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Lavinia
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In Roman mythology, Lavinia (/ləˈvɪniə/ lə-VIN-ee-ə; Latin: [ɫaːˈu̯iːnia]) is the daughter of Latinus and Amata, and the last wife of Aeneas.
Creation
[edit]It has been proposed that the character was in part intended to represent Servilia Isaurica, Emperor Augustus's first fiancée.[1]
Story
[edit]Lavinia, the only child of the king and "ripe for marriage", had been courted by many men who hoped to become the king of Latium.[2] Turnus, ruler of the Rutuli, was the most likely of the suitors, having the favor of Queen Amata.[3] In Virgil's account, King Latinus is warned by his father Faunus in a dream oracle that his daughter is not to marry a Latin:
"Propose no Latin alliance for your daughter
Son of mine; distrust the bridal chamber
Now prepared. Men from abroad will come
And be your sons by marriage. Blood so mingled
Lifts our name starward. Children of that stock
Will see all earth turned Latin at their feet,
Governed by them, as far as on his rounds
The Sun looks down on Ocean, East or West."[4]
Lavinia has what is perhaps her most, or only, memorable moment in Book 7 of the Aeneid, lines 94–104: during a sacrifice at the altars of the gods, Lavinia's hair catches fire, an omen promising glorious days to come for Lavinia and war for all Latins:
"While the old king lit fires at the altars
With a pure torch, the girl Lavinia with him,
It seemed her long hair caught, her head-dress caught
In crackling flame, her queenly tresses blazed,
Her jeweled crown blazed. Mantled then in smoke
And russet light, she scattered divine fire
Throughout all the house. No one could hold that sight
Anything but hair-raising, marvelous,
And it was read by seers to mean the girl
Would have renown and glorious days to come,
But that she brought a great war on her people."[5]
Not long after the dream oracle and the prophetic moment, Aeneas sends emissaries bearing several gifts for King Latinus. King Latinus recognizes Aeneas as the destined one:
"I have a daughter, whom the oracles
Of Father's shrine and warning signs from heaven
Keep me from pledging to a native here.
Sons from abroad will come, the prophets say—
For this is Latium's destiny—new blood
To immortalize our name. Your king's the man
Called for by fate, so I conclude, and so
I wish, if there is truth in what I presage."[6]
Aeneas is said to have named the ancient city of Lavinium for her.[7]
By some accounts, Aeneas and Lavinia had a son, Silvius, a legendary king of Alba Longa.[8] According to Livy, Ascanius was the son of Aeneas and Lavinia; she led the Latins as a power behind the throne since Ascanius was too young to rule.[9] In Livy's account, Silvius is the son of Ascanius.[10]
In other works
[edit]In Ursula K. Le Guin's 2008 novel Lavinia, Lavinia's character and her relationship with Aeneas is expanded, giving insight into the life of a king's daughter in ancient Italy. Le Guin employs a self-conscious narrative device in having Lavinia as the first-person narrator knowing that she would not have a life without Virgil, who, being the writer of the Aeneid several centuries after her time, is thus her creator.[11]
Lavinia also appears with her father, King Latinus, in Dante's Divine Comedy, Inferno, Canto IV, lines 125–126. She is documented in De Mulieribus Claris, a collection of biographies of historical and mythological women by the Florentine author Giovanni Boccaccio, composed in 1361–62.[12]
Notes
[edit]- ^ Proceedings of the Virgil Society. Vol. 10. Indiana University. 1970. p. 42.
{{cite book}}: CS1 maint: location missing publisher (link) - ^ Virgil, Aeneid 7.70–74, trans. Robert Fitzgerald.
- ^ Virgil, Aeneid 7.75, trans. Robert Fitzgerald.
- ^ Aeneid 7.125–132, as translated by Robert Fitzgerald.
- ^ Virgil, Aeneid 7.94–104, trans. Robert Fitzgerald.
- ^ Virgil, Aeneid 7.363–370, trans. Robert Fitzgerald.
- ^ Appian, Kings 1. Livy, Ab Urbe Condita 1.11ff, Dionysius of Halicarnassus Roman Antiquities, 1. 59.1ff
- ^ Dionysius of Halicarnassus, Roman Antiquities 1.70, Virgil, Aeneid 6.1024–1027.
