The present diploma thesis deals with the work of the polymath Michael Maiers Atalanta fugiens (1618). It is the first of altogether three publishedworks, which had been written in the literary form of alchemical emblem books, and it contains fifty marvellous copper engravings. Beyond that it deserves the title of an early artistic synthesis, because it unifies very artisticly tone, word and image.The first part of this work functions as theoretical preparation. A historical review of the alchemy is given, from ancient times to the last century, whereby the alchemical terminology is discussed. Then the subject of emblematics with their origin, their influences and the development of an emblem is treated. As Maier is recognizable in the Atalanta fugiens as a component of the alchemical allegorical interpretation of Mythology and as he saw the alchemical processes reflected in told and partially depicted mythological storie, the next chapter has to do with the connection of mythology and alchemy, the so-called Mythoalchemie, which had come into vogue especially during the Humanism. This is followed by the discussion of another synthesis made in this emblem book, that of alchemy with music. In his work Maier had preceded a sheet of music to each of a total of fifty emblems with a three-voice fugue. On the one hand, the significance is examined that music generally had in the life of an alchemist, on the other hand, examples of music theory considerations associated with alchemy are mentioned.The second part of this thesis deals with Michael Maier and his Atalanta fugiens itself. After Maiers outlined biography content, structure and career of the writing is explored. Every single emblem is examined in the chapter on the emblem descriptions using a short picture description and an abstract of philosophical Maiers discourses. In addition to that, image comparisons are made and the alchemical processes, which are reflected in the emblems, are explained.