,transcriber's ,note3 ,this text uses utf-#h 7unicode7 file encoding4 ,if the apostrophes and quotation marks in this paragraph appear as garbage1 make sure your text reader's 8character set0 or 8file encoding0 is set to ,unicode 7,,utf-#h74 ,you may also need to change the default font4 ,as a last resort1 use the ,,ascii version of the file instead4 ,details about the 8,inscriptions0 in the 8,prints by ,jackson0 section of catalog are given at the beginning of that section4 ,,smithsonian ,,institution ,,united ,,states ,,national ,,museum ,illustration3 ,smithsonian symbol ,,bulletin #bbb ,,washington1 ,d4,c4 #aifb ,united ,states ,government ,printing ,office1 ,washington1 #aifb ,for sale by the ,superintendent of ,documents1 ,u4,s4 ,government ,printing ,office ,washington #be1 ,d4,c4 ,john ,baptist ,jackson3 #ahth-,century ,master of the ,color ,woodcut ,jacob ,kainen ,curator of ,graphic ,arts ,museum of ,history and ,technology ,publications of the ,united ,states ,national ,museum ,the scholarly publications of the ,united ,states ,national ,museum include two series1 ,proceedings of the ,united ,states ,national ,museum and ,united ,states ,national ,museum ,bulletin4 ,in these series are published original articles and monographs dealing with the collections and work of the ,museum and setting forth newly acquired facts in the fields of ,anthropology1 ,biology1 ,history1 ,geology1 and ,technology4 ,copies of each publication are distributed to libraries and scientific organizations and to specialists and others interested in the different subjects4 ,the ,proceedings1 begun in #ahgh1 are intended for the publication in separate form1 of shorter papers4 ,these are gathered in volumes1 octavo in size1 with the publication date of each paper recorded in the table of contents of the volume4 ,in the ,bulletin series1 the first of which was issued in #ahge1 appear longer1 separate publications consisting of monographs 7occasionally in several parts7 and volumes in which are collected works on related subjects4 ,bulletins are either octavo or quarto in size1 depending on the needs of the presentation4 ,since #aijb papers relating to the botanical collections of the ,museum have been published in the ,bulletin series under the heading ,contributions from the ,united ,states ,national ,herbarium4 ,this work forms number #bbb of the ,bulletin series4 ,,remington ,,kellogg ,director1 ,united ,states ,national ,museum ,,contents ,page ,preface ,,ix ,jackson and his ,tradition #c ,the ,woodcut ,tradition #d ,status of the ,woodcut #g ,the ,chiaroscuro ,tradition #i ,jackson and his ,work #ac ,england3 ,obscure ,beginnings #ad ,paris3 ,perfection of a ,craft #ag ,venice3 ,the ,heroic ,effort #be ,england ,again3 ,the ,wallpaper ,venture #dj ,critical ,opinion #ea ,postscript #ed ,catalog #fi ,prints by ,jackson #ga ,jackson's ,workshop #ij ,unverified ,subjects #ie ,the ,chiaroscuros and ,color ,woodcuts #ig ,bibliography #aga ,index to ,plates #agg ,index #aha ,,preface ,john ,baptist ,jackson has received little recognition as an artist4 ,this is not surprising if we remember that originality in a woodcutter was not considered a virtue until quite recently4 ,we can now see that he was more important than earlier critics had realized4 ,he was the most adventurous and ambitious of earlier woodcutters and a trailblazer in turning his art resolutely in the direction of polychrome4 ,to #aith century writers on art1 from whom we have inherited the bulk of standard catalogs1 lexicons1 and histories-- along with their judgments-- ,jackson's work seemed less a break with tradition than a corruption of it4 ,his chiaroscuro woodcuts 7prints from a succession of woodblocks composing a single subject in monochrome light and shade7 were invariably compared with those of the #afth century ,italians and were usually found wanting4 ,the exasperated tone of many critics may have been the result of an uneasy feeling that he was being judged by the wrong standards4 ,the purpose of this monograph1 aside from providing the first full-length study of ,jackson and his prints1 is to examine these standards4 ,the traditions of the woodcut and the color print will therefore receive more attention than might be expected1 but ,i feel that such treatment is essential if we are to appreciate ,jackson's contribution1 in which technical innovation is a major element4 ,short accounts of ,jackson have appeared in almost all standard dictionaries of painters and engravers and in numerous historical surveys1 but these have been based upon meager evidence4 ,a fraction of his work was usually known and details of his life were1 and still are1 sparse4 ,later writers interpreting the comments of their predecessors have repeated as fact much that was conjecture4 ,the picture of ,jackson that has come down to us1 therefore1 is unclear and fragmentary4 ,if he does not emerge from this study completely accounted for from birth to death1 it has not been because of lack of effort4 ,biographical data for his early and late life-- about fifty years in all-- are almost entirely missing despite years of diligent search4 ,as a man he remains a shadowy figure4 ,i have traced ,jackson's life as far as the available evidence will permit1 quoting from the writings of the artist and his contemporaries at some length to convey an essential flavor1 but ,i have refrained from filling in gaps by straining at conjecture4 ,while details of his life are vague1 sufficient information is at hand to reconstruct his personality clearly enough4 ,after all1 ,jackson wrote a book and was quoted at length in another4 ,a contemporary fellow-practitioner wrote about him with considerable feeling4 ,these and other sources give a good indication of the artist's character4 ,the man we have to deal with had something excessive about him2 he was headstrong1 tactless1 impractical1 enormously energetic1 a prodigious worker1 a conceiver of grandiose projects1 and a relentless hunter of patrons4 ,he was at home with his social superiors and had some pretentions to literary culture1 he had a coarse gift for the vivid phrase in writing1 and his tastes in art ran to the classic and heroic4 ,this study includes an illustrated catalog of ,jackson's chiaroscuros and color prints4 ,previous catalogs1 notably those of ,nagler1 ,le ,blanc1 and ,heller1 have listed no more than twenty-five works4 ,the present catalog more than triples this number4 ,to acknowledge fully the assistance given by museum curators1 librarians1 archivists1 and scholars on both sides of the ,atlantic would necessitate a very long list of names4 ,however1 ,i wish especially to thank ,mr4 ,peter ,a4 ,wick of the ,museum of ,fine ,arts1 ,boston1 who has been generous enough to allow me to read his well-documented paper on ,jackson's ,ricci prints2 ,mr4 ,a4 ,hyatt ,mayor of the ,metropolitan ,museum of ,art2 ,mr4 ,carl ,zigrosser of the ,philadelphia ,museum of ,art2 ,miss ,anna ,c4 ,hoyt and ,mrs4 ,anne ,b4 ,freedberg of the ,museum of ,fine ,arts1 ,boston2 ,dr4 ,jakob ,rosenberg and ,miss ,ruth ,s4 ,magurn of the ,fogg ,art ,museum2 ,mr4 ,karl ,kup of the ,new ,york ,public ,library2 ,miss ,elizabeth ,mongan of the ,rosenwald ,collection1 ,national ,gallery of ,art2 ,miss ,una ,e4 ,johnson of the ,brooklyn ,museum2 ,mr4 ,gustave von ,groschwitz of the ,cincinnati ,art ,museum2 and ,dr4 ,philip ,w4 ,bishop of the ,u4,s4 ,national ,museum1 ,smithsonian ,institution4 ,i am particularly grateful to curators of ,european collections1 who have been uniformly generous in their assistance4 ,special thanks are due ,mr4 ,j4 ,a4 ,gere of the ,british ,museum and ,mr4 ,james ,laver of the ,victoria and ,albert ,museum1 who have gone to considerable trouble to acquaint me with their great collections4 ,others whose help must be particularly noted are ,mr4 ,peter ,murray1 ,courtauld ,institute of ,art1 ,university of ,london2 ,mme4 ,r4 ,maquoy-,hendrickx of the ,bibliothque ,royale de ,belgique1 ,brussels2 ,dr4 ,vladimr ,novotn of the ,nrodn ,galerie1 ,prague2 ,dr4 ,wegner of the ,graphische ,sammlung1 ,munich2 ,dr4 ,wolf ,stubbe of the ,kunsthalle1 ,hamburg2 ,dr4 ,g4 ,busch of the ,kunsthalle1 ,bremen2 ,dr4 ,hans ,mhle of the ,staatliche ,museen1 ,berlin2 ,dr4 ,menz of the ,staatliche ,kunstsammlungen1 ,dresden2 ,miss ,b4 ,l4 ,d4 ,ihle of the ,boymans ,museum1 ,rotterdam2 and ,m4 ,jean ,adhmar of the ,bibliothque ,nationale1 ,paris4 ,the excellent collections of chiaroscuro prints in the ,museums of the ,smithsonian ,institution have formed a valuable basis for this monograph4 ,these prints include the set of ,jackson's ,venetian chiaroscuros1 originally owned by ,jackson's patron1 ,joseph ,smith1 ,british ,consul in ,venice1 now in the ,rosenwald ,collection1 ,national ,gallery of ,art1 and the representative sampling of ,jackson's work in the ,division of ,graphic ,arts1 ,u4,s4 ,national ,museum4 ,i am indebted to the following museums which have kindly given permission to reproduce ,jackson prints in their collections4 ,these are listed by catalog number4 ,smithsonian ,institution #af1 #ah1 #ai1 #bj1 #ba1 #bb 7also in color71 #bd1 #be1 #bf1 #bg1 #bh1 #bi1 #cj1 #ci1 #ej1 #ea1 #eb1 #ec 7also in color71 #ed1 #ee1 #ef1 #eg1 #eh1 #fc ,museum of ,fine ,arts1 ,boston 7,w4 ,g4 ,russell ,allen ,estate7 #a 7also in color71 #aa1 #ad1 #bc1 #cc1 #cd1 #ch1 #dj 7also in color7 ,fogg ,art ,museum #ac 7also in color7 ,worcester ,art ,museum #cb ,metropolitan ,museum of ,art #e 7,rogers ,fund7 7also in color71 #ag1 #ca 7gift of ,winslow ,ames71 #gc 7,whittelsey ,fund7 ,philadelphia ,museum of ,art 7,john ,frederick ,lewis ,collection7 #b1 #fj1 #fa1 #fb1 #fd1 #fe1 #ff1 #fg1 #fh1 #gd ,british ,museum #b 7in color71 #f1 #g1 #h1 #i1 #aj1 #ab1 #ae1 #cg1 #da1 #db1 #dc 7also in color71 #dd1 #de1 #df1 #dg1 #dh1 #di 7also in color71 #ei1 #fi1 #gj1 #ga1 #gb1 #ge1 #gf 7photographs by ,john ,r4 ,freeman ,co47 ,victoria and ,albert ,museum 7,crown copyright7 #c1 #ce1 #cf1 #dj ,finally1 ,i want to thank the ,editorial ,office of the ,smithsonian ,institution for planning and designing this book2 the ,government ,printing ,office for their special care in its production2 and ,mr4 ,harold ,e4 ,hugo for his expert supervision of the color plates4 ,a grant from the ,american ,philosophical ,society 7,johnson ,fund71 made it possible to conduct research on ,jackson in ,europe4 ,acknowledgment is herewith gratefully given4 ,,jacob ,,kainen ,smithsonian ,institution ,september #a1 #aifa ,john ,baptist ,jackson #ahth-,century ,master of the ,color ,woodcut ,jackson and ,his ,tradition ,the ,woodcut ,tradition ,although the woodcut is the oldest traditional print medium it was the last to win respectability as an art form4 ,it had to wait until the #ahhj's and #ahij's1 when ,vallotton1 ,gauguin1 ,munch1 and others made their first unheralded efforts1 and when ,japanese prints came into vogue1 for the initial stirrings of a less biased attitude toward this medium1 so long considered little more than a craft4 ,with the woodcut almost beneath notice it is understandable that ,jackson's work should have failed to impress art historians unduly until recent times4 ,although he bore the brunt as an isolated prophet and special pleader between #agbe and #aged1 his significance began to be appreciated only after the turn of the #bjth century1 first perhaps by ,martin ,hardie in #aijf1 and next and more clearly by ,pierre ,gusman in #aiaf and ,max ,j4 ,friedlnder in #aiag1 when modern artists were committing heresies1 among them the elevation of the woodcut to prominence as a first-hand art form4 ,in this iconoclastic atmosphere ,jackson's almost forgotten chiaroscuros no longer appeared as failures of technique1 for they had been so regarded by most earlier writers1 but as deliberately novel efforts in an original style4 ,the innovating character of his woodcuts in full color was also given respectful mention for the first time4 ,but these were brief assessments in general surveys4 ,if the woodcut was cheaply held1 it was at least acceptable for certain limited purposes4 ,but printing pictures in color1 in any medium1 was considered a weakening of the fiber-- an excursion into prettification or floridity4 ,it was not esteemed in higher art circles1 except for a short burst at the end of the #ahth century in ,france and ,england4 ,this was an important development1 admittedly1 and the prints were coveted until quite recently4 ,they are still highly desirable4 ,but while ,bartolozzi stipple engravings or ,janinet aquatints in color might have commanded higher prices than ,callots or ,goyas1 or even than many ,drers and ,rembrandts1 no one was fooled4 ,the extreme desirability of the color prints was mostly a matter of interior decoration3 nothing could give a finer #ahth century aura4 ,it was not so much color printing that mattered2 it was late #ahth century color printing that was wanted1 often by amateurs who collected nothing else4 ,color prints before and after this period did not appeal to discriminating collectors except as rarities1 as exotic offshoots4 ,even chiaroscuros1 with their few sober tones1 fell into this periphery4 ,jackson1 as a result1 was naturally excluded from the main field of attention4 ,the worship of black-and-white as the highest expression of the graphic arts#a automatically placed printmakers in color in one of two categories3 producers of abortive experiments1 or purveyors of popular pictures to a frivolous or sentimental public4 ,this estimate was unfortunately true enough in most cases1 true enough at least to cause the practice to be regarded with suspicion4 ,as an indication of how things have changed in recent years we can say that color is no longer the exception4 ,it threatens1 in fact1 to become the rule1 and black-and-white now fights a retreating battle4 ,a comparison of any large exhibition today with one of even #bj years ago will make this plain4 ,footnote #a3 ,the purist's attitude was pungently expressed by ,whistler4 ,pennell records this remark3 8,black ink on white paper was good enough for ,rembrandt2 it ought to be good enough for you40 7,joseph ,pennell1 ,the ,graphic ,arts1 ,chicago1 #aiba1 p4 #agh47 ,at first glance ,jackson seems to be simply a belated #ahth-century worker in the chiaroscuro process4 ,if to later generations his prints had a rather odd look1 this was to be expected4 ,native qualities1 even a certain crudeness1 were expected from the ,english who lacked advantages of training and tradition4 ,and ,jackson was not only the first ,english artist who worked in woodcut chiaroscuro1 he was virtually the first woodblock artist in ,england to rise beyond anonymity#b 7,elisha ,kirkall1 as we shall see1 cannot positively be identified as a wood engraver7 and he was the only one of note until ,thomas ,bewick arose to prominence about #aghj4 ,he was1 then1 ,england's first outstanding woodcutter4 ,we will find other instances of his significance from the ,english standpoint1 but his being ,english1 of course1 would have a small part in explaining the importance of his prints4 ,footnote #b3 ,the only earlier name is that of ,george ,edwards4 ,oxford ,university has most of the blocks for a decorated alphabet he engraved on end-grain wood for ,dr4 ,fell in #afgd4 ,further data on ,edwards can be found in ,harry ,carter's ,wolvercote ,mill1 ,oxford1 #aieg1 pp4 #ad1 #ae1 #bj1 and in ,moxon's ,mechanick ,exercises1 or the ,doctrine of ,handy ,works ,applied to the ,art of ,printing4 7,reprint of #ast ed41 #afhc1 edited and annotated by ,herbert ,davis and ,harry ,carter1 ,oxford1 #aieh1 p4 #bfn47 ,jackson made1 in fact1 the biggest break in the traditions of the woodcut since the #afth century4 ,he broadened the scope of the chiaroscuro print and launched the color woodcut as a distinct art form that rivaled the polychrome effects of painting while retaining a character of its own4 ,these were not modest little pieces of purely technical interest4 ,the set of #bd sheets reproducing #ag paintings by ,venetian masters made up the most heroic single project in chiaroscuro1 and the #f large landscapes1 completed in #agdd1 after gouache paintings by ,marco ,ricci1 were the most impressive color woodcuts in the ,western world between the #afth century and the last decade of the #aith4 ,but ,jackson's grand ambition to advance the woodcut beyond all other graphic media had little public or private support and finally led him to ruin4 ,his efforts were made with insufficient means and with few patrons4 ,as a consequence1 he rarely printed editions after the blocks were cut and proofed4 ,the ,venetian set is well known because it was printed in a substantial edition4 ,a few additional subjects were also sponsored by patrons1 but most of ,jackson's other chiaroscuros were never published-- they were limited to a few proofs4 ,editions were postponed1 no doubt1 in the hope that a patron would come along to pay expenses in return for a formal dedication in ,latin1 but this did not often happen4 ,most subjects exist in a few copies only2 of some1 single impressions alone remain4 ,others have entirely disappeared4 ,with a large part of ,jackson's work unknown1 his reputation settled into an uneasy obscurity which1 it must be granted1 has not prevented his work from being collected4 ,the chiaroscuros1 especially the ,venetian prints1 can be found in many leading collections in ,europe and the ,united ,states1 but the full-color sheets after ,ricci are excessively rare1 particularly in complete sets4 ,jackson has long been considered an interesting figure4 ,his ,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro4441#c with its bold claims to innovation and merit1 his adventurous career as an ,english woodcutter in ,europe1 his adaptation of the color woodcut to wallpaper printing and his pioneering efforts in this field1 and ,papillon's immoderate attack on him in the important ,trait historique et pratique de la gravure en bois#d will be discussed later4 ,for the moment we can say that the ,essay was the first book by an ,englishman with color plates since the ,book of ,st4 ,albans of #adhf1 with its heraldic shields in three or four colors1 and the first book with block-print plates in naturalistic colors4#e ,footnote #c3 ,jackson1 ,london1 #aged4 ,hereafter cited as ,essay4 ,other references bearing directly on ,jackson will receive only partial citation in the text4 ,they are given in full in the bibliography1 page #aga4 ,footnote #d3 ,papillon1 ,paris1 #agff4 ,hereafter cited as the ,trait4 ,footnote #e3 ,occasional book illustrations in two or three colors1 confined chiefly to initial letters and ornamental borders1 appeared as early as the #aeth century4 ,ratdolt in #adhe printed astronomical diagrams in red1 orange1 and black1 and used similar colors in a ,crucifixion in the ,passau missal of #adid4 ,the ,liber selectarum cantionum of ,senfel1 #aebj1 however1 has a frontispiece printed in a broad range of colors from more than four woodblocks4 ,the design is attributed to ,hans ,weiditz4 ,although critics have been interested in ,jackson as an historical figure1 they have been uncertain about the merit of his work4 ,opinions vary surprisingly4 ,most judgments were based on the ,venetian chiaroscuros and depended upon the quality of impressions1 many of which are poor4 ,criticisms when they have been adverse have been surprisingly harsh4 ,it is unusual1 to say the least1 for writers to take time explaining how bad an artist is4 ,to do this implies1 in any case1 that he warrants serious attention2 space in histories is not usually wasted on nonentities4 ,we can see now that ,jackson was misunderstood because the uses of the woodcut were rigidly circumscribed by tradition4 ,status of the ,woodcut ,after the #aeth century the woodcut lost its primitive power and became a self-effacing medium for creating facsimile impressions of drawings and for illustrating and decorating books1 periodicals1 and cheap popular broadsides4 ,at its lowest ebb1 in the late #agth century1 and in the #ahth1 it was used to make patterns for workers in embroidery and needlework and to supply outlines for wallpaper designs to be filled in later by 8paper-stainers40 ,the prime deficiency of the woodcut as an art form lay in the division of labor which the process permitted4 ,draughtsmen usually drew on the blocks2 the main function of the cutter was to follow the lines precisely and carefully4 ,small room existed for individual style or original interpretation2 there was little in the technique to distinguish one cutter from another4 ,in spite of these limitations1 gifted cutters could rise beyond the dead level of ordinary practice4 ,as fine draughtsmen with a feeling for their materials they did not trace with the knife1 they drew and carved with it4 ,their feeling for line and shape was sensitive1 crisp1 and supple4 ,but although they created the masterpieces of the medium they suffered from the traditional contempt for their craft4 ,creative ability in a woodcutter was rarely recognized1 and the art fell into gradual decline4 ,by the time the #ahth century opened it had been almost entirely abandoned as a means of creating and interpreting works of art1 and had been relegated to a minor place among the print processes4 ,the attitude of the print connoisseur was clearly stated as early as #agfb by ,horace ,walpole3#f ,i have said1 and for two reasons1 shall say little of wooden cuts2 that art never was executed in any perfection in ,england3 engraving on metal was a final improvement of the art1 and supplied the defects of cuttings in wood4 ,the ancient wooden cuts were certainly carried to a great heighth1 but that was the merit of the masters1 not of the method4 ,footnote #f3 ,walpole1 #agfe 7#ast ed4 #agfb71 p4 #c4 ,william ,gilpin in #agfh went even further4 ,describing the various contemporary print processes he omitted the woodcut entirely as not worthy of consideration4 ,he acknowledged that 8wooden cuts0 were once executed by early artists but made no additional reference to the medium4#g ,footnote #g3 ,william ,gilpin1 ,an ,essay on ,prints1 ,london1 #agha 7#ast ed4 #agfh71 p4 #dg4 8,there are three kinds of prints1 engravings1 etchings1 and mezzotintos40 ,as late as #ahdd ,maberly#h cautioned print amateurs to steer clear of block prints3 ,prints1 from wooden blocks1 are much less esteemed1 or1 at least1 are1 generally speaking1 of greatly less cost than engravings on copper2 and there are connoisseurs who may1 perhaps1 consider them as rather derogatory to a fine collection4 ,footnote #h3 ,maberly1 #ahdd1 p4 #acj4 ,specialized histories of wood engraving1 written mainly by #aith-century practitioners and bibliophiles1 have tended to emphasize literal rendition rather than artistic vision4 ,the writers favored wood engraving executed with the burin on the end grain of hard dense wood1 such as box or maple1 because it could produce finer details than the old woodcut1 which made use of knife and horizontally grained wood4 ,they judged by narrow craft standards concerned with exact imitation of surface textures4 ,linton1 for example1 is almost contemptuous in his references to the chiaroscuro woodcut3#i 444 ,the poorest workman may suffice for an excellent chiaroscuro4 ,i do not depreciate the artistic value as chiaroscuros of the various prints here noted nor underestimate the difficulty of production2 but my business has been solely with the not difficult knifecutting and graver cutting of the same4 ,footnote #i3 ,linton1 #ahhi1 p4 #bae4 ,a woodcut in the ,german manner was far more difficult to manage than ,linton imagined4 ,bewick tried