The
significance of the twelve Apocalyptic gems is given by Rabanus Maurus,
Archbishop of Mainz (786-856), in the following words :17
In
the jasper is figured the truth of faith; in the sapphire, the height
of celestial hope; in the chalcedony, the flame of inner charity. In
the emerald is expressed the strength of faith in adversity; in the
sardonyx, the humility of the saints in spite of their virtues; in the
sard, the venerable blood of the martyrs. In the chrysolite, indeed, is
shown true spiritual preaching accompanied by miracles; in the beryl,
the perfect operation of prophecy; in the topaz, the ardent
contemplation of the prophecies. Lastly, in the Chrysoprase is
demonstrated the work of the blessed martyrs and their reward; in the
hyacinth, the celestial rapture of the learned in their high thoughts
and their humble descent to human things out of regard for the weak; in
the amethyst, the constant thought of the heavenly kingdom in humble
souls.
The
origin of the foundation stones named in Revelation xxi, 19, 20, may
be found in the text, Isaiah liv, 11, 12, where we read:
Ο thou afflicted, tossed with tempest, and not comforted, behold, I will lay thy stones with fair colours, and lay thy foundations with sapphires.
And I will make thy windows of agates, and thy gates of carbuncles, and all thy borders of pleasant stones.
As
we see, only three stones are mentioned by name : the sapphire, the
carbuncle, and "agates." This last rendering is quite doubtful, as the
Hebrew word (kod-kodim) signifies shining or gleaming stones,
and their use for windows indicates that they must have been
transparent. It is easy to understand that in later times the twelve
stones of the breastplate, dedicated to the twelve tribes of Israel,
were used to fill out and com-
" Rabani Mauri, " Opera Omnia," vol. v, col. 470. Patrologia Lai, vol. cxi, Parisiis, 1864. 20
