| I. | How Prints are Made | 1 |
| Introductory, 1. Bank note and magazine illustration, 3. Three main divisions of processes. Woodcut, 4. Wood-engraving, 5. Engraving, 6. Dry-point, mezzotint, 8. Etching, 9. Lithography, 10. The printing presses used, 11. | ||
| II. | The Origin of Woodcut | 12 |
| Not a sudden invention, 12. Utilitarian origin, 14. The past reviewed, 15. The panel picture and its cheap substitute, 18. Saints’ pictures, 20. Playing cards, 21. Increasing demand for pictures, 24. Block-books, movable type, 26. Book illustration in Germany and Italy, 28. Examples of early woodcuts: German, 30, Italian, 32. | ||
| III. | The Early Days of Engraving | 35 |
| Intaglio printing, the goldsmith’s niello, 35. Engraving in Germany and Italy, attitude and results, 37. Anonymous masters, 40. Schongauer, 41. Early Italian examples, 44. Pollajuolo, Mantegna, 46. Giulio Campagnola, 47. | ||
| IV. | Italy | 49 |
| The professional engraver, 49. Marcantonio Raimondi, 50. The publisher, 51. Revival; Carracci, 52. Painter-etchers, 53. Later developments; Canaletto, 55. The classical engravers, 55. Chiaroscuro woodcut, 56. | ||
| V. | Germany | 59 |
| Culmination, Dürer, 60. Lucas van Leyden, 65. Italian influence, 66. Little masters, 67. Woodcut: Cranach, Holbein, 69. The two masters, Dürer and Holbein, 70. Decline, 71. | ||
| VI. | The Netherlands | 73 |
| History. Flemish and Dutch art, 73. Engraver families, commerce in Saints’ pictures, 75. Virtuosi of the graver, Goltzius, 76. Rubens and his engravers, 77. Van Dyck, 78. Cornel Visscher, 79. Rembrandt, 80. Ostade, 84. Ruysdael. Landscape and animal etchers, 85. Italian influence, decline, 86. | ||
| VII. | France | 87 |
| Woodcut illustrations, 87. Engraving, Jean Duvet, 89. The Fontainebleau school, 90. Callot, Claude Lorrain, 91. Portrait engraving, 93. Mellan, 94. Morin, 95. Nanteuil, 96. Edelinck and others, 97. New processes, 100. Color-prints, book ornamentation, 101. Classical engraving, Wille, 104. Italian preëminence, 105. Etchers, vignettists, 105. Spain: Goya, 107. | ||
| VIII. | England | 109 |
| Early days, Hollar. English engravers, 109. Hogarth, 110. Bartolozzi, 110. Mezzotint engravers, 111. Earlom, 113. Wood-engraving: Bewick, 114. | ||
| IX. | The United States | 116 |
| Colonial times; Pelham, Peale, 116. Stipple; book illustration, 117. Wood-engraving, the tone engravers, 118. Etching, 120. | ||
| X. | The Nineteenth Century | 121 |
| Individual expression, 121. Blake, 122. Chodowiecki, 123. A new era, Constable, Delacroix and others, 124. Turner, 126. Wood-engraving and lithography, 127. Menzel; Gavarni, Daumier, 129. Raffet, 130. Revival of etching, 130. Jacque, Millet, and others, 131. Etching versus Engraving, 131. Haden, Whistler, 132. Meryon, 133. Gaillard, 134. Exacting demands on the graphic arts; Zorn, Klinger, 135. Conclusion, 136. | ||
| Books recommended for study of prints, 138. |