to imitate the cross-hatched lines of a ,drer woodcut without success4 ,he finally concluded 7#aibe1 pp4 #bje-bjg7 that the old woodcutters had used two blocks1 each with lines going in opposing directions1 and had printed one over the other6 ,the ,chiaroscuro ,tradition ,the chiaroscuro woodcut was originally designed to serve a special purpose1 to reproduce drawings of the ,renaissance period4 ,these were often made with pen and ink on paper prepared with a tint or with brush and wash tones on white or tinted paper4 ,highlights were made and modeled with brush and white pigment2 the result had something of a bas-relief character4 ,neither line engraving nor etching was suited to reproducing these spirited drawings1 but the chiaroscuro woodcut could render their effects admirably4 ,its nature1 therefore1 was conceived as fresh and spontaneous1 as printed drawing1 in fact4 ,chiaroscuros were usually of two types1 the ,german and the ,italian4 ,the ,germans specialized in reproducing line drawings made on toned paper with white highlights4 ,the woodcuts1 however1 could stand by themselves as black-and-white prints2 the tones required separate printing4 ,the typical ,german chiaroscuro was therefore from two blocks4 ,the earliest dated print in this style is ,lucas ,cranach's ,venus1 with 8#aejf0 appearing on the black block4 ,but the brown tint might have been added a few years later4 ,jost de ,negker1 working after drawings by ,hans ,burgkmair1 cut blocks which are dated1 on the black block at least1 as early as #aejh1 and work by ,hans ,baldung and ,hans ,wechtlin appeared shortly after4 ,the ,italian style originated with ,ugo da ,carpi1 who in #aeaf petitioned the ,senate in ,venice to grant him exclusive rights to the chiaroscuro process1 which he claimed to have invented4 ,for many years1 until ,bartsch adduced proof in favor of the ,germans1 da ,carpi was conceded to be the founder of this process4 ,his first work dates from #aeah but obviously he produced prints earlier-- how much earlier is uncertain4 ,working mainly after the loose1 fresh wash drawings of ,raphael and ,parmigianino he developed a method of reducing their tonal constituents to two or three simple areas plus a partial outline1 each of which was cut on a separate block4 ,the blocks were then inked with transparent tones and printed one over the other to achieve gradations4 ,white highlights were imitated1 as in the ,german manner1 by cutting out lines on a tone block to let the white paper assert itself4 ,the result was a broadly treated facsimile of the original drawing4 ,some liberties were occasionally taken in interpretation1 and sometimes fanciful changes were made in color combinations4 ,this technique was followed in ,italy during the remainder of the #aejj's1 the most prominent early workers being ,antonio da ,trento 7,fantuzzi71 ,domenico ,beccafumi1 and ,giuseppe ,niccol ,vicentino4 ,late in the century ,andrea ,andreani acquired a large number of blocks by previous ,italian chiaroscurists and reissued them1 adding his own monogram4 ,by multiplying these subjects he reduced their rarity and emphasized their distinct character1 their difference from other types of prints4 ,the ,italian term 8chiaroscuro10 meaning light and dark1 has persisted as a generic name for this class of work4 ,the ,italian and ,german techniques were often pursued in variant styles4 ,the ,germans sometimes used three blocks1 with outlines not only in black but in a tone and white as well4 ,burgkmair's ,death as a ,strangler 7,b4 #dj7aj and ,wechtlin's ,alcon ,freeing his ,son from the ,serpent 7,b4 #i7 are of this type4 ,footnote #aj3 ,adam ,bartsch1 ,le ,peintre graveur1 ,vienna1 #ahjc-ahba4 ,the ,italians1 in turn1 often used two blocks in the ,german fashion1 reproducing a complete crosshatched pen drawing with one tint block4 ,even da ,carpi used this procedure more than occasionally1 as in ,st4 ,john ,preaching in the ,desert after ,raphael 7,b4 ,,xii71 and in ,the ,harvest after ,giulio ,romano 7,b4 ,,xii74 ,most other ,italian chiaroscurists made frequent use of this method which had the virtue of simplicity4 ,outstanding exponents included ,niccol ,boldrini1 who worked chiefly after drawings by ,titian1 and in the early #agth century the brothers ,bartolomeo and ,g4 ,b4 ,coriolano4 ,andreani's prints were usually in a more independent style which employed a clear outline in gray or soft brown with three tints blocks4 ,while technical procedures were identical in ,italian and ,german chiaroscuros after pen drawings1 the ,italian work tended to be looser than the ,german1 which was more careful and methodical4 ,the ,italian style1 then1 strictly interpreted1 was simply the da ,carpi style4 ,less rigorously considered1 it included the free ,italian variants of the ,german process4 ,hendrick ,goltzius of ,haarlem1 whose first chiaroscuros date from #aehh1 combined both ,italian and ,german influences with marvelously crisp drawing and cutting and sharper color combinations than were common4 ,paulus ,moreelse1 a ,dutch artist in the first half of the #agth century1 employed a dark block in clear outline but modeled his forms internally in the da ,carpi manner4 ,the technical procedure was therefore close to ,andreani's4 ,a number of other well-known artists including ,simon ,vouet and ,christoffel ,jegher1 and quite a few anonymous ones1 also turned out occasional pieces in the first half of the #agth century1 generally in the manner of da ,carpi or ,goltzius4 ,perhaps the most prolific was ,ludolph ,businck1 who created prints in ,france especially after drawings by ,george ,lallemand4 ,after this period little was done in the medium until #agba1 when ,count ,antonio ,maria ,zanetti in ,venice made his first chiaroscuro woodcut4 ,he worked consistently for almost thirty years and sent proofs to his friends in ,europe1 mostly important connoisseurs1 through whom the prints became widely known4 ,for the most part they were in the da ,carpi style1 to which he added a light charm4 ,between #agbb and #agbd ,elisha ,kirkall in ,london published twelve chiaroscuros after ,italian masters4 ,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 tradition1 but they attracted attention to the old process4 ,in about #agbf ,nicolas and ,vincent ,le ,sueur in ,paris produced some chiaroscuros1 and a year later ,jackson made his first example4 ,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 style4 ,one characteristic was shared in common by all early chiaroscurists2 their work always reproduced drawings1 usually in exact size4 ,jackson added a new dimension to the medium in #agce by beginning to work after oil paintings4#aa ,his attempt to convey their scale1 solidity1 and tonal range1 while retaining the woodcut's breadth of execution1 was perhaps carrying the chiaroscuro into complexities for which it was not suited4 ,the method called for extraordinary talents in planning1 drawing1 cutting1 and printing1 and it resulted in impressions that could not escape a certain heaviness of effect when compared with traditional work4 ,jackson's prints in this style are both daring and original1 but no later woodcutter had either the desire or the temerity to follow his example4 ,the method remained a dead end in chiaroscuro4 ,footnote #aa3 ,andrea ,andreani in #aeii published ten plates after cartoons of ,mantegna's nine paintings1 ,the ,triumph of ,julius ,caesar 7,b4 #aa71 printed from four blocks in variations of gray4 ,but ,mantegna's cartoons were basically drawings in monochrome1 and ,andreani's fine chiaroscuros did not differ appreciably from the usual examples4 ,illustration3 ,tailpiece in ,l',histoire naturelle claircie dans une de ses parties principales1 l'oryctologie1 by ,d4 d',argenville1 ,de ,bure1 ,paris1 #agee4 ,this is one of the cuts ,jackson made between #agbe-agcj4 ,actual size4 ,jackson and ,his ,work ,england3 ,obscure ,beginnings ,little is known of ,jackson's early years4 ,it is assumed that he was born in ,england about #agjj1 although many accounts1 probably based upon ,nagler1 have him born in #agja4 ,papillon#ab conjectures that he studied painting and engraving on wood with 8an ,english painter0 named 8,ekwits10 but is not sure he remembers the name correctly4 ,he believes this artist engraved most of the head pieces and ornaments in ,mattaire's ,latin ,classics1 published by ,j4 and ,r4 ,tonson and ,j4 ,watts in ,london1 #agac1 and remarks on similarities with ,jackson's style4 ,chatto#ac believes these cuts were executed by ,elisha ,kirkall1 interpreting the initials ,,ek appearing on one of the prints to refer to this engraver rather than to 8,ekwits40 ,he goes on to assume that ,kirkall also engraved the blocks for ,croxall's edition of ,aesop's ,fables1 #agbb1 by the same publisher1 and adds that ,jackson was probably his apprentice and might have had some share in their execution4 ,most accounts of ,jackson1 taking ,chatto's word1 note him as a pupil of ,kirkall4 ,footnote #ab3 ,papillon1 #agff1 vol4 #a1 p4 #cbc4 ,most probably ,papillon confused 8,ekwits0 with ,elisha ,kirkall4 ,footnote #ac3 ,chatto and ,jackson1 #ahfa 7#ast ed4 #ahci71 p4 #ddh4 ,linton#ad believes that only ,kirkall or ,jackson could have made the cuts1 8unless some ,sculptor ignotus is to be credited with that most notable book of graver-work in relief preceding the work of ,bewick40 ,footnote #ad3 ,linton1 #ahhi1 p4 #acj4 ,but it is doubtful that ,jackson was a pupil of ,kirkall4 ,for this assumption we have the evidence of a curious and important little book1 ,an ,enquiry into the ,origins of ,printing in ,europe1#ae which because of a misleading title and an anonymous author has been overlooked as a reference source4 ,it is a transcription of ,jackson's manuscript journal and was prepared for publication to coincide with the launching of the wallpaper venture1 ,kirkall is mentioned as follows 7pp4 #be-bf73 444 ,i shall give a brief account of the ,state of ,cutting on ,wood in ,england for the type ,press before he ,jackson went to ,france in #agbe4 ,in the beginning of this ,century a remarkable ,blow was given to all ,cutters on ,wood1 by an invention of engraving on the same sort of ,metal which types are cast with4 ,the celebrated ,mr4 ,kirkhal1 an able ,engraver on ,copper1 is said to be the first who performed a ,relievo ,work to answer the use of ,cutting on ,wood4 ,this could be dispatched much sooner1 and consequently answered the purpose of ,book-sellers and ,printers1 who purchased these sort of ,works at a much chaper sic ,rate than could be expected from an ,engraver on ,wood4444 ,footnote #ae3 ,london1 #ageb4 ,hereafter cited as the ,enquiry4 ,the first half deals with ,jackson's opinions on the origins of printing from movable type and the progress of cutting on wood1 the second half with ,jackson's career and his venture into wallpaper manufacturing4 ,the real content of the book was so little known that ,bigmore and ,wyman's comprehensive1 annotated ,bibliography of ,printing1 ,london1 #ahhj-hf1 vol4 #a1 p4 #bja1 described it as dealing with 8certain improvements in printing-types made by ,jackson1 the typefounder40 ,it does not seem reasonable that ,jackson would learn the art of woodcutting from ,kirkall and then refer to him as a famous engraver on copper and type metal4 ,it is just as difficult to believe that ,kirkall taught ,jackson to work on metal1 not wood4 ,the 8,,ek0 who engraved the blocks for ,mattaire's ,latin ,classics might very well have been ,kirkall1 whose style also might have had something in common with ,jackson's early work4 ,but this would not necessarily indicate a definite influence4 ,english pictorial relief prints for book illustration in the first decades of the #ahth century had one characteristic in common2 they were almost all done with the engraver's burin on type metal or end-grain boxwood4 ,they therefore showed elements of a 8white-line0 style as opposed to the black-line or knife-cut method commonly used in other countries4 ,while it is likely that ,jackson was an exception to the general rule in ,england 7we have his word for it in the ,enquiry1 as we shall see71 he was also deeply influenced by the prevailing ,english style of burin work on wood or type metal4 ,if ,papillon saw a similarity between ,jackson's cuts and those in the ,latin ,classics1 it might have been because he was unfamiliar with other examples of ,english work and did not recognize a national style4 ,the initials 8,j4 ,b4 ,i40 appear on a small cut in the #agag edition of ,dryden's plays1 also published by ,tonson4 ,if this is an early piece by ,jackson it would indicate that he might have been born earlier than #agja1 although it is conceivable that he could have made it when he was sixteen4 ,this is the extent of the evidence1 or rather lack of evidence1 of ,jackson's early years in ,england4 ,nothing is certain except that woodblock work was at a particularly low ebb4 ,standards in typography and printing were rude 7,caslon was just beginning his career71 far inferior to those on the ,continent4 ,cuts were used rather sparingly by printers1 and almost always for initial letters 7these included little pictures71 for tailpieces1 and for decorative borders4 ,as a measure of economy the same cut was often repeated throughout a book4 ,also1 initial letters were sometimes contrived to permit the type for different capitals to be inserted in the center area1 so that in some instances no more than two cuts were needed to begin alternate chapters in a volume4 ,rarely were woodblocks employed to illustrate the text4 ,pictures were almost always supplied by the copper-plate engraver1 even when the prints were small and surrounded with typographical matter4 ,this was an expensive and troublesome procedure1 but it was the only one possible where an able group of cutters or engravers on wood did not exist and where printers found it difficult to achieve good impressions on the uneven laid paper of the time4 ,the main employment for knife cutters on wood was in making the popular prints1 or illustrated broadsides1 which had been sold in city and village throughout the country since the early #afjj's4 ,plank and knife could be used for these prints because of the generally large size of the pictures and the lack of sophistication of the audience4 ,they are described by ,bewick from his memories as a boy in the #agfj's3#af ,i cannot1 however1 help lamenting that1 in all the vicissitudes which the art of wood engraving has undergone1 some species of it are lost and done away3 ,i mean the large blocks with the prints from them1 so common to be seen1 when ,i was a boy1 in every cottage and farm house throughout the country4 ,these blocks1 ,i suppose1 from their size1 must have been cut on the plank way on beech1 or some other kind of close-grained wood2 and from the immense number of impressions from them1 so cheaply and extensively spread over the whole country1 must have given employment to a great number of artists1 in this inferior department of woodcutting4444 ,these prints1 which were sold at a very low price1 were commonly illustrative of some memorable exploits1 or were1 perhaps1 the portraits of eminent men4444 ,besides these1 there were a great variety of other designs1 often with songs added to them of a moral1 a patriotic1 or a rural tendency1 which served to enliven the circle in which they were admired4 ,to enumerate the great variety of these pictures would be a task4 ,footnote #af3 ,bewick1 #aibe 7#ast ed4 ,london1 #ahfb71 pp4 #baa-bab4 ,bewick adds that some of these popular woodcuts1 although not the great majority1 were very good4 ,since this was the main field for woodcutters1 it is an interesting conjecture that ,jackson might have been trained for this craft4 ,as he matured1 we can assume that he felt the urge to excel as a woodcutter and left the country to develop his potentialities4 ,it must be remembered that in painting and engraving ,england was far behind the continental countries1 which could boast of centuries of celebrated masters4 ,the medieval period persisted in ,england until the time of ,henry ,,viii4 ,traditional religious subjects1 so indispensable to ,european art1 were thereafter generally proscribed4 ,there was no fondness as yet for themes of classical mythology1 and the new and developing national tradition in painting had to form itself on the only remaining field of pictorial expression1 portraiture4 ,standards of style were set by foreign artists who were lured to ,england to record its prominent personages in a fitting manner4 ,beside such masters as ,holbein1 ,zuccaro1 ,moro1 ,geeraerts1 ,van ,dyck1 ,mytens1 ,lely1 ,kneller1 ,zoffany1 and ,van ,loo1 among others1 native painters seemed crude and provincial4 ,the list of foreign artists other than portraitists who visited ,england before #agej for varying periods is also impressive4 ,if good native painters were rare in the first decades of the #ahth century1 good engravers or woodcutters were even rarer4 ,hogarth1 whose earliest prints were produced in the #agbj's1 received his training from a silversmith4 ,jackson's next move was toward the ,continent4 ,paris3 ,perfection of a ,craft ,jackson arrived in ,paris in #agbe1 his age #bd if we accept #agja as his birth date4 ,here flourished a brilliant community of artists1 craftsmen1 dealers1 and connoisseurs2 woodcutting1 etching1 and line engraving were highly developed and the printing offices made extensive use of woodcuts for decoration and illustration4 ,the woodcut tradition mimicked line engraving and was confined chiefly to tiny blocks wrought with the utmost delicacy4 ,the main influence came from the #agth century-- in particular from the etchings and line engravings of ,sbastien ,le ,clerc and from the etchings of ,jacques ,callot1 whose simple system of swelling parallel lines1 with occasional cross-hatchings1 was adopted by both line engravers and woodcutters4 ,le ,clerc1 whose style was influenced by ,callot1 had produced a vast number of illustrations involving subjects of almost every type2 his designs1 therefore1 were ready-made for publishers who wanted good but low-priced illustrations4 ,woodcutters copied his engravings shamelessly1 line for line4 ,the overblown high ,baroque style in ornament1 swag1 and cartouche was also drawn upon as a source for decorative cuts4 ,in an attempt to imitate the full tonal scale of engraving1 the woodcutters used heavier lines in the foreground to detach the main figures from the background1 which was made up of more delicate lines4 ,background lines were often narrowed further by scraping down their edges1 an operation that caused them to merge imperceptibly into the white paper4 ,in this way1 although the natural vigor of the woodcut suffered1 an effect of space and distance was achieved4 ,because of the small scale this technique was difficult1 especially when cross-hatching was added1 and special knives as well as a phenomenal deftness were needed to work out these bits of jewelry on the plank grain of pear1 cherry1 box1 and serviceberry wood4 ,jackson's initial impression of the state of woodcutting in ,france is described in the ,enquiry 7p4 #bg73 ,from this ,account it is evident that there was little ,encouragement to be hoped for in ,england to a ,person whose ,genius led him to prosecute his ,studies in the ancient ,manner2 which obliged ,mr4 ,jackson to go over to the ,continent1 and see what was used in the ,parisian ,printing-houses4 ,at his arrival there he found the ,french ,engravers on ,wood working in the old ,manner2 no ,metal ,engravers1 or any of the same ,performance on the end of the ,wood1 was ever used or countenanced by the ,printers or ,booksellers in that ,city4 ,he tells us that he thought himself a tolerable good ,hand when he came to ,paris1 but far inferior to the ,performances of ,monsieurs ,vincent le ,seur and ,jean ,m4 ,pappillon4444 ,jackson admits benefiting from the friendship and advice of these woodcutters1 then goes on to describe their work with a ruthless frankness4 ,le ,sueur1 he says1 was a brilliant copyist of the line engravings of ,sbastien ,le ,clerc but1 because he was a line-for-line copyist1 lacked skill in drawing4 ,papillon's father1 also a woodcutter who copied ,le ,clerc1 avoided cross-hatching1 which ,jackson considered an essential ingredient of the true style of black-and-white woodcutting2 ,papillon himself1 while described as a draughtsman of the utmost accuracy1 was criticized for making his work so minute that it was impossible to print clearly4 ,jackson says in the ,enquiry 7pp4 #bi-cj73 ,if his ,father neglected ,cross ,hatching1 the ,son affected to outstrip the le ,seurs in this difficult ,performance1 and even the ancient ,venetians1 believing to have fixed a ,non plus ultra in our ,times to any future ,attempts with ,engraving on ,wood4 444 ,i saw the ,almanack#ag in a horrid ,condition before ,i left ,paris1 the ,signs of the ,zodiack wore like a ,blotch1 notwithstanding the utmost ,care and ,diligence the ,printer used to take up very little ,ink to keep them clean4 ,i have chosen to make mention of these two ,frenchmen as the only ,persons in my time keeping up to the ,stile of the ancient ,engraving on ,wood2 and as they favoured me with their ,friendship and ,advice during my abode in ,paris1 ,i thought in ,justice to their good ,nature it was proper to give some ,account of their ,merit6 ,footnote #ag3 ,the ,petit almanach de ,paris1 founded by ,j4 ,m4 ,papillon in #agbg and illustrated with his woodcuts4 ,acknowledgment of friendship and merit in this vein1 while entirely true 7,papillon was minute to the point of exhibitionism1 and his cuts were often not adapted to clear printing71 demonstrates the lack of tact that made powerful enemies for ,jackson wherever he traveled4 ,papillon no doubt read the ,enquiry1 in which he was discussed at length1 and the well-known ,essay1 with its aggressive tone and irresponsible claims4 ,when ,papillon's ,trait came out in #agff he took the opportunity to put the ,english artist in his place4 ,certainly his account was colored by ,jackson's writings2 there is no other explanation for this display of personal bitterness in a work published #cf years after the ,englishman left ,paris 7pp4 #cbg-cbh73 ,j4 ,jackson1 an ,englishman who lived in ,paris for a few years1 might have perfected himself in wood engraving1 which he had learned1 as ,i said previously on page #cbc1 from an ,english painter1 if he had been willing to follow my advice4 ,as soon as he arrived in ,paris he came to me asking for work2 ,i gave him some things to execute for a few months in order to allow him to live1 for which he repaid me with ingratitude by making a duplicate of a floral ornament of my design which he offered1 before delivering the block to me1 to the person for whom it was to be made4 ,from the reproaches ,i received when the matter was discovered1 ,i refused1 naturally1 to employ him further4 ,then he went the rounds of the printing houses in ,paris1 and was forced to offer his work ready-made and without order1 almost for nothing1 and many printers1 profiting by his distress1 supplied themselves amply with his cuts4 ,he had acquired a certain insipid and limited taste1 little above the mosaics on snuffboxes1 similar to other mediocre engravers1 with which he surcharged his works4 ,his mosaics1 however delicately engraved1 are always lacking in effect1 and show the engraver's patience and not his talent2 for the remainder of the cut has only delicate lines without tints or gradations of light and shade1 and lack the contrast necessary to