The Italians devoted themselves with especial ardor to wood-engraving in chiaroscuro, and from the time when Ugo da Carpi introduced it in Venice it was practised by many artists. Nearly all of those designers who have been mentioned left works in chiaroscuro engraving as well as in the ordinary manner. Beside them, Antonio da Trento (c. 1530), Giuseppe Nicolo (c. 1525), Andrea Andreani (c. 1600), and Bartolemeo Coriolano (c. 1635) produced chiaroscuro engravings which are now much valued and sought for by collectors of prints. The Italian love of color led these artists into this application of wood-engraving, which must be regarded as a wrongly-directed and unfruitful effort of the art to obtain results beyond its powers. The Italians had been the first to discover the capacity of wood-engraving as an art of design, but they never developed it as it was developed in Germany; when they gave up the early simple manner in which they had achieved great results, and began to follow the later manner, the great age of Italy was near its close, and the arts felt the weakening influences of the rapid decline in the vigor of society. At Venice the arts remained for a while longer powerful and illustrious, and wood-engraving shared in the excellence which characterized all the artistic work of that city; but the place which wood-engraving held in the estimation of the Venetians appears to have been far lower than its place in the North, where it was popular and living, highly valued and widely influential as it could not be in any Italian city. At last in Italy, as in France, it died out altogether, and was no longer heard of as a fine art. In the Netherlands the art had been practised continuously from the time of the Block-books with varying success, but, excepting in the works of Lukas van Leyden (1494-1533), it had produced nothing of great value. In the sixteenth century Hendrick Goltzius (1558-1617) designed some woodcuts in the common manner as well as chiaroscuro engravings, and Christopher van Sichem (c. 1620) some woodcuts in the ordinary manner, which have some worth. The only work of high excellence was due to Christopher Jegher (c. 1620-1660), who engraved some large designs which Rubens (1577-1640) drew upon the block; they are inferior to Boldrini’s reproductions of Titian’s designs, but are free, bold, and effective, and succeed in reproducing the designs characterized by the vehement energy of Rubens’s style. Rembrandt (1606-1665) also gave some attention to the art which the older masters had prized, and left one small portrait in wood-engraving by his own hand. His example was followed by his pupils, Jean Livens (1607-1663) and Theodore De Bray (c. 1650), whose cuts are characterized by the style of their master.