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An engraving depicting the Altar of All Saints which contains minor relics of various saints.

An engraving depicting the Altar of All Saints which contains minor relics of various saints.

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 engraving depicting the main altar of the Basilica di Santa Maria Maggiore.

An engraving depicting the main altar of the Basilica di Santa Maria Maggiore.

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.

An engraving depicting the martyrdom of the 440 Martyrs killed by the Lombards. The image shows figures being beheaded (left) while a man kneels before an altar with a goat's head.

An engraving depicting the martyrdom of the 440 Martyrs killed by the Lombards. The image shows figures being beheaded (left) while a man kneels before an altar with a goat's head.

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 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 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 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 engraving depicting Saint Cointha before her martyrdom. The image shows Cointha rejecting the altar of a Roman god as two men bring rope (right) with which to tie her by her feet to a horse to be dragged through the streets.

An engraving depicting Saint Cointha before her martyrdom. The image shows Cointha rejecting the altar of a Roman god as two men bring rope (right) with which to tie her by her feet to a horse to be dragged through the streets.

A communion token from Canada. The token is rectangular in shape with an image of an altar with bread and a chalice on the obverse and an inscription on the reverse, "This Do in Remembrance of Me I.Cor.XI.24".

A communion token from Canada. The token is rectangular in shape with an image of an altar with bread and a chalice on the obverse and an inscription on the reverse, "This Do in Remembrance of Me I.Cor.XI.24".

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 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 series of six engravings depicting the process of blessing an altar. The scenes include (top left), a bishop following behind a subdeacon spreading ash on the ground writing the Latin and Greek alphabets in a cross shape (top left), a bishop anointing the altar (middle left) and the floor (middle right) with holy water, a procession bringng relics into the church (bottom left), and a bishop placing the relics inside the altar (bottom right).

A series of six engravings depicting the process of blessing an altar. The scenes include (top left), a bishop following behind a subdeacon spreading ash on the ground writing the Latin and Greek alphabets in a cross shape (top left), a bishop anointing the altar (middle left) and the floor (middle right) with holy water, a procession bringng relics into the church (bottom left), and a bishop placing the relics inside the altar (bottom right).

A series of six engravings depicting the process of consecrating the interior of a church with holy oil. The scenes show a bishop anointing and consecrating parts of a church, known as chrism, including crosses on the walls, the trappings of the altar, and the altar itself.

A series of six engravings depicting the process of consecrating the interior of a church with holy oil. The scenes show a bishop anointing and consecrating parts of a church, known as chrism, including crosses on the walls, the trappings of the altar, and the altar itself.

An engraving depicting a cross-section of apse of the Basilica di Santa Maria Maggiore, looking west with a view down either lateral nave.

An engraving depicting a cross-section of apse of the Basilica di Santa Maria Maggiore, looking west with a view down either lateral nave.

An engraving depicting a cross-section of the end of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse, main altar, and the two reliquaries.

An engraving depicting a cross-section of the end of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse, main altar, and the two reliquaries.

An engraving depicting a cross-section of the middle portion of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse and the main altar.

An engraving depicting a cross-section of the middle portion of the nave of the Basilica di Santa Maria Maggiore, looking west towards the apse and the main altar.

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 series of four engravings depicting aspects of religious rituals and practices from ancient Mediterranean cultures, including Greek, Roman, and Egyptian. The engraving on the top right depicts a supplicant praying before a temple of Pomona, the Latin and Roman goddess of fruit trees, gardens, and orchards, who is depicted to the supplicant's left.

A series of four engravings depicting aspects of religious rituals and practices from ancient Mediterranean cultures, including Greek, Roman, and Egyptian. The engraving on the top right depicts a supplicant praying before a temple of Pomona, the Latin and Roman goddess of fruit trees, gardens, and orchards, who is depicted to the supplicant's left.

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.

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.

An engraving depicting the altar commisioned by Paul V to house the Salus Populi Romani, believed to be painted by Saint Luke. Above the altar is a depiction of Pope Liberius outlining the original foundations of the basilica.

An engraving depicting the altar commisioned by Paul V to house the Salus Populi Romani, believed to be painted by Saint Luke. Above the altar is a depiction of Pope Liberius outlining the original foundations of the basilica.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it originally looked according to older accounts.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it originally looked according to older accounts.

An engraved ornamental tailpiece appearing at the end of the fifth part of the section on Catholics. The engraving depicts a choir seated before an altar.

An engraved ornamental tailpiece appearing at the end of the fifth part of the section on Catholics. The engraving depicts a choir seated before an altar.

An engraving depicting the apse of the Basilica di Santa Maria Maggiore, including the altar and the surrounding mosaics.

An engraving depicting the apse of the Basilica di Santa Maria Maggiore, including the altar and the surrounding mosaics.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it appeared after restoration was done.

An engraving depicting the Altar of Gregory, built as dictated by a vision of Mary to contain pieces of Jesus' cradle as relics, as it appeared after restoration was done.

A view of the rook of Elijah's altar on the slopes of Mount Carmel.

A view of the rook of Elijah's altar on the slopes of Mount Carmel.

An engraving depicting the entrance to the Borghese Chapel from the nave in the Basilica di Santa Maria Maggiore. Through the doorway, the altar of the Salus Populi Romani is visible.

An engraving depicting the entrance to the Borghese Chapel from the nave in the Basilica di Santa Maria Maggiore. Through the doorway, the altar of the Salus Populi Romani is visible.

An engraving depicting the Sacramental altar in the Sistine Chapel in the Basilica di Santa Maria Maggiore.

An engraving depicting the Sacramental altar in the Sistine Chapel in the Basilica di Santa Maria Maggiore.

Columns remaining in the ruins of the Temple of Augustus, built by Herod the Great, including the altar.

Columns remaining in the ruins of the Temple of Augustus, built by Herod the Great, including the altar.

A woodcut depicting the full layout of the Tabernacle court, including the altar of burnt offerings, the bronze laver, and the inner tent with the table, lampstand, altar of incense, and the Ark of the Covanent.

A woodcut depicting the full layout of the Tabernacle court, including the altar of burnt offerings, the bronze laver, and the inner tent with the table, lampstand, altar of incense, and the Ark of the Covanent.

An engraving depicting a scene from the sixth book of the epic poem, Saint Louys, in which Sultan Mélédin (left), who had been preparing to sacrifice his daughter, Zahide (left, kneeling), watches as his son, Prince Muratan (center), stabs himself so that he can be sacrificed in his sister's place. The ene takes place on an altar beside the Nile river, where the Sultan and his children are joined by Mirème, the sorcerer, and a young woman holding a plate (possibly Almasonte, who later saves Zahide when she and her brother fall in the river).

An engraving depicting a scene from the sixth book of the epic poem, Saint Louys, in which Sultan Mélédin (left), who had been preparing to sacrifice his daughter, Zahide (left, kneeling), watches as his son, Prince Muratan (center), stabs himself so that he can be sacrificed in his sister's place. The ene takes place on an altar beside the Nile river, where the Sultan and his children are joined by Mirème, the sorcerer, and a young woman holding a plate (possibly Almasonte, who later saves Zahide when she and her brother fall in the river).

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

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

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

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

A woodcut depicting a nun kneeling at an altar to pray as a skeleton (= Death) puts out the candles. The nun is distracted from her prayers by a young man sitting on the bed playing a lute. The woodcut is accompanied by a verse from Proverbs 14 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting a nun kneeling at an altar to pray as a skeleton (= Death) puts out the candles. The nun is distracted from her prayers by a young man sitting on the bed playing a lute. The woodcut is accompanied by a verse from Proverbs 14 translated into French (top) and then reformatted into verse (bottom).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop, including his presentation (top left), his oath (top right), his bowing before the altar (middle left) anointing (middle right), the anointing of his hands, (bottom left), and the bestowal of his crosier (bottom right).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop, including his presentation (top left), his oath (top right), his bowing before the altar (middle left) anointing (middle right), the anointing of his hands, (bottom left), and the bestowal of his crosier (bottom right).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop: including the bestowal of his ring (top left), bestowal of a book of the gospels (top right), presenting the torches, the bread and the wine (middle left), dressing in his miter (middle right), receiving his crosier (bottom left), and dressing in his pallium (lower right).

A series of six engravings depicting elements of the process of ordaining a Roman Catholic bishop: including the bestowal of his ring (top left), bestowal of a book of the gospels (top right), presenting the torches, the bread and the wine (middle left), dressing in his miter (middle right), receiving his crosier (bottom left), and dressing in his pallium (lower right).