The drawings are organized chronologically, in clusters with temporal logic. The first segment, while defined as transitional, “Development of the Late Gothic Style and the Reception of Italian Art,” actually features “Romanists,” including Heemskerck and Floris. Section Two, “Pieter Bruegel and the Influence of his Landscape Art,” builds around the 1554 Large Landscape with Trees and a Church, touched by Campagnola. Despite the Bruegel presence in the catalogue title, pride of place in this book truly belongs to Italy’s influence. Remaining sections concentrate on how Italian influence radiated into Northern courts and cities. Section Four focuses on Munich, especially court artists Frederik Sustris and Pieter de Witte/Candid. In Section Six, Prague meets Haarlem, “Dutch Masters in the Duality of Late Mannerism and Realism. Finally, a pair of landscape sketchbooks date near the end of the century. Some of these drawings have been exhibited often elsewhere, while others – always of high quality and worthy of study – have rarely been seen, let alone published.