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An interior view of a rock-hewn tomb outside of Jerusalem, proported to be the tomb where Jesus was laid after his crucifixion.

An interior view of a rock-hewn tomb outside of Jerusalem, proported to be the tomb where Jesus was laid after his crucifixion.

This sermon explores Jesus Christ in his role as a teacher through acting as an example, demonstrating the virtues that Christians should strive to emulate.

This sermon explores Jesus Christ in his role as a teacher through acting as an example, demonstrating the virtues that Christians should strive to emulate.

Artist Statement: "In the background of the painting appears the 1938 edition of the Korean Bible--especially, Romans 1:17 ("the righteous will live by faith"). The cross of Jesus Christ stands in the middle between Martin Luther [(1483-1546)] on the left and Philipp Melanchton [sic][(1497-1560)] on the right. The cross and the three persons beneath it--John the Baptist, Chranach [sic], and Luther-- originally appeared in the alter painting entitled Law and Grace.

Artist Statement: "In the background of the painting appears the 1938 edition of the Korean Bible--especially, Romans 1:17 ("the righteous will live by faith"). The cross of Jesus Christ stands in the middle between Martin Luther [(1483-1546)] on the left and Philipp Melanchton [sic][(1497-1560)] on the right. The cross and the three persons beneath it--John the Baptist, Chranach [sic], and Luther-- originally appeared in the alter painting entitled Law and Grace.

Artist Statement: "Seongsan Bridge appears over the River Han. Across the bridge stands Lotte World Tower, a 123-floor skyscraper that officially opened in 2017. A cross is floating on the river. Martin Luther, while reminding us of his speech at the Diet of Worms, stands just next to Jesus, pointing to him. Several people surrounding them are watching the event of Jesus' crucufixion. All of them are figures borrowed from Yun-Bok Shin's genre paintings. There are also other figures borrowed from Hong-Do Kim's paintings.

Artist Statement: "Seongsan Bridge appears over the River Han. Across the bridge stands Lotte World Tower, a 123-floor skyscraper that officially opened in 2017. A cross is floating on the river. Martin Luther, while reminding us of his speech at the Diet of Worms, stands just next to Jesus, pointing to him. Several people surrounding them are watching the event of Jesus' crucufixion. All of them are figures borrowed from Yun-Bok Shin's genre paintings. There are also other figures borrowed from Hong-Do Kim's paintings.

This sermon addresses the importance of self-denial for women seeking a religious profession, emphasizing that self-denial prevents one from falling victim to religious enemies, and explaining that entering into a religious life is the best form of religious penance.

This sermon addresses the importance of self-denial for women seeking a religious profession, emphasizing that self-denial prevents one from falling victim to religious enemies, and explaining that entering into a religious life is the best form of religious penance.

This sermon celebrates the transition of a group of women to join a religious order, outlining the virtues of such a choice and the level of dedication to Christ that is needed to undertake such a spiritual journey.

This sermon celebrates the transition of a group of women to join a religious order, outlining the virtues of such a choice and the level of dedication to Christ that is needed to undertake such a spiritual journey.

This sermon celebrates the transition of a group of women to join a religious order and take up the habit, outlining the virtues of such a choice and the level of dedication to Christ that is needed to undertake such a spiritual journey.

This sermon celebrates the transition of a group of women to join a religious order and take up the habit, outlining the virtues of such a choice and the level of dedication to Christ that is needed to undertake such a spiritual journey.

This sermon celebrates Jesus Christ, identifying certain qualities of Jesus and emphasizing his humility as a model for Christians to follow.

This sermon celebrates Jesus Christ, identifying certain qualities of Jesus and emphasizing his humility as a model for Christians to follow.

This sermon discusses the change brought to the world by the arrival of Jesus Christ on Earth.

This sermon discusses the change brought to the world by the arrival of Jesus Christ on Earth.

This sermon explores the ways in which Jesus Christ exemplifies behaviors of humility and compassion as a reflection of the Glory of God.

This sermon explores the ways in which Jesus Christ exemplifies behaviors of humility and compassion as a reflection of the Glory of God.

This sermon discusses the temptations that lead christians away from God, advising how women who seek a religious profession can avoid these temptations and revering their choice to enter into a religious profession.

This sermon discusses the temptations that lead christians away from God, advising how women who seek a religious profession can avoid these temptations and revering their choice to enter into a religious profession.

This sermon addresses penance and atonement, emphasizing that confessing one's sins is not sufficient to be truly penitent- one must suffer proportionally to atone for their sins.

This sermon addresses penance and atonement, emphasizing that confessing one's sins is not sufficient to be truly penitent- one must suffer proportionally to atone for their sins.

This sermon addresses the importance of truthful prayer, emphasizing that sinners who have the intent on sinning again disgrace the practice of prayer.

This sermon addresses the importance of truthful prayer, emphasizing that sinners who have the intent on sinning again disgrace the practice of prayer.

This sermon examines the virtue of loving your neighbor, cautioning that speaking ill of one's neighbor, and thus recklessly tainting their reputation, is a great sin as only God can judge.

This sermon examines the virtue of loving your neighbor, cautioning that speaking ill of one's neighbor, and thus recklessly tainting their reputation, is a great sin as only God can judge.

This sermon examines the process of Mass, explaining the importance and proper practice of its three sections: the offertory, the consecration, and the communion.

This sermon examines the process of Mass, explaining the importance and proper practice of its three sections: the offertory, the consecration, and the communion.

This sermon addresses the birth of Jesus, emphasizing the humility of his birth, how he was made into flesh for humanity, and the blessed actions of the Virgin Mary.

This sermon addresses the birth of Jesus, emphasizing the humility of his birth, how he was made into flesh for humanity, and the blessed actions of the Virgin Mary.

This sermon addresses the sinful state of the world preceeding the birth of Christ and outlining the purpose and reasons for God to send his son to earth, namely to save man from "eternal perdition."

This sermon addresses the sinful state of the world preceeding the birth of Christ and outlining the purpose and reasons for God to send his son to earth, namely to save man from "eternal perdition."

This sermon addresses the birth of Jesus, describing the original sin of Adam eating the apple and the mercy of God in sending his son to redeem humanity.

This sermon addresses the birth of Jesus, describing the original sin of Adam eating the apple and the mercy of God in sending his son to redeem humanity.

This sermon examines the Passion of Christ, focusing on Jesus forbidding the apostles to shed tears at his death and explaining that the meaning of this is that the tears of man should only be shed over the atrocity of sin.

This sermon examines the Passion of Christ, focusing on Jesus forbidding the apostles to shed tears at his death and explaining that the meaning of this is that the tears of man should only be shed over the atrocity of sin.

This sermon examines the Passion of Christ, focusing on Jesus forbidding the apostles to shed tears at his death and explaining that the meaning of this is that the tears of man should only be shed over the atrocity of sin.

This sermon examines the Passion of Christ, focusing on Jesus forbidding the apostles to shed tears at his death and explaining that the meaning of this is that the tears of man should only be shed over the atrocity of sin.

This sermon cautions against questioning the decisions of God based on the limited knowledge and reason of humanity, specifically in regards to the Passion and Crucifixion of Jesus Christ.

This sermon cautions against questioning the decisions of God based on the limited knowledge and reason of humanity, specifically in regards to the Passion and Crucifixion of Jesus Christ.

This sermon reflects on God's love through the lens of Jesus' birth.

This sermon reflects on God's love through the lens of Jesus' birth.

This sermon addresses the importance of self-denial for women seeking a religious profession, emphasizing that self-denial prevents one from falling victim to religious enemies, and explaining that entering into a religious life is the best form of religious penance.

This sermon addresses the importance of self-denial for women seeking a religious profession, emphasizing that self-denial prevents one from falling victim to religious enemies, and explaining that entering into a religious life is the best form of religious penance.

This sermon examines the virtue of humility, explaining what true humility consists of, outlining methods by which one can become humble, and emphasizing the importance of humility in gaining salvation.

This sermon examines the virtue of humility, explaining what true humility consists of, outlining methods by which one can become humble, and emphasizing the importance of humility in gaining salvation.

This sermon describes the reprobate through horrifying imagery, characterizing the people who will be left behind on earth while Jesus carries his elect few to Heaven.

This sermon describes the reprobate through horrifying imagery, characterizing the people who will be left behind on earth while Jesus carries his elect few to Heaven.

This sermon seeks to instruct Christians on the proper way to embody a true and whole love for God as has been commanded.

This sermon seeks to instruct Christians on the proper way to embody a true and whole love for God as has been commanded.

A vellum leaf from a Dutch Book of Hours. The recto and verso have decorated borders; the recto contains a six-line historiated initial “S” depicting the head of Christ, the symbol of the “agnus dei” (lamb of God) in the margin, and two two-line decorated initials all in red and blue inks.

A vellum leaf from a Dutch Book of Hours. The recto and verso have decorated borders; the recto contains a six-line historiated initial “S” depicting the head of Christ, the symbol of the “agnus dei” (lamb of God) in the margin, and two two-line decorated initials all in red and blue inks.

Summary: German translation by Ludwig Hätzer of Epistola contra Judaeorum, thought to be written in Arabic by Samuel of Marocco, an apostate Jew at the beginning of the 11th century and translated into Latin by the Spanish Dominican Alphonsus Bonihominis in the 14th century and widely disseminated. Bonihominis is likely the real author of the work.

Summary: German translation by Ludwig Hätzer of Epistola contra Judaeorum, thought to be written in Arabic by Samuel of Marocco, an apostate Jew at the beginning of the 11th century and translated into Latin by the Spanish Dominican Alphonsus Bonihominis in the 14th century and widely disseminated. Bonihominis is likely the real author of the work.

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

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

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

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

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.

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

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

The town of Bethany, situated at the base of the Mount of Olives.

The town of Bethany, situated at the base of the Mount of Olives.

A square in the town of Bethlehem to the West of the Church of Nativity.

A square in the town of Bethlehem to the West of the Church of Nativity.

A carpenters' shop in Nazareth.

A carpenters' shop in Nazareth.

An engraving depicting a scene from the eighth book of the epic poem, Saint Louys, in which Christ offers the crown of Rome, the crown of Byzantium, and the Crown of Thorns to Saint Louis, who choses the Crown of Thorns. Saint Louis kneels on a cloud held up by angels, reaching out towards Christ enthroned and surrounded by seraphim, while below the two, the orders of the blessed behold the scene in praise.

An engraving depicting a scene from the eighth book of the epic poem, Saint Louys, in which Christ offers the crown of Rome, the crown of Byzantium, and the Crown of Thorns to Saint Louis, who choses the Crown of Thorns. Saint Louis kneels on a cloud held up by angels, reaching out towards Christ enthroned and surrounded by seraphim, while below the two, the orders of the blessed behold the scene in praise.

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

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

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

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

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

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

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

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

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

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

A woodcut by Urs Graf depicting Christ in the garden of Gethsemane. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.

A woodcut by Urs Graf depicting Christ in the garden of Gethsemane. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.

A woodcut by Urs Graf depicting Christ carrying the Cross. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.

A woodcut by Urs Graf depicting Christ carrying the Cross. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.

A woodcut by Urs Graf depiicting Christ being scourged and crowned with thorns. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.

A woodcut by Urs Graf depiicting Christ being scourged and crowned with thorns. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.

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

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

This sermon addresses the humble birth of Jesus, describing the conditions of his Birth and encouraging followers of Jesus to embody his same humility in birth by abstaining from luxury or excess.

