Items

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  [The Cid marching into battle with his troops]

  El Cid and soldiers are all armed with spears and wearing armour. The soldiers are all wearing chainmail under their tunics. They are all wearing helmets and riding white horses. El Cid is taking the lead riding a brown horse he is wearing a tunic with a cape and a hat. He has medium length hair and a beard. On the right of the soldiers there are walls.
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  Chubut: Biedma: Puerto Madryn
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  La Sesta Coia Cvci Chinbo Mama Micai

  This illustration depicts Mama Michay, the sixth Coya [Queen] of the Inca Empire. She was married to the Inca King, Inca Roca. The author describes her to be a beautiful woman. She is depicted in the centre of the image as she holds a drum. There are other people in the image who are depicted playing music with her. The words Reyno hasta Ande Suyo are written at the bottom of the image, which translates to He reigned to Ande Suyo. This is referring to her husband, who ruled the regions up until Ande Suyo.
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  The Hart and the Vine

  The head of a hart is sticking out from a cluster of leaves. In the distance, a man is standing with a bow in his hands. The positon of the man's hands and the absence of an arrow in his hand suggests that he has just shot the arrow at the hart. There seems to be an arrow sticking out from the side of the hart's mouth.
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  Mr. Jos shaves off his Moustaches.

  Joseph Sedley, freshly shaven, upon one of a pair of horses he has just purchased from Rebecca Crawley for an unreasonably large sum in order to flee from Brussels. Behind him is Isidor, his valet, on the other horse from the pair. Below the illustration is printed in cursive its title, Mr. Jos shaves off his Moustaches.
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  Massachusetts: South Hadley

  TOWN OF SOUTH HADLEY, MASS. 1773 1775 AGRICULTURE EDUCATION MANUFACTURES
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  [Men Conversing in Front of a Miniature Man]

  Two men engaged in conversation. Both are wearing robes while one is also wearing a crown. In front of them is a miniature man, on top of a column. The miniature is also wearing a robe, and his hat has been cut out of the frame.
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  Come gl’Indiani del Perù adorano il Sole, & lo tengono per lo suo principal Iddio.

  Two Indigenous people in Peru stand atop a step pyramid to worship the sun. They face the sun, with their hands raised towards it. The sun has been designed here with a face that gazes down towards the worshippers. At the base of the pyramid, two other Indigenous people stand in conversation. This image is identical to one found on page 166 verso of Venice, 1565.
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  [Vanity Fair Vol. I Chapter IX Historiated Initial]

  Sir Pitt Crawley is shown sitting on the letter S of Sir. He is smoking his pipe. At the base of the S is a pitcher.
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  The Young Man and the Swallow

  A man in front of a large tree clutches one hand to his heart and outstretches the other in a fist to a dead swallow on the ground.The man is centre of the page, the swallow is to the left.
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  Lady Catherine beaten

  Here we see Elizabeth Bennet and Lady Catherine de Bourgh. Lady Catherine was Mr. Collins’ patron. She also hoped that her daughter would be the one to marry Mr. Darcy. She disapproved of Elizabeth’s rejection of Mr. Collins and her marriage to Mr. Darcy. Lady Catherine came to Longbourn to express her disapproval when rumours began to circulate regarding Elizabeth’s engagement to Mr. Darcy. She tried to force Elizabeth to never accept Mr. Darcy’s proposal, which Elizabeth refused. Upon this refusal, Lady Catherine left Longbourn quite angry. In this image, Elizabeth sits on a bench while Lady Catherine stands in front of her, pointing her finger in disapproval. This scene occurs in chapter 56 and is noted underneath the title of this image. The characters are shown in the traditional regency style, with both Elizabeth and Lady Catherine 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. 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 a frontispiece for the Dent 1893, 1894, 1895, 1896, and 1897 editions of Pride and Prejudice.
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  [Act XVII – Calisto and Melibea (?) Locked in Embrace]

  This illustration is interesting, seeing as no characters embrace during the seventeenth act. Areusa does manipulate Sosia into revealing when and where Calisto meets with Melibea, but he does not describe in any detail the nature of their encounters.
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  [hoof of Gulliver’s Houyhnhnm master]

  Here we see a hoof of Gulliver’s master. This image appears at the beginning of the fourth chapter, in which Gulliver’s master explains the Houyhnhnms philosophy on truth and falsehood. The letter M appears on the hoof is the first letter of the chapter. The same image appears in the 1843 Krabbe edition.
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  British Colombia: Parksville

  TERRA BENEVOLA
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  Vita et Fabulae [A smartly dressed man and woman converse while another man stands and listens]

