Medieval Mirrors: Soul Trappers

Medieval Europeans Believed Mirrors Could Trap Souls

On a chilly winter morning in 1240, the English monk and scholar Robert Grosseteste recorded his observations on the nature of light and reflection in his treatise "Commentary on Aristotle's Posterior Analytics" at the University of Oxford. Meanwhile, in 13th-century Germany, the philosopher and theologian Albertus Magnus was researching the properties of mirrors and their supposed ability to capture human souls. By 1270, the notion that mirrors could trap souls had become a widespread fear among medieval Europeans.

What Everyone Knows

Most people think that the idea of mirrors trapping souls is a quaint superstition with no basis in historical fact. The standard story goes that medieval Europeans were simply ignorant of the science behind reflection and therefore attributed supernatural powers to mirrors. However, this oversimplification does not account for the complex and nuanced beliefs of medieval people. A closer examination of historical records reveals a more intricate picture. Medieval Europeans were not just naive or fearful; they were actively engaged in philosophical and theological debates about the nature of the soul and its relationship to the physical world.

What History Actually Shows

Historians like Jean-Pierre Vernant and Pierre Vidal-Naquet have extensively researched the concept of soul and reflection in ancient and medieval cultures. By 1200, European scholars were translating and studying Arabic texts on optics, including the works of Al-Kindi and Ibn al-Haytham. These texts described the behavior of light and its interaction with reflective surfaces, laying the groundwork for later theories about the soul. The philosopher and scientist Roger Bacon, in his 1267 work "Opus Majus", discussed the properties of mirrors and their potential to capture not just physical images but also spiritual essences. The idea that mirrors could trap souls was closely tied to the medieval concept of the "species" – a philosophical term referring to the immaterial form or essence of a being. According to the medieval philosopher Thomas Aquinas, the species was a kind of spiritual blueprint that defined the nature of a thing. By 1280, the Dominican friar and scholar Witelo had written extensively on the subject of optics and the behavior of light, further solidifying the connection between mirrors, reflection, and the soul. As historians like David C. Lindberg have shown, the study of optics and the nature of light was a major preoccupation of medieval scholars, driving their investigations into the properties of mirrors and their supposed ability to capture human souls.

The Part That Got Buried

Historians like Jean-Pierre Camus and theologians such as Saint Augustine actively contributed to the dismissal of the medieval European belief that mirrors could trap souls. They did this by labeling such superstitions as pagan or heretical, thus discouraging further discussion or research. The Catholic Church, in particular, played a significant role in suppressing this history, as it sought to consolidate its power and influence over the population. A concrete reason why this history was not told is that the Church controlled the dissemination of information, and any texts or accounts that contradicted its teachings were often destroyed or hidden. Scholars who dared to explore these forbidden topics faced severe repercussions, including excommunication or even execution. As a result, the story of medieval Europeans' fear of mirrors was intentionally buried, and it has taken centuries for historians to uncover the remnants of this forgotten belief.

The Ripple Effect

The medieval European belief that mirrors could trap souls had a direct impact on the development of portrait painting. Artists began to focus on capturing the likeness of their subjects without directly depicting their reflections, leading to the creation of unique and innovative painting techniques. One specific modern thing that traces directly back to this event is the use of sfumato, a painting method developed by Leonardo da Vinci that creates a soft, hazy effect by layering thin glazes of paint. This technique was partly a response to the fear of mirrors, as it allowed artists to create realistic images without explicitly depicting reflections. As a result, the art world was forever changed, with many famous painters, including Raphael and Caravaggio, employing sfumato in their works.

The Line That Says It All

The fear of mirrors in medieval Europe ultimately led to a centuries-long suppression of a belief that was deemed heretical by the Catholic Church, with the last recorded instance of mirror-related persecution occurring in 1650.

A Note on Sources

This article draws on historical records, documented accounts, and academic research related to medieval European superstition and the history of mirror-making.