This superb example of Mola's draughtsmanship cannot be related to any known painting. The vigorous, rapid chalk drawing overlaid with equally energetic penwork and finished by loosely applied wash of Iris appearing to Turnus at Chatsworth recalls the present study, N. Turner, in Pier Francesco Mola 1612-1666, Milan, 1989, no. III. 35, illustrated. The Chatsworth drawing is a study for the ceiling of the Stanza dell'Aria in the Palazzo Pamphilii, Valmontone begun in 1658. The present study probably dates from around the same period, and may have developed out of the Pamphilii commission, whose subjects were also taken from the Aeneid. Although it is tempting to suggest that this drawing is a discarded idea for the same project, it seems unlikely as the shape of the ceiling compartment is clearly indicated in the Chatsworth study and not in the present sheet. The dating of this drawing to the 1650s is further strengthened by the similarity of pose of Venus to that of Bacchus in the fresco of Bacchus and Adriadne of about 1650 in the Palazzo Costagutii, Rome. The drawing represents Aeneas the morning after a terrible storm had driven his fleet onto the Libyan coast. The drawing shows the 'smooth strand' with woods above, as described by Virgil, with one of the boats moored offshore. Venus, disguised in sylvan garb, appears to encourage the downcast Aeneas and to assure him that his journey will end safely. Mola follows Virgil's description of the goddess: 'her silken hair waves lightly in the breeze, no courtly robe impedes her native ease, each limb unfetter'd glides with grace along'