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 T HE E X P ER T ’S VOIC E ® IN W E B D E V E L O P M E N T

HTML5
Quick Markup
Reference
—
Wallace Jackson

www.allitebooks.com
 HTML5 Quick
Markup Reference

Wallace Jackson

www.allitebooks.com
HTML5 Quick Markup Reference
Wallace Jackson
Lompoc, California, USA
ISBN-13 (pbk): 978-1-4302-6535-1 ISBN-13 (electronic): 978-1-4302-6536-8
DOI 10.1007/978-1-4302-6536-8
Library of Congress Control Number: 2016944265
Copyright © 2016 by Wallace Jackson
This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part
of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations,
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or information storage and retrieval, electronic adaptation, computer software, or by similar or
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The use in this publication of trade names, trademarks, service marks, and similar terms, even if they
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While the advice and information in this book are believed to be true and accurate at the date of
publication, neither the authors nor the editors nor the publisher can accept any legal responsibility
for any errors or omissions that may be made. The publisher makes no warranty, express or implied,
with respect to the material contained herein.
Managing Director: Welmoed Spahr
Lead Editor: Steve Anglin
Technical Reviewer: Chád Darby
Editorial Board: Steve Anglin, Pramila Balan, Louise Corrigan, Jonathan Gennick,
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 This book is dedicated to affordable software developers and all the
members of the open source software community who work so diligently
to make professional application development software, as well as audio,
2D, video, and 3D content development tools, freely available to new media
application developers, so that we can utilize these tools to achieve our
creative dreams and our financial goals.
I also dedicate this book to my superstar father, Parker Jackson,
my family, my life-long friends, my content production facility’s neighbors,
and my production team partners, for all their help, assistance,
and those relaxing beautiful sunset BBQs underneath pink
clouds on Point Conception.

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Contents at a Glance

About the Author ........................................................................... xvii

About the Technical Reviewer ........................................................ xix
Acknowledgments .......................................................................... xxi
Introduction .................................................................................. xxiii

■Chapter 1: HTML5 History: The Past and Future of HTML Markup .. 1

■Chapter 2: HTML5 Documents: Top-Level Document Definition...... 5
■Chapter 3: HTML5 Search Engine Optimization: Title and Meta ... 13
■ Chapter 4: HTML5 Referencing: Using External Links
and Favicons.......................................................................................19
■Chapter 5: HTML5 Processing: Using CSS and JavaScript ........... 25
■Chapter 6: HTML5 Parameters: Using Global Tag Attributes ........ 35
■ Chapter 7: HTML5 Navigation: Using an Anchor Tag for
Hypertext ...................................................................................... 45
■Chapter 8: HTML5 Multimedia: Utilizing New Media Assets......... 55
■Chapter 9: HTML5 Organization: Document Content Hierarchy .......67
■Chapter 10: HTML5 Semantics: Defining Semantic Documents ... 73
■Chapter 11: HTML5 Formatting: Publish Text-Based Content ....... 87
■Chapter 12: HTML5 Phrase Tags: Using Non-Standard Text ....... 103
■ Chapter 13: HTML5 Lists: Numbered, Bulleted, and
Definition Lists............................................................................ 111

v
■ CONTENTS AT A GLANCE

■ Chapter 14: HTML5 Tables: Constructing Data in a

Tabular Format ........................................................................... 119
■Chapter 15: HTML5 Forms: Creating Forms Using HTML5 Tags .. 131
■ Chapter 16: HTML5 Position: Document Layout and
Text Spanning ............................................................................. 149
■ Chapter 17: HTML5 Scripting: Using JavaScript and
<script> Tag ............................................................................... 159
■ Chapter 18: HTML5 Styling: Using the <style> Tag to
Access CSS3 ............................................................................... 165
■ Chapter 19: HTML5 Real-Time Rendering: Using the
<canvas> Tag ............................................................................. 171
■ Chapter 20: HTML5 Plug-ins: Using the <object>, <embed>,
<applet>, and <param> Tags: ................................................... 179
■Chapter 21: HTML5 Frames: Using the <iframe> Tag ................. 189
■Chapter 22: HTML5 Ruby Annotations: Using the <ruby> Tag .... 195
■ Chapter 23: HTML 5.1 Tags: Using Menu and
Dialog Design Elements .............................................................. 199
■ Appendix A: NetBeans: Set up an HTML5 Integrated
Development IDE ........................................................................ 205
■ Appendix B: Eclipse: Set up an HTML5 Integrated
Development IDE ........................................................................ 215
■ Appendix C: IntelliJ: Set up an HTML5 Integrated
Development IDE ........................................................................ 229
■ Appendix D: Multimedia: Set up Your New Media Content
Development ............................................................................... 245

Index .............................................................................................. 253

vi
Contents

About the Author ........................................................................... xvii

About the Technical Reviewer ........................................................ xix
Acknowledgments .......................................................................... xxi
Introduction .................................................................................. xxiii

■Chapter 1: HTML5 History: The Past and Future of HTML Markup..... 1

The History of HTML: Reveal Codes Tags ................................................ 1
What Is HTML5? A Definition and Syntax ................................................ 2
More Syntax for HTML5: Using Comments .............................................. 3
The Future of HTML: HTML5 OS and HTML 5.1 ....................................... 3
HTML5 Quick Reference: Tag Categories................................................. 4
Summary ................................................................................................. 4
■Chapter 2: HTML5 Documents: Top-Level Document Definition...... 5
The HTML5 Document Definition Tags..................................................... 5
The !DOCTYPE Tag: Defines HTML Document Type ................................................... 5
The HTML Tag: Defining the Root of the Document .................................................. 9
The HEAD Tag: Configuring the HTML5 Document .................................................... 9
The BODY Tag: Containing the Document Content .................................................. 10

Summary ............................................................................................... 11

vii
■ CONTENTS

■Chapter 3: HTML5 Search Engine Optimization: Title and Meta ... 13

The HTML5 HEAD Tags Important for SEO ............................................. 13
The TITLE Tag: Defining the HTML5 Document Title................................................ 13
The META Tag: Defining Document Characteristics ................................................ 14
The BASE Tag: Configuring a URL for a Document.................................................. 17
Summary ............................................................................................... 18
■ Chapter 4: HTML5 Referencing: Using External Links
and Favicons.......................................................................................19
An HTML HEAD Tag to Link External Files ............................................. 19
The LINK Relationship: Types of External Assets .................................................... 20
The LINK Tag: The Optional Link Tag Parameters .................................................... 23

Summary ............................................................................................... 24
■Chapter 5: HTML5 Processing: Using CSS and JavaScript ........... 25
HTML HEAD Tags to Add Tag Processing ............................................... 25
The SCRIPT Tag: Using JavaScript Programming ................................................... 26
The NOSCRIPT Tag Advises Users: No JS Support .................................................. 30
Using SCRIPT Tags Internally: JavaScript Coding ................................................... 31
The STYLE Tag: Styling HTML5 Markup Using CSS ................................................. 32

