loosely drawn outline and three tint blocks in a slight variation of the Andreani 

 style. 



One characteristic was shared in common by all early chiaroscurists ; their 

 work always reproduced drawings, usually in exact size. Jackson added a new 

 dimension to the medium in 1735 by beginning to work after oil paintings." His 

 attempt to convey their scale, solidity, and tonal range, while retaining the wood- 

 cut's breadth of execution, was perhaps carrying the chiaroscuro into complexides 

 for which it was not suited. The method called for extraordinary talents in plan- 

 ning, drawing, cutting, and printing, and it resulted in impressions that could not 

 escape a certain heaviness of effect when compared with traditional work. Jack- 

 son's prints in this style are both daring and original, but no later woodcutter had 

 either the desire or the temerity to follow his example. The method remained a 

 dead end in chiaroscuro. 



^' Andrea Andreani in 1599 published ten plates after cartoons of Mantegna"s nine paintings, The 

 Triumph of Julius Caesar (B. 11), printed from four blocks in variations of gray. But Mantegna's car- 

 toons were basically drawings in monochrome, and Andreani's fine chiaroscuros did not differ appreciably 

 from the usual examples. 



Tailpiece in L'Histoire naturelle klaircie dans une de ses parties principales, 

 I'oryctologie, by D. d'Argenville, De Bure, Paris, 1755. This is one of the 

 cuts Jackson made between 17x5-1730. Actual size. 



12 



