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| Lucas van Leyden Cain slaying Abel 1524 engraving British Museum |
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| Jacopo di Giovanni di Francesco (Jacone) The Deposition before 1553 drawing British Museum |
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| Anonymous Italian Printmaker after Bartolomeo Passarotti St Sebastian ca. 1550-1600 engraving British Museum |
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| Michele Greco after Michelangelo Buonarroti The Last Judgment in the Sistine Chapel ca. 1570 engraving Graphische Sammlung Albertina, Vienna |
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| Juan de Juanes Triptych of the Crucifixion (originally with sculpted crucifix at center) ca. 1570-75 oil on panels Museo de Bellas Artes de Valencia |
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| Hans Hoffmann The Expulsion from Paradise ca. 1580 oil on panel Kunsthistorisches Museum, Vienna |
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| Pietro Faccini Study for The Entombment ca. 1580-1600 drawing British Museum |
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| Hendrik Goltzius after Anthonie Blocklandt Dead Christ with the Four Evangelists 1583 engraving British Museum |
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| Anonymous Italian Artist Descent from the Cross 16th century drawing British Museum |
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| Louis-Jean-François Lagrenée Assassination of Servius Tullius 1760 drawing Graphische Sammlung Albertina, Vienna |
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| Jean-Jacques Lagrenée The Testament of Eudamidas ca. 1760-63 etching British Museum |
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| Giovanni Battista Cipriani Ixion chained to the Wheel ca. 1779 drawing British Museum |
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| Joseph Anton Koch Thieves tormented by Serpents in Dante's Hell 1808 etching (book illustration) British Museum |
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| Otto Gussmann Mythical Battle against Powers of Darkness 1902 cupola fresco Burschenschaftsdenkmal, Eisenach |
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| Oluf Hartmann Study for Sisyphus 1909 watercolor and gouache on paper Statens Museum for Kunst, Copenhagen |
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| Ludwig Hirschfeld-Mack Desolation: Internment Camp, New South Wales 1941 woodcut British Museum |
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| Julo Levin Prometheus ca. 1942 woodcut McNay Art Museum, San Antonio, Texas |
from The Progress of Learning
When Lucifer no longer could advance
His works on the false ground of ignorance,
New arts he tries, and new designs he lays,
Then his well-studied masterpiece he plays:
Loyola, Luther, Calvin he inspires,
Loyola, Luther, Calvin he inspires,
And kindles with infernal flames their fires,
Sends their forerunner (conscious of th' event)
Printing, his most pernicious instrument:
Wild controversy then, which long had slept,
Into the press from ruined cloisters leapt;
No longer by implicit faith we err,
While every man's his own interpreter;
No more conducted now by Aaron's rod,
Lay-elders from their ends create their god.
But seven wise men the ancient world did know,
We scarce know seven who think themselves not so.
– Sir John Denham (published 1668)