Vergil

Cavalry Battle: Camilla falls from her horse, hit by a spear in the chest, and is caught by her companions; the mounted figure in the middle is obviously another Amazon.

Reiterschlacht: Camilla sinkt, von einem Speer in die Brust getroffen, vom Pferd und wird von ihren Gefährtinnen aufgefangen; die berittene Figur in der Mitte ist offenbar eine weitere Amazone. (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. 46.

In the lower right corner, Venus complains to Jupiter about the hardships suffered by Aeneas and the Trojans and begs him to reaffirm his plan for their destiny (223-53). He does so in lines 254-96. In the upper left, Aeneas sits at a table with two men with something laid out in front of them - possibly venison, since there is a pair of antlers by Aeneas. There is a city in the top right corner, probably Carthage. The rest of the image is filled with rolling hills, healthy trees, and a spring flowing into a stream, which give off a sense of abundance. (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. 133r, executed by an anonymous engraver under the direction of Brant.

Camilla lunges at the vanguard of the enemy riders and thrusts her lance in the chest of an unarmored mounted opponent.

Camilla stürzt sich an der Spitze ihrer Reiterinnen auf die Feinde und stößt einem ungepanzerten berittenen Gegner die Lanze in die Brust. (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. 45.

After landing at a secluded rocky harbor on the coast of Libya (157-158; harbor described in detail 159-168), the Trojans prepare a meal. In the background Aeneas shoots several deer from a herd that has crossed his path while he and Achates look along the coast for more survivors of the storm (lines 180-186). Below the ships, one man holds wine in wineskins salvaged from the ships (195-198), while a few others offload barrels of something, perhaps the grains mentioned in lines 177-9. In the right foreground someone roasts venison [note the deer antlers] (210-3); in the right corner, a Trojan mourns, representing the mourning of lost comrades at lines 217-222. On the left, a group of Trojans gathers around a fountain, feasting on a leg of venison. (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. 130v, executed by an anonymous engraver under the direction of Brant.

This engraving depicts the thick of the battle with warriors on foot, and one horse lying on the ground at the left. Some of the people are not safe to identify, for instance Aeneas never swings a lance against Mezentius. It is most likely the scene at X 794ff., in which Lausus protects his wounded father Mezentius with his sword and shield against the enemy, Aeneas.

Schlachtgetümmel unter Kriegern zu Fuß, doch liegt links ein Pferd am Boden. Bestimmte Personen sind nicht sicher zu identifizieren, jedenfalls schwingt Aeneas keine Lanze gegen Mezentius. Am ehesten handelt es sich um die Szene X 794ff., in der Lausus seinen verwundeten Vater Mezentius gegen den mit dem Schwert andringenden Aeneas mit den Schild schützt. (Suerbaum, p. 440)

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. 44.

Turnus robs the slain Pallas of his sword belt. There are foot soldiers, riders and a chariot with charioteer in the background.

Turnus raubt dem erschlagenen Pallas den Schwertgurt; im Hintergrund Fußsoldaten, Reiter und ein Zweigespann mit Wagenlenker. (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. 43.

In the top right quadrant of the image, Juno convinces Aeolus, king of the winds, to release the winds onto Aeneas's ships (I 65-80). The winds are depicted as four heads facing in cardinal directions blowing the winds from their mouths. These winds, in a rocky cave, take up the top left quadrant (81-87). Above Aeolus is a small raincloud with a small amount of rain. In the bottom half of the image, one of Aeneas's ships has a broken mast and another has its sails furled, signs that the fleet has endured a storm. There is one larger swell under Aeneas's ship, perhaps remnants of the storm. Neptune is on the left side below the winds, calming the storm (124-156, esp. 125-141). The combination of elements add up to a depiction of the moment just after the storm that occurred in lines 81-94 and 102-123. (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. 124v, executed by an anonymous engraver under the direction of Brant.

Aeneas, standing in the bow of the flagship of his fleet, comes across sea nymphs, the former Trojan ships.

Aeneas, im Bug des Flaggschiffs einer Flotte stehend, begegnet auf dem Meer den Nymphen, den ehemaligen trojanishcen Schiffen. (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. 42.

A rider (probably Volcens) thrusts his sword into the chest of a falling warrior (probably Euryalus). Some dead bodies lie on the ground and the whole right half of the engraving is filled by riders with bristling spears.

Ein Reiter (wohl Volcens) stößt einem niedersinkenden Krieger (wohl Euryalus) das Schwert in die Brust: am Boden liegen einige Leichen; die ganze rechte Hälfte des Kupferstichs ist gefüllt von Reitern mit starrenden Lanzen. (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. 41.

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.