Cauendum à meretricibus

Cauendum à meretricibus

The Demon and the Monster as the central motif. From Alciato's Emblemata.

Andrea Alciato, 1648 “Cauendum à meretricibus.”

Symbolica, 2026 Alciato's motto, put into English here: Beware of harlots.

Andrea Alciato, 1648 “Sole sata Circes tam magna potentia fertur,
Verterit ut multos in noua monstra viros.
Testis equûm domitor Picus, tum Scylla biformis,
Atque Ithaci postquam vina bibere sues.
Indicat illustri meretricem nomine Circe,
Et rationem animi perdere, quisquis amat.”

Symbolica, 2026 Alciato's epigram, put into English here: So great is the power reported of Circe, daughter of the Sun, that she turned many men into new monsters. Witness Picus the tamer of horses, then two-formed Scylla, and the Ithacan's men, swine after they had drunk the wine. Circe, by her famous name, points to the harlot, and shows that whoever loves loses the reason of his mind.

The motifs the picture carries, filed by role. The marks on the picture itself come with the entry.

  1. 1The Demon and the Monstercentral motif as it reads here: Emblema LXXVI

The men Circe has changed, standing as a stag, a goat and a boar: Alciato's own word for them is monstra. 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.

A woman in a long gown, her hair loose, leans forward at the right and holds out a long wand toward a group of animals under a tree. A stag with full antlers, a goat and a boar crowd together at the left; a smaller beast stands in the middle of the ground between them. There is water behind and a hatched sky above.

The motto is the reading: Cauendum à meretricibus, beware of harlots. Alciato does not present Circe as a witch or as a lover but as a warning about appetite, and he produces witnesses for it, Picus who was turned into a bird, two-formed Scylla, and the crew of the Ithacan after they drank. The last line is the moral the picture is carrying: Circe, by her famous name, points to the harlot, and whoever loves loses the reason of his mind. The animals are the argument, not the incident.

Not yet decoded: the motifs are tagged by eye and the readings above are quoted from their sources. The marks on the picture and the sourced notes come with the entry.

Record

Source
Rights
Public domain. The book was printed at Antwerp in 1648 by the Plantin press and its author, commentator, cutter and printer have been dead for more than three centuries; the Getty Research Institute's scan of it on the Internet Archive records no copyright page and carries no further restriction.
Restoration
None. A 1400 by 1315 pixel web copy made from the source file; nothing painted, nothing upscaled.
Series
Titled here
Cauendum à meretricibus. Internet Archive catalogues it as: Emblema LXXVI, from the Emblemata, page 95
Checked
The Getty Research Institute's own metadata for its copy on the Internet Archive, 6 September 2026: Emblemata V.C. Andreae Alciati Mediolanensis ivrisconsvlti, Antwerp, Ex Officina Plantiniana Balthasaris Moreti, 1648, Alciato and Claude Mignault, Latin, no copyright page found. The motto, the emblem number and the epigram were read off the page image rather than from OCR, and the printed page number was read from the running head: the Internet Archive's leaf index runs four ahead of the book's own numbering, checked on two separate leaves. The block is unsigned. Not seen in the hand.
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Cite
Symbolica, “Cauendum à meretricibus”, An unsigned block, for Andrea Alciato, 1648 printing, the emblems first published 1531. thesymbolica.com/work/cauendum-a-meretricibus-1648/