VII

Religious Uses of Precious Stones, Pagan, Hebrew, and Christian.

THE use of stones for the decoration of images of the gods, and in religious ceremonies, more especially in those connected with the burial of the dead, can be traced back to a remote antiquity. Indeed, we may regard this religious use of precious or peculiar stones as the natural development of the original idea of their talismanic virtue. If a certain supernatural essence manifested itself in the stone, what more fit object could be imagined for the decoration of statues of the gods, or to bear engraved texts from the sacred writings, and to be placed with the bodies of the dead as “passports” to ensure the safe entry of the souls of the departed into the better land?

While this employment of mineral substances for religious purposes is practically universal, the earliest recorded instances come from Egypt, and concern the Egyptian custom of engraving texts from a very ancient ritual composition, called the Book of the Dead, upon certain semi-precious stones which had been cut into various symbolical forms. This “Book of the Dead,” composed of a number of distinct chapters, each complete in itself, describes the passage of the soul of the deceased through the realm of the dead (Amenti). Here the soul addresses the gods and other beings who receive it, and the prayers and invocations recited in the chapters are supposed to procure a safe passage and protection from all evil influences or impediments.

One of the most usual of the engraved amulets is the buckle or tie (thet). This was generally of red jasper, carnelian, or red porphyry, or else of red glass or faience or of sycamore wood. The wood was symbolical of the blood of Isis, and the amulets were sometimes engraved with the 156th chapter of the Book of the Dead; they were placed on the mummy’s neck. The formula engraved reads:

Chapter of the buckle of carnelian which is put on the neck of the deceased.

The blood of Isis, the virtue of Isis; the magic power of Isis, the magic power of the Eye are protecting this the Great one; they prevent any wrong being done to him.

This chapter is said on a buckle of carnelian dipped into the juice of ankhama, inlaid into the substance of the sycamore-wood and put on the neck of the deceased.

Whoever has this chapter read to him, the virtue of Isis protects him; Horus, the son of Isis, rejoices in seeing him, and no way is barred to him, unfailingly.338

Another amulet is the tet. The hieroglyph represents a mason’s table and the word signifies “firmness, stability, preservation.” These figures, made of faience, gold, carnelian, lapis-lazuli, and other materials, were placed on the neck of the mummy to afford protection.339

The “papyrus scepter,” uat, is usually cut from matrix-emerald or made of faience of similar hue. Uat means “verdure, flourishing, greenness”; placed on the neck of the mummy it was regarded as emblematic of the eternal youth it was hoped the deceased would enjoy in the realm of the dead. In the 159th chapter of the Book of the Dead, we read of an uat of matrix-emerald; it was believed to be the gift of Thoth, serving to protect the limbs of the deceased.340

The amulet representing the pillow, urs, was generally made of hematite. The 166th chapter of the Book of the Dead is sometimes engraved thereon. Dr. Budge renders this as follows:

Rise up from non-existence, O prostrate one! They watch over thy head at the exalted horizon. Thou overthrowest thine enemies; thou triumphest over what they do against thee, as Horus, the avenger of his father, this Osiris341 has commanded to be done for thee. Thou cuttest off the heads of thine enemies; never shall they carry off from thee thy head (?). Verily Osiris maketh slaughter at the coming forth of the heads of his enemies; may they never remove his head from him.

Of all these amulets, the type most frequently encountered has the shape of a heart, ab. These are found of carnelian, green jasper, basalt, lapis-lazuli, and other hard materials. The heart, regarded in ancient Egypt as the seat of life, was the object of especial care after death. Enclosed in a special receptacle it was buried with the mummy, and the belief was that only after it had been weighed in the balance of the underworld, against the symbol of law, could it regain its place in the body of the deceased. The heart was symbolically represented by the scarab.342

A fine example of a heart amulet shows on one side the figure of the goddess Neith with the pennu bird or phœnix, an emblem of the resurrection, and bears inscribed the chapter of the heart.343

The following extract from the Book of the Dead treats of the formula to be recited over a funeral scarab cut from a hard stone, perhaps the lapis-lazuli. Egyptian tradition assigned this chapter to the reign of Semti, the fifth king of the 1st Dynasty, about 4400 B.C.344

Chapter of not allowing a man’s heart to oppose him in the divine regions of the nether world.

