The leftmost side of the illustration features a mildly decorative border, the only location in this edition to feature such a border. The left panel depicts Celestina dressed in a robe and a veil. The choice to use this panel to depict Celestina is rather odd, since the figure appears substantially younger than other depictions of Celestina in this edition (and younger than we would expect her to look). To the right, we see Calisto wearing a hat and holding a long item of some sort, perhaps a cane/walking stick. Both figures are placed outside.The left panel does not appear again in this edition, although an exact replicate can be found on pages 69 and 221 (of the text) in the 1529 Paris edition. The right panel is identical to those found on pages 12, 60, 225, and 235, and nearly identical to the one found on page 317 (where it is labeled ‘Centurio’).
An Indigenous village is shown, full of fantastical creatures. In the center of the scene an Indigenous person speaks with two European men. A large hairy creature stands to the left of the three. In the foreground on the left an individual holding a bow emerges from a building. In the center another person lays on the ground with a horned, humanoid creature leaning over them. To the right two more individuals run from another of the horned creatures. There is a ship and a large creature in the water near the coast on the right, and further up the coast a person chases after a large winged creature. There are several structures in the background.
This image shows the arrival of a messenger holding a scroll, presumably announcing the arrival of the heirs of Aragon and Navarre to Valencia. They are coming to marry the Cid’s daughters, who are by this point no longer married to the Infantes of Carrion. The messenger sits on a horse and holds a flag showing a coat of arms.
A men with a sword on his belt and spur boots walks out of his door while another man with his sword drawn stands behind it. Two women in robes are present and talking to the man walking outside of his door.
This is the book cover of the Aesop's Fables. The illlustration is a man sitting on a bench outside the barn reing scared by a black dog. A woman witnessed the scene in a terrificed manner. Under the illustration, names of this book being dedicated to were listed.
Leaving the city of Lagado, Gulliver and his guide arrive at a large estate in the countryside, which functioned as the academy for scholars. In contrast with the city which seemed to be crumbling, the house in the country was large, built in the style of ancient architecture. Gulliver describes the landscape with fountains, walks, groves, gardens, and avenues, all well-kept. This image shows the view from one of the walks, through the trees looking towards the academy. The same image appears in the 1843 Krabbe edition.
Here we see Gulliver attempting to hold a yahoo child who appeared to need help. However, the child squirmed and got free. The child was three years old and was playing with other children and fell. In this image we see Gulliver holding the child, with others chasing each other in the background on the right, and a Houyhnhnm on the left. The same image appears in the 1839 Krabbe edition.
Here we see Gulliver’s luggage. This image appears at the beginning of the ninth chapter, as Gulliver prepares to leave Glubbdubdrib and return to Luggnagg, and from there he will sail to Japan, then finally home to England. In the third part of the story, Gulliver travels more frequently than in any other part. In this chapter we see Gulliver’s trunk, hat, walking stick, shoes, and book. There is a letter “L” on the book because it is the first letter of the chapter. The same image appears in the 1843 Krabbe edition.
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 Sosia does not describe in any detail the nature of their encounters.
Here we see a politician bribing a voter. The politician is on the right and hands the man on the left a piece of paper that reads “vote … B”, and a small bag of money. In this chapter Gulliver talks with the King of Brobdingnag about English traditions. Gulliver tells the King about diplomacy, religion, the justice system, the arts, the financial system, and the nobility, then debated these issues with the king. This image comes when Gulliver is discussing the corrupt political atmosphere and the election of officials. The same image appears in the 1843 Krabbe edition.
"On the left side of the image there is a den of foxes. on the right side of the page a crow sits on top of a tree, with another animal inside of its talons. One of the foxes is at the base of the tree, and is seen placing a bunch of wheat down."
Four people are outside surrounding a table. Two men sit at benches and the other man sits on an elaborately decorated chair, all in discussion. A woman kneels below them cleaning the feet of one of the men sitting on the bench, in a small circular tub filled with water.
The Cid leads his army in the battle against the Tunisians besieging Valencia. He can be seen on the left, holding his sword above his head and bearing a shield with a cross. The Castilian army had been in danger of being surrounded before the Cid began a charge, which led to a resounding Castilian victory.
There is a large tree with a wide stump. At the base of the stump there is a hole with a mother pig coming out of it. Surrounding the mother pig are three piglets going into the hole. Above the hole in the stump is a branch that sticks out to the left of the tree, and a cat sits on top of it. Above the base of the branch is a hollow in the tree. At the top of the tree there is a large nest with an eagle in it. The eagle is spreading out its wings and facing the right.
Five people are in an open room with pillars. Four of them are to the left, two sitting. The man on the right stands behind a box elevated by three legs. The people are having a discussion.
While Calisto lies in bed (to the left of the image), his servant Tristan spies Sosia, another of his servants, walking toward the house in tears (to the right of the image). Demanding the cause of his sorrow, Sosia explains that Sempronio and Pármeno have been executed in the street by the justice’s (the alguacil’s) men.To the left, we can see Calisto sleeping. His bed appears luxurious, with drapery hanging from above. A chair is situated in the foreground. To the right we see Tristan and Sosia. Sosia is presumably the rightmost figure, since he is just arriving at the house in this illustration. His appearance is slightly odd, since there are no lines allowing us to distinguish his hair and beard from his face. His hands are held in a clasped position, but I am uncertain of what this is intended to signify. Further, he has a sword mounted on his belt. Tristan is shown with his hand over his chest and a hung head, saddened by the news that Sempronio and Pármeno have died. He is wearing a hat as well.
Hecuba, in the blue gown, is surrounded by a few of the many horrible things that she has seen through her life. In the pink robe is her husband, Priam, dead at her feet. The top left corner shows Troy burning, and the right side of the image shows the death of some of her children.
In this image Edward Ferrars is on horseback, meeting Elinor, Marianne, and Margaret out for a walk. When they saw Edward in the distance, Marianne was convinced it was Willoughby and sped up. When she realized that it was not Willoughby, she began to turn back to go home, but her sisters and then Mr. Ferrars joined together in begging her to stop and continue on with them. This scene occurs in chapter 16. The characters are shown in the traditional regency style, as Marianne, Elinor, and Margaret wear the regency style dress with an empire waist. Elinor, Mrs. Dashwood, and Margaret wear bonnets, and carry muffs. Edward Ferrars a waistcoat and tailcoat with breeches and a top hat. 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.
This engraving depicts Elissa, who was later called Dido, standing at the foreground of the engraving watching people build the city of Carthage. She is illustrated with her hands pointing at the city and men as she over sees the construction. Boccaccio explains that Dido had stolen her brother’s treasure in retaliation of him murdering her husband. After fleeing with her brother’s treasure, she made her way to Africa where she established Carthage and became queen of the city.
Here we see a human grooming a horse in a stable. The Houyhnhnms asks about the horses in Europe and how they live. Gulliver explains that humans or yahoos govern the country and care for the horses or Houyhnhnms, including brushing the horse. The same image appears in both the 1839 and 1843 Krabbe editions.
