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Virgils aeneid Stock Photos and Images
Papyrus with a line of Virgil's Aeneid, which has been repeated as part of a writing exercise. Dated 1st Century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-papyrus-with-a-line-of-virgils-aeneid-which-has-been-repeated-as-part-122930045.htmlRMH3YXEN–Papyrus with a line of Virgil's Aeneid, which has been repeated as part of a writing exercise. Dated 1st Century
Hawara Papyrus. 1st cent AD. with lines from Virgils Aeneid Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-hawara-papyrus-1st-cent-ad-with-lines-from-virgils-aeneid-17842600.htmlRMB10PBM–Hawara Papyrus. 1st cent AD. with lines from Virgils Aeneid
Virgil's Aeneid, Translation by John Dryden. Book cover on light / white background Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/virgils-aeneid-translation-by-john-dryden-book-cover-on-light-white-background-image594493734.htmlRM2WF5ER2–Virgil's Aeneid, Translation by John Dryden. Book cover on light / white background
Essay on Virgils AEneid-0005. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/essay-on-virgils-aeneid-0005-image328893492.htmlRM2A32B04–Essay on Virgils AEneid-0005.
Camillia at War from Virgil's Aeneid M.2006.99 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-camillia-at-war-from-virgils-aeneid-m200699-58349809.htmlRMDAX1NN–Camillia at War from Virgil's Aeneid M.2006.99
Virgil's Aeneid, Scene with Cumaean Sibyl Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/virgils-aeneid-scene-with-cumaean-sibyl-image352772949.htmlRM2BDX5DW–Virgil's Aeneid, Scene with Cumaean Sibyl
Photoreproduction of a painting of Aeneas at the Battle of Latium, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photoreproduction-of-a-painting-of-aeneas-at-the-battle-of-latium-scene-from-virgils-aeneid-anonymous-after-anonymous-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-image454423092.htmlRM2HB8N84–Photoreproduction of a painting of Aeneas at the Battle of Latium, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm
Inspired by of Aeneas at the Battle of Latium, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/inspired-by-of-aeneas-at-the-battle-of-latium-scene-from-virgils-aeneid-after-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-reimagined-by-artotop-classic-art-reinvented-with-a-modern-twist-design-of-warm-cheerful-glowing-of-brightness-and-light-ray-radiance-photography-inspired-by-surrealism-and-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image459539499.htmlRF2HKHR8Y–Inspired by of Aeneas at the Battle of Latium, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
Äneis / Virgil's Aeneid translated by Aloys Blumauer. Engraving by Daniel Niklaus Chodowiecki. AB, Austrian writer: December Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-neis-virgils-aeneid-translated-by-aloys-blumauer-engraving-by-daniel-83351263.htmlRMERGYAR–Äneis / Virgil's Aeneid translated by Aloys Blumauer. Engraving by Daniel Niklaus Chodowiecki. AB, Austrian writer: December
This episode about Nisus and Euryalus is found in the funeral games for Anchises found in Book V of Virgil’s Aeneid, in which Nisus, who fell as he was about to win a foot race, tripped another contestant to ensure that his inseparable companion, Euryalus, would win instead. The caption for this illustration reads: He rose to his feet just at the moment that Salius was coming up, and contrived to stand in his way so as to overturn him. Euryalus, who had still kept the third place, now sprang forward and was easily victorious amid the applause of the crowd. Elymus came in next, and close behi Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/this-episode-about-nisus-and-euryalus-is-found-in-the-funeral-games-for-anchises-found-in-book-v-of-virgils-aeneid-in-which-nisus-who-fell-as-he-was-about-to-win-a-foot-race-tripped-another-contestant-to-ensure-that-his-inseparable-companion-euryalus-would-win-instead-the-caption-for-this-illustration-reads-he-rose-to-his-feet-just-at-the-moment-that-salius-was-coming-up-and-contrived-to-stand-in-his-way-so-as-to-overturn-him-euryalus-who-had-still-kept-the-third-place-now-sprang-forward-and-was-easily-victorious-amid-the-applause-of-the-crowd-elymus-came-in-next-and-close-behi-image367479503.htmlRF2C9T3RY–This episode about Nisus and Euryalus is found in the funeral games for Anchises found in Book V of Virgil’s Aeneid, in which Nisus, who fell as he was about to win a foot race, tripped another contestant to ensure that his inseparable companion, Euryalus, would win instead. The caption for this illustration reads: He rose to his feet just at the moment that Salius was coming up, and contrived to stand in his way so as to overturn him. Euryalus, who had still kept the third place, now sprang forward and was easily victorious amid the applause of the crowd. Elymus came in next, and close behi
Francesco Rosselli. The Cumean Sibyl. 1480–1490. Italy. Engraving on paper The Cumean Sibyl is part of a series of engravings of 36 male and female prophets. In this image, the inscription on the pages of the sibyl’s open book contains a passage from Virgil’s Fourth Eclogue, which was interpreted as an early prophecy of Christ’s birth. Because of this supposed prophecy, Virgil and the Cumean Sibyl were viewed by early Christians as ancients who would have been Christians had the religion existed in their time. The Cumean Sibyl also served as Virgil’s guide to the underworld in the Aeneid. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/francesco-rosselli-the-cumean-sibyl-14801490-italy-engraving-on-paper-the-cumean-sibyl-is-part-of-a-series-of-engravings-of-36-male-and-female-prophets-in-this-image-the-inscription-on-the-pages-of-the-sibyls-open-book-contains-a-passage-from-virgils-fourth-eclogue-which-was-interpreted-as-an-early-prophecy-of-christs-birth-because-of-this-supposed-prophecy-virgil-and-the-cumean-sibyl-were-viewed-by-early-christians-as-ancients-who-would-have-been-christians-had-the-religion-existed-in-their-time-the-cumean-sibyl-also-served-as-virgils-guide-to-the-underworld-in-the-aeneid-image337999946.htmlRM2AHW6AJ–Francesco Rosselli. The Cumean Sibyl. 1480–1490. Italy. Engraving on paper The Cumean Sibyl is part of a series of engravings of 36 male and female prophets. In this image, the inscription on the pages of the sibyl’s open book contains a passage from Virgil’s Fourth Eclogue, which was interpreted as an early prophecy of Christ’s birth. Because of this supposed prophecy, Virgil and the Cumean Sibyl were viewed by early Christians as ancients who would have been Christians had the religion existed in their time. The Cumean Sibyl also served as Virgil’s guide to the underworld in the Aeneid.
Aeneas at the Court of Latinus 1661 Ferdinand Bol 1616-1680 Dutch Netherlands ( Virgil’s Aeneid. Aeneas congratulates one of four ships’ captains who competed in a race. All four were rewarded on their return, even the captain who threw his helmsman overboard for disobeying an order. The painting was accompanied by a poem by Vondel, ) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-aeneas-at-the-court-of-latinus-1661-ferdinand-bol-1616-1680-dutch-79013916.htmlRMEGFB1G–Aeneas at the Court of Latinus 1661 Ferdinand Bol 1616-1680 Dutch Netherlands ( Virgil’s Aeneid. Aeneas congratulates one of four ships’ captains who competed in a race. All four were rewarded on their return, even the captain who threw his helmsman overboard for disobeying an order. The painting was accompanied by a poem by Vondel, )
Classical portrait of Aventinus a son of Hercules and the priestess Rhea mentioned in Virgil's Aeneid Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-classical-portrait-of-aventinus-a-son-of-hercules-and-the-priestess-37228068.htmlRMC4FTNT–Classical portrait of Aventinus a son of Hercules and the priestess Rhea mentioned in Virgil's Aeneid
Mademoiselle St Hubert as Dido in Purcell's Dido and Aeneas. Opera in a prologue and 3 acts. Text by Nahlum Tate, after Book 4 of Virgil's Aeneid. First produced either December 1689 or summer 1690 at the Josias Priest School for Young Gentlewomen. Purcell: English composer (1659-1695). Engraving. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-mademoiselle-st-hubert-as-dido-in-purcells-dido-and-aeneas-opera-in-163030919.htmlRMKD6KGR–Mademoiselle St Hubert as Dido in Purcell's Dido and Aeneas. Opera in a prologue and 3 acts. Text by Nahlum Tate, after Book 4 of Virgil's Aeneid. First produced either December 1689 or summer 1690 at the Josias Priest School for Young Gentlewomen. Purcell: English composer (1659-1695). Engraving.
