A collection of alchemical texts by Christophorus (or sometimes in this manuscript “Christofalus”) Parisiensis. Despite his name, Christophorus Parisiensis (Christopher of Paris) was likely Italian, possibly from Venice, writing in the second half of the fifteenth century. One theory suggests that he may have been an exile, seeking to rehabilitate himself with the Italian authorities by treatise and letters written as if “from Paris.” The content of his work suggests that he was an enthusiastic follower of the Pseudo-Lullian school, although he also cites other authors, including Arnald of Villanova (1240–1311), and Ortulanus (fl. 1300).

The Lucidarium artis transmutationis metallorum (An Elucidation of the art of the transmutation of metals) is often identified simply as the Elucidariusor Lucidario or Lucidarium. Lucidarium is certainly heavily dependent on Pseudo-Lullian works; Christophorus quotes them often and follows the general style and use of alphabets characteristic of these works. The Latin text of the Lucidarium includes a statement warning that alchemical secrets should be guarded, and in particular, open only to those who knew Latin –a sentence that that does not seem to appear in Italian versions of the text. Despite this, he is the author of two other works included here, the Sommetta and Violeta, from the 1470s that may be the earliest alchemical treatises in Italian, and all his works, including the Lucidarium, circulated in Italian.

The first book, Lucidarium, is theoretical, including definitions of the philosophers’ stone or elixir, the possibility of transmutation of imperfect metals, and chapters that include common objections and responses to them, and so forth. The second two books, Sommetta and Violeta, are “practica.” This volume, dated by the scribe (see inscription), is particularly valuable for the copious notes and annotations that crowd its margins. Furthermore, immediately preceding the scribal colophon in this copy is an unusually detailed account, at this point not identified in any other manuscript, of the composition of the text, including an “eye-witness” statement, testifying that they had seen mercury turned into silver.