_Chrysoberyl_ The various stones beginning with _chrys_ (Greek for gold) should in the main be yellow. Chrysoberyl is a yellowish, sometimes slightly greenish, mineral, beryllium aluminate, chemically Be Al₂O₄. It has been used for adornment since ancient times. _Chrysolite_ This is a rather common yellow silicate of magnesium and iron, of granular structure. When, as sometimes occurs, it is greenish in tint, it is called olivine by mineralogists, but when used for adornment jewelers call it peridot. Chrysolite is mentioned as one of the foundation stones of the New Jerusalem prophesied in _Revelations_. Shakespeare has Othello, wrought with agony over his beloved Desdemona whom he believes unfaithful, exclaim: Nay, had she been true, If heaven would make me such another world Of one entire and perfect chrysolite I’d not have sold her for it. There is indeed beauty in an entire and perfect chrysolite. _Chrysoprase_ Gold touched with leek (_prason_ is the Greek word for leek) marks the color of the chrysoprase. It is a light green quartz, a variety of chalcedony. As chrysoprasus, it is listed in the King James Bible as the tenth foundation stone of the New Jerusalem. _Citrine_ Named from the citrus family, citrine is a lemon-yellow variety of quartz. When clear, it may be used as becomingly as topaz. _Coral_ Coral is a fairly hard substance, mainly calcium carbonate, made up of the skeletons of myriads of marine animals called polyps. These skeletons, attached to one another, through the centuries have formed shelves in the ocean, or shaped themselves as atolls and far-extending reefs. Coral may be in many colors, white, black, yellow, blue, and—most popular in jewelry—shades of pink and red. The reddish shades, the Greeks inform us, are dyed by the blood of the Gorgon Medusa, whose snake-haired head, lopped off by Perseus, dripped its gore into the sea as he laid it by to wash his hands. Scientists inform us the red is produced by the presence of iron oxide. The ancient Romans placed coral on cradles, to protect the babe against the ills of infancy, especially teething. Even today, Italian peasants use it as a charm against sterility, or in the form of a little bell the wind might make tinkle to drive off evil spirits. If one has ever knocked wood, one might place on the babe a ring or a trinket of coral. References to the beloved one’s coral lips were so frequent in Renaissance poetry that Shakespeare in revulsion wrote his Sonnet 130: My mistress’ eyes are nothing like the sun, Coral is far more red than her lips’ red ... —And yet, by heaven, I think my love as rare As any she belied with false compare. A century later another playwright, William Congreve, also used the image in a passage of scorn, after describing the physical allure of a great beauty: