If the earlier date is correct Jan might have completed in Milan a work begun earlier when both he and Rottenhammer were still in Rome. Spatially the picture relates more to the works from 1598 than to the works from 1594, but 1596 is of course a plausible date.

Thomas Fusenig's argument that Juno and the major foreground groupings of damned souls (nude and not) are by Rottenhammer is convincing but surprising. The groups are not clustered or visually linked; Rottenhammer would have had to work on a plate prepared by Jan with a basic compositional sketch, as Jan would later do when working with Rubens. Rottenhammer’s figure groupings reappear in several Aeneas pictures done at around the same time that seem to be solo efforts by Jan. Perhaps he copied them after Rottenhammer’s work in the Juno. It does explain how Jan knew Tintoretto’s figures from San Rocco, having never visited Venice.