WHEN the rest of the world was going through the throes of Renaissance revivals in architecture America was still building huts along decidedly medieval lines. With a few possible exceptions it is not until the twentieth century that we begin to take the lead, but after all, with a handicap of several hundred years, are we to blame? In the earlier days the crudest substitutes had to serve for what we consider now basic necessities. Is it then any wonder that the artistic efforts of our colonial ancestors in the field of prints were somewhat crude? This primitive handling which distinguishes the greater part of the early work has caused many collectors, both professional and amateur, to eschew entirely this whole corpus of material.

Carl W. Drepperd has gone far in the attempt to correct this mistake in his "Early American Prints". While his book should prove of interest to the general reading public it should also be of great value to the collector wishing to identify his acquisitions. In this book are listed practically all of the important printmakers of this country down to the time of the Civil War with an account of their most important or most representative works. Of further interest to the novice are the introductory summaries of the various processes of engraving, etching, and lithography.

Many will learn with surprise that Paul Revere probably furthered the cause of the Revolution more by his engraving of the "Boston Massacre" than by his famous ride. Among others of the Colonial period Peter Pelham, the stepfather of Copley, was perhaps the greatest artist with his mezzotint portraits, a fact which few people realize.

The period between the Revolution and the Civil War is described as the Golden Age when, as Mr. Drepperd points out, there was a great demand for cheap pictures both original and reproductive. Lithographs at that time were the rotogravure supplements of our present-day Sunday newspapers. A whole chapter is devoted to a discussion of that much overrated firm of Currier & lves. From the thousands of different subjects the author weeds out a few that have some real merit and justly decries the present fancy for "Little Ellen"s and the "Darktown" series. The auction prices which be quotes for some of them are truly astonishing.

If you have an old collection of books that appears to be quite valueless do not dispose of it without first comparing the illustrations with a list such as Mr. Drepperd provides. Apparently some of the best prints were used to illustrate books. The division of early American caricature is ably covered and serves to round out an excellently written and thoroughly serviceable book. In many ways the author has done for one section of prints what Hind has done for the whole field.