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An engraving depicting the burning of eighteen Anabaptists. The image shows the victims bound to burning stakes and praying as a pair of men stoke the fires.

An engraving depicting the burning of eighteen Anabaptists. The image shows the victims bound to burning stakes and praying as a pair of men stoke the fires.

An engraving depicting the burning of 180 people from the Cathar sect who had been labeled heretics by the Pope. The image shows a massive bonfire with numerous people being thrown onto it while a crowd watches.

An engraving depicting the burning of 180 people from the Cathar sect who had been labeled heretics by the Pope. The image shows a massive bonfire with numerous people being thrown onto it while a crowd watches.

An engraving depicting the burning of 224 Waldensians outside of Toulouse. The image shows a large number of stakes with people tied to them being set ablaze as a crowd watches.

An engraving depicting the burning of 224 Waldensians outside of Toulouse. The image shows a large number of stakes with people tied to them being set ablaze as a crowd watches.

A depiction of seven notable scholars (real and mythological) from ancient Greece and Rome, including (clockwise from the bottom left): Xenokrates (ΞΕΝΟΚΡΑΤΗς), Pamphilos (ΠΑΜΦΙΛΟς), Machaon (ΜΑΧΑωΝ), Cheiron (ΧΕΙΡωΝ), Nigros or Niger (ΝΙΓΡΟς), [H]erakleides (ΗΡΑΚΛΕΙΔΗς), and Mantias (ΜΑΝΤΙΑς).

A depiction of seven notable scholars (real and mythological) from ancient Greece and Rome, including (clockwise from the bottom left): Xenokrates (ΞΕΝΟΚΡΑΤΗς), Pamphilos (ΠΑΜΦΙΛΟς), Machaon (ΜΑΧΑωΝ), Cheiron (ΧΕΙΡωΝ), Nigros or Niger (ΝΙΓΡΟς), [H]erakleides (ΗΡΑΚΛΕΙΔΗς), and Mantias (ΜΑΝΤΙΑς).

A series of six engravings depicting the events surrounding election of new pope. He is adored in the Sistine Chapel (top right), he is adored at thealtar of St. Peter (top left), he witnesses the burning of flax, which represents the fleeting nature of earthly glory (middle right), he is crowned (middle left), he receives a Torah scroll from the Jewish people (bottom right) and receives the keys symbolizing the keys to the Kingdom of heaven.

A series of six engravings depicting the events surrounding election of new pope. He is adored in the Sistine Chapel (top right), he is adored at thealtar of St. Peter (top left), he witnesses the burning of flax, which represents the fleeting nature of earthly glory (middle right), he is crowned (middle left), he receives a Torah scroll from the Jewish people (bottom right) and receives the keys symbolizing the keys to the Kingdom of heaven.

An engraving of a framed image of Adam naming animals as detailed in Genesis 2:20. The framed image sits above a plinth with the inscription: "And Adam gave names to all cattle, and to the fowl of the air, and to every beast of the field:". Above the framed image are symbols of the Old and New Testaments, including the tablets of the Ten Commandments, a Sefer Torah, a Cross, and a crown of thorns flanking a glowing star shape potentially representing the Holy Spirit. The entire composition is surrounded by floral decorations held aloft by three birds.

An engraving of a framed image of Adam naming animals as detailed in Genesis 2:20. The framed image sits above a plinth with the inscription: "And Adam gave names to all cattle, and to the fowl of the air, and to every beast of the field:". Above the framed image are symbols of the Old and New Testaments, including the tablets of the Ten Commandments, a Sefer Torah, a Cross, and a crown of thorns flanking a glowing star shape potentially representing the Holy Spirit. The entire composition is surrounded by floral decorations held aloft by three birds.

An engraved portrait of Pope Adrian VI, who sat as pope from 1522-1523. The portrait shows Adrian VI wearing elaborate vestments with his coat of arms featured in the upper left corner. The portrait is labeled "ADRIANVS. VI. PAPA. TRAIECTENSIS. BELGA".

An engraved portrait of Pope Adrian VI, who sat as pope from 1522-1523. The portrait shows Adrian VI wearing elaborate vestments with his coat of arms featured in the upper left corner. The portrait is labeled "ADRIANVS. VI. PAPA. TRAIECTENSIS. BELGA".

A pair of engravings depicting four obelisks (Vatican Obelisk, Lateran Obelisk, Flaminio Obelisk, and the Esquiline Obelisk), the Santi Apostoli, and Trajan's Column. All of these were part of Pope Sixtus V's urban reform program.

A pair of engravings depicting four obelisks (Vatican Obelisk, Lateran Obelisk, Flaminio Obelisk, and the Esquiline Obelisk), the Santi Apostoli, and Trajan's Column. All of these were part of Pope Sixtus V's urban reform program.

An engraving depicting a scene from the third book of the epic poem, Saint Louys, in which Alcinde (center left, by the crocodile's tail, holding a bow), killed a large crocodile which was the guardian deity of the city of Damietta before the arrival of Saint Louis and the crusaders.

An engraving depicting a scene from the third book of the epic poem, Saint Louys, in which Alcinde (center left, by the crocodile's tail, holding a bow), killed a large crocodile which was the guardian deity of the city of Damietta before the arrival of Saint Louis and the crusaders.

An engraved portrait of Antipope Alexander V, who was elected by the Council of Pisa during the Western Schism and held the office from 1409-1410. The portrait shows Alexander V wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "ALEXANDER. V. PAPA. CRETENSIS. GRÆCVS".

An engraved portrait of Antipope Alexander V, who was elected by the Council of Pisa during the Western Schism and held the office from 1409-1410. The portrait shows Alexander V wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "ALEXANDER. V. PAPA. CRETENSIS. GRÆCVS".

An engraved portrait of Pope Alexander VI, who sat as pope from 1492-1503. The portrait shows Alexander VI wearing simple vestments with his coat of arms featured in the upper right corner. The portrait is labeled "ALEXANDER. VI. PAPA. VALENTINVS. HISP".

An engraved portrait of Pope Alexander VI, who sat as pope from 1492-1503. The portrait shows Alexander VI wearing simple vestments with his coat of arms featured in the upper right corner. The portrait is labeled "ALEXANDER. VI. PAPA. VALENTINVS. HISP".

An engraving depicting the execution of Algerius, a student from Padua. The image shows Algerius being drenched in boiling oil as he stands before a prepared stake and pyre while a monk attempts to convince him to repent.

An engraving depicting the execution of Algerius, a student from Padua. The image shows Algerius being drenched in boiling oil as he stands before a prepared stake and pyre while a monk attempts to convince him to repent.

An engraving depicting a scene from the second book of the epic poem, Saint Louys, in which Alphonse de Pointiers, after having been shipwecked near Acre, rescues the young woman, Lisamante, from panthers.

An engraving depicting a scene from the second book of the epic poem, Saint Louys, in which Alphonse de Pointiers, after having been shipwecked near Acre, rescues the young woman, Lisamante, from panthers.

An engraving depicting the Altar of All Saints which contains minor relics of various saints.

An engraving depicting the Altar of All Saints which contains minor relics of various saints.

An engraving depicting a scene from the tenth book of the epic poem, Saint Louys, in which, following the destruction of the poisoned armor gifted to Saint Louis by the Sultan's representatives, the hermit and widow of Aymon de Bourbon, Alégonde, is consulted to interpret the sign, and informs the prelates that only a member of the House of Bourbon can battle the dragon blocking the crusaders path.

An engraving depicting a scene from the tenth book of the epic poem, Saint Louys, in which, following the destruction of the poisoned armor gifted to Saint Louis by the Sultan's representatives, the hermit and widow of Aymon de Bourbon, Alégonde, is consulted to interpret the sign, and informs the prelates that only a member of the House of Bourbon can battle the dragon blocking the crusaders path.

An engraving depicting the arrest of Andries Langedul. The image shows Langedul seated on a porch witha Bible open on his lap, the open door behind him showing his family inside the house, as a man accompanied by guards approaches him from the street.

An engraving depicting the arrest of Andries Langedul. The image shows Langedul seated on a porch witha Bible open on his lap, the open door behind him showing his family inside the house, as a man accompanied by guards approaches him from the street.

An engraving depicting the execution of Anne Hendricks. The image shows Hendricks, bound to a ladder, being lifted towards a bonfire as a crowd watches.

An engraving depicting the execution of Anne Hendricks. The image shows Hendricks, bound to a ladder, being lifted towards a bonfire as a crowd watches.

An engraving depicting the execution of Anne Ians. The image shows Anne being led away as she reaches back to deliver her final testament of faith to her son.

An engraving depicting the execution of Anne Ians. The image shows Anne being led away as she reaches back to deliver her final testament of faith to her son.

An engraving depicting the execution of Anne van den Hove. The image shows van den Hove buried up to her neck while priests attempt to convince her to recant.

An engraving depicting the execution of Anne van den Hove. The image shows van den Hove buried up to her neck while priests attempt to convince her to recant.

An engraving depicting the martyrdom of Antipas of Pergamum. The image shows a hollow bull statue set above a blazing fire.

An engraving depicting the martyrdom of Antipas of Pergamum. The image shows a hollow bull statue set above a blazing fire.

An engraving depicting the execution of Anthonie Ysbaarts. The image shows Ysbaarts bound to a stake as a man attempts to stop the executioner from lighting the pyre.

An engraving depicting the execution of Anthonie Ysbaarts. The image shows Ysbaarts bound to a stake as a man attempts to stop the executioner from lighting the pyre.

An engraving depicting the main altar of the Basilica di Santa Maria Maggiore.

An engraving depicting the main altar of the Basilica di Santa Maria Maggiore.

An engraving depicting a scene from the sixteenth book of the epic poem, Saint Louys, in which Archambaut de Bourbon battles and defeats the sorcerer, Mirème, who has created demonic illusions and traps to keep the cruasders from accessing the Matariya Fountain and curing Saint Louis of his poisoned arrow wound.

An engraving depicting a scene from the sixteenth book of the epic poem, Saint Louys, in which Archambaut de Bourbon battles and defeats the sorcerer, Mirème, who has created demonic illusions and traps to keep the cruasders from accessing the Matariya Fountain and curing Saint Louis of his poisoned arrow wound.

An engraving depicting a scene from the twelfth book of the epic poem, Saint Louys, in which Archambaut de Bourbon, wearing the armor of his ancestor, Aymon de Bourbon, battles and defeats the dragon stopping the crusaders from building a bridge across the Nile.

An engraving depicting a scene from the twelfth book of the epic poem, Saint Louys, in which Archambaut de Bourbon, wearing the armor of his ancestor, Aymon de Bourbon, battles and defeats the dragon stopping the crusaders from building a bridge across the Nile.

An engraving depicting the body of Arnaldo of Brescia, who was burned at the stake for heresy. The image shows two men using tongs to push the Arnoldo's remaining bones into the flames as a monk and the pope watch.

An engraving depicting the body of Arnaldo of Brescia, who was burned at the stake for heresy. The image shows two men using tongs to push the Arnoldo's remaining bones into the flames as a monk and the pope watch.

An astronomical diagram with hand drawn details.

An astronomical diagram with hand drawn details.

An engraving depicting the arrest of Augustine the baker. The image shows Augustine, who had been kneeding dough, attempting to flee as a trio of men arrive at his bakery in order to arrest him.

An engraving depicting the arrest of Augustine the baker. The image shows Augustine, who had been kneeding dough, attempting to flee as a trio of men arrive at his bakery in order to arrest him.

Shipwreck on the Bahama banks with a quotation from the Bible (Job 33:14-16, 29-30) under it.

Shipwreck on the Bahama banks with a quotation from the Bible (Job 33:14-16, 29-30) under it.

An engraving of Dante and Virgil facing off against a horde of demonic entities as they travel through Hell.

An engraving of Dante and Virgil facing off against a horde of demonic entities as they travel through Hell.

An engraving depicting the martyrdom of the 440 Martyrs killed by the Lombards. The image shows figures being beheaded (left) while a man kneels before an altar with a goat's head.

An engraving depicting the martyrdom of the 440 Martyrs killed by the Lombards. The image shows figures being beheaded (left) while a man kneels before an altar with a goat's head.

An engraving depicting the martyrdom of Saint Blandina. The image shows Blandina being tossed by a bull towards a second bull's oncoming charge, while in the background there is a burning grill where she had previously been severely burned.

An engraving depicting the martyrdom of Saint Blandina. The image shows Blandina being tossed by a bull towards a second bull's oncoming charge, while in the background there is a burning grill where she had previously been severely burned.

A series of six engravings depicting the process for blessing a new church as it is built. The scenes include a bishop blessing the first stone (top left) and the earth on which the church will be built (top right), a bishop then placing the first stone (middle left) and blessing the church foundation (middle right), a bishop sprinkling holy water on the completed church (bottom left) and making the sign of the cross at the door (bottom right).

A series of six engravings depicting the process for blessing a new church as it is built. The scenes include a bishop blessing the first stone (top left) and the earth on which the church will be built (top right), a bishop then placing the first stone (middle left) and blessing the church foundation (middle right), a bishop sprinkling holy water on the completed church (bottom left) and making the sign of the cross at the door (bottom right).

An engraved portrait of Pope Boniface IX, who sat as pope from 1389-1404. The portrait shows Boniface IX wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "BONIFACIVS. IX. PAPA. NEAPOLITANVS".

An engraved portrait of Pope Boniface IX, who sat as pope from 1389-1404. The portrait shows Boniface IX wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "BONIFACIVS. IX. PAPA. NEAPOLITANVS".

An engraved portrait of Pope Callistus III, who sat as pope from 1455-1458. The portrait shows Callistus III wearing elaborate vestments with his coat of arms featured in the upper right corner. The portrait is labeled "CALIXTVS. III. PAPA. VALENTINVS. HISPANVS".

An engraved portrait of Pope Callistus III, who sat as pope from 1455-1458. The portrait shows Callistus III wearing elaborate vestments with his coat of arms featured in the upper right corner. The portrait is labeled "CALIXTVS. III. PAPA. VALENTINVS. HISPANVS".

An engraving depicting the martyrdom of Saint Cassian of Imola. The image shows Cassian bound and stabbed with styli (writing implements used with wax tablets) by his students.

An engraving depicting the martyrdom of Saint Cassian of Imola. The image shows Cassian bound and stabbed with styli (writing implements used with wax tablets) by his students.

A series of six engravings depicting a variety of Catholic blessings, including: blessing of priestly robes (top left), blessing of the cross (top right), adoration of the cross (middle left), blessing of the sun (middle right) blessing of a soldier (bottom left), and blessing of a flag (bottom right).

A series of six engravings depicting a variety of Catholic blessings, including: blessing of priestly robes (top left), blessing of the cross (top right), adoration of the cross (middle left), blessing of the sun (middle right) blessing of a soldier (bottom left), and blessing of a flag (bottom right).

A pair of engravings depicting Jewish weddings in Portugal (top) and Germany (bottom). The Portugese wedding shows a gathering indoors, the bride sitting beneath a canopy on a dais as the groom raises a glass to toss it down and break. The German wedding shows a gathering outdoors, the bride and groom trading rings beneath a tallit as the rabbi guides them.

A pair of engravings depicting Jewish weddings in Portugal (top) and Germany (bottom). The Portugese wedding shows a gathering indoors, the bride sitting beneath a canopy on a dais as the groom raises a glass to toss it down and break. The German wedding shows a gathering outdoors, the bride and groom trading rings beneath a tallit as the rabbi guides them.

