Both in Babylonia and in Egypt, lapis-lazuli was very highly valued, and this is shown by the use of its Assyrian name (_uknu_) in poetic metaphor. Thus, in a hymn to the moon-god Sin, he is addressed as the “strong bull, great of horns, perfect in form, with long flowing beard, bright as lapis-lazuli.”[118] This may remind us of the “hyacinthine locks” of classical literature. Lapis-lazuli, “a blue stone with little golden spots,” was a cure for melancholy and for the “quartern fever,” an intermittent fever returning each third day, or each fourth day counting in the previous attack.[119] [Illustration: JASPER PENDANT. Aztec Mexican. Used to stanch blood.] [Illustration: PIECE OF NATURAL LOADSTONE. Used in sixteenth century for medicinal purposes.] [Illustration: ARAGONITE PENDANT. Used for votive purposes in Armenia. Field Museum, Chicago.] Loadstone We have the authority of Plato (Ion, 533 D) for the statement that the word _magnetis_ was first applied to the loadstone by the tragic poet Euripides (480-405 B.C.), the more usual name being “the Heraclean stone.” These designations refer to two places in Lydia, Magnesia and Herakleia, where the mineral was found.[120] Pliny states, on the authority of Nicander, that a certain Magnes, a shepherd, discovered the mineral on Mount Ida, while pasturing his flock, because the nails of his shoes clung to a piece of it.[121] We are told by Pliny that Ptolemy Philadelphus (309-247 B.C.), planning to erect a temple in honor of his sister and wife Arsinoë, called in the aid of Chirocrates, an Alexandrian architect. The latter engaged to place therein an iron statue of Arsinoë which should appear to hang in mid-air without support. However, both the Egyptian king and his architect died before the design could be realized.[122] This story of an image held in suspense by means of powerful magnets set in the floor and roof, and sometimes also in the walls of a temple, is repeated in a variety of forms by early writers. Of course, there was no real foundation for such tales, as the thing is altogether impracticable. The Roman poet Claudian (fifth century A.D.) relates that the priests of a certain temple, in order to offer a dramatic spectacle to the eyes of the worshippers, caused two statues to be executed,—one of Mars in iron, and another of Venus in loadstone. At a special festival these statues were placed near to each other, and the loadstone drew the iron to itself. Claudian vividly describes this: