Audi loquacem vulturem, qui neutiquam te decipit

Audi loquacem vulturem, qui neutiquam te decipit

The Bird as the central motif. From Atalanta Fugiens.

Michael Maier, 1618 “Audi loquacem vulturem, qui neutiquam te decipit.”

Symbolica, 2026 Maier’s Latin, put into English here: Hear the talkative vulture, who does not deceive you at all.

Symbolica The banner's Latin, put into English here: I am black, white, yellow and red.

Michael Maier, 1618 “Montis in excelso consistit vertice vultur
Assidue clamans; Albus ego atque niger,
Citrinus, rubeusque feror nil mentior: idem est
Corvus, qui pennis absque volare solet
Nocte tenebrosa, mediaque in luce diei,
Namque artis caput est ille vel iste tuae.”

Symbolica, 2026 Maier’s epigram, put into English here: On the high summit of the mountain stands a vulture, crying without stopping: I am white and black, I am carried as yellow and as red, and I tell no lie. The same is the Raven, who is used to flying without feathers in the dark of night and in the middle of the light of day, for that one, or this one, is the head of your art.

Tap a motif on the picture, or a line below. Its note opens under the line, with the reading its author gave it.

  1. Primary motif

The vulture on the summit of the rock with a banner from its beak lettered I am black, white, yellow and red, and the raven on the rock below it, a river town behind. 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.

‘Audi loquacem vulturem, qui neutiquam te decipit’: hear the talkative vulture, who does not deceive you at all. A great bird stands on the summit of a crag with a banner unrolling from its beak, and a second, darker bird sits on the rock below it, over a river landscape.

The banner says what the vulture says, and the epigram repeats it. ‘Montis in excelso consistit vertice vultur / Assidue clamans’, on the high summit of the mountain stands a vulture, crying without stopping: ‘Albus ego atque niger, / Citrinus, rubeusque feror nil mentior’, I am white and black, I am carried as yellow and as red, and I tell no lie. The ribbon from its beak is lettered EGO SVM NIGER, ALBVS, CITRINVS ET RVBVS, with three of its letters lost in the folds. Four colours, which are the four colours of the work in the order the alchemists gave them. Then the identification, which explains the second bird: ‘idem est / Corvus, qui pennis absque volare solet’, the same is the raven, who is used to flying without feathers in the dark of night and in the middle of the light of day, ‘Namque artis caput est ille vel iste tuae’, for that one, or this one, is the head of your art.

The bird names itself, which no other creature in the book does, and what it names is the sequence of colours the matter passes through. Merian drew it twice, the speaking vulture above and the silent raven below, because Maier's sentence says they are one. The archive files the pair with the black crow, the raven's head that begins the work, because Maier says in so many words that the vulture and the raven are one bird.

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.

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 1318 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
Audi loquacem vulturem, qui neutiquam te decipit. Internet Archive catalogues it as: Emblema XLIII, from Atalanta Fugiens, page 181
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, “Audi loquacem vulturem, qui neutiquam te decipit”, Matthaus Merian, attributed, for Michael Maier, 1618. thesymbolica.com/work/audi-loquacem-vulturem-qui-neutiquam-te-decipit/