This sermon addresses the humble birth of Jesus, describing the conditions of his Birth and encouraging followers of Jesus to embody his same humility in birth by abstaining from luxury or excess.

This sermon addresses the humble birth of Jesus, encouraging followers of Jesus to embody his same humility in birth by abstaining from luxury or excess.

This sermon addresses the humble birth of Jesus, encouraging followers of Jesus to embody his same humility in birth by abstaining from luxury or excess.

Albrecht Dürer's woodcut presents Christ seated at the table in Emmaus with the two disciples from the road and two hosts. Christ breaks the bread and thus this image captures the moment just prior to his disappearance from their sight.

Albrecht Dürer's woodcut presents Christ seated at the table in Emmaus with the two disciples from the road and two hosts. Christ breaks the bread and thus this image captures the moment just prior to his disappearance from their sight.

A view of the Church of the Nativity, built on the site of Jesus' birth, with grain vendors selling their wares.

A view of the Church of the Nativity, built on the site of Jesus' birth, with grain vendors selling their wares.

The act of consoling the afflicted, illustrated and accompanied by scriptural references.

The act of consoling the afflicted, illustrated and accompanied by scriptural references.

Summary: The sixth printing (of ten in 1523) of Luther's early treatise, "That Jesus Christ was born a Jew", in which he denies the charges made against him that he did not believe in the Virgin Birth, but rather that Jesus was a naturally born child of Joseph and Mary. In this tract, Luther confesses that he believes that Jesus was born a Jew of the Virgin Mary. He also hopes that his teaching will bring more Jews to convert to Christianity.

Summary: The sixth printing (of ten in 1523) of Luther's early treatise, "That Jesus Christ was born a Jew", in which he denies the charges made against him that he did not believe in the Virgin Birth, but rather that Jesus was a naturally born child of Joseph and Mary. In this tract, Luther confesses that he believes that Jesus was born a Jew of the Virgin Mary. He also hopes that his teaching will bring more Jews to convert to Christianity.

Summary: The fifth printing of Luther's early treatise, "That Jesus Christ was born a Jew", in which he denies the charges made against him that he did not believe in the Virgin Birth, but rather that Jesus was a naturally born child of Joseph and Mary. In this tract, Luther confesses that he believes that Jesus was born a Jew of the Virgin Mary. He also hopes that his teaching will bring more Jews to convert to Christianity.

Summary: The fifth printing of Luther's early treatise, "That Jesus Christ was born a Jew", in which he denies the charges made against him that he did not believe in the Virgin Birth, but rather that Jesus was a naturally born child of Joseph and Mary. In this tract, Luther confesses that he believes that Jesus was born a Jew of the Virgin Mary. He also hopes that his teaching will bring more Jews to convert to Christianity.

Summary: German translation by Wenzeslaus Linck of Epistola contra Judaeorum, thought to be written in Arabic by Samuel of Marocco, an apostate Jew at the beginning of the 11th century and translated into Latin by the Spanish Dominican Alphonsus Bonihominis in the 14th century and widely disseminated. Bonihominis is likely the real author of the work.

Summary: German translation by Wenzeslaus Linck of Epistola contra Judaeorum, thought to be written in Arabic by Samuel of Marocco, an apostate Jew at the beginning of the 11th century and translated into Latin by the Spanish Dominican Alphonsus Bonihominis in the 14th century and widely disseminated. Bonihominis is likely the real author of the work.

Thomas touches the pierced side of Jesus while the apostles gather around.

Thomas touches the pierced side of Jesus while the apostles gather around.

Dürer's depiction of the resurrection of Christ focuses on Matthew's account: Christ emerges from the tomb while the guards shook in fear and became as dead men.

Dürer's depiction of the resurrection of Christ focuses on Matthew's account: Christ emerges from the tomb while the guards shook in fear and became as dead men.

Christ is seated while the guards beat him and apply a crown of thorns to his head, while the Jewish leader look on from the left.

Christ is seated while the guards beat him and apply a crown of thorns to his head, while the Jewish leader look on from the left.

Jesus washes Peter's feet in the foreground while in the background the rest of the apostles are contemplating this event.

Jesus washes Peter's feet in the foreground while in the background the rest of the apostles are contemplating this event.

This sermon cautions against accepting Jesus Christ into your heart under false pretenses, but that all good Christians must accept him fully as their Lord and give up their sinful desires.

This sermon cautions against accepting Jesus Christ into your heart under false pretenses, but that all good Christians must accept him fully as their Lord and give up their sinful desires.

This sermon celebrates the manner in which Jesus Christ could understand the word of God, describing different calamities and symbols and their significance in the bible.

This sermon celebrates the manner in which Jesus Christ could understand the word of God, describing different calamities and symbols and their significance in the bible.

The act of guiding the doubtful to the correct path, illustrated and accompanied by scriptural reference.

The act of guiding the doubtful to the correct path, illustrated and accompanied by scriptural reference.

Summary:

Summary:

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

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

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

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

Summary: Early Luther sermon on how a Christian ought to view the suffering and death of Christ. First printed in 1519, this is the fifth documented Wittenberg printing of the text.

Summary: Early Luther sermon on how a Christian ought to view the suffering and death of Christ. First printed in 1519, this is the fifth documented Wittenberg printing of the text.

An engraving depicting Jesus asking Peter three times if he loves him and then insisting he care for Jesus's sheep.

An engraving depicting Jesus asking Peter three times if he loves him and then insisting he care for Jesus's sheep.

The act of patiently bearing those who wrong you, illustrated and accompanied by scriptural references.

The act of patiently bearing those who wrong you, illustrated and accompanied by scriptural references.

An engraved frontispiece of Saint Louys, ou, La sainte couronne reconquise : poeme heroique. The engraving depicts King Louis IX, dressed in the garb of a Roman soldier, kneeling before Christ and holding out a crown of thorns as Christ holds out a crown of stars. Above them, an angel carries a banner reading "Iam stella est, quae spina fuit" (Now [there] are stars, where [there] were thorns).

