Comparing the treatment of Camilla in the Aeneid and in the Roman d'Eneas provides an effective illustration of the French adaptor's technique and the relative significance that each author attributes to the character. In the Roman d'Eneas, the amazon Camilla, hunter and warrior, finds herself acting in a narrative universe that, compared to the source, not only develops the love episodes (between Aeneas and Dido and, above all, between Aeneas and Lavinia), but also eliminates any divine intervention. Camilla is neither protected nor avenged by Diana; Arranz does not pray Apollo before launching the fatal spear at Camilla. Her description in battle is influenced by the model of the chanson de geste. The rewriting of the Tarchon's verbal attack on Camilla, then Turnus's reaction to and lament for her dead show the limitations of the author's imagination: the French adaptor cannot write about a woman without thinking of her at some stage as a potential sexual object.