• 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. 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.
    Still image

    Historiated title page to Silvestro da Prierio Mazzolini's refutation of Luther's 95 Theses

    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 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.
    Still image

    Historiated title page to Luther's exposition of Psalm 109

    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 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. 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.
    Still image

    Historiated title page of Luther's Ad dialogum Syluestri Prieratis Magistri Palatii de potestate Pape Responsio

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

    Printer's Device of Johann Rhau-Grünenberg

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

    Christ's Resurrection

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

    Judgement Day

    A woodcut depicting the scene of Judgement day. The Trinity are depicted at the top of the image, presiding over the scene below where souls are guided either by angels past St. Peter into Heaven, or by a demon into the mouth of a great beast and Hell. A pair of banners unfurl from the Trinity towards the departing souls. The one above the souls entering Heaven reads "Cuius vult unseretur". The one avobe the souls entering Hell reads "Quem vult indurat".
  • A woodcut version of Johann Reuchlin's coat of arms, featured on the title page of his work De arte cabalistica. The coat of arms includes a shield featuring an altar inscribed with "ARACAPNIONIS" (Ara Capnionis, the "altar of Capnion [Reuchlin]"), topped with burning coals, and encircled with three twisted ropes or garlands. Set atop the shield is a helmet with a cross inscribed on the neck, crowned with another three twisted ropes or garlands and a quartered wheel. Surrounding both helmet and shield are stylized vegitation.
    Still image

    Coat of Arms of Johann Reuchlin

    A woodcut version of Johann Reuchlin's coat of arms, featured on the title page of his work De arte cabalistica. The coat of arms includes a shield featuring an altar inscribed with "ARACAPNIONIS" (Ara Capnionis, the "altar of Capnion [Reuchlin]"), topped with burning coals, and encircled with three twisted ropes or garlands. Set atop the shield is a helmet with a cross inscribed on the neck, crowned with another three twisted ropes or garlands and a quartered wheel. Surrounding both helmet and shield are stylized vegitation.
  • A woodcut title page to Johann Eck's Chrysopassus, printed in 1514. The main image depicts God, flanked by angels, reaching down to place a crown on the head of Jacob as his twin brother, Esau, looks on. A dog is seated at Esau's feet. Surrounding the central image is an architectural border featuring the coat of arms of the Holy Roman Emperor in the top left, and the symbol of the city of Augsburg, a pine cone, in the top right. To the left of the main image is a man in full armor labeled "Theodorus", while on the right there is another man in armor labeled "Alexander".
    Still image

    Historiated title page of Johann Eck's Chrysopassus

    A woodcut title page to Johann Eck's Chrysopassus, printed in 1514. The main image depicts God, flanked by angels, reaching down to place a crown on the head of Jacob as his twin brother, Esau, looks on. A dog is seated at Esau's feet. Surrounding the central image is an architectural border featuring the coat of arms of the Holy Roman Emperor in the top left, and the symbol of the city of Augsburg, a pine cone, in the top right.
  • A woodcut initial letter "E" including the scene of the three Wise Men bringing gifts of gold, frankincense, and myrrh to Jesus and the Virgin Mary.
    Still image

    Initial letter with the Three Wise Men

    Baldung, Hans, -1545
    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 decorating the title page of Johan Geiler von Kayersberg's Seelen Paradiss. The woodcut depicts Adam and Eve in the Garden of Eden just after having eaten the fruit of the Tree of Knowledge of Good and Evil. They are shown covering themselves, each holding an apple while God looks on. In the bottom right of the scene, an angel carrying a sword guards the gate to the garden.
    Still image

    Adam and Eve after eating from the Tree of Knowledge

    Baldung, Hans, -1545
    A woodcut decorating the title page of Johan Geiler von Kayersberg's Seelen Paradiss. The woodcut depicts Adam and Eve in the Garden of Eden just after having eaten the fruit of the Tree of Knowledge of Good and Evil. They are shown covering themselves, each holding an apple while God looks on. In the bottom right of the scene, an angel carrying a sword guards the gate to the garden.
  • Summary: Third French edition of Hans Holbein's Totentanz (Dance of Death), the first with 12 new images. The woodcuts were executed by Hans Lützelburger.
    Text

    Les Images de la mort [de H. Holbein] : avx quelles sont adioustées douze figures ... La medecine de l'ame. La consolation des malades. Vn sermon de mortalité, par sainct Cyprian. Vn sermon de patience, par sainct Iehan Chrysostome ...

    Summary: Third French edition of Hans Holbein's Totentanz (Dance of Death), the first with 12 new images. The woodcuts were executed by Hans Lützelburger.
  • Summary: This is a finely executed and rare edition, dealing with the office of the Pope, with special emphasis on the person of St. Peter. Tommaso de Vio, also called Cajetan, taught philosophy and theology at Padua, Pavia, and Rome, and played an important part in the ecclesiastical affairs of the time, urging the cause of reform.
    Text

    De diuina institutione Pontificatus Romani Pontificis super tota[m] ecclesiam: a Christo in Petro

    Cajetan, Tommaso de Vio, 1469-1534
    Summary: This is a finely executed and rare edition, dealing with the office of the Pope, with special emphasis on the person of St. Peter. Tommaso de Vio, also called Cajetan, taught philosophy and theology at Padua, Pavia, and Rome, and played an important part in the ecclesiastical affairs of the time, urging the cause of reform.
  • A woodcut depicting an angel gesturing towards the heavenly city of Jerusalem. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
    Still image

    The Holy City, New Jerusalem

    Cranach, Lucas, 1472-1553
    A woodcut depicting an angel gesturing towards the heavenly city of Jerusalem. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
  • A woodcut depicting an angel locking the dragon, which represents Satan, into a bottomless pit to be bound for a thousand years. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
    Still image

    The Dragon Thrown into the Bottomless Pit

    Cranach, Lucas, 1472-1553
    A woodcut depicting an angel locking the dragon, which represents Satan, into a bottomless pit to be bound for a thousand years. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
  • A woodcut depicting the victorious armies of Heaven (top right) routing the opposing forces as the beast is cast into a lake of fire and brimstone. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
    Still image

    The Armies of Heaven and Doom for the Beast

    Cranach, Lucas, 1472-1553
    A woodcut depicting the victorious armies of Heaven (top right) routing the opposing forces as the beast is cast into a lake of fire and brimstone. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
  • A woodcut depicting two angels announcing the destruction of Babylon and dropping a millstone into the sea while the city itself is seen in flames below. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
    Still image

    The Destruction of Babylon

    Cranach, Lucas, 1472-1553
    A woodcut depicting two angels announcing the destruction of Babylon and dropping a millstone into the sea while the city itself is seen in flames below. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
  • A woodcut depicting the Whore (Harlot) of Babylon atop the red dragon, a golden cup in hand and a Papal crown upon her head. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
    Still image

    The Woman and the Beast in the Wilderness

    Cranach, Lucas, 1472-1553
    A woodcut depicting the Whore (Harlot) of Babylon atop the red dragon, a golden cup in hand and a Papal crown upon her head. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
  • A woodcut depicting angels pouring out the Seven Plagues, including a plague upon the sun, the air, the rivers and fountains, the earth, the sea, the Euphrates, and the seat of the beast, which is sprewing unclean spirits in the form of frogs. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
    Still image

    The Seven Last Plagues

    Cranach, Lucas, 1472-1553
    A woodcut depicting angels pouring out the Seven Plagues, including a plague upon the sun, the air, the rivers and fountains, the earth, the sea, the Euphrates, and the seat of the beast, which is sprewing unclean spirits in the form of frogs. 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.
    Still image

    The Harvest

    Cranach, Lucas, 1472-1553
    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.
    Still image

    The Lamb on Mount Zion, the New Song, and the Three Angels

    Cranach, Lucas, 1472-1553
    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 two beasts, the first with seven crowned heads and ten horns rising from the sea, and the second in the shape of a lamb with two horns which is accompanied by flames raining from the skies. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
    Still image

    The Two Beasts

    Cranach, Lucas, 1472-1553
    A woodcut depicting two beasts, the first with seven crowned heads and ten horns rising from the sea, and the second in the shape of a lamb with two horns which is accompanied by flames raining from the skies. The image appears in the September Testament, Martin Luther's first printing of his German New Testament.
Page 21 of 34
Close