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An engraving depicting the Portadown massacre. The image shows people being cut apart and roasted over a fire (foreground) and being pushed en masse off a bridge into the River Bann (background).

An engraving depicting the Portadown massacre. The image shows people being cut apart and roasted over a fire (foreground) and being pushed en masse off a bridge into the River Bann (background).

An engraving depicting the massacre of Anabaptists under the orders of the Bishop of Chur. The image shows two men shooting a third with rifles while standing over two bodies (foreground), people being thrown from windows (background, center), and people being hanged (background left).

An engraving depicting the massacre of Anabaptists under the orders of the Bishop of Chur. The image shows two men shooting a third with rifles while standing over two bodies (foreground), people being thrown from windows (background, center), and people being hanged (background left).

An engraving depicting the Siege of Magdeburg during the Thirty Years' War. The image shows the invading forces murdering civilians and burning the city.

An engraving depicting the Siege of Magdeburg during the Thirty Years' War. The image shows the invading forces murdering civilians and burning the city.

An engraving depicting the execution of Mattheus Mair. The image shows Mair, bound, being lowered into a river as a crowd watches.

An engraving depicting the execution of Mattheus Mair. The image shows Mair, bound, being lowered into a river as a crowd watches.

An engraving depicting the execution of Matthias Servaes. The image shows Servaes being led towards the execution site with hands held in prayer (right) while a young man (left) and woman (right) who had wished to speak with him and were apprehended are ordered to be releasted by a nobleman (right, on horse).

An engraving depicting the execution of Matthias Servaes. The image shows Servaes being led towards the execution site with hands held in prayer (right) while a young man (left) and woman (right) who had wished to speak with him and were apprehended are ordered to be releasted by a nobleman (right, on horse).

An engraving depicting a scene from the fifth book of the epic poem, Saint Louys, in which the sorcerer Mirème (center, holding a torch) raises the shade of Saladin (right, pointing) inside one of the great pyramids so that Sultan Mélédin (left) can consult him on how to defeat the crusaders.

An engraving depicting a scene from the fifth book of the epic poem, Saint Louys, in which the sorcerer Mirème (center, holding a torch) raises the shade of Saladin (right, pointing) inside one of the great pyramids so that Sultan Mélédin (left) can consult him on how to defeat the crusaders.

An engraving depicting the torture and forced labor of Protestant priests in Hungary. The image shows the priests digging and hauling dirt in work parties under the watch of overseers.

An engraving depicting the torture and forced labor of Protestant priests in Hungary. The image shows the priests digging and hauling dirt in work parties under the watch of overseers.

An engraving depicting the papal monument of Pius V in the Sistine 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 Pius V in the Sistine 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 Moses kneeling beside the Red Sea and reaching out his hand so that the waters could comeback over the Egyptians along with their chariots and horsemen. The men dressed in armor and on horseback depict the Egyptians, and the men standing behind Moses depict the Israelites.

An engraving depicting Moses kneeling beside the Red Sea and reaching out his hand so that the waters could comeback over the Egyptians along with their chariots and horsemen. The men dressed in armor and on horseback depict the Egyptians, and the men standing behind Moses depict the Israelites.

An engraved portrait of Pope Nicholas V, who sat as pope from 1447-1455. The portrait shows Nicholas V wearing a papal miter with his coat of arms featured in the upper right corner. The portrait is labeled "NICOLAVS. V. PAPA. SERGIANENSIS".

An engraved portrait of Pope Nicholas V, who sat as pope from 1447-1455. The portrait shows Nicholas V wearing a papal miter with his coat of arms featured in the upper right corner. The portrait is labeled "NICOLAVS. V. PAPA. SERGIANENSIS".

An engraved tailpiece to the second, fifth, and eleventh books of Moyne's epic, "Saint Louys," depicting a laurel crown above a monogram, above which is a banner with the Latin motto, "non marcescet" (it will not fade/wither).

An engraved tailpiece to the second, fifth, and eleventh books of Moyne's epic, "Saint Louys," depicting a laurel crown above a monogram, above which is a banner with the Latin motto, "non marcescet" (it will not fade/wither).

An engraving depicting the prophet Obadiah standing barefoot as he glances left and up towards heaven. Behind him is a landscape featuring a cliffside with two groups of buildings.

An engraving depicting the prophet Obadiah standing barefoot as he glances left and up towards heaven. Behind him is a landscape featuring a cliffside with two groups of buildings.

An engraving depicting detailed representations of the four sides of the Obelisk of Domitian, which had been moved by Pope Innocent X from the Via Appia to his family home, the Palazzo Pamphilj. Between the four sides, there is a small representation of the obelisk with a decorative ribbon proclaiming it the "Obelisus Pamphilius" (bottom), a cherub holding a pair of medallions with a portrait of Innocent X (left) and the obelisk (right) (middle), and an angel lying on a cloud supporting Innocent X's coat of arms.

An engraving depicting detailed representations of the four sides of the Obelisk of Domitian, which had been moved by Pope Innocent X from the Via Appia to his family home, the Palazzo Pamphilj. Between the four sides, there is a small representation of the obelisk with a decorative ribbon proclaiming it the "Obelisus Pamphilius" (bottom), a cherub holding a pair of medallions with a portrait of Innocent X (left) and the obelisk (right) (middle), and an angel lying on a cloud supporting Innocent X's coat of arms.

A series of six engravings depicting the observation of various Catholic Holy Days, including: Candlemas (top), tenebrae (left middle), the Procession of the Eucharist into a tomb (right middle), the fire that begins Holy Saturday (bottom left), and the blessing of a new Paschal candle (bottom right).

A series of six engravings depicting the observation of various Catholic Holy Days, including: Candlemas (top), tenebrae (left middle), the Procession of the Eucharist into a tomb (right middle), the fire that begins Holy Saturday (bottom left), and the blessing of a new Paschal candle (bottom right).

The act of forgiving offenses, illustrated and accompanied by scriptural references.

The act of forgiving offenses, illustrated and accompanied by scriptural references.

An engraved portrait of Olaudah Equiano which appears in his autobiography.

An engraved portrait of Olaudah Equiano which appears in his autobiography.

An engraved tailpiece to the first, fourth, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a crown of thorns above a monogram, above which is a banner with the Latin motto, "olim efflorescet" (In the future, it will bloom/grow/flourish).

An engraved tailpiece to the first, fourth, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a crown of thorns above a monogram, above which is a banner with the Latin motto, "olim efflorescet" (In the future, it will bloom/grow/flourish).

A series of six engravings depicting a Roman Catholic cleric receiving tonsure (top left) and a surplice (top right), and the ordination of a sexton (middle left), a lector (middle right), an exorcist (bottom left), and an acolyte (bottom right).

A series of six engravings depicting a Roman Catholic cleric receiving tonsure (top left) and a surplice (top right), and the ordination of a sexton (middle left), a lector (middle right), an exorcist (bottom left), and an acolyte (bottom right).

A series of six engravings depicting the ordination of Roman Catholic subdeacons (top left), deacons (top right), and priests (middle left). The priestly ordination includes the bishop laying hands on the new priest (middle right), the bestowal of the power to consecrate (bottom left), and sharing in Communion (bottom right).

A series of six engravings depicting the ordination of Roman Catholic subdeacons (top left), deacons (top right), and priests (middle left). The priestly ordination includes the bishop laying hands on the new priest (middle right), the bestowal of the power to consecrate (bottom left), and sharing in Communion (bottom right).

An engraving of the eastern facade of the Basilica di Santa Maria Maggiore. In this depiction there are two towers, however the actual building only has a single tower.

An engraving of the eastern facade of the Basilica di Santa Maria Maggiore. In this depiction there are two towers, however the actual building only has a single tower.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it originally looked according to older accounts.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it originally looked according to older accounts.

An engraved ornamental tailpiece appearing at the end of the fourth part of the section on Catholics. The engraving depicts an angel holding two trumpets, both of which have banners hanging from them, and playing one. The banners read "CEREMONIES ET COUTUMES DES RELIGIONS DU MONDE."

An engraved ornamental tailpiece appearing at the end of the fourth part of the section on Catholics. The engraving depicts an angel holding two trumpets, both of which have banners hanging from them, and playing one. The banners read "CEREMONIES ET COUTUMES DES RELIGIONS DU MONDE."

An ornamental tailpiece depicting a pair of winged centaurs surrounded by floral and vegetal decoration.

An ornamental tailpiece depicting a pair of winged centaurs surrounded by floral and vegetal decoration.

An engraved ornamental tailpiece appearing at the end of the fifth part of the section on Catholics. The engraving depicts a choir seated before an altar.

An engraved ornamental tailpiece appearing at the end of the fifth part of the section on Catholics. The engraving depicts a choir seated before an altar.

An ornamental tailpiece depicting a face (possibly a mask) surrounded by floral and vegetal decoration.

An ornamental tailpiece depicting a face (possibly a mask) surrounded by floral and vegetal decoration.

An engraved ornamental tailpiece appearing at the end of the introductory section. The engraving depicts a platform with the inscription "Finis" above which hangs a bell and drapery. Holding the drapery and bell up is a decorative boarder featuring a pair of cherubs, a censer, a stole, an open book (likely a Bible), and other Catholic ritual items.

An engraved ornamental tailpiece appearing at the end of the introductory section. The engraving depicts a platform with the inscription "Finis" above which hangs a bell and drapery. Holding the drapery and bell up is a decorative boarder featuring a pair of cherubs, a censer, a stole, an open book (likely a Bible), and other Catholic ritual items.

An engraved ornamental tailpiece to the preface of the section on the Inquisition, depicting the torture of heretics.

An engraved ornamental tailpiece to the preface of the section on the Inquisition, depicting the torture of heretics.

An engraved ornamental tailpiece to the first and second sections on the Inquisition, depicting a pair of Catholic officials trying a man during the Inquisition.

An engraved ornamental tailpiece to the first and second sections on the Inquisition, depicting a pair of Catholic officials trying a man during the Inquisition.

An engraving depicting the torture of Origen. The image shows Origen chained to a prison wall by his neck, his hands clasped in prayer and feet locked in a stocks, while torturers head coals and hold burning straw towards him.

An engraving depicting the torture of Origen. The image shows Origen chained to a prison wall by his neck, his hands clasped in prayer and feet locked in a stocks, while torturers head coals and hold burning straw towards him.

A series of six engravings depicting a conclave, the process by which Roman Catholic cardinals elect a new pope. The rules of the conclave, in which the cardinals are locked in seclusion, were established to prevent political interference and long delays. Food was delivered through a window; after three days, they only received one meal a day and after five days, only bread and water.

A series of six engravings depicting a conclave, the process by which Roman Catholic cardinals elect a new pope. The rules of the conclave, in which the cardinals are locked in seclusion, were established to prevent political interference and long delays. Food was delivered through a window; after three days, they only received one meal a day and after five days, only bread and water.

A series of six engravings depicting papal funeral rituals including the recognition of the pope’s body (top left), the procession of the body to Saint Peter’s basilica (second row), the body lying in state for three days at Saint Peter’s (third row left), the pope’s catafalque (a raised bier used to support the coffin) (third row right) and the funeral procession (bottom).

A series of six engravings depicting papal funeral rituals including the recognition of the pope’s body (top left), the procession of the body to Saint Peter’s basilica (second row), the body lying in state for three days at Saint Peter’s (third row left), the pope’s catafalque (a raised bier used to support the coffin) (third row right) and the funeral procession (bottom).

An engraving of the papal monument of Pope Paul V just inside the entry to the "hyemalis chorus" of the Basilica di Santa Maria Maggiore (located in the northeast section of the basilica near the bell tower where the present day Baptistry is).

An engraving of the papal monument of Pope Paul V just inside the entry to the "hyemalis chorus" of the Basilica di Santa Maria Maggiore (located in the northeast section of the basilica near the bell tower where the present day Baptistry is).

An engraving depicting Paul surrounded by Jewish leaders, who are accusing him of many crimes, standing in front of Porcius Festus, Procurate (governor) of Judea (left) and the Corinthians listening to Paul (right).

An engraving depicting Paul surrounded by Jewish leaders, who are accusing him of many crimes, standing in front of Porcius Festus, Procurate (governor) of Judea (left) and the Corinthians listening to Paul (right).

An engraving depicting to episodes from the Bible. On the left, Paul is shown engaging in discussion with the Jews in the city of Ephesus. On the right, the Tabernacle is depicted with a pair of men sitting before a shielding curtain.

An engraving depicting to episodes from the Bible. On the left, Paul is shown engaging in discussion with the Jews in the city of Ephesus. On the right, the Tabernacle is depicted with a pair of men sitting before a shielding curtain.

An engraving depicting Paul embracing Ephesian Elders as he departs on his journey to Jerusalem. The elders are shown crying, embracing and kissing him.

An engraving depicting Paul embracing Ephesian Elders as he departs on his journey to Jerusalem. The elders are shown crying, embracing and kissing him.

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

An engraved portrait of Pope Paul II, who sat as pope from 1464-1471. The portrait shows Paul II wearing elaborate vestments with his coat of arms featured in the upper right corner. The portrait is labeled "PAVLVS. II. PAPA. VENETVS".

An engraved portrait of Pope Paul II, who sat as pope from 1464-1471. The portrait shows Paul II wearing elaborate vestments with his coat of arms featured in the upper right corner. The portrait is labeled "PAVLVS. II. PAPA. VENETVS".

An engraved portrait of Pope Paul III, who sat as pope from 1534-1549. The portrait shows Paul III wearing simple vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PAVLVS. III. PONT. OPT. MAX".

An engraved portrait of Pope Paul III, who sat as pope from 1534-1549. The portrait shows Paul III wearing simple vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PAVLVS. III. PONT. OPT. MAX".

An engraved portrait of Pope Paul IV, who sat as pope from 1555-1559. The portrait shows Paul IV wearing a simple miter and vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PAVLVS. IV. PAPA. NEAPOLITANVS".

An engraved portrait of Pope Paul IV, who sat as pope from 1555-1559. The portrait shows Paul IV wearing a simple miter and vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PAVLVS. IV. PAPA. NEAPOLITANVS".

The act of admonishing sinners, illustrated and accompanied by scriptural references.

The act of admonishing sinners, illustrated and accompanied by scriptural references.

An engraving depicting the martyrdom of Pelagius of Córdoba. The image shows Pelagius being held up as his arms are cut off and the torturer prepares to cut off his feet.

An engraving depicting the martyrdom of Pelagius of Córdoba. The image shows Pelagius being held up as his arms are cut off and the torturer prepares to cut off his feet.

A series of six engravings depicting a Roman Catholic bishop leads worshipers through rites of penance, including putting on sackcloth, kneeling outside with extinguished candles, and reciting the litanies.

A series of six engravings depicting a Roman Catholic bishop leads worshipers through rites of penance, including putting on sackcloth, kneeling outside with extinguished candles, and reciting the litanies.

An engraving depicting the persecution of Anabaptists under Ferdinand II. The image shows a man being arrested while books are being burned behind him (left), a town being destroyed (background), and the belongings of families being siezed (right).

An engraving depicting the persecution of Anabaptists under Ferdinand II. The image shows a man being arrested while books are being burned behind him (left), a town being destroyed (background), and the belongings of families being siezed (right).

An engraving depicting a story in the New Testament apocryphal writing "Acts of Peter". In it Peter, having kindled the wrath of the powerful, is asked by his fellow Christians to flee Rome so that his ministry may continue. As he leaves the city he sees Christ walking towards Rome carrying a cross. Peter asks where he is going. Christ tells him he is going to Rome to be crucified again. Hearing this Peter returns to Rome convinced his time has come.

An engraving depicting a story in the New Testament apocryphal writing "Acts of Peter". In it Peter, having kindled the wrath of the powerful, is asked by his fellow Christians to flee Rome so that his ministry may continue. As he leaves the city he sees Christ walking towards Rome carrying a cross. Peter asks where he is going. Christ tells him he is going to Rome to be crucified again. Hearing this Peter returns to Rome convinced his time has come.

An engraving depicting the martyrdom of Phocas, the Bishop of Sinope. The image shows Phocas being tossed into a large, boiling bath (left) while a soldier (right) directs an old man's attention to the event. In the background a steaming lime kiln can be seen (right).

An engraving depicting the martyrdom of Phocas, the Bishop of Sinope. The image shows Phocas being tossed into a large, boiling bath (left) while a soldier (right) directs an old man's attention to the event. In the background a steaming lime kiln can be seen (right).

An engraving depicting a portrait of Pierre D'Ailly above a hand emerging from a cloud holding a scale, one side with a pair of tablets (possibly the Ten Commandments) and a crosier, miter, and galero on the other.

An engraving depicting a portrait of Pierre D'Ailly above a hand emerging from a cloud holding a scale, one side with a pair of tablets (possibly the Ten Commandments) and a crosier, miter, and galero on the other.

An engraving depicting Pieter Pieters Beckjen, who was later burned at the stake, preaching to a group in his boat. The image shows a group of nine gathered in a boat while a man at the bow reads from a Bible, the city of Amsterdam visible behind them.

An engraving depicting Pieter Pieters Beckjen, who was later burned at the stake, preaching to a group in his boat. The image shows a group of nine gathered in a boat while a man at the bow reads from a Bible, the city of Amsterdam visible behind them.

An engraving of the gardens and palace of the Villa d'Este in Tivoli outisde of Rome.

An engraving of the gardens and palace of the Villa d'Este in Tivoli outisde of Rome.

An engraved portrait of Pope Pius II, who sat as pope from 1458-1464. The portrait shows Pius II wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. II. PAPA. SENENSIS".

An engraved portrait of Pope Pius II, who sat as pope from 1458-1464. The portrait shows Pius II wearing a papal miter with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. II. PAPA. SENENSIS".

An engraved portrait of Pope Pius III, who sat as pope in 1503. The portrait shows Pius III wearing a simple miter with elaborate vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. III. PAPA. SENENSIS".

An engraved portrait of Pope Pius III, who sat as pope in 1503. The portrait shows Pius III wearing a simple miter with elaborate vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. III. PAPA. SENENSIS".

An engraved portrait of Pope Pius IV, who sat as pope from 1559-1565. The portrait shows Pius IV wearing a simple miter and vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. IV. PAPA. MEDIOLANENSIS".

An engraved portrait of Pope Pius IV, who sat as pope from 1559-1565. The portrait shows Pius IV wearing a simple miter and vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. IV. PAPA. MEDIOLANENSIS".

An engraved portrait of Pope Pius V, who sat as pope from 1566-1572. The portrait shows Pius V wearing simple vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. V. PAPA. ALEXANDRINVS".

An engraved portrait of Pope Pius V, who sat as pope from 1566-1572. The portrait shows Pius V wearing simple vestments with his coat of arms featured in the upper left corner. The portrait is labeled "PIVS. V. PAPA. ALEXANDRINVS".

Engraved title vignette, and other engravings.

Engraved title vignette, and other engravings.

Plate 22 from Recueil de planches de l'Encyclopédie, par ordre de matières. Pêches displaying implements used in beachcombing and shoreline fishing, including a depiction of the tools in use at the top of the page.

Plate 22 from Recueil de planches de l'Encyclopédie, par ordre de matières. Pêches displaying implements used in beachcombing and shoreline fishing, including a depiction of the tools in use at the top of the page.

An engraving depicting the martyrdom of Saint Polycarp. The image shows Polycarp sitting on a blazing fire with eyes turned towards heaven as a man stabs him with a sword.

An engraving depicting the martyrdom of Saint Polycarp. The image shows Polycarp sitting on a blazing fire with eyes turned towards heaven as a man stabs him with a sword.

Portrait of Jacobus Elisa Johannes Capitein, the first black minister who was educated in the Netherlands, with his hand on the Bible. He was a minister at Fort Elmina, in his homeland, present-day Ghana. Below the portrait is a ten-line verse.

Portrait of Jacobus Elisa Johannes Capitein, the first black minister who was educated in the Netherlands, with his hand on the Bible. He was a minister at Fort Elmina, in his homeland, present-day Ghana. Below the portrait is a ten-line verse.

An engraving depicting a group of priests, deacons, and other church officials in conversation.

An engraving depicting a group of priests, deacons, and other church officials in conversation.

An image of an early, Gutenberg style printing press with a pair of ink balls on top of the arranged type. Above the image is the inscription, "EX FVMO IN LVCEM," translated as "from smoke into light."

An image of an early, Gutenberg style printing press with a pair of ink balls on top of the arranged type. Above the image is the inscription, "EX FVMO IN LVCEM," translated as "from smoke into light."

The act of praying for the healthy and those near to God (the dead), illustrated and accompanied by scriptural references.

The act of praying for the healthy and those near to God (the dead), illustrated and accompanied by scriptural references.

A pair of engravings depicting the daily recitation of the Hoshanot during Sukkot (top) and a Jewish family sharing a meal in their sukkah during the Sukkot festival. The top engraving shows worshippers processing around the synagogue carrying the four Holy Species (palm frond, myrtle, willow branch, and citron) as they recite the Hoshanot. The bottom engraving shows a Jewish family sharing a meal in an elaborately decorated sukkah, with the sukkah of another family in the background.

A pair of engravings depicting the daily recitation of the Hoshanot during Sukkot (top) and a Jewish family sharing a meal in their sukkah during the Sukkot festival. The top engraving shows worshippers processing around the synagogue carrying the four Holy Species (palm frond, myrtle, willow branch, and citron) as they recite the Hoshanot. The bottom engraving shows a Jewish family sharing a meal in an elaborately decorated sukkah, with the sukkah of another family in the background.

