Aquilæ duæ, una ab ortu, altera ab occasu conveniunt

Aquilæ duæ, una ab ortu, altera ab occasu conveniunt

The Bird as the central motif, with the Divine in a secondary part. From Atalanta Fugiens.

Michael Maier, 1618 “Aquilæ duæ, una ab ortu, altera ab occasu conveniunt.”

Symbolica, 2026 Maier’s Latin, put into English here: Two eagles meet, one from the east and one from the west.

Michael Maier, 1618 “Jupiter e DELPHIS aquilas misisse gemellas
Fertur ad Eoas Occiduasque plagas:
Dum medium explorare locum desiderat Orbis,
(Fama ut habet) Delphos hae rediere simul.
Ast illae lapides bini sunt, unus ab ortu,
Alter ab occasu, qui bene conveniunt.”

Symbolica, 2026 Maier’s epigram, put into English here: Jupiter is said to have sent twin eagles from DELPHI to the eastern and the western regions, wanting to find the middle place of the World; and, as the story has it, they came back to Delphi together. But those two are two stones, one from the rising and one from the setting, which agree well together.

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  1. Primary motif
  2. Secondary motifs · 1

The two eagles alighting on the hands of the bearded figure between them. By eye

The picture read whole, in the archive's words, from the sources quoted on the marks. Read on, and the picture follows: the motif under discussion keeps its colour.

‘Aquilæ duæ, una ab ortu, altera ab occasu conveniunt’: two eagles, one from the east and one from the west, meet. A crowned figure stands on a rock with an eagle coming down onto each hand, and the sea behind him.

‘Jupiter e DELPHIS aquilas misisse gemellas / Fertur’, Jupiter is said to have sent twin eagles from Delphi, ‘ad Eoas Occiduasque plagas’, to the eastern and the western regions, wanting to find the middle place of the world; ‘Delphos hae rediere simul’, they came back to Delphi together. The story is the ancient one that made Delphi the navel of the earth, and Merian drew the return.

Then Maier says what the birds are: ‘Ast illae lapides bini sunt, unus ab ortu, / Alter ab occasu’, but those two are two stones, one from the rising and one from the setting, ‘qui bene conveniunt’, which agree well together. The god between them is where they agree. The two eagles are the pair of the other emblems again, sun and moon, brother and sister, warm water and cold, here as two things that fly apart and come back to the same hand.

Decoded: every motif is marked, and each mark carries the reading its author gave it, quoted from the text, or says that it is observed on the picture and not read. The reading above is the archive's own, made from those sources and no others.

Where the detail is the subject

the Divine

This is in the picture without being what it is about. Below, one work that is about it.

Record

Source
Rights
Public domain. The book was printed at Oppenheim in 1618 and its author, engraver, printer and publisher have been dead for more than three centuries; the Getty Research Institute's scan of it on the Internet Archive carries no further restriction.
Restoration
None. A 1400 by 1302 pixel web copy made from the source file; nothing painted, nothing upscaled.
Series
Artist
Matthaus Merian, engraver and publisher, 1593 to 1650, to whom the fifty plates of Atalanta Fugiens are attributed by tradition rather than by signature
Titled here
Aquilæ duæ, una ab ortu, altera ab occasu conveniunt. Internet Archive catalogues it as: Emblema XLVI, from Atalanta Fugiens, page 193
Checked
the Science History Institute's catalogue of the same 1618 Oppenheim printing, 4 September 2026: Maier as author, de Bry as publisher, Galler as printer, Merian as engraver, and Public Domain Mark. The engraving is attributed to Merian by tradition and is not signed. The image here is from the Getty Research Institute's scan of the same edition on the Internet Archive; the leaf is named in the source line. Not seen in the hand.
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Cite
Symbolica, “Aquilæ duæ, una ab ortu, altera ab occasu conveniunt”, Matthaus Merian, attributed, for Michael Maier, 1618. thesymbolica.com/work/aquil-du-una-ab-ortu-altera-ab-occasu-conveniunt/