Items

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  El Terzero Capitan Cvci Van Chire

  This image depicts the third captain, Cuci Uanan Chire. These captains were a level of Inca authority who helped lead the conquest of the Andes. He was the son of the third Inca king, Lloque Yupanqui Inca. The author explains that this captain had fought and conquered other Inca leaders. The captain is depicted standing on the left side of the image drinking from a cup in his right hand with another cup being held up with his left hand. His shield and axe are laying on the ground in front of him. There is a sun with a face in the top right corner of the image. The words hasta tanbo inca are written at the bottom of the image which translates to to tambo inca. This could be referring to the span of his conquests.
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  Used to all kinds of drudgery till they died. - Page 295

  Gulliver explained to the Houyhnhnms how horses were treated in Europe. He explained that they were work animals and worked to death. The Houyhnhnms were shocked to learn about the treatment of horses.
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  Illustration 17
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  [Gulliver shows his knife to the Houyhnhnms]

  Here Gulliver explains his situation to two Houyhnhnms. He asks them for shelter, and in return he says he will make them a present in return for the favour using his knife. The Houyhnhnms spoke between themselves and agreed to help Gulliver. During their conversation Gulliver heard the two saying the word yahoo, so Gulliver repeated the word back to them. The Houyhnhnms looked surprised, then proceeded to teach Gulliver the correct pronunciation of the word. The Houyhnhnms then took in Gulliver and taught him the language. The same image appears in the 1839 Krabbe edition.
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  [Vanity Fair Chapter XIX Inhabited Initial]

  A satisfied looking boy standing on a rectangular box or platform holds in front of him a stick. On it are a turnip disguised as a head and a ragged sheet or coat, forming the semblance of a ghost. A terrified looking man is on his knees with his arms raised in front of the ghost, a shovel dropped beside him. A tall fence in the background forms the letter W from We.
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  [Vanity Fair Vol. I. Chapter VI Historiated Initial, I]

  The narrator is depicted as a piper, standing beneath a tree on a hill and playing his pipe for the small dog that sits in front of him, looking up. In the distance are the silhouettes of the buildings of a town. In the top right of the image is the letter I.
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  [Gulliver returns home to his family]

  Here we see Gulliver after he returned home to his family in England. Gulliver is sitting in the centre, surrounded by his friends and family. This image appears at the end of the third part, when Gulliver returned home after five and a half years following his travels in Laputa, Balnibarbi, Glubbdubdrib, Luggnagg, and Japan. The same image appears in the 1839 Krabbe edition.
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  De Aragnes

  This engraving depicts Arachne killing herself by means of hanging. We know that this is Arachne as her name is engraved beside her body. There is a loom on the right-hand side of the engraving and a net to the left of the loom. Boccaccio explains in his story that Arachne is known by ancient writers as being the one who discovered the uses of woven wool and the first to make nets. Arachne became too confident in her wool work and challenged Minerva to a weaving competition. After the goddess had won, Arachne hung herself, as depicted in the engraving. There is a spider on a spider-web on the left-hand side of the engraving, as Arachne is said to have been transformed into a spider after this event.
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  [Gulliver arrives at the Imperial Palace of Mildendo by climbing over the wall]

  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 the 1839 Krabbe edition.
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  Cy apres sensuit de athalie royne de jerusalem

  This illumination depicts Queen Athaliah of Jerusalem in the centre of the image wearing a pink dress and a crown to symbolize her royal status. There are two guards on the right side of the illustration holding children as they stab them with knives. In order to gain complete control of her kingdom, Athaliah ordered her guards to kill all the descendants of David so that none could rise and take her throne. Unbeknownst to Athlaliah, a grandchild named Jehoash had escaped her wrath and grew up to overthrow her. There are people depicted grabbing Athaliah’s arm as they take her away and kill her for her crimes.
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  Alberta (v2)

  FORTIS ET LIBER
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  Have you heard the news?

  Here we see Elinor sitting at a desk writing a letter when Mrs. Jennings came in to tell her the news that Edward Ferrars’ engagement to Lucy Steele had become public. Elinor and Marianne accompanied Mrs. Jennings to London in the new year and stayed for several months. Elinor’s half-brother and sister-in-law also came to London, and liking Miss Steele, invited Lucy and her sister Anne to come and stay with them for a few weeks. Edward Ferrars is the brother of Fanny Dashwood, Elinor’s sister-in-law. While staying with the Dashwoods, Anne Steele announced that Lucy was engaged to Edward. This caused outrage and Mrs. Ferrars disowned Edward, believing Lucy Steele to be an unsuitable match. Mrs. Jennings loved gossip, and as soon as she heard the news, she wanted to share it with Elinor. This scene occurs in chapter 37 as noted underneath the title of this image. The characters are shown in the traditional regency style. Elinor wears the regency style dress with an empire waist. Her hair is worn tied up, as was tradition for women after their coming out before the queen, signaling her entrance into society. Mrs. Jennings walks in wearing her shawl and a bonnet to protect her face from the sun. 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. The same image appears as an insert between pages 90 and 91 for the Dent 1893, 1894, 1895, 1896, and 1897 editions of Sense and Sensibility.
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  Come gl’Indiani del Peru adorano il Sole, & lo tengono per il suo principal Iddio.

  Two Indigenous people in Peru stand atop a step pyramid to worship the sun. They face the sun, with their hands raised towards it. The sun has been designed here with a face that gazes down towards the worshippers. At the base of the pyramid, two other Indigenous people stand in conversation.
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  Puno: Huancané

  HUANCANÉ MUNICIPALIDAD PROVINCIAL HUANCANÉ
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  [Lady Southdown’s Tracts and Medicine]

  Lady Matilda Southdown, in her bed-gown and nightcap, carries a candlestick, a cup of medicine she has devised, and her favorite tracts through the doorway into Rebecca Crawley’s room.
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  [Indigenous Brazilians harvest fruit or nuts for leg rattles]

  Two Indigenous men and a child stand around a tree. The man on the left crouches as he threads the items harvested from the tree (dried fruit or nuts) onto a string to make a leg rattle, like those worn by the man on the right. The man on the right dances with one hand on his hip, wearing leg rattles and holding a maraca or religious item in the other hand. Both men wear feathered headdresses. This image is identical to one found in Paris, 1557.
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  The Town Mouse and the Country Mouse

  Two mice are in the center of the image. The one to the left is sitting down, its tail coming around at the front of the image. The one to the right is bent to the ground eating grains off a stem on the ground.
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  Be camelo et ioue

  A camel on the left side of the image is having a conversation with a man sitting on a throne on the right side of the image.
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  Chaco: Sargento Cabral: Colonia Elisa

  MUNICIPALIDAD DE COLONIA ELISA
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  Muerte del rey D. Sancho

  In this image there are two men. The one being assassinated is the King Sancho. His assassin is wearing chainmail and he is carrying a sword at his waist. He is using his right hand to hold down the king and in his left hand he is holding a dagger. The king seems he is falling down, he is wearing an armour plate and he has a sword sheathed at his waist as well. His sheath has ornate decorations on it. He has his head up due to his fall so his face is hidden, but his beard is visible. They seem to be on a little hill overlooking a river. Next to the king’s feet there is a piece of metal that looks like a spear.
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  De rana et mure.

  A bird soars through the air above grass plains carrying a mouse attached to a frog.
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  [King in bed]

  A man, known to be a king because of his crown, is laying in bed. There is a man next to his bed talking to him. A window next to them lets us see outside. There is a man crossing a river on a boat with sheep. There are also sheep already across the river.
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  [Mr. Darcy confesses his love for Elizabeth]

  In this image Mr. Darcy confesses his love for Elizabeth. Mr. Collins and Charlotte went to Rosings, but Elizabeth stayed at the Parsonage. She was surprised when Mr. Darcy arrived and professed his love for her and asked her to marry him. In his confession he describes how he overcame her family’s socio-economic inferiority and fell in love with her. This upset her and she refused his proposal. This scene occurs in chapter 34. The characters are shown in the traditional regency style. Elizabeth wears the regency style dress with an empire waistline. Mr. Darcy wears a waistcoat and tailcoat 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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  De Ysiphile regina lemni

  Hypsipyle and her father, King Thaos of Lemnos, are depicted on the right-hand side of the engraving. We know that the figures are Hypsipyle and Thaos as the creator engraved their names beside their bodies. Hypsipyle appears to be in discussion with her father, as she tells him that the women of Lemnos are planning to turn on all the men of the city and kill them. Boccaccio explains that Hypsipyle warns her father of the crime so that she may help him escape. There is a woman on the left-hand side of the engraving with a sword in her right hand and a man’s head in her left as she carries out the plan to kill the men of the city. Later in life, Hypsipyle has a ward named Archemorus. He is depicted in the background of the engraving, lying on the ground with a snake biting into his chest. This kills the child, and Hypsipyle is illustrated with her hands in the air as she grieves for him.
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  [Act II – Pármeno and Calisto]

  The left panel depicts Calisto’s servant Pármeno, who is wearing a hat and has a sword mounted on his belt. To the right we see Calisto wearing a hat and holding a long item of some sort, perhaps a cane or walking stick. Both figures are placed outside.The left panel is identical to those found on pages 146, 173, and 187, and nearly identical to those found on pages 263 (where it is labeled ‘Sosia’), 299 (labeled ‘Pleberio’), and 326 (labeled ‘Sosia’). The right panel is identical to those found on pages 12, 122, 225, and 235, and nearly identical to the one found on page 317 (where it is labeled ‘Centurio’).