In chapter five, Gulliver explains several aspects of society in England. Here we see a stack of books that have records of past court cases. The image appears when Gulliver explains the rule of precedent to his Master. The rule of precedent is when a judge or lawyers refer to the outcome of a past court case to determine what should be done in a similar situation. The same image appears in the 1839 Krabbe edition.
This engraving depicts Nicaula, the queen of Ethiopia, on the left side of the engraving shaking hands with King Solomon of Jerusalem. Nicaula, as Boccaccio explains, was incredibly wise and wanted to hear and listen to the wisdom and intellect of Solomon. She had traveled from Ethiopia to Jerusalem to meet him. This engraving depicts their first meeting. Behind Nicaula is presumably one of her servants, who is carrying a balsam tree. The tree was one of many gifts that Nicaula had given to Solomon.
Here Jane holds a candle above her head. She is wearing a nightgown and her hair is disheveled. Mr. Rochester’s mentally ill wife lived on the upper floor of Thornfield and began to walk through the house in the middle of the night. Jane woke up when this happened, taking her candle into the hall to see what was going on. When Jane emerged from her room Mr. Rochester’s wife retreated.
In the left panel we see Calisto dressed in noble attire, with a sword mounted on his belt. The right panel depicts Celestina standing outside wearing a robe and veil, with what looks like a rosary hanging from her waist.The left panel is identical to those found on pages 8, 43, and 190. The right panel is identical to the one found on the title page (with the exception of the colour found there), the one at the end of the book, and to those found on pages 82, 105, 150, and 221.
As Celestina leaves Calisto’s house, Calisto tells Pármeno to accompany her to ensure she arrives home safely. Celestina persuades Pármeno to join her and Sempronio in their plot to scam Calisto, and she promises him a share of the profit, as well as her prostitute Areusa, in exchange for his new loyalty. He relents to her bribery, and they both go to Areusa’s house, where Pármeno remains for the night while Celestina returns home.To the right of the image, we see Pármeno and Celestina in conversation. She is wearing a robe and a veil, while he is depicted with a hat and a sword mounted on his belt. To the left, both Pármeno and Areusa can be seen unclothed in bed together. Oddly enough, Areusa appears to be wearing a veil despite her nudity.
A rhinoceros and an elephant stand side-by-side. There are three elephants on a grassy hill in the background. The illustration has the signature of Harrewijn in the bottom left corner.
In this image Elinor and Lucy Steele walk from Barton Park to Barton Cottage. On this walk, Lucy revealed to Elinor that she was engaged to Edward Ferrars, and had been for a year. Elinor was shocked, not knowing how to respond. This scene occurs in chapter 22. The characters are shown in the traditional regency style, as Elinor and Lucy wear the regency style dress with an empire waist. They wear bonnets and muffs. 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 chapter discusses the system of administrative officials in the Inca Empire. The official depicted in the image is Lliuyac Poma and he acted as a quipu accountant and secretary to the Inca. They would keep records of everything that happened within the kingdom through their quipus (a threaded device used to record information by knotting the threads in different ways). Lliuyac Poma is depicted in this image holding a quipu with both of his hands. The caption at the bottom of the image reads “secretario” [secretary].
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 1839 Krabbe edition.
Two men, presumably royal guards, hold the arms of a man holding a box full of bread. One of the guardsmen has a sword. An older with a beard man who is holding a pole faces the man with the bread.
This chapter focuses on discussing the arrival of Spaniards and the Spanish conquest of Peru. This image depicts the conquistador, Francisco Hernandez Giron, standing above the dead bodies of Captain Alonso Palomino and Morales. He is illustrated wearing a full suit of armour while holding a spear in his left hand and the flag of Castile in his right. The dead body on the right side of the image is identified as Palomino (his name is written on his arm). The body on the left side of the image is identified as Morales (his name is also written on his arm). The caption at the bottom of the image reads, “en el Cuzco” [in Cusco].
Three men sit outside at a table. One man is raising a glass to take a drink. Another man is reaching for a roll of bread that Aesop is serving to the table.
A nurse tells a child to be quiet or she will throw you to the wolf. A wolf passing close under the window heard this, and thought himself very lucky as the child was sure to cry again, and waited by the window. He waited till at last the child began to cry, and the wolf came forward before the window, and looked up at the nurse. But, all the nurse did was shut the window and call for help, and, the dogs of the house came rushing out. The wolf ran away.