Netherlands/Turkey: 'Aeneas at the Court of Latinus'. Oil on canvas painting by Ferdinand Bol (24 June 1616 - 24 August 1680), c. 1661-1663. In Greco-Roman mythology, Aeneas was a prince of Troy, the son of Anchises and the goddess Aphrodite, and the legendary founder of Rome. His voyages and heroism are recounted in Homer’s ‘The Iliad’ and Virgil's ‘Aeneid’. In the ‘Aeneid’, the Trojan prince boosts his crew’s morale on the long voyage from Troy (modern-day Turkey) to Rome. He organizes ship races. Here he rewards the winner of a race with a magnificent suit of armour. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/netherlandsturkey-aeneas-at-the-court-of-latinus-oil-on-canvas-painting-by-ferdinand-bol-24-june-1616-24-august-1680-c-1661-1663-in-greco-roman-mythology-aeneas-was-a-prince-of-troy-the-son-of-anchises-and-the-goddess-aphrodite-and-the-legendary-founder-of-rome-his-voyages-and-heroism-are-recounted-in-homers-the-iliad-and-virgils-aeneid-in-the-aeneid-the-trojan-prince-boosts-his-crews-morale-on-the-long-voyage-from-troy-modern-day-turkey-to-rome-he-organizes-ship-races-here-he-rewards-the-winner-of-a-race-with-a-magnificent-suit-of-armour-image344234420.htmlRM2B016EC–Netherlands/Turkey: 'Aeneas at the Court of Latinus'. Oil on canvas painting by Ferdinand Bol (24 June 1616 - 24 August 1680), c. 1661-1663. In Greco-Roman mythology, Aeneas was a prince of Troy, the son of Anchises and the goddess Aphrodite, and the legendary founder of Rome. His voyages and heroism are recounted in Homer’s ‘The Iliad’ and Virgil's ‘Aeneid’. In the ‘Aeneid’, the Trojan prince boosts his crew’s morale on the long voyage from Troy (modern-day Turkey) to Rome. He organizes ship races. Here he rewards the winner of a race with a magnificent suit of armour.
Aventinus, son of Roman hero Hercules and the priestess Rhea, mentioned in Virgil's Aeneid, Book vii. 656, as an ally of Mezentius and enemy of Aeneas. Wearing a lionskin like his father from a carnelian gem. Aventino figlio di Ercole. Copperplate engraving by Etienne Picart after Giovanni Angelo Canini from Iconografia, cioe disegni d'imagini de famosissimi monarchi, regi, filososi, poeti ed oratori dell' Antichita, Drawings of images of famous monarchs, kings, philosophers, poets and orators of Antiquity, Ignatio deLazari, Rome, 1699. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aventinus-son-of-roman-hero-hercules-and-the-priestess-rhea-mentioned-in-virgils-aeneid-book-vii-656-as-an-ally-of-mezentius-and-enemy-of-aeneas-wearing-a-lionskin-like-his-father-from-a-carnelian-gem-aventino-figlio-di-ercole-copperplate-engraving-by-etienne-picart-after-giovanni-angelo-canini-from-iconografia-cioe-disegni-dimagini-de-famosissimi-monarchi-regi-filososi-poeti-ed-oratori-dell-antichita-drawings-of-images-of-famous-monarchs-kings-philosophers-poets-and-orators-of-antiquity-ignatio-delazari-rome-1699-image571811347.htmlRM2T6875R–Aventinus, son of Roman hero Hercules and the priestess Rhea, mentioned in Virgil's Aeneid, Book vii. 656, as an ally of Mezentius and enemy of Aeneas. Wearing a lionskin like his father from a carnelian gem. Aventino figlio di Ercole. Copperplate engraving by Etienne Picart after Giovanni Angelo Canini from Iconografia, cioe disegni d'imagini de famosissimi monarchi, regi, filososi, poeti ed oratori dell' Antichita, Drawings of images of famous monarchs, kings, philosophers, poets and orators of Antiquity, Ignatio deLazari, Rome, 1699.
326 An essay on Virgil's Æneid Fleuron T139432-2 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/326-an-essay-on-virgils-neid-fleuron-t139432-2-image189219600.htmlRMMYRKET–326 An essay on Virgil's Æneid Fleuron T139432-2
Virgile travesti, the disguised Vergil, a parody of Virgil's Aeneid written by Paul Scarron, 17th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-virgile-travesti-the-disguised-vergil-a-parody-of-virgils-aeneid-written-114582293.htmlRMGJBJTN–Virgile travesti, the disguised Vergil, a parody of Virgil's Aeneid written by Paul Scarron, 17th century
Aventinus, son of Roman hero Hercules and the priestess Rhea, mentioned in Virgil's Aeneid, Book vii. 656, as an ally of Mezentius and enemy of Aeneas. Wearing a lionskin like his father. Aventino figlio di Ercole. Copperplate engraving by Etienne Picart after Giovanni Angelo Canini from Iconografia, cioe disegni d'imagini de famosissimi monarchi, regi, filososi, poeti ed oratori dell' Antichita, Drawings of images of famous monarchs, kings, philosophers, poets and orators of Antiquity, Ignatio de’Lazari, Rome, 1699. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aventinus-son-of-roman-hero-hercules-and-the-priestess-rhea-mentioned-in-virgils-aeneid-book-vii-656-as-an-ally-of-mezentius-and-enemy-of-aeneas-wearing-a-lionskin-like-his-father-aventino-figlio-di-ercole-copperplate-engraving-by-etienne-picart-after-giovanni-angelo-canini-from-iconografia-cioe-disegni-dimagini-de-famosissimi-monarchi-regi-filososi-poeti-ed-oratori-dell-antichita-drawings-of-images-of-famous-monarchs-kings-philosophers-poets-and-orators-of-antiquity-ignatio-delazari-rome-1699-image536782358.htmlRM2P58FAE–Aventinus, son of Roman hero Hercules and the priestess Rhea, mentioned in Virgil's Aeneid, Book vii. 656, as an ally of Mezentius and enemy of Aeneas. Wearing a lionskin like his father. Aventino figlio di Ercole. Copperplate engraving by Etienne Picart after Giovanni Angelo Canini from Iconografia, cioe disegni d'imagini de famosissimi monarchi, regi, filososi, poeti ed oratori dell' Antichita, Drawings of images of famous monarchs, kings, philosophers, poets and orators of Antiquity, Ignatio de’Lazari, Rome, 1699.
Aeneas at the Court of Latinus by Ferdinand Bol (1616-1680) oil on canvas, c 1661-1664. Bol's painting, made for the Amsterdam Admiralty, shows a scene from Virgil's Aeneid. Aeneas congratulates one of the four ships' captains who competed in a race. All four were rewarded on their return, even the captain who threw his helmsman overboard for disobeying an order. The painting was accompanied by a poem by Vondel, stressing the importance of firmness and generosity in good government. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aeneas-at-the-court-of-latinus-by-ferdinand-bol-1616-1680-oil-on-canvas-image68542886.htmlRMDYEB46–Aeneas at the Court of Latinus by Ferdinand Bol (1616-1680) oil on canvas, c 1661-1664. Bol's painting, made for the Amsterdam Admiralty, shows a scene from Virgil's Aeneid. Aeneas congratulates one of the four ships' captains who competed in a race. All four were rewarded on their return, even the captain who threw his helmsman overboard for disobeying an order. The painting was accompanied by a poem by Vondel, stressing the importance of firmness and generosity in good government.
Hawara Papyrus 1st cent AD with lines from Virgils Aeneid Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-hawara-papyrus-1st-cent-ad-with-lines-from-virgils-aeneid-17842599.htmlRMB10PBK–Hawara Papyrus 1st cent AD with lines from Virgils Aeneid
Aventinus wearing a lion-skin helmet. Son of Roman hero Hercules and the priestess Rhea mentioned in Virgil's Aeneid as an ally of Mezentius and enemy of Aeneas. Copperplate engraving by Pieter Bodart (1676-1712) from Henricus Spoor’s Deorum et Heroum, Virorum et Mulierum Illustrium Imagines Antiquae Illustatae, Gods and Heroes, Men and Women, Illustrated with Antique Images, Petrum, Amsterdam, 1715. First published as Favissæ utriusque antiquitatis tam Romanæ quam Græcæ in 1707. Henricus Spoor was a Dutch physician, classical scholar, poet and writer, fl. 1694-1716. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aventinus-wearing-a-lion-skin-helmet-son-of-roman-hero-hercules-and-the-priestess-rhea-mentioned-in-virgils-aeneid-as-an-ally-of-mezentius-and-enemy-of-aeneas-copperplate-engraving-by-pieter-bodart-1676-1712-from-henricus-spoors-deorum-et-heroum-virorum-et-mulierum-illustrium-imagines-antiquae-illustatae-gods-and-heroes-men-and-women-illustrated-with-antique-images-petrum-amsterdam-1715-first-published-as-faviss-utriusque-antiquitatis-tam-roman-quam-grc-in-1707-henricus-spoor-was-a-dutch-physician-classical-scholar-poet-and-writer-fl-1694-1716-image433381539.htmlRM2G526G3–Aventinus wearing a lion-skin helmet. Son of Roman hero Hercules and the priestess Rhea mentioned in Virgil's Aeneid as an ally of Mezentius and enemy of Aeneas. Copperplate engraving by Pieter Bodart (1676-1712) from Henricus Spoor’s Deorum et Heroum, Virorum et Mulierum Illustrium Imagines Antiquae Illustatae, Gods and Heroes, Men and Women, Illustrated with Antique Images, Petrum, Amsterdam, 1715. First published as Favissæ utriusque antiquitatis tam Romanæ quam Græcæ in 1707. Henricus Spoor was a Dutch physician, classical scholar, poet and writer, fl. 1694-1716.
Essay on Virgils AEneid-0077. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/essay-on-virgils-aeneid-0077-image328893508.htmlRM2A32B0M–Essay on Virgils AEneid-0077.
The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-aeneid-of-virgil-translated-by-rolfe-humphries-book-cover-on-light-white-background-image594493702.htmlRM2WF5ENX–The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background.
