In the portfolios of collectors of works of art of the sixteenth century we frequently meet with very interesting examples of printing in _chiaro-oscuro_, as it was called, by means of successive impressions of engraved wood-blocks. Sometimes two or three blocks were used, sometimes six or eight, in all cases with the intention of reproducing the appearance of a tinted water-colour drawing or an oil-painting. Those prints which were the least ambitious were the most successful, They were generally printed in various shades of grey and brown--from light sepia to deep umber--and sometimes the effects are admirable. A well-known designer and engraver on wood, Ugo da Carpi (c. 1520), introduced this new style of printing into Venice, and other artists, Antonio da Trento, Andrea Andreani, Bartolomeo Coriolano, and others made many successful efforts in a similar direction; their best works are much prized. At the same time a group of Venetian artists, who were also engravers on wood, distinguished themselves by copying the works of Titian and other Italian painters. The most celebrated of these engravers were Nicolo Boldrini, Francesco da Nanto, Giovanni Battista del Porto, and Giuseppe Scolari, who all flourished between the years 1530 and 1580. Their {100} productions, which are on a large scale, are greatly valued by artists. Near the end of the century a book of costume entitled _Habiti Antichi e Moderni di tutto il Mondo_ was designed and published at Venice by Cesare Vecellio, who is said to have been a nephew of the great Titian. This work contains nearly six hundred figures in the costume of every age and country, admirably drawn and engraved; indeed, they are the best examples of the art of wood-engraving in Italy at the time. This excellent work was reproduced in their well-known style by Messrs. Firmin, Didot & Cie in two volumes (Paris, 1860). An edition of 'Dante' published by the brothers Sessa at Venice in 1578 is well illustrated with good woodcuts. German artists were also bitten at this time with a mania for reproducing pictures by means of colour blocks. The results, however, were much more curious than beautiful. We have before us a copy of a painting designed by Altdorfer, one of the 'Little Masters,' of 'The Virgin with the Holy Infant on her Lap,' set in an elaborate architectural frame. In this print at least eight different colour-blocks were used, among them a deep red and a vivid green. The printer's register has been fairly well kept, and the mechanical part of the work is worthy of all praise; but we fear the effect on most of our readers would be to produce anything but admiration. A Saint Christopher, designed and probably engraved by Lucas Cranach, printed in black and deep umber, only with the high lights carefully cut out of the latter block, is much more satisfactory.