An engraved frontispiece of Saint Louys, ou, La sainte couronne reconquise : poeme heroique. The engraving depicts King Louis IX, dressed in the garb of a Roman soldier, kneeling before Christ and holding out a crown of thorns as Christ holds out a crown of stars. Above them, an angel carries a banner reading "Iam stella est, quae spina fuit" (Now [there] are stars, where [there] were thorns).

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.

An engraved border for the title page of Paolo di Angelis' Basilicae s. Mariae Maioris di Urbe a Liberio Papa I usque ad Paulum V Pont. Max. descriptio et delinatio printed in 1621. The border consists of a single print with several scenes pertaining to the veneration of and maricles of the Virgin Mary. The top of the border depicts angels and cherubs flanking a depiction of the Virgin Mary with Christ. In the center of the engraving, below the title, is a scene of St. Gregory I the Great leading a crowd in worship as a depiction of Mary is brought forward.

An engraved border for the title page of Paolo di Angelis' Basilicae s. Mariae Maioris di Urbe a Liberio Papa I usque ad Paulum V Pont. Max. descriptio et delinatio printed in 1621. The border consists of a single print with several scenes pertaining to the veneration of and maricles of the Virgin Mary. The top of the border depicts angels and cherubs flanking a depiction of the Virgin Mary with Christ. In the center of the engraving, below the title, is a scene of St. Gregory I the Great leading a crowd in worship as a depiction of Mary is brought forward.

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

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

A woodcut border to Luther's 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 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).

The title page of Martin Luther's Low German translation of the Bible featuring a collection of biblical scenes and symbols based on Lucas Cranach the Elder's painting, "Law and Gospel" (or "Sin and Redemption"). On the left of the image are scenes representing Law/Sin, including: a dead tree, Moses receiving the Ten Commandments, Adam and Eve, the brazen serpent, and a corpse lying atop a tomb.

The title page of Martin Luther's Low German translation of the Bible featuring a collection of biblical scenes and symbols based on Lucas Cranach the Elder's painting, "Law and Gospel" (or "Sin and Redemption"). On the left of the image are scenes representing Law/Sin, including: a dead tree, Moses receiving the Ten Commandments, Adam and Eve, the brazen serpent, and a corpse lying atop a tomb.

The title page of Etlich Cristlich lider Lobgesang, vn[d] Psalm : dem reinen wort Gottes gemess, auss der heylige[n] schrifft, durch mancherley hochgelerter gemacht, in der Kirchen zu sigen, wie es dann zum tayl berayt zuo Wittenberg in übung ist featuring four decorative panels, the left and right mirrored decorative columns, the top featuring Jesus/God, and the bottom (printed upside-down) featuring a pair of horns with two swans and fish.

The title page of Etlich Cristlich lider Lobgesang, vn[d] Psalm : dem reinen wort Gottes gemess, auss der heylige[n] schrifft, durch mancherley hochgelerter gemacht, in der Kirchen zu sigen, wie es dann zum tayl berayt zuo Wittenberg in übung ist featuring four decorative panels, the left and right mirrored decorative columns, the top featuring Jesus/God, and the bottom (printed upside-down) featuring a pair of horns with two swans and fish.

The title page of Kirche[n] Gesäng : aus dem Wittenbergischen vnd allen andern den besten Gesangbüchern, so biss anhero hin vnd wider aussgangen colligirt vnd gesamlet ; In eine feine richtige vnd gute ordnung gebracht, vnd auffs fleissigest, vnd nach den besten exempla, including a frame with several scenes from the New Testament. The scenes include: the nativity (top), Jesus teaching and healing (top left), Jesus praying in the Garden of Gethsemane and the crucifixion (bottom left), the resurrection (top right), and Pentecost (bottom right).

The title page of Kirche[n] Gesäng : aus dem Wittenbergischen vnd allen andern den besten Gesangbüchern, so biss anhero hin vnd wider aussgangen colligirt vnd gesamlet ; In eine feine richtige vnd gute ordnung gebracht, vnd auffs fleissigest, vnd nach den besten exempla, including a frame with several scenes from the New Testament. The scenes include: the nativity (top), Jesus teaching and healing (top left), Jesus praying in the Garden of Gethsemane and the crucifixion (bottom left), the resurrection (top right), and Pentecost (bottom right).

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 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 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 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 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 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 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 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.

The act of instructing the ignorant, illustrated and accompanied by scriptural references.

The act of instructing the ignorant, illustrated and accompanied by scriptural references.

A leaf from St. Augustine's In Evangelium Iohannis tractatus, including the text of homilies XXV-XXVI.

A leaf from St. Augustine's In Evangelium Iohannis tractatus, including the text of homilies XXV-XXVI.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A woodcut initial letter "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.

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.

A woodcut depicting Jesus Christ with a halo of light.

A woodcut depicting Jesus Christ with a halo of light.

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

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

An engraving depicting Jesus being nailed to the cross. A soldier holds Jesus whil two workmen drive nails into his feet and left hand. To the left are the two thieves who are to be crucified alongside Jesus, Gestas and Dismas.

An engraving depicting Jesus being nailed to the cross. A soldier holds Jesus whil two workmen drive nails into his feet and left hand. To the left are the two thieves who are to be crucified alongside Jesus, Gestas and Dismas.

An engraving depicting Jesus appearing to his disciples after his resurrection and guiding them to a bring in a large catch of fish.

An engraving depicting Jesus appearing to his disciples after his resurrection and guiding them to a bring in a large catch of fish.

An engraving depicting two separate scenes. On the left, Jesus tells his disciples that if they do not have swords, they should sell their cloaks and buy one in order to fulfill the scripture "And he was counted among the lawless". On the right, the Pope is depicted celebrating the Eucharist.

