This image depicts a marriage between two indigenous people in Spanish colonial Peru. The man and woman on the right side of the image are the couple who had just gotten married and their family sits on the left side of the image in front of a house. Two family members are depicted speaking to the couple while a woman turns her head away with tears on her face. The married man is depicted holding what appears to be a bundle of straw in his arms and firewood on his back. The woman is holding a drum. The caption at the top of the image reads, obedecimiento del cuñado al suegro dotarse entre ellos y cazarse uírgenes y donzellas y concierto de entre padre y madre y rrepartille haziendas y bienes y seruille en uida y en muerte y en fiestas que ellos dize maza tucuna [brother-in-law obedience to the father-in-law: marry virgins and maidens, morther and father distribute goods and properties and in the party, they say let’s make brother-in-law]. The dialogue written by the married man’s head reads, cayllacta, caca, mazay, cupuuay [give me no more, maternal uncle and brother-in-law of mine]. The dialogue written above the man closest to the house on the left replies, capac mazallay [my prosperous brother-in-law]. The other man has dialogue written by his mouth which reads, aya maza [brother-in-law of value].
A tiger is lying on its back, showing its belly and baring its teeth. Next to the tiger, further right on the image, a lion is lying down its head towards the tiger. In the distance, two foxes are running away from the tiger and the lion.
This image is a landscape overlooking a river in Dublin. The image is in a preface to the story, which provides a bibliography of the author, Jonathan Swift. A mouse is in the foreground, with a dog farther back. The scene is painted from the top of a hill, looking down towards several houses leading into a town, and a bridge crossing a river. The same image appears in the 1839 Krabbe edition.
In order to follow her lover to England while he attended school, a maiden named Joan disguised herself as a man and went to school with her lover. Joan had excelled in academics and became incredibly knowledgeable. Continuing to dress as a man, Joan went to Rome and was eventually elected to succeed as Pope, known as Pope John. Pope John (Joan) is illustrated on the left side of the image dressed as a man while wearing papal regalia and the triregnum on her head. There are ecclesiastic women, presumably nuns, standing in front of Pope John (Joan) as he appears to be speaking with them.
Rawdon Crawley, smoking a cigar, leans over the billiards table as he lines his cue up with a ball. On the other side of the table is a man holding his cue vertically in front of himself. In the background to the right are two other men, one standing and wearing a suit, and the other seated on the edge of a table next to a bottle and smoking a cigar.
This image is of a large anchor with rope. Two large ships are visible in the background. The image appears at the beginning of a letter from Richard Tymp, Swift’s cousin. The anchor is also used to represent the letter I, as the first letter of the German word ich (meaning I), which is the first word of the chapter. The same image appears in the 1843 Krabbe edition.
In this image we see Gulliver sitting on a base of a column, looking up at a member of the cavalry on Brobdingnag. The cavalry rides a horse and holds a sword. He wears military attire and helmet. Gulliver tells the reader that when measuring the horse and its rider together they stand over one hundred feet tall. The same image appears in the 1839 Krabbe edition.
This is a bust of Stella Johnson. Johnson was a woman who had a romantic relationship with Swift. The image is a part of Swift’s biography which precedes Part One of Gulliver’s Travels. The same image appears in the 1839 Krabbe edition.
When Sempronio arrives at Celestina’s house, he berates her for not making progress quickly enough. She explains that she will receive greater rewards if she gives Calisto many small victories with extended gaps between them. She asks Sempronio to join her in this scam, offering him a share in the profits and her prostitute Elicia in exchange for his loyalty, to which Sempronio readily agrees. Celestina departs for Melibea’s house (to the left of the illustration), and in the meantime, Sempronio spends the night with Elicia at Celestina’s house.Celestina and Elicia are both wearing robes, while Celestina also has a veil and a rosary. Sempronio is depicted wearing a hat, and he is holding a sword in his right hand.[The figures in this illustration are used in multiple other illustrations throughout this edition.]
Here a monkey from Brobdingnag kidnapped Gulliver from his house. The monkey belonged to a member of the kitchen staff and escaped the kitchen. It found Gulliver in his house and reached in a window and pulled Gulliver out. The monkey carried Gulliver around the palace and up onto the roof. The monkey eventually tried to feed Gulliver. When the monkey was caught it was killed and Gulliver was left to recover.
This engraving depicts Scipio Africanus, a Roman general, committing adultery with a young servant girl on the right side of the image. The woman in the centre of the engraving is his wife, Tertia Aemilia. She is depicted looking at her husband and his mistress as they commit adultery. Instead of confronting her husband about the affair, she devises a plan to get rid of the mistress. The left side of the engraving depicts Tertia Aemilia marrying the young servant girl off to a freedman. She does this so that no one finds out about the affair so that it does not ruin her reputation. The freedman is depicted kneeling down as he holds the servant girl’s hand. Boccaccio explains that he chose to write on Tertia Aemilia because the way she handled the affair and how she used her cunning was admirable.
This image depicts the fictional island of Balnibarbi. There are regions of hills in the Southern, and North-West areas of the island. Forests are also shown in the North-East and Central regions. The city of Lagado is in the centre of the island. The town of Maldonada is in the South-East of the island. Above the island are letters, which depict the different ways in which the floating island of Laputa moves above Balnibarbi. The same image appears in the 1739 von Wiering edition.
There is a storyteller in the center of the picture, and he is holding a mirror. The storyteller is centered in the picture on a podium, inside a tented area. The person is surrounded by a lion, peacock, owl, monkeys, horse, camel, chicken, and a dog. There is a owl about to drop a crown-like structure on the story teller. There are several people in the photo besides the storyteller, two in the tent and two on the outside of the street.
