nonreversible, so the instrument was used for relative gravity measurements, but their small size made them small and portable. The period of the pendulum was picked off by reflecting the image of an electric spark created by a precision chronometer off a mirror mounted at the top of the pendulum rod. The Von Sterneck instrument, and a similar instrument developed by Thomas C. Mendenhall of the US Coast and Geodetic Survey in 1890, were used extensively for surveys into the 1920s.

 

Gulf gravimeter: One of the last and most accurate pendulum gravimeters was the apparatus developed in 1929 by the Gulf Research and Development Co. It used two pendulums made of fused quartz, each in length with a period of 0.89 second, swinging on pyrex knife edge pivots, 180° out of phase. They were mounted in a permanently sealed temperature and humidity controlled vacuum chamber. Stray electrostatic charges on the quartz pendulums had to be discharged by exposing them to a radioactive salt before use. The period was detected by reflecting a light beam from a mirror at the top of the pendulum, recorded by a chart recorder and compared to a precision crystal oscillator calibrated against the WWV radio time signal. This instrument was accurate to within ×10−7 . Enlightenment scientists argued for a length standard that was based on some property of nature that could be determined by measurement, creating an indestructible, universal standard. The period of pendulums could be measured very precisely by timing them with clocks that were set by the stars. A pendulum standard amounted to defining the unit of length by the gravitational force of the Earth, for all intents constant, and the second, which was defined by the rotation rate of the Earth, also constant. The idea was that anyone, anywhere on Earth, could recreate the standard by constructing a pendulum that swung with the defined period and measuring its length.

Virtually all proposals were based on the seconds pendulum, in which each swing  takes one second, which is about a meter  long, because by the late 17th century it had become a standard for measuring gravity . By the 18th century its length had been measured with sub-millimeter accuracy at a number of cities in Europe and around the world.

The initial attraction of the pendulum length standard was that it was believed  that gravity was constant over the Earth’s surface, so a given pendulum had the same period at any point on Earth. So a pendulum length standard had to be defined at a single point on Earth and could only be measured there. This took much of the appeal from the concept, and efforts to adopt pendulum standards were abandoned.

Early proposals

One of the first to suggest defining length with a pendulum was Flemish scientist Isaac Beeckman who in 1631 recommended making the seconds pendulum “the invariable measure for all people at all times in all places”. Marin Mersenne, who first measured the seconds pendulum in 1644, also suggested it. The first official proposal for a pendulum standard was made by the British Royal Society in 1660, advocated by Christiaan Huygens and Ole Rømer, basing it on Mersenne’s work, and Huygens in Horologium Oscillatorium proposed a “horary foot” defined as 1/3 of the seconds pendulum. Christopher Wren was another early supporter. The idea of a pendulum standard of length must have been familiar to people as early as 1663, because Samuel Butler satirizes it in Hudibras:

 

In 1671 Jean Picard proposed a pendulum defined ‘universal foot’ in his influential Mesure de la Terre. Gabriel Mouton around 1670 suggested defining the toise either by a seconds pendulum or a minute of terrestrial degree. A plan for a complete system of units based on the pendulum was advanced in 1675 by Italian polymath Tito Livio Burratini. In France in 1747, geographer Charles Marie de la Condamine proposed defining length by a seconds pendulum at the equator; since at this location a pendulum’s swing wouldn’t be distorted by the Earth’s rotation. James Steuart  and George Skene Keith were also supporters.

By the end of the 18th century, when many nations were reforming their weight and measure systems, the seconds pendulum was the leading choice for a new definition of length, advocated by prominent scientists in several major nations. In 1790, then US Secretary of State Thomas Jefferson proposed to Congress a comprehensive decimalized US ‘metric system’ based on the seconds pendulum at 38° North latitude, the mean latitude of the United States. No action was taken on this proposal. In Britain the leading advocate of the pendulum was politician John Riggs Miller. When his efforts to promote a joint British–French–American metric system fell through in 1790, he proposed a British system based on the length of the seconds pendulum at London. This standard was adopted in 1824 .

The metre

In the discussions leading up to the French adoption of the metric system in 1791, the leading candidate for the definition of the new unit of length, the metre, was the seconds pendulum at 45° North latitude. It was advocated by a group led by French politician Talleyrand and mathematician Antoine Nicolas Caritat de Condorcet. This was one of the three final options considered by the French Academy of Sciences committee. However, on March 19, 1791 the committee instead chose to base the metre on the length of the meridian through Paris. A pendulum definition was rejected because of its variability at different locations, and because it defined length by a unit of time.  A possible additional reason is that the radical French Academy didn’t want to base their new system on the second, a traditional and nondecimal unit from the ancien regime.

Although not defined by the pendulum, the final length chosen for the metre, 10−7 of the pole-to-equator meridian arc, was very close to the length of the seconds pendulum, within 0.63%. Although no reason for this particular choice was given at the time, it was probably to facilitate the use of the seconds pendulum as a secondary standard, as was proposed in the official document. So the modern world’s standard unit of length is certainly closely linked historically with the seconds pendulum.

Britain and Denmark

Britain and Denmark appear to be the only nations that  based their units of length on the pendulum. In 1821 the Danish inch was defined as 1/38 of the length of the mean solar seconds pendulum at 45° latitude at the meridian of Skagen, at sea level, in vacuum. The British parliament passed the Imperial Weights and Measures Act in 1824, a reform of the British standard system which declared that if the prototype standard yard was destroyed, it would be recovered by defining the inch so that the length of the solar seconds pendulum at London, at sea level, in a vacuum, at 62 °F was 39.1393 inches. This also became the US standard, since at the time the US used British measures. However, when the prototype yard was lost in the 1834 Houses of Parliament fire, it proved impossible to recreate it accurately from the pendulum definition, and in 1855 Britain repealed the pendulum standard and returned to prototype standards.

Other uses

Seismometers

A pendulum in which the rod is not vertical but almost horizontal was used in early seismometers for measuring earth tremors. The bob of the pendulum does not move when its mounting does, and the difference in the movements is recorded on a drum chart.

Schuler tuning

As first explained by Maximilian Schuler in a 1923 paper, a pendulum whose period exactly equals the orbital period of a hypothetical satellite orbiting just above the surface of the earth  will tend to remain pointing at the center of the earth when its support is suddenly displaced. This principle, called Schuler tuning, is used in inertial guidance systems in ships and aircraft that operate on the surface of the Earth. No physical pendulum is used, but the control system that keeps the inertial platform containing the gyroscopes stable is modified so the device acts as though it is attached to such a pendulum, keeping the platform always facing down as the vehicle moves on the curved surface of the Earth.

