This image depicts Jupiter disguising himself as an eagle to abduct a boy that he was in love with. The engraving illustrates Jupiter in the form of a giant eagle, carrying away the Phrygian boy named Ganymede. Ganymede has his left arm wrapped around the eagle’s neck and the other arm is holding a piece of fabric that is blowing in the wind. Jupiter took him away from Phrygia and brought him up to the heavens to handle his mixing cups.
The duchess’ maidens wash Don Quixote’s beard while the duke, the duchess, and Sancho Panza watch. Signed by T. Stothard (illustrator) and J. Heath (engraver). Part 2, ch. 32.
This image depicts the abduction of Orithyia by Borea, the god of wind. There is a face in the top right corner of the image blowing wind to symbolize that he is the god of wind. Borea is depicted at the top of the image floating in the sky as he grabs Orithyia by the waist. Orithyia is depicted trying to get away from Borea as her arms are in the air and she is looking away from him. Borea was taken with Orithyia and her beauty, and when she rejected his charming advances, he became aggressive and abducted her.
Don Quixote delivers a speech about the golden age to a group of goatherds. The goatherds are gathered around Don Quixote, whose figure is at the centre of the composition. Sancho Panza appears in the right foreground, drinking wine from a cup. The goatherd in the left foreground is drawn with a classical figure. Plate no. 8, signed by J. Vanderbank (illustrator) and G. van der Gucht (engraver). Vol. 1, book 2, ch. 3.
The duchess’ page kneels before Teresa Panza and her daughter Sanchica. He presents them with letters and gifts from the duchess and Sancho Panza. In the background, the church of El Toboso. Signed by B. J. F. Roger (engraver). Part 2, ch. 50.
This engraving depicts the story of Iphis and Anaxarete. A young man named Iphis had fallen in love with a young noble woman named Anaxarete. Unfortunately for Iphis, Anaxarete’s feelings were not mutual. Iphis hung himself outside of Anaxarete’s room out of grief for the unrequited love. This is depicted on the left side of the engraving. There are servants emerging out of the doorway with shocked expressions as they see Iphis hanging. The background of the engraving illustrates the funeral ceremony for Iphis, as he is carried away on a funeral bier with his mother walking directly behind the bier. Anaxarete is depicted looking out of her window as she watches the funeral processions.
This image illustrates the archer god, Apollo (also referred to as Phoebus), in the foreground of the image holding his quiver in his right hand and his bow in his left hand. Apollo has a face riddled with pride, as he had just slayed the great snake that lays beside him. His arrow is shown in the neck of the serpent. This serpent was created from the new mud of the earth, and when Phoebus slayed the python, the Pythian games were then created to honour this glorious kill done by the god.
A muleteer beats Don Quixote with his own lance. Don Quixote has attempted to charge the muleteers to avenge a perceived slight against Dulcinea, but fell on the ground after Rocinante tripped. The muleteer’s master calls for him to stop, but the man refuses to let up the beating until he had vented all of his anger. Rocinante lies on the ground in the bottom left corner. In the centre, the man beats Don Quixote who is trapped by his armor. The rest of the muleteers surround them, some laughing, some attempting to stop the man. This scene can be found in Part I, Book 1, Chapter 4.
Due to an unfortunate run-in with a cat, Don Quixote is confined to his apartment for six days. Lying awake in bed, he is visited by Donna Rodriguez, the Duchess' woman. To heal his wounds, Quixote wrapped himself from head to foot in a yellow satin quilt , with a woolen cap on his head, his face and his moustache bound up; his face was bound to heal his scratches, and his moustache to keep from hanging down and looking silly. Donna Rodriguez approached Quixote in a white veil, that covered her from head to foot. In her right hand she carried a lighted candle , and held her left hand before her face to keep the blaze of the flame from her eyes, which were hidden by a huge pair of spectacles. Donna Rodriguez regales Quixote with the story of how she came to work as a servant for the Duchess despite having been born a noble. However, they are interrupted by unknown assailants who barge into the room to punish Quixote and Rodriguez.
In the foreground, the housekeeper and the niece prevent Sancho Panza from entering the house and visiting Don Quixote. In the background, the barber and the priest hear Sancho’s shouts and appear in the doorway of the house. Unsigned. Part 1, ch. 3.
Having capsized Quixote's boat, two millers pull the drenched passengers from the river. The miller on the right pulls Sancho Panza's arm whilst kneeling on the bank, his sleeves rolled up past his elbows. Sancho grasps for air as he surfaces, his hands reaching for something solid to hold. On the left another miller pulls Don Quixote from the river by his ankles, the knight's leg armor is all that's visible to identify him with. In the background to the left a third miller looks at Quixote's lower half combatively with a wooden pole in hand, and two more figures in the middle of the background approach the newly submerged men.
This image depicts Cadmus, the king of Thebes, transformed into a snake. His wife Harmonia is depicted holding him while she wishes to be transformed into a snake as well in order to be with him. Cadmus was transformed into a snake as punishment for slaying a serpent sacred to the god Mars. There are soldiers in the background of the image watching the scene unfold.
