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

An engraving depicting a cross-section of the nave of the Basilica di Santa Maria Maggiore, looking east from the main altar. This shows two bell towers, although the actual building only has one.

An engraved floorplan of the Basilica di Santa Maria Maggiore as restored by Pope Paul V, including outlying structures. Numbered areas are referenced within the text of the book and can be consulted for futher context.

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

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

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

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 originally looked according to older accounts.

An engraving depicting a cross-section of the northeastern corner of the Basilica di Santa Maria Maggiore, highlighting the improvements paid for through a Papal Bull issued by Pope Paul V. This view shows the area as viewed looking south, toward the bell tower, and shows the papal monument of Paul V just inside the entrance to the

An engraving depicting a cross-section of the northeastern corner of the Basilica di Santa Maria Maggiore, highlighting the improvements paid for through a Papal Bull issued by Pope Paul V. This view shows the area as viewed from the central nave looking north, past the base of the bell tower.

An engraving of the papal monument of Pope Paul V just inside the entry to the "hyemalis chorus" of the Basilica di Santa Maria Maggiore (located in the northeast section of the basilica near the bell tower where the present day Baptistry is).

An engraving of the entry to the vestry at the Basilica di Santa Maria Maggiore.

An engraving of the southern facade of the Basilica di Santa Maria Maggiore.

An engraving of the Esquiline Obelisk, sometimes known as the Liberian Obelisk, which originally stood as a pair with the Quirinal Obelisk on the Campus Martius in front of the Mausoleum of Augustus and was later moved by Pope Sixtus V to the PIazza dell'Esquilino near the western facade of the Basilica di Santa Maria Maggiore. Surrounding the depiction of the column iteslf are three panels showing the inscriptions that appear on each side of the column's base, while the fourth is incorporated into the image of the obelisk itself.

An engraving of the western facade of the Basilica di Santa Maria Maggiore.

An engraving of the northern facade of the Basilica di Santa Maria Maggiore.

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 eastern facade of the Basilica di Santa Maria Maggiore. In this depiction there are two towers, however the actual building only has a single tower.

An engraved floorplan of the old Basilica di Santa Maria Maggiore, including outlying structures.

An engraved map of the Esquiline Hill in Rome showing rough topography and the plans of a number of notable landmarks and buildings including: the Baths of Diocletian, Basilica of the Holy Cross in Jerusalem, Archbasilica of Saint John Lateran, Basilica di Santa Maria Maggiore, Baths of Titus, Basilica of St. Clemens, Basilica of Saint Praxedis, Church of Saint Bibiana, Basilica of Saint Peter in Chains, and Basilica of Saint Stephen Rotunda.

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.