The Mirror of Alchimy — A Closer Reading

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In Category - Ethics
Bacon, Roger, 1214?-1294 Project Gutenberg 2018 Not confirmed
Occultism -- Early works to 1900; Alchemy -- Early works to 1800 Readers of public-domain and historical texts
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Words 26,159
Reading time 114 min
Text sections 44

This digital edition of The Mirror of Alchimy — A Closer Reading is described by source-level measurements including 26,159 words, 1 hr 54 min estimated reading time, and 44 detected text sections.

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Roger Bacon's 1597 English alchemical treatise defines the art, describes the philosopher's stone, and provides step-by-step instructions for transmutation, using cryptic language and practical recipes.
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E-text prepared by the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive (https://archive.org)

Note: Images of the original pages are available through Internet Archive. See https://archive.org/details/mirrorofalchimy00baco

Text enclosed by underscores is in italics (_italics_).

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THE Mirror of Alchimy,

Composed by the thrice-famous and learned Fryer, _Roger Bachon_, sometimes fellow of _Martin_ Colledge: and afterwards of _Brasen-nose_ Colledge in _Oxenforde_.

Also a most excellent and learned discourse of _the admirable force and efficacie of_ Art _and_ Nature, _written by the same Author_.

With certaine other worthie Treatises of the like Argument.

_Vino vendibili non opus est hedera._

LONDON Printed for Richard Oliue. 1597.

_In times past the Philosophers spake afters diuers and sundrie manners throughout their writings, sith that as it were in a riddle and cloudie voyce, they haue left vnto vs a certaine most excellent and noble science, but altogither obscure, and without all hope vtterly denied, and that not without good cause. Wherefore I would aduise thee, that aboue all other bookes, thou shouldest firmly fixe thy mind vpon these seuen Chapters, conteining in them the transmutation of mettalls, and often call to minde the beginning, middle, and end of the same, wherein thou shalt finde such subtilitie, that thy minde shalbe fully contented therewith._

The Mirrour of Alchimy, composed by the famous Fryer, _Roger Bachon_, sometime fellow of _Martin_ Colledge, and _Brasen-nose Colledge in Oxenforde_.

_Of the Definitions of Alchimy._

In many ancient Bookes there are found many definitions of this Art, the intentions wherof we must consider in this Chapter. For _Hermes_ saith of this Science: _Alchimy_ is a Corporal Science simply composed of one and by one, naturally conioyning things more precious, knowledge and effect, and conuerting them by a naturall commixtion into a better kind. A certain other saith: _Alchimy_ is a Science, teaching how to transforme any kind of mettall into another: and that by a proper medicine, as it appeareth by many Philosophers Bookes. _Alchimy_ therfore is a science teaching how to make and compound a certaine medicine, which is called _Elixir_, the which when it is cast vpon mettals or imperfect bodies, doth fully perfect them in the verie proiection.

_Of the naturall principles, and procreation of Minerals._

Secondly, I will perfectly declare the naturall principles & procreations of Minerals: where first it is to be noted, that the naturall principles in the mynes, are _Argent-uiue_, and _Sulphur_. All mettals and minerals, whereof there be sundrie and diuers kinds, are begotten of these two: but I must tel you, that nature alwaies intendeth and striueth to the perfection of Gold: but many accidents comming between, change the mettalls, as it is euidently to be seene in diuers of the Philosophers bookes. For according to the puritie and impuritie of the two aforesaide principles, _Argent-uiue_, and _Sulphur_, pure, and impure mettals are ingẽdred: to wit, Gold, Siluer, Steele, Leade, Copper, and Iron: of whose nature, that is to say, puritie, and impuritie, or vncleane superfluitie and defect, giue eare to that which followeth.

_Of the nature of Golde._

Gold is a perfect body, engendred of _Argent-uiue_ pure, fixed, cleare, red, and of _Sulphur_ cleane, fixed, red, not burning, and it wanteth nothing.

_Of the nature of Siluer._

Siluer is a body, cleane, pure, and almost perfect, begotten of _Argent-uiue_, pure, almost fixed, cleare, and white, & of such a like _Sulphur_: It wanteth nothing, saue a little fixation, colour, and weight.

_Of the nature of Steele._

Steele is a body cleane, imperfect, engendred of Argent-uine pure, fixed & not fixed cleare, white outwardly, but red inwardly, and of the like Sulphur. It wanteth onely decoction or digestion.

_Of the nature of Leade._

Leade is an vncleane and imperfect bodie, engendred of Argent-uiue impure, not fixed, earthy, drossie, somewhat white outwardly, and red inwardly, and of such a Sulphur in part burning. It wanteth puritie, fixation, colour, and fiering.

