The Visio Arislei ("Vision of Arisleus") is a Latin alchemical allegory of Arabic origin, printed in Volume I of the Artis Auriferae (Basel, 1572) at pages 159-162. It belongs to the Turba Philosophorum literature and appears in the earliest known Latin manuscripts of the Turba, indicating a close connection between the two texts. The Visio takes the form of a narrative vision recounted by the philosopher Arisleus (a Latinization of the Arabic name, possibly derived from Archelaus) to the assembled sages at the conclusion of their debate in the Turba. The accompanying Aenigmata ex Visione Arislei ("Enigmas from the Vision of Arisleus") comprises seven allegorical riddles that extend and elaborate the vision's themes.

The narrative is set at the end of the philosophers' meeting described in the Turba Philosophorum. Pythagoras asks Arisleus for another comparison, in addition to the allegory of Balgus about the fruit-bearing tree. After a day of reflection, Arisleus recounts his vision of the union of Thabritius and Beya, two royal children, a son and a daughter. Their names are Latinizations of Arabic words: "kibrit" meaning sulphur, and "albaida" meaning "the white one," an alchemical synonym for mercury. The allegory thus encodes the central alchemical operation: the conjunction of sulphur and mercury, the masculine and feminine principles, whose union produces the Philosopher's Stone.

Maier draws upon the Visio Arislei in several emblems of the Atalanta Fugiens. In Emblem XX, the discourse identifies Beya (also called Blanca) as the personification of volatile Mercury, tracing this figure directly back to the Visio Arislei, where the union of sulphur and mercury is represented through the love-pair of Thabritius and Beya (De Jong, p. 166). Emblem XXV, concerning the sea-king who cries for rescue, also connects to the Visio's imagery. The Aenigmata supply additional material: De Jong identifies the second enigma's reference to a stone found in the sea as a source for emblems dealing with the alchemical fish, and Tilton traces Maier's allusion to fish in a sea in the Symbola Aureae Mensae back to the enigmas of the Visio Arislei (Tilton, p. 154).

De Jong's bibliography entry for the Visio Arislei provides a detailed summary of the allegory's content and its place in the Turba tradition (De Jong, pp. 369-370). She notes that the allegory of Thabritius and Beya was widely known in alchemical circles and that Maier pictured this Arabic allegory in his Symbola Aureae Mensae (p. 319) as a man and woman holding out their hands to each other, with the motto: "The Stone is obtained from the marriage of Chabricus and Beia." The Visio thus represents one of the key channels through which Arabic alchemical imagery entered Maier's visual and textual vocabulary. De Jong's identification of the Arabic etymologies behind the character names reveals the chemical content hidden within the romantic narrative.

The Visio Arislei exemplifies the allegorical method that Maier inherited and transformed. Where the Visio presents its chemical teachings as a dream narrative, Maier translates the same teachings into the multi-sensory medium of the emblem: the union of opposites becomes a visual composition, a musical fugue in which two voices chase and unite, and a prose discourse that names the chemical reality behind the allegory. The reader of the Atalanta Fugiens who encounters the figures of Thabritius and Beya is engaging with a tradition that reaches back through Latin translation to Arabic alchemy and ultimately to the cosmological speculation of the pre-Socratic philosophers who inspired the Turba.