9865. 'A ruby, a topaz, a carbuncle' means the celestial love of good. This is clear from the meaning of these stones as the good of celestial love, celestial love being love to the Lord, received from the Lord. Those stones mean that love on account of their red and flaming colour; for 'red' means love, 3300, and so does 'flaming', 3222, 6832, 7620-7622, 9570. But here celestial love is meant because those stones are in the first row; and those in the first row correspond to the realities that exist in the inmost heaven, where celestial love, which is love to the Lord, reigns. Since the twelve stones in the breastplate represented all the truths that spring from good they also represented the whole of heaven; for heaven is heaven by virtue of the Divine Truth emanating from the Lord's Divine Good, the angels there who constitute heaven being recipients of that Truth. So it is that the three stones which are in the first row represent the inmost heaven, consequently the love that reigns there, which is called the celestial love of good and celestial love of truth. The stones in the first row represent the celestial love of good, those in the second row the celestial love of truth. These stones represent that love, as has been stated, on account of their colour; for what precious stones represent is determined by their colours.

[2] In heaven colours of indescribable beauty appear; for they are modifications of heavenly light, and heavenly light is Divine Truth emanating from the Lord. From this it is evident that colours present themselves there in accord with variations of goodness and truth; thus they are modifications of the light emanating from the Lord, through the angels. The light emanating from the Lord appears in the inmost heaven as a flame; therefore the colours resulting from it are red and flashing. But the same light appears in the middle heaven as a brilliantly white light; therefore the colours resulting from it are brilliant, and to the extent that they have good within them they are gleaming. This explains why there are two basic colours to which all others are related, namely the colour red and the colour white; and the colour red is representative of good, while the colour white is representative of truth, see 9467.

[3] From all this it is now clear why it was that stones of so many colours were set in rows in the breastplate, namely in order that they might represent all the forms of good and the truths that exist in heaven in their proper order, and consequently represent the whole of heaven. The reason why the stones in the first row - a ruby, a topaz, and a carbuncle - represented the celestial love of good is that they are different hues of red. Furthermore the noun used in the original language for 'a ruby', the first in the row, is derived from a word that means 'redness'; and that for 'a carbuncle', the third in the row, is derived from a word meaning 'flashing', as if from fire. But as for the derivation of 'a topaz', the middle one in the row, this is unknown, though it very probably comes from something describing a red and flaming colour. This may be why in Job something similar is said of a topaz as is said of gold,

With wisdom the topaz of Ethiopia will not compete, it cannot be valued in pure gold. Job 28:19.

'Gold' too means the good of love, 113, 1551, 1552, 5658, 6914, 6917, 8932, 9490, 9510.

5658. 'Our silver in its full weight' means truths commensurate with each one's state. This is clear from the meaning of 'silver' as truth, dealt with in 1551, 2954; and from the meaning of 'weight' as the state of something as regards good, dealt with in 3104, so that truths commensurate with each one's state means commensurate with the good they are able to receive. Many places in the Word make reference to weights or to measures, but no weight nor any measure is meant in the internal sense. Rather states so far as the good involved in some reality is concerned are meant by 'weights', while states so far as the truth involved in it is concerned are meant by 'measures'. The same applies to the properties of gravity and spatial magnitude; gravity in the natural world corresponds to good in the spiritual world, and spatial magnitude to truth. The reason for this is that in heaven, where correspondences originate, neither the property of gravity nor that of spatial magnitude exists because space has no existence there. Objects possessing these properties do, it is true, seem to exist among spirits, but those objects are appearances that have their origins in the states of goodness and truth in the heaven above those spirits.

[2] It was very well known in ancient times that 'silver' meant truth; therefore the ancients divided up periods of time ranging from the earliest to the latest world epochs into the golden ages, the silver ones, the copper ones, and the iron ones, to which they also added the clay ones. They applied the expression 'golden ages' to those periods when innocence and perfection existed, when everyone was moved by good to do what was good and by righteousness to do what was right. They used 'silver ages' however to describe those times when innocence did not exist any longer, though there was still some sort of perfection, which did not consist in being moved by good to do what was good but in being moved by truth to do what was true. 'Copper ages' and 'iron ages' were the names they gave to the times that were even more inferior than the silver ones.

[3] What led those people to give periods of time these names was not comparison but correspondence. For the ancients knew that 'silver' corresponded to truth and 'gold' to good; they knew this from being in communication with spirits and angels. For when a discussion takes place in a higher heaven about what is good, this reveals itself among those underneath them in the first or lowest heaven as what is golden; and when a discussion takes place about what is true this reveals itself there as what is silvery. Sometimes not only the walls of the rooms where they live are gleaming with gold and silver but also the very air within them. Also, in the homes of those angels belonging to the first or lowest heaven who are moved by good to live among what is good, tables made of gold, lampstands made of gold, and many other objects are seen; but in the homes of those who are moved by truth to live among what is true, similar objects made of silver are seen. But who at the present day knows that correspondence was what led the ancients to call ages golden ones and silver ones? Indeed who at the present day knows anything at all about correspondence? Anyone who does not know this about the ancients, and more so anyone who thinks pleasure and wisdom lie in contesting whether such an idea is true or untrue, cannot begin to know the countless facets there are to correspondence.