All of these broadsides are extremely impressive in scale — not only physically as regards to size, but also in relation to the tremendous amount of work and close collaboration among the wide network of scholars, artisans, engravers, patrons, and printers involved. The effort and significant cost expended to create these and other philosophical images attest to how highly such prints were valued in the study and transmission of philosophy. Although the broadsides of Meurisse, Chéron, and Gaultier were relatively little known through the seventeenth and eighteenth centuries, for a handful of academics across Europe they had a deep impact on the philosophy classroom. Descriptio, Laurus metaphysica, and Tableau were reproduced and translated into English by Richard Dey, a graduate of the University of Cambridge, in mid-seventeenth-century London, while a copy of Meurisse’s Synopsis was displayed at the anatomy theater of the University of Leiden by Ottho van Heurne (1577–1652), professor of medicine. Meurisse’s acclaim as a designer of illustrated broadsides was also reported in the Hungarian travelogue Europica varietas (1620) by Márton Szepsi Csombor (1594–1623) who, while visiting Paris in 1618, was “anxious above all else to become acquainted with the celebrated, renowned, and highly intelligent friar, who with great mastery put the entire philosophy course on a[n engraver’s] plate.”