The magic of jewels and charms

The strange decadence and the conventionalized but profoundly earnest quality of Early Christian art is shown in an intaglio gem of the Royal Numismatic Museum in Munich. This is a dark-hued sardonyx of two layers, and the engraving depicts a bearded Christ, enthroned and accompanied by the twelve apostles, six on either side, four of them beardless while the remainder are represented with beards; they are all gazing reverently upon the central figure, behind whose head appear the arms of the cross and above them the letters I̅C̅ X̅C̅ Ἰησοῦς Χριστός.[523] Another somewhat similar Early Christian gem is a cameo cut in a sardonyx of three layers, the groundwork being a brownish-black, and the figures of a light-bluish hue, the upper parts yellowish-brown. Here also we have an enshrined Christ; above his head two angels hold a diadem. This is of superior workmanship to the intaglio gem just described.[524] There is a sardonyx cameo showing a rude figure of the Prophet Daniel, a lion on either side of him, and inscribed with his name in Greek letters. This is of Byzantine workmanship.[525]

The reliquarium of Wittekind, now in the Kunstgewerbe Museum at Berlin, is considered to be probably the most important specimen of early Frankish goldsmith-work that has been preserved, and is richly set with precious stones, some of these being ancient gems. This is one of a number of cases where engraved stones of Pagan times were used in the adornment of ornamental objects destined for Christian religious use. The upper edge shows a row of entwined animal figures, and the front side has medallions with primitive bird forms in cloisonné enamel; on the reverse side are very rudely executed repoussé figures of saints. This work is assigned to the latter part of the eighth century A.D., and is conjectured to have been a gift from Charlemagne to the Saxon King Wittekind, on the occasion of the latter’s conversion to Christianity in the year 807. It was long preserved in Wittekind’s foundation at Enger near Herford, to which he had bequeathed his treasures; in 1414 it was removed for safe-keeping to the Johanniskirche at Herford, where it remained until 1888, when it came into the possession of the Berlin Kunstgewerbe Museum. This precious example of the earliest German work has the form of a small portable satchel, in which could be placed those sacred relics the owner might wish to bear around with him because of the protection they were assumed to afford.[526]

One of the most notable and valuable objects in the famous Guelph treasure that has recently been brought back to the city of Brunswick as a result of the marriage of the Duke of Cumberland’s son, Ernest Augustus, with the daughter of Emperor William II, is an elaborately designed cross, a very fine specimen of the goldsmith’s art of the twelfth century. This with the other treasures was taken by the Duke of Cumberland to Vienna for safe-keeping, at the time he gave up, in 1884, his title as Duke of Brunswick, rather than acknowledge Prussian supremacy. The cross, which has the form of a so-called “crutch-cross,” with rectangular projecting plates at the ends of the arms, was designed to serve as a reliquary, the relic shrine being in a cruciform capsule behind a small, round-edged golden cross set in the midst of the cross proper. The precious relics reposing here were said to be bones of John the Baptist, St. Peter, St. Mark the Evangelist, and St. Sebastian. On the reverse side of the cross are set four large and beautiful sapphires and in the centre is a remarkably brilliant topaz.

While nothing definite is known as to the goldsmith who executed this work, its style and general character suggest the conjecture that it may have been produced by the artist who made the “Crown of Charlemagne” in Vienna, really a crown executed for Conrad III, King of the Germans (1093–1152), the first Hohenstaufen, and also several regal ornaments for the latter’s consort, Queen Gisela. In addition to the jewelled decoration of its reverse, the front of the cross is set with many pearls, and the form of these settings is one of the chief arguments adduced in favor of attributing it to the maker of the so-called “Crown of Charlemagne.”[527]

An ecclesiastical jewel of great beauty and remarkable historic interest is known as the Cross of Zaccaria. It was secured in 1308 by Ticino Zaccaria at the capture of the ancient Greek colonial city Phocæa, in Asia Minor, and was donated to the Cathedral of San Lorenzo in Genoa. This cross is of silver gilt, measuring 64 cm. in height and 40 cm. in width, and within it behind a crystal is set a piece of the Holy Cross. It is profusely adorned with precious and semi-precious stones, there being 57 good-sized rubies, emeralds, sapphires, carnelians, malachites and amethysts, besides 44 smaller stones and 299 of still lesser size. The jewel is now preserved in the Palazzo Bianco, Genoa.

