a stronghold held by a "Christian Soldier bold" guarded by figures representing the Christian virtues. It has been proposed that this design may have influenced John Bunyan to write The Holy War. It appears to have been reprinted in 1697 in the wake of the success of Bunyan's books. Droeshout created an illustration depicting the suicide of Dido which functioned as a frontispiece to Robert Stapylton's verse translation of the fourth book of Virgil's Aeneid. Among his more complex works are several engraved plates for Thomas Heywood's The Hierarchy of the Blessed Angels, for which Droeshout was one of five engravers who created plates. Droeshout's most complex independent print is "Doctor Panurgus", an allegory of the follies of modern life, depicting figures representing Country, Town and Court life being treated by the doctor. The design "has a complicated ancestry", being an adaptation of an earlier print by Greuter, which itself drew on emblem book designs. Droeshout, or perhaps an unknown person who designed it, seems to have made a number of specific elaborations of the image, including extensive text, adding extra characters and English and Latin phrases, notably verses explaining how the doctor is purging the three figures of their respective moral illnesses. He pours "Wisdome and Understanding" down the throat of an ignorant rustic and smokes the brain of the "gallant" (courtier) in an oven to burn away the vanity in it (represented by various images going up in smoke). Two other figures wait to have their own brains smoked. Inset are other designs referring to the religious controversy of the era over pluralism. The whole is filled with boxed passages of satirical moral verse of unknown authorship. Spanish prints Droeshout's ten known Spanish engravings are all on subjects with distinctly Catholic significance, differing dramatically in that respect to works he had been producing in Britain up to 1632, one of the last of which was an allegory of the theology of presbyterian Puritan Alexander Henderson. Stylistically the engravings remain very similar. The portrait of Francisco de la Peña is similar in its modelling and the drawing of head-shape to the Shakespeare print. His earliest Spanish work depicted the coat of arms of leading Counter-Reformation Spanish statesman Gaspar de Guzmán, Count-Duke of Olivares. His most explicitly Catholic design depicts the "Church as Warrior stamping out Heresy, Error and Temerity", a frontispiece to the Novissimus Librorum Prohibitorum et Expurgatorum Index.