Items

• 
  La Civdad de Chvqviiapo

  This image is depicted in the author’s chapter where he discusses cities, towns, villages, and provinces in colonial South America. This image depicts the city Chuquiyabo [La Paz] in modern day Bolivia. The city is arranged in a cluster of buildings that forms a centre where people are depicted walking. The mountainous Andean lanscape is illustrated in the background with birds flying in the sky. There are two winding pathways that lead in and out of the city where two people are illustrated walking and one person is riding a horse. The author explains that the city was founded by Spanish conquistadors and was wealthy in food and silver and gold. The caption at the bottom of the image reads ciudad [city].
• 
  The Boar and the Ass

  A donkey who is to the left, looks at a boar, to the right. The donkey faces the viewer, while the boar has their back to the viewer.
• 
  [Miss Flannigan and Amelia]

  Amelia Osborne sits in her chair in the bedroom she used before she was married, looking melancholy. Behind her, Miss Flannigan, the maid, is leaning over the chair with one hand on her hip. On a smaller, wooden chair and the floor in front of Amelia there are scattered papers.
• 
  De Lupos et Uulpe. F. XXXX

  in the forest, Two Wolves are howling at a Fox which is perched ontop of a large box with one arm in the air pointing a finger. The image is bordered by a vine design
• 
  [European ships anchored along the coast near an abandoned Tupinambá village and the island Santa Catarina]

  Two European ships are anchored near the coast, close to an island labelled ‘S. Catherina Ins.’ Several European men sit around a fire on the island, while others chop down a tree and gather brush. A canoe bearing several Tupinamá men and one European approaches the island from the left and five other canoes come from the right, with the five heading towards a rowboat filled with European men. On land several European men with spears explore an abandoned Tupinambá village near the shore. The frames of several of the structures are exposed and parts of the fence are broken. A large cross with a plaque hanging around it has been erected on the cape near the village and two European men stand beside it.
• 
  [Miss Horrocks at the Piano]

  Miss Betsy Horrocks, with very large ribbons in her hair, sits on a low stool in front of the piano in the Crawley manor’s drawing-room. Beside her stands Miss Hester, the kitchen maid, who is praising her playing.
• 
  B. ein Kavallerieregiment

  Here we see the letter B with cavalry surrounding it. The letter B using a method of coding developed by scholars at the Grand Academy on Balnibarbi signifies the word cavalry. This image comes in a description of a conspiracy found by a professor from the Grand Academy on Balnibarbi. This conspiracy is thought to be an allusion to the trial of Francis Atterbury, the bishop of Rochester for allegedly plotting with the Jacobites. Atterbury was charged with treason in 1722 and was exiled to France. The same image appears in the 1839 Krabbe edition.
• 
  Als dem König Atabaliba zugesagt war, daß er widerumb ledig werden solt, schickte er die seinen hin und her, im gantzen Landt, daß sie das verheissene gülden und silber Geschirr zusammen brächten.

  Inca Emperor Atahualpa (Atabalipa) agreed to pay the ransom amount demanded by Francisco Pizarro to secure his freedom. Inca men stream towards the walls of the city Cajamarca bearing gold and silver items, including plates, vases, chests of jewelry, carvings of mythical creatures, and other pieces they have gathered throughout Peru. The Inca people are supervised by several Spaniards on horseback wielding wooden clubs or truncheons. This image is identical to one found on page 10 (129) of Frankfurt, 1596.
• 
  Sulpicia Fuluij coniuge

  This engraving depicts Sulpicia, a woman renown for her chastity, consecrating a statue of Venus. Sulpicia is depicted on the right side of the engraving with her hands reaching out towards the nude statue of Venus. There are doves flying above the statue of Venus as doves are known to be one of many symbols of the goddess. There is a group of women depicted behind Sulpicia as they were all chosen as some of the most chaste women of their time, and they all voted for Sulpicia to be the one to consecrate the statue.
• 
  [Vanity Fair Volume I. Chapter XXV Historiated Initial, C]

  Amelia Osborne stands with her head tilted slightly to one side, looking up and to the right of the image. She has one hand held to her chest and is holding a closed fan in the other by her side. She is framed in the letter C from Conducted.
• 
  El Segvndo Mes Febrero Pavcar Varai Quilla

  This chapter is dedicated to discussing the traditions and rituals of each month during the Inca Empire. The Incas tracked the months and years through the stars and their months consisted of thirty days. This image depicts the month of February, which was dedicated to wearing loincloths and sacrificing gold, silver, and llamas to their idols and Gods. The author explains that February was also a month of heavy rains, which is why there are clouds and rain drawn at the top of the image. There is a man kneeling in the image as he offers his sacrifice to his idol which is pictured atop a mountain on the left side of the image. The caption that describes the image is written written on the side of the mountain and it reads sacrificio con oro y plata y lo rrecibe y mollo y cuui, which translates to sacrifice of gold and silver, and he receives it, and seashell and guinea pig. The other caption at the bottom of the image reads sacrificio con oro y plata abundancia, which translates to abundance of sacrifice in gold and silver.
• 
  [Gulliver pulls Blefuscudian ships back to Blefuscu]

  In this image we see Gulliver pulling Blefuscudian ships back to the port in Blefuscu. Gulliver threw ropes and hooked the ships. Gulliver then used the ropes to pull the ships back to their home port, resulting in damage to the ships. In the image we see Gulliver stepping out of the water onto land with his left arm stretched above his head. In his right hand he holds fifteen ropes attached to ships – not all of which are visible. On the right hand side several Blefuscudians are visible, looking onto the scene. The same image appears in both the 1839 and 1843 Krabbe editions.
• 
  Zacapa: Cabañas

