A cat and a monkey are near an indoor fireplace. There appears to be a cabinet of some kind in the background. The illustration has the signature of Harrewijn on the bottom middle.
A group of Tupinambá men have set up a camp near the shore. Their four canoes have been pulled up along the shoreline, and the men sit and stand in relaxed groups. One man has been hunting and return to the group with a deer over their shoulder, and there are fish set on a wooden frame over a fire. In the background several hammocks have been hung between trees and are used for napping. Most of the men wear feathered headdresses and adornments around their waists and carry bows and arrow quivers. A bearded European man stands amongst the group to the left.
In this image we see Gulliver’s telescope and glasses lying on a tablet. All of which are lying on a sheet. The image comes at the end of the chapter. The same image appears in the 1839 Krabbe edition.
Here Jane stands at her ailing aunt Reed’s bedside. She asked for Jane repeatedly and a servant was sent to fetch her from Thornfield. Jane’s aunt told her that her paternal uncle had written to her asking about Jane, but Mrs. Reed ignored the letter. She then gave Jane the letter and Jane reached out to her uncle, who left her his fortune when he died.
This illumination depicts Turia, a Roman woman and wife of Quintus Lucretius, in the centre of the image with her hands together as she expresses a look of despair. After her husband had gotten proscribed, Turia kept her husband safe within their house so that he would not have to go to war. She took care of him and went in public and pretended to have lost her husband so that no one would suspect that he was home. This image depicts Turia out in public pretending to be upset while looking for her 'lost' husband. There are other citizens in the image pointing and looking at Turia. Boccaccio explains that he wrote on Turia to highlight her devotion to her husband.
Here we see the gifts Gulliver gave to the Houyhnhnms that gave him shelter. These included two knives, three bracelets, a small mirror and a necklace. It was common practice for sailors to carry gifts of these kinds to offer locals of the places they visited. The same image appears in the 1843 Krabbe edition.
A group of six dogs are running after a fox in the forest. In the background, behind two trees, two horses are seen. In the middle of the space between two trees, a man is ridding one of the horses, while the other horse only shows its head. The rest of its body and possibly its ridder is hidden between the tree to the left.
Minerva is seated at a throne at the top of the image, wearing a blue robe. Around her, workers perform each of her inventions. From left to right, those are the flute, making olive oil, forge, carding wool, the use of a loom, and finally, calculus.
A fox without a tail is standing by four other foxes sitting. They are by a large tree. A house is in the distance. The fox without the tail appears angry and aggressive.
A wolf consumes a smaller canine in the foreground, on a ridge in the back a human overseeing two sheep commands a canine to stand down. Trees surround them both in the foreground and background.
This illumination depicts Claudia Quinta, a Roman woman, standing on land as she pulls a ship to shore. Boccaccio explains that after Claudia Quinta was accused by other matrons of not being chaste, she prayed to the goddess Ceres to help prove her virtue. After a ship that contained a statue of Ceres had gotten stuck on a sandbar, Ceres gave Claudia Quinta the power to pull the ship to shore as proof of her chastity. The women who accused Claudia Quinta of being unchaste are standing to the left of her in the image as they watch her pull the ship to shore. The statue of the goddess is illustrated on the ship.
In this image we are shown the scale of all the animals on Lilliput next to Gulliver’s ruler which measures twelve inches. The average Lilliputian man measures six inches tall. The scale includes a human, cow, horse, goat, ram, sheep, dog, monkey, cat, fox, rabbit, mouse, rooster, owl, parrot, parakeet, dove, swan, duck, toucan, turtle, lizard, frog, snake, fish, butterfly, moth, and several other types of insects. The purpose of the image is to demonstrate that the animals on Lilliput are roughly the same scale to the human as is true in the real world. Due to this scale we are also led to believe that the same animals exist on Lilliput as do in reality, simply on a smaller scale, and thus they likely have the same roles and utilities. This contrasts to some animals in the other lands visited by Gulliver later in the story where the animals are more highly fictionalized. The same image appears in the 1843 Krabbe edition.
