German

Dido, with her face covered in grief, begs Anna to talk to Aeneas (416-36). Aeneas stands in a ship with some of his men, and looks remorseful, a sign that Anna will not be able to convince Aeneas to stay (437-449). In the top left, Aeneas's men prepare the ships for travel: one holds a piece of lumber and another holds an oar (397-9). At the top right, a man stands outside a temple while another man holding a sacrificial knife leads a pair of either pigs or cattle in the direction of the temple. (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. 222r, executed by an anonymous engraver under the direction of Brant.

In the upper left, Mnestheus, Sergestus and Cloanthus direct the preparation of Aeneas's ships for departure (287-91). In the lower half of the image, members of Aeneas's crew load arms and provisions onto ships. In the upper right, Dido berates Aeneas, who attempts to defend his actions and explain why he must leave (305-87). Dido holds to her face a piece of fabric, either part of her veil or a handkerchief, an indication that she is emotional. In Vergil's portrayal of Dido, she is much more upset than Brant portrays. (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. 218v, executed by an anonymous engraver under the direction of Brant.

At the top left, Mercury, compelled by Jupiter (238-78), flies into Carthage wearing his winged shoes (239-41), carrying his caduceus and a traveler's pouch. He approaches Aeneas, who stands in the center of the image, directing the construction of at least one building (260). A laborer chops a plank with an ax, while another plank has an ax sticking out of it; there appears to be a brick mold next to the laborer. Aeneas has a sword hanging by his side, and wears a cloak that looks quite opulent, both gifts from Dido (261-4). Mercury scolds Aeneas for being content to settle in Carthage with Dido instead of following his fate to found his own kingdom in Italy (265-78). Next to Mercury, on a small patch of grass outside Carthage, there is a Roman style fountain. (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. 217r, executed by an anonymous engraver under the direction of Brant.

Rumor [Fama] looms large in the center of the image. She has wings on her back and ankles (180), and multiple ears on the side of her face (183). Her torso is covered with feathers (181). A truly monstrous creature, she is depicted with fire coming from her hands and hoofed feet. She has flown through Carthage and other unnamed Libyan cities (173). On the left, King Iarbas [Hiarbas] hears of Dido's "marriage" to Aeneas (196-7) and prays to Jupiter (198-218) and Mercury to punish Dido, who snubbed Iarbas's marriage offers (211-4). In the text, Iarbas does not address Mercury; instead, Jupiter turns to Mercury to help him bring about what Iarbas has requested (219-37). (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. 215v, executed by an anonymous engraver under the direction of Brant.

In the foreground, Ascanius and another youth corner several wild beasts, including a rabbit, a deer and a boar (156-9) into a net, while a third hunter, standing behind the net, prepares to spear the deer. In the background, to the left, hunters pursue wild goats on a rocky hill (151-55). To the right, a storm of rain and hail has driven Aeneas and Dido into a small cave where they embrace (165-72). This is one of a few Brant illustrations with some amount of color; it seems probable that the color was added later. (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. 214v, executed by an anonymous engraver under the direction of Brant.

Aeneas, Dido, and three youths prepare to go hunting. Dido, on the right, wears an embroidered Sidonian hunting garment (127); her prancing horse wears elaborate decorations (134-5). Aeneas, on the left, commands an energetic horse and at least four dogs. Their hunting companions all ride horses; one carries a horn, while another carries what seems to be a beating stick. One of the youths must be Ascanius, but he is not labelled. (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. 214r, executed by an anonymous engraver under the direction of Brant.

On the left, Dido sits with Ascanius either on her lap or right next to her, and she gestures to him in conversation (84-5). On the right, the city of Carthage stands with a tower half-built, and a crane stands idle (86-9). In the middle, Juno, wearing her citadel crown and holding a sceptre with a peacock at her feet, talks with Venus, who is shown with blind Cupid next to her and two doves at her feet. Unseen by the mortals, they concoct a plan to bring Aeneas and Dido together in an informal marriage (90-128). Aeneas and others stand in the background behind the two scheming goddesses. (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. 212v, executed by an anonymous engraver under the direction of Brant.

At Carthage, a priest wearing ceremonial ribbons, or fillets, on his head sacrifices a sheep on the altar (57-9). Dido, with her left hand, pours wine onto the head of a white heifer (60-1), while with her right hand, she points a stick at a set of disembodied entrails, reading them (63-4). Anna stands to the left of Dido, watching the sacrifice. On the right, Aeneas and Ascanius stand outside the temple with two others, a reminder of the reasons for Dido's sacrificing. (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. 211r, executed by an anonymous engraver under the direction of Brant.

On the left side of the image, workers build the city of Carthage in the background while in the foreground, Aeneas's ships sit empty in the harbor. On the right, under a portico, Dido stands talking with her sister, Anna, who is unlabelled (9-53). Dido covers her face, perhaps in shame or to wipe away tears (27, 30). Anna points toward Aeneas, the subject of their discussion, who sits on the other side of a window or doorway, unaware of them. (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. 208r, executed by an anonymous engraver under the direction of Brant.

At the harbor of Drepanum in Sicily, Anchises lies dying with a stretcher laid out next to him (707-11). The turban-like hat that he usually wears in Brant's illustrations lies beside him Four attendants surround him, one kneeling while the others stand in various postures of grief. On the left, Aeneas, still on his ship, stands with his hands raised either in prayer or in lamentation. (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. 206v, executed by an anonymous engraver under the direction of Brant.