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A woodcut depicting a "Wild Man", or hair-covered man with a crown of plants and carrying a club, with the coat of arms of Leipzig.

A woodcut border on the title page of Johann Eck's pamphlet in support of Hieronymus Emser printed in 1519. The entire border is created using four different woodcuts on each side. The bottom woodcut features a pair of cherubs holding up the coat of arms of Chemintz (possibly a reversed coat of arms of Leipzig). The left hand woodcut includes a cherub holding up a decorative stand upon which is a man battling a boar. The right hand woodcut includes a bent over cherub supporting a decorative stand on top of which stands a drummer.

A woodcut border on the title page of 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.

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.

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".

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.

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.

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

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

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

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

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

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

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

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

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