After threatening to make Nero lose his empire, Nero plotted his mother’s death. Agrippina knew he was up to something, but Nero continued planning. He finally had three men sent to kill Agripinna. They killed her by hitting her over the head and then stabbing her in the womb. This is represented in the image with one man, on the far left, looking at Agrippina, the man behind her with a bat raised to strike her, and the man on her other side also ready to strike her with a bat. She stands in the center, prepared for certain death.
Here we see Gulliver performing for a crowd of Giants. The Farmer sold tickets to other giants to see Gulliver. On the front right, we see Glumdalclitch speaking to Gulliver and giving him instructions, while an older woman leans over her shoulder. Two other children stand in front of the table watching Gulliver. Behind the children are their parents. There are two more rows of giants in shadow. Gulliver stands on a table holding a piece of straw as though it was a fencing sword. The same image appears in both the 1839 and 1843 Krabbe editions.
Here we see Mr. And Miss Crawford upon his return to the parsonage at Mansfield. In this scene Mr. Crawford announces to Miss Mary Crawford that he intends to make Fanny fall in love with him. Mary asks why he wanted to, and he responds that he needed something to entertain him on days when he could not go out and hunt. Mr. Crawford sits at a desk, while Miss Crawford sits by the fire, reading. This scene occurs in chapter 24. The characters are shown in the traditional regency style. Miss Crawford wears the regency style dress with an empire waist. Mr. Crawford wears a waistcoat and tailcoat, and knickers that stop at the knee. 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.
A naked King sits on a throne, with trees in the background. The King holds an axe, while one man in a green outfit stands with his hands in the air.While the other man waits nervously nearby.
This chapter focuses on discussing the arrival of Spaniards and the Spanish conquest of Peru. This image depicts the capturing of the Spanish conquistador, Francisco Hernandez Giron. Giron was a traitor to the crown as he had declared a rebellion against the king of Spain. After Giron and his men fled a battle against the crown in Huatococha, a group of indigenous peoples found and captured them. Giron and his soldiers are illustrated sitting on the left side of the image with their hands bound with rope. Giron is identified by his name being written on his helmet. They were captured by the Wanca indigenous peoples, led by Apo Alanya Chuquillanqui and Waccra Waman. Chuquillanqui and Waman are identified by their names being written on their chests on the right side of the image. The caption at the bottom of the image reads, en Xauxa [in Jauja].
This image depicts Hortensia, the daughter of famous orator Quintus Hortensius, speaking in front of the triumvirs. Hortensia inherited the gift of oration from her father, and when the triumvirs raised taxes unbearably high, she spoke so eloquently to them that they revoked the taxes. The triumvirs have pleasantly surprised looks on their faces as they are impressed with Hortensia’s abilities. Hortensia appears to look confident as she speaks to them.
This engraving depicts Athaliah, queen of Jerusalem, executing the descendants of David. Athaliah is depicted on the left-hand side of the engraving holding a scepter and pointing. We know that this is Athaliah as her name, written as Atalia, is engraved above her head. Boccaccio explains that Athaliah’s father was the king of Israel, and her husband was the king of Jerusalem. When her husband died, and her son (who succeeded his father) died, she seized power and slaughtered the descendants of David to avoid anyone taking her power and throne. There is a man depicted with a sword who is about to execute a man, under Athaliah’s orders. There are three other men illustrated who had already been slain. There is a person in the background of the engraving carrying a child named Jehoash (his name is written as Ioash above his head). This child is Athaliah’s grandson who escaped her executions.
Five robed men sit around a table in the clouds looking down over a fjord. The man sitting at the head of the table wears a crown and an eagle is perched at his feet. The crowned man looks down to earth where a snake holds a rose in its jaws, looking up to the clouds. The remaining men at the table are in conversation. One of the men at the back left side of the table has horns. Below the clouds, on earth, a ship sails in a fjord towards a setting/rising sun hidden behind the rocky cliffs.