Summary ............................................................................................... 33
■Chapter 6: HTML5 Parameters: Using Global Tag Attributes ........ 35
HTML Global Parameters Across All Tags .............................................. 35
HTML5 Global Parameters: Advanced Attributes .................................................... 36
Pre-HTML5 Global Parameters: Legacy Attributes .................................................. 40

Summary ............................................................................................... 43

viii
 ■ CONTENTS

■ Chapter 7: HTML5 Navigation: Using an Anchor

Tag for Hypertext .......................................................................... 45
HTML Anchor Tag Attributes: All Versions .............................................. 45
Anchor Tag HTML5 Parameters: Hypertext’s HREF ................................................. 46
Anchor Tag Non-HTML5 Parameters: Legacy Code ................................................ 51
Summary ............................................................................................... 53
■Chapter 8: HTML5 Multimedia: Utilizing New Media Assets......... 55
HTML5 New Media Support: Nine Genres ............................................. 55
Digital Imagery: Using the <img> Tag .................................................................... 56
Digital Audio: Using the <audio> Tag ..................................................................... 58
Digital Video: Using the <video> Tag ...................................................................... 60
Digital Illustration: Using the <svg> Tag................................................................. 62
Interactive 3D: Using a <canvas> Tag and WebGL ................................................. 64
Digital Painting: Digital Painting using JavaScript .................................................. 64
Visual Effects: Creating VFX using JavaScript ........................................................ 65
Web Speech: Speech Synthesis and Recognition ................................................... 65

Summary ............................................................................................... 65
■Chapter 9: HTML5 Organization: Document Content Hierarchy .......67
HTML5 Content Organization Tags......................................................... 67
Heading Level Tags: Segmenting Content Logically ............................................... 68
Horizontal Rule Tag: Dividing Text Content Visually ................................................ 69
The Address Tag: Specifying Address Information .................................................. 70

Summary ............................................................................................... 71
■Chapter 10: HTML5 Semantics: Defining Semantic Documents..... 73
HTML5 Semantic Content Organization................................................. 73
HTML5 Sectional Tags: Segment Content Logically ................................................ 75
HTML5 Content Type Semantic Definition Tags ...................................................... 78

ix
■ CONTENTS

HTML5 Semantic New Media Figure Definition Tags .............................................. 82

HTML5 Semantic Document Detail Definition Tags ................................................ 84

Summary ............................................................................................... 86
■Chapter 11: HTML5 Formatting: Publish Text-Based Content ....... 87
Create HTML5 Text Content for Publishing ............................................ 87
HTML5 Text Formatting: Paragraph, Pre, and Abbr ................................................. 88
HTML5 Text Styling: Bold, Italics, and Underline ..................................................... 92
HTML5 Break Tags: Line Break and Word Break ..................................................... 93
HTML5 Text Size: Small, Superscript, and Subscript .............................................. 95
HTML5 Text Direction: The Bidirectional Text Tags .................................................. 96
HTML5 Text Quotes: Quote and Block Quote Tags................................................... 97
HTML5 Text Citations: The CITE Tag ........................................................................ 98
HTML5 Special Circumstances Text: Other Tags ..................................................... 99

Summary ............................................................................................. 101

■Chapter 12: HTML5 Phrase Tags: Using Non-Standard Text ....... 103
HTML5 Phrase Tags: Special Text Content ........................................... 103
HTML5 Phrase Styling: Highlighting Important Text.............................................. 104
HTML5 Phrase Input Tags: Keyboard and Teletype ............................................... 106
HTML5 Phrase Coding Tags: Code and Variables .................................................. 107

Summary ............................................................................................. 109

■ Chapter 13: HTML5 Lists: Numbered, Bulleted,
and Definition Lists ..................................................................... 111
HTML5 List Tags: Ordered Information ................................................ 111
HTML5 Stylized Lists: Ordered and Bulleted Lists ................................................ 112
HTML5 Description Lists: Lists of Terms with Data............................................... 115

Summary ............................................................................................. 117

x
 ■ CONTENTS

■ Chapter 14: HTML5 Tables: Constructing Data in a

Tabular Format ........................................................................... 119
HTML5 Table Tags: Tabular Information ............................................... 119
Top Level HTML Table Creation: Table and Caption ............................................... 120
HTML5 Table Content Definition: TR, TH, and TD ................................................... 123
Complex Table Definition: THEAD, TBODY, TFOOT .................................................. 125
Table Column Definition: COL and COLGROUP ...................................................... 128

Summary ............................................................................................. 129

■Chapter 15: HTML5 Forms: Creating Forms Using HTML5 Tags .... 131
HTML5 Form Tags: Interactive Information.......................................... 131
Basic HTML Form Creation: Form, Label, and Input.............................................. 132
HTML Form Content Groups: TextArea or FieldSet ................................................ 139
HTML Form Option Selection: Select and Option .................................................. 142
The BUTTON Tag: Creating User Interface Buttons ............................................... 144
New HTML5 Form Tags: DataList, KeyGen, Output................................................ 146

Summary ............................................................................................. 148

■ Chapter 16: HTML5 Position: Document Layout and
Text Spanning ............................................................................. 149
Defining Text Spans: Using the SPAN Tag ............................................ 149
Use of id, vs. Name, vs. Class .............................................................. 151
Identifiers: Use an id for JavaScript and Fragments............................................. 151
Classes: Use CLASS to Classify CSS3 Selectors ................................................... 152
Names: Naming Forms, Controls and UI Elements ............................................... 152

Define Document Areas: Using a DIV Tag ............................................ 152

The DISPLAY Property: Block, In-Line, and None .................................................. 153
The Division or DIV Tag: Core Properties ............................................................... 153
Seamless Image Stitching: Using DIVs with CSS3 ................................................ 154

Summary ............................................................................................. 157

xi
■ CONTENTS

■ Chapter 17: HTML5 Scripting: Using JavaScript and

<script> Tag ............................................................................... 159
Using JavaScript: The HTML5 SCRIPT Tag ........................................... 159
JavaScript Execution: Parsing Synchronization .................................................... 160
JavaScript Formats: MIME Type and Character Set .............................................. 161
In-Line JavaScript Code: Using the SCRIPT Tag .................................................... 161

Hiding JavaScript: To Do or Not to Do? ................................................ 163

HTML Comments: Use <!-- and --> to Hide JS Code ........................................... 164
XHTML Comments: Use <!-- and --> to Hide JS Code ......................................... 164

Summary ............................................................................................. 164

