Eimmart: The Trojan fleet burns

    Aeneas hurries forward, the Trojan women having set fire to the ships; Iris is in the clouds in front of a rainbow with a torch in her hand.

    Aeneas eilt herbei, als die trojanischen Frauen Feuer an die Schiffe gelegt haben; in den Wolken vor einem Regenbogen Iris mit einer Fackel in der Hand. (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. 20.

     

     

    Comments

    Iris, having incited the Trojan women to burn the ships, holds a burning torch and flies away in front of her telltale rainbow (657-658). Aeneas, wearing a long cloak, rushes forward towards his ships, which are all blazing. (Lucy McInerney)

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    Creative Commons Attribution-NonCommercial-ShareAlike
    Date
    1688
    Culture
    Dimensions
    21.86x16.92cm
    Inscription
    Lib. V. Aen: v. 658. Quum dea se paribus per coelom sustulit alis/ Ingentemque fuga secuit sub nubibus arcum/ usque 677.
    Location
    Bavarian State Library, Munich
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    Eimmart: The games in Sicily

      Aeneas sets out the prizes for the games.

      Aeneas stellt die Preise für die Wettspiele aus. (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. 19.

       

       

      Comments

      Vergil describes this scene at 109-112: Munera principio ante oculos circoque locantur/ in medio, sacri tripodes viridesque coronae/ et palmae pretium victoribus, armaque et ostro/ perfusae vestes, argenti aurique talenta. In the central background the eye is drawn to four ships on the horizon, the four ships that take part in the race, Mnestheus’ Pristim, Gyas’ Chimaera, Sergestus’ Centaur, and Cloanthus’ Scylla, all described from lines 114 through 123. (Lucy McInerney)

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      Date
      1688
      Culture
      Dimensions
      21.86x16.92cm
      Inscription
      Lib: V. Aen: v. 109. Munera principio ante oculos, cirocque locantur/ In medio: - -
      Location
      Bavarian State Library, Munich
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      Eimmart: Aeneas sacrifices at the tomb of Anchises

        Aeneas sacrifices at the tomb of Anchises, a giant snake winds around the altar; there is horror in the spectators.

        Aeneas opfert am Grabe des Anchises, eine riesige Schlange windet sich um den Altar; Entsetzen bei den Zuschauern. (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. 18.

         

         

        Comments

        Aeneas wears a myrtle wreath (72) as he retreats from the giant snake curled round the offerings at Anchises’ tomb. On the ground are rose petals (flores purpureosque, 79) and many dishes and vessels that had been holding Aeneas’ offerings of blood and milk (78). (Lucy McInerney)

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        1688
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        Dimensions
        21.86x16.92cm
        Inscription
        Lib. V. Aen: v. 70. Cuncti adsint, meritaeque expectent praemia palmae:/ Ore favete omnes, et cingite tempora ramis.
        Location
        Bavarian State Library, Munich
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        Eimmart: Dido's Suicide

          Dido stabs herself on the funeral pyre and Iris flies to cut off a lock of her hair; around the pyre are lamenting women.

          Dido ersticht sich auf dem Scheiterhaufen, Iris fliegt herbei, um ihr eine Locke abzuschneiden; ringsum klagende Frauen. (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. 17.

           

           

          Comments

          This engraving centers on Dido’s suicide, the planning and execution of which take up the better part of Book IV. She sits on the pyre built at line 504, which appears exactly as she describes it from 494 through 497. It is open to the breezes (tu secreta pyram tecto interior sub auras erige 494-5) and Aeneas’ abandoned armor (helmet, shield, and breastplate) lies beside her. All the Carthaginians in the picture are lamenting, and Anna is behind her sister, rending her hair in grief. Dido herself appears calm, as she stabs herself. Above her is Iris, leaning on her rainbow as she cuts a lock of Dido’s hair, thus allowing her to die (704). In the distant background on the right appear ruins- perhaps Carthage, the building project stalled since the arrival of Aeneas (86-89). (Lucy McInerney)

          Associated Passages
          Subjects
          License
          Creative Commons Attribution-NonCommercial-ShareAlike
          Date
          1688
          Culture
          Dimensions
          21.86x16.92cm
          Inscription
          Lib. IV. Aen: v. 659. Dixit: et os impressa toro, Moriemur multae?/ Sed moriamur ait. Sic? Sic iuvat ire sub umbras./ usque 695.
          Location
          Bavarian State Library, Munich
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          Tiepolo: Neptune and the Winds

            The sketch illustrates a celebrated passage from Virgil's Aeneid describing how Neptune calmed the winds to save Aeneas from shipwreck. Neptune, his arm raised, commands the winds to desist. Jupiter stands in front of the portico of a circular temple. In 1764–66 Tiepolo decorated a room in the Palacio Real, Madrid, with an apotheosis of Aeneas; the sketch may be related to this project. (Metropolitan Museum of Art)

            Subjects
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            Date
            1696–1770
            Culture
            Medium
            Dimensions
            24 1/2 x 24 1/2 in. (62.2 x 62.2 cm)
            Location
            The Metropolitan Museum of Art

            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
              Culture
              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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                Date
                1688
                Culture
                Dimensions
                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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                  Creative Commons Attribution-NonCommercial-ShareAlike
                  Date
                  1688
                  Culture
                  Dimensions
                  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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                    Creative Commons Attribution-NonCommercial-ShareAlike
                    Date
                    1688
                    Culture
                    Dimensions
                    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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                      License
                      Creative Commons Attribution-NonCommercial-ShareAlike
                      Date
                      1688
                      Culture
                      Dimensions
                      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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