An engraving depicting two separate scenes. On the left, Jesus tells his disciples that if they do not have swords, they should sell their cloaks and buy one in order to fulfill the scripture "And he was counted among the lawless". On the right, the Pope is depicted celebrating the Eucharist.

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

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

Summary:

Summary:

Summary:

Summary:

A woodcut by Urs Graf depicting Judas receiving thirty pieces of silver for his betrayal of Christ. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.||This woodcut was acquired through the generous subvention of Mrs. Carol A. Jeschke, October 2020.

A woodcut by Urs Graf depicting Judas receiving thirty pieces of silver for his betrayal of Christ. The image was taken from a 1506 harmony of the Gospel texts of the Passion, edited by Matthias Ringmann, translated by Geiler von Keysersberg and printed by Johann Knobloch in Strasbourg.||This woodcut was acquired through the generous subvention of Mrs. Carol A. Jeschke, October 2020.

Summary: Poem on the birth of Jesus Christ.

Summary: Poem on the birth of Jesus Christ.

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

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

A series of 35 engravings depicting the stages of a Roman Catholic mass. The engravings are displayed nine to a page across four pages, and each one is numbered in the upper left corner with the description of the stage of mass at the bottom. In each scene, a different picture hangs above the altar, depicting in sequence the Passion with a description of the scene at the above the engraving.

A series of 35 engravings depicting the stages of a Roman Catholic mass. The engravings are displayed nine to a page across four pages, and each one is numbered in the upper left corner with the description of the stage of mass at the bottom. In each scene, a different picture hangs above the altar, depicting in sequence the Passion with a description of the scene at the above the engraving.

A letter from John Wesley to Jane Hilton encouraging her to fully devote herself to Chirist and be wary of the Devil's attempts to lead astray.

A letter from John Wesley to Jane Hilton encouraging her to fully devote herself to Chirist and be wary of the Devil's attempts to lead astray.

A letter from John Wesley to his sister, Elizabeth, recounting a conversation they had and lamenting the lack of christian advisers in her life.

A letter from John Wesley to his sister, Elizabeth, recounting a conversation they had and lamenting the lack of christian advisers in her life.

A letter from John Wesley to Elizabeth Woodhouse advising her to share the "Instructions for Members of Religious Societies" and to use it as a guide in her own faith, thereby guiding her and others to salvation in Christ.

A letter from John Wesley to Elizabeth Woodhouse advising her to share the "Instructions for Members of Religious Societies" and to use it as a guide in her own faith, thereby guiding her and others to salvation in Christ.

A letter from Thomas O. Summers to Robert Paine asking about what is to become of the church, specifically the publishing interests of the church, likely in response to the end of the Civil War. On the page where Summers addressed the letter, notes on the suffering of Jesus Christ are written in pencil in another hand.

A letter from Thomas O. Summers to Robert Paine asking about what is to become of the church, specifically the publishing interests of the church, likely in response to the end of the Civil War. On the page where Summers addressed the letter, notes on the suffering of Jesus Christ are written in pencil in another hand.

A letter from William Law to John Wesley discussing the Lord's Supper and the conceptualization of the blood and body of Christ as part of the Eucharist.

A letter from William Law to John Wesley discussing the Lord's Supper and the conceptualization of the blood and body of Christ as part of the Eucharist.

Summary: De laudibus sanctae crucis (On the praise of the Holy Cross) is a collection of poems and figures, including geometric shapes, letters, drawings and even complex miniatures produced in the early 9th century in the scriptorium of the Abbey at Fulda under the direction of Hrabanus Maurus, archbishop of Mainz, who also provided the commentary found in the work. The book is an important testimony to Carolingian book art.

Summary: De laudibus sanctae crucis (On the praise of the Holy Cross) is a collection of poems and figures, including geometric shapes, letters, drawings and even complex miniatures produced in the early 9th century in the scriptorium of the Abbey at Fulda under the direction of Hrabanus Maurus, archbishop of Mainz, who also provided the commentary found in the work. The book is an important testimony to Carolingian book art.

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

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

Artist Statement: "The title of this work, <MES>, means that all the people looking at Jesus are all my various aspect. So I named me as <MES> in plural. In the background of the painting appears the painting <SSireum: Korean wrestling> by Kim Hong-Do (artist of the late Joseon dynasty). All of them are figures borrowed from this painting. In the middle of this work, I borrowed the Crucifixion from <Grünewald's Isenheim Altarpiece 1515>, Matthias Grünewald is a 16th century German painter.

Artist Statement: "The title of this work, <MES>, means that all the people looking at Jesus are all my various aspect. So I named me as <MES> in plural. In the background of the painting appears the painting <SSireum: Korean wrestling> by Kim Hong-Do (artist of the late Joseon dynasty). All of them are figures borrowed from this painting. In the middle of this work, I borrowed the Crucifixion from <Grünewald's Isenheim Altarpiece 1515>, Matthias Grünewald is a 16th century German painter.

Summary: A collection of engravings made after the work of the painter, Hans Holbein.

Summary: A collection of engravings made after the work of the painter, Hans Holbein.

The act of forgiving offenses, illustrated and accompanied by scriptural references.

The act of forgiving offenses, illustrated and accompanied by scriptural references.

This sermon addresses the humble birth of Jesus, emphasizing the importance of virtuous humility and revering Jesus's love for humanity.

This sermon addresses the humble birth of Jesus, emphasizing the importance of virtuous humility and revering Jesus's love for humanity.

This sermon addresses the humble birth of Jesus, emphasizing the importance of virtuous humility and revering Jesus's love for humanity.

This sermon addresses the humble birth of Jesus, emphasizing the importance of virtuous humility and revering Jesus's love for humanity.

This sermon celebrates Jesus's love and passion, describing his death, sacrifice, and suffering for humanity despite our sins and cruelty.

