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,
combined 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
Antonio Maria Zanetti in Venice made his first chiaroscuro woodcut. He
worked consistently 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 loosely drawn
outline and three tint blocks in a slight variation of the Andreani
style.

One characteristic was shared in common by all early chiaroscurists;
their work always reproduced drawings, usually in exact size. Jackson
added a new dimension to the medium in 1735 by beginning to work after
oil paintings.[11] His attempt to convey their scale, solidity, and
tonal range, while retaining the woodcut's breadth of execution, was
perhaps carrying the chiaroscuro into complex