IV On the Use of Engraved and Carved Gems as Talismans
Project Gutenberg EPUB3 edition
Kunz, George Frederick
A bat, represented on a heliotrope or bloodstone, gives the wearer power over demons and helps incantations.
A griffin, imaged on a crystal, produces abundance of milk.
A man richly dressed and with a beautiful object in his hand, engraved on a carnelian, checks the flow of blood and confers honors.
A lion or an archer, on a jasper, gives help against poison and cures from fever.
A man in armor, with bow and arrow, on an iris stone, protects from evil both the wearer and the place where it may be.
A man with a sword in his hand, on a carnelian, preserves the place where it may be from lightning and tempest, and guards the wearer from vices and enchantments.
A bull engraved on a prase is said to give aid against evil spells and to procure the favor of magistrates.
A hoopoo with a tarragon herb before it, represented on a beryl, confers the power to invoke water-spirits and to converse with them, as well as to call up the mighty dead and to obtain answers to questions addressed to them.
A swallow, on a celonite, establishes and preserves peace and concord among men.
A man with his right hand raised aloft, if engraved on a chalcedony, gives success in lawsuits, renders the wearer healthy, gives him safety in his travels and preserves him from all evil chances.
The names of God, on a ceraunia stone, have the power to preserve the place where the stone may be from tempests; they also give to the wearer victory over his enemies.
A bear, if engraved on an amethyst, has the virtue of putting demons to flight and defends and preserves the wearer from drunkenness.
A man in armor, graven on a magnet, or loadstone, has the power to aid in incantations and makes the wearer victorious in war.191
An Italian manuscript, dating from the fourteenth century, gives the following talismanic gems:
If thou findest a stone on which is graven or figured a man with a goat’s head, whoever wears this stone, with God’s help, will have great riches and the love of all men and animals.
If a stone be found on which is graven or figured an armed man or the draped figure of a virgin, bound with laurel and having a laurel branch in her hand, this stone is sacred and frees the wearer from all changes and haps of fortune.
When thou findest a stone on which is graven the figure of a man holding a scythe in his hand, a stone like this imparts strength and power to the wearer. Every day adds to his strength, courage and boldness.
Hold dear that stone on which thou shalt find figured or cut the moon or the sun, or both together, for it makes the wearer chaste and guards him from lust.
A jewel to be prized is that stone on which is graven or figured a man with wings having beneath his feet a serpent whose head he holds in his hand. A stone of this kind gives the wearer, by God’s help, abundant wealth of knowledge, as well as good health and favor.
Shouldst thou find a stone on which is the figure of a man holding in his right hand a palm branch, this stone, with God’s help, renders the wearer victorious in disputes and in battles, and brings him the favor of the great.
Finding the stone called jasper, bearing graven or figured a huntsman, a dog, or a stag, the wearer, with God’s help, will have the power to heal one possessed of a devil, or who is insane.
A good stone is that one on which thou shalt find graven or figured a serpent with a raven on its tail. Whoever wears this stone will enjoy high station and be much honored; it also protects from the ill-effects of the heat.192
The original meaning of the swastika emblem has been variously explained as a symbol of fire, of the four cardinal points, of water, of the lightning, etc. Still another explanation is given by Hoernes, who inclines to the belief that it is simply a conventionalized representation of the human form, the lower shaft being the two legs joined together, the two horizontal shafts the outstretched arms, and the upper shaft the trunk of the body; the four projections would stand for the feet, the two hands and the head.193
The Egyptian crux ansata, the hieroglyphic symbol for “life,” and the Phœnician Tau symbol, the “mark” that was to be stamped upon the foreheads of the faithful in Jerusalem (Ezek. ix, 4), and which in Early Christian art was frequently substituted for the usual cross, are both explained by Hoernes in a similar way, and he notes the fact that the swastika symbol does not appear in Egyptian or Phœnician art, drawing the inference that all three symbols originated in the same form or figure.194 To all these symbols were attributed talismanic virtues and they were frequently engraved on precious stones.
MONOGRAM OF THE NAME OF CHRIST ENGRAVED ON AN ONYX GEM. From the “Cabinet de Pierres Antiques Gravées,” of Gorlaeus, Paris, 1778, Pl. XCV.
The so-called “Monogrammatic Cross” was very freely used in work of the fifth century. This is simply a modification of the monogram formed of the first two letters of the name Christ as written in Greek, a device which first appeared after the time of Constantine the Great (d. 337 A.D.). This monogram usually assumed the following form: ☧, and the “Monogrammatic Cross” was made by changing the position of the Greek X (chi), and making one of its arms serve as the straight stroke of the P (r), thus giving the following form: ⳨.
A curious amulet to avert the spell of the Evil Eye is an engraved sard showing an eye in the centre, around which are grouped the attributes of the divinities presiding over the days of the week. Sunday, the dies Solis, is represented by a lion; Monday, the dies Lunæ, by a stag; Tuesday, the dies Martis, by a scorpion; Wednesday, the dies Mercurii, by a dog; Thursday, the dies Jovis, by a thunderbolt; Friday, the dies Veneris, by a snake; and Saturday, the dies Saturni, by an owl.195 In this way the wearer was protected at all times from the evil influence.