Historical etching of a scene from Virgil's Aeneid: the Cumaean Sibyl leads Aeneas through the underworld to the Golden Bough, enabling Aeneas to cross the river Styx. Virgil (70 BC - 19 BC) was an ancient Roman poet of the Augustan period. He is known for three major works of Latin literature: the Eclogues (or Bucolics), the Georgics, and the epic Aeneid. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/historical-etching-of-a-scene-from-virgils-aeneid-the-cumaean-sibyl-leads-aeneas-through-the-underworld-to-the-golden-bough-enabling-aeneas-to-cross-the-river-styx-virgil-70-bc-19-bc-was-an-ancient-roman-poet-of-the-augustan-period-he-is-known-for-three-major-works-of-latin-literature-the-eclogues-or-bucolics-the-georgics-and-the-epic-aeneid-image246624747.htmlRMT96MAK–Historical etching of a scene from Virgil's Aeneid: the Cumaean Sibyl leads Aeneas through the underworld to the Golden Bough, enabling Aeneas to cross the river Styx. Virgil (70 BC - 19 BC) was an ancient Roman poet of the Augustan period. He is known for three major works of Latin literature: the Eclogues (or Bucolics), the Georgics, and the epic Aeneid.
Photoreproduction of a painting, depicting Dido about to commit suicide, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photoreproduction-of-a-painting-depicting-dido-about-to-commit-suicide-scene-from-virgils-aeneid-anonymous-after-anonymous-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-image454423105.htmlRM2HB8N8H–Photoreproduction of a painting, depicting Dido about to commit suicide, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm
Inspired by , depicting the battle between Turnus and Aeneas, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/inspired-by-depicting-the-battle-between-turnus-and-aeneas-scene-from-virgils-aeneid-after-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-reimagined-by-artotop-classic-art-reinvented-with-a-modern-twist-design-of-warm-cheerful-glowing-of-brightness-and-light-ray-radiance-photography-inspired-by-surrealism-and-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image459539447.htmlRF2HKHR73–Inspired by , depicting the battle between Turnus and Aeneas, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
Aeneid Title Page Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-aeneid-title-page-56737153.htmlRMD88GPW–Aeneid Title Page
This episode about Nisus and Euryalus is found in the funeral games for Anchises found in Book V of Virgil’s Aeneid, in which Nisus, who fell as he was about to win a foot race, tripped another contestant to ensure that his inseparable companion, Euryalus, would win instead. The caption for this illustration reads: He rose to his feet just at the moment that Salius was coming up, and contrived to stand in his way so as to overturn him. Euryalus, who had still kept the third place, now sprang forward and was easily victorious amid the applause of the crowd. Elymus came in next, and close behi Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/this-episode-about-nisus-and-euryalus-is-found-in-the-funeral-games-for-anchises-found-in-book-v-of-virgils-aeneid-in-which-nisus-who-fell-as-he-was-about-to-win-a-foot-race-tripped-another-contestant-to-ensure-that-his-inseparable-companion-euryalus-would-win-instead-the-caption-for-this-illustration-reads-he-rose-to-his-feet-just-at-the-moment-that-salius-was-coming-up-and-contrived-to-stand-in-his-way-so-as-to-overturn-him-euryalus-who-had-still-kept-the-third-place-now-sprang-forward-and-was-easily-victorious-amid-the-applause-of-the-crowd-elymus-came-in-next-and-close-behi-image367479509.htmlRF2C9T3T5–This episode about Nisus and Euryalus is found in the funeral games for Anchises found in Book V of Virgil’s Aeneid, in which Nisus, who fell as he was about to win a foot race, tripped another contestant to ensure that his inseparable companion, Euryalus, would win instead. The caption for this illustration reads: He rose to his feet just at the moment that Salius was coming up, and contrived to stand in his way so as to overturn him. Euryalus, who had still kept the third place, now sprang forward and was easily victorious amid the applause of the crowd. Elymus came in next, and close behi
La Mort de Didon The Death of Dido. Scenes of people in classical dress illustrating a story from Virgil's Aeneid that inspired two operas in eighteenth-century France. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-mort-de-didon-the-death-of-dido-scenes-of-people-in-classical-dress-illustrating-a-story-from-virgils-aeneid-that-inspired-two-operas-in-eighteenth-century-france-image353554095.htmlRM2BF5NRY–La Mort de Didon The Death of Dido. Scenes of people in classical dress illustrating a story from Virgil's Aeneid that inspired two operas in eighteenth-century France.
Aeneas at the Court of Latinus 1661 Ferdinand Bol 1616-1680 Dutch Netherlands ( Virgil’s Aeneid. Aeneas congratulates one of four ships’ captains who competed in a race. All four were rewarded on their return, even the captain who threw his helmsman overboard for disobeying an order. The painting was accompanied by a poem by Vondel, ) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-aeneas-at-the-court-of-latinus-1661-ferdinand-bol-1616-1680-dutch-79013911.htmlRMEGFB1B–Aeneas at the Court of Latinus 1661 Ferdinand Bol 1616-1680 Dutch Netherlands ( Virgil’s Aeneid. Aeneas congratulates one of four ships’ captains who competed in a race. All four were rewarded on their return, even the captain who threw his helmsman overboard for disobeying an order. The painting was accompanied by a poem by Vondel, )
This illustration of Heinrich von Weldeke is from a 1910 book and is done in the Heidleberg (German) style of writing. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-this-illustration-of-heinrich-von-weldeke-is-from-a-1910-book-and-49391287.htmlRFCT9Y2F–This illustration of Heinrich von Weldeke is from a 1910 book and is done in the Heidleberg (German) style of writing.
The Fight between Aeneas and King Turnus, from Virgil's Aeneid M.2000.93 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-the-fight-between-aeneas-and-king-turnus-from-virgils-aeneid-m200093-58639978.htmlRMDBB7TX–The Fight between Aeneas and King Turnus, from Virgil's Aeneid M.2000.93
Lausus was the son of the Etruscan king Mezentius. He fought against Aeneas and his followers who escaped Troy after the Greeks conquered Troy and burned the city. The tale of these warriors appears in Virgil's Aeneid. After Aeneas wounds Mezentius in battle, Lausus comes to the defense of his father and Aeneas then strikes both. This illustration from around 1900 shows Lausus, being supported by his men as he dies in their arms.. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-lausus-was-the-son-of-the-etruscan-king-mezentius-he-fought-against-148693443.htmlRFJHWG03–Lausus was the son of the Etruscan king Mezentius. He fought against Aeneas and his followers who escaped Troy after the Greeks conquered Troy and burned the city. The tale of these warriors appears in Virgil's Aeneid. After Aeneas wounds Mezentius in battle, Lausus comes to the defense of his father and Aeneas then strikes both. This illustration from around 1900 shows Lausus, being supported by his men as he dies in their arms..
Aventinus wearing a lion-skin helmet. Son of Roman hero Hercules and the priestess Rhea mentioned in Virgil's Aeneid as an ally of Mezentius and enemy of Aeneas. Copperplate engraving by Pieter Bodart (1676-1712) from Henricus Spoors Deorum et Heroum, Virorum et Mulierum Illustrium Imagines Antiquae Illustatae, Gods and Heroes, Men and Women, Illustrated with Antique Images, Petrum, Amsterdam, 1715. First published as Favissæ utriusque antiquitatis tam Romanæ quam Græcæ in 1707. Henricus Spoor was a Dutch physician, classical scholar, poet and writer, fl. 1694-1716. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aventinus-wearing-a-lion-skin-helmet-son-of-roman-hero-hercules-and-the-priestess-rhea-mentioned-in-virgils-aeneid-as-an-ally-of-mezentius-and-enemy-of-aeneas-copperplate-engraving-by-pieter-bodart-1676-1712-from-henricus-spoors-deorum-et-heroum-virorum-et-mulierum-illustrium-imagines-antiquae-illustatae-gods-and-heroes-men-and-women-illustrated-with-antique-images-petrum-amsterdam-1715-first-published-as-faviss-utriusque-antiquitatis-tam-roman-quam-grc-in-1707-henricus-spoor-was-a-dutch-physician-classical-scholar-poet-and-writer-fl-1694-1716-image571823146.htmlRM2T68P76–Aventinus wearing a lion-skin helmet. Son of Roman hero Hercules and the priestess Rhea mentioned in Virgil's Aeneid as an ally of Mezentius and enemy of Aeneas. Copperplate engraving by Pieter Bodart (1676-1712) from Henricus Spoors Deorum et Heroum, Virorum et Mulierum Illustrium Imagines Antiquae Illustatae, Gods and Heroes, Men and Women, Illustrated with Antique Images, Petrum, Amsterdam, 1715. First published as Favissæ utriusque antiquitatis tam Romanæ quam Græcæ in 1707. Henricus Spoor was a Dutch physician, classical scholar, poet and writer, fl. 1694-1716.
