The Symbolic Significance of the Colors of Precious Gemstones

It is impossible to over-estimate the effect of color in determining the supposed influence of gems upon the fortunes or health of the wearers. When we gaze upon the beautiful play of light emitted by a fine ruby or sapphire, we are all conscious of the aesthetic effect produced; but in earlier times, when scientific ideas were not yet prevalent, many other considerations combined to give a peculiar significance to these brilliant gems. Rare and costly as they were, they were supposed to possess mystic and occult powers and were thought to be the abode of spirits, sometimes benevolent and sometimes malevolent, but always endowed with the power to influence human destinies for weal or woe. Coupled with this was the instinctive appreciation of the essential qualities of certain rays of light, and modern science, far from doing away with these ideas, has rather seemed to find a good reason for them. We all know the therapeutic value of the ultra-violet rays, and when the uninstructed mind saw therein the embodiment of purity and chastity, it perhaps realized this health-giving and beneficent function. In the same way the idea of passion was associated with the red and radiant ruby, another concept the relative truth of which has been demonstrated by spectrum analysis, since the red rays are heat-giving and vivifying. But this was not the only source of these primitive ideas in regard to color; the therapeutic effect was often sought and found in some fancied analogy between the color of the gem and the character of the malady or infirmity to be cured. Thus, yellow stones were supposed to be especially efficacious in cases of jaundice, an instance of instinctive homoeopathy, based on the dictum similia similibus curantur. Following out this train of thought, the red stones were endowed with the power of checking the flow of blood; especially the so-called bloodstone was prescribed for this use, and it was supposed that by its mere touch it could stop the most violent hemorrhages. Green was regarded as the color most beneficial for the sight, and to the emerald and other green stones was ascribed great curative power in this respect. Here, however, the simple influence of the color was later combined with its symbolical significance. In heathen mythology this showed itself in the ascription of the emerald to Venus, as the exponent of the reproductive energies of nature, while in the Christian conception these stones became typical of the resurrection, of the birth into a new and purer life. Nowhere can we find a better illustration of the transforming effect of distinct and diametrically opposite concepts upon the impressions made by natural objects. The pure and colorless and yet brilliant stones, such as the diamond and all other white stones, were naturally brought into connection with the moon, although the diamond, because of its superior qualities and exceptional brilliance and value, was frequently looked upon as the gem of the sun. All gems associated with the moon partook of its enigmatic character. Illuminating the witching hour of the night, when malevolent and treacherous spirits were supposed to hold sway, the moon was sometimes regarded as baleful, as may be seen in the idea that associated lunacy with exposure to the bright rays of the moon; at other times it was supposed to have the power to conjure these evil influences and to drive off the powers of darkness.

The symbolical significance of the colors of precious stones is treated at considerable length by Giacinto Gimma, ("Della storia naturale delle Gemme," Napoli.) who has gathered together a great quantity of material on the subject.

Yellow worn by a man denoted secrecy, and was appropriate for the silent lover; worn by a woman it indicated generosity. Golden yellow was, of course, the symbol of the sun and of Sunday. The precious stone was the chrysolite or the yellow jacinth. The animal connected with the color was the lion, doubtless from the association of the zodiacal sign Leo with the mid-summer sun. Of the seven ages of man yellow typified adolescence. Roman matrons covered their heads with a yellow veil to show their hope of offspring and happiness. Because garments of this color were a sign of grandeur and nobility, a golden vestment is assigned to the Queen of Heaven as a sign of her pre-eminence, as we read in Psalm xlv, 9: "Upon thy right hand did stand the queen in gold of Ophir." Gimma's explanation of this as referring to the Virgin Mary is in accord with the Catholic exegesis of his time.

White signified for men friendship, religion, integrity; for women, contemplation, affability, and purity. It was associated with the moon and with Monday and was represented by the pearl. The animal having an affinity with white was quite naturally the ermine. The mystic number was seven, and white was the color of infancy. Among the ancients white was a sign of mourning and sadness, and the Greek matrons attired themselves in white on the death of their husbands. Gimma states that in his time, in Rome, widows used to wear white as mourning for their husbands, while throughout Italy a white band worn around the head was a sign of widowhood.

