This image shows several elements of the story of Gulliver’s Travels. The central figure is one of the giants from Brobdingnag, who holds a ship, likely representing Gulliver’s ship. Two eagles – reflecting the eagles who took Gulliver from Brobdingnag – are holding the horses from the land of the Houyhnhnms. The image in this edition is the same as that in the 1728 German von Wiering edition.
Two girls kneel next to a toy chest, the lid of which is engraved with “FINIS.” It contains assorted items, including a set of dolls in the forms of Dobbin, Amelia, and Georgy, and on the ground beside it ones of Jos, Becky, and a gremlin or devil.
Here we see Gulliver playing the piano for the King and Queen of Brobdingnag. Because of the size of the piano, Gulliver used sticks to reach the keys, running up and down the bench. The King and Queen thoroughly enjoyed Gulliver’s music as it was quite different to the music of the giants.
On the left side of the image, there is a rooster on the top of tree and a fox being chased away by a human with a wooden stick. On the right side of the image, there is a wolf about to attack a rooster. Behind them there is a barn.
Two Indigenous people are shown sharing a meal. A man sits on the left, and a woman on the right. They sit on a mat on the ground. A large dish with food is between them, and around them are a jug, a pipe, some nuts, a fish, some cobs of corn, and other objects. The man wears a fringed garment draped around his body and over one shoulder and a single feather in his hair. The woman wears a similar fringed garment draped over one shoulder and two strands of beads around her neck.
Verginius, in the red cloak, stabs his daughter Verginia in the chest. He knew that the only way she could be free and not captured or a slave was to be dead, so he did what he felt was right. Verginia in the blue gown is stabbed to the right of the image.
In this image we see Gulliver sitting on a base of a column, looking up at a member of the cavalry on Brobdingnag. The cavalry rides a horse and holds a sword. He wears military attire and helmet. Gulliver tells the reader that when measuring the horse and its rider together they stand over one hundred feet tall. The same image appears in the 1843 Krabbe edition.
The image depicts the fictional land of Brobdingnag, off of North America. The cities of Flagnlamic and Lorbrulgrud are shown in Brobdingnag. Underneath Brobdingnag reads “Discovered AD. 1703”. The bottom half of the map includes New Albion. A ‘man-of-war ship is shown off the coast of New England, and a dolphin is near the bottom of the image. The same map is featured in several other editions of the text, including those in other languages, such as German.
Shortly after Celestina leaves Calisto, Calisto grows impatient and sends Sempronio to visit her house and hurry her along in her progress. When Sempronio departs, Pármeno tries to dissuade Calisto from procuring Celestina’s services. [In this illustration, a male figure is pictured on a horse, while another male figure helps him place his foot in the stirrup. While the figure on the horse looks the same as that used to depict Calisto, we can infer from the narrative that it is likely meant to represent Sempronio. Because the figures for Calisto and Sempronio resemble one another, this is likely an oversight in printing/engraving. The second figure is likely another of Calisto’s servants.]
In this image Elinor looks out the window at Cleveland. Marianne was very ill and Colonel Brandon rode to Barton Cottage to bring her mother back to Cleveland. Elinor expected Colonel Brandon and her mother that night and opened the window upon hearing a carriage. The carriage she heard, however, was not her mother and Colonel Brandon, but rather was Willoughby. He heard of Marianne’s illness, and he had come to tell her that he had truly cared for Marianne and the letter he sent to her in London was written by his wife who was jealous. This scene occurs in chapter 43. The characters are shown in the traditional regency style. Elinor wears a regency style dress with an empire waistline, and a sash tied around her waist. 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.
Amelia Osborne sits on a stool on the beach, drawing in her sketchbook. William Dobbin sits on the sand next to her, watching her with an expression of bliss. Another sketchbook or stack of papers lies on the sand in front of them. Further down the shore, a boy is riding a kicking donkey. In the background is a castle and tower on a cliff. Below the illustration is printed its title, “A Fine Summer Evening.”.
This engraving depicts Polyxena, the daughter of king Priam of Troy, getting executed on top of Achilles’ tomb. Polyxena is illustrated kneeling on the tomb of Achilles with her hands crossed while looking up to the sky as she accepts her fate. Her name is engraved beside her body to identify her. Achilles’ name is engraved on the side of his tomb. The man about to execute Polyxena is Neoptolemus, the son of Achilles. His name is engraved below his sword. Polyxena had lured Achilles into the temple of Apollo, where Paris shot Achilles with his arrow. She had done this through her mother’s instructions. Neoptolemus is the one to execute her as she is the one who is partly responsible for killing his father. Boccaccio explains that he wrote on Polyxena due to her fearlessness before her execution.
There is a bird up in a tree and a bird on the ground. A rabbit is facing the bird on the ground. An eagle is hovering above the rabbit as if it is going to attack.
A group of Indigenous Canadians (identified as such by the author) attacks the village of another group. The attackers arrive by canoe, bearing spears, bows and arrows, and torches. Some of them set fires along the shore and in the village. A few individuals on the right flee the fire by running and crawling away in an attempt to avoid the smoke.
Three people belonging to the Tupinambá Indigenous group are shown; a man, woman and child (possibly a family unit). The man stands in front holding a bow in his right hand and arrows in his left. He wears a necklace and an adornment on his chin and is otherwise nude. The woman stands behind him with one hand on his shoulder and a baby in her other arm. Her hair is long, and she is nude. There is a hammock behind the group.
