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  • An alchemist stoking a furnace, surrounded by well dressed onlookers: a banquet takes place in the background. Etching by C. Murer, ca. 1600-1614.
  • Innocence attacked from four corners by "Iudex", "Persequutiō", "Avaritia" and "Invidia"; Justice looks down from above. Etching by C. Murer after himself, c. 1600-1614.
  • A wealthy bürger refuses charity to an old couple. Etching by C. Murer after himself, c. 1600-1614.
  • A bear overturns a barrel and is stung by bees; representing Aesop's fable. Etching by C. Murer after himself, c. 1600-1614.
  • Feast scene representing hospitality; alluding to Abraham and the three angels. Etching by C. Murer after himself, c. 1600-1614.
  • A fox talking to a chicken; representing a fable by Aesop on false friendship. Etching by C. Murer after himself, c. 1600-1614.
  • A mouse nibbles through a net in which a lion is caught; illustrating Aesop's fable. Etching by C. Murer after himself, c. 1600-1614.
  • Saint Birinus converting the Saxons of Wessex to Christianity. Engraving by W. Walker, 1773, after S. Wale.
  • A dog resting on a bull's straw; representing Aesop's fable. Etching by C. Murer after himself, c. 1600-1614.
  • Truth represented as the word of God assailed by persecution, superstition, tradition, betrayal and violence. Etching by C. Murer after himself, c. 1600-1614.
  • A clergyman in a coffin holding a crozier is surrounded by a group of mourners. Line block.
  • A prophet points to a cross which is leaking water; representing faith, the 'fountain of life'. Etching by C. Murer after himself, c. 1600-1614.
  • Birds attacking an owl resting upon a staff held by a naked woman; representing patience. Etching by C. Murer after himself, c. 1600-1614.
  • A bird of prey prepares to swoop on a mouse and a frog in water; illustrating Aesop's fable of the frog and the mouse. Etching by C. Murer after himself, c. 1600-1614.
  • The prophet Elias fed by a raven; representing providence. Etching by C. Murer after himself, c. 1600-1614.
  • Two men walking above a city; representing harmony of religious or political states. Etching by C. Murer after himself, c. 1600-1614.
  • Men worship an ass bearing a religious image; alluding to both Aesop's fable of the ass and idol worship in Arianism and contemporary Catholicism. Etching by C. Murer after himself, c. 1600-1614.
  • Allegorical figures hold up two scrolls, separated by a spider's web: one shows a straight line between "Charitas" and "Iustitia"; the other a crooked line between "Invidia" and "Avaritia". Etching by C. Murer after himself, c. 1600-1614.
  • At the Royal British School Rooms, Harp Alley, Farringdon Street, on Tuesday, 27th of Dec. 1831 at seven o'clock, a scientific lecture on the natural history of animals : ... on Thursday, 29th of Dec. 1831, at seven o'clock, a lecture on astronomy ... / will be delivered by by Mr. Henry Althans.
  • At the Royal British School Rooms, Harp Alley, Farringdon Street, on Tuesday, 27th of Dec. 1831 at seven o'clock, a scientific lecture on the natural history of animals : ... on Thursday, 29th of Dec. 1831, at seven o'clock, a lecture on astronomy ... / will be delivered by by Mr. Henry Althans.
  • Frontispiece for Fox's Book of Martyrs, showing John Fox in a decorative panel. Engraving.
  • A stork impales a frog in a peaceful scene by a river; allegory of freedom. Etching by C. Murer after himself, c. 1600-1614.
  • The soul being refined like metal in a crucible by an angel, Satan, Venus and Death; representing a test of faith. Etching by C. Murer, ca. 1600-1614.
  • The soul being refined like metal in a crucible by an angel, Satan, Venus and Death; representing a test of faith. Etching by C. Murer, ca. 1600-1614.
  • A withered tree bearing apples labelled with sins; representing the life of the base, 'natural' man. Etching, 1771, after J. Bakewell.
  • A man scatters seeds; representing the Biblical parable of the sower; here referring to the "ministry of the word", preaching. Etching by C. Murer after himself, c. 1600-1614.
  • The Roman emperor Valens pours money into a coffer; an officer is arrested and led to prison. Etching by C. Murer after himself, c. 1600-1614.
  • A family group of five singing around a table to the accompaniment of the violinist who is the originator of the image. Line engraving by J.G. Wille after G. Schalken.
  • A crane inserts its beak into the mouth of a wolf; illustrating Aesop's fable. Etching by C. Murer after himself, c. 1600-1614.
  • Phrenological chart; with design of head containing symbols of the phrenological faculties, and diagrams of heads showing criminal and moral propensities. Wood engraving, c. 1850, after F. Bridges and O.S. Fowler.