Vergil

In the right half of the image is a large pyre, which Dido has built on the pretense of burning everything Aeneas left behind him (494-7). At the top of the pyre is the bed in which Aeneas slept, which is shown with an image of Aeneas on it, a representation of the things he left (494-7). Below the pyre are a bellows and a bundle of kindling, tools necessary to make a good fire. On the left, a crowd of onlookers, including Dido's sister Anna and the nurse Barce, shown wearing a wreath on her head (632-3, 637), stands watching what they think will be a sacrifice and ritual pyre meant to free the queen of her love for Aeneas. Dido stands at the top of a set of steps next to the pyre, so that she stands just slightly above the burning pile of wood. She plunges a sword, a gift from Aeneas, into her breast (646-7, 663-5), and begins to fall in the direction of the pyre. In Vergil's text, Dido climbs up onto the pyre and onto the bed itself, where she makes a small speech (651-61) and then falls on her sword, which is the honorable way to commit suicide. Above the pyre, Iris, sent by Juno, prepares to cut the golden lock of hair from the queen's head, to send her soul to the underworld (693-705). (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. 228r, executed by an anonymous engraver under the direction of Brant.

Aeneas, who previously has been visited by a vision of Mercury (556-70), rouses his men to leave the harbors of Carthage (571-83). On the main ship, which holds Aeneas, the men row swiftly in unison to leave the shore as quickly as possible (581-3). In the upper right corner of the image, Dido watches them leave from the window of a tower. This is a departure from the text, in which Dido simply sees the empty harbor and knows they have left (586-8). The combination of the scenes makes sense if the goal is to maximize the use of illustration space, and the change is not significant enough to cause much confusion when used with the text. (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. 226r, executed by an anonymous engraver under the direction of Brant.

In the lower half of the image, Anna and Dido watch as a priest completes a sacrifice. To the left, the priest pours an offering of wine on the altar (452-55). To the right, Anna watches the sacrifice with a cloth covering her face while Dido looks over her shoulder at a pyre behind her that has not yet been lit (494-5, 505-7). In the upper left is the temple of Sychaeus, the late husband of Dido, whose image can be seen on the tomb, and whom Dido has heard calling to her at night (457-61). In the top right corner, winged Mercury advises Aeneas to leave Carthage before Dido decides to attack him with her ships (554-570). (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. 224r, executed by an anonymous engraver under the direction of Brant.

Dido, with her face covered in grief, begs Anna to talk to Aeneas (416-36). Aeneas stands in a ship with some of his men, and looks remorseful, a sign that Anna will not be able to convince Aeneas to stay (437-449). In the top left, Aeneas's men prepare the ships for travel: one holds a piece of lumber and another holds an oar (397-9). At the top right, a man stands outside a temple while another man holding a sacrificial knife leads a pair of either pigs or cattle in the direction of the temple. (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. 222r, executed by an anonymous engraver under the direction of Brant.

In the upper left, Mnestheus, Sergestus and Cloanthus direct the preparation of Aeneas's ships for departure (287-91). In the lower half of the image, members of Aeneas's crew load arms and provisions onto ships. In the upper right, Dido berates Aeneas, who attempts to defend his actions and explain why he must leave (305-87). Dido holds to her face a piece of fabric, either part of her veil or a handkerchief, an indication that she is emotional. In Vergil's portrayal of Dido, she is much more upset than Brant portrays. (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. 218v, executed by an anonymous engraver under the direction of Brant.

At the top left, Mercury, compelled by Jupiter (238-78), flies into Carthage wearing his winged shoes (239-41), carrying his caduceus and a traveler's pouch. He approaches Aeneas, who stands in the center of the image, directing the construction of at least one building (260). A laborer chops a plank with an ax, while another plank has an ax sticking out of it; there appears to be a brick mold next to the laborer. Aeneas has a sword hanging by his side, and wears a cloak that looks quite opulent, both gifts from Dido (261-4). Mercury scolds Aeneas for being content to settle in Carthage with Dido instead of following his fate to found his own kingdom in Italy (265-78). Next to Mercury, on a small patch of grass outside Carthage, there is a Roman style fountain. (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. 217r, executed by an anonymous engraver under the direction of Brant.

Rumor [Fama] looms large in the center of the image. She has wings on her back and ankles (180), and multiple ears on the side of her face (183). Her torso is covered with feathers (181). A truly monstrous creature, she is depicted with fire coming from her hands and hoofed feet. She has flown through Carthage and other unnamed Libyan cities (173). On the left, King Iarbas [Hiarbas] hears of Dido's "marriage" to Aeneas (196-7) and prays to Jupiter (198-218) and Mercury to punish Dido, who snubbed Iarbas's marriage offers (211-4). In the text, Iarbas does not address Mercury; instead, Jupiter turns to Mercury to help him bring about what Iarbas has requested (219-37). (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. 215v, executed by an anonymous engraver under the direction of Brant.

In the foreground, Ascanius and another youth corner several wild beasts, including a rabbit, a deer and a boar (156-9) into a net, while a third hunter, standing behind the net, prepares to spear the deer. In the background, to the left, hunters pursue wild goats on a rocky hill (151-55). To the right, a storm of rain and hail has driven Aeneas and Dido into a small cave where they embrace (165-72). This is one of a few Brant illustrations with some amount of color; it seems probable that the color was added later. (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. 214v, executed by an anonymous engraver under the direction of Brant.

Aeneas, Dido, and three youths prepare to go hunting. Dido, on the right, wears an embroidered Sidonian hunting garment (127); her prancing horse wears elaborate decorations (134-5). Aeneas, on the left, commands an energetic horse and at least four dogs. Their hunting companions all ride horses; one carries a horn, while another carries what seems to be a beating stick. One of the youths must be Ascanius, but he is not labelled. (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. 214r, executed by an anonymous engraver under the direction of Brant.

On the left, Dido sits with Ascanius either on her lap or right next to her, and she gestures to him in conversation (84-5). On the right, the city of Carthage stands with a tower half-built, and a crane stands idle (86-9). In the middle, Juno, wearing her citadel crown and holding a sceptre with a peacock at her feet, talks with Venus, who is shown with blind Cupid next to her and two doves at her feet. Unseen by the mortals, they concoct a plan to bring Aeneas and Dido together in an informal marriage (90-128). Aeneas and others stand in the background behind the two scheming goddesses. (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. 212v, executed by an anonymous engraver under the direction of Brant.