the Proposals in French, and the Conditions expressed therein, were drawn up as 

 they thought proper, without consulting the Difficulties that must attend an Enter- 

 prize that required some years to accomplish. 



Their own subscriptions were no doubt generous but Jackson found that his 

 total income from this form of financing, together with possible future sales, would 

 hardly cover his expenses. Other hazards made his situation even worse. War 

 broke out in Europe before he was halfway through, and many English gentle- 

 men, his potential subscribers, left the country. This exodus meant financial dis- 

 aster, but Jackson kept at his task. He should, he said, have gone to England for 

 his own best interests but felt that he couldn't disappoint his distinguished patrons. 



The first print completed was after Titian's St. Peter Martyr at the Dominican 

 Church of Sts. Giovanni and Paolo. In coloring it is similar to the Rembrandt 

 print, with gray-green sky, yellow lights, and cool brown shadows. While attrac- 

 tive and forceful, it is not as effective as the Rembrandt because Tidan, with his 

 greater range of color, presented a more complex problem. Most of the prints 

 thereafter leaned to monochromes in either browns or greens. The St. Peter was 

 finished in 1739 and in the same year five more prints were brought to completion. 



In 1740 he produced the three sheets which made up Tintoretto's Crucifixion 

 in the Scuola di San Rocco."^ These were intended to be joined, if desired, to form 

 one long print measuring about 22 x 50 inches. 



Of the ten remaining subjects, the last, Jacopo Bassano's Dives and Lazarus, 

 was finished at the end of 1743, and the set of 24 plates (some paindngs, as noted, 

 were reproduced in three sheets and some in two) was published as a bound vol- 

 ume by J. B. Pasquali in Venice, 1745, under the title Titiani Vecelii, Pauli Caliarii, 

 ]acobi Robusti et facobi de Ponte; opera selectiora a Joanne Baptista ]ac\son, 

 Anglo, ligno coelata et coJoribus adumbrata. 



-^ Jackson mentioned that he was seen drawing the blocks in the presence of Sir Roger Newdigate, 

 Sir Bouchier Wrey "and other gentlemen of distinction." The reason for such reference was probably 

 some comment that he might have traced his oudines from Agostino Carracci's 15S2 engraving of the 

 same subject in three large sheets (B. 23), each of which joins the others at precisely the same places as 

 Jackson's sheets. I am indebted to Dr. Jakob Rosenberg of the Fogg Museum for pointing out these 

 similarities. 



32 