  SN. SEBASTIAN CHIMALAPA PUEBLO PROCER UNION AMISTAD TRABAJO PROCESO CABAÑAS ZACAPA MUNICIPALIDAD DE CABAÑAS, ZACAPA
• 
  The Wolf and the Lamb

  To the right of the image, a wolf stands tall like a human. It is wearing shaggy clothes and holding a stick behind its back. The wolf is looking down at a small lamb, its mouth is open as though it was talking. The lamb too is standing like a human. The lamb wears a long vest and has tools wrapped around its waist. The lamb is looking up at the wolf. Behind the lamb, there is small river. Further behind them, a wooden wall with a small water tunnel in the middle of it flows water into the river.
• 
  [Conflict between two groups of Indigenous Brazilian people]

  Two groups of Indigenous Brazilians engage in conflict. Members of both groups are armed with bows and arrows and clubs, and some carry shields. Several individuals blow into long instruments resembling a type of horn, and at least one person blows into a conch shell. There are two structures visible in the background, one of which is on fire. This illustration is a simplified and mirrored version of the one found on page 73 verso of Paris, 1557.
• 
  Amazonas: Rodríguez de Mendoza: Omia

  MUNICIPALIDAD DISTRITAL MIA CULTURA TRADICION DESARROLLO
• 
  Vita et Fabulae [Two men converse with a person who is inside a small structure with only his feet sticking out]

  There is an illustration at the top of the page; below this illustration is a body of text. In the illustration, there are three men with two men towards the left of the illustration and one man towards the right. From the two men on the right, one is a well-dressed man holding a key and the other is a holy person who is talking to the third man. The third man is inside a structure of some type and his feet are sticking out of this structure from below whilst the rest of his body is inside.
• 
  Maistros: Los Maistros de Coro y de Escuela Deste Rreyno Tributario

  This image depicts a schoolmaster teaching a group of indigenous children. The schoolmaster is depicted holding a whip in his right hand and a book in his left. The name Francisco de Palacios de Luna, Guanca is written beside the schoolmaster. The children are seated on a small bench as they write down what their schoolmaster dictates. There is a music stand on the left side of the image that has sheet music resting on it. There is a servant on the left side of the image depicted carrying a child on his back. The child has the lower half of his body exposed for the schoolmaster to whip him. The child has tears running down his face. The author explains that the schoolmasters would teach children to read and write so that they can grow up to be good Christians.
• 
  Ontario: Historical Ottawa

  CITY OF OTTAWA. ADVANCE
• 
  [Gulliver and the Emperor of Lilliput in conversation]

  In this image, Gulliver lies on the ground, reclining, speaking to the Lilliputian Emperor. The Emperor is identified by his cape, hat with three feathers, and sword. This image comes while Gulliver gives a detailed description of the Emperor. The same image appears in the 1839 Krabbe edition.
• 
  [Jane Eyre sits in a chair looking at Mr. Rochester]

  Here Jane sits in a straight back chair with her back to the viewer. Mr. Rochester requested Jane spent several evenings with him in the library. She obliged and is seen here in a discussion with Mr. Rochester. There is a similar image of Mr. Rochester on the opposite page to appear to the reader as though the two characters are having a conversation across the page.
• 
  vol 1. D'un Dragon et d'un Elephant

  A dragon and an elephant appear to be angrily looking at each other. The dragon and elephant are close to each other, with the dragon's tail wrapped around the front right leg of the elephant. There are trees and other elephants in the background. The illustration has the signature of Harrewijn in the bottom left corner.
• 
  Agrippina neronis cesaris matre

  This engraving depicts multiple events. The left side of the engraving depicts Agrippina poisoning her husband Claudius with mushrooms. Agrippina is illustrated wearing a crown and holding a plate of mushrooms as she presents them to Claudius. Agrippina’s son, Nero, is depicted standing in between Agrippina and Claudius as he watches his stepfather being poisoned. Agrippina poisoned Claudius to obtain power for herself and make her son emperor. The right side of the engraving in the foreground depicts Agrippina kneeling as she gives Claudius more poison (the mushrooms did not kill him). The background of the engraving depicts Nero as emperor, looking at his mother’s dead, naked body. He began to resent her after becoming emperor, and after having her murdered, he observed her dead body and judged it before cremating it. Nero is depicted wearing a crown and holding a scepter, with a man beside him holding a cremation urn.
• 
  La Civdad de los Reis de Lima, Audiencia Rreal y Corte, Cauesa Mayor de Todo el Rreyno de las Yndias, Adonde Rrecide su Magestad y su Bizorrey y de la Santa Madre Yglecia, Arzoobispo su Senoria Ynquicidor, su Senoria de la Santa Crusada y los Rrebrendos Comisarios y Perlados

  This image is depicted in the author’s chapter where he discusses cities, towns, villages, and provinces in colonial South America. This image depicts the large city of Lima in Peru. The city is arranged in a cluster of buildings which forms a square in the centre of the town. There is a fountain in the centre of the square as well as a gibbet used to hang people. There are soldiers holding spears walking in the square as well as a soldier riding a horse. There are also citizens walking around the square. The city of Lima was used as a centre for government and was changed to the capital of Peru after the Spanish conquered it. The caption at the bottom of the image reads, corte rreal [royal court].
• 
  [Act XII]

  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. These two figures could represent the scene in which Calisto talks with Melibea (although their conversation occurs through the door to Melibea’s house). To the right, we see a female figure wearing a robe and a veil. She is interacting with a group of four male figures. This could be viewed as denoting the scene in which Sempronio and Pármeno murder Celestina. However, in that scene there are two male figures and two female figures, so this representation is not closely related to the events of Act XII. [This illustration is identical to those found in Acts I (folio 9r), VII (folio 52v), IX (folio 67r), XI (folio 80r), XIV (folio 96v), XVI (folio 106v), and XIX (folio 115v).]