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Latin · Homilies ·

Tractatus De Duodecim Lapidibus [Incertus]

Augustinus · ogl-pl

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machine-draft · no human review 3 passages · 535 words

Work dossier · summary and historical context

Summary

The Tractatus De Duodecim Lapidibus is a Latin homily, spuriously attributed to Augustine, that allegorically interprets twelve precious stones from Revelation 21:19-20. Likely composed between the 12th and 13th centuries, it draws on classical lapidary lore (e.g., Herodotus, Pliny) and patristic exegesis. The work survives in medieval florilegia and bestiary manuscripts but lacks a critical edition. Its symbolic readings—such as jasper as Christ's resurrection and chalcedony as fortitude—reflect standard medieval allegorical methods. The treatise's uncertain authorship and transmission history caution against firm dating or attribution.

The treatise exemplifies the medieval synthesis of classical natural history and Christian allegory, bridging patristic exegesis and later lapidary traditions. It provides insight into how biblical passages were expanded through symbolic interpretation, influencing later works on gemstones. Its spurious attribution to Augustine highlights the fluidity of authorship in medieval manuscript culture.

Historical context

The Tractatus De Duodecim Lapidibus is a medieval Latin homily, traditionally but incorrectly attributed to Augustine of Hippo. It was likely composed in the 12th or 13th century, a period when allegorical interpretations of nature flourished in monastic and scholastic circles. The work's lapidary content reflects the medieval fascination with gemstones as symbols of Christian virtues, drawing on classical sources like Pliny's Natural History and Herodotus, transmitted through encyclopedias such as those of Isidore of Seville. The treatise circulated in manuscript form, often alongside bestiaries and florilegia, but never entered the liturgical canon or standard patristic collections. Its survival in multiple copies suggests modest popularity among clerical readers, though no critical edition exists, and variant readings remain unstudied. The community of origin is uncertain, but the allegorical method aligns with Cistercian or Victorine exegesis.

Apparatus · what the pipeline recorded

Annotation and terms

18 commentary units 6 term3 scripture2 reception2 background2 structure2 caution1 sense 0 derived notes 5 open questions 3 narrative
What the kinds mean

Pipeline notes

  • coverageNo English translation could be identified: a language model asked twice could not name one, though it could not rule one out either. That is not proof that none exists — translations in dissertations, recent books and other modern languages are easily missed.
  • limitThe English is a machine draft produced passage by passage from the transcribed Coptic; no human has verified it. The commentary is model-written and cites only keys the pipeline could resolve.
  • registerRegister: homily in Latin; the English keeps the liturgical formulae and the vocatives rather than normalising them.
  • structurePassages: 3 narrative.
  • sourceSource edition: ogl-pl — Available under a Creative Commons Attribution-ShareAlike 4.0 International License

