German

In the underworld Aeneas and the Sibyl see dead children on the banks of the Styx.

In der Unterwelt sieht Aeneas mit der Sibylle am Ufer des Styx frühverstorbene Kinder. (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. 26.

Aeneas in the underworld under the elm tree pulls out his sword against the insubstantial visions of phenomena of monsters and is restrained by the Sibyl.

Aeneas zückt in der Unterwelt unter der Ulme mit den nichtigen Träumen sein Schwert gegen Erscheinungen von Monstern und wird von der Sibylle zurückgehalten. (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. 25.

This engraving shows Aeneas and the Sibyl in the forecourt of the Underworld.

Aeneas mit der Sibylle im Vorhof der Unterwelt. (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. 24.

Aeneas, kneeling with Achates in front of the Sibyl in the temple next to a cave, shows her the Golden Bough.

Aeneas, zusammen mit Achates vor der Sibylle im Tempel nebeneiner Höhle kniend, zeigt ihr den Goldenen Zweig. (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. 23.

Palinurus falls from the stern of a ship into the sea, the God of Sleep flies away with a branch in his hand.

Palinurus stürzt vom Heck eines Schiffes ins Meer, der Schlafgott mit einem Zweig in der Hand fliegt davon. (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. 22.

On the left, Vergil sits at an ornate lectern with a high-backed chair. While this is not explicitly in the poem, Vergil inserts himself in two places within the first several lines, with the first person verb cano in line 1, and then an appeal to the muse in lines 8-11. The Muse mentioned in line 8 stands in front of Vergil in the center of the image. In the lower right is the Judgment of Paris, which started the events leading up to the Trojan War; the event is mentioned in lines 26-7. Venus, Juno, and Pallas stand next to each other accompanied by their attributes; Paris gives the apple of discord to Venus, who reaches out her hand for it. Behind the three goddesses, Hebe gives Jupiter a cup. This detail comes from the commentary of Servius, who says that Hebe may have given to the gods the cups which Ganymede had the honor of bearing -'"honores' autem dixit vel propter ministerium poculorum, quod exhibuit diis remota Hebe, Iunonis filia" (1.28). Above them, Jupiter in the form of an eagle carries off Ganymede to make him cup-bearer (line 28). At the top of the image is Carthage, with the three Fates, Clotho, Lachesis, and Atropos, sitting in front holding their attributes. Carthage is introduced in lines 12-22, with half a line devoted to the will of the Fates at line 22. The Muse in the center of the image gestures broadly toward Carthage, highlighting its significance (Katy Purington).

Woodcut illustration from the “Strasbourg Vergil,” edited by Sebastian Brant: Publii Virgilii Maronis Opera cum quinque vulgatis commentariis expolitissimisque figuris atque imaginibus nuper per Sebastianum Brant superadditis (Strasbourg: Johannis Grieninger, 1502), fol. 121r, executed by an anonymous engraver under the direction of Brant.

Neptune breaks his trip across the sea with his attendants.

Neptun bricht mit Gefolge zur Fahrt über das Meer auf. (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. 21.

Aeneas hurries forward, the Trojan women having set fire to the ships; Iris is in the clouds in front of a rainbow with a torch in her hand.

Aeneas eilt herbei, als die trojanischen Frauen Feuer an die Schiffe gelegt haben; in den Wolken vor einem Regenbogen Iris mit einer Fackel in der Hand. (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. 20.

Aeneas sets out the prizes for the games.

Aeneas stellt die Preise für die Wettspiele aus. (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. 19.

Aeneas sacrifices at the tomb of Anchises, a giant snake winds around the altar; there is horror in the spectators.

Aeneas opfert am Grabe des Anchises, eine riesige Schlange windet sich um den Altar; Entsetzen bei den Zuschauern. (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. 18.