Vergil

Aeneid 1.338-341

Pūnica rēgna vidēs, Tyriōs et Agēnoris urbem;

sed fīnēs Libycī, genus intractābile bellō.

Imperium Dīdō Tyriā regit urbe profecta,

germānum fugiēns. 

Aeneid 1.365-368

Dēvēnēre locōs ubi nunc ingentia cernēs

moenia surgentemque novae Karthāginis arcem,

mercātīque solum, factī dē nōmine Byrsam,

taurīnō quantum possent circumdare tergō.

Aeneid 4.35-44

Estō: aegram nūllī quondam flexēre marītī,

nōn Libyae, nōn ante Tyrō; dēspectus Iärbās

ductōrēsque aliī, quōs Āfrica terra triumphīs

dīves alit: placitōne etiam pugnābis amōrī?

Nec venit in mentem quōrum cōnsēderis arvīs?

Hinc Gaetūlae urbēs, genus īnsuperābile bellō,

et Numidae īnfrēnī cingunt et inhospita Syrtis;

hinc dēserta sitī regiō lātēque furentēs

Barcaeī. Quid bella Tyrō surgentia dīcam

germānīque minās?

Syrtis: Syrtis Minor (modern Gulf of Gabès) or Syrtis Maior (modern Gulf of Benghazi) or both (Brill)

Aeneid 6.1-5

Sīc fātur lacrimāns, classīque immittit habēnās

et tandem Euboïcīs Cūmārum adlābitur ōrīs.

Obvertunt pelagō prōrās; tum dente tenācī

ancora fundābat nāvīs et lītora curvae

praetexunt puppēs. 

Aeneid 6.201-204

Inde ubi vēnēre ad faucēs grave olentis Avernī,

tollunt sē celerēs liquidumque per āëra lāpsae

sēdibus optātīs geminā super arbore sīdunt,

discolor unde aurī per rāmōs aura refulsit.

Aeneid  6.232-235

At pius Aenēās ingentī mōle sepulcrum

impōnit suaque arma virō rēmumque tubamque

monte sub āëriō, quī nunc Mīsēnus ab illō

dīcitur aeternumque tenet per saecula nōmen.

Aeneid 6.900-901

Tum sē ad Cāiētae rēctō fert līmite portum.

Ancora dē prōrā iacitur; stant lītore puppēs.

Aeneid 7.1-4

Tu quoque litoribus nostris, Aeneia nutrix,

aeternam moriens famam, Caieta, dedisti;

et nunc seruat honos sedem tuus, ossaque nomen

Hesperia in magna, si qua est ea gloria, signat.

Caieta: a town in Latium. It was situated on a promontory opposite to the city of Formiae, and forms the northern extremity of the extensive bay anciently called the Sinus Caietanus, and still known as the Golfo di Gaeta. (Smith)

Aeneid 1.242-247

Antēnor potuit mediīs ēlāpsus Achīvīs

Īllyricōs penetrāre sinūs atque intima tūtus

rēgna Liburnōrum et fontem superāre Timāvī,

unde per ōra novem vāstō cum murmure montis

it mare prōruptum et pelagō premit arva sonantī.

Hīc tamen ille urbem Patavī sēdēsque locāvit.

Illyricos sinus: “Illyrian gulfs,” meaning the Adriatic gulf along the shores of Illyricum. Illyrian attacks on shipping brought Roman intervention in the First and Second Illyrian Wars (229/8, 219 BC).

regna Liburnorum: "the realm of the Liburni." A wild and piratical race (Livy 10.2), the Liburni used privateers called lembi or naves Liburnicae with one very large lateen sail, which, adopted by the Romans in their struggle with Carthage (Eutropius 2.22) and in the Second Macedonian War (Livy 42.48), supplanted gradually the high-bulwarked galleys which had formerly been in use. (Caesar, Civil War 3.5; Horace, Epodes 1.1.) (Smith)

fontem Timavi: the small river Timavus (modern Timavo) flows into the Adriatic near Trieste.

urbem Patavi: meaning Padua, some twenty miles west of Venice. According to a tradition recorded by Virgil, and universally received in antiquity, it was founded by Antenor, who escaped thither after the fall of Troy; and Livy, himself a native of the city, confirms this tradition, though he does not mention the name of Patavium, but describes the whole nation of the Veneti as having migrated to this part of Italy under the guidance of Antenor. it was at an early period an opulent and flourishing city: Strabo even tells us that it could send into the field an army of 120,000 men, but this is evidently an exaggeration, and probably refers to the whole nation of the Veneti, of which it was the capital. (Strab. v. p.213.) Whatever was the origin of the Veneti, there seems no doubt they were, a people far more advanced in civilisation than the neighbouring Gauls, with whom they were on terms of almost continual hostility. (Smith)

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)

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)

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)

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)

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)

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)

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)