9865.“红宝石、黄玉、红玉”表对良善的属天之爱。这从这些石头的含义清楚可知，这些石头是指属天之爱的良善，属天之爱就是从主所获得的对主之爱。这些石头表示这爱是由于它们火红的颜色，“红”表示爱（参看3300节），“火焰”也是（参看3222，6832，7620，7622，9570节）。但在此之所以表示属天之爱，是因为这些石头在第一行；第一行的石头对应于至内层天堂中的事物，在至内层天堂掌权的是属天之爱，也就是对主之爱。胸牌上的十二颗宝石因代表源于良善的一切真理，故也代表整个天堂；因为天堂凭从主的神性良善发出的神性真理而为天堂；构成天堂的天使是这真理的接受者。正因如此，第一行的这三样石头代表至内层天堂，因而代表在那里掌权的爱，这爱被称为对良善的属天之爱和对真理的属天之爱。第一行的石头代表对良善的属天之爱，第二行的石头代表对真理的属天之爱。这些石头代表这爱是由于它们的颜色，如前所述；因为宝石照它们的颜色而拥有一个代表。
天堂里会出现无法形容的美丽色彩，因为它们是天堂之光的修改，而天堂之光是从主发出的神性真理。由此明显可知，色彩在那里照良善和真理的变化而呈现；因此，它们是从主发出的光经由天使的修改。从主发出的光在至内层天堂就像火焰；因此，由它产生的色彩是红色的，并且闪闪发光。但这光在中间天堂就像一道明亮的白光；因此，由它产生的色彩是明亮的白色，并且它们越拥有良善在里面，就越闪闪发光。这解释了为何有两种基本颜色，即红色和白色，其它一切颜色都与这两种颜色有关；红色代表良善，而白色代表真理（9467节）。
由此清楚可知为何如此多颜色的石头成行镶在胸牌上，即是为了叫它们可以代表按其适当次序存在于天堂中的一切良善和真理，因而代表整个天堂。第一行石头，即红宝石、黄玉、红玉，代表对良善的属天之爱，是因为它们有红色的不同色调。此外，在这一行排在第一位的红宝石，其名字在原文来源于一个表示“红色”的词；排在第三位的红玉，其名字在原文来源于一个表示“闪光”，就像来自火那样的词。但至于排在中间的黄玉来源于哪个词，则不得而知；不过，它很可能来自描述火红色的某个词。这或许就是为何在约伯记，类似论到黄金的话会论到黄玉：
古实的黄玉不能与智慧较量；它不能用纯金来估价。（约伯记28:19）
“金”也表示爱之良善（113，1551，1552，5658，6914，6917，8932，9490，9510节）。
Potts(1905-1910) 9865
9865. A ruby, a topaz, and a carbuncle. That hereby is signified the celestial love of good, is evident from the signification of these stones, as being the good of celestial love. Celestial love is love to the Lord from the Lord. That these stones signify this love is on account of their red and flaming color, and "red" signifies love (see n. 3300), in like manner what is "flaming" (see n. 3222, 6832, 7620, 7622, 9570); here celestial love is signified, because they are in the first row; and those which are in the first row correspond to things in the inmost heaven, where reigns celestial love, that is, love to the Lord. As the twelve stones in the breastplate represented all truths from good, they consequently also represented the whole heaven; for heaven is heaven from the Divine truth that proceeds from the Lord's Divine good. The angels who constitute heaven are receptions of this. Hence it is that the three stones which were in the first row represent the inmost heaven, consequently the love which is there, which is called the celestial love of good, and the celestial love of truth; the stones that were in the first row representing the celestial love of good, and those in the second row the celestial love of truth. That these stones represent this love is due to their color, as before said; for precious stones have a representation according to their colors. [2] In the heavens appear colors of unspeakable beauty, because they are modifications of heavenly light, and heavenly light is the Divine truth proceeding from the Lord. From this it is evident that colors are presented to view there according to the variations of good and truth; thus they are modifications of the light that proceeds from the Lord through the angels. The light that proceeds from the Lord appears in the inmost heaven like flame; and therefore the colors which come from it are red and flashing. But the same light appears in the middle heaven like a bright white light; and therefore the colors which come from it are of a bright white color, and insofar as they have good in them they sparkle. It is from this that there are two fundamental colors, to which all the rest bear relation; namely, the color red, and the color white; and that a red color is representative of good, and a white one of truth (n. 9467). [3] This shows why stones of so many colors were set in rows in the breastplate; namely, in order that they might represent in their order all the goods and truths which are in the heavens; consequently the universal heaven. The stones of the first row, which were a ruby, a topaz, and a carbuncle, represented the celestial love of good, because they partake of red. Moreover, the ruby, which is in the first place, derives its name in the original tongue from a word which signifies redness; and the carbuncle, which is in the third place, in the same tongue is derived from a term which signifies a flashing as from fire. But from what word the topaz, which is in the middle place, is derived, is not known; that it was from flaming red color is probable. Accordingly in Job the like is said of it as of gold:
The topaz of Ethiopia shall not vie with wisdom, neither shall it be valued with pure gold (Job 28:19). "Gold" also denotes the good of love (n. 113, 1551, 1552, 5658, 6914, 6917, 8932, 9490, 9510).
