Items

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  [The Old Man and His Sons]

  An old man is sitting down holding a pile of sticks. Three younger men stand around him, one motioning at the old man. A dog is sitting in front of the old man. They are all standing in front of stables.
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  The Ball

  Here we see Jane Bennet dancing with Mr. Bingley. Mr. Bingley moved into his house, Netherfield Park, near the Bennet household, Longbourn, in the country. Mr. Bingley hosted a ball shortly after his arrival at Netherfield. Much to the delight of her mother, Mr. Bingley asked Jane to dance. Mr. Bingley holds Jane’s hand as she curtseys to him as they prepare to dance. This scene occurs in chapter 3 as is noted underneath the title of this image. The characters are shown in the traditional regency style, with the men wearing waistcoats, tailcoats, and knickers that stopped at the knee. Jane 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. The same image appears as an insert between pages 6 and 7 for the Dent 1893, 1894, 1895, 1896, and 1897 editions of Pride and Prejudice.
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  [Act XI – Celestina Talks with Calisto While Sempronio Talks with Pármeno]

  While walking home, Celestina (leftmost figure) sees Sempronio (right-central figure) and Pármeno (rightmost figure), who are going to check on Calisto (left-central figure) at Saint Mary Magdalene’s church. The two servants enter first, and Celestina follows closely behind. She tells Calisto that she has good news, and the four of them go to Calisto’s house for privacy. Once there, Celestina tells him that Melibea is passionately in love with him and has agreed to meet at midnight. Calisto is overjoyed, but Sempronio and Pármeno express suspicion at Melibea’s sudden change of heart.
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  Mrs. Price, Rebecca, and Betsey all went up to defend themselves, all talking together

  Here we see Mrs. Price, Fanny’s mother, Rebecca, the maid, and Betsey, Fanny’s youngest sister, going up the stairs. William had gone to try on his new lieutenant’s uniform which needed alterations that were not done. Mrs. Price and Rebecca both went to defend themselves, each believing the other was supposed to do the alterations. Betsey followed them upstairs. This scene occurs in chapter 38. The characters are shown in the traditional regency style. Mrs. Price, Rebecca, and Betsey all wear regency style dresses with empire waistlines. Mrs. Price and Rebecca both wear mop caps to cover their hair. 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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  [The Cid fighting in battle]

  There are two soldiers fighting while riding their respective horses. The first soldier on the left is wearing a helmet and a tunic under his armour. He is also wearing a belt. He has a sword ready to strike a blow on the other soldier as he is holding his sword in the air with his two hands. The horse is wearing armour as well. The other soldier on the right is wearing a tunic as well with a hat with a veil on it. He is also positioned to hit the other soldier with his scimitar.
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  Formosa: Pirané
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  La Terzera Coia Mama Cora Ocllo

  This illustration depicts Mama Cora Ocllo, the third Coya [Queen] of the Inca Empire. She was the sister and wife of Inca king Manco Capac. She is described by the author as being incredibly beautiful and sacred. She is also described as being pregnant and miserable by the author, which is why she is illustrated looking sad in the image as she looks down and is resting her face into her hand. There are two servants on both sides of Mama Cora Ocllo who appear to be putting a veil or fabric over her head. The words Reyno hasta maras is written at the bottom of the image which translates to He reigned to Maras. This is referring to her husband, who reigned the regions up to the city of Maras, a city north of Cusco.
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  [Vanity Fair Vol. II Chapter XXXIV Inhabited Initial]

  A boy with short curls and a girl with long ringlets and oversized ribbons walk towards each other on tiptoes, both smiling. Between and above them is a large letter T, from The.
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  [Two Men Surrounded by Four Birds Carrying Infants]

  Two older men are seen in conversation at the middle of the image. Both are wearing robes, while one wears a crown and holds a staff. Both men have two birds at their backs, each of which is holding a baby in a pouch. Each baby is holding a baby rattle.
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  [Gulliver explains how he arrived at the Country of the Houyhnhnms]

  Intrigued by the European’s technology, Gulliver explained how he arrived on the island. He explained how ships work and used his handkerchief to explain the ship’s sails, seen here. In this image Gulliver uses his breath to simulate wind, using a handkerchief to simulate the sails to his master. Gulliver did this to explain how ships were built and how they worked and how he arrived in the Country of the Houyhnhnms. The same image appears in the 1839 Krabbe edition.
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  [A horseshoe and the equipment for attaching them]

  Here we see a horseshoe and the hammer and nails used to attach them. Gulliver explained to the Houyhnhnms how horses were treated in Europe and how horseshoes worked. Gulliver explained that horseshoes were used to protect horses' hooves while they were working.
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  D'un Cerf, Et D'une Brebi

  A wolf is sitting at the bottom of a tree while a large deer and sheep stand facing it.
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  [George Greets Rebecca]

  George Osborne stands, looking uncomfortable, with his hand slightly extended towards Rebecca Sharp. Miss Sharp is seated in a one-armed chair under a portrait. She is looking challengingly up at Mr. Osborne and has a single finger extended in his direction.
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  West Virginia: Wheeling (v2)

