The poets have sung the praises of the turquoise. In Shakespeare’s Merchant of Venice, when the “amorous Jessica” made off with her father’s jewels, Shylock particularly bewails the disappearance of his turquoise, crying out that he would not have lost it for “a wilderness of monkeys.” The poet Donne, also, writes of this stone and draws attention to its sympathetic quality in these words:

That Queen Elizabeth clung fondly to life is well known, and it is said that she trusted much in the virtues of a talisman which she wore round her neck. This was a piece of gold engraved with certain mystic characters. The statement has also been made that at the bottom of a chair in which she often sat, was the queen of hearts from a pack of cards, having a nail driven through the forehead of the figure.^[598] Could this have been a spell of witchcraft used against her hated rival, Mary of Scotland?

The belief that turquoise changes its hue with the changing health of the wearer leads an early seventeenth century author to offer it as a symbol of wifely devotion, saying that “a true wife should be like a turquoise stone, clear in heart in her husband’s health, and cloudy in his sickness.” Although a more prosaic explanation than that of occult sympathy has been proposed for this asserted change of hue, we need not therefore reject the more poetic fancy.^[599]

Among the believers in the virtue of amulets must be counted the French religious philosopher, Pascal. After his death in 1662 there was found, sewed up in his pourpoint, a piece of paper bearing a long and very strange inscription. At the top was a cross with rays, a similar cross being drawn at the bottom of the text. This began with the following words:

Monday, November 23, the day of St. Clement, pope and martyr, and of others in the martyrology.

The Eve of St. Chrysogone, martyr, and of others. From about half-past ten in the evening until about a half-hour after midnight,

Then follow a series of ejaculations and short religious sentences, and toward the end, after the name of Christ, thrice repeated, the words:

I have separated myself from Him, I have fled from Him, denied Him.

and finally the prayer that this separation might henceforth cease. The original text is said to be in the Bibliothèque Nationale in Paris with the MS. of the “Pensées.”

Pascal is stated to have always kept this amulet on his person, removing it carefully from the lining of an old garment and putting in a new one, when this was assumed. The strange introduction referred to a vision of fire which he had had on the night in question, and this has been explained as resulting from a severe nervous shock he had experienced six months before, when driving along the banks of the Seine. As the vehicle neared Neuilly the horses took fright and ran away, dashing toward the edge of the bank; just on the brink the reins broke and the horses plunged down into the river, leaving the carriage in which Pascal was sitting on the edge of the precipice. This shock impressed him so vividly that he would often see the precipice before him as distinctly as though it were a reality. In any case the matter is of interest as showing that one of the most gifted men of the seventeenth century was a believer in amulets.^[600]

The giving of corals to new-born infants was expressly forbidden in 1708 in the bishopric of Bamberg, because of the superstition connected therewith, although Christian painters of the fourteenth century often represented the child Jesus as holding corals in his hand. The persistence of the superstition as to the Evil Eye and the belief that coral safeguarded the wearer therefrom, have impressed many cultured Italians of our day, and even so able and clear-headed a statesman as prime minister Crispi is said never to have gone to a parliamentary sitting without having with him a coral amulet.^[601]

Some characteristic Hindu amulets figure the god Jagannath (Lord of the World), or associated divinities, and also symbols related to the worship of this form of Krishna.^[602] In the month Joyestha (May-June) his world-renowned temple at Puri in Orissa is thronged with pilgrims from all parts of India, and on the great festival day his image and those of his brother Balarana and of his sister Subhadra are taken out of the sanctuary and placed in an elaborately decorated car, which is drawn through the streets of the city. The readiness of fanatical believers to sacrifice their lives by casting themselves beneath the wheels of this ponderous car, has made the expression “Car of Jagannath” almost a household word, freely used by those who know little or nothing about Hindu religion. The English Government has long since put a stop to these reckless and useless martyrdoms.

Many of these amulets are made of a black steatite. One represents Krishna (Jagannath) standing and playing on a flute, another figures this avatar of Vishnu with his wife Radha. A curious series presents Jagannath, Balarana and Subhadra; the unnaturally large heads of the figures and the truncated crowns and legs are explained by the fact that the group was carved from the trisala of a tope of a Buddhist temple erected at Puri in the third century B.C., the Hindus of a later time having utilized this relic of a former faith for gods of their ethnic religion. There are also a number of stamps, incised with emblematic figures such as a shell, a sankha wheel, a serpent, two footprints, etc., so that the corresponding seal may be impressed in colored clay upon the arms of the faithful in the sanctuary of Jagannath. Many of the amulets bearing the double footprint, emblematic of Vishnu (Krishna-Jagannath), are arranged in groups of five, all being perforated so that a group can be suspended on the person.

