THE OPAL IN ASTRO-PHILOSOPHY: PETRUS ARLENSIS DESCRIBES THE OPAL: PLINY’S POETICAL OPINION: THE PAEDEROS CHILD BEAUTIFUL AS LOVE: THE ORPHAN: ROMAN SENATOR AND HIS OPAL: OPHTHALMIOS THE EYE STONE: OPINION OF MEDIAEVAL WRITERS: THE BAY TREE: ALBERTUS MAGNUS AND THE OPALS THAT SPARKLED IN DARKNESS: THE ZODIACAL SIGN OF ROYALTY AND THE OPAL: KERAUNIOS OR THE THUNDER STONE: THE BEAUTY STONE: THE STONE OF HOPE, ACHIEVEMENT AND LOVE: THE LARGE HUNGARIAN OPAL: AUSTRALIAN OPAL FIELDS: SIR DAVID BREWSTER’S THEORY OF COLOURS IN OPALS: DR. G. F. H. SMITH’S EXPLANATION: SENSITIVENESS OF THE OPAL: SUPERSTITION AGAINST OPAL: THE PLAGUE AT VENICE: THE “BURNING OF TROY”: THE CRIMEAN WAR: SCOTT’S ANNE OF GEIERSTEIN: COMBINATIONS OF DIAMONDS AND OPALS: DESTRUCTION OF THE VANITIES AT FLORENCE: STORY OF THE OPAL OF ALFONZO XII OF SPAIN: A CHOLERA STONE FATAL TO THE KING AND TO ALL WHO RECEIVED IT FROM HIM ACCORDING TO ASTROLOGICAL SCIENCE: THE BARON’S OPAL OF FORTUNE.

OPAL

The word “opal” is derived from the Latin OPALUS, and is identified with the Sanscrit UPALA, a precious stone. It appears under the forms opale, opall, opalle, opalis, ophal.

This beautiful inimitable gem is a hydrous silica, and is allied to the non-metallic minerals of the agate family from which, however, it differs in brilliancy, lustre and degree of hardness. It is sensitive to the action of strong chemicals and does not present, like other minerals, crystalline form. As a gem of the Sun it exhibits flows of fire like the sun at midsummer—as a gem of Venus its delicate beauty radiates her colourful charms, and as a gem of Uranus its refusal to submit to the all-embracing law of mineral structure harmonizes with the iconoclastic character of that planet according to astro-philosophy. Ancient and modern poets unite in singing the praises of the opal. Onomacritus, known as the religious poet of the ancient Greeks, over 2,400 years ago wrote that “the delicate colour and tenderness of the opal reminded him of a loving and beautiful child.” Joshua Sylvester (16th century) writes of “the opal-coloured morn,” and the poet Campbell of a time when “the opal morn just flushed the sky,” thus echoing William Drummond of Hawthornden’s:

Emerson writes of the “opal-coloured days,” and Poe with true poetic fancy sees even the air opal tinted:

Shakespeare in “Twelfth Night” links the mind of the Duke with the opal (written “opall” in early editions). Boetius, Cardanus and a host of writers pay their tributes to the “orphan” of the Greeks, and Petrus Arlensis writes: “The various colours in the opal tend greatly to the delectation of the sight; nay, more, they have the greatest efficacy in cheering the heart, and the inward parts especially rejoice the eyes of the beholders. One in particular came into my hands in which such beauty, loveliness and grace shone forth that it could truly boast that it forcibly drew all other gems to itself, while it surprised, astonished and held captive without escape or intermission the hearts of all who beheld it. It was of the size of a filbert and clasped in the claws of a golden eagle wrought with wonderful art; and had such vivid and various colours that all the beauties of the heavens might be viewed within it. Grace went out from it, majesty shot forth from its almost divine splendour. It sent forth such bright and piercing rays that it struck terror into all beholders. In a word it bestowed upon the wearer the qualities granted by Nature to itself, for by an invisible dart it penetrated the souls and dazzled the eyes of all who saw it: appalled all hearts, however bold and courageous: in fine, it filled with trembling the bodies of the bystanders and forced them by a fatal impulse to love, honour and worship it. I have seen, I have felt, I call God to witness: of a truth such a stone is to be valued at an inestimable amount.”

