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Atalanta Fugiens
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<p><i>Atalanta Fugiens</i> or <i>Atalanta Fleeing</i> is an <a href="/facts/Emblem_book/tRmtExIY">emblem book</a> with an <a href="/facts/Alchemy/CEx0U1Em">alchemical</a> theme by <a href="/facts/Michael_Maier/MBYf6qo2">Michael Maier</a> (1568–1622), published by <a href="/facts/Johann_Theodor_de_Bry/DhfvtQeg">Johann Theodor de Bry</a> in <a href="/facts/Oppenheim/gyT0yRWN">Oppenheim</a> in 1617 (2nd edition 1618). It consists of 50 discourses with illustrations by <a href="/facts/Matthias_Merian/9cAoKmfH">Matthias Merian</a>, each of which is accompanied by an <a href="/facts/Epigram/bpVtdgWd">epigrammatic verse</a>, prose and a musical <a href="/facts/Fugue/qpUgaHjW">fugue</a>. It may therefore be considered an early example of multimedia. </p><p>The fugues were arranged in three voices symbolizing the <a href="/facts/Philosopher%27s_stone/QA0SE7VS">philosopher's stone</a>, the pursuing adept, and obstacles in his way. </p><p><a href="/facts/Florin_George_C%C4%83lian/1ftwgyyY">Florin G. Calian</a> wrote: </p> <blockquote><p>It is the first alchemical <i><a href="/facts/Gesamtkunstwerk/VCXlfcyA">Gesamtkunstwerk</a></i> that comprises music, images, poetry, and prose together in one piece. As is stressed on the frontispiece of the book, all the senses are involved in contact with this treatise: <i>partim oculis et inteflectui... partim auribus et recreationi... videnda, legenda, meditanda, intelligenda, dijudicanda, canenda et audienda</i>. In this respect, <i>Atalanta</i> is a book that requires a rather contemplative exercise.</p></blockquote>