Coupled pendulums

In 1665 Huygens made a curious observation about pendulum clocks. Two clocks had been placed on his mantlepiece, and he noted that they had acquired an opposing motion. That is, their pendulums were beating in unison but in the opposite direction; 180° out of phase. Regardless of how the two clocks were started, he found that they would eventually return to this state, thus making the first recorded observation of a coupled oscillator.

The cause of this behavior was that the two pendulums were affecting each other through slight motions of the supporting mantlepiece. This process is called entrainment or mode locking in physics and is observed in other coupled oscillators. Synchronized pendulums have been used in clocks and were widely used in gravimeters in the early 20th century. Although Huygens only observed out-of-phase synchronization, recent investigations have shown the existence of in-phase synchronization, as well as “death” states wherein one or both clocks stops.

Religious practice

Pendulum motion appears in religious ceremonies as well. The swinging incense burner called a censer, also known as a thurible, is an example of a pendulum. Pendulums are also seen at many gatherings in eastern Mexico where they mark the turning of the tides on the day which the tides are at their highest point. See also pendulums for divination and dowsing.

See also

Notes

The value of g reflected by the period of a pendulum varies from place to place. The gravitational force varies with distance from the center of the Earth, i.e. with altitude – or because the Earth’s shape is oblate, g varies with latitude.

A more important cause of this reduction in g at the equator is because the equator is spinning at one revolution per day, reducing the gravitational force there.

References

 

Further reading

  1. L. Baker and J. A. Blackburn . The Pendulum: A Case Study in Physics .
  2. Gitterman . The Chaotic Pendulum .

Michael R. Matthews, Arthur Stinner, Colin F. Gauld The Pendulum: Scientific, Historical, Philosophical and Educational Perspectives, Springer

Michael R. Matthews, Colin Gauld and Arthur Stinner  The Pendulum: Its Place in Science, Culture and Pedagogy. Science & Education, 13, 261-277.

Schlomo Silbermann, “Pendulum Fundamental; The Path Of Nowhere”

  1. P. Pook . Understanding Pendulums: A Brief Introduction .

 

Bibliography:

Wikipedia

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Jewellery online buy necklaces, earrings, quartz, moonstone, mineral, amethyst, gold, silver…

Jewellery or jewelry  consists of small decorative items worn for personal adornment, such as brooches, rings, necklaces, earrings, and bracelets. Jewellery may be attached to the body or the clothes, and the term is restricted to durable ornaments, excluding flowers for example. For many centuries metal, often combined with gemstones, has been the normal material for jewellery, but other materials such as shells and other plant materials may be used. It is one of the oldest type of archaeological artefact – with 100,000-year-old beads made from Nassarius shells thought to be the oldest known jewellery. The basic forms of jewellery vary between cultures but are often extremely long-lived; in European cultures the most common forms of jewellery listed above have persisted since ancient times, while other forms such as adornments for the nose or ankle, important in other cultures, are much less common. Historically, the most widespread influence on jewellery in terms of design and style have come from Asia.

Jewellery may be made from a wide range of materials. Gemstones and similar materials such as amber and coral, precious metals, beads, and shells have been widely used, and enamel has often been important. In most cultures jewellery can be understood as a status symbol, for its material properties, its patterns, or for meaningful symbols. Jewellery has been made to adorn nearly every body part, from hairpins to toe rings, and even genital jewellery. The patterns of wearing jewellery between the sexes, and by children and older people can vary greatly between cultures, but adult women have been the most consistent wearers of jewellery; in modern European culture the amount worn by adult males is relatively low compared with other cultures and other periods in European culture.

The word jewellery itself is derived from the word jewel, which was anglicized from the Old French “jouel”, and beyond that, to the Latin word “jocale”, meaning plaything. In British English, Indian English, New Zealand English, Hiberno-English, Australian English, and South African English it is spelled jewellery, while the spelling is jewelry in American English.

as an artistic display

as a carrier or symbol of personal meaning – such as love, mourning, or even luck

Most cultures at some point have had a practice of keeping large amounts of wealth stored in the form of jewellery. Numerous cultures store wedding dowries in the form of jewellery or make jewellery as a means to store or display coins. Alternatively, jewellery has been used as a currency or trade good; an example being the use of slave beads.

Many items of jewellery, such as brooches and buckles, originated as purely functional items, but evolved into decorative items as their functional requirement diminished.

Jewellery can also symbolise group membership  or status .

Wearing of amulets and devotional medals to provide protection or ward off evil is common in some cultures. These may take the form of symbols, stones, plants, animals, body parts, or glyphs .

Materials and methods

In creating jewellery, gemstones, coins, or other precious items are often used, and they are typically set into precious metals. Alloys of nearly every metal known have been encountered in jewellery. Bronze, for example, was common in Roman times. Modern fine jewellery usually includes gold, white gold, platinum, palladium, titanium, or silver. Most contemporary gold jewellery is made of an alloy of gold, the purity of which is stated in karats, indicated by a number followed by the letter K. American gold jewellery must be of at least 10K purity,  and is typically found up to 18K . Higher purity levels are less common with alloys at 22 K, and 24 K  being considered too soft for jewellery use in America and Europe. These high purity alloys, however, are widely used across Asia, the Middle East and Africa. Platinum alloys range from 900  to 950 . The silver used in jewellery is usually sterling silver, or 92.5% fine silver. In costume jewellery, stainless steel findings are sometimes used.

Other commonly used materials include glass, such as fused-glass or enamel; wood, often carved or turned; shells and other natural animal substances such as bone and ivory; natural clay; polymer clay; Hemp and other twines have been used as well to create jewellery that has more of a natural feel. However, any inclusion of lead or lead solder will give an English Assay office  the right to destroy the piece, however it is very rare for the assay office to do so.

Beads are frequently used in jewellery. These may be made of glass, gemstones, metal, wood, shells, clay and polymer clay. Beaded jewellery commonly encompasses necklaces, bracelets, earrings, belts and rings. Beads may be large or small; the smallest type of beads used are known as seed beads, these are the beads used for the “woven” style of beaded jewellery. Another use of seed beads is an embroidery technique where seed beads are sewn onto fabric backings to create broad collar neck pieces and beaded bracelets. Bead embroidery, a popular type of handwork during the Victorian era, is enjoying a renaissance in modern jewellery making. Beading, or beadwork, is also very popular in many African and indigenous North American cultures.

