atively . ▁ ▁As ▁with ▁most ▁artists ▁in ▁wood cut , ▁art ▁histor ians ▁now ▁consider ▁that ▁We cht lin ▁probably ▁just ▁designed ▁the ▁wood cut s , ▁leaving ▁the ▁block - cut ting ▁to ▁a ▁special ist ▁" form sch ne ider " ▁who ▁past ed ▁the ▁design ▁to ▁the ▁wood ▁and ▁ch is elled ▁the ▁white ▁areas ▁away . ▁The ▁quality ▁of ▁the ▁final ▁wood cut s , ▁which ▁var ies ▁consider ably , ▁dep ended ▁on ▁the ▁skill ▁of ▁the ▁cut ter ▁as ▁well ▁as ▁the ▁artist . ▁▁▁ ▁His ▁best ▁known ▁print ▁is ▁the ▁ch iar osc uro ▁Sk ull ▁Within ▁an ▁Or n amental ▁Frame , ▁" by ▁far ▁his ▁most ▁impress ive " ▁and ▁" one ▁of ▁the ▁most ▁powerful ▁[ images ] ▁of ▁the ▁German ▁Renaissance ", ▁which ▁is ▁the ▁only ▁one ▁for ▁which ▁there ▁is ▁evidence ▁of ▁d ating , ▁as ▁it ▁is ▁copied ▁in ▁a ▁book ▁of ▁ 1 5 1 2 . ▁ ▁Four ▁of ▁ ▁his ▁ch iar osc uro ▁prints ▁are ▁somewhat ▁ost ent ati ously ▁classical , ▁two ▁on ▁the ▁very ▁obsc ure ▁subjects ▁of ▁Al con ▁S lay ing ▁the ▁Ser pent ▁and ▁P yr got eles ▁( a ▁famous ▁An cient ▁Greek ▁gem - car ver ), ▁as ▁well ▁the ▁better ▁known ▁ones ▁of ▁Py ram us ▁and ▁This be ▁and ▁Or phe us . ▁ ▁They ▁show ▁Italian ate ▁influence , ▁especially ▁from ▁the ▁eng rav ings ▁of ▁Marc anton io ▁Ra im ond i , ▁from