Christian Symbolism in Precious Stones

The religious symbolism of the diamond was a favorite theme with the thirteenth century "lapidaria," or rhymed treatises on precious stones. Just as it could only be discovered by night--an old fancy--so was the Incarnation a hidden mystery; it gave forth a great light, just as Jesus illumined the depths of Hades when he descended thither; it was unconquerably hard, and who can resist the might of God? (Barbier de Montault, "Le Tresor de l'Abbaye de Sainte-Croix de Poitier"; in Mem. de la Soe. d'Antiq. de l'Ouest, Sec. Ser., vol. lv, 1881; Poitiers, 1882.)

The mediaeval Italians who were found of seeking some hidden and significant meaning in the names of precious stones, in the case of the diamond (diamante), read the phrase amante di Dio, or "lover of God." (Italian MS. of the fourteenth century in the author's library; fol. 41b.) This was a reason for regarding the brilliant gem as a sacred stone and one especially suitable for religious use.

The Rosicrucians, who sought to combine pagan with Christian types and figures, saw in the amethyst and the amethystine color a symbol of the divine male sacrifice, since the stone and the color were typical of love, truth, passion, suffering, and hope. The love of Christ led him to make the supreme sacrifice and suffer the agony of the Cross, and the Crucifixion was followed by the Resurrection, whence came the hope of mankind to enjoy eternal happiness in heaven.

The chiastolite, or macle, shows the representation of a cross on its surface, this effect being produced by the regular arrangement of carbonaceous impurities along the axes of the crystal. The name signifies a marking resembling the Greek letter X (chi). This marking is often very striking in appearance, and the crystal was naturally regarded as having a mystical and religious significance. It was said to stanch the flow of blood from any part of the body if worn so as to touch the skin, and it was also believed to increase the secretion of milk. All kinds of fevers were cured by this mineral if it were worn suspended from the neck, and the divine symbol it bore served to drive away evil spirits from the neighborhood of the wearer.

This very interesting mineral occurs very frequently in mica schists. When found, it appears about the thickness of a small finger, tapering slightly at each edge. If broken near one end, it often shows a white cross with a veined outline of black, making a distinct cross with black markings. The crystals frequently measure from two to four inches in length, and are found in Massachusetts, California, and other places. If small segments are broken off, it will be found that the black outline will become stronger, and the white less marked, until finally a black cross will appear, with white markings. The white material is the result of two white wedges pushed point onward until the ends meet, the narrow end of one wedge being crossed by the broad end of the second wedge, and the black filling in the balance of the square. No two of these square crosses can thus ever be exactly alike, and, when polished, the crystals naturally form an interesting stone that was known as lapis crucifer, or cross-stone by the ancients.

The peculiar form of the mineral known as staurolite (from the Greek cross) is due to the twinning of two crystals at right angles. In Cronstedt's treatise on mineralogy, published in Stockholm in 1758, we are told that the staurolite was sometimes called Baseler Taufstein (baptismal-stone) or lapis crucifer, the former name being used in Basel, where the stone was employed as an amulet at baptisms. However, the lapis crucifer of De Boot appears from his description to have been the chiastolite. In Brittany these twin crystals were worn as charms, and local legends state that they had dropped from the heavens.

Fine crystals of staurolite have been found in Patrick County, Virginia, and there is said to be a beautiful local legend in regard to their origin. Near where they are found there wells up a spring of limpid water, and the story goes that one day, long, long ago, when the fairies were dancing and playing around this spring, an elfin messenger winged his way through the air and alighted among them. He bore to them the sad tidings of the crucifixion of Christ in a far-off city. So mournful was his recital of the sufferings of the Saviour that the fairies burst into tears, and these fairy tear-drops, as they fell to earth, crystallized into the form of the cross. These natural crosses are in great demand as charms, and ex-President Roosevelt is said to wear one of them mounted as a watch-charm.