make a striking effect4 ,engravings of this sort1 however deficient in this regard1 are admired by printers of vulgar taste who foolishly believe that they closely resemble copper plate engraving1 and that they give better impressions than those of a picturesque type having a greater variety of tints4 ,jackson1 having been forced by poverty to leave ,paris1 where he could find nothing further to do1 traveled in ,france2 then1 disgusted with his art1 he followed a painter to ,rome1 after which he went to ,venice1 where1 ,i am told1 he married1 and then returned to ,england1 his native country4 ,whether or not ,jackson was unethical he was certainly an active competitor and many printers 8supplied themselves amply with his cuts40 ,he must have produced an enormous amount of work during his five years in ,paris because ,john ,smith1 in his ,printers ,grammar1#ah says that ,jackson's cuts were used so widely and for so many years in ,paris that they replaced the fashion of using 8flowers10 or typographical ornaments1 and that this style did not come into vogue again until the cuts were completely worn down through use4 ,footnote #ah3 ,smith1 #agee1 p4 #acf4 ,this statement is not entirely true1 but it is probable that ,jackson's woodcuts1 more broadly executed than the typical ,french products1 outlasted all others of the #agbe-cj period4 ,they were consistently re-used1 and appeared1 as far as they can be traced1 well into the #aghj's4#ai ,footnote #ai3 ,see cuts in ,dissertatiumeula quodlibetariis disputationibus of ,c4 ,l4 ,berthollet1 ,paris1 #aghj1 and ,voyage littraire de la ,grce1 of de ,guys1 #aghc4 ,elsewhere in the ,trait1 however1 ,papillon has a good word for ,jackson's abilities3#bj ,jackson1 of whom ,i have already spoken1 also engraved in chiaroscuro2 ,i have a little landscape by him which is very nicely done4 ,footnote #bj3 ,p4 #dae4 ,this may be the print formerly in ,dresden but lost during the war4 ,it was inevitable that ,papillon and ,jackson should clash4 ,the ,frenchman's notion of woodcutting was influenced1 as we have seen1 by copper plate engraving2 he wanted1 by incredible minuteness of cutting1 to achieve approximately the same results4 ,this was in keeping with the delicate ,french rocaille tradition on which ,papillon was nurtured2 to him any other contemporary style of book decoration was evidence of bad taste4 ,jackson1 on his part1 felt that this approach violated the essentially broad1 vigorous nature of the woodcut and1 in addition1 made excessive demands on the printer4 ,since this impoverished beginner1 and an ,englishman at that1 refused to take his earnest advice or to fall into the prevailing style1 ,papillon was enraged4 ,after all1 ,jackson was working as an employee4 ,but ,papillon was not entirely blind4 ,in a number of places in the ,trait he made reference to other woodcutters who were working in ,jackson's style1 and he recorded some of the works the ,englishman illustrated during his five years in ,paris4 ,illustration3 ,headpiece by ,j4 ,m4 ,papillon for his ,trait historique et pratique de la gravure en bois1 ,paris1 #agff1 vol4 #c4 ,this is an example of ,papillon's minute style1 against which ,jackson rebelled4 ,actual size4 ,jackson's blossoming out as a maker of wallpaper after his return to ,england and his brash claims in this connection in the ,essay1 must also have irked ,papillon1 who knew the field as an expert2 his father in #afhh had set up the first large printing house in ,france for wall hangings1 and after his death in #agbc ,papillon had inherited it4 ,in #agdj1 he sold the business to the widow ,langlois1 but he had run the shop during ,jackson's residence in ,paris and his former employee no doubt had learned a great deal by observing its operation4 ,yet here more than twenty years later was the upstart ,englishman again1 venturing into wallpaper manufacturing with an air of moral superiority1 attacking all other products as unworthy4 ,jackson's ridiculing of the ,chinese style must have been particularly galling since ,papillon and his father had specialized in producing such papers4 ,these were much better than comparable ,english work1 but ,jackson1 confining himself to ,english products1 had attacked the whole style without making distinctions4 ,according to the ,enquiry 7pages #cb-ee of this book will be drawn upon for the ensuing details of ,jackson's career71 ,m4 ,annison1 ,director of the ,imprimerie ,royale1 for whom ,jackson produced many cuts1 introduced him to ,count de ,caylus1 collector1 connoisseur1 etcher1 and the leading spirit in ,french engraving at the time4 ,de ,caylus had1 in #agbe1 undertaken to direct the reproduction of drawings and paintings in the best ,french collections4#ba ,pierre ,crozat1 the famous collector1 sponsored the publication of this ambitious work4 ,footnote #ba3 ,recueil d'estampes d'aprs les plus beaux tableaux et d'aprs les plus beaux dessins qui sont en ,france dans le cabinet du ,roy1 dans celui de ,m4 le ,duc d',orlans et dans d'autres cabinets1 divis suivant les diffrentes coles4 ,paris1 #agbi-db1 #b vols41 #ahb plates4 ,often called the ,cabinet ,crozat1 it was reprinted by ,basan in #agfc with aquatint tones by ,franois ,charpentier replacing the woodblock tints4 ,the drawings were reproduced in chiaroscuro while the paintings were rendered in black-and-white by a corps of engravers4 ,the chiaroscuros were made by combining an etched outline1 usually by de ,caylus or ,p4 ,p4 ,a4 ,robert1 with superimposed tones1 mainly in green or buff1 from one or two woodblocks cut in most cases by ,nicolas ,le ,sueur1 or under his direction4 ,this was not a new printing method4 ,hubert 7not ,hendrick7 ,goltzius had first employed it in a set of ,roman emperors after antique medallions in #aeeg4bb ,to reproduce drawings by ,raphael1 ,parmigianino1 and himself1 ,abraham ,bloemart1 as well as ,frederick and ,cornelius ,bloemart in the early #afjj's1 had used this combination extensively1 and as described earlier1 p4 #aa1 ,kirkall had used it between #agbb and #agbd4bc ,the combination method produced rather feeble prints that lacked the vigor of straight woodblock chiaroscuro4 ,the etched outline was thin and ineffective1 and the tints were pallid so as not to overpower the drawing4 ,only ,abraham ,bloemart's prints in this style were convincing1 although ,kirkall's chiaroscuros1 in their soft1 over-modeled way1 had individuality4 ,but the ,cabinet ,crozat lacked distinction entirely4 ,the chiaroscuros had a mechanical look1 a fact not surprising when we remember that they were produced by a team of engravers-- assembled1 as it were1 from several hands working in different media4 ,the best prints were a few chiaroscuros made entirely from woodblocks by ,nicolas ,le ,sueur1 although these were also rather tepid1 no doubt to harmonize with the rest of the work4 ,footnote #bb3 ,imperatorum imagines1 ,antwerp1 #aeeg4 ,the woodblocks were cut by ,josse ,geitleugen4 ,footnote #bc3 ,in the ,enquiry 7p4 #ca7 ,jackson asserts that ,kirkall's tints were made from copper plates1 not woodblocks4 ,jackson tells us that he worked on some tint blocks1 first from a drawing by ,giulio ,romano and later from a drawing by ,raphael1 ,christ ,giving the ,keys to ,st4 ,peter1 the original modello for one of the famous tapestry cartoons4 ,count de ,caylus1 he says1 liked the work and wanted to employ him further on the project1 but ,crozat rejected him flatly4 ,de ,caylus1 according to ,jackson1 was embarrassed and distressed and offered recompense for the lost time and labor1 but ,jackson1 not to be outdone in generosity by a nobleman1 refused1 explaining that the honor of knowing the ,count and receiving his approbation more than made up for his lost effort4 ,vincent ,le ,sueur objected to the combination method and withdrew early from the project4 ,possibly ,jackson1 who also disliked this method and was not known for his discretion1 was considered by ,crozat to be a disruptive element4 ,possibly his style of cutting was not retiring enough for ,crozat's tasteful ,french notion of chiaroscuro4 ,this project1 in any case1 aroused the ,englishman's interest in the process4 ,christ ,giving the ,keys to ,st4 ,peter1 after ,raphael1 made about #agbg1 was probably ,jackson's first chiaroscuro woodcut4 ,no doubt he produced it on his own and offered it as a plate for the publication1 perhaps at the time he was commissioned to cut the tint blocks to be used in combination with de ,caylus' etching of this subject4 ,with both ,papillon and the powerful ,crozat against him1 ,jackson was finished in ,paris4 ,de ,caylus urged him to go to ,italy4 ,accordingly1 in ,april #agcj1 he left ,paris in the company of ,john ,lewis1 an ,english painter1 and set out for ,rome1 where he expected to continue his studies in drawing and deepen his knowledge of art4 ,jackson's style was still being formed during his ,paris period4 ,confined for the most part to initial letters1 headbands1 and tailpieces1 his work differed from contemporary ,french cuts only in its technical handling1 which was firmer and broader4 ,little of a more creative nature came his way1 and the ,paris stay therefore served as a useful interim during which he became adept in his craft4 ,the necessity for keeping himself alive by cutting on wood developed his powers of invention and his facility3 he became a remarkably rapid and skillful cutter4 ,jackson gathered strength in ,paris1 but it was in ,venice that he really came to maturity as an artist4 ,illustration3 ,,tailpiece in ,histoire gnrale de ,languedoc1 by ,claude ,vic and ,j4 ,j4 ,vaissete1 ,paris1 #agcj1 vol4 #a4 ,note the even tone and clean cutting compared with ,papillon's light-and-dark contrasts and dainty cutting4 ,actual size4 ,venice3 ,the ,heroic ,effort ,after leaving ,paris1 ,jackson and ,lewis journeyed to ,marseilles1 where ,jackson became seriously ill and remained for six months1 while ,lewis continued to ,genoa4 ,regaining his health1 ,jackson went on to ,genoa and then to ,leghorn1 ,pisa1 and ,lucca1 arriving in ,florence in ,january #agca4 ,there1 during a stay of several months1 he discussed with the ,grand ,duke of ,tuscany a reprinting of ,vasari's ,lives of the ,painters4 ,jackson was to make cuts for the headpieces1 but the project was eventually dropped1 and he continued to ,bologna1 where he remained a month chiefly in the company of the woodcutter ,g4 ,m4 ,moretti1 who showed him some original blocks cut by ,ugo da ,carpi for printing in chiaroscuro4 ,he then proceeded to ,venice1 arriving 8three ,days before the ,feast of the ,ascension in #agca1 and was highly surprized to find no one ,engraver on ,wood capable to do such poor ,work1 he has seen at ,bolonia40 ,jackson was amply supplied with strong recommendations from ,florence1 and on showing his work to leading printers was urged to settle in ,venice1 where a fine woodcutter capable of both designing and executing cuts was urgently needed4 ,here he also met ,count ,antonio ,maria ,zanetti1 who was well-known as a chiaroscuro woodcutter besides being a collector and patron of the arts4 ,their first meeting is described in the ,enquiry3 444 very soon after his ,jackson's ,arrival he had an ,interview with ,signior ,antonio ,maria ,zannetti2 from the ,accounts he had heard from ,mr4 ,marriette in ,france of this ,man's ,work in ,chiaro ,oscuro1 he expected to see some wonderful ,performance1 but ,parturiunt montes nascetur ridiculus mus is a most applicable ,proverb on this ,occasion4 ,i who have perused this grand ,raccolta of ,zannetti's1 must acknowledge that they are a trifling ,performance1 inferior to any ,attempts of this ,kind in our ,times2 and indeed it is no ,wonder1 when we come to know that this ,man never used a ,press1 nor so much as a ,hand ,roll to print his ,works with4 ,our ,countryman says he had room to suspect he neither did cut or print these ,works1 which was confirmed by the poor ,men who performed both4 ,but such was the ,vanity of this ,author1 that he told the ,public in his ,dedications that he was the ,restorer of that lost ,art1 whereas he only drawed them on the ,blocks1 which might have been done as well by those that cut and printed them4 ,at this first ,interview the low ,cunning of this ,man was discovered4444#bd ,footnote #bd3 ,zanetti certainly cut many of his own blocks1 as the prints with the signature 8,a4 ,m4 ,zanetti1 sculp40 attest4 ,but he also made use of craftsmen in the traditional fashion for other blocks and for the mechanical phase of printing4 ,jackson undoubtedly disliked ,zanetti's soft and delicate treatment1 so characteristic of #ahth-century work1 and considered his interpretation of ,parmigianino and ,raphael little short of sacrilege4 ,since ,jackson was incapable of hiding his feelings a quarrel became inevitable4 ,the first rift came when ,zanetti let ,jackson have for a few weeks a drawing by ,parmigianino1 the ,venus and ,cupid with a ,bow1 to be executed in four blocks4 ,the print was done 8intirely in ,hugo's da ,carpi's manner1 with this ,difference1 that no ,oscuro block has a ,contour to resemble the original ,drawing it was done from1 which is seldom seen in ,hugo's works44440 ,zanetti1 surprised by the fine quality of the first proof1 proposed to pass it off on ,mariette in ,paris as an original da ,carpi print4 ,he even stained it and cut holes in it to give the impression of aged worm-eaten paper4 ,at the same time ,jackson executed another chiaroscuro1 also based on a ,parmigianino drawing1 the ,woman ,standing ,holding ,jar on her ,head4 ,zanetti1 says the ,enquiry-- 444 caressed the ,author with the highest ,expressions of ,zeal for his ,service1 protesting he would communicate his ,capacity to his ,correspondents all over ,europe1 which would be the ,means to advance his ,fortune1 especially amongst the ,english ,quality and ,gentry who travelled ,italy4 ,the intent of all those fine ,promises was to get the two ,sets of ,blocks into his ,hands1 which he expected as a ,present for the ,use of the two original ,drawings1 from which these ,prints were taken2 but this not being complyed with1 the ,restaurati expressed a ,resentment at this ,refusal1 and took all the ,opportunities to distress the ,undertakings of any ,sort performed by ,mr4 ,jackson1 during fourteen ,years ,residence in ,venice4 ,zanetti was charged1 in some obscure way1 with obstructing ,jackson's work in cutting #acf blocks for the ,istoria del ,testamento ,vecchio e ,nuovo1 popularly known as the ,bibbia del ,nicolosi1#be published by ,g4 ,b4 ,albrizzi in #agcg4 ,we are informed that ,filippo ,farsetti1 one of ,jackson's patrons1 paid him for the whole set of cuts after rebuking ,zanetti for interference4 ,footnote #be3 ,these cuts were also used for the ,biblia ,sacra1 published by ,hertz in ,venice in #agdj4 ,the ,englishman evidently was kept well occupied with preparing cuts for printers1 among them ,baglioni and ,pezzana4 ,for the latter he made #bd woodcuts for a quarto edition of a ,biblia ,sacra and an unspecified number of ornaments for a folio edition4 ,jackson was given a free hand to conceive and carry out the cuts as he pleased4 ,while working on these prints he began-- to consider on his favourite ,work in ,chiaro ,oscuro1 and by intervals examined what he had projected at ,paris4 ,he began first to make experiments with ,tints1 and having proved that ,four ,impressions could produce ,ten positive ,tints1 besides ,tratti and ,lights2 he resolved to try a large ,piece from ,rubens's ,judgment of ,solomon1 with an intent to prove what could be done with the ,efforts of a ,type ,press before he launched into greater ,expences with another ,machine4 ,he wanted this press in his home1 where he could experiment as he pleased without tying up workmen or equipment in ,pezzana's shop4 ,it might have been professional delicacy that prompted him to ask ,pezzana's permission to have a private press built1 or it might have been a bid for patronage from the generous and influential printer4 ,in any event1 ,pezzana responded by having his carpenters build and install the press at his own expense4 ,to avoid official registrations or craft suspicions1 he had it registered as his own4 ,the trial proofs of ,the ,judgment of ,solomon1 printed from four blocks1 pleased ,jackson in every regard except vigor of impression4 ,unfortunately no edition was published1 despite the dedication to ,filippo ,farsetti4 ,finished in #agce1 this woodcut was probably the first to translate a painting in a full range of tones4 ,from the purely technical standpoint it was an incredible achievement4 ,jackson created a vivid approximation of a large and complex painting and at the same time produced a vigorous woodcut4 ,from four superimposed woodblocks1 with almost no linework1 he was able to capture the full-blooded forms of ,rubens4 ,by keeping his means simple ,jackson asserted the importance of his cutting and printing1 the expressiveness of his drawing1 and the fluidity of his tones4 ,obviously such a procedure required major decisions as to what to omit and what to stress2 in other words it required interpretive abilities of a high order4 ,evidently ,jackson believed that his new chiaroscuro method required heavier pressure than the platen press was capable of4 7,on the usual wooden screw press the size of the platen never exceeded #ac by #ai inches1 because the impressions made with a larger platen would not have been strong enough2 for prints larger than the platen1 the bed was moved and the platen pulled down twice47 ,he had the press returned to ,pezzana and set out to build a more suitable printing machine4 ,he found there were other means to be employed beside a ,type ,press1 and having examined the ,theory of his ,invention put it in ,practice1 by erecting a ,rolling ,press of another ,construction than what is used for printing ,copper ,plates4 ,illustration3 ,,illustration in ,biblia ,sacra published by ,hertz1 ,venice1 #agdj1 vol4 #a4 ,originally cut by ,jackson for ,albrizzi's ,istoria del ,testamento ,vecchio e ,nuovo1 ,venice1 #agcg4 ,actual size4 ,in ,paris ,jackson had suggested using a cylinder press for printing wood blocks4 ,the gentlemen to whom the suggestion was made1 ,count de ,caylus1 ,coypel1 and ,mariette1 were sure that the enormous pressure would split the blocks4 ,the ,englishman1 on the contrary1 felt that the pressure1 properly controlled by a chase1 would hold the blocks together4 ,printing would be much more rapid and the exceptional vigor of the impression would suggest a hand drawing4 ,the use of cylinder presses for chiaroscuro printing was already well known to experts4 ,george ,lallemand and ,ludolph ,businck1 sometime between #afbc and #afdj1 had used not one but a series of six cylinders on three joined presses1 with three printers simultaneously inking separate blocks with different tones4 ,impressions were then printed from each block in succession4 ,papillon#bf described this press1 and also another with a special chase designed at an unspecified date by ,nicolas ,le ,sueur4 ,jackson's prints show a much stronger impression than those of ,businck or ,le ,sueur4 ,no details of his press are known1 although ,thomas ,bewick#bg reported that ,jackson as an old man had shown him a drawing of its construction4 ,footnote #bf3 ,papillon1 vol4 #b1 #agff1 pp4 #cgb-cgc4 ,footnote #bg3 ,bewick1 #aibe1 p4 #bac4 ,illustration3 ,illustration for ,albrizzi's ,istoria1 in which it was cut ,no4 #acf4 ,from ,hertz's ,biblia ,sacra1 vol4 #a4 ,actual size4 ,the cylinder press of ,jackson's design was finished in #agce and paid for by the income from prolonged sieges of work for printing offices4 ,but the overwork and resulting exhaustion laid him low2 a serious illness followed and for several months he was close to death4 ,when he eventually regained his health he found that his cuts for ,baglioni and ,pezzana had been copied and mutilated by an engraver at ,ancona4 ,this pirate was encouraged by the head of a large printing establishment newly founded in ,venice1 who thereupon offered ,jackson work at greatly reduced prices4 ,he refused the offer4 ,with hack woodcutters now stealing both his designs and his manner of cutting1 and working at a far lower rate than he could afford1 he found that the market for his higher priced work had almost entirely disappeared4 ,he still received occasional commissions1 among others the title page to a translation of ,suetonius' ,lives of the ,twelve ,caesars1 printed by ,piacentini in ,venice in #agch4 ,his splendid design1 which shows considerable burin work1 is at odds with the crudity of the remainder of the book4 ,inferior hands reproduced in woodcut outline ,hubert ,goltzius' medallion portraits of ,roman emperors1 originally executed in chiaroscuro 7see p4 #bb74 ,stimulated1 no doubt1 by the combination of chiaroscuro and antiquity1 ,jackson produced a portrait of ,julius ,caesar in four tones of brown after ,egidius ,sadeler's engraving of a subsequently lost painting attributed to ,titian4 ,this was not the only time ,jackson translated a line engraving and added chiaroscuro modeling of his own4 ,he did not make line-for-line copies4 ,jackson was interested in broad effects even when leaning heavily on the delicate linear conventions of line engraving4 ,the lines1 therefore1 are firm and widely spaced1 like photographically enlarged details of copper-plate work4 ,apparently ,jackson felt that the addition of one or two tones from wood blocks would supply the intermediate tints and at the same time would prevent the line system from becoming obtrusive4 ,the decided influence of line engraving was probably the result of his association in #agca with ,g4 ,a4 ,faldoni in ,venice4 ,influenced by ,claude ,mellan1 this engraver made use of swelling parallel lines to create tonal gradations4 ,jackson had first become interested in this technical method through ,ecman's woodcuts after ,callot1 and once ,faldoni had strengthened the attraction he found kindred influences in the engravings of ,villamena and ,alberti1 particularly the former1 from whom he also acquired design ideas he later put to use in his wallpapers4 ,jackson's discovery that he could to some extent use copper-plate techniques was not a reversion to the style of the ,parisian group of ,le ,clerc copyists4 ,jackson used the line system as a means for creating forms in conjunction with tones2 the ,parisian woodcutters used it to imitate the delicate quality of line engraving4 ,he had a formal aesthetic end in view2 their purpose was to render realistic details in a decorative framework4 ,with opportunities for book illustration gone1 ,jackson was in a difficult position4 ,his novel chiaroscuro experiments had consumed valuable time and had lost him his standing as a steady worker for printers4 ,near destitution and scouting around for fresh applications of the woodcut1 he decided to make prints for wallpaper on his new press4 ,it was a logical step for ,jackson1 not only because he knew something of the process but also because he could make use of the chiaroscuro blocks already prepared4 ,late in #agcg or early in #agch he had his first samples ready and sent them to ,robert ,dunbar in ,london1 together with his conditions for carrying on the trade in ,venice4 ,negotiations dragged1 and ,dunbar died before they could come to terms1 but the idea of using his skill and his machine for turning out wallpaper continued to occupy his mind as a possibility4 ,but1 for the time1 the undertaking had to be laid aside while ,jackson looked for more immediate means of employment4 ,at this juncture ,joseph ,smith befriended him4 ,a merchant of long standing in ,venice1 who became the ,british consul there in #agde1 ,smith was a bibliophile1 gem collector1 and connoisseur of the arts4 ,in spite of ,walpole's sneering reference to him as 8the merchant of ,venice10 it must be said that he was expert in his fields of interest4 ,he had excellent taste4 ,his fine collection of books was purchased by ,george ,,iii in #agfe1 and the small ,rembrandt ,descent from the ,cross once in his possession is now in the ,national ,gallery in ,london4 ,from ,smith's bronze statuette of ,neptune1 by ,giovanni da ,bologna1 ,jackson produced a chiaroscuro print in four blocks1 in imitation1 he asserted1 of the prints of ,andrea ,andreani4#bh ,in suggesting the influence of this master1 ,jackson did not refer to his technique or style but to his subject3 in #aehd-aehe ,andreani had produced a chiaroscuro series after other statues by ,giovanni da ,bologna 7,b4 ,,xii1 ,,vi1 #a-d74 ,footnote #bh3 ,the ,neptune was printed on a type press4 ,one of the blocks split in printing and ,jackson stated that thereafter he used the cylinder press exclusively4 ,the next work in ,smith's collection to be reproduced in chiaroscuro was ,rembrandt's ,descent from the ,cross4 ,jackson was evidently well satisfied with the results1 and with good reason4 ,it is an extremely effective print1 with pale yellow lights and transparent shadows4 ,the drawing is remarkable in its feeling for the ,rembrandtesque style4 ,the sky and other parts show ,english white-line burin work of the type found in ,mattaire's ,latin ,classics and ,croxall's ,aesop's ,fables4 ,the ,enquiry says 7p4 #de73 ,as this ,painting was extremely favourable for this sort of ,printing1 he endeavoured to display all his ,art in this ,performance1 and the ,drawing of ,rembrandt's ,stile is intirely preserved in this ,print2 it is dedicated to ,mr4 ,smith1 who generously gave the ,prints to all ,gentlemen who came to ,venice at that time in order to recommend the ,talents of a ,man whose ,industry might please the curious1 and at least be of some ,use to procure him ,encouragement to proceed in other ,works of that ,kind4 ,encouragement soon came4 ,smith interested two of his friends1 ,charles ,frederick and ,smart ,lethieullier1 and the three proposed in #agci the undertaking of a grand project in chiaroscuro1 the reproduction of #ag huge paintings by ,venetian masters4 ,this was to be financed by subscription1 says the ,enquiry 7p4 #df73 the ,proposals in ,french1 and the ,conditions expressed therein1 were drawn up as they thought proper1 without consulting the ,difficulties that must attend an ,enterprize that required some years to accomplish4 ,their own subscriptions were no doubt generous but ,jackson found that his total income from this form of financing1 together with possible future sales1 would hardly cover his expenses4 ,other hazards made his situation even worse4 ,war broke out in ,europe before he was halfway through1 and many ,english gentlemen1 his potential subscribers1 left the country4 ,this exodus meant financial disaster1 but ,jackson kept at his task4 ,he should1 he said1 have gone to ,england for his own best interests but felt that he couldn't disappoint his distinguished patrons4 ,the first print completed was after ,titian's ,st4 ,peter ,martyr at the ,dominican ,church of ,sts4 ,giovanni and ,paolo4 ,in coloring it is similar to the ,rembrandt print1 with gray-green sky1 yellow lights1 and cool brown shadows4 ,while attractive and forceful1 it is not as effective as the ,rembrandt because ,titian1 with his greater range of color1 presented a more complex problem4 ,most of the prints thereafter leaned to monochromes in either browns or greens4 ,the ,st4 ,peter was finished in #agci and in the same year five more prints were brought to completion4 ,in #agdj he produced the three sheets which made up ,tintoretto's ,crucifixion in the ,scuola di ,san ,rocco4#bi ,these were intended to be joined1 if desired1 to form one long print measuring about #bb #ej inches4 ,footnote #bi3 ,jackson mentioned that he was seen drawing the blocks in the presence of ,sir ,roger ,newdigate1 ,sir ,bouchier ,wrey 8and other gentlemen of distinction40 ,the reason for such reference was probably some comment that he might have traced his outlines from ,agostino ,carracci's #aehb engraving of the same subject in three large sheets 7,b4 #bc71 each of which joins the others at precisely the same places as ,jackson's sheets4 ,i am indebted to ,dr4 ,jakob ,rosenberg of the ,fogg ,museum for pointing out these similarities4 ,of the ten remaining subjects1 the last1 ,jacopo ,bassano's ,dives and ,lazarus1 was finished at the end of #agdc1 and the set of #bd plates 7some paintings1 as noted1 were reproduced in three sheets and some in two7 was published as a bound volume by ,j4 ,b4 ,pasquali in ,venice1 #agde1 under the title ,titiani ,vecelii1 ,pauli ,caliarii1 ,jacobi ,robusti et ,jacobi de ,ponte2 opera selectiora a ,joanne ,baptista ,jackson1 ,anglo1 ligno coelata et coloribus adumbrata4 ,the ,venetian prints were not merely an extension of chiaroscuro1 they represented a daring effort to go beyond line engraving for reproducing paintings4 ,justification for this attempt is given in the ,essay 7p4 #f73 444 and though those delicate ,finishings1 and minute ,strokes1 which make up great ,part of the ,merit of engraving on ,copper1 are not to be found in those cut on ,wood in ,chiaro ,oscuro2 yet there is a masterly and free ,drawing1 a boldness of ,engraving and ,relief1 which pleases a true ,taste more than all the little ,exactness found in the ,engravings on ,copper ,plates 444 and indeed has an ,effect which the best ,judges very often prefer to any ,prints from ,engravings1 done with all that ,exactness1 minute ,strokes of the ,graver1 and ,neatness of ,work1 which is sure to captivate the ,minds of those whose ,taste is formed upon the little ,considerations of delicately handling the ,tools1 and not upon the ,freedom1 ,life and ,spirit of the separate ,figures1 and indeed the whole ,composition4 ,a novel device1 embossing1 was employed to give added strength to the prints4 ,this development had been foreshadowed by earlier prints and pages of text which showed a slight indentation where the dampened paper received the impression4 ,embossing had probably first been used systematically by ,elisha ,kirkall in #agbb-bd1 and by ,arthur ,pond in his chiaroscuros1 made in #agcb-cf in conjunction with ,george ,knapton1 after drawings by old masters4 ,jackson admired ,pond's work even though it combined etched outlines with two tone blocks printed from wood4#cj ,pond's embossing was delicate and applied sparely only in certain forms1 such as ruined columns1 but ,jackson's sunken areas were heavier and franker1 consciously intended to give an all-over effect4 ,since the paper could not be pressed out without weakening the embossing1 it often took on the scarred and buckled look that characterizes the ,venetian chiaroscuros4 ,footnote #cj3 ,enquiry1 p4 #ce4 ,the ,japanese began to use embossing about #agcj4 ,see ,reichel1 #aibf1 p4 #dh4 ,the set had occupied him for #d years1 during which he had planned1 cut1 and proofed #id blocks4 ,no sooner was that ended1 and a little ,breathing required after that immense ,fatigue1 in the ,year #agdd he attempted to print in ,colours1 and published six ,landskips in ,imitation of ,painting in ,acquarello4 ,illustration3 ,title page for ,gajo ,suetonio tranquillo1 le vite de'dodici ,cesari1 ,piacentini1 ,venice1 #agch4 ,this new set1 dedicated to ,robert d',arcy1 ,british ,ambassador to the ,republic of ,venice1 was based on gouache paintings by ,marco ,ricci1 probably done on goatskin or leather in his usual manner4 ,for ,jackson to make these color prints was a logical step1 since his work had tended toward the full chromatic range even in the chiaroscuros1 which 8adumbrated0 color4 ,his new prints were all color-- clear1 sensitive1 and tonally just4 ,it is not surprising that he seized upon ,ricci's opaque watercolors4 ,the paintings of the ,venetian masters had darkened in ill-lit churches1 the shadows had become murky1 there were too many figures4 ,but the ,ricci paintings were small and clearly patterned1 the color sparkled4 ,the original gouaches have not been located1 but from other examples in the same manner1 in ,buckingham ,palace and in the ,uffizi1 it is plain that ,jackson took certain liberties4 ,ricci's rather sharp colors were considerably modified and mellowed when they weren't changed entirely3 witness the two sets in different harmonies in the ,british ,museum4 ,peter ,a4 ,wick 7#aiee7 believes it most likely that ,jackson did not copy specific paintings1 and suggests that details from ,ricci's etchings and gouaches were combined and freely amended to create ,ricci-like designs4 ,having determined his color scheme ,jackson cut seven to ten blocks1 each designed to bear an individual color which was to combine with others when necessary to form new colors4 ,no outline block was used4 ,to obtain variations from light to dark in each pigment ,jackson scraped down the blocks with a knife2 he thus lowered the surfaces slightly and created porous textures which would introduce the white paper or the underlying color4 ,examination of the prints clearly shows granular textures in the light areas4 ,scraping to lighten impressions was a common procedure in black-and-white printmaking1 and was described by both ,papillon and ,bewick4 ,in addition ,jackson no doubt used underlays1 that is1 small pieces of paper pasted in layers of diminishing size on the backs of the blocks where the color was most intense4 ,the pressure was therefore greatest in the deepest notes and lightest in the scraped parts4 ,the copper plate press enabled ,jackson to get good register without making marks on the blocks4 ,the paper was dampened and fastened to the chase at one end4 ,after each impression the next inked block was slid into the chase and printed wet into wet4 ,problems of register were eliminated because the sheets were held in place at all times1 the blocks fitting the same form4 ,no doubt the paper was sprinkled with water on the reverse side after each impression to eliminate shrinking and to keep it soft for printing4 ,this method would explain ,jackson's transparent effects4 ,although the ,ricci prints were certainly the most ambitious and complexly planned prints of the century1 the cutting is crisp and decisive and the effect fresh and unlabored4 ,as in the ,venetian set embossing is consciously applied4 ,most likely ,jackson impressed the finished prints1 specially redampened for the purpose1 with one or two of the uninked blocks4 ,jackson interpreted ,ricci's qualities with great spirit1 and in doing so he liberated the color woodcut from its old conventions4 ,the 8true0-color prints he produced in the medium preceded the ,japanese1 if not the ,chinese4#ca ,in ,japan1 it must be remembered1 simple color printing in rose and green supplanted hand coloring in about #agda1 and rudimentary polychrome prints can be dated as early as #agde1 but1 as ,binyon#cb puts it1 8it was not until #agfd that the first rather tentative nishiki-ye1 or complete colour-prints were produced in ,yedo1 and the long reign of the ,primitives came to an end40 ,footnote #ca3 ,altdorfer's ,beautiful ,virgin of ,ratisbon1 about #aebj1 7,b4 #ea1 vol4 #h1 p4 #gh7 made use of five colors in some impressions 7,lippmann describes one with seven colors7 but these were used primarily for decorative1 not naturalistic purposes4 ,footnote #cb3 ,laurence ,binyon1 ,a ,catalogue of ,japanese ,chinese ,woodcuts in the ,british ,museum1 ,london1 #aiaf1 p4 xx1 introduction4 ,in making his ,ricci prints ,jackson sought a method of color printing that would overcome the deficiencies of ,jacob ,christoph ,le ,blon's three-color mezzotint process4 ,le ,blon1 a ,frenchman born in ,germany1 had begun experimenting with color printing as early as #agje4 ,his idea was to split the chromatic components of a picture into three basic hues-- blue1 red1 and yellow-- in gradations of intensity so that varying amounts of color1 each on a separate copper plate1 could be printed in superimposition to reconstitute the original picture4 ,this was based upon a simplification of ,newton's seven primaries4 ,later1 ,le ,blon added a fourth1 black plate4 ,incredibly1 this is the principle of modern commercial color printing1 the only difference being that ,le ,blon did not have a camera1 color filters1 and the halftone screen at his disposal and had to make the separations by hand4 ,le ,blon came to ,london in #agai1 produced an enormous number of color prints1 published his ,coloritto1 or the ,harmony of ,colouring in ,painting in a very small edition about #agbb 7it is undated71 and shortly thereafter failed disastrously4 ,about #agcc he returned to ,paris1 where he attracted a few followers4 ,most of his prints have disappeared1 only about fifty being known at present4 ,illustration3 ,trial proof of the key block of center sheet of ,the ,crucifixion1 after ,tintoretto4 ,national ,gallery of ,art 7,rosenwald ,collection74 ,illustration3 ,,trial ,,proof of the key block of ,christ on the ,mount of ,olives1 after ,bassano4 ,national ,gallery of ,art 7,rosenwald ,collection74 ,the idea of full-color printing1 then1 was in the air1 although later1 in the ,enquiry1 ,jackson took pains to state that he had not been following in the footsteps of the ,frenchman1 who1 he claimed1 had made serious mistakes4 ,the ,curious may think that this ,tentamine was taken from the celebrated ,mr4 le ,blond2 ,i must here take the ,liberty to explain the ,difference4444 ,numbers are convinced already1 that the printing ,copper-plates done with ,fumo or ,mezzotinto1 are the most subject to wear out the soonest of any sort of ,engraving on that ,metal4 ,had this one ,article been properly considered1 le ,blond1 must have seen the impossibility of printing any ,quantity from his repeated ,impressions of ,blue1 ,red1 and ,yellow ,plates1 so as to produce only ,twenty of these printed ,pictures to be alike4 ,this is obvious to every one who has any ,knowledge1 or has seen the cleaning of ,copper-plates after the ,colour was laid on2 the delicate finishing of the ,flesh must infallibly wear out every time the ,plate is cleaned1 and all the tender light ,shadowing of any ,colour must soon become white in proportion as the ,plate wears4 ,the ,nature of ,impression being overlooked at first1 was the principal ,cause that ,undertaking came to nothing1 notwithstanding the immense ,expence the ,proprietors were at to have a few imperfect ,proofs at best1 since it is evident they could be no other4 ,the new invented ,method of printing in ,colours by ,mr4 ,jackson is under no ,apprehension of being wore out so soon4444 ,whatever has been done by our ,english ,artist1 was all printed with ,wood ,blocks with a strong ,relievo1 and in ,substance sufficient to draw off almost any number that may be required4 ,what ,jackson neglected to mention was the difficulty of repeating transparent color effects with large planks of wood4 ,few existing impressions match each other and some prints are off register4 ,what saved him was his fine color sense1 his brilliance as a woodcutter1 and his disinclination to make literal color reproductions4 ,the work that ,jackson left behind became a part of the cultural heritage of ,venice1 valued on its own account as well as for its connection with the city4 ,zanetti#cc describes the ,venetian set and ,zanotto1#cd in his ,guida of #ahef1 urges a visit to the ,chiesa ,abaziale della ,misericordia1 which evidently had on permanent exhibition a 8perfectly unique collection of woodcuts in various colors by ,jackson1 quite unmatched40 ,footnote #cc3 ,zanetti1 #agib1 pp4 #fhi1 #gaf4 ,footnote #cd3 ,zanotto1 #ahef1 p4 #cbj1 note #c4 ,gallo#ce says that some of ,jackson's blocks found their way to the printing house of the ,remondini and were used to strike off new impressions1 after which they became the property of the ,typografia ,pozzato in ,bassano4 ,this might explain some of the inferior examples of the ,venetian set which could hardly have come from the presses of ,jackson or ,pasquali4 ,footnote #ce3 ,gallo1 #aida1 pp4 #bc-bc4 ,jackson's blocks are not listed in the ,remondini catalog of #ahag4 ,england ,again3 ,the ,wallpaper ,venture ,jackson was married in ,venice-- whether to an ,italian we do not know-- and when he left the city in #agde to return to ,england he took a family along4 ,he mentions 8an impoverish'd ,family0 in the ,essay1 but beyond this we know nothing of his personal life4 ,as soon as he arrived in ,england he was invited to work in a calico establishment1 where he remained about six years4 ,but making drawings to be printed on cloth failed to give him the scope he required4 ,at the back of his mind was the passion to work with woodblocks in color4 ,this led him to take a bold and hazardous step-- to leave his position and attempt1 obviously with little capital1 the manufacture of wallpaper1 not to please an established taste but to educate the public to a new type of product4 ,wallpaper had come into popular use in ,england in the late #agth century1 having been obtained from ,china by the ,east ,india ,company4 ,these hand-painted wall hangings1 imported at great cost and in small quantities1 were correspondingly expensive4 ,the subjects were gay and fanciful-- birds1 fans1 ,chinese kiosks1 pagodas1 and flowers4 ,highly desired because they offered an escape from the heavy grandeur of the ,baroque style1 they were subsequently imitated by assembly-line methods4 ,they fitted naturally into the developing rocaille style 7corrupted into ,rococo outside of ,france71 and it is not surprising that they were also produced extensively in ,paris4 ,in ,england these imitations1 which formed a substitute for expensive velvet and damask hangings1 completely dominated the wallpaper field4 ,the first notice of ,jackson's venture appeared in the ,gentleman's ,magazine of ,february #ageb4cf ,a letter signed 8,y4 ,d40 praised the editor 8,sylvanus ,urban0 for attempting to revive the art of cutting on wood4 ,it mentioned that this art was in decline for more than a century1 but noted that-- ,two of our countrymen1 ,e4 ,kirkall and ,j4 ,b4 ,jackson1 ought to be exempted from this general charge2 the former having a few years ago introduced the ,chiaro ,oscuro of ,hugo de ,carpi into ,england1 though he met with no extraordinary encouragement for his ingenuity2 and the art had died with him had not the latter attempted to revive it1 but with less encouragement than his predecessor4 ,mr4 ,jackson1 however1 has lately invented a new method of printing paper hangings from blocks1 which is very ornamental1 and exceeds the common method of paper-staining 7as it is termed7 by the delicacy of his drawings1 the novelty of his designs1 and the masterly arrangement of his principal figures4 ,footnote #cf3 ,vol4 #bb1 pp4 #gg-gi4 ,the next notice appeared in the ,london ,evening ,post of ,april #cj-,may #b1 #ageb3 ,new invented ,,paper ,,hangings1 printed in ,oyl1 which prevents the fading or changing of the ,colours2 as also ,landscapes printed in ,colours1 by ,j4 ,b4 ,jackson1 ,reviver of the ,art of printing in ,chiaro ,oscuro1 are to be had at ,dunbar's ,warehouse in ,aldermanbury1 ,london2 or ,mr4 ,gibson's1 ,bookseller1 opposite the ,st4 ,alban's ,tavern in ,charles-street near ,st4 ,james's-,square1 and no where else4 ,several months afterwards1 in the ,september #ageb issue of ,gentleman's ,magazine1 publication of the ,enquiry into the ,origins of ,printing in ,europe was announced4 ,the ,enquiry is an odd book4 ,it combines rewritten versions of two ,jackson manuscripts1 a study of the origins of printing in ,europe and an autobiographical journal covering1 we suppose1 the years from about #agbe on4 ,the writer1 in his introduction1 says that he had been attracted by the two notices mentioned and went to see ,jackson1 whom he already knew by reputation4 ,as a 8,lover of ,art0 he considered it his duty to acquaint the public with ,jackson's ideas concerning the origins of printing4 ,these ideas1 he felt1 were an important contribution4 ,after devoting half the little book to a rambling account of this subject1 including a short history of woodcutting from ,drer onward1 the author suddenly shifts to the journal4 ,it is regrettable that he condensed it because we do not know what was left out4 ,it is possible that much autobiographical information was excluded1 as well as a picture of woodcutters and woodcutting of the time4 ,the book concludes with the statement that ,jackson intended to print in ,october of that year 7#ageb7 a paper hanging in two sheets after an original painting 8by ,f4 ,simonnetta of ,parma0#cg representing the battle fought near that city in #agch4 ,footnote #cg3 ,there is little doubt that ,jackson meant ,francesco ,simonini 7#afhf-agec71 a painter of battle subjects who was born in ,parma and lived in ,venice in the #agdj's4 ,this print was to be in full color1 #c feet #f inches long by #b feet high1 and was to serve as a specimen for a series of four of the same size1 the others being 8,history1 ,pictures and ,landscapes40 ,they were to be done by subscription3 ,no ,money will be required of the ,subscribers till the ,prints are finished1 and only at the ,delivery4 ,it is to be hoped the ,curious and the ,public will encourage this ,undertaking1 by a ,man who has spent the greatest ,part of his ,life in searching after and improving an ,art1 believed by all to be lost1 and has restored it to the ,condition we now see it in his ,works4 ,the only known copy of this battle picture1 made from about seven blocks1 is in the ,print ,room of the ,british ,museum4 ,it is a magnificent piece4 ,probably nothing with this breadth of handling had ever been done in woodcut before4 ,the color is grave and beautifully harmonized1 although the paper has deteriorated and the colors have darkened somewhat4 ,the blocks were cut with ardor1 almost fury2 everything is brought to life with masterly assurance4 ,martin ,hardie1 who made the only previous comment on this print1 which he could only surmise was ,jackson's1 says3#ch 8,jackson's supreme achievement is a large battle scene1 with wonderful masses of rich colour superbly blended1 reminiscent of ,velasquez in breadth1 in dignity1 and in glory of tone40 ,footnote #ch3 ,hardie1 #aijf1 p4 #bc4 ,there were competitors in ,london1 among them ,matthias ,darley1 who produced papers in the ,chinese style2 ,thomas ,bromwich1 who was patronized by ,walpole2 and ,robert ,dunbar1 ,jr41 of ,aldermanbury1 who in addition sold ,jackson's papers4 ,they lacked both ,jackson's gifts and his unreasonable standards but they produced more generally acceptable wallpaper with greater facility4 ,these competitors did not work in oil colors1 like ,jackson4 ,transparent tints were too difficult to control1 especially when applied with inking balls 7composition rollers did not come into use until well after #ahjj71 and effects were too heavy4 ,they used distemper-- powdered color mixed with glue and water1 with chalk added to give body4 ,this was sometimes applied with woodblock or stencil but most often it was simply painted in by hand over a blockprinted outline4 ,often the painting was done directly on the wall after the paper was hung4 ,these wallpapers were weak when examined critically1 but nobody worried as long as a light bright pastel effect was obtained4 ,jackson's