[ INDEX]

References to footnotes (number+n) link directly to the appropriate note. Other references link only to the top of the page.

Alberti, Cherubino, [30] Albrizzi, G. B., [26], [28], [29] Altdorfer, Albrecht, [36n] Andreani, Andrea, [10], [11], [12n], [31], [45] Annison, M., [22] Baglioni, [27], [29] Baldung, Hans, [10] Bartolozzi, Francesco, [4] Bassano, Jacopo, [32] Baxter, George, [67] Beccafumi, Domenico, [10] Berghem, Nicolaes, [45] Bewick, Thomas, [5], [9n], [16], [17], [28], [35], [49], [50] Bibbia del Nicolosi, [26] Biblia Sacra (published by Hertz), [28] Bloemart, Abraham, [22] Cornelius, [22] Frederick, [22] Boldrini, Niccolò, [11] Bologna, Giovanni da, [31] Book of St. Albans, [7] Brand, Thomas, [48] Bromwich, Thomas, [42] Burgkmair, Hans, [10] Businck, Ludolph, [11], [28], [45] Cabinet Crozart, [22], [23] Callot, Jacques, [4], [18], [30] Campagnola, Domenico, [44] Canaletto, [45] Carpi, Ugo da, [10], [11], [25], [26], [41], [44], [45], [51], [52] Carracci, Agostino, [32n] Caslon, William, [16] Caylus, Anne Claude Phillipe, Count de, [22], [23], [28] Chinese woodcuts, [36], [68] Coriolano, Bartolomeo, [11], [45] Giovanni Battista, [11] Coypel, Charles, [28] Cranach, Lucas, [9] Croxall’s Aesop’s Fables, [14], [15], [31] Crozat, Pierre, [22], [23], [48] D’Arcy, Robert, [35] Darley, Matthias, [42] Dunbar, Robert, [30] Robert, Jr., [42], [48] Dürer, Albrecht, [4], [9n], [41], [44], [52] Eaton, Edward, [49] Ecman, Edouard, [30] Edwards, George, [5n] “Ekwitz,” [14] Elliot, Sir Gilbert, [50] Enquiry into the Origins of Printing in Europe (publication), [41] Essay on the Invention of Engraving and Printing in Chiaro Oscuro (publication), [43] Faldoni, Giovanni Antonio, [30] Farsetti, Filippo, [26], [27] François, J. C., [54] Frederick, Charles, [31] Fougeron, John, [49] Gauguin, Paul, [4], [54] George III, [31] Goltzius, Hendrick, [11] Hubert, [22], [29], [45] Goya, Francesco, [4] Guardi, Francesco, [46] Gubitz, Frederich W., [67] Hogarth, William, [17] Hollis, Thomas, [48], [49] Istoria del Testamento Vecchio e Nuovo, [26] Jackson, John Baptist contributions to chiaroscuro and color woodcut, [5], [6], [12], [68] critical opinions of his work, [7], 51-54 first work in chiaroscuro, [11], [12], [23] birth, [14] training, [14], [15] early work in London, [15], [17] arrival in Paris, [17] association with Papillon, 18-22 association with de Caylus and Crozat, [22], [23] Papillon’s criticism of Jackson, [19], [20] arrival in Venice, [25] association with Zanetti, [25], [26] first chiaroscuros in Venice, [26] first chiaroscuro reproducing a painting, [27] early plans for wallpaper, [30] influence of line engraving, [29], [30] association with Joseph Smith, [30], [31], [32] production of the Venetian set, [31], [32], [33] production of the Ricci set, his first prints in full color, [33], [35], [36] use of embossing, [33], [36] marriage, [40] return to England, [40] designs for calico, [40] career as a maker of wallpaper, 40-50 publication of An Enquiry into the Origins of Printing in Europe, [41] publication of An Essay on the Invention of Engraving and Printing in Chiaro Oscuro, [43] pioneer of scenic wallpaper, [46], [47] album ascribed to him, [48] collapse of wallpaper venture, [48], [49] meeting with