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A woodcut depicting a bishop greeting the retinue of a traveling cardinal. The cardinal rides a horse with attendants holding a canopy above him while the remainder of his retinue stands before him and a bishop stands in a doorway. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting a bishop greeting the retinue of a traveling cardinal. The cardinal rides a horse with attendants holding a canopy above him while the remainder of his retinue stands before him and a bishop stands in a doorway. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting a synod gathering of a diocese. A bishop sits surrounded by priests as an archdeacon proclaims the faith from the pulpit. 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 a synod gathering of a diocese. A bishop sits surrounded by priests as an archdeacon proclaims the faith from the pulpit. 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 a monk in conversation with a knight. The woodcut appears on the title page of Luther's letter to the head of the Teutonic Order of Knights arguing against the requirement of celibacy.

A woodcut depicting a monk in conversation with a knight. The woodcut appears on the title page of Luther's letter to the head of the Teutonic Order of Knights arguing against the requirement of celibacy.

A woodcut depicting a bishop visiting a parish church. The bishop sits on a dias while the local congregation gathers around to hear why he has come. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. This woodcut is reused throughout the work.

A woodcut depicting a bishop visiting a parish church. The bishop sits on a dias while the local congregation gathers around to hear why he has come. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. This woodcut is reused throughout the work.

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).

A woodcut depicting a bishop leading the proceedings of a synod or council gathering. The bishop stands before an altar, leading the gathered, kneeling priests in prayer. The scene is flanked by decorative scrollwork featuring pelicans and snails. This woodcut is reused throughout the work.

A woodcut depicting a bishop leading the proceedings of a synod or council gathering. The bishop stands before an altar, leading the gathered, kneeling priests in prayer. The scene is flanked by decorative scrollwork featuring pelicans and snails. This woodcut is reused throughout the work.

A woodcut depicting a synod gathering. A bishop sits in the center of a group of priests as an archdeacon reads prom the pulpit. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. This woodcut is reused several times throughout the work.

A woodcut depicting a synod gathering. A bishop sits in the center of a group of priests as an archdeacon reads prom the pulpit. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. This woodcut is reused several times throughout the work.

A woodcut depicting a traveling bishop and his retinue. The bishop rides a horse with hands held before him in prayer as attendants ride behind him and walk before him. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting a traveling bishop and his retinue. The bishop rides a horse with hands held before him in prayer as attendants ride behind him and walk before him. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the traveling retinue of an empress or queen. The empress or queen sits side-saddle on a horse with attendents holding a canopy above her while a procession holding a cross go before her. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the traveling retinue of an empress or queen. The empress or queen sits side-saddle on a horse with attendents holding a canopy above her while a procession holding a cross go before her. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting a ruler, possibly a king, traveling with his retinue. The ruler rides a horse with attendants holding a canopy above him and a man bearing a sword riding ahead of him. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting a ruler, possibly a king, traveling with his retinue. The ruler rides a horse with attendants holding a canopy above him and a man bearing a sword riding ahead of him. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. The woodcut is reused throughout the work.

A decorative woodcut appearing on the end page and depicting a tree with a bird coming in to land and a blank shield at its base.

A decorative woodcut appearing on the end page and depicting a tree with a bird coming in to land and a blank shield at its base.

A woodcut decorating the title page of Johan Geiler von Kayersberg's Seelen Paradiss. The woodcut depicts Adam and Eve in the Garden of Eden just after having eaten the fruit of the Tree of Knowledge of Good and Evil. They are shown covering themselves, each holding an apple while God looks on. In the bottom right of the scene, an angel carrying a sword guards the gate to the garden.

A woodcut decorating the title page of Johan Geiler von Kayersberg's Seelen Paradiss. The woodcut depicts Adam and Eve in the Garden of Eden just after having eaten the fruit of the Tree of Knowledge of Good and Evil. They are shown covering themselves, each holding an apple while God looks on. In the bottom right of the scene, an angel carrying a sword guards the gate to the garden.

A woodcut depicting Adam and Eve eating from the Tree of Knowledge as God looks on from Heaven. To the right, they are expelled from Eden by an angel wielding a sword. A set of four decorative woodcuts create a border around the main image and depict plants and birds.

A woodcut depicting Adam and Eve eating from the Tree of Knowledge as God looks on from Heaven. To the right, they are expelled from Eden by an angel wielding a sword. A set of four decorative woodcuts create a border around the main image and depict plants and birds.

A medallion featuring the Agnus Dei (Lamb of God) with a cross banner.

A medallion featuring the Agnus Dei (Lamb of God) with a cross banner.

A woodcut depicting the bronze laver for priestly washing (top), the altar of burnt offering made of acacia wood with four horns on its four corners (center), and the bronze implements for tending the altar (bottom).

A woodcut depicting the bronze laver for priestly washing (top), the altar of burnt offering made of acacia wood with four horns on its four corners (center), and the bronze implements for tending the altar (bottom).

An architectural historiated woodcut border on the title page of Luther's German Catechism. The border consists of a decorative arch, topped with a pair of cherubs supporting a roundel with the Luther rose on the left and a crest with the Lamb of God on the right. At the bottom of the page, the scene of the Crucifixion is depicted with Jesus in the center, flanked by the two thieves, however as the bottom right corner of the page is torn away, the second thief is missing.

An architectural historiated woodcut border on the title page of Luther's German Catechism. The border consists of a decorative arch, topped with a pair of cherubs supporting a roundel with the Luther rose on the left and a crest with the Lamb of God on the right. At the bottom of the page, the scene of the Crucifixion is depicted with Jesus in the center, flanked by the two thieves, however as the bottom right corner of the page is torn away, the second thief is missing.

An architectural historiated woodcut border on the title page of the second printing of Philip Melanchthon's inagural address to the Wittenberg faculty. The border features the printer's device of Johann Froben, a shield with a caduceus, surrounded by a wreath. At the bottom is a scene of Salome requesting, and recieving, the head of John the Baptist.

An architectural historiated woodcut border on the title page of the second printing of Philip Melanchthon's inagural address to the Wittenberg faculty. The border features the printer's device of Johann Froben, a shield with a caduceus, surrounded by a wreath. At the bottom is a scene of Salome requesting, and recieving, the head of John the Baptist.

A woodcut depicting the Ark of the Covanent with its lid decorated with two cherubim, and the Altar of Incense with a chalice of burning incense placed on it.

A woodcut depicting the Ark of the Covanent with its lid decorated with two cherubim, and the Altar of Incense with a chalice of burning incense placed on it.

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 a figure, possibly of Martin Luther, dressed in the garb of an Augustinian monk and holding a book.

A woodcut full-body portrait of a figure, possibly of Martin Luther, 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.

A woodcut depicting a monk having been raised to the rank of abbot. The new abbot sits across from the bishop wearing his new vestments and cope, and is examined. The scene is flanked by decorative scroll work featuring cherubs. This woodcut is reused all throughout the work.

A woodcut depicting a monk having been raised to the rank of abbot. The new abbot sits across from the bishop wearing his new vestments and cope, and is examined. The scene is flanked by decorative scroll work featuring cherubs. This woodcut is reused all throughout the work.

A woodcut depicting the bestowal of the pallium upon a new bishop. The bishop kneels before the presiding bishop who drapes the pallium over his chasuble. The scene is flanked by a pair of cherubs holding rings and kneeling atop helmets. The woodcut is reused throughout the work.

A woodcut depicting the bestowal of the pallium upon a new bishop. The bishop kneels before the presiding bishop who drapes the pallium over his chasuble. The scene is flanked by a pair of cherubs holding rings and kneeling atop helmets. The woodcut is reused throughout the work.

A woodcut depicting a monstrous fish purportedly pulled from the sea in Poland, which had the appearance of a Roman Catholic bishop.

A woodcut depicting a monstrous fish purportedly pulled from the sea in Poland, which had the appearance of a Roman Catholic bishop.

A woodcut of a heavily decorated bishop's mitre accompanied by a poem, "The Daughter of Myst'ry, the child of Errour, / Mother of Tyranny, of Wars, of Terrour, / The Idol of Reproach, Rocke of offence / To Iew and Gentile, Source of Indulgence / For all Impieties, and th'usurping Crest / 'Bove Diademes, the State, the Churches Pest / Is now discov'red, and all the world awake, / Makes proud Rome, and th'opprobrious Myter shake."

A woodcut of a heavily decorated bishop's mitre accompanied by a poem, "The Daughter of Myst'ry, the child of Errour, / Mother of Tyranny, of Wars, of Terrour, / The Idol of Reproach, Rocke of offence / To Iew and Gentile, Source of Indulgence / For all Impieties, and th'usurping Crest / 'Bove Diademes, the State, the Churches Pest / Is now discov'red, and all the world awake, / Makes proud Rome, and th'opprobrious Myter shake."

A woodcut depicting a bishop blessing a new cross on a church altar. The scene is flanked by a pair of cherubs supporting fruit trees. This woodcut is reused throughout the work.

A woodcut depicting a bishop blessing a new cross on a church altar. The scene is flanked by a pair of cherubs supporting fruit trees. This woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king kneels before a bishop who annoints his hands and arms with the oil of catechumens. The scene is flanked by a pair of cherubs holding rings and kneeling on helments. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king kneels before a bishop who annoints his hands and arms with the oil of catechumens. The scene is flanked by a pair of cherubs holding rings and kneeling on helments. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king, in armor, kneels before the presiding bishop and lays his hands upon a book of the Gospels as four other bishops watch. The scene is flanked by oranmental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king, in armor, kneels before the presiding bishop and lays his hands upon a book of the Gospels as four other bishops watch. The scene is flanked by oranmental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The woodcut depicts the king kneeling before the bishop with head bowed as the bishop reaches out to place a crown upon the king's head. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The woodcut depicts the king kneeling before the bishop with head bowed as the bishop reaches out to place a crown upon the king's head. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king kneels prostrate before the altar while a bishop kneels beside him. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king kneels prostrate before the altar while a bishop kneels beside him. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king, draped in a robe, kneels before a bishop who hands him a sword from the altar. The scene is flanked by a pair of cherubs standing on eagles and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king, draped in a robe, kneels before a bishop who hands him a sword from the altar. The scene is flanked by a pair of cherubs standing on eagles and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king kneels before the bishop who slides the previously presented sword into the scabbard worn by the king. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a king. The king kneels before the bishop who slides the previously presented sword into the scabbard worn by the king. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a queen. The queen kneels before a bishop who annoints her hands and arms with the oil of catechumens. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a queen. The queen kneels before a bishop who annoints her hands and arms with the oil of catechumens. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a queen. The queen kneels before the bishop who reaches out to place a crown on her head. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a queen. The queen kneels before the bishop who reaches out to place a crown on her head. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the blessing and coronation of a queen. The queen kneels behind the king who petitions the bishop to bless and crown her. 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 blessing and coronation of a queen. The queen kneels behind the king who petitions the bishop to bless and crown her. 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 blessing and coronation of a queen. The queen kneels before a bishop who is reciting a litany from a book of the Gospels held by an attendant. 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 blessing and coronation of a queen. The queen kneels before a bishop who is reciting a litany from a book of the Gospels held by an attendant. 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 pope blessing travelers. The pope sits upon a horse, attendants holding a canopy above him, and holds his hand out to bless a trio of travelers while three bishops on horses watch. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the pope blessing travelers. The pope sits upon a horse, attendants holding a canopy above him, and holds his hand out to bless a trio of travelers while three bishops on horses watch. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the blessing of a soldier or knight. The armored soldier or knight kneels before a bishop, holding his sword before him as the bishop takes hold of the hilt. The scene is flanked by a pair of cherubs standing on eagles and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the blessing of a soldier or knight. The armored soldier or knight kneels before a bishop, holding his sword before him as the bishop takes hold of the hilt. The scene is flanked by a pair of cherubs standing on eagles and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the blessing of a tabernacle for the Eucharist. A bishop raises a hand in blessing as the tabernacle sits upon an altar. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the blessing of a tabernacle for the Eucharist. A bishop raises a hand in blessing as the tabernacle sits upon an altar. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the blessing of a military standard. A soldier kneels and holds forward a banner, which a bishop holds to bless. The scene is flanked by a pair of cherubs holding rings and kneeling on helments. The woodcut is reused throughout the work.