Paraousti Satouriona (also called Saturiwa, or Satiroa according to Thevet – Paraousti may be a title rather than the name of the man) is shown in portrait from the waist up. His torso is angled slightly to his left and he gazes at the viewer. He wears an animal skin cap with the ears, eyes and nose of the animal attached and a large feathered tassel hanging from the back. He wears a multi-strand beaded necklace, a thick tunic of fur, and a fur cape with the paws of the originating animal still attached and tied at his neck. He holds a spear in his right hand. Paraousti Satouriona was a notable chief who led the Timucua group of peoples in Florida when the French were undertaking colonial projects in the region. Not much is known about him outside of his dealings with the French colonists, with whom he maintained largely amiable relations.
This engraving depicts Elissa, who was later called Dido, standing at the foreground of the engraving watching people build the city of Carthage. She is illustrated with her hands pointing at the city and men as she over sees the construction. Boccaccio explains that Dido had stolen her brother’s treasure in retaliation of him murdering her husband. After fleeing with her brother’s treasure, she made her way to Africa where she established and became queen of the city of Carthage.
Amelia Osborne sits on a stool on the beach, drawing in her sketchbook. William Dobbin sits on the sand next to her, watching her with an expression of bliss. Further down the shore, a boy is riding a kicking donkey whose lead rope is held by a girl. In the background is a castle and tower on a cliff. Below the illustration is printed in cursive its title, A fine Summer Evening.
A lion is confronted by three sheep. The three sheep carry in age, inferred from their difference in horn stature. The lion has a long beard style mane, and is standing above the remains of another sheep. All of the animals appear aggressive except for the smallest sheep. The lion is on the left side of the image and the sheep are on the right side.
Here we see Mr. Darcy delivering his letter to Elizabeth when she came to the north of England with her aunt and uncle on vacation. Mr. Darcy stands outside the open gate, tipping his top hat to Elizabeth and holding out his letter. Elizabeth stands on the inside of the gate, holding a muff in front of her. In this letter, Mr. Darcy outlines the reality of the character and his relationship with Mr. Wickham. Mr. Wickham was a militia officer stationed in the town near Longbourn. He was very charismatic and Elizabeth’s sister, Lydia, ran away with him and got married, much to the distress of the rest of the Bennet family. Mr. Darcy disapproved of Mr. Wickham, as Wickham was Mr. Darcy's father’s godson, and Wickham tried to marry Darcy’s sister, Georgiana, in order to obtain her wealth. Wickham also inherited some money from Mr. Darcy’s father with the intention that he join the clergy, but he did not follow through with his clerical studies. In this letter he also explained why he split up Jane and Mr. Bingham, because he did not realize their mutual love. Darcy explained to Elizabeth that he thought Jane unworthy of Bingley and persuaded him to leave Netherfield. In his letter, he apologized for this misjudgment. The letter was intended to address Elizabeth’s accusations regarding his pride, and Elizabeth’s prejudices against him. The letter marks a shift in Mr. Darcy’s character and the beginning of the real love between Elizabeth and Darcy. This scene occurs in chapter 35 as noted underneath the title of this image. The characters are shown in the traditional regency style, with Mr. Darcy wearing waistcoat, tailcoat, an overcoat, and knickers that stopped at the knee. Elizabeth 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. She wears a bonnet, a popular fashion of this period to protect her from the sun. Bonnets were especially popular because in this period a common pastime for women was going out on walks. Elizabeth has a shawl wrapped around her shoulders. 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.
Two large ships are shown at the mouth of the river, while another smaller ship sails further up the river. Two Indigenous people on the bank of the river roast a small animal over the fire, while several others run with bows and arrows. On both sides of the river there are round structures.
After spending the night with Areusa, Pármeno returns to Calisto's house quite late to find Sempronio waiting. Pármeno tells Sempronio that he has joined him and Celestina in their plans, talks about the happiness he has achieved by meeting Areúsa. He expresses regret at having previously opposed them, and states that he is now willing to cooperate with them on everything, recognizing that there is an opportunity for him to profit from the love Calisto has for Melibea. They both agree on this and move forward with scamming Calisto. To the left we see Calisto, who appears to have a look of sadness or concern on his face.
![[A landscape in Dublin]](https://collections.cemvc.ca/files/large/ec8981627a65e36443d4b915f1a2be275a2b1f83.jpg)
![[Rawdon Playing Billiards]](https://collections.cemvc.ca/files/large/5f6c1ef5a26690fa7c24b9867972887eed4176b5.jpg)
![[Ship’s anchor]](https://collections.cemvc.ca/files/large/fbb7f0c413e8f46fb935b245090a71954e33354a.jpg)
![[A member of the cavalry on Brobdingnag]](https://collections.cemvc.ca/files/large/cc60a7967b02c1b0d5df212b397e8313c2f472cc.jpg)
![[Stella Johnson]](https://collections.cemvc.ca/files/large/dd0649c25007164583b48f931288398472a9387c.jpg)
![[Act III – Celestina Leaves to Visit Melibea While Sempronio Stays with Elicia]](https://collections.cemvc.ca/files/large/9943bce760c7b2dff1c25f4c52184da336ddcc7a.jpg)
![[The Knowledge Speaker]](https://collections.cemvc.ca/files/large/0c64083cf59dcdef34305fee6b0dfb7dc795857d.jpg)
![[Lion Confronted by a Pack of Sheep]](https://collections.cemvc.ca/files/large/5c2b609f9ae202d82a0f0a78efc1809d74eaaada.jpg)
![[Act VIII - Pármeno Joins Sempronio and Celestina]](https://collections.cemvc.ca/files/large/91ff9530385e7588a20290c7ae99912e15fa14c3.jpg)
