Enea Collection

St George Killing the Dragon, 1542. Creator: Enea Vico
St George Killing the Dragon, 1542

Venus and Mars Embracing as Vulcan Works at His Forge, 1543. Creator: Enea Vico
Venus and Mars Embracing as Vulcan Works at His Forge, 1543

Palazzina (Small Building), the third room or room of the Aeneid: "Venus, as a huntress
5962691 Palazzina (Small Building), the third room or room of the Aeneid: "Venus, as a huntress, appears to her son Aeneas and his companion Achates on the beach of Libya

Venus prays Neptune to protect Aeneas ships, from Aeneid Canto V, detail of 2384655 (fresco)
2384659 Venus prays Neptune to protect Aeneas ships, from Aeneid Canto V, detail of 2384655 (fresco) by Abate, Nicolo dell (c.1509-71); Galleria e Museo Estense, Modena, Italy; (add.info.: Modena)

The Lake of Avernus, Aeneas, the Cumaean Sybil, detail, 1814-15 (oil on canvas)
6200564 The Lake of Avernus, Aeneas, the Cumaean Sybil, detail, 1814-15 (oil on canvas) by Turner, Joseph Mallord William (1775-1851); Yale Center for British Art, Paul Mellon Collection

Turnus soldiers attack the Trojan field, from Aeneid, Canto VII (fresco)
2384672 Turnus soldiers attack the Trojan field, from Aeneid, Canto VII (fresco) by Abate, Nicolo dell (c.1509-71); Galleria e Museo Estense, Modena, Italy; (add.info.: Modena)

Duck hunting scene and Turnus and his allies from Aeneid, Canto VII (fresco)
2384664 Duck hunting scene and Turnus and his allies from Aeneid, Canto VII (fresco) by Abate, Nicolo dell (c.1509-71); Galleria e Museo Estense, Modena, Italy; (add.info.: Modena)

Palazzina (Small Building), the third room or room of the Aeneid: "Venus, as a huntress
5962690 Palazzina (Small Building), the third room or room of the Aeneid: "Venus, as a huntress, appears to her son Aeneas and his companion Achates on the beach of Libya

The Lake of Avernus, Aeneas, the Cumaean Sybil, detail, 1814-15 (oil on canvas)
6200565 The Lake of Avernus, Aeneas, the Cumaean Sybil, detail, 1814-15 (oil on canvas) by Turner, Joseph Mallord William (1775-1851); Yale Center for British Art, Paul Mellon Collection

Naval Combat and Turnus soldiers attack the Trojan field, from Aeneid, Canto VII (fresco)
2384671 Naval Combat and Turnus soldiers attack the Trojan field, from Aeneid, Canto VII (fresco) by Abate, Nicolo dell (c.1509-71); Galleria e Museo Estense, Modena, Italy; (add.info.: Modena)

The Lake of Avernus, Aeneas, the Cumaean Sybil, 1814-15 (oil on canvas)
6200563 The Lake of Avernus, Aeneas, the Cumaean Sybil, 1814-15 (oil on canvas) by Turner, Joseph Mallord William (1775-1851); Yale Center for British Art, Paul Mellon Collection

Palazzina (Small Building), the third room or room of the Aeneid: "Aeneas dreams of Mercury who orders him to
5962688 Palazzina (Small Building), the third room or room of the Aeneid: "Aeneas dreams of Mercury who orders him to leave", 1756-57 (fresco) by Tiepolo

Princely cortege with a landscape in the background and Turnus death, from Aeneid, Canto XII (fresco)
2384677 Princely cortege with a landscape in the background and Turnus death, from Aeneid, Canto XII (fresco) by Abate, Nicolo dell (c.1509-71); Galleria e Museo Estense, Modena

Entombment of Christ, whose chest is grasped by Joseph of Arimathea, with two kneeling and two standing female mourners at left and crown of thorns at bottom right, 1543. After Raphael

Antique Lidded Vase with Two Handles emerging from the Heads of Hybrid Female Sphinxes, from Vases after the Antique, 1543 or after

Combat between Amazons and men in front of architectural arcades, an oval composition with weapons, headgear, and bodies strewn along the bottom margin, 1543. Possibly after Perino del Vaga

Antique Lidded Urn Decorated with a Motif of Diamond Rings and Lions, from Vases aftetr the Antique, 1543 or after

Lancet-shaped panel of grotesque decoration, 1541. Creator: Enea Vico
Lancet-shaped panel of grotesque decoration, 1541

Portrait of Michelangelo in profile facing right set within a recess, 1545

The Battle of Mühlberg with the army of Charles V crossing the Elbe River, 1551
The Battle of Muhlberg with the army of Charles V crossing the Elbe River, 1551

Flora, ca. 1560-70. Creator: Unknown
Flora, ca. 1560-70. Formerly attributed to Enea Vico

