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: Red or pink tourmaline, ruby (and rubellite) 1st rank. Coral or an inferior red stone (garnet) 2d rank. Blue stone (beryl or lapis-lazuli) 3d rank. Rock-crystal 4th rank. Other white stones 5th rank. The knowledge of classical mythology was so slight among the ecclesiastics of the Middle Ages that some very queer attributions of the subjects engraved on Greek and Roman gems were made during this period. A reliquary containing a tooth of the Apostle Peter, preserved in the Cathedral of Troyes, was set with antique gems which had been plundered by French and Venetian crusaders from the treasure-house of the Greek Emperor in Constantinople, when that city was sacked in 1204 during the Fourth Crusade. Among these gems was one representing Leda and the Swan—certainly a curious subject for the adornment of a Christian reliquary. Another Greek or Roman gem, long preserved in a church, was furnished by its Christian owners with an inscription indicating that the figure engraved upon it was that of St. Michael, while in reality it was a representation of the god Mercury. Still another gem was provided with an inscription signifying that the subject was the temptation of Mother Eve in the Garden of Eden, but the Greek gem engraver’s intent had been to carve the figures of Zeus and Athena, standing before an olive tree, a design which appears on some Athenian coins; at the feet of the divinities appears a serpent. In a similar way the grain-measure crowning the head of Jupiter-Serapis led to the attribution of a gem so engraved to the patriarch Joseph.[386]