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A set of three woodcuts depicting the coronation of a new pope (top), the proper method for the pope to travel, under a canopy with the bishops before him (center), and a scene of the pope blessing travelers (bottom). Each scene is flanked by a different pair of cherubs.

A set of three woodcuts depicting the coronation of a new pope (top), the proper method for the pope to travel, under a canopy with the bishops before him (center), and a scene of the pope blessing travelers (bottom). Each scene is flanked by a different pair of cherubs.

A woodcut depicting the coronation of a new pope. The pope sits on a dias as the papal crown is placed on his head and cardinals and bishops stand and watch. The scene is flanked by decorative scroll work featuring masks. This woodcut is reused throughout the work.

A woodcut depicting the coronation of a new pope. The pope sits on a dias as the papal crown is placed on his head and cardinals and bishops stand and watch. The scene is flanked by decorative scroll work featuring masks. This woodcut is reused throughout the work.

Summary:

Summary:

Summary: The Donation of Constantine was a work that told of how the Emperor Constantine I gave secular domination over Italy to the Bishops of Rome. Although purported to have been written in the fourth century, the humanist scholar Lorenzo Valla proved the work, long suspect to be an eighth century forgery. Vall's treatise was one of the first important works of comparative philology, a method invaluable to later biblical scholars and translators.

Summary: The Donation of Constantine was a work that told of how the Emperor Constantine I gave secular domination over Italy to the Bishops of Rome. Although purported to have been written in the fourth century, the humanist scholar Lorenzo Valla proved the work, long suspect to be an eighth century forgery. Vall's treatise was one of the first important works of comparative philology, a method invaluable to later biblical scholars and translators.

A woodcut depicting the dedication or consecration of a church. A bishop follows a procession of preists bearing a container of relics draped in ornate fabric to be placed inside the altar. The scene is flanked by a pair of cherubs standing atop eagles and bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the dedication or consecration of a church. A bishop follows a procession of preists bearing a container of relics draped in ornate fabric to be placed inside the altar. The scene is flanked by a pair of cherubs standing atop eagles and bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the dedication or consecration of a church. A bishop, aided by assistants, sprinkles holy water across an altar to bless it, using a hyssop branch. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the dedication or consecration of a church. A bishop, aided by assistants, sprinkles holy water across an altar to bless it, using a hyssop branch. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the dedication or consecration of a church. A bishop, aided by assistants, swings a censer across an altar, consecrating it with incense. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the dedication or consecration of a church. A bishop, aided by assistants, swings a censer across an altar, consecrating it with incense. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

An envelope addressed to Robert Paine in Aberdeen, Mississippi, from James O. Andrew.

An envelope addressed to Robert Paine in Aberdeen, Mississippi, from James O. Andrew.

An envelope addressed to Robert Paine from John Early, postmarked from Washington, D. C. on May, 25, 1860.

An envelope addressed to Robert Paine from John Early, postmarked from Washington, D. C. on May, 25, 1860.

An envelope addressed to Robert Paine in Aberdeen, Mississippi, from an unknown sender, postmarked December 6th at Camden. Possibly the envelope to the letter sent by H. H. Kavanaugh to Paine from Camden, Arkansas, dated December 4th, 1854.

An envelope addressed to Robert Paine in Aberdeen, Mississippi, from an unknown sender, postmarked December 6th at Camden. Possibly the envelope to the letter sent by H. H. Kavanaugh to Paine from Camden, Arkansas, dated December 4th, 1854.

An envelope addressed to Robert Paine in Aberdeen, Mississippi, from George F. Pierce, stamped June 25th in Sparta, Georgia.

An envelope addressed to Robert Paine in Aberdeen, Mississippi, from George F. Pierce, stamped June 25th in Sparta, Georgia.

A woodcut depicting the rite of excommunication. The bishop sits surrounded by twelve priests in a public place, each with a lit candle in his hand, as he pronounces the anathema against the one to be excommunicated, after which all strike out their candles against the ground. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the rite of excommunication. The bishop sits surrounded by twelve priests in a public place, each with a lit candle in his hand, as he pronounces the anathema against the one to be excommunicated, after which all strike out their candles against the ground. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

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.

A letter from George Whitefield to Bishop Martin Benson in response to his implication of Whitefield preaching with "insincerity" and going back on promises made upon ordination.

A letter from George Whitefield to Bishop Martin Benson in response to his implication of Whitefield preaching with "insincerity" and going back on promises made upon ordination.

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 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.

A woodcut border and central illustration on the title page toLuther's Disputatio domini Johannis Eccij et P. Martini Luther in Studio Lipsiensi futura printed in 1519. The border is composed of four separate decorative woodcuts: the left and top ones featuring plants and flowers, the right one depicting a stick with a ribbon coiled around it and stars in the background, and the bottom one depicting a monkey amidst floral ornaments. At the center of the page is a separate woodcut depicting John the Baptist carrying the Lamb of God.

A woodcut border and central illustration on the title page toLuther's Disputatio domini Johannis Eccij et P. Martini Luther in Studio Lipsiensi futura printed in 1519. The border is composed of four separate decorative woodcuts: the left and top ones featuring plants and flowers, the right one depicting a stick with a ribbon coiled around it and stars in the background, and the bottom one depicting a monkey amidst floral ornaments. At the center of the page is a separate woodcut depicting John the Baptist carrying the Lamb of God.

A woodcut border and central illustration on the title page to Luther's Disputatio et excusatio printed in 1519. The border is composed of four separate decorative woodcuts: the left and top ones featuring plants and flowers, the right one depicting a stick with a ribbon coiled around it and stars in the background, and the bottom one depicting a monkey amidst floral ornaments. At the center of the page is a separate woodcut depicting a bishop, carrying a staff and book.

A woodcut border and central illustration on the title page to Luther's Disputatio et excusatio printed in 1519. The border is composed of four separate decorative woodcuts: the left and top ones featuring plants and flowers, the right one depicting a stick with a ribbon coiled around it and stars in the background, and the bottom one depicting a monkey amidst floral ornaments. At the center of the page is a separate woodcut depicting a bishop, carrying a staff and book.

A woodcut depicting the celebration of Holy Saturday. A bishop presides as a deacon lights one candle from three and sings, “Lumen Christi” (“the light of Christ”), to which all reply,”Deo gratis” (“thanks be to God”). The scene is flanked by a pair of cherubs holding rings and kneeling on helmets. The woodcut is reused throughout the work.

A woodcut depicting the celebration of Holy Saturday. A bishop presides as a deacon lights one candle from three and sings, “Lumen Christi” (“the light of Christ”), to which all reply,”Deo gratis” (“thanks be to God”). The scene is flanked by a pair of cherubs holding rings and kneeling on helmets. The woodcut is reused throughout the work.

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.

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.