The matrices were afterwards deposited in the British Museum, and were again brought into requisition when, in 1812, Mr. Baber produced his facsimile of the _Psalms_[660] from the Alexandrian MS., and afterwards, in 1816–21, at the press of Messrs. R. and A. Taylor, completed the entire _Old Testament_.[661] Thus concluded this great enterprise, which has been justly characterised by the Abbé Jager as “_opus plane aureum_.” Jackson having now become famous for his skill in this particular branch of his art, was called upon shortly before his death to execute a work of scarcely less importance than the facsimile of the Alexandrian Greek. This was to cut the punches for Dr. Kipling’s facsimile of the celebrated _Codex Bezæ_ preserved at the University of Cambridge. The character of this MS. differs considerably from that of the Alexandrine; and, being less regular in its execution, the difficulty of reproducing it in type is proportionately greater. Jackson, however, accomplished his task faithfully and with marked success. Unhappily his death in 1792 prevented him from seeing in print the fruit of his labours, as the work did not appear till the following year, when it was published at Cambridge in two beautiful folio volumes,[662]—a work which, says its reviewer, “reflects honour on the University of Cambridge, and its editor, and, we may add, on the late excellent letter-founder, Mr. Jackson, who cut the types for this handsome book, as well as for the Alexandrine MS. and for _Domesday_.”[663] Jackson’s reputation was not by any means wholly dependent on his skill in expressing in type the character of ancient and difficult manuscripts. During the time he was occupied in the works above described, he made several useful additions to his foundry. Amongst others, he cut a beautiful {323} fount of Pica Greek for Mr. Bowyer, “who,” says Nichols,[664] “used to say that the types in common use were no more Greek than they were English.” “He had also, under the direction of Joseph Steele, the ingenious author of _Prosodia Rationalis_,[665] augmented the number of musical notes by such as represent the emphasis and cadence of prose.” This curious work, designed to show how the recitation of Garrick and other eminent speakers might be transmitted to posterity in score, was printed by Nichols in 1779, being an amplified edition of a treatise published four years previously,[666] in which Jackson’s “expression symbols” were made use of.