Elliott(1983-1999) 9865
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.
Latin(1748-1756) 9865
9865. `Rubinus, topazius, carbunculus': quod significet caelestem amorem boni, constat ex significatione illorum lapidum, quod sint bonum caelestis amoris; amor caelestis est amor in Dominum a Domino. Quod lapides illi eum amorem significent, est ex colore illorum rubro et flammeo, et rubrum significat amorem, n. 3300, similiter flammeum, n. 3222, 6832, (x)7620-7622, 9570, hic amorem caelestem, quia in primo ordine sunt; et quae in primo ordine, correspondent illis quae in caelo intimo, ubi amor caelestis, hoc est, amor in Dominum regnat; duodecim {1}1 lapides in pectorali, quia repraesentabant omnia vera ex bono, {2}inde repraesentabant quoque totum caelum, nam caelum est caelum ex Divino Vero procedente (c)ex Divino Bono Domini; angeli ibi, qui constituunt caelum, sunt receptiones ejus; inde est quod tres lapides qui in primo ordine, repraesentent caelum intimum, proinde amorem qui ibi, qui vocatur amor caelestis boni, et amor caelestis veri; lapides qui in primo ordine amorem caelestem boni, qui in secundo amorem caelestem veri; quod illi lapides eum amorem repraesentent, trahunt ex colore, ut dictum est, nam lapides pretiosi secundum colores suos repraesentant; [2] apparent enim in caelis colores pulchritudine ineffabili, nam sunt {3} modificationes lucis caelestis, et lux caelestis est Divinum Verum procedens a Domino; inde patet quod colores ibi sistantur secundum variationes boni et veri; ita sunt modificationes lucis procedentis a Domino per angelos. Lux quae a Domino procedit apparet in intimo caelo sicut flamma, quapropter colores qui inde sunt rubent et fulgurant; at eadem lux apparet in medio caelo sicut lux candida, quapropter colores qui inde sunt candent, et quantum boni in se habent, coruscant; inde est quod bini colores fundamentales sint ad quos omnes reliqui se referunt, nempe color ruber et color albus, et quod color ruber sit repraesentativus boni, {4}et color albus repraesentativus veri, videatur n. 9467. [3] Ex his nunc constat unde est quod lapides {5} tot colorum secundum ordines in pectorali positi {6}fuerint, ut nempe repraesentarent omnia bona et vera quae in caelis in suo ordine, proinde universum caelum; quod lapides primi ordinis, qui sunt rubinus, topazius, et carbunculus, repraesentarent amorem caelestem boni, est quia illi trahunt a rubro; rubinus etiam, qui in primo loco est, in lingua originali derivatur a voce quae significat rubedinem; et carbunculus, qui in tertio loco, in ea lingua derivatur a voce quae significat fulgurationem, qualis ab igne; topazius autem, qui in medio loco, e qua voce derivatur, ignotum est, quod a (x)rubro flammeo colore fuerit, vero simile est; inde est quod {7} simile de illo {8}quod de auro dicatur apud Hiobum, Cum sapientia non certabit topazius Aethiopiae, auro puro non aestimabitur, xxviii (x)19;`aurum' etiam est bonum amoris, n. 113, 1551, 1552, (m)5658, 6914, 6917, (x)8932, 9490, 9510.(n) @1 i enim$ @2 exinde$ @3 i illi$ @4 at$ @5 i pretiosi$ @6 sint$ @7 i paene$ @8 After dicatur$