The greatest treasure in the Cathedral of Chartres was the “Sacred Shrine.” It was made of cedar-wood covered with gold plates and was adorned with an immense number of precious stones including diamonds, rubies, emeralds, sapphires, jacinths, agates, turquoises, opals, topazes, onyxes, chrysolites, amethysts, garnets, girasols, sardonyxes, asterias, chalcedonies, heliotropes, etc. These had been presented by many different donors during a long period of time. In front of this shrine was a cross composed entirely of precious stones, comprising 56 rubies and garnets, 18 sapphires, 22 pearls, 8 emeralds, 8 onyxes and 4 jacinths. When this was first placed in the cathedral is not known, but it was there in 1353, as it is noted in an inventory made at that time. An uncut diamond weighing about 45 carats, and constituting one of the adornments of the shrine in 1682, was said to have been the gift of a marshal of France; another ornament, an oval agate engraved with the Virgin and Child, may now be seen in the Louvre where it forms part of the Sauvageot Collection.[528]

That all trace has been lost of an emerald engraved with the head of Christ and given to Pope Innocent VIII by Sultan Bajazet II about the year 1488, is greatly to be deplored, even though there be no truth in the legend or report that it had been engraved in the time of Christ by the order of Tiberius Cæsar. The evidence of two medals with Latin legends and of certain old paintings with English inscriptions of the sixteenth century seems to prove the existence of the gem in the Vatican treasury about the time specified, and it has been conjectured, with some probability, that the emerald had been engraved by a Byzantine artist at some time before 1453, when Constantinople fell into the hands of the Turks, and that this gem formed part of the booty they then secured. A print, often copied photographically and otherwise, purporting to be a representation of this emerald portrait of Christ, has no evidential value, and has either been freely worked up from the details of the spurious letter of Lentulus to Tiberius, giving a personal description of the Saviour, or still more probably from a Rafaelesque type of Christ’s head.[529]

The beads of rosaries, when blessed by the Supreme Pontiff, or by one of the dignitaries of the Church, are considered to be endowed with a certain special virtue in favor of the individual for whom the blessing is imparted. However, should this person loan the beads to another with the intention of making him a partaker of this special blessing, or indulgencing, they lose their virtue. It is prescribed that these beads should be made of stone, glass, or some other durable material not easily broken, in order that the effects of the blessing should not be lost, or perhaps that the object so blessed should be less liable to injury. Various precious stones as well as pearls are used for this purpose, there being generally groups of ten small spheres, each group separated from the other by a larger sphere, the ten smaller beads serving to numerate the paternosters while the large bead is passed through the fingers when a credo has been recited.

A legend very popular in the Middle Ages has been conjectured to be the source of the word “rosary” as applied to a chaplet of beads for counting prayers. This legend tells of a pious youth, who on each and every day wove a garland of roses for the statue of the Virgin in the parish church. His religious zeal soon induced him to become a monk, and as the restrictions and duties of monastic life forced him to discontinue his floral offerings, he was much troubled in conscience, and was only relieved when the abbot told him that by reciting 150 aves at the close of each day, he would please the Virgin as much as by the gift of flowers. The prayers were faithfully said and they eventually became the occasion of a miracle. One evening, as the young monk was traversing a dense forest, it suddenly occurred to him that he had forgotten to recite his aves. He knelt down quickly and began to pray; all at once he saw a radiant and beautiful figure standing before him, and he immediately recognized in it the Blessed Virgin. Graciously she bent over him and drew from his lips one rose after the other, until fifty roses of supernatural beauty lay upon the ground. Of these she then made a garland and placed it upon the head of her faithful servant.[530]