An engraving depicting the apse of the Basilica di Santa Maria Maggiore, including the altar and the surrounding mosaics.

An engraving depicting the apse of the Basilica di Santa Maria Maggiore, including the altar and the surrounding mosaics.

An engraved headpiece to the sixth, twelfth, and eighteenth books of Moyne's epic, "Saint Louys," depicting interwoven initials (SL) within a glowing crown of thorns, flanked by four cherubs, with a banner below featuring the Latin motto, "qua radiat pupugit" (that which shines, prunctured).

An engraved headpiece to the sixth, twelfth, and eighteenth books of Moyne's epic, "Saint Louys," depicting interwoven initials (SL) within a glowing crown of thorns, flanked by four cherubs, with a banner below featuring the Latin motto, "qua radiat pupugit" (that which shines, prunctured).

An engraving depicting the burning of forty individuals accused of heresy by the Council of Orleans. The image depicts bound figures being lead to a massive bonfire.

An engraving depicting the burning of forty individuals accused of heresy by the Council of Orleans. The image depicts bound figures being lead to a massive bonfire.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it appeared after restoration was done.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it appeared after restoration was done.

A map showing the coastline of West Africa in the region known as Upper Guinea, including the French names fro a number of countries, islands, rivers, and cities.

A map showing the coastline of West Africa in the region known as Upper Guinea, including the French names fro a number of countries, islands, rivers, and cities.

An engraving depicting the martyrdom of Saint Andrew the Apostle. The image shows Andrew bound with rope to an X-shaped cross while a crowd watches.

An engraving depicting the martyrdom of Saint Andrew the Apostle. The image shows Andrew bound with rope to an X-shaped cross while a crowd watches.

An engraving depicting the martyrdom of Saint Barnabas. The image shows Barnabas being dragged by a rope around his neck towards a fire which is being built in the background.

An engraving depicting the martyrdom of Saint Barnabas. The image shows Barnabas being dragged by a rope around his neck towards a fire which is being built in the background.

An engraving depicting the martyrdom of Saint Bartholomew the Apostle. The image shows Bartholomew tied upsidedown to an X-shaped cross while two men flay him with knives before a crowd of onlookers, while in the foreground, a headsman's ax sits ready to behead him.

An engraving depicting the martyrdom of Saint Bartholomew the Apostle. The image shows Bartholomew tied upsidedown to an X-shaped cross while two men flay him with knives before a crowd of onlookers, while in the foreground, a headsman's ax sits ready to behead him.

An engraving depicting the martyrdom of St. Stephan. The image shows Stephen kneeling outside the gates of Jerusalem as a crowd stones him to death.

An engraving depicting the martyrdom of St. Stephan. The image shows Stephen kneeling outside the gates of Jerusalem as a crowd stones him to death.

An engraving depicting the martyrdom of Saint Ignatius of Antioch. The image shows Ignatius standing alone in an arena and facing an oncoming lion with open arms as a crowd watches.

An engraving depicting the martyrdom of Saint Ignatius of Antioch. The image shows Ignatius standing alone in an arena and facing an oncoming lion with open arms as a crowd watches.

An engraving depicting the martyrdom of Saint James the Greater. The image shows James kneeling, blindfolded and with hands held in prayer, as a soldier prepares to decapitate him.

An engraving depicting the martyrdom of Saint James the Greater. The image shows James kneeling, blindfolded and with hands held in prayer, as a soldier prepares to decapitate him.

An engraving depicting the martyrdom of Saint James the Less. The image shows James kneeling with hands raised in prayer as a crowd stones and beats him.

An engraving depicting the martyrdom of Saint James the Less. The image shows James kneeling with hands raised in prayer as a crowd stones and beats him.

An engraving depicting the decapitation of John the Baptist. The scene shows a guard holding the bindings around the arms of John, whose body lays on the floor of the dungeon bleeding from the neck as the executioner walks towards the guarded door with John's head on a platter.

An engraving depicting the decapitation of John the Baptist. The scene shows a guard holding the bindings around the arms of John, whose body lays on the floor of the dungeon bleeding from the neck as the executioner walks towards the guarded door with John's head on a platter.

An engraving depicting the exile of Saint John the Evangelist on Patmos. The image shows John walking through the surf with ships in the background.

An engraving depicting the exile of Saint John the Evangelist on Patmos. The image shows John walking through the surf with ships in the background.

An engraving depicting the martyrdom of Saint Luke the Evangelist. The image shows Luke having been hanged before a crowd from an olive tree.

An engraving depicting the martyrdom of Saint Luke the Evangelist. The image shows Luke having been hanged before a crowd from an olive tree.

An engraving depicting the martyrdom of Saint Mark the Evangelist. The image shows Marc being dragged with ropes and hooks.

An engraving depicting the martyrdom of Saint Mark the Evangelist. The image shows Marc being dragged with ropes and hooks.

An engraving depicting the martyrdom of Saint Matthias the Apostle. The image shows Matthias bound to a cross and stoned by a crowd while an ax sits ready (bottom right) to behead him.

An engraving depicting the martyrdom of Saint Matthias the Apostle. The image shows Matthias bound to a cross and stoned by a crowd while an ax sits ready (bottom right) to behead him.

An engraving depicting the martyrdom of Saint Matthew the Apostle and Evangelist. The image shows Matthew nailed to the ground by both his hands and feet as an executioner stands above him wielding an axe and preparing to behead him.

An engraving depicting the martyrdom of Saint Matthew the Apostle and Evangelist. The image shows Matthew nailed to the ground by both his hands and feet as an executioner stands above him wielding an axe and preparing to behead him.

An engraving depicting the martyrdom of Saint Paul the Apostle. The image shows Paul kneeling and blindfolded with hands together in prayer as the executioner unsheathes his sword and looks back towards Emperor Nero, who stands atop a wall in the background (upper left).

An engraving depicting the martyrdom of Saint Paul the Apostle. The image shows Paul kneeling and blindfolded with hands together in prayer as the executioner unsheathes his sword and looks back towards Emperor Nero, who stands atop a wall in the background (upper left).

An engraving depicting the martyrdom of Saint Peter the Apostle. The image shows Peter crucified upsidedown as Emperor Nero watches from horseback in the background.

An engraving depicting the martyrdom of Saint Peter the Apostle. The image shows Peter crucified upsidedown as Emperor Nero watches from horseback in the background.

An engraving depicting the martyrdom of Saint Simon the Zealot. The image shows Simon being led towards a prepared cross, the spikes to be used to nail him down prepared in a basket in the foreground.

An engraving depicting the martyrdom of Saint Simon the Zealot. The image shows Simon being led towards a prepared cross, the spikes to be used to nail him down prepared in a basket in the foreground.

An engraving depicting the martyrdom of Saint Thomas the Apostle. The image shows Thomas led towards a large furnace by a groupof four spearmen as a king looks on from the back of an elephant.

An engraving depicting the martyrdom of Saint Thomas the Apostle. The image shows Thomas led towards a large furnace by a groupof four spearmen as a king looks on from the back of an elephant.

An engraved floorplan of the Sistine Chapel in the Basilica di Santa Maria Maggiore.

An engraved floorplan of the Sistine Chapel in the Basilica di Santa Maria Maggiore.

An engraving depicting the entrance to the Borghese Chapel from the nave in the Basilica di Santa Maria Maggiore. Through the doorway, the altar of the Salus Populi Romani is visible.

