Georg Christoph Eimmart

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)

    Associated Passages
    Subjects
    License
    Creative Commons Attribution-NonCommercial-ShareAlike
    Date
    1688
    Culture
    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
    article Nav

    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)

      Associated Passages
      Subjects
      License
      Creative Commons Attribution-NonCommercial-ShareAlike
      Date
      1688
      Culture
      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
      article Nav

      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)

        Associated Passages
        Subjects
        License
        Creative Commons Attribution-NonCommercial-ShareAlike
        Date
        1688
        Culture
        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
        article Nav

        Eimmart: Laocoon and the Trojan Horse

          Laocoon hurls a spear at the wooden horse standing in the foreground; the site of Troy is full of warriors.

          Laokoon schleudert eine Lanze auf das im Vordergrund stehende Hölzerne Pferd; das Gelände vor Troja ist voller Krieger. (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. 7.

           

           

           

          Comments

          This engraving depicts the pivotal moment of the Trojan War. The famous Trojan Horse stands in the shadows in the foreground, the planks of wood and bolts plainly visible. Next to it sit four soldiers beneath a tree, probably discussing the horse. In the very center of the picture Laocoon rushes forward brandishing his spear, but conspicuously alone in his attack. Troy stands in the background, with tiny figures clustered around the battlements looking out towards the horse. (Lucy McInerney)

          Associated Passages
          Subjects
          License
          Creative Commons Attribution-NonCommercial-ShareAlike
          Date
          1688
          Culture
          Dimensions
          21.86x16.92cm
          Inscription
          Lib. II. Aen. V. 40 Primus ibi ante omnes magna comitante caterva,/ Laocoon ardens summa decurrit ab arce./ useque 50.
          Location
          Bavarian State Library, Munich
          article Nav

          Eimmart: The building of the Trojan Horse

            Athena brings (or Epeos shows) the model of the wooden horse; craftsmen are busy trying to build the wooden horse.

            Athene bringt oder zeigt Epeos das Modell des Hölzernen Pferdes; Handwerker sind damit beschäftigt, das Hölzerne Pferd zu bauen. (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. 6.

             

             

            Comments

            This scene takes place at the beginning of Aeneas’ description of his wanderings to Dido. In the center of the picture is Epeos, holding a caliper in his right hand and examining a model of the wooden horse he intends to build. Athena, resting on a cloud on the right of the picture leans towards Epeos, gesturing towards the miniature horse (which seems to have a trap door built in). Athena is recognizable by her helmet and the medusa on her aegis. The men collected around Epeos have a number of woodworking tools, including saw, axe, and caliper. There are planks of wood lying about and in the bottom left are strewn a number of other tools. In the background is Troy itself. (Lucy McInerney)

            Associated Passages
            Subjects
            License
            Creative Commons Attribution-NonCommercial-ShareAlike
            Date
            1688
            Culture
            Dimensions
            21.86x16.92cm
            Inscription
            Lib. II. Aen. V. 10 Sed si tantus amor casus cognoscere nostros,/ usque 16.
            Location
            Bavarian State Library, Munich
            article Nav

            Eimmart: Venus appears to Aeneas

              Venus (as a huntress with a quiver) appears in the clouds to Achates, who sinks to his knees, and Aeneas and shows them Carthage.

              Venus (als Jägerin mit Köcher) erscheint in den Wolken dem Achates, der auf das Knie sinkt, und dem Aeneas und zeigt ihnen Karthago. (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. 5.

               

               

               

              Comments

              Venus in this engraving is dressed as Vergil describes at 314-320. She has a quiver hung over her shoulder and her hair is half undone, blowing in the wind behind her. One of her knees is even bare, as described at line 320. However, unlike in Vergil’s text, Venus is here obviously divine as she sits on a cloud, whereas in the text she does not reveal her divinity until the last moment as she turns away. Here she points out Carthage in the distance to the amazed Aeneas who stands on the right of the engraving as Achates shields his eyes from the goddess. (Lucy McInerney)

              Associated Passages
              Subjects
              License
              Creative Commons Attribution-NonCommercial-ShareAlike
              Date
              1688
              Culture
              Dimensions
              21.86x16.92cm
              Inscription
              Lib. I. Aen: v. 318. Cui mater medi sese tulit obvia silva,/ Virginis os habitumque gerens, et virginis arma/ Spartanae: / usque 417.
              Location
              Bavarian State Library, Munich
              article Nav

              Eimmart: Aeneas brings deer to his companions

                The Trojans prepare the deer slain by Aeneas before a meal.

                Die Trojaner bereiten aus den von Aeneas erlegten Hirschen ein Mahl vor. (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. 4.

