Eimmart: Turnus takes Pallas' sword belt

    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.

     

    Comments

    The death of Pallas is a very important moment in the Aeneid, not least because Turnus seals his own fate with his brutal treatment of the young Arcadian. Turnus and Pallas are very clearly the main subject of this engraving, with the background drawn in with lighter lines to make the central pair pop out. Turnus is in the act of robbing the dead Pallas of his sword belt. The placement of his foot on Pallas’ stomach emphasizes the brutality of the whole episode. Turnus certainly comes off at his worst in this scene, ordering his troops to stand aside as he kills Pallas himself and declaring that he wished Evander could be there to witness the death of his son (cuperem ipse parens spectator adesset, X. 443). In the middleground are the troops of Turnus, and in the far background is the camp of the Trojans and Arcadians. (Lucy McInerney)

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    1688
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    21.86x16.92cm
    Inscription
    Lib. X. Aen: v. 487. Corruit in vulnus: sonitum super arma dedere:/ Et terram hostile moriens petit ore cruento./ usque 500.
    Location
    Bavarian State Library, Munich
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    Brant: Seastorm

      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.

      Comments

      Sebastian Brant (1458­­–1521) was a humanist scholar of many competencies. Trained in classics and law at the University of Basel, Brant later lectured in jurisprudence there and practiced law in his native city of Strasbourg. While his satirical poem Das Narrenschiff won him considerable standing as a writer, his role in the transmission of Virgil to the Renaissance was at least as important. In 1502 he and Strasbourg printer Johannes Grüninger produced a major edition of Virgil’s works, along with Donatus’ Life and the commentaries of Servius, Landino, and Calderini, with more than two hundred woodcut illustrations (Annabel Patterson).

      In Brant's...illustration, it is again mythology, rather than drama, which predominates to trace a history of the storm from Juno's royal visit to Aeolus's prison of the winds (fig. 12). The winds' grotesque faces peer outward from their womblike cavern (Vergil's "loca feta furentibus Austris") breathing decorative swirls. Rain falls from the clouds in this tempestuous region, but below it, the disturbance to Aeneas's fleet seems minimal. The ships float placidly in a rippled sea with Aeneas's upturned face the only sign of distress (Eleanor Winsor Leach).

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      Eimmart: The sea nymphs come to Aeneas

        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.

         

        Comments

        During Aeneas' return trip from Pallanteum, the former fleet of Aeneas approaches him in the middle of the night as sea nymphs. Cymodocea, one of the nymphs, addresses Aeneas and tells him of the fighting that has broken out at Alba Longa. She is likely the nymph in the center of the engraving, with one arm outstretched, as described at lines 225 and 226. (Lucy McInerney)

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        1688
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        Lib. X. Aen. v. 219. Atque illi medio in spatio, chorus ecce suarum./ Occuurrit comitum:/ usque 235.
        Location
        Bavarian State Library, Munich
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        Eimmart: The deaths of Euryalus and Nisus

          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.

          Comments

          The action in this scene takes place at night, which is perhaps why the engraving is so dark. Suerbaum identifies the wounded man in the center of the engraving as Euryalus, but it is just as likely to be Nisus, and that Euryalus is the beautiful young man beneath him who is clearly already dead. A helmet sits on the ground in front of him, perhaps the very helmet that gave him away to the enemy at line 373. After witnessing Euryalus’ death at the hands of Volcens, Nisus fights the Rutulian and kills him, but is quickly slain himself. He falls across the body of his dead friend at lines 444-445. (Lucy McInerney)

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          1688
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          Lib . IX. Aen. v. 440. Quem circum glomerati hostes, hinc comminus atque hinc/ Proturbant./ usque 445
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          Bavarian State Library, Munich
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          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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            Lib. IX. Aen: v. 82 Ipsa deum fetur genetrix Berecynthia magnum/ Vocibus his affata Iovem;/ usque 122.
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            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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              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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                1688
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                21.86x16.92cm
                Inscription
                Lib. VIII. Aen. vi. 608. At Venus aetherios inter dea candida nimbus/ Dona ferens aderat:/ usque 616.
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                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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                  1688
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                  21.86x16.92cm
                  Inscription
                  Lib. VIII. Aen. v. 440. Arma acri facienda viro:
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                  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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                    1688
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                    21.86x16.92cm
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                    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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                      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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