An engraving depicting the entrance to the Borghese Chapel from the nave in the Basilica di Santa Maria Maggiore. Through the doorway, the altar of the Salus Populi Romani is visible.

An engraved floorplan of the Borghese Chapel and adjoining rooms in the Basilica di Santa Maria Maggiore.

An engraved floorplan of the Borghese Chapel and adjoining rooms in the Basilica di Santa Maria Maggiore.

An engraving depicting the Sacramental altar in the Sistine Chapel in the Basilica di Santa Maria Maggiore.

An engraving depicting the Sacramental altar in the Sistine Chapel in the Basilica di Santa Maria Maggiore.

An engraving depicting a scene from the seventh book of the epic poem, Saint Louys, in which the Saracen forces attack the crusaders by boat from the flooded Nile. In the center of the scene, Saint Louis fights the Saracen, Olgen.

An engraving depicting a scene from the seventh book of the epic poem, Saint Louys, in which the Saracen forces attack the crusaders by boat from the flooded Nile. In the center of the scene, Saint Louis fights the Saracen, Olgen.

An engraving depicting a scene from the eighteenth book of the epic poem, Saint Louys, in which God destroys a false Crown of Thorns which would have caused plague and bestows the true Crown of Thorns on Saint Louis.

An engraving depicting a scene from the eighteenth book of the epic poem, Saint Louys, in which God destroys a false Crown of Thorns which would have caused plague and bestows the true Crown of Thorns on Saint Louis.

An engraving depicting a scene from the first book of the epic poem, Saint Louys, in which Saint Louis (seated, right) meets with the Saracen representatives, Mélédor (center) and Garaman (bottom left), on behalf of Sultan Mélédin. Beside Louis is an angel wielding a sword, who appears to dissuade Mélédor from attempting to assassinate Louis, as he had planned. In the bottom left foreground, Garaman lays out a set of poisoned armor indended as a gift for Louis.

An engraving depicting a scene from the first book of the epic poem, Saint Louys, in which Saint Louis (seated, right) meets with the Saracen representatives, Mélédor (center) and Garaman (bottom left), on behalf of Sultan Mélédin. Beside Louis is an angel wielding a sword, who appears to dissuade Mélédor from attempting to assassinate Louis, as he had planned. In the bottom left foreground, Garaman lays out a set of poisoned armor indended as a gift for Louis.

An engraving depicting a scene from the ninth book of the epic poem, Saint Louys, in which the Archangel Michael forces the Nile to recede from where it had flooded, leaving the path clear for the crusaders. In the back ground, a fleet of ships can be seen, referencing a later event in the same book where Archambaut de Bourbon engages in a naval battle with Almasonte.

An engraving depicting a scene from the ninth book of the epic poem, Saint Louys, in which the Archangel Michael forces the Nile to recede from where it had flooded, leaving the path clear for the crusaders. In the back ground, a fleet of ships can be seen, referencing a later event in the same book where Archambaut de Bourbon engages in a naval battle with Almasonte.

A pair of engravings depicting the Scala Sancta at St. John Lateran and statues of the Dioscuri with horses which were moved to the Piazza del Quirinale, both of which were a part of Pope Sixtus V's urban reform program.

A pair of engravings depicting the Scala Sancta at St. John Lateran and statues of the Dioscuri with horses which were moved to the Piazza del Quirinale, both of which were a part of Pope Sixtus V's urban reform program.

An engraving depicting a pair of apostles and a pair of bishops flanking a decorated throne above which sits a radiant dove symbolizing the Holy Spirit. Below the image is the passage, "semper apostolicae cathedrae viguit principatus," (the primacy of the apostolic seat has always flourished) from the Epistle 43 of St. Augustine.

An engraving depicting a pair of apostles and a pair of bishops flanking a decorated throne above which sits a radiant dove symbolizing the Holy Spirit. Below the image is the passage, "semper apostolicae cathedrae viguit principatus," (the primacy of the apostolic seat has always flourished) from the Epistle 43 of St. Augustine.

An engraved headpiece to the third, ninth, and fifteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by an eagle (left) and a lion and snake (right), above which is a banner with the Latin motto, "sepitque tueturque" (it confines/surrounds and protects).

An engraved headpiece to the third, ninth, and fifteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by an eagle (left) and a lion and snake (right), above which is a banner with the Latin motto, "sepitque tueturque" (it confines/surrounds and protects).

An engraving depicting the execution of seven Anabaptists. The image shows the prisioners facing a man on a horse and (presumably) professing their faith whiel an executioner prepares to behead them.

An engraving depicting the execution of seven Anabaptists. The image shows the prisioners facing a man on a horse and (presumably) professing their faith whiel an executioner prepares to behead them.

A title sheet with 7 rondelles, each featuring an act of mercy with label and scriptural reference below.

A title sheet with 7 rondelles, each featuring an act of mercy with label and scriptural reference below.

An engraving depicting a portrait of Sigismond, the Holy Roman Emperor, as a medallion hanging on a platform above a his coat of arms.

An engraving depicting a portrait of Sigismond, the Holy Roman Emperor, as a medallion hanging on a platform above a his coat of arms.

A pair of engravings depicting the celebration of Simchat Torah, including the procession of the Torah scrolls around the synagogue, carried by the Chatan Torah.

A pair of engravings depicting the celebration of Simchat Torah, including the procession of the Torah scrolls around the synagogue, carried by the Chatan Torah.

An engraving depicting

An engraving depicting

An engraving depicting the shopkeeper, Simon, refusing to worship the crucifix. The image shows Simon (right) standing resolutely as other kneeling citizens try to encourage him to kneel before the passing procession of the crucifix.

An engraving depicting the shopkeeper, Simon, refusing to worship the crucifix. The image shows Simon (right) standing resolutely as other kneeling citizens try to encourage him to kneel before the passing procession of the crucifix.

An engraving depicting the execution of six men and two women. The image shows the victims bound to stakes and being burned as various clergymen watch.

An engraving depicting the execution of six men and two women. The image shows the victims bound to stakes and being burned as various clergymen watch.

An engraving depicting the papal monument of Sixtus V in the Sistine Chapel in the Basilica di Santa Maria Maggiore. The monument sits on the eastern 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 Sixtus V in the Sistine Chapel in the Basilica di Santa Maria Maggiore. The monument sits on the eastern wall of the chapel and includes a statue of the pope as well as depictions of his life and works.

An engraved headpiece to the section "Traite' du poeme heroique" depicting a collection of instruments, including bagpipes, horns, trumpets, and an organ, above which is a banner reading "Spiritus est qui vivificat" (The spirit is that which brings life).

An engraved headpiece to the section "Traite' du poeme heroique" depicting a collection of instruments, including bagpipes, horns, trumpets, and an organ, above which is a banner reading "Spiritus est qui vivificat" (The spirit is that which brings life).

An engraving depicting St. Peter's Basilica and surrounding buildings and monuments, including the Papal Palace, the Sistine Chapel, the Vatican Obelisk, the Sacristy, and St. Peter's Square.

An engraving depicting St. Peter's Basilica and surrounding buildings and monuments, including the Papal Palace, the Sistine Chapel, the Vatican Obelisk, the Sacristy, and St. Peter's Square.