A pair of engravings depicting a Catholic wedding ceremony (top) and a priest blessing a newlywed couple's nuptial bed (bottom).

A pair of engravings depicting a Catholic wedding ceremony (top) and a priest blessing a newlywed couple's nuptial bed (bottom).

A pair of engravings depicting the rites of confirmation including the anointment (top) and the laying on of hands (bottom).

A pair of engravings depicting the rites of confirmation including the anointment (top) and the laying on of hands (bottom).

A pair of engravings depicting the observance of Maundy Thursday (top) by washing the feet of twelve poor people, and Good Friday (bottom) by offering addoration to the Cross.

A pair of engravings depicting the observance of Maundy Thursday (top) by washing the feet of twelve poor people, and Good Friday (bottom) by offering addoration to the Cross.

An engraving depicting a scene from the eighth book of the epic poem, Saint Louys, in which Christ offers the crown of Rome, the crown of Byzantium, and the Crown of Thorns to Saint Louis, who choses the Crown of Thorns. Saint Louis kneels on a cloud held up by angels, reaching out towards Christ enthroned and surrounded by seraphim, while below the two, the orders of the blessed behold the scene in praise.

An engraving depicting a scene from the eighth book of the epic poem, Saint Louys, in which Christ offers the crown of Rome, the crown of Byzantium, and the Crown of Thorns to Saint Louis, who choses the Crown of Thorns. Saint Louis kneels on a cloud held up by angels, reaching out towards Christ enthroned and surrounded by seraphim, while below the two, the orders of the blessed behold the scene in praise.

An engraving depicting the execution of Christian Langedul and three others. The image shows the four bound men being led inside a straw lean-to and chained to posts within while a brazier sits to the side ready to light the lean-to on fire.

An engraving depicting the execution of Christian Langedul and three others. The image shows the four bound men being led inside a straw lean-to and chained to posts within while a brazier sits to the side ready to light the lean-to on fire.

An engraved portrait of Pope Clement VII, who sat as pope from 1523-1534. The portrait shows Clement VII wearing a simple miter and vestments with his coat of arms featured in the upper right corner. The portrait is labeled "CLEMENS. VII. PAPA. FLORENTINVS".

An engraved portrait of Pope Clement VII, who sat as pope from 1523-1534. The portrait shows Clement VII wearing a simple miter and vestments with his coat of arms featured in the upper right corner. The portrait is labeled "CLEMENS. VII. PAPA. FLORENTINVS".

An engraving depicting the death of Clement of Scotland, who was accused of heresy by Saint Boniface and burned at the stake.

An engraving depicting the death of Clement of Scotland, who was accused of heresy by Saint Boniface and burned at the stake.

An engraving depicting the papal monument of Clement VIII in the Borghese Chapel in the Basilica di Santa Maria Maggiore. The monument sits on the western wall of the chapel and includes a statue of the pope as well as depictions of his life and works.

An engraving depicting the papal monument of Clement VIII in the Borghese Chapel in the Basilica di Santa Maria Maggiore. The monument sits on the western wall of the chapel and includes a statue of the pope as well as depictions of his life and works.

An engraving depicting the coffin of Pope Pius V. The side of the coffin features a relief of the Pope in repose and has a decorative lid featuring a crest reading, "CORPUS B. PII. V. PONT. MAX. EX ORD. FF. PRAED." surrounded by cherub heads, roses, and lilies.

An engraving depicting the coffin of Pope Pius V. The side of the coffin features a relief of the Pope in repose and has a decorative lid featuring a crest reading, "CORPUS B. PII. V. PONT. MAX. EX ORD. FF. PRAED." surrounded by cherub heads, roses, and lilies.

An engraving depicting Saint Cointha before her martyrdom. The image shows Cointha rejecting the altar of a Roman god as two men bring rope (right) with which to tie her by her feet to a horse to be dragged through the streets.

An engraving depicting Saint Cointha before her martyrdom. The image shows Cointha rejecting the altar of a Roman god as two men bring rope (right) with which to tie her by her feet to a horse to be dragged through the streets.

An engraved headpiece to the second, eighth, and fourteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by a pair of heads blowing air, below which is a banner with the Latin motto, "Concutient non excutient." (They will shake/stike violently [but] they will not shake off/cast out).

An engraved headpiece to the second, eighth, and fourteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by a pair of heads blowing air, below which is a banner with the Latin motto, "Concutient non excutient." (They will shake/stike violently [but] they will not shake off/cast out).

A series of four engravings depicting four people sentenced to be burnt at the stake by the Inquisition. The man and young woman at the top of the page confessed and thus avoided their punishment, while the woman and man on the bottom have yet to confess.

A series of four engravings depicting four people sentenced to be burnt at the stake by the Inquisition. The man and young woman at the top of the page confessed and thus avoided their punishment, while the woman and man on the bottom have yet to confess.

A series of six engravings depicting the steps of consecration for new items within a church, including a cross, a bell and a statue.

A series of six engravings depicting the steps of consecration for new items within a church, including a cross, a bell and a statue.

A series of six engravings depicting the process of blessing an altar. The scenes include (top left), a bishop following behind a subdeacon spreading ash on the ground writing the Latin and Greek alphabets in a cross shape (top left), a bishop anointing the altar (middle left) and the floor (middle right) with holy water, a procession bringng relics into the church (bottom left), and a bishop placing the relics inside the altar (bottom right).

A series of six engravings depicting the process of blessing an altar. The scenes include (top left), a bishop following behind a subdeacon spreading ash on the ground writing the Latin and Greek alphabets in a cross shape (top left), a bishop anointing the altar (middle left) and the floor (middle right) with holy water, a procession bringng relics into the church (bottom left), and a bishop placing the relics inside the altar (bottom right).

A series of six engravings depicting the process of consecrating the interior of a church with holy oil. The scenes show a bishop anointing and consecrating parts of a church, known as chrism, including crosses on the walls, the trappings of the altar, and the altar itself.

A series of six engravings depicting the process of consecrating the interior of a church with holy oil. The scenes show a bishop anointing and consecrating parts of a church, known as chrism, including crosses on the walls, the trappings of the altar, and the altar itself.

The act of consoling the afflicted, illustrated and accompanied by scriptural references.

The act of consoling the afflicted, illustrated and accompanied by scriptural references.

An engraving depicting a cross-section of the Borghese Chapel in the Basilica di Santa Maria Maggiore, facing east, with a view of the dome and the papal monument of Paul V.

An engraving depicting a cross-section of the Borghese Chapel in the Basilica di Santa Maria Maggiore, facing east, with a view of the dome and the papal monument of Paul V.

An engraving depicting a cross-section of the Borghese Chapel in the Basilica di Santa Maria Maggiore, facing north, with a view of the dome and through the entrance into the nave.

An engraving depicting a cross-section of the Borghese Chapel in the Basilica di Santa Maria Maggiore, facing north, with a view of the dome and through the entrance into the nave.

An engraving depicting a cross-section of the Borghese Chapel in the Basilica di Santa Maria Maggiore, facing west, with a view of the dome and the papal monument of Clement VIII.

An engraving depicting a cross-section of the Borghese Chapel in the Basilica di Santa Maria Maggiore, facing west, with a view of the dome and the papal monument of Clement VIII.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing east, with a view of the dome and the papal monument of Sixtus V.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing east, with a view of the dome and the papal monument of Sixtus V.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing north from the entrance to the nave, with a view of the dome and back wall.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing north from the entrance to the nave, with a view of the dome and back wall.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing south towards the entrance to the nave, with a view of the dome.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing south towards the entrance to the nave, with a view of the dome.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing west, with a view of the dome and the papal monument of Pius V.

An engraving depicting a cross-section of the Sistine Chapel in the Basilica di Santa Maria Maggiore, facing west, with a view of the dome and the papal monument of Pius V.

An engraving depicting a cross-section of apse of the Basilica di Santa Maria Maggiore, looking west with a view down either lateral nave.

An engraving depicting a cross-section of apse of the Basilica di Santa Maria Maggiore, looking west with a view down either lateral nave.

An engraving depicting a cross-section of the end of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse, main altar, and the two reliquaries.

An engraving depicting a cross-section of the end of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse, main altar, and the two reliquaries.

An engraving depicting a cross-section of the nave of the Basilica di Santa Maria Maggiore, looking east from the main altar. This shows two bell towers, although the actual building only has one.

An engraving depicting a cross-section of the nave of the Basilica di Santa Maria Maggiore, looking east from the main altar. This shows two bell towers, although the actual building only has one.

An engraving depicting a cross-section of the middle portion of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse and the main altar.

An engraving depicting a cross-section of the middle portion of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse and the main altar.

An engraving depicting a cross-section of the northeastern corner of the Basilica di Santa Maria Maggiore, highlighting the improvements paid for through a Papal Bull issued by Pope Paul V. This view shows the area as viewed from the central nave looking north, past the base of the bell tower.

An engraving depicting a cross-section of the northeastern corner of the Basilica di Santa Maria Maggiore, highlighting the improvements paid for through a Papal Bull issued by Pope Paul V. This view shows the area as viewed from the central nave looking north, past the base of the bell tower.

An engraving depicting a cross-section of the northeastern corner of the Basilica di Santa Maria Maggiore, highlighting the improvements paid for through a Papal Bull issued by Pope Paul V. This view shows the area as viewed looking south, toward the bell tower, and shows the papal monument of Paul V just inside the entrance to the

An engraving depicting a cross-section of the northeastern corner of the Basilica di Santa Maria Maggiore, highlighting the improvements paid for through a Papal Bull issued by Pope Paul V. This view shows the area as viewed looking south, toward the bell tower, and shows the papal monument of Paul V just inside the entrance to the

An engraving depicting various tortures and executions of Christians during the persecutions ordered under Emperors Diocletian and Maximian. The image shows five different methods of crucifixion (right), people being burned at the stake (center, background), a man being beaten (center), a figure being attacked by dogs (bottom left), and a figure being stabbed, covered in oil, and burned (left), all while the Emperors watch (top left, background).

An engraving depicting various tortures and executions of Christians during the persecutions ordered under Emperors Diocletian and Maximian. The image shows five different methods of crucifixion (right), people being burned at the stake (center, background), a man being beaten (center), a figure being attacked by dogs (bottom left), and a figure being stabbed, covered in oil, and burned (left), all while the Emperors watch (top left, background).

A pair of engravings depicting the dome atop St. Peter's Basilica and the Vatican Library, both of which were parts of Pope Sixtus V's urban reform program.

A pair of engravings depicting the dome atop St. Peter's Basilica and the Vatican Library, both of which were parts of Pope Sixtus V's urban reform program.

An engraving of the four beasts which appeared to Daniel in a vision. Each beast represented a different kingdom and is labeled from left to right: Roma (Rome), Grecia (Greece), Persia, and Asyria.

An engraving of the four beasts which appeared to Daniel in a vision. Each beast represented a different kingdom and is labeled from left to right: Roma (Rome), Grecia (Greece), Persia, and Asyria.

An engraving depicting the execution of David and Levina. The image shows Levina and David having been strangled and burned at the stake, and a man stabbing David to make sure he is dead.

An engraving depicting the execution of David and Levina. The image shows Levina and David having been strangled and burned at the stake, and a man stabbing David to make sure he is dead.

An engraved tailpiece to the sixth, ninth, tenth, and twelfth books of Moyne's epic, "Saint Louys," depicting the standard of the Kingdom of France encircled by a crown of thorns beneath a banner with the Latin motto, "decus et tutamen" (glory/honor and [a means of] protection).

An engraved tailpiece to the sixth, ninth, tenth, and twelfth books of Moyne's epic, "Saint Louys," depicting the standard of the Kingdom of France encircled by a crown of thorns beneath a banner with the Latin motto, "decus et tutamen" (glory/honor and [a means of] protection).

The dedication page of Diego de Saavedra Fajardo's Obras de Don Diego de Saauedra Faxardo Cavallero del Orden de S. Iago, del Consejo de su Magestad en el Supremo de las Indias, y su Embajador plenipotençiario en los treze cantones, &c. : en dos tomos divididas, el primero contiene I. Idea de un principe politico christiano, representada en cien Empresas, honoring Aubertus van den Eede, the Bishop of Antwerp. The bishop's coat of arms is included at the top of the page, featuring a quartered crest and topped with a galero.

The dedication page of Diego de Saavedra Fajardo's Obras de Don Diego de Saauedra Faxardo Cavallero del Orden de S. Iago, del Consejo de su Magestad en el Supremo de las Indias, y su Embajador plenipotençiario en los treze cantones, &c. : en dos tomos divididas, el primero contiene I. Idea de un principe politico christiano, representada en cien Empresas, honoring Aubertus van den Eede, the Bishop of Antwerp. The bishop's coat of arms is included at the top of the page, featuring a quartered crest and topped with a galero.

An engraved dedicatory headpiece to a collection of engravings based on the work of Raphael. The engraving depicts a pair of columns, one with a man's head crowned in laurels and the other with a bearded man's head, (sides) and a pair of lions standing above orbs and flanking a trio of feathers and a wreath (top).

An engraved dedicatory headpiece to a collection of engravings based on the work of Raphael. The engraving depicts a pair of columns, one with a man's head crowned in laurels and the other with a bearded man's head, (sides) and a pair of lions standing above orbs and flanking a trio of feathers and a wreath (top).

An engraving depicting a Roman triumphal procession passing through a triumphal gate and accross the triumphal bridge (Pons Neronianus/Vaticanus) along the triumphal way (Via Triumphale) across the Tiber River. Above the scene, an angel flies, blowing on a trumpet that is draped with a flag bearing a crest with "S.P.Q.R." on it. The accompanying text discusses sources that claim St. Peter was buried near the Via Triumphale.

An engraving depicting a Roman triumphal procession passing through a triumphal gate and accross the triumphal bridge (Pons Neronianus/Vaticanus) along the triumphal way (Via Triumphale) across the Tiber River. Above the scene, an angel flies, blowing on a trumpet that is draped with a flag bearing a crest with "S.P.Q.R." on it. The accompanying text discusses sources that claim St. Peter was buried near the Via Triumphale.

An engraved portrait of Desiderius Erasmus based on a portrait pained by Hans Holbein. The caption reads "Desid: Erasmus Roterod: Natus 1467. Den: et Sepult: Basiliae 1556. Ad Archetypum I: Holbenii in Biblioth: bupl: Basil: adservatum pictum cum annum ageret Erasmus LV."

An engraved portrait of Desiderius Erasmus based on a portrait pained by Hans Holbein. The caption reads "Desid: Erasmus Roterod: Natus 1467. Den: et Sepult: Basiliae 1556. Ad Archetypum I: Holbenii in Biblioth: bupl: Basil: adservatum pictum cum annum ageret Erasmus LV."

An engraving depicting the execution of two young women. The image shows the young women, with crowns of straw on their heads, being led towards a stake being prepared in the background.

An engraving depicting the execution of two young women. The image shows the young women, with crowns of straw on their heads, being led towards a stake being prepared in the background.

A map of the world including Europe, Africa ("Der schwarzen Moren Land"), Asia (Major), America ("Die Newe Welt"), and India Meridionalis (a so called "phantom" peninsula that was often depicted in Medieval and Rennaissance maps). A number of monstrous sea creatures are depicted in the various oceans and seas.

A map of the world including Europe, Africa ("Der schwarzen Moren Land"), Asia (Major), America ("Die Newe Welt"), and India Meridionalis (a so called "phantom" peninsula that was often depicted in Medieval and Rennaissance maps). A number of monstrous sea creatures are depicted in the various oceans and seas.

