gem collector, and connoisseur of the arts. In spite of Walpole's sneering reference 

 to him as "the merchant of Venice," it must be said that he was expert in his fields 

 of interest. He had excellent taste. His fine collection of books was purchased by 

 George III in 1765, and the small Rembrandt Descent from the Cross once in his 

 possession is now in the National Gallery in London. 



From Smith's bronze statuette of Neptune, by Giovanni da Bologna, Jackson 

 produced a chiaroscuro print in four blocks, in imitation, he asserted, of the prints 

 of Andrea Andreani.^' In suggesting the influence of this master, Jackson did 

 not refer to his technique or style but to his subject: in 1584-1585 Andreani 

 had produced a chiaroscuro series after other statues by Giovanni da Bologna 

 (B. XII, VI, 1-4). 



The next work in Smith's collection to be reproduced in chiaroscuro was 

 Rembrandt's Descent from the Cross. Jackson was evidently well satisfied with the 

 results, and with good reason. It is an extremely effective print, with pale yellow 

 lights and transparent shadows. The drawing is remarkable in its feeling for the 

 Rembrandtesque style. 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 Fables. 

 The Enquiry says (p. 45): 



As this Painting was extremely favourable for this sort of Printing, he endeavoured 

 to display all his Art in this Performance, and the Drawing of Rembratidt's Stile 

 is intirely preserved in this Print; it is dedicated to Mr. Smith, who generously 

 gave the Prints to all Gentlemen who came to Venice at that time in order to rec- 

 ommend the Talents of a Man whose Industry might please the curious, and at 

 least be of some Use to procure him Encouragement to proceed in other Works 

 of that Kind. 



Encouragement soon came. Smith interested two of his friends, Charles Fred- 

 erick and Smart LethieuUier, and the three proposed in 1739 the undertaking of a 

 grand project in chiaroscuro, the reproduction of 17 huge paintings by Venetian 

 masters. This was to be financed by subscription, says the Enquiry (p. 46) : 



^' The Neptune was printed on a type press. One of the blocks split in printing and Jackson stated 

 that thereafter he used the cylinder press exclusively. 



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