Illustrations permeated and arguably defined Victorian print for much of the nineteenth century. Just as technological advances facilitated the proliferation of printed materials due to the reductions in costs produced by high-speed steam presses, Patricia Anderson demonstrates how similar improvements made high-quality mass reproduction of diverse imagery both possible and profitable (2). Consequently, the Victorian reading public expected illustrations as a central print component in everything from advertisements and news reports, to poetry, printed books, and serialized stories. Perhaps no form of publishing was affected more by the use of images in the nineteenth century than that of serialized narratives. Beginning with Dickens's Pickwick Papers (1836-1837), the inclusion of illustrations played a significant role in the serial's distribution and reception. Mary Elizabeth Leighton and Lisa Surridge have argued that appeals relevant to all illustrated Victorian fiction apply with particular force to serial novels, in which the placement and prominence of illustrations made images an essential part the Victorian reading experience as they became key aspects of every (66). Similarly, while J. R. Harvey acknowledges that Victorian book illustrations were accessories after the fact that not belong to the novel in the sense that without them the novel would not be complete, he singles out serialized novels as an important exception (2). For Harvey, it is precisely in this respect that the serial novels are so unusual: they do show text and picture making a single art (2). Thus, rather than acting independently, the visual illustrations included in Victorian serialized work in tandem with the verbal words on the page as one narrative text in its evocation of the storyworld. Previous scholarship concerning illustrations in this context focuses on how the dual perspectives provided in each mode subvert plot and character construction in the storyworld and speak to issues of reliability. For example, Robert Patton suggests illustrations in Dickens's works often offer alternative perspectives and contradictory voices to those described in the narrative discourse, creating a polyvocality that is everywhere present in illustrated narratives (92). However, scholars of this period often neglect how the multimodal aspect of serial also affects the construction the space of the narrative, typically relegating the spatial component to background or scenery in favor of interpreting the focal characters and their actions. This essay, therefore, examines the role illustrations play in the construction of the storyworld space in two widely popular early Victorian serials: William Harrison Ainsworth's Tack Sheppard (1839-1840),1 originally published as monthly installments in Bentley's Miscellany, and George W. M. Reynolds's The Mysteries of London (1844-1845), originally published in weekly eight-page penny-parts. Specifically, I examine the importance of opening illustrations in establishing a reader's spatial entrance to the storyworld and how each individual installment establishes a unique re-entry for the reader into the storyworld due to the serial's enforced interruptions. Secondly, I also consider how the material placement of the visual image on the printed page relative to the corresponding verbal discourse potentially affects the reader's construction of particular interior spaces within the storyworld. This relationship is important to understand for two reasons. First, while the enforced interruptions present in the original illustrations are erased when compiled into bound forms, the narrative patterns dictated by the conventions of serialization remain present in the structure of the storyworld and its spatial components. Secondly, my focus on the structure and interaction of illustrations and printed text in the original installments as opposed to later compiled editions acknowledges arguments previously made by Leighton and Surridge concerning how changes in the physical arrangement of the text from installment to bound novel changes the configuratory process of the reader. …