[7.] William Gilpin, An Essay on Prints, London, 1781 (1st ed. 1768), p. 47. “There are three kinds of prints, engravings, etchings, and mezzotintos.”
[8.] Maberly, 1844, p. 130.
[9.] Linton, 1889, p. 215. A woodcut in the German manner was far more difficult to manage than Linton imagined. Bewick tried to imitate the cross-hatched lines of a Dürer woodcut without success. He finally concluded (1925, pp. 205-207) that the old woodcutters had used two blocks, each with lines going in opposing directions, and had printed one over the other!
[10.] Adam Bartsch, Le Peintre graveur, Vienna, 1803-1821.
[11.] Andrea Andreani in 1599 published ten plates after cartoons of Mantegna’s nine paintings, The Triumph of Julius Caesar (B. 11), printed from four blocks in variations of gray. But Mantegna’s cartoons were basically drawings in monochrome, and Andreani’s fine chiaroscuros did not differ appreciably from the usual examples.
[12.] Papillon, 1766, vol. 1, p. 323. Most probably Papillon confused “Ekwits” with Elisha Kirkall.
[13.] Chatto and Jackson, 1861 (1st ed. 1839), p. 448.
[14.] Linton, 1889, p. 130.
[15.] London, 1752. Hereafter cited as the Enquiry. The first half deals with Jackson’s opinions on the origins of printing from movable type and the progress of cutting on wood, the second half with Jackson’s career and his venture into wallpaper manufacturing. The real content of the book was so little known that Bigmore and Wyman’s comprehensive, annotated Bibliography of Printing, London, 1880-86, vol. 1, p. 201, described it as dealing with “certain improvements in printing-types made by Jackson, the typefounder.”
[16.] Bewick, 1925 (1st ed. London, 1862), pp. 211-212.