Items

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  Coquimbo: Elqui: Vicuña
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  Sacramento de la Con[fici]on

  This image is illustrated in a chapter that discusses the Christian priests in the colonial government in Peru. This image depicts the sacrament of confession between a Spanish priest and an indigenous Christian. The indigenous person is depicted on their knees in front of the priest with their hands together in prayer and their eyes looking towards the ground. The author explains that it was custom for both the penitent and priest to avoid eye contact with one another during the confession. The priest is depicted sitting in a chair and holding his cap in his left hand. He is pointing to penitent with his right hand as he offers his blessing.
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  De Porcia Cathonis uticensis filia

  This engraving depicts three separate events. The far left of the engraving depicts a man named Brutus having a discussion with his wife Portia. We know that these figures are Brutus and Portia as Portia’s name is engraved beside her body and Brutus’ name is engraved above his head. Brutus is telling his wife the conspiracy plan to kill Julius Caesar. After hearing the conspiracy plans, Portia took a barber’s razor and cut herself with it. The engraving depicts the barber’s razor sticking out of her foot. She does this to prepare herself in case she has to kill herself should the conspiracy not work out in Brutus’ favour. The centre of the engraving depicts the assassination of Julius Caesar. Brutus is on the right side of Caesar, stabbing him in the chest. A man named Cassius is behind Caesar as he stabs his abdominal area. Their names are engraved above their heads. The far right of the engraving depicts Portia eating burning hot coals from the fire directly beside her after hearing of her husband’s death.
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  [a doctor practicing prognosis]

  Gulliver explains the various medicines used in England to treat disease. In this image we see a doctor in his office, with his back to the viewer. This image appears when Gulliver explains the practice of prognosis to the Houyhnhnms. The same image appears in the 1843 Krabbe edition.
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  She begged him to think on the subject.

  Here we see John Dashwood, his wife, Fanny, and their son after inheriting Norland. John Dashwood was Elinor, Marianne, and Margaret’s half-brother. He inherited the house from their father and was supposed to support his half-sisters. Initially he was planning to give them each one thousand pounds, but his wife Fanny implored him to rethink his decision, telling him to think of their son. Because both Fanny and John Dashwood were selfish people, they resolved to give each of his half-sisters an occasional gift of a small amount of money. In this image John Dashwood stands in front of the fireplace with his hand on his chin, contemplating his decision as Fanny tries to convince him to keep reducing the amount that he will give his half-sisters. Their son sits on the floor, playing with their dog. This scene occurs in Norland, the home in which Elinor, Marianne, Margaret, and their mother lived before the death of their father. This scene appears in chapter 2 as indicated underneath the image. The characters are shown in the traditional regency style, as 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. 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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  Lowood

  Here we see Lowood School, where Jane Eyre lived from age ten to eighteen. Jane left her aunt at Gatehead Hall when she was ten years old, and attended the school for six years, then taught there for two. The school was a charity school, funded by Mr. Brocklehurst, the local parson. Jane left the school to be a governess for Mr. Rochester and his charge, Adele. The title underneath the image is somewhat obscured, however titles for all the images are shown in a table of contents for all images.
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  Ayacucho
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  [Vanity Fair Volume II. Chapter I Inhabited Initial, I]

  A pair of young children stand by the seaside. The girl is wearing a bonnet and has her fingers gripped behind her back, while the boy is holding onto the string of a kite. The kite is shaped like a cone with a rounded top, and flies next to the letter I.
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  [Gulliver reading at a table]

  In this image. Gulliver sits reading at a table. This appears during the first chapter where Gulliver introduces himself. The image represents Gulliver studying to become a surgeon, so that he could join a ship. Several busts, a skull, and the skeleton of a small animal are visible on the shelves behind Gulliver, along with various medicine bottles. The same image appears in the 1843 Krabbe edition.
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  [Gulliver stands next to military equipment on Brobdingnag]

  Here Gulliver stands on a stack of military regalia of the army of Brobdingnag. We see a sword, axe, circular shield, helmet, and chest plate. The armour is highly decorated with engraving and gemstones, particularly on the chest plate and the sword. The same image appears in the 1839 Krabbe edition.
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  [Swift and his teachers]

  In this image, Swift is the central figure, with his teachers looking over his shoulder. The image appears in Swift’s biography, during the discussion of Swift’s university years at the Trinity College in Dublin. A shadowy figure behind Swift’s shoulder on the left of the image reads a book. The same image appears in the 1839 Krabbe edition.
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  New York: Albany

  ASSIDUITY
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  Von Semiramide der küngtin von Assyria