A map of the world including Europe, Africa, and Asia as three leaf or petal shaped continents with America ("Die Newe Welt") draw in the bottom left corner. A ship and numerous sea creatures are depicted in the oceans.

A map of the world including Europe, Africa, and Asia as three leaf or petal shaped continents with America ("Die Newe Welt") draw in the bottom left corner. A ship and numerous sea creatures are depicted in the oceans.

An engraving depicting the Villa Medici and gardens in Rome.

An engraving depicting the Villa Medici and gardens in Rome.

A series of four engravings depicting aspects of religious rituals and practices from ancient Mediterranean cultures, including Greek, Roman, and Egyptian. The engraving on the top right depicts a supplicant praying before a temple of Pomona, the Latin and Roman goddess of fruit trees, gardens, and orchards, who is depicted to the supplicant's left.

A series of four engravings depicting aspects of religious rituals and practices from ancient Mediterranean cultures, including Greek, Roman, and Egyptian. The engraving on the top right depicts a supplicant praying before a temple of Pomona, the Latin and Roman goddess of fruit trees, gardens, and orchards, who is depicted to the supplicant's left.

An engraving which depicts Emperor Constantine, Pope Sylvester I and the apocryphal “Donation of Constantine,” which gave the pope control of the imperial palace in Rome along with all the regions of the Western Empire, while Constantine will locate his government in the East. The document is likely an 8th century Carolingian invention, and it supports the idea that the papacy should hold some secular as well as sacred authority.

An engraving which depicts Emperor Constantine, Pope Sylvester I and the apocryphal “Donation of Constantine,” which gave the pope control of the imperial palace in Rome along with all the regions of the Western Empire, while Constantine will locate his government in the East. The document is likely an 8th century Carolingian invention, and it supports the idea that the papacy should hold some secular as well as sacred authority.

An engraving depicting the public execution of a dozen people. The image shows a card of people being brought to an execution platforms where several have already been bound to stakes which are being prepared to be burned.

An engraving depicting the public execution of a dozen people. The image shows a card of people being brought to an execution platforms where several have already been bound to stakes which are being prepared to be burned.

The act of guiding the doubtful to the correct path, illustrated and accompanied by scriptural reference.

The act of guiding the doubtful to the correct path, illustrated and accompanied by scriptural reference.

An engraving depicting the execution of Fra. Dolcino and his wife (co-preacher or concubine), Margaret of Trent. The image shows Dolcino being cut to pieces by two men while another two grab at Margaret and a fire is prepared in the background.

An engraving depicting the execution of Fra. Dolcino and his wife (co-preacher or concubine), Margaret of Trent. The image shows Dolcino being cut to pieces by two men while another two grab at Margaret and a fire is prepared in the background.

An engraving of Daniel, flanked by a lion and lioness, the four beasts from his vision depicted in the sky on either side of his head.

An engraving of Daniel, flanked by a lion and lioness, the four beasts from his vision depicted in the sky on either side of his head.

A portrait of Danish astronomer Tycho Brahe surrounded by an architectural border featuring sixteen labeled coats of arms of his ancestor's families.

A portrait of Danish astronomer Tycho Brahe surrounded by an architectural border featuring sixteen labeled coats of arms of his ancestor's families.

Summary: This volume contains images of Methodist theologians, leaders, and clergy members, as well as scenes of a few notable places within the Methodist church. All of the images are engravings. A number of notable engravers are credited, for example Thomas Illman, E. Mackenzie (Methodist Book Concern), J. W. Paradise, William D. Smith, and Thomas B. Welch. Many of the engravings were published at the Methodist Book Room in New York.

Summary: This volume contains images of Methodist theologians, leaders, and clergy members, as well as scenes of a few notable places within the Methodist church. All of the images are engravings. A number of notable engravers are credited, for example Thomas Illman, E. Mackenzie (Methodist Book Concern), J. W. Paradise, William D. Smith, and Thomas B. Welch. Many of the engravings were published at the Methodist Book Room in New York.

An engraving of Charles Wesley, brother of John Wesley.

An engraving of Charles Wesley, brother of John Wesley.

An engraving portrait of John Wesley in profile.

An engraving portrait of John Wesley in profile.

An engraving based on a painting by Marshall Claxton depicting a young John Wesley in dialog with other students at Oxford University.

An engraving based on a painting by Marshall Claxton depicting a young John Wesley in dialog with other students at Oxford University.

An engraved portrait of John Wesley in profile. It is identical to 18-003-001.

An engraved portrait of John Wesley in profile. It is identical to 18-003-001.

An engraved protrait of a young John Wesley based on the J Williams painting.

An engraved protrait of a young John Wesley based on the J Williams painting.

An engraving of Sarah Wesley, the wife of Charles Wesley.

An engraving of Sarah Wesley, the wife of Charles Wesley.

An engraving of Susanna Wesley, the mother of John and Charles Wesley. It is identical to 95-001-217.

An engraving of Susanna Wesley, the mother of John and Charles Wesley. It is identical to 95-001-217.

An engraving of Susanna Wesley, the mother of John and Charles Wesley. It is identical to 95-001-216.

An engraving of Susanna Wesley, the mother of John and Charles Wesley. It is identical to 95-001-216.

An engraving of Susanna Wesley, the mother of John and Charles Wesley.

An engraving of Susanna Wesley, the mother of John and Charles Wesley.

A framed engraving of John Wesley based on the portrait by R. Arnold.

A framed engraving of John Wesley based on the portrait by R. Arnold.

An engraving of John Wesley's body lying in state at the City Road Chapel in London.

An engraving of John Wesley's body lying in state at the City Road Chapel in London.

An engraving portrait of John Wesley in profile.

An engraving portrait of John Wesley in profile.

An engraving portrait of John Wesley based on the original picture by J. Renton.

An engraving portrait of John Wesley based on the original picture by J. Renton.

An engraving of Susanna Wesley, the mother of John and Charles Wesley, based on the Williams portrait of her.

An engraving of Susanna Wesley, the mother of John and Charles Wesley, based on the Williams portrait of her.

An engraving of Samuel Wesley, the father of John and Charles Wesley, as a young man. It is identical to 95-001-212.

An engraving of Samuel Wesley, the father of John and Charles Wesley, as a young man. It is identical to 95-001-212.

An engraving of Samuel Wesley, the father of John and Charles Wesley, as a young man. It is identical to 95-001-211.

An engraving of Samuel Wesley, the father of John and Charles Wesley, as a young man. It is identical to 95-001-211.

An engraving of Samuel Wesley, the father of John and Charles Wesley.

An engraving of Samuel Wesley, the father of John and Charles Wesley.

An engraving of the house in Epworth, England, where John Wesley was born.

An engraving of the house in Epworth, England, where John Wesley was born.

An engraving based on a painting by Marshall Claxton depicting a crowd gathered at the bedside of John Wesley who appears to be saying a final prayer.

An engraving based on a painting by Marshall Claxton depicting a crowd gathered at the bedside of John Wesley who appears to be saying a final prayer.

An engraving of the "John Wesley," a Methodist missionary ship, which conducted most of its mission work in the South Sea in and around Australia and New Zealand.

An engraving of the "John Wesley," a Methodist missionary ship, which conducted most of its mission work in the South Sea in and around Australia and New Zealand.

An engraving created after a painting by Thomas Coke Ruckle depicting the ordination of Bishop Francis Ashbury Pratt in Baltimore, Maryland.

An engraving created after a painting by Thomas Coke Ruckle depicting the ordination of Bishop Francis Ashbury Pratt in Baltimore, Maryland.

An engraving portrait of John Wesley in profile.

An engraving portrait of John Wesley in profile.

An engraved portrait of John Wesley based on the painting by Sylvester Hardin.

An engraved portrait of John Wesley based on the painting by Sylvester Hardin.

An engraving based on a painting by Alfred Hunt depicting John Wesley preaching to a crowd at the site of his father, Samuel Wesley's, grave at St. Andrew's Church in Epworth, England.

An engraving based on a painting by Alfred Hunt depicting John Wesley preaching to a crowd at the site of his father, Samuel Wesley's, grave at St. Andrew's Church in Epworth, England.

A framed engraving of John Wesley. Note on back states that image was clipped from a literary magazine in 1792.

A framed engraving of John Wesley. Note on back states that image was clipped from a literary magazine in 1792.

An engraved protrait of a young John Wesley based on the J Williams painting. It is similar to 95-001-168.

An engraved protrait of a young John Wesley based on the J Williams painting. It is similar to 95-001-168.

An engraved portrait of a young John Wesley based on the J Williams painting. The image was printed for Carrington Bowles in St. Paul's Church Yard, London. It is similar to 95-001-167.

An engraved portrait of a young John Wesley based on the J Williams painting. The image was printed for Carrington Bowles in St. Paul's Church Yard, London. It is similar to 95-001-167.

An engraving based on the painting by H. P. Parker depicting the fire which razed John Wesley's childhood home in Epworth, England. Wesley was five years old at the time and was only barely rescued from the burning building before it collapsed.

An engraving based on the painting by H. P. Parker depicting the fire which razed John Wesley's childhood home in Epworth, England. Wesley was five years old at the time and was only barely rescued from the burning building before it collapsed.

An engraving of Charles Wesley in an elaborate, decorative frame.

An engraving of Charles Wesley in an elaborate, decorative frame.

An engraved portrait of the Methodist theologian John William Fletcher in profile.

An engraved portrait of the Methodist theologian John William Fletcher in profile.

A framed engraving of John Wesley based on the Barry portrait.

A framed engraving of John Wesley based on the Barry portrait.

A framed engraving of John Wesley based on the R. Arnold portrait. Partially illegible inscription on back.

A framed engraving of John Wesley based on the R. Arnold portrait. Partially illegible inscription on back.

An engraved portrait of John Wesley in profile. Originally published by John Wade and printed in the Sunday Magazine.

An engraved portrait of John Wesley in profile. Originally published by John Wade and printed in the Sunday Magazine.

An engraving portrait of John Wesley in profile. It is identical to 95-001-173.

An engraving portrait of John Wesley in profile. It is identical to 95-001-173.

An engraving portrait of John Wesley in profile. It is identical to 95-001-171 and has handwritten on print "Apr 1 1791."

An engraving portrait of John Wesley in profile. It is identical to 95-001-171 and has handwritten on print "Apr 1 1791."

An engraving portrait of John Wesley based on the J. Jackson portrait. It is similar to 95-001-177.

An engraving portrait of John Wesley based on the J. Jackson portrait. It is similar to 95-001-177.

An engraving portrait of John Wesley based on the J. Jackson portrait. It is similar to 95-001-176.

An engraving portrait of John Wesley based on the J. Jackson portrait. It is similar to 95-001-176.

An engraving of a profile relief cameo of John Wesley with laurel borders.

An engraving of a profile relief cameo of John Wesley with laurel borders.

An engraving of a profile relief cameo of John Wesley from the cover of "The Ladies Repository" Cincinnati and New York.

An engraving of a profile relief cameo of John Wesley from the cover of "The Ladies Repository" Cincinnati and New York.

An engraved portrait of John Wesley, inscribed "88 years have I travelled on this Earth endeavouring to do good."

An engraved portrait of John Wesley, inscribed "88 years have I travelled on this Earth endeavouring to do good."

A framed engraving of John Wesley, James Hamilton, M.D., and Revd. Joseph Cole with the inscription, "Eighty-seven years have I sojourned on this earth endeavoring to do good..." Based on 95-001-23.

A framed engraving of John Wesley, James Hamilton, M.D., and Revd. Joseph Cole with the inscription, "Eighty-seven years have I sojourned on this earth endeavoring to do good..." Based on 95-001-23.

A framed engraving of John Wesley, James Hamilton, M.D., and Revd. Joseph Cole with the inscription, "Ninty [sic] four years have I sojourned upon this earth endeavouring to do good" [sic, Wesley died at age 87].

A framed engraving of John Wesley, James Hamilton, M.D., and Revd. Joseph Cole with the inscription, "Ninty [sic] four years have I sojourned upon this earth endeavouring to do good" [sic, Wesley died at age 87].

An engraved portrait of John Wesley, James Hamilton and Joseph Cole, inscribed "eighty-seven years have I sojourned on this earth endeavoring to do good." The engraving was presented by Thirteenth Street Methodist Episcopal Church (Philadelphia). The image is based on 95-001-023.

An engraved portrait of John Wesley, James Hamilton and Joseph Cole, inscribed "eighty-seven years have I sojourned on this earth endeavoring to do good." The engraving was presented by Thirteenth Street Methodist Episcopal Church (Philadelphia). The image is based on 95-001-023.

An engraving with William of Orange (William III of England & William II of Scotland) and his wife, Mary II of England and Scotland in the center, surrounded by portraits of their various royal predecessors, including Edward VI of England (top left), Henry VIII of England (top center), Elizabeth I of England (top right), James I of England (bottom left), Charles II of England (bottom center), and Charles I of England (bottom right).

An engraving with William of Orange (William III of England & William II of Scotland) and his wife, Mary II of England and Scotland in the center, surrounded by portraits of their various royal predecessors, including Edward VI of England (top left), Henry VIII of England (top center), Elizabeth I of England (top right), James I of England (bottom left), Charles II of England (bottom center), and Charles I of England (bottom right).

An engraving of a medallion or coin featuring James II of England on the face, framed by the inscription "IACOBUS II DEI GRA ANG SCOT FRAN ET HIB REX" ("James II, by the grace of God, King of England, Scotland, [France?], and [Hibernia]"). On the back, there is a scene of a naval battle behind a set of Roman style armaments beneath the inscription "GENUS ANTIQUUM".

An engraving of a medallion or coin featuring James II of England on the face, framed by the inscription "IACOBUS II DEI GRA ANG SCOT FRAN ET HIB REX" ("James II, by the grace of God, King of England, Scotland, [France?], and [Hibernia]"). On the back, there is a scene of a naval battle behind a set of Roman style armaments beneath the inscription "GENUS ANTIQUUM".

An engraving depicting the execution and torture of some 350 people in Alzey on the orders of the Holy Roman Emperor. The image shows a man having his fingers removed with a chisel (right), a man being blindfolded in preparation for beheading (center), and a bound man with a cross burned onto his forehead (left).

An engraving depicting the execution and torture of some 350 people in Alzey on the orders of the Holy Roman Emperor. The image shows a man having his fingers removed with a chisel (right), a man being blindfolded in preparation for beheading (center), and a bound man with a cross burned onto his forehead (left).

An engraving depicting the burning of eighty Waldensians in Strasbourg. The image shows a number of individuals already tied to stakes (right) while others are being prepared to be led to the pyres (left).

An engraving depicting the burning of eighty Waldensians in Strasbourg. The image shows a number of individuals already tied to stakes (right) while others are being prepared to be led to the pyres (left).

An engraved headpiece to the first, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a pair of cherubim holding a crown of thorns above an interwoven pair of initials ("SL") which sit above a laurel crown and crossed palm fronds. Above the scene is a banner with the Latin motto, "est lauros palmasque Super" (It [Crown of thorns] is above laurels and palms).

An engraved headpiece to the first, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a pair of cherubim holding a crown of thorns above an interwoven pair of initials ("SL") which sit above a laurel crown and crossed palm fronds. Above the scene is a banner with the Latin motto, "est lauros palmasque Super" (It [Crown of thorns] is above laurels and palms).

An engraved portrait of Pope Eugene IV, who sat as pope from 1431-1447. The portrait shows Eugene IV wearing a simple miter with his coat of arms featured in the upper right corner. The portrait is labeled "EVGENIVS. IIII. PAPA. VENETVS".

