Eimmart: Iris urges Turnus to war

    The winged Iris, sitting on a cloud in front of a rainbow, appears to Turnus on the steps of a palace.

    Die geflügelte Iris, auf einer Wolke mit Regenbogen gelagert, erscheint dem Turnus auf den Stufen eines Palastes. (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. 39.

     

    Comments

    Iris is, as always, shown with a rainbow and wings. Suerbaum identifies the setting as a palace, but Virgil says that Iris appears to the young man in a valley sacred to his father, “luco tum forte parentis/ Pilumni Turnus sacrata valle sedebat” (IX 3-4). The feet of the statue that can be seen in the upper right hand corner are probably a statue of Pilumnus; the burning offerings and jugs beneath the statue as well as the three-steps and columns seem to point to the setting being a hero shrine. (Lucy McInerney)

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    Lib: IX. Aen. v.1. Atque ea diversa penitus dum parte geruntur,/ Irim de caelo misit Saturnia Iuno etc./ usque 15.
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    Bavarian State Library, Munich
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    Eimmart: Venus brings Aeneas his armor

      Venus, floating down from her dove chariot in the clouds, shows Aeneas his new weapons, especially the large shield; a variety of Putti are busy with these weapons.

      Venus, von ihrem Taubenwagen aus den Wolken niederschwebend, zeigt dem Aeneas die neuen Waffen, vor allem den großen Schild; eine Vielzahl von Putti ist mit diesen Waffen beschäftigt. (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. 38.

      Comments

      In the upper left hand corner Venus’ chariot, complete with doves, waits for the goddess, who floats next to her son. The Putti that accompany her are unrelated to the text. They bring forth Aeneas’ new armor. On the shield can be seen the image of the wolf with Romulus and Remus. (Lucy McInerney)

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      Lib. VIII. Aen. vi. 608. At Venus aetherios inter dea candida nimbus/ Dona ferens aderat:/ usque 616.
      Location
      Bavarian State Library, Munich
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      Eimmart: Vulcan forges Aeneas' shield

        Vulcan and three assistants forge a shield for Aeneas on an anvil; more laborers are busy with other work; in the right foreground a variety of Putti are preparing drinks.

        Vulkan schmiedet mit drei Gehilfen auf einem Amboss den Schild für Aeneas; weitere Gehilfen sind mit anderen Arbeiten beschäftigt; im Vordergrund rechts ist eine Vielzahl von Putti dabei, Getränke vorzubereiten. (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. 37.

        Comments

        Vulcan and his workers are in the process of creating the famous shield of Aeneas. It is described as seven layered and strong enough to stand against all the weapons of Latium, “unum omni a contra/ tells Latinorum” (447-8). The forge in the engraving extends in the background into gloomy caves, showing that the setting is deep below Mount Etna. (Lucy McInerney)

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        Inscription
        Lib. VIII. Aen. v. 440. Arma acri facienda viro:
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        Bavarian State Library, Munich
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        Eimmart: Aeneas discovers the white sow

          Aeneas, with his entourage, discovers the sow with the piglets in the bushes near the Tiber River.

          Aeneas, mit Gefolge, entdeckt im Gebüsch in der Nähe des Tibers die Sau mit den Frischlingen. (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. 36.

          Comments

          At line 81, while preparing to sail up the river and find Pallanteum, Aeneas discovers the white sow and her thirty piglets prophesied to him by the god Tiberinus. He sacrifices her and her litter to Juno as a peace offering. (Lucy McInerney)

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          Inscription
          Lib. VIII. Aen: v. 81. Ecce autem subitum atque oculis mirabile monstrum:
          Location
          Bavarian State Library, Munich
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          Eimmart: Tiberinus prophecies to Aeneas

            Aeneas is asleep in a sitting position under trees, leaning on a boulder; Tiberinus the River God, (not the Tiber river) flowing out of the water above an urn, speaks to him.

            Aeneas schläft im Sitzen, auf einen Felsblock gestützt, unter Bäumen; Tiberinus, durch eine Urne, aus der Wasser fließt, (night etwa durch den Tiber-Fluss) als Flussgot charakterisiert, spricht zu ihm. (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. 35.

            Comments

            The god Tiberinus approaches Aeneas in his sleep, prophesying to him about Alba Longa, Ascanius’ future, and the location of King Evander from lines 36 through 65. (Lucy McInerney)

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            Lib. VIII. Aen. v. 36. Nox erat, et terras animalia fessa per omnes/ Alitum pecudumque genus sopor altus habebat:/ usque 45.
            Location
            Bavarian State Library, Munich
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            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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              1688
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              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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                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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                  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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                    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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