My heart which came from my mother, my heart necessary for my existence on earth, do not rise up against me, do not testify as an adversary against me among the divine chiefs in regard to what I have done before the gods; do not separate from me before the great lord of Amenti. Hail to thee, O heart of Osiris, dwelling in the West! Hail to you, gods of the braided beard, august by your sceptre! Speak well of the Osiris N; make him prosper by Nehbka. I am reunited with the earth, I am not dead in Amenti. There I am a pure spirit for eternity.

To be said over a scarabæus fashioned from a hard stone, coated with gold, and placed on the heart of the man after he has been anointed with oil. The following words should be said over him as a magic charm: “My heart which came from my mother, my heart is necessary for me in my transformations.”

Take your aliments, pass around the turquoise basin, and go to him who is in his temple and from whom the gods proceed.

The most ancient inscription of this especially favorite text is on the plinth of a scarab in the British Museum bearing the cartouche of Sebak-em-saf, a king of the XIV Dynasty, 2300 B.C. It is made from an exceptionally fine piece of green jasper, the body and head of the beetle being carefully carved out of the stone, while the legs are of gold, carved in relief. The scarab is inserted into a gold base of tabloid form, and was found at Kurna (Thebes) by Mr. Salt. As green jasper was believed to possess altogether exceptional virtues as an amulet, this particular scarab was probably regarded as especially sacred.

It appears to have been the rule to engrave certain special chapters of the Book of the Dead, among those referring to the heart, upon particular stones. Thus, for instance, the 26th chapter was engraved on lapis-lazuli, the 27th upon feldspar, the 30th upon serpentine, and the 29th upon carnelian.345 This may perhaps have been originally due to some association of the god principally invoked in the text with the precious substance upon which the text was engraved.

The form of an eye, fashioned out of lapis-lazuli and ornamented with gold, constituted an amulet of great power; it was inscribed with the 140th chapter of the Book of the Dead. On the last day of the month Mechir, an offering “of all things good and holy” was to be made before this symbolic eye, for on that day the supreme god Ra was believed to place such an image upon his head. Sometimes these eyes were made of jasper, and could then be laid upon any of the limbs of a mummy.346

Of the image of Truth, made from a lapis-lazuli and worn by the Egyptian high-priest, Ælian aptly says that he would prefer the judge should not bear Truth about with him, fashioned and expressed in an image, but rather in his very soul.347

Among the Assyrian texts giving the formulæ for incantations and various magical operations, there is one which treats of an ornament composed of seven brilliant stones, to be worn on the breast of the king as an amulet; indeed, so great was the virtue of these stones that they were supposed to constitute an ornament for the gods also. The text, as rendered by Fossey, is as follows:348

Incantation. The splendid stones! The splendid stones! The stones of abundance and of joy.

Made resplendent for the flesh of the gods.

The ḥulalini stone, the sirgarru stone, the ḥulalu stone, the sându stone, the uknû stone.

The dushu stone, the precious stone elmêshu, perfect in celestial beauty.

The stone of which the pingu is set in gold.

Placed upon the shining breast of the king as an ornament.

Azagsud, high-priest of Bêl, make them shine, make them sparkle!

Let the evil one keep aloof from the dwelling!

The names of two of these gems, the ḥulalu and the ḥulalini, suggest that they were of similar class. As the fundamental meaning of the root whence the names are formed is “to perforate,” it is barely possible that we have here the long-sought Assyrian designation for the pearl, which was commonly regarded in ancient times as a stone. In Arabic the perforated pearl has a special name to distinguish it from the unperforated, or “virgin pearl.” All we know of the sându is that it must have been a dark-colored stone. The uknû, however, is almost certainly the lapis-lazuli. It is often mentioned in the Tel el Amarna tablets as having been among the gifts sent by the kings of Babylonia and Assyria to the Pharaohs of Egypt, and also by the latter to friendly Asiatic monarchs. Of the sirgarru and dushu stones nothing is known, but the elmêshu, the seventh in the list, was evidently regarded as the most brilliant and splendid of all; indeed, Prof. Friedrich Delitzsch hazards the conjecture that it is the diamond. In any case this stone must have been set in rings and considered very valuable, for in an Assyrian text occurs the following passage: “Like an elmêshu ring may I be precious in thine eyes.”349 The fact that this stone is described as having “a celestial beauty” might incline us to believe that it was a sapphire.