An engraved portrait of Pope Eugene IV, who sat as pope from 1431-1447. The portrait shows Eugene IV wearing a simple miter with his coat of arms featured in the upper right corner. The portrait is labeled "EVGENIVS. IIII. PAPA. VENETVS".

An engraving depicting the Eulalia kicking over an alter to a Roman god in an event preceeding her martyrdom. In the image, the crowd around Eulalia appearing outraged.

An engraving depicting the Eulalia kicking over an alter to a Roman god in an event preceeding her martyrdom. In the image, the crowd around Eulalia appearing outraged.

An engraving depicting a portrait of Poggio Bracciolini hanging in a window above a stack of books on the windowsill with the city of Florence in the distance.

An engraving depicting a portrait of Poggio Bracciolini hanging in a window above a stack of books on the windowsill with the city of Florence in the distance.

An engraving of the western facade of the Basilica di Santa Maria Maggiore.

An engraving of the western facade of the Basilica di Santa Maria Maggiore.

A set of six engravings depicting various examples of separation and reconciliation in the Catholic Church. The upper engravings show the degradation and restoration of a bishop. The middle engravings show the extinguishing of a candle, symbolizing excommunication, and the restoration of the excommunicated person to the church . The lower engravings show a heretic seeking reconciliation and being led to the altar by a bishop.

A set of six engravings depicting various examples of separation and reconciliation in the Catholic Church. The upper engravings show the degradation and restoration of a bishop. The middle engravings show the extinguishing of a candle, symbolizing excommunication, and the restoration of the excommunicated person to the church . The lower engravings show a heretic seeking reconciliation and being led to the altar by a bishop.

An engraving depicting Jesus asking Peter three times if he loves him and then insisting he care for Jesus's sheep.

An engraving depicting Jesus asking Peter three times if he loves him and then insisting he care for Jesus's sheep.

An engraving depicting the martyrdom of Saint Felicity. The image shows Felicity being approached by a guard holding a set of keys, her hands clasped in prayer and chained to the prison wall by her neck. According to tradition, Felicity was martyred alongside Saint Perpetua, was an enslaved woman, and was pregnant at the time.

An engraving depicting the martyrdom of Saint Felicity. The image shows Felicity being approached by a guard holding a set of keys, her hands clasped in prayer and chained to the prison wall by her neck. According to tradition, Felicity was martyred alongside Saint Perpetua, was an enslaved woman, and was pregnant at the time.

An engraving depicting the martyrdom of Saint Felicitas and her seven sons. The image shows five of the seven sons already dead, with one beheaded and another kneeling as the executioner prepares to behead him (left). On the right, Felicitas watches with her final son bound behind her (left).

An engraving depicting the martyrdom of Saint Felicitas and her seven sons. The image shows five of the seven sons already dead, with one beheaded and another kneeling as the executioner prepares to behead him (left). On the right, Felicitas watches with her final son bound behind her (left).

An engraved portrait of Antipope Felix V, who was elected by the Council of Basel-Ferrara-Florence and held the office from 1439-1449. The portrait shows Felix V wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "FELIX. IIII. DICTVS. V. DVX. SABAVDIAE".

An engraved portrait of Antipope Felix V, who was elected by the Council of Basel-Ferrara-Florence and held the office from 1439-1449. The portrait shows Felix V wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "FELIX. IIII. DICTVS. V. DVX. SABAVDIAE".

The act of patiently bearing those who wrong you, illustrated and accompanied by scriptural references.

The act of patiently bearing those who wrong you, illustrated and accompanied by scriptural references.

A series of four engravings depicting four different Catholic trials: trial by hot iron (top left), by boiling water (top right), and two by cold water (bottom).

A series of four engravings depicting four different Catholic trials: trial by hot iron (top left), by boiling water (top right), and two by cold water (bottom).

An engraving depicting a portrait of Pierre de Foix topped with a galero and surrounded by a cherub holding an olive branch and leaning on a column above a multi-headed dragon that has been decapitated. There is an inscription at the bottom reading, "Il finit le Schisme et donna la paix au Siege de Rome."

An engraving depicting a portrait of Pierre de Foix topped with a galero and surrounded by a cherub holding an olive branch and leaning on a column above a multi-headed dragon that has been decapitated. There is an inscription at the bottom reading, "Il finit le Schisme et donna la paix au Siege de Rome."

An engraving depicting Dirk Willems, who as later burned at the stake, rescuing his pursuer from an icy body of water.

An engraving depicting Dirk Willems, who as later burned at the stake, rescuing his pursuer from an icy body of water.

An engraving depicting a portrait of Frederick IV, Duke of Austria, with his coat of arms below the portrait.

An engraving depicting a portrait of Frederick IV, Duke of Austria, with his coat of arms below the portrait.

An engraving depicting a portrait of Frederick William I of Prussia, possibly after a painting by Antoine Pesne, with a crown, scepter, and orbis cruciger on a cushion to the right of the portrait.

An engraving depicting a portrait of Frederick William I of Prussia, possibly after a painting by Antoine Pesne, with a crown, scepter, and orbis cruciger on a cushion to the right of the portrait.

An engraved frontispiece of Saint Louys, ou, La sainte couronne reconquise : poeme heroique. The engraving depicts King Louis IX, dressed in the garb of a Roman soldier, kneeling before Christ and holding out a crown of thorns as Christ holds out a crown of stars. Above them, an angel carries a banner reading "Iam stella est, quae spina fuit" (Now [there] are stars, where [there] were thorns).

An engraved frontispiece of Saint Louys, ou, La sainte couronne reconquise : poeme heroique. The engraving depicts King Louis IX, dressed in the garb of a Roman soldier, kneeling before Christ and holding out a crown of thorns as Christ holds out a crown of stars. Above them, an angel carries a banner reading "Iam stella est, quae spina fuit" (Now [there] are stars, where [there] were thorns).

A depiction of the Americas, personified as an indigenous woman wearing a feathered headdress and holding a rolled up Constitution, being offered a Holy Bible by a kneeling woman (potentially a personification of Europe?) while Liberty looks on, depicted as a woman in a Greek-style himation and carrying a Liberty pole topped with a cap of liberty. On the right, behind America is a plinth with a list of names: Washington, Montgomery, Greene, Franklin, Warren, Adams, Mercer, Putnam, Jay, Clinton, Gates, Morris, and Fayette.

A depiction of the Americas, personified as an indigenous woman wearing a feathered headdress and holding a rolled up Constitution, being offered a Holy Bible by a kneeling woman (potentially a personification of Europe?) while Liberty looks on, depicted as a woman in a Greek-style himation and carrying a Liberty pole topped with a cap of liberty. On the right, behind America is a plinth with a list of names: Washington, Montgomery, Greene, Franklin, Warren, Adams, Mercer, Putnam, Jay, Clinton, Gates, Morris, and Fayette.

The frontispiece of Thomas Hobbes' Leviathan, or, The matter, forme, & power of a common-wealth ecclesiasticall and civill, the upper portion of which features a large figure representing sovreign authority. The figure's body is composed of individual citizens, is crowned, and holds a sword and crosier. The figure looms over a set of rolling hills in the background and a city in the foreground.

The frontispiece of Thomas Hobbes' Leviathan, or, The matter, forme, & power of a common-wealth ecclesiasticall and civill, the upper portion of which features a large figure representing sovreign authority. The figure's body is composed of individual citizens, is crowned, and holds a sword and crosier. The figure looms over a set of rolling hills in the background and a city in the foreground.

An engraving depicting the angel, Gabriel, appearing to Mary and informing her that she is carrying the child of God.

An engraving depicting the angel, Gabriel, appearing to Mary and informing her that she is carrying the child of God.

An engraving depicting the torture of Geleyn Corneliusz. The image depicts Corneliusz hanging from a crossbeam by one wrist, a weight tied around his opposite ankle, while his torturers play cards on the other side of the room.

An engraving depicting the torture of Geleyn Corneliusz. The image depicts Corneliusz hanging from a crossbeam by one wrist, a weight tied around his opposite ankle, while his torturers play cards on the other side of the room.

A portrait of George Frideric Handel, framed above a scene of ancient Greco-Roman musicians playing pipe, lyres, and harps for a crowd of politicians and soldiers. A number of instruments and sheets of music are included into the framing of the scene, including horns, woodwinds, and a violin.

A portrait of George Frideric Handel, framed above a scene of ancient Greco-Roman musicians playing pipe, lyres, and harps for a crowd of politicians and soldiers. A number of instruments and sheets of music are included into the framing of the scene, including horns, woodwinds, and a violin.

An engraving depicting the imprisonment of George Wanger. The image shows Wanger chained to a wall in a prison, lying on a bed of straw.

An engraving depicting the imprisonment of George Wanger. The image shows Wanger chained to a wall in a prison, lying on a bed of straw.

An engraving depicting Gerard Hasepoot speaking with his wife a final time before his execution. The image shows Hasepoot (center) denying the offered wine as he speaks to his crying wife who holds their child as the judges who sentenced him to death watch.

An engraving depicting Gerard Hasepoot speaking with his wife a final time before his execution. The image shows Hasepoot (center) denying the offered wine as he speaks to his crying wife who holds their child as the judges who sentenced him to death watch.

An engraving depicting the Villa Mattei, now known as Villa Celimontana, in Rome and the gardens surrounding.

An engraving depicting the Villa Mattei, now known as Villa Celimontana, in Rome and the gardens surrounding.

An engraving depicting the gardens and palace of Villa Montalto (also known as Villa Montalto Peretti, Villa Montalto Peretti Massimo, and Villa Negroni) in Rome. The entire complex was leveled to make room for the Roma Termini.

An engraving depicting the gardens and palace of Villa Montalto (also known as Villa Montalto Peretti, Villa Montalto Peretti Massimo, and Villa Negroni) in Rome. The entire complex was leveled to make room for the Roma Termini.

An engraving of the Belvedere Gardens in Vatican City, as well as the Vatican Palace and Belvedere Court.

An engraving of the Belvedere Gardens in Vatican City, as well as the Vatican Palace and Belvedere Court.

An engraving depicting a number of Waldensians and Albigenses, called "Publicans," being burned. The image shows a bound man being pushed into a bonfire, where several others have already been thrown, as a bishop and priest watch.

An engraving depicting a number of Waldensians and Albigenses, called "Publicans," being burned. The image shows a bound man being pushed into a bonfire, where several others have already been thrown, as a bishop and priest watch.

An engraving depicting the mass persecution of Anabaptists in Austria. The image shows men being led away in chains as their families weap and pray for them.

An engraving depicting the mass persecution of Anabaptists in Austria. The image shows men being led away in chains as their families weap and pray for them.

An engraving depicting a bust of Pope Gregory XII atop a plinth featuring his coat of arms. Surrounding the bust is a broken key and a papal crown, and in the background is a wall depicting what might be the Judgement of Solomon, a possible reference to his oversight of the Council of Constance and the resolution of the Western Schism.

An engraving depicting a bust of Pope Gregory XII atop a plinth featuring his coat of arms. Surrounding the bust is a broken key and a papal crown, and in the background is a wall depicting what might be the Judgement of Solomon, a possible reference to his oversight of the Council of Constance and the resolution of the Western Schism.

An engraved portrait of Pope Gregory XII, who sat as pope from 1406-1415. The portrait shows Gregory XII wearing a simple miter with his coat of arms featured in the upper left corner. The portrait is labeled "GREGORIVS. XII. PAPA. VENETVS".

An engraved portrait of Pope Gregory XII, who sat as pope from 1406-1415. The portrait shows Gregory XII wearing a simple miter with his coat of arms featured in the upper left corner. The portrait is labeled "GREGORIVS. XII. PAPA. VENETVS".

An engraving depicting the execution of Willem Janss. The image shows Janss stepping up onto a bundle of wood beside a post as a monk and crowd watch.

An engraving depicting the execution of Willem Janss. The image shows Janss stepping up onto a bundle of wood beside a post as a monk and crowd watch.

An engraving depicting the execution of William White, a preacher and accused heretic. The image shows william standing before the stake he is to be burned at, while a bishop oversees the proceedings.

An engraving depicting the execution of William White, a preacher and accused heretic. The image shows william standing before the stake he is to be burned at, while a bishop oversees the proceedings.

An engraved headpiece to the dedication of Lenfant's Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile depicting an unidentified coat of arms (presumably connected to King Louis XIV of France or the French Royal Family). The coat of arms consist of a pair of wild men as supporters, holding ups a mantle above the shield and crown. The shield depicts approximately twenty-eight different elements of various design, including two smaller shields with crests in the form of crowns.

An engraved headpiece to the dedication of Lenfant's Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile depicting an unidentified coat of arms (presumably connected to King Louis XIV of France or the French Royal Family). The coat of arms consist of a pair of wild men as supporters, holding ups a mantle above the shield and crown. The shield depicts approximately twenty-eight different elements of various design, including two smaller shields with crests in the form of crowns.

An engraving depicting the execution of Heyndrick Eemkens. The image shows Eemkens bound by his neck to a post (right) and his executioner holding out a burning bundle of straw laced with gunpowder towards him.

An engraving depicting the execution of Heyndrick Eemkens. The image shows Eemkens bound by his neck to a post (right) and his executioner holding out a burning bundle of straw laced with gunpowder towards him.

An engraving depicting the execution of Hendrick Pruyt. The image shows Pruyt siting in his boat which has been set aflame.

An engraving depicting the execution of Hendrick Pruyt. The image shows Pruyt siting in his boat which has been set aflame.

An engraving depicting the executin of Hendrick Sumer and Jacob Mandel. The image shows Mandel's body laid out before Sumer in an attempt to convince him to recant.

An engraving depicting the executin of Hendrick Sumer and Jacob Mandel. The image shows Mandel's body laid out before Sumer in an attempt to convince him to recant.

An engraved frontispiece of Histoire des conclaves depuis Clement V. jusqu'à present, augmentée, depuis la première édition, de plusieurs mémoires concernans le pape & les cardinaux d'aujourdhui, & les principales familles de Rome : où l'on apprend quantité de particularitez de cette cour. Avec un discours qui explique, suivant le taille douce, toutes les cérémonies qui s'observent depuis la mort du pape, jusqu'après l'élection de son successeur.

An engraved frontispiece of Histoire des conclaves depuis Clement V. jusqu'à present, augmentée, depuis la première édition, de plusieurs mémoires concernans le pape & les cardinaux d'aujourdhui, & les principales familles de Rome : où l'on apprend quantité de particularitez de cette cour. Avec un discours qui explique, suivant le taille douce, toutes les cérémonies qui s'observent depuis la mort du pape, jusqu'après l'élection de son successeur.

An engraved border for the title page of Paolo di Angelis' Basilicae s. Mariae Maioris di Urbe a Liberio Papa I usque ad Paulum V Pont. Max. descriptio et delinatio printed in 1621. The border consists of a single print with several scenes pertaining to the veneration of and maricles of the Virgin Mary. The top of the border depicts angels and cherubs flanking a depiction of the Virgin Mary with Christ. In the center of the engraving, below the title, is a scene of St. Gregory I the Great leading a crowd in worship as a depiction of Mary is brought forward.

An engraved border for the title page of Paolo di Angelis' Basilicae s. Mariae Maioris di Urbe a Liberio Papa I usque ad Paulum V Pont. Max. descriptio et delinatio printed in 1621. The border consists of a single print with several scenes pertaining to the veneration of and maricles of the Virgin Mary. The top of the border depicts angels and cherubs flanking a depiction of the Virgin Mary with Christ. In the center of the engraving, below the title, is a scene of St. Gregory I the Great leading a crowd in worship as a depiction of Mary is brought forward.

