Gallo[35] says that some of Jackson’s blocks found their way to the printing house of the Remondini and were used to strike off new impressions, after which they became the property of the Typografia Pozzato in Bassano. This might explain some of the inferior examples of the Venetian set which could hardly have come from the presses of Jackson or Pasquali.
Trial proof of the key block of center sheet of The Crucifixion, after Tintoretto. National Gallery of Art (Rosenwald Collection).
Trial proof of the key block of Christ on the Mount of Olives, after Bassano. National Gallery of Art (Rosenwald Collection).