The idea of this mystic ornament, composed of seven gems, probably originated in Babylonia, where the number seven was looked upon as especially sacred. As we shall see, there is some reason to attribute a Hindu origin to the nine gems, “the covering” of the King of Tyre, enumerated by Ezekiel, while the breastplate on the ephod of the Hebrew high-priest, with its twelve stones, symbolizing the twelve months of the year, appears to be of later date, and seems to belong to the time of the return from the Babylonian Captivity and the building of the second temple. Certainly, the historic and prophetic books of the Old Testament know nothing of it, although the Urim and Thummim are mentioned and the elaborate description given in Exodus is generally regarded by Biblical scholars as belonging to the so-called “Priestly Codex,” the latest part of the Pentateuch, gradually evolved during the Exile and given its final form in the fifth century B.C.

In the very ancient Assyrio-Babylonian epic narrative of the descent of the goddess Ishtar to Hades, the guardian of the infernal regions obliges the goddess to lay aside some part of her clothing and ornaments at each of the seven gates through which she passes. At the fifth, we are told that she stripped off her girdle of aban alâdi, or stones which aided parturition.350 It has been asserted, and perhaps with some reason, that of the many mineral substances supposed to possess this virtue, jade (nephrite) or jadeite was the earliest known.

The Babylonian legends also tell of trees on which grow precious stones. In the Gilgamesh epic a mystic cedar tree is described. This grew in the Elamite sanctuary of Irnina and was under the guardianship of the Elamite king Humbaba. Of this tree an inscription relates:

Another tree bearing precious stones was seen by the hero Gilgamesh, after he had passed through darkness for the space of twelve hours. This must have been a most resplendent object, to judge from the following description on a cuneiform tablet:351

One of the rarest and most significant specimens illustrating the use of valuable stones for religious ceremonial purposes in the pagan world is in the Morgan-Tiffany collection. It is an ancient Babylonian axe-head made of banded agate. So regular, indeed, is the disposition of the layers in this agate that one might be justified in denominating it an onyx. Its prevailing hue is what may be called a “deer-brown”; some white splotches now apparent are evidently due to the action of fire or that of some alkali. This axe-head bears an inscription in archaic cuneiform characters, and presumably in the so-called Sumerian tongue, that believed to have been spoken by the founders of the Babylonian civilization. The form of the inscription indicates that the object dates from an earlier period than 2000 B.C.

This Sumerian axe-head measures 134.5 mm. in length (5.3 inches), 35.5 mm. in width (1.4 inches), and 31 mm. in thickness (1.22 inches). It was originally secured by Cardinal Stefano Borgia (1731-1804), for some time secretary of the College of the Propaganda in Rome, who probably acquired it from some missionary to the East. From the cardinal’s family it passed for 15,000 lire ($3000) to the Tyszkiewicz Collection, and when the objects therein comprised were disposed of at public sale, the writer purchased it for the American Museum of Natural History in New York, April 16, 1902.352

At Alicante, in Spain, cut upon the pedestal of an ancient statue, supposed to have been that of Isis, was found an inscription giving a list of the offerings dedicated by divine command, by a certain Fabia Fabiana in honor of her granddaughter. Evidently the fond grandmother had given of her best and choicest jewels which were used to adorn the statue. They consisted of a diadem set with a “unio” (a large round pearl) and six smaller pearls, two emeralds, seven beryls, two rubies, and a hyacinth. In each ear of the statue was inserted an ear-ring bearing a pearl and an emerald; about the neck was hung a necklace consisting of four rows of emeralds and pearls, eighteen of the former and thirty-six of the latter. Two circlets bound around the ankles contained eleven beryls and two emeralds, while two bracelets were set with eight emeralds and eight pearls. The adornment was completed by four rings, two bearing emeralds, while two, placed on the little finger, were set with diamonds. On the sandals were eight beryls.353

A notable instance of an antique votive offering is the necklace of valuable precious stones dedicated to the statue of Vesta. The Byzantine historian Zosimus attributes the tragic end of Stilicho’s widow, Serena, to her having despoiled the image of Vesta of this costly ornament, and finds a sort of poetic justice in the manner of her death, since she was strangled by a cord which encircled her neck.