The first literary allusion to rosaries in India is in a Jain treatise written about the beginning of our era. The Prakrit name here employed, ganettiya, is equivalent to the sanscrit ganayitrika, or “counter,” and it is enumerated among the ten utensils of a Brahman ascetic. The other nine are the tridanda-stick, the water jar, the Bramanical thread, the earthen vessel named karotikâ, the bundle of straw used as a seat, the clout, the six-knotted wood, the hook, and the finger-ring. It is said that no mention of rosaries has been found in Indian Buddhist literature.[531]

A splendid ecclesiastical ornament is described in the inventory of the royal treasures in the Château de Fontainebleau made in 1560, on the accession of Charles IX. This was of gold and composed of a crucifix with the figures of the Virgin Mary and St. John. It was “enriched with 41 sapphires, 3 pointed diamonds and 12 balas-rubies,” which served to mark the nails in the cross. The weight of the gold was 25 marks 5 ounces, and the value of the entire object, gold and precious stones, is given as 2720 écus, or about $6120. The intrinsic value of the gold alone would be about $4240.[532]

The most impressive of the ecclesiastical ornaments in the Spanish churches was the custodia, or monstrance, in which the Holy Eucharist was borne through the streets on Corpus Christi day; indeed, only at this time was the custodia publicly shown. It was in fact a large shrine, generally affecting the form of a church tower. The most ancient example now in existence is in the Cathedral of Gerona. It is of gold, is 1.85 m. (over 6 feet) high, and weighs nearly 66 pounds. This work, in which the architectural style is an ornate Gothic, was completed in 1458 by the goldsmith Francisco de Asís Artau. One of the finest specimens, however, was executed by Enrique d’Arphe for Charles V and is in the Cathedral of Toledo. This custodia measures no less than nine feet in height and is three feet wide. Here also the form is that of a Gothic tower; the cross at the apex was made by the goldsmith Lainez, and is adorned with 86 pearls and 4 large emeralds.

The wife of Marshal Junot, the celebrated Duchesse d’Abrantès, seeks to exonerate her husband and to refute the many charges of spoliation brought against him during and after the French occupation of Spain in 1808 and the succeeding years. For her, Marshal Lannes was a much worse offender, and she asserts that after the siege of Saragossa in 1809, Lannes secured possession of the immensely valuable treasures of the church of Nuestra Señora del Pilar, treasures valued at nearly $1,000,000. On his arrival in Paris, Lannes informed Napoleon that he had brought with him from Spain “a few colored stones of little value,” and was graciously told that he could keep them for himself. The finest jewel of this collection contained 1300 diamonds, nine of which were of great magnitude and value; the jewel was heart-shaped, and had in the centre a dove, typifying the Holy Spirit, with wings extended. It had been given to the church by Doña Barbara de Portugal, Queen of Spain.[534]

About the year 1630 there could be seen in Paris a crucifix a foot and a half high, all of a single piece of yellow amber; on either side were the figures of the Virgin Mary and of St. John respectively, each carved in most excellent style. The writer who gives this information, a lineal descendant of Lodowyk van Berghem, commonly regarded as the first diamond-cutter, tells from hearsay evidence of a marvellous emerald which six hundred years before his time, or about 1060, hung suspended from the top of the nave of the Cathedral of Mainz. It was “as large as half-a-melon,” and was of exceeding brilliance.[535]

The writer of a Bohemian poem on the legend of St. Catherine’s betrothal to Christ, written about 1355, appears to have been, in one part, inspired by the glowing adornment of the Wenceslaus chapel in the cathedral of St. Veit. The poet gives an enthusiastic description of the gorgeous ornamentation of the mystic, imaginary temple in which the betrothal takes place. The pavement is of aquamarine beryl, the walls are studded with diamonds in golden settings, the framework of the windows is alternately of emerald or of sapphire, and the window-panes are not of stained glass, but of precious or semi-precious stones. Some of these are not ill fitted for this use, the transparency of rubies, amethysts, spinels, jacinths, garnets, and similar stones, admitting quite sufficient light; but others mentioned here, such as turquoises, chalcedonys and jaspers, would permit but a dim ray of light to traverse their opaque or semi-opaque substance. It has been conjectured by some that the poet drew his material from the account of the temple of the Holy Grail in the old German legend, probably through a Bohemian version; but as he omits in his enumeration twelve of the stones given in the Grail legend, and adds a number of others, diamond, turquoise, chalcedony, garnet, etc., this literary source is not fully satisfactory.

