Eimmart: Aeneas discovers the white sow

    Aeneas, with his entourage, discovers the sow with the piglets in the bushes near the Tiber River.

    Aeneas, mit Gefolge, entdeckt im Gebüsch in der Nähe des Tibers die Sau mit den Frischlingen. (Suerbaum)

    Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 36.

    Comments

    At line 81, while preparing to sail up the river and find Pallanteum, Aeneas discovers the white sow and her thirty piglets prophesied to him by the god Tiberinus. He sacrifices her and her litter to Juno as a peace offering. (Lucy McInerney)

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    1688
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    Lib. VIII. Aen: v. 81. Ecce autem subitum atque oculis mirabile monstrum:
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    Bavarian State Library, Munich
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    Eimmart: Tiberinus prophecies to Aeneas

      Aeneas is asleep in a sitting position under trees, leaning on a boulder; Tiberinus the River God, (not the Tiber river) flowing out of the water above an urn, speaks to him.

      Aeneas schläft im Sitzen, auf einen Felsblock gestützt, unter Bäumen; Tiberinus, durch eine Urne, aus der Wasser fließt, (night etwa durch den Tiber-Fluss) als Flussgot charakterisiert, spricht zu ihm. (Suerbaum)

      Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 35.

      Comments

      The god Tiberinus approaches Aeneas in his sleep, prophesying to him about Alba Longa, Ascanius’ future, and the location of King Evander from lines 36 through 65. (Lucy McInerney)

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      1688
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      Lib. VIII. Aen. v. 36. Nox erat, et terras animalia fessa per omnes/ Alitum pecudumque genus sopor altus habebat:/ usque 45.
      Location
      Bavarian State Library, Munich
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      Eimmart: March of the Latin army

        March of the army of the Latins.

        Aufmarsch des Heeres der Latiner. (Suerbaum)

        Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 34.

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        1688
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        Inscription
        Lib. VII. Aen. v. 648. Primus init bellum Tyrrhenis asper ab oris/ Conctemptor divum Mezentius, agminaque armat./ usque 658.
        Location
        Bavarian State Library, Munich
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        Eimmart: Fight between the Latins and Trojans

          This engraving depicts the armed struggle between rural Latin farmers and regular armed Trojan warriors; in the background, apparently seated on a rock, Allecto blasts a horn.

          Kampf zwischen ländlich bewaffneten latinischen Bauern und regulär gerüsteten trojanischen Kriegern; im Hintergrund blast die offenbar auf einem Felsen sitzende Allecto in ein Horn. (Suerbaum)

          Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 33.

          Comments

          At lines 511-518 Virgil describes Allecto blowing on her horn to signal the start of the war as an epic moment heard all over the countryside. Both the Latins and the Trojans respond quickly to its call. The youth in the foreground falling with an arrow in his neck is probably Almo, Tyrrheus’ eldest son, whose death is described at 531-533. (Lucy McInerney)

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          1688
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          Lib. VII. Aen. v. 505 Olli (pestis enim tacitis latet aspera silvis)/ Improvisi adsunt. etc:
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          Bavarian State Library, Munich
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          Eimmart: Silvia's wounded stag returns to her

            Silvia, surrounded by wailing women, hugs her wounded tame deer, as the first Latin men arm themselves with clubs.

            Silvia, umgeben von klagenden Frauen, umarmt ihren zahmen verwundeten Hirsch, die ersten latinischen Männer bewaffnen sich mit Knütteln. (Suerbaum)

            Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 32.

            Comments

            Iulus’ hunting of Silvia’s stag starts the action of the war between the Italians and Trojans; at VII. 481-482 Virgil says “quae prima loborum/ causa fuit belloque animus accent agrestis.” Iulus may not have been expected to recognize the deer as a pet (although we learn at 488 that Silvia often twined flowers and garlands in his antlers, which might have been a clue…), but his actions lead to the first confrontation between the Latin farmers, who respond to Silvia’s cries for aid at 504 and the Trojan soldiers who accompany Iulus. The stag falls into Silvia’s lap in the center of the engraving, an arrow sticking from his flank, a detail taken from line 499. The Latins are clearly farmers; the setting is a farmyard and the only two weapons in sight are two wooden staves. In the background is shown an earlier moment, when Iulus’ hounds first flushed the stag out of the woods. (Lucy McInerney)

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            Inscription
            Lib. VII. Aen. v. 483. Cervus erat forma praestanti et cornibus ingens/ Tyrrhidae pueri quem matris ab ubere raptum/ Nutribant:/ usque 504.
            Location
            Bavarian State Library, Munich
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            Eimmart: Allecto incites Turnus to war

              Allecto departs in the dress of a priestess with a burning torch in her right hand and rearing snakes in her left, while the horrified Turnus lies on the bed.

              Allecto verlässt im Kleid einer Priesterin mit einer brennenden Fackel in der Rechten und sich aufbäumenden Schlangen in der Linken den entsetzt auf dem Bett liegenden Turnus. (Suerbaum)

              Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 31.

