Items

• 
  I was mortally afraid of its trampling forefeet.

  Here we scene where Jane and Mr. Rochester first meet. Jane was walking into town when Mr. Rochester rode past her and his horse slid on ice, throwing him off. Mr. Rochester hurt his ankle and Jane offered to help. Neither knew who the other was. Mr. Rochester initially asked Jane to get a hold of the reigns of his horse but she was unable as she was afraid of it, seen in this image. Then Jane helped Mr. Rochester walk to his horse and calm it down, then mount it.
• 
  Ein Heerde Gänse, eine Staatsversammlung

  This image is of a herd of geese representing a senate. This image comes in a description of a conspiracy found by a professor from the Grand Academy on Balnibarbi. This idea is representing code word for terms in the conspiracy that Swift is satirizing. The professor advises that those named in the conspiracy plan be closely monitored at all times, naming specifically while they were using the bathroom, as this is when men were most thoughtful. 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 1843 Krabbe edition.
• 
  [a man vomits]

  Gulliver explains the various medicines used in England to treat disease. In this image we see a man vomiting after taking medicines. Gulliver explains that the man vomits because of the foul taste of the medicine which included ingredients such as reptile skins, bones, excrements, insects, herbs, minerals, gums, oils, and juices. The same image appears in the 1839 Krabbe edition.
• 
  [Artemisia Overseeing the Construction of her Husband’s Sepulchre]

  This illustration depicts Artemisia, the queen of Caria, on the right side of the image wearing a crown and holding out her arm towards the monument in front of her. The crown she is wearing is to signify her royal status. There are two men standing behind the monument with chisels and other tools as they construct a sepulcher for Artemisia’s husband. Artemisia was married to Mausolus, the king of Caria and was so grieved by his death that she ordered a magnificent sepulcher to be erected in his honour.
• 
  [Act I (Third Illustration) – Celestina and Sempronio Talking as Crito Descends the Staircase]

  Sempronio (rightmost figure) is shown arriving at Celestina’s house to request her aid on behalf of Calisto, and he encounters Celestina (central figure) in the street. In this illustration, she is shown opening her door. Inside, we see Crito (leftmost figure) descending the staircase. Celestina and Elicia attempt to hide him from Sempronio.The entire illustration is identical to the one found on page 95 of the text (folio f1r): [Act V – Pármeno Opening the Door for Celestina and Sempronio].
• 
  Circe solis filia

  This engraving depicts Circe, the daughter of the Sun, on the left side of the engraving. Boccaccio explains that Circe was skilled in the art of magic and would often turn people who landed on her shores into animals. When Ulysses and his men happened upon Circe, she transformed Ulysses’ companions into beasts. They are depicted in the engraving with their bodies still in human form, while their heads are changed into animals such as lions and pigs. Ulysses is the one man among them that is still in human form. Ulysses threatens Circe with his sword, and she eventually changes his companions back into their original forms.
• 
  New York: Whitesboro

  VILLAGE OF WHITESBORO - NEW YORK
• 
  [Act XIV – Calisto and Melibea (Repeated)]

  The illustration is divided into two panels. On the left we see Calisto dressed in noble attire, with a sword mounted on his belt. On the right we see Melibea dressed in a robe and a veil. In her left hand she is holding the girdle cord that played an important role earlier in the story. In her right hand she has a flower, which she appears to be holding in front of her face (perhaps an expression of her modesty). A small dog stands at her feet, perched on its two hind legs while extending its front paws toward her. The entire image is identical to the one on page 8 of the text. The left panel is identical to those on pages 43, 162, and 190. The right panel is identical to those on pages 150 and 244.
• 
  [Amelia and Georgy with Mr. Binny]

  The Reverend Mr. Binny sits on a sofa with Georgy Osborne on his lap. Opposite him sits Amelia Osborne, to whom he has just proposed marriage and been turned down. She is knitting or crocheting. Above the sofa is a framed portrait of the elder George Osborne.
• 
  D’un Cheval Superbe, et d’un Miserable Ane Charge

  The image depicts a donkey carrying a load on its back and highly decorated horse on a road. The donkey is blocking the path of the horse on the road and is trying to move out of the way.
• 
  Vignette Title-Page

  Two sticks-the left one forked, the right one pointed-hold up a banner with the title Vanity Fair. Each letter is on a separate piece of paper, connected by a string tied to the sticks. Beneath the banner is printed the subtitle and author, A Novel without a Hero by William Makepeace Thackeray. At the base of the banner, a haggard man with a plumed helmet is lounging against an open chest, holding up a mirror from which he peruses his reflection. By his side are a doll and what appears to be a handmade axe or hammer, with a flat rectangular stone or piece of wood tied to a longer, thinner stick. In the background can be seen trees, a fence, and several buildings. The text under the illustration has been updated from the original information to reflect the current printing.
• 
  Q[ve] Pide el Tribvto a la Pobre Vieja, Deciendole Questa en su Casa y Chacara, Apamoy, Paya Taza Chacrayque Uaciquipim Tianqui. Yamtata Yacota Opyanqui Masanqui. Ama Pinachiuaycho, Por Esta, Paya