                 

                 

                 

                Comments

                On the left Aeneas, still carrying his quiver, brings three stags back to his men. At line 184 Aeneas sees three stags pictured in the engraving, although at line 192 he presents his men with seven carcasses, one for each ship. The animals lay in a heap before him, one displaying the cornibus arboreis of line 190. Aeneas with one arm outstretched is perhaps delivering the famous speech of lines 199-207. On the left hand side of the picture a number of men are preparing a meal, parching and grinding the wheat as is described from 174 through 179. (Lucy McInerney)

                Associated Passages
                Subjects
                License
                Creative Commons Attribution-NonCommercial-ShareAlike
                Date
                1688
                Culture
                Dimensions
                21.86x16.92cm
                Inscription
                Lib. I. Aen: v. 214. Illi se praede accingunt dapibusque futuris: / usque 219.
                Location
                Bavarian State Library, Munich
                article Nav

                Eimmart: Neptune calms the storm

                  Neptune on his seahorse drawn chariot and the sea creatures come to help the beleaguered Trojan ships from the storm; there is a god in the sunshine in the clouds making a princely gesture (Jupiter?).

                  Neptun auf seinem Seepferdwagen und Meereswesen kommen den vom Sturm bedrängten trojanischen Schiffen zu Hilfe; ein Gott im Sonnenglanz mit herrscherlicher Gebärde in den Wolken (Jupiter?). (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. 3.

                   

                   

                   

                  Comments

                  In the left foreground Neptune, in the midst of his seahorses, motions with his trident (45). Cymothoe and Triton (144), work in tandem to help the fleet of Aeneas. The sky is stormy with dark clouds but in the upper right hand corner a god appears in sunshine. Suerbaum hesitantly identifies him as Jupiter, but the clean-shaven face, the laurel wreath, and the toga indicate that it may be Caesar (Julius or Augustus). (Lucy McInerney)

                  Associated Passages
                  Subjects
                  License
                  Creative Commons Attribution-NonCommercial-ShareAlike
                  Date
                  1688
                  Culture
                  Dimensions
                  21.86x16.92cm
                  Inscription
                  Lib. I. Aen: v. 130. - - - - Graviter commotus, et alto/ Prospiciens, summa placidum caput extulit unda./ usque 150.
                  Location
                  Bavarian State Library, Munich
                  article Nav

                  Eimmart: The winds fall on the Trojan fleet

                    The winds fall upon the Trojan fleet, which is in distress at sea; the shipwrecked men are saved on shore.

                    Die Winde fallen über die trojanische Flotte her, die in Seenot gerät; Schiffbrüchige retten sich ans Ufer. (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. 2.

                    Comments

                    In the right foreground a Trojan pulls his shipwrecked comrades out of the water, with the remnants of his spoils from Troy lying on the ground behind him, the Troia gaza of 119. In the water are bodies and pieces of flotsam and jetsam, battered ships with broken masts, a reef, possibly the Aras of line 109, to which some men cling. (Lucy McInerney)

                    Associated Passages
                    Subjects
                    License
                    Creative Commons Attribution-NonCommercial-ShareAlike
                    Date
                    1688
                    Culture
                    Dimensions
                    21.86x16.92cm
                    Inscription
                    Lib. I. Aen: v. 85 Haec ubi dicta, cavum conversa cuspide montem/ Impulit in latus: ac venti, velut agmine facto,/ Qua data porta ruunt, - - / usque 123.
                    Location
                    Bavarian State Library, Munich
                    article Nav

                    Eimmart: Juno seeks Aeolus

                      Juno seeks out Aeolus (he is shown like Chronos, as an old man with wings) with the proposition of winning a Nymph, if he lets the winds go against the fleet of Aeneas.

                      Juno sucht Aeolus (der wie Chronos dargestellt ist: als alter Mann mit Flügeln) durch das Angebot einer Nymphe dazu zu gewinnen, die Winde gegen die Flotte des Aeneas loszulassen. (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. 1.

                       

                       

                      Comments

                      Juno appears seated on clouds in the top right corner surrounded by her attendants and accompanied by peacocks, symbolically associated with her because of the myth of Argus. Aeolus in turn is seated on his own pile of clouds with the winds personified as winged youths beneath him. Aeolus wears a crown, as king of the winds, and holds in his left hand the scepter that symbolizes his power, mentioned at 57, in his right the reins that control the winds, mentioned at 63. (Lucy McInerney)

                      Associated Passages
                      Subjects
                      License
                      Creative Commons Attribution-NonCommercial-ShareAlike
                      Date
                      1688
                      Culture
                      Dimensions
                      21.86x16.92cm
                      Inscription
                      Lib. I. Aeneid. v. 54. Talia flammato secum dea corde volutans,/ Nimborum in patriam, loca foeta furentibus austris,/ Aeoliam venit./ etc. usque 81.
                      Location
                      Bavarian State Library, Munich
                      article Nav
                      Subscribe to Georg Christoph Eimmart