In this image there is a battle taking place. In the background there are a bunch of soldiers fighting, there are tips of spears visible. There are many men on horses fighting, and there is a flag among them as well. There are two men that seem locked in combat at the center of the image. One is wearing amour and a helmet and he is using both of his hands to strike at the other soldier who is holding up his shield to defend himself. The man with the shield has a scimitar in the other hand. On the far right of the image there is another soldier about to send an arrow flying.
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.
This engraving depicts Queen Joanna of Jerusalem and Sicily sitting on a throne with her subjects surrounding her. She is depicted wearing a crown, as well as a dress with floral designs on it. Boccaccio explains that Joanna was a praiseworthy subject to write on as she was an impressive ruler which was not common for women during her time.
This image depicts an invention created by Laputan Projectors. The invention is to rework the Laputan language. On each of the squares is a symbol representing a phrase in the Laputan language. There are handles which would be turned to create different phrases which would then be analyzed. The same image appears in other editions of Gulliver’s Travels, including those in other languages.
This chapter focuses on discussing the arrival of Spaniards and the Spanish conquest of Peru. This image illustrated the Inca emperor, Manco Inca, attempting to set a Christian temple on fire to regain control of Cusco. There is a cross on the roof and on the altar inside the temple to demonstrate that it is a Christian space. The author explains that the temple was called Cuyus Manco, the house of the Inca, until the Spaniards took it from them and converted it to a Christian temple. Manco Inca and his two soldiers are illustrated with a surprised expression due to the temple not catching on fire. This was taken as a sign from God that the church was now established within the kingdom. The caption at the top of the image below the heading reads, a la santa crus [cross] hizo milago dios y no se quemo [With the Holy Cross God performed a miracle and it did not burn]. The caption at the bottom of the image reads, en el cuzco [In Cusco].
A wolf is hanging from a tree by its neck while a man is standing beside the wolf with a long pole in his hand. In the distance is another man up on a hill with a group of sheep standing infront of him.
This engraving depicts the sibyl named Erythraea (also known as Eriphila) on the right side of the engraving with her fingers pointing to the man on the left side of the engraving. The man she is pointing to is the son of God, Jesus Christ. Boccaccio explains that Erythraea was so intelligent that her prophecies were taken as Gospel rather than fortune-telling. She even prophesized the entire events from the life and death of Jesus, which is why he is depicted in this engraving. Boccaccio explains that Erythraea had also prophesized the fall of Troy, which is assumed to be the city in the background of the engraving. There is an unidentified man’s head engraved beside Jesus.
In this image we see the farmer from Brobdingnag picking up Gulliver and examining him, holding Gulliver between his fingers. This image shows the size difference between Gulliver and the Giants of Brobdingnag. A sheathe with a knife hangs from the giant’s waist. The Giant has long straight hair and wears short pants, a loose shirt and a vest over it. He stands amid the field of wheat where he found Gulliver. The same image appears in the 1839 Krabbe edition.
This engraving depicts the sibyl Amalthea handing over books to Tarquinius Priscus. We know that these figures are indeed Amalthea and Tarquinius Priscus as their names are engraved beside and above their bodies to identify them. Amalthea, as explained by Boccaccio, brought 9 books for Tarquinius Priscus, and when he failed to pay her the full price, she burned 3 books at a time until he paid her what she was owed. There is a man standing behind Amalthea depicted holding a tree of some sort.
Two figures, a woman holding a stick or thin staff and a man in a curved hat, walk along a path. A sign by the side of the road reads To London. Two sets of forked branches in the background form the letter W from We.
This illumination depicts the famous poetess, Sappho, sitting on the left side of the image looking at her book which is placed on the lectern in front of her. The book in front of her is assumed to be some of her own poetry. She is illustrated wearing an orange dress and a head piece. There are three people on the right side of the image who are most likely other poets. Boccaccio explains that Sappho was included among the most famous of poets.
Gaia Cyrilla is seen in a red dress as the back of an image. She is wearing a crown and working with wool, which was an art she dedicated herself to. Two women work with her at different stages of the wool-working process. They work on the dyeing, carding, weaving and spinning of the wool. She was so talented that she was loved by the public, creating a lasting fame.
A satisfied looking boy standing on a rectangular box or platform holds in front of him a stick. On it are a turnip disguised as a head and a ragged sheet or coat, forming the semblance of a ghost. A terrified looking man is on his knees with his arms raised in front of the ghost, a shovel dropped beside him. A tall fence in the background forms the letter W from We.
This chapter of the book focuses on discussing the good government of post-conquest Peru that the Spanish viceroys maintain. This image depicts Don Andres, Marquis of Canete, lord of Argete, and the third viceroy of post-conquest Peru. The author describes him to be a devout Christian who governed Peru peacefully with the well-being of the indigenous peoples as a priority. He is illustrated wearing traditional Spanish/European clothing while holding a rosary in his right hand and an open book in his left hand. The caption written at the bottom of the image reads, en Lima/bizorrey 3/el marques de canete don andres hurtado de mendosa el biejo empeso a gouernar por el mes de hebrero del ano de mill y quinientos cinquenta y seys anos en tienpo del rrey felipo el segundo [in Lima/third viceroy/the Marquis of Canete, Don Andres Hurtado de Mendoza began his rule in the month of February in the year 1556 in the time of King Philip II].
Here we see Harriet speaking with Mr. Martin while Emma looks on at a distance. Harriet was interested in Mr. Martin and the two became close after she spent the summer living with his family on the farm on which he worked. Mr. Martin asked Harriet to marry him, but Harriet, influenced by Emma, turned him down. Emma fancied herself a matchmaker and tried to set up Harriet with Mr. Elton. Emma believed Mr. Elton to be interested in Harriet, but in reality, he wanted to marry Emma. This scene occurs in chapter 4, on page 25 as noted underneath the image. The characters are shown in the traditional regency style, with Emma and Harriet wearing the regency style dress with an empire waist. Their hair is worn tied up, as was tradition for women after their coming out before the queen, signaling her entrance into society. They wear bonnets to protect her face from the sun. Bonnets were a popular accessory at this time because going for walks was a common pastime, and pale skin was believed to be the most fashionable as a means of indicating a woman’s status in the upper class, who did not have to perform outdoor labour. They also carry parasols to further provide shade from the sun. Mr. Martin wears a waistcoat and tailcoat, and a top hat and carries a walking stick. 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.
When her husband was proscribed, Curia hid him in the walls of their house so that he could not be found. She acted as though he was gone, and her fake mourning had everyone fooled into believing her lie. The image depicts Curia, wearing a green gown, mourning with her friends and family while her husband hides in the walls. He is seen hiding to the far right of the image, wearing purple and red.
This engraving depicts Adam and Eve in the Garden of Eden. Eve is illustrated on the right side of the image taking an apple from the Tree of Good and Evil. The snake encouraging Eve to take the apple is depicted coiled around the tree. Boccaccio explains that he wrote on Eve as the first chapter in his book as she is the first mother of us all.
Four Indigenous Brazilian men pick and gather fruit from a tree. One man has climbed the tree to pick fruit and drop it down into the arms of another man on the ground. Two other men at the base of the tree gather the fruit and put it into a basket for transport. This image is identical to one found in Frankfurt, 1557.
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