Chapter 8

BIBLIOGRAPHY

ANONYMOUS. _An Enquiry into the Origins of Printing in Europe, by a Lover of Art._ London, 1752.

A rewrite of Jackson’s manuscript journal, with some sections quoted verbatim. The artist’s career from about 1725 to 1752 is described. The most important biographical source and a rare book.

AUDIN, M. _Essai sur les graveurs de bois en France au dix-huitième siècle._ Paris, 1925, pp. 99-102.

Contains a section listing many books illustrated by Jackson in Paris, mostly in later editions.

BAVEREL, P. _Notices sur les graveurs_, Besançon, 1807, vol. 1, pp. 341-342.

BÉNÉZIT, E. _Dictionnaire des peintres, sculpteurs, dessinateurs, & graveurs._ Paris, 1924 (1st ed. 1913), vol. 2, p. 693.

BEWICK, THOMAS. _Memoir of Thomas Bewick, Written by Himself_, 1822-1828. New York, 1925 (1st ed., 1862), pp. 213-214.

Mentions meeting Jackson in advanced age, about 1777. The book contains much personal reminiscence and observation on life but little concrete detail for the student.

BIGMORE, E. C. and WYMAN, C. W. H. _A Bibliography of Printing._ London, 1880-1886, vol. 1, pp. 201, 365.

The most extensive annotated listing of books relating to printing. Has a description of Jackson’s _Essay_.

BRULLIOT, F. _Dictionnaire des monogrammes._ Munich, 1832-1834, vol. 2, Nos. 1288, 1352, 1535.

BRYAN, M. _Dictionary of Painters and Engravers._ London and New York, 1904 (1st ed. 1816), vol. 3, p. 99.

The most comprehensive biographical dictionary of artists in the English language.

BURCH, R. M. _Colour Printing and Colour Printers._ London, 1910, pp. 72-77.

The most comprehensive general survey, but with more than occasional inaccuracies. There is a lack of sensitivity in art matters. These comments apply also to the section on Jackson.

CHATTO, W., and JACKSON, J. _A Treatise on Wood-Engraving._ London, 1861 (1st. ed. 1839), pp. 453-457.

The classic work on the subject; scholarly, objective, and voluminously illustrated. Has the fullest early account of Jackson and is the basis for most later studies of the artist.

CUST, L. “John Baptist Jackson,” _Dictionary of National Biography._ New York and London, 1885-1900, vol. 29, p. 100.

DE BONI, F. _Biografia degli artisti._ Venice, 1840, p. 499.

DONNELL, EDNA. “The Van Rensselaer Wall Paper and J. B. Jackson-- A Study in Disassociation.” _Metropolitan Museum Studies_, 1932, vol. 4, pp. 77-108.

The most scholarly study of Jackson’s wallpaper career. Shows, by an examination of styles, that Jackson could not have made the wallpapers indiscriminately attributed to him.

DUPLESSIS, G. Histoire de la gravure. Paris, 1880, pp. 314-315.

ENTWISLE, E. A. _The Book of Wallpaper._ London, 1954, pp. 65-67, 76.

Contains new information on wallpaper manufacturers in London during the 18th century, some of it bearing on Jackson.

FRANKAU, J. _Eighteenth-Century Colour-Prints._ London, 1907, pp. 42-46.

Has an appreciative section on Jackson, highly romanticized.

FRIEDLÄNDER, M. J. _Der Holzschnitt: Handbücher der Staatlichen Museen zu Berlin._ Berlin and Leipzig, 1926 (1st ed. 1917), pp. 224-226.

FUESSLI, J. C. _Raisonirendes Verzeichniss der vornehmsten Kupferstecher._ Zurich, 1771, pp. 353-354.

FURST, H. _The Modern Woodcut._ New York, 1924, pp. 88, 99.

A fine general survey, although judgments are occasionally dogmatic.

GALLO, R. _L’Incisioni nel ’700 a Venezia e a Bassano._ Venice, 1941, pp. 22-23.

A solid study containing some new material on the artists of the period.

GORI GANDELLINI, G. _Notizie Istoriche degl’ Intagliatori._ Siena, 1771, vol. 2, p. 156.

GUSMAN, P. _La Gravure sur bois et d’epargne sur metal du XIVe au XXe siècle._ Paris, 1916, pp. 32, 164-165, 193, 252.

HARDIE, MARTIN. _English Coloured Books._ New York and London, 1906, pp. 19-27.

While a brief but sensitive account of Jackson is given, the main emphasis is on the _Essay_ as an illustrated book.

HEINECKEN, C. H. VON. _Idée générale d’une collection complette d’estampes._ Leipzig and Vienna, 1771, p. 94.

HELLER, J. _Geschichte der Holzschneidekunst._ Bamberg, 1823, pp. 295-296. _Praktisches Handbuch für Kupferstichsammler._ Leipzig, 1850, p. 334.

Lists 10 chiaroscuros by Jackson.

HELLER, J., and ANDRESEN, A. _Handbuch für Kupferstichsammler._ Leipzig, 1870, vol. 1, pp. 706-707.

Lists 11 prints by Jackson.

HUBER, M. _Notices générales des graveurs et des peintres._ Dresden, 1787, pp. 676, 698.

HUBER, M., and ROST, C. C. _Handbuch für Kunstliebhaber und Sammler._ Zurich, 1808, vol. 9, pp. 129-131.

HUBER, M., ROST, C. C., and MARTINI, C. G. _Manuel des curieux et des amateurs d’art._ Zurich, 1797-1808, vol. 9, pp. 121-123.

First catalog of Jackson’s work; lists 10 titles.

JACKSON, JOHN BAPTIST. _An Essay on the Invention of Engraving and Printing in Chiaro Oscuro, as Practised by Albert Durer, Hugo di Carpi, &c., and the Application of It to the Making Paper Hangings of Taste, Duration, and Elegance._ London, 1754.

Written by Jackson to promote his wallpapers, it repeats some of his assertions in the _Enquiry_ but gives little detail concerning his career. It is important as an illustrated book and as an early document in the history of wallpaper. The prints have suffered from the use of an inferior oil vehicle.

KAINEN, JACOB. “John Baptist Jackson and his Chiaroscuros.” _Printing and Graphic Arts_, vol. 4, no. 4, 1956, pp. 85-92.

An excerpt from the present work, then in progress, in a different version.

KREPLIN, B. C. “John Baptist Jackson,” in Thieme, U., and Becker, F., _Allgemeines Lexikon der Bildenden Künstler._ Leipzig, 1907-1950, vol. 18, pp. 224-225.

The most comprehensive biographical dictionary of artists. Has a good article on Jackson and a small bibliography.

LE BLANC, C. _Manuel de l’amateur d’estampes._ Paris, 1854-1888, vol. 2, p. 416.

Particularly valuable for its catalogs of the work of engravers. With Nagler, contains the largest listing of Jackson’s prints.

LEVIS, H. C. _A Descriptive Bibliography of Books in English Relating to Engraving and the Collection of Prints._ London, 1912, pp. 182-184.

LEWIS, C. T. C. _The Story of Picture Printing in England During the 19th Century; or Forty Years of Wood and Stone._ London, 1928, pp. 2, 21, 26, 34, 40, 43, 195.

Written in an oppressively popular style with emphasis on Baxter and Le Blond. Jackson is mentioned often but sketchily as the distant ancestor of “picture printing.”

LINTON, W. _The Masters of Wood Engraving._ London, 1889, p. 214.

Discusses the subject from the standpoint of a late-19th-century technician. Nevertheless is open-minded, if slightly superior, about the chiaroscuro woodcut.

LONGHI, G. _Catalogo dei più celebri intagliatori in legno ed in rame._ Milan, 1821, p. 51.

MABERLY, J. _The Print Collector._ London, 1844, p. 130.

The first American edition, New York, 1880, edited by Robert Hoe, copies the annotated description of the _Essay_ from Bigmore and Wyman.

MCCLELLAND, N. _Historic Wall-Papers._ Philadelphia and London, 1924, pp. 47, 79, 141-154, 165, 324-329, 423.

Makes many references to Jackson, largely inaccurate.

MIREUR, H. _Dictionnaire des ventes d’art fait en France._ Paris, 1911-1912, vol. 4, p. 23.

MÜLLER, F., and KLUNZINGER, K. _Die Künstler Aller Zeiten und Völker._ 1857-1864, vol. 2, p. 430.

MÜLLER, H. A., MÜLLER, H. W., and SINGER, H. W. _Allgemeines Künstler-Lexicon._ Frankfurt, 1895-1901, vol. 2, p. 240.

NAGLER, G. K. _Allgemeines Künstler-Lexicon._ Munich. 1835-51, vol. 6, pp. 383-384.