Term index

CopticRenderingCountFirst
no glossary terms recorded
stoa0040.stoa040b.opp-lat1:1 · narrativehigh
Source
TRACTATUS DE DUODECIM LAPIDIBUS, DE QUIBUS APOC. CAP. XXI, i9, 20. Sitne Amati episcopi et Casinensis monachi, cujus inter opera Petrus diaconus recenset tractatum de duodecim Lapidibus, nobis non liquet. Certe cuti expositione Bedæ in eumdem Apocalypsis locum maxime consentit Jaspis, qui primus in ordine ponitur, viridis est coloris, et significat Christum, qui esi resurrectio vcl refectio sanctarum animarum; sive electos, quorum fides nunquin marcescit. Sapphirus, qui secundus in ordine ponitur, aerei coloris, sanctos significat, qui adhuc in terra positi cœlestia mente petunt ei cuneta terrena despiciunt, quasi non sinl in icrra. Isli vero possunt dicere cum Apostolo, Nostra conversatio in cœlis est (Philipp. III, 2d) Chalcedonius, qui tertius in oidiue ponitur, adeo fortissimæ naturæ est, ul sculpentium argumentis resistat, speciemque habens pallentis lucernæ, significat fortes inter adversa aliis exemmplum forti udinis præbcutes, ct sine ostentatione lumen scientiæ portantes. Smaragdus adeo est viridis, ut aerem eliam circumfusum viridem reddat. Cujus multa sum genera. Scd pretiosissimi in deserto Scythiæ reperiuntur, quos gryphes, ex parlc leones et ex parte aquilæ, cusiodientes hominibus auferunt, cum quibus Arimaspi homines unum oculum habentes bella gerunt, ipsosque eis auferunt.
English
TREATISE ON THE TWELVE STONES, OF WHICH APOC. CHAP. XXI, 19, 20. Whether it is by Amatus, bishop and monk of Monte Cassino, whose works include a treatise on the twelve stones listed by the deacon Peter, is not clear to us. Certainly it agrees very much with Bede’s exposition on the same passage of the Apocalypse. Jasper, which is placed first in order, is green in color, and signifies Christ, who is the resurrection or refreshment of holy souls; or the elect, whose faith never withers. Sapphire, which is placed second in order, is sky-colored, and signifies the saints who, while still placed on earth, seek heavenly things in mind and despise all earthly things, as if they were not on earth. These indeed can say with the Apostle, “Our conversation is in heaven” (Phil. 3:20). Chalcedony, which is placed third in order, is of so very strong a nature that it resists the tools of engravers, and having the appearance of a pale lamp, signifies those who are strong amid adversities, giving others an example of fortitude, and bearing the light of knowledge without ostentation. Emerald is so green that it renders even the surrounding air green. There are many kinds of it. But the most precious are found in the desert of Scythia, which griffins—part lion and part eagle—guarding them, take away from men, with whom the Arimaspi, men having one eye, wage wars and take them away from them.
stoa0040.stoa040b.opp-lat1:2 · narrativemedium
Source
Sic et Christus æternæ pascua relectionis suis daturus, in cordibus a lerieniscuris remotis habitat, quem gryphes, id est, mahgni spiritus tollere nituntur fidelibus,sed electi oculum mentis possidentes, cum gryphibus pugnant, sibique hunc pretiosum lapidem vindicant. Sardonius ex sardio et onyce componitur, primum colorcm habens nigrum, medium candidum, supernum rubeum, ostendit eos, qui licet despecti videantur, splendore tamen fidei irradiantur, et cliaritatis igne semper nibescunt. Sardius terræ rubræ speciem nabens, significat sanctos, qui quamvis sublimes sint meritis, tamen humanam fragititatem considerantes, se esse filio, Adæ recognoscunt, qui rubra terra dicitur. Bene autem sexto loco ponitur, sicut illi sexto dic factus est. Chrysolithus quasi aurum refulgens ct quasi scinttilas ex se mittens, significat cos, qui lucc supernæ sapicntia: resplendent, suasque virtutes cum verbo prædicationis velut scintillas iu proximos effundunt. Bcryllus viridis et pallidus designat saucios, contemplatione Dei virides, sed fraternæ administrationis actione quasi pallentes. Topazius omnium lapidum colorem habens significat sanctos omnibus refertos virtutibus. Chrysoprasus aureus et viridis designat sapientes resplendentes fide. Ilyacinthus similis aquæ radio solis perfusje, designat sanctos sapicutia repletos, perfusos radio veri solis.
English
Thus also Christ, about to give his own the eternal pasture of refreshment, dwells in hearts removed from worldly cares, whom griffins—that is, great spirits—strive to snatch away from the faithful, but the elect, possessing the eye of the mind, fight with the griffins and claim this precious stone for themselves. The sardonyx is composed of sard and onyx, having a black color first, white in the middle, and red at the top; it shows those who, though they may appear despised, are nevertheless irradiated by the splendor of faith and always grow red with the fire of clarity. The sard, having the appearance of red earth, signifies the saints who, although they are sublime in merits, yet considering human frailty, recognize themselves as sons of Adam, who is called red earth. It is well placed in the sixth position, just as he was made on the sixth day. The chrysolite, gleaming like gold and emitting sparks from itself, signifies those who shine with the light of heavenly wisdom and pour forth their virtues, like sparks, upon their neighbors through the word of preaching. The beryl, green and pale, designates the saints who are green with the contemplation of God, but pale, as it were, with the action of fraternal administration. The topaz, having the color of every stone, signifies the saints filled with all virtues. The chrysoprase, golden and green, designates the wise who shine with faith. The hyacinth, like water suffused with a ray of the sun, designates the saints filled with wisdom, suffused with the ray of the true sun.
stoa0040.stoa040b.opp-lat1:3 · narrativehigh
Source
Amethystus in suo purpureo colore cœlestem, in violaceo colore humilitatem cum bonæ opcraLionis odore, in rosco charitatem sanctorum significat.
English
The amethyst, in its purple color, signifies the celestial; in its violet color, humility with the fragrance of good works; in its rose color, the charity of the saints.
Citation. Tergwame, “Tractatus De Duodecim Lapidibus [Incertus]”, stoa0040.stoa040b.opp-lat1:1, machine-draft, 2026. https://naxiai.com/christian/works/stoa0040.stoa040b.opp-lat1#s1
Colophon. Source: ogl-pl · licence: Available under a Creative Commons Attribution-ShareAlike 4.0 International License · model: deepseek/deepseek-v4-flash:floor · provider: Relace · cost: $0.0020 · generated 2026-11-15.