vigorous drawing and woodcutting were out of place in this field4 ,they were1 like his tonal exactitude that made holes in the wall1 a distraction and an offense against interior decoration4 ,jackson's business1 therefore1 did not prosper4 ,in a last effort to stir up public interest he published1 in #aged1 his well-known little book1 ,an ,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro1 illustrated with eight prints in 8proper colours40 ,it sold for two shillings and sixpence4 ,the style was rather florid but his arguments were presented with such vigor that it is easy to see why critics have found it difficult to refrain from quoting at length4 ,the main body of text is only eight pages long1 with an additional eight pages of subsidiary descriptive material attached to the pictures4 ,on the title page appeared his favorite passage from ,pascal1 used previously on the title page of the ,enquiry3 8,ceux qui sont capables d'inventer sont rares3 ceux qui n'inventent point sont en plus grand nombre1 et par consquent les plus forts40 ,the first few pages of the ,essay enlarge on this theme3 ,it has been too generally the ,fate of those who set themselves to the ,inventing any ,thing that requires ,talents in the ,discovery1 to apply all their ,faculties1 exhaust their ,fortune1 and waste their whole ,time in bringing that to ,perfection1 which when obtained1 ,age1 ,death1 or ,want of sufficient ,supplies1 obliges them to relinquish1 and to yield all the ,advantages which their ,hopes had flattered them with1 and which had supported their ,spirits during their ,fatigues and ,difficulties1 to others2 and thus leave behind them an impoverish'd ,family incapable to carry on their ,parent's ,design1 and too often complaining of the projecting ,genius of that ,father who has ruin'd them1 tho' he has enriched the ,nation to which he belonged1 and to which of ,consequence he was a laudable ,benefactor4 ,he proceeds in this bitter vein for a time1 then brings into the open the main purpose of the book3 ,another ,reason perhaps is1 that the ,artist being totally engaged in the ,pursuit of his ,discovery1 has but little ,time to apply to the ,lovers and ,encouragers of ,art for their ,patronage1 ,protection1 and ,supplies necessary for the carrying on such a ,design1 or he has not ,powers to set the ,advantage which would result from it in a true ,light2 nor communicate in ,words what he clearly conceived in ,idea3 for certainly there are ,men enough1 who from the mere ,desire of increasing their ,wealth1 would give him that ,assistance1 which1 like the artificial ,heat of a ,greenhouse1 would bring that ,art to a ,ripeness1 which would otherwise languish and die under the ,coldness of the first ,designer1 and which in this ,union of ,riches and ,invention would yield mutual ,advantage to both4 ,there are besides this amongst the ,great1 without ,doubt1 many who would gladly lend their ,patronage to rising ,arts1 if they knew their ,authors4444 ,he gives as example the ,duke of ,cumberland1 who had just sponsored a tapestry plant at ,fulham1 and follows with an outline of the honorable traditions of the woodcut1 pointing out that ,drer1 ,titian1 ,salviati1 ,campagnola1 and other painters drew their work on woodblocks to be cut by woodcutters1 and adds that 8even ,andrea ,vincentino did not think it in the least a ,dishonour1 though a ,painter1 to grave on ,wood the ,landscapes of ,titian40 ,he builds up to the statement that ,raphael and ,parmigianino drew on woodblocks to be cut in chiaroscuro by ,ugo da ,carpi4 ,after having said all this1 it may seem highly improper to give to ,mr4 ,jackson he speaks of himself throughout in the third person the ,merit of inventing this ,art2 but let me be permitted to say1 that an ,art recovered is little less than an ,art invented4 ,the ,works of the former ,artists remain indeed2 but the ,manner in which they were done1 is entirely lost3 the inventing then the ,manner is really due to this latter ,undertaker1 since no ,writings1 or other ,remains1 are to be found by which the ,method of former ,artists can be discover'd1 or in what ,manner they executed their works2 nor1 in ,truth1 has the ,italian ,method since the ,beginning of the #afth ,century been attempted by any one except ,mr4 ,jackson4 ,we cannot help concluding that ,jackson was falsifying here4 ,taking advantage of the public's ignorance1 he was puffing up his historical importance in order to sell wallpaper4 ,if the cognoscenti complained that he had buried the chiaroscurists after da ,carpi1 he always had the explanation that others did not work in the ,italian style1 which he neglected to describe4 ,jackson knew what he was doing2 he was not as ignorant of art history as ,hardie and ,burch have surmised1 although it is true that he was not always certain as to dates1 since he believed ,andreani worked as a contemporary of da ,carpi4 ,in the ,enquiry1 published only two years earlier1 he had shown familiarity with the prints of ,goltzius1 ,coriolano1 ,businck1 ,nicolas and ,vincent ,le ,sueur1 ,moretti1 and ,zanetti1 all of whom had worked to some extent in the ,italian manner4 ,some writers have reacted strongly to this paragraph4 ,losing their sense of proportion1 they have been led to the conclusion that ,jackson was little better than a charlatan and that his work as a whole reflected his low ethics4 ,in some instances his culpability has been magnified3 ,bnzit has even charged him with claiming to have invented color printing4 ,the worst result of ,jackson's insistence on re-inventing the ,italian manner was that it made a major issue of what was at best a minor honor4 ,it minimized such technical contributions as the following1 which did not follow traditional recipes3 444 ,mr4 ,jackson has invented ten positive ,tints in ,chiaro ,oscuro2 whereas ,hugo di ,carpi knew but four2 all of which can be taken off by four ,impressions only4 ,this technical system was used for the ,venetian chiaroscuros1 the portrait of ,algernon ,sidney after ,justus ,verus1 and others4 ,he did not mention that he needed a greater range of tones because he was working after oil paintings1 not drawings4 ,the introduction of full color from a series of blocks to translate water colors is also mentioned in the ,essay1 but with no greater emphasis than in the ,enquiry4 ,since his wallpaper was to be done in color as well as in chiaroscuro1 and since the ,essay included four plates in color1 it is astonishing that ,jackson failed to make stronger claims for his originality in this development4 ,he proceeded to describe his plan to replace wallpapers in the ,chinese style with his papers1 which1 he stated1 would have no 8444gay glaring ,colours in broad ,patches of red1 green1 yellow1 blue c 444 with no true ,judgment belonging to it 444 ,nor are there ,lions leaping from ,bough to ,bough like ,cats1 ,houses in the ,air1 ,clouds and ,sky upon the ,ground44440 ,he proposed1 instead1 to use as subjects many of the famous statues of antiquity2 the landscapes of ,salvator ,rosa1 ,claude ,lorrain1 ,poussin1 ,berghem1 ,wouwerman1 the views of ,canaletto1 ,pannini-- ,copies of the ,pictures of all the best ,painters of the ,italian1 ,french and ,flemish ,schools1 the fine sculptur'd ,vases of the ,ancients which are now remaining2 in short1 every ,bird that flies1 every ,figure that moves upon the ,surface of the ,earth from the ,insect to the human2 and every ,vegetable that springs from the ,ground1 whatever is of ,art or ,nature1 may be introduced into this ,design of fitting up and furnishing ,rooms1 with all the ,truth of ,drawing1 ,light1 and ,shadow1 and great ,perfection of ,colouring4 ,this vast gallery of art and nature was to be printed in 8,colours softening into each other1 with ,harmony and ,repose44440 ,even if we feel that ,jackson was building up his project to attract attention1 or that he was intoxicated by the idea of creating art on such a grand scale1 there is still something wrong in his conceiving it in terms of wallpaper4 ,what is certain is that ,jackson was desperately anxious to create color prints4 ,in the absence of art patrons1 wallpaper was his only excuse for continuing as an artist4 ,as a business venture it was absurd1 even tragic4 ,there is good reason to believe that ,jackson lacked capital and rented the quarters for his business3 his name does not appear in the ,poor ,rate ,book of that period in the ,borough of ,battersea4 ,from a certain standpoint1 this excursion by ,jackson into wallpapers featuring ,roman ruins and classical antiquity appeared to come at an appropriate time4 ,marco ,ricci's paintings as well as the somewhat later work of ,pannini and ,zuccarelli1 and ,guardi's early ruin pieces1 were already known4 ,ricci had visited ,england from #agaj to #agaf4 ,zuccarelli had come twice1 once in #agdb and again in #agea to stay until #aggc1 becoming a foundation member of the ,royal ,academy2 his classical landscapes with their glib charm had a comparatively good reception4 ,but the strongest influence was undoubtedly that of ,piranesi1 whose powerful etchings brought to life as never before the ravaged stones of ,imperial ,rome and the ,campagna4 ,their effect was widespread and electrifying1 although it was not until the #agfj's that they developed their full force as an influence on ,english architecture and furniture design1 and came to supersede the ,palladian style brought to ,england by ,inigo ,jones at the beginning of the #agth century4 ,jackson was too early2 public taste was not yet ready for picturesque landscape or antique forms in wallpaper4 ,but the style became dominant in the latter #ahth century1 particularly in ,england and ,france1 and was also exported to ,america4 ,while it is difficult to estimate the degree of ,jackson's influence in this development1 we know that no scenic papers can be dated before the ,ricci prints1 or before ,jackson's wallpaper venture4 ,oman#ci comments3 ,the use of wall-paper to imitate large architectural designs dates1 as we have seen1 from the days of ,j4 ,b4 ,jackson4 ,during the remainder of the century this style was used almost exclusively for decoration of the halls and staircases of great houses4 ,footnote #ci3 ,oman1 #aibi1 p4 #cc4 ,these papers covered rooms with landscape panoramas or with landscapes in ,rococo scroll frames1 relieved by decorative panels with busts1 statuettes1 and floral ornaments4 ,as in preceding work1 they were usually painted in opaque water colors4 ,most of the landscapes were loose transcriptions of designs by ,pannini1 ,vernet1 ,lancret and other painters of architectural1 scenic1 and pastoral subjects4 ,the treatment was generalized and superficial1 the touch light and detached4 ,in this approach to wallpaper we see the basic ideas of ,jackson1 but with more emphasis on charm and elegance4 ,ironically1 as years passed and original sources grew obscure1 it became the tendency to attribute scenic papers in great houses to ,jackson4#dj ,if he was a failure as a pioneer in the field1 he remained its most highly prized legend4 ,footnote #dj3 ,an excellent description of the papers of this type imported to ,america is given by ,edna ,donnell in ,metropolitan ,museum ,studies #aicb1 vol4 #d1 pp4 #gg-ajh4 ,the ,essay continued with a criticism of the current taste in wallpaper4 ,jackson enlarged on the lack of discrimination of persons who would prefer popular papers to his4 ,it seems1 also1 as if there was great ,reason to suspect wherever one sees such preposterous ,furniture1 that the ,taste in ,literature of that ,person who directed it was very deficient1 and that it would prefer ,tom ,d',urfy to ,shakespear1 ,sir ,richard ,blackmore to ,milton1 ,tate to ,homer1 an ,anagrammatist to ,virgil1 ,horace1 or any other ,writer of true ,wit1 either ,ancient or ,modern4 ,he added that his prints1 made in oil colors1 would be permanent 8whereas in that done with ,water-,colours1 in the common ,way1 ,six ,months makes a very visible ,alteration in all that preposterous ,glare1 which makes its whole ,merit44440 ,the ,essay has eight plates1 four of ancient statues in chiaroscuro and four of plants1 animals1 and buildings1 in probably six colors4 ,they were hastily done and no doubt had a rather fresh charm when published1 but unfortunately the oil in the pigments was inferior1 and every print in the book has darkened and yellowed badly4 ,the prints and neighboring pages are heavily spotted and stained4 ,this book which should have been his vindication became instead an argument for his lack of merit1 especially to those who were not familiar with his other work4 ,we do not know how large a working force ,jackson had or how many of the projected plates he planned to assign to helpers or to carry out himself4 ,some of the decorative borders from four blocks1 blue1 red1 yellow1 and gray-green1 he undoubtedly made and printed himself4 ,they are heavy and rather fruity in effect but are incisively drawn and cut4 ,also bearing ,jackson's stamp are some ornamental frames with fruit and flowers in the same full range of colors4 ,an album ascribed to him1 in the collection of the ,victoria and ,albert ,museum1 contains drawings of flowers1 foliage1 details of ornament and hand-colored designs1 and a proof of the woodcut for the title page to the ,suetonius of #agch4 ,five of the drawings are signed or initialed by ,jackson1 with dates from #agdj to #agec4 ,the designs1 which might have been intended for calico or wallpaper1 are poorly done and not at all in his style4 ,the drawings are competent but cannot definitely be considered his1 notwithstanding the signatures1 since we do not know ,jackson's handwriting from other sources4 ,the most that can be said for this album is that it probably comes from his workshop4 ,while producing wallpaper1 ,jackson still made efforts to attract sponsors for full editions of his earlier chiaroscuros4 ,the ,woman ,meditating was dedicated to the ,antiquarian ,society of ,london4 ,christ ,giving the ,keys to ,st4 ,peter1 rejected by ,crozat1 we assume1 was dedicated to ,thomas ,hollis1 whom ,jackson may have met in ,venice4 ,and the ,venus and ,cupid with a ,bow was inscribed to ,thomas ,brand1 lifelong companion of ,hollis who later added to his name the latter's patronymic4 ,the ,algernon ,sidney has no dedication1 but since ,hollis was a ,sidney specialist and edited the first one-volume edition of his works in #agfi1 there is a strong likelihood that the print had some connection with this liberal gentleman4 ,jackson made it either in ,venice just before he left1 or in ,england shortly after his arrival4 ,robert ,dunbar1 ,jr41 who had inherited the wallpaper manufactory on his father's death1 went out of business late in #aged4 ,in his possession was a quantity of ,jackson's papers1 for which he was the main outlet4 ,with this backlog of papers on hand1 and no large distributor1 ,jackson's venture collapsed4 ,this happened shortly after the publication of the ,essay1 and its author was never to have the opportunity to carry out his grandiose plans4 ,jackson appealed to ,hollis1 who wrote to his former mentor1 ,dr4 ,john ,ward1 professor of rhetoric at ,gresham ,college and the head of a society founded by noblemen and gentlemen for the encouragement of learning3#da ,dear ,sir6-- ,do ,me the ,favour to accept these four prints of ,jackson's4 ,they are no where sold1 will soon be scarce4 ,when ,you consider their ,merit1 ,i am confident ,you will lament the hard ,fate of the ingenious ,artist2 who1 at this ,time1 in his old age1 in his own ,country is unprotected unnoticed1 and can difficultly support ,himself against immediate distress ,ruin4 ,i am1 with great ,respect1 ,dear ,sir6 ,your obliged affect humble ,servant ,t4 ,hollis ,bedford ,street1 ,february #aj1 #agee ,footnote #da3 ,british ,museum ,add4 mss4 #fbaj4 ,we do not know the results of this appeal4 ,in any case ,jackson seems to have faded out as an artist4 ,little is known of his subsequent career up to the time more than twenty years later1 when ,bewick mentions meeting him in advanced age4 ,in #agfa he made a drawing of ,salisbury ,cathedral for ,edward ,eaton1 8bookseller at ,sarum10 for a line engraving dedicated by ,eaton to the ,lord ,bishop of ,winchester4 ,this large view included figures in the foreground in an attempt to give animation to the scene4 ,unfortunately the engraver1 ,john ,fougeron1 was little more than an amateur4 ,his execution was feeble and mechanical3 ,jackson's drawing suffered so badly that its quality cannot be determined4 ,this print was copied on a smaller scale in a steel engraving by ,j4 ,b4 ,swaine1 published by ,j4 ,b4 ,nichols ,son in #ahdc1 but it was hardly an improvement4 ,bewick's recollections of ,jackson1 written about forty years after their meeting in ,newcastle1 imply that ,jackson stayed in that city for a period4 ,the ,town ,clerk's ,office1 however1 has no record of his residence4 ,the following passage from ,bewick's ,memoir is the last evidence#db bearing on ,jackson3 ,several impressions from duplicate or triplicate blocks1 printed in this way1 of a very large size1 were also given to me1 as well as a drawing of the press from which they were printed1 many years ago1 by ,jean ,baptiste ,jackson1 who had been patronised by the ,king of ,france2 but1 whether these prints had been done with the design of embellishing the walls of houses in that country1 ,i know not4 ,they had been taken from paintings of eminent old masters1 and were mostly ,scripture pieces4 ,they were well drawn1 and perhaps correctly copied from the originals1 yet in my opinion none of them looked well4 ,jackson left ,newcastle quite enfeebled with age1 and1 it was said1 ended his days in an asylum1 under the protecting care of ,sir ,gilbert ,elliot1 ,bart41 at some place on the border near the ,teviot1 or on ,tweedside4 ,footnote #db3 ,bewick1 #aibe1 pp4 #bac-bad4 ,if ,bewick was correct in reporting that ,jackson died while under the protection of ,sir ,gilbert ,elliot1 probably in a ,poor ,law institution1 it is unlikely that the date could have been much later than #aggg1 the year in which ,sir ,gilbert died4 ,this would place the meeting of both artists shortly before this time1 when ,bewick was in his early twenties 7he was born in #agec74 ,sir ,gilbert lived in ,minto ,house1 ,roxburghshire1 ,scotland1 but no evidence can be found for the supposition that ,jackson died in the vicinity4 ,no obituary has been discovered4 ,the record of ,jackson's death1 if it exists1 probably lies in a parish register somewhere on the ,scottish border4 ,critical ,opinion ,in most histories of prints it was considered sufficient to note that certain artists worked in woodcut chiaroscuro2 the quality of such work was rarely discussed4 ,but ,jackson was an exception3 something about his prints aroused critics to defense or attack4 ,the cleavage is absolute1 strange for one who was presumably a mere reproductive artist4 ,nothing could show more clearly the unsettled nature of ,jackson's standing than a sampling of these opinions4 ,horace ,walpole in a letter1 dated ,june #ab1 #agec1 to ,sir ,horace ,mann describing the furnishings in ,strawberry ,hill1 commented3#dc ,the bow window below leads into a little parlour hung with a stone-colour ,gothic paper and ,jackson's ,venetian prints1 which ,i could never endure while they pretended1 infamous as they are1 to be after ,titian1 c41 but when ,i gave them this air of barbarous bas-reliefs1 they succeeded to a miracle2 it is impossible at first sight not to conclude that they contain the history of ,attila or ,tottila done about the very era4 ,footnote #dc3 ,the ,letters of ,horace ,walpole1 ed4 ,toynbee1 #aijc1 vol4 #c1 p4 #aff4 ,von ,heinecken#dd says they are 8in the manner of ,hugo da ,carpi but much inferior in execution40 ,but ,huber1 ,rost1 and ,martini#de noted ,jackson's independent approach3 ,jackson's prints1 which are certainly not without merit1 are in general less sought after by collectors than they deserve4 ,his style is original and is concerned entirely with broad effects4 ,footnote #dd3 ,von ,heinecken1 #agga1 p4 #id4 ,footnote #de3 ,huber1 ,rost1 and ,martini1 #ahjh1 vol4 #i1 pp4 #aba-abc4 ,baverel#df also had a high opinion of ,jackson's work4 ,describing the ,venetian prints1 he says that ,jackson 8had a skillful and daring attack1 and it is regrettable that he did not produce more work40 ,nagler's#dg criticism typifies the academic preconceptions of some writers on the subject of chiaroscuro3 ,jackson's works are not praiseworthy throughout in drawing1 and also he was not thoroughly able to apply the principles of chiaroscuro correctly4444 ,yet we have several valuable prints from ,jackson4444 ,footnote #df3 ,baverel1 #ahjg1 vol4 #a1 pp4 #cda-cdb4 ,footnote #dg3 ,knstler-,lexicon1 op4 cit4 ,and ,chatto#dh remarks3 ,they are very unequal in point of merit2 some of them appearing harsh and crude1 and others flat and spiritless1 when compared with similar products by the old ,italian wood engravers4 ,footnote #dh3 ,chatto and ,jackson1 #ahfa1 p4 #dee4 ,with this verdict ,w4 ,j4 ,linton#di disagrees1 saying1 8444,chatto underrates him4 ,i find his works very excellent and effective4 ,the ,finding of ,moses 7#b feet high by #af inches wide7 and ,virgin ,climbing the ,steps of the ,temple 7after ,veronese71 and others1 are admirable in every respect44440 ,duplessis#ej attacks the ,venetian set heatedly and at length1 yet he devotes more space to expounding ,jackson's deficiencies than to discussing the work of any other woodcut artist1 even ,drer or da ,carpi4 ,footnote #di3 ,linton1 #ahhi1 p4 #bad4 ,the second print mentioned is after ,titian1 not ,veronese4 ,footnote #ej3 ,duplessis1 #ahhj1 pp4 #cad-cae4 ,duplessis1 who was conservateur-adjoint in the ,cabinet des ,estampes of the ,bibliothque ,nationale1 no doubt based his judgment on the impressions in that collection4 ,certainly few of these were printed by either ,jackson or ,pasquali4 ,on the evidence we have1 the new conception ,jackson brought to printmaking was not fully understood until the #bjth century4 ,pierre ,gusman#ea in #aiaf probably first noted the technical distinction between ,jackson's work and earlier chiaroscuros4 ,he ,jackson conceived his prints in a different way from the ,italians1 bringing in new aspects in accenting values and planes1 because he did not reproduce drawings but interpreted paintings4 ,the whites even show embossings in the paper to make the light vibrate1 and a specially cut block is sometimes impressed to help in modeling the forms4 ,jackson1 in short1 very much the wood carver1 combined the resources of the cameo with those of the chiaroscuro and produced curious works of combined techniques1 but without equaling his predecessors1 who were particularly remarkable for their simplicity of style and treatment4 ,footnote #ea3 ,gusman1 #aiaf1 pp4 #afd1 #afe4 ,one year later1 in #aiag1 ,max ,j4 ,friedlnder#eb commented that relief effects in block printing were not alien additions but natural consequences of the method4 ,his main emphasis1 we note1 is on the ,ricci prints4 ,a peculiarity of the color woodcut1 which first was put up with as a characteristic of the technique but finally was enhanced and utilized fully as a means of expression1 is the physical relief that stands out in thick and soft paper with the sharp pressure of die wood-blocks4444 ,no one has employed the relief of the woodcut so consciously and artfully as the ,englishman ,john ,baptist ,jackson in the eighteenth century1 who1 particularly in some landscapes1 created most effective and richly