The symbolism of precious stones presented in so many different ways by the early ecclesiastical writers appears in the prayer offered by the Archbishop of Canterbury at the coronation of the kings and queens of England. While the king kneels upon a footstool, the archbishop takes St. Edward’s Crown and lays it upon the altar; whereupon he pronounces the following words: [Illustration: LA MADONNA DELLA SALUTE, BY OTTAVIANO NELLI In the Basilica of S. Francesco at Assisi. ] O, God, the crown of the faithful, who on the heads of Thy saints placed crowns of glory, bless and sanctify this crown, that as the same is adorned with divers precious stones, so this Thy servant, wearing it, may be replenished of Thy grace, with the manifold gifts of all precious virtues, through the King eternal, Thy Son our Lord. Amen.”[519] In a tractate “Of the Crown of the Virgin,” ascribed to Saint Ildefonso (607–669), the writer describes this wondrous gold crown as adorned with twelve precious stones, six splendid stars, and six beautiful and fragrant flowers, thus uniting the fairest treasures of earth and sky in honor of the Queen of Heaven.[520] The gems, stars and flowers are given in the following order: Topaz, Sirius, sard, lily, chalcedony, Arcturus, sapphire, crocus, agate, the evening star, jasper, the rose, carbuncle, the Sun, emerald, the violet, amethyst, the Moon, chrysolite, sun-flower, chrysoprase, Orion, beryl, camomile. “That thus,” the writer concludes, “with precious stones, radiant luminaries, and fair flowers, a splendid crown may be ennobled, beautified and adorned, and may be the more willingly and gladly accepted by Our Lady.” In a private collection in Smyrna there is a black hematite engraved somewhat in the style of an Abraxas gem; and certainly not Christian. On it is represented a galloping horseman, beneath whose steed is a crouching man; above the rider’s head appears a star. The reverse bears the inscription: σφραγίς θεοῦ, “seal of God.” In contrast with this is an intaglio carnelian of the Munich Royal Collection, with the figures of the Virgin Mary and the Infant Jesus, and the Greek words ἡ ἐικὼν τῆς ἁγίας Μαρίας, “the image of the Holy Mary.” This is one of the best examples of Byzantine work in gem-cutting.[521]