IX Birth-Stones
Project Gutenberg EPUB3 edition
Kunz, George Frederick
THE origin of the belief that to each month of the year a special stone was dedicated, and that the stone of the month was endowed with a peculiar virtue for those born in that month and was their natal stone, may be traced back to the writings of Josephus, in the first century of our era, and to those of St. Jerome, in the early part of the fifth century. Both these authors distinctly proclaim the connection between the twelve stones of the high-priest’s breastplate and the twelve months of the year, as well as the twelve zodiacal signs. Strange to say, however, in spite of this early testimony, we have no instance of the usage of wearing such stones as natal stones until a comparatively late date; indeed, it appears that this custom originated in Poland some time during the eighteenth century. The reason for this seems to have been that the virtues attributed to each particular stone, more especially the therapeutic virtues, rendered it necessary to recommend the wearing of one or the other, according to the disease from which the person was suffering, for his natal stone might not have the power to cure his particular ailment, or might not bring about the fulfilment of his dearest wish. In other words, the belief in the special virtues of the stone was paramount, and it was long before the mystic bond between the stone of the month and the person born in that month was fully realized.
The order in which the foundation stones of the New Jerusalem are given in the book of Revelation determined the succession of natal stones for the months. The first stone was assigned to St. Peter and to the month of March, to the leader of the apostles and to the month of the spring equinox; the second to the month of April; the third to May, etc. When, however, many centuries later,—probably in Poland, as we have stated,—with the aid of the rabbis or the Hebrew gem traders, the wearing of natal stones became usual, certain changes had been made in this order and some stones not mentioned among those of the breastplate, or of the New Jerusalem, were substituted for certain of these,—notably the turquoise for the month of December, the ruby for July, and the diamond for April. In modern times the turquoise has become the stone for July while the ruby has been assigned to December.
There is some evidence in favor of the theory that at the outset all twelve stones were acquired by the same person and worn in turn, each one during the respective month to which it was assigned, or during the ascendancy of its zodiacal sign. The stone of the month was believed to exercise its therapeutic or talismanic virtue to the fullest extent at that period. Perhaps the fact that this entailed a monthly change of ornaments may rather have been a recommendation of the usage than the reverse.427
It seems highly probable that the development of the belief in natal stones that took place in Poland was due to the influence of the Jews who settled in that country shortly before we have historic notice of the use of the twelve stones for those born in the respective months. The lively interest always felt by the Jews regarding the gems of the breastplate, the many and various commentaries their learned men have written upon this subject, and the fact that the well-to-do among the chosen people have always carried with them in their wanderings many precious stones, all this seems to make it likely that to the Jews should be attributed the fashion of wearing natal stones.
However, whether this conjecture be correct or erroneous, the fashion once started became soon quite general and has as many votaries to-day as ever before. There can be no doubt that the owner of a ring or ornament set with a natal stone is impressed with the idea of possessing something more intimately associated with his or her personality than any other stone, however beautiful or costly it may be. If it be objected that this is nothing but imagination due to sentiment, we must bear in mind that imagination is one of the most potent factors in our life; indeed, the great Napoleon is quoted as saying that it ruled the world.
Probably the very earliest text we have in which the stones of the breastplate are positively associated with the months of the year is to be found in the “Antiquities of the Jews,” by Flavius Josephus.428 This runs as follows:
Moreover, the vestments of the high-priest being made of linen signifies the earth, the blue denotes the sky, being like lightning in its pomegranates, and resembling thunder in the noise of the bells. And as for the ephod, it showed that God had made the universe of four elements, and as for the gold interwoven in it, I suppose it related to the splendor by which all things are to be enlightened. He also appointed the breastplate to be placed in the middle of the ephod to resemble the earth, for that occupies the middle place in the world; and the girdle, which encompassed the high priest about, signifies the ocean, for that goes about everything. And the two sardonyxes that were in the clasps on the high-priest’s shoulders, indicate to us the sun and the moon. And for the twelve stones, whether we understand by them the months, or the twelve signs of what the Greeks call the zodiac, we shall not be mistaken in their meaning. And for the cap, which was of a blue color, it seems to me to mean heaven, for otherwise the name of God would not have been inscribed upon it. That it was also adorned with a crown, and that of gold also, is because of the splendor with which God is pleased.
This passage was adapted by St. Jerome, three hundred years later, in his letter to Fabiola,429 and undoubtedly laid the foundation for the later custom of wearing one of these stones as a natal or birth-stone for a person born in a given month, or for an astral or zodiacal stone for one born under a given zodiacal sign. As we see, both uses are indicated by the passage of Josephus. In the later centuries, as the book of Revelation, which was generally less favored at the outset than the other parts of the New Testament, became a subject of devout study, and a mine of mystical suggestions, the twelve foundation stones (Rev. xxi, 19) of the New Jerusalem largely took the place of the stones of the breastplate. While this list of foundation stones is unquestionably based upon the much earlier list of the stones adorning Aaron’s breastplate, the ordering differs considerably and there are some changes in the material; possibly many, if not all, of these differences may be due to textual errors or to a transcription from memory.
That the foundation stones were inscribed with the names of the apostles is expressly stated (Rev. xxi, 14), but it was not until the eighth or ninth century that the commentators on Revelation busied themselves with finding analogies between these stones and the apostles. At the outset, the symbolism of the stones was looked upon from a purely religious standpoint. Few of the early fathers—we may except Epiphanius—thought or cared much for the stones themselves, or knew much of them; but, in time, their natural beauty became more and more highly developed as the lapidarian art demanded better cut and choicer material, their supposed virtues came to the fore, and the symbolism was strengthened and emphasized by a reference to their innate qualities and also to their peculiar powers. The fact that this part of the tradition was rather of pagan than of Christian origin probably contributed to render it less attractive to the early Christians, so that it was not until Christianity had become practically universal in the Greek and Roman world and the opposition to pagan traditions, as such, was weakened and, indeed, largely forgotten, that the virtues of the stones were made prominent, and certain parts of these superstitions were retained, as were some of the pagan ceremonies in the Christian religion.
One of the earliest writers to associate directly with the apostles the symbolism of the gems given as foundation stones of the New Jerusalem by St. John in Revelation xxi, 19, is Andreas, bishop of Cæsarea. This author was at one time assigned by critics to the fifth century A.D.,430 but more recent investigation has shown that he probably belonged to the last half of the tenth century. His exposition reads as follows:431
The jasper, which like the emerald is of a greenish hue, probably signifies St. Peter, chief of the apostles, as one who so bore Christ’s death in his inmost nature that his love for Him was always vigorous and fresh. By his fervent faith he has become our shepherd and leader.
As the sapphire is likened to the heavens (from this stone is made a color popularly called lazur), I conceive it to mean St. Paul, since he was caught up to the third heaven, where his soul was firmly fixed. Thither he seeks to draw all those who may be obedient to him.
The chalcedony was not inserted in the high-priest’s breastplate, but instead the carbuncle, of which no mention is made here. It may well be, however, that the author designated the carbuncle by the name chalcedony. Andrew, then, can be likened to the carbuncle, since he was splendidly illumined by the fire of the Spirit.
The emerald, which is of a green color, is nourished with oil, that its transparency and beauty may not change; we conceive this stone to signify John the Evangelist. He, indeed, soothed the souls dejected by sin with a divine oil, and by the grace of his excellent doctrine lends constant strength to our faith.
By the sardonyx, showing with a certain transparency and purity the color of the human nail, we believe that James is denoted, seeing that he bore death for Christ before all others. This the nail by its color indicates, for it may be cut off without any sensible pain.
The sardius with its tawny and translucent coloring suggests fire, and it possesses the virtue of healing tumors and wounds inflicted by iron; hence I consider that it designates the beauty of virtue characterizing the apostle Philip, for his virtue, animated by the fire of the Holy Spirit, cured the soul of the wounds inflicted by the wiles of the devil, and revived it.
The chrysolite, gleaming with the splendor of gold, may symbolize Bartholomew, since he was illustrious for his divine preaching and his store of virtues.
The beryl, imitating the colors of the sea and of the air, and not unlike the jacinth, seems to suggest the admirable Thomas, especially as he made a long journey by sea, and even reached the Indies, sent by God to preach salvation to the peoples of that region.
The topaz, which is of a ruddy color, resembling somewhat the carbuncle, stops the discharge of the milky fluid with which those having eye-disease suffer. This seems to denote Matthew, for he was animated by a divine zeal, and, his blood being fired because of Christ, he was found worthy to enlighten by his Gospel those whose heart was blinded, that they might like new-born children drink of the milk of the faith.
The chrysoprase, more brightly tinged with a golden hue than gold itself, symbolizes St. Thaddæus; the gold (chrysos) symbolizing the kingdom of Christ, and the prassius, Christ’s death, both of which he preached to Abgar, King of Edessa.
The jacinth, which is of a celestial hue, signifies Simon Zelotes, zealous for the gifts and grace of Christ and endowed with a celestial prudence.
By the amethyst, which shows to the onlooker a fiery aspect, is signified Matthias, who in the gift of tongues was so filled with celestial fire and with fervent zeal to serve and please God, who had chosen him, that he was found worthy to take the place of the apostate Judas.
Some theologians were opposed to the assignment of the foundation stones to the apostles, for they held that only Christ himself could be regarded as the foundation of his Church. Hence the symbolism of these stones was made to apply to Christ alone, the color of the stone often guiding the commentator in his choice of ideas denoted by the different gems. Thus, one writer, applying all the meanings to Christ, finds that the greenish Jasper denotes satisfaction; the sky-blue Sapphire, the soul; the bright-red Chalcedony, zeal for truth; the transparent green Emerald, kindness and goodness; the nail-colored Sardonyx, the strength of spiritual life; the red Sardius, readiness to shed His blood for the Church; the yellow Chrysolite, the excellence of His divine nature; the sea-green Beryl, moderation and the control of the passions; the glass-green Topaz (chrysolite?), uprightness; the harsh-colored Chrysoprase, sternness towards sinners; the violet or purple Jacinth, royal dignity, and, lastly, the purple Amethyst, with a touch of red, perfection.432
Andreas of Cæsarea freely recognizes his indebtedness to the much more ancient source, St. Epiphanius, bishop of Constantia in Cyprus, who died in 402 A.D., and who wrote a short but very valuable treatise on the stones of the breastplate, noting in several cases the therapeutic and talismanic virtues of these stones and giving his opinion as to the order in which the names of the tribes were inscribed upon them.433 As the foundation stones of Revelation are rightly called “apostolic stones,” so those of the breastplate merit the designation of “tribal stones,” as well as that of astral stones; indeed, the Jews of medieval times definitely associated the tribes with the zodiacal signs in the following order:
Judah
Aries
Issachar
Taurus
Zebulun
Gemini
Reuben
Cancer
Simeon
Leo
Gad
Virgo
Ephraim
Libra
Manasseh
Scorpio