As is well known, the decoration of the camerino of Alfonso d’Este included, above the celebrated Bacchanals by Bellini and Titian, a frieze of ten scenes from Virgil’s Aeneid by the Ferrarese court painter Dosso Dossi. As recently as the Dosso exhibition of 1998–1999 only two and a half of these scenes had been rediscovered, but since then several more have re-emerged, two of them very recently, leaving only three still missing. As well as publishing the two new discoveries, the present article takes the opportunity to reassess the iconographic programme of the frieze as a whole, and to consider how they were originally arranged in the camerino.