Because of its peculiar markings, some of which suggest the form of an eye, malachite was worn in some parts of Italy (e.g., in Bettona) as an amulet to protect the wearer from the spell of the Evil Eye. Such stones were called “peacock-stones,” from their resemblance in color and marking to the peacock’s tail. The form of these malachite amulets is usually triangular, and they were mounted in silver. It is curious to note, as a proof of the persistence of superstitions, that in an Etruscan tomb at Chiusi there was found a triangular, perforated piece of glass, each angle terminating in an eye formed of glass of various colors.196
On many of the amulets fabricated in Italy for protection against the dreaded jettatura, or spell of the Evil Eye, the cock is figured. His image was supposed in ancient times to assure the protection of the sun-god, and his crowing was regarded as an inarticulate hymn of praise to this deity. He was also a type of dauntless courage. All this contributed to make him a defender of the weak, especially of women and children, against the wiles of the spirits of darkness.197 Rostand, in his “Chantecler,” has enlarged this conception, and endows the cock with the proud conviction that it is to his matutinal chant alone that the world owes the daily recurrent phenomenon of the sunrise.
TWO GOLD RINGS SET WITH ENGRAVED ONYX GEMS. On the right, a Victory; on the left, game-cocks. From the Dactyliotheca, of Gorlaeus, Delft, 1601, Figs. 171, 172.
In Palestine the Evil Eye is supposed to be the baleful gift of men who have light-blue eyes, more especially if they are beardless. Possibly this is the power in which some of our blond and beardless “mashers” repose their trust. As an antidote to the awful influence of these blue-eyed monsters, the Syrian women decorated themselves with blue beads, on the principle similia similibus curantur. A maiden with beautiful hair will tie a blue ribbon about it, or wear a blue bead in it, so as to ward off any evil spell cast by the blue eye that might rob her of her fair dower.198
It is a well-known fact that many amulets were made in forms suggesting objects offensive to our sense of propriety. These were thought to protect the wearers by denoting the contempt they felt for the evil spirits leagued against them. Some such fancy may have induced the peculiar designs of certain of the jewels alleged to have been pawned in Paris by the ex-Sultan Abdul Hamid for the sum of 1,200,000 francs ($240,000). According to rumor, these pledges must be sold, as the sultan has failed to redeem them, but the designs are so risqué that they cannot be offered at public sale; therefore the stones and pearls are to be removed and the gold settings are to be melted and sold as metal.
It is not exclusively characteristic of our commercial and industrial age that the price paid for a work of art should influence the popular estimation of the merits of the work, as appears in an anecdote related by Pliny. An emerald (smaragd), upon which was engraved a figure of Amymone (one of the Danaidæ), having been offered for sale in the Isle of Cyprus, at the price of six golden denarii, Ismenias, a flute-player, gave orders to purchase it. The dealer, however, reduced the price and returned two denarii; upon which Ismenias remarked, “By Hercules! he has done me but a bad turn in this, for the merit of the stone has been greatly impaired by this reduction in price.”199
A variant of the design directed by Damigeron to be placed on the emerald is recommended in a thirteenth century manuscript, where we read that to fit this stone for use as a talisman, it should be engraved with the form of a scarab, beneath which there should appear a crested paroquet.200 According to the same manuscript, a jasper should bear the figure of Mars fully armed, or else that of a virgin wearing a flowing robe and bearing a laurel branch. It should then be “consecrated with perpetual consecration.” The mythical author Cethel asserts that the owner of a jasper engraved with the sacred symbol of the cross would be preserved from drowning.201
A curious quid pro quo appears in a fifteenth century treatise on gems written in French. Here, in a list of engraved gems suitable for use as amulets, we read, “If you find a dromedary engraved on a stone with hair flowing over its shoulders, this stone will bring peace and concord between man and wife.” The original Latin text read, “If you find Andromeda on a stone with hair flowing over her shoulders,” etc.202 The translator’s art which could turn Andromeda into a dromedary almost equalled that of the enchantress Circe.
A few even of the early writers were disposed to be sceptical as to the virtues ascribed to these engraved gems, and did not hesitate to assert that the Greek and Roman engravers executed their designs for ornamental purposes rather than to fit the gems for use as talismans. This was undoubtedly true in a large number of cases but nevertheless, as we have seen, many engraved talismans were really cut in the early centuries. As the art of gem engraving was not practised in the Middle Ages, some medieval writers suppose that the engraved talismanic gems current in their time were not works of art, but of nature, and Konrad von Megenberg accepting this view, gave it as his opinion that “God granted these stones their beauty and virtue for the help and comfort of the human race,” adding that when he hoped to receive help from them he in no wise denied the grace of God.203
Damigeron writes of the sard that, if worn by a woman, it is a good and fortunate stone. It should be engraved with a design showing a grape-vine and ivy intertwined.204
A celebrated topaz was that noted by George Agricola as being in the possession of a Neapolitan, Hadrianus Gulielmus.205 It bore, in ancient Roman characters, the terse and pregnant inscription:
Natura deficit,
Fortuna mutatur.