Imitations and adaptations of Sterne’s work in verbal form show how inventive his readers could be as they remodelled the ideas, characters, and scenes taken from Tristram Shandy and A sentimental journey to fit new times, places, and readers. They are richly complemented by a vast body of visual Sterneana. Besides imitations of Sterne’s distinctive typography, numerous artists depicted the characters and scenes found in Sterne’s novels in book illustrations, paintings, prints, ceramics, and on other objects bearing Sternean images. Sometimes visual Sterneana incorporates nothing more than an allusion to Sterne’s books, or to their creator. Graphic satirists working in the late eighteenth and early nineteenth centuries, such as George Cruikshank, often clinch the satirical jibe of their image using a Sternean reference or quotation. The author himself also appears in images relating to his books, further cementing the connection between Sterne and his fictional creations (both Tristram and Yorick) that his readers had made from the outset, and which he played up to in person and in print. Like textual forms of Sterneana, these images display the panoply of different readings that Sterne’s books have consistently invited and which have emerged alongside one another, ranging from the grotesque or bawdy to the pathetic and touching.