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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 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.

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.

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.

An engraving depicting the angel, Gabriel, appearing to Mary and informing her that she is carrying the child of God.

An engraving depicting the angel, Gabriel, appearing to Mary and informing her that she is carrying the child of God.

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.

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 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 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.

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 "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.

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 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 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 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.

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 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.

The scene described in Luke 1:39-45 where Mary visits Elizabeth in Judah (in the style of Parmigianino). Text beneath the image engraved by Franco Estius: "Plena Deo virgo, coelesti Pnenmate foeta, / Cognatum Helisaben montana per aspera visit; / Exultat sterilis saecunda, exultat et infans / Iam tunc in gravidae genitricis ventre Prophetes."

The scene described in Luke 1:39-45 where Mary visits Elizabeth in Judah (in the style of Parmigianino). Text beneath the image engraved by Franco Estius: "Plena Deo virgo, coelesti Pnenmate foeta, / Cognatum Helisaben montana per aspera visit; / Exultat sterilis saecunda, exultat et infans / Iam tunc in gravidae genitricis ventre Prophetes."

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: The Franciscan Augustine of Alveldt wrote this polemical tract in response to Luther's pamphlet "Widder den newen Abgott und alten Teuffel" which criticized the recent canonization of Bishop Benno of Mainz.

Summary: The Franciscan Augustine of Alveldt wrote this polemical tract in response to Luther's pamphlet "Widder den newen Abgott und alten Teuffel" which criticized the recent canonization of Bishop Benno of Mainz.

Summary: This collection includes ten sermons from 1522 and two from 1523. Two are indicated from an earlier collection. This collection is a step toward the completion of a postil for saints' festival days.

Summary: This collection includes ten sermons from 1522 and two from 1523. Two are indicated from an earlier collection. This collection is a step toward the completion of a postil for saints' festival days.

An engraving depicting a scene from the seventeenth book of the epic poem, Saint Louys, in which a recovered Zahide sees a vision of the Virgin Mary surounded by angels and holding a cross, and is converted.

An engraving depicting a scene from the seventeenth book of the epic poem, Saint Louys, in which a recovered Zahide sees a vision of the Virgin Mary surounded by angels and holding a cross, and is converted.