Focusing on the reception of printed reproductions during the sixteenth century, this study identifies prints as indicators of how Michelangelo's works became known, discussed, and integrated into art history. Rather than concentrating on the intentions of the artist, Bernadine Barnes treats the prints as important indicators of the use of, and public reaction to, Michelangelo's works. Emphasizing reception and the construction of history, her approach adds to the growing body of scholarship on print culture in the Renaissance.The volume includes a comprehensive checklist organized by the work reproduced. This checklist is preceded by a short analysis of the number of prints produced by each printmaker, the chronological sequence of the prints, the publishers, and privileges associated with the prints.Michelangelo in Print is a readable narrative that pays special attention to the reproduction process as it served the artist; it also explores how the process continues to affect the discipline of art history by considering how reproduction created the Michelangelo known today. The patterns revealed here, while they relate specifically to Michelangelo, also reflect larger patterns in the development of art history in general.