Items

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  Huari
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  Comme les Sauuages rotisse[n]t leurs ennemis.

  A group of Indigenous Brazilians engage in cannibalism. A man on the right uses a hatchet to dismember a human body. Several limbs and torsos lie scattered on the ground around the group. A wooden frame has been erected over a fire, and an arm sits on the frame to roast over the fire. There is a structure on the right, and a dismembered head mounted on a long pole sticks out the window. This image is identical to one found on page 946 of Paris, 1575 (l’Huillier), and in Thevet’s Les Singularitez de la France Antarctique (page 77 of Paris, 1557 and page 77, a loose page tucked into the back cover of Paris, 1558).
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  [A man and the deer]

  A deer running across an open outdoor area with a man standing in the background with a horn in his mouth. Two baby deer are following the other deer as all three of them run off into the outdoors. There are trees, hills and a bunker in the hill of the image.
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  La Paz: Inquisivi: Colquiri

  CUARTA SECCION - PROV. INQUISIVI GOBIERNO AUTONOMO MUNICIPAL COLQUIRI LA PAZ - BOLIVIA EDUCACCION TRABAJO PROGRESO
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  I said my evening prayers

  After breaking off her engagement to Mr. Rochester, Jane fled north as far as she could before she ran out of money. She arrived at the Moors of England when she could no longer afford a carriage. She slept outside for two days and two nights, before arriving at Moor House. In this image Jane says her prayers before sleeping outside.
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  [A mercenary soldier]

  Here we see a mercenary soldier on the battlefield, holding a musket with bayonet attachment. Gulliver explains that mercenary troops were available for hire for any nation, and thus did not necessitate a patriotic army. When Swift wrote Gulliver’s Travels in 1727, mercenary troops were common, and we are just beginning to see national armies. The same image appears in the 1843 Krabbe edition.
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  [Vanity Fair Volume II. Chapter XI Inhabited Initial, O]

  A figure in a winged cap sits with his elbows on his knees and his face in his hands. A sword with a thick, rounded handle leans against the wall, point up. Above his head is the moon, which forms the letter O from Our.
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  Apurímac: Chincheros: Ocobamba
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  The Fox and the Mask

  A fox is sitting on the ground inside of a mask shop. Underneath its right paw is a finely painted mask. Behind the fox is a chair, a shelf with three mask on top of it and five masks hanging from the wall.
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  [A Lilliputian teacher gives a lecture]

  Here we see a Lilliputian teacher holding a book, giving a lecture. The image appears in an appendix to Gulliver’s travels to Lilliput, which follows the conclusion of Gulliver’s trip to Brobdingnag. Gulliver’s description of the Lilliputian education is very negative, saying that what is taught is simply superfluous, and not anything of substance, as his bias makes him think that the European model for education is the correct model. The same image appears in the 1839 Krabbe edition.
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  Noble Dame de Pomeioock. VIII.

  An Indigenous woman, a chief, is pictured standing on the bank of a river. Her hair is knotted at the nape of her neck, she wears several strands of beads around her neck, and her right wrist is cradled in the beads. She wears a fringed skirt around her waist and is topless and shoeless. She holds a large pot/container in her left hand. Beside her is a child, nude except for two strands of beads around their neck. The child holds a doll dressed like an English lady in one hand, and an object similar to a rattle in the other. Behind the pair, other Indigenous people are seen in canoes.
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  Das IIII. Contrafent eines andern Manns so den Picten benachbawrt.

  An Indigenous man is shown from the front. He carries a spear with a ball on the end in his right hand. He wears a belted tunic, and both a round shield and a sword with a curved blade hangs from the belt around his waist. This man is described as belonging to an Indigenous group that lived near the Picts. The Picts were an Indigenous group who lived in Britain long before the author’s time. Images of Picts were included in this book so that readers could compare their customs to those of the Indigenous people living in Virginia.
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  De la tres noble Europe royne des cretiens

  This illuminated image depicts Europa, the daughter of king Agenor of Phoenicia, on a ship that is sailing towards Crete. The ship has red flag with an emblem of a white cow on the left side which symbolizes the god Jupiter. Jupiter had fallen in love with Europa and abducted her and put her on the ship illustrated in the image. They then sailed to Crete together, where she became the queen. There is what appears to be a slave on the ship as well who is holding an oar as he rows the boat.
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  Florida: Charlotte County

  CHARLOTTE COUNTY 1921 FLORIDA
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  Arthemesia regina

