When Peter Parshall authored his standard work, The Renaissance Print, 1470–1550 (with David Landau; New Haven: Yale University Press, 1994), critical readers noted one significant omission: the earliest century of woodcuts before the generation of Albrecht Dürer. Perhaps it was because those works offered stark outlines and relatively little interior modeling, though they frequently were also colored to enhance their naturalism. Now the missing link has been forged. Drawing from extraordinary holdings of this material...