The most extensive of all dictionaries of artists up to the time of Thieme and Becker, _q.v._ With Le Blanc, has the fullest catalog of Jackson’s prints.

_Die Monogrammisten_, Munich, 1858-1879, vol. 3, pp. 730, 836.

OMAN, C. C. _Catalogue of Wall-Papers._ London, Victoria and Albert Museum, 1929, pp. 24-25, 33.

A good historical account which includes Jackson’s contributions to the rise of scenic wallpaper.

PALLUCCHINI, RODOLFO. _Mostra degli incisori Veneti del settecento._ Venice, 1941, ed. 2, pp. 16, 103-104.

Catalog of the exhibition held in Venice in 1941.

PAPILLON, J. M. _Traité historique et pratique de la gravure en bois._ Paris, 1766, vol. 1, pp. 323-324, 327-329, 415.

Contains personal recollections of Jackson and his career in France. The book is valuable as the first technical treatise on the woodcut, but the historical section is notoriously inaccurate and heavily weighted with Papillon’s prejudices.

PERCIVAL, MACIVER. “Jackson of Battersea and his Wall Papers.” _The Connoisseur_, 1922, vol. 62, pp. 25-36.

REDGRAVE, S. _Dictionary of Artists of the English School._ London, 1874, p. 227.

REICHEL, ANTON. _Die Clair-Obscur-Schnitte des XVI., XVII. und XVIII. Jahrhunderts._ Zurich, Leipzig, and Vienna, 1926, p. 48.

The finest work on chiaroscuro, with 100 magnificent facsimile illustrations in color, fully described, and black-and-white illustrations in the text. Reproduces two of Jackson’s Ricci prints in actual size and color.

SAVAGE, W. _Practical Hints on Decorative Printing._ London, 1822, pp. 15-16.

Savage was the first writer to acknowledge Jackson’s contributions to color printing, although he was critical of his inks. The book attempts to show, through examples, that color printing from woodblocks is practical for a variety of purposes.

SMITH, J. _The Printers Grammar._ London, 1755, p. 136.

SPOONER, S. _Dictionary of Painters, Engravers, Sculptors & Architects._ New York, 1853, vol. 1, pp. 420-421.

STRUTT, J. _Dictionary of Engravers._ London, 1785-86, vol. 2, p. 41.

SUGDEN, A. V., and EDMONDSON, J. L. _A History of English Wallpaper._ New York and London, 1925, pp. 61-71.

The most thorough book on the subject although the treatment of Jackson is narrowly confined, like most wallpaper books, to his shortcomings as a decorator for elegant homes.

WALPOLE, HORACE. _Anecdotes of Painting in England. A Catalogue of Engravers who Have Been Born, or Resided in England. Digested from the Manuscript of George Vertue._ London, 1765 (1st ed. 1762), p. 3.

Important as the first compilation on this subject.

_The Letters of Horace Walpole._ Edited by Mrs. Paget Toynbee, Oxford, 1903-05, vol. 3, p. 166.

WEIGEL, R. _Kunstlagercatalog._ Leipzig, 1837-1866, vol. 2, pp. 103, 105; vol. 4, p. 52.

WICK, PETER A. _Suite of Six Color Woodcuts of Heroic Landscapes by John Baptist Jackson after Marco Ricci._ 1955, 12 pp.

Manuscript read at the XVIII Congres International d’Histoire de L’Art, Venice, Sept. 12-18, 1955. The first good, scholarly study of the Ricci prints. Traces Jackson’s career briefly but accurately.

Y. D. Historical Remarks on Cutting in Wood. _The Gentleman’s Magazine_, February 1752, vol. 22, pp. 78-79.

The first published statement of Jackson’s contribution as a woodcutter.

ZANETTI, A. M. _Della pittura veneziana._ Venice, 1792. (1st ed. 1771), vol. 2, pp. 689, 716. Zanetti was the librarian of St. Mark’s and the nephew of the famous chiaroscurist.

ZANI, D. P. _Enciclopedia metodica delle belle arti._ Parma, 1817-24, vol. 11, p. 47.

ZANOTTO, F. _Nuovissimo guida di Venezia._ Venice, 1856, p. 320, note 3.