colored sheets4 ,he has gone so far as to express forms in 8blind-printing10 entirely without bordering lines or contrasting colors1 merely through relief pressing4 ,footnote #eb3 ,friedlnder1 #aibf 7#ast ed4 #aiag71 pp4 #bbd-bbf4 ,anton ,reichel's important history of chiaroscuro1 with its magnificent color plates in facsimile1 appeared in #aibf4ec ,he says of ,jackson that his activity in chiaroscuro was 8extraordinarily rich10 that he created broad approximations of his subjects which made him neglect details1 but that these were 8convincingly translated into the language of the woodcut40 ,five heroic landscapes after ,m4 ,ricci represent the artistic high point of his work1 having a distinctive richness of color not previously attained by any other master of chiaroscuro4 ,each of the prints has a complete harmony of colors2 the single color blocks-- over ten can be counted in each print-- which show in their separate tones the extraordinarily cultivated taste of the artist1 give the composition a decorative effect far from any realistic imitation of nature4444 ,the relief impressed with the blocks is so strong that1 going beyond all other prior attempts of the kind1 it represents an essential factor of the composition through its actual light-and-shadow effects4 ,footnote #ec3 ,reichel1 #aibf1 p4 #dh4 ,although by this time ,jackson's chiaroscuros were regarded with respect and his color prints were acknowledged to be of prime importance1 some of the conservative wallpaper historians were still repelled by their vigor1 which did not suit genteel notions of interior decoration4 ,sugden and ,edmondson#ed in #aibe certainly failed to understand both ,jackson's work and the period in which it was done4 ,they comment3 ,jackson's bold claims to originality and merit are scarcely borne out by anything he is known to have achieved4 ,that he had a vogue1 however1 seems certain1 for apart from his 8,essay0 he has come down to us as a historical figure4 ,to modern tastes in art many of his productions seem almost monstrous1 and yet they were to some extent the expression of the time-spirit in which they were born4 ,footnote #ed3 ,sugden and ,edmondson1 #aibe1 p4 #ga4 ,transcriber's ,note3 ,the color ,plates were printed after the first page of ,postscript1 at the mid-sentence point 8they preferred imitations of sentimental1 _/ banal1 story-telling oil paintings04 ,illustration3 #a4 ,,christ ,,giving ,,the ,,keys ,,to ,,st4 ,,peter1 after ,raphael ,illustration3 #b4 ,,venus ,,and ,,cupid ,,with ,a ,,bow1 after ,parmigianino ,illustration3 #e4 ,,woman ,,meditating 7,,st4 ,,thais871 after etching by ,parmigianino ,illustration3 #ac4 ,,descent ,,from ,,the ,,cross1 after ,rembrandt ,illustration3 #dc4 ,,heroic ,,landscape ,,with ,,watering ,,place1 ,,riders1 ,,and ,,obelisk1 after ,marco ,ricci ,illustration3 #dj4 ,,heroic ,,landscape ,,with ,,fisherman1 ,,cows1 ,,and ,,horsemen1 after ,marco ,ricci ,illustration3 #dj4 ,,heroic ,,landscape ,,with ,,fisherman1 ,,cows ,,and ,,horsemen1 after ,marco ,ricci1 ,detail ,illustration3 #di4 ,,ornamental ,,frame ,,with ,,flowers ,,and ,,girl',s ,,head #ei4 ,,woman ,,standing ,,holding ,,apron ,illustration3 #ec4 ,,building ,,and ,,vegetable ,illustration3 #bb4 ,,the ,,crucifixion1 after ,tintoretto1 left sheet ,illustration3 #bb4 ,,the ,,crucifixion1 after ,tintoretto1 center sheet ,illustration3 #bb4 ,,the ,,crucifixion1 after ,tintoretto1 right sheet ,postscript ,while ,jackson had an influence on a small coterie1 it did not prolong the life of the color woodcut4 ,in ,europe the medium did not survive his disappearance in #agee2 no doubt it seemed to later artists intractable and lacking in nuance4 ,the black-and-white woodcut1 moreover1 went into further decline and was almost entirely disregarded except for the rudest sort of work4 ,almost a century and a half were to pass before ,gauguin and ,munch swept aside old taboos and found exciting new possibilities for color in the woodcut process4 ,the lack of interest in the color woodcut was also the result of new techniques in the copper-plate media1 techniques that could be adapted to color printing4 ,in #agef ,j4 ,c4 ,franois introduced the crayon manner1 an etching process that could imitate the effects of chalk and crayon drawings4 ,during the following decades numerous technical variations were developed1 the most popular being the pastel manner1 the stipple1 and the aquatint4 ,of these methods only aquatint survived after early years of the #aith century4 ,it was less limited than its companion processes and had wide application in rendering the effect of water-color wash4 ,but color work in this medium1 however attractive to a public that appreciated delicacy and charm1 did not have mass appeal4 ,the new audience created by the advancing ,industrial ,revolution wanted printed pictures of a less subtle type2 they preferred imitations of sentimental1 banal1 story-telling oil paintings with a high1 waxy finish4 ,neither aquatint nor other copper-plate media were suitable for these products1 and color lithography did not receive serious attention until the late #ahcj's4 ,the wood engraving1 which had inherited the function of the woodcut and which had greater flexibility in rendering tones and details1 became the logical vehicle for the new color picture4 ,in this situation ,jackson suddenly appeared as the pioneer1 as the father of printed pictures based upon paintings in oil or water colors4 ,his intention had been translation rather than imitation and he would have abhorred the feeble new product1 but this did not concern his successors-- they were interested only in his technical principles4 ,moreover1 in their navet1 they imagined they were improving on ,jackson because their prints were counterfeit paintings while his were not4 ,the earliest picture printers therefore1 used wood engraving4 ,among them were ,frederich ,w4 ,gubitz of ,berlin1 who began the revival about #ahae2 ,william ,savage#ee of ,london1 a printer who published a book describing his project in #ahbb2 and ,george ,baxter of ,london1 whose work dates from about #ahcj4 ,all started with chiaroscuro and moved to full color from a large number of wood blocks1 although in #ahcf ,baxter began printing his transparent oil colors over a base of steel engraving reinforced with aquatint4 ,only ,baxter persevered and was rewarded by sensational popular success4 ,his glassy and trivial prints with their high sweet finish enjoyed a vogue among collectors that lasted into the #bjth century4 ,in about #ahfj1 however1 he was driven from the market by the rise of a cheaper medium1 chromolithography1 which was responsible in the next few decades for a universal outpouring of popular bathos4 ,this was picture printing in color geared for the mass audience4 ,footnote #ee3 ,savage1 #ahbb4 ,jackson's pioneer work is acknowledged1 pp4 #ae-af4 ,it may seem an anticlimax to trace the color woodcut from ,jackson to ,baxter1 and finally to chromolithography1 but it is not irrelevant4 ,although spurned by the better artists1 color had too popular an appeal to be ignored4 ,it was inescapable that ,jackson's successful technical procedures should finally be adopted and corrupted in the area of commerce4 ,woodcut artists up to ,jackson1 with few exceptions1 had used color for one major purpose1 to reproduce drawings in line and tone4 ,by enlarging the conception of the color woodcut ,jackson brought the primitive chiaroscuro phase of its history to an end4 ,after him1 the chiaroscuro could not be practiced again except as an archaism4#ef ,the way was open for the modern woodcut1 although it was a long time in coming4 ,footnote #ef3 ,only one moderately important chiaroscurist can be mentioned1 ,john ,skippe1 who worked in ,england from the #aggj's to about #ahaj4 ,the range of ,jackson's work in tone and color exceeded that of all previous woodcutters and can be divided as follows3 7#a7 chiaroscuros-- after drawings1 after paintings1 after his own pen and ink drawings after paintings1 interpretations of engravings and etchings1 and interpretations of sculpture2 and 7#b7 full color-- after paintings in gouache and after his own water colors4 ,in addition he treated pictorial subjects in flat color areas without a key or outline block1 a procedure used before him only by the #agth-century ,chinese2 and he combined burin work with knife cutting4 ,but ,jackson's reputation1 in the long perspective1 must rest upon his qualities as an artist4 ,he had great distinction as a colorist but lacked originality as a designer and was dependent upon others1 for the most part1 for basic compositions4 ,as an interpreter of these compositions1 however1 he was imaginative and forceful4 ,he did not follow the example of most copper plate engravers and reproduce subjects faithfully2 his conception of the woodcut as a frank medium precluded exact rendition4 ,except1 possibly1 for his first chiaroscuro1 he always translated freely1 with the aim of making good woodcuts rather than accurate representations of his subjects4 ,jackson's work after others1 in short1 was consciously intended as artful approximation4 ,this emphasis on the spirit rather than the letter1 together with his novel techniques1 often gave his prints a somewhat hybrid character-- an ambiguous look that might serve to explain the uneasy feelings of many critics4 ,but his largeness of feeling is unmistakable1 and this is what finally places him among the masters4 ,the color woodcut is now an important form of printmaking4 ,for this medium in the ,western world1 ,jackson is the main ancestral figure4 ,,catalog ,jackson's chiaroscuros and color woodcuts have been grouped under three headings4 ,the first and main section includes1 besides those of unquestionable authenticity1 prints which can be attributed to ,jackson with some degree of certainty and those actually seen by earlier writers but which have apparently disappeared4 ,in each case the status of the print in ,jackson's oeuvre has been noted4 ,the second section lists pieces believed to be by ,jackson's workshop4 ,prints that might have been done independently by close followers have been included here because we have no evidence that would permit distinctions to be drawn4 ,the last section lists unverified subjects attributed to ,jackson in a number of museums but which have been lost through war or other causes1 and doubtful titles found in ,nagler and ,le ,blanc4 ,in each category the prints have been listed in chronological order as far as this can be determined4 ,the sequence of the ,venetian set follows ,jackson's description in the ,enquiry1 although the prints themselves are dated somewhat differently4 ,one difficulty in cataloging ,jackson's work is the prevailing confusion in titling1 the same prints being listed differently in different collections4 ,this was to be expected since the artist almost invariably omitted titles4 ,nagler's and ,le ,blanc's catalogs are not descriptive and consequently there has been much guesswork in checking titles1 particularly since the ,venetian set and the ,ricci prints are only partially listed by both writers1 and not entirely correctly4 ,where subjects have not been recorded at all1 the variation in titling has been greater4 ,the location of prints has been given1 with the exception of those in the ,venetian set and in the ,essay1 which are1 in part or whole1 in too many collections to make listing feasible4 ,it is not to be taken as complete4 ,jackson prints in a number of museums1 particularly in ,germany1 have disappeared but might turn up again2 some are still packed in boxes and await return to collections4 ,for the sake of simplicity the names of cities alone have been used with the understanding that the chief print collection is meant4 ,exceptions are ,boston where the ,museum of ,fine ,arts is abbreviated to ,,mfa and the ,fogg ,art ,museum is shortened to ,fogg1 ,new ,york where the ,metropolitan ,museum of ,art is listed as ,,mma and the ,new ,york ,public ,library as ,,nypl1 and ,london where the ,british ,museum is noted as ,,bm and the ,victoria ,albert as ,v ,a4 ,the woodcuts reproduced are numbered according to this catalog1 and placed as nearly as possible in the same order4 ,when prints have been listed by ,nagler or ,le ,blanc their corresponding numbers have been included4 ,print sizes are given in inches1 vertical sides first4 ,prints by ,jackson ,transcriber's ,note3 ,the 8,inscriptions0 are shown as nearly as possible as printed4 ,typographic features such as the use of long 8s0 77 and variation between italic and non-italic small capitals are reproductions of the original4 ,some computers may not be able to display italic long 8s04 ,superscript letters are shown in braces4 ,small capitals 7non-italic7 are shown like this2 italic small capitals like this4 #a4 ,christ ,giving the ,keys to ,st4 ,peter1 after ,raphael ,le ,bl4 #g1 ,n4 #i ,dimensions3 #g #i inches with letters1 #f #i inches without letters4 ,blocks1 #d3 ,light brown1 light gray-brown1 gray-brown1 black4 ,inscription1 lower left3 8,raph4 ,urb4 inv40 ,below1 under border3 8,tho4 ,hollis ,arm4 ,hospit4 ,lincoln4 ,d4 ,d4 ,d4 ,j4 ,b4 ,jackon sculptor40 ,about #agbg4 ,the dedication was added about #agej4 ,after a drawing1 now in the ,louvre1 for ,raphael's tapestry cartoons4 ,,mfa1 ,,bm1 ,berlin-,dahlem #b4 ,venus and ,cupid with a ,bow1 after ,parmigianino ,dimensions3 #i #f inches with letters1 #h #f inches without letters4 ,blocks1 #d3 ,buff1 light brown1 terra-cotta red1 black4 ,inscription1 bottom3 8,tho4 ,brand ,arm4 ,hospit4 ,temp4 ,d4 ,d4 ,d4 _/ ,j4 ,b4 ,jackon sculptor40 ,left1 running vertically3 8,f4 ,m4 ,parm4 inv40 #agca4 ,the dedication was added about #agej4 ,other impressions occur in a combination of green and brown and also in gray and green4 ,five impressions are in the ,british ,museum including one in which two slanting vertical lines in the table immediately to the left of ,cupid's left leg are omitted4 ,philadelphia1 ,,mfa1 ,,bm1 ,v,a1 ,berlin-,dahlem1 ,rotterdam1 ,brussels #c4 ,woman ,standing ,holding ,jar on ,her ,head1 after ,parmigianino ,dimensions3 #f #c inches4 ,blocks1 #b3 ,mustard yellow1 black4 ,inscription1 at bottom3 8,per ,illustri1 ac ,prclaro ,viro ,joseph ,smith _/ ,j4 ,b4 ,jackson ,humiliter ,dedicat ,donat1 et _/ ,sculpsit4 #agca40 ,another state has the following added in small letters3 8,antonius ,ma ,zanetti a ,jacobo ,parmense ,delin40 ,the block for the tone is in two versions4 ,the one illustrated is dotted in the jar to show gradations1 while the other one is more loosely handled4 ,free copy of line engraving by ,g4 ,a4 ,faldoni4 ,,bm1 ,v,a #d4 ,headpiece with ,landscape and ,ruins ,this print is listed in the ,staatliche ,kunstsammlungen1 ,dresden1 but has been lost in the war4 ,no information as to color or size is available4 ,the card catalogue has the following description3 8,ruins to the left4 ,in the middle going over a river is a bridge4 ,to the right is a city view with campanile1 dome and other buildings4 ,dated #agca40 ,probably made for use in a book4 ,this seems to be the print described by ,baverel and the 8petite vue0 ,papillon mentioned4 #e4 ,woman ,meditating 7,st4 ,thais871 after ,parmigianino ,dimensions3 #ae #i inches with letters1 #aj #i inches without letters4 ,blocks1 #b3 ,pale brown1 black4 ,also in green and blue-green4 ,after etching by ,parmigianino 7,b4 #aj74 ,inscription1 left near top1 running diagonally upward3 8,f3 ,m3 ,parmen99 _/ ,inventor _/ ,j3 ,b3 ,jackon ,del _/ ,sculp excudit40 ,bottom1 beneath lower border3 8,societati ,antiquari ,londinensi _/ ,humillime ,d4,d4,d4 ,j4,b4,j ,certo da cor1 ch' alto detin non ,scele1 ,son l'impree magnanime neglette2 ,ma le bell' alme alle bell' opre elette ,sanno gioir nelle fatiche eccele2 ,n biamo popular1 frale catena1 ,spirto d'onore1 il uo cammin raffrena40 ,this inscription was added much later1 about #agej4 ,,mfa1 ,,mma1 ,philadelphia ,,bm1 ,berlin-,dahlem1 ,vienna1 ,bremen1 ,brussels1 ,amsterdam1 ,dresden #f4 ,ulysses and ,polyphemus1 after ,primaticcio ,dimensions3 #g #aj inches4 ,blocks1 #b3 ,greenish yellow1 black4 ,inscription1 bottom right3 8,j4 #i0 ,some copies lack the inscription4 ,this is from plate #i of ,theodor ,van ,thulden's #eh etchings reproducing designs by ,primaticcio in ,fontainebleau1 published as 8,les ,travaux d',ulisse0 by ,p4 ,mariette in ,paris1 #afcc4 ,these etchings were published again in #agdj as 8,errores ,ulyssis40 ,listed as by ,jackson in ,weigel's ,kunstlagercatalog1 #ahdc1 vol4 #b41 p4 #ajc4 ,,bm1 ,v,a #g4 ,bookplate ,dimensions3 #d #f inches1 approximately4 ,blocks1 #b3 ,reddish brown1 black4 ,inscription left and right top1 in ribbon3 8,litterarum ,felicitas0 ,,bm #h4 ,judgment of ,solomon1 after ,rubens ,dimensions3 #ag #bj inches4 ,blocks1 #d3 ,yellow-buff1 light brown1 violet-brown1 dark brown4 ,inscription1 lower right3 8,ill4mo et ,exc4mo ,d4,d4 ,philippo ,farsetti1 _/ ,patritio ,veneto1 ,patrono suo ,benefic4mo _/ ,tabulam hanc ,petri ,pauli ,rubens4 _/ ,in ,ligno clavit1 et in sui ,obsequii et grati ,animi _/ ,monumentum humiliter ,devovet ,j4 ,b4 ,jackson40 #agce4 ,,bm1 ,brussels1 ,venice #i4 ,the ,visitation1 after ,annibale ,carracci ,dimensions3 #ad #aj inches4 ,blocks1 #d3 ,light yellow1 buff1 brown1 dark gray4 ,inscription1 upper right3 8,,al4 ,caratius ,pinxt4 _/ ,j3 ,b3 ,jackson ,fecit _/ ,venezia #agce40 ,weigel described this print as ,der ,besuch bei ,elisabeth in his ,kunstlagercatalog1 #ahdc1 vol4 #b1 p4 #ajc4 ,smithsonian ,institution 7,u4,s4 ,national ,museum7 ,,mfa1 ,philadelphia1 ,,bm1 ,dresden #aj4 ,julius ,caesar1 after ,titian ,dimensions3 #ab #i inches4 ,blocks1 #d3 ,tones of brown with dark brown key block4 ,about #agch4 ,this is a free translation of an engraving by ,egidius ,sadeler ,le ,bl4 #adc after one of a series of ,roman emperors attributed to ,titian4 ,the original paintings have been lost4 ,,bm #aa4 ,st4 ,rocco1 after ,cherubino ,alberti ,dimensions3 #ab #aj inches4 ,blocks1 #c3 ,green1 reddish tan1 black4 8,s4 ,rocco0 added by another hand4 ,some impressions lack the inscription4 ,also in two colors1 mustard yellow and black4 ,free transcription of a line engraving by ,cherubino ,alberti after an undetermined painter 7,le ,bl4 #fa74 ,a facsimile in grayed chartreuse and black was published by the ,reichsdruckerei in ,berlin1 about #aibe4 ,,mfa1 ,,bm #ab4 ,statuette of ,neptune1 after ,giovanni da ,bologna ,le ,bl4 #ai1 ,n4 #h ,dimensions3 #bb #ae inches4 ,blocks1 #d3 ,tones of tan and brown4 ,inscription1 bottom3 8,ex ,prototypo reo ,joannis ,bolonia ,duacensis in _/ ,museo ,d3 ,josephi ,smith ,venetiis4 _/ ,j4,b4 ,jackon ,anglus ,sculp exc40 ,about #agch4 ,the first state is without letters4 ,third state has inscription on top of statue base1 8,gul4 ,lloyd ,arm4 ,d4,d4,d4 ,j4,b4,j40 ,smithsonian ,institution 7,u4,s4 ,national ,museum7 ,,mfa1 ,los ,angeles1 ,,bm1 ,paris1 ,berlin-,dahlem1 ,wiemar1 ,amsterdam #ac4 ,descent from the ,cross1 after ,rembrandt ,le ,bl4 #aj1 ,n4 #c ,dimensions3 #ad #aa inches 7arched print74 ,blocks1 #d3 ,yellow1 gray1 light brown1 dark violet-brown4 ,inscription1 bottom left3 8,rembrandt pinxit1 alt4 p4 #a4 lat4 unc x4 ,extat ,venetiis in domo ,j3 ,smith40 ,bottom right3 8,j3 ,b3 ,jackson figuras juxta ,archetypum ,sculp4 excudit4 #agch40 ,bottom3 8,acceperunt ergo ,corpus ,,jesu1 ligaverunt illud linteis _/ cum ,aromatibus1 sicut mos est ,judis sepelire4 ,s4 ,joan4 ,cap4 xix ,ver4 xi40_/ ,lower1 with coat of arms3 8,perillustri ac ,praeclaro ,viro ,d4 ,josepho ,smith _/ ,insigne hoc ,opus affabre in ,ligno coelavit1 in sui _/ obseqii grati ,animi monu-mentum humiliter devovet _/ ,j3 ,b3 ,jackson0 ,smithsonian ,institution 7,u4,s4 ,national ,museum7 ,,mfa1 ,fogg1 ,,mma1 ,,nypl1 ,chapel ,hill1 ,philadelphia ,,bm1 ,paris1 ,berlin-,dahlem1 ,vienna1 ,rotterdam1 ,hamburg1 ,prague #ad4 ,christ and the ,woman of ,samaria ,dimensions3 #ad #bj inches4 ,blocks1 #c3 ,buff1 greenish yellow1 black4 ,after a ,bolognese master4 ,weigel described this as a 8beautiful0 chiaroscuro by ,jackson4 ,,mfa #ae4 ,romulus and ,remus1 ,wolf and ,sea ,god ,dimensions3 #b #g inches4 ,blocks1 #b3 ,green1 black4 ,attributed to ,jackson4 ,probably an illustration for a book4 ,,bm #af4 ,the ,death of ,st4 ,peter ,martyr1 after ,titian ,le ,bl4 #af1 ,n4 #aj ,dimensions3 #ba #ac inches4 ,blocks1 #d3 ,buff1 pale greenish gray1 brown1 dark gray4 ,inscription1 lower left 7inside border73 8,j3 ,b3 ,jackson ,sculp3 ,excudit ,venetiis #agci40 ,outside bottom frame1 center3 8,titianus ,vecellius ,cad4 ,invenit ,pinxit40 ,the painting was destroyed by fire in #ahfg4 #ag4 ,the ,presentation in the ,temple 7,the ,circumcision71 after ,veronese ,le ,bl4 #d1 ,n4 #ae ,dimensions3 #ba #ae inches4 ,blocks1 #d3 ,buff1 reddish gray1 dark gray1 dark brown4 ,inscription1 bottom3 8,illustrissimo1 ,erudito ,viro ,carolo ,frederick ,armigero1 liberalium ,artium ,patrono1 _/ ,pauli ,cagliari praeclarum hoc ,opus in ,ligno coelatum1 in grati animi argumentum humiliter ,d4 ,d4 ,d4 _/ ,j3 ,b3 ,jackson40 #agci4 #ah4 ,the ,massacre of the ,innocents1 after ,tintoretto ,le ,bl4 #e ,dimensions3 #ae #ba inches4 ,blocks1 #d3 ,buff1 violet-gray1 light brown1 dark violet-brown4 ,inscription1 center bottom3 8,illustrissimo1 _/ et ,praeclaro ,viro ,dno4 ,dno4 _/ ,smart ,lethieullier _/ ,erudit ,antiquitatis ,studioso _/ ,investigatori1 ,tabellam hanc _/ ,jacobi ,robusti in sui _/ obsequium ,d4 ,d4 ,d4 ,j3 ,b3 ,jackson40 #agci4 #ai4 ,the ,entombment1 after ,jacopo ,bassano ,le ,bl4 #ab41 ,n4 #e ,dimensions3 #ba #ae inches4 ,blocks1 #d3 ,buff1 light reddish tan1 gray1 dark brown4 ,inscription on urn1 above lower right-hand corner3 8,j3 ,b3 ,jackson ,delin ,sculp excudit #agci0 ,across bottom3 8,insignem hanc ,tabulam a ,jacobo de ,ponte depictam4 ,clarissimo ,viro ,jacobo ,facciolato ,seminarii ,patavini ,prsidi2 ,archigymnasii ornamenta _/ ingenii doctrin1 in primis ,latina eloquentia laude celeberrimo ,j ,b ,jackson ,d4 ,c40 #bj4 ,holy ,family and ,four ,saints1 after ,veronese ,dimensions3 #bb #ac inches4 ,blocks1 #d3 ,light yellow1 light greenish gray1 dark brown1 dark gray4 ,inscription1 bottom center3 8,perillustri et ,nobili ,viro ,dno ,dno _/ ,bourchier ,wrey ,barronetto _/ ,generoso ,artium ,liberalium ,fautori _/ in sui ,obsequium ,d4 ,d4 ,d4 ,j4 ,b4 ,jackson _/ ,p3 ,c3 ,veronese ,pinxit404 #agci4 #ba4 ,the ,mystic ,marriage of ,st4 ,catherine1 after ,veronese ,le ,bl4 #ah1 ,n4 #d ,dimensions3 #bb #ae inches4 ,blocks1 #d3 ,pale greenish gray1 pale violet-gray1 medium greenish gray1 deep cold gray4 ,inscription1 lower center3 8,gulielmo ,windham _/ ,armigero1 ,artium ,elegantiorum _/ ,fautori1 hanc ,tabulam humillime _/ ,dedicat _/ ,j4 ,b4 ,jackson40 ,bottom left3 8,paulo ,veronese ,pinxit ,j ,b ,j f #agdj0 ,many impressions are found in brown tones4 #bb4 ,the ,crucifixion1 after ,tintoretto ,le ,bl4 #i1 ,n4 #ac ,dimensions3 #ba #af inches 7left plate71 #bb #af inches 7center plate71 #ba #af inches 7right plate74 ,blocks1 #d3 ,buff1 light brown1 gray1 reddish brown4 ,inscription1 bottom center 7center plate73 8,illustrissimo ,nob3 ,viro ,dno3 ,dno3 _/ ,richardo ,boyle ,comti de ,burlington ,cork c4 _/ ,magn ,britanni ,hiberni ,pari1 ,hiberni ,archi-thesaurario _/ ,heredetario1 ,nobilisimi ,ordinis ,periscelidis ,equiti c4 _/ ,optim ,architectur ,instauratori ac ,cterarum ,artium ,liberalium _/ ,moecenati munificentissimo4 _/ ,singolare hoc ,opus a ,jacobo ,robusti depictam in ,schola ,s3 ,rocci ,venetiis _/ adservatum4 ,j3 ,b3 ,jackson ,anglus qui ,ligno ,coelavit humillime ,d4 ,d4 ,c4 #agda40 ,on shield1 bottom center 7center plate73 8,honi ,soit,qui,mal y ,pense0 ,below