Rather might it be believed that the splendid decoration of the Wenceslaus chapel and of the Karlstein Castle suggested the vision wrought out by the Bohemian poet, especially as among the stones he mentions which are not in the Grail legend, we have the garnet, so eminently a product of Bohemia.[536]

A peculiar and very interesting facetted diamond of 6³⁄₃₂ carats displays alternate black and white facets and presents the appearance of a clearly defined Greek cross in black outline when viewed by transmitted light. The original crystal, which came from Brazil and weighed 10½ carats, was an octahedron and was of a jet black hue. The expectation was that the result of its cutting would be the production of a black brilliant, but when one of the points of the octahedron had been removed to form the table, it became evident that the black tint was only superficial, the body of the crystal being white. This peculiarity was then utilized by leaving some of the natural black faces of the crystal. This diamond was found to be of excessive hardness, rendering the task of cutting it an exceedingly arduous one. It is now in the possession of one of the Royal Household of Siam.[537]

Among the Buddhist legends current in India in the seventh century A.D. is one referring to the vases offered by the “four kings of heaven” to the Buddha. They first brought four gold vases, but the Buddha declared that one who had renounced the world could not use such costly vases. Silver vessels were then substituted, and were also refused, as were successively vases made of rock-crystal, lapis lazuli, carnelian, amber, ruby and other precious materials. Finally, four stone vases were proffered. These were of violet color and transparent, but the fact that they were not of precious material rendered them acceptable to the Buddha.[538]

The images of Buddha usually bear as adornment a small gem. This is most frequently a moonstone, but occasionally a ruby or some other gem will be used. The reason for this religious use of gems must not be sought only in the idea that precious and costly objects are most fitting as decorations of the sacred images, but it also implies a certain belief in the magic or quasi-sacred character of the gem itself.

This stûpra of precious substances once formed, the gods of paradise strewed and covered it with mandârava and great mandâra flowers. And from that stûpra of precious substances there issued the voice: “Excellent, excellent, Lord Sâkyamuni! thou hast well expounded the Dharmapayârya of the Lotus of the True Law. So is it, Lord; so is it, sugata.”

Some of the most valuable temple treasures in the Island of Ceylon were preserved in a pagoda near the frontiers of the realm of Saula. The report of the gold and jewels accumulated here excited the avidity of the Portuguese, then in control of a considerable part of the island, and finally an energetic attempt was made to gain possession of them. Although the existence of the pagoda was well attested, the Portuguese were ignorant of its exact location in the tract of forest land wherein it stood. The expeditionary force consisted of 150 Portuguese and 2000 Lascars. On nearing the forest they placed themselves under the guidance of a native captured in the neighborhood. He led them through the woodland, traversing it hither and thither, but no pagoda appeared. Suddenly the native exhibited signs of madness, which were at first believed to be simulated, but were later regarded as genuine, on which he was made away with and another native substituted, however, with the same result. One after another five natives showed the same symptoms and were successively put to death, and at last the Portuguese were compelled to abandon this unsuccessful quest. We have here either a remarkable example of fidelity to the temple, or else an instance of the psychic influence of the terror inspired by the risk of violating it. Undoubtedly the priests represented the result as due to supernatural influence, and perhaps really felt justified in doing so.[540]

An official account of the embassy of the Cinghalese monarch Kirti Sri to Siam, in 1750, offers a description of the magnificent pagoda erected over the Sacred Footprint of Buddha, at Swarna Panchatha Maha Pahath. The free use of sapphires and rubies is quite natural, when we consider that some of the finest specimens of these stones are still found in this region:[541]

Above the sacred footstep and made of solid gold was a pagoda supported on suitable pillars, forming a shrine. At the four corners were placed four golden sésat, and from above hung four bunches of precious stones like bunches of ripe areca-nuts in size. On the edge of the roof hung ropes of pearls, and on the point of the spire was set a sapphire the size of a lime fruit. Within and overshadowing the footprint like a canopy, there hung from the middle of the spire a full-blown lotus of gold, in the middle of which was set a ruby of similar size. Chariots, ships, elephants, and horses with their riders, all made of gold, and of a suitable size, were placed on a golden support above the silver pavement. This was hung on wires of gold, to which were hung ornaments set with pearls the size of the nelli fruit, as well as other jewelled ornaments, rings and chains. By some skilful device all this could be moved along the silver pavement.

