Papillon and his father had speciaUzed in producing such papers. These were 

 much better than comparable EngUsh work, but Jackson, confining himself to 

 English products, had attacked tlie whole style without making distinctions. 



According to the Enquiry (pages 32-55 of this book will be drawn upon for 

 the ensuing details of Jackson's career), M. Annison, Director of the Imprimerle 

 Royale, for whom Jackson produced many cuts, introduced him to Count de 

 Caylus, collector, connoisseur, etcher, and the leading spirit in French engraving at 

 the time. De Caylus had, in 1725, undertaken to direct the reproduction of draw- 

 ings and paintings in the best French collections." Pierre Crozat, the famous 

 collector, sponsored the publication of this ambitious work. 



The drawings were reproduced in chiaroscuro while the paintings were ren- 

 dered in black-and-white by a corps of engravers. The chiaroscuros were made by 

 combining an etched outline, usually by de Caylus or P. P. A. Robert, with super- 

 imposed tones, mainly in green or buff, from one or two woodblocks cut in most 

 cases by Nicolas Le Sueur, or under his direction. This was not a new printing 

 method. Hubert (not Hendrick) Goltzius had first employed it in a set of Roman 

 emperors after antique medallions in 1557." To reproduce drawings by Raphael, 

 Parmigianino, and himself, Abraham Bloemart, as well as Frederick and Cor- 

 nehus Bloemart in the early i6oo's, had used this combination extensively, and as 

 described earlier, p. 11, Kirkall had used it between 1722 and 1724."^ The com- 

 bination method produced rather feeble prints that lacked the vigor of straight 

 woodblock chiaroscuro. The etched outline was thin and ineffective, and the tints 

 were pallid so as not to overpower the drawing. Only Abraham Bloemart's prints 

 in this style were convincing, although Kirkall's chiaroscuros, in their soft, over- 

 modeled way, had individuality. But the Cabinet Crozat lacked distinction en- 

 tirely. The chiaroscuros had a mechanical look, a fact not surprising when we 

 remember that they were produced by a team of engravers — assembled, as it were, 



^^ Recueil d'estampes d'apres les plus beaux tableaux et d'apnes les plus beaux dessins qui sont 

 en France dans le cabinet du Roy, dans celtti de M. le Due d'Orleans et dans d'autres cabinets, divisi 

 suivant les di-fferentes ecoles. Paris, 1729-42, 2 vols., 182 plates. Often called the Cabinet Crozat, it was 

 reprinted by Basan in 1763 with aquatint tones by Francois Charpentier replacing the woodblock tints. 



^- Imperatonim imagines, Antwerp, 1557. The woodblocks were cut by Josse Geitleugen. 



*^In the Enquiry (p. 31) Jackson asserts that Kirkall's tints were made from copper plates, not 

 woodblocks. 



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