shield1 bottom center 7center plate73 8,honor ,virtutis ,premium40 ,a bust portrait of a man in #ahth-century dress is visible on the right knee of the woman with a child in the center background of the left sheet4 ,it is not a likeness of ,richard ,boyle4 ,could this be a self-portrait by ,jackson8 ,a trial proof of the key block1 center sheet1 is in the ,rosenwald ,collection1 ,national ,gallery of ,art4 #bc4 ,miracle of ,st4 ,mark1 after ,tintoretto ,le ,bl4 #ae1 ,n4 #b ,dimensions3 #bb #ag inches 7left sheet71 #bb #ag inches 7right sheet74 ,blocks1 #d3 ,buff1 light brown1 dark brown1 dark gray4 ,inscription1 lower left 7left sheet73 8,per illustri ,dno ,dno _/ ,eduardo ,wright1 _/ ,armigero1 _/ pulcrarum ,artium ex-_/cultori vel sollertissimo1 _/ hoc ,jacobi ,robusti _/ 7communiter ,tintoretto7 _/ prclarum opus in _/ su argumentum ob-_/ servanti addicit1 et _/ consecrat ,j4 ,b4 ,jackon40 #bd4 ,the ,marriage at ,cana1 after ,veronese ,dimensions3 #bc #af inches 7left sheet71 #bc #af inches 7right sheet74 ,blocks1 #d3 ,buff1 dark buff1 violet-brown1 dark brown4 ,inscription1 lower left 7left sheet73 8,paulo ,cagliari _/ ,veron3 ,pinxit40 ,lower right 7right sheet73 8,revmo4 ,dno4 ,p4 _/ ,leopoldo ,capello ,coenobii ,d3 ,georgii _/ ,ord3 ,s3 ,benedict3 _/ ,abbati _/ meritissimo4 _/ ,j3 ,b3 ,jackson _/ ,d4 ,d4 ,d40 ,extreme lower right 7right sheet73 8,j3 ,b3 ,jackson ,delin3 ,sculp4 _/ excudit ,venetiis #agdj40 ,jackson in the ,enquiry 7p4 #dh7 described this print1 and the two preceding subjects1 as being 8in ,hugo's ,manner with ,improvements40 #be4 ,presentation of the ,virgin in the ,temple1 after ,titian ,le ,bl4 #c1 ,n4 #ah ,dimensions3 #bb #ae inches 7left sheet71 #bb #ag inches 7center sheet71 #bb #ag inches 7right sheet74 ,blocks1 #d3 ,light grayish umber1 medium brown1 dark gray1 dark brown4 ,inscription1 lower left 7left sheet73 8,opus hoc admiratione sane dignum1 cunctorumq2 approbatione _/ commendatum1 ac ,sacrarii ,confratrum ,caritatis ,venetiarum _/ potiimum ornamentum1 a ,titiano ,viccellio ,cadorensi1 _/ ,viro pingendi arte pr cteris celeberrimo1 coloribus quam _/ fieri potest ad naturale expressum1 adumbratumq2 pro viribus _/ exscribere studens ,j3 ,b3 ,jackson delineavit1 excudit1 et exculpsit4 #agdb40 ,lower right1 on streamer 7right sheet73 8,ducit ,amor ,patri40 ,lower right1 in block 7right sheet73 8,per ,illustri1 ac ,nobili ,viro ,d3no ,d3no _/ ,erasmo ,philipps ,barronetto _/ ,artium zelantissimo ,fautori1 et de re litteraria _/ optime merito1 ,tabulam hanc tenue debit venerationis _/ su argumentum1 emeritissimo ,patrono1 et ,mecnati _/ commendat1 et dicat _/ ,j3 ,b3 ,jackon40 #bf4 ,the ,virgin in the ,clouds and ,six ,saints1 after ,titian ,le ,bl4 #ad1 ,n4 #ag ,dimensions3 #bc #ad inches4 ,blocks1 #b3 ,buff1 black4 ,inscription1 upper left and right3 8,illmo atq2 ,excell3mo ,d3no ,d3no ,philippo ,farsetti ,nob4 ,ven4 _/ ,tabellam hanc a ,titiano ,viccellio jam depictam in _/ gratissimi animi1 cultusq2 perpetui testimonium1 _/ ,mecnati1 ac ,sospiti munificentissimo _/ humiliat1 et consecrat ,j4 ,b4 ,jackon40 ,center of picture1 on wall3 8,titianus ,faciebat0 ,bottom center3 8,j4 ,b4 ,jackson ,del3 sculp3c4 #agdb40 ,niccol ,boldrini's woodcut after ,titian's drawing of the lower half of this subject 7,le ,bl4 #ab7 evidently inspired ,jackson to transcribe the entire painting as a pen-and-ink drawing in ,titian's style1 with a tint block added4 #bg4 ,the ,descent of the ,holy ,spirit1 after ,titian ,le ,bl4 #ac1 ,n4 #a ,dimensions3 #bb #ae inches4 ,blocks1 #d3 ,buff1 light gray-brown1 light yellow-brown1 dark brown4 ,inscription1 upper left and right3 8,perillutri1 ac ,nobili ,viro ,d3no ,d3no ,jacobo ,stewart ,mackinzie1 _/ ,honorabili ,magn ,britan-ni ,conilii ,concripto ,patri _/ ,opus hoc1 quod ex ,titi-ani ,viccellii ,pictura1 _/ excripsit1 in humillimi obequii testi-_/monium devo-vebat _/ ,j4 ,b4 ,jackon40 #bh4 ,the ,finding of ,moses1 after ,veronese ,le ,bl4 #b1 ,n4#ad ,dimensions3 #bb #ae inches4 ,blocks1 #d3 ,buff1 light brown1 light violet-gray1 dark gray4 ,inscription1 lower right3 8,illmo et ,excellmo ,d3 ,d3 _/ ,everardo ,fawkener ,eq ,aur _/ pro ,mag3 ,brit3 ,rege ad ,turc3 ,imper3 _/ ,legato4 ,elegant3 ,artium ,moecena-_/ti ,munificentis3 in sui ,obsequii4 ,ar-_/gumentum humill3 ,d3 ,d3 _/ ,j3 ,b3 ,jackson40 ,lower left3 8,ex ,tabella _/ a ,paulo ,calliari ,verons4 _/ depicta penes ,j3 ,smith ,ven _/ ,j3 ,b3 ,jackson ,del ,sculp excud _/ #agda40 #bi4 ,the ,raising of ,lazarus1 after ,leandro ,bassano ,le ,bl4 #f1 ,n4 #g ,dimensions3 #bc #ad inches4 ,blocks1 #d3 ,buff1 light reddish gray1 gray1 dark cold brown4 ,inscription1 upper left and right3 8,ill3mo ,d3no ,d3no ,vincentio ,riccardi1 ,marchioni _/ ,florentino1 amplissimo ,senatori1 _/ amnarum litterarum scientiarumq2 excultori _/ peramantissimo1 ,tabellam hanc a _/ ,leandro de ,ponte colori-_/bus expressam veluti exigu-_/um obser-vanti su _/ specimen ,d4 ,d4 ,d4 _/ ,j ,b ,jackson0 ,center bottom3 8,j3 ,b3 ,jackon ,del4 ,sculp4 c4 #agdb40 #cj4 ,christ on the ,mount of ,olives1 after ,jacopo ,bassano ,le ,bl4 #h1 ,n4 #f ,dimensions3 #bb #ae inches4 ,blocks1 #d3 ,buff1 medium brown1 gray1 dark brown4 ,inscription1 bottom3 8,ill3m atq2 ,excell3m ,d3n ,d3n _/ ,paulin ,contaren _/ ,nob3 ,venet1 aviti sanguinis ingenti splendore clar1 sed ,virtutum nobilitate longe clariori1 piissimum _/ hoc ,christian ,fidei monumentum1 exiguum obsequentissim servitutis su signum1 quod ex pictura _/ ,jacobi de ,ponte delineavit1 et exculpsit1 generossim ,patron1 et ,auspici dedicabat ,j3 ,b3 ,jackson404 #agdc4 ,a trial proof of the key block is in the ,rosenwald ,collection1 ,national ,gallery of ,art4 #ca4 ,melchisedech ,blessing ,abraham1 after ,francesco ,bassano ,le ,bl4 #a1 ,n4 #ai ,dimensions3 #bb #ae inches4 ,blocks1 #d3 ,buff1 warm gray1 brown1 dark brown4 ,inscription1 lower right3 8,per-illustri ,d4no ,d4no _/ ,joanni ,reade _/ ,tabellam hanc in obe-_/quentiim reverenti _/ specimen ,d4 ,d4 ,d4 _/ ,j4 ,b4 ,jackon _/ ex ,tabella penes _/ ,d4 ,josh ,smith40 #agdc4 #cb4 ,dives and ,lazarus 7,the ,rich ,man and ,lazarus71 after ,jacopo ,bassano ,dimensions3 #bb #ae inches 7left sheet71 #bb #ae inches 7right sheet74 ,blocks1 #d3 ,buff1 light brown1 light brownish gray1 dark brownish gray4 ,inscription1 lower left of left plate3 8,per-illustri1 ac ,honorabili ,viro _/ ,d3no ,d3no ,roberto ,hoblyn1 _/ ,armigero1 ,magnq2 ,britan-_/ni ,consilii ,conscripto ,patri1 _/ ,artium1 ,scientiarumq2 ,cultori1 _/ et ,mcenati1 sui ergo obsequii _/ dicabat _/ ,j4 ,b4 ,jackon40 ,lower right of left plate3 8,ab ,exemplari1 ,jacobi de ,ponte1 quod ,venetiis penes _/ ,d4 ,joeph ,smith extat1 excripit qui dicabat4 _/ ,j3 ,baan ,px40 #agdc4 #cc4 ,algernon ,sidney1 after ,justus ,verus ,le ,bl4 #bj ,dimensions3 #ac #h inches with letters1 #h #g inches 7oval portrait only74 ,blocks1 #d3 ,tan1 light brown1 light gray1 dark gray4 ,inscription1 left and right under oval3 8,zustus ,verus1 pinx3 ,j3 ,b3 ,j3 sculp2 et exc30 ,in rectangle at bottom3 8,at the ,time when ,mr4 ,algernon ,sidney was ,ambaador at that ,court1 ,monieur ,terlon the ,french ,ambaador1 had the ,confidence to tear out of the ,book of ,mottos in the ,king's ,library1 this ,verse1 which ,mr4 ,sidney 7according to the ,liberty allowed to all ,noble ,strangers7 had written in it3_/ 8,manus haec inimica ,tyrannis ,ene petit placidam sub ,libertate quietem4 8,though ,monieur ,terlon undertood not a word of ,latin1 he was told by others the meaning of that ,sen- tence1 which he considered as a ,libel upon the ,french ,government and upon uch as was then setting up in ,denmark by ,french ,aistance or ,example40 ,pref3 to ,accot4 of ,denmark #dth ,edit3,p3#bc4 ,another version with light red in place of light gray 7,philadelphia1 which also has set of progressive proofs74 ,smithsonian ,institution 7,u4,s4 ,national ,museum7 ,worcester1 ,,mfa1 ,fogg1 ,baltimore1 ,,mma1 ,,nypl1 ,philadelphia ,,bm1 ,berlin-,dahlem1 ,brussels1 ,frankfurt1 ,hamburg #cd4 ,antique ,bust of ,woman ,dimensions3 #ad #aj inches 7irregular oval74 ,blocks1 #d3 ,yellow-gray1 greenish brown1 gray-brown1 brown4 ,,mfa #ce4 ,lovers 7facing right71 perhaps after ,piazzetta ,dimensions3 #ae #aj inches4 ,blocks1 #e3 ,light brownish gray1 darker brownish gray1 medium brown1 cold gray1 dark brown4 ,attributed to ,jackson4 ,v,a #cf4 ,lovers 7woman full face71 perhaps after ,piazzetta ,dimensions3 #ae #aj inches4 ,blocks1 #e3 ,light brownish gray1 darker brownish gray1 medium brown1 cold gray1 dark brown4 ,companion piece to previous print4 ,attributed to ,jackson4 ,v,a #cg4 ,lamentation ,over the ,body of ,christ ,dimensions3 #bj #ac inches4 ,blocks1 #e or #f3 ,blue1 brown1 red1 flesh1 gray4 ,inscription1 bottom3 8,et tuam ipius animam pertranibit gladius10 ,this is probably an experiment in color printing made by ,jackson1 after his own design1 before attempting the ,ricci set4 ,,bm #ch4 ,heroic ,landscape ,with ,dedication and ,classical ,ruins1 after ,marco ,ricci ,le ,bl4 #ba-be1 ,n4#bj-be;a ,dimensions3 #af #bc inches4 ,blocks1 #g to #aj3 ,tones of blue1 buff1 gray-violet1 green and dark gray4 ,inscription in tablet at lower left3 8,illmo1 atq2 ,excellmo ,dno ,dno _/ ,roberto ,d',arcy1 _/ ,comiti de ,holdernee c4 c4 c4 _/ ,apud ,serenis ,remp3 ,venetam pro ,mag3 _/ ,britan ,rege ,legato ,extraordinario4 _/ ,hoc noviime excogitatum ,opus in humillimi _/ obsequii tetimonium dedicabat _/ ,j4 ,b4 ,jackon404 #agdd4 ,a copy in the ,museum of ,fine ,arts1 ,boston1 has ,d',arcy's coat-of-arms on the entablature of the arch to the right with red and blue notes4 ,the ,british ,museum has a copy with brownish-red touched in with water colors in the clothing of the men under the arch4 ,reichel reproduced this in full size and color 7plate #ih74 ,,mfa1 ,,mma1 ,,bm1 ,venice #ci4 ,heroic ,landscape ,with ,sheep1 ,statues1 and ,gentlemen1 after ,marco ,ricci ,le ,bl4 #ba-be1 ,n4 #bj-be;b ,dimensions3 #af #bc inches4 ,blocks1 #g to #aj3 ,colors vary in different impressions4 #agdd4 ,smithsonian ,institution 7,u4,s4 ,national ,museum7 ,,mfa1 ,,bm1 ,venice #dj4 ,heroic ,landscape with ,fisherman1 ,cows1 and ,horsemen1 after ,marco ,ricci ,le ,bl4 #ba-be1 ,n4 #bj-be;c ,dimensions3 #af #bc inches4 ,blocks1 #g to #aj3 ,colors vary in different impressions4 #agdd4 ,,mfa1 ,,mma1 ,worcester1 ,,bm1 ,v,a1 ,berlin-,dahlem1 ,venice1 ,brussels #da4 ,heroic ,landscape with ,cart and ,goatherd1 with ,s4 ,giorgio ,maggiore in ,background1 after ,marco ,ricci ,le ,bl4 #ba-be1 ,n4 #bj-be;d ,dimensions3 #af #bc inches4 ,blocks1 #g to #aj3 ,colors vary in different impressions4 #agdd4 ,,mfa1 ,,bm1 ,venice1 ,dresden #db4 ,heroic ,landscape with ,women at ,brook1 ,child ,fishing1 and ,herdsmen1 after ,marco ,ricci ,le ,bl4 #ba-be1 ,n4 #bj-be;e ,dimensions3 #af #bc inches4 ,blocks1 #g to #aj3 ,colors vary in different impressions4 #agdd4 ,reichel reproduced this in full size and color 7plate #ii74 ,,mma1 ,,mfa1 ,,bm1 ,venice1 ,milan1 ,berlin-,dahlem #dc4 ,heroic ,landscape with ,watering ,place1 ,riders1 and ,obelisk1 after ,marco ,ricci ,dimensions3 #af #bc inches4 ,blocks1 #g to #aj3 ,colors vary in different impressions4 #agdd4 ,,mfa1 ,,mma1 ,,bm1 ,v,a1 ,venice #dd4 ,battle near ,parma1 after ,francesco ,simonini ,dimensions3 #bj #dj inches 7two joined sheets7 ,blocks1 #g or #h3 ,buff1 brown1 light green1 blue-green1 light transparent red1 deep red1 dark gray4 #ageb4 ,the only known copy is in the ,british ,museum4 ,tone has darkened and paper is torn in parts4 ,this print is described in the ,enquiry4 ,jackson erroneously referred to this artist as 8,simonnetta40 ,,bm #de4 ,ornamental ,border with ,fruit2 ,flowers1 and ,purple ,grapes ,dimensions3 #f #be inches4 ,blocks1 #d3 ,red1 blue1 yellow1 green4 ,print for wallpaper4 ,,bm #df4 ,ornamental ,border with ,fruit1 ,flowers1 and ,green ,grapes ,dimensions3 #f #be inches4 ,blocks1 #d3 ,red1 blue1 yellow and green4 ,print for wallpaper4 ,,bm #dg4 ,ornamental ,frame with ,flowers and ,fruit ,dimensions3 #bd #ah inches4 ,blocks1 #d3 ,red1 blue1 yellow1 gray-green4 ,print for wallpaper4 ,,bm #dh4 ,ornamental ,frame with ,fruit ,dimensions3 #be #ag inches4 ,blocks1 #d3 ,red1 blue1 yellow1 gray-green4 ,print for wallpaper4 ,,bm #di4 ,ornamental ,frame with ,flowers and ,girl's ,head ,dimensions3 #bf #ah inches4 ,blocks1 #d3 ,red1 blue1 yellow1 green4 ,print for wallpaper4 ,central figure is described under ,no4 #ei4 ,,bm #ej4 ,dancing ,nymph with ,bow and ,arrows ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,olive green1 black4 ,print for wallpaper4 ,probably cut by ,jackson as a guide for his workshop4 ,see ,nos4 #ei-gd4 ,smithsonian ,institution 7,u4,s4 ,national ,museum7 #ea4 ,bust of ,democritus ,dimensions3 #i #g inches 7sheet size74 ,blocks1 #d3 ,buff1 light gray1 medium gray1 dark gray4 ,plate from ,jackson1 ,an ,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro1 #aged4 #eb4 ,the ,lion ,dimensions3 #i #g inches4 ,blocks1 #f3 ,yellow1 red1 light green1 blue-gray1 light gray1 dark gray-green4 ,plate from ,jackson1 ,essay4441 #aged4 ,this subject was copied from plate #cd of ,giorgio ,fossati1 ,raccolta di varie favole1 ,venice1 #agdd4 #ec4 ,building and ,vegetable ,dimensions3 #i #g inches4 ,blocks1 #f3 ,yellow1 light green1 light red1 crimson1 light gray1 dark gray4 ,plate from ,jackson1 ,essay4441 #aged4 #ed4 ,statue of ,apollo ,dimensions3 #i #g inches4 ,blocks1 #d3 ,light buff1 medium buff1 gray1 and dark gray4 ,plate from ,jackson1 ,essay4441 #aged4 #ee4 ,the ,farnese ,hercules ,dimensions3 #i #g inches4 ,blocks1 #d3 ,buff1 greenish buff1 gray1 dark greenish gray4 ,plate from ,jackson1 ,essay4441 #aged4 #ef4 ,antique ,bust of a ,man ,dimensions3 #i #g inches4 ,blocks1 #d3 ,buff1 gray-brown1 gray1 dark greenish gray4 ,plate from ,jackson1 ,essay4441 #aged4 #eg4 ,pheasant and ,garden ,urn ,dimensions3 #i #g inches4 ,blocks1 #g3 ,yellow1 light green1 warm gray1 blue-gray1 light red1 crimson1 dark gray-green4 ,plate from ,jackson1 ,essay4441 #aged4 #eh4 ,ruin of ,garden ,temple ,dimensions3 #i #g inches4 ,blocks1 #g3 ,yellow1 light green1 warm gray1 cold gray1 light red1 crimson1 dark gray-green4 ,plate from ,jackson1 ,essay4441 #aged4 ,jackson's ,workshop #ei4 ,woman ,standing ,holding ,apron1 after ,s4 ,le ,clerc ,dimensions3 #aa #f inches 7sheet size74 ,blocks1 #b3 ,deep red and pale green4 ,print for wallpaper4 ,this figure appears in the center of the ornamental frame1 ,no4 #di in this catalog1 in the ,british ,museum impression4 ,after a plate in the series of etchings by ,sbastien ,le ,clerc1 ,les ,figures la mode1 #afhe4 ,the figure is reversed4 ,,bm #fj4 ,female ,statue with ,fruit and ,wheat ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and yellow4 ,print for wallpaper4 ,philadelphia #fa4 ,female ,statue with ,mask ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and yellow4 ,print for wallpaper4 ,philadelphia #fb4 ,queen with ,armor and ,model of ,building ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and pale green4 ,print for wallpaper4 ,in the style of ,villamena4 ,philadelphia #fc4 ,apollo with ,lyre ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,green and black4 ,also deep red and yellow4 ,print for wallpaper4 ,smithsonian ,institution 7,u4,s4 ,national ,museum7 ,philadelphia #fd4 ,woman with ,shepherd's ,pipe ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and yellow4 ,print for wallpaper4 ,philadelphia #fe4 ,woman with ,sheet of ,music and ,horn ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and pale green4 ,also red and yellow4 ,print for wallpaper4 ,philadelphia #ff4 ,woman with ,pitcher and ,apron1 after ,s4 ,le ,clerc ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and pale green4 ,print for wallpaper4 ,after a plate in the series of #bd etchings by ,sbastien ,le ,clerc1 ,les ,figures la mode1 #afhe4 ,the figure is reversed4 ,philadelphia #fg4 ,old ,woman ,standing1 after ,s4 ,le ,clerc ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and pale green4 ,print for wallpaper4 ,after a plate in the series of #bd etchings by ,sbastien ,le ,clerc1 ,les ,figures la mode1 #afhe4 ,the figure is reversed4 ,philadelphia #fh4 ,lady with ,staff ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and yellow4 ,print for wallpaper4 ,philadelphia #fi4 ,woman with ,fruit and ,basket ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and pale green4 ,also red and yellow4 ,print for wallpaper4 ,in the style of ,villamena4 ,,bm #gj4 ,woman with ,branches and ,incense ,burner ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and pale green4 ,also red and yellow4 ,print for wallpaper4 ,in the style of ,villamena4 ,,bm #ga4 ,woman with ,flowers and ,vines ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,red and green4 ,also red and yellow4 ,print for wallpaper4 ,in the style of ,villamena4 ,,bm #gb4 ,standing ,woman1 ,head ,turned to ,right1 after ,watteau ,dimensions3 #aa #e inches4 ,blocks1 #b3 ,green and black4 ,print for wallpaper4 ,after ,boucher's etching after a drawing by ,watteau 7plate #baf in ,jean de ,julienne's compilation of ,watteau's work1 ,figures de diffrents caractres1 ca4 #agdj74 ,,mma1 ,philadelphia1 ,,bm #gc4 ,lady with ,fan1 after ,s4 ,le ,clerc ,dimensions3 #aa #d inches4 ,blocks1 #b3 ,green and black4 ,print for wallpaper4 ,after a plate in the series of #bd etchings by ,sbastien ,le ,clerc1 ,les ,figures la mode1 #afhe4 ,the figure is reversed and the fan has been shifted to the upper hand4 ,,mma #gd4 ,classical ,female ,statue ,dimensions3 #aa #f inches4 ,blocks1 #b3 ,deep red and yellow4 ,print for wallpaper4 ,philadelphia1 ,,mma #ge4 ,boy ,looking ,down ,dimensions3 #c #b inches4 ,blocks1 #b3 ,light brown and black4 ,perhaps after ,piazzetta4 ,,mfa1 ,,bm #gf4 ,lady with a ,flower ,dimensions3 #ad #aa inches4 ,blocks1 #c3 ,buff1 light brown1 brown4 ,possibly after ,kneller4 ,very weak and crude4 ,,bm1 ,v,a ,unverified ,subjects #gg4 ,the ,annunciation1 after ,parmigianino ,dimensions3 #f #d inches4 ,blocks1 #c3 ,tones of brown4 ,this is listed as ,jackson's in ,gutekunst ,klipstein's catalogue #dj1 #aich4 ,it is described as having 8the initials and an engraved letter border10 but whether the initials are ,jackson's or ,parmigianino's is uncertain4 #gh4 ,st4 ,peter and ,st4 ,paul ,surprised by the ,executioner1 after ,titian ,le ,bl4 #ag1 ,n4 #af ,le ,blanc and ,nagler list this print in addition to ,st4 ,peter ,martyr1 but most likely it is the same subject4 ,the title might have been taken from a museum catalogue which listed the identical print under a different title4 #gi4 ,the ,entombment1 after ,titian ,le ,bl4 #aa ,this is included in ,le ,blanc 7,j4 ,c4 mis au tombeau7 but it seems likely that it was confused with ,bassano's identically titled subject4 #hj4 ,giovanni ,gastro ,i ,de ,medici ,this is listed as a ,jackson print in ,berlin-,dahlem but has not been located4 #ha4 ,elisabeth1 ,duchess of ,hamilton1 as a ,shepherdess ,this is catalogued as a ,jackson print in the ,dresden ,kunstsammlungen but was lost in the war4 ,the ,chiaroscuros and ,color ,woodcuts of ,john ,baptist ,jackson ,illustration3 #a4 ,,christ ,,giving ,,the ,,keys ,,to ,,st4 ,,peter1 after ,raphael 7,see also color plate7 ,illustration3 #b4 ,,venus ,,and ,,cupid ,,with ,a ,,bow1 after ,parmigianino 7,see also color plate7 ,illustration3 #c4 ,,woman ,,standing ,,holding ,,jar ,,on ,,her ,,head1 after ,parmigianino ,illustration3 #e4 ,,woman ,,meditating 7,,st4 ,,thais871 after etching by ,parmigianino 7,see also color plate7 ,illustration3 #g4 ,,bookplate ,illustration3 #f4 ,,ulysses ,,and ,,polyphemus1 after ,primaticcio ,illustration3 #h4 ,,judgment ,,of ,,solomon1 after ,rubens ,illustration3 #i4 ,,the ,,visitation1 after ,annibale ,carracci ,illustration3 #aj4 ,,julius ,,caesar1 after ,titian ,illustration3 #aa4 ,,st4 ,,rocco1 after ,cherubino ,alberti ,illustration3 #ab4 ,,statuette ,,of ,,neptune1 after ,giovanni da ,bologna ,illustration3 #ad4 ,,christ ,,and ,,the ,,woman ,,of ,,samaria ,illustration3 #ae4 ,,romulus ,,and ,,remus1 ,,wolf1 ,,and ,,sea ,,god ,illustration3 #ac4 ,,descent ,,from ,,the ,,cross1 after ,rembrandt 7,see also color plate7 ,illustration3 #af4 ,,the ,,death ,,of ,,st4 ,,peter ,,martyr1 after ,titian ,illustration3 #ag4 ,,the ,,presentation ,,in ,,the ,,temple 7,,the ,,circumcision71 after ,veronese ,illustration3 #ah4 ,,the ,,massacre ,,of ,,the ,,innocents1 after ,tintoretto ,illustration3 #bb4 ,,the ,,crucifixion1 ,,after ,,tintoretto1 left sheet 7,see also color plates7 ,illustration3 #bb4 ,,the ,,crucifixion1 after ,tintoretto1 center sheet 7,see also color plates7 ,illustration3 #bb4 ,,the ,,crucifixion1 after ,tintoretto1 right sheet 7,see also color plates7 ,illustration3 #ai4 ,,the ,,entombment1 after ,jacopo ,bassano ,illustration3 #bj4 ,,holy ,,family ,,and ,,four ,,saints1 after ,veronese ,illustration3 #ba4 ,,the ,,mystic ,,marriage ,,of ,,st4 ,,catherine1 after ,veronese ,illustration3 #bf4 ,,the ,,virgin ,,in ,,the ,,clouds ,,and ,,six ,,saints1 after ,titian ,illustration3 #bc4 ,,miracle ,,of ,,st4 ,,mark1 after ,tintoretto1 left sheet ,illustration3 #bc4 ,,miracle ,,of ,,st4 ,,mark1 after ,tintoretto1 right sheet ,illustration3 #bd4 ,,the ,,marriage ,,at ,,cana1 after ,veronese1 left sheet ,illustration3 #bd4 ,,the ,,marriage ,,at ,,cana1 after ,veronese1 right sheet ,transcriber's ,note3 ,the left and right halves of ,plate #bd appear to be mislabeled in the original4 ,see the html file for combined version4 ,illustration3 #bg4 ,,the ,,descent ,,of ,,the ,,holy ,,spirit1 after ,titian ,illustration3 #bh4 ,,the ,,finding ,,of ,,moses1 after ,veronese ,illustration3 #bi4 ,,the ,,raising ,,of ,,lazarus1 after ,leandro ,bassano ,illustration3 #ca4 ,,melchisedech ,,blessing ,,abraham1 after ,francesco ,bassano ,illustration3 #cb4 ,,dives ,,and ,,lazarus 7,,the ,,rich ,,man ,,and ,,lazarus71 after ,jacopo ,bassano1 left sheet ,illustration3 #cb4 ,,dives ,,and ,,lazarus 7,,the ,,rich ,,man ,,and ,,lazarus71 after ,jacopo ,bassano1 right sheet ,illustration3 #cj4 ,,christ ,,on ,,the ,,mount ,,of ,,olives1 after ,jacopo ,bassano ,illustration3 #cg4 ,,lamentation ,,over ,,the ,,body ,,of ,,christ ,illustration3 #cc4 ,,algernon ,,sidney1 after ,justus ,verus ,illustration3 #cd4 ,,antique ,,bust ,,of ,,woman ,illustration3 #be4 ,,presentation ,,of ,,the ,,virgin ,,in ,,the ,,temple1 after ,titian1 left sheet ,illustration3 #be4 ,,presentation ,,of ,,the ,,virgin ,,in ,,the ,,temple1 after ,titian1 center sheet ,illustration3 #be4 ,,presentation ,,of ,,the ,,virgin ,,in ,,the ,,temple1 after ,titian1 right sheet ,illustration3 #ce4 ,,lovers 7facing right71 perhaps after ,piazzetta ,illustration3 #cf4 ,,lovers 7woman full face71 perhaps after ,piazzetta ,illustration3 #ch4 ,,heroic ,,landscape ,,with ,,dedication ,,and ,,classical ,,ruins1 after ,marco ,ricci ,illustration3 #ci4 ,,heroic ,,landscape ,,with ,,sheep1 ,,statues1 ,,and ,,gentlemen1 after ,marco ,ricci ,illustration3 #dj4 ,,heroic ,,landscape ,,with ,,fisherman1 ,,cows1 ,,and ,,horsemen1 after ,marco ,ricci 7,see also color plates7 ,illustration3 #da4 ,,heroic ,,landscape ,,with ,,cart ,,and ,,goatherd1 ,,and ,,with ,s4 ,,giorgio ,,maggiore ,,in ,,background1 after ,marco ,ricci ,illustration3 #db4 ,,heroic ,,landscape ,,with ,,women ,,at ,,brook1 ,,child ,,fishing ,,and ,,herdsmen1 after ,marco ,ricci ,illustration3 #dc4 ,,heroic ,,landscape ,,with ,,watering ,,place1 ,,riders ,,and ,,obelisk1 after ,marco ,ricci 7,see also color plate7 ,illustration3 #dd4 ,,battle ,,near ,,parma1 after ,francesco ,simonini ,illustration3 #dd4 ,,battle ,,near ,,parma1 after ,francesco ,simonini1 detail ,illustration3 #de4 ,,ornamental ,,border ,,with ,,fruit1 ,,flowers ,,and ,,purple ,,grapes ,illustration3 #df4 ,,ornamental ,,border ,,with ,,fruit1 ,,flowers1 ,,and ,,green ,,grapes ,illustration3 #dg4 ,,ornamental ,,frame ,,with ,,flowers ,,and ,,fruit ,illustration3 #dh4 ,,ornamental ,,frame ,,with ,,fruit ,illustration3 #di4 ,,ornamental ,,frame ,,with ,,flowers ,,and ,,girl',s ,,head 7,see also color plate7 ,illustration3 #ei4 ,,woman ,,standing ,,holding ,,apron1 after ,s4 ,le ,clerc ,illustration3 #ej4 ,,dancing ,,nymph ,,with ,,bow ,,and ,,arrows ,illustration3 #ea4 ,,bust ,,of ,,democritus ,illustration3 #eb4 ,,the ,,lion ,illustration3 #ec4 ,,building ,,and ,,vegetable 7,see also color plate7 ,illustration3 #ed4 ,,statue ,,of ,,apollo ,illustration3 #ee4 ,,the ,,farnese ,,hercules ,illustration3 #ef4 ,,antique ,,bust ,,of ,a ,,man ,illustration3 #eg4 ,,pheasant ,,and ,,garden ,,urn ,illustration3 #eh4 ,,ruin ,,of ,,garden ,,temple ,illustration3 #fj4 ,,female ,,statue ,,with ,,fruit ,,and ,,wheat ,illustration3 #fa4 ,,female ,,statue ,,with ,,mask ,illustration3 #fb4 ,,queen ,,with ,,armor ,,and ,,model ,,of ,,building ,illustration3 #fc4 ,,apollo ,,with ,,lyre ,illustration3 #fd4 ,,woman ,,with ,,shepherd',s ,,pipe ,illustration3 #fe4 ,,woman ,,with ,,sheet ,,of ,,music ,,and ,,horn ,illustration3 #ff4 ,,woman ,,with ,,pitcher ,,and ,,apron1 after ,s4 ,le ,clerc ,illustration3 #fg4 ,,old ,,woman ,,standing1 after ,s4 ,le ,clerc ,illustration3 #fh4 ,,lady ,,with ,,staff ,illustration3 #fi4 ,,woman ,,with ,,fruit ,,and ,,basket ,illustration3 #gj4 ,,woman ,,with ,,branches ,,and ,,incense ,,burner ,illustration3 #ga4 ,,woman ,,with ,,flowers ,,and ,,vines ,illustration3 #gb4 ,,standing ,,woman1 ,,head ,,turned ,,to ,,right1 after ,watteau ,illustration3 #gc4 ,,lady ,,with ,,fan1 after ,s4 ,le ,clerc ,illustration3 #gd4 ,,classical ,,female ,,statue ,illustration3 #gf4 ,,lady ,,with ,a ,,flower ,illustration3 #ge4 ,,boy ,,looking ,,down ,,bibliography ,,anonymous4 ,an ,enquiry into the ,origins of ,printing in ,europe1 by a ,lover of ,art4 ,london1 #ageb4 ,a rewrite of ,jackson's manuscript journal1 with some sections quoted verbatim4 ,the artist's career from about #agbe to #ageb is described4 ,the most important biographical source and a rare book4 ,,audin1 ,m4 ,essai sur les graveurs de bois en ,france au dix-huitime sicle4 ,paris1 #aibe1 pp4 #ii-ajb4 ,contains a section listing many books illustrated by ,jackson in ,paris1 mostly in later editions4 ,,baverel1 ,p4 ,notices sur les graveurs1 ,besanon1 #ahjg1 vol4 #a1 pp4 #cda-cdb4 ,b,n,,zit1 ,e4 ,dictionnaire des peintres1 sculpteurs1 dessinateurs1 graveurs4 ,paris1 #aibd 7#ast ed4 #aiac71 vol4 #b1 p4 #fic4 ,,bewick1 ,,thomas4 ,memoir of ,thomas ,bewick1 ,written by ,himself1 #ahbb-ahbh4 ,new ,york1 #aibe 7#ast ed41 #ahfb71 pp4 #bac-bad4 ,mentions meeting ,jackson in advanced age1 about #aggg4 ,the book contains much personal reminiscence and observation on life but little concrete detail for the student4 ,,bigmore1 ,e4 ,c4 and ,,wyman1 ,c4 ,w4 ,h4 ,a ,bibliography of ,printing4 ,london1 #ahhj-ahhf1 vol4 #a1 pp4 #bja1 #cfe4 ,the most extensive annotated listing of books relating to printing4 ,has a description of ,jackson's ,essay4 ,,brulliot1 ,f4 ,dictionnaire des monogrammes4 ,munich1 #ahcb-ahcd1 vol4 #b1 ,nos4 #abhh1 #aceb1 #aece4 ,,bryan1 ,m4 ,dictionary of ,painters and ,engravers4 ,london and ,new ,york1 #aijd 7#ast ed4 #ahaf71 vol4 #c1 p4 #ii4 ,the most comprehensive biographical dictionary of artists in the ,english language4 ,,burch1 ,r4 ,m4 ,colour ,printing and ,colour ,printers4 ,london1 #aiaj1 pp4 #gb-gg4 ,the most comprehensive general survey1 but with more than occasional inaccuracies4 ,there is a lack of sensitivity in art matters4 ,these comments apply also to the section on ,jackson4 ,,chatto1 ,w41 and ,,jackson1 ,j4 ,a ,treatise on ,wood-,engraving4 ,london1 #ahfa 7#ast4 ed4 #ahci71 pp4 #dec-deg4 ,the classic work on the subject2 scholarly1 objective1 and voluminously illustrated4 ,has the fullest early account of ,jackson and is the basis for most later studies of the artist4 ,,cust1 ,l4 8,john ,baptist ,jackson10 ,dictionary of ,national ,biography4 ,new ,york and ,london1 #ahhe-aijj1 vol4 #bi1 p4 #ajj4 ,,de ,,boni1 ,f4 ,biografia degli artisti4 ,venice1 #ahdj1 p4 #dii4 ,,donnell1 ,,edna4 8,the ,van ,rensselaer ,wall ,paper and ,j4 ,b4 ,jackson-- ,a ,study in ,disassociation40 ,metropolitan ,museum ,studies1 #aicb1 vol4 #d1 pp4 #gg-ajh4 ,the most scholarly study of ,jackson's wallpaper career4 ,shows1 by an examination of styles1 that ,jackson could not have made the wallpapers indiscriminately attributed to him4 ,,duplessis1 ,g4 ,histoire de la gravure4 ,paris1 #ahhj1 pp4 #cad-cae4 ,,entwisle1 ,e4 ,a4 ,the ,book of ,wallpaper4 ,london1 #aied1 pp4 #fe-fg1 #gf4 ,contains new information on wallpaper manufacturers in ,london during the #ahth century1 some of it bearing on ,jackson4 ,,frankau1 ,j4 ,eighteenth-,century ,colour-,prints4 ,london1 #aijg1 pp4 #db-df4 ,has an appreciative section on ,jackson1 highly romanticized4 ,,friedl,,nder1 ,m4 ,j4 ,der ,holzschnitt3 ,handbcher der ,staatlichen ,museen zu ,berlin4 ,berlin and ,leipzig1 #aibf 7#ast ed4 #aiag71 pp4 #bbd-bbf4 ,,fuessli1 ,j4 ,c4 ,raisonirendes ,verzeichniss der vornehmsten ,kupferstecher4 ,zurich1 #agga1 pp4 #cec-ced4 ,,furst1 ,h4 ,the ,modern ,woodcut4 ,new ,york1 #aibd1 pp4 #hh1 #ii4 ,a fine general survey1 although judgments are occasionally dogmatic4 ,,gallo1 ,r4 ,l',incisioni nel '#gjj a ,venezia e a ,bassano4 ,venice1 #aida1 pp4 #bb-bc4 ,a solid study containing some new material on the artists of the period4 ,,gori ,,gandellini1 ,g4 ,notizie ,istoriche degl' ,intagliatori4 ,siena1 #agga1 vol4 #b1 p4 #aef4 ,,gusman1 ,p4 ,la ,gravure sur bois et d'epargne sur metal du ,x,i,ve au ,x,xe sicle4 ,paris1 #aiaf1 pp4 #cb1 #afd-afe1 #aic1 #beb4 ,,hardie1 ,,martin4 ,english ,coloured ,books4 ,new ,york and ,london1 #aijf1 pp4 #ai-bg4 ,while a brief but sensitive account of ,jackson is given1 the main emphasis is on the ,essay as an illustrated book4 ,,heinecken1 ,c4 ,h4 ,,von4 ,ide gnrale d'une collection complette d'estampes4 ,leipzig and ,vienna1 #agga1 p4 #id4 ,,heller1 ,j4 ,geschichte der ,holzschneidekunst4 ,bamberg1 #ahbc1 pp4 #bie-bif4 ,praktisches ,handbuch fr ,kupferstichsammler4 ,leipzig1 #ahej1 p4 #ccd4 ,lists #aj chiaroscuros by ,jackson4 ,,heller1 ,j41 and ,,andresen1 ,a4 ,handbuch fr ,kupferstichsammler4 ,leipzig1 #ahgj1 vol4 #a1 pp4 #gjf-gjg4 ,lists #aa prints by ,jackson4 ,,huber1 ,m4 ,notices gnrales des graveurs et des peintres4 ,dresden1 #aghg1 pp4 #fgf1 #fih4 ,,huber1 ,m41 and ,,rost1 ,c4 ,c4 ,handbuch fr ,kunstliebhaber und ,sammler4 ,zurich1 #ahjh1 vol4 #i1 pp4 #abi-aca4 ,,huber1 ,m41 ,,rost1 ,c4 ,c41 and ,,martini1 ,c4 ,g4 ,manuel des curieux et des amateurs d'art4 ,zurich1 #agig-ahjh1 vol4 #i1 pp4 #aba-abc4 ,first catalog of ,jackson's work2 lists #aj titles4 ,,jackson1 ,,john ,,baptist4 ,an ,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro1 as ,practised by ,albert ,durer1 ,hugo di ,carpi1 c41 and the ,application of ,it to the ,making ,paper ,hangings of ,taste1 ,duration1 and ,elegance4 ,london1 #aged4 ,written by ,jackson to promote his wallpapers1 it repeats some of his assertions in the ,enquiry but gives little detail concerning his career4 ,it is important as an illustrated book and as an early document in the history of wallpaper4 ,the prints have suffered from the use of an inferior oil vehicle4 ,,kainen1 ,,jacob4 8,john ,baptist ,jackson and his ,chiaroscuros40 ,printing and ,graphic ,arts1 vol4 #d1 no4 #d1 #aief1 pp4 #he-ib4 ,an excerpt from the present work1 then in progress1 in a different version4 ,,kreplin1 ,b4 ,c4 8,john ,baptist ,jackson10 in ,thieme1 ,u41 and ,becker1 ,f41 ,allgemeines ,lexikon der ,bildenden ,knstler4 ,leipzig1 #aijg-aiej1 vol4 #ah1 pp4 #bbd-bbe4 ,the most comprehensive biographical dictionary of artists4 ,has a good article on ,jackson and a small bibliography4 ,,le ,,blanc1 ,c4 ,manuel de l'amateur d'estampes4 ,paris1 #ahed-ahhh1 vol4 #b1 p4 #daf4 ,particularly valuable for its catalogs of the work of engravers4 ,with ,nagler1 contains the largest listing of ,jackson's prints4 ,,levis1 ,h4 ,c4 ,a ,descriptive ,bibliography of ,books in ,english ,relating to ,engraving and the ,collection of ,prints4 ,london1 #aiab1 pp4 #ahb-ahd4 ,,lewis1 ,c4 ,t4 ,c4 ,the ,story of ,picture ,printing in ,england ,during the #aith ,century2 or ,forty ,years of ,wood and ,stone4 ,london1 #aibh1 pp4 #b1 #ba1 #bf1 #cd1 #dj1 #dc1 #aie4 ,written in an oppressively popular style with emphasis on ,baxter and ,le ,blond4 ,jackson is mentioned often but sketchily as the distant ancestor of 8picture printing40 ,,linton1 ,w4 ,the ,masters of ,wood ,engraving4 ,london1 #ahhi1 p4 #bad4 ,discusses the subject from the standpoint of a late-#aith-century technician4 ,nevertheless is open-minded1 if slightly superior1 about the chiaroscuro woodcut4 ,,longhi1 ,g4 ,catalogo dei pi celebri intagliatori in legno ed in rame4 ,milan1 #ahba1 p4 #ea4 ,,maberly1 ,j4 ,the ,print ,collector4 ,london1 #ahdd1 p4 #acj4 ,the first ,american edition1 ,new ,york1 #ahhj1 edited by ,robert ,hoe1 copies the annotated description of the ,essay from ,bigmore and ,wyman4 ,,mcclelland1 ,n4 ,historic ,wall-,papers4 ,philadelphia and ,london1 #aibd1 pp4 #dg1 #gi1 #ada-aed1 #afe1 #cbd-cbi1 #dbc4 ,makes many references to ,jackson1 largely inaccurate4 ,,mireur1 ,h4 ,dictionnaire des ventes d'art fait en ,france4 ,paris1 #aiaa-aiab1 vol4 #d1 p4 #bc4 ,m,,ller1 ,f41 and ,,klunzinger1 ,k4 ,die ,knstler ,aller ,zeiten und ,vlker4 #aheg-ahfd1 vol4 #b1 p4 #dcj4 ,m,,ller1 ,h4 ,a41 ,m,,ller1 ,h4 ,w41 and ,,singer1 ,h4 ,w4 ,allgemeines ,knstler-,lexicon4 ,frankfurt1 #ahie-aija1 vol4 #b1 p4 #bdj4 ,,nagler1 ,g4 ,k4 ,allgemeines ,knstler-,lexicon4 ,munich4 #ahce-ea1 vol4 #f1 pp4 #chc-chd4 ,the most extensive of all dictionaries of artists up to the time of ,thieme and ,becker1 q4v4 ,with ,le ,blanc1 has the fullest catalog of ,jackson's prints4 ,die ,monogrammisten1 ,munich1 #aheh-ahgi1 vol4 #c1 pp4 #gcj1 #hcf4 ,,oman1 ,c4 ,c4 ,catalogue of ,wall-,papers4 ,london1 ,victoria and ,albert ,museum1 #aibi1 pp4 #bd-be1 #cc4 ,a good historical account which includes ,jackson's contributions to the rise of scenic wallpaper4 ,,pallucchini1 ,,rodolfo4 ,mostra degli incisori ,veneti del settecento4 ,venice1 #aida1 ed4 #b1 pp4 #af1 #ajc-ajd4 ,catalog of the exhibition held in ,venice in #aida4 ,,papillon1 ,j4 ,m4 ,trait historique et pratique de la gravure en bois4 ,paris1 #agff1 vol4 #a1 pp4 #cbc-cbd1 #cbg-cbi1 #dae4 ,contains personal recollections of ,jackson and his career in ,france4 ,the book is valuable as the first technical treatise on the woodcut1 but the historical section is notoriously inaccurate and heavily weighted with ,papillon's prejudices4 ,,percival1 ,,maciver4 8,jackson of ,battersea and his ,wall ,papers40 ,the ,connoisseur1 #aibb1 vol4 #fb1 pp4 #be-cf4 ,,redgrave1 ,s4 ,dictionary of ,artists of the ,english ,school4 ,london1 #ahgd1 p4 #bbg4 ,,reichel1 ,,anton4 ,die ,clair-,obscur-,schnitte des ,,xvi41 ,,xvii4 und ,,xviii4 ,jahrhunderts4 ,zurich1 ,leipzig1 and ,vienna1 #aibf1 p4 #dh4 ,the finest work on chiaroscuro1 with #ajj magnificent facsimile illustrations in color1 fully described1 and black-and-white illustrations in the text4 ,reproduces two of ,jackson's ,ricci prints in actual size and color4 ,,savage1 ,w4 ,practical ,hints on ,decorative ,printing4 ,london1 #ahbb1 pp4 #ae-af4 ,savage was the first writer to acknowledge ,jackson's contributions to color printing1 although he was critical of his inks4 ,the book attempts to show1 through examples1 that color printing from woodblocks is practical for a variety of purposes4 ,,smith1 ,j4 ,the ,printers ,grammar4 ,london1 #agee1 p4 #acf4 ,,spooner1 ,s4 ,dictionary of ,painters1 ,engravers1 ,sculptors ,architects4 ,new ,york1 #ahec1 vol4 #a1 pp4 #dbj-dba4 ,,strutt1 ,j4 ,dictionary of ,engravers4 ,london1 #aghe-hf1 vol4 #b1 p4 #da4 ,,sugden1 ,a4 ,v41 and ,,edmondson1 ,j4 ,l4 ,a ,history of ,english ,wallpaper4 ,new ,york and ,london1 #aibe1 pp4 #fa-ga4 ,the most thorough book on the subject although the treatment of ,jackson is narrowly confined1 like most wallpaper books1 to his shortcomings as a decorator for elegant homes4 ,,walpole1 ,,horace4 ,anecdotes of ,painting in ,england4 ,a ,catalogue of ,engravers who ,have ,been ,born1 or ,resided in ,england4 ,digested from the ,manuscript of ,george ,vertue4 ,london1 #agfe 7#ast ed4 #agfb71 p4 #c4 ,important as the first compilation on this subject4 ,the ,letters of ,horace ,walpole4 ,edited by ,mrs4 ,paget ,toynbee1 ,oxford1 #aijc-je1 vol4 #c1 p4 #aff4 ,,weigel1 ,r4 ,kunstlagercatalog4 ,leipzig1 #ahcg-ahff1 vol4 #b1 pp4 #ajc1 #aje2 vol4 #d1 p4 #eb4 ,,wick1 ,,peter ,a4 ,suite of ,six ,color ,woodcuts of ,heroic ,landscapes by ,john ,baptist ,jackson after ,marco ,ricci4 #aiee1 #ab pp4 ,manuscript read at the ,,xviii ,congres ,international d',histoire de ,l',art1 ,venice1 ,sept4 #ab-ah1 #aiee4 ,the first good1 scholarly study of the ,ricci prints4 ,traces ,jackson's career briefly but accurately4 ,y4 ,d4 ,historical ,remarks on ,cutting in ,wood4 ,the ,gentleman's ,magazine1 ,february #ageb1 vol4 #bb1 pp4 #gh-gi4 ,the first published statement of ,jackson's contribution as a woodcutter4 ,,zanetti1 ,a4 ,m4 ,della pittura veneziana4 ,venice1 #agib4 7#ast ed4 #agga71 vol4 #b1 pp4 #fhi1 #gaf4 ,zanetti was the librarian of ,st4 ,mark's and the nephew of the famous chiaroscurist4 ,,zani1 ,d4 ,p4 ,enciclopedia metodica delle belle arti4 ,parma1 #ahag-bd1 vol4 #aa1 p4 #dg4 ,,zanotto1 ,f4 ,nuovissimo guida di ,venezia4 ,venice1 #ahef1 p4 #cbj1 note #c4 ,,index ,,to ,,plates #a4 ,christ ,giving the ,keys to ,st4 ,peter1 after ,raphael1 #ee 7color71 #ii #b4 ,venus and ,cupid with a ,bow1 after ,parmigianino1 #ef 7color71 #ajj #c4 ,woman ,standing ,holding ,jar on ,her ,head1 after ,parmigianino1 #aja #e4 ,woman ,meditating 7,st4 ,thais871 after ,parmigianino1 #eg 7color71 #ajb #f4 ,ulysses and ,polyphemus1 after ,primaticcio1 #ajd #g4 ,bookplate1 #ajc #h4 ,judgment of ,solomon1 after ,rubens1 #aje #i4 ,the ,visitation1 after ,annibale ,carracci1 #ajf #aj4 ,julius ,caesar1 after ,titian1 #ajg #aa4 ,st4 ,rocco1 after ,cherubino ,alberti1 #ajh #ab4 ,statuette of ,neptune1 after ,giovanni da ,bologna1 #aji #ac4 ,descent from the ,cross1 after ,rembrandt1 #eh 7color71 #aab #ad4 ,christ and the ,woman of ,samaria1 #aaj #ae4 ,romulus and ,remus1 ,wolf and ,sea ,god1 #aaa #af4 ,the ,death of ,st4 ,peter ,martyr1 after ,titian1 #aac #ag4 ,the ,presentation in the ,temple 7,the ,circumcision71 after ,veronese1 #aad #ah4 ,the ,massacre of the ,innocents1 after ,tintoretto1 #aae #ai4 ,the ,entombment1 after ,jacopo ,bassano1 #aah #bj4 ,holy ,family and ,four ,saints1 after ,veronese1 #aai #ba4 ,the ,mystic ,marriage of ,st4 ,catherine1 after ,veronese1 #abj #bb4 ,the ,crucifixion1 after ,tintoretto1 left sheet1 #fd 7color71 #aaf center sheet1 #cg 7proof of key block71 #fd 7color71 #aaf right sheet1 #fe 7color71 #aag #bc4 ,miracle of ,st4 ,mark1 after ,tintoretto1 left sheet1 #abb right sheet1 #abc #bd4 ,the ,marriage at ,cana1 after ,veronese1 left sheet1 #abd right sheet1 #abe #be4 ,presentation of the ,virgin in the ,temple1 after ,titian1 left sheet1 #acf center sheet1 #acf right sheet1 #acg #bf4 ,the ,virgin in the ,clouds and ,six ,saints1 after ,titian1 #aba #bg4 ,the ,descent of the ,holy ,spirit1 after ,titian1 #abf #bh4 ,the ,finding of ,moses1 after ,veronese1 #abg #bi4 ,the ,raising of ,lazarus1 after ,leandro ,bassano1 #abh #cj4 ,christ on the ,mount of ,olives1 after ,jacopo ,bassano1 #ch 7key block71 #acb #ca4 ,melchisedech ,blessing ,abraham1 after ,francesco ,bassano1 #abi #cb4 ,dives and ,lazarus 7,the ,rich ,man and ,lazarus71 after ,jacopo ,bassano1 left sheet1 #acj right sheet1 #aca #cc4 ,algernon ,sidney1 after ,justus ,verus1 #acd #cd4 ,antique ,bust of ,woman1 #ace #ce4 ,lovers 7facing right71 perhaps after ,piazzetta1 #ach #cf4 ,lovers 7woman full face71 perhaps after ,piazzetta1 #aci #cg4 ,lamentation ,over the ,body of ,christ1 #acc #ch4 ,heroic ,landscape ,with ,dedication and ,classical ,ruins1 after ,marco ,ricci1 #adj #ci4 ,heroic ,landscape ,with ,sheep1 ,statues1 and ,gentlemen1 after ,marco ,ricci1 #ada #dj4 ,heroic ,landscape ,with ,fisherman1 ,cows1 and ,horsemen1 after ,marco ,ricci1 #dj 7color71 #da 7color1 detail71 #adb #da4 ,heroic ,landscape with ,cart and ,goatherd1 with ,s4 ,giorgio ,maggiore in ,background1 after ,marco ,ricci1 #adc #db4 ,heroic ,landscape with ,women at ,brook1 ,child ,fishing1 and ,herdsmen1 after ,marco ,ricci1 #add #dc4 ,heroic ,landscape with ,watering ,place1 ,riders1 and ,obelisk1 after ,marco ,ricci1 #ei 7color71 #ade #dd4 ,battle near ,parma1 after ,francesco ,simonini1 #adf1 #adg 7detail7 #de4 ,ornamental ,border with ,fruit1 ,flowers1 and ,purple ,grapes1 #adh #df4 ,ornamental ,border with ,fruit1 ,flowers1 and ,green ,grapes1 #adh #dg4 ,ornamental ,frame with ,flowers and ,fruit1 #adi #dh4 ,ornamental ,frame with ,fruit1 #aej #di4 ,ornamental ,frame with ,flowers and 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,standing ,woman1 ,head ,turned to ,right1 after ,watteau1 #afg #gc4 ,lady with ,fan1 after ,s4 ,le ,clerc1 #afg #gd4 ,classical ,female ,statue1 #afh #ge4 ,boy ,looking ,down1 #agj #gf4 ,lady with a ,flower1 #afi ,,index ,alberti1 ,cherubino1 #cj ,albrizzi1 ,g4 ,b41 #bf1 #bh1 #bi ,altdorfer1 ,albrecht1 #cfn ,andreani1 ,andrea1 #aj1 #aa1 #abn1 #ca1 #de ,annison1 ,m41 #bb ,baglioni1 #bg1 #bi ,baldung1 ,hans1 #aj ,bartolozzi1 ,francesco1 #d ,bassano1 ,jacopo1 #cb ,baxter1 ,george1 #fg ,beccafumi1 ,domenico1 #aj ,berghem1 ,nicolaes1 #de ,bewick1 ,thomas1 #e1 #in1 #af1 #ag1 #bh1 #ce1 #di1 #ej ,bibbia del ,nicolosi1 #bf ,biblia ,sacra 7published by ,hertz71 #bh ,bloemart1 ,abraham1 #bb ,cornelius1 #bb ,frederick1 #bb ,boldrini1 ,niccol1 #aa ,bologna1 ,giovanni da1 #ca ,book of ,st4 ,albans1 #g ,brand1 ,thomas1 #dh ,bromwich1 ,thomas1 #db ,burgkmair1 ,hans1 #aj ,businck1 ,ludolph1 #aa1 #bh1 #de ,cabinet ,crozart1 #bb1 #bc ,callot1 ,jacques1 #d1 #ah1 #cj ,campagnola1 ,domenico1 #dd ,canaletto1 #de ,carpi1 ,ugo da1 #aj1 #aa1 #be1 #bf1 #da1 #dd1 #de1 #ea1 #eb ,carracci1 ,agostino1 #cbn ,caslon1 ,william1 #af ,caylus1 ,anne ,claude ,phillipe1 ,count de1 #bb1 #bc1 #bh ,chinese woodcuts1 #cf1 #fh ,coriolano1 ,bartolomeo1 #aa1 #de ,giovanni ,battista1 #aa ,coypel1 ,charles1 #bh ,cranach1 ,lucas1 #i ,croxall's ,aesop's ,fables1 #ad1 #ae1 #ca ,crozat1 ,pierre1 #bb1 #bc1 #dh ,d',arcy1 ,robert1 #ce ,darley1 ,matthias1 #db ,dunbar1 ,robert1 #cj ,robert1 ,jr41 #db1 #dh ,drer1 ,albrecht1 #d1 #in1 #da1 #dd1 #eb ,eaton1 ,edward1 #di ,ecman1 ,edouard1 #cj ,edwards1 ,george1 #en 8,ekwitz10 #ad ,elliot1 ,sir ,gilbert1 #ej ,enquiry into the ,origins of ,printing in ,europe 7publication71 #da ,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro 7publication71 #dc ,faldoni1 ,giovanni ,antonio1 #cj ,farsetti1 ,filippo1 #bf1 #bg ,franois1 ,j4 ,c41 #ed ,frederick1 ,charles1 #ca ,fougeron1 ,john1 #di ,gauguin1 ,paul1 #d1 #ed ,george ,,iii1 #ca ,goltzius1 ,hendrick1 #aa ,hubert1 #bb1 #bi1 #de ,goya1 ,francesco1 #d ,guardi1 ,francesco1 #df ,gubitz1 ,frederich ,w41 #fg ,hogarth1 ,william1 #ag ,hollis1 ,thomas1 #dh1 #di ,istoria del ,testamento ,vecchio e ,nuovo1 #bf ,jackson1 ,john ,baptist contributions to chiaroscuro and color woodcut1 #e1 #f1 #ab1 #fh critical opinions of his work1 #g1 #ea-ed first work in chiaroscuro1 #aa1 #ab1 #bc birth1 #ad training1 #ad1 #ae early work in ,london1 #ae1 #ag arrival in ,paris1 #ag association with ,papillon1 #ah-bb association with de ,caylus and ,crozat1 #bb1 #bc ,papillon's criticism of ,jackson1 #ai1 #bj arrival in ,venice1 #be association with ,zanetti1 #be1 #bf first chiaroscuros in ,venice1 #bf first chiaroscuro reproducing a painting1 #bg early plans for wallpaper1 #cj influence of line engraving1 #bi1 #cj association with ,joseph ,smith1 #cj1 #ca1 #cb production of the ,venetian set1 #ca1 #cb1 #cc production of the ,ricci set1 his first prints in full color1 #cc1 #ce1 #cf use of embossing1 #cc1 #cf marriage1 #dj return to ,england1 #dj designs for calico1 #dj career as a maker of wallpaper1 #dj-ej publication of ,an ,enquiry into the ,origins of ,printing in ,europe1 #da publication of ,an ,essay on the ,invention of ,engraving and ,printing in ,chiaro ,oscuro1 #dc pioneer of scenic wallpaper1 #df1 #dg album ascribed to him1 #dh collapse of wallpaper venture1 #dh1 #di meeting with ,bewick1 #di1 #ei last days1 #ej ,walpole's criticism1 #ea ,janinet1 ,jean ,franois1 #d ,japanese woodcuts1 #d1 #ccn1 #cf ,jegher1 ,christoffel1 #aa ,jones1 ,inigo1 #df ,kirkall1 ,elisha1 #e1 #aa1 #ad1 #ae1 #bb1 #cc1 #da ,knapton1 ,george1 #cc ,lallemand1 ,george1 #aa1 #bh ,lancret1 ,nicolas1 #dg ,le ,blon1 ,jacob ,christoph1 #cf1 #ci ,le ,clerc1 ,sbastien1 #ah1 #ai1 #cj ,le ,sueur1 ,nicolas1 #aa1 #bb1 #bc1 #bh1 #de ,vincent1 #aa1 #ah1 #bc1 #de ,lethieullier1 ,smart1 #ca ,lewis1 ,john1 #bc1 #be ,liber selectarum cantionum1 ,senfel1 #gn ,lorrain1 ,claude1 #de ,mantegna1 ,andrea1 #abn ,mariette1 ,pierre-,jean1 #be1 #bf1 #bh ,mattaire's ,latin ,classics1 #ad1 #ca ,mellan1 ,claude1 #cj ,moreelse1 ,paulus1 #aa ,moretti1 ,giuseppe ,maria1 #be1 #de ,munch1 ,edvard1 #d1 #ed ,negker1 ,jost de1 #aj ,newdigate1 ,sir ,roger1 #cbn ,pannini1 ,giovanni ,paolo1 #de1 #df1 #dg ,papillon1 ,jean 7father of ,j4 ,m471 #ai1 #ba1 #bb ,jean ,michel1 #f1 #ad1 #ae1 #ah1 #ai1 #bj1 #ba1 #bb1 #bc1 #bd1 #bh1 #ce ,parmigianino1 #aj1 #bb1 #bf1 #dd ,pasquali1 ,j4 ,b41 #cb1 #dj ,pezzana1 #bg1 #bh1 #bi ,piranesi1 ,giovanni ,battista1 #df ,pond1 ,arthur1 #cc ,poussin1 ,nicolas1 #de ,raphael1 #aj1 #aa1 #bb1 #bc1 #dd ,ratdolt1 ,erhard1 #gn ,rembrandt1 #d1 #ca1 #cb ,ricci1 ,marco1 #f1 #ce1 #cf1 #df1 #dg1 #ec ,robert1 ,p4 ,p4 ,a41 #bb ,romano1 ,giulio1 #aa1 #bc ,rosa1 ,salvator1 #de ,rubens1 ,peter ,paul1 #bg ,sadeler1 ,egidius1 #bi ,salviati1 ,francesco1 #dd ,savage1 ,william1 #fg ,simonini1 ,francesco 7erroneously called 8,simonnetta071 #db ,skippe1 ,john1 #fhn ,smith1 ,joseph1 #cj1 #ca ,suetonius' ,lives of the ,twelve ,caesars1 #bi1 #cd1 #dh ,swaine1 ,j4 ,b41 #di ,tintoretto1 #cb ,titian1 #aa1 #bi1 #cb1 #dd ,trait historique et pratique de la gravure en bois1 #f1 #ad1 #ai1 #bj1 #ba ,trento1 ,antonio da1 #aj 8,urban1 ,sylvanus10 #da ,vallotton1 ,felix1 #d ,velasquez1 #db ,vernet1 ,claude ,joseph1 #dg ,veronese1 #eb ,verus1 ,justus1 #de ,vicentino1 ,giuseppe ,niccol1 #aj1 #dd ,villamena1 ,francesco1 #cj ,vouet1 ,simon1 #aa ,wallpaper1 first use in ,england1 #dj ,walpole1 ,horace1 #h1 #ca1 #ea ,ward1 ,dr4 ,john1 #di ,wechtlin1 ,hans1 #aj ,weiditz1 ,hans1 #gn ,whistler1 ,james ,m41 #en ,wouwerman1 ,philips1 #de ,wrey1 ,sir ,bouchier1 #cbn ,zanetti1 ,count ,antonio ,maria1 #aa1 #be1 #bf1 #de ,zuccarelli1 ,francesco1 #df 99 99 99 99 99 99 99 99 99 99 99 99 99 99 ,errors and ,inconsistencies pretentions to literary culture spelling unchanged also a woodcutter who copied ,le ,clerc name printed without space ,catalog3 ,punctuation in the ,inscriptions is unchanged4 #e1 ,inscription3 ,f3 ,m3 ,parmen99 _/ ,inventor partially illegible #i1 ,inscription3 ,,al ,a,l ligature sharing vertical line #ac1 ,inscription3 ,perillustri ac ,praeclaro ,viro ,d4 ,josepho ,smith printed as 8,viro ,d4 ,josepho0 ,smith with misplaced small capitals1 but see ,plate #ac #af1 ,st4 ,peter2 #ba1 ,st4 ,catherine period after 8,st40 invisible1 but see ,plate captions #ci3 ,lines 8#agdd0 and 8,colors vary4440 reversed in printed text4 ,bibliography3 ,j4 ,b4 ,jackson 444 as ,practised by ,albert ,durer no umlaut ,index to ,plates3 #af1 ,the ,death of ,st4 ,peter ,martyr1 after ,titian printed with italic 8after0