Silversmiths, goldsmiths, and lapidaries methods include forging, casting, soldering or welding, cutting, carving and “cold-joining” .

Diamonds

Diamonds were first mined in India. Pliny may have mentioned them, although there is some debate as to the exact nature of the stone he referred to as Adamas; In 2005, Australia, Botswana, Russia and Canada ranked among the primary sources of gemstone diamond production. There are negative consequences of the diamond trade in certain areas. Diamonds mined during the recent civil wars in Angola, Ivory Coast, Sierra Leone, and other nations have been labelled as blood diamonds when they are mined in a war zone and sold to finance an insurgency.

The British crown jewels contain the Cullinan Diamond, part of the largest gem-quality rough diamond ever found, at 3,106.75 carats .

Now popular in engagement rings, this usage dates back to the marriage of Maximilian I to Mary of Burgundy in 1477.

Other gemstones

Many precious and semiprecious stones are used for jewellery. Among them are:

Amber: Amber, an ancient organic gemstone, is composed of tree resin that has hardened over time. The stone must be at least one million years old to be classified as amber, and some amber can be up to 120 million years old.

Amethyst: Amethyst has historically been the most prized gemstone in the quartz family. It is treasured for its purple hue, which can range in tone from light to dark.

Emerald: Emeralds are one of the three main precious gemstones  and are known for their fine green to bluish green colour. They have been treasured throughout history, and some historians report that the Egyptians mined emerald as early as 3500 BC.

Jade: Jade is most commonly associated with the colour green but can come in a number of other colours as well. Jade is closely linked to Asian culture, history, and tradition, and is sometimes referred to as the stone of heaven.

Jasper: Jasper is a gemstone of the chalcedony family that comes in a variety of colours. Often, jasper will feature unique and interesting patterns within the coloured stone. Picture jasper is a type of jasper known for the colours  and swirls in the stone’s pattern.

Quartz: Quartz refers to a family of crystalline gemstones of various colours and sizes. Among the well-known types of quartz are rose quartz, and smoky quartz . A number of other gemstones, such as Amethyst and Citrine, are also part of the quartz family. Rutilated quartz is a popular type of quartz containing needle-like inclusions.

Ruby: Rubies are known for their intense red colour and are among the most highly valued precious gemstones. Rubies have been treasured for millennia. In Sanskrit, the word for ruby is ratnaraj, meaning king of precious stones.

Sapphire: The most popular form of sapphire is blue sapphire, which is known for its medium to deep blue colour and strong saturation. Fancy sapphires of various colours are also available. In the United States, blue sapphire tends to be the most popular and most affordable of the three major precious gemstones .

Turquoise: Turquoise is found in only a few places on earth, and the world’s largest turquoise producing region is the southwest United States. Turquoise is prized for its attractive colour, most often an intense medium blue or a greenish blue, and its ancient heritage. Turquoise is used in a great variety of jewellery styles. It is perhaps most closely associated with southwest and Native American jewellery, but it is also used in many sleek, modern styles. Some turquoise contains a matrix of dark brown markings, which provides an interesting contrast to the gemstone’s bright blue colour.

Some gemstones  are classified as organic, meaning that they are produced by living organisms. Others are inorganic, meaning that they are generally composed of and arise from minerals.

Some gems, for example, amethyst, have become less valued as methods of extracting and importing them have progressed. Some man-made gems can serve in place of natural gems, such as cubic zirconia, which can be used in place of diamond.

Metal finishes

For platinum, gold, and silver jewellery, there are many techniques to create finishes. The most common are high-polish, satin/matte, brushed, and hammered. High-polished jewellery is the most common and gives the metal a highly reflective, shiny look. Satin, or matte finish reduces the shine and reflection of the jewellery, and this is commonly used to accentuate gemstones such as diamonds. Brushed finishes give the jewellery a textured look and are created by brushing a material  against the metal, leaving “brush strokes.” Hammered finishes are typically created by using a rounded steel hammer and hammering the jewellery to give it a wavy texture.

Some jewellery is plated to give it a shiny, reflective look or to achieve a desired colour. Sterling silver jewellery may be plated with a thin layer of 0.999 fine silver  or may be plated with rhodium or gold. Base metal costume jewellery may also be plated with silver, gold, or rhodium for a more attractive finish.

Impact on society

Jewellery has been used to denote status. In ancient Rome, only certain ranks could wear rings; later, sumptuary laws dictated who could wear what type of jewellery. This was also based on rank of the citizens of that time. Cultural dictates have also played a significant role. For example, the wearing of earrings by Western men was considered effeminate in the 19th century and early 20th century. More recently, the display of body jewellery, such as piercings, has become a mark of acceptance or seen as a badge of courage within some groups but is completely rejected in others. Likewise, hip hop culture has popularised the slang term bling-bling, which refers to ostentatious display of jewellery by men or women.

Conversely, the jewellery industry in the early 20th century launched a campaign to popularise wedding rings for men, which caught on, as well as engagement rings for men, which did not, going so far as to create a false history and claim that the practice had medieval roots. By the mid-1940s, 85% of weddings in the U.S. featured a double-ring ceremony, up from 15% in the 1920s. Religion has also played a role in societies influence. Islam, for instance, considers the wearing of gold by men as a social taboo, and many religions have edicts against excessive display. In Christianity, the New Testament gives injunctions against the wearing of gold, in the writings of the apostles Paul and Peter. In Revelation 17, “the great whore” or false religious system, is depicted as being “decked with gold and precious stones and pearls, having a golden cup in her hand.”  For Muslims it is considered haraam for a man to wear gold.

History

The history of jewellery is long and goes back many years, with many different uses among different cultures. It has endured for thousands of years and has provided various insights into how ancient cultures worked.

Prehistory

The first signs of jewellery came from the people in Africa. Perforated beads suggesting shell jewellery made from sea snail shells have been found dating to 75,000 years ago at Blombos Cave. In Kenya, at Enkapune Ya Muto, beads made from perforated ostrich egg shells have been dated to more than 40,000 years ago. In Russia, a stone bracelet and marble ring are attributed to a similar age.

Later, the European early modern humans had crude necklaces and bracelets of bone, teeth, berries, and stone hung on pieces of string or animal sinew, or pieces of carved bone used to secure clothing together. In some cases, jewellery had shell or mother-of-pearl pieces.