Recent excavations made by Dr. J. H. Marshall in the Punjab, India, on the site of the ancient city of Taxila, captured by Alexander the Great during his Indian campaign, have brought to light many valuable Buddhist remains, dating from about 2000 years ago. One of the most striking of these is a relic casket taken from a tope of the type called dagoba, this name designating that class of those Buddhist structures designed especially for the reception of relics. This relic casket is of steatite, and contained a golden box within which was a fragment of bone, presumably regarded as a relic of the Buddha; around it were many pearls as well as engraved carnelians and also a number of other precious stones.

A carved sapphire, once in the collection of the Marquess of Northampton, shows a representation of the Hindu divinity, Siva. It is of Indian workmanship and the stone measures 1½ inches in length, 1½ inches in width and ¾ inch in thickness.[542]

One of the writers most familiar with Indian gem-lore recognizes that while the rich and educated Hindus of our day wear diamonds and other gems chiefly as ornaments, in ancient times these brilliant objects were more largely employed in India to enrich the images of the gods, thus rendering the idols more impressive and causing them to be worshipped with more intense fervor. In ancient India gemmed ornaments were believed to bring to the wearer “respect, fame, longevity, wealth, happiness, strength, and fruition”; a list of benefits long enough to satisfy the most exigent. However, as though this were not enough, we are further assured that these gems “ward off evil astral influences, make the body healthy, remove misery and ill-fortune, and wash away sin.”[543]

Ceremony annually observed in the Mogul Empire of weighing the sovereign against precious metals, jewels and other valuable objects, which were distributed as gifts. From “Histoire générale des cérémonies religieuses de tous les peuples du monde,” by Abbé Banier and Abbé Mascrier, Paris, 1741.

The oldest jewel offered to a shrine by an Indian potentate, of which we have certain knowledge, was a magnificent pendant containing a number of precious stones, the gift of Sundara Pandiyan, at a date prior to 1310 A.D. Another magnificent gift was a gorgeous jewelled turban adorned with diamonds, rubies, emeralds and pearls, bestowed in 1623 by Trimal Nayakkan.[544] These gifts or dedications show the prevailing tendency to propitiate the higher powers and insure success in royal enterprises.

The English ambassador, Sir Thomas Roe, sent to the court of Shah Jehangir by King James I, saw the Shah on the day of his great birthday festival when he was weighed against a great variety of objects, jewels, gold, silver, stuffs of gold and silver, silk, butter, rice, fruits, etc. All these things, heaped up on the scale balancing the one in which stood the Shah, were distributed as imperial gifts after the conclusion of the ceremony. Sir Thomas Roe declares that on this occasion (he missed seeing the actual weighing) the monarch was adorned with a great array of jewels, and he adds: “I must confess I never saw at one time such unspeakable wealth,” a testimony of considerable value, for the English Court in the time of James I was one by no means poor in jewels, that sovereign having a great fondness for them. After the ceremony of weighing had been completed, Jehangir enjoyed the spectacle of a procession of twelve troupes of his choicest elephants, each troupe led by a “lord elephant of exceptional stature.” The finest of these had all the plates on his head and breast set with rubies and emeralds, and all the elephants as they neared the Shah saluted him with their trunks.[545]

In Persia the pink and red coral was believed to have acquired its beautiful color after removal from the water, and the odor of the material was said to be a trustworthy means of discriminating between genuine and imitation coral; genuine coral had the smell of sea-water. The Chinese and the Hindus prized this substance very highly, because among them it was used to adorn the images of the gods.[546]