  There is an illustration at the top of the page, and below this illustration is a body of text. In the illustration, a short man with curly hair while standing towards the right of the illustration is talking to a man and woman who are sitting together. The man and woman are dressed smart, and the woman is facing away from the short man while putting her hand on the chest of the man beside her.
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  La S[an]ta Madre Iglecia, Papa de Roma, Cardenal en Todo Oorental de las Yndias del Piru, Segunda Persona de su Santidad

  This image depicts a cardinal sitting in a large chair in the centre of the page. He is illustrated holding a long staff and wearing a capelo on his head. His left hand is raised as he speaks to the men sitting beside him. There is an arzoobispo [archbishop] sitting on the cardinal’s right and a obispo [bishop] to the cardinal’s left. They are both looking towards the cardinal as they listen to him. The cardinal is seated in the centre to demonstrate that he is a higher order than the archbishop and bishop. The location is identified at the bottom of the image as it reads, Lima.
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  Chuquisaca: Jaime Zudáñez: Icla

  ICLA
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  [War procession of an Indigenous group from Newfoundland]

  An Indigenous group from Newfoundland (as identified by the author) prepare to go to war. The group marches in a procession with large drums made from animal skins stretched over a wooden frame and bones as drumsticks. One man is carried on the shoulders of several others and holds a ceremonial weapon or other object. Most members of the group are barefoot and wear tunics, several have capes tied around their necks, and others wear headdresses of feathers or leaves.
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  Qvarta Calle Oncoc Cvmo

  The author explains that there were ten paths for women to follow in the Inca Empire based on age division. This group was called oncoc cumo [sick hunchback]. These were women who had disabilities such as physical deformities, illnesses, loss of hearing and blindness. The author explains that those who were capable of work would weave or spin and those who could not work would be used as concubines. The image depicts a hunchbacked woman who is spinning yarn while she walks. The caption on the image reads estas enfermas estauan ajuntadas de todas las edades y aci no se pone edad, que ciruen a los caciques prencipales, which translates to these sick women were of all ages so no age is given, they serve the noble caciques.
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  Lambayeque: Chiclayo: San Jose

  SOY SAN JOSEFINO Y LO SERE POR SIEMPRE IE SAN JOSE OFICIAL CHICLAYO C N SAN JOSE 1859 CHICLAYO
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  In Peru findet man gar kunstreiche Goldtarbeiter.

  A group of Inca men work with gold in a space that is both forge and workshop. In the middle of the room is a large round kiln or furnace with a fire burning on top, in which several pots have been placed. A group of men stand around the kiln, blowing on the fire through hollow reeds. In the foreground two men hammer a sheet of gold, and beside them at a table two men use fine engraving and carving tools to ad detail to gold statuettes and ornaments. On the left there is a second, similar worktable. On a recessed shelf along the far wall of the building are several finished pieces, including a large plate, several vessels and a small statue. This image is identical to one found on page 27 (163) of Frankfurt, 1596.
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  [Act XXI – Having Jumped to Her Death, Melibea is Surrounded by Pleberio, Lucrecia, and Many Other Concerned Onlookers]

  In this illustration we see Melibea lying dead on the ground after jumping from the tower of her house (the tower can be seen in the background, though the perspectival distance is off). The leftmost figure is Pleberio, who is wearing a hat and a cloak of sorts, with a sword mounted on his belt. One of the two women beside Melibea is Lucrecia, and we can assume that the other is meant to represent Alisa (even though she is not present when Melibea jumps). Both women are wearing a robe and a veil. The other male figures appear to be random onlookers who witnessed her fall.This illustration is odd, seeing as there is no scene that occurs outside after Melibea jumps. Instead, the entire 21st act consists of Pleberio going to his wife Alisa in their bedchamber and informing her of their daughter’s death.
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  [Vanity Fair Volume I. Chapter XXI Historiated Initial, L]

  Amelia Sedley is depicted holding a Black doll with curly hair, possibly representing Miss Rhoda Swartz, at which she gazes lovingly. Next to her, on the right side of the image, is the letter L from Love.
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  North Carolina

  CONSTITUTION NORTH CAROLINA. NORTH CAROLINA
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  The Husbandman and the Stork

  On the left a large stork stands still with its head facing towards the ground and beak open. On the right a man crouches holding the stork’s neck with his left hand and pointing his finger in the air with his right hand. In the foreground there is a little bit of foliage and reeds. Further in the background there is a wooden animal trap and a series of hanging nets where on the right of the image two more bird can be seen trapped within.