This method, earlier than that of the incised line, led to engraving "in camaïeu," which was skilfully practised in Italy and Germany during the sixteenth century. As in camaïeu engraving those lines which define the contours are left as ridges by the cutting away of the surrounding surface, we may say that in this method (which the Italians call "chiaroscuro") the usual processes of engraving in relief are employed. But it is a further object of camaïeu to produce on the paper flat tints of various depths: that is to say, a scale of tones somewhat similar to the effect of drawings washed in with Indian ink or sepia, and touched up with white. Now such a chromatic progression can only be arrived at by the co-operation of distinct processes. Therefore, instead of printing from a single surface, separate blocks are employed for the outlines, shadows, and lights, and a proof is taken by the successive application of the paper to all these blocks, which are made to correspond exactly by means of guiding marks. A third style of engraving in relief, the "early dot manner," was practised for some time during the period of the Incunabuli, when the art was, as the root of this Latin word shows, still "in its cradle." By this method the work was no longer carried out on wood, but on metal; and the engraver, instead of completely hollowing out those parts destined to print light, merely pitted them with minute holes, leaving their bulk in relief. He was content that these masses should appear upon the paper black, relieved only by the sprinkling of white dots resulting from the hollows. We just mention by way of note the process which produced those rare specimens called "_empreintes en pâte_." All specimens of this work are anterior in date to the sixteenth century, and belong less strictly to art than to industry, as the process only consisted in producing on paper embossed designs strongly suggesting the appearance of ornaments in embroidery or tapestry. To produce these inevitably coarse figures a sort of half-liquid, blackish gum or paste was introduced into the hollow portions of the block before printing. On the block thus prepared was placed a sheet of paper, previously stained orange, red, or light yellow, and the paste contained in the hollow places, when lodged on the paper, became a kind of drawing in relief, something like an impasto of dark colour. This was sometimes powdered with a fluffy or metallic dust before the paste had time to harden.