Because Sterne seems to have constructed the loose narrative around memorable scenes, nineteenth-century artists have visualised A Sentimental Journey as a series of vignettes featuring the narrator-protagonist, the Reverend Mr. Yorick, and the salient characters on his journey, in particular the Monk at Calais, the beautiful young lady, and his companion, the deserter La Fleur. Although neither of the dominating geniuses of illustration, Hablot Knight Browne and George Cruikshank, attempted to illustrate the novella, in the latter part of the eighteenth century it became one of the most frequently illustrated volumes of fiction, beginning in 1780 with such set pieces as the scenes between Yorick and Maria, and between Yorick and the Monk.

Favourite scenes (of pathos, eroticism, or social community) included Yorick and the grisette; the dead ass; the captive; and the grace. During the Regency, illustrated editions tended to highlight the erotic encounters and turn Yorick into a comically groping figure. The visual history of A Sentimental Journey (and other sentimental novels, such as The Man of Feeling) reminds us of the highly pictorial culture of sentimentalism, whose texts often draw attention to the inadequacy of language alone to convey the full emotional force of a scene. [Turner, p. 42].
See https://victorianweb.org/art/illustration/johannot/sentimental.html