Dealbate Latonam & rumpite libros

Dealbate Latonam & rumpite libros

The Sun and the Moon as the central motif, with the King and the Queen in a secondary part. From Atalanta Fugiens.

Michael Maier, 1618 “Dealbate Latonam & rumpite libros.”

Symbolica, 2026 Maier’s Latin, put into English here: Whiten Latona and tear up the books.

Michael Maier, 1618 “Latonae sobolem non novit nemo gemellam,
(Ceu fert fama vetus) quae Jove nata fuit.
Hanc alii tradunt cum luna lumina solis
Mixta, nigrae cui sint in facie maculae.
Latonam ergo pares albescere, damnaque dantes
Ambiguos, adsit nec mora, rumpe libros.”

Symbolica, 2026 Maier’s epigram, put into English here: There is no one who does not know Latona's twin offspring, born of Jove, as the old story has it. Others hand down that she is the light of the sun mixed with the moon, the one with black spots on her face. So make Latona whiten, and break the books that deal in ambiguity and do harm. Do it without delay.

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Latona seated between her children, the sun-headed Apollo and Diana, the books torn on the ground. 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.

‘Dealbate Latonam & rumpite libros’: whiten Latona and tear up the books. A woman sits between two children, one with the sun for a head and one with the moon, while a man pours water over her hair and books lie torn on the ground.

Everyone knows the story, Maier says, ‘Latonae sobolem non novit nemo gemellam’, of Latona's twin offspring born of Jove. Then the reading the alchemists give her: ‘Hanc alii tradunt cum luna lumina solis’, others hand down that she is the light of the sun mixed with the moon, ‘nigrae cui sint in facie maculae’, the one with black spots on her face. The twins with the sun and the crescent are the two lights, and their mother is the mixture.

The order follows from the spots. ‘Latonam ergo pares albescere’, so make Latona whiten: the water poured over her is the whitening of the mixed body. And ‘rumpe libros’, tear up the books, ‘damnaque dantes / Ambiguos’, the ones that deal in ambiguity and do harm. Maier, who wrote fifty riddles, tells his reader to destroy the riddling books, and Merian drew them torn at the mother's feet.

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 King and the Queen

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 1342 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
Dealbate Latonam & rumpite libros. Internet Archive catalogues it as: Emblema XI, from Atalanta Fugiens, page 53
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, “Dealbate Latonam & rumpite libros”, Matthaus Merian, attributed, for Michael Maier, 1618. thesymbolica.com/work/dealbate-latonam-rumpite-libros/