A decorated engraved pendant dating to around 11,000 BC, and thought to be the oldest Mesolithic art in Britain, was found at the site of Star Carr in North Yorkshire in 2015. In southern Russia, carved bracelets made of mammoth tusk have been found. The Venus of Hohle Fels features a perforation at the top, showing that it was intended to be worn as a pendant.

Around seven-thousand years ago, the first sign of copper jewellery was seen.

Egypt

The first signs of established jewellery making in Ancient Egypt was around 3,000–5,000 years ago. The Egyptians preferred the luxury, rarity, and workability of gold over other metals. In Predynastic Egypt jewellery soon began to symbolise power and religious power in the community. Although it was worn by wealthy Egyptians in life, it was also worn by them in death, with jewellery commonly placed among grave goods.

In conjunction with gold jewellery, Egyptians used coloured glass, along with semi-precious gems. The colour of the jewellery had significance. Green, for example, symbolised fertility. Lapis lazuli and silver had to be imported from beyond the country’s borders.

Egyptian designs were most common in Phoenician jewellery. Also, ancient Turkish designs found in Persian jewellery suggest that trade between the Middle East and Europe was not uncommon. Women wore elaborate gold and silver pieces that were used in ceremonies.

Jewellery in Mesopotamia tended to be manufactured from thin metal leaf and was set with large numbers of brightly coloured stones . Favoured shapes included leaves, spirals, cones, and bunches of grapes. Jewellers created works both for human use and for adorning statues and idols. They employed a wide variety of sophisticated metalworking techniques, such as cloisonné, engraving, fine granulation, and filigree.

Extensive and meticulously maintained records pertaining to the trade and manufacture of jewellery have also been unearthed throughout Mesopotamian archaeological sites. One record in the Mari royal archives, for example, gives the composition of various items of jewellery:

Greece

The Greeks started using gold and gems in jewellery in 1600 BC, although beads shaped as shells and animals were produced widely in earlier times. Around 1500 BC, the main techniques of working gold in Greece included casting, twisting bars, and making wire. Many of these sophisticated techniques were popular in the Mycenaean period, but unfortunately this skill was lost at the end of the Bronze Age. The forms and shapes of jewellery in ancient Greece such as the armring, brooch  and pins, have varied widely since the Bronze Age as well. Other forms of jewellery include wreaths, earrings, necklace and bracelets. A good example of the high quality that gold working techniques could achieve in Greece is the ‘Gold Olive Wreath’, which is modeled on the type of wreath given as a prize for winners in athletic competitions like the Olympic Games. Jewellery dating from 600 to 475 BC is not well represented in the archaeological record, but after the Persian wars the quantity of jewellery again became more plentiful. One particularly popular type of design at this time was a bracelet decorated with snake and animal-heads Because these bracelets used considerably more metal, many examples were made from bronze. By 300 BC, the Greeks had mastered making coloured jewellery and using amethysts, pearl, and emeralds. Also, the first signs of cameos appeared, with the Greeks creating them from Indian Sardonyx, a striped brown pink and cream agate stone. Greek jewellery was often simpler than in other cultures, with simple designs and workmanship. However, as time progressed, the designs grew in complexity and different materials were soon used.

Jewellery in Greece was hardly worn and was mostly used for public appearances or on special occasions. It was frequently given as a gift and was predominantly worn by women to show their wealth, social status, and beauty. The jewellery was often supposed to give the wearer protection from the “Evil Eye” or endowed the owner with supernatural powers, while others had a religious symbolism. Older pieces of jewellery that have been found were dedicated to the Gods.

They worked two styles of pieces: cast pieces and pieces hammered out of sheet metal. Fewer pieces of cast jewellery have been recovered. It was made by casting the metal onto two stone or clay moulds. The two halves were then joined together, and wax, followed by molten metal, was placed in the centre. This technique had been practised since the late Bronze Age. The more common form of jewellery was the hammered sheet type. Sheets of metal would be hammered to thickness and then soldered together. The inside of the two sheets would be filled with wax or another liquid to preserve the metal work. Different techniques, such as using a stamp or engraving, were then used to create motifs on the jewellery. Jewels may then be added to hollows or glass poured into special cavities on the surface.”’

The Greeks took much of their designs from outer origins, such as Asia, when Alexander the Great conquered part of it. In earlier designs, other European influences can also be detected. When Roman rule came to Greece, no change in jewellery designs was detected. However, by 27 BC, Greek designs were heavily influenced by the Roman culture. That is not to say that indigenous design did not thrive. Numerous polychrome butterfly pendants on silver foxtail chains, dating from the 1st century, have been found near Olbia, with only one example ever found anywhere else.

Rome

Although jewellery work was abundantly diverse in earlier times, especially among the barbarian tribes such as the Celts, when the Romans conquered most of Europe, jewellery was changed as smaller factions developed the Roman designs. The most common artefact of early Rome was the brooch, which was used to secure clothing together. The Romans used a diverse range of materials for their jewellery from their extensive resources across the continent. Although they used gold, they sometimes used bronze or bone, and in earlier times, glass beads & pearl. As early as 2,000 years ago, they imported Sri Lankan sapphires and Indian diamonds and used emeralds and amber in their jewellery. In Roman-ruled England, fossilised wood called jet from Northern England was often carved into pieces of jewellery. The early Italians worked in crude gold and created clasps, necklaces, earrings, and bracelets. They also produced larger pendants that could be filled with perfume.

Like the Greeks, often the purpose of Roman jewellery was to ward off the “Evil Eye” given by other people. Although women wore a vast array of jewellery, men often only wore a finger ring. Although they were expected to wear at least one ring, some Roman men wore a ring on every finger, while others wore none. Roman men and women wore rings with an engraved gem on it that was used with wax to seal documents, a practice that continued into medieval times when kings and noblemen used the same method. After the fall of the Roman Empire, the jewellery designs were absorbed by neighbouring countries and tribes. The Celts specialised in continuous patterns and designs, while Merovingian designs are best known for stylised animal figures. They were not the only groups known for high quality work. Note the Visigoth work shown here, and the numerous decorative objects found at the Anglo-Saxon Ship burial at Sutton Hoo Suffolk, England are a particularly well-known example.