A series of four engravings depicting the standards of the Spanish and Goan Inquisitions (top), a man awaiting judgement (bottom left), and a nun who avoided being condemned to the stake by confessing (bottom right). The standard of the Spanish Inquisition features a cross made of rough logs, flanked by a sword and a branch with the motto, "EXURGE DOMINE ET JUDICA CAUSAM TUAM PSALM 73." The standard of the Goan Inquisition features a Dominican monk holding a sword and branch above a dog holding a torch to an orb with the motto, "MISERICORDIA ET JUSTITIA."

A series of four engravings depicting the standards of the Spanish and Goan Inquisitions (top), a man awaiting judgement (bottom left), and a nun who avoided being condemned to the stake by confessing (bottom right). The standard of the Spanish Inquisition features a cross made of rough logs, flanked by a sword and a branch with the motto, "EXURGE DOMINE ET JUDICA CAUSAM TUAM PSALM 73." The standard of the Goan Inquisition features a Dominican monk holding a sword and branch above a dog holding a torch to an orb with the motto, "MISERICORDIA ET JUSTITIA."

An engraving depicting a portrait of St. Bridget of Sweden above a crosier, a coat of arms bearing a cross, and an image of Jesus appearing to her to convey the number of blows he suffered during the Passion.

An engraving depicting a portrait of St. Bridget of Sweden above a crosier, a coat of arms bearing a cross, and an image of Jesus appearing to her to convey the number of blows he suffered during the Passion.

An engraving depicting Jesus leading the Apostles, with a hand on Peter's back, towards St. Peter's Basilica. Below the image is a passage from Matthew 16, "Super hanc petram aedificabo ecclesiam meam" (On this rock I will build my church).

An engraving depicting Jesus leading the Apostles, with a hand on Peter's back, towards St. Peter's Basilica. Below the image is a passage from Matthew 16, "Super hanc petram aedificabo ecclesiam meam" (On this rock I will build my church).

An engraving depicting the torture of Saints Tarachus, Probus, and Andronicus before their martyrdom. The image shows one of the saints standing before the governor Numerian Maximus, while implements of torture, including hot coals, appear in the foreground and background.

An engraving depicting the torture of Saints Tarachus, Probus, and Andronicus before their martyrdom. The image shows one of the saints standing before the governor Numerian Maximus, while implements of torture, including hot coals, appear in the foreground and background.

An engraving depicting the martyrdom of Saints Tarachus, Probus, and Andronicus. The image shows the three men lying in an arena, praying and appealing to heaven as they are surrounded by a lion and bear which refuse to attack them.

An engraving depicting the martyrdom of Saints Tarachus, Probus, and Andronicus. The image shows the three men lying in an arena, praying and appealing to heaven as they are surrounded by a lion and bear which refuse to attack them.

An engraving of the two beasts mentioned in Revelations. On the left, is the seven-headed beast from the sea. On the hill to the right is the "lamb-horned" beast from the earth.

An engraving of the two beasts mentioned in Revelations. On the left, is the seven-headed beast from the sea. On the hill to the right is the "lamb-horned" beast from the earth.

The scene of Christ's circumcision described in Luke 2:21 (after the style of Albrecht Dürer). The text beneath the image engraved by C. Schonaeus reads: "Cernis ut octava sit circuncisus Iesus / Luce puer, tenero accipiens in corpore vulnus, / Ad normam veteris legis, ritumque receptum, / Isacidis multos observatumque per annos."

The scene of Christ's circumcision described in Luke 2:21 (after the style of Albrecht Dürer). The text beneath the image engraved by C. Schonaeus reads: "Cernis ut octava sit circuncisus Iesus / Luce puer, tenero accipiens in corpore vulnus, / Ad normam veteris legis, ritumque receptum, / Isacidis multos observatumque per annos."

An engraving of the Column of the Virgin, which originally supported part of the Basilica of Constantine and was moved by Pope Paul V to the Piazza Santa Maria Maggiore across from the eastern face of the Basilica di Santa Maria Maggiore. Surrounding the depiction of the column iteslf are four panels showing the inscriptions that appear on each side of the column's base.

An engraving of the Column of the Virgin, which originally supported part of the Basilica of Constantine and was moved by Pope Paul V to the Piazza Santa Maria Maggiore across from the eastern face of the Basilica di Santa Maria Maggiore. Surrounding the depiction of the column iteslf are four panels showing the inscriptions that appear on each side of the column's base.

An engraving depicting a session of the Council of Trent with the label, "The Representation of the Fathers assembled in the Council of Trent: begun about the end of the year 1545. Concluded towards the end of 1563, under the Pontificate of Paul III, Julius III, Marcel II, Paul IV, and Pius IV. There were XXV Sessions, in which were present VII Cardinals, V whereof were the Popes LEgates, XVI Ambassadours from Kings, Princes & Republicks, CCL Patriarchs, Archbishops, Bishops, Abbots and Generals of Orders, All Divines and Doctours of the Civil and Canon Law."

An engraving depicting a session of the Council of Trent with the label, "The Representation of the Fathers assembled in the Council of Trent: begun about the end of the year 1545. Concluded towards the end of 1563, under the Pontificate of Paul III, Julius III, Marcel II, Paul IV, and Pius IV. There were XXV Sessions, in which were present VII Cardinals, V whereof were the Popes LEgates, XVI Ambassadours from Kings, Princes & Republicks, CCL Patriarchs, Archbishops, Bishops, Abbots and Generals of Orders, All Divines and Doctours of the Civil and Canon Law."

An engraving depicting a scene from the fifteenth book of the epic poem, Saint Louys, in which Alfasel (bottom right), who had accidentally wounded Zahide (bottom left) with a poisoned arrow while aiming for Lisamante, commits suicide. Meanwhile, Zahide is taken prisioner while in the background, the battle between the crusaders and the Saracens continues.

An engraving depicting a scene from the fifteenth book of the epic poem, Saint Louys, in which Alfasel (bottom right), who had accidentally wounded Zahide (bottom left) with a poisoned arrow while aiming for Lisamante, commits suicide. Meanwhile, Zahide is taken prisioner while in the background, the battle between the crusaders and the Saracens continues.

An engraving depicting a scene from the sixth book of the epic poem, Saint Louys, in which Sultan Mélédin (left), who had been preparing to sacrifice his daughter, Zahide (left, kneeling), watches as his son, Prince Muratan (center), stabs himself so that he can be sacrificed in his sister's place. The ene takes place on an altar beside the Nile river, where the Sultan and his children are joined by Mirème, the sorcerer, and a young woman holding a plate (possibly Almasonte, who later saves Zahide when she and her brother fall in the river).

An engraving depicting a scene from the sixth book of the epic poem, Saint Louys, in which Sultan Mélédin (left), who had been preparing to sacrifice his daughter, Zahide (left, kneeling), watches as his son, Prince Muratan (center), stabs himself so that he can be sacrificed in his sister's place. The ene takes place on an altar beside the Nile river, where the Sultan and his children are joined by Mirème, the sorcerer, and a young woman holding a plate (possibly Almasonte, who later saves Zahide when she and her brother fall in the river).

An engraving depicting a scene from the eleventh book of the epic poem, Saint Louys, in which, while in disguse as crusaders, Mélédor and Alzir infiltrate the French camp to rescue Almasonte and Zahide, who they then unknowingly duel, resulting in Zahide killing Mélédor (bottom right), and Alzir killing Almasonte and then committing suicide (center left).

