The Venetian prints were not merely an extension of chiaroscuro, they repre- 

 sented a daring effort to go beyond Hne engraving for reproducing paintings. 

 Justification for this attempt is given in the Essay (p. 6) : 



. . . and though those deUcate Finishings, and minute Strokes, which make 

 up great Part of the Merit of engraving on Copper, are not to be found in those cut 

 on Wood in Chiaro Osctiro; yet there is a masterly and free Drawing, a boldness 

 of Engraving and Relief, v/hich pleases a true Taste more than all tlie litde Exact- 

 ness found in the Engravings on Copper Plates . . . and indeed has an Effect 

 which the best Judges very often prefer to any Prints from Engravings, done with 

 all that Exactness, minute Strokes of the Graver, and Neatness of Work, which is 

 sure to captivate the Minds of those whose Taste is formed upon the little Consid- 

 erations of delicately handling the Tools, and not upon the Freedom, Life and 

 Spirit of the separate Figures, and indeed the whole Composidon. 



A novel device, embossing, was employed to give added strength to the prints. 

 This development had been foreshadowed by earlier prints and pages of text which 

 showed a slight indentation where the dampened paper received the impression. 

 Embossing had probably first been used systematically by Elisha Kirkall in 1722- 

 24, and by Arthur Pond in his chiaroscuros, made in 1732-36 in conjunction with 

 George Knapton, after drawings by old masters. Jackson admhed Pond's work 

 even though it combined etched outlines with two tone blocks printed from wood.^° 

 Pond's embossing was delicate and applied sparely only in certain forms, such as 

 ruined columns, but Jackson's sunken areas were heavier and franker, consciously 

 intended to give an all-over effect. Since the paper could not be pressed out with- 

 out weakening the embossing, it often took on the scarred and buckled look that 

 characterizes the Venetian chiaroscuros. 



The set had occupied him for 4^/2 years, during which he had planned, cut, 

 and proofed 94 blocks. 



No sooner was that ended, and a little Breathing required after that immense 

 Fatigue, in the Year 1744 he attempted to print in Colours, and published six 

 Landskips in Imitation of Painting in Acquarello. 



'"Enquiry, p. 35. The Japanese began to use embossing about 1730. See Reichel, 1926, p. 48. 



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