Grabbing a nearby torch, Sancho Panza chases after the duennas and the other tormentors at Altisodora’s funeral. Also pictured: candles of white wax in silver candelabras; raised catafalque with black velvet canopy bearing Altisodora’s body; and the duke and the duchess on a stage. Signed by A. Rodríguez (illustrator) and M. Albuerne (engraver). Part 2, ch. 69.
After searching in vain for the lady Marcella, Don Quixote and Sancho Panza decide to spend the hours of the siesta in a pretty meadow. Don Quixote and Sancho Panza are lying on the bank of the river and drinking from it. The donkey is rolling in the grass, and the emaciated Rocinante is drinking from the river. This scene can be found in Part 1, Book 3, Chapter 1.
After the scuffle between Don Quixote, Sancho Panza, Maritornes, and the muledriver, an officer of the old Holy Brotherhood of Toledo discovers a badly beaten Don Quixote lying on his broken bed. The illustration is not accurate to the text: the officer is depicted carrying a lamp and a musket, while in the text he carries his staff of office and a tin box containing his documents. Also pictured is Sancho Panza. Signed by Bartolomeo Pinelli (engraver and illustrator) and dated Rome, 1833. Plate 22. Part 1, ch. 16.
A half empty wine skin is pictured on the ground, upside-down so that its legs are propped up in the air. To the right of the wine skin, a half-eaten meat pie sits with its frontal exterior gaping wide. in front of the pie, a scythe-like knife with a rounded tip lies on the ground. The image is occasioned by Sancho Panza and the Squire of the Woods talking and drinking from an almost empty skin, with their meat half chewed, before falling asleep.
An older woman (right) walks in the direction of a church located in the background on the right. She is wearing a courtly petticoat, regal hat, and holds a distaff in her left hand. She is followed by a male attendant who carries the back end of her dress so it does not drag along the dirt, he is also wearing regal attire and a plumed hat. On the left, a group of women have gathered in farmer's clothing with baskets in hand, pointing and gesturing to the countess as if to mock her. In the background on the left, the silhouette of people pointing at the countess can be seen from the windows of buildings. The image is occasioned by Teresa Panza saying "No, I would not have people, when they see me decked out like a countess or governess, immediately say : ' Look how stately madam hog-feeder moves ! Yesterday she toiled at her distaff from morning to night, and went to mass with the tail of her petticoat over her head instead of a veil, and to-day, forsooth, she goes with her farthingale, her embroideries, and her nose in the air, as if we did not know her'" (Page 59).
This engraving depicts Hecuba, the wife of King Priam of Troy, murdering King Polymestor. Hecuba is depicted sitting on top of Polymestor gouging his eyes out. His right eye has already been gouged in the image while Hecuba mutilates the other. Hecuba is surrounded by fellow Trojan women who have been taken captive by the Greeks. They are illustrated with large sticks as they bludgeon the king to death. Hecuba murders King Polymestor because he murdered her son, Polydorus. After killing the king, Hecuba is transformed into a hound. The transformed Hecuba is illustrated to the right of the group of the Trojan women.
Don Quixote (left) ,clad in full armor, braces his shield and lays hand to his sword having perceived an enormous boar, pursued by the dogs and followed by hunters in the background. The boar is making its way around the bend towards them. The duke (middle) turns to the duchess and raises his hands to prevent her from participating, and the duchess holds a venablo with both of her hands, eager to advance towards the board had not the duke prevented her.
During the invasion of Barataria Island, Sancho Panza, trapped between two shields, is trampled on by several soldiers. Signed by D.-N. Chodowiecki (illustrator) and D. Berger (engraver), dated 1779. Plate 15. Part 2, ch. 53.
A female lap dog lies on the ground, three of her whelps lying by her stomach and drinking her milk. A plate lies in the foreground. The image is occasioned by Don Quixote saying "I know a certain lady who asked one of these figure-raisers whether a little lap-dog she had would breed, and how many, and of what colour the puppies would be. To which master astrologer, after raising a figure answered that the bitch would pup, and have three whelps, one green, one carnation, and the other mottled, provided that she proved with young between the hours of eleven or twelve at noon or night, and that it were on a Monday or a Saturday."
Having slept in the forest next to the town where Quiteria was to be wed, Don Quixote calls to his squire to wake, his hands lifted before his knees as he tries to wake Sancho with his voice. Sancho, for his part, lies with his face to the roots of a tree, his legs spread out behind him, sound asleep.
Sancho Panza tends to Don Quixote after he was beaten by one of the penitents. Surrounding them are the canon of Toledo, the priest, the barber, the officers of the Holy Brotherhood, and the penitents with their pointed hoods. Signed by A. Rodríguez (illustrator) and B. Vázquez (engraver). Part 1, ch. 52.