This engraving depicts the three sisters of Phaethon, the Heliades, transforming into poplar trees. The sisters had just learned of the death of their brother and are illustrated standing around his tomb. When they begin to mourn for his death, the sisters notice that their legs have stiffened and begin turning into trunks of trees and their arms into branches. The Heliades’ mother, Clymene, is depicted fearfully clinging onto one of the sisters to stop the transformation from happening. Another relative that deeply grieved for Phaethon was Cycnus. He too had a transformation after hearing the news of Phaethon's death, but instead of a poplar tree like the Heliades, Cycnus transformed into a swan. Cycnus in the form of a swan is illustrated in the background of the engraving, resting on the water.
Four damsels stand around Don Quixote, one to the left with a basin of silver, a second behind him with her sleeves rolled up to her elbows and a necklace adorned on her neck went at Quixote with two hands on his beard, a third still, stood on the right with fine clean towels in her arms, and the fourth damsel merely peaked over the second's shoulder. The damsel behind Don Quixote claps her hands under Quixote's beard with a genteel air and assurance, raising great flakes of white lather over the the face beneath the nose. As Quixote gets washed, he shuts his eyes tight so as not to have them infiltrated by the soapy suds.
In the foreground, Don Quixote and Sancho Panza kneel before three peasant girls. Sancho introduces one of them as Dulcinea. In the background, the church of El Toboso. Don Quixote is dressed in his armour and carries his lance and buckler. Signed by Johannot (engraver), no given name. Part 2, ch. 10.
Don Quixote mistakes Maritornes (centre) for a maiden and grabs her by the wrist. The muleteer (left) draws near, before striking Don Quixote. A fight ensues. There are differences between the representation of Maritornes in this plate and plate no. 10 which precedes it. Plate no. 11, signed by J. Vanderbank (illustrator) and G. van der Gucht (engraver). Vol. 1, book 3, ch. 2.
Having been trampled in the battle of Barataria, Sancho Panza (center) returns to the stable and embraces Dapple, kissing his donkey on the forehead. He is followed by all his attendants (left), foremost among them two bearded men, one in long robes, and the other in a merchant's garb. They enter the stable door, followed closely by the rest of the attendants to see why Sancho Panza has alighted to the stable.
Don Quixote and Sancho Panza make their way home from Barcelona (pictured in the background). Don Quixote is mounted on Rocinante and is no longer wearing his armour. Sancho Panza’s donkey carries Don Quixote’s armour and lance. Signed by G. Cruikshank (illustrator and engraver). Part 2, ch. 66.
This engraving depicts the new wife of Orpheus, Eurydice, surrounded by naiads. While taking a walk with the naiads one day, Eurydice had stepped on a poisonous snake that had been hiding in the grass. This is depicted in the engraving, with Eurydices’ hands in the air in shock, with her head facing the snake to look at what had bit her. One of the naiads is depicted catching Eurydice as she falls and the other naiads look shocked. The snake bites Eurydice and the venom kills her, which results in her husband, Orpheus, going to the Underworld to try to save her.
The enchanted Dulcinea (a page disguised) removes her veil and reproaches Sancho Panza for not wanting to whip himself to disenchant her. In the background, Don Quixote, the duke, and the duchess are pictured. Signed by T. Stothard (illustrator) and C. Armstrong (engraver). Part 2, ch. 35.
Sancho Panza (left) falls to his knees to beg a little milk of some shepherds who were milking their ewe, a wooden bowl in his hand to keep the milk. In the middle, behind the ewe, a shepherd holds a wooden bowl in either hand to hold milk in, meanwhile, on the right a hatless shepherd grabs the ewe's hind leg and milks the creature, filling his wooden bowl with the lactose.
This engraving illustrates the sun god, Phoebus, having sexual intercourse with Leucothoë, the daughter of Orchamus, king of Assyria. The goddess Venus had cursed Phoebus to fall madly in love with Leucothoë as a punishment for humiliating her. Phoebus had disguised himself as Leucothoë’s mother and commanded the slaves to leave the room. The slaves are illustrated in the background of the engraving through a doorway. Once the god was alone with Leucothoë, he showed her his true godly form and proceeded to have sex with her. Phoebus’ is the also the god of archery and his bow and arrows are depicted lying on the ground on the left side of the engraving. Leucothoë is depicted lying on her bed topless with Phoebus kissing her. The god is difficult to see in the image as he is directly behind a column. Leucothoë’s father had her buried alive after her encounter with Phoebus. She subsequently transformed into an incense plant while underground.
This image depicts the demi-god Perseus on the right side of the image presenting the head of Medusa to Atlas, who is standing on the left side of the image. Perseus is holding out Medusa’s head with his right arm and he uses his left arm to shield his own face away to avoid looking into Medusa’s eyes. Atlas is depicted holding out his hands and has a shocked expression on his face. When people look into Medusa’s eyes they turn to stone, however, Atlas is so large and strong that when he looks at Medusa’s head he turns into a mountain. Years ago, Atlas was given a prophecy that predicted a man born of Zeus would steal the apples off his trees, so in order to protect them from Perseus, he erected a high wall made of stone and forced a serpent to guard the entrance to the orchard. The serpent is illustrated in the background of the image.