This sermon celebrates Jesus's love and passion, describing his death, sacrifice, and suffering for humanity despite our sins and cruelty.

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.

A view across the mountain springs below a cave known as Pan's Grotto (right), a site of worship at ancient Caesarea Philippi (modern Banias), with the entrance to the Tomb of St. George, or El Khadir, above.

A view across the mountain springs below a cave known as Pan's Grotto (right), a site of worship at ancient Caesarea Philippi (modern Banias), with the entrance to the Tomb of St. George, or El Khadir, above.

The digital edition of the 1521 Erfurt printing of Passional Christi und Antichristi, held by the Richard C. Kessler Reformation Collection at Emory University. The digitized pamphlet has been overlayed with a searchable transcription of the printed text. In addition, annotations have been added that provide transcriptions and translations of all manuscript marginalia, as well as commentaries by subject matter experts.

The digital edition of the 1521 Erfurt printing of Passional Christi und Antichristi, held by the Richard C. Kessler Reformation Collection at Emory University. The digitized pamphlet has been overlayed with a searchable transcription of the printed text. In addition, annotations have been added that provide transcriptions and translations of all manuscript marginalia, as well as commentaries by subject matter experts.

The act of admonishing sinners, illustrated and accompanied by scriptural references.

The act of admonishing sinners, illustrated and accompanied by scriptural references.

An engraving depicting a story in the New Testament apocryphal writing "Acts of Peter". In it Peter, having kindled the wrath of the powerful, is asked by his fellow Christians to flee Rome so that his ministry may continue. As he leaves the city he sees Christ walking towards Rome carrying a cross. Peter asks where he is going. Christ tells him he is going to Rome to be crucified again. Hearing this Peter returns to Rome convinced his time has come.

An engraving depicting a story in the New Testament apocryphal writing "Acts of Peter". In it Peter, having kindled the wrath of the powerful, is asked by his fellow Christians to flee Rome so that his ministry may continue. As he leaves the city he sees Christ walking towards Rome carrying a cross. Peter asks where he is going. Christ tells him he is going to Rome to be crucified again. Hearing this Peter returns to Rome convinced his time has come.

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

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

Summary: Second German edition of Johannes Brenz' postil or lectionary sermons, presented in three parts. The fourth part is a harmony and interpretation of the four Gospel passion stories.

Summary: Second German edition of Johannes Brenz' postil or lectionary sermons, presented in three parts. The fourth part is a harmony and interpretation of the four Gospel passion stories.

The act of praying for the healthy and those near to God (the dead), illustrated and accompanied by scriptural references.

The act of praying for the healthy and those near to God (the dead), illustrated and accompanied by scriptural references.

A woodcut depicting Mary and Joseph of Arimathea taking the body of Jesus down from the cross. The crown of thorns lies on the ground beside Jesus and the inscription "INRI" appears above the cross.

A woodcut depicting Mary and Joseph of Arimathea taking the body of Jesus down from the cross. The crown of thorns lies on the ground beside Jesus and the inscription "INRI" appears above the cross.

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.

An example of a rock-hewn tomb outside of Jerusalem, proposed to be the tomb where Jesus was laid after his crucifixion.

An example of a rock-hewn tomb outside of Jerusalem, proposed to be the tomb where Jesus was laid after his crucifixion.

Summary: A largely fictitious epic poem about Saint Louis (King Louis IX) and his crusade against the Saracens in Egypt in search of Christ's Crown of Thorns.

Summary: A largely fictitious epic poem about Saint Louis (King Louis IX) and his crusade against the Saracens in Egypt in search of Christ's Crown of Thorns.

This sermon addresses the blessings God has conferred on his followers, describing the Jubilee and the forgiveness of debts.

This sermon addresses the blessings God has conferred on his followers, describing the Jubilee and the forgiveness of debts.

This sermon cautions against growing complacent in the face of the fear invoked by considering the day of Final Judgement and encourages Christians to keep in mind the eventual day that their immortal souls will stand before God for Judgement.

This sermon cautions against growing complacent in the face of the fear invoked by considering the day of Final Judgement and encourages Christians to keep in mind the eventual day that their immortal souls will stand before God for Judgement.

This sermon addresses false reports, addressing both those that make false reports and those that listen to them.

This sermon addresses false reports, addressing both those that make false reports and those that listen to them.

This sermon addresses prayer, emphasizing that consistent prayer is necessary to receive salvation, but prayer must be done correctly, as in, with humility and without sin, to be fruitful.

This sermon addresses prayer, emphasizing that consistent prayer is necessary to receive salvation, but prayer must be done correctly, as in, with humility and without sin, to be fruitful.

This sermon addresses the sacrifice of Jesus and the continual practice of Mass, indicating the importance of attending mass, the situations in which people can be excused from Mass without sin, and the dispositions necessary to benefit from Mass.

This sermon addresses the sacrifice of Jesus and the continual practice of Mass, indicating the importance of attending mass, the situations in which people can be excused from Mass without sin, and the dispositions necessary to benefit from Mass.

This sermon examines the practice of penance, explaining examples of Jesus's penitence and necessary qualities that distinguish one's penance as truthful.

This sermon examines the practice of penance, explaining examples of Jesus's penitence and necessary qualities that distinguish one's penance as truthful.

Summary: First edition of Ulrich Pinder's Passion narrative richly illustrated with 77 woodcut images (39 full page). Pinder was medical doctor, who had served as the court physician of the Elector Frederick the Wise of Saxony. After 1493 he was the town physician for the city of Nuremberg, where he also wrote several medical tracts and published a variety of books with the printer Friedrich Peypus. For this work, Pinder employed the services of the engravers Hans Schaufelein, who contributed 39 woodcuts, and Hans Baldung Grien, who contributed 21 woodcuts.