An engraved border to Descrizione di Roma moderna formata nvovamente. The engraving depicts a pair of figures, one holding a cross and chalice and the other holding an anchor flanking a crest with three bees (the Barberini family) crowned by a galero (bottom), a pair of cherubs with shields (one with the papal keys and the other with S.P.Q.R.

An engraved border to Descrizione di Roma moderna formata nvovamente. The engraving depicts a pair of figures, one holding a cross and chalice and the other holding an anchor flanking a crest with three bees (the Barberini family) crowned by a galero (bottom), a pair of cherubs with shields (one with the papal keys and the other with S.P.Q.R.

An engraved title page to Onuphrii Panuinii Veronensis Fratris Eremitae Augustiniani. XXVII. Pontificum Maximorum elogia et imagines. The engraving depicts a sculpted building facade including a base with two coats of arms and an illustration of a stork standing before a desert city (bottom); two columns with a two coats of arms and four icons featuring a peacock, anvil, burning barrel, and an obelisk (sides); and at the top, two papal crests flanking a woman holding a cross and the Keys of Heaven, while above her is a dove representing the Holy Spirit.

An engraved title page to Onuphrii Panuinii Veronensis Fratris Eremitae Augustiniani. XXVII. Pontificum Maximorum elogia et imagines. The engraving depicts a sculpted building facade including a base with two coats of arms and an illustration of a stork standing before a desert city (bottom); two columns with a two coats of arms and four icons featuring a peacock, anvil, burning barrel, and an obelisk (sides); and at the top, two papal crests flanking a woman holding a cross and the Keys of Heaven, while above her is a dove representing the Holy Spirit.

The title page of Ulrich Zwingli's Ad Carolum Romanorum imperatorem Germaniae comitia Augustae celebrantem, fidei Huldrychi Zuinglij ratio featuring a portrait of Holy Roman Emperor Charles V, holding a scepter and with the chain with the ram of the Order of the Goldent Fleece around his neck.

The title page of Ulrich Zwingli's Ad Carolum Romanorum imperatorem Germaniae comitia Augustae celebrantem, fidei Huldrychi Zuinglij ratio featuring a portrait of Holy Roman Emperor Charles V, holding a scepter and with the chain with the ram of the Order of the Goldent Fleece around his neck.

The title page of Michael Denis' Annalium typographicorum v. cl. Michaelis Maittaire supplementum featuring an image of a crowned woman sitting on a block bearing the two-headed eagle of the Holy Roman Empire as she arranges a board of movable type. A printing press sits to the woman's left, a line of drying pages in the background, and a child (possibly a cherub) sitting at a small table to her right.

The title page of Michael Denis' Annalium typographicorum v. cl. Michaelis Maittaire supplementum featuring an image of a crowned woman sitting on a block bearing the two-headed eagle of the Holy Roman Empire as she arranges a board of movable type. A printing press sits to the woman's left, a line of drying pages in the background, and a child (possibly a cherub) sitting at a small table to her right.

The title page of Sebastian Münster's Arukh ha-shorashot = Dictionarium Hebraicum : nunc primum aeditum & typis excusum : Adiectis Chaldaicis uocabulis non parum multis featuring the printer's mark of Johann Froben, a pair of hands supporting a caduceus.

The title page of Sebastian Münster's Arukh ha-shorashot = Dictionarium Hebraicum : nunc primum aeditum & typis excusum : Adiectis Chaldaicis uocabulis non parum multis featuring the printer's mark of Johann Froben, a pair of hands supporting a caduceus.

The title page of Martin Luther's Auff des bocks zu Leypczick Antwort featuring several scenes, including: two men operating a printing press (bottom left), a man wearing worn clothes and carrying two flaggons and a cup with bees flying arouns his head (center left), an owl being harrassed by smaller birds (top right), an eagle (top center), a bear attacking a cow (top right), a dog attacking a deer (top-center right), a wolf attacking a sheep (bottom-center right), a man with a pole and a satchel (bottom right), and a heron standing beside Johann Rhau-Grunenberg's monogram "IG

The title page of Martin Luther's Auff des bocks zu Leypczick Antwort featuring several scenes, including: two men operating a printing press (bottom left), a man wearing worn clothes and carrying two flaggons and a cup with bees flying arouns his head (center left), an owl being harrassed by smaller birds (top right), an eagle (top center), a bear attacking a cow (top right), a dog attacking a deer (top-center right), a wolf attacking a sheep (bottom-center right), a man with a pole and a satchel (bottom right), and a heron standing beside Johann Rhau-Grunenberg's monogram "IG

The title page of Robert Barnes' Bapsttrew Hadriani iiij. vnd Alexanders iii. gegen Keyser Friderichen Barbarossa geübt : Aus der Historia zusamen gezogen nützlich zu lesen featuring a woodcut of Pope Alexander III confronting the Holy Roman Emperor, Frederick I.

The title page of Robert Barnes' Bapsttrew Hadriani iiij. vnd Alexanders iii. gegen Keyser Friderichen Barbarossa geübt : Aus der Historia zusamen gezogen nützlich zu lesen featuring a woodcut of Pope Alexander III confronting the Holy Roman Emperor, Frederick I.

The title page of Biblia : habes in hoc libro prudens lector vtriusq[ue] instrumenti nouam tran[s]latione[m] aeditum... featuring an architectural border decorated with portraits of Catholic saints. At the top of the border is an image of the pope flanked by cardinals and supported by a pair of cherubs holding horns and crests featuring a printer's mark. Along both sides are portraits of saints frmed with laurels, including: Jerome, Augustine, Gregory, Ambrosius, Hugo, Bernard, Thomas, Ireneus, and two unnamed saints.

The title page of Biblia : habes in hoc libro prudens lector vtriusq[ue] instrumenti nouam tran[s]latione[m] aeditum... featuring an architectural border decorated with portraits of Catholic saints. At the top of the border is an image of the pope flanked by cardinals and supported by a pair of cherubs holding horns and crests featuring a printer's mark. Along both sides are portraits of saints frmed with laurels, including: Jerome, Augustine, Gregory, Ambrosius, Hugo, Bernard, Thomas, Ireneus, and two unnamed saints.

The title page of Clarorum virorum epistolae Latinae, Graecae, & Hebraicae : uarijs temporibus missae ad Ioannem Reuchlin Phorcensem, LL. Doctorem featuring the printer's mark of Christoph Froschauer which depicts a tree bearing a banner with his name and surrounded with frogs (a play on "Froschauer" which means "frog meadow").

The title page of Clarorum virorum epistolae Latinae, Graecae, & Hebraicae : uarijs temporibus missae ad Ioannem Reuchlin Phorcensem, LL. Doctorem featuring the printer's mark of Christoph Froschauer which depicts a tree bearing a banner with his name and surrounded with frogs (a play on "Froschauer" which means "frog meadow").

The title page of Martin Luther's Low German translation of the Bible featuring a collection of biblical scenes and symbols based on Lucas Cranach the Elder's painting, "Law and Gospel" (or "Sin and Redemption"). On the left of the image are scenes representing Law/Sin, including: a dead tree, Moses receiving the Ten Commandments, Adam and Eve, the brazen serpent, and a corpse lying atop a tomb.

The title page of Martin Luther's Low German translation of the Bible featuring a collection of biblical scenes and symbols based on Lucas Cranach the Elder's painting, "Law and Gospel" (or "Sin and Redemption"). On the left of the image are scenes representing Law/Sin, including: a dead tree, Moses receiving the Ten Commandments, Adam and Eve, the brazen serpent, and a corpse lying atop a tomb.

The title page of Hans Sachs' Disputacion zwischen ainem Chorherrenn vnnd Schüchmacher : dariñ das wort gottes vnd ein recht Cristlich wesen verfochtten wirtt featuring a scene where a cobbler approaches a canon and a woman, possibly the canon's cook.

The title page of Hans Sachs' Disputacion zwischen ainem Chorherrenn vnnd Schüchmacher : dariñ das wort gottes vnd ein recht Cristlich wesen verfochtten wirtt featuring a scene where a cobbler approaches a canon and a woman, possibly the canon's cook.

The title page of Thomas Netter's Doctrinalis antiquitatu[m] ecclesiae Iesu Christi liber quintus, ac tomus secundus de sacramentis, editus in Vvitcleffistas, & eoru[m] asseclas featuring a central image of a printer's workshop with two men operating the press and a third arranging type. A decorative border surrounds the title and cetral image, including several cherubs, stylized fish, sirens, and armor.

The title page of Thomas Netter's Doctrinalis antiquitatu[m] ecclesiae Iesu Christi liber quintus, ac tomus secundus de sacramentis, editus in Vvitcleffistas, & eoru[m] asseclas featuring a central image of a printer's workshop with two men operating the press and a third arranging type. A decorative border surrounds the title and cetral image, including several cherubs, stylized fish, sirens, and armor.

The title page of Diepold Peringer's Ein Sermon geprediget vom Pawren zu Werdt, bey Nürmberg, am Sontag vor Fassnacht, von dem freyen Willen des Menschen featuring an image of a German peasant farmer holding an agricultural flail (used to separate grain from husk) in representation of the author. A coat of arms is set beside the figure.

The title page of Diepold Peringer's Ein Sermon geprediget vom Pawren zu Werdt, bey Nürmberg, am Sontag vor Fassnacht, von dem freyen Willen des Menschen featuring an image of a German peasant farmer holding an agricultural flail (used to separate grain from husk) in representation of the author. A coat of arms is set beside the figure.

The title page of Georg Sabinus' Electio et coronatio Caroli .V. Imp. Aug, featuring the coat of arms of Holy Roman Emperor Charles V, which features the two-headed eagle of the Holy Roman Empire, bearing a quartered shield representing the regions he rules.

The title page of Georg Sabinus' Electio et coronatio Caroli .V. Imp. Aug, featuring the coat of arms of Holy Roman Emperor Charles V, which features the two-headed eagle of the Holy Roman Empire, bearing a quartered shield representing the regions he rules.

The title page of Martin Luther's Ermanunge zum frid auff die zwölff artickel der bawrschafft in Schwaben featuring a decorative border with seven cherubs harvesting flowers amongst thorny roses.

The title page of Martin Luther's Ermanunge zum frid auff die zwölff artickel der bawrschafft in Schwaben featuring a decorative border with seven cherubs harvesting flowers amongst thorny roses.

The title page of Etlich Cristlich lider Lobgesang, vn[d] Psalm : dem reinen wort Gottes gemess, auss der heylige[n] schrifft, durch mancherley hochgelerter gemacht, in der Kirchen zu sigen, wie es dann zum tayl berayt zuo Wittenberg in übung ist featuring four decorative panels, the left and right mirrored decorative columns, the top featuring Jesus/God, and the bottom (printed upside-down) featuring a pair of horns with two swans and fish.

The title page of Etlich Cristlich lider Lobgesang, vn[d] Psalm : dem reinen wort Gottes gemess, auss der heylige[n] schrifft, durch mancherley hochgelerter gemacht, in der Kirchen zu sigen, wie es dann zum tayl berayt zuo Wittenberg in übung ist featuring four decorative panels, the left and right mirrored decorative columns, the top featuring Jesus/God, and the bottom (printed upside-down) featuring a pair of horns with two swans and fish.

The title page of Desiderius Erasmus' Io Frobenius studiorum liberalium mystis, s.d : Quo sæpius hoc opus uobis redit, optimi Iuuenes, hoc debet esse gratius. Redit enim subinde, cum emendatis, tum locupletius. Qui nouam æditionem emunt, lucrum faciunt, qui ueteribus contenti sunt, certe nihil faciũt damni. In hac non ita multum accessit paginarum, sed rerum nõ pœnitendum auctarium, valete, & nostræ fauete industriae. ...

The title page of Desiderius Erasmus' Io Frobenius studiorum liberalium mystis, s.d : Quo sæpius hoc opus uobis redit, optimi Iuuenes, hoc debet esse gratius. Redit enim subinde, cum emendatis, tum locupletius. Qui nouam æditionem emunt, lucrum faciunt, qui ueteribus contenti sunt, certe nihil faciũt damni. In hac non ita multum accessit paginarum, sed rerum nõ pœnitendum auctarium, valete, & nostræ fauete industriae. ...

The title page of Kirche[n] Gesäng : aus dem Wittenbergischen vnd allen andern den besten Gesangbüchern, so biss anhero hin vnd wider aussgangen colligirt vnd gesamlet ; In eine feine richtige vnd gute ordnung gebracht, vnd auffs fleissigest, vnd nach den besten exempla, including a frame with several scenes from the New Testament. The scenes include: the nativity (top), Jesus teaching and healing (top left), Jesus praying in the Garden of Gethsemane and the crucifixion (bottom left), the resurrection (top right), and Pentecost (bottom right).

The title page of Kirche[n] Gesäng : aus dem Wittenbergischen vnd allen andern den besten Gesangbüchern, so biss anhero hin vnd wider aussgangen colligirt vnd gesamlet ; In eine feine richtige vnd gute ordnung gebracht, vnd auffs fleissigest, vnd nach den besten exempla, including a frame with several scenes from the New Testament. The scenes include: the nativity (top), Jesus teaching and healing (top left), Jesus praying in the Garden of Gethsemane and the crucifixion (bottom left), the resurrection (top right), and Pentecost (bottom right).

The title page of Diego de Saavedra Fajardo's Obras de Don Diego de Saauedra Faxardo Cavallero del Orden de S. Iago, del Consejo de su Magestad en el Supremo de las Indias, y su Embajador plenipotençiario en los treze cantones, &c. : en dos tomos divididas, el [segundo] contiene II. La republica litteraria. El segundo corona Gothica, Austriaca y Castellana dividida en tres partes featuring the printer's mark of Jan Baptist Verdussen. The mark features a heron feeding its young.

The title page of Diego de Saavedra Fajardo's Obras de Don Diego de Saauedra Faxardo Cavallero del Orden de S. Iago, del Consejo de su Magestad en el Supremo de las Indias, y su Embajador plenipotençiario en los treze cantones, &c. : en dos tomos divididas, el [segundo] contiene II. La republica litteraria. El segundo corona Gothica, Austriaca y Castellana dividida en tres partes featuring the printer's mark of Jan Baptist Verdussen. The mark features a heron feeding its young.

The title page of Diego de Saavedra Fajardo's Obras de Don Diego de Saauedra Faxardo Cavallero del Orden de S. Iago, del Consejo de su Magestad en el Supremo de las Indias, y su Embajador plenipotençiario en los treze cantones, &c. : en dos tomos divididas, el primero contiene I. Idea de un principe politico christiano, representada en cien Empresas featuring the printer's mark of Jan Baptist Verdussen. The mark features a heron feeding its young, flanked by a pair of cherubs holding fruits, with the inscription "SIGNVM AMORIS," translated as "A sign of love."

The title page of Diego de Saavedra Fajardo's Obras de Don Diego de Saauedra Faxardo Cavallero del Orden de S. Iago, del Consejo de su Magestad en el Supremo de las Indias, y su Embajador plenipotençiario en los treze cantones, &c. : en dos tomos divididas, el primero contiene I. Idea de un principe politico christiano, representada en cien Empresas featuring the printer's mark of Jan Baptist Verdussen. The mark features a heron feeding its young, flanked by a pair of cherubs holding fruits, with the inscription "SIGNVM AMORIS," translated as "A sign of love."