  SEAL OF THE CITY OF WHEELING
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  De Hipermestra: hija del rey Danao

  Hypermnestra and her husband, Linus, are illustrated on the edge of the bed on the left-hand side of the engraving. We know these figures are Hypermnestra and Linus as their names are engraved above their heads. Hypermnestra is depicted with her arm lovingly touching Linus’ chest. As Boccaccio explains, a prophecy told Hypermnestra’s father that one of his nephews would kill him, so he married all his daughters to his nephews and instructed them to kill their new grooms to avoid this prophecy from happening. Hypermnestra, however, fell in love with her cousin Linus. Hypermnestra instructs him to leave to avoid her father and sisters from killing him. One of her sisters is depicted lying in the bed behind her, already having killed her husband, along with the other husbands that have been murdered.
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  ADMIRAL BLACKBROOK’S DAUGHTERS

  The Blackbrook sisters, daughters of Admiral Blackbrook, wearing fancy dresses and unhappy expressions. The image is placed at the end of the chapter before their only appearance in the book.
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  D'un paisan, et de la mort

  There is a man in the centre of the image sitting down in front of a tree. The man is carrying a heavy bag which is tied to his back. The man's legs are collapsed and a skeleton is dragging his hand. The skeleton is drapped in a long cloth and is holding a sharp object on the other hand. While the man looks tired and sad, the skeleton does not express any emotions. There is a hat which is appreared to have fallen off the man's head is next to him. The sky seems grey and there is a mountain range in the background.
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  [Act I (Second Illustration) – Calisto Laments the Absence of Melibea to Sempronio]

  After his brief encounter with Melibea in her garden, Calisto (figure to the right) laments the absence of his love. Calisto’s servant Sempronio (on the left) proposes that he employ the help of Celestina, an old procuress and brothel owner. Calisto agrees, and he tells Sempronio to visit Celestina and request her aid. When Sempronio departs, Calisto’s other servant Pármeno warns Calisto against the old woman’s deceptive and treacherous ways.
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  Virginia: Henrico County

  CITY 1611 - SHIRE 1634 - MANGER 1934 COUNTY OF HENRICO, VIRGINIA
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  Armonie fille guillon

  This illumination depicts a woman named Harmonia standing over the body of a servant girl disguised as Harmonia. Boccaccio explains that there was a rebellion in Syracuse against nobility, and because Harmonia was the niece of the king, she was in danger. Harmonia’s nurse disguised a servant girl to look exactly like Harmonia so that when the rebels came, the real Harmonia would be safe. This illumination depicts the servant girl who died in Harmonia’s place. She is depicted with a wound on her head and blood stained on her neck and shirt. Harmonia is illustrated with her hands together and a sad expression on her face. Boccaccio explains that Harmonia was saddened for losing such a faithful servant, however, she also admired the loyalty and bravery of the young girl.
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  [Gulliver in the war with Blefuscu]

  Here we see a depiction of the war between Lilliput and Blefuscu. In the foreground we see two Blefuscudian ships, with the men jumping ship out of fear of Gulliver. These ships are fairly small, as they only have one sail, compared to the multiple sails on the Lilliputian ships shown in other images. Gulliver, who’s head and shoulders are above the water are visible in the background. Gulliver’s participation was what won the war for the Lilliputians. The same image appears in the 1839 Krabbe edition.
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  Modo di nauigare nel Mare di Tramontana.

  Five Indigenous people in a large dugout canoe paddle near the coast in what is likely either the Caribbean Sea of the Gulf of Paria. Two individuals paddle on the left and two on the right, while the person in the back sits elevated and guides the canoe. The hilly coastline is visible in the background.
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  De Busa camusina apula muliere

  This engraving depicts a woman named Busa on the left-side of the image looking at the group of people in front of her. We know that this figure is Busa as the creator engraved her name above her head. Boccaccio explains that after a city called Cannae was attacked by Hannibal the Carthaginian, the people fled to Canusium. Busa opened her home graciously to the people who fled the danger of war and provided them with hospitality and food. These are the people who are depicted sitting around Busa’s table.
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  The Mouse and the Weasel

  A mouse is pushing its way in a small hole in a corn-hutch on the right-hand side of the image. To the left, a weasel is lying on the ground looking at the mouse working its way to the other side of the hole.
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  Cy sensuit histoire de enguborade florentine vierge

  This image appears in the chapter that treats the Florentine maiden named Engeldruda. Engeldruda is famous for having spoken up against her father to protect her chastity. Boccaccio explains that Emperor Otho IV had gone to Florence for a festival, and when he noticed the beauty of Engeldruda, he asked her father who she was. Engeldruda’s father had offered her up to the emperor as if her chastity meant nothing to him. She spoke against her father for having done this. The emperor was so impressed with Engeldruda, he offered a nobleman named Guido to be her husband. Engeldruda is depicted on the right side of the image wearing a red dress speaking with the man in a red and brown cloak. Emperor Otho is presumably the man sitting on the throne as he is wearing a crown. Engeldruda’s father, then, is most likely the man speaking with Emperor Otho on the left side of the image.