An engraving depicting a scene from the eleventh book of the epic poem, Saint Louys, in which, while in disguse as crusaders, Mélédor and Alzir infiltrate the French camp to rescue Almasonte and Zahide, who they then unknowingly duel, resulting in Zahide killing Mélédor (bottom right), and Alzir killing Almasonte and then committing suicide (center left).

An engraving depicting a scene from the fourth book of the epic poem, Saint Louys, in which a pair of extravagently dressed figures appear riding an elephant, above which hangs a globe or disc representing the Heavens, with the fire of the sun encircling it as a cherub (representing modest love) sits atop it.

An engraving depicting a scene from the fourth book of the epic poem, Saint Louys, in which a pair of extravagently dressed figures appear riding an elephant, above which hangs a globe or disc representing the Heavens, with the fire of the sun encircling it as a cherub (representing modest love) sits atop it.

An engraving of the Esquiline Obelisk, sometimes known as the Liberian Obelisk, which originally stood as a pair with the Quirinal Obelisk on the Campus Martius in front of the Mausoleum of Augustus and was later moved by Pope Sixtus V to the PIazza dell'Esquilino near the western facade of the Basilica di Santa Maria Maggiore. Surrounding the depiction of the column iteslf are three panels showing the inscriptions that appear on each side of the column's base, while the fourth is incorporated into the image of the obelisk itself.

An engraving of the Esquiline Obelisk, sometimes known as the Liberian Obelisk, which originally stood as a pair with the Quirinal Obelisk on the Campus Martius in front of the Mausoleum of Augustus and was later moved by Pope Sixtus V to the PIazza dell'Esquilino near the western facade of the Basilica di Santa Maria Maggiore. Surrounding the depiction of the column iteslf are three panels showing the inscriptions that appear on each side of the column's base, while the fourth is incorporated into the image of the obelisk itself.

An engraving depicting a scene from the fourteenth book of the epic poem, Saint Louys, in which the body of the martyred Robert d'Artois, the brother of Saint Louis who fell in battle during the siege of Mansourah, is laid to rest in a tomb decorated with scenes of battle by a group of angels.

An engraving depicting a scene from the fourteenth book of the epic poem, Saint Louys, in which the body of the martyred Robert d'Artois, the brother of Saint Louis who fell in battle during the siege of Mansourah, is laid to rest in a tomb decorated with scenes of battle by a group of angels.

A series of six engravings depicting elements of the process of ordaining nuns. The bishop gives the nuns their rings (top left), the bishop crowns the nuns with wreaths (top right), the reading of the anathema (middle left), nuns present their candles (middle right), the bishop celebrates communion with the nuns (bottom left) and the bishop gives the nuns their breviaries (bottom right).

A series of six engravings depicting elements of the process of ordaining nuns. The bishop gives the nuns their rings (top left), the bishop crowns the nuns with wreaths (top right), the reading of the anathema (middle left), nuns present their candles (middle right), the bishop celebrates communion with the nuns (bottom left) and the bishop gives the nuns their breviaries (bottom right).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop, including his presentation (top left), his oath (top right), his bowing before the altar (middle left) anointing (middle right), the anointing of his hands, (bottom left), and the bestowal of his crosier (bottom right).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop, including his presentation (top left), his oath (top right), his bowing before the altar (middle left) anointing (middle right), the anointing of his hands, (bottom left), and the bestowal of his crosier (bottom right).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop: including the bestowal of his ring (top left), bestowal of a book of the gospels (top right), presenting the torches, the bread and the wine (middle left), dressing in his miter (middle right), receiving his crosier (bottom left), and dressing in his pallium (lower right).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop: including the bestowal of his ring (top left), bestowal of a book of the gospels (top right), presenting the torches, the bread and the wine (middle left), dressing in his miter (middle right), receiving his crosier (bottom left), and dressing in his pallium (lower right).

A series of six engravings depicting Elements of the processes of ordaining abbots, abbesses, and nuns: the abbot receiving his ecclesiastical habit (top left), the laying on of hands (top right), the abbess receiving her veil (middle left), nuns being consecrated (middle right), blessing the habits of the nuns (bottom left), and nuns receiving their veils (bottom right).

A series of six engravings depicting Elements of the processes of ordaining abbots, abbesses, and nuns: the abbot receiving his ecclesiastical habit (top left), the laying on of hands (top right), the abbess receiving her veil (middle left), nuns being consecrated (middle right), blessing the habits of the nuns (bottom left), and nuns receiving their veils (bottom right).

An engraving depicting a scene of the pope (possibly Pope Gregory XIII) enthroned and surrounded by bishops and cardinals, a dove perched on the back of his throne. Surrounding this scene is a series of portraits of saints and biblical figures, including (from top left down, around, and up): Saint Augustine, Saint John, Saint Matthew, Saint Luke, Saint Mark, Saint Paul, Pope Gregory I (Saint), Saint Ambrose, Jeremiah, Isaiah, David, Job, Moses, and Saint Jerome.

An engraving depicting a scene of the pope (possibly Pope Gregory XIII) enthroned and surrounded by bishops and cardinals, a dove perched on the back of his throne. Surrounding this scene is a series of portraits of saints and biblical figures, including (from top left down, around, and up): Saint Augustine, Saint John, Saint Matthew, Saint Luke, Saint Mark, Saint Paul, Pope Gregory I (Saint), Saint Ambrose, Jeremiah, Isaiah, David, Job, Moses, and Saint Jerome.

Three engravings depicting the front of the Shroud of Besançon and the front and back of the Shroud of Turin.

Three engravings depicting the front of the Shroud of Besançon and the front and back of the Shroud of Turin.

An engraving depicting God giving Moses the Ten Commandments atop Mount Sinai (left) and Moses returning to the Israellites to show them the tablets.

An engraving depicting God giving Moses the Ten Commandments atop Mount Sinai (left) and Moses returning to the Israellites to show them the tablets.

An engraving of the four beasts which appeared to Daniel in a vision rising from the sea.

An engraving of the four beasts which appeared to Daniel in a vision rising from the sea.

The scene described in Luke 1:39-45 where Mary visits Elizabeth in Judah (in the style of Parmigianino). Text beneath the image engraved by Franco Estius: "Plena Deo virgo, coelesti Pnenmate foeta, / Cognatum Helisaben montana per aspera visit; / Exultat sterilis saecunda, exultat et infans / Iam tunc in gravidae genitricis ventre Prophetes."

The scene described in Luke 1:39-45 where Mary visits Elizabeth in Judah (in the style of Parmigianino). Text beneath the image engraved by Franco Estius: "Plena Deo virgo, coelesti Pnenmate foeta, / Cognatum Helisaben montana per aspera visit; / Exultat sterilis saecunda, exultat et infans / Iam tunc in gravidae genitricis ventre Prophetes."

The Whore of Babylon riding atop a seven-headed beast and holding a chalice aloft. She is depicted wearing the papal crown.

The Whore of Babylon riding atop a seven-headed beast and holding a chalice aloft. She is depicted wearing the papal crown.

An engraving depicting the torture of Waldensians, who Pope Innocent III denounced as heretics, by pressing hot irons to their hands. The image shows a clergyman holding a burning iron above the hand of a Waldensian while a crowd watches.

An engraving depicting the torture of Waldensians, who Pope Innocent III denounced as heretics, by pressing hot irons to their hands. The image shows a clergyman holding a burning iron above the hand of a Waldensian while a crowd watches.