- ^ Livy, Ab Urbe Condita, 1.1.11–1.3.1 ("His son Ascanius was not old enough to assume the government but his throne remained secure throughout his minority. During that interval—such was Lavinia's force of character—though a woman was regent, the Latin State, and the kingdom of his father and grandfather, were preserved unimpaired for her son." Trans. Canon Roberts).
- ^ Livy, Ab Urbe Condita 1.3.7.
- ^ Higgins, Charlotte (22 May 2009). "Review: Lavinia by Ursula Le Guin". The Guardian. Retrieved 19 August 2022.
- ^ Boccaccio, Giovanni (2003). Famous Women. I Tatti Renaissance Library. Vol. 1. Translated by Virginia Brown. Cambridge, MA: Harvard University Press. p. xi. ISBN 0-674-01130-9.
References
[edit]- Virgil. Aeneid. VII.
- Livy, Ab urbe condita Book 1.
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Lavinia
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In Roman mythology, Lavinia is the daughter of King Latinus, ruler of the Latins in ancient Latium, and his wife Amata, who becomes betrothed to the Trojan hero Aeneas as part of the divine plan for founding Rome.[1] Her marriage to Aeneas, foretold in prophecies and confirmed by omens such as flames encircling her head during a ritual, symbolizes the union of Trojan exiles and indigenous Italian peoples, leading to the birth of their son Silvius and the establishment of the Alban kings who precede Rome's founders.[1][2] The city of Lavinium, founded by Aeneas in her honor, underscores her eponymous role in the mythological origins of Roman identity.[3]
Though Lavinia appears sparingly in Virgil's Aeneid—mentioned in only about 18 of its nearly 10,000 lines—she serves as a pivotal figure whose hand in marriage ignites the central conflict of Books 7 through 12, pitting Aeneas against the Rutulian king Turnus, to whom she was previously promised.[4][5] Her character embodies the ideal of Roman womanhood: modest, dutiful, and indirectly influential through her beauty and the wars it provokes, as when her blushing cheeks at the mention of her name foreshadow the bloodshed to come.[6] Virgil portrays her not as an active agent but as a passive prize in the epic's narrative of destiny and empire-building, reflecting the patriarchal values of Augustan Rome.[6]
Beyond the Aeneid, Lavinia's legacy appears in earlier Roman traditions, such as those referenced by Cato the Elder in his Origines, where Aeneas's arrival in Italy and marriage to her integrate Trojan lore with local Latin myths.[7] Her name, of uncertain etymology but possibly Etruscan in origin, has inspired later literary reinterpretations, including Ursula K. Le Guin's 2008 novel Lavinia, which reimagines her as a narrator reclaiming her silenced voice from Virgil's text.[8]
Origins and etymology
Name and meaning
The name Lavinia, central to Roman mythological narratives as the wife of Aeneas, has an etymology that remains uncertain but is widely regarded as deriving from pre-Roman Italic traditions in the region of Latium. Scholars propose an Etruscan origin for the name, reflecting the cultural influences in central Italy prior to full Roman assimilation, though no definitive meaning has been established from surviving ancient inscriptions or texts. Some scholars suggest the name derives from the ancient city of Lavinium, founded in her honor, or as a variant of her father Latinus's name.[8][3] One prominent interpretive theory connects Lavinia to the Latin verb lavare, meaning "to wash" or "to cleanse," a folk etymology that aligns with broader themes of purification in ancient Roman and Latin religious practices.[9] In ancient sources, the name appears in classical Latin as Lāvīnia, with a pronunciation approximately [ɫaːˈu̯iːnia], emphasizing a long initial diphthong and vowel. Modern English adaptations typically render it as /ləˈvɪniə/, while historical spellings vary slightly, such as Lavinia in medieval Latin texts, preserving the root form without significant alteration. These variations underscore the name's enduring adaptation across linguistic contexts while maintaining its symbolic weight in interpretations of cleanliness and renewal.[10]Historical and literary creation
