which might have been done as well by those tliat cut and printed them. At this 

 first Interview the low Cunning of this Man was discovered . . J'* 



Jackson undoubtedly disliked Zanetti's soft and delicate treatment, so char- 

 acteristic of 18th-century work, and considered his interpretation of Parmigianino 

 and Raphael little short of sacrilege. Since Jackson was incapable of hiding his feel- 

 ings a quarrel became inevitable. The first rift came when Zanetti let Jackson have 

 for a few weeks a drawing by Parmigianino, the Venus and Cupid with a Bow, to 

 be executed in four blocks. The print was done "intirely in Hugo's [da Carpi's] 

 manner, with this Difference, that no Oscuro block has a Contour to resemble the 

 original Drawing it was done from, which is seldom seen in Hugo's works . . . ." 

 Zanetti, surprised by the fine quality of the first proof, proposed to pass it off on 

 Mariette in Paris as an original da Carpi print. He even stained it and cut holes in it 

 to give the impression of aged worm-eaten paper. At the same time Jackson exe- 

 cuted another chiaroscuro, also based on a Parmigianino drawing, the Woman 

 Standing Holding far on her Head. Zanetti, says the Enquiry — 



. . . caressed the Author with the highest Expressions of Zeal for his Service, pro- 

 testing he would communicate his Capacity to his Correspondents all over Europe, 

 which would be the Means to advance his Fortune, especially amongst the E?}glish 

 Quality and Gentry who travelled Italy. The intent of all those fine Promises was 

 to get the two Sets of Blocks into his Hands, which he expected as a Present for 

 the Use of the two original Drawings, from which these Prints were taken ; but this 

 not being complyed with, the Restaurati expressed a Resentment at this Refusal, 

 and took all the Opportunities to distress the Undertakings of any Sort performed 

 by Mr. ]acl{son, during fourteen Years Residence in Venice. 



Zanetti was charged, in some obscure way, with obstructing Jackson's work 

 in cutting 136 blocks for th^ Istoria del Testatnetito Vecchio e Nuovo, popularly 

 known as the Bibbia del Nicolosi^ published by G. B. Albrizzi in 1737. We are 

 informed that Filippo Farsetti, one of Jackson's patrons, paid him for the whole 

 set of cuts after rebuking Zanetti for interference. 



" Zanetti certainly cut many of his own blocks, as the prints with the signature "A. M. Zanetti, 

 sculp." attest. But he also made use of craftsmen in the traditional fashion for other blocks and for the 

 mechanical phase of printing. 



'"These cuts were also used for the Biblia Sacra, published by Hertz in Venice in 1740. 



26 



