The opposition between two types of alchemy, the true and the false, materialized, between the Middle Ages and the Renaissance, through a recurring and significant image: that of the “true philosophers” who practice true alchemy and that of the sophists and forges who practice false. But a sophist could also be an alchemist who, failing to realize the opus due to his incapacity to understand and put into practice what was said by the auctoritates of the discipline, fell prey to that melancholy so intensely represented in the famous engraving by Dürer that he could lead him to madness or death. A fatal passion that finds its roots in a conceptual framework that this relationship wants to highlight.
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