Lavinia emerges as a figure exclusively within Roman mythological tradition, with no precedent in earlier Greek sources such as Homer's Iliad, where Aeneas is depicted solely as a minor Trojan hero fighting in the Trojan War, without any allusion to his post-Trojan wanderings or Italian connections. The character's introduction marks a deliberate Roman adaptation of Trojan legend to forge a foundational narrative for Italy, transforming Aeneas from a peripheral figure in Greek epic into the progenitor of Roman lineage. This innovation underscores Virgil's role in synthesizing disparate mythic elements to serve imperial ideology.[11] Lavinia appears in earlier Roman traditions, such as Cato the Elder's Origines, and is elaborated in Virgil's Aeneid, composed between 29 and 19 BCE, as the silent daughter of King Latinus, appearing prominently in Books 7 and 12 to symbolize the union of Trojan exiles and indigenous Latins. Her betrothal and eventual marriage to Aeneas serve as the narrative pivot that bridges the Trojan and Latin bloodlines, legitimizing Rome's origins through this dynastic alliance and emphasizing themes of piety (pietas) and imperial destiny. Virgil's portrayal positions Lavinia not as an active agent but as a symbolic conduit for the fusion of Eastern and Western heritages, a device that elevates the poem's pro-Augustan propaganda.[12][13] Scholars have proposed that Lavinia's creation draws on contemporary historical figures to further political aims, particularly to bolster the Julio-Claudian dynasty under Augustus. One interpretation suggests she allegorically represents Servilia, daughter of Publius Servilius Isauricus and briefly betrothed to Octavian (the future Augustus) in 43 BCE before marrying Marcus Aemilius Lepidus Minor in 36 BCE, thereby mirroring the poem's themes of contested alliances and ultimate Roman consolidation. In this reading, Lavinia embodies the young Servilia as a pawn in power struggles akin to those between Octavian (Aeneas) and Mark Antony (Turnus), aiding Virgil's effort to retroactively validate Augustus's rule through mythic precedent.[14]Role in Roman mythology
Family background
In Roman mythology, as depicted in Virgil's Aeneid, Lavinia is the daughter of King Latinus, ruler of the Latins in Latium, and his wife Queen Amata.[1] As their only surviving child following the early death of a son, Lavinia holds the position of heir to the Latin throne, making her a pivotal figure in the royal succession.[1] Amata exhibits strong favoritism toward Turnus, the king of the neighboring Rutuli, as a prospective son-in-law for Lavinia, which introduces significant tension within the family dynamics.[1] This preference stems from Amata's desire to secure a local alliance, highlighting the queen's influential role in shaping marital prospects despite the king's ultimate authority.[3] Latinus's lineage traces back to the god Faunus, son of the nymph Marica and grandson of Saturn, underscoring the divine heritage of the Latin royal house and, by extension, Lavinia's prophesied significance.[1] This ancestry emphasizes the sacred obligations binding the family to oracular decrees regarding Lavinia's future.[3]Betrothal to Turnus and the oracle prophecy
In Virgil's Aeneid, Lavinia, the daughter of King Latinus, is initially betrothed to Turnus, the king of the Rutuli, as a strategic alliance to strengthen ties between the Latins and the Rutulians.[1] This arrangement is particularly championed by Queen Amata, Lavinia's mother and Turnus's aunt, who sees the union as a means to secure political dominance and consolidate power in Latium through familial and territorial bonds.[15] Amata's advocacy reflects the era's custom of using royal marriages to forge alliances among Italian tribes, positioning Turnus as a potential heir to the Latin throne given Lavinia's status as the sole child.[15] Faced with omens suggesting a different fate, Latinus consults the oracle of Faunus, his deified father, at the sacred grove of Albunea.[1] The prophecy explicitly prohibits betrothing Lavinia to any local Italian suitor, instead mandating a marriage to a foreign stranger whose descendants will exalt the Latin name to stellar heights and ensure enduring prosperity for the people.[1] This divine injunction, delivered in a dream-like voice amid ritual sacrifices, underscores the tension between human political ambitions and fated destiny, compelling Latinus to withhold his consent to the Turnus alliance despite familial pressures.[16] Lavinia's high status as heir to the Latin kingdom attracts numerous suitors from across Latium and the surrounding regions, intensifying rivalries and pre-war hostilities among the Italian tribes.[1] Turnus emerges as the most prominent contender, but the oracle's revelation shifts the dynamics, foreshadowing conflict as local leaders vie for influence over the throne through her hand, thereby escalating the broader tensions that precipitate the Trojan-Latin war.[16]The fire omen and marriage to Aeneas