              Comments

              In Book VII Allecto takes on the form of Calybe, a priestess of Juno’s temple, in order to speak with Turnus. She addresses him in his sleep from line 421 through 434, trying to incite him to go to war with Aeneas. In a dream state, he responds impudently, unaware that he is speaking to a goddess. Angry at being spoken to in such a way by a mortal, Allecto reveals herself to Turnus as one of the Furies and wakes him up by thrusting a burning torch into his chest (456-457). Allecto is pictured just after this moment in the engraving, holding a bunch of snakes in her left hand and the torch in her right as she walks away from Turnus, who has just woken up and is gesturing towards her in alarm. The sword and helmet beside his bed indicate that Turnus is about to violate the peace treaty between the Latins and Trojans and start the war. (Lucy McInerney)

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              1688
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              Inscription
              Lib. VII. Aen: v. 445. Talibus Alecto dictis exarsit in iras./ usque 459.
              Location
              Bavarian State Library, Munich
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              Eimmart: Ilioneus comes to King Latinus

                The Trojan emissary, decorated with olive wreaths and olive branches as a sign of peace, presents gifts to King Latinus enthroned in a hall with his entourage.

                Die trojanische Gesandtschaft, die mit Olivenkränzen geschmückt ist und Olivenzweige als Zeichen des Friedens mit sich führt, überreicht dem in einer Halle mit Gefolge thronenden König Latinus Geschenke. (Suerbaum)

                Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 30.

                Comments

                Ilioneus acts as emissary for the Trojans in the court of Latinus, explaining who they are and why they have come to Italy. He speaks to Latinus from lines 213 through 258. in the background are the statues of Latinus’ palace, described from lines 176 through 191. (Lucy McInerney)

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                Inscription
                Lib. VII. Aen. v. 192. Tali intus temple divum, patriaque Latinus/ Sede sedens, Teucros ad sese in tecta vocavit:/ usque 247.
                Location
                Bavarian State Library, Munich
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                Eimmart: Aeneas and the Trojans fulfill Anchises' prophecy

                  Aeneas and his men sit in a circle on the grass at an unfolded table-cloth on which a bowl of fruit stands.

                  Aeneas und seine Leute sitzen im Rund auf dem Rasen um ein ausgebreitetes Tafeltuch, auf dem eine Schale mit Früchten steht. (Suerbaum)

                  Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 29.

                  Comments

                  This engraving depicts an important scene from Book VII. Aeneas and his men sit down to a meal in Italy but are still so hungry at the end of it that they eat the bread they used as plates or tables. Iulus jokes that they are eating their very tables, “heus, etiam mensas consumimus?” (116). In so doing, he fulfills a prophecy that had been made to Aeneas by his father, which he recalls at lines 124 through 127, saying that the Trojans would not find peace until they were forced by hunger to eat their tables. (Lucy McInerney)

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                  Inscription
                  Lib: VII. Aen: v. 107 Aeneas, primique duces, et pulcher Iulus,/ Corpora sub ramis deponent arboris altae:/ usque 147.
                  Location
                  Bavarian State Library, Munich
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                  Eimmart: Aeneas leaves offerings for his nurse Caieta

                    Aeneas leaves offerings for his dead nurse Caieta.

                    Aeneas lässt Totenopfer für seine Amme Caieta darbringen. (Suerbaum)

                    Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 28.

                    Comments

                    Book VII begins with a short epithet on the death of Aeneas’ nurse Caieta. In the engraving, a sheep has just been slaughtered, offerings are being burnt, and tributes have been set up. The ships in the background show that Aeneas and his men have just landed. (Lucy McInerney)

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                    1688
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                    Inscription
                    Lib. VII. Aen: v. 5 At pius exsequiis Aeneas rite solutis/ Aggere composito tumulit, etc./ usque 7.
                    Location
                    Bavarian State Library, Munich
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                    Eimmart: Anchises shows Aeneas the fields of the blessed

                      Anchises shows Aeneas and the Sibyl the fields of the blessed.

                      Anchises zeigt Aeneas und der Sibylle die Gefilde der Seligen. (Suerbaum)

                      Engraving from a German children’s picture-book version of the Aeneid by G. J. Lang and G. C. Eimmart, “A tapestry of Roman virtues as seen in Vergil’s Aeneas and his brave deeds, rendered in sparkling engravings, as illustrations of the remarkable deeds of antiquity, for the common benefit of noble youth,” (Peplus virtutum Romanarum in Aenea Virgiliano eiusque rebus fortiter gestis, ad maiorem antiquitatis et rerum lucem, communi iuventutis sacratae bono, aere renitens) (Nuremburg: J.L. Buggel, 1688), pl. 27.

                      Comments

                      Anchises sits between the Sibyl and Aeneas, teaching his son about the future of the Trojan race. All the souls waiting to be reborn fill up the background, mostly in military garb. There are five horses in the center of the field; horses are recognized as symbols of war, thus adding to the image of the future Rome as a powerful military state. (Lucy McInerney)

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                      1688
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                      Inscription
                      Lib. VI. Aen: v. 633. Dixerat: et pariter gressi per opaca viarum,/ Corripiunt spatium medium, foribusque propinquant.
                      Location
                      Bavarian State Library, Munich
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