Aeneid

Aeneas performs sacrifices at the entrance to the underworld at Lake Avernus, which is shown as a circular chasm, shaped a bit like a well, with flame-like vapor pouring out of it (237-42). The Sibyl pours wine on the head of one of two oxen, holding the head of a third; these oxen are a sacrifice to Hecate (243-9). Aeneas slits the throat of a sheep as an offering to Night (249-51); in the text, he sacrifices a barren heifer for Proserpine (251), but in the image, the task is given to Achates, who has shed his armor for the occasion. An altar burns with the leg of a bull for Hades (252-4). Aeneas performs these sacrifices in order to be allowed passage into the underworld. (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. 262v, executed by an anonymous engraver under the direction of Brant.

The men of Aeneas prepare a funeral for Misenus (156-235), while in the upper right corner, Aeneas and Achates enter the grove to seek the golden bough that Aeneas needs in order to enter the underworld (183-211). Men cut down trees and chop logs to build a funeral pyre for the tomb of their comrade (176-84). Another digs a grave. There are multiple piles of chopped wood, so it is not immediately clear which one is intended as the funeral pyre. It would make sense that the lit fire would be the pyre, but the one next to it is surrounded by foliage, which is mentioned by Vergil in line 215. In the lower left, a cauldron of water is warmed in order to wash and anoint the body (218-9). Corynaeus [Chorineus] stands in the upper left corner, next to the grave, ready to collect the bones from the funeral pyre and place them in an urn (228). The oar and trumpet of Misenus lie on top of the tomb lid, ready to be placed in the tomb with the urn (232-6). (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. 260r, executed by an anonymous engraver under the direction of Brant.

Aeneas, accompanied by Achates, asks the Sibyl for help in reaching the underworld to visit his father (103-23). The Sibyl advises Aeneas of the steps he must take if he wishes to visit the underworld (124-55). She gestures toward a grove, at the right edge of the image, that contains a golden bough sacred to Proserpina, which a worthy man must break off to present to her when he reaches the underworld (136-48). To the left, the body of Misenus is carried in a ship toward the beach by a few of Aeneas's men (156-74). Aeneas must bury Misenus before he may descend to the underworld (149-53). (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. 257v, executed by an anonymous engraver under the direction of Brant.

Aeneas and the followers who have agreed to continue the journey to Latium with him bid farewell to those who have decided to stay behind in the newly founded city of Acesta (765-71). A ship on the left side of the image, with a gang-plank leading from it to the shore, indicates the imminent departure of the Trojans. On the right, Venus entreats Neptune to ensure the safe travels of Aeneas (779-98); Neptune assures Venus that he will protect Aeneas and his crew. Neptune stands facing Venus, with his back to the front of his chariot (799-815). Behind his chariot, near the shore, two sea creatures, perhaps the artist's attempt at depicting whales, make up his retinue of followers (816-26).  (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. 249v, executed by an anonymous engraver under the direction of Brant.

In the upper right corner, Nautes [Nantes] advises Aeneas and Acestes about how to handle the dissent among Aeneas's followers. He advises Aeneas to allow any tired old men and women who are weary of traveling to stay behind in Sicily, and found a city under the protection of Acestes (704-18). In the upper left, sleeping Aeneas receives advice from a vision of his father Anchises. Anchises agrees with Nautes, and then advises Aeneas to stop at Avernus for a journey to the underworld before heading to Latium (721-40). The city of Acesta is shown to the left of the leaders, having been marked out, and apparently built, by Aeneas before he begins his preparations to continue to Latium (755-8). In the center of the image, a few women, some old men and an injured man represent the people who will stay behind in Acesta (750-1). In the lower right, a fully repaired ship represents the Trojan fleet, which Aeneas's remaining men have repaired (752-3). On the left, at the top of Mount Eryx, here no more than a hill, a new temple to Venus has been founded, labeled here as Veneris Erucine (759-60). (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. 248r, executed by an anonymous engraver under the direction of Brant.

In the upper middle of the image, the goddess Iris stands on a rainbow, one of her attributes; she appears to be leaving the scene of a turmoil that Juno inspired her to create among the Trojan women (604-620). These women, in the foreground, have set fire to some ships (654-62); they have built several fires on the shore in order to light their torches. In the midst of the women, Iris, disguised as one of them, but distinguished by a glowing halo, holds two torches. One woman, Pyrgo, attempts to persuade the others that their antagonist is an immortal sent for mischief, but the rest do not listen to her (644-53). The two ships drawn to represent the fleet are broken, and are nearly engulfed in flames. Behind the women, to the left of Iris, Aeneas hurries down a hill to the shore, having been alerted of the trouble by Eumelus (664-6), who is probably the distressed young man to the right of Aeneas. King Achates, unlabeled, accompanies them. Ascanius also races to the camp on his horse, followed by some of his troops from the Trojan games, which have just been finished (667-9; 673-5). (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. 245r, executed by an anonymous engraver under the direction of Brant.

Epytides [Epitites] turns the attention of Aeneas and the others toward an exhibition performed by Ascanius and the other youngsters travelling with the Trojans. They march in varying arrangements of troops, lines and columns around the field, showing off their riding skills and also their dexterity with spears and lances. The finale of their show is an intricately maneuvered mock battle, composed of clashing and retreating companies. The leaders of the three troops are Ascanius, Atys, and Polites [Priamus], a descendant of Priam (563-72). (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. 243v, executed by an anonymous engraver under the direction of Brant.

In the center of the image, a dove is tied to a pole made from the broken mast of Serestus' ship. On the right, Hippocoon, Mnestheus, Eurytion [labeled as Pandarus] and Acestes try to shoot down the dove. Though Vergil gives all four archers proper bows, the artists gives only Hippocoon an archery style bow, while the rest hold crossbows. Hippocoon's arrow has stuck in the mast directly below the place where the bird is tied onto the pole (502-6). Mnestheus is poised to shoot; his arrow will sever the rope tying the bird to the pole (507-12). Erytion, who will then shoot the bird, is shown kneeling, directly in front of the pole, loading his crossbow (513-6). Between Erytion and Mnestheus, Acestes prepares to shoot his arrow up into the air, for show, since the prize has been won by Erytion. His loosed arrow is shown in the upper left corner, marked as an omen by rays of sun through the clouds; in Vergil, the arrow also catches fire (519-28). A crowd of onlookers, including Aeneas, stands to the left of the mast. The woman standing closest to the mast holds a vessel, which will be presented to Acestes as a prize at the end of the contest.  (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. 242v, executed by an anonymous engraver under the direction of Brant.

Entellus and Dares fight each other with clubs. It is apparent that the person who made this image had never seen a boxing match, and set this up as a cudgel duel. The swords of the participants have been laid aside as they take up clubs to fight each other. Aeneas, Ascanius and Achates cheer on Dares, while Acestes and a few attendants encourage Entellus. Lying in front of the boxers is a club which appears to have a human head attached to one end. The head is bearded with fairly long hair, and a crown lies near it; it appears to be the head of a defeated king, but it is unclear what this head symbolizes. (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. 240r, executed by an anonymous engraver under the direction of Brant.