■ Chapter 18: HTML5 Styling: Using the <style>
Tag to Access CSS3 .................................................................... 165
Cascading Style Sheets: A History of CSS ........................................... 165
Using CSS3 with HTML5: The STYLE Tag ............................................. 166
CSS3 Formats: MIME or Media Type Designation ................................................. 167
The SCOPED Parameter: Tag-Local HTML5 Styling ............................................... 167
In-Line CSS3 Code: Using the STYLE Parameter .................................................. 168

Summary ............................................................................................. 169

■ Chapter 19: HTML5 Real-Time Rendering: Using the
<canvas> Tag ............................................................................. 171
Using the CANVAS Tag: New for HTML5 .............................................. 171
Declaring an HTML5 Canvas: Using Parameters................................................... 172
Drawing on a Canvas: 2D Methods and Properties............................................... 173
Interactive 3D: WebGL or WebGL 2 3D Rendering ................................................. 177

Summary ............................................................................................. 178

xii
 ■ CONTENTS

■ Chapter 20: HTML5 Plug-ins: Using the <object>, <embed>,

<applet>, and <param> Tags ..................................................... 179
Plug-in Applications: The EMBED Tag .................................................. 179
Java or JavaFX Applets: The APPLET Tag ............................................ 181
Embed Objects in HTML5: The OBJECT Tag ......................................... 183
Declaring Parameters: Using the PARAM Tag ...................................... 185
To Embed or Not to Embed: Tag Selection ........................................... 186
Summary ............................................................................................. 187
■Chapter 21: HTML5 Frames: Using the <iframe> Tag ................. 189
HTML Frame Legacy: The FRAMESET and FRAME Tags ...................... 189
HTML5 Frames: Using the IFRAME Tag................................................ 190
Using Object or iFrame: More Discussion............................................ 192
Summary ............................................................................................. 193
■Chapter 22: HTML5 Ruby Annotations: Using the <ruby> Tag .... 195
Ruby Annotations: The RUBY Tag ......................................................... 195
Advanced Ruby Annotations: Ruby Containers ..................................................... 197

Summary ............................................................................................. 198

■Chapter 23: HTML 5.1 Tags: Using Menu and Dialog Design
Elements ........................................................................................ 199
HTML5 Application Menu: The MENU Tag ............................................ 199
Populating HTML5 Menus: Using a MENUITEM Tag .............................................. 200
Creating Sub-Menus: Nested MENU Tag Usage .................................................... 202

HTML5 Application Dialog: A Dialog Tag .............................................. 203

Summary ............................................................................................. 203

xiii
■ CONTENTS

■ Appendix A: NetBeans: Set up an HTML5 Integrated

Development IDE ........................................................................ 205
Create a HTML Development Workstation ........................................... 205
Development Workstations: Hardware Foundation ............................................... 206
HTML5 Development Workstation: Open Software ............................................... 207
Java 8: Installing the Foundation for NetBeans 8.1 .............................................. 207
NetBeans 8.1: Download the NetBeans HTML IDE ................................................ 213

Summary ............................................................................................. 214

■ Appendix B: Eclipse: Set up an HTML5 Integrated
Development IDE ........................................................................ 215
Set up an HTML Development Workstation ......................................... 215
Development Workstations: Hardware Foundation ............................................... 216
HTML5 Development Workstation: Open Software ............................................... 217
Java 8: Installing the Foundation for Eclipse Mars ............................................... 217
Eclipse 4.5: Installing the Eclipse Mars HTML IDE ................................................ 223

Summary ............................................................................................. 228

■ Appendix C: IntelliJ: Set up an HTML5 Integrated
Development IDE ........................................................................ 229
Set up an HTML Development Workstation ......................................... 229
Development Workstations: Hardware Foundation ............................................... 230
HTML Development Workstation: Open Software ................................................. 231
Java 8: Installing the Foundation for IntelliJ IDEA ................................................ 231
IntelliJ IDEA: Download the IntelliJ IDEA for HTML ............................................... 237

Summary ............................................................................................. 244

xiv
Another Random Scribd Document
with Unrelated Content
 Wear a carnelian or for thee
No conjugal felicity;
The August-born without this stone,
’Tis said, must live unloved, alone.

She, loving once and always, wears, if wise,

Carnelian—and her home is paradise.

SEPTEMBER

Natal stone Chrysolite.

Guardian angel Tsuriel.
His talismanic gem Jacinth.
Special apostle Lebbeus Thaddeus.
His gem Chrysoprase.
Zodiacal sign Libra.
Flower Morning-glory.
A maid born when September leaves
Are rustling in the autumn breeze,
A chrysolite on brow should bind—
’Twill cure diseases of the mind.

If chrysolite upon her brow is laid,

Follies and dark delusions flee afraid.

OCTOBER

Natal stone Beryl.

Guardian angel Bariel.
His talismanic gem Agate.
Special apostle Simon. (Zelotes.)
His gem Jacinth.
Zodiacal sign Scorpio.
Flower Hops.
 October’s child is born for woe,
And life’s vicissitudes must know;
But lay a beryl on her breast,
And Hope will lull those woes to rest.

When fair October to her brings the beryl,

No longer need she fear misfortune’s peril.

NOVEMBER

Natal stone Topaz.

Guardian angel Adnachiel.
His talismanic gem Amethyst.
Special apostle Matthias.
His gem Amethyst.
Zodiacal sign Sagittarius.
Flower Chrysanthemum.

Who first comes to this world below

With drear November’s fog and snow
Should prize the topaz’s amber hue—
Emblem of friends and lovers true.

Firm friendship is November’s, and she bears

True love beneath the topaz that she wears.

DECEMBER

Natal stone Ruby.

Guardian angel Humiel.
His talismanic gem Beryl.
Special apostle Paul.
His gem Sapphire.
Zodiacal sign Capricornus.
Flower Holly.
 If cold December give you birth—
The month of snow and ice and mirth—
Place on your hand a ruby true;
Success will bless whate’er you do.

December gives her fortune, love and fame

If amulet of rubies bear her name.
 1. Moss agate mocha stone, Hindoostan.
2. Moss agate, Brazil, S. A.

A HINDU LIST OF GEMS OF THE MONTHS437

April Diamond
 May Emerald
June Pearl
July Sapphire
August Ruby
September Zircon
October Coral
November Cat’s-eye
December Topaz
January Serpent-stone
February Chandrakanta
March The gold Siva-linga

When the zodiacal signs were engraved on gems to give them

special virtues and render them of greater efficacy for those born
under a given sign, the Hebrew characters designating the sign (or
at least the initial character) were often cut upon the gem. As the
letters in which the earliest of our sacred writings were written, a
peculiar sanctity was often ascribed to these Hebrew characters,
which were perhaps the more highly valued that they were unknown
to the owners of the gems, and hence possessed a certain air of
mystery for them. The subjoined list of the signs with the Hebrew
equivalents may be of interest on this account.

