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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    Date
    1688
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    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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      1688
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      Lib. VII. Aen. v. 505 Olli (pestis enim tacitis latet aspera silvis)/ Improvisi adsunt. etc:
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      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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        1688
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        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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          1688
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          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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          Eimmart: Ilioneus comes to King Latinus

            The Trojan emissary, decorated with olive wreaths and olive branches as a sign of peace, presents gifts to King Latinus enthroned in a hall with his entourage.

            Die trojanische Gesandtschaft, die mit Olivenkränzen geschmückt ist und Olivenzweige als Zeichen des Friedens mit sich führt, überreicht dem in einer Halle mit Gefolge thronenden König Latinus Geschenke. (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. 30.

            Comments

            Ilioneus acts as emissary for the Trojans in the court of Latinus, explaining who they are and why they have come to Italy. He speaks to Latinus from lines 213 through 258. in the background are the statues of Latinus’ palace, described from lines 176 through 191. (Lucy McInerney)

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            1688
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            21.86x16.92cm
            Inscription
            Lib. VII. Aen. v. 192. Tali intus temple divum, patriaque Latinus/ Sede sedens, Teucros ad sese in tecta vocavit:/ usque 247.
            Location
            Bavarian State Library, Munich
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            Eimmart: Aeneas and the Trojans fulfill Anchises' prophecy

              Aeneas and his men sit in a circle on the grass at an unfolded table-cloth on which a bowl of fruit stands.

              Aeneas und seine Leute sitzen im Rund auf dem Rasen um ein ausgebreitetes Tafeltuch, auf dem eine Schale mit Früchten steht. (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. 29.

              Comments

              This engraving depicts an important scene from Book VII. Aeneas and his men sit down to a meal in Italy but are still so hungry at the end of it that they eat the bread they used as plates or tables. Iulus jokes that they are eating their very tables, “heus, etiam mensas consumimus?” (116). In so doing, he fulfills a prophecy that had been made to Aeneas by his father, which he recalls at lines 124 through 127, saying that the Trojans would not find peace until they were forced by hunger to eat their tables. (Lucy McInerney)

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              1688
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              Inscription
              Lib: VII. Aen: v. 107 Aeneas, primique duces, et pulcher Iulus,/ Corpora sub ramis deponent arboris altae:/ usque 147.
              Location
              Bavarian State Library, Munich
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              Eimmart: Aeneas leaves offerings for his nurse Caieta

                Aeneas leaves offerings for his dead nurse Caieta.

                Aeneas lässt Totenopfer für seine Amme Caieta darbringen. (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. 28.

                Comments

                Book VII begins with a short epithet on the death of Aeneas’ nurse Caieta. In the engraving, a sheep has just been slaughtered, offerings are being burnt, and tributes have been set up. The ships in the background show that Aeneas and his men have just landed. (Lucy McInerney)

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                1688
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                21.86x16.92cm
                Inscription
                Lib. VII. Aen: v. 5 At pius exsequiis Aeneas rite solutis/ Aggere composito tumulit, etc./ usque 7.
                Location
                Bavarian State Library, Munich
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                Eimmart: Anchises shows Aeneas the fields of the blessed

                  Anchises shows Aeneas and the Sibyl the fields of the blessed.

                  Anchises zeigt Aeneas und der Sibylle die Gefilde der Seligen. (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. 27.

                  Comments

                  Anchises sits between the Sibyl and Aeneas, teaching his son about the future of the Trojan race. All the souls waiting to be reborn fill up the background, mostly in military garb. There are five horses in the center of the field; horses are recognized as symbols of war, thus adding to the image of the future Rome as a powerful military state. (Lucy McInerney)

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                  1688
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                  21.86x16.92cm
                  Inscription
                  Lib. VI. Aen: v. 633. Dixerat: et pariter gressi per opaca viarum,/ Corripiunt spatium medium, foribusque propinquant.
                  Location
                  Bavarian State Library, Munich
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                  Eimmart: Aeneas and the Sibyl see dead children by the Styx

                    In the underworld Aeneas and the Sibyl see dead children on the banks of the Styx.

                    In der Unterwelt sieht Aeneas mit der Sibylle am Ufer des Styx frühverstorbene Kinder. (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. 26.

                    Comments

                    After having overcome Cerberus with the help of the Sibyl, Aeneas finds himself beyond the Acheron, on the banks of the Styx. The first thing he hears is the weeping of the infants that died early in life (426). They are shown as dark shades in the bottom right corner of the engraving. A beautiful detail is the boatman’s reflection in the water. (Lucy McInerney)

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                    1688
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                    21.86x16.92cm
                    Inscription
                    Lib: VI. Aen: v. 426. Continuo auditae voces, vagitus et ingens,/ Infantumque animae, flentes in limine primo:/ usque 529.
                    Location
                    Bavarian State Library, Munich
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                    Eimmart: Aeneas tries to fight images in the Underworld

                      Aeneas in the underworld under the elm tree pulls out his sword against the insubstantial visions of phenomena of monsters and is restrained by the Sibyl.

                      Aeneas zückt in der Unterwelt unter der Ulme mit den nichtigen Träumen sein Schwert gegen Erscheinungen von Monstern und wird von der Sibylle zurückgehalten. (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. 25.

                      Comments

                      Vergil describes this giant elm tree in the Underworld as the seat that "false Dreams" hold (quam sedem Somnia vana ten ere ferunt, 283-284). There are illusions clinging to each leaf in the engraving. The list of creatures from 286 to 289 include Centaurs, Scyllas, the hundred-armed Briareus, the Lernean Hydra, a Chimaera, Gorgons and Harpies and three-bodied Geryon. Most of these creatures can be seen behind the tree: a harpy hovers in the upper left hand corner above four centaurs, Cerberus the three headed dog lies beside the Chimaera. A giant snake curls in front of an other unknown fire-breathing creature in the center middleground. Aeneas trembles with sudden fear (290) and attempts to fight off the creatures before him, but the Sibyl explains that the creatures are incorporeal. (Lucy McInerney)

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                      1688
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                      Inscription
                      Lib: VI. Aen: v. 282. In medio ramos annosaque brachia pandit/ Ulmus opaca, ingens./ usque 294.
                      Location
                      Bavarian State Library, Munich
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