Summary: First edition of Ulrich Pinder's Passion narrative richly illustrated with 77 woodcut images (39 full page). Pinder was medical doctor, who had served as the court physician of the Elector Frederick the Wise of Saxony. After 1493 he was the town physician for the city of Nuremberg, where he also wrote several medical tracts and published a variety of books with the printer Friedrich Peypus. For this work, Pinder employed the services of the engravers Hans Schaufelein, who contributed 39 woodcuts, and Hans Baldung Grien, who contributed 21 woodcuts.

An engraving depicting a portrait of St. Bridget of Sweden above a crosier, a coat of arms bearing a cross, and an image of Jesus appearing to her to convey the number of blows he suffered during the Passion.

An engraving depicting a portrait of St. Bridget of Sweden above a crosier, a coat of arms bearing a cross, and an image of Jesus appearing to her to convey the number of blows he suffered during the Passion.

An engraving depicting Jesus leading the Apostles, with a hand on Peter's back, towards St. Peter's Basilica. Below the image is a passage from Matthew 16, "Super hanc petram aedificabo ecclesiam meam" (On this rock I will build my church).

An engraving depicting Jesus leading the Apostles, with a hand on Peter's back, towards St. Peter's Basilica. Below the image is a passage from Matthew 16, "Super hanc petram aedificabo ecclesiam meam" (On this rock I will build my church).

Drawing on scenes of gathering and shared meals in the Bible, specifically the wedding in Cana, Jesus feeding the five thousand, and the Last Supper, this linocut depicts a group of men, women, and children gathered and sharing food and drink. At the center of this gathering is a large ornamental ewer.

Drawing on scenes of gathering and shared meals in the Bible, specifically the wedding in Cana, Jesus feeding the five thousand, and the Last Supper, this linocut depicts a group of men, women, and children gathered and sharing food and drink. At the center of this gathering is a large ornamental ewer.

A view from just outside the Damascus Gate of the Hill of Cavalry where Jesus was crucified.

A view from just outside the Damascus Gate of the Hill of Cavalry where Jesus was crucified.

The scene of Christ's circumcision described in Luke 2:21 (after the style of Albrecht Dürer). The text beneath the image engraved by C. Schonaeus reads: "Cernis ut octava sit circuncisus Iesus / Luce puer, tenero accipiens in corpore vulnus, / Ad normam veteris legis, ritumque receptum, / Isacidis multos observatumque per annos."

The scene of Christ's circumcision described in Luke 2:21 (after the style of Albrecht Dürer). The text beneath the image engraved by C. Schonaeus reads: "Cernis ut octava sit circuncisus Iesus / Luce puer, tenero accipiens in corpore vulnus, / Ad normam veteris legis, ritumque receptum, / Isacidis multos observatumque per annos."

An engraving of the Column of the Virgin, which originally supported part of the Basilica of Constantine and was moved by Pope Paul V to the Piazza Santa Maria Maggiore across from the eastern face of the Basilica di Santa Maria Maggiore. Surrounding the depiction of the column iteslf are four panels showing the inscriptions that appear on each side of the column's base.

An engraving of the Column of the Virgin, which originally supported part of the Basilica of Constantine and was moved by Pope Paul V to the Piazza Santa Maria Maggiore across from the eastern face of the Basilica di Santa Maria Maggiore. Surrounding the depiction of the column iteslf are four panels showing the inscriptions that appear on each side of the column's base.

A depiction of the crucifixion including Mary in the foreground and angels collecting the blood of Christ. The leaf includes descriptive text on the verso in Latin.

A depiction of the crucifixion including Mary in the foreground and angels collecting the blood of Christ. The leaf includes descriptive text on the verso in Latin.

A woodcut depicting two men gambling in the foreground as Christ is crucified and stabbed in the background.

A woodcut depicting two men gambling in the foreground as Christ is crucified and stabbed in the background.

A woodcut of Christ crucified with the Virgin Mary (left) and John the Evangelist (right). A skull sits at the base of the cross and the inscription INRI appears above it.

A woodcut of Christ crucified with the Virgin Mary (left) and John the Evangelist (right). A skull sits at the base of the cross and the inscription INRI appears above it.

A woodcut depicting a violation of and proper following of the First Commandment (in the Lutheran tradition), "Thou shalt have no other god before me." On the right, a group of worshipers gather around the crucified Christ thereby following the First Commandment. In contrast, on the left, a group worships an "idol" in the form of a horned figure on a pedestal.

A woodcut depicting a violation of and proper following of the First Commandment (in the Lutheran tradition), "Thou shalt have no other god before me." On the right, a group of worshipers gather around the crucified Christ thereby following the First Commandment. In contrast, on the left, a group worships an "idol" in the form of a horned figure on a pedestal.

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

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

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

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

A woodcut depicting Jesus siting on the earth, surrounded by a cloud of witnesses, for the last judgment. The woodcut is accompanied by verses from Romans 14 and Matthew 28 translated into French (top) and then reformatted into verse (bottom).

A woodcut depicting Jesus siting on the earth, surrounded by a cloud of witnesses, for the last judgment. The woodcut is accompanied by verses from Romans 14 and Matthew 28 translated into French (top) and then reformatted into verse (bottom).

A colorized woodcut by Hans Schäufelein taken from a 16th century devotional work, "Speculum passionis Domini Nostri Ihesu Christi," by the Nuremberg doctor and publisher Ulrich Pinder (1507 PIND), which depicts the scourging of Christ.

A colorized woodcut by Hans Schäufelein taken from a 16th century devotional work, "Speculum passionis Domini Nostri Ihesu Christi," by the Nuremberg doctor and publisher Ulrich Pinder (1507 PIND), which depicts the scourging of Christ.

Three engravings depicting the front of the Shroud of Besançon and the front and back of the Shroud of Turin.

Three engravings depicting the front of the Shroud of Besançon and the front and back of the Shroud of Turin.

