A curious theory was advanced by Knopf.[382] He calls attention to the habit children have of thrusting small bright objects into their noses and ears, and suggests that this indicates a natural propensity which, coupled with the early-developed love of adornment, induced primitive man to affix ornamental objects on or in the nose, ear, or mouth. There may be more in this than we are willing to admit, but on the whole it seems most probable that ceremonial and religious considerations gave rise to the custom.
One of the largest masses of sculptured Chinese jade is in the collection of T. B. Walker, Esq., of Minneapolis. This shows a jade mountain, with groups of figures artistically placed at its base, and winding pathways up to its summit. On the face of the rock is inscribed in beautiful Chinese characters the Epidendron Pavilion Essay of Wang Hi-che, a masterpiece of Chinese calligraphy.
An enormous mass of New Zealand jade (punamu, “green stone”) weighing 7000 pounds, found in South Island in 1902, is to be seen in the Museum of Natural History, New York; it was secured by the writer and was donated to the Museum by the late J. Pierpont Morgan. This is the largest mass of jade known, or of which we have any record. On it is placed a remarkable and, in its own peculiar way, an artistic decoration, serving as a type of old Maori life, and at the same time designating the geographic source of the jade in a striking and unmistakable manner calculated to appeal to the least intelligent visitor. This is a statue of a Maori warrior of the old days, executing a war dance, characteristics of which were a distortion of the features and a thrusting out of the tongue intended to express defiance and contempt of the enemy; the time or cadence of the dance was marked by slapping the thigh with the flat of the left hand. This figure was executed from life by Sigurd Neandross; indeed it was actually cast from the model, so that there can be no doubt as to its fidelity.
Rock-crystal is included among the various objects used as fetiches by the Cherokee Indians. This stone is believed to have great power to give aid in hunting and also in divining. One owner of such a crystal kept his magic stone wrapped up in buckskin and hid it in a sacred cave; at stated intervals he would take it out of its repository and “feed” it by rubbing over it the blood of a deer. This goes to prove that the stone, as a fetich, was considered to be a living entity and as such to require nourishment.[383]
STATUE OF A MAORI WARRIOR, BY SIGURD NEANDROSS.
The base is a block of New Zealand jade from South Island, weighing three tons. It was donated by Mr. J. Pierpont Morgan to the American Museum of Natural History.
Precious stones have been everywhere regarded as especially appropriate offerings at the shrine of a divinity, for the worshipper naturally thought that what was most valuable and beautiful in his eyes must also be most pleasing to the divinity he worshipped. However, we rarely find the usage which was remarked by Francisco Lopez de Gomara among the Indians of New Granada about the time of the Spanish Conquest.[384] These natives “burned gold and emeralds” before the images of the sun and moon, which were regarded as the highest divinities. Certainly to use precious stones for a “burnt offering” was an original and curious idea, although we have abundant proof that pearls were offered in this way by the mound-builders of the Mississippi Valley. In this case great quantities of pearls were burned at the obsequies of the chiefs of the tribes, or at those of any one belonging to the family of a chief.
In ancient Mexico the lapidaries adored the four following divinities as their tutelary gods: Chiconaui Itzcuintli (“nine dogs”), Naualpilli (“noble necromancer”), Macuilcalli (“five horses”), and Cintectl (“the god of harvest”). A festival was celebrated in honor of the three last-named divinities when the zodiacal sign called chiconaui itzcuintli was in the ascendant. A feminine divinity represented this sign and to her was attributed the invention of the garments and the ornaments worn by women. The four gods of the lapidaries were looked upon as the discoverers and teachers of the art of cutting precious stones and of piercing and polishing them, as well as of the making of labrets and earflaps of obsidian, rock-crystal, or amber. They also were the inventors of necklaces and bracelets.[385]
The stones worn by Chinese mandarins as a designation of their rank were undoubtedly determined originally by religious or ceremonial considerations. They are as follows; it will be noticed that red stones are given the preference: