Search

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.

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 Ermanunge zum Fryde auff die zwölff Artickel der Bawrshafft in Schwaben printed in 1524. The border is composed of a single woodcut depicting an architectural archway supported by Corinthian columns (all), a pair of cherubs holding staves (top corners), and a pair of cherubs holding a medallion with a blank shield (bottom).

A woodcut border to Luther's Erklerung wie Carlstat sein ler vonn dem hochwirdigen Sacrament : vnd andere achtet vnnd geachtet haben will printed in 1524. The border is composed of a single woodcut and depicts a cherub flanked by two deer (bottom), decorative plants (sides), and a cherub holding a blank shield flanked by two other cherubs (top).

A woodcut initial letter "A" depicting a trio of figures leaning agains and through the letter.

A woodcut depicting Martin Luther as a seven-headed monster, critiquing his deviation from Catholicism. Each head is labeled (from left to right): Doctor, Martinus, Luther, Ecclesiast, Schwirmer [Schwärmer], Visitieter, and Barrabas. This was a classic piece of Catholic propaganda, portraying Luther not only as a Doctor and Churchman, but as a Turk, a wild enthusiast (Schwarmer) and "Barrabas."

An ornamental woodcut depicting a dog and a pig nose to nose with the back half of what might be a goat on the left.

An ornamental woodcut depicting bunches of grapes on the vine.

A woodcut initial letter "V" depicting a figure standing on the back of a second holding out a bunch of grapes.

An ornamental woodcut depicting a pair of cherubs amongst some vines. The cherub on the left is riding a stick horse and holding an item similar to a pinwheel. On the right of the image, there is an arm holding an arrow which might be part of another cherub.