Myscelus, the founder of the city of Crotona, is depicted on the right side of the image with his hands bound by chains. Myscelus had been visited by the demi-God Hercules who instructed him to leave his native land. It was forbidden for Myscelus and his people to leave their native land and change nationalities, so Myscelus was on trial for his plans to leave. The townspeople used black and white pebbles to vote for or against conviction. There is a group of men depicted in the image sitting around a table and pouring out their marbles on to the table to see if Myscelus would be convicted or not. Hercules had intervened and changed all of the pebbles to reflect that Myscelus would not be convicted. He was freed and followed Hercules’ instructions and founded the city of Crotona.
Despite Sancho Panza’s warning (he is pictured gesticulating in the background), Don Quixote charges a flock of sheep. He is mounted on Rocinante and holds his lance. In the left background, the shepherds are depicted preparing their slings to throw stones at the knight. Signed by G. Doré (illustrator) and H.-J. Pisan (engraver). Part 1, ch. 18.
Dorotea, accompanied by the barber (disguised with an oxtail beard), catches sight of Don Quixote among some crags. He is dressed now but has not put on his armour. Signed by G. Doré (illustrator) and H.-J. Pisan (engraver). Part 1, ch. 29.
A peasant neighbour of Don Quixote stumbles across the injured knight. Upon realizing that Don Quixote his both injured and crazy he lifts him onto his mule, straps the armour and weapons onto Rocinante and leads both back to the village. This scene can be found in Part I, Book 1, Chapter 5.
In Sierra Morena, while Don Quixote and Sancho Panza sleep, Ginés de Pasamonte steals Sancho’s donkey. Doré has not represented the scene as later described by Sancho (waking up mounted on his packsaddle propped up with four sticks). Signed by G. Doré (illustrator) and H.-J. Pisan (engraver). Part 1, ch. 23.
Sancho Panza, as governor and judge of Barataria Island, rules that the twenty ducados be given back to the herder accused by a woman of having raped her. Unsigned. Part 2, ch. 45.
As four travellers (servants of Don Luis’ father) arrive at Juan Palomeque’s inn, Rocinante moves to smell one of their mares, leaving Don Quixote hanging from the window by his hand. Hearing the knight’s cries for help, the innkeeper appears at the entrance of the inn. Signed by A. Rodríguez (illustrator) and P. Rodríguez (engraver). Part 1, ch. 43.
This engraving illustrates the companions of Cadmus, the founder of Thebes, getting killed by the serpent sacred to the god Mars. Cadmus had ordered his companions to find fresh water suitable for a sacrifice to the gods, and they happened to come across the cave illustrated in the engraving. The serpent lived in this cave and began killing the soldiers when they tried to take the water. There is a dead soldier depicted in the bottom left corner of the image. Another soldier is depicted being devoured by the snake. There are two men depicted on the right side of the image that managed to get away.
Don Quixote, wearing his armour, reads chivalric books in his library. The niece and the housekeeper (background) watch him, concerned. Signed by A. d’Arnoux (illustrator) and Midderigh (engraver). Part 1, ch. 1.
This engraving illustrates Hecuba, the wife of King Priam of Troy, mourning over the loss of her children who had been killed in the Trojan War. She is illustrated standing above her daughter Polyxena’s body, with other Trojan women by her side. While lamenting about Polyxena’s death, a body washed up on the shore. The body is her son, Polydorus, who had been murdered by King Polymestor.
Sancho Panza is pictured to the left of the duchess seated on a small stool, he is scruffily bearded and shaggy haired with his right hand on his knee and his right hand gesticulating as he tells his story. The duchess (middle) sits with her hands resting on a regal chair, dressed in a courtly ruffled gown and a jewelled necklace. Behind the duchess stand four of her servants of varying ages.
In the foreground, Sancho Panza kneels before his village (background). Signed by D.-N. Don Quixote, mounted on Rocinante and wearing no armour, observes him. Sancho Panza’s donkey carries the knight’s armour. Chodowiecki (illustrator) and D. Berger (engraver), dated 1779. Plate 16. Part 2, ch. 72.
Don Quixote intends to give Sancho Panza two thousand lashes to discharge the debt that he had assumed. They struggle and Sancho gains the upper hand. He makes Don Quixote promise not to try to whip him. In the background, the bodies of outlaws and bandits hang from tree branches. Signed by Bonard (illustrator), no given name, and L. Cars (engraver). Part 2, ch. 60.
Eight sorrowful people are pictured with veils lifted up over their head. Their faces are all planted with beards, some red, some black, some white, and some piebald. The image is occasioned by countess Trifaldi telling her duenna's to lift their veils and revealing their beards.
