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The article focuses on the role and status of Dutch and Flemish printmakers in Rome between 1565 and 1600. The analysis on their roles are based on the information gathered including the graphic arts of Netherlandish scholars such as Domenicus Lampsonius and Philippe van Winghe and the critical writings of Karel van Mander. The letter of Domenicus Lampsonius to Giulio Clovio is often interpreted as the most emphatic praise of the potentialities of reproductive engraving and praise for the works of Cornelis Cort, an accomplished plate-cutter. His works played a major role in increasing and consolidating the reputation in the Netherlandish school of engraving. Works of the engravers tend to develop because of various explorations that lead them to discover new techniques and applications.

The article explores the working practices of Christopher Plantin in engraving book illustrations during the sixteenth century. It is claimed that most of Plantin publications with engraved illustrations appear to be illogically inconsistent, as the selection of plates used to print the illustrations differs from copy to copy. The author asserts that Plantin's production and illustration of Benito Arias Montano's "Humanae Salutis Monumenta" has puzzled scholars from various field of study. Moreover, several essential aspects of Plantin's production of "Monumenta" are examined.

The article presents several art collections, inspired by Petrarch' Triumph, of Matthäus Greuter. Accordingly, Greuter has created an allegorical poem and it was successfully patronized in Italy in 15th and 16th century. In addition, his allegorical poem has been translated into several languages including French, Spanish, and English. His poem was inspired by his several art collections which consist of paintings, tapestries, and engravings. Greuter's painting collection "The Triumphs of Love, Chastity and Death and of Fame, Time and Eternity" has inspired several works of art.

The article offers information on Italian engraver and publisher Antonio Salamanca. Salamanca, who collaborated with Antonio Lafreri to create made-to-order composite map books during the mid-16th century, produced this finely engraved world map utilizing the double cordiform projection. Salamanca's engraving was based on a map published in 1538 by the noted Flemish geographer and map publisher, Gerard Mercator. Information about his early life along with his works are also considered in the article.

The article highlights the painting "Preparation for the Sabbath" of Jacques de Gheyn II. According to the author, the painting can amount to an act of sorcery and it is the only print of de Gheyn that treats sorcery explicitly. He added that de Gheyn intentionally manipulated orientation and reversal in his prints wherein even in prints where the subject matter is not deeply associated with inversion. Moreover, de Gheyn's witches inhabit a space of unnatural forces where goats fly, storms issue from the kitchen vessels and nudity is a symptom of the unruly and the fantastic.

The article explores the reproductive printmaking of Giorgio Ghisi during the 16th century. Reproductive printmaking refers to prints that replicate drawings or images created by another artist for a different medium. Two-plate engravings of Ghisi were analyzed, namely the "Nativity" of 1553 and the "School of Athens" of 1550. It relates that the "Nativity" is related to an oil painting by Agnolo Bronzino while the "School of Athens" is related to the fresco in the Vatican by Raphael Sanzio. It outlines evidence that Ghisi did not make the drawing himself for the engraving.

The article presents the inscriptions in the a series of engravings by an anonymous engraver who worked in the mid-sixteenth century Germany. This series of engravings with ornamental designs can be found in Vienna, Austria. The translation of the inscriptions in the engravings is outlined. It relates how the inscriptions describe the uses to which the prints can be put. It discusses the features of the titles for series of ornament prints by German artists in the 16th century and the didactic comments they include in the titles.