Renaissance

The Renaissance and exploration both had significant impacts on the development of jewellery in Europe. By the 17th century, increasing exploration and trade led to increased availability of a wide variety of gemstones as well as exposure to the art of other cultures. Whereas prior to this the working of gold and precious metal had been at the forefront of jewellery, this period saw increasing dominance of gemstones and their settings. An example of this is the Cheapside Hoard, the stock of a jeweller hidden in London during the Commonwealth period and not found again until 1912. It contained Colombian emerald, topaz, amazonite from Brazil, spinel, iolite, and chrysoberyl from Sri Lanka, ruby from India, Afghan lapis lazuli, Persian turquoise, Red Sea peridot, as well as Bohemian and Hungarian opal, garnet, and amethyst. Large stones were frequently set in box-bezels on enamelled rings. Notable among merchants of the period was Jean-Baptiste Tavernier, who brought the precursor stone of the Hope Diamond to France in the 1660s.

When Napoleon Bonaparte was crowned as Emperor of the French in 1804, he revived the style and grandeur of jewellery and fashion in France. Under Napoleon’s rule, jewellers introduced parures, suites of matching jewellery, such as a diamond tiara, diamond earrings, diamond rings, a diamond brooch, and a diamond necklace. Both of Napoleon’s wives had beautiful sets such as these and wore them regularly. Another fashion trend resurrected by Napoleon was the cameo. Soon after his cameo decorated crown was seen, cameos were highly sought. The period also saw the early stages of costume jewellery, with fish scale covered glass beads in place of pearls or conch shell cameos instead of stone cameos. New terms were coined to differentiate the arts: jewellers who worked in cheaper materials were called bijoutiers, while jewellers who worked with expensive materials were called joailliers, a practice which continues to this day.

Romanticism

Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the public’s fascination with the treasures being discovered through the birth of modern archaeology and a fascination with Medieval and Renaissance art. Changing social conditions and the onset of the Industrial Revolution also led to growth of a middle class that wanted and could afford jewellery. As a result, the use of industrial processes, cheaper alloys, and stone substitutes led to the development of paste or costume jewellery. Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewellery of the masses, not only through use of precious metals and stones but also though superior artistic and technical work. One such artist was the French goldsmith François-Désiré Froment-Meurice. A category unique to this period and quite appropriate to the philosophy of romanticism was mourning jewellery. It originated in England, where Queen Victoria was often seen wearing jet jewellery after the death of Prince Albert, and it allowed the wearer to continue wearing jewellery while expressing a state of mourning at the death of a loved one. Perhaps the grand finalé – and an appropriate transition to the following period – were the masterful creations of the Russian artist Peter Carl Fabergé, working for the Imperial Russian court, whose Fabergé eggs and jewellery pieces are still considered as the epitome of the goldsmith’s art.

18th Century / Romanticism/ Renaissance

Many whimsical fashions were introduced in the extravagant eighteenth century. Cameos that were used in connection with jewelry were the attractive trinkets along with many of the small objects such as brooches, ear-rings and scarf-pins. Some of the necklets were made of several pieces joined with the gold chains were in and bracelets were also made sometimes to match the necklet and the broach. At the end of the Century the jewelry with cut steel intermixed with large crystals was introduced by an Englishman, Matthew Boulton of Birmingham.

Art Nouveau

In the 1890s, jewellers began to explore the potential of the growing Art Nouveau style and the closely related German Jugendstil, British  Arts and Crafts Movement, Catalan Modernisme, Austro-Hungarian Sezession, Italian “Liberty”, etc.

Art Nouveau jewellery encompassed many distinct features including a focus on the female form and an emphasis on colour, most commonly rendered through the use of enamelling techniques including basse-taille, champleve, cloisonné, and plique-à-jour. Motifs included orchids, irises, pansies, vines, swans, peacocks, snakes, dragonflies, mythological creatures, and the female silhouette.

René Lalique, working for the Paris shop of Samuel Bing, was recognised by contemporaries as a leading figure in this trend. The Darmstadt Artists’ Colony and Wiener Werkstätte provided perhaps the most significant input to the trend, while in Denmark Georg Jensen, though best known for his Silverware, also contributed significant pieces. In England, Liberty & Co. and the British arts & crafts movement of Charles Robert Ashbee contributed slightly more linear but still characteristic designs. The new style moved the focus of the jeweller’s art from the setting of stones to the artistic design of the piece itself. Lalique’s dragonfly design is one of the best examples of this. Enamels played a large role in technique, while sinuous organic lines are the most recognisable design feature.

The end of World War I once again changed public attitudes, and a more sober style developed.

Art Deco

Growing political tensions, the after-effects of the war, and a reaction against the perceived decadence of the turn of the 20th century led to simpler forms, combined with more effective manufacturing for mass production of high-quality jewellery. Covering the period of the 1920s and 1930s, the style has become popularly known as Art Deco. Walter Gropius and the German Bauhaus movement, with their philosophy of “no barriers between artists and craftsmen” led to some interesting and stylistically simplified forms. Modern materials were also introduced: plastics and aluminium were first used in jewellery, and of note are the chromed pendants of Russian-born Bauhaus master Naum Slutzky. Technical mastery became as valued as the material itself. In the West, this period saw the reinvention of granulation by the German Elizabeth Treskow, although development of the re-invention has continued into the 1990s. It is based on the basic shapes.

Asia

In Asia, the Indian subcontinent has the longest continuous legacy of jewellery making anywhere, with a history of over 5,000 years. One of the first to start jewellery making were the peoples of the Indus Valley Civilization, in what is now predominately modern-day Pakistan and part of northern and western India. Early jewellery making in China started around the same period, but it became widespread with the spread of Buddhism around 2,000 years ago.

China

The Chinese used silver in their jewellery more than gold. Blue kingfisher feathers were tied onto early Chinese jewellery and later, blue gems and glass were incorporated into designs. However, jade was preferred over any other stone. The Chinese revered jade because of the human-like qualities they assigned to it, such as its hardness, durability, and beauty.

In China, the most uncommon piece of jewellery is the earring, which was worn neither by men nor women. Amulets were common, often with a Chinese symbol or dragon. Dragons, Chinese symbols, and phoenixes were frequently depicted on jewellery designs.

The Chinese often placed their jewellery in their graves. Most Chinese graves found by archaeologists contain decorative jewellery.

Indian subcontinent

The Indian subcontinent  has a long jewellery history, which went through various changes through cultural influence and politics for more than 5,000–8,000 years. Because India had an abundant supply of precious metals and gems, it prospered financially through export and exchange with other countries. While European traditions were heavily influenced by waxing and waning empires, India enjoyed a continuous development of art forms for some 5,000 years. Other pieces that women frequently wore were thin bands of gold that would be worn on the forehead, earrings, primitive brooches, chokers, and gold rings. Although women wore jewellery the most, some men in the Indus Valley wore beads. Small beads were often crafted to be placed in men and women’s hair. The beads were about one millimetre long.