HEBREW NAMES OF THE SIGNS OF THE

ZODIAC

Libra ‫ מאזנים‬Moznayim
Scorpio ‫’ עקרב‬Akrab
Sagittarius ‫ קׁשת‬Ḳeshet
Capricornus ‫ גדי‬Gedi
Aquarius ‫ דלי‬Deli
Pisces ‫ דלים‬Dagim
Aries ‫ טלה‬Ṭaleh
Taurus ‫ ׁשור‬Shor
Gemini ‫ תאומים‬Te’omim
Cancer ‫ סריה‬Sartan
Leo ‫ אריה‬Aryeh
 Virgo ‫ בתולה‬Betulah

GEMS OF WEEK DAYS

Sunday: Topaz—diamond.
The bairn that is born
On Sonnan’s sweet day
Is blithe and is bonnie,
Is happy and gay.
Sunday’s talismanic gem: the pearl.
Monday: Pearl—crystal.
The bairn that is born
Of Monan’s sweet race
Is lovely in feature
And fair in the face.
Monday’s talismanic gem: the emerald.
 332t
THE FIGURES OF THE PLANETS WITH THEIR SIGNIFICANT STONES.

Old print showing the Roman types of the days of the week and also the stones and
zodiacal signs associated with each day. Here we have Diana, with the sign of Cancer and
the moonstone, for Monday; Mars, with the sign Capricorn and the jasper, for Tuesday;
Mercury, with Gemini and the rock-crystal, for Wednesday; Jupiter, with Sagittarius and
Pisces and the carnelian, for Thursday; Venus, with Taurus and the emerald, for Friday; and
Saturn, with Capricorn and Aquarius and the turquoise, for Saturday.

Tuesday: Ruby—emerald.
If Tuisco assists
And at birth keeps apace,
The bairn will be born
With a soul full of grace.
Tuesday’s talismanic gem: the topaz.
 Wednesday: Amethyst—loadstone.
But if Woden be there,
Many tears will he sow,
And the bairn will be born
But for sadness and woe.
Wednesday’s talismanic gem: the turquoise.
Thursday: Sapphire—carnelian.
Jove’s presence at birth
Means a long swath to mow,
For if born on Thor’s day
Thou hast far, far to go.
Thursday’s talismanic gem: the sapphire.
Friday: Emerald—cat’s-eye.
If Venus shall bless thee,
Thou shalt bless many living;
For Friga’s bairn truly
Is loving and giving.
Friday’s talismanic gem: the ruby.
Saturday: Turquoise—diamond.
Seater-daeg’s bairn
In sweat shall be striving,
For Saturn has doomed it
To work for a living.
Saturday’s talismanic gem: the amethyst.

No gems have afforded more interest to the Oriental peoples than

those that are known as phenomenal gems; that is, such as exhibit a
phenomenal quality, either as a moving line as in the chrysoberyl
cat’s-eye, or the quartz cat’s-eye, or as a star, a class represented by
the star-sapphire and the star-ruby, all these being considered to
bring good fortune to the wearer. A splendid star-sapphire is in the
hilt of the sword presented as an Easter gift to King Constantine of
Greece, then Prince Constantine, by the Greeks of America, on
Easter Day 1913.438 This ornate and beautiful sword was made by
Tiffany & Co. Then there is the alexandrite cat’s-eye which, in
addition to its chatoyant effect, changes from green to red, showing
its natural color by day and glowing with a ruddy hue by artificial
light. The cat’s-eye effect here is caused by a twinning of the crystal;
that is, when the gem is cut, with a dome, across the twinning line,
this shows itself as a smooth band of white light, with a translucent
or transparent space at one side, the line varying in sharpness and
in breadth as the illumination becomes more intense. If the light is
very bright, the line is no wider than the thinnest possible silver or
platinum wire.
The quartz cat’s-eye, less distinct than the chrysoberyl cat’s-eye, is
also found in the East, and possesses the property that when cut
straight across, an apparent striation in the stone produces the cat’s-
eye effect, but the material is not so rich or brilliant nor is the gem
as beautiful as is the true cat’s-eye. The alexandrite variety of
chrysoberyl is colored by chromium and is dichroitic, appearing
green when viewed in one direction and red in another; in artificial
light, however, the green color is lost and the red alone becomes
apparent.
The moonstone, with its moonlike, silvery-white light, changes on
the surface as the light varies. This is due to a chatoyancy produced
by a reflection caused by certain cleavage planes present in feldspar
of the variety to which the moonstone belongs.

PHENOMENAL GEMS FOR THE DAYS OF THE

WEEK

Sunday Sunstone
Monday Moonstone
Tuesday Star sapphire
Wednesday Star ruby
Thursday Cat’s-eye
Friday Alexandrite
Saturday Labradorite
 Fashion in some parts of the Orient dictates the use of special
colors for raiment and jewels to be worn on the different days of the
week. In Siam deep red silks and rubies are appropriate for Sunday
wear; white fabrics and moonstones are prescribed for Monday; light
red garments and coral ornaments are favored for Tuesday; striped
stuffs and jewels set with the cat’s-eye are considered the proper
wear for Wednesday; green materials and emeralds are decreed for
Thursday; silver-blue robes and ornaments set with diamonds are
chosen for Friday, and on Saturday those who obey the dictates of
fashion are clad in dark blue garments and wear sapphires of a
similar hue.
Our age is not satisfied with the marvellous progress of science,
which has rendered possible the realization of many of the old
magicians’ dreams. In spite of this there seems to be a growing
tendency to revive many of the old beliefs which appeared to have
been definitely discarded; therefore we need not be surprised that
the nineteenth century offers us a work on the magic art, written
precisely in the spirit that animated an Agrippa or a Porta in the
fifteenth and sixteenth centuries.439 This work gives elaborate
directions as to the manner in which the “Magus” should proceed to
perform his magic rites.
Each day has its special and peculiar ritual. Sunday is the day for
the “Works of Light,” and on this day a purple robe should be worn
and a tiara and bracelets of gold; the ring placed on the finger of the
operator should be of gold and set with a chrysolite or a ruby. A
white robe with silver stripes is to be worn on Monday, the day of
the “Works of Divination and Mystery,” and the high-priest of the
mysteries wears over his robe a triple necklace of pearls, “crystals,”
and selenites; the tiara should be covered with yellow silk, and bear
in silver characters the Hebrew monogram of Gabriel, as given by
Cornelius Agrippa in his “Occult Philosophy.” Tuesday is assigned to
the “Works of Wrath,” and on this day the robe must be red, the
color of fire and blood, with a belt and bracelets of steel; the tiara
should have a circlet of iron, and a sword or a stylus is to be used in
place of a wand; the ring is set with an amethyst. The day for the
“Works of Science” is Wednesday, when a green robe is worn and a
necklace of hollow glass beads, filled with quicksilver; the ring is
adorned with an agate. On Thursday, appointed for the “Works of
Religion or Politics,” a scarlet robe is worn; upon the forehead of the
operator is bound a plate of tin, engraved with the symbol of the
planet Jupiter and various mystic characters; the ring bears either an
emerald or a sapphire. Friday, the day of Venus, is naturally
dedicated to the “Works of Love,” and the celebrant wears a sky-blue
robe; his ring shows a turquoise, and his tiara is set with lapis-lazuli
and beryl. The “Works of Mourning” belong to Saturday, when a
black or a brown robe is worn, embroidered in orange-colored silk
with mystic characters; from the neck of the operator hangs a
leaden medal, bearing the symbol of the planet Saturn, and on his
finger is a ring set with an onyx, upon which a double-faced Janus
has been engraved while Saturn was in the ascendant.