The perforated jade disk called ts’ang pi is still used as the symbol of the deity Heaven (T’ien) in the temple of that divinity at Peking. By a regulation of Emperor K’ien-lung, the proper dimensions of this ceremonial disk were rigidly established; the diameter of the disk proper was set at 6.1 inches, and its thickness at ⁷⁄₁₀ of an inch; the perforation was to have a diameter of ⁴⁄₁₀ of an inch. While the quality of the jade to be employed is not especially determined, the name ts’ang implies jade of a bluish shade. The veined type of stone is regarded as peculiarly adapted for this purpose.[547]

PERFORATED JADE DISK CALLED TS’ANG PI, A CHINESE SYMBOL OF THE DEITY HEAVEN (T’IEN) From Berthold Laufer, “Jade, a Study in Chinese Archæology and Religion,” Chicago, 1912, p. 157. By courtesy of the Author and Field Museum of Natural History, Chicago.

We are apt to regard Tibet as the land least accessible to modern influence of any kind, and that least in touch with any aspect of European civilization. It seems, therefore, not a little strange that at the chief altar of the Royal Chapel in the Dalai Lama’s palace on Potala Hill, Lhasa, the elaborate tse-boum (incense vase or vessel), used by the Buddhist priests in their services, is a product of modern Parisian art, having been made in Paris about ten years ago. The vessel proper, which is carved from several exceptionally large pieces of coral, rests upon a flat, silver-gilt base, ornamented with two dragons, and is crowned with an oval framework of lapis lazuli leaves; upon this framework is a coral statuette of Amitabha, the “Lord of Boundless Light,” revered as the emanation of Adi-Buddha, supported by a lotus flower of white chalcedony. At the apex of the leafy oval rests a representation in white chalcedony of a crescent moon, above is a sun in yellow stone from which springs a coral flame, symbolizing the radiance of wisdom (nada). Although the Dalai Lama was anxious to avail himself of the aid of French art for the embellishment of his altar, he took due precautions that the religious character of the vessel should be properly conceived and maintained, and therefore sent one of his high-priests to Europe to choose the artists best fitted for the execution of the vessel, and this priest took the pains to make a special trip to Leghorn in order to select the coral appropriate for the sacred utensil.

As will be noted, this material, so greatly prized by the Tibetans, is that most prominent in this temple incense vase. The dragons attached to the silver-gilt platter have been placed there to honor the Chinese, and are so affixed that they can be removed when no Chinese representatives are present at the ceremonies. In the older tse-boum, to take the place of which this Paris product was executed, the red-tinted ivory was used where coral appears in the newer vessel. The employment of this color is due to the fact that it is the sacred color of Amitabha.[548]

Within the sacred precincts of the temple of Cho Kang, in Tibet, is a splendid, life-size image of the Buddha formed of solid gold. The priests teach that it is of supernatural origin, and ascribe its execution to the creative energy of Visvakarma, a personification of the formative energy in the cosmos. The gold in this image is, however, not absolutely pure, but is alloyed with silver, copper, zinc and iron, the choice of these four metal alloys being dictated by the significance of the five metals in union as symbols of the world. The precious-stone adornment of this wonderful idol consists of magnificent diamonds, rubies, emeralds and indranila or Indian sapphires. Pearl, turquoise and coral necklaces are twined around the figure’s neck and crossed over its breast; on its head rests a golden coronet with a setting of turquoises, and rising from the rim of this coronet are five upright leaves within each of which is a small golden image of the Buddha; from one of these hangs as a pendant a remarkably fine, large and flawless piece of turquoise, measuring six inches in length and four inches in width. All these splendors lavished upon the image of the great apostle of the simple life show but a poor comprehension of the deep meanings and tendencies of his early career.

Turquoises, usually in connection with gold, belong to the most ancient propitiatory offerings to the gods and demons; in the enumeration, gold always precedes turquois as the more valuable gift. They also figure among the presents bestowed on saints and Lamas by kings and wealthy laymen. The thrones on which kings and Lamas take their place are usually described as adorned with gold and turquoises, and they wear cloaks ornamented with these stones. It may be inferred from traditions and epic stories that in ancient times arrow-heads were made not only of common flint, but also occasionally of turquois to which a high value was attached. A powerful saint, by touching the bow and arrow of a blacksmith, transforms the bow into gold, and the arrow-head into turquois.