after Raphael (B. XII), and in The Harvest after Giulio Romano (B. XII). Most 

 other Italian chiaroscurists made frequent use of this method which had the virtue 

 of simpHcity. Outstanding exponents included Niccolo Boldrini, who worked 

 chiefly after drawings by Titian, and in the early 17th century the brothers Barto- 

 lomeo and G. B. Coriolano. Andreani's prints were usually in a more independent 

 style which employed a clear outline in gray or soft brown with three tints blocks. 

 While technical procedures were identical in Italian and German chiaroscuros 

 after pen drawings, the Italian work tended to be looser than the German, which 

 was more careful and methodical. 



The Italian style, then, strictly interpreted, was simply the da Carpi style. Less 

 rigorously considered, it included the free Italian variants of the German process. 



Hendrick Goltzius of Haarlem, whose first chiaroscuros date from 1588, com- 

 bined both Italian and German influences with marvelously crisp drawing and 

 cutting and sharper color combinations than were common. Paulus Moreelse, a 

 Dutch artist in the first half of the 17th century, employed a dark block in clear 

 outline but modeled his forms internally in the da Carpi manner. The technical 

 procedure was therefore close to Andreani's. 



A number of other well-known artists including Simon Vouet and Christoffel 

 Jegher, and quite a few anonymous ones, also turned out occasional pieces in the 

 first half of the 17th century, generally in the manner of da Carpi or Goltzius. 

 Perhaps the most prolific was Ludolph Businck, who created prints in France 

 especially after drawings by George Lallemand. 



After this period little was done in the medium until 1721, when Count An- 

 tonio Maria Zanetti in Venice made his first chiaroscuro woodcut. He worked con- 

 sistently for almost thirty years and sent proofs to his friends in Europe, mostly 

 important connoisseurs, through whom the prints became widely known. For the 

 most part they were in the da Carpi style, to which he added a light charm. Between 

 1722 and 1724 Elisha Kirkall in London published twelve chiaroscuros after Italian 

 masters. The prints were done in a combination of media — etching and mezzotint 

 with relief blocks in either wood or metal — and were outside the woodcut tradition, 

 but they attracted attention to the old process. In about 1726 Nicolas and Vincent 

 Le Sueur in Paris produced some chiaroscuros, and a year later Jackson made his 

 first example. The Le Sueurs followed da Carpi's method while Jackson used a 



II 