Bewick, [49], [59] last days, [50] Walpole’s criticism, [51] Janinet, Jean François, [4] Japanese woodcuts, [4], [33n], [36] Jegher, Christoffel, [11] Jones, Inigo, [46] Kirkall, Elisha, [5], [11], [14], [15], [22], [33], [41] Knapton, George, [33] Lallemand, George, [11], [28] Lancret, Nicolas, [47] Le Blon, Jacob Christoph, [36], [39] Le Clerc, Sébastien, [18], [19], [30] Le Sueur, Nicolas, [11], [22], [23], [28], [45] Vincent, [11], [18], [23], [45] Lethieullier, Smart, [31] Lewis, John, [23], [25] Liber selectarum cantionum, Senfel, [7n] Lorrain, Claude, [45] Mantegna, Andrea, [12n] Mariette, Pierre-Jean, [25], [26], [28] Mattaire’s Latin Classics, [14], [31] Mellan, Claude, [30] Moreelse, Paulus, [11] Moretti, Giuseppe Maria, [25], [45] Munch, Edvard, [4], [54] Negker, Jost de, [10] Newdigate, Sir Roger, [32n] Pannini, Giovanni Paolo, [45], [46], [47] Papillon, Jean (father of J. M.), [19], [21], [22] Jean Michel, [6], [14], [15], [18], [19], [20], [21], [22], [23], [24], [28], [35] Parmigianino, [10], [22], [26], [44] Pasquali, J. B., [32], [40] Pezzana, [27], [28], [29] Piranesi, Giovanni Battista, [46] Pond, Arthur, [33] Poussin, Nicolas, [45] Raphael, [10], [11], [22], [23], [44] Ratdolt, Erhard, [7n] Rembrandt, [4], [31], [32] Ricci, Marco, [6], [35], [36], [46], [47], [53] Robert, P. P. A., [22] Romano, Giulio, [11], [23] Rosa, Salvator, [45] Rubens, Peter Paul, [27] Sadeler, Egidius, [29] Salviati, Francesco, [44] Savage, William, [67] Simonini, Francesco (erroneously called “Simonnetta”), [42] Skippe, John, [68n] Smith, Joseph, [30], [31] Suetonius’ Lives of the Twelve Caesars, [29], [34], [48] Swaine, J. B., [49] Tintoretto, [32] Titian, [11], [29], [32], [44] Traité historique et pratique de la gravure en bois, [6], [14], [19], [20], [21] Trento, Antonio da, [10] “Urban, Sylvanus,” [41] Vallotton, Felix, [4] Velasquez, [42] Vernet, Claude Joseph, [47] Veronese, [52] Verus, Justus, [45] Vicentino, Giuseppe Niccolò, [10], [44] Villamena, Francesco, [30] Vouet, Simon, [11] Wallpaper, first use in England, [40] Walpole, Horace, [8], [31], [51] Ward, Dr. John, [49] Wechtlin, Hans, [10] Weiditz, Hans, [7n] Whistler, James M., [5n] Wouwerman, Philips, [45] Wrey, Sir Bouchier, [32n] Zanetti, Count Antonio Maria, [11], [25], [26], [45] Zuccarelli, Francesco, [46]

[ About the Illustrations]

The first few illustrations were labeled “Actual Size”. The exact size of images on a computer screen depends largely on your monitor type; settings can generally not be changed without affecting other aspects of the display. The scale shown here was used for all “actual size” illustrations. It may appear slightly larger or smaller than intended.

Some Plates were printed out of sequence, apparently for technical reasons. They have been changed to numerical order; marginal page numbers show the original arrangement. The color Plates were printed in a block after the first page of the Postscript, at the mid-sentence point “sentimental, / banal”. This entire group has been placed after the black-and-white Plates. The absence of a Plate 4 is explained by the catalog entry.

Plates in two or three parts were printed on facing pages or fold-outs. Combined views have been added by the transcriber, as was the split view of Plate 44.