The title page of Martin Luther's Passional Christi vnnd Antichristi featuring an architectural arch decorated with floral and vegetal patterns, a pair of cherubs framed with grape vines holding up the title from the top of each side of the arch.

The title page of Martin Luther's Passional Christi vnnd Antichristi featuring an architectural arch decorated with floral and vegetal patterns, a pair of cherubs framed with grape vines holding up the title from the top of each side of the arch.

The title page of Peter Lambeck's Petri Lambecii Hamburgensis Commentariorum de augustissima Bibliotheca Caesarea Vindobonensi liber secundus featuring the coat of arms of the Holy Roman Empire, guarded from above by an eagle holding a sceptre and a sword. To the left and right of the main coat of arms are an additional two crests, a book and pen, and a helmet.

The title page of Peter Lambeck's Petri Lambecii Hamburgensis Commentariorum de augustissima Bibliotheca Caesarea Vindobonensi liber secundus featuring the coat of arms of the Holy Roman Empire, guarded from above by an eagle holding a sceptre and a sword. To the left and right of the main coat of arms are an additional two crests, a book and pen, and a helmet.

The title page of Galileo Galilei's Systema cosmicvm, authore Galilæo Galilæi ... : in quo qvatvor dialogis, de duobus maximis mundi systematibus, Ptolemaico & Copernicano, vtriusq; rationibus philosophicis ac naturalibus indefinite propositis disseritur featuring Aristotle, Claudius Ptolemy, and Nicolaus Copernicus gathered between a pair of columns holding up a banner with the book's title. Above the title, a pair of cherubs support the Medici coat of arms. Ptolemy holds an armillary sphere model and Copernicus holds a model of the Earth orbiting the Sun.

The title page of Galileo Galilei's Systema cosmicvm, authore Galilæo Galilæi ... : in quo qvatvor dialogis, de duobus maximis mundi systematibus, Ptolemaico & Copernicano, vtriusq; rationibus philosophicis ac naturalibus indefinite propositis disseritur featuring Aristotle, Claudius Ptolemy, and Nicolaus Copernicus gathered between a pair of columns holding up a banner with the book's title. Above the title, a pair of cherubs support the Medici coat of arms. Ptolemy holds an armillary sphere model and Copernicus holds a model of the Earth orbiting the Sun.

An engraved title page to Jean Luiken's Theatre des Martyrs. In the center, there is a depiction of several martyrdoms, including being boiled, being spun on a wheel across spikes, and burning at the stake, under which is the phrase, "per angusta ad augusta" (from crisis to glory). Forming a border around the title information is a collection of weapons and instruments of torture which are related to various martyrdoms, including: swords, maces, spears, arrows, axes, clubs, halberds, flails, saws, knives, chains, manacles, torches, mallets, anchors, and a crown of thorns.

An engraved title page to Jean Luiken's Theatre des Martyrs. In the center, there is a depiction of several martyrdoms, including being boiled, being spun on a wheel across spikes, and burning at the stake, under which is the phrase, "per angusta ad augusta" (from crisis to glory). Forming a border around the title information is a collection of weapons and instruments of torture which are related to various martyrdoms, including: swords, maces, spears, arrows, axes, clubs, halberds, flails, saws, knives, chains, manacles, torches, mallets, anchors, and a crown of thorns.

The title page of Johan Eck's Vmb den grossen sig Kaiserlicher Maiestat, in Thunis verlihen, Got zu dancken, zwů predig ... features the coat of arms of the Holy Roman Emperor Charles V, featuring the two-headed eagle representing the Holy Roman Empire surrounded by the collar of the chivalric Order of the Golden Fleece and flanked by a pair of crowned columns representing the Pillars of Hercules. Above the coat of arms is the Charles V's motto, "Plus Ultra," translating to "Further Beyond."

The title page of Johan Eck's Vmb den grossen sig Kaiserlicher Maiestat, in Thunis verlihen, Got zu dancken, zwů predig ... features the coat of arms of the Holy Roman Emperor Charles V, featuring the two-headed eagle representing the Holy Roman Empire surrounded by the collar of the chivalric Order of the Golden Fleece and flanked by a pair of crowned columns representing the Pillars of Hercules. Above the coat of arms is the Charles V's motto, "Plus Ultra," translating to "Further Beyond."

The title page of Martin Schrot's Vrsprung vnd vrsach Gege[n]wertiger Vffrür, Teütscher Nation depicting the pope (in armor and the papal crown) leading an army, presumably set during the Schmalkald War, reinforcing the theme of the work which criticises the pope as a warrior attacking his sheep rather than leading them to God.

The title page of Martin Schrot's Vrsprung vnd vrsach Gege[n]wertiger Vffrür, Teütscher Nation depicting the pope (in armor and the papal crown) leading an army, presumably set during the Schmalkald War, reinforcing the theme of the work which criticises the pope as a warrior attacking his sheep rather than leading them to God.

The title page of Martin Luther's Wider die mordischen vnd reubischen Rotten der Pawren featuring an architectural frame including floral patterns, columns, and a pair of fish.

The title page of Martin Luther's Wider die mordischen vnd reubischen Rotten der Pawren featuring an architectural frame including floral patterns, columns, and a pair of fish.

The title page of Hans Baumann's Wie, vnd inn wölcher gestalt, der Eömischer [i.e. Römischer] Kayserlichen Mayestat, Landtgraff Philips von Hessen, auff dem neüntzehenden tag Junij, zuo Hall in Sachsen den fuossfall gethon. M.D.XLVII featuring the coat of arms of Holy Roman Emperor Charles V, which features the two-headed eagle of the Holy Roman Empire, bearing a quartered shield representing the regions he rules. The eagle is flanked by a pair of columns representing the Pillars of Hercules and his motto, "Plus Oultre," translated as "Further Beyond."

The title page of Hans Baumann's Wie, vnd inn wölcher gestalt, der Eömischer [i.e. Römischer] Kayserlichen Mayestat, Landtgraff Philips von Hessen, auff dem neüntzehenden tag Junij, zuo Hall in Sachsen den fuossfall gethon. M.D.XLVII featuring the coat of arms of Holy Roman Emperor Charles V, which features the two-headed eagle of the Holy Roman Empire, bearing a quartered shield representing the regions he rules. The eagle is flanked by a pair of columns representing the Pillars of Hercules and his motto, "Plus Oultre," translated as "Further Beyond."

The title page of Ptolemy's [Klaudiou Ptolemaiou Alexandreōs ... Peri tēs geōgraphias biblia octō meta pasēs akribeias entupothenta (romanized form)] = Claudii Ptolemaei Alexandrini De geographia libri octo : summa cum uigilantia excusi featuring the printer's mark of Johann Froben, a pair of hands supporting a caduceus.

The title page of Ptolemy's [Klaudiou Ptolemaiou Alexandreōs ... Peri tēs geōgraphias biblia octō meta pasēs akribeias entupothenta (romanized form)] = Claudii Ptolemaei Alexandrini De geographia libri octo : summa cum uigilantia excusi featuring the printer's mark of Johann Froben, a pair of hands supporting a caduceus.

An engraved headpiece to the fifth, eleventh, and seventeenth books of Moyne's epic, "Saint Louys," depicting a pair of scepters (one topped with a fleur-de-lis and one with a hand) interwoven with a crown of thorns beneath a banner with the Latin motto, "hoc nexu immota manebunt" (this/these will remain/endure by imovable binds).

An engraved headpiece to the fifth, eleventh, and seventeenth books of Moyne's epic, "Saint Louys," depicting a pair of scepters (one topped with a fleur-de-lis and one with a hand) interwoven with a crown of thorns beneath a banner with the Latin motto, "hoc nexu immota manebunt" (this/these will remain/endure by imovable binds).

An engraving depicting the death of the Vandal king, Huneric, by "worms and pus," as punishment for persecuting the Christians. The image shows Huneric lying on a bed, his left hand and foot fallen off, while his gathered attendants cover their faces against the smell.

An engraving depicting the death of the Vandal king, Huneric, by "worms and pus," as punishment for persecuting the Christians. The image shows Huneric lying on a bed, his left hand and foot fallen off, while his gathered attendants cover their faces against the smell.

An engraving depicting a debate between Jacob de Roore, the Chandler, and Friar Cornelius before de Roore's execution. The image shows de Roore chained in a dungeon, sitting across from the friar and two noblemen as they debate.

An engraving depicting a debate between Jacob de Roore, the Chandler, and Friar Cornelius before de Roore's execution. The image shows de Roore chained in a dungeon, sitting across from the friar and two noblemen as they debate.

An engraving depicting the execution of Jacob Dircks and his two older sons. The image shows Dircks and his older sons being led towards a trio of posts where they are to be burned while Dircks' youngest son wraps his arms around his father's neck.

An engraving depicting the execution of Jacob Dircks and his two older sons. The image shows Dircks and his older sons being led towards a trio of posts where they are to be burned while Dircks' youngest son wraps his arms around his father's neck.

An engraving depicting the imprisonment of Jaques d'Auchy. The image shows d'Auchy chained in a prison (right) with his wife standing before him as the guard urges her to leave.

An engraving depicting the imprisonment of Jaques d'Auchy. The image shows d'Auchy chained in a prison (right) with his wife standing before him as the guard urges her to leave.

An engraving depicting the execution of Jan Bosch. The image shows Bosch praying within a burning straw frame as an executioner watches.

An engraving depicting the execution of Jan Bosch. The image shows Bosch praying within a burning straw frame as an executioner watches.

An engraving depicting the torture of Hans Bret. The image shows a torturer afixing a vise around Bret's tongue and preparing to heat it with an iron.

An engraving depicting the torture of Hans Bret. The image shows a torturer afixing a vise around Bret's tongue and preparing to heat it with an iron.

An engraving depicting a portrait of Jan Hus, framed in laurels, with a depiction of his execution by burning at the stake below the portrait.

An engraving depicting a portrait of Jan Hus, framed in laurels, with a depiction of his execution by burning at the stake below the portrait.

An engraving depicting Hans Knevel before the margrave. The image shows Knevel, bound and with a chain on his leg, brought before the margrave after being arrested.

An engraving depicting Hans Knevel before the margrave. The image shows Knevel, bound and with a chain on his leg, brought before the margrave after being arrested.

An engraving depicting the execution of Hans Koch and Leonhard Meister. The image shows Koch and Meister with hands held in prayer as they are directed towards an executioner's platform.

An engraving depicting the execution of Hans Koch and Leonhard Meister. The image shows Koch and Meister with hands held in prayer as they are directed towards an executioner's platform.

An engraving depicting the execution of Hans Misel. The image shows Misel kneeling with blood spurting from his neck as his head lays on the ground beside him, his executioner moving to kick is body over as a crowd watches.

An engraving depicting the execution of Hans Misel. The image shows Misel kneeling with blood spurting from his neck as his head lays on the ground beside him, his executioner moving to kick is body over as a crowd watches.

An engraving depicting the arrest of Hans Smit and his congregation. The image shows a number of men, women, and an infant being bound and led out of a house by guards with halberds.

An engraving depicting the arrest of Hans Smit and his congregation. The image shows a number of men, women, and an infant being bound and led out of a house by guards with halberds.

An engraving depicting the execution of Jan Smit. The image shows Smit hung by the ankle from a gallows outside of Haarlem.

An engraving depicting the execution of Jan Smit. The image shows Smit hung by the ankle from a gallows outside of Haarlem.

An engraving depicting a portrait of John Wycliffe framed in a laurel wreath with a pile of books and papers being burned, representing the declaration by the Council of Constance that his works should be burned.

An engraving depicting a portrait of John Wycliffe framed in a laurel wreath with a pile of books and papers being burned, representing the declaration by the Council of Constance that his works should be burned.

An engraving depicting the execution of Jan Wouterss van Kuyck and Adriaen Jans of Molenaersgraef. The image shows Jans being bound to a post atop an execution platform while Wouterss addresses the crowd.

An engraving depicting the execution of Jan Wouterss van Kuyck and Adriaen Jans of Molenaersgraef. The image shows Jans being bound to a post atop an execution platform while Wouterss addresses the crowd.

An engraving depicting a portrait of Antipope John XXIII, a pair of manacles hanging above and to the sides of the portrait, while a Papal crown, owl, crossbow, crossed keys, another manacle, and the Antipope's coat of arms depicted below.

An engraving depicting a portrait of Antipope John XXIII, a pair of manacles hanging above and to the sides of the portrait, while a Papal crown, owl, crossbow, crossed keys, another manacle, and the Antipope's coat of arms depicted below.

An engraving depicting a bust of Jan Žižka atop a column featuring a laurel wreath. The figure is wearing armor and a helmet with a partial eyepatch.

An engraving depicting a bust of Jan Žižka atop a column featuring a laurel wreath. The figure is wearing armor and a helmet with a partial eyepatch.

An engraving depicting the arrest of Hans van Overdam in the woods outside of Ghent. The image shows a group of men wielding clubs approaching van Overdam and his companion while a group of mounted men wait in the distance.

An engraving depicting the arrest of Hans van Overdam in the woods outside of Ghent. The image shows a group of men wielding clubs approaching van Overdam and his companion while a group of mounted men wait in the distance.

An engraving depicting a portrait of Cardinal Jean Allarment de Brogny hanging from a tree, a pair of shoes hanging from the bottom of the frame, and a schene of a pair of monks speaking with a farmer in the background.

An engraving depicting a portrait of Cardinal Jean Allarment de Brogny hanging from a tree, a pair of shoes hanging from the bottom of the frame, and a schene of a pair of monks speaking with a farmer in the background.

An engraving depicting the arrest of Hans van den Wege. The image shows van den Wege being aprehended by guardsmen on horseback while at the fishmarket.

An engraving depicting the arrest of Hans van den Wege. The image shows van den Wege being aprehended by guardsmen on horseback while at the fishmarket.

An engraving depicting the martyrdom of John, a merchant of Cordoba. The image shows John bound and sitting backwards on a donkey being led by a Muslim (evidinced by the star and moon symbols on their clothes).

An engraving depicting the martyrdom of John, a merchant of Cordoba. The image shows John bound and sitting backwards on a donkey being led by a Muslim (evidinced by the star and moon symbols on their clothes).

An engraving depicting a portrait of Jerome of Prague with a fire built below the portrait, the flames catching along the sides and frame in reference to his execution by burning at the stake.

An engraving depicting a portrait of Jerome of Prague with a fire built below the portrait, the flames catching along the sides and frame in reference to his execution by burning at the stake.

The act of instructing the ignorant, illustrated and accompanied by scriptural references.

The act of instructing the ignorant, illustrated and accompanied by scriptural references.

An engraving depicting the Papal Palace (also known as the Vatican Palace, Apostolic Palace, and Palace of Sixtus V) and gardens located within the Vatican City in Rome.

An engraving depicting the Papal Palace (also known as the Vatican Palace, Apostolic Palace, and Palace of Sixtus V) and gardens located within the Vatican City in Rome.

This large-format broadside was probably issued to commemorate and popularize the canonization of Charles Borromeo (1538-1584) in November of 1610. Borromeo was a crucial interlocutor during the final sessions of the Council of Trent and also undertook many reforming practices while serving as the Archbishop of Milan. Although the engraving was printed in Antwerp, the text including the detailed captions demonstrate that it was intended for an Italian audience.

This large-format broadside was probably issued to commemorate and popularize the canonization of Charles Borromeo (1538-1584) in November of 1610. Borromeo was a crucial interlocutor during the final sessions of the Council of Trent and also undertook many reforming practices while serving as the Archbishop of Milan. Although the engraving was printed in Antwerp, the text including the detailed captions demonstrate that it was intended for an Italian audience.