326 An essay on Virgil's Æneid Fleuron T139432-7 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/326-an-essay-on-virgils-neid-fleuron-t139432-7-image189219604.htmlRMMYRKF0–326 An essay on Virgil's Æneid Fleuron T139432-7
Fama, Sebastian Brant's Virgil Aeneid, printed by Hans Grüninger, Strasbourg, 1502, facsimile 19th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/fama-sebastian-brants-virgil-aeneid-printed-by-hans-grninger-strasbourg-1502-facsimile-19th-century-image382952483.htmlRM2D70YPB–Fama, Sebastian Brant's Virgil Aeneid, printed by Hans Grüninger, Strasbourg, 1502, facsimile 19th century
AENEID An 18th century illustration of the episode in Book VI of Virgil's epic poem with the Cumaean Sibyl priestess in front of the entrance to the Underworld Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aeneid-an-18th-century-illustration-of-the-episode-in-book-vi-of-virgils-epic-poem-with-the-cumaean-sibyl-priestess-in-front-of-the-entrance-to-the-underworld-image460405073.htmlRM2HN17A9–AENEID An 18th century illustration of the episode in Book VI of Virgil's epic poem with the Cumaean Sibyl priestess in front of the entrance to the Underworld
Italy, Veneto, Vicenza, Villa Valmarana Ai Nani, room of Virgil's Aeneid Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/italy-veneto-vicenza-villa-valmarana-ai-nani-room-of-virgils-aeneid-image346209027.htmlRM2B37543–Italy, Veneto, Vicenza, Villa Valmarana Ai Nani, room of Virgil's Aeneid
The Death of Silvia's Stag c. 1638 Peter Paul Rubens (Flemish (active Italy, Antwerp, and England), 1577–1640) The theme of this sketch (taken from Virgil's Aeneid Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-death-of-silvias-stag-c-1638-peter-paul-rubens-flemish-active-italy-antwerp-and-england-15771640-the-theme-of-this-sketch-taken-from-virgils-aeneid-image628763277.htmlRM2YEXHY9–The Death of Silvia's Stag c. 1638 Peter Paul Rubens (Flemish (active Italy, Antwerp, and England), 1577–1640) The theme of this sketch (taken from Virgil's Aeneid
Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bartolomeo-pinelli-ausfhrende-r-knstler-in-virgils-aeneid-etching-1811-1811-image573029807.htmlRM2T87NA7–Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811
Essay on Virgils AEneid-0066. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/essay-on-virgils-aeneid-0066-image328893529.htmlRM2A32B1D–Essay on Virgils AEneid-0066.
The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-aeneid-of-virgil-translated-by-rolfe-humphries-book-cover-on-light-white-background-image594493714.htmlRM2WF5EPA–The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background.
The Fight between Aeneas and King Turnus, from Virgil’s Aeneid - 1700c. - oil on canvas 78,7 x 94 cm - Del Po Giacomo Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-fight-between-aeneas-and-king-turnus-from-virgils-aeneid-1700c-oil-on-canvas-787-x-94-cm-del-po-giacomo-image457744374.htmlRF2HGM1HA–The Fight between Aeneas and King Turnus, from Virgil’s Aeneid - 1700c. - oil on canvas 78,7 x 94 cm - Del Po Giacomo
Photoreproduction of a painting, depicting the battle between Turnus and Aeneas, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photoreproduction-of-a-painting-depicting-the-battle-between-turnus-and-aeneas-scene-from-virgils-aeneid-anonymous-after-anonymous-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-image454423071.htmlRM2HB8N7B–Photoreproduction of a painting, depicting the battle between Turnus and Aeneas, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm
Inspired by , depicting a gathering of the Greek gods, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/inspired-by-depicting-a-gathering-of-the-greek-gods-scene-from-virgils-aeneid-after-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-reimagined-by-artotop-classic-art-reinvented-with-a-modern-twist-design-of-warm-cheerful-glowing-of-brightness-and-light-ray-radiance-photography-inspired-by-surrealism-and-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image459539446.htmlRF2HKHR72–Inspired by , depicting a gathering of the Greek gods, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
![Venus arms Aeneas in the foreground, and on the right, Aeneas meets Evander, at the beginning of book VII of Virgil's Aeneid, and decorated initial 'U'(t). The manuscript was probably produced for Ludovico Agnelli, Bishop of Cosenza. Aeneid. Italy [Rome?]; 1497-1499. Source: Kings 24, f.164. Language: Latin. Stock Photo](https://c8.alamy.com/comp/R5054M/venus-arms-aeneas-in-the-foreground-and-on-the-right-aeneas-meets-evander-at-the-beginning-of-book-vii-of-virgils-aeneid-and-decorated-initial-ut-the-manuscript-was-probably-produced-for-ludovico-agnelli-bishop-of-cosenza-aeneid-italy-rome-1497-1499-source-kings-24-f164-language-latin-R5054M.jpg "Venus arms Aeneas in the foreground, and on the right, Aeneas meets Evander, at the beginning of book VII of Virgil's Aeneid, and decorated initial 'U'(t). The manuscript was probably produced for Ludovico Agnelli, Bishop of Cosenza. Aeneid. Italy [Rome?]; 1497-1499. Source: Kings 24, f.164. Language: Latin. Stock Photo")
Venus arms Aeneas in the foreground, and on the right, Aeneas meets Evander, at the beginning of book VII of Virgil's Aeneid, and decorated initial 'U'(t). The manuscript was probably produced for Ludovico Agnelli, Bishop of Cosenza. Aeneid. Italy [Rome?]; 1497-1499. Source: Kings 24, f.164. Language: Latin. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/venus-arms-aeneas-in-the-foreground-and-on-the-right-aeneas-meets-evander-at-the-beginning-of-book-vii-of-virgils-aeneid-and-decorated-initial-ut-the-manuscript-was-probably-produced-for-ludovico-agnelli-bishop-of-cosenza-aeneid-italy-rome-1497-1499-source-kings-24-f164-language-latin-image226812116.htmlRMR5054M–Venus arms Aeneas in the foreground, and on the right, Aeneas meets Evander, at the beginning of book VII of Virgil's Aeneid, and decorated initial 'U'(t). The manuscript was probably produced for Ludovico Agnelli, Bishop of Cosenza. Aeneid. Italy [Rome?]; 1497-1499. Source: Kings 24, f.164. Language: Latin.
Camilla at War from Virgil's Aeneid, between 1708 and 1710. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/camilla-at-war-from-virgils-aeneid-between-1708-and-1710-image568874732.htmlRM2T1EDEM–Camilla at War from Virgil's Aeneid, between 1708 and 1710.
Domenico Gargiuli (Micco Spadaro). Harpies Attacking Aeneas and His Companions. 1629–1699. Italy. Pen and iron gall ink on cream laid paper Sometimes called Micco Spadaro because his father was a sword smith, Domenico Gargiulo had a gestural style of drawing figures and excelled in historical subjects such as this scene from Virgil’s Aeneid. The epic poem about the founding of Rome follows the wanderings of Aeneas, an Odysseus-like character who escaped the destruction of Troy by the Greek army. Here altars of stolen sacrifices attract the attention of a swarm of fearsome harpies—half bird, ha Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/domenico-gargiuli-micco-spadaro-harpies-attacking-aeneas-and-his-companions-16291699-italy-pen-and-iron-gall-ink-on-cream-laid-paper-sometimes-called-micco-spadaro-because-his-father-was-a-sword-smith-domenico-gargiulo-had-a-gestural-style-of-drawing-figures-and-excelled-in-historical-subjects-such-as-this-scene-from-virgils-aeneid-the-epic-poem-about-the-founding-of-rome-follows-the-wanderings-of-aeneas-an-odysseus-like-character-who-escaped-the-destruction-of-troy-by-the-greek-army-here-altars-of-stolen-sacrifices-attract-the-attention-of-a-swarm-of-fearsome-harpieshalf-bird-ha-image337998568.htmlRM2AHW4HC–Domenico Gargiuli (Micco Spadaro). Harpies Attacking Aeneas and His Companions. 1629–1699. Italy. Pen and iron gall ink on cream laid paper Sometimes called Micco Spadaro because his father was a sword smith, Domenico Gargiulo had a gestural style of drawing figures and excelled in historical subjects such as this scene from Virgil’s Aeneid. The epic poem about the founding of Rome follows the wanderings of Aeneas, an Odysseus-like character who escaped the destruction of Troy by the Greek army. Here altars of stolen sacrifices attract the attention of a swarm of fearsome harpies—half bird, ha
Still-life with an old Latin book of Virgil's Aeneid, candles and antique statue of Heracles. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-still-life-with-an-old-latin-book-of-virgils-aeneid-candles-and-antique-17990343.htmlRFB17ET7–Still-life with an old Latin book of Virgil's Aeneid, candles and antique statue of Heracles.