It is not only in the works of the Fathers of the Christian Church that we find precious stones used as similes of religious virtue, in Buddhist writings also we have examples of this. In the “Questions of King Milinda,” composed perhaps as early as the third century of our era, occur the following passages:354

Just, O King, as the diamond is pure throughout; just so, O King, should the strenuous Bhikshu, earnest in effort, be perfectly pure in his means of livelihood. This, O King, is the first quality of the diamond he ought to have.

And again, O King, as the diamond cannot be alloyed with other substance; just so, O King, should the strenuous Bhikshu, earnest in effort, never mix with wicked men as friends. This, O King, is the second quality of the diamond he ought to have.

And again, O King, just as the diamond is set together with the most costly gems; just so, O King, should the strenuous Bhikshu, earnest in effort, associate with those of the highest excellence, with men who have entered the first or second or third stage of the Noble Path, with the jewel treasures of the Arahats, of the recluses of the threefold wisdom, or of the sixfold insight. This, O King, is the third quality of the diamond he ought to have. For it was said, O King, by the Blessed one,355 the god over all gods, in the Sutta Nipâta:

Let the pure associate with the pure,

Ever in recollection firm;

Dwelling harmoniously wise,

Thus shall ye put an end to griefs.

The description of the New Jerusalem in the book of Revelations finds a curious parallel in the Hindu Puranas. Here we are told that the divine Krishna, the eighth incarnation of Vishnu, took up his abode in the wonderful city Devârakâ, and was visited there by the various orders of gods and geniuses.356

Gods, Asuras, Gandharas, Kinnaras began to pour into Dwáraká, to see Krishna and Valaráma.

Some descended from the sky, some from their cars—and alighting underneath the banyan tree, looked on Dwáraká, the matchless.

The city was square,—it measured a hundred yojonas, and over all, was decked in pearls, rubies, diamonds, and other gems.

The city was high,—it was ornamented with gems; and it was furnished with cupolas of rubies and diamonds,—with emerald pillars, and with court-yards of rubies. It contained endless temples. It had cross-roads decked with sapphires, and highways blazing with gems. It blazed like the meridian sun in summer.

As compared with the description in Revelations we cannot fail to note the lack of definiteness. Instead of the well-ordered scheme of color as represented by the twelve precious stones dedicated to the twelve tribes of Israel, the mystic Hindu city is simply a gorgeous mass of the most brilliant gems known in India.

The poetic description of the royal city Kusavati, given in the Maha Sudassana Suttanta, may perhaps have originated in some tradition regarding Ecbatana or Babylon. Seven ramparts surrounded Kusavati, the materials being respectively gold, silver, beryl, crystal, agate, coral and (for the last) “all kinds of gems.” In these ramparts were four gates—one of gold, one of silver, one of crystal and one of jade—and at each gate seven pillars were fixed, each three or four times the height of a man and composed of the seven precious substances that constituted the ramparts. Beyond the ramparts were seven rows of palm trees, the fourth row having trunks of silver and leaves and fruit of gold; then followed palms of beryl, with leaves and fruit of beryl; agate palms, whose fruit and leaves were of coral, and coral palms, with leaves and fruit of agate; lastly, the palms whose trunks were composed of “all kinds of gems,” had leaves and fruits of the same description, “and when these rows of palm trees were shaken by the wind, arose a sound sweet and pleasant, and charming and intoxicating.”357

In Greek literature also there is a “gem-city,”—namely, the city of the Islands of the Blessed, described by Lucian in his Vera Historia.358 The walls of this city were of emerald, the temples of the gods were formed of beryl, and the altars therein of single amethysts of enormous size. The city itself was all of gold as a fit setting for these marvellous gems.