INDEX TO PLATES

1. _Christ Giving the Keys to St. Peter_, after Raphael, 55 (color), 99 2. _Venus and Cupid with a Bow_, after Parmigianino, 56 (color), 100 3. _Woman Standing Holding Jar on Her Head_, after Parmigianino, 101 5. _Woman Meditating_ (_St. Thais?_), after Parmigianino, 57 (color), 102 6. _Ulysses and Polyphemus_, after Primaticcio, 104 7. _Bookplate_, 103 8. _Judgment of Solomon_, after Rubens, 105 9. _The Visitation_, after Annibale Carracci, 106 10. _Julius Caesar_, after Titian, 107 11. _St. Rocco_, after Cherubino Alberti, 108 12. _Statuette of Neptune_, after Giovanni da Bologna, 109 13. _Descent from the Cross_, after Rembrandt, 58 (color), 112 14. _Christ and the Woman of Samaria_, 110 15. _Romulus and Remus, Wolf and Sea God_, 111 16. _The Death of St. Peter Martyr_, after Titian, 113 17. _The Presentation in the Temple_ (The Circumcision), after Veronese, 114 18. _The Massacre of the Innocents_, after Tintoretto, 115 19. _The Entombment_, after Jacopo Bassano, 118 20. _Holy Family and Four Saints_, after Veronese, 119 21. _The Mystic Marriage of St. Catherine_, after Veronese, 120 22. _The Crucifixion_, after Tintoretto, left sheet, 64 (color), 116 center sheet, 37 (proof of key block), 64 (color), 116 right sheet, 65 (color), 117 23. _Miracle of St. Mark_, after Tintoretto, left sheet, 122 right sheet, 123 24. _The Marriage at Cana_, after Veronese, left sheet, 124 right sheet, 125 25. _Presentation of the Virgin in the Temple_, after Titian, left sheet, 136 center sheet, 136 right sheet, 137 26. _The Virgin in the Clouds and Six Saints_, after Titian, 121 27. _The Descent of the Holy Spirit_, after Titian, 126 28. _The Finding of Moses_, after Veronese, 127 29. _The Raising of Lazarus_, after Leandro Bassano, 128 30. _Christ on the Mount of Olives_, after Jacopo Bassano, 38 (key block), 132 31. _Melchisedech Blessing Abraham_, after Francesco Bassano, 129 32. _Dives and Lazarus_ (The Rich Man and Lazarus), after Jacopo Bassano, left sheet, 130 right sheet, 131 33. _Algernon Sidney_, after Justus Verus, 134 34. _Antique Bust of Woman_, 135 35. _Lovers_ (facing right), perhaps after Piazzetta, 138 36. _Lovers_ (woman full face), perhaps after Piazzetta, 139 37. _Lamentation Over the Body of Christ_, 133 38. _Heroic Landscape With Dedication and Classical Ruins_, after Marco Ricci, 140 39. _Heroic Landscape With Sheep, Statues, and Gentlemen_, after Marco Ricci, 141 40. _Heroic Landscape With Fisherman, Cows, and Horsemen_, after Marco Ricci, 40 (color), 41 (color, detail), 142 41. _Heroic Landscape with Cart and Goatherd, with S. Giorgio Maggiore in Background_, after Marco Ricci, 143 42. _Heroic Landscape with Women at Brook, Child Fishing, and Herdsmen_, after Marco Ricci, 144 43. _Heroic Landscape with Watering Place, Riders, and Obelisk_, after Marco Ricci, 59 (color), 145 44. _Battle near Parma_, after Francesco Simonini, 146, 147 (detail) 45. _Ornamental Border with Fruit, Flowers, and Purple Grapes_, 148 46. _Ornamental Border with Fruit, Flowers, and Green Grapes_, 148 47. _Ornamental Frame with Flowers and Fruit_, 149 48. _Ornamental Frame with Fruit_, 150 49. _Ornamental Frame with Flowers and Girl’s Head_, 62 (color), 151 50. _Dancing Nymph with Bow and Arrows_, 152 51. _Bust of Democritus_, 153 52. _The Lion_, 154 53. _Building and Vegetable_, 63 (color), 155 54. _Statue of Apollo_, 156 55. _The Farnese Hercules_, 157 56. _Antique Bust of a Man_, 158 57. _Pheasant and Garden Urn_, 159 58. _Ruin of Garden Temple_, 160 59. _Woman Standing Holding Apron_, after S. Le Clerc, 62 (color), 151 60. _Female Statue with Fruit and Wheat_, 161 61. _Female Statue with Mask_, 161 62. _Queen with Armor and Model of Building_, 162 63. _Apollo with Lyre_, 162 64. _Woman with Shepherd’s Pipe_, 163 65. _Woman with Sheet of Music and Horn_, 163 66. _Woman with Pitcher and Apron_, after S. Le Clerc, 164 67. _Old Woman Standing_, after S. Le Clerc, 164 68. _Lady with Staff_, 165 69. _Woman with Fruit and Basket_, 165 70. _Woman with Branches and Incense Burner_, 166 71. _Woman with Flowers and Vines_, 166 72. _Standing Woman, Head Turned to Right_, after Watteau, 167 73. _Lady with Fan_, after S. Le Clerc, 167 74. _Classical Female Statue_, 168 75. _Boy Looking Down_, 170 76. _Lady with a Flower_, 169