replica of the Trojan Horse as depicted in a tale from the Trojan War, as told in Virgil's Latin epic poem The Aeneid, also by Dionysius, Apollodorus and Quintus of Smyrna.. situated at the Beijing World Park Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/replica-of-the-trojan-horse-as-depicted-in-a-tale-from-the-trojan-war-as-told-in-virgils-latin-epic-poem-the-aeneid-also-by-dionysius-apollodorus-and-quintus-of-smyrna-situated-at-the-beijing-world-park-image551989016.htmlRM2R217HC–replica of the Trojan Horse as depicted in a tale from the Trojan War, as told in Virgil's Latin epic poem The Aeneid, also by Dionysius, Apollodorus and Quintus of Smyrna.. situated at the Beijing World Park
The rise of the ballad in the eighteenth century . n adds, Merry men, in the languageof those times is no more than a cheerful word for com-panions and fellow soldiers. The editor then adds a/ parj^allel passage in Virgils Aeneid, where Camilla, awoman warrior, instead of weeping over her last agonies,considers (like the hero of whom we are nov/ speaking)how the Dattle should he continued after her death. Turnus did not die in so heroic a manner;tho our poet seems to have had his eye upon Turnussspeech in the last verse, Lord Percy sees my fall.Earl Percys lamentation over his enemy is generou Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-rise-of-the-ballad-in-the-eighteenth-century-n-adds-merry-men-in-the-languageof-those-times-is-no-more-than-a-cheerful-word-for-com-panions-and-fellow-soldiers-the-editor-then-adds-a-parjallel-passage-in-virgils-aeneid-where-camilla-awoman-warrior-instead-of-weeping-over-her-last-agoniesconsiders-like-the-hero-of-whom-we-are-nov-speakinghow-the-dattle-should-he-continued-after-her-death-turnus-did-not-die-in-so-heroic-a-mannertho-our-poet-seems-to-have-had-his-eye-upon-turnussspeech-in-the-last-verse-lord-percy-sees-my-fallearl-percys-lamentation-over-his-enemy-is-generou-image339349521.htmlRM2AM2KNN–The rise of the ballad in the eighteenth century . n adds, Merry men, in the languageof those times is no more than a cheerful word for com-panions and fellow soldiers. The editor then adds a/ parj^allel passage in Virgils Aeneid, where Camilla, awoman warrior, instead of weeping over her last agonies,considers (like the hero of whom we are nov/ speaking)how the Dattle should he continued after her death. Turnus did not die in so heroic a manner;tho our poet seems to have had his eye upon Turnussspeech in the last verse, Lord Percy sees my fall.Earl Percys lamentation over his enemy is generou
Lausus was the son of the Etruscan king Mezentius. He fought against Aeneas and his followers who escaped Troy after the Greeks conquered Troy and burned the city. The tale of these warriors appears in Virgil's Aeneid. After Aeneas wounds Mezentius in battle, Lausus comes to the defense of his father and Aeneas then strikes both. This illustration from around 1900 shows Aeneas, accompanied by a fellow soldier, right before he kills Lausus. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-lausus-was-the-son-of-the-etruscan-king-mezentius-he-fought-against-148693457.htmlRFJHWG0H–Lausus was the son of the Etruscan king Mezentius. He fought against Aeneas and his followers who escaped Troy after the Greeks conquered Troy and burned the city. The tale of these warriors appears in Virgil's Aeneid. After Aeneas wounds Mezentius in battle, Lausus comes to the defense of his father and Aeneas then strikes both. This illustration from around 1900 shows Aeneas, accompanied by a fellow soldier, right before he kills Lausus.
The Fleet of Aeneas Arrives in Sight of Italy (Aeneid, Book III). Artist: Master of the Aeneid (active ca. 1530-40). Culture: French, Limoges. Dimensions: 8 3/4 x 7 3/4 in. (22.2 x 19.7 cm). Date: ca. 1530-35. European of the Renaissance period viewed ancient Rome not only as the origin of Italian civilzation but also the geographic center of a lost golden age. This plaque belongs to a series of at least eighty Limoges enamels illustrating events from Virgil's Aeneid. The Latin epic poem tells the story of the legendary hero Aeneas, who escaped the sack and burning of Troy by the Greeks and, Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-fleet-of-aeneas-arrives-in-sight-of-italy-aeneid-book-iii-artist-master-of-the-aeneid-active-ca-1530-40-culture-french-limoges-dimensions-8-34-x-7-34-in-222-x-197-cm-date-ca-1530-35-european-of-the-renaissance-period-viewed-ancient-rome-not-only-as-the-origin-of-italian-civilzation-but-also-the-geographic-center-of-a-lost-golden-age-this-plaque-belongs-to-a-series-of-at-least-eighty-limoges-enamels-illustrating-events-from-virgils-aeneid-the-latin-epic-poem-tells-the-story-of-the-legendary-hero-aeneas-who-escaped-the-sack-and-burning-of-troy-by-the-greeks-and-image213416300.htmlRMPB5XJM–The Fleet of Aeneas Arrives in Sight of Italy (Aeneid, Book III). Artist: Master of the Aeneid (active ca. 1530-40). Culture: French, Limoges. Dimensions: 8 3/4 x 7 3/4 in. (22.2 x 19.7 cm). Date: ca. 1530-35. European of the Renaissance period viewed ancient Rome not only as the origin of Italian civilzation but also the geographic center of a lost golden age. This plaque belongs to a series of at least eighty Limoges enamels illustrating events from Virgil's Aeneid. The Latin epic poem tells the story of the legendary hero Aeneas, who escaped the sack and burning of Troy by the Greeks and,
326 An essay on Virgil's Æneid Fleuron T139432-3 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/326-an-essay-on-virgils-neid-fleuron-t139432-3-image189219602.htmlRMMYRKEX–326 An essay on Virgil's Æneid Fleuron T139432-3
Fama, Sebastian Brant's Virgil Aeneid, printed by Hans Grüninger, Strasbourg, 1502, facsimile 19th century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/fama-sebastian-brants-virgil-aeneid-printed-by-hans-grninger-strasbourg-1502-facsimile-19th-century-image382952069.htmlRM2D70Y7H–Fama, Sebastian Brant's Virgil Aeneid, printed by Hans Grüninger, Strasbourg, 1502, facsimile 19th century
Illustration depicting a Roman burial vault in Naples thought to be tomb of the poet Virgil. Virgil (70 BC-19 BC) an ancient Roman poet of the Augustan period. Dated 19th Century Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-illustration-depicting-a-roman-burial-vault-in-naples-thought-to-be-162596421.htmlRMKCEWB1–Illustration depicting a Roman burial vault in Naples thought to be tomb of the poet Virgil. Virgil (70 BC-19 BC) an ancient Roman poet of the Augustan period. Dated 19th Century
Iapyx Tending to Aeneas Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-iapyx-tending-to-aeneas-135089013.htmlRMHRNRBH–Iapyx Tending to Aeneas
Camilla slaying Aunus, etching by Bohemian etcher Wenceslaus Hollar from 1653 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/camilla-slaying-aunus-etching-by-bohemian-etcher-wenceslaus-hollar-from-1653-image230530131.htmlRMRB1FEY–Camilla slaying Aunus, etching by Bohemian etcher Wenceslaus Hollar from 1653
Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bartolomeo-pinelli-ausfhrende-r-knstler-in-virgils-aeneid-etching-1811-1811-image573029854.htmlRM2T87NBX–Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811
Essay on Virgils AEneid-0069-2. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/essay-on-virgils-aeneid-0069-2-image328893519.htmlRM2A32B13–Essay on Virgils AEneid-0069-2.
The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-aeneid-of-virgil-translated-by-rolfe-humphries-book-cover-on-light-white-background-image594493723.htmlRM2WF5EPK–The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background.
John Dryden, England's first Poet Laureate in 1668 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-john-dryden-englands-first-poet-laureate-in-1668-176605201.htmlRMM791MH–John Dryden, England's first Poet Laureate in 1668
Photoreproduction of a painting, depicting a gathering of the Greek gods, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photoreproduction-of-a-painting-depicting-a-gathering-of-the-greek-gods-scene-from-virgils-aeneid-anonymous-after-anonymous-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-image454423113.htmlRM2HB8N8W–Photoreproduction of a painting, depicting a gathering of the Greek gods, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm
Inspired by , depicting Dido about to commit suicide, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/inspired-by-depicting-dido-about-to-commit-suicide-scene-from-virgils-aeneid-after-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-reimagined-by-artotop-classic-art-reinvented-with-a-modern-twist-design-of-warm-cheerful-glowing-of-brightness-and-light-ray-radiance-photography-inspired-by-surrealism-and-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image459539444.htmlRF2HKHR70–Inspired by , depicting Dido about to commit suicide, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
RAF Diary - Geoffrey Morley-Mower Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-raf-diary-geoffrey-morley-mower-106962340.htmlRMG60FFG–RAF Diary - Geoffrey Morley-Mower
Illustration from Les Eneydes de Virgille, plate 67 from Woodcuts from Books of the XVI Century, 1540, assembled into portfolio by Max Geisberg, 1937. Virgil's Aeneid in French. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/illustration-from-les-eneydes-de-virgille-plate-67-from-woodcuts-from-books-of-the-xvi-century-1540-assembled-into-portfolio-by-max-geisberg-1937-virgils-aeneid-in-french-image491534646.htmlRM2KFK9CP–Illustration from Les Eneydes de Virgille, plate 67 from Woodcuts from Books of the XVI Century, 1540, assembled into portfolio by Max Geisberg, 1937. Virgil's Aeneid in French.
