Items

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  That bereaved and miserable man, in his room in the midnight stillness. - Page xxxii

  Here we see Swift sitting with his head down on his desk. Here Swift is mourning the loss of Stella Johnson, with her ghost behind him. This image appears as part of the biography of Jonathan Swift.
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  [Act XI]

  On the left side of this illustration, we see a male figure and a female figure off by themselves, the latter of which is wearing a robe. To the right, we see a female figure wearing a robe and a veil. She is interacting with a group of four male figures. In Act XI, there are two female characters (Celestina and Elicia) and three male characters (Calisto, Sempronio, and Pármeno). The youthful appearance of the leftmost female figure indicates that it would represent Elicia, but she does not interact with any male characters in this act. The other female figure would represent Celestina, who interacts with the three male characters involved in this act. The presence of a fourth male figure in the group, combined with Elicia’s interaction with a male figure, allows us to say that this scene is unrelated to the events of Act XI.[This illustration is identical to those found in Acts I (folio 9r), VII (folio 52v), IX (folio 67r), XII (folio 83v), XIV (folio 96v), XVI (folio 106v), and XIX (folio 115v).]
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  [Vanity Fair Chapter XXXI Inhabited Initial]

  A drummer boy glances fearfully around the battlefield as he plays a beat upon his drum. The background is of low hills covered in clouds of smoke, with the letter T from Thus in the top right corner.
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  The boasting Traveller

  Two men appear to disagree with each other, while five other men watch and listen from the sidelines. They stand in front of a door through which a building can be seen.
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  La Villa Rica Enpereal de Potocchi

  This image depicts the rich, imperial town of Potosí, which is now in modern-day Bolivia. The town is arranged in a large cluster of buildings at the bottom of the image which forms a square in the centre where people can be seen walking or riding on horseback. A mountainous landscape is depicted behind the city to highlight the importance of the silver mines. There is a long pathway leading into a hole in the mountain where it reads minas de potoci de plata [silver mines of Potosí]. The top of the image depicts the Inca ruler in the centre and four of his loyal kings surrounding him. They are holding the symbols of imperial Spain which is their coat of arms and the columns of Hercules. The author incorporated this into the image to show the support that Peru and the Inca’s gave to Spain. The large caption at the top of the image reads, Por la dicha mina es Castilla, Roma es Roma, el Papa es Papa y el rrey es monarca del mundo. Y la Santa Madre Yglecia es defendida y nuestra santa fe guardada por los quatro rreys de las yndias y por el enperador ynga. Agora lo podera el Papa de Roma y nuestro senor rrey don Phelipe el terzero [For the mine is Castile, Rome is Rome, the Pope is the Pope, and the king is the monarch of the world. And the Holy Mother Church is defended, and our holy faith guarded by the four kings of the Indians and by the Inca emperor. Agora will be the power of the Pope and Rome and our Lord King Philip the Third].
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  [Juno Sitting on a Throne Holding a Scepter and Wearing a Crown]

  This illustration depicts Juno, queen of the heavens and wife of the god Jupiter, sitting on a throne whilst holding a scepter and wearing a crown to signify her importance. She is looking to a woman on her right who is wearing blue. There are two other women on the right-hand side of the illustration. Boccaccio explains that he believed Juno was a mortal woman, which could be the reason as to why Juno looks like a mortal woman in this depiction. This scene could potentially be set in Samos, the city where Juno was sent to be brought up and raised before getting married to her brother, Jupiter.
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  [Vanity Fair Volume I. Chapter XXIX Historiated Initial, M]

  The picture shows Peggy O’Dowd in a feathered turban, holding a closed fan with both hands, with her elbows on a the edge of an opera box. In the top right of the image is the letter M from Mr.
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  The Bull and the Goat

  In a cave, a bull and a goat face each other. The goat, to the right, is attempting to butt the bull with his horns. Outside the cave, a lion prowls.
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  [A European ship sailing near the coast, with an Indigenous settlement in the distance]

  A large European ship sails near the coast of Brazil. In the distance, an Indigenous settlement can be seen amongst the hills along the coast. Two long structures are visible, and the shadow of an individual can be seen in the hills near the center (top) of the image.
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  There were many other views to be shown

  Here we see Edmund, Julia and Maria Bertram, Mr. Crawford, and Miss Crawford riding horses. Miss Crawford had never ridden before, so Edmund offered his spare horse, usually ridden by Fanny, to Miss Crawford to teach her to ride. They rode as a group, and Miss Crawford caught on quickly. Miss Crawford used Edmund's horse every day for a week, meaning that Fanny could not ride, denying Fanny her principal source of exercise. The group rode to show the Crawfords different sites in Mansfield. This scene occurs in chapter 7. The characters are shown in the traditional regency style. The women ride side-saddle, wearing regency style dresses and coats with empire waists. Edmund and Mr. Crawford wear waistcoats and tailcoats, and top hats, with breeches. The regency period dated to the early nineteenth century (1811-1820) when George, Prince of Wales, later George IV (r. 1820-1830), reigned as regent for his mentally ill father, King George III (r. 1760-1820). The regency period is associated with the rise of neoclassicism in art and fashion.
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  Segvnda Señora Capac Mallqvima

  This illustration depicts the second lady of the region Antisuyu in the Inca Empire. Her name was Capac Mallquima. The words ande suyo are written at the bottom of the image to identify Antisuyu as the region the image takes place in. The author explains that Capac Mallquima and her people wore limited clothing which is why she is depicted partially nude. There is a small child depicted in the bottom left-hand corner of the image looking up at Capac Mallquima as she hands him something. There is a large bird depicted in the bottom right-hand corner of the image.
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  De Constancia romanorum impatrice et regina Scicilie

  The left side of this engraving depicts Constance, the daughter of king William of Sicily, marrying Henry, the emperor of Rome. Constance is on the far-left with her name engraved above her head, while Henry is depicted holding her hand as the priest marries them. Henry’s name is also engraved above his head to identify him. Constance was forced to be a nun at a young age as a prophecy foretold Constance would somehow cause the destruction of Sicily. Her father, William, put her in a convent to prevent the prophecy from happening. At an older age, Constance was married to emperor Henry and bore a son at the age of 55. Constance is depicted in the centre of the engraving lying in a bed after giving birth to her son, Frederick. Frederick is depicted getting baptized in a large bowl which has his name engraved on the front. The baby grows up to be the one to fulfill the prophecy that King William was fearful of.
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  GLORVINA TRIES HER FASCINATIONS ON THE MAJOR.

  Miss Glorvina O’Dowd dances past Major William Dobbin, trying to get his attention at the King’s Regiment ball. He is leaning against the wall, holding his hat in his hand, and paying no attention. In the background are assorted other officers and their ladies. Below the illustration is printed its title and location in the story, GLORVINA TRIES HER FASCINATIONS ON THE MAJOR. (p. 212.).
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  The Young Man and the Swallow

  A man is standing outside in the cold with little clothing on.
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  Vita et Fabulae [Two men are talking to each other as the third man carries crops]

  There is an illustration at the center of the page, above and below this illustration are bodies of text. In the illustration, towards the left of the illustration a short man is carrying crops, towards the middle and right of the illustration a holy person is talking to a man.
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  [Gulliver sleeps outside covered by his coat in Blefuscu]

  In this image we see Gulliver sleeping outside the city in Blefuscu. Due to his size, there was nowhere for him to sleep in Blefuscu. Thus, Gulliver was forced to sleep outside, using his overcoat or coverlet as a blanket. In this image we see Gulliver’s size as compared to the buildings surrounding him. Gulliver leans on a large structure with his arms crossed, his head resting in his folded arms. The same image appears in the 1843 Krabbe edition.
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  Cy sensuit histoire de buse canusine feme apuliene

  This illumination depicts a woman named Busa on the right side of the image looking at the group of people in front of her. Boccaccio explains that after a city called Cannae was attacked by Hannibal the Carthaginian, the people fled to Canusium. Busa opened her home graciously to the people who fled the danger of war and provided them with hospitality, food, clothing and supplied them with arms as illustrated in the image.
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  Welcher Gestalt Petrus Gambie, ein Frantzoß, umb sein Leben kommen. XLII.

  Three men are shown in a dugout canoe. An Indigenous man in the front of the canoe uses a long pole to maneuverer the boat in the river. Another Indigenous man stands in the rear of the canoe, looming over a colonist who kneels in the center of the boat (according to the title, he is a Frenchman named Pierre Gamble). The Indigenous man holds a small axe raised over the colonist’s head. A fire burns in the center of the boat, in front of the colonist. This illustration is identical to the one found on page 133 of Frankfurt 1591, but colored.
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  San Marcos
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  Dezima Calle Qviravpi Cac Vava

  The author explains that there were ten paths for women to follow in the Inca Empire based on age division. This group is called quiraupicac uaua [baby in the cradle] and these were babies were two to five months in age. The author explains that the baby’s mother, relatives and siblings would care for the child as she grows. This image depicts a baby girl sleeping in a wicker cradle. The caption reads de edad de un mes, otro que le cirua, which translates to one month old, others serve her.
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  [Gulliver climbs over the wall of the Imperial palace in Mildendo]

  In this image we see Gulliver climbing over the walls of the Emperor’s palace, which lies in the centre of Mildendo. The walls were five feet high, so Gulliver built himself two stools out of wood to help him get over the walls – as the gates were too difficult for Gulliver to get through or over. The stools were each three feet tall, and there was one on each side of the wall. Gulliver did this because the Emperor wanted to see the Imperial Palace. The same image appears in both the 1839 and 1843 Krabbe editions.
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  New Hampshire

  SEAL OF THE STATE OF NEW HAMPSHIRE - 1776
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  Cristiano Comendero de In[di]os Deste R[ei]no

  This image is illustrated in a chapter that discusses and criticizes the government and society in Spanish conquered Peru. This image depicts a standing portrait of a Spanish encomendero [trustee]. The author explains that some of these men were good Christians and friends of the poor, while others were enemies of the indigenous peoples of Peru. They were the highest-ranking members of Spanish colonial society in Peru. They were tasked with caring for the spiritual needs of the indigenous peoples, in exchange for tribute (usually in the form of agricultural products or unpaid labour).
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  The Dog and His Shadow

  A dog is crossing a water stream on a small wooden plank, looking down in the water. The dog sees its reflection in the water and drops in the piece of meat he had been holding in his mouth.
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  Ayacucho: Huanta

  MUNICIPALIDAD PROVINCIA HUANTA