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How did the broad manner and fine manner of Italian engraving differ?

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Mary Cassatt: Woman Bathing — Printmaking *Woman Bathing*, color aquatint with drypoint by Mary Cassatt, 1890–91; in the Art Institute of Chicago.

In 15th-century Italian printmaking, two distinct methods of engraving emerged, differing primarily in their line density and shading techniques.1

The Fine Manner

Associated with the school of the Florentine goldsmith Maso Finiguerra, the fine manner is defined by its intricate detail. It features extremely fine, closely cut lines often combined with cross-hatching and occasionally intermingled with dots.1

The Broad Manner

The broad manner is characterized by a less dense appearance. Forms are modeled using diagonally cut parallel lines, which may be interlaid with short cuts or dots. Unlike the fine manner, the broad manner avoids cross-hatching and utilizes wider spacing between lines for shading.1

Notable examples of the broad manner include the powerful work of Antonio Pollaiuolo and the prints of Andrea Mantegna, who demonstrated that this method could achieve a remarkable range of tonal quality.1