In Virgil's Aeneid, the fire omen occurs during a sacrificial ritual conducted by King Latinus at the Laurentian altars, where the virgin Lavinia attends her father while kindling the flames with chaste torches. Suddenly, her long hair bursts into harmless flame, consuming her royal tresses and jeweled crown in crackling fire before enveloping the household in sulphurous smoke, yet causing no injury. This prodigy, detailed in Book 7, lines 71–101, is proclaimed by the seers as a portent of impending war for the Latin people while heralding Lavinia's own future renown in song and destiny.[17][4] The omen reinforces the divine mandate for Lavinia's union with a foreign groom, realized through the arrival of Aeneas and his Trojan exiles in Latium. Latinus, guided by prophetic signs including the fire, identifies Aeneas as the predestined suitor and offers his daughter's hand to forge a Latin-Trojan alliance, providing gifts of horses and pledges of shared prosperity (Aeneid 7.252–266). This pact, intended to integrate the newcomers into Latin society, directly challenges Turnus's prior claim to Lavinia and ignites the ensuing conflict.[18][19] The war sparked by this rivalry reaches its climax in Book 12, where Aeneas defeats Turnus in ritual combat, securing Lavinia as his bride and ending the hostilities. Their marriage, implied immediately following Turnus's death, resolves the narrative tension by uniting the opposing factions under a single royal line, with Lavinia's name destined to honor the new city (Aeneid 12.189–194). This union embodies the fusion of Trojan and Latin peoples, blending their bloodlines and traditions to form the ethnic and cultural bedrock of future Rome, as Virgil portrays it as a divinely ordained synthesis rather than mere conquest.[20][21]Legacy in Roman tradition
Founding of Lavinium
Following his marriage to Lavinia, daughter of the Latin king Latinus, Aeneas and his Trojan followers settled in the region of Latium and established a new city, which he named Lavinium in honor of his wife. This foundation marked the union of Trojan exiles with the local Aborigines, forming the basis of Latin identity in Roman tradition. In mythological accounts, Lavinium served as the first Latin colony, predating the subsequent foundations of Alba Longa and Rome itself, thereby positioning it as a foundational link in the chain of Roman origins. Archaeological evidence identifies the ancient site with modern Pratica di Mare, approximately 30 kilometers south of Rome, where excavations have uncovered settlements dating to the late Bronze Age and early Iron Age, aligning with the legendary timeline of Aeneas's arrival around the 12th century BCE.[22] These findings include urban structures and sanctuaries that underscore Lavinium's early role as a political and religious center in Latium.[22] Lavinium held profound mythological significance as the primary site for syncretic Trojan-Latin religious cults, where Aeneas is said to have enshrined the Penates, the Trojan household gods brought from the ruins of Troy, establishing a shared devotional tradition for the Latin peoples. Among these cults was that of Vesta, the goddess of the hearth, whose worship at Lavinium symbolized the hearth of the new Latin community and influenced later Roman practices, including the transfer of her sacred fire to Alba Longa and eventually Rome. The site's Thirteen Altars sanctuary, dedicated to the Penates and associated deities, further reinforced Lavinium's status as a pilgrimage center for Latin religious unity.[22]Descendants and dynastic role
In Roman mythology, Lavinia bore a son named Silvius to Aeneas, who succeeded his father as king of Lavinium and founded the line of Silvian kings. Virgil describes Silvius as Aeneas's posthumous child, born to Lavinia in the sylvan seclusion of Latium during Aeneas's advanced years, emphasizing his role as a bridge between Trojan and Italian heritage.[23] This portrayal positions Silvius as the progenitor of the royal dynasty that would rule Alba Longa for centuries.[23] Livy records the succession after Aeneas's death, with Lavinia serving as regent until Ascanius—Aeneas's son by his first wife Creusa—reaches maturity and assumes rule. Ascanius then founds Alba Longa, and Silvius succeeds as his son, born in a forest, initiating the Silvian line.[24] Livy notes variants regarding Ascanius's birth and parentage but follows this tradition, which harmonizes Trojan origins with local Latin kingship through Ascanius's line rather than direct descent from Lavinia.[24] The dynastic significance of Lavinia's progeny lies in their role as the mythological conduit from Trojan exile to Roman dominion, culminating in the birth of Romulus and Remus through the Silvian kings of Alba Longa. This genealogy, particularly as elaborated in Virgil's prophetic vision of future rulers, underscored the divine favor bestowed on Rome's imperial house, tracing Augustus's Julian lineage back to Aeneas and thereby affirming the emperor's Trojan ancestry as a cornerstone of political and cultural legitimacy.[23][25]Depictions in literature and art
