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  [Vanity Fair Vol. II Chapter XXIX Historiated Initial]

  The picture shows Peggy O’Dowd in a feathered turban, holding a closed fan with both hands, with her elbows on the edge of an opera box. In the top right of the image is the letter M from “Mr.”
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  California: Tulare County

  COUNTY OF TULARE CALIFORNIA
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  Der Mann mit den zwei Frauen

  Two men lay ill on the ground as two women comfort them.
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  [King Fernando sitting on his throne]

  The man in this image is the king Fernando and he is sitting on his throne. He is wearing his crown and holding a sceptre in his right hand. He is wearing a white robe. On the right side of his robes there is a darker piece of clothing covering his right side. He has a beard. On his throne there is a cushion and a carpet at his feet. The carpet has patterns on it. Under his cushion on the throne, there seems to be another carpet similar to the one on the ground flowing down the throne.
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  The note was held out, and must be taken

  Here we see Fanny writing a note to Miss Crawford, hand handing it to Mr. Crawford. Miss Crawford wrote a note to Fanny expressing her excitement at Mr. Crawford’s proposal, assuming she would accept. Mr. Crawford wanted Fanny to respond, so she quickly wrote to Miss Crawford, saying that she had not accepted his proposal, and handed the note to Mr. Crawford so he could deliver the note. This scene occurs in chapter 31. The characters are shown in the traditional regency style. Fanny wears a regency style dress with an empire waist. Mr. Crawford wears a tailcoat and tailcoat with breeches. 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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  Salta: Rividavia: Rividavia Banda Sur

  MUNICIPALIDAD DE RIVIDAVIA BANDA SUR - PROV. DE SALTA
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  El Qvarto Capitan Apo Maita Inga

  This illustration depicts the fourth captain, Apu Mayta. These captains were a level of Inca authority who helped lead the conquest of the Andes. Apu Mayta was the son of the fourth Inca king Mayta Capac. Apu Mayta is depicted on the left side of the image holding a shield in his left hand and an ax in his right as he leads an army behind him. He is facing an army on the right side of the image. The army that he is fighting are people indigenous to Charcas, Bolivia. The words “charcacuna yndios de charca” are written at the bottom right corner of the image. This is to identify the army on the right side of the image as it translates to “charcacuna, Indians from Charca.”
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  Cy sensuit histoire de sabie pompee feme de nero

  This illumination depicts Sabina Poppaea, the wife of Emperor Nero, sitting in a chariot visibly pregnant. She is depicted wearing a crown and a blue and white dress. Boccaccio explains that Emperor Nero had gotten angry and kicked Sabina in the stomach while she was pregnant, which was the cause of her untimely death. Despite Roman traditions of cremation, Emperor Nero had a public burial for his wife and had her body placed in a sepulcher.
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  [Gulliver kisses the Empress’ hand]

  In this image Gulliver kisses the hand of the Empress, who greets him while standing on the balcony of her apartments. The Empress wears a dark dress and a tall headpiece with a veil down her back, attached to the headpiece. This image comes after Gulliver climbed over the wall of the imperial palace and was able to look around. One of the Empress’ attendants stands behind her. The same image appears in the 1843 Krabbe edition.
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  [Act VI – Celestina Talks with Calisto While Sempronio Chastises Pármeno for His Snide Remarks]

  When Celestina (second figure from the right) and Sempronio (one of the figures in the background to the left) arrive at Calisto’s house, Celestina tells Calisto (rightmost figure) about her meeting with Melibea. Calisto experiences impassioned mood swings with every sentence that Celestina speaks, and Pármeno starts chiding both him and Celestina. Sempronio (also one of the figures to the left) grows impatient with Pármeno and tells him that his words are harming the happiness of all. Celestina eventually shows Calisto the girdle (presumably the scene depicted here), and he is overjoyed. When the time comes for Celestina to depart, Calisto asks Pármeno to accompany her and ensure that she arrives home safely.
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  Come gli Indiana colauano l’oro in bocca à gli Spagnuoli, & dell’habito che lor portano in diuersi lochi di terra ferma.

  A group of Indigenous people melt gold over a fire and then pour the molten gold into the mouth of a Spaniard who lays tied up on the ground. In the background, the body of a second Spaniard is being dismembered for cannibalism. One individual kneels beside a second fire that has been built to roast the limbs. The men in this group wear a garment tied around their waists that covers their genitals. This image is identical to one found on page 49 of Venice, 1565.
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  [Amelia Thinking]

  Amelia Sedley is seated in a one-armed chair in the corner of a room. The curtains on the window have been drawn back and she is gazing out while thinking about George Osborne.
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  Mr. Sedley at the Coffee-House

  John Sedley is seated at a table at the Tapioca Coffee-house, slouching over with his elbows resting on the table and his scowling face between his fists. On the table in front of him are several pieces of paper and an inkwell with a quill. The door to the room is held open by a bored-looking man who leans against it. Through the doorway, William Dobbin can be seen talking to the woman at the desk. Below the illustration is printed in cursive its title, “Mr. Sedley at the Coffee-House.
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  Paulina femme rommanie

