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A woodcut depicting a pilgrim outfitted with a hat, cloak, staff, and bag for his journey, being directed by God from Heaven (top right).

A woodcut depicting a pilgrim outfitted with a hat, cloak, staff, and bag for his journey, being directed by God from Heaven (top right).

Summary: First printing of an early Advent sermon by Luther, focusing on the signs of the impending end of the world.

Summary: First printing of an early Advent sermon by Luther, focusing on the signs of the impending end of the world.

Summary: Sermon preached June 9, 1522, on John III, 16, "For God so loved the world ..."

Summary: Sermon preached June 9, 1522, on John III, 16, "For God so loved the world ..."

Summary: Sermon preached July 27, 1522, on Matthew 5:20ff. (Unless your righteousness is greater than that of the Pharisees, etc,.).

Summary: Sermon preached July 27, 1522, on Matthew 5:20ff. (Unless your righteousness is greater than that of the Pharisees, etc,.).

Summary: Sermon by Martin Luther criticizing the adoration of the cross and supposed relics of the Passion.

Summary: Sermon by Martin Luther criticizing the adoration of the cross and supposed relics of the Passion.

Summary: A sermon by Luther admonishing the directing of one's attentions not to the wealth of the church and its relics, but to the needs of the poor.

Summary: A sermon by Luther admonishing the directing of one's attentions not to the wealth of the church and its relics, but to the needs of the poor.

Summary: Sermon preached June 9, 1522, on John 3:16 (God So Loved The World).

Summary: Sermon preached June 9, 1522, on John 3:16 (God So Loved The World).

Summary: Sermon preached in Erfurt, October 21, 1522, on Matthew 25:1ff. (Wise and Foolish Virgins).

Summary: Sermon preached in Erfurt, October 21, 1522, on Matthew 25:1ff. (Wise and Foolish Virgins).

A woodcut full-body portrait of either Martin Luther or Michael Stifel dressed in the garb of an Augustinian monk and holding a book.

A woodcut full-body portrait of either Martin Luther or Michael Stifel dressed in the garb of an Augustinian monk and holding a book.

A woodcut full-body portrait of either Martin Luther or Michael Stifel dressed in the garb of an Augustinian monk and holding a book. Surrounding the monk is a separate woodcut border featuring cherubs and Wild Men in trees and the coat of arms of the Holy Roman Empire at the bottom.

A woodcut full-body portrait of either Martin Luther or Michael Stifel dressed in the garb of an Augustinian monk and holding a book. Surrounding the monk is a separate woodcut border featuring cherubs and Wild Men in trees and the coat of arms of the Holy Roman Empire at the bottom.

Summary: C. Schatzgeyer here writes on the veneration of the saints, the "friends of God". Catholic theology makes a sharp distinction between paying honor to saints (dulia) and worship of God (latria). This is the first printing of this work. No one knows for sure when it was written and printed.

Summary: C. Schatzgeyer here writes on the veneration of the saints, the "friends of God". Catholic theology makes a sharp distinction between paying honor to saints (dulia) and worship of God (latria). This is the first printing of this work. No one knows for sure when it was written and printed.

A woodcut depicting Jesus Christ teaching the apostles about the End Times as he gestures towards the heavens, where the sun, moon, and stars can be seen.

A woodcut depicting Jesus Christ teaching the apostles about the End Times as he gestures towards the heavens, where the sun, moon, and stars can be seen.

A woodcut depicting Jesus Christ riding into Jerusalem on a donkey, the apostles behind him, as a man lays his cloak on the road before him.

A woodcut depicting Jesus Christ riding into Jerusalem on a donkey, the apostles behind him, as a man lays his cloak on the road before him.

A woodcut depicting Saint John the Apostle's vision from the first chapter of Revelations of a Christ with flaming eyes, surrounded by seven candlesticks and holding seven stars, with a sword emerging from his mouth. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting Saint John the Apostle's vision from the first chapter of Revelations of a Christ with flaming eyes, surrounded by seven candlesticks and holding seven stars, with a sword emerging from his mouth. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting Jesus Christ praying in the Garden of Gethsemane while the apostles sleep around him.

A woodcut depicting Jesus Christ praying in the Garden of Gethsemane while the apostles sleep around him.

Summary: This is the second and much expanded edition of Luther's reply to Henry VIII's Assertion of the Seven Sacraments. Luther replies quite moderately (for him) to what he feels to be the King's unwarranted assertions on the Catholic Sacraments. This is the second printing of this edition.

Summary: This is the second and much expanded edition of Luther's reply to Henry VIII's Assertion of the Seven Sacraments. Luther replies quite moderately (for him) to what he feels to be the King's unwarranted assertions on the Catholic Sacraments. This is the second printing of this edition.

Summary: Luther's translation from the original Greek of the New Testament is a landmark in the history of the German language. His forceful style ensured that his Thuringian-Saxon dialect would provide the standard for High German in years to come. From a religious standpoint, Luther's decision to refer to the original Greek rather than merely to translate the Vulgate ensured that the German New Testament would be much more faithful to the original. Erasmus' New Testament provided the basis for the translation.

Summary: Luther's translation from the original Greek of the New Testament is a landmark in the history of the German language. His forceful style ensured that his Thuringian-Saxon dialect would provide the standard for High German in years to come. From a religious standpoint, Luther's decision to refer to the original Greek rather than merely to translate the Vulgate ensured that the German New Testament would be much more faithful to the original. Erasmus' New Testament provided the basis for the translation.

Summary: The tribulation of monks-turned Protestant, and then turned out of their monasteries, made fascinating reading for the newly-converted Protestants. In style, it is analogous to martyrologies, such as Foxe's "Book of Martyrs." G. Korn here relates his sufferings on account of the Gospel as one such monk in Nuremberg.

Summary: The tribulation of monks-turned Protestant, and then turned out of their monasteries, made fascinating reading for the newly-converted Protestants. In style, it is analogous to martyrologies, such as Foxe's "Book of Martyrs." G. Korn here relates his sufferings on account of the Gospel as one such monk in Nuremberg.

Summary: First printing of an open letter by Luther to the church of Erfurt on the subject of prayers to the saints.

Summary: First printing of an open letter by Luther to the church of Erfurt on the subject of prayers to the saints.

Summary: Text in German includes Luther's translations from Latin of several Psalms from the Hebrew O.T., and the Epistle to Titus from the Greek N.T.

Summary: Text in German includes Luther's translations from Latin of several Psalms from the Hebrew O.T., and the Epistle to Titus from the Greek N.T.

Summary: Fifth edition of Erasmus' Colloquies, a collection of dialogues on Latin conversation and good behavior first published in 1518 as an excercise book for Erasmus's students.

Summary: Fifth edition of Erasmus' Colloquies, a collection of dialogues on Latin conversation and good behavior first published in 1518 as an excercise book for Erasmus's students.

A woodcut depicting the Four Horsemen of the Apocalypse: the first, a conquerer with a crown and bow, the second, with a sword, tasked with taking peace from the earth, the third holding scales, and the fourth, Death itself. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the Four Horsemen of the Apocalypse: the first, a conquerer with a crown and bow, the second, with a sword, tasked with taking peace from the earth, the third holding scales, and the fourth, Death itself. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut border on the title page of Gallus Korn's personal narrative of leaving his monastic community after joining the Protestants. The border is comprised of a single woodcut depicting a Wild Man and Woman flanking a blank crest (bottom), a bagpipe player (right), a cherub and another figure (left), and a group of cherubs fighting a dragon (top).

A woodcut border on the title page of Gallus Korn's personal narrative of leaving his monastic community after joining the Protestants. The border is comprised of a single woodcut depicting a Wild Man and Woman flanking a blank crest (bottom), a bagpipe player (right), a cherub and another figure (left), and a group of cherubs fighting a dragon (top).

A woodcut border on the title page of Luther's Ain Sermon Secundum Matheum printed in 1522. The border is composed of a single woodcut and depicts an architectural arch or nice decorated with plant motifs. Within the border and below the title, a cherub is depicted holding the Electoral Arms of Saxony (left) and the Ducal Arms of Saxony (right).

A woodcut border on the title page of Luther's Ain Sermon Secundum Matheum printed in 1522. The border is composed of a single woodcut and depicts an architectural arch or nice decorated with plant motifs. Within the border and below the title, a cherub is depicted holding the Electoral Arms of Saxony (left) and the Ducal Arms of Saxony (right).

A woodcut border on the title page of Luther's Christlicher Beweisung von dem Jungsten Tag printed in 1522. The border is composed of five woodcuts arranged around the title. The bottom of the border is made up of two decorative woodcuts, one featuring a bird amongst foliage (possibly a woodcut usually used for either the left or right side of a title page border, considering the orienation of the bird) and a more architectural decorative image. The left and right sides feature two similar pieces featuring blank crests, plinths and foliage.

A woodcut border on the title page of Luther's Christlicher Beweisung von dem Jungsten Tag printed in 1522. The border is composed of five woodcuts arranged around the title. The bottom of the border is made up of two decorative woodcuts, one featuring a bird amongst foliage (possibly a woodcut usually used for either the left or right side of a title page border, considering the orienation of the bird) and a more architectural decorative image. The left and right sides feature two similar pieces featuring blank crests, plinths and foliage.

A woodcut border on the title page of Luther's Uon Menschenn Lere zu meyden printed in 1522. The border consists of a single woodcut depicting two birds flanking a plinth (top), a man wearing a hat and playing a flute with a bee at his shoulder (right), two cherubs holding up a blank crest (bottom), and a humanoid fiure with a pig or cow's head holding a rosary (right).

A woodcut border on the title page of Luther's Uon Menschenn Lere zu meyden printed in 1522. The border consists of a single woodcut depicting two birds flanking a plinth (top), a man wearing a hat and playing a flute with a bee at his shoulder (right), two cherubs holding up a blank crest (bottom), and a humanoid fiure with a pig or cow's head holding a rosary (right).

A woodcut border on the title page of Luther's De votis monasticis judicium printed in 1522. The border is printed as a single woodcut and depicts an archway with cherubs playing the drum and flute (top), and cherubs holding the Electoral Arms of Saxony (left) and the Ducal Arms of Saxony (right).

A woodcut border on the title page of Luther's De votis monasticis judicium printed in 1522. The border is printed as a single woodcut and depicts an archway with cherubs playing the drum and flute (top), and cherubs holding the Electoral Arms of Saxony (left) and the Ducal Arms of Saxony (right).

A woodcut border on the title page of Luther's Sermon Am Pfingstmontag das Evangelium. Joan. iij printed in 1522. The border consists of a single woodcut and depicts an architectural arch or niche decorated with Corinthian columns (sides), a lady and a knight holding blank shields (top left and right), a pair of sirens holding a blank shield (top), a blank shield filled in with a hand-drawn symbol flanked by two cherubs playing the drums and flute (bottom).

A woodcut border on the title page of Luther's Sermon Am Pfingstmontag das Evangelium. Joan. iij printed in 1522. The border consists of a single woodcut and depicts an architectural arch or niche decorated with Corinthian columns (sides), a lady and a knight holding blank shields (top left and right), a pair of sirens holding a blank shield (top), a blank shield filled in with a hand-drawn symbol flanked by two cherubs playing the drums and flute (bottom).

A woodcut border on the title page of Luther's Sermon von den Heiltumen printed in 1522. The border consists of four woodcuts, all featuring plant motifs with added elements, including: a bird (left), birds and bugs (top), fruits (right), and an urn (bottom). Within the border and below the title is a fifth woodcut depicting the crucifixion of Jesus Christ, with the Virgin Mary to the left and a saint to the right.

A woodcut border on the title page of Luther's Sermon von den Heiltumen printed in 1522. The border consists of four woodcuts, all featuring plant motifs with added elements, including: a bird (left), birds and bugs (top), fruits (right), and an urn (bottom). Within the border and below the title is a fifth woodcut depicting the crucifixion of Jesus Christ, with the Virgin Mary to the left and a saint to the right.

A woodcut border on the title page of Luther's Uom Missbrauch der Messen printed in 1522.

A woodcut border on the title page of Luther's Uom Missbrauch der Messen printed in 1522.

A woodcut border on the title page of Luther's Uom Missbrauch der Messen printed in 1522.

A woodcut border on the title page of Luther's Uom Missbrauch der Messen printed in 1522.

A woodcut border on the title page of Luther's Uon Menschenn Lere zu meyden printed in 1522. The border consists of a single woodcut depicting two birds flanking a plinth (top), a man wearing a hat and playing a flute with a bee at his shoulder (right), two cherubs holding up a blank crest (bottom), and a humanoid fiure with a pig or cow's head holding a rosary (right).

A woodcut border on the title page of Luther's Uon Menschenn Lere zu meyden printed in 1522. The border consists of a single woodcut depicting two birds flanking a plinth (top), a man wearing a hat and playing a flute with a bee at his shoulder (right), two cherubs holding up a blank crest (bottom), and a humanoid fiure with a pig or cow's head holding a rosary (right).

A woodcut border on the title page of Luther's Vom ehelichen Leben printed in 1522.

A woodcut border on the title page of Luther's Vom ehelichen Leben printed in 1522.

A woodcut border on the title page of Luther's Vom ehelichen Leben printed in 1522.

A woodcut border on the title page of Luther's Vom ehelichen Leben printed in 1522.

A woodcut border on the title page of Luther's Von Menschenlehre zu meiden printed in 1522. The border is compromised of a single woodcut featuring an architectural arch or niche decorated with foliage and roses and topped with a cherub head.

A woodcut border on the title page of Luther's Von Menschenlehre zu meiden printed in 1522. The border is compromised of a single woodcut featuring an architectural arch or niche decorated with foliage and roses and topped with a cherub head.

A woodcut border on the title page to Luther's Von Menschenlehre zu meiden printed in 1522. The border depicts a series of cherubs, including two carrying another on a ram's pelt litter while it plays a horn and carries a standard.

A woodcut border on the title page to Luther's Von Menschenlehre zu meiden printed in 1522. The border depicts a series of cherubs, including two carrying another on a ram's pelt litter while it plays a horn and carries a standard.

A woodcut border on the title page of Luther's Von der Beicht, ob die der Papst Macht have zu gebieten printed in 1522. The border is composed of four woodcuts designed to create a single, cohesive design of decorative plants and a pair of cherubs.

A woodcut border on the title page of Luther's Von der Beicht, ob die der Papst Macht have zu gebieten printed in 1522. The border is composed of four woodcuts designed to create a single, cohesive design of decorative plants and a pair of cherubs.

A woodcut border on the title page of Luther's sermon on John 3 and God's love. The border is composed of a single woodcut and depicts a group of cherubs climbing trees and holding up a blank crest.

A woodcut border on the title page of Luther's sermon on John 3 and God's love. The border is composed of a single woodcut and depicts a group of cherubs climbing trees and holding up a blank crest.

A historiated woodcut border of the title page of Moriae encomium : nunc postremum ab ipso autore religiose recognitu[m] una cum alijs aliquot libellis, no[n] minus eruditis quam amoenis, quorum omniu[m] titulos proxima pagella loquetur. The border features the personifications of several deadly sins and cardinal virtues, including Pride, Greed, Justice, Prudence, and Hope. At the bottom of the border, the personified Fortuna rides a horse as a skeleton shoots a man with an arrow.

A historiated woodcut border of the title page of Moriae encomium : nunc postremum ab ipso autore religiose recognitu[m] una cum alijs aliquot libellis, no[n] minus eruditis quam amoenis, quorum omniu[m] titulos proxima pagella loquetur. The border features the personifications of several deadly sins and cardinal virtues, including Pride, Greed, Justice, Prudence, and Hope. At the bottom of the border, the personified Fortuna rides a horse as a skeleton shoots a man with an arrow.

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).

Summary: It was the practice at Wittenberg for the students to sharpen their logical and debating skills by responding to a set of theses proposed by the professor in the discipline in which they were working. These theses were often collected into book form for the use of the students and for the study of the topics by interested non-students. This group is from the early years of the Reformation, 1521-1522. Theses proposed in the Universität Wittenberg for the granting of doctoral degrees. In most cases the "respondents" are not indicated.

Summary: It was the practice at Wittenberg for the students to sharpen their logical and debating skills by responding to a set of theses proposed by the professor in the discipline in which they were working. These theses were often collected into book form for the use of the students and for the study of the topics by interested non-students. This group is from the early years of the Reformation, 1521-1522. Theses proposed in the Universität Wittenberg for the granting of doctoral degrees. In most cases the "respondents" are not indicated.

A woodcut full-body portrait of Martin Luther dressed in the garb of an Augustinian monk and holding a book.

A woodcut full-body portrait of Martin Luther dressed in the garb of an Augustinian monk and holding a book.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, with a dove above him, representing the Holy Spirit.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, with a dove above him, representing the Holy Spirit.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, with a dove above him, representing the Holy Spirit.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, with a dove above him, representing the Holy Spirit.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, with a dove above him, representing the Holy Spirit.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, with a dove above him, representing the Holy Spirit.

A woodcut depicting the printer's device of Martin Landsberg. The mark consists of two shields, one with what could be a stylized ox or cow head and a star (left) and the second with a city by a river (right). Per Davies in "Devices of the Early Printers, Vol. 9, pg. 196, "The town represented is on mounds in the former; here water seems to be indicated. If the allusion was originally to "Land" and "Berg", it is therefore now lost."

A woodcut depicting the printer's device of Martin Landsberg. The mark consists of two shields, one with what could be a stylized ox or cow head and a star (left) and the second with a city by a river (right). Per Davies in "Devices of the Early Printers, Vol. 9, pg. 196, "The town represented is on mounds in the former; here water seems to be indicated. If the allusion was originally to "Land" and "Berg", it is therefore now lost."

A decorative woodcut placed above the colophon featuring the printer's mark of Johann Froben, a crest with a caduceus, being supported by cherubs beneath an architectural arch. Surrounding the woodcut are a number of marginalia as well as two sketches mimicking the central staff of the caduceus and one of the cherubs.

A decorative woodcut placed above the colophon featuring the printer's mark of Johann Froben, a crest with a caduceus, being supported by cherubs beneath an architectural arch. Surrounding the woodcut are a number of marginalia as well as two sketches mimicking the central staff of the caduceus and one of the cherubs.

A decorative woodcut accent featuring a rabbit or hare amongst flowers.

A decorative woodcut accent featuring a rabbit or hare amongst flowers.

Summary: Casper Schatzgeyer, or Sasgerus, was a Franciscan friar who became provincial of the Province of Strasbourg in 1517. He wrote about 23 books on theological topics and against members of other orders and sects, notably J. von Staupitz and A. Osiander. This book, however, criticizes two of Luther's tracts: On Monastic Vows and On the Abolition of the Private Mass. Luther persuaded Johann Briessmann to reply, and Schatzgeyer replied to Briessmann. This is the work's first printing.

Summary: Casper Schatzgeyer, or Sasgerus, was a Franciscan friar who became provincial of the Province of Strasbourg in 1517. He wrote about 23 books on theological topics and against members of other orders and sects, notably J. von Staupitz and A. Osiander. This book, however, criticizes two of Luther's tracts: On Monastic Vows and On the Abolition of the Private Mass. Luther persuaded Johann Briessmann to reply, and Schatzgeyer replied to Briessmann. This is the work's first printing.

A woodcut depicting an angel sealing the 144,000 faithful as a group of angels hold off the Winds from damaging the Earth. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting an angel sealing the 144,000 faithful as a group of angels hold off the Winds from damaging the Earth. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting an angel, robed in clouds with legs of flaming pillars, handing a book to Saint John the Apostle and pointing up at the heavens. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting an angel, robed in clouds with legs of flaming pillars, handing a book to Saint John the Apostle and pointing up at the heavens. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the victorious armies of Heaven (top right) routing the opposing forces as the beast is cast into a lake of fire and brimstone. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the victorious armies of Heaven (top right) routing the opposing forces as the beast is cast into a lake of fire and brimstone. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting two angels announcing the destruction of Babylon and dropping a millstone into the sea while the city itself is seen in flames below. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting two angels announcing the destruction of Babylon and dropping a millstone into the sea while the city itself is seen in flames below. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting an angel locking the dragon, which represents Satan, into a bottomless pit to be bound for a thousand years. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting an angel locking the dragon, which represents Satan, into a bottomless pit to be bound for a thousand years. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the release of the locusts from a bottomless pit by a star following the sounding of the Fifth Trumpet. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the release of the locusts from a bottomless pit by a star following the sounding of the Fifth Trumpet. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depictng God and seven angels with trumpets (top), hail and fire falling into the sea (bottom left), and a burning mountain falling into the sea (bottom right). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depictng God and seven angels with trumpets (top), hail and fire falling into the sea (bottom left), and a burning mountain falling into the sea (bottom right). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting Jesus seated on a throne and holding a sickle, directing the harvest of grain (bottom right) and that of grapes to be pressed (bottom left). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting Jesus seated on a throne and holding a sickle, directing the harvest of grain (bottom right) and that of grapes to be pressed (bottom left). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting an angel gesturing towards the heavenly city of Jerusalem. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting an angel gesturing towards the heavenly city of Jerusalem. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the Lamb of God atop Mount Zion (top) framed by the four beasts described in Ezekiel 1, harpers, and angels holding a book, while below them the city of Babylon is destroyed (bottom). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the Lamb of God atop Mount Zion (top) framed by the four beasts described in Ezekiel 1, harpers, and angels holding a book, while below them the city of Babylon is destroyed (bottom). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the souls of martyrs laid out beneath an altar (bottom left), being lifted up by angels (mid left), and being dressed in white robes (right). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the souls of martyrs laid out beneath an altar (bottom left), being lifted up by angels (mid left), and being dressed in white robes (right). The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting angels pouring out the Seven Plagues, including a plague upon the sun, the air, the rivers and fountains, the earth, the sea, the Euphrates, and the seat of the beast, which is sprewing unclean spirits in the form of frogs. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting angels pouring out the Seven Plagues, including a plague upon the sun, the air, the rivers and fountains, the earth, the sea, the Euphrates, and the seat of the beast, which is sprewing unclean spirits in the form of frogs. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the releasing of four angels bound to the Euphrates to lead an army of lion-mounted warriors to destroy a third of the world's population. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the releasing of four angels bound to the Euphrates to lead an army of lion-mounted warriors to destroy a third of the world's population. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting a series of disasters, including the sun and moon changing, stars falling, and earthquakes. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting a series of disasters, including the sun and moon changing, stars falling, and earthquakes. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting Saint John the Apostle measuring the temple of God as two witnesses named by an angel face a snarling beast. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting Saint John the Apostle measuring the temple of God as two witnesses named by an angel face a snarling beast. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting two beasts, the first with seven crowned heads and ten horns rising from the sea, and the second in the shape of a lamb with two horns which is accompanied by flames raining from the skies. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting two beasts, the first with seven crowned heads and ten horns rising from the sea, and the second in the shape of a lamb with two horns which is accompanied by flames raining from the skies. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the Whore (Harlot) of Babylon atop the red dragon, a golden cup in hand and a Papal crown upon her head. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the Whore (Harlot) of Babylon atop the red dragon, a golden cup in hand and a Papal crown upon her head. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting a woman crowned in stars facing down a dragon with ten horns and seven crowns while above her a child is carried to the throne of God by angels. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting a woman crowned in stars facing down a dragon with ten horns and seven crowns while above her a child is carried to the throne of God by angels. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting the crucifixion of Jesus Christ, including a crowd of onlookers surrounding the Virgin Mary.

A woodcut depicting the crucifixion of Jesus Christ, including a crowd of onlookers surrounding the Virgin Mary.

A woodcut depicting the crucifixion of Jesus Christ, with the Virgin Mary baring a breast on the left and God (or possibly Moses) on the right holding the tablets bearing the Ten Commandments.

A woodcut depicting the crucifixion of Jesus Christ, with the Virgin Mary baring a breast on the left and God (or possibly Moses) on the right holding the tablets bearing the Ten Commandments.

A woodcut depicting the wedding ceremonies of three clergy members with musicians (top) playing accompaniment.

A woodcut depicting the wedding ceremonies of three clergy members with musicians (top) playing accompaniment.

Summary: Written in Latin in the fall of 1521 under the title De abroganda missa privata, this is the third printing of the first German edition of Martin Luther's important tract on the celebration of private masses. Luther opposed any celebration of the Eucharist that was not accessible to or provided for the congregation at large and felt so strongly about this material that he translated it into German himself.

Summary: Written in Latin in the fall of 1521 under the title De abroganda missa privata, this is the third printing of the first German edition of Martin Luther's important tract on the celebration of private masses. Luther opposed any celebration of the Eucharist that was not accessible to or provided for the congregation at large and felt so strongly about this material that he translated it into German himself.

Summary: This sermon on marriage is an elaboration of an earlier work no longer extant. In its present form there is no set Bible text, nor is the sermon designed for a particular place in the Church year.

Summary: This sermon on marriage is an elaboration of an earlier work no longer extant. In its present form there is no set Bible text, nor is the sermon designed for a particular place in the Church year.

Summary: Luther always felt a special fondness for this work. Nearly two decades after writing it, he remembered it as being especially powerful. It elicited response from Catholic opponents five years hence. Luther felt so strongly about this material that he translated it into German himself. The abuse of the title refers to the masses sung by chantry priests for individuals. Luther opposed any celebration of the Eucharist that was not accessible to or provided for the congregation at large.

Summary: Luther always felt a special fondness for this work. Nearly two decades after writing it, he remembered it as being especially powerful. It elicited response from Catholic opponents five years hence. Luther felt so strongly about this material that he translated it into German himself. The abuse of the title refers to the masses sung by chantry priests for individuals. Luther opposed any celebration of the Eucharist that was not accessible to or provided for the congregation at large.

Summary: First published earlier the same year, Luther's pamphlet Defense of the doctrines of men was one of Luther's most widely read writings with approximately twenty editions appearing in the years 1522 and 1523. Written in honor of Hans von Belepsch who had hosted Luther at the Wartburg as the reformer translated the New Testament. Luther argues that church teachings that have no basis in the Bible, in particular fasting and celibacy, are illegitimate and are to be avoided.

Summary: First published earlier the same year, Luther's pamphlet Defense of the doctrines of men was one of Luther's most widely read writings with approximately twenty editions appearing in the years 1522 and 1523. Written in honor of Hans von Belepsch who had hosted Luther at the Wartburg as the reformer translated the New Testament. Luther argues that church teachings that have no basis in the Bible, in particular fasting and celibacy, are illegitimate and are to be avoided.

Summary: A treatise by Luther on the relationship of belief and practice, intended for those "poor consciences, that lie captive to human laws in cloisters and monastic foundations", as he puts it in his preface. It is also noteworthy that Luther assumes his audience includes both those who could read his writings directly, and those who heard them read by others, when he dedicates his pamphlet "to all who read or hear this little book".

Summary: A treatise by Luther on the relationship of belief and practice, intended for those "poor consciences, that lie captive to human laws in cloisters and monastic foundations", as he puts it in his preface. It is also noteworthy that Luther assumes his audience includes both those who could read his writings directly, and those who heard them read by others, when he dedicates his pamphlet "to all who read or hear this little book".

Summary: After Luther published his "Eight Sermons" of 1522, he decided that there was needed a shorter, more concise statement of these sermons' arguments. This is the third printing of the resulting précis.

Summary: After Luther published his "Eight Sermons" of 1522, he decided that there was needed a shorter, more concise statement of these sermons' arguments. This is the third printing of the resulting précis.

A woodcut depicting Saint John the Apostle kneeling before a scene where God, seated on a throne and flanked by the four beasts described in Ezekiel 1, hands a book to the Lamb of God as a number of angels surround them and a group of elders kneel, crowns removed with harps and incense in hand. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

A woodcut depicting Saint John the Apostle kneeling before a scene where God, seated on a throne and flanked by the four beasts described in Ezekiel 1, hands a book to the Lamb of God as a number of angels surround them and a group of elders kneel, crowns removed with harps and incense in hand. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.

Summary: Luther addresses the monastic rules of fasting, obedience and celibacy, arguing that they have no foundation in scripture and that a transgression of these rules is therefore no sin. At the same time, Luther warns that a transgression of monastic rules in itself is by no means a sign of faith or internalized piety.

Summary: Luther addresses the monastic rules of fasting, obedience and celibacy, arguing that they have no foundation in scripture and that a transgression of these rules is therefore no sin. At the same time, Luther warns that a transgression of monastic rules in itself is by no means a sign of faith or internalized piety.

Summary: Second Basel printing of an early Luther treatise on Penance, together with a translation and exposition of Psalm 118.

Summary: Second Basel printing of an early Luther treatise on Penance, together with a translation and exposition of Psalm 118.

Summary: Interpretive pamphlet by Erasmus on the true nature of pilgrimage, as espoused by Jesus in Matthew XI, 28. Erasmus says that true pilgrimage is undertaken with spiritual, and not with physical feet, and, that Jesus receives all sincere pilgrims equally, whether they be clergy or lay, rich or poor, etc.

Summary: Interpretive pamphlet by Erasmus on the true nature of pilgrimage, as espoused by Jesus in Matthew XI, 28. Erasmus says that true pilgrimage is undertaken with spiritual, and not with physical feet, and, that Jesus receives all sincere pilgrims equally, whether they be clergy or lay, rich or poor, etc.

Summary: Johann Eberlin von Günzburg was a former Franciscan who had left the order and joined the Lutheran Reformation in 1521. This is the second edition of his tract on the dangers of priestly celibacy. He himself was married in 1524 and had four children. The title page woodcut shows the wedding of three different priests, including one to a nun.

Summary: Johann Eberlin von Günzburg was a former Franciscan who had left the order and joined the Lutheran Reformation in 1521. This is the second edition of his tract on the dangers of priestly celibacy. He himself was married in 1524 and had four children. The title page woodcut shows the wedding of three different priests, including one to a nun.