Alchemy is generally understood as an art whose end is the transmutation of metals such as lead into gold, by means of a substance called the Philosopher’s Stone; but even from a purely physical standpoint, this is a somewhat superficial view. Alchemy is both a spiritual philosophy and an experimental science: the transmutation of metals was an end only inasmuch as this would verify the alchemistic hypothesis. Alchemy is the attempt to demonstrate and accomplish by experiment on the material plane the validity of a certain philosophical view of the Cosmos: the all pervading presence of Spirit in Nature — Spiritualizing the Material and Materializing the Spiritual.
In addition to the classical elements of earth, water, air, and fire, alchemists have for centuries found it useful to categorize matter into three constituent parts: salt, sulphur, and mercury. These three constituent parts are not to be confused with the common elements or chemicals contemporary persons may recognize from modern chemistry; these three symbolize specific states or components of the operated matter. Plants and animal substances, minerals and metals, were subjected to a series of operations: calcined, dissolved, separated into constituent parts and conjoined, fermented and distilled, coagulated; all of these efforts to purify and eliminate dross and bring about a higher state of being in the operated matter — as well as in the alchemist, who might ingest components or derivatives of these operations. In addition to the Philosophers Stone, alchemical texts speak of the Alkahest, the Elixir of Life, the Panacea, and many other substances of benefit to health, longevity, spirit and consciousness.
While many in modern Western society favor a materialistic approach to nature and eschew spiritual pursuits, the alchemists held a different view:
“Would to God that all men might become adepts in our Art, then gold, the great idol of mankind, would lose its value, and we should prize it only for its scientific teaching.”1
This sincere wish by sincere practitioners did not preclude the impostures of charlatans, known in the early modern period as Puffers. The Royal Art of Alchemy had the misfortune of contending with ruffians with mercenary motives.
The better to conceal their discoveries from the unworthy, as well as to transmit their knowledge to trusted practitioners, alchemists adopted various ciphers, symbols and metaphoric language. Alchemical imagery is highly symbolic, and it has been interpreted by mystics and depth psychologists as metaphors for spiritual and conscious states just as much as shorthand for specific chemical operations, and while purely spiritual alchemy bears its merits, the alchemical art was, and is, certainly engaged in laboratory work.
“These [alchemists] do not give themselves up to ease and idleness, but devote themselves diligently to their labors; sweating whole nights over fiery furnaces. These do not kill the time with empty talk, but find delight in their laboratory.”2 This task to which the alchemists dedicated themselves was approached as a sacred duty, the highest gifts of which are more than an intellectual curiosity; the pure heart dedicated to God was critical to any success in any endeavor:
“In the first place, let every devout and God-fearing Chemist and student of this Art consider that this arcanum should be regarded, not only as truly great, but as a most holy Art, seeing that it typifies and shadows out the highest heavenly good. Therefore, if any man desire to reach this great and unspeakable Mystery, he must remember that it is obtained not by the might of man, but by the Grace of God, and that not our will or desire, but only the mercy of the Most High, can bestow it upon us. For this reason you must first cleanse your heart, lift it up to Him alone, and ask of Him this gift in true, earnest, and undoubting prayer. He alone can give and bestow it.”3
Alchemical symbols were informed by Biblical narratives and theology of the Old and New Testaments, Greco-Roman classical mythology, natural and mythological bestiaries, court ceremony, as well as the natural philosophers’ keen observations of everyday cycles of life. The sacred nature of the Great Work of alchemy is what induced its adepts to convey its many operations in veiled, symbolic imagery, that its secrets might be withheld from the mercenary and the profane.
These concerns of uniting matter and spirit by means of prayerful labor, and at once conveying and concealing ineffable discoveries by means of symbols and metaphors, have informed the symbols and outlook of Freemasonry.
1. Eireneaus Philalethes, An Open Entrance to the Closed Palace of the King, The Hermetic Museum, Restored and Enlarged. (London: A.E. Waite, 1893), Vol. ii, 178.
2. Paracelsus, “Concerning the Nature of Things,” The Hermetic and Alchemical Writings of Paracelsus. (London: A.E. Waite, 1894) Vol. I, 167.
3. Anonymous, “The Sophic Hydrolith; or Water Stone of the Wise,” The Hermetic Museum (London: A.E. Waite, 1893) Vol. I, 74.