A pair of engravings depicting a representation of a ballot for a papal election (top) and a design for the structure of the temporary living spaces for Cardinals during the papal conclave (bottom).

A pair of engravings depicting a representation of a ballot for a papal election (top) and a design for the structure of the temporary living spaces for Cardinals during the papal conclave (bottom).

An engraved portrait of Pope Urban VI, who sat as pope from 1378-1389. The portrait shows Urban VI wearing a papal miter with his coat of arms featured in the upper right corner. The portrait is labeled "VRBANUS. VI. PAPA. NEAPOLITANVS".

An engraved portrait of Pope Urban VI, who sat as pope from 1378-1389. The portrait shows Urban VI wearing a papal miter with his coat of arms featured in the upper right corner. The portrait is labeled "VRBANUS. VI. PAPA. NEAPOLITANVS".

An engraving depicting the torture of Ursel, a schoolteacher. The image shows Ursel hung by her wrists from a post in a torture chamber being scourged by a man while a crowd watches.

An engraving depicting the torture of Ursel, a schoolteacher. The image shows Ursel hung by her wrists from a post in a torture chamber being scourged by a man while a crowd watches.

An engraved floorplan of the old Basilica di Santa Maria Maggiore, including outlying structures.

An engraved floorplan of the old Basilica di Santa Maria Maggiore, including outlying structures.

An engraved map of the Esquiline Hill in Rome showing rough topography and the plans of a number of notable landmarks and buildings including: the Baths of Diocletian, Basilica of the Holy Cross in Jerusalem, Archbasilica of Saint John Lateran, Basilica di Santa Maria Maggiore, Baths of Titus, Basilica of St. Clemens, Basilica of Saint Praxedis, Church of Saint Bibiana, Basilica of Saint Peter in Chains, and Basilica of Saint Stephen Rotunda.

An engraved map of the Esquiline Hill in Rome showing rough topography and the plans of a number of notable landmarks and buildings including: the Baths of Diocletian, Basilica of the Holy Cross in Jerusalem, Archbasilica of Saint John Lateran, Basilica di Santa Maria Maggiore, Baths of Titus, Basilica of St. Clemens, Basilica of Saint Praxedis, Church of Saint Bibiana, Basilica of Saint Peter in Chains, and Basilica of Saint Stephen Rotunda.

An engraving depicting the Villa Borghesia and its surrounding gardgens

An engraving depicting the Villa Borghesia and its surrounding gardgens

An engraving depicting the gardens and villa of the Pamphilli family, located near the Porta San Pancrazio in Rome.

An engraving depicting the gardens and villa of the Pamphilli family, located near the Porta San Pancrazio in Rome.

An engraved headpiece to the fourth, tenth, and sixteenth books of Moyne's epic, "Saint Louys," depicting a royal crown decorated with a crown of thorns, sitting atop a cushion on a table decorated with fleur-de-lis. Four monsters with human faces, lion's paws, snake's tails, and wings flank the crown and above the scene is a banner with the Latin motto, "Vincior hac Vincoque" (that which is bound here also conquers).

An engraved headpiece to the fourth, tenth, and sixteenth books of Moyne's epic, "Saint Louys," depicting a royal crown decorated with a crown of thorns, sitting atop a cushion on a table decorated with fleur-de-lis. Four monsters with human faces, lion's paws, snake's tails, and wings flank the crown and above the scene is a banner with the Latin motto, "Vincior hac Vincoque" (that which is bound here also conquers).

An engraving of the dragon mentioned in Revelations, which granted power and authority to the Beast from the Sea and the Beast from the Earth.

An engraving of the dragon mentioned in Revelations, which granted power and authority to the Beast from the Sea and the Beast from the Earth.

An engraving of Daniel sleeping (left) as his vision of the four beasts (right) appear, each beast labeled with the kingdom they represent: Roma (Rome), Grecia (Greece), Persia, and Assyria.

An engraving of Daniel sleeping (left) as his vision of the four beasts (right) appear, each beast labeled with the kingdom they represent: Roma (Rome), Grecia (Greece), Persia, and Assyria.

An engraving depicting the martyrdom of Saint Vitalis of Milan. The image shows Vitalis being buried alive as a crowd watches.

An engraving depicting the martyrdom of Saint Vitalis of Milan. The image shows Vitalis being buried alive as a crowd watches.

An engraving depicting the execution of Wolfgang Pinder. The image shows Pinder bound and on the ground as his executioner cuts at his neck with a sword while a crowd watches.

An engraving depicting the execution of Wolfgang Pinder. The image shows Pinder bound and on the ground as his executioner cuts at his neck with a sword while a crowd watches.

An engraving depicting a bust of Wenceslas, King of Germany, surrounded by a sword, manacle, and orbis cruciger with a barred window in the background.

An engraving depicting a bust of Wenceslas, King of Germany, surrounded by a sword, manacle, and orbis cruciger with a barred window in the background.

Three-quarter length portrait of Phillis Wheatley, seated at a table, with pen in hand; inkwell and book nearby.

Three-quarter length portrait of Phillis Wheatley, seated at a table, with pen in hand; inkwell and book nearby.

An engraved portrait of Pope Sixtus IV, who sat as pope from 1471-1484. The portrait shows Sixtus IV wearing a simple miter and sitting in a chair with his coat of arms featured in the upper right corner. The portrait is labeled "XYSTVS. IV. PAPA. SAVONENSIS. LIGVR".

An engraved portrait of Pope Sixtus IV, who sat as pope from 1471-1484. The portrait shows Sixtus IV wearing a simple miter and sitting in a chair with his coat of arms featured in the upper right corner. The portrait is labeled "XYSTVS. IV. PAPA. SAVONENSIS. LIGVR".

A depiction of a young Jesus standing amongst the teachers at the temple, reading and asking questions. The print is placed before the hymn, "Ein Gefang fur dem anfang der finder predigt oder des Catechismi" by D. Johan Zwick.

A depiction of a young Jesus standing amongst the teachers at the temple, reading and asking questions. The print is placed before the hymn, "Ein Gefang fur dem anfang der finder predigt oder des Catechismi" by D. Johan Zwick.

An engraving depicting a scene from the seventeenth book of the epic poem, Saint Louys, in which a recovered Zahide sees a vision of the Virgin Mary surounded by angels and holding a cross, and is converted.

An engraving depicting a scene from the seventeenth book of the epic poem, Saint Louys, in which a recovered Zahide sees a vision of the Virgin Mary surounded by angels and holding a cross, and is converted.

An engraving depicting the torture of Huguenots in Poitou. The image shows a man bound and forced to drink through a funnel (bottom right), a man having his hand boiled (center left), and a man forced to inhale smoke from a pipe (background center).

An engraving depicting the torture of Huguenots in Poitou. The image shows a man bound and forced to drink through a funnel (bottom right), a man having his hand boiled (center left), and a man forced to inhale smoke from a pipe (background center).

An engraved floorplan of the Basilica di Santa Maria Maggiore as restored by Pope Paul V, including outlying structures. Numbered areas are referenced within the text of the book and can be consulted for futher context.

An engraved floorplan of the Basilica di Santa Maria Maggiore as restored by Pope Paul V, including outlying structures. Numbered areas are referenced within the text of the book and can be consulted for futher context.