GEMS OF THE HOURS

Hours of the Day

7 Chrysolite 1 Jacinth
8 Amethyst 2 Emerald
9 Kunzite 3 Beryl
10 Sapphire 4 Topaz
11 Garnet 5 Ruby
12 Diamond 6 Opal

Hours of the Night

7 Sardonyx 1 Morion
8 Chalcedony 2 Hematite
9 Jade 3 Malachite
10 Jasper 4 Lapis-lazuli
11 Loadstone 5 Turquoise
12 Onyx 6 Tourmaline
WEDDING ANNIVERSARIES

1 Paper 19 Hyacinth
2 Calico 20 China
3 Linen 23 Sapphire
4 Silk 25 Silver
5 Wood 26 Star sapphire, blue440
6 Candy 30 Pearl
7 Floral 35 Coral
8 Leather 39 Cat’s-eye440
9 Straw 40 Ruby
10 Tin 45 Alexandrite
12 Agate 50 Gold
13 Moonstone440 52 Star ruby440
14 Moss agate 55 Emerald
15 Rock-crystal, glass 60 Diamond, yellow
16 Topaz 65 Star sapphire, gray440
17 Amethyst 67 Star sapphire, purple
18 Garnet 75 Diamond
 X
Planetary and Astral Influences of Precious
Stones

T
HE talismanic influence of the stones associated with the planets
and also with the signs of the zodiac is closely connected with
the early ideas regarding the formation of precious stones. In an
old work on the occult properties of gems we read:

The nature of the magnet is in the iron, and the nature of the
iron is in the magnet, and the nature of both polar stars is in
both iron and magnet, and hence the nature of the iron and the
magnet is also in both polar stars, and since they are Martian,
that is to say, their region belongs to Mars, so do both iron and
magnet belong to Mars.

The author then proceeds to describe an analogous relation

between a man and any natural object or product to which his
imagination draws him, and shows that, if this object be one that
stands in a sympathetic relation with the star beneath which the
man was born, the man, the star, and the object will constitute a
triplicity of great utility. As an explanation of the peculiarly intimate
relation between stars and precious stones we read, on page 12:

Metals and precious stones usually lie with their first seeds
deep down in the earth and require continuous moisture and a
mild heat. This they obtain through a reflection of the sun and
the other stars in the manifold movement of the heavens....
Therefore, also, the metals and precious stones are nearest
related to the planets and the stars, since these influence them
most potently and produce their peculiar qualities, for they are
 enduring and unchangeable and show therein their concordance
[with the stars and the planets].441

Hence it is that the influence over human fortunes ascribed by

astrology to the heavenly bodies is conceived to be strengthened by
wearing the gem appropriate to certain planets or signs, for a subtle
emanation has passed into the stone and radiates from it. A
combination of several different stones, each partaking of this
special quality, was believed to have an influence similar to that
exercised by several planets in conjunction,—that is, grouped in the
same “house” or division of the heavens.
The same is true of the stones dedicated to the guardian angels;
the color and appearance of the stone was not merely emblematic of
the angel, but, by its sympathetic quality, it was supposed to attract
his influence and to provide a medium for the transmission of his
beneficent force to the wearer. The whole theory, whether
consciously or unconsciously, rested on the idea of harmony, of the
accord of certain ethereal vibrations, either those of the visible light
of the stars and planets or the purely psychic emanations from the
spiritual “powers and principalities.”
The wearing of the appropriate zodiacal gem was always believed
to strengthen the influence of the zodiacal sign upon those born
under it, and to afford a sympathetic medium for the transmission of
the stellar influences. The gem was thus something more than a
mere symbol of the sign. The same was true of the stone of the
saint who ruled the month and that of the holy guardian angel set
over those born in the month. In each and every case the material
form and color of the stone was believed to attract the favor and
grace of the saint or angel, who would see in the selection of the
appropriate gem an act of respect and veneration on the part of the
wearer.
The old writers are never tired of insisting upon the idea that,
while the image graven upon a stone was in itself dead and inactive,
the influence of the stars during whose ascendancy the work had
been executed communicated to the inert material talismanic
qualities and virtues which it before lacked. In these instances the
images could be regarded as outward and visible signs of the
planetary or zodiacal influence. Even in the case of the bezoar stone,
a generally recognized antidote for all sorts of poisons, it was held
that the scorpion’s bite could be most effectually healed by a bezoar
upon which this creature’s figure had been cut during the time when
the constellation Scorpio was in the ascendancy.442
In the production of engraved stones to serve as amulets, the
influence of the respective planet was made to enter the stone by
casting upon the latter, during the process of engraving, reflections
from a mirror which had been exposed to the planet’s rays. In
addition to this, the work was executed while the planet was in the
ascendant, and the design was emblematic of it. With these
combined influences the gem was believed to be thoroughly
impregnated with the planetary virtue.443
An old writer finds in the hardness of precious stones a reason for
their retaining longer the celestial virtues they receive. After they
have been extracted these virtues persist in them and they keep
“the traces and gifts of mundane life which they possessed while
clinging to the earth.”444 These “gifts of mundane life” signify the
stored-up energy derived from the stars and planets, which
penetrates the matter of the stone, and each stone is peculiarly
sensitive to the emanations from a certain planet, star, or group of
stars.
A fine carnelian gem engraved with a design consisting of a star
surrounded by the images of a ram, a bull, and a lion, is described
by M. Mairan.445 He sees in the star the emblem of the splendid
comet which appeared shortly after the assassination of Cæsar, and
which, according to Suetonius, was believed to be the soul of Cæsar
newly received into the sky; the ram, bull, and lion are the symbols
of the zodiacal signs Aries, Taurus, and Leo, the first-named sign
referring perhaps to the death of Cæsar on the Ides, or fifteenth of
March; while the other two signs may allude to the position of the
comet at different dates.
In the Cabinet du Roi, in Paris, there was an engraved carnelian,
the design showing Jupiter enthroned, with thunderbolt and sceptre,
and Mars and Mercury standing on either side of the central figure.
Separated from the gods of the upper air by a bow, probably
representing the arch of the sky, appears the bust of Neptune,
emerging from the sea. The border of the design is formed by the
twelve signs of the zodiac, Virgo being of an unusual type,—the
virgin and a unicorn,—said to have been used only during the reign
of Domitian (81-96 a.d.).446
Some choice examples of astrological gems may be seen in the
Metropolitan Museum of Art, New York; among these is a green
jasper bearing symbols of Luna, Capricorn, and Taurus. This gem is
from the collection of the late Rev. C. W. King, which has been
acquired for the Museum, and is described as figuring the horoscope
of the owner. In the same collection is a banded agate engraved
with Sagittarius as a centaur, surrounded by the stars of this
constellation in their proper order. King states that this was the
earliest horoscopical gem known to him. Still another gem of this
collection is a sard bearing the symbol of Aries carrying a long
caduceus; this type appears on the coins of Antioch, because that
city was founded in the month over which the sign Aries presides.447
The Austrian Imperial Collection in Vienna contains the celebrated
Gemma Augustea, sometimes called the Apotheosis of Augustus.
This commemorates the Pannonian triumph of Tiberius, 13 a.d., and
above the figure of Augustus appears the sign of Capricornus, the
constellation of his nativity; beneath the figure of Tiberius is
engraved the sign of Scorpio, under which that emperor was born.
This celebrated cameo, the work of the famous gem-engraver
Dioskorides, is mentioned in an inventory of the treasury of St.
Sernin, in Toulouse, dated 1246. It is said to have been offered by
Francis I of France to Pope Clement VII, on the occasion of their
meeting in Marseilles in 1535; however, as the gem only reached
Marseilles two days after the pope’s departure, Francis decided to
retain possession of it. The royal treasure at Fontainebleau was
plundered in 1590, and the stone was offered for sale, and was
purchased, in 1619, by Emperor Rudolph II, for the sum of 12,000
ducats.