Classical and medieval references
In ancient literature beyond Virgil's Aeneid, Lavinia appears in brief but symbolic roles that underscore her significance as a figure of dynastic union and piety. In Ovid's Metamorphoses (Book 14, lines 569–580), she is invoked as the "virgin Lavinia" (Lavinia virgo) during the narrative of the Trojan War in Italy, where the conflict is portrayed not as a quest for royal power or a father-in-law's scepter, but as a struggle to win her hand without shame, culminating in Aeneas's victory over Turnus and their marriage, which seals the alliance between Trojans and Latins.[26] This portrayal emphasizes Lavinia's passive yet pivotal role in forging unity, aligning with Ovid's broader themes of transformation and fate in Roman foundational myths. Similarly, in Livy's Ab Urbe Condita (Book 1, chapters 1–3), Lavinia is depicted as the daughter of King Latinus, initially betrothed to Turnus of the Rutulians, whose rejection sparks the war with Aeneas; after the Trojans prevail, she marries Aeneas and bears Silvius, the ancestor of Rome's kings, highlighting her "strong character" (tanta indoles in Lavinia erat) in preserving the lineage and symbolizing the fusion of Latin and Trojan peoples into a single Roman identity.[27] Medieval authors further elevated Lavinia as an exemplar of virtuous womanhood within Christian frameworks. In Dante Alighieri's Divine Comedy (Inferno, Canto IV, lines 125–126), she is placed in Limbo among the virtuous pagans, seated beside her father Latinus in the company of noble souls like Hector, Camilla, and Brutus, who lived ethically before Christianity but without baptism; this inclusion honors her as a figure of pre-Christian piety and familial devotion, mitigating the severity of her pagan status in Dante's theological vision.[28] Giovanni Boccaccio's De Mulieribus Claris (Chapter 39, composed 1361–1362) dedicates a full biography to "Lavinia, Queen of Laurentum," portraying her as a model of obedience, chastity, and regal dignity; drawing from Virgil and Livy, Boccaccio recounts her betrothal, the ensuing war, and her marriage to Aeneas, praising her restraint and loyalty as she yields to her father's oracle and divine will, ultimately becoming queen and mother to Rome's forebears, thus exemplifying ideal feminine virtues for medieval readers.Visual arts
Lavinia has been depicted in visual arts, often in scenes from the Aeneid emphasizing her role in the marriage alliance. A notable example is Giovanni Battista Tiepolo's 1753–1754 painting Latinus Offering his Daughter Lavinia to Aeneas in Matrimony, which illustrates the moment of betrothal and union between Trojans and Latins, housed in the Statens Museum for Kunst in Copenhagen.[29] Earlier Roman art, such as reliefs and mosaics, occasionally feature her in foundational myth cycles, underscoring her symbolic importance in Roman iconography.Modern literary adaptations
One of the most prominent modern literary adaptations of Lavinia's story is Ursula K. Le Guin's 2008 novel Lavinia, which reimagines the final books of Virgil's Aeneid from the perspective of the titular character, transforming her from a silent, passive figure into a first-person narrator who actively shapes her destiny.[30] In the novel, Lavinia, daughter of King Latinus, witnesses the arrival of Aeneas's Trojan fleet and navigates prophecies, wars, and her marriage to the hero, while reflecting on her limited role in the original epic and the poet Virgil's own dying visions that bring her to life.[31] Le Guin's work expands Lavinia's agency, portraying her as a thoughtful observer of violence and empire-building, and culminates in the founding of Lavinium as a symbol of continuity beyond Aeneas's death.[30] Le Guin's Lavinia exemplifies a feminist retelling by subverting the patriarchal undertones of the Aeneid, where Lavinia's silence reinforces her objectification as a prize in male conflicts; instead, the novel grants her narrative control, allowing her to critique war's costs and assert autonomy in a pre-Roman world dominated by kings and warriors.