A woodcut depicting a congregation gathered around a crucified Christ to hear the preaching of the Christian faith, thereby representing the Third Commandment (in the Lutheran tradition), "Remember the sabbath day, to keep it holy."

A woodcut depicting a congregation gathered around a crucified Christ to hear the preaching of the Christian faith, thereby representing the Third Commandment (in the Lutheran tradition), "Remember the sabbath day, to keep it holy."

Summary:

Summary:

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

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

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

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

Summary: "A defence of the true and old authority of Christ's church. An oration of Cœlius, the second Curio, for the true and ancient authority of Christ his church, against Antony Florebell of Mutiny ... Translated out of Latin into English by Ihon Philpott": p.[319]-432.

Summary: "A defence of the true and old authority of Christ's church. An oration of Cœlius, the second Curio, for the true and ancient authority of Christ his church, against Antony Florebell of Mutiny ... Translated out of Latin into English by Ihon Philpott": p.[319]-432.

An interior view of the Church of the Nativity, showing the location where the manger stood.

An interior view of the Church of the Nativity, showing the location where the manger stood.

This sermon celebrates Jesus's love and passion, describing his death, sacrifice, and suffering for humanity despite our sins and cruelty.

This sermon celebrates Jesus's love and passion, describing his death, sacrifice, and suffering for humanity despite our sins and cruelty.

This sermon celebrates Jesus's love and passion, describing his death, sacrifice, and suffering for humanity despite our sins and cruelty.

This sermon celebrates Jesus's love and passion, describing his death, sacrifice, and suffering for humanity despite our sins and cruelty.

This sermon defines the Jubilee, describing when it occurs, remittances for servitude, and the forgiveness of debt.

This sermon defines the Jubilee, describing when it occurs, remittances for servitude, and the forgiveness of debt.

This sermon celebrates Jesus Christ and his love for Christians.

This sermon celebrates Jesus Christ and his love for Christians.

This sermon explores the meaning of transformation through the lens of the Resurrection of Jesus Christ, reminding Christians that a Jesus was transformed after death, they must work to transform their hearts through seeking to be virtuous in their actions.

This sermon explores the meaning of transformation through the lens of the Resurrection of Jesus Christ, reminding Christians that a Jesus was transformed after death, they must work to transform their hearts through seeking to be virtuous in their actions.

This sermon addresses the importance of loving one's neighbor, explaining why God asks us to love our neighbors and the qualities of a healthy love for one's neighbors.

This sermon addresses the importance of loving one's neighbor, explaining why God asks us to love our neighbors and the qualities of a healthy love for one's neighbors.

This sermon addresses the ways in which Jesus Christ acts as an example of the strength and fortitude needed to resist temptation and fight against the work of the Devil.

This sermon addresses the ways in which Jesus Christ acts as an example of the strength and fortitude needed to resist temptation and fight against the work of the Devil.

This sermon examines the cruxificition of Jesus Christ, describing the manner in which he died, the betrayal of the apostle Judas, and Jesus's persistent love of humanity despite their actions.

This sermon examines the cruxificition of Jesus Christ, describing the manner in which he died, the betrayal of the apostle Judas, and Jesus's persistent love of humanity despite their actions.

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

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

Summary: First edition of a tract by Andreas Osiander on the subject of justification and Christ's role as mediator.

Summary: First edition of a tract by Andreas Osiander on the subject of justification and Christ's role as mediator.

Summary: A. Faber was a Lutheran pastor in Schwerin when he wrote this book in 1533 against the false "blood of Christ" and the "idol" (i.e., the shrine in which the blood was kept) in the Cathedral at Schwerin. Such Holy blood miracles made for exceedingly popular pilgrimage sites in pre-Reformation Germany.

Summary: A. Faber was a Lutheran pastor in Schwerin when he wrote this book in 1533 against the false "blood of Christ" and the "idol" (i.e., the shrine in which the blood was kept) in the Cathedral at Schwerin. Such Holy blood miracles made for exceedingly popular pilgrimage sites in pre-Reformation Germany.

Summary:

Summary:

Evoking the scene of Jesus' baptism, this linocut work depicts a man holding a shell above a boy who kneels beside a river. Two men and a woman look on as a dove descends from the curling clouds gathered over the mountainous background.

Evoking the scene of Jesus' baptism, this linocut work depicts a man holding a shell above a boy who kneels beside a river. Two men and a woman look on as a dove descends from the curling clouds gathered over the mountainous background.

A vellum leaf from a Dutch Book of Hours. The recto and verso have decorated borders, two- and five-line decorated initials, and an angel in the margin of the recto showing wounds on his hands and feet all in red and blue inks.

A vellum leaf from a Dutch Book of Hours. The recto and verso have decorated borders, two- and five-line decorated initials, and an angel in the margin of the recto showing wounds on his hands and feet all in red and blue inks.

A depiction of a young Jesus standing amongst the teachers at the temple, reading and asking questions. The print is placed before the hymn, "Ein Gefang fur dem anfang der finder predigt oder des Catechismi" by D. Johan Zwick.

A depiction of a young Jesus standing amongst the teachers at the temple, reading and asking questions. The print is placed before the hymn, "Ein Gefang fur dem anfang der finder predigt oder des Catechismi" by D. Johan Zwick.

Summary: One sermon expanded by G. Rörer into two, preached February 18, 1537, on text: Matthew IV, 1-11. The subjects are Temptation, and Last Things.

Summary: One sermon expanded by G. Rörer into two, preached February 18, 1537, on text: Matthew IV, 1-11. The subjects are Temptation, and Last Things.

This calligraphy plays on the sounds of Chinese to evoke the name of God (Yahweh) and describe him (Jesus Christ) as the most "precious stone," the cornerstone.

This calligraphy plays on the sounds of Chinese to evoke the name of God (Yahweh) and describe him (Jesus Christ) as the most "precious stone," the cornerstone.