A female skeleton  wears a carlinean bangle  on her left hand. Kada is a special kind of bracelet and is widely popular in Indian culture. They symbolizes animals like peacock, elephant, etc.

According to Hindu belief, gold and silver are considered as sacred metals. Gold is symbolic of the warm sun, while silver suggests the cool moon. Both are the quintessential metals of Indian jewellery. Pure gold does not oxidise or corrode with time, which is why Hindu tradition associates gold with immortality. Gold imagery occurs frequently in ancient Indian literature. In the Vedic Hindu belief of cosmological creation, the source of physical and spiritual human life originated in and evolved from a golden womb  or egg, a metaphor of the sun, whose light rises from the primordial waters.

Jewellery had great status with India’s royalty; it was so powerful that they established laws, limiting wearing of jewellery to royalty. Only royalty and a few others to whom they granted permission could wear gold ornaments on their feet. This would normally be considered breaking the appreciation of the sacred metals. Even though the majority of the Indian population wore jewellery, Maharajas and people related to royalty had a deeper connection with jewellery. The Maharaja’s role was so important that the Hindu philosophers identified him as central to the smooth working of the world. He was considered as a divine being, a deity in human form, whose duty was to uphold and protect dharma, the moral order of the universe.

Navaratna is a powerful jewel frequently worn by a Maharaja . It is an amulet, which comprises diamond, pearl, ruby, sapphire, emerald, topaz, cat’s eye, coral, and hyacinth . Each of these stones is associated with a celestial deity, represented the totality of the Hindu universe when all nine gems are together. The diamond is the most powerful gem among the nine stones. There were various cuts for the gemstone. Indian Kings bought gemstones privately from the sellers. Maharaja and other royal family members value gem as Hindu God. They exchanged gems with people to whom they were very close, especially the royal family members and other intimate allies. “Only the emperor himself, his intimate relations, and select members of his entourage were permitted to wear royal turban ornament. As the empire matured, differing styles of ornament acquired the generic name of sarpech, from sar or sir, meaning head, and pech, meaning fastener.”

India was the first country to mine diamonds, with some mines dating back to 296 BC. India traded the diamonds, realising their valuable qualities. Historically, diamonds have been given to retain or regain a lover’s or ruler’s lost favour, as symbols of tribute, or as an expression of fidelity in exchange for concessions and protection. Mughal emperors and Kings used the diamonds as a means of assuring their immortality by having their names and wordly titles inscribed upon them. Moreover, it has played and continues to play a pivotal role in Indian social, political, economic, and religious event, as it often has done elsewhere. In Indian history, diamonds have been used to acquire military equipment, finance wars, foment revolutions, and tempt defections. They have contributed to the abdication or the decapitation of potentates. They have been used to murder a representative of the dominating power by lacing his food with crushed diamond. Indian diamonds have been used as security to finance large loans needed to buttress politically or economically tottering regimes. Victorious military heroes have been honoured by rewards of diamonds and also have been used as ransom payment for release from imprisonment or abduction.

Today, many of the jewellery designs and traditions are used, and jewellery is commonplace in Indian ceremonies and weddings.

Among the Aztecs, only nobility wore gold jewellery, as it showed their rank, power, and wealth. Gold jewellery was most common in the Aztec Empire and was often decorated with feathers from Quetzal birds and others. In general, the more jewellery an Aztec noble wore, the higher his status or prestige. The Emperor and his High Priests, for example, would be nearly completely covered in jewellery when making public appearances. Although gold was the most common and a popular material used in Aztec jewellery, jade, turquoise, and certain feathers were considered more valuable. In addition to adornment and status, the Aztecs also used jewellery in sacrifices to appease the gods. Priests also used gem-encrusted daggers to perform animal and human sacrifices.

Another ancient American civilization with expertise in jewellery making were the Maya. At the peak of their civilization, the Maya were making jewellery from jade, gold, silver, bronze, and copper. Maya designs were similar to those of the Aztecs, with lavish headdresses and jewellery. The Maya also traded in precious gems. However, in earlier times, the Maya had little access to metal, so they made the majority of their jewellery out of bone or stone. Merchants and nobility were the only few that wore expensive jewellery in the Maya region, much the same as with the Aztecs.

Native American

Native American jewellery is the personal adornment, often in the forms of necklaces, earrings, bracelets, rings, pins, brooches, labrets, and more, made by the Indigenous peoples of the United States. Native American jewellery reflects the cultural diversity and history of its makers. Native American tribes continue to develop distinct aesthetics rooted in their personal artistic visions and cultural traditions. Artists create jewellery for adornment, ceremonies, and trade. Lois Sherr Dubin writes, “n the absence of written languages, adornment became an important element of Indian  communication, conveying many levels of information.” Later, jewellery and personal adornment “…signaled resistance to assimilation. It remains a major statement of tribal and individual identity.”

Metalsmiths, beaders, carvers, and lapidaries combine a variety of metals, hardwoods, precious and semi-precious gemstones, beadwork, quillwork, teeth, bones, hide, vegetal fibres, and other materials to create jewellery. Contemporary Native American jewellery ranges from hand-quarried and processed stones and shells to computer-fabricated steel and titanium jewellery.

Pacific

Jewellery making in the Pacific started later than in other areas because of recent human settlement. Early Pacific jewellery was made of bone, wood, and other natural materials, and thus has not survived. Most Pacific jewellery is worn above the waist, with headdresses, necklaces, hair pins, and arm and waist belts being the most common pieces.

Jewellery in the Pacific, with the exception of Australia, is worn to be a symbol of either fertility or power. Elaborate headdresses are worn by many Pacific cultures and some, such as the inhabitants of Papua New Guinea, wear certain headdresses once they have killed an enemy. Tribesman may wear boar bones through their noses.

Island jewellery is still very much primal because of the lack of communication with outside cultures. Some areas of Borneo and Papua New Guinea are yet to be explored by Western nations. However, the island nations that were flooded with Western missionaries have had drastic changes made to their jewellery designs. Missionaries saw any type of tribal jewellery as a sign of the wearer’s devotion to paganism. Thus many tribal designs were lost forever in the mass conversion to Christianity.

Australia is now the number one supplier of opals in the world. Opals had already been mined in Europe and South America for many years prior, but in the late 19th century, the Australian opal market became predominant. Australian opals are only mined in a few select places around the country, making it one of the most profitable stones in the Pacific.

