We are often asked this question by collectors who want a simple answer. Alas, the reply is never straightforward. To start with, the outcome nearly always depends on complex factors such as an individual’s own personal preferences, their goals as a collector and their particular association with a specimen. Take two examples. The first concerns the difference between aesthetic and systematic collectors. For the first, the important elements are colour, crystal form, and transparency. For the latter these often don’t matter. Their criteria are usually the simple fact that they own a few grains of some ultra-rare species.

Another example concerns individuals who collect their specimens in the field rather than buying from dealers. They might spend hours cleaning and trimming to bring out the best features of their finds. Because they have found a specimen this takes on special significance. They are happy to dismiss any of the specimen’s imperfections in favour of fact that they are the owners of a specimen they have found themselves.

Other collectors rely on judgements given at mineral show. They believe that because judges are governed by strict rules, they evaluate specimens impartially, regardless of value or rarity. Points are awarded for shape, crystal perfection, colour, and so on. However, the criteria for selecting between a good or a not-so-good specimen are still not clear because a good calcite crystal worth £5 can conceivably beat an emerald valued at £500. Most collectors would probably prefer the latter, yet from a judge`s point of view the calcite was a better specimen because it fit the judging criteria to a closer degree.

So, having considered some of the personal reasons, and at the other extreme a rigid set of judging rules, are there any other factors which can be used to evaluate whether a specimen is good or not? Unfortunately the most commonly used one in the collecting world is price. We would all like to think that this is based on objective criteria such as size, colour, the nature of the crystallisation and overall aesthetic appeal. However this is rarely the case, and price again fails as a way of discriminating between specimens.

The reason is largely due to the way the market works. Take, for example, a dealer who is the only one selling a particular find of specimens. He may therefore wish to extract maximum value on account of their uniqueness, yet the specimens may really be quite drab. Conversely, many first-class specimens are inexpensive because they are common and thus feature on every dealer’s table. Collectors often ignore these, not wishing to buy something that is seemingly so ordinary, and yet miss out some outstandingly beautiful pieces.

Also, dealers are generally lazy. Walking amongst dealer tables collectors often see trays of the same specimens, all of similar size and all priced identically. This is probably because the dealer bought them at a bulk price, and although knowing them to vary in quality, is willing to sell them at a set price just to recover his outlay, and profit with no extra work required to price or label them separately. Consequently the price does not adequately reflect the true worth of the pieces on display.

Having thus considered the complexities of defining what makes a good specimen, is there a solution? We strongly believe there is, and our advice is to visit as many shows and websites as you can. It is only by seeing and comparing numerous specimens, that you will get a personal “feel” for pieces which stand out from the crowd. At this point you will at last be able to exercise your ‘aesthetic’ choice, and take into account all those other factors we have discussed.

Lets assume that you have chosen the type of mineral species you wish to add to your collection, and there are number of individual examples to chose from. Don`t automatically go for the biggest - big is not always best! Also, do not choose the cheapest or the mostexpensive - we`ve seen that price is not a relaible indicator of quality. Instead, carefully examine each specimen for damage - chipped crystals will significantly reduce the value. Ensurethat the specimen is not glued or repaired, or is in fact fraudulently manufactured, as is unfortunately sometimes the case. And lastly, are the crystals separate, or are they still attached to the matrix – the latter are much more desirable.

Once you have done the above quick checks, its time to look at the specimen in more detail. The best specimens should have a good balance between the crystals and matrix. The latter needs to provide a good backdrop to show off the crystals and to provide a good colour contrast. It should also provide a good, solid base so that the whole specimen can be displayed without additional support when laid down. Importantly the matrix should never detract form the crystals and never constitute a disproportionate amount of the specimen.

As for the crystals themselves, they should form a focal point of the specimen for the observer. First, consider the entire composition. Are the crystals just a shapeless mass, or do they create a pleasing visual effect? This may be a single crystal or a cluster of crystals that are larger than their neighbours. A group of larger crystals on a bed of smaller crystals is always more appealing than a large mass of similarly sized crystals. Next, are they of unusual habit or possess interesting features such as inclusions or twinning? Is the colour or clarity better than other specimens? And finally, is the price a fair reflection of its appeal to you. After all, if you don’t like the specimen, why buy it?

So there you have it! No simple answer, but a range of issues and criteria to consider. After a while, as your experience grows, you will find yourself more discerning in your choice of specimens. You will become more selective in what passes the test and ends up in your collection. This measured approach will demonstrate that you are becoming a more confident, knowledgeable collector.