  This image depicts a native official demanding tribute from an elderly native woman. The native official is standing on the left side of the image pointing his fingers angrily towards the old woman. The old woman is sitting in front of a house as he holds a cane in her right hand and a rosary in her left. The woman’s response to the official demanding tribute is written at the bottom right corner of the image. It reads, Yma tasatam noca, paya, uaccha, coscayque? Diosrayco. Ama uaycauaycho, camachicoc [What tribute could I give you as a poor woman? For God’s sake do not attack me sir].
• 
  Araucanía: Cautín: Villarrica
• 
  Idolos I Vacas De Los Colla Svios

  This chapter is dedicated to describing the idols and gods of the Incas. This image depicts the indigenous people of the Collasuyo region in Peru making sacrifices to their local huaca [deity]. The two men standing on the right side of the image are depicted offering their sacrifices to the deity. One man is illustrated offering a llama. There is a caption on the llama which reads carnero negro [black llama]. The second man is depicted offering what appears to be coco pods. The deity on the left side of the image is illustrated being in a niche on a mountain in the form of a human. The author does not explicitly say the name of this deity.
• 
  [A Dog by the Seaside with Its Prey]

  A dog is walking next to a town. There is a small house to the right with three windows on its left side, and a sun shape at its front just above the door. To the left of that house is a bigger building, with plants at the top. The dog is walking on a wood-like surface and his reflexion is seen in the lower half of the page, insinuating that he is walking by water. The dog has something in its mouth, it seems like a bag, or possibly a prey.
• 
  De la Mouche , et du Chariot

  A Fly stopped on the carriage of those who were running in a race, where the dust was great, both because of the Horses who were moving it with their feet, and because of the rolling of the wheels; O that I raised powder; she wrote. Many people buried in their imaginary merit, attribute to themselves effects where they have no part.
• 
  [Vanity Fair Chapter LXVII Inhabited Initial]

  A boy kneels before a black man, likely either a teacher or judge, with his hands together in entreaty. The man is dressed in a black robe and tasseled cap, holding a short-handled broom. In the background are many other boys, some smiling, some with expressions of shock. In the top right corner of the image is the letter W from Whatever.
• 
  [The Queen of Laputa and her children]

  Here we see the queen of Laputa with her two children. All three figures are wearing the traditional Laputan motifs of mathematical and musical figures. The king of Laputa and his two eldest sons are not permitted to leave the island for fear that something might happen with the trajectory of the island and it might come crashing down or remain in one place blocking the sun and causing disease. These occurrences would happen if the king wanted to punish a region on Balnibarbi (the land underneath Laputa). The queen was only permitted to leave the island after she was past child-bearing years. The same image appears in the 1839 Krabbe edition.
• 
  Three hundred tailors were employed to make me clothes.

  Here we see Gulliver kneeling with his back to the viewer as he is measured for new clothing. A Lilliputian drops a measuring tape down Gulliver’s back while standing on his shoulder. A ladder leans against Gulliver’s chest. Three hundred other tailors sit on the ground working on piecing together cloth large enough to make clothes for Gulliver. A cart with rolls of cloth is visible in the foreground.
• 
  [Goat helps fox]

  There is a fox standing on a goats head as the goat assists the fox over a cliff. There is a machine near the right of the image. There is grass and flowers in front of the animals.
• 
  Arkansas

  GREAT SEAL OF THE STATE OF ARKANSAS MERCY REGNAT POPULUS JUSTICE
• 
  vol. 2 D'une Licorne, et d'une Hupe

  A hoopoe sits on a branch in a tree and exchanges a stare with a unicorn. Birds are flying in the sky above. The illustration has the signature of Harrewijn in the center on the bottom.
• 
  Céphale tente de corrompre la femme de Procris ; il la tue par mégarde dans les bois

  Cephalus was warned by an admirer that since he would not leave his wife, Procris, that Procris would leave him for jewels and money. Being anxious, Cephalus tested his wife by leaving town and having large gifts sent to her. This is represented on the left of the image, where Cephalus is tempting Procris with valuable gifts. Originally, Procris turned them down, but over time she accepted it. She was so upset with herself that she ran to the woods where she would live in solitude, but Cephalus retrieved her against her will. He was very upset with himself about tricking Procris, even though it went poorly. They both grew paranoid, and Procris began stalking Cephalus while he was hunting. One day, he mistook her for a wild animal and shot her, killing her by mistake. This is represented on the right of the image, where Cephalus has an arrow pointed at Procris.
• 
  Amojonadores Deste Reino, Vna Cavcho Inga, Cona Raqvi Inga

  This chapter discusses the system of administrative officials in the Inca Empire. This image depicts two men named Una Caucho Inca and Conaraqui Inca establishing boundary markers within the Inca Empire. By order of the Inca king, Topa Inca Yupanqui, these men were tasked with creating ditches and landmarks to mark the borders of the territories and provinces in the empire. Both men in this image are illustrated working hard by placing bricks on a boundary marker which appears to be a walled structure. There is another territory marker in the background of the image surrounded by the Andes.
• 
  [Gulliver is pulled up to the floating island of Laputa]

  Gulliver waved his arms at the floating island of Laputa and got the attention of a few Laputans and soon a crowd assembled to see Gulliver. They lowered a chair down then raised Gulliver up to the island on the chair using a pulley system, as is seen here. Gulliver is raised up over the rocks and arrives on Laputa. The same image appears in the 1839 Krabbe edition.