_INDEX_

Alberti, Cherubino, 30 Albrizzi, G. B., 26, 28, 29 Altdorfer, Albrecht, 36n Andreani, Andrea, 10, 11, 12n, 31, 45 Annison, M., 22

Baglioni, 27, 29 Baldung, Hans, 10 Bartolozzi, Francesco, 4 Bassano, Jacopo, 32 Baxter, George, 67 Beccafumi, Domenico, 10 Berghem, Nicolaes, 45 Bewick, Thomas, 5, 9n, 16, 17, 28, 35, 49, 50 _Bibbia del Nicolosi_, 26 _Biblia Sacra_ (published by Hertz), 28 Bloemart, Abraham, 22 Cornelius, 22 Frederick, 22 Boldrini, Niccolò, 11 Bologna, Giovanni da, 31 _Book of St. Albans_, 7 Brand, Thomas, 48 Bromwich, Thomas, 42 Burgkmair, Hans, 10 Businck, Ludolph, 11, 28, 45

Cabinet Crozart, 22, 23 Callot, Jacques, 4, 18, 30 Campagnola, Domenico, 44 Canaletto, 45 Carpi, Ugo da, 10, 11, 25, 26, 41, 44, 45, 51, 52 Carracci, Agostino, 32n Caslon, William, 16 Caylus, Anne Claude Phillipe, Count de, 22, 23, 28 Chinese woodcuts, 36, 68 Coriolano, Bartolomeo, 11, 45 Giovanni Battista, 11 Coypel, Charles, 28 Cranach, Lucas, 9 Croxall’s _Aesop’s Fables_, 14, 15, 31 Crozat, Pierre, 22, 23, 48

D’Arcy, Robert, 35 Darley, Matthias, 42 Dunbar, Robert, 30 Robert, Jr., 42, 48 Dürer, Albrecht, 4, 9n, 41, 44, 52

Eaton, Edward, 49 Ecman, Edouard, 30 Edwards, George, 5n “Ekwitz,” 14 Elliot, Sir Gilbert, 50 _Enquiry into the Origins of Printing in Europe_ (publication), 41 _Essay on the Invention of Engraving and Printing in Chiaro Oscuro_ (publication), 43

Faldoni, Giovanni Antonio, 30 Farsetti, Filippo, 26, 27 François, J. C., 54 Frederick, Charles, 31 Fougeron, John, 49

Gauguin, Paul, 4, 54 George III, 31 Goltzius, Hendrick, 11 Hubert, 22, 29, 45 Goya, Francesco, 4 Guardi, Francesco, 46 Gubitz, Frederich W., 67

Hogarth, William, 17 Hollis, Thomas, 48, 49

_Istoria del Testamento Vecchio e Nuovo_, 26

Jackson, John Baptist contributions to chiaroscuro and color woodcut, 5, 6, 12, 68 critical opinions of his work, 7, 51-54 first work in chiaroscuro, 11, 12, 23 birth, 14 training, 14, 15 early work in London, 15, 17 arrival in Paris, 17 association with Papillon, 18-22 association with de Caylus and Crozat, 22, 23 Papillon’s criticism of Jackson, 19, 20 arrival in Venice, 25 association with Zanetti, 25, 26 first chiaroscuros in Venice, 26 first chiaroscuro reproducing a painting, 27 early plans for wallpaper, 30 influence of line engraving, 29, 30 association with Joseph Smith, 30, 31, 32 production of the Venetian set, 31, 32, 33 production of the Ricci set, his first prints in full color, 33, 35, 36 use of embossing, 33, 36 marriage, 40 return to England, 40 designs for calico, 40 career as a maker of wallpaper, 40-50 publication of _An Enquiry into the Origins of Printing in Europe_, 41 publication of _An Essay on the Invention of Engraving and Printing in Chiaro Oscuro_, 43 pioneer of scenic wallpaper, 46, 47 album ascribed to him, 48 collapse of wallpaper venture, 48, 49 meeting with Bewick, 49, 59 last days, 50 Walpole’s criticism, 51 Janinet, Jean François, 4 Japanese woodcuts, 4, 33n, 36 Jegher, Christoffel, 11 Jones, Inigo, 46

