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| Giovanni Battista Gaulli Sacrifice of Isaac ca. 1685-90 drawing National Galleries of Scotland |
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| Cherubino Alberti Two putti on plinth in front of balustrade, supporting coronets above Borghese eagle and griffin before 1615 drawing National Galleries of Scotland |
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| Cherubino Alberti Study of putti flying upwards (for ceiling decoration) before 1615 drawing National Galleries of Scotland |
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| Giovanni Alberti Two studies for architectural friezes before 1601 drawing Fitzwilliam Museum, Cambridge |
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| Cherubino Alberti Winged Genius in pendentive holding tablet with dedication to Cardinal Francesco Barberini while balancing on sphere with heraldic Barberini bees before 1615 engraving Metropolitan Museum of Art, New York |
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| Jacob Gole after Cornelis Dusart Symbolic image of Louis XIV as Scourge of Heretics 1691 engraving Rijksmuseum, Amsterdam |
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| Hendrick Hondius Papist Pyramid (anti-Jesuit propaganda) ca. 1597-1601 engraving Rijksmuseum, Amsterdam |
"Historians invoked the Jesuit Style several decades before they consistently invoked the Baroque as a period designation. For a brief time, between the 1840s and the 1880s, the Jesuit Style provided a definition for what would later be named the Baroque, a fact that is an important and overlooked aspect of the historiography of this subject. The Jesuit Style provided the first historical explanation for the Baroque as viewed from France and Germany (where Jesuit architecture was an imported style). Although it emphasized the degeneration of the Renaissance, it was based less on particular forms than on the aims and character of the Jesuits. The term would be dismissed when it was later interpreted as the style of architecture invented by the Jesuits rather than the style of architecture that embodies and represents the Jesuits. But at the time of its inception, the Jesuit Style aptly described the architecture of a period largely thought to have been dominated by the order, just as the Age of the Cathedral was romanticized as the product of a collective national body. . . . By the early 1900s studies of Jesuit architecture outside of Italy by Louis Serbat and Joseph Braun provided material evidence that called the Jesuit Style seriously into question. At the end of the 1920s and into the 1930s the term was either noted as incorrect or cycled out of encyclopedias altogether."
– Evonne Levy, from Propaganda and the Jesuit Baroque (University of California Press, 2004)
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| Anonymous Dutch printmaker Drawing model - Ears, Eyes, Mouth before 1650 engraving Rijksmuseum, Amsterdam |
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| Anonymous Dutch printmaker Three Demon-Heads before 1650 engraving Rijksmuseum, Amsterdam |
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| Anonymous printmaker Allegory of Five-headed Monster before 1618 engraving Rijksmuseum, Amsterdam |
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| Pietro Faccini St Jerome adoring a Crucifix ca. 1600 etching National Galleries of Scotland |
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| Roelant Savery Gnarled Tree near Water before 1639 etching Rijksmuseum, Amsterdam |
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| Gaspar Bouttats after Godfried Maes Allegory with Cupids at the Mouth of Hell before 1695 etching Rijksmuseum, Amsterdam |
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| workshop of Jacob de Gheyn II Dancing Masqueraders 1595-96 engraving Rijksmuseum, Amsterdam |