  This illumination depicts a Roman woman named Paulina cutting a garment with scissors. Paulina was a chaste and devout woman and is renowned for her naivety by being tricked into losing her virtue. A man named Mundus had tricked Paulina into thinking that he was the Egyptian god Anubis and tricked her into having sexual relations with him. When Paulina realized she was deceived, her husband went to the emperor and had Mundus exiled.
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  [Cleaning supplies in the Country of the Houyhnhnms]

  Here we see a broom, bucket, and sieve. These items were things in Gulliver’s hut, which was used as storage before he arrived. This image appears at the beginning of chapter four. The letter “D” appears in the top corner, as the word “during” is the first word of the chapter.
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  [A Tupinambá ceremony]

  A group of Tupinambá Indigenous people stand on the shore near their village. Part of the group forms a circle, with some of the individuals holding objects resembling rattles. Three people stand in the center of the circle. Several canoes have been pulled up along the shore. In the background there are two long structures, and two individuals lounge in hammocks. There is a large fire with a wooden frame over it, upon which several human limbs have been set to roast.
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  Le Cid

  Chimène (Jimena/Ximena) and Don Diègue (Diego) cast themselves at the feet of Don Fernand (Ferdinand), king of Castile, each pleading their case to him. Don Rodrigue (Rodrigo), son of Don Diègue, has just killed Chimène’s father Don Gomes in a duel, and Chimène is demanding justice for his death. Diègue tries to convince the king that the murder was just, as Rodrigue was avenging the harm that Gomes had previously done to Diègue.
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  [Gulliver meets the yahoos for the first time]

  The yahoos are a form of human who live in the Country of the Houyhnhnms. Gulliver looks down on the yahoos, thinking of them as a form of inferior human, which is reflected in this image. In this image we see Gulliver in the background, with a group of yahoos in the front. A female yahoo nurses her child, while another climbs a tree. The same image appears in the 1839 Krabbe edition.
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  Moorland scene near Hathersage (Morton)

  Here we see the moorlands near the village of Hathersage, a village in Derbyshire. After running away from Thornfield after ending her engagement to Mr. Rochester Jane ended up in Morton, which was based on the real village of Hathersage. She arrived at Moor house with Mr. Rivers and his sisters, Diana and Mary. She lived with them for several months and taught at the village school before returning to Mr. Rochester. Before arriving at Moorhouse Jane spent two days and nights walking around the moorlands. The same image appears in the 1899 Harper edition of Jane Eyre.
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  [Gulliver kisses the Empress of Lilliput’s hand]

  In this image Gulliver kisses the hand of the Empress, who greets him while standing on the balcony of her apartments. The Empress wears a dark dress and a tall headpiece with a veil down her back, attached to the headpiece. This image comes after Gulliver climbed over the wall of the imperial palace and was able to look around. One of the Empress’ attendants stands behind her. The same image appears in the 1839 Krabbe edition.
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  Cy apres sensuit hystoire de cloelis rommanie vierge

  This illumination depicts Cloelia, a young Roman woman, riding a horse through a deep river. Boccaccio explains that Cloelia was given to a foreign king as a hostage, and when she escaped, she took many other hostages with her back to Rome. While escaping, she came across a river that was too treacherous to pass. She found a horse, and despite never having ridden one, she got herself and the other women across safely by means of this horse.
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  [Joseph Hungover]

  Joseph Sedley, in his dressing gown, stands at his dresser with one hand pressed to his temple, looking pained. In the background to his left is a table with a washbasin and a bottle on it.
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  De yoles: reyna de etolia

  This engraving depicts the marriage between Iole, daughter of King Eurytus of Aetolia, and Hercules. The right side of the engraving illustrates Hercules wrapped around Iole with a look of pure affection on his face. Iole is pictured not reciprocating the embrace. We know that these figures are Iole and Hercules as their names are engraved beside their bodies. Boccaccio explains that Iole is not in love with Hercules because he killed her father after he did not give Hercules permission to marry Iole. In order to seek her revenge on her husband for the murder of her father, Iole allowed Hercules to fall madly in love with her. By doing this, Iole was able to convince Hercules to do whatever she asked. She stripped him of his pride by getting him to dress as a woman and spin wool, which is depicted on the left side of the engraving. As Hercules is unrecognizable in women’s clothing, the creator engraved Hercules’ name above his head to differentiate between him and Iole.
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  [a lamp in front of a neoclassical building]

  Here we see a lamp with a tall base. In the background we see a neoclassical building with a large dome. This image appears at the beginning of the eleventh chapter, in which Gulliver returns home to England. This architectural style was popular in England in the eighteenth century, thus reminiscent of Gulliver’s return home. The lamp represents Japan, where Gulliver traveled from Luggnagg, and was able to return home. The same image appears in the 1839 Krabbe edition.
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  [Vanity Fair Vol. II Chapter XLI Historiated Initial]

  A coach labelled “OMNIBUS” drives along a narrow road away from London, passing a stone marked with an X. One of the passengers is leaning out from the back with his arm outstretched, while two others can be seen seated inside. The coachman is seated above the carriage, holding his crop. Near the tip of the crop, in the sky, is the letter S from “So”.