Red garments on a man indicated command, nobility, lordship, and vengeance; on a woman, pride, obstinacy, and haughtiness. This was the color of the planet Mars and of Tuesday; it was represented by the ruby. Why the lynx should have been selected as the animal for red is rather difficult to understand, but, as the most vivid color, the choice of red as a type of full manhood need not surprise us. Its number was the potent nine, three multiplied by itself. The ancients covered with a red cloth the biers of those who had died valiantly in battle, as Homer (Il., xxiv, 795, 796.) shows when he relates that the brothers and companions of Hector covered the urn containing the hero's ashes with soft purple (scarlet) robes. Plutarch asserts that the Lacedemonians clothed their soldiers in red to strike terror into the hearts of their enemies and to manifest a thirst for blood. We might perhaps say much the same of the English "red-coats" to-day. The Italian code of criminal laws known as the "Digesto Nuovo" was bound in red, to signify that a bloody death awaited thieves and murderers.

Blue on a man's dress indicated wisdom and high and magnanimous thoughts; on a woman's dress, jealousy in love, politeness, and vigilance. Friday and Venus were represented by blue, and the celestial-hued sapphire was the stone in which this color appeared in all its beauty. Blue was a fit symbol of the age of childhood, but it is less easy to understand the choice of the goat as the animal associated with the color. The significant number was six. Natural science, the contemplation of the heavens and of the heavenly bodies, and the study of stellar influences were all typified by blue.

Green signified for men joyousness, transitory hope, and the decline of friendship; for women, unfounded ambition, childish delight, and change. The early verdure of spring might be regarded as at once a symbol of hope and of eventual disappointment, for it must soon pass away. Mercury, and Wednesday, the day of Mercury, were both typified by green, the sly fox being selected as the animal is sympathy with the wily god. The typical green stone is the emerald, youth is the age of man represented by the color, and five the magic number expressing it. In ancient times green was used in the case of those who died in the flower of youth, an emerald being sometimes placed on the index-finger of the corpse, as a sign that the light of hope was spent, for the lower part of the torches used in religious ceremonies was marked with green. Fulvius Pellegrinus relates that, in the tomb of Tullia, the dearly-beloved daughter of Cicero, there was found an emerald, the most beautiful that had ever been seen. This passed into the hands of the Marchesana di Mantova, Isabella Gonzaga de Este. In Italy the graves of young virgins and of children were covered with green branches. When the Codex Justinianus was rediscovered and added to the other Pandects, it was bound in green to signify that these laws were rejuvenated.

Black for men means gravity, good sense, constancy, and fortitude; for young women, fickleness and foolishness, but for married women, constant love and perseverance. The planet Saturn and Saturday are denoted by black. Strange to say, the diamond, the white gem par excellence, was selected to represent this sombre hue. Perhaps to offset this the animal chosen was the hog. As black was a mourning color, we need not be surprised that it typified decrepitude. The number eight, the double square, was supposed to have some affinity with black. Black is a symbol of envy, for the thoughts which aim at another's injury cloud the soul and afflict the body. The book of laws treating of dispositions made in view of death was bound in black. The sinister significance of black is well illustrated by what is told of the ruthless Tartar Tamerlane. When he attacked a city, he caused a white tent to be pitched for himself on the first day of the siege, as a sign that mercy would be shown to the inhabitants if they immediately surrendered; on the second day a red tent was substituted, signifying that if the city yielded, all the leaders would be put to death; on the third day, however, a black tent was raised, an ominous signal that no mercy would be shown and that all the inhabitants would be slaughtered.

Violet for a man denoted sober judgment, industry, and gravity; for a woman, high thoughts and religious love. It was the color of the planet Jupiter and of Thursday. As with blue, the sapphire was conceived to present violet most attractively. That the bull should be selected as the animal represented by this color probably arose from some mythological connection with Jupiter, possibly the myth of Europa and the bull. Violet was the color of old age and was associated with the number three.

The influence of color upon the nerves has been noted by some of the leading authorities on hypnotism. For example, Dr. Paul Ferez, finding that red light is stimulating and blue-violet calming, suggests that those who treat patients by means of hypnotism should have two rooms for their reception. In one of these rooms the curtains, wall-paper, chair-coverings, etc., would be red, while in the other they would be of a violet-blue hue. Those suffering from a lack of will-power or from lassitude and depression are to be received in the red room, and those who are a prey to over-excitability are introduced into the blue room. Moreover, according to Dr. Ferez, the sedative qualities of the violet-blue can be utilized in inducing the hypnotic state. For this purpose he recommends a violet-blue disk, which is to be rotated rapidly before the eyes of the patient, the movement serving to attract and hold his gaze better than any immovable object would do. (Paper by Dr. Paul Ferez in the Revue de l'Hypnotisme, Paris, No. 10, April, 1906, p. 306.)