Turning back again, we read Pliny’s poetical opinion that “the opal is made up of the glories of the most precious gems which make description so difficult. For amongst them is the gentler fire of the ruby, the rich purple of the amethyst, the sea-green of the emerald, glittering together in union indescribable. Others by the intensity of their hues equal all the painter’s colours, others the flame of burning brimstone or of fire quickened by oil.” In admiration the Romans called the gem Cupid-Paederos, child beautiful as love, and it was also known as Orphanus, the orphan, because of its isolated glory. Leonardus wrote that it partook of all the virtues of those stones whose colours it showed, and Porta said that it not only drove away despondency but malignant affections also. So highly valued was the stone in the ancient world that the Roman Senator Nonius, who wore an opal ring worth 20,000 sesterces, preferred to be exiled by Marcus Antonius, who wished to purchase it to present to the Egyptian Queen Kleopatra, to giving it up. This famous ring was some few years back discovered in the tomb of the firm-willed senator of old Rome.

Opal was called OPTHALMIOS or Eye Stone in the Middle Ages, and in the time of Queen Elizabeth it was written ophal and opall. Our “Rare” Ben Jonson writes of an opal “wrapped in a bay leaf in my left fist to charm their eyes with.” The opal—ophthalmis lapis—was famous as an eyestone, taking precedence over the emerald and all gems credited with such virtue. It was advised by mediaeval writers that it be wrapped in a bay leaf to sharpen the sight of the owner and to blunt that of others with whom he came in contact: hence also its reputed virtue of bestowing the gift of invisibility which earned it the name “Patronus furum,” the patron of thieves.

The Bay tree is identified in astro-philosophy as a tree of the Sun and the zodiacal Leo (House of the Sun), and is an ancient recognized charm against evil forces, thunder, lightning and the afflictions of Saturn which is the heavenly symbol of darkness, as the Sun is the heavenly symbol of light. Albertus Magnus, regarding the opal as a symbol of the loveliness of light, says that “at one time, but not in our age, it sparkled in the dark.” The zodiacal Leo or Lion is the ancient recognized sign of royalty and old writers say that kingly government was established on the earth in the Leonine age. Alluding to the great translucent opal in the Crown of the Holy Roman Empire, Albertus said that it safeguarded the honour of the kings. The stone was always considered to protect the wearer from cholera, kidney troubles, and similar diseases, to soothe the heart, the eyes and the nerves, and to protect from the lightning stroke. The belief in its power to ward off lightning was universal in the ancient world when amongst the people it was believed to have fallen from the heavens during thunder storms—hence its old name, KERAUNIOS, Thunder Stone, amongst the Greeks, and CERAUNIUM amongst the Romans. The opal was essentially the stone of beauty, which coveted gift it bestowed upon the wearer who, however, must have entered earth life with the Sun in Leo (approximately between July 24th and August 24th), Libra (September 24th to October 24th) or Aquarius (January 21st to February 19th). It favoured children, the theatre, amusements, friendships, and the feelings. Held between the eyes it gave proper direction to the thoughts. Held in the left hand and gazed upon it favoured the desires. It is the stone of hope and achievement and has been truly described as the “gem of the gods.” Above all, it is a stone of love, but if the lover be false its influence is reversed, and the opal proves a sorry gem for faithless lovers. Mr. Emanuel comments on the two fine opals which were amongst the imperial jewels of France, one of which was set in the clasp of the royal cloak. The opal, astrologically considered, is one of the fortunate gems for France. A beautiful uncut opal discovered at Czernovitza in Hungary has been valued at over £50,000 sterling; this specimen, in length 5 inches by 2½ and weighing 3,000 carats, was placed in the Museum of Natural History at Vienna. The mines at Czernovitza are known to have been worked over 500 years ago, and at a more remote period they no doubt supplied the ancient world. There is little doubt, however, that the wonderful opals from Australia’s fields have eclipsed anything yet found. The White Cliffs, the Lightning Ridge, and the newer field out North West are responsible for some of the most beautiful gems that have ever been unearthed. A kangaroo hunter accidentally discovered the White Cliffs field in New South Wales over 40 years ago whilst following the trail of a kangaroo. Rich “blacks” were discovered later in the iron sandstone of Lightning Ridge (New South Wales) and the new fields North West of Tarcoola are yielding white and light varieties. Opal country is dry and dreary and the diggers deserve all they find. Sir David Brewster’s theory of the colour blends which flash from an opal is that “the stone is internally traversed with undulating fissures of microscopic minuteness upon which refraction and decomposition of light takes place. The variations in the nature of these minute cavities cause the appearance of the opal to vary considerably, and the different effects of colour thus produced are technically known as the pattern of the gem.” Hauy held that colour in the opal is caused by thin films of air which fill the interior cavities. Dr. G. F. Herbert Smith writes “that the colouration is not due to ordinary absorption but to the action of cracks in the stone. This is shown by the fact that the transmitted light is complementary to the reflected light; the blue opal, for instance, is a yellow when held up so that light has passed through it.... Opal differs,” he says, “from the rest of the principal gem stones in being not a crystalline body but a solidified jelly, and it depends for its attractiveness upon the characteristic play of colour known, in consequence, as opalescence which arises from a peculiarity in the structure. Opal is mainly silica (SiO₂) in composition, but it contains in addition an amount of water, thereby differing slightly in refractivity from the original substance. The structure not being quite homogeneous, each crack has the same action upon light as a soap-film and gives rise to precisely similar phenomena: the thinner and more uniform the cracks, the greater the splendour of the chromatic display, the particular tint depending upon the direction in which the stone is viewed. The cracks in certain opals are not filled up, and therefore contain air.” The opal is a very sensitive gem and should not be put near strong acids nor greasy substances. The heat of the body improves its lustre for the opal is essentially a stone to be worn, but it is unsafe to put these gems near liquids or to submit them to fire.

