We must not quit the subject of wood-engraving without mentioning engraving in _camaïeu_; a process of Italian origin, in which three or four blocks, applying in succession to the print uniform tints of more or less intense tones, ultimately produced engravings of a very remarkable effect, imitating drawings with the stump or the pencil. At the commencement of the sixteenth century several artists distinguished themselves in this [Illustration: Fig. 261.--The Archdukes and High Barons of Germany assisting, in State Costume, at the Coronation of the Emperor Maximilian. A fragment taken from a large collection of Engravings, entitled the “Triumph of Maximilian I.,” by J. Burgkmair. (Sixteenth Century.)] mode of engraving, especially Ugo di Carpi, who worked at Modena about the year 1518; Antonio Fantuzzi, a pupil of Francis Parmigianino, who accompanied and assisted Primaticcio at Fontainebleau; Gualtier, and Andrew Andreani; and lastly, Bartholomew Coriolano, of Bologna, who would have been the last engraver in this style, were it not for Antonio M. Zanetti, a celebrated Venetian amateur, who was still nearer to us in point of date. Two or three Germans, John Ulrich in the sixteenth, and Louis Buring[40] in the seventeenth, century, also made some engravings in _camaïeu_, but only with two blocks: one giving the design of the subject with the outline and cross-hatching, the other introducing a colour, usually bistre, on which all the lights were taken out, so as to leave the ground of the paper white. These specimens imitated a pen-and-ink drawing on coloured paper, and finished with the brush or pencil.