Hindu mythology tells of a wonderful tank formed of crystal, the work of the god Maya. Its bottom and sides were encrusted with beautiful pearls and in the centre was a raised platform blazing with the most gorgeous precious stones. Although it contained no water, the transparent crystal produced the illusion of water, and those who approached the tank were tempted to plunge into it and take a refreshing bath in what appeared to be clear, fresh water.359

The Kalpa Tree of Hindu religion, a symbolical offering to the gods, is described by Hindu poets as a glowing mass of precious stones. Pearls hung from its boughs and beautiful emeralds from its shoots; the tender young leaves were corals, and the ripe fruit consisted of rubies. The roots were of sapphire; the base of the trunk of diamond, the uppermost part of cat’s-eye, while the section between was of topaz. The foliage (except the young leaves) was entirely formed of zircons.360

The Chinese Buddhist pilgrim Heuen Tsang, who visited India between 629 and 645 A.D., tells of the wonderful “Diamond Throne” which, according to the legend, had once stood near the Tree of Knowledge, beneath whose spreading branches Gautama Buddha is said to have received his supreme revelation of truth. This throne had been constructed in the age called the “Kalpa of the Sages”; its origin was contemporaneous with that of the earth, and its foundations were at the centre of all things; it measured one hundred feet in circumference, and was made of a single diamond. When the whole earth was convulsed by storm or earthquake this resplendent throne remained immovable. Upon it the thousand Buddhas of the Kalpa had reposed and had fallen into the “ecstasy of the diamond.” However, since the world has passed into the present and last age, sand and earth have completely covered the “Diamond Throne,” so that it can no longer be seen by human eye.361

In the Kalpa Sutra, written in Prakrit, one of the sacred books of the Jains, the rivals of the Buddhists, it is said that Harinegamesi, the divine commander of the foot troops, seized fourteen precious stones, the chief of which was vajra, the diamond, and rejecting their grosser particles, retained only the finer essence to aid him in his transformations. In the same sutra the following glowing description is given of the adornment of the surpassingly beautiful goddess Sri:362

On all parts of her body shone ornaments and trinkets, composed of many jewels and precious stones, yellow and red gold. The pure cup-like pair of her breasts sparkled, encircled by a garland of Kunda flowers in which glittered a string of pearls. She wore strings of pearls made by clever and diligent artists, strung with wonderful strings, a necklace of jewels with a string of Dinaras, and a trembling pair of ear-rings, touching her shoulders, diffused a brilliancy; but the united beauties and charms of these ornaments were only subservient to the loveliness of her face.

As engraved decoration of a fine Chinese vase of white jade with delicate crown markings, appear eight storks, each of which bears in its beak an attribute of one of the Eight Taoist Immortals. Thus we have the double gourd as attribute of the most powerful of these demi-gods known as “Li with the Iron Crutch,” whose aid is sought by magicians and astrologers; the magic sword, with which Lu T’ung-pin vanquished the spirits of evil that roamed through the Chinese Empire in the form of terrible dragons; the basket of flowers, attribute of Lan Ts’ai-ho, the patron of gardeners and florists; the royal fan used by Han Chung-li, of the Chow Dynasty (1122-220 B.C.), to call again to life the spirits of the departed; the lotus flower, emblematic of the virgin Ho Hsien-Ku, venerated somewhat as a patron saint by Chinese housewives, and who acquired the gift of immortal life by the help of a powder of pulverized jade and mother-of-pearl; the bamboo tubes and rods with which the mighty necromancer Chang Kuo, patron of artists, evoked the souls of the dead; the flute of the musicians’ patron, Han Hsiang-tzu, who owed his immortality to his craft in stealthily entering the Taoist paradise and securing a peach from the sacred tree of life; and, lastly, the castanets of Tsao Kuo-chin, especially revered by Chinese actors.

The prevailing belief in India, that treasures offered to the images or shrines of the gods will bring good fortune to the generous donor, finds expression in many ancient and modern Hindu writings. In the Rig Veda it is said that “by giving gold the giver receives a life of light and glory.” In the Samaveda Upanishad we read: “Givers are high in Heaven. Those who give horses live conjointly with the sun; givers of gold enjoy eternal life; givers of clothes live in the moon.” Another text (Hâiti Smriti) reads:363

Coral in worship will subdue all the three worlds. He who worships Krishna with rubies will be reborn as a powerful emperor; if with a small ruby, he will be born a king. Offering emeralds will produce Gyana or Knowledge of the Soul and of the Eternal. If he worships with a diamond, even the impossible, or Nirvâna, that is Eternal Life in the highest Heaven, will be secured. If with a flower of gold a man worships for a month, he will get as much wealth as Kuvera, the Lord of Rubies, and will hereafter attain to Nirvâna and to Muskwa, or Salvation.