THE ZODIACAL STONES WITH THEIR SIGNS.

Old print illustrating the influence believed to be exerted on the different parts of the
body by the respective zodiacal signs, and through their power by the stones associated
with them. This belief often determined the administration of special precious-stone
remedies by physicians of the seventeenth and earlier centuries.
 A ruby called sandastros is described by Pliny as containing
stellated bodies which he compares to the Hyades; hence, says he,
they are the objects of great devotion with the Chaldæi or Assyrian
Magi. According to Morales (De las piedras preciosas), the ruby and
the diamond were both under the influence of the sign of Taurus;
the same writer informs us that the Hyades and the sun were
supposed to have a potent effect upon the ruby or carbuncle. In
ancient Babylonia the sign of Taurus was regarded as the most
important, and Winckler believes that the presence in this sign of the
five stars of the Hyades and the seven of the Pleiades was brought
into connection with the twelve-fold division of the zodiac. The
Hyades signified the five signs visible in Babylonia at the summer
solstice, while the Pleiades typified the seven invisible signs. It
seems probable that the Pleiades were associated with the diamond,
although Morales, who was very familiar with the Moorish astrology
current among the Spaniards of his time, attributed the crystal to
this group. His attribution proves at least that the stone of the
Pleiades was a colorless one.
In Sanskrit the diamond is called vajra, “thunderbolt,” and also
indrâjudha, “Indra’s weapon”; another name is açira, “fire,” or “the
Sun.”448 All these designations are probably suggested by the
brilliant flashes of light emitted by this stone. It is not easy to
determine the reason that induced the Hindus to dedicate the
diamond to the planet Venus rather than to the Sun or to the Moon.
However, as the most brilliant of the planets, Venus was not
unworthy of the honor, and if we substitute the Goddess of Love for
her planet, it seems quite appropriate that she should be adorned
with the most brilliant of precious stones. Certainly these sparkling
gems are often enough offered at the shrine of Venus in our own
day, and they often serve to win the good graces of the divinity to
whom they are presented.
The Sanskrit name for the sapphire, nîla, signifies “blue,” so that,
as the topaz is the “yellow stone” par excellence, the sapphire is the
blue stone (nilaçman). In both cases the name indicates a variety of
corundum, distinguished merely by the coloring matter. As a
talisman the Hindus believed that the sapphire rendered the planet
Saturn favorable to the wearer, an important consideration from the
astrological point of view, for Saturn’s influence was generally
supposed to be unfavorable. The Hindus distinguished four classes
of sapphires, corresponding to the four castes: Brahmins, Kshatriyas,
Vaisyas, and Sudras. The respective sapphires were light blue,
reddish blue, yellowish blue, and dark blue. The same distinction is
made in the case of the diamond, and a like rule applies to both
stones, namely, that only the appropriate stone should be worn by
the members of each caste, in order to profit by the virtues inherent
in the sapphire or diamond.449
One of the Sanskrit appellations of the hyacinth (zircon) is
râhuratna,—that is, the jewel dedicated to the mysterious “dragon,”
that was supposed to be the cause of the periodic eclipses of the
Sun and Moon.450 As the stone was sacred to this malevolent
influence, we need not be surprised that it was believed to avert
misfortune, for nothing was so effective against the lesser spirits of
evil as an evil genius of great power.
According to the Hindu mystics it was very lucky to have a
turquoise at hand at the time of the new moon, for whoever, after
first looking at the moon on the pratipada (the first day after new-
moon), should cast his eyes upon a turquoise, was destined to enjoy
immeasurable wealth.451

ZODIACAL GEMS
Aquarius.
January 21 to February 21.
The Garnet.
If you would cherish friendship true,
In Aquarius well you’ll do
To wear this gem of warmest hue—
The garnet.

Pisces.
February 21 to March 21.
The Amethyst.
From passion and from care kept free
Shall Pisces’ children ever be
Who wear so all the world may see
The amethyst.

Aries.
March 21 to April 20.
The Bloodstone.
Who on this world of ours his eyes
In Aries opens shall be wise
If always on his hand there lies
A bloodstone.

Taurus.
April 20 to May 21.
The Sapphire.
If on your hand this stone you bind,
You in Taurus born will find
’Twill cure diseases of the mind,
The sapphire.

Gemini.
May 21 to June 21.
The Agate.
Gemini’s children health and wealth command,
And all the ills of age withstand
 And all the ills of age withstand,
Who wear their rings on either hand
Of agate.

Cancer.
June 21 to July 22.
The Emerald.
If born in Cancer’s sign, they say,
Your life will joyful be alway,
If you take with you on your way
An emerald.

Leo.
July 22 to August 22.
The Onyx.
When youth to manhood shall have grown,
Under Leo lorn and lone
’Twill have lived but for this stone,
The onyx.