A woodcut depicting the blessing of a military standard. A soldier kneels and holds forward a banner, which a bishop holds to bless. The scene is flanked by a pair of cherubs holding rings and kneeling on helments. The woodcut is reused throughout the work.

A woodcut depicting a group of putti (cherubs) parading with grapes and vines. The woodcut is accompanied by a verse from Philippians 3 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting a group of putti (cherubs) parading with grapes and vines. The woodcut is accompanied by a verse from Philippians 3 translated into French (top) and then reformatted into verse (bottom).

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.

Leaf CI of the German Nuremberg Chronicle, with a large woodcut, colorized by hand, depicting Christ enthroned, surrounded by the Apostles.

Leaf CI of the German Nuremberg Chronicle, with a large woodcut, colorized by hand, depicting Christ enthroned, surrounded by the Apostles.

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.

A woodcut depicting the resurrection of Jesus Christ. Christ is depicted at the top center of the image, surrounded by cherubim. At the bottom right is Christ's open and empty tomb. On the bottom left, a group of cherubim are burying the body of a man, perhaps representing Christ's transformation from a physical body to a spiritual one.

A woodcut depicting the resurrection of Jesus Christ. Christ is depicted at the top center of the image, surrounded by cherubim. At the bottom right is Christ's open and empty tomb. On the bottom left, a group of cherubim are burying the body of a man, perhaps representing Christ's transformation from a physical body to a spiritual one.

A woodcut depicting an elaborate ciborium featuring several decorative spires and a crucifix at the top.

A woodcut depicting an elaborate ciborium featuring several decorative spires and a crucifix at the top.

A woodcut depicting the coat of arm sof Johann "the Constant" (or "Steadfast"), Elector of Saxony, who was a supporter of Luther and his movement. The coat of arms features a pair of crossed swords at the center, surrounded by ten fields with varying iconography, including lions, eagles, and a rose. Three helmets with different crests sit above the coat of arms and the entire composition is surrounded by a host of cherubs and a pair of trees.

A woodcut depicting the coat of arm sof Johann "the Constant" (or "Steadfast"), Elector of Saxony, who was a supporter of Luther and his movement. The coat of arms features a pair of crossed swords at the center, surrounded by ten fields with varying iconography, including lions, eagles, and a rose. Three helmets with different crests sit above the coat of arms and the entire composition is surrounded by a host of cherubs and a pair of trees.

A woodcut version of Johann Reuchlin's coat of arms, featured on the title page of his work De arte cabalistica. The coat of arms includes a shield featuring an altar inscribed with "ARACAPNIONIS" (Ara Capnionis, the "altar of Capnion [Reuchlin]"), topped with burning coals, and encircled with three twisted ropes or garlands. Set atop the shield is a helmet with a cross inscribed on the neck, crowned with another three twisted ropes or garlands and a quartered wheel. Surrounding both helmet and shield are stylized vegitation.

A woodcut version of Johann Reuchlin's coat of arms, featured on the title page of his work De arte cabalistica. The coat of arms includes a shield featuring an altar inscribed with "ARACAPNIONIS" (Ara Capnionis, the "altar of Capnion [Reuchlin]"), topped with burning coals, and encircled with three twisted ropes or garlands. Set atop the shield is a helmet with a cross inscribed on the neck, crowned with another three twisted ropes or garlands and a quartered wheel. Surrounding both helmet and shield are stylized vegitation.

An Aristotelean diagram of the solar system featureing the earth at the center surrounded by water, air, and fire. Additional celestial bodies are shown in order moving outward from Earth. In order, they are listed as: Lunae (Moon), Mercurii, Veneris (Venus), Solis (Sun), Martis (Mars), Iovis (Jupiter), Saturni, Aplanes seu firmamentum, crystallinum unum, crystalinum alterum, and Primum mobile.

An Aristotelean diagram of the solar system featureing the earth at the center surrounded by water, air, and fire. Additional celestial bodies are shown in order moving outward from Earth. In order, they are listed as: Lunae (Moon), Mercurii, Veneris (Venus), Solis (Sun), Martis (Mars), Iovis (Jupiter), Saturni, Aplanes seu firmamentum, crystallinum unum, crystalinum alterum, and Primum mobile.

A historiated woodcut border of Martin Luther's Auff das Vermeint Keiserlich Edict : Ausgangen jm 1531 jare nach dem Reichs tage des 1530 Jars. Glosa. The scenes are hand colored in greens and reds. At the top and bottom are scenes of a party with musicians and couples dancing at the bottom and a noble couple seated at a table being served a meal. The sides depict the the decapitation of John the Baptist, with Salome depicted on the left holding the severed head on a platter.

A historiated woodcut border of Martin Luther's Auff das Vermeint Keiserlich Edict : Ausgangen jm 1531 jare nach dem Reichs tage des 1530 Jars. Glosa. The scenes are hand colored in greens and reds. At the top and bottom are scenes of a party with musicians and couples dancing at the bottom and a noble couple seated at a table being served a meal. The sides depict the the decapitation of John the Baptist, with Salome depicted on the left holding the severed head on a platter.

An woodcut depicting the conclave of Pope Urban VIII. A group of cardinals sits around a table with the pope at the center, flanked by C. di Fiorenza, Francisco di Barbarini, and Antonio di Barbarini. On the bottom right corner of the table is a roll of paper that reads, "Tutto sta male" ("everything is bad").

An woodcut depicting the conclave of Pope Urban VIII. A group of cardinals sits around a table with the pope at the center, flanked by C. di Fiorenza, Francisco di Barbarini, and Antonio di Barbarini. On the bottom right corner of the table is a roll of paper that reads, "Tutto sta male" ("everything is bad").

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before a trio of consecrating bishops, hands held out and annointed with holy oil while a book of the Gospels is held open behind him. The scene is flanked with decorative scroll work featuring pelicans and snails. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before a trio of consecrating bishops, hands held out and annointed with holy oil while a book of the Gospels is held open behind him. The scene is flanked with decorative scroll work featuring pelicans and snails. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before the consecrating bishop, wearing a miter and holding a crosier, an altar beside them as the consecrating bishop offers a blessing. The scene is flanked by a pair of cherubs standing atop an eagle and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before the consecrating bishop, wearing a miter and holding a crosier, an altar beside them as the consecrating bishop offers a blessing. The scene is flanked by a pair of cherubs standing atop an eagle and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before a trio of consecrating bishops, hands bound with linen as he is offered a book of the gospels. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before a trio of consecrating bishops, hands bound with linen as he is offered a book of the gospels. The scene is flanked by a pair of cherubs supporting fruit trees. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a bishop. The bishop elect kneels before a trio of consecrating bishops who lay their hands upon his head as an assistant places a book of the Gospels upon his shoulders. The scene is flanked by a pair of cherubs holding rings and kneeling atop helmets. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a bishop. The bishop elect kneels before a trio of consecrating bishops who lay their hands upon his head as an assistant places a book of the Gospels upon his shoulders. The scene is flanked by a pair of cherubs holding rings and kneeling atop helmets. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before a trio of consecrating bishops, holding out two tall candles as a pair of assistants carry in bread and wine for the Mass which concludes the consecration. The scene is flanked by decorative scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels before a trio of consecrating bishops, holding out two tall candles as a pair of assistants carry in bread and wine for the Mass which concludes the consecration. The scene is flanked by decorative scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels prostrate before the altar, while the consecrating bishop and his attendents kneel and recite a litany. The image is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a new bishop. The bishop elect kneels prostrate before the altar, while the consecrating bishop and his attendents kneel and recite a litany. The image is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a bishop. The bishop elect kneels before a trio of consecrating bishops, one of whom marks the bishop elect's forehead with the sign of the cross in holy oil. The scene is flanked by ornamental scroll work featuring pelicans and snails. The woodcut is reused throughout the work.

A woodcut depicting the consecration of a bishop. The bishop elect kneels before a trio of consecrating bishops, one of whom marks the bishop elect's forehead with the sign of the cross in holy oil. The scene is flanked by ornamental scroll work featuring pelicans and snails. The woodcut is reused throughout the work.

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.

A woodcut of the four beasts which appeared to Daniel in a vision. Each beast represented a different kingdom.

A woodcut of the four beasts which appeared to Daniel in a vision. Each beast represented a different kingdom.

A woodcut depicting the Monk-Calf of Freyberg, which was born with a tonsure-like irregularity on its head, resembling the common hairstyle of a Catholic monk.

A woodcut depicting the Monk-Calf of Freyberg, which was born with a tonsure-like irregularity on its head, resembling the common hairstyle of a Catholic monk.

A woodcut depicting the pope and twelve cardinals sitting in conclave, a petitioner kneeling before them.

A woodcut depicting the pope and twelve cardinals sitting in conclave, a petitioner kneeling before them.

A woodcut depicting a band of skeletons playing musical instruments in a cemetery. The woodcut is accompanied by verses from Revelations 8 and Genesis 7 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting a band of skeletons playing musical instruments in a cemetery. The woodcut is accompanied by verses from Revelations 8 and Genesis 7 translated into French (top) and then reformatted into verse (bottom).

Four medallions decorating the title page of Thalmut. : Obiectiones in dicta Thalmut seductoris Iudeorum. Each medallion features a portrait of a bearded man wearing different vestments associated with the Jewish tradition.

Four medallions decorating the title page of Thalmut. : Obiectiones in dicta Thalmut seductoris Iudeorum. Each medallion features a portrait of a bearded man wearing different vestments associated with the Jewish tradition.

A decorative woodcut header featuring a pair of horn players flanking a cherub's head and an initial letter "Y" decorated with floral and fish designs.

A decorative woodcut header featuring a pair of horn players flanking a cherub's head and an initial letter "Y" decorated with floral and fish designs.

A decorative woodcut element including a pair of bands featuring stylized stars and patterns.

A decorative woodcut element including a pair of bands featuring stylized stars and patterns.

A decorative woodcut on the title page of The Passionate remonstrance made by his Holinesse in the conclave at Rome: upon the late proceedings, and great Covenant of Scotland, &c. : With a reply Of Cardinall De Barbarini in the name of the Roman clergy. Together with a letter of intelligence from the Apostolicke Nuntio (now residing in London) to Pope Vrban the 8. The woodcut shows a pair of winged men's torsos flanking a plaque with a butterfly or insect.

A decorative woodcut on the title page of The Passionate remonstrance made by his Holinesse in the conclave at Rome: upon the late proceedings, and great Covenant of Scotland, &c. : With a reply Of Cardinall De Barbarini in the name of the Roman clergy. Together with a letter of intelligence from the Apostolicke Nuntio (now residing in London) to Pope Vrban the 8. The woodcut shows a pair of winged men's torsos flanking a plaque with a butterfly or insect.

A decorative woodcut depicting a pair of birds standing aboce a field of crops beneath a shining sun, flanked by floral decoration.

A decorative woodcut depicting a pair of birds standing aboce a field of crops beneath a shining sun, flanked by floral decoration.

A decorative woodcut depicting a cherub surrounded by a globe, paper, a bust, books, an artist's palette, and plants.

A decorative woodcut depicting a cherub surrounded by a globe, paper, a bust, books, an artist's palette, and plants.

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.

A woodcut depicting the "Papal Ass," a monster purported to have been pulled from the Tiber in Rome as a portent of the corruption of the Roman Catholic Church.

A woodcut depicting the "Papal Ass," a monster purported to have been pulled from the Tiber in Rome as a portent of the corruption of the Roman Catholic Church.

Single sheet woodcut depicting Pope Leo X on a throne that is about to topple. Behind him are priests and monks and below them a group of Jesuits, who are trying to support the toppling throne. Leo's key, the symbol of the Petrine office is crumbling in the pope's hands. Facing Leo is Martin Luther holding an open Bible. Below him is a group of reformers led by Philipp Melanchthon, each holding a book (Bible). In the center below Leo is Friedrich Staphylus depicted as Judas Iscariot. Staphylus was a student of Philipp Melanchthon's, who rejoined the Catholic Church in 1553.

Single sheet woodcut depicting Pope Leo X on a throne that is about to topple. Behind him are priests and monks and below them a group of Jesuits, who are trying to support the toppling throne. Leo's key, the symbol of the Petrine office is crumbling in the pope's hands. Facing Leo is Martin Luther holding an open Bible. Below him is a group of reformers led by Philipp Melanchthon, each holding a book (Bible). In the center below Leo is Friedrich Staphylus depicted as Judas Iscariot. Staphylus was a student of Philipp Melanchthon's, who rejoined the Catholic Church in 1553.

An ornamental woodcut depicting a dog and a pig nose to nose with the back half of what might be a goat on the left.

An ornamental woodcut depicting a dog and a pig nose to nose with the back half of what might be a goat on the left.

An impression done in 1564 of a woodcut made in 1561 depicting Philipp Melanchthon

An impression done in 1564 of a woodcut made in 1561 depicting Philipp Melanchthon

A woodcut containing a portrait of Elector Joachim II of Brandenburg kneeling before a crucifix. This woodcut likekly originated as a broadsheet since there are no signs of letterpress on the back. The same woodcut appeared in Grabriel Schnellboltz' Wahrhafftige Bildnisse etlicher Fuersten (Wittenberg, 1562) and the Augspurgische Confession (Frankfurt an der Oder:, Eichorn, 1572).

A woodcut containing a portrait of Elector Joachim II of Brandenburg kneeling before a crucifix. This woodcut likekly originated as a broadsheet since there are no signs of letterpress on the back. The same woodcut appeared in Grabriel Schnellboltz' Wahrhafftige Bildnisse etlicher Fuersten (Wittenberg, 1562) and the Augspurgische Confession (Frankfurt an der Oder:, Eichorn, 1572).

A woodcut containing a portrait of John Frederick (Johann Friedrich) reading a book and praying before a crucifix. Frederick was a leader of the Schmalkaldic League and fought for Luther's cause against the Imperial troops. The league was defeated in the Battle of Muehlberg in April of 1547. Frederick was wounded by a slash across his left cheek, captured, condemned to death, but ultimately pardoned and reinstated as duke in Weimar. After 1547, however, the Electoral power had fallen to the rivalling Albertininian line of the dynasty residing in Dresden.

A woodcut containing a portrait of John Frederick (Johann Friedrich) reading a book and praying before a crucifix. Frederick was a leader of the Schmalkaldic League and fought for Luther's cause against the Imperial troops. The league was defeated in the Battle of Muehlberg in April of 1547. Frederick was wounded by a slash across his left cheek, captured, condemned to death, but ultimately pardoned and reinstated as duke in Weimar. After 1547, however, the Electoral power had fallen to the rivalling Albertininian line of the dynasty residing in Dresden.

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 woodcut depicting Adam and Eve being driven from the garden of Eden by an angel. The woodcut is accompanied by a verse from Genesis 3 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting Adam and Eve being driven from the garden of Eden by an angel. The woodcut is accompanied by a verse from Genesis 3 translated into French (top) and then reformatted into verse (bottom).

A woodcut floorplan depicting the building complex in the Vatican where the Papal conclave is held. Buildings in this area include St. Peter's Basilica, the Sistine Chapel, and the Vatican Palace.

A woodcut floorplan depicting the building complex in the Vatican where the Papal conclave is held. Buildings in this area include St. Peter's Basilica, the Sistine Chapel, and the Vatican Palace.

A decorative woodcut depicting a floral printer's ornament below the date of printing, "1523."

A decorative woodcut depicting a floral printer's ornament below the date of printing, "1523."

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 depicting a hairy, bipedal beast, labeled as the "spook of the evil ghost," which is found in a vast desert beyond India in the land of Cathay. This type of ghost is said to lead travellers astray by mimicking the voices of their travelling companions.

A woodcut depicting a hairy, bipedal beast, labeled as the "spook of the evil ghost," which is found in a vast desert beyond India in the land of Cathay. This type of ghost is said to lead travellers astray by mimicking the voices of their travelling companions.

A globe depicting the various latitudinal and longitudinal divisions of the Earth with rotational components.

A globe depicting the various latitudinal and longitudinal divisions of the Earth with rotational components.

An ornamental woodcut depicting bunches of grapes on the vine.

An ornamental woodcut depicting bunches of grapes on the vine.

A woodcut showing Holy Roman Emperor Henry II and Cunigunde of Luxembourg holding up a model of the Bamberg Cathedral (left) and the coat of arms of Georg Schenk von Limpurg (right).

A woodcut showing Holy Roman Emperor Henry II and Cunigunde of Luxembourg holding up a model of the Bamberg Cathedral (left) and the coat of arms of Georg Schenk von Limpurg (right).

A woodcut depicting Hieronymus Emser's coat of arms which features a shield emblazoned with a goat's head and a helmet crowned with a goat's head. A label to the side of the crest reads "ARMA HIERONYMI EMSER".

A woodcut depicting Hieronymus Emser's coat of arms which features a shield emblazoned with a goat's head and a helmet crowned with a goat's head. A label to the side of the crest reads "ARMA HIERONYMI EMSER".

A woodcut depicting Hieronymus Emser's coat of arms which features a shield emblazoned with a goat's head and a helmet crowned with a goat's head. A label to the side of the crest reads "ARMA HIERONYMI EMSER".

A woodcut depicting Hieronymus Emser's coat of arms which features a shield emblazoned with a goat's head and a helmet crowned with a goat's head. A label to the side of the crest reads "ARMA HIERONYMI EMSER".

A woodcut depicting Hieronymus Emser's coat of arms which features a shield emblazoned with a goat's head and a helmet crowned with a goat's head. A label to the side of the crest reads "ARMA HIERONYMI EMSER".

A woodcut depicting Hieronymus Emser's coat of arms which features a shield emblazoned with a goat's head and a helmet crowned with a goat's head. A label to the side of the crest reads "ARMA HIERONYMI EMSER".

A historiated woodcut border framing the first page of Isocrates' Ad Nicolem Regem de institutione principis. The border features a pair of horn blowers, decorative columns, and floral designs.

A historiated woodcut border framing the first page of Isocrates' Ad Nicolem Regem de institutione principis. The border features a pair of horn blowers, decorative columns, and floral designs.

A woodcut border to Luther's Ain Sermon vnd eingang in das Erst buoch Mosi, das ist, in das buoch der Schöpfung : darinn] gründtlich anzaygt wirdt, der Artickel des glaubens So wir sprechen, Ich glaub in Got vatter almechtigen, schöpffer hymel vnd erdtrichs printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Ain Sermon vnd eingang in das Erst buoch Mosi, das ist, in das buoch der Schöpfung : darinn] gründtlich anzaygt wirdt, der Artickel des glaubens So wir sprechen, Ich glaub in Got vatter almechtigen, schöpffer hymel vnd erdtrichs printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Ain Sermon von stercke vnnd zuo nemen des glaubens vn[d] der liebe : Aus der Epistel S. Pauli zun Eypesernn printed in 1525. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Ain Sermon von stercke vnnd zuo nemen des glaubens vn[d] der liebe : Aus der Epistel S. Pauli zun Eypesernn printed in 1525. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Ain lectio[n] wider die Rottengayster, vn[d] wie sich weltlich oberkayt halte[n] sol, : Auss der ersten epistel S. Pauli zuo Timotheo, an freytag nach Oculi printed in 1525.

A woodcut border to Luther's Ain lectio[n] wider die Rottengayster, vn[d] wie sich weltlich oberkayt halte[n] sol, : Auss der ersten epistel S. Pauli zuo Timotheo, an freytag nach Oculi printed in 1525.

A woodcut border to Ain schöner Dialogus wie ain Bawr mit aim Frawe[n] Brůder Münch redt : das er die Kutten von jm würfft, und dem Münch Arbayt zůgeben, lustbarlich und lieblich zů lesen will printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Ain schöner Dialogus wie ain Bawr mit aim Frawe[n] Brůder Münch redt : das er die Kutten von jm würfft, und dem Münch Arbayt zůgeben, lustbarlich und lieblich zů lesen will printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's An die Radherrn aller stedte deutsches lands : das sie Christliche schulen auffrichten vnd halten sollen printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a shield featuring a Luther rose (bottom).

A woodcut border to Luther's An die Radherrn aller stedte deutsches lands : das sie Christliche schulen auffrichten vnd halten sollen printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a shield featuring a Luther rose (bottom).

A woodcut border to Luther's An die Radtherren aller Stette teutsches lands : Das sy Christliche schuolen auffrichten vnd hallten sollen printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's An die Radtherren aller Stette teutsches lands : Das sy Christliche schuolen auffrichten vnd hallten sollen printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Andreas Orisander's German translation of the traditional Catholic Baptism rites printed in 1524. The border is composed of four separate woodcuts depicting a decorative arch and pair of orbs (top), decorative columns which include a secton suported by a male figure (sides), a floral pattern (possibly thistle) with a bird (bottom). In the center of the border, below the title, is a woodcut coat of arms for the city of Nuremberg.

A woodcut border to Andreas Orisander's German translation of the traditional Catholic Baptism rites printed in 1524. The border is composed of four separate woodcuts depicting a decorative arch and pair of orbs (top), decorative columns which include a secton suported by a male figure (sides), a floral pattern (possibly thistle) with a bird (bottom). In the center of the border, below the title, is a woodcut coat of arms for the city of Nuremberg.

A woodcut border to Augustin von Alveldt's Wyder den Wittenbergischen Abtgot Martin Luther printed in 1524. The border is composed of a single woodcut and depicts an archway decorated with columns (sides), bucrania (top), and a portrait of a man framed by a jousting man and satyr (bottom).

A woodcut border to Augustin von Alveldt's Wyder den Wittenbergischen Abtgot Martin Luther printed in 1524. The border is composed of a single woodcut and depicts an archway decorated with columns (sides), bucrania (top), and a portrait of a man framed by a jousting man and satyr (bottom).

A woodcut border to Johannes Cochlaeus's Confutatio XCI. articulorum e tribus Martini Lutheri Teuthonicis sermonibus excerptorum printed in 1525. The border consists of two woodcuts depicting a pair of decorative columns that include floral motifs and two figures playing horns.

A woodcut border to Johannes Cochlaeus's Confutatio XCI. articulorum e tribus Martini Lutheri Teuthonicis sermonibus excerptorum printed in 1525. The border consists of two woodcuts depicting a pair of decorative columns that include floral motifs and two figures playing horns.

A woodcut border to Luther's Das Eltern die kinder zuo der Ehe nicht zwinge[n] noch hindern, : Vnd die kinder on der elltern willen sich nicht verloben solle[n] printed in 1524. The border consists of a single woodcut depicting cherubs with shields and one with a horn (top), a pair of cherubs holding up floral columns (sides), and a parade of cherubs playing instruments and pulling a cart (bottom).

A woodcut border to Luther's Das Eltern die kinder zuo der Ehe nicht zwinge[n] noch hindern, : Vnd die kinder on der elltern willen sich nicht verloben solle[n] printed in 1524. The border consists of a single woodcut depicting cherubs with shields and one with a horn (top), a pair of cherubs holding up floral columns (sides), and a parade of cherubs playing instruments and pulling a cart (bottom).

A woodcut border to Luther's Das ander teyl widder die hymlischen Propheten, vom Sacrament printed in 1525. The border consists of a single woodcut depicting a collection of cherubs with feathers or plants climbing on top of each other and filling a back on the back of a sleeping monk (sides and bottom) and a pair of cherubs flanking a shield with a man's head with a hood (top).

A woodcut border to Luther's Das ander teyl widder die hymlischen Propheten, vom Sacrament printed in 1525. The border consists of a single woodcut depicting a collection of cherubs with feathers or plants climbing on top of each other and filling a back on the back of a sleeping monk (sides and bottom) and a pair of cherubs flanking a shield with a man's head with a hood (top).

A woodcut border to Luther's Das der frey will nichts sey : Anntwort D. Martini Luther ann Erasmum Rotherdam printed in 1525. The border consists of a single woodcut depicting an architectural arch decorated with floral motifs, armor and shields, birds, and a pair of cherubs playing instruments.

A woodcut border to Luther's Das der frey will nichts sey : Anntwort D. Martini Luther ann Erasmum Rotherdam printed in 1525. The border consists of a single woodcut depicting an architectural arch decorated with floral motifs, armor and shields, birds, and a pair of cherubs playing instruments.

A woodcut border to Johannes Cochlaeus's De Petro et Roma adversus Velenu[m] Lutheranum, libri quatuor printed in 1525. The border consists of two woodcuts depicting a pair of decorative columns that include floral motifs and two figures playing horns.

A woodcut border to Johannes Cochlaeus's De Petro et Roma adversus Velenu[m] Lutheranum, libri quatuor printed in 1525. The border consists of two woodcuts depicting a pair of decorative columns that include floral motifs and two figures playing horns.

A woodcut border to Johan Bugenhagen's De coniugio episcoporum et diaconorum : ad venerandum doctorem VVolffgangum Reissenbusch monasterij Lichtembergensis Praeceptorem printed in 1525. The border is composed of one woodcut depicting a group of dancing cherubs (sides and bottom) and a group of cherubs playing instruments (top).

A woodcut border to Johan Bugenhagen's De coniugio episcoporum et diaconorum : ad venerandum doctorem VVolffgangum Reissenbusch monasterij Lichtembergensis Praeceptorem printed in 1525. The border is composed of one woodcut depicting a group of dancing cherubs (sides and bottom) and a group of cherubs playing instruments (top).

A woodcut border to Luther's Den auszerwölte[n] lieben Gottes, allen gelydern Chrysti zuo Augspurg : seinen liebe[n] herren vnd brüdern printed in 1524. The border is composed of five separate woodcuts depicting Adam and Eve (sides), a pair of dragons flanking shields (bottom), a gryphon (center), and an owl (top).

A woodcut border to Luther's Den auszerwölte[n] lieben Gottes, allen gelydern Chrysti zuo Augspurg : seinen liebe[n] herren vnd brüdern printed in 1524. The border is composed of five separate woodcuts depicting Adam and Eve (sides), a pair of dragons flanking shields (bottom), a gryphon (center), and an owl (top).

A woodcut border to Luther's Der hundert vnnd siben vnd zwaintzigest Psalm, aussgelegt, an die Christen zuo Rigen in Liffland. The border consists of a single woodcut depicting an architectural arch with a pair of animal masks (bottom), armed cherubs (top left and right), and a framed plaque (top).

A woodcut border to Luther's Der hundert vnnd siben vnd zwaintzigest Psalm, aussgelegt, an die Christen zuo Rigen in Liffland. The border consists of a single woodcut depicting an architectural arch with a pair of animal masks (bottom), armed cherubs (top left and right), and a framed plaque (top).

A woodcut border to Luther's Die Epistel S. Paul an die Galater will printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Die Epistel S. Paul an die Galater will printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Die weyse der Mess, vn[d] geniessung des hochwirdigen Sacrame[n]ts, für die Christliche gemain verteütscht / Do. Mar. Luth. M.D.XXiij. The border consists of four separate woodcuts depicting ornamented columns with bird designs (sides), a plant motif (top), and a pair of fish flanking horns with birds (bottom).

A woodcut border to Luther's Die weyse der Mess, vn[d] geniessung des hochwirdigen Sacrame[n]ts, für die Christliche gemain verteütscht / Do. Mar. Luth. M.D.XXiij. The border consists of four separate woodcuts depicting ornamented columns with bird designs (sides), a plant motif (top), and a pair of fish flanking horns with birds (bottom).

A colored woodcut border to Luther's Die weysse der Messz, : vnnd geniesung des Hochwirdigen Sacraments, für die Christliche Gemayn verteütscht printed in 1524. The boarder is composed of a single woodcut depicting an architectural arch featuring four cherubs and greenery.

A colored woodcut border to Luther's Die weysse der Messz, : vnnd geniesung des Hochwirdigen Sacraments, für die Christliche Gemayn verteütscht printed in 1524. The boarder is composed of a single woodcut depicting an architectural arch featuring four cherubs and greenery.

A woodcut border to Luther's Erklerung wie Carlstat sein ler vonn dem hochwirdigen Sacrament : vnd andere achtet vnnd geachtet haben will printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Erklerung wie Carlstat sein ler vonn dem hochwirdigen Sacrament : vnd andere achtet vnnd geachtet haben will printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Ermanunge zum Fryde auff die zwölff Artickel der Bawrshafft in Schwaben printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Ermanunge zum Fryde auff die zwölff Artickel der Bawrshafft in Schwaben printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Eyn Sermon von stercke vnnd zuonemen des glaubens vnnd der liebe : Aus der Epistel S. Pauli zuon Eypesernn printed in 1525. The border is composed of four separate woodcuts depicting three cherubs holding a plaque with the date of publication (top), a pair of architectural elements with two men standing between pairs of columns and topped with a female and male siren respectively (sides), and a man's torso with plant-like limbs (bottom).

A woodcut border to Luther's Eyn Sermon von stercke vnnd zuonemen des glaubens vnnd der liebe : Aus der Epistel S. Pauli zuon Eypesernn printed in 1525. The border is composed of four separate woodcuts depicting three cherubs holding a plaque with the date of publication (top), a pair of architectural elements with two men standing between pairs of columns and topped with a female and male siren respectively (sides), and a man's torso with plant-like limbs (bottom).

A woodcut border to Luther's Eyn gutter Sermon printed in 1526. The border consists of a single woodcut depicting an architectural arch decorated with floral motifs.

A woodcut border to Luther's Eyn gutter Sermon printed in 1526. The border consists of a single woodcut depicting an architectural arch decorated with floral motifs.

A woodcut border to Ingolstadii XI. Aprilis anni praesentis [1524] publica disputatione printed in 1524. The border is composed of four woodcuts depicting a woman holding a sword beneath a pair of fish (left), a wild man leaning on a staff with cherubs above and below (right), a bird on a branch (top), and a pair of crawling men with their hecks bound together and being led with bits and reins by a group of cherubs (bottom).

A woodcut border to Ingolstadii XI. Aprilis anni praesentis [1524] publica disputatione printed in 1524. The border is composed of four woodcuts depicting a woman holding a sword beneath a pair of fish (left), a wild man leaning on a staff with cherubs above and below (right), a bird on a branch (top), and a pair of crawling men with their hecks bound together and being led with bits and reins by a group of cherubs (bottom).

A woodcut border to Johannes Faber's anti-Luther tract printed in 1523. The border consists of four woodcuts depicting a cherub with a bow and arrows atop a decorative column (right), a cherub with a ball atop a decorative column (left), a pair of bucrania flanking a shield with the chi-rho and "EC" on it (bottom), and a group of cherubs (top).

A woodcut border to Johannes Faber's anti-Luther tract printed in 1523. The border consists of four woodcuts depicting a cherub with a bow and arrows atop a decorative column (right), a cherub with a ball atop a decorative column (left), a pair of bucrania flanking a shield with the chi-rho and "EC" on it (bottom), and a group of cherubs (top).

A woodcut border to Luther's Ain Sermon uon der frucht vnd nutzbarkait des hayligen Sacraments printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Ain Sermon uon der frucht vnd nutzbarkait des hayligen Sacraments printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's An die herren Deutschs Ordens, das sy falsche keuschhait meyden printed in 1524. The border is composed of four separate woodcuts depicting a variety of floral and plant motifs.

A woodcut border to Luther's An die herren Deutschs Ordens, das sy falsche keuschhait meyden printed in 1524. The border is composed of four separate woodcuts depicting a variety of floral and plant motifs.

A woodcut border to Luther's Christmas sermon printed in 1523. The border is composed of a single woodcut depicting a pair of armed cherubs (top), a cherub, bird, and monkey climbing a pair of grapevines (sides), and a pair of kneeling men flanking the printer's mark of Michel Buchfürer featuring a bull (bottom).

A woodcut border to Luther's Christmas sermon printed in 1523. The border is composed of a single woodcut depicting a pair of armed cherubs (top), a cherub, bird, and monkey climbing a pair of grapevines (sides), and a pair of kneeling men flanking the printer's mark of Michel Buchfürer featuring a bull (bottom).

A woodcut border to Luther's Das Ihesus Christus ain geborner Iude sey printed in 1523. The border is composed of four woodcuts depicting dueling cherubs (top), decorative plant motifs (sides), and two cherubs atop cornucopias (bottom).

A woodcut border to Luther's Das Ihesus Christus ain geborner Iude sey printed in 1523. The border is composed of four woodcuts depicting dueling cherubs (top), decorative plant motifs (sides), and two cherubs atop cornucopias (bottom).

A woodcut border to Luther's Das Jesus Christus ein geborner Jude sey printed in 1523. The border is composed of four woodcuts depicting a pair of cherubs flanking decorative scrollwork (top), floral patterns (sides), and decorative fish design (bottom).

A woodcut border to Luther's Das Jesus Christus ein geborner Jude sey printed in 1523. The border is composed of four woodcuts depicting a pair of cherubs flanking decorative scrollwork (top), floral patterns (sides), and decorative fish design (bottom).

A woodcut border to Luther's Dass Jesus Christus ein geborener Jude sei printed in 1523. The border is composed of four woodcuts depicting dueling cherubs (top), decorative plant motifs (sides), and two cherubs atop cornucopias (bottom).

A woodcut border to Luther's Dass Jesus Christus ein geborener Jude sei printed in 1523. The border is composed of four woodcuts depicting dueling cherubs (top), decorative plant motifs (sides), and two cherubs atop cornucopias (bottom).

A woodcut border to Luther's Eyn brieff an die Fürsten zu Sachsen von dem auffrurischen geyst printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Eyn brieff an die Fürsten zu Sachsen von dem auffrurischen geyst printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Eyn geschicht wie Got eyner Erbarn kloster Jungfrawe[n] ausgeholffen hat printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Eyn geschicht wie Got eyner Erbarn kloster Jungfrawe[n] ausgeholffen hat printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Eyn kurtze vnterichtu[n]g, warauff Christus seine Kirchen, oder Gemain gebawet hab printed in 1524. The border is composed of four separate woodcuts depicting God or Jesus Christ holding the globus cruciger (top), decorative pillars with fish and plant motifs (sides), and the scene of the woman and the dragon from Revelations 7 (bottom).

A woodcut border to Luther's Eyn kurtze vnterichtu[n]g, warauff Christus seine Kirchen, oder Gemain gebawet hab printed in 1524. The border is composed of four separate woodcuts depicting God or Jesus Christ holding the globus cruciger (top), decorative pillars with fish and plant motifs (sides), and the scene of the woman and the dragon from Revelations 7 (bottom).

A woodcut border to Luther's German translation of the Old Testament printed in 1523. The border is composed of one woodcut depicting an architectural arch supported by four columns, a gathering of cherubs (top and sides), and a group of worshipers (?) around a crucified Christ (bottom).

A woodcut border to Luther's German translation of the Old Testament printed in 1523. The border is composed of one woodcut depicting an architectural arch supported by four columns, a gathering of cherubs (top and sides), and a group of worshipers (?) around a crucified Christ (bottom).

A woodcut border to Luther's German translation of the Baptismal rite printed in 1523. The border is composed of a single woodcut based on a design from the workshop of Lucas Cranach, the Elder, depicting a pair of decorative dragons (top), a nymph or Venus and a cherub (right), a satyr and a cherub (left), and a decoratibe scroll (bottom).

A woodcut border to Luther's German translation of the Baptismal rite printed in 1523. The border is composed of a single woodcut based on a design from the workshop of Lucas Cranach, the Elder, depicting a pair of decorative dragons (top), a nymph or Venus and a cherub (right), a satyr and a cherub (left), and a decoratibe scroll (bottom).

A woodcut border to Luther's Widder das blind vnd toll verdamnis der siebenzehen artickel von der elenden schendlichen vniuersitet zu Ingolstat ausgangen printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Widder das blind vnd toll verdamnis der siebenzehen artickel von der elenden schendlichen vniuersitet zu Ingolstat ausgangen printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Wider den neuen Abgott und alten Teufel printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Wider den neuen Abgott und alten Teufel printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to a German translation of Luther's letter to Duke Charles III of Savoy printed in 1524. The border consists of a single woodcut depicting 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 to a German translation of Luther's letter to Duke Charles III of Savoy printed in 1524. The border consists of a single woodcut depicting 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 to Luther's sermon on Matthew 5:20 printed in 1523. The border is composed of four woodcuts depicting floral columns with bird motifs (sides), floral motifs (top), and two cherubs holding a blank crest (bottom).

A woodcut border to Luther's sermon on Matthew 5:20 printed in 1523. The border is composed of four woodcuts depicting floral columns with bird motifs (sides), floral motifs (top), and two cherubs holding a blank crest (bottom).

A woodcut border to Mattias Blochinger's response to Dominicus Beyer's preaching. The border consists of four separate woodcuts depicting a pair of cherubs dueling (bottom), decorative plant motif (left), a Wild Man or a Green Man (top), and a cherub playing either a violin or viola (right).

A woodcut border to Mattias Blochinger's response to Dominicus Beyer's preaching. The border consists of four separate woodcuts depicting a pair of cherubs dueling (bottom), decorative plant motif (left), a Wild Man or a Green Man (top), and a cherub playing either a violin or viola (right).

A woodcut border to the New deudsch Psalter printed in 1528. The border consists of a single woodcut depicting a bird flanked by decorative elements (top), a pair of cherub heads with plant motifs (sides), and God or Jesus Christ holding a globus cruciger and flanked by cherubs (bottom).

A woodcut border to the New deudsch Psalter printed in 1528. The border consists of a single woodcut depicting a bird flanked by decorative elements (top), a pair of cherub heads with plant motifs (sides), and God or Jesus Christ holding a globus cruciger and flanked by cherubs (bottom).

A woodcut border to Luther's Ordenung vn[d] bericht wie es furterhin (mit yenen so das hochwirdig Sacrament empfahen wolle[n]) gehalten soll werden printed in 1525. The border consists of a single woodcut depicting a lion lying between a pair of decorative columns (sides and bottom) and an arch with fish and floral decorations (top).

A woodcut border to Luther's Ordenung vn[d] bericht wie es furterhin (mit yenen so das hochwirdig Sacrament empfahen wolle[n]) gehalten soll werden printed in 1525. The border consists of a single woodcut depicting a lion lying between a pair of decorative columns (sides and bottom) and an arch with fish and floral decorations (top).

A historiated woodcut border of The vvhole Psalter translated into English metre, which contayneth an hundreth and fifty Psalmes. The border features a pair of cherups playing horns, geese, griffins, lions, and a woman's face.

A historiated woodcut border of The vvhole Psalter translated into English metre, which contayneth an hundreth and fifty Psalmes. The border features a pair of cherups playing horns, geese, griffins, lions, and a woman's face.

A woodcut border to Tommaso de Vio Cajetan's De diuina institutione Pontificatus Romani Pontificis super tota[m] ecclesiam: a Christo in Petro printed in 1521. The border consists of four separate woodcuts depicting floral and decorative column motifs.

A woodcut border to Tommaso de Vio Cajetan's De diuina institutione Pontificatus Romani Pontificis super tota[m] ecclesiam: a Christo in Petro printed in 1521. The border consists of four separate woodcuts depicting floral and decorative column motifs.

A colored woodcut border to Luther's Uon kauffsshandlung vnd Wucher printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A colored woodcut border to Luther's Uon kauffsshandlung vnd Wucher printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Vier trostliche Psalmen, an die Königin zu Hungern printed in 1527. The border is comprised of a single woodcut depicting an architectural border supported by four columns with cherubs leaning on them (sides) and cherubs holding shields (top corners).

A woodcut border to Luther's Vier trostliche Psalmen, an die Königin zu Hungern printed in 1527. The border is comprised of a single woodcut depicting an architectural border supported by four columns with cherubs leaning on them (sides) and cherubs holding shields (top corners).

A woodcut border to Luther's Vom Hochwirdigisten Sacrament des zarte[n] fronleichnams Christi. : Vnnd widerlegung ettlicher Argument, so jn ainem newlich aussgegange[n] irrigen vn[d] verfüerischen [sic] büechlin [sic] widers opffer [der] Mess gemacht sind printed in 1525. The border consists of five woodcuts depicting cheurbs with a collection of birds, snails, and bugs (sides), a pair of cherubs holding a shield (top), a parade of cherubs, one riding a bear and playing a horn while another leads a pair of dogs (bottom), and a schene of the Last Supper (middle).

A woodcut border to Luther's Vom Hochwirdigisten Sacrament des zarte[n] fronleichnams Christi. : Vnnd widerlegung ettlicher Argument, so jn ainem newlich aussgegange[n] irrigen vn[d] verfüerischen [sic] büechlin [sic] widers opffer [der] Mess gemacht sind printed in 1525. The border consists of five woodcuts depicting cheurbs with a collection of birds, snails, and bugs (sides), a pair of cherubs holding a shield (top), a parade of cherubs, one riding a bear and playing a horn while another leads a pair of dogs (bottom), and a schene of the Last Supper (middle).

A woodcut border to Mensing's Von dem Testament Christi vnsers Herren vnd Seligmachers : Dem Hochlöblichen Adell ym landt zu Sachsen, sampt alle[n] Christglewbigen, Deutscher Nation, tzugutt geschriben vnd auszgangen, beweret mit Götlicher schrifft, tröstlich zu lesen printed in 1526. The border is composed of four woodcuts depicting the symbols of the four Gospels (corners), Apostle Peter (top), Apostle Paul (bottom), and the four "Great Western Fathers" of the church, Pope Gregory I, Saint Jerome, Saint Ambrose, and Saint Augustine (sides).

A woodcut border to Mensing's Von dem Testament Christi vnsers Herren vnd Seligmachers : Dem Hochlöblichen Adell ym landt zu Sachsen, sampt alle[n] Christglewbigen, Deutscher Nation, tzugutt geschriben vnd auszgangen, beweret mit Götlicher schrifft, tröstlich zu lesen printed in 1526. The border is composed of four woodcuts depicting the symbols of the four Gospels (corners), Apostle Peter (top), Apostle Paul (bottom), and the four "Great Western Fathers" of the church, Pope Gregory I, Saint Jerome, Saint Ambrose, and Saint Augustine (sides).

A woodcut border to Luther's De instituendis ministris ecclesiae printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's De instituendis ministris ecclesiae printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Luther's Vonn dem grewel der stillmesse, so man den Canon nennet printed in 1525. The border is comprised of a single woodcut depicting an architectural arch featuring a pair of Corinthian columns, six cherubs, a shield, and floral decoration.

A woodcut border to Luther's Vonn dem grewel der stillmesse, so man den Canon nennet printed in 1525. The border is comprised of a single woodcut depicting an architectural arch featuring a pair of Corinthian columns, six cherubs, a shield, and floral decoration.

A woodcut border to Augustin von Alveldt's Widder Luthers trostung ann die Christen zu Hall : vber er Georgen yhres Predigers todt, szo viel die entpfahung des hochwirdigen Sacraments belangt printed in 1528. The border consists of a single wood cut depicting a pair of columns, one with bulls heads (sides), a pair of cherubs holding the coat of arms of Dresden (bottom), and an arch decorated with floral designs (top).

A woodcut border to Augustin von Alveldt's Widder Luthers trostung ann die Christen zu Hall : vber er Georgen yhres Predigers todt, szo viel die entpfahung des hochwirdigen Sacraments belangt printed in 1528. The border consists of a single wood cut depicting a pair of columns, one with bulls heads (sides), a pair of cherubs holding the coat of arms of Dresden (bottom), and an arch decorated with floral designs (top).

A woodcut border to Urbanus Rhegius's Wider den newen Taufforden : notwendige Warnung an alle Christgleubigen printed in 1527. The border is composed of a single woodcut depicting a series of cherubs, some playing instruments (sides and bottom) and a man flanked by floral decorations (top).

A woodcut border to Urbanus Rhegius's Wider den newen Taufforden : notwendige Warnung an alle Christgleubigen printed in 1527. The border is composed of a single woodcut depicting a series of cherubs, some playing instruments (sides and bottom) and a man flanked by floral decorations (top).

A woodcut border to Wolfgang Capito's Was man halten, vnnd Antwurtten soll, von der spaltung zwischen Martin Luther, vnnd Andres Carolstadt printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Wolfgang Capito's Was man halten, vnnd Antwurtten soll, von der spaltung zwischen Martin Luther, vnnd Andres Carolstadt printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut border to Zwei kaiserliche uneinige und widerwärtige Gebote den Luther betreffend printed in 1524. The border is composed of four separate woodcuts depicting three cherubs holding a plaque with the date of publication (top), a pair of architectural elements with two men standing between pairs of columns and topped with a female and male siren respectively (sides), and a man's torso with plant-like limbs (bottom).

A woodcut border to Zwei kaiserliche uneinige und widerwärtige Gebote den Luther betreffend printed in 1524. The border is composed of four separate woodcuts depicting three cherubs holding a plaque with the date of publication (top), a pair of architectural elements with two men standing between pairs of columns and topped with a female and male siren respectively (sides), and a man's torso with plant-like limbs (bottom).

A woodcut border to a collection of Luther's sermons printed in 1523. The border is comprised of a single woodcut and depicts a forest filled with deer, lions, horses, a unicorn, and a pair of cherubs holding rabbits and a shield (bottom). At the top of the woodcut, a dove with a branch in its mouth sits above a pair of decorative dragons above a frame surrounding the title.

A woodcut border to a collection of Luther's sermons printed in 1523. The border is comprised of a single woodcut and depicts a forest filled with deer, lions, horses, a unicorn, and a pair of cherubs holding rabbits and a shield (bottom). At the top of the woodcut, a dove with a branch in its mouth sits above a pair of decorative dragons above a frame surrounding the title.

A woodcut border to a collection of Luther's sermons printed in 1523. The border is comprised of a single woodcut and depicts four scenes: two well dressed men appearing to be appealing to God (right), Jesus preaching to a group while behind him is a fourest full of sheep and chickens (bottom), pilgrims or worshipers climbing a path towards a church (left), and shadowy figures surrounding a kneeling man in a cloak (top).

A woodcut border to a collection of Luther's sermons printed in 1523. The border is comprised of a single woodcut and depicts four scenes: two well dressed men appearing to be appealing to God (right), Jesus preaching to a group while behind him is a fourest full of sheep and chickens (bottom), pilgrims or worshipers climbing a path towards a church (left), and shadowy figures surrounding a kneeling man in a cloak (top).

A woodcut border to a selection of Ambrosius Catharinus' criticisms of Luther printed in 1524. The border is composed of a single woodcut and depicts floral decorations, cherubs, and bucrania (top and sides), as well as a pair of cherubs flanking a pair of pegasi (bottom).

A woodcut border to a selection of Ambrosius Catharinus' criticisms of Luther printed in 1524. The border is composed of a single woodcut and depicts floral decorations, cherubs, and bucrania (top and sides), as well as a pair of cherubs flanking a pair of pegasi (bottom).

A woodcut border to a set of eight Luther sermons printed in 1523. The border is composed of four woodcuts depicting a cherub playing a violin atop a plant (right), a woman below a pair of fish (left), and various ornamental and floral designs (top and bottom).

A woodcut border to a set of eight Luther sermons printed in 1523. The border is composed of four woodcuts depicting a cherub playing a violin atop a plant (right), a woman below a pair of fish (left), and various ornamental and floral designs (top and bottom).

A historiated woodcut border of the title page of Condemnatio Doctrinalis libror[um] Martini Lutheri featuring floral decorations, cherubs, fruits, cornucopias, baskets, and greenmen.

A historiated woodcut border of the title page of Condemnatio Doctrinalis libror[um] Martini Lutheri featuring floral decorations, cherubs, fruits, cornucopias, baskets, and greenmen.

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 historiated woodcut border of Institutio principis Christiani : saluberrimis referta praeceptis. The border features cherubs, columns, male and female figures merged with the floral designs, as well as a pair of rabbits.

A historiated woodcut border of Institutio principis Christiani : saluberrimis referta praeceptis. The border features cherubs, columns, male and female figures merged with the floral designs, as well as a pair of rabbits.

A woodcut title page to Johann Eck's Chrysopassus, printed in 1514. The main image depicts God, flanked by angels, reaching down to place a crown on the head of Jacob as his twin brother, Esau, looks on. A dog is seated at Esau's feet. Surrounding the central image is an architectural border featuring the coat of arms of the Holy Roman Emperor in the top left, and the symbol of the city of Augsburg, a pine cone, in the top right.

A woodcut title page to Johann Eck's Chrysopassus, printed in 1514. The main image depicts God, flanked by angels, reaching down to place a crown on the head of Jacob as his twin brother, Esau, looks on. A dog is seated at Esau's feet. Surrounding the central image is an architectural border featuring the coat of arms of the Holy Roman Emperor in the top left, and the symbol of the city of Augsburg, a pine cone, in the top right.

A woodcut border on the title page of Karlstadt's treatise on which books should be considered canonical alongside the Bible. The border is made up of four separate woodcuts, all with unique floral designs.

A woodcut border on the title page of Karlstadt's treatise on which books should be considered canonical alongside the Bible. The border is made up of four separate woodcuts, all with unique floral designs.

A woodcut border on the title page to Luther's Ad Johannem Ecciu[m] printed in 1519. The border depicts a variety of plants and animals, including a crane or heron and a squirrel.

A woodcut border on the title page to Luther's Ad Johannem Ecciu[m] printed in 1519. The border depicts a variety of plants and animals, including a crane or heron and a squirrel.

A woodcut border on the title page of Luther's Ad dialogum Syluestri Prieratis Magistri Palatii de potestate Pape Responsio 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 Luther's Ad dialogum Syluestri Prieratis Magistri Palatii de potestate Pape Responsio 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 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 De captivitate babylonica ecclesiae printed in 1520. The border is comprised of a single woodcut. At the bottom, there is a crest with the Brazen Serpent coiled around a cross with two men pulling it from either side. On the sides, there are two plinths, cherubs, and riders atop a pair of centaur-like figures. At the top, there is another crest featuring two towers and a striped shield.

A woodcut border on the title page of Luther's De captivitate babylonica ecclesiae printed in 1520. The border is comprised of a single woodcut. At the bottom, there is a crest with the Brazen Serpent coiled around a cross with two men pulling it from either side. On the sides, there are two plinths, cherubs, and riders atop a pair of centaur-like figures. At the top, there is another crest featuring two towers and a striped shield.

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 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 border on the title page of Luther's Iudicium de votis printed in 1521. The border is done as a single woodcut depicting a monk (left), a nun (right), a Green Man of pagan and Christian lore (bottom), and a bowl of fruit (top). The intermediate spaces are filled with floral and plant decorative motifs.

A woodcut border on the title page of Luther's Iudicium de votis printed in 1521. The border is done as a single woodcut depicting a monk (left), a nun (right), a Green Man of pagan and Christian lore (bottom), and a bowl of fruit (top). The intermediate spaces are filled with floral and plant decorative motifs.

A woodcut border on the title page of Luther's Sermo de penitentia printed in 1519. 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 Sermo de penitentia printed in 1519. 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 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 to Luther's Sermon von dem ehelichen Stand printed in 1519. 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 Sermon von dem ehelichen Stand printed in 1519. 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 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 defense of his thirteenth proposition on the power of the Pope 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 defense of his thirteenth proposition on the power of the Pope 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 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).

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.

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.

A woodcut depicting Hosea, his wife, Gomer, and their three children, Jezreel, Lo-Ruhamah, and Lo-Ammi. The first verse of the book of Hosea is printed above.

A woodcut depicting Hosea, his wife, Gomer, and their three children, Jezreel, Lo-Ruhamah, and Lo-Ammi. The first verse of the book of Hosea is printed above.

A woodcut depicting Hosea, his wife, Gomer, and their first two children, Jezreel and Lo-Ruhamah. The first verse of the book of Hosea is printed above.

A woodcut depicting Hosea, his wife, Gomer, and their first two children, Jezreel and Lo-Ruhamah. The first verse of the book of Hosea is printed above.

A pair of woodcuts with captions depicting the formal procession of food for the Cardinals (top) and the delivery of dishes to the Cardinals (bottom).

A pair of woodcuts with captions depicting the formal procession of food for the Cardinals (top) and the delivery of dishes to the Cardinals (bottom).

A woodcut depicting a group of putti (cherubs) displaying the spoils of battle (armor). The woodcut is accompanied by a verse from Isaiah 53 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting a group of putti (cherubs) displaying the spoils of battle (armor). The woodcut is accompanied by a verse from Isaiah 53 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting a putto (cherub) holding a shield and an arrow symbolizing the prohibition given to the Israelites to not go up on the Holy Mountain, or Mount Sinai. The woodcut is accompanied by a verse from Exodus 19 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting a putto (cherub) holding a shield and an arrow symbolizing the prohibition given to the Israelites to not go up on the Holy Mountain, or Mount Sinai. The woodcut is accompanied by a verse from Exodus 19 translated into French (top) and then reformatted into verse (bottom).

A woodcut initial letter "C" decorated with plants and a fish.

A woodcut initial letter "C" decorated with plants and a fish.

A woodcut initial letter "C" decorated with plants and a fish.

A woodcut initial letter "C" decorated with plants and a fish.

A woodcut initial letter "C" decorated with plants and a fish.

A woodcut initial letter "C" decorated with plants and a fish.

A woodcut initial letter "M" featuring a symetrical plant design.

A woodcut initial letter "M" featuring a symetrical plant design.

A woodcut initial letter "S" decorated with plants and a fish.

A woodcut initial letter "S" decorated with plants and a fish.

A woodcut initial letter "A" depicting a trio of figures leaning agains and through the letter.

A woodcut initial letter "A" depicting a trio of figures leaning agains and through the letter.

An initial letter "A" featuring a kneeling man holding a harp and looking up at God.

An initial letter "A" featuring a kneeling man holding a harp and looking up at God.

An initial letter "B" featuring the Trinity, with the Holy Spirit as a dove and both God and Christ holding an orbis cruciger.

An initial letter "B" featuring the Trinity, with the Holy Spirit as a dove and both God and Christ holding an orbis cruciger.

An initial letter "C" featuring an elaborate ciborium.

An initial letter "C" featuring an elaborate ciborium.

An initial letter "D" featuring Jesus entering Jerusalem on the back of a donkey.

An initial letter "D" featuring Jesus entering Jerusalem on the back of a donkey.

An initial letter "D" featuring Jesus holding a chalice and collecting the blood pouring from the spear wound on his side. The wounds from the nails used to pin him to the cross are visible on his hands and feet.

An initial letter "D" featuring Jesus holding a chalice and collecting the blood pouring from the spear wound on his side. The wounds from the nails used to pin him to the cross are visible on his hands and feet.

A woodcut initial letter "E" depicting a pair of battling figures, one with a staff and one with a shield and sword.

A woodcut initial letter "E" depicting a pair of battling figures, one with a staff and one with a shield and sword.

An initial letter "E" featuring the Three Wise Men presenting gifts to Jesus who sits in the lap of Mary.

An initial letter "E" featuring the Three Wise Men presenting gifts to Jesus who sits in the lap of Mary.

An initial letter "E" printed in red ink.

An initial letter "E" printed in red ink.

An initial letter "G" featuring the Virgin Mary being crowned by Christ enthroned.

An initial letter "G" featuring the Virgin Mary being crowned by Christ enthroned.

An initial letter "G" featuring the Virgin Mary being crowned by Christ enthroned.

An initial letter "G" featuring the Virgin Mary being crowned by Christ enthroned.

An initial letter "G" featuring the Virgin Mary being crowned by Christ enthroned.

An initial letter "G" featuring the Virgin Mary being crowned by Christ enthroned.

A woodcut initial letter "I" depicting a pair of naked figures holding poles or spears.

A woodcut initial letter "I" depicting a pair of naked figures holding poles or spears.

An initial letter "M" printed in red ink.

An initial letter "M" printed in red ink.

An initial letter "P" featuring Christ in the manger before the Virgin Mary and Jospeh.

An initial letter "P" featuring Christ in the manger before the Virgin Mary and Jospeh.

An initial letter "P" featuring a trio of angels.

An initial letter "P" featuring a trio of angels.

An initial letter "R" featuring Jesus rising from his tomb and holding a standard bearing the cross.

An initial letter "R" featuring Jesus rising from his tomb and holding a standard bearing the cross.

An initial letter "R" featuring an angel pulling a soul up out of the fires of Hell.

An initial letter "R" featuring an angel pulling a soul up out of the fires of Hell.

An initial letter "S" featuring the Holy Spirit appearing to the Apostles and the Virgin Mary.

An initial letter "S" featuring the Holy Spirit appearing to the Apostles and the Virgin Mary.

An initial letter "S" featuring the Vigin Mary supporting the infant Jesus Christ atop an altar while another figure approaches. This is possibly a depiction of the circumcision of Jesus. A lion (upper left) and pelican (lower right) are depicted in the margins outside the initial.

An initial letter "S" featuring the Vigin Mary supporting the infant Jesus Christ atop an altar while another figure approaches. This is possibly a depiction of the circumcision of Jesus. A lion (upper left) and pelican (lower right) are depicted in the margins outside the initial.

An initial letter "S" featuring the Vigin Mary holding the infant Jesus Christ with a bird in the upper left corner.

An initial letter "S" featuring the Vigin Mary holding the infant Jesus Christ with a bird in the upper left corner.

An initial letter "T" featuring a pair of angels descending from heaven on a ladder above the kneeling figure of Jacob.

An initial letter "T" featuring a pair of angels descending from heaven on a ladder above the kneeling figure of Jacob.

An initial letter "T" featuring an angel halting Abraham's blade as he prepares to sacrifice his son, Isaac, upon an altar as a ram watches.

An initial letter "T" featuring an angel halting Abraham's blade as he prepares to sacrifice his son, Isaac, upon an altar as a ram watches.

A woodcut initial letter "V" depicting a horse or hound head with plant decorations.

A woodcut initial letter "V" depicting a horse or hound head with plant decorations.

A woodcut initial letter "V" depicting a figure standing on the back of a second holding out a bunch of grapes.

A woodcut initial letter "V" depicting a figure standing on the back of a second holding out a bunch of grapes.

An initial letter "V" or "U" featuring the ascension of Jesus Christ before the Apostles and the Virgin Mary.

An initial letter "V" or "U" featuring the ascension of Jesus Christ before the Apostles and the Virgin Mary.

A woodcut initial letter "A" depicting God creating the world. the arch of the "A" is made from a bent over plam tree.

A woodcut initial letter "A" depicting God creating the world. the arch of the "A" is made from a bent over plam tree.

A woodcut initial letter "D" illustrated with the scene of Moses delivering his farewell discourse while God looks down from Heaven. Moses is depicted with horns, a common practice in Western art before the Renaissance.

A woodcut initial letter "D" illustrated with the scene of Moses delivering his farewell discourse while God looks down from Heaven. Moses is depicted with horns, a common practice in Western art before the Renaissance.

A woodcut initial letter "D" illustrated with the scene of Moses delivering his farewell discourse while God looks down from Heaven. Moses is depicted with horns, a common practice in Western art before the Renaissance.

A woodcut initial letter "D" illustrated with the scene of Moses delivering his farewell discourse while God looks down from Heaven. Moses is depicted with horns, a common practice in Western art before the Renaissance.

A woodcut initial letter "U" depicting Moses praying before God in Heaven, who is holding a globus cruciger. Moses is here depicted with horns, which was common before the Renaissance. The shape of the "U" includes two cherubs atop pillars and a bound bird.

A woodcut initial letter "U" depicting Moses praying before God in Heaven, who is holding a globus cruciger. Moses is here depicted with horns, which was common before the Renaissance. The shape of the "U" includes two cherubs atop pillars and a bound bird.

A woodcut initial letter "U" depicting a woman and a man kneeling before an altar with a sheep on it. The bottom and right curve of the "U" is made from the image of a dragon.

A woodcut initial letter "U" depicting a woman and a man kneeling before an altar with a sheep on it. The bottom and right curve of the "U" is made from the image of a dragon.

A woodcut initial letter "R" with a floral motif.

A woodcut initial letter "R" with a floral motif.

A woodcut initial letter "E" including the scene of the three Wise Men bringing gifts of gold, frankincense, and myrrh to Jesus and the Virgin Mary.

A woodcut initial letter "E" including the scene of the three Wise Men bringing gifts of gold, frankincense, and myrrh to Jesus and the Virgin Mary.

A woodcut initial letter "D" depicting Jesus Christ transfigured in the presence of Peter, James, and John.

A woodcut initial letter "D" depicting Jesus Christ transfigured in the presence of Peter, James, and John.

A woodcut depicting God blessing Jacob as he dreams, represented by three angels descending/ascending a ladder linking Heaven and Earth. Above the woodcut is a section of handwritten marginalia.

A woodcut depicting God blessing Jacob as he dreams, represented by three angels descending/ascending a ladder linking Heaven and Earth. Above the woodcut is a section of handwritten marginalia.

A woodcut depicting Jesus Christ with a halo of light.

A woodcut depicting Jesus Christ with a halo of light.

A woodcut depicting the crucifixion of Jesus Christ, featuring the figures of the Virgin Mary, St. John, and a third figure.

A woodcut depicting the crucifixion of Jesus Christ, featuring the figures of the Virgin Mary, St. John, and a third figure.

A woodcut depicting Jesus' triumphal entry into the city of Jerusalem. Jesus rides a donkey with hand raised to bless the people as they lay palms before him. The scene is flanked by ornamental scroll work featuring pelicans and snails.

A woodcut depicting Jesus' triumphal entry into the city of Jerusalem. Jesus rides a donkey with hand raised to bless the people as they lay palms before him. The scene is flanked by ornamental scroll work featuring pelicans and snails.

A woodcut depicting Joel sharing his vision (left) and the fulfillment of that vision in the form of the Holy Spirit descending on the day of Pentecost (right).

A woodcut depicting Joel sharing his vision (left) and the fulfillment of that vision in the form of the Holy Spirit descending on the day of Pentecost (right).

A woodcut depicting Joseph beside Pharaoh's bedside (top) explaining the meaning of his dream of seven fat and seven lean cows, and seven good and seven lean stalks, represents seven years of feast and famine that will come to Egypt.

A woodcut depicting Joseph beside Pharaoh's bedside (top) explaining the meaning of his dream of seven fat and seven lean cows, and seven good and seven lean stalks, represents seven years of feast and famine that will come to Egypt.

A woodcut depicting the scene of Judgement day. The Trinity are depicted at the top of the image, presiding over the scene below where souls are guided either by angels past St. Peter into Heaven, or by a demon into the mouth of a great beast and Hell. A pair of banners unfurl from the Trinity towards the departing souls. The one above the souls entering Heaven reads "Cuius vult unseretur". The one avobe the souls entering Hell reads "Quem vult indurat".

A woodcut depicting the scene of Judgement day. The Trinity are depicted at the top of the image, presiding over the scene below where souls are guided either by angels past St. Peter into Heaven, or by a demon into the mouth of a great beast and Hell. A pair of banners unfurl from the Trinity towards the departing souls. The one above the souls entering Heaven reads "Cuius vult unseretur". The one avobe the souls entering Hell reads "Quem vult indurat".

A woodcut depicting the lampstand, table, and bread of presence surrounded by plates, jugs, and bowls.

A woodcut depicting the lampstand, table, and bread of presence surrounded by plates, jugs, and bowls.

A woodcut depicting the rite of laying on of hands. The bishop places his hands on the head of the ordainee, who kneels before him, holding vestments folded over his arms. The scene is flanked by a pair of cherubs holding rings and kneeling atop helmets. The woodcut is reused throughout the work.

A woodcut depicting the rite of laying on of hands. The bishop places his hands on the head of the ordainee, who kneels before him, holding vestments folded over his arms. The scene is flanked by a pair of cherubs holding rings and kneeling atop helmets. The woodcut is reused throughout the work.

A woodcut image depicting the assumption of Lazarus and the damnation of the rich man as told in Luke 16. Lazarus appears held in the arms of God/Christ in the sky as the rich man sinks into a hole filled with flames.

A woodcut image depicting the assumption of Lazarus and the damnation of the rich man as told in Luke 16. Lazarus appears held in the arms of God/Christ in the sky as the rich man sinks into a hole filled with flames.

A woodcut depicting a group of putti (cherubs) returning from a hunt. The woodcut is accompanied by a verse from Lamentations 5 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting a group of putti (cherubs) returning from a hunt. The woodcut is accompanied by a verse from Lamentations 5 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting Martin Luther, in the garb of an Augustinian monk, debating a gathering of Catholic clergy members, including the Pope, a cardinal, a bishop, and a monk. This woodcut appears on the title page of a popular anonymous account of Luther's debate before the Diet of Worms in 1521.

A woodcut depicting Martin Luther, in the garb of an Augustinian monk, debating a gathering of Catholic clergy members, including the Pope, a cardinal, a bishop, and a monk. This woodcut appears on the title page of a popular anonymous account of Luther's debate before the Diet of Worms in 1521.

A woodcut depicting Jesus as the "man of sorrows" (Isaiah 53:3), surrounded by the instruments of his suffering and death, including a spear, cross, hammer, scourge, and crown of thorns, as three die sit stacked at his feet. The phrase "Ecce homo" appears behind the form of Jesus.

A woodcut depicting Jesus as the "man of sorrows" (Isaiah 53:3), surrounded by the instruments of his suffering and death, including a spear, cross, hammer, scourge, and crown of thorns, as three die sit stacked at his feet. The phrase "Ecce homo" appears behind the form of Jesus.

A woodcut depicting the four beasts described in Daniel's vision placed on a map, one each in Europe and Africa, and two in Asia. The beasts are placed in such a way that they surround the holy land.

A woodcut depicting the four beasts described in Daniel's vision placed on a map, one each in Europe and Africa, and two in Asia. The beasts are placed in such a way that they surround the holy land.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible. This woodcut appears on the title page of the German translation of Luther's work De captivitate Babylonica ecclesiae praeludium.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible. This woodcut appears on the title page of the German translation of Luther's work De captivitate Babylonica ecclesiae praeludium.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible. This woodcut appears on the title page of Luther's work De captivitate Babylonica ecclesiae praeludium.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible. This woodcut appears on the title page of Luther's work De captivitate Babylonica ecclesiae praeludium.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, and flanked by two decorated pillars. Appears to be done after the woodcut portrait by Hans Baldung.

A woodcut portrait of Martin Luther dressed in the traditional garb of an Augustinian monk and holding a book, likely a Bible, and flanked by two decorated pillars. Appears to be done after the woodcut portrait by Hans Baldung.

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 holding a book.

A woodcut portrait of Martin Luther 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 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 Martin Luther in the garb of an Augustinian Monk. Below Luther is a traditional Luther rose. Surrounding the portrait is an inscription, mirrored as the image was printed in reverse, reading "DOCTOR MARTINUS LUTTER AUGUSTINER: WITTENB:". This is purported to be the earliest depiction of Luther.

A woodcut depicting Martin Luther in the garb of an Augustinian Monk. Below Luther is a traditional Luther rose. Surrounding the portrait is an inscription, mirrored as the image was printed in reverse, reading "DOCTOR MARTINUS LUTTER AUGUSTINER: WITTENB:". This is purported to be the earliest depiction of Luther.

A woodcut depicting Martin Luther in the garb of an Augustinian Monk. Below Luther is a traditional Luther rose. Surrounding the portrait is an inscription, mirrored as the image was printed in reverse, reading "DOCTOR MARTINUS LUTTER AUGUSTINER: WITTENB:". This is purported to be the earliest depiction of Luther.

A woodcut depicting Martin Luther in the garb of an Augustinian Monk. Below Luther is a traditional Luther rose. Surrounding the portrait is an inscription, mirrored as the image was printed in reverse, reading "DOCTOR MARTINUS LUTTER AUGUSTINER: WITTENB:". This is purported to be the earliest depiction of Luther.

A woodcut depicting Martin Luther in the garb of an Augustinian Monk. Below Luther is a traditional Luther rose. Surrounding the portrait is an inscription, mirrored as the image was printed in reverse, reading "DOCTOR MARTINUS LUTTER AUGUSTINER: WITTENB:". This is purported to be the earliest depiction of Luther.

A woodcut depicting Martin Luther in the garb of an Augustinian Monk. Below Luther is a traditional Luther rose. Surrounding the portrait is an inscription, mirrored as the image was printed in reverse, reading "DOCTOR MARTINUS LUTTER AUGUSTINER: WITTENB:". This is purported to be the earliest depiction of Luther.

A woodcut depicting Martin Luther as a seven-headed monster, critiquing his deviation from Catholicism. Each head is labeled (from left to right): Doctor, Martinus, Luther, Ecclesiast, Schwirmer [Schwärmer], Visitieter, and Barrabas. This was a classic piece of Catholic propaganda, portraying Luther not only as a Doctor and Churchman, but as a Turk, a wild enthusiast (Schwarmer) and "Barrabas."

A woodcut depicting Martin Luther as a seven-headed monster, critiquing his deviation from Catholicism. Each head is labeled (from left to right): Doctor, Martinus, Luther, Ecclesiast, Schwirmer [Schwärmer], Visitieter, and Barrabas. This was a classic piece of Catholic propaganda, portraying Luther not only as a Doctor and Churchman, but as a Turk, a wild enthusiast (Schwarmer) and "Barrabas."

A woodcut depicting Martin Luther as a seven-headed monster, critiquing his deviation from Catholicism. Each head is labeled (from left to right): Doctor, Martinus, Lutherus, Ecclesiastes, Suermerus, Visitactor, and Barrabas. This was a classic piece of Catholic propaganda, portraying Luther not only as a Doctor and Churchman, but as a Turk, a wild enthusiast (Suermerus) and "Barrabas."

A woodcut depicting Martin Luther as a seven-headed monster, critiquing his deviation from Catholicism. Each head is labeled (from left to right): Doctor, Martinus, Lutherus, Ecclesiastes, Suermerus, Visitactor, and Barrabas. This was a classic piece of Catholic propaganda, portraying Luther not only as a Doctor and Churchman, but as a Turk, a wild enthusiast (Suermerus) and "Barrabas."

A set of three woodcuts: two medallion portraits of Erasmus Desidarius and Ulrich van Hutten and one medallion schematic caricature double portrait of Martin Luther and Philip Melanchthon.

A set of three woodcuts: two medallion portraits of Erasmus Desidarius and Ulrich van Hutten and one medallion schematic caricature double portrait of Martin Luther and Philip Melanchthon.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a pair of mendicant monks standing beneath an archway as a pair of men sit at a table and wave them away.

A woodcut depicting a monstrous fish purportedly pulled from the sea in Poland, which had the appearance of a Catholic monk.

A woodcut depicting a monstrous fish purportedly pulled from the sea in Poland, which had the appearance of a Catholic monk.

A woodcut depicting an elaborate monstrance, or an ostensorium, somewhat in the shape of a cathedral with a crucefix on top.

A woodcut depicting an elaborate monstrance, or an ostensorium, somewhat in the shape of a cathedral with a crucefix on top.

A woodcut depicting two boys, one born with four [feet] and one born without hands or eyes and the lower body of a fish. These beings are described in the text as being portents of the coming of Islam, implying that Islam was a danger to Christians.

A woodcut depicting two boys, one born with four [feet] and one born without hands or eyes and the lower body of a fish. These beings are described in the text as being portents of the coming of Islam, implying that Islam was a danger to Christians.

A woodcut depicting Noah's Ark (Der Kaste Noe) safe and afloat amidst the torential rains (center). At the bottom of the image there is a field of fallen trees and dead people and animals left behind by the receeding waters. in the top left of the image there is a dove carrying an olive branch, signalling the receeding of the waters.

A woodcut depicting Noah's Ark (Der Kaste Noe) safe and afloat amidst the torential rains (center). At the bottom of the image there is a field of fallen trees and dead people and animals left behind by the receeding waters. in the top left of the image there is a dove carrying an olive branch, signalling the receeding of the waters.

A woodcut depicting Obadiah receiving his vision from an angel. The text of the first verse of Obadiah is printed above.

A woodcut depicting Obadiah receiving his vision from an angel. The text of the first verse of Obadiah is printed above.

A woodcut depicting a bishop ordinating a group of priests. The bishop sits on a riased dias, an attendant beside him, as the men waiting to be ordained kneel before him. The scene is flanked by ornamental scroll work featuring pelicans and snails. This woodcut is reused throughout the work.

A woodcut depicting a bishop ordinating a group of priests. The bishop sits on a riased dias, an attendant beside him, as the men waiting to be ordained kneel before him. The scene is flanked by ornamental scroll work featuring pelicans and snails. This woodcut is reused throughout the work.

A woodcut depicting the ordination of priests. A bishop sits, flanked by attendatns, holds out a chalice and plate to a kneeling priest. The scene is flanked by a pair of decorative tiles. The woodcut is reused throughout the work.

A woodcut depicting the ordination of priests. A bishop sits, flanked by attendatns, holds out a chalice and plate to a kneeling priest. The scene is flanked by a pair of decorative tiles. The woodcut is reused throughout the work.

A woodcut depicting the ordination of sub-deacons. A bishop sits on a dias offering a chalice to an ordinee as the bishop's assistants bring forward additional vessels used in the ordination process. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. This woodcut is reused throughout the work.

A woodcut depicting the ordination of sub-deacons. A bishop sits on a dias offering a chalice to an ordinee as the bishop's assistants bring forward additional vessels used in the ordination process. The scene is flanked by a pair of cherubs standing atop eagles and holding bags of snakes. This woodcut is reused throughout the work.

An ornamental woodcut depicting a pair of capped figures riding hippocampi and holding shields, flanking a cherub's head.

An ornamental woodcut depicting a pair of capped figures riding hippocampi and holding shields, flanking a cherub's head.

An ornamental woodcut depicting a pair of cherubs amongst some vines. The cherub on the left is riding a stick horse and holding an item similar to a pinwheel. On the right of the image, there is an arm holding an arrow which might be part of another cherub.

An ornamental woodcut depicting a pair of cherubs amongst some vines. The cherub on the left is riding a stick horse and holding an item similar to a pinwheel. On the right of the image, there is an arm holding an arrow which might be part of another cherub.

The title page of a printed version of the papal bull against Martin Luther featuring the papal arms of Leo X which incorporates the Medici family crest.

The title page of a printed version of the papal bull against Martin Luther featuring the papal arms of Leo X which incorporates the Medici family crest.

A woodcut depicting the pope, bisops, and cardinals dining at the Lateran Palace. The pope sits at his own table, with cardinals on his right, and bishops on his left. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut depicting the pope, bisops, and cardinals dining at the Lateran Palace. The pope sits at his own table, with cardinals on his right, and bishops on his left. The scene is flanked by ornamental scroll work featuring masks. The woodcut is reused throughout the work.

A woodcut of Pope Leo X's coat of arms, appearing on the title page of the official papal bull excommunicating Martin Luther. The coat of arms features the crossed keys to the kingdom of Heaven and the Papal crown, the traditional symbols of the Papacy, and the coat of arms of the Medici family, to which Pope Leo X belonged.

A woodcut of Pope Leo X's coat of arms, appearing on the title page of the official papal bull excommunicating Martin Luther. The coat of arms features the crossed keys to the kingdom of Heaven and the Papal crown, the traditional symbols of the Papacy, and the coat of arms of the Medici family, to which Pope Leo X belonged.

A woodcut depicting the pope travelling with a retinue of bishops. The pope rides a horse with attendents holding a canopy above his head while four bishops ride before him. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut depicting the pope travelling with a retinue of bishops. The pope rides a horse with attendents holding a canopy above his head while four bishops ride before him. The scene is flanked by ornamental scroll work featuring cherubs. The woodcut is reused throughout the work.

A woodcut portrait of Ulrich van Hutten dressed in armor and wearing a laurel crown. Below the portrait is the motto "IACTA EST ALEA," translated as "the die is cast." In the four corners of the portrait are coats of arms.

A woodcut portrait of Ulrich van Hutten dressed in armor and wearing a laurel crown. Below the portrait is the motto "IACTA EST ALEA," translated as "the die is cast." In the four corners of the portrait are coats of arms.

A woodcut depicting Saint Jerome in prototypical fashion, kneeling before a crucifix and smiting himself on the chest with a stone. It also includes two of the other 'attributes' that typically occur in his portraits: the lion and the cardinal’s hat. The printer, Wolfgang Stöckel may have used it as a kind of printer's device, and some have characterized it as a loose copy of the work of Wolf Traut.

A woodcut depicting Saint Jerome in prototypical fashion, kneeling before a crucifix and smiting himself on the chest with a stone. It also includes two of the other 'attributes' that typically occur in his portraits: the lion and the cardinal’s hat. The printer, Wolfgang Stöckel may have used it as a kind of printer's device, and some have characterized it as a loose copy of the work of Wolf Traut.

A woodcut image, possibly a printer's mark of Johann Schott, depicting God's hand descending from Heaven grasping a mace with a nest of storks on top of it (top left) and a fallen knight beneath the mace (bottom). Above and below the mark are the words "Allein Gott eer" (above) and "Aller Gewalt von Gott" (below).

A woodcut image, possibly a printer's mark of Johann Schott, depicting God's hand descending from Heaven grasping a mace with a nest of storks on top of it (top left) and a fallen knight beneath the mace (bottom). Above and below the mark are the words "Allein Gott eer" (above) and "Aller Gewalt von Gott" (below).

A woodcut image, possibly a printer's mark of Johann Schott, depicting God's hand descending from Heaven grasping a mace with a nest of storks on top of it (top left) and a fallen knight beneath the mace (bottom). Four lines of text in German, Latin, Hebrew, and Greek, surround the image: "Aller Gewalt von Gott" (top), ": מרשךרם חשפסך בנר אךם" (right), "Parcere Subiectis, & debellare Superbos" (bottom), "πἃδα ψυχη' έξουσί'αισ ύπερεχούδαισ ύποταδδε'ολω" (left).

A woodcut image, possibly a printer's mark of Johann Schott, depicting God's hand descending from Heaven grasping a mace with a nest of storks on top of it (top left) and a fallen knight beneath the mace (bottom). Four lines of text in German, Latin, Hebrew, and Greek, surround the image: "Aller Gewalt von Gott" (top), ": מרשךרם חשפסך בנר אךם" (right), "Parcere Subiectis, & debellare Superbos" (bottom), "πἃδα ψυχη' έξουσί'αισ ύπερεχούδαισ ύποταδδε'ολω" (left).

A woodcut depicting a preist dressed in the vestments described in Exodus 28, including an elaborate ephod and/or breastpiece, a long robe decorated with pomegranates and bells, and a decorated turban.

A woodcut depicting a preist dressed in the vestments described in Exodus 28, including an elaborate ephod and/or breastpiece, a long robe decorated with pomegranates and bells, and a decorated turban.

A woodcut of the printer's device (or mark) of Johann Rhau-Grunenberg, featuring his initials, "IG," and a small hill decorated with a number of different plants. The printer's mark is placed just below the colophon.

A woodcut of the printer's device (or mark) of Johann Rhau-Grunenberg, featuring his initials, "IG," and a small hill decorated with a number of different plants. The printer's mark is placed just below the colophon.

A woodcut of Johann Schott's printer's device, depicting a pair of dogs fighting, each biting the other's back and the initials "RSM". This version includes additional rubrication to highlight the points where each dog is biting.

A woodcut of Johann Schott's printer's device, depicting a pair of dogs fighting, each biting the other's back and the initials "RSM". This version includes additional rubrication to highlight the points where each dog is biting.

A woodcut of Johann Schott's printer's device, depicting a pair of dogs fighting, each biting the other's back and the initials "RSM".

A woodcut of Johann Schott's printer's device, depicting a pair of dogs fighting, each biting the other's back and the initials "RSM".

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."