At Multan, one of the most ancient cities of India, situated in the Punjab, 164 miles southwest of Lahore, there was in the Hindu temple an idol having for eyes two great pearls. The eyes of the rude image of Jagganath at Puri, in Bengal (Orissa), are said to have at one time been formed of precious stones, as were also those of the idols of Vishnu at Chandernagore and in the great seven-walled temple at Srirangam, whence appears to have come the Orloff diamond.

In ceremonial worship the Hindus recognize sixteen offerings, the ninth consisting of gems and jewelry, and a divine assurance of adequate return to the giver appears in the Bhagavat Purana, where Krishna says, “Whatever is best and most valued in this world and that which is most dear to you should be offered to me, and it will be received back in immense and endless quantity.” On certain appointed days the holy images are decorated with the choicest garments and the richest jewelry in the temple treasury; this is especially the case on the day celebrated as the birthday of the respective divinity. However, the gifts are believed to retain their sacred character as dedicated objects only for a comparatively brief period, varying from a month or more for garments and vestments, to ten or twelve years for jewels, such as the naoratna or the panchratna, the prized and revered jewels, composed respectively of nine and five gems. The panchratna usually consists of gold, diamond, sapphire, ruby, and pearl. After the gifts have ceased to be worthy of use in the temples, they may be disposed of to defray the expenses of the foundation, including the cost of supporting the numerous priests and attendants. As the objects still retain their sacred associations, they are eagerly bought by pious Hindus, who undoubtedly regard them as valuable talismans. Thus they not only serve to bring blessings upon the donors, but also constitute one of the chief sources of income for the temples.364

One of the oldest and perhaps the most interesting talismanic jewel is that known as the naoratna or nararatna, the “nine-gem” jewel. It is mentioned in the old Hindu ratnaçastras, or treatises on gems, for example, in the Nararatnaparîkshâ, where it is described as follows:365

Manner of composing the setting of a ring:

From this description we learn that the jewel was designed to combine all the powerful astrological influences. The gems chosen to correspond with the various heavenly bodies, and with the aspects known as the ascending and descending nodes, differ in some cases from those selected in the West. For instance, the emerald is here assigned to Mercury, whereas in Western tradition this stone was usually the representative of Venus, although it is sometimes associated with Mercury also.366 On the other hand, the diamond is dedicated to Venus, instead of to the Sun as in the Western world.

Instead of uniting the different planetary gems in a single ring, they have sometimes been set separately in a series of rings to be worn successively on the days originally named after the celestial bodies. We read in the life of Apollonius of Tyana (first century A.D.) by Philostratus: “Damis also relates that Iarchas gave to Apollonius seven rings named after the planets, and the latter wore these, one by one, in the order of the weekdays.”367 Although it is not expressly stated that the appropriate stones were set in the rings, the custom of the time makes it probable that this was the case.

NINE GEMS.

Among the Burmese the value for occult purposes of the nine gems composing the naoratna, or nararatna, is strictly determined in the following order: first, the ruby; second, the diamond, or rock-crystal; third, the pearl; fourth, the coral; fifth, the topaz; sixth, the sapphire; seventh, the cat’s-eye; eighth, the amethyst; and ninth, the emerald.368 That the ruby, diamond and pearl should occupy places of honor is quite natural, but the relegation of the sapphire to sixth place, after coral and topaz, seems to be a rather unfair treatment of this beautiful stone.

The yellow girdles worn by the Chinese emperors of the Manchu dynasty were variously ornamented with precious stones according to the different ceremonial observances at which the emperor presided. For the services in the Temple of Heaven, the very appropriate choice of lapis-lazuli ornaments was made; for the Altar of Earth, yellow jade was favored; for a sacrifice on the Altar of the Sun, the gems were red corals, while white jade was selected for the ceremonies before the Altar of the Moon. Jade of different colors was used for the six precious tablets employed in the worship of heaven and earth and the four cardinal points. For the worship of Heaven there was the dark-green round tablet; for that of Earth, an octagonal tablet of yellow jade. The East was worshipped with a green pointed tablet; the West was worshipped with the white “tiger-tablet”; the North with a black, semi-circular tablet, and the South with a tablet of red jade.369