Virgo.
August 22 to September 22.
The Carnelian.
Success will bless whate’er you do,
Through Virgo’s sign, if only you
Place on your hand her own gem true,
Carnelian.

Libra.
September 22 to October 23.
The Chrysolite.
Through Libra’s sign it is quite well
To free yourself from evil spell,
For in her gem surcease doth dwell,
The chrysolite.

Scorpio.
October 23 to November 21
 October 23 to November 21.
The Beryl.
Through Scorpio this gem so fair
Is that which every one should wear,
Or tears of sad repentance bear,—
The beryl.

Sagittarius.
November 21 to December 21.
The Topaz.
Who first comes to this world below
Under Sagittarius should know
That their true gem should ever show
A topaz.

Capricorn.
December 21 to January 21.
The Ruby.
Those who live in Capricorn
No trouble shall their brows adorn
If they this glowing gem have worn,
The ruby.

An old Spanish list of the gems of the zodiacal signs differs from
those given above, and probably represents Arab tradition:452
Aries—Crystal
Taurus—Ruby and diamond
Gemini—Sapphire
Cancer—Agate and beryl
Leo—Topaz
Virgo—Magnet
Libra—Jasper
Scorpio—Garnet
Sagittarius—Emerald
Capricorn—Chalcedony
Aquarius—Amethyst
Pisces—
 Of planetary stones453 there is assigned to the sun the jacinth and
the chrysolite, when this latter name was applied to the yellow
Brazilian chrysoberyl, while the moon controls the beryl, the rock-
crystal and also the pearl. To the share of Venus fall the sapphire
and carbuncle as well as coral and pearl; usually the emerald is the
stone of Venus. Mars lays claim to the diamond, jacinth, and ruby,
the last-named stone according with the ruddy hue of our neighbor
planet. Under the control of Jupiter are placed the emerald,
sapphire, amethyst, and turquoise, so that this planet has the richest
assortment of gems; it will be remarked that the celestial sapphire
unites the influence of Venus and Jupiter, the two especially
propitious planets. Lastly, far-away Saturn must be content with all
dark, black, and brittle stones; there was, indeed, little inducement
to wear a Saturnian stone, for the influence of this cold and distant
planet was always regarded as baleful.

1. A necklace of banded and variegated agates, onyx, carnelians and

sards. First Century a.d.
2. Beads of carnelian artificially marked for “good luck.” The marking
is produced by an application of potash and soda. Ancient Persian.
 The planetary controls of precious stones as given in the Lapidario
of Alfonso X, according to “Chaldaic” tradition, show that the same
stone was influenced in many or most cases by more than one of
the “seven planets” (including the Sun and Moon). Thus the
diamond, belonging to the first degree of the sign Taurus, was
dominated by both Saturn and the Sun; the emerald was controlled
by Jupiter, and also by Mercury and by Venus. The red jargoon was
influenced by Mars, the yellow variety by Jupiter and the white
jargoon by Venus. The carnelian received virtue from the Sun and
from Venus. The ruby, although more especially a sunstone, came as
well under the influence of the Planet of Love. Coral belonged both
to Venus and to the moon, while lapis-lazuli and chalcedony only
owed allegiance to Venus; this planet also lent virtue to the beryl.454
Among the Mohammedans, six of the seven heavens were
supposed to be made of precious substances: the first was of
emerald; the second, of white silver; the third, of large white pearls;
the fourth, of ruby; the fifth, of red gold; and the sixth, of jacinth.
The seventh and highest heaven, however, was of shining light.455
Here we have the three precious colored stones, emerald, ruby, and
sapphire (jacinth), to which is added the pearl.
The scarcity of the diamond in early times, and its comparative
lack of brilliancy before the invention of rose and brilliant cutting,
account for the absence of this king of gems.

Rabelais,456 describing the temple of the oracle of the “Dive

Bouteille,” says that of its seven columns the first was of sapphire;
the second, of jacinth; the third, of “dyamant”; the fourth, of the
“male” balas-ruby; the fifth, of emerald, “more brilliant and
glistening than were those which were set in place of eyes in the
marble lion stretched before the tomb of King Hermias”; the sixth
column was of agate, and the seventh of transparent selenite, “with
a splendor like that of Hymettian honey, and within appeared the
moon in form and motion such as she is in the heavens, full and
new, waxing and waning.” We are then told that these stones were
attributed to the seven planets by the Chaldæans, as follows:

Sapphire Saturn
Jacinth Jupiter
Diamond Sun
Ruby Mars
Emerald Venus
Agate Mercury
Selenite Moon

Some of these attributions differ from those usually made and

may represent another tradition.

PLANETARY INFLUENCES OF STONES457

Jasper Venus and Mercury.

Sapphire Jupiter and Mercury.
Emerald Venus and Mercury.
Chalcedony Jupiter, Mercury, and Saturn.
Sardonyx Saturn and Mars.
Chrysolite Mercury and Venus.
Beryl Venus and Mars.
Topaz Saturn and Mars.
Chrysoprase Mercury and Venus.
Jacinth Mars and Jupiter.
Amethyst Mars and Jupiter.
Pearl Venus and Mercury.
Carbuncle Mars and Venus.
Diamond Jupiter.
Agate Venus and Mars.
Alectoria Sun.
Turquoise Venus and Mercury.
Chelidon Jupiter.
Ætites Sun.
Dionesia Saturn.
Hematite Mercury.
Lapis-lazuli Venus.
 Armena Mercury and Venus.
Garnet Sun.
Amber Sun.
Jet Saturn.
Lyncurius Sun.
Crystal Moon and Mars.
Bezoar Jupiter.
Armenia Jupiter.
Selenite Moon.
Magnet Mars.
Judaica,}
Hegolite or } Mercury.
Cogolite }
Iris Jupiter.
Halcyon Saturn and Mars.
Asbestus Saturn.
Sarcophagus Moon.
Arabian, white Moon.
Arabian, green Jupiter.
Hyena Sun.
Androdamas Moon.
Pyrites:
Copper-colored Sun, Venus.
Gold-colored Sun.
Silver-colored Moon.
Tin-colored Moon, Saturn.
Ash-colored Jupiter.
Calatia Moon.
Stalactite Venus.
Thenarcus Sun.
Carnelian Jupiter, Mars, Venus.
Opal Sun, Mercury.

