Vade ad mulierem lavantem pannos, tu fac similiter

Vade ad mulierem lavantem pannos, tu fac similiter

The Vessel as the central motif, with Fire and the Water in a secondary part. From Atalanta Fugiens.

Michael Maier, 1618 “Vade ad mulierem lavantem pannos, tu fac similiter.”

Symbolica, 2026 Maier’s Latin, put into English here: Go to the woman washing the sheets, and do likewise.

Michael Maier, 1618 “Abdita quisquis amas scrutari dogmata, ne sis
Deses, in exemplum, quod juvet, omne trahas:
Anne vides, mulier maculis abstergere pannos
Ut soleat calidis, quas superaddit, aquis?
Hanc imitare, tua nec sic frustraberis arte,
Namque nigri faecem corporis unda lavat.”

Symbolica, 2026 Maier’s epigram, put into English here: Whoever you are who love to search out hidden teachings, do not be idle: draw into your example everything that helps. Do you not see how a woman scours the stains from cloth with the hot water she pours over it? Imitate her, and your art will not cheat you, for the wave washes the dregs from the black body.

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 · 2

A woman pouring water into a great tub over a fire, linen 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.

‘Vade ad mulierem lavantem pannos, tu fac similiter’: go to the woman washing the sheets, and do likewise. The third emblem is a laundry. Maier begins by telling the seeker not to be idle, ‘in exemplum, quod juvet, omne trahas’, to draw into your example everything that helps, and the example he draws is the most ordinary work there is.

‘Anne vides, mulier maculis abstergere pannos’: do you not see how a woman scours the stains from cloth? The tub is the vessel, and the linen in it is the black body of the work.

The water is heated on the fire at the left, and heated water is the whole of the method: ‘calidis, quas superaddit, aquis’, with the hot water she pours over it.

‘Hanc imitare, tua nec sic frustraberis arte’, imitate her, and your art will not cheat you, ‘Namque nigri faecem corporis unda lavat’, for the wave washes the dregs from the black body. Merian drew the water twice, going in from the jug and coming out through the tap into a bucket, so that the reader can see the dirt leave.

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 1236 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
Vade ad mulierem lavantem pannos, tu fac similiter. Internet Archive catalogues it as: Emblema III, from Atalanta Fugiens, page 21
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, “Vade ad mulierem lavantem pannos, tu fac similiter”, Matthaus Merian, attributed, for Michael Maier, 1618. thesymbolica.com/work/vade-ad-mulierem-lavantem-pannos-tu-fac-similiter/