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This list provides links to the images used as springboards for discussion of specific sections of the Aeneid. After each image is an indication of the section of the epic that is covered; the line numbers after “especially” indicate the passages that are hyperlinked to the questions. Most of these passages are found on the Advanced Placement Vergil syllabus, but there are a few additional passages which make an important contribution to our understanding of the epic. The images are listed in the order that they appear in each chest in the Thesaurus. |
Book 1 Chest:
1. Detail of vase painting from Apulian amphora showing Jupiter, Juno, and Apollo on Olympus. (Proem, 1. 1-11)
2 Denarius of Julius Caesar (47 BCE): Aeneas carrying Anchises and Palladium (1. 1-222, especially 94-101, 148-153, 198-209)
3. Silver figurine of one of the Penates (1. 223-296, especially 278-282); this section also contains a painting,Jupiter Rebuked by Venus, by Abraham Janssens, 1612-13 (especially 223-296)
4. Detail of painting of the Underworld evoking Furor, sixteenth century; coin of Nero showing the Temple of Janus (especially 1. 291-296) 56. Tapestry depicting Aeneas and Venus disguised as a huntress; one of 8 tapestries on the Aeneid designed by Gian Francesco Romanelli (c. 1635) and woven in Antwerp by Michel Walters (1. 297-417, especially 340-352, 360-364, 378-80, 407-409)
6. Pompeian wall painting of the fall of Troy, depicting Cassandra clutching the Palladium and Priam helplessly watching while the Greeks carry off the Trojan women (1. 418-493, especially 459-465, 479-482, 490-493)
7. Detail from the “Low Ham mosaic,” from a fourth-century CE Roman villa in Britain, depicting Dido, Aeneas, Ascanius, and Anna (1. 494-519, especially 494-495, 507-508)
8. Detail from the “Low Ham mosaic,” from a fourth-century CE Roman villa in Britain, depicting Dido between two torch-bearing cupids (1. 561-722, especially 603-605, 628-630, 673-675, 715-719)
Book 2 Chest:
9. Tapestry depicting Dido and Aeneas at the banquet; one of 8 tapestries on the Aeneid designed by Gian Francesco Romanelli (c. 1635) and woven in Antwerp by Michel Walters (2. 1-56, especially 3-6; 54-56). This section also contains an image of the Trojan Horse from a large terracotta Greek funerary amphora dating from the seventh century BCE.
10. Hellenistic sculpture group depicting Laocoon and his two sons being attacked by sea serpents (2. 119-257, especially 203-211). For the aftermath of the killing of Laocoon, several images of Athena and snakes are provided: A reconstruction of Pheidias's Parthenon statue (including a detail of Athena's shield with coiled snake), the statue of Athena from the pediment of her old temple on the Acropolis, a temple antefix with the head of Medusa, a Roman bronze figurine of a bearded snake, and a Pompeian fresco of Bacchus with a bearded snake (especially lines 226-227 and 615-616).
11. Two statues from the monument to Vergil in Mantua, Italy: one depicting a warrior with a fallen foe and one a shepherd and his family (2. 280-317, especially 289-295, 304-308, 314-317, 431-434)
12. Detail from a large, archaic terracotta Greek amphora depicting a Greek warrior preparing to slaughter a Trojan boy before the eyes of his mother (2. 469-566, especially 469-475, 535-539, 557-558). There is also a link to another scene from this amphora (the same vessel shown in #7). depicting a Greek warrior stabbing a Trojan boy and a seventeenth-century painting of Aeneas returning to save Anchises.
13. Detail of a sixteenth-century painting, "The Fall of Troy," by Flemish painter Pieter Schonbroeck, showing Aeneas, Anchises, and Ascanius leaving Troy (2. 735-805, especially 745-746, 769-770, 776-789). There is also a link to the full painting, plus a Pompeian fresco of Aeneas carrying Anchises and leading Ascanius by the hand, plus an ancient caricature of this scene.