Fixed stars associated with precious stones:458

Diamond. Caput Algol 18° of Taurus.
Crystal. The Pleiades 24° of Taurus.
Ruby, carbuncle. Aldebaran 3° of Gemini; also the Hyades.
Sapphire. The Goat 15° of Gemini.
 Beryl. Sirius 10° of Cancer.
Garnet. Heart of Lion 23° of Leo.
Magnet. Tail of the Great Bear 8° of Scorpio; also the Pole Star.
Topaz. Right and left wing of Raven 8° of Libra.
Emerald and Jasper. Spica Virginis 17° of Libra.
Amethyst. Scorpion 3° of Sagittarius.
Chrysolite. Tortoise 8° of Capricorn.
Chalcedony. Tail of Capricorn 15° of Aquarius.
Jacinth. Shoulder of Equis Major 18° of Pisces.
Pearl. Umbilicus Andromedæ 20° of Aries.
Sardonyx. Same as Topaz.

Images and virtues of the constellations as engraved on gems:459

Ursa Major, Ursa Minor, and Draco. Both bears are represented in the folds of a
serpent, the Great Bear in the upper and the Lesser Bear in the lower folds.
In almost all the signs. Nature: Ursa Major, Mars and Venus. Ursa Minor:
Saturn. Draco: Saturn and Mars. Renders the wearer wise, cautious,
versatile, and powerful.
The boundary lines of the various signs are carried up to the pole, and any
constellation that is within these lines is considered to belong to the
respective sign; thus, every constellation belongs to one or more signs.
Corona Borealis. A royal crown, with many stars; sometimes the crowned head of a
king. Sign: Sagittarius. Nature: Venus and Mercury. Engraved on the stone
of one who is fitted for honors and knowledge, it gives him great favor with
kings.
Hercules. A man with knees bent, holding a club in his hand and killing a lion;
sometimes a man with a lion’s skin in his hand or on his shoulder and
holding a club. Sign: Scorpio. Nature: Venus and Mercury. Engraved on a
stone that brings victory, like the agate, it renders the wearer victorious in
all conflicts in the field.
Cygnus. A swan with outstretched wings and curved neck. In the North. Nature:
Venus and Mercury. Renders the wearer popular, increases knowledge, and
augments wealth. Cures gout, paralysis, and fever.
Cepheus. A man girt with a sword and holding his hands and arms extended. Sign:
Aries. Nature: Saturn and Jupiter. Causes pleasant visions if placed beneath
the head of a sleeping person.
Cassiopeia. A woman seated in a chair and with hands extended in the form of a
cross; sometimes with a triangle on her head. Sign: Taurus. Nature: Saturn
 and Venus. Restores the sickly, worn body to health, gives quiet and calm
after labor and procures pleasant and tranquil sleep.
Andromeda. A young girl with dishevelled hair, and hands hanging down. Sign:
Taurus. Nature: Venus. Reconciles husband and wife, strengthens love, and
protects the human body from many diseases.
Perseus. A man holding a sword in his right hand and the Gorgon’s head in his left.
Sign: Taurus. Nature: Saturn and Venus. Guards the wearer from
misfortune and protects, not only the wearer but the place where it may be,
from lightning and tempest. Dissolves enchantments.
Serpens. A man in the folds of a serpent and holding its head in his right hand and
its tail in his left. Sign: Taurus. Nature: Saturn and Venus. Antidote to
poisons and to the bites of venomous creatures.
Aquila. A flying eagle with an arrow beneath his feet. Sign: Cancer. Nature: Jupiter
and Mercury; the arrow, however, is of Mars and Venus. Preserves former
honors, adds new ones, and helps to victory.
Pisces or Delphinus. Figured in relief(?) Sign: Aquarius. Nature: Saturn and Mars. If
this engraved gem be attached to nets it causes them to be filled with fish,
and it renders the wearer fortunate in fishing.
Pegasus. Some represent the half of a winged horse; others the whole figure and
without a bridle. Sign: Aries. Nature: Mars and Jupiter. Gives victory in the
field, and makes the wearer swift, cautious, and bold.
Cetus. Figure of a large fish with curved tail and capacious gullet. Sign: Taurus.
Nature: Saturn. Renders the wearer fortunate on the sea and makes him
prudent and agreeable. It also restores lost articles.
Orion. With or without armor, man holding a sword or a scythe in his hand. Sign:
Gemini. Nature: Jupiter, Saturn, and Mars. Gives the wearer victory over his
enemies.
Navis. A ship with prow curved back and spread sails; sometimes with and
sometimes without oars. Sign: Leo. Nature: Saturn and Jupiter. Renders the
wearer fortunate in his undertakings; he runs no risk on sea or water,
neither can he be injured by water.
Canis Major. Figure of a dog for coursing hares, with a curved tail. Sign: Cancer.
Nature: Venus. Cures lunacy, insanity, and demoniacal possession.
Lepus. Figure of a hare with ears pricked up and the feet represented as though in
swift motion. Sign: Gemini. Nature: Saturn and Mercury. Cures frenzy and
 protects from the wiles of demons. The wearer cannot be hurt by a
malignant spirit.
Centaur. Half-figure of a bull, bearing a man on whose left shoulder rests a lance,
from which depends a hare. In his right hand the man holds a small, supine
animal with a vessel attached to it. Sign: Libra. Nature: Jupiter and Mars.
Gives constancy and perpetual health.
Canis Minor. Figure of a dog, sitting. Sign: Cancer. Nature: Jupiter. Guards from
dropsy, pestilence, and the bites of dogs.
Sacrarius Turubulus (Ara). An altar with burning incense. Sign: Sagittarius. Nature:
Venus and Mercury. Gives the wearer power to recognize spirits, to
converse with them, and to command them; also confers chastity.
Hydra. A serpent, having an urn at its head and a raven at its tail. Sign: Cancer.
Nature: Saturn and Venus. Gives riches and all good gifts to the wearer and
makes him cautious and prudent.
Corona Australis. An imperial crown. Sign: Libra. Nature: Saturn and Mars.
Augments wealth and makes the wearer gay and happy.
Auriga. A man in a chariot, bearing a goat on his left shoulder. Sign: Gemini.
Nature: Mercury. Makes the wearer successful in hunting.
Vexillum. A flag flying from the extremity of a lance. Sign: Scorpion. Gives skill in
war and confers victory in the field.

FIGURES OF THE PLANETS

Saturn. An old man holding a curved scythe in his hand and with a not very
heavy beard. Engraved on a stone of the nature of Saturn, it renders
the wearer powerful and augments his power continually.
Jupiter. A seated figure, sometimes in a chariot, holding a staff in one hand and
a spear in the other. It renders the wearer fortunate, especially if
engraved on a Kabratis stone, and he easily gains what he wishes,
especially from priests. He will be raised to honors and dignities.
Mars. Represented sometimes with a banner and sometimes with a lance or
other weapon. He is, indeed, always armed and at times mounted
on a horse. Gives victory, boldness in war, and success in everything,
especially if engraved on an appropriate stone.
Sun. Sometimes as the solar disk with rays, sometimes as a man in a chariot,
and this occasionally is surrounded by the signs of the zodiac.