Jean Michel Moreau, the Younger. Creusa Pleads with Aeneas as He Leaves for War. 1803. France. Pen and brown ink, brush and brown wash, on cream wove paper Moreau’s Creusa Pleads with Aeneas depicts the moment in the Trojan War when Aeneas must decide whether to continue to defend Troy or save his family from certain death. This was a final preparatory drawing for an engraving, which would appear in the book of a French translation of Virgil’s Aeneid published in 1804. The inscription’s Latin text is spoken by Aeneas’s wife, Creusa “If you are going out to die, take us to face it with you.” Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jean-michel-moreau-the-younger-creusa-pleads-with-aeneas-as-he-leaves-for-war-1803-france-pen-and-brown-ink-brush-and-brown-wash-on-cream-wove-paper-moreaus-creusa-pleads-with-aeneas-depicts-the-moment-in-the-trojan-war-when-aeneas-must-decide-whether-to-continue-to-defend-troy-or-save-his-family-from-certain-death-this-was-a-final-preparatory-drawing-for-an-engraving-which-would-appear-in-the-book-of-a-french-translation-of-virgils-aeneid-published-in-1804-the-inscriptions-latin-text-is-spoken-by-aeneass-wife-creusa-if-you-are-going-out-to-die-take-us-to-face-it-with-you-image337949567.htmlRM2AHPX3B–Jean Michel Moreau, the Younger. Creusa Pleads with Aeneas as He Leaves for War. 1803. France. Pen and brown ink, brush and brown wash, on cream wove paper Moreau’s Creusa Pleads with Aeneas depicts the moment in the Trojan War when Aeneas must decide whether to continue to defend Troy or save his family from certain death. This was a final preparatory drawing for an engraving, which would appear in the book of a French translation of Virgil’s Aeneid published in 1804. The inscription’s Latin text is spoken by Aeneas’s wife, Creusa “If you are going out to die, take us to face it with you.”
Pages of old book of Virgil's poem Aeneid in latin. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-pages-of-old-book-of-virgils-poem-aeneid-in-latin-17989495.htmlRFB17DNY–Pages of old book of Virgil's poem Aeneid in latin.
Sibyl of Cumae, Romeyn de Hooghe (attributed to), after Romeyn de Hooghe, 1688 Sibyl of Cumae Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sibyl-of-cumae-romeyn-de-hooghe-attributed-to-after-romeyn-de-hooghe-1688-sibyl-of-cumae-image570303101.htmlRF2T3RFBW–Sibyl of Cumae, Romeyn de Hooghe (attributed to), after Romeyn de Hooghe, 1688 Sibyl of Cumae
Technala . mjkim THE SENIOR GARDEN. LEARNING TO KNIT 71 T /-; C // N A L A III I I IIIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM^ A. G. T. I. Calendar September 13, 1916 Opening day. September 20, 1916 Interclub meeting. September 23, 1916 Welcoming reception of Y. W. C. A. October 16, 1916 James Whiteomb Riley program by English II class. October 20, 1916 Stories, told by Mr. Mangum. October 22, 1916 Illustrated lecture on Africa by Mr. Mangum. October 23, 1916 Story of Virgils Aeneid, told by Miss Poynor. October 28, 1916.. Y. W. C. A. reception. October 29, 1916 Piano recit Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/technala-mjkim-the-senior-garden-learning-to-knit-71-t-c-n-a-l-a-iii-i-i-iiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim-a-g-t-i-calendar-september-13-1916-opening-day-september-20-1916-interclub-meeting-september-23-1916-welcoming-reception-of-y-w-c-a-october-16-1916-james-whiteomb-riley-program-by-english-ii-class-october-20-1916-stories-told-by-mr-mangum-october-22-1916-illustrated-lecture-on-africa-by-mr-mangum-october-23-1916-story-of-virgils-aeneid-told-by-miss-poynor-october-28-1916-y-w-c-a-reception-october-29-1916-piano-recit-image338095820.htmlRM2AJ1GJM–Technala . mjkim THE SENIOR GARDEN. LEARNING TO KNIT 71 T /-; C // N A L A III I I IIIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM^ A. G. T. I. Calendar September 13, 1916 Opening day. September 20, 1916 Interclub meeting. September 23, 1916 Welcoming reception of Y. W. C. A. October 16, 1916 James Whiteomb Riley program by English II class. October 20, 1916 Stories, told by Mr. Mangum. October 22, 1916 Illustrated lecture on Africa by Mr. Mangum. October 23, 1916 Story of Virgils Aeneid, told by Miss Poynor. October 28, 1916.. Y. W. C. A. reception. October 29, 1916 Piano recit
Lausus was the son of the Etruscan king Mezentius. He fought against Aeneas and his followers who escaped Troy after the Greeks conquered Troy and burned the city. The tale of these warriors appears in Virgil's Aeneid. After Aeneas wounds Mezentius in battle, Lausus comes to the defense of his father and Aeneas then strikes both. This illustration from around 1900 shows Aeneas soon after killing Lausus, when he expresses regrets to Lausus' comrades for what he has just done. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-lausus-was-the-son-of-the-etruscan-king-mezentius-he-fought-against-148693417.htmlRFJHWFY5–Lausus was the son of the Etruscan king Mezentius. He fought against Aeneas and his followers who escaped Troy after the Greeks conquered Troy and burned the city. The tale of these warriors appears in Virgil's Aeneid. After Aeneas wounds Mezentius in battle, Lausus comes to the defense of his father and Aeneas then strikes both. This illustration from around 1900 shows Aeneas soon after killing Lausus, when he expresses regrets to Lausus' comrades for what he has just done.
Juno, Seated on a Golden Throne, Asks Alecto to Confuse the Trojans (Aeneid, Book VI). Artist: Master of the Aeneid (active ca. 1530-40). Culture: French, Limoges. Dimensions: 9 x 8 in. (22.9 x 20.3 cm). Date: ca. 1530-35. European of the Renaissance period viewed ancient Rome not only as the origin of Italian civilzation but also the geographic center of a lost golden age. This plaque belongs to a series of at least eighty Limoges enamels illustrating events from Virgil's Aeneid. The Latin epic poem tells the story of the legendary hero Aeneas, who escaped the sack and burning of Troy by the Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/juno-seated-on-a-golden-throne-asks-alecto-to-confuse-the-trojans-aeneid-book-vi-artist-master-of-the-aeneid-active-ca-1530-40-culture-french-limoges-dimensions-9-x-8-in-229-x-203-cm-date-ca-1530-35-european-of-the-renaissance-period-viewed-ancient-rome-not-only-as-the-origin-of-italian-civilzation-but-also-the-geographic-center-of-a-lost-golden-age-this-plaque-belongs-to-a-series-of-at-least-eighty-limoges-enamels-illustrating-events-from-virgils-aeneid-the-latin-epic-poem-tells-the-story-of-the-legendary-hero-aeneas-who-escaped-the-sack-and-burning-of-troy-by-the-image213083388.htmlRMPAJP10–Juno, Seated on a Golden Throne, Asks Alecto to Confuse the Trojans (Aeneid, Book VI). Artist: Master of the Aeneid (active ca. 1530-40). Culture: French, Limoges. Dimensions: 9 x 8 in. (22.9 x 20.3 cm). Date: ca. 1530-35. European of the Renaissance period viewed ancient Rome not only as the origin of Italian civilzation but also the geographic center of a lost golden age. This plaque belongs to a series of at least eighty Limoges enamels illustrating events from Virgil's Aeneid. The Latin epic poem tells the story of the legendary hero Aeneas, who escaped the sack and burning of Troy by the
Landscape with a shipwreck. Alternative title(s): Landscape with Scenes from Virgil's Aeneid.. 1603. Frederick van Valckenborch Landschap met de schipbreuk van Aeneas Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/landscape-with-a-shipwreck-alternative-titles-landscape-with-scenes-from-virgils-aeneid-1603-frederick-van-valckenborch-landschap-met-de-schipbreuk-van-aeneas-image184986084.htmlRMMMXRHT–Landscape with a shipwreck. Alternative title(s): Landscape with Scenes from Virgil's Aeneid.. 1603. Frederick van Valckenborch Landschap met de schipbreuk van Aeneas
Heinrich Schliemann, 1822 - 1890, a German businessman and a pioneer of field archaeology, Johann Ludwig Heinrich Julius Schliem Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-heinrich-schliemann-1822-1890-a-german-businessman-and-a-pioneer-of-75774597.htmlRMEB7R7H–Heinrich Schliemann, 1822 - 1890, a German businessman and a pioneer of field archaeology, Johann Ludwig Heinrich Julius Schliem
. Portrait of Alberto III Pio Alberto Pio, lord of Carpi in Emilia *oil on panel *58.4 x 49.5 cm *1512 *inscribed on the black tunic: albertus pius carpensis mdxii *inscribed on the book part of: Virgil's 'Aeneid (VI: 724-47) - the prophecy of the future glory of Rome. Bernardino Loschi Alberto III Pio Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-alberto-iii-pio-alberto-pio-lord-of-carpi-in-emilia-oil-on-panel-584-x-495-cm-1512-inscribed-on-the-black-tunic-albertus-pius-carpensis-mdxii-inscribed-on-the-book-part-of-virgils-aeneid-vi-724-47-the-prophecy-of-the-future-glory-of-rome-bernardino-loschi-alberto-iii-pio-image184835058.htmlRMMMKY02–. Portrait of Alberto III Pio Alberto Pio, lord of Carpi in Emilia *oil on panel *58.4 x 49.5 cm *1512 *inscribed on the black tunic: albertus pius carpensis mdxii *inscribed on the book part of: Virgil's 'Aeneid (VI: 724-47) - the prophecy of the future glory of Rome. Bernardino Loschi Alberto III Pio
Iapyx Tending to Aeneas Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-iapyx-tending-to-aeneas-135097120.htmlRMHRP5N4–Iapyx Tending to Aeneas
Bermudan plaque commemorating 350th anniversary of the wreck of the Sea Venture & founding of Bermuda Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bermudan-plaque-commemorating-350th-anniversary-of-the-wreck-of-the-sea-venture-founding-of-bermuda-image438062537.htmlRM2GCKD6H–Bermudan plaque commemorating 350th anniversary of the wreck of the Sea Venture & founding of Bermuda
Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bartolomeo-pinelli-ausfhrende-r-knstler-in-virgils-aeneid-etching-1811-1811-image573029847.htmlRM2T87NBK–Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811
Essay on Virgils AEneid-0067-1. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/essay-on-virgils-aeneid-0067-1-image328893499.htmlRM2A32B0B–Essay on Virgils AEneid-0067-1.