The title page of Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile with a decorative engraving depicting the council in session.

The title page of Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile with a decorative engraving depicting the council in session.

The title page of Histoire générale des cérémonies, moeurs, et coutumes religieuses de tous les peuples du monde, featurnig an engraving depicting, clockwise from the top, Christianity represented by angels surrounding the Bible, bearing the Latin phrase “biblia sacra concilia et traditiones” and a woman holding a communion chalice, Buddhism by two men praying (bottom right), Islam by one man reading the Qu’ran to his suffering companion, and Judaism by a woman reading the Old Testament, as a blindfolded woman with bat wings holds a lantern for her (left).

The title page of Histoire générale des cérémonies, moeurs, et coutumes religieuses de tous les peuples du monde, featurnig an engraving depicting, clockwise from the top, Christianity represented by angels surrounding the Bible, bearing the Latin phrase “biblia sacra concilia et traditiones” and a woman holding a communion chalice, Buddhism by two men praying (bottom right), Islam by one man reading the Qu’ran to his suffering companion, and Judaism by a woman reading the Old Testament, as a blindfolded woman with bat wings holds a lantern for her (left).

The title page of Saint Louys, ou, La sainte couronne reconquise : poeme heroique, featuring an engraving depicting the printer's device of Augustin Courbe. The printer's device features a pair of cherubs flanking a medallion with a palm tree and the motto "CVRVATA RESVRGO."

The title page of Saint Louys, ou, La sainte couronne reconquise : poeme heroique, featuring an engraving depicting the printer's device of Augustin Courbe. The printer's device features a pair of cherubs flanking a medallion with a palm tree and the motto "CVRVATA RESVRGO."

An engraved portrait of Pope Innocent VIII, who sat as pope from 1484-1492. The portrait shows Innocent VIII wearing simple vestments with his coat of arms featured in the upper left corner. The portrait is labeled "INNOCENTIVS. VIII. PAPA. GENVENSIS".

An engraved portrait of Pope Innocent VIII, who sat as pope from 1484-1492. The portrait shows Innocent VIII wearing simple vestments with his coat of arms featured in the upper left corner. The portrait is labeled "INNOCENTIVS. VIII. PAPA. GENVENSIS".

An engraved portrait of Pope Innocent VII, who sat as pope from 1404-1406. The portrait shows Innocent VII wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "INNOCENTIVS. VII. PAPA. SVLMONENSIS".

An engraved portrait of Pope Innocent VII, who sat as pope from 1404-1406. The portrait shows Innocent VII wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "INNOCENTIVS. VII. PAPA. SVLMONENSIS".

An engraving depicting the altar commisioned by Paul V to house the Salus Populi Romani, believed to be painted by Saint Luke. Above the altar is a depiction of Pope Liberius outlining the original foundations of the basilica.

An engraving depicting the altar commisioned by Paul V to house the Salus Populi Romani, believed to be painted by Saint Luke. Above the altar is a depiction of Pope Liberius outlining the original foundations of the basilica.

An engraving depicting assorted instruments for the brit milah (Jewish ritual circumcision) (top) and a Torah scroll witht he related trappings, including finials for the ends, a fabric wrap for a closed roll, an ornate cloth mantle to cover the closed scroll, a pointer, and a box holding chits with the names of members of the synagogue to be drawn for aliyot (divided into groups based on status).

An engraving depicting assorted instruments for the brit milah (Jewish ritual circumcision) (top) and a Torah scroll witht he related trappings, including finials for the ends, a fabric wrap for a closed roll, an ornate cloth mantle to cover the closed scroll, a pointer, and a box holding chits with the names of members of the synagogue to be drawn for aliyot (divided into groups based on status).

An engraving of the entry to the vestry at the Basilica di Santa Maria Maggiore.

An engraving of the entry to the vestry at the Basilica di Santa Maria Maggiore.

An engraved portrait of Antipope John XXIII, who was elected by the Council of Pisa during the Western Schism and held the office from 1410-1415. The portrait shows John XXIII wearing a bishop's miter with his coat of arms featured in the upper left corner. The portrait is labeled "IOANNES. XXIII. PAPA. NEAPOLITANVS".

An engraved portrait of Antipope John XXIII, who was elected by the Council of Pisa during the Western Schism and held the office from 1410-1415. The portrait shows John XXIII wearing a bishop's miter with his coat of arms featured in the upper left corner. The portrait is labeled "IOANNES. XXIII. PAPA. NEAPOLITANVS".

An engraved portrait of Johann Eck, one of Martin Luther's notable opponents. Includes two captions: "Iohannes Eckius Canonicus Theologiae Doctor et Propagator Eccle. Rom." and "natus in pago Eck 13.Nov.1486 Obiit 10 Febr.1543 at 57. Procancellarius Acad. Ingolstad."

An engraved portrait of Johann Eck, one of Martin Luther's notable opponents. Includes two captions: "Iohannes Eckius Canonicus Theologiae Doctor et Propagator Eccle. Rom." and "natus in pago Eck 13.Nov.1486 Obiit 10 Febr.1543 at 57. Procancellarius Acad. Ingolstad."

An engraving depicting the torture of Joost Joosten before his execution. The image shows a young man seated and bound as three torturers drive spikes through his knees and out the tops of his ankles.

An engraving depicting the torture of Joost Joosten before his execution. The image shows a young man seated and bound as three torturers drive spikes through his knees and out the tops of his ankles.

An engraving depicting the execution of Ioris Wippe. The image shows Wippe bound and standing backwards in front of a wine barrel in a dungeon as another man pushes him backwards towards the filled barrel.

An engraving depicting the execution of Ioris Wippe. The image shows Wippe bound and standing backwards in front of a wine barrel in a dungeon as another man pushes him backwards towards the filled barrel.

An engraving depicting the martyrdom of Julitta and her child, Cyricus. The image shows Julitta tied to a post and being whipped (left), a hook for torture on the ground beside her, and the governor of Tarsus holding Julitta's child, Cyricus, by the legs, preparing to throw him down a staircase (right).

An engraving depicting the martyrdom of Julitta and her child, Cyricus. The image shows Julitta tied to a post and being whipped (left), a hook for torture on the ground beside her, and the governor of Tarsus holding Julitta's child, Cyricus, by the legs, preparing to throw him down a staircase (right).

An engraved portrait of Pope Julius II, who sat as pope from 1503-1513. The portrait shows Julius II sitting in a chair with his coat of arms featured in the upper left corner. The portrait is labeled "IVLIVS. II. PAPA. SAVONENSIS. LIGVR".

An engraved portrait of Pope Julius II, who sat as pope from 1503-1513. The portrait shows Julius II sitting in a chair with his coat of arms featured in the upper left corner. The portrait is labeled "IVLIVS. II. PAPA. SAVONENSIS. LIGVR".

An engraved portrait of Pope Julius III, who sat as pope from 1550-1555. The portrait shows Julius III wearing a simple miter and vestments with his coat of arms featured in the upper left corner. The portrait is labeled "IVLIVS. III. PAPA. ARRETINVS".

An engraved portrait of Pope Julius III, who sat as pope from 1550-1555. The portrait shows Julius III wearing a simple miter and vestments with his coat of arms featured in the upper left corner. The portrait is labeled "IVLIVS. III. PAPA. ARRETINVS".

An engraving depicting the execution of Joriaen Simons, Clement Dirks, and Marie Joris. The image shows the two figures being burnt at the stake (left) and a crowd of people rescuing books, which had belonged to Simons, from a fire.

An engraving depicting the execution of Joriaen Simons, Clement Dirks, and Marie Joris. The image shows the two figures being burnt at the stake (left) and a crowd of people rescuing books, which had belonged to Simons, from a fire.

An engraving depicting a portrait of Jean Gerson placed above a pen and ink well, a galero, a dog, a book, and a crest featuring a cherub, stars, and moon.

An engraving depicting a portrait of Jean Gerson placed above a pen and ink well, a galero, a dog, a book, and a crest featuring a cherub, stars, and moon.

An engraving depicting the execution of Johan Knel (or possibly Büchner). The image shows Knel being bound to a stake with bundles of wood placed beneath as a monk attempts to plead with him.

An engraving depicting the execution of Johan Knel (or possibly Büchner). The image shows Knel being bound to a stake with bundles of wood placed beneath as a monk attempts to plead with him.

An engraving depicting Jesus being nailed to the cross. A soldier holds Jesus whil two workmen drive nails into his feet and left hand. To the left are the two thieves who are to be crucified alongside Jesus, Gestas and Dismas.

An engraving depicting Jesus being nailed to the cross. A soldier holds Jesus whil two workmen drive nails into his feet and left hand. To the left are the two thieves who are to be crucified alongside Jesus, Gestas and Dismas.

An engraving depicting Jesus appearing to his disciples after his resurrection and guiding them to a bring in a large catch of fish.

An engraving depicting Jesus appearing to his disciples after his resurrection and guiding them to a bring in a large catch of fish.

An engraving depicting two separate scenes. On the left, Jesus tells his disciples that if they do not have swords, they should sell their cloaks and buy one in order to fulfill the scripture "And he was counted among the lawless". On the right, the Pope is depicted celebrating the Eucharist.

An engraving depicting two separate scenes. On the left, Jesus tells his disciples that if they do not have swords, they should sell their cloaks and buy one in order to fulfill the scripture "And he was counted among the lawless". On the right, the Pope is depicted celebrating the Eucharist.

An engraving depicting liturgical objects associated with Jewish religious practice, including a tallit katan (prayer shawl), tassels, a Sabbath lamp, matsah, the Four Species (a palm frond, brnaches from a myrtle and a willow tree and a citron, waved during the celebration of the harvest festival Sukkot), a shofar (a ram’s horn blown on the holidays of Rosh Hoshanah andYom Kippur), and a mezuzah (a scroll with specific Hebrew verses from the Torah, placed on doorposts of Jewish homes).

An engraving depicting liturgical objects associated with Jewish religious practice, including a tallit katan (prayer shawl), tassels, a Sabbath lamp, matsah, the Four Species (a palm frond, brnaches from a myrtle and a willow tree and a citron, waved during the celebration of the harvest festival Sukkot), a shofar (a ram’s horn blown on the holidays of Rosh Hoshanah andYom Kippur), and a mezuzah (a scroll with specific Hebrew verses from the Torah, placed on doorposts of Jewish homes).

An engraving depicting elements of Jewish ritual garments, including a Jewish prayer shawl with tassels (top), phylacteries (small black leather boxes including verses from the Torah), and a Jew wearing both for worship (bottom right).

An engraving depicting elements of Jewish ritual garments, including a Jewish prayer shawl with tassels (top), phylacteries (small black leather boxes including verses from the Torah), and a Jew wearing both for worship (bottom right).

An engraved portrait of Jean Calvin, founder of Calvinism.

An engraved portrait of Jean Calvin, founder of Calvinism.

An engraved portrait of John Wesley.

An engraved portrait of John Wesley.

An engraving depicting Joseph being brought before Pharaoh to interpret his dreams.

An engraving depicting Joseph being brought before Pharaoh to interpret his dreams.

A series of six engravings depicting a Catholic Jubilee year, during which faithful make prilgrimages to four basilicas in exchange for indulgences.

A series of six engravings depicting a Catholic Jubilee year, during which faithful make prilgrimages to four basilicas in exchange for indulgences.

A series of six engravings depicting pilgrims traveling to one of the seven basilicas that grants indulgence during a Jubilee year (top left). There the pilgrims climb the Scala Santa (Holy Stairs) on their knees (top right), and Roman prelates and barons wash their feet (left middle). The pope blesses the tables the pilgrims uses to eat with the Cardinals and the other prelates (right middle). The pope distributes rosaries, medallions, and Agnus Dei (a wax medallion imprinted with the Lamb of God) to the pilgrims as they kiss his feet (bottom left).

A series of six engravings depicting pilgrims traveling to one of the seven basilicas that grants indulgence during a Jubilee year (top left). There the pilgrims climb the Scala Santa (Holy Stairs) on their knees (top right), and Roman prelates and barons wash their feet (left middle). The pope blesses the tables the pilgrims uses to eat with the Cardinals and the other prelates (right middle). The pope distributes rosaries, medallions, and Agnus Dei (a wax medallion imprinted with the Lamb of God) to the pilgrims as they kiss his feet (bottom left).

A pair of engravings depicting an amphitheater where full Inquisition tribunals took place before royalty and Catholic officials during the Spanish Inquisition in Madrid (top) and a procession making to an Inquisition trial in Goa, led by Dominicans carrying the Inquisition standard (which bears the Latin motto “Misericordia et Justitia” [“Mercy and Justice”]), followed by the guards and accused criminals, and the Grand Inquisitor. Both engravings are labelled.

A pair of engravings depicting an amphitheater where full Inquisition tribunals took place before royalty and Catholic officials during the Spanish Inquisition in Madrid (top) and a procession making to an Inquisition trial in Goa, led by Dominicans carrying the Inquisition standard (which bears the Latin motto “Misericordia et Justitia” [“Mercy and Justice”]), followed by the guards and accused criminals, and the Grand Inquisitor. Both engravings are labelled.

An engraving depicting the martyrdom of Saint Phillip the Apostle. The image shows Philip standing against a pillar with hands raised in prayer as he looks away from the crowd which is stoning him to death.

An engraving depicting the martyrdom of Saint Phillip the Apostle. The image shows Philip standing against a pillar with hands raised in prayer as he looks away from the crowd which is stoning him to death.

A pair of engravings depicting condemned heretics performing an auto-da-fé, or act of faith, as penance prior to being burned at the stake during the Inquisition (top) and condemned heretics during the Inquisition being publically burnt at the stake (bottom).

A pair of engravings depicting condemned heretics performing an auto-da-fé, or act of faith, as penance prior to being burned at the stake during the Inquisition (top) and condemned heretics during the Inquisition being publically burnt at the stake (bottom).

An engraving depicting the burning of a building full of Christians by order of Emperor Maximinus I.

An engraving depicting the burning of a building full of Christians by order of Emperor Maximinus I.

A pair of engravings depicting a Jewish family preparing for (top) and observing (bottom) Passover. The top engraving shows the family searching for and removing any remaining leaven in the kitchen in preparation for Passover. The bottom engraving shows the family sitting down around a table and participating in a Seder dinner.

A pair of engravings depicting a Jewish family preparing for (top) and observing (bottom) Passover. The top engraving shows the family searching for and removing any remaining leaven in the kitchen in preparation for Passover. The bottom engraving shows the family sitting down around a table and participating in a Seder dinner.

A pair of engravings depicting the display of the body within a coffin before the house of the deceased or their family (top) and the offering of the Eucherist during a mass of requiem for the dead (bottom).

A pair of engravings depicting the display of the body within a coffin before the house of the deceased or their family (top) and the offering of the Eucherist during a mass of requiem for the dead (bottom).

An engraving depicting the interior of the Sistine Chapel.

An engraving depicting the interior of the Sistine Chapel.

A pair of engravings depicting the brit milah (ritual circumcision) (top) and the pidyon haben (redemption of the firstborn son) (bottom). The top engraving shows the family of the infant gathered as the rabbi oversees the proceedure. The bottom engraving shows the family of the child gathered around as the father presents the first-born son to the kohen (a priest directly descended from Aaron).