The New Zealand Māori traditionally had a strong culture of personal adornment, most famously the hei-tiki. Hei-tikis are traditionally carved by hand from bone, nephrite, or bowenite.

Nowadays a wide range of such traditionally inspired items such as bone carved pendants based on traditional fishhooks hei matau and other greenstone jewellery are popular with young New Zealanders of all backgrounds – for whom they relate to a generalized sense of New Zealand identity. These trends have contributed towards a worldwide interest in traditional Māori culture and arts.

Other than jewellery created through Māori influence, modern jewellery in New Zealand is multicultural and varied.

Also, 3D printing as a production technique gains more and more importance. With a great variety of services offering this production method, jewellery design becomes accessible to a growing number of creatives. An important advantage of using 3d printing are the relatively low costs for prototypes, small batch series or unique and personalized designs. Shapes that are hard or impossible to create by hand can often be realized by 3D printing. Popular materials to print include Polyamide, steel and wax . Every printable material has its very own constraints that have to be considered while designing the piece of jewelry using 3d Modelling Software.

Artisan jewellery continues to grow as both a hobby and a profession. With more than 17 United States periodicals about beading alone, resources, accessibility, and a low initial cost of entry continues to expand production of hand-made adornments. Some fine examples of artisan jewellery can be seen at The Metropolitan Museum of Art in New York City.

The increase in numbers of students choosing to study jewellery design and production in Australia has grown in the past 20 years, and Australia now has a thriving contemporary jewellery community. Many of these jewellers have embraced modern materials and techniques, as well as incorporating traditional workmanship.

More expansive use of metal to adorn the wearer, where the piece is larger and more elaborate than what would normally be considered jewellery, has come to be referred to by designers and fashion writers as Metal Couture.

Masonic

Freemasons attach jewels to their detachable collars when in Lodge to signify a Brothers Office held with the Lodge. For example, the square represents the Master of the Lodge and the dove represents the Deacon.

Body modification

Jewellery used in body modification can be simple and plain or dramatic and extreme. The use of simple silver studs, rings, and earrings predominates. Common jewellery pieces such as, earrings are a form of body modification, as they are accommodated by creating a small hole in the ear.

Padaung women in Myanmar place large golden rings around their necks. From as early as five years old, girls are introduced to their first neck ring. Over the years, more rings are added. In addition to the twenty-plus pounds of rings on her neck, a woman will also wear just as many rings on her calves. At their extent, some necks modified like this can reach long. The practice has health impacts and has in recent years declined from cultural norm to tourist curiosity. Tribes related to the Paduang, as well as other cultures throughout the world, use jewellery to stretch their earlobes or enlarge ear piercings. In the Americas, labrets have been worn since before first contact by Innu and First Nations peoples of the northwest coast. Lip plates are worn by the African Mursi and Sara people, as well as some South American peoples.

In the late twentieth century, the influence of modern primitivism led to many of these practices being incorporated into western subcultures. Many of these practices rely on a combination of body modification and decorative objects, thus keeping the distinction between these two types of decoration blurred.

In many cultures, jewellery is used as a temporary body modifier; in some cases, with hooks or other objects being placed into the recipient’s skin. Although this procedure is often carried out by tribal or semi-tribal groups, often acting under a trance during religious ceremonies, this practice has seeped into western culture. Many extreme-jewellery shops now cater to people wanting large hooks or spikes set into their skin. Most often, these hooks are used in conjunction with pulleys to hoist the recipient into the air. This practice is said to give an erotic feeling to the person and some couples have even performed their marriage ceremony whilst being suspended by hooks. the largest jewellery market is the United States with a market share of 30.8%, Japan, India, China, and the Middle East each with 8–9%, and Italy with 5%. The authors of the study predict a dramatic change in market shares by 2015, where the market share of the United States will have dropped to around 25%, and China and India will increase theirs to over 13%. The Middle East will remain more or less constant at 9%, whereas Europe’s and Japan’s marketshare will be halved and become less than 4% for Japan, and less than 3% for the biggest individual European countries, Italy and the UK.

See also

Art jewelry

Estate jewelry

Heirloom

List of jewellery types

Live insect jewelry

Gemology

Jewellery cleaning

Wire sculpture

Jewelry Television

Jewellery Quarter

Bronze and brass ornamental work

List of topics characterized as pseudoscience

References

Further reading

Borel, F. 1994. The Splendor of Ethnic Jewelry: from the Colette and Jean-Pierre Ghysels Collection. New York: H.N. Abrams .

Evans, J. 1989. A History of Jewellery 1100–1870 .

Nemet-Nejat, Karen Rhea 1998. Daily Life in Ancient Mesopotamia. Westport, CT: Greenwood Press .

Tait, H. 1986. Seven Thousand Years of Jewellery. London: British Museum Publications .

External links

 

 

Bibliography:

Wikipedia

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Tibetan bowls and the power of sound and vibration in chakras and health

Singing bowls  are a type of bell, specifically classified as a standing bell. Rather than hanging inverted or attached to a handle, singing bowls sit with the bottom surface resting, and the rim vibrates to produce sound characterized by a fundamental frequency  and usually two audible harmonic overtones .

Singing bowls are used worldwide for meditation, music, relaxation, and personal well-being. Singing bowls were historically made throughout Asia, especially Nepal, China and Japan. They are closely related to decorative bells made along the Silk Road from the Near East to Western Asia. Today they are made in Nepal, India, Japan, China and Korea.

Origins, history and usage

In some Buddhist practices, singing bowls are used as a signal to begin and end periods of silent meditation. Some practitioners  use the singing bowl to accompany the wooden fish during chanting, striking it when a particular phrase is chanted. In Japan and Vietnam, singing bowls are similarly used during chanting and may also mark the passage of time or signal a change in activity, for example changing from sitting to walking meditation. In Japan, singing bowls are used in traditional funeral rites and ancestor worship. Every Japanese temple holds a singing bowl. Singing bowls are found on altars and in meditation rooms worldwide.

There aren’t any traditional texts about singing bowls so far as we know. All known references to them are strictly modern. However, a few pieces of art dating from several centuries ago depict singing bowls in detail, including Tibetan paintings and statues. Some Tibetan rinpoches and monks use singing bowls in monasteries and meditation centers today. Singing bowls from at least the 15th century are found in private collections. Bronze bells from Asia have been discovered as early as the 8th–10th century BC and singing bowls are thought to go back in the Himalayas to the 10th-12th century AD.