[31] This approach aligns with broader trends in 20th- and 21st-century feminist revisions of classical myths, which emphasize female perspectives and agency, as seen in parallels with works like Margaret Atwood's The Penelopiad that recover voiceless women from epic traditions.[31] Through Lavinia's voice, Le Guin highlights themes of dignity and quiet resistance, predating the surge of similar myth retellings in contemporary literature.[32] Lavinia also appears indirectly in historical fiction that ties her to Rome's foundational myths, such as Robert Graves's 1934 novel I, Claudius, where the Julio-Claudian emperors trace their lineage to Aeneas's union with Lavinia, framing her as the matriarchal link in the dynasty's legendary origins.[33] This reference underscores her enduring symbolic role in narratives exploring Roman imperial history and descent from Trojan forebears.[34]Cultural significance
In theater and visual arts
Lavinia has been represented in operatic adaptations of the Aeneid since the late 17th century, where she often embodies innocence and prophetic destiny as the bride destined for Aeneas. In Pascal Collasse's Énée et Lavinie (1690), a tragédie lyrique in five acts with libretto by Bernard le Bovier de Fontenelle, Lavinia appears as the soprano lead, the daughter of King Latinus and Queen Amata, whose contested betrothal sparks war but ultimately fulfills divine prophecy through her marriage to Aeneas.[35] The opera emphasizes her passive yet pivotal role, with arias underscoring her emotional turmoil amid the conflict between Aeneas and Turnus. A later version, Antoine Dauvergne's Énée et Lavinie (1758), similarly casts her as a central soprano figure, reinforcing themes of fate and union in the Italian landing narrative. In visual arts, Renaissance and Mannerist painters frequently illustrated the fire omen from Book 7 of the Aeneid, portraying Lavinia's hair igniting unharmed during a sacrificial rite as a celestial sign of her fated marriage to Aeneas and the divine sanction for Rome's founding. Italian artist Mirabello Cavalori's Lavinia at the Altar (1570–1572), an oil-on-canvas panel measuring 117 × 70 cm, depicts the princess standing before an altar with flames enveloping her golden tresses, her expression serene amid the miraculous event, symbolizing purity and godly approval.[36] Commissioned for the Studiolo of Francesco I de' Medici in Florence's Palazzo Vecchio, the work integrates mythological symbolism with Mannerist elegance, using dramatic lighting to highlight the supernatural fire as a harbinger of Aeneas's legacy.Influence on modern media
Lavinia's role in Virgil's Aeneid has indirectly influenced cinematic portrayals of Trojan aftermath and Roman foundational myths, though direct depictions of her character remain rare in major Hollywood productions. In the 2004 film Troy, directed by Wolfgang Petersen, a young Aeneas (played by Jonathan Slinger) is shown leading Trojan survivors from the burning city, foreshadowing his destined journey to Italy and marriage to Lavinia without explicitly naming or featuring her; this nod serves as a bridge to Aeneid lore amid an otherwise Iliad-focused narrative.[37][38] A more faithful adaptation appears in the 1971–1972 Italian television miniseries Eneide, directed by Franco Rossi, which dramatizes the full epic across seven episodes and includes Lavinia as a key figure in the Italian episodes, portrayed by actress Jagoda Ristic; her betrothal and marriage to Aeneas (Giulio Brogi) underscore the prophecy and founding of Lavinium.[39][40] In graphic novels, Lavinia features in modern retellings that visualize her symbolic importance as the embodiment of Roman origins. The 2018 The Aeneid: A Graphic Novel, adapted by Diego Agrimbau and published by Stone Arch Books, condenses the epic into illustrated panels, depicting Lavinia's silent yet pivotal presence in Books 7–12 as the prize of alliance and motherhood to the Julian line, emphasizing her role in Aeneas's destiny without expanding her dialogue.[41][42] Lavinia's legacy echoes in contemporary fantasy media through character naming and thematic nods to her as a symbol of blended heritage. In Rick Riordan's The Trials of Apollo series, particularly The Tyrant's Tomb (2018), Lavinia Asimov—a pink-haired Roman demigod daughter of Terpsichore—bears the mythological name, reflecting the Aeneid's Lavinia as a figure of Latin integration; her chaotic, resilient personality in Camp Jupiter's legion draws on broader Roman mythic tropes of foundational women.[43][44]References
- https://commons.wikimedia.org/wiki/File:Giovanni_Battista_Tiepolo_-_Latinus_Offering_his_Daughter_Lavinia_to_Aeneas_in_Matrimony_-_KMS4201_-_Statens_Museum_for_Kunst.jpg