The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-aeneid-of-virgil-translated-by-rolfe-humphries-book-cover-on-light-white-background-image594493709.htmlRM2WF5EP5–The Aeneid of Virgil. Translated by Rolfe Humphries. Book cover on light / white background.
Trojan horse wooden horse of Troy, Troy, Turkey Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/trojan-horse-wooden-horse-of-troy-troy-turkey-image6899155.htmlRMA8DYW4–Trojan horse wooden horse of Troy, Troy, Turkey
Photoreproduction of a painting, depicting Aeneas being visited by the shadow of Anchises, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photoreproduction-of-a-painting-depicting-aeneas-being-visited-by-the-shadow-of-anchises-scene-from-virgils-aeneid-anonymous-after-anonymous-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-image454423072.htmlRM2HB8N7C–Photoreproduction of a painting, depicting Aeneas being visited by the shadow of Anchises, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm
Inspired by , depicting Aeneas being visited by the shadow of Anchises, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/inspired-by-depicting-aeneas-being-visited-by-the-shadow-of-anchises-scene-from-virgils-aeneid-after-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-reimagined-by-artotop-classic-art-reinvented-with-a-modern-twist-design-of-warm-cheerful-glowing-of-brightness-and-light-ray-radiance-photography-inspired-by-surrealism-and-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image459539462.htmlRF2HKHR7J–Inspired by , depicting Aeneas being visited by the shadow of Anchises, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
Julus hunting the stag of Tyrrheus, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/julus-hunting-the-stag-of-tyrrheus-etching-by-bohemian-etcher-wenceslaus-hollar-from-1600s-image340464812.htmlRM2ANWE9G–Julus hunting the stag of Tyrrheus, etching by Bohemian etcher Wenceslaus Hollar from 1600s
Dido placed on the pyre and mourned History of Dido, designs for illustrations for the fourth book of Virgil's Aeneid (series title) Possible draft prent. Manufacturer : artist: Anne-Louis Girodet-Trioson Dating: 1810 - 1824 Physical features: black chalk material: paper chalk Dimensions: h 228 mm × W 354 mmToelichtingSerie incomplete: 4 design drawings RPK Subject: (story of) Dido Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/dido-placed-on-the-pyre-and-mourned-history-of-dido-designs-for-illustrations-for-the-fourth-book-of-virgils-aeneid-series-title-possible-draft-prent-manufacturer-artist-anne-louis-girodet-trioson-dating-1810-1824-physical-features-black-chalk-material-paper-chalk-dimensions-h-228-mm-w-354-mmtoelichtingserie-incomplete-4-design-drawings-rpk-subject-story-of-dido-image348308505.htmlRM2B6JR1D–Dido placed on the pyre and mourned History of Dido, designs for illustrations for the fourth book of Virgil's Aeneid (series title) Possible draft prent. Manufacturer : artist: Anne-Louis Girodet-Trioson Dating: 1810 - 1824 Physical features: black chalk material: paper chalk Dimensions: h 228 mm × W 354 mmToelichtingSerie incomplete: 4 design drawings RPK Subject: (story of) Dido
![. Arsenal Cannon (June 1920) . 0. Oi-^TJ^^^mggri [jQ°Ji:iEQiI BC^iJL^jEDD ote^SS^D DEEl^zf^juSD THE ARSKXAL CANNON The class day exercises which were held May tvent^?-t^fth werenot only original but were very effectivel}^ worked out. The scenewhich was based on the sixth book of Virgils Aeneid rejjresentedthe Land of the Departed. Two s])irits who were strolling along,recognized spirits of members of the June 1920 class, and throughthe conversation which ensued the history, prophecv, will, and poemwere brought out. HISTORY OF JUNE 20 CLASS Wc, the members of the June jo class,haxing passed ou Stock Photo](https://c8.alamy.com/comp/2CE57P0/arsenal-cannon-june-1920-0-oi-tjmggri-jqjiieqii-bcijljedd-otessd-deelzfjusd-the-arskxal-cannon-the-class-day-exercises-which-were-held-may-tvent-tfth-werenot-only-original-but-were-very-effectivel-worked-out-the-scenewhich-was-based-on-the-sixth-book-of-virgils-aeneid-rejjresentedthe-land-of-the-departed-two-s-irits-who-were-strolling-alongrecognized-spirits-of-members-of-the-june-1920-class-and-throughthe-conversation-which-ensued-the-history-prophecv-will-and-poemwere-brought-out-history-of-june-20-class-wc-the-members-of-the-june-jo-classhaxing-passed-ou-2CE57P0.jpg ". Arsenal Cannon (June 1920) . 0. Oi-^TJ^^^mggri [jQ°Ji:iEQiI BC^iJL^jEDD ote^SS^D DEEl^zf^juSD THE ARSKXAL CANNON The class day exercises which were held May tvent^?-t^fth werenot only original but were very effectivel}^ worked out. The scenewhich was based on the sixth book of Virgils Aeneid rejjresentedthe Land of the Departed. Two s])irits who were strolling along,recognized spirits of members of the June 1920 class, and throughthe conversation which ensued the history, prophecv, will, and poemwere brought out. HISTORY OF JUNE 20 CLASS Wc, the members of the June jo class,haxing passed ou Stock Photo")
. Arsenal Cannon (June 1920) . 0. Oi-^TJ^^^mggri [jQ°Ji:iEQiI BC^iJL^jEDD ote^SS^D DEEl^zf^juSD THE ARSKXAL CANNON The class day exercises which were held May tvent^?-t^fth werenot only original but were very effectivel}^ worked out. The scenewhich was based on the sixth book of Virgils Aeneid rejjresentedthe Land of the Departed. Two s])irits who were strolling along,recognized spirits of members of the June 1920 class, and throughthe conversation which ensued the history, prophecv, will, and poemwere brought out. HISTORY OF JUNE 20 CLASS Wc, the members of the June jo class,haxing passed ou Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/arsenal-cannon-june-1920-0-oi-tjmggri-jqjiieqii-bcijljedd-otessd-deelzfjusd-the-arskxal-cannon-the-class-day-exercises-which-were-held-may-tvent-tfth-werenot-only-original-but-were-very-effectivel-worked-out-the-scenewhich-was-based-on-the-sixth-book-of-virgils-aeneid-rejjresentedthe-land-of-the-departed-two-s-irits-who-were-strolling-alongrecognized-spirits-of-members-of-the-june-1920-class-and-throughthe-conversation-which-ensued-the-history-prophecv-will-and-poemwere-brought-out-history-of-june-20-class-wc-the-members-of-the-june-jo-classhaxing-passed-ou-image370138776.htmlRM2CE57P0–. Arsenal Cannon (June 1920) . 0. Oi-^TJ^^^mggri [jQ°Ji:iEQiI BC^iJL^jEDD ote^SS^D DEEl^zf^juSD THE ARSKXAL CANNON The class day exercises which were held May tvent^?-t^fth werenot only original but were very effectivel}^ worked out. The scenewhich was based on the sixth book of Virgils Aeneid rejjresentedthe Land of the Departed. Two s])irits who were strolling along,recognized spirits of members of the June 1920 class, and throughthe conversation which ensued the history, prophecv, will, and poemwere brought out. HISTORY OF JUNE 20 CLASS Wc, the members of the June jo class,haxing passed ou
According to Greek mythology, Camilla was a member of the Volsci, an Italic tribe. Her parents were King Metabus and Casmilla. According to Virgil's Aeneid, Metabus was dethroned by his people and forced to flee. He grabbed his daughter and as the Volsci chase him, he fears for Camilla, attaches her to his spear and flings both across the River Amasenus and then swam across and got her. Later Camilla joins with Turnus, king of the Rutuli, and they fight against Aeneas and his followers who have fled Troy after the Trojans lose to the Greeks in the Trojan War. In this illustration that dates t Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-according-to-greek-mythology-camilla-was-a-member-of-the-volsci-an-148693496.htmlRFJHWG20–According to Greek mythology, Camilla was a member of the Volsci, an Italic tribe. Her parents were King Metabus and Casmilla. According to Virgil's Aeneid, Metabus was dethroned by his people and forced to flee. He grabbed his daughter and as the Volsci chase him, he fears for Camilla, attaches her to his spear and flings both across the River Amasenus and then swam across and got her. Later Camilla joins with Turnus, king of the Rutuli, and they fight against Aeneas and his followers who have fled Troy after the Trojans lose to the Greeks in the Trojan War. In this illustration that dates t
Aeneas Erects a Tomb to his Nurse, Caieta, and Flees the Country of Circe (Aeneid, Book VII). Artist: Master of the Aeneid (active ca. 1530-40). Culture: French, Limoges. Dimensions: 7 3/4 x 8 1/2 in. (19.7 x 21.6 cm). Date: probably ca. 1530-35. European of the Renaissance period viewed ancient Rome not only as the origin of Italian civilzation but also the geographic center of a lost golden age. This plaque belongs to a series of at least eighty Limoges enamels illustrating events from Virgil's Aeneid. The Latin epic poem tells the story of the legendary hero Aeneas, who escaped the sack a Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/aeneas-erects-a-tomb-to-his-nurse-caieta-and-flees-the-country-of-circe-aeneid-book-vii-artist-master-of-the-aeneid-active-ca-1530-40-culture-french-limoges-dimensions-7-34-x-8-12-in-197-x-216-cm-date-probably-ca-1530-35-european-of-the-renaissance-period-viewed-ancient-rome-not-only-as-the-origin-of-italian-civilzation-but-also-the-geographic-center-of-a-lost-golden-age-this-plaque-belongs-to-a-series-of-at-least-eighty-limoges-enamels-illustrating-events-from-virgils-aeneid-the-latin-epic-poem-tells-the-story-of-the-legendary-hero-aeneas-who-escaped-the-sack-a-image213208530.htmlRMPATDJA–Aeneas Erects a Tomb to his Nurse, Caieta, and Flees the Country of Circe (Aeneid, Book VII). Artist: Master of the Aeneid (active ca. 1530-40). Culture: French, Limoges. Dimensions: 7 3/4 x 8 1/2 in. (19.7 x 21.6 cm). Date: probably ca. 1530-35. European of the Renaissance period viewed ancient Rome not only as the origin of Italian civilzation but also the geographic center of a lost golden age. This plaque belongs to a series of at least eighty Limoges enamels illustrating events from Virgil's Aeneid. The Latin epic poem tells the story of the legendary hero Aeneas, who escaped the sack a
Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bartolomeo-pinelli-ausfhrende-r-knstler-in-virgils-aeneid-etching-1811-1811-image573029857.htmlRM2T87NC1–Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811
Essay on Virgils AEneid-0007-2. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/essay-on-virgils-aeneid-0007-2-image328893520.htmlRM2A32B14–Essay on Virgils AEneid-0007-2.