  This engraving illustrates Queen Semiramis of the Assyrians lying in bed while having sexual relations with her son, Ninyas. We know that these figures are Semiramis and her son, as the creator engraved their names above their heads to identify them. There is a statue sitting on a platform on the left side of the engraving which appears to be a king. The statue is in fact Semiramis, who had a substantial military career and took part in many battles. The three almost naked women that are illustrated in front of the bed represent the women who Semiramis feared. She was afraid that they would desire her son and take her away from him. Semiramis is said to have invented the chastity belt to avoid anyone having sexual relations with her son. The women are illustrated with undergarments on, which is suggested to be the chastity belts.
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  [Portrait of Jonathan Swift]

  This is a portrait of Jonathan Swift. The image is a part of Swift’s biography which precedes Part One of Gulliver’s Travels. The purpose of this illustration in the biography is to provide context for the political atmosphere and insight into Swift’s satirical writings. The same image appears in the 1839 Krabbe edition.
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  The Horse and the Ass

  The scene is taken place outside, there are multiple large bushes and hills in the distance. A horse with trappings is galloping along a road as an ass with heavy cargo came across in the horses way and the horse demands him to move.
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  [Act VII – Pármeno and (?)]

  The left panel depicts a male figure. This must be Pármeno, since he is the only male character included in the act. The figure, dressed in regal attire, is wearing a hat and has a sword mounted on his belt. In the right panel we see a female figure, either Celestina, Areusa, or Elicia, who is wearing a robe and a veil. She is holding a book of some sort between her body and her right arm.The left panel is a near carbon-copy of a panel found multiple times throughout the earlier 1529 Lyon edition. However, the lower attention to detail in this panel makes it clear that it is a reproduction and not a duplicate. The artist likely referred to a copy of the 1529 edition when creating this panel.
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  [General Tufto and the Crawleys at the Opera]

  Rawdon Crawley stands in an opera box, looking up and to the right through his opera glasses. General Tufto and Rebecca Crawley are seated on either side of him, looking at each other, with a bouquet between them.
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  Om t'leckerlic leuen, Comt me in the new

  a landscape of a road to a mountain where there is an animal on the ground and two people walking towards the mountain
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  [Animals Face Each Other]

  There is a frog, a porcupine, and a mouse standing on the ground to the left. To the right there is a rabbit, a fox, and a baby fox. The two groups of animals face each other. Behind them there are hills and trees.
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  Esopi Appologi siue Mythologi cum quibusdam carminum et fabularum additionibus

  One man sits on the ground while a group of five stands off to the side. Above the man sitting is a hawk which drops an object from its mouth to the sitting man. The group of men watch this occurrence with looks of fear.
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  Hermitanos, S[an]tos, De Ellos

  This image is illustrated in a chapter that discusses and criticizes the government and society in Spanish conquered Peru. This image depicts a hermit who the author praises for keeping true to his religious duties. The author previously criticized many priests for having abused their powers against the indigenous peoples of Peru. The hermit of the order of Saint Paul is depicted kneeling on the right side of the image begging for alms. He is illustrated having long hair and holding a skull in his right hand and a long staff with a cross at the top in his left. The indigenous man that the hermit is receving alms from is holding out a plate of what appears to be either money or food. A second person is partially illustrated standing behind the indigenous man. There are words of dialogue written by the indigenous man which reads, caymi limosna, padre [here are the alms, Father]. The hermit responds, diosrayco [for God].
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  [Gulliver sits among large leaves on Brobdingnag]

  In this image we see Gulliver sitting among several large leaves. He is crouched down, contemplating his experiences in the past days on Brobdingnag. The image comes at the end of the first chapter of the second part of the story, after Gulliver described how much more difficult basic things were on Brobdingnag because of his size – specifically moving around and going to the bathroom. The same image appears in the 1843 Krabbe edition.
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  A Topa Amaro le Cortan la Cavesa en el Cvzco

  This image depicts the beheading of the young fifteen-year-old Inca, Topa Amaro Inca. The young Inca had expressed he had no desire to meet Don Francisco de Toledo, the viceroy of Peru, and the viceroy was offended by the Inca’s words. The viceroy sentenced the Inca to be beheaded for this reason. Topa Amaro Inca is illustrated laying on a table with his hands bound together. There are three Spaniards depicted aiding in the beheading. One man is holding down the Inca’s legs while another man holds the Inca’s head still. The third man is depicted holding a sword to the Inca’s neck with one hand and a hammer in his other hand. There is a group of indigenous peoples at the bottom of the image looking up at the scene of the beheading of the Inca. They are depicted crying and grieving for the young Inca. The caption written above their heads reads, ynga uana cauri maytam rinqui sapra aucanchiccho mana huchayocta concayquita cuchon [Inca Wanacauri, where are you going? Is our wicked enemy cutting your blameless neck?]. The caption at the bottom of the image reads, en el cuzco [in Cusco].
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  De Duobus Locijs

  Two men are outside; one is attacked by a bear. The first man lays on the floor while being eaten by a bear, the second man hides on top of a tree. There is a castle in the distance and a hilly landscape.
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  Guam

  GUAM