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The article reports on the albums of Earl Spencer that were acquired by the Fogg Art Museum, Harvard University in Cambridge, Massachusetts. The albums contain almost 3,500 late 16th-century and 17th-century Italian, Dutch, Flemish and French prints. The albums include "The Works of Vischer & Bergham," "The Works of Gulielmus Baurm," "A Book of Parmegiano's Containing 150 Prints & Etchings," "The Works of Goltzius & Sadeler" and "Views by Waterloo." It is indicated that the rest of the great Spencer library was purchased by John Rylands in 1892.

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 discusses the works of Dutch artist Hendrick Goltzius. It explores on his work that was completed in 1594, "The Life of the Virgin," a series of six engravings, four of which are in the pictorial style of the 16th century Italian painters Raphael, Parmigiano, Jacopo Bassano, and Federico Barocci, and two in the pictorial style and burin manner of the Northern engravers Albrecht Dürer, and Lucas van Leyden. It offers close observations to printing materials and technique, particularly on Albrecht and Lucas.

The article features the "St Roch," designed by Titian which has long been acknowledged as one of the outstanding woodcuts of the Italian Renaissance. Artist David Rosand describes it as a document of popular piety, conceived as an altarpiece. The document reveals that Rosand's characterization of the woodcut as an altarpiece is apt, as is his emphasis on the pious, rather than aesthetic, value accorded it by its first viewers. Titian's St Roch was not intended for a strictly Venetian audience, nor was it meant primarily for display on the walls and doors of Venetian households.

The article reports on the illustrations of the parable of the "Prodigal Son." It is stated that the narrative has reached over 27 scenes in the stained glass windows of Chartes, France. It is indicated that the narrative was popular in the sixteenth century and reached its greatest elaboration in the thirteenth century. The story of the "Prodigal Son" merited the father's forgiveness through penance. The narrative has been acquired with the Reformation, an idea central to the notion of salvation through faith. The story has been depicted in various prints for it is an appropriate wall decoration for domestic settings.