Fit pullus à nido volans, qui iterùm cadit in nidum

Fit pullus à nido volans, qui iterùm cadit in nidum

The Bird as the central motif. From Atalanta Fugiens.

Michael Maier, 1618 “Fit pullus à nido volans, qui iterùm cadit in nidum.”

Symbolica, 2026 Maier’s Latin, put into English here: The chick flies from the nest and falls back into it.

Michael Maier, 1618 “Rupe cava nidum Jovis ALES struxerat, in quo
Delituit, pullos enutriitque suos:
Horum unus levibus voluit se tollere pennis,
At fuit implumi fratre retentus ave.
Inde volans redit in nidum, quem liquerat, illis
Junge caput caudae, tum nec inanis eris.”

Symbolica, 2026 Maier’s epigram, put into English here: The Bird of Jove had built its nest in a hollow rock, where it hid and reared its young. One of them wanted to lift itself on light feathers, but was held back by its unfledged brother. Flying from there it returns to the nest it had left. Join the head to the tail in these, and you will not come away empty.

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 rock with the nest at its top and the bird between the two, a river town below. 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.

‘Fit pullus à nido volans, qui iterùm cadit in nidum’: the chick flies from the nest and falls back into it. The picture is almost all rock, with the nest on the summit and a river town spread out below, so that the eye has to climb to find the birds.

‘Rupe cava nidum Jovis ALES struxerat’, the bird of Jove had built its nest in a hollow rock, and reared its young there. ‘Horum unus levibus voluit se tollere pennis’, one of them wanted to lift itself on light feathers, ‘At fuit implumi fratre retentus ave’, but was held back by its unfledged brother. The flier comes back to the nest it left, and Maier draws the lesson as an instruction: ‘Junge caput caudae, tum nec inanis eris’, join the head to the tail, and you will not come away empty.

What goes up in the work must come down again, or nothing is finished: the fledged bird and the one that cannot yet fly have to be joined. Merian put the whole argument in a nest the size of a thumbnail and gave the rest of the plate to the view.

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 1207 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
Fit pullus à nido volans, qui iterùm cadit in nidum. Internet Archive catalogues it as: Emblema VII, from Atalanta Fugiens, page 37
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, “Fit pullus à nido volans, qui iterùm cadit in nidum”, Matthaus Merian, attributed, for Michael Maier, 1618. thesymbolica.com/work/fit-pullus-a-nido-volans-qui-iterum-cadit-in-nidum/