Lapis, quem Saturnus, pro Jove filio devoratum, evomuit, Pro monumento in Helicone mortalibus est positus

Lapis, quem Saturnus, pro Jove filio devoratum, evomuit, Pro monumento in Helicone mortalibus est positus

The Divine as the central motif. From Atalanta Fugiens.

Michael Maier, 1618 “Lapis, quem Saturnus, pro Jove filio devoratum, evomuit, Pro monumento in Helicone mortalibus est positus.”

Symbolica, 2026 Maier’s Latin, put into English here: The stone Saturn vomited up stands on Helicon.

Michael Maier, 1618 “Nosse cupis causam, tot cur HELICONA poetae
Dicant, quodque ejus cuique petendus apex?
Est LAPIS in summo, MONUMENTUM, vertice postus,
Pro Jove deglutiit quem vomuitque pater.
Sic ceu verba sonant rem captas, mens tibi laeva est,
Namque est Saturni CHEMICUS ille LAPIS.”

Symbolica, 2026 Maier’s epigram, put into English here: Do you want to know why so many poets speak of HELICON, and why each of them must seek its summit? A STONE is set on the topmost peak, a MONUMENT, the one the father swallowed in Jove's place and vomited up again. If you take the thing as the words sound, your mind is turned the wrong way, for that STONE of Saturn is a CHEMICAL one.

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 peak of Helicon, with the gods above throwing down the stone. 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, quem Saturnus, pro Jove filio devoratum, evomuit, Pro monumento in Helicone mortalibus est positus’: the stone that Saturn swallowed in place of his son Jove and vomited up is set on Helicon as a monument for mortals. The plate is a mountain with a chapel at its foot and the gods in the clouds above it, and the stone is in the air between them.

Maier asks why the poets talk so much of Helicon, ‘Nosse cupis causam, tot cur HELICONA poetae / Dicant’, and answers with the stone on its summit: ‘Est LAPIS in summo, MONUMENTUM, vertice postus’, a stone is set on the topmost peak, a monument, ‘Pro Jove deglutiit quem vomuitque pater’, the one the father swallowed in Jove's place and vomited up again. Saturn is the god who did the swallowing, and Saturn, in the alchemists' names for the metals, is lead, so the stone he gives up comes out of the heaviest and darkest of them.

Then the warning that governs the whole book: ‘Sic ceu verba sonant rem captas, mens tibi laeva est’, if you take the thing as the words sound, your mind is turned the wrong way, ‘Namque est Saturni CHEMICUS ille LAPIS’, for that stone of Saturn is a chemical one. The gods are drawn because the story is told in gods, and the emblem says in the same breath that the gods are not the point.

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 1317 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, quem Saturnus, pro Jove filio devoratum, evomuit, Pro monumento in Helicone mortalibus est positus. Internet Archive catalogues it as: Emblema XII, from Atalanta Fugiens, page 57
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, “Lapis, quem Saturnus, pro Jove filio devoratum, evomuit, Pro monumento in Helicone mortalibus est positus”, Matthaus Merian, attributed, for Michael Maier, 1618. thesymbolica.com/work/lapis-quem-saturnus-pro-jove-filio-devoratum-evomuit-pro-monumento-in/