Near the coast along the Bay of Mexico in the Mexican province of Yucatán, an Indigenous man wearing a loincloth swings a sword in the direction of a Spanish man (Hernando de Motejo), who lunges forward while drawing his own sword. Three other Indigenous men move away from the two swordsmen. In the background another group of unarmed Indigenous people greet a group of Spaniards who have come ashore in rowboats from their ships. The Spaniards carry muskets, swords, and pikes. A second group of Spanish soldiers mass further away, some of whom ride horses that are unloaded from one of the two ships anchored near the coast. This image is identical to one found on page 155 of Frankfurt, 1595, but colored.
Here Gulliver walks through cow-dung. While walking outside, Gulliver came across cow excrement and tried to jump over it. He missed and landed in the middle. He then waded through it and was picked up by a footman who wiped him off and carried him until they returned home. The same image appears in the 1843 Krabbe edition.
The left panel depicts Melibea’s father Pleberio, who is wearing regal attire and a large chain. This panel was first used to represent Calisto, which explains the falcon perched on his left arm. It is odd that the printer would use this panel to represent someone other than Calisto. In the right panel we see Melibea’s mother Alisa, who is wearing a veil and a robe. In her right hand she is holding flowers.The entire image is nearly identical to the one found on page 170 (where the left panel is labeled ‘Calisto’ and the right panel is labeled ‘Lucresse’). The left panel is nearly identical to those found on pages 88 (where it is labeled ‘Calisto’), 135 (where a decorative panel is added and it is labeled ‘Sepronio’ [which appears to a typo]), and 244 (where a decorative panel is added). The right panel is nearly identical to the one found on page 61 (where it is labeled ‘Lucrecia’).
Rebecca Crawley sits grandly in a carriage, wearing a bonnet and muff and saying her farewells to the woman and two men standing beside the carriage. Opposite her sits Genevieve, the maid, holding little Rawdon. The carriage is pulled by a pair of horses, with the driver seated astride the larger of the two. In the background, the buildings of Paris and a tall tower topped with a flag can be seen. Below the illustration is printed in cursive its title, “Mrs. Rawdon’s departure from Paris.”
In this image we see two stacks of cannonballs with two cannons. This image appears when Gulliver describes gunpowder to the king of Brobdingnag, offering to teach the king’s military to use it. The king is appalled at the thought of such a violent invention. The same image appears in the 1839 Krabbe edition.
This is a portrait of Jonathan Swift. The image is a part of Swift’s Biography which precedes Part One of Gulliver’s Travels. The purpose of this illustration in the biography is to provide context for the political atmosphere and insight into Swift’s satirical writings. The same image appears in the 1843 Krabbe edition.
Here we see Gulliver with representations of his travels. In the foreground we see Gulliver kneeling. A giant from Brobdingnag sits on top of a podium. The giant holds the floating island of Laputa over his head, with Gulliver’s ship in front of him. A Houyhnhnm and a Yahoo are inside of the podium. In Gulliver’s hands is a Lilliputian. This image also appears in the 1839 Krabbe edition.
![[English legal records]](https://collections.cemvc.ca/files/large/d4986341338970cb63f72d8440ea85b8becf23cc.jpg)
![[Act XI – Calisto and Celestina (Alternate Version)]](https://collections.cemvc.ca/files/large/b25ad728dfd28781bb4354e464e340d49b7d82c7.jpg)
![[Act VII] Celestina spreect tot Pármeno](https://collections.cemvc.ca/files/large/0eab4497b8f5e5b9562388a22b52e7d1fc3b90fd.jpg)
![[An aristocratic house outside of Lagado]](https://collections.cemvc.ca/files/large/23812f64aa71aa143143353ef0a5f299811e30bd.jpg)
![[Act XVI – Pleberio and Alisa]](https://collections.cemvc.ca/files/large/a7badfbec133f973d71a705c337d0544bd3c78bf.jpg)
![[Gulliver explains gunpowder to the King of Brobdingnag]](https://collections.cemvc.ca/files/large/e1568b645aea706796971e18de11afa4736f543d.jpg)
![[Portrait of an elderly Jonathan Swift]](https://collections.cemvc.ca/files/large/67f239014f3d5f65f38ff60e8db666bb701141ad.jpg)
![[Representations of all of Gulliver’s travels]](https://collections.cemvc.ca/files/large/7b7da8dfb20aafbbd7f6ee2e04bf46ea8545f044.jpg)
