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Eimmart: Dido's Suicide

    Dido stabs herself on the funeral pyre and Iris flies to cut off a lock of her hair; around the pyre are lamenting women.

    Dido ersticht sich auf dem Scheiterhaufen, Iris fliegt herbei, um ihr eine Locke abzuschneiden; ringsum klagende Frauen. (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. 17.

     

     

    Comments

    This engraving centers on Dido’s suicide, the planning and execution of which take up the better part of Book IV. She sits on the pyre built at line 504, which appears exactly as she describes it from 494 through 497. It is open to the breezes (tu secreta pyram tecto interior sub auras erige 494-5) and Aeneas’ abandoned armor (helmet, shield, and breastplate) lies beside her. All the Carthaginians in the picture are lamenting, and Anna is behind her sister, rending her hair in grief. Dido herself appears calm, as she stabs herself. Above her is Iris, leaning on her rainbow as she cuts a lock of Dido’s hair, thus allowing her to die (704). In the distant background on the right appear ruins- perhaps Carthage, the building project stalled since the arrival of Aeneas (86-89). (Lucy McInerney)

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    Date
    1688
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    Dimensions
    21.86x16.92cm
    Inscription
    Lib. IV. Aen: v. 659. Dixit: et os impressa toro, Moriemur multae?/ Sed moriamur ait. Sic? Sic iuvat ire sub umbras./ usque 695.
    Location
    Bavarian State Library, Munich
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    Eimmart: Anna begs Aeneas to stay

      Anna delivers Dido's request to Aeneas that he should remain in Carthage longer; Mercury stops up Aeneas’ ears.

      Anna überbringt dem Aeneas die Bitte Didos, er möge noch länger in Karthago bleiben; Merkur halt Aeneas die Ohren zu. (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. 16.

      Comments

      Anna stands in the center of the engraving, her hands clasped in supplication. Aeneas is preparing to leave: his spear and shield lie on the ground behind him, his helmet just to his left, and he is in the act of buckling on his sword belt. Mercury, recognizable by his winged helmet, floats above Aeneas and stops up his ears, as at line 440 (fata obstant placidasque viri deus obstruit auris.) (Lucy McInerney)

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      1688
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      21.86x16.92cm
      Inscription
      Lib. IV. Aen. v 437. Talibus orabat: talesque miserrima fletus/ Fertque refertque soror/ usque 440.
      Location
      Bavarian State Library, Munich
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      Eimmart: Dido and Aeneas go on a hunt

        Dido and Aeneas ride out to hunt; a driver holds a pack of hounds.

        Dido und Aeneas reiten zur Jagd aus; ein Treiber halt eine Koppel Hunde. (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. 15.

        Comments

        Dido carries a quiver and looks over her shoulder at Aeneas, carrying a spear. A dog handler, with hounds in hand, looks back at the hunters. Carthage sprawls in the background and in the harbor in the distance can be seen the Trojan fleet. (Lucy McInerney)

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        1688
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        21.86x16.92cm
        Inscription
        Lib. IV. Aen. v. 136. Tandem progreditur magna stipante caterva,/ usque 142.
        Location
        Bavarian State Library, Munich
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        Eimmart: Dido makes sacrifices

          While offerning a sacrifice, Dido pours a libation on a cow.

          Dido beim Opfer; sie vollzieht einen Weihguss auf ein Rind. (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. 14.

           

           

          Comments

          Dido stands just right of center, pouring wine on a white cow being prepared for sacrifice (60-61). A fire is already burning on the altar in the center of the engraving and on the left is a priest washing his hands. Dido appears very regal, wearing sumptuous clothing, a crown, jewelry and a cloak. (Lucy McInerney)

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          1688
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          21.86x16.92cm
          Inscription
          Lib. IV. Aen. v. 60. Ipsa tenens dextra pateram pucherrima Dido,/ Candentis vaccae media intea cornua fundit,
          Location
          Bavarian State Library, Munich
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          Eimmart: The death of Anchises

            Anchises dies, lying on a bed, surrounded by grieving Trojans, including Aeneas and Ascanius.

            Anchises stirbt, auf einem Bett liegend, umringt von trauernden Trojanern, darunter Aeneas und Ascanius. (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. 13.

             

             

            Comments

            The last event Aeneas recounts briefly to Dido at Carthage is the death of his father Anchises at Drepanum (III.710-11), pictured here recumbent on a bed. Aeneas gestures above him, Ascanius clasps his hands at the foot of the bed, and all the Trojans in the room are openly lamenting. (Lucy McInerney)

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            Date
            1688
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            21.86x16.92cm
            Inscription
            Lib. III. Aen: v. 708. Heu genitorem, omnis curae casusque levamen/ Amitto Anchisen.
            Location
            Bavarian State Library, Munich
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            Eimmart: Anchises offers a sacrifice at Italy

              Anchises, standing in the bow of a ship, offers a sacrifice, as the Trojans see Italy and grazing horses on the bank.

              Anchises, im Bug eines Schiffes stehend, bringt ein Opfer dar, als man Italien und am Ufer weidende Pferde sichtet. (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. 12.