Book 4 Chest:
14. Tapestry depicting Dido showing Carthage to Aeneas; one of 8 tapestries on the Aeneid designed by Gian Francesco Romanelli (c. 1635) and woven in Antwerp by Michel Walters (4. 1-89, especially 1-5, 24-27, 68-73, 86-89)
15. Detail from the “Low Ham mosaic,” from a fourth-century CE Roman villa in Britain, depicting Dido, Aeneas, and Ascanius on the hunt (4. 90-159, especially 101-104, 141-150).
16. Tapestry depicting Dido and Aeneas seeking refuge from the storm in a cave; one of 8 tapestries on the Aeneid designed by Gian Francesco Romanelli (c. 1635) and woven in Antwerp by Michel Walters (4. 160-172, especially 165-172)
17. Roman mosaic portraying the Judgment of Paris, depicting Mercury, Paris (seated), Minerva, Juno, and Venus (4. 173-278, especially 193-195, 215-217, 219-221, 260-264, 265-267)
18. Detail from the “Low Ham mosaic,” from a fourth-century CE Roman villa in Britain, depicting Dido and Aeneas embracing (4. 279-361, especially 279-286, 331-361, plus 393-396, 437-449)
19. Relief from a second-century CE Roman sarcophagus depicting a torch-wielding Fury gazing at the drooping Orestes, whom she has been haunting (4. 362-392, especially 365-387). Additional images include a detail from a ref-figure vase depicting a frenzied Maenad tearing apart a fawn and the face of a Mycenaean sphinx..
20. Detail from the “Low Ham mosaic,” from a fourth-century CE Roman villa in Britain, depicting Aeneas and the Trojans sailing away from Carthage (4. 393-449, especially 393-396, 438-449)
21. “Rinaldo Abandons Armida, ”a painting by the eighteenth-century Italian artist Giovanni Battista Tiepolo (4. 642-705, especially 651-662, 665-672, 696-699). There is also a link to a detail of the grieving woman. NB: This painting actually depicts a scene from another epic, Jerusalem Delivered, by the Italian poet Torquato Tasso.
Book 6 Chest:
22. Photo of a trapezoidal passage cut in the rock of a hillside, traditionally known as the cave of the Cumaean Sibyl (6. 1-123, especially 20-33, 42-53, 61-68, 83-97)
23. Photo of Lake Avernus, near Cumae, which Vergil identifies as the entrance to the underworld (6. 124-211, especially 125-148). Additional images are a painting by Jan Breughel II of the Sibyl leading Aeneas through the Underworld, and details from a sixteenth-century paingint of the entrance to Hades and Aeneas and the Sibyl on Charon's boat through the Riuver Styx.
24. Terracotta figurine dating from the Hellenistic era, depicting a man seeking to persuade a reluctant woman (6. 450-476, especially 450-476)
25. Larger-than-life statue of Marcellus, currently in the Louvre Museum (6. 847-901, especially 851-853, 883-886). There is also a link to a closer view of the statue's head and hand. The statue, commissioned by Augustus in 20 BCE and signed “Cleomenes the Athenian,” portrays Marcellus as a heroic nude figure in the Greek style. aAdditonal images include a coin depicting the elder Marcellus with the spolia opima and a painting of Vergil reading this sectio of the Aeneid to Augustus, Livia, and Octavia.
Books 10-12 Chest:
24. Fragment of a decorated metal sword belt, currently in the Reggio Museum, dating from the fourth century CE (10. 420-509, especially 433-438, 467-472, 495-505). There is also a link to a closer view of the images of Scylla on the sword belt.
25. Warrior-head aryballos, a tiny Greek vase from the sixth century BCE (10. 601-832, especially 602-604, 811-812, 821-832)
26. Relief depicting Hera and Zeus from the metope of an archaic Greek temple in Sicily (12. 791-842, especially 803-806, 818-833, 838-842)
27. Statue of a warrior who has just fallen in battle; the statue is part of the pedimental sculptures of the temple of Aphaea (a Greek goddess similar to Artemis) in Aegina (12. 887-952, especially 894-895, 903-914, 930-938). There is also a link to a close-up of the breastplate of the Prima Porta statue of Augustus and a Greek vase portraying Achilles slaying Penthesilea.
Barbara F. McManus
