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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."

A woodcut border on the title page of Wolfgang Wulffer's pamphlet against Luther, calling him a "false prophet." The border is composed of a single woodcut depicting cherubs (top and sides), dragons (top left and right), and a man reclining while wearing a hood with pointed ears (bottom).

A woodcut border on the title page of Wolfgang Wulffer's pamphlet against Luther, calling him a "false prophet." The border is composed of a single woodcut depicting cherubs (top and sides), dragons (top left and right), and a man reclining while wearing a hood with pointed ears (bottom).

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.

A woodcut border on the title page of Johann Eck's pamphlet in support of Hieronymus Emser printed in 1519. The entire border is created using four different woodcuts on each side. The bottom woodcut features a pair of cherubs holding up the coat of arms of Chemintz (possibly a reversed coat of arms of Leipzig). The left hand woodcut includes a cherub holding up a decorative stand upon which is a man battling a boar. The right hand woodcut includes a bent over cherub supporting a decorative stand on top of which stands a drummer.

A woodcut border on the title page of Johann Eck's pamphlet in support of Hieronymus Emser printed in 1519. The entire border is created using four different woodcuts on each side. The bottom woodcut features a pair of cherubs holding up the coat of arms of Chemintz (possibly a reversed coat of arms of Leipzig). The left hand woodcut includes a cherub holding up a decorative stand upon which is a man battling a boar. The right hand woodcut includes a bent over cherub supporting a decorative stand on top of which stands a drummer.

A woodcut border on the title page of Johann Lange's Oratio published in 1519. The border is comprised of one complete woodcut and depicts a group of angels playing music as the Virgin Mary, Jesus, and several other saints watch. Additional scenes of cherubs picking fruit and climbing trees appear in the left and right border sections.

A woodcut border on the title page of Johann Lange's Oratio published in 1519. The border is comprised of one complete woodcut and depicts a group of angels playing music as the Virgin Mary, Jesus, and several other saints watch. Additional scenes of cherubs picking fruit and climbing trees appear in the left and right border sections.

A woodcut border on the title page of Luther's In epistolam Pauli ad Galatas commentarius printed in 1519. The border depicts philosophers gathered around the Castalian spring, where historically the Delphi priestesses bathed before announcing their oracles, with the twin peaks of Mount Parnassus in the background. Along the sides and top of the border are a series of musicians playing flutes, harps, bagpipes, lutes, horns, and violins.

A woodcut border on the title page of Luther's In epistolam Pauli ad Galatas commentarius printed in 1519. The border depicts philosophers gathered around the Castalian spring, where historically the Delphi priestesses bathed before announcing their oracles, with the twin peaks of Mount Parnassus in the background. Along the sides and top of the border are a series of musicians playing flutes, harps, bagpipes, lutes, horns, and violins.

A woodcut border on the title page of Luther's In epistolam Pauli ad Galatas commentarius printed in 1519. The border depicts philosophers gathered around the Castalian spring, where historically the Delphi priestesses bathed before announcing their oracles, with the twin peaks of Mount Parnassus in the background. Along the sides and top of the border are a series of musicians playing flutes, harps, bagpipes, lutes, horns, and violins.

A woodcut border on the title page of Luther's In epistolam Pauli ad Galatas commentarius printed in 1519. The border depicts philosophers gathered around the Castalian spring, where historically the Delphi priestesses bathed before announcing their oracles, with the twin peaks of Mount Parnassus in the background. Along the sides and top of the border are a series of musicians playing flutes, harps, bagpipes, lutes, horns, and violins.

A woodcut border on the title page of Luther's Resolutiones Lutherianae super propositionibus suis Lipsiae disputatis printed in 1519. The border depicts a fox chasing a bird (bottom), three boars (one holding a sword, one stirring a pot, and one wearing a crown and holding a scepter; right), a man with a comb (?) (top), and two men (one with a bucket and the other working a printing press; left).

A woodcut border on the title page of Luther's Resolutiones Lutherianae super propositionibus suis Lipsiae disputatis printed in 1519. The border depicts a fox chasing a bird (bottom), three boars (one holding a sword, one stirring a pot, and one wearing a crown and holding a scepter; right), a man with a comb (?) (top), and two men (one with a bucket and the other working a printing press; left).

A woodcut border on the title page of Luther's exposition of Psalm 109 printed in 1518. Along the bottom margin, the border features three portraits, one of the Virgin Mary holding Jesus, one of a saint holding a spear and a book (possibly Saint Longinus), and one of a pope. Along both side margins are a series of decorative elements, including a cherub, two men chasing each other around a column, a pair of cats, a goose, and a trio of women. At the top of the page, there is a scene of two women with fish tails for legs (possibly a reference to Scylla) flanking a running boy and bird.

A woodcut border on the title page of Luther's exposition of Psalm 109 printed in 1518. Along the bottom margin, the border features three portraits, one of the Virgin Mary holding Jesus, one of a saint holding a spear and a book (possibly Saint Longinus), and one of a pope. Along both side margins are a series of decorative elements, including a cherub, two men chasing each other around a column, a pair of cats, a goose, and a trio of women. At the top of the page, there is a scene of two women with fish tails for legs (possibly a reference to Scylla) flanking a running boy and bird.

A woodcut border on the title page of the fifth printing of Luther's sermon on the sacrament of penance. The border depicts philosophers gathered around the Castalian spring, where historically the Delphi priestesses bathed before announcing their oracles, with the twin peaks of Mount Parnassus in the background. Along the sides and top of the border are a series of musicians playing flutes, harps, bagpipes, lutes, horns, and violins.

A woodcut border on the title page of the fifth printing of Luther's sermon on the sacrament of penance. The border depicts philosophers gathered around the Castalian spring, where historically the Delphi priestesses bathed before announcing their oracles, with the twin peaks of Mount Parnassus in the background. Along the sides and top of the border are a series of musicians playing flutes, harps, bagpipes, lutes, horns, and violins.

A woodcut border on the title page of Silvestro da Prierio Mazzolini's refutation of Luther's 95 Theses printed in 1518. Along the bottom margin, the border features three portraits, one of the Virgin Mary holding Jesus, one of a saint holding a spear and a book (possibly Saint Longinus), and one of a pope. Along both side margins are a series of decorative elements, including a cherub, two men chasing each other around a column, a pair of cats, a goose, and a trio of women.

A woodcut border on the title page of Silvestro da Prierio Mazzolini's refutation of Luther's 95 Theses printed in 1518. Along the bottom margin, the border features three portraits, one of the Virgin Mary holding Jesus, one of a saint holding a spear and a book (possibly Saint Longinus), and one of a pope. Along both side margins are a series of decorative elements, including a cherub, two men chasing each other around a column, a pair of cats, a goose, and a trio of women.

Historical maps of Georgia from the early 1800s to 1961, centering on the location of Clayton County and the Cedar Grove Church.

Historical maps of Georgia from the early 1800s to 1961, centering on the location of Clayton County and the Cedar Grove Church.