The footprints are explained by a curious legend to the effect that when a dispute as to superiority arose between the gods of the Trimurti, Brahma, Siva and Vishnu, the selection of a test to decide this was left to Bhrigu, one of the ten patriarchs. He approached Brahma without saluting him; this infuriated the god, but he restrained himself. Approaching Siva in turn, Bhrigu failed to return the god’s salutation, which so enraged him that he raised his trident to slay the insulter, and was only prevented from doing this by the timely intervention of the goddess Parvati. Nothing daunted Bhrigu pursued his test, and, finding Vishnu reposing with his head in Lakshmi’s lap, he kicked the divinity to arouse him. Vishnu, however, instead of losing his temper, quietly arose; saluted the rash patriarch, and even thanked him for the reminder, and craved his pardon that he had not immediately greeted him, asserting that the kick (which must have been most vigorously administered if it left two footprints) had left on his breast a mark of good augury.

A fine presentation of the style of jewels worn by the Mahârânî of Sikkim, a full-blooded Tibetan by birth, is offered by a portrait of this queen done in oil by Damodar Dutt, a Bengali artist, in 1908, while the Mahârânî was sharing the captivity of her husband at Darjeeling, where they had been sequestrated by the British authorities for many years. The elaborate and rather oppressive headdress is a typical adornment of the queens of Sikkim; the broad bandeaux are composed of pearls, and a brilliant color effect is produced by the rows of alternating corals and turquoises. The gold ear-rings have a turquoise-inlay, in concentric rings, and from the queen’s neck hangs a long necklace of coral beads, separated at intervals by large spheres of amber; a coral bracelet and two rings, with coral and turquoise setting respectively, complete the very effective, if not especially costly, jewelry.^[603]

Jade girdle pendants having a talismanic quality were in great favor during the period of the Chou dynasty (1122–249 B.C.). The typical girdle pendant of that time was a seven-jewelled one, each of the combined ornaments being made of some one of the choice varieties of jade. These adornments consisted of a top-piece or brooch, whence depended a circular central plaque (yü), flanked by two square ornaments (kü); below followed a centre-ornament of segment form, on either side of which was a bow-shaped jewel. The girdle ornaments were rich in symbolic significance, the rhythmic swinging of the jades caused a musical note whenever they came in contact with one another, or with any metallic object; as love-trinkets they had the most fortunate meaning; as indications of office they gained consideration and respect for the wearers of high rank, while for those of less distinction they were so differentiated as to become marks of the respective craft or vocation.^[604]

In Siam the girls’ heads are shaved, with the exception of the top of the head, where a knot of hair is allowed to grow. On the fourteenth anniversary of the girl’s birthday this “top-knot” is cut off, the operation being accompanied by a solemn religious ceremony, to mark and consecrate the event, which denotes the passing of the girl into womanhood. On this occasion, the members of the family gather together all the jewels they can secure for the adornment of the “new woman,” and where they are not wealthy enough to provide brilliant and rich ornaments from their own possessions kind friends will always be found ready to supply the deficiency. In the case of the Siamese girl figured in our plate, and of a girl companion, the Queen of Siam herself acted as fairy godmother to the extent of furnishing from her own private treasures a costly and suitable decoration. The gems and ornaments worn were worth $20,000 and are said to have filled a small steamer-trunk.^[605]

In a favorite form of white jade amulet, the stone is cut flat and is then inlaid with rubies in gold settings, so disposed as to indicate a flower-form. Jade amulets of this type are found in China and in various parts of northern Asia, and are believed to guard or free the wearer from palpitation of the heart.^[606]

Flowers fashioned from precious stones make most attractive ornaments, and by their variety of coloring can be worn with almost any costume. A celebrated beauty of London society has a number of pansies of different colors, one made of rubies, another of sapphires, still another of emeralds, and so on through the range of colors. In this way she always had a pansy according in color with that of her gown. As bridal gifts these jewel-flowers are most appropriate, more especially when the lady-love bears a “floral name” such as Violet or Rose.

Coral ornaments of all sorts are in great demand in Tibet, and a fine piece of this material will bring about $20 an ounce, and is therefore literally worth its weight in gold. The Venetian traveller, Marco Polo, who visited Tibet in the latter half of the thirteenth century, already noted that coral was in high favor there and that coral necklaces adorned the necks of the women and also those of the idols in their temples. The love of personal adornment is very strong among the Tibetan women, and those in any way well-to-do load themselves with a mass of jewelled ornaments, great pieces of amber, coral and turquoise constituting the principal gem-material. The favor extended to coral, apart from the religious significance of red as symbolical of one of the incarnations of Buddha, may perhaps have an esthetic basis as well, for red or pink affords a pleasant contrast to the dark complexions and hair of the Tibetans.^[607]

Much more prized, however, than coral is the beautiful blue turquoise, which not only serves for purely ornamental use but is freely employed in the decoration of religious objects, such as the curious “prayer wheels” so indispensable a part of Tibetan ritual.

