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The publication and extensive introduction of the excellent Latin Grammar of Professor Harkness has created a demand for an edition of the Aeneid, with references to the new grammar. While tere the editor has endeavored in the present edition to meet this demand by adding to the notes copious references to Harkness' Latin Grammar, he has also embraced the opportunity to subject the text as well as the notes to a careful revision. In particular he has thought it best to depart from the punctuation of Jahn's text so far as to substitute the comma for the strcnger punctuation of Jahn in separatiаg the protasis from the aprodosis. It is hoped that the second edition will thus be found worthy at least of the favor which the has been so kindly extended to the first.
UNIVERSITY OF MICHIGAN, Nay, 1864
It has been thought desirable to adopt for the present edition of the Aeneid a standard text, and to adhere to it . throughout, without any variation, even in those few passages where the editor might prefer a change of reading. Accordingly the revised text of Jahn, as one of the most faultless and reliable, and as the one at present, perhaps, most generally approved, has been carefully reprinted from the German edition, as the basis of the school commentary here offered to the American student.
The notes have been derived from most of the ablest commentators on the Aeneid, and more especially from Heyne, Wagner, Thiel, and Forbiger. The editor has also freqnently.consulted the numerous school and col lege editions, and is particularly indebted to the admirable commentaries of Theodore Ladewig and A. H. Bryco, recently published, the former in Berlin, and the latter in London and Glasgow.
To meet the wanis vf American students, very frequent references are made in the notes, especially in the tarlier part of the work, to the revised edition of Andrewe and Stoddard's Latin Grammar, and to Dr. Anthon's edi. son of Zumpt’s Latin Grammar. References are also
occasionally made to Madrig, Ramshorn, and oth grammatical works. These references to the gramnia and also those to parallel passages in Virgil, if careful need, cannot fail to promote a critical scholarship.
The illustrative cuts which accompany the notes ba Leon'taken mostly from Vollmer's Dictionary of Myth ogy, and from Hope's Costumes of the Ancients. Th have been selected for the purpose of illustrating apcie usages, arts, costumes, utensils, and implements of w and also as a means of imparting to the reader some ai quate idea of the classic gods and herves as they exis in the minds of Virgil and the poets of his day. Vir and his contemporaries, when speaking of the deities mythology, undonbtedly had in view just such forms have come down to us in the numberless statues, b reliefs, wall-paintings, vase-paintings, and intaglios, wh fill up the museums of Europe. Some of the most markable of these are represented in this work. A of the wood-cuts, followed by an alphabetical index the things illustrated, will be found below.
The editor takes this opportunity of returning sincere thanks for many valuable suggestions receit from classical teachers, and especially to Mr. O. Grant, of the Ann Arbor High School, for efficient in the revision of the proofs.
Star DMIVERSITY OF MICHIGAN, May, 1860.
LIST OF ILLUSTRATIONS.
1. Virgil-from a bust in the Capitoline Museum at Rome.
307 314 817 820 321
2. The three Fates—from Flaxman,.
331 336 340 847 360 864
BOOK II. 13. Minerva-from Hope's Costumes, 14. Diomed seizing the Palladium-from an antique gem, 15. Laocoon and his sons in the toils of the serpents—from the celebrated
statue in the Vatican, 16. Hector in battle-from an antique gem, . 17. Aeneas hastening to battle-from an ancient vase-painting, 18. An attack upon a fortified palace-from Layard's Nineveh, 19. Attack upon a citadel—from Layard's Nineveh, 20. Head of Priam-from a bas-relief in the Vatican, 21. Menelaus, on the point of taking vengeance on Helen, disarmed by her
beauty,-from a vase-painting, 99 Plain of Troy-landscape view,
878 882 385 890 391 395
BOOK III. 23. Ancient ships under sails and oars from a wall-painting in the Bour
bon Museum at Naples, 24. Barpy-from a vase-painting, 25. Scylla-from Flaxman,
406 416 425 652 556 667 567
20. Melpomene, the muse of tragedy-from a wall-painting in Hercula.
neum, 27. Cupid torturing Psyche or the soul—from an antique gem, 28. Apollo-from the celebrated statue in the Belvedere of the Vatican, 29. Jupiter Ammon-from an ancient coin, · 30. Trojan or Phrygian youth-from a vase-painting. 81. Mercury conveying a message from Olympus-from e vase-painting, 82. Dido's death—from an ancient wall-painting, 83. Site of Carthage-landscape view,
437 440 442 444 445 447 462 463
34. Helios, or Sol in his chariot, attended by Lucifer, Castor, and the per.
sonification of sea and sky—from an ancient vase-painting, 35. Melicertes, or Portunus-from a statue in the Vatican,. 36. Ganymede and the eagle--from a statue by Leochares, 37. Phrygian Amazon—from a vase-painting, 38. Jupiter Pluvius-from Vollmer, 89. Group of Nereids and Tritons—from a bas-relief on a sarcophagus, 40. The Sirens—from Flaxman,
464 474 475 482 491 496 496
4i. Cumae and its environs-landscape view,
Capitol at Rome,
500 501 516 523 524
48. Chart of the Trojan camp and its environs on the Tiber—from Wag
ner's Heyne, 49. Erato—from a Herculanean wall-painting, 50. Janus—from a Roman coin, . 51. Temple of Janus-from a coin of Nero, 52. Praeneste (Palestripa)—landscape view, 58. Soracte (S. Silvestro)-landscape view, . 54. Teanum (Teano)-landscape view,
539 540 542 647 549 549 551
BOOK VIII. 55. Saturn-from an antique gem in the Bourbon Museum, 56. Goblet, or cantharus—from the Bourbon Museum, 57. Minerva with the Aegis-from a vase-painting, . 58. Vulcan at his forge-from an antique gem,