Gulliver learned soon after his arrival on Glubbdubdrib that the king of the island was a necromancer. All the king’s servants were ghosts. Here we see Gulliver dining with the King and his court and being served by ghosts.
This engraving depicts the queens of the Amazons, Martesia and Lampedo. The Amazons, as described by Boccaccio, were a group of widows who decided to take up arms and fight to avenge their husbands’ deaths. They began dedicating their lives to training in riding horse-back, archery, and other military skills. The Amazons elected Lampedo and Martesia to be their queens. Lampedo is depicted with a bow and arrow in her left hand as she rides her horse, with her name engraved beside her head. Martesia is illustrated looking back at Lampedo with a sword in her hand. Her name is engraved to the left of her sword. The women riding behind them are other Amazon women.
This illumination depicts a portrait of Constance, who was the empress of Rome and queen of Sicily. She is illustrated sitting down and holding a staff in her hands. Constance was forced to be a nun at a young age as a prophecy foretold that she would somehow cause the destruction of Sicily. Her father, William, put her in a convent to prevent the prophecy from happening. At an older age, Constance was married to emperor Henry and bore a son at the age of fifty-five. Her son, Frederick, grows up to be the one to fulfill the prophecy that King William was fearful of.
The left panel depicts Celestina’s prostitute Areusa wearing a veil and a robe. To the right, we see Celestina’s other prostitute Elicia, who is also wearing a veil and a robe. In her right hand, she is holding a flower. Both figures are placed outside.The entire image is identical to the one found on page 306. The left panel is identical to those found on pages 173 and 317, and is nearly identical to those found on pages 12, 208 and 271 (where it is labeled ‘Melibea’), page 84 (labeled ‘Lucrecia’), and page 350 (labeled ‘Alisa’). The right panel is nearly identical to those found on pages 84 (where it is labeled ‘Celestine’), 235 (labeled ‘Lucrece’), and 299 (labeled ‘Alisa’).
In this image we see Gulliver being examined by three scholars from Brobdingnag. The scholars were invited by the king to examine Gulliver’s ‘physical form’. They came to the conclusion that he did not conform to the ‘usual course of nature’, as he was significantly smaller than any other creature on Brobdingnag. They also questioned him regarding his diet and his education. There are three giants crowded around Gulliver who is standing on a table. They each wear elaborate hats and have beards. The giant on the left holds a magnifying glass to his left eye. His hat has what looks like a tree and an insect on top. The centre giant’s face is somewhat in shadow, and his hat has an image of a compass and a globe. The man on the right has depictions of scientific instruments on his hat. Gulliver is seated on a table that is elaborately carved and looks up at the giants. The same image appears in the 1839 Krabbe edition.
This engraving depicts the tragic fate of a young virgin woman from Rome named Verginia. Boccaccio explains that one of the decemvirs, Appius Claudius, fell madly in love with Verginia. Despite already being betrothed to another man, Appius Claudius devised a plan to have Verginia as his own. Appius Claudius had gotten one of his freedmen (Marcus Claudius) to capture Verginia and claim her as a slave. Verginia’s father, Verginius, went to the trial and protested the sentence of his daughter becoming a slave. Appius Claudius, however, was the judge presiding over the case, and officially decreed Verginia to be a slave. This court trial is depicted on the left side of the engraving, with Appius Claudius sitting on the chair pointing towards Verginia, Verginius, and Verginia’s betrothed, Icilius. After Claudius decrees Verginia to be enslaved, her father takes a knife and stabs her with it as his only way to save her. This is depicted on the right side of the engraving, which illustrates Verginius piercing his daughter’s chest.
There are two men in the outdoors, one of them is swinging an axe back aiming the ground towards him while the other man is throwing a stone to the ground while his other hand holds the axe down in front of him. There are 4 standing trees in the background with three stumps next to them with a broken tree laying on the ground nearby.
![[Finis]](https://cemvccol.ace-net.training/files/large/f97a1c587f499cf213349d44e660fc3905fdda91.jpg)
![[Act II (Second Illustration) – Sempronio (?) Sitting on a Horse as He Prepares to Visit Celestina]](https://cemvccol.ace-net.training/files/large/5b3de6ff75e1413e05b0c1bd1416cde62a69e744.jpg)
![[Eagle hovers over rabbit]](https://cemvccol.ace-net.training/files/large/34783269c652a0f6060947d6d676ef841bf5d7eb.jpg)
![[Conflict between Indigenous Canadian groups]](https://cemvccol.ace-net.training/files/large/1365feebeedf902987d5a8933086ab8f420dc25a.jpg)
![[A Tupinambá man, woman and child]](https://cemvccol.ace-net.training/files/large/3a309dbc8510126b65460c0ad32f742469daf040.jpg)
![[Act XV – Areusa and Elicia]](https://cemvccol.ace-net.training/files/large/18052b27d191840e6dc20d29a067e40a20f2598c.jpg)
![[Scholars from Brobdingnag examine Gulliver]](https://cemvccol.ace-net.training/files/large/319744d6790bded24b4b6aded888405f3d368bda.jpg)
![[Cutting Down Trees]](https://cemvccol.ace-net.training/files/large/c13850503fad35989b00cc2b7d1691dcf805b63a.jpg)