[Illustration: FIG. 43.—Table Cut (top view).] [Illustration: FIG. 44.—Table Cut (side view).] For a long time little further progress was made, and even nearly a century after Berquem the only regular patterns known to Kentmann, who wrote in 1562, were the diamond-point and the diamond-table (Figs. 43-44). The former consisted of the natural octahedron facets ground to regular shape, and was long employed for the minute stones which were set in conjunction with large coloured stones in rings. The table represented considerably greater labour. One corner of the regular octahedron was ground down until the artificial facet thus produced was half the width of the stone, while the opposite corner was slightly ground. Still another century elapsed before the introduction of the rose pattern, which comprised twenty-four triangular facets and a flat base (Figs. 45-46), the stone being nearly hemispherical in shape. This style is said to have been the invention of Cardinal Mazarin, but probably he was the first to have diamonds of any considerable size cut in this form. At the present day only tiny stones are cut as roses. [Illustration: FIG. 45.—Rose Cut (top view).] A few more years passed away, and at length at the close of the seventeenth century diamond came by its own when Vincenzio Peruzzi, a Venetian, introduced the brilliant form of cutting, and revealed for the first time its amazing ‘fire.’ Except for minor changes this form remains to this day the standard style for the shape of diamond, and the word brilliant is commonly employed to denote diamond cut in this way. So obviously and markedly superior is the style to all others that upon its discovery the owners of large roses had them re-cut as brilliants despite the loss in weight necessitated by the change. [Illustration: FIG. 46.—Rose Cut (side view).]