Of all the Chinese works on jade the most interesting and remarkable is the Ku yü t’ou pu or “Illustrated Description of Ancient Jade,” a catalogue divided into a hundred books and embellished with upward of seven hundred figures. It was published in 1176, and lists the magnificent collection of jade objects belonging to the first emperor of the Southern Sung dynasty. One of the treasures here described was a four-sided plaque of pure white jade over two feet in height and breadth, and it was regarded as of altogether exceptional value, for on it was a design miraculously engraven. This was a figure, seated on a mat, with a flower-vase on its left and an alms-bowl on the right, in the midst of rocks enveloped in clouds. The figure was an image of the Buddhist saint, Samantabahadra, and the plaque is said to have been washed out of a sacred cave in the year 1068, by a violent and mysterious current.370

Jade talismans are very popular at the present day in the Mohammedan world, and among the Turks they are so highly prized as heirlooms that it is difficult to secure any of them. There is an orthodox Mohammedan sect, whose members call themselves Pekdash, and who during their whole lifetime carry about with them a flat piece of jade as a protection against injury or annoyance of every kind.371

The four rain-making gods are shown wearing necklaces of coral and turquoise in the ceremonial sand-paintings of the Navajos. These four gods are respectively colored to denote the four cardinal points; black for North, blue for South, yellow for West, and white for East. The whole painting, measuring nine by thirteen feet, is guarded on three sides by magic wands; toward the East it is left unprotected, as only good spirits are believed to dwell in this direction. Each of the rain-gods carries suspended from his right wrist an elaborately decorated tobacco pouch, bearing the figure of a stone pipe. The Navajos believe that in this pouch the god places a ray of sunlight with which he lights his pipe; when he smokes, clouds form in the sky and the rain descends. In the sand-picture representing the God of the Whirlwind this divinity also wears ear-pendants and a necklace of turquoise.372

Of the turquoise in Aztec times we have the testimony of the missionary Bernardino de Sahagun that one variety, presumably that regarded as the finest and most attractive, bore the name teuxivitl, which signified “turquoise of the gods.” No one was allowed either to own or wear this as it was exclusively devoted to the service of the gods, whether as a temple offering, or for the decoration of the divine images. Sahagun describes this turquoise as “fine, unspotted and very clear. It was very rare and was brought to Mexico from afar. Some specimens were of rounded shape, like a hazel-nut cut in half; others were broad and flat, and some were pitted as though in a state of decomposition.”373

The god of fire, Xiuhtecutli, or Ixçocauhqui, presided over the ceremony of piercing the ears of the young boys and girls. The image of this god was decorated with ear-rings encrusted with a mosaic of turquoise. He held in his left hand a buckler on which were five large green stones called chalchiuitl (jadeite), placed in the form of a cross on a plate of gold almost covering the shield.374

At the time of the Spanish Conquest an immense emerald, almost as large as an ostrich egg, was adored by the Peruvians in the city of Manta. This “emerald goddess” bore the name of Umiña, and, like some of the precious relics of the Christian world, was only exhibited on high feast days, when the Indians flocked to the shrine from far and near, bringing gifts to the goddess. The wily priests especially recommended the donation of emeralds, saying that these were the daughters of the goddess, who would be well pleased to see her offspring. In this way an immense store of emeralds rewarded the efforts of the priests, and on the conquest of Peru all these fine stones fell into the hands of Pedro de Alvarado,375 Garcilasso de la Vega, and their companions. The mother emerald, however, had been so cleverly concealed by the priests of the shrine that the Spaniards never succeeded in gaining possession of it. Many of the other emeralds were destroyed because of the ignorance and stupidity of some of their new owners, who, supposing that the test of a true emerald was its ability to withstand hard blows, laid the stones on an anvil and hammered them to pieces. The old and entirely false notion that the genuine diamond could endure this treatment may have suggested the unfortunate test.

Garcilasso likens the growth of the emerald in its mine to that of a fruit on a tree, and he believed that it gradually acquired its beautiful green hue, that part of the crystal nearest the sun being the first to acquire color. He notes an interesting specimen found in Peru, half of which was colorless like glass, while the other half was a brilliant green; this he compares with a half-ripened fruit.376