copper engraving

Eimmart: Berecynthia supplicates Jupiter

    In the clouds of Olympus Berecynthia kneels (with a city crown) pleading before Jupiter (with an eagle); beneath nymphs splash around vessels in the sea.

    In den Wolken des Olymp kniet Berecynthia (mit Mauerkrone) bittend vor Jupiter (mit Adler); unten Schiffe mit im Meer sich tummelnden Nymphen. (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. 40.

    Comments

    This engraving depicts a flashback in Book IX when Berecynthia, the mother of the gods, approached Jupiter as Aeneas was building his fleet from timber felled on Mount Ida. She asked that those ships should be saved, as their wood was taken from her favorite mountain grove. What Jupiter points to below their clouds is the ‘present’ moment in Book IX: Turnus has attacked the Trojan fleet and set it alight, but instead of burning the ships have sunk and remerged as sea nymphs. Jupiter wears a crown, as king of the gods, and is accompanied by his eagle, while Berecynthia wears a crown in the shape of a city. This is reference to normal classical depictions of Magna Mater. In the background sit the rest of the gods. From right to left, Neptune is discernible with his triton, Ares by his helmet and spear, Diana with her half moon coronet, and Mercury with his caduceus. (Lucy McInerney)

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    Date
    1688
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    Dimensions
    21.86x16.92cm
    Inscription
    Lib. IX. Aen: v. 82 Ipsa deum fetur genetrix Berecynthia magnum/ Vocibus his affata Iovem;/ usque 122.
    Location
    Bavarian State Library, Munich
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    Eimmart: Iris urges Turnus to war

      The winged Iris, sitting on a cloud in front of a rainbow, appears to Turnus on the steps of a palace.

      Die geflügelte Iris, auf einer Wolke mit Regenbogen gelagert, erscheint dem Turnus auf den Stufen eines Palastes. (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. 39.

       

      Comments

      Iris is, as always, shown with a rainbow and wings. Suerbaum identifies the setting as a palace, but Virgil says that Iris appears to the young man in a valley sacred to his father, “luco tum forte parentis/ Pilumni Turnus sacrata valle sedebat” (IX 3-4). The feet of the statue that can be seen in the upper right hand corner are probably a statue of Pilumnus; the burning offerings and jugs beneath the statue as well as the three-steps and columns seem to point to the setting being a hero shrine. (Lucy McInerney)

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      Date
      1688
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      21.86x16.92cm
      Inscription
      Lib: IX. Aen. v.1. Atque ea diversa penitus dum parte geruntur,/ Irim de caelo misit Saturnia Iuno etc./ usque 15.
      Location
      Bavarian State Library, Munich
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      Eimmart: Venus brings Aeneas his armor

        Venus, floating down from her dove chariot in the clouds, shows Aeneas his new weapons, especially the large shield; a variety of Putti are busy with these weapons.

        Venus, von ihrem Taubenwagen aus den Wolken niederschwebend, zeigt dem Aeneas die neuen Waffen, vor allem den großen Schild; eine Vielzahl von Putti ist mit diesen Waffen beschäftigt. (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. 38.

        Comments

        In the upper left hand corner Venus’ chariot, complete with doves, waits for the goddess, who floats next to her son. The Putti that accompany her are unrelated to the text. They bring forth Aeneas’ new armor. On the shield can be seen the image of the wolf with Romulus and Remus. (Lucy McInerney)

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        Creative Commons Attribution-NonCommercial-ShareAlike
        Date
        1688
        Culture
        Dimensions
        21.86x16.92cm
        Inscription
        Lib. VIII. Aen. vi. 608. At Venus aetherios inter dea candida nimbus/ Dona ferens aderat:/ usque 616.
        Location
        Bavarian State Library, Munich
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        Eimmart: Vulcan forges Aeneas' shield

          Vulcan and three assistants forge a shield for Aeneas on an anvil; more laborers are busy with other work; in the right foreground a variety of Putti are preparing drinks.

          Vulkan schmiedet mit drei Gehilfen auf einem Amboss den Schild für Aeneas; weitere Gehilfen sind mit anderen Arbeiten beschäftigt; im Vordergrund rechts ist eine Vielzahl von Putti dabei, Getränke vorzubereiten. (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. 37.

          Comments

          Vulcan and his workers are in the process of creating the famous shield of Aeneas. It is described as seven layered and strong enough to stand against all the weapons of Latium, “unum omni a contra/ tells Latinorum” (447-8). The forge in the engraving extends in the background into gloomy caves, showing that the setting is deep below Mount Etna. (Lucy McInerney)

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          Creative Commons Attribution-NonCommercial-ShareAlike
          Date
          1688
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          Dimensions
          21.86x16.92cm
          Inscription
          Lib. VIII. Aen. v. 440. Arma acri facienda viro:
          Location
          Bavarian State Library, Munich
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          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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            Date
            1688
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            Dimensions
            21.86x16.92cm
            Inscription
            Lib. VIII. Aen: v. 81. Ecce autem subitum atque oculis mirabile monstrum:
            Location
            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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              Date
              1688
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              21.86x16.92cm
              Inscription
              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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                Creative Commons Attribution-NonCommercial-ShareAlike
                Date
                1688
                Culture
                Dimensions
                21.86x16.92cm
                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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                  Date
                  1688
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                  Dimensions
                  21.86x16.92cm
                  Inscription
                  Lib. VII. Aen. v. 505 Olli (pestis enim tacitis latet aspera silvis)/ Improvisi adsunt. etc:
                  Location
                  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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                    Creative Commons Attribution-NonCommercial-ShareAlike
                    Date
                    1688
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                    Dimensions
                    21.86x16.92cm
                    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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                      Creative Commons Attribution-NonCommercial-ShareAlike
                      Date
                      1688
                      Culture
                      Dimensions
                      21.86x16.92cm
                      Inscription
                      Lib. VII. Aen: v. 445. Talibus Alecto dictis exarsit in iras./ usque 459.
                      Location
                      Bavarian State Library, Munich
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