Speculum Romanae Magnificentiae: Venus and Eros, 1561. Creator: Unknown
Speculum Romanae Magnificentiae: Venus and Eros, 1561

Speculum Romanae Magnificentiae: Flora, mid-16th century. Creator: Unknown
Speculum Romanae Magnificentiae: Flora, mid-16th century. Formerly attributed to Enea Vico. Designed by Battista Franco

Two Figures, a Faun, and a Satyr approach a Recliniing Woman, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man Playing Two Flutes and Woman on Lionskin, published ca. 1599-1622. Creator: Unknown
Man Playing Two Flutes and Woman on Lionskin, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Warrior Pulling a Rider from His Horse, from "Ex Antiquis Camorum et Ge
Warrior Pulling a Rider from His Horse, from " Ex Antiquis Camorum et Gemmae Delineata", published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Woman with Shield Seated on Seamonster, published ca. 1599-1622. Creator: Unknown
Woman with Shield Seated on Seamonster, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Three Cupids and Two Dolphins, published ca. 1599-1622. Creator: Unknown
Three Cupids and Two Dolphins, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man with Wing; Man with Vase and Dog, published ca. 1599-1622. Creator: Unknown
Man with Wing; Man with Vase and Dog, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Woman and Man Seated on Lionskin, Man Pouring Wine, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

A Belted Pig and Two Cupids (or Geniuses) with a Butterfly (or Moth), published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

A Faun or Satyr Preparing a Pig for Sacrifice, published ca. 1599-1622. Creator: Unknown
A Faun or Satyr Preparing a Pig for Sacrifice, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Two Women and Two Cupids, published ca. 1599-1622. Creator: Unknown
Two Women and Two Cupids, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Hercules playing a lyre, a lionskin draped over his shoulder, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

A Woman Collecting Blood from a Sheep, published ca. 1599-1622. Creator: Unknown
A Woman Collecting Blood from a Sheep, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Female Nude with Two Seahorses, published ca. 1599-1622. Creator: Unknown
Female Nude with Two Seahorses, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man with Torch at Temple Door, published ca. 1599-1622. Creator: Unknown
Man with Torch at Temple Door, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Sacrifice of a Swan, published ca. 1599-1622. Creator: Unknown
Sacrifice of a Swan, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man with Torch between Flaming Altar and Statuette, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Two Lovers with Pan, published ca. 1599-1622. Creator: Unknown
Two Lovers with Pan, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man and Woman Sacrificing a Goat, published ca. 1599-1622. Creator: Unknown
Man and Woman Sacrificing a Goat, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Scene of Sacrifice with Warrior Killing Ram and Four Other Figures, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Reclining Female Figure on a Chariot drawn by Two Centaurs, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Figure with Pig and Serpent, published ca. 1599-1622. Creator: Unknown
Figure with Pig and Serpent, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Man Attended by Three Women, published ca. 1599-1622. Creator: Unknown
Man Attended by Three Women, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Woman on Rearing Horse, published ca. 1599-1622. Creator: Unknown
Woman on Rearing Horse, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Ram, published ca. 1599-1622. Creator: Unknown
Ram, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

Figure on Seagoat; Man Carving Wing, published ca. 1599-1622. Creator: Unknown
Figure on Seagoat; Man Carving Wing, published ca. 1599-1622. After Battista Franco. Formerly attributed to Enea Vico

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"Enea: A Journey through Myth and Art" Step into the captivating world of Enea, where ancient tales come to life through the masterpieces Vico. In his renowned artwork, St George Killing the Dragon and Venus and Mars Embracing as Vulcan Works at His Forge, Vico skillfully captures the essence of these mythical stories. As we explore further, we encounter Palazzina's third room adorned with frescoes depicting scenes from Virgil's epic poem, "The Aeneid. " Here, Venus appears as a huntress on the Libyan beach, urging her son Aeneas and his companion Achates to embark on their fateful journey to meet Dido. The vivid colors and intricate details transport us back in time. In another stunning fresco detail titled "Venus prays Neptune to protect Aeneas' ships, " we witness a heartfelt plea for divine intervention. The artist beautifully portrays this pivotal moment from Canto V of "The Aeneid, " evoking a sense of both vulnerability and determination. Moving away from frescoes onto canvas, Enea Vico presents us with an oil painting called "The Lake of Avernus. " Here, he depicts Aeneas alongside the Cumaean Sybil in a mystical landscape that exudes mystery and enchantment. This piece truly captivates our imagination. We then delve into battle scenes depicted in frescoes such as Turnus soldiers attacking the Trojan field or Duck hunting scene featuring Turnus and his allies. These dynamic portrayals showcase not only Vico's artistic prowess but also highlight key moments from Virgil's epic poem filled with conflict and heroism. Returning once again to Palazzina's third room frescoes, we witness yet another significant dream sequence—Aeneas dreaming of Mercury ordering him to leave. This powerful image symbolizes destiny calling upon our protagonist to fulfill his heroic purpose.