[17.] The Petit almanach de Paris, founded by J. M. Papillon in 1727 and illustrated with his woodcuts.
[18.] Smith, 1755, p. 136.
[19.] See cuts in Dissertatiumeula quodlibetariis disputationibus of C. L. Berthollet, Paris, 1780, and Voyage littéraire de la Grèce, of de Guys, 1783.
[20.] P. 415. This may be the print formerly in Dresden but lost during the war.
[21.] Recueil d’estampes d’après les plus beaux tableaux et d’après les plus beaux dessins qui sont en France dans le cabinet du Roy, dans celui de M. le Duc d’Orléans et dans d’autres cabinets, divisé suivant les différentes écoles. Paris, 1729-42, 2 vols., 182 plates. Often called the Cabinet Crozat, it was reprinted by Basan in 1763 with aquatint tones by François Charpentier replacing the woodblock tints.
[22.] Imperatorum imagines, Antwerp, 1557. The woodblocks were cut by Josse Geitleugen.
[23.] In the Enquiry (p. 31) Jackson asserts that Kirkall’s tints were made from copper plates, not woodblocks.
[24.] Zanetti certainly cut many of his own blocks, as the prints with the signature “A. M. Zanetti, sculp.” attest. But he also made use of craftsmen in the traditional fashion for other blocks and for the mechanical phase of printing.
[25.] These cuts were also used for the Biblia Sacra, published by Hertz in Venice in 1740.
[26.] Papillon, vol. 2, 1766, pp. 372-373.