A pair of engravings depicting the brit milah (ritual circumcision) (top) and the pidyon haben (redemption of the firstborn son) (bottom). The top engraving shows the family of the infant gathered as the rabbi oversees the proceedure. The bottom engraving shows the family of the child gathered around as the father presents the first-born son to the kohen (a priest directly descended from Aaron).

A pair of engravings depicting parishioners taking Communion (top) and a priest delivering the Eucharist as part of the last rites (bottom).

A pair of engravings depicting parishioners taking Communion (top) and a priest delivering the Eucharist as part of the last rites (bottom).

A pair of engravings depicting penitents stepping into the confessional to confess their sins to a priest (top) and a priest anointing a dying man as part of the last rites (bottom).

A pair of engravings depicting penitents stepping into the confessional to confess their sins to a priest (top) and a priest anointing a dying man as part of the last rites (bottom).

An engraving depicting a ceremony of the Ordre du Saint-Esprit, a French chivalric order.

An engraving depicting a ceremony of the Ordre du Saint-Esprit, a French chivalric order.

A pair of engravings depicting a pair of officials conducting the trial of a man during the Inquisition (top) and a dungeon where various methods of torture are being employed by Inquisitors during questioning (bottom).

A pair of engravings depicting a pair of officials conducting the trial of a man during the Inquisition (top) and a dungeon where various methods of torture are being employed by Inquisitors during questioning (bottom).

An engraving depicting a group of German Jews performing physical penitence within the synagogue, theoretically in observance of Yom Kippur. Two men are shown whipping two other men while a fifth man to the right is removing his coat, presumably to take his turn. Other men are shown around the synagogue reading the Torah while wearing tallitot.

An engraving depicting a group of German Jews performing physical penitence within the synagogue, theoretically in observance of Yom Kippur. Two men are shown whipping two other men while a fifth man to the right is removing his coat, presumably to take his turn. Other men are shown around the synagogue reading the Torah while wearing tallitot.

Seated to right, seen on profile, Flavio Amalfitano at his desk measuring a compass while reading a book; a globe and an hourglass also seen on his desk and a dog at his feet; opposite him, floating on air, a sailing ship and below another desk with books and an astrolabe globe; a large recipient filled with liquid and a stone at entre seen in the foreground, to left.

Seated to right, seen on profile, Flavio Amalfitano at his desk measuring a compass while reading a book; a globe and an hourglass also seen on his desk and a dog at his feet; opposite him, floating on air, a sailing ship and below another desk with books and an astrolabe globe; a large recipient filled with liquid and a stone at entre seen in the foreground, to left.

An engraving depicting the Lateran Palace (left) with the Lateran Obelisk (foreground), with the Archbasilica of Saint John Lateran (right) visible with the Baptistry on its right.

An engraving depicting the Lateran Palace (left) with the Lateran Obelisk (foreground), with the Archbasilica of Saint John Lateran (right) visible with the Baptistry on its right.

An engraving of the southern facade of the Basilica di Santa Maria Maggiore.

An engraving of the southern facade of the Basilica di Santa Maria Maggiore.

An engraving of the northern facade of the Basilica di Santa Maria Maggiore.

An engraving of the northern facade of the Basilica di Santa Maria Maggiore.

An engraving depicting Lauwerens Janss Noodtdruft being led to execution. The image shows Noodtdruft bound and flanked by guards and a monk.

An engraving depicting Lauwerens Janss Noodtdruft being led to execution. The image shows Noodtdruft bound and flanked by guards and a monk.

A pair of engravings depicting two methods of baptism. The top scene shows a Catholic priest baptising an infant at a font. The bottom scene shows a midwife baptising a child after birth.

A pair of engravings depicting two methods of baptism. The top scene shows a Catholic priest baptising an infant at a font. The bottom scene shows a midwife baptising a child after birth.

A pair of engravings depicting the Pope opening the Holy Door at one of the four basilicas which grant indulgences to pilgrims during the Holy Year (top) and a detailed view of the raised seating where members of the nobility can sit to watch the ceremony of opening the Holy Door (bottom).

A pair of engravings depicting the Pope opening the Holy Door at one of the four basilicas which grant indulgences to pilgrims during the Holy Year (top) and a detailed view of the raised seating where members of the nobility can sit to watch the ceremony of opening the Holy Door (bottom).

An engraving depicting the coronation of a king, as overseen by a bishop within a cathedral.

An engraving depicting the coronation of a king, as overseen by a bishop within a cathedral.

A pair of engravings depicting the observance of Rosh Hashanah (top) and Yom Kippur (bottom). The top engraving depicts the sounding of the shofar during the celebration of Rosh Hashanah, the beginning of the new year. The bottom engraving depicts a gathering of Jews in reflection on the past year, repenting their sins and asking forgiveness in observance of Yom Kippur.

A pair of engravings depicting the observance of Rosh Hashanah (top) and Yom Kippur (bottom). The top engraving depicts the sounding of the shofar during the celebration of Rosh Hashanah, the beginning of the new year. The bottom engraving depicts a gathering of Jews in reflection on the past year, repenting their sins and asking forgiveness in observance of Yom Kippur.

A pair of engravings depicting worshipers kneeling before a priest to recieve marks on their foreheads in observation of Ash Wednesday (top) and a woman recieving Communion (bottom).

A pair of engravings depicting worshipers kneeling before a priest to recieve marks on their foreheads in observation of Ash Wednesday (top) and a woman recieving Communion (bottom).

An engraved portrait of Pope Leo X, who sat as pope from 1513-1521. The portrait shows Leo X wearing a simple miter with his coat of arms featured in the upper right corner. The portrait is labeled "LEO. X. PAPA. FLORENTINVS".

An engraved portrait of Pope Leo X, who sat as pope from 1513-1521. The portrait shows Leo X wearing a simple miter with his coat of arms featured in the upper right corner. The portrait is labeled "LEO. X. PAPA. FLORENTINVS".

A pair of engravings depicting a Jewish funeral (top) and a Jewish burial (bottom). The top engraving shows the hakafoth, a series of seven processions, around the coffin. The bottom engraving shows a group of attendants filling a grave with dirt.

A pair of engravings depicting a Jewish funeral (top) and a Jewish burial (bottom). The top engraving shows the hakafoth, a series of seven processions, around the coffin. The bottom engraving shows a group of attendants filling a grave with dirt.

A series of 35 engravings depicting the stages of a Roman Catholic mass. The engravings are displayed nine to a page across four pages, and each one is numbered in the upper left corner with the description of the stage of mass at the bottom. In each scene, a different picture hangs above the altar, depicting in sequence the Passion with a description of the scene at the above the engraving.

A series of 35 engravings depicting the stages of a Roman Catholic mass. The engravings are displayed nine to a page across four pages, and each one is numbered in the upper left corner with the description of the stage of mass at the bottom. In each scene, a different picture hangs above the altar, depicting in sequence the Passion with a description of the scene at the above the engraving.

An engraving depicting the persecution of Protestants under King Sigismund in Poland. The image shows two clergymen overseeing the beating and murder of people in the streets and the burning of a building.

An engraving depicting the persecution of Protestants under King Sigismund in Poland. The image shows two clergymen overseeing the beating and murder of people in the streets and the burning of a building.

An engraving depicting Hungarian Protestant priests forced into labor aboard Neopolitan galleys. The image shows groups of priests being placed on small boats for transfer to galleys (background) in Naples.

An engraving depicting Hungarian Protestant priests forced into labor aboard Neopolitan galleys. The image shows groups of priests being placed on small boats for transfer to galleys (background) in Naples.

An engraving depicting the mass persecution of Anabaptists in Switzerland. The image shows a woman being arrested and pulled from her home while other groups of guards search houses in the background.

An engraving depicting the mass persecution of Anabaptists in Switzerland. The image shows a woman being arrested and pulled from her home while other groups of guards search houses in the background.

A pair of engravings depicting a kohen (priest descended directly from Aaron) reciting prayers in the synagogue (top) and a rabbi lifting the Torah scroll for the gathered worshipers to see (bottom). The top engraving shows the kohen on the right with worshipers gathered around wearing tallitot and is labeled as "Synagogue des Juifs Portugais a la Haye" (the Synagogue of the Portuguese Jews in the Hague). The bottom engraving shows a gathering of Jewish worhipers, most wearing tallitot, looking on as a rabbi raises the Torah scroll.

A pair of engravings depicting a kohen (priest descended directly from Aaron) reciting prayers in the synagogue (top) and a rabbi lifting the Torah scroll for the gathered worshipers to see (bottom). The top engraving shows the kohen on the right with worshipers gathered around wearing tallitot and is labeled as "Synagogue des Juifs Portugais a la Haye" (the Synagogue of the Portuguese Jews in the Hague). The bottom engraving shows a gathering of Jewish worhipers, most wearing tallitot, looking on as a rabbi raises the Torah scroll.

An engraving depicting the persecution and disposession of the Huguenots. The image shows a group of Huguenots being arrested (foreground) while a church and town are destroyed (background).

An engraving depicting the persecution and disposession of the Huguenots. The image shows a group of Huguenots being arrested (foreground) while a church and town are destroyed (background).

An engraving depicting facsimiles of items a pilgrim may recieve from the Pope during a Jubilee year. In the center of the engraving is the sheet that the pope would give to pilgrims with an Agnus Dei (a wax medallion imprinted with the Lamb of God) upon coming to one of the basilicas that grants indulgence during a Jubilee year. The sheet in this engraving bears the coat of arms of Pope Alexander VII and the image of the Agnus Dei, surrounded by the Latin motto “Agnus Dei, qui tollis peccata mundi, miserere nobis” (“Lamb of God, who takes away the sins of the world, have mercy on us”).

An engraving depicting facsimiles of items a pilgrim may recieve from the Pope during a Jubilee year. In the center of the engraving is the sheet that the pope would give to pilgrims with an Agnus Dei (a wax medallion imprinted with the Lamb of God) upon coming to one of the basilicas that grants indulgence during a Jubilee year. The sheet in this engraving bears the coat of arms of Pope Alexander VII and the image of the Agnus Dei, surrounded by the Latin motto “Agnus Dei, qui tollis peccata mundi, miserere nobis” (“Lamb of God, who takes away the sins of the world, have mercy on us”).

An engraving depicting the torture of Anabaptists in the Netherlands under the rule of the Duke of Alba. The image shows torturers afixing vises to the tongues of two men and heating them with iron (left and right) and a number of individuals being burned at the stake (background).

An engraving depicting the torture of Anabaptists in the Netherlands under the rule of the Duke of Alba. The image shows torturers afixing vises to the tongues of two men and heating them with iron (left and right) and a number of individuals being burned at the stake (background).

An engraving depicting the persecution, torture, and murder of Huguenots in Niort. The image shows a man being buried alive (bottom left), a woman being beaten (bottom right), a man being dropped into a well (bottom center), and people being hanged and beaten (background left).

An engraving depicting the persecution, torture, and murder of Huguenots in Niort. The image shows a man being buried alive (bottom left), a woman being beaten (bottom right), a man being dropped into a well (bottom center), and people being hanged and beaten (background left).

A series of six engravings depicting scenes in the life of a Roman Catholic bishop, including his blessing of holy oil (top right), a procession of holy oil (top left) , his encouragement of a parish (middle right), his visit to his diocese (middle left), a parishioner kissing his hand (bottom left), and the public display of his body after death (bottom right).

A series of six engravings depicting scenes in the life of a Roman Catholic bishop, including his blessing of holy oil (top right), a procession of holy oil (top left) , his encouragement of a parish (middle right), his visit to his diocese (middle left), a parishioner kissing his hand (bottom left), and the public display of his body after death (bottom right).

An engraving depicting a scene from the thirteenth book of the epic poem, Saint Louys, in which Lisamante, having been taken prisoner by the Saracens, is urged by a vision of Judith to kill Sultan Mélédin, who had intended to marry Lisamante.

An engraving depicting a scene from the thirteenth book of the epic poem, Saint Louys, in which Lisamante, having been taken prisoner by the Saracens, is urged by a vision of Judith to kill Sultan Mélédin, who had intended to marry Lisamante.

An engraving depicting the execution of Leonhard Bernkopff. The image shows Bernkopff bound to a stake while a man stokes a fire beside him.

An engraving depicting the execution of Leonhard Bernkopff. The image shows Bernkopff bound to a stake while a man stokes a fire beside him.

An engraving depicting the execution of Leonhard Kaiser, a Lutheran martyr. The image shows Kaiser reaching down to pick a flower as he is carted towards a large bonfire in the background.

An engraving depicting the execution of Leonhard Kaiser, a Lutheran martyr. The image shows Kaiser reaching down to pick a flower as he is carted towards a large bonfire in the background.

An engraving depicting the execution of Lanaert Plovier, Jenne van Aken, and Marie van Aken. The image shows Plovier praying as he is placed in a sack (left), one of the van Aken's lying on the ground already bound in a sack (bottom), and the other van Aken (also bound in a sack) being placed head-first in a barrel of water.

An engraving depicting the execution of Lanaert Plovier, Jenne van Aken, and Marie van Aken. The image shows Plovier praying as he is placed in a sack (left), one of the van Aken's lying on the ground already bound in a sack (bottom), and the other van Aken (also bound in a sack) being placed head-first in a barrel of water.

A pair of engravings depicting the proper way to transport the Eucharist when the Pope is travelling: either on a horse (top) or on a litter supported by two horses, front and back (bottom).

A pair of engravings depicting the proper way to transport the Eucharist when the Pope is travelling: either on a horse (top) or on a litter supported by two horses, front and back (bottom).

A map depicting the Levant region, including Syria, Coele-Syria, Sophene, Ammon, and the regions of five of the twelve tribes fo Israel (Naphtali, Zebulun, Isaschar, Aser, and Gesuri [Manasseh]).

A map depicting the Levant region, including Syria, Coele-Syria, Sophene, Ammon, and the regions of five of the twelve tribes fo Israel (Naphtali, Zebulun, Isaschar, Aser, and Gesuri [Manasseh]).

An engraved portrait of Pope Marcellus II, who sat as pope in 1555. The portrait shows Marcellus II wearing elaborate vestments with his coat of arms featured in the upper left corner. The portrait is labeled "MARCELLVS. II. PAPA. POLITIANENSIS. TVSCVS".

An engraved portrait of Pope Marcellus II, who sat as pope in 1555. The portrait shows Marcellus II wearing elaborate vestments with his coat of arms featured in the upper left corner. The portrait is labeled "MARCELLVS. II. PAPA. POLITIANENSIS. TVSCVS".

An engraving depicting the aftermath of the execution of Marie Wens. The image shows Wens' sons searching through the ashes of their mother's pyre for something to remember her.

An engraving depicting the aftermath of the execution of Marie Wens. The image shows Wens' sons searching through the ashes of their mother's pyre for something to remember her.

An engraving depicting the execution of a woman, Maria. The image shows Maria being bound at the edge of a dock, and as she removes her own outer garments, a monk attempts to encourage her to renounce her faith.

An engraving depicting the execution of a woman, Maria. The image shows Maria being bound at the edge of a dock, and as she removes her own outer garments, a monk attempts to encourage her to renounce her faith.

An engraved portrait of Pope Martin V, who sat as pope from 1417-1431. The portrait shows Martin V wearing a simple vestments with his coat of arms featured in the upper right corner. The portrait is labeled "MARTINVS. V. PAPA. ROMANVS".

An engraved portrait of Pope Martin V, who sat as pope from 1417-1431. The portrait shows Martin V wearing a simple vestments with his coat of arms featured in the upper right corner. The portrait is labeled "MARTINVS. V. PAPA. ROMANVS".