Eimmart: Anna begs Aeneas to stay

    Anna delivers Dido's request to Aeneas that he should remain in Carthage longer; Mercury stops up Aeneas’ ears.

    Anna überbringt dem Aeneas die Bitte Didos, er möge noch länger in Karthago bleiben; Merkur halt Aeneas die Ohren zu. (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. 16.

    Comments

    Anna stands in the center of the engraving, her hands clasped in supplication. Aeneas is preparing to leave: his spear and shield lie on the ground behind him, his helmet just to his left, and he is in the act of buckling on his sword belt. Mercury, recognizable by his winged helmet, floats above Aeneas and stops up his ears, as at line 440 (fata obstant placidasque viri deus obstruit auris.) (Lucy McInerney)

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    Date
    1688
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    Dimensions
    21.86x16.92cm
    Inscription
    Lib. IV. Aen. v 437. Talibus orabat: talesque miserrima fletus/ Fertque refertque soror/ usque 440.
    Location
    Bavarian State Library, Munich
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    Eimmart: Dido and Aeneas go on a hunt

      Dido and Aeneas ride out to hunt; a driver holds a pack of hounds.

      Dido und Aeneas reiten zur Jagd aus; ein Treiber halt eine Koppel Hunde. (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. 15.

      Comments

      Dido carries a quiver and looks over her shoulder at Aeneas, carrying a spear. A dog handler, with hounds in hand, looks back at the hunters. Carthage sprawls in the background and in the harbor in the distance can be seen the Trojan fleet. (Lucy McInerney)

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      1688
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      21.86x16.92cm
      Inscription
      Lib. IV. Aen. v. 136. Tandem progreditur magna stipante caterva,/ usque 142.
      Location
      Bavarian State Library, Munich
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      Eimmart: Dido makes sacrifices

        While offerning a sacrifice, Dido pours a libation on a cow.

        Dido beim Opfer; sie vollzieht einen Weihguss auf ein Rind. (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. 14.

         

         

        Comments

        Dido stands just right of center, pouring wine on a white cow being prepared for sacrifice (60-61). A fire is already burning on the altar in the center of the engraving and on the left is a priest washing his hands. Dido appears very regal, wearing sumptuous clothing, a crown, jewelry and a cloak. (Lucy McInerney)

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        1688
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        21.86x16.92cm
        Inscription
        Lib. IV. Aen. v. 60. Ipsa tenens dextra pateram pucherrima Dido,/ Candentis vaccae media intea cornua fundit,
        Location
        Bavarian State Library, Munich
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        Eimmart: The death of Anchises

          Anchises dies, lying on a bed, surrounded by grieving Trojans, including Aeneas and Ascanius.

          Anchises stirbt, auf einem Bett liegend, umringt von trauernden Trojanern, darunter Aeneas und Ascanius. (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. 13.

           

           

          Comments

          The last event Aeneas recounts briefly to Dido at Carthage is the death of his father Anchises at Drepanum (III.710-11), pictured here recumbent on a bed. Aeneas gestures above him, Ascanius clasps his hands at the foot of the bed, and all the Trojans in the room are openly lamenting. (Lucy McInerney)

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          1688
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          21.86x16.92cm
          Inscription
          Lib. III. Aen: v. 708. Heu genitorem, omnis curae casusque levamen/ Amitto Anchisen.
          Location
          Bavarian State Library, Munich
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          Eimmart: Anchises offers a sacrifice at Italy

            Anchises, standing in the bow of a ship, offers a sacrifice, as the Trojans see Italy and grazing horses on the bank.

            Anchises, im Bug eines Schiffes stehend, bringt ein Opfer dar, als man Italien und am Ufer weidende Pferde sichtet. (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. 12.

             

             

            Comments

            This engraving corresponds to the Trojans first sighting of Italy. At line 525 Virgil describes Anchises’ libation: “tum pater Anchises magnum crater coronua induit implevitque mero, divosque vocavit/ stans celsa in puppi…” A few lines later, at 537 and 538, Aeneas sees the four white horses on the shore depicted in the picture. These horses, which Anchises interprets as an omen of war, are equivalent to the four white stallions of a Roman triumph. In the background are buildings, probably the city of King Latinus. (Lucy McInerney)

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            1688
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            21.86x16.92cm
            Inscription
            Lib. III. Aen. v. 525. Tum pater Anchises magnum cratera corona/ Induit implevitque mero: / usque 538.
            Location
            Bavarian State Library, Munich
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            Eimmart: Aeneas leaves offerings at Actium

              Aeneas leaves a shield fastened to a pillar and, chiseled into a stone slab, inscribes "Aeneas haec de Danais victoribus arma"; in the middle distance leafless trees show it to be winter-time.

              Aeneas lässt einen Schild an einer Säule anbringen und in eine Steinplatte die Inschrift “Aeneas haec de Danais victoribus arma” einmeißeln; im Mittelgrund verweisen blätterlose Bäume auf die Winterszeit. (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. 11.

               

               

              Comments

              Aeneas and the Trojans spend a year at Actium. The change in seasons is marked by the trees. Aeneas is shown chiseling the inscription “Aeneas offers this armor from conquering Greeks,” into a stone. Above the slab the shield of Abas (286) hangs on the pillar of a temple. After this moment Aeneas and his men will return to the ships, which can just barely be seen in the harbor in the upper left background. (Lucy McInerney)

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              1688
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              21.86x16.92cm
              Inscription
              Lib. III. Aen: v. 284. Interea magnum Sol circum volvitur annum,/ Et glacialis hyems aquilonibus asperat undas.
              Location
              Bavarian State Library, Munich
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              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)

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                1688
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                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
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                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)

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                  Date
                  1688
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                  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
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                  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)

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                    Date
                    1688
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                    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
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                    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)

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                      1688
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                      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
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