Kirkall, Elisha, 5, 11, 14, 15, 22, 33, 41 Knapton, George, 33

Lallemand, George, 11, 28 Lancret, Nicolas, 47 Le Blon, Jacob Christoph, 36, 39 Le Clerc, Sébastien, 18, 19, 30 Le Sueur, Nicolas, 11, 22, 23, 28, 45 Vincent, 11, 18, 23, 45 Lethieullier, Smart, 31 Lewis, John, 23, 25 _Liber selectarum cantionum_, Senfel, 7n Lorrain, Claude, 45

Mantegna, Andrea, 12n Mariette, Pierre-Jean, 25, 26, 28 Mattaire’s _Latin Classics_, 14, 31 Mellan, Claude, 30 Moreelse, Paulus, 11 Moretti, Giuseppe Maria, 25, 45 Munch, Edvard, 4, 54

Negker, Jost de, 10 Newdigate, Sir Roger, 32n

Pannini, Giovanni Paolo, 45, 46, 47 Papillon, Jean (father of J. M.), 19, 21, 22 Jean Michel, 6, 14, 15, 18, 19, 20, 21, 22, 23, 24, 28, 35 Parmigianino, 10, 22, 26, 44 Pasquali, J. B., 32, 40 Pezzana, 27, 28, 29 Piranesi, Giovanni Battista, 46 Pond, Arthur, 33 Poussin, Nicolas, 45

Raphael, 10, 11, 22, 23, 44 Ratdolt, Erhard, 7n Rembrandt, 4, 31, 32 Ricci, Marco, 6, 35, 36, 46, 47, 53 Robert, P. P. A., 22 Romano, Giulio, 11, 23 Rosa, Salvator, 45 Rubens, Peter Paul, 27

Sadeler, Egidius, 29 Salviati, Francesco, 44 Savage, William, 67 Simonini, Francesco (erroneously called “Simonnetta”), 42 Skippe, John, 68n Smith, Joseph, 30, 31 Suetonius’ _Lives of the Twelve Caesars_, 29, 34, 48 Swaine, J. B., 49

Tintoretto, 32 Titian, 11, 29, 32, 44 _Traité historique et pratique de la gravure en bois_, 6, 14, 19, 20, 21 Trento, Antonio da, 10

“Urban, Sylvanus,” 41

Vallotton, Felix, 4 Velasquez, 42 Vernet, Claude Joseph, 47 Veronese, 52 Verus, Justus, 45 Vicentino, Giuseppe Niccolò, 10, 44 Villamena, Francesco, 30 Vouet, Simon, 11

Wallpaper, first use in England, 40 Walpole, Horace, 8, 31, 51 Ward, Dr. John, 49 Wechtlin, Hans, 10 Weiditz, Hans, 7n Whistler, James M., 5n Wouwerman, Philips, 45 Wrey, Sir Bouchier, 32n

Zanetti, Count Antonio Maria, 11, 25, 26, 45 Zuccarelli, Francesco, 46

* * * * * * * * * * * * * *

Errors and Inconsistencies

pretentions to literary culture [spelling unchanged] also a woodcutter who copied Le Clerc [name printed without space]

Catalog:

Punctuation in the Inscriptions is unchanged. 5, Inscription: F: M: Parmen* / Inventor [partially illegible] 9, Inscription: [AL] [A+L ligature sharing vertical line] 13, Inscription: Perillustri ac Praeclaro Viro ‡D. Josepho Smith‡ [printed as “‡Viro D. Josepho‡” Smith with misplaced small capitals, but see Plate 13] 16, St. Peter; 21, St. Catherine [period after “St.” invisible, but see Plate captions] 39: Lines “1744” and “Colors vary...” reversed in printed text.

Bibliography:

[J. B. Jackson] ... as Practised by Albert Durer [no umlaut]

Index to Plates:

16, _The Death of St. Peter Martyr_, after Titian [printed with italic “after”]