_Of the nature of Copper._

Copper is an vncleane and imperfect bodie, engendred of Argent-uiue, impure, not fixed, earthy, burning, red not cleare, and of the like Sulphur. It wanteth purity, fixation, and weight: and hath too much of an impure colour, and earthinesse not burning.

_Of the nature of Iron._

Iron is an vnclean and imperfect body, engendred of Argent-uiue impure, too much fixed, earthy, burning, white and red not cleare, and of the like Sulphur: It wanteth fusion, puritie, and weight: It hath too much fixed vncleane Sulphur, and burning earthinesse. That which hath bene spoken, euerie Alchimist must diligently obserue.

_Out of what things the matter of_ Elixir _must be more nearly extracted_.

Roger Bacon's The Mirror of Alchimy, printed in London in 1597, opens with a preface that warns readers the science is 'altogither obscure, and without all hope vtterly denied.' The work compiles definitions from Hermes and other philosophers, then moves into detailed procedural chapters. Bacon's diction shifts between abstract principle and concrete instruction: he calls alchemy 'a Corporal Science' that 'conuerting them by a naturall commixtion into a better kind,' yet later specifies exact weights and dung-heat durations. This tension between esoteric secrecy and practical recipe defines the text's character.

Definitions veiled in riddles

The first chapter gathers multiple definitions of alchemy, each phrased as a cryptic formula. Hermes is quoted calling it 'simply composed of one and by one, naturally conioyning things more precious.' Another unnamed philosopher defines it as teaching 'how to transforme any kind of mettall into another.' Bacon does not reconcile these voices; he presents them as a chorus of authorities. The phrasing 'as it were in a riddle and cloudie voyce' in the preface acknowledges that the definitions are deliberately obscure. The reader is told to 'firmly fixe thy mind vpon these seuen Chapters' and to 'often call to minde the beginning, middle, and end'—a structure that mirrors the alchemical process itself. The definitions do not explain the art so much as they perform its secretive nature.

The stone as agent of transformation

In Chapter II, Bacon describes the philosopher's stone as possessing 'many properties and vertues.' It 'cureth bodies of their accidentall diseases' and 'preserueth sound substances' so that 'there appeareth in them no perturbations of contraries.' The stone is called 'the sope of bodies, yea their spirit and soule,' and 'the life of the dead, and their resurrection.' These metaphors blend medical, spiritual, and material registers. Bacon warns that the stone 'is not to be bought with mony, it is neither to be bought nor sold,' and concludes with a moral injunction: 'Adore thẽ God the creator, that hath vouchsafed thee so great fauor.' The language elevates the stone beyond a mere chemical agent into a divine gift, accessible only through labor and grace.

Stepwise recipes and repeated cycles

Chapter XV provides a detailed procedure for making the white stone. The instructions are precise: 'take the precious stone, and put it in a Cucurbite, couering it with an Alembicke, being well closed with the lute of wisdome.' The process involves repeated cycles of distillation, grinding, and burial in 'verie hote horse-dung' for set periods—forty days, then ten days, repeated four times. Bacon specifies renewing the dung 'so often as occasion shall serue' and notes that 'the Medicine shall dissolue of it selfe, and become a thicke white water.' The recipe is both exacting and open-ended: the practitioner must judge when the dung cools and when the body has 'drunke vp the water.' This blend of fixed numbers and sensory observation characterizes the practical alchemy of the period.

Voice and address to the reader

Throughout the text, Bacon directly addresses the reader with imperatives and warnings. In the preface he advises 'thou shouldest firmly fixe thy mind.' In Chapter II he writes 'He that vnderstandeth, let him vnderstand, and he that is ignorant, let him bee ignorant stil.' This echoes biblical phrasing and reinforces the idea that the art is reserved for the worthy. The closing of that chapter includes a learned man's saying: 'God giueth thee not this masterie for thy sole audacity, fortitude & subtilitie, without all labour.' The reader is positioned as a laborer who must combine study, patience, and humility. The text does not merely instruct; it tests the reader's resolve and discernment.

Readers approaching The Mirror of Alchimy should attend to how Bacon balances revelation with concealment. The definitions, recipes, and moral asides form a layered text where practical instruction is inseparable from spiritual admonition. The work rewards careful reading of its repetitions and numerical patterns, but resists easy interpretation. Treat the obscurity as intentional, not as a flaw.

Reading Bacon’s cryptic furnace talk, I kept thinking how both he and those old gospel critics were chasing one elusive truth through cloudy glass. There’s a particular loneliness in that. It reminded me of sitting with Ecce Homo! Or, A Critical Inquiry into the History of Jesus of Nazareth Being a Rational Analysis of the Gospels — Edition Insights—another kind of transmutation, working with what’s given rather than what’s promised.

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