  Artemisia was married to Mausolus, the king of Caria. Boccaccio explains that when he died, Artemisia was so grieved by his death that instead of putting his ashes in an urn after his cremation, she drank the ashes in order to be closer to him. The right side of the engraving depicts Artemisia cremating her husband’s body in a fire. Mausolus' head is visible in the fire. Artemisia is illustrated scooping her husband’s ashes and putting them into a bag. The left side of the engraving depicts Artemisia drinking her husband’s ashes.
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  Los P[adr]es de la Conpania de Jesus, Santos Hombres en Todo el Mundo que Cre[e], Ama y Haze Caridad y da lo que Tiene a los Pobres mas en Este

  This image is illustrated in a chapter that discusses the Christian priests in the colonial government in Peru. The image depicts a Jesuit priest who the author praises for keeping true to his religious duties and being charitable and loving. The author previously criticized many priests for having abused their powers against the indigenous peoples of Peru. The priest is illustrated standing in front of a kneeling indigenous man whose hands are together in prayer as he makes a confession. The priest is handing a rosary to the man. There are words of dialogue written above the indigenous man which reads, Confiesame, padre, de todos mis pecados. No me preguntes de las uacas, ydolos, y por amor de Jesucristo y de s[u] madre Santa María, me apsolueme y no me eches por la puerta. Ten misericordia de mi ánima [I confess father, of all my sins, Do not ask me about the idol huaca, and for the love of Jesus Christ and your mother Saint Mary, support me and do not throw me out the door, have mercy on my soul]. The large caption at the bottom of the image reads, ci los dichos rrebrendos padres fuesen dotrinando euangelios y predicase paciones de jesucristo y de la uirgen maría y de todos los santos y día del Jjycio y de la sagrada sscritura, no se huyrían los yndios [if the said revered fathers were endowing gospels and preaching patrons of Jesus Christ and the Virgin Mary and all the saints and judgement day and sacred scriptrure, the indians would not flee].
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  The Dunghill CockOther Titles: The Cock and the Precious Stone

  A cock and several chickens are in a yard. The cock is looking at a jewel. There is a stable person or farm hand in the background. The cock is standing on a dunghill. Some trees and a farm type building can also be seen behind the cock and chickens.
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  The Leopard and the Fox

  To the left, a leopard stands tall in front of a fox, dismissive of the fox’s presence. The fox, to the right, stands firm amongst the leopard’s disdain.
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  [Rebecca and Joseph]

  Rebecca Sharp, wearing a bonnet, holds onto the arm of Joseph Sedley, who is wearing a top hat and carrying a cane. The two figures are standing beneath a crescent moon. In the background is another couple, possibly George Osborne and Amelia Sedley, possibly a pair of strangers.
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  [Act V - The Eagerness of Calisto]

  Celestina is very pleased with her success, considering so many others had failed to do what she did (that is, use witchcraft and manipulation to make a woman fall in love). Sempronio is excited to know what happened, but Celestina waits until Calisto is present to recount the preceding series of events. In this scene, we see Celestina holding the girdle that belongs to Melibea. She and Sempronio are coming toward Pármeno and Calisto. Pármeno notifies his master of their approach, and Calisto is eager to know what transpired.This entire illustration is identical to the one found on page 2 of the text [Servants Introducing Calisto to Celestina].
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  [Gulliver's house in Brobdingnag]

  Here we see the exterior of Gulliver’s house in Brobdingnag. The house is a box that is sixteen square feet and twelve feet high. It was built to resemble the style of the houses in London in the early eighteenth century. There is a large front door, with two arched windows on the front and a square window on the side. The roof comes off so the giants could see Gulliver more easily. The house is still under construction in this image, as the front door is not attached, and Gulliver’s furniture is outside. Gulliver’s sleigh bed, writing desk, and chairs are on the table, outside his house. Gulliver sits on a bench outside his house. His house sits on a table with a drawer and a chair. The same image appears in the 1843 Krabbe edition.
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  THE MILK-WOMAN AND HER PAIL

  a picture of a farmer carrying her pail of milk to the farm house
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  It passed to Mrs. Cole, Mrs. Perry, and Mrs. Elton

  In this image Miss Bates tells Mrs. Cole, Mrs. Perry, and Mrs. Elton about Emma’s engagement to Mr. Knightley. Emma told Mrs. Weston and Miss Bates about her engagement. Miss Bates was the town gossip and word of the engagement spread quickly throughout the town. This scene occurs in chapter 53. The characters are shown in the traditional regency style. The women wear regency style dresses with empire waistlines. They wear bonnets and carry parasols, both used to protect their faces 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.
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  [scrolls from Swift’s biography]

  This image is a depiction of scrolls, representing Swift’s education at Trinity College in Dublin. This image is a part of Swift’s biography.
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  Be fatius catbenatis

  Three men stand to the left and one man stands to the right in front of a large building, resembling a castle. The man on the right wears a chain necklace and holds a stick. The man in the center points to the man on the right.