Modestly named (we're joking), Capet truly did put his life's work in compiling this tome: It is said that he took YEARS off from performing in public until he could back up his claim to "control" every part of his bow!
An important tip is to memorize his table of symbols which he includes in his forewords, as it is most profitable to practice his etudes with the bow management and control that Capet himself prescribes!
Capet himself wrote lengthy instructions in Part One, making this a type of "self-help" book, whereby one reads his instructions in the relevant chapter to best understand how he recommends analyzing bow speed, pressure, contact points, and their use in dynamics, left hand techniques (for example, bow contact point and pressure distribution in double stops) and different bow strokes. 

Part One:
Chapter 1 (C1)- Introductory (Bow Hold, Bow Distribution, Certain Techniques)
C2- On Equality of Distribution of Bowing Across Multiple Strings (includes a short but helpful guide on tonal production in Bach's Chaconne pages 30-32 of the Durand Edition)
C3- The Legato (String Crossings and Scales)
C4- Detache   
C5- Martele
C6- Staccato
C7- Bowings that should be played with "Lightness" (spiccato, ricochet, sautille, flying staccato)
C8- On Style and Interpretation, and Further Exercises

Part Two is the practical exercises to the theoretical section in Part One. This section starts with Capet's scales going through the different positions, to be played with his recommended bowing variations. Next is the distribution of weight in double stops and chords, dealing also specifically with the vertical movement across the strings, as well as the preservation of balanced bow pressure and speed in the differences in string depression in larger double stops and chords. Exercises 137 to 154 deals with the holding of long notes (especially in high positions), which is followed by exercises on detache across scales, double stops and broken chords. Legato is practiced in scales, shorter arpeggios and broken chords starting from Exercise 231. Exercises 351 and 352 provide a useful scale system for 3-octave scales and 4-octave scales respectively. Exercises 353 to 382 deal with string crossings in various speeds, followed by arpeggios starting Exercise 383. Exercises 397 starts with double stops in a slower speed, both solid and broken, and Exercises 424 onwards deals with different bowing techniques:
Martele (424), Spiccato (485), "thrown strokes" and flying staccato (512), Staccato (539), Ricochet (555), Mixed strokes (576 onwards).

 We recommend starting with this tome when going into the Franco-Belgian school of playing, as it deals with all the signature particularities of the bow/bowings of this school, as well as being a great "all-in-one" for basics due to the comprehensiveness of its material: Even if you were 'trained' under another school of playing, or are just revisiting the basics, the tips on bow division & bowings especially are priceless!