There has been found in the southern part of New Mexico, and in northern Mexico, a blue variety of calamine, a hydrous silicate of zinc, colored blue by an admixture of copper. This stone has been cut into gem form and has been sold to a certain extent as a cheap gem. It is translucent and is sometimes veined with white wavy lines. The Mexican Indians employed in the mines often set up a cross and a candle near where they are working, so that they may pay their devotions at this improvised shrine. In Sonora and Western Chihuahua the Indians frequently place a piece of the stone to which we have alluded alongside the cross. They may be attracted by its beautiful blue color, or they may believe that it is a turquoise, although it does not resemble this latter stone, which is more opaque, of a different shade of blue and of a different composition.

In some epitaphs the hope of the resurrection finds expression in likening the body enclosed in its narrow coffin to a precious jewel in its casket. The following lines from a tombstone erected in 1655 to the memory of Mary Courtney, at Fowell, Cornwall, England, give a good example of this class of inscription: (Ravenshaw, "Antiente Epitaphs," London, 1878.)

Near this a rare jewell's set,

Clos'd up in a cabinet.

Let no sacrilegious hand

Breake through--'tis ye strickte comaund

Of the jeweller: who hath sayd

(And 'tis fit he be obey'd)

I'll require it safe and sound

Both above and under ground.

In a churchyard at Prittlewell, Essex, England, a rather whimsical treatment of the same idea is offered by some verses engraved on the stone marking the graves of two wives of a certain Freeborne the first of whom died in 1641 and the second in 1658. The bereaved husband seems to have been perfectly willing to await the Day of Judgment for the return of his lost spouses: (Ravenshaw, "Antiente Epitaphs," London, 1878.)

Under this stone two precious gems do ly

Equall in weight, worth, lustre, sanctity:

Yet perhaps one of them do excell;

Which was't who knows? ask him yt knew yem well

By long enjoyment. If he thus be prest,

He'el pause, then answere: truly both were best:

Were't in my choice that either of ye twain

Might be returned to me to enjoy agayne,

Which should I chuse? Well, since I know not whether;

Ile mourne for the losse of both, but wish for neither,

Yet here's my comfort, herein lyes my hope,

The tyme a comeinge cabinets shall ope

Which are lockt fast: then shall I see

My Jewells to my joy, my Jewells mee.

The Christian symbolism of colors has in many cases determined the use of certain colored gems for religious ornaments, and therefore the following summary of their principal significance is of interest here: (See Audsley, "Handbook of Christian Symbolism," London, 1865.)

WHITE is regarded as the first of the canonical colors, and as emblematic of purity, innocence, virginity, faith, life, and light. For this reason it is used in the ceremonies of Easter and Christmas, as in those of the Circumcision and Epiphany of Our Lord. As the color of virginity it is especially appropriate for the festival of the Virgin Mary, and as that of faith not sealed with blood, for the festivals of the saints who were not martyred. The heavenly host of angels and saints wear white robes, and in pictures of the Assumption of the Virgin she is frequently clad in white.

RED is used at the feasts of the Exaltation and Invention of the Cross, at Pentecost, and at the Feast of Martyrs. It suggests and symbolizes suffering and martyrdom for the faith, and the supreme sacrifice of Christ upon the Cross. Divine love and majesty are also typified by this color.

BLUE is an emblem of the celestial regions and of the celestial virtues. Nevertheless, as this is not one of the five canonical colors, it is not employed for the decoration of churches or for ecclesiastical vestments. In Christian art, however, the Virgin and the saints and angels are often robed in blue.

YELLOW of a golden hue is emblematic of God's goodness and of faith and good works, but it is not a canonical color. A dull yellow, however, has the opposite signification, and is a type of treachery and envy. Hence Judas is garbed in yellow of a dull hue, and heretics wore garments of this shade when they were condemned to the stake.

GREEN is the canonical color for use on Sundays, week-days, and ordinary festivals. Hope and joy and the bright promises of youth are signified by green.

VIOLET, another canonical color, is appropriate for use on Septuagesima and Quinquagesima Sundays, during Lent, and on Advent Sunday. The chastening and purifying effects of suffering find expression in this color.