other London printers as well. As a collected work, the novels bore the subtitle A Novel without a Hero. By the end of 1859, royalties on Vanity Fair had only given Thackeray about £2000, a third of his take from The Virginians, but was responsible for his still more lucrative lecture tours in Britain and the United States. From his first draft and following publication, Thackeray occasionally revised his allusions to make them more accessible for his readers. In Chapter 5, an original "Prince Whadyecallem" became "Prince Ahmed" by the 1853 edition. In Chapter 13, a passage about the filicidal Biblical figure Jephthah was removed, although references to Iphigenia remained important. In Chapter 56, Thackeray originally confused Samuel – the boy whose mother Hannah had given him up when called to by God – with Eli, the old priest to whose care he was entrusted; this mistake was not corrected until the 1889 edition, after Thackeray's death. The serials had been subtitled Pen and Pencil Sketches of English Society and both they and the early bound versions featured Thackeray's own illustrations. These sometimes provided symbolically-freighted images, such as one of the female characters being portrayed as a man-eating mermaid. In at least one case, a major plot point is provided through an image and its caption. Although the text makes it clear that other characters suspect Becky Sharp to have murdered her second husband, there is nothing definitive in the text itself. However, an image reveals her overhearing Jos pleading with Dobbin while clutching a small white object in her hand. The caption that this is Becky's second appearance in the character of Clytemnestra clarifies that she did indeed murder him for the insurance money, likely through laudanum or another poison. "The final three illustrations of Vanity Fair are tableaux that insinuate visually what the narrator is unwilling to articulate: that Becky... has actually been substantially rewarded – by society – for her crimes." One of the Thackeray's plates for the 11th issue of Vanity Fair was suppressed from publication by threat of prosecution for libel, so great was the resemblance of its depiction of Lord Steyne to Marquis of Hertford. Despite their relevance, most modern editions either do not reproduce all the illustrations or do so with poor detail. . , reprinted 1925. , without illustration. . , reprinted 1898. , reprinted 1886. . . , in four editions.