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