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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.

Summary: Latin text of the Papal Bull Ad Dominici gregis curam, issued June 4, 1536, for the Council of Mantua which was never held (council eventually took place in Trent).

Summary: Latin text of the Papal Bull Ad Dominici gregis curam, issued June 4, 1536, for the Council of Mantua which was never held (council eventually took place in Trent).

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.

Summary:

Summary:

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.

Summary: Includes Sermo in festo annuntiationis Virginis Marie, Sermo de predestinato numero damnatorum and Sermo de cathensis.

Summary: Includes Sermo in festo annuntiationis Virginis Marie, Sermo de predestinato numero damnatorum and Sermo de cathensis.

Summray:

Summray:

A woodcut depicting Abraham preparing to sacrifice his son, Isaac, as a show of faith to God and being stopped by an angel, who provides a ram (center left) for sacrifice in Isaac's place.

A woodcut depicting Abraham preparing to sacrifice his son, Isaac, as a show of faith to God and being stopped by an angel, who provides a ram (center left) for sacrifice in Isaac's place.

A photograph of the St. Andrew Church building.

A photograph of the St. Andrew Church building.

A photograph of the St. Andrew Church building.

A photograph of the St. Andrew Church building.

Summary: A philosophical work discussing issues of faith versus unbelief through the symbolism of two societies, "The City of God" and "The City of Man".

Summary: A philosophical work discussing issues of faith versus unbelief through the symbolism of two societies, "The City of God" and "The City of Man".

A page from Les Heures de Nostre Dame including a miniature portrait of Saint Genevieve, who is shown holding a book and a candle being lit by an angel and demon, and a decorative border featuring plants, flowers, and berries.

A page from Les Heures de Nostre Dame including a miniature portrait of Saint Genevieve, who is shown holding a book and a candle being lit by an angel and demon, and a decorative border featuring plants, flowers, and berries.

A photograph of the Saint James Toccoa Church building.

A photograph of the Saint James Toccoa Church building.

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.