Perhaps against no other gem has the bigotry of superstitious ignorance so prevailed as against the wonderful opal. The reason for it dates no further back apparently than the 14th century. It was at this time that the dreaded “Black Death” was carrying off thousands of people in Europe. The year 1348, an astrological Martial sub-cycle, saw Venice assailed by destructive earthquakes, tidal waves and the Plague. The epidemic in a few months carried off two-fifths of the population of the city, sparing neither rich nor poor, young nor old. It is said that at this time the opal was a favourite gem with Italian jewellers, being much used in their work. It is further said that opals worn by those stricken became suddenly brilliant and that the lustre entirely departed with the death of the wearer. Story further tells that the opal then became an object of dread and was associated with the death of the victim. On the astrological side it might be considered that the city of Venice comes under the watery Cancer, and can not, therefore, claim the opal as its jewel. But, admitting that under special and rare conditions certain diseases can influence the opal if worn on the body, the truth of the Venice story can be reasonably doubted. Another theory of the origin of the superstition is traced to the rigorous order of Jerome Savonarola for the destruction of the vanities in the year 1497. This remarkable ascetic caused great bonfires to be lighted in various parts of the city of Florence, the largest in the Piazza Signoria. Into these bonfires were thrown works of art and beauty, pictures, statues, jewels and beautiful raiment. The fanatical spirit so gained ground owing to the impassioned preaching of Savonarola that women threw into the flames their costliest jewels, authors their books, students their manuscripts and poets their love songs. It is assumed that the opal, the gem and symbol of the beauties of Venus came under the ban and history relates that the most direct onslaughts were made on the pictures and statues of the goddess. Astrologers show that the year 1497 was dominated by the planet of war and destruction, Mars, and it is deplorable that so many wonderful works were sacrificed during that unhappy period. The artist F. W. W. Topham, R. I., has illustrated this event in his well-known painting “Renouncing the Vanities by Order of Savonarola,” which picture now hangs in the Art Gallery of New South Wales. There is also a story which tells that during the Crimean War the gem was popular with the English army and navy and that it was found in quantities on the bodies of the slain. Sir Walter Scott’s romantic story “Anne of Geierstein,” was a powerful influence in advancing the superstition against the opal, although Sir Walter alluded to the Mexican Opal known as Girasol and not to the better known precious opal. Even whilst these superstitions were growing, to dream of an opal was regarded as an indication of great possessions, of the favour of ladies and people of influence, and—if the stone be dark—of sudden happenings of a beneficial nature. Another modern superstition says that it is not fortunate to set opals and diamonds together in jewels. Quabalistically, opals and diamonds are set down as particularly harmonious stones which, in combination, have a fortunate and positive-negative influence. Astrologically the diamond is attached to the zodiacal signs Aries, Leo and Libra, and the opal to Leo, Libra and Aquarius, and astrology is absolutely the special guide to talismanic construction. The fine fiery opal known as the “Burning of Troy” given by Napoleon to Josephine, is sometimes quoted as evidence of the evil power of opals. It rather provides peculiar testimony in favour of old talismanic lore. This opal was lost and has never since been found—opals would be regarded as unfavourable for Josephine. Passing over trivial superstitions containing neither truth nor interest, we may conclude this section with the story of the Grand Opal of Spain which is said to have brought disaster to the Royal House:

