THE MAKING OF SILVER AND GOLD

...can be understood by the senses and by demonstration. Nevertheless, the art the practice of alchemy should be able to bring the potential of matter into act actual physical existence or form or form outside of the natural location of the mines. Therefore, in Argyropoia original: "Argyropœia"; the art of making silver and Chrysopoia original: "Chrysopœia"; the art of making gold, we must seek the proximate matter the raw material in the state closest to the final product and the efficient cause the agent or force that triggers the change from another source, so that by the power of the cause, the matter may break forth into act, and from its potential, the form of silver and gold may arise and emerge.

Where the proximate matter of metals must be sought.

It must be sought, I say, in a thing where the judgment of the eyes and senses tells us this property is inherent—that is, a certain natural ability and disposition to receive the silver and gold form. The investigation of this matter depends on a twofold demonstration. The first is based on the similarity of the whole substance of silver and gold with this proximate matter we are seeking. This similarity is perceived by the senses through the easy mixing and "embrace" of these substances.

We must investigate the proximate matter through a twofold demonstration.

For these substances relate to one another so well that they join together without effort and without art, but of their own accord. We shall explain later which substance it is that joins so easily with silver and gold.

The second demonstration.

The second demonstration will concern the property, ability, and disposition of the matter that is to take on the form of both silver and gold. This ability or disposition will be made manifest to the senses by the similarity of the accidents in Aristotelian philosophy, these are qualities like color or weight that describe a thing but aren't its core essence of that same matter we seek, compared to those we observe in silver and gold—qualities resulting from the "suffering" how the material is shaped or affected by external forces of their matter, and which most distinguish them from other metals.

Four accidents common to gold and silver with the proximate matter.

These accidents are four in number. First, that silver and gold are not consumed by fire or set aflame. Second, that the parts they consist of—namely, the "moist" and the "dry"—are not dissipated or pulled apart by fire, which normally dissolves everything. Third, that they are of a very fine essence. Last, that they are dense and very heavy. To be precise—lest anyone complain—these belong most properly to gold, and to silver less so. Let those craftsmen who work with silver and gold judge these specific accidents, as I will soon demonstrate more clearly. Based on the authority of Aristotle, these accidents are physical states judged by the senses.

The matter which is proximate to gold and silver.

Therefore, the matter which we see with our own eyes joining easily with silver and gold, and which is endowed with these same specific accidents, will be the "proximate matter" for silver and gold within the art. It is this, and no other, which will be transformed into silver and gold by the efficient cause. We shall describe this matter by its proper name once we have demonstrated that these four accidents exist in silver and gold, explained their causes, and showed that...

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