Precious Stones Used as Amulets

The popular derivation of the word "amulet" from an Arabic word hamalat, signifying something suspended or worn, is not accepted by the best Arabic scholars, and it seems probable that the name is of Latin origin, in spite of the fact that no very satisfactory etymology can be given. Pliny's use of amuletum shows that with him the word did not always denote an object that was worn on the person, although this later became its meaning. The old etymology given by Varro (118-29 B.C.), who derived amuletum from the verb amoliri, "to remove," "to drive away," may not be quite in accord with modern philology, but still has something to recommend it as far as the sense goes, for the amulet was certainly believed to hold dangers aloof, or even to remove them. Talisman, however, a word not used in classical times, undoubtedly comes from the Arabic tilsam, this being in turn derived from used in late Greek to signify an initiation, or an incantation.

It has been remarked that in the earliest Stone Age there is no trace of either idols or images; the art of this period being entirely profane. In the later Stone Age, however, entirely different ideas seem to have gained the ascendancy, for a majority of the objects of plastic art so far discovered have a religious significance. This has evidently proceeded from the conception that every image of a living object absorbs something of the essence of the object itself, and this conception, while a primitive one, still presupposes a certain degree of development. This rule applies more especially to amulets, which were therefore fashioned as beautifully as primitive art permitted, that they might become fitting abodes for the benevolent spirits believed to animate them and render them efficacious. (Hoernes, "Urgeschichte der bildenden Kunst," Wien, 1898.)

A curious idol or talisman from Houailou, New Caledonia, is in the collection of Signor Giglioli. This is a stone bearing naturally a rude resemblance to the human form. (Giglioli, "Materiale per lo studio della 'Eta della Pietra," Archivio per l'Antropologia e l'Etnologia, Firenze, 1901.) We can easily understand that such an object was looked upon as the abode of some spirit, for similar strange natural formations have been regarded with a species of superstitious awe by peoples much more civilized than the natives of New Caledonia.

For the Middle Ages and even down to the seventeenth century, the talismanic virtues of precious stones were believed in by high and low, by princes and peasants, by the learned as well as by the ignorant. Here and there, however, a note of scepticism was sometimes apparent, as in the famous reply of the court jester of Emperor Charles V, to the question, "What is the property of the turquoise?" "Why," replied he, "if you should happen to fall from a high tower whilst you were wearing a turquoise on your finger, the turquoise would remain unbroken."

The doctrine of sympathy and antipathy found expression in the belief that the very substance of certain stones was liable to modification by the condition of health or even by the thoughts of the wearer. In case of sickness or approaching death the lustre of the stones was dimmed, or else their bright colors were darkened, and unfaithfulness or perjury produced similar phenomena. Concerning the turquoise, the prosaic explanation can be offered that this stone is affected to a certain extent by the secretions of the skin; but popular superstition saw the same phenomena in the ruby, the diamond, and other stones not possessing the sensitiveness of the turquoise. Hence the true explanation is to be found in the prevailing idea that an occult sympathy existed between stone and wearer. The sentiment underlying the conception is well expressed by Emerson in the following lines from "The Amulet":

Give me an amulet

That keeps intelligence with you,--

Red when you love, and rosier red,

And when you love not, pale and blue.