Lapis projectus est in terras, & in montibus exaltatus, & in aëre habitat, & in flumine pascitur, id est, Mercurius

Lapis projectus est in terras, & in montibus exaltatus, & in aëre habitat, & in flumine pascitur, id est, Mercurius

The stone as the central motif, filed under the Heavens, with the Water in a secondary part. From Atalanta Fugiens.

Michael Maier, 1618 “Lapis projectus est in terras, & in montibus exaltatus, & in aëre habitat, & in flumine pascitur, id est, Mercurius.”

Symbolica, 2026 Maier’s Latin, put into English here: The stone is thrown on the earth, raised on the mountains, lives in the air and feeds in the river.

Michael Maier, 1618 “Vile recrementum fertur LAPIS atque jacere
Forte viis, sibi ut hinc dives inopsque parent.
Montibus in summis alii statuere, per auras
Aeris, at pasci per fluvios alii.
Omnia vera suo sunt sensu, postulo sed te
Munera montanis quaerere tanta locis.”

Symbolica, 2026 Maier’s epigram, put into English here: The STONE is said to be a cheap sweeping, lying by chance in the roads, so that rich and poor alike may get it from there. Others have placed it on the highest mountains, in the airs of the sky, and others say it is fed by rivers. All of these are true in their own sense, but I ask you to look for so great a gift in mountain places.

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
  2. Secondary motifs · 1

Stones falling out of the sky over a river valley; the archive has no group for the stone and files this with the heavens they fall from. 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.

‘Lapis projectus est in terras, & in montibus exaltatus, & in aëre habitat, & in flumine pascitur, id est, Mercurius’: the stone is thrown on the earth, raised on the mountains, lives in the air and feeds in the river, that is, Mercury. Merian's answer to a motto that puts the stone in four places at once was to draw stones falling out of the sky over a whole landscape, with more of them lying in the road at the bottom.

‘Vile recrementum fertur LAPIS atque jacere / Forte viis’, the stone is said to be a cheap sweeping, lying by chance in the roads, ‘sibi ut hinc dives inopsque parent’, so that rich and poor alike may get it from there. ‘Montibus in summis alii statuere, per auras / Aeris’, others have placed it on the highest mountains, in the airs of the sky. The stones in the clouds are the mountain and the air at once.

‘at pasci per fluvios alii’, and others say it is fed by rivers. The river below is the fourth place. ‘Omnia vera suo sunt sensu’, all of these are true in their own sense, Maier says, and then chooses: ‘postulo sed te / Munera montanis quaerere tanta locis’, but I ask you to look for so great a gift in mountain places. The archive has no group for a stone, and files the emblem with the heavens the stones fall from.

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 Water

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 1286 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
Lapis projectus est in terras, & in montibus exaltatus, & in aëre habitat, & in flumine pascitur, id est, Mercurius. Internet Archive catalogues it as: Emblema XXXVI, from Atalanta Fugiens, page 153
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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This picture is free at full size from its source, linked above. What an address gets is the Sunday letter: one picture, one symbol marked on it, what it meant and who said so, and the master files of the decoded plates as they are verified. Leave any time.

Cite
Symbolica, “Lapis projectus est in terras, & in montibus exaltatus, & in aëre habitat, & in flumine pascitur, id est, Mercurius”, Matthaus Merian, attributed, for Michael Maier, 1618. thesymbolica.com/work/lapis-projectus-est-in-terras-in-montibus-exaltatus-in-aere-habitat-in/