Singing bowls are played by striking the rim of the bowl with a padded mallet. They can also be played by the friction of rubbing a wood, plastic, or leather wrapped mallet around the rim of the bowl to emphasize the harmonic overtones and a continuous ‘singing’ sound.

Both antique and new bowls are widely used as an aid to meditation. They are also used in yoga, music therapy, sound healing, religious services, performance and for personal enjoyment. A randomised controlled clinical study did not find a difference in pain relief between treatments with singing bowls and a placebo treatment, while both provided significant positive effect in comparison with untreated controls.

Antique singing bowls

Antique singing bowls produce harmonic overtones creating an effect that is unique to the instrument. The subtle yet complex multiple harmonic frequencies are a special quality caused by variations in the shape of the hand made singing bowls. They may display abstract decorations like lines, rings and circles engraved into the surface. Decoration may appear outside the rim, inside the bottom, around the top of the rim and sometimes on the outside bottom.

Modern development

Singing bowls are still manufactured today in the traditional way as well as with modern manufacturing techniques. New bowls may be plain or decorated. They sometimes feature religious iconography and spiritual motifs and symbols, such as the Tibetan mantra Om mani padme hum, images of Buddhas, and Ashtamangala .

New singing bowls are made in two processes. Hand hammering is the traditional method of creating singing bowls which is still used to make new bowls. The modern method is by sand casting and then machine lathing. Machine lathing can be done only with brass, so machine lathed singing bowls are made with modern techniques and modern brass alloy.

See also

Gong

Faraday wave

Harmonic series

Sound symbolism

References

Further reading

de Leon, Emile  The Mastery Book of Himalayan Singing Bowls: A Musical, Spiritual, and Healing Perspective  Temple Sounds Publishing / ISBN 9780988266100 / Library of Congress Control Number: 2012948143

Müller-Ebeling, Claudia, Christian Rätsch, Surendra Bahadur Shahi . Shamanism and Tantra in the Himalayas. Trans. by Annabel Lee. Rochester, Vermont: Inner Traditions.

Shrestha, Suren . How to Heal with Singing Bowls: Traditional Tibetan Healing Methods . Sentient Publications. ISBN 978-1-59181-087-2.

Jansen, Eva Rudy . Singing Bowls. A Practical Handbook of Instruction and Use. New Age Books, New Delhi. ISBN 81-7822-103-9.

External links

 

 

Bibliography:

Wikipedia

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Quartz Healing Therapies

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Quartz Physical Healing Energy

Clear Quartz is a master healer crystal, and may be used for any condition. It is thought to stimulate the immune and circulatory systems, enhancing energy flow and bringing the body into balance. It has been used to treat migraine headaches, vertigo, in stabilizing dizziness or motion sickness, and is believed to assist with metabolism, exhaustion, and weight loss. [Hall, 225][Melody, 506][Eason, 133][Megemont, 73]

A Crystal elixir taken internally has been used to eliminate toxins from the system and to aid in the treatment of digestive disorders, kidney and bladder infections, and to cure diarrhea. The indirect method of preparation is recommended. [Melody, 506][Megemont, 73]

Clear Quartz soothes painful or injured areas, especially burns, by drawing away pain and eliminating blistering. A topical elixir is also beneficial in treating skin disorders. [Melody, 506][Megemont, 73][Hall, 226]

Quartz Emotional Healing Energy

Clear Quartz acts as a deep soul cleanser, purifying and enhancing the body’s internal structure and surrounding subtle bodies to connect the physical dimension with the mind. It focuses on inner negativity and stimulates positive thoughts and feelings in its place. With a better perception of the world, Quartz increases awareness and clarity in thinking, and provides enhanced energy, perseverance and patience, teaching one to live, laugh and love with all of humanity. [Hall, 225][Melody, 504][Gienger, 28]

 

Quartz Chakra Healing and Balancing Energy

Because Clear Quartz has the prismatic ability to vibrate its energy at all of the color frequencies, it not only harmonizes all of the chakras, but can teach us how to vibrate our seven chakra centers simultaneously while maintaining perfect alignment with the light. [Raphaell, 51]

Clear Quartz is particularly useful for stimulating the Crown Chakra. The Crown Chakra is located at the top of the head, and is our gateway to the expanded universe beyond our bodies. It controls how we think, and how we respond to the world around us. It is the fountainhead of our beliefs and the source of our spirituality. It connects us to the higher planes of existence and is the source of universal energy and truth. When the Crown is in balance, our energies are in balance. We know our place in the universe and see things as they are. We are unruffled by setbacks, knowing they are an essential part of life.

Quartz Spiritual Energy

Like humans, each Clear Quartz crystal is unique, each with its own personality, lessons, and experiences. The crystals attracted into one’s life are stones that will in some way help facilitate personal growth and awareness. They may work subliminally in unawakened minds, but for those spiritually attuned to the universe Quartz crystals are like beacons of light and positive energy to be used in daily thoughts, feelings, words and actions and integrated onto the earth. [Raphaell, 50-51]

As a connection between the physical dimension and the spiritual, Clear Quartz enhances communication with plants, animals, minerals, and in speaking with and receiving information from the Divine and other-worldly masters, teachers and healers. Its natural tendency is for harmony and brings a sense of purpose to those who resonate with it. [Melody, 503]

Quartz Color Energy

Quartz is the crystal connection to the infinite octaves of light. Quartz encompasses the Universal Life Force manifested in light. It is the pure White Light of creation manifested in crystalline perfection. It is the higher state of Light, a looking glass of the soul, and the reflection of the Light beings blessings on mankind.

Meditation with Quartz

Used in meditation, especially when placed at the Third Eye, Clear Quartz filters out distractions and helps to empty the mind. It allows for a feeling of “oneness” and provides for a deep meditative state. [Melody, 504][Hall, 225]

By visualizing an image of one’s intent or desired outcome within the crystal during a meditative session, Clear Quartz provides a powerful psychic amplification. The crystal “remembers” and magnifies the pattern of energy, so using the same crystal in repeated meditations allows for the opportunities and power of the focused intent to manifest into reality. Programming the Quartz in this manner assists one in achieving virtually any goal in inner or outer life. As a note of caution, all such manifestations have their first and strongest effects on the one using the crystal, so negative purposes will inevitably bring harm back on oneself. [Simmons, 318]

Quartz Divination

Dreaming of crystal signifies freedom from enemies. [Kunz, 358]

The Divinatory meaning of Clear Quartz: New beginnings, fresh energies and the need to move fast to catch up with life. [Eason, 133]