Photoreproduction of a painting, depicting King Latinus visiting the oracle of Faunus, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photoreproduction-of-a-painting-depicting-king-latinus-visiting-the-oracle-of-faunus-scene-from-virgils-aeneid-anonymous-after-anonymous-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-image454423070.htmlRM2HB8N7A–Photoreproduction of a painting, depicting King Latinus visiting the oracle of Faunus, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm
Inspired by depicting Juno and a peacock flying above ships, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/inspired-by-depicting-juno-and-a-peacock-flying-above-ships-scene-from-virgils-aeneid-after-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-reimagined-by-artotop-classic-art-reinvented-with-a-modern-twist-design-of-warm-cheerful-glowing-of-brightness-and-light-ray-radiance-photography-inspired-by-surrealism-and-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image459539445.htmlRF2HKHR71–Inspired by depicting Juno and a peacock flying above ships, scene from Virgil's Aeneid, after:, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm, Reimagined by Artotop. Classic art reinvented with a modern twist. Design of warm cheerful glowing of brightness and light ray radiance. Photography inspired by surrealism and futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture
Iris and Turnus, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/iris-and-turnus-etching-by-bohemian-etcher-wenceslaus-hollar-from-1600s-image340464718.htmlRM2ANWE66–Iris and Turnus, etching by Bohemian etcher Wenceslaus Hollar from 1600s
Daniel van den Dyck. The Deification of Aeneas by Nymphs and Cupids. 1640–1657. Flanders. Etching in black on ivory laid paper The hero of Virgil’s epic the Aeneid, Aeneas is associated with the foundation of Roman culture following the fall of Troy and an arduous journey to his destined homeland in Italy. In this print, Aeneas is prepared for deification; his armor has been removed, and nymphs and cupids perform a ritual cleansing of his body. Van den Dyck, an artist who emerged from the orbit of Peter Paul Rubens, realized this print during one of his many years in Italy. After settling firs Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/daniel-van-den-dyck-the-deification-of-aeneas-by-nymphs-and-cupids-16401657-flanders-etching-in-black-on-ivory-laid-paper-the-hero-of-virgils-epic-the-aeneid-aeneas-is-associated-with-the-foundation-of-roman-culture-following-the-fall-of-troy-and-an-arduous-journey-to-his-destined-homeland-in-italy-in-this-print-aeneas-is-prepared-for-deification-his-armor-has-been-removed-and-nymphs-and-cupids-perform-a-ritual-cleansing-of-his-body-van-den-dyck-an-artist-who-emerged-from-the-orbit-of-peter-paul-rubens-realized-this-print-during-one-of-his-many-years-in-italy-after-settling-firs-image337956955.htmlRM2AHR7F7–Daniel van den Dyck. The Deification of Aeneas by Nymphs and Cupids. 1640–1657. Flanders. Etching in black on ivory laid paper The hero of Virgil’s epic the Aeneid, Aeneas is associated with the foundation of Roman culture following the fall of Troy and an arduous journey to his destined homeland in Italy. In this print, Aeneas is prepared for deification; his armor has been removed, and nymphs and cupids perform a ritual cleansing of his body. Van den Dyck, an artist who emerged from the orbit of Peter Paul Rubens, realized this print during one of his many years in Italy. After settling firs
According to Greek mythology, Camilla was a member of the Volsci, an Italic tribe. Her parents were King Metabus and Casmilla. According to Virgil's Aeneid, Metabus was dethroned by his people and forced to flee. He grabbed his daughter and as the Volsci chase him, he fears for Camilla, attaches her to his spear and flings both across the River Amasenus and then he swims across and got her. Later Camilla joins with Turnus, king of the Rutuli, and they fight against Aeneas and his followers who have fled Troy after the Trojans lose to the Greeks in the Trojan War. She is killed by the Trojan A Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-according-to-greek-mythology-camilla-was-a-member-of-the-volsci-an-148693501.htmlRFJHWG25–According to Greek mythology, Camilla was a member of the Volsci, an Italic tribe. Her parents were King Metabus and Casmilla. According to Virgil's Aeneid, Metabus was dethroned by his people and forced to flee. He grabbed his daughter and as the Volsci chase him, he fears for Camilla, attaches her to his spear and flings both across the River Amasenus and then he swims across and got her. Later Camilla joins with Turnus, king of the Rutuli, and they fight against Aeneas and his followers who have fled Troy after the Trojans lose to the Greeks in the Trojan War. She is killed by the Trojan A
Hercules and Cacus. Culture: Central Italian. Dimensions: Overall (confirmed): 14 1/8 × 10 × 8 in. (35.9 × 25.4 × 20.3 cm). Date: early 17th century. The group illustrates a passage of Greek mythology narrated in Book VIII of Virgil's Aeneid: Hercules, after having killed Giryon, takes the latter's oxen to the Tiber. Cacus then attempts to steal the oxen, but is slain by Hercules' club. Museum: Metropolitan Museum of Art, New York, USA. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/hercules-and-cacus-culture-central-italian-dimensions-overall-confirmed-14-18-10-8-in-359-254-203-cm-date-early-17th-century-the-group-illustrates-a-passage-of-greek-mythology-narrated-in-book-viii-of-virgils-aeneid-hercules-after-having-killed-giryon-takes-the-latters-oxen-to-the-tiber-cacus-then-attempts-to-steal-the-oxen-but-is-slain-by-hercules-club-museum-metropolitan-museum-of-art-new-york-usa-image213370596.htmlRMPB3TAC–Hercules and Cacus. Culture: Central Italian. Dimensions: Overall (confirmed): 14 1/8 × 10 × 8 in. (35.9 × 25.4 × 20.3 cm). Date: early 17th century. The group illustrates a passage of Greek mythology narrated in Book VIII of Virgil's Aeneid: Hercules, after having killed Giryon, takes the latter's oxen to the Tiber. Cacus then attempts to steal the oxen, but is slain by Hercules' club. Museum: Metropolitan Museum of Art, New York, USA.
Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bartolomeo-pinelli-ausfhrende-r-knstler-in-virgils-aeneid-etching-1811-1811-image573029865.htmlRM2T87NC9–Bartolomeo Pinelli (Ausführende r Künstler in) Virgils Aeneid. etching 1811 , 1811
Essay on Virgils AEneid-0069-1. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/essay-on-virgils-aeneid-0069-1-image328893487.htmlRM2A32AYY–Essay on Virgils AEneid-0069-1.
Photoreproduction of a painting, depicting King Evander mourning the corpse of Pallas, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photoreproduction-of-a-painting-depicting-king-evander-mourning-the-corpse-of-pallas-scene-from-virgils-aeneid-anonymous-after-anonymous-c-1853-in-or-before-1858-paper-albumen-print-height-31-mm-width-60-mm-image454423106.htmlRM2HB8N8J–Photoreproduction of a painting, depicting King Evander mourning the corpse of Pallas, scene from Virgil's Aeneid, anonymous, after: anonymous, c. 1853 - in or before 1858, paper, albumen print, height 31 mm × width 60 mm