               

               

              Comments

              This engraving corresponds to the Trojans first sighting of Italy. At line 525 Virgil describes Anchises’ libation: “tum pater Anchises magnum crater coronua induit implevitque mero, divosque vocavit/ stans celsa in puppi…” A few lines later, at 537 and 538, Aeneas sees the four white horses on the shore depicted in the picture. These horses, which Anchises interprets as an omen of war, are equivalent to the four white stallions of a Roman triumph. In the background are buildings, probably the city of King Latinus. (Lucy McInerney)

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              Date
              1688
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              Dimensions
              21.86x16.92cm
              Inscription
              Lib. III. Aen. v. 525. Tum pater Anchises magnum cratera corona/ Induit implevitque mero: / usque 538.
              Location
              Bavarian State Library, Munich
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              Eimmart: Aeneas leaves offerings at Actium

                Aeneas leaves a shield fastened to a pillar and, chiseled into a stone slab, inscribes "Aeneas haec de Danais victoribus arma"; in the middle distance leafless trees show it to be winter-time.

                Aeneas lässt einen Schild an einer Säule anbringen und in eine Steinplatte die Inschrift “Aeneas haec de Danais victoribus arma” einmeißeln; im Mittelgrund verweisen blätterlose Bäume auf die Winterszeit. (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. 11.

                 

                 

                Comments

                Aeneas and the Trojans spend a year at Actium. The change in seasons is marked by the trees. Aeneas is shown chiseling the inscription “Aeneas offers this armor from conquering Greeks,” into a stone. Above the slab the shield of Abas (286) hangs on the pillar of a temple. After this moment Aeneas and his men will return to the ships, which can just barely be seen in the harbor in the upper left background. (Lucy McInerney)

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                Date
                1688
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                Dimensions
                21.86x16.92cm
                Inscription
                Lib. III. Aen: v. 284. Interea magnum Sol circum volvitur annum,/ Et glacialis hyems aquilonibus asperat undas.
                Location
                Bavarian State Library, Munich
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                Eimmart: Creusa appears to Aeneas

                  Creusa appears to Aeneas in burning Troy on a cloud and points out a princess.

                  Creusa erscheint Aeneas im brennenden Troja auf einer Wolke und weist auf eine Prinzessin hin. (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. 10.

                  Comments

                  In the right hand background Troy burns and Trojans flee in a mass. Aeneas confronts the ghost of his wife Creusa, seated before him on a cloud. She floats in front of an old temple, the "templum vetustum desertae Cereris" mentioned in lines 713 and 714. Creusa is gesturing down to her left, showing Aeneas the shadowy image of a princess, the "regia coniunx" she mentions at 783. (Lucy McInerney)

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                  Date
                  1688
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                  Dimensions
                  21.86x16.92cm
                  Inscription
                  Lib. II. Aen. v. 736 Heu misero conjux fatone erepta Creüsa/ Substitit, erravitne via, seu lapsa resedit,/ Incertum: etc./ usque 794.
                  Location
                  Bavarian State Library, Munich
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                  Eimmart: Aeneas flees Troy with his family

                    Aeneas, laden with Anchises on his shoulders, flees with Creusa and Ascanius.

                    Aeneas lädt sich Anchises auf die Schultern, um mit Creusa und Ascanius zu fliehen. (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. 9.

                    Comments

                    Aeneas stands on the left of the picture, hoisting his elderly father onto his shoulders. He is wearing a lion skin; the Aeneid is full of Hercules/Aeneas comparisons. Either Anchises or Aeneas is holding the statue of the Penates, which appears behind Aeneas’ head on the left. Creusa, holding onto young Ascanius, looks back over her shoulder at Aeneas. In the right middle ground some of Aeneas’ comrades rush out to join in the battle. Troy burns in the background in the upper right corner. (Lucy McInerney)

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                    Date
                    1688
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                    Dimensions
                    21.86x16.92cm
                    Inscription
                    Lib. II. Aen. v. 699. Hic vero victus genitor se tollit ad auras:/ Affaturque deos et sanctum sidus adorat./ usque 725.
                    Location
                    Bavarian State Library, Munich
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                    Eimmart: The death of Laocoon

                      Laocoon and his two sons are entwined by serpents; a warrior takes refuge in a temple.

                      Laokoon und seine beiden Söhne werden von Schlangen umschlungen; ein Krieger flüchtet in einen Tempel. (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. 8.

                       

                       

                       

                      Comments

                      The death of Laocoon and his sons is the focus of this picture. Laocoon wears the fillets (vittas, 221) that mark him out as a priest. The axe in the bottom left corner shows that Laocoon was in the middle of a sacrifice (202) when the serpents attacked, and it also calls to mind the metaphor of lines 223 and 224, in which the screams of Laocoon are compared to those of a bull having escaped, mutilated, from a sacrifice. (Lucy McInerney)

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                      Date
                      1688
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                      Dimensions
                      21.86x16.92cm
                      Inscription
                      Lib. II. Aen. V. 199. Hic aliud majus miseris multoque tremendum/ Objicitur magis atque improvida pectora turbat./ usque 224.
                      Location
                      Bavarian State Library, Munich
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