[27.] Bewick, 1925, p. 213.
[28.] The Neptune was printed on a type press. One of the blocks split in printing and Jackson stated that thereafter he used the cylinder press exclusively.
[29.] Jackson mentioned that he was seen drawing the blocks in the presence of Sir Roger Newdigate, Sir Bouchier Wrey “and other gentlemen of distinction.” The reason for such reference was probably some comment that he might have traced his outlines from Agostino Carracci’s 1582 engraving of the same subject in three large sheets (B. 23), each of which joins the others at precisely the same places as Jackson’s sheets. I am indebted to Dr. Jakob Rosenberg of the Fogg Museum for pointing out these similarities.
[30.] Enquiry, p. 35. The Japanese began to use embossing about 1730. See Reichel, 1926, p. 48.
[31.] Altdorfer’s Beautiful Virgin of Ratisbon, about 1520, (B. 51, vol. 8, p. 78) made use of five colors in some impressions (Lippmann describes one with seven colors) but these were used primarily for decorative, not naturalistic purposes.
[32.] Laurence Binyon, A Catalogue of Japanese & Chinese Woodcuts in the British Museum, London, 1916, p. xx, introduction.
[33.] Zanetti, 1792, pp. 689, 716.
[34.] Zanotto, 1856, p. 320, note 3.
[35.] Gallo, 1941, pp. 23-23. Jackson’s blocks are not listed in the Remondini catalog of 1817.
[36.] Vol. 22, pp. 77-79.