When Alfonzo XII of Spain was a wanderer he was deeply attracted by, and fell in love with the Comtesse de Castiglione, then a reigning beauty. Immediately Alfonzo became King the Comtesse hastened to greet him with the fond desire to become his queen. However, when she found that he had set her aside and married the Princess Mercedes her anger knew no bounds. Resolving on revenge, she sent Alfonzo “in memory of the old friendship” a wedding present of a magnificent opal set in a filagree ring of gold—a style of mounting in great favour with the jewellers of Spain. The delicacy of the jewel so attracted Queen Mercedes that she asked the King to grace her finger with it. A few months afterwards she died of a mysterious illness and Alfonzo gave the ring so admired by her to Queen Christina, his grandmother, whose death shortly followed. The King then presented the ring to his sister the Infanta Maria del Pilar, who was in turn carried off by the same mysterious illness. A few weeks afterwards the King’s sister-in-law, the youngest daughter of the Duc and Duchesse de Montpensier, who had asked the King for the ring also died. The King then placed it on his own finger and in a little time the same illness which had affected his wife and kindred ended his troubled earth-life. After these calamities Queen Christina attached the ring to a chain of gold and set it about the neck of the patron saint of Madrid, the Virgin of Alumdena. Ancient philosophy would have depreciated the wearing or giving of an opal by Alfonzo XII of Spain. At this time it must be remembered that cholera was raging throughout Spain—over 100,000 people died of it during the summer and autumn of 1885. It attacked all classes from the palace of the King to the hut of the peasant, some accounts giving the death estimate at 50% of the population. It would be as obviously ridiculous to hold the opal responsible for this scourge as it was to do so in the case of the previously noted plague at Venice. All that may be said is that in this case the opal was not a talisman of good for King Alfonzo XII of Spain and to those who received it from his hand, and that in the philosophy of sympathetic attraction and apathetic repulsion man, stones, metals and all natural objects come under the same law. We may wonder why the King gave this opal from one of his relatives to another, but the reputation of the opal as a charm against cholera (noted in the previous chapter) must have reached the King who, in the intensity of his worry, used a charm which according to the ancients would act in his hands fatally instead of beneficially.

In the month of October, 1908, a French Baron sitting in the stalls of the London Pavilion during Mr. and Mrs. Marriott’s thought-reading exhibition, handed an opal of uncommon form to Mr. Marriott. Mrs. Marriott seated on the stage with bandaged eyes gave an accurate description of it, saying further that it was a stone of fortune to the owner who was about to become the possessor of over half a million of money. The Baron, who resided in London for the past 18 years, when interviewed by a representative of the “Evening News” on the following day, communicated the fact that a few days before, he had, through the death of a relative in Mexico become heir to property worth over £500,000, yielding an income of £25,000 per annum. The Baron who cherished the opal as his sympathetic luck stone, told the newspaper man that: