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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 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 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.

An engraving depicting the coffin of Pope Pius V. The side of the coffin features a relief of the Pope in repose and has a decorative lid featuring a crest reading, "CORPUS B. PII. V. PONT. MAX. EX ORD. FF. PRAED." surrounded by cherub heads, roses, and lilies.

An engraving depicting the coffin of Pope Pius V. The side of the coffin features a relief of the Pope in repose and has a decorative lid featuring a crest reading, "CORPUS B. PII. V. PONT. MAX. EX ORD. FF. PRAED." surrounded by cherub heads, roses, and lilies.

An engraved headpiece to the second, eighth, and fourteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by a pair of heads blowing air, below which is a banner with the Latin motto, "Concutient non excutient." (They will shake/stike violently [but] they will not shake off/cast out).

An engraved headpiece to the second, eighth, and fourteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by a pair of heads blowing air, below which is a banner with the Latin motto, "Concutient non excutient." (They will shake/stike violently [but] they will not shake off/cast out).

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.

An engraved dedicatory headpiece to a collection of engravings based on the work of Raphael. The engraving depicts a pair of columns, one with a man's head crowned in laurels and the other with a bearded man's head, (sides) and a pair of lions standing above orbs and flanking a trio of feathers and a wreath (top).

An engraved dedicatory headpiece to a collection of engravings based on the work of Raphael. The engraving depicts a pair of columns, one with a man's head crowned in laurels and the other with a bearded man's head, (sides) and a pair of lions standing above orbs and flanking a trio of feathers and a wreath (top).

An engraved headpiece to the first, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a pair of cherubim holding a crown of thorns above an interwoven pair of initials ("SL") which sit above a laurel crown and crossed palm fronds. Above the scene is a banner with the Latin motto, "est lauros palmasque Super" (It [Crown of thorns] is above laurels and palms).

An engraved headpiece to the first, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a pair of cherubim holding a crown of thorns above an interwoven pair of initials ("SL") which sit above a laurel crown and crossed palm fronds. Above the scene is a banner with the Latin motto, "est lauros palmasque Super" (It [Crown of thorns] is above laurels and palms).

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."

An engraved headpiece to the dedication of Lenfant's Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile depicting an unidentified coat of arms (presumably connected to King Louis XIV of France or the French Royal Family). The coat of arms consist of a pair of wild men as supporters, holding ups a mantle above the shield and crown. The shield depicts approximately twenty-eight different elements of various design, including two smaller shields with crests in the form of crowns.

An engraved headpiece to the dedication of Lenfant's Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile depicting an unidentified coat of arms (presumably connected to King Louis XIV of France or the French Royal Family). The coat of arms consist of a pair of wild men as supporters, holding ups a mantle above the shield and crown. The shield depicts approximately twenty-eight different elements of various design, including two smaller shields with crests in the form of crowns.

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 Acht sermon printed in 1523. The border is composed of a single woodcut depicting a pair of cherubs riding fish or dolphins flanking a face (top), floral ornamentation (sides), and a pair of cherubs accompanied by two sphinxes breastfeeding satyrs (bottom).

A woodcut border to Luther's Acht sermon printed in 1523. The border is composed of a single woodcut depicting a pair of cherubs riding fish or dolphins flanking a face (top), floral ornamentation (sides), and a pair of cherubs accompanied by two sphinxes breastfeeding satyrs (bottom).

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 Reason and Answer that Women may leave their Cloisters in a Godly manner printed in 1523. The border is composed of a single woodcut depicting a pair of cherubs riding fish or dolphins flanking a face (top), floral ornamentation (sides), and a pair of cherubs accompanied by two sphinxes breastfeeding satyrs (bottom).

A woodcut border to Luther's Reason and Answer that Women may leave their Cloisters in a Godly manner printed in 1523. The border is composed of a single woodcut depicting a pair of cherubs riding fish or dolphins flanking a face (top), floral ornamentation (sides), and a pair of cherubs accompanied by two sphinxes breastfeeding satyrs (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 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 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 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 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 woodcut border on the title page of Gallus Korn's personal narrative of leaving his monastic community after joining the Protestants. The border is comprised of a single woodcut depicting a Wild Man and Woman flanking a blank crest (bottom), a bagpipe player (right), a cherub and another figure (left), and a group of cherubs fighting a dragon (top).

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

A woodcut border on the title page of 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 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.

An engraved headpiece to the fifth, eleventh, and seventeenth books of Moyne's epic, "Saint Louys," depicting a pair of scepters (one topped with a fleur-de-lis and one with a hand) interwoven with a crown of thorns beneath a banner with the Latin motto, "hoc nexu immota manebunt" (this/these will remain/endure by imovable binds).

An engraved headpiece to the fifth, eleventh, and seventeenth books of Moyne's epic, "Saint Louys," depicting a pair of scepters (one topped with a fleur-de-lis and one with a hand) interwoven with a crown of thorns beneath a banner with the Latin motto, "hoc nexu immota manebunt" (this/these will remain/endure by imovable binds).

An illuminated page from the 1472 printed edition of Honorius of Atun's Cristianus ad solitariu[m] quendam De ymagine mundi. The illumination includes two initial letters "S" accented with floral patterns. The illumination uses blue, green, and red color with gold accents.

An illuminated page from the 1472 printed edition of Honorius of Atun's Cristianus ad solitariu[m] quendam De ymagine mundi. The illumination includes two initial letters "S" accented with floral patterns. The illumination uses blue, green, and red color with gold accents.

An illuminated page from the 1470 printing of De evangelica praeparatione by Eusebius of Caesarea. The illuminations include an initial letter "E", floral boarder decorations, and a coat of arms featuring a hart surrounded by a laurel wreath. The illuminations are done in green, purple, black, blue, and red coloring with additional gold accents.

An illuminated page from the 1470 printing of De evangelica praeparatione by Eusebius of Caesarea. The illuminations include an initial letter "E", floral boarder decorations, and a coat of arms featuring a hart surrounded by a laurel wreath. The illuminations are done in green, purple, black, blue, and red coloring with additional gold accents.

An illuminated page from Franciscus de Platea's Opus restitutionum usurarum et excommunicationum. The illumination includes an initial letter "R" woven into a floral patterned border. The illumination uses red, green, and blue color with gold accents.

An illuminated page from Franciscus de Platea's Opus restitutionum usurarum et excommunicationum. The illumination includes an initial letter "R" woven into a floral patterned border. The illumination uses red, green, and blue color with gold accents.

An illuminated page from the 1487 printing of Sabellico's Decades rerum Venetarum. The illumination includes an initial letter "V" and decorative acorn and oak leaf border. The illumination is done in yellow, brown, green, red, and blue color with gold accents.

An illuminated page from the 1487 printing of Sabellico's Decades rerum Venetarum. The illumination includes an initial letter "V" and decorative acorn and oak leaf border. The illumination is done in yellow, brown, green, red, and blue color with gold accents.

An illuminated page from the 1480 printed edition of the Letters of Saint Jerome. The illumination includes an initial letter "P" surrounded by floral decorations and surrounding an image of Saint Jerome holding a book. At the bottom of the page is an illumination showing a crest, which features a wolf, surrounded by a laurel wreath bound on the top, bottom, left, and right with decorative string. The illumination uses blue, red, green, brown, and black color with gold accents.

An illuminated page from the 1480 printed edition of the Letters of Saint Jerome. The illumination includes an initial letter "P" surrounded by floral decorations and surrounding an image of Saint Jerome holding a book. At the bottom of the page is an illumination showing a crest, which features a wolf, surrounded by a laurel wreath bound on the top, bottom, left, and right with decorative string. The illumination uses blue, red, green, brown, and black color with gold accents.

An illuminated page from the 1487 printing of Sabellico's Decades rerum Venetarum. The illumination includes an initial letter "Q" and decorative border composed of several generic floral patterns, a flowering pear tree branch with a bird perched on it, two different types of flowers, and a coat of arms featuring an eagle, angel, and possibly a swallow. The illumination is done in pink, yellow, black, brown, green, red, and blue color with gold accents.

An illuminated page from the 1487 printing of Sabellico's Decades rerum Venetarum. The illumination includes an initial letter "Q" and decorative border composed of several generic floral patterns, a flowering pear tree branch with a bird perched on it, two different types of flowers, and a coat of arms featuring an eagle, angel, and possibly a swallow. The illumination is done in pink, yellow, black, brown, green, red, and blue color with gold accents.

An illuminated page from a 1497 printed edition of the Pontificale Romanum. The illumination includes an initial letter "P" with a full floral border featuring a coat of arms ringed in a laurel wreath in the bottom margin. The illumination is done in red, blue, green, yellow, and black color.

An illuminated page from a 1497 printed edition of the Pontificale Romanum. The illumination includes an initial letter "P" with a full floral border featuring a coat of arms ringed in a laurel wreath in the bottom margin. The illumination is done in red, blue, green, yellow, and black color.

An illuminated page from the first sermon in the 1472 printing of Roberto Caracciolo's Sermones quadragesimales de poenitentia. The illumination includes an initial letter "M" with accompanying floral imagery. At the bottom of the page is a coat of arms bearing a griffin surrounded by a laurel wreath. The illumination is done in red, green, blue, and black color with gold accents.

An illuminated page from the first sermon in the 1472 printing of Roberto Caracciolo's Sermones quadragesimales de poenitentia. The illumination includes an initial letter "M" with accompanying floral imagery. At the bottom of the page is a coat of arms bearing a griffin surrounded by a laurel wreath. The illumination is done in red, green, blue, and black color with gold accents.

An illuminated page from the gospel of Matthew from volume five of the Biblia cum glossa ordinaria printed in 1498. The central initial letter "L" is done in red, blue, green, yellow, and white/grey with gold accents. There are also two examples of blue and red rubricated initial letter "L"s at the top of the page.

An illuminated page from the gospel of Matthew from volume five of the Biblia cum glossa ordinaria printed in 1498. The central initial letter "L" is done in red, blue, green, yellow, and white/grey with gold accents. There are also two examples of blue and red rubricated initial letter "L"s at the top of the page.

An illuminated page from the 1487 printing of Sabellico's Decades rerum Venetarum. The illumination includes an initial letter "S" and decorative floral border. The illumination is done in pink, brown, green, red, and blue color with gold accents.

An illuminated page from the 1487 printing of Sabellico's Decades rerum Venetarum. The illumination includes an initial letter "S" and decorative floral border. The illumination is done in pink, brown, green, red, and blue color with gold accents.

The title page of Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile with a decorative engraving depicting the council in session.

The title page of Histoire du concile de Constance : tirée principalement d'auteurs qui ont assisté au concile with a decorative engraving depicting the council in session.

The title page of Saint Louys, ou, La sainte couronne reconquise : poeme heroique, featuring an engraving depicting the printer's device of Augustin Courbe. The printer's device features a pair of cherubs flanking a medallion with a palm tree and the motto "CVRVATA RESVRGO."

The title page of Saint Louys, ou, La sainte couronne reconquise : poeme heroique, featuring an engraving depicting the printer's device of Augustin Courbe. The printer's device features a pair of cherubs flanking a medallion with a palm tree and the motto "CVRVATA RESVRGO."

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 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 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 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 letter from Lois to her parents, Donald and Elsie, apologizing for sending her letter late, describing how busy they have been as Christmas approaches, mentioning that they will be going to Holguin for the District Conference and that she would like to do some Christmas shopping there and speak to the Bishop about the clinic, urging them not to be concerned about the clinic finances as they have had many donations and are doing well, describing their plans for the church and clinic for Christmas including putting on a program and destributing small gifts, sharing about their family plans for

A letter from Lois to her parents, Donald and Elsie, apologizing for sending her letter late, describing how busy they have been as Christmas approaches, mentioning that they will be going to Holguin for the District Conference and that she would like to do some Christmas shopping there and speak to the Bishop about the clinic, urging them not to be concerned about the clinic finances as they have had many donations and are doing well, describing their plans for the church and clinic for Christmas including putting on a program and destributing small gifts, sharing about their family plans for

A letter from Lois to her parents, Donald and Elsie, noting that they haven't received their usual letter so she hopes they are alright, mentioning that all their presents are wrapped and the tree decorated in anticipation of the holiday, mentioning that she plans to bake the following day, describing how the Cuban families celebrate Christmas Eve and the day of the Kings (Jan.

A letter from Lois to her parents, Donald and Elsie, noting that they haven't received their usual letter so she hopes they are alright, mentioning that all their presents are wrapped and the tree decorated in anticipation of the holiday, mentioning that she plans to bake the following day, describing how the Cuban families celebrate Christmas Eve and the day of the Kings (Jan.

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.

An engraved tailpiece to the second, fifth, and eleventh books of Moyne's epic, "Saint Louys," depicting a laurel crown above a monogram, above which is a banner with the Latin motto, "non marcescet" (it will not fade/wither).

An engraved tailpiece to the second, fifth, and eleventh books of Moyne's epic, "Saint Louys," depicting a laurel crown above a monogram, above which is a banner with the Latin motto, "non marcescet" (it will not fade/wither).

An engraved tailpiece to the first, fourth, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a crown of thorns above a monogram, above which is a banner with the Latin motto, "olim efflorescet" (In the future, it will bloom/grow/flourish).

An engraved tailpiece to the first, fourth, seventh, and thirteenth books of Moyne's epic, "Saint Louys," depicting a crown of thorns above a monogram, above which is a banner with the Latin motto, "olim efflorescet" (In the future, it will bloom/grow/flourish).

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.

An ornamental tailpiece depicting a pair of winged centaurs surrounded by floral and vegetal decoration.

An ornamental tailpiece depicting a pair of winged centaurs surrounded by floral and vegetal decoration.

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 ornamental tailpiece depicting a face (possibly a mask) surrounded by floral and vegetal decoration.

An ornamental tailpiece depicting a face (possibly a mask) surrounded by floral and vegetal decoration.

An engraved ornamental tailpiece to the preface of the section on the Inquisition, depicting the torture of heretics.

An engraved ornamental tailpiece to the preface of the section on the Inquisition, depicting the torture of heretics.

An engraved ornamental tailpiece to the first and second sections on the Inquisition, depicting a pair of Catholic officials trying a man during the Inquisition.

An engraved ornamental tailpiece to the first and second sections on the Inquisition, depicting a pair of Catholic officials trying a man during the Inquisition.

An engraved headpiece to the sixth, twelfth, and eighteenth books of Moyne's epic, "Saint Louys," depicting interwoven initials (SL) within a glowing crown of thorns, flanked by four cherubs, with a banner below featuring the Latin motto, "qua radiat pupugit" (that which shines, prunctured).

An engraved headpiece to the sixth, twelfth, and eighteenth books of Moyne's epic, "Saint Louys," depicting interwoven initials (SL) within a glowing crown of thorns, flanked by four cherubs, with a banner below featuring the Latin motto, "qua radiat pupugit" (that which shines, prunctured).

An engraved headpiece to the third, ninth, and fifteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by an eagle (left) and a lion and snake (right), above which is a banner with the Latin motto, "sepitque tueturque" (it confines/surrounds and protects).

An engraved headpiece to the third, ninth, and fifteenth books of Moyne's epic, "Saint Louys," depicting a pair of thorny vines growing into a crown around three lilies, flanked by an eagle (left) and a lion and snake (right), above which is a banner with the Latin motto, "sepitque tueturque" (it confines/surrounds and protects).

An engraved headpiece to the section "Traite' du poeme heroique" depicting a collection of instruments, including bagpipes, horns, trumpets, and an organ, above which is a banner reading "Spiritus est qui vivificat" (The spirit is that which brings life).

An engraved headpiece to the section "Traite' du poeme heroique" depicting a collection of instruments, including bagpipes, horns, trumpets, and an organ, above which is a banner reading "Spiritus est qui vivificat" (The spirit is that which brings life).

An engraving depicting a scene from the fourth book of the epic poem, Saint Louys, in which a pair of extravagently dressed figures appear riding an elephant, above which hangs a globe or disc representing the Heavens, with the fire of the sun encircling it as a cherub (representing modest love) sits atop it.

An engraving depicting a scene from the fourth book of the epic poem, Saint Louys, in which a pair of extravagently dressed figures appear riding an elephant, above which hangs a globe or disc representing the Heavens, with the fire of the sun encircling it as a cherub (representing modest love) sits atop it.

An engraved headpiece to the fourth, tenth, and sixteenth books of Moyne's epic, "Saint Louys," depicting a royal crown decorated with a crown of thorns, sitting atop a cushion on a table decorated with fleur-de-lis. Four monsters with human faces, lion's paws, snake's tails, and wings flank the crown and above the scene is a banner with the Latin motto, "Vincior hac Vincoque" (that which is bound here also conquers).

An engraved headpiece to the fourth, tenth, and sixteenth books of Moyne's epic, "Saint Louys," depicting a royal crown decorated with a crown of thorns, sitting atop a cushion on a table decorated with fleur-de-lis. Four monsters with human faces, lion's paws, snake's tails, and wings flank the crown and above the scene is a banner with the Latin motto, "Vincior hac Vincoque" (that which is bound here also conquers).