The talismanic quality of this stone is an important element in its popularity, as it is supposed to bring good fortune and physical well-being to the wearer and to afford protection against contagion. The Tibetans share in the quite general belief that the turquoise will grow pale in sympathy with the present or prospective fortune and health of the person wearing it, and as a loss of color is considered portentous of coming evil, such stones are gotten rid of as soon as possible to be replaced by those of a brighter hue. The dealers who buy up for a trifling sum these discolored turquoises often treat them with a dose of blue dyestuff which superficially restores the color, and it is stated that many of the soldiers of the British expeditionary force to Tibet in 1904 were at first deceived into buying these vamped-up stones, but they soon discovered the deception and were more careful later on. Turquoises are also believed to guard against the Evil Eye, and a quasi-sacred character is lent to some especially fine specimens by setting them in the foreheads of statues of the Buddha or other religious images.^[608]

The women of Tibet are said to prize most highly as amulets pieces of cloth adorned with turquoise or coral, which they have acquired from the Lamas, who by the imposition of their priestly blessing have endowed these objects with a peculiar sanctity in the eyes of the Tibetan devotees. Another amulet favored in this far-off land is a small metal box of gold, silver, or copper, and encrusted with turquoise. Within are enclosed little scrolls inscribed with mystic characters to conjure evil spirits and thwart their malevolent schemes for the tribulation of mankind.

An ingenious, if rather far-fetched explanation of the supposed power of coral to avert lightning and hail is given by Fortunio Liceti. In his opinion, coral, being of a warm quality, overcomes the coldness of the atmosphere, which produces lightning by the attraction of contraries, and hail by its own quality. This is a specimen of the attempts to find a plausible physiological reason for the powers of gems, the writers never for a moment hesitating to accept the popular beliefs in this respect.^[609]

Among the Bhots of Landakh in the western part of Tibet, a large piece of amber or agate is often worn by the men suspended from the neck as an amulet. Here as in so many other parts of the world, the amulet is believed to acquire especial efficacy when worn in this way, as it comes in immediate contact with the person of the wearer.^[610]

A very singular manner of using precious stones as talismans is noted in Burma.^[611] There are certain talismans called hkoung-beht-set, which are inserted in the flesh beneath the skin. They are usually of gold, silver, or lead, or else of tortoise-shell, horn, etc., but sometimes they are rolled pebbles and occasionally precious stones. We are told that when a prisoner is found to have such talismans on, or rather in his person, the jailer cuts them out lest they should be used to bribe the guards. The talismans owe much of their supposed power to inscriptions in mystic characters, and they are so highly favored that some of the natives wear one or more rows of them across the chest.

For the Japanese, rock-crystal is the “perfect jewel,” tama; it is at once a symbol of purity and of the infinity of space, and also of patience and perseverance. This latter significance probably originated from an observation of the patience and skill required for the production of the splendid crystal balls made by the accurate and painstaking Japanese cutters and polishers.

The belief of Mohammedans in the Evil Eye claims the authority of the Prophet to the effect that “the áïn (eye) is a reality.” The Arabs also designate the Evil Eye as nuzra, “the look,” and nafs, “breath or spirit.” It is not commonly regarded as the result of a definite malevolent intention, but rather as an effect engendered by envy at the sight of anything especially beautiful or attractive. Indeed, sometimes the bare expression of great admiration is supposed to produce evil results, as is illustrated by the assertion that when a man, on seeing an exceptionally large and fine stone, exclaimed, “What a large stone!” it immediately broke into three pieces.

In the Sahara, the horns of oxen, and sometimes their skulls with the horns attached, are set over the entrances of dwellings to protect the residents from this dreaded influence; in Tunis and Algiers, boars’ tusks are also used in this way. However, the most favored weapons of defence are the outstretched fingers of the hand, sometimes but two fingers, but more often all five. The gesture of holding out the fingers toward the envious person is frequently accompanied by the utterance of the words: Khamsa fi ȧïnek, “five (fingers) in your eye!” The number five has thus acquired such a special significance that Thursday, as the fifth day of the week, is looked upon as the appropriate day for pilgrimages to the shrines of those saints whose protection against the Evil Eye is believed to be most potent.^[612]

The Arabs of Arabia Petraæ believe that when anyone casts longing and covetous eyes upon any animal belonging to another, part of his soul enters the animal and the latter is doomed to destruction if it remains in the possession of the rightful owner. The same idea prevails in the case of a child whose possession is envied, or who is unduly admired. Where the identity of the one who has cast the spell is known, there is a fair chance of rendering it harmless if a piece of the guilty one’s garment can be stolen and the animal or child rubbed with it. The virtue of coral as a protection from such dangers is generally believed, and almost every woman, child, mare and camel, wears or bears a coral amulet of some kind. A special variety of amulets against the Evil Eye, worn by equestrians, are small, smooth flint-stones, gathered at a spot where two valleys unite; and, for horses, protection is believed to be afforded by a ring of blue glass or blue porcelain, suspended from the neck. Another queer superstition among these Arabs regarding the Evil Eye is that if a child yawns, this is supposed to be a sign that he has been smitten by the evil spell, and the mother is advised to place glowing coals on a plate, strew alum over the coals, and bear the plate around the child.^[613]

Over the entrance gate of the Alhambra in Granada, Spain, may be seen the representation of a hand, and this is regarded as having been figured there to serve for a talisman against the Evil Eye,^[614] just as some of the Arabs are still wont to paint or figure a so-called “Fatima’s Hand” on doors or door-posts for a similar purpose. The idea which has been advanced that the “horse-shoe arch” had some connection with the belief